The present thesis: “Botar Figurás” and “Desfigurar a moeda”: Insets and formation for the scene of a “Cynic” personal dance, arises from the procedure of creation in personal dance, from immersion with the object, the folkloric Warrior dance from Alagoas and its insets, short dramatic representations, animals, figures or as the dancers called “Figurás”; “Botar figurás” means to act out those insets seen in the Folkloric Warrior dance from Alagoas and “Desfigurar a moeda”, to create another currency, a key concept of the Cynic Movement from old ages (SLOTERDIJK, 2012), (GOULET-GAZET; BRANHAM, 2007), (FOUCAULT, 1990), (ANTISERI; REA-LE, 1989). The caption: "Insets and formation for the scene of a “Cynic” personal dance" focuses by term subject-path-object (BIÃO, 2007), by the artist-researcher-professor in his acting, his formative path, elaborating his study object. The thesis outlines, through the descriptive procedure, the elaboration of three practices as research: 1- the creation of its cynical “personal dance, with the preparation of corporealities in the insets, different from those staged in the Folkloric Warrior dance from Alagoas, by its group, "Cia Cínica Dança"; 2- the invention of a didactic in personal dance with the insets corporealities, invented in the creation procedure, in application in training spaces, revealing itself as ethnomethods; 3- a teaching practice, built by ethnocenology (BIÃO, 2007), in Higher Education, in the subjects: Popular Dances of Alagoas and Dances of Brazil, at the Dancing School from Federal University of Alagoas, addressing organized spectacular human practices and behaviors , the PCHEOS. And yet, the reach through research of the main "insets botados”, staged, or disfigured, assembled by ethnoartists, the “botadores de figurás”, in the game of Folkcloric Warrior dance from Alagoas, vanished in time and in the present; and the insets elaborated by "Cia Cínica Dança", by the artist-researcher-professor. The intertwining of the study comes from Ethnomethodology (COULON, 1995), the science of ethnomethods (GARFINKEL, 2018), which prioritizes the descriptive procedure. The guiding theoretical line, in its transdisciplinary character, is the Multireferential approach (ARDOINO, 1998), and ethnocenology (BIÃO, 2007), guided by multireferential qualitative thinking (Borba, 1997). It is a qualitative-participant research that “emphasizes the subjective character of the object, the Folkloric Warrior Dance from Alagoas and its insets, in its particularities and individual experiences (PÁDUA, 2012).