Sensual Bachata- from Nada to Suave

1. Bain's Introduction Video: Hey everybody being here, I just wanted to send you a personal message and say, thank you so much for taking this class. We're so excited that you're here. It is literally meant to take you from zero experience not having any prior knowledge of the basic steps into advanced central bulge out the dancer. We realized that most students are probably coming to us to learn this because maybe going to a group class, we're just going out. Social dancing might be a little intimidating, especially with these movements which tend to be a little bit more intimate. And I think this class is perfect for you. Maybe you're an intermediate dancer and you've taken some classes and you want to try to level up from here and just kinda go to the next block of knowledge per say. And I think this is perfect for you as well if you're in that group. We design this class specifically for having no knowledge whatsoever about the basic step, central bunch up and nothing whatsoever. And to turn you into an intermediate or advanced answer, it will take practice. It will take a lot of work. But this class gives you everything for that. So just wanted to thank you for showing up, get ready to practice, to dance. And again, my complete pleasure as to see you guys on the dance floor doing these movements, and so please keep it up-to-date. Show me what you learned. Show me you doing these moves on the dance floor. It just gives me so much pleasure to see it. I mean, that's the whole point is to try to bring you guys into this amazing community that we have found and has been a part of our lives for over a decade now. I've been around the world, currently sitting in Spain right now. And just the people you meet dancing and you can find dancing and every single city in the US in the world. And so you meet these people and everyone is very friendly. And you have friends and all these cities and they can tell you where to go dancing and they're from all different walks of life. And it's just, it's an amazing community to be in. So welcome to IT. And let's get started. Get ready. You really don't need anything except for after the first few lessons, you partner is very helpful so you can actually practice the movements. But apart from that and just put some comfy clothes on and let's get to work. Thanks. And let me know how it goes. 2. Bronze- Lesson 1 Technique: Hey guys, this is vain and Jascha. And today we're going over technique. So today's class will include all the foot positions, body positions, hand holds, brains, and actual rhythm or batch data. So we're gonna go ahead with that and we're going to show you our foot positions first. So different dances require different styles and in foot positions. And by Chaka, we actually keep our feet parallel, pointing the same direction. And actually the feet are touching each other. And we have a little phrase for that. We say nose over the toes, nose overtones. The second part, the body position, what we wanna do, so we're going to face sideways. You can see us different dances again require different positions. E.g. I. Sometimes is we lean a little bit towards our partners in by Chaka, we actually send completely straight. We tried to elevate our spine, lift our chest, and what we also wanna do, we want to feel our body weight in the center of the foot and sometimes a little bit towards the balls of our feet, but we'll specify those in actual figures. Now vein will take over and go over the frames and hit holds. Alright guys, so we're gonna do body position when we're actually with our partners. So go ahead and get with your partner right now. And we're going to start normally. So if we start right here and we are shoulder to shoulder and completely parallel, actually we can dance like that. We get in each other's way. And the reason for that is when I take different steps around the floor, I'm going to step on my partner's feet if I'm right here in front of her, right? So what I'm going to do instead is to put my partner slightly on my right side. So if you think of a line drawn down the middle of my body, she is right. Kind of starting right here on the middle line that I was just referring to. So she is to my right side as a lead follows, you're also connected along your right side. So instead of being here, my partner is actually a little bit to the right. Okay, So basically you are shooting to be slightly offset. But keep in mind that your shoulder lines. So this is a line and imaginary line that goes through your shoulders and your partner's shoulders. These two need to still be parallel so we don't want to be in sort of an angle, so we both want to be facing the same direction. And so as she actually said, if we are facing in the same direction, if I decide to change that as a leader, if we get into a position where that's called for, it's very intentional. But for right now as we start, I am parallel and she is parallel. Okay. So the next part is the different types of how we actually hold each other. We're gonna go through our basic close frame. So vein is going to live his left hand, the left hand, and I'm going to give him my right hand. So you can explain how you actually hold that. So as a lead, what I'm doing is I'm making a kind of an L shape with my hand, with my palm out from my body. And my follow is placing her hand slightly over the middle of my palm and thumb area. So if you guys can see this and then my fingertips wrap around her hand and it sits there very gently. You don't want a lot of pressure here. I don't want to squeeze her hand is just slightly touching her hand on the outside, on the backside of her hand. And ladies, I want to do always when you're leaf clover the hand meaning that his fingers are touching you. That means that you will close your fingers as well. If he were to open his palm, I would follow that motion. So now for the other side, his right arm is actually plays on my left shoulder blade and she'll show you how to do that. When he places his arm, he also makes sure that his elbow is slightly lifted so that we can get a nice round shape. Ladies, what you wanna do, you want to gently place your arm onto his and usually the hand wraps around. If we're at more beginner level, we can also do this where our left thumb goes in front of our partners. So we make sure we keep that distance is somebody is getting too close and we're saving our feet a little bit from that. So that was as far as the handhold goes. And now we'll show you a different type of handhold, which is an open frame. So one part on the quiz that I want to get to as a lead is I'm using my whole hand on her back. A lot of times you'll see leads use just fingertips. So one or two fingers like this. And so you can see, I'm going to move to Josh's hair so you can see how I'm barely touching her back. I actually want for chapter as many points of contact that I can possibly get. So if I'm here and I'm just using my fingertips, she can't feel every movement that I'm making with my hand or get the complete connection right. So I want to use my whole hand right on her shoulder blade, on her left shoulder blade. I'm going there. And then as Joshua said, I'm keeping my elbow up just like this. Okay. Awesome. And that you feel comfortable for both of you. So now we're going to continue with the next Haldol, which is an open handhold, which means we're not holding each other's bodies, but we're just holding hands. So leave your palms will be facing upwards and girls are follows, your hands are facing downwards. Also. Guys, you can play a little bit with your, with your fingers. You want to show this position really quick. So guys, create a little bit. I'm going to say, here's what I'm gonna do. I am going to use my hands like this, which is kind of like a shooter guns like we did as a kid or something. Except my the bottom three fingers are going to be what my partner places her hands on. Okay. So my index finger is going to be a long her hand if I could use you're really quickly. So it goes just like this. My partner is placing her hand on my middle and the bottom three fingers, and then my index finger goes right along her hand. My thumb goes slightly on top of her hand and it stays just like this. So if I do two of those, I'm staying right here. Okay. Also very important thing about the open handhold. You don't want your arms. We're going to talk a little bit over here. You don't want your arms to be in the center. You don't want them to, why they shouldn't be your arms. So one set of arms should be in a parallel lines. So one elbow, two hands, and the other elbow should be in one straight line? Yeah, exactly. Alright. So we're going to show you here. So this is open position and we can get closer and a little further apart. Yeah, and I'm just creating some distance between my partner when I move between positions, which we'll get to later in the course. Okay, perfect. So for the last part of this section, we're going to explain the rhythm of batch data. In batch data, we actually use a check them music, which is founded in 8 ft frames. And pretty much we take steps on first three, first three beats and then 5-7. We're gonna get in the next section. 3. Bronze- Lesson 2 Basic Step: Hey guys, this is Bain and data. In today's class we are getting into the basic step of but shutdown. Right? Let's go. Alright guys. So we're going to show you the basic step of bunch up together. So that way you can see what it looks like in partner work. And then we're going to break it down from a legal perspective. And then from a follow-up perspective. So we're going to show you with partner work at the beginning. Okay? So I'm with my partner and I go into close position and I'll do it with counts for you, which will teach you the counts in like 5 s. Hold on one sec. Okay. Watch this. 56 781-234-5678. Alright. And this you can see it from my perspective, 56 781-234-5678. Alright. From a legal perspective, here's what I'm gonna do. Okay? Everybody follow along with me. I'm going to take three steps and then tap my toe on count number four, okay, so each step corresponds to a count. So I'm going to start with my feet together and I'm going to go left on one, right on to left on three and then count for I tap my right foot and I leave my weights on my left foot. This allows me to go back in the other direction and I'm just going to mirror that same step that I just did. So then I'm going to take a five with my right amount of fingers, but this is six with my left, seven with my right, and then my left is going to tap on eight. And then we're going to continue to do that over and over. Okay? So for the follows, this is what you're gonna do it, you're pretty much doing the same. That is what you're starting with your right foot. So I'm going to face this way. So ladies, please join me. So we're starting with our right foot on beat one, and we go one, closing with a lead on to stepping again, to decide all three and tapping our feet together on beat four. Now we're mirroring the same thing to the left side, starting with our left foot on beat five, closing together with a ride on B6. Stepping again to decide all be settled with a leftward and tapping our feed on beat with our right foot. All right guys. So let's, again, let's try it again with our partner now that we know the basic step from both alleles perspective and a follows perspective. Let's try it together. So with your partner, Let's go ahead and get into close position. So we are here. My right hand is on the shoulder blade, my left is here. And I'll count for us. Follow along. Okay. 5, 6, 7, 8 and 1, 2, 3, 4, 5, 6, 7, 8. We're going to switch around. Let's do it again. Take a deep breath. Okay. 56 781-234-5678. I guess we're in close position and we're gonna do it to music. 567. You buy your job, guys. 4. Bronze- Lesson 3 Box Step: Hey guys, this is vain and Piazza. And today in this lesson we're going to go over the box that which is also a basic set. And we're going to jump right into it and show you how it's done. Well, here we go. All right, guys. So we're going to show you again with our partner first. So just watch this so you can kinda get a gist of what we're about to do. And then we're gonna go lead and then follow and then try it again together. Okay. So with your partner, I'm going to go 56 781-234-5678. Alright. So you can see it from the other perspective. 56 781-234-5678. Alright. As a lead, how am I leading the box step? Alright, I'm going to start this way for you. So it might look complicated, but I'm actually using the same exact feet that I used in the basic steps. So it still goes left, right, left, right. Okay, that's 1234. So if you watch my feet, I'm still going left, right? And that's completely normal just like the basic, except for the last two steps I go forward. So then it goes left, right forward. I still account for it with a tap. Okay, so let's try again. From the beginning I go 1234, okay. Now, I'm going to continue my side motion with 5.6. So I take my right and left, and then now I go backwards to finish off the box in the same exact spot that we started. So then I go right, left. Okay, with counts for that whole thing is 12345678. Good. Alright, from a follow-up perspective guide, I'll just touch up on one point, which is I think very important in just a difference between steps and tasks. Every time I'm shifting my way from foot to foot, those are considered steps when I'm tapping my foot, just touching the floor without shifting my body weight onto the foot. Those are tabs. That's a little bit of a decoration and we actually had in the basic step up and check that. So now going onto the box that turned the other way so you can follow me on this one. So ladies, we're starting again with our right foot, which is mostly all the figures are with the right foot. So we're starting with our right foot to the side on beat one, and we go 123, step 5678. So if I go over which for those where one more time my right foot goes to this side, my left foot clauses and that is a way change. Now my right foot goes back and my left with closes without the weight change only with the top. I continue with my left foot to the side and I close with my right foot, which is again a weight change, and I continue forward with my left foot. Tapping my feet together with the right on beat. Will show you one more time together. Alright, so go ahead and grab your partner guys. Here we go. You're going to start in close position. Got it, nice. And here is a box step. So 56 781-234-5678. Nice. Let's turn around and go here. Same exact thing, Box Step 56, 781-234-5678. High-five your partner. Boom. Nice job, guys. All right guys, we're in close position and we're gonna do it to music with our partners. 567. All right guys. Nice job. 5. Bronze- Lesson 4 Basic in Place: Hey guys, this has been Sasha and today we are doing the basic in place. Yes. And we're gonna go right into it and show you, alright, here we go, guys. So we are going to show you first. We're going to show you first with their partner. And then we're gonna get into how I do it as a lead, how to asha does it as a follow. So with your partner, we're going 56 781-234-5678 from the other perspective. So you can see my booty instead of Josh's 56 781-234-5678. Right. So as a lead, how am I doing that step? It is the same exact counts as the basic. However, I'm going to change where my feet step. Okay, so as a lead, just watched me and kinda follow along and we'll go through it a few times. Alright, so my first step, number one, is the same as the basics. So I step out. Now on number two. For, just for learning purposes, we're going to pick it up and put it down. So I go to It's in the same exact spot. And now for three, my left foot comes back and I transfer my weight so that way I can tap my foot, my right foot on four. So let's try that again. I'm gonna go step number one with the left, pick up and put down on to transfer back on three. And I put my weight on my left foot so that way I can tap on for now. The right side is just 5678 as a mirror of that. So my right foot right foot comes out on five here, pick up and put down on 67 is back here. I transfer my weight and tap on eight. Beautiful. Here we go. As a follow. Hi ladies. Follow along with me as I go through this one. We're starting again with our right foot. You're going to see that this is pretty much the same, the same movement every single time. So we start with this size and we begin with a sort of a rock step. I explain it this way. Our body weight shifts to the right on beat one, and I come back to my left foot on V2 and V3, I placed my feet together and shift my weight onto my right foot. Now beat four, I just tap where my life would already is placed in place. Continue on B5 with my left it aside and I repeat the rocks at To my left side. I go five, replaced my weight on my right foot. Continue with B7, clothing my feet with the left foot, placing my weight onto the left foot and on beef, tapping my right foot so I can continue the movement over and over again. Oh right guys. Let's try it with our partner a few times. This one's a little bit more complicated, so we'll give it a few shots of what kind of run through it with you so you can practice at home or wherever you are. So 56 781-234-5678, 1234, 5678, 1234, 5678. Alright, so you can get a different and better view. So here we go. 56 781-234-5678, 1234, 5678, 1234, 5678. All right. Guys were enclosed position. Let's do it to music. 5678. At the moment, my divine right, I've not your partner. 6. Bronze- Lesson 5 Separation: Hey guys, this is bain On Piazza. And to date we are doing separations for Europe bunch at this step. We're going to jump right into it. We're gonna go from a closed to an open hand hold. We're going to show you right away. All right, guys. So we're gonna start with our partner. We're going to start with the closed frame and what we're doing, we're actually sliding our elbows away from each other to get to an open hand hold, as we explained in the beginning. So basically what we're doing, we're gonna do this during our first four steps. So we're gonna go 123.4. So you want to show your part? Yep. So as a lead, I'm going to charge you can stay here with me. I'm going to show you how I do this as I'm sliding a slightly away from my partner because open position gives a little bit more distance. So if I'm closed and I have this distance between my partner, as you can see in the film. I'm going to end up right here. So I added a few steps back, like just maybe a half of a step. And I do it while I'm taping, taking my basic step. Now, the key is that I keep contact with my partner the whole time that I'm stepping and I go from a closed position and when I start walking down. So from here, from close position as I'm taking my basic, if you'll just watch one time I go 1234 by four, I end up with my hand in the open, open position. Okay, so let's try that again with our partner. This hand is also going to just rotate down to open position. So my left rotates down. Am I right stays in contact for 56781234. And explain the ladies part. Yes. So for the ladies, there's only one thing that's really important. Every time you feel there's a slide going down your arm, what you want to do is slide the opposite directions, but you want to keep contacts. So the one thing that I don't want to do is detach. So when I feel my partner's lighting his elbow back, I slide my bag and I press lightly downwards towards his hand so he can actually grab my hand. He doesn't need to. He can let go if he desires, but I will give him the option to choose. Say when the hand that we're holding over here, what I do when my partner opens his palm, I do the same. So when his fingers take off, so do mind. And from here, I just press down gently my palm. It doesn't twist, it doesn't rotate. The partner. Basically, actually let's turn this way around. So for this hand, just the hand motion, we opened the poem. And it should finish somewhere in the middle between a slightly lower, slightly below our alcohols. Yep. Exactly right. So again, that separation is going to happen over 1234, so that is getting into open position. Let's practice that then we'll get back to close position. Okay. So 56781234. Nice, Good job guys. From there, we can just finish off the basic, but the transition to open position is just four counts. Okay? Alright, let's do it again. 56781, 234. Nice, Good job guys. Okay. Now, to get back to close position is just slightly more complicated and what that is for a lead. And I'll let Josh explain the fall apart is I'm going to slightly placed her hand a little bit to my right side and I'm going to go inside of her arm so that way I can go straight to her shoulder blade. Again, if you can see that motion, this is open and I'm going to place the handout slightly. I'm going to release the pressure on my fingers so she knows I'm releasing her hand. And I take my arm and I go inside and then straight to the shoulder blade. Okay. If I am moving, so I'll show you the slide to open position and then from Elise perspective back to close position on 5678 and beriberi slowly. Okay. 56 781-234-5678. Just like that from a follow-up perspective. So ladies, basically what we wanna do, we don't want to anticipate what we have to do. But what happens is our arm is being placed on the side and as we see, our lead's going for our bodies for a closed frame, we only have to close our arm and place it on top of the ears. We're going to show you the same thing. Music. All right guys, Here we go. 567. So you can see it from this side. Here. We go. Morning. This position. I bought your partner. 7. Bronze- Lesson 6 3 Step Turns: Hey guys, this is Bain and Tasha. And in this lesson we are going to be going over three-step turns. Yes. And I'm going to show you right now, ladies, we can turn to the left and to the right and so can guys, I'm going to go over the terms and then we're going to put them in two different combos. We're going to show you that. First off, Here we go. 56781, 2, 3 and 5 6 7 8, 1 2 3, 5 6 7 8, 1, 2, 3 and 5 6, 7, 8. Alright? This is the guy's portion. And 1, 2, 3, 5, 6, 7, 8, 1, 2, 3, and 5, 6, 7, 8. Right guys. So Josh is going to teach you the ladies turns first. Ladies, this is what you are going to be doing when we're turning to the right side, I'm actually going to turn away from you so you can follow me as I go. Well, we're turning to the right side. I'm focusing on shifting my body weight and moving along and closing my left side. So I do 1234. Same when I'm turning to the left, I tried to shift my body weight towards the left and I bring my right side through. So I go 5678 in the combination, what we did was 123 and we did for the left turn, 5678, then we did a full basic 1234567 on a prepare a right turn, and then we did 1234, reconnect with our partners and 5678, the really important part about turning is basically pivoting your feet as you're going to learn later through our lessons. There's a big difference when I move with my feet constantly trying to be parallel. So when I'm turning, I'm pivoting both of my feet. So if you see my feet move, what you wanna do is copy this part. Pivot your feet. Pivot your feed, keep them parallel, keep them parallel, keep them parallel, and always finish with a tap. Same to the other side. I pivoted my feet. I pivoted my feet. I pivot and finish with a tap. So vein is going to show you the steps on guys terms. But basically guys, you want to turn pretty much the same way as girls. Yeah. Alright kings, we're going to turn as Josh said, pretty much the same exact way. So I'm going to just think about pivoting every single step. So when I go step number one, I start my pivot, which I'm about 45 degrees here, maybe even closer to 90 when you get used to it. And then I take a step here. I've completed almost 180 from, from where I am, so I'm facing the other direction. Then I take another step back around and then it's the exact same tap as you would normally see in the basic. Okay? So what? I am going here a little bit quicker, it will go 1234. Okay? The combination that we did at the beginning has us turning our part on counting number one. So we go turn 1234 and then I finish off the rest of that basic. So 5678. Now, I was setting up my turn on five, so I need another half basic. So 1234. This is the mirrored version of the term that we did previously. So I'm starting on 55678. Alright, so now you can see it with us together. So the full combination for we're starting with the follows terms first. Alright, so we're starting in close position and we go 123 prep than 5678. Okay, we finished off a half basic here, 1234. On this next part we have to prep on eight, so we go 5678, she turns on 11234. We finished off the basic 5678. Now, guys, is our time to shine. The lady has done her turns on both sides. Now we do our turned on both sides. So we're here. I disengage from closed position, from my partner. Then I put my hand down right around my waist and I start to turn towards my left shoulder just like we practiced. So I go pivot, pivot, pivot and tap my foot. I pick up her hand at the very end. So just as it started, pick this up and we go 5678, which is the rest of the basic. I'm just going to go to open position here. So I go 5678. Now I take a half basic and I get ready for that opposite version of the turn 1234 and then I take my turn, 56, 78, and that is the full combination. We do want to mention a few things about preps, right? So we're doing three-step terms. It is very important that you prep it, turned it pretty much everything in central bulge out that has a prep, whether it'd be a body movement in isolation, I turn, it doesn't matter. So a prep for this move is like this. I'm starting with Josh's hand is in my left hand. So it's my left. Her right. And it's going to start around count number three. And it's gonna go down slightly. And then kinda make a J shaped and it'll go up to write above. Also, ladies, every time you are going to be turning, you want to make sure that your arm is in front of your body. You're going to pretend you're holding a baseball cap, even though you're holding your partner's hand. And another very important tip that is going to be happening while we're doing the preparation. From, let's say this position, the guys will open their palm and as they do so, we have to open hours so that we can slide the hand. And if you have a partner right now, I want you to try this motion. You're going to go from down here, opening your palm and sliding. So is this action is happening where sliding our hands also from a closed position. From here, the path is slightly shorter. We can still do the whole preparation. But the same thing is going to happen. We want to open our palms and then the turn should be very simple if we do that preparation. So what I'm gonna do just the very first part of that combination with T asha so you guys can see. So we are here. No, Mike, 567812, Prep here. 5678. And I drop the hand to signify to my partner that the turn is done. If I leave it up, she's going to feel like she needs to do something else. So we just drop it and say We're good here. Okay? Also guys, I want you to pay attention the way you prep your own turn. So basically you will see Bain started turning and bringing his own arm above the arm where he's holding my hand. So that's a very important thing. Also, we want to show you from the other side as he's doing that. He's also going to place my hand on his waist. And we are going to ladies, keep that connection. As our partners turn, we will keep our hand on their body so they can get our hand back. And that is called tracing. Again, guys, when I am turning, I'm going just a little bit quicker you so you can see this version. She's going to keep her hand and contact with me. And I'm going to put it there at the beginning. So I go 123, I pick it back up and we're tapped on four. Same thing happens on both sides. And now we're going to show you the whole figure again from a couple of different angles and then to music school, alright, with counts. So it is 567, 812-345-6781, 234, 567-812-3456. Guys turn 1, 234-567-8123. Guys turn 5678 from a different angle. 5 6 7 8 1, 2, 3, 4, 5, 6, 7, 8, 1, 2, 34 567-812-3456 my turn. 1 2 3 4 5 6 7 8, 1, 2, 3, and 5, 6, 7, 8. Awesome to music. Here we go. Five next. So your partner, three-step turn is complete. 8. Bronze- Lesson 7 Simple Wrap: Hey guys, this is Bain and Tasha. And today we're going to go through a simple wrap or otherwise known as a cuddle position. Let's get started. Let's go. All right, so we're going to show you with your partner just so you can see. And then we're going to break it down, leaves and follows as always, 5678123, 567 812-345-6782. Beautiful. Let's see it from the other direction. 567-81-2345, 6 781-234-5678. Alright, so from a legal perspective, how do I do that? So I'm going to start with my partner this way here. Now, I'm going to prep a regular turn as we've already gone over one time, and that's on one to the prep is on three for the difference is on this one I keep my right hand connected with my partner and then I keep it down. So again, it's 1234. Can I borrow? You were here and I go 1234. So as you saw, I slid into open-position. I kept my right arm connected down at my left arm is up. Now, I give her a turn just like a normal three-step turn, except I'm keeping this connected. So she ends up in this nice frame right here. And I keep the nice frame, which means my chest is up and my elbow stays up slightly. So that way she goes into this arm. So she goes 5678. Now, just so you guys can see, will turn here so you can see. Alright, so I am staying perpendicular to my partner. When she turns inside like this, she has all the way back in my arm and I am not here. She is connected right down the right side, kinda like my rib line right here and just the right side of my body. Okay. So she ends up like this. So again, we're gonna go 123.5, 678. Now, would I do to let my partner out as I move my body to the left. And it includes my core. And I use my arm this way. So that way you can see, Let's get here. So we're in the same position as the wrap. And then you guys can see, now I'm moving my body here. And this arm allows her to come out of that rat. So she goes, I go body and step 11234. Now, what am I doing with my feet as a lead? I'm taking my one to let my my fall out. Can you borrow you here? So when she is wrapped here, I'm taking a one to let my fall out this way. And then after that I'm stepping in place to three tap on for so it's the same feet as the basic. I'm just tapping in place. Okay. So again, it's 1234. I ended with my right toe tap and then she's here. I'm going to pull her back and go into closed position just like we practiced entering back into close position. So 5678. Beautiful. Ladies, I'm actually going to Laura you straight ahead. So we're going to start with two components that you have already learned. So it's the sliding arm when we go from a closed to an open position. And ladies were doing a left turn, which means that there's a preparation going to happen with our right hand. So going through the steps, we will go 1234 are right hand is up above our heads and our left hand is down by our hip. And now we turn to the left, 56, 78. From this position we actually n in our leaves right arm. And it's very necessary that we don t try to be there McLean front of them, but we have to find a little bit of comfort in their arm and stay back towards it. So we will touch this topic later in the next block when we talk about partnering little more. But for now, what you want to do is keep the contact that you have on your back from here, right, for this task, I will also go through the foot work one more time without my partner. From here, I just go forward with my right foot on beat 1123. We are still connected during the entire time with my left arm, left hand. And from here I'm lead towards my partner and I just make forward steps one to city. And we finished together. So I will go through the footwork. Ladies, this is what you're doing. You're starting with your right foot as always. And we go 1234, turn to the left on 5678, tap on it. And now from here we go with our right foot forward 1234, continue forward on 556781 more time. The angles I need to explain. The first part is very basics on to have a basic set, 12345 to eight. I'm only going to do three quarters of a turn, so I will and perpendicular to my partners. So my steps go forward, side, back and tap. Now from here, I go forward, forward and I continue journey for a half of a chance of 180 degrees row here, I've fed back and I tap with my left foot, continuing without a turn. Just forward, walks forward, forward, forward. And I tap my feet together unless beat H will show you one more time. Alright, with your partner. Here we go. So again, we're going to go 5678123 and stop. So my hand is down, my left hand is up. Follows your right hand is up preps. Now, here we go. 5678, so leads my left who is tapped follows your right to his tapped. My right harm my right arm is down around her mid section area and then this hand my left hand is has her right hand. Now, I take a step forward to get my partner out on 11234. You can see that I let go with my left hand and then with my right hand I'm going to give a little bit of pressure to signify that I want her to come towards me. I use my right foot to start stepping back and then I just continue stepping in place as a lead. So I go 5678. That's it. From a different direction. 567-81-2345 6 781-234-5678. Alright. With music guys, with music. 5678. Nor are the right partner. 9. Bronze- Lesson 8 Hammer Lock: Hey guys, this is Dane and Tasha. In this lesson, we will be doing hammer locks. Yes, We're gonna go straight into show you how this looks and then we're gonna break it down. Let's go. 56 781-234-5678, 1234, 5678, 1234, 5678. Right? So how are we doing that? As a lead? I'm starting an open position with my partner. So her hands are on top of my hands here. And I'm gonna go ahead and start immediately with a prep on one. You can preface this move with the basic of course, or use it social dancing or however you want to do it. But for this combination, we're just gonna go ahead and start with a prep. The prep for a hammer lock is always with the inside hand as opposed to a rap, which is the opposite. What I mean by that is, if I am going she's going to be turning on one towards your right shoulder. If I go up with the inside hand and down with the outside hand, we end up and a hammer lock. As opposed to if I go up with the outside hand and down with the inside hand, we end up in a wrap or cut up position, right? This is one of the biggest things for me when I first started as a beginner, this when I figured that out, it was mind-blowing moment for me. So let's do it again. I'm gonna go with a preparation. Again that's signifying to your partner that something is about to happen, that she's going to turn. The hand comes up here, inside hand, outside hand stays down and we go 1234. It wraps around her back. And the most important part of this is that you allow a natural path for the hand, which includes a little bit of a movement downwards. If it stays up, it could possibly injure her shoulder and we don't want that. Okay. So what I mean by that, we'll try to give a little bit example without destroying the arches shoulder. So I had this prepped and if I stay at the exact same height as the prep, it's going to cost them around. Let's see. So they can see you. Tap, tap, tap, tap. It'll stay right here. And what that does is actually brings forward my shoulder and it feels very uncomfortable. So guys, you will notice what Bain does. When he leads me into the first step. He lowers the arm that is about to wrap around my back. So the turn happens right there. He can actually lead this turn would only this hand, and it will be lead just like that. You can see the path, it goes slightly down and then it comes back up on the other hand, on the other side. And ladies, on this term, what I want you to really focus on is relaxing that arm and also turning all the way. I think we see a lot of this happening. Does not feel good. If you actually finish your turn, it feels better. Your arm finds a natural position that feels normal. And when you're exiting, try not to go too fast. The same path for the exit with the lead of the arm behind my bag. It goes down low and it comes back up when I face my partner saying goes for the opposite side. Yeah. Exactly right. So when she has done the first part of the turn, 1234 for a lead when I'm getting my partner out of this turn, I'm just giving the slightest bit of pressure to signify that she's about to turn. I don't need to pull hard on this hand. And then this hand stays up like a regular turn over her head. So she goes 5678 and then both come back to neutral, which signifies that we're done with that movement. Okay, So let's teach you the little accommodation that we did at the very beginning to get ready for this. Again, I'm prepping on one with the inside hand. So then she turns on 1234. And then just like we were taught just a few seconds ago, then she comes out of that turn, 5678 because we want to practice it on both sides. We're going to take a basic here, 1234, and then on four, I want you to have that PrEP. Prep occurs on 3.4, just like the three-step turn that we've done. And this is the inside hand because I took half of a basic. So this is the inside hand. It's the same exact thing, 5678. And then she's going to finish off coming out of that again to get her out of this position, I pull slightly, just a little bit of pressure on my left hand as a lead and it's her right hand that's put behind her back and then my right hand and her left to go over ahead in a circular motion. So 1234 and then we just finished off the basic 456-78-5678. Awesome. Let's do it from this position so you guys can see. So we're here, we automatically, you can obviously, like we've said, that you could add a basic end, but we're gonna jump right into it. So we have it prepped and we go 1, 234-567-8123, 456, 781-234-5678. Next, we're gonna show you the same thing to music. All right, near weekend. Wrong with my mouse. Around. Hey Mr. Nice job, everybody. 10. Bronze- Lesson 9 Tornadoes: Hey guys, this is Bain and Tasha. Today, in this lesson, we're going to be going over tornadoes, which is actually something you guys already learned in previous lessons. So, so far, we've taught the wrap and the hammer locks. So ladies, this is for you a double turn to connect those two figures. And we're going to show you a short little demonstration how we do it. And then we're going to break it down. And we're going to be teaching you how to spin faster, right? So if you have not watched the lesson on rafts and Hammer logs, please go do that right now. Yes, we trust you. So here we go. All right. 5 6 7 8 1 2 3 5 6 7 8 1 2 3 4 5 6 7 8, 1 2 3 5 6 7 8, 1 2 3 5 6 7 8, 1 2 3 4, 5, 6, 7, 8, right? I'm going to let you actually start because ladies, you have a lot to do in this lesson. Here we go. So ladies, I'm going to go over your steps and we start with half a basic. We go 1234, then we do a wrap on five, and we do three quarters of a turn to the left, 5678. At this point we're perpendicular to our partners that are facing this direction. So this is actually the point where you start your double turn. So what actually happens to be able to do a double term? We have to do a rhythm pattern that is faster than the beat values of our music. So what we do, we step on five and 6.7 and tap on aid. In this part, we start on beat one and we go 1.2 and three, tap on four. Then we exit on 55678. I'm going to show you that one more time. Pay attention to my feet. So what I do from here is I step on one and 2.3, tap on beat four and exit 56, 7.8. From here. We're just going to go ahead and do one basic step. So you can come down from all that spinning. Also, I'm going to show you how to spin so you don't get dizzy, but not quite yet. So we do one basic step, 12345678 on eight unprepared to do the wrap to my right. So I go 1234. That was three quarters of a turn to my right. Now I do a double turn to my left. Beat values five and 6.7 tap on eight, so I go 5.6 and seven, tap on it. From here, I just exit 1234 and complete the movement 5678, with half of a basic step. We're going to show you that a couple more times from different angles and then to music as a lead. How am I leading the tornado? Like we've told you, it is a wrap and then hammer lock, right? So I can take those two lessons and put them together real quick. So for the first one, I'm going to start to wrap, wrap on five, so I go half of the basic. All right, 1234, There's a prep and so I'm doing the wrap. The outside hand is up on the rap, inside hand is down 5678. In this movement, if you remember from that lesson, I'm perpendicular to my partner. We're connected right down my right rib side thing right here. So this is connected. Now, I'm going to use this this hand. My right hand is going to lead her out of the wrap. And then the left hand comes up because she's going to be spinning under it. So again, in the hammer lock lesson, we prepped it as this. It's very simpler because now she's just here. So it's almost the exact same thing. I'm lifting this above her head and then giving her two spins. These terms have to be faster because if I keep them at the same pace, She's not going to get done in time and we need to keep it within a four count. So it needs to be a little bit faster than e.g. the three-step turns that we've done, right? So we go 1234. Okay. Tap on for she's in the hammer lock position here and then we just let her out just like we did at the end of that lesson. So we go. 5678. We add a basic in there just to get a breather and we go 1234567 on seven, I start to prep my next wrap. The outside hand comes up, the inside hand is down, and we go 1234. Again, I'm perpendicular to my partner here. I will say that socially, this is a little odd. I don't know if I've ever used a wrap on 1234, but it is completely possible. It is also the reason why we haven't included this rab in previous series. So this is the first time you're doing a Rab. So ladies, you're wrapping to the right for the first time. Yeah. Exactly right. So again, it's not wrong. You just don't see it that often. Okay. So again, I'm going 1234 and now the exact same thing. I'm using my left arm to get her out of that wrap. The right-hand comes up over her head and 5678. Okay. Just to get her out, I give a little bit of pressure from my left hand, which is down below. Right hand is up, it goes over head, 1234, we're back in normal open position and we just go 5678 tornadoes complete. So we're gonna give you combination again with counts and then do it to music really quickly. Okay, So you just saw that view. So we'll give you this view. 567-81-2356, 71 234-567-8123. Here we go. And 123-567-8123. And finish off the basic here from this way. So you can see 5678, 123-56-7123, 456-781-2356, and prep 12345678, As she comes out, 1234567 to music. Hi guys. Tornadoes are complete. High five-year partner. Nice job. 11. Bronze- Lesson 10 The 180: Hey guys, this is vain and Jascha into date. In this lesson, we'll be teaching you a 1AD. Alright, let's get down with a demo. Right guys. So 56 781-234-5678. Alright, so for my leaves, I'm going to start teaching you here. This requires a little bit of footwork to get our partner around. And like we named the combination, we're giving you 180 degree, basically a turn from, let's say, from front facing the camera to a way. Alright, so I'm going to take half my basic just completely normal. So I'm going to simulate my partner here, 1234. Now. My right toe is taps. Yes, and my weight is still on my left foot. So what I'm gonna do is put my right foot behind me on step five. Whereas normally I would take my five to my right side just back the way I came. Instead, I'm going to take it back. And the reason for that is that is going to start my turn around towards my right side. My right toe taps on my right behind me. Then I put weight on it so that step five and then I continue my pivot around. So I go six to the side, seven continuing to the backside for the 180 and then a tap, just like the normal part of the basic on eight. Okay, so again, I'm going here and I'm going 1234. I take a step backwards, 45678. Tap on eight, that way I can continue basic 1234. Okay. For the ladies. So girls, basically what we're doing here, we're really tuning into following. So what we wanna do, we always want to mirror I partner's shoulder lines and we want to feel the lead on that. We're getting on the backhand. So their hand on our shoulder blade. I'm going to show you the steps first. So what we're doing, we're doing half of a completely normal, basic step with our right foot. We go 1234. And by the end of before we feel a slight pool. And what we do, we basically walk in a circle around our partners. But we try not to face outside, but we tried to face towards our partners. So imagine your partner is right here. What we do is 567 and finish with a tap on it. I'm going to show you that one more time. 1,234,567.8. So what I do is actually I twist my upper part of the body towards my partner as a field delete. So from here, if you see me from the side, you're going to notice 1234, then my upper body is twisting to the right side. I'm bringing my left side forward as I go 567 and tap on eight. We're going to show you this a couple more times than that, right? And so also want to mention for the leads how I get the upper body portion. Would I do with that is we're not connected with my partner and I take the half basic, I go 1234. Now, just like we've told you in pretty much every single lesson, everything that much out there has a prep, right? So on for, I'm actually going to prep my partner. And most preps are the opposite direction of what you're about to do. If I'm going to go backwards and to my right side than the prep needs to be kinda affords into my left. So she's going to end up here 1234. And it's just a very slight movement to where she turns from here to here. And I do it with my complete frame. So it's not just with my hand. I'm actually turning my whole kinda upper torso, shoulders, arm, and hand connection just very slightly on for that gets her the momentum to come around me on 5678. Now, when I start moving around from here, this is for when I start moving around on five, as I take my step, I also start to move my frame and that's what my fall is going to feel moving around. So we go 5678, whereas the feet that I showed you at the beginning are important. The frame is what my fall is going to feel as I turn those pivots. Okay. So from four counts for that whole part, I'm going to go from here and 56 781-234-5678. Let's do it from this side. 56 781-234-5678. Awesome. Just so you can get a different viewpoint here. 5678, 12345678, uniform and some music. Here we go. Five. Hi guys. I beg your pardon. 12. Bronze- Lesson 11 Cross Body Lead: Hey guys, this is Bain and Jascha. In this lesson, we're gonna be going through the cross body lead. Yes, and we're gonna go straight into the demo. Alright, so get your partner and you are going 567-81-2356, 781-23-5678. Right. All right. So what do I do as a lead in this section? So a cross body lead, if you've ever dance salsa before, it's kinda stolen from Salsa. And if I can borrow at the asha here, I'm taking a basic right at the beginning. So 56 781-234-5678, just normal except on 7.8. What I need to do is I need to create an alley for her to walk down. So what I do is instead of tapping my foot, I am starting to pivot toward my left shoulder. And then I opened up to where I'm perpendicular to q0 asha. Okay. So now she has a little bit of a lane to walk through, so if we can turn for you guys to see. It is completely here. If I'm in front of t asha, that's not gonna work, of course. So often the one I just allow her to go this way and this happens on one. So what I'm gonna do to cause this transition is I take a step on one with my foot. I usually go just for men styling. I usually go elbow up my left elbow up perpendicular, let's say parallel to the floor. And so then my core, my chest moves this way. And I use my right arm going forward, all in combination for that first movement to get her moving. So I go 1234. Now, what do I do with my feet? With my feet, if I'm here, I have T asha here on my right arm. I take my one this way and then I simply stepped out the rest of my basic. So I go to 34. So the first step is really large. I go one and then the rest of it is just easy steps 234 in place. Now, I keep connection with my right hand as she moves. So can I borrow you again? So again, she's going this way, 1234 and turn this way so they can see. So I'm keeping connection with my right hand, her left hand, and then I'm bringing her towards me on 5678 as I step in place 5678 and going right back into closed position for the ladies, basically what you're doing, I'm going to use it straightaway. So we're doing a basic steps to begin with and I'm just going to go through it so you know where we left off. We're going to start with our right foot and we go 12 city with the left to the side, 6788. I tapped my feet together and I see that there's a new path for me to go on. I do not transition, I do not turn, I do not twist my body. I simply keep facing the direction I was facing throughout my basic, my right foot is ready to step in. As my partner moves across, I will try to stay with my upper body connected to the hand on my back. So this hand, if I create this, the hand is in place and I move out of it. So the, so the hint disconnects from my back because I saw my partner move. Now we're not connected anymore. What I need to do, keep that connection so I will start moving when I feel the pressure on my back. So as my partner prepares a set goes to this side. I continue moving through the connection that I have on my back. So let's do that one more time. So I've started with my right foot and I go forward, forward, forward. My third step is forward and is starting to pivot to match my partners. Our arms slide as they catch our hands. And from there we just tap with our feet. So this is before my left foot step. From here on, we have only four steps, starting with the left foot going 567, and tap again on it one more time. Just for the ladies, I will show you. Let's go together one more time from the basic. And we do 1234567 connection. 1234567 connect. All right, well, I'll show you from different angles and then to music. Yes, I do want to mention one thing guys. If you want to stay in place at the very end when she's coming towards you, that's completely fine. You just need a little bit of pressure to bring her in through your arm. And so she can go e.g. 5678 or if I want to create more movement, I can step backwards for 5678. So it goes 5678. And to close that distance, she just needs to move a little bit faster than you as the lead. So she gets a little bit closer and you can go to close position. Again, ladies, you will feel that the distance between our hands. So this is one of my goals. Things. I think that if people would understand it, would be very, very easy for them to follow the lead and follow the hand is constantly in pretty much the same distance from both of us. So the hand should be always in the middle, is kinda like a gold Center has. So when the partner moves their hand towards, then that means I need to bring my hand towards my body so they're not moving. That means I will be moving. In this case, when they move backwards, they bring the hand as much as they want us to move. And as they progress, they decide on how close they want us to be according to how far that hand move. So if vein will try to get me even closer position that we haven't covered yet, which is a closed body connection. It would look like this. 5678, in which case, the hand move way more than he did. Exactly right. So let's try it with counsel with your partner will do a bunch of different angles so that way you guys can get the best view. 567-81-2345 6 781-234-5678. Awesome. Let's try this way. 56781, 2 3 4 5 6 7 8, 1, 2 3 4, 5, 6 7, 8. And this white 567-81-2345, 6 781-234-5678. Alright, to music. All right. Great job guys. Have you learned a lot and I went in high-five. Your partner? 13. Bronze- Lesson 12 Change of Place: Hey guys, this is vain and Tasha. And in this lesson we're going to cover the change of place while a woman. Alright, yeah. So with your partner, 567-81-2345 6 781-234-5678. Alright. Alright. So guys, this is actually something you've already learned before. The first part of the separation on the change of place is separation. So we're going to show you that one more time. So we go to decide half a basic and we part two, 34 from here, as you can see, vein moves slightly more than me, leaving me behind and lift his left arm, ready to turn me towards my left. So from here on step five, I started walking forward and turning to my left side and we go 567.8, ten leaves in right after this part, I'll explain exactly what you're doing to your feet and with the hands. So yeah. So one more time for the ladies, you are doing a turn to the left and we do separation 123 and change of place 567 and connect them. Right? So for the leads part, we have a few moving parts here. So let's start with the feet first. I'm with my partner, so I'm taking a basic and prepping your turn on four. So I go 12 on two, I start to separate from my partners. So I go from closed position to a prep. So I go three hand comes down just like we've done in previous lessons. And then for the hand comes up for us, so it's fully prepped. Now, what I do differently on this one is that I have a little bit of tension and I'm going to walk forward and take my partner to be able to switch places. So you're literally changing places, right? So she was in front of me and now she's going to be where I am. Okay. So feet wise, I'm going 1234. That's all completely normal except for 5678. I'm going to take a step forward on 56. I'm going to turn the corner. Boom, seven, I'm going to pick up my foot and set it down. And then eight, I'm going to tap my foot. So again, I'm going to go 123 for I'm going to walk forward on 56. I'm going to go across seven pickup and put down and then eight and tap. So again from this position, 12345678. Now with my hands, I'm going to go 123 and prep. Now the turn is going to be while I'm stepping, right? So can I borrow you really quickly? So the turn is prepped here. So I'm going to step forward and I'm gonna give you the option, just a little bit of pressure. And it's going to be just like kind of like the three-step turn with that we did previously. So we go 5678 and as always, when the turn is done, I'm dropping my hand. So that signifies that she's done turning, right. Let's do it again from this angle. So I started includes position I create separation on 1.212. My preparation for the term storage on three, Hank comes up on four and now again, she's going to end up here. So I have to step forward on five. So it goes 567. Hey, it's been on 7.8, I can end up an open position or closed position if you want to connect. So I'm going to add something really important, what Bain does to make this very easy for me. So guys, this will be probably harder stuff for you than for you ladies. While vein is leading me to turn. So we do 123 on, for now on step five. So you will see actually let's turn this way. They more step forward with his right foot but twist his body to the right side. So as I'm casually walking forward, he's here twisted like a pretzel, so he, his hips are slightly turning to the left and upper body to lead me, are turning to the right. So this might seem challenging for you guys. So this is a five and then he neutralizes on six. And it takes me back up 178. Nice. We're gonna show you a couple of times and then we're going to show you two music. Alright, so 56 781-234-5678. Let's try it again from this side. And 1234567 eight. And from here, 1, 2 5 6 7 8, 1, 2, 3, 4, 5, 6, 7, 8. Or right to music. All right, Good job guys. Ipod, your partner. 14. Bronze- Lesson 13 Wraps Side to Side: Hey guys, this is vain. And Tasha. In this lesson we're going to be go, we were going to go through rats from side to side. We're gonna go into the devil. Here we go. All right. 567-81-2345, 678, 123-456-7812, 345678. Alright, so for my leads, here we go. I'm going to borrow the asha for this part. So you have learned the first part already. I'm going to a normal wrap. So again, I'm starting in close position just as we start. Now we're starting to get into kinda more lessons than the beginner lesson. We can start to play with this. So I'll tell you now that I never start a dance and open-position, I always start in close position or even closer. So if this is closed position, you'll see this in later lessons where I get even closer than that. I'll start there. I will never start here. So separation is key. I'll start here on 5678 and I'll go 123 prep. So this is a normal rat, again with the wrap my outside hand, my left hand is up, my right hand, which is the inside hand, is down, and my partner goes 5678. I continue stepping throughout that whole time and I end up perpendicular with my partner. And she's kind of along this line that lines up with my right ****, nipple ribs, hip area. Just like to specify those right here. So she stays here. Now. I'm going to allow her to go into my left arm now. So I'm going to suggest this movement of her moving forward and I use my arm, my whole arm and my core, and I continue stepping but I stay perpendicular. So I go 1234. Now the key to this, if we go back to that part, is that my left hand is at the angle or the height that I want her to go into. So if I tried to lead this with a down, she is going to get caught up and it's not gonna be good. So I put it right at her neck line because that's where it's going to end up. So I go 1234. That way It's nice and comfortable. I have very light touches on the fingertips. So as you can see if we move closer to that. So you can see I'm I'm just I'm not grabbing my partner's hands here. It's just a very light connection. So guys, this is something that happens often. If you will want to hold the whole hand on both sides, that will actually shorten your arms. What you wanna do is connect only at the tips of your fingers like this. That actually allows us both to have more space. Because if we tried to do this, it actually holding hands, I feel very restricted, has so what you wanna do, both of you need to relax your hands and keep the slight pressure on the tips of your fingers. So both sides, Same thing. So I think one of the main lessons you're going to learn throughout this whole beginner part is that my frame is strong and upright, but my hands are actually pretty relaxed. So let's go through this part again. So let's start here. And then she's gonna go 1234 into my left arm. So it goes 1234. I literally just took a basic step with my feet and then I allowed her to come into my left arm. Now, I'm going to bring her back to that other side on 5678. Again, the hand stays low because that's where I want her to come into 5678. And then I'm going to let her out because if we stay here forever, She's never gonna wanna dance with me again. If we just keep going back-and-forth like this, it's going to get more unnatural both of us. So I'm going to allow her to exit the rap like we did earlier. Now, I'm going to again, step forward on one hand, my core am I right arm move forward so she can feel my whole body moving in that direction. And then I step in place for 234, so 1234. Now, here's one point that now that we're trying to start learning a little bit more like you're not 100% completely beginners. So we're going 1234. I can do that without any connection here with my left hand. Or I can go 1234 and I can keep connection and it just simply goes over her head on the way out, either one. Okay. The lead is the same as far as my right side leaving her out. So ladies, for you, I'm going to jump right in while we're still dancing together. So basically what we're doing, we're prepping a basic term and then we're doing a rap as we learned earlier, I'm going to go over foot work. So we start with a right to city with our left foot forward, side, back and tap from here. I repeat that now with my right foot. My right foot starts on one forward, one left goes to the side. 23, my right foot goes back and forth. I tap, I repeat that one more time with my left, 567.8. And on the way out, I just turned slightly more. So now I go 123.4. From here I faced my partner and finish it off with forward walks on 567 and reconnect on eight. Really important to thing what you wanna do. So guys will lead us different terms at different levels or heights of the hand. So the rap basically means he raps me in around my waist. Same thing can happen. He can wrap it around my neck. Basically, I like to think of it. It's not really tugging on my neck but the arm relaxes. Thanks. On my shoulders, yes. So it's just above the shoulder when the hand goes over my head. I understand. That is going to be a under arm turn. So here we have two levels. We have the waist and then above the shoulder. And for the exit we have the third level over our partners head. So we go one more time through that movement, starting with the basic and we go 123 over the head, 567, we're at the waistline. Now we go 12 to the neck line on 456, back to the waist over our head on 1234 and neutral and reconnect on eight. Right? We're gonna go through these steps a couple of times from different directions, and then we're going to show you two music. Yep. So with counts 56, 781-234-5678, 1234, 5678, 1234, 5678. Or write from this direction, 567, 813-567-8123, 456 781-234-5678, and from side view, 5 6 7 8 1 2, 3 and 5 6 7, 1 2, 3 and 5 6 7, 1, 2, 3, 4, 5, 6, 7, 8. To music. Alright? Alright. Hi, five-year partner. 15. Bronze- Lesson 14 Wraps with Taps: Hello, hello guys, This is Bain and Jascha. In this lesson, we are doing a rap with taps. And this is the first time we're changing our rhythm pattern and we're going to show you how to do it. My favorite. Let's go. Alright, we're going to jump in 56 781-234-5678, 1234, 5678, 1234 5678. Alright, alright. So for my leaves, let me borrow Jascha here. So again, I'm starting in close position, will go from this angle. And I'm going to lead a rap like we've done in previous lessons. So again, separation, usually on 1.2, so we go 12, I start to keep connection with my right hand down my partners left arm. And I'm going to prep on 3.4. So I go 3.4. My outside hand is up, my inside hand is down, and then she spins and I keep this here. So she goes 5678. Again, I am staying perpendicular and connected to my partner. So we should have wraps now. And then now, we are going to change the counts of the buckshot to step up until this point, we have been stepping on every single beat, so we go step one, step two, step three, step four. This one, we are changing it to where we are not using different feet for every single beat. So we're not changing our body weight. So instead of changing our body weight on each, on each beat, where stepping and then tapping is stepping in tapping. So one will be a step, two will be a tap, three, step four will be a tab, and so on, so forth until 18 count is over here. So I'm in a wrap here. Right. I keep this arm out so that she is stable. Yeah. And she is connected again, I'm not squeezing this hand. That's my right hand. I keep connected through my fingertips. And now I'm going to take my one out normally. Would. So you can see right there, That's fine. We'll do it together so we're here. I have my partner now. Leads, wash my feet. So I'm going to take a step out on one and then on to I'm going to tap my foot. Okay. So then I go back to the other side. This is 3.4. And now I'm going to repeat that process because I'm going to do one full account. So it goes 5.6, 7.8 are right with the partner. It looks like 12345678. Awesome. Do you want explain next one? Yeah. So basically, ladies through this part, what you're doing, you're doing the exact same rhythm pattern. Just instead of moving side-to-side, you're moving forward and back, sorting forward with your right foot. We're going backwards with your left every single time. So my right foot goes forward. I tap with my left, my left foot goes back. I tap with my right, and I continue. So I go through beats 1, 281-234-5678. From here we exit slightly differently than we did so far. And beans going to show you that part. All right. So for leads, I need to get her out of this wrap and she can only exit on one. The reason for that is if I exit her on counting number five and she goes this way, then with the music and with her weight, she will be incorrect. So we always want to exit our follow from the rap on one. So we are here. So we used a full eight count, right? I can't use a four count here unless I use it. I use the 5678 on something else. So now, if she's going to exit on one, I'm going to use the same exact motion. I'm going to take a step. My core moves. My right arm is here and she's going to exit this way. So again, it is 1234 and I am facing my partner at the very end. Yes. And then I'm going to finish 5678 and normally where we have been walking forward in previous lessons, so we go 5678, that's an option if you want to. But instead on this one, I'm going to actually just go sideways movement with my partner. So we go 5678. And so very important thing, guys and girls, by now you want to remember that girls, you're always starting your movement. One with your right foot guys, you're doing the same with your left foot. When on beat file, you're doing the opposite. Ladies. You're moving with your left foot, guys, you're moving with your right. So that is kind of a pattern we want to try to keep. It's very important that you listen to the music as you dance to it. There are certain. But everybody believes that first four beats in each other are different than the second four beats. So one through four sounds very similar than the beads, 5-8, but we will try to keep that one to eight. So the first floor and the second floor are actually different. You can hear it in the music will explain them more and more later. But for now, just keep track of where you started, where was your one and where it was your five. So I'll show you one more time. The lady steps. So girls, what we're doing, we're starting a normal RAB as we did so far, starting with our right foot to the side, 1234 preparation, and we're going 5678, right foot step from here. We're doing the step taps 12345678 and we exit on one 1234. And here just to make sure that we know on B25, we're going with our left as our guys are going with their right, but we're going to go 5678 to the side. And I'll show you from different angles and to music. Right, with your partner. 56 781-234-5678, 1234, 5678, 1234, 5678. And just as a one-point here when she exits her wrap. So I just wanted to mention this for you guys. So when she comes here, I am not connected with my left hand. I'm actually going to ask for it by putting out my palm upright. And ladies, you're going to be paying attention to create that connection. So you just put your hand on top and then weaker connected with two hands and 567, right, from a different view, 5,678,123.567 812 345-678-1234, 5678, from side view, 5 6 7, 8 and 1, 2, 3 and 5 6 7, 1 2 3 4 5 6 7 8, 1 2 3 4, 5 6, 7, 8. Music. Let's go. 567. Hi, five-year partner. 16. Bronze- Lesson 15 Hands No Hands: Hey guys, this is date and Tasha. In this lesson we will be teaching you a two-handed turn and then doing a free spin after that. And we call it hands. No hands. All right. Let's do this. 567-81-2345 6 781-234-5678. For a different view. 5 6 7 8, 1 2 3 5 6 7, 1, 2 3 5, 6, 7, 8. Alright. Leave, leave leads. How do I do this? So I'm going to start and I'm going to teach you a new move, which is the two-handed turn. It is very similar to the others, so I'm starting and closed position, then I'm gonna cause separation and do a prep on 3.4 just like a three or a three-step turn, just like a wrap. All of these is the same. It's just the prep is slightly different. So Bharti asha, so I'm going to start closed position. Like I said, I'm gonna go 12. I start my separation. I slide down her arm with my right hand and then for the prep when I get to her hands, so usually on three, I have both hands here and I'm going to start down the middle of her body and then bring it up to her kind of like are along the line of her right shoulder. So it's not dot right in the middle of her body. It's slightly to the side, to the right side. And again, the prep is right above her head, has two hands here. So again, we'll start that again. So we'll go 1234. I have both hands up because it's going to be a two-handed turn. She is going to take a turn. So you're going to turn your partner to her left shoulder and it's you keep stepping normally this whole time. 5678. Now, at that part, we get to a massive hands and arms, right? So when she takes this turn, here, we go, 5678. We end up with this, which is this big mess of things. Yeah. I'm going to teach you what I consider to be the base position. So you can start making sense of this combination of things, fingers and hands and stuff like that. So the base position is if you're still connected after that turn, I am raising my right hand as my as a lead. I'm raising my right hand and then I'm keeping my left hand close to her elbow. So again, Let's do that again. So when she turns 5678, I keep my right hand up as a lead and my left hand goes to her elbow. So if we can zoom in, zoom in. This is where I want to end up. My right hand is up, my left hand is close to her elbow and this is considered the base position for a two-handed term. Okay. There's all kinds of fanciness that you can do from here. But I want to get there to get used to it so I can set all that stuff up. Okay. So again, let's finish that part off. So we go 123.5, 678, and we are in our base position that we just learned now to get on a base position. And one of the most common ways to do it in one of the easiest is to take my hands. So if you guys can see, I'm gonna take the knife part of my hands. And I'm going to start down like this and it's going to be touching her arms, right. So my palms are facing me. I go down and up with her answer. So can I borrow you? Let's do it from this angle. So I keep my hands here. I start with a knife hand and I start between her risks and her elbows. And I go down and then my palms end up touching so they rotate on the way again. Let's do it again. So you had this mess of stuff. I'm just going to release it. I'm going to take both of my hands right between her risks and our elbows. I push down and my palms are touching right below her elbows kinda her triceps right there. Okay. So how does that look in the combination? She goes 123.5, 678. Now I do that on 1234. So I go 1234. This is stepping completely the same as the basic. Now, this next part, I can lead it with one hand or two hands. On this version, I'm going to leave it with one hand, which is my left. I'm going to place my hand right along right above her hipbone. So not too high, not too low. And get the booty. We're going to stay right at the hip bone. And I'm going to give her a really light nudge and it's going to cause her to do a free spin. So she's gonna do that on 5678. So 567 and I don't touch her with my left hand as she turning She's just turning free except on 7.8, I'm going to pick up her shoulder blade to get back into closed position. So I'm looking for this turn if you can come back for rewind. Now, when I go like this, when she starts to turn, I'm looking to where to put my right hand. Right hand, and there is her left shoulder blade and I connect. And then we are back in closed position from there. Okay. So basically ladies, what you're doing, you're doing to left terms. If we take the hands away, what you're doing, the actions that you're doing with your arms or hands. Actually, this is a very basic step. So I will show you the steps and then I will show it again with the arm movements. So we do 1234, 5678, 1234, 5678. So basically that's as far as that goes. So now when I do the terms with both of my hands being led from here, 1234. As I turn, I keep my hands or my arms in front of my body as I go 5678 from here I will feel like my partner placed my hands above my head and unless he placed them somewhere else, I keep them there. So that gives him a chance to let go of my hands and reconnect in the middle of my arm. So basically when he reconnect, I regained that connection. And when I feel the pressure downwards, I just slowly place my hands down. And then I can do a little bit of styling palms face down as I go. 1234. When I do movement like that, it's very important actually to start a movement with your wrist. So if I start the movement with my fingers or with my elbow, it doesn't look as lady like as if I would be picking up or moving my arm from the wrist first. So from here I go. I moved downwards. Now when I go up, I face my palm downwards, straightened my arms, and I lead the movement with my risks going first, 1234 from this position, I want to show you this from the side. I do not want to hide myself. I want to open my body, so open my chest. So my arms are on the side of my body. So from here, when my partner turns me, we're regaining connection over here with his left arm and the side of my waist. And from here I feel the turn and I turn one more time to the left, 5678. Now, depending where he offers the hands, if he were to just offer the palms, I will place my hands on his palm. In this situation, he held my shoulder blade over here, which means I just relax my arms down into the handheld. Going to show you this a couple of times, men with music. Alright, everybody with counts and with your partner. 567-81-2345, 6 781-234-5678. So write different view. Let's go to here. 56 781-234-5678, 12,345,678.1 more time from the side. 5, 6 and 7 and 8. 1, 2, 3 4 5 6, 7, 8, 1 2, 3 4, 5 6, 7, 8. To music. I bought your partner. 17. Bronze- Lesson 16 Madrid Step & Bridge: Hello guys, This is bank and Tasha. In this lesson, we're going to go through the moderate step. Then to the bridge. Right. Here we go. With your partner. What it looks like, 56 781-234-5678. Alright, so this move is completely different than pretty much anything that we've done up until this point. So we're kinda throw it at you a little bit. We're getting it, getting you ready for the next segment of classes. So we're going to teach you a different handhold from the beginning. So let's get close to the camera. So for open position, what we've done up until this point is I have had kind of shooter guns and then I turn them like this. And my partner places her hands over my three fingers and my index finger comes on the side of her hand and then my thumb stays on top right here. Also this handhold. We've talked about how the elbow, the elbow and the hand, they're all in line. So this won't be the case with our next handhold. Alright, so for this one actually what I'm doing is I'm going to turn my palm up and my partner is going to place her whole hand and my palm. So it's gonna go here, the same on the right side. And what this does is it gives me a little bit more tension and leverage or moving my partner's torso and her frame. This is when we start twisting the partner. So it's not so much turning, turning, it's pretty much done by myself when I'm being turned with the arm, this is twisting different parts of my body from a different angle. So you can see the hands are slightly more open. Can see them on both side of me. When the other hand Hall opened hand hole was here and pretty much the hands are hidden. That's exactly right. So you can use these interchangeably. There's not really, you'll find different positions. I feel more comfortable. Alright, so now let's get into the foot work of the Madrid step. Alright, so for my leads, this is going to be different, right? We've changed it a little bit as far as the timing goes. This one is going to be the same timing, except for what I'm going to do is change my direction middle of the basic or the four count that we're using. So I'm going to take a step out on one which is normal. And then on to, I'm going to pivot my body to the right and you're going to see what I did here for my fall apart, that this is going create a movement in her frame. So I'm going to pivot on to okay. So that is a count as me pivoting is account. So I go 12 and then three is a step forward with my left foot here all the way forward. And then for I'm just going to tap my toe. Okay. So again, just with the feet, I'm going step out on one, pivot on to three is forward, and then four is a tap. Now, the change in the frame is going to be huge because my partner is going to feel that and she's going to mirror me. So can I use you? So when I'm here, I'm going to do the same footwork. So I go one here. And now I'm turning, like I told you for two as the pivot and she's going to feel my frame change. Now, the key to this is not to let my elbow or my frame, meaning my hand, wrist, elbow, shoulder, any of that go backwards because she's going to feel that what would happen if that if I did that was this boom and I lift if I leave my hand back and my elbow back, Did she can't feel that pressure and we're going to crash into each other. So I'm going to go one and then keep my frame the same and pivot. Now I walked forward and I'm actually going to be to my partners left side. So I'll walk forward on three. And then four is a tap, like I've told you before. And I square up with my partner to where we are back in kind of a neutral position at that point. Okay. So for the ladies that basically this part is very similar to what the guys do. Just we're doing the opposite direction. So we're starting with our first step to the right. Again with our right foot. We do a side movement, fully transfer the weight on B2 as we're being twisted around our center line on our right foot, we twist and we also transfer our body weight to the left foot, which means backwards for us. From here we do one more step back on beat three with our right foot. And from here, we square back up to our partners with our left foot. Tapping this far, basically, you may not see really the shifts of the way that we do, but we do them as if this was a basic steps. So basic step would be. Right, left, right, and tap. The Madrid's that goes right, left, right, and tap pretty much the same thing. So you want to show the second part? The second part. Let's get into that same position again. So if we do the whole thing is 1234. Now, when I'm square with my partner, what I'm gonna do is as a lead, I'm going to take my right hand and I'm going to take a big step out forward. And I'm going to think of a bridge where I'm going up and then down. So with T Asha, I'm going to go up and down. Again. Let's do it from this angle. So we're here, this is on four or five. I take a big step out and then it goes up and down. And then I'm going to bring my partner back towards me. And because that is lasting 45678, I move my weight back to my right side as the lead and I tap my left foot in order to get a get readings and go back on and one from here. So the whole thing is going to look like this. It goes 12345678. Also very important thing, what you want to see when we do the second half, there's a slight difference in the rhythm as we go. So ladies, we're going backwards, guys, You're going forward on a beat 55. We kinda linger until beat things because the movement is a very big as we come back, 7.8. So we are slightly more fluid on this rhythm. Um, then we would be in a normal basic steps. And the key to this as a leaf, when you have so many moving parts as far as feet and hands and her weight and my weight, all these different things to think about. The key is to count your beats. So when you're practicing like right now, you should be going 12345678. You should be counting aloud because it'll get it in your head. So where when you're actually on dancing, it's you don't have to count out loud, but you'll still be thinking about it. So one last thing I wanted to mention about the lead and follow. It is very important that you connect through your ribcage. So imagine your body as building blocks. So we have the feed, we have the legs, we have the pelvis, then we have the ribcage with the arms, and then neck and head, the rib cage with the arms. This is the part that connects to your partners. So this is the part where we basically connect and if we twist or move this part, this is the part where your partner will actually feel. So during this step is very, very important that you do not move your arms. You do not want to lead like this. So we see a lot of that and we will try to basically teach you the proper way to do it straight from the beginning. And watch vein one more time how he does the first part. One and then he twists his body. He doesn't add no more movement with his arms. The body did everything by itself. And then we continue, would be three. And he brings me back to face him on beat four from here, the same thing happens on the bridge. He lifts me and moves me backwards. The twist happens within his body. So from here you can see the his shoulder line. So his left or right shoulder and my left to right shoulder. These two lines are parallel. Then he brings me out 67.8. All right guys, let's try it with counts. Again. This is your first time using body movement and you're going to see it a lot in the future lessons. So it's a really good introduction that will get used to this and so practice this one. Alright, so again, we're starting from closed position and we're going 56781234. So again, I had some separation on that part as well because I'm starting from closed and then here comes the big bridge, 5678, right from a different position. 56 781-234-5678. And from Let's go from here, 56 781-234-5678. Now, we can do this from open or closed position. I just showed you close position. Here it is from Open with the handhold that we taught you at the beginning. So we're starting from here and we go 12345678. And from this position, 56781, 2345678. And from side position 56 781-234-5678. With music, Let's give it a shot. And I'll add a page. Good morning, guys. 18. Silver- Lesson 1 Frames and Holdes: Hey guys, this is vain and Jascha. And we want to welcome you back and congratulate you for finishing bronze lessons. This is the very first lesson in silver. And today we are going through some new frames and holds for your partner. So far we covered open handhold and close handhold. And now we're going to add a close handhold with body contact and shadow position. So we're going to show you both and then explain them. That's what we're going to step a little further away. I'm going to borrow vein here. So in a close frame, we have basically a normal frame. But in a closed frame width, body connection, what we want to do, the partners, the guys that leads you want to connect your right side of your body to the ladies of her body. In which case you are both slightly offset and you basically want to touch. You can actually add this little touch over here with ladies forehead on the side of your head. And you want to have as much connection as possible. When we get, when we get to the movements isolations. Later on you will see why this is important. So basically the connection is on the inside thighs. So both of our right Thighs are connected from the knee up. Then my hip bone is connected to Bain's hipbone. And then as much as we can connect here, so different heights. You will need to kind of find your person, your partner's height, and basically wanted to connect. And then with our hands we can hold different, in different places. We can have basically as much connection as we can possibly get. We can actually have with our hands connection and hold only with the body and also lead with just the body. So for leads, do want to mention that as Josh said, she is connecting kinda right down the right side. So if I just draw a line straight down kinda my right Peck and goes over my nipple about right ribs and down my thigh here. That's the connection points. So this is where I want her and then also posture, right? So if this is really big for her because she needs to connect, done this whole way. If I am at all leaning forward, she has to lean back and that's not good for her, for her back or even for the connection. Right. So I wanna go chest up and allow her to connect down the side. Okay. Yeah. So both of you really make sure that your spine is as elongated and as upright as possible. And then you will have to have a little bit of body weight going forward towards the balls of your feet. So if I would be my way would be back, I can't connect now because now I have to step behind. They know that doesn't work. So what I wanna do, I wanna put my body weight forward. Vein does the same thing and we go forward with our size. So I connect with moving my thighs forward, not so much stepping between veins feed. I need to have my own balanced point on the ground. So we go to the next body position, which is I want to add something. Yes. Yes. So also when I'm going from regular clothes position to enter this position, I'll explain how I do that from a legal perspective. So normal closed position, if you remember from the first section, the bronze section is for right hand on the shoulder blade and then left-hand up in order to do this after close the distance and my right arm is just going to go a little bit deeper. So here it's gonna look like me moving in and going here. And you can do it without the head contact as well. And as long as I'm connecting and being upright, it's the closed position. So you can see from this angle, this is regular closed position that we went through with elbow up. And now I have to close the distance and I'm connecting here. So my right arm is just deeper. It reaches all the way around. It's like almost she's sitting in that elbow pocket. Right? So here is the connection. And this is where we can get into a lot of body movement from here. Also the ladies same thing. I'll show veins back. So what you wanna do if this is a regular close position, the closed position with body contact would be over here. My arm can go also in different positions. Yeah. But this one definitely wouldn't still want to hold his shoulder because I get this fluffy, fluffy wing over here. So what I wanna do is go hold tighter together. And then from there we can move in various ways. Exactly right thing else for also for closing the distance for a lead, when I step forward, I can really do it at any point. So as long as I'm keeping the counts, anytime I can move forward, I'm just closing the distance here. And the big thing is just moving in with the arm to create connections so it can happen at any point, since this is your past bronze, this is kinda silver level. Will work on moving in and out to different positions from there. Go feed. So the next position is shadow position. We will get into how to get into that position and out later with an actual figure, we will just show you how the position look like. Looks like. So basically what I do, well, he does it, he leaves me, but I ended up position where I am facing the same direction as my partner and I am again offset. I'm connecting to the same part of veins body as I would if I was facing hang just I'm not connecting with the right side of my body in front, but with the left side of my body in the back. So I'm giving him full access that part of my body. And basically what Bain does, he holds me very tight around my chest. When he gets me into this position, he will sometimes go a little bit more to give me more freedom. But when he will pull me in this position, he will hold me pretty tightly. And then we have this arm over here. So I'll turn us a little bit like this so that you see this arm should not be on your guises size. It should be slightly in front of us. So the hand that is offered is in front of even me and I want to press slightly towards it. And in some cases I will even straighten this arm depending on the mood that we're trying to do. Also, now that we're standing like this and not moving as much our legs are straight, but if we were to do a basic step or any kind of set, our knees would bend and we would try to connect with our hips. From a legal perspective. When I'm in shadow position, again, we'll teach you how to get there. I am keeping this hand at usually I like mine personal style down a little bit lower. You'll also see it sometimes a little bit higher. I just feel like I can lead better from this position. As Joshua said, I think she said chest. I wouldn't call it the chest because then you're gonna get confused on what you're grabbing. So I actually go around me, ribcage, stomach and then possibly even just kind of on the side here. So let me show you for shadow position. I like right here, if she's comfortable with it, of course. And then you can also go on the side, the ribcage here. Yes. Again, this is the connection points. So you're going to hear this over and over and over as the lead, the connection point is down your right side. And I don't know a better word for us, so we'll just call it the nipple line. Down. Straight down your right side here. And that's where you're going to connect from your nipple down to your knee? Pretty much exactly right at my hips as well. So as a lead, if you go out social dance and you're going to feel some follows that or will connect here, but then kinda keep their hips forward and we'll connect there. That's not what we want. We want everything to be connected hips and then right here in the chest and then that way she can feel me move. Yeah. Yeah. Also girls, this is very much on you. You want to find that connection because that is literally like Wi-Fi. Download information about what your partner wants you to do. Also, a little cute little tip. If you're dancing with somebody that maybe you don't want to touch too much or they wouldn't want you to touch them too much. You can rotate this hand and have this kind of connection is a little bit less into Pinterest intrusive than the word intrusive. So that's as far as shadow position goes. Now, I do want to go through one other position. So when we are dancing with my partner turned around. So if this is normal and she's turned this way, you're going to see two popular ones in videos or social dancing or whatever that may be. The first one is, this is what we call shadow position because obviously we're shadowed, we're not opposites anymore. Yeah. The second one is turned towards my right and actually using this part of my body. And usually it goes down kind of like in a sitting position. Um, so if let me just show you here. So if this is a shadow position and usually we're going to be moving this way. And as one, if you would say that the other type of kind of belly to the back position is turned this way where we still keep connection. Still same here, chest and hips. But a lot of times you'll see a rotation down to where our hips are sitting a little bit lower. Still connection like I've said, hips and chest here. What do you wanna call it? What's the name of that? We call it the nice sip. I call it yeah, this let's call it like Santa is Christmas time, Something like that. So I think I just want to say no, that's it. Alright, so we'll go through maybe just a little bit of counts to show you how to work in and out of those positions. And then we'll do it to music. So you can see, alright, so I'm going to start in regular clothes position and I'm gonna go 567-812-3456, 781, 234-567-8123 will go to Shadow. 567 connection of 123. 5, 6, 7, 8, 1, 2, 3, 5 6, 7, 8, 1, 2, 3. And then here is Santa Claus here. And this is just connection here. We will teach you isolations here shortly to where you can get into these and these types of things. So great. 19. Silver- Lesson 2 Musicality: Hey guys, this is Bain and Tasha. And in this lesson we're gonna be covering musicality, which we believe is the most important thing, most important aspect of dance altogether. Guys, this musicality is going to make people want to dance with you. Be able to show your personality while you're dancing. Had people come up and ask you where you learned how to dance. It is your personal expression of how you hear the music exactly. It's also really hard to teach. We're going to try to give you some tips on how to do that in this class. And show you different footwork, body, composition, partner ring, everything to try to be able to express the music better. Okay, We will also go to the level as the figures are in silver because we also covered musicality and the bronze section. But in the bronze section, we were kinda limited to basic movements. So the musicality and bronze was 12345678. And here we're going to go in more in depth in those, in those things. Also, musicality is something that will actually give you an edge. So if you're really good at this, you're probably a really good dancer. So we're gonna make sure you've got this one. Yeah, absolutely. Right. Alright. So let's go ahead and get started, guys. So we do want to explain to you, right as we're going to get into a little bit of footwork that there are, there are kind of two, possibly three different styles of book chapter right now. This is a central bulge out the masterclass. The other two, the main one we're kinda buckshot that came from is Dominican bunch out there and it involves a lot of feet and foot work, right? Not so much body connection, not so many roles, not so much sensuality, but a lot of it goes to show also the different types of music. So much data we have various different types of music. And then that's why we also have various types of body actions. The third one would be urban Matata, which is kind of a mix between the two, but with a lot of turns and arm movements. So what we want you to think of, so this is the big picture. We want you to think that all of these different moves, whether it be footwork or central moves with your partner, are different ways to express the music. They are simply tools and how you dance. In the bronze section, we gave you a very limited toolset because it was just everybody was beginners. So this is you learning in an increasing your tool set. Now that we're in a different level, we're going to try to give you a little bit more complicated tools and you can use those tools and how you hear the music. Um, yes, so in the gold section, we're going to go over more phrasing of the songs. So to explain more about what happens at the beginning of the song, what happens in the middle, what happens at the end? And then this bar, we're just going to go into two different types of how actually to act in those parts. So when we have, when we have our basic step, we can actually break it down and do less steps than there are in the basic step. When we hear a part in the music, there is more methodical and less pronounced rhythmic quality. We will most of the time do less steps and try to do more essential movements with isolations that we're going to go into the next lesson. And also with the rhythm gets a little bit more pronounced and we hear more faster within patterns. That's where we would add more steps and this is something veins going to show you right now. Yeah, exactly right. So I'm gonna go into a little bit of the foot work, which is usually seen in Dominican, but jot that we are not going to spend a lot of time on it because it's essential but jot that masterclass and also there are thousands of YouTube videos and different combinations that you can do with your feet. Okay? I would highly suggest going to do all of those and learning how to use your feet as tools, just like we've said. Okay, so I'm gonna give you a little bit of a difference. So I'll break it down with the different steps and show you where it varies from the basic right? So a basic step for especially on guys time is 12345678. What you're about to see is this 12345678. There's a change in the music that I want to express that I hear. And I want to just kinda show it as part of my personality. And because I'm having fun, I'm out dancing and I hear that beat, so I want to do it and I'm gonna do with my feet. Okay? It's going to look like a cross, cross together out in, and you'll hear the beat when we do it to music here in a second. Okay, let's do it. Let's just jump in here. Alright, well, say you're from a different direction. All right, So right, so as you saw at the very end, there was a switch and the music also that is going to get into ice elections, which is going to be at later lessons. So the music slowed down. You heard that don't antenna. We did that with our feet and then the music changed it. I had this big hit and slowed and that's where we would get into our central movements. Also, when the rhythm patterns get faster, that doesn't necessarily mean we have to show those with our feet maintenance also later going to show you how to lead those movements through the body. So e.g. we could do a slight rotation, we could do it could be also in the body, doesn't necessarily have to be in feet. We want to try that to music. So as the first one showed, I was using my own body through my feet to play out what I heard in the music. This time I use TRA says basically her shoulder to play out what I heard. So you can use partner footwork, your own body. However, that looks like nice. There is one thing we would also like to add is I also don't have to take steps. So where I added some different steps, this last one, I could also use pauses that take up counts. So e.g. if I'm taking the basic 1234 and there's some part of the music where I hear that there's, I don't need to take a step and maybe there's a pause. Maybe I take one large step that last two counts where I go 56 and then I switched to something else, right? So it can also be subtracting steps from your basic to show your musicality. Next couple of lessons we're going to actually spend on the move that you can do without stepping at all. So basically those are the sanctions. Rubens. It's not as all my second either, but okay. So basically when we get into that topic, what you will see, you will see guys a lot being in split weight basically where their weight is not completely on 1 ft or the other, but there's somewhere in-between because they're catching their partner doing some good stuff. And we're going to go into that in the next lesson. 20. Silver- Lesson 3 Isolations: Hi guys, This is Joshua. In this lesson we're going to be covering isolations. So we have three different types of isolation as we perceive them. So we have the upper body, the lower body and the whole body oscillations. And then we also have isolations in different positions in which we're going to get into a little later in the lesson. Hey guys, this is more tools for you to express music. He had to say that. You have to know that. So the first part of that we're going to be covering is the upper body isolation. So I want you guys to think of your upper body first. Let's locate that, right? So let's find our waistline. So everything above are everything above our waistline to our neck. That's basically our upper body. So the bone structure here, we're always thinking about ribcage and which is also the part of the body than we are connected through our partners. Yeah, So the upper body, we have five different types of movements now we're going to cover. So it's a lateral movements that circles the small dip and the shoulder twist. So we're going to go through lateral movements. First. We'll start with lateral movement. So your intro to isolations, especially for upper body and using the core, right? Not the head, but just around the core area. What I'm going to be doing is taking my hands and going to my partners lats. Where that is if you'll raise your hand up right here as her lap. Right. So if you think pull-ups or something like that, That's what we're using. Now. I'm going to take my palm and put it right on her lap, which you'll see the most common mistake when you're doing these, especially as a new lede, is that the hand is going to go on the back. And that is because we're so used to leading and close position that our hand goes around. That's not what we're going for here. This is not how I leave in isolation. I call that a hug. Hug the person to lead them. That's a great, great start. This is not where I want to lead isolations Now watch the movement of my hand. So here you can see this is not it. Not it not. Now, I'm going to take my hands and rotate them to her side again on her lats. And my hands are if yeah, if you could zoom in, I'm gonna go a slight bit of pressure right on the lats and then you'll see my elbows come up. So you can just get different angles right here. And guys really important on this one, if your elbows are hanging downwards, I do not feel what Bain is doing at this position. So when he holds me like this, the energy goes towards my body and he's not trying to pick me up. He's trying to kind of like if you were to clap. So I'm in the middle. Yeah. So he's squeezing me in from the sides. Also, ladies, really important in this position. You do not want to do the little cat move. Yeah. If you try to pick up a cat, you know how their shoulders go like this and they're like what you wanna do is keep your shoulders down. All right. So ladies, as Josh just said, lats are engaged in her shoulders are down leads I'm going palm on the lats here and my elbows are up with a little bit of pressure. There's a really good explanation to say, like you're clapping. Yeah. So here is, this is, so you guys can see this is what we're going to look like. So again, this is going to help me isolate my partner's core. What we're going to work on right now are just the lateral movements using that. So it's the basics. When I'm here, I have a lot of different directions that I can move, meaning side-to-side lateral movements, which is what we're going to cover right now, and also front and back and turning. So if you think of a x-axis, y-axis, I guess from elementary school and you have all these different directions and charts that were sticking and this plane, that's all we're doing right now. So I've have here and now if you want to practice with your partner, what I'm gonna do is go just lateral movements, left and right. And I'm gonna go here and here. Left and right. Left and right. Now you see my base as a lead. I am not taking a basic while. I'll do with these things. Yes, I'm staying stationary. My knees are bent. If you can see from this way, I have, my chest is still up, It's not forward. Another super, super common mistake is your chest is gonna go forward. If I do that with my partner, is going to look like this. And she's going to squat out and then we look ridiculous, but I want to go back a little bit so you can see, this is not what we want to do. Yeah, I wanted to go chest up and sit here. And this is a nice, strong athletic stance for me to do any type of isolation. So again, when I'm setting this up, i'm I have a good base and my elbows are up and I'm going left and right, left and right. So you can see from this direction, I'm going left and right, left. Right now also, I can add body movement into this, which usually helps tremendously. However, I'm just using my hands in this part so we can get used to that movement. They can be used interchangeably. So what I mean by that is I can go with my partner and stay with her. Or I can go opposite her where she goes here. And I go opposite. What I'm doing right now is simply just left and right and as a lead, I'm staying neutral so we can get used to that. Also guys. Another thing, depending on the speed of the music that you have playing in the background, you can do this to a very slow pace or slightly faster. So we can use for a single move, a whole bar in the music which is eight bits, eight counts. We can drop that to four, or we can do only just two beats. All right guys. So what I'm gonna do now is to give you a basic combination using counts. So you can just get the feel for how these would work. And then when the music comes on, I'll give you what I would actually do to the beginning of this salt. Okay. So I'm with my partner, I had the lats and I'm just going to take a four count left and right at the beginning. And I'm gonna go 12345678. Now, again, I'm going to do two counts each side, 12345678. And now I can start playing with the different counts of all those. So let's do it like a, like a typewriter. Wherever you go. 1234, 5678. 1234, 5678. With music. Let's do it one more time. We restarted. Alright guys, nice job with those, those lateral movements. Play with those lateral movements and just work your different counts. Because just keeping it 12345678 is a great way to start, but then just mess with the different ways to combine those two sides, two things to remember, it makes sure that your posture is upright, that you're connecting with your partner and the way you're holding her. Also, remember that you can play with the rhythm and try to keep it interesting for the curl. Boom. 21. Silver- Lesson 4 Chest Circles: Hi guys. This is Joshua. Ben. Oh my God. Hi guys. In this lesson we're going to be covering the chest circle and the circles in place. So basically, this is one of the movements that were continuing basically the isolations. And in this section we're still in the upper body isolations. This is one of the isolation that lady is doing. Particular guys can mirror or cross mirror the move. And vein will show you how to do that. And so this lesson builds on the previous lesson on lateral movements. So if you haven't watched that, go back and review it and watch it and make sure you have the side-to-side movements. And then we'll show you how it's done. So I'm going to start here and I'm gonna give you a basic count and kinda play with it as I'm showing you. So you can see a little bit of different variations and I'll explain how I do it, okay. 5678, 1234, 5678, 1234, 5678. All right, So for my leads, I am setting up the exact same way as the lateral movements from the previous lessons. So go ahead and get that with your partner. Your palms are gonna be connected to the lats. You're going to apply a little bit of pressure inwards, not on your fingertips but actually in your palms. And I'm just squeezing slightly. This is the isolation. Again. She's a little bit to my right side, so she is not here, but instead just slightly off-center. And now what I'm gonna do is I'm going to drop my wait to get into a nice athletic stance and my chest is still gonna be up. So good posture. When I go here, I'm going to start with a lateral movement that we did in the previous lesson, except stay there for a second. So when I get to my left side, I'm going to start moving away from my body in a circle. And I'm going to finish that circle. Now as CI option moves away, her weight also moves away. So I do what's called counterbalancing. And counterbalancing is me moving on the opposite direction of my partners. So that way we are still centered. So if I were to do this move where I go drop, and that's the lateral movement and she starts backwards. If I do not move backwards with her, we are starting to go over. Right. So you can see it here. If I go lateral and then she starts to move back, that takes our center of gravity to forwards and I feel my weight going on my toes and that's bad news. So instead, I have to counterbalance my partner. So it looks like this. I'll do it super slow. It goes lateral, elbows are up, and then I have to move back as my partner moves back. And actually the way to the asha is doing this with she'll explain is her chest is more of a concave from here. And I'm mirroring that slightly. So that way she knows that's what she should be doing, right. It's a visual cue that she is correct. So back to counterbalancing when I go here and then backwards, I am putting my way on a little bit on the middle of the part of my foot or my heels, balancing out towards towards my back. And that way, our center is here. As she comes forward and finishes the circle, I can start coming forward as well. And that way we're back to center. Okay, so if I do 1234 really slow, so you can see it, I am dropped and I go 123 for back to neutral. Let's try it the other way as well. Just so you can see it from this way. Probably gonna be very similar here. And 1234, Let's do it from this direction. And 1234, Nice. Now I do it the opposite way for 5678. Again, I'm starting laterally to my right side and then going backwards with the counterbalance. So dropping here and then this is 5678 and she ends up back neutral again from this position here and really slowly so you can see five and then I move backwards. She moved backwards. And there that's 5678. Also a really important thing for you guys. You don't have to do the exact same movement. The really important thing, what you see Bain do, he actually moves away from me, but he does less of a body action. So I really want you to go and milk that movement as much as I can. What he has to do is basically just put his body weight away from me so he can proceed to do the same body action. But not necessarily. It doesn't have to be that way. Yeah. Correct. And this is a good point to say right now, is that from a leads point, I am suggesting a movement. And that suggestion can come from a smaller movement than what my father was going to do, e.g. this would be really dramatic if we're doing this, it would look kind of silly. Sometimes. You never really good. So again, we don't want that all the time. This is more of me doing a small one and then she can maximize that movement because. I'm trying to maximize her movements there. She looks beautiful, right? So here this is nice and small. And she has a bigger circle than I have, even though I have a small one. Really important note right here, guys, this is one of the moves and the most, most common move to go wrong. So basically leads. It's really, really important that you put your weight backwards. This is one of the moves that I am lead pretty, pretty often I would say that I feel when I'm being led that I'm going to fall backwards. So this is usually what happens. Yeah. Also, you will see that this move is kinda similar to the dip that we do. Then leads often would like to lead a dip. And girls feel like they're being led this move. So the setup is similar, but it's really not. And we will explain the difference when we get to the tip. Yeah, absolutely. And so for guys, just one final point now that you've tried it a few times, you can see my hands. I am not moving my hands as I go in that circle. If I do move my hands either way, which we'll get into in later lessons, it's going to signify something completely different. So as I'm moving in the circle, I'm keeping them. I'm not moving them this way, and I'm not moving them this way. I'm keeping them 100% in their initial position and I'm using my chest and my arms to go here. The reason for that, just to give you a hint of future classes is if I'm here and I start to tilt my hands, that causes it causes Josh's body to tilt as well. Same for if I start here and I open my hands, don't move, sorry. So if I open them this way or back this way, this is going to cause Joshua to go there. So I'm keeping them 100% in the same position as I move in that circle so it doesn't signify anything else. Yeah, So in this situation we are both parallel to each other. We actually have no tilt or rotation or any kind of sided movement, that action. So what we'll do is go through 12345678 together with just two big circles. And then we'll get into some smaller circles really quickly. So get your partner. And 567 also, you see how we are not 100% chest to chest. I'm off center. So 567 to the left first, 1234, she's back to neutral and then let's go back to the other side, 5678. Alright. Now, you want to explain. Yeah, So basically the next movement are pretty much the same, same part of the body will move in a very similar fashion, but we're not moving our body weight, so I don't know if you were able to see, but we were moving actually baby move my body weight from 1 ft to the other. So when he led me to my right, you will see that my balanced boy, my body weight falls completely onto the right foot. In this position, I can pick up my left. And as I proceeded in the circle, I ended on my left foot and I'm now able to pick up my right. So I don't need to do that, but I'm just showing you where my body weight is. So in the next movie, can be completely stationary. We can move it around as we desire, but basically, the movement is very similar, but I can do the complete circle on 1 ft. I don't have to move my body weight. Very similarly to that last one. These are just smaller isolations of her core. So if I can show you really quickly, Let's turn in this direction. Alright, so for a lead, I am going to keep my right hand in the same spot as it was on the lat. So you can see here, except for my left hand, I'm going to move it to a different location. If I keep it here, it's a little bit different. So I'm going to go with the back of the arm bike ride around the tricep. Okay. I'm gonna get in a similar position, and now I'm going to take my right hand and lead the circle. So you can probably see from here. So we're both connected again. And I'm going to go out to the right, back, forward and back center. So as you can see, you're seeking, you see a little bit better. I'm going here and I'm going to the right, back, left, and back center. Right back, left, center. What she actually was saying is that she can do that same movement over her left leg with her way here. Over her right leg with her weight here or just neutral. Okay. She can have that small isolation in her chest pretty much from anywhere. I can even do it moving. So if I'm stacked on her her weight is on her right foot. I can move it back to the left while using these isolations. Boom, boom, boom. So again, the way I'm leading this just so you can see is I have pressure in my palm just like normal left-hand has switched to a different position. We'll go into the right First, back, left, and back neutral. Okay, I rarely go in the opposite direction just because it's kind of weird for my follow. If I push to the left first is creating just kind of a different movement and it seems a little bit bigger. It's just not as comfortable for my hand doing it to her and then and then the way she feels in that position. So now, ladies, if you're trying to do this movement, if you're trying to learn what to do, let's say you're getting a perfect lead. What I usually get. So this is what you have to do. You have to isolate your shoulders. They have to be completely still, and so does your hips. So this and this is completely still and the only part moving is your ribcage Nassau, what you wanna do is find your body weight in a nice position and now try to create a circular movement. So what you're going to be doing, you're going to open your sternum goes forward, you slightly open your rib-cage, then you move to the side, back, other side, and forward. And you can do this in both directions. But you will feel which one you're being led from your partner. And that's gonna take some work, especially as a guy who has never done those movements before. It took a lot of time in the mirror to get used to those things. So yeah, you can practice this by just doing isolations in front of the mirror, trying to hit those side-to-side forward and back movements and then create those circles. And as a lead, as a guy who has never done them, if you haven't done them, don't stress, it's just practice and muscle memory, I would highly suggest trying to find your maximum of all positions. So if I go left, try to find your max. If I go right, try to find your max. If I go chest down and concave, try to find your max and chest up so that way you can find the, find the circle, always find the maximum amplitude and whatever movement we do, because that's the way you will remember it the most. So since you've already done counts, we're going to jump straight into music so you can see that in action. Okay, so now let's try this one. 22. Silver- Lesson 5 Shoulder Rolls: Hi guys, This is the asha and bank. So in this lesson, we're going to be covering shoulder rolls and we're still in the upper part of the body. Isolations. Yeah, So a good way of thinking about this, as I'm starting to literally isolate different joints and different areas of Jesus's body and use them for what I hear in the music. What we're focusing on now, as she said, is just the shoulders. Yes. So I'll give you a quick example, just using a four count in different directions. So you can see, so here I'm going 1234, 5678, 1234, 5678. So ladies, again, this is one of those moves that we are very close to our partners. It can be done in a distance, but it probably would feel slightly weird. So you want to allow your partner to hold you a little closer. So what we do in this particular move, if we are in our normal clothes hold position with body contact, I actually twist slightly to see vein as he's playing with my shoulder. So basically, I am aware of what's going on. I'm not just looking past him and be a little awkward. Know is that correct? And as a lead, I can help that right. If I keep her 100% parallel with me and I'm trying to do this move is going to feel less comfortable and intense for my partner. And I want it to be more comfortable and more pleasurable for her, of course. So I'm going to actually just slightly turned her to just an angle. Yeah. And if you'll see I'm just gonna give you this way. So if you'll see my elbow is still up, just like we have taught isolations thus far. So Ebla is still up and I'm still with my hand right near the lat and possibly even on the backside. But since we're connected in so many positions, I don't have to keep squeezing and the lat right now we're connected, as we've seen before, it just kinda down that right side line. So I'm working from here. This is gonna be my main position to do this move, okay? Yeah, so this is not completely perpendicular and not completely facing in parallel, but something in-between. Alright? So what I'm gonna do is I'm going to take my left hand and I'm going to place it. So if you can see my hands have zoom in, I'm going to make an L with my left hand and then turn it this way. So the palm is facing me. And then I'm going to place it on her tricep, a thumb on the side. This I get that nice athletic base as before. My right hand is connected to my partner shoulder blade, right near her lat and my elbow is Am I right, elbows up, somebody left goes here. Now, what I'm gonna do is I'm thinking about when I do this move to maximize the mobility. The mobility of this shoulder should feel ideally like a massage for my partner right? Now what I'm gonna do is I'm going to start at the bottom of the circle and this circle is going to go up and around this way. So it's gonna go down at the bottom and then forward towards me. And then up To kind of a peak and then to the back, and then back to the starting position. Okay, I can do that again on whatever counts that I want. But for this example, I'm going to use 1234. So it goes 12, we're halfway on to, and then the other half is 34. Just like that. Now I'm going to reverse that circle and so I can go back first and then come on 5678 at six, it'll be at the peak. So 56 and then 78 back to where her light is engaged in her shoulder is down. Yeah. So ladies, two really important things. As you're doing this, you want to preferably keep your arms straight. That way we can actually see the movement better. And it also will feel for the lead as you're giving them a tool, how to actually leave you when you're trying to pull, he would try to do that and I will try to get his arm and hold him or something that wouldn't feel as comfortable and what wouldn't look as good. And another thing as they're leading this one shoulder, unless they're moving their right hand. I am not moving my left side. So if he is moving only my shoulder, I'm moving only my shoulder. If he decides to move both. That's a different thing. But I want to be I want to pay attention to what I'm actually being glad. Yeah, absolutely. So what I'm doing this, as Josh said, ladies, it was really nice. So styling is big for ladies and for men too, but huge for our follows. You want to look beautiful when you're dancing, dancing, and that's one of the main complaints we get. Throughout the course, of course, we're going to hit styling a ton. This is one of the primary examples of that right arm straight. If you'll notice a difference, if she'd been zipped, go ahead and bend it. So if it's here or if it's there, it limits my movement as opposed to the way she asha does it. If that straight arm allows for that huge shoulder circle, that looks really nice for both of us. Also just a little tip for styling what you wanna do. Usually, hands are being forgotten. So ladies, what I want you to do also for the guys, but they already have to hold you so their hands are engaged. Girls, when your arms are somewhere away from your body, you want to send energy into your hands so you want to be expressive with your hands. So e.g. when whoever we do this movement, I actually pretend that I'm holding vein over here, even though he's moving me and that hand does move. But at that hand was slightly dead over there. As soon as I soon as I'm kinda like took the energy out of my hand, he was like, What is happening on that? So you want to be expressive with those hands. Alright, so let's try it with counts together. So go ahead and get with your partner. And I'm gonna do for, for the first circle and then come back for 5678. So starting down one, 2345678. Now try it to where you are doing two counts on each circle. So it goes, the peak is 12. So the peak is at 1345678. Okay. That's two counts per circle. Yeah. Also, I will say that as a lead, what is also very important and we're gonna get through this in our connection partnering portion, probably in the gold lessons. That for this move, there's a huge difference in me. If I do not know my follow, watch the difference if I'm doing this as opposed to this. That's creepy. First one can be played off. Yeah. So what I'm doing as a leader, what I'm doing as a leader, as I'm looking at the shoulder as I move it. Okay. I don't make severe eye contact with my partner, especially if it's a social dancing situation because it's going to be a little too intense. So I want to focus on what I'm doing. Right there, looking down, even if she looks at me, she can look at me all she wanted me to play it on, cool it off. Like it's no big deal. This is another day at the office and you're just sitting shoulder rolls. Let's try to music. Yeah. A little little quit. Your job. 23. Silver- Lesson 6 Small Dip: Hi guys, This is Joshua and vein. Over here. Hi guys. In this lesson, we're going to be covering a small that's not as big as that small dip. So this is another isolation to use. This is one we see confused all the time. Leaves have a really difficult time leading this because they think of it as a neck movement and maybe even a head movement when actually it stems from the chest. Actually, girls, this is one of those things that you can practice and dust yourself off. And it means that you need to practice to know how to move your chest to open and to close your chest. Think of this bone. So the sternum is the part where you're actually moving. So you want to open it together because I want you to practice this as well. Don't come into play later in later classes for sure, Definitely. So what you wanna do is we are starting to full words as you keep your shoulders back and then you want to move it backwards, so inward, out and in and out. And it, now if I add head movements for that and guys, you can go ahead and do this with us. But this is something that mainly girls will do in this guys if you follow or actually if you leave this with your body. So as a visual lead, you would probably do like 20% of the movement while girls will do like 80. Yeah, So what you wanna do when we move our heads as we close our chests, our nose needs to drop down and we want to elongate our neck so the top of our spine actually needs to expand. This is not one of those moves where you want to have a short neck, you want to elongate your neck. So basically what you're doing, you're reaching around, like imagine you're curving over a ball. Yeah, so from here, if I do the opposite movement, if I go backwards, I stretch the front. And what I don't want to do here is this. I don't want to bring up my chin and drove the back of my head. But I imagine I am ruling over a ball that is now behind me. And so I want to keep a long neck and think of the top of my head, which is somewhere over here, is stretching of that one here. So diagonally back. So these were the movements forward and back. Now if I do the same as to the side, when I moved to the side of the vein is going to face you this way. So when I'm going from the front to the side, what I wanna do is basically drop one shoulder down and keep keep my hips completely in place. But feel as if my oblique and my lat are both shortens so they're both squeezed. So from here, I feel like my shoulder is lower and also my nose is still pointing at the ground. What I wanna do is always look at the ground. That's a very important thing at this point. I don't want to break my neck, but still look at the ground. Now from here, if I go backwards. So I will open my chest, keep my shoulders back. I still want to see the ground now this time it's behind my shoulder. From here, I will keep opening my chest and moving my head on the other side. And as long as I can see this side, my nose will be done on this side until I can move to the other side of ink and you hold it. From here we move to the other side. And I immediately want to look at the ground on this side as well, still behind my shoulder. And then I moved to the side. I squeeze my lab first, then my oblique and I look at the ground in front of my shoulder and then I continue elevating my neck and come back to the center and I can do the same thing to the opposite side. If we have, at the end of this movement, if we have sort of come back to neutral, kind of like a little flick, we don't want to do. And so what we wanna do is just come back to neutral where our eyes are level and we actually see our partner. We're not staring at the ceiling hat. So vein will show you how to do the movement, then he will break it down, how to lead it, right? So for leads, the reason I had you do that exercise with the follow is because it really helps her. I have a visual part of this leaf. I can lead it just with my hands, but it's more effective if I do a smaller version of that movement so she can feel it and see it at the same time. So what I'm gonna do, this is a good segue into how I use my hands up until this point with lateral movements and circles, we have kept our hands pretty much in the same position. And possibly on the smaller circles, we might have moved just slightly, but not very much like it, maybe in a small way, but basically, I was moving in a circle and keeping my hands very still right. Now I'm going to start using my hands as indicators, right? And think of it. Think of it as a way to To drive or to derive my partner's body, if that makes sense, like drive a car to suggest a a movement, I guess the direction change. Direction change, yes. So if you can see my hand here, what I'm going to do is this is completely neutral. It's straight up and down. And the way I'm going to lead these is using mainly an opening and closing of my hand. And it's going to be right on the bottoms of her shoulder blades. Okay. So I'm going to connect right here. This is where I did the lateral movements. This is closed position. And so I'm going to connect right at the bottom of that shoulder blade. Alright? Now, I'm going to start with this movement. I want to get my partner's head. And when she was talking about going to the side where she allowed the shoulder to drop it in, squeeze her or Latin obliques. It. What it does is it causes my partner's head to go to the side like this. Okay. She will have a lot of tension. Do you want to explain what happens if you try to hold this for a follow. So none of it, none of these position basically feel good if you hold them for too long, It's like everybody can, like maybe not everybody, but if you hang somebody down from their feet, It's okay. It's not that big of a deal, but if you leave them there for an hour, they probably won't be as happy. Yeah. So any of these positions, they feel they feel good enough movement, but they do not feel as long as you keep them fluid, they will feel good for your partner? Yeah, absolutely. And if she keeps a little bit of tension in her neck as she's tilting, it's going to cause a lot of strain. So what usually happens is when my partner starts to tilt and this is just side-to-side like one shoulder dropping or the other Is she lets her neck relax to it. So it's nice and elongated here. If she kept a little bit of tension in it, it would be like she's straining to keep it and that's going to cause a lot of stress here. So as she relaxes and goes to a side, that's my entry with my hands. And so the way I'm going to do that is take my hands here in my elbows are still up and I'm going to cause an entry on the left side here. Okay. So that is my right hand coming down slightly to cause her left shoulder to drop. That hand drops. And then I'm going to tilt my hands to the my left hand with my fingers to the right and my right hand with my fingers opening up this way. So again, this was neutral. I'm going to go here. So she's going to mirror me. So this is perfect right here. Now what I'm gonna do is start to put pressure on the tops of my hands because I want her chest to be concave. So it's going to go here. That's exactly right. So you can see my fingers are more down which is going to cause this curve in her back. And then they're going to transit transition to the right my left side, her right side. Again, this is right hand tip down and left hand more open. And then it's going to come around to the back side and it's more of my hands being open. Instead of neutral. I'm opening them up this way. Then they're going to rotate around and keep coming, keep coming, keep coming. And that is a full circle. Now, my entries and exits are always on the front and back. If I exit on the side, it feels kind of like whiplash a little bit. So I'm going to bring her back around to the front. And then I'm going to let my hands come back to neutral. And that'll bring my partner backup. So again, this is not a neck thing, this is a chest thing, and that's what I'm leading is the opening and closing of this chest. So let me show you with my partner and I'll explain where my hands are. So if you go here, I am going to the right side first and I'm tilting here again as a visual lead a little bit with my partner there. And now my hands, my fingers kinda come over and I am mirroring my partner. So do you see this is why I was teaching you guys that same chest movement because I am doing the same chest just not as extreme if I was extremist, Joshua would be like this. And that's not what we're going for. So I am staying slightly curved in but not as much as my follow. This gets her chest concave and then I'm gonna go to the right side and I'm to my left side. And then I opened my hands up that allows her chest to completely open. Then back to the my right side as a lead. And then I come back around and then go back to neutral. Boom. For the girls. Really important thing when you're doing these things, you have to be completely in your own balance. This is not one of those things where you get swept off your feet. Basically you have to find your own balance and where whenever your chest is coming forward. So you feel like this going backwards motion, what needs to happen? Your knees needs to be Ben, and your hips need to be forward, and your tailbone needs to be tucked under. Very, very important with all of these moves, this is where you're going. So now, this is how I create my balance. Balance doesn't mean that everything is straight and up. That is not balanced. I mean, it is balanced two. But then, so is this right when I have something on the left and something else on my right to counterbalance that movement that I'm doing. So in this situation, I am going back with my head forward, with my chest, by tailbone, my size and my niece. Yeah. So I can counterbalanced by movement and that's how I stay imbalanced. And really important thing to kind of like putting your mind. Balance is a sort of thing. It's a fluid thing. Balance isn't, you're not good at balance or bad about as you are imbalanced or you're out of balance. So you need to constantly be looking for the balance movement. So yeah, I think I overused that word. All right. So let me I'll do it with the account. Okay. So we're going to take an account, so it's nice and slow. We're gonna make a full circle and then come back up. Okay. So with your partner, I'm going to start on my right side just like I taught you. So we're going here forward. Oh, sorry. Maybe I should give you counts. 123-45-6781. More time. So you can see from this direction, 56 781-234-5678. Nice guys. Let's do it to music. Dr. 24. Silver- Lesson 7 Neck Rolls: Hey guys, this is vain and Tasha. In today's lesson, we will be going through the neck roll, which is a move that is usually led poorly, very poor. They were thinking it. I said, we're going to teach you the right way to lead this move. It's gonna be very similar to the previous lesson, which we titled the small dip. So if you haven't listened to that lesson, go back and review it really quickly. It's going to use the exact same entry, okay? So we'll show you one time really quickly and then teach you how to do it. So here I'm going 1235678 right now. How did I do that? As a lead? What I'm gonna do is set it up first. And usually I'm going to create a scenario to where my follow knows not to move, not to take a basic not that she's doing a different isolation. I'm going to stop her from moving in any type of direction. I do that in this example, there's a lot of ways to do it, but in this one, this is one of my favorite ones to use while I'm social dancing, is this. So my left hand is connected to her right hand. And this is an entry into stopping this side of her body. Okay. So what I'm gonna do is I'm gonna take my left elbow and I'm going to put it inside of our hands. And then I'm gonna take my arm and go over her arm. So I'm gonna do a super slow so you guys can try it together. So I go left elbow in. My hand is still connected and it goes over the top. And then I let go of my hand and then go to the tricep. And what that did is it traps ya shes arm under my arm. So you guys can see that it is here where once we started in the open position, I'm going inside, elbow inside, and then go into the back of her arm right on the triceps so it traps her right arm. Now, once we're here. But I'm gonna do is I'm going to place my right hand on her right shoulder. Okay. Now, usually what happens? This is the bad way to lead this move is I'm going to assume my partner has done a neck roll before and then just move my hand towards her neck until she goes under it. Right. That is not the right way, but 95% of the leads that you see on the dance floor, That's exactly what they're gonna do. Not us anymore. You will not be doing that anymore. That's like me placing a little finger above Bayes head and assuming that he knows not to turn. Not smart. Smart. Alright, so when I go here and I set this up, what I'm gonna do is I'm going to cause weight shifts. So just like the lesson previously, I'm going to start she asha towards her right shoulder. The previous lesson did it towards the left shoulder. But on this one I'm going to start towards the right. And what I'm gonna do is I'm going to place my hand here and I'm gonna get her weight over this foot and this shoulder a little bit lower. So it's going to look like this. This is my entry into the neck roll. Okay. Now I'm going to use both of my hands. Both of my hands including my right hand. And I'm going to have her head start going backwards, back. This opens her chest, just like the previous move. It comes around. And at this moment, when her neck is the most open, I'm going to start pushing my hand towards her neck and then she continues to roll and then comes under. Now, at this point, instead of keeping my whole hand on her head, I'm actually just going to the my fingertips and the momentum and the contact that's still there allows her chin to stay down and she knows that I'm going over her head with my elbow and then she can okay. So again, I'm going weight shift and shoulder to the her right side. It goes backwards. And then here's where I start moving my hand over. And then when she's here, what I do, my elbow is completely over her head at this point. And so to allow her up, she's going to fill a loosening of the pressure my fingertips. And then sometimes just as like a like an expert tip of this move is I use my left hand to pull it in slightly, which makes her chest come up. If I don't do that, she has like maybe a small chance, a small percentage of staying down. If I just like my hand up, you'll see this a lot with people is Zeus. Dancers are just amazing follows, and they are usually used to staying in a position until suggested to move out of it. Now that we're here and I'm still connected, if I bring her elbow for it, it is a 100% signal. It helps my success rate of this move to where she'll come up. Cool. Yeah, Very good. So ladies for you, what you wanna do, basically pay attention and be very sensitive to the lead that you're getting. Also in this move, as we're sort of separated from each other, we're not in a close body contact position. You will realize that it's important to stay in your own balance. So basically, as you're doing the neck roll, it's very similar movement and very similar way of keeping myself imbalance as I'm turning my head around as the small little dip was. So basically what I need to do is keep always something in opposition. So when my head goes to the right, I need to move my chest to the left. And when my head goes back and goes forward, when my head goes left, my chest goes to the right. And in this move as being explained, he is moving my body weight. So he's shifting my body weight from right, left, back to right or two middle wherever he wants me to end this move. So ladies, pay attention to that. Yeah, exactly. So the shifting of the weight is key. And the reason I say that is if I go here and I set this move up and I create this, what that does is it doesn't allow T asha a large room to make that chest open and close, which creates a big circle, right? If I create a bigger circle here, it just allows a lot more freedom for her to open her chest to be way more comfortable. It's actually more constricting and uncomfortable with the smaller movement. Even though that move looks extreme, that's not the case. It's actually more comfortable for her. That's what I'm looking for. When I start that circle, I, I start with a little bit of a more momentum at the beginning and then slow it down towards the end. Because that way it's it's better for her to come out of that. And again, like I said in a previous lesson, her entries and exits are usually on the front and back, which is why we're going around this way. Excuse me. Her exits are on the back. So as she's here, she's on the front and back, right. She's this way. And so that's when I help her exit entry on the sides and then exits on the front and back. Also the ladies, when you're starting to feel the entry on this side, what you will do, you will feel the small little concave, but it is not the maximum position that you can get into at the end of the move. Exactly right. So just to recap, you're going to see this very frequently where someone takes their hand and just goes like this. And it's expected because it's in all the YouTube videos and assign all the courses and whatever else. And like social dancing videos where the girl just goes under, it knows to go under. We're not doing that anymore. This is a lead move that is comfortable for my follow. Cool. Alright, so at this point we maybe want to point out that everything that we're trying to teach you guys is something that you will be able to do on a social dance floor. Not something that shouldn't be, or of course, can be a choreography move, but should be able to be followed in LED. Yep, absolutely. Right. Even if we take a beginner, when I make that weight shift, it is usually going to cause a circle. Whereas if I just do this to a beginner, That's not gonna do anything. They're not going to know that it goes like this, right? So yeah, the weight shift and the big opening and closing is very important. Let's try it to counts together. So let's go ahead and set it up without counts because we'll get into that. So I'm gonna go over top and I'll show you this entry from a different direction so that way you guys can see it because it's kinda confusing the first time you try it. So my elbow is the key. If I focus on my elbow and I get over top of her arm and then release my hand. That's the entry. And then my right hand goes on the shoulder. If I'm dancing to set this up, I can set it up from anywhere. I can go from open or closed. I can be an open and go 123 for and just go straight to the shoulder. Ok. Now I'm gonna go and eight count around. So I started on one which is 12345678. Nice. Let's show from the side. So again, let's say we are going like this, 1234 and I go 5678, then it will take an eight count around 12345678. Then we can start back on our Basic or whatever we want to do from there. Okay, let's try it. The music to music. Cool. Great job. 25. Silver- Lesson 8 Hip Swings: Hey guys, this is Bayh, Indiana. In this lesson we're gonna be going through some hip swings and now we're switching to our lower body. So basically lower body is everything below your waistline. Just like that. So guys, let's locate that. We're talking about your pelvis. So I want you to really find your waistline, hold yourself right there, and then try to move your hips without moving your chest. So when we're talking about our hips, we're basically talking about our pelvis, which is one bone. So basically when something is happening on the right, it's affecting something that is happening on the left. Keep that in mind and we're going to show you this figure. So let's get that in place first, there is a lead. This is very odd and difficult if you've never done it before. But we're just going to practice is isolations because it took me a little bit to get it when I first started yeah. Hit movements as a white male that's never danced and it was not such. The hip movement was difficult. So sorry, here we go. So I'm going to squat down athletic position so my knees are slightly bent. And now what I'm gonna do is I'm going to concentrate on the hip bones on the side. And this is the way I think about it, the way that helps me most I can kind of visualize it. And what I'm gonna do is shift my hip bones and push it to the left. And I'm going to try to keep my chest in the exact same spot. So then I shift it back to the right, keep my chest the same way, shoot it as far as it can go to the right and then back to the left, and then back to the right. And then once you get that motion, try to do it a little bit more fluidly with keeping your chest the exact same way. It's up. And then when you're used to doing this, you can add a little bit of a drop in the middle. Now put your feet together. Let's try it again. And to the left, right, left, right, left, right. Okay. Now, what I'm gonna do is I'm going to get a really close connection with my partner that we went through it at the beginning of this series. Yeah. So I'm gonna go deep with my right arm. Get here. We are connected along my right side, the right line, right here. And what is going to happen is that when I bend my knees just slightly, my partner partner can feel me dropped as well. So we go down slightly. And then I'm going to start moving my hips from here. Now, one thing we want to mention is that in this, normally in this position, if you've been to, maybe you've been to a congress before or socials or some type of bunch up the social dancing or something like that. You'll see the common position that we called the Venus flytrap, which is like the knee, grabs my leg as the lead in it's supposed to be known. And to show that you're going to grab that leg? Yes. So this is what that looks like is I'm here and as the minute I drop, the fall goes boom and clenches on with her inner thighs on my right knee. If you've never seen this before, good. Don't do it. If you have seen it before, I understand that it is a thing in batch at the end, it actually can be really useful. But the way we teach is we just don't use that much. We use more hip movement as opposed to having to control that knee. Again, it is useful. It's completely fine if you've been taught that way and sometimes it is helpful. We just don't use it that much. We'll keep it out of this particular figure. Yes, exactly right. So again, I'm going to connect with my partner. I'm going to drop. And then I'm going to start moving my hips and the exact same direction as I was before. So we go left and right and left. Right. And again, my right arm is staying connected just like in close position on the back my left hand, I'm just putting it on the back of her hand. You can really do anything with this hand because she's connected to your body. She's going to feel your hips move. I don t need to clamp down on her leg. She's connecting with me as the lead and I am moving my hips, which causes her to feel that movement. And then she can move her hips, right? I'm creating the frame and a suggestion. She's reading that suggestion and mirroring it. Here. This hand doesn't matter. You can go behind her head or behind her arm. It can go I'm kinda down on her hand. I can hold her hand and do this. I can go behind my head. Can don't do that. Again from this position. You're going to hear a, a, a. And now I'm going to hit a beat with every side of my hips. So when I drop, I'm gonna go. We can start on either side, but I'm going to start on my right side just so you get the gist of it. So I'm gonna go 1234. So my left hip is out on four and then it goes back 567.7. I'm actually just going to pop up because I want us to be ready to go on one, so eight and then Watkins take a sort starting to take a step on one. So guys, really important thing, as we mentioned, all of these close body positions, really, really important that you stay upright. So this is again 11 other move where we see so much of this. And basically what happens if we do this position here? Now? Vein can move his hips. And if he does, I am not because we're not connected. So what I wanna do is connect this way that I move my knees and thighs forward. And we can actually do this without hands. I can follow his body directly. Yes. Also the way I am plane the hip is I imagined imagine a pendulum. So I imagine the bottom part of my spine as the rope and my pelvis kind of like hanging on it. So this is actually the way the pelvis would move. It has this upward motion on each side and it's ended its lowest point in the middle. So I need to use my legs in this fashion that basically I'm creating this pendulum movement. The legs are slightly straightening on the sides as I'm approaching with my pelvis to the right side, my right leg is straightening not completely. I don't want to lock my knee, but just slightly upwards. Exactly right. So we're gonna do it to count for you and then show you to music. So very easy, we're gonna go drop. And then I'm going to start to my right side, 1234 and then go back. 5,678.8 is up and I keep my partner's weight on her left side, my right side, so that way this leg is free so I can go 1234. Okay, so again, let's do it together as the lead. I'm going right, left, right, left, right, left, right. Okay. Also guys, you can do this. Move slightly slower. You can start on the opposite side. It's basically up to you, but Bain put it in the way he would use it. And I can change the speed or the tempo. So if I'm here, if I were to change the speed of the way I do this, if I'm here, I could go 12345678. Okay. Or I can do it even slower, right? 12 345-678-1234. Just whatever you are interpreting the music, do that with your hips. Okay. So let's try to music. Morning. 26. Silver- Lesson 9 Booty Roll: Hello guys, This is Bain and Tasha. And today we're going to teach you the bu t rho, right? So this one is kinda tricky to lead, but we're gonna get through it. I'm going to let you have to take over for the ladies part because she's the one doing the round thing. Yeah. So basically, ladies, when you're doing the booty era, really, really important. You want to keep your leg straight and just imagine a circle around yourself and basically that's where your pelvis will go. Yeah, so imagine if we have a little hula hoop around us that's kinda like the pad that I'm going to use. And basically usually the the booty role would be started with a slight bend the knee. And then as we're being sent to either side, I will start moving. And then as I go backwards with my pelvis, I straighten my legs. I tried to keep contact with the floor with both of my feet when my body weight actually kinda moves from foot to foot. Yeah. So as I finished my video, I usually have both of my legs straight, but I could be in a bent position as well. So I'm going to show you from here. So hopefully you can see that my entire body and I go from a bent position, starting to decide as I straighten my legs, I keep my chest up and open towards my partner wherever the whole list. And then I continue that rotation to the other side. And as I come up, I usually come up with straight legs. Or I can come up and then into the position where my partner is saying to the other side. So I can start here if I'm being sent to my left. I started moving that way and then I straighten my legs as my pelvis hit the back part of the circle. And again, I can come up straight or I can come up and slightly bend my knees to match my partnering. And from the other side, I hope you enjoy the view to the right and the left. And then conveying will show you how to leave that. Alright, yeah, that's how we do a moody roll. Good dude. I'm just thinking, how do I lead this move? Okay, so when I'm here, what I'm gonna do is I'm gonna get the really very close position, right? So I'm connected completely with my body to my partner. Every sink in, but she has a prep, right? So in order to do this booty row, I'm going to have to privilege It's like everything else. When I want her her lower half to go around this way, which is to my left side, which means I need to prep it towards the right side first. So why use my hip to go right at the beginning just slightly, just a prep. And then I go to the left and I give her momentum, I gave her energies to start going back so really slowly, it looks like this, left. And then I push lightly with my hips. My hips go forward to make her hips go backwards. Okay. Now, I use my left hand and guide her hips around. I don't grab the booty. I grabbed above the booty and I guide it. And I guide it and I guide it and it comes back to neutral. Okay, So again, you can see from this direction, I go with a prep and then boom, hips go forward. I guide the booty and neutral. Okay, So we're gonna do that in a four count as it goes around and the setup is going to be in a four count. So with your partner or with counts, what I'm gonna do is I'm going to go setting it up. We'll start from closed position. Okay? Actually let's use the same setup that we use for the neck rolls so that way we can get used to that. Okay, so I'm gonna go 1234 and I'm going to come over with my left hand here. And then this right hand is going to go to a closed position. And that allows me to go right and guide and around. Okay. So the counts are going to be this 1234. And now five is a prep, 678 neutral, okay? Again, let's do it from this direction. So I'm starting, let's say we're starting from here. I'm going over top with this hand, which is 1234. I've got my my arm completely across, my weight is on my left side. It's going to transfer to the right for the prep. So that's five. And then I'm going to start with the energy. Here. You go, 678 and she's back there. Now, it's an important part as the lead. This is if I could teach you one thing out of this hole. Of course, the most important thing is that my partner's weight determines what we do. And so another way to say that is if I want my partner to move one way, I have to be cognizant of her weight. So if I want her to be able to take a number one step, like with her right leg, I need her weight on the opposite side so that this leg is free. The reason I tell you that is when she starts to go around with this booty role and we go here. And when she's coming around and she's about to end the booty role. I want her weight to stay over her left leg so her right leg is free so I can go one. Okay. If it's over the other leg and she comes around, we cannot take a one because that leg is not free. So one of the most important parts of this course is to know where her weight is, what leg is her weight over? And usually on eight, I want her weight over her left leg, so her right leg is free to take a step 11? Yes. Same on B5. You want my weight? Really important thing. Again, I kinda keep repeating this every lesson, but I think it's so, so, so important when you're leading the booty role. So basically when I'm in this position, I have to have this space in front of me. So basically, when I'm doing this, if you guys are leaning forward now, my face is kinda smooshed against your chest. So what you wanna do? Okay? So what you guys want to do as you're leading the booty role, you want to keep this space here for me? Yeah. So if you're going to lean forward, if they would leave for right now, I would not have the space. Yeah. So that's a really important one for this. You will want to go because you want to guide your chest, come forward a couple of times. But just remind yourself that you need to keep your spine straight. And then again, the same thing can be done slower. Maybe not too much faster, but you can use a whole eight count if you set it up to start on beat one and then be done on beat eight. Same thing can be done on the opposite side. We just chose to show you this version. That's a good point. So we can show you that really quickly. So no matter what speed, I don't want to use this. So if I go here, boom, it slow. And then it can come back the other way. Or I can prep this side and can guide it this way back. And it can be really fast, right? It's just whatever energy and whatever timing you want to use. So practice all of them again. This is the silver portion, so we're talking, you have a little bit more experience, you're starting to practice a little bit more. So play with the different timing. Yeah, let's show you the music. Good. To Great Britain. 27. Silver- Lesson 10 Snake & Sit: Hey guys, this is vain and Jascha. Today we are working on the snake and sit, which starts to get into our chest, isolations and movements. Yeah, we're also going to incorporate lower body and which brings us to a whole body isolation. It started. So we're going to show you guys the move and then we're gonna get into how to do it. Alright? Alright, so I'm gonna give you counts 56, 781-234-5678 or slightly faster. 12, 34. All right. One more view. And 1234. Well, okay, leads. Here we go. How do I do this? Can I borrow you? Alright, so I do want to say at the very beginning, this is where we start to get into a chest isolations as far as leading with our body. So up until this point we've been using our arms a lot. We did lateral movements from here where we went elbows up and we controlled the her core using pressure with our palms and going with our elbows like this. We also did circles and we did some booty stuff like this. And then we get into all of those things that we were using our hands and our arms. This is lead with my body. So I need to repeat that again with my body 100%. If I do this with my arms, you're not going to have the same effect. So I want you to think of moving your chest right here in the middle, and that's how you're going to leave that she is following my body movement and she's not really paying attention my hands and in fact, I can leave this move without my hands at all. Okay? So that's how we're going to learn this, is you are not going to connect with your partner zero hands at all. And you're going to connect right down the right side as normal. So go ahead and get here with your partner. Now, I want you to think of a snake. So I'm going to start normal. Yeah, I'm going to start neutral and I'm going to shift my weight to the right side. This is over my right leg. So you can see my weight is over my right leg and now I'm going to be moving laterally. I'm not going to be turning at all. I'm going to start with my left shoulder and start moving my chest to the left side and then up. And so my weight shifts over my left foot and then I go up. So IMS tall as I can be right now, my chest is up, my weight is completely on my left foot. And then I'm going to take what I call the roller coaster back down to the right side. So first I did this, Let's start over. We were here. I shifted my way to my right side. I go chest to my left, my weight shifts over my left foot. I go up and now I started going back to the right side. So I'm going to go chest first down at a 45-degree angle to the right here in my hips stay behind. So my hips are still on the side. And then when my weight starts to switch to my right foot, That's what my hips come behind. And it switches back to completely on the right side. So without stopping, its left side weight is over, the left foot, chest is up. I start to switch back to the right side. I go chest here, my hips stay behind and they're the last to come by weight switches on my right foot and then my hips come along at the very end. Okay. Well, my father was going to do is just feel that same movement and she's going to be connected to me in my chest and my hips. And so she's going to feel my whole body move. So she actually comes here and I go No hands. And I go up with my left and then down over here, Going up with the left, this is where I am peak on my left side. So all my weight is here. And then I start to go down and you see the hips move at the very last moment and they sit, right. So that's what we call a snake and sit because it looks like we did it a snake this way. Then the last movie, and you'll see this in a lot of isolations and movements of Ajantha have a little sit at the end. That's what that is. It's kind of a final movement. Here again, it is up and sit, and then we end up here. The reason I'm sitting on my right side is when I start my basic again, I need my left leg free to take a one. So if we're sat on my right side, I can come up and go 1234 and distort my base can get also what do I do with my hands in that position? She can follow me with my body. That's the whole point. But I need to put my hands somewhere because when I'm social dancing, I don't want to be like this like I was right now, but she's just want to go here. So what I normally do is I can go to her back just straight on her shoulder blades or I can go one arm over here and go to her triceps like this as well. Either one of those is completely fine. I tend to like going to the back. And then a little bit later when we get into kinda different ways to hold your arms. But if you go to hands right on her shoulder blades, she can still fill all of that movement and it looks nice at the back. Okay. So lady, I would want you to do a little bigger movement that the guys so if they did all that so that we deal with probably wouldn't look as cool. Maybe. I don't know. So basically, even if your soul, I want you here to follow me and just try to. So when we're doing our little snake, I want you to imagine that there's a rod beside your head on the right side. And I want you to imagine that you're going underneath it and that you're going to circle around at hand. So that's as far as our snake goes. So, but first what I wanna do, I want you to understand it. I'll turn this way. I want you to realize that the most is happening in this section here. So I'm not trying to do my snake with my head or just with my hips. So it has to happen in the middle section. So it really is the connection between my pelvis, my ribcage. So the obliques and the lots are really, really engaged here. So what I wanna do, I'm either squeezing or elongating aside. So this is constantly happening. Yeah, So as I'm starting this move, when I'm starting to feel what is vain leading me. First. I asked, he places my body weight on my left foot. I move more outward with my left side of the ribcage. So I've already delegating my left side. So from here, what I'm going to do, I'm going to imagine I'm stretching even further up while I'm squeezing, picking up my right hip and bringing my right shoulder down. Now from here, the head moves only slightly. So imagine it's not my head really moving to my shoulder, it just moved slightly to kind of emphasize and I imagined the bar that I'm going to go underneath. Now, I'm switching the sides. I'm elongating my right side. So I'm stretching my obliques and my lattes on my right while I'm squeezing my obliques and my last on my left side. And then I repeat on the other side. And I finish with a very strong hip action, which brings all of my weight to the left. I could keep on doing them. Lumen vein decided to leave myself so I could keep on doing the same thing. Lumen. What in this one, we just ended with a sit. Yes. So you ended a neutral position. So you can start again your basic yeah. So a chart together. Alright, so we're going to show you with counts. So let's go here. Arms are on the back. And then also as a lead, I am starting my feet about shoulder width, knees, slightly bent so it's an athletic stance. And then the connection again is, so you guys can see it will zoom this way. It is connection here and the hips connection here and the chest as Joshua loses front microphone. Okay, good. Alright, so there's complete connection here. You are not gonna be able to do this move. If you're here. If there is zero space, you can't lead with your body. You can as far as her watching you and getting a visual lead out of it and maybe mimicking you. But she's not going to feel it, of course. So we want complete connection and then you can go up and drop and drop. So again, I'll show you what counts really quickly. Let's start with a four count. That full movement. And a four count is two. And then you'll pick on the left side and then come back down into, so you'll go 1234, again, 1234. And let's go this way. 1234, turn this way and 1234, or you can do it with an eight count. So this is really, really slow. 12345678. This is a very central move. Very elongated, needs to be a slower song or a slower part of the song at least. So 123, 45678. Let's do it from this side. And 12345678. Cool. Right. I'm going to say anything else. Yeah. So just one more thing. Also, pay attention to the fact that you can change the timing of this figure. You can also do it in six beats. So e.g. we could do the same snake and then play maybe with the hip action. So we could do it 12345678. So you can actually figure out what would be the best speed for a certain song. Yeah, So guys, really important thing, work first on your connection and then these moves should come naturally. Yeah, That's alright. Alright, so we will show you to music. So go ahead and get with your partner. And we won't do that now. Great. So now let's assume to be homozygous. 28. Silver- Lesson 11 Reverse Snake: Hey guys, this is bathed. In this lesson, we're going to go through the road, bursts snake, left and right. Something like that. Alright. So we'll give it to you at the beginning and we go 1234. And then from the other side, it is 5678. Beautiful. Alright, leads. Here we go. I'm going to again leave us with my body. However, it is a little bit more hands than this, the snake and sit and that we have done already. So I'm going to grab the lats here, just like a normal isolation. So lateral isolation and the snake was more on the backside of her shoulder blades, so a little bit more on the lats here. And I'm actually going to start this movement, movement with my hip. So the snake started with the chest and this one is going to start with the hip going up. So it without my partner, what it's going to be. Again, this is a body movement. She's going to be connected to me completely. I'm going to go up with my left hip, so my weight is still on my right foot. I'm going to be connected to her here, so my weight is on the left and then the weight starts to shift to my left foot and then my chest follows and then it comes hip back up with my right hip. Chest is coming behind. I'm not turning at all. It's just all staying in the same plane. And then when my weight transfers back to my right foot, then my chest comes back. This is a lot of practicing in the mirror guys because it feels very awkward at the very beginning. So again, I'm going chess or excuse me, hips first. So my left hip is going up and to the left. This way, I transfer my weight to my left foot, to my chest, follows. And then hip, right. Transfer of the weight shifts is going to follow. What that's gonna look like with my follow is I have a sit with my right leg. Again. My weight is over my right leg. My left leg is free. I'm going to go up with my hip. And then we transfer to my left foot as a lead. And then her chest follows in mind is the same, and then we come back. Alright. So that is one side. It can also be done on the opposite side for 5678. However, it just changes slightly because the very end, we have to be back on our right side and be able to take a one or a basic step. Yeah. So if I go 1234, normal 1234. A normal four is with my weight over my left foot and my right to is tapped and her weight is over her right foot with your left toe tapped. So on this side, just like the other, I'm going to start with my right hip going up into the right. And then we transfer weight to the right leg, my right leg, and then my chest comes there and then we transfer back to this side. So hit and then chest. So hit weight, chest is what I want you to think about this hip weight chest. But however, that was one full rotation except I need her back on her left side so that we can take a right step. So I have to transfer back here. So that way I can go 1234. So that opposite side is this 1234. Now, I'm going to take a step out with my right leg. This is 567, and then we're ready to go. So one more thing I actually wanted to mention for the elites, it's actually a little bit easier, at least for me, it feels a little bit easier when vein leads me to the second side. So when he goes to the right side on five, the reason being is because his, his thighs actually kinda leading my thigh to do this movement. So we're here connected and I am very aware of where he wants me to be. So when we're doing the first time, so when we're doing veins left side, it's very it's kind of on me to find where he wants me to step. I think that would be a slightly more difficult thing to do if you're trying this for the first time. So maybe if you're doing it for the first time, try to the right first-line for 5678? Yes. Exactly. Another thing for both of you. I think it's really important that you imagine that there's a wall, so there's a wall in front of you and there's a wall behind you. So what you wanna do is basically move only lateral. This is kinda like a 2D movements. So when does his move, you can see nothing is going forward and nothing is going backwards. When he finishes off the move, he really makes sure that the spine is not tilting, that everything he does is isolating sideways yet same for the other side. When he goes to his right, he starts with a hip and you see there's nothing going backwards or forwards. Yeah, So ladies, one really important thing for you again, what you wanna do is do the movement finger. So whatever you're being led, make sure you find the maximum amplitude of whatever you're trying to do. Same goes for the Snake and every other movement, honestly. But here, you might feel challenged or you might feel like there's a limit because of the balance. But don't worry, you will find your own balance. You can try to do this by yourself and then try with a partner and really see how far you can go. Be aware that when you're going with your hip, that your upper part of the body is counterbalancing. So you can go actually really far. And I'm not talking about making a bigger step that is necessary, but I want you to do the hip action and then the upper body. So the movement should be big, divider, lower body from upper body as much as you possibly can. And I'm pretty much that's that's it. Okay. So as a lead, The reason I told you to use your palms is for the exit out of the it's kinda like towards the late part in that move. So when we're talking about this way, if we're doing it 1234, I go up here. This is the part where I like to have the lats and my palms because if I'm just on the back, it feels a little weird like I'm holding her up and catching her. Whereas if I'm on the on her lats and my palms are supporting her that I can create more of a an isolation to bring her up that way. So it feels a little bit nicer for this move to be on the same on this side. If I go 1234 and I go this way, 5678, then it feels just a little bit better, especially getting her back on one. If you're using your mouse. Do you want to explain these parts for ladies? Yes. Actually, I do. So basically if we were talking about our snake just recently, so now we're talking about are reversed snake and what we're trying to do whenever we're doing garter snake, what we're focusing on how to start with our ribcage now we're going to be focusing on how to start the movement with our hips. Yeah. I still ladies, you will be following with but guys, you are starting the movement with your hips or with your pelvis, whatever is easier to imagine. So when we're doing our first side, what you wanna do is isolate everything else except this area. Everything else needs to stand still. So if you were to look just above my waistline, I shouldn't be moving as much. You shouldn't even notice the movement that I'm doing. I just want to do hip action. Hip action, I start upward and I'm not trying to reach very far. I'm trying to do as big of a hip action as I can. Then when I place my foot down, I do swing. I lower. And as my hips go to the left, my rib-cage comes to the right. Now from here, imagine that I'm just moving upwards towards the wall, my left side with my hip first and then with my waist, with my ribcage. And I want to come in the end out tall. So again one more time. Hips, they swing underneath. They come out on the other end and I come out Tulsa. I want to elevate my body same when I'm doing it to do my left side partners right side. I lift my left hip. I'm making sure that my left shoulder doesn't go up with it, but it stays put stays down and squeeze again my oblique my lab. And I stepped aside and then I swing my hips underneath as my upper body shifts to the left. And then as I'm coming up on this side, I come out to all and again, I want to reverse. And I come back to my beginner position where I can start my basic. Right. So we will show you with counts. I also want to mention that when we are connected here, the whole point is to have my partner radio and one. So that's why we keep mentioning that over and over and over. And then also that if you think of the snake in the reverse snake as two different things. So this is the beginning of body movement. It is all n hips and chest. Hips and core, if you want to call it that, which 01:00 A.M. I, leading first width for the snake. I'm leading first with my chest. And then for the reverse snake, which we're doing right now is with my hips first. And that's what we're isolating. So again, we'll show you with counts really quickly. So go ahead and get with your partner. And we are going for 1234 on this part, so it goes 1234. And we'll try the other side too. So if I take a basic 12345678, right, from this way, the first one is 1234. And then if we do the other, 112-34-5678, Awesome. Well, give me one more direction just so you can see the connection. So here it is, 1234. And if we take a basic 12345678 and we're ready to go on from there with music. Alright, here we go. Here we go. Right when the beat hits. Hi. 29. Silver- Lesson 12 Back Dip: Hello guys, This vein and Jascha. Today we're doing the back dip. Favorite. Just kidding, I didn't tell him about that. This is not my favorite move, but that's okay. I feel like it's a part of a lot of people's repertoire and they really like it. I just don't use it a lot social dancing, and that's completely fine. So we'll show you the move first. All right guys, so we're going with our partner connected and we go here from this side. Okay? So leaves. He loved the right lead for the little dip that we did and we talked a little bit about a chest movement. Okay. This is going to be similar but not quite the same because we're moving in a circular fashion for the different type of debt. But this one is pretty much straight up and down. However, it still needs a prep. So how do I print this movement? If I want my father to go down, then I usually have to prep her up. Right. So I'm actually going to prep her shoulders forward with Thank you. With my hands. So if her if she is here. So I'm going if we can zoom in. So my hands are going to be right at the bottom of her shoulder blades. And as you can see over here, they are right here and they're going to be kind of in a cupped fashion just like that. And i'm I'm not removing any fingers that are completely connected on her back. So as you guys can see, now, if I'm here and I disappear, so you can see this is where my hands are. To prep. I put my hands in slightly so my top fingers come forward. What she actually was thinking is that this symbolizes her back. So if my pinky moves the lower part of her bag moves, if the top fingers move, then the top part of her back moves. So when I've pushed my my fingers forward this way, this way, this makes the top of her back come forward. Okay. This is relatively easy actually in practice, even if she didn't know this knowledge because she could feel my hands moving her forward. Now, that's the prep, the preparation. What I'm going to do is I'm going to connect with my hips at the very beginning. That is going to be prepped. And then I'm going to open my hands up and then drop my weight. As we've mentioned before in previous lessons, don't drop her weight to the floor. I'm saying like we're going to drop together as any bend our knees and then I have to counterbalance my partner. So which means as soon as she moves away from me, if our center is here, whenever she moves away, I have to also move the same amount of weight to counterbalance her. So when we go do this movement, when I say, here's my prep forward. And then we start to move down, down, down, down, down, down. So as you can see, I am in a squatting position and I can completely support her because I'm leaning back. If I'm leaning forward, I'm on my toes. This is what happens and we start to go forward. And she feels very uncomfortable. Unfortunately, you will see that frequently if you go out social dancing, you're going to see guys that want a dip the girl. And they just go like this. And they're like this and go forward. And the girl's gonna be holding on for dear life. Now that you've taken our amazing course and you will not be doing that. Don't ever do that by catching doing that at the social elsewhere. So I'm going to counterbalance my partner. Again. Let's prep here. And then I'm going to open my hands up. So my my top top part of my hands open this way and I start to move down. My knees stay bent, my butt stays back, my elbows stay up, and then she comes up. I come back to neutral with my hands just like this. Okay. All right guys, I'm going to tell you one more thing that is really important for the leads. So guys, you already saw how Bain was doing the move. And I want you to kinda like envision yourself that you're holding somebody's weight. So when we were doing this small did what you did. You hold the balance only the upper portion of the body. So what you have to do is kinda just raise your chest and hold or sell backwards. So if you would be leaning forward and be harder, but in this situation you're holding, actually you're not holding the entire weight or the body, but you counterbalancing your partner. So what you need to do is go backwards with your pelvis. So what you're going to do, you're going to imagine that your tailbone is counterbalancing your partner. Yeah. So that, that shape is maybe not the prettiest shaved for you guys. But you are creating an experience for the ladies. Alright, so girls, follow me on this move. I can use you just to make sure that I don't fall on my head. So as we're doing this movement, as vane already mentioned, we feel that we're getting a preparation. So when we're closing, we are automatically understanding that we are also going to be opening our chest. So what Bain does, he sends us away and automatically what we need to do as we're moving away with our chest, removing closer with their knees. And in this position, you guys need to make sure that your legs are actually not one in front of the other because then you won't have space for your knees. Yeah. So we were offset like in any other step. So what you wanna do as you're being sent backwards, your tailbone needs to tuck under and you need to go for with your thighs and your niece. And as you're starting to do this move, honestly, I came up with this way to doing this move because I felt often that I'm going to be dropped. So I didn't start going with my head immediately, but I started lowering my body weight so I could get my knees and my size further forward. And then from that position, I started opening my chest. And actually, I'm pretty much balancing myself. If I feel comfortable, I can let go of my arms or I can keep holding. And then I come up with first straightening my arms and making sure that my tailbone is always push toward my partner here. If you're doing this with somebody or maybe not as comfortable with it's part of Disney. Yeah, that's okay. So one more time, I come forward with my tailbone, with my thighs and my niece. And then I slowly open my chest and guys, I can pretty much still disappear right before this moment. Got it. Here. So then guys, you can take this as low as you'd like to bring it up. One really important thing when you're doing this, when you're leading this guys. You don't want to do this fast, at least not at first. You don't want to create some whiplash or something like that, especially coming up. Also, you don't want the girl to give you a little check right there. So you want to at least when you're practicing, tried to do it a lot, a lot of repetition and do it slow. And then you can maybe try to do a certain part of the movement faster, but definitely not the part where the girl has to move her neck. I think you have to add, right. So nice and slow. Slow. And then let's do it the council really quickly. So we are here, let's do it from this side. So we're going to use a full eight count and it can be even slower than that honestly, but we'll do it to an account just to keep it normal. Okay. So let's prep on one and then we go to 345678. Okay. And from the side and prep on 12345678. Cool. Yeah, it was quite new in the music. Yeah. Let's go. Let's go. Let's go. No man, but little quick. Costume. 30. Silver- Lesson 13 Body Rolls: Hello guys, This is Bain and Tasha. And in this lesson we're going to be covering body roles. Yes, we finally got to this lesson. So guys, hold on tight as we show you the movement. So what we wanna do is basically just get into a comfortable position. Let's put 1 ft forward, 1 ft behind, and you want to have your feet parallel. So what I'm going to be doing in the body roll, I will try to do so. First off, we have a forward body roll and a backhand. Okay. Yeah. So I have a body roll and then I'm also going to do a reverse body roll. So as we're starting, I imagined that there's a rod in front of me. So if if anybody knows again, so we're going to do that, but we're going to go the other way around. So I imagined this rod and what I first do, I curve my top of the body. And I imagine how I go underneath and I try not to bend my legs too much so my back leg stays straight. Now I start coming up. I open my chest and I imagine how my sternum is projecting forwards. Now, if this rod is still here, it should be right behind my neck. Now I imagine that I kinda curve around it and then I push it backwards and end with a sit. Now I'm going to do the same thing reverse. So if I was starting with the top of my body, I'm going to start with the lower part of my body. And as you're doing this guys, imagine how your spine is actually moving you. So again, comfortable position. Now I reversed the movement. I tuck my tailbone underneath and I tuck every vertebra, vertebra by vertebra underneath until my chest open. My body weight comes on the front foot. And now I'm actually going to come down on the front foot. Strain in the back. Now I come back up through the center. So I started with the tilt. My pelvis, my tailbone comes down. I imagine that I have a tail that I'm pulling underneath through my legs. And now I build myself up. I need to make sure that my shoulders stay down. And I pop back up in a neutral position. So we have a different view on the bottom row as I was now talking for how many minutes? 30 min. Okay. It's actually a very short explanation of a body roll, but now baying will probably give you something like 3 s timer. Let's see, I'm going to give me efficient way to do it. So for guys, like, we definitely need to know how to do this. So I'll give you the justification of learning this first reason is because usually you see a body roll. It's a lot of movement for the ladies and it looks very beautiful. We use them as well. They're usually smaller. But the reason I want you guys to learn them as a lead is because if you're doing them with your partner, they're easier for her to follow. Okay. So here's how I learned the body role and how I break it down into my head. I split my body into three different parts. And I've split it into chin, chest, hips, and that's it. Chin, chest, hips. I move one. I move each one at different times. Okay. So if we're in the same position as we started with my right leg forward. And what I'm going to do is start neutral, okay? And then I'm going to go chin first. So we're talking about forward motion. So my chin starts my move forward. You can see my weight starting to shift towards my right foot, which is my front foot, and then my chest starts to go as well and my chest is getting pulled up and out this way. And then I want to I my weight is on my right foot now and then my hips come forward as well. So I'm here now that my chin and my chest and my hips and move forward, I'm going to start my backwards motion. And that is I wanted to start with again, my head moving backwards and then my back moving backwards in my hips are the last to go. So then I come here and then my hips are last and I sit and I stick my bud out. My left hip feels like it's stretching. What's it called? That is the I don't know. There's a muscle that goes like this. That's what we're stretching. So it feels like that muscle stretching and your buck videographer, Do you know what that is? Maybe abductor know. I don't know. If it's like stretching, It's probably good. Yeah. So I feel like I'm really sitting on this hip. Right. My weight is all on my left foot. And then to reverse it right. So I can keep doing these chin, chest, hips, chest, hips. And I keep going like this right now. If I want to reverse it, I want my hips to go first. So intentionally really practice shooting your tailbone forward and your hips forward. And then your chest goes forward. And then your chin goes forward and then we reverse the motion, right? So we come here. And now what is really interesting about this part is usually we don't do this move as a guy, but just to learn it anyway, is that I'm going to pick my back up like this. So I go here and I pick it up and then come up, right? If you think about if you're for you like weightlifters out there, if you're doing when you're stretching, if you stretched down here like this, you usually don't come up like that, right. Unless you're dead lifting or something. If you're doing some vertebrae stretching when you go here, usually you come up this way and roll up and it's the exact same motion. That's what I want when I come here and I come up this way. You don't want a nice easy roll up, okay? It's also good to understand the body mechanics because if I'm leaving my partner through these, that I want to understand what she's doing with her body and where it's at so I can feel where she is in that movement. Okay. If I have done it myself, then it's easier for me to understand what she's doing are going through at that time. Who was faster? Really? Know that's a force though. Gordon. All right guys. So hopefully that helped with body roles, practice, practice, practice. Because as you've seen probably in YouTube videos or other classes or something, central bulge out that uses a ton, a body rolls just so many. So we want you to get them down. Let's do a few together. So we'll do, let's say three each side are 33 of the four movements. And then we can switch and give you a different view. So we'll start in the way we started here. So right leg is out. Nothing. Body role going forward. So let's do it over 18 counts. So here we go. 1234, 5678. Now we're going to reverse it. And an egg count, 12345678. Now let's turn this way. Do I get them good view known adult like 678-123-4567, 8123, 4567, 8567, 8123, 456, 781-234-5678. Boom. There you go. Practice that in the mirror, practice, practice, practice. You want to be able to get the really big ones, find your maximum, like she also says all the time. And some of the other classes find where your maximum is for these roles, because this makes the small ones, the small ones and very easy once you know that your maximum is there. Okay, nice job, everybody. Get it. 31. Silver- Lesson 14 Experienced Basic Step: Hey guys, this is vain and Tasha. And in this lesson we're going to be covering the basic step one more time. This time Silver Edition as buying runs away. So guys, basically I want to tell you that there are different ways of dancing the basic step. So as we were covering in the bronze section, we explained pretty much where you're going to step with which foot on which timing. And now we're going to jump in that same topic a little deeper. So what we're going to be doing is first I want to explain that there are three major styles in buckshot though. One of them being urban. But jot down one, the traditional or Dominican batch data, which we like to call batch data. Then the essential but chateau that meet and Bain love in particular. So basically the central style has, has been affected by other different dance styles probably the most. Which means that that is the reason why the basic step is kind of complex. When we come to Central style, I will show you the way I do my basic step. Maybe some people would disagree with the way I do it. So I will show it and then I will explain what I do when I do the basic step. I go 1234, 5678, 1234, 5678. Face you real quick. 781-23-4567, 812-34-5678. I don't know what that was. So basically what you're doing, there are three major things that you want to focus on. First is the ribcage era. This is the area where you are connecting to your partner. So this is the era where you want to move your body through space. First one, I'm going to my right side. What I wanna do is start moving my rib cage towards the right side and following with my actual steps. So number one, ribcage. So I always move when my ribcage first I'm going to bring down my basic buy components. So rib-cage, left, right, left, right, left, right. And you can practice actually this also dealt steps. You can just try to do this isolation. Now the next thing is my hip action. So I imagine I am doing a figure eight or an infinity sign. Yeah. Or a butterfly or whatever you want to call it? With my pelvis. So what I started stepping to my right side, I start moving my right hip forward and around and I close my feet. My left hip goes forward and around. So each time my hip starts to go forward and ends back, then I moved my foot. Then on this side I do slight bump or a hip rotation. Then I go backwards and I go with my left foot, following with the hip rotation, right foot, right hip rotation forward and around than last time, left foot, left hip rotation and bump or on other hip rotation slightly with the pressure step. So when I'm stepping, quick point here in between. So when I'm stepping, I do have three steps. And then I don't like to call this a tab, but I like to call it a pressure step. So not all of my body weight comes back to the left foot. But I send, let's say half of my body weight and then I release my energy back onto the right. Saying when I'm on the other side, I do a pressures that with my right foot. So there was a second component. Now I'm going to talk for the first time about the third component, which is very primary thing to do for essential batch. At that, I have a little drop and arise when I'm doing the basic. I will imagine that my to my first two steps are kind of in the basement. And then I come back up the ground level with my third step and the fourth pressures that. So I do my basic like this. I go down 1234, 5678, 1234, 5678. So when I'm lowering my body, when I'm going slightly more into my knees, I allow my hips to move more. So when my legs are straight, I can still move my hips, but I just give them bigger range. When I go lower. Also, when I when I lower my weight and I move my knees and thighs forward, if you can imagine me, Nancy, width, vein right here, you would see that the connection would be better. Yeah, So if my legs are straight, we can connect to a certain degree but when our knees in July. So when we're straight, we have this connection. But when we lower down, our legs are nice, kinda like lock. So this doesn't mean that we have to squeeze each other with our legs, but what we want to do Just kinda have as much of skin connection as we possibly can. And if we show one basic step this way, 781-23-4567, 812-34-5678. So you can practice those three components. Thank you. Bye. Guys. Really makes sure that you first isolate those movements, practice those components separately before you try to merge them altogether. And again, this should be the order of the way you practice them. First the ribcage than the hip rotation, then the lowering. The rise. Yeah. So just so you understand why this is happening after our lowering, when I'm rising through my body, it kinda gives me a more elegant look. Also in essential but chat that there is some influence of the actual classical ballet where there are beautiful long lines and we can create that. After a little sexy movement. I straighten my legs and I make it a little bit more elegant. So guys, try that out, ladies, and let me know how that went. 32. Silver- Lesson 15 Experienced Turns: Hey guys, This Bain and Tasha. And in this lesson we're going to cover some more terms. So in bronze, you already learned about three-step turns, and now we're adding delay turns, prep turns, and double turns. So we're going to show you both. Yeah, let's just do it. Yeah. Alright, So basically, let's all just try and do the terms as we go. So we're both going to face away from you. So ladies and gentlemen, Just follow us. So basically we're going to start ladies timing of this time. So we're going to do a delayed turn. So I turned a little bit later, normal turn, I will start turning on the one here. I'm going to start turning 123 and I finish it turn on for same to the other side. I'm going to go 567, finish on beat eight. So basically that was a delay term. We're gonna do it a little bit faster. Seven both sides, n12 345,678.1. Perfect. So next term is going to be a prep turn. Then we're going to show you both together. So prep turn is basically when I'm prepping with my first step, and then I'm starting to turn the opposite direction on my step two. So this is one. Now I continue turning on 23 and I collect my weight on for now I'm going to do the same thing to the opposite side. I'm going on B25 to my left. 56 turned to the right. Seven. Finish and collect your weight on beat aid with your right foot and vice versa for the guys. So basically, one more time, a little bit faster, 78.1, 234567. Now basically, they will take this over and tell you how to lead the test. All right, guys. So let's start with a delayed turn. The first and easiest way to lead this turn is I'm using my other free hand. So say we're an open position which is here. Please go review that if you don't know open position. But what I'm gonna do is I'm gonna go 123. And on three, I move my right hand to her left shoulder. I picked my left hand up and it stays in open position now on four, I'm going to use my right hand to turn my partner and then my left hand is going to push this way. So these are going to work in coordination where it goes here. And boom, now what I'm gonna do is I'm gonna put a little bit of a squeeze to stop the turn and then lower the hand when it's done. And we're going to continue with the basic, okay? So we go 12345678, okay? Now, if we change the direction, we want to do it on the other side. So if we go 123.56, now, I need to prep on seven and do a very quick turn on eight. So this is seven and shoe. And then have her, she just create a lot of energy. So I stopped the hand go down and then we keep going with the basic 1 235-678-1234. That's going to take some practice to get used to because it feels really weird to prep at different times like that. So just work them a little bit. Alright, Now a prep turn is also a little weird and different because you're prepping on the first count of a term. If that makes sense. Usually, it's on four or eight is the prep, but this one on a prep turn, you're going to prep on 1.5. Okay. So let me show you normal turn would be this 12345678, right. On this one. I'm going to prep on one and turn her the opposite way. So it goes 1234. Now, the key to hitting a prep turn while social dancing is to know where your partner's weight is distributed. So if I go 1234, if my follow has never seen that movie before, her, she's going to look at me when she's done with that turn with like deer in the headlight eyes and do not know which way you're going afterwards. That means I need to move my partner's weight to her right side. That way she can finish 5678. So let me show you that very, very slowly. This is one because we want her to take her regular, normal step of one. I'm going to turn her the opposite way. This is 234. And now I'm going to make sure her weight goes from middle or neutral to her right side. So I've put her weight on her right leg so that way I can go. 5678? Normally. Okay. Now, the other side of the prep churn is it's a little different as well. So if I go 1234, now, I'm going to use the same strategies I had on this other part where I'm using my other hand and it's gonna be there by four and then hit it on five. So if we go 12345 is a prep where I'm pushing my right hand forward slightly. My left hand is up and then she's gonna go 678. I make sure my partner is weight and my partner's weight is shifted to her left side. So that way I can go 1234. Perfect. I'm just going to mention this for you guys. Why is it so important to lead the go inwards? I think more advanced dancers would be able to follow without that extra movement. But it's very, very difficult to understand, especially for a beginner dancer, to start turning to the right while being turned by their right hand. Because this is something that happens. It's kind of like a time warp thing. So basically, for the experience leads what you wanna do. At least to become an experience. Follow what you want to do is close your body when you're turning. So when vanished turning me to my right with my right hand, I need to make sure that I don't open that right hand, but I keep it in front of me. So basically what that does, that turns my body and that direction. That's why when we're holding with this hand, my left turns are easier because he automatically brings my elbow in front of my body where it needs to be for a turn. What we could do, we could also change hands and he would lead the turn, make it simpler for the terrain itself. But the figure would be slightly more difficult because we would be playing with changing of the hands, but you guys can go ahead and try that. So let's try those for trends with music. And then we're going to go to double with Mr. Counselors 56. So we're gonna do delayed turn and then delay turn on the other side and then perhaps her and pressure on the other side. So here we go. 123 prep 45678. Now, let's try it with the other side for the delayed turn. 12 345-678-1234 and outlets do PrEP turns. We go 1234. Here we go, right now, 12345678 prep turned to the other side is 123-456-7812. Three mu three, awesome. Assume no. You got to login and logout them. It must prove that God is such a good job. Yeah. Judy got a gaga, gaga, gaga, gaga, gaga, gaga, gaga. All right guys. So we've covered that and we're going to go into the last part of turns, double turns, veins Favorite. No, not really, It's mine. Alright, so basically we're not going to go too much in detail. Double turns can be dance in different ways. We could do two separate terms and just link them together. We could actually do that with multiple terms. We could just keep on travelling one turn at a turn at the third, the fourth, the fifth. But right now we're going to go over a double turn that is happening on one single foot. So we're not going to add steps between the first and the second part of the term. And I'm just going to let Bane show you and then explain how it leaves it. Alright guys, so a double is, or it is basically very similar mechanics to a single turn, except I'm creating more energy in it starts with the prep. So if I'm taking let's just say a normal Turner's on 5678 by prep is on four and I go 1234. That is with the same energy as I lead the single turn. But then all of a sudden I do a double turn. That's not going to work. She used to feel that it's different on the prep. So if I go 1234 and I put a little bit more energy into it, and then the prep goes up a little bit quicker. And then she can feel my hand speed increasing at the very beginning. Okay. So honestly, you're going to have to play with this at home to feel what hand speed you need to use to get your partner around by eight, she needs to be done and settled by eight. Okay, So watch my hand speed in this particular move. I'll start with one term. This is 12345678. Now, I literally double that time. So 12345678. Okay. Now, how did I do that? It was the exact same hand motion, but the prep was a little bit more and I did literally two terms in the same amount of counts. So you need to cut that time in half and play with it. Okay, really important thing that you focus on the speed of the movement that you're leading. Not so much the energy. We do not need more momentum to do extra terms because we have minimum amount of actually friction with our feet in the ground. So the momentum is not that important. It's literally, like you said, getting your partner excited and spike up that adrenaline so that she will turn twice or three times. So very important. Yeah. So a lot of guys, you'll see it as if they want a double turn, they're going to crank the arm. And that's not what we want to do, right? Because she's spinning on one, on 1 ft, basically one small point. She doesn't need that much more energy in the terms. Write, your hand just needs to go a little bit faster if that makes sense. Okay. She doesn't need, here's the difference, right? If I just go 1234, this is me doing it incorrectly, Right? I'm using a bank to get around, right. So what actually happens when you leave it that way? I lost that point where I connected with the ground because what I need to do that actually, can we zoom in here a little bit? So I need to create a turn, and I need to create a connection with the ground right here. So if you look at my foot, I want to create the connection right on there, the big toe, where the ball of my foot under the big toe is, the inside edge of that bar, is where I'm actually going to be turning. So I will do my best to turn there and show you how this looks. 1012, 34567. So I want to keep my entire balance on my body, my body weight above that simple point. So my partner going like this, I do not have a chance to actually stay above that 1 ft. And then I will start to creating more stats. This is also a way to get started if you're just learning how to turn. But I encourage you to try and turn above that one spot. Yeah. Exactly right. I'm glad you did your terminal, so let's try it with 56 781-234-5678 one. Okay. Now, as you can see, I can get my partner around a little bit quicker, which is what I tend to like to do. So if she's done by like six maybe right before seven, I'm completely fine with that because then I can settle in to count eight, which means I can go back to one really easily. If you're having a partner that gets around like right at eight, it's a little bit of a smoother transition to one and that's fine. So it's 123-45-6781. And that's completely fine as well. I just like it a little bit sooner, so you can just kinda play with those different timings with music. Do you also Muslim? Mr. Brown was the local. Yeah. You got to login and logout. Now. Must prove God is good to go. No, no, no, no, no. 33. Silver- Lesson 16 Reverse Snake Flip and Sit: Hey guys, This bank and Tasha. And in this lesson we're going to start covering figures. So basically up until now where we're giving you kind of like ideas of things and components that you need to understand to be able to pull out these moves. And now we'll go into a little harder stuff. So let Bane show you and then we'll explain. That's right. So I'm going to show you, we're going to go through a lot of body movement on this part. So get loosened up, get ready, and we're going to connect with your partner. So you can see I'm connected pretty much through my whole body down my right side. And I'm going to start on my right foot. Weight is completely on the right. So your follow has her weight on her left. I'm going to start with an upper body movement that is going to be up and to the left. So I'm going to transfer my weight as a lead from my right side to the left and braise my body up. So if you can see with my partner, I'm going to go here. My weight is slightly down on the right and then I go up and to the left. Okay. Then I'm going to ride a roller coaster back down to the right side and transfer weight back to my right side. Boom, my hips are always following last, so it starts with the chest, then ends with the hips on both directions. So if you can see this way, I can go chest and hips. Chest and hips. They flick at the end, right? So you can see one more direction. It is up and down. Hips at the end. Again, two counts each way. So for counts on this side it would be 1234. The next part as the leads, so that's four count. I've got 5678 coming up next guess you'd say that's called the Snake or we call it the snake. So that would be called the image of a snake. That's what it is. 1234. Now, my hips are back to the right, so I'm actually going to reverse this snake and go back the other way. Now I'm gonna go hips first and then chest. Hips and chest. So again, I'm transferring my weight from our right side To my left side. But what's different than the first part of that is that my hips go first and then my chest goes there. What I'm doing with my arms is I'm allowing an imbalance and my hands. So if they're parallel, I'm going to take the right one up slightly in the left one down slightly. This is going to create an imbalance in she asha shoulders. And then if you want to explain the follows part in a second, so she'll explain how her head starts to tilt for a lead, that imbalance is going to cause that whole movement. So the second part, again is hips and chest. And then here is the imbalance, okay? Now, after this, again will explain how this happens, but then we're going to come back to the other side. So she's coming back up and down. So the second part is chest and hips, just like the first part of that. So again, let me go into the details of it. I'm going to explain the part of the body that I'm moving. So I'm going I'm on my right side. I go chest and hips. Chest and hips. Hips and chest. Chest and hips. Alright. That was 5678. So I go 12345678. Now, I go back down 12341234. Now I have four counts to finish off the last part of that basic step and just to get us back on a regular one. And what I do is I'm going to use my hips to go count for count on 5678. So here we're set here, I'm going to go 567, eight, boom. As a lead, this can feel a little awkward, so maybe practice on your own in front of a mirror or something like that, just to get used to using your hips. But what I'm gonna do is I'm going to move them and I can feel like a little crunch in my side and that's what's going to make my hips move. So I'm using my obliques to move my hips, which he or she is going to feel is I'm not trying to force her hips to move. She's staying connected, so she's going to move her hips with mine. So when I'm here, I'm going hip, hip, hip, hip. My weight doesn't transfer to my left. It stays ever my right. I just use my abs to move my hips, if that makes sense. So I'll add a couple of things for the guys just because I think it's so cool thing doesn't realize that good stuff that he does sometimes. So basically, it's really important for you guys to have a very beautiful straight posture. Like without the posture, this move just won't happen. Yeah, So we can just show the move once from this side. So this angle that you see, his spine, so he's moving side to side. You can imagine guys, that there is two walls, one behind you and one in front of you. And you can't go forward or back, he can't tilt. So that really doesn't work unless you're doing that. And another thing really important. Guys, you need to be able to do isolations in your body. Yeah. These, these moves really feel good if you are able to lead your partner with your body. If you just hold her with the arms and tried to make her do the move, but you're not really doing it yourself. It just won't feel the same way. So you gotta make sure that your body is doing the correct movement. And for the ladies, again, the most important thing, try not to predict what is going to happen because then you're just cutting off your senses. You're really not in the moment for this move and stuff like this. You really have to be present your census like have to be on, you have to be sensitive within your entire body trying to look for connection. And when you get it, you need to really respond to it in the way you feel like you need to. Yeah. So when we do this together, when Ben offers a connection, I go for it. And I just tried to move the way his body moves. And I try not to do anything on top. This is the only part of the movement that is actually lead with only the frame. Bain doesn't go down with me, but he kind of like tilts his ribcage, which kind of like moves his arms. And that moves my ribcage here. I just let my head kind of like flow. It's natural movement. And then when I come up, I found my own balance. And then he leads me again back to a sit. So just to say again one more time from beginning, we're doing a snake a full circle, then half of a reverse snake with a flip and again back second-half of snake into a sit. And then we do a little hip sweep. Very cool. So ladies, even in that very last part, where you want to do is just feel so you're looking for connections. So e.g. if I stand straight in front of vein and he does the hips swing, I just won't feel it here. So I have to look for connection. So I have to bend my knees and go forward with my knees and my thighs. So now when he does the movement, I can feel it and I can follow him. Yeah. Also, ladies, if you have a chance, maybe switch roles and see how that goes. So we're gave you counts for this part again. So you, so you have them. So I'm going to go 1234. Hips are set down by four, I'm going to go hips and then chest on this next part, 5678. So she has all the way on my left side by eight, this is the imbalance. The imbalanced causes her neck to relax this way. Ladies, this shouldn't feel strained. It should feel like you caused the imbalance first. The lead causes the imbalance and then your neck relaxes into it. And you may relax up to hear this. If this is your comfortable position, this is where you need to go. But what you're really doing is you're balancing on your right foot and you're squeezing your lats and obliques, you're not trying to break your neck? Correct. And you also noticed that she asha staying connected with her leg on this side as well. So she's always looking for connection, which as a lead is amazing for me because I can lead a lot of more things. She is completely connected with her left leg on my right leg at this point. And now we go 1234 back to the my right side as a lead, and then I have to go 5678. So I'm going left on five, ride on six, left on seven, right on eight. This puts her weight back on this foot. So if I wanted to, she can feel me disconnect and I can go 1234. Cool. Let's try it to music. What I'll do is I'll start in a basic and then get into that position so you can see the full count the other side. My son my son, shoes. You'll see. Bobby is to say that the main thing, your normal thing, not something that does so spiritual. 34. Silver- Lesson 17 Left Foot Slide: Hey guys, this is vain and Jascha. In this lesson we're going to do a left foot slide for our follows, and I'm going to leave it. Let me show you how right now. Here we go. So what I'm going to do is go wait on her right side and then roll. Okay. That's demo. Let me actually do it through the other side too. So you can see. So weight shift, slide and right as they lead. This is one I wanted to teach you this move. You can use this move at any point. I will give you counts, kind of a general way to think about it, but understand when you have more of an understanding of the movie, you can throw it in at any point, which is kind of how we're teaching this whole section on figures. You can pretty much change the counts to each of these. But for this one specifically, what I'm going to do is my weight when I start is on my right side and my falls is on the left. This allows for a normal basic Elena one where I'm taking my left and my followers taking her right step, right. So what I have to do to get any type of slide going and I use this move really frequently. It's just kinda it's kinda like he's OMA, if you guys have ever desk, he's almost got a little foot play. Right. And when that happens, I have to have her weight on one side. Would I generally like to do is I like to use the the left side as the slide because my right foot is already so close to her left foot. But to do that, I have to shift your weight onto her right side. So if I go here, then her left foot is free and I can take my right foot and put it inside of her left and I shoot it out. That way. The reason I'm adding a body roll in after that is that's a pretty quick move. And if I do it on five, like I'm going to show you guys that I need to use the rest of that count instead of just sitting here like, what do I do right? Looking at my partner was wasted few counts. Alright? Alright, so with Councillor me, show you the full thing. We're here. When I go, let's say we take half a basic 123 for now, you can see her weight is already on her right side and mine is on my left. This allows her to pick her left foot up really easily. I put my right foot on the inside of her left foot. So we are right here. If you guys can see the feet, hopefully. And then I kick out with my right foot and I can either slide with her or don't slide at all. That's one option when I'm gonna do is just stay with my partner. So I'm going to slide as well. And then that usually occurs in two counts. If that was so we give you a half of a basic one, 234, then I slide 56. Now I have to use 78, right? Would I do the easiest way to get out of 78 to use it and then to get back on one is to lead a body roll. So I'm gonna do it with my body and then also with my right hand, she's going to feel this motion. So to lead the body role, we've already covered this, but I wanted to go through it one more time just so you can get some repetition. If my hand is like this and my partner's back to lead the body row. I'm going to start with the fingers down, the top, top fingers down this way, and then they roll forward. My hand goes like this backwards and then sit. So what he's going to happen with Josh's chest is she's gonna go forward. That's going to cause a weight distribution to come forward that opens back up and sits back down. One more time, is here, forward? Backwards with my hand and sit. Okay. This is done in two counts. It's going to take a little bit of practice for you and your partner to try this if you've never done it before. Again, if I am 56, then 781234. Let me show you from this side. So half of a basic 1234, our weight is on my left, her right, I connect with my foot, I push it to the right side, 56 and then my hands are still lead the body roll. I do one with her, 7.8 and then I can start again, 1234. A good way to practice this move, how I learned it is to be able to do it consecutively over and over and over. Ladies. So again, for girls, the most important thing is that you're sensitive to what you're being led. Now we're going to flip play and it's actually a little harder to spot what's happening. But you really just have to be sensitive all over your body, not just in your hands. So when you feel there's a foot touching you on the inside of your foot. Like you can predict that this is happening, but still realize that there are many ways that you can be lead into this slide. It can be really slow, it can be really fast. You can be led to go by yourself or your partners coming with you. So the one thing that you actually going to be doing as you're going through the movement. You're going to have a basic to city four and now when you feel the foot, you need to actually go against it. Yeah. A lot of girls stay kind of split way. So if my body weight didn't fully arrive at my right foot, my left isn't free for Bain to move. So if my body weight is here now, it's really hard for me to actually move my foot. So I need to make sure that every step that I do, that I actually complete the way transfer. Now I'm able to be lead. Now the other thing that I do, I lower my standing leg, so I bend my right knee when I'm lead and then I just allow to feel how far I'm being sent. And then I slowly come together with my free leg. Now as I'm going into the body, again, I have to be sensitive on my back. And also maintenance making it easier for me because he's doing it himself, so I see what he is doing and probably if he wouldn't even leave me to do that, I might just do it myself. This it goes. And we've mentioned a few times probably before in this class, that we have a thing called a visual lead to, right? If I'm doing a move and she can see it a lot of times that helps a lot with my hand. So I could lead this just generally like this. And that's fine. But it helps her so much more if CCS it as well, almost to the point whereas if I was not connected, she could probably still follow what I'm doing. Exactly. Another thing for guys, when you're leading, this makes sure that you are imbalanced. So if you're going to do something where you're balancing the entire couple on your one-foot, makes sure that your body weight is actually above that 1 ft. So when we're doing the basics that make sure you complete step three and connect on for now when we go on five, for both secure and we can actually enjoy healthier for our lives. Let's do it one more time. We counsel them with music. Alright guys. So again, your slide is gonna be, you're gonna take half a basic one-two-three-four slide on 5.6, body roll 78. That completes your account and you can go back and start the basic again. So together with counts, we're going 12,345,678.123. And from this angle we are going 123-45-6781. And from this angle, 123,456,781.2 music. Most one direction. You see those Stevia. 35. Silver- Lesson 18 Wrap & Body Roll: Hey guys, it's been in cassia. Today's lesson, we are going to a rap in a body roll. You've probably seen this move a ton on YouTube and people down dancing. It's pretty common, so we want to get you into how to do it correctly. Let's have a little spice to it. We're going to add something in. Alright, so guys, we are going to lead a rat at the very beginning. You guys have, I've already done this before. So if you need to go back and watch that video, please do so. I'm going to lead a one-two-three-four with a prep 1234. My right hand is down 5678. That gets us into a rap position. Okay, we've done this one before again. So now I'm going to start to lead a body roll we have covered by year-olds before, but we haven't covered the two together. So when I'm doing a body roll, what changes in this? And the reason we wanted to show you guys how to do this correctly, that she auction is actually going to do a relatively normal body roll because its front and back pain is actually going to do a snake? Yes. I'm going to actually do a snake or a side body roll, if you will. So here I'm going to lead a regular body roll 1234. So 1234. Now the specifics of that, I am connected with my right hand, my left hand is down. And what I'm going to do is cause this is lead with my body, right? It's not in my arms. If I do this with my arms, it is going to be really difficult to move her body, right? So I have to do this the same way, but I'm going to do is start with my chest and it's going to go down first. So there's an imbalance of my shoulders. This is going to make her chest go down like this. I'm going to roll and I transfer my weight to my left side and then up. So this is a snake like we have done in a previous lesson. And then I'm going to take the roller coaster bagged down to my right side, which is going to make her sit when I flip my hips at the end and sit, right. So again, this is going to be weight forward. My partner's weight is going to move on to her front foot. One to my weight is on my left foot at this point, my chest is and I am My Way has transferred and then I'm going to sit back and 34 and then my hips come. So again it's chest, hips, chest, hips as a lead. And then we'll get into the next part if you want to explain the ladies on this one. Yes. So basically ladies one more time you have to follow your partner's body. If you're doing this by yourself, it's literally a body roll with your arms wrapped around you. And what you're going to be focusing on is the change of the body weight. So as far as I am in this position, I'm on my left foot. And now as I start to go down, I bend my left foot. Now, I move my body weight towards my right foot and I straighten my left foot. Now, both of my legs are straight. I even push from my left foot, so my back foot. And now as I'm starting to go back, I open my chest. I continue with the body roll and I again bend my left foot. I may bend also by right foot if I'm going very low. And then I continue until I find a comfortable position or a sit position here. Good position. Should be comfortable. Yeah, exactly. So let me show you this from this side here. We'll do it from the top. Yeah, 123.5, 678 here it comes. So I go weight transfer. Transfer back to the right. Boom. So that is 1234. Now, I can't let my partner out of that rat because normally when she comes out of a rap, she is taking this step forward. Now. Her number one is usually with her right foot so she can't come out on 5678, which means I have to use 5678 for something else. You have tons of options to him what to do here, except we chose something that is a little bit, it's kind of fancy, kinda. It looks nice. It looks nice. It's Harpic. Harpic, yeah, exactly right. So this is 1234. Boom. Now I'm going to run from tonight. I'm going to do 5678. So what I'm gonna do is use my hips first and then my chest. So this is the rubber snake that we have done before when I go here. And then this is going to open Josh's chest up. And then I'm going to lead her in a front this way as the lead. How do I get into that? I'm going hips first. This allows chest to open. I come up. This is a weight transfer and then she feels my chest and my hands go down as a suggestion, she's going way farther than I am. I am moving slightly in that direction and she's continuing that motion. Now, when I come back up, what I'm doing is transferring weight quickly. So her all her upper body comes back and generally at the same time. So we go here and it's a look up kind of like a a width of the hair. So do you wanna explain, ladies, on what you're gonna do it? Yeah. So one more thing, like a very important thing, you actually mentioned it, but I'm going to give it more value. Guys, whenever you're leading stuff like this, there's one part of your body is going up, the other side is going down. So it's really important that you really lead the upward parts. So if vein is doing something like this, he's going to emphasize the part of his body or a part of my body that is lifting everything that goes down. Like he said, it's a suggestion so you never want to push your partner down. We have gravity. Okay? So you've got to focus on lifting us up and suggesting for us to go down. And then everything will feel lighter. The leader will be very, very soft and it will feel nice. So another thing for ladies, basically what you're doing if I can borrow you when we're doing the body all we kinda cover the first part here. So when we did that, and now when we reverse, we start with our hips like our partners. And we actually want to really squeeze these puppies. And now as I'm going forward, I try not to go back with my head. I think that's a very important thing. I always try to elongate my spine, yes. So even if I look up, I try to kinda collapse with my neck. I tried to have a long neck. When I'm going over here, I open my chest, I move my body weight. And now this would be a normal way without the fast exit, I would come out this way. But because vein slows down the first part of it and then speeds up the ending of it. I come up a little bit more abrupt and really important. You do not want whiplash. So try to do this first, completely slow, and then try to just come up. And always when you come up, come to a vertical line, don't try to go more. So your hair should be flying. Just from this part. You don't want to go to there. Yeah. So the last part I really want to focus in for the leaf. How do I lead that pop in her head because it looks so amazing. So when I go here, that's 123456. Now if this was just the same speed, it will be then eight. That's nice and slow. Instead, I'm pausing and making the eighth really quick to go up and I'm doing that with so this is here and this is when she is down, there's an imbalance and my upper body, she is completely down. I've suggested her to go down and then I'm going to go seven and then I'm going to read on a pair of eyes, is that a verb, pay a, make my shoulders parallel, That's better. National interests parallel. Again on eight very quickly. And then she's going to feel pressure in my left hand to come up, boom. And that's going to be eight. Again. It's going to be that last part is here. And then parallel lines. They're parallel lines. Anyway. Yeah, I'm going to bring them back to neutral basically. So again, counts 1234 and then this is 5678 bumps. That eight is what causes it to be abrupt. If it was slower, it would be 5678, the whole speed. This is slowing down 567 and then eight is your shoulders come back up. Your hand goes like this. You bring her up this way. Suggestion in her hand. She fills all the energy coming back up which makes her chin come up. Also, guys, if you did not hear the part that I was talking about, the girls, we do not like whiplash. Make sure that you're not leading a flip backwards when you're doing that. Eight, cool. With counts. Let's go through this a few times because it's got a little, a lot of intricate parts. Okay, So if I start in closed position, I'm going to go 123 for relieving a rap, 5678. Now, first part is the regular body roll and I'm snaking 1234. Now, this part is 5678. Boom. Okay. Now, to let her out of this because we're kind of stuck in this position on 1234. So you can exit this way just with a movement of my upper body this way and then a suggestion with this arm so it can go 1234, which we have covered in a previous episode. Cool. Let's try it from here. 123 5 671-234-5678, boom. And from this side, 123-56-7123, 456-78-1234. Alright, let's try it to music. Let's go 5678 in different directions. This pause in the music, we're gonna get into musicality in the next section. Here we see that the damage was done. 36. Silver- Lesson 19 Shadow Position: Hey guys, This bank and Tasha. And in this lesson we're going to cover shadow position. So we're adding a new position into our dance vocabulary. So basically you shadow position is one of my favorites actually, but it's kinda hard to get in and out. So we're going to break that down. Alright. What is shadow position, Satoshi, shadow. Shadow is anytime where I am basically Josh shadow, right? So instead of us doing movements where we if we're normal, I'm using my left hand and her right hand where they're opposites whenever we know. Now, we are literally using the same parts of our body. We are shadowed. This is Shadow position. Okay? So a couple of things about shadow position. Yeah. So guys, if you stand parallel with your feet, ladies, you will do the same and basically you are sending the exact same position you would if you would be facing your partners. And so if I just turn around in the exact same position, I am now facing main and we are in a closed position. If I turn away from him, shadow position, always down the right side, guys, if you're em shadow position, especially social dancing, please do not get your partner when we'd like where we do not want. The midline of our body is going down the midline of her body is this bad news? Don't want that for many, many reasons. We're gonna stay on our right side and it's connecting to her left side on her back. Okay. Go ahead. So another thing, if we turn this way, basically what we wanna do, we want to find as much connection as we possibly can. Both of us, we still need to keep our posture. So if I go like this, now baying can dance with me, or he chooses to also destroy completely his posture. Also, he does that and I tried to keep straight. Also, the connection will be completely distorted. So the more connection we have here, the better. And if I may talk about the hand just for a second, guys, you want to make sure even though you're lifting your chest, you don't want to create this shape. Yeah. You're still creating a half circle with your body. So your hand should come in front of you. So ladies, you should be able, even if you don't move your head, head at all, with your eyes, with the corner of your eyes, you shouldn't be able to see this hand and then offer your own hand on top. So this is a very good connection. It should be low, sort of like hip height. And there should be some tension here. So not, not very strong, but as we increase the speed or whatever dynamics of the movement, it may get a little bit stronger in the hint. Also guys, when you place your girls in the connection, it will often squeeze a little bit harder across the ribs. And when you kind of established a connection between the two, then you can a little bit like go of that. Also there's a little bit more sanitized version of this hole is when guys will kinda like turn their hands around and we'll hold with the outside of their palm. That's also an option. Also. Just want to say this real quick. This hand sometimes go a little bit too far up. So make sure that it's on the bottom of the rib-cage. Smack. That that's as far as shadow goes and then we'll show you how to get in and out of it. Yeah. So also as a lead, once we get into this position, as Josh mentioned, when I get here, a lot of times I am staying really high posture. This is the biggest mistake I see. Leads make out social dancing. I see it all the time is that we had the tendency to go like this. Every single time that we're dancing and shadow position, that is a big no-no because it's going to make her position her her chest cave as well, even just the slightest bit, if I just go forward just slightly, you can tell a huge difference. So keep your chest pulled up, let her connect to you. So even when you're pulling into this position here, keep your chest up, let her come back, then you connect, as she said, I have a little bit stronger grip to establish that connection and then I release it and I stay on her right side ribcage. You can also go hipbone. Just be careful with where you're placing your hand. Alright, Now, how do I get into that position? There are a lot of different ways we have chosen one that you've probably seen frequently and that we think is very beautiful. So what we're going to do from close position is to use the knife part of my hand, so down my pinky finger on my left hand. And I'm going to put it on top of her wrist. And what I'm gonna do is shoot down. Forward with my left hand. So it's gonna go here, down and forward. And it's going to be a little bit of a toss at the end of flick, just very, very slightly. So again, down and flick. Now with the same left hand, I connect to her ribcage in the middle of her body. And I'm going to pull her in and a half turn to connect with me. So I go here and then I let my right hand slide to her ribs as she turns in, unless you're a really slow, really slow, really slow, really slow. So she goes here. We connect like we just explained to you guys at the beginning of the video. And then I asked for her hand slightly in front of mine. And so she's connected here. My hand is just upturned and then she connects with it. Okay. Again, let's go here. I'm taking my left hand and I go shoot forward. Notice I'm taking a step with my left foot, connect with my left turn. Let her connect there. Now, there are some discrepancies on which count this is going to be on, right? We've heard both sides of the story. To me, it doesn't really matter as long as you're playing the two sides. Yes. Okay. First opinion is that I can go here. Boom. And then I just start on my one automatically if the music matches the one. The other version is that I'm going to adjust to my follows count. So if I do this and then go here, then I need to basically go step, tap, step tap or some other way to get us on the follows timing. So again, I don't really have a preference as long as your follow can follow it correctly. Okay. If your weight distribution is is on the right foot as a lead in her right foot now that we're in shadow position and she can follow this fine. You can use both of them. That's completely fine with me. I just want your file to be able to follow it correctly. So the way we're going to teach you in this one, it's just the most simple methods. So that way you can get in and out of shadow position what we're used to at least two exactly. So what we're gonna do is take our hand and we're going to shoot it back on one. And this is gonna be one too. So she is up and has her hand styled by two. I'm going to connect and bring her back to me on 3.4, 34, and then her weight is here so I can go ahead and start. Alright. So again, here this is 1234, okay? Yes. So basically one more thing for the guys, like to teach for the guys. So one thing you will notice, if me and Ben do a little basic down the line and it's actually kinda convenient. There's a line on the floor, 12345678. Now, when Bain leads us move, he doesn't say neither floor or to decide He actually twist his body slightly like for 45 degrees, I would say, and steps in a diagonal fashion so that he creates this leverage. So if you would go sideways, if he would do this, it would be actually really hard for me to turn. So basically what he does, he creates this a little bit energy to my right and back. Now when he holds my way, I actually click into his hand and he's able to turn me to my left, 34. So that's really, really important thing. I feel like you guys need to find that angle. One more thing for that leap. I often try to dance with ladies and they don't want to follow me as well. So there's a way that you can kind of prevent the one thing that happens here often for the guys that you will create this and then you will still get your head chopped off over here. So if that happens, you can actually just hold the arm and place it over your head. So just just a little tip. If you're dancing with somebody that maybe isn't as experienced as you are. Another point on that. So for people that are not used to coming into shadow position that they're, maybe they're a beginner and shorten to follow. I will take a step tap step TAB after I get there and it will put me back on 1234 on my timing. So let me show you that. So if this is 1234, this we're usually if I take a basic, I'm going to take a 5678, right? What I'll do here is take the step tap and I'll go 5678. Again. This is 5678, left, right, right, left. And this will put me back on my one as the lead. And then she's usually used to being in this position at that point because I gave her a four count to get accustomed and then we can start taking your basic. So there's a lot of little intricacies, guys, hopefully this helps you when you're in this position. So let's go through counts one more time and then I'll show you how to get out of shadow positions. 12345678. And then I just take basics, 12345678. Now, to get out of shadow position is there's a lot of different ways, but it's a little bit more difficult than getting into it. Okay. Well, we'd like to complicate stuff and add turns. Yes, exactly. Asha has beautiful terms, so that's usually one of my go-to to get out of position. So again, if we are here now, what I'm going to do is prep with my connection on my left hand. And the way I prep is just say we took a basic one, 2345678. I'm prepping. I'm going to take my hand to the left side a little bit more this way. And then I'm going to put my right hand on her right shoulder. As you can see, this is going to be a turn in this direction. And I'm going to give her two and then do whatever I want with this hand. Usually I'll put it behind my head on the right side of my face. Again. Let's do it with counts. So we're going 1234. I use step taps, 5678. I can take a basic 12 345678. Now, I'm going to universally yeah, usually I'll take a little bit of a rock forward. I'm going to take a one-two-three-four because when I spin her out, this will allow me to be perfect allied with my one-two-three-four normal. So if I take another half basic, 1234, you see how my left hand is prepped? I'm going to take this goto her right shoulder. She can feel that turn coming and then we go 5678. This goes behind my head. I take my weight, put it on my right side, 1234. Okay. From another position. So let's go here. We go. 1 234-567-8123, 4567, 8123, 4567 8123. And from here, 5 6 7 8 1 2 3, 4 5 6 7 8 1 2 3 and 5 6 7, 1 2 3 and 5 6 7, 8, 1, 2, 3. All right guys, let's try it to music. We knew that was a lot of little more information coming on. So basically a couple of more things. So ladies, you really want to establish that connection and keep it throughout your what does the name? It's your job. It's your job to keep that connection as much as it is your partners. And also maybe a simpler way to dance this with a beginner. I actually feel that it's very hard to lead somebody a basic from a shadow position because you're losing that connection. So to dance with somebody that doesn't know how to keep it, maybe keep it between step taps. And also if you're going to be switching from step tap to a basic, really makes sure that you show that your energy and your speed has changed. So you'll see vein dance to music. He will completely approach has steps differently when he's doing step, tap, tap and when he's doing a basic stevia. So that's something that you want to see, be intentional or unintentional. All right, ready now, let's do it. I'll do a basic beforehand that we'll get into. The other side. My son was done. He or she can do this. 37. Silver- Lesson 20 Knee Sit Isolations: Hello guys, This is bank and Tasha. In this lesson we're gonna do some nice it isolations, which gets a little complicated, but they're beautiful. Let's get to it. Let's just show you. And I will show you our pig. But basically as we covered a lot of different isolations at the beginning, you can kind of choose and see and play with. What else can you stick in there? Yes. What else can you stick? We go, guys. So let's just go through the counts. 1, 2 3 4 5 6 7 8, 1 2 3, 4 5 6 7, 8, 1, 2, 3 and 5 6, 7, 8. Alright. Leads. You have your work cut out for you today. So how do I lead that? I'm going to start it with the same move we did to get into shadow position. We chose that since you've already covered at once. So again, this is a flick of my left hand with the knife edge. Please go watch that video if you haven't already had this kind of builds on top of that. So this is 1234 and we end up in shadow position like normal. In that video, I took a step tap, step, tap to get on a different timing. I am not gonna do that right here. So we're gonna go straight into moving my weight and my partner's weight to the left side diagonally at a 45 degrees and we step forward. That can be a bit of a body roll if you like. So I can go here. And now this means that our right foot are basically free. So I'm going to take my chest feats. But I thought I'm the one that gets speak English here. That's what I'm struggling. All right. So I'm basing this 45 degrees. I'm going to turn to my right side, so watch my hand, it changes directions completely. So from this side, I'm going to turn to my right and change my direction of my chest. So it goes this way. Again. I'm going this way and then turn and my weight transfers to my right. So again, the weight transfer is right foot here, left foot here, and then back to the right foot. Okay, now I can do a the second half of a body roll, so I am putting her on my right knee. So I go back. I sit literally put my hip down, poking out to the left and she is sitting on my knee. This is a new position for you. So congrats. And we can play a lot from here guys. So again, let's go through counts to get into that position, okay? 1234, this gets us into shadow position. Then I take this way. 12, I start to turn three. It is a weight transfer with March onto my right foot and then four is a sit as you can see? No. Then we sit right here. She is on top, so I have all my weight on my left foot. That's what stabilizing me here feels kinda like a lunge. And then she's connected right here with her hips. She's sitting on my right leg and for the ladies. And so basically just to talk about this position, what you wanna do. So let's go ahead and try that. How to get in it one more time. So we did the beginning, 12341234. Now we go 56 continuing the body roll. And when I feel that I'm going to I'm sure that I'm sitting on his knee or thigh. Should I say? I actually close my feet together. So it just looks a little prettier. And this would only happen if I feel comfortable with my lead. Yeah. If I'm not sure what's happening, I'm going to keep this foot out here just so I can have better balance when I know what I'm doing or when I feel like I know what he is doing, I'm going to close my feet and close that gaps. Look a little bit more. Living like this is age. This is Gotcha. So in this position, what you wanna do, guys, do you still want to stay very straight up, tall, nice posture, ladies, you want to push into the ground and keep your core very tight and find ground on your partner's leg, but still keep connection with the forest. You don't want to be kind of like mellow and allow to kinda like slipped hours. Yeah. So it's kinda like your job to push against the floor. So you are pushed towards your partner's body and guys, she's finding the connection, but she's also completely okay. She's not going to topple over if I disappear. So if I did disappear, she is. Her weight is on me but that little bit. Right. So if we go here, if I did disappear and if she has taken her foot back on the left side, kinda like if she didn't, trust me, this will be the position she's in. She is not going to fall over, like if I lose my balance, basically, she's going to be able to take that step and be completely Okay. So again, let's go with Justin. Let's go through it. So this is gonna be 12 here on the ribs, 34. Instead of taking the step taps, I go 56, 7.8, and then eight is a sit down. Alright, now that we are here, we can play with isolations. Now, I have shoulders, head, I've got hips, and I can have torso, ribcage area. I can play with any of these. So there's tons of different options. If you go back and think of a video that you've watched me like, Oh, well, I want to try to play with shoulders or anything. Feel free to play around from here. If you want to play with the head. No problem at all. What we have chosen to show you is one that plays with the middle torso area. Okay. Now I'm going to place my right hand. Let's scoot this way. Onto your washes. Her her right rib cage, maybe even the front of her stomach. And what I'm going to do is start with pressure in so it goes towards my body, which causes her chest to collapse slightly. And then I'm going to move my hand to the right side so you can see her stomach and chest starting to move to the right side. And then I go forward and then I go to the left side and then back. Okay. I can lead this with just my hand. And what I do is I put my left hand on her her arm around her triceps and biceps. So we go here all the way around. What helps even more is if I can do this motion with her. Now guys, again, this is awkward if you've never done it before. Lots of mirror practice to isolate your chest. So if I go concave to the right side, front, left and concave again. Alright? So it's just one big circle, 41234. Okay. Next part to try to get out is I'm going to start with my hips. So after you played around right here and you've done all the escalations you want to do. What I'm gonna do is I'm going to come forward with my hips first. So this causes her hips to go forward as well. Boom. And it causes her chest to open. And I'm going to go up to where she is neutral. So I'm going to turn slightly so you guys can see. This is where we are, where she is standing up completely on her own, 2 ft. Now. This is where we were here. Hips and hips than chest. She is completely neutral. And then I'm going to lead a dip forward where I'm going to suggest it with my chest and with my hands. So we go here. There. And the way I'm doing that is I'm moving with my chest first. She's taking that action to the extreme. The left-hand does a flip like this with your hand. And then my right hand stays on her stomach so that way she can feel the extent of the movement. And then I cause pressure to come back up here and then boom, file and then I help her backup. And do you want to explain follow as part on there? I'll add like always. I like to ask them for guys. Really important when you are already in a sit position and you're doing isolations. So we did a chest circle, which is one of the simpler things because let's turn this way. So for the ladies, when you move your chest, you want to counterbalance everything else so your weight is centered over your partners knee or thigh. So basically, but if you guys are going to try something that is a little bit more extreme and how much of the lady's body weight you're actually moving, then you need to consider that her body weight is going to be moving off of your thigh. So in that case, you need to really use your arm and make sure she didn't fall off? Yeah. When we're doing these circles, my body weight moves way more. So I tried to use my feet as possible, but I still allow Bain to kinda help me and I tell him If I'm falling, I will be I will compress myself as much as possible, but he will feel my body weight and he'll make sure that I get back on his legs so that we can kinda kinda like continue the movement. The other thing when we're going out or where we're exiting this move. So when you're starting to lean the reverse body roll, you move with Your tailbone, you're actually doing a reverse snake again, and I'm doing a reverse body roll here, you need to make sure you will feel your partner's weight. That she is actually standing on her own feet. So when she's not, you will feel either pressure on your chest, your torso, or you will feel the pressure if you went too far forward in your arm. So you need to make sure to place her above her foot. Third thing, really important when you lead the last part of the dip. I actually, when I come over, I need to counterbalance myself so I don't want to go this way and then my partner hold me, but I actually go back with my pelvis. So you need to allow this space for me so I can finish my movement. In a situation where you leave your hip here connected and you lead me to go home. Now, I couldn't counterbalance myself. So all of that body weight will be in your hand and you will need to hold me or give me backup now. So that's for the guys. Ladies. Basically pretty much explain that work. Yes. Again, so if you haven't seen the lesson about how we did the little flip upwards. Basically, it's really important for you ladies that you're not trying, especially in this move because your burners behind you that you're not trying to go backwards with the back of your neck and with the back of your head and kind of like bending your neck backwards, you always want to come to the position. You want to roll yourself. Vertebra by vertebra with a closed chest and shoulders down, and then only to open your chest and find the neutral position of your body. A very beautiful perfect, tall and straight poise and kinda like body position. So really, this would be the wrong way to do it. Open everything up and go backwards with my head. And this would be the best way you can do it. Especially when your partner's behind you and you do not want a bleeding nose or I guess so let's do it two counts really quick. Your partner, the soloist, slow, slow, slow right now. So we're going 12345678. This is sitting on by eight, and then 12345678. That is the full movement that we just taught. Now, to get out of it, please go watch the previous video where we did shadow position. We're going to use the same exit right here. So I'm going to take my left foot, rock forward on one and prep a turn 412342, turns 56781234. Okay. From a different position. So you guys can see we're going 12345678. 1 2 3 4 5 6 7 8 1 2 3 4 5 6, 7, 8, 1. That's a lot, guys. Hopefully you got it. And let's try it to music. Good luck on those fast food. Good outcome. What is the n is large. 38. Silver- Lesson 21 Right Foot Side From Shadow Position: Hey guys, this is bank and Tasha. And today we're going to teach you one of my favorite moves whatsoever, which are not going to see very much on the social dance floor. It is a right foot slide from shadow position. And we're also going to give you an additional entrance and exit. How to get into the shadow position? Yep. Alright, let's go. So we're gonna show it to you first and we go 5, 6, 7, 8, 1, 2 3 5 6 7, 8 1, 2, 3, 56. 781-234-5678. Alright. Alright, leaves. Let's go let's figure out how to do this. So I gave you a different entrance into shadow position. If you're unsure with shadow position is please go back and watch that video. Before when we went to static position, we use this on this part. We're actually going to use a half turn, which is a change of pressure in your terms. So a normal term would be this 123.5, 678, and she stays with the same pressure all the way around on this one, I'm going to release the pressure in my hand halfway through the term to get her into shadow position. And I'll show you what that looks like. We go 1234. Everything is the exact same. The prep is still on for up. And then when she goes 5.6, I release my hand on six. So 56. You see how I released as it came over her head and my right hand goes to her stomach or her ribcage, and that tells her that she is indeed stopping halfway through the turn and then we end up in shadow position. Okay, so let's get back. So you can see, let me show you one more time. So if I go 1234, this is the exact same as before. And then we go 56. She's here by six, so with a halfway turn and we end up on the right side of my body. As we're here on six, I have 7.8 that I need to use a nice settle into this step. And I let it just kinda chill for a second. So that way we both know that everything is fine, right? If I start stepping right away and it's going to feel really weird. So I follow. So we relaxed and I put my weight on my right leg and hers on her right leg as well. And that way we can take a step with our left foot. So again, we're going 12345678. Now, since the weight is on the right leg, I can take a big 1234 as a basic, I take a rock step forward. 1234. This puts my weight in my left leg. My right leg is tapped. Now, I'm curious if you could zoom in on the feet, please. Um, what I'm gonna do next is a slide with the feet because her weight is on the left foot. I'm going to connect on the inside of her right foot with my right foot. So as I'm here, her weight is there. I'm going to connect on the inside. And I'm going to slide both of our bodies using this foot to the right. I go shoot like that. I put a little bit more pressure in my right hand because it's on her stomach and her and her ribcage. So if she stays close to me and she knows that she's okay and sliding like that. So again, I'm going here, so we start with that rock step 123, four by four. I've connected my feet and I start to slide on 5.656. And now because I'm on six, I need to use the same 7.8 as before. I need to use that, the rest of that count. So I do a very small body rolls starting with my chin, chin to chest, hips, and that's a two count. So 7.8, so it goes 78. Okay. Now, let me show you that. To that point, we're going 1234, 5678, 1234, 5678. Now, the next part is a little different exit than we've done before in the past, we've done just a tutor and exit. This one is where I'm going to take my left hand and I'm going to put it across her chest and up near her collarbone. Then I'm going to take my right and connect it with that hand. Okay? Now, this next part is going to be a turn this way. This is two counts moving that hand up. Now I'm going to move slightly to my left. That's a PrEP. And then she turns out with one spin. Okay. So again, we're here. So if this is 12345678, I use one to here and then 34 out. Okay. Now we're on 34, so I have to use 5678 to get us back. What I'm gonna do is I'm going to do a little rock step forward with my five. So I stepped with my right foot because my father was with my right. She's going to feel her wrist go down, which is gonna make her body go down as well. So we're gonna go. 5678. I gather on eight, I sync my way down. That way. She knows we're going back on 11234. Alright, as a lead, let's do that whole part again. We're going 123-567-8123, 567, 812-345-6781. That's it for leads. Here we go. Follows, follows. Use your right away. So basically what we're doing, we're preparing, we're using half of a basic term and we go 123. Now what is special about this next part? I actually have two beats to do half of a turn. Then I have to control my weight and tried to keep connection with my partner. So I go 56 and connect with my partner here. There would also be a body roll or we just kinda stay still in these positions. What ladies actually often do wrong is they tried to close your feet. So if that would happen with me in vain, if I would do that, he wouldn't be able to prepare the next step and he wouldn't be able to lead the slide or anything else for that matter. So whenever we're in a closed position, especially shadow position, ladies, you want to keep a width of 1 ft or my partners foot between your feet so they can play with that space. So now from here, when we establish our shadow position connection, we follow our partners in whatever direction they're taking us in this particular cases, forward, replacing sideways, and then tabbing our feet on the ground and again, keeping that distance between our feet. Also one thing because our partners right now when they're turning, they become center of rotation. So what for veinous forward, replace in place and tab for meat might be a little bigger of a step. So when I moved to my left, I would go 123 and tap. So that three could be bigger step because I'm on the outside of the rotation, that pain is grading and so therefore, my left step moves slightly more than his. So we go 1234. Here I feel the connection that my partner makes it with the inside of my foot, and I already know that he's about to that signals to me that I will be moving that foot, which is why I put all my body weight on my left foot from there I feel that connection. I lower on my left and I create the slide from here I feel his chest where he creates a five-year-old that's 78 from here. Basically, I feel no movement and leads. It's really important for you not to move any other part of your body. Because if you want to leave only a hint change, which is a cyst and your body is moving, it will not be only a hand change. So if vein does something, I started moving my feet. Right. And guys, you don't wanna do that because you want to keep your follow and you want to know where she is or where her body weight is. So as we change our hands, we go one and then we both twist our bodies to the left so that the ladies prep their turns on their left foot. Now from here, we exhibit turn 34 and the end of four, we just connect our way. This could also be a double turn. It band decides to do so 123.41 more time with a single term, 1234, and then we exit. So we kind of do a little bit of a wave over here. I feel that my hand is being twisted slightly. That means that signals in my body should react it. So in case like that, I basically look at my partner and I see what he wants to do with my body weight. And I just follow here. We have Ladies forward rock with our left foot. Forward. We may close the feet, step to the side with the left and collect with alright, let's go one more time. Everything together for the ladies. Half of a basic. And we go 1, 2, 3 5 6, 7, 1, 2, 3 5, 6 7, 8, 1. 2345678. I think we can go to music accounts counselor. Okay. Alright. Alright. So we're giving you a counselor within bunch of different positions will start here. So with your partner, 567-812-3567, 8123, 5678, 1234, 5678. Beautiful. Let's go from a different direction. 56781, 235-67-8123, 567 812-345-6781. And so you can see from a side view, 56 also guys, if you know a little bit more footwork, you can throw that in for the 5678 if you want to do something a little bit fancier. So if you want to buy 781-23-5678, 1235, 6781, 2345, 6781. And that's to music 567. Different direction. 7.8 are about to get a pause. Muscle myosin. All right guys. I've ever partner. 39. Silver- Lesson 22 Bain's Magic: Hey guys, this is vain. N-th. I know I told you that last week was my favorite, but this is actually my favorite move. I will use it every single time, our social dance every single time. And it's called magic. I call it the thing that I'm actually going to let him teach this lesson, I'm just going to enjoy the ride. It's probably sick of this move, honestly. So let me show you. Here we go. Let's do it from here. 56 scenarios are videographers says to move backwards. So here we are. 567-81-2356, 781-23-5678. All right. Guys, this is a lot of leading right here. So what am I gonna do? I got here and what we're gonna do. I'm going to show you, it looks very complicated, but actually it's very, very simple and it just goes into a regular handhold. So let me show you from the side view what I'm doing with my hands and give you what I'm thinking here and this whole thing. So if I go 123, I'm gonna do is prep a two-handed turn, which means I go down and up with both of her hands as you seen in previous videos. So they're both coming to the right side of her body, both hands up. Now when she turns, this is 567.7. We get into this position. So if you guys can see, this is her left arm making a 90-degree angle. My right hand is connected and then my left hand is connected on her arm is over top of this. This is the base position for a double handed turn. Now, from here as the lead, I want you to lift your left hand, which is this one, left hand up. And I want you to disconnect your right hand and immediately pick it back up after your left arm has passed. So wash it really slow. It goes left arm up, up, up. I disconnect my right hand, and then pick it back up and we're back to neutral. This is neutral. So by this point, um, so, but dazzled that, I don't know what's happening. So then he can keep on tricking me from layer. That's right. Yeah. That's why it's magic because it looks really fancy, but isn't the easiest movie you've ever done in your life. So again, from this position so you can see, so if we take a regular basic 123567, now on seven, we have this two-minute base position. My left hand goes up, my right hand disconnects and it picks her hand back up. And you can see I usually switch my grip to an open handed position, which is my finger out on the side of her hand right here. So if you wanted to learn about open position, there's the lessons as well. So we end up here again. So you can see we end up like this. Could go, okay. So again, 567 and then I go up with my left, kick it up with my right, and you have to do this fast. If you leave that hand out there too long, she's going to style or do something with it, you've lost it. So it needs to be right when your left arm passes going up. When this comes up, up, up, I immediately let it go and pick it back up, and then we're back to neutral. I just put a little bit of styling on top of that, which makes it look really nice. Okay, So where am I going after that? 123567, I hit magic, the move where I do this replacement on eight, which means this is eight. And on one, I take my hand, like I'm carrying a tray, so it's turned over. And I go on the left side of my face with this in her hand goes kinda on top and on the right side. So there's a hole right here. If we can move this way. This hole is where my head is going. So it's going like that. Again, I'm putting it through this hole like this right here. If your hand is switched from here, you don't have that whole you really have to make a tray with your hand and be convicted on your fingertips. So that way you can do there. Okay. Just by the way, his fingers and my fingers have to be sort of parallel. If they are perpendicular, then that tunnel disappears. So fingers, hand on hand, parallel and you'll be able to create this tunnel. Now, I can keep stepping during this next part, but I'm going to use a little bit of styling. This is the silver class, right? So I'm actually going to stay in place as I do this. I think it was 567. I hit magic on eight. And then what I'm gonna do is take a step out with my left leg. This right hand goes over my head and that's on one. And I'm going to do that move really, really slowly for 2.3. So I'm going to hold it on for I'm going to prep her turn. That's about to happen on five with my left hand. So let's go over that again. This is 1234. This is a two-handed prep. We go 5678. I hit magic and then take a step out with my left leg on 1234, that's up by four. Then we give her two spins to turn out 5678, and then we're ready to go back on one. Yes. Alright. Let me show you from a different angle. 567-81-2356, 781-235-6781. All right. For the ladies, I'll just add this because we've already done turns and turns and all that stuff. Sometimes, like in this case, We are done very early after the preparation of four, I have my spends 56 and then we have 78. So sometimes you will feel that it's actually really hard to turn when it's actually not that hard to turn, it's hard to stop turning. So what you wanna do is on seven, try not to keep your feet apart, but maybe find a nice position where you want to wait until eight, where we collect or even until one or aid and continue then the movement on 1 ft, you just show that once we have 12356712, 34561. Yeah. So you want to find a nice comfortable position to wait. So what Josh is doing is she's keeping her weight on her left leg while she's posed like that, waiting on what's going on next. And she has styling with her right leg straight and it's her toe is pointed. But what's really nice as a lead is that her weight is still on her left and that way I can go on one whenever I want to write and she's just chest up waiting on me. There's good tension in the hands so that way I can take my one. Also. When I do this turn on the magic part 567 and I do magic, she asha is looking for that connection constantly. So that way she's not when she feels that separation in the hand, she's not taking it away. I'm decreasing the odds of losing the hand by picking it back up. But she's also keeping it there and trying to find the connections. So it's really helpful to pick this hand back up. Okay. So again, let's do it from this angle. 567-81-2356 78 123-567-8123. Yes. Let's go to music. 5678, different direction. 5678. Rows this version. Soon. Thank you, Sam. Bobby Seagull. 40. Silver- Lesson 23 Side Separation & Side Knee Dip: Hey guys, This bank and Tasha. And in this lesson we're going to go over the side separation and the site knee dip. My favorite this time. Let's just go over it will show you and then we'll break it down. Let's do it. Let's do it. I guess we are connecting, narrows our director system who backwards. So hopefully you can see. Alright, so I am going starting with an isolation. So if you haven't watched the video and isolations, please go watch that. I'm going 123-456-7812, 34567812. Right. Leads. As with all silver combinations, you have your hands full on this one. Let's get through it. So I am connecting. Please, please please go watch the isolations videos if you haven't done that yet. I'm not going to go through all the details right here, just the main ones. Okay. So I'm taking my hands and I'm placing them on her lats and bottom of her shoulder blades so she can feel pressure inside with my palm squeezing in but also support from the back. I raise my elbows up so she can connect. And now what I'm gonna do is prep slightly with my left side. Then I'm going to create an imbalance. So here, imbalance and then dip with my left side and my right side goes up. This causes Josh's shoulders to also go into an imbalance? Yes, director. Okay. Got you. So I'm going here I'm going to prep slightly and then cause an imbalance in my arms. This causes the shoulders to rotate and then her neck relaxes and this is going to get a nice movement of the hair backups. So when we come back up, we're back here and then I'm switching, I'm shooting my way to my left on five and then going this way. So let me show you with a partner. So again, this is prep up and 121123. Okay? So again, it's prep up, 234, prep up on 1234. Now five, I'm moving my partner to the left side. Five, it is a very strong movement with my right arm and my left kind of stopping her movement. So I'm shooting her to the left side five, and then I'm allowing her to travel to my right on six, I'm sliding down her arm with my left hand and connecting which stops her movements. So we're going to try this really, really slow. That was on five, this is 678 and I gather my feet together. So again, it's 5678. So I put my left foot to my right foot and I'm connected with my left hand on her right hand. Okay. Now, before this next part, let's walk through this again from a different angle, because leaves, this gets a little complicated. Director extraordinary. Is this good? So I go left or both hands on the on the lats and kinda curling around the back. So we go prep up on 1234. She's back on my right side on four and then we go five. We shoot on six. And I let my hand slide down 678. And I'm gathered together on eight, okay, Before ladies break their backs. And so when we're doing these movements, honestly, it's a really good idea to go at the beginning of silver and watch the videos on isolations. But just to remind you that important, the important things about this one, ladies, you want to feel where your ribcage is going? Yes. So as we divide our body parts into upper body and lower body, so we have to have kinda together hands. So when we feel the lead, we need to move our ribcage. We shouldn't lift our shoulders and let them disconnect for our from our torso. What did I say? I say this time. I know it's great day. So basically when you're when you're moving your body over here, you feel the lead from the sides. And you need to translate that in ribcage movement. When you dip to the side, make sure that your shoulders are still down. So they're not coming up towards your ears, but they're down towards your waist. And when you're coming back upright, you feel the slide movement to the left. So that's an isolation right there. And then I feel the sharp and very strong movement to the right. And in this position, It's really important not to move my hips. So I moved only my ribcage. And so if we do that one more time, I leave my hips on the left side and I still have actually this connection over here with veins type. Now from here, he lowers me slightly to let me know that I'm going to be traveling a lot from that lowering. I feel under pressure to the side. And because of the lowering, I'm allowing myself to slide my left foot and then I come out of that connection. Now it's really important for you ladies to keep the connection wherever it's possible because we had a very good frame that we were coming out of. Now from here, we have this right arm is still on our partner's shoulder. Now when we're being sent out, I want to keep that connection and slide this handout. And if he chooses to let go, he met as I will try to catch my own balance. But until he kind of gives me pressure towards my hand, I will keep my pressure. He might change his hand or so guys, I'm I'm actually curling my fingers so it stops are so if you can see this, she can feel that tension and my fingers stop her movement out to the side. And with that tension, he also tells me where I need to stop because every lead should be kinda like a vector. It needs to have a beginning and an end and a speed in-between. So he stops me when I arrive on my left foot and because he collects his weight, I collect mine. And we can go to the second part now to the second part of that move. So we are connected here, guys, I had my way to my right foot and my left toe is tapped. Now, this is a move that is a little bit different. It might be specific to us, but it is similar to a dip, but it's more of a side dip. My follow, I know with different follows this is going to be at different levels. So what's the asha? She is flexible. She's used to movements like this and moving her body when maybe some beginner dancers, I'm not going to get this level of movement, but I can get at least a little bit of a head movement at minimum, right? So what I'm gonna do is I'm going to take my right hand and place it on her hip. This tells her that she's not going to move or lower part of her body, no steps or anything. Okay. I'm going to raise my left hand as a prep. And this also causes her shoulders and become imbalanced and her neck to relax this way. This is a prep up. And now what I'm gonna do is I'm going to take a step out to my left and then use my right arm is kinda like a fulcrum so her upper body can go over it and back. So it goes down with my left hand. And then you can see how she's bent over my hand and then she comes back up, boom, back over to this side. Okay. So if I'm here again, this is where we ended off. We slid let's take it from here. 5678. I place my hand here, 1234. Okay. Again, maybe your follow is not that flexible or experienced. So we could get a very small movement, just do a small one there. So we could go 1234 and that's completely fine. No problem at all. Okay. Now on, I need to get you out of this, right? So 1234 on five, what I'm gonna do is I'm going to face my partner and take my hand to the right side down and up to prep a term. So again, just really, really slowly. It's going to my right side, to my left, and by then I face my partner. And this is a prep on five, which is going to feel a little weird, but it's a prep on five and then 678, she's turning. 678. I've got my feet collected. My weight is on my right foot. I went to close position and then we can step back on one. So guys, we're coming back to the terms that we learned at the beginning. So this would be a prep turn just to kind of wrap it all together. Now for ladies, on your second part, we have a lot of movement going on there. Basically tried to do it at your own level and tries to push the limit every single time. Just to notice really important thing when I'm doing these types of movements, I'm trying not to go out of balance. And so vein will actually stop me here with his hand. That doesn't mean that he can kinda like hold my entire body weight. And so I tried to counterbalance. The top of my body is going to the right. I actually use my left leg or even my arm to counterbalance that. So in this position, I'm not trying to use vein as a balanced point, but basically just to understand what am I supposed to be doing. This would be. Hey, slip over and then coming back. Now with these movements, I could do them very simply and just go, boom, boom. But I tried to go upper part of the body. Upper part of the body and incorporate sort of a snake movements. So it's not just a simple, but it has a little bit of an extra essential movement that you can try to play with that and tried to put that in there to come out of it. So we did a little fight snake In our side, dip. And then from here I prepare to do my turn. I feel been actually doing this downward motion, downward rotation. And guys, you have to be very, very specific with this. If you do this and you already take it over my head, I will start turning over here. So it's very important that when you lead this, it doesn't go over my head. It has to stay below the height of my head now until you bring in to this side. Here when you're ready to turn me now you're going to bring this hand over my head so that I can finish my turn half for the ladies, it's also for you. You need to understand when you're turning, e.g. if we are turning in around waist level, if we will be turning around shoulder level and if we would be actually turning on their arm, just to kinda know there are different levels and try not to move that arm, but try to understand what you're actually supposed to be doing or being led to do. Cool, Alright, so let's go really slowly through counts so everybody can get this will start from this direction, connect with your partner. And we are going 123456, 781-234-5678, back on one. Okay. From this direction right here, connecting and 1, 2, 3, 4, 5 6 7 8, 1, 2, 3 4, 5, 6, 7, 8, 1 will stay right here. Five directors as good. 56781234, 56 781-234-5678. Nice. Not music yet. So I'm going to teach you a little fanciness just because we're getting near the end of silver, the section. So when T asha is here, we're playing around with this move one night and I was like What I think I can use my knee here. So we wanted to teach it to you guys just as like a little playful part if you wanted to try this move. So it's maybe not the first time, the first time you get used to at first. So what I'm doing is I'm taking my right hand and putting it here. Now. I can replace my hand with my knee. I like it. I think it works pretty well. Yeah. So give it a shot. If you don't like it, you can throw it away. But I'm going here. So when we prep up, I'm going to put my knee where my hand is. Boom, like that. And then I'm gonna put it back down it usually across my body. And then I can take a step out with my left here, finish off the turn and you feel like a boss. Alright, so this move again with the whole thing is 1234, 5678, 1234, 5678. Now let's go music. Symptom the answer from Mr. Brown was telling you guys are welcome and we'll get them done our work. Jd, No, no, no, no. Gaga, gaga, gaga, gaga with Julia. Just lonely. 41. Silver- Lesson 24 Leaning Body Rolls: Hey guys, this is Bain and Tasha. And in this lesson we're going to be covering leaning body rolls. So we're just gonna go ahead and show you what it is, right? So guys, we are going to create, you know what? I'll just show you. Here we go. Alright, so I'm connecting with my partner. I'm going 1 234-567-8123, 56781234, guys. All right. All right. What I am doing here is getting my partner on her toes. I say that at the very beginning because that's the most important step, you're going to see this move on YouTube and all over socials in the country. And it'll be like this, like that. And then we'll just pull the partner on top of him. And that is not how you lead this move. Okay. If the girl has she's playing along basically because she's seen it and she knows what she's supposed to do, but that's not how we want to leave. We will actually want to lead it correctly. So what I'm gonna do is depends what you want to achieve. Next with my partner on my right side, I'm in a really close position, so my right hand is all the way around and I just take a little bit of a basic in place. So I'm going 1234. Now I'm on four. I want both hands around the back. Again, like isolations. I want the palms on the lats. And what I'm gonna do is on five, I bring her weight neutral. Instead of leaning left and right. No, I want it neutral and I'm going to hang out there. I'm going to take my hands and I'm going to go up. And it's not a big up. I'm not going like this. I'm going breathing in just one quick breath. And that makes my chest come up and that makes my arms come up and that makes my partner go up. So here I go. So see how we put a little bit as the best way to explain it. But are you guys laughing so much? The best way to explain it? It's just take a breath and come up. Alright, so here I'm going up on five and then I take a step back on six. And I bring my partner on top of me, so nice and slow and she is leaning on each Joshua. Explain this part about how she keeps everything nice and tight. Now, I'm going to take my hips from my weight in my left leg and I'm going to push her hips out. And so it's a nice like this, like that. So I'm pushing her hips out and now I keep connection with my hands right here. And I start to come outside of a dip and then I reverse it. So again, I come up, when she is almost up, I go back down. I give her space, and then we roll back out of that. Let's go through counts really quickly. So I go 12341234, and then on five, I go here and prep up. So this is five. I said back 678, I go one with the hips, 23 on three. Or if I continued with this move, it would be four. But we're not doing that. We're going three. And then on four, I started coming back in with more of a body roll, five to come up. 67 81234. Now, my hands are a really, really big part of this move. Okay. So you want to follow with my director, Sir, can you zoom in on my hands? Here? I'm going up this is my breath up. On five. She's coming back on 678. I hit Forward on one. And now on Yes. See how she has her hips come back right? Now. I have my hand slightly forward and so she is coming back up this way. And then me show you 567123. So on three, my hands have turned from neutral to slightly where my top fingers are bent in. You can see how her chest is concave and that's what causes that. As my fingers are my top fingers are closer to me than my pinky fingers. Okay. Now this is three on four. I take my hands back down towards me and then I roll them back to neutral so you can see I go back to neutral and then put her weight back. Again, let's say you're leaning on me here. So this is the Lean hips on one, boom. And then she starts to come back on three, my hands have slid into this position here. Now. I'm going for back down towards me. Five is starting to come neutral, so my hands go up and down, but they're close to me and then coming back here by eight. So with my partner, this is 567-812-3567. 8123. Guys, that's a lot to practice. Uh, please please please practice that hand moving. That's the correct way to lead this. Also getting your partners away and then coming back. All right, guys, so it's time for ladies barred. I'm going to explain this far. So we're starting with half of a basic in place and we go 1234. Now from here, we have to feel our partners as they send us upwards. From this lift. I have to straighten my legs and then lift my heels. And from lifting my heels, I continue this upward energy. And I tried to lift my chest and this bone called sternum up and diagonally forward. Now from here. Now from here I feel that my partner pulls me towards his body weight. And now I have to rely completely on him. So my entire body is leaning towards him. My only job that is really important. I need to keep my body tied, my legs, my thighs, my abs, everything needs to be kinda like very tight and strong. And the other thing I need to keep pressure with my balls of the feet and the ground. And guys are ladies follows. Notice that she ashes connecting with her hips. I've tried this with some girls and that haven't really gotten used to or have maybe they'd been with a bad lead. And so they they want to connect with their chest, but they tried to keep their hips behind it is actually more difficult for you that way. The whole point of putting my follow up on her toes is that I can pull her on top of me and she connects with the hips. So actually the biggest point of connection is our pelvis right here. So I feel veins, right hip and he should feel the front of my pelvis. Now from here, this was 5678 and now I will feel a slight push with his hip, which tells me that I need to move backwards. Now he keeps on pressing towards my tailbone with his hands with tells me that I need to pick up my lower back vertebra by vertebra if we do that one more time. So sending backwards. So I started with my tailbone, my lowest vertebra, and then I keep on moving them and kind of collecting vertebra by vertebra, trying to place them in a vertical order. When we come to this point, it's kinda like the vertebra where you're abroad would be connected. I feel the stop. This would be on B3. And then being reverses the movement sending me downwards. And this is usually the part where ladies bend their knees and they make their backs flat. But I want you to try and do the movement through your back. Keeping your legs straight. Not only will it look better, but you will get more movement or real back. I continue with my chest and I finish off the movement with a bag of body roll. So as we already mentioned, if we want to use the pressure on the back and really important for the guys, you want to connect with your partner and feel her bag and also move with the speed that she can actually follow. Sometimes you would want to slow something down if she is not following with the speed or the bees that you would like her to. Also, when you hold your lady, you want to press inwards first before you let her move away from your body and girls, just continue and just be very sensitive to feel that connection on your back. Alright, so I'm going to show you if cows really quickly, I'll keep noting some key is key parts. So that way you can practice because we know this is a little bit more of a difficult move, especially when you can't feel it right away since you're learning from video, but it is 100% possible to learn. So let's get into it from, let's go from this direction. So I take a basic 1234. Now on four, I moved back to neutral and I breathe. This is five. And then I pull my partner on top, 678, okay. Now, hips out on one. This is 123. Notice that I moved. Can you see right here? So this was 123. So I moved toward her center of gravity by three. Now on four, I'm going to reverse back this way on 45678. And you can see I throw a little bit of a body roll where I connect with her at the end before I sit. If you don't wanna do that or if you're just not used to that movement, yeah, that's completely fine. Again, let's try it from this direction. So we go 123-45-6781, 235-67-8123. And let's go from here. 567-81-2356, 781, 235-678-1234. Boom. Let's try it to music. Mr. Brown was to local. Yeah. Let's do that. So what is a bucket with Julia book alone? Just knowing the personal normally. 42. Silver- Lesson 25 Stop & Bow: Hey guys, This bank and Tasha. And in this lesson we're going to do a little move code that we call stop and bow. It's very similar to the last lesson. Also, you might notice this will be the less move or figure in silver sections. So a big high-five. You guys have made it so far. So let's get on with it. Yeah. Show you how it's done. So we are going here. Five. Yes, director. 5, 6, 7, 8, 1, 2, 3, and 5. 6, 7 and 1, 2, 3, 56 781-235-6781. Right. Leaves. Here we go. So please go back and watch the lesson on ramps. If you have not watched it because that's exactly what I'm going into at the very beginning. I take my partner and I take a half basic 1234 on four, I prep with my right arm down, my left arm up, and I go 5678. This is a wrap just like we talked in a previous lesson. Now, instead of doing things from here that we have done before, like maybe somebody rolls or something like that. I'm going to use my left hand to take her left arm out of the cuddle. So again, my left hand is grabbing her hand and going under her hand. My right hand is staying on her hip and we're going here. Okay. Now, on one, I'm taking a big one forward. I'm going one. And then pressing back with my hand pressure in my left hand and pushing her back this way. This is going to cause Joshua to move backwards as a lead. I am going to stay forward. So if this was one, she goes to three. For now. I stay connected with my left hand. My right hand goes to the hip and then I press up with my left hand. This is a prep up. This makes Josh's chest go up. And then this right hand is basically telling her that she's not moving forward at all. Okay. To stay right here. Now, I go down with my left. That causes her chest to come down and then come up. And the way I come up with my hand is it's all a pressure sensitivity. So if I was just a really slow, steady movement towards Joshua, she's going to make a slow, steady movement up with her head and chest. If I go here and it's quick with my fingertips. So if I go here and I go like this, you see? If I go here and it's a quick movement up, then it's going to make her chest and head come up faster. If it is slow, it's gonna be a slower movement up. Okay. But then I'm going to have here my yes, I say this one's gonna be a little bit quicker. I want that hair whip at the end, right? So if I go here and down, up, there we go and beautiful. And now that was on 5678. So let me walk you through this part again. We'll start at the top, 1, 235-678-1234 by four, I want my right hand right here on Fiverr, I'm going up and then 678. So eight is the flick up. Now, I need to get her out of this position. So what I'm gonna do is I'm gonna take my body and I'm going to bring my left arm up and I'm going to go to my left side, which is going to make her move towards me. Then I take my left hand and move inside, which means away from me, this is going to cause a half turn. So watch this, 1234. Now you can see what I did was when she starts to go past me, I release the pressure and my left hand and I slide it along her back and then pick up her right hand. So really, really slow. This is 1234, so I switched hands, but I kept using my left hand. Okay. One more time with that part. This is he. Oh, yeah, Nice, Good, good. So if we go here is the data, we're movement. Boom. Now I come forward, I pull with my body 1234. Okay. Now, to finish off the mood from the leads perspective, I'm going half a turn, but I'm actually going to change directions. So instead of her, if she ended up here, I am not going fully to this side. I'm actually just staying right in front of me. So that way she's moving around the dance floor a little bit more. So this is a prep here because we just picked up this hand. Then I turned my partner to end up right in front of me on 56785678, I end up in close position. And then we're good to go. Very cool. Now for the ladies would just go one more time through the movements and I'll count them out. And we go 123567. Now from here it gets a little interesting. So we feel that we're changing our handhold. We just go with it and tried to keep the connection that our partners have created for us. And then we feel the pressure on one. We replace our weight onto, we step backwards on three and we would tap with our left foot anyway on four, so we prepare that. And then we feel the lift with the hand, which is kinda like a remote control to open our chest and lift it. We feel the dip. The staff was at the hip. And then by the end of week eight, we will feel a slight pool as our partners create slight movement so we can get onto our left foot and then we're being led. And which would actually be a very common move. And our prep that we would do the exact same steps. So ladies, if you want to go and look at a simple wrapper, what that looks like. This is the exact same thing, but we have different hand holds. So we go with our right foot forward. We go sideways with our left foot, and then we continue turning to the left and then we step back with your right foot, tap with the left. And we finish off the movement, turning to the left. Left foot, right foot, left foot, and connecting together with the right. Alright, so I want to mention one thing about the guys steps that can maybe give you a little bit more styling as she's coming across. So we're going to start at this part right here and we go prep up and down here. Now, when she comes across, I'm going 1234. Now on for as you know by now, my right toe is tapped, so I need to get to that situation. What I'm gonna do as T asha crosses my path, I'm going to lead her on one, of course. But as she's moving, so stay right there. Director, can you go feet, please? So as she's moving, what I'm going to do is that was the one and she's at this position right here on two. Now, I'm going to cross my feet on three and then tap my foot on four. Okay. So with my partner, this is 5678, now, this is 1234. Okay. So cross your left foot over your right on three, tap your foot on for now. On 5678, I can step in place. I can do any type of styling I want, but she's going to end up right in front of me. Usually what I do is I take my five just to keep my time and then I wait here, settle in to my right leg as she gets close. And that way I can go 1234 with counts. Let's go for the ladies. Your body roll. Basically, when you're lifting your chest, just make sure there are two directions where you can go. One is towards your left foot, one is toward your right. So if I do this towards you guys, I'm always moving my body weight only in the direction where my feet are placed. E.g. if I were in this map, I cannot move forward or back. So right here, I cannot go diagonal or sideways because I only have to feed and I am in my own balance. I'm trying not to lean on Bain. What I do, I move my body weight towards my front foot, left in this case. And then I move it to the center. And I'm trying to kind of always feel my body weight but to my feet. And then when I flip up, I need to know that I need to kind of like a find my balance again above my feet yet either. Moreover the left, moreover the right doesn't really matter, but ladies really makes sure that you know where your body weight is going. Cool. Alright, with counts really, really slow. So with your partner, we're gonna go into the rap and we go 12345678. 1 2 3 4 5 6 7 8, 1, 2 3 4 5, 6, 7 eighths beautiful from a different direction. 5, 6, 7, 8 and 1, 2, 3 and 5 6 7 and 1, 2 3, 5 6 7, 8, 1 2, 3 and 5 6, 7, 8, 1, 2, 3. With music. Do you also Muslim law, crime was more than it does in the, God is good to go. No, no, no, no, no. System. Gaga, bucket, Julia book. And just knowing that the pursuit of happiness.