I denne artikel kombineres fænomenologi og etnografiske metoder med det formål at beskrive, hvorledes dansere bruger deres kropsbevidsthed og arbejder med deres bevægelsesfornemmelse. Artiklens formål forfølges i to empiriske undersøgelser. Den første undersøgelse har afsæt i professionelle danseres daglige praksis – relateret til henholdsvis ballet og moderne danseteknikker. Dansernes beskrivelser viser, at kroppens fysikalitet kan være nærværende for bevidstheden som en fornemmelse, uden at der er tale om et refleksivt foretagende, og uden at kroppen fremtræder som objekt. Denne fornemmelse udgør en vigtig ekstra, eller tredje, dimension af dansernes kropslige selvbevidsthed og deres bevægelsesekspertise. Den anden undersøgelse omhandler argentinsk tango og sportsdans. I begge former for pardans har partnerens bevægelser helt grundlæggende betydning for dansernes bevægelsesfornemmelse. Fænomenologisk set er der tale om en kropslig ekstension: Den bevægelsesfælleshed, der etableres i interaktionen, er en betingelse og et udgangspunkt for sansningen af bevægelserne. Dansernes beskrivelser peger dog også på, at interaktionen kan være i fokus i forskellig grad. De to fænomenologisk relaterede analyser udfordrer dermed ideen om at kroppen skulle være fraværende for bevidstheden, når dansefærdighederne beherskes. I stedet er en tredje dimension af dansernes kropslige selvbevidsthed central for danserens præstation, og fornemmelser af bevægelsesfællesheder bearbejdes strategisk. Søgeord: tværvidenskabelig metodologi, danseforskning, professionelle dansere, argentinsk tango, sportsdans. Interweaving phenomenological explorations and ethnographical methods this paper aims at contributing to explicating how dancers use their sense of the physical body and its movements when training and performing their expertise. The aim is pursued in two analyses. The first analysis focuses on the practices of professional dancers, who in different ways are trained in ballet and contemporary techniques. Their descriptions reveal how the body’s physicality is present to their experience in a non-objectifying way while dancing. This kind of experience is to be considered an extra dimension of the dancers’ bodily self-consciousness, which concerns what the body feels like in a physical sense when undergoing the movement. The second analysis, which is based on the practices of tango dancers and elite sports dancers, focuses on how they come to form a shared body when dancing with a partner. Phenomenologically described, their bodies extend: their sense of movement includes the “other” in a fundamental way and unfolds on the level of operative intentionality. However, these dancers also make us aware that experiencing the body as extended and shared does not only “happen” but is worked strategically throughout their practice. Accordingly, the two phenomenological analyses challenge the idea that in the skilled performance, the expert is absorbed in the doing. Rather, an extra dimension of bodily self- consciousness is important to the dancers’ way of performing – and the dancers’ sense of movement involves continual processes of mutual incorporation. Keywords: interdisciplinary methodology, dance research, professional dancers, Argentinean tango, sportsdance.
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