“EUROPA UNFINISHED MASTERPIECE” a journey to polyphonic European identity
Societal Innovation Project
Interdisciplinary Cultural Caravan – across the Balkans to Brussels
June 26 to July 9, 2020
THE CONCEPT: European Union representing interdisciplinary artists and innovators in the fields of the new economy, youth, ecological-agriculture, education and tourism will work together while travelling aboard a conference bus through the countries of the Western Balkans and co-create networks with regional partners for a meaningful and sustainable future.
The schedule 2020:
Ljubljana, Slovenia, June 26
Sarajevo, Bosnia&Herzegovina, June 27/28
Belgrade, Serbia, June 29/30
Pristina, Kosovo, July 1/2
Skopje, North Macedonia, July 3
Ohrid, North Macedonia, July 4
Tirana, Albania, July 5/6
Bar-Cetinje, Montenegro, July 7/8
Dubrovnik, Croatia, July 9
Terra Parzival, Slovenia, August 1-5
F i n a l e : EU Parliament/Commission/CoR, Brussels, September 2020.
To whom it may concern:
To those already familiar with my method of applying “the transformative forces of Art” in the sphere of economy and political life.
We are in the elevator and an unknown person, probably an executive in a global brand
company, turns to me and says:
– “Is that a violin in your case? Performing a concert tonight?”
(Here we are: I am pigeonholed: violinist = glorified entertainer!)
– “No. I am on my way to an event to help executives like you find their own solutions for their problems.”
– “With violin??? Serious?”
– “Dead serious. I will help them to listen to the process of a genius masterpiece, get them passionate with out-of-the-box solutions emerging from musical complications and empower their own solution-sparks to jump the line back to their leadership dilemma, surprise, surprise: resolving, implementing. Creative detour – the fastest road to the goal! With 100% engagement, like true artists, no SMSing during my session! At the end I will perform, and they will hear the performing organisation! And my promise: they will never forget those change messages…”
(we are approaching the ground floor.)
– “But my team does not necessarily like classical music!”
– “Brilliant starting point: Art is not about liking, it is about real change and transformation!”
– “But I am afraid my boss will not like it…!?”
– “Well, then you might better get yet another PowerPoint presentation!”
(Uhhhhhsh, the doors open.)
– “May I have your business card… CIO, Chief INSPIRATION Officer…???!”
– “Yes, you need inspiration if you want your change event to hit the bottom line!”
Gone in the crowd… gone?
Dear Reader,
You may already be familiar with my innovative method from past workshops on Art, Leadership and Business.
This time, on July 28th 2019, you are invited to sit amongst the musicians inside the Ptuj Castle and become an integral part of a whole Symphony Orchestra under my own leadership and musical supervision. You will experience how the emotional structure of a musical masterpiece can be transferred into the strategy of managing yourself and your company.
The Orchestra event from last April was a total success for our Slovenian finest leaders as well as managers of top global companies. We will have reputable guests again and are expecting high-level socializing! The music content although new is a continuation of the April Orchestra. This unique event is part of a four-day questival on the theme « Remember The Future, Terra Parzival Awakening » in the beautiful lands of Slovenia.
The day starts at 9:30 am, in the Palace, with an introductory narrative (Dr. Davorin Peršič) of the Knight Parzival and his life path from ignorance to the highest responsibility when he becomes King of the Holy Grail. The story of this mysterious, highly important European Medieval legend is anchored in the vicinity of Ptuj. I will combine the interdisciplinary impact of Music and other types of Art with the Parzival archetype and use it as our guide for what a leading personality is all about.
The musical process and performance (Johannes Brahms, Violin Concert Op.77) begins at 11 am in the Festival Hall (my method can be found at www.mihavision.com).
At 13:30 pm, we will have a joint debriefing of experiences on the impact of the new « Art & Economy » paradigm followed by a « networking » lunch in the Castle Yard.
As it is summer time, we are also inviting partners with a parallel « Knighthood » program especially prepared for children!
The entire 4-day program can be found in www.terraparzival.net
Looking forward to seeing you in Terra Parzival!
Miha Pogacnik
Ambassador of Culture of the Republic of Slovenia
Mob. 00352 661 485158
Links to 3 videos from April
https://www.dropbox.com/s/ua9nsdyhr8javud/Finale%20Painting%20Orchestra_1min07sec.mp4?dl=0
https://www.dropbox.com/s/pzi4avbs8ifpfzm/Miha%20Leadership_43sec.mp4?dl=0
https://www.dropbox.com/s/uc1375i8u93s2yp/Inside%20Orchestra_24sec.mp4?dl=
Investment for programme, storytelling, orchestra, debriefing and networking lunch:
€200, with partner €300, programme for kids by agreements.
If you want to participate for whole event (28. 21. 7) price is €400.
Hotel Mitra Ptuj
Peter Vesenjak
0038627877455
0038641 514 020
Account info:
IBAN: SI56041730001588278 Account holder: Name: Ustanova Gandin fundacija Address: Dolane 1, 2282 Cirkulane, Slovenia Bank: Name: Nova KBM d.d. Address: Ulica Vita Kraigherja 4, 2505 Maribor, Slovenia SWIFT: KBMASI2X
Ptujski grad 28 Julij 2019, 9:30-14:45h
Ta dopoldanski dogodek z orkestrom (v anglescini) je del štiridnevnega questivala “Remember The Future, Terra Parzival Awakening”
Spoštovani!
Morda že poznate mojo inovacijo na področju vodenja (prosim, poglejte spodaj izjave Andreja Božiča in Sonje Šmuc) .
28. julija 2019 dopoldne boste imeli priložnost, da na Ptujskem gradu sedite med izvajalci simfoničnega orkestra in pod mojim vodstvom doživite transfer emocionalne strukture glasbene mojstrovine v strategijo vodenja samega sebe in podjetja in tako izkusite mojo inovacijo v živo.
Premiera podobnega dogodka na Ptujskem gradu je bila 6. aprila in Slovenski udelezenci so sedeli v orkestru skupaj z menedžerji tujih globalnih podjetij. Ponovno bomo imeli ugledne goste in pricakujemo druženje na visokem nivoju! Glasbena vsebina nova, nadaljevanje aprilskega dogodka.
Najprej boste ob 9:30h v palaciju (Dr. Davorin Peršič) doživeli uvodno pripoved o vitezu Parzivalu in njegovi življenjske poti iz ignorance do najvišje odgovornosti, ko postane kralj svetega Grala. Ta skrivnostna najpomembnejša evropska srednjeveška legenda je zasidrana v okolici Ptuja.
Poleg meddisciplinarnega vpliva glasbe in drugih zvrsti umetnosti uporabljamo Parzivala kot pravzorec za razvoj vodilne osebnosti.
Glasbeni proces in izvedba (Johannes Brahms, Violinski koncert Op.77) se začne ob 11h v slavnostni dvorani (mojo metodo lahko spoznate na www.mihavision.com).
Ob 13:30 Sledi skupen debriefing doživetja, izmenjava izkušenj o vplivu nove paradigme umetnosti&gospodarstva in “networking” kosilo na grajskem dvorišču.
Ker je to poletni termin vabimo tudi partnerje in za otroke bo pripravljen paralelni “viteški” program!
Miha Pogacnik
Veleposlanik Kulture republike Slovenije
Mob. 00352 661 485158
Andrej Božič:
“Orkester je najstarejši najbolje delujoči vodstveni tim.
Dirigent brez strastnih in tehnično briljantnih glasbenikov ne pomeni nič, brez njega pa je ta kolektiv samo skupek briljantnih posameznikov.
Vsi so enako pomembni, violine se ne prerekajo z violami ali tolkali, samo če vsi delujejo skupaj, ubrano v flowu, je rezultat glasba , ki te ponese , motivira, vzbuja kreativnost, strategijo,…
To se občuti in ne potrebujes biti strokovnjak.
Prav zato je to doživetje z Mihom nekaj enkratnega in je velika lekcija iz vodenja, hkrati pa čisti užitek in dragocena izkušnja drugačnega doživljanja koncerta !”
Sonja Šmuc:
Iskanje svetega grala, ki navdihuje viteza Parzivala, povezanega s Terro Parzival, je hrepenenje človeka, da najde odgovor na večno vprašanje o smislu življenja. Zakaj sem tu? Kako se moji dihi prepletajo z ritmom človeštva?
Miha Pogacnik s svojo virtuozno metodo seciranja clovekovih globin ob zvokih violine in orkestra interpretira svetovne glasbene mojstrovine tako, da slišimo Bacha, Beethovna, Mozarta na nov, meddisciplinaren način …, in tako odstirajo nepomembno, boleče, skrito v duši in potrkajo na sveti gral, ki ga nosimo v sebi. Potovanje z Miho je raziskovanje, ki pušča sled, tam kjer največ šteje. V nas.
Investicija za program, pripoved, orkester, debriefing in networking kosilo:
€200, z partnerjem €300 , program za otroke po dogovoru.
Če se želite udeležiti celotnega dogodka (28-31.7) € 400
Informacije in prijava:
Hotel Mitra Ptuj
Peter Vesenjak
027877455
041 514 020
Informacije o računu za nakazilo:
IBAN: SI56041730001588278 Account holder: Name: Ustanova Gandin fundacija Address: Dolane 1, 2282 Cirkulane, Slovenia Bank: Name: Nova KBM d.d. Address: Ulica Vita Kraigherja 4, 2505 Maribor, Slovenia SWIFT: KBMASI2X
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TerraParzival, Slovenia
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I am standing on the terrace of castle Borl-Ankenstein and looking back on 42 years of the IDRIART movement. Looking back through the memory of the old tower, to the knight Parzival and his time in the 9th century; His response to the call of the Grail.
How does this call resound in the 21st century? What kind of listening is required to hear it?
We invite you to join to listen and celebrate in TerraParzival, July 27-31, 2019. You will hear the Parzival story told in various authentic locations, in relation to the challenges of our time. Supported by the power of Music-Process and recalibration of World-View. Together we will listen and set the stage for the emerging future!
Often in crisis locations and times, some 200 intercultural IDRIART Festivals proved the power of resonance when music and other Arts became the humanity platform of meetings. Yet this is not enough!
WE all live in an off-balanced „economic society“; for that reason I personally have ventured the last 28 years on a learning journey with my violin, through the leadership floors of numerous companies and corporations world wide, uncovering the magic of the formative forces of the arts; de-mixing and re-composing ailing relationships of culture, politics and economics.
What can we learn? How can we in TerraParzival inspire and learn from the centenary celebration of Rudolf Steiner’s Treefold Societal Composition and original Waldorf education principles in July? The Parzival story is one of the curriculum pillars in the 11th grade when young people ripen to reach for their highest ideals! Where are the profound IDEALS in our digital-permeated society?? My motto is:
NO digitalisation without humanisation!
If you „hear“ this call, please reserve the date, offer suggestions, more details will follow.
Miha Pogacnik and TerraParzival Team
www.terraparzival.net (soon updated!)
Contact:
Anita Puksic
0038631496537
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Sharing my ideas on “NO digitalisation without humanisation – Musical Strategy For Mastering Change In Disruptive Economy”
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Multidisciplinary flow of music, philosophy, story-telling and path through Terra Parzival will shift your paradigm of leadership and take it on a whole new level. Meet the world of pure creative potential that is trying to emerge through you. Turn your life and your corporation into a well tuned orchestra and experience the joy of co-creation. The archetypal ancient story of Parzival speaks the language of the emerging future: the challenge to rise from ignorance to the highest possible responsibility, the journey to the source of one’s highest potential, the true Identity!
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Join Parzival on the journey from a naive boy to the king of the holy grail.
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Friday 27th of July 2018
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This is the pattern of the leadership learning paradigm shift: From profound experience to deep insight! We will start on the “resonance platform” in the beautiful knights hall of Ptuj castle at 3 p.m. sharp. You will be sitting among the musicians of the Terra Parzival Symphony Orchestra and experience the journey “from ego to I”, from the prime to the octave through the Beethoven Violin Concerto. Flow of music all around you with the experience transfer simultaneously emerging as a painting through a disruptive method of violinist Miha Pogacnik.
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We continue in the Dominican monastery just below Ptuj castle. Dr. Davorin Peršič will open the inner philosophical perspective on the “Parzival stream” with its roots in mithraism and manicheism and the relevance to the contemporary leadership challenges. After the lecture participants will cross Drava river to see the ancient Roman Mithra temple in Hajdina (Hajdina=Gandin, grandfather of Parzival). Then follows the medieval dinner in Dominican monastery and the beginning of the storytelling by Micaela Sauber (story of Gahmuret, Parzival’s father) , based on Wolfram von Eschenbach’s Parzival. http://www.terraparzival.net/stran/9/PARZIVAL-IN-SLOVENIA. Conclusion in the wine cellar.
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Saturday, 28th of July 2018
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The path on the grail story continues! We leave Ptuj hotels at 8:30 AM. The first stop are the ruins of Žička Kartuzija monastery, where the storytelling and musical experience touches on the portals of birth and death. Miha Pogacnik starts in the medieval mortuary chapel for monks. Then Micaela Sauber tells the story of Parzival’s birth and youth (»Soltane« and early knighthood experiences) Miha introduces musical implementation strategy for organisational culture transformation.
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We spend the afternoon in Studenice, in the magic place of water sources, according to Eschenbach: “Fontana la Zal-Waesche”, the hidden temple of Sigune and Shionatulander under the mythical mountain Mont-Zal-Wotch with Lohengrin legend. Local women will prepare the lunch. Here story telling continues, touching many problems of modern day leadership experience, foremost the one of not being able to ask the right question at the right moment, this disaster symbolized in Parzival’s failure during his first visit to the Grail castle. And we have enough time to “digest” the learnings in small groups conversations. Axel Schmittknecht, Grow GmbH (http://www.grow.ag), is in charge of the “leadership empowerment circle”. Adriana von Runic Whittington gives special contributions during the entire quest.
Then the journey takes us through the basilica of Ptujska Gora, where you will experience music on the location of catena of the Macro Violin right at the point of the golden section between the Parzival’s dynasty castle Borl-Ankenstein and Žička Kartuzija. (Miha Pogacnik will perform with young string players from Sarajevo.)
We conclude the day with intercultural (Chinese and European participants) transdisciplinary (Art&Business) and intergenerational celebration around the bonfire in Hrastovec near Borl . This will be the inauguration of a cultural centre »Parzival«, initiative of our hosts Monika and Josef Luchner. Expect surprises! (See http://terraparzival.net/stran/7/1-TERRA-PARZIVAL )
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Sunday, 29th of July 2018
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There will be 2 departures from Ptuj hotels on Sunday morning: Those who feel adventurous and young in hearts will leave with Miha Pogacnik at 7AM, (just grab a coffee), take the bus into »hidden Grail grounds« and walk through the canyon countryside to reach the Trevrizant’s cave at 9:30. There lovely breakfast will be waiting for them prepared by Grail maidens, the rest of the participants will join there. (They will leave hotels at 8:30) The story of Parzival’s »productive resignation« and turining point will be told in front of the »resounding« cave. It is the famous Good Friday conversation between Trevrizent and Parzival which took place here in the middle of the 9th century.
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Only now, after long journey (through the imagination of this story and musical support, the time experience will have changed for you…) , we arrive to the final stage of the quest: As it was with Parzival entering the Grail Castle for the second time, asking the question and becoming the king of Grail, we conclude with the story and farewell lunch in front of the castle Borl-Ankenstein welcomed by the wonderful and friendly local population. The formal programme ends at 2:30 PM for early departures. The rest of the participants will have philosophical »deep dive« into Parzival Story with Ruediger Blankertz, with music support by Miha Pogacnik. Location: Cultural centre Parzival in Hrastovec and surroundings. This seminar will continue also on July 30-31.
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Investment: 400€
The investment does not include hotel and arrival&departure to/from Terra Parzival. Slovenian participants who attended and supported Terra Parzival before are welcome to contact us for reduction of the price.
Address for any information and registration:
Anita Pukšič
anita.puksic@gmail.com
Tel: 0038631496537
Bank Account for registration
Subject:Terra Parzival 2018
Account holder:
Name: Ustanova Gandin fundacija
Address: Dolane 1, 2282 Cirkulane, Slovenia
IBAN: SI56041730001588278
Bank:
Name: Nova KBM d.d.
Address: Ulica Vita Kraigherja 4, 2505 Maribor, Slovenia
SWIFT: KBMASI2X
We reserve the right to make changes in the programme at any time.
http://www.terraparzival.net
www.grow.ag
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MY GLOBAL JOURNEY IN 2017
2017 was a year of global challenges, disruptive changes and incredibly enchanting samples where Art influences Business – not the other way round!
Over 50 key-notes and leadership development sessions around the globe. Over 30 world capitals on 3 continents. Hundreds of flights. Dozens of interviews. Over 5000 leaders and managers challenged with my musical method. All in one phenomenally disruptive year!
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My speech at the ICCA Congress 2017 in Prague
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A journey towards a polyphonic European identity.
The overall strategy of this project is to profile and crystallize, through the very specific method of Miha Pogacnik, violinist and cultural ambassador of the republic of Slovenia, the unique cultural qualities of EU membership seeking western Balkans countries. Passing through Slovenia, the results are then introduced in EU institutions of Parliament, Commission and Committee of Regions in Brussels in May 2018. The next phase is the support of further development European idea and ideals through the EU regions in order to mobilise the interest for EU elections in 2019. In May 2017 the project already completed in Tirana, Prishtina, Skopje and Ljubljana. In May 2018 it will continue in Cetinje, Sarajevo and Belgrade with the conclusion in Brussels.
The specific creative disruptive method of the project: In every city 150 representatives of society (entrepreneurs, politicians, creatives, students etc) are invited to sit among the players of the symphony orchestra and Miha Pogacnik performs and directs the participant’s attention to the organic evolutionary process of the classical masterpiece, linking interdisciplinary composition of music, “composition of society” with leadership development. Consequently the participants are inspired to share their perception of European values and ways of contributing to EU some unique qualities which can only originate in their particular regions. In the age of globalisation and digitalisation it is of vital importance to leverage the power of unique and specific cultures driving a dynamic balance of modern society! Debriefing and “heartstorming” at the end of each event is focused on 2 key questions: What kind of EU we would like to see emerge and what is our unique contribution? Results will be presented in EU institutions with policymakers seated among young musicians joining together from countries of the western Balkans and the EU. The experience of sitting “inside the music” greatly stimulates the imagination for reaching high ideals that are urgently needed in pursuit of a European vision beyond pragmatism and budgets, exposing and empowering the roots of “her” genius. This project offers the experience and insight into how to implement the formative forces of Art as a driving force for the transformation of economy and society, developing a specific European leadership style. A new renaissance emerging?
Miha Pogacnik
October 2017
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Miha appears in a chapter
“MUSIC, MAGIC, AND THE MEANING OF LIFE”
in the exciting new book by Mitch Lewis “Climbing your personal Everest“.
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Chapter Six
MUSIC, MAGIC, AND THE MEANING OF LIFE
Leaving behind fame and acclaim, Miha Pogacnik now helps transform the world through art
Violinist Miha Pogacnik is a modern-day wizard.
True, in recent decades, words like that have lost their meaning through misuse and marketing hyperbole. When anyone with something to sell can force powerful language to serve small and ignoble goals, it’s easy to forget that such things as genuine wizardry and magic still exist.
Occasionally, however, a person comes along to remind us, and Pogacnik is one of them. Born in 1949 in war-ravaged Slovenia, he is a true master of musical magic — not content simply to entertain or enthrall an audience, or to bask in their praise and applause. As a young man, he achieved all of that, ascending to the top among his peers to become a rising-star soloist, sought after and respected. His path into “greatness” was laid out before him, and traditional “success” was his for the taking. Instead, he walked away and chose a different road. Or, to be precise, he carved his own, brand-new course through the wilderness of limited and limiting options.
“Something was fundamentally wrong–that you put so much energy into mastering your skills and the magic, and then when you are finished people applaud and they love it, and then it’s over,” Pogacnik says, his words shaped by an endearing Slovenian accent. “They go home to drink or sit in front of the television. I always felt that when the concert is finished, then the beginning should happen, not the end.”
Since leaving a conventional life behind, he has pursued that elusive “beginning” across a long and winding career, marked by bold action and visionary thinking. The years have forged him, turning him into an alchemist bent on harnessing the mystical power of music to turn the base metals of the present-day human condition into the original, magical gold we all possess, but have forgotten lies within us. It’s a grand mission aimed at nothing short of the social and cultural transformation of the world.
“In the deepest province of the human soul, there is magic,” he says. “That’s what we are. Unfortunately, there is so much dust and ash covering it these days. In essence what I do is go around opening the dampers in people’s lives so the fire flares up again.”
Taming Turbo Capitalism
To grasp the nature of Pogacnik’s twenty-first-century work — what he refers to as his “fourth life” — imagine yourself in his “laboratory.” Picture a broad stage where all the skilled musicians in a philharmonic orchestra are seated in curved rows, instruments at the ready, eyes on their conductor and soloist. Feel the breathless anticipation in the sudden silence as Pogacnik lifts his violin bow, all the potential energy of a musical masterpiece waiting for release. The music begins, and a galaxy of dancing sound appears in the room.
Yet in this scene you don’t play the role of detached observer looking down from the balcony. You are embedded in it, seated in a row of chairs placed between the stringed instruments and the woodwinds. You feel the vibrating frequencies of music caress your skin through the air and rumble in your bones as it rises out of the floor. Your heart expands with emotion until you fear you’ll burst. The music is a buoyant force that nearly lifts you free of gravity itself.
The picture isn’t complete, however, until you look to your left and right and see the true purpose behind the gathering of musicians. Without this, the entire exercise is just another performance of timeless music — marvelous, perhaps, but without the full potential for the kind of alchemy Pogacnik seeks to create.
Because seated beside you are a number of high-ranking executives from some of the world’s largest and wealthiest corporations. These are powerful men and women, decision-makers, whose actions every day have profound influence over the lives of millions of others — trillions, if you include the non-human creatures with whom we share the planet. They sit in boardrooms and back rooms around the world and literally chart the future of humankind through the values they express in their choices and priorities.
“Some start crying,” Pogacnik muses. “It’s like a catharsis. They remember they are human. They forget their power and rank. If you get people close to that point, then suddenly everything is possible, and it’s not just the bottom line and profit margins. The real things come to the surface.”
Pogacnik believes society has lost sight of a fundamental truth — that the world’s economy must exist to serve the needs of the people, not the other way around. His remedy is to confront the “anomaly of one-sided economic thinking” with an alternative way of seeing, found in the power of great art to restore equilibrium. To do that, he goes straight to the top of the corporate chain of command.
A Backward Accordion
That sweeping vision has humble roots in the industrial city of Kranj, Slovenia. In 1952, Pogacnik was three years old, in a nation still suffering the aftermath of World War II and coming to grips with the new reality of belonging to the post-war Soviet Bloc. Modern entertainments like television were non-existent, but each weekend the family would walk for the better part of a day into the mountains for traditional celebrations of music and food.
“I became amazed at how the people enjoyed the music, how they danced to the accordion,” Pogacnik recalls. “When my father saw me pretending to play music, with a small chair as an instrument, he bought me a little paper accordion.”
Pogacnik instantly began making music of his own — but with a twist. Not knowing better, he held the instrument backward, consequently learning to play the melody with his left hand instead of the right. A few years later, his would-be music teachers noticed this fact and understood that it gave him a head start in learning to play another instrument that would become his lifelong passion: the violin. That story would also instill in him a deep appreciation for the wisdom of trusting the often-unexpected magic in the twists and turns of life.
“Violin came to me by mistake, not by knowing violin or aspiring, but by the mystery of the mistake in life,” Pogacnik says.
His first teacher excelled at instilling enthusiasm, he says, but did a lousy job of conveying good technique. Even so, by the time he was six years old, Pogacnik had already won regional violin competitions. At age eleven, he was sent to the big city of Maribor to compete — and heard a “real violinist” for the first time in his life, someone who truly understood the magic in the music and was passionate about getting it right.
“I was reduced to nothing,” he recalls. “Nothing. That’s when inspiration came that enabled me to not do what the other boys were doing around me. I determined to practice and practice and reach for the impossible.”
It turned out that practice and mastery weren’t the only “impossible” things Pogacnik would have to reach for. Quickly realizing he wanted more than his current teacher could deliver, he announced his intention to travel to the nearby city of Ljubljana to study with someone else. It didn’t matter that his teacher responded by throwing a music stand or that his otherwise supportive parents locked him in his room. He climbed out the window, made the trip, and was accepted into the school. For two years, he went twice a week by bus for the opportunity to learn. His first teacher there began the work of undoing all of his bad habits.
“He completely took me apart,” Pogacnik says. “I was below zero when I started over.”
But start over he did. He pushed himself extremely hard, diving deep into the music. In the process, he laid the foundation for a philosophy that would guide him throughout his life: the ability to think like a “radical.”
“Always I was radical. If you want to be a soloist, you have to be radical to yourself. You have to practice like mad. And of course, you have to learn how to practice. One can meditate and just repeat the word a billion times and nothing happens. In other words, one has to develop techniques and routines that will eventually bear fruit.”
This radical path led him out of the East to Cologne, Germany, at age seventeen to study music on a prestigious scholarship for foreigners — then to the United States at twenty-four as a Fulbright Scholar.
A Hundred Years Behind
To become a soloist in the world of classical music is the dream of thousands of gifted performers, the pinnacle of success. By his late twenties, Pogacnik had captured the prize, well on his way to a long career among the elite musicians of the world. It was a stunning achievement for a boy from an isolated country who learned to play the wrong way on a paper accordion. It was also a source of deep internal crisis. It set the stage for a moment of decision that would cost him everything — and also, in magical fashion, deliver everything he has since come to value.
“As I started my career, I pretty soon noticed that the world in which you act as a violinist is about a hundred years behind the rest of the world,” Pogacnik says. “It’s stuck in an organizational system in which you have to do certain things, you have to know certain people, you have to win certain competitions. You play concerts and there are thousands and thousands who are waiting for you to be out of the system so they can come take your place.”
What bothered him most was the self-serving nature of the entire structure. It offered no opportunity, he felt, to step outside the confines of the system “in order to become an element of social change, to really reach the situation in which the world has gotten itself.” He knew that music had much more to offer than the status quo would allow — because he believed that it literally was much more than lifeless frequencies vibrating in the air. He knew it was magic.
“I have always been trying to unlock the mystery, why was music in the ancient cultures so powerful? Thousands of years ago, music was regarded as the most sacred and most powerful element of society, and therefore you had to be bloody careful how you handled it. I wanted to know, what are the deeper secrets of musical magic that we have forgot in the process of making it aesthetic and formal?”
So he turned his back on the life of comfort and prestige that all his hard work had earned him. He set out on a quest to be a musician of the highest quality he could possibly attain — and an agent of needed change in the world.
Go Against the Odds
The first leg of the journey took Pogacnik in an unexpected direction — to a place that became for him a classroom of preparation for everything that would follow. He was invited to teach music at the Camphill Village Residential Community for adults with developmental disabilities. Founded in 1961 on 615 acres in upstate New York, the organization was part of a growing American movement to challenge how society treats people with special needs. Though he didn’t know it at the time, that mission fit perfectly with his desire to create a model for music performance that invited audiences to do more than simply listen for intellectual stimulation. He wanted to make them deeply feel the music.
“Those people forced me to teach them how to listen, which to me seemed obvious,” Pogacnik recalls. “I said, ‘What can you do? You just play and you listen.’ They said, ‘No, we don’t understand.’ The key question was how can I, as a performer who goes full steam into a masterpiece, transfer that so that it goes beyond aesthetics, beyond beautiful music? How can I build a bridge? These people were my teachers.”
To meet this challenge, Pogacnik discovered anew how to be fully present when he played, to go beyond performance and become a “phenomenologist” — someone who studies the relationship between human consciousness and experience. The key idea in this philosophical discipline is that experience is intimately intertwined with intention and self-awareness. And it worked. A bond was created between him and his so-called “handicapped” audience that transcended anything he’d experienced before.
“That created an opportunity for people to start looking at the role of art in inner human development, spiritual development, which can be supported by immersing oneself deeply into the great arts,” he says.
And it opened the door for what Pogacnik calls his first “little festivals” — one-day events aimed at testing a bold idea: could he create a new kind of concert that involved his audiences as partners, not spectators, in crafting a musical experience?
It’s a question that he has spent his life attempting to answer.
In April 1981, he held the first of many music festivals at the Chartres Cathedral in Chartres, France. In 1983, in the shadow of heightened Cold War tensions — when Europe was in turmoil over the deployment of U.S. Pershing missiles on German soil — Pogacnik organized a festival in his home country of Slovenia. It was the first of its kind since the Iron Curtain had descended across the continent — and drew eight hundred people from Western Europe who travelled there to attend.
“It was the first time that the artists didn’t just travel to give a concert–the audience traveled too, to be a part of social change,” he says. “The idea was to go to places that are in distress and see what happens if you meet the locals in such a condition.”
From there he organized weeklong festivals in Budapest, Prague, all over East Germany and the Soviet Union. Everywhere he went, concert halls were packed with locals and westerners alike, enabling a powerful grassroots cultural exchange. All of it involved hours and hours of work and expenses that seemed to only be met by magic.
But he never stopped thinking big. One trip involved renting seven ships and visiting towns all along the coast of Yugoslavia during the bloody war in the 1990s. Another filled a Trans-Siberian railway train with musicians and other cultural thinkers for a three-week long journey from Berlin to Ulan Bator in Mongolia.
“What I learned is that one should never give up,” he says. “Go against all the odds. That has been confirmed over and over in my life. If you have a high inspiration, never mind that it doesn’t show results immediately. Just keep going.”
A Wall Comes Down
In 1989, the fall of the Berlin Wall changed everything — yet again — for Pogacnik. Overnight, the ideals of freedom and cultural cooperation that had fueled his festivals across Eastern Europe were replaced by a singular force: capitalism.
“In Eastern Europe, I saw people completely changing their soul make-up of a Slavic kind of life in order to fit into this globalized western kind of thinking,” Pogacnik remembers. “Suddenly, there was not much meaning except surviving.”
A stark example of this fundamental shift came in Dresden, East Germany. Before the wall fell, Pogacnik gave a concert there in a hall packed with people hungry to immerse in the music. A year later, in the same place, only a handful showed up. It was a wake-up call revealing a new reality and the challenge inherent in the composition of this new world: How to form an economy that exists to serve the people, not the other way around. Above all, Pogacnik still believed the answer lay in music and the other great arts.
“The arts represent the courtyard before you enter the temple of transformation,” he says. “They tune you up to that frequency with which you can enter the temple of knowledge. I’m not just an activist to be active on the outside, but I’m also working to create the inner capital, the spiritual capital that brings dynamic balance.”
In perhaps the hardest life transition of all, Pogacnik abandoned the festivals he had worked so hard to create over the years — “threw them in the dust,” as he likes to say. He started over, not to oppose capitalism and its leaders, but to speak to them through the medium of music, to inspire them to see past the bottom line. It’s not easy work, nor is it easy for those who are touched by his message. At heart Pogacnik has never stopped being a radical, and he pushes others to the radical life as well, come what may.
“When people ask me what is real inspiration, I say go to the mountain just after the lightning hits and have a look what happens. You’ll see all the smoldering trees and all the rest.”
In other words, he says, don’t be afraid of the kind of inspiration that burns down all that you think you know, so that something new can take its place. Don’t be afraid to reinvent yourself as many times as it takes to follow your dream.
“We live in a very pragmatic time,” he reflects. “We are not capable of grasping what idealism means, really. It’s very rare to find people who have a blazing idealism. If you have very high ideals about what you’d like to achieve, then all of the setbacks don’t kill it. Your ideals fuel resiliency and fire your passion, so you can start again.”
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For those who are interested to read how my strategic musical workshops unfold in detail…
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Warning: Before you start reading this short description of my one-day organisational workshops, I would like you to understand that I do not assume that one day can produce an “organisational masterpiece”! This concept can be seen in most cases as a far distant star, shining on the path of co-creation process in a company. But we need inspirational goals for beyond imaginable! As it hopefully happens to every one of us at some point in life, to be overwhelmed and drawn into whirlpool of totality engaging genius, changing our life forever after: To me it happened when I was 12 and experienced for the first time a concert performance by legendary violinist Henryk Szeryng…..true inspiration can last for a life time!
In this sense I strive to orchestrate the environment of 7 arts inspired executive learning journey with a singular goal: to empower client’s change ideas to become sustainable and effective after the workshop….here we go:
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IGNITING A VISION FOR AN ORGANISATIONAL MASTERPIECE!
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If we compare symphony orchestra with a commercial organisation, we find similarity on first 2 levels: First, both are structures of human interactions – the individual is the smallest building block. Second, both consist of teams. Individuals must constantly improve in order to be capable of participating productively in a creative team. The difference sets in on a the third level, the WHY of the “performance”: The “music” of a company is often written just on ONE (bottom-) line, while musicians perform a polyphonic masterpiece written on 5 lines! The meaning, beauty, power and profound depth of a masterpiece pulls musicians instantly and passionately to the highest, genius, resonance platform of heart, while managers often struggle to reach the starting point of an aspiring artist: technical excellence and rational targets.
Applaying formative forces of Art on leadership floor experienced breakthrough and crystallized to a specific method when I played my violin in the King’s Chamber of the Cheops Pyramid. In the heart of this pyramid the most powerful resonance on earth melted my decades of performing in magnificent ancient temples, cathedrals and other extraordinary spaces into a single realisation: RESONANCE!!! This is the axis, the “Archimedes Lever” https://www.math.nyu.edu/~crorres/Archimedes/Lever/LeverIntro.html , to lift and drive the vision of organisation to the highest masterpiece-like potential with extraordinary value added, meaning, beauty, answering employees with flaming “WHY” and inspiring every leader to dare becoming a “composer of one’s own biography as masterpiece”!
How do we, as leaders, mobilize the inner power to persue such lofty goal of organisational masterpiece? The Cheops pyramid with her inner mystery of resonance reminds us also of Maslow’s human dynamics: it feels “natural” to be constantly stuck in the sphere of basic needs at the bottom (eating drinking, budgets…) and forget the pursuit of the highest ideals at the top: self-realisation, meaning, highest creativity, unconditional love and genius. But it is this inner striving of a leader which generates a powerful impact!
What is the “trick” of uncompromising artist (potentially in every human being)? We simply flip the pyramid upside-down and motivate ourselves for highest ideals to become our basic needs and we act, we create out of that uncertain balancing point, the ever improvising bottom-line, the source of inspiration. To lead innovation, re-invention, real change and transformation of the company: practising this inner condition is the answer!
Let me describe how formative forces of Art offer unique leadership learning environment for generative implementation of change ideas, for acting out of the emerging future:
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The flipped pyramid can be divided in 7 dynamic fields of forces, emanating totality and diversity of arts, starting with 1) architecture, then 2) sculpture, 3) painting, 4) music, (at the bottom), 5) poetry, 6) social-sculpture-in-motion and….the future “queen of the arts”: 7) society-as-art, or architecture of human relationships, the organisational masterpiece.
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Descending on the left side from 3 dimensional architecture over 2 and 1 dimensional sculpture and painting we enter the entirely inward sphere of music, resonating like the element of fire, potentially present in all forms of art. (We can “hear” the proportions, colours and rhythms of architectural, sculptural and painting etc. masterworks!) . Now the dynamics of Music sets in, penetrates the painting, drives its colours, shapes and rhythms through the resonance of the pyramid’s heart and on the other side emerges the drama of poetry. Likewise music, through the force of resonance releases fixed sculpture into the motion of “social sculpture” and finally, music transforms “Karyiatides” ( Bilder zu karyatides ) from their static architectural role to the not-yet-present, all-encompassing future form of art: human relationships as ART, the co-creation of the organisational masterpiece!
And here my method in practical terms: I follow the ideal to create such experience environment for the clients to enable them to invent and implement their own solutions. They usually want to change from the existing, current organisational structure in the upper left corner to the desired future on the right side. But, as well known, the fastest way to the goal is through a creative detour! And on this detour we attain unexpected insights and capabilities. Receiving in-depth briefing from clients gives me an idea of their organisational architecture and the participating leadership teams of my workshop consist of individuals with historically determined “job description” roles (sculpture). Architecture and sculpture represent the organisational status quo on the upper left side of the upside-down-pyramid.
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Stage one: We start with a journey of masterpiece experience through very distinct 7 stages of musical implementation strategy. (See“Theory U”by Otto Scharmer, MIT). It is very moving for participants to experience this strategy interdisciplinary, music reaching with “gentle-power” directly into human feelings. Touching the feelings is a MUST, or we get stuck in the change process! This journey from letting go of status quo to letting come of open mind, open heart and open will is supported through my disruptive method of performing masterpiece, directing participants’ listening attention and painting the process, all at the same time. Participants are invited, at the end of this first stage, to share in conversation the ROI relevance of musical “diagnosis” to their organisational challenges, their change process and desired direction to be taken. Because art is not “dangerous and threatening”, suddenly a unique “resonance platform of catharsis” emerges, taboos are broken – even laughed about and great excitement sets in for the next stage! The journey from the left corner of the up-side-down pyramid, to zero-point of the “open will” at the bottom, has been completed.
Stage two: Participants are divided in teams and given the task to co-create a poem out of combined freshly emerged musical-, visual- and company’s challenge- ideas. The poem is to reflect the journey from the status quo to the desired future. One person is designated as an observer. Only after completing the poem they are asked to co-create a “social-sculpture-in-motion”, that is, with the help of one designated “sculptor” the team extracts a choreography out of the poem, everyone present is involved in motion, dramatic-daring-suggestive-beautiful: but without words!
Stage three: Performance!! Presentations of teams to the rest of the participants. First choreography without words (..lots of fun, different people see different messages!) then the performance of the choreography together with the poem. After the performance the observer shares unique insights into the creative process that led to the “masterpiece”. It is difficult to describe the creative excitement, joy and fun that is present by now. But what resonates from below: “Yes! We can do it! This is the change story of our company !”
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Stage four: Observers retreat now to create ONE final poem&choreography out of all poems, while we begin with the rest of participants the “debriefing mode”. This is the stage of the “resonance platform” when the vision for “organisational masterpiece” is fostered, it is open space for emerging future. This is always different, unexpected, very special, unique, even …..sacred…
Finale: Observers return with their creation and perform the crystallized content of the day, one could say, a re-invention of vision and mission and I conclude with the final performance on my violin. Then comes the dinner celebration of so very creative day! Thus the second part of the journey from the “musical open will” at the bottom to the upper right corner of the pyramid has been completed in co-creation of everyone present.
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Result: The same change ideas and values have been reinforeced many times over: through music, painting, poetry, human-sculpture-in-motion, performance. They sunk so deep in everyone’s experience that it is possible to start a serious and sustainable implementation “on Monday morning” despite the resistance of powerful old patterns everywhere. And sometimes I meet participants 15 years later and excitement is there instantly: “Are you the violinist who introduced us to the magic of “resonance platform”? Let us tell you about all the changes we did after…!”
Miha Pogacnik
22.12.2016
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https://mihavision.com/musical-leadership-strategy-video/
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May 2nd 2017 till May 9th 2018
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The EU is facing a severe identity crisis that can not be solved only through the economic and political process. It is now the right moment to introduce the “resonance platform” methodology through the third force, the power of culture. Let us consider the power of genius Art creations, emerging over thousands of years from our beautifully diverse and colourful cultural tapestry, defining the pathway towards a “polyphonic” European identity! Our innovative “resonance platform” will gather the most effective cultural elements to encourage the idealism and enthusiasm so much lacking in the current perception of European potential, exposing the urgency for co-creation of “polyphonic” identity! We artists have decades of experience, evidence and knowledge of effectively supporting the leadership transformation in the sphere of economy. Deep power of culture is called upon to give the meaning and direction to the economy and politics!
For more on concept: https://mihavision.com/musical-leadership-strategy-video/
Short Description of the Project:
The “Journey towards polyphonic European identitywill unfold in 3 phases. The first phase will begin on May 2017: Tirana May 2nd, Pristina May 3rd, skopje May 4th, the Castle Borl (Slovenia) May 6/7 and conclusion in Ljubljana on May 9th. The second phase will consist of one year long “gathering” and connecting cultural substance throughout EU regions and bringing thus the empowering resonance platform to the final stage: May 2nd to the 9th 2018, Podgorica/Cetinje, Sarajevo, Belgrade and finale in Brussels.
In every capital city of the Western Balkans the invitation will be issued by Slovenian Embassy, the EU Delegation and local partners to ca. 150 participants representing different (especially creative-) aspects of society, who will offer insights for EU. Two main questions will be pursued: firstly, “What kind of EU do we wish to join?”, and secondly, “What is our deepest cultural substance we wish to contribute to the EU identity?” As we know history teaches us: “Innovation often comes unexpected from a periphery”! Therefore the strong message from the Western Balkans as the European periphery will be produced during this project.
Each event will unfold in 3 stages:
1) Establishing an inspirational “resonance platform” to
2) Enable participants to generate creative European identity ideas, and
3) Celebrate unique local contribution for a “Polyphonic European Identity”.
Stage 1: At the beginning of each event, participants will be sitting AMONG the players of the host country’s national symphony orchestra. Miha Pogačnik will create the “resonance platform” with his disruptive methodology, using Beethoven violin concerto. He will simultaneously perform violin solo part, comment and paint the process of the masterpiece on a large canvas. This is a specific interdisciplinary method, where the intense and emotional experience of a musical masterpiece is “transferred” to the societal field, generating new productive solutions for our common ideal of “Europe: Unfinished Masterpiece”, enabling the emergence of new methods and solutions and strengthening the essence of the European idea.
Three movements of the violin concerto will unfold this way: firstly, movement (interdisciplinary process and performance) will create VERY intense experience for participants, therefore they will have debriefing immediately while they are still sitting among musicians. Then there will be the concluding performance of the second and third movement of the concerto. In this methodology, participants are stimulated to offer their profound insights while surrounded by music! It is truly “out-of-the-box” change of the perspective: creative results guaranteed!!
Stage 2: Orchestra leaves the stage and participants will sit in concentric circles for a moderated “generative” conversation, kind of “open space”. We will encourage cultural ministries in each country to prepare an exhibition of “universally acknowledged genius” representing each country. This exhibition will be surrounding the event, offering stimulation for good results of the open space conversation.
Stage 3: Celebration! Informal dinner/refreshments, conversations and presentation of some of the most autochthonous aspects of local culture and tradition.
All events will be filmed and nationally transmitted, the results will be needed for the continuation of the project till May 2018. In order to reach more people, especially young generation, we will encourage a direct transmission to some public areas easily accessed. The direct participation limitation of 150 is because this is the maximum of people that can sit among and around the 42 musicians of the symphony orchestra.
The idea for the finale in Brussels EU Commission on May 9th 2018: The orchestra will consist of 6 young players from each of 7 countries orchestras involved. The entire project will also support the “2018, European Year of Cultural Heritage”. The whole project is a unique combination of art, creativity, diplomacy and business.
www.mihavision.com
MIHA POGACNIK, Cultural Ambassador of the Republicof Slovenia
Adjunct Professorof Artsand Leadership, IEDC, BLED SCHOOL OF MANAGEMENT
Postgraduate Studies
MANAGING DIRECTOR, ECOCULTURE S.E.C.S.
L-5365 Munsbach, 13, rue Gabriel Lippmann, Luxembourg
Tel. ++352 661 485 158
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My Global Journey In 2016
Over 50 key-notes and leadership development sessions around the globe. 26 world capitals. Hundreds of flights. Dozens of interviews. Over 5000 leaders and managers challenged with my musical method. All in one phenomenally disruptive year!
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Join our global journey in 2017!
Contact me at miha@mihavision.com or here
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Dear Friends from around the Globe, allow me to share with you some news and highlights from my global journey in the first half of 2016!
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It’s been very busy, “disruptive” and inspiring first half of 2016!
It was exciting to travel the world to support change and inspire meaning with my further evolved musical method: from ministers’ meetings in Nicaraqua – to royalty events in Saudi Arabia, and of course together with you I’d been designing some of most energizing and unique corporate and leadership events in Europe.
Along the way I met some fantastic people from the business, academia and philanthropy arena who are now my dearest friends and partners. Allow me to share with you some insights of this transformation journey…
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I received this lovely “Thank You” postcard from the Capgemini University‘s team I have worked with in Paris this January. Fantastic energy !
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This season I had been honored to be part of the corporate and leadership meetings of IATA – International Air Transport Association, IBM, UBS, Swisslife, Novartis, Gorenje, Autoneum, Eneco Staven, Tashkeil – Saudi National Creative Initiatives, Capgemini University, Presidents Institute, IESE Business School, CEED Center and many more…
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One of the most rewarding experiences this year – I was speaking in Nicaragua for FreeBalance Finance Minister’s Round-table and then supported also Fundacion Zamora Teran on Corn Island…
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Miha’s Leadership Development Programs team is busy planning the calendar from September – December 2016.
If you have any questions regarding how can Miha Pogacnik support your event, organize a teambuilding session, leadership development program or just add some ‘magic’ to your meetings send us an email at miha@mihavision.com
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Participants will be sitted among the players of Terra Parzival Symphony Orchestra and experience the process and performance of Beethoven Violin Concerto Op 61, violinist Miha Pogacnik (www.mihavision.com ) , conductor Elmar Lampson, President of www.hfmt-hamburg.de . Miha will, through his method of “performance disruption”, guide the participant’s attention to the archetypal “musical architecture of feelings”, exploring unique environment, a“transfer learning” for leadership development. Is it possible to find solutions to the pressing organizational dilemmas in the paralel world of musical masterpiece? And, on a deeper level, is it possible to ignite, while experiencing musical drama of classical Sonata Form, the healing of the contemporary omnipresent “crisis of meaning” , revisiting the sacred of the human creative biography?
After the performance and before the dinner, there will be the possibility for debriefing experiences and observations of participants.
For more information please click here.
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Why do Miha Pogacnik’s innovative workshops have such sustainable impact?
CREATIVE TEAMBUILDING MASTERCLASS®
Organisations focus on process and technology, but change succeeds only with people and culture.
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To initiate and successfully sustain the momentum of change, the organisation needs fresh ideas inspired by and embodied in deep experience! Miha Pogacnik developed a journey in 4 stages, a “creative detour” for teams to reach their peak performance and breakthrough impact.
1) With his unique method of interruptive performance of a violin masterpiece, Miha enables participants to follow and experience the musical evolution as a leadership journey through various stages. The powerful universal language of music, permeated with the company’s specific change messages, elevates everyone to the “resonance platform.”Miha supports this process by painting on the flipchart. Ideas flowing out of this exciting audio-visual experience are also recorded for later. At the end all participants feel sufficiently “out-of-the-box” to share their personal and professional insights openly and in a very different light.
2) Participants are divided in different teams. In each team there is a “sculptor” and an “observer”. The teams co-create, under the guidance of a sculptor, a “social sculpture”: an inventive, beautiful and sometimes funny group activity, expressing without words the transition from the dilemma-ridden current organisational situation to the desired future. The observer watches the creative process to tell the story later. After completing (and practicing the performance of) the social sculpture, participants enter the “poetic mood” to co-create a poem, drawing on ideas from musical experience, the sculpture, and, above all, their organisation’s vision, mission and values.
3) Plenary performance: their creations complete, all teams perform for each other. After each performance the observers tell the story of team’s creative process, struggle and breakthrough moments. This session of performance releases enormous energy, much learning and KEY insights.It is also a lot of fun—many taboos are broken in an easy and playful way! In the following intermission the teams’ observers together make one poem out of all the teams’ poems, highlighting the golden thread and condensing the meaning!
4) Debriefing and final performance in plenary: The mood at this stage is difficult to describe—many remarkable ideas buzz through the space and inspire the participants. Miha Pogacnik gives the final performance reflecting the inner path of leading transformation and observers present the final poem, a very moving experience, a new vision.
The artistic expression of change ideas inspires teams and empowers sustainable transformation!
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A minimum of 5 hours are needed for this to unfold. However, it can go deeper if the whole day is available. A90 minute plenary session is possible, but without the benefit of breakout sessions. The shorter time allows for 3 steps: a keynote, interaction with participants and performance.
A daylong workshop can stand on its own, or it can be incorporated into a corporate university programme. Ultimately such a workshop can initiate or reinforce the transformation process organisation-wide. The ideas and process inspire the participants to create a change-prototype: a catalyst with the powerful potential to create cascading benefits throughout the organisation.
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I interrupted deep silence of thousands of years in Cheops pyramid with my interruptive musical method – and it is the principle of interruption that dominates the modern economy! The resonance I felt and found there emerged as “resonance-platform” for delivering speeches to thousands of managers around the world, to help them strive for their inner genius while joining me on the transformation journey! Listen!
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Looking back on adventurous 2015, let me share with you some highlights starting with the last….
Bringing Masterpieces to life at the corporate podiums worldwide
I again delivered, as every year, a Leadership Resonance Masterclass® – workshop style learning module for the BOSCH Gmbh leaders in Berlin. Because of relatively small group of VP level participants we could explore the creative “translation” of music masterpiece’s deep emotional impact into poetry, which was created by participants in small teams: While all content related to the corporate values! It felt like we are well on the way towards a formula for executive learning beyond only information, transiting knowledge to wisdom, striving beyond excellence towards genius!
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“Driven by passion” with Fiat-Chrysler Group
For the second time I was part of the annual FCA Group leaders meeting in Serbia at the Lake Bor. Together we spend two days with various interactive and creative exercises, encouraging attendees’ artistic expression to reach higher teamwork and leadership level through my “Transformational Leadership and Teambuilding Journey”. Next year they will be sitting in the symphony orchestra, among the players, to explore my “symphonic organization” methodology!
Making the world a better place with MAHLE Foundation
One of most valuable experiences of the year came through a request for my support during the 50 years celebration of MAHLE Foundation in Stuttgart, extraordinary organization supporting diverse future bearing fields arising from the work of Rudolf Steiner: Education, arts, health, agriculture and beyond. You might be interested in this solution: Imagine the challenge of almost a dozen official speeches on the the opening
night, who can listen attentively through all that? The solution was my Resonance Platform Event Support Model®: Between the speeches we “inserted” short moderated musical magic moments with my wonderful pianist Diana Baker and the concentration could last for the rest on the programme! My final concert in the packed chapel is not easy to describe: suddenly many people approached me who traveled the world with me
in 80’s and 90’s during some of our 200 intercultural IDRIART festivals before the turn of the millennium…. another long story of the power of music during social upheavals…
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New workshop for IT LEADERS recommended by Steve Wozniak, co-founder of Apple
In 2015 I also delivered two insightful performances at leading IT events: IBM Business Connect 2015 in Cologne and Gartner Identity Access Management (I AM) Summit in London which were the birth-place of new workshop: World 4.0: The power of Emotional Innovation for IT Leaders. All about the inner balance and double growth…
RE-INVENTING TALENT MANAGEMENT : “THE POWER OF ART & EMOTIONS ”
The context for talent development is critical! It was amazing educational experience for my clients and myself during the one-day Developing Talents Workshop with top UBS IT professionals in Wolfsberg, Switzerland. Musical process-performance supplemented with other art methods greatly stimulates creativity and change in human being. Enthusiastic feedback confirmed the value of this creative team-building method: “So unique and different! Highly engaging! Seminar like no other!”
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Miha supporting consultants worldwide
My musical method is getting highly recognized among consultants who often invite me to support the events of their clients. In October, for instance, I truly enjoyed working with a creative consulting group Peoplerise who also use Otto Scharmer’s Theory U model in their workshops. Music speaks directly to the feelings and my method brings the masterpiece structure alive, making the leadership journey unforgettable experience and inner force for change. This was the musical impulse for ELECTROLUX sales force leadership. Also in October I supported in a similar way my colleagues consultants at ICG, Integrated Consulting Group Learning Days in Cologne. Deep learning requires the next level consciousness change and music, through my “interruptive method”, does it!
“DINNER WITH FRIENDS”
It is always great joy for us artists to meet with business leaders in creative atmosphere. Musical strategy experience inspires conversations to the higher level of meaning, resulting in the flow of unique business ideas. My friend Anders Indset invited me to perform for a group of executives from Montagsgesellschaft e.V. community in Frankfurt in September, entitled “Dinner with Friends”, and it really felt like it!
One of worlds’ favorite corporate speakers…
Key-note motivational speeches, moderated workshops and ‘Midnight Concerts’ following his presentations have resulted in consistent stream of
enthusiastic feedback and standing ovations!
“Speaking to you, dear HR leaders, it feels like coming back home. Let us consider r e s o n a n c e as the key enabler for your profession, develop Human Resonance!” this is how I greeted the distinguished HR leaders from around the world at the Talent Management stream within the prestigious European event “HR Core Lab” in Barcelona, where my speech was highest rated among all other speakers.
And more in Barcelona: I presented for the academic faculty of the renowned IESE Business School, where I have been supporting the IESE-HARVARD-CEIBS Chinese Global CEO programme for many years.
In Barcelona I also delivered my “Passage Through the Fire” lecture for Novartis Pharma European leadership, who invited me again this autom to speak at their leadership meeting in Villach, Austria.
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MY Innovation: aiming for organizational masterpiece…
“Managers target excellence. For the artist, excellence is only a starting point – artist’s visionary goal is genius”…”only the impossible is truly practical!”
Unlocking imagination with my musical method, in Wuppertal I enabled the synergy of science and art with a leading German engineers association at the VDI Impulsgespraeche event.
During my opening key-note speech at the prestigious Gartner Identity Summit London 2015 I “translated” processes of classical music into the realm of business transformation, helping modern organizations face changes and challenges in disruptive economy.
My Resonance Platform Event Support Model came to life at the “Celebrating Life! Celebrating Soil!” Eosta Event in Amsterdam, as a part of the UN International Year of Soils.
It was an adventurous pleasure to be part of the C-Talks kick-off event, the leading peer-to-peer organization for C-level executives in Switzerland. “Congratulations, I am impressed by your performance, the best I have seen for a long time!” is what one of the guests, CEO of Mövenpick wrote afterwards.
Striving for GENIUS RESULTS with top brand clients…
Working with VP level of Bosch, Fiat and Weidplas leadership, my method of engaging formative forces of different art disciplines proved very helpful for participants generating their own, original solutions. My outreach to insurance industry was highlighted in 2015 with successful support at Baloise.
After helping Portugal’s top brand Portucel Soporcel with generating innovation, the company’s CEO exclaimed at the end: “We appreciate highly your captivating way of customizing your method, this is very helpful for our transformation journey!”
One of world’s much in-demand corporate speakers…
In Cancun, Mexico, my popular “Business Sonata” was highly appreciated by the audience, leading global event organizers and industry professionals at the World Meeting Forum 2015.
Pursuing solutions to global financial challenges…
In the forefront of massive European monetary challenge, Hellenic Managers’ Association invited me to be the key-note speaker at the “Manager of The Year” award ceremony in Athens, Greece, encouraging the leadership to find innovative solutions for disruptive economy.
Brreton Woods IV Convocation
My interest in working with global financial institutions over the years recently led me to a very creative session with the global private markets investment management, Partners Group. My musical thinking quite naturally resulted in the question about our global monetary system and I began exploring with my colleagues “the challenging call” of evolving this system from monoculture to “polyphonic” ecosystem.
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THE MUSICAL method goes “mainstream” in academic curriculum
I continued introducing musical ideas for interdisciplinary curriculum at St. Gallen Business School and IEDC – Bled School of Management, where i serve as adjunct professor of Arts and Leadership. And during 2015 I gave again a presentation at 1492 Game Changer event in Altausee, Austria, a brilliant idea of Michael Hengl, who is the founder of 1492.//School of Business where I serve on the board of directors.
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The next big thing…
Two in-house corporate workshops for two leading corporations in Dubai were the birthplace of INSPIRE DUBAI SOUL Expo 2020 Resonance Platform.
www.InspireDubaiSoul.com
Dedicated to helping communities transform and grow…
As in the past, it have been my passion to actively participate in many special private events, co-creating visionary ideas with colleagues in the business, political, social and cultural scene. My special diplomatic mission as Slovenian Cultural Ambassador evolved over years to a very specific support of Slovenia’s business diplomacy.
‘Events bring people together and when people come together innovation and collaboration happens. Miha led a workshop in London for a number of change makers in the event industry, which created the foundation for an ongoing conversation on how events can transform our world’
This interactive coaching and educational method for creation of “safe” places for open communication was developed by Miha Pogacnik and is based on a) use of formative forces of high art and culture (especially music and visual arts) as stimulus addressing emotional intelligence and creativity within each participant and b) Chladny effect (a well known physical experiment with resonance, more on http://www.terraparzival.eu/stran/5/tp_regional) where expert moderator through targeted moderation and creation of artistic resonance helps participants to develop inner organization of cognitive and emotional processes in form of their own awakened biographic structured ideas. This process results in enhanced capacity of group co-creation, heartstorming and solution-based learning.
The resonance platfrom method is recommended for groups up to 40 participants and can be performed by moderators who can demonstrate a high mastery of artistic performance and have adequate expert knowledge as well as experience in managerial skills building, phenomenology and artful leadership education.
You can find one example of Miha’s seminar using resonance platfrom method by clicking here.
*Photo credits: Christian Nagele.
If we place TRUST and INNOVATION in the centre of leadership development, then let me share with you what long life experiences have taught me:
No trust can arise if we don’t develop genuine and deep interest in another human being. And there is no real interest possible if our perceptions are dull, if we don’t clear and sharpen our senses to be able to perceive uniquness of every human being! And music is the best way to fine tune and restore our senses and meaning of life to their glory.
That is why I belive my method of turning great genius musical masterpieces into “safe place” process of “resonance platform” empowers leaders to journey the whole cycle – from making sense perception alive, to extending trust and having innovative impact on both levels of sustainable business: on social responsibility AND bottom line!
March 2014 – 1st Issue of Change Magazine (ICG, Austria)
A new article about Miha Pogačnik featuring his views on change management, leading form future, use of formative forces of art for creation of high resonance platforms and other innovations Miha uses in his consultancy and inspirational work with business people aroud the globe.
Read more on IGC website or the whole article in pdf HERE.
Cordially invited to join me and my expert colleagues at Transformational Leadership and Terra Parzival Executive Quest which will take place on July 2 – 5 2014 in the most beautiful places in Slovenia.
Who should attend?
This unique journey is geared towards those concerned with the emerging future in front of us. It is for everyone who is seeking to have their creative mindsets challenged and expanded. In particular, the module is tailored for experienced professionals and executives who have core responsibilities for strategy, vision, creativity and innovation in their organizations.
Interested companies or individuals please contact Ms. Elena Begant, info@terraparzival.eu or on GSM +386 31577971
For the detailed programme and info how to apply please follow
Transformational Leadership and Executive Quest 2014
more info also on IEDC Bled – School of Management .
For the whole Terra Parzival programme please follow Terra_Parzival_IDRIART_Programme_2014_web_ok
Yours, Miha
What is this unique and haunting quality that can be experienced if we open up to the musical process of the masterpiece, directing our listening flow of music and story through the heart, enabling the clarity of thought penetrate our feeling perception? MAGIC happens on this intensely resonating platform: concepts and ideas which hardened into digital PowerPoint death suddenly regain flexibility and dynamics of life and irreconcilable dilemmas that went sour, find creative solutions! On this level of active listening something happens that is not possible in “rational transaction”: the spark of inspiration jumps form masterpiece solutions to leadership solution! From position and opposition to composition! Fastest way to get above and beyond the target is daring the detour of musical resonance platform, value added!
INFO 3: Neue Terra Parzival Projektinformationen in Deutsch
Mit den IDRIART-Kulturfestivals öffnete der Violinist Miha Pogačnik einst menschliche Begegnungsräume von Chartres bis in die ferne Mongolei. Nun will er mit seinem neuen Projekt „Terra Parzival“ seinem Heimatland Slowenien zu nachhaltiger Entwicklung und Europa zu einer Identität verhelfen.
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Why is the creation of the musical-process resonance-platform environment so helpful for solving leadership dilemmas? Here is the creative polarity: The character of nature and genuine art is abundance and generosity. The pressure of the necessity of turbo economic model is scarcity and greed. The musical masterpiece inspiration on the raised resonance-platform “unlocks” to executives the access to their own wealth of deep inner re-sources, sparkling with creative and daring solutions!
EXCELLENCE is the goal for management. For us artists it is the starting point, we have always been STRIVING for nothing less than GENIUS. Our new challenging inspiration however is: extending formative forces of art to create a safe and vibrant learning environment for LEADERSHIP, to help leaders growing wings for solutions ABOVE unsolvable dilemmas!
Musical strategy: from fragmentation forces of POSITION and OPPOSITION to the raised resonance platform of COMPOSITION!
Miha Pogacnik
To my friends as a guiding star on the 2014 horizon:
What is the difference between MASTERY and DILETTANTISM (in leadership)?
Goethe says: “Dilettant (painters) always complain: it is not finished, it is not finished, something is missing! MASTER is finished the FIRST stroke; it only needs to be COMPLETED!”
Nobody is born with this capability: it is rather a life-long learning challenge. To become a Master of Beginnings emanating Totality!
“Häufiger aber stehen hinter Veränderungen Menschen, die schöpferisch sein, etwas Einzigartiges, Neues, Ursprüngliches schaffen wollen. Das alles waren einmal Bedeutungen des Begriffs Originalität – und es ist eine interessante Frage, warum originell heute meist nur noch im Sinne von komisch oder eigenartig verwendet wird…Aber mit der Verfeinerung des Alten kommen wir nicht mehr weiter, wir brauchen viel mehr von denen, die neu denken – und sich nicht darum scheren, ob sie deshalb dem einen oder anderen als Spinner erscheinen.
Miha Pogacnik zum Beispiel, Geiger aus Slowenien und Kosmopolit, der angetreten ist, seiner Heimat eine Vision zu geben…” (Brand Eins – from Editorial by Gabriele Fischer, Chefredakteurin)
Den ganzen Artikel auf brandeins.de jetzt lesen.
A lot more about interesting ideas and works of Miha Pogacnik can be read also in Brand Eins issue 08/2003: Das Genie setzt die Norm
Über Brand Eins
brand eins ist der Name eines Wirtschaftsmagazins und der Name des dahinterstehenden Unternehmens. brand eins erscheint in der unabhängigen brand eins Medien AG, die 1999 – damals noch als GmbH – von Oliver Borrmann, Gabriele Fischer und Volker Walther gegründet wurde.
brand eins sucht nach den Hintergründen und Zusammenhängen.
brand eins beschreibt den Wandel in Wirtschaft und Gesellschaft, den Übergang vom Informations- zum Wissenszeitalter.brand eins-Leser haben ihre Zukunft noch vor sich, die meisten werden sich noch sehr lange in einer sich ständig verändernden Welt zurechtfinden müssen.
This dilemma goes throug all my life: requests for CV!
Each time one CV is written or re-written I feel, this is not “me”. I am sure you feel the same. How do we capture that which really wants to be born into our stream of life, with which we want to indentify ? How do we acknowledge the humbling insight that despite our personal busy and active life it is always unexpected gift from the periphery which corrects, directs, sometimes painfully destroys and also uplifts to a new inspired and meaningful phase? How do we expose our failures to be appreciated as essential on the learning journey towards a high and far distant ideal of becoming composer of one’s own “biography as masterpiece”? Reading CV’s floating around, so much success everywhere!! Is it really so that everyone only wants to read about success? What about “success trap”? When 30 years ago we were “successful” creating Chartres festival, many advised me to continue that way, inviting “right” people to be invited back by them, beginning the old pattern of “trade” for great “carreer”! NO!- was my decision, sensing success-trap and instead starting something new and never done before : to encourage the audiences to travel with me and my colleague artists to the crisis areas of the world and….IDRIART movement was born! And with castle Borl 21 years ago: many strongly advised: let go with this pile of old rocks! And we persisted instead. And now Borl, Terra Parzival Grail story memory bearing, is emerging as a beacon on the path towards the polyphonic European identity. Since the departure in Chartres the “shepperds dilemma” persisted: “how to tell the overwhelming experience?”- which does not fit in the traditional CV format? How to learn and accept that it is the signature of our multiple crisis ridden transition time when the emerging future educates us: Every time start anew! You can not rely on any past “success”! Learn to stand in and act out of the “zero point”!
Yet, if one has lived a life long enough, one can turn back and gratefully perceive the gift of mysterious order in biographic rhythms, never consiously persued. Let me try with an example of this outgoing year 2013, for me and many of my friends truly a transition year:
I can observe seven highlights, very personal transitions in 2013. The first one in January, is connected with 21 years rhythm:
*Six solosonatas and partitas by J.S. Bach are the “Bible” for every violinist under the sun! All my life I have been learning to stand within this encompassing, living organism, this music – cosmos, learning to translate this archetypal musical formative forces to different domains of human persuit! Here originates my conviction that it is the formative principle of arts, capable to influence and chrystalise the re-composition of society if, for instance, raised to the method of Macro Violin Resonance Platform!
In 1971 good fortune made possible for me to perform these six masterpieces in Bielefeld, Germany, not knowing the proximity of EXTERNSTONES in Teutoburg Forest, ancient Germanic sacred initiation caves dug in solid rock. There and then I felt for the first time that becoming a violinist does not need to be determined by centuries old tradition! What was the call? Wolfram von Eschenbach’s Parzival story was given to me and “onion peeling method” was born: to keep peeling off what I don’t want when life presents different options, – all the way to the core! Chartres and IDRIART movement resulted.
And 21 years later, in 1992? Searching for new horizons, with Bach sonatas in 43 Europa’s cathedrals and sacred places, it was again at Externstones where the “call of Castle Borl-Ankenstein”, ancestral home of Parzival dynasty, reached me.
*And, certainly with no conscious intention, destiny led me again to play at Externstones this January 2013: Next 21 years? Yes! Terra Parzival, European region build upon foundation stone of Parzival’s QUESTION, generating empathy and solidarity!
So… this was the first of 2013 seven transitions. And the other six?
**At Easter time, in April, we celebrated in Chartres cathedral 33 years of the first concert there in 1980, which genereted a huge response with the birth of Chartes Festival d’Ete and IDRIART. Will there be “octave” surge in 2014?
***In the beginning of June treshold was crossed in my biography, to personal to tell, but reader, if you ask me, I will tell you directly.
****On July 10th Co-Creation of Terra Parzival Macro Violin was inagurated with decisive support of fellow Slovenians!
*****On July 17th was the TP Questival culmination and transformational experience with symphony orchestra sit-in process-performance in the TEMPLE, the Chrystal Hall of Rogaska Slatina, where healing waters of the hidden lake within “Mont-Zal-Wotch” come to the surface.
******End of September, on Michaelmas, performance in the King’s Chamber of the Cheops Pyramid in Gizeh, Egypt and
*******On December 7th celebrating 30 years of IDRIART with my dear friends and colleagues in castle Borl, together crossing the treshold of the new emerging cycle, saying YES! – to the challenging Terra Parzival vision!
Yours, Miha
The background and substance of my method for reaching the solar plexus of learning when working with my audiences and clients can be explained by 3 “social innovations” I contributed to society and which are arising out of my efforts to transform the following privileges:
– Privilege of performer violinist
– Privilege of masterpiece of music
– Privilege of master violin (Stradivari, Guarneri)
Privilege of performer violinist
When performing for the first time in the magnificant cathedral of Chartres 33 years ago I realized that in this extraordinary architecture playing on the violin needs to expand to “playing on the cathedral”, playing on the “Macro Violin”, playing from the periphery. This idea found its “home” as the final stage of Theory U by one of today’s leading economic theorists dr. Claus Otto Sharmer. The cosequence for me was that I motivated thousands of my audiences to share the “priviledge of performer violinist” and joined me and my collegues fellow artists, travelling with us to places of crises and transformation all over the world, co.creating over 200 intercultural festivals (IDRIART movement). The privilege of performer artist is to go beyond all tabus, beyond politics and so they played a decisive role in desolving European East-West conflict in 80’s and building costructivly on global challenges through “Art of Meeting” from Mongolia to Amazonia, Tibet to Southern Africa, witnessing pain of Dubrovnik, from Mostar to Sarajevo in 90’s and always receiving the confirmation: if we, as individuals from different cultures, meet on the inspiring Art-permeated platform – this is the window of opportunity for co-creation and response to emerging future!
Privilege of masterpiece of music
It is a wonderful and meaningful experience to listen to a musical masterpiece, but – do we really hear all complex and brilliant organic reality of many layers evolving simultaniously? Do we hear the relevance and potential solutions of the masterpiece to out daily challenges as a leader, do we even know that there is such a (paralel) relationship? Are we not, each of us, “composers” of an unique “masterpiece” called human biography? Over decades I developed a special method to “invite” my mainly corporate audience into the process of the musical masterpiece, as if going on the journey of “detour” to discover musical solutions to diverse leadership challenges. This method of “transfer” activates the creative side of my clients to find unexpected own solutions to their problems by themselves.
Privilege of master violin
What is the treatment of elements of violin which elevate “her” to the magic rang of Stradivari, Guarneri? What is the secret of “gentle power” of resonance, generated by this peak of European craftmanship design? Imagine this type of resonance in our learning organisations and developing societies! Unfortunately the conferences and “offsites” are NOT placed IN the resonance-equvalent environment of Stradivari or Guarneri! That’s why I with friends went into decades of active search and research in order to create special environments of learning where the WHOLE human nature begins to resonate! The innovative approach of creation of such places is called “Playing on the Macro Violin” (more on the approach) and is being used for the first time in Europe on Slovenian regional development programme called “Terra Parzival” as a possibility to create the environment of magic, inspiration and resonance, and through this to give the opportunity for implementation of sustainable action and change within society as a whole. This regional model will on the macro-European level also explore the resonance principle in influencing the development towards the “Polyphonic European Identity” and co.creation of the New European Leadership Style. Interested? Wellcomed to join…
Miha Pogačnik is a man of many talents and ideas. Miha currently occupies himself with the idea of the cultural and spiritual awakening of Europe, endeavouring to bring it back to its core or more precisely to the land of the mythical king Parsifal and all he represents.
Pogačnik has always been involved in various art projects. First he was a successful violinist, then in the 1980’s he established Idriart, a non-profit organisation based on the idea that art is the bearer of social change. Idriart took him around the world to intervene in political, social and cultural situations in crisis areas and through it he has produced over 180 festivals in collaboration with local hosts. “There was enormous success. Thousands of people came with us to Prague, Estonia, Georgia, Tibet, the Amazon, but then in the 1990s the world changed,” says Pogačnik. “I noticed that if I kept doing the same thing, I would just be repeating myself.” He found himself in a “success trap” as he calls it – a situation when one gets stuck by being successful and restlessly starts asking questions about creativity and innovation, pushing them toward new projects to fulfil the need to create something fresh.
Music as an Answer to the Crisis
“I’ve always asked myself in what way can art contribute to changing the world and I’ve always tried to follow the call coming from the world,” explains Pogačnik who developed a special method, introducing a new concept for listening to music: “Of all the arts, music goes straight to the human heart and I’ve always felt that the experiences professional musicians get are not just pertinent to the life of artists but can be used generally.” As our extremely fragmented society, based on the economy, has found itself in a crisis, Pogačenik believes it is the time to start dealing with it: “Leaders are making decisions from their limited, specialised viewpoint and I, as an artist, feel I need to help them broaden their horizons, generate inner inspiration, motivation and energy.” He says that the basic reason he has been working with the economy and leadership is to make them aware that they can manage their companies in the way which composes society.
Pogačnik creates an environment in which questions are asked in a different way and casts new light on the immediate crisis and the general situation – through classical art created by geniuses who he sees as the greatest art substance Europeans have. And how does he trigger change? “I invite executives to enter the process of musical masterpieces in such way that I play and stop, comment and paint – I decompose the piece. They are seated among the orchestra and therefore get first-hand experience of the musical process,” explains Pogačnik who asserts no musical knowledge is necessary for this method to work, “just the willingness to permit the feelings to rise. I want to get people to the point where they let go of all the nervousness, distrust and animosity and open up to the possibility of a creative detour.” According to him, this happens because music moves at the archetypal level which is above everyday experiences, thus giving direction and solutions to problems which are then viewed from a new perspective and can later be dealt with by an out-of-the-box approach. “Art is full of meaning and if you go through the experience of meaning, you are transformed and find everything meaningful, also problems,” notes Pogačnik who points out that the lack of meaning is the heart of the current crisis, the financial aspect being its expression.
The method, which establishes a new relationship between art and business, has proven to be very effective – he has collaborated with scores of leading companies globally, business schools, research institutions, professional associations and also with UN agencies and the World Business Academy. In his opinion, his ideas work because they become ideals.
The Legend of (Slovenian) Parsifal
However, as he notes, ideas go through a process of hatching which requires time and patience. “Slovenia can be metaphorically viewed as a hen which hatches new ideas, useful for all of Europe,” says Pogačnik who goes on to explain the most intriguing story of the mythical figure Parsifal from the 9th century, “one of the most important European cultural legends comes from Slovenia.” The roots of the Eastern counterpart of the more famous King Arthur from the West are in Ptuj, as described in the magnificent epic poem created by Wolfram von Eschenbach around 1212. “Parsifal is everywhere, he is a European but originates from Slovenia. He is not historical fact but he is a mythical figure. Both kings existed at the same time, Arthur and Parsifal dealt with bringing order to society, however from the West came capitalism and globalisation, while from the East came philosophy, art and beauty. The two need to be balanced in a productive way,” says Pogačnik.
According to him, balancing would help the currently wrong relationship between humans and the economy in a way that the latter would start serving the former and also aid the European identity which has found itself in deep crisis. “European identity is based on the heritage of artistic geniuses like Beethoven, van Gogh, Shakespeare and Mozart who brought culture to the highest level and has many varieties. However, because of globalisation these varieties have lost power. Yet Europe is special because of its diversity. Every country is important in the creation of this polyphonic identity – it functions vitally like an organ in the human body,” notes Pogačnik who recognises the point of Parsifal, Slovenia and the Terra Parzival foundation he is part of: “Our country, with its trinity of landscapes, symbolising the trinity of body-soul-spirit, is perfect to become an instrument of the European identity as the time is right. Parsifal’s territory in Slovenia symbolises the rise of the spirit. Europe has also entered its third phase of development which is that of spirit. We are trying to inspire imagination in a creative way which would result in long-term, sustainable, meaningful development where the human being is in the centre.”
Terra Parzival Foundation of the Future
June saw the first of the three-day Terra Parzival Festival, organised in significant places linked to the mythical king. Attendees underwent the musical masterpiece decomposition method of opening up to new ideas and learnt about the story of Parsifal and its significance in numerous creative ways – they created a grail, attended a tournament of knights, experienced live music in a cave and also many other activities. “Slovenians are like Parisfal – we are just waiting for something to happen, but this must change to action – just like he took action,” affirms Pogačnik.
Slovenia may be small, but Pogačnik believes that with a powerful idea, size does not matter: “We would like to connect Terra Parsifal to the platform of the European Cultural Parliament through its Cultural Secretary General who came to the festival.” The potential is enormous and according to Pogačnik, there is space for change in human beings and the terra incognita which lies inside of everyone: “We’ve created the illusion that we are fixed from cradle to tomb, but functioning this way is just more or less going through life where nothing really happens. This bare survival and dreams with no action have created the crisis. But crisis, as I said before, is meaningful and it’s a good thing to have as it forces you to delve deeper and discover the unexploited realms we possess.”
The legend of Parsifal is very much linked to the present day situation and teaches individuals to start fighting old patterns and accepting the change in life. “Einstein once said that you can’t solve new problems with old ideas and this is where Parsifal comes in. He had to learn to ask the right questions, do the right thing at the right time – and this is also the challenge of the modern human being,” asserts Pogačnik who sees Terra Parzival as the new herald of changes that need to take place. “Everything is already here and we’ve started to realise how to create an environment to act and move. And this is what we’re trying to do with Terra Parzival – this element is an instrument on which you play Europe.”
Article from Slovenia Times
The renowned classical violinist shows business leaders how art and leadership are intertwined.
Leadership is often described as an art because it lacks the rigor and replicability of a science. But leadership and art actually have a lot in common. That’s the message of Miha Pogačnik, a classical musician and entrepreneur who traded concert hall performances for intense sessions he conducts around the world in which he guides business leaders through the deconstruction and evaluation of great works of classical music. As he takes the leaders inside the piece of music, examining how it is constructed and why it works, he encourages them to draw comparisons to the challenges they face in their everyday roles and their approaches to viewing and solving their business challenges.
Pogačnik, who will be among the featured presenters at the upcoming conference Leadership & Management Forum Europe 2012, spoke with GO about his one-of-a-kind sessions, the universal language of music, and how the terminology of art is prevalent in business.
GO: How did you come to move from your profession as a classical violinist to the work you’re now doing with leaders?
Pogačnik: I realized that the world had changed so much in the late 20th century from the times of the great masters. It was like the world had become like a big factory of musicians, so I stepped out of it. I created a movement where I invited my audiences to travel with me to different areas of the world, as far away as Tibet and across Siberia and Mongolia and Russia.
Through my experimenting, I began to understand that there’s so much art can offer in terms of inspiring human beings when it comes to being a leader. And I saw that the leaders on the top floors of corporations and the leading entrepreneurs needed to discover or rediscover artistic principles in order to see their businesses, their leadership abilities, and their challenges in a different way.
GO: Describe what happens in your sessions.
Pogačnik: I have the participants sit among the players of the symphony orchestra and then I take a great violin concerto, Beethoven or Brahms for instance, and I direct the participants through the development of the masterpiece and the problems the composer had to solve. I engage them in conversation and put them in small groups after they’ve gone through this experience. I seek out their observations and uncover their new ideas.
Because I take people completely into a field they are unfamiliar with, they feel very insecure at first, but when we go deep into the music, suddenly they discover that the challenges and solutions that contributed to the creation of the masterpiece, and the way to interpret those processes, have a lot to do with the challenges they are encountering every day, such as how to work together, how to execute strategy, and so forth.
That’s the fun part of what I do. You introduce people to the issues and potential solutions that are present in a piece of music, then you leave it up to them to be inspired and determine what they should take away and use. As a performer, it’s always surprising to see the connections they make when you’re leaving it up to them and not telling them what to do.
GO: What is the connection between music and leadership?
Pogačnik: An organization is like a great symphony in many ways. When you look at the orchestra it’s so obvious that you have a body of 60, 70, 80 people and they each must be very good in their own right.
But when they play together they share something quite different. In an organization, egos play a big role, but in classical music as soon as the musicians in the orchestra start playing a great masterpiece, egos drop away and don’t disturb the whole process anymore.
GO: Do audiences in different parts of the world react differently to what you are doing?
Pogačnik: I think great classical European music has the potential to touch the human within the human. I was doing a session with a group of students from Africa who did not have many opportunities to come into contact with European classical music. So I did it my way and after five minutes they were saying, “How is it possible we don’t know this music? If we heard it on the radio we would immediately shut it off, but the way you present it, it makes so much sense. We want to know more.” In other words, the framework in which you do something matters. If you can reach across the barriers that are erected between cultures, locations, and all that, and immerse people in experiencing a masterpiece, it doesn’t matter where they’re from. The reaction will be the same.
GO: Is a leader a performer or does a leader need to be more of an engaged and attuned listener?
Pogačnik: Both, of course. But performance is only the finer touch. You see, a leader has to have the capacity to slip into and understand another person’s role.
It’s very difficult to lead from the periphery. Teamwork comes up so often in my sessions because teamwork is on everybody’s mind and you cannot really be a team unless you work together. When a leader pushes the rest of the group and brainwashes them into action and gets them smiling and saying yes, that’s not the same as having a team. A team is about people wanting to work together and that’s something you can really learn by listening to a string quartet. You have four individuals who must work together in a tight and sometimes turbulent relationship, but the music they make together is so glorious because everybody is also an individual.
GO: It seems that centuries ago we used to be better at integrating art with our everyday lives and our business. Does it feel as if we’re starting to move back in that direction?
Pogačnik: You know, so much of the language used in business comes from art. In business they talk about performance all the time; they talk about creativity, orchestration, conducting, and so forth.
It’s like the business world desperately wants to have some association with the world of art. Everybody talks about performance, but they never talk to professional performers, like me, to learn what it’s really about. For example, it’s very interesting that excellence is a word that comes up so often in business. But for us musicians, excellence is nothing. Genius is what matters in art, not excellence. Excellence is just a starting point.
What does a virtuoso violin player know about creativity? A lot, according to the Berlin School of Creative Leadership, which is presenting an inspirational speaker at ADFEST 2009 that promises to be one of the highlights of the festival line-up.
Miha Pogačnik is a virtuoso violinist and cultural ambassador with an exceptional capacity to use classical music to inspire creative leaders to think beyond traditional boundaries. His presentation will be titled “Passage Through The Fire: A Harmonious Strategy For Uncertain Times”, and is likely to be one of the most unforgettable presentations of the year.
Through his music, Pogacnik brings the concept of ‘Creative Leadership’ to life by exploring the relationships between harmony and tension, success and failure, flow and crisis. In an economic climate of great turbulence, there’s no better time to seek creative inspiration from ‘outside the box’.
Part impassioned classical musical performance, part live improvisational drawing and 100% unbridled energy, Miha is an inspirational master of communication. His presentation is made possible by the Berlin School of Creative Leadership.
Miha Pogačnik boasts an unusual mix of musical and corporate skills. He is the President and Founder of the Institute for Development of Intercultural Relations through the Arts (IDRIART) and a Board Member of the Berlin School of Creative Leadership.
Since 1998, he has directed the annual Business and Art Conference at Castle Borl, Slovenia and has also addressed the World Business Academy, the World Economic Forum in Davos, and groups at the United Nations.
Miha´s clients also include Ericsson, Royal Dutch Shell, IBM, Hewlett-Packard, Saatchi & Saatchi, Whirlpool, Skandia Insurance, ABN Amro Bank, Nike and The Body Shop.
Miha is Cultural Ambassador of the Republic of Slovenia, President and Founder of the Institute for Development of Intercultural Relations through the Arts (IDRIART) and Managing Director of Ecoculture SECS. After completing a Fulbright Scholarship, Miha’s intellectual curiosity, joie de vivre and vision to position the arts as a driver for social change, led him to step outside the parameters of a classical concert violinist. Why? Because … “the linear and rational must fuse with inspiration, beauty and passion for change to be implemented.”
On our journey to “discover common concerns and stimulating differences regarding advanced boundary-crossing research approaches,” we will after two days of parallel sessions, wish to make a transition to making sense of our conversations as a whole. To do this we will take a detour in order to cross yet another boundary and give ourselves time for both perspective and process. The boundary we will cross is one from the theoretical and academic orientations of our focus to the world of great music.
Miha tells us that:
“My teaching tool is the violin performance. I “decompose” masterpieces (taking apart, directing attention, commenting and putting together again) to help participants to hear and experience exactly the musical evolution. I support this with symbolic painting of the emerging process, conversations with participants and performance. Therefore my presentation can be seen as “creative detour,” exploring hidden potentials through the “parallel process” of great masterpieces of music. Once musical patterns are explored then I help participants discover in creative ways the relevance of these experiences as potential solutions to their own dilemmas.”
This detour will take us outside the boundaries of our prior conversations, where we will find archetypical themes that can seed our knowledge café, open space and plenary meaning making to come. Miha’s breadth of knowledge spans many boundaries, and his passion and enthusiasm for creating transformative experiences will help us transform and internalize the content of the previous sessions in truly intimate and personal way.
In der Reihe „Führungskunst“ zeigt der Solist und Querdenker Miha Pogacnik, dass Führungskräfte nur mit Inspiration, Kreativität und Leidenschaft das volle Potenzial ihrer Unternehmen ausschöpfen können.
Kommunikation: Das Titanic-Syndrom
Miha Pogacnik vergleicht das strenge Thema einer Bachfuge mit einem autoritären Führungsstil, der Panik hervorruft und jede Kreativität im Keim erstickt. Aus dieser Situation gibt es nur einen Ausweg für Manager: „Loslassen“.
Kreativität: Mut zu neuen Ideen
Künstler coachen Manager: Miha Pogacnik veranschaulicht an einem Kanon, wie Mitarbeiter im Laufe von Veränderungsprozessen Freude an kreativer Zusammenarbeit entwickeln.
Innovation: Auf zu neuen Ufern
In der Reihe „Musik und Inspiration“ veranschaulicht Miha Pogacnik mit musikalischen Mitteln, warum das Aufbrechen gewohnter Denkmuster Voraussetzung für gute Mitarbeiterführung ist.
Durchbruch: Der klassische Weg aus der Krise
Miha Pogacnik erklärt in der Reihe „Führungskunst und Inspiration“, was die Überwindung einer kritischen Phase mit Goethes „produktiver Resignationskraft“ zu tun hat.
Motivation: Führungskräfte im Paradies
Der Geiger und Querdenker Miha Pogacnik erklärt mit musikalischen Mitteln, was es mit dem „peripheren Führungsstil“ auf sich hat und was passiert, wenn der berühmte Funke auf die Mitarbeiter übergesprungen ist.
Integration: Das Unternehmen als Gesamtkunstwerk
In der letzten Folge der Reihe „Führungskunst und Inspiration“ demonstriert Miha Pogacnik die Integration aller Einzelteile zu einem musikalischen beziehungsweise unternehmerischen Gesamtkunstwerk.
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Miha Pogačnik moves his arms in a quick, striking gesture and suddenly the hall resounds of a collective hum from the assembled audience. The tips of the conductor’s shoes are nearly two centimetres over the edge of the stage, as if he’s attempting to come as close as possible to even the remotest spectator.
The people seated in the Erwin-Schrödinger-Hall are not a coir, even though they could easily seem as one, if you walked into the room this exact second. In the hall are seated men in suits and women in formal dresses, attending European Forum Alpbach in order to take part in the Economics Symposium. But Miha Pogačnik is not an economist. He is a violinist, a businessman and an entrepreneur. He has travelled to Alpbach to do the presentation “What Business Can Learn From Music”, followed by a discussion with Williband Cernko, member of the board of UniCredit Bank Austria AG.
But before the discussion begins, Pogačnik has the stage to himself. An opportunity he grasps completely, performing not only as a violinist but also as an actor, speaker and artist all at the same time. Making the suits laugh and clap spontaneously as he plays, he draws on the story and tells the development of the financial and economical crisis from the stage.
“Did you hear it?!” he almost screams to the audience after playing a passage of high notes. “It’s all questions,” he answers, when no one replies. The questions are essential to Miha Pogačnik because he believes that we have been looking for the answers in the wrong places.
“I began working with business and economy in the 1990s after the Berlin Wall fell. A new world was created, and this world was only about business,” the violinist says when we meet him for an interview after his performance. “There was nothing else left, no ideologies, just business. You had to be a good business man, a good greedy guy, who gets as much money as you can by stepping on other people.” But when the Berlin Wall fell, Pogačnik had already gained experience in using music in very different ways than artists normally do.
Read the full article on alpbach.org
“What CEO doesn’t wish his team could function like a well-rehearsed orchestra? To learn how managers can make such music, companies hire Slovenia-born concert violinist Miha Pogačnik. For a song (O.K., for $16,000 a day), Pogačnik, based in Hamburg, teaches executives at companies such as Oracle how musical compositions are organized and ways to apply those principles to business.
Last year he spoke, and played, at Northwestern’s Kellogg School of Management. Recently he had European Union environment ministers sit with members of an orchestra in Ljubljana (Slovenia’s capital) as they played to experience how leaders relate to teams. Such exposure “builds up almost new organs of perception” in executives, claims Pogačnik, who will also arrange for a CEO to wield the baton.”
Article by Jack Ewing