A San Francisco premiere by Guest Choreographer Roderick George.
The poetic title is a metaphor for those who have had to assimilate into a society of White America. George’s new work is a deeper redevelopment of Tainted, a solo piece that premiered at the Odyssey in 2020. The original work was a solo narrowed on the vision of the dancer, Jamila Glass, and how she could see her existence as the only Black woman in white spaces.
In the new work with a larger cast, Glass is joined by LACDC dancers Kate Coleman, Nicole Hagen, Colleen Hendricks, JM Rodriguez, and Ryan Ruiz, and guest artists Edgar Aguirre, Sam McReynolds, and Dave x to offer a sophisticated and thoughtful statement about Black and Queer experiences, and how cultural appropriation and tokenism separate Black dancing and culture from Black bodies.
George's movement vocabulary combines the strict lines and courtly rituals of ballet with the precision and dynamism of hip-hop and club dancing. His choreography is known for its ever-shifting play of contrasts and extremes, and for encouraging dancers to explore the edges of what they think may be physically possible.
We look forward to returning to the ODC stage and sharing this powerful work with you.
“...needed to let you know that I was deeply moved by Dancing in Snow. It was so rich, I still get glimpses of it randomly through my days. This work stayed with me and I just wanted to say thank you and just… WOW. Sending you lots of love.” - Teresa Toogie Barcelo (Choreographer - Dua Lipa, Alicia Keys, Miguel)
“Thank you Jamila for an incredible show last night. You all are such strong dancers holy sh*t. And I loved all those tiny precise moves. Damn. So impressed.” - Jasmine Albuquerque (Choreographer - Katy Perry, St. Vincent, SavagexFenty)
“I was left feeling quiet inside.” - Jessie Douglass-Smith McGraw (What Moves You with Jessie Podcast, Transformative Coach)
“It was f*cking powerful.” - Gakenia Muigai (Performing Artist - Britney Spears, Taylor Swift, La La Land)
“In Roderick’s piece, there is a bone rattling and like, goosebump-inducing feeling of…No, we aren’t the same and it’s really wrong to make people feel like they have to be. … Even still, three days after having witnessed it, I’m blown away.” - Dana Wilson (Words That Move Me Podcast, Assoc. Choreographer - In the Heights)
"His dance vocabulary runs the gamut from modern to jazz, ballet to street, with a deft touch of musical theater tossed in. The movement emanates from the core with the torso always in use and the arms beautifully rendered. With small gestures or perhaps a nod of the head George captures the musical accents and innuendo throughout. He understands the need to keep the stage moving, yet also knows when to slow it down for a solo or unison work. I was instantly drawn in." - Tam Warner (L.A. Dance Chronicle)
"How did you make something so current, artful, abstract, gorgeous, sophisticated, time warping. You get lost in it. It was f*cking good. I'm gagged." - Rick Gradone (Art Director, Costume Designer / Vogue, Harper's Bazaar, Vanity Fair)
“A thousand congratulations on the spectacular show that you brought to the stage. I am still thinking about every aspect that was executed with virtuosity and a pristine eye towards visual execution. From the costumes to the lighting; to the energetic movement delivered by the dancers and the complex themes so beautifully displayed through choreography. To watch a dance performance actually « show » the narrative through movement, making an audience understand what is about is something I rarely see. I am so proud and excited about the direction you are taking the company in. You should be so very proud of the work and your exquisite performance last night congrats. Toi toi on the performances ahead!” - Sara Silkin (Filmmaker, Choreographer - Love, Death & Robots on Netflix)
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