There are two powerful methods that you can apply to help you unravel the workings of a combination sequence. They are vertical analysis and horizontal analysis.

Vertical analysis
Involves the observation and comprehension (of function) of all relevant body regions in one specific time frame.

Horizontal analysis
Involves the observation and comprehension (of function) of one specific body region across all relevant time frames.

Here's the catch. The ability to use these tools requires you to development two fundamental skills: Perspective Correlation, and Layered Observation.
 

Correlating Perspectives
Associating what you witness in the third person with what you experience in the first person is called perspective correlation. Let's take Sequence 1 (Octopus) as an example:

• you have a third person perspective of it because you've seen Shirin and Nathan perform it on the video clip, albeit from only two angles;
• you also have a first person perspective of it because you've performed it yourself.

But now let's take, say, Permutation 2.4; you've done it yourself, but do you know what it looks like when performed by someone else?

Most dancers have very little experience with perspective correlation. It tends to be a passive process, with associations accumulating over time, and exists vaguely in the rather convenient catch-all category of “experience”.

We can develop this skill actively by recording and reviewing our efforts on video. Practicing in the presence of mirrors goes some of the way, but you need to bear in mind that your images are reflected, and that the process of observing yourself affects both your body angles and flow of movement.

Perspective correlation is a ceaseless process, where the onlooker's perspective is recognised as an indelible property of any piece of dance vocabulary. It is not enough that you simply acquire and practice new combinations, you must also be able to recognise them when performed by others.
 

Layered Observation
Humans are biologically hunter-gatherers, and have a visual perception attuned to detecting movement. This has a significant impact on our ability to observe and comprehend combination sequences, where we are confronted with a morass of movement which serves to confuse and distract the eye.

So how would you begin to make sense of all this visual information? To be effective, you'd need to understand which bits of information were more important, and how to look for them. Thankfully, you should already be able to recognise the individual elements from the clips in Phase II. The trick is being able to place them in order.

I like to think of combination analysis in the same way as drawing a picture: get the gross outlines done, and then fill in the details one layer at a time. We observe how the partnership moves as a whole, then the movement of each partner as an individual, using different body areas as indicators. Here they are in order:

Spines
Observing the spines of both partners allows you to answer the question, “How are the partners moving relative to each other?” You can tell:

• whether the partnership is dynamic or static;
• if one or both partners are moving;
• whether the movement is linear or circular;
• the direction of movement.

Shoulders
Watching their shoulders allows you to answer the question, “What is the role of each partner in the combination?” You can tell:

• if individual turns are being used;
• the direction of the turns;
• their relative orientations, giving you clues to possible anatomical restrictions.

Arms
Watching their arms allows you to answer the question, “How are lead signals being transmitted and received?” (This is in conjunction with the previous two factors, since lead forces are transmitted through the arms but generally originate from the body.) You can tell:

• which type of hold is being employed;
• which variation is being used based on arm height;
• if any arm bars are present.

Hands
Watching their hands allows you to answer the question, “How are the combinations being linked?” You can tell:

• whether visual cues are being given;
• if hand changes are present;
• whether breakthroughs are occurring.

Hips
Watching their hips allows you to answer the question, “What rhythmic relationship do the partners have?” You can tell:

• whether partners are dancing synchronously or not;
• if there is a change in synchrony i.e. if phase changes are present.
   

By watching each body region in turn, you would build up an increasingly detailed picture of the combination, layer by layer. After five successive iterations, you would have a fairly comprehensive idea of how the combination was assembled.

Of course, this works well if you're analysing pre-recorded material, or if your instructors are willing and able to demonstrate the same sequence repeatedly (and consistently). But what if you're watching a great couple at a club and only have one shot at the analysis?

The key is practice. With enough of that, you can run all five processes at the same time. And if you're capable of recognising motifs, and have a large perspective-correlated dance vocabulary, you'd also have speed and a greater likelihood of success.