Wonjun y Boram

“You can't lead by pushing with your hands. On the down, it's not about pulling her toward me — you lead your partner with the angle of your whole body, and that's when she's really caught.”

Demonstrating the difference between leading by pushing with the hands and leading with the angle of the whole body in a traveling bate cabello

“Just give a little down — boom — and she'll go do whatever she wants to do.”

Explaining a lead where the man gives only a small down instead of pulling the hand, leaving the follow free

“Same goes for the guys. These days, in the trendier styles, you don't pull the woman.”

After explaining the follower's movement, moving on to the nuance of how leads are done these days

“You have to move a little bit before your partner's head has fully arrived. If you wait until it's all the way there, you're late.”

On ending/bending timing — the point that the lead has to move before the partner's weight fully lands

“Down — boom. Then on the way up, you just catch her a little.”

Wrapping up the down-up: on the way up, the lead only needs to catch her a little

“Your weight should already be fully loaded toward wherever you're going next.”

Counting it out, stressing that the weight shift to the next move has to be prepared in advance

“You can't bend (end) right from the start — you have to land with your weight fully on it.”

A note on the order of the ending move and the timing of the weight shift

“I said, "Teacher, we want to put this kind of footwork in," and they said, "Do whatever you want, go all out."”

The freedom their partner Wonjun gave them when they pitched the footwork they wanted during choreography

“In a head circle, you can never lead with just your hands — you have to start by putting your body weight into it too.”

Pointing out not to lead a partner using only hand strength in the head circle move

“I wanted to unfold their story inside the choreography — missing each other but turning away, wanting to pull each other close but pushing away.”

Explaining how the push and pull of the movement embodies the love-hate of the relationship

“The man hates this woman so much, and still he can't forget her. Because deep down he loves her.”

Explaining the love-hate of a man who lost his partner to betrayal as the core concept of the choreography

“When you go into the turn, it helps a lot if you're holding your frame.”

Explaining what keeping the frame does in the section of the Intenso choreo that leads into a turn

“At the very beginning, as the gospel music swells, one woman gets lifted up — that's how we expressed resurrection.”

Explaining the choreographic meaning of the show's opening scene