Engagement in these activities develops participants’ awareness of and appreciation for kinaesthetic complexities and diverse embodiments, promoting an understanding of bodily difference as contributing to, rather than detracting from, the realm of physical arts and society as a whole. When people with widely diverse bodily characteristics collaborate in dancing together, an exploration and communication of movement and embodied knowledge takes place through dialogue and shared practice. Based on fieldwork with projects of integrated dance in Israel and the United States, I examine participants' verbal, embodied, kinesthetic, and material means of translation, questioning whether translation can in fact produce commensurability among diverse bodies. Performed among people whose means and range of movement vary widely, embodied translation necessitates the recognition of multiple pathways toward shared expression, engendering a collective of kinesthetic multiplic-ities. This practice involves distilling a movement to its kinesthetic and expressive core, then exploring potential manifestations of those elements through various uses of space, objects, and bodies. In dancing together, participants engage in a process of 'translation' to interpret and enact movement, a practice I term embodied translation. The field of integrated dance brings together dancers with and without disabilities to create a novel art form.

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