I’m back in Tlaoquiaht territory on the west coast of Vancouver Island. This is a place I once described as The Land of Tsawalk as it is the cradle of a philosophy and cosmology of interconnection and interdependence that has been refined by centuries of Nuu-chah-nulth philosophers, leaders and families. We’re here to do an Art of Hosting with the Clayoquot Biosphere Trust and 40 or so local leaders and organizers. This will be the fourth Art of Hosting I’ve done here and they are always different, responsive to the land and the ocean and the people and the way time works here. We will plan tomorrow and then we will allow things to happen, and it will be, as it always is, a rich and abundant experience.
On the way here, Caitlin and I listened to some podcasts. Two of these had moments that spoke to the place and the quality of time and landscape, and this is the real purpose of this post.
The first is. A Radiolab episode called “Small Potatoes” is about how observation and reflection can transform the most mundane of things in our daily experience. One segment of this episode featured a clip from Ian Chillag’s podcast Everything is Alive in which the philosopher Chioke l’Anson plays “a grain of sand” in conversation with Chillag. l’Anson brings an incredible perspective to this interview, including these gems:
CHIOKE:
Yeah, I mean, I think that if there’s one difference between them and I… Sorry, I’m just having
trouble with the pronouns, you know, we’re doing this interview and I’m a grain of sand.
IAN:
Yeah.
CHIOKE:
But that’s not really the way I would think of myself. I think normally I would just say, “We are sand.”
IAN:
OK.
CHIOKE:
So, you see that there’s the mass noun thing happening and it’s weird to talk to you because you
don’t have a mass noun thing. Or you don’t seem to have a mass noun arrangement. So, you say
yourself that you’re a person, right?
IAN:
Yeah, I would say I’m a person.
CHIOKE:
So, like why aren’t you a grain of person?
IAN:
Like why do I not consider myself as like a fraction of all of humanity?
CHIOKE:
Yeah, like that makes more sense. It just seems to me like if you recognise the degree to which you
owed your existence to other people you might also be nicer to other people.
Or then there is this meditation on time and change:
IAN:
Right. Do you know how old you are?
CHIOKE:
Not exactly, no. I think, it probably would amount to somewhere in the hundreds of thousands of
years. Like, I mean, I wasn’t always sand, right? Like there was a time when I was a boulder.
IAN:
Yeah, yeah.
CHIOKE:
Yeah. So, you know, like do you know about the myth of Sisyphus?
IAN:
Yeah
CHIOKE:
Yeah, that’s a funny one to me because Sisyphus is cursed to roll this boulder up the hill for eternity,
but really the boulder would eventually erode. I mean, a hundred thousand years or so. It would be
like a little pebble. Like, just stick it out, Sisyphus. You’ll be done in no time, you know?
IAN:
Eventually it’s just going to be sand.
CHIOKE:
Yeah, exactly. And in addition, the hill will also erode. And so, you know, Sisyphus after some time
would have a flat plain instead of a hill and maybe like a marble instead of a boulder.
IAN:
Yeah, so, yeah. So, he’s cursed for eternity, but really, he just needs to get through I don’t know
50,000 years or something.
CHIOKE:
Yeah, like he should really stick to it. And then that’ll show the Gods.
Amazing.
In another podcast we listened to, a To The Best Of Our Knowledge episode on deep time, Ann Strainchamps interviews geologist Marcia Bjorneru about changes to our earth and climate:
AS: Do you think the perspective of deep time can help with any of the existential fear and dread that comes with an awareness of climate change and global warming? Does being aware of the many long ages of the planet put climate change in perspective? Or make it more frightening?
MB: From a scientific point of view, I can say that Earth will be fine. The Earth will deal with the changes in climate that we’re causing and eventually, new ecosystems will emerge.
But the human part of me mourns what we’ve done and the rapidity with which old, well-established ecosystems and landscapes have been changed. And I worry for humanity, for what the next decades or century will bring as we cope with a new set of rules. That’s the scary thing to me. We’ve been able to understand the way the planet has worked through the Holocene, but now we’re changing the boundary conditions and parameters, and so many of the models we’ve developed aren’t going to be very relevant as we go further into the Anthropocene.
The past won’t necessarily be a key to the future. And there’s real sadness there. Our cultures have grown up with a certain version of Earth, and it’ll be radically different.
These insights seem to hit so much deeper out here in the Nuu-Chah-Nulth territories, where a deep sense of time and a deep connection with the ancient marine and forest ecosystems are responsible for thousands of years of occupation and well-being. Indeed, Bjorneru’s observation about the new boundary conditions of life on earth brings added importance to preserving intact large amounts of wild and ancient ecosystems. In 300,000 years as a species, humans have never lived in an environment that is as heavily degraded as it is now. We were nurtured in the complex life-giving cradles of the very ecosystems out of which we arose. We have changed those conditions of life, and who knows what effect it will have on our survival, the survival of millions of other species and the evolution of new forms of life on Earth.
Out here, on the edge of the world, the principles of tsawalk compel us to engage these questions. The perspective of deep time and deep interconnection lies all around us.
I’ve been going down a bit of a rabbit hole these past few mornings, looking at some commentary and writing about Kurt Lewin. Lewin, who died in 1947 was a psychologist whose theory and research had a tremendous influence on the modern movements or organizational development, action research, Gestalt theory, change management and group dynamics. To read his writings now is to read a person deeply interested in the complexity of human systems long before there was much language at all available to even discuss complexity.
His ideas – or more precisely other people’s ideas about his ideas – have been largely responsible for the way mainstream organizational change is conceived and thought about.
One example is the theory of change attributed to Lewin that is known as “Change As Three Steps” or CATS. This theory is reduced to an incredibly simplistic set of moves called “Unfreeze –> Move –> Refreeze”. Looks simple enough to use right away and authentic enough because it can be attributed to Lewin. Lots of consultancies uncritically use this model, and even a cursory glance at Lewin’s work would make it clear that he would never make change that simple or linear.
The fact is that Lewin never proposed this set of moves, and it’s not even clear if he ever used the terms “freezing and unfreezing.” The rabbit holes I’ve been down started with a paper from 2015 that showed up in my feed by Stephen Cummings, Todd Bridgman, and Kenneth G Brown called “Unfreezing change as three steps: Rethinking Kurt Lewin’s legacy for change management.” This is SUCH a great critique of how Lewin’s ideas have been misattributed and misused. Lewing is the victim of a classic strawman argument, where something simplistic is attributed to him, and then folks pile on saying that his work is simplistic. Meanwhile. the work he did do is ignored or lies unread.
And that is a tremendous shame, because that paper led me to look at some of Lewin’s writings again and some of the papers about him. I got especially interested in his work on Field Theory, which is a term used in the world I travel in quite a bit. The Presencing world is predicated on working with “social fields” and lots of facilitators talk about “sensing the field” and so on. In my experience the uses of the terms “field” feels like a softer, more approachable, but more mystical way of describing complexity in human systems. Some might call it a “fluffy bunny” approach to complexity, but anything applied without much rigour can be that.
Lewin’s work is really worth a long look. His work is important because it embeds human behaviour in a set of contexts that influence change and stability. This was pretty groundbreaking in Western thought especially thinking that was rooted in Cartesian theories of mind and behavioural psychology. Lewin called that context in which we are all embedded “the life-space” which represents a field of influences that creates what we might now call “affordances” for behaviour. Lewin’s work anticipates ecological psychology, the effects of trauma, anthro-complexity, systems theory and other approaches to organization, culture, and human behaviour.
The implications for this idea are pretty clear, and a 1991 paper by Malcolm Parlett called “Reflections on Field Theory” in the British Gestalt Journal articulates five principles of Field Theory that are quite useful for thinking about change. In that paper, Parlett reflects on five principles of Field Theory that are rooted in Lewin’s work and influenced by subsequent thinkers like Gregory Bateson, Gary Yontef and Carl Hodges. The principles are:
- The Principle of Organization which states that field are organized by what I would now call “constraints” and that changes to these organizing forces will result in changes to what happens within the field.
- The Principle of Contemporaneity says that what matters in the field is the present. While history helps to explain how the field is currently organized, there is no special causal weight given to actual events that have happened in the past. However, it is important to understand how a person in the present has made sense of those events because that is what guides behaviour. To me, this is an acknowledgement of the limitations of retrospective coherence for making sense of the present and also an important insight for trauma-informed practice.
- The Principle of Singularity which states that each situation is unique and therefore requires a unique response. This clearly acknowledges the limitations of best practices on dynamic fields. Generalizations are of limited use and every moment needs to be approached afresh to find the affordances of timing and opportunity that allow for some actions to be easier to accomplish than others.
- The Principle of Changing Process which acknowledges that the field is in constant change. This is why the metaphor of unfreezing – moving – refreezing is of such little utlilty. It is predicated on a knowable stability in a system that simply isnt’ present. If one’s change management strategy is predicated on that, one is walking into a dark alley of surprise with a dangerous and blissful assumption of certainty.
- The Principle of Possible Relevance which points to the fact that in an interconnected field of actors and effects, anything can be a locus for change. And because we just don;t know which points in a field will be the most relevant in any given time, Snowden’s approach of multiple, parallel safe-to-fail probes can teach us a lot about the potential for change that takes us in the desired direction of travel.
In 1991, I finished an honours thesis that tried to use several theories and approaches to traditional knowledge, postmodern ethnography, critical theory, sociology and organizational development theory to create a new way of looking at organizational culture in Indigenous organizations. It was admittedly a little pompous for an honours thesis. Still, it led me in the direction of curiosity toward complexity and epistemologies that were rooted in more holistic ways of knowing. It would have been great to have Parlett’s paper back then and a better understanding of Gestalt approaches, to make the case in the academy that such ideas were not ONLY rooted in the marginalized worlds of “traditional knowledge” at that time but were in fact a long-standing part of the western intellectual traditional of behaviour, culture, and action in organizations.
Ove the years I have been aware of Lewin’s influence in the fields in which I work, especially organizational development. But I have to confess that I didn’t take an active interest in his work because I saw how it was used, especially CATS. It turns out that Lewin never developed CATS as a theory, and his actual work is much more interesting, especially as a source of some of the vestigial ideas and language that is present in the “field” in which I work. His work deserves a broader reading for those of us wanting to ground our practices in the history of thinkers like him and Mary Parker Follett and others who dreamed us into being 100 years ago.
I was struck by Daniel Miller’s research on Skerries, a small seaside town in Ireland which he discussed on the BBC’s Thinking Allowed podcast this week. The town he is describing is almost EXACTLY a match for Bowen Island, where I live right down to the demographics, the community dynamics and the fact that we don;t have a swimming pool, a theatre or a hotel and we do drink A LOT and have a cocaine problem. He wrote a book about his research but I was struck by the deep parallels between our two villages. In thinking about the commonalities it strikes me that the homogenous nature of our ethnic and age demographics, language, wealth levels, and isolation from but proximity to a major centre and the major constraints that generate such similar profiles on the surface of it. I can think of other places I’ve been too like Mahone Bay in Nova Scotia, Vankleek Hill in Ontario, Sooke, BC and probably Knowlton, Quebec that probably fit the bill too.
There is a reason for this consistency. The fact that two towns so far away on the globe exhibit such similar characteristics is remarkable but it is a testament to the power of global capitalism that created a class of English speaking upper middle class and wealthy people from similar professions and worldviews and fed us all memes (the original definition) that resonate with the lives we lead. Even the fact that I am subscribed to Thinking Allowed is a part of this phenomenon.
Me and some friends “villaging” back in 1996 or so at a session at The Irish Heather in Vancouver. That’s me blissed out on the bottom right of this photo. We are playing traditional Irish tunes together.
Barbara Holmes today in a post at the Centre for Action and Contemplation:
It takes a village to raise a child. It takes a village to survive. For many of us, villages are a thing of the past. We no longer draw our water from the village well or share the chores of barn raising, sowing, and harvesting. We can get … almost everything that we need online. Yet even though our societies are connected by technology, the rule of law, and a global economy, our relationships are deeply rooted in the memory of local spaces.
Villages are organizational spaces that hold our collective beginnings. They’re spaces that we can return to, if only through memory, when we are in need of welcoming and familiar places. What is a village but a local group of folks who share experiences, values, and mutual support in common? I’m using the word “village” to invoke similar spiritual and tribal commitments and obligations.… When there is a crisis, it takes a village to survive.
In each generation, we are tested. Will we love our neighbors as ourselves, or will we measure our responsibilities to one another in accordance with whomever we deem to be in or out of our social circles? And what of those unexpected moments of crisis, those critical events that place an entire village at risk? How do we survive together? How do we resist together? How do we respond to unspeakable brutality and the collective oppression of our neighbors?
Our lifelong efforts to map our uniqueness do not defeat our collective connections. Although I’m an individual with a name, family history, and embodiment as an African American woman, I am also inextricably connected to several villages that reflect my social, cultural, national, spiritual, and generational identifications. These connections require that I respond and resist when any village is under assault.…
— Barbara Holmes. https://cac.org/daily-meditations/a-collective-response/
I like this idea that connection alone doesn’t equal community. Connection alone is not enough to create spaces where we make meaning of our lives or generate meaning and life with and for others. Instead, there is a need to enliven the space of connection with purpose, shared identity, and meaning.
I am working on a book on dialogic containers, and it really comes down to the principle that what is “contained” in these kinds of contexts is “meaning.” I once heard Jennifer Garvey-Berger use the term “life-giving contexts” in a webinar, and it really struck me that THIS is what we are trying to do when we are working with “containers” in dialogue and participatory leadership work. It is not enough to hand each other a business card or place an organization’s pamphlet in the centre of a circle. That does not create a dialogic container; it does not create a life-giving context for action.
Villages, as Barbara Holmes points out, DO. And a village is not merely a collection of uninhabited houses. It is an emergent identity of a place of human life. You may live in an apartment building, but do you live in a village? What is the difference between your building and a village? What can you do to make it more village?
The answer to that question is the essence of dialogic organizational and community development. The answer to that question leads you to meaning-making together.
My Epiphone Emperor Joe Pass guitar upon which I am learning…leadership? Read on!
It’s a cliche as old as time, one I have been guilty of using occasionally too. Leadership is like jazz, where the members of an ensemble support each other in improvisation. We listen carefully, respond to what each other is doing, offer creative responses and make something amazing together.
Yes. Leadership is way more about improvisation than, say, following a step to step guide to assembling IKEA furniture.
But there is another set of metaphors from jazz that I have never seen talked about, perhaps because it needs you to understand a little about music theory, but that is leadership as jazz harmony.
My pandemic project was, after forty years, marrying my love of jazz with my love of guitar playing. My musical life hasn’t been the same. It has felt like starting over again. I have been learning jazz guitar with a teacher and with online tools now since late 2020. I’m focusing on learning how to play jazz standards, mostly solo, which means learning how to make chord melodies while also trying to do interesting things with improvised lines, over chords. I had to learn the fretboard in new ways, had to learn new techniques for voicing chords and playing lines from scales to which I had never given much thought: the harmonic minor, the altered scale, the Lydian dominant. I am getting to the point where I am learning to say things with jazz, but I feel like a baby. One reason for that is that there is SO MUCH TO LEARN from technique to theory to language to repertoire.
Of course with all new endeavours you have to learn a bit of theory to understand how it all works. While I know basic music theory, I have also had to take a deep dive into jazz theory because at its core, jazz is a structured, logical music that provides a harmonic and rhythmic container for improvisation and all the tools one needs comes from the specific ways jazz theory works. When you are playing on guitar, especially comping the lush and colourful jazz chords that accompany other players, your goal is to be as sparse as possible while still implying the harmony so that the melodic lines that the soloists are producing make sense. To the untrained and cynical ear, jazz sounds like “the wrong notes” but in the hands of skilled guitarists, jazz harmony has a number of different characteristics that are interesting.
First of all, in good jazz guitar playing, we try to make arrangements where the chords change only one or two notes at a time, and most often to notes that are just nearby. This is called “voice leading” and has been a feature of Western music since harmony was invented. In fact it probably was the origin of harmony, as two independent voices singing together will produce different notes. Sometimes these notes will sound pleasing and consonant and sometimes they will clash and sound dissonant. However, the point of voice leading is to guide the ear gently from one chord to another through the changes. As long as I have have loved music I have loved voice leading. I spent hours just voicing chords on piano as a kid without knowing what I was doing. But when you play a chord and change one note you discover that you are somewhere else entirely. Your next move from there is constrained by where you are now, and there are patterns of logic and harmonic tradition that are yours to follow or break as you wish.
Because guitar is a weird instrument – six strings played with four or five fingers with the same note appearing in different places all over the neck – jazz guitarists are very fond of stripping chords down to only two notes, to play their essence. In jazz we call these “guide tones” and they are the 3rd and the 7th notes of the chord scale. For example if I’m playing in the key of C and I need a C major 7 chord, I need only to play an E and a B (C-D-E-F-G-A-B) to imply the chord. Guide tones, along with the context of the chord – what comes before and after it – gives you enough information to work with to create a solo that sounds good. Guide tones are connected to voice leading. Playing a standard jazz chord progression like a Dm7 – G7 – Cmaj7 (the well-known “ii-V-I”) with guide tones produces smooth voice leading: Notes go like this: F-C, B-F, E-B. You can see that in each chord change, only one note changes, but when it does it produces a very different sound. We get led by one notes that wants to stay stable (the third) and one that wants to go somewhere else (the seventh). Together these two notes contains the essence of tension and release.
Jazz harmony is all about tension and release. In most of the music I have ever played on guitar, chords are just blocks of information. I might have a chord progression that goes C-Am-F-G (I-vi-IV-V) which is very common in pop and folk music and while certain chords want to go to other certain chords, the most tension is with the G chord, the five chord, which wants to go back to a C. End a song on a five chord, and your audience will be left in suspension. Go listen to the end of The Beatles “For No One” and you’ll see what I mean. You get left there. What happens next? This is the most basic tension and release. When most of us are learning guitar, we learn 7th chords and understand that these always lead us back to the tonic. D7 goes to G. A7 goes to D. C7 goes to F.
In jazz working with tension and release is a high art and there are many, MANY, more things you can do with chords to make jazz lines flow from one chord to the other, but the essence is that a little bit of suspense makes for a satisfying resolution. So we take those guide tones and start adding notes to them, and this is where jazz theory gets really arcane. You can add a sharp 11 or a flat 13 or a sharp or flat 9 to give you some tension and dissonance. Or you can add a 9, 6 (or 13) to give some lush colour to a more stable chord. You can play different scales over different chords. You can keep suspense and tension alive for a long time, or just imply it and bring it home. In Western music tension and release is such an important aspect of the musical experience that it is essential to understand for both composition and improvisation. Music with no tension of release is just a drone. Everything else in music is textured around moments of discomfort and anticipation and moments of relief and stability.
So if you want to see all this in its glory have a watch of this old Ed Bickert recording with his trio. Ultimately all of these tools are helpful in aid of creating a container inside which you make coherent choices for expressing yourself. And THAT is why jazz harmony is like leadership.
Extending the metaphor
I’m writing a lot on containers right now, so my attention is guided toward how containers – contexts for meaningful action – are structured and how we create them. In complex situations, leadership is about creating these contexts for action and interaction, and there are many lessons from the world of jazz harmony that apply here. Here are a few, in case you haven’talrady sussed them.
Theory matters. It really does. In jazz, there are reasons why something sounds “jazzy” and reasons why it doesn’t, and the same is true in working with containers and people. There are things you can do as a leader that will have better chances of certain outcomes than other things. Learning theory, especially working in complexity – like why managing to targets is less effective than managing to a direction of travel – will help you create experiences for people that get better results over time. If you want your tem to be more creative, there are things you can do that will help. If you all want to learn some new things together, knowing what they are and how learning works makes a big difference to how effective you will all be.
Small changes make a big difference. Voice leading in jazz has taught me that changing one small thing can have a powerful effect of taking you somewhere else. We think of “change” in organizations as a big planned thing, but in reality the constant change that arises from interactions between people creates all kinds of new situations. Leadership is about working with existing stability – for better or worse – and making small adjustments to see what can be done to take you closer to your preferred direction of travel. And making small changes means that, as you are improvising, you don’t over commit to an idea that has no future. Instead you are trying to open up new pathways to explore – called affordances in complexity – that are coherent with what is already happening, but might offer a better way to be.
Start with where you are. In jazz if you are playing in the key of B flat major, you should not play a line from the D major scale unless you really really really know what you are doing. One of the biggest lessons I have learned from complexity theory over the years is that the current state matters so much that any attempt to just show up and create something new in a workshop or a retreat with no regard to context is almost guaranteed to be a failure. In complexity, change happens along affordances in the current context, and fruitful change-making and leadership understands that. That is not to say that you cannot create completely new things out of the blue, but there are all kinds of reasons why this entails a massive energy cost to individuals, not the least of which relates to just how much tension and release people can take.
Tension and release helps us move from one place to another. Our work lives are full of moments of tension snd suspense followed by moments of release and stability. Cognitively, we can only stay in this so long and we all have different tolerances. Just like your endurance for listening to a free jazz piece that seems to have no release of stability at all – I love Cecil Taylor but your mileage may vary – folks at work will have a hard time staying in a state of constant tension, or indeed, constant stability. And even though good leaders give their teams and organizations a sense of stability over time, ignoring the changing context of one’s work can render a team irrelevant or ineffective, and in some cases, an entire company can find itself no longer in business. So as a leader, it’s a developed practice to dance with the paradoxes of challenge and rest, creativity and stability, outside thinking and standardization. Human beings live this journey and it is what helps us grow and evolve and form and break our identities and try new things and generally give meaning to our lives. That is a high art of leadership: to create what I’ve heard Jennifer Garvey Berger call “life-giving contexts.”
So there you go. The next time you meet someone who just cavalierly throws around the “leadership = jazz” metaphor, go a bit deeper. And I encourage you to really listen to great music to hear all these things at play. Knowing a bit about how music works helps us to understand why it matters to you, why you like what you like and why and how you are moved by it. Just like everything.