When we embrace the fetishistic gaze of the audience–that which reduces the dancer to the pornographic–what is left? What tools and systems are available to dancers to re-claim, re-spin, and re-concile the audience's lust into lustre? The fetish is not pornographic, actually. The performers' inner experiences, the emotions behind the moaning, reveals interiorities that transcended surface projections. Queerness, and specifically transgender identity, are a crucial concern. Not solely because of their relevance to Robin's choreographic projects, but because they create open scaffolds by which performers can transition from object (of desire) to subject(ivity).

Robin Denzer is a Brooklyn-based choreographer from Honolulu. She is pursuing a Master's in Social Work at Fordham University. She trained in Dance at SUNY Purchase, taking a concentration in composition. These are integrative perspectives: performance art can reflect supportive communities of care. In her practice, the choreographer becomes the practitioner of social work and worlds by creating structure and, crucially, order.