Cola

“If the hand arrives and you go "oh, my turn!" — you lose the neck roll. Your chest gets pushed, but your head stays where it is, and that's how you follow it.”

On separating the chest and the head when entering a neck roll (head roll)

“The moment the hand comes in, you actually have to get a little haughty about it. That's how you clearly receive the lead in the direction I'm pushing — you resist it, build your own frame, and go in from there.”

On the resistance and frame a follow needs to clearly receive the lead direction during a hand change

“If the lead's arm is late, the follow is just going to stand right back up on the spot. That's completely natural, of course. But if the lead's arm comes in fast and catches it again, they won't stand up — they can just keep on turning.”

Explaining how the lead's arm timing decides whether the follow's rotation keeps going.

“When you let the air out and go in with that contraction, your weight doesn't spill forward or back — you go in with your core locked in.”

Explaining how to hold the core and the center of gravity with a contraction that pushes the air out of the body.

“Your knees, which were standing there all stiff, soften just a little. Don't force a big bend on purpose.”

Explaining what the knees do after the contraction, and calling out over-bending.

“The moment I go down first, tension creeps in. And then your center spills to one side.”

Explaining why the center shifts on the timing of dropping down after a hand change.

“When the music goes dun-dun-dun and then dun, da-ra-ran da-ra-ran — if you leads ride that rhythm with an-down, an-up, an-down, that'll be a great lead.”

Explaining the lead's up-down timing against the counts in the music.