The following investigation presents the perceptions about; the technique and the educational methods in contemporary dance, and what it means to be a dancer in this field. These perceptions are done based on interviews made to contemporary dancers, because it takes into account their experiences in universities, schools, academies, and companies. These are places that are indispensable in what is proposed as formal education, non-formal education, and informal education. The reflection is about, how the contemporary dance is teached now, and the importance that the educational institutions and the teachers have now, even more, given the transition contemporary dance is leading into a formal education. Method and speech behind the technique, are essential because it’s not about being perfect, it’s about getting to know through the body, the space, one another, and about having a subjective look that keeps in mind the possibilities of its own body. The techniques that support these perceptions are somatic, postmodern, and some, modern techniques. As the dance becomes academic, ballet comes up as a fundamental axis to portray the dancer, next to a variety of possibilities that offers to the student that at the same time constraints it. Additionally, the reflection has to do with the fact that dancers, as they embody and learn, they become the multipliers of the practice. Since through them, it is established and represented the philosophy of contemporary dance. Therefore, it is proposed that this practice adopts different forms of existence and different ways of being reflected on dancers. Thus, contemporary dance becomes, the body, introspection, collective, political, and life.