There appears, particularly within the field of dance and learning disability, an overall need to sanitise difference, to hide it away or make it sentimental. For most people working within this area, a sophisticated aesthetic approach has not developed over time. Many seek to create images of people with learning disabilities that allow us to remain comfortable. People shy away from complex performance that challenges and further addresses our embarrassment over intellectual disability. As a result there is a tendency to stigmatise people further. It seems dance and performance for most people with learning disabilities attracts “professional” dancers of questionable quality, resulting in works entrenched in a late 70s community dance aesthetic. So, is there room amongst this community dance for a way of working which challenges notions of aesthetics? Can we remove the sentimentality, re-educate the audience, critically assess the work and still place the person with a learning disability central within the dance?’  ‘Oh Brave New World That Hath such People in it,’ an essay to accompany Janice Parker’s film series Amplification and Restriction, 2005 – Alison Stirling