Korke

“I don't bend back from my lower back. I engage here and here so I'm fully in control, and then I open. I use this part of my upper back to create the bend, so I'm not putting a lot of pressure on my lower back.”

Explaining, from the follower's perspective, how to use the upper back instead of the lower back in backbends to prevent injury

“In sensual movement, when the leader brings me forward with their chest, I let my head go the opposite way. That way everything links up and you get a more snake-like movement.”

A follower explains the principle of sending chest and head in opposite directions to create a wave in sensual movement

“As the chest comes into the contraction, the head goes back — late. Remember, the collarbones stay open the whole time and only the chest contracts.”

Breaks down exactly how to use the head and collarbones during a contraction

“You know what my hobby is? Watching other people's patterns on Instagram.”

What Korke said at the Korke y Judith teaching course level 2, stressing the importance of originality (recalled by Valentino)

“The head drops not because it's going down — it drops because this is going up.”

Demonstrating head roll technique and explaining the core principle behind it

“If your shoulder goes up, your head drops.”

Explaining the relationship between the shoulder and the head in a head roll

“On top of that base of support, I want the head to just hang loose. That's what opens the chest.”

Explaining why you let the head hang after establishing your base of support (apoyo) through the feet

“Where's the lead point for a dip (caída)?”

The question Korke put to his students the first time he taught dips in Korea. The answer is "the hips" — he was steering them toward the key idea that keeping the hips down is what makes a dip lead work.