This work proposes reflections driven by the experience, observation, and attendance on the balls promoted by the Flashback Movement, which takes place at Aparecida de Goiânia, in the state of Goiás, Brazil. It aims to analyze and comprehend the potentialities of ball experiences, their reverberation on learning processes, the sharing of knowledge, and amplifying perceptions on dancing, seeing yourself, and establishing relations in the popular and urban context where they are inserted. To achieve this, the challenge of mapping the attendant participants is launched, with the desire of contextualizing the experiences, comprehending its specific modes of existence and organization through the crossings of music and dance, characteristics of balls; investigating its historical and cultural origins; experiencing its dancing modes; reflecting on the relations of learning and sharing of knowledge and its ethical-aesthetical-political crossings in the city’s context. Methodologically, the work lands on the cartography inspired by the writings of Félix Guattari and Suely Rolnik (1996), Eduardo Passos & Regina Benevides Barros (2009), and the notion of urban bodygraphies in Paola Bereinstein Jacques (2008). For the Examination Board, this text starts approaching the questions related to the origins of Flashback Movement in what concerns its musicality, the dancing modes which are constituted in it, and how passinhos movements are learned and shared. Furthermore, it addresses the questions of collectivity and familiar aspects, intertwined with the notion of dancing-together, as well as some evidence of the group differences about these aspects. Among the researchers with whom the text dialogues, the works initially highlighted are from Michel de Certeau (1998), Néstor Garcia Canclini (2019), Cíntia Sanmartin Fernandes (2013), Hugo Oliveira (2017,2022), Victor Hugo Neves de Oliveira (2022), Rafael Guarato (2008, 2020), Flávia Alvarenga (2018) and Michel Maffesoli (2003,2007).