Each dancer needs to change his or her identity in order to achieve the higher levels of Ballroom Dancing. The dance entity is not an individual, is not a partnership, but it is a "Singularity". The ultimate goal is to become the infamous "Two-Headed Four-Legged" animal. The dancers can't move as "one" unless they think of ourselves as "one" and they are actually "one".
Most dancers start Ballroom Dancing by learning and dancing their own "Individual" part with another person. The dancer works on footwork, timing, movement, patterns, music, etc. As the dancers progress, they evolve into the "Partnership" stage where there is an awareness of each other and a communication develops called "Partnership" dancing. The dancers now work on the frame, connection, offset, counter balance, lead and follow, etc. Unfortunately, most dancers don't progress beyond this stage. They are not aware that there is more beyond this stage or they are content with their current level of dancing.
The next stage of Ballroom Dancing is to move beyond the "Partnership". It almost seems as if the dancer is regressing backwards. The new dancer started out as an "Individual" dancer moving almost by themselves, and then progressed to "Partnership" dancing. Now the dancer is going to evolve into a "Full Bodied" "Individual" called a "Singularity". The term "Full Bodied" refers to the complete dance entity. It is not two bodies dancing next to each other. Each body is half of the whole (the "Singularity"). The two bodies compose the complete dance entity. Just how is this "Full Bodied" entity achieved?
The goal is to take two bodies and exist as a single entity. You must change the perception of who you are. You can't think of yourself as half of a "Partnership". You must see yourself as the complete dance entity. Both sides of the partnership must participate to become a "Full Bodied" Ballroom Dance "Singularity".
The dance partners in a "Partnership" communicate with each other through various methods (frame, connection, footwork, power, centrifugal force, etc. etc.). There is a sender and a receiver (Leader and Follower). This arrangement can cause misinterpretation and delayed responses. The "Leader" is trying very hard to create an obvious lead (through various methods) that the "Follower" can recognize and interpret. The "Follower" is working very hard to correctly translate the lead and put it into physical actions.
When George decides to raise his right arm, there isn't a thought process that says: "Raise the right arm" and now the arm says: "I interpret the communication as to raise the right arm", and the right arm is raised. When George wants to raise the right arm, it just happens. The "Singularity" works the same way. It seems as if there is no communication at all, it just happens as above.
Each dancer in the "Partnership" must consume the other. You don't have a physical front and back, you have two backs (in Closed Dance Position). The other dancer completes your physicality. Your physical boundary includes all of what used to be the "Partnership". Move as a complete single entity not as part of a "Partnership". There is no "Leader" and "Follower" concept any more. There is just the movement of a complete single entity.
I know that this seems a little far out, but it is real. You must believe, perceive, act, and move as the complete "Singularity". I must confess that when I am developing something new, I temporarily revert to the "Partnership" mode. When I get the new action understood and under control, it disappears into the "Singularity". There is no more "Lead" and "Follow" action, it just is.
The key is for both dancers in the "Partnership" to be able to change the perception of who they are and amerce themselves into the "Singularity". Two minds, two bodies, and two personalities meld into a single Ballroom Dance entity.