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espanolEsta investigacion parte del nucleo de la fenomenomenologia de M. Merleau-Ponty: el cuerpo vivido en relacion con el cuerpo objetivo y el cuerpo habitual. De esta relacion se seguira la del espacio corporal y el espacio de las cosas, asi como la del movimiento vivido –origen de la danza- y el mero cambio de lugar. Comienza contrastando dicho nucleo con la concepcion de la danza de P. Valery. Ambos la consideran el arte del movimiento corporal, pero el fenomenologo va mas alla con su concepcion del cuerpo como origen de todo simbolismo y expresion creadora. Mostraremos la peculiar relacion de la danza con las habilidades motoras y con la percepcion. Con la ayuda de la fenomenologia de la genesis, discutiremos la tesis de Sheets-Johnston de la imposibilidad de verse danzando. Concluiremos describiendo el ritmo de la danza como expresion universal del movimiento. EnglishThis study takes as its starting point the core of the Merleau-Ponty’s Phenomenology: the body lived in relation to the objective body and the habitual body. From it derives the relation between the bodily space and the space of things, as well as the lived movement – the true origin of dance-, and the mere change of place. This article begins by contrasting the aforementioned nucleus with the Valery’s conception of dance. Both of them consider it to be the art of bodily movement, but the phenomenologist goes further by understanding the body as the source of symbolism and creative expression. I will show the peculiar relationship between dance, motor skills and perception. With the help of the phenomenology of genesis, I will discuss Sheets-Johnston’s thesis that it is impossible to see oneself dancing. We will conclude by describing the rhythm of the dance as a universal expression of the movement.

Fenomenología de la danza: M. Merleau-Ponty versus Sheets-Johnston