“The breath is one of the first things impacted by stress of any kind and it impacts every part of your body. There is no part of your human that isn’t touched by breathing!”
“Deal with what’s happening. Move that out of your body, and as that moves, you’ll start feeling – ‘Wow, I was hanging on to a lot of stuff’.”
Lisa Roche is the founder and owner of a 1 to 1 GYROTONIC® studio, called Nagare, based in New Jersey. Her studio also shares the space with other holistic therapies, such as Reiki and Massage.
We speak about the importance of acknowledging wellbeing, looking at the body as a whole, as well as how self-care is changing with this universal shift of the pandemic. Lisa also provides some great tips on how to deal with this.
She takes us through her life before discovering the GYROTONIC® method – from political science, to being a mother, to studying music – then flash forward to when she began Adult Ballet classes and her long history of back pain started to flared up.
Listen to her enthusiastic and generous story.
Follow Lisa & Her Work
I first met Maurya during my training days at LINES Ballet summer intensives back in 2001. She then became one of the main teachers at the LINES BFA program for Ballet and the GYROTONIC® Method, where I was also a student.
During the pandemic, lockdown, and the Black Lives Matter’s uprising (all of which is still going on), I was able to take some time to reflect on my own background, dance training, and what it means to be Black in the Dance and GYROTONIC® Community and if it did, in fact, mean anything…but of course it does.
This led me to the question: Where are all the Black Gyrotonic Trainers? and How can I highlight them more? I immediately turned to Maurya and a few other trainers I knew personally for support on the matter.
Maurya lets us in to what she’s been working on artistically and politically, the change and lack of change she’s seen within the Dance and Gyrotonic communities, and how we all need to help amplify Black voices.
This is her (and our) story.
Follow Maurya’s Work
BLACKSTAR – Dance Film
_ _ _ _ _ _
Take Maurya’s Class
San Francisco, CA
Open GYROTONIC®-Based Classes
Every Saturday, 11am-12pm (PST)
Classes are sliding scale, $7 – 20,
free for Black, Indigenous & People of Color
who need the financial assistance.
Message Maurya directly, @tinypistol on Instagram
Photos by Kimara Alan Dixon
I met Tatiana Pará virtually after she responded to a post of mine asking if any other GYROTONIC® trainers have anything interesting to share – and she sure did!
Tatiana is a dancer, teacher, researcher, therapist and somatic educator specialized in the GYROTONIC® and GYROKINESIS® methods. Based in Rio de Janeiro since 2007, she’s dedicated herself exclusively to teaching and researching the GYROTONIC® method, working with renowned actors and dancers in her studio, Studio Tatiana Pará.
She’s currently a Master’s student and researcher at the Postgraduate Program in Dance at the Federal University of Rio de Janeiro. The following is the beginning of her current research focusing on the Gyrotonic Method, Contemporary Dance, Somatics and a Dancers’ artistic preparation.
Sink your teeth into this! Enjoy.
DIALOGUES BETWEEN THE GYROTONIC® METHOD AND CONTEMPORARY DANCE: A SOMATIC APPROACH TO DANCERS ARTISTIC PREPARATION
Translated from Brazilian Portuguese to English.
This article is part of my research as a Master’s student in Dance from Federal University of Rio de Janeiro. As a dancer and movement educator for more than twenty years, I have always been interested in how somatic practices could improve my performance, not only regarding the physical aspects, but also as a way to develop artistic skills.
With a strong background in ballet, I began to practice both Gyrotonic and Gyrokinesis methods in 1998. Since then, I became very passionate about how my body could find different ways to move and with an awareness I hadn’t experienced before in the ballet classes. After many years, since I had become both a Gyrotonic and Gyrokinesis teacher, I started to see dancers and actors coming into my classes. I began to feel curious about the reason why they kept coming and how they could apply that experience into their artistic processes.
In my previous researches, before enrolling into the Master’s Program in Dance, I found only a few academic productions regarding the Gyrotonic method. However, I found many on the Somatic Education field. Sylvie Fortin, one of the pioneer researchers in Somatic Education and professor in the Dance department at the University of Québec in Montréal (UQAM), lists three aspects of the Somatic Education that “affect both performers, choreographers and teachers: improving technique, preventing and curing trauma, and developing expressive skills” (Fortin, 1999, p. 41). It’s about the last one that my research intends to investigate.
According to Fortin, the somatic methods should provide a global reorganization of the experience and favor a work that is part of a research on body neutrality and motor versatility. The development of the expressive skills in dance pointed out by Fortin leads us to somatic practices as facilitators for the investigation processes through the body movement. The Gyrotonic method and its holistic approach, with special attention to a three-dimensional awareness of the body and its relationship with gravity and space, can point to a relevant foundation to be considered in the development of the expressive skills of the contemporary dancers.
One of the main aspects of the method is the movement initiated from the pelvis and the spine. Laurence Louppe, historian and dance critic, author of ‘Poetics of Contemporary Dance’, reflects on how the birth of contemporary dance rescues the primacy of the trunk as a supreme center of expression (Louppe, 2012, p.73). Louppe emphasizes that the meaning of contemporary dance consists in the liberation of a body of origin and a long search for a body in the process of becoming (Louppe, 2012, p.83).
According to the author, several somatic practices can facilitate this process. Thus, the Gyrotonic method can offer tools to the preparation of the scenic body, based on the kinesthetic sensations, the opening of perceptual channels and the expansion of the consciousness levels and the motor repertoire of dancers.
In January of 2019, the Dance department of the University of Québec in Montréal released a podcast on the website called “Territoires Partagés” (Flynn, 2019) with testimonials from three artists that take Gyrotonic and Gyrokinesis classes as complementary practices to technical dance classes. The testimonials express some modifications felt by the dancers after the beginning of their experience with the method.
One of the artists remarks that the Gyrotonic practice helped her to focus and to improve concentration levels, as well as allowing her a better awareness about her breathing. Another interviewed dancer reports feeling an opening of her sensory and perception channels, and the development of self, space and relation to the others awareness. She also tells that the practice of the Gyrotonic method has provided her a balance between connecting to her inner self and to the external world, expanding simultaneously her capacity to be present and to be aware of the space that surrounds her.
According to Juliu Horvath (2006), Gyrotonic founder and creator, “the ultimate aim is to be at home in one’s body, to be at one with the nature of oneself, and to experience exercise as a creative and delightful experience”. I understand that “to be at home in one’s body” means to be connect to yourself, to get rid of patterns and to open up to new perceptions and to be able to develop an ability to be present in the experience.
Although my research is still in the beginning, it’s already possible to make some connections between the Gyrotonic method and the artistic preparation of the contemporary dancers. According to Louppe:
The freedom of such and indeterminate body would not have been possible without the body knowledge applied since the beginning of the century, without the observation of the various states of organic tissues in the various areas of the musculature… In other words, this would not have happened without recognizing the countless possible paths, where a wandering awareness explores in depth organic circuits to better extract from them a promise of freedom and not submission.(LOUPPE, 2012, p. 88)
In the Gyrotonic and Gyrokinesis methods we are constantly experiencing new ways of moving and finding new paths, opening spaces internally and allowing the body to be grounded and free at the same time. In order to perceive those changes, one must be present in the experience as a whole being, in a state of awareness that involves attention, intention, presence and openness. Therefore, all those aspects are essential to let the new sensations to emerge, which is a necessary foundation for creative and expressive processes in the Performing Arts.
FLYNN, Erin. Podcast. In: Territoires Partagés, Montréal. UQAM, 2019. Available in: <https://www.tpdanse.ca/janvier-2019?fbclid=IwAR3bC-tf2_umoLsGGxfjkaH6KPdlh25WjNzSngbNiuPyMNjP_61YDo3tuYA>.
FORTIN, Sylvie. Somatic Education: new ingredient of practical dance training. (M. Strazacappa, Trad.) In: GIPE-CIT N. 2 Notebooks. Salvador: UFBA, 40-55, february. 1999.
GYROTONIC®, International Headquarters. About. Dingmans Ferry, 2019. Available in <https://www.gyrotonic.com/about/>.
HORVATH, Juliu. GYROTONIC® Level 1 Foundation Teacher Training Course. Miami: Gyrotonic Sales Corp, 2006.
LOUPPE, Laurence. Poetics of Contemporary Dance. Lisbon: Orfeu Negro, 2012.
Justine is a Physical Therapist and GYROTONIC® and GYROKINESIS® Master trainer based in Washington D.C. I got in contact with her as soon as she revealed the changes she will begin making at her studio, Elements Center in response to ‘the last straw’ with inequality (see below).
Justine speaks openly about her upbringing, her appreciation for movement, the arts, bridging the gap between communities, and the excitement about giving others what she loves the most: the GYROTONIC® Method.
Master Trainer Domini Anne from Carmel, California. She is an avid mover and maker within the movement community who is constantly delving deep into GYROTONIC® and GYROKINESIS® methods as well as various styles of yoga, movement and fitness.
I first met Domini in San Francisco many moons ago at S.F. GYROTONIC® where she also sold her own clothing line. It was exciting to catch up to see what else she’s been doing within her movement explorations like: Galileo Training, Yoga Trapeze, and Aerial Yoga.
I was definitely able to understand why she wanted to talk about the usefulness of knowing how to connect yoga and fitness with the GYROTONIC® and GYROKINESIS® methods and why we should continue to showcase their importances both in person and online.
Yoga & the Gyrotonic Method are supportive, [therefore] they are two logical crossovers. So how can we integrate [the Gyrotonic] system to people who are curious about movement?
Follow Domini’s Work
From left to right: Poster Presenters Jennifer S. Dalva, Jeanine Ferrone, Rita Renha, & Marni Larkin
From teaching to speaking with medical professionals first hand, Specialized GYROTONIC® Master Trainer Rita Renha wrote an open letter about the progress that’s happening between dance rehabilitation and physical therapy today.
These progressions involve the collaboration of GYROTONIC® Manhasset, Harkness Center Healthy Dancer Initiative (HCHDI) and making sure physical therapists enhance their practice as a movement practitioner.
I first met Rita Renha during a Gyrotonic Trainer Update Course in Lisbon, Portugal in April 2018 at Equilibrium – many thanks to studio owner, GYROKINESIS® Master Trainer, and GYROTONIC® Pre-trainer, Bernardo Gama. After Renha learned that I created The Movement Blog and I about her new projects, we wanted to collaborate instantly.
As I’ve been becoming quite familiar with the work between Marni Larkin, studio owner of GYROTONIC® Manhasset, and HCHDI, a few things will be presented:
Renha’s Open Letter to the Dance and GYROTONIC® community.
What’s changing in movement and injury education.
Key points from the presentation of Rita Renha, Marni Larkin, Jennifer S. Dalva (NYU Langone Health), and HCHDI at the NEXT APTA Conference and Exposition.
“HCHDI provides professional dancers in financial need with subsidised educational opportunities to encourage a sound, holistic approach to self care and aid in career longevity.” (med.nyu.edu/hjd/harkness)
HCHDI now officially partners with GYROTONIC® Manhasset to provide subsidised Gyrotonic sessions to the dance community. Gyrotonic sessions are then held at the New York City Center Building.
The team will continue to present at medical conferences in the U.S. about the resources they have gathered thus far amongst their dance students and patients. This collaboration alone will provide a number of opportunities to be the role model for other dance injury clinics and schools.
An excerpt of Renha’s open letter:
I am sharing several developments that I have been very proud to be a part of.
What makes these developments so exciting is that, I believe they represent the first time in the USA, that the GYROTONIC® method has been experienced by the mainstream medical community. It seems that it has been the perfect timing as the new vision statement for the American Physical Therapy Association reads: “Transforming society by optimizing Movement to improve the human experience.”
As we have known for years, the GYROTONIC® method is an incredibly innovative and sophisticated system – not just for wellness, but also for rehabilitation. Inroads of this nature are essential for the method to “be given its due” but more importantly, so rehabilitation professionals have a far more advanced tool than anything in the health sciences currently offered.
We have been collaborating with the Harkness Center for Dance Injuries, a world renowned institution headed by Dr Marijeanne Leiderbach, and part of NYU Langone Health in New York. Marni Larkin (owner of GYROTONIC® Manhasset) a PT and a pre-trainer in my network first offered an in house workshop for the Harkness Rehabilitation staff back in 2011.
Since then, we have continued to develop interest, and in 2016, a 3 day presentation entitled ‘Introduction to GYROTONIC® Methodology for Healthcare Professionals’ was held and received with positive feedback. People from far and wide including Canada and California attended.
Concurrently, the Harkness Center for Dance Injuries sponsored 2 staff members, Jennifer S. Dalva and Kayla Harkness to become certified Gyrotonic Trainers, which they are now. Jackson Kellogg and myself were the Master Trainers associated with their educational courses. Faye Dilgen, the Harkness program manager has been extremely supportive of integrating the Gyrotonic method into the traditional Physical Therapy setting in dance rehabilitation.
Finally, we are in the final stages of being part of the Harkness Center Healthy Dancer Initiative (HCHDI), in which professional and pre-professional dancers that meet certain needs-based criteria will have 10 private Gyrotonic sessions subsidized by Harkness funding.
I hope that you are as excited as we are about these developments, but we truly see them as “the tip of the iceberg” in terms of all that the Gyrotonic method has to offer.
After presenting at the American Physical Therapy Association Conference in New Orleans, February, 2018 – Renha, Larkin, and Dalva will offer their presentation again:
June 27-30, 2018
A Movement System Approach for Clinical Practice
Marni Larkin, PT; Jennifer Dalva, DPT, CSCS; Rita Renha, PT; Faye Dilgen, DPT; Marijeanne Liederbach, PhD, PT, ATC, CSCS
Key Points from “Implementing a Movement System Approach into Clinical Practice Using the GYROTONIC® EXPANSION SYSTEM®” Poster Presentation:
ENCOURAGES PHYSICAL THERAPISTS: to embrace their role as movement practitioners.
FUNCTIONAL BREATHING: Foundational to the Method is an understanding of functional breathing. The goals of the breathing component are  to optimize complex axial movement along the stability/mobility continuum and  to modulate the autonomic nervous system (ANS). The Method varies rhythms, intensities and patterns of breathing to effect specific movement and/or ANS responses.
SPHERICAL MOVEMENT: The Method immediately moves beyond pelvic neutral and encourages the balanced and coordinated movement of the trunk and extremities in all planes of motion, the definition of core stability. Throughout each movement sequence there is an emphasis on axial lengthening.
STABILITY MOBILITY CONTINUUM: Dynamic stabilization occurs through the counterbalance of opposing forces on the whole skeleton minimizing compressive and tensile forces (stress and strain) Strengthening, stretching and mobilization never occur in isolation. Range of motion gains are always accompanied by strength gains. Physical Therapists may use Manual Therapy techniques with the clear intention of subsequent integration into the movement sequence.
MOTOR LEARNING AND FUNCTIONAL STRENGTH: The Method fosters motor learning by varying the environmental constraints of tasks to teach individuals how to make pain- and fear-free, biomechanically efficient choices. Tasks are modified to demand more strength, power and active range of motion within each movement sequence.
“Physical performance is about movement development not just muscular development – if you train the movement, the muscle will develop appropriately.”
– Rita Renha
Written, Formatted, & Edited by:
PT, GYROTONIC® Manhasset Studio Owner
GYROTONIC® and GYROKINESIS® Master Trainer and Personal Assiant to Juliu Horvath (creator and founder of the GYROTONIC® EXPANSION SYSTEM®
GYROTONIC® and GYROKINESIS® Trainer, Dancer, Blogger
Specialized GYROTONIC® and GYROKINESIS® Master Trainer, PT, Functional Therapist, GYROTONIC® Instituto Brasil Studio Owner
Jennifer S. Dalva, Faye E. Dilgen, Marni Larkin, Marijeanne Liederbach, Rita Renha. Journal of Orthopaedic & Sports Physical Therapy, 2018.
NEXT APTA Conference & Exposition Poster Presenters
Jennifer S. Dalva, Jeanine Ferrone, Marni Larkin & Rita Renha
Over the last few weeks I’ve taught two GYROKINESIS® Workshops and attended a GYROTONIC® course with Master Trainer Rita Rehna. There are some incredible benefits to delving into these methods more deeply; largely body awareness.
Here are 5 benefits in which I’ve seen within my clients and experienced personally coupled with supported outside sources.
1) Enhanced Body Awareness
Developing body awareness is quite important for understanding movement as it’s also key to healing the body. Within the GYROTONIC® and GYROKINESIS® methods, students are guided through movement sequences that carefully focuses on how to stimulate the body’s physiology in a calm state.
Psychology Today states that slow and deliberate movement practices “increases the parasympathetic relaxation response […] which promotes reduced stress and inflammation and stimulates healing.” Without this, we aren’t able to connect to our bodies properly to promote awareness.
2) Deepened Breathing
The importance of breathing properly within movement can often be forgotten or under practiced. However, the respiratory system plays a major role in body awareness, so without proper use of the breath we reduce our full movement potential.
In the Science of Breathing, Novotny and Kravitz, mentions that, “the practice of proper breathing techniques is aimed at eliminating misused accessory chest muscles, with more emphasis on diaphragmatic breathing.” This helps us to engage the body as a whole, increase oxygen intake, and appropriately stimulate of the neuromuscular system.
3) Understanding Core Connection
When we engage the body, we are able to strengthen the body as whole without unnecessary tension. Unnecessary tension often includes forward head posture, upward shoulders, an overworked lower back, and/or tight hamstrings for example.
“Think of your core the sturdy central link in a chain connecting your upper and lower body,” Harvard Health Publishing relays, “[…][Therefore] your core stabilizes your body, allowing you to move in any direction.” This is exactly the goal of the GYROKINESIS® and GYROTONIC® methods, to create stabilization through contrast for optimal movement.
4) Tapping Into True Wellbeing
Sometimes physical habits and/or emotional habits tend to hold us back from being our optimal selves. Wellbeing should involve enhancing both the body and the mind simultaneously. I’ve often experience clarity and breakthrough within these movement methods because of the way the external and internal body has to work in harmony.
Human Kinetics wonderfully clarifies that, “the pursuit of health, personal growth, and improved quality of life relies on living a balanced life. To achieve balance, we need to care for our mind, body, and spirit […] If any of these three areas is consistently lacking or forgotten about, we will not be at our optimal level of health.”
5) Finding Efficient Movement
Efficient movement not only happens alongside body awareness but when we allow ourselves to enhance our learning and coordination skills. We want to “find effortless effort”, as Master Trainer Rita Rehna would reiterate when we started to work too hard in the course. We must invest enough time and practice to understand our own body.
Movement Therapist and Author, Todd Hargrove, mentions that, “neuroscience reveals that the quality of attention as [we] practice will affect how productive the practice will be […] try to make the movement as smooth and easy and effortless as possible […] this will almost always require slowing the movement down and reducing the force of the movement from time to time.” This is how efficient movement begins.
After every class or workshop the level of energy, satisfaction, and body awareness in the room becomes heightened – every time. The Gyrotonic and Gyrokinesis methods have been specifically configured for the benefits as mentioned above. Its emphasis on somatics, physiology, and anatomical importance to movement goes a long way.
Although only a snippet in what I’ve seen in my clients and have experienced, it goes without saying that there’s always more to explore!
Hello budding trainers! This one’s especially for you. While the GYROKINESIS® and GYROTONIC® Methods have been a part of my life for many years as both a student and practitioner, it’s the Final Certification that can really reiterate the work in a different light.
As we develop our own way with learning how to teach these methods, it’s also useful to know how the rest of the world approaches these methods and enhance the way we see bodies in movement as a mover and a trainer. Here are 5 out of many lessons you’ll learn when attending either the Final GYROKINESIS® or GYROTONIC® Certifications.
Prepare the Mind and Body
Get ready for a long and adventurous weekend. Remember that these methods work very deeply for both the mind and body and there is a lot of information to obtain. Pace yourself and take it one sequence at a time. Map out some time for yourself before or after class with or without a partner. With good morning start and a long lunch break, there’s plenty time already mapped out for you to refresh.
Take Advantage of the Surroundings
As you can see, Münstertal is based in a tranquil, and refreshing setting. With that said, don’t forget to explore the studio’s surrounding area if possible. Whether you’re in Münstertal’s lush setting or in a bustling city like Hong Kong, there’ll always be something exciting and inspiring to see. At my Gyrotonic Certification in Miami Beach, we spent our time at the beaches casually acknowledging the different postures.
Release Unnecessary Habits
One of the most interesting things in being in a new environment is learning how to let go ‘how you usually do something’. During the Final Certification, this is definitely the time to listen and learn. For example, you’ve been explaining how to do the Arch and Curl in one way, now how could you add more detail and apply a new refreshing aspect? It’s not how the movement looks externally it’s where it comes from.
Take Care of the Body
Warm up, cool down, adhere to any existing injuries–something that the Certifying Master Trainer will undoubtedly recommend. While it’s important to show what you’ve been exploring during your training and apprenticeship, it’s important to remember that this is for you and that your body is a priority. Aim to arrive at the Certification in good physical shape if possible so you’re able to explore these methods to the next level.
Get to Know to Other Trainers
There’s only a few precious long days within a Final Certification, especially if you’re not able to take time off beforehand and/or afterwards. What kind of businesses are people running? Are they new to the method? Are they adding this method to an array of other practices and talents they may acquire? It’s so worth it to find out– it’s one of the most exciting parts of the certification. You may even meet someone to collaborate with in the future.
Ask Questions, Seek Advice
Although a Certification, this environment is your learning environment. This is a great place to bring questions you’ve had over the last few months or even years. Your certifying Master Trainer has a lot to offer and this could be a once in a lifetime experience. Your peers around from from many wonderful backgrounds will always have advice to offer as well! Don’t let this moment slip away as your Master Trainer will be quite busy otherwise.
The GYROTONIC® Method
Miami Beach GYROTONIC®
Master Trainer: Lisa Marie Goodwin
The GYROKINESIS® Method
Master Trainer: Salvatore Lo Monaco
Many thanks to all the Trainers and Master Trainers I’ve met along the way!
First of all, CONGRATULATIONS on your certification and welcome to the world of this unique movement method. For those learning to teach for the first time, especially the GYROTONIC® Method, you might feel like a fish out of water, and that’s normal! Whether you’re in your first week or first year here are some honest oversights that helped me to grow as a trainer. The aim to also guide new trainers to understand why it’s important to positively acknowledge oversights.
“Anyone who has never made a mistake has never tried anything new.”
― Albert Einstein
1) Feeling Uncomfortable with New Clients
This can be tricky for new trainers. You’ve learned the sequences but now what do you do with someone not from your training course? Begin slowly but efficiently. The key to working with new clients is making sure that they feel the movements, especially when dealing with different bodies and abilities. Even if you only get to two sequences in the entire hour, that’s all right. 99.9% of the time you won’t teach a class in its full format, so don’t stress out.
2) Freezing in a ‘Creative Class’
Now it’s your time to show all of the work you’ve invested. Don’t shy away from going in different direction than planned. For example, your client(s) could come in with a new or particularly painful area. This calls for you to adhere their needs on the spot, of course. First, relax and gather your thoughts. How could they improve that area within the sequences? Is there anything new you could specifically introduce? Do what you know and work with them in this way, emphasizing key points.
3) Giving Uncertain Hands-On
Hands-On – this is the main name of the game when it comes to teaching the Gyrotonic Method. It’s what makes this method so very unique, so be sure your hands-on is informative and actually guides the client into a better movement flow. First, continue practicing. Practicing on a friend or a colleague is the best way to go. That way, when you begin working, you’re confident and your client feels good. Brush up on any anatomy that may seem unclear so there’s clarity on where the hands need to be and why.
4) Not Allowing Enough Time for Self-Practice
Exploring the method and the sequences in your on time is an excellent opportunity for you to understand the method in depth and ask yourself questions. What’s familiar, or not familiar? What’s clear, or not clear? Jot your thoughts down to further expand your experience. Personal investigation can help with tapping into your personality within the work, which will help you to become a unique teacher that has something special to offer. See if you can give yourself a full class, throughly going through the material.
5) Shying Away from Feedback
Whether it’s from your mother, partner, or most prized client, it’s essential to know. This helps us improve our work for the present and the future. You can get feedback by asking your trainer, the person your practicing with, or even a client formally via email or informally in person. Both ways are excellent to weigh in what you’ve been doing, how you’ve been doing it, and what else you can achieve. It’s ok to feel lost or over-the moon happy about your feedback, because it’s from that moment that you’ve already grown.
6) Wanting to be the Perfect Teacher for Everyone
Not possible, so let’s go ahead and let that one go. It’s like any relationship or friendship – it takes effort from both persons and forcing it will backfire. When a client doesn’t return after the first class or stops attending all together, look at the situation as a whole. For example, did you allow them to feel/understand the movements? Did they improve with your guided explanation / hands on? Were they resisting, becoming bored? These kinds of questions can help you acknowledge the situation before the client walks out the door. If the client was attentive, showing improvement, and feeling the work, you’ve done your job.
7) Undercharging to Get More Clients
As much as it would be lovely to give away your classes to help build your clientele, unfortunately it’s not viable to sustain. The one-off complimentary class or special offer to create excitement will suffice. All the training you’ve done is worth something. This investment alone entitles you to earn properly even from the start. Clients will come to you and stay with you because of the time and energy you’ve invested and what you have to share. It takes time to build clients on your own while learning how to manage different bodies, personalities, etc., but this is how you build long-lasting clientele.