Enactment of the "Rehabilitation Act of 1973" and the "Americans with Disabilities Act (ADA) of 1990" expanded and clarified the rights of students with disabilities in higher education (Connor, 2011; Pena, 2014; Troiano, 2003). In the past three decades, the enrollment rate of students with learning disabilities (LD) in higher education has tripled. However, the magnitude and quality of scholarship addressing the experiences of students with disabilities (including LD) does not reflect this exponential shift. While existing literature addresses dancers with physical and developmental disabilities (Kuppers, 2004; Sandahl & Auslander, 2005; Whatley, 2007, 2008) and children with learning disabilities (Cone & Cone, 2011), research on dancers with learning disabilities in postsecondary settings is nil. Research that includes the voices of identifying dancers with learning disabilities in higher education is necessary in order to discover more effective pathways and approaches to interventions and learning strategies. This qualitative study examines the perceptions of six dance majors and minors with learning disabilities (LD) in higher education dance programs from five universities located in the New York/New Jersey/Eastern Pennsylvania and Midwest regions of the United States. The purpose of the study is to privilege the voices and perspectives of an underrepresented population in dance in order to illuminate challenges, learning strategies, and experienced meanings within creating, learning, and performing dance in higher education. Qualitative sources of data include in-person interviews, non-participant observations, and participant reflective journals. Several rounds of coding and data analysis generated a multifaceted and nuanced portrait of six dancers with LDs' challenges, strategies, and experienced meanings, both individual and composite, in higher education dance. Several described self-determined approaches through agentic acts of learning individualized to their unique LDs. For all dancers, emotional states undergirded challenges, strategies, and relationality in higher education dance. Further, descriptions of visibility, acceptance, and affirmation by peers and instructors in technique and composition classrooms illuminated the value of relational authenticity for these dancers. Research findings suggest areas in need of reformed practices while also illuminating extant teaching practices that effectively meet the needs of students, including the transparent integration of ameliorative strategies into higher education dance. Findings related to emotional challenges point to the importance of emotional support as a priority in higher education dance programs, a need that I suggest has become increasingly critical for all university dance students during this period of global pandemic. The study offers insight into the ways dance in higher education can be more accessible and inclusive by privileging the authority of the individual student and enabling authentic engagement with self and a broader relationality to different others. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://www.proquest.com.bibliotheek.ehb.be/en-US/products/dissertations/individuals.shtml.]