Grooving to the Same Tunes?Learning, Training and Productive Systems

in the Aerobics Studio

Alan Felstead

http://learningaswork.cf.ac.uk

Structure of Talk

1. Summary of the Argument2. Health and Fitness Sector3. Methods4. Results

The ‘Good’ Face of ‘Training’

• Policy assumption: training & skills are the key levers to economic success• Training teaches new skills & a thirst for learning• Training enhances labour mobility & pay• Training raises business performance

The Evidence Base

• The ‘good’ face is based on survey evidence• What is learnt, by whom & why difficult to capture• Events recorded largely context-free (some attempts but inevitably limited)• Dynamic role of training difficult to capture in survey work

Argument & Substantive Finding

• A fuller understanding of the role & function of training & change over time requires a case study approach• Training can stifle and prevent learning• Sources of knowledge may be off-limits & out of reach (with script writers upstream in the productive system & away from the point of delivery)

2100

2200

2300

2400

2500

2600

2700

1998 1999 2000 2001 2002 2003 2004 2005

Num

ber o

f Clu

bs

Treadmills

Bikes EllipticalCross Trainers

Rowers

Cardiovascular (CV)

Single Resistance Machines

Bicep extensions Seated leg curls

Free Weights

Bicep/tricep extensionsBench press DumbbellsBarbells

Methods

• Stakeholder interviews (3)• Operator-level interviews (11)• Club-level management interviews (9)• Observation of conventions – 2 day event• Participant observation in 2 day event for ETM instructors• Follow-up interviews & observations with fellow trainees• 15 ETM interviews – most at evenings & weekends

Attendance gives 4CPD points

Two Productive Systems

1.Freestyle (DIY). Began with Step in late 1980s with platforms being manufactured & sold for studio use, but little centralised instruction2. Pre-choreography. Launched in NZ in 1990, entered UK in 1997 with 7 programmes, now in a fifth of UK venues – BTS is the dominant user of this system of delivery

BodyAttack(floor

aerobics)

BodyBalance(mind & bodyconditioning)

BodyCombat(boxing &

karate)

BodyJam(dance)

BodyPump(resistancetraining)

RPM(indoor cycling)

BodyStep(step

aerobics)

0.00

2.00

4.00

6.00

8.00

10.00

12.00

14.00

16.00

BodyStep BodyPump BodyAttack BodyJam BodyBalance RPM BodyCombat

Num

ber

of O

pera

tion

al Y

ears

June 1990

December 1991

March 1993

March 1997

March 1998

September 1998June 1999

1224

951

761

348

288215 205

0

200

400

600

800

1000

1200

1400

BodyPump BodyCombat BodyBalance BodyAttack RPM BodyJam BodyStep

Num

ber

of V

enue

s in

Eng

land

, 200

6

Features of BTS• Pre-packed product delivered by instructors • Clubs licensed for 12 months to put BTS on timetable – fee paid• Instructors need club-affiliation to access initial training + NVQ 2• Initial training (2-3 days) + assessment• CPD (attendance at 3 out of 4 QWs when new release issued)• Elements of ‘licence to practise’ but not allowed to freely roam

Contrasting Labour Process Regimes

1.Freestyle (instructor centre stage): - analysing & selecting music - choreographing the moves - presenting their image

2. Pre-choreography (instructor mimics another): - sounds selected & remixed - choreographers fit movement to music - image makers promote clothes selection & use of dialogue

Music segments

Music phrasing – 32 count blocks

Shorthand for moves Instructor dialogue

Beats per minuteabsent

Trainees are Drilled to Conform

• Everything pre-packaged & easy• Specialised knowledge & decision-rules in-built into artefacts (DVDs, notes, QWs)• Repetitive viewing of DVD• Compulsory attendance at QWs• Mimicking of Master Trainers encouraged – clothing, language & even bodies!

Conclusion• Music mapping, choreography & inventiveness are not ‘must have’ skills in a pre-choreographed world• Standardization requires follow the scripts written by others!• This formulaic solution cheapens labour & makes high labour turnover & absenteeism easier to cope with• Contrary to popular belief training can deaden rather than awaken individual creativity

Contact Details:

alanfelstead@cf.ac.uk

http://learningaswork.cf.ac.uk