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Most Punjabi music is copyright protected, meaning trainers, teachers and instructors, need a Music Licence to legally use it in dance fitness classes. This licence was previously known as a PPL licence and is also required by DJs, restaurants, and shops that play music for their customers.
The Music Licence Repertoire database lists all the music covered by the licence, and trainers can only use music from this database.
Broadcasting copyrighted Punjabi music over synchronous online platforms like Zoom is illegal as there is no licence for this type of usage.
YouTube is the only legal way to use Punjabi music for online dance fitness classes because YouTube's content ID system ensures the music owners receive royalties. Instructors should be aware of these licensing requirements to avoid legal issues.
In an increasingly litigious society, dance teachers advertising their classes as fitness-related are at risk of legal action if they lack the proper qualifications and insurance.
While obtaining Public Liability Insurance may seem like a simple solution, many policies include a disclaimer requiring the insured to be appropriately qualified. If a dance teacher lacks the necessary certifications and faces a lawsuit, the insurance company may refuse to cover the costs, leaving the teacher responsible for both the insurance premiums and any court-ordered damages. Therefore, it is crucial for dance teachers to acquire both the appropriate qualifications and insurance to protect themselves from financial and reputational damage.
A risk assessment identifies potential hazards and analyses what could happen if a hazard occurs. A good dance-fitness trainer understands the risks and hazards of their activity and has mitigation strategies in place.
Shivjot is an Indian singer-songwriter and music producer from Punjab. His music career began in 2016 with the release of his first album, The Journey. Shivjot's most recent album, Awaaz, was released in 2020. He has had many popular songs, including "Kali Teri Gut" and "Gaddi Ch Yaar" from his album Awaaz, and "Kala Tikka", "Kirpa", and "Mere Wala Sardar", which were collaborations with other artists.
Shivjot learned classical music as a child and, as he grew up, he explored different genres like hip-hop and pop before finding his own unique sound.
Shivjot has won awards for his music, including the PTC Music Award for Best Pop Vocalist (Male), which he has won twice. His song "Mere Wala Sardar" won the PTC Punjabi Music Awards for Best Lyrics in 2018.
One of Shivjot's recent songs is "Hulara", which was released on 16 October 2024. "Hulara" was produced by Sahil Sharma, also known as The Boss.
I believe that using the term "bhangra" to describe Punjabi music used in fitness classes is too restrictive. Bhangra typically refers to traditional Punjabi music using instruments such as drums, flutes, and string instruments. Modern Punjabi music increasingly incorporates other genres such as techno, rap, and hip-hop.
I believe that using "Punjabi music" is a more comprehensive term for suitable music to use for fitness classes.
Additionally, many Punjabi songs are used in Bollywood films, and these songs may not be considered "bhangra". This further supports the argument that "Punjabi music" is a more appropriate term for the music that suits being used for a holistic fitness class, than just bhangra alone.
It is possible to teach dance performing and dance fitness at the same time, but it is not recommended. It is better to choose one lane and focus on that. If you want to do both, then offer different classes.
One strategy is to offer your fitness class as a step one and your performing class as a step two for more advancement. Be careful not to imply that the fitness class is for bad dancers or is less important.
Dance fitness to Punjabi music is becoming increasingly popular, especially among women. This is due to a number of factors including:
Dance-fitness is popular with women of all backgrounds, but is particularly appealing to South Asian women, the most inactive demographic in the UK. This makes it a great opportunity to support this demographic and make a difference.
The traits of a high-quality dance-fitness trainer versus an inadequate one. A good trainer focuses on the participants, encouraging and guiding them to choose appropriate intensity levels.
They prioritise safety by ensuring adequate space, monitoring for hazards, and addressing potentially harmful comments.
Conversely, a subpar trainer is self-absorbed, evident in their presentation and focus on themselves in the mirror. They may use unnecessary props or attire that detracts from the fitness aspect. Lastly, a poor trainer displays arrogance by arriving late and expecting attention.
Before becoming a dance-fitness trainer, it's useful to figure out a sense of location and time. Completing your certification without a place to teach can lead to skill loss and regret.
Contact fitness centres, discuss your certification plans, desired class times, and frequency. Their insights and potential support can be invaluable. Choosing a consistent time slot that you can commit to long-term is vital, as it establishes your class as a reliable fixture for both the fitness centre and participants.
We discuss the concept of belonging in the context of dance. Different types of dance, such as carefree dancing, dance for performing, and dance for fitness, belong in different places.
For instance, carefree dancing is suitable for nightclubs and festivals, while dance for performing belongs on stage or in dance studios like Pineapple Dance Studios or Danceworks. Similarly, dance for fitness is typically found in fitness centres and gymnasiums.
We emphasise the importance of choosing the right type of dance and place based on one's goals.
If someone wants to have fun with friends, a nightclub would be appropriate, but if they aim to perform, then a dance studio or stage is a better fit.
Ultimately, understanding where different types of dance belong enhances the experience and ensures that individuals are in the right environment to achieve their objectives.
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