Free. Jazz. (or, Sidney & her man Clovis)

May I suggest that you set aside an hour before clicking through to listen to Jason Moran's amazing (and free!) "Live: Time On The Quilts Of Gee's Bend" Suite?

From the NPR website:

Jason Moran, composer and piano
Alicia Hall Moran, vocals
Bill Frisell, guitar
Tarus Mateen, bass
Nasheet Waits, drums

Collaboration, Trust, and Improvisation

Readers of NeuroCooking know that I've been studying Improv for several years. (You can read some of my previous posts about Improv here, here, and here.) Recently, I've been working with Jay Rhoderick, and exploring ways in which we can collaborate, melding my expertise in communication and story with Jay's Improv brilliance. Last month, Jay and I delivered the opening plenary of the 2011 New Jersey Non-Profit Conference, leading close to 300 professionals in an exciting and interactive session exploring the traits necessary to successful collaboration, using some Improv techniques. The Foundation News Digest blog, PhilanTopic, just published an excerpt from our plenary, Productive Partnerships: Building Trust and Creating Collaborations.

To read the excerpt, 3 Ways Your T-Shape Helps You Collaborate, click here.

the opposite of story

The other evening, Tom asked me, “What is the opposite of narrative?”

Tom was recalling a radio interview with a Republican communications strategist about the 2008 Presidential election. The strategist said something like, “We don’t do that whole Obama narrative thing, we do x.” Tom could not recall the strategist's definition of x.

The question got me wondering, What is the opposite of story?

I posted this query to a group of colleagues working in applied narrative, and a wonderful conversation is taking place. One response, in particular, resonates:

“For me, it's "opinion". As opinions don't tell anything, that is to say the listener has no existence for the guy who expresses an opinion.” – Stephane Dangel (in French; for an interview in English, click here)

This past Sunday evening, I grew frustrated with the Storytelling class I am currently taking. Now, it was only the second class, and the focus so far has been on finding what our teacher calls the Main Event in each story that is shared. Great things are happening in the class, and of course, strong bonds are forming between my classmates as we intimately share and “workshop” our personal stories each week. But the listener has been absent in our discussions. There’s been no discussion of exploring the emotions one may be eliciting in a listener by sharing a particular story, or if you have a desired emotion or action you would like to elicit. It is obvious that many of my classmates are sharing stories for reasons other than simply entertaining an audience.

Nor has there been discussion that the act of sharing a story is akin to giving a gift. Even if one expects nothing in return (and aren’t those the best gifts to receive?), one must think about the reactions that may be generated by the sharing of the story.

In Improv, there is a co-creation with one’s Improv partners, and with the audience. Every moment is completely unexpected and will never be replicated. Great professional storytellers know that the audience is crucial to both the delivery and intake of a story.

Perhaps my background in persuasive communication has me too focused on the intent of the person sharing the story, the listener, and how and where the sharer taps into the listener’s memories and stored experiences. I want to get better at the technical aspects of sharing a story. But for now, talking about storytelling without talking about the importance of the listener leaves me empty.

There are No Superstars of Bowling

I had the pleasure of seeing and hearing marketing guru Seth Godin in person yesterday. Seth was introduced by a friend as an "elevator: he elevates everything around him."

His talk was timed to promote the release of his new book, Linchpin. He began by admitting that of everything he was going to say, "the people in the room are the ones who need to hear it least. So it is my goal that you will take what you hear and put it in your own words and then share it with 10 people."

When asked, few, if any of the audience members admitted to thinking of themselves as a genius. Seth complained that "Albert Einstein ruined it for the rest of us" and then proceeded to explain that "what a genius does is solve a problem in a way that no one ever solved it before."

The talk, loosely, offered this equation:
Genius + Fearlessness + Internet + Passion + Generosity = Success

Seth was inspiring, always interesting, and enthusiastic. This was the first time he was delivering this talk, and the connections between the concepts were less than smooth. I offer many of his pithy statements below.

Seth defines art as "when a human being, working without a manual, connects with another human being and changes them." In an era of cheap mass production, both human initiative and connection are essential to success. "If you say to your boss, 'What should I do next?', at some point, she will say to you, "Someone else can do it cheaper.'"

He cautioned not "to engage in any activity where the best you can do is known." Such as bowling, where the best one can do is 300. "That's why there are no bowling superstars."

Seth suggested that we grade ourselves when starting a project, and to "give yourself a 'D'. If you can get over the fact that you've gotten a D, then you can go on and make art. 'I'm going to paint something that everyone hates.' - Now, you can paint!"

"No one pays attention to your ads anymore. They pay attention to how they are treated when they show up."

"Gift giving is essential to being an artist." For example, Prufrock Coffee in London, offers customers what seems like a disloyalty card: if you get the card stamped at 10 of its competitors, but then choose to return, Prufrock will give you a free cup of coffee!

"The definition of anxiety is experiencing failure in advance." [This reminded me of Mark Epstein's definition of anxiety as "attempting to make the future known."]

Seth talked about fear of failure, and the false comfort that comes from never taking risks or fully exploring one's passion. He cautioned against "Pulitzer Prizefighting: wanting to compete in an arena where there is a known prize." In other words, "Are you doing what you are doing because there's an easy way to keep score?"

We closed with two handy questions that double as mantras - and connect to the title of his book [a linchpin "has the highest usefulness to weight ratio in a car"] and -- of course! -- to Improv:

1. "What is the point of having this interaction if I can't make it better?"
2. "You are taking a seat: is that seat taken to the best of your ability?"

Comedy as the Failure of Drama

New year, new Improv class! Scott Eckert, my new Improv instructor, explains that there are essentially 3 types of Improv scenes:

1. Pirates on the Moon - essentially, wacky happenings in unexpected places
2. 2 People Talking - and talking, and talking, and talking...
3. Comedy as the Failure of Drama

The first two are ultimately unsustainable. When comedic moments infuse true drama, however, hilarity ensues.

It's funny, because it's real. Ain't that the way to be approaching life?

Scott also explained that long-form Improv is focused on finding patterns and connections among scenes. That "something fundamentally changes when people are together making those connections."

This reminded me of story sharing: when your story connects to my story, which connects to our colleague's story, which connects to the larger organizational narrative, deep, memorable, and sustainable understanding results. Meaning is made, complexity is conquered, and connections are cemented.

Improv and the Heart of Communication

Another Improv class, another round of posts on Improv and Communications! And this 10-week course is focused on emotion, perfectly aligning with my focus on the Heart of Heart, Head & Hand(TM) - how to engage your listener.

Pat Shay, my new and fabulous teacher, said, "If you show you care, your audience will be fully invested in what you are saying."

Placing your information in a context of meaning is crucial to being heard, understood, and having your listener engage with and take action based on your comments. Too often, we fail to show - to show up, to show emotion, to show passion and desire. For my clients who are vested in making change happen, showing passion is crucial to successfully moving listeners to action. In a professional setting, emotion does not need to translate as emotional. Emotion, in a professional setting, means delivering your information, and your request for change, within a meaningful context.

In regard to two-person scenes, Pat instructed, "If we focus on how we feel, the space between will fill up."

Again, focusing on the Heart helps to build a bridge between what you are saying and what your listener is hearing. Without that bridge, your information risks falling into a chasm. Without an emotional context, your information risks going unheard or being misunderstood by your listener, or your audience. Emotion is the connective glue between your idea and your listener's understanding and acceptance of the idea.

And, "The way you support your partner is by giving them something concrete."

Stories are concrete and tangible. Stories showcase emotion, and emotion is universal. Communication can be a gift, handing your listener [and your audience] something they understand, to which they can relate, and in which they can find meaning. Show respect - for both your audience and your idea - by delivering something solid.

Pat also said, "When we are being really honest, people see us as highly creative."

Lead with your heart

I took a wonderful Improv workshop today, Improvising Emotionally, with Rebekka Johnson. It provided another tool to assist me in relinquishing control: Lead not with your head, but with your heart.

Much of what I learned is applicable when using story to connect with your listeners:

• The details are in the emotion.
• Don't expand plot, but raise stakes by heightening emotion.
• We are here to see these characters have an important moment in their lives.

Show, don't tell.

Rebekka also pointed out that, when Improvising, "the thing you want to do most is always in the room." That reminds me of the Buddhist saying, "This is the only moment in which you can find the answers in life."

Just play!

Baris Yuksel, one of my brilliant Improv classmates, shared his Improv-induced epiphany: "It's not about me; it's about getting the work done."

He was talking about writing a document that he had to share with a large group of colleagues, who were sure to offer ample edits, additions, and suggestions for improvement. Baris thought about waiting a couple of days after completing the draft to perfect it prior to sending it out. Then he realized, No, just send it; in two days, the project will be done.

This is leadership. Act at 80%; the last 20% doesn't make much difference - it is, essentially, time spent striving for perfection. Why stress about achieving perfection as a soloist when you are truly engaged in group process? Respect your team's creativity and contributions, and contribute with generosity and a true respect for pluralism: the openness to be changed by anothers' input. Allow every member of the team to own the project. Write the story together.

convergence of story, Buddhism, and Improv

I am, right now, deep in thought developing a framework of persuasive messages for a large national non profit; preparing a presentation on the use of narrative intelligence and anecdote for sharing knowledge; reviewing notes from a lecture series I recently attended on Buddhism, therapy, and the ordinary; and in the middle of a difficult course of Improv. At last night's Improv class, all three paths of thoughts converged upon and reinforced each other. The lessons and their applications:

* The importance of sharing knowledge. We were taught that when your scene partner offers you the information required to frame a story - who, what, where, and emotional context - your partner "is giving you the gift of who you are."
What a delightful analogy to the importance of sharing a personal reflection early in conversation! This is especially important to presenters: when you tell the audience why you are there and why you care about your issue, they can truly reflect on why they are present and listening.

* "It's not about creativity; it's about connectivity."
This is my new mantra for overcoming resistance to the important idea of sharing anecdote and story for enabling trust and personal connection. Don't hesitate to share your story because you don't think it meets Disney or HBO standards. You don't have to be a creative genius; you can enjoy being authentic and sharing your passion.

* "You make it easy on someone by giving them clear information."
Meaning, well, everything, but especially: if you want to help someone take the next step, be clear and benevolently strategic in the information you share.

* "Embrace the ordinariness of your plight in each scene." And, "You don't want to solve your problems, you want to have your problems."
Mark Epstein, a psychotherapist who integrates Buddhism into his practice (and has written several books), spoke about rejecting the notion of the ordinary as nothing is happening. Only then can one fully live in the present. Mark talked about "The adventure of enduring possibility: if you are in the moment, you do not know what the next moment will be." The idea of giving up control is what I am finding so appealing (and frankly, so difficult) about Improv. My Improv teacher also instructed us to:

* "Give up control and play!"
Mark defined anxiety as "attempting to make the future known." He stressed, "Become that in the moment," and summarized the basic teaching of the Buddha as, "we take ourselves too seriously."