SEEING MOVEMENT: DANCING BODIES AND THE SENSUALITY OF PLACE INTRODUCTION This paper is an investigation of the concept of place understood through the prism of dance as a particular form of sensuous mobility. It takes as its point of departure Jean-François Augoyard’s argument in his Pas à pas that it is ‘only through the body that space becomes a world’ (2007, ix). Although space is often characterised in terms of its structural properties, when placed in the context of corporeal action and perception, bodies and the spaces they inhabit are inseparable (Duffy et al. 2011; Edensor 2010; Lefebvre 2004; Merleau-Ponty 1962; Probyn 2005). In order to better understand this relationship, we need to pay close attention to the daily relationships individuals have with such spaces. This can be addressed through a number of approaches from demographic analysis to the detailed description of spatial affordances, but in this paper, we have taken our cue from dance studies and foregrounded the visibility of the moving body in the conceptualisation of place. Examining the dancing body reveals an unspoken corporeal knowledge that subsists in our engagement with the everyday world, which exceeds our ways of talking or writing about dance as an art form. When we observe any corporeal movement, even inattentively, it is embedded in a particular sensual environment but one that is configured with respect to our own capacity to move. In the study of dance, this relationship between corporeal knowledge and the knowledge of place is always mediated by particular sensual and aesthetic modalities, from the proprioceptive mapping of choreographic possibility to the audience’s understanding of movement as part of a larger visual event. The theories of dance provide an understanding of the kinaesthetic intentionality of what it means to be a dancer, but also an understanding of what it means to observe the movement of bodies in space. This interplay between the performing and observed body contributes to the understanding of the sensuality of a place. In this paper, the emphasis is on sight as a sensual modality and how seeing movement reveals a 1