This chapter explores an ontology and epistemology of what dance as a specific mode of proficiency and insight can ‘teach’ us in and about education as seeking to dialogue with the social and natural world. The dialogue evolving in working in the arts is described in terms of aesthetic experiencing, putting the work of the senses central, a mode of experiencing marked by sensuousness, wonder and surprise, and a mode of ethical interaction in which plurality and intersubjectivity come before identity and expression. In dance the dialogue is kinaesthetic, unfolding through kinaesthetic experiencing, to take initiative and respond to movement. Dancing is opening one’s senses to the world, letting the world reveal itself aesthetically and offer its gifts to the one willing to receive these. The work of the senses precedes cognition, emotion and expression. Ultimately, dancing together in school is seen as encountering a world of other and others, and therethrough encountering oneself. Dance is at the same time the most magic and realistic of art modes, each step coming into being in the flesh, filled with meaning of and in itself. Exploring dance’s elements space, time, body and force, the young dancers immerse in joint sensuous exploration of the world. This chapter inquires into what attending to movement entails in a broader educational, relational and existential perspective. Creating spaces in school to work in an art mode like dance, it is argued, is creating spaces to hold on and figure out what to do with all the knowledge, skills and social attitudes gained in education. Spaces to meet the unknown, the not beforehand determined and the possibly unknowable. Spaces for freedom of initiative and thought. Spaces of becoming as subjects capable of acting on that freedom, for the good of one’s life and the world.