The Most Controversial Dance and New Media Works

Martha Graham's 'Lamentation' was controversial for its time due to its depiction of a woman's sexual awakening and exploration of female sexuality.

Merce Cunningham's 'Suite for Five' was controversial for its use of chance operations and lack of traditional narrative structure, challenging conventional notions of dance.

Bill Viola's 'The Nantes Triptych' was controversial for its unflinching portrayal of birth and death, challenging societal norms and taboos surrounding these life events.

Pina Bausch's 'Kontakthof' was controversial for its exploration of taboo subjects such as incest and violence, pushing the boundaries of what was considered acceptable in dance.

Jenny Holzer's 'Truisms' was controversial for its use of LED signs to display provocative and politically charged messages, challenging societal norms and conventions.

Twyla Tharp's 'Push Comes to Shove' was controversial for its use of nudity and explicit sexual content, challenging traditional notions of propriety and decorum in dance.

Nam June Paik's 'Electronic Superhighway' was controversial for its use of distorted and manipulated images of the Vietnam War, challenging the traditional role of media in shaping public opinion.

William Forsythe's 'In the Middle Somewhat Elevated' was controversial for its unconventional use of space and its exploration of the relationship between dancers and technology, pushing the boundaries of traditional dance forms.

Stelarc's 'Stomach Sculpture' was controversial for its use of body suspension and invasive medical procedures, challenging traditional notions of the body and its boundaries.

Akram Khan's 'Desh' was controversial for its depiction of violence and its exploration of the human condition, challenging audiences to confront difficult and uncomfortable truths.

Shirin Neshat's 'Turbulent' was controversial for its exploration of gender roles and the oppression of women in Islamic societies, challenging traditional norms and conventions.

Hofesh Shechter's 'Uprising' was controversial for its use of repetitive movement and its exploration of the darker aspects of human nature, challenging audiences to confront their own inner demons.

Rafael Lozano-Hemmer's 'Pulse Room' was controversial for its use of surveillance technology and its exploration of the relationship between individuals and the state, raising questions about privacy and control.

Sidi Larbi Cherkaoui's 'Babel' was controversial for its exploration of cultural identity and its use of traditional and contemporary dance forms, challenging audiences to confront their own biases and preconceptions.

Yang Fudong's 'Seven Intellectuals in a Bamboo Forest' was controversial for its depiction of social and political issues in contemporary China, challenging the government's official narrative and raising awareness of the country's problems.