 Richard Shusterman has developed his own phenomenological theory, which he calls “somaesthetics”, in order to explain an embodied engagement with art, including dance, that includes a sort of kinesthetic awareness of interior, somatic processes (see 2008, 2009, 2011a, 2011b, 2011c and 2012). (For more on dance and somatic engagement see Eddy 2002; Fraleigh 2015; Weber 2019; and Williamson et al. 2014. See also LaMothe 2009; Pakes 2003, 2017a, and 2019; and Parvainen 2002 for work on the related field of dance, the body and epistemology.)