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Dear AACORNers Just a quick note from me I will contribute fully at the weekend, and am so enjoying reading the posts so far. With regard to scale and collaboration - Here in London its all about the Olympics at the moment. The Olympic opening and closing ceremonies are probably one of the largest scale choreographed operations! - more on the scale of a corporation. Claire Dale On 30/04/2012 20:54, "Katrin Kolo" <[log in to unmask]> wrote: > Itıs really exciting how this conversation goes on! I agree about the size, > even I would say there are choreographic or other artistic works with more > than 150 people involved (just imagine big events in big sport stadia.) And > those usually donıt leave much space for improvisation or individuality of the > performers. > But as Brenda says, also in organisation group size is ususally even more > limited. Would be interesting to find out what is the highest and what is the > average number of employees who directly report to one boss. Does anyone of > you know? > > I also would like to raise my other question, if anyone knows something more > about service choreography? I only found on Wikipedia the following quite > interesting explanation: > The intuition underlying the notion of service choreography can be summarised > as follows: ³Dancers dance following a global scenario without a single point > of control" > What Do you think about this? > > Looking forward to reading more of you! > > Katrin > > > > > > > > Von: Aesthetics, Creativity, and Organisations Research Network > [mailto:[log in to unmask]] Im Auftrag von Brenda Parkerson > Gesendet: Montag, 30. April 2012 12:57 > An: [log in to unmask] > Betreff: Re: choreography and dynamic structures - follow up and WSCI > > > > This is an excellent point and I completely agree. There are limitations to > applying arts processes to large groups. Even processes for ensemble group > working or working within the feudal structures of an orchestra aren't useful > for very large groups. > > Having said that, most organizational work is done in smaller groups of > people, perhaps for this very reason. > > > > > > Sent from my iPhone > > > On Apr 30, 2012, at 5:13 AM, "Piers Ibbotson" <[log in to unmask]> wrote: >> >> This is such an interesting conversation. I wonder of there is an element >> that we overlook when we talk about the qualities of artistic processes: and >> that is the question of group size. The silos and bureacracies that impede >> adaptability and creativity in organisations are a product of their size. >> Very large numbers of people cannot order their activities without them and >> their existence then reinforces the kind of status differences and ego games >> that make creative collaboration difficult. Large groups also cannot provide >> the quality of mutual trust and intimacy that frees people to take risks. >> Artistic collaborations only ever take place in small groups. Even the very >> largest artistic performances you can imagine have no more than about 150 >> performers in them and the vast majority of productions far, far fewer. >> >> There is some interesting research going on around group size in primate >> societies that seems to sit very well with observations of what constitutes a >> stable, healthy, creative community. Thinking about organisations as >> relatively simple structures composed of huge numbers of people (I had a >> brief from a company that refered to their "top team" of 500 senior >> executives) is clearly missing something. >> >> >> >> ----- Original Message ----- >>> >>> From: Brenda Parkerson <mailto:[log in to unmask]> >>> >>> To: [log in to unmask] >>> >>> Sent: Sunday, April 29, 2012 6:45 PM >>> >>> Subject: Re: choreography and dynamic structures - follow up and WSCI >>> >>> >>> >>> I would venture to say that adaptation is par for the course in choreography >>> and is indeed a very useful model for business and in particular for line >>> management and leading teams. You work with what you've got and together you >>> make it work to serve the artistic vision of the choreographer. It is a >>> fascinating interdependent relationship between choreographer and performer >>> that requires trust and a willingness to take personal risks. I believe that >>> the relationship is really quite fragile. There is something here that is >>> apolitical which I can't quite articulate. Perhaps when personal politics >>> enters the equation (i.e. a dancer vying for a bigger role, promotion or >>> other career move) the creative process is hindered or burdened. >>> >>> This can be seen in the film Stricktly Bolshoi - about Christopher >>> Wheeldon's struggle to set a piece at the Bolshoi. The star dancer was not >>> able to take a risk with Wheeldon fearing he might end up in a bad piece. It >>> was recast with dancers lower in rank (with nothing to lose). If you haven't >>> seen this film, you should. Collaboration and artistic egos do not make for >>> an easy ride! >>> >>> Best, >>> >>> Brenda >>> >>> On Sun, Apr 29, 2012 at 1:07 PM, Stephen Carroll <[log in to unmask]> >>> wrote: >>> >>> Katrin, >>> >>> >>> >>> Thinking about Steve s comments about his theatre experiences working with >>> choreographers, I recently observed stage productions in which >>> choreographers played a major role. In the last week I attended an opera >>> Havisham by Argento- and a play about Darwin entitled Sandwalk on my >>> campus in which choreographers played major roles. By incorporating >>> significant dance elements into both productions, the performances were >>> enhanced significantly in an aesthetic sense as well as advancing the >>> narratives. In the dancing elements of the performances , dance movements >>> compatible with the capabilities of the singers and actors were introduced >>> congruent with the usual space, music, lighting, and aesthetic limitations >>> and considerations. The choreographers had to collaborate with actors, >>> singers, as well as stage and musical directors and others to make these >>> productions the memorable performances they were. Extensive rehearsals >>> identified possible future problems which were then effectively made less >>> probable. High adaptation skills for these choreographers were critical to >>> their success. >>> >>> Many management academics and consultants over the past forty years have >>> described the inability of many organizations of all types to adapt and >>> change effectively when faced with changing circumstances. Traditional >>> command and control systems, bureaucracies, internal silos as well as >>> differences in subunit cultures, often prevent necessary collaboration and >>> problem solving from occurring. Awareness of the choreographic model might >>> be very helpful in such organizational design and change programs. >>> Steve C. >>> >>> Stephen (Steve) Carroll >>> Maryland Business School >>> 301/405-2239 <tel:301%2F405-2239> >>> [log in to unmask] >>> >>> >>> -----"Aesthetics, Creativity, and Organisations Research Network" >>> <[log in to unmask]> wrote: ----- >>> >>> To: [log in to unmask] >>> From: Katrin Kolo >>> Sent by: "Aesthetics, Creativity, and Organisations Research Network" >>> Date: 04/25/2012 05:37PM >>> Subject: choreography and dynamic structures - follow up and WSCI >>> >>> >>> >>> Dear AACORNERs, >>> itıs impressing how many mails with great thoughts have already been sent. I >>> am extremely grateful, that this network exists. Thanks to all of you, who >>> make this such a remarkable meeting and discussing space! >>> >>> I decided to collect emails and follow discussions individually, in order to >>> summarize and then bring the theme back to all AACORNers. I hope this way, I >>> respect also the people in the network, who are not too interested in this >>> vibrant mail traffic. Hope this is fine for all of you. >>> >>> There is only question I would like to ask right now: Is there anyone of >>> you, who knows something about ³service choreography² notation (WSCI)? I >>> would love to learn more about this. >>> >>> Thanks again >>> Best >>> Katrin >>> >>> >>> Claire Dale Director | Companies in Motion T +44 (0)7932 680224 [log in to unmask] http://www.companiesinmotion.com Transforming the way people learn and engage