Archive for the ‘Coaching’ Category

GameChangers Glossary, A to G

Monday, August 23rd, 2010

Adapted from GameChangers–Improvisation for Business in the Networked World, by Mike Bonifer:

Addition–Entering a scene in progress for the purpose of contributing immediately to the team’s performance; contributing to a scene; giving a gift

Agreement, The Agreement Principle–A principle of improvisation, characterized by players’ openness towards each other and an organization or communications network’s openness at its edge; the group consensus around a game or theme that informs a scene

Audience–Those within and outside of an organization whose reactions and opinions will determine the success of a scene or performance

Audience, External–People outside an organization or network, including customers (and potential customers), competitors, bloggers, users, fans, viewers, etc. whose reactions ultimately determine the value of a performance or narrative

Audience, Internal–People inside an organization or network, whose judgment acts as a kind of filter on scenes and narratives before they reach the External Audience

Blocking–A performance-related problem that occurs when players impede the progress of a scene by refusing the gifts offered them by their teammates

Callback–The act of recalling information that was stated by a player earlier in a scene or in a previous scene.

Cast–Players who share the same business objective; also called a Group or Team; can also refer to the employees of an entire division or organization (Disney, for example, refers to all employees as ‘cast members’)

Casting–The process of selecting players who will comprise a business team

Character–Traits that make a player unique as an individual and consistently valuable to his or her team

Close, Del–Credited as one of the originators of longform improvisation, and one of its most influential teachers, Close (1934-1999) created ‘Harold,’ probably the most-performed structure for group improv theater performances; his proteges include Bill Murray, Dan Ackroyd, John Belushi, Amy Poehler and Tina Fey; legend has it that he willed his skull to the Goodman Theater in Chicago to be used in future productions of Hamlet, in which he was to be billed as playing the role of Yorick

Coach–A person who casts a team; an objective observer and critic of a team’s performance; one who establishes game-based strategies and standards of preparation and performance in directing a team toward its objectives; manager; director

Cosmetic Communication/Meaning–The surface level of communication within a scene, primarily through spoken dialogue; data; information. (See ‘Emotional Communication/Meaning‘ and ‘Meta Communication/Meaning‘)

Crazy Town–A performance-related problem that occurs when players indulge in fantasies, magical thinking, or egoistic behavior, until the scene becomes un-moored from any actionable reality.

Denying–A form of blocking in which a player repeatedly contradicts or ignores other players, confusing the audience and fellow players; refusing to recognize another player’s reality

Edit–The action of making an entrance for the purpose of shifting the scene’s focus, or to begin a new scene; edits usually occur in concert with other players exiting the scene

Emotional Communication/Meaning–The most dynamic and meaningful level of communication in a scene. conveying its players’ passions and desires, where reactions (both positive and negative), and reinforcements/alienation are strongest

Energy–The pitch at which a player or group performs (and modulates) its performance; an umbrella term for the level of activity and intensity the audience observes in the group, and that players in the group experience in one another

Entrance–A player’s first appearance in a scene

Environment–The setting in which members of team collaborate to achieve their objective; any place where players interact; more expansively, any place where an audience experiences a brand; the overall business climate in which an organization operates, shaped by factors such as regulatory agencies, competitors, geopolitical factors and the desires, attitudes and beliefs of customers

Exit–A player’s departure from a scene

Fantasizing–A performance-related issue that occurs when players build outlandish, or wildly fictitious scenarios that do not acknowledge or act on the real world environment or the businessa; magical thinking; (see ‘Crazy Town‘ and ‘Invention‘)

Flatlining–A performance-related problem that occurs when players show no energy or life, impeding or halting a scene’s progress

Game–Rules, roles, environment and objective(s) defined; an exploration of a theme; a strategy used to achieve a business-related objective; games fall into two broad categories – productive and unproductive

GameChanger–A player who has mastered the art and practical techniques of business improvisation; a manager/coach or player with the ability to identify and support productive games and quickly change or edit unproductive ones

Gift–A move that supports the scene and the players in it; ‘giving gifts’ is one of the most powerful and effective moves a player can make

Grandstanding–A performance-related issue that occurs when a player wastes time and effort trying to contribute something ‘heroic’ to a scene; holding back for effect instead of engaging in the moment; habitually swinging for the fences or reaching for the ‘Wow Factor’; going for a home run when a single would better serve the scene

Group Mind– The tangible web of connectivity between players that achieved through a shared focus on a game and the exploration of a theme; the collective unconscious; not the same as ‘Group Think

Group Think–Rubber-stamping; going along to get along; consensus for its own sake; agreement that does not involve a game or theme; behavior that is not intended to achieve the objective, but rather to reinforce status; uncritical or unquestioning support for a political agenda, ideology or hierarchy

TO BE CONTINUED….

Sweet Spot

Wednesday, July 21st, 2010

GolfBallTee1I used to play a lot of golf, and the game taught me a lot.  One bit of wisdom came my way one Sunday afternoon from a golfer named Jim Bishop, while he and I were playing the classic old Wilson Course at Griffith Park in Los Angeles.  He told me that one reason he plays golf is that it that offers a person the chance to experience perfection.  “Every now and then,” he said, “you make a perfect swing.”  As any golfer who took the game seriously would, I understood exactly what Bishop was talking about.

On occasions, something amazing happens in the game of golf, when you transcend the conscious boundaries of all your prior experiences with the game, let go of your expectations, and become a passenger on the boat of your own brilliance.  You experience the patient takeaway, the coiling in the hips, the shoulders in perfect orbit around the spine, your back leg buttressed like a telephone pole, until you are behind the ball and then, your entire being uncoils through the ball, not swinging at it as much as passing a wave of energy through it, and in immortal words of Carl Spackler, “Cinderella story. Outta nowhere.”  There it is.  You feel it for just an instant.  Perfection.

A golfer pays a price to get there, because most often golf is crap and collapse, frustration, bad behavior and the sudden and unexplainable disappearance of one’s powers.  In other words, it’s a lot like life, which why everyone should play golf at some point in their lives.  It teaches you a lot about how to persist in the face of adversity.

Like the game of golf, the work we do requires a lot of patience and, like golf, work is all about managing adverse events.  The professional golfer, Frank Beard, once said that he hit exactly the same good shots an amateur golfer hits, he just hit more of them.  The same is true with our work.  Success looks the same for everyone.  You make money.  You enjoy the interactions.  You go home happy.  It is the consistency of our game, and the ability to manage adversity, that distinguishes the real players from the weekenders.

It doesn’t matter how great a player you are, there are times when you just have to take an unplayable lie, stroke and penalty, or when you find yourself out of bounds and have to hike back to the tee and start all over, stroke and distance.

Then there are times when work comes together like the perfect swing.  When your biggest client calls to thank you for solving a couple of problems, your oldest client makes things new again, and your newest client signs the contract.  When a friend makes news for doing something cool and funny.  When you begin a journey that is going to take four years and promises no end of excitement.  When you get to study with one of your favorite teachers for two hours.  When you have tickets with friends for a great concert tonight.

This is one of those days for me, and I wish you all the same.  Because we all know that soon enough we’ll be hooking them deep into alligator country again, trying to locate our ball in places where, as Lee Trevino once said, “there’s things with no shoulders living in there” and be asking ourselves why in the hell we put ourselves through it.

We put ourselves through it because we are promised times when perfection smiles on us, and we experience the satisfaction of seeing ourselves and the games we play in a new light, when we are capable of doing, in the context of the game, what we had only dreamed about before.

Harpo’s Rules

Sunday, June 20th, 2010

Harpo1Underneath his fright wig and his goofy screen persona, Harpo Marx was one beautiful human being.  In his autobiography, Harpo Speaks, he lists his family’s rules.  It’s some of the wisest advice a father ever gave his children:

1.  Life has been created for you to enjoy, but you won’t enjoy it unless you pay for it with some good, hard work. This is one price that will never be marked down.

2.  You can work at whatever you want to as long as you do it as well as you can and clean up afterwards and you’re at the table at mealtime and in bed at bedtime.

3.  Respect what the others do. Respect Dad’s harp, Mom’s paints, Billy’s piano, Alex’s set of tools, Jimmy’s designs, and Minnie’s menagerie.

4.  If anything makes you sore, come out with it. Maybe the rest of us are itching for a fight too.

5.  If anything strikes you as funny, out with that too. Let’s all the rest of us have a laugh.

6. If you have an impulse to do something you’re not sure is right, go ahead and do it. Take a chance. Chances are, if you don’t you’ll regret it–unless you break the rules about mealtime and bedtime, in which case you’ll sure as hell regret it.

7.  If it’s a question of whether to do what’s fun or what is supposed to be good for you, and nobody is hurt by whichever you do, always do what’s fun.

8.  If things get too much for you and you feel the whole world’s against you, go stand on your head. If you can think of anything crazier to do, do it.

9.  Don’t worry about what other people think. The only person in the world important enough to conform to is yourself.

10.  Anybody who misteats a pet or breaks a pool cue is docked a month’s pay.

Hope your Father’s Day was as happy as mine!

Eight Empty Arguments

Friday, May 28th, 2010

EmptyGasTank1A friend of ours working inside a large U.S.-based organization marvels at how much time gets wasted on what he calls Empty Arguments.  Empty Arguments, he observes, result in too many unfocused meetings and conversations involving too many people, and require too much follow-up and clarification.

In exploring this theme with him, we came up with eight Empty Arguments that suck up bandwidth and limit a company’s potential to innovate, adapt, and act quickly on opportunity:

1.  Who’s in charge.

The quest for, and maintenance of, one’s status is one of the most prevalent and profligate business behaviors there is.  It results in wasteful games like that old standard, “Kissing The Boss’s Ass.”

In the improvisational model, who has high status in a scene depends not on one’s job title or institutional pedigree, but on the circumstances of the scene.  Leadership does not always have to come from the top.  It is as likely to emanate from the center, in the form of rapid consensus-building, or from the rear, in the form of decisive and enthusiastic support for a scene, a player or a productive game.

2.  Scapegoating (a.k.a. The Blame Game, a.k.a. It Wasn’t Me, a.k.a. I Never Got Your Email)

This Empty Argument is another classic time-waster, a purely political game that’s a huge drag on productivity.  In the improvisational model, teams succeed and fail together.  Everyone is in charge, everyone accepts credit, and everyone shoulders blame.

Just look at how much time and effort BP is spending on assigning blame for the disaster in the Gulf of Mexico.  President Obama made a good move yesterday by accepting full responsibility, a move designed to clear the air of this Empty Argument.  Edit. Done. Move on.  Whenever you, as a manager, sense any energy being devoted to scapegoating, edit the scene and move on.

3.  The Big Idea (a.k.a. The Killer Concept, a.k.a. The Gamechanger, a.k.a. The Moby Dick)

The quest for a Big Idea can turn into an Empty Argument in a three ways:  1) Stalking, capturing and processing a Big Idea can blind your team to other opportunities (this was an okay game on a whaling ship in the 1840s, not so much in the networked business environment of today); 2) so many people inside and outside the organization have to weigh in on a Big Idea that its original intention and power gets watered down or lost; and 3) the Big Idea will inevitably get divvied into a series of Little Ideas, so why not simply start with Little Ideas?—all of which will have the potential to morph into Big Ideas! Start small and build, don’t begin big and diminish!  Enhance, don’t dilute!

Focus on purpose and all your Little Ideas will align themselves with Big Themes.  Focus on process and Big Ideas will emerge organically.  Focus on people, because Big Ideas don’t change the game quarterly, people do, on a daily basis.  Big ideas come and go.  Purpose, process and people are the stars you can steer the ship by.

4.  The research.  Research is a snapshot taken in the past.  It can tell you a lot about where you’ve been but very little about where you’re going. It is a dial on the dashboard but is not a way of charting your course or predicting what the weather will be like in the future.  Research can inform a scene, but it should almost never be what the scene is about.

PalinHand15.  How to spin a story. Scripting, editing, re-writing, getting bottlenecked on approvals, and then spinning a narrative for your audience is a really Empty Argument. As much as I abhor her politics and her prideful ignorance, Sarah Palin gets a lot of credit as an improviser. The reason she can stay relevant and a beat ahead of the news cycles is that, unlike John McCain and most other politicians, she’s not scripting or trying to spin anything, she is relating to her environment in real time, in her own authentic way.  It drives the liberal news spinners crazy.  (President Obama does the same to the righties.)  Nosy neighbor?  Build a fence!  When Palin makes notes on the palm of her hand during a speech, the Ivy League-educated (I do not include Brown grads in this) grademaking machines in the liberal media try to spin it as “Doesn’t do her homework.”  Palin, however, knows intuitively that 90% of the people who see this image will have it made this move themselves.  We can relate.  The lesson:  Living your narrative is more effective than trying to live up to a narrative you’ve scripted, then convincing others to buy into it, too (see Woods, Eldrick “Tiger”).

6.  Labeling. In the Networked World, curation is an essential skill.  The ability to provide context for ubiquitous content is important, and should be an area of constant focus.  The Empty Argument here begins with the notion that everything has to fit into the known universe of the organization or brand, that there will be an institutional meme to deal with every anomaly.  In a networked environment, there are so many anomalies that this is an impossibility.  Don’t waste time arguing about how to label everything. This dampens originality and creative energy.  Approach every situation as its own anomaly.  Act first, label later.

7.   The platform. This is one of the newer Empty Arguments that have gone viral in large organizations.  Decisions about which technology platforms to use has become a high-stakes game that often involves tens of millions of dollars and countless hours of discussion and debate.  Here are a couple of reasons why platform Arguments are often Empty:  1)  There are too many platforms to assess with any certainty, thousands of them.  No one can be an expert in all of them.  For this reason, decisions about platforms often as not come from a personal agenda, and not from any qualified assessment of all the options.  2)  The platform is secondary to the narrative.  By arguing about platforms, a company is pulling focus from its narrative.  This is putting the cart ahead of the horse.  Performance has very little to do with platforms.  Great design is great design whether it’s computer-generated, hand-drawn or modeled in clay.  Narrative first, platform later.

8.  Who’s right and who’s wrong. When you script your narrative, there’s only one ‘right’ way to deal with a problem and every other way (see ‘Labeling’ above) is, by definition, ‘wrong.’ Improvisers understand that there’s always more than one way to solve a problem, and that the ability to collaborate and come up with original solutions to original problems is far more effective than arguing about who’s right and who’s wrong in any given scene.  Improvisers focus on whether or not behaviors are consistent or inconsistent with themes and environment.   This liberates all sorts of possibilities that aren’t present when the argument centers on right vs. wrong.

So…let’s put a cost estimate on these Empty Arguments:

The organization where our friend works, a relatively well-run company by American standards, employs 120K people around the world.  Figure 10K of them are managers who have a say in the direction of the company and its brands.  Our friend estimates that a third of a typical manager’s day (call it 3 hrs/day) is spent engaged in Empty Arguments.  That’s 30K management hours a day across the enterprise.  At an average cost per manager of $100/hr, that’s $3M a day, which equates to approximately $270M worth of wasted time per quarter!

Improvisation gives employees the ability to see and minimize the Empty Arguments listed here, and many others, too.   If the managers at my friend’s company can spend one less hour per day on Empty Arguments, it will save the company $1M per day, or $360M per year in resources that can be  put to better use.

That’s a lot of Empty.

Work Your Way to the Bottom

Monday, February 15th, 2010

Thanks to our friend, Nilofer Merchant, founder of Rubicon Consulting in San Francisco and author of the insightful new book, The New How, for fanning this New York Times interview with Vineet Nayar, CEO of HCL Technologies.  HCL is a 54,000-person IT services company based outside Delhi with 2009 revenues of $2.3 billion.

Vineet Nayar Leads With Modesty

Vineet Nayar Leads With Modesty

Nayar’s ‘employees first, customer second’ philosophy aligns with a basic concept of improvisation:  Take care of yourself first.  Mick Napier hits this hard in his book, Improvise:  Scene from the Inside Out.  If you wait for the other people in your scenes to have an idea, to initiate, you’re making yourself powerless, and you leave your scene partners and the audience hanging.  And if the other person in your scene waits on you, you’re lost, and so is the audience.  Nayar’s point is the same:  HCL can only be as good to their customer/audience as its employees are to one another.  These behaviors cannot be separated.  You cannot be one way to your scene partners and another to the audience.  It is all part of the same space-time continuum.  And productive action can only begin with you.

Other quotes by Nayar that are consistent with improvisation, and my notes in italics:

“I did not know where I had to go, and I was projecting as if I knew. I assume that you expect me to know where I am going, and you will respect me for that, and the day I tell you both of us are in the same boat, we would fail. That was a very big learning for me.”  Pretending is not illusion  if it is a step on the path to being.

“If you see your job not as chief strategy officer and the guy who has all the ideas, but rather the guy who is obsessed with enabling employees to create value, I think you will succeed.”  Support, the giving of gifts, is the most powerful tool in the improviser’s repertoire.

“How do I communicate to employees to not look up to me, but to look within, to communicate that I’m one of you, to destroy that hierarchy? So I decided I’m going to go into this big gathering of employees dancing to a very famous Bollywood song. And I can’t dance for nuts, right? I was dancing in the aisles with these employees and making lots of noises. What happened? It completely destroyed the gap.”  When you want to communicate something important, use more than information to do it.

“The failures are far in excess of successes.”  Failure is not defeat if it is a step on the path to understanding.

“I don’t want people who are coming here and teaching me something or teaching the organization something. I don’t want teachers. I want people who are not only charged up because they like it, but because they will learn from this experience. I’m looking for people who see experience as a continuum and not as an end in and of itself.”  Improvisers are not teachers.  We are builders of  environments in which communication, learning and transformation can happen.

IMPORTANT FOOTNOTE!

When we tried linking to the HCL URL with Mozilla Firefox 5.0, we got this message:

HCLFail1

We noted this ‘FAIL’ in the post.  Within minutes of publishing the post, an HCL employee, Aruj Kapoor, wrote to say he was sorry they’d been down, that they’d fixed the bug and the site was restored.  And not only that, he ‘yes-anded’ by asking what specific information we were seeking when the site went down.  Aruj’s awareness of what my experience must’ve been when I hit the dead link–frustration, confusion, puzzlement–led him to offer his support to the scene I’d initiated with HCL. Be sensitive to your environment and it will tell you what you need to know. By yes-anding, Aruj converted a mistake into an opportunity to extend the dialogue between the HCL brand and me.  Nice move.  Every mistake is an opportunity to do something useful.

Change of Scene

Monday, January 11th, 2010
Carroll with the Life Drum Core (and a copy of GameChangers) after a USC football practice

Carroll with the Life Drum Core (and a copy of GameChangers) after a USC football practice

GameChangers do not confine themselves to one scene or one role.  Nobody knows this better than Pete Carroll. He probably could have stayed at USC until he was ready to retire. In a showbiz town, he is a star, adored by fans, and lavished with perks and money. He has done a ton of good here, too, in the form of community work through his A Better Life LA foundation. Here’s what the L.A. Times had to say about him in 2008:

Few know that about twice a month Carroll leaves his comfy digs at USC, hops in the back of a beaten Camry driven by a former gang member and heads to South L.A. neighborhoods where the snap of gunfire and the anguish of death occur with the steady regularity of a metronome.

These are not recruiting visits. He’s trying to save lives.

Most often, he arrives near midnight and walks shadowy streets with that familiar, electric strut, surrounded by little boys, grandparents, crack heads and gang toughs. He empathizes, listens, encourages, laughs. He talks about jobs and kids and marriage, about perspective and courage, about how difficult it must be to be caught in the madness of the streets.

He realizes that some might think he’s a fool, that some might say he should pay no mind to gang members. Naysayers do not stop him.

“I don’t go to judge . . . just to show that someone cares,” he said. “Just go to give people here a little hope. . . . Get folks to step back and think. Hopefully, get them to change.”

Five years ago, moved by news of murders near USC’s campus, Carroll formed a foundation called A Better LA, dedicated to ending inner-city violence. He hoped to use the self-improvement thinking he’s long leaned on in coaching to help people in poor and dangerous neighborhoods.

We play many roles in life, but always through the essential truth of who we are.   Seattle will be getting a new coach, and who knows how he’ll play the role, or how he’ll do there?  Carroll failed with the New York Jets when he coached before in the pros.  What the Seahawks can count on is getting a man who will compete hard on the field and contribute to the community in which he lives.

When things get too comfortable, a GameChanger consciously changes the game.  I don’t know Carroll’s mind, but it seems to me that a coach whose motto is “Always Compete,” needed a new challenge to keep his competitive edge.  He probably didn’t enjoy coaching against his protege, Steve Sarkisian, at Washington, to whom USC lost this year in an upset.  With his children grown, maybe the time is right for Carroll and his wife to move on.  As the writer and radio star Garrison Keillor once told me before deciding to leave Minneapolis to live in New York City for a few years, “If you do something for someone, they expect you to keep on doing it.  But a person has a right to do something else for a change.”

The Pete Carroll story will be analyzed to death, but on the meta level it’s simple.  In order to compete at the top of his game, a competitor like Pete Carroll needs a challenge.

A GameChanger does not seek success, but growth.  Success is a plateau we’ve reached.  Growth is a mountain we must climb.

Applied Improvisation, Part Seven: Spolin’s Protege

Friday, December 4th, 2009

Last in a series…

Gary Schwartz

Gary Schwartz

While at the Applied Improvisation Conference, I drank beer one afternoon with Gary Schwartz, of Spolin.com. Gary is Viola (pronounced vy-OH-la) )Spolin’s protégé, keeper and practitioner of what is, in my opinion, the mother lode of improvisation, the practice built by the grand dame of the craft, the godmother of the game.  Hearing stories about Spolin and her teaching was in itself worth the trip.

Schwartz, who before meeting Spolin had studied to become a mime, described for me how Viola taught (no nonsense, all about interaction, no note-taking allowed).  How she coached (get out of your head!)  How he happened to become her assistant (a random act of kindness on his part).  How long it took him for a real breakthrough to happen (a long time).

He said that Viola was profoundly influenced by a book entitled The Tao of Physics, which is now at the top of my reading list.

Viola Spolin did profound work that that relates improvisation to all human endeavors, and has particular relevance for business in the Networked World.  She said things like:

“Information is a very weak form of communication.”  (GameChangers translation: Meaning lies beneath the surface of things, hidden behind the facade, the artifice, the mask, it is found primarily in the emotions and in the meta symbolism lurking behind the cosmetic layer of information.)

And –

“Creativity is not the clever rearranging of the known.”  (GameChangers translation: Creativity is daring by design, a plunge into the unknown, into the collective unconscious, and into one’s own subconscious.  It is not rearrangement.  It is newness.  It is radical juxtaposition.  Ultimately it is transformation.)

And –

“Talent or lack of talent have nothing to do with it.”  (GameChangers translation: The individual’s ability to interact with, and be transformed by, environment, has everything to do with it.)  “Act on environment, Spolin said, “and environment will act on you.”

And –

“Don’t thank me!   It’s not me!  It’s not ME.  It’s the WORK!” (GameChangers translation: Stay humble, stay focused, and don’t be an asshole.)

Schwartz quoted Spolin as saying of improvisation, “You can’t write about it, it can’t be described that way. You have to experience it.  When you do it, it’s in your bones.”

At Spolin’s suggestion, I’ll quit writing now, and show you pictures–which I’m sure  Spolin would’ve had said is no substitute for the experience either–of improvisers having the experience at Edgefield.  Good name for it, Edgefield.  We like that about it. At the edge of the field, the transformation begins.IMG_5870

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Applied Improvisation, Part Three: Connections

Friday, November 20th, 2009

Part of a series about the Applied Improvisation Network’s world conference, Portland, Nov 11-16, 2009:

Chris Sams Connects

Chris Sams Connects

Chris Sams’ “Missed Connections?” workshop stresses the importance of connecting with scene partners and groups in meaningful ways.  Chris guides the group through a series of exercises designed to get beyond the bullshit and the expectations, remove the masks we typically wear, and see what’s beyond the façade of the physical world.  The ‘Eye Contact’ exercise, which I do with Kay Scorah, is literally and figuratively, an eye-opener, very moving and evocative.   “It felt like family,” I told her.

Every connection I make at the AIN conference is meaningful because improvisers know how to make them that way.  Networking by improvisers is extraordinarily productive, a fact that will become more important to business the deeper we get into the Networked World, and organizations begin to model themselves around social media and other network-friendly structures.  Here’s a cross-section of connections:

In the past two years, Yael and I have both worked with our friend Lynne in D.C., and no sooner do we figure this out than, as if on cue, Lynne texts me from D.C. with a status update on a proposal.

Theresa, who’s at OU writing her doctoral thesis on Keith Johnstone, breaks the ice for a newcomer to the group (me).

Alain and Jeremy save my ass with a timely dongle and projector set-up for my presentation.

Max and I are definitely going to pow-wow in L.A.   Patrick passes along the name of a superb improviser friend of his who’s based in L.A. with Comedy Sportz.  Improvisers unite!

After my workshop, Munir and I talk about value creation.  The time is short.  Too short!  Next session is starting!  We have more to discuss!

I sit next to Sue at lunch and even though we only make small talk I am plenty happy to meet one of the true greats of the game.

Paul and I huddle briefly over business strategies.  Paul is one of those people who’s just ‘on.’   The quality of performance he brings to even a sidebar discussion like ours is brilliant.  It defines one of the value propositions of improvisation:  Work at the top of your intelligence.

Armando Diaz and Me

Armando Diaz and Me

THE Armando and I do an exercise together and get pretty good at it.  The Armando.  It’s like playing catch with The Babe, or something.

Kevin and I compare notes about live event production.  I know people in this field.  Maybe I can help him.  We’ll see.

After lunch, Janet tells me some of what I missed in her session about your brain as an improvisational organ.  Took place at the same time as the GameChangers session.   Brain says must look into her work asap.

Bard tells me about the convening of the real and the virtual in a space he’s designing for an office building in Oslo.  He calls it The Tank; I feel certain this kind of environment is where work and learning spaces are headed, and I tell him about conversations I’m already having around this subject with friends who design retail and theme park experiences.   When I get back to L.A., there’s a link waiting in my inbox, it’s in Norwegian, which I don’t speak, but I get their intentions and dig them deeply.

I must say, Trilby Jeeves has the greatest name.  Ever.

I take a picture with three other Tall People of Improvisation.  I look like I’m wearing jodhpurs.  IMG_5843

Applied Improvisation, Part Two: Talking the Client’s Language

Thursday, November 19th, 2009

Part of a series about the Applied Improvisation Network’s world conference, Portland, Nov 11-16, 2009:

OYF Panel Discussion with Intel's Zabel (far r.), Nike's Dodge (second from r.) and the State of Oregon's Gardnes (far l.)

OYF Panel Discussion with Intel's Zabel (second from r.), Nike's Dodge (third from r.) and the State of Oregon's Gardner (second from l.)

I am blown away by the work being done by Julie Huffaker, Gary Hirsch, Brad Robertson and OnYourFeet, with clients like Nike, Intel and the State of Oregon.  The scope of their engagements, the value they create, and their ability to collaborate with their clients and speak the client lexicon is easy to see.

Karl Zabel (who today works with Nike but was a product manager at Intel at the time) hired OYF to train presenters for an Intel conference in Vegas in which lead engineers present new products to audiences of their peers.  The program paid off with positive results for Zabel and his product team.  Scores the audience gave presenters who’d had improvisation training left those who didn’t in the ditch.  (my word for the outcome; he had Intelspeak for it…4.2 to 4.7 positive variance, e.g.)

One presenter, says Zabel, got up in front of the audience and impulsively tossed his entire PowerPoint presentation aside at the last second in favor of  improvising his pitch.  An audience numbed by days of PowerPoints loved the move, and this was reflected in scores that were well above the conference norm.

Interestingly, Zabel changed the game to help OYF’s work reflect its real value.  Previously, scores for these presentations had been an aggregate number.  They included a score for the catering, a score for the air conditioning, a score for the quality of the audio and projection…and oh yeah, a score for the actual presentation, let’s throw that into the mix, too, why not?  Zabel convinced the scorekeepers to separate the presentation scores, which meant that weak presenters couldn’t compensate with good sushi.  Improvisation for business offers objective criteria for performance, kudos to Karl for seeing it, and clearing the way for Intel to see it, too.

Shelly Dodge, head of Gobal Learning and Development for Nike, says that value creation for her training programs is “largely anecdotal.”  This is an brand that knows itself and trusts its instincts.  Dodge says OYF’s training helps bridge cultures within the company, particularly with many of its Asian employees, for whom improvisation can be a means to communicate more openly and get more in tune with the ‘just do it’ vibe of the brand.  (Note to all orgs that want to be like Nike:  Cross cultural communication is yet another area in which improvisation can bring immense value to a brand.)

Lucy Gardner, head of employee training for the State of Oregon, says that given all the layoffs and cutbacks the state government has experienced of late, OYF’s work gives people a much-needed time when they can laugh about something, and also keeps them engaged and thinking positive when there’s a lot of negative news in the network.  Cheers to Lucy for understanding the good ROI the state gets on its investment in improvisation.

Any story that begins, “For the price of one television commercial…” has the potential to become a success story for improvisation in business.

Exercise in the OYF Workshop

Exercise in the OYF Workshop

Applied Improvisation, Part One: Nurturing Spirit

Wednesday, November 18th, 2009

Last weekend, I attended the Applied Improvisation Network’s yearly conference, which was held outside Portland, at stately Edgefield Manor.   Edgefield Manor, for the first 50 years of its existence, used to be what was called a ‘Poor Farm,’ where indigent people could work on the land and get a hand finding a pathway back into society.

The more things change the more they don’t stay the same. The homeless shelters of today are, by and large, pacifiers. They feed, clothe and shelter poor folks, but they do not usually nurture them in the way that working the land on a Poor Farm would.

It seems, however, that the spirit of nurturing still courses through Edgefield, especially when there are improvisers in the house. You will never encounter a more supportive crowd than the people attending this conference.

And the name Edgefield, I mean, come on, it’s perfect!  Can you think of a better way of describing the market niche occupied by applied improvisation?   We used to live in Outer Edgefield, but now it’s Edgefield, and I think that suits most of us just fine.  Who wants to live in Centerfield anyway?  Not me.  Never have.  Never will.

My own workshop, Improvisation for Business in the Networked World, went well, and offered lots of opportunity for follow-ups, but the many gifts that came my way during the conference far outweighed anything I had to offer.  The posts that follow describe a few of those gifts…

A workshop at the AIN Conference

A workshop at the AIN Conference