It would be inspiring
to imagine a choir of disciplines gathered together on such a challenging
occasion. How would they divide into sections -- and on the basis of what common qualities?
How would their multi-part song take form as a self- organizing whole? With what insights
would the functions of a Kapelmeister be performed -- if such a role was necessary?
Would transdisciplinarity
emerge as the musical form to which all perspectives collectively
contributed -- each according to some appropriate timing, each from an appropriate register?
Participant discipline
If a choir is a
useful metaphor, it highlights the need for the individual discipline of the
participants. It is one thing for meeting participants to claim to practice a discipline, but it is
another for them to act in a disciplined manner within a meeting. The issue of participant
discipline is seldom raised explicitly -- except in the stressful irritation of session chairpersons
endeavouring to ensure respect for a much abused meeting schedule.
The art of "terminating"
an inappropriate presentation remains elusive under the best of
circumstances. There are always participants who overrun their time, depriving others of similar
opportunities. To do so, some shamefully abuse their status as world authorities, honoured
guests or sponsors -- and are allowed to do so, despite considerable irritation. Some launch
into lengthy anecdotes from their life story, abusing real appreciation for their achievements.
Some see their presentation as an opportunity for personal dramatization -- so drama too was
well- represented at Arrabida! This may take the form of personal testimony -- converting the
gathering into a testimony meeting in which applause is required as necessary affirmation. Some
abuse a gathering as a marketing or self- promotional opportunity before a trapped audience.
At a gathering
in which many have a theoretical interest in self- organization processes, what
prevents them from acting in such a way as to augment the self-organization of the event itself?
Why the dependence on father figures to ensure good behaviour on the basis of dubious
criteria? Is it a proven fact that mature participants are unable to exhibit the personal discipline
to order their behaviour without such intervention? Perhaps attention should be focused on the
contrasts between a typical Western "organized" choir and the self-organizing variety
characteristic of some African cultures?
Ironically the
challenge of participant impotence in the face of such abuses may be taken as an
excess of participant discipline - - but of an antiquated kind. The challenge is that participants
misbehave when given the freedom to do so as presenters, but they behave like chastened
children, denying all responsibility, when relegated to the function of listeners.
There is a need
for a new participant discipline for those seeking to function in transdisciplinary
gatherings. A Charter of Transdisciplinary Meeting Participants might be a useful beginning
(cf Pattern of Meeting Participant Roles; the shdowy roundtable hidden within every meeting.
Brussels, UIA, 1993). As in the case of a singer, it would highlight the way in which a
participant could most useful contribute to a collective song. It would clarify entry cues and the
moments when a particular voice should cease. It would articulate the function of counter- point
and the disciplines of multi-part song. Different styles of singing would be contrasted (to avoid
vain attempts to combine the equivalent of Georgian chant and hard rock!). It would clarify,
despite the best of intentions, how each participant brings both key insights and unfortunate
ways of undermining the quality of the collective song.
1. Andreas
