PRESS

  • "A ying yang of the textures that have characterized our pandemic lives. Created over those at once barren and cramped two years, Husk/Vessel kinesthetically explores the sloughing off of brittle membranes and the filling of interior hollows with passion and light..."
     THEA SINGER, THE ARTS FUSE

  • about Of This Body: While I had seen a video of Paula performing one time, it's something quite different to be present in the energy of the room - a sensory feast! As Mark and I walked to our car, we marveled at Paula's ability to move her fingers, shoulders and feet in apparent dissonance, and communicate harmony or tension at will. I also loved the costumes, and thought it was completely cool for the only dance partner to be your video!
     Joanne Lutz

  • I have always loved, just loved Rousseau's The Dream. It's the lush, the steam you can't see of the heat you can't feel. It's the exotic growth, the push to beauty and juxtaposition of the dream images. It reminds me of your choreography - full to bursting with this relentless overlapping of one sensual moment after another - the sense of urgency as plants push out into the air. The camouflage layer of wildness peering at vulnerability. I love your work, I love your work.
     Ariane Burdick

  • Josa-Jones' work delves deeply into the psyche, from which suppressed images emerge with primal force into the collective consciousness."
    Iris Fanger, Dance Magazine

  • I am hooked on Paula. Your integrity, thoughtfulness, authenticity, wrap the air around you and the room you share with others. Your spirit wreaks of honest drippings from the inside. You bring us home.
    Toni Smith, Faculty, Skidmore College

  • Your magnificent choreography infused the dead and myself, who had died, with life. I still feel your body moving mine. I hear my words deconstructed. I see the slides, the woman with crossed arms in whose bones I imagine living. Your performance expanded to a symphony for the dead. It reduced to a prayer. It was the essence of a poem.
    Carol Dine, author, Light and Bone and Places in the Bone: A Memoir

  • Paula Josa-Jones worked with me in choreography and improvisation classes, and belongs in my group of most-distinguished during twenty years of teaching. She is a beautiful dancer, with a most quick intelligence and an evident enthusiasm for dance and movement in all their forms. I look forward to future collaborations with her.
    Robert Ellis Dunn, Graduate Program in Dance Education, Columbia University

  • Paula Josa-Jones came to the farm a while back because she was drawn to the photographs I was taking of Maria and the donkeys. She is an artist, writer and an equestrian choreographer. Her blog is beautiful, strange and different. It is a beautifully designed expression of what I love about blogs - you wouldn't see it in any newspaper or magazine, yet is eerily beautiful and enchanting, a brilliant use of a blog to capture the deep passion many of us have for animals.
    Jon Katz, author of Rose in a Storm, Izzy & Lenore , and Going Home: Finding Peace When Pets Die

  • This is a fan letter. I think your work is strong, deep, and quite extraordinary. Thank you for such a stirring, puzzling, and restful (all at once!) experience . . .
    Rebecca Blunk, Director, New England Foundation for the Arts

  • About RIDE: How can I express the majesty of your performance, the concept and the soul-drive choreography? I witnessed a miracle: the connection between horse and woman, the darkened earth beneath hooves and art. I wept when the dancer put her face to Norman's nostrils as if she were whispering to God.
    Carol Dine, author of Places in the Bone: A Memoir

  • About RIDE: When Josa-Jones rides Goliath's broad back, voluminous silk skirts draped over his glossy rump, she is a Mists of Avalon priestess, gliding very, very high in the air.
    Debra Cash, WGBH Public Radio

  • It is, in part, the atmosphere that makes her Masque so intriguing. Meredith Davis's set design consists of a small black stage hung with dull crimson and pink rags of ribbons; more of these hang from three tall T shapes that make me think of the Crucifixion. The dancers . . . are zanies, grotesques. A commedia dell'arte troupe from hell. You see horrid at the edge of funny, of comedy that has toppled over the edge into nightmare. God knows what beaches Josa-Jones prowls - dark ones teeming with creepily phosphorescent life.
    Deborah Jowitt, The Village Voice

  • There must have been some inbreeding involved with the three feral street urchins of Jones' powerful Kin. In tattered clothes and punk make-up, Jamie Greenbaum, Tonya Lockiyer and Aislinn MacMaster (in a dynamite performance) crawled, crouched, heaved and flung themselves about the space with calculated ferocity, periodically breaking into a playful jig or a brief moment of tenderness. Kin is as emotionally disquietting as it is visually stunning.
    Karen Campbell, The Boston Herald

  • About Wonderland: . . . she engineers her end-of-this-world nightmare brilliantly. Movement takes ordeal or transformation as its subject; text or song seize the spirit of movement. The vision of life as brutalizing gives the work an almost terrifying energy and turns performers into survivors.
    Deborah Jowitt, The Village Voice

  • One thing about Paula Josa-Jones' performance work is crystal clear - its stunning visual power. Often inventive and unique, her choreography, as performed currently by her superb six-dancer troupe in Wonderland is so clear and uncluttered, so well articulated, that any of the 45 minutes of the piece could provide a terrific photo op.
    The Boston Globe

  • Stunning in both construction and execution, Ofrenda is ultimately as close to perfection as a dance can be.
    TJ Medrek, Bay Windows.

  • What did me in was Luz & Hueso. It was more than brilliant, with its use of film, light and bone, skin, wit and the sepulchral charm of Augustin Lara's voice singing something about mujer, and "todo tu ser parece temblar como una cancion?" or some such, while his voice has so damn little living temblar left in it. I find myself sputtering, and wishing I could see it again.
    Juan Alonso, author of Killing the Mandarin