Rhythms of Liminality: An Example from Performance

This article explores the rhythms of liminality, framing them as structures of lived temporality. Drawing on the phenomenological insights of Husserl and Schutz, Dauenhauer’s analysis of silence, Deleuze and Guattari’s ontology of becoming, and Degas’s paintings of dancers, liminality is conceptualized as a dynamic threshold in which rhythmic forces converge prior to expressive actualization. Liminal temporality thus operates as a site of rhythmic synchronization, where intentional arcs stretch toward the not-yet, and being emerges through silent, relational becoming.