Julie Fryer

Robin builds choreography that survives the hard seconds under judging scrutiny, always insisting that technique carries the styling rather than the reverse. In his sessions you will work the connection between ribcage and hip action until Cuban Motion becomes a structural habit, not an afterthought. Dancers who have trained with him before often mention the way he demos a slow rumba walk in socks to strip away distraction and force the work into the floor. You will leave with a clearer map of where your weight belongs in every figure and how to keep your frame honest when fatigue sets in.

Stefani dissects the small betrayals in body action that cost marks in Cha Cha and Samba, teaching you to audit your own alignment before a coach steps in. Her sessions demand that you treat every drill as a measurement, not a warm-up, so the work compounds across the two days. Returning dancers often joke that she stores their mistakes like a ledger, greeting them with the exact correction they left with last year. You will gain a repeatable checklist for hip action and ribcage placement that holds up when the music speeds up.

Dobrina trains you to think like the panel thinks, translating the adjudicator's sightline into a to-do list for your hips, feet, and frame. She is ruthless about the first four bars of any routine, insisting that if your Cuban Motion does not read from the back row, the detail inside the choreography is wasted energy. Dancers often recall the moment she makes them watch a replay of their own practice from the adjudicators' approximate angle, noting what actually registered. You will gain a ranked set of priorities so your technical work converts into visible marks rather than private effort.

• Instagram — Dobrina Parichkova