Batty Moves' power lies in its choreographic and idiomatic structures. An imprisoning stereotype about the black female body, the butt in particular--a stereotype often internalized to the extent that natural movement and sensuality were consciously curbed in an attempt to live it down--is confronted and irreverently laughed/danced off. The movement highlights the beauty of the bodies on stage: the large range of movements available when the body is freed from constraints makes for surprises in the choreography. The piece recasts the black dancing body as beautiful, sensual, powerful, and swinging with hidden subversives. Zollar imbues resistance with insurgence. She evokes the stereotypical image of the black body through isolated hip and back movements and, though she eschews the spinal alignment of Western dance training, intercuts the dance with movements from a strict modern vocabulary in which the butt is kept in line with the spine. This implies that the dancers are capable of adhering to a given body image, but reject it for another. The activity is richly creative--the butt and hips swing, not just to laugh at the lines of ballet, but because their movement is perceived as beautiful, if according to another register of beauty. Zollar has said, "I think it’s a beautiful thing to move the hips. I believe we have to honor the energy that is there in the hips" (Zollar, 1995, pers. comm.). Another aesthetic is in place here--as a matter of choice, with full knowledge of other possibilities.