Following the sensual emphasis in Gaga and its analysis, Katan defines Gaga as phenomenological method. The chapter underlines the tuning of intentionality with somatic attention as a knowledgeable capacity that synchronizes body and mind. The chapter stresses the analytic knowledge of the dancers and confronts dualistic philosophical viewpoints that divide between knowing how and knowing that. Additionally, the chapter puts forward the suggestion that the mental life of dancers interacts with the perceptual process of movement and therefore affects it.