Deer Dance

“Deer Dance” is an excellent example of a song with profoundly insightful lyrics. The approach is unvarying and rather satirical, clearly aimed at the influx of police brutality—particularly with respect to the Los Angeles Police Department.

Serj Tankian, the frontman for System of a Down, is recognized for clever political criticism through his lyrics (often disguised within vague metaphors and images). In “Deer Dance,” he reveals his distaste for the propaganda supplied by the government to deal with the “malcontents” in society—political ramblings and promises backed up by an imposing and brutal police presence.

In the first verse, Serj describes how the government outwits the masses using fear incited by a visible police presence. The “battalions of riot police” provide “service with a smile,” merely doing their jobs to restrain public outrage. However, Serj presents a rather interesting idea when he labels the wounds as “rubber bullet kisses”—a satirical euphemism to mock the supposed indifference and fairness supplied by the police.

In the pre-chorus, mention of the Staples Center (which is a sports stadium in Los Angeles) paints the scene to be L.A., and the police to be L.A.P.D. Here he addresses his sympathies with the malcontents, describing them as “peaceful, loving youth” who are merely resisting “the brutality of plastic existence”—a mask they refuse to wear any longer. In referring to a plastic existence, I believe that Serj simply means a ‘fake’ existence: one of supposed content, but obvious discontent.

In the chorus, he presents a very powerful image of the police “pushing little children” around with fully automatic weapons. Clearly, the stark contrast between the powerful and the powerless reveals the extent of the brutality—these inhumane police treat little children as if they’re threatening. Unfortunately, this may be a drastic view and not necessarily reality.

Serj also addresses the political propaganda of the government in the second verse with his description of official statements as a “rush of words” merely “pleading to disperse” the malcontents while a “fall guy” is called upon to take the brunt of the blow (or responsibility). He then denounces the idleness of the American people with regard to these brutality issues, telling them “we can’t afford to be neutral on a moving train.”

In the bridge, Serj brings reference to the “deer dance”—a metaphor with various interpretations. Personally, I view this dance as a struggle between the brutal police and the malcontents: a battle that rages round and round. He describes this battle as a war; a drastic exaggeration, yet innately precise. The “fierce” police are “trained and appropriate for the malcontents” who are rather disproportioned (arguably less in number than the police, but this too is open for interpretation). Clearly disgusted, Serj sarcastically sings, “The little boy smiled, it’ll all be well.” This comment reflects directly upon the political propaganda used to satisfy the masses. However, we all know that pleasant images don’t address a problem—they merely shroud it in lies.

Reflecting on the song, I’ve found that police brutality is definitely an important societal issue. As citizens, we’re caught in quite a pickle between the respect and admiration for authority and the distaste for its actions. A call to arms is necessary, however, to ensure that brutality is continuously denounced into oblivion.