Bachata Partner Work Ultimate Course - Improvers Level, Part 1 of 3

1. SS Bachata Pw V2 1 Intro: Hi, my name is Karina and I'm Jeff to opinion, and we are part of incognito Dance Company. Welcome to the Vishaka partner of course, for employers. In this course we're going to build on all the core techniques that you learned as a beginner and really show you some new techniques and a way to pull this stuff together to give you more rounded experience as a dancer, please do take your time in this course, especially in the first module, which is body movement. This will define how you look as a bar chart that answer. And there's something that we work on all the time, even as professional dancers also will give you lots of tips for your leading and following, which will improve the quality of your dancing in general. And moving on to the next levels. In our experience, the dances that spent the most time at beginner and improve a level really have a good quality of movement. So do take your time as you need to go over any of the core techniques. Do go over them as many times as you want to. Don't rush through these techniques. They're super important and it'll give you a solid foundation. Let's get started. 2. SS Bachata Pw V2 2 Body Movement Explanation for Men: Hello guys, welcome to the start of our improve a course. And before we kick off, I just want to show the guys how to do your basic movement. We're applying a lot of your body from your feet to your knees, hips, chest, shoulders, arms, and head. So as a, as a dance when you start getting into improve intermediate level, you want to start looking when you're moving more like a dance as opposed to someone that moves quite static. Remember this dance, there's loads of lovely moves, but we always say is far better for you that you do a few moves. Well then 2030, 40 moves, quite bland and basic. So I'm going to run through how each body part moves differently during your basic movement. Okay, So starting with defeat, if I was to move with nothing happening my body, my basic would look quite flat. So, so like a majority beginner dancers, when they start off, they don't actually associate much body movement with the steps. So what happens is a lot of people's basic steps, they end up just doing something like this. They just go step, step, step, step, step, step, step, step. You notice nothing is moving, shoulders, hips, nothing. The only thing moving really is my feet going from left and right in progress forward, nothing's really moving. So I want you to get up, I want you to get away from that and go into using your literally every body part to make your body look and feel different. Okay, So when people watched you dance straight away, even from the basic DOD know that you know quite a lot. So let's get into it. Number one, the feet, we're going to work our way up the body. So piece by piece, you might find some parts of the body you find quite easy to move and some parts you don't. Generally I would say, and do practice your isolation. We have a lovely isolation cause for you, which grows in tandem with this one. So do you practice that one a lot and you'll find that the first month or so you start feeling changes after a couple of months, you see a lot of changes. And the more you do it oversee, the more you can isolate and they have control of your body parts as and when you do it. So defeat the Thetas always, what you want to think of is your feet are always in a ballsy thing we worked on earlier. So just try and maintain that the whole time. If you notice here, at the moment, I'm kind of standing and there's equal pressure on my heel and the balls of my feet. You want to have a slight tilt forward. So you're on the balls of your feet the whole time to the point where I can put my foot down and my heel moves freely. But the balls of my feet constantly in touch with the floor. If I go too far forward, it makes mottos cramp and have like a clear effect. You want to back off from Nazi, see a toast can still feel relaxed but without putting pressure on your heels. So this is where their feet are going to be the whole time. Right. So let's just get that one out of the way first. So when you're stepping, you're always thinking balls of the feet first together. Both of the first tap pull, heel, toe, heel, toe, heel, tap on bowl and bow, heel, toe, heel, toe, heel, tap on bu. So just have the emphasis monopoles with it. You'll feel unusual at first because you're constantly walk normally, always kinda walk. Heel, heel, toe, heel, toe this way now we're on ball heel. Okay. So that's a general feet. Staying with the feet for now. I want to show you how we use the steep and a nice at the same time. So during a basic, sometimes in the music when I step 1, 2, 3, 4, I can drop a little bit and a four. So what I'm doing with my knees is having a short drop that. But so that could be on a four or an eight, depending on what I hear in the music, I might hear something quite interesting on the eight, I might go 12345678. So I'll just give myself a little drop on eight. When I drop on eight are gradate my way back up to number four. So I'd go up, up, up for posture. So I might go again, 567, drop on eight and come up slowly. 2, 3, 4. It gives you a nice look to your basic. You're not old, you're only adding dimension in the way you're moving sideways and would your hips, you're also dropping height and coming up. So it gives you element of depth in your movement. So something as simple as a Nidre on eight can already give you a good look. So it's only did the practice. We'll go through that. Let's try that one more time. So I'm just going to be 1, 2, 3, tap on 4, 5, 6, 7, 8, and up 2, 3 slowly. So you want to grade it your way up slowly. Okay. So from the next body up will be the hips. So from the hips, now, with the hips, you always trying to think of it as if you're stepping. There's a slight curve on your hips. It's like a little figure eight. Tap, curve out, curves out, curves out, tap, curve out, curves out, curves out, tap. But why use my hips more with is how I use my tap. Now, there's a difference with how you tap. Okay. You could simply just tap and nothing happens on the hip. So I'll show you how I tap and nothing happens on the hips. I do use this sometimes, but if I want to get a full body effect, look at the difference happens in my hips. So in our step 1, 2, 3, tap, you see the tab doesn't have an effect on my hips. 5, 6, 7, tap 123, tap 5, 6, 7, tap. Just one variation of a tap. Nothing wrong with that. But if you want to really put some emphasis on your hips, or you can do is go 123 as you tap and doubles your feet, you push up with the hip. So you're my heel should notice is still slightly off the ground. It's almost like I'm squeezing a sponge and it's allowing that slow suspension to go down. Let's do that again. 123 I put the balls of my feet down and then what comes up is my hip. Now, generally, you can you can create more range in your hip by bending your knees a little bit more, and then that gives your hips much more height and depth. If you're very upright, it doesn't have that room of movement. So by bending the knee and stepping, there's more range in the hips. Okay. Let's try that again. Both sites we go 1, 2, 3, hip 5678123, hip 5678. So you see what I'm doing now I'm combining being an Ableton, my feet are softened my knee, and I allow my hip to go up and down yet we haven't worked on a top half yet. Let's get less work upwards from the feet up. So again, there's combine it with 1, 2, 3, hip 567, Hip One, 23, hip 567 hit S. Now add a drop on the eight just to make it a bit more interesting. So we're going to go 1, 2, 3, hip 567 drop up to free. Hip 567 drop. You can see already by just adding simple things like soften your knees and using your hips. You've already gone way far away from being very static, where nothing's happening at all. It's very bland. And as a dancer, it doesn't take much to kind of give some dimension to your dancing. A little bit of a drop, a little bit of a hip hit, you're already looking more than just the average Joe. Okay. Let's try again. One more time. We go 12 with the hip. Hit 567, drop 123, hip. Just remember we didn't hit. One thing came to mind is sometimes when when people do the hit, they think I'm pushing outwards. I'm not the hip goes up and down, up and down. Don't hip out like this. A very common on the dance floor when we get Welcome to the club, they go 1, 2, 3, hit. It's not that sick you're doing it. Don't Show Again. We step 1234, ready to drop? 8123, hit 567, drop. Just combining feet, knees and hips. Moving on. So your chest for the for the most part, it move side to side and it goes the opposite way of your hips. So your hips are going one way. Your chest goes the other. Okay, so let's just focus on Chest only. And the isolation course, we went into this in depth. We get a chested dimensional going forward, back, side to side, round and round for now. Just go side to side. Okay. So all the chest is doing with no feet about shoulder width apart. Drop your knees. And you drop the knees, it releases the diaphragm to allow your chest region to move more. If you pop up really straight, your diaphragm locking your your chest. It's just the biomechanics of your spine and how everything is coordinated by releasing your knees a little bit. You're already relaxing the hips, which allows the diaphragm to have more range. So with the arms in a neutral position, I just want you to go side to side. Like this practice that there's just a recap of the isolation. We've gone side, side, side, side, side, side. Not involving shoulders, arms yet. Artists want the arms to be neutral for now. So let's start adding that on. It's called layering in the way we teach, I want to show you one layer at a time and see if that base layer is dead, is not getting it. That's the one to work on. So they're struggling with your heat. Fix that 1 first, get your layers built up by building a brick wall. Okay, let's try again. So the cestodes side to side. Good. Once you've nailed that, let's add that into our basic only the chest into the basic that we just did with the taps. So we go side, side, side, tap, side, side, side, tap and side, side, side and tap. You go right with the chest, left with the chest. Right with the chest. Neutral. Step, step, step, step, step, step. Boom slowly. Side. As I stepped on my left, the chest has gone a bit further than my hips. You notice hips go one way. The other. Practice at 11, you go one to two to two and Free, Free, Free, Free, and tap on for the other way, we go. Five, repeat that, 55556667778. The well, good crack on. Let's put it into combo. We step 1234567, tap on eight with the hip coming. Okay. I Jenny's a man. You don't have to have a massive hip hit, but it just gives you even a subtle movement that you're doing so much more, you will get noticed on a dance floor from stone is dancing very flattened, basic. It doesn't really draw attention. It doesn't show quality of movement from your body. Can guess what's next. Shoulders. So with the Shouldice, I'm literally just rolling them back. So they are neutral position and I rollback, rollback, rollback at the moment. Let us just show that. So you're doing is rolling back robot from the side you can see just rollback. Rollback. Rollback. Rollback starts off going forward and circles forward and circle forward and circle at a side. Forward circuit is slight forward, up, back, neutral, forward up back, neutral, and they alternate. You don't want to go both together. That looks silly. Let's go alternating. We go from here with the arms in your neutral position. We go shoulder, shoulder, shoulder, shoulder, shoulder, shoulder, shoulders, shoulders, shoulders, shoulders, shoulders. Combining that with the chest, let us work our way in reverse. Shoulders and chest only know hips and our feet get from here. Shoulders. Shoulders and chest. Push out my chest, shoulder reacts. Push out my chest. Shoulder reacts. Shoulder, chest, shoulder, chest, shoulder, chest, shoulder, chest, shoulder, chess show and smoothly. More legato. Smooth. Keep it nice and fluid. That. But, but, so that's the kind of low fuel. And now there's an illusion that we do a massive shoulder movement. While would do, or maybe some part of the song that I want to emphasize. But generally my basic, my movement is probably 10, 20 percent of what my shoulder can do in my basic. So combined with all of it, then my body movement becomes a lot of nice noise. There's try them, combine it with the step. So we've gone with the chest and show the chest and shoulder. Chest and show that tap. Chest, shoulder, basic step. Chest, shoulder, basic step, tap. So 12 34567812345678. How are we doing? Good. Keep needed there. So arms arms is is usually a big problem with the guys didn't know what to do with them. They they kinda feel they're just in the way all the time. So let's start off with putting him in a neutral position. And ironically, I don't do that much with my arms. They are reaction of AV other thing happening in my body. So the arms for me from the side, they just hang normal and they come up. So the elbow doesn't want to talk backwards. There's want to go forward. Stays where it is. Okay? So for now, keep the arms loose and bring them up. And then what you wanna do is have them slightly out, not flared up like a chicken. You want to have them not tied to the ribs. Say imagine the arms are slightly out that this, So say six or seven inches off your hips and then come up. So this is my neutral position for my arms and I, and my knuckles, wrist and elbow stay around the same height. And then when I move, it looks like I'm moving my arms, but actually moms reacting and they care a little circle to them. Every time I move my shoulders and chest. When that works correctly, what resonates is this flowy fluid circular motion with my arms. Arms. Take on board and create this nice circle and movement. And then what I'm doing is then I'm exaggerating that motion, but my arms coming up to the center of my chest. So you have this kind of from the elbow is stopped. Cia comes up, stop, CIA comes up, stops here comes up. Okay. So then what happens is you get a circular and my arms are coming always into my core, into my chest. Okay. You want to have this motion all the time, so keep it neutral and exaggerate to ever so slightly. Just never allowed him to drop and hang, make them look lazy and they're getting become heavy. And you can throw your core of sync by having them here working in tandem with how your core is moving through your basic. Okay, So let's try that with the, with our basics or arms in neutral. We're going to combine the feet, the knees, the hips, the chest, the shoulders, and the arms. Everything resonating through starting with the steps. So we go slowly. 123, tap 5, 6, 7, tap one more to free. Tap 56, save and check. One more would drop on the 84567 drop, coming up slowly. One 2345678. Good job. Finally, the head. Okay. Now your head can give away a lot about you. If you hang your head, you not only look like your sad, lack of confidence, depressed, what you want to look like, you've got strong confidence, not arrogance. You want to look like you're just confident dancing. You're happy to be dancing with your partner. You're sending the image of happiness and that you're enjoying your data and you're comfortable in your body. And something really simple. As, as we do our basic, we have a soft knee, the hips in his position, the chest is forward. If you put your chest out a little bit, it drops, it stops your chin dropping. Just try it for me now. Establish straight. You've pushed your chest out. Look forward. Now, try and keep your chest where it is and try and look down. You'll find that your biomechanics of your spine will not allow the chest to drop. You will be able to see your toes. But Stan, normal. We do chest in non position is easy for your neck to loop over your chest and see your toes. But as soon as you push your chest out a little bit, not pumped out Gorilla, I'm doing that. Just a gentle chest out and then that hold your chin up generally is trying look straight in your head. You don't have to do too much. It just looks straight. It just sends the aura of confidence aesthetically. You just look much nicer and insert a dancer. You know, confidence is 90% of your game. So you really want to kind of cell that. So let's combine it all. Toes to head. Let's go. We do basic 123, tap. Shoulders. Don't forget them. Don't forget your chest. Don't forget the hips. Finally us do a quick drop. 567 drop, coming up. Complete. In general. The basic body movement is something that will always improve with your dancing. Just when you think you've nailed it six months from now, you might find 60 years later, it's got 10 times better. And believe me, 12 years later it will get better. It just, it just keeps getting better. It's one of those movements in your body. The more you do it, the more it feels organic, the more natural unit, make it look without trying. So the key thing really is try and work out which body part is lagging behind. That's the one to practice. It could be your knees not using enough height. Could be a shoulder as being quite stiff or up. Just work out track film yourself. It helps sometimes and see which body part is not working. So instead of doing all of it at the same time, that's not going to help you better to isolate. In the beginning I broke it down and you can use the same technique, work out how my feet are, my stepping on the balls of my feet. I'm I using heighten my knees. I'm I going down enough? Am I going up slowly? With my hips? I'm I using the hips enough that as they're going out or in with my chest, is it moving enough? On my shoulders, even moving at all or their eyes? They are my arms where they're hanging. My head. I'm I looking forward on my down on my staring up the stars. So just be. 3. SS Bachata Pw V2 2b Body Movement Explanation for Ladies: Welcome my beautiful followers. By now, I'm sure you're very used to your basic steps and you can just keep going throughout different patterns and different moves. And you always have your three steps and the top. So that should by now feel very familiar and very organic. So it's time now for you to really start caring about the quality of your movement. So in this section I will explain how you move your body in the basic steps and you keep that going throughout your whole bottle dot, dots, so you really look like a proper buckshot data. Okay? So let me start with the hips because the hips are really the most important for us ladies. So the first thing I want you to do is have your feet close together like this, and then bend one leg and sit into the hip of the leg that straight. So we put all our weight onto the leg straight. The one that spending you're almost taking a little bit weight of that leg. So not much like lead weight on this leg all the way it is on our stretch slick. And that pushes up out our hips to the side. If you're in this position and you feel like my hip is not going anywhere. It's usually because your hip is tucked underneath yourself, so it doesn't have a lot of range of movement. So just tilt your hips back and then you can really push it out. Can you see that? So if I were tucked underneath myself, I can only go this far. If I push it out. I can go a lot further. So I create this nice curve here on the side. This is what you want to achieve. So just sit here for a bit and you can bounce a little bit into that hip. So it's like a stretch. You're stretching out those muscles. So they allow you to have this motion and you get used to this this position and having your hips in this, in this position here. Okay, so just bounce here for a bit. Let me show you from the side. So I'm bending one leg, tilting my hip back and out like this, and then I'm just resting here. And then obviously we do the same thing to the other side. So have your feet together, bend your other leg, and then push your hip out to the other side. Again, make sure your hips are backwards. And then you can push out your hips a lot further. Like this. Both hips will not feel the same. We're not completely symmetrical as humans, so probably will feel a bit different on both sides. Don't worry. Not an issue at all. Just get used to having your hips in this position and just rest here for a bit. Half that looks stretched like that. So let's do these movements a little bit faster, just alternating the legs. So we bend one leg, push out the hips, change. Who shot the other hip? Chains change. Just like that. So you get used to moving your hips side-to-side and really push to your max. Push out as far as he can. So you really loosening up your hips like this. Let me show you from the side so you can see my tilt. Like this. Just change your legs. Alternating. One 21212. Once you get used to that. Now in buckshot that we don't really ever lock our legs like this, unless it's in the move. Like when we do a hip roll or something like that, we are looking our legs, but in the basic step, we don't stretch our legs. So once you really got used to sinking into that hip is easier to feel on a stretched leg. But now you can soften your knees a little bit like this and still alternate your legs. But just bend one more than the other. Instead of having one completely straight. Again, let me show you from the side so you can see now I'm not going onto a straight leg like this. Just slightly bent palm, still bending one more than the other. Alternating my legs like this. Now in batch up, our hips don't move side to side like that. They move in a figure of eight motion. So using this motion that we just gained, we are going to do a figure of eight. So you bend one leg. And the hip that comes out goes forward. So you twist your your body like this, your lower body side-to-side. So now you adding this site design onto this twisting motion to create a figure of eight. Okay, so bend one leg and then we twist our hip forward. So the hip that goes out, goes forward. Then we bring it up and around to the back, and then we swap. So now my other hip is forward. I twist and I swap. Then twist, swap, twist, swap, twist, swap, and twist swap. And then once you're used to that, you can go faster. And then you should start that nice, soft, smooth figure of its movement with your hip. Like that. Up, down, up, twist, down, up. With swap, up, swap. Make sure your knees are nice and active. Enabling the hip too. So all the hip movement is coming from the bending and stretching of my niece. Nothing is lifted from my upper body. My kid. It's all the exercise we just did, just swapping. All comes from your niece, from your leg, movement, from the pressure you feel from the floor coming up, sending your hip up. Also, I'm not moving my hip to the side like this. It's none of that. It's just sending your hip up upwards from the pressure of the floor up. So really get that right at the beginning. When you do trust the side-to-side motion, that exercise. And then be really confident with this before you start twisting. And then once you're very comfortable with this figure of eight motion, we can move on. So now let's do a very slow two-step applying this hip movement. So let me show you. So when we step out, obviously, we're taking the weight of our right leg in this case, and our hip is going out to the left. Now we step out to decide, but our hip is going diagonally forward to my right. And then I transfer my weight. And that's when my hip is going to that corner. So just those steps. We take our weight of our right leg. All our weight is in our left leg and my left hip is coming out. I step out, transfer my weight, and then my hip at the same time is going to the right. Then I twist it to the back and bring my left leg in. And then I tap. So my left hip is going up. So in the top as well and batch data, the motion is starting from the floor and this pressure you have in the floor is sending your hip up. So I'm just tapping as stretching my leg and that sends my hip hop. I'm not lifting it from my core up like this. I'm sending my hip up from the floor like this. So you tap tap other side. Tap, tap up, up. Okay. Really get used to that motion as well. Alright, so let's do that again. We take our right leg off the floor, sink into your left hip, step out, transfer your weight. Send your hip diagonally to your right forearm corner. Twist it around. Bring your left leg in during that twist, and then tap. Then the same thing to the other side. So we take our weight off our left leg after the top step out. So my right hip is going out to the back corner. Step out, transfer your weight onto the left. Send your hips back while your right hip is coming in. And I know this is a lot of explanation right now and it's very slow, but it has to be step-by-step so you really get it right. And then once you do it more and more and will feel more and more natural. And then you can apply it to your basic step, which we will do later. And then the more you do it, the more organic it will feel. And at some point in the future, you don't even have to think about it anymore. So don't worry, just take your time. It will take some time, but it's completely worth doing it. So you look like a proper buckshot. That answer. Okay. So again, take your right leg off, send your left hip out, step out, transfer, twist, bring the leg close. Tab, send your hip out. Other side. Right hip is out. Step to the left. Transfer your hip. Twist, bring your leg in and tap. So we go 123456123456. You can also take one element out. For example, the twist. If that's too much at the beginning, then just focus on the side to side hips. So just focus that you hip is going out, you step out the transfer and you tap transfer tax. So your hip is going side to side, but that's already a really nice hip movement to start with. And then once you get comfortable with this, you can try to twist the figure of eight, like this. Okay? So side-to-side is completely acceptable as well to start moving a hip. And once you're comfortable with that, you can add the twist. Let's, let me walk you through the basic steps and how you move there. Right. So we start with our right leg. As always, we step out as we just did. As soon as we step out, our left tip is coming out. We transfer. Our right hip is coming out. We twist. Then we transfer. I will wait to the left again. Left hip is coming forward. As we step out again, we twist our hips to the back. Step out, send you a great tip to the front corner and tap. So it's basically like the two-step, but there's just another transfer in the middle. So it's like 22 steps to decide. Okay. Again, we go lift your right leg, send your left hip to the back. Step out, transfer you hip, twist, twist, step out. Hips, twist, and other side. Step out. Send the hip. Twist. Transfer your weight. Twist, step out, send the hip out. Twist and tap. So a little bit faster. We go 12345678123456. So it's always as soon as you step onto the leg, you hip goes round to the back. So you step on Route, step on, round to the back, step round to the back and lift up. Okay. So think of this motion circling around to the back, front, back, front, back, from back. Once more. We go 12345678. 12345678. And this is your basic hip movement in the basic step. So at the beginning, as I said, you probably have to tell yourself hips, especially when you learn a new move, you might be all focus on the top and your body might not move at all like this. Just think hips and remind yourself. Really tell yourself to focus on the quality of your movement, especially in class as followers, sometimes we don't have to remember the routine. You should delete this. Let, let the leaders lead you and you just really follow. So don't worry if you don't remember the routine for you, it's most important. How you look, how the quality of your movement, this, and that you move your hips nicely, okay? Also very important as batch data dancer is that you always have your knees bent. You just saw how much hip movement there is and it's not possible if you don't have your knees bent for me to get into a batch other, I always bend my knees. I drop on eight. So the music starts. We do something slow or whatever. And then 5, 6, 7, 8, go. So make, make that a habit. I find it really useful because then I know, boom, I'm ready to go and I'm in a good position to dance. But chapter if I start, I'm just standing up like I usually do. And then I start. Then I'm not in the correct position to dance, but sharper. So I'll make that a habit. It's also looks really good. You look ready and you look professional and advanced, and it just helps with your hip movement as well. So 5, 6, 7, 8, go. Drop really quickly on eight and you're ready to dance by chapter 4, your upper body, your hands should always be up, as we said earlier in the beginning, of course, never drop your hands to the side. Keep them busy if they're not in hold. Do some nice styling. Can unfold your arms. If you need styling tips, please go to my lady styling batch other courses I give you lots of nice arm movements you can do along your body's. I'm grabbing moves. So please do one of my courses to get some tips on ARM styling. But in general, just make sure you just keep them up in front of you to keep your posture engaged. So as soon as they drop your posture it in danger of dropping as well. If you keep them up, your posture is nice, your chest is open and you look like a bouncer. Okay, then also always keep your general posture and your frame engaged. Your poster should be up at all times, your shoulders, back and down. Because if you have bad posture, you can do the most amazing move and it doesn't look like anything, okay? So that's really the most important thing. On the other side, you can do only the basic step, but if you do it well, you look like an advanced dancer. As teachers, we can usually sort of guess somebody's levels by how they do the basic step. So it's really worth spending some good time on the quality of your movement. Spend some time on your hip movement and your posture and make sure keep reminding yourself dancing. And then your whole dancing will improve a lot. 4. SS Bachata Pw V2 3a+b Lock and Drop Hand Flicks Explanation For Men: One cohesive and the fees they taking it consistently keep rocking back my lovely friends. From here we're going to run you through a couple of time variations. In particular, the inside term for the lady and the outside term for a guard, but now incorporating some handwork. So our hand's going to be in different position. So this is kinda like a lock-in flick variation of the inside terms of AD and outside term for the guy. So let me just give you a quick reminder of what an inside turn looks like for the lady. From here, we're going to go 1, 2, 3, 4, 5, 6, 7. Prepare. So she's going to have an insight turn going to her right. Traveling right, 5, 6, and tap. Okay. And and from the guy's perspective, I'm going to go 1, 2, 3, 4, 5, 6, 7, 8, and then turn to my right, going left, 1234. Okay. So the footwork is the same as what you've done already. So there's nothing new for work wise. Okay? So the key thing is if you still struggling with that footwork practice that first before you start playing with the hand variations. But if you're brave and you wanna go for it, I can steal you are, Let's do it. So for a company, as always, we're going to do our basic, nice and slowly, basic 2, 3, 4, prepare 678. The difference now is both. My hands are involved. Again, still the same rules apply. She still needs her halo polished, so I'm still going to go around their head, but now at both hands, as I start turning her one both hands together, 234. So what I've done is I've slid her left arm down to the elbow and then create like a little bridge like this. And her arm is locked in this position. It's a very gentle lock. You don't want to give her something painful. Obviously it's a gentle locks. You do this for any pain whatsoever. Then the flickers a very gentle flick. It's not a case of me powering down the hand are just gently lift a hand up as slick as I travel. So the steps slowly, we're going to go 5678 and you notice I'll give her a landing point on her right arm as she flicks. So the flip happens with your right arm. So we're here in this position. You let go of your left arm really early, as early as they can, and then you create a circle with your right arm going outside, so up and out, and then down. And that's when the lady leafs your arm, sleeves the contact of your arm. So from here we go up and then down. You give them a little impulse as if you're throwing a ball, boom down. And then we complete the circuit by ourselves because we got this impulse and then our handle circle automatically in a sort of natural fashion. And then just give, show your hands for the landing point here. So the second part of the sequence was armed gonna do my outside turn and then give her a hand Flickr. So let's do a basic. So this is the second part of the sequence which involves the outside term. We do a basic 123 tap on 4567. I raise my right hand. I'm going to lower my left. Left, eventually going to hammer lock myself as I turn to my right, going left of gone 12. Free. You notice I'm free. My left hand is Hamad locked on my back, a turnaround. Pick up her her arm and I flick it up and it catches in the lock. Okay. Let's do that again. Basic. We go 123, tap on 4, 5, 6, raised right. So you're turning to your right. Left hand low 123 are used a left hand to slick this end, but at the same time I'm letting go of her right arm. Otherwise weren't flick. Flick, and then it catches into that groove we have between my hand and I hand her elbows now caught in the same group. I pick up their hand and then I flick it back. So the same ending as the previous variation, 5, 6, 7, 8. Let's go the other side. 5678123. 456781 to connect the hands three, drop on for flick, 5678. So key things is that you are still leading with your right hand here and the left sort of follows. So the left one is just slightly behind. So when you do the turn, you lead with your right and the left one follows the right. So and then you drop your right here. And the left one brings my right arm out like this, and then do your circle into the flick. And don't forget to step at the same time. Okay, sometimes we get too preoccupied with our arms and we forget to step. Let's do the menstrual. 5, 6, 7, 8. Basic to free Cat. 5, 6, 7, race on raising the same hand, which gives a return, but I'm going to turn before her. So one cell lower, my left arm, 23. And now you'll see from this angle where my elbow flex some at hand is to hold our Sousa Flip cams. I let go. Okay. Go back again. But then now our guide the arm anticlockwise and catch with my left. Okay, that's all for. Now. Traveling to the right is the same outro, flick, 678. So let's just practice again, nice and slowly from the top, we do basic. We go 123, tap, prepare your lady for inside turn. Two-handed tan, lock on four, gently flick 567, catch CREB on, carry on. Second section, basic to free tap on for raising the same hand, 678. Now I want to turn to my right load to free my hands here ready to flick? Flick the elbow gently and catch, and then outros the same 5678. Couple of key things I just want to kind of point a lot of these towns with put together on purpose because they start and finish the same. So you've got a lot of familiarity, especially the inside turn. We've practiced it a lot in the beginners, the outside term for the guys. So this thing should be quite uncomfortable for you. So we're just adding it. The next element of difficulty, which is combining all this with hand flicks. So obviously if you're finding the basics of them difficult, that's the one to practice first, get them solid, and then move on to the hand styling and then use it bit by bit slowly to practice. Also, the one new thing that is happening is the homologue position, which she will come across quite often in batch data and other dance styles like salsa. And by haven't, haven't luck, we mean any position where our hands behind our back like this. So you can put the lady in the have a knock or yourself like this. The key thing with a hammer lock is that you are quite close to your partner, so you don't dislocate anybody shoulders really. So it's a health and safety thing more than a aesthetic thing. So you can see with CEF when he does his turn, we are quite close. You need to be close enough so you can have your arm completely alone your body, or if you do the same thing with the lady completely against her body. So you're here. And then as you're turning your hand by connecting with your partner goes automatically into this position. At the end of the hammer lock position, your hand should be across your back. So almost on the other side, make sure you finish this position nicely. Don't leave it somewhere in between, still in the middle of your back is should come to the side like this. So we can turn almost straight towards your partner and have your arm in this position. And then we go into the hand flick here. With this one, just always make sure you don't use too much force. Just a little impulse, and then the lady will do the rest. 5. SS Bachata Pw V2 3c Lock and Drop Hand Flicks Explanation For Ladies: Welcome back my lovely followers. In this section I will explain two variations of a inside turn for us and outside term for the, the leaders. And this time we are going to do a hand flick, which is very exciting for us. We get to flick and style our hands. Alright, so let's start with just do one basic first. Remember your nice thick movements now you can apply it. 567812345678. On aid, the leader is preparing our arm for an insight turn. In terms of the step, it's exactly the same. Let me just do a simple inside term. 1, 2, 3, 4. Remember, this is what you learned in the beginner course. Now the difference is with this variation, we're not letting go of our other hand. This hand will also be up. But you as a follower, you just have to follow the sleet and not automatically assume you let go off this hand always, sometimes we keep the hands, alright, so do the same steps and this other hand is coming up as well. We go 123 for, and this is the position we Landon, if you let the lead happen. Okay. So we hear the one-arm is by our elbow here and our right arm is up. It is forward, like this. Then we finish our basic. And at this point, the hands flick up and the ham flick is led by this hand here, by the leader. And we're just doing sort of a circle. And then He gives you an impulse down, which makes your hands go round. So let's do that without the steps, we're just here. And then you feel the circle, you go down. And that was that swing. We go round up. And then at that point he shows you his hand, which is your landing point. And we put it nicely on his hands. Okay. So you really go with the laws of gravity with that swing feeling of your arm. If you just swing your arm, that's what you should be feeling. So you get a little impulse warm, and then your arm goes around and then you place it on his hand. Ok. Once more just without the steps were here, you feel that circle and impulse rounds that make sure you have a nice handout. The end, my styling, I always say hold like a like a cherry between your middle finger and your thumb here. Have your fingers nice and stretched, especially when we do styling, we're a bit more poised, bit more elegant. Sometimes when we're just dancing, our hands are a bit more relaxed. But here the emphasis is on our hand. So make sure you have a nice hand at the end of your arm. Alright, so we are here in this position. Let's try it now with our basic step and the hand flick, we go 567. And I really take my time and place my hand here on eight. Let's do it from the beginning. Just the basic first, 56781234567812345678. Very good. So now let's move on to the leader style. So with this one, as always, we don't lead it. So just do your basic step unless you get a signal to turn. So we just go side less so basic again, 2345678. Now the leader is turning out 1, 2, 3 on 3. We feel this elbow here, pushing your lower arm up and around. So again, we have to be very receptive. Sleep can come from anywhere, at any point, any place of your body. Some parts are more use than others, like we mentioned, sometimes the buttons. But here we are led by our elbow. This elbow comes in up and over for our hand to land here. The key thing that's helping me as a leader, which are filled from Karina is constantly hooked into my pins. So whenever my hand change the change position, She's not letting go of the hook. So when I turned to my right, 123, even my left-hand lock which is now discard brown my hand, she's become a batch. You still hooked into it. And then here are gently nudge and she's already following a trajectory and she's putting weight on her wrist. So it feels like there's everybody waited hand on the end of arrest. So when it lands, it lands nice and long. While I find sometimes ladies, they're kinda try and take a shortcut to help the guy. That doesn't help the guy at all because I'm, I'm predicting that the arm will flick if I turn from here, 1, 2, 3, lick and unpredicted, it's going to land on that kind of trajectory. So if the arms have a circular motion, this is a circular matrices like a full arm term. And she never cut it short and does like little elbow wisp. Right. So you want to keep the arm nice and long and let it take its time because I'm anticipating that time to land on these. This is not something I'm going to be surprised by. Let us show you this again from the other side so you can see that moment that bit better from the men's tan. We go 123. Now Chair frequency is in this position which we call hammer lock. You will come across this quite a lot. Whenever the hand is across the back like this, this can happen to us as well, that the leader is putting us in a hammer lock. And this is the position basically. So you know what we're talking about when we mentioned homolog. So I've been in this position here. Now. Jeff's elbow is lifting my arm up around. I don't lose my connection. Keep mice collected to your partner. And then we are in this position. And then we do our nice hum flick again. We go around impulse, ham flick, take your time and always take your time with your hand flick. Just follow that nice swing. Don't feel like you have to cut it short and go that immediately. Take your time. Don't rush it. Don't look desperate. Okay, we don't want that. We want to take our time and look very elegant. Let's do both of the terms with the hand flicks from this side. 56781234567, prepared turn 12345678123456. Okay. Well. 6. SS Bachata Pw V2 3e Lock and Drop Hand Flicks Tips and Practice: So my favorite section, practice and we're going to use some tips along the way. Okay, Let's go from the top. Nasa slowly step a basic to free tap 5678, she tans to free. You lock. A gentle flick. 5678, a basic again, 123, tap on 4, 5, 6, 7, Tang, one to flick, catch 5678. Just the key things is, is with a lock don't make it quite rough and the flicks don't have to push too much. So gentle nudge, they're all signals. Think of it as signals as opposed to a forced physical demand. It's more a case of, I've just asked for the hand to be gently flipped here. Just flick. And the lady will carry on the movement. So just get used to that kind of softness in your leading. What's the insight? And for the ladies, lead us, really make sure you're close enough. It's even more important now we hold two hands. He can It's a bit difficult for the ladies to turn with two hands up. So make sure you really at the position where you can draw our nice halo or the lady's head. So you should always be able to touch the back of her head. So that's the distance you should be. Don't be too far away, otherwise you pull her off center. Let's do it from the other side. We step basic and 1234567 prep. As you turn, just be mindful. Also. Want to know your hands are not together. Okay. There's a slight separation, 67 inches separate apart. 34. Okay. If you've had your hands too close together, there is a tendency that you lose connection on one or both for them. As you flick gently. Five, offered a hand, 678. You see I'm not reaching and try and grab the hand. I'm in no rush. Pick up the hand. The hand is waiting to be reconnected and then demands turn for the outside. That basic 123 tap on 4, 5, 6, 7, prep. We turned to our right to free flick on catch, leaking out 5678. 7. SS Bachata Pw V2 3f Lock and Drop Hand Flicks Practice To Music: Each year they kid or a Keras model. Keep that in mind and see my head. Oh, yeah, supposing you are fed to the process was going to have a SAS them swaying. The haven't dynamic OLAP is the event an organic molecule that is concern that intensively smiles at. Lack of j, then goes and Nico. 8. SS Bachata Pw V2 4ab Mambo Basic Explanation For Men: And now what spam. And this is from the same class as an amine. That's going away. Okay guys, we're going to run through the basic member Dominican step from here I'm going to show you the steps from the guy's perspective and how to lead it, how you get in, out of it. The whole shebang, Let's go for it. So from now let me show you the basic step. So they're going to a standard basic first and then go into the dominant one step. Go back into basic, then go into the sidestep and out of it. So nice and slowly, we just do a standard basic first, 12345678. You're familiar with that? Good. But look how I'm changing my basic step to work it into the Dominican basic from here slowly, 1234 is normal. Then 56, step back on seven, bringing my eight into a tab. Then I'm going to go forward on 1 1, step 2 as normal to free truck 14, and then the mirror on the other side, five, step on six on the spot, 7, 8 and creating an angle with my body. I mean, it's not unusual to dance it straight, but you get you get a nice dementia by putting an angle onto it. So if you notice, this is me keeping it straight. 1, 2, 3, 4, 5, 6, 7, tap 123, tap 5, 6, 7 tapped. By adding an angle, you just make it look clean. From here, I've put angle 1, 2, 3, taxi. I'll just angled my body. That's what I've done, different when my body shape steps exactly the same. 5678. You can even travel a bit if you wanted to. The experimental 12345678, the steps identical, keeping it on 19, keeping it at an angle traveling the steps are the same. Just give it a different look. Depends how much space you have on the floor. And, and you want to try and match your partner. So let's go from the top. We did the basic and then, and then we did a man but basic, and then we get out of it. So basic first, 12345678123, tap, 56781, more, 1234. And now to get out of it, things change. My fives the same. I go out on six or come together on seven, tap on eight, then I do basic 234. So you do the exit again. From the top. We go basic 234, ready? 678123. Tap 5, 6, 7, tap. This time with an exit 1, 2, 3, 4, 5 out on six, step on the spot, 7, tap on eight and you've got your normal. But rather basic. The side-to-side. Such a size a little bit easier. From here, from a standard basic 12345678, I step out to the side, but then I come back where my two is. Mu2 doesn't travel down to the left. So it goes one, back on to on the spot three, tap one for reciprocal, out on five, still on 67. Again. So you go 567, tap on eight. Again. We go out 2345678. You notice all the body movement. I can now incorporate with that what we just learned in a previous module. You can now start putting it all together. So last time one basic. For the sidestep, we go basic, 234, ready side to side. And 123, tap 5, 6, 7, tab one more. 23567. Basic want just walk out trash. I had the lead all that go. So the lead is different for the both of them. Okay. For the number basic, I'm going to start my basic normal 1234. I do prefer my hand position to be with the pin up being my fun. Because the angles more comfortable, it's not wrong to do this. It just doesn't feel as comfortable. So I would start my Member Basic. We're using my pin, my phone as my pin hooked in as normal. Okay. So one more time. Here we go. 123, tap 56, back on 78, and then forward on 11. What should we feeling here is I'm not pushing her. I'm just holding my sprain. If if your partner pushed you and he pushed me, she's she I'm not I'm not collapsing my arm. I'm holding my frame, so I'm not trying to push her away. I'm just literally bouncing off or like an energy ball for gun. It's a very soft energy about, but there is an energy comes forward and back, forward and back. So you're here on eight, you step forward. One, back on to free offer. The other hand, 5678. You notice my hands are always an offer. They never a grad. I don't panic and rush for the hand. I offered a hand and it comes to me. Luck. And 1234567 for the exit, the lady will feel instantly. Energy has changed, is going away from this, swinging backwards and forward motion to a, it comes forward, change off to the side, comes back to the center. So that's how the steps are important. So the steps are my lead for the change, not my hands. So what's happening is on the second basic, I'm going to step one to free as normal. Now my lead changes five out on six C already. She's felt something different to get on seven, tap on eight, and I can do a standard basic. So do practice getting in and out. When I first started learning, I found a transition between the variety of basics was probably the most trickiest part. The actual step is not that difficult. That's the bit you should try and really bad in try and practice getting in and out of the steps fluidly and communicating all that information to your lovely partner. There's try again. From the top, we step basic 234, ready six and tap. And 1234567812, ready exit 5, 6, 7, 8, and out to basic 5678. Let's try the other side. Nice and slowly, we stepped basic and 123, tap ready, 678 in 2, 3, 4 in 6, 7, 8, and 2, 3, 4 in, out to the sides together. Basic 2, 3, 4, 5, 6, 7, 8. Ready, move on. I can hear it. Good. Sidestep. So from here, this side step is a different type of lead, the actual lead, this comes directly from my frame. The sheer fact that I am stepping out and coming back, my my frame is replicating that. So the importance of your frame being quiet, solid, but the same time, smooth and fluid is the balance you have to try and find. In the beginning, I would always say err on the side of being a bit more stiff and then try and keep softening it until it gets too soft. So start a little bit stiff and as soon as you're quite stiff, you step out, come back in, she read it, but then the citizen is not in gripped, is just in the core, matching the arm frame. So let's try that basic first we step basic to free for sidestep. Ready Go side, step, center, tap side, Santa, center, tap side, center, center, tap. 567. Good. One. 2345678. The exit super-simple. Just do it. Just do the basic. If your frames engage, She's instantly going to pick up on that. The higher the energy is traveling consistently or is bouncing backwards and forwards. Okay? So it's very important as Jeff just said, that you have your frame. So what I said a very beginning in the beginner course, don't do too much when you do your normal basic because this will distract exactly for moments like this where you need your frame and you're leading with your frame and you need the lady to pick up that signal. You already do all all this stuff in. When you just do your normal basic, then it's very hard for the lady to pick up any signals because there's already too much going on. So keep it very still at the beginning, as Jeff said, almost a bit too, too stiff, and then you can loosen it up and find that middle point that a right balance between looking smooth and having a good frame. 9. SS Bachata Pw V2 4c Mambo Basic Explanation For Ladies: Welcome back. In this section we cover a whole new basic step that you will need a lot for a lot of the moves. It's sort of a step that we use a lot for preparation into amorphous well, so it opens doors for a whole other world of steps. Alright, we call it the mumbo step or a mumble basic because it looks a little bit like a, a salsa basic, but it is not because we have our buckshot, the body movements, and our batch up the steps, right? Let me show it to you first without the partner and then with so as always, we start with our right leg first this time we step forward On one on the spot, onto so rock forward, rock back. Then we step to gather and tap again, step forward with your right. Forward. And I'm twisting my body a little bit to the side. So forward Iraq, forward, rock, back, step on the spot. Now I'm twisting my body back to front and top. 1234. Make sure, like we just learned our nice hip movement is going. You push your hip out side to side like this. Alright, then on five we step forward again, this time with our left leg. Twist your body to the to the right. 5678. So really put your weight on that forward, on that front foot. Shift your weight, then shifted back. Okay. So again from five we go 5, 6 together and tap from the beginning, 567812345678, again, 12345678. And this is the mumble basic to the front. We can do the Member Basic to every direction. So right now we are also going to do it to the side. So we go again starting with our right leg side, one, rock back on to step together on three, tap on four. So same principle but to the side. Step out. One, shift your weight over than rock back on two together. And top left on 5567123, top, 567 top. And this is your mumble facing to the side. Now let's do it with a partner. We are in a open hold. Usually, we go into it. We hook around the thumb. So within this hook position, Do you will feel the leads because on eight usually we are taking some distance between us. So if we go into a normal basic and then we prepare on 812345678. So we sort of twist a little bit away. We open up, we let go of our left-hand and we keep our right-hand connected. So then we step forward, you feel the little pull, not really a pool, but leaders also stepping forward. We're going together, we're mirroring this movement. Then we push away and to the other side once more. So we're here, opened up and we go 12345678. Because when you come close, you can you reach that point where you're not going any closer with our nice connection and that will automatically push your back, right? So from year two, and we end up here, we go, 5678. The leader is leading our arms sort of in a circular motion. So we go in and out. In and out. That's sort of the standard Lead for this MOOC you saw in the demo. I also did some hand styling because we have a nice free arm. You can style it up. Let me show you. We can go 1234. So I circled it all the way up and then I did the hair comb on 5, 6, 7, 8 or you can style it on the hip. Different options, 12345678, depending on your moods, depending on your personal style and preference. The key thing I'm feeling from Karina, from following perspective is when are coming with the dominant can basically from the members that are moving in my frame is going to be in tax, going to have a posture. So have PREMIS to also respond. So it's almost like I'm bouncing off a wall. Imagine a wall, bounce off a wall. A step in, step out, step in, step out. If our if our arms are floppy, it would look like this floppy arms that go crash. Crash. So so she's holding her frame. So if I try and push, That's what I'm getting on the beats on 15123, tap 567. So you maintain the frame throughout, but especially when the energies are coming together and going out, coming in, going out. Okay, so let's do our sites mumbled basic. This time, you will stay in this hold with both hands or you can also do it in a close hold. But right now we're going to do it in an open hold, which is you have to be very sensitive to delete. So we are doing that normal basic one, 2345678. So you can feel the energy traveling this way and this way with, when we go into the side, mumble basic, you will feel that we're rocking and then we're rocking straight back. You, if the leader has a good frame, a good connection. And so do you, you will feel this immediately that he is not trap, keep these not traveling. He goes from side and then straight back. So just be very receptive to this leet. It's a little bit more clear in close hold, but I want you to do the more difficult question first. So enclosed hold is easy, no problem for you. All right, Let's do a normal basic and then into the side mumble basic, we go 1234567812345678123, top 567 and tap. So just the footwork I just showed you without the partner. Same thing. You just need to pick up on that leaf that he's going back. Instead of continuing, Let's do both steps from the other side. Let's go from a basic 56781234567. Prepare 123456123456. Let's slow down because to get out of it, you at the end we're doing a sidestep. So let's just once more. We do the last one, we go 1234, you go 56. I feel that energy going side now, not back anymore. And then we step out on seven, tap on eight, just once more. From the last one, we go 123456 sides. And so then you can go back into your normal basic. Let's do that again. And then we add the sides. 156781234567, prepare 12345678123456 sides together and 123456 sides one, we got 1234567, again, 12345678, basic 12345678. 10. SS Bachata Pw V2 4d Mambo Basic Tips and Practice To Music: It's time for practice. Let's do one basic into the front mumbles steps. 5, 6, 7, 8, 1, 2, 3, 4, 5, 6 prepare. And 123456781234567 out of it, 123456, Seven side, 12345678123456. Basic. Let's go 12345678. For the ladies, I have a little tip. Indeed begin of course I said there's sort of two ways of how you can follow in batch data. One way is by touch. So the deleted is leading. You buy your buttons by your arms, et cetera. But there's also a visual lead or a visual effect that you can follow. So in this case, if you're not quite sure what he wants you to do in terms of what you feel, then you can also just look cause we're just mirroring what the leader is doing. So if he pushes you away, we go into the we're here. You can also just look at his feet. Are okay. That's what he wants me to do. We're doing this work now because then by chapter there is a lot of work, especially in the Dominican style. So sometimes he might be doing some work that you've never seen before, right? You got caught on quiet now and just tried to pick up by looking at its feet. And usually he wants you to mirror his feet like this. All right, in this technique, you can already practice that a little bit. And then as always, as you practice in partners, we give you this routine where we do everything twice, but then leaders take it up, bond to yourself to just change it up to one side and then one forward and back or four or so the follower can feel the lead and you can also test your lead. How good it is, how clear you are, how clear is your signals? Does she understand what you want? So practice this routine with us and then mix it up yourself. Okay. Let's do it once more from the other side. 5678123456781234567812345678123456. Sides. Let's go 12345678123456, basic and 1234567. Major music. In this is the sum k, l. This is a matrixs much use. Azure Sphere. 11. SS Bachata Pw V2 5ab Campana Explanation For Men: So now let's talk about this. Hello friends, welcome back. From here, I'm going to run through the lead aspect of what one of the versions of the dominant can basic is called a comparator. It's a nice angled move. It gives a lot of dynamics to your basic. There's obviously tons of basics which you can play and learn with. But you really want to kind of make sure that each one you're doing is quite clear and precise in your lead, as well as the execution your foot. So let's start with how she stepped it from the guy's perspective. So running off a basic, from here we do a basic first, 1234567. So from seven, I'm already changing my basic to gain angle 7, 8, 8. So like with all leading, there has to be some sort of link between the previous node to the next one because it makes to lead much more crystal clear and you warning us something's about to happen. So my, my standard basic changes under 78. So let's do a standard basic. Would the alteration on the 78, we go basic. 234. Ready six, angle 8. So ready, my hips have faced about 45 degrees. I'm going to land on one, pivot to, oops, step forward three, and then tap on four. And then when I land on five, a crane angle and turn to my right, bring it back. Six. Step. Try again. Basically step 1, 2, 3, tap 5678123, tap 5, 6, 7, tap on eight. And you can go back to your basic or you can repeat the comparator. Let's try one more time. Basic into campaigner, back into basic. And basic to free. Tap 5, 6, Prepare can now 1, 2, 3, tap 5678 and base to free 56 again. And 1, 2, 3, 5, 6, 7, 8. To repeat it back to back, literally just angle again, 234567812345678. There are obviously some nice variations. You don't have to move as much in some aspects of it, but for now, just try and stick to the most standard version. As the course progresses, we'll show you some nice dynamic changes you can make to your compiler. But we lift this, get the basic solid first. Let me show you how we lead all that. My lovely partner. So I usually again start with a pinned from my funds. So hook in with my thumb in the hook. And so from the basic 1234 notes or transition, 6, 7, 8, I've already got an angle on my ladies hips, so my my arms don't do that much. Staying in frame as I land on one to my right, she turns to the left. The ladies would always put much more emphasis on the hips. It's just a way to dance is kinda structured to have a much more hip emphasis. We usually have a more shoulder emphasis. But so let's try that again. Get the angle going. 1234567812. So the lady creates a dynamic on a hip. You don't have to do anything but give it a frame or she can land on that. So we're on to free, remember to tap on four and then you step forward. Five, little bit of a longest step than normal, turned back on six, step back on seven. Tap on 8123, tap 5, 6, 7 tap and 1, 2, 3, 4, 5, 6, exit eight and just basic 234. We show the other side. Again. One basic misstep and 1, 2, 3, 4, 5, 6, 7, 8. I want you just noticed I'm not with my arm so much. My arms are about are about to me 10 percent of my movement of movements is a twist in my body. Mix. My arms go to the shape I want them to get end. Then I add maybe 10 percent exaggeration on the arms just for effect. Okay. So we're here on eight or land on 11234. Notice how close we are with quite closely, you're too far away. Really hard to lead the combiner. When I land on five, I'm still close to her. Turning in 678, repeat 12345678. So it's a lovely move. It can be done big or small. And by doing, you're practicing it with all the difference. Perhaps the steps you can do with it. As Jeff just said, I just want to emphasize that a lot again because I see a lot in class. Don't move with your arms because you're quite close together, your bodies. And if you move your arms a lot, that I can't keep frame. So if you pushing me, then I can keep in frame because if I if you push me and I tried to keep in frame, then this is not possible because we're too close. So you would really disturb the ladies frame. So really don't push with your arms. Just do. You're complementing each other with your body movement. So just do your, your frame, you lead your twist and keep your arms completely still at the beginning and then afterwards you can, you can push those boundaries a little bit with what you can do with your arms. But don't push lady around with your arms. Just keep in-frame and lead with your body. Okay. 12. SS Bachata Pw V2 5c Campana Explanation For Ladies: Welcome my beautiful followers. In this section, I will explain how to do a step called Campana. Let me do the footwork first and then we partner up. So in terms of the footwork, it's very similar to a mumble step, but this time we cross. So we start with our right leg. As always, we step out and then we twist. So it's like a side mumble step, but with a little twist. So we step out and twist. Instead of big, big steps, we just twist. They only take a little tap on the spot and then facing, keep facing this way. And we cross in the back. So put your right leg behind the left. Again. We go one, twist on to step behind on three, and then you tap your left leg on 4. That's 1, 2, 3, 4. With this one really tried to accentuate your hips and makes the most so much nicer. So really move your hips, sink into those hips. All right. Once more, 5678123. Tap on for now we twist to our left, we go five to its back on six. Step forward with your left on seven. And then we come back to neutral on eight. So we're here on four, tap with your left leg, you're facing the right corner. We step out on five, twist back on six, step on seven in front, and then tap on eight with your right leg. From the beginning. Egg and where you go. 12 is two step three, tap four, twist 4, 5 to 6, step 7, 8, again, 1, 2 is 2. Step 3. Part 4, twist, twist, step and tap. Little bit faster. 56781234567812345678. Let me just quickly show you from the front so you can see how it's supposed to look. When you look at yourself in the mirror, I go 1, 2 3 4 5 6 7 8, 1, 2, 3, 4, 5, 6, 7, 8. All right, Let's start with our partner. So as always, we go from a normal basic. We go 1, 2, 3, 4, 5, 6, preparation on eight as usual. So on 80 can feel this twist in your partner and you do the same here. Now, our sort of line, we're doing this move on is a diagonal. So the diagonal line, just imagine this corner is your front. Alright? So we step out one, twist to step three. Tab for now, twist, twist. And so just what we did just now. But this time with your partner, as always, is very important. You keep your frame engaged and the lead should be very clear if you have your frame engaged and this should be twisting your body in those directions. Don't try to fight it. If the leader is not quite on your timing, all he does a bit offer less or more twist, then don't try to do your body movement. Tried to go with delete, so don't try to fight it. Always dance together. Alright, let's go again from the basic, we go 1234567812345678, again, 12345678. And then to come out of it, we just go back into our basic as usual. If you've Rome engaged, then you can feel that lead. Let's go from the other side. Are you ready to move your hips? Make sure your knees are bent. So this movie looks really nice. 567812345678. We go 1, 2, 3, 4, two, It's twist. 7812345678. Back to your basic 5678. 13. SS Bachata Pw V2 5d Campana Tips and Practice To Music: Okay, practice, practice, practice makes perfect. Let's go for it. We'll do a couple of times each side and then we do it to music, basic Mars and slowly add uno dos tres quatro cinco stairs. Yet there are 1, 2, 3, 4, 5, 6, 7, repeat 123456, back to basic 1234567. Other side, 1, 2, 3, 6, 7 read he 1, 2, 3, 5, 6 campaigner and 1234567812, 34567, basic 1235678. Just one thing I'd like to say is that you make sure you really bend your legs and this MOOC, you can't do this move with straight legs because it's all this twisting going on and we have straight legs would not be clear enough. So really make sure you sit in your hips and you bend your legs with this MOOC. Let's do it to music. Silicon doped. 14. SS Bachata Pw V2 6ab Head Rolls Explanation For Men: Okay guys, I'm going to show you how to lead a hetero. How to come out of a hetero, had to do a hydro yourself, nasa comfortable. All in part of that is, it's all going to be just off of basic steps for now. So you get used to the motion and what we do in the lead and aspect of it. So for now, all you have to think of it is, as you do a basic 12345678 when the lead comes in. So as I start off with my on my left side, I'm going to go one to raise my right hand, free, land on her right shoulder with my left hand. Now, two things have to happen. One, I have to tell it, I'm going to do a header row. So that's kind of most people who lead really well, just press the back of the shoulder button and create an arch and that sends the head roll. Okay. But there's also sometimes people do lead the shoulder and it physically move their head round. I personally don't like to be so hands-on with the ladies hair and head. I find that some ladies find that quite comfortable. So I'll just keep the technique where I signal it so I find it much more clearer lead and, and I never have a problem with girls reading when I want to do my leaf. So as you place your hand on the shoulder, all I'm doing is gently pressing that her shoulder button. From that just my positioning and the shoulder button that already screams roll. So then I wait for her. She steps off to her left, a crate, an arch big enough. I go across her back and go over to her left shoulder button and then carry on and pick up their hand. Okay. Let's try it out. Nice and slowly we go 1, 2, 3, 4. He steps out, 5678, then basic to free fall. So the lady when she does ahead rule has is swinging from left to right on the hips. So let me show you what they do with this. What I would do to kinda keep that step in motion as we step out 1234, she swings over to the right and so do I back over to the left, like me, back over to the 7 and tap on one on eight. So from the basic it just goes 12345678 back to normal and the same on the other side, we go 567812345678. So when you're leading the lady's head roll, It's good to mimic and copy her motion because it keeps you synchronize. So let's do that one more time for practice for the guys. We step 1, 2, 3, 4, fright, left, right. Tap 12 to the other side, 4567812345678. So that's happening while I'm giving her the head drop. So let me show you that again from this side. So if you're struggling with or thought about practice that first and then come back to the head robot goes, you have to combine hands and feet. We can multitask, of course. So we set basic 1234567812 of the side, 567812345678. We fuse, stepping out with me. That already gives me a signal as well that you want me to step out and that helps my head roll. If I don't feel that that energy going that way, then it's hard for me to know what you want me to do. Some ladies which is keep their head feet together and then do a head roll which is a lot less stable and the middle its balance. So just be very clear, step out with her, and then she can do the head roll very easy and very comfortably. So just a couple of key things with the head draw. Literally. When I place a hand on the shoulder, I'm not trying to make a hinge forward. There are some moves like that. We'll show you that much more intermediate, advanced or simple hydro is exactly what it says on the tin. It's just the head draw that you want to create. So what you do on the left and right is exactly the same as practice one more time and then I go over to the guy's head roles. So we step. 1, 2, 3 to the shoulder, 5678123, other side. What? 678 and swing 2345678. Key things always make tip don't be too far away. If you're too far away, you're not. Arch is much more towards you. You're going to make a stumble forward or bend too far forward and the whole move becomes very uncomfortable for your lovely lady. Okay, So guys head rose from here, slightly different technique to the ladies. Usually the guys are taller than than the lady, so you have to adjust. And if it ladies much shorter years to squat a lot more. I'll show you what I mean. So how I lead a hydro for myself. I do 1, 2, 3 are placed my left hand over my head onto my right shoulder on for as that happens, I drop on four. Try that again. Remember earlier in the body movement clause, we've talked about how we used a Nissan drugs. This is where I'm dropping on 48. So we're using that now to combine it into a hetero. We go 12 free drop. And now our lack of her hand and I tilt my head to my left, chin, to my chest, right to my right, Myra it and right shoulder and up again. So you literally all you're doing is you're going left ear, left shoulder, chin to chest, right air up. Okay. What do you wonder? What you want to avoid is doing like a hip roll, okay. Again, that is a movie do but we're working on headroom, would do hip rolls later for the guys and older or the pelvic movements later. Cool moves coming up. So let's try again. 56712, free, draw upon for head roll 67 8 K. And then gather site. So we go 123, tap on 4567, drop on eight, hydro the other side, right head, chin, left it up. And 5678, little bit quicker. Okay. Just for the guy section, for the guy's head roles. And 1234567812345678. 1, 2, 3, 4, 5, 6, 7, 8 says make sure you go to the correct side. So when if you do it on 1234, you're placing the lady's hand on your right shoulder and then you go to the left first. So to the opposite side, obviously the side that's free. So you go left and then the lady should be helping you. The lady sheet created art. If she knows this MOOC, if she doesn't know this move, she might just leave her arm here. And you tried to do a hetero, it's going to be difficult. So maybe abandon this move. If the lady doesn't pick up on this signal, she should be helping you by creating an arch. And then he can just go through like this. Let's try the other side, whole thing together. 567, basic 1234, we start with lady's head roll. And 1234567, basic one to three other side, 5678 and rook 2356, guys turn and one to free drop head row 6, 7, 8 and basic too. 34567812345678. Key thing is the footwork is exactly the same for the lady hedgerows and hours. So once you get that functional and working consistently, you can focus on your hands. So I always give advice and get your feet right first. The rest will follow naturally. Also because when you do your own head roll, you're standing still, you're not stepping anymore. Make sure you're going back on the correct leg and tapping on the correct lakes. So you're on the right timing, such as figure out which you have to tap at the end of your head roll. So you're on the correct timing to continue. 15. SS Bachata Pw V2 6c Head Rolls Explanation For Ladies: Welcome back my beautiful followers. I will explain to you how to do a head roll. So first, let me just show you how you actually do a head roll and then how to follow it. So if they had roll, you just drop your head to one side, so ear to shoulder, then you go to the front and then to the other shoulder and you come up. So that's sort of a half turn to the front. You can also go all the way round. So you would go to the back rounds and then up. But right now we're only doing front. So it's half a circle. So from one shoulder forward of the shoulder up the other side. Shoulder forward, other side up. Pretty simple. If you have long hair, you should feel your ponytail going round. Like this, okay. If you have shorter to swing your head around and then flip them back up when you come up. All right, so we've our lead in our book chapter. We go 1, 2, 3, 4. Anything that if you feel like a tap on your shoulder or something like that is usually a preparation for the head roll. So here we're in this situation, you tapped on your left, you are going to step out on your left and then drop your head to the left, forward, right and up. Let me show you from the back so you can follow my footsteps. We go 1234. You can let go of this hand. The leader really let go off your left hand, step out, roll your head out, and then you step on your left foot. So we go out, head roll and step. So you can see I'm swaying a little bit even during my head roll. Boom, boom, boom. Okay. Let me do that again. 567812345678. Again with this way, just to make sure you step onto the right foot again. We do have a basic 1234. Then step out, rock back, rock and tap. If you write on eight, and then you're ready to go into your basic again. And during that, we do the head roll once more. If the partner by 6, 7, Let's go 123456781234. Then we can do the same thing to the other side. We prepare on 5678. This time we roll on one we set but on the right he goes to the right, underneath out and rock to your right leg. So this time we go 1, 2, 3, 4. Whilst you do your head roll, those, make sure the side you're stepping on, that's where your head is going first. That side. Okay. Let's do again the head roll on one which is on your right. 5, 6, 7, 8, 1, 2, 3, prepare. 5678, head roll 12345, and that would get it wrong. Yeah. 5678123 prepare 567812345678. Let's combine the two and let's do it from the side. 5678, basic 1234567, prepare 123456781234567812345678. So that was the hydro for us, the followers. Now, the leaders can also do a head roll. We don't have to leave that. We don't do much. But let me just show you what I do, right? So we go into a basic 12345678. Like with your head roll, he prepares on 1, 2, 3, 4, he puts your head on to his shoulder. Then whilst he does his head roll, I do lift my arm a little bit just to help because if you're just here and he tries to do a head roll, it's pretty difficult. So you can really make the live this life easier by raising your arm, just arch your arm and going around. It also doesn't have to stick on his shoulder. You know, a head roll is coming. It's pretty obvious signal. So he usually bends down a little bit and then you can just go around and make his life easy. Usually, what helps me from from a follow-up perspective as I prepare my, my own Hydro One, 234, I will drop because normally men are slightly taller than ladies. But if you are much shorter, the guy should, should drop a lot more. But he still needs that bridge because what you want to avoid is the guys tilting it, hinging at the hip and doing this. And then you're going to force him to kinda have bad technique. But by placing a hand, the shoulder she feels are dropped. That's my signal that are not being quite static. And then she can almost see the hydro coming through and it gives me a nice arch that my big head can get through. Okay. Also you don't want them to bend over because that's too close for comfort. If you've been forward them. He comes to close to you with all right, let's do that again. We go 1, 2, 3, prepare, 5, 6, 7, 8. Now if my feet obviously can't complete my basic because otherwise you're not going to be in front of him. I just step out like we just did when we did our head roll out and rock and the rock and I tap. Same thing. Obviously. You can also do a hip roll. So you can step out April and tap as you learned in the beginner's course. Or you can do the rock depending on what you feel and how I think the rock is slightly more, more stable, slightly more controlled so you can pick up on anything else that would happen if you're not quite sure what's going to happen, then I would just suggest the rock. If you're quite sure and you know your partner, then feel free to do a hip roll is always a nice way to style out a move. Okay, let's do this again with our rock step, 56781234567812345678. So we do the same thing to the other side. Arch your arm, rock your step. 3, 4, finish your basic. 7, 8. Let's do the same thing again this time I'll face the back so you can copy my movement. 5678123456781234567812345678 16. SS Bachata Pw V2 6d Head Rolls Tips and Practice To Music: Practice, practice, practice. My favorite. Let's go through it slowly with count one basic 1, 2, 3, 5, 6. Ready to lead the lady? 2, 3, 4, 5, 6, 7 base n 123, other side, 567812345671. Basic for the guys had rows 6, 7, 8, and 1, 2, 3. Drop price 6781234, I decide 6, 7, 8 and 1, 2, 3, 4, 5, 6, 7, 8 bit music. And this is from the same glass. Hs. And mammals. As co-chair the Mekong scenes. 17. SS Bachata Pw V2 7ab Routine 1 Explanation For Men: The only other thing I think is really nice. And I'm going to go up. Hello my lovely friends. Welcome. You've made it all the way to routine one. This is a nice way to kind of put all the techniques that we've learned in the previous modules for him to give her a nice little sequence and then practice. So, so let me run through all the lead aspect and show the sequence of this routine. So we're going to start off with a lovely basic, just a standard basic 123, tap 567, and tap from the second one, I'm going to step out 234, Get ready, 678. So I'm getting ready for my basic. We step 12345678 on a second Member Basic, I'm gonna go with just an outro. So we go 12345678. So from here, I'm going to go straight into giving the lady ahead row. So from our basic, our step 1, 2, 3, 4, to the shoulder, remember the allele that gives it a signal for the hetero. I remember just swing your hips from right to left. We step 5, 6, 7, 8. Let's do that again from the other side. So remember, two dominant can basics straight into the lady's head drop. So standard basic. And we got a basic 234567, basic 1234 leading into DOM basic and step and 123, tap 5, 6, 7, 8, ready to exit 34567 and the pair head roll and 5, 6, 7, 8 Basic to free 5, 6, 7 on this basic, the end of it, we're going to start leading the component. Okay? So from the second basic, we've gone 1234, Get ready, 678, combiner, 1, 2, 3, tap, 5678 from the top. So always when you're practicing, try and build it in layers and similar, we're teaching it. We work on one variation of a sequence and then the next one and the next one and go back until we know that we are solid with it. So try and learn that the same way. Try and build up one module at a time, and then you'll get them all running smoothly. Basic. And 123, tap 567. And this one, we're going to get ready for the member basic 7, 8, and 1, 2, 3, 4, 5, 6. This one where the outro 1, 2, 3 and 5, 6, 7, 8 Plus next yep. Hydro and 1, 2, 3 to the shoulder, 5678 and basic to free ready phone Aparna 6, 7, 8, then Cabana do free tap 56 781234. So moving on. After the compound, we're going to do our campaign out which was 1, 2, 3, tap 5678. From here, I'm gonna do a basic 12345678, preparing my eight. And this could be a latest inside of time, but today we're going to do an outside time for the leader. So I lower my hand. Remember to keep the hammock ready. 123, flip the hand catch. And 5678. So let's do that one more time. Just the outside temperature, the lock and drop for the for the lady. 1, 2, 3, tap, 567812345678. If you've done really well, give yourself a high-five. The other side, just from the block and drop and the guys outside turn. That does the last module. So we go 123, tap, ready, 678 guys are turning to the right, dropping the left-hand 12345678 from the top. Let's hit it. Basic. And a 1, 2, 3, 4, 5, 6, 7, 8. With this basic, we lead nicely into the membrane. And 567812345678, this one does the exit HE for an exit 678123, pedro. 678123. Prepay your compiler now 67812345678. Hey, Doing good. Let's carry on this one. Basic leading straight into the guys outside time. And 123 tap 567812, flick 4, 5, 6, 7, 8 high-five. From here. Just think of it as try and put the sequence together. It's stuff that we've been working on right through the first part of this course. It has any part that you're struggling with. We structured in the way that you can go back to that specific technique and really drill it. Don't, don't beat yourself up because you're finding one piece heart. Go back to it and do practice it if it takes you 12 times to get it great. If you need three or four times to practice it, then that's what you need. That's just assess where you're at. But, you know, don't just fly through it hoping that it was going to come. At some point, really focus your learning on specific techniques that you're weakest on and build them up from them. Always work on the weakest ones. First, you'll build your general repertoire much more solid. 18. SS Bachata Pw V2 7c Routine 1 Explanation For Ladies: Well done, You've made it all the way to retain one. We combine a few of the moves that you've just learned into a little sequence for you. Let's start with a basic to get into it and make sure you use your lovely hip movement that we talked about at the very beginning. All right. 56781234567, again, 12345678. So at the end of the second basic, we go into our mumble basic to the front. We go 123456781234, and then we join backup. To go back into our basic. I did a couple of different arm movements for my Mambo basic to the front. For the preparation, I went straight up with my arm and then I did a hip. So run your hip and up. The third one is the side. And then I did a hip again, just to give you a few different options, you can mix and match them as you please. All right. Let's do it again. 56781234567. Again, 1, 2, 3, 4, 5, 6, 7 prepare 12345678123 and come together 7, 8. From here we go into half a basic and the leader will prepare you for a hetero. We go 1234 and then we do the hydro on 5678. So our mobile-based into the headroom. Let's do it from the other side. 567812345671234567, prepare 123456781234567, Hydro One, 2345678. You get let's continue. So from here, we are going to go into our component move. So we do a basic first, 1, 2, 3, 4, 5, 6, 7, prepare on eight into our compatible, we go 12345678 and back into our basic. So we just do it once. Okay, let's add that at the end of our routine. From the beginning, 56781234567, again, 12345678123456781234567812, head row 5, 6 7, 8, 1, 2, 3, 4, 5 6, 7 prepare and 12345678, basic 2345678. So here you can already see it's a preparation lot for us, but the leader is going to go into an outside turn with the hammer lock. So we go 1 to city. He flicks your hand on four, and we do a nice hand flick on 567. As we learned earlier. Let's go again from the other side. I think this hands flick on at the end. So we go number basic to the front. Then we do our head roll, then we do the compiler. And then at the end, the outside term for the leader with the hand flick. Ready? Let's go. 567812345678123456781234567812345678, head roll 23456781234567, compound now 123456. So 123456781234, flick 5678. Well done. Just one little tip I have for you. Special little tip when you do the compound now, sometimes deleted steps really far. So you can try to do a little syncopation step in between. I hope you remember when we first taught you the basic step, we went 1, 2, 3, 5, 6, 7 tab or the other version was 1234. So a little, little triple step in there. So when we do the compiler, let me do it from the side so you can see better when we do the compound now we can go 12 and if the leader steps far, instead of just doing a tab, we can do a little triple step, 5, 6, triple step, just, just so you don't fall off balance if that happens, just want to give you this little tip. You can use this in lots of other movies as well. If the leader still lead to you around and you haven't quite made it, then instead of a tap, you can always go triple step. Okay? So you can add this in for practice or just do the top for now. 19. SS Bachata Pw V2 7d Routine 1 Tips and Practice To Music: Hey, we're in the practice snowed. So from here let's go through some practicing were due on count and undo it for music will give some tiny tips along the way. The main thing that we find when you start putting these modules together is the transitions need to be quite obvious and clear to your partner. So for the leading makes sure that you prepare enough time for the lady to notice a difference in what's happening in the next sequence. I'll run it through as we go through. So from, from our basic position, you notice I might start with my hoe, compete on the little finger side. I will change that because I find it more comfortable to do my Member Basic, my fun pin. So let's just do a transition. Mid basic, we do basic 2345678. I'm transitioning now to go into my fun as my main pin and 56 back 78. So there's a very subtle transition between the pin going from little finger to the fund being the main pin. We do our dump a member basically step 1, 2, 3, 4, 5, 6, 7, 8 and 1, 2 free. When you exit, make it crystal clear. 6, 7, 8. Then from here, I'm now sitting in the pinMode of my hook. But for the head roll, I need to bring ma hand-on like a butterfly and go over their head to catch. Let me show you that again. So I'm going from my pin here and there, my little thing that takes over brings the hand down. I go over our hook back in and then I'm over the head. Okay, Let's practice that. So we're here nice and slowly. 1234. So it's a very subtle lead with the hand change, but the difference is massive in what and how you execute the move. You let go at the sequence, gentle pressing a button, seeing the hips round, and you're ready to start the next sequence. So again here, I'm now in my normal hook and pin go from our little finger side. But for the campaigner, I am better off changing back into my farmers domain pin. So I showed a transition to go back to that. 1234 should change hand positions. 7, 8. I've twisted already on eight, land on 1123, tap 5678 here. Sometimes ladies do take a big long campaigner, you just have to keep up. Don't do a short one. If delayed, he's doing a long one. You have to really almost reversing the roles and you're following her length of our travel. Sometimes the ladies do a short campaigner, like if if if Creanga the short one, I'll stay short. If she likes to do a long-term panna, I'll go with long and vice versa. So in many ways I started, but she dictates the pace of it. Okay. So we've done that. Let's go into the Campana. 1, 2, 3, tap 567, and tap from here. We're just at the end now I'm going to do a basic go back into my normal who can pin from the little finger side as I go. 56, 78, preparing my hands. One hi, one low, my right turn goes one to flicked free, catch. Four. Sometimes you don't need to catch, just look, does it? But he catch, great. If you don't need to catch it, just your hand on your right. We're already catch it. So don't be shocked if you Mr. Hand is not important. It's still the flicker installed works 56 along as you offer landing point and then your, and then you're ready for the next part. Let's go for two whole thing and count by 6712345678 and ready 345678123, tap 567. And again, to free our true 678 head to free role by 6, 7, 8 and prep to free, ready for a component 678123, tap 5678 and base 2, 3 4 prepared the guys outside turn on eight and 10 to flick catch 5678 and base 2, 3, and by 6, 7, 8. Hello. Wherever it is stored.