You've Got the Best of Me

A little goo comes first in this combination. Two eights of self-expression, like a lava lamp that keeps changing and morphing its shape. Don't set it. Then the dynamic switches: tight, sharp weight transfers where the focus lands exactly on its count.

Release returns later, with throws, abandon in the upper body and walks that lead the eyes. Section two stretches into a lyrical line, a lifted arabesque, a gazelle. Floor work brings the weight into your hands, and the opening pattern comes back to finish.