Narion

“In the swing, straighten one knee and you get the plain basic. Straighten it and take the hip along with it, and you get the macho basic. Straighten the hip and change direction, and that's the sensual basic.”

Explaining how the swing mechanism determines which kind of basic step you get — plain, macho, or sensual

“A turn needs continuity, right? Instead of thinking of it as a "spot," you have to think "I'm turning this way" — that's what makes the turn actually go around.”

Explaining that the mindset of intending the rotation matters more than fixing your eyes on one point (spotting)

“You've got to think of the swing as the essence. Without the swing, none of this works.”

Drilling the bachata swing on repeat, driving home that it's the base of every movement.

“It's not one-two-three and then lean — the swing is going to come from your hips.”

Teaching the basic step, stressing that the movement starts from the hips, not the head or upper body

“You don't use your head when you turn. That's a really important rule.”

Highlighting the key rule about using the head during turns, in the tilt turn explanation

“It just looks like a head roll — it's not actually a head roll. It's the chest moving like this.”

Explaining the real mechanics behind the move that looks like a head roll in the tilt turn

“Put the swing in and the exact same move becomes something completely different.”

Demonstrating the same walk/basic side by side — without swing, then with.

“When you push, you want only your hips to go. The upper body should stay out of it.”

Coaching upper/lower body separation in the cross — hips push back, chest stays put.

“When you swing, the heaviest parts of you have to move front to back, and you absolutely have to catch the rebound.”

Stressing how the body's center (the hips, etc.) moves during a swing and why the rebound matters

“The guy sent the energy that way, and that's the only reason I ended up turning this way.”

Explaining how the direction of the lead's energy determines the follow's direction of rotation, comparing it to a push

“Once you're tilted, all you have to do is look where you want to go and go there.”

Explaining that when the body tilts mid-turn, the follow's only job is to look at the destination and travel that way

“The moment I heard that song — the bass in it is huge, it just booms. So I set the tumbao to that bass and built the choreography for a salsa fusion performance around it.”

Explaining where the Good Kisser salsa fusion performance he made during COVID came from

“When the guy tilts me, that's when I tilt. It's not about turning your own head somewhere and spinning off that.”

Explaining that the tilt in a turn isn't something the follow creates on their own — it comes from the lead's force

“You shift your weight using the upward force. What's actually moving is only your hips — your feet stay right there on the floor.”

Explaining that weight shift isn't the feet moving but the pelvis moving on a rising force

“The moment we go up, we can do a wave, or we can send her into a turn.”

Laying out the two options that can follow an "up".

“The swing is what makes this basic — the one where you're carrying your partner along with you — look so beautiful.”

Explaining what the swing is doing inside the slide basic.

“It's not that your head goes like this and off it goes — it happens because of your hips.”

Correcting the illusion that the upper body or head moves first in the wave, explaining that the hips are what cause the movement

“A swing always has to have that idea of the abs opening and closing. Always.”

Distinguishing a fake swing (just moving in place) from a real one through the concept of the abs opening and closing

“If you tap, you get the wave. If you do the basic step, you get the turn. You've got to pick one or the other.”

Explaining how the footwork decides what comes next — wave or turn.

“When you wrap her in, if your feet go first it gets hard. Once your body's already gone out ahead, you can't hold it anymore.”

Calling out the mistake of moving feet-first in the wrap, and stressing the order the body moves in

“The guy isn't pushing her. When he does the wave himself, she naturally ends up traveling back.”

The moment he explains how the lead's wave drives the follow's travel in the Madrid pattern

“If you go out foot-first, your foot has to move one more time coming back. But if you take the lead through your upper body, your foot naturally plants toward him.”

Comparing foot-first travel with upper-body-first travel, explaining how to receive a lead steadily

“For the tilt to work, you have to create the feeling of being pulled backward — like there's a string tied to the back of your head.”

Explaining why the tilt everyone's doing these days isn't working, with some image-training advice.

“Your chin has to stay lifted — that's what makes turns easier and tilts easier.”

Pointing out the posture problem people who struggle with tilts all share, and fixing where the chin sits.