Driven by the urgency to find radically tender ways of relating to myself, to others and to the world, I propose an understanding of dance practice that seeks to expand its prescriptive and disciplinary conditions to open spaces for ethical enjoyment. Three robust terrains are presented to identify the particularities of these prescriptions and reflect on the strategies that both I and others have taken in trying to expand them: training, the creative process, and the final outcome. Bound to the regime of singularity in contemporary dance —a labor regime that privileges notions of individuality (dancer), authorship (choreographer) and autonomy (pieces) —this study examines the fundamental values of this regime, by briefly outlining its political implications, and presents the strategies used throughout my research to position myself as a dissident within each field. This work concludes by opening questions about the relevance and power of dance as a force for political dissent— to be answered perhaps later on beyond my master studies —by establishing a fundamental starting point: an ethics of joy.