"Dancing in Snow," choreographed by Roderick George, is a sophisticated and thoughtful statement about Black and Queer experiences, and how cultural appropriation and tokenism separate Black dancing and culture from Black bodies.
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.
- Music: slowdanger
- Costume Design: Robert Huerta & Ashley Kayombo
- Lighting Design: Claire Chrzan
- Rehearsal Director: Natasha Poon Woo
- Costume Consultant: Kelsey Vidic
Trailer Filmed by Anna Tse and Edited by Danielle King
"The show is like a grinding pestle beauty." -- Kelsey Vidic (Costume Designer)
"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, Savage x Fenty)
“[Dancing in Snow] zooms in on the 1950s to address cultural appropriation and capitalism in white America, toying with the phrase “Make America Great Again” under [Roderick George's] own interpretation as a Black queer choreographer. 'What was important for me was to rattle bones and to rattle the emotions that we’re all collectively dealing with,' he says." -- Steven Vargas, L.A. Times
"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)
"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