Michele Stine, codirector of Getting Old Sucks, gives us some insight behind the title. Tickets on sale now for Getting Old Sucks!
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February 22 - March 3
Friday & Saturday, 8pm
​Sunday, 3pm
Click here to purchase your tickets!

What is community? Is it the people you’re around? Is it the feeling you get when you’re around a certain group of people? Is is active or passive? Is there a definition or is it as abstract as anything else that is specific to each individual? What happens when you find yourself outside of a community and in turn, how do you make your way in?

Whenever I think of community outreach, these are the questions I have to ask myself. Yes, marketing and outreach are strategic but there’s also just this aspect of just being a human being trying to connect with someone else. It’s this sense of inviting someone in and in return, hoping to be let in as well. When I think of community and outreach, I go into it with a sense of just trying to get to know someone. I don’t particularly want anything from you other than to meet you, get to know you better. No one is oblivious. They can tell when you just want something from them or when you’re oozing with fakeness. No one wants to be networked. People do want to feel special and listened to. They do want relationships that gives just as much as it takes.

In doing community outreach, I want to challenge people to get to know one another. Not because we want something from one another. Not to network but simply just to be together. You’d be surprised how quickly you can befriend a stranger, the things you confide in them or feel safe around them. We live in a world where we are so scared of people, things or beliefs that are different than us. We meet it with rage, hostility and hatred yet we fail to realize that we are all more similar than we are different. We don’t actually fear that thing that we tell ourselves is scary or dangerous. What we actually fear is that we may like that person we’re told is a threat. We might resonate with an idea we were brainwashed to think is radical. We might actually be good at an activity we were told would emasculate us. But we must push past those fears. We must reach out. Reach out to converse with a stranger. Reach out of our comfort zone. Reach out to include or accept. Reach out for help or understanding. We just need to reach out. For ourselves. For each other. For that is building community. That’s why we use the term “building a community” not “maintaining a community”. The work is never done. So smile at a stranger. Ask someone to inform you about something you don’t know. Go to a different restaurant. Try a new activity. Realize that expanding your community broadens your perspective and helps you grow into a person you never thought you’d expect to be. Realize that you may find yourself with an ever-growing community of people that may all come together because of you.

So I hope you come out and see a show at Chicago Danztheatre or support our fundraisers. We work for and collaborate with people from all walks of life. We tell stories that people never thought they’d resonate with. We intermingle communities of all kinds from the CPS community, to the prison community, to the artist community and beyond. We truly believe that it is possible for us all to learn from one another. It’s possible to simply exist with one another, to listen, to be heard and to share. You are always welcome in the CDE community because it is a safe place. We are one community.

And as always, like our Chicago Danztheatre Ensemble Facebook page or follow us on Instagram @danztheatre. 

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The following blog post may be triggering for some readers. The survivor story comes an Ensemble member of MMRP. Though she wanted to share her story, she asked to keep her identity anonymous.  

Throughout our rehearsal process, this line in the Blueberry Hill monologue by Christine House has always stuck in my mind. Though I always take it out of context, I  go back to January 27, 2015, to the words coming out of my own mouth as I ran out of a dorm to my friend’s car – “it wasn’t consensual but it wasn’t rape." Over and over again, I spoke those words during the ride back to my apartment, while talking to my roommate, while crying to my ex over the phone, while telling my friend, while talking to the doctor, while talking to the investigative team at the hospital.

It was supposed to be studying at a classmate’s apartment. It turned into a hook up and then into a non-consensual sexual encounter. At first, I just told him it hurt. He stopped after a couple minutes and persuaded me to try again. I told him it hurt again and tried to push him off, crying as he asked me if it felt good and I said "no." When I finally got him off of me, I grabbed my clothes and kept putting them on as he asked for me to continue and for us to finish together. I told him he had two hands and he could use them. As I ran out the door, I called friends to try to get a ride back home since I was on the university's other campus and felt too disorientated to figure out how to get back to my apartment.

That night changed me.

While I was able to seek justice through the university, it was not easy. My grades plummeted from straight A's to B's, C's and even a D. The doctors at the hospital found multiple tears in my vagina and advised that even with a condom used, that I should go on HIV antivirals since his status was not known and Richmond was having a problem with HIV at the time. The medications caused terrible nausea, and caused me to throw up. I had to repeat my story over and over again as the classmate kept appealing the case and other victims came forward with similar situations.

I kept questioning if it was really rape since it had started consensually. After all – “you can’t rape the willing”. I had to come to terms with what had happened to me. It was not as traumatic as other rapes I heard about. But it was detrimental to my progress and even as I fought back through the university, it took a year. Near this time in 2016, I had the final word from the university that he was expelled. After countless interviews with university officials, it was done.

I participated in MMRP so I can keep healing and moving past what happened to me. By hearing others stories and being able to use dance to express them, I’m realizing that I’m not a victim. I’m continuously surviving. And others are learning how to survive as well – I’m not alone in this journey. We can bring awareness and hope even as we’re fighting an overwhelming darkness. 

​Moments like this
Stillness... 

The crackling sound 
of my heater

A forced exhale 
from a hard days work

Moments where
A tightness 
occurs in your body
previous stories
wrapped in words
Edgy perceptions 

Does anyone 
ever
Really know who we are

What we have been through? 

What's your process 
How do you get through? 
When life alters your reality 
How do you learn to trust
to forgive... 

I watch people carry baggage 
Adding something new
every corner they turn
That suitcase 
Beat up on the edges
Still can carry things
To and from just about any location 
That suitcase contains 
The past
The present 
And
the future 

It's not visible 
Some of us
Hide it
Better than others
Some of us
Look like
We are not wrapped in
Despair
Or 
Carry the karmic imprint 
of 
life 
long
lessons 

Some of us
are just here
looking for community 
looking to fit in
to be accepted 

And 
Art
And
Pain
Often 
Pair 
together 


I realize 
We are not alone
in any of our thoughts 
Someone 
Somewhere 
Is thinking 
this very same
thing

Artistry 
Changes
Life
Enables
Light
to 
Peer through 
Even the darkest tunnel

Stories 
Break us down
Remove our ego
Force us
to feel
and feeling 
Is not something 
our society 
has a great deal
of experience with... 

Reacting vs responding 
Defending vs understanding 
This is what we know
What we were trained to do

What would it look like
to flip the script
To respond vs react
To understand vs defend

"It is like that moment when the rollar coaster starts and you know there is no turning back. Whatever is to happen is out of your control, you have no choice, but to proceed!" 
~Christine House, Blueberry Hill~

Excerpt from
A Memory
A Monologue
A Rant
A Prayer 

Edited by Eve Ensler (author of Vagina Monologues) and Mollie Doyle

CHICAGO, November 6, 2017 Chicago Danztheatre Ensemble is thrilled to announce that we have been award a $50,000 grant for an international collaboration between Erica Mott Production and Ezzat Ezzat Contemporary Dance Company. We are thankful to be one of nine Chicago area arts organizations to be granted this award by the MacArthur Foundation.

The John D. and Catherine T. MacArthur Foundation today awarded grants to nine Chicago arts and culture organizations for diverse artistic exchanges in eight countries, including Mexico, South Africa, Sri Lanka, and the United Kingdom. “Cross-cultural exchanges bring renewed perspective and vision to Chicago’s vibrant arts and culture organizations,” Chicago Commitment Director Tara Magner said. “International collaborations also help music, dance, art, and theater audiences understand other cultures better, offer a meaningful experience in a troubled world, and allow people to feel more connected to each other and their city.”

This collaboration started between Erica Mott Productions and Ezzat Ezzat Contemporary Dance Company with a residency exchange this past year that ended with a showing at High Concepts Laboratory. 

The Mycelial Cycle is an interactive multimedia installation performance that investigates civic participation and social movements in the digital age, inspired by activists' use of social media during the 2011 occupation of Tahrir Square. Developed through a series of one-to-one cultural exchanges between American and Egyptian composers, computer programmers, dancers and new media artists, and augmented through local community workshops, The Mycelial Cycle will provide pathways to kinesthetic empathy and a platform for dialogue and deeper connection between local communities in Cairo and Chicago. 
 
Mycelial - from the word "mycelium" - refers to the branching hyphae of a fungus, which form extensive communication networks that nourish entire forest root systems. 

This metaphor aptly reflects the ethos of The Mycelial Cycle: creating a nourishing, multi-faceted network through the collaborative cultural production of three distinct companies of performance and media artists and their constituents. The artists aim to utilize the performers' bodies in real time to better understand collective living in a culture of instantaneity. By employing digital technology, dance and music, Mycelial will shine a light on different experiences of time as it relates to the body in action. This will serve as a catalyst towards dialogue, knowledge exchange and potential future relationship building between Egyptian and American dancers, musicians and coders.
  
Chicago Danztheatre Ensemble (CDE) has a history of engaging diverse Chicago communities through educational programs, workshops and performances that use the arts to encourage English literacy and cultural understanding. In light of recent political isolationism, the refugee crisis and proposed Muslim travel ban, CDE has become particularly interested in bridging local Chicago communities to the Arab world to reinforce Chicago's commitment to being a sanctuary city. The partnership with Erica Mott Productions (EMP) and collective exchange with Cairo-based Ezzat Ezzat Contemporary Dance Studio (EECDS) support the cross-pollination of new ideas and the sharing of vital resources between Chicago dance and theatre makers.

Between January 2018 and April 2018, CDE, EMP and EECDS will host a series of online video exchanges between Chicago and Cairo. These exchanges will develop creative content that respond to each other's choreography, a custom mobile device app and a live video feed that will be used in the final performance in July 2018. CDE will then look at how the 2011 occupation of Tahrir Square - the original inspiration behind the collaboration between EMP and EECDS - has inspired subsequent social movements like Occupy Wall Street and the Women's March using the same technologies.
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The The Mycelial Cycle is apart of Chicago Danztheatre Ensemble's 17th season and will continue into their 18th season both themed "Art in Response.”
Chicago Danztheatre Ensemble (CDE) celebrates their 17th performance season, entitled, Art in Response. Art in Response focuses on the collection of voices of CDE and their response to the world. Chicago Danztheatre Ensemble's 17th performance season features new work, remounts and adaptations. CDE is one of the only multidisciplinary, arts organization creating works that elevate one voice, one story and one person at a time.  Audiences should expect to feel challenged while watching a CDE performance leave feeling inspired. This 17th season promises to be honest and vulnerable, what CDE does best. ​#chicagocommitment #macarthur

Ellyzabeth shared a video with the cast a few weeks ago - a silent film comprised of myriad images and scenes inspired by the story of Ethereal Abandonment. In one particularly special shot, we see feet clad in heels descending a set of stairs. The foot steps are slow and deliberate and a tad unsteady. We see the ankle and foot muscles and bones at work, keeping the actress balanced as she makes her move. At rehearsal that day, Nelia (the actress to whom those feet belong) made a comment about how wobbly her steps were. To that Ellyzabeth replied, "Wobbly is OK." 
That got me thinking of how important vulnerability is in theatre and performance. Actors and dancers in rehearsal and on stage are called on to take risks. Through opening ourselves up to the work we knowingly expose ourselves to failure, judgment and embarrassment (to only name a few). But this is when the magic happens. Those nerve-wracking tasks of being open and taking risks are what enable us to create moments in performance that are truthful and unique. 
So this week as we begin tech rehearsals, I pose a challenge to myself and the cast to work with a sense of vulnerability. As the technical elements begin to build a strong skeleton for the show, let us continue to strengthen the malleable muscle, the beating heart of Ethereal Abandonment, remembering that vulnerability is powerful and yeah, wobbly is OK.