In an enviroment where the dance is ephemeral and the job too, the main interest of this project the wondering about the notions of worthy job of dancers in the case of the Jorge Eliecer Gaitan Theater Resident Dance Company, the first company totally financed and thought from within a public entity in the city of Bogota (the Dance Management of the District Institute of the Arts - Idartes). From a quilitative analysis that was based on a file review (institutional documents), interviews with different field agents and participant observation, the trajectory of a cultural policy for dance was rebuilt that sought to solve the needs of instability and job insecurity experienced by the dancers of the sector. In this way, the structural tensions of the field that are sharpened in the implementation of this public labor formalization initiative are evidenced, by contrasting with the independent job forms of the dancer. This work concludes that the values of versatility, adaptation and resilience, characteristic of the artist as a worker, end up being functional in the context of a flexible economy (Menger, 2001). In the same way, it becomes obvious that job instability is structural and therefore, is not a phenomenon that can be resolved with the hiring models proposed by the approaches of the different Dance Managements that accompanied this process. Likewise, this study includes dance as a World of Art, that is, as a cooperation network, as a collective work that includes different agents of the sector (Becker, 2008) and not only dancers or the movement of bodies per se, as well it understands the State [or public entity] “as a complex organization, as an arena of relations and inequalities of power and influence between different actors” (Martinez, 2013, p. 158, quotes Gupta) to analyze the actions of dance managers, dancers in decision-making positions in the local administration.