Conclusion

Abstract

In conclusion of the opening theme, knowing the dancer from the dance, even though they are inseparable in practice, is helpfully understood when conceived in the following theoretical fashion (cf. Gill, 1975). First, attend to the particular positions and movements of the dancer. These mediate an awareness of a richer dimension called the dance, in turn. As the latter subsidiarily awareness comes in focus, the positions and movements of the dancer remain but subsidiary themselves. Thus, the distinction between the dancer and the dance emerges. Moving back and forth between the particularities of the dancer and the broader significance of the dance amplifies the experiential knowledge gained through aesthetic awareness.