This essay explores the possibilities afforded the viewer through the creation of a virtual visual and kinesthetic arts atlas, along the lines of the one conceived by the German art historian Aby Warburg in 1929. Such an atlas provides dance scholars with the tools to enhance their perceptions of dance and other visual art and video works through applying a kaleidoscopic mapping strategy. I describe my creation of a visual and kinesthetic atlas, paying special attention to detecting subtexts that may be read across a range of kinetic metaphors, symbols, and motifs in selected works by Ohad Naharin, Sharon Eyal and Gai Behar, Roy Assaf, Noa Zuk, and Ohad Fishof.