Looking good and moving well: Aesthetic labor imperatives in Les Mills instructors’ coaching experiences

Introduction

The academic literature on coaching has traditionally focused on sport, with coaches guiding athletes toward competitive performance goals. Scholars such as Saury and Durand ¹ and Cushion et al. ² emphasize that coaching is a relational and context-sensitive practice, shaped not only by technical knowledge but also by interpersonal dynamics, institutional structures, and broader cultural norms. While this work has illuminated coaching in competitive athletic contexts, relatively little attention has been paid to coaching practices in group fitness settings. This paper addresses that gap by examining how coaching is understood and enacted by instructors of Les Mills (LM) programs in the Philippines.

Like sports coaches, LM instructors guide participants through structured physical activity. However, their focus is typically on goals such as health, strength, or aesthetic improvement rather than competition. LM instructors lead highly standardized programs developed in New Zealand and delivered worldwide. These classes are built around choreographed routines synchronized to music, ensuring a consistent experience across locations. ³ As Parviainen ⁴ notes, this model limits instructors’ creative autonomy, replacing spontaneity with what she terms “imitation-based fitness.”

LM programs are taught by over 140,000 certified instructors and include formats such as BODYCOMBAT, BODYPUMP, and RPM. ⁵ Each program features distinct movements and training objectives. For example, BODYPUMP uses barbells to develop muscular strength, while RPM focuses on cardiovascular endurance through indoor cycling. Regardless of format, all LM classes require instructors to deliver pre-designed content while physically performing the workout themselves. Unlike traditional coaches who often observe from the sidelines, LM instructors act as co-exercisers, offering vocal cues, motivational energy, and physical demonstrations in real time. This dual role makes their coaching labor unique.

Despite the global presence of LM programs, instructors’ experiences as coaches remain understudied. One of the few exceptions is Enverga's ⁶ exploration of why fitness participants become instructors. However, the social and performative dimensions of their coaching practices remain underexplored. This paper addresses that gap by examining how LM instructors navigate the embodied demands of their profession through the lens of aesthetic labor. Traditionally defined as the work of looking good and sounding right,^7,8 aesthetic labor in this context also requires the ability to move well—that is, to perform technically precise, high-intensity movements that guide and motivate participants.

Drawing on interviews with LM instructors based in Manila, this study argues that effective coaching in LM classes depends primarily on two capacities: the ability to sound right through clear and motivational vocal delivery, and the ability to move well through competent and expressive physical demonstration. These elements underpin the instructor's credibility, effectiveness, and influence in the workout setting.

By foregrounding these embodied dimensions of coaching, this paper contributes to two areas of scholarship. First, it expands coaching literature by focusing on a non-sport, fitness-based setting where instructors must simultaneously lead, perform, and motivate. Second, it builds on scholarship on aesthetic labor by emphasizing vocal and kinesthetic expertise as central to group fitness instruction, moving beyond visual appearance as the primary site of labor in fitness work.

LM instructors and coaching

Les Mills (LM) emerged on the global fitness scene in the 1990s with programs like BODYATTACK, BODYPUMP, and BODYSTEP. These classes are known for their high degree of standardization, featuring pre-choreographed routines set to curated music. This format contrasts with less regulated modalities such as yoga or indoor cycling, where instructors have more freedom to shape content and delivery.^3,4 While LM's structure has been critiqued for limiting instructor autonomy, ⁴ it also ensures a consistent global experience that reinforces brand identity and meets participant expectations.

Instructors play a central role in this system. Certified through a rigorous licensing process, LM coaches deliver uniform class formats to millions of participants around the world. Prior research has examined how these instructors adapt to virtual platforms ⁹ and how they employ health discourses in their motivational language. ¹⁰ However, little attention has been paid to their function as coaches, particularly in relation to the vocal and kinesthetic skills required to lead standardized group fitness classes. This study addresses that gap by analyzing how LM instructors use voice and movement to guide, motivate, and connect with participants.

Coaching is inherently relational and context-dependent, shaped by real-time interactions and broader cultural expectations.^1,11 Coaches must respond to the evolving needs of participants while managing institutional pressures and external norms. ² Although such frameworks have typically focused on competitive sport, they also illuminate the work of group fitness instructors who support participants in non-competitive goals such as weight loss, strength, and mental well-being. LM instructors may not prepare clients for athletic competition, but they guide participants through structured routines aligned with dominant ideals of health, discipline, and self-improvement. Their work involves motivating groups, adjusting to diverse physical abilities, and modeling movement and energy. This paper argues that such practices warrant inclusion within broader coaching literature.

Despite their relevance, group fitness instructors remain understudied. Some adjacent research has explored the communication strategies of gym professionals, ¹² their instructional techniques, ¹³ and their visual engagement in group settings. ¹⁴ Comparative studies suggest that one-on-one personal training produces more measurable outcomes in areas like weight loss or technical precision.^15,16 However, these investigations rarely consider the unique coaching demands placed on instructors working within highly standardized group formats like LM. Nor do they foreground the instructor's own perspective. This study addresses that gap by examining the affective, vocal, and physical demands of LM instruction, arguing that their efficacy depends on their ability to sound right and move well.

Aesthetic labor

Aesthetic labor describes how workers modify their appearance, voice, and behavior to meet organizational expectations.^7,8 Scholars have applied this concept across sectors including retail, ¹⁷ call centers, ¹⁸ the arts, ¹⁹ hairdressing, ²⁰ and hospitality. ²¹ In these settings, workers are often required to project an image that enhances brand identity and customer satisfaction. ¹⁷

The literature identifies two primary mechanisms of aesthetic regulation. First, formal systems such as hiring practices, training programs, and dress codes define acceptable appearance standards.^7,22 Second, informal dynamics—including peer scrutiny, self-surveillance, and lateral feedback—reinforce these norms in everyday practice.^23–25 Together, these mechanisms reflect broader cultural ideals and extend employer influence over the worker's embodied presentation.

In the fitness industry, aesthetic labor is particularly salient. Instructors are expected to visually embody the benefits of exercise. Their bodies function as symbolic capital,^26–28 signaling authority and motivating trust among participants. These expectations are often gendered. Markula's ²⁹ work highlights how women in fitness navigate pressures to be strong but not overly muscular, toned yet still feminine. Similar tensions are evident in other movement disciplines such as ballet, where ideal body types shape both identity and professional legitimacy. ³⁰

Aesthetic labor becomes even more demanding under precarious employment conditions. Freelance and contract workers must constantly market themselves and maintain a competitive edge. Studies of modeling and retail work^31,32 show how appearance management becomes an ongoing, self-directed form of labor. Peer comparisons, social media visibility, and fluctuating market standards all contribute to a heightened need for self-regulation. ³³

For Les Mills instructors, aesthetic labor involves much more than looking fit. Their effectiveness depends on the ability to sound right and move well. Unlike service workers who engage customers from a seated or stationary position, LM instructors are in constant motion. They must demonstrate strength, coordination, and energy while simultaneously instructing, correcting, and motivating. Kinesthetic skill is central. It allows instructors to perform complex routines with clarity and control, modeling the physical effort they ask participants to match.

Visual appearance still matters, particularly within the aspirational branding of LM programs. However, one's physique is not sufficient on its own. Instructors must also use their voices with precision and energy. Vocal cues must be clear, confident, and emotionally attuned to the rhythm and intensity of the class. At the same time, movement must be technically accurate and dynamically expressive. These performances are not simply functional but serve to inspire and energize participants.

While visual, vocal, and physical demands all contribute to the role, they are not equal in weight. What matters most is the instructor's ability to coach through sound and motion. In the choreographed environment of LM classes, aesthetic labor is best understood as a deeply embodied and performative process. Effective instructors do not only look the part. They must lead with their bodies and voices, shaping the class experience through movement, motivation, and presence.

Methodology

This study adopts a broadly phenomenological approach, centering on instructors’ lived experiences and the meanings they assign to them. Phenomenology seeks to uncover the essence of a phenomenon as it is perceived by those directly experiencing it, prioritizing in-depth description over generalization.^34,35 By attending to the instructors’ narratives, the study explores how they make sense of their work, revealing shared patterns and themes that reflect wider social dynamics.

Research setting and participants

The study included 21 Filipino instructors who were actively teaching Les Mills programs in Manila, the capital city of the Philippines. All participants were freelance instructors at a gym that did not employ full-time group fitness coaches. As a result, many of them also taught classes at other fitness centers across the city. Their teaching experience ranged from one to eleven years, and they handled a range of different Les Mills programs. In terms of certification status, nine instructors were classified as Basic, meaning they had completed only the Initial Module Training required to begin teaching. The remaining twelve were considered Advanced, since they had obtained additional certifications beyond the basic level. These variations in certification, along with differences in teaching experience and program specialization, contributed to a diverse range of instructional styles and levels of expertise.

The Table 1 below details the instructors' demographic backgrounds:

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Table 1.

Instructors' demographic backgrounds.

Instructor Pseudonym	LM Program(s) Taught	Number of Years in Group Fitness	Gender	Highest LM Certification Level
Alex	RPM	8	Male	Advanced
Alvin	BODYJAM and TONE	9	Male	Advanced
Anthony	BODYATTACK	3	Male	Basic
Chris	BODYCOMBAT	4	Male	Advanced
Greg	LM Dance	3	Male	Basic
Jamie	BODYSTEP and BODYPUMP	10	Female	Basic
Jasmine	BODYCOMBAT and LM Dance	7	Female	Advanced
Jason	BODYBALANCE and RPM	5	Male	Basic
Jeremy	BODYPUMP	6	Male	Advanced
Kelvin	BODYCOMBAT, BODUPUMP, and BODYBALANCE	11	Male	Advanced
Ken	BODYJAM	5	Male	Advanced
Lee	BODYCOMBAT and RPM	3	Female	Advanced
Linda	BODYPUMP	3	Female	Basic
Lucas	RPM	5	Male	Basic
Martin	RPM and BODYPUMP	4	Male	Advanced
Natalie	BODYPUMP	1	Female	Basic
Noah	RPM	8	Male	Advanced
Roman	BODYCOMBAT	4	Male	Advanced
Sandra	BODYBALANCE	2	Female	Basic
Valerie	BODYCOMBAT and BODYPUMP	6	Female	Advanced
Veronica	BODYCOMBAT	2	Female	Basic

Findings

This section presents data that exemplify the three core themes that emerged from the analysis of Les Mills (LM) instructors’ experiences: looking good, sounding right, and moving well. While maintaining a fit appearance remains important, especially for establishing credibility and motivating participants, instructors most frequently emphasized vocal and physical skills as essential to effective coaching. When reflecting on their daily teaching practices, they described voice and movement as critical tools for leading classes, connecting with participants, and maintaining engagement. Accordingly, this section focuses on sounding right and moving well, exploring how instructors develop vocal clarity and kinesthetic precision to deliver high-quality and engaging group fitness experiences.

Instructors often described their approach to coaching through a framework known in LM as the Five Key Elements. These are choreography, technique, coaching, connection, and performance. Choreography involves memorizing movement sequences that match the music. Technique refers to demonstrating those movements accurately so that participants can follow safely. Coaching focuses on delivering clear and well-timed verbal cues. Connection includes interpersonal engagement through eye contact, facial expression, and body language. Performance captures the instructor's ability to bring energy, creativity, or humor into the class experience.

These Five Elements serve as a framework that structures how instructors approach their coaching. Linda, a BODYPUMP instructor, explained, “They introduced the Five Key Elements during my Initial Module Training, and honestly, it stuck with me ever since. It's not just a one-time thing. We keep coming back to it during quarterly workshops and education sessions. It's like the backbone of how we teach.” Her comment highlights how foundational the framework is to LM instruction. Participants consistently stressed that developing mastery in these five areas contributes to the safety, effectiveness, and enjoyment of the workout experience.

During the course of interviews, feedback emerged as a crucial part of instructors’ ongoing development. Jason, a BODYBALANCE and RPM instructor, described how feedback was woven into the training process from the very beginning:

“From the moment I got trained, people were already commenting on my form and the things I said…Then I had a mentorship with Mia (a senior instructor) for a few weeks. She watched me, gave advice, told me when something I did or said was off…Once I started teaching regular classes, the gym didn’t really give us much feedback anymore, so I’d just ask other instructors. So, sometimes they’d take my class as workout, and I’d always ask them after, like, ‘Did my form look ok?’ or ‘Did I cue that ok?’”

Together, these participant reflections exemplify how the imperatives of sounding right and moving well are so central to LM instructors’ roles that they actively seek ways to improve these dimensions of their practice. Feedback is not limited to initial training or formal evaluations but is instead embedded in their ongoing routines and peer relationships. This focus underscores how vocal clarity and movement precision are not just taught but continuously reinforced through institutional mechanisms and instructor culture.

Within this framework, vocal and physical mastery emerged as particularly vital. Sounding right was not only about being heard. It meant using the voice to instruct clearly, motivate energetically, and connect emotionally. Coaching, connection, and performance all rely heavily on vocal delivery. Moving well was closely associated with technique and required instructors to model exercises with clarity, control, and intention. In contrast, while looking good was mentioned, it appeared less central in instructors’ discussions of what makes a class effective. The following paragraphs explore these priorities, beginning with the use of voice in coaching.

When asked about their vocal strategies, instructors described using tone, phrasing, and volume to guide and energize participants. Natalie, a BODYPUMP instructor, highlighted the instructional importance of verbal clarity: “If you say the wrong thing, participants will do the wrong thing. And if they do the wrong thing, they'll either get injured or won't feel the workout.” Her comment illustrates how clear and accurate cues contribute to both safety and workout effectiveness.

Jasmine, who teaches BODYCOMBAT and LM Dance, emphasized the role of voice in motivation. She said, “You have to use your words or change the volume of your voice to get people moving bigger, to encourage everyone to give more, especially when people are lethargic. If they don’t move, then what's the point?” For Jasmine, vocal modulation is not an accessory but a tool that drives physical engagement.

Several instructors also described how vocal delivery amplifies the emotional energy of a class by aligning with the music. Ken, a BODYJAM instructor, explained, “The program involves different types of dancing, Latin, jazz, and hip hop, all with their own personality. The music sets the mood, but your words need to amplify that feeling, and your voice needs to reflect it.” Jeremy, a BODYPUMP instructor, similarly said, “Lifting weights can be really tough, and people can get too focused on how hard it is. Sometimes I make jokes or sing along with the music, and it's amazing how that shifts the energy.” These examples show how vocal expression not only facilitates execution but also helps shift participants’ focus from effort to enjoyment, encouraging them to stay engaged.

Just as important as vocal delivery was the ability to move well. Instructors consistently pointed to precise and expressive movement as central to their role. Alvin, a BODYJAM and TONE instructor, stated, “I don’t think people in class really listen to me that much, especially when they're tired. They tune out. But what they always do is look at you. So your technique has to always be on point. If you do it wrong, they'll do it wrong, and they might get injured.” Alvin's comment highlights how physical modeling is often more effective than verbal instruction, particularly when participants are fatigued or distracted.

Beyond demonstrating proper technique, instructors also spoke about the need to display a range of movement intensities. Sandra, a BODYBALANCE coach, shared, “In a program like mine, we do a lot of yoga poses, and I have to be able to demonstrate moves up to the highest difficulty levels.” Greg, an LM Dance instructor, added, “There's an expectation that if you’re the instructor, you should be able to do the moves at their highest difficulty or even higher. To do this, you have to be athletic.” Both perspectives reflect how physical ability serves not only instructional goals but also sets aspirational standards for participants.

Physical movement also played a significant role in building connection and enhancing performance. Valerie, a BODYCOMBAT coach, described an instructor who used to be a gymnast and occasionally performed backflips in class. “It was so much fun for his attendees,” she said. She also described another colleague who would do spinning jump kicks to energize participants. These examples show that dynamic movement increases excitement, enhances enjoyment, and reinforces the instructor's physical credibility.

Although instructors acknowledged the importance of looking fit, they framed it as supportive rather than central to their coaching effectiveness. Jasmine explained, “You have to work hard to become fitter so you can inspire others to be fitter. They won’t believe you if you’re not fit.” Lucas, an RPM instructor, added, “If you look unfit, people will wonder why they should attend your class. You have to model the benefits of doing your class.” These remarks reflect broader cultural expectations in fitness, where the instructor's body serves as visible evidence of the workout's value.

To meet these expectations, many instructors described engaging in additional training or dietary adjustments. Alex, an RPM instructor, mentioned dieting and weightlifting outside of class. Jamie discussed balancing clean eating with maintaining enough energy to teach. Anthony, a BODYATTACK coach, even hired a personal trainer “to look good for my classes.” Despite these efforts, instructors repeatedly emphasized that their success relied more on how they teach than how they look. As one participant noted, “Looking good gets people through the door, but it's how you teach that keeps them coming back.”

Viewing instructors’ experiences more broadly, it appears that while a fit appearance contributes to Basic credibility, it is the ability to sound right and move well that ultimately defines effective coaching in Les Mills classes. These skills go beyond physical aesthetics and form the basis of meaningful instruction, emotional engagement, and participant motivation. For LM instructors, coaching is a fully embodied practice in which voice and movement work together to create safe, inspiring, and high-energy workout experiences.

Discussion and conclusion

The findings of this study demonstrate that the role of a Les Mills instructor extends beyond conventional understandings of aesthetic labor, which often emphasize physical appearance or vocal presentation as isolated attributes. This research shows that sounding right and moving well are the most important elements of effective coaching in the Les Mills context. While maintaining a fit appearance does contribute to credibility and can inspire participants, instructors consistently emphasized their vocal delivery and physical execution as central to motivating others, modeling technique, and ensuring a safe and motivating class experience.

Interviewees described vocal coaching as a skill that serves several essential functions. Instructors use their voices to deliver clear and timely cues, encourage greater effort, and create an emotional atmosphere that matches the music. These vocal strategies are not simply add-ons to instruction. They shape how participants experience the class and determine how effectively instructors connect with them. The clarity, tone, and emotional quality of an instructor's voice help guide physical movement, sustain energy, and foster enjoyment. Sounding right involves more than just speaking clearly. It is a form of coaching that affects both how participants feel and how they perform.

The ability to move well is just as crucial. Many instructors noted that participants often rely more on visual cues than on verbal instructions, especially when fatigued. This makes physical demonstration an essential coaching practice. Instructors must move with precision and fluency to show proper technique, ensure participant safety, and model various levels of intensity. Their physical performance also energizes the room, setting the pace and tone for the workout. Movement is not only functional. It also communicates confidence, skill, and enthusiasm. It expresses the values of the program and helps maintain participant motivation throughout the session.

Together, sounding right and moving well form the foundation of what instructors identified as successful coaching. These capacities allow them to guide participants effectively, create meaningful engagement, and deliver a consistent and inspiring workout experience. Unlike traditional conceptions of aesthetic labor that prioritize looking good and sounding right, the expertise of Les Mills instructors lies in how they use their voices and bodies in real time to lead, connect, and motivate. Their authority is established not just by how they look but by how they coach in the moment.

This study contributes to the broader field of coaching research by highlighting a form of instruction that takes place outside of competitive sports. Much of the existing literature focuses on coaches who work with athletes to achieve performance goals. In contrast, Les Mills instructors work in non-competitive environments and support participants in pursuing health, enjoyment, and personal progress. Their coaching requires adaptability, emotional intelligence, and the ability to manage diverse group needs during each class. These features reflect the relational and situational nature of coaching, as noted in the work of Saury and Durand ¹ and of Cushion et al. ²

Future research should examine the specific relational dynamics between group fitness instructors and participants. Unlike coach-athlete relationships that are often structured around one-on-one training and competition, group fitness settings involve collective engagement and shared goals. Investigating how instructors build motivation, offer emotional support, and respond to group energy could deepen our understanding of coaching in fitness contexts. Additional studies could also explore how cultural expectations around fitness and body image shape the professional practices of instructors and influence their approach to teaching.

Finally, this study positions sounding right and moving well as the core competencies of effective coaching among Les Mills instructors. These practices reflect an embodied form of labor that integrates communication, performance, and care. By recognizing these forms of expertise, scholarly conceptions of coaching can be expanded, and better appreciate the complexity of group exercise instruction in contemporary fitness culture.