I became a Certified Aerobics Instructor while in the midst of my Rolfing training in 1992. Today I have a full-time Rolfing practice in Seattle, Washington and am the Aerobics Director at a major gym.

My passions for Rolfing and aerobics have paralleled one another over time. Rolfing has sparked more ideas of how to be with people as a fitness leader, and instructing aerobics classes has had an impact on ideas I contemplate in Rolfing.

My goal in the profession of aerobics is to act as a catalyst through the medium of fitness to contribute to my student’s sense of self and well being, as well as to provide them with information to possibly spark further integration of their mind, body and spirit.

Contrary to popular opinion, teaching aerobics has the potential to be an extremely “in the moment,” ” integrated, mind-body linked, exhilarating sport, if certain principles are followed.

My personal goal is to provide succinct, duplicable principles for all instructors from which they can ultimately create “aerobics art” in the moment with their students.

The instructors I work with create their own choreography, and never repeat it in its entirety. This principle is not well known nor used, and is cutting edge for this industry. Many of these principles come from or are compatible with Rolfing theory.

“For those unfamiliar with aerobics in general, there are two types of aerobics: “Step Aerobics” and “Floor Aerobics” (without the use of a Step).”

For those unfamiliar with aerobics in general, there are two types of aerobics: “Step Aerobics” and “Floor Aerobics” (without the use of a Step). Although the principles run across the board, I will be addressing Step Aerobics in my examples.

Step Aerobics is extremely popular. Using an adjustable height platform called a “Step,” the students, lead by one instructor, step on and off the Step. They have been familiarized with a standardized languaging system which tells them what movement pattern to do on the Step. They 4′ know through this language that there are about eight base movement patterns from which the entire hour of instruction will be derived.

Beginning with a base movement pattern, systematically the instructor introduces added concepts, and, in effect, a now expanded movement pattern using the Step platform begins to emerge. This goes on and on until a highly complex, repeatable series of movement has been created, which follows musical phrasing and has a specified number of counts.

The beauty of this process is that the students do not know what comes next. They have never experienced this choreography before, and so they cannot predetermine their movements. Literally, they are forced to integrate what they hear and turn it into a movement pattern completely in the moment.

For the instructor, this can be a real high, as well as a big responsibility. In the industry, we have a buzz phrase called a “train wreck”: one false or improper verbal cue and what looked like a ballet of bodies can become a train wreck in an instant! There is tremendous personal satisfaction when hard work over the course of an hour comes together to present a complex series of movements while also noticing the excitement of the students.

Another concept compatible with Rolfing that is used in aerobics is truly noticing what is happening in the students’ bodies during movement. Questions we may ask include Do you experience side to side balance? Is there a feeling of more safety/fluidity/agility/balance on one side versus the other? What movements are physically challenging for you? Can you feel your center? Is it possible for you to rest through your center while you exercise? Notice your feet while you are moving. In what ways do they support you? In what ways do they differ from one another? Our goal is to introduce participants to their bodies and increase movement awareness in a more specific manner than that which they may have been familiar.

The last concept that is perhaps the most exciting for me is the emotional reasons around why people participate in the program. Encouraging students to notice what is happening emotionally during movement has been a rewarding part of this program. For example, we have a class format which is a highly stylized, non-Step, dance-oriented class using a lot of pelvic girdle movement with a slower, intricate, very rhythmic feel. I have had students say that moving their pelvis in this class has been monumental for them. For some it has reminded them of younger days of a freer self, and for others it has been confronting yet they choose to continue to come in. For others, this class day is the one they skip.

Students have talked about body image, prior belief systems created around fitness, issues around movement and group activity. This, again, is so much more than simply aerobics that we are up to.

I am fortunate to be able to provide a well rounded, integrated fitness program in this industry. One of my personal benefits has been that instructing has continued to provide me with feelings and thoughts to address regarding being with people, being with myself and my body, and being a leader on those days when it’s great, and on those days when I would rather be incognito in the back of the room!

I believe that any type of fitness can be extremely fulfilling and rewarding in many aspects, including physical, emotional and spiritual, if there is an opening for it to happen.