Soo y Lauren

“The point isn't to hold the head — the chest goes first and the head follows. Push the chest first, and the head has to drop.”

Walking through head rolls, tilt turns and other head movements, then pinning down the principle they all share

“If you split the beat up fine and connect the end of one move to the start of the next organically, you can fit three moves inside eight counts.”

Aitor breaking down his beat-splitting technique

“To get organic movement out of beats this short, you have to blend everything — the hand connection, the hip connection, the energy, the breathing — so it works even when the follower's level isn't that high.”

Aitor explains the approach he worked out to build beat-splitting moves that land even with beginner followers

“Whether you use the back of your hand or your palm completely changes how the lead works. Palm to palm, even a little pressure gives you a solid pull; back of hand to back of hand, it's actually easier to push.”

Sharing a personal tip on how the grip — which side of the hand you use — changes the lead

“You have to understand it as precise, separate actions — there's no smooth flow from one move into the next. You need the technique and the exact movement together.”

Explaining why Aitor's beat-splitting moves have to be understood as precise, separated actions

“If you switch the grip so one hand takes the back of the hand and the other takes the palm, she won't get pushed off in either direction — that cuts down on mistakes.”

Explaining the tip of holding each hand with a different grip during turns

“You find the meeting point between the two moves and just link them up. The preparation for the head move and the preparation for the filter — the flip turn — are the exact same thing.”

Explaining the core principle of the multi-move that links a head roll into a flip turn after the heel turn

“No prep, no move. If you want to do BachaZouk, you have to start from the prep — always.”

Emphasized while teaching the transition from bachata position into the BachaZouk signature prep

“Whatever sequence you use, on the basic you use a down basic over four counts to build one musical block. When you're building a sequence in bachazouk, you have to do your interpretation and build the sequence inside those four counts.”

Introducing the four-count musical block formula while explaining what separates bachazouk from bachata.

“Basic one is just a pretty basic. From the second count you start building the move. Around the third count you start making it zouky with the frame and your breath, and with the fourth count left you explode into the sequence and finish it.”

A step-by-step breakdown of how the sequence stacks up, count by count, inside the four counts.

“When you do a scoop turn, think of the lady's turn axis as being laid down on its side.”

Describing the tilted axis concretely, as a trajectory laid on its side

“But in bachazouk, you start tilting the axis. The axis isn't perpendicular to the floor anymore.”

Explaining the axis concept of the bachazouk scoop turn, in contrast to a normal turn in place with a vertical axis

“The follow has to resist. Just because the guy pulls doesn't mean you go along with it. You have to keep the tension by pulling the opposite way.”

Explaining how the follow creates tension by resisting the lead's pull in the signature pattern

“Turn slowly so the follow can hold this angle, and follows, all you have to do is try to keep it.”

Explaining how lead and follow split the work in a flip, keeping the chest at 45 degrees

“The reason the lady's head dips and then rises is because you tilted the axis a little as you turned her.”

Explaining the head movement in a scoop turn through the tilted axis

“The key to the follow's circle is bending the knees one after the other. You can't bend and straighten both knees at the same time.”

Explaining how to use the knees in the follow's circular movement

“During the girl's head roll, the guy has to move his body with her. You can't just hold her arm and stand there.”

Using a quiz to point out why the lead has to move his body along with the follow's head roll

“The leader has two ways to do it. One, drop the frame and then lift it. Two, kill the speed and then bring it back fast. When the frame changes, the head releases.”

Explaining the leader's two ways of releasing the follower's head in the tour de tête

“In influence style, the head roll comes from shifting your center of gravity. There's really no concept of "ground" in it.”

Explaining how the head roll works differently in sensual bachata vs. influence style

“Once you're dancing bachata (zouk), you have to start tilting your axis. Your axis isn't perpendicular to the ground anymore.”

Introducing the concept of a tilted rotation axis while explaining the scoop turn

“When you turn on an axis, the axis doesn't have to be somewhere in mid-air. You can use a part of your body — your elbow, say — to make the turn more fun.”

Explaining the idea of the axis in a scoop turn and demoing how to lead it off the elbow

“The biggest difference between the hip and the polido comes down to one thing: the spiral.”

Defining the core difference between the two movements — the Lasaman hip and the polido

“When you do the small hip, you keep the bend and roll your hips only inside your shoulder frame.”

Explaining in detail how to execute the small hip roll (Lasaman hip)

“When you're doing the weight shift and the legs together through your frame, you should be able to do it even without hands, everyone.”

Emphasizing the principle that you should be able to complete a movement on your own center, without a partner's hand for support