It’s been a fair few interesting weeks. A heavy work schedule with some important in person facilitations, combined with steady online work and teaching and an extended family health emergency is stretching our resources around here. So here’s a little news.
Social media rethink
On the social media front I’m still active on Twitter, and just waiting to see what happens there. But I have also opened a Mastodon account and I like it better. Twitter was created in an era where the speed and interaction and brevity of text messaging met blogging. Mastodon feels much more like blogging in that we all have accounts that hosted in different places and you can follow each other. it’s like Twitter meets blogging plus an RSS feed. Consider your friends’ Mastodon accounts as mini blogs rather than twitter accounts. At its best, Twitter is great for banter and conversation and has a feel of a transparent text conversation. But it’s under the control of a single unstable genius at the moment and demonstrating why we should not trust critical infrastructure to single individuals or companies. Musk is messing with Twitter as if someone got hold of the power grid and decided to create a whole new type of power generation by firing all the hydro dam technicians and trying to find nuclear scientists to keep the old system going and also get a new one up and running right away.
Twitter was robust. Robust things fail catastrophically. Musk is in danger of taking the compancecy dive into chaos from which return is neight guaranteed nor cheap.
So just stay here by subscribing to this blog’s RSS feed or subscribing by email over there on the right sidebar, or add me at Mastodon @chriscorrigan@mastdn.ca. I’m still on Facebook and LinkedIn but I don’t interact much in those places.
What I’m doing besides work
I might start sharing some different content here, and probably will do so as well at Mastodon too, so in addition to posts here on complexity and facilitation and working with groups, you might start seeing some stuff relating to other passions I am interested in. That includes building Canada’s first ever supporter owned semi-pro soccer team, TSS Rovers, who won a men’s championship in our fourth season and are on our way to play pro-teams in Canada’s national championship for the Voyageur’s Cup. If you are in Canada you can buy a share here and be a part of history. Our teams play in the third level of men’s soccer in Canada and the highest level of women’s soccer.
You may know I am a long time amateur musician and I sing and play liturgical music, folks songs, Irish music and popular music and I have started expanding my guitar chops by studying and learning jazz guitar over the past few years. That has married two passions – jazz and guitar – that I have kept separate for most of my life because the thought of getting them together was overwhelming. But I’m having the time of my life playing this music. Enjoy what I am enjoying. Here’s a Canadian guitarist I am studying, Reg Schwager and legendary bassist Don Thompson playing Everything Happens To Me.
So those are a couple of things that might seem to pop up here out of the blue.
Some cool stuff to share
Finally, I continue to read and earn about my professional craft and lately I have come across some hight quality recourses that I HAVE to share with you all:
- A snapshot of REOS’s scenario planning methodology recently used in Australia and Aotearoa to address future wildfire issues. With thanks to my mate Geoff Brown, a member of that team. It’s so good I’ve added it to the Facilitation Resources page.
- A toolkit for starting up communities of practice from my friend Nancy White, who is just the best there is at this stuff.
- A reader-focussed report assessment tool from Fresh Spectrum that will help you keep your audience in mind so that the reports you are writing get used. This is a great harvesting tool.
- A nice six step process for strategic planning from my Aussie Art of Hosting mates at the Jeder Institute.
- A for you theory-heads, a paper by Albert Linderman on Sense-making Methodologies and Ethnography published at the Spryng.io website. I’ve started in on some of Dervin’s work on this. It’s heavy going in a good way.
So there you go. What have you been up to?
This quote from Richard Rohr, is one of the core principles of the Center for Action and Contemplation.
Humans tend to live themselves into new ways of thinking more than think themselves into new ways of living.
It is also good complexity praxis, good leadership practice and good pedagogy.
I was on a coaching call this morning where this came up too, listening to a team I am working with describe the trap we often find ourselves in as consultants, tempted to provide the new things a group should be doing, often in the form of recommendations or lists of actions and projects to be managed. The idea is that we often try to get folks to learn and be different and then generate projects or plans that they can execute.
And that is not a good way to do it in emergent, complex and dynamic environments. If I want to learn to think differently I need to put myself in situations where the constraints afford me different possibilities to act differently. For example, I am currently learning to play jazz and I am currently without a teacher meaning that I am relying on lots of online resources to help guide me. The danger with this is that I can just learn how to play licks and lines and chord progressions or scale exercises based on what someone else is doing. This is not really making music, but rather making sounds. If I’m not careful all I will learn to do is ape teachers, master exercises or imitate recordings and that’s not why I want to learn jazz. I want to learn jazz to be able to express myself differently on guitar and for a myriad of other reasons that I play music.
Like any language, jazz has a grammar and a vocabulary. The grammar is the harmonic and melodic theory that underpins the style of music, some of which is shared with other musical forms and some of which is uniquely “jazz” in the same way that languages have different dialects which may even be mutually unintelligible amongst speakers of the same language. The vocabulary is made up of phrases and lines that one learns in context, much as you might hear a familiar word or phrase being spoken in a language you are learning. Using these phrases and lines, based in the common rules of grammar (or deliberately breaking them) requires, almost literally, speaking them out.
And the remarkable thing is that when I play this new material either against a backing track or, ideally, with another person, I learn to THINK differently about the music I am making. There is no amount of study of written notes and harmonic theory that will make me a jazz musician. Playing jazz is a way of thinking about music, expression, collaboration, culture, improvisation, order, tension, control and creativity. It must be lived into.
Or as I wrote down during my coaching call this morning, we grow through what we go through.
Teaching people to think differently is impossible without providing the affordances first for us to act differently.
That statement will either mean something to you, or it will mean nothing to you. It might mean nothing to you if washy space-y pretentious prog rock wasn’t your bag in the 1980s. But it was mine.
I have always had an eclectic taste in music and back in the early 1980s when I was 15 my friend Aiden, who was a couple of years older than me got me into all the British prog rock bands like Yes and Genesis and Pink Floyd and Emerson Lake and Palmer who had all done their best work in the previous decade. As a devotee of Queen, I was a bit suspicious of synthesizers, but I have also always had a penchant for drones and atmospheric washes and mystical poetry and stuff like that. Bands like Rush were doing all that, even if Queen, until 1981 anyway, was explicitly rejecting it.
Anyway, my love of Jon Anderson’s voice and Vangelis’ notoriety for the Chariots of Fire and Bladerunner soundtracks led me to an album that for a couple of years was a staple in my Walkman. “Private Collection” was bliss to listen to through the headphones. The following year, they released “The Best of Jon and Vangelis” and that was the extent of their discography that I owned on cassette.
Here is “Horizon” from from “Private Collection” in all of its 23 minute long glory.
Headphones on. Bliss out.
There are two musical offerings on Bowen Island tonight. At 7pm, The Ladies Madrigal Singers (“The Mads”) will be singing a program of choral arrangements of Irish songs and other pieces for spring including Deer Song, from the oratorio “Considering Matthew Shepard.” I’ll be joining the choir on Irish flute tonight, the first time I have played feadóg mhór with an ensemble in performance for literally years. The event is at Cates Hill Chapel, and tickets are $15 at the door.
The Mads are a Bowen Institution, a women’s ensemble that is the beloved project of my friend Lynn Williams who has led the group since she arrived on Bowen 20 or so years ago.
Also tonight from 6-9, the Bowen Island Pub features its monthly jazz night, with guitarists John Stiver and Steve Fisk, Steve Smith on bass and Canadian jazz legend Buff Allen on drums. Expect a set of standards and blues rendered by unbelievable talents. As an aspiring jazz guitarist I simply dream of being able to play at this level of mastery. I’ll probably sneak in after the Mads concert to catch their last set.
These kinds of evenings are really important in a little community like ours. These musicians are community members, friends, neighbours, people who might do some work for you or who you meet out and about. On an island like ours, where the last ferry comes home from the city at 10pm, if you want entertainment, you make it yourself. We are blessed to have incredible musicians here (we have three Juno winners living here who regularly perform). And we are blessed that they lend their talents to creating moments of togetherness that are essential in a world that relates increasingly through bytes, bits and outrage.
Some unbelievable gift of nature and spirit and technical mastery has conspired to provide the Vahdat sisters – Marjan and Mahsa – with voices that exude impeccable vocal control, deep passionate expression, and unending soulfulness. Marjan Vahdat’s new album, “Our Garden Is Alone” is outstanding and topped World Music Central’s Transworld Music Chart for May 2022. That is a list which never fails to deliver amazing music, by the way.
I must have first heard of the Vahdat sisters about six or seven years ago when I stumbled on a recording that Mahsa Vahdat made with Mighty Sam McClain, called “A Deeper Tone of Longing” which is a collection of love songs that cross continents. I think that seemingly impossible collaboration really needs to be SEEN, and so here they are in a short concert from 2010. The sisters write and sing about love with the imagery of the natural world, of gardens and oceans and skies. They are living, breathing vessels of the kind of language and spirit that infused Rumi and Hafiz’s poetry.
The sisters are world famous outside their own country, as the Iranian government has banned the public performances of women’s music since 1979. As a result the perform in Europe and the USA, exploring sounds and collaborations with artists and activists from those places. Spend some of your day immersed in this music.