My friend Tenneson Woolf sent along a glimpse of the wholeness that is an Art of Hosting gathering. Tenneson and I work a lot together doing these things, and this is the best version of what happens over four days:
1. Arrival. Coming Present. Feeling Shared Purpose.
The intention of this first time, often in an evening, is to help people arrive. Show up. Begin to see each other. Begin to see more of themselves. To open participants to being in the event context, in the learning space, and in the community for the next period of time. To begin to feel, beyond words, a sense of shared purpose. Some of this is letting go of what participants bring to the room. For many, we carry pretty big to-do lists wherever we go. We are committed to speed and efficiency. The intent in this first period is to find another way into the accomplishment that we want. It has the feel of slowing down, so that we can speed up. It is about moving deeper so that from that depth, we might work faster and in more sustainable ways. It usually involves a welcome by the sponsor. It usually involves overall sharing of context – the process we will be in over the next days. It usually involves a question, “Why did you choose to come here?” I’ve seen it work very well with a circle. I’ve seen it work very well with a world café. I’ve seen people at the end of this first evening delighted and surprised by how close they feel to other participants in such a short period of time and by how clear the purpose is.
2. Deepening In. Dreaming. Indentifying Questions.
The intention of this second time, often a full day, is to deepen in. To begin to note the many layers of assumptions, questions, and beliefs that are part of the work we do. It is increasingly rare for any of us, individuals or teams, to take time to imagine what our work could also be. And yet it is increasingly common for us to need better ways to do our work. Many of us are accountable in our doing within very demanding deadlines. Many are without time to pause and look more broadly at the purpose and the practicalities of our work and how we must innovate our working together. Or what new insights we have learned through our experience. Or what conditions have changed in the world that require us to adapt some of our previous plans. I have seen this work very well, again in circle and café, and also in appreciative inquiry. I have seen it work well in open space, particularly when the invitation is to stay conceptual rather than tactical. It is a time to ask questions like, “What is going on in the world that makes this work important?” Or, what are the core questions that if given attention would further strengthen our ability to do the work that we know matters and that we care about? Or what are the images of the future that we can see that we want to begin building in the present? I’ve seen people in a mix of places by the end of this day. Some are full – without any plenary speakers, there is a lot of information that has been shared and created. Some are tired – listening in conversation is hard work. Some are elated – they feel the quality of learning, work, and relationships that is beginning to spark new images of possibility. And some are frustrated – to let go of a personal viewpoint amidst a sea of other viewpoints can be a real challenge to individual or shared identity.
3. Listening. Letting Come. Doing the Work.
The intention of this third time, often another full day, is to roll up our sleeves and get to work. It is the kind of work that many crave, and that some arrive ready to do on the first evening. However, doing the work on this third day is very different than if done on the first night. Work on this day comes from a greater sense of community, and thus sustainability. It comes from a greater sense of colleagues who have come to see each other at more rich and more whole levels. Work on this day comes from the process of seeing our own opinions and beliefs change as we have been actively learning with others. It comes from a sense of shared story, of enriched sense of purpose. It comes from a place of shared commitment rather than obligation. I have seen this work very well in open space formats. People name the topics that they most care about. Others self-select into joining them, and they get to work. I have seen teams uniquely united on this day. The response I often here from participants is surprise at how quickly things moved and how detailed and practical they were. Whereas the previous day felt more conceptual, this day is more tactical and leaves people feeling a great sense of tangible outcome.
4. Taking it Out of the Room. Action at Home.
The intention of this last time, often a half or two thirds of a day, is to further solidify what participants take with them to apply in their local settings. For some it is asking a few more questions. For some it is setting a clear intention. For some it is connecting with a few more people. For some it is listening to one more teaching or model. I have seen this work well with knowledge cafes, circles, and action open spaces. It is a time to help people clarify their next first steps, whether in content, process, relationships, or strengthening fields. It is also about taking the surprise, the reawakened memory or strengthened sense of community and applying it. Practicing it. Doing the work in our local places of work and community. It is about a commitment to action, wise action that is simple, clear, and sustainable. And it is a time to close well, often with simple ritual, to seal the learning space that we have had together. I have seen many people share heartfelt expressions of love and appreciation here. It is what happens when we realign with our deepest sense of purpose.
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Day zero here at the Shambhala Summer Institute here in Halifax. The staff of the ALIA Institute have been working hard to get everything ready for us, and today people started to arrive. Over the past could of days the faculty have been meeting in a little pre-institute retreat, building our own field and grabbing the chance to have conversations with one another. We’ve been getting a little taste of each other’s modules, playing with some of the creative process that is going on and generally catching up with each and getting a sense of our field.
Today we held a little open space and one of the things we were invited to do was give some thought to what is alive in the field of the Institute this summer. Sensing like this helps us to be able to pay attention to the collective experience and gives voice to what is showing up, and what we can serve. At the conclusion of the Open Space, we checked out and I harvested a little poem that captures something of the flavour or what we’re in. Part of the set up for this poem is knowing that today the weather has been wild with high winds and driving drizzle, and even though the air is warm, there is a sense that the winter/spring part of the year is keen to leave its legacy on the summer/fall part.
Here’s the poem:
What’s alive in this field
We’re going to be at home.
The depth of passion that we own
expands out to connect
the alternatives that sing, circumspect,
from the hill tops,
that reach the ears of the young
who stand in the storm, sung
songs of drenched longing,
wanting to tap creative energy
to quiver with the joy that
lives in the edge of death and life
the light that redraws the breath of summer.
The directions are called,
the integration invites a falling into place
a space of compassionate embrace
of all we are related to.
My daughter – an image held in the hand,
at arms length, on a touch –
there is much that is held here,
much that isn’t here.
What is clear is not-knowing –
uncertainty growing like the clouds
of drizzle that shower our container
Can you feel the wind?
Can you feel the breath?
Settle down. Then step.
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Thank you Euan.
Now, there is a time and a place for judgemental skepticism and cynicism (I suppose) but somehow there is a widespread sentiment that associates these two stances with expertise and prudence. Now I don’t want you to think that I am all about squashing opposition or creative tension, but I have to say that when I am working with groups of people to create processes that will help take people out of their comfort zones, there is a particular cynicism that does not help. Euan Semple calls this “pomposity” and that certainly seems to capture the holier than thou effect that this kind of stifling aloofness has on groups of people. And Euan names the price that it takes:
- Every time someone is faced with a pompous response to a suggestion or idea they take one step back and become much less likely to ever offer their heartfelt thoughts again. Imagine the impact this has on the creativity and innovation that organisations depend on.
- Many, many meetings could be done in less than half the time if there wasn’t a need to feed the ego of the chairperson or more vocal participants. How many times have things gone on way too long because someone likes the sound of his own voice?
- How many millions and millions of pounds have been spent because someone was too pumped up and full of themselves to admit that perhaps the major project they are sponsoring should be aborted?
- How many fledgling social media projects get squashed by IT departments because “professionals” have had their nose put out of joint at “amateurs” thinking they know better?
- How many bright, committed and intelligent potential senior managers have failed to step up to the mark because they couldn’t face the antler clashing and ego massaging that goes on in the boardroom?
I have recently had the experience of people saying to me that the work I do would never work with such-and-such a group of people. My response to them is nothing will work with people if you don’t believe them capable of doing something different or trying something new. I have been responding to these kinds of limiting beliefs with two questions:
- How do you show up with a group of people when you believe they are not capable of something?
- How do YOU show up when something thinks YOU are incapaable of something?
That tends to take care of the holier than thou attitudes. A little empathy, a little creative tension, a little mutual compassion for the other helps makes designs for new and difficult things easier. These questions force us to really consider whether we are more capable than someone else. It forces a conscious awareness of the choice you are making when you adopt the pompous stance.
I choose to believe that people are capable of engaging in all kinds of things, from sitting in circles (the scariest thing in the world, if you would believe some) to radically letting go of huge projects they were working on because they weren’t going anywhere.
Lately I have been making an explcit request of clients that we create design teams for events and processes that DON’T include cynics. That is not to say that we don’t need people bringing concerns and challenging questions to the work, it’s just that when you have someone in a design team that does not believe in the possibility of what you are trying to create, so much energy gets taken up catering to the unhelpful pomposity of the rightous skeptic that the design suffers and in the worst case scenario, the result is a design that just serves the status quo. I have, in the last couple of years actually “fired” a client who wanted me to help create the illusion of a participatory event but who could not allow himself to actually let a participatory event unfold. He was completely unwilling to let go of control and unwilling to trust people. He even described the people he was working with, government employees in First Nations communities, as “children that need to be shown the answer.” There is a huge cost to this kind of stance in time, trust and the ability for groups to actually hold the real fears and concerns that they have. What do you think is possible when you work with someone who considers an important policy gathering to be like a daycare?
So start with possibility and create the space for inquiry, curiosity and yes even judgement to arise. But if you start with these things, you will not be able to create creative spaces of possibility because you will get mired down in the energetics of unhelpful politics, posing and pomposity. Staying in possibility is hard, but it is the only way we get to new places. More of the same is too deceptively simple.
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Anchored down in San Francisco awaiting a delayed hop to Eureka California, from where we will drive to the Hoopa Valley and work there for a couple of days. On leg five of the epic journey.
So a little time to breathe and reflect on a couple of harvests. First from Geoff Selig who was at the Pembroke Art of Hosting, and who collected the tablecloths from a final day World Cafe on what we have learned about the power of conversation.
Second, a harvest poem from the Open Space I ran yesterday in Kelowna. This was an afternoon session for the 30th anniversary of the Assembly of BC Arts Councils and 18 conversations took place that reflected the place of these volunteers and staff people who support the arts in towns, cities, islands and villages across our province. With Open Space these days I am trying as much as possible to have a place in which a meta harvest can be collected and created. Most often this looks like a graphic recorder who gathers materials and snippets from the sessions and co-creates a harvest with session conveners and participants. This gives a high level framework upon which the individual sessions can hang, and it invites another level of coherence and pattern noticing. Yesterday. we had no graphic recorder available, so I substituted with this poem that I created partly from the titles of the 18 sessions and partly from what I was seeing emerging in the conversations. As we only had 15 minutes for a closing, I presented this in lieu of a closing circle, and it made for a nice cap on the day:
The assembly of those who host space
by Chris Corrigan
Who are we? What do we do?
How do we face change while staying true
to the art that is the heart of community unity?
What body serves the life that comes to us?
Here we pause and reflect:
Youth are the truth of growing inclusivity.
Dialogue, funding, engagement are our tools
and it’s what we create with them that fuels
the passion for change
and well-ordered offerings that welcome the stranger,
the small connections that bring us into relationship
with land, citizen, government and institution.
So how to begin to offer form
that invites the spirit of the arts to warm
the cold spaces of urban waste
and rural forgetting, arts-based, human-paced
endeavours that bring us home?
How do we step up to govern and guide
theatres, galleries, facilities, the sides
of desks off of which our best work is done?
And how do we cultivate the source of our energy,
the money and bodies that make smooth
the skid roads and rip rap that brings this enterprise alive,
delivers the promise which grows and thrives?
We host space.
The spaces between people that light up with the spark of connection
recognition, a shared story, historical succession,
the tending of the coming soon that arises
from the done before rooted in the best of now.
The space of social media
both digital and tactile that expedites
the meeting of needs,
the speaking of deeds
into the record of our collective story.
The spaces of creation and illumination
like so many star-birthing clouds
spaces that resound with the colour of the voices that sound
the melodies and harmonies of our becoming.
Spaces in which we re-create, in which we see
what we could be with the power of free
expression coursing through the veins
that carry the pulse of life – the arts beat.
And here we confront our souls,
navigate the narrow channels, reefs and shoals
that want to gobble us down,
sink us in work, overwhelm and drown
our efforts in the skookumchuk
where scarcity and demand
suck and boil together and we move uncomfortably with outstretched hand.
Only and finally in THIS space,
do we recognize friends, companions
that also walk our path between elation
and struggle, who know the million details that support creation.
Thirty years we have sat in assembly
hosting a resonance that trembles
up the coast, valleys and rivers
like so many shivers
through the spine of beauty,
a reverent bass line, upon which rests
the deep song of who we are.
A deep bow to you all –
for the boards that lead
for the boards that are tread,
for the boards that are hammered together,
the music of spruce and pine and fir
forming the floor from which we stage our flight,
take wing and soar.
This poem was composed in honour of the 30th anniversary gathering of the Assembly of BC Arts Councils. It is a reflection of the issues that were articulated in 18 Open Space dialogue sessions held on the afternoon of May 2, 2009 in Kelowna, when Assembly members gathered to find wisdom in the stories and questions that were held within their community of practice.
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Lovely day here in Marin County hanging out with friends and charting some interesting paths forward on a few projects. One highlight of the day was spending time with Amy Lenzo, who I have known for a while but met only one time previously when we were on an diverse and eclectic team of facilitators holding space at the Pegasus systems thinking conference a couple of years ago. Amy is, among other things, the web goddess for The World Cafe community and we spent a lovely lunch at the excellent Buckeye Roadhouse talking over the nature of our work, the ways in which we look at the art of hosting within rich social spaces and what is at the core of our approach to things. We were reflecting on what the World Cafe, Open Space, Berkana and Art of Hosting communities (among many others) have in common and it comes down to these four things – archetypal patterns if you will:
- The source pattern for our understanding of group process is the circle
- The source pattern for leadership within that process is “hosting” or facilitative (or “holding space“)
- The source pattern for design of process is diverge – emerge – converge
- The source pattern of our worldview is living systems
These four patterns form a set of foundations about our practice. They stand in contrast to foundations of group work for which:
- The source pattern for understanding group process is the traditional school room.
- The source pattern for leadership is the teacher or command and control
- The source pattern for design is linear: moving from point A to point B
- The source pattern for worldviews is mechanistic.
These distinctions are useful because the source patterns serve as an invitation. If you find yourself in alignment with the first set of patterns, you’ll probably find kin in the Cafe, Open Space, Berkana and Art of Hosting communities. If you relate more to the second set you ‘ll probably find yourself engaged with people from more traditional training backgrounds. There is certainly a time and place for both, and the skillful application of one or the other sets of foundations is what is brought by artful process practitioners.