Author Archives: Paula Josa-Jones

bear

imagesDriving Through the Wind River Reservation: A Poem of Black Bear by Mary Oliver.

from Dream Work

In the time of snow, in the time of sleep.
The rivers themselves changed into links
of white iron, holding everything. Once
she woke deep in the leaves under
the fallen tree and peered
through the loose bark and saw him:
a tall white bone
with thick shoulders, like a wrestler,
roaring the saw-toothed music
of wind and sleet, legs pumping
up and down the hills.
Well, she thought, he’ll wear himself out
running around like that.
She slept again
while he drove on through the trees,
snapping off the cold pines, grasping,
rearranging over and over
the enormous drifts. Finally one morning
the sun rose up like a pot of blood
and his knees buckled.
Well, she whispered from the leaves,
that’s that. In the distance
the ice began to boom and wrinkle
and a dampness
that could not be defeated began
to come from her, her breathing
enlarged, oh, tender mountain, she rearranged
herself so that the cubs
could slide from her body, so that the rivers
would flow.

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the dance, again

8b7dc933ef10c640900367f0b3485a87Umut Kebabci

Where Does the Dance Begin, Where Does It End?

by Mary Oliver

Don’t call this world adorable, or useful, that’s not it.
It’s frisky, and a theater for more than fair winds.
The eyelash of lightning is neither good nor evil.
The struck tree burns like a pillar of gold.

But the blue rain sinks, straight to the white
feet of the trees
whose mouths open.
Doesn’t the wind, turning in circles, invent the dance?
Haven’t the flowers moved, slowly, across Asia, then Europe,
until at last, now, they shine
in your own yard?

Don’t call this world an explanation, or even an education.

When the Sufi poet whirled, was he looking
outward, to the mountains so solidly there
in a white-capped ring, or was he looking

to the center of everything: the seed, the egg, the idea
that was also there,
beautiful as a thumb
curved and touching the finger, tenderly,
little love-ring,

as he whirled,
oh jug of breath,
in the garden of dust?

Copyright ©:  Mary Oliver

raving in wind

Screen Shot 2014-01-16 at 8.06.09 PM

In the late nineties, Pam and I went to the Galapagos.  It was another one of my obsessions, like the horses, like adoption, like every dance I have ever made.  I read everything about the islands, and became obsessed with the albatross.  To me, it was – and is – a mythic bird, a creature with the largest wingspan of any bird – up to 12 feet.   Their flight is  soaring, and they are known to cover up to 1000 km per day and may stay out at sea for up to seven months before returning to their natal breeding grounds.  They breed for life and the pairs have complex, beautiful dances unique to each pair, developed over years of dancing together.  I needed to see them, feel them.

PHOEBASTRIA IRRORATA

When we arrived at Espanola Island, we saw our first albatrosses.  The first bird was so close that I could see every detail of its great soft eye.  There is something so deep, old and wise in that eye.  I stood and watched them dance, soar, nest  – tears running down my cheeks.  When we got back home, I began to make a dance inspired in part by the albatross – my bodily impressions of them, – and in part by the wild drawings of raptors and crows by Leonard Baskin.

I called the dance Raving in Wind, a line from the poem Rancor of the Empirical by Ann Lauterbach in And, for Example

Now comes the hard, hopeful part.  On Facebook, I found this link. Watch this, feel this, care about this enough to do something.  Why hopeful, you ask.  Because this is an opportunity to open, to love, to act.

http://www.midwayfilm.com/

For more information, watch Chris Jordan talk about his experience and his project.
http://youtu.be/pGl62LuQask

ride!

IMG_1996Sanne and Brandi Rivera – photo by Pam White

Had a wonderful ride yesterday on the magnificent Sanne with the brilliant trainer Brandi Rivera.  Pam White and I had a conversation this morning and the phrase “dissolving into wholeness” came through.  That is what happens with the horses – thinking stops, being starts; all the disparate parts of me and of my life seem to open out and float into a wholeness that feels both homogenous and richly differentiated.

Many years ago, composer Pauline Oliveros taught my dancers and me the “unique strategy.”  What that means is to experience each moment, each movement, each breath as distinct, utterly new.  When I ride, I am practicing the unique strategy.  I am not riding the accumulation of my habits or expectations, but this exact moment in all its richness and possibility.

How do you practice the unique strategy?