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!

Wait 3 seconds for compression (connection) time. And then move. Some partners have slower or longer compression times. Others have denser or softer compression. Adjust accordingly. It’ll feel good.

When is the right time to lead pivots and boleos? Should pivots be lead early or on time? And boleos lead late? (As a “surprise” or often-repeated “ocho-interruption”? Even more important how do we lead the more intricate versions of each? (Such as over-turned ochos or super fast boleos.)