From Sensation & Perception to Flow State of Being:

the Kinaesthetic Dance Practice of Being Present


Allow your sensation to move you.

Allow your intuition to guide you.

Allow your creative imagination to lead you.

Allow your essence life-force energy to dance you.


Allow the Sensation to Move you

Allow the Nature to Dance you

Allow the Sunshine to Kiss you

Allow the Wind to Fly you

Allow the Water to Float you

Allow the Soil to Ground you


Fly and float freely with the wing of imagination and sensation,

and navigate the adventurous journey with flow state of being.


Kinaesthetic energy dance art work: the transformative process

Everyone was born with the innate gift to dance freely to express the essence with grace and ease, and this treasure is deeply hidden within us.
In this work, we melt into the floor, surrender to the gravity, feel the support from the mother earth, let go all the old patterns and unnecessary tension, step outside of the mind, just be in the present moment. Being attentive to different senses of the kinaesthetic experiences, the conscious awareness is heightened to perceive the inner body landscape, the outer world, and the space in between. With poetic imagery and tactile tracing, the deep layers of who we really are emerges. With vulnerability and trust, we follow the intuition, allow our imagination to guide us to move. You are danced by your essence, the life-force energy dancing in a flow state of being, with a sense of wholeness and connected ecstasy. In this moment, you become the image, you become the perception, you become the energy. You become the true essence of you.


This practice as research “From Sensation and Perception to Flow State of Being: the Kinaesthetic Dance Practice of Being Present” aims to identify how sensation and perception in dancing experiences lead dancers to have the sense of flow and connectivity, based on the kinaesthetic dance practice of being present. The author Jodie Judy Lu (Lu, Ying-Chu) reflects her dancing experiences in Skinner Releasing Technique and Eva Karczag’s dance practice, to analyze the characteristic elements of each dance work, to identify the shared methodologies and the shared principles, which is the poetic imagery and verbal guidance, and the tactile hands-on touch work, to work on the psychophysical body-mind relationship, where dancers reach the deeper states to change, transform and integrate.


In this deeper state, dancers let go of conscious control and old patterns, to absorb the poetic imagery on the alpha state, to be attentive to present sensation from tactile work, to have perception of the inner body landscape, and to move kinaesthetically from the sensation, imagination and intuition. In this state, the innate creative expression is liberated, imagination occurs with creative intuition and sensorial perception, as the essence life-force energy leading people to dance. It is in this state of being that dancers are transformed, where they feel they are danced rather than they are making efforts to dance, therefore, dancers become the image, and the perception. It is human organism that everyone can dance and move with ease and grace. In this flow state of being, dancers are present at every moment, expressing their own unique creativity, and dancing with their essence life-force energy.


Along the whole investigative process, some body wisdom, artistic creation wisdom and life wisdom is recognised, realized and embodied, which is to trust the unknown and allow the process to unfold, making this practice as research shift from outcome-oriented to process-oriented. It is concluded that the flow is in the process, and the flow only exists at each present moment. Therefore, the flow state of being happens when being present.



This is a work integrating technical dance training and creative process. After liberating and transforming in all dimensions of the whole self, there is a flow of ideas emerging that you would be amazed by your innate creative expression flowing with freedom. 

Special thanks to Lizzie Sells for her lovely spirit, artistic collaboration, and embodying discovery in this project.

Inspired by dearest Eva Karczag, Joan Skinner (Skinner Releasing Technique), and Benoît Lachambre (Par B.L.eux), and I sincerely appreciate that in my dance art career, I have the honour to experience and embody their dance art work. I am also very grateful that in my dance art career, Robin Dingemans, Jeremy Nelson, and Kirsty Alexander have been my dearest mentors, inspiring me and guiding me to navigate in this unfolding journey.  

Stage 1. Arrival and Breathing: This Space, This Moment

Cultivate as the heightened awareness of your sensation.

“All my senses support each other. The senses communicate with one another. (Nelson, 1995-1996)”


Stage 2. Bodymapping – tactile work, hands on touch

Allow your Sensation to Move you.

Allow your Intuition to Guide you.

The innate body intelligence, a worshiping sequence to map the body.

Tracing, bridging, connecting, lengthening.

Sense my internal body landscape and space.

Move with the resonance,

Feel the volume of the human body structure,

And the sense of three-dimensionality.

Perceive my internal body landscape and space.

Imagination occurs with creative intuition and sensorial perception.

“Dancing is experienced not as a perception of movement, but a movement of perceptions.” – Bridget Davis (1970: 39) 


Stage 3. Dance with the Flow

Allow your creative imagination to lead you.

Allow your essence life-force energy to dance you.

Move with the integrated imagination and sensation,

With the expressive freedom and playful curiosity.

I move, I dance, I become the image.

“I experience therefore I dance.” – Kirsty Alexander (2001)


This is a video of participants dancing in the FLOW by themselves in the session.
Please note that this is NOT a demonstration of how you should dance.
Everyone has their own unique way of dancing, you don’t need to learn to dance,
you just need to be curious to explore, and follow your intuition, and allow your life-force energy to FLOW through you.

It would be my honour if you’re interested to read my full dissertation for this project.
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