The art of tanking: Lock down shoulder blades, upper torso weight right over your hips. Keeping head back is nice. Project the push out the rear of your lower back. Lats reach out and around. Arms have a little bit of frame. Where your feet lands sets the cadence.

It’s fun to hit cadences in footwork or hips, but remember to hit with the upper body for the full upstairs sensation effect.

Put your right hand on her left rib cage and “feel” it to help her rewind that back step. A little squeeze or subtle rub is all it takes.

When leading turns (whether for sacada or enrosque), you must plow your weight change into a clear linear direction. Strong forward Strong side Strong back No matter what step it is that precedes it, make it strong! And really come into the step late (be patient) so you can stay there longer to sling her

3 elements to a fun dance that feels good.

The first rule of changing speeds is to contrast as best as you can. It’s not only clearer to differentiate the lead for your partner but also enhances the visual effect for spectators. Go slow before you go fast (half-time to double-time) or go fast before you go slow (double-time to half-time), instead of going

Your arms should always hold energy. The challenging part is figuring out how to differential the energy in your arms between fast vs slow moments.

Before 2018: Putting you and your partner, with the steps, with the music…everything, all together, in harmony. There are so many kinds of “connections”; you with yourself, you with the ground, feeling the music, the quality of the steps, the breath, the physical and metaphysical realm. And everything moves together as one. Blah blah blah!