Thursday, September 14, 2023
hooks - The Will to Change
Wednesday, September 13, 2023
Edwards - Unmasking: Toward Authentic Masculinity
Unmasking... referenced bell hooks', The Will to Change, which caused me to read it as well, although after reading Keith's book. hooks provided important philosophical background that Keith characterized by saying, "For many centuries and millennia, men as a group, often with many other dominant identities, have been controlling and utilizing political power, scientific discoveries, business development, and more for their benefit" (p. 9). While these systemic conditions have benefited men, "the same patriarchal system granting men these privileges also harms men through the gender expectations it places on them" (p. 10). The purpose and process of Keith's research was to listen and to give his subjects, and men who are reading his book, permission to explore who they were expected to be in comparison to who they really are or wanted to be.
Germain to, and confirmation of, my life experience is that masking has been enforced over time as a way of protecting male privilege while simultaneously putting men in a strait jacket of expectation. Men either conform, uncomfortably accommodate, or resist the masculine images that they hardly notice - unnoticed because the messages are like the air we breathe. Men who conform either naturally or uncomfortably project what they believe are masculine images of dominance in presence and presentation, often including "Breaking the rules... by showing independence from social norms, irreverence for authority, and indifference to the impact on others" (p. 72). Conforming to a rule breaking and uncaring image can be seen in behavior patterns from elementary school on through higher education, contributing to boys and men achieving less in studies and in fact being represented in lower proportion to women by the time they could be entering college. Even in the cases where boys and men do things outside the typical masculine image (e.g., playing piano or violin, painting, dancing, or cooking), the only way to escape derision is to excel in competitive ways, beating one's peers.
Conformity to masculine stereotypes results in harm to others and to self, including oppression of women, hierarchies of masculinity, relationship avoidance, and a general lack of well-being. Perhaps one of the most tragic consequences of masking is what Keith terms as "manestesia," the inability for men to share with and be vulnerable even with good friends. Keith offers numerous insights on identity development, intersectional identities, and the costs and benefits of unmasking. He also offers a way out of masking and moving toward openness to authentic being, which include focusing on the success strategies of 1. Well-being, 2, Strengths, 3. Be grateful, 4. Practice mindfulness and meditation, 5. Be kind, and 6. Foster relationships. Keith's admission that "I am harshest with men who remind me of previous versions of myself..." through "blaming and shaming" (p. 162) was particularly helpful because behind these judgments is the desire to be the good male who doesn't hurt himself or others. The lesson is that standing apart in judgment does little to invite other men into unmasking with you.
For an introduction to Edward's Unmasking, see his interview on Student Affairs Now. Sudent affairs staff are essential to help male students explore issues of identity, especially since enrollment and retention among men has declined in recent years.
Monday, August 07, 2023
The Singing Revolution
I've posted previously about the many benefits of music training and listening. For the Love of Music (Mauceri, 2019) and Experimentalism and Empiricism are examples. Neither of these posts specifically call out music as a revolutionary act although both of them imply the potential.
A good friend, Kathy Beardsley, offered a wonderful travel post from Bob and her exploration of Estonia this last summer in which she referenced "The Singing Revolution." Kathy's dedication to learning from travel and sharing with others is a wonderful example of Traveling with a Critical Perspective, a view I've grown to embrace. The Singing Revolution is a documentary about the role of music as Estonia cast off the USSR's military and attempted cultural control of the Estonian people. This documentary has so many lessons to inform both individual and group leadership. The first lesson is that natural characteristics of groups are often times the most effective in mobilizing shared purpose. In the case of Estonia, singing in groups had long been something that drew them together. The second lesson is that music can symbolize, and often gives voice to, shared yearning that otherwise would remain invisible. An annual gathering of singers while Estonia was still controlled by the USSR turned into a spontaneous realization of the loss of freedom when a single individual road past the assembly flying the outlawed Estonian flag. The third lesson is that joining together in common cause is unstoppable. Once the singing revolution gained momentum, the crowds swelled to as many as 300,000 singers in one event. Although the USSR saw the threat and considered military action, they knew the number of peacefully protesting singers was too great a force.Coincidentally to Kathy's post about the Singing Revolution, we attended a concert at Chicago's Ravinia Festival that was curated by Marin Alsop. The "Breaking Barriers" concert series at Ravinia featured young female composers with the crowd warmly applauding the new, fresh, and innovative artistry of both composers and performing artists. As a follow-up to the concert, the local FM station WFMT interviewed Alsop and her friend and colleague Jude Kelly on "Leadership and Purpose." During the interview, Alsop commented "courage is important in leadership, but accountability is, too." Her belief is that conducting requires a balance for who she's leading, holding them accountable for doing their best, while providing room for all artists to be themselves. Kelly also commented on a British architect she admired who advocated "Always build toward the light" - in other words, always travel towards something that has got hope inside.
The Singing Revolution, Breaking Barriers, and joining together in the exploration of our humanity through music are powerful forces and perhaps unstoppable in many other places than just Estonia.
Saturday, July 22, 2023
Chiaroscuro of Leadership
- "Our community will work toward change that will result in this tragedy being a 'distant and unimaginable past'" - Boulder, Colorado, mayor's statement after mass murder, March 23, 2021.
- "We will lead not by the example of power but by the power of our examples" - Joseph R. Biden Presidential Inaugural Address, January 20, 2021.
- "Muddied water left to stand becomes clear" - non attributable.
- "May your heart be pure and your will firm" - Jamil Karam, Eid greeting, 2021.
- "Hallelujah, anyhow" - Van Jones, Juneteenth coverage, 2023.
- "Faith is not bound by what I don't know but what I do know" - Van Jones' guest during Juneteenth coverage, 2023.
Monday, July 17, 2023
Komives & Owen - A Research Agenda for Leadership Learning
Staying on top of trends and innovations in leadership research can be challenging. The recently released A Research Agenda for Leadership Learning & Development through Higher Education (Komives & Owen (Eds.), 2023) was conceived to help leadership educators and scholars stay up with current and emerging research ideas.
As a contributing co-author with Aoi Yamanaka for the chapter on "International perspectives in leadership learning," I highly recommend the book for several reasons. The first reason is that Komives and Owen are extraordinary in the breadth of their contacts and awareness in leadership research and have used their deep knowledge to inform the entire project. The second reason is the insight gained from the writing process; Komives & Own enlisted all contributing authors in the review and critique of each others' drafts which led to improving the sharpness, integration, and substance of the broader collection of chapters. The third reason is that our chapter (Roberts & Yamanaka) was revelatory in the exploration of truly internationally-informed leadership research and was a cross-cultural and cross-generational project of its own. I deeply enjoyed writing the chapter and hope that readers will embrace our assertion of the importance of "international context" and that it leads to fundamental changes in the way that researchers approach their work.
Traveling with a "critical perspective"
I'm a student affairs "lifer" and can't let go of the calling I accepted to pursue a student affairs in higher education career in 1973 (50+ years ago!). That calling was to contribute to the learning and development of students and colleague faculty and staff and it was a commitment to a critical perspective that involved doing research, applying practice to theory and back to practice, and being reflective in everything I did by writing, presenting, or engaging with others.
My fifty-year career took me to several higher education settings in different states and concluded with work abroad, first in a visiting faculty role in Luxembourg, and second in Qatar where working for Qatar Foundation opened an entirely different world to me. The cumulative impact of career and life experiences calls me to stay current in philosophical and theoretical orientation, regardless of whether or not I'm full-time employed. One of the theoretical lenses I've grown to appreciate and has garnered considerable attention in contemporary writing is John Dugan's "critical perspective."
At this point in my life everything is fused so maybe that is why applying a critical perspective to not only work-related but also life-informing experiences has become paramount. What does that mean for travel? It means that I feel a responsibility to reflect on, and show appreciation for, the places I've been and continue to explore. This commitment has become more urgent for me recently as I view the travels that many are taking around the world. In very interesting ways, "The Case Against Travel" in the New Yorker raises questions similar to my own. Fortunately, Rick Steves offers an alternative in his reflections on life, travel, and cancer. He calls for transformational or pilgrim travel that approaches being in another place or culture as an opportunity to engage with reality rather than escapism.Particularly in the age of social media, and specifically during a time when Facebook has been abandoned by youth and adopted by "boomers" and older Millennials, I've grown very cautious about what I say or post, knowing that negative emotional consequences may be an unintended outcome for some of those who hear or view my updates. The negative impact of being left out or marginalized in youth has been documented but not much is being said about the impact for mid-life and older adults. Every celebration of travel, places I've been or things I've done, has increasingly included consideration for who has the passport, time, resources, and physical ability to engage in international travel. The spirit of why I share, and the inclusive intent of my sharing, has become central in my considerations.
What kinds of travel can be not only enjoyable but have the broader outcome of connecting across culture, understanding history, and examining my own privilege as a white, heterosexual, mainly fully abled, male American? To check my own authenticity, I looked back over my blog of the last eighteen years to see if my view of travel has changed and what types of experiences had the most profound impact. To be sure, a few of my blogposts have been just "been there, done that" but most have included a lot of reflection and appreciation for what I observed. What's interesting about the reflections that began in 2005, accelerated in 2007, and continue to the present is that they started not as tourism but as intentional learning. And the most powerful learning in travel was almost always the result of encounters with cultural informants in settings that were very different from my own life experiences. Realizing this has caused me to perceive a possible answer to a question that Aoi Yamanaka and I recently raised in a chapter on international context in leadership research. We asked what experiences can be most useful in stimulating deeper learning about international leadership? As I reviewed my blogposts, my travel started with seeking to learn and that has shaped all my subsequent experiences, which gradually included increasingly distant and diverse cultures. Perhaps this is an insight about how international travel might be introduced to anyone - before even receiving a passport, how important is it for there to be intentional consideration of "why am I doing this and what do I anticipate being the outcome for myself, my learning, and the way I live in the world?
Some examples of reflection and appreciation in travel using the elements of Dugan's critical perspective taking include: compositional diversity (Who's traveling and who is encountered in travel?); historical legacy of inclusion and exclusion (Whose stories are honored and whose are silenced?); organizational/structural aspects (What do the palatial residences of monarchs and edifices of religious institutions tell us about equity?); behavioral climate (Who is welcomed and given attention?); and, psychological climate (Whose identity and being is celebrated and what does it mean for travelers today?). If these were used in preparing for travel and as a framework for reflecting on what we encounter in travel, I suspect that outcomes of travel might be immeasurably enhanced.
Wednesday, July 12, 2023
Hawken - Drawdown
book is that atmospheric transformation that is descending upon us requires reimagining almost everything we do. But reimagining is not some far-fetched impossible scenario - it is doable and as citizens of the Earth we have a responsibility to act.
Thursday, June 01, 2023
Hamid - The Problem of Democracy
Saturday, February 18, 2023
Genius and Leadership - Mahler, Bernstein, and Tar
Look up "genius" online or, as I first did this morning, in our 1937 Webster's New English dictionary. The online Webster's includes a range of uses for the word including the benign examples of "strong leaning or inclination," a "strongly marked capacity," or "a person endowed with extraordinary mental superiority." The 1937 Webster's starts with reference to persons who have some aspect of deity. I've only personally known two certified geniuses in my lifetime, although I suspect there have been many more. I know that I do not qualify and that I've been intimidated by "genius" in some examples and empowered in others. The fact of it is, genius can count as a result of the privilege we grant those who have it, how it can inspire great things, or how it can destroy relationships, institutions, and governments (remember the declaration of "stable genius?").
Genius is certified in terms of intellectual capability in the IQ test but, based on the definitions available to us, goes far beyond that to the realms of science, business, philosophy, the arts and more. The ability to influence through exceptional insight or creativity and the genius associated with mobilizing people and ideas are beautifully reflected in music. The 2023 Academy award nominations of the movie Tar stimulated me to look more deeply into genius and the musicians who have demonstrated it. I was not a fan of Tar and was relieved when it received no Oscars. Why? I believe it portrays genius and its resulting power in a very bad light, let alone the near slanderous parallels between the movie's main character and Marin Alsop, a noted female conductor who sponsors female musicians and happens to be married to a woman with whom she has children. Lydia Tar's malign grooming and power-wielding mirror what men do in various sectors every day and, other than novelty and a not-so-sensational revelation that sexism and exploitation come in many guises, what motivated the creation of her fictional character? Finally, regardless of the accolades for Cate Blanchett's acting, the scenes where she conducts are abysmal at best. The director should have known how bad Blanchett was and should have done something about it.
Nevertheless, Tar stimulated reflection for me into the references in the script to Alsop, Bernstein, and Mahler. The lineage here is fascinating and it is direct. Mahler was a conducting sensation in the late 19th and early 20th century who garnered rave reviews from the moment he directed Beethoven's 9th by memory in his debut in Vienna. His flamboyance (genius) as a conductor was controversial enough, and rising anti-Semitism incendiary enough, for Mahler to leave Vienna for a respite period of conducting in the U.S.A. He returned to Vienna in 1911 and died at the age of only 51. Mahler's compositions were not as popular as his conducting during his lifetime but were retained through proteges such as Bruno Walter and revived substantially by Leonard Bernstein in the 1960s.
What is this lineage about and what does the choice of the music at the center of the film imply? The choice of Mahler's Symphony #5 and the Adagietto movement are likely indicative of the struggle between artistic death and life for Lydia Tar and perhaps even her struggle with relationships. But maybe there's more. Interpretations of the ending of Tar indicate that perhaps the puzzle image that appears repeatedly conveys that there is a puzzle that the director never intended to reveal. A protege of Leonard Bernstein, John Mauceri, author of For the Love of Music, was the music advisor for "Tar" and surely knew all of the details about Bernstein's affinity to Mahler in general and the 5th Symphony in particular. On the broader topic of music, Mauceri would likely have wanted viewers of Tar to connect with and feel the Mahler #5 and he would also have wanted each individual to discern their own interpretations of what they heard.
My study of musicologists' view of the 5th is that it was the point at which Mahler turned away from "programs" in his music to the broader philosophical questions that he pursued for the rest of his compositions. The 5th itself reflects a massive pivot from the funeral march at the beginning, to searching and yearning in the 2nd and 3rd movements, to finding and professing his love for Alma in the Adagietto, and finally to the triumph and ecstatic celebration in the final movement. The Adagietto is perplexing in itself because it includes moments of lush romanticism but also includes anguish, exaggerated by repeated appoggiaturas, perhaps a reflection of the ambivalence in the troubled relationship Gustav was to have with his malevolent muse, Alma. The anguish of the Adagietto might also be understood by considering the thematic quotations in Mahler's Ruckert Lieder, Ich bin der Welt abhanden gekommen'. This particular text and Mahler's setting of it is about the deep satisfaction found in solitude, especially of a type that births creation. Might Mahler have been declaring the need for solitude while simultaneously yearning for the connective ecstacy that love provides?
Returning to the idea of genius, Mahler and Bernstein reflect the height of genius, if for no other reason than their prominence in public notoriety and recognition, partially recognized in their own time but more substantially after their deaths. Mahler and Bernstein struggled with demons that likely drove them to offer their creative best and they both attempted to engage with others as they did. They both had impact in their own times as they exercised artistic and human leadership. I believe that the fictional Lydia Tar, with humble background who was drawn to Bernstein's genius, sought to advance herself rather than truly to advance art and the human spirit. After all, the beginning and conclusion of the film are about Lydia's work with publishers on her autobiography, Tar on Tar. Perhaps Lydia Tar began with a commitment to her art but became captivated by her own advancement, abused power in the process, and these brought her cataclysmic downfall. For me, the Mahler #5 was symbolic of the demons with which Lydia Tar struggled and the Adagietto represented the see-saw of ecstatic love and anguish over love that could not be satiated as long as Lydia was unable to be true to herself.
True genius in leadership is about something beyond oneself and, if it is not, the dark and deep spiral of destruction that was Lydia Tar's life will be the end that one is likely to meet. This is the transcending message I take from Tar; for all the flaws in the story and the acting, this is a crucial message to take away about genius and leadership.
Monday, February 06, 2023
Jamail & Rushworth (Eds.) - We are the Middle of Forever: Indigenous Voices from Turtle Island on the Changing Earth
Monday, November 07, 2022
Tomes - The Piano - A History of 100 Pieces
“The concert pianist is part of an intense triangle between composer, performer, and listener. Take away the audience, however, and the pianist playing alone at home is still part of an intense conversation with the composer… Composer and pianist may never meet, or even live in the same historical era, but their hopes are invested in one another. That is a rewarding relationship which for many pianists is one of the most enduring in their lives.”
What does this have to do with leadership? Deeper leadership strives to create something of shared value and benefit and the greatest hope a leader has is that there will be some lasting impact, or legacy. Music is one of the most profound metaphors for, and examples of, deeper leadership because the listener, or indeed the musician performing, has complete choice as to whether they will engage. Only if stuck in an elevator for a few minutes listening to corporate mood music are we forced to listen. The rest of what we hear or play is choice. Thus, the composer knows that to communicate s/he must create something that is either so pleasurable that we want to hear it or a message so compelling that we can’t not hear it.
Susan Tomes’ The Piano – A History in 100 Pieces (2021/22) covers two hundred years of piano music. Readers who will most enjoy the book have played, or at least heard, a breadth of compositions across this repertoire. I was delighted that many of the pieces that I regularly play were referenced and further explained by her.
The keyboards that pre-dated the piano (piano forte) were strung and played in very different ways – plucking a string by depressing a key rather than a hammer striking a string (this is why the piano is classified as a percussion instrument). The shift to hammered piano resulted in much greater range in volume, the ability to sustain the ringing of a string, as well as more complicated compositions in general. It is for this reason that I mostly play compositions from the Classical era forward and I favor Romantic, late Romantic, and early 20th century music.
Beethoven (1770-1827) dominated both playing and composing in the early 19th century. Although of common birth he declared “’My nobility is here and here,’ striking his head and his heart” (locator 1016). This view took the status of musicians to a new level, equating it with the inherited privilege by birth granted to the titled nobility of the day. The nobility of Beethoven’s music includes simplicity as well as improvisations that border on “controlled hysteria” (locator 1091). One of his compositions, the “Moonlight Sonata” moves from a quiet, somber, and controlled movement to one of exuberance and then a last movement of frantic runs at a tempo that some might consider hysterical. Chopin (1810-1849) was a prolific composer focusing almost entirely on the piano with 200+ compositions for solo piano. These vary across pieces that can be played by a novice all the way up to some of the most challenging pieces in the piano repertoire. Some of my most pleasurable moments at the piano are with Chopin’s Nocturnes, the Fantasie-Impromptu, and the Etude in E.
Early 20th century music is really my home and is the period of music I most often play on a daily basis. Each of the following composers capture the evolution of musical ideas over time and culture. Norwegian pianist and composer Edvard Grieg (1843-1907) incorporated folk tunes into his only piano concerto, one of the most loved of the repertoire. Grieg and Jean Sibelius (1865-1957) were part of a Scandinavian movement that celebrated nature and revived mythical stories to help shape the national identities of Norway and Finland. The melodic lines in Gabriel Faure’s (1845-1924) music often incorporated mediaeval purity, inspiring his students to include graceful lines into the emerging “Impressionism” common among French composers. Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) incorporated Faure’s purity of melody as they explored greater complexity, often informed by the precision of math in both melody and harmonic tone. Ravel even incorporated American jazz elements after he fell in love with the complex chords and “blue notes” prominently used by George Gershwin (1898-1937) and jazz greats such as Duke Ellington. Russian Romanticism reached its peak in Sergei Rachmaninoff’s (1873-1943) compositions, with the chromaticism that is so evident in “Impressionism” creating some of the most beautiful melodies ever written. Rachmaninoff’s permanent departure after the Russian Revolution likely increased his influence in Europe and in America where lush melodies in movie themes became the vogue of the 1930s and 40s.
Tomes laments in her concluding chapter that “Many people now get their exposure to classical music through film and television” (locator 5565) or in stadium concerts of popular performers. On the positive side she goes on to say that “piano music is in a phase of democratisation, opening itself to influences and philosophies which have particular meaning for our era” (locator 5648), a trend that proves that all music, and especially piano music, must incorporate a wide range of ideas and influences. In essence, this range reflects a collective human treasure that is constantly changing, modulating, and incorporating new cultures and ideas. Music in general, and piano repertoire in particular, personify leadership as we have now come to understand it in the 21st century – an interpersonal encounter that seeks to engage others, and through building relationships, seeks to honor various human experiences and conditions in creating a more understandable, connected and beautiful world.
Tuesday, September 06, 2022
Reyes - The Purpose Gap
I have written about purpose and calling in life and I admit that I never realized the privilege bias in my own thinking - I wrote as if all one must do is discern purpose, continually hone it for good, develop the capacity to act on it, and stay the course. No, calling to vocation is not available to all people in the same ways and Reyes' writing helped me to understand how I missed the mark on this. The "purpose gap" is proposed as both an individual and community concern for only in a supportive community can everyone discover their potential, with "everyone" being key. Reyes is not talking about individual and exceptional stars who break the bonds of racism. His analysis is about systemic conditions that are deliberately designed to hold entire groups of people back, and these conditions will not change without dramatic transformation.
As a youth raised in a Latinx community in California, Reyes asserts "purpose is defined, stolen, or withheld before we ever enter the world" (p. 2) prohibiting youth from achieving what they were born to do. The barriers are erected by the "inheritors of wealth" who also guard the bridges to opportunity that would otherwise be available. Reyes indicates that some of the barriers include internalized racism and imposter syndrome, but the greatest challenge is the lack of resources to pursue one's purpose. Grounded in his faith perspective, Reyes soberly recognized that we live in a society that decided who it could and would love and that "parents of color must teach our children they are loved despite a world that is not doing its best" (p. 24). Reyes goes on to say that to assume that the "American Dream" is achievable for all is nothing bot colonial piety.
The Purpose Gap admonishes those in Black and Brown communities to begin the journey by rewriting and retelling their story of purpose, drawing on the wisdom of their ancestors. He takes on Joseph Campbell's "hero's journey" by declaring it as a linear and individual story that denies the reality of minoritized communities. Instead, Reyes says, "I reserve my vocation, my life, and my purpose for my community. For my community first called me to life when the world tried to take it" (p. 46). In order to redefine the space of calling, design thinking could be used to answer four questions: What is? What if? What wows? and, What works? Design justice emerges from these questions by guaranteeing the distribution of shared benefits and burdens among various groups and peoples.
Reyes identifies community centers, libraries, parks and extended family networks as places that foster meaning and purpose for minoritized groups. Referencing the importance of faith organizations, he says that "The church not only has a call, vocation, and purpose. More importantly, it has the means and power to act on its purpose" (p. 62) and has a special responsibility in closing the purpose gap. To do this, the church must move from recognizing that stars exist to seeing that they must exist in constellations - places where the conditions for purpose and success are available to all. In these constellation places, leadership is also different. Instead of an individual act, leadership comes from tireless learners, pursuing "new angles, perspectives, viewpoints, and wisdom with excessive curiosity" (p. 109). Leadership must also foster specialists, those with wisdom and salient knowledge (e.g., intuition), and spirit workers to activate and sustain a community where constellations of stars are possible. On this final point, Reyes notes, "Closing the purpose gap is not just about changing the material world. It requires us to connect with and find healing with the spirits that guide our journey" (p. 166). In another passage he advocates hope in this work by saying, "I do want to say to this broken world, 'I see your violence, and I will raise you hope and love'" (p. 174).
In closing, Reyes offered three practices to help close the purpose gap for individuals and communities: 1) tell a new story, 2) design for purpose on our terms, and 3) know that it's about today!
Monday, September 05, 2022
Bremmer - The Power of Crisis
Wednesday, July 27, 2022
Herman - The Viking Heart
Friday, July 22, 2022
Popelka - Experience, Inc.
Experience, Inc. (Popelka, 2022) is relevant to all types of organizations, although the author is coming from over 25 years as a technology executive. Think schools, not-for-profits, community, churches, and for-profit businesses. None can escape the reality of 2022, a time when post-pandemic recovery is underway but with the new twist of employees being empowered to demand better compensation and working conditions. Even organizations that rely on volunteers would do well to heed Popelka’s advice; perhaps these settings require even greater focus on experience – the experience of being involved, contributing, and spending time in ways that bring meaning to one’s life.
· Purpose: to find meaning in their work
· Agency: to have some say over how, when, and where they work
· Belonging: to feel part of a community, even if they are remote, freelance, or part-time; to be part of a diverse community.
· Recognition: to be acknowledged for their contributions, in multiple forms, on a regular basis (p. 12).
It's not about simply going through the motions of employee responsiveness. These conditions must be based on a sincere belief in people and in their desire to both advance themselves and contribute to something greater than themselves.
Agency and autonomy are core to ongoing growth and innovation and, therefore, deserve special attention. Popelka references Dr. Autumn Krauss to explain the primary challenge – “Marketing has got it all segmented down to a sample size of one… we shouldn’t be surprised that employees come to work wanting an individualized experience, specifically catered to them” (p. 54). Agency allows workers to figure out what is important to them and propose ways to achieve what they most want. Agency and autonomy require cultivation, especially among new members of any community. When you’re new, the inclination is to go along with what you believe is expected which tends to disempower. Helping newcomers identify their vision for themselves and how they will contribute may involve ambiguity that is initially challenging but it ultimately contributes to much greater involvement and satisfaction.
Leadership is obviously very important when attempting to create better workplaces or more engaging communities. And the most important responsibilities of contemporary leadership are:
· Driving clarity of purpose
· Creating connection
· Requiring transparency and building trust
It’s not about charisma or power – it’s about the people and leading in ways that engage them.
Popelka’s book is easy to read, provides numerous examples, and offers “Take this with you” boxes at the end of each chapter to remind the reader of key points. Near the end of Experience, Inc. she offers the bold statement “Perhaps my single greatest motivation for writing this book is to argue that what is good for the company can never again be separated from what is good for its workers” (p. 196). Rephrase this for any organization – what is good for the collective can never again be separated from what is good for those who contribute to it. Purpose, a sense of belonging, and recognition of value naturally foster greater productivity.













