Phenomenology Slides Phenomenology in Practice
The Lived Body
"I am my body: it is through my body that I go unto the world." — Maurice Merleau-Ponty
The Orange Experiment
Phase 1: Verbal
Describe the taste of an orange to a peer. Rule: You may not use any adjectives (e.g., sweet, juicy, sour).
Phase 2: Somatic
Convey the experience of the orange through a single, continuous gesture. Focus on the internal sensation of the taste.
Which mode captures the essence (eidos) more precisely?
Inquiry Framework
How does the "lived body" function as a site of knowledge production?
What happens when we treat movement as a primary research text?
How do we navigate the tension between subjective experience and rigorous research?
Husserl's Methodology
Epoché (Bracketing)
Bracket
Suspend your natural attitude and assumptions about the world.
Describe
Focus solely on the phenomena as it appears to consciousness.
Intuit
Seek the essential structure of the experience, stripped of bias.
In dance research, we "bracket" the technique to find the movement's essence.
The Body is not an Object
In traditional research, the body is often treated as a variable to be measured or a vessel for the mind.
In somatic inquiry, the body is the instrument of perception and the locus of meaning.
Lived Body Guide Seminar Guide
Phenomenology of Perception in Practice
Somatic Inquiry Sequence
Module 01: The Lived Body
Theoretical Foundation
"To return to things themselves is to return to that world which precedes knowledge, of which knowledge always speaks, and in relation to which every scientific determination is abstract, sign-expressive and dependent, as a geography in relation to the country-side in which we have learnt beforehand what a forest, a prairie or a river is." — Merleau-Ponty
Today's seminar bridges the gap between the "objective body" (the body viewed from the outside as a machine) and the "lived body" (the body as the subjective experience of being-in-the-world).
Socratic Dialogue Prompts
1. The Body as Subject vs. Object
How does your experience of your arm change when you use it to lift a weight versus when you use it to reach for a loved one? Where does the "knowledge" of that action reside?
2. Pre-Reflective Cogito
Merleau-Ponty suggests we "know" how to navigate space before we think about it. Can you recall a moment in dance where your body "solved" a problem before your mind intervened?
3. The Phantom Limb and Body Schema
How does the concept of the "body schema" (an unconscious map of the body) challenge the idea that we only know our bodies through visual or tactile feedback?
Embodied Experiment: The Habitual Body
Protocol 1: The Doorway
Walk through a doorway multiple times. Observe the moment your body anticipates the threshold. How do your shoulders adjust? How does your internal sense of volume shift? Try to "bracket" (epoché) the goal of getting through and focus solely on the spatial negotiation.
Protocol 2: The Inanimate Object
Hold a heavy book. Close your eyes. Sense the book as an extension of your body (incorporation). Then, slowly move it away. At what precise point does the book cease to be "you" and become "it"? Record the kinesthetic shift in your journal.
Research Methodology Bridge
In your thesis work, how might you use Phenomenological Description as a data collection tool?
1
Identify a "movement phenomenon" (e.g., the sensation of weightlessness in a jump).
2
Execute the movement while maintaining an "observer" consciousness.
3
Transcribe the experience immediately, avoiding evaluative language (e.g., instead of "it was good," use "my center of gravity felt suspended above my diaphragm").
Somatic Journaling Template Somatic Inquiry Log
Research Data Entry: Module 01
Researcher:
Date:
Phenomenological Protocol: When recording your data, prioritize first-person descriptive reporting. Avoid psychological interpretations (e.g., "I felt sad") or technical evaluations (e.g., "my turn was off"). Instead, focus on the qualia of the movement: weight, volume, direction, rhythm, and tension.
I. Pre-Movement Bracketing (Epoché)
Note any prevailing thoughts, physical discomforts, or technical expectations you are "bracketing" for this inquiry.
II. Kinetic Data (Phenomenological Description)
Describe the "lived" experience of the movement. Focus on spatiality, temporality, and force. What was the texture of the perception?
III. Synthesis & Philosophical Bridge
How did this experience align with or challenge the concept of the "body schema" or "intentionality"?
SOMATIC_RESEARCH_FORM_V1.1 CONFIDENTIAL / INTERNAL USE ONLY
Authentic Movement Slides Module 02
Authentic Movement
The Discipline of Active Witnessing
Moving vs. Being Moved
In somatic research, we differentiate between willful movement (choreographed, intentional) and authentic movement (impulses arising from the subconscious).
"The mover waits for an impulse to move... and follows it without judgment."
The Research Dyad
The Mover
Moves with eyes closed
Descends into internal sensation
Relinquishes the "social mask"
Source of raw kinetic data
The Witness
Observes without judgment
Tracks their own somatic responses
Holds a safe, containing space
Transcribes movement into data
Witnessing as Data Collection
1. Kinesthetic Empathy
Recording how the witness’s body mirrors or reacts to the mover’s shapes and efforts.
2. Objective Description
Documenting the external spatial and temporal architecture of the movement session.
3. Projection Bracketing
Identifying when the witness is "reading in" their own emotions rather than seeing the data.
20 Minutes of Closed-Eye Movement
Followed by a rigorous transcription of the 'inner witness' narrative. We are looking for the moment the "I" becomes the "it".
Begin Inquiry
Mover Witness Protocol Protocol
Active Witnessing Methodology
SESSION_L02_AM
Authentic Movement
The Core Intent
This protocol is designed to establish a "containing space" for movement research. It is a discipline of deep attention where the mover explores the subconscious and the witness practices objective observation.
Duration
20 / 10 / 10
Move / Reflect / Exchange
I. Role of the Mover
01
Entry: Close your eyes and stand or sit in the center of the space. Wait for an internal impulse. Do not "decide" to move; wait to be moved.
02
Inquiry: Follow the kinetic impulse wherever it leads. It may be a large gesture, a micro-movement, or prolonged stillness. Maintain internal focus.
03
Containment: Trust the witness to hold the physical safety of the room and the boundaries of time. You are "bracketing" the outside world.
II. Role of the Witness
01
Posture: Sit with a clear view of the mover. Maintain a grounded, alert presence. You are a "mirror" and a "vessel."
02
Observation: Track the mover’s shapes, levels, and rhythms. Simultaneously, track your own internal reactions (judgments, emotions, bodily sensations).
03
Bracketing: When you feel a judgment (e.g., "that looks painful"), mentally "bracket" it. Return to objective observation of the movement data.
III. The Verbal Exchange
To maintain the purity of the research data, use the following specific linguistic frames:
The Witness Says
"I saw you [movement description]..."
"As I watched you, I felt [sensation] in my own body..."
"A story/image that came to me was..."
The Mover Says
"I am moving [present tense description]..."
"I felt an impulse to..."
"The internal sensation was..."
Witness Data Log Witness Data Log
Qualitative Kinetic Transcription
Observer ID
Mover ID
Observation Objective
Your role as witness is to function as a high-fidelity sensor. Record external data (what the mover does) in the first column and your internal data (your somatic resonance/projections) in the second. Maintain the distinction between the two.
Time External: Visible Movement Data Internal: Somatic/Reactive Data 0-5' 5-10' 10-15' 15-20'
Bracketing Checklist & Self-Audit
Did I project my own mood onto the mover?
Did I use judgmental language (good/bad/strange)?
Did I "tune out" during stillness?
Did I track my own breath while watching?
Meta-Observation (Patterns / Recurring Motifs) LMA Effort Slides Laban Movement Analysis
Coding the Effort
From abstract movement to quantifiable qualitative data.
The Qualitative Problem
How do we describe movement without relying on subjective adjectives like "energetic" or "graceful"?
LMA provides a taxonomical system for the how of movement.
Observable
Codifiable
Rigorous
Shareable
The 4 Effort Factors
Space
The Attention to the environment.
Direct vs Indirect
Weight
The Impact or Intention.
Strong vs Light
Time
The Urgency or Decision.
Sudden vs Sustained
Flow
The Continuity or Control.
Bound vs Free
Political Rhetoric Coding
Watch the assigned video of a political speech. Look past the words and focus on the gestures .
Are the gestures Direct or Indirect?
Is the weight Strong (persuasive) or Light (dismissive)?
What is the dominant Effort Action?
Video Analysis #1
Your Goal
"To turn the ephemeral nature of movement into a static dataset that can be analyzed alongside text and interviews."
Movement
Code
Knowledge
LMA Effort Reference Sheet Effort Matrix
Laban Movement Analysis Reference
Reference ID
LMA_E08
Fundamental Factors
Space
Attention / Focus
Direct vs. Indirect
Weight
Impact / Intention
Strong vs. Light
Time
Decision / Urgency
Sudden vs. Sustained
Flow
Control / Continuity
Bound vs. Free
The 8 Effort Actions (Qualitative Combinations)
Action Space Weight Time Description Punch (Thrust) Direct Strong Sudden Forceful, direct, quick (e.g., slamming a door). Press Direct Strong Sustained Steady, heavy, controlled (e.g., ironing). Float Indirect Light Sustained Buoyant, wandering, slow (e.g., dandelion seeds). Glide Direct Light Sustained Smooth, direct, effortless (e.g., skating on ice). Slash Indirect Strong Sudden Large, expansive, whips (e.g., scything tall grass). Wring Indirect Strong Sustained Internal tension, multi-directional (e.g., wringing a towel). Dab Direct Light Sudden Light, quick, precise (e.g., typing on a keyboard). Flick Indirect Light Sudden Spontaneous, crisp, multidirectional (e.g., brushing off dust).
Coding Tip: Look for the dominant Effort.
In a 5-minute movement sequence, count the occurrences of each action. The "Effort Profile" that emerges often reveals subconscious intent more clearly than verbal reports.
Movement Coding Worksheet Movement Coding Worksheet
Research Project: Qualitative Gesture Analysis
Researcher: ________________________
Objective: Analyze the assigned video clip or live demonstration. Break down the movement into its constituent Effort Factors. Determine the dominant "Effort Action" and hypothesize the researcher's/mover's intent based on this data.
G_01
Gesture Description: ________________________________________________
Space
Direct Indirect
Weight
Strong Light
Time
Sudden Sustained
Flow
Bound Free
Dominant Effort Action
Interpretation of Intent
G_02
Gesture Description: ________________________________________________
— Space —
— Weight —
— Time —
— Flow —
Dominant Effort Action
Interpretation of Intent
Research Synthesis
What patterns emerged across the multiple gestures? (Dominant Effort Profile)
How did the "Movement Data" contradict or support the "Verbal Message"?
Score Construction Slides Lesson 04
Argument Architecture
Transposing Theoretical Text into Movement Scores
Is Theory Disembodied?
Dense academic abstracts often hide their structural logic behind complex syntax.
By transposing text to movement, we reveal the spatiality of thought.
The Hook
"Map the grammatical structure of a dense theoretical paragraph onto the floor pattern of this room. Where are the commas? Where is the period? Where is the pivot?"
Translation Variables
Space
How do the spatial relationships between "concepts" (locations) mirror the "argument"?
Time
How does the rhythm of the sentences translate to the tempo of the movement?
Effort
What is the "weight" of a claim? Is the tone "Sudden/Direct" or "Sustained/Indirect"?
What is a Score?
A score is a set of instructions for movement. It is not choreography (fixed shapes) but a relational framework .
It documents the logic of the piece.
It allows for repeatability and peer review.
It functions as the "raw data" for the embodied thesis.
Next Step: Mapping
Take your chosen theoretical abstract. Mark the "pivots." Find the "weight." Prepare to map it onto the floor.
Choreographic Score Template Choreographic Score Map
Transposition Matrix: Text to Movement
Researcher ID
Theoretical Abstract (The "Textual Data")
Paste your selected theoretical abstract here. Highlight key verbs and architectural conjunctions (e.g., "however," "therefore," "in contrast").
Spatial Architecture (Floor Plan)
Map the "locations" of your arguments in the physical space.
NORTH / UPSTAGE
SOUTH / DOWNSTAGE
Score Transcription
Text Segment Kinetic Motif LMA Coding Spatial Path
Master Thesis Bridge
How does the spatial relationship of these movements clarify the logical priority of your claims?
Performance Lecture Slides The Capstone
The Embodied Abstract
Presenting Practice-as-Research (PaR) through the Performance-Lecture.
What is a Performance-Lecture?
"A hybrid format that uses the lecture as a performance frame and movement as the primary mode of argumentation."
The body is not just illustrating the words; the body is verifying the research.
Speech as Footnote
Use spoken word for citations, definitions, and contextual framing.
Movement as Argument
Use creative movement to demonstrate the logic and somatic findings.
The Integration Continuum
LECTURE
PERFORMANCE
Mastery Zone
Avoid "Miming"
Don't simply act out what you are saying. Movement should offer new information that the words cannot reach.
Avoid "Abstracting"
Don't dance for 5 minutes without establishing a conceptual anchor. The audience needs to know the "Research Question."
Anatomy of the Presentation
01: The Hook
An embodied provocation that challenges a theoretical assumption.
02: The Methods
Demonstration of the somatic inquiry (LMA or Authentic Movement data).
03: The Argument
The core "choreographic score" that transposes the thesis text.
04: The Synthesis
Final performance-lecture synthesis of findings and implications.
The Essential Question
"How can your moving body articulate a form of knowledge that your writing cannot?"
Go Inward. Move Outward.
Embodied Research Rubric Research Rubric
The Embodied Abstract: Final Assessment
Total Value
100 PTS
This rubric evaluates the integration of theoretical rigor and somatic practice. We are assessing the ability of movement to function as a mode of inquiry rather than a decorative illustration of text.
Criterion Distinguished (25) Proficient (18) Developing (10) Somatic Integration & Presence Mover demonstrates deep internal focus; movement impulses appear authentic and grounded in somatic data. Mover maintains consistent presence but occasionally relies on technical habit over somatic impulse. Movement appears performative or disconnected from internal somatic sensing. Theoretical Rigor (Transposition) The "choreographic score" clearly and innovatively transposes the architectural logic of the chosen theory. Score aligns with the text but occasionally simplifies or mimes the concepts rather than transposing logic. Poor alignment between the movement and the textual argument; transposition is literal or unclear. Qualitative Precision (LMA) Intentional and precise use of Effort actions (Punch, Glide, etc.) as specific data points in the argument. Effort actions are identifiable but lack consistent precision or varied application. Effort factors appear random or uncalculated; no clear link to movement analysis. Synthesis & Clarity Spoken word and movement function in a sophisticated dialogue; movement provides new data. Balance between speech and movement is adequate; movement supports but doesn't always extend the theory. Speech dominates the movement or vice versa; the "research findings" remain opaque.
Critical Witness Feedback & Evaluative Notes
Strengths in the Embodied Argument
Recommendations for Iterative Inquiry
Final Score
/ 100
Performance Lecture Blueprint Performance Blueprint
Lecture Script & Choreographic Logic
Researcher ID
Thesis Statement / Core Research Question
Identify the central "theoretical knot" you are attempting to untie through movement.
Presentation Timeline & Scoring
Time Spoken Script (Footnotes) Kinetic Argument (Score) Theoretical Anchor 0-2' Introduction: The Provocation: Context/Hook 2-5' LMA/AM Data 5-12' Score Transposition 12-15' Conclusion: The Resolution: Findings/Synthesis
Lighting / Media Cues
Spatial / Prop Requirements 
