Queer Ecology in Loïe Fuller’s Modernist Dance and Magnus Hirschfeld’s Die Transvestiten

Dance orients the performer’s body toward both environment and pleasure, yet the intersection of environmental and sexual attunement in dance practice remains an underexplored area of research. This article considers how environmental and sexual readings of dance practice can be brought together by proposing a queer ecological approach to modernist dance. Drawing on research in dance studies, feminist and queer science studies, and sexology studies, the article examines the work of Loïe Fuller, an early pioneer of modernist dance, to show how Fuller’s work engages with themes of both sex and nature and consequently introduces environmentally attuned thinking to early twentieth century sexual knowledge production. By examining the parallels and divergences between Magnus Hirschfeld’s early twentieth-century sexological writing about “transvestitism” and Loïe Fuller’s modernist dance, via the copycat dancer Henry Cyril Paget, I show that both dance and sexology rethought the relationship between sex and nature by grappling, to different extents, with a queer vision of nature, where nature loses its explanatory force and moral authority. This reveals the importance of nature and the nonhuman in the production of modern concepts of sex, gender, and sexuality and the important role that dance can play in illuminating the intersection of sex and nature.