Korke y Judith

“So if you want to move your head, you have to move your upper body.”

Offered as the conclusion after explaining the upper body–head connection with the image of a spoon in a glass

“The head is always the result of the upper body.”

Explaining the head roll principle, emphasizing that head movement comes out of upper-body movement

“The head always moves about a second or two after the upper body does — just picture a glass with a spoon sitting in it. The upper body is the glass.”

The part explaining the timing — the delay — of the head roll through an analogy

“Your shoulders should stay as far away from your head as possible.”

Explaining the basic rule of separating the shoulders from the head during a head roll

“The moment you feel discomfort is exactly when you need to release your head.”

Advice on when to release, during the visualization drill of connecting your head to the roof

“When you go back, you don't need to bend at the waist this much.”

A caution against overusing the lower back in the head roll

“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

“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

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

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

“You're not drawing a circle with your hand.”

Emphasizing that a head roll comes from the body's support and flow, not from a hand motion

“Hey, that's somebody else's.”

Korke, calling out a student in the Level 2 class whose pattern was copied from someone else

“I never set out to invent a style called sensual. I just listened to the music and danced whatever came out of me naturally.”

Korke on how bachata sensual came about — quoting his own line, "lo que me nace natural."

“I don't change the hand position. I adjust with my thumb, and just this point and this point give me perfect control. We don't need a lot of energy.”

Demonstrating a partner move — holding the hand connection points and showing how to control the lead with minimal force

“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.

“Wow is when people watch it and go 'whoa~'.”

Korke explaining the concept of 'wow' in building your signature pattern, in the Level 2 class

“The music and the dance shouldn't be doing their own separate things — they've got to breathe together.”

A reconstruction of what bothered Korke when he looked at the dance floors of the time: bachata music had slowed down and turned emotional, but people were still stepping fast and bouncy.

“Remember, you've got thousands of options.”

Said after running through several arm variations on the count, reminding students how free they are to style it

“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

“For me, closing the circle means coming closer to me, and longer. Ladies, pay attention to this part.”

Shares a personal take on finishing a circle, aimed at the followers

“The head is just dead weight. You just let go and leave it there.”

A tip on fully releasing the head after a contraction

“As you grow, find your vertical. Keep this inside, open the chest, follow the lead. Very slowly.”

A practice cue for following posture and lead at a slow tempo