(Bachata) Feel every single part of your body and finish the movement~ Edward & Maria 2024 workshop - K-Sensual Week by Gatsu & Honey #bodyawareness

Why this video

Body movement often gets mashed into one lump because you skip the order of the body parts. Edward Maria points out that once your pelvis lifts, don't move straight on — your ribcage needs to catch up first. Feeling each part of your body one at a time is where this workshop starts.

How to link the parts together

- Your ribcage is an accordion — the ribs move up and down, and the part beneath lifts and throws, almost tossed. - Elbows and palms — lift your elbow and press the base of your palm in as close as you can, and that spot activates, giving you ribcage control. - Even when you throw it, keep it inside your body — even a big, expressive movement should stay contained within your own body.

If you don't give here, the movement only reaches your shoulder — think of this part as lifted from inside, and leading gets a lot easier.

Just one thing today

When you do a body roll, try breaking the pelvis → ribcage sequence into single counts, nice and slow. Once the order sinks into your body, it won't get mushy even at speed.

“It's not that you lift the hips and go straight from there — once they're lifted, the ribs have to catch first.”

CONTEXTOpening of the body movement section, stressing the sequence from hips to ribcage.

“When you flex, your partner follows in — and from there you have to lift her up, not twist her like this.”

CONTEXTA caution about which direction you lift your partner after the flex.

“The ribcage is what moves up and down like an accordion, and the partner underneath it moves like they're being lifted up and tossed.”

CONTEXTExplaining hip-to-ribcage connection, using an upper-body/lower-body "partner" analogy.

“Even when you throw this movement out, it still has to stay inside your own body — so be careful with that part.”

CONTEXTA caution about not leaving your own axis when throwing a movement out big.

“With your elbows lifted, press the base of your palms together as much as you can — that area switches on, the ribcage tightens up, and you get cage control.”

CONTEXTHow the elbow-to-palm connection creates ribcage control.

“You have to really try to press the base of your palms together so the muscles switch on — then even the tiniest movement travels straight through that tightened part.”

CONTEXTHow fine muscular connection transmits even small movements precisely.

“If you don't give me this, the movement only goes as far as your shoulder — but if you receive it thinking of this part as lifted from the inside, the lead becomes so much easier to feel.”

CONTEXTFor follows: how to stay aware of the inner connection when receiving a lead.

“My hand goes to her axis, and now I do the turn in her axis. Put both together and press the floor with your foot.”

CONTEXTExplaining, in English, where the lead's hand goes in a turn and how the foot presses the floor.

“In a turn there's energy that wants to fly outward — instead of that, put the energy of your hand toward the center at her forehead, keep the knees together, and just flex. That's it.”

CONTEXTOn controlling centrifugal force in a turn.

“It's easy to lose your center the moment you go up into a turn, so if the lead holds the follow's center up around her forehead and she keeps her knees together in a flex, she can turn as stable as a cylinder.”

CONTEXTOn how the lead should hold the partner's axis during a turn.