49

FOR A FITTER PLANET

FEATURES Applied Core Science

PRESENTERS FROM: cyprus / japan / New Zealand

OUR Declaration
Of Intent
The Les Mills Global family is made up of
13,500 fitness clubs, 70,000 instructors and
millions of participants from 80 countries
As an organization that leads the group
fitness experiences of more people on the
planet than any other company, we walk
around the globe. Separated by geography, a delicate line between delivering cutting-
religion, race, color and creed we are edge, innovative products and ensuring that
united in our love for movement, accepted norms are upheld and respected.
music and the pursuit of healthy We actively screen the music we use and
living, both for ourselves and take care to avoid language and references
our planet. that may cause offense. We will not allow any
At Les Mills we believe in the songs to be used that discriminate against
dignity of each individual within minorities of any description, and we are
our community and strive to committed to strengthening understanding
respect the rights and freedoms between people of different cultures.
of all. In our choice of role models, music We embrace open communication
and movements we understand that each
with our wider global family so
society sets differing standards for dress,
that differences of opinion can be
popular culture and dance.
expressed, and compromises reached.
We acknowledge that what is
considered appropriate in Above all, we are passionate about
some contexts can be entirely delivering life-changing fitness
inappropriate in others. experiences, every time, everywhere.

THE
ESSENCE

BODYCOMBAT™ – the fiercely energetic

Martial Arts workout where you are
totally unleashed and empowered.

BLAH BE LOUD AND HEARD – tell us what you think of this release. Visit lesmills.com/BLAH
 CONTENTS

APPLIED CORE SCIENCE

THE HISTORY OF MARTIAL ARTS
TRACK TYPE SONG TITLE ARTIST DURATION

UPPer Body
1a Warmup
Down
p 2011 Les Mills Music Licensing Ltd. Written by: Sean
Studio 88 3:51

Lower Body
1b Warmup
New Divide (M & Ace Remix)
p 2009 LNG Music. Written by: Bennington, Bourdon, Delson, Farrell, Hahn, Shinoda
Rivendell 4:59

2 COMBAT 1 Kick In The Teeth

p 2011 Les Mills Music Licensing Ltd. Written by: Roach
Badlands Inc 3:17

Barbra Streisand
3 Power
Training 1 p 2011 Les Mills Music Licensing Ltd. Written by: Farian, H. Huth, J. Huth, Jay, Macklovitch,
Van Helden
Northern Accelerators 4:37

Lord Of The Rings Nick Skitz vs

1:36
p 2011 LNG Music. Written by: Davor, Melle, Razzone Blissphoria

4 COMBAT 2 Hava Nagila

p 2009 LNG Music. Written by: Jagger, Wernke-Schmiesing
Alex M vs Marc
van Damme
1:00

Lord Of The Rings Nick Skitz vs

1:41
p 2011 LNG Music. Written by: Davor, Melle, Razzone Blissphoria

5 Power
Training 2
Don’t Need
p 2010 AATW. Written by: Hix, Technocore
Hixxy & Technocore
feat. Intraspekt
6:57

6 COMBAT 3 Unfaithful (Nivara Remix)

p 2010 LNG Music. Written by: Eriksen, Hermansen, Smith
Comeea 5:36

7 MUAY THAI Na Na Na (Na Na Na Na Na Na Na Na Na)

p 2011 Les Mills Music Licensing Ltd. Written by: Toro, Way, Lero
Swade 7:01

Turn To Me (Supreme & MOB 2010 Remix) Trinity 6:22

p 2011 Central Station Records. Written by: Mather, Frankland
POWER
8 TRAINING 3 Barbra Streisand
p 2011 Les Mills Music Licensing Ltd. Written by: Farian, H. Huth, J. Huth, Jay, Macklovitch, Northern Accelerators 0:30
Van Helden

Dance With Me
p 2007 Photo Finish Records, LLC. Produced Under License From Atlantic Recording Corp. 3OH!3 2:14
9
Written by: Foreman, Motte
Conditioning
Dance With Me
p 2007 Photo Finish Records, LLC. Produced Under License From Atlantic Recording Corp. 3OH!3 2:14
Written by: Foreman, Motte

Somewhere In The World

10 COOLDOWN p 2010 Sony Music Entertainment Australia Pty Ltd. Under license from Sony Music
Commercial Music Group, a division of Sony Music Entertainment.
Altiyan Childs 3:59
Written by: Derendorf, Busbee, Dorff

© Les Mills International Ltd 2011

KEY
B up build up
Br bridge (non-chorus)
C chorus
cts counts
C br chorus bridge
F&B forward and backward
Instr instrumental
Intro introduction
L left
mins minutes
O/H over head
OTS on the spot
Outro last few bars of music
PC pre-chorus
QC quiet chorus
R right
Ref refrain (recurring phrase or number
of song lines)
Rep reprise (part of the chorus repeated)
Rep Xx perform the Sequence/Exercise x times
Rit ritenuto – held back
Seq sequence
Tempo normal pace of the music
V verse

KARATE Martial Arts inspiration for this track

KUNG FU

CREDITS
Dan and Rachael Cohen – Choreography and Music
Dr Jackie Mills – Group Fitness Director
Diana Mills – Creative Director
Michelle Farrier – Program Planner
Pete Manuel – Program Coach
Sharyn Sue See – Program Knowledge
Bryce Hastings – Technical Consultant

The Fine Print

Les Mills' instructor resources (CDs, DVDs and choreography notes) are unique, valuable resources provided to you as a Les Mills' certified instructor to enable you to
learn each new release and teach it in Les Mills' licensed clubs only. Do not share these resources. Copying, burning, uploading files onto the internet or selling Les Mills'
instructor resources to other people is illegal, and rips off Les Mills, its distributors and other instructors. If you are engaging in any of these illegal activities, there may be
serious consequences for you personally including legal action, the suspension or permanent withdrawal of your Les Mills certification. Your cooperation is much appreciated.
BODYCOMBAT™ 49

From L-R: George Efthymiou, Rachael Cohen, Dan Cohen and Haruka Tamura.

Lace up your gloves and pop in the mouthguard – it’s time to up a tough kick combo with a party-style Jump Kick frenzy.
unleash yourself on BODYCOMBAT™ 49. Power Training in Track 5 has one simple goal – to blow out
It’s a simple workout you can sink your teeth into, but bring your shoulders! Just relax the Punch, concentrate on quality
every ounce of energy – you’ll need it! of movement and we’ll do the rest.
The first couple of tracks use a new style of choreography Unfaithful guides you through a strong Karate routine, before
that warms you up with sets of Kicks, giving you plenty of Muay Thai inflicts a riotous flurry of Knees and Elbows.
opportunity to learn the moves and setting you up for a If your shoulders aren’t done yet, Track 8 will finish them off.
successful class. It’s a long one, so don’t empty your tank too soon. Those 128
A fun Combat track gets the heart racing into the training Jabs will get you in the end!
zone with a series of really simple Kick/Punch combos. There As the class winds down, the Conditioning phase offers up
are no tricks here, so just go with it! one last challenge – a circular theme to both Pushups and
And beware, Kick In The Teeth is a pointer to where this class Crunches. Arrrrgh!
is about to take you. Win, lose or draw, you’ve fought it out to the end!
Footwork is a feature of Track 3. If you don’t have the stance,
you don’t have a chance.
Then, the second Combat track gets a little schizophrenic on
you. It draws on two very different pieces of music and mixes

BODYCOMBAT™ Presenters
Dan Cohen (New Zealand) is an International Master George Efthymiou (Cyprus) is a BODYCOMBAT™ Head
Trainer for BODYPUMP™, a co-Program Director of both Trainer, BODYPUMP™ Trainer, and AIM Trainer and
BODYCOMBAT™ and CX30™ and a passionate mixed Facilitator in both programs, based in Nicosia. He has been
martial artist based in Auckland. a national Karate champion for 19 years and this is his first
appearance on a Les Mills release.
Rachael Cohen (New Zealand) is co-Program Director of
BODYCOMBAT™, Program Director of SH’BAM™, and also Haruka Tamura (Japan) teaches BODYCOMBAT™ and
a Master Trainer and Presenter for BODYJAM™, based BODYPUMP™, based in Kawasaki. He last presented on a
in Auckland. Les Mills release for BODYCOMBAT™ 36.

© All rights reserved. No part of these notes may be used, stored or reproduced in any form or by any means without prior written permission from Les Mills International Limited.
Requests and enquiries concerning reproduction and rights should be addressed to Les Mills International Limited, 22 Centre Street, Freemans Bay, Auckland, New Zealand,
PO Box 91137, Victoria Street West, Auckland 1142. Telephone +64 (9) 366-9900.
APPLIED
WHAT IS THE CORE? How do we keep the
CORE
SCIENCE
We define the core as the trunk, spine in neutral?
shoulders and hips. Our spine holds all By using the muscles!
of this together. Spinal neutral (when the In programs like BODYPUMP™, BODYATTACK™ and
spine is aligned with a series of shallow BODYSTEP™, where we have high loads and impact
curves) is the best position to protect the forces, we aim to keep the spine in neutral. Remember:
SET position, Attack position and Step SET position.
joints and discs when the spine is loaded.
We allow deviation in classes like BODYCOMBAT™
and RPM™ for technique and authenticity. In these
situations – as long as we avoid overextending the
spine – it’s OK to not be in spinal neutral.

Maintaining spinal neutral – just say

“lift the chest and brace the abdominals” if you think
the spine could buckle out of neutral.

DON’T OVER-COACH
Unnecessary tension in the abs can just get in the
way and places needless strain on your spine. In
BODYPUMPTM, for example, the difference between the
amount of ab control you need on the bench during
a Chest track compared with when you’re driving the
bar overhead during a Clean & Press is huge.
Don’t over-coach stability when it’s not needed! Save
it for when it really is required.
When you feel your abs naturally kick in during a
movement, this is the time to reinforce those cues.

In most of our classes hollowing is

not enough to create spinal support.
We believe in bracing.
We think the best cue is “draw in and brace”. This is
NOT hollowing. We should try and avoid saying “draw
your navel to your spine” – this is a hollowing cue
designed to fire the transversus abdominis which is
too small to support the spine under the loads that
we need it to.
The only time we would use hollowing cues is
in some yoga based moves that you will see in CUEING IN CORE TRACKS
BODYBALANCE™/BODYFLOW®. In this situation For Hovers, Planks and lower abdominal exercises, we
we utilize gentle support from the inner unit to assist coach stability. We put the spine in neutral and brace
moving into these postures. the muscles to keep it there, challenging it to be held
in position throughout the exercise. You will use cues

CORE EXERCISES that keep the back in neutral – such as “bring your
back toward the floor”, if you are lying on your back
There are two types of abdominal training: we use – OR “keep your back long with your chest up”, if you
both isolated and integrated exercises in our classes. are in a Hover.
Isolated exercises occur when we focus on one Other exercises, like Crunches and oblique work, will
muscle group – say the obliques – and get these move the spine out of neutral – the back naturally
muscles to contract under load by pulling both ends flattens into the floor – and this is totally fine.
of the muscle together, like in a Twisting Crunch.
Integrated exercises combine many muscles in one
exercise – just think of a Hover.
When we were designing our new Revolutionary Core
So that’s it! Listen to
Training program, we wanted to put isolated versus the Presenters in the
integrated exercise to the test.
Masterclass and check
Professor of Kinesiology Dr Jinger Gottschall used a your choreography notes to
technique known as Electromyography (EMG) – where
she placed electrodes on the core muscles and then
brush up on the best cues.
observed how these muscles fire during certain
exercises. She began by getting some readings from
these muscles while the subjects were walking – this Remember: It’s up to you to
provided a benchmark for how much these muscles
contract under everyday loads and allowed her to
make sure your members
observe the type of combinations of contractions we are keeping safe.
see in activities of daily life.
She looked at isolated exercises like Crunches and
Back Extensions and compared these with integrated
exercises like Hovers and Planks.
She observed that there was more abdominal activity
in the Hovers than in the Crunches.
The second key finding was that the contractions in
exercises like Hovers mimic muscle-firing patterns we
see when people walk. When we walk we use a
three-dimensional firing pattern, meaning that we use
all the muscles of our core – front, side and back –
with each step.

© Les Mills International Ltd 2011

THE HISTORY OF
MARTIAL ARTS
THE HISTORY OF BOXING THE HISTORY OF MUAY THAI
Boxing is a combat sport where two participants, Muay Thai is referred to as ‘The Art of Eight
generally of similar weight, fight each other with Limbs’, as the hands, shins, elbows and knees
only their fists. Boxing is supervised by a referee are all used extensively in this art. A practitioner
and is typically performed inside a ring with of Muay Thai (nak muay) thus has the ability to
rounds lasting 1 to 3 minutes. There are three execute strikes using eight ‘points of contact’, as
ways to win: opposed to ‘two points’ (fists) in Western Boxing
1. Victory is achieved if the opponent is knocked and ‘four points’ (fists, feet).
down and unable to get up before the referee Muay Thai is the national sport of Thailand.
counts to 10 seconds; this is called a knockout
or KO.
2. If the opponent is deemed too injured to
continue, this is called a technical knockout
or TKO.
3. If there is no stoppage of the fight before
an agreed number of rounds, a winner is
determined either by the referee’s decision or
by judges’ scorecards.

There are four basic punches in Boxing: Jab,

Straight Right/Cross, Hook and Uppercut.

THE HISTORY OF KARATE

Karate is a Martial Art that is centuries old and
essentially Japanese. The translation of kara is
open and the translation of te is hand. So Karate
means ‘empty hand’.
Karate training is commonly divided into three
sections:
1. Kihon (the basics or fundamentals)
2. KATA (forms)
3. Kumite (sparring)
THE HISTORY OF KUNG FU THE HISTORY OF TAI CHI
Kung Fu consists of a number of fighting styles Tai Chi is an internal Chinese Martial Art, often
that were developed over many centuries. practised for health reasons.
Essentially this is a Chinese Martial Art, practised Tai Chi can be practised for a variety of other
by Shaolin monks. Those fighting styles are personal reasons − its hard and soft Martial Art
identified as ‘families’ or schools. Examples of techniques can help self-defense, focus and
these styles are physical exercises that mimic breathing.
movements from animals. Consequently, a multitude of training forms exist,
There are five animal forms: both traditional and modern.
1. The Dragon Some Tai Chi training forms are well known to
2. The Snake Westerners as the slow-motion routines that
3. The Tiger groups of people practise together every morning
4. The Crane in parks around the world, particularly in China.
5. The Leopard or Panther
THE HISTORY OF JIU-JITSU
Jiu-Jitsu originated 2,500 years ago in India. It was
THE HISTORY OF TAE KWON DO developed by monks as a method of self-defense
Tae Kwon Do is a Korean Martial Art. The word
against thieves on long journeys.
tae means ‘to strike or break with foot’; kwon
In 1919, Jiu-Jitsu was introduced to Brazilian Hélio
means ‘to strike or break with fist’; and do
Gracie, who developed the Japanese art into what is
means ‘way’, ‘method’, or ‘art’. So, ‘Tae Kwon
known today as Brazilian Jiu-Jitsu.
Do’ may be loosely translated as ‘the way of
the foot and fist’ or ‘the way of kicking and Brazilian Jiu-Jitsu (BJJ) focuses on grappling and
punching’. ground fighting. It promotes the principle that a
smaller, weaker person can successfully defend
Tae Kwon Do is a flamboyant Martial Art that is
themselves against a bigger, stronger opponent
agile, fast and precise; it is 90% feet and only
using leverage and proper technique during locks
10% hands.
and choke-holds.
What will Brazilian Jiu-Jitsu do for you
THE HISTORY OF CAPOEIRA and your members?
Capoeira is essentially a Brazilian art. This form 1. Burn calories
combines three elements: 2. Increase strength
1. Martial Arts 3. Gain discipline
2. Game playing 4. Provide self-defense
3. Dance 5. Build confidence
It was created in Brazil by slaves brought from
Africa, some time after the 16th century.
Participants form a roda or circle, and take
turns playing musical instruments (such as the
Berimbau), singing, or ritually sparring in pairs in
the center of the circle. The sparring is marked
by fluid acrobatic play, feints, and extensive use
of Sweeps, Kicks and even head butts.
© Les Mills International Ltd 2011
 1a UPPER BODY WARMUP
Track Focus I want the members in my class to feel connected to this Martial Arts-
inspired class and to start the good quality of movement attitude. BOXING

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
0:03 Intro You oughta 4x8 Front Stance – Pulse L, R 32
0:19 Behind 4x8 Run OTS L, R 32
0:32 C Worry 4x8 A L Combat Stance
L Jab 2 16x
0:46 C Down 4x8 B Jab, Cross, Jab 4
Pulse F&B 4 4x
0:59 Instr (Synth) 8x8 C Shuffle F 4
L, R Hook 4
Shuffle B 4
L, R Hook 4 4x
1:25 B up (Rap) 8x8 D L Uppercut x2 4
R Uppercut x2 4
Cross Jack x4 8 4x
Last 4 cts into R Combat Stance
1:52 C Worry 4x8 A R Combat Stance
R Jab 2 16x
2:05 C Down 4x8 B Jab, Cross, Jab 4
Pulse F&B 4 4x
2:18 Instr Synth 8x8 C Shuffle F 4
R, L Hook 4
Shuffle B 4
R, L Hook 4 4x
2:45 B up Rap 8x8 D R Uppercut x2 4
L Uppercut x2 4
Cross Jack x4 8 4x
3:11 C Worry 4x8 Cross Jack into Front Stance 32
3:25 C Down 8x8 E Shuffle L 4
R, L, R, L Scissor 4
Shuffle R 4
L, R, L, R Scissor 4 4x
Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Down > 3:51 mins 1a
TECHNIQUE & COACHING
“YOU ARE MY ONLY, YOU WON’T BE LONELY, EVEN IF THE SKY IS FALLING DOWN.”
If there was anything your class members will want to take out of this track the most,
it’s to enjoy the feel of the song and to have some fun.
Basic cueing, names of moves, and target zones all add to creating a great setup. Make
BODYCOMBAT™ 49 the release that you use good quality of movement combined
with ‘fun’ to enhance the members’ feeling of success.
Talk to your audience as if they were your friends joining you in your class for the first
time. Would you try and scare them off...? No! Support them and guide them into correct
guard and stance and teach them about moving in time to the music.

CONNECTION
Using names and positive words helps to
enhance the members’ feeling of success.
However, if you do connect with a member
or members, make it ‘real’. Look at them
and hold their eyes; tell them they’re in for a
challenge ahead but you know they can do it
if they remain focused for the next 55 minutes
of the class. It’s a very powerful tool to be able
to connect on a personal level; in some cases
it is this that a member remembers most,
rather than a song or a combo!

FITNESS MAGIC
This is a dynamic song with some great lyrics.
Simply hook into the song and let the beat
create the atmosphere.

? KNOW IT? SHOW IT! If there was one main thing you wanted the members in your class to
get from this Warmup, it would be to…?
© Les Mills International Ltd 2011
 1b LOWER BODY WARMUP
KARATE
Track Focus Once the class knows what to do, it’s time to show it through good kick- MUAY THAI
ing control and target zones. KARATE
TAE KWON DO

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
3:51 Intro (Synth) Front Stance wide, slow A-Frame
2x8 8
Squat down, hands to knees 8
3:58 V1 Remember 4x8 Dynamic Adductor
Stretch L 4 cts, R 4 cts 8 3x
Bend knees & roll up 8
4:11 V1 Like a _ 4x8 A L Knee x2 4
R Knee x2 4 4x
4:24 C Reason 8x8 B L Shuffle, L Knee x2 8
R Shuffle, R Knee x2 8 4x
4:50 Br Divide 1x8 L Combat Stance, Kamae Guard 8
4:54 Instr (Synth) 4x8 C L Roundhouse Kick 4
Pulse OTS 4 4x
Last 4 cts switch to R Combat Stance
5:05 Instr (Synth) 4x8 C R Roundhouse Kick 4
Pulse OTS 4 4x
Last 4 cts jump into Front Stance
5:20 Instr (Synth) 8x8 D L Shuffle, L Side Kick 8
R Shuffle, R Side Kick 8 4x
5:47 V2 Like a _ 4x8 A L Knee x2 4
R Knee x2 4 4x
6:00 C Reason 8x8 B L Shuffle, L Knee x2 8
R Shuffle, R Knee x2 8 4x
6:26 Br Divide 1x8 L Combat Stance, Kamae Guard 8
6:30 Instr (Synth) 4x8 C L Roundhouse Kick 4
Pulse OTS 4 4x
Last 4 cts jump into Front Stance
6:43 Instr (Synth) 4x8 C R Roundhouse Kick 4
Pulse OTS 4 4x
Last 4 cts jump into Front Stance
6:56 Instr (Synth) 8x8 D L Shuffle, L Side Kick 8
R Shuffle, R Side Kick 8 4x
New Divide > 4:59 mins 1b
7:23 V3 Nothing 4x8 E L Front Kick, Pulse OTS 8
R Front Kick, Pulse OTS 8 2x
7:36 4x8 E1 L Front Push Kick, Pulse OTS 8
R Front Push Kick, Pulse OTS 8 2x
L Combat Stance
7:49 C Reason 4x8 F R Back Kick, Pulse OTS 8 4x
Last 4 cts switch to R Combat Stance
8:01 C Reason 4x8 F L Back Kick, Pulse OTS 8 4x
8:16 C (Synth) 4x8 G L Back Kick, R Front Kick,
Pulse OTS 8 4x
Last 4 cts switch to L Combat Stance
8:27 C (Synth) 4x8 G R Back Kick, L Front Kick,
Pulse OTS 8 4x
Outro Finish – slow Kamae Guard

TECHNIQUE & COACHING

This Lower Body Warmup is different!
This track been designed in three sections. The first two sections are identical; why?
Well, actually, without being too clever, Rach and I felt that after completing section one
there was an opportunity to repeat the same sequence of moves again.
Interestingly in a trial class, the members seemed to ‘shift’ the technique in the second section.
It allowed us to coach in the first section and let them ‘feel’ in the second section.
A focus for your teaching will be to use the first sequence to set up the names of all strikes
and in the second sequence coach how to get the most out of the move.
Your job as an instructor is to coach members to understand their own kicking techniques.
Basic cueing, names of moves, and target zones all add to creating a great setup.
Help them get their correct kicking height and target zones. This can be done by you
coaching different levels and kick heights or simply give them a body part to identify with,
such as kick the thigh, waist, ribcage etc.
I said it last time: “Kicking is a personal thing”! Our hips and glute strength are all very
different from one another, and being able to perfect a kick is a lot harder than throwing
a punch. This is why it’s important to coach correct stances and foot placement before,
during and after the kick.
And remember to always coach the low option in the Roundhouse Kick.

? KNOW IT? SHOW IT! What is different about this track?

© Les Mills International Ltd 2011

 2 COMBAT 1
Track Focus To coach the class into perfect Karate technique by focusing the power BOXING
coming from the Double Front Kicks. KARATE

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
Front Stance – KATA
0:00 Intro What doesn’t 4x8 A Hold 8
kill Inhale/exhale – Cross Guard to
A-Frame Arms 8
R Adductor Stretch & R Low Block 8
L Adductor Stretch & L Low Block 8
0:13 C Feels like 4x8 B L Knee, L Front Kick & Pulse OTS 8
R Knee, R Front Kick & Pulse OTS 8 2x
0:25 C Kick in the _ 2x8 C L Front Kick x2, Pulse OTS 8
R Front Kick x2, Pulse OTS 8
0:32 V1 I gotta 6½x8 D R, L Uppercut x2 4
R, L Jab x2 4 6x
Note: Last rep add Jab x4 4
0:54 C Feels like 4x8 B L Knee, L Front Kick & Pulse OTS 8
R Knee, R Front Kick & Pulse OTS 8 2x
1:07 C Kick in the _ 2x8 C L Front Kick x2, Pulse OTS 8
R Front Kick x2, Pulse OTS 8
1:13 V1 I gotta 6½x8 D R, L Uppercut x2 4
R, L Jab x2 4 6x
Note: Last rep add Jab x4 4
1:34 C Feels like 4x8 B L Knee, L Front Kick & Pulse OTS 8
R Knee, R Front Kick & Pulse OTS 8 2x
1:48 Kick in the _ 2x8 C L Front Kick x2, Pulse OTS 8
R Front Kick x2, Pulse OTS 8
1:55 What doesn’t 4x8 A Front Stance – Repeat KATA 32
2:07 Instr (Guitar) 8x8 E Shuffle L, L Roundhouse Kick
L Side Elbow to L 8
Shuffle R, R Roundhouse Kick
R Side Elbow to R 8 4x
2:34 Feels like 4x8 B L Knee, L Front Kick & Pulse OTS 8
R Knee, R Front Kick & Pulse OTS 8 2x
2:47 Kick in the _ 4x8 C L Front Kick x2, Pulse OTS 8
R Front Kick x2, Pulse OTS 8 2x
3:00 Kick in the _ 4x8 C L Front Kick x2
1
4
R Front Kick x2 4 4x
L Front Kick to finish
Kick In The Teeth > 3:17 mins 2
TECHNIQUE
There are two styles of Martial Arts in this track: The two techniques are to be performed with a
BOXING and KARATE clear start and stop, giving the impression that
The BOXING section is more of a fitness Boxing this part is about skill and concentrated power,
sequence due to the combination being performed performed in a slightly rigid way.
in Front Stance. Tuck in your chin, remain in If as an instructor you can commit to these slight
Boxing Guard and punch with credibility. changes you will give the impression that you can
Tip: Whilst throwing your Uppercuts, stop them step into the role of different Martial Art styles.
just under the jaw-line as this will show greater This has played a very strong role in
definition before standing and throwing the Jabs. helping BODYCOMBAT™ instructors to
It gives a look of ‘flow’ and power.
feel like they can create an amazing
Your members will see the authenticity in you and fitness experience for their members.
will be more inspired to copy!
If you have not tried our AIM MODULE
The inspired-by-Karate section comes with a
Knee, Front Kick Combo from Front Stance.
then ring your local agent.
Try pulling the arms down on the Knee, bring
your lead elbow past your thigh to engage and KATA
fire your obliques, and then bring your hands to
‘on guard’ during the Front Kick.

COACHING
This track has some great lifts in the It’s Track 2, so start to coach to the feel of the track!
choreography, however to get the members in Does it feel like the heart rate has lifted
your class to feel those energy lifts, they must and they’re in the calorie burning process?
first feel successful. Keep your cues short and Remember, BODYCOMBAT™ has many benefits
direct – you will find you’ll want to coach more... from cardio through to tone and shape.
don’t! Less really is best in this track.
Change the tone in the way you say your cues. In
Karate, be short and sharp, yet with the Boxing
section create a fun, fluid script that keeps your
FITNESS MAGIC
It feels like a Kick In The Teeth!
members engaged and ready for that awesome
This song has some insane lyrics,almost
Double Front Kick chorus! Yeah baby.
just designed for BODYCOMBAT™
Never underestimate the power of the (haha) – yep... just go for it! And sing
basics and scripting. Try not to get your little heart out! How will you create
caught in saying the ‘same things’ in the buzz from this song?
every new release that you learn. As the chorus kicks in, perform your
moves bigger, and let your voice build
with volume and color.

? KNOW IT? SHOW IT! Ring your local agent for what?

© Les Mills International Ltd 2011

 3 POWER TRAINING 1
Track Focus I’d like my class to feel the short yet intense energy that this
Boxing-inspired track brings. BOXING

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
L Combat Stance
0:00 Intro Drums 3½x8 A Speed Ball (slow) – double L,
double R 28
0:09 Instr (Scratch) ½x8 A1 Speed Ball (fast) 4
0:11 (Drums) 4x8 A2 Speed Ball with Pulse F&B 32
0:21 (Heavy synth) 8x8 B Jab, Cross 2 32x
0:45 Instr (Synth) 8x8 C L, R Hook 4
Step L foot to R 45° & back to
Combat Stance 4 8x
Uppercut on last rep
1:08 (Added drums) 4x8 C1 L, R Hook 4
Step L foot to R 45°,
L Uppercut & B 4 4x
Bob on last rep
1:19 (Added synth) 4x8 C2 L, R Hook 4
Step L foot to R 45°,
L Uppercut & B to Combat
Stance and Bob 4 4x
1:30 Woo woo 16x8 C3 Jab, Cross x4 8
L, R Hook 4
Step L foot to R 45°,
L Uppercut & B and Bob 4 8x
Hold in A-Frame Arms
2:15 REPEAT SEQUENCE FROM TOP – R
Outro R Hook

Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Barbra Streisand > 4:37 mins 3
TECHNIQUE & COACHING
This track is short and sharp with an emphasis on FUN! The Hook, Hook and Step
sequence really gives this track a feel of moving off the spot to create angles to attack
your opponent! And an added bonus is that you get a leg, butt and core workout too.
Cue the Hook, Hook and Step sequence:
> Hook right, Hook left and step on the 45 degrees
> Bend both knees
> Brace your core
> Keep Boxing Guard high
> Tuck chin in
As you step on the corner, land soft but stay tight. As you start to add speed to this move
the foot pattern becomes a dynamic version of the Wide Step but landing more quickly.
The hardest part about this move is preventing your members from over-stepping.
Really focus on turning the lead shoulder and lifting the lead heel
so you can push off the ball of the foot.
Remain in a Boxers Stance throughout the track; rotate your shoulders forward into each
punch and coach the trunk twist as this will fire up the oblique muscles.
Refer to target zones and drop tips on how to get more power behind each punch. If the
hips move with the shoulder at the same time, the body will produce more speed and power.

CONNECTION &
FITNESS MAGIC
Time it right, build your vocals and work
your Fitness Magic during the full combo
and your class will ‘go off’! Congratulate
your members as this will help them
keep on track and get the most out of the
energy and electricity this song offers.

? KNOW IT? SHOW IT! List five coaching points for the Hook, Hook and Step sequence.

© Les Mills International Ltd 2011

 4 COMBAT 2
Track Focus Options have always played a large part to the success of participants KICK-BOXING
achieving great kicking technique – coach the 3 levels of low, medium and high. TAE KWON DO
KUNG FU

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
0:00 Intro Rings _ Front Stance
0:02 Come with 4x8 A KATA – L Open Palm Strike
upwards to the roof to chest
height 8
Double Block – L low, R rising 8 2x
0:15 (Synth) 4x8 B R, L Jab, R Hook 4
Pulse OTS 4 4x
0:29 (Synth & B 1
R, L Jab, R Hook 4
drums) Side Kick to L x3 12 6x
1:09 (Synth) 8x8 C L Front Knee x2 4
L Front Kick 1
Step B L, R 3 8x
1:35 (Guitar) 2x8 Front Kick, prepare to move L 8
Turn to face L 8
1:41 Hava Nagila _ 8x8 D Step R, L Front Kick to L 4
Pulse OTS to F & R side 4
Step L, R Front Kick to R 4
Pulse OTS to turn L 4 4x
2:08 (Big synth) 8x8 D1 L Jump Kick to L, Pulse F&B to
turn to R side 8
R Jump Kick to R, Pulse F&B to
turn to L side 8 4x
2:34 Intro Rings _ Front Stance – A-Frame Arms
REPEAT FROM A to C – R
R Front Kick to finish

Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Lord Of The Rings / Hava Nagila > 4:17 mins 4
TECHNIQUE & COACHING And for the Jump Kick, step wide
I can see 3 Side Kicks! and turn to the side.
Think Lord Of The Rings meets If you want your class to follow you
BODYCOMBAT™ without making any mistakes, then you
With a combination of punches, Side Kicks, would be crazy not to say:
Front Knees and Jump Kicks, this track has Hands ‘on guard’, Step, Kick, land, jump and
been designed to allow you to ‘feel’ what it’s like turn, lift chest and brace core.
to perform a kick with ‘power’. The key to this
As you add the jump in the kick stay light on
track will be in the levels of the Treble Side Kick!
your feet and create distance rather than height.
Starting low, on the first kick target your
Script lots of Motivational Cues to help get
opponent’s thigh muscles. Then on the second
your class through this track – it really is
kick target the ribcage, and finally – only if you
challenging! Tamu and George enjoyed the
as an instructor can maintain a good quality
challenge of teaching this.
of movement – strike to the shoulder or head!
It’s very important to coach these levels
specifically to your audience. If they are new
to the class, maintain a lower height with each KATA
kick. Script technical cues to help yourmembers
get the most out of this track, such as:
> Weight in the supporting heel
> Bend the supporting leg
> Use your arms to help drive the move as
well as helping balance
> Bring the knee in towards your ribs to help
you load the kick – it’s called ‘retraction’
For the Double Knee and Front Kick Combo:
> Strike the lead leg above the hips
> Use both arms to help you ‘drive’ this move
This will also help you to engage the muscles
of your core.
FITNESS MAGIC
This is not a well-known song; it
As you kick, extend essentially from the doesn’t have lots of lyrics to hook into.
knee joint but create a sense of length and
However, it is a song that works
power by using your hips, lift your chest, perfectly with the choreography; so with
belly in and brace your core. that in mind, let that be your anchor!

? KNOW IT? SHOW IT! If you have new members in your class what will be your focus in this track?

© Les Mills International Ltd 2011

 5 POWER TRAINING 2
Track Focus The objective for this track is simple – ‘blow your shoulders out’.
BOXING

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
0:00 Intro You’re no 2x8 L Combat Stance 16
0:05 (Synth) 8x8 A R Uppercut 2
L Hook 2
R Cross 2
Guard 2 8x
0:28 You’re no 8x8 A1 R Uppercut, L Hook, R Cross 4
good Pulse F&B 4 8x
Cross Jack x2
0:50 You’re no 16x8 A2 R Uppercut, L Hook, R Cross 4
good Cross Jack x2 4 16x
1:36 (Synth) 8x8 B L, R Jab Cross 2 32x
1:58 You’re no 8x8 B1 L, R Jab Cross x4 8
good L Hook x4 8 4x
2:20 (Drum & bass) 8x8 C L Jump Jab OTS x4 to 45° L 8
High Knee Run OTS 8 4x
2:43 4x8 C1 L Jump Jab OTS x2 to 45° L 4
High Knee Run OTS 4 4x
2:55 4x8 C2 L Jump Jab OTS x1 to 45° L 2
High Knee Run OTS 2 8x
3:06 You’re no 8x8 B 1
L, R Jab Cross x4 8
good L Hook x4 8 4x
REPEAT SEQUENCE FROM TOP – R

Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Don’t Need > 6:57 mins 5
TECHNIQUE & COACHING
The objective for this track is not a clever one – oh noooo... Haha!
Warriors, your objective is to simply blow out your shoulders!
By creating a track that has non-stop punching and a very simple combo to follow,
it really allows the class to get ‘stuck into’ the feel of being unleashed; it has
three very powerful punches.
Try coaching each punch as if they were separate and then bring them all back together.
For the first Uppercut after the Cross Jacks, coach your members ‘how’ to not just make
the punch harder but give the actual tools to be able to self-assess if they are doing it
wrongly. Ask your class questions, eg: Do you feel it in the correct muscle groups?
Do the same with the Hook and then the Cross.
The Jab and Run On The Spot sequence has been designed purely with cardio in mind!
Lots of Jump Jabs and High Knee Runs really lift the heart rate up and, in turn, will get
your members fitter and enable them to burn calories more efficiently.
The Jab Cross and 4 Hooks Sequence is a great opportunity to continue the
levels of intensity theme within this release.
Coach four levels of the Hook, starting soft, through to the top end. Watch your
members shift their weight into the correct position as they wind up for the punch.
As they do, congratulate them.
Sometimes in BODYCOMBAT™ your feet may do the walking,
but your fists can do the talking!

FITNESS MAGIC
As the Cross Jacks are added on to the
Uppercut, Hook and Cross sequence,
naturally the class starts to feel the energy
of the song – normally when you want them
to ‘go off’! Ask them to hold back but tell
them something even bigger is coming.

? KNOW IT? SHOW IT! The objective for this track is...?

© Les Mills International Ltd 2011

 6 COMBAT 3
Track Focus I want the people in my class to feel grounded and powerful whilst KARATE
performing the Karate Blocks. TAE KWON DO

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
L Martial Arts Stance – KATA
0:00 Intro Story of my 4x8 A L Closed Fist Low Block (slow) 8
life L Closed Fist Mid Block (slow) 4
Martial Arts Guard 4 2x
0:15 V1 He knows 4x8 A1 L Closed Fist Low Block (fast) 2
L Closed Fist Mid Block (fast) 2
Martial Arts Guard and Pulse F&B 4 4x
0:29 C _ I don’t 8x8 A2 L Closed Fist Low Block 2
wanna L Closed Fist Mid Block 2
R Step F, L Front Kick, Step B L, R 4 8x
0:55 Instr Murderer 4x8 B R Back Kick 4
Pulse OTS 4 4x
1:08 Remix _ 4x8 B1 R Back Kick 2
L Step F, Step B L 2 8x
1:21 Break dat ½x8 Hold OTS 4
1:23 C I don’t 8x8 A2 L Closed Fist Low Block 2
wanna L Closed Fist Mid Block 2
R Step F, Front Kick L, Step B L, R 4 8x
1:49 Murderer _ 4x8 B R Back Kick
1
2
L Step F, Step B L 2 8x
2:02 Br Do this _ ½x8 Martial Arts Guard 4
2:04 Instr (Synth) 12x8 C R Back Kick 2
L Front Kick 2
L Closed Fist Block Low & Middle 4 12x
Hold last Mid Block for 4 cts
2:43 1x8 Move into R Combat Stance 8
REPEAT SEQUENCE FROM TOP – R
Martial Arts Guard to finish
Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Unfaithful > 5:36 mins 6
TECHNIQUE & COACHING
KARATE
There’s still a small myth about Track 6 for some participants. Many still believe that it is a recovery
track. Track 6 is titled Combat 3 and offers the same fundamentals as the other Combat tracks.
This track has been inspired by the Martial Arts Karate and focuses on a Double Block –
first the Low Block and second, being the Mid Block. By having only two Blocks, your
members can really focus on perfect technique. The tips for this track are:
The Low Block – from your Combat Stance, think about the 5 keys of Karate!
Read these aloud so you can remember them and say them to your class:
1. Stay grounded to the floor
2. Keep posture upright
3. Have a clear start and stop for every move
4. Keep relaxed until the moment of impact
5. The use of the Ke-i!
Whilst performing the Low Block, coach the strike and direction of the move.
Where and what are you blocking?
Where? = inside the lead knee or no further than the kneecap
What? = you are blocking a Kick
Also coach the speed – slow, then faster when the verse kicks in.
Strike surface and target zones
How? = squeezing your fist and bracing your core, block with the fist, wrist and forearm.
The Back Kick has played such a huge part in BODYCOMBAT™ and it’s commonly performed
within Track 6. Coach the Back Kick as if it really were back to basics:
> From Combat Stance, look over your shoulder
> Heel should be facing up and the toes facing down
> Knee faces the ground to ensure hips have not twisted
> Flex the toes of the striking foot towards the shin
(to ensure you are striking with the heel of the foot)

CONNECTION & FITNESS MAGIC

This is the track for singers (hahaha)…
Enjoy this Karate-style track. This song is an electric version of a well-known
Pop song; have fun and get your audience to join in on the countdowns.

? KNOW IT? SHOW IT! This track is inspired by which Martial Art?

© Les Mills International Ltd 2011

 7 MUAY THAI
Track Focus The objective for this Muay Thai track is to have controlled aggression
and fun! MUAY THAI

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
0:00 Intro Drums 1x8 L Combat Stance 8
0:02 Instr Na Na Na 4x8 A L Knee x2 4
R Knee x2 4 4x
0:14 V1 Thugs 8x8 B L Treble Elbow 4
R Ascending Elbow x2 4 8x
0:37 C Na Na Na 12x8 B+A L Treble Elbow 4
R Ascending Elbow x2 4
L Knee x2 4
R Knee x2 4 6x
1:12 Br 2x8 Pulse F&B 8
Jab Cross x2, Ascending
Elbow L, R
8
1:18 V2 Sad man Jab Cross x2
8x8 C 4
Ascending Elbow L, R 4 8x
1:41 C Na Na Na 12x8 C+A Jab Cross x2 4
Ascending Elbow L, R 4
L Knee x2 4
R Knee x2 4 6x
2:15 Br _ Right here 4x8 D L Street Brawl
Downward Punch 4 8x
2:27 Everybody 5x8 D1 L Street Brawl
wants Downward Punch 2 20x
2:42 Instr (Guitar) 5x8 A L Knee x2 4
R Knee x2 4 5x
2:56 C Na Na Na 10x8 A1 Running Man Knees 2 40x
One extra to finish
REPEAT SEQUENCE FROM TOP – R

Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Na Na Na (Na Na Na Na Na Na Na Na Na) > 7:01 mins 7
TECHNIQUE & FITNESS MAGIC
Why wait?
After traveling around the world for many years and watching trainers and instructors
present a BODYCOMBAT™ class, Rach and I have noticed a similarity within the teaching.
For some bizarre reason, these trainers and instructors seem to hold back and then
for the Muay Thai track they totally come to life! Why wait!?
Their voice was better, clearer and had a great volume and contrasting tone to it. Their
physicality and facial expressions changed too. What is it about the Muay Thai track that
makes them wait until this point?
I’d love to hear your thoughts on this, so please can you all go to www.lesmills.com/blah
and give me your thoughts. Thanks team.
Not often do we step away from the ‘aggressive side of Muay Thai’, however this time
we have totally gone for high energy and fun.
The Double Knees always bring a simple and powerful feeling to the track.
Tip: Lock your abdominals on by actively bracing them; it’s a cue we use a lot in our
LES MILLS™ programs but even more so in BODYCOMBAT™ due to its dynamic nature.
Drive the arms down by bringing the elbows past the knee and thigh as this will help
to fire the oblique muscles.

Na na na na na na na… just sing it!

COACHING
Your heart rate will be tested if you give it your all and push yourself to Muay Thai perfection.
Script clear cues, as you will be breathing heavy down the microphone. Set your members up
at the beginning – tell them that this track will be challenging… but it’s achievable.
As you hit the Double Knees, start the cardio coaching: Stay light on your feet. Coach your
class on how to move well and stay grounded in their stance as the move is being performed.
Now you have given them clear information about the choreography’s ‘strike and direction’,
the Muay Thai essence.
The Double Knees have a couple of options to help you give variety to your class. Options:
1. Perform the Double Knee on one side whilst having a slight bounce on the supporting leg.
This will increase the cardio feel.
2. Keep the supporting leg grounded and really drive the striking leg with an emphasis on
driving the arms past the thigh. This will give you power.
The Treble Elbow is a specialty move; this simply means it does not occur in every release.
Coach the Elbow as if it were tracking on one line. The benefits of 3 Elbows: This creates flow
with the music, shapes and tones the muscles of the upper arms and it feels good!

? KNOW IT? SHOW IT! What will you fill out in the BLAH?

© Les Mills International Ltd 2011

 8 POWER TRAINING 3
Track Focus I would love the 128 Jabs sequence section to leave the impression of
excitement and euphoric energy in the minds of my class members. BOXING

MUSIC SEQUENCE/EXERCISE CTS REPS LEVELS

M.V.P.
0:00 Intro Turn to me _ 4x8 L, R Shoulder Stretch 32
0:11 Instr Meeee 4x8 A L Combat Stance
Jab L x2 4
Cross R x2 4 4x
0:22 Instr Turn to me _ 8x8 A Jab, Cross x4
1
8
Jab L x2 4
Cross R x2 4 4x
0:44 C Turn to me _ 8x8 A1 Repeat Jab, Cross x4, Jab L x2,
Cross R x2 – Level 2 16 4x
1:05 Instr Turn to me _ 8x8 B L Uppercut x2, R Uppercut x2 8 8x
1:27 V1 _ Hold you 8x8 B1 L Uppercut x2, R Uppercut x2 8
Cross Jack x4 8 4x
1:49 C Turn to me 8x8 A Jab, Cross x4
1
8
Jab L x2 4
Cross R x2 4 4x
2:11 Instr (Synth) 8x8 B1 L Uppercut x2, R Uppercut x2 8
Cross Jack x4 8 4x
2:32 Br Turn to me _ 4x8 C Run OTS L, R 32
2:43 52x8 REPEAT FROM A to 2nd set of B1 – R
4:53 Br Turn to me 8x8 C Run OTS 64
Front Stance
5:15 B up (Synth) 8x8 L Power Jab 2
R Power Jab 2 16x
5:37 C Turn to me 16x8 L, R Jab 2 64x

Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Turn To Me / Barbra Streisand > 6:52 mins 8
TECHNIQUE & COACHING
This is it: all you have left in the tank!
This track combines a break-pattern style of choreography with a flow pattern.
The Double Jab and Double Cross sequence, combined with the Single Jab,
Cross, really allows your class to reach their full potential in punching power.
The Double Jab and Cross sequence has been designed as the
‘break pattern’, leaving the Single Jab, Cross as the flow pattern.
A moment where members can just let go and not have to
think – this will allow them to really drive their heart rates up!
By combining these two styles at this point of the class
it really forces your members to fatigue.
It’s OK to ask your members to pull back in areas; this will actually help them to reach
their top-end goal! This style of track is light but needs to have a tough coaching style
behind it to ensure your members maintain a good quality of movement.
Uppercuts and Cross Jacks are the other two moves seen in this track. Check in with your
class to see if their guards are high and their stance is correct.
“If you ain’t got a stance you ain’t got a chance!”
As you land the Cross Jacks instruct them to land with the weight
in their heels and to turn their toes out slightly. This will help work the
muscle of the thighs and glutes more efficiently.
When performing the Power Jab, make sure you coach the exhale.
And in today’s world we all would like to get results quicker, wouldn’t we?

CONNECTION
This track needs little technical information; instead, it needs some personal
connection. Congratulate your class for hanging in there and tell them they
have impressed you until this point.
We have one goal in Les Mills’ BODYCOMBAT™ and that’s to
get more people trying the program and to keep coming back!
Have fun fighters.

? KNOW IT? SHOW IT! This track needs little...? Instead, it needs...?

© Les Mills International Ltd 2011

 9 CONDITIONING
Track Focus For members to complete this Circular Pushup double set theme on MARTIAL ARTS
their toes would be a physical challenge. CONDITIONING

MUSIC SEQUENCE/EXERCISE CTS REPS

0:00 Intro Get your ½x8 Prepare for Pushups on floor 4
0:02 V1 _ The sky’s 6x8 A 1/1/2 Pushup 4 12x
(quick down, hold, slowly push up)
0:33 C I love 6x8 B Circular Pushup Combo
L Circle Pushup, Single Pushup x2 8
R Circle Pushup Single Pushup x2 8 3x
1:05 Br _ Get your ½x8 Transition to back for Situps 4
1:08 V2 Clapping 6x8 C 1/1/2 Situp 4 12x
(sit up, hold, slowly down)
1:39 C I love 6x8 D Circular Situp Combo
L Circular Situp and Pulse x2 to middle 8
R Circular Situp and Pulse x2 to middle 8 3x
2:12 Intro Get your 1x8 Prepare for Pushups on floor 8
2:16 V1 _ The sky’s 6x8 A 1/1/2 Pushup 4 12x
2:47 C I love 6x8 B Circular Pushup Combo
L Circle Pushup and Pulse x2 to middle 8
R Circle Pushup and Pulse x2 to middle 8 3x
3:19 Br Get your 1x8 Transition to back for Situps 8
3:21 V2 Clapping 6x8 C 1/1/2 Situp 4 12x
(sit up, hold, slowly down)
3:53 C I love 6x8 D Circular Situp Combo
L Circular Situp and Pulse x2 to middle 8
R Circular Situp and Pulse x2 to middle 8 3x
Finish sitting up (and smile)

Music Voice Performance (M.V.P.): This column is for you to note when you will create drama within the track. It’s
for you to decide when to let the Music shine, when to create contrast with your Voice and when you will increase
drama and intensity in your movements, building Performance.
Dance With Me > 4:28 mins 9
TECHNIQUE & COACHING
One set just ain’t enough for us BODYCOMBAT™ fans! When we say
we are hardcore we mean it (but don’t let that scare your class, hehe).
Remember gang, we’ve got heaps of options – we’ve got all the skills
to ensure everyone in the room can feel challenged but successful.
The key to this track has to be the Circular Pushup:
> It’s circular by name yet mechanical in movement
> It has wide knees outside hips
> Belly in and brace core tight
> Drop to one side, ensuring the middle of chest falls over thumb
> Drop towards the floor and shift or slide to other thumb
> Keep body still
> Exhale and drive weight away from the ground
> Finish back to where you started the move
> Coach the 2 options

The Circular Pushup is followed by the Circular Situp:

> Chin slightly tucked in towards the chest
> Lift the shoulders off the floor
> Reach your arms up and over the knees if you can
> Move from one side to the other, circling around the thighs until
you are back to the starting point

Remember to smile!

? KNOW IT? SHOW IT! List three cues for the Circular Pushup.

© Les Mills International Ltd 2011

 10 COOLDOWN
Track Focus I would like the people in my class to finish this track wanting more! KUNG FU
Coach the stretches as well as connect with and praise the people in front of you. KARATE

MUSIC SEQUENCE/EXERCISE CTS REPS

0:00 Intro Piano 1x8 Transition to seated position 8
0:04 V1 Somewhere 4x8 A L Seated Gluteal Stretch 32
0:24 I believe 4x8 B L Lying Quadricep Stretch 32
0:45 V2 Somewhere 4x8 A R Seated Gluteal Stretch 32
1:06 I believe 4x8 B R Lying Quadricep Stretch 32
1:26 C So take 4x8 C R Lying Hamstring Stretch 32
1:46 C Somewhere 4x8 C L Lying Hamstring Stretch 32
2:06 I believe 2x8 D Lower Back Release
– knees towards front of stage 16
Somewhere 2x8 D Lower Back Release
– knees back of stage 8
Roll towards B & on to knees, facing F 8
2:27 Take me 4x8 R Hip Flexor Stretch & R Tricep Stretch 16
L Hip Flexor Stretch & L Tricep Stretch 16
2:50 Somewhere 4x8 L, R Iliotibial Band (ITB) Stretch 32
3:09 C Take me 4x8 L Shoulder Stretch 16
R Shoulder Stretch 16
3:29 C Take me 4x8 KATA
L Palm Block upwards 4
L Closed Fist Low Block, R Closed Fist
Rising Block 4
R Palm Block upwards 4
R Closed Fist Low Block, L Closed Fist
Rising Block 4 2x
3:47 _ Everything 1x8 Chest Stretch, arms open to sides 8
 Somewhere In The World > 3:59 mins 10
TECHNIQUE & COACHING
A beautiful way to finish the class:
Somewhere in the world tonight, there’s no fighting
Somewhere in the world tonight, someone is falling in love for the first time!
With lyrics like that how can you not smile whilst coaching this final track?
Relax into the stretches, especially in the hamstrings. We have echoed the KATA from
Track 4 but we have made it slow and soft. This will help you and your members connect with
the song and allow your class to follow. Drop down into your knees to begin this KATA.

CONNECTION &
FITNESS MAGIC
This song has such beautiful
lyrics and magical feels. Soften
your voice, soften your body and
flow with the song. The intro is a
great place in which to do this.

? KNOW IT? SHOW IT!

Sing the first 2 lines! Don’t look at the top of the track; try and remember
it (haha) OK, OK, go on then, have a look... Somewhere in the…
© Les Mills International Ltd 2011
 LESMILLS.COM

Fighting Globesity
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