「現象場」會形成一種控制力，決定著每個舞者身體的舞動、姿態、內在情感的凝結，為了瞭解民族舞蹈創作是如何受其當代性的「現象場」的影響，筆者將透過梅洛一龐蒂的現象學論點與方法來進行探究。身體知覺的現象是複雜交識、重重疊疊、更新置換的，知覺在身體與環境的交識互動之中形成一種「場」，它可說是一種「現象場」，並且它是不斷變化的，對於民族舞蹈創作者而言，這一種「現象場」主導著創作的進行。在編創的「現象場」裡，我的身體與舞蹈者的身體起著交互的衝擊，身體知覺和創作的思維也在身體裡流動中激發著，意識的流動存在於創作者與舞者的身體之間。依據本文的探究，似乎可以理解身體具備著一種「活」的現象性，也由於此「活」的現象性，使其「現象場」不斷地更新、置換、變異！

"Phenomenal field" forms a kind of control power, it decides dancers' body moves and the coagulation of posture and internal emotion in each dance. In order to understand how folk dance creations are affected by contemporary phenomenal field, we investigate the standpoint and method of phenomenology of Merleau-Ponty. The phenomenon of body perception is a complicated intertexture with repeatedly, renew displacement. The body perception forms a "field" in the intertexture interacted with the body and the environment. It can be treated as a kind of "phenomenon field," and it continuously changes. For dance creators, this kind of "phenomenal field" predominates the artistic creation. In creative "phenomenal field," my body and dancer's body impact interactively. Body perception and the creation ideas also stimulate the flows of body and consciousness. Based on this inquisition, it seems understanding that the body owns a phenomenon of "live" that makes "phenomenal field" to renew, replace, and change unceasingly!