(Bachata) The must-have move right now — "spin and spin again" — Daewoo Ryuji nails every point (LATIN open class, filmed by Lucas)

“The man always has to think of it as creating the move for the woman.”

Pointing out that pushing her upper body during the preparation leaves her no way to do the move

“Block the upper body, send only the lower body. You have to watch her movement and build the move from that.”

Explaining how to get only the woman's hips moving

“If her hip joint is facing straight forward, this move won't work. It has to be turned slightly the other way.”

CONTEXTA detail on how the direction of the hip joint decides whether the move works or not

“Right after you come up, don't go diagonal straight away — go straight up first, then move with the upper-body frame.”

Correcting a directional mistake when catching the energy of coming up out of a sit

“You want her to feel, 'ah, he's about to turn me.' And for that, you can't just spin her with no weight shift — the man has to step and shift his weight along with her.”

Explaining how to signal a turn by changing the hand direction

“The woman's base posture — shoulders back, always, strong and proud!”

Explaining the woman's basic posture

“The line from the sternum out to the shoulders is never straight — it leans gently back. And the man has to give his support at that same angle.”

CONTEXTExplaining the woman's posture line and how the man supports it

“Don't rush into the turn the second you get the signal.”

Explaining the timing of the 180-degree turn while leaning into the man's support hand

“Look at my hand — I'm not gripping her shoulder. Don't grab her shoulder; just give the feeling of turning the whole frame.”

Demonstrating what the hands do when leading a turn

“Don't grab! Use the pressure on the shoulder axis!”

Stressing hand use in the 'turn again' movement

“The first turn is a 'tilt' turn. Tilt, tilt, tilt... but on the 're-turn,' the head goes all the way back.”

CONTEXTBreaking down the difference in head movement between two types of turns

“To add a little bit of 'feeling,' I use 'quick' and 'slow.'”

Explaining how to layer musicality onto a pattern

“The exit is looong~ you send her out, and the guy steps along with her and follows to finish it.”

CONTEXTExplaining the closing steps of the sequence

“If you drop your arm after she's already come all the way around, she reads it as 'oh, another turn.' It has to be down before she comes back — earlier than you'd think.”

CONTEXTExplaining the misread that happens when the timing of finishing a turn is late