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In my responses to Kahn and Ceccoli (this issue), I express admiration for the aesthetics of their formulations of the experience of immigration and that of the dance, respectively. I describe the impact of Kahn’s understanding of the effect of immigration on my experience of dancing. I also elaborate on Ceccoli’s account of implicit, non-verbal dimensions of our analytic encounters, and of the reparative impact of recognition with two clinical vignettes.