Sergio y Ana

“Bachata sensual is ultimately about drawing circles. What matters is how clean and beautiful a circle you can draw with your body, and how well that circle connects to the next one.”

Laying out the core philosophy of the Sergio y Ana workshop

“The moment the woman understands the man's lead, no more lead is needed. She can finish the movement on her own.”

Explaining the clear rules of lead and follow in transitions

“If you finish the movement, you get a lot of options for what comes next. But if you don't finish it, the next movement won't follow.”

Explaining the principle that a body roll has to be completed for the next movement to connect

“When the man does a big movement along with the woman, you lose the visual effect. And in musicality, the visual effect matters a lot.”

On the contrast between the size of the man's movement and the woman's

“One of the hardest things as a lead is leading the next move before you've finished the one before it.”

On the technique of overlapping the previous and next moves through a transition

“The connection holds because we communicated the intention of the movement. Don't worry — the connection is there.”

Explaining that connection lives in conveying intention, not in physical contact

“The lead only exists before and after the prep. After that she has all the information about the move, and now it's on her.”

Defining where the lead begins and ends while demonstrating the hand for a circular move

“The body is always trying to stay balanced. Tilt your hips forward and you fall forward — same the other way. It's natural, so you don't need to overthink it, but it's a really good tool for changing a move.”

Explaining the chest-to-hip connection-point switch as a natural law of body balance