Resumo: A dança, enquanto arte performativa, utiliza o corpo como instrumento fundamental do discurso artístico e como forma de comunicação e relação com o mundo. Partindo-se do facto do bailarino ser detentor do corpo que dá corpo à dança, entendemos (re)visitar autores aos quais reconhecemos afinidades e partilhar algumas reflexões sobre o corpo, a sua importância, significância e inscrição nos vastos domínios da dança. Assumimos o corpo enquanto instrumento "afinado" de um bailarino que é capaz de ter domínio sobre esse corpo e que tem competências para criar um novo vocabulário de movimento, respondendo de forma mais eficaz e concordante com a pluralidade e mutabilidade das solicitações do mercado da dança.Abstract: As a performance art, dance uses the body as a core instrument of artistic discourse and as a way to communicate and relate to the world. Starting from the fact that dancers hold the bodies that embody dance, we intend to (re)visit authors with whom we share affinities and reflections about the body, its importance, significance and inscription in the vast domains of Dance. We take the body as the "tuned" instrument of a dancer who is able to master that body and who has the skills to create a new vocabulary for movement, thus responding more effectively and in accordance with the plurality and changeability of Dance market requests.Resumen: La danza como arte de la performance, utiliza el cuerpo como instrumento fundamental del discurso artístico y como medio de comunicación y relación con el mundo. Partiendo del hecho de que el bailarín está en posesión del cuerpo que da cuerpo a la danza, (re)visitamos autores con los cuales reconocemos afinidades y compartimos algunas reflexiones sobre el cuerpo, su importancia, significado y registro en los vastos dominios de la danza. Asumimos el cuerpo como un instrumento "afinado" de un bailarín que es capaz de tener dominio sobre ese cuerpo y que tiene competencias para crear un nuevo vocabulario del movimiento, respondiendo de manera más eficaz y de acuerdo con la pluralidad y la mutabilidad de las demandas del mercado de la danza. Palavras chave:Dança. Arte. Corpo humano.

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The subjective nature of pain and the lack of a gold standard for objective measurement hinders effective assessment, diagnosis, and treatment. Some individuals, such as professional dancers, are better in assessing and reporting bodily sensations. This observational study aimed to assess whether dancers report their pain less variably, than other people do. After consenting, subjects completed the focused analgesia selection test (FAST), which assesses subjects' variability of pain reports. FAST outcomes, ICC and R 2 reflect the magnitude of variability of pain reports observed. In addition, subjects underwent a taste task, which similarly assesses variability of tastes (salty and sweet) intensity reports and completed the Multidimensional Assessment of Interoceptive Awareness questionnaire. Thirty-three professional dancers and 33 healthy aged-matched controls were recruited. The dancers exhibited less variability of pain reports then controls (P = .013), but not in case of tastes-reports.