MARS/AVRIL 2006

A FISH OUT OF WATER: Teaching Aquatic Exercise in the Pool

By Sara Kooperman

There are several occasions when an instructor may need or wish to teach from inside the water rather than from outside the pool on the deck. If an instructor is recovering from a lower extremity injury, is predisposed to lower back problems or is pregnant, it may be best for the instructor to teach part or all of the class from inside the water. The reduced impact shock and cooler environment of the pool provide a more comfortable and safer experience for the teacher.

From a student’s perspective, it is far easier to see, hear and follow an instructor who is on the deck. Yet, as most aquatic exercise instructors quickly realize, it is extremely hot, humid and hard to teach an entire class from the deck. The optimal situation is for a class to understand the teacher’s verbal and visual cues, and for the instructor to teach at least part of the class in the water. This takes a well-educated class and disciplined instructor. So here are some tips on training your class and yourself on leadership from “in” the pool.

First, a teacher should make sure that all the students understand the verbal names of the cues. The best way to accomplish this is to teach from the deck for the first couple of weeks of a program. The teacher should name the moves and not change the names of the moves. For example, a jumping jack will always be a “jack,” not a “j. jack” or a “jumping jack.” It will always be a “jack,” pure and simple. Next, one should make sure that all the students understand what the verbal moves translate into physically. The students should know the “visual” cues. Make sure the students understand what a jumping jack looks like from both on the deck and in the water.

This means that an instructor is going to have to get in and get out of the pool several times during the first couple of weeks; this must be performed safely. If the instructor cannot do this quickly and safely then a student should be asked to perform this getting in-and-out and be used as an example. This will demonstrate to the students both how the move looks on the deck and in the water. In this way, the teacher can train his or her students to know what to expect once the teacher instructs from in the water.

Even if a class has followed the instructor for months and is used to the in-water instruction, a teacher must be aware that new students will often show up from time to time. A good instructor must pay close attention to these new students and take extra time to train them on aquatic exercise.

As most aquatic exercisers know, aquatic moves are foreign and the exercises are unique to water only. Therefore, a truly caring instructor may wish to teach this student’s first class entirely from the deck. A great way to further help a new aquatic student is to assign him or her to an experienced partner. This partner should be a student that has taken class for some time and is proficient. Remember, never say “older” student because someone may become offended! Refer to this student an “experienced” aquatic student.

Another idea for dealing with new students in an already proficient class may be to give a quick five-minute demonstration of the basic aquatic exercise moves from the deck. In this way, the students will at least have seen the moves before they are asked to perform them. This quick run-through of general aquatic moves also serves as a good warm-up for every participant.

Getting in and out of a pool is difficult in any pool and requires special preparation. There are many things to consider: are stairs readily available, who will you splash if you just jump in and perform a tricep press to get out, and what type of shoes should you wear (one pair for deck/land work or for pool work)?

A well-equipped instructor should always wear supportive aquatic shoes. Aqua shoes work extremely well because they are non-skid and make getting in and out of the pool very easy. They are supportive and have a fully rubberized sole similar to a land athletic shoe. This permits easy on-deck demonstration. The aqua shoe is also great in the water since it allows for water transfer through the rubberized sole. There is usually mesh on the bottom of the shoe that allows water to drain, so that the shoes remain quite light both on the deck and in the water. All of these features give an aquatic instructor the necessary support and the required freedom to teach from both in and out of the pool.

Instructors getting in and out of the pool should be careful of slipping and falling. They should pick an area of the deck that is even and without visual obstruction. Aqua teachers should also be careful not to injure themselves getting out of the pool. Some basic strength training exercise, and appropriate stretching techniques, may prevent stress on the shoulders, back and arms that may occur when pressing oneself out of the water.

Aquatic instructors who are going to teach both from in the pool and on the deck should choose their active wear appropriately. Students will still try to watch your leg patterns even under the water. Additionally, getting in and out of the pool can put an instructor in somewhat compromising positions. Be sure to wear dark colors and long pants. Dark colors allow an instructor to be seen underwater and long pants or longer shorts make it easier for your students to fully see your leg patterns.

The active wear should be made of strong material that will hold up in chlorine, dry fast and cling to the body. There is nothing more distracting to an instructor than clothing that tends to expand in the water or fade after several uses. It is most important for all the students in a class to know exactly what an aquatic instructor is doing at all times. The students must be able to follow the instructor to get both a safe and effective workout, as well as to avoid confusion and frustration.

When teaching from outside the pool or on the deck, it is easy for the students to see what an instructor is doing. Students can follow the movements of an on-deck instructor with relative ease. When teaching from inside the pool it can be difficult, if not impossible, to see an instructor. The students cannot see what the lower extremities are doing. The students can only see the instructor’s head, neck, chest and arms (when the arms are out of the water). Therefore, when an instructor teaches from inside the pool, they must emphasize their verbal cues.

Because of the acoustics of the pool environment, it is very difficult for students to hear. Combine both music and verbal cueing with the aquatic sound quality, and it is almost impossible for students to follow even the best instructor. It is a wise investment (though sometimes an expensive one) for an aquatics department to purchase a pool microphone. There are several companies that now offer waterproof microphones. Some of these include:
AV Now 1-800-491-6874
Hydro-Fit, Inc. 1-800-346-7295
Joshel Engineering 1-888-567-4358
Or call AEA at 1-888-AEA-WAVE for a referral

Because many aquatics departments do not want to invest in such a microphone, it is important for an instructor to be able to cue both from the deck and from inside the pool. By developing a simple visual and verbal vocabulary, the instructors will be able to have their students follow them with ease in the pool.
When cueing from inside the pool, one must develop hand signals that reflect movement patterns. Hand signals can both reflect arm movements and leg movements. It is best to start with the “feet” or leg cues. The reason for this is that the legs represent 85 percent of a person’s workout. The leg muscles are larger. By starting with the legs, the exerciser gets warm and stays warm.

Then the instructor should teach the arms. The arms can increase intensity by 10 to 15 percent on land and can increase your workout in the pool by 10 to 25 percent. The arms serve to add variety and add extra intensity to challenge the more fit participants.

After the students have both the feet and the arms, then the instructor can put the feet and arms together. The teacher can then teach the combination up to tempo and with intensity. An easy way to remember this progressive cueing technique is by using the acronym “FAT”. This reminds instructors to teach the Feet first, then to teach the Arms and then to put the combination Together, up to Tempo and with inTensity.

When teaching the feet first, teach the most basic version of the choreography. Then, a more complicated version of the leg pattern can be taught. Always start simple, progress to the more complex movement and end with the chosen variation.

When an instructor teaches from inside the pool, simple hand signals can be used. Also, simple verbal cues should be used. Find a one-word name that describes each step. Try to keep this one-word name to a one-syllable word. A one-syllable word is easier for students to identify, saves the instructor’s voice and even allows the instructor to increase the music volume. While limiting your words to one syllable is almost impossible, it does help you deal with the difficult acoustical environment. Remember our “jumping jack” example. An instructor will want to cue this as simply, “jack”.

Always call the step by the same name. Never use two different names to describe the same step. A good teacher can also name an entire combination of 32 counts by one name. For example, jog forward eight counts, tick-tock right for eight counts, hop back for eight counts, rocking horse left for eight counts. Since this movement pattern creates an entire box, made up of four, eight count movements, the instructor could name the entire 32 pattern “box”. This one syllable word reflects the entire combination and saves the instructor’s voice while allowing the instructor to remain in the pool during the pattern.

Also, do not be afraid to use directional cues as step cues. For example, you may always want to say “go” when you want your students to jog forward. You may say “back” when they jog backwards. Just try to stay consistent. Additionally, it may be advisable if the entire aquatic exercise staff begins to use the same verbal and visual cues. This would make it easier on the students and easier each time an instructor got a substitute. The classes could always understand the teacher, and using standard cueing techniques would not impair creativity.

Another great cueing technique is to merely tell your students, “watch me.” You can also indicate this by simply pointing your index finger and your middle finger toward your eyes, and then bring your thumb of the same hand to the chest. If you are not sure how to cue something, or the change is difficult to articulate, a simple reference to the fact that a change is coming may be enough to cue your students for the next step. Additionally, if you have had the same students for some time, they may be able to immediately pick up on what you are doing, if you accentuate the arm movements to help the students understand what is going on underwater.

When you are counting a combination for your students, always count backwards (i.e. “eight, seven, six, five, four, three…). On the last two counts, the instructor should tell the students “where they want to be.” Since “three” rhymes with “where they want to be,” this is a good memory trigger for a new instructor. By leaving the last two counts for a directional cue, this gives the students warning that the combination is about to change (or progress). It may also wake them up from their choreography stupor, and put them on notice that something new is going to happen and that they should pay attention.

EXAMPLES OF VERBAL & VISUAL CUEING TECHNIQUES:

When teaching the feet patterns, sometimes it is easier to have your students follow you from behind. An instructor should look over his or her shoulder to check on the students. In this way, the class knows that the teacher still cares about them, and the teacher can tell if the students have followed the feet patterns correctly. When an instructor is sure that the students are following the pattern, the teacher should turn and face the students.

When teaching arm patterns, it is easier to face your student. When arm patterns are shown out of the water, initially teach the arms one-fourth of the regular speed. Have your students keep moving, either jogging, marching or continually performing the leg variation that is used in the particular combination. Sometimes merely having the students jog while teaching an arm variation avoids confusion.

When teaching arm movements that occur under the water, a teacher can remain in the water and still demonstrate the arm movements effectively. Merely demonstrate the arm variation directly (about one inch) above the surface of the water. Let the students follow you for several repetitions and then ask the students to immerse their arms in the water. The instructors should also immerse their arms to demonstrate how to perform the movement effectively. If several students still seem to not have the movement pattern, the teacher may want to take her arms above the water again. The teacher must make sure that the students understand that she is merely demonstrating the movement and not performing as it really should be.

Face your students to gain their confidence. Always teach the arm variations (even when performing the movements slowly) using the same numerical counts in which the up-to-tempo version will appear. After the students understand and can perform the slowest version, speed up the arm variation to one-half the regular speed, making sure to keep counting the movements at the up-to-tempo numerical order. Repeat the variation until everyone has mastered it. If only 10 percent of the class is confused, this may be all right. Each instructor must be sensitive to his or her particular class and know when to progress with the combination. The final version should be up-to-tempo.

After the class has succeeded with both the arms and the legs at tempo, add the arms to the leg pattern. Then add some motivational cueing to increase intensity. Tell the class that they look great. And remember, if students become confused, do not be afraid to delete the arm patterns –just do legs, then gradually add in the arm patterns later.

After the class has learned the entire combination using both the verbal and the visual cueing techniques described in this article, then the instructor can start to challenge the students intellectually. See if the students can perform the movements with just the verbal cues. Then see if the students can perform the movement pattern with just the visual cues. Then see if the students have paid enough attention to perform the entire combination without any visual or verbal prompting from the instructor.

Effective in-water instruction is possible if both adequate verbal and visual cues are combined effectively. Start gradually; don’t give up your on-deck teaching. Dress appropriately with supportive footwear, and give it a shot! An aqua instructor who teaches solely on land is like a fish out of water!

Sara Kooperman
Sara Kooperman is the CEO of SCW Fitness Education, the largest producer of fitness instructor training videos in the world and the founder of the MANIA Fitness Instructor Training Conventions. Sara serves as the Executive Director of SCW Fitness Education Certifications, offering 14 certifications on everything from personal training to pilates, yoga, and aquatics to aging. Sara has lent her name to five highly-successful signature music CDs, and for the past six years she has been seen regularly on QVC (cable home shopping) in the United States, England and Canada. She has also appeared frequently on CNN as a health and fitness expert. Sara is a former adjunct faculty member for the Kenneth Cooper Institute for Aerobic Research, a lecturer for the American College of Sports Medicine and the National Academy of Sports Medicine, and is the proud recipient of AEA’s Global Award for Contribution to the Aquatic Industry.

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