Camille Buttingsrud

Dancers and dance philosophers report on experiences of a certain form of sense making and bodily thinking through the dancing body. Yet, discussions on expertise and consciousness are often framed within canonical philosophical world-views that make it difficult to fully recognize, verbalize, and value the full variety of embodied and affective facets of subjectivity. Using qualitative interviews with five professional dancers and choreographers, I make an attempt to disclose the characteristics of what I consider to be a largely overseen state of consciousness: embodied reflection. Dancers are familiar with this attentive bodily presence, which constitutes their work mode and heightens their abilities as experts. Detailed descriptions of their daily work at the theatre help us grasp the qualities and understand the enigmas of the absorbed state of bodily thinking. Husserl’s theories on reflection and Merleau-Ponty’s work on motoricity support our understanding of the structures behind embodied reflection. I believe it is a common human resource, and that whether we are experts or not, we all have the ability to reflect non-conceptually through bodily and/or affective activity.

Philosophers investigating the experiences of the dancing subject (Sheets-Johnstone 1980, 2009, 2011, 2012; Parviainen 1998; Legrand 2007, 2013; Legrand & Ravn 2009; Montero 2013; Foultier & Roos 2013) unearth vast variations of embodied consciousness and cognition in performing body experts. The traditional phenomenological literature provides us with descriptions and definitions of reflective self-consciousness as well as of pre-reflective bodily absorption, but when it comes to the states of self-consciousness dance philosophers refer to as thinking in movement and a form of reflective consciousness at a bodily level – as well as to dancers’ re- ported experiences of being in a trance and yet hyper-aware – we are challenged in terms of terminology and precise descriptions. After empirical research on dancers’ experiences and studies of the above-mentioned philosophies of dance, aligning this material with Husserl, Zahavi and other phenomenologists’ descriptions of reflection and embodied self-consciousness, I find it plausible to acknowledge the existence of a third form of self- consciousness: embodied reflection, a reflective process experienced through and with the embodied and/or emotional self. In this article I aspire to capture the characteristics of this transcendence of the bodily self.