Train the Trainers Alumni

EPISODE 11

 

[INTRODUCTION] 

 

[00:00:00] HT: All right, everyone. I am so excited to introduce you to my good friend and colleague, Natsu Sasaki. She is an incredible person. You’re going to learn more about her in a moment. She is a former professional dancer. She’s the CEO and founder of Natsu Face Yoga Studio here in Nuremberg, Germany. She teaches face yoga, dance, she teachers bar for my studio. I mean, she’s just an incredible all-around teacher and artist.

 

Welcome. Stick around if you want to learn about the art and philosophy of beautiful movement mixed with evidence-based exercise science. We’ll be having tough and inspiring conversations with other coaches, experts, artists, and athletes. Our goal is to challenge myths, explore concepts, and engage in healthy debate, as we dive deep with intrigue and curiosity. 

 

I’m your host, Hannah Teutscher. I’ve been teaching dance, Pilates, and yoga for over two decades. What I’ve learned is that movement can be the joy that integrates us all together. When we can trust and express ourselves through our bodies, we are unlimited in our ability to change ourselves and our communities for the better. We, as movement teachers and coaches have the power to help people experience this for themselves. Okay, everyone, let’s dive in. Exchanging ideas and changing people’s lives one session at a time. This is The Pilates Exchange. 

 

[EPISODE]

 

[00:01:28] HT: Before we get started, I want to let you know that we have a few spots available in Train the Trainers this fall. It’s a 16-week program where we teach about the art and business of teaching. It’s going to help you find actionable ideas to immediately impact your teaching your business, the classes. We uncover your authenticity, we banish impostor syndrome, and we just give you so much in there that’s just going to change your teaching life in there. There’s lots of great bonuses that we have. You definitely want to check it out, because we won’t open the doors again for a few more months. So if you’re ready for change in your teaching business, check it out. 

 

Let’s talk about who you are, where you’re coming from, give our audience – because I know everything about you. So give our audience a little bit of an overview of what you’ve been up to, like how you started dancing when you were young.

 

[00:02:18] NS: Right, right. First of all, thank you for having me. I feel really honoured. It sounded very grand, your introduction. Who am I? Good question. So yes, I’ve started dancing when I was five. I am from Japan, though. But we were in Taiwan because my father’s work. I was introduced to dance because my mother thought, “Well, it’s really warm outside.” She thought, “[Inaudible 00:02:45] with music? She could move and it could be fun for her.” I don’t remember anything. Apparently, it was very flexible, and the teacher was very good with children. So she gave us little toys and candies. I think I was lured by that. 

 

[00:02:59] HT: Good teaching. Yes, good teaching.

 

[00:03:02] NS: Maybe add that to your Train the Trainers.

 

[00:03:05] HT: Bribery.

 

[00:03:07] NS: Bribery works. Got the professional. I was very flexible, so she gave me a very good compliment. “Well, look at you. Great, you can do that.” I guess I generally discovered how fun it was to be on stage, and dance, and prepare something to show that in front of people.

 

[00:03:26] HT: It’s so funny, like as children, how we grab into something, like that little spark that ignites, and then it just follows you through the rest of your life. I think similar to my beginning, where we started really young, we found the spark of dance. It might have been dance, it might have been movement, and that just followed you through. After – at some point, you became a professional, you went from this young five-year-old, into like, “Hey, I’m going to be dancing internationally for decades.” What was that like?

 

[00:03:58] NS: I think I’ve always said even as a child, like I want to be a professional ballerina, but you don’t really know what that means. So after Taiwan, we went back to Japan. This was really hardcore training happening. Very strict, very Japanese style. Also, back in, this is more than 35 years ago. So very different sort of teaching. I wasn’t allowed to ask questions. This was normal. This was how it was. You do what the teacher tells you to do. It did bring me some discipline and it did bring me somewhere, I’m thankful, but he was very, very strict.

 

[00:04:33] HT: A little bit later, I’d love to dig into the, not being able to ask questions. Because I think that the upbringing of dance really influences what we do now. I’m going to get to that in a little bit. You dance professionally and internationally for how many years? 

 

[00:04:54] NS: Twenty years.

 

[00:04:55] HT: Twenty years, just incredible. 

 

[00:04:57] NS: That’s a long time. 

 

[00:04:58] HT: I know. For those of you at home thinking, like listening to this, if you’re not familiar with the dance world, this is an extraordinary long career that’s incredible, anyways. I mean, if you think about any of the other professional athletes that are out there that get paid, I don’t even know, millions and millions in comparison to what we get paid as dancers. There’s that aspect of it, but the impact that it has on our bodies. So sometimes, when you’re dancing, you don’t realize the trauma, the injuries, and stuff just sort to add up on each other.

 

But if you’re getting paid that sort of – I mean, we did get paid, but it wasn’t comparable to any other professional athlete that’s out there. That also comes in a little bit later. Because as dancers, former dancers, the idea of scarcity comes in, especially as you go into a business owner, which we’re going to hear about in a second. That always struggle, the hustle, the make more like afraid that it’s going to be taken away from you, because we had to fight so much to get to where we are.

 

You danced for 20 incredible years. Like any other human, though I’ve asked myself if you’re human to dance that. But at some point, you have to make a transition. You came to a point where you decided that you wanted to leave dance. Tell our audience a little bit about that transition, because that’s where we really start to get into some interesting stuff as far as mentorship, and I was part of those struggles, listening into the struggles.

 

[00:06:34] NS: Yes. I wish that more people talked about it, because it was very tough, very, very difficult. It’s not to the point where maybe most people would think like, “Oh, because you miss dancing or you miss being on stage, or that feeling of being a dancer.” It was not about that. It was more about what am I going to do with my life. I have no idea what I want to do with my life, and how am I going to make my living. That was the most difficult question. Because I’ve always had goals in my life, I wanted to be a ballerina, I became a ballerina. I wanted to dance this choreography; I did that. And it was fine until the point where I say like, “Okay. I’m going to stop, and I have no idea what I’m going to do.

 

Actually, transition started quite earlier when I turned 30. I stopped dancing when I was 39. When I turned 30, seemed like a good age to think about what happens because it will come at some point like professional athletes. So the first thing I did was, I contacted Transition Centre in, I don’t remember. I think it was in Berlin or in [inaudible 00:07:39]. So I actually went all the way there when I was 30 and asked for their coaching. So I got a coaching, and then later on, they told me like, “Oh, it would be nice to start talking to people, try out things. What are your hobbies? What do you like other than dancing?” So I contacted friends of friends of friends. I was like, “I like cooking.”

 

I went to work at the kitchen in Hamburg over the New Years. I talked to the cook there, and then they’re like, “Well, you’re going to be standing for like over 12 hours a day, you’d be working. This was New Years. If you’re working on New Years, and Christmas, and all this holidays. If you want to have more private time, and family time, and friends time, maybe it’s not for you.” So I decided to be a passionate cook, instead of a professional cook.

 

[00:08:32] HT: Good choice.

 

[00:08:34] NS: And then, I was talking to my friends who were simultaneous translators because I speak three languages I picked up somewhere along my life. I said, “Oh, maybe. Maybe that could be something for me.” This was right after – so it’s been few years later, COVID. She told me, “Hmm, it’s a little difficult right now for us. The simultaneous translators, and also with the introduction of the AIs, that they’re translating better than us humans.” So she’s like, “Hmm, it’s something to think about.” I said, “Okay, maybe that’s not for me.” Then, I did all kinds of things. 

 

What else did I do? I went to support psychosomatic hospital, because I was interested in dance therapy, thinking, could that be something for me? So I went to the hospital with the patient, and just see, okay, how could the dance therapy help with the patients, what does this do? I went for two weeks. It was very intense, great experience. But I also realized, that’s also not for me. Then, I think I even went to take a course at European Secretary School to see if that could be something for me. Then, I was almost going to do it. At the last moment, I was like, “No, that’s not for me.” So I backed out. 

 

I did all of these things for like 10 years, until I was 39. I say like, “Okay. Now, it’s very clear for me that I’m going to go for the next step. I didn’t know what I wanted to do.” I was talking to other people, also all the rehearsal director who came to make a choreography. I went to them like, “Can I sit with you and ask for your transition time? How did you become what you do? How did you become a choreographer?” I even asked my director back then, I think. Everyone told me, some of them was [inaudible 00:10:25], “Yes, I wanted to be a rehearsal director, and I became a rehearsal director, and it was fine.” They told me like, “It sort of fell into the places, and just trust the process.” I was like, “Yes, I feel like I’m not doing anything. I still don’t know what I want to do.” So it was very frustrating, very scary.\

 

What’s good is, in Germany, you do have unemployment money, but that’s limited. That scared me also, because I only have one year to decide what do I want to do. So it was very scary. Not knowing where I’m going was horror,

 

[00:10:57] HT: I think anyone that’s making that transition that’s really – oh, it’s a lot, it’s all the emotions. What I really respect is that you looked into a lot of different things and thought, “Okay. Well, what’s going to make me the most happy?” And not on a theoretical – yes, theory, but you really tried to live that out to the best of your ability to see, can you imagine yourself doing that? During this time, after you finished, and you had that year of sort of a buffer, of trying to figure out what that is, you were teaching dance a little bit. After, I think everyone just assumes that you go from dance into teaching dance, and you own a ballet studio, and you do that sort of route. Tell me about those first few classes of teaching. Not everyone – even if you’re great at something, that does not make you a good teacher.

 

[00:11:53] NS: No, not at all.

 

[00:11:56] HT: I mean that in the most loving way, for everyone that’s listening. It is a totally different thing to be standing in the front of the room, and coaching, and teaching, and actually doing the thing. So tell me about when you are on the outside for the first time in 20 years. What was that like?

 

[00:12:16] NS: Yes, I was also teaching, and I started teaching sporadically, like some workshop here and there. So I was collecting these experiences. The feeling was, I was scared. I was scared. That was a feeling I had because I had a feeling I was trying to copy I guess what my teacher told me, or what helped me than what I thought that helped me. So he’s using my experience of what did all my teachers do. I also felt at the same time, because if I was teaching workshop, it was just one-time thing. Everyone loved it, great energy. Then, I was dreading when I actually had to teach classes every week, the first two classes. Because, I was like, “What if I run out of ideas? What if they don’t like me? What if I don’t know what I’m talking about?”

 

It was such a struggle for me, for example, this some sort of turn. For the life of me, I can’t really explain. How does it work? It just works for me. I never really thought about it. Well, I felt like things I was good at. I was very flexible. I had to obviously train to gain stability. But mobility was never a question for me. So my students asked me, “Okay. How do I put my leg up there like you? How do I get there?” I was like, “I don’t know. My leg just gets there. I never, actually, let’s say, worked for it.” So yes, scared, insecure, I would say. Some things I felt secure about. I think I took at the beginning, over one week to prepare for my classes.

 

[00:13:53] HT: Over one week? That’s so, yes.

 

[00:13:57] NS: I have my secret master book. I write all the steps. I will write which music. I think I even wrote like which bars. I was like, “That’s four-eight for this exercise.” Oh, God, it was so much work.

 

[00:14:12] HT: I get you. Because like everyone, in the teaching business, you are not paid for that prep time. You are paid for the time that you’re in front of the students.

 

[00:14:22] NS: Right. 

 

[00:14:23] HT: If you want me to break down that hourly rate, you’re probably getting paid like a euro per hour.

 

[00:14:27] NS: Probably. I’ve been searching for the right music. Oh God, that took a really long time.

 

[00:14:34] HT: I totally get that. This is a struggle that a lot of people go through. I think that’s like the normal curve, and some people stay there a little bit longer. Or not that worrying that creates then the extra stress of overly preparing. Sometimes, I feel – I don’t know if this has been your experience. But when you’re overly prepared in something like that, you’re less able to have a good dialogue with the students that are in front of you, because you are going through your program, but you’re not paying attention to the results that you’re seeing in the classroom. Was that what you were feeling as well?

 

[00:15:12] NS: I think at the beginning, I was so concentrated on doing my own things and doing things right. I didn’t see that. But as I got more experience, and after doing the Train the Trainers, I could see, sometimes, maybe I wasn’t as prepared as I was. But then I would see something that came up with the students on the spot, and I’m like, “I’m going to change my theme, because this seemed to be an issue today, and let’s do that, instead of sticking to my program that I planned for like a week ahead.”

 

[00:15:42] HT: Right. For our listeners, Natsu went to Train the Trainers. It’s almost two and a half years ago.

 

[00:15:49] NS: Oh God. Has that been that long? Yes.

 

[00:15:50] HT: Yes. It’s something that we really work with every person, is finding their own authenticity in training. The term authenticity is really thrown around. It’s very pop culture right now. But what we mean for it is that, you, through conscious work, are developing a process that fits you the way that your brain works, the way that your formatting works for your planning classes, the way you like to give corrections. All of that is kind of looked at during the course, unpacked, and repacked so that you have your version of going [inaudible 00:16:26]. So you don’t feel like your teachers from the past, you’re not a parrot of what they said. You are completely you in all of your incredibly rich experiences in there.

 

So there was a moment that I wanted to touch on before about the strictness of what you were brought up in. You said that you weren’t allowed to ask questions. So children are naturally curious. I actually believe that adults are actually naturally curious, and that’s, as well, it’s been taken out, and broken down for a lot of different reasons. But the way that you just described that you had then developed your own teaching looks like you’re leaving lots of opportunity for the children at that point, to be curious, to explore different things within your classroom setting. Is that true?

 

[00:17:21] NS: Yes. I actually saw a huge difference in the levels of motivation. I mean, anyways, this is very different. I come from Japan, and we have a very different culture than in Germany. I find the German children, they ask lots of questions, and I find it great. But because of what I experienced, I wasn’t allowed to ask questions. I encouraged them to ask questions. What I love doing now is not only that they allow to – or they ask me questions all the time, but I asked them the question also. Like, why do you think that didn’t work for you? Makes them think, and I felt like instead of me telling, “Oh, you fell out of that turns, because you did this, and this, and this wrong.” I asked them like, “Why do you think that didn’t work for you?” Then others be like, “I think it’s because of this” or like, “No, no, no, no. Maybe it’s because of that.” It seems like they’re more motivated.

 

[00:18:17] HT: Yes. Oh my gosh, yes, 100%. This is like, all the science of why that works, and why it’s impactful is in the Train the Trainers Program. Because, didn’t you see a huge difference?

 

[00:18:29] NS: Yes, yes. I have this one class of very, very motivated teenagers. But they’re preteens, and it’s just a sensitive age. Been through myself also. It wasn’t that I was having trouble motivating them, but sometimes they were not really in the mood. What I saw a huge difference is one of the things that I learned in the Train the Trainers, is to give them choices. So now, if I were to give them a version A, which is easier. Version B, more difficult. 99.9% of the time, everybody chooses the most hard version. They work hard.

 

[00:19:06] HT: Right. Super interesting. That choice lets them do that. And probably, if you had just said, “Do this” –

 

[00:19:13] NS: They would complain and they’ll go like, “Ugh, I don’t want to do it. It’s so hard.” But yes, I don’t have to give that, and they’re like, “Okay. I want to do the hard one, because I want to show that I can do this.”

 

[00:19:25] HT: Yes, it’s so fun. I love that. Part of what we do in Train the Trainers is getting feedback on your teaching. I think that’s a little nerve-wracking for people. I really believe that teaching is who you are, and we’re making all these good decisions about teaching. It’s very scary just like in dancing when you put yourself out there, open for feedback. We never give criticism, it’s just feedback. Here’s what you could do or not do. We do this in Train the Trainers in the form of a video feedback, because then you get to go back and look at it for yourself with our thoughts in there. I know you were scared to do it in the beginning like everyone is. But was it helpful? Did you find something in there that changed you? 

 

[00:20:15] NS: Yes, it was very helpful, but I have to say, I was scared. It was dreadful. Especially, because you’re my friend, a good friend of mine, and that means something inside me that made me feel very insecure, like, I have to be a great teacher. I have to perform or something like this.

 

[00:20:31] HT: Which is not what I mean. You get to be a –

 

[00:20:33] NS: Right. This is not a point, but I knew that it was inside of me. I felt this emotion coming. It was like, I have to impress Hannah, or something like that. So it was very scary. But once I got past that, once I send my first video, and I got the feedback, and I saw how useful it could be for my teaching, I wasn’t scared anymore. I mean, I was still scared, but it was very useful. One other thing that I could apply immediately was, because I was so concentrated on how can I be perfect teacher, I wasn’t seeing if a student understood, or they were able to apply the feedback that I gave them. Because she made me realize, “Look at this girl, you’ve gave her feedback, and I can see she understood as she is trying to apply, even if it doesn’t work immediately,” which is not an issue. So that made me realize how we can look for these cues of students. Did they get it? Is it working in their brain? So this was nice.

 

One other thing was external cue. This is really fun. I made it into a game. This is also my pre-teen ladies. I had TheraBand, they’re colourful, and I made them pick which colour they wanted to use. We made streets, because we were doing some travelling turns, and they were travelling everywhere. There’s certain techniques, like you need to use this arm this way, or you need to spot, or you have this and that. But instead of that, they had these streets, and that they had to stay in the streets. They found it extremely fun to do, because they also get to pick which colour to put it where. By the end of, I would say, half a year, these girls start turning straight, which really surprised me. I saw like, well, these hobby people, and hobby girls, they may not get their wits. If they have fun, it’s okay. But it really surprised me, they were able to turn and stay in the streets, even if many streets were gone. This was great things to see.

 

[00:22:35] HT: Because you were applying a lot of those tools that we talked about all at once. So you’re giving them choices, you’re working on that autonomy, you’re working on something called external cues. So we teach there, there’s four different types of cues, which we’ll go into some other time. That you’re choosing that option for them, and that you saw that result. And the last thing that you’re really using is paying attention to that cue conversation. So it’s not that the student needs to do things perfect right then, but they have to understand what it is that you’re looking for. Maybe it’s not that they need to understand what they were looking for, but they that feedback between the two of you, between student and teacher is the most important, that relationship developing in, and that you were able to – because we know, all the dancers out there, chaines turns, or whatever sort of travelling, like that could go awry. So that you were able to clean that up with some hobby dancers, and I think they were coming in like once a week to see you, that they were able to do that with – I mean, in that short amount of time. That’s incredible.

 

[00:23:40] NS: Yes, yes. This really, really surprised me.

 

[MESSAGE]

 

[00:23:43] HT: When I started teaching, I felt underprepared and overwhelmed. I needed to learn how to plan my training so that it made sense, but I wasn’t sure what was working and what wasn’t. So many teacher training programs leave out the actual art and business of teaching. This is why we created Train the Trainers. Train the Trainers is designed to give you the tools you need to create a powerful learning environment for your students, gain access to the vault of our collected knowledge where you can learn everything we have to teach you whether you are a freelance teacher, or a studio owner. Get constructive feedback on your teaching with actionable tools you can apply immediately. We can’t wait to be part of your teaching journey, and to help you grow in your business. Welcome to Train the Trainers. 

 

[INTERVIEW CONTINUES]

 

[00:24:33] HT: You went from like, really developing your teaching young adults, more young adults you are teaching, and also adults. The skills are similar.

 

[00:24:44] NS: Yes.

 

[00:24:45] HT: Very similar. There’s a couple differentiation or just different gamification when we’re older. But somewhere along the way, you came into face yoga, and you fell in love with that method, which is awesome. Tell me a little bit about that. Because that was around the time that we were sort of working together in Train the Trainers, and you found this method that you wanted to work with. Then at some point, you said, “Oh, I’m going to make this into my business. This is what I want to do for the rest of my life.” Tell me about that.

 

[00:25:19] NS: You mean, like the process of how did I find that or –?

 

[00:25:23] HT: I want to hear about the spark. People love different methods. You can love Pilates, you can love yoga, you can love dance. But the spark of saying, “Hey, this is for me, not only do I want to teach it, but I want to make my entire business out of it.”

 

[00:25:40] NS: Okay. I think it sort of had to do with everything, because I was still going through that transition of dancing 20 years into, “Oh God, I don’t know what I want to do with my life.” My private life didn’t turn out to be what I imagined to be. So it was a very dark, hard time for me. One day, I looked at myself in the mirror, I was 39. I think at the time, I was 38 or 39. I looked at myself in the mirror, I was like, “Oh my God, what happened to my face? So I realized like, “Wow, I look old.” Or if it looked as if life hit me in the face. It could tell, and even the people who didn’t know me well, because my friends know who I am, and I like to make silly jokes and laugh about it. Someone told me like, “Oh, I think you’re someone who doesn’t like to smile much, right?” And that shocked me. It was not a nice thing to hear. I was like, “Wow, I got to do something about this.”

 

It was by chance, I was giving a speech, because of my marketing teacher, she invited me to some online conference. There was a lady, she was giving an interactive workshop in face yoga. That clicked to me. I was like, “Oh, this is what I want to do.” I knew at the moment, it was a very strange feeling. Because working with bodies is something we did all our lives. But I realized that, actually, I never did anything with my face. Even if you’re asked to express certain role, or a certain emotion on stage, I never really knew – of course, their muscles, and tendons, and fascia, and everything.

 

But like, “That’s true. I never really did anything with my face.” I’ve started doing exercises then, and I saw the results, obviously, because I know how you can tailor the exercises to fit whatever dance pieces you’re dancing, and what a difference it can make on your performance. So I knew this will work instinctively, and that’s where I decided, I love working with my body, the face is the same. How they were teaching, it was just like Hocus Pocus, like you get a facelift effect, and you look five years younger, but it was really theoretical. They went to anatomy, which I really like, and they went to science of it, which made me convinced even more, and the people saw the difference. They were like, “Oh, you changed your makeup or something?” I’m like, “No, I didn’t. It’s exactly the same thing I use. It’s exactly the same makeup.” But they saw difference, and I start to feel different inside and out of those transition. I do believe I look different. There’s like before after picture on my social media, which I was like, “Wow, okay. I really look like life hit me in the face back in the days.”

 

[00:28:38] HT: You’re always beautiful.

 

[00:28:40] NS: Thanks. But I also realized there’s certain facial mimic that we do, that you don’t realize, since you probably developed it since your childhood. I realized I had my corner of my mouth down even when I was eating. I realized that. It would tremble when I start to exercise. They wanted – they had this muscle memory to pull down my corner of my mouth. The muscles, they knew, that’s what I did for 39 years, and they wanted to do that. I was like, “Wow, that’s so interesting.” I’m shaking because the muscle know they want to go down and I’m training to go up. So yeah, all of that was fascinating to me. I couldn’t wake up. I woke up every day like, “What am I going to learn today? What anatomy I’m learning today? What does it do? So yes, that’s how I got there.

 

[00:29:22] HT: That’s so interesting. Yes, I would have to say I’m in the same boat where I’ve never really thought about it, but not about face. Think of a very naturally expressive face.

 

[00:29:34] NS: Yes, you do. Which is great.

 

[00:29:38] HT: To the good or the bad, whatever. That is the way it is. Because I tend to wear a lot of my thoughts on my face. I also, when I’m teaching have to be more aware of what I’m doing with my face when I’m teaching. Because even if my thoughts are someplace else, and it could end up looking judgmental, or I could create an unsafe environment in my classroom if I’m not 100% there for a moment, because we definitely don’t want to do that. You went from dancing, into teaching dance, into finding a love of face yoga, into deciding to start a business. How’s business going? It’s only been half a year. 

 

[00:30:23] NS: I know. It feels very surreal. I still feel like I don’t know what I’m doing. But it’s a learning by going, I’m at a point where I got used to not having a schedule that’s set by someone else, because that was 20 years. I just have to follow, you wake up this time to make it to these rehearsals or that. To not to have any schedule that I will have to make my own schedule, dealing with different sorts of things that clients ask me, “Oh, I want to pay in different way, or what are the other payment method or these are my problems. Can you help me with this or not?” Taking care of websites is something I always dread. Computer is not my strength. Getting accustomed to the software system, how the reservations working? Also, yes, I’ve learned that face yoga method. There’s a certain method. How can I make that my own authentic teaching, and add some spices that can only be found in my own studio?

 

That has been a struggle. I feel like I’m slowly finding my own way. That’s where I’m at. Are you having fun? It’s fun. Yes, I think the teaching part, I’m having fun. I still recognize the impostor syndrome that I experienced back in the day. Well, teaching dance comes back sometimes thinking, “Oh, I think they know what I did. I’ve done this exercise already or they’re going to think it’s boring.” So those are the worry. It’s interesting to realize these thoughts, seem to come back. Every back and then.

 

[00:31:59] HT: Yes, and to know that you’re in control of those thoughts too. One truth that I could 100% say is that, everyone in business feels the same way. There’s end in teaching too. There’s times where you’re like, “Do I really know this? Is this okay?” You do. Don’t worry. You do know it. You teach from what you know. That’s that. People aren’t going to get bored. You never have to worry about that. In all business, whether you’re a freelance teacher, or owning a studio, or owning your business, whatever that looks like, you’re always going to be learning, and you’re always going to be experimenting with what worked last year, and may work a little bit different this year, even if you’re looking at cycles of marketing, and selling, and all that.” Lean into the continuing to learn, which I think you do so beautifully. 

 

[00:32:51] NS: Thank you.

 

[00:32:53] HT: I want to say thank you so much for sharing your time and your story with everyone at home. I really, really appreciate it. I’m looking forward to hearing more of your teaching stories coming up soon, because we’re going to check back in in about six months or so whenever you would like to come back on with us and see how things are progressing in your business and your teaching.

 

[00:33:17] NS: Thank you for having me, Hannah. This has been really, really fun.

 

[00:33:19] HT: If you want to learn more about Natsu, you’re going to check out the show notes I’ve linked into her social media accounts and also her fantastic website. You definitely want to check that out. All right. Have a wonderful day, everyone. Bye. 

 

[00:33:33] NS: Bye.

 

[OUTRO]

 

[00:33:35] HT: Thank you so much for joining us today. I hope you enjoyed the conversation. A great cost-free way of supporting us and the podcast would be to give us a five-star rating. You could also look down into the show notes and grab any one of the free resources for teachers. I hope to see you next week on The Pilates Exchange. Happy teaching, everyone.

 

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