Sherril Dodds is Professor of Dance at Temple University. Her books include Dance on Screen, Dancing on the Canon, Bodies of Sound (co-edited with Susan C. Cook), The Oxford Handbook of Dance and Competition, and The Bloomsbury Companion to Dance Studies. She has been a visiting scholar at Trondheim University in Norway, Griffith University in Australia, Stanford University in the USA, and Blaise-Pascal University in France. She was awarded the 2015 Gertrude Lippincott prize for her article, “The Choreographic Interface: Dancing Facial Expression in Hip Hop and Neo-burlesque Striptease.”

• About FaceThe Face in PerformancePerforming the Habitual FaceThe Work of Facial Choreography SMILEMichael Jackson and the Pedagogy of a SmileThe Tenacity of the Minstrel SmileMaddie Ziegler and the Billion-Dollar SmileSmiling Towards Happiness LOOK(En)Visioning the WorldPerformances of Looking in Hip HopFeeling the Gaze in BattlesCheck out the B-Girls FROWNMichael Jackson and The Intention to be BadFrowning and Facial Signifyin(g)Mythologies of Mean Mugging in BreakingMugsy, Bugsy, and Keeping it Real CRYThe Surrogate Face of a Reluctant CelebritySia and Big Girls CryMaddie Ziegler and her Affective CryA Cry of Outrage SCREAMRe-Facing Michael JacksonDefacement, Freakery, And RaceA Choreographic ScreamMichael Jackson: The Commodity and the Cut LAUGHThe Viral Face of Maddie ZieglerMaddie, Eddie, and a WookieLaughter and Derision in Hip Hop BattlesTickling the Cypher CrowdFace the Facts BibliographyIndex

Facial Choreographies delivers on its promise of the "hyperbolic and hypermobile" face in presentational popular dance whose meaning in motion is both the realm of the visual and semiotic as well as the sensorial and experiential on the part of the dancer.

Sherril Dodds is Professor of Dance at Temple University. Her books include Dance on Screen, Dancing on the Canon, Bodies of Sound (co-edited with Susan C. Cook), The Oxford Handbook of Dance and Competition, and The Bloomsbury Companion to Dance Studies. She has been a visiting scholar at Trondheim University in Norway, Griffith University in Australia, Stanford University in the USA, and Blaise-Pascal University in France. She was awarded the 2015 Gertrude Lippincott prize for her article, “The Choreographic Interface: Dancing Facial Expression in Hip Hop and Neo-burlesque Striptease.”

• About FaceThe Face in PerformancePerforming the Habitual FaceThe Work of Facial Choreography SMILEMichael Jackson and the Pedagogy of a SmileThe Tenacity of the Minstrel SmileMaddie Ziegler and the Billion-Dollar SmileSmiling Towards Happiness LOOK(En)Visioning the WorldPerformances of Looking in Hip HopFeeling the Gaze in BattlesCheck out the B-Girls FROWNMichael Jackson and The Intention to be BadFrowning and Facial Signifyin(g)Mythologies of Mean Mugging in BreakingMugsy, Bugsy, and Keeping it Real CRYThe Surrogate Face of a Reluctant CelebritySia and Big Girls CryMaddie Ziegler and her Affective CryA Cry of Outrage SCREAMRe-Facing Michael JacksonDefacement, Freakery, And RaceA Choreographic ScreamMichael Jackson: The Commodity and the Cut LAUGHThe Viral Face of Maddie ZieglerMaddie, Eddie, and a WookieLaughter and Derision in Hip Hop BattlesTickling the Cypher CrowdFace the Facts BibliographyIndex

Facial Choreographies delivers on its promise of the "hyperbolic and hypermobile" face in presentational popular dance whose meaning in motion is both the realm of the visual and semiotic as well as the sensorial and experiential on the part of the dancer.

Sherril Dodds is Professor of Dance at Temple University. Her books include Dance on Screen, Dancing on the Canon, Bodies of Sound (co-edited with Susan C. Cook), The Oxford Handbook of Dance and Competition, and The Bloomsbury Companion to Dance Studies. She has been a visiting scholar at Trondheim University in Norway, Griffith University in Australia, Stanford University in the USA, and Blaise-Pascal University in France. She was awarded the 2015 Gertrude Lippincott prize for her article, “The Choreographic Interface: Dancing Facial Expression in Hip Hop and Neo-burlesque Striptease.”

• About FaceThe Face in PerformancePerforming the Habitual FaceThe Work of Facial Choreography SMILEMichael Jackson and the Pedagogy of a SmileThe Tenacity of the Minstrel SmileMaddie Ziegler and the Billion-Dollar SmileSmiling Towards Happiness LOOK(En)Visioning the WorldPerformances of Looking in Hip HopFeeling the Gaze in BattlesCheck out the B-Girls FROWNMichael Jackson and The Intention to be BadFrowning and Facial Signifyin(g)Mythologies of Mean Mugging in BreakingMugsy, Bugsy, and Keeping it Real CRYThe Surrogate Face of a Reluctant CelebritySia and Big Girls CryMaddie Ziegler and her Affective CryA Cry of Outrage SCREAMRe-Facing Michael JacksonDefacement, Freakery, And RaceA Choreographic ScreamMichael Jackson: The Commodity and the Cut LAUGHThe Viral Face of Maddie ZieglerMaddie, Eddie, and a WookieLaughter and Derision in Hip Hop BattlesTickling the Cypher CrowdFace the Facts BibliographyIndex

Facial Choreographies delivers on its promise of the "hyperbolic and hypermobile" face in presentational popular dance whose meaning in motion is both the realm of the visual and semiotic as well as the sensorial and experiential on the part of the dancer.