‘Fancy Dance’ foregrounds a Native language. Its director wants Hollywood to go much further

by

As a Native American actress and filmmaker who has witnessed the recent surge of attention towards Native projects in Hollywood, I am both grateful and apprehensive. On one hand, it is inspiring to see the success of shows like “Rutherford Falls,” “Reservation Dogs,” and “Echo.” These projects provide opportunities for Native storytellers like myself to showcase our unique perspectives and experiences on screen. However, I cannot ignore the anxiety-inducing reality that this momentum may be just a fleeting trend.

For filmmaker Erica Tremblay, “Fancy Dance” has already achieved the highest of honors.

Following a screening of the movie for a Toronto audience speaking the Cayuga language last year, one elder patted her kindly on the cheeks and praised her with the words “well done” in Cayuga.

“According to Tremblay, some elderly individuals wept due to being in their eighties and nineties and having never witnessed their language portrayed in a movie before. For him, this emotional response is the most significant accolade the film has earned to date.”

Title “Fancy Dance” opens in select cinemas this Friday, followed by its streaming debut on Apple TV+ on June 28. The story revolves around Jax (Lily Gladstone), who has been looking after her niece Roki (Isabel Deroy-Olson) since the latter’s mother went missing. Simultaneously dealing with her own sister’s disappearance and helping Roki prepare for an upcoming traditional dance at a powwow, their peaceful life is disrupted when authorities remove Roki from the reservation to live with her white grandfather.

For the record:

At 5:38 p.m. on June 24, 2024, an earlier draft of this piece contained an error. The film “Fancy Dance” was actually premiered at the Sundance festival in 2023, not in 2021.

Tremblay, aged 43 and a co-writer with Miciana Alise of the Tlingit tribe, makes his debut as a narrative feature director with “Fancy Dance.” This film was unveiled during the U.S. dramatic competition at the 2023 Sundance Film Festival in Park City, Utah. Similar to her 2020 short “Little Chief,” which features Gladstone as its star, “Fancy Dance” is rooted in and explores the surroundings of the Seneca-Cayuga reservation located in Oklahoma.

Isabel Deroy-Olson, left, and Lily Gladstone in the movie “Fancy Dance.”
(Apple TV+)

Tremblay shares that her inspiration for the movie’s plot came during her three-year linguistic journey at a Cayuga immersion program.

At that point in time, my family and I were mastering the art of using familial terms. I discovered that the word for mother was “knó:ha” and the term for your maternal aunt was “knohá:’ah“, which translates to ‘little mother’ or ‘another mother’. Tremblay shared this experience, expressing how deeply significant the matriarchal culture and the value of matrilineal relationships were in their language. It left a profound impact on me.

As a film enthusiast with Cayuga heritage, I was struck by Tremblay’s ability to forge a deeper connection to my ancestral roots through the use of our language and grammar in her work. This experience served as a poignant reminder that matriarchal societies, which hold significant meaning to us, were not so distant in the past.

Using Jax and Roki’s experiences, “Fancy Dance” explores persistent issues in Indigenous communities that impact women, including the missing and murdered crisis and the separation of Native American children from their families. Above all, this work serves as Tremblay’s heartfelt tribute to her heritage and the Cayuga language.

“I’m suddenly realizing that in just a few days, Cayuga will be accessible to audiences worldwide through various platforms. This realization fills me with a sense of accomplishment and appreciation. Admit it, acknowledging feelings of gratitude and pride can be challenging for some of us, but I can’t help but feel elated at the prospect of sharing this film with the global community.”

Tremblay talks about the Cayuga dialogue in “Fancy Dance” and the concerns it raises, as well as her hopefulness regarding the future of the film industry in the following discussion. (This conversation has been shortened for brevity and to make the information clearer.)

Why was it important for you to use Cayuga in this film?

As a devoted cinema enthusiast, I find myself at a crossroads with a unique language – Cayuga. With fewer than twenty native speakers remaining, this language is teetering on the brink of extinction. I may not be fluent, but I’ve been fortunate enough to acquire some knowledge through language immersion programs. It feels like a significant responsibility to me, a duty that shouldn’t be hoarded. Instead, it should be shared with those eager to learn and preserve this precious piece of linguistic heritage.

Roki (Isabel Deroy-Olson), left, and Jax (Lily Gladstone) in “Fancy Dance.”
(Apple TV+ )

As a cinema enthusiast, I can’t help but be drawn to the captivating dynamic between Jax and Roki in this film. It’s their connection that truly resonates with me and keeps me engaged from beginning to end. The small, everyday moments they share are what make this story so special for me. For instance, when Roki experiences her first period, there’s a sense of joy and growth that radiates between them, making those scenes all the more poignant and memorable.

In my community, experiencing joyful and lighthearted moments was essential because that’s what it feels like there. I grew up surrounded by Jaxes, and their presence in my life is crucial – without the influence of these women and queer individuals, I wouldn’t be who I am today. Laughter and connection have the power to help us rise above the challenges we face.

My two nieces and nephew have recently started menstruating. The youngest niece experienced her first period last month. For our Haudenosaunee community, this is a cause for great celebration. When Roki and Jax go to the diner and my niece orders an abundance of strawberry-flavored items, it brings back memories of my own menstruation and the Chinese buffet, where I would indulge in sweet-and-sour chicken and various other dishes. We don’t take enough time to honor this significant milestone in a young woman’s life.

As a cinema enthusiast, I take great delight in exploring films that showcase various cultural celebrations of different periods. It’s disheartening to notice the prevalent sense of uneasiness and even shame surrounding such themes in modern society. Instead, let us embrace these rich traditions and learn from them.

During your menstrual cycle, there are restrictions regarding what you can and cannot do due to your significant influence. This isn’t a source of shame in our society, but rather an acknowledgment of the strong power you possess. Anthropologists have attempted to rephrase this, yet it remains deeply rooted in language, customs, and culture. I am more enthusiastic about embracing this concept than feeling ashamed. I look forward to: Being at my strongest.

How did you approach balancing these topics that matter to you with making entertainment?

Miciana and I created this movie specifically for Native communities. Our goal was to produce a film that authentically portrays Native experiences, made by Native voices. Watching this film, Native viewers will recognize accurate representations that instill pride and resonate with them. Above all, while producing the film, we prioritized the sensitivity of Native audiences, ensuring it does not cause re-traumatization or unwanted triggering.

To make this film accessible and relatable for non-Native viewers, we aimed to discuss the challenges faced by Native communities, using themes of love, loss, and grief as common ground. By subtly exploring these issues through Jax and Roki’s relationship, we hope that audiences will gain new perspectives on systemic problems affecting Native peoples in contemporary society, encouraging reflection on personal connections to these systems.

Lily Gladstone in the movie “Fancy Dance.”
(Apple TV+)

In recent times, there seems to be an increased focus on Native-themed productions such as “Dark Winds” and “Reservation Dogs.” How have you found this development, and has the progress slowed down?

I’m deeply appreciative of Sierra Ornelas from “Rutherford Falls,” Sterlin Harjo of “Reservation Dogs,” and Sydney Freeland from “Echo,” as well as other remarkable showrunners and directors who are guiding me. Despite facing numerous challenges, they continue to inspire with their determination. Their success serves as a reminder that I too can tell stories and make a living as a storyteller, focusing on communities that resonate with me.

As someone who has worked in Hollywood for over two decades, I can’t help but feel a sense of uncertainty and apprehension about the industry’s current state. With the ongoing strikes and the rapid advancement of AI technology, it feels like we’re navigating uncharted waters. The question on everyone’s mind is: what does the future hold for Hollywood?

Working in these sets can be quite challenging for me. I’m frequently the only woman or Indigenous person in the room during tech scouts. Some collaborators may not value my input due to my gender, ethnicity, or perceived lack of knowledge. This situation is unfortunately still prevalent. But I remain hopeful that progress is being made.

“How can you offset over a century of truly disappointing actions, portrayed in just three TV seasons? It will take significant effort from Hollywood studios to make amends for past wrongs that persist. I urge these entities not only to speak out but also to take meaningful actions.”

In simpler terms, The essence of this is writing checks and actively hiring people with funds. Your mentorship programs are commendable, but you need to employ these individuals, pay them, and invest in their business proposals and concepts. More proactive assistance from these organizations is essential for preventing this trend from becoming a mere passing fancy. Feel free to ask me the same question five years down the line.

I’m impressed by your optimism.

In the industry, we’re all hanging on and hoping for a turnaround. My mom instilled in me the importance of staying optimistic, yet acknowledging the current situation. I believe we can maintain positivity while addressing unacceptable practices from the studios and systems. I’m eager to collaborate with them and am thrilled when success stories like “Reservation Dogs” emerge – a testament to the potential for outstanding results through these partnerships. I look forward to witnessing more of such achievements.

I’ve learned optimism from the resilient Jaxes in my life, who manage to overcome obstacles by relying on their unwavering belief in each other. Similarly, I draw strength and motivation from Sterlin’s work, as well as that of Tazbah and other inspiring Native filmmakers. Only by joining forces and working together can we successfully navigate the challenges ahead. This mindset was instilled in me through my connections to these remarkable individuals who are not only thriving but also providing sustenance for their communities.

At the Seneca-Cayuga reservation, I return home only to find a person is missing. This situation is far more significant than not securing a job in Hollywood. Yet, we’ll get through it all with laughter, love, and unity. We’ve endured greater hardships before; together, we’ll make it through Hollywood as well.

Read More

2024-07-18 18:41