This article explores the idea of a deeply embodied consciousness during movement, which has become one of the most intensely discussed topics in terms of the phenomenology and spirituality of dance and somatic practices. The strive towards an embodied state of consciousness has been historically present in the context of Zen Buddhist philosophy, wherein true embodiment is considered an enlightened state of being, wherein one’s consciousness transcends the barriers of mind versus body, self versus other and human versus non-human; it (...) is thought that, in this state, we experience a visceral enlightenment towards our inherent connection to (or interrelation with) the spiritual and physical world around us, and that this state is a form of ‘purified’ – or even optimal – being. Phenomenological aspects underpinning this paradigm will be unpacked through representative cases of eastern movement practices whose founding philosophies align with Zen Buddhist thought. Among these movement practices will be Nihon-buyo (Japanese traditional dance), eastern martial arts and Butoh, which all utilize movement as a meditative process towards a state of selfworld transcendence. At the end of the article, the phenomenon of deeply embodied consciousness will be reframed and explained through the lens of neurophenomenology, with the aim of bringing forth the validity and relevance of this phenomenon in the newly emerging scientific research of consciousness and attention. (shrink)

The act of dance appears as a pattern of conscious movements in space and time, but a dancer who has the ability to go beyond the limits of space and time (experientially) can bring about a non-local experience of oneself and the audience making it an ecstatic communion. In this paper, we are interested in examining the extent of subjective experience of a dancer and his audience; hence, we take up a case study in first-person to understand the performer-audience interaction. (...) For this purpose, we chose Indian contemporary dancer Astad Deboo, an artist who is known to create such a magical two-way interaction consigning his audience as well as himself to a state of being mesmerized. The art of creating a non-localexperience seems to be his forte, where the audience can feel him within, while he feels his audience within. To explain this phenomenon, we propose the resonance of inner experiential states of the performer and audience as the underlying mechanism that creates a non-local interaction between them. To validate the present hypothesis, one must subject both the performer and observer to experimental studies, which involve simultaneous tracking and monitoring of the active zones in the brain associated with performing and performance viewing. In the above context, it would also be interesting to see if there exists a point of time during the performance event, where both these subjects report similar active zones in the brain. (shrink)