Moreover, through a repertoire of movements that celebrates black female sexuality in general and the butt as erotic zone in particular, Zollar challenges the 19th-century association--one that lingers in contemporary society--of the black female genitalia and buttocks with an "anomalous female sexuality" (Gilman, p. 237) closely related to a kind of bestiality. Further, Zollar foregrounds what is seldom mentioned in all the discourse of the era about Saartjie Baartman, the so-called Hottentot Venus, and Europeans' pathological view of her buttocks: the white world’s obsession with this black woman’s butt. In one of Batty Moves' opening movements, the women scoot out toward the front of the stage with their butts jutting out at the audience. [video clip] Zollar is in effect shoving into the faces of white audiences (whites often constitute the majority of her audiences, and certainly of her critics and presenters) what they had wanted to see when they put Baartman and other African women on public display. Interestingly, autopsies used to be performed on these body parts when the women died, and the fascination and attraction that the European male felt for this "bestial" woman was brushed over in pseudoscientific--but equally pathological and dangerous--discourses. The point of the investigations was reportedly "the comparison of a female of the 'lowest' human species with the highest ape (the orangutan) and the description of the anomalies of Hottentot's 'organ of generation'" (Gilman, p. 232). Such reasoning made the autopsies appear to be motivated purely by scientific interest.