Erotic Movement On Stage In Contemporary Ballet

1. Diondria Dixon
Contemporary Repertory
Final Research Project 1

2. I want to research
choreography that
uses erotic sexual
movements and
themes in
contemporary ballet
as a way to be
artistically creative.
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Photo: Michael Shannon's “Sarabande Pas De Duex”

3. Definition: of, devoted
to, or tending to arouse
sexual love or desire
(from meriam-
webster.com)
Erotic dance is the act or
the attempt to move in a
way that resembles or
portrays sex and/or
sexuality.
Photo: Larry Keigwin’s Mattress Suite
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4. The history of contemporary ballet starts
with George Balanchine and Twyla Tharp,
because he was the creator and she was a big
part of the growth of this “style” of dance.
Contemporary ballet is a mixture of classical
ballet technique, post-modern dance and
lyrical.
The traditional use of relating to the music
and pointe shoes is still used but more floor
work is incorporated.
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5. 5
Erotic movement in dance in not
a new trend but a growing one.
“Non-Western” or “exotic”
dance forms are being looked at
to innovate and change classical
forms to relate more to “real
life” situations and social roles.
Erotic movement in dance tends
to be highly commercialize in
music videos, movies, and TV
shows (ex. Chicago, Take the
Lead, etc.)
Photo: (Top) From Michael Shannon's website and (bottom) from
Alberta Ballet’s Shakespeare's Othello (2007).

6. This exotic way of dancing has lead to the
exploration of
homosexuality, asexuality, androgyny, and
trans-sexuality, especially in the 90s.
“More frequently, dancing stimulates sexual
fantasy acted out beyond the performer –
audience exchange.” (Hanna)
John Rockwell (1976) says that “sex clearly
functions as a motor force for the arts…a
dancer…projects a sexual aura.”
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7. Natalie Abrahami said it best in her article titled
“Sex on stage is best done through dance.”:
“As soon as we see a man and a woman on stage, any dynamic
between them, even if they never speak a word, will invariably be
interpreted as a relationship.”
This can explain why anytime there is physical
contact on stage, audiences sometimes assume
a sexual relationship, but the what is interesting
to see is how a choreography uses this to his/her
advantage and creates an sensual, sometimes
uncomfortable, atmosphere for the audience.
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8. The reason I selected this video is because it is
very sensual and the dancers are very skilled in
staying connected to each other.
There are constant pauses in several positions
that are viewed as sexual. In my opinion, it looks
like an artistic play with positions of the Karma
Sutra.
The lighting in the beginning resembles light
coming in through a bedroom window and the
couple is woken by the light.
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9. There are very few moments that the couple
are parted from each other, they are one
entity.
The woman actually has more control,
because all the focus is on her as she starts
and ends sitting on top and she “uses” him
throughout the piece.
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10. 10

11. This video not only supports my thesis and
supports the theme of this presentation, but
it also supports the idea that the movement
of the dancer and the energy can read sexual
besides being half naked on stage.
The music sounds like a tango, which is a very
“exotic” dance, and the lighting makes the
mood of the piece very sensual before any
dance movement is made by either the lead
male or female dancer.
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12. The contact between the two dancers in the
beginning is not at all sensual despite the
constant partnering between them.
Soon, however, as if they were taking their time
to get to know one another, the movements
takes a turn for something more adult.
The male dancer makes occasional gestures of
caressing the woman's face and even seems
almost kiss her on the neck.
Then they get to a position where he is hovering
above the woman, gyrating his hips and she lays
on the floor.
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13. The feel of this piece is more romantic and
not as carnal or graphic as Michael Shannon’s
work.
It is interesting to see how as a viewer, I can
feel the sexual tension as much as I did with
Shannon’s piece, yet the dancers where fully
clothed this time.
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14. 14

15. This video is the reason why I chose to research
this topic even though it is more contemporary
modern than ballet in my opinion.
I did not focus on this piece because of it being
so obvious.
When parents explain sex to children, they say
when a man and a woman having relations and
almost all of the time, on a bed. In one sentence,
I just described the scene of Larry Keigwin’s
“Straight Duet”.
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16. The scene is of a man and a woman on a plan
mattress.
He is in boxers and she is in a bra and some
type of lingerie bottom.
The movement type is very aggressive and
athletic and not at all graceful, sensual, or
creating a feeling of eroticism.
The sexuality of this piece is because of the
animalistic, almost like wrestling, movements
that is done on the top of this bed.
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17. *Library Video
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18. Erotic movement in
contemporary ballet is
not a trend but an
innovation of classical
forms blended with
“exotic” dance forms.
Refer to Videos
Summarize
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Photo: Eifman Ballet in rehearsal.

19. Abrahami, Natalie. "Sex on Stage Is Best Done through Dance." Rev. of "Unbroken at the Gate" by Alexandra
Wood. Web log post. Guardian.co.uk. Natalie Abrahami, 4 Feb. 2009. Web. 1 May 2010.
<http://www.guardian.co.uk/stage/theatreblog/2009/feb/04/sex-stage-dance>.
Alderson, Evan. "Sexuality and Dance." Dance Chronicle. 2nd ed. Vol. 12. Taylor & Francis, 1989. 268-76. Print.
Amor Porteño. Youtube.com, 18 Dec. 2007. Web. 18 Apr. 2010.
<http://www.youtube.com/watch?v=QUvkc9O1QZM>.
Configuration Dance Theatre, 2008. MICHAEL SHANNON Contemporary Ballet Choreography "Pas De Deux to
Bach" CONFIGURATION DANCE THEATRE. Youtube.com, 06 June 2009. Web. 17 Apr. 2010.
<http://www.youtube.com/user/maiklusha#p/u/13/aNGJwQu9Htw>.
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20. Hanna, Judith Lynne. "Sex, Learning, and Dance Images." Dance, Sex and Gender: Signs of
Identity, Dominance, Defiance, and Desire. Chicago: University of Chicago, 1988. 3-7. Print.
"Introduction." Asia Pacific Studies: The Body In Asia. Ed. Bryan S. Turner and Zheng Yangwen. Vol. 3.
Berghahn, 2009. 11-12. Print.
"Michael Shannon Official Website." Michael Shannon Choreographer Filmmaker. Web. 17 Apr. 2010.
<http://www.michaelshannon.net/official_website_002.htm>.
RTÉ and An Chomhairle Ealaíon, 2008. Match. Youtube.com, 18 Jan. 2008. Web. 17 Apr. 2010.
<http://www.youtube.com/watch?v=j6nQ5GDANxk>.
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21. Alberta Ballet's "Othello"Digital image. Calgary. City Guide. CA. 26 Sept.
2007. Web. 1 May 2010. <http://calgary.cityguide.ca/othello-ballet-
october-2527-2007-014289.php>.
Been There Done That...Act 1, Scene 1, Welcome to Life. Digital image.
Michael Shannon Choreography. 3 May 2009. Web. 1 May 2010.
<http://www.michaelshannon.net/official_website_002.htm>.
Been There Done That. Digital image. Michael Shannon Choreography. 3
May 2009. Web. 1 May 2010.
<http://www.michaelshannon.net/official_website_004.htm>.
Eifman Ballet in Rehearsal. Digital image. Eifman Ballet Review from
Ballet.co. Eric Taub, Apr. 2007. Web. 1 May 2010.
<http://www.ballet.co.uk/magazines/yr_07/may07/et_rev_eifman_0407.h
tm>.
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22. Larry Keigwin's "Straight Duet" Digital image. OFFOFFOFFDance.
Quinn Batson, 4 Mar. 2003. Web. 1 May 2010.
<http://www.offoffoff.com/dance/2003/larrykeigwin.php>.
What’s the Pointe?Digital image. The New York Times. Julieta
Cervantes, 14 May 2008. Web. 1 May 2010.
<http://www.nytimes.com/2008/05/14/arts/dance/14conf.html>.
Yesid Lopez. Digital image. Scene Interactive: Yesid Lopez. Web. 1
May 2010.
<http://www.sceneinteractive.com/talents/yesid/?movie=undefine
d>.
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