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Category Archives "Flow"

Observing the architecture of the held container

July 28, 2026 By Chris Corrigan Art of Harvesting, Art of Hosting, Chaordic design, Complexity, Containers, Conversation, Culture, Design, Emergence, Facilitation, Featured, Flow, Invitation, Leadership, Learning, Open Space, Organization, Power, World Cafe 7 Comments

You might have been following along as I have been playing with this triangle over the past few weeks. This is a version that I think I am happier with for now and it’s already helping me and others to understand a few things. First, what is the influence of a facilitator into the complex system of a group of people. Second, what is a dialogic container thought about in terms of anthro-complexity. And third, what is the role of a facilitator, and what are some of the capacities and moves one can play.

I’ll introduce this in stages, and use language that speaks to facilitators, hosts, participatory leaders. Folks who read this blog, who practice the Art of Hosting, Liberating Structures or other forms facilitation that treats groups as complex. I want this framework to help us inquire into some of things we take for granted such as the role of the host, the helpfulness of methods. the belief in the collective capacity of the group, and in the notion and idea of what a container is and how to work with it.

The title of this post is a nod to Mark Downham’s long treatise The Architecture of Held Space, which is a very generous discussion of these questions too and which deserves a full response on it’s own. But his work and Snowden’s work previously pointed at in this series ask the questions that I am trying to answer here. Here’s a post that links to those writings.

Starting with basics.

Let’s start here. Groups of people are constantly meeting, working, talking and living their lives without the role of a facilitator. Most of human history, historically and in the present day has unfolded without facilitators and consultant working with groups of people to optimize processes, introduce new ways of working together or saving people from the everyday chaos of their lives. I say this in a tongue-in-cheek way, but it’s a serious observation. We – the consulting industry, the hosting world, the facilitation community – are a lot less necessary than we believe.

So we start with the above polarity. There are interactions and there is structure. Pause for a moment and think about where you live. It could be a village, and island, a neighbourhood, a building or a city. Think of ways that people have problems solved together, introduced new ideas, created new things. How neighbours are helped when a new child is born. Or how conflicts arise in the public conversation and how they are resolved or how they cage over time. Novelty in societies and groups springs from interactions between people. They come out of who knows whom, who is connected or not, what gets talked about. Communities and groups are bubbling cauldrons of connections and exchanges. You can never fully understand them, you can never fully see what they are capable of. But beautiful things emerge.

Interactions between people do not happen randomly however. Thing of the place you live and think of the built environment. Think of how folks get around, where they meet and where they don’t meet. Think about the “way we always do things” the traditions, languages, and implicit ways of being that are unique to each place. Think of what it feels like to visit a new place and know that you don’t completely belong there. There are structural elements that shape humans experiences. These structures are physical, psychological, social, and cultural. They are patterns that persist over time that makes some things more likely to happen than other things. These structures can change, but the do so slowly.

The structures and the interactions are continually in relationship. The structure influences what’s easy for people to do wan what is hard for them to do. In complexity, we call these affordances. People who are skilled at working within their own environments often have a good understanding of some of these structures and affordances are are able to work with them in a way that makes things happen. Others might have great ideas, but they always seem to get nowhere. Structures can provide resistance – “that’s not how we do things around here” – or they can provide hard boundaries – “you can’t walk from Bowen Island to the mainland, no matter how much you want to.”

SO the question to ask when learning about a group of people, or when a group of people is learning about themselves is “How do enduring structures shape interactions and how to repeated interactions become structural?”

If you are coming into a community or organization to do work and you don’t start here you are treating each group as a blank canvas upon which your influence can be exerted. This applies especially to consultants but it alos applies to leaders who “drop in” to their teams or departments without any understanding of what is really happening. The field of pre-existing interactions, the ways that people respond to change or generate it, and the pre-existing structures – physical and cultural, immutable and changeable – provide the landscape inside of which any intervention takes place.

Take a breath while I tell you why three is better than two.

Pause here. I’m going to tell you why I’m going to make the next move.

A favoured tool of many consultants is working with polarities. I use them all the time to look at things. Structure and Interaction is a classic polarity. Both exist at the same time, both are helpful, positive states. In the Art of Hosting work we use Chaos and Order. I’ve also used others like Individual and Team, and Organization and Stakeholders. Often conflicts in organizations are about contested ends of a polarity. That’s helpful to see.

But the problem with polarities is that it places a situation on a scale and asks us to maybe balance the upsides of both or do things that will slide the problem more towards on end or the other.

The bigger PROBLEM with pairs like this is that it tends to introduce either/or thinking. Even if we are using a tool like polarity management (which promotes Both/And thinking) we are still highly entrained to see the ends as more important than the middle. That can have the effect of embedding the conflict even deeper and make it feel like maximizing the upsides of one is a compromise or a value tradeoff for people that prefer the other.

And so, what about three?

Snowden has written recently on this, but for decades he has used triads in sense-making in a way that helps us see that a complex situation exists in a space that is influenced by multiple sources of constraints that make some things more possible than others. Triads are a feature of his software, SenseMaker and although they are sometimes hard to understand, I find them helpful for getting beyond simple dichotomies.

And so the next section of this essay will be about the third part of this system, the one that turns a group of people into a facilitated group, a led group, a team, an organization. It is the acknowledgement of an intention, backed with privileged power, that provides an important source of constraints.

The designer

In a recent LinkedIn post responding to an earlier blog post in this series, Natalia Treninya offers a gentle disagreement with my offering of this third source of constraints. She writes: “I find it hard to accept that the design of a dialogue, or of any other creative process, stands as an equal third vertex of the trialectic. Stability and emergence describe the state of the field, whereas design acts upon the field, so to me it belongs to a different level.” (translation from Ukrainian provided by LinkedIn).

I get that, but I don’t agree. The whole point of introducing this third corner is to be honest about the work that intention does when it is coupled with a position of privileged power in a pre-existing field of interactions and structure. Snowden’s constant challenge to the Art of Hosting community, let alone the broader facilitation community as a whole, is to get the facilitator out of the centre of the work. But the facilitator is never removed from the work. That is exactly another problem: cloaking the role of power in good intentions, or a wonderful design, or a set of brilliant exercises.

Even in “complex facilitation“, which is the approach to methods used by the Cynefin community, the role of the facilitator has to be accounted for. Methods are used, each with an intention. Interactions are shaped. Strutures and patterns appear and the facilitator manages the process.

But how and why is the facilitator able to “manage the process?” Because the position comes with the power to do so. That power is accorded by the consent of the group (or not, in which case something else takes over). “Yes, we will do the Future Backwards exercise or the Word Cafe or the Circle or the Paired Walk or the 1-2-4-All” is what the group says to the facilitator, but never completely.. There is always someone in the room who thinks this is bullshit, or who has to suspend their scepticism to go along with the group. We all carry memories of being told what to do that elicit responses ranging from compliance and approval seeking to outright rebellion.

So the unique position of the facilitator influences both the structure of the moment and the interactions. In complex facilitation approaches, the facilitator/host does not get involved in the content of the work, but only manages the interactions between people in the space. That is an important and influential role and so it has to be accounted for.

Time for a break

Let’s watch a video together. Let’s see what happens when the person with the power to shape the process comes into a room ignoring the structures and interactions that are already present in the group and imposes a his own ideas about what should happen. This is a scene from West Side Story where Glad Hand, the community social worker, embodies the bumbling leadership role we have probably all occupied at one time or another. You can read my commentary on this scene here.

Poor Glad Hand. He was convicted that this new method of his would break the group up, introduce new relationships and solve the gang problem. My favourite part of the scene happens after the group rebels and becomes even more entrenched. The police officer makes a bee line for Glad Hand and desperately points out to him how bad he has just made the situation.

Answering the challenge

There are groups interacting in the present moment. There are pre-existing structures that embed and embody the residue and habits of historical practice. And there is the p[ractitioner, the consultant, the teacher, the facilitator, the leader. The one who holds the design that is accompanied by an intention that speaks to a preferred future.

So let’s explore this third point in the triangle in relation to the other two.


Now we are looking at a dynamic space bounded by three sides inside of which dialogic containers exist and move. The Design point can be occupied by a facilitator who brings a method, or a leader, or an authority, or anyone else who has the power and ability to enter the space with intention that can shape the space. The introduction of this third point introduces two new tensions and space in which we can map what emerges from these three tensions.

From a facilitation perspective, the left hand side asks the question of how the method or intention being brought relates to the existing patterns at play. Anyone who has set the chairs up in a circle, while working with an organization used to sitting around a table, will be familiar with this questions. There are ways of doing things. If you are going to be introducing a new intention that results in a new structure, something interesting will happen in contact with the pre-existing structures.

On the other side, the tension is between the intention of the facilitator and what the group is attending to. The group holds the capability for designing and choosing change and a design and intention introduced on top of them runs the risk of being patronizing, disempowering or colonizing in its effect. In complexity, It is not methods or good facilitation or leadership that creates novelty or good responses to the problem at hand but rather the distributed knowledge, capability and capacity of the group itself to address its conditions. This has important implications for what we choose to do. As a facilitator when I am too in love with my method, I impose it in a way that disables the group’s capacity, even while I speak praises to the group’s collective intelligence and capacity.

The space

So this diagram is finally a space represented by three distinct source of constraint that affect and influence the dialogic container. The facilitator’s role then is to constantly attend to the work of the container within this space. In an expert driven process, where for example an engineer is directing a team to install a building system, the interactions of the team members are highly controlled. The engineer might need a detail or two from the front line, but in general, the design and implementation of a knowable system will proceed very close to the left hand edge of the triangle.

On the other hand, a group that is trying to design a new organizational structure for itself might not need any facilitation or design at all beyond an agreement to meet in a pub and kick around answers to the question “how should we make decisions together?” It doesn’t need facilitation, and the intention and design can be entirely co-owned by the group itself. The pub provides a structure, especially if said pub is a part of the ritual space in which the group often decamps to consider the bigger questions in life.

On yet another hand, a consulting intervention for a strategic plan might start with an intention from the Board and quickly move to a narrative capture of the staff, clients and partners of the organization, followed by collective sense-making. This immediately works with the capability of the group to sense opportunities, to name the structural affordances and blockages for development of change and to change the interactions from “working together” to “planning together” which wakes up the latent capacity to a group to make collective decisions and choose pathways forward into the unknown. The consultant becomes responsible for hosting the methods to do that, paying attention all the time to the preferred direction of travel introduced and held by the Board as an intention (“we need a plan to help us move into the future and we need everyone to be involved”). The consultant’s role is to constantly work to attend to and shape the interactions, with consent, with transparency and with accountability.

Dialogic containers arise all the time. As each of the points in the triangle take on great or lesser effect on that container, the container’s life can be mapped in this space. The lifecycle of a container is not linear, it’s not universal and it is context free. Each one appears from the interactions of these constraints and is shifted and influenced over time until it dissolves again. While it exists, the facilitator continually attends to the changing relationship between Design, Structure and Interactions. When the work is done, to put it in Taoist terms, the facilitator disappears along with the container and the people see that they did it themselves.

So play with this a little. Tell me what it evokes in you. I am especially interested in how this challenges your practice, rather than how it validates it? What question for yourself does this open up?

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Groove and harmony are different things

March 18, 2026 By Chris Corrigan Featured, Flow, Music, Uncategorized No Comments

A screen cap from the video of Thibaut Garcia & Antoine Morinière playing Bach together with tremendous groove.

Brian “Ponch” Rivera writes a lot about the OODA loop, learned from his experience as a fighter pilot. His latest post dives into the OODA Loop basketball and Constraints Led Approaches to coaching in sport. I like most of what he writes about but one thing kind of sticks in my craw is his use of the word “harmony.”

I’ll quote him here:

Before we go anywhere, we need to kill a common mistake.

Most coaches and leaders in highly interdependent activities — basketball, soccer, rugby, business — think the goal is synchronization. Get everyone doing the right thing at the right time. Run the play. Execute the plan. Sync up.


That is not harmony. And Boyd was very specific about the difference.

Synchronization is rigid. A scripted play synchronizes five players into a predetermined pattern. It looks clean. It breaks down the moment the defense does something unexpected, which is every single time against a good team.

Harmony is something else entirely. Boyd described it as the “power to perceive or create interaction of apparently disconnected events or entities in a connected way.” He listed it as one of five essential ingredients for survival and growth, alongside insight, Orientation, agility, and initiative — what we now call IOHAI.¹

Think about a jazz ensemble. Miles Davis didn’t hand John Coltrane or his session players a script. He gave them a key, a tempo, a direction, and trusted each musician to interpret what they heard in real time and respond. The result wasn’t chaos. It was coherent, adaptive, and unrepeatable. That is harmony. That is a reciprocal team. That is what high-performing organizations look like when they’re actually working.

A high-performing team works the same way. Every player reads the same environment, operates from the same principles, and responds to what actually unfolds rather than executing what was planned in a locker room thirty minutes ago. The connection between players isn’t mechanical. It’s mutual understanding.

Okay…I’m not sure about that. When Ponch says that getting everyone doing the right thing at the right time is not harmony, I think he’s wrong.  That exactly what harmony is. If I play a C and you play an E and someone else plays a G we have a very nice C major triad. If we want it to sound as a chord (which creates overtones and a richness in the sound) we have to get everyone doing the right thing at the right time.  

In his work, I believe John Boyd uses the term “harmony” to point to a kind of coherence and alignment that allows different actors to act as a coherent whole. In music, especially jazz, from which Ponch draws an example, we call that groove, not harmony. 

When Miles Davis handed out music, he did in fact hand out a kind of script, with a melody line and chords which contained the harmony. The tempo and direction might be indicated on the lead sheet (but not always). Even tempo and direction are not groove. Groove is what they create together in the playing of the piece. If the band was really smoking hot that night they might play the piece fast and hop to it, or they could take some tempo off and play looser. But what they were doing in the moment was groove, not only harmony, and I think groove is what Boyd and Ponch are trying to get at.

This matters because how you KNOW what the groove is very different than how you know what harmony is.  Groove is so very embodied. You know it when you have it and you know when you don’t. Harmony is captured right there on the lead sheet. You merely need to sound two notes together to hear it. It’s actually pretty mechanical, and has very little to do with the musicians themselves.  What they bring to the work is the groove. 

The other day at a music rehearsal, after we were finished, the young daughter of a friend of mine sat down at the piano and started improvising some music. She was playing on the white keys, not paying attention to the melody, but more just practicing independent fingering. The music made very little sense.  It was random, harmonically and rhythmically, but there were patterns.  It sounded a bit like Bach, runs of eighth notes heading in different directions, but without the harmonic relationship that Bach writes.  

I was trying to have a conversation and what started bugging me was not the dissonance, but the lack of time feel. So I sat down beside her and just played a gentle pulse on a C note, quiet enough that it didn’t get in the way of her playing, but I asked her to just listen to the beat and play along with it. Immediately, her random meanderings continued, but we both started nodding along with the groove, intuitively, naturally. Her lines started becoming a little more funky.  She improvised some syncopation, threw in some triplets, and left space. Instead of a wandering set of kind-of-eighth notes, she started improvising with time as well.  Harmony wasn’t big deal. She played lots of “wrong” notes, but what we were doing was WAY more musical. It was coherent, aligned and coordinated.

So I get what Boyd and Ponch are saying, but harmony isn’t the right term for it. What they are pointing to is different and much more important than harmony in the context of dynamic decision making, because it is an ineffable, felt sense of togetherness that arises in the space of dynamic interactions between people and is perceived socially and corporeally.

The other thing that kind of sticks in my craw is that Ponch only allows comments on his substack from paid subscribers which means I have to post this here and hope he finds it with some trackback ping. I have no idea how Substack works, but remember, paywalls break hypertext.

And if you want to witness a bit of what I am talking about, check out Bach’s Goldberg Variations arranged for two guitars, performed by Thibaut Garcia & Antoine Morinière. You can hear the harmony that Bach wrote, but you have to watch and feel the groove these two fellows create together. It’s intimate, sensual, deeply responsive, kind, perceptive, generous and spacious. Bach didn’t write that.  

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Making beauty together

February 25, 2026 By Chris Corrigan Bowen, Containers, Democracy, Emergence, Featured, Flow, Music, Practice One Comment

Carmina Bowena warming up before our concert on Monday

I sing in a choir here on Bowen Island called Carmina Bowena. We focus our attention on Rennaisence European music, singing sacred music, madrigals and modern inspirations of the same. We also sing folk music and more traditional music from Italy, France, Spain and the British Isles. We are an impressively eclectic group of people, under under the leadership and joy of our director, Nicole Thomas Zyczynsky.

We like to craft an atmosphere with the music we sing. It’s already transcendent music to begin with but when we perform we want to make it less about a concert and more of an immersive experience. We usually perform in small theatres or churches with good acoustics, from a stage, to an audience.

Monday night though was the first of what I hope will be a series of contemplative experiences that we co-created with the congregation of Cates Hill Chapel here on Bowen Island. We sat in a circle in the centre of the room, which has phenomenal reverb, and around us were a couple of circles of chairs. Candles lit the room and the participants were invited to be in silence for an hour as we sang four sets of music interspersed with poems about light and dark. It was not explicitly a religious experience, but for a contemplative person like me, it was a very good way to be in Lent.

The program began with a couple of Gregorian chants and went through songs by Byrd, Palestrina, Duruffle, Rossi, Lauridsen and Gjello. There was no applause between pieces, just a transition from one to the next, as we stood and sang in candlelit darkness. My friend Kathy played a beautiful clarinet solo a set of variations on a theme by Kodlay. I played a slow air one my flute from the Irish tradition called “The Fire in the Hearth” from an album by John Skelton.

The experience was co-created. Asking the audience to hold silence throughout the hour or so, in a resonant room light by candles, created an atmosphere of deep compilation. More importantly it was an atmosphere that was held by all of us, the choir, the readers, the hosts and the “audience.” It doesn’t;t even feel right to call them an audience.

To me this is the high art of participatory container work: when people all have a role in creating something together. To paraphrase Christina Baldwin, it is not one person’s job to create a container, but a group creates a dialogic container together. And when there is some coherence in that group – perhaps some shared experience, or a shared aspiration or even a shared curiosity – the container can be one in which transcendent experiences happen, where beauty emerges, or novelty, or flow. When we get out of our own way, feeling that it is our job solely to host and create, something else becomes possible. These are communal experiences can be full of beauty, like our concert, or of intense emotional joy like I have experienced when my teams have won important matches. They can be collectively healing, as my friend Linda Tran has begun to discover in her sound bath practice. Today we were talking about the way in which a sound bath session – where she plays crystal bowls and offers gentle meditative and awareness guidance – becomes a powerful collective experience when the participants have all done it before and have set aside their anxieties and worries and deeply rest in the experience. Something else is possible.

We live in a world of performance and consumption. Being an audience member in most places assumes a detachment from the experience. The fourth wall is intact. We passively consume what is put in front of us. We forget that we are also participants. It is becoming more and more clear to me that we NEED to find places of the participatory and collective practice of beauty, even in what is traditionally thought of as as an audience-performer context. May we never lose that ability.

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Finding stable places to work in rapidly changing contexts: systems leadership and a sublime goal

September 19, 2025 By Chris Corrigan Collaboration, Complexity, Containers, Emergence, Featured, Flow, Football, Improv, Leadership, Organization 5 Comments

My friend seanna davidson sent through an invitation today to a one-day event she is holding on Toronto Island in October called Systems Leadership: seeing the forest for the trees. The one-day retreat will be held on October 19 and is associated with the incredible RSD 14 Symposium which is being held virtually and physically in Toronto this year. Go if you can.

Navigating the currents of dynamic systems at speed seems impossible now. The “flood the zone” strategy of disruption turns everything into a crisis, meaning that it is seemingly impossible to find the time to slow down and see where you are at, and who is there with you. I think the strategy of flood the zone is superficial in that those who promote it are not interested in deep seated change. They continually move the chairs around so you can find no where to sit, while meanwhile they use the pretext of chaos to impose high level constraints. But if we take a view out at different scales, we can see that fundamental patterns of power haven’t changed, and the chaos being wrought upon the world isn’t rooted. If we play at the level at which the perpetrators of this strategy are working, it feels too fast. If we get above it and watch, we see repeating patterns of power and influence at play, and the strategies we have learned as humans to deal with these may yet be useful to us who are committed to life-giving contexts. That is a propos of my post from the other day. I think the fundamental capacities of participatory leadership and dialogue are as necessary as ever. We can, and we need to, connect and exchange at speed. I think this is what seanna’s work is about, where she sees that systems leadership is an outcome of working with systems. Or, as she quotes Nora Bateson:

‘leadership does not reside in a person but in an arena that can be occupied by offerings of specific wisdom to the needs of the community. so leadership is produced collectively in the community, not the individual… leadership for this era is not a role, or set of traits; it’s a zone of inter-relational process.’

seanna and her colleague Fiona McKenzie in the post linked above, are trying to see leadership as a forest metaphor, which, like all metaphors, is both limited and useful. Specifically, they see systems leadership this way:

Our metaphor won’t hold for theoretical purists, but bear with us — it has helped us to frame the ‘when, where, who and how’ of a type of systems leadership that is dynamic, fluid, and moves far beyond the role of an individual as a systems leader. Our thinking goes that ‘systems leadership as a forest’ is:

Seasonal—leadership that is taken up at the right time, not all the time, with different approaches, roles and behaviours needed in different contexts

Self-selecting—leadership taken up and held by many, not by just one ‘leader’ (or a single tree?) — across position, authority, roles

Biodiverse—thrives in a context of a diversity of people and worldviews, ways of knowing, being and doing

Layered—taking place at multiple scales, levels, sub-systems, cultures, capacities, ways of knowing

Sometimes invisible—Often happening in-between places and below the radar without formal recognition.

Self-organising—Organised patterns of behaviour arise without ‘control’ over decisions on what gets grown where.

Inter-dependent and adaptive—Where actions influence each other through interactions, are reliant on many to sustain change, and are recalibrated from feedback.

Emergent—always transitioning from one pattern/season/state to another, which can only be seen by looking at the whole forest, not just a single tree. Transitions can include phases of breakdown and renewal.

Generative—Healthy system parts enable improved health and capacity amongst other system parts. Their interconnected nature is an amplifying feature of health and resilience in the system.

Existing—this forest has inherent value not defined by others and does not need permission to exist

I strongly resonate with that. I would even say that this has been a cornerstone of my practice over the past 25 years as well, underpinning the ways I have thought about and worked with communities and organizations as complex living systems. What I notice here is that at every level of “systems” (I think I prefer “contexts”) there is both dynamic change and longer term stability. The stability is brought by the constraint regime (as Alicia Juarerro would say). In a forest, at the level that seanna and Fiona are talking about there is enduring stability of structure and predictable dynamic processes: cadences and rhythms that, while they are dynamic, are nevertheless stable in their pattern. And there is also the work at the micro level in a forest where there is constant movement and change. Pull apart a rotting log and you see very little stability as creatures of all shapes and sizes are at work transforming the system without a larger view of what they are doing, or what they are even a part of.

I’m thinking a lot about this stuff at the moment. Today I was set to meet with a young person whose heart lies in social change, personal healing and systems transformation, and I wanted to give her a sense of possibility in her work. She wasn’t feeling well, so I’ve put this blog post together partly as a gift to her and to let the world know about seanna’s work and some of the ways people are trying to think about this moment in time in the context of history.

This is a blog post, so it’s not 100% coherent, but if you have made it this far, I’d love to hear your thoughts, and I’d like to leave you with a stunning visualization of action at the dynamic level. Last night The Montreal Roses defeated the Halifax Tides 2-0 in the Northern Super League to claim a playoff spot. Montreal’s second goal was a sublime team effort from a counter attack, ultimately scored by Noémi Paquin who steamed her way through the entire Halifax midfield, received the ball at speed from a PICTURE perfect pass from Mégane Sauvé, dribbled around one more defender and calmly passed the ball into the net while still two more Tides defenders and the keeper watched it happen. I can only imagine what Paquin felt in that moment. Time slowing down, every opportunity and affordance open to her, a simple action, a touch to the outside and suddenly the goal looming so large that she couldn’t miss. Even the commentator Signe Butler, said the goal was easy, and it clearly wasn’t. It was magical. For the defenders, the opposite. They couldn’t see the affordances Paquin was seeing. They were flummoxed by how she found the seams in their defence that appeared larger than life to her.

Acting within incredibly dynamic systems sometimes has this flow to it. That is something of the emergent outcome that seanna is talking about – a way of seeing, a way finding the underlying stability of the constraint regime that allows you to move at another scale. I think what we know about flow states is that they reveal a kind of stability, sometimes known as “slowing down time” that allows for action on a different level than what other agents see around you.

It’s a tricky time. We need more Noémi Paquin-style action, and perhaps we always did.

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Tackling Giant Steps

May 29, 2025 By Chris Corrigan Facilitation, Featured, Flow, Improv, Music 3 Comments

Not every facilitation gig goes great. The kind of work I do – and this is probably true of many of you – is usually novel. It is new to the organization I’m working with and often times new to me too, because every organization’s context is different and we design to what is needed.

This means that I often find myself involved in processes that folks have never done before. Moreoften than not, if we’ve done our preparation work well and folks are well invited to the gathering, the process is fun, engaging, powerful and results in good outcomes.

And sometimes it doesn’t. Sometimes we get lost, don’t know where to start, flounder and find ourselves surprised. And at times like that I think about Tommy Flanagan.

Tommy Flanagan was one of the best jazz pianists who ever lived. His discography includes 40 solo recordings and some of the seminal jazz recordings of the 20th century: Sonny Rollins’ Saxophone Colossus, Kenny Burrell’s Swingin’, and numerous albums with Ella Fitzgerald, Coleman Hawkins, Milt Jackson, and JJ Johnson among others. Famously he appeared on John Coltrane’s 1959 album Giant Steps.

Now Giant Steps featured as its title track a now-classic tune of the same name which is diabolical in nature. Coltrane plays it very fast, and the chord progression is something that no one had ever seen before – embodying Coltrane’s radical approach to jazz harmony – with hardly any time to think between changes.

When Coltrane introduced the song to Flanagan a couple weeks before the recording session, he played it slowly so Tommy could get a sense of how the changes worked, and this left Flanagan with the impression that the tune was a ballad. Ballads are played at 60 beats per minute. When the band stepped into the studio to make the recording, Coltrane played it at nearly 300 beats per minute. Flanagan wasn’t prepared.

On the recording, you can hear Coltrane’s soaring solo of 11 choruses, before he drops and lets Flanagan comes in. Tommy Flanagan has five choruses to solo on and he starts scared and gets progressively more and more lost until by the fifth chorus he is just comping out some chords and probably thanking his stars he survived it.

His solo is perhaps the most famous example of a top jazz musician who tried something and failed. Lost, bewildered, out of ideas, but gamely getting through it.

Some days are like that. Folks loving using jazz as an example of what happens when teams of people really cook together, but they never seem to bring up Tommy Flanagan’s solo. Facilitation is like that sometimes too. You know you’re stuff, you are good at it, and then you find yourself in a context where things are not what you expected and you dry. It doesn’t mean you’re not good at your job. But, Coltrane’s recording of Giant Steps is perhaps the most relatable moment I can describe listening to jazz masters play.

Flanagan, by the way, had more than the last word on this piece of music. After Coltrane died he recorded a lovely version of it on a tribute album that has a solo that rivals Coltrane’s and is maybe even better for its lucidity and cohesiveness and swing.

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