This practice research explores the conjunction between cuteness and violence with choreography as a mode of inquiry. Cuteness is generally understood as an aesthetic category and sensuous quality, providing pleasant feelings and a desire to touch, squeeze, hold, or own. The thesis provides a critical analysis of the notion of cuteness (with Ngai, Boyle, Kao, Merish and Tafeche, amongst others), its multifaceted nature and the potential for violence. It is seen as a diminutive aesthetic, subordinate, yet sensuous quality, a self-defence tactic, and a tool to convey the message. Through the conceptual framework of feminist and decolonial scholars and artists (Nelson, Vergès, Dorlin, Melandri, Maple) the thesis reveals the violent part of this range. It examines the violence residing in the structures that usually provide us with the feeling of home, stability and safety. This potential for violence is an integral part of the affective conjunction between cuteness and violence. The thesis aligns itself with dance makers and authors who work with choreography to create problems, thinking and sensing through dance, rendering ideas into movements, and using them to change perspectives and relations (Joy, Burrows, Parkinson, Cvejić, BADco., Kunst, Allsopp, and others). The choice to work with choreography in this research is to unsettle, observe and alter unstable states like cuteness–violence.