Salsa Dance Partnerwork - Improvers Level, complete course | Incognito Dance | Skillshare

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Salsa Dance Partnerwork - Improvers Level, complete course

teacher avatar Incognito Dance, New Salsa & Bachata Courses

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

24 Lessons (2h 36m)
    • 1. 1 Introduction

    • 2. 2a, 2b Inside Turn Explanation For Men

    • 3. 2c Inside Turn Explanation For Ladies

    • 4. 2d Inside Turn Practice To Music

    • 5. 3a,3b Outside Turn Explanation For Men

    • 6. 3c Outside Turn Explanation For Ladies

    • 7. 3d Outside Turn Tips and Practice To Music

    • 8. 4a, 4b The 360 Explanation For Men

    • 9. 4c The 360 Explanation For Ladies

    • 10. 4d The 360 Tips and Practice To Music

    • 11. 4R1 Routine 1 Explanation & Practice

    • 12. 5a, 5b Scoop Demo & Explanation For Men

    • 13. 5c Scoop Explanation For Ladies

    • 14. 5d Scoop Tips and Practice To Music

    • 15. 6a, 6b Copa Demo & Explanation For Men

    • 16. 6c Copa Explanation For Ladies

    • 17. 6d Copa Tips and Practice To Music

    • 18. 7c Spins Explanation For Men

    • 19. 7d Spins Exercises Ball Change

    • 20. 7e Spins Exercises Clock

    • 21. 7f Spins Exercises Practice To Music

    • 22. 7g Spins Exercises Tips

    • 23. 7h Spins Practice To Music

    • 24. 8b Routine 2 Explanation & Practice To Music

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About This Class

Salsa Dance Partner work Course - Improvers

This course is perfect for all Improvers who wish to learn new techniques.  We will break down essential techniques as well as giving loads of practice videos.

What is the benefit of completing this course / project?

Every student will learn techniques and have time to practice.  We have developed a unique learning technique focusing on “Core Techniques” which we have identified and broken down for you in incredible detail. These  “Core Techniques” are right at the center of your learning and a fantastic way to target techniques you may be weak on.

What action should you must take in order to complete the project?

Please ensure you complete every section properly, and repeat lessons that you find difficult.  I’m sure you heard he saying “practice makes perfect”. This is so true when is comes to body movement, the more you practice the more muscle memory you will develop and eventually learn to move organically. 

How can students apply the skills they've learned in the class to complete the project?

Use the techniques you have learned in this course in your everyday life. Whichever dance style you specialize in, all these be skills will help you become a much better dancer.

We explain what you can do to enhance your dancing from the basic steps into very complex shines, body movements turn and much more. Explaining, in a simple and detailed manner, how to apply attitude to your dancing and improve your posture.  Focus on details of head, hands, use of arms, ladies’ timing, spins, hip movement and how to enhance your dance with sensual moves.

Meet Your Teacher

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Incognito Dance

New Salsa & Bachata Courses



We are Jeff & Corina from Incognito Dance Company UK.   Thank you so much for showing interest in our courses. 

Incognito Dance Company (IDC) was established in 1999. It has some of the most experienced and qualified Latin Dance instructors and performers in Europe. All our Latin dance courses, workshops, holidays, events and clubs are run and taught by highly trained, friendly instructors who encourage dancers of all levels to enjoy the spirit of dance.

Over 20 years of experience teaching classes, we have combined all our knowledge and skills into our brand new Online Syllabus for you to benefit at any time at your own convenience, from anywhere in the world.

Incognito Dance has won many prestigious awards, including Brilliant Business... See full profile

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1. 1 Introduction: Hello, my name is Karina wish, and I am Jeff opinion and we are from Incognito dance company. Welcome to our south, a partner cause for improvements. In this course, we will add onto what you've learned in the Beginners Course. Sasha is built on a series of core techniques and we will cover these techniques at improving level or the future moves that you'll be learning our intermediate and advanced or just variations of all these techniques. We will also give you lots of tips and techniques to improve your leading and following Skills. This will take your dancing to the next level. 2. 2a, 2b Inside Turn Explanation For Men: Hi, we're going to now cover across body inside ten for the lady and how we lead it. And I'll give a couple of variations on as well. Okay, very different. So from starting with the feet up from a guy's perspective, all I'm gonna do is just across body lead. So just like we did earlier in the beginning section, my feet, my theta, basically one to open a door, 567, close the door, cross bodily right. Now, what makes her turn is I give a signal that I want an inside turn in a standard variation. So, so I started a standard cross body, 12 free. Now my mark on five is literally that 55. Okay? It can be big. If you're doing shows. Usually the more sophisticate your follower is, should pick up very subtle marker, but do indicate a marker because if you don't do anything, there's no reason for her to. Tan xi has no no signal telling something's about to happen. So in this case I have a little mark, it does help a lot. 1234567. So after you've done your marker, you still want to be able to follow her fruit. So don't stay in one spot. Try and shadow her as she's doing across body. And importantly also, you're still polishing our halo. As I do, my 10123 are marked R5, are kept a hand. Hi, round ahead. Seven bout a Shaphan decide I slowly, we did across body one to free our mock MC5 follower in 67 strata again little bit quicker. And 123567. The reason why it's called Insight and is because he turned the lady towards you. So the five needs to be out, so you have somewhere to go so you can pull her in. If the 5f is close to you, then you can't pull her in even more. You know, I mean, so from here we go, 1235 needs to be out. So then you have somewhere to go. So you bring her towards you. And then around the head is let's do it again. So really make sure on five-year arm is out and then you can bring in 5671235671. From here. Let's just do it both sides just for practice. Just to finish off the first variation, we gonna go cross body inside turn 123. And 567, repeat 123567. Okay. One thing that I see a lot is that the guy doesn't follow the lady. So if I step if I stepped far, if I take big steps, then you have to keep up. So we feel like we're like we do in a normal cross body. Basically, if she steps long, then you have to follow. And with a turn, it's even more important because she's turning and if you pull her, she's going to lose her balance. So Jeff is going to show you. You go 123, you stay close. 67. Again. Now, i'm going to ask Karina to exaggerate how long her cross bodies. And I show you how I adjust my step to keep up with or without looking like I'm being pulled or pulling back. We're gonna go 123. I take big steps with her. 67 at no point do I look like I'm dragging or being dragged. So moving on, let's do the other variation, which is what we call a no touch variation. So literally, with this one, you have to understand the concept of how we use buttons in this dance TO we have some key points in the lady's body and the guards body, front shoulders, back of the shoulders, front of the hips, back at the hips, fronted knees, back at a nice, these are kind of key areas which you can use very effectively in your leading. We're going to keep talking about them for all the different variations to show you how when they're being used. Now, there are different ways you can touch and, and, and, and apply the technique. In this case, all I'm doing is literally tapping the shoulder is not a push. It's not AD drag. It's already Sounds rough, right? Literally attack. Now at the tap from the latest perspective is a signal from me to her asking it to do something. It's the same signal as my original marker on this one to three mark. But now I'm gonna do I'm gonna tap the shoulder as my marker. So that's telling us something needs to happen. So she's going to pick up on my lead. My 123 again is normal and now tap the shoulder and I let go. And as she follows in 67, show you again. Mass is low. So he step 12367 out of side 12, free and tap 67. And it doesn't matter if you tap the front or the back of the shoulder. Top of the shoulder is the indication of something's about to happen. Now, little tip for the guys. If you tap a lady a couple of times and she hasn't picked up on a lead sheet sheet, I missed it or she doesn't know. It doesn't mean you keep tapping and hoping that one day she's going to get the message. She doesn't know it yet. So you just have to kind of apply more obvious technique like the, like the earlier variation 12367, marx except OK. So obviously, as Jeff just said, if the lady doesn't turn for us, for me, because I know this technique, it's very obvious that if you touch, touch my shoulder, I am turning because otherwise you would just be out of the way and I do a normal cross body. If you've touched touch my shoulder, I'm turning. But if the lady doesn't know it, then she wouldn't turn and then you can move on to another move basically. But yeah. 3. 2c Inside Turn Explanation For Ladies: This is the inside term for the ladies or followers. Ok, let me start with you. With your feet. You start with half a basic would go 1235. You would see your line and still step straight forward. And then your turn happens on 6781. So on six we start turning over your left shoulder. We go 678 and step back on one. It's important that you still step on 123567 and not on four or eight. Otherwise, you'll mess up your feet and then you have the wrong foot. Ok. So 123567, hall eighth and step back on one. Let's do it again. Five, six, seventh, half a basic 123, step forward on five, then six, turn server 81. So most important is that you keep on one line, don't waver even once, once you start turning. So this is when you're spotting comes in and it's very important that you spot, okay? So what I mean by spotting is that you focus on 1, where you're going, try to spot something, maybe alarm bullet person that's standing there. And then you automatically already traveled that direction and you know where you going on on your line. Ok. So let's do it again. 5671235 now. So step on one line, 6781. Okay. Let me show you the foot work from the back and so you can copy. We go 12356781. So you do 1.5 turn in total. Let's let me do it again. It's going to the front, 5671234567123. So you still have that eight to finish the term. You won't get all the way round on 6-7, on 80 can still finish to turn, make sure you don't put your foot down yet. And then on one you should be facing the leader again and step back to three. Ok. Once more from the site and then the other side, 56712356712356 to the other side, 1234567123. So just be very clear. You're starting on your spot a, and be very clear where you wanna end up. So it's on your spot B. So the leaders stepping out of the way and you end up on your spoke B, which is all new line straight ahead of you. So make sure you don't waver off and go to the site. Okay. Also very important. Now we're spinning. Makes sure you have your core Engaged. Make sure you keep your knees bent. Because as soon as we are turning, I see everybody's pulling up, but you should do the opposite. Keep your niece spent, feel very grounded. Also, keep your shoulders relaxed. Don't start to do this just because returning keep your shoulders relax so you can move your head and you can spot. So let's do it with our leaders. So the first version, we're starting in a close hole. So the leader will move in, into close Hold on 123. Then on five, he's signaling you. Five, this is your signal. So you know something is happening. He's moving his hand out. So then we can do an insight turn, which is named inside term because we're turning towards insight, towards your leader. So we go 123, your signal VI few stepping forward and then we'll start turning. So you should move up his arm, 671. So you are led by your right arm. Okay. Your left arm, just keep it in front of you like this, nicely tucked away. If you have an out then you might hit your leader. So keep it in front of you also helps you with your posture. So I'm keeping mine just in front of my rips like this. So we go 1235671. Don't try to go too far, keep it quite tight. Doesn't need to be far. It just needs to be turning. Ok. Go 123567123. Also very important is that you don't push up your arm like we did in the single terms in the beginner course, it's important that you keep your arm nice and like on a 90 degree angle in front of you and 90-degree angle up. So you can see square shape here. That's what you want to keep. Because if you start to push up your arm, then you lose stuff. That angle where where you feel the elite the best. Okay, also don't open up your elbow because you might hit your partner in the faith, which happens a lot when you first start. But we want to avoid that, okay, so keep it in Nice in front of you at a 90 degrees angle. Ok. So again, 1235671235671. Ladies, from the guys perspective, it really helps a lot when Karina essentially sees the Open Door 123, she's gonna moment assume across body. So she's going to already have the energy to go. So, so she's already moving. All I'm doing is just a marker. Now she's going to start turning. And at this point, she maintains the hook that a tendency when you're first learning the cross body, you're getting nervous about turning and you'll have a natural reaction to try and grip the guy to hang on for something that could easily break his fingers. But the guys we teach them to have a strong two fingers. But that's just more to kinda give you a clear lead not to protect their arms from breakages, but you really want to keep the hook the whole time. So all I'm asking you to do in this case is liquid and inside tone, which you should be able to do by yourself, older guys doing it's asking you to do it. Yes. So keep your hook. Also make sure you're keeping contact with their leaders. Like we talked about this magnetic connection. So don't let go, but definitely don't grab on because you'll hear the fingers breaking. Okay. Let's do it once more. 5671235671235671. We can also do another version that is less obvious with the hand. We have no hands and it's called a button technique. So in the button technique is basically, is you make use of certain spaces of the body we can use to lead. So we have buttons in front of our shoulders, in the back of our shoulders, in front of our hips, on the back of our hips. And with our nice they're also buttons. So what we, what we mean by that is basically when the guy is, or the leader is touching one of those buttons usually mean something. So it's a, it's a leave that asking you to do something. So in this cross but inside term we can use this technique and he can touch your shoulder button. So we just got without tans 123 and then on five features touches my button and I know this is an insight turn because if it was just a cross body, he would just step out of my way and I would I would go and do my cross buddy. But because he's touching my button, I know he wants me to turn. So on five instead of the signal, it's just a touch. And then you can just do that term by yourself. Okay? So really practiced those dose steps to footwork first, so you can do it by yourself. You can even decide just to do a cross body inside turn, even if the guy is just stepping out of the way and maybe just once a cross body without the term, you can just decide to do an insight on anyway if you'd fancy some turning, ok. But when he touches your shoulder, that definitely means it's an insight. Ten. Let's do it once more from the other side. So we go 1235671. I keep my arms out at the beginning when he's moving close to me. So on 123 I just have my arm of art. You can even have it like this, almost a close Holdsworth, this side of the arms or just out like that. But delete is not from this arm. The leaders, just the touch. Okay, 567. And then you can just go into your basic, make sure you always go back into your basic on one automatically without any li, that will help the leader a lot because you're doing a lot just by yourself already. 4. 2d Inside Turn Practice To Music: So let's put all those techniques into practice. And we're going to do a couple of cross body inside tents with the left hand lead and a couple cross body inside turns with the touch technique. Okay, ready? So we start with a basic 567 and basic to free 5-6 inside turn 1234567, basic 12356 again. And 12345678, basic leg, go to touch inside turns and 123, touch by six, basic One 23 and phi six last 112345678123567. But music. Thank you. 5. 3a,3b Outside Turn Explanation For Men: Yes. In this section we're going to cover across body outside ten from the lead perspective, from the guy leading it for the lady. Ok. So the outside tan is a super popular move, is quite common across many techniques, usually integrated in many combinations k, that's quite important. You get the lead. So starting from feet up. So the fork is actually just across body lead for the guys, just like we did earlier. Standard 123567, super easy cross-border leaf or the feet. So nothing to worry about there. So your lead, starting with two variations, get the first one. I hold the ladies right-hand and then my hat my right-hand goes onto the back of the shoulder, is doing nothing more than just resting. There is definitely not pushing her nephew, not tapping because I don't need to tap. All I'm doing is putting my hand on the back of her shoulder. Now this will have a really important, significant later because it sort of gives the lady a physical block from styling. Now to me, I always put this in because ladies have a natural tendency as I do across body. Their arms go straight to my shoulder. But if I didn't outside turn now a block. So I put the hand as more stopping the arm coming up into unnatural styling position because that's a little tip. So let's start with the lead for the on the right arm. So he start 123, you know, it's already my hands on the back of her left shoulder. This hand is ready. And then the fact I've opened up everything now is indicating summing to turn to the right, I don't need to do much. There's no need for a marker this time around, literally, the positioning is dictating what I wanted to do. And then from here, again, I always halo as I follow in 567, try getting nice and slowly. So as I position my cross body, 123, you notice that I've positioned the hips to be an angle which will give a, a natural physical momentum to turn to her right. And again, this is the lead because they would keep her frame. The slightest touch will send high-flying 567. From this side. We're gonna go 1234567. Again, same rules as before. Ladies got along cross body line from a to B. You have to go with her. Don't drag us back because she's making a life difficult. You just have to step up and just go with her. The latest go short crossbreed and then you just shorten your cross body line also from a to b. Okay? Usually the more experienced the ladies get when a song is quick, they will naturally want to shorten to complete the circuit and you have to just follow that in Laguna guys perspective. That's for you to kind of make sure it goes comfortable on her structured line. Okay. One more time from both sides and then I'll show you the other variation. So we go 1234567, 123567. So just one little tip. As a lady, for me, it's very important that on three, your arm is in. So we go 123. So your arm is quite close to you, so then you have somewhere to go. So again, like with the inside term, you brought the lady towards you. Now if the outside term you're bringing her away from you, so you're turning her away from you. So to prepare for that, you have to bring your arm in so you have somewhere to go. Okay. So again, 123. And also it puts me in this position. So I'm almost facing you with my body like this. And then that gives me the momentum to then go the other way. So here, and then you push out and later. Okay? Yeah, the variation is quite popular in a complex movements. I'm only gonna show you a super easy version where I don't follow through it with anything else just for you to get used to it. Now. Still again, cross-border outside San but this time I'm connected with both arms. As I prepare, I'm going to lower her left arm and raise the right arm like I did before. So it will just happen. It's going to be across body one to free. My right arm, her left arm down her left arm, right arm, my left hand up. As she starts turning 56, I hammer lock her left arm. She keeps turning 78 and then let go. And simple variation, I just want you to let go. So let me show you that in tiny 1234567. So what I want you to get used to is I'm now placing it on the back of a hit button. So like I'm twisting it halfway up her back or too low. It's literally in the middle across her hip line. And then for future variations, our user a tracing technique across the buttons. But for now that's what you get used to. Still doing the outside tank with the lady's left arm dropped to hammer lock position 123567. Another golden tip is when you give a lady a homologue, keep to elbow really close to her body. If you have a locker to high, you end up making her twisted. And luckily she's gonna get arrested. If you keep the arm low and she starts turning, it automatically folds comfortably. It's just a biomechanics at the elbow is much more comfortable for you and for her to turn with the elbow close to your body? Okay. So when you're tanning, my hands haven't changed. I'm still using her campaign. So all I'm doing it from this from this angle. 12 free Sima, hook and penicillin there as he's parties by 56, seven. So it's very important that for the, for this hammer lock position as we call it, it's very important that you drop your arm and as Jeff said, you're quite close to her body because then we can actually get into this petition here. So what the ladies armies doing, you go down and then false. And it can't fall up like this. It has to go down and fold. So most important is that you drop your arm and you're close to the lady to get her into this position. Otherwise, it'll dislocate her shoulder and we don't want that. Okay. Let's do it once more. We go 123, so down and low. We go 567. The lady usually keeps her arm. They're like there's a rule that we keep once you put an arm in a position, we keep it usually for about four to eight counts. So you have the chance to pick it back up and do another move. In our dance is usually called the one-bar move sofa guy. We'll talk about it later in linking enhanced dialing techniques. But usually if a guy puts to hand anywhere like this, give the guy a bar to work out what to do with it. If he hasn't worked it out. Put Mab is misery and just pull away. But for now this is just a practice element. Artist wanted to get the guys and ladies used to the hand's going to position that's comfortable for the ten. So we try from both sides. We go 12356 Lego for now, basic 23567123567. That completes the outside 102 variations. 6. 3c Outside Turn Explanation For Ladies: This is the followers outside term or the ladies outside term. Let's start with the feet. So you start with alpha basic 123. On three. The leader will lead you a little bit in and the twisting our body towards him like this. So we go 123, very much sort of we know where we going. Let me show you from the front. So you go 123. You're ready to attack in this direction. Okay? So we go 123. Now were turning out. So this is an outside turns over, turning away from the leader. So we go on 5-6, seven, we turn, we start our turn on five. This time we go 567123. So this time, if the other side turn, you should have completed your turn on seven cause we start a count earlier because if you remember on inside turned on five who were still stepping forward and we start turning on six. Whereas if the outside term now we're starting on five. So we go 123, start your turn, 567123. So again, like always, make sure you step on 123567. No steps on for, no steps on a and also at this point, no steps in between. So as long as you do that, you will always have the right foot as the best tip I can give you. Ok, let's do it once more. We go 12, twist on three, make sure you have your weight, everything going forward on your one line. And then we turn 567123. It sort of depends on new and delete on how much you turn on which count. Basically, also, in future versions we can do multiple terms, but make sure you end up facing the leader on seven K. And also make sure you step on one line. So as with the other terms and the cross body basic version, you start from point a and you should end up on point B, which is on your line straight in front of you. Okay, let's do it again. So we go one, 23567123. From this side, we go 123 and then turn over your right shoulder, 567123. Let me show you from the back so you can see my feet. 56712 twists on three and then turn 567123. So these are your steps. Let's try it with a partner. So. First version, he's holding your right arm. Make sure you have a nice hook your fingers together like this. We go 123. So now we're in our Twisted position. He's bringing your right arm and also he's putting his left his arm on your left shoulder. That's it. So like that, this arm displacement of the arm and the shoulder is stopping you from styling and is stopping you from putting your arm onto his shoulder like we would usually do if usually approaches you. And for every valid the arm, you would usually automatically place the arm on his shoulder like this. But then that wouldn't work for the outside term because when we wanna do the outside term, then you can't have your arm on his shoulder like this. So this is stopping you from doing that this hand. Okay. So we go 123, so keep your Less than just in front of your ribs like this. And then we turned 567123. So make sure you keep your free hours in front of you. Or if you want to do some styling maybe on your hip, but make sure you don't drop it okay. Because it needs to be visible so that leaves it can pick it back up. And also keeping it in front of you, makes it nice and stable, keeps it posture up, and makes you feel that connection here with your arm keeps you in frame. Okay. Let's do it from the other side. We go 123567123. Ok. So his arm your right arm. Make sure again, you don't push it up. It keep it nice in an angle in front of you and you're very receptive to his lead. So once he pushes you out, you go immediately with your whole body and you don't open up your arm first. So what I mean by that is 123. I don't first open up my arm and then letting go. That's no, that's the bad version. Ok. We go like this. And then as soon as I feel a little push, I already know I'm going to turn. I go immediately with my whole body like this. Okay. Let's once more. 5671235671. Again, make sure you spot so you know where you are. Again, by spotting, I mean you focus on 1 and you look at that point, and you look at a point again as soon as possible. So if you had your really quick, sharp looking at that point, so if this point is somewhere where you're going, that also pulls you already invest direction. If you're not spotting, you will feel, start to feel, especially as you move on and we do multiple terms, you will lose direction and you will feel the C, OK. So make sure you spot where you're going and then back to your partner. So the second version is a version called with a hammer lock. Hammer lock is basically when your arm is in the back like this. So that can be used in all sorts of moves. Now we're going to do an outside turn with a hammer lock, which means that guy will drop your arm and bring it here onto your back. What's important for you is that you bring it nice and around your arm like this. And even when he lets go, you usually keep it there for about eight counts so he can pick it back up for a next move. Okay? So this time we stopped with both hands like this, and we go 123. So our left arm is now dropped. Ready for the humble. Ok. I'll right arm is exactly as we did before. And then he drops the arm and brings it behind your back and then you just leave it there for about eight towns, usually in, when we do it in practice also stroke bits so we can do it again. But in social dancing, you should leave it there for about a count. Also very important is that you have a hook at the end of this. So he can he can lead you if you just have a flat hand. It's hard to lead. Yes. So have your fingers together and a nice little hook there. Let's do from the other side where you can see a light slightly better. We go 123. So I'm facing my partner. This arm is dropped and then we lock it like this, and then he lets go, but I keep that. And then we continue dancing and maybe picks it back up. If it doesn't, then you just drop it after about eight counts. 7. 3d Outside Turn Tips and Practice To Music: So tips and practice. So just a couple of texts to Can I help you with your across body outside turn, lean and follows came. One thing for the guys. The ladies will have a natural momentum in their hips. Their hip always goes backwards and forward. You feel this kind of momentum, almost like a pendulum rocking. So I use that to help my leading BY much more clearer. So sometimes like here in this case, if I did the one handed version, I would go 123. Now my hand stays where it is. So if I was gonna dance with my partner being invisible, you'd just see me go 123. Now, what? I'm not actually using my anther puller. I'm definitely not doing push and pull. Okay. You want to avoid pushing, pulling because your body is already doing all the work. So by, by becoming more of a core leader, you'll find your leaders super smooth and very loud and crystal-clear for lay the pickup. So notice my hand doesn't do much. All it's doing is going 123. And so he created the effect of generated this energy in the hips, which is giving a more energy than just a basic. A basic is already there. When I started leading the outside turn, 123567123, just the angle of my frame has already center into the cross body position and then follow through 567. Lemme show you the site. We went. Hips have momentum. And then i, i angle and out. So as a tip for the guys. So for the ladies, it makes it a lot more clear. So if you do this, we sometimes call it tick tock technique. So you go with that momentum of the hips. So you've got to talk like that. For the outside term, that's very important because it creates the momentum that you need. So for the ladies, instead, instead of just going straight 1-2-3 and then suddenly having to turn, it already creates that 123 and then a half and lot more momentum. So really exaggerate that movement. Okay, so ladies, as I explained, we open and then we almost face with our body, we face the leader, and then we have a lot more momentum to go instead of just going from a straight position. Okay, let's do a practice routine. So we do it one basic and across body outside turn one basic and so on. So we go basic, 12356 outside turn 12356, basic, 12356, repeat 123567. Basic to free pickup both hands, 6-7, prepare angle, turns 67, basic 2356, again, PrEP to free, 567123567, where music 8. 4a, 4b The 360 Explanation For Men: Yes. Welcome back. In this module, we're gonna cover the free 60 from the male perspective, how we lead the move on to our partner, okay, so the free 60 is exactly what it says on attend. We can complete a full circle or free 60. And with a future variations will, will cover later in the course. You could do them in a double or do a half-done, split them. For now I'm gonna show you the most fundamental version. And free 60 personally is one of my favorite movies, is one of the moves that actually took me the longest to learn. And once I had, it, gave a lot of dimension and dynamic to my movements. So it's quite, it's quite a key core technique to give you a very smooth theos here lead, OK, so starting off basic, We're gonna set basic 123567. Now, instantly when I free 60, I break back one. I come forward to step just outside her right foot free. That's my foot. Look for the first part there. My hand comes up into despair. Shoulder height for my elbows, sometimes lower, sometimes I don't use hand of analysis. Look, let's do a standard version and I'm still hooked and pin into the art. My right arm targets goes through her left arm and her rib goes to her back. And I aim for the center of her back. The center of her back. Okay. Don't don't don't don't just settle for shoulder. You're gonna find it really difficult and you're gonna feel that you'll be dragged around. So aim for the center of her back. Okay. So let's do 1.2.3 again. 567 we break 123. And your position still on that one? Shoulder, elbow, wrist? It's still in his frame position. Never to relax it. You're going to make yourself feel very heavy and yank your partner around and vice versa. If the ladies got a weak frame should be putting you off your feet. So holding your own ground will support you and your partner. Watch when I break. One, see this W shape. That's where you want to try and maintain. You've got a nice W shape. So even just practicing 111, never resort to I fall flat liner. Okay, so let's go 123. This is kind of a key. Once you set it up, the rest of it kind of falls in place and just smooth is way out. Okay, so nice and slowly breaking back, we step 123. You notice with both of us were maintaining posture and never leaning forward like this. No hunching. I'm popping up in our strong frame, having a nice posture, still looking elegant, and a nice gentle backstroke, never too far. Just underneath my hips when I break 123. Okay. Then Mar for our pivot for land on five, they're struggling. Just one thing before we start twisting, makes sure on three, you're facing each other, like you're in front of each other. That 123 so we're chest to chest were not like this and we're also not twisting like that. It's facing each other with our chest. Ok, try again. So watch how I use my four, okay. If it's super important, don't just stop and then try and withdrawn later. 123, I've got my partner, I've got my frame F is checked and square on four is my travel. Then I land on five. When I get about halfway, when you get a 180 degrees, you've gone halfway. That's when you drop your phi. Try again. So here's the key thing to practice. We find that once people nail this, the rest of it is done. Okay, so in slow motion, any just demo it for you. 12345. Okay. Let's go the other side. 56 break 12345. Okay. Then next step. Once you once you land on your five, the step out on your left is six. So there's a gap now between union partner to step through, easy on seven. And again, I'll use my eight to advantage eight as might turn one. Let me give you a slow motion right? From this angle. We break 123. I've got my frame, 45 out on six, fought on seven to add on 81. So the idea is you don't dance very staccato in this. So very flowy, smooth movement as opposed to just wander, flows into the other. So it's everything seamless. So I'll give you a slow motion seamless version. It just goes 123456781. And he had a site to ready the break 1234567. You haven't completed my turn. Yeah. I've still got my 88123. Okay. One thing that I would say is you try to turn around a center point that's in-between you. So make sure you don't pull the lady around you. So she has to walk around you and you stay in the center. But make sure you both turn around a center axis like this. So if we demonstrate them off, we'll go 123. So imagine a pool in between us and we turned around that pole. Cry. 67. It so CEF is not making me walk around him were turning equally around one place, which is much easier if you're trying to make the lady walk around you, then it becomes hard. And also the music is usually too fast to even complete a 360 like that. So make sure you both turnaround and equal access like this. Queen is actually correct. So, and one of the best ways to avoid that is as you get me a 123, that your square on. If you're, even if I show you from this angle, if you're landing here, then you're already the center of your pole is on your side. You want to avoid that. You want to make the center here, but between you. So there's like a link between you two cause not side on and you avoid that by and sometimes distributed ladies fault, but you just have to kind of have to adjust to it. Sometimes I might dance straight and the lady will go offline. And then I will pull out. I wouldn't go for the 360 because she's gonna get this like swing ball effects which you'll fill out had been swung around. Okay, so our bailout the move and do something else because it's too uncomfortable for Lady. So as you aim for it, 123, I'm very center. You see from here, you can't see my body. If I was here, this is a wrong position for a free 60. Okay, there is a variation. I don't wanna contradict myself, but later in the advanced there is us variation where you do free 60 pivot. So, so I would use that to stylize dispersion. But for now the core of it, this is 90% of older three sixties I would ever do. And also another little tip is that you backend has to be quite strong because once you turn quite fast for, for fast song, you get this pool like this. I don't know. It's called gravity pulls away. Yes. So you get this pool and when you turn around, so make sure you're back on really supports the ladies back. So you can both swinging around. This center acts like that and without using her. So make sure you have a strong support in the back. And the reciprocal of that, don't pulling too much. Otherwise you're gonna get this weird, uncomfortable, you're way too close kind of feeling. I'll show you what that looks like. And here, 123, I've got my frame. Perfect, which means if I pull away, she tries to walk away. She's still in frame. If I squeeze when too much, really hard to move around. Okay. So so you can just keep your frame in this position where her body that sets here. And then if he pushes, she's pushing into a good frame. Because actually was so should we practice it on both sides as to one basic, free 61, basic free 60, and basic to free 5-6, break. 12345678, basic 23567 from jarasite on two free from across body. Let's break 12 free. Book 67123567. So for the gentleman do practice that a lot if it feels difficult in the beginning is quite, it's not an easy technique. Took me awhile to kind of get my head around it. But once I had it, it allowed all my other sequences to really bounce off that technique. And it gave a lot of variety to my movement. By just one simple core technique, you can expand or you arrange very easily. 9. 4c The 360 Explanation For Ladies: This is the 360 as a follower or as the ladies. Okay? So the 360, basically, as it says, you go round in one whole circle and it's not just that one of you is turning around yourself, but you're turning around each other and you end up at the same place. So 360, alright, so we start with an open break, which means that the leader is stepping back as well whilst you're doing your 123. This is, this gives you the sort of I make and the pool you need to then come closer together. Ok. So we go 123 and we end up in a close hall like this. So if you're hands on his back, his hand should end up on your center back like that and they're holding each other like this. So the deleted is stepping across you and you're stepping straight towards him. So in this gap, make that too smart to three. Make sure you keep them nice connection in your arm. Nice spring connection and don't let go. Don't be loose. Ok. So we go 123. Very important is, and this is the most common mistake we see in 360, is that on the three, the already trying to go around each other. Whereas on three, you should be stepping straight towards each other. So it just goes straight towards him. Don't make make sure you don't go off your line. Okay. Another little thing I would like to show from the other side, my free arm, just the little styling. Obviously this is completely free and your style or whatever. But in this case, as we are doing an open break, I bring my arm out to the side like this. So I go 12 and then around his back like that. So just very easily unfold your arm from elbow and out to the side with your nice hands like this. But if you'd like to know more about how you can unfold and style your arms. Then please go to my lady spelling course. Okay, let's just do this preparation again. 567123. Then we go into the actual term. So the market leader would would cross behind and reach a step forward. So we go 1235. So on the five is a little pivot. We just basically go around the men and we step on five with our left leg like always. Then we step again on six around, on seven around and we end up in front of each other like where we started. Okay. So all you have to do again, just think 5-6, seven are my steps. Don't take any steps in between. Don't suddenly start to shuffle and also don't step on eight or on 4567. And you just follow his lead where he brings the around like this. There is no hooks. You just sort of step in a circle like that. Okay. Let's do it again. 567123567123. Let's do it from the other side so you can see it from that angle. 567123567123. So you can see I'm just sort of walking around, but not around him, around that axis that is in-between us. So the leader shouldn't pull you around himself and circle Him, but you should both circle around a middle and imaginary pole in-between you. So we go prepare 123. So this imaginary pole is in-between you and you circle around that 567. So you shouldn't be walking in a circle. It's very much sort of almost on this tiny little circle on the spot because he only going around an axis that isn't beak, but small just in-between you. Okay. Let's do it again. 5671235671231 tip I can give for the ladies, sometimes the guys who it takes them a while to learn it and they might be too soft or too strong. I mean, if they're too soft in elite, they would end up either breaking away and in pulling you in. And it's happening. Now. There's not much you can do from that. If you hold your frame strong, you will help the guy we're actually looking like you're helping him. So if I break away and I'm pulling you in, what green is doing is holding her frame. She's not allowing herself to be dragged and she's also using this arm. So if I try and pull her in, she's stopping me making a mistake. So she's helping me quite a lot without looking like she's helping me. It's the way of being nice without looking at your being too much. 123. It should be more centralized. And sometimes the other side you've got guys with too strong with their lead and they end up pushing you to much. I'll show an example of a bad leader, 123. And what's happening is I've broken Karina's frame, but she would be strong enough to to know to kinda help me. So by now her holding her frame strong, 1-2-3, push, you see, nothing happened. She's actually helped me and then so it actually helps me in Mali with looking out, come too far. I'm in frame is always super important, especially when you're this close together. You don't want to lose the Alaska. This is a rubber thing. Yes. This in-between you, you still want to keep your frame and then you very perceptive to delete. And that comes in many forms. That result when I'm here, we start connection. Look, we're not bouncing off each other either. Frame here is, it is constantly there. We have this kind of motion to hold time even with one arm. This mashups step, step, step is very soft and smooth and it gives you very smooth fluid lead and follow technique. Let's try again. 567123. 567123. Okay? So this is the following technique for the 360. If there's, if the leader is very good, you should, you should really feel how you both going around this center axis. And so you can almost lean a little bit out, lean into his arm. Make sure you have contact with his arm on your back. Make sure you don't feel like you need to go in. You should almost like press out a little bit so you can really feel that lead and his his arm on your back. 10. 4d The 360 Tips and Practice To Music: So let's put this amazing Core Technique to practice, starting with account on basic and then strain to 360 twice. So nice and slowly they're gonna do basic 23567 break, 1234567812356, repeat 123456781 to three of a side 67 because 21st One, 23, and by six break, 123 hook 56781236, said And last time, 123567812367. Music. 11. 4R1 Routine 1 Explanation & Practice: Welcome back my wonderful friends. We're gonna go through a routine which combines the inside ten, outside turn and free 60. And we do a couple of variations that kinda show you how you can put them together really nicely and get everything flowing. So starting with a basic, and this is going to be our routine, right? So basic number one is a basic 123567, super easy. Then we'd go with across body inside 10123 inside tan 6 seventh. So that's what the inside ten would be normally. But look what I'm doing now to position myself, to make the transition between the inside term and what's going to come as an outside time, more smooth wash my body positioning. We did inside turn 23567. So at NAB position myself more square on. So as soon as she turns around, she's already seeing the path for the cross body open. So it's already telling her to go. Also make sure you put your whilst I'm still turning. So the inside term for the lady sort of finishes on on 81. And that point already on 81, you already putting your hand on the shoulder so you go straight into an outside turn. Afterwards. Let us show you this from the other side. So we go inside turn 12356781. So you already have at hand here because that's the number I would already style my hand-on on eighth and then you're already too late, okay? But these going from insight into an outside turn is a very sort of common combination that flows really nicely. So make sure you get that transition right. Okay, let's do it again. We go 123567123. So now we're ready for the outside term. We go 567 ones more. 567123567123567. From the other side. 56712356, Server straight into outside terms. 567. Okay. For the guy's foot work. Got one way of doing this. One thing that is consistent is I'm very close to my partner now about being personal partner. Sometimes my foot my conferred on the one or might go back on that one. As long as you're stepping underneath your hips and your, and you're not overreaching. You've kinda hit the target. So watch my feet when I do the transition between the inside and the outside, turn my stan across body 123, normal insight tank 567. Now sometimes I would go back on my 123 and sometimes some here. I'll go forward 123. To me, it's just, it's just, it's just trying to create dynamic depends on a song is a song is very flowy. I'll keep things quite subtle and flowing. It's dynamic. I'll add moreover dimension to the movement. But the bottom line is, is you still want to stay close to your partner. Never yanking her off her feet. Are Shama footwork again. 123567, forward out, 3567. Maybe focused on one foot work first, but the most important thing is that you always keep stepping on 123567. Never step on four or eight, and also don't step in like little steps in between. Otherwise you lose which foot you're on. If you're continuously step on 123567, you will always be on the right foot to dance with your partner. Okay. So moving on, say so we're done inside and outside, turn straight on the backup and n's outside term. We're gonna go straight into free 60. Let me show you that first. So for the outside turn, we've gone 123 outside turn 67. Instantly, I'm going to break back to create the free 60 break, 123567. It's put together from this site outside tan 123567, break 123567. Let's put all three together in out R0 60, basic 567, misstep 12356, intern 123456, outside term, 1234567 break 123567123. If you find it a bit too fast, you can always put the basic in-between the moves, inbetween the single moves. He can always put a basic, but just trying to show you how you can combine those and get into a really nice flowy dance from one move straight into the next, which is a really important sort of technique to learn how to link the different moves. But if you find it too fast or too difficult, or maybe your partner hasn't quite finished turn yet. You haven't gotten a good grip buffer, then don't try to go straight into a backstop and straight into a 360. Take easy put a basic in-between. It'll feel a lot nicer if you haven't quite gotten there yet. For this exercise, we just go straight into the different moves. Generally as, as you're dancing, tried to, as you're building your repertoire. And you think of the moves, tried to add a basic in-between, a lot of things to give you that breathing space. Ladies do appreciate the fact that you're not rushing or pulling them around and looking at your panicking or over thinking that a basic bars you that little bit of time to kinda look more relaxed that end and much more smoother. Okay, so moving on, the fourth section, we're gonna go into an outsider. So let's go back to the free 60 and I'll show you how to transition into an outside ten. So free 60, we break 567123. And 567 from here, as she lands on one hours that we have a one cr slight anyon to free. I'm going straight into the outside term we did earlier with the hammer lock. She steps out 567. This done, I'm not letting go. I'm going to keep hold of the arm. And do you notice how I kept tracing her eye shader again as he steps out? 123? Again, the elbows close to her body so I'm not making her shoulder uncomfortable. She turns to the outside, turn five, a place on the button, six and tracing across her six pack, picking up again the hand socket connection. So ladies, at that point, make sure you keep your arm there, okay. And don't move it while C let's go because he only Let's go. He goes across the stomach and then he catches again and that when we learnt this MOOC, make sure you have a nice hook at the end. And also you fold your arms completely over so you can almost see the hand from the front. Instead of having it in the back like this hidden. You don't want the guy to go around and look for the hand okay. And thoughts, whatever they shouldn't touch. Okay. So to help that make sure you keep your hand nice and around your body. So it shows here on the side with a nice hook. Okay. Let's try going from this side. So from the three sixty five, sixty seven break, 1234567 connect 123456717. You can see he cuts us that hook, but you have if I had the flattened, he would slip and you can keep turning. So if you're nice hook, he cuts a stat and it's an end, stops, you're turning motion. And also my lead is not so strong. I'm not stopping her her right foot going back because if I held it too much here and she tried to step back, it's impossible because I'm thumb, so allow the one to go back with her. So my hand is not pushing her. I'm just letting her one land naturally and ongoing with her flow on 1-2-3. So let's drag and one more time, just the outside, 10123567. Now from this position, we're going to end this routine with across body inside turn from disposition. It's mainly it's all lead from your guys left arm signaled with the marker to the ladies right arm. This hand will just stay there for now and unfold later. Like this is gonna go 123 or mark my five like before, 67. And you see the arm does naturally unfolds. We demonstration for the last part of the sequence 1234567. So this arm here might seem like it's a complicated move, but to sort of tried to ignore it and do your normal cross body inside turn how you learned it with your right arm or the Lead us left arm. And this is just basic if, okay. But one thing is very important. Let's show it from this side is that leaders, you have to drop this arm to unfolded like we did when we did folder. You have to drop it to fold it. Because if you don't drop it, again, you won't end. Well, grown folk don't pull the arm up. If you drop it shouldn't actually lifted for you. 1235 are lowered a handshakes. She brings it up seven. So I'm actually not yanking become more lucky Judah practice. Okay. So very quickly altogether. Just one thing, ladies. If he doesn't drop your arm, then you can also push it down. Okay. Because it's gonna hurt your shoulder and your elbows if he doesn't drop your arm. So then just make sure you you do that motion that it goes down first step. So let's say the whole thing from this side and any other site. So one basic burst, we have stepped basic to free inside turns 6712356, outside turn 123, ready for free? 6123567. Prepare outside turn. Would hammer lock 67, cross body inside 10123. Ready to basic? One, Two, Three, routine one, there's different decides. Show you all perspective. Basic Warner and 123567 inside turn to freak. And phi six position yourself 123 outside turn six, break 123567. Prepare outside tan would Hemlock 67 inside turn Market 5-6, unwrap, basic 2-3, routine one, complete. Ok. 12. 5a, 5b Scoop Demo & Explanation For Men: For most Americans. Hello my wonderful friends. Let's move on to the next section. We're gonna talk about a technique which we call the scoop. The scoop from a leader's perspective, is one of the hardest moves to get the concept around. It looks super easy. And when it's done smooth, it looks like we haven't done much, but technically it with found over the last 20 years, one of the hardest moves that guy's can get their heads around. Now, let us find out first why we do the scoop. The Sqoop is a technique which has multiple benefits. Number one is the ability to maneuver the ladies H2B line around the room. You could take the line from a to B and then pivot on B, go to a new point, C. So then they're dancing between two new points in a different part of the room. You could use it for many reasons. One, if the place is really busy and you want to maneuver your partner onto another space, I would use the scoop technique to maneuver around the room into a safer area we can dance and still free float or your TAM patents. There's another reason if you want to, if you have got the luxury of a lot of space, you might want to take up a lot of the room and have a more dynamic looking movement. Because generally SASA clubs are quite busy and you have about as much space as you are between your cross bodies to dance. So he got a good salsa club, has really busy then that's what you have. But with the scoop and you have space, you can maneuver around the room. So with across body, the lady is on point a and we open a door, she goes to point b. Okay. The scope will give you this freedom to maneuver your partner around the room when you finish your Sqoop, then it's the ladies prerogative to establish this is now my new line. But you've already told that this is where I'm going to place you. So you now your new law so you had this understanding which goes without saying you have this aqueduct structured leading your move in a structure around the room. And as soon as you plant your, your new point, then you start your ten patents on this new dynamic. Okay? So for the purpose of this video, I'm going to move the line from a to B, its pivot on B and move to a new point down a line. I could also go in squares and diagonals. But for now let's go linear, because once you get this, then the rest of it is just a direction change. So what happens? Quite a lot of things happen for the guy of footwork is demo's critical. If you get this wrong, then you're going to find a hard forever. So from a normal emission or your normal cross 40 we would have done is I have quite a few times now a normal crust 4123567, United my seven is where it should be on across body. But what a scoop. My seven has to end up very close to her left foot. Ok, that's the key thing. So let's start with establishing. To me this is when the scoop start. It starts on this, it's like a two bar sequences. They started at the end of the first bar. So we can slowly 123, then 567. Staying with defeat for now. On my eight, I have a pivot. I turned 90 degrees to my left. Okay. Our carry on this moon, but this time I stepped forward on my left for on one, when my weight is there, my two steps out to the to the right, then I do a complete flip free. Then rest of it just falls like dominoes is the normal cross body. 5-6, seven. Let me show you a slow motion. Okay? So and remember, always try and keep your leads really smooth and continuous. It's almost like if they, if they had a sound, it would be a hm. So this constant flow in your lead, it goes 123456781234567. Let's go from this side, still focusing on a state. I'll talk about the upper body in a minute. Fetus read 80% of your game on this. So he did cross body 12, free. You start your lead for scoop on seven. Look how close I am to her, which is very unusual, says Ladies really picking up something's weird about to happen. From here, my eight important, I'm pivoting myself and taking her with me. Saint frame you would have in a free 60, my hand is on the center of her back here. So she's tries to push away. She can't I'm containing her because you're going to do a a sharp turn on your 8123. So if you turn quickly, her energy will pull away because just natural gravity, which do G-force will take her away. So you container with your right bright arm with your left arm to hold in position. You don't need to do anything with this his whole position. Ok. So we're here and then we step on one out onto turn on free, and then let the 567 be a normal cross-border lending 567. Let's try again slowly and cross 23567812356, this side, 12356781234567. Now, for the guys, low, the problems come out of nowhere. But it's, it's the biggest difference I find with guys is that when you're doing this, this move, they feel like they have to turn themselves first. But as the scoop technique to secret it into his, Remember when you're dancing with your partner, you're turning, you have to turn together. And that's where guys create usually a problem. Is there one hooks back so quickly they end up opening up the frame. I'll show you what I mean. When I step on my cross body, 123456, 799% of the time, guys, we'll do this to me. One, they, they, they swing the one leg back trying to buy time to get round. They don't do the eight properly. So that creates massive problems. The lady starts philosophies being dragged around. So when you hear on seven, makes sure the eight comes into play. Then you step on one full weight out onto Dan free. You nail those doughs. Key points, your 78123, rest of its super easy. Okay. Try one more time. Can be tempted to hook back your one as it will feel natural because you want to change your left. But that's why you want to avoid when you go take your partner when you cross body. 12356, key seven, key, key one out on 23567. 13. 5c Scoop Explanation For Ladies: This is the scope for the ladies or the followers perspective. With the scoop. With this move, the leader can take you and your line to a different part of the dance floor. This is very helpful because sometimes popular cells are clubs, they usually get quite full. So if somebody else starts dancing in your line and you don't feel like you have enough space, then the leader can take you in a different direction. Or it can also, if you have loads of space, you can make the dance a little bit more dynamic and move around. That's the purpose of the scoop. The move itself for the ladies is not very difficult. The most important thing is that, you know, you're very aware of, okay, we're changing we change our line. So the line that you're dancing on, a and b, maybe you go further along the room, or maybe even change the orientation of the line. So you have to be very aware that by the end of the MOOC, where is your new line and establish your new line? So that's the most important thing for the lady. So in terms of steps, let's do it. We start with a cross body move. So we go 123567 on seven, the guy will, the leader will come quite close to you. So you can't do a big back step on one and you already know something's happening. It's not a normal cross-border. He doesn't let you go at the end. He steps quite close to you. So then on 1-2-3, you basically stepping on the spot. I go slightly back, 123. So the leader is moving around you. You're just sort of, again, keep stepping on 1-2-3 as always. But you're just sort of seeing where he's going. So maybe in this case we're going to go from a to b to c. But we could be going from a to B to C. So it depends on how much delay that is turning. And you obviously follow how much he's turning. So I'm just sort of stepping 123. If he's turning more, I go around this, these turning lists. It's very much on the spot. Okay. Let's do it again. 567123 crossbow, the 567123, now on three, and we're sort of leaning away from my leader and I'm also doing a nice hip out, okay, so you can bring some, some styling into it and make it look really nice. Okay, so we go again, 123567 on the spot, 123. So on three again, I'm leaning a little bit awake, creates that dynamic that I can go to the other side of the so freely in a way, stick your hip out to the site. Three, and then he's already off my lines and you know, this is gonna be your line. We go. 567 and you end up on spot, see here. So we sort of pivoted around spot B and we end up on spot C. So now you new line would be c and b, which will become your a and B. Basically. Let's do it from the other side. 567123567123567. Very important as always is your frame. So just keep your arms up and your, your arms connected to your body. That's usually what we mean by frame, is that your arms are connected to your shoulder into your shoulder blade to your body. So whenever whenever I'm being moved and move through my whole body, not just my arms like this. So keep them nicely connected. And then you move around. This is very important when we do moves like this, where you change orientation, you change direction, you don't quite know where you're going to end up. So you really have to be receptive to this leak because you don't know where you're going. Okay. Let's do that again. 567123567123, nice shape, 567. I just wanna show you one version where we go from a to B to C So you can see how your line can change with this MOOC. So if you show that jeff, 123567123567. So now you can see our line is this way. So on that 567, you go down you new line. One tip for the ladies, which will help the guys a lot, is this is a very difficult move for the guys. This is something which on exterior perspect perspective looks really easy. And when it's done well, it looks like nothing's been, not much has been done. But I can tell you from teaching guys this for 20 years. This is one of the hardest moves that guy who ever learn from a, from a, from a following perspective technically is not that challenging, is more about perspective about where you're moving around the room and hold an iframe. So when you're practicing with your partner and he's struggling, please be patient. That's at all the ladies, that is very, very misleading. The smooth. It looks really easy for the guise, but it's not. Especially when you go into more harder concepts. This foundation technique has to be really better than ladies, be nice to your men. Yes. All right. Let's try again. 567123567123. I just want to centroid this again on three. You're pulling away and that creates the dynamic and legal form down your line, 567, because it's really important that you pull away because otherwise you can't feel that lead. If if I'm not, as soon as I feel it touch and I go immediately up away from the target, then you will never create that pull that dynamic that you need to move. Let me just show you. So if we go 12356712, if I immediately go try to go with my partner, then I can't feel where he wants me to go. So I really need to go into this into this hand on my back, lean into it and then he can leave me. Ok. I hope that makes sense. Let's do it once more from the other side. You see the guys would lead you this on the free. And then you have the for to really hammer the starting element and then see you can use the free choice of very long free drawing deep into its fourth, watch how the account, if I kinda put an accent on the 4123456781234 is kind of a Posey hold moment, and then she slams in 567. And that's this group. 14. 5d Scoop Tips and Practice To Music: So let's put this technique together with some practicing on count. So nice and slowly we do is to understand the basic 123567. Now he did across body rumbly across buddies now ending with a long 7123567, continuing pivoting on eight, stepping on one 23567 with a basic again, 567, then across 2356781234567. Okay. The shape from this side, basic 567. We step 12356 cross 12356, long seven pivot, 81234567, basic 23567, 1235678123567. Music. 15. 6a, 6b Copa Demo & Explanation For Men: We know that. Hello lovely people. Welcome back. In this section we're going to cover the copper. The copper is a lovely Core technique has loaded multiple variations. We are going to show you two variations, one standard copa and the other one, the reverse. Okay. Now, just to give you a little history, the name copper comes from the Latin meaning cup. And because part of his position with a lady ends in toffee for the copa aren't in a position. I'll give you a quick demo just to show you what that means when we do the copa, One, Two, Three lady had his cup-shaped, hence the definition of the name. So that might help you a bit later on when you're trying to put a sequence together. So from a legal perspective, let's start showing how to lead. Personally, always lead a copper on the back of a cross body. Now, the artists find it much smoother and easier to send my lead and my intention of a copper. So basically I always look at it as I want to ask a question and get a reply in lead and follow. So by doing a cross body at the end of macros body, I can invite the question, say looks like this. So we'd go 123, normal. I'm gonna change my hand on seven actually passes by 567. Now my question is started, I applied tension, which is not normal for this position. Also, my body position has changed and now not on her line anymore. So she's noticing two things really quickly. One, I've got tension on seven to their space to go back to her point a. Now this will help a lot in reading what's coming up, which I find this is the advantage of doing a Copan and backup across body to do on a back of a basic. It can work. It just not as crystal clear and largest don't see many advanced dancers do it this way. So the more you get into this habit early, you're going to look more advanced quicker. So guys, we've got our attention. Golden tip number one, you've got attention, naturally, the lady on eight, we'll go back on one. So we don't need to push. I know some of you might not push already, but there's a habit guys thing by helping to go, pushing and pulling you, helping you. But you're not, you're actually making difficult. There's actually not a single move I do, where I push a lead, I invite a sequence and then have her response is to follow. So I don't need to push her into it. Working on the guy's lead. Attention still on seven, we offering the hand on eight. So when we break, when the lady breaks back home one, we also without frame step back home once you create this tension that we have done previously under free 60 sin kinda feel one, again. One you want to get his tension going. So you go one. So dema secret as I step on 11. Open up to free. So I'm almost mirroring her step. And then I wait for her to complete her tan and outer Step. 567, like closing my cross body on on a normal cross body. So the 5-6 seven is what you should be very used to. The 123 is stepping very tight and underneath your hips. Let's try that one more time. I show the other side in a minute. So he's stepping 123 and then you wait for her. And 567, obviously, the lady travels long, you have to go with it. That's what the steps are, not an exact science. There's something where you have to always adapt to your partner. You could dance with ten ladies and have ten different variations of the distance of your movement. But the basics of St. I. Still wouldn't break back a big one as a big no-no. You're making us all very heavy and and and uncomfortable to dance with. Let me show you flip side. So we're here. We've done across body. We've got a handle on seven, we're offering a hand on ate. My leg is ready to come back and notice my whole body goes back on one. I'm not just doing this one. Okay. One that's wrong, then I'm not getting until I stepped back when my whole body 123. And then as you close the door, 567 and close enough like arrays and over my head would adding to lean forward or back. So from a lady's perspective, it's very important that you lead this are first of all, changing your hands in time. So really nicely transition your hands in time and offer you make it really visible. Then what Jeff just said, don't go grabbing the ladies hands cause we might decide to just go 12 and then come and meet you. So it's like asking a question and it's a bit like your offering and then the ladies consent, you know, the ladies also agree to do this move instead of just grabbing her, forcing her to do something so we can see your hand. You're offering very clearly and then we will come and meet you, okay? As being a sympathetic leader, you kinda always inviting the lady to do her styling and show her color in her dance. You want to not always look like you're rushing. It restricts the ladies days. They spend loads at time trying to learn styling, give them a chance to do it. Watch how I can allow greener to open up and do styling. We have loaded time to pick up the hand. I'm in no rush to get the hand. 1235678123. By three, I get the hand. So 81 to she's got all the time to open up their hand and style so you don't have to rush from here, simply shift 567. So on three, it's also important that you're close enough. So 123, you want to be right behind her, like this. So there is not much space between us because if you're too far. Away from her, then you pulling the lady out of her frame. Okay. So make sure you're nice and close. Just behind her. And both of you are facing the same direction, the site. Okay. And then this this hand, you just put it there to signal a stop, but you don't have to physically stop her. Okay. It's just sort of signals a stop like this. And then we go into our turn, make sure you do a nice halo over her head like always, and then bring your arms down at the end. For the guy, just remember when you're doing across body that she has the line. So when you're prepared by seven, you're completely offer, right? Your line is parallel like a rain luck, a train track arrangement, like a rain jacket train track. So as you do a cross body are now parallel on her line. I'm staying parallel to her line. So her line is still open to go back to the copa. And then I'll close it at the end of the sequence, 123567. Okay, so let's go for the copra reverse. The copra reversed starts the same way. So much of it is exactly the same. I'll show you which bit the gain changes. Okay? So grow again, cross body, 123567, the same offered a hand on, on, on here. And then we break 12 free. Now it changes x0 times x0, starts shifting her weight to go over on four. I can feel she's gone to five by now it's too late. So what I wanna do with the reverse as essentially lands on free, on free end, on the syncopated. Before she had a chance to shift over her weight. I'm sending her now to her right. A shader again. It goes 1235678123567. Very important. And that you catch her as well. It's very important to understand how these coppice work, because when you understand where her weight is, you can manipulate the movement very smoothly without her feeding that she'd been pushed around. So remedy cat a sushi lands on her free. So her shift will be on free on her, on her right leg. And then she's going to naturally want to come back, which she doesn't narrow versus coming because you haven't telegraphed it. All you've done is you've quarter on free, then straight away, have five now goes that way. 567. Ok. Let's try that one more time and I show you the reverse cross body. We go one, two, three, five, six, seven, eight, one, two, three and five, six, seven. Am I lead was like my axon was saying free and essentially land on free, free and not before. Otherwise you're gonna throw up balance straight on free and let's try to site. So again from across body and 123567123567123567. So for, for the leaders with the copa, it's a lovely move in multiple options. Four, to expand your repertoire. So just focus on these two for now. Nailed on how to lead it. Make sure you're always off the line. Because if you're not if you're on her line, the lady's gonna read something completely different and makes you stay off it and you've got that tension, correct? It should feel like a spring. And we do hit when I step back, tensions you my arm's not bouncing around, is staying quite tight, keeps the elbow quite close. Same with a lady. That completes the male section. 16. 6c Copa Explanation For Ladies: In this section we're doing the copa for the ladies or the followers perspective. Okay? So in the copa, we are starting from a cross body. It's just easier to get into copa from across body or it can also go into the copa from another move, obviously virtuous following. But in this version we are going from across body. So we're going 123567. The leader should change your write tan into his right hand. Ok, so we're ready for the copa. Also, he's staying off your line. So you already you feel that tension and you see that line being open. So you already know, probably you're gonna go forward soon, but please still step back on your one. So we're going 12 on 80 is also offering his hand like this. And what that means for you, you join it with your Left-hand. So we have right, right, left, left on top like this and we're joining palm to palm. Ok. It shouldn't be grabbing your hand, He should just be offering your hand. And when you see his N, you join it with yours, you consent to the move. Okay, so we go 123. So I'm doing normal, basic back on 1123, I'm opening up my body to decide on three like this. Okay. So we go 123 open up. At this point, you wait, she is mainly on your right leg, but you should sort of be in-between. And the reason why is that you don't know which way this move is gonna go you in the normal version, in the standard version, we're going back to our left, but we could also be going to our right. So at this point, really be receptive to delete and have some weight on both feet so you can go either way. Okay? So we go with the leader. We go 12. Thirdly, he lets go. This version, he can also hold both hands, but in this version with teaching now, he lets go of your right hand and puts his hand on your hip. There should be a gentle touch just to stop you. And you can do a nice styling to the side with your arm. So just normal unfolding arm to the side. Then this arm needs to be very well in frame, very collected so we can feel which way it's going to go OK. Then on 567 and the standard version, we are going to do sort of an insight turn to our left. So we go 5671, okay. You turn back to where you came from, from this point, B, go 1234, and then back to where we came from. And on the same line, you still own, owning that same line. We're going back 671. So it feels a little bit like an insight term at the end. Okay, so you're own, your steps should be on the line, turning one and a quarter times. Okay. Let's again, 567123567123. You might do this move. You just keep going with your basic. Let's do it from the other side. 567 crossbow, the 123456, so pans and 1235671. At this point, I have to step a little bit more than just the normal 5-6 seven. So you take a few steps in between. Let me show you again. We go 1235671, then you are also ready to do multiple terms. If the leader decides to go into cobol and then do a double turn, if you go 567 and then back on a one to three because you are doing more than just one turn. So you're a bit more flexible with that and you have a bit more balance than just doing 567. Okay. So what I'm doing with my leg, so I'm going 123567. Step back on 123. So instead of going 567, you take half the doubling time, the step 567123. Okay, let's try that again. 567, cross body, 12356712356. So one to city. The steps are very small. And sure you could see that I'm not picking my leg up a lot when I'm turning and just sort of go from one foot to the other. But be very clear that you go 5671. So you have to write lake to go back on one. Let's do it one more time from this side. 567123567123567123. Don't feel like you have to travel a long way. Keep credit close to your partner, but make sure you end up on the other B. Let's do the other version, which is the cop-out reversed. It starts exactly the same. We go into across body one. 3567 go into the copa, 123. Now this is when it changes. So this is why we have to have our weight on both legs. Because now we're going to our right, instead of going back, we're going to our right. So, uh, here. And then on. And already the leader is if he's good, he's already raising his arm. And only step here on five. Okay. So we're here on 345 and then we keep turning 67. So this time I'm not stepping on the single patients, some not stepping on the ends. I'm just taking my three steps like normal. Because on the five, I'm already turning. So here I'm free for I'm already starting to turn five of already done three quarters of a turn. So you have more time to complete your turn. Then in the original version. And then we go 67. Here, it was easy to get around. And then we can just go back into our basic. Okay. Let's again, from here, we go into our copper 123, start turning 45678. As always, when we turn, Keep your spare hands. You're free arm up here in front of your rips, nice and engaged to your back and nice, visible in front of you. So the leader can pick it up at anytime and it helps with your posture. One more time. We go 12356712567123. From the other side. We go 123567123567123. So you can see with the standard version on five, I'm just stepping back to where I came from and then I have to turn into counts. That's why Meany and steps. That's why you have to step on the Cinco patients on the reverse version, we already said appear on five and then another turn on 6-7. So you have a lot more time. But for the Coatbar, for the ladies, most important is the connection you have from your shoulders into your arms to make sure you feel which way the leader wants you to go. From. What really helps leaders from a female perspective is when I give Karina copa, She doesn't know which one I'm going to do. It helps me a lot when she only assumes I'm gonna give it a standard version. So in my head, then I know exactly where her weights gonna go. So Dennis, down to the skill of my lead to manipulated the go to reverse or not. So if I did nothing 123 and do the standard cut copper to free, she should go flying that way. So you should always assume he's going to give you a standard copper because then the guy can predict your energy flow if you start trying to help him and predict him and trying to anticipate a lead, then it becomes difficult for him to lead you because you might not be what he wants. So if you make some mistakes and that's just the guy's problem, he's made a mistake. There's nothing you can do about that. You'd have to just smile and I just encourage you to carry on. But when you lead, when they lead you 123, assume he's going to give you a standard. And then when the guy skill he jumps in early and turned it the other way. So if you have a nice strong frame which we want you to completely maintain the entire time. Strongly reframe, the more consistent your response will be and quicker. So as soon as I'm changing direction, everything is following instantly. So ladies, try not to predict. Very difficult as humans, we very naturally want to anticipate and be slightly ahead of the game. In followers, this what techniques are built for to give you this ability to react quickly. So in general, as a follower in never tried to predict What's coming. Even if you dance with one leader a lot. If you have a partner that you dance with a lot, you might be tempted to predict what he's doing, but just try to not strike, to always be receptive to his lead and just follow. And this move is your first test to how receptive to his, to his lead and how good you are with just following and not trying to predict which way it's gonna go. But as Jeff was saying, you think you're going the standard way, that's what you're thinking. And then if he wants to do the reverse version, he really has to be clear with delete. 17. 6d Copa Tips and Practice To Music: Let's for a practice routine together so that we can get to grips with the copper and the corporate reverse. So starting with a basic, this is going to be our many routine for practice. Basic 23, cross body 67 were cross to free change hands. 6-7 offered a copa 1234567. We do basic 23567 from the other side, 12356, copa 123567, and basic to free 567. Okay. So you'll notice in the beginning we're adding a lot of basics in between. But at this level, that really will help you a lot. So don't be, don't feel like you have to rush into one sequence to another. Generally, it's very uncomfortable for the lady to fill that she's being bombarded with a ton of sequences. I know guys think by getting closer moves, you're gonna impress them, but ideally you want to do less moves with more quality that we're really, really hammer home. So for now, let's add a basic in-between most things. And then eventually you'll find as you get more comfortable, your muscle memory will take over. And you'd be linking things very smooth, which we'll be doing more in the intermediate, advanced sections. So one more time from the top and then I'll go with the reverse. So we go basic, 123567123567, we cope or 2356 basic and 12356 cross. 12356123567. Okay. For a little tester for you. Instead of doing a basic Now let's go straight across the body from this left-hand position. So all you're gonna do is the same foot work, exactly the same. All you've done is one to pick up the left. 567 changed hands. Offer 123. And remember that the secret to the reverse is you catch it before she had a chance to go to her left foot. So 3567. Let's try that again. So we're left with left. This is going to be the segue between the standard and the reverse. So he gone their food left over the head. 12 free CD offer 5-6. See the hand change on seven offering, 123567. 123. And then you have a side, 6712356712356712356. Complete. Okay. So this is a routine that there were going to the practice. But one little tip I can give you at the moment, we want you to kind of stay with the with the predictable format of the lady notice standards coming, the lady knows or reverse is coming. But after this practice, when you're comfortable, the techniques give yourselves a little game. So guys don't tell the ladies if you're going to standard or reverse, just leave it. And ladies, don't try and predict which one and just try and always follow it and see which one is going to give you. Because the beginning looks the same. It is up to br free of the copa should feel the same as anyone if he leaves you early is going to be reversed. If it delays, it allows you to travel back is going to be the standard size that little game and just play with the variation. It'll certainly help wood you're leading and following practice. So let's put a routine to music and practice. But much of the credit. 18. 7c Spins Explanation For Men: Hi, from this section, I'm going to cover the spin techniques from a leader's perspective. How to support your partner in spin, how to prepare for spin, had to give it a little clue, sounding like a spins are gonna come along and just genuinely be quite supportive in the spin technique. As Guys, we have to respect the fact that spin technique is probably technically the hardest technique lady will ever learn. So you do have to kind of be quite sympathetic to the lady if she even issues a great spinner, sometimes they might have an off day. That's where you have to be on you're a game, so make sure your technique is very good. And the reciprocal, sometimes a guy was not a very strong leader in spin, can really destroy ago who's a very strong Spinner. It doesn't take much to a girl off balance. So you have to be very do focus on spin technique for the guys or around. So let's start with preparation. So first of all, I know how lady prepares. The lady would prepare on she prepares on 123 and starts drilling straight off the free 567. So I will use the previous bar, usually around 78 to give them a bit of a warning. So from a standing position, my 5678 already starting the warning, then 123, she's prepped. And then, and this variation, I'm going to give the most basic common version, which is my right-hand with her left. Okay. And in this you notice, first of all, my pen is firmly facing downwards and my wrist and Monaco and my elbow, or almost on a same plane. Okay. They're a little bit taller. You might have to adjust a little bit shorter, you can adjust. But generally, what I don't do it break and what will my wrist. So and I'm spinning. I don't do a mix and match. It's more the pin stays down and it, it draws a circle. Hence why we call it the halo technique, because I'm literally polishing our halo. As we know all goes at angels means that keep them nice and polish the halo. So your technique literally replicates what the lady would do naturally. Now the ladies frame would hold a hand and he spins by herself. You see the technique to hand literally stays here. So she's, she's drawing a circle up. So you could say she polishes the underside of the halo and I polish the top side of the halo. It look at it like that. And then you join it in the middle. So you have to compliment her spin, which is really important. So mixture you're spinning hand has this halo technique and this technique is not specific, just spin. Everytime we give them an insight to an outside turn, still following halo. That's really important for you to remember when you're turning. It will feel natural to do this, but the only messes up their frame and a lady not strong in has been technique will really suffer from that. So by being a good stirrer, you make them spin better. Okay, so let's try again. So we've gone from here, we've gone upon 78, you come to about 12 o'clock and then an inner circle down 123. So you're ready. So now your hands in position, you want to make sure that you can reach the halo. If you're too far apart, then you, then you are nowhere near her Haider range. If you're too close, you endanger getting whacked by the LBO, okay? So you want to be quite receptive of where you are in your positioning. Now, this is quite tricky. Sometimes you have to kinda judge it. Sometimes it's minus stake, sometimes it's related mistake, but you have to, after a while, you learn to fine tune your positioning. You really want to be aiming for. You put your hands straight to be able to pen just behind her head. Okay. If you're too far here, she's going to have a tilt towards you to close your gonna pull away. Ladies, when they're more experienced, we'll be able to give you support by adjusting to come forward and back. But you shouldn't rely on that. Try and try to make as least errors on your perspective. So you support the golden much better. If your partner is already a strong spinner, you might not notice the flaws in your technique until you go cause someone that is needs your support. Okay, so do practice spinning with many ladies. So let me show you from this side the preparation on 781 to free and ready for spin, 567 and and to stop the spin, drop the hand. If you keep your hand up, she might assume you want to do three or four, she might not be ready. So my positioning goes 78123, spins, spin, dropped a hand. So if it's spinning free, dropped her hand after free for so I I don't walk into one golden tip. I don't walk into a spin planning seven. I want you to spin planning to three or four. Always optional depending on what the lady. Sometimes greener, could be tired and only do four. Sometimes it's energy six, sometimes full of energy. Many Sometimes you just tie dance too many times in time for arrest and 2s enough where I'm sensitive to that energy flow. Also, it's very important that just building on what, what turf to said. Sometimes the lady might not have to write footwork where or the floor is a bit different to what she's used to. So try like 2 first and then if she walls or she's not, she doesn't like spinning, then maybe don't spin that much more. Because you dance with a leader and he just keeps spinning you when you're not in the mood for spinning, maybe you also had too much to drink or you feel a bit dizzy from a previous stance or something, then don't try to force it because this is a very difficult move for the ladies. So just be sensitive to that. Then in terms of preparation, make sure you're preparation is very clear and very big and confident. Okay, So the lady has confidence in you as a leader that you can lead a spin. So make it this circle. So we draw a circle, make it really big and clear. And then when we do start spinning in class, sometimes I feel very little support from the leader. So you really lead the spin. It's not just, we do tell the ladies that they need to practice it by themselves, but you really can help. Ok, so I have to really feel this, this halo going round you leaving this spin. Let's practice again. 5678123467. From preparation basis, I find it much more comfortable to lead the prep of across body. I find the energy of the ladies movement. Helps me send a signal much clearer. So usually I would always go back up across bodies. Let's do a couple across bodies, then strain to spin technique. So we do a basic first 12356 crust body, 1235678123. Notes I used my 123 on the spot, but if I was far away or used a 1-2-3 to move forward or move away. At that moment, she had a perfect positioning, so I was on the spot. So by free I'm hearing ready and there my hands ready to drill the spin halo, halo. Done. Just one thing that we also helps. Slavery is a lot if you are close enough, as Jeff said. So on the 123 we can let's list that on the spot so we don't have to shift our weight if you're too far away and you pull us towards us, towards you on the 123, then I have to step forward, shift my whole wait before then I have to spin. So it's really helpful if you're close enough already before the spin to oppress me straights, I can step straight underneath myself and my weight is in the right position to do the spinning. So not a top technique which are used quite a lot is, is I'm very crystal clear as to when I'm going to spin or not. So what ladies develop an intuition as to when it's happening? So there's a real, there's like a secret clue that you want to offer is, as I do across body, if I'm going to start breaking away on 567, I'm never gonna give her spin technique. So the lady will never pick up on that technique. So don't start doing across body being far away and it starts spinning. Now to rush in, you've given the wrong signal from the previous bar. If you want to give her a prep, I would go 123, get close. 67. So by seven, already massive alarm bells have come across from me to her. Spin. Possible spin is coming. So our prayer, prayer and drill. Okay, so intuition is really important. So be careful guilt will pick up on your body language to pulling away from her and gonna go into open break. She's not going to expect a spin because technically you're too far away to deliver a spin. But if you're close enough, there is a high chance. Not always because I could easily do across body. Look like I'm doing a prep, but then Baylor and do across body into something like that. But the lady preparing rate, so for her to get out of it is quite simple. So don't be surprised if the girl prepares when you're that close because they're trained to expect the unexpected. So by preparing for a spin, they're ready for almost everything. So be careful what you lead. So when I lead my preparation, I'm very aware of, of where my body language is as a really golden tip, if you're going to prepare your lead, 123567, don't shock them with 1-2-3. You really wanna get into this, this whole concept of having a little warning before the preparation, like a pre-prep prep. So if you watch my pre-prep, 123567, pre-prep, prep 1-2-3. I'm preparing her to prep. So there's a lot of warnings in a fast song where songs are going super quick. This pre-prep is almost, it's essentially becomes an essential technique to help the lady look like she can dance calm and relaxed and gives you the knowledge that you know, that you're telling the lady way in advance, if that is not picking up on this and a lady struggling with a spin, please don't just keep drilling because that's you've got 20 versions of a spin technique for the lady. Do keep it quiet and respective REM respectful to Lady, to struggling. Don't keep drilling. Some ladies take time to learn and it's a difficult technique. One final tip for the guys is I've found that when I was learning spin, I was getting really good at spinning. But when I learned to spin like a lady, I'm are down GR and spinning that much as a leader, I don't do many spins when I'm dancing, but I do know how to spin. So Because when I learned how to spin, I'm very I'm very in tune with her body. I can feel if she's off balance, I feel it. I pull out. I don't just keep drilling because she's warbling. I'm going to try and help anyway. So don't be scared to start a spin and then get ready to pull out if you feel it's not happening, it just makes you a very careful dance. And angles prefer that better to do two spins well then drill through can and just hope for the best. You can even stop off the one if it's not going well, a lot of the lady spins quite slowly and the music is, is continuing obviously. Then you can also just do one with that preparation and then continue. 19. 7d Spins Exercises Ball Change: Welcome back my level of defense. In this section, we're going to give you some exercises, which we call the board change and a clock and spotting exercise. These, these exercises will help you in your spin technique, but also it gives you a general control of balance, frame posture. Really good exercises for if you're doing travel tens, moving, shifting quickly at adjusting your feet, load. These are nice exercises which can take some time to land, or you might do it quickly depending on your history, but it's a good practice for your dancing. So let's start with the board with the bowl change. Ok, so starting in this position it for Iraq for incidence center. Step out to your left. Practice getting your feet in. See you come in one step in, in, in knowledge do half turn. So you're gonna do N and half turn. And still on your right foot, back again. In in and then half-time. Still shifting, still keeping your weight on your right foot. Okay. So with the board change, where you want to do is do a full spin on one foot. So you bring the foot ten, spin all the way around, ready? 567 and n. Turn. Your foot is still right foot down, then you bought change onto your left and then step out with the right. Now, where does this bring a couple of times in. Get ready. Get ready. Half-term. Which weight still on my left. Okay. Again, say bring in one to half turn. Which great. Ok. Now for a full turn, ready? 56, 7's full turn. Then shift weight. So you're going in the balls of your feet. Okay. That's what the feet are going to be doing. Your arms for now. I just want you to kind of keep them just just about Kikee purist about elbow height. And sometimes it helps to kind of hold one finger and pull the finger apart. That will now create tension in the back of your shoulder blades. That's a greedy, great way for trying to keep frame. At the same time, trying not to slouch. You're still we're always in his frame position where we talked about in the bigness section, where we have a soft bend and our nice anterior tilt on her pelvis. Chest is slightly forward and and our shoulders relaxed and up. So this is your spinning position when you're practicing any exercise for spinning or turn patterns literally work on keeping your frame engaged the whole time. Okay. Sometimes I use like a rubber band, elastic band and pulled out that keeps that keeps the back of my shoulder blades engaged. Okay. Let's try again. So let's do a full spin and then step out to the right 567 and turn to step out and turn, change, beat, step out. Tan. Change feet, step out, turn, change feet, step out. So timing on the slow version for, for practice, practice it slowly. Don't try and go into the full speed version yet. So the count will be 1234567123456712345671234567. What you want to avoid in the ball change is the purpose of it is to keep you centralised. Your aim is to stay on the spot. Otherwise, if you don't do that, you end up this traveling. You end up turning, traveling during cross tanning, traveling, going cross tanning, traveling cornrows is the object of the ball change. It becomes super useful for leaders when they want to do a TAM Patton and spin on the spot. And the quick sharp tan for, for ladies essential for spinning. If you want to stay on one spot, this board change will give you the ability to, to, to transfer weight mid spin. Let's try one more time at whether left for trying to find your balance and practice trans down one foot. If this is a struggle for your stay here, bring in and wait. So you build up in layers. And then hafta and wherever you feel you need, that's where you're at. L1 starts summer non started going straight into top spinning. Edwin worked and practiced and trained hard. Okay. So nasa slowly step out for 10123456712345671345671234567. So you've practiced that a few times, five minutes a day, ten minutes a day, wherever you feel you need and you feel more confident. Trans speed up. The movement is that there's full speed version from here, niceness kit, ready? So we're gonna go 123 out, 56712345671234567. Okay, the whole time. If you wobble and your success rate at the moment, it's only one out of ten, then that's where you are at the moment. That's not a big issue. Just keep practicing and build up your success rate to get to our 1046810 out of ten. Eventually, you're hitting it back-to-back. You'll find that if something's wrong in your spin technique or summing the guys are doing that's not working very well. Then this might fix an element of your, of your exercises which will give you the tools to become a good spinner. What we found was that with spin technique, there are many elements that need to come together to make a perfect spinner and a perfect term pattern. Just doing standard traveled tens. So do practice all of them. 20. 7e Spins Exercises Clock: We're now going to do an exercise called the clock, which helps you with your spinning for the ladies and for the leaders. It just helps you generally with your balance in Don's. Okay. So we start like this. Then we put one foot out like we did before in the in the bowl change. And then we close that leg. Actually just have your hands in front of you like this. So we don't use the arms and we also don't use our upper body the upper bodies to staying still like this. Shoulders over hip bones. Okay. Don't try to twist like that. We don't help if our upper body keep it very still and controlled. So put one leg out and then we close our legs and we turn quarter of a turn. So just like this. So for the ladies, this is very important for you that you snap your foot together. So alike we do it in the double spin, only open and then we snap, sorry, my valence. If when you snap your foot together like that. So you can practice the action which is very important and it gives you a lot of momentum and sharpness to your spin. So we go again, put your foot out and then snap it together and turn. And then again out, turn out ten. So the goal is really to just control your body without having all this, our movement or upper body movement. You just literally snap your feet together and you try to squeeze everything to turn a quarter of a turn. And then also, it's important that you turn on the balls of your feet. Make sure you know none of your weight is on the heels. Have you wait slightly forward so you're on the balls of your feet and that's where you turn. Let's try again. Let's do it to the other side. We go snap, snap, snap, snap. And then when you once you're comfortable with that, you can do half a turn, and then later on even a full turn. So let's try half a ton. What you like. And half a ton out, snap out. Again, half a turn, snap. And the other side, half a turn in, out, in, out, again, in at, in, at. If you feel comfortable with that, you can do a full term. Let's try to layout and so and the other side. And just don't get tempted to start twisting your body a lot and get the force from here before should be within you. And then that snap action. When you do the full turns or also when you do the bowl chain, she can practice you're spotting as well. So what we mean by squatting is that you look at 1 and then snap your head around. So a very basic exercise is to just take little steps around and then snap your head so your body goes continuous and your head goes sharp in one count. But you can also practice that in the bowl change and in the full turn of the clock. 21. 7f Spins Exercises Practice To Music: But I shake you say 1234572 to the four by three into h four by 4234. Regular Vic said much, much, much, much, much faster. And so the events, which are designed separated into two sentences. 22. 7g Spins Exercises Tips: In this section we're just going to cover some tips and practice for your spin technique, for lead and follow it. So for the guys, when we leading one tip I'll give you is in the beginning when you're just getting used to the timing of the spin and trying to judge your distance. It helps to keep your feet moving throughout our know, you'll see a lot of advanced dancers dance quite static, but they are quite experienced. They know they're in the right position. By that, I mean, when I prepare my partner one to free, keep stepping. 67. The advantages are by keeps stepping, I'm holding my timing and at the same time, I'm adjusting and constantly on mottos, moving with my partner. So she's drifting left or right, backward or forward or staying in a spot. I'm still said adjusting their student off across body. Across body is step 123. Notice my feet. 67, I step, step, step by step, step, step. So even there was a slight drift there. I didn't look like I was being told. Yeah. Especially if you dance with less experience spinous, they might lose balance. And then you find it difficult if you have your feet planted steady to suddenly follow wherever they're going. So yeah, keep stepping. What Jeff said for the ladies. Have one little comment, more than a tip. We teach this preparation so the circular movements with the hands like this and this is signaling you spin this coming. This circle can also look very different, but we'll teach you more variations later on in the intermediate and advanced courses. But internationally, you will come across and other preparation which is just side to side. So that will look like this side-to-side. And that will also tell you that spin is coming is another sort of preparation for a spin. So I'll just let you know that this also means spinning. If we go boom, boom, and then into spin, just prepare me into a spin. 123467. So that can also mean spinning for you. So just so you know that you are preparing your, your steps into a normal spin. Just the preparation is different. Historically, when the new spin technique came in, this was quite traditional, kinda do lock a you perhaps site to site prep, who's quite normal as a dances evolved, we found that doing the circular prep gives you more options and allows much more fluid combinations to just a manifest themselves. Also, circular prep gives a bit more of a warning for the lady. So some ladies prefer the feel of the circular prep. And for me it just, it just allows me to have more combinations and permutations of my patents. So your choice if you want to do what you want to try both and then you choose the one that suits you. Usually, this circular PrEP is preferred with spinach. 23. 7h Spins Practice To Music: Let's practice. We're just gonna do a basic across body and then into a spin and then the same thing on the other side. So ready 567 basic 12356, cross body B1 to free prepared the spin, keep stepping. 63567, brick the hand, cross body and 1.2.3. Get ready. 6781234 steps, 67, basic to free. One more. 67, 12356. Prepare 1234 steps. Seven, basic, 23567. We'd music. 24. 8b Routine 2 Explanation & Practice To Music: Hey my lovely friends, we're back. We're going to show you a routine at combines some of the techniques we just covered, the scoop, couple of variations or copa and the spin technique. Let's get started. So if you're finding it difficult any point, you can always add basics in between. But we're gonna give you a diversion where we'd go straight through. But please, anytime you want to add a basic or across body and just to give yourself some time that's perfectly normal. So starting off with one basic, we're gonna set the basic 23567. Going into the cross body and scoop, we step 1235678123567. Next is the copa stray in 123, 5-6 change hands on seven or four on a break back on 1123. She doesn't inside turn 67. So combining scoop would copa straight in. So reading one more time. 567 basic, 12356123, ready to scoop 678123. It follow in 7123. Prepare copa 12345678. Should do the other site. She basics one basic and 12356 cross. 123567 scoop One, 23567, copa 23567123456781. Okay, moving on. Great. So we're here with our liquid left. So I, I almost never just let go and transition hands. I have a segue and link myself nicely into the next movement, perfectly naturally. So it's almost looks seamless. So try to avoid just doing handshake. So I'll do, in this case, a very simple hair comb. I can either hair comb her or myself in this case, I'll just do me. And so from here when I do not want to stop our cross body straightaway, I'm gonna go over the head one to free offer my hands on my left hand. And she picks up five, slugging under 167 straightaway into the preparation for the spin. 123. We spin 67. Let's do that again. So we were left with left. That's how we ended up after the first two sequences. So moving in straight into cross body, nice and slowly. 12, free offer, don't grab is not as nice offered a hand shall pickup 567, start your double. 123. 567. Once again, from this side, left. With her left, you're going to walk in and give yourself a hair comb, end it across body. Slowly. We go 123 from here you notice I'm doing an author, not a grab is kind of a very much an advanced trait. Always the guy's offering hand and never go for the smash and grab it. It shows that you're dancing quiet, calm, and give the ladies also time for styling. The more tiny, give them more relaxed. They can move around you that they're consonant, worried about being rushed and picked up. Okay. So you're offering and then as he passes by five, Sima right-hand now goes down her left arm. 67. As I know, as we worked on at Double preparation, you know that our double prep starts on seven. So since I've gotten seven upon eight, then I land 123 into my spin, 5-6, seven, as did I get your liquid left at the end of the first sequence. From here, walking in with their hair can't start in across body straight away. And one to free offer slide 67 prep, 12, free. And 567. Let's go from the beginning just to combine it all. 567 basic 12356712356, Scope, 12356, cross buddy on 23 into the copa, 56712356712356, spin 123567. Just to finish it off with we, we end with a quote by reverse. So we do another cross buddy to go into it. We go 123567 and copa 23567. And that's the end of the routine. Let's start from the beginning from the other side. 567 basic 12356712356, Scoop, 123567123, 56 coca, 12356712356123567123456, reversed 123567. Let's do it one more time from here. 5672356712356, 2p 123567123567 corp but 1235671235671235671235671235671. You can see, ladies, that if I if Jeff doesn't grab my arm, immediately, fetus offers his hand and I can choose when to put my hand on top. Soon that then later really, if your leader offers you hand, you put it on top quite soon, but you don't have to don't look desperate and go for it immediately. You can do a little styling, little nice soft arm on the side and then put it on top. So don't grab it immediately, unfold and put it on top like that. So a good tip would be if you use this routine as your base model practice for these core techniques, we've done simple versions of all of them. We just put them together. Not many breaks, but if you do need a break, please do. But remember, you do try and aim towards trying to get them working back to back. That's kinda how more intermediate, advanced dancers move it or dancing date. They lessened the basics and put much more flow back-to-back. And much more importantly, if you're struggling with his techniques, stay at the base level core version of them. Drilled em really a lot. And then when you go into multiple variations, you'll find the variation is not that hard to adjust to. Debase models are always the ones to practice done most once you get them moving organically through your system, then everything will feel quite easy afterwards. Let's see some clothes in the Nexi. Sounds interesting. He's not one of them then. Why not? Exact? It went okay. And then let's see.