So, what does an actor do when their upper body is already engaged in other physical needs? E.g. when both arms are welding two weapons or when the upper body is involved in the act of a physical grappling scenario. How then does the upper body support balance choices?
To answer this dilemma the image that has always come to my mind is best expressed through the design of the Japanese pagoda. Its ability to withstand earthquakes is a testament to its design. What a fantastic structure. The understanding that my ankles, hips and upper body work in an isolated scheme and as a global scheme is important. Developing a strong neurological pathway through conscious develop is the key. Much like the way the joins work in the pagoda – watch this video to see what I mean.
When I feel my ankles being compromised then I ensure my hips and upper body and engaged and compensating for the lack of ankles being accessed and conversely for when other schemes (hips or upper body) are compromised. The global scheme of my body is well connected I just need to tap into it to maximise that effective instrument.
To be continued…