CandoCo is probably the best‐known company in the UK but there are several other companies with a national profile, including Common Ground Sign Dance Theatre, a company rooted in Deaf culture and committed to integrating sign language into performance, and Anjali Dance Company, who employs dancers with learning disabilities. Joburg Ballet (South Africa) Seeks Dancers with Good Classical Ballet Technique. 3. Recognising that the legal status may not be the sole determinant of the disabled dance, whether or not disabled dance does or could fit into the definition of ‘cultural heritage’ we have also embarked on an analysis of social discourses, examining comments of (1) the lay public posted on YouTube in response to a number of performances by differently-abled dancers, (2) critics through published reviews, such as that by Brennan above, and (3) dancers through questionnaires and our micro-ethnographic observations. My idea was to use the inclusive form of mixed-ability dance with the traditions of contemporary and improvisational dance. Also see The Many Health Benefits of Dancing. For example, some may see disabled dance (and disability arts more generally) as work created by disabled people to be shared with, and to inform, other disabled people by focusing on the truth of the disability experience (Masefield, 2006). Whatley, S. (2005). Her body pushes into mine with just enough momentum that, hands intertwined, we shoot toward the edge of the ramp. Dance is a viable and enjoyable activity – and potential career – for young people with disabilities, yet they face several barriers to participation and training. Physical, cognitive, psychological and social effects of dance in children with disabilities: systematic review and meta-analysis. As part of their development as reflective practitioners, students are encouraged, through coaching, to increase observational skills, critical ability and encourage peer support. Retrieved (date) from: https://ausdance.org.au. As people invested in nuance and complexity, we owe it to ourselves and the creators of the work to educate ourselves in the traditions and legacies of the community so we can appreciate the work outside the narrowness of such framings. 11. Additional thanks go to Kath Kimber McTiffen, my research assistant for the Body Realities project, and to Cecilia Macfarlane and Vivien Freakley, who have both given me useful feedback about this paper and have been so generous in sharing their knowledge and expertise in this area of work.