Arts, Ed & Entrepreneurship

On Friday, January 29th at 8:30PM, the Emilio Modeste Quartet will perform two sets of jazz at The Bronx Beer Hall. Located at 2344 Arthur Avenue, the Bronx Beer Hall is situated on an iconic avenue, steeped in the cultural history of the Bronx. Come early and stay late, personnel: Emilio Modeste (tenor and soprano sax), Jordan Carr (drums), Jason Clotter (bass), and Leo Posel (piano).

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From L-R: Leo Posel, Jason Clotter, Emilio Modeste, Jordan Carr

What I love most about this? These young musicians are deeply engaged in the arts, committed to sharing their talent, and engaging audiences in and through the music. Despite all the available options in New York City on a Friday night, these guys want to perform — for you, for me, for us. They are sharing themselves and being courageous in ways that matter. Also, let’s remember, a set list has a narrative arc and requires careful consideration of audience, timing, flow, and emotional intensity. Collaboration is necessary to the performance and begins long before the musicians step onto the stage. Band members collaborate musically and verbally as they discern which songs might best suit the audience and the idea they intend to convey. Time management skills are honed during the process of preparing for a gig and the pressure builds until the night of the performance. These young musicians must balance academic, rehearsal, practice, family and other demands on their time and attention. The gig is the “test” — the performance will be assessed by the audience, the management/owners, and by the band itself. It’s no wonder the Every Student Succeeds Act passed and will now integrate the arts meaningfully into a well-rounded curriculum for k-12 students.

These kids are musicians and entrepreneurs, they are also educators in their own right because through their music, the dare to make us all more culturally literate. Join us at the Bronx Beer Hall on Friday, 1/29 and see for yourself.

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Follow the Music

This is an excerpt of my remarks for the June 19, 2014, Jazz Diplomacy event sponsored by Natixis at the National Archives. 

Into a Black, Brown, and Beige World
Into a Black, brown and beige world went US Jazz Ambassadors, including: Dizzy Gillespie, Dave Brubeck, Benny Goodman, Louis Armstrong and Duke Ellington. Leading with jazz and spreading democracy in sound, our finest musicians traveled to far-away places — Africa, the Middle East, Asia and Eastern Europe — collaborating and integrating with various people of the world for more than two decades, beginning in the mid 1950s.Middle East and Africa c 1955

Oh, they had been overseas before. Armstrong and Ellington had toured abroad in the early 1930s — just after the Stock Market Crash of 1929 — but this was different. These were no ordinary gigs. These musicians, who had established themselves as cultural icons at home, were now tasked with representing the nation abroad. Indeed, this integrated bunch whose home country was in the midst of an intense Civil Rights struggle, was being called upon to save the nation’s image, globally. They did that and so much more.

Ike Gets Dizzy
The idea of Jazz Ambassadors was a collaboration between President Dwight D. Eisenhower and Harlem Representative Adam Clayton Powell, Jr., after the successful multi-year Cold War tour of Porgy and Bess. Dwight EisenhowerNew York City Councilman Adam Clayton PowellPowell, who was married to organist Hazel Scott, was able to secure Dizzy Gillespie for the first official tour (Middle East, 1956). In the midst of racial strife that seemed sure to tear the nation apart, Dizzy Gillespie was a bold and necessary choice for leading the new venture.

But why jazz?

Jazz had an established global audience, internationally recognized talent, and was an art form indigenous to the United States. Primarily an instrumental music, jazz did not require lyrics, understanding the English language was not required for participation or appreciation. A “stealth weapon” of the Cold War, jazz was a relatively new art form so exceptional, it could rival the centuries of excellence of ballet and classical music embedded in European cultures and the Soviet Union. (Satchmo, 28) What’s more, jazz musicians weren’t hung up on race or ethnicity; jazz culture was and is inherently integrated, musicians sought and seek the best sounds. Jazz is an inclusive form, welcoming as many instruments as can be played.Global face

Created by Americans of African descent living in the US, jazz could simultaneously combat racial strife at home and promote diversity abroad. Supporting jazz meant acknowledging the cultural value of its historically marginalized populace, an effort that was in direct opposition to the realities as witnessed in contemporary news accounts. Dizzy big bandSeen through the lens of jazz, the United States was not the racist, materialist society others deemed it to be; instead, the US was a leader, a modern, progressive nation unified though its diversity, a disruptive innovator in a world wedded to custom.

Prelude to Chaos
The 1950s were turbulent years in the US. Senator Joseph McCarthy was closely associated with the era known as the “Red Scare” and took the ideological divide between democracy and communism to levels that were positively surreal. He turned his glance inward, accusing fellow countrymen of betrayal; and widened the gulf between races by castigating the socially conscious of every hue. The US involvement in the Korean War (1950-53) divided that country along ideological lines.

Separate, however, was not equal; so said the Supreme Court in its 1954 decision in Brown v Board but society had other ideas. In the summer of 1955, a young boy from Chicago, Emmett Till, was murdered in cold blood because witnesses thought they heard him whistle at a white co-ed during a summer visit to Mississippi.

Emmett Till imageDespite their own damning testimony, his killers were acquitted. That December, Rosa Parks refused to give up her seat to a white patron on a Montgomery, Alabama, bus and so launched a dignified nonviolent economic attack that lasted more than 380 days.Rosa Parks on bus

Segregation has been US social custom. Despite the Supreme Court’s ruling, Governor Orval Faubus of Arkansas sent the National Guard to prohibit nine children from integrating public school. Charles Mingus 2The Little Rock Nine eventually received protection from President Eisenhower who sent troops to protect the students’ right to matriculate. The insidiousness of this violence and the complexities of justice — these blues — were written indelibly into our cultural history with “Fables of Faubus” by Jazz Ambassador Charles Mingus.

Jazz and Life
Jazz had various forms but each reflected life in a unique way. Bebop musicians such as — Dizzy Gillespie, Charlie Parker, Thelonious Monk, Roy Haynes, and JJ Johnson — brought forth a sound that illuminated virtuosity, was harmonically complex, and faaaaast! Bebop was rebellious, unsettling, and energetic. Domestically, it reflected the struggle for Civil Rights. Internationally, it appealed to youth and many overseas who struggled (psychologically, at least) and imagined life under a more liberal order.

The swing music of the big-band era with its steady, reliably placed beats, no longer seemed sufficient for capturing the velocity of social change. Incredulous, unnerving social contradictions, were expressed in bebop with sounds that were at once fiercely violent, emotionally dense, and cathartic. In one sense, musicians seemed to intellectualize the struggle; creatively processing its absurdities and indignities. Yet, swing privileged collaboration, promoted individuality through improvisation, and suggested social cohesion in ways bebop did not.

Innovation through Jazz
Legendary producer, NEA Jazz Master George Wein understood integration on a variety of levels. He knew we needed a variety of jazz forms and he wanted as many people as possible to engage the music. In 1954, when the United States seemed to be on the brink of social collapse, George began a series of annual outdoor jazz festivals in Newport, Rhode Island; and the rest, as they say, is history. George Wein & DukeThe idea of jazz festivals democratized the way we experience music. Through jazz festivals, George gave us a template for active engagement, audience growth and development, rotating leadership, and private/public partnership. Jazz reached through socio-economic barriers, dealt with the depths of emotional pain and injustice forthrightly, celebrated the triumph of the human spirit, and made even the most unlikely collaborations possible.

This was music to the State Department’s ears. George had a model that worked and a sizable, reliable network of musicians. The alliance between George Wein’s Festival Productions and the US Department of State was ideal. Musicians were able to expand the audience for their music and develop artistic alliances that would otherwise not be possible. The State Department was able to enter geopolitical spaces in black, brown and beige areas, bridge gaps in understanding, and forge meaningful alliances by bearing culture — not arms.

What’s more, jazz is self-regenerating. Whether swing, bebop, avant-garde, or cool — jazz adapts to change, embraces difference, and enables individuality through freedom of expression. Jazz is always modern and always relevant; it is agile. As Cultural Historian Albert Murray wrote, “The more any art form changes… the more it should be able to fulfill its original function.” (Hero, 72)

The tours of Eastern Europe and the Soviet Union were arguably the most successful. Musicians adapted to their ever-changing environments and audiences. EE Soviet map c1960They formed musical alliances, booked gigs and gave interviews in local markets. The music was sold bootleg and broadcast on the radio. Jazz became the sound of democracy and where jazz went, so too did commerce. Jazz had broad social appeal and reached the “man in the streets” not just those in elite circles of power. This was revolutionary — average citizens the world over had the chance to experience an art form that spoke to them directly and encouraged them to speak back. Jazz availed people of the possibilities inherent in individual self-expression.

*          *          *

The, now historic, Jazz Ambassador tours ended in the mid 1970s. The program left an indelible impact on all those involved; from diplomats whose jobs were made easier because of the way jazz commanded respect and made conversations flow, to musicians who hungered for the breadth of exposure to new sounds and interactions with new audiences, to average citizens who recognized their voice.

Follow the Music
Jazz tours continue today in modified form. Cultural presentation programs are now commonplace but it is no coincidence jazz was an early leader. As a response to economic disaster at home, musicians revealed themselves as entrepreneurs and expanded their networks of supporters and sponsors decades before terms like “social media” or “globalization” would enter into our collective vocabulary. Moreover, the blues — the deep feeling of contrasting emotions transmitted through sound, captured and sustained in jazz — is what connects people to the music and invites them into the shared creative, expressive, space and facilitates the formation of emotional communities. People from far and wide travel to be close to the music and what’s more, jazz musicians will travel to reach the people; they seek each other. As an inherently inclusive art form, jazz works because musicians absorb the sounds of local environments and through seamless collaboration, extend and enhance understanding.
Our efforts to engage the black, brown and beige of the world today — those in our own country and in emerging economies — will require lessons learned best through jazz: collaboration, listening, improvisation, and leading. Follow the music, it will teach you everything you need to know.

 

 

 

‘Mind the Gap’ — Develop Cultural Competence

The alleged “skills gap” dominates conversations about the relationship between education and work. Peter Smirniotopoulos and his co-author Natalie Pregibon offer an insightful analysis and some solid recommendations for how we might better prepare students for the demands of the workforce, today and tomorrow. One thing I really like about Peter’s approach is his uncompromising insistence on the value of creative thinking. Read Peter and Natalie’s series, Public Education and Job Readiness, here. Peter and Natalie were also recent guests on my radio show, Trading Fours with Drs. Modeste & Wes. You can listen to the show by clicking here.

Content is Crap (S/O to Greg Satell)

My classrooms are laboratories for engaged discussion and the development of new ideas. ConversationMy hope is that this will lead to an informed understanding of the content under scrutiny and also more meaningful and smarter work lives and civic engagement. I am passionate about educating. In my mind, the practical application of knowledge, can’t be beat. Over 20+ years of educating, I’ve put in the “deliberate practice” of 10,000 hours. What’s this mean? In part, it means the content I deliver doesn’t suck.

Why is THAT important?

In “Content is CrapGreg Satell tells the story of Ed Catmull who, as president of Pixar films, was committed to moving the films from “suck to not-suck.” This is important because Catmull wasn’t just looking for a gimmick to trick more people into seeing his films. As Greg notes, Catmull wasn’t merely seeking an audience” he wanted to “share something important with the world.” For all my love of content — American culture & jazz, ethnic studies  — “content” as Greg notes “is crap.”
But academics are genuinely delighted by content. We spend decades studying our fields of interest and by the time we reach the dissertation level, we have narrowed our chosen fields to an esoteric spot in the universe that no one else has considered in exactly the same way. Academics are the most blase entrepreneurs.

Here’s the thing — the content we find so fascinating sucks to most of the world. The way to salvage not just our egos but our beloved fields of inquiry from extinction, is to deliver the content is such a way tBoringhat connects us with the audience, that creates an emotional link between the content and something meaningful in their lives. We must create not just a new audience for our ideas but “share something meaningful with the world” which necessarily requires pushing beyond classroom walls. We must “mind the gap” between disciplinary specificity and the pragmatic demands of life outside the academy.

Education and Employers

A recent Guardian article lamented the state of economics education. Students and employers are struggling to see the relevance of skills honed in class because theoretical models fail to impress beyond the classroom. “Employers complain that recent economics graduates, while being technically proficient, know very little about the real world. Lacking knowledge about the historical backgrounds, institutional details and political idioms of real-world economies, they end up being idiot savants – they can manipulate most complicated mathematical models but cannot translate their insights into business strategies and economic policies in the real world.” — Ouch!

Disconnect

Here’s another biting critique: “When graduate economists do have something to say about the real-world economy, their advice is incomprehensible to noneconomists – and noneconomists make up almost all their audience.”

How do we Bridge the Gap?

First, educators must educate as if most students will not pursue PhDs (because most don’t). Second, academics must write for non academics. Since tenure is growing ever more elusive, this is practical because it’ll help academics secure jobs beyond the academy. Those scholars seeking to spread messages and educate the public broadly through MOOCs and/or social media (blogs, video blogs, Twitter, Facebook, radio programs, etc.) democratize education and include the global masses by using language that is easily understood. Third, seek professional viability beyond the academy — please.

You’re on your own!

According to the Guardian article, students in Norway were told by professors, their role was to offer “an analytical framework” for the material and students themselves would “have the rest of [their] lives to learn about current affairs.” This is such a cop-out. The aura of elitism is used to obscure poor pedagogy, lack of creativity, or just plain laziness. However, as hierarchies go — “‘pure’ research is more prestigious than applied or policy-relevant research, and research is more important than teaching. So, the more detached from the real world your work is, the higher up in the intellectual hierarchy you are.” Higher Ed is responsible for its own marginality, is doing its part in maintaining the status quo, and is abdicating its responsibility to prepare students for the future.

The Necessity of Mess  

This is no surprise. Our cultural quest for increased efficiencies (think Six Sigma), has led to hyper specialization, the mechanization of human beings, and the devaluation of emotional connections. We seek linear explanations and simple dichotomies to explain complex phenomena. Regarding education in economics, the Guardian writes, “In the past, economics was taught as a series of interrelated debates about competing theories and the different policy recommendations of those theories. Imprecise, even messy, but useful.”

In economics, the most popular reform proposal is “The introduction of mathematical models of complex nonlinear systems – the kinds of models which, at least with hindsight, might have predicted the 2008 financial crisis.” This is great but without practical application, this will be — yet another — theoretical model. Lively debate, interactive class assignments, collaborative projects that involve field work, and actively engaging social media to disseminate and test ideas are just some of the ways that will make the experience of learning economics (and all fields) meaningful and practical. Let’s transfer this pedagogical approach beyond the classroom to the workplace and boardroom.

The swing of things

John Coates wrote a really insightful NYT Sunday Review article, “The Biology of Risk.” In a nutshell, he likes the idea of uncertainty in markets because it teaches us — via practical experience — to be agile and creative. If our bodies are physiologically conditioned to respond to stress such as that caused by volatility; then, reducing change leads to a reduction in our ability to respond effectively to stress. The result? More and more devastating bubbles.

Coates explains, “Under conditions of extreme volatility, such as a crisis, traders, investors and indeed whole companies can freeze up in risk aversion, and this helps push a bear market into a crash.” StressCompanies, however, have no coping mechanism. Fortunately, we have the blues and jazz — cultural coping mechanisms with built-in features like call and response, swing, and improvisation that endow practitioners to manage change confidently and even gracefully.

MurrayAccording to Cultural Historian Albert Murray, “what is ultimately at stake” in a moment of crisis “is morale, which is to say the will to persevere, the disposition to persist and perhaps prevail; and what must be avoided by all means is a failure of nerve.” (Stomping, 10) Seizing up is not an option. Coates notes, “risk aversion” [amongst traders and the like] “occurs at just the wrong time, for these crises are precisely when markets offer the most attractive opportunities…” Indeed, we need people who are agile, who can respond reflexively and creatively to changing conditions. Murray’s explanation of a musical break is relevant to, at least, those working in finance. On dealing with uncertainty, he writes: it’s a matter of “grace under pressure, creativity in an emergency, continuity in the face of disjuncture. It is on the break that you are required to improvise, to do your thing, to establish your identity, to write your signature on the epidermis of actuality which is to say entropy.” (Blue Devils, 95) But you can’t just read Murray’s writing, you have to apply his theories practically and develop a trained, reflexive, response to change. If you want your business to swing, develop cultural competence.

The similarity in thinking expressed in Coates’ 2014 NYT article and Murray’s 1974 nonfiction text belies the 40 year time difference. There’s been a gap between theory and practice for decades, at least. What’s more, the notorious racial segregation in the United States is compounded by the segregation of ideas — science and technology are necessarily divorced from music and culture — and this hurts us all. What we need is an integrated approach to educating; the practical application of Murray’s 40 year old ideas in realms beyond the art and humanities and in forums beyond the traditional classroom and stage. We must mind the gap between theory and practice, bridge it and (perchance) close the skills gap. Educate holistically and move from crash to swing.

 

Jazz and Management in Practice

On Sunday, January 26, 2014, the Jazz Standard Youth Orchestra (JSYO) performed its weekly gig, the jazz brunch at one of New York City’s premier jazz clubs, The Jazz Standard. This week, I was struck by the activity of learning to play a classic jazz tune anew and the leadership lessons contained therein. So, here’s some lessons from the bandstand… aka, “Sunday at the Jazz Standard.”

Guest Artist/New Manager
Guest artists are common at the JSYO. World-class musicians are brought in to diversify the group’s interaction, help generate and realize new ideas; and generally to offer a different creative lens through which to stimulate artistic discovery. In this sense, the sessions are like laboratories where ideas are asserted, tested, refined, and conclusions (however temporary) are reached, generate new lines of inquiry and the cycle of discovery continues. (Will deal with innovation in an upcoming article, stay tuned…)

Talent Identification/Assessment
Like a new manager, a guest artist comes with an understanding of her profession but with incomplete information about the skill set of the team with which she’ll be working and so the approach to realizing her artistic vision in steeped in uncertainty.

The JSYO is an eclectic assortment of students. The kids range in age from roughly 8 – 18; some are in traditional schools, some in performing arts schools; some have played since they were very young, others are in a solidly intermediate stage. I remember Master Drummer Michael Carvin’s words “I don’t teach beginners” when I think of the JSYO bc these kids are decidedly not in the early stages of musical or instrumental discovery. Some students are seasoned performers, the JSYO being but one of several performance groups; others are new to the stage. Some students don’t have regular band in school, others have band class almost daily. Some students know they want to become professional musicians; others have no clear picture of the path their career might take.

Getting Started
So, how and where is a Guest Artist/Manager to start? Here are a few observations from Sunday:

  • Introductions: Let me hear you play (quick assessment of skill, talent, ability). In the non music realm you might inquire about a current, recent, or upcoming project. You might ask about hobbies or what the person finds interesting outside of work because this can help you identify otherwise hidden skills.
  • Call and Response: While the playing/speaking is happening, get into the performers/speaker’s space. Show you are listening by giving feedback, verbal or nonverbal cues to indicate you are engaged. In music you’d snap your fingers, sway to the rhythm, bob your head. In business, you’d offer verbal affirmations, extend the thought and create a brief conversational flow, and/or express appropriate emotion to what’s being described.

Now that you’ve established a rapport with your team, you can move towards getting them to “buy in” to your artistic vision (project, product, strategy, etc.) because the people involved, your stakeholders, feel humanized, validated. Engaged musicians are like engaged employees; and as a recent Bain study indicates, “Engaged employees go the extra mile to deliver. Their enthusiasm rubs off….”

Ted Rubin’s ideas on the Return on Relationship Ted Rubin are valuable here

While in music, this type of interaction is common practice, in business it is not. Residents of the C-Suite know the value of relationships and engagement but according to a recent Bain study, they don’t practice what they preach. Another Bain study found troubling trends as outlined in “The Four Secrets to Employee Engagement.”

In Practice

Olivia Trummer came to work with the kids on Sunday. Hailing from Germany, she’s a pianist and vocalist of note. Known for her original conceptions and use of timing and rhythm, Olivia’s innovative arrangements honor tradition (in both the classical and jazz genres) while being unmistakably modern.

Like many of you, the JSYO kids know “Miles Davis’s” famous “So What” from his classic album, Kind of Blue. Olivia challenged the students to play the familiar song in an unfamiliar time signature (¾). In other words, “do something different, with impact” — innovate.

Oh, it was a rough start replete with fits and starts and lots of giggles and side commentary from the musicians! The sounds were awkward, the attempts to play the tune were alternately frustrating and comedic as the kids struggled — creatively, intellectually — to carry out the assignment. Like marathon runners training for the big race, the kids never played the whole song in the new meter during rehearsal. Instead, they played short sections, reviewed the trickiest parts, and tried out solos individually when the group took breaks. They moved on from the song and rehearsed other tune in the day’s set list.

What just happened?
Olivia trusted the students’ talent. Students “bought in” to Olivia’s vision bc they trusted her to lead them through the song’s complexities. The working relationship congealed around a newly formed bond of trust and students worked to deliver their best efforts to help Olivia realize her vision of the song, a revision of a standard.

Show time
Olivia stood before the band in front of a capacity crowd at the Jazz Standard’s brunch and directed the band for its first ever full performance of her arrangement of “So What.” Miles’ version runs 9 minutes, 22 seconds; Olivia’s version is a full 15 minutes. A trusted leader with full band support; Olivia communicated with the band verbally and nonverbally during the performance — she remained engaged — transmitting cues to guide the band. Micromanaging? Not at all, this was the band’s first time performing the tune in Olivia’s arrangement, her involvement was necessary to offer real-time assessment and tweak accordingly. This way, she can be assured the band is on track and remains focused on the vision.

Through extended solos, Olivia gave the band room to explore its own musical ideas and fine tune its efforts to realize the song in the new time signature. Playing extended solos on “So What” was not only a new challenge for band members but was do-able bc Olivia had assessed individual skills in advance, she knew the band could deliver even in front of a live audience. Soloing allowed band members to integrate the tune into their own voicings, testing the song, and making it their own. Ownership improves outcomes.

Outcome

When the song ended, the audience was delighted — the performance was a success. How do we know? A real-time assessment via soft metrics: audience attention during the performance; applause, head bopping, body movement; follow-up commentary between audience members and musicians; and the interaction between musicians and audience members during and immediately after the performance. Such soft metrics remind us to trust our own judgement of human interaction.

Olivia’s vision was delivered and affirmed. The students demonstrated not only their obvious musical talent but also the creative and intellectual agility necessary to meet the demands of uncertainty. Significantly, they didn’t run from the challenge. (How do we measure “grit, determination, courage?) “One reason for this superior performance is that” musicians like “engaged employees, direct their energy toward the right tasks and outcomes.” The students were focused on the demands of the time signature, playing and creating. (How do we measure focus?)

Teaching workers and students to adapt to uncertainty means moving them away from the familiar even as we rely on it to guide change. The kids, like so many of us, already knew “So What.” In asking the students to play the song differently, Olivia challenged them to be engaged at every moment. They could not rely on autopilot or muscle memory to play the song; the new meter required self-conscious thinking with each note. Being self-conscious and focused for long periods of time requires mental and intellectual stamina . (How do we measure intellectual stamina?) The extended solos required careful articulation, real-time processing of information and consistent self-conscious co-creation, individually, with band members, and Olivia.

Metrics is no easy thing. For far too long, we have been trained to privilege systems of efficiency and have developed metrics for assessing the disparity between the 100% (mechanically impossible) efficiency of work and our efforts. This compounds feelings of inadequacy and undermines our confidence in using human judgement and common sense when assessing situations. Fortunately, our kids are learning to trust in their hard work, face challenges, and manage uncertainty with confidence and courage. Lucky for you, you don’t need to be a kid to swing; you, too, can use jazz as a management tool.

Cultivating Creativity in Classroom, Jazz & in Business

Creativity is not a skill but cultivating it is. As an educator, I facilitate the student’s learning process; identifying, bringing out, and pairing the student’s creativity with whatever “lesson” needs to be mastered. This journey begins with hearing the student’s voice, forming a rapport and developing trust so that the environment is one in which the student can share information and ideas freely. Master Drummer Michael Carvin shared his approach with me in a discussion on Trading Fours. He noted, “I allow [my students] to be free.”

Freedom don’t come easy.

Freedom to deviate from the rules of play must be earned. How do educators figure out how much “freedom’ to give students? By actively engaging students and conducting real-time assessments that let the educator learn what the student brings to the classroom and then determine what needs to be done to move the student in the direction of mastering a given lesson. The educator’s role is to prepare the student for self-guided learning, for self-sufficiency, self-reliance. The assessment process is ongoing, it’s a continuous feedback loop and requires the educator to guide — not dictate — the process. This also means students cannot be passive receivers of information transmitted by the educator. Instead, students and educators are participants in the process of co-creating the learning environment and so owners of the content discovered. The educator’s role is to keep the process on track.

Carvin at the drum set

Pedagogy

Michael Carvin’s pedagogical practices are instructive. He says, “As a teacher, you have to lead that student. As a bandleader you have to lead the guys in the band. The way I decide whose going to be in my band is to ask them to call and song and play it. That way when you hear my band play, you can hear the urgency” of co-creation. Dictating to the student is a signal of the educator’s inadequacy for the task at hand. Carvin notes, “If I have to show you, then I’m not fit to teach you. Then I don’t know what I’m doing. It’s not about me doing it; it’s about you doing it.” In this way, educators develop self-reliant and self-guided learners and simultaneously refine their own pedagogical skills. Carvin’s humorous take on this drives home this point. “You’d be outta your mind to pay some drum teacher to play an hour in a lesson. You’re paying him to practice. What are you learning? Do you go to a restaurant and order steak and have the chef eat it?” He notes, “Some may argue that some people need to be shown. No they don’t. The only time they have to be shown is when you [the educator] can’t articulate it.”

The assumption here is that students enter the learning process, not as beginners, but at an advanced stage. Michael Carvin does not train beginners. This is important to note because the novice must learn the basics, the rules of play, before s/he can articulate, explore, and develop an individual voice. The novice has limited freedom; rules are for beginners or as Jazz Code Founder Carl Stormer notes, “control is for beginners” — and that applies to both the student and educator.

It also applies to businesses

I could replace the word “educator” above with “business leader.” If we demand creativity of our workers and want them to innovate (because we realize this has a direct impact on revenue); then, we must create environments where creativity can flourish. Business Model innovator Karl Burrow of Tokyo-based Karllestone Capital noticed that when he played jazz in his workshops, the energy in the room changed. He explained, “When we were going through the design session, the [clients] picked up the speed, the speed really increased… it really turned the workshop around.” He noticed, “When I put on the music… it really [got] the creative juices flowing and [clients] could really grasp the content.”

Karllestone_image

No surprises here

People like jazz and like talking about the music. Sharing experiences of concerts attended, music collections, and such helps establish a rapport between colleagues, breeding familiarity, and developing trust (in musical taste and judgment, at least). The velocity of work increases, as Karl notes, because the speed picks up; and the ideas shift direction, becoming a complex amalgamation of project or task-specific “work” and creative interplay with music, associated commentary and perhaps some finger snapping, head bopping and foot patting along the way. Work begins to feel like jazz and if the creativity is really flowing, work — like jazz — will swing.

Communication styles can prohibit creativity. Call-and-response isn’t just a necessary component of the blues and foundational element of jazz; it’s a requirement for creativity. Hierarchy and deference can stifle creativity by keeping workers from voicing their ideas. This means, of course, leaders can’t hear new ideas and that cross-pollination of ideas with coworkers cannot occur. Karl Burrow notes that in emerging market economies there is great enthusiasm for workshops on innovation. This is true even in established companies in emerging market economies where Karl notes, the “audience jumps right in at the start” exuding “eagerness, enthusiasm and drive.”

This means a couple of things, including:

  • Hiring competent people who already know the “rules” of play
  • Actively engaging employees, encouraging them to share ideas, opinions, etc.
  • Guiding, not dictating, project completion
  • Fewer rules

Greg Satell’s recent article, “How Jazz Can Transform Business” is instructive. One of the most important takeaways, often hidden in discussions with musicians and business leaders is the need to “practice, practice, practice” because only through repetition can work look like play. While one workshop may lead to welcome breakthroughs, it won’t substantively change the culture any more than one practice session will create a master musician. When success looks easy, it’s because the hard work has become reflexive, rules are submerged, and the practitioner has learned to “play.”

Albert Murray’s Influence Beyond the Blues

Albert Murray was 97 when he passed away in his Harlem apartment on Sunday, August 18, 2013, at 7:30PM. It was a moment those of us closest to him had been expecting and when the moment finally came, the foot soldiers in his command knew just what to do. A series of calls, emails, and text alerts signaled to all — the time had come. Some of us convened in his home to offer comfort to the family; hear his long-time caretaker’s stories of his final moments, watch a VHS of his 50th wedding anniversary, toast the magnitude of the man, and contact the media.

Albert Murray, Jackie Modeste

Albert Murray, Jackie Modeste

 

In the days that followed, there have been many tributes to Murray. I have remained silent; the articles written – when combined – offer a fair assessment of Murray and his work. Fellow Murrayite Paul Devlin shared an article written by Daniel Matlin that motivated me to join the discussion. Matlin gets off to a good start, quoting Henry Louis Gates Jr. in describing Murray as a “militant integrationist” Ahhh yes; that line of thinking will move us in a direction we’ve not yet ventured in re-membering Murray. In his seminal text, The Omni Americans, Murray famously defined American culture as “incontestably mulatto.” (22) Matlin’s historical timeline — his delineation of the riots, their impact, and the shifting discourse from the civil rights issues of the South to the urban blight in the North — is insightful. His deft positioning of the intellectual and philosophical divide between those who laid bare the urban blight of Northern cities and those who celebrated the “creativity and agency of the black poor” is instructive. As Matlin asserts, Murray’s writings often countered “pathologism by adopting a diametrically opposed position that was no less partial and exaggerated, and that tended toward a troubling romanticization of the lives of the black urban poor.”

Indeed. So, let’s begin THAT discussion….

The integrationist ideology advanced in Murray’s nonfiction and depicted fictionally in his Scooter series lacked the overt edginess and violence of the Jim Crow era, the tumultuous Civil Rights era, and subsequent racial strife. As Matlin suggests, Murray’s writing seemed out of touch. This criticism is not without merit. However, there are two aspects about Murray you should know: Albert Murray was an Air Force officer and a man who believed, unwaveringly, in the power of educational excellence. As such, Murray saw a world beyond localized conflict. Instead of harnessing the energy of legitimate resentment or anger towards social and economic injustice and transforming these emotions into more of the same in a “boots-on-the-ground” effort to effect change; Murray employed a strategy that had the potential to change the governing structure of society.

In the culture of so-called black Americans, Murray found the arsenal for revolutionary change — the creative transformation of the blues and the harmonious collaboration of jazz in the form of swing. In the trenches of civil unrest words, ideas, and bodies could become casualties of sectarian fighting. So from his Spyglass tree – the eighth floor of his Harlem apartment – Murray looked down on the rooftops and streets, considered the vast expanse of human endeavor and possibility, and developed a strategy – a cultural coping mechanism – for combating injustice, long term and worldwide.

The Necessity of heroes 

The Scooter Murray created was a storybook hero, an archetype, whose exploits were meant to instruct the masses. If Scooter’s do-good nature seemed to belie the very real dangers of Jim Crow, it was because he saw a world of possibility in spite of the perpetual threats to his mind, body and spirit. Indeed, Scooter was Murray’s “(local) personification of the hope… of mankind.” (Hero and the Blues, 92) Armed with a rich culture, solid education, an inquisitive nature, and steel-rugged determination, Scooter was a “prediction and even a promise” a “warning as well as an inspiration” of the meaningful change to come. (Hero, 92) Those, who like Scooter, wielded razor-sharp intellect and demonstrated intellectual and emotional agility could be central players in societal transformation – not in the streets – but on the level of policy; an effort that required deep integration into new and more complicated environments and the “high grade point average” Murray wrote about so often. (Briarpatch, 20)

JALC Wall: Emilio, Jose, Albert Murray

 

Education & revolutionary change

Murray noted, “Many confuse revolution with rebellion.” (Briarpatch, 18) Murray reminded his readers that the “rebellion part, as rugged as it may get to be from time to time, is only incidental. It is the revolutionary change that counts” and in Murray’s estimation, education would be the key. So, at the 1978 Honors Convocation at Howard University, Murray advised his audience to be “outstanding students.” “What” he asked “could be more subversive in the United States!” (18) Indeed, in light of the privatization of education, the frenzied high-stakes testing, the rising cost of higher education, etc. – Murray’s insights are as timely as ever.

From the particular to the universal 

The dichotomy Matlin creates – castigating or celebrating black American life – is not sufficient for studying Murray. Murray’s writing on the hybrid nature of the blues and jazz and their rightful place in discussions of US identity are key to understanding the vast influence of his thinking. The blues and swing represent the relationship between the particular and universal. For Murray, “the intellectual’s very first step should represent an effort to approach life in universal terms…. To become as cosmopolitan as possible.” Further, he advised, “you reach the universal or the cosmopolitan through the particular.” (Briarpatch, 18)

So what does this mean?

It means by recognizing the individuality expressed through the blues we gain insight into larger group dynamics. The blues with its deep emotion, inherent call-and-response pattern, and ultimate catharsis, acknowledges and affirms humanity. The human desire to connect is revealed through the blues as is the potential to transform, endure and perhaps thrive amidst even the most inhumane circumstances or conditions. Jazz with its polyrhythms, multi instrumentation, and varied configurations represents the complexity of group dynamics. The blues is the common denominator, connecting individuals emotionally. When individuals recognize their shared emotion — when they listen to one another – they can develop empathy for each other. When jazz musicians bend their instrumental sounds to the fragility of the human voice, the wailing, moaning, and longing so often associated with the blues; they acknowledge, integrate, and emulate human emotion and make it part of the group’s consciousness and forward movement. When this is part of swing, it is the ultimate form of cooperation or collaboration because it indicates we’re listening to one another and moving in the same direction.

Writ large, the relationship between the blues and jazz offers insight into community formation, organizational structure, and the possibilities of large-scale collaboration. Championing the blues as a necessary component of jazz acknowledges the myriad contributions of Americans of African descent in the creation of the broader US national identity. It is also a mechanism by which to acknowledge and integrate the historically marginalized and disenfranchised into the broader fabric of American life. By transference, this is a template that can be applied across geopolitical borders because every region, every country has its own blues. Swing represents a coordinated effort. Make no mistake, spreading jazz – especially in the form of swing – whether by musical tours, educational programming, online streaming, etc., is an inherently radical act because it makes people aware of their individual voices and their collective power. This is the connection between jazz and democracy. One need look no further than to the Arab Spring to understand the transformative power of people acknowledging individual suffering, collaborating, and effecting meaningful change. Historian Penny M. Von Eschen insightfully noted, “jazz consistently represented a stealth weapon” during the Cold War – the same is true today. (Satchmo, 28)

 

Beyond the Blues…

And there’s more… When multinational corporations enter into established or emerging market areas, their activities are not unlike that of the musician playing blues-based jazz. The corporate behemoth must bend its “ear” to the streets in order to better know the desires of potential consumers. To better understand the dynamics of crowds? Look no further than a Second Line parade or a jam session. To integrate innovation into business models or company culture? Look to the jazz musician soloing, improvising collectively, or in a small group. Hierarchical organizations in general – corporations, governments, and higher education institutions – pose particular challenges to progress and innovation, the blues and jazz studied as related processes offer insight into how and where to make necessary improvements. Through his writing, Murray projected an “image of man (and of human possibility) that is intrinsically revolutionary. Such an image… is automatically at radical odds with the status quo.” (Hero, 81)

Do Murray’s methods of combat belie the grittiness of the struggle for socio-economic justice? Hardly. Like the military man he was, Murray formulated strategy above the fray (an Air Force officer would) that would take care of us individually but that could serve the cause of socio-economic injustice globally.

My mentor Albert Murray will be memorialized tomorrow, September 10, 2013, at 1PM in the Allen Room at Jazz at Lincoln Center, an organization built in large part on his intellectual framework. We do ourselves a great disservice if we think of Murray as a man who presented simple dichotomies such as – black v. white or “misery and social breakdown” v. “joyful and carefree.” Not only do we miss the breadth and depth of Murray’s thinking and reveal ourselves as poor students of culture with only a tangential understanding of his voluminous writings; we simplify the struggle for socio-economic justice and so become consumed with distractions at the margins of the debates. Honoring Albert Murray requires intellectual integration, moving our thinking from margin to center; being “incontestably mulatto.” After all, we are Omni-Americans.

 

The Gorilla & the Deep Blue (Ocean) Sea

This is a tumultuous time in the US. The Sanford, Florida, trial that let a murderer walk free reinforced various laws designed to protect assailants and insure the silence of targets of violence. In blatant opposition to public discourse, the judge in the case did not allow racial discussion to enter meaningfully into the proceedings. The outcome of the case has been contested in the media and public discontent stands in stark opposition to the court’s ruling indicating a most troubling disconnect between the public and the laws that govern our lives.

Part of a Larger Trend

This disconnect is part of a larger trend. Our human capital is our most valuable asset. We do ourselves a great disservice when we fail to recognize the potential of our diverse US population in bridging obvious gaps in the cultural capital we need to broker multinational deals in emerging market areas. The world is round, brown, young, rural and poor (by Western economic standards). Global access to the market economy is conduced largely via mobile transactions. This is why Facebook, Apple and Google have been in a push to open Internet access and sell cheaper versions of their devices in emerging market areas. It’s no surprise that multinationals see and appreciate this value; potential for new customers is an ocean that is vast and blue. Blue oceans represent continued growth for multinationals, longevity. However, so many of us don’t see similarly; we are not swimmers, we are afraid of the water and of the enormous gorilla sitting at the shore but more on that in a bit…

Population & Income

Neil Ungerleider notes, “tens of millions of American [US] Android and iPhone owners are struggling to make ends meet – and there are even more who are senior citizens, who live in rural areas, lack college or high school degrees…”

Income & Age

Income & Age

These people most closely resemble the billions of people in emerging market areas. Yet, the startup technology sector tends to preach to the choir – creating apps and opportunities for the “suburban/urban, and middle-to-upper class.” Neil insightfully notes, the “technology world is missing out on a lot of innovation” and tech companies are “missing out on potential profits.” Tech companies simply and unimaginatively create for each other and seem content investing in each other’s ideas; splashing around rather merrily in the backyard pool, they are oblivious to the big blue ocean.

The 800lb Gorilla

Diversity is a term that has become cliché and that’s unfortunate because we miss its nuances and so its value. The history of racial heritage bias in the US is so long and deep that it obliterates more complex discussions, such as the conflation of racial heritage and economics. We are left with relatively simplistic discussions of race that not only lack intellectual nuance but also that leave the structures of division unchallenged and so firmly in place, reinforcing socio-economic stagnation. These days and certainly with the re-election of the nation’s first President of African descent, discussions of race and racially realized power are considered outdated or irrelevant.

800lb gorilla

The 800lb gorilla blocking our access to sustained progress is race and its myriad combinations (gender, sexuality, power, etc.). Our efforts to ignore the gorilla are directly proportional to our delusions of grandeur. We simply cannot be effective players on the global stage if we refuse to engage matters of race in a brown world. So when an adult, whose father was a judge and served 10 years at the Pentagon, carries a concealed weapon and murders an unarmed teenager, the presiding judge’s decision to prohibit discussions of race from courtroom proceedings makes good sense – if you don’t think about it.

Youthful Future

In “Killing our Competitive Edge” I lamented the killing of our human capital. That our youth is our future is not simply a cliché; it’s a matter of fact; and, as the population expands, so does the growth of the nonwhite US sector. Likewise, the world’s population is growing steadily, particularly in emerging market regions. Internationally, growth is projected to be most robust in high-fertility countries such as India, Pakistan, Indonesia, and the Philippines. Additionally, the populations of several African nations are expected to increase by at least five fold between 2013 and 2100. Young brown people, those under 25, comprise approximately 40 percent of today’s overall population and the number of people older than 60 is projected to triple by 2100. Despite this, technology companies create for the relatively few moneyed and well educated, seemingly blind to the existence and so the demands of the 800lb gorilla.

So What Gives?

We discuss diversity in terms that eliminate mention of race and so leave race and its related discussions void of complexity and nuance. We dance around the gorilla. In her well-meaning, thoughtful and even insightful article “Innovation Needs a Lingua Franca” (and by the way, that lingua franca? it’s called jazz) Whitney Johnson discusses the benefits of foreign language (Spanish in this case) and travel (to Uruguay) and describes how being on the “margin of culture” and “reaching out into unknown territory” were invaluable personal and professional experiences. Innovation, Johnson “discovers” happens when we put ourselves in “unpleasant” situations because it “opens a space for truly new ideas.”

Indeed, people of color no matter their socio-economic status live at the margins of culture everyday; and at least since W.E.B. DuBois articulated the notion of two-ness in his seminal work, The Souls of Black Folk (1903), we’ve had a language to describe and critique this allegedly newfound condition of being. When, like Whitney, we acknowledge and then disrupt our largely self-imposed segregated communities by daring to venture into realms unknown – like so many native-born, forced and willful immigrants who courageously integrate into “majority” societies the world over – we encourage creativity and position ourselves to “discover” all things anew. Through “two-ness” (three-ness, four-ness…), we discover the complexity that brings with it the benefit of helping us see more of the spectrum of human endeavor, behavior and desire. Through complexity, we build the confidence and the capacity to face the beast (otherwise known as the blues) and move beyond it into the vast blue oceans that await (knowing all the while there will be other predators to face).

Where Do We Go From Here?

When foreign travel and in-country language training become the recommended solutions for experiencing so-called diversity; when technology companies create apps, products and services for those within their own elite communities; when justices silence racial commentary from entering into legal discourse, we feed the gorilla while continuing to deny its existence and so reveal the breadth and depth of our delusions and essentially admit to the world our inability to partner effectively on matters of global consequence. We also perpetuate “otherness” and relegate diversity to a trendy “add-on” experience for the moneyed and well-educated and distance ourselves from the global reality of a growing youthful, brown and non-moneyed population. So when, as Mary Driscoll notes, we discover “major supply-chain disruption” in multinational corporations due to “unforeseen events” the problem is indeed blindness, cultural blindness to “many crucial strategic risks.” Ralph Ellison wrote eloquently on the dangers of these so-called “sleepwalkers” in his 1952 classic, The Invisible Man. Sleepwalkers are ill-prepared to contribute effectively to matters of global significance. I know it’s scary but it’s time to acknowledge the gorilla and call it by name — these are the first steps of change.

SeminArts: cultural education

Cheating is a pervasive in our educational system; ok, yes, and in so many other areas of recent angst such as finance and banking/loans. But for now…

As the US tries to find new ways to emulate the Chinese system of educating, we’d do well to keep in mind the outcome of such efforts. When a sole test is the primary determinant for admission to college – which students are told is mandatory if they are to lead meaningful lives as middle-class citizens – then, we should expect a high incidence of cheating. Sal Bommarito’s suggestion that we teach ethics courses in school is just fine but is inadequate in combating the systemic problem of cheating. We have a cultural problem. Integrity is not learned in one class or even in a series of classes. It is cultivated over time and should be integrated into every aspect of learning, in the classroom and beyond its walls.

There is no way to “cheat” on a musical jury. There is no way to fake your way through an audition for acting, dance, or voice. There is simply no way to hide your inadequacies in sculpting, paining or design. Live performance requires authenticity. Our blind quest to mass produce education via standardized tests administered to swaths of students holed up in testing centers, leaves us ill prepared to identify the fakers in our midst. Artists practice integrity every day.

Matt Schiavenza notes that China’s educational system reflects “ancient Confucian principles” and “places an overwhelming emphasis on “memorization, recitation, and examination.” This makes sense because Confucius is so important in Chinese culture. Shouldn’t we value our own culture? The fierce independent spirit and innovation associated with being American should be at the core of our educational endeavors, impact pedagogy and guide policy decisions. Our obsessive and rather mindless obsession with testing illuminates the very worst parts of US culture; namely, our obsession with consumerism and this undermines our global legitimacy – it always has.

One reason jazz is so often associated with democracy is that the music is egalitarian. This means, anyone who desires to play jazz can participate. French horns, bassoons, saxophones, drums of any sort, Middle Eastern instruments, foot stomping, hand clapping, singing, humming and the like can all be used to perform jazz. The prerequisite for participation is a basic understanding of the instrument you choose to articulate your voice. It seems to me that our system of educating should also be egalitarian and reflect our democracy and culture of innovation.

So, here are some questions to consider: How do we honor our culture through education? Who is important in US culture and what aspects of their importance do we want to model? How might we transfer the best aspects of our culture into our pedagogy? How can we restructure, influence and so reshape our educational policies to be more in line with the richness of our culture? SeminArts and SeminArts LIVE!!! will explore these questions and more. Stay tuned…

Midday Riffs: Don Tapscott, Knowledge & the Suite Life

“A blues riff is a brief musical phrase that is repeated, sometimes with very subtle variations…”

–Albert Murray, Stomping the Blues

Did you know Don Tapscott plays the Hammond B3 organ? Don’s commentary always makes good sense to me because I “hear” where he’s coming from. His ideas on collaboration are applied on the Hammond B3, that’s what music is – applied knowledge.

Watch this 5-minute video of Dan, Making Internal Collaboration Work, on McKinsey’s site. There are a couple of things I really like:

  1. Collaborative decision management: Don says we should think of social media tools – blogging, ideation tools, jams (more on that later), etc. – as the “new operating systems for the 21st century enterprise.” He says, “these are the platforms upon which talent – you can think of talent as the app – works, and performs, and creates capability.”
  2. Knowledge: rather than viewing knowledge as something we should contain once a valued employee (in Don’s example) leaves a firm; we should view knowledge as an “infinite resource.” We should not try to contain it but should use knowledge to collaborate.
  3. Collaborative suites: facilitate the movement of ideas within and across sectors.

Brilliant! But then, Don’s a musician and so he “gets” the notion of working collaboratively.

My take:

1. What I really like about this is that it is user-friendly; it invites participation in the decision-making process.  At every point of integration — where ideas come into contact with one another — there is the opportunity to forge deeper meaning and more complete understanding. You can get to best practices doing this. From novice to expert, ideas are cultivated and expressed. This yields the ultimate “buy in” because everyone’s voice is validated; it’s democracy in action, it’s jazz. Think about jazz as an open platform and the saxophone as a tool. You can give the horn to a novice and the music created will sound a certain way and serve a certain purpose. Now, give the same horn to a virtuoso…

Sonny Rollins performing, “St.Thomas”

2. Containment conjures images of the Cold War and the ideological battle between the United States and Russia as we tried to “contain” the spread of communism. Here’s the thing, democracy “won” by spreading the idea of free and open societies. When knowledge is freed — when it is thought of as an “infinite resource” — it works the same way and for the same reason, collaboration has a multiplier effect. Ideas regenerate and penetrate barriers, both real and perceived.

3. Musical suites are collaborative extended works, divided into sections or themes that are connected by transitions. While each segment could stand alone, it does not; instead, each part is integrated into a unified whole via carefully considered, nuanced transitions. I can imagine Don’s collaborative suites working the same way, connecting related and/or seemingly disparate ideas drawn from different segments of an organization into a unified elaborate whole. The processes developed to do this work help businesses cultivate ideas and create a culture for so doing.

My all-time-favorite suite is Duke Ellington’s, The Queen’s Suite … Here’s the most popular segment, “Single Petal of a Rose” 

…so, now I’m off to think about assessments. Why?

Because if social media is a “platform upon which talent works”; then, we learn can learn much about the nature of work, skills required to perform tasks and efficiencies, and the way in which these skills lead to or support desired outcomes. Lots of transference in the educational sector regarding testing and school, student, and teacher assessments. But for now, check out this video of Jimmy Smith, playing “Back at the Chicken Shack” … I’d love to know the back story on that… and Don, this one’s for you. Keep swingin!

Morning Riffs: Apple & MOOCs

Duke Ellington, “It Don’t Mean a Thing” (1943)

“A blues riff is a brief musical phrase that is repeated, sometimes with very subtle variations…”

— Albert Murray, Stomping the Blues

Apple

As I sat reading Nick Wingfield’s NYT article today lamenting Wednesday’s sharp decline in Apple’s stock and the subsequent quotes from various financial “experts” and investors whose pessimism over the stock decline has turned “once-euphoric investors” into “nervous” (neurotic?) bunch, I want to scream ENOUGH ALREADY! Apple is a solid company and will be for decades to come.

So, here’s my take:

Apple is an enviable company and will remain so. Apple’s move to provide less expensive products signals market expansion, a meaningful effort to reach out to the next billion consumers at a price point they can afford. The United States can be seen as one big beta test. Apple will also save billions on marketing because US consumers – Western consumers in general – have been an impressive sales and marketing force, buying so many Apple products that even when stock slides, revenue remains solid and sales are up. The rest of the world is now convinced that Apple’s products are reliable and superior.

Nick’s assertion that Apple is moving into “cheaper product categories” is instructive and indicates the hyper consumerism and greed that have gotten us into all kinds of trouble (remember the housing bubble and financial fallout?) The pernicious language gives insight into behaviors that have allowed otherwise smart, savvy financial experts and investors to ignore the fact that Apple’s profits remain sizable and that Apple earns profits beyond US borders. The “nervous” twitches are the result of a gluttonous hunger for fast and furious financial gains. Apple’s success should be valued long term. It’s great that Apple’s financial acceleration was dizzying for so long but expecting constant acceleration is shortsighted, at best. For now, I’ll say this: use different metrics to assess Apple’s viability and value. Apple is not a crash-and-burn type of company. Chill.

 

MOOCs

How do we monetize Massive Open Online Courses? That’s the essential problem for higher education. Thanks to the Internet and companies like Apple and Google, we are able to give away course content free of charge. The problem is this: universities rely so heavily on tuition as a source of revenue, that MOOCs totally disrupt and simultaneously fascinate higher ed boards, administrators, and wily investors as they devise ways to generate more money. What do we do? It seems to me that the more we democratize knowledge acquisition via the Internet’s open platform, the more we increase the value of face-time. Here are two ideas, let me know what you think:

  • Change the education delivery model: Roving professors would create dynamic classrooms where professors and/or traveling educational teams move globally from campus to campus – like jazz musicians on the road – delivering global lectures in person. This is also a powerful diplomatic tool that helps integrate students around the globe, putting them in actual — not just virtual — contact with one another and creating opportunities for increased cultural understanding and innovative ideas.  This also has the potential to effectively combat the rising cost of US tuition as – like Apple – we expand our pool of students. Break-out teams can help reach and monetize the next billion students. Creating international campuses on the same stagnant model of delivery is nothing new; same thing, different country. Time for change.
Jonathan Batiste

Jonathan Batiste

  • Change the revenue model: As a knowledge economy, we should place primary value on the transfer of ideas, not the number of butts in a seat.

Steve Jobs and Bill Gates opted out of higher ed. The tuition they might have paid a single university pales in comparison to what they could afford to do as successful businessmen. In the spirit of collaboration via jazz, engage students on a lifetime journey of learning, social responsibility, and associated philanthropy.

Bill Gates

Bill Gates

Steve Jobs

Steve Jobs