Organising as performance art
I want to write about two
sublime examples of human beings at the peak of their abilities - individually
and collectively. They know why they
are doing what they do, pour joy and
passion into how they do it, and
attract undying and enduring loyalty from their devotees as a result. They are
at the pinnacle of human achievement, never failing to enthral us each time
they perform. The secret to their success is the insight that organising (of
any kind) is a performance art and that risk is an integral part of that...
Then I want to pose the
question: How can our business and
government organisations be more like that - where dedicated allegiance to a higher
purpose, liberated by mutual respect, trust and precision, takes us beyond what
we thought humanly possible into an amplifying spiral of abundant value?
Mozart's gift was to write
music that is perfection in its simplicity - astonishing at the level of craft,
yet embracing a certain inevitability in its surface unfolding. Take any piece by
this composer and listen to it performed by the Australian Chamber Orchestra -
one of the most critically acclaimed ensembles in the world. In each intricate
sound architecture there is not one note too many, nor one too few. Change a
harmony and the work will be diminished. Displace a single phrase and the whole
structure may fall. Yet the true genius of the man, if contemporary accounts
hold credence, is that he wrote down such exquisite music as if it were already
complete in his head. In effect Mozart composed the entire architecture of
sound events, dynamics and relationships prior to committing it to paper.
What is even more
extraordinary, from an organisational perspective, is that the tiniest and most
subtle alterations in expression, including spontaneous nuances of tuning, timbre,
tempo and dynamics, can be accommodated within the score, allowing Richard
Tognetti and his players in the Australian Chamber Orchestra, to add their own vitality
to the music with no loss of authenticity. We still hear it as Mozart. This is
an astonishing example of creative synergy at work in spite of a 300 year gap
between invention and realisation.
A Ferrari Scudera Formula 1 racing
car is similarly engineered for perfection. Using sophisticated computer
modelling, carbon composites and instant recalibration, each car is fabricated
to be as fast and as agile as possible, within an established set of rules from
which the team must not deviate, in pursuit of a ruthlessly self-evident goal.
Here impulsiveness and unplanned
interpretations are excluded. There is no room for error when a pit stop, involving
the fitting of four new tyres and a meticulous refuelling, can take less than 3
seconds when there are competitors trying to exit the pit lane ahead of you.
How is that possible? The answer is precision. Every aspect of the car's
performance, every component from chassis, tyres and engine to aerodynamics and
transmission, plus every facet of a team working harmoniously as one, must combine
in a performance that is as near flawless as humanly possible, from beginning
to end.
Most company Boards would
like to believe their staff capable of working together in ways where well-rehearsed
practices lead to inspiring results and legions of loyal customers. Most would
yearn for the impeccable speed, agility and synchronicity achieved by Ferrari's
motor racing team. And many would give anything for the joyous vitality and inventive culture of the ACO.
But what would this take in
practical terms? Is it simply too fanciful a proposition to be considered in
the cut-and-thrust world of business? Certainly not. There are no industries
more competitive than motor racing or the arts. Is there wisdom in these two
examples that could be applied to the benefit of almost any enterprise? Undoubtedly.
More pertinently, if that is the case, what are the most crucial lessons, and how
might we use them to create organisations that verge on optimum effectiveness,
are exciting places to be, and that generate socially beneficial, culturally
desirable and economically efficient outcomes for many?
We could start by noting a
significant divergence between the two examples, differences that are often
ignored, glossed over, or misunderstood by executives who use sporting or
musical metaphors without a great deal of thought as to their relevance in a
particular situation.
Mozart's music is a complex
adaptive system. Its genesis arose from a creative impulse over 300 years ago
that continues to morph over time. Here is a dynamic system within which an
infinite variety of purposes co-exist and require aligning, where there is zero
organisational redundancy, and where many tiny, spontaneous, nuances can be incorporated
in real-time without any loss of effectiveness. Indeed these tiny changes may enhance
the overall performance without in any way, shape or form, detracting from the embedded
aesthetic structure. These changes can even intensify our experience of the
piece. In live concert music there can never be a performance which exactly
replicates another. Actually that is the point. Generally speaking artists embrace
spontaneity and shun predictability.
The Ferrari racing team is
also a complex adaptive system of a different kind. Here there can be no unintended
variety. Surprises introduce unacceptable risks and hazards. Instead predictability
is deliberately sought and variation, of any kind, is the enemy. There is a
single dominant goal - to finish the race intact, quickly, and faster than the
other cars. To that end each element must fit perfectly into the overall schema
in ways that support two individuals - Fernando Alonso and Felipe Massa - by
giving them the best possible chance of achieving the desired result. Meanwhile
repetitive practice is considered to be the most effective means for enabling
the team to function as a single, finely-tuned unit.
So what lessons can be learned
and applied from these examples? How can we re-envisage the task of organising
in ways that aspire to create systemic vitality and viability as a platform to launch
enterprise brilliance? There are fundamentally two strategic leverage points
within human systems that can alter energetics in ways that lead to improved
performance and outcomes. They are (i) designing the whole enterprise,
including its teleology, for abundance, and (ii) configuring people, ideas and
relationships, to consciously unleash entrepreneurial energy. Liberated people
are the alchemy of change.
Designing
for Abundance
There are several aspects of resilient
design worthy of reflection. Most importantly for those who work in business is
the need to comprehend that many of the factors which constrain business
excellence are precisely those used to liberate it in other domains. Here are
the most notable of these factors translated into corporate terms:
1. Take the business ecosystem
into account
Most executives are taught to
focus just on their part of the business. Many can not even entertain a
whole-of-enterprise mindset so fixated are they on improving their own patch.
In this day and age such conventions are genuinely perilous.
Instead of always trying to
optimise enterprise revenue, profits, value and productivity, efforts that almost
invariably lead to unacceptable trade-offs at the expense of some other parties
- particularly staff and customers - the business ecosystem, of which any enterprise
is just one part, must also be considered by all those in strategic roles.
Indeed envisaging the business ecosystem as it is supposed to function (in
other words its ideal state) should
be a daily practice for every strategic mind within the business. Without this knowledge,
regularly updated, people will act unilaterally and blindly, market
opportunities may be missed, operational risks will escalate and even the most
resilient strategy will start to unravel.
But for this ideal state to be apparent, some kind of
visual depiction of the system, in conjunction with a simple narrative
explaining why specific performance
outputs are desired, is vital. Many business organisations believe ensuring
process capability will result in effective organisational performance. It will
not. There are two reasons. Firstly, processes that are optimal in closed environments,
can cause unforseen tensions and even functional crashes when interacting with
other optimal processes in the broader ecosystem. Secondly, focusing purely on
process detracts from a deeper understanding of an enterprise's unique role in
the broader community and this, too, will constrain performance. It is the interface
(of relationships, alignments and flows) between processes that matter, as well
as how these blend to generate shared value.
This is a simple fact of life and yet it is mostly ignored. The moral is to
understand and embed your higher purpose in the business. Always start with this
design in mind - just as Mozart did during his lifetime and just as Ferrari
team manager Stefano Domenicali does today.
2. Viability before excellence
An organisation must be
viable before it can excel. Viability infuses an enterprise with the potential
for brilliance. Comprising both strategic and operational clarity constantly
revitalised by relevant system-wide information, processed and conveyed in
real-time among its members, a viable enterprise works seamlessly and silently to
achieve its espoused purpose. Free flows of strategic intelligence across the
enterprise are vital.
Without it members of the enterprise may well act in ways
that are undesirable. If the string section of the orchestra is playing
Mozart's Piano Concerto No: 23 and the wind section is playing Concerto No: 24
the result will be an excruciating cacophony - although the individual playing
may still be technically true in both instances. It is only information
provided by the Manager of the orchestra that prevents such silly occurrences. Yet
this kind of absurdity occurs in companies all of the time when the higher
level purpose, roles and activities are not made abundantly clear. The lesson is
to ensure viability through assuring economies
of flow and an environment that is transparent rather than closed to such
information.
3. Improving productivity
can be misguided
Attempting to maximise the
productivity of the workforce in orchestras and racing teams, or indeed in any
service-based enterprise, can backfire. In organisational systems there are two
levers that can lead to improvement. The first focuses on identifying and then developing
those capabilities, inherent or to be acquired, that are likely to bring
success. The second attends to, or removes, any factors (sometimes referred to
as system constraints) that are resulting in failure or poor performance.
Both of these levers require a
profound knowledge of the system - a detailed forensic diagnosis, including why
the system functions as it does - before actions aimed at improving
productivity can be successfully implemented. This is especially the case when a
few minor modifications are proposed.
As circumstances and external
conditions are fluid and demand constant adjustment and recalibration, the foundations
for performance excellence, especially continuity and viability, must be
achieved and sustained in other ways. In the Ferrari team each member is
responsible for a specific set of tasks and outcomes. In order to achieve these
outcomes the team comprises exactly the right number of people; each of them a
single point of accountability. This clarity of task removes indecision and
uncertainty, particularly in moments of danger, while enhancing consistency.
The lesson is to approach
strategic design from a whole-of-system altitude and to focus on what
practically matters - not on abstractions, invalid assumptions, or theories.
People are the alchemy of change
Highly-committed,
highly-skilled, smart and talented people, working together at the very edge of
their capability and potential, are essential for peak systemic performance and
for the transformation of any business. Depending upon the requirements of the
score, an orchestra comprises just the right number of professional musicians
with the requisite degree of innate talent and honed skills. The Ferrari team,
too, will have not one person too many, nor too few, for that would put the
entire operation in jeopardy. In any human enterprise there are a few critical
imperatives to keep in mind:
1. We rarely exceed our own
expectations
Putting a cap on what might
be possible, by setting targets or insisting on a particular course of action (excluding
unethical conduct of course) does not work well in the context of striving for
excellence. It can even make life more dangerous than it needs to be in when
imposed on a Ferrari racing team. This is why an expression of what is possible must remain forever open
and fluid; while an explicit covenant of what
is not acceptable must be evident and actively enforced. Only then can we surprise
ourselves and others by lifting performance to unthinkable levels, taking us
beyond what was previously thought possible. The lesson is to unshackle team
potential rather than stifling it.
2. Individual contributions
matter
Mozart's music remains an
idea on paper until it is brought to life by the 18 musicians who are the Australian
Chamber Orchestra. Likewise, a Ferrari race car can be seen as an impeccable
combination of engineering know-how and competitive aesthetics. But it must be
driven to its limits in order to realise the intentions underlying its design.
Assuming an organisation has
the most appropriate talent available to it - smart, self-motivated, willing to
learn, collaborate and adapt - people must be given the means whereby they can
excel. Often this entails removing a raft of rules and regulations that are
superfluous and can stifle innovation, without putting at risk the viability of
the whole. It also means ensuring just the right number of people are working
in the business on just the right activities. No more and no less. This is the
enabling energy we call leadership. It is the role of Richard Tognetti in the
Australian Chamber Orchestra, Stefano Domenicali in Ferrari, and the directors in
any business enterprise.
3. Practice and rehearsal are
essential
Individual skills and
collective proficiency must remain in an advanced state of vibrancy in order to
achieve excellence while avoiding potential hazards. Although esteem and self-confidence
must never be allowed to falter, hubris must not take over. It is the
ever-present comprehension that a small error can lead to catastrophe that
keeps performers on their toes, to the extent that their attentiveness does not
lapse, even for one moment. The lesson is the need to gradually raise the
stakes by increasing performance expectations over time so as to avoid drift, disinterest and demotivation.
4. Variation is always
present
In the context of
provisioning for system improvement, variation is always going to be an issue. As
we have noted in our two examples, variation differs in type and impact.
Encouraged at some level within the orchestra, it cannot be tolerated in
Formula 1 racing. The tendency in business organisations is to adopt practices
that ignore the variation inherent in the demand for services and to usher in
excessive controls instead. Unfortunately this has the reverse effect of what
is intended. Forcing workers to meet a range of non-critical standards leads to
them using their ingenuity to meet the standards - which is not the same as
fulfilling customer needs.
Where operational control is put
entirely in the hands of managers - the conductor in the case of the ACO -
creativity will stall while performance will become stale and second-rate. The
lesson is to avoid codifying method. Reinforcing management control over a
talented team is discouraging and invariably dampens performance. It also leads
every team member with a hammer to see every problem as a nail.
Co-incidentally the same lesson
applies to fools who use tools that are entirely unsuitable for the task in
hand - like the widespread use of "lean manufacturing" tools in
service organisations where "waste" is not the same as in
manufacturing environments, and where duplication - undesirable in manufacturing
- can be a vital part of fulfilling customer needs in a service enterprise. The
questions we should ask in these situations are: Who invented this tool? What problem were they trying to solve? Do we
have the same problem here?
On
time and timing
In addition to the lessons we
can learn from companies like Ferrari and the ACO, both of whom organise themselves
in ways that enable optimal performance, two important elements I have not yet
mentioned have to do with time (and timing) and design philosophy.
It is pretty obvious that
both the Australian Chamber Orchestra and Ferrari Scudera are acutely aware of
time and how they can use it to their advantage, in a variety of ways, but invariably
matched to the conditions in which they are operating from one moment to the
next. It is the essence of their business after all. They know that planning
requires a far more measured tempo than preparation. Practice takes that up a
gear. But performance is on a different plane altogether. For when the lights flash
green, or the baton descends in the spotlight, the situation becomes electric.
Everyone is on edge as time blurs and the ordinary is transformed into the
extraordinary.
Neither the race nor the
concert can go on indefinitely of course. If our life lacks variety, particularly
if we constantly work in performance mode, with all the tensions, physical
stresses and high levels of concentration that entails, we quickly become worn-out
through exhaustion. Such a frenetic pace is impossible to sustain for lengthy
periods.
The opposite is also
enervating. Contrary to conventional wisdom, many organisations suffer from change fatigue not because of the speed
of change per se but because of frequent
changes in direction or management whims, and the feelings of futility and tedium
arising from these.
Changing the timing and pace
of various activities helps to sustain high levels of performance. Bursts of
concentrated activity can trigger innovation while providing a degree of focus
that companies who insist on regulated, undeviating routines can never
experience. Anticipation, too, is a great motivator. Indeed in some cases,
anticipating an event can be more pleasurable than the event itself. Knowing
that, why do so many organisations remove all sense of anticipation from their
consciousness of time and timing?
The capacity to mix up the
pace of change is often missing in organisations that insist on adhering to
old-fashioned management controls as their rationale for managing risk. This is
sad, not just because our conscious use of time is the epitome of artistic and
sporting endeavour, and therefore one of the pinnacles of human achievement, but
because shrewd timing can sharpen attention, increase morale, and sustain high
levels of performance for indefinite periods.