I have been reading a fair bit recently about body and movement with regard to dancing. However, behind all this, I am conscious of my desire to explore the phenomenological aspect of a classical ballet dancer’s experience. This is proving difficult to get a starting point on since a great deal of the literature on the subject refers to the body rather then the mind.
Basically, phenomenology studies the structure of various types of experience ranging from perception, thought, memory, imagination, emotion, desire, and volition to bodily awareness, embodied action, and social activity, including linguistic activity. The structure of these forms of experience typically involves what Husserl called “intentionality”, that is, the directedness of experience toward things in the world… Thus, phenomenology develops a complex account of temporal awareness (within the stream of consciousness), spatial awareness (notably in perception), attention (distinguishing focal and marginal or “horizonal” awareness), awareness of one’s own experience (self-consciousness, in one sense), self-awareness (awareness-of-oneself), the self in different roles (as thinking, acting, etc.), embodied action (including kinesthetic awareness of one’s movement), purpose or intention in action (more or less explicit), awareness of other persons (in empathy, intersubjectivity, collectivity), linguistic activity (involving meaning, communication, understanding others), social interaction (including collective action), and everyday activity in our surrounding life-world (in a particular culture). Stanford Encylopedia of Philosophy