Improvisation, Chaos & Organisations
The Mastering Chaos approach employs music improvisation methodology as a very effective lens to examine team building issues and can be especially useful when things might be getting a little problematic.
Group music free improvisation might seem a complete mystery to many as to how anything good can emerge from the apparent chaos. But, perhaps somewhat surprisingly, it does. Below the surface material emerges into the foreground. Other musicians respond and gravitate towards the idea to form a dialogue. There are ways which members of the group respond which will not be obvious to the unpractised ear. However what goes on is transferrable beyond the musical boundaries. Knowing what happens in the musical improvisation can assist your team in working more creatively and effectively and show you ways of being much more flexible with your own leadership skills.
To many reading this for the first time this may seem astonishing.
It is often said that improvisation in the business world is something we do only when things go wrong, when things aren't working out, or maybe when we need to ‘chill out’ on a company incentive. I would like to examine the possibility that in the serious matter of ‘doing business’ we improvise more than we know or would care to admit. More than this, that when we are planning, organising and processing, that improvising (or making it up as we go along) is not just a separate thing, but is thoroughly laced within the business activity. My contention therefore is that, as organising entities, our function in business may be significantly more improvisational than is generally recognised and rather less deliberate than is often portrayed. I hope to show that business development and business leadership in particular have much to gain from an understanding of the art of improvisation. Everyday life can seem to be constructed of separate boxes. We often feel it necessary to hold our private world distinct from our public persona. Despite our intention to acquire work-life balance we still find it hard to integrate our working life with our private life. Equally there is a certain something about present-day attitudes to Music and the Arts that makes it very easy for many people to see artistic expression as somehow completely separate from so-called ‘normal’ life. The Sciences seem to carry the modern mind-set of objectivity, reason and pragmatism whilst the Arts hold subjectivity, expression and emotion. “Efficiency, cost-benefit analysis and functionalism [have] become the dominant values of [our] culture…” (Critical Modernism, Charles Jencks, 2007) It wasn’t always the case. Early society’s concept of work (before the Agricultural & Industrial Revolutions) was experienced as something directly connected to the process of living. You lived and worked on the land. If you manufactured objects they were created on a small-scale and local basis. The Art and the Work were one. Separating them permitted the business concept of standardisation and the Fordian manufacturing process, which enabled us to have the material living standards that we enjoy today. This act of ‘splitting’ and specialising allowed commercialism to part company from hard to quantify human values such as the necessity to be socially responsible. Business efficiency and profit come before softer, less measurable values. In business terms, I often hear people talking rather ebulliently of the need ‘to get it right first time’, ‘for competitive efficiency’. In unguarded moments the captains of industry can be heard to say ‘no-one makes money by being nice’ or ‘the only thing I care about is profit’. The mechanistic (Newtonian) approach to doing business is still very much alive and thriving. One could be forgiven for thinking that in business only those with ‘a hard edge’ will succeed. Business consultants talk of business processes and the need to drive the business by these vehicles. Within this world, one could easily assume that this ‘hard edge’ is what predominates. If we only care about profit is that what really ensures success? Our business giants know, without openly admitting it that whilst profit is a key element of doing business that its acquisition comes from, amongst other things, good customer relationships. Despite the fact Customer Relationship Management is very much the domain of human interaction, it has not stopped the creation of powerful business processes and global, networked software packages which attempt to mechanise even these interactions. But in reality do people ‘always follow the process’? In the spaces in between the targets and the goals, between the KPIs and the activity planning isn’t there something else taking place? It’s troubling because if asked, we might often find ourselves having to justify our time as if to make it seem that we are doing as expected. Even those at the top of the pile, the MDs and CEOs still find themselves having to play this game. But could we just be ‘making it up as we go along’? If we are, then we’re hardly likely to want to admit it and if it’s true then it starts to look remarkably as if we’re improvising; in other words, just feeling our way. Could it be that in order for the business community to operate efficiently in today’s environment it needs to inject an element of improvisational randomness more familiar with jazz musicians and music therapists? Examine any business and its marketplace. Most businesses in the early decades of the twenty-first century operate in highly competitive environments. Businesses need to maintain their leading edge and be able to consistently offer new ideas, the latest products, and the best and most efficient service. To do this they need the latest technology, the implementation of best business processes, to aspire to the best performance and orchestrate the best thinking and creativity to go forwards responsively into the future. The pressure to create and perform is immense. But the ‘get it right’ mentality tends to squeeze out error even though allowing error is an important element of fostering the process of creativity. The process of businesses planning doesn’t easily lend itself to coping with disaster when the plan doesn't work out. It is too easy in this environment to create a culture of blame and the power games that go with it. Things do go wrong. Employees find themselves on the defensive. This defensiveness in its turn militates against individual and team creativity. Implementing a truly creative environment is being hampered by old thinking and out-of-date attitudes. In business there is a need for a new approach. Jazz groups and other forms of improvising groups seem to naturally 'follow their muse', feeling their way. In many ways music of this type is a kind of in-the-moment problem-solver. If looked at differently, business processes might be seen as a much more random, improvised and perhaps even playful. Formal meetings do take place but so do coffee breaks. Big decisions are often made at the coffee machine. Other serendipitous events happen too. Agreement is reached and goals are achieved but not necessarily by the expected route. What would happen if we could actually stop pretending we’re so certain and do a bit more of what some musicians do? How would it be if we purposefully adopted an improvising mindset? This would mean that we could turn the current organisational approach on its head. It would mean that improvising is something we do most of the time in some way and not just when the building’s on fire.