was offered. As a new generation entered in the movement in the late 2010s and early 2020s, new perspectives of how to better support, train, and accommodate disabled dancers emerged. Dancer, engineer, and wheelchair user Laurel Lawson was writing a book on dance technique for manual wheelchair dancers as of March 2021. Lawson is concerned that disabled dancers might not receive proper training customized to their bodies and has developed her own pedagogical approach. In her approach she encourages what she call "biomechanical alignment", and she has also designed specialized wheelchairs for dancers from the US and Europe. In 2019, Lawson was one of 31 dance artists to receive a fellowship from Dance/USA for integrating social justice and dance. This was the first time Dance/USA gave awarded fellowship to anyone working in physically integrated dance. In 2019, The Radio City Rockettes hired the first dancer with a visible disability in the organizations 94-year history. Sydney Mesher, 22-years-old at the time she was hired, has symbrachydactyly and so doesn't have a left hand. She told Good Morning America "...even though I don't consider my disability to be that challenging, I need to be in this position to let others have this opportunity." Mesher's hiring was novel in the physically integrated dance movement both in that The Rockettes are a commercial dance organization, rather than concert dance, and because they have very strict physical requirements to audition for them. For example, The Rockettes do not consider dancers who do not meet a specific height range and only have a certain number of slots available to women of an exact height within the range. Mesher is able to meet the bar of uniformity because her particular disability does not impact the majority of the choreography and she has found ways to modify movements of her left arm to match closely enough to the other dancers. Philosophy The goal of physically integrated dance is to bring disabled people into the norms of concert dance by expanding the movement vocabulary to include the skillsets of people with various disabilities that may effect their mobility or balance or who are missing limbs. Directors and choreographers of physically integrated dance tend to approach the work by looking at the abilities of disabled dancers as additive rather than focusing on what they cannot do. Due to the nature of being integrated, those who choreograph for physical integrated companies