Join the compassion revolution
Leaders of people including ensemble directors, theater directors, artistic directors, teachers, section leaders, keyboardists, coaches, managers, and anyone whose actions directly impact the health and well being of other people, join The Compassion Revolution! New research in neuroscience, voice science, and body science continues to show the beneficial impacts of compassion on individuals performing complex, repetitive tasks. Conversely, the causal links between judgment and negative experiences and performance continue to be shown. Traditions that have developed over centuries have encouraged leaders to act in ways that promote judgment as the primary tool of engagement between leader and participant. More recently, kindness has entered the leadership world and been promoted as an important element, but judgment still lurks behind the veneer of kindness too often. Compassion as a leadership practice promotes kindness in addition other tools that elevate and engage participants in the creative act of inspiring action, and seeks to limit or eliminate judgment as a tool of communication.
Underground Ictus is dedicated to promoting a philosophical understanding of compassion in leadership models, and fostering direct actions that will allow this philosophy to shape and guide the practice of leaders and participants alike.
Underground Ictus is dedicated to promoting a philosophical understanding of compassion in leadership models, and fostering direct actions that will allow this philosophy to shape and guide the practice of leaders and participants alike.
The Challenge of Leadership
Traditionally, ensemble leaders of all stripes have been asked to execute an impossible number of tasks. At any given moment, a leader might feel the pressure to:
Traditionally, ensemble leaders of all stripes have been asked to execute an impossible number of tasks. At any given moment, a leader might feel the pressure to:
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Understand every aspect of the artistic endeavor
Respond to everyone's emotional needs Have insight into each person's production abilities Understand how each person's instrument works Know everyone's capacity better than they do Believe in everyone in the room Reveal clairvoyance regarding audience response Make the plan seem organic and natural/unplanned Motivate recruitment, fund raising, and future security Reveal the art through their bodies in time Have the space and time to be present and calm Have a deft understanding of pitch (music) Deeply understand variations in stylistic requirements Find joy in every moment (it is art, after all) |
Enforce discipline among all people in the room
Be precisely aware of the clock Know how to speak eloquently about life Have a poetic relationship with the art Reflect on the historical context of the art Have a physical connection with the art Demonstrate organizational capacity and efficiency Motivate engagement and ongoing interest Be cognizant of financial needs of each effort Avoid offending anyone Know when anyone makes a mistake Call out everyone who makes a mistake Know how to help others communicate stylistically Help others find enjoyment |
Any one of these elements presents enough challenge to occupy an individual in their own individual pursuits. Further, the conscious mind is ill equipped to deal with more than one thought at a time, which means that ensemble leaders are often saddled with the emotionally-challenging process of task switching. Consider that task switching between spreadsheets, social media, conversations, and body awareness (something almost everyone in the Western world has done) can quickly frustrate. Now consider the above tasks, and how quickly a leader can lose their ability to focus, let alone function. Given these challenges, a general lack of empathy for leaders (from themselves, their colleagues, and participants), and a belief that an individual should have the capacity to execute all of the above in a given moment, it is easy to understand why judgment has become such a valued tool in traditional leadership models.
Judgment has a sharpening, focusing capacity. To hear that something is "right" or "wrong" clears away confusion by eliminating all other possibilities. There are two options in a judgment, and the recipient is encouraged to choose the one that the leader articulates as "right". If they are unable to do so, the leader can reiterate their failure and request that the one "right" answer be fulfilled until the time at which they feel satisfied or give up. Judgment can be motivational. It can help people feel engaged and sure. Judgment can give people clarity of purpose and a sense of meaning. However, meaning, purpose, clarity, and motivation built on judgment are as two-dimensional as the judgment itself. For all of its strength, judgment lacks flexibility. Judgment confines, reduces, and constricts creativity by convincing people that there are no other options.
When leaders and participants learn to communicate in judgment-free language, leaders find that the tasks traditionally expected of them become more manageable. They realize that they don't actually have to accomplish all of the above tasks, because everyone in the creative space contributes to the completion of them. All of the above need to be addressed for creative endeavors to thrive, but they are not the isolated purview of the one who spends the most time in preparation. By contrast, when leaders spend their energy creating the spaces in which others can explore, create, refine, and focus their artistic energies, the burdens of creativity become shared more equally, and the leader finds that they are free to focus on their own artistic needs. That a leader has the space to feel into their artistic needs is a concept so typically foreign to the artistic leadership process that it likely seems laughable to many. Yet, how is a group supposed to create if the leader is consumed with goals that are contrary to creativity?
Judgment has a sharpening, focusing capacity. To hear that something is "right" or "wrong" clears away confusion by eliminating all other possibilities. There are two options in a judgment, and the recipient is encouraged to choose the one that the leader articulates as "right". If they are unable to do so, the leader can reiterate their failure and request that the one "right" answer be fulfilled until the time at which they feel satisfied or give up. Judgment can be motivational. It can help people feel engaged and sure. Judgment can give people clarity of purpose and a sense of meaning. However, meaning, purpose, clarity, and motivation built on judgment are as two-dimensional as the judgment itself. For all of its strength, judgment lacks flexibility. Judgment confines, reduces, and constricts creativity by convincing people that there are no other options.
When leaders and participants learn to communicate in judgment-free language, leaders find that the tasks traditionally expected of them become more manageable. They realize that they don't actually have to accomplish all of the above tasks, because everyone in the creative space contributes to the completion of them. All of the above need to be addressed for creative endeavors to thrive, but they are not the isolated purview of the one who spends the most time in preparation. By contrast, when leaders spend their energy creating the spaces in which others can explore, create, refine, and focus their artistic energies, the burdens of creativity become shared more equally, and the leader finds that they are free to focus on their own artistic needs. That a leader has the space to feel into their artistic needs is a concept so typically foreign to the artistic leadership process that it likely seems laughable to many. Yet, how is a group supposed to create if the leader is consumed with goals that are contrary to creativity?
The dark side of judgment presents even graver challenges. [van der kolk quotes]. In artistic endeavors, people have to open themselves emotionally to the activity. They are often asked and even harassed to do so, but even beyond the conscious choice, communal art making releases endorphins that calm and open the body and mind to influence (quote). This means that the language used by leaders and participants becomes more influential, and can craft the ways in which people learn to value themselves at the deepest levels. If a person is yelled at when they are open and vulnerable to emotion, they feel it more deeply and carry it with them longer. Even when a person is told that they are wrong in the most simple ways, or asked to repeat their artistic expression in a way that they don't feel in control of, they learn to shut themselves off from creativity even as they are drawn to express themselves. This is a distinct form of trauma that stays with creative artists, coloring and shaping their capacity to open themselves to the practice of creativity and to others. [quote] Artistic leaders, and the ways in which they create the spaces in which others will explore their creativity, has direct and powerful impact on each individual and their lives. That is a steep responsibility, far more pronounced than whether someone is singing a particular note at a particular time or has steps on the chosen mark in a predetermined way. As such, the chief aim of any artistic leader is to preserve and protect the potential for others to explore themselves artistically, and to promote positive means through which people can find accuracy, technical prowess, emotional engagement, and presentational influence.
Simple Check Ins
Here are a few ways to notice the judgment in your own life and work, the impact of those judgments on your psyche, and ways in which you can begin to change the power of judgment in your personal experience.
1) Reflect on the nature of education in the vast majority of the world and over time. Education from school to home and play is built on judgment language. Therefore, no one is immune from the influence of judgment in their lives. Further, judgment is a way to relate to others that we learn to bring into relationship with ourselves.
To help with the reflection, choose a few simple tasks that you do regularly in your life. Prior to starting them, ask yourself to notice whenever a judgmental thought enters your mind. Be open to hearing judgment in all of its forms from outright belittlement of you or others to simple "that was wrong" statements like, "you didn't get that clean enough" or "I never get that right, I'm just not good at it." Each time you notice yourself saying a judgmental thought to yourself, restate the thought verbally (if possible) in a new way that is free from judgment like "I still feel grease on the plate, I'll wash it some more" or "that task still presents a challenge to me." Set aside several short times a day for this kind of reflection, and be aware of when you begin to replace judgment thoughts without having to premeditate the replacement.
2) Do a free write that lasts fewer than 10 minutes. Set a timer for 2 minute intervals and reflect on the following questions in a free writing (don't stop) capacity: a) what does judgment mean to me? b) when I am in a rehearsal environment with others, how free do I feel to express myself? c) How often do I get frustrated with others in rehearsals? d) when I rehearse by myself, how do I find motivation and what does it feel like? e) what does judgment mean to others? Once you're finished writing, go back and circle three statements that stand out to you from each question and rewrite them on a summary page and consider them as a whole.
3) The next time you are a participant in an artistic experience where you are not the leader, keep a running tally of the number of times you hear anyone say anything judgmental. This can range from overt attacks on someone's person (which are typically more rare, but still possible) to small judgments like "that's the wrong note" or even words like "great", "you're amazing", "yes", and "no". Remember that any judgment opens the door for all judgment. Positive affirmation has a place in the creative process, but it still distracts people from the task.
4) Video yourself leading a rehearsal and watch 5-10 minutes of it. Script it out, that is, write down everything that you and others say and in the moments that you aren't talking, write a description of what you notice yourself doing physically. Notice the kinds of things you say and categorize them as: a) judgment-based (this includes "great" and "yes" as well as "awful" and "no") b) target practice focused (focusing on the task, assessment, repetition, and reiterating/reshaping the task), c) anything other than these two as off-focus.
5) Play the ball with a friend(s)...note that this game can also be played solo, but is more fun with others.
This game works with a deck of cards, a wadded up piece of paper, a quarter, a ball, etc., basically, anything that you can use as a projectile to launch toward the recipient and land in a hoop.
One person create a hoop or landing area with their hands/arms.
The other person stand a far enough distance away that they are unlikely to successfully land the projectile in the hoop 100% of the time.
The projectile person begin to attempt to get the projectile in the hoop.
The hoop person respond to each attempt in the following manner:
a) for the first 2-3 minutes, tell the tossing individual what they are doing wrong (e.g. too soft, too hard, too high, too low)
b) for the next 2-3 minutes, respond with a judgment word only (e.g. "great!" if they make it and "no good" if they don't)
c) for the next 2-3 minutes, ask them to notice something about their body or a creative image (e.g. "notice your wrist", "notice your breath", "release on the exhale", "visualize the arc of the projectile's flight", etc.). Offer one suggestion and give them several repetitions before changing it. When you change it, let them know that you are going to change it by asking them to pause, and then consider the new target, then let them try it several times before changing again. As they are repeating one target, you might find ways to encourage them to remember the target, and to slow their pacing so that they have time to experience the target. Make every attempt to avoid using judgment language in any form, even the word "good."
Switch and let the other person try.
When you have both done all three, pause to reflect on the experience, how it felt to hear each kind of prompt, and how you responded. Note that you may have been more on target when hearing judgment words, and what that might mean for you and how you've been trained. Try to notice how you felt emotionally during those moments if that occurred. Notice what it felt like to focus on part of your body or a mental image. Did some of them lead you to different experiences than others? Try to notice with curiosity and without judgment, asking yourself how you might continue to explore these results.
Play the game again if you have time.
6) Practice saying "thank you" in place of "you're awesome!". When you have the opportunity to offer feedback to people in your life, especially after an accomplishment, try saying the words "thank you" and following them with "for XYZ, I felt ______ when I saw/heard/experienced you ABC." Thank you offers a non-judgmental reflection and opens you to the opportunity to reflect on your own experience, and avoid the risk of sending the person whose accomplishment you are attempting to appreciate into a judgment zone. If they've just accomplished something, they are likely already judging themselves, and your effort to avoid judgment will come as a welcome relief.
Here are a few ways to notice the judgment in your own life and work, the impact of those judgments on your psyche, and ways in which you can begin to change the power of judgment in your personal experience.
1) Reflect on the nature of education in the vast majority of the world and over time. Education from school to home and play is built on judgment language. Therefore, no one is immune from the influence of judgment in their lives. Further, judgment is a way to relate to others that we learn to bring into relationship with ourselves.
To help with the reflection, choose a few simple tasks that you do regularly in your life. Prior to starting them, ask yourself to notice whenever a judgmental thought enters your mind. Be open to hearing judgment in all of its forms from outright belittlement of you or others to simple "that was wrong" statements like, "you didn't get that clean enough" or "I never get that right, I'm just not good at it." Each time you notice yourself saying a judgmental thought to yourself, restate the thought verbally (if possible) in a new way that is free from judgment like "I still feel grease on the plate, I'll wash it some more" or "that task still presents a challenge to me." Set aside several short times a day for this kind of reflection, and be aware of when you begin to replace judgment thoughts without having to premeditate the replacement.
2) Do a free write that lasts fewer than 10 minutes. Set a timer for 2 minute intervals and reflect on the following questions in a free writing (don't stop) capacity: a) what does judgment mean to me? b) when I am in a rehearsal environment with others, how free do I feel to express myself? c) How often do I get frustrated with others in rehearsals? d) when I rehearse by myself, how do I find motivation and what does it feel like? e) what does judgment mean to others? Once you're finished writing, go back and circle three statements that stand out to you from each question and rewrite them on a summary page and consider them as a whole.
3) The next time you are a participant in an artistic experience where you are not the leader, keep a running tally of the number of times you hear anyone say anything judgmental. This can range from overt attacks on someone's person (which are typically more rare, but still possible) to small judgments like "that's the wrong note" or even words like "great", "you're amazing", "yes", and "no". Remember that any judgment opens the door for all judgment. Positive affirmation has a place in the creative process, but it still distracts people from the task.
4) Video yourself leading a rehearsal and watch 5-10 minutes of it. Script it out, that is, write down everything that you and others say and in the moments that you aren't talking, write a description of what you notice yourself doing physically. Notice the kinds of things you say and categorize them as: a) judgment-based (this includes "great" and "yes" as well as "awful" and "no") b) target practice focused (focusing on the task, assessment, repetition, and reiterating/reshaping the task), c) anything other than these two as off-focus.
5) Play the ball with a friend(s)...note that this game can also be played solo, but is more fun with others.
This game works with a deck of cards, a wadded up piece of paper, a quarter, a ball, etc., basically, anything that you can use as a projectile to launch toward the recipient and land in a hoop.
One person create a hoop or landing area with their hands/arms.
The other person stand a far enough distance away that they are unlikely to successfully land the projectile in the hoop 100% of the time.
The projectile person begin to attempt to get the projectile in the hoop.
The hoop person respond to each attempt in the following manner:
a) for the first 2-3 minutes, tell the tossing individual what they are doing wrong (e.g. too soft, too hard, too high, too low)
b) for the next 2-3 minutes, respond with a judgment word only (e.g. "great!" if they make it and "no good" if they don't)
c) for the next 2-3 minutes, ask them to notice something about their body or a creative image (e.g. "notice your wrist", "notice your breath", "release on the exhale", "visualize the arc of the projectile's flight", etc.). Offer one suggestion and give them several repetitions before changing it. When you change it, let them know that you are going to change it by asking them to pause, and then consider the new target, then let them try it several times before changing again. As they are repeating one target, you might find ways to encourage them to remember the target, and to slow their pacing so that they have time to experience the target. Make every attempt to avoid using judgment language in any form, even the word "good."
Switch and let the other person try.
When you have both done all three, pause to reflect on the experience, how it felt to hear each kind of prompt, and how you responded. Note that you may have been more on target when hearing judgment words, and what that might mean for you and how you've been trained. Try to notice how you felt emotionally during those moments if that occurred. Notice what it felt like to focus on part of your body or a mental image. Did some of them lead you to different experiences than others? Try to notice with curiosity and without judgment, asking yourself how you might continue to explore these results.
Play the game again if you have time.
6) Practice saying "thank you" in place of "you're awesome!". When you have the opportunity to offer feedback to people in your life, especially after an accomplishment, try saying the words "thank you" and following them with "for XYZ, I felt ______ when I saw/heard/experienced you ABC." Thank you offers a non-judgmental reflection and opens you to the opportunity to reflect on your own experience, and avoid the risk of sending the person whose accomplishment you are attempting to appreciate into a judgment zone. If they've just accomplished something, they are likely already judging themselves, and your effort to avoid judgment will come as a welcome relief.
