Lesbian Actors Who Choreographed Their Own Dance Sequences

Many actors in the entertainment industry possess hidden talents beyond reciting lines, with dance often serving as a primary form of expression for these performers. While large productions typically employ professional choreographers, certain stars have taken creative control to design or improvise their own movement on screen and stage. This autonomy allows them to infuse their characters with authentic physical traits that a third party might not capture. The following list highlights lesbian and queer actors who have credited themselves with creating or heavily influencing their own dance sequences in various projects.

JoJo Siwa

Rising to fame on reality television, this young performer built a massive brand around her distinctive style and high-energy dance abilities. She has consistently choreographed her own routines for social media platforms and concert tours, maintaining full creative control over her stage persona. In her music videos, she often blends technical jazz and hip-hop elements that she arranges herself to match her upbeat musical tracks. Her transition into acting has allowed her to bring this self-made choreography to larger narrative projects and television appearances.

Alyson Stoner

Known for her background as a child dancer in music videos, Stoner has evolved into a multi-hyphenate talent who frequently designs her own movement. She has released independent dance tributes and concept videos where she serves as the sole choreographer, showcasing her growth from hip-hop to contemporary styles. Her acting roles often utilize this skill set, allowing her to perform complex routines without the need for a double or extensive external direction. She openly identifies as queer and uses her platform to discuss the intersection of movement and identity.

Kate McKinnon

During her tenure on ‘Saturday Night Live’, this comedian became famous for her physical comedy and improvised dance breaks during sketches. She notably created her own strange and jerky dance moves for her character in the ‘Ghostbusters’ reboot, choosing to improvise rather than follow a strict count. Her ability to generate spontaneous movement helped define her characters, particularly in sketches where she played eccentric personalities like Ellen DeGeneres or Hillary Clinton. McKinnon has stated in interviews that she prefers to let the character dictate the physical action rather than adhering to traditional choreography.

Aubrey Plaza

In the television series ‘Legion’, Plaza performed a memorable dance sequence that was largely improvised to a Nina Simone track. She worked with the director to establish the mood but took the lead in generating the specific, chaotic movements that defined the scene. This performance transformed her character into a terrifying yet captivating villain, showcasing her ability to use dance as a narrative tool. Plaza often employs similar improvisational movement techniques in her film roles to create uncomfortable or surreal moments.

Kristen Stewart

For the Rolling Stones’ music video ‘Ride ‘Em On Down’, Stewart improvised a solo dance sequence at a gas station. She drove a vintage Mustang and performed spontaneous, gritty movements that matched the rock and roll aesthetic of the song. The director allowed her the freedom to interpret the music physically, resulting in a raw and unpolished performance that critics praised. This approach to self-choreographed movement has also appeared in her independent film work, where she often uses physicality to express internal angst.

Hayley Kiyoko

As a musician and director who often stars in her own music videos, Kiyoko maintains strict control over the visual and physical aspects of her work. She frequently choreographs the dance numbers seen in her videos, blending pop formations with narrative storytelling. Her background in dance allows her to act as both the lead performer and the architect of the movement, ensuring the choreography supports the emotional arc of the song. She has become a significant figure in queer pop culture, using these self-directed sequences to depict lesbian romance on screen.

Lady Gaga

While she often collaborates with professional choreographers for massive tours, Gaga is known for designing the avant-garde movement in her performance art pieces and acting roles. In ‘American Horror Story: Hotel’, she utilized her background in movement to create the regal and predatory physicality of The Countess. She has credited her early days in the Lower East Side club scene for teaching her how to command a stage with self-made movement. Her acting work consistently features this deliberate, self-curated physicality that blurs the line between acting and dance.

Janelle Monáe

Monáe creates a unique stage persona that involves specific, signature dance moves she developed herself, such as her rapid-fire footwork. In films like ‘Glass Onion: A Knives Out Mystery’, her physical poise and movement are extensions of the character work she refines through her musical performances. She often directs the movement in her concept albums and accompanying films, serving as the primary visionary for the choreography. Her style mixes James Brown-esque energy with robotic precision, a blend she personally cultivated over years of touring.

Miley Cyrus

Known for her constant reinvention, Cyrus has taken charge of her stage movement and music video choreography in her later career. She improvised the controversial dance movements that garnered global headlines during her ‘Bangerz’ era, effectively self-choreographing her public image shift. In her acting roles, she brings a loose, rock-star physicality that she curates herself, often refusing standard pop choreography in favor of raw, punk-inspired motion. Her ability to move spontaneously has become a trademark of her live performances and television appearances.

Ariana DeBose

Although she is a trained Broadway dancer who executes the work of legends, DeBose has choreographed her own solo cabaret performances and independent projects. In her film work, she often suggests modifications to choreography to better suit her character’s emotional state, using her expertise to refine the movement. She produced and starred in her own dance-driven content early in her career, where she served as the sole creator of the routines. Her understanding of dance mechanics allows her to self-direct her physical performance in dramatic roles that don’t explicitly involve dance.

Julianne Hough

Before transitioning to acting in films like ‘Safe Haven’, Hough was a professional choreographer who designed winning routines for television. She has choreographed her own tours and motion picture segments, blending ballroom precision with contemporary acting requirements. Her ability to construct a dance sequence from scratch has allowed her to take on roles that require high-level performance skills. She identifies as queer and has used her choreographic platform to explore various forms of partner dancing and expression.

Cynthia Erivo

Erivo is a powerhouse performer who often designs the physical language of her characters, including their movement during musical numbers. In concert and stage appearances, she frequently directs her own staging and movement, relying on her fitness background and musical intuition. Her performance in ‘Harriet’ involved rigorous physical preparation that she self-regulated to embody the historical figure’s strength. While not always credited as a choreographer, her control over her physical performance is absolute and self-determined.

FKA Twigs

Starting her career as a backup dancer, FKA Twigs transitioned to becoming a solo artist and actor who meticulously choreographs her own work. Her dance style includes vogueing and pole dancing, skills she mastered and then arranged into complex routines for her music videos and film appearances. She acted in ‘Honey Boy’ and ‘The Crow’, bringing her specific understanding of body mechanics to the screen. Every movement she makes on camera is a deliberate choice she has designed to convey a specific emotion or aesthetic.

Kiersey Clemons

Clemons has showcased her musical and physical talents in films like ‘Hearts Beat Loud’, where she influenced the performance style of her character. She has appeared in music videos where she improvised movement to match the indie-pop vibe of the tracks. Her approach to acting often involves a loose, rhythmic physicality that she develops independently of a movement coach. This self-guided physical acting helps ground her characters in a sense of reality and spontaneity.

Amandla Stenberg

In ‘The Hate U Give’, Stenberg utilized her natural rhythm to portray a teenager comfortable in her own skin, improvising dance moves in casual scenes. She has released musical projects where she directs the visual movement, exploring fluid and interpretative dance styles. Her acting relies heavily on body language, which she curates to distinguish between her characters’ public and private personas. Stenberg has spoken about using movement as a form of liberation and self-expression in her art.

Cara Delevingne

Transitioning from modeling to acting, Delevingne brought a unique physical confidence to her roles that she often directs herself. In ‘Valerian and the City of a Thousand Planets’, she performed complex physical stunts and movements that she helped coordinate. She has been known to improvise dance and movement in promotional materials and fashion films, using her body to create striking shapes. Her comfort with physical expression allows her to choreograph her own presence in high-energy scenes.

Ruby Rose

Rose began her career as a VJ and presenter, where she frequently improvised dance and movement to entertain live audiences. In her action roles, she works closely with stunt teams but often dictates the specific swagger and physical cadence of her characters. She directed and starred in her own short film ‘Break Free’, where she choreographed the physical transformation sequence. Her background in DJing has given her an innate sense of rhythm that translates into her self-directed on-screen movement.

Ellen DeGeneres

For nearly two decades, DeGeneres started every episode of her talk show with a dance sequence that she improvised and choreographed on the spot. These daily performances became her signature, requiring her to generate new movement to different songs constantly. In her stand-up specials and acting roles, she utilizes this same quirky, self-made physical comedy to enhance her jokes. She credits this freedom of movement as a key component of her connection with audiences.

Sara Ramirez

A Tony Award winner for ‘Spamalot’, Ramirez is a seasoned performer who understands how to construct a physical performance. In her role as Callie Torres on ‘Grey’s Anatomy’, she famously danced in her underwear, a scene where she embraced the movement to show her character’s freedom. She has performed in concerts where she stages her own movement, utilizing her theatrical training. Her ability to command a stage allows her to self-choreograph moments of power and vulnerability.

Stephanie Beatriz

Beatriz, known for her role in ‘Brooklyn Nine-Nine’, has a background in theater that includes dance training. She has utilized her skills to improvise physical comedy bits and dance moments within the show, distinct from her stoic character. In the film version of ‘In the Heights’, she executed complex choreography but also brought her own character-specific movement choices to the ensemble numbers. She often uses her social media to showcase self-created dance content that highlights her versatility.

Indya Moore

As a star of ‘Pose’, Moore brought her real-life experience in the ballroom scene to her character, informing the authenticity of the performance. She has a deep understanding of runway walking and vogueing, often self-directing the nuances of her movement on camera. Her performance art background allows her to choreograph sequences that blur the line between modeling and dance. She uses this physical control to convey the resilience and elegance of her trans identity.

Dominique Jackson

Jackson’s commanding presence in ‘Pose’ was built upon her legendary status in the ballroom scene, where she had years of experience creating her own walks and effects. She choreographed her own runway presentations for the show, ensuring they remained true to the specific category requirements. Her acting is inextricably linked to this stylized movement, which she designs to dominate the screen. She continues to perform and choreograph for live audiences, showcasing her signature style.

Hailie Sahar

Sahar played a founder of a house in ‘Pose’, a role that required her to demonstrate leadership through movement and dance. She drew upon her own experiences to create the physical vocabulary of her character, often improvising during the ball scenes. Her ability to self-choreograph these moments added to the ensemble’s authenticity and energy. She has also released music where she oversees the dance elements of her visual presentation.

Hunter Schafer

Before acting in ‘Euphoria’, Schafer was a high-fashion model who learned to manipulate her body for the camera. She brought this kinetic awareness to her role as Jules, often improvising the character’s dreamy, fluid movements in fantasy sequences. She acted as a co-writer and producer on her special episode, giving her direct input into the physical blocking and movement of the scenes. Her performance style relies on instinctive, self-generated motion rather than rigid blocking.

Barbie Ferreira

Ferreira, another ‘Euphoria’ breakout, has a background in modeling that informs her on-screen physicality. She has appeared in video content where she improvises movement and dance, showcasing a confident and playful style. Her acting often involves subtle physical comedy that she times and executes herself. She uses movement to challenge traditional standards of body types in media, designing her own presence in the frame.

Lily Tomlin

A veteran of variety shows, Tomlin famously created characters like Edith Ann and Ernestine, whose physical mannerisms and dances she developed entirely herself. In ‘Rowan & Martin’s Laugh-In’, she frequently performed eccentric dance moves that were self-choreographed to enhance the sketch comedy. Her one-woman shows involve intricate blocking and movement that she stages to populate the stage with invisible characters. She continues to use this self-directed physicality in her modern roles.

Jane Lynch

Lynch has a long history of performing in sketch comedy and mockumentaries where improvisation is key. In ‘Glee’, she performed a memorable “Vogue” routine, but in her solo touring and cabaret shows, she choreographs her own comedic dance numbers. Her physical comedy is a specific brand of rigid, authoritative movement that she designed to define her on-screen persona. She uses this self-made movement style to dominate scenes and intimidate other characters.

Wanda Sykes

Sykes is known for her physical stand-up comedy, where she acts out scenarios with precise, self-timed movement. In film roles, she often improvises celebratory dances or physical reactions that become the highlight of the scene. Her approach to movement is based on rhythm and timing, which she controls completely as a writer-performer. She has stated that her physical acting is an extension of her writing process.

Rosie O’Donnell

Starting as a stand-up and transitioning to film and Broadway, O’Donnell has always used her physicality as a comedic tool. On her talk show, she frequently choreographed opening numbers or improvisational dance bits with guests. In films like ‘A League of Their Own’, she improvised dance steps during the social scenes to add period flavor and character depth. Her background in theater allows her to pick up choreography quickly, but she often adds her own flair.

Sandra Bernhard

Bernhard’s performance art shows are a blend of monologue, song, and movement that she meticulously constructs herself. She uses her body to punctuate her satirical commentary, creating a unique form of choreography that defies traditional categorization. In her acting roles, she brings this same unpredictable physical energy, often moving in ways that unsettle or captivate the viewer. She is a pioneer of the one-woman show format where the performer controls every aspect of the stage picture.

Lea DeLaria

As a jazz musician and comedian, DeLaria has a natural sense of swing that translates into her physical performance. In ‘Orange Is the New Black’, she used her physicality to define her character Big Boo, often improvising dance-like movements during lighter moments. She has performed on Broadway and in cabarets where she directs her own stage movement and interaction with the band. Her physical presence is a carefully crafted aspect of her butch identity and performance persona.

Raven-Symoné

Growing up on television, Raven-Symoné developed a knack for physical comedy and dance that she utilized in ‘That’s So Raven’. She often choreographed the disguises and physical gags for her character, including musical numbers. As a pop star, she contributed to the choreography of her tours and music videos, ensuring the moves were age-appropriate and stylish. She continues to direct and produce, maintaining oversight on the physical aspects of her projects.

Da Brat

As one of the first female rappers to go platinum, Da Brat has always been in charge of her stage presence and movement. She has transitioned into acting in shows like ‘Empire’, where she brings her hip-hop background to her character’s physicality. She choreographs her own performance style, which involves specific hand gestures and body language that match her flow. Her movement is an integral part of her musical identity that she transfers to her acting work.

Queen Latifah

Latifah began as a rapper and dancer, creating the movement for her early music videos with her crew. In films like ‘Chicago’ and ‘Hairspray’, she performed rigorous choreography, but in her comedies, she often improvises her own dance scenes. She has a natural rhythm that allows her to lead musical numbers and create spontaneous moments of celebration on screen. Her production company gives her the leverage to determine how she is presented physically in her projects.

Margaret Cho

Cho’s burlesque shows are a testament to her ability to choreograph complex and provocative routines for herself. She integrates dance, striptease, and comedy into her act, designing the movement to challenge societal norms about bodies and sexuality. In her acting roles, she brings this boldness to her physical choices, often using movement to subvert expectations. She is a vocal advocate for using performance art as a means of political expression.

Hannah Gadsby

In her groundbreaking special ‘Nanette’, Gadsby deconstructed the form of stand-up comedy, using her physical presence to build and release tension. She meticulously blocked her own movement on stage to control the audience’s emotional response, a form of narrative choreography. Her acting style relies on deliberate stillness and sudden movement, which she dictates to serve the story. She treats her physical performance as a vital component of the text.

Tig Notaro

Notaro is known for her deadpan delivery, but she has utilized physical comedy and movement in surprising ways, such as pushing a stool around the stage for an extended period. This self-directed physical business is a form of anti-choreography that she created to disrupt the rhythm of a standard comedy set. In films, she often improvises small, awkward physical interactions that define her characters. Her movement choices are precise and calculated to enhance the dryness of her humor.

Fortune Feimster

Feimster frequently incorporates dance and physical gags into her stand-up routines, often culminating in an improvised dance number. She created her own character, the “Ice Cream Dance” persona, which involves a specific set of moves she designed. In her acting roles, she often requests to do her own stunts or physical comedy bits, bringing her high-energy movement to the screen. She uses dance as a way to disarm audiences and invite them into her comedic world.

Samira Wiley

In ‘The Handmaid’s Tale’, Wiley used her physical acting training to convey resistance and strength with minimal dialogue. She has moments of physical expression in the series that she developed to show her character’s internal state. In her theater work, she has participated in ensemble movement pieces where she contributed to the development of the choreography. Her ability to use her body as an instrument of storytelling is a key element of her acting technique.

Rutina Wesley

Wesley is a Juilliard-trained actor who has a strong background in dance and movement. In ‘True Blood’ and ‘Queen Sugar’, she utilized this training to create the physical language of her characters, often moving with a dancer’s grace. She starred in the dance film ‘How She Move’, where she performed complex stepping routines, bringing her own flavor to the choreography. She approaches every role with a focus on physicality and spatial awareness.

Devery Jacobs

Jacobs has brought a grounded, powerful physicality to her role in ‘Reservation Dogs’, often using stillness as a choice. In her independent film work, she has improvised movement sequences to convey connection to the land or spiritual themes. She directs some of her own projects, giving her the final say on the blocking and movement of the actors. Her performance style is rooted in a naturalistic approach to movement that she carefully curates.

Paulina Alexis

Alexis creates viral social media content that often features her dancing and lip-syncing, showcasing her natural rhythm and comedic timing. In ‘Reservation Dogs’, she improvised many of her character’s physical quirks and dance moments, making Willie Jack a fan favorite. She uses movement to connect with her indigenous heritage and to bring levity to serious scenes. Her uninhibited approach to dance allows her to steal scenes with self-generated energy.

Eliane Umuhire

A Rwandan actress with a background in physical theater, Umuhire designs her own movement scores for her roles. She uses her body to express the trauma and resilience of her characters, often without needing dialogue. Her work in ‘Augure’ involved stylized movement that she helped develop to fit the film’s magical realist tone. She views acting as a physical discipline and takes responsibility for the choreographic elements of her performance.

Adèle Haenel

In ‘Portrait of a Lady on Fire’, Haenel’s movement was central to the film’s visual language, particularly in the bonfire scene. She collaborated with the director to find the specific rhythm of her character’s walk and gestures, effectively co-choreographing her presence. Her acting style is characterized by a fierce, athletic physicality that she maintains control over. She has since stepped back from the industry to focus on political activism, using her physical presence in protests.

Evan Rachel Wood

Wood is also a singer who performs in the band Evan + Zane, where she stages her own movement and interaction with the audience. In films like ‘Across the Universe’, she performed dance numbers, but in her dramatic work, she designs the subtle physical ticks of her characters. She has spoken about the importance of body language in defining a role and often works from the outside in. Her live performances allow her the freedom to choreograph her own emotional expression through dance.

Halsey

Halsey is a visual artist and performer who directs the movement for her concept films and live tours. She has acted in projects where she brings this stylized, self-created physicality to the screen. Her music videos often feature contemporary dance routines that she develops in collaboration with choreographers but maintains creative veto over. She uses painting and movement interchangeably to express her internal world.

St. Vincent

Annie Clark, known as St. Vincent, choreographed the robotic and synchronized movements for her ‘Masseduction’ tour and film projects. She starred in ‘The Nowhere Inn’, a meta-fictional film where she designed the strange, staged reality of her on-screen persona. Her movement style is sharp, angular, and deliberate, a direct reflection of her musical composition style. She treats her body as a piece of the set design, moving it with architectural precision.

Carrie Brownstein

As a member of Sleater-Kinney and the co-creator of ‘Portlandia’, Brownstein has always used physical comedy as a major tool. She improvised the awkward dances and physical interactions for her various characters on the show, effectively choreographing the humor. Her stage presence as a guitarist involves a specific, high-energy movement style that she developed over decades of touring. She translates this kinetic energy into her acting roles, often playing characters who are physically restless.

Miranda July

July is a performance artist and filmmaker whose work is deeply rooted in physical expression and movement. She choreographs the strange, intimacy-seeking actions of her characters in films like ‘Me and You and Everyone We Know’. Her performance pieces often involve audience participation and movement scores that she designs herself. She uses dance and physical contact as a way to explore the boundaries between people, serving as the sole author of the movement.

Share your favorite dance moment from these actors in the comments.