In dance conceived somatically, we can excavate body memories and possible selves. This is so precisely because somatic conceptions of dance concentrate on what the mover is experiencing, rather than on impressing an audience. The attitude and focus of the performer is key. Thus any form of dance might be conceived with first-person attention to th

I also know that I am doing this for love of the activity—or stated more objectively—for autotelic reasons internal to the process. Somatic studies emphasize autotelic purposes—doing something for its own sake, as in yoga and Zen where all work is seen as equal. In these perspectives as in somatic processes, we work not toward a particular end, but

communication, but we should not lose track of the original purposes of dance: pleasure, freedom, praise, and the opportunity to listen to our hearts in the making.