This thesis focuses on the idea of Flow (Csikszentmihalyi, 1990), a psychological phenomenon
that involves complete immersion and “optimal” experience. Whereas many existing studies
focus on telic Flow – e.g. fixed goals, performance-oriented – the current thesis places focus on
paratelic Flow – e.g. open goals, sensation-oriented – by exploring its role in dance and
movement performance (Swann et al., 2018). In response to the call to reconceptualise and
clarify the concept of Flow with regards to its various manifestations, the thesis draws from
other related/similar concepts, such as pre-reflective experiences in dance (Fraleigh, 1987), the
idea of no-mind in Zen practice (Yuasa, 1993), and the hypofrontality theory (Dietrich, 2004).
Building on these concepts, the thesis examines how dancers might experience paratelic Flow
within meditative movement episodes. Another focus of the thesis is to explore how Flow
experiences might interact with a dancer’s physical performance. This line of inquiry draws
inspiration from both philosophical and neurocognitive accounts, which identify a relationship
between Flow and “optimal” movement performance. Given the paucity of cross-disciplinary
dialogue, the thesis attempts to investigate the above topics through an interdisciplinary mixed-methods approach.

Through an exploratory survey (Chapter 4) followed by a series of event-focused
interviews (Chapter 5) – the thesis explores 1.) how dancers and movement practitioners might
experience Flow during a single movement session, 2.) how these states might interact with the
mover’s physical performance, and 3.) how viewers perceive and describe a mover in Flow. The
survey results indicated that movers may experience Flow through various meditative episodes
that arise through movement, including improvisational sessions, technique classes, and
performative events. The interview study showed that Flow appears in a cyclical process
involving five distinct stages – Entering, Opening, Riding, Ebbing, and Resetting – during
which the movers’ physical performance show observable changes in quality. Notably, during
the “peak” state of Flow (Riding), movements are described by observers as fluid, organic, and
well-coordinated, which is consistent with existing literature. Through these findings, the thesis
provides clarity to the role of Flow during dance and movement performance and demonstrates
possible links between the dancer’s mental state and his/her physical performance