As teachers and choreographers of young dancers, we recognize half the battle is getting our dancers to all look synchronized, understand conceptually and physically what we are trying to convey and present clean technique which highlights their strengths. Often times however we get that unavoidable question when the emotional component may not be quite as clear as to, “What should my face be?” In that moment, we must be sensitive enough to tap into the fact that the theme or concept may not be as clear-cut as we assumed it was when we set it. If it’s not an obvious happy, fun-loving, “smiling,” piece, then perhaps more discussion should be going into that very important other element, performance quality and emoting on stage.
Too many times, dancers are presented with concepts and themes which are out of reach emotionally for them to comprehend and tap into. There is a disconnect and we need to start to change the conversation of “what should my face be,” to “this is what I feel when I’m dancing this.”
There are two very important things to consider here if you are struggling with getting your dancers to connect and emote honestly and naturally onstage. The first being, is the content too mature? Is it something they can’t tangibly tap into within their own lives or be given comparisons and examples in a way which they can understand what the piece is about. Going beyond basic, “happy,” “sad,” and “angry,” is desirable, of course so we want to remind our dancers that we don’t walk through everyday life with one emotion or one expression on our faces. Dances should be no different. Emotions should ebb and flow and change naturally through the course of the routine and enhance the dynamics of the storytelling. In order to do that we need to be very clear about what the intent is. If we aren’t clear we can expect young dancers to be. Make sure they ask questions. Give ample examples. Demonstrate. Discuss sections that are working and try to bridge them with the sections that aren’t. Make sure they are not only connecting with their concept, but their music and each other. If it’s just not working, you may want to rethink your idea and shelf it for a more appropriate tie or group which it might work better with.
The second thing to consider is coaching your dancers on the art of emoting. It should NEVER be about a singular facial expression or mugging, it should be about feeling. What and how does the dance make you feel? Making sure dancers understand that if you are truly dancing from the inside out and connecting movement, breath, emotion and to each other, the “faces,” should come naturally, organically. That is the difference between dancing honestly and being contrived. Whether you are 8 or 18, nobody wants to see inauthentic performances. We want to see dancers understanding their content and having fun and living on that stage. That is the difference between a dancer and an artist and it is a good habit to instill from when they are little. Let them learn to really feel and run with it. If it’s too much remind them you’ll pull back the reigns but emoting from a true and honest place is where it’s at and will transcend their performances regardless of age, level and genre of dance.
