Sexuality as a Form of Expression | Performing Queerly
One of the ways in which the body expresses itself is sexuality. Performing Queerly is a radical choice in the methodology of dancing and practicing dance. Performing Queerly means to reject a priori distinctions and boundaries about sex, gender and gender expression.
Dancing for the freedom of expression
For Maurice Merleau-Ponty sexuality is one of the ways through which the body expresses itself in a concrete situation, in connection with a participant “you”. The pleasure comes from the relationship between the body and something of the world, namely the ability to relate one’s uniqueness and to give it an expression. In this sense, sexuality is freed from its reproductive function and the rigidity of sex stereotypes and gender.
Sexuality is a form of expression of the organism, which manifests its central point entering into a relationship with the world. Sexuality is, therefore, one of the crucial moments of the evolutionary path of each organism.
A society that condemns the freedom of sexual expression because of rigid conventions regarding sex and gender is a violent society. This condition is seen in many stories we hear in our daily lives involving discrimination at various levels between the members of the heterosexual norm and all categories that deviate from this rule.
Dancing rejecting violence
Sexuality is peculiar. Today it is necessary to reject violent conventions. Being queer means breaking the established categories for sex and gender. There is no stereotypical heterosexual, gay, lesbian, trans, bisexual or queer.
Sex and gender reside in our body, in our feelings, in our story, in our spirituality, as well as in our bonds.
To avoid social violence in identification with categories that do not fit comfortably in the feel of all human organisms, sex and gender must be freed from preconceptions. We must embrace the oneness of life and this is the same concept of that butoh dance performs.
Performing queerly against dualisms
To prevent the production of new definitions that continue to nurture a nomenclature system is necessary to speak in a more complex way, questioning what is masculine and feminine, as Kannon shows us. It is not about creating a new dualism, but to recognize that the words and definitions are always partial, and in between there are thousands of shades.
We are related to the world in which we live because we are live creatures. We create our context and the context in turns creates us. Masculine and feminine are social and cultural conventions constantly changing, they are not stable entities. The same applies to sex, gender and identity.
Read more about art practice and queer theory.
 Maurice Merleu-Ponty, Phénoménologie de la perception (Paris: Librerie Gallimard, 1945).
 John Dewey, Art as Experience (Southern Illinois University Press, 1934).