In one of my favorite Foreign Affairs articles, Secretary of State (former) Hilary Rodham Clinton sounds very much like the head of a multinational corporation with an ear bent towards listening to diverse constituents and reaching the geopolitical frontline. Acknowledging the changing global terrain, Clinton emphasizes interconnectedness and the changes necessary in diplomatic skills sets. She notes, “increasing global interconnectedness now necessitates reaching beyond governments to citizens directly…”. She continues, today’s ambassadors are, “responsible not only for managing civilians from the State Department and USAID but also for operating as the CEO of a multiagency mission.”
How do we cultivate the skill of knowing how to communicate with civilians directly when prior experience required expertise in dealing only in elite circles and spheres of influence?
In a really insightful TED talk, Paddy Ashdown identifies three major shifts in power. Watch Paddy’s talk below:
One thing that most intrigued me was the way Paddy correlated the growth of multinational corporations with international criminality, globalization means they share the same space. We get both the “good” and the “bad” at once. This mandates the rule of law but one that goes beyond our traditional nation-state thinking into the realm of global governance (not government). He notes “treaty based agreements” such as the G-20 and Kyoto as efforts in this direction. Paddy goes onto talk about our “multipolar world,” or a “European concert of balance, a five-sided balance” and “counter balance” and of course that got me to thinking about music….
I’ve written here about Global Swing and also about coordinating information from disparate sources in such a way that we not only hear the distinct “voices” but create a synthesis of meaning — harmony — in our heads (see “Six-Part Harmony.”) I’ve also written an article on the ways in which the cultural footprint of the blues and swing can be discerned in sectors as different as education, healthcare, business and governance. So, this stuff is heavy on my mind.
Today, I’m thinking about the relationship between diplomacy, multinational corporations, and swing as a model of governance. It seems to me that the skill set Clinton identifies as being necessary in our cadre of diplomats is the same skill set that leaders in multinational corporations need – the ability to communicate effectively, and even confidently, across and through sectors, with particular emphasis on those that seem unfamiliar.
In moving towards a system of global governance, we’ll need to listen to not only the most vociferous, those that have traditionally held the reigns of power, but those that have been historically and geopolitically marginalized. Paddy says, “We must reach beyond the cozy circle of our Western friends.” Clinton advocates for “civilian power” and says we must reach “beyond governments to citizens directly.” New players on the global stage, MOOCs and US universities with an international bricks-and-mortar presence face similar challenges as they negotiate the realm of diplomacy and global governance through the entry-point of education. Employees at every level of the university – along with diplomats and multinational corporate leaders – must acquire new skills to be effective. There’s a lot of work in retraining to do!
Paddy informs us that the cultural model of a “European concert of balance” worked in an earlier historical period. Learning how to integrate globally is a central challenge for today’s players on the global stage and so I am convinced that cultural models hold the most promise. I’m placing my bet on swing. Let’s consider the two forms…
Fugues articulate distinct scripted voices that come together in a pleasing blend of sounds creating a unity that is both complex and simplistic. There is a beauty in fugues that soothes the soul. A fugue’s parts are transcribed and are to be performed in strict accordance with notations with very little room, if any, for improvisation. Fugues can be emotionally rich but deviations from the score are not encouraged, anticipated or desired.
Jazz is the music of active participation and it is jarring – or, at least, it can be. Collective improvisation – a la Jelly Roll Morton – comes first to mind. Jelly Roll’s music brings together a cacophony of instrumental voices in a highly textured, tightly woven musical statement where everyone’s voice is prominent, recognizably audible. Somehow, the “mess” of the music has synthesis. Part of this mess is in the unstructured articulation of voices at unexpected times. Everyone is gathered to play the same song but there’s really no way to predict how an individual musician will decide to play along. Uncertainty is inherent in jazz.
…and THIS is the world in which we live.
Swing is about coordinating the perceived cacophony and creating a musical flow – governance, if you will. Finding a way to integrate the seemingly disparate parts in such a way as to advance the score. A steady rhythm is important in swing because it drives the momentum. Henry Ford needed a reliable pace for his workers. Dancers need reliable beats to ensure well-articulated and well-placed steps. The work of cooperating with various global constituents – some of whom will seem unfamiliar and whose values systems will seem at odds with our own – will be messy. We must keep the “mess” and swing. We need people trained in coalescing eclectic parts and creating a cooperative flow.
Skills needed include: listening, collaboration, leadership, resilience, and the ability to exude grace under pressure
 Foreign Affairs, Volume 89, No. 6, “Leading through Civilian Power” 14 -15