“Naked Athena” and Classical Lines

Literature in the legal humanities has begun to turn toward performance as a new site of analysis: as source, representation, and intervention. From Law and Performance (2018) to Law as Performance (2022), this belated comparison has garnered increasing traction. But methods from dance and performance studies, those wayward disciplines where corporeality supersedes the literary, still make only passing appearances. The repercussions, however, exceed the methodological toward the most material. This chapter underscores the consequences for this absence by centring the lone figure, “Naked Athena,” as a femme body in protest whose choreographic aesthetic of whiteness allowed particular flexibility under the law. Through her balletic performance of resistance, themes of discipline, elegance, and decorum swirl against the indecent, vulgar, and obscene labels afforded other protesters in the same scene. Motivated by this framing, I focus us toward identification of the publicly exposed body as righteously revealed or promiscuously pornographic, an aesthetic distinction theorized within art history as the difference between nakedness and nudity yet left ambiguous in legal terms.