(Salsa/Bachata) The L principle that runs through both salsa and bachata #Inwoo #SaturdayMamboClass #LuismiMariangela #LuisAndrea #ClauRos

“The turn starts at the point where the lead and follow meet and push out together. The left hand and the right hand can't start leading at different times.”

On both hands leading at the same moment when a turn begins.

“When you practice turns, it shouldn't feel like 'tak-tak-tak,' all chopped up — it should be 'woong~ woong~ woong,' flowing.”

Putting the rhythm and feel of turn practice into concrete sound.

“If the follow lifts her elbow, the lead can't transfer any real energy through the arm.”

How elbow position blocks the lead from getting through.

“The arm has to stay in an L shape. Once that L collapses, the leader loses the frame he's supposed to be holding too.”

Pointing out how a follower's raised elbow breaks the lead, and explaining why the L frame matters.

“The leader has to make an L before the follower can make one too.”

A remark underlining that the frame is a two-way thing.

“When the L collapses, the shoulder goes up — and the same thing happens on the side open break.”

CONTEXTA collapsing L-frame affects other steps the same way.

“If the L collapses here, it turns into ballroom dancing.”

CONTEXTA figurative take on what happens when the L frame breaks in a side open break.

“The power can't jump straight from the hand to the shoulder. It has to flow from the arm to the elbow, elbow to shoulder, shoulder to torso — that's what creates tension, and that's what turns into rotation.”

Explaining the path energy travels in a lead, noting this is a point Luis and Andrea emphasize too.

“The movement starts at the elbow. Move your elbow to move your body.”

The principle that movement originates at the elbow.

“Keep your arms relaxed along with your chest. If you just leave your arm parked there, it can't come down naturally.”

CONTEXTOn the need to relax the arms and upper body.

“Don't try to pull the follow. That blocks her spine and her isolation.”

How a bad lead gets in the way of the partner's spine movement and isolation.

“You've got to use your elbow to create tension and control. If your elbow stays up the whole time, you'll run into trouble from the second turn on.”

How elbow position affects turn continuity in fast salsa multi-turns.

“Just drop the elbow a little and relax — the frame angle happens on its own. Don't try to force an L shape.”

The L-frame isn't built with force; it comes out of relaxation.

“After the turn ends, 5 and 6, the back step — this part is really important. The back step is both the finish and the prep for what's next.”

The back step after a turn serves two roles: prep and finish.

“When the prep is clear, the next step just flows — but after a turn we chop it up, tak-tak-tak.”

Pointing out the common mistake of losing flow on the back step after a turn.

“Should there be a break between the turn and the back step? There shouldn't be.”

CONTEXTEmphasizing continuity between movements, framed as a question.

“You can't walk with style for a step or two and then come out like a completely different person. You have to come out the same way you went in, with the same feel, the same flow.”

On keeping the feel and flow consistent across the whole step.

“Bachata is receiving each motion carefully, passing it on with care, and expressing it with a delicate touch.”

Closing remark defining the essence of bachata, after explaining back steps and connection.

“So why don't we treat every step in salsa the same way?”

CONTEXTAfter explaining bachata's subtlety, asking why salsa doesn't get the same care.