This submission by IFTR's Performance and Disability working group features responses by six participants - voices projected from Canada, New Zealand, Norway, Wales, England and Australia - to Per.Art's production Dis-Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk KaradŽić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. The company brings together people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students to make work. This co-authored submission examines how the production responds to three important dance works of the twentieth century - Mary Wigman's Hexentanz (1928), Pina Bausch's Kontakthof (1978) and Xavier Le Roy's Self Unfinished (1998) - to explore normalizing and normative body concepts in dance theatre and in society, and how they have been migrating over the course of dance histories. The shared experience of witnessing the performance provoked discussion on the migration of dance forms across time and cultures, as well issues of access and (im)mobility, which are especially pertinent to a disability studies context.