In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' with Cleveland, OH-based artist Errin Weaver. Weaver is a choreographer and the Executive Artistic Director of Mojuba! Dance Collective and has created the Emerging Black Choreographers Incubator. Mojuba! Dance Collective (MDC) is an African contemporary dance company and platform dedicated to exploring spiritual and cultural dance traditions of the African Diaspora to restore community wellness, share and validate the Black narrative experience, and reestablish cultural connection.
In this episode, NCCAkron's Executive/Artistic Director, Christy Bolingbroke enters the 'studio' with Cleveland, OH-based artist Errin Weaver. Weaver is a choreographer and the Executive Artistic Director of Mojuba! Dance Collective and has created the Emerging Black Choreographers Incubator. Mojuba! Dance Collective (MDC) is an African contemporary dance company and platform dedicated to exploring spiritual and cultural dance traditions of the African Diaspora to restore community wellness, share and validate the Black narrative experience, and reestablish cultural connection.
INTRODUCTION: Thanks for joining us Inside The Dancer’s Studio, where we bring listeners like you closer to the creative process. Inside The Dancer’s Studio is a program of the National Center for Choreography at the University of Akron as part of our Ideas in Motion initiative. This episode was recorded in the presence of a live audience in 2023. Today we join Christy Bolingbroke, our Executive/Artistic Director, in conversation with Cleveland OH based community activator. Errin Weaver. Weaver is a choreographer and the Executive Artistic Director of Mojuba! Dance Collective and has created the Emerging Black Choreographers Incubator. Mojuba! Dance Collective (MDC) is an African contemporary dance company and platform dedicated to exploring spiritual and cultural dance traditions of the African Diaspora to restore community wellness, share and validate the Black narrative experience, and reestablish cultural connection.
CHRISTY BOLINGBROKE: So I like to start [Weaver: Yeah], when did you know you wanted to be a choreographer? How? Was there a moment was it just kind of spoke to you?
ERRIN WEAVER: I wish I had that moment, that epiphany. For me, it was kind of a thrust [Bolingbroke: Mmm]. Because I was working in the church, and doing dance in the churches, and for a long time many years. And there was a need to find a way to allow people [Bolingbroke: Mm-huh], and invite people to use spiritual dance in a way that perhaps they hadn't before [Bolingbroke: Mmm]. And use dance in a church in a more impactful way. And so learning in my own way, I had to figure out ways to, to cultivate that same kind of power and spiritual energy, in my movement, and in my dancing and working with the church is where it started for me. And I said, Okay, I don't know how I'm gonna do it. I don't have training in it. But I have to figure this thing out. And so that thrust happened in the church for me and a choreographer was born [Bolingbroke: Cool] in the church when I was in high school, bringing work together that way.
CHRISTY BOLINGBROKE: So how did you take it from the church? Because now you do performances [Weaver: Yeah] and classes and additional work as Mojuba! Dance Collective [Weaver: Yeah], not just in the church anymore [Weaver: Yeah]. What was that transition like?
ERRIN WEAVER: It was tier by tier, step by step. So first, I was in a local church in Cleveland, Ohio, where we developed and founded the first church dance ministry there [Bolingbroke: Mm-huh]. And then there was a need that became really evident [Bolingbroke: Mmm], because there were churches that were around, that kept coming to us to get training kept coming to us for workshops, so we started boot camps and conferences and festivals. And so then from there, the need grew more. And so we pulled the ministry outside of the church, and began to invite other ministries to dance with us and people in the community to dance with us. And so that's when Errin Ministries was born [Bolingbroke: Mm-huh]. And then from there, Mojuba! Dance Collective was birthed out of Errin Ministries, as I began to get more into my choreographic and artistry [Bolingbroke: Mmm]. And my choreographic skill. I wanted to say more [Bolingbroke: Mm-huh]. Not to say that the church can't say it all [Bolingbroke: Yeah]. But there's some more that I wanted to say, and really dive deeper into the Black narrative [Bolingbroke: Mm-huh]. And Mojuba! Dance Collective was born, and now we are fully in the community. We still might touch the church some [Bolingbroke: Yeah]. But fully out into the communal space.
CHRISTY BOLINGBROKE: Yeah. Well, and the first time that we really got to know each other and talk was because Mojuba! Dance Collective was offering a emerging Black choreographers program. And, and so I got to know you from that space of [Weaver: Absolutely] community and generosity [Weaver: Yeah] and, you know, building with other makers [Weaver: Mm-huh]. But I want to bring it back. So where do you start as a choreographer? What, what, what sort of inspirations [Weaver: Mm-huh], you know, is it with the music? Is it with the movement? Is it an idea? Talk to us a little bit about how you face the blank page?
ERRIN WEAVER: Yeah. For me, history is an active partner [Bolingbroke: Mmm]. So there's a lot of reaching back at times gone by to try to dissect, and come up with what could be [Bolingbroke: Mmm], and what is. And, and coming from my focus, which is a lot of centering the Black narrative [Bolingbroke: Mm-huh], there's a lot of trauma there [Bolingbroke: Mm-huh]. So finding ways in which to process that trauma, and then cultivate joy from that trauma is where I'm at now [Bolingbroke: Mm-huh], in my work. So I think that it starts for me with what is the story? What is our story? And then how do we collect the vibes around that story? Letting people know who we are and our essence and our authenticity, and then figuring out ways to, to share that and have a message [Bolingbroke: Mm-huh] that is not only palpable in it being the story, but also how it can be therapeutic [Bolingbroke: Mmm] to the dancers and the audience as well [Bolingbroke: Mm-huh]. So starting with history is very important to me and the text.
CHRISTY BOLINGBROKE: Okay, okay. And we sourced a lot of these questions from current and past UA students [Weaver: Mm-huh]. Because they're dealing with some of the same creative challenges [Weaver: Yeah]. And music is one of the interests [Weaver: Mm-huh]. Like how would you characterize your choreographic relationship to music? [Weaver: Mm-huh] Do you always use original music? If you find other music, how do you deal with rights around that? [Weaver: Yeah] That's, that's a big question [Weaver: A huge question]. Because it's like, wait a minute [Weaver: Right], What do you mean, I have to pay for the rights for this song? [Both laugh]
ERRIN WEAVER: Yeah. And I think that's, especially how things are evolving now that we have so much more access [Bolingbroke: Yes]. It's really thinking about how you yourself as an artist would feel if someone were to use your work? You would want to be compensated for it [Bolingbroke: Mm-huh]. So I think my way in working with music really is become more reverse [Bolingbroke: Mmm]. So now I am more about creating the work first, telling the story first, and then using whatever soundscape is needed to create the backdrop [Bolingbroke: Mmm]. And sometimes it may not be a musical score. It might be spoken word, it might be just a hum in the background, [Bolingbroke: Hmm], and it might be silence. So because I've found that if I pick music first, I'm in this box. And now I have to create the dance in order to amplify the music and vice versa [Bolingbroke: Mmm]. Whereas if I start with a concept first or an idea first, I can use the soundscape to elevate the music, and then they can work collaboratively [Bolingbroke: Mmm] in order to create whatever story that we're working to create at the moment. So my best work and my most interesting work has been working with dancers, and both musicians in a collaborative fashion [Bolingbroke: Mm-huh], where all ideas can get on the table. We can continue to build from there. Rather than having that blank slate, and nothing else to do with it. But finding ways where we can keep evolving the piece [Bolingbroke: Mmm], and creating iterations of the piece. So that the story never really ends. But it continues to deepen.
CHRISTY BOLINGBROKE: Nice. I mean, I think some people might be surprised to hear that you might add music or a hum or something later [Weaver: Yeah]. Especially having been able to witness some of the classes that you taught this week, which it was a constant dialogue [Weaver: Yeah] with music, with AU faculty, Willy Souly, on an accompaniment with drums [Weaver: Yeah]. But the spirit that you just described about musicians and dancers all on the table, what do we have bringing together [Weaver: Mm-huh], it also reflects that it's, it's a devised communal experience, and not necessarily a linear process, like a recipe would be when you're baking cookies.
ERRIN WEAVER: Absolutely. I think that is also a symbol and exemplary of the African diasporic culture [Bolingbroke: Mmm]. So when I'm working with Mr. Willy, I have no idea what he's gonna play. I'm just giving him the movement [Bolingbroke: Yes] that I'm doing. And I'm perhaps doing a little body, yeah, or some sort of sound cue [Bolingbroke: Mm-huh] that I'm looking for. But we have no idea. He doesn't know what I'm going to do. I don't know what he's going to do, but being present in the moment, and making sure that we're supportive of one another [Bolingbroke: Yeah]. And like you said, creating that communal experience that way is what's most important. So rather, and I think that's an excellent way to also go about the work. So, you know, creating movement with the musician together in the same space is a wonderful way also to make sure you're building together [Bolingbroke: Mm-huh], and working collaboratively. Rather than each person in their silo. Here's the score, here's the music. Do something with it [Bolingbroke: Mm-huh]. But creating it in the same space, I think can create some magic as well.
CHRISTY BOLINGBROKE: Cool [Weaver: Yeah]. So what do you look for in dancers?
ERRIN WEAVER: Oh, my goodness, I am looking for an essence [Bolingbroke: Mmm]. And an essence is hard to describe. But there's something that is internal [Bolingbroke: Mm-huh]. Something that is spiritual [Bolingbroke: Mm-huh]. Something that goes deeper than surface [Bolingbroke: Mmm]. So I'm looking to see how that person is, is expressing who they are, in whatever, whatever way that means [Bolingbroke: Mm-huh]. But how they add color to movement, how they deepen the movement with their own narrative and their own experience [Bolingbroke: Mm-huh], so that it's not just rote robot: Here's the step. But I see something more, something greater. So I'm looking for a deeper and sensual essence [Bolingbroke: Hmmm], when I'm coming into the dance studio.
CHRISTY BOLINGBROKE: Mm-huh. Do you hold auditions?
ERRIN WEAVER: I do. We hold auditions periodically. We're more of a project-based dance company at the moment [Bolingbroke: Mm-huh]. So we get together when we need to get together. And then we take time and space for rest [Bolingbroke: Mmm]. Because we think it's very important, especially after the pandemic, it's become a value of ours [Bolingbroke: Mm-huh] to take the time to reset. And it's also helped to deepen our work [Bolingbroke: Mmm]. But we do invite an open, and open our rehearsals [Bolingbroke: Mm-huh], to people who are interested in joining us. And that's been an awesome process as well, just to see how different energies work together [Bolingbroke: Mm-huh]. So you might see something in one person, and then that mix [Bolingbroke: Mm-huh] with the other dancers in the community may not be exactly what it needs to be. So being able to mix and match and allow people to come in and see how those different flavors work together [Bolingbroke: Mmm]. It's been really exciting.
CHRISTY BOLINGBROKE: Mm-huh. So one of the practical considerations with dance making that I you know, I don't want to project or generalize [Weaver: Yeah], but I hear a lot of people complain or challenged by it [Weaver: Yeah]. How do you name a work? [Weaver: Oh, my goodness] How do you how do you, you know, it's like naming a child [Weaver: Right, yes]. Like, how do you choose what this work’s future destiny [Weaver: Yes], destiny will be?
ERRIN WEAVER: Yeah, I think that it's a lot about thinking about what is the soul of the work? [Bolingbroke: Mmm] So finding the soul in the word is what I'm looking for most [Bolingbroke: Mm-huh]. So the soul what I mean is like, what is the message? And what is the undercurrent theme [Bolingbroke: Hmm] that is throughout the piece that you want people to leave away with? [Bolingbroke: Hmm, okay] And then how can you be artistic and craft the title of that work in order to have people continue to wonder [Bolingbroke: Mm-huh], wonder what this piece was about and continue to want to come back to perhaps see it again, and again and again [Bolingbroke: Hmm]. And then allow for its expansion [Bolingbroke: Mm-huh], allow for the piece to be able to evolve, allow for the piece to be able to have a different iteration in a different space? How can this, how can the title of this work, allow us to do this piece in a concert stage [Bolingbroke: Mm-huh], and then also in a site-specific room, space as well [Bolingbroke: Hmm]. So I think it's just like naming a child [Bolingbroke laughs] where you have to be super intentional [Bolingbroke: Mm-huh] about how you're naming your piece, because that's the first thing they're going to see in the program. And that's the last thing that should be in their minds after they see the piece. So finding the soul of the work is what I really try to do when I name a piece.
CHRISTY BOLINGBROKE: Yeah, well, and I would imagine also, referring back to you talk about history [Weaver: Yeah] as a dynamic partner, it's hard to say that you found the soul of a piece when oftentimes you're asked to give the title for the program [Weaver laughs] before the piece is done [Laughs] [Weaver: Exactly. Right, right, right]. So there's a little bit of magic and, you know, guessing there as well [Weaver: Absolutely] with the mystery that you're like, It's okay [Weaver laughs and says: Right]. Yeah, we don't have to tell you everything [Weaver: Everything. But here's a little something. Yeah, so…]...Less is more.
Errin Weaver: Less is more.
CHRISTY BOLINGBROKE: Okay.
ERRIN WEAVER: So yeah, the piece I'm working on now is actually going to be part of our debut concert. We're having our debut three years later. But our debut, thank you to the pandemic [Bolingbroke: Mm-huh] [Laughs]. But our debut at Cleveland Public Theater is going to be May 4th, 5th and 6th this year [Bolingbroke: Awesome]. And so the title of the work as you said, it's not completed all but the title of work is Sister Circle [Bolingbroke: Okay]. And so this is an idea that has been with me for a long time to really think about how we can talk about Black women, and their narrative voices, and what is necessary to process trauma, and then get towards a spiritual and ritual, ritualistic, excuse me, [Bolingbroke: Yeah] way to heal. So…so yeah.
CHRISTY BOLINGBROKE: Okay. And part with our title, 21st century dance practices [Weaver: Mm-huh], and also with history being your dynamic [Weaver: Yeah], collaborative partner [Weaver: Mm-huh], how do you navigate movement making between what I'll simplify by saying old vocabulary [Weaver: Mm-huh] and new vocabulary? [Weaver: Yeah] There's a, in that Baz Luhrmann film, Strictly Ballroom [Weaver: Yeah], there's no new steps [Laughs] [Weaver laughs and says: Right, this is it] Yeah. And it's true. It's like we have the right leg [Weaver: Yeah] and the left leg. So how are you navigating that as far as when, you know, you are maybe tapping the ancestors [Weaver: Mm-huh], and steps that predate all of us [Weaver: Mm-huh] versus when you're explaining a new corner area a little bit [Weaver: Yeah], and maybe asserting your voice?
ERRIN WEAVER: Yeah. I think it's being open to everything [Bolingbroke: Hmm]. And the in all the ways that mean, that means. So allowing yourself to read everything, to watch everything, to dance everything. A lot of times we get in our comfort zones, and in our box. I am a ballet dancer. I do ballet, right? [Bolingbroke: Mm-huh] But how can we expand our vocabulary. The best way to do that is to take as many classes as possible [Bolingbroke: Stay curious]. That’s why, exactly. It’s so exciting to be in this space to offer what I have, and know dear to me at from a movement perspective. Because I think it gives you a more well-rounded, and a holistic way in order to access the body, and access your movement in different ways. So taking all the classes I can [Bolingbroke: Mm-huh], traveling as much as I can. And like I said, being, being well, well-read [Bolingbroke: Mm-huh] has been very important to me. Because I think that allowing different narrative perspectives [Bolingbroke: Mm-huh] also allows you to see the, the perplexities that exist in the world, and how we can communicate that, how we can find different ways to communicate that [Bolingbroke: Mm-huh]. So yeah, they're being open [Bolingbroke: Mm-huh], and staying open. And being a forever student, and knowing that you don't know it all. And being the same way when you get into the studio [Bolingbroke: Mm-huh], and allowing that magic to happen. So you know, having for me, I am a ritualist. So having a ritual in the studio for myself that allows myself to be open, like, as you mentioned, to the ancestors, or whatever happens, so that I am not judging myself [Bolingbroke: Mm-huh] before the movement happens. And being present in the moment, and just to allow [Bolingbroke: Mm-huh]. It's been really important to, to navigate and to explore and experience new movement ways.
CHRISTY BOLINGBROKE: Yeah. I mean, the ritual piece really speaks to me because I find just if the consistency of a habit [Weaver: Mm-huh], you don't have to always find new information. But by consistently practicing that, you notice what's feeling different [Weaver: Absolutely]. Oh, that right sides a little tighter today [Weaver: Yeah, yeah] than it was when I did this yesterday [Laughs] [Weaver laughs and says: Right. Especially when you get older, you really notice]. Yes, yeah. Well, you just need to have a baseline [Weaver laughs and says: Yes] to work it against. Because we're, we're constantly moving [Weaver: Yeah] and changing for sure [Weaver: Yeah]. Follow up question [Weaver: Sure]. I mean, thank you for accepting our invitation [Weaver: Mm-huh], when we said, come teach [Weaver laughs] as a part of 21st century dance practices. And you didn't even say, What's that? [Weaver: Right] So I'm curious [Weaver: Yes], how would you define 21st century dance practices, in your own words?
ERRIN WEAVER: Yeah, I think that it's an allowing. It's an allowing [Bolingbroke: Mmm], and an opening. Opening the door to allow people to speak their language in their way, and how ever that comes out and sharing it with the world [Bolingbroke: Mm-huh]. And I think allowing people to not only understand their own practices, but then share it. I think that it, it allows us, the choreographers, the facilitators, the teachers to really have a better understanding of their own work [Bolingbroke: Mm-huh]. Because when you're sharing it from a baseline, and from people who have not worked with you before with people, rather, we haven't worked with you before, you have to have a deeper understanding of what you're doing and why you're doing it, and be more intentional about how you're sharing the work [Bolingbroke: Mm-huh]. So I think that 20th century is, 21st, excuse me, century [Laughs] [Bolingbroke: Yeah, we are time travelers. It’s all right. We already talked about it]. Right. 21st century dance practice is really an opportunity to grow [Bolingbroke: Mmm], for both the artist, and the students that are involved. And an opportunity for us to collectivize [Bolingbroke: Mm-huh], and share community but also share our work in ways that we wouldn't normally have the opportunity to. So it's been fantastic. And I'm glad to be here.
CHRISTY BOLINGBROKE: I mean that idea. 21st century dance practices are the opportunity to grow. And I think you alluded to this [Weaver: Mm-huh], but I'll also name and also for our audiences to grow [Weaver: Absolutely]. Right? Revelations is great [Weaver laughs and says: Right], if you're a fan of Alvin Ailey's Revelations [Weaver: Yeah], and that you want to revisit that [Weaver: Yeah] over time. But it was also made in I think, 1960 or 61 [Weaver: Yeah, yeah]. So there's been some growth since then [Weaver: Absolutely]. And that's a wonderful invitation [Weaver: Yeah] with our audiences as well.
ERRIN WEAVER: Yeah, absolutely. And then to invite voices in the room that perhaps wouldn't have opportunity in a standard academic setting [Bolingbroke: Mm-huh]. So there are people that are here that may have never performed or taught in a college like myself [Bolingbroke: Mm-huh]. And so this is an opening. A door. A start. And a way of sharing that I think is very valuable [Bolingbroke: Cool], and adding to the community.
CHRISTY BOLINGBROKE: Very cool. [Weaver: Yeah]. I have two more questions. [Weaver: Sure] So it's not all rainbows and candy. [Weaver: Oh, no. Mmm-mm] What do you do, [Weaver laughs] when you hit a creative rut? [Weaver: Yeah] And maybe you have a, you have a deadline [Weaver: Mm-huh], but it is the magic is not happening [Weaver laughs and says: Yeah]. So do you have any practices there to help get around that?
ERRIN WEAVER: Yeah. And so as I mentioned before, I'm very intentional about rest. So even if that, even if there is a deadline that is coming, I don't care if it's an hour and a half a day, I have to turn it off [Bolingbroke: Hmm]. So sometimes you have to just turn it off for me, in order to reset [Bolingbroke: Mm-huh]. So I'm very intentional about that. And then also ritual [Bolingbroke: Hmm]. What am I doing to get myself in that creative space? Am I reading some sort of text? Am I watching some sort of inspirational documentary? As I mentioned, history is my partner. What am I doing in order to keep feeding myself so that I know, that I don't stay empty? [Bolingbroke: Mm-huh] How do I continue to fill my cup? So I'm very intentional when I'm in a rut to fill my cup even more [Bolingbroke: Mm-huh]. Even more, more, reading more watching, more taking classes, more seeing what other visionaries are talking about [Bolingbroke: Mmm] or what artists, other artists are doing, not in order to take from them but to be inspired by them [Bolingbroke: Mm-huh]. So I think it's very important as an artist to not stay in that silo [Bolingbroke: Mm-huh], right? And I'm an artist, and I do my thing, and this is my work, and this is my studio. But really get out there and network, go see other shows, go experience other works. And especially when I'm in a rut or feeling like I have no idea what I'm doing, I think that's when I lean into that even more.
CHRISTY BOLINGBROKE: Yeah [Weaver: Yeah]. Well, speaking of what other people are doing, my last question is [Weaver: Yeah], if there is some, some great advice [Weaver: Mm-huh] that you've received from a, an elder or a mentor, someone important in your creative life [Weaver: Mm-huh], that you wouldn't mind sharing with our students to about [Weaver: Ohh] what it is to navigate this wild, creative livelihood.
ERRIN WEAVER: Oh, man, that's a good one. I've received so much good advice over the years. But I think to keep it simple, the best would be just to be you [Bolingbroke: Mm\mm]. A lot of times, we in looking for who we are, you know, we do lean into other people or emulate others, which is fine. But sometimes that comes at a cost [Bolingbroke: Mm-huh]. Sometimes our lights can be dimmed in order to help others to shine [Bolingbroke: Mm-huh]. So reminding yourself that who you are in the moment, in every moment, is okay [Bolingbroke: Mmm]. Even when that leg isn't going up as high as it used to [Bolingbroke laughs]. That’s still okay [Bolingbroke: Mm-huh]. So being as authentic as you can, and just being yourself and never dimming your light is been very important. It's something I've kept with me for a long, long while.
OUTRODUCTION: Inside The Dancer’s Studio Live Series is supported by NCCAkron, the University of Akron, the University of Akron Foundation and the Mary Schiller Myers Lecture Series in the Arts. Our podcast program is produced by Jennifer Edwards. James Sleeman is our editor. Theme music by Floco Torres, cover art by Micah Kraus. Special thanks to the team on the ground in Akron, Ohio. To learn more about NCCAkron, please visit us online at NCCakron.org. And follow us on Instagram or Facebook at NCCAkron. We hope you enjoyed this episode, and we encourage you to subscribe on your favorite podcast streaming platform by searching for Inside The Dancer’s Studio. Please share with your friends and if you’d like to help get the word out rate us, and leave a review on Apple podcasts. Thanks for listening and stay curious.