This article deals with the process of using dance performance as a way of representing feminist research. It aims to document this process through the author's own experiences of choreographing and performing a solo contemporary dance piece that embraced feminist agenda of representing a positive feminine identity. The article derives from Gilles Deleuze's theoretical concept of Body without Organs in an attempt to disread the dancing body and inhabit an alternative molecular femininity. The article concludes that a dance performance has potential to succeed as a research presentation. However, the researcher needs to proceed cautiously by retaining a close connection to the audience's experiences yet assuming a clear theoretical vision.
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