What becomes possible when society or group of people focuses on collectivism? Maggie Vannucci & Dancers’ “Grit,” running through August 31 at the Chicago Athletic Association, explores that question through a series of repetitive athletic rituals that showcase the strength of bonds between humans. Created in collaboration with dancers Laura Baumeister, Rahila Coats, Kate Laughlin, and Hannah Marcus, this experimental work pushes physicality and community to its limits, from chaotic isolation to collective harmony.
It begins with water streaming from a plastic Gatorade bottle into the mouth of an exhausted, spandex-clad cyclist. Water is then dumped onto the cyclist’s face by a passing fencer marked by a sword and protective mask. Soon, an aggressive shoulder check to the fencer from a belligerent breakdancer and a water-spitting scream from a lifeguard turn the stage into a competitive battlefield.
What follows is an exploration of loneliness. The aggressive athletes repeat cycles of running, crying, spitting, tearing blue tape, and swooping leg sweeps. As the pace builds to a quickening tempo, they strip off their gear to reveal sparkling leotards, i.e., their individual vulnerabilities. Exhausted, their feet, legs, and arms dangle, bend, and swing dangerously. The section ends with a dancer’s final scream and the tearing of blue tape before she is scooped compassionately into the arms of another.
Physical and intimate, the adjustment from individualism to collectivism is messy. Forced into a single crawling mass, they maintain contact through hands and feet as they lean, pull, and contort against one another’s weight. When one breaks away, she becomes uncontrollable, her windmilling arms and shaking hands reveal the stress of being alone. The group, however, crawls back to absorbthe lost dancer, the collective made whole again.
Once the struggling subdues, their connections begins to solidify in the small, quiet act of cleaning. Soft giggles fill the air as they rip blue tape from the floor, pile the discarded clothing, and wipe off the last of the water. A microphone passes between them, capturing breaths, laughter, and small requests. The atmosphere feels comfortable, like community is no longer a struggle to create but one in which they live.
The calm does not last for long. Driven by a strong beat, one after another, they create strange, sculptural formations with their bodies. One runs off and strikes extreme poses—a backbend, handstand, deep reaching lunge, and pelvic thrust—before a concerned other rushes in to support and reshape her. Bodies stack, push, and climb on top of one another, creating statuesque configurations that highlight their combined strength.
After an abrupt, prolonged silence, the statue of bodies dissolves back into a casual atmosphere as an audio speaker is tied to the end of a long rope. Each dancer takes turns swinging it in quick, intimidating circles while the others orbit, striking powerful bodybuilder-esque poses. Eventually, they each cry, “I can’t!” and another steps in to take the burden. The notion that responsibility becomes manageable when others are willing to help carry the weight is a simple but effective image of community.
After being physically supported, the group breaks into two pairs to receive emotional support. One pair breathes and whispers echoing phrases of “you are amazing” into a microphone, moving through deep squats while locked in a strong embrace, their cheeks pressed painfully together. The other pair slowly hinges back as water drips from bottles overhead and runs through their hair and down their bodies until they puddle to the floor, cradling each other. These tender moments stand in stark contrast to the aggression of the piece’s individualistic start.
At last, a lone dancer climbs onto an elevated rotating platform and strikes a strong pose, fist raised high, while the others slowly gather to form a ramp beneath her. When she descends by rolling down the bodies of her peers, she does so at a glacial pace. Their backs, arms, and legs carry her to the ground, their strength giving her the grace to land softly.
Maggie Vannucci’s “Grit” impresses with its inventive use of staging, creative thematic imagery, and demanding athleticism. One might wish for a warning that the spit might reach the audience, but this minor hindrance is easy to overlook given the level of originality on display. Creative, messy, and refreshingly physical, “Grit” explores the expansive strength found within a collective.
Maggie Vannucci & Dancers present “Grit,” running Aug. 23-31 at the Chicago Athletic Association, 12 S Michigan. For tickets and more information, visit the event page by clicking HERE
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