Nuri y Dakyo

“Korea somehow feels focused on the one count, whereas in Spain we focus on the 3&4& — the closing stretch — or try to express getting the rhythm to land nicely in that stretch.”

On how musicality is expressed differently in Spanish and Korean bachata

“For the people who make it to the top of a competition, musicality is pretty much the number one thing. What matters is whether you can breathe and move with me in line with that musicality.”

On the shared standard among Spain's top-level dancers

“Back in the day, leading that stayed glued together the whole way through was considered good — now, if you stay stuck together like that, it comes across as "isn't that a bit much?"”

On how connection and tension in Spanish bachata have shifted compared to five years ago

“If someone's got no musicality but they're technically solid — then it's just kind of a "mmm, so-so" feeling.”

Comparing which matters more: technique or musicality

“The guy turns with his body so the axis stays on his body, and even when he leans, he has to keep that axis and move only his upper body.”

Explaining how the lead (the guy's part) keeps his axis and moves his upper body in the frame headroll

“In that stretch you wait for her, then bring the body back in, set her up, and carry her through — that's how you bring out the impact of the music.”

On how tension and timing get used in the Spanish-style lead these days

“You always want to be moving your energy, keeping the flow going, and using that connection to keep passing it on to your partner.”

From an open class, explaining how the lead passes energy and flow to their partner through the connection.

“I tend to lead by focusing on the woman and bringing out her feeling.”

On the leading style of Spanish leaders these days

“The key is to use the up-and-down movement a little more than the side-to-side.”

Explaining why vertical movement matters more than lateral movement in a hip-hop-flavored move

“Rather than traveling far side to side, it's more like holding that spot and sharpening the focus there.”

Explaining hip and upper body movement, stressing the idea of staying put and focusing

“The stop is the whole point. It doesn't stretch out — it cuts off short.”

On the timing of ending a move by cutting it off cleanly instead of letting it drag

“The lean comes later. Don't try to slip out here first — wait for it and match the timing.”

Stressing the timing of the lean during the headroll, coaching people not to rush it

“Bring it in close to the shoulder, draw a half circle out to the side, then give it a little tug and carry it into the up-down.”

Breaking down exactly how the arms and upper body move in the back-tunneling move