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On Location: ‘Fancy Dance’ Takes Audiences on a Tour of Indigenous Oklahoma
21.06.2024 - 12:55 / cntraveler.com
History-making Blackfeet-Niimíipuu Lily Gladstone’s latest movie, Fancy Dance, brings audiences back to Oklahoma—where other Indigenous-focused projects like Reservation Dogs and Killers of the Flower Moon were also filmed. It’s a logical shooting location given that the state was once known as Indian Territory and is home to nearly 40 federally recognized Native American tribes.
Centered on the Missing and Murdered Indigenous Women (MMIW) crisis, the film from Seneca-Cayuga filmmaker Erica Tremblay follows Jax (Gladstone) and her niece, Roki (Isabel Deroy-Olson), as they embark on a journey to an important powwow in the aftermath of a loved one’s disappearance. It sets out from the Seneca-Cayuga Nation then takes viewers on a whirlwind tour of Oklahoma, from Tulsa to Oklahoma City and beyond.
Here, we talk with production designer Charlotte Royer and set decorator Tafv Sampson about creating both familiar and foreign settings across the Sooner State to bring this heartbreaking yet heartwarming story to life. (Warning: Spoilers ahead.)
How did you capture everyday life on the Seneca-Cayuga Nation?
Charlotte Royer: My research gave me a lens to see and listen through—including reading Seneca-Cayuga stories and folktales as well as learning about the relationship that the Seneca-Cayuga people had to their landscape of origin and how that was adapted and carried through the experience of displacement. How we carry our lost homes with us, how we hold grief.
Our process involved paying deep attention to the existing natural world and the way people move through, inhabit, and impact the land—a constant dynamic dance that can often be destructive, but sometimes is generative and healing. Receiving the wisdom of our local crew and Keysa Parker, our Seneca-Cayuga knowledge and language keeper. Grounding in Erica’s passionate and fierce connection and commitment to her traditions. And collectively experimenting and working to adapt and decolonize the filmmaking process.
I was incredibly lucky to work with the tight-knit crew—family, really—from Reservation Dogs, who are already so rooted in the Native community in Oklahoma. The degree of authenticity that’s onscreen could never be achieved without an empowered Native crew working under the leadership of a passionate and talented director who has a deep-lived understanding of the story she’s telling.
Tafv Sampson: We really tried to foster an environment where nothing felt safe or familiar aside from Jax and Roki’s trailer and the senior center. Erica [Tremblay] is very visual, so we took time to determine what emotions certain colors would represent to help set the tone of the film. For instance, we wanted yellow to feel like a temporary safe haven amongst
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