This chapter explores the relationship between dance and breath from a neophenomenological perspective. Specifically, it focuses on the contribution of the breath to the generation of dance movement, understood as an expansive response to the contraction experienced under the influence of the motor suggestions that surround us. After outlining some basic concepts of Hermann Schmitz’s ‘new phenomenology,’ i.e., the philosophical approach that provides the theoretical framework in which our research is inscribed, we focus on the notion of the ‘felt body,’ showing the structural link between dance and our ‘way of feeling’ in space. This allows us to show the relationship between inhalation and exhalation and the ‘felt-bodily dynamic.’ We will therefore emphasize the link between the kind of breathing required of dancers and the kind of posture they need to adopt in order to refine their sensitivity to the affective and motor prompts present in space. This will lead us to focus on the contribution of breathing to the way in which dancers master their relationship to gravity, which depends on their questioning of the habitual relationship to gravity. Using Erwin Straus’ notions of ‘pathicity’ and ‘tonicity,’ we will show that dance movements emerge precisely when one welcomes the ‘motor orientation’ inherent in the force of gravity and the ‘dynamising’ force inherent in any affective involvement. Finally, we show how Martha Graham’s ‘contract-release’ technique provides a powerful example of the role of breathing in opening up to the affective-motor and expressive potential offered by the dance environment.