In order to create the sublime experience of moving as one, we take care to communicate intention at the start of every movement.
To communicate intention for the revel’s next direction, the mark uses his lower body (the arc of muscles from his base leg’s foot to to the top of his abdominals) to push or pull against the revel’s points of connection.
- In open embrace, he’s pushing and pulling against her hands, and she is using both hands to feel him.
- In close embrace, he’s pushing against her chest, and pulling against her hands/arms. (She uses some part of her left arm to feel the pull from his body).
To communicate intention, the mark uses an amount of force sufficient to communicate direction, but small enough not to upset her balance. Since she is actively listening with her body, preferably he does not need to use his hands to show direction to her back. In fact, he can aim the strength of his muscle arc at the top of her free leg’s psoas muscle. This enables the revel to hold the current position of her base leg and project in the direction indicated.
- With the strength of her muscle arc (from her base leg’s foot to the top of her abdominal muscles) she counters his push/pull so as not to fall into the next step.
- With her free leg she stretches toward the direction he shows.
If she has perceived the direction wrongly, there’s no problem, because the mark can still redirect her projection since she has not committed weight to the new foot.
Her projected foot’s toes are in the floor so her foot is ready to receive the transfer of weight. Her projection allows the mark to initiate a transfer of weight with precise control of the timing. But her projection also makes possible that he can mark something other than a transfer of weight. He can send power through her body to create special effects with her free leg, such as voleos.
The revel never transfers weight until marked to do so, because if she does so she steals the timing, and forecloses all possibilities other than a step.
If he wants her to transfer weight to the projected leg, the mark redirects his muscle arc from its gentle pull or push on the current position of the psoas to the place her body will be when she transfers weight. He waits for her there, ready to receive and support her.
If either the intention was too forceful, knocking the revel off balance, or she does not work to hold her position while projecting, she will step too soon.
The revel’s commitment to extend the time and space of the projection and hold the current position of her base actually sets the mark’s creativity free. He doesn’t have to hold her back, hold her up, or hold her still. She allows him to control the timing of the transfer of weight, so that he can express his musicality (if she steps on her own, she is controlling the musicality). Moreover, the projection itself (along with the second projection as her old base leg is de-weighted) invites him to play with her free leg with additional projections, barrida, voleo, and gancho.