Often in dance conversations talk turns to the dancer’s body, the athleticism, technique or lack thereof and the physicality of the dancer as a performer. It is rare that the dancer’s facial expressions are discussed, and on the odd occurrence that someone does mention it, it is generally in a bleak context. Dancer’s all over the world can probably relate to remarks directed towards their “over-the-top” facial expressions and criticism aimed at minimizing extreme animations of le visage.
To me, on the other hand, there is nothing more distracting than a face that is disengaged. Similar to how actors are often referred to as talking heads, I experience a dancer with a passive face to be a talking body. The face plays a crucial part in giving meaning to movements, how can it not be regarded as part of the performance? Recently I have revisited some of my favorite screendances within the music video and advertisement world. Here’s a brief look at two video.
An oldie, but a goodie and also a recurring feature in most of Sia’s video’s, is Maddie Ziegler’s dancing face from The Greatest. Chandelier deserves a nod as well, although I seemed to remember more facial expressions than what are actually visible in the video, perhaps due to the long shots and framing. In The Greatest, Ziegler’s facial expressions really come into their own as she introduces the narrative through her face. It is in fact primarily her facial choreography that keeps me as a viewer connected in otherwise darkly light scenes. Her gesticulations build and inform her character and attribute additional meaning to her movements.
These expressions undergo some form of development as they seem to tell a narrative within the narrative. Her face breaks boundaries which is supported by her extensions through space and frantic traveling pathways. Like any good story the progression in her facial choreography has a clear beginning, middle and end. Below I suggest these key moments.
Through close-ups, the expressiveness of the face is emphasized and I feel drawn in by her emotions, especially as they seem as unpredictable and unsettling as her expressions. Speaking of unpredictable facial contortions my second video is the KENZO World advertisement which has come to the foreground again since its 2016 release. This is in light of certain questionable similarities identified in Taylor Swift’s new Delicate video.
Apart from the fantastic soundtrack from Mutant Brain (feat. Assassin) by Sam Spiegel & Ape Drums, this video features some serious micro-choreography beautifully performed with reckless abandon by Margaret Qualley. It also takes me back to this stellar performance by Christopher Walken. I have no doubt that this video will appear in a post somewhere along the line.
Back to Qualley’s dancing face. Apart from the commitment oozing from her performance there are certain moments that reveal the same sensitivity and intimacy preceding a burst of choreography that is noticeable in Ziegler’s facial expressions.
Qualley’s face reveals a narrative within the greater scheme. Her expressions break through the boundaries enforced by her structured and formal environment and like Ziegler her face initiates movements and energy that sequence through her entire body.
Her expressions reflect increasing power spurred on by possible frustration and the urge to escape the dullness of her surroundings. The way in which she executes these very specific facial gestures draws me towards her make-believe world and takes me with her as she leaps towards and through the floral Kenzo eye.
Similar to the final, closing image from The Greatest, there is a definite final look. In contrast to the disheartening final teary gaze from Ziegler, Qualley gives us a satisfied, almost empowered, bravado-esque stare. To me it almost feels like a dare, asking me to give her my best shot or dance rendition or perhaps issuing a challenge along the lines of “would you dare break boundaries?”
This remains a personal reading of both videos. This goes to show how rich the content is from which we can draw meaning. In this post I have focused on the dancer’s facial choreography, and yet the role of the moving camera has not gone unnoticed. It is to my mind due to the camera’s trajectory, following both dancers through space and its technical ability to capture their facial expressions in close-up shots that allows me to perceive and interpret their micro-choreographies. These close-ups invite us into the dancers’ personal space and thereby establishing an implied relationship. We get a front row seat to their facial performances!
If we could just shift our perspectives we could perhaps open our worlds to seeing things differently or even notice movements that have always been there. A lovely challenge is to try to notice what tendencies our own faces have towards gesticulating and how in fact these facial gestures aid in our day-to-day communications. I, for one, know that my face is inclined to reveal expressions on a grand scale, for the most part lacking in subtlety.
Credits
Directed by Sia and Daniel Askill, featuring Maddie Ziegler, and choreographed by Ryan Heffington.
Written & Directed by: Spike Jonze “Margaret” played by Margaret Qualley Producers: Natalie Farrey and Vincent Landay for MJZ Executive Producers: Humberto Leon and Carol Lim Co-Producer: Amanda Adelson Director of Photography: Hoyte van Hoytema Production Designer: KK Barrett Editor: Eric Zumbrunnen Choreographer: Ryan Heffington Costume Designer: Heidi Bivens Song: Mutant Brain (feat. Assassin) by Sam Spiegel & Ape Drums.
Clouds and close-ups 