I recommend reading Pam Weintraub’s article on Nietzsche and Dance. What is crucial about this perspective is that it views dancing not as doing, as much as undoing, unraveling, untying. Here is, to me, the most significant passage:
… those who dance are not burdened by ressentiment, or need for revenge. They have the sensory discernment needed to resist pernicious applications of the ascetic ideal. In Twilight of the Idols (1889) and The Antichrist (1895), dance appears as a discipline for training sensory awareness and cultivating skills of perception and responsibility, so that one is able to participate responsibly in the creation of values, conscious of what one’s movements are making.
Dancing requires letting go. Paradoxically, it is in that act of letting go that we connect to something larger and more significant. First, one must let go. Let go of the stand-still, of fear, of self-judgment, of the self, and of the pre-occupation with self-presentation.
Letting go requires detachment with what goes on in the mind (“second-order intentionality” as Elstrup and Engelsted might say), and a return to sensuality (“first order intentionality”). A return to the senses. Returning to what is going on. Dancing requires giving in to a “radical realism”.
The letting go is the ground for re-engagement. Only after untying the existing knots, one can use the strings to tie oneself anew. Letting go provides the ground for a new search, a new aim, or a new encounter with one’s aim.