This paper is concerned with two related purposes. The first is to explicate what dance as an art form should comprise if it to be taught as a distinctive aspect of education in the curriculum. The second is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but a paradigm case of what it is. Put differently, it will be argued that the practice of dance is not only an excellent vehicle in the furtherance of somaesthetics, along with some other forms of sport, but an instance of its very embodiment. As a necessary prelude to what is to follow the paper will consider briefly such topics as education in relation to the art of dance as a valued human practice and the relation of the aesthetic to the artistic before moving on to the substantive part which is concerned with three key aspects of an education in dance--understanding and appraising; creating and composing; and performing and expressing. Particular attention will be given to the last of these which is centrally concerned with the dancer as agent and the dancer as embodiment of expressive form before providing some general conclusions about this approach to dance in relation to a broader understanding of aesthetics. One key finding is that by becoming educated 'in' dance the person finds and experiences his or her somaesthetic self and with it an opportunity for aesthetic gratification.