Author Archives: Paula Josa-Jones

a reminder: workshop this weekend!

MOVEMENT FOUNDRY presents

COOKBOOK FOR THE BONEHOUSE

an improvisation workshop for dancers and performing artists

 

with PAULA JOSA-JONES, MA, CMA, RSME/T

 

SUNDAYS, March 25th & April 1st,  3:00 pm – 5:00 pm

The Dance Complex, 536 Mass Ave. Cambridge 02139

 A two-day workshop that takes a playful and strategic approach to movement, voice and performance.  I have developed a “cookbook” of wild play “recipes”  to challenge and focus dancers and performing artists.

The cookbook includes:

  • development of personal kinetic imagery
  • the power of stillness
  • the palette of dynamic space
  • internal phrasing
  • initiation
  • shape shifting
  • listening and responding
  • A Thousand Voices  -a “chunking down” practice that brings greater clarity and differentiation to the body .

COST
$30 for both classes / $18 a la carte

HOW TO REGISTER
Please email movementfoundry@gmail.com to reserve your spot.

PLEASE NOTE
Participants interested in taking both classes will be given registration preference.
Maximum capacity: 22 students per class

FOR MORE INFORMATION VISIT
WWW.MOVEMENTFOUNDRY.YOLASITE.COM

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spring

Even though much of the Northeastern winter felt like spring, I am joyful to welcome the season.  Today we drove into Boston to see our wonderful dentist, to shop at Whole Foods and to eat chocolate cake at Burdick’s in Harvard Square. A perfect way to welcome the season.

The spring this year feels different – fuller, more intensely pregnant with possibility, understanding and delight.  I know that a large part of that is the deep pleasure that I find in writing daily, in sharing it here.

And I have a wish.  Please share your comments.  I welcome the dialogue, the conversation, the relationship.  That is one of the gifts of the digital community:  gifts blooming from unexpected corners.

heart of stone

 

Love is about bottomless empathy, born our of the heart’s revelation that another person is every bit as real as you are.  And this why love, as I understand it, is always specific.  Trying to love all of humanity may be a worthy endeavor, but, in a funny way, it keeps the focus on the self, on the self’s own moral or spiritual well-being.  Whereas, to love a specific person, and to identify with his or her struggles and joys as if they were your own, you have to surrender some of your self.  When you stay in your room and rage or sneer or shrug your shoulders, as I did for many years, the world and its problems are impossibly daunting.  But when you go our and put yourself in real relation to real people, or even just real animals, there’s a very real danger that you might love some of them.  And who knows what might happen to you then?

Jonathan Franzen, “Liking is for Cowards.  Go for What Hurts,” New York Times, Sunday, May 29, 2011.


 

vulnerable

What has shifted for me since July, when I first began this blog, is that I am showing myself.  Even to my own ears that sounds strange.  I am a performer.  I have been on stage since I was 16, even earlier if you count my kindergarten tap dance performance with my boyfriend Timmy Silkman.  I have always wanted desperately to be seen, to be on stage.  When I was 8, I did a fervent dance and song rendition of 16 tons, (I like Frost Reimer’s cover)  for my opaque, square German relatives in Minnesota.  It was my first piece of choreography.  It was not only not well received, it wasn’t received at all.

Someone recently sent me a link to Brene Brown’s TED talk on vulnerability.  It is a beautiful meditation on compassion, courage, connection and authenticity.  She says that vulnerability means letting go of who you thought you should be in order to be who you are.  That the key to being who we are is to fully embrace our vulnerability.  She applies that standard to us as individuals as well as to governments and corporations.

As a performer, I am always in disguise.  I am costumed, I wear a mask, I am in drag.  I control the lights, the camera, the action.  That is why I chose this picture today.  My daughter caught me unawares at her sister’s graduation from high school.  I like that I am showing the lattice of lines around my eyes, the little tension around the mouth.   I like who I see in this picture.  I would like to know her.

I am coming out of hiding. Every day that I show up here, spend time shaping these posts, is a day that I am opening more and more to who I am.  For years, I had such a high level of paranoia that I did not want people to know what I was doing artistically.  Ultimately, that did not work well for me.  Hiding from others meant also hiding from myself.  Now I am choosing to follow this prescription from Annie Dillard in The Writing Life:

One of the few things I know about writing is this:  spend it all, shoot it, play it, lose it, all, right away, every time.  Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now . . . Something more will arise for later, something better.  These things fill from behind, from beneath, like well water.  Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive.  anything you do not give freely and abundantly becomes lost to you.  You open your safe and find ashes.