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Posts Tagged ‘Our Horses Ourselves’

OurHorsesOurselves-horseandriderbooks

Photo by Pam White

 

TSB is excited to announce a wonderful upcoming event at the Time Out Foundation—a 35-acre farm in beautiful northwest Connecticut that provides children and teens with the time, space, and experiences they need to create positive change in their lives. On May 20, 2018, from 3-5:00 pm, TSB author Paula Josa-Jones will present a playful, collaborative equine event based on her book OUR HORSES, OURSELVES entitled “3 Horse Tales for the 21st Century.” CLICK HERE to hear Josa-Jones talk about the event and what she hopes it will help achieve in a short interview with Marshall Miles on Robin Hood Radio.

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CLICK TO VISIT ROBIN HOOD RADIO

 

A short time ago, we found some time to chat with Josa-Jones about her book and her work as a choreographer and a dancer. It was wonderful to learn a little more about her hopes for the horse world, as well as her creative process. Here’s what she had to say about OUR HORSES, OURSELVES and the differences between working with human dancers and finding ways to “dance” with horses.

 

TSB: Your book OUR HORSES, OURSELVES: DISCOVERING THE COMMON BODY was published in the fall of 2017. Your perspective as a dancer and choreographer offers a different “way in” to that place of connection with the horse everyone strives for. For those who are unfamiliar with your work, how would you explain the relationship between your life as a dancer and your life as a horsewoman?

PJJ: Movement! Between 60 and 80 percent of our communication is nonverbal, spoken in the bodily languages of movement and touch—including conscious and unconscious movements, gestures, postures, and facial expressions.  The whole encyclopedia of our movement is in fact an intricate web of communication. Horses are in fact masters of the this movement language. They are speaking in it all the time. Every movement is expressive and carries meaning.  Much of their communication has such subtlety that even very experienced horsewomen and men find it difficult to parse. 

My own story is that I rode as a young girl, and then horses left my life and dance became primary.  And then I found myself needing to be around horses and ride again as an adult. Almost immediately I wanted to get out of the saddle and explore moving with them on the ground. I wanted to speak with them in the shared language of movement and see what would happen. As an improviser, I was curious about just being still, listening with my body, and letting movement arise from simply being in their presence rather than from “performing” planned or patterned movements.

I am still doing that.  I would say that I try to dance every aspect of my relationship with my horses, and with the work that I do with students and clients.

 

OurHorsesOurselves2-horseandriderbooks

Photo by Jeffrey Anderson

TSB: OUR HORSES, OURSELVES provides dozens of gentle exercises and meditations. How can these simple activities, many of them out of the saddle and away from the horse, improve riding, training, and competitive performance?

PJJ: The idea of many of these exercises is to support riders and horse people in having a more holistic, sense of themselves and their bodies, and understanding that this embodied awareness is an essential foundation for all dimensions of horsemanship. Embodiment means experiencing our bodies in a continuous, feeling, conscious way, what I call “body presence,” meaning a moment-to-moment awareness of the flow of thoughts, feelings, sensations, and energies through our bodily selves. 

So instead of fixing the horse—the neck, the jaw, poll, or inside hind—or making small or big adjustments to the position of our legs, or hands, or seat, we start to feel the whole of ourselves in connection with the whole of the horse. This moves our focus from outside (seeing ourselves as an external viewer) to inside (feeling ourselves from within). 

Mindfulness about our bodies and our movement takes practice! We have to notice the details of our movement and bodily sensations in an ongoing way: how you pick up your cup, hold your steering wheel, sit at the computer, get up, shake someone’s hand, pick up your grooming brushes, move around your horse or your house.

Also, the exercises in my book are intended to move us toward a more “awake” expressive, exploratory, curious, and playful experience of our moving selves in relationship to the horse. So much of our movement is functional—about going somewhere and doing something—and we forget to “dance” our lives, or may not even consider that as possible. I want to challenge the unconscious, the habitual, and look for ways to “wake up” and experience each breath, each ride, as unique—as an opportunity to become more awake and engaged.

 

TSB: What is one lesson you hope readers will take away from your book?

PJJ: That we are not separate. The subtitle of my book is “Discovering the Common Body.” I want to emphasize that your body is not separate from my body or from the body of the horse, the praying mantis, the hummingbird, the manatee or the earth itself.
In his book The Songs of Trees, author David George Haskell, says, “Life is embodied network.”  What that means to me is that all living beings are an interconnected, interspecies, bio-similar, cross-pollinating network in a constant flux of adjustment, response, and transformation. Often, however, we are not feeling that ongoing connectedness; we are not orienting toward the pleasurable dimensions of that relationship with others or ourselves.
 
I believe that the horses can help us with that. There is something so precious and profound about entering the mystery and the silence of connection with them that has little or nothing to do with technique or conventional horsemanship, and everything to do with the deep alignment of relationship.

 

TSB: You have choreographed performances for humans and those for horses with humans. What has been most rewarding in your work with dancers on the stage? With those in the arena and on horseback?

PJJ: Each dance has its own intention and necessity at the time that it is created.  That means that the ideas and the movement materials that were a part of that particular dance took on the quality of an obsession, with a specific, intense urgency. For example, I worked over a period of two years on Ghostdance—with my company and in collaboration with a community of dancers in Mexico, and the composer Pauline Oliveros. That happened to include the year that my father was dying, and so that gave the dance a particular edge, and deepened the work in some unexpected and important ways.

I love each dance that I have made. I would have to say that I love the work into being, into form, and that each one leaves its traces—changes me deeply—and makes way for the next work, and the next. The important thing is to let oneself be drawn to the work, like a surfer waiting for that next perfect, inevitable wave.

With the horse dances, RIDE, the first dance that I created with horses, has a special resonance. I think that is because it grew from a community of riders and horse people (I was living on Martha’s Vineyard at the time) and had a velocity and potency that took us all by surprise. Like that wave, again, we all felt we were being carried. I was also a complete beginner in my adult horsemanship and in making dances with horses, and had all the blessings of beginner’s mind, meaning a strong, eager determination but few preconceptions.

 

OurHorsesOurselves3-horseandriderbooks

Photo by Pam White

 

TSB: If you were trapped on a desert island with a horse and a book, what breed of horse would it be and which book would you choose?

PJJ: Probably a Friesian, like my strong, steady, beautiful Sanne.  On the other hand, perhaps an Andalusian, like my feisty, enthusiastic, gorgeous stallion Capprichio. Both?
I will need two books: the complete poems of Mary Oliver and any mystery by Ruth Rendell.

 

TSB: If you could do one thing on horseback that you haven’t yet done, what would it be?

PJJ: Riding an Icelandic pony in Iceland! I have always wanted to know what tolting feels like.

 

TSB: What is the quality you most like in a friend?

PJJ: Enthusiasm and kindness.

 

TSB: What is the quality you most like in a horse?

PJJ: Curiosity. 

 

TSB: What is your greatest fear?

PJJ: Something happening to someone (animals included) that I love. 

 

TSB: What is your greatest extravagance?

PJJ: The horses, always the horses!

 

TSB: If you could change one thing about yourself, what would it be?

PJJ: I am VERY sensitive, like an anemone.  That is a blessing and a curse—a double-edged sword.  I love that my sensitivity allows me to feel everything so deeply, and wish that I were not quite so vulnerable to the cruelties. On the other hand, my outrage fuels my activism.

 

TSB: What’s in your refrigerator at all times? 

PJJ: Avocados, goat milk, and something green.

 

TSB: What is your idea of perfect happiness?

PJJ: I have more than one! Riding out with my horse on a spring morning or a fall afternoon, tasting the air together, feeling each other. Reading a book while listening to the Caribbean ocean. Swimming in the Caribbean ocean. Standing with Sanne’s nose pressed into my shoulder. Sitting on the porch with a cup of tea and my beloved Pam White. 

 

TSB: If you could have a conversation with one famous person, alive or dead, who would it be?

PJJ: Please don’t make me pick ONE!!! Eleanor Roosevelt. Rachel Carson. Harriet Tubman.

 

TSB: What is your motto?

PJJ: I believe in deepening creativity and awareness playfully, through the body, and finding ways to expand understanding and feeling with all sixty trillion cells, not just the ones perched on our necks. That means having a 24/7, wide-awake, multi-sensory, empathetic bodily experience of the world and ourselves.

 

Our Horses OurselvesPaula Josa-Jones’ book OUR HORSES, OURSELVES is available now from the TSB online bookstore, where shipping in the US is FREE.

CLICK HERE for more information or to order.

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small business based on a farm in rural Vermont. 

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