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Archive for the ‘Tin Drum’ Category

Greetings to you, your friends and your family! Hope you are doing well. It’s about four months already since I started my long-term sabbatical as Petervan Productions.

lucian-freud

Lucian Freud Working at Night, 2005
Photo by David Dawson/ Private Collection

 

A quick update:

  • Artschool continued at +/- 9 hours per week practice in the art studio of the art academy. Getting nudged by my coach to do more focused image analysis, and be more concentrated and relaxed. Pretty happy of these two recent paintings.

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The Containers” and “The Drama” – Petervan artwork
Acryl on cotton canvas stitched on wooden board – 122 x 82 cm
  • During Jan/Feb 2017, I spent some significant time writing the script for the performance “Tin Drum Is Back” (see details below).
  • I visited some great art exhibitions and had some very pleasant conversations with art curators.
  • I am still reading and making plenty of notes that may end up in some blog post or essay soon.

A couple of updates on the performance

tin-drum-design-brief

Imagery from Günter Grass film “The Tin Drum”
Used as part of the briefing for designers

What is it?

  • A 45 min “one-man” trans-media show and experience, possibly in episodes
  • With only authentic, original and self-crafted visual artworks, soundscapes, poetry, and staging
  • High quality end to end production from invitation till post event
  • Showcase for 21st century corporate narrative to enable deep change

What is the narrative about?

  • A journey through maturity levels of change agents
  • Discovering the unexplored talents ànd barriers for real change
  • Delivered as a number of vignettes for different change agent archetypes
  • Each vignette has a “what is/could be” stage, going deeper and deeper into the change agent persona, making the change agent more vulnerable, but also more open for high quality connection
  • The ambition is to resonate with the audience at an aesthetic non-cognitive quality, to make deep connections, and sending an invitation to create deep change together

What’s next for the performance?

  • Funding and sponsoring (sponsor deck available upon request)
  • Overall sensory identity (detailed designer briefing ready)
  • Build, iterate and dry-run the performance
  • Location scouting for the performance
  • There is a load of material ready to move into produce now, but it’s going to take more time to get this funded and delivered with the high production quality standards envisaged from the start.
  • The performance “Tin Drum Is Back” is now targeted for end June

 

la-fabrica

Scouting - La Fabricà – Refurbished cement factory by Ricardo Bofill

Petervan Productions ambition update:

I have fine-tuned a bit the ambition of Petervan Productions from “to architect and create high quality feedback loops to enable immersive learning experiences and deep change” into “to architect and cultivate high quality feedback flows to enable immersive learning expeditions and deep humanistic change”.

That may feel like semantic detail, but I think it is not. It is the result of an iterative process:

  • Scripting the performance “Tin Drum Is Back” has been somewhat cathartic in the sense it is a further reflection on where I come from, where I am, what I am meant to be. It makes me think deeply about what is the essence of Petervan and Petervan Productions. The performance feeds back into the ambitions of Productions and the other way around.
  • I feel grateful for some high quality conversations on “deep change” with a private collective of thinkers, experts, artists, designers, and curators during Jan and Feb 2017. Those discussions may lead into some body of work articulating what we mean with “deep change” and what are the levers and accelerators to make that sort of change happen in organizations of all kinds and sizes.
  • I was deeply influenced by Jean Russells latest book “Cultivating Flows. How Ideas Become Thriving Organizations” (Amazon Affiliates link) which I strongly recommend.

flows-cover-lo2_1_orig

 

So, what’s next?

During March – April 2017, the plan is to work on:

  • The production aspects of the performance (see above)
  • Build and expand the collective of leaders, visionaries, artists, craftsmen, designers and producers

As you can notice, I am still relatively well focused. One of the tricks is to use the Morning Monk Style:

Between when you wake up and noon:

no meetings, no calls, no texts, no email, no Slack, no Internet.

You instead work deeply on something (or some things) that matter.

In the meantime, I kindly reject any requests for consultancy, speaking engagements, etc. I have 1-2 leads that want to work with me as their architect for immersive learning experience events. But I am not in active prospection mode.

If there is something worth reporting, next update is for May 2017. Looking forward to hearing from your latest adventures as well.

Rebelliously yours,

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stael-apples

Nicolas de Staël – Five Apples – 1952

I am now one month into detailed scripting of my upcoming performance “Tin Drum is Back”. As mentioned in my last post, the narrative arc seems to be about evolving archetypes and levels of maturity.

In 2015, I was struck by lightning, by the work of fashion designer Dries Van Nooten. I wrote extensively about that experience here. It was the start of a more intense journey to let myself get touched by beauty, and to start experimenting with the creative orientation myself (Art academy, etc.)

Two years later, this 2015 expo is still resonating with me, and every time I tell the story of that experience, I get emotional, emotional like in tears of happiness and beauty. Happiness and bliss like a warm jelly feeling down your spine. I started paying attention to this emotion, opening myself to it, and wondering and exploring how it cracked me open (and very closed at other moments…)

Obviously, first thing that goes through mind, is the famous Leonard Cohen song “Anthem”, with the famous phrase:

Ring the bells that still can ring

Forget your perfect offering 

There is a crack, a crack in everything 

That’s how the light gets in.

How the light gets in…. But I started wondering how the light gets OUT… Like my skin would be lattice. Like the skin of this musallah.

th_65d1300db123ce22f6e2569fb36764f8_1551_aramc_rend_06

King Abdullah Petroleum Studies and Research Center (KAPSARC)
Riyadh / Saudi Arabia. Architect’s rendering of the musallah. 
Image Credit: Zaha Hadid Architects

What is needed for somebody to crack open like this? To get rid of all the ballast, and to stand in full onlyness ànd vulnerability ànd feeling happy with the way that is?

Another more recent moment when the lightning stroke was on a Saturday morning, where by full coincidence I hit the video of “Wild is the Wind” by David Bowie as part of the “David Bowie last 5 years” BBC documentary:

 

Wild is the Wind” is the first song of this amazing concert that is worth watching every of its 60 minutes. However, when he sings and smiles “you’re life itself” (at 2:40 and 4:10) that’s when shivers go down my spine and tears start rolling. Every time again.

Why is this? What is happening to me? Is Tin Drum about finally daring to stand in fire and vulnerability? Of letting my “onlyness” coming OUT through the crack(s)? Instead of hiding in a Hannibal-like shadow of complexity and impenetrability?

tin-drum-posters-gunter-grass

Film posters and book covers of Günther Grass' The Tin Drum

Cracking open seems to be about daring to stand in the fire, allowing the truth to come in and out, and allowing to loose myself and letting myself getting overwhelmed. It is about letting go of my masks, my defences.

Khurshed Dehnugara recently (my highlights) wrote about being overwhelmed in “cracking open”:

Being overwhelmed is something we are fearful of and at the same time can be helpful as we transition from one age to the next.

If our defenses are always solid, never breached, then the possibility of anything novel emerging is reduced. It often takes a moment of being overwhelmed before that part of us that we are defending can be seen. In the moment of being hurt, overloaded, caught out, tripped up or humiliated – we get a chance in those moments to see and work with the part of ourselves we spend the rest of our time enclosing in a protective shell.

As we spend time at the edges of what we know and can cope with, the container is strengthened.  When we can’t cope, the cracks can allow us to integrate an experience that has been shielded for a lifetime; but refuses to go away or stop causing problems in the rest of our lives. 

During my sabbatical, I am indeed spending time at the edges of what I don’t know and what I don’t know to cope with. At the edges of my existing communities, at the edges of new – more artistic – communities.

Also, the painting lets me re-discover the true meaning of being in the flow. But I have to get more clarity. Tell the story with fewer words, less images, less brush strokes, less gimmicks. I am trying to say too much. I am still trying too much to impress, not express.

“The more easy gimmicks, the more solid the content needs to be”, says my paint-coach Ann.

petervan-containers

Extract of Petervan painting “The Containers” in process – Feb 2017

So many metaphors between paint and real life. The longing for clarity of touch, pitch, colours, harmonies, and chords. But for now, still too much noise, both physically and mentally.

The sweet spot is where the crack is

where frequencies and overtones create the mystic.

What are your cracks? When was the last time you built defences against standing in the fire? When was the last time you put up a wall and defences against it? When was the last time you allowed the crack to put a spell on you to get in touch with your true self?

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