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  1. Synchronous vs non-synchronous imitation: using dance to explore interpersonal coordination during observational learning.Cassandra Crone, Lilian Rigoli, Gaurav Patil, Sarah Pini, John Sutton, Rachel Kallen & Michael J. Richardson - 2021 - Human Movement Science 102776 (102776).
    Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice dancers (...)
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  2. Shifting Perspectives: A cinematic dialogue about Synthetic Biology in a more-than-human world.Sarah Pini, Melissa Ramos & Jestin George - 2022 - Body, Space and Technology (BST) 1 (21):1-5.
    The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...)
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  3. Un approccio ecologico cognitivo alla presenza scenica nelle arti della performance.Sarah Pini - 2021 - Antropologia E Teatro 12 (12):88-108.
    The concept of stage presence in performing arts is generally understood as the ability of the skilled performer to capture the attention of the audience, a prerogative of the talented actor, who occupies a position of power in respect to the audience. This work challenges the classic model of stage presence as an intrinsic quality of the performer and proposes instead a cognitive ecological ethnographic framework which considers the role played by various social actors — the public and the performers, (...)
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  4. Resisting the ‘Patient’ Body: A Phenomenological Account.Sarah Pini - 2019 - Journal of Embodied Research 2 (2).
    According to the biomedical model of medicine, the subject of the illness event is the pathology rather than the person diagnosed with the disease. In this view, a body-self becomes a ‘patient’ body-object that can be enrolled in a therapeutic protocol, investigated, assessed, and transformed. How can it be possible for cancer patients to make sense of the opposite dimensions of their body-self and their body-diseased-object? Could a creative embodied approach enable the coping with trauma tied to the experience of (...)
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  5. Performing Illness: A Dialogue About an Invisibly Disabled Dancing Body.Sarah Pini & Kate Maguire-Rosier - 2021 - Frontiers in Psychology 12:566520.
    This conversational opinion article between two parties – Kate, a disability performance scholar and Sarah, an interdisciplinary artist-scholar with lived experience of disability – considers the dancing body as redeemer in the specific case of a dancer experiencing ‘chemo fog’, or Chemotherapy-Related Cognitive Impairment (CRCI) after undergoing oncological treatments for Hodgkin Lymphoma. This work draws on Pini’s own lived experience of illness (Pini & Pini, 2019) in dialogue with Maguire-Rosier’s study of dancers with hidden impairments (Gibson & Maguire-Rosier, 2020). In (...)
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