The dancers in question embody the four key elements of dance in ways that are worthy of exploration. At the outset, it should be mentioned that there occurs a marked binary distinction between the genders, with the male dancer occupying something of a poised and upright role, and the female occupying subservient positions beneath the male. In point of fact, the female is highly sexualised, thusly focusing on the appropriation of the female body for a male audience.
The piece will now be analysed in terms of body, effort, space and time. Both figures contort and flail in a highly structured, choreographed manner; it is clear that the piece is not spontaneous, and there is no space for improvisation. However, this results in a spectacle that is aesthetically pleasing, if somewhat contrived. Given the syncopated nature of the music and dance, there occurs a curious opposition between an effortless presentation and a somewhat forced and jerky transition between the various moves. Where there occur aerial manoeuvres, the performers may be complimented on the illusion of seamlessness that is offered. Spatially, there occurs a struggle for dominance on the stage; this echoes the aforementioned historical conflict between the respective spheres for power. For instance, the male throws the female to the floor, whereupon she arises and attempts to assert her dominance over him. He quickly relegates her to a subordinate position again, and this cycle is repeated ad infinitum.

Finally, with regard to the temporality of the piece, it is, as mentioned before, highly constrained by syncopation; it is not amorphous, but it is contained and structured. Even the attempts of the body to transgress any temporal limitations are repeatedly brought back to the core staccato tempo. All of this amounts to a sexualised experience that exploits the body for a popular audience, but which reveals a set of sinister dialectics beneath.