![]() ![]() projects at Macquarie University, Sydney, addressing the dancing body across different but parallel fields: cognitive science (see, for example, Pini et al., 2016 Pini and Sutton, 2021 Pini and Deans, in press) and dance theatre performance (see, for example, Maguire-Rosier, 2016 Czymoch et al., 2020). ![]() This opinion paper is based on an ongoing conversation between the two authors which began at the time of their Ph.D. Through an autoethnographic analysis and phenomenological approach to illness (Carel, 2008, 2016), this article draws on Pini's lived experience of coping with cancer and dancing through illness (Pini and Pini, 2019), in dialogue with Maguire-Rosier's study of dancers with hidden impairments (Gibson and Maguire-Rosier, 2020). This conversational 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 experiencing Chemotherapy-Related Cognitive Impairment (CRCI). Snapshot from Pini and Pini video article “Resisting the ‘Patient' Body: A Phenomenological Account” (Pini and Pini, 2019). To invite this reflection, we discuss the case of Pini's experience of illness and hidden disability related to her oncological treatments for Hodgkin Lymphoma, and the development of her artistic project INFINITO, a longitudinal short dance film series that explores the relationship to cancer and its transformational aspects from a phenomenological and auto-ethnographic perspective (Pini and Pini, 2019) ( Figure 1). This opinion paper builds from recent efforts in disability studies to define disability experience as intersubjective (Donaldson and Prendergast, 2011 Titchkosky, 2011 Kafer, 2013 Price, 2015) to suggest a move toward an interpretation of disability as an intersubjective ecological phenomenon. Social modelling of disability rooted in British activism (Oliver, 1990) diverges from medical modeling-wherein “disability” originates from the individual-by resituating “disability” in the environment. This is recognised as the social model of disability. Global disability communities have famously located disability in the environment. The tools for inquiry in the humanities have, until recently, rarely been applied to understanding disability as a phenomenon (Linton, 1998, pp. ![]() The liberal arts, particularly the humanities, have barely noticed disability beyond the models they accept uncritically, handed down from the sciences and medicine. Yet disability scholar Simi Linton notes: Disability is defined by the World Health Organization as resulting “from the interaction between individuals with a health condition such as cerebral palsy, down syndrome and depression as well as personal and environmental factors including negative attitudes, inaccessible transportation and public buildings, and limited social support” (WHO, 2021). ![]()
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