This essay traces the author's embodied practices toward the creation of an evening-length, spontaneously composed solo. Specifically, the author focuses on her work to release superficial and deep abdominal musculature to discover a new movement vocabulary, and greater access to the mobility of the pelvis/belly, ribs, and spine. The author reflects on the process through the overlapping lenses of her study of the works of Moshe Feldenkrais during the creative process and her contemporaneous engagement with Michel Foucault and feminist theorists Iris Marion Young, Elizabeth Grosz, and Judith Butler.