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System levels. Continuing the example of social dances: levels above the dancer.

The role of the salsa dancer: the story does not end yet, the systemic thinker always looks at objects of increasing scale, at higher and higher systemic levels! Moving up from the level of the salsa dancer, we find the role of the artist - we have already mentioned this several times in the previous paragraphs.

In the club, next to the dance style teacher ("producer" of salsa dancers), there is a visiting Cuban, a choreographer, teacher, creator, who has just conducted a master class on building a composition in salsa figures/moves, and he is watching the next level of mastery in performing a special method: the method of the artist's actions, who performs some actions (for dances, it is not common to say "work") during a "dance performance." In social dances, it is customary to create the composition/choreography of dancing "on the fly" by the same agents who dance this composition in the roles of artists. The sub-roles of artists dancing the choreography (composition of figures, corresponding to some artistic criteria) on the previous systemic level were called "salsa dancers," and their method/style was "salsa dancing" - but there was no talk of composition (or rather "this composition too," meaning "salsa in general, all variations of composition," and not about the specific performance with its unique choreography/composition. Another level below, they were just "dancers," and their behavior was "dancing," and there was no salsa there (or "and salsa too, if needed"). Another level down, they were "movers" and their behavior was "body movement," no dancing (or "and dancing too, if needed"). And so on - each creator role of some role level has its target mastery/system and the method/style "skill function" generated by this mastery (which is transferred to the role of the agent metonymically - practitioners consider the practice to be carried out not by mastery as part of personality but by the role of the entire agent, "looking not at the eye of the tiger, but at the whole tiger" - but these are all ontological subtleties).

What system does each creator (doctor, coach, various teachers) deal with in the agent dancing with their partner in the dance club? Each type/specialization of creator - with its own system! What is seen by the pro, just a closer look. - not muscles, not individual arm or leg movements, but a sequence of figures/steps/moves, somehow attached to musical accents, and this narrative (sequence) comes together in a whole performance, lasting five minutes (surprisingly, but in social dances there is no separate word for this performance, it is also called "dance"). The choreographer evaluates: whether a decent choreography has been created (sometimes referred to as "choreo"), which includes a balance of a variety of salsa figures, whether this choreography has some trendy features (for example, inserts from other dance styles), whether there is any interesting composition. This is the level of dance performance in general.

The term "dance" (which is a special method of movement, and the style within the general movement method), we did not use in this text, and for educational purposes, listed many synonyms for terms and clearly defined types. This is why the language used to discuss the situation at the club (dance performance in salsa) may seem a bit convoluted, but it is more precise. "Dancers from the club" are unlikely to master this text, to understand it, they need first to go through "Modeling and coherence," and then "Systems thinking" right up to this point you are currently reading.

No wonder the agents learn the skill of performing the role of artist-dancer-style-dancer-mover (choosing a certain path from the top to the bottom of the hierarchy, the part-whole stack of the roles we call the "system stack" - here the mastery stack, determining the stack of possible execution of roles in the stack of methods) for many years before reaching a tolerable level of mastery at each level. These agents do not receive precise engineering explanations, but only many examples of the same "dance performance", and they simply try to repeat what they have understood, and they also hope that somehow various exercises (for example, strength training, stretching, etc.) will help them in their performance.

Emphasis should be placed on: some degree of skill is needed at each level! If you are very good at building a composition, but you perform a dance style (for example, salsa) poorly, while being a decent dancer and an excellent mover, you will not be recognized as "one of us" in the dance community of a certain style. Similarly, imagine a Greco-Roman wrestler who has mastered his body to perfection because "he has spent a lot of time on his body". He steps onto the dance floor and, unfortunately, his dancing will not be watchable, but his wrestling would be. It is important to understand what dance is actually happening there, and you need to keep climbing the systemic levels up.

Next to the dance floor (at the same time!), on the edge of the dance floor, there is the organizer of the salsa party (a salsa party - a salsa party, a tango party - a milonga, a hustle party - a disco) and evaluates the salsa party as a party/event in general. For him, the dancing couple is "participants of the project of creating and developing the salsa party::party::event." Because a dance party mainly consists of these dance performances, with many of them happening simultaneously on the dance floor (many couples dancing), and they also follow one after another - with each new musical track comes a new dance performance, let's say half a hundred dance pairs. The organizer includes both these performances and the standing/non-dancing partners and partners/partners with their imbalance (imbalance - a specific term at a party, when there is an unequal number of partners: not everyone can take to the dance floor, even if they want to because of gender imbalance, or the partner refuses to dance, or it is too hot, or something else happened), the DJs, and photographers with videographers, and even the cloakroom attendants (because the party starts, like the theater,