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This article aims to map and articulate two practices around the body and health care: selfcare and hapticality. These two practices and perspectives are intertwined in the emblematic phrase attributed to feminist Emma Goldman "if I can't dance, it's not my revolution". From the perspective of Erin Manning's minor gestures, dance is presented as a meeting that enables and stimulates this knowledge that is rarely addressed in health education. Joy, poetry and knowledge of one's own body and the body of the other, as well as attention, breathing and support are axes for listening and acting in the world. A smaller dance, which understands the body as a process of invention, creation and space of experience. This writing exercise aims to bring care and struggle together, in a possibility of transformation, revolution and ethics in the health area. [ABSTRACT FROM AUTHOR]

Objective of the study: This article seeks to think about art and the common from a process of construction and consolidation of an artistic intervention thought and created based on the approach in a vulnerable territory of the city of Santos (São Paulo, Brazil). Methodology / approach: In this writing exercise, the narrated experience is doubled by the performance entitled Friction, developed throughout the year 2018 in an artistic residence that had as its cut precisely actions of art, territory and community. Theoretical / methodological contributions: A common choreography is always reconfiguration, uniqueness and difference, which becomes visible from a "community figure", which is undone by the encounters and new configurations that a creative process arranges. Main results: A new configuration of bodies, times and places crossed by art. Based on cartographic writing, the text discusses approaches between art and the common and how their experiments provide agency between body, affection, aesthetics and politics. Theoretical / methodological contributions: A common choreography is always reconfiguration, uniqueness and difference, which becomes visible from a "community figure", which is undone by the encounters and new configurations that a creative process arranges. Conclusion: Experiences like this are attentive and careful to ethical issues, can provide an expansion in the field of inventive practices and encounter in a territory, and change determined values and perspectives in colonialist cities. [ABSTRACT FROM AUTHOR]