A high-profile stage performance by Thai singer and actor Natachai Boonprasert, known professionally as Dunk, has ignited a global conversation regarding the line between provocative choreography and the objectification of women. The controversy centers on a solo set where the performer utilized female backup dancers as physical props, a move that critics have described as a dehumanizing display of power.
The incident occurred during the “JOONG DUNK EYES ON YOU FANCON” on April 5 and 6, 2026. While the event was designed to celebrate the bond between Dunk and his frequent on-screen partner, Joong Archen Aydin, the focus shifted rapidly toward a specific segment of Dunk’s solo performance. During a rendition of the song “White Rabbit,” originally by artist Daou Pittaya, the choreography featured an all-female dance crew dressed in bunny outfits who were positioned on all fours, allowing Dunk to sit and lean on them as if they were pieces of furniture.
The visual of a male lead treating female performers as inanimate objects quickly went viral, leading to a male singer’s “dehumanizing” performance with female dancers sparks major backlash across social media platforms. For many observers, the imagery transcended the boundaries of artistic expression, tapping into deeper anxieties about misogyny and the systemic devaluation of women in the entertainment industry.
A Contrast in Choreography
Much of the criticism has stemmed from a direct comparison between Dunk’s interpretation of “White Rabbit” and the original performance by Daou Pittaya. Observers noted that while the original song is high-energy and provocative, the original staging utilized a mixed-gender cast of dancers and maintained a dynamic of mutual performance rather than subservience.
Critics argue that the decision to swap a diverse dance crew for an all-female group—and to change the movements to include the “human furniture” element—was a deliberate choice that shifted the narrative from a musical performance to one of dominance.
Bro… sitting on the all female dancers like they’re furniture is seriously dehumanising https://t.co/pyb8xldjUA
— Loooreleii 🍎 – Situationship, Hi (@Loooreleii_) April 5, 2026
The backlash intensified as footage of the second night of the fan concert emerged. Some fans claimed that despite the immediate outcry following the first show, the choreography remained largely unchanged, with some alleging that the performer’s demeanor during the second show appeared dismissive of the criticism.
imagine getting criticized for performing a stage that’s sexualizing, objectifying and degrading women and instead of listening to the criticism and changing the stage, you do the same stage but add a smirk when woman is grinding on you… yeah congrats dunk on being disgusting
— timi ☆ (@grtspl) April 6, 2026
The Role of GMMTV and Institutional Patterns
The controversy has extended beyond Natachai Boonprasert to his management agency, GMMTV. The Thai entertainment giant, which manages a vast roster of actors and singers, has faced previous accusations regarding the treatment of its female talent. Specifically, the agency has come under fire in the past for staging and promotional materials that critics claim forced female artists into subservient positions, such as kneeling before male counterparts.
For many, this latest incident is not an isolated lapse in judgment by a single artist, but rather a symptom of a broader corporate culture that views female performers as accessories to the stardom of male leads. This is particularly poignant given Dunk’s prominence in the “Boys’ Love” (BL) genre—a category of media that often attracts a predominantly female and LGBTQ+ audience, who are now the primary drivers of the critique.
what can we expect from @gmmtv? lmao https://t.co/MVOZL3GB2L pic.twitter.com/1qUPcXDUk3
— . (@namtanfilmr) April 5, 2026
Dunk has built a significant international following through his roles in series such as Star & Sky: Star in My Mind, Hidden Agenda, and The Heart Killers. The “JoongDunk” pairing is one of the most commercially successful in the GMMTV stable, making the dissonance between the inclusive image of BL media and the perceived misogyny of the live performance all the more stark for fans.
Defining Objectification in Performance
The debate has sparked a wider discussion on the difference between “sexualized” performance and “objectified” performance. Many defenders of the act argue that the dancers are professionals who consented to the choreography. However, critics argue that consent within a power imbalance—where backup dancers are often precarious employees—does not negate the dehumanizing nature of the imagery.
there is NOTHING wrong with dancing with WOMEN, but what’s upsetting is how the choreography is clearly built around objectifying them. I honestly don’t get how anyone can watch that and not question it.
having women positioned like that on the floor, made into props, dressed in…— ilaw ⁷ 🏳️🌈 (@rkivedfkt) April 5, 2026
The use of the “bunny” aesthetic, combined with the physical requirement for the dancers to act as furniture, created a visual shorthand for submission that many found unacceptable in a modern pop context.
1. At the start of the performance he uses women as objects/props
2. This is bisexual song, you attack ppl who say its hetslop bc “bi ppl like women” but you dont see the performance from the original singer objectifying women, its dancing with men & women pic.twitter.com/FUA9msELRT— livi 🌙 (@phuwlw) April 5, 2026
To understand the baseline of the song’s intended energy, viewers have pointed toward the original music video, which emphasizes a different kind of theatricality.
https://youtube.com/watch?v=UB7cm3wiSHg%22+title%3D%22White+Rabbit+Original+Music+Video
As of this writing, neither Natachai Boonprasert nor GMMTV has issued a formal apology or a detailed explanation regarding the choreographic choices made for the fan concert. The situation remains a flashpoint for fans and critics alike, serving as a case study in how quickly global audiences can hold performers accountable for the visual language they employ on stage.
The industry will be watching to see if GMMTV implements any changes to its staging protocols or if the agency continues to lean into traditional, and now heavily criticized, gender hierarchies in its productions. Further updates are expected as the agency manages the fallout from the event’s viral footage.
We invite readers to share their perspectives on the boundaries of performance art and objectification in the comments below.
