Zollar choreographed Batty Moves [video clip] because she felt strongly that in Euro-American modes of training, specifically ballet and modern idioms, dancers' buttocks were drained of movement, poetry, and passion. (The word batty is Jamaican slang for "butt.") Of course, in working with a company made up entirely of women of color, she was confronting a complex, more nuanced problem. In fact, Batty Moves is particularly subversive because of its cast. The piece, a long one at that, is inspired by movements of the butt: several of the movements are initiated with or end with the butt, whereas others transform traditional movements from the modern dance vocabulary by substituting the erect spine and aligned pelvis for more curved lines of the back.

Zollar says that "there is 'expressivity' in the African-Caribbean way of releasing the hip or hyperextending the back. Western technique suppresses any hip movement. But in African dance hip movement is accepted as part and parcel of both sacred and secular dance. It expresses both the sensuous and spiritual" (Tenaglia, 1994). There is thus no fear that this might become a "one-subject dance" (Jowitt, 1994), despite its focus on hip and butt movements, because there are many aspects to such movements and because Zollar finds ways to reflect the rhythms and energies of these movements in the rest of the body. Batty Moves emerges out of her vision of the female body, allowing sensuousness to be appreciated and not dismissed as vulgar. Zollar's mother had worked as a blues singer and shake dancer in Kansas City cabarets, and the first dancers Zollar encountered were the flash dancers and strippers who were part of the show in which she and her sister performed the "kiddie act" (Zollar, 1994). What she realized early in life is that she did not subscribe to a narrow notion of vulgarity, one that clamped down on the range of movement and the beauty available to a woman's body.