Recent decades have seen a promising shift towards a dance sector that encourages, values, and acknowledges the work of disabled artists. Alongside discussions and developments of social theories in relation to dance, the presence of disabled dancers in es tablished ‘mainstream’ contemporary dance companies has provided an increase in role models for young disabled individuals who wish to take part in recreational dance activities, or aspire to work professionally in the dance sector. As a researcher, my initial interest in the field of inclusive dance began with a desire to share my movement practice more effectively with my partner, who is visually impaired. The process of discovering different ways of sharing my work with him, along side an awareness of his daily lived experiences, inspired me to investigate disability and accessibility in the arts more broadly. This propelled me towards researching, choreographing, and performing work that was striving to be more inclusive and reach a more diverse audience . Having also worked as a dance teacher and facilitator for just over six years, I also had an aspiration of incorporating my growing knowledge of inclusive approaches into my pedagogical practice. Whilst recreational and community increased in recent years (based provisions for disabled dancers in the UK have Whatley, 2008 ), vocational dance training courses, such as private dance schools, and higher education degree courses, remain non many cases .disabled environments in Disabled dance students who enrol of these courses, therefore, may find themselves in a ‘predominantly able Charlotte Perkins 20060300bodied [nondisabled] community of learners’ ( Whatley, 42007 where classes might be delivered by educators or artists with limited experience of :5 ) teaching disabled participants . This research project, therefore, aims to investigate approaches to dance pedagogy and teaching methods that could enable contemporary dance practitioners to facilitate training that is more accessible to disabled dance stu dents. The presentation of this research has been designed to provoke reflective discussions surrounding inclusive dance practice. With a wide variety of approaches to access and inclusion utilised across the sector, this should not be viewed as a solution or ’howto’ guide, rather, an opportunity to consider the work of others in the sector and reflect and develop one’s own practice. The first chapter of this written documentation discusses aspects of desk including models of disability within social theories . based research, The application of social theories within dance pedagogy is explored in Chapter 2, through existing literature and the practices of key theorists. Chapters 3 and 4 then discuss the research methods undertaken in this research, and t he outcomes, conclusions and discussions that were produced. This written documentation exists alongside a lecture demonstration, presented on the 16 th of September 2021 at the University of Chichester, which contributes significantly to this research; vid evidence of which can be viewed via ChiPlayer.