(Bachata) Leading with your eyes and the rib slide~ tips & principles from Daewoo & Dream's open class, said to beat any Jack & Jill know-how

“You release the grip, just take it out to the side, go down and come back up. This is a prep.”

CONTEXTExplaining why you need a prep that releases the grip when switching between arm movements.

“I didn't lead this move. If they weren't holding on, they would've come around like this anyway. So what is this? Assisting.”

CONTEXTExplaining what the lead is actually doing in a turn — the lead doesn't create the movement, it supports the partner's natural rotation.

“When you're making the energy for the turn, where am I thinking of moving? I'm thinking of moving the follow's ribs. This isn't the moment to move the whole upper body — it's the moment to move the ribs.”

CONTEXTExplaining where to put the lead's energy on a turn, offering the ribs (the ribcage) as the lead point.

“The ribs are attached to the body, so the range I can actually turn — all you should be leading is turning energy into their torso.”

CONTEXTContinuing the ribs-lead idea, explaining the physical range and limits of the lead.

“If you want it to look big, just use the up-down. Go down, drop way down, and on the way up you only have to signal with the ribs — the range already reads huge.”

CONTEXTSuggesting the up-down (drop → rise) combined with a ribs signal as a way to make a move look bigger and richer.

“You have to break it up clearly in your head. Your ribs, my ribs. You've got to see the ribs split up like that.”

CONTEXTExplaining that you can only lead accurately once you separate your own lead point (the ribs) from your partner's ribs.

“When they're coming back around, the principle is you take that energy as it is and finish with it.”

CONTEXTExplaining that on the finish of a platón (or any turning move), you ride the partner's natural returning energy to close out the lead.

“Honestly, the path my arm travels isn't a circle, it's a long oval. Sending it down along that oval matters, and then sending it up matters.”

CONTEXTPointing out that the arm's circling motion — the one everybody pictures as a circle — actually traces a long oval, and walking through the detail of that path.