Taxonomies are useful tools for visualizing culture.  Cultural categories are divided into “domains,” each of which have their own “folk terms.”  For the ethnographer or student of culture, the job is to uncover, clarify and reveal underlying taxonomic structures by mapping out the domains and folk terms of the people being studied.


In this mapping process, the ethnographer learns a lot by asking “what are the kinds of…,” “what are the steps in…” “what are the parts of…” or “what are the ways to do…” X according to what is being studied.


When complete, a taxonomy will have a set of strictly contrasting or binary categories.  This phase of the process comes down to testing many variations of this question: “how do you know that this is this, and not that?”


Here’s what a binary taxonomy looks like describing simple objects:

Taxonomy sample

I have the privilege today of facilitating a community retrospective of a four-year public arts project.  We will use this worksheet to uncover the first phase of taxonomic structures:


blank taxonomy

The purpose of this exercise is to find out how the community categorizes itself, which may not be the same as how it has been categorized in the past by funders, city agencies and other outside entities.  Cultural studies like this one rest on a foundation of respect for the insider’s viewpoint.  The results will inform future programming and fundraising efforts so as to contribute maximum value to the community on its own terms instead of just “good PR.”


A great resource for further information is The Cultural Experience: Ethnography in Complex Society by McCurdy, Spradley and Shandy.



I am preparing to give a talk by telepresence!  My co-author Lisette Sutherland has arranged for access to a BeamPro at Spark the Change, a new management conference in London.  This way, we can speak together to share stories and tips from our upcoming book A Field Guide to Collaboration Superpowers.

Lyon 0


Yesterday the Suitable Tech crew in Lyon, France invited me in for a practice session.  Here are some pictures of my jaunt through their headquarters.

They kindly set me up to practice in front of a mirror.  The theory we will test is that the BeamPro offers the ability to move around on stage, turning slightly to the right and left to connect with the audience, surpassing the human features of most “head on a screen” video presentations.


Lyon 1

You can see by the blue lines on the bottom that the device tells you which way you’re heading and enables you to scan the floor for obstacles which might be in your path.


Lyon 2

After practice I went roaming and stumbled upon the guys playing foozball.  They assured me this was just a regular day at the office, receiving guests beaming in!

We chatted about a few things, including the World Cup.  They congratulated me on the US team’s valiant efforts on the field all the way up to their defeat by Belgium in overtime.  You can see I was still a bit tender on the subject.

Lyon 3

Then I tried to go back to the docking station.  In the world of telepresence, this is only polite to ensure that it’s charged up for the next person.  Unfortunately, I got lost in the hallways of Suitabletech.  Anyone who knows me understands that navigation is not my specialty.  It was not far at all and the guys had directed me.  However, still this disorientation was fairly predictable.

Lyon 4

Luckily, a friendly face saw  me wandering around and decided to help!

Lyon 5

Ah, finally I made it back to civilization.  Roaming around an unfamiliar office is something I have done a million times, but never remotely.

Lyon 6

I like the way in which occupying physical space helps to order one’s experiences.  My roaming  had a beginning, middle and end.  Each stage required reflection and some introspection on what I wanted to accomplish, how things were going and what I was prepared to do next.

I always recommend a walk to clear the head and get centered.  Now I am ready to present my talk in London!

Lyon 7

My favorite projects are ones in which the goal is clear but the path is uncertain. Finding the best way to proceed becomes a “we” thing – surpassing any individual’s view of reality.  Enlarging my own ideas about what’s possible is the joy of collaborating.  Leading a group through this process has at times felt sublime as outcomes emerge which none of us could have predicted.

Photo Credit: Mufid Bohorquez

Photo Credit: Mufid Bohorquez


The work I do with teams is storycraft.  This means there is a story to be told about a community, and the product is an experience to be crafted which – if successful – will propel that story forward.  Reflecting on some of the most satisfying of these projects, I am struck by a consistent pattern of iterative teambuilding as a narrative practice which supports emergent outcomes.


Iterative teambuilding can be visualized as the building up of a team in concentric circles outward from its most invested members to progressively involve various sets of participants and stakeholders.  Structured communications keep everyone aware of these relationships.


Narrative practice is a term borrowed from social work recognizing the power of stories to regulate our experience of satisfaction.  I use it to mean keeping people in the same conversation long enough to get something “Done” together.  As individuals build a mental model of their origin as a group, the factors contributing to their complex challenges (what I call the “mushy middle”) and what they hope to accomplish in the world (their finale or conclusion), they co-create value.  This value is derived from their ability to improve the quality and clarity of the stories they tell, often attracting energy in the form of new resources and commitments from an enlarged circle of stakeholders.


Here are three projects to which I’ve applied a narrative model for teambuilding in the past year:


  • curating and producing a tour of New Haven’s “innovation district,” the historic Ninth Square, for The International Festival of Arts & Ideas


  • connecting local start-ups and youth to the New Haven Museum for a state-funded humanities program called CT@Work


  • crafting a new senior management position to work closely with the Executive Director and supervise a growing staff for an after-school arts program spanning several school districts


Here are steps we went through in each instance:


Name the original team.  A team is a unit of two or more individuals who agree that a project should happen, combine resources to make it happen and possess the ability to evaluate its adaptive fit.  For example, a visionary plus a funder can be an original team.  Being clear about who sits in the center of the circle provides fuel for teambuilding because it orders relationships and gives the project a point of origin.


Name the occasion.  An occasion is a combination of a goal and a timebox.  “Getting married on June 8th” is an occasion.  So is “involving local youth and entrepreneurs in two public programs at the museum in February.”  What is unique and/or compelling about this occasion?  Will the story come true in time to create value?  These central questions are relevant and applicable to every project.  I find they create narrative suspense to get people interested in participating.


Name the tools to use for communicating.   A combination of synchronous and asynchronous communications works best, including:

  • a central place where everyone can put notes. typically a shared GoogleDoc
  • a regular meeting schedule with a set cadence for getting things done in between, say every Tuesday at 10am


Name the protocols for using these tools.  Open space technology – provides great inspiration for encouraging people to trust the emergent outcome.  It helps to say or post these principles: “Whoever shows up are the right people.  Whatever happens is the only thing that could have happened.  The Law of Two Feet Lives Here. and When it’s over, it’s over.”


Everyone can check the notes document and add ideas, comments and feedback. Decisions get made in the meetings, and these decisions are not revisited but built upon to move the project forward.  Attendance at the meetings is optional, however opting out of any given meeting means opting out of the decision-making process while agreeing to respect any decisions that get made.


Invite various groups to participate.  One group inviting another amplifies the importance of the occasion.  Museum staff invites design professionals from the start-up community.  Design professionals invite youth.  Youth invite their teachers.  All of these relationships enhance the project’s storycraft because many stories get embedded into the one, central story.  People understand why they are participating and how their relationships fit in with the others.


Another example is: The Board President invites the Executive Director to explore possibilities.  This pair invites the Executive Committee to review their findings.  The Executive Committee presents these findings to the other Board members.  The Board as a whole invites the staff to help flesh out an action plan.


A team that builds iteratively becomes invested in its own success as a team.  The original team takes responsibility for orienting and integrating new members.  New members take responsibility for understanding the whole vision and building upon what has already been established within the narrative sequence.  Relationships become part of the mental model of a project according to when and how various groups are invited to participate.


A worthwhile goal plus a realistic yet challenging timebox create an occasion for people to become an awesome team together.  I enjoy watching outcomes emerge as a newly-established or re-energized team finds its way through a project’s beginning, middle and end.


Artists’ intelligence is now valued by business at the competitive edge. Two years ago I came to suspect that what I was learning about Agile software development could be mapped onto what artists and arts administrators had revealed about creative practice. In collaboration with clients, colleagues and co-workers, I’ve been using these insights to address a response to the question:  can I be Agile even if I’m not part of an Agile team?  Artists tend to function as a cross-functional team inside of one headspace.

Here are my slides from a presentation I gave on this topic at Agile India 2014

Tobias Mayer, author of The People’s Scrum, says, “I’d love to be in the audience for this one. It’s very inspiring.”

And here are some of the highlight Tweets:

Bernd Schiffer ‏@berndschiffer Scrum of One session with @artsint at#agileindia2014 Lot’s of hands-on exercises to organise and grow
Ellen Grove ‏@eegrove  be FLAWSOME! Invite reaction. Let people know your standards for technical excellence and ask for feedback. @artsint #AgileIndia2014
Kevin Austin ‏@kev_austin  ”Trust in emergent outcome” @artsint #AgileIndia2014
Rae Abileah ‏@raeabileah  Scrum of One with @artsint is interactive and introspective. <3 this session already. Art meets Management! 



“I like your Scrum of One idea.  Your work and your thinking seem very aligned with my own.” – Tobias Mayer, author, The People’s Scrum 

“Scrum of One”

Artists tend to function in ways that are intuitively Agile.  Working closely alongside arts leaders for nearly twenty years before becoming a Scrum Master, I have devised a set of practices that solopreneurs, freelancers or anyone working without Agile support in a larger company can practice to become more productive and contribute positively to organizational culture.  I have been putting this into practice for managing deliverables with my own clients as a consultant.

your friend in artfulness, Elinor


On December 16th Arts Interstices hosted a conversation via Google Hangouts among dance and theater improv artists and Agilists from various parts of the US.  The following is a briefing on some essential themes this cross-sector dialogue uncovered regarding the serious interest business is taking today in this art form.

“Yes, And…”

People feel threatened when choices are unduly restricted.  With a narrow set of options, positions become entrenched and even the simplest conversation become difficult.   Saying “Yes, And…” (rather than “Yes, but..”) is widely acknowledged to be the first guideline of improv.  Experienced practitioners emphasize building upon the contributions others have already made, creating an expanded sense of possibility.

“Make Your Partner Look Good”

Imagine going into a meeting with a bad set of nerves anticipating critical scrutiny.  Now imagine going in alongside a colleague, shifting your focus to a total dedication to making that person shine as the most brilliant mind on earth.    Sea Tea Improv recommends practicing this kind of mutual support as a way to instill trust quickly and powerfully.

“Suspend Disbelief”

Improvisational scenes progress iteratively.   Starting with mundane circumstances and then taking the audience along on a journey by adjusting their expectations step by step is conducive to fantastic results.



One of the steps towards relaxing in a group is seeing oneself in others. That spark of recognition can be induced through the act of mirroring, used as an icebreaker in Annie Sailer’s movement exercises.

“Spatial Collaboration”

Knowledge workers have few conscious opportunities to read each other and respond nonverbally.  Even though these exchanges happen all the time at work, improvisational movement renders them intentional, slowing down the sequence of sensing, perceiving and choosing how to engage.

Just+at+Work+008Scrum Teams That Harmonize

Robie Wood led this workshop at the Paris Scrum gathering in September 2013 with his brother Jody Wood, a deeply experienced improv actor.  The description in the program reads: How can we positively charge and orient Scrum Team members toward effective participation in the conversations, activities and innovation necessary to deliver business value? Let’s get team members to Harmonize. To maintain team Harmony, we can draw on examples from the Arts where Harmony is sustained by using improvisation to adapt to changing complexity. The “Scrum Team that Harmonizes” workshop employs improvisation exercises from the Acting world that are designed to work on the specific skills needed by team members to perform effectively in each of the four types of Scrum Meetings.

Robie will host the next Hangout scheduled for later this month, and we’ll include international participants.   Further exchange will advance the dialogue and lay groundwork for intelligence-gathering and sharing of effective practices for how improv is being used today in business settings.   Practitioners can plug into this conversation by emailing or


Sea Tea Improv

Annie Sailer Dance Company


JW Actor’s Studio

This post concludes my December series on anthropology’s fundamental frameworks for understanding culture and organizations. I’ve prepared it for friends in the Agile community who have shown interest in scholarly reference points to inform their approaches to speaking and coaching.  Special thanks to Lisette Sutherland, who gave a presentation on Tribal Leadership at an Agile HR conference in Stockholm, Sweden and afterwards asked for some feedback.  – ES

Majoring in Cultural Anthropology began a trajectory of understanding how very much I do not understand.  Our own culture always constrains our understanding of other cultures.  This affects our development as an individual, our ability to communicate and the quality of our relations with people.


I used principles of Anthropology to climb out of the paper bag I was in, namely the American South.  As a white, privileged woman, my cultural lens had sculpted my viewpoint and behavior in ways I sought to change as I became aware that they caused harm and pain.  Of course, this is an ongoing process of awareness, acceptance and just plain muddling through.

With perspective gained through academic study I found it possible to correct for cognitive biases, navigate and contribute to cultural diversity, and learn to enter complex organizations and communities with respect and exit with mutual trust and new friendships.  Today as a business professional I draw upon my training in Cultural Anthropology to quickly map out underlying power structures, conduct ethnographic research and function effectively as a participant-observer.  I believe the discipline offers key insights on many of the problems that Agilists face in positioning their role as change agents inside organizations.

In a paper called Business Anthropology and the Technology Company, Daisy Rojas writes, “the use of anthropological practice within technology companies brings about understanding of something outside of engineering processes.  This may include human thought processes and methods of interaction.”  She quotes from Scott Ambler’s work Agile Modeling: Effective Practices for eXtreme Programming and the Unified Process (2002) in discussing information flow among teams about how new technologies are used or built.

I had the good fortune to meet up with Daisy in Charlottesville, Virginia, over the holiday break and chat about influential concepts in 20th century Cultural Anthropology.  (Previous two posts cover earlier periods.)

“Every technological system functions within a social system and is therefore conditioned by it.” Leslie A. White

White examined major historical events such as the Agricultural Revolution and the Fuel Revolution.  He looked at transportation, energy, medicine and communication in terms of social change and patterns of adaptation.

“Life inevitably diversifies,” Marshall D. Sahlins.

Sahlins defined diversity as the production of new cultural forms evolving out of old forms.  He saw progress as the tendency of forms to become increasingly complex.

“Anthropology will one day have a choice of becoming history, or nothing.” E. E. Evans-Pritchard

Pritchard turned a reflexive lens on his own discipline and helped Anthropology critique itself.  He accurately predicted a shift of the emphasis among anthropologists toward contemporary studies.

Claude Levi Strauss Picture Quotes 4 Claude Levi Strauss Picture Quotes 4

Levi-Strauss contributed a view of kinship based on alliances.  In much of his work he sought out a “deep grammar” of underlying structures within the human mind to explain culture in terms of contrasting binary opposites.

“A ritual is a stereotyped sequence of activities involving gestures, words, and objects…designed to influence forces on behalf of the actors’ goals and interests”  Victor Turner.

From the early to mid-1950s, Turner lived among the Ndembu, a central African tribe and studied their society and religious practices.  He contributed the concept of liminality as a state of being betwixt and between a culture’s recognized categories.

“Man is an animal suspended in webs of significance he himself has spun.” Clifford Geertz

Geertz interpreted the symbols that give rise to meaning in a culture.  He believed that cultural symbols are a primary source of order in people’s lives.  His writing has a distinct literary flair.  My favorite is an essay called “Thick Description” about all the different ways an you can interpret a wink and the ethnographer’s role in discerning among them.

Today, more in the Agile community are coming to see, understand and promote the value of anthropologists’ contributions to their approaches to leading change in organizations.

The Self Management Institute published my reflections on Victor Turner’s concept of Communitas earlier this year   Very similar anthropological concepts have been woven into the framework for Open Agile Adoption, as described in this article:

Here are some additional resources:

High Points in Anthropology

Conformity and Conflict, Readings in Cultural Anthropology

The Cultural Experience: Ethnography in Complex Society

The Anthropology Network, an open LinkedIn Group

Anthropology and Design, an open LinkedIn Group

Lisette Sutherland is an expert on remote collaboration and community-building.  We are presently gathering case studies for a book about working remotely.  If you have a story to tell on the subject, please reach out to us: @lightling and @artsint.   The results will help others and improve the world of work.  

Daisy Rojas can be reached at the University of Virginia.  Her paper was published in the International Journal for Business Anthropology:!

This post continues a primer on Cultural Anthropology for friends in the Agile community who have shown curiosity in the discipline’s perspectives on culture change.

cult anthro

 Recap:  Anthropology distinguished itself from the other branches of social science by attempting to retain a comprehensive view of humankind and by an emphasis on empirical data.   For Early Attempts at Explaining Cultural Differences, and Data Gathering, see earlier post:

The influence of 20th century politics focused attention on the interplay between individuals and institutions.  This phase of the discipline’s development pushed themes like social control to the forefront.

“How contradictory it is to admit that the individual is himself the author of a machine which has for its essential role his domination and constraint.” Emile Durkheim

Durkheim’s main theme was social solidarity.  He wanted to understand how a society holds its members together and prevents alienation.

“The most important spiritual mechanism is the one which obliges us to make a return gift for a gift received.” Marcel Mauss


Mauss analyzed gift-giving.  He outlined rituals of exchange which form a kind of “moral economy” that can influence status in a hierarchy.

“An institution is a group of people united or organized for a purpose.  They have a charter or explanation, and they have the technology with which to achieve, or strive to achieve, that purpose.” Bronislaw Malinowski

Malinowski raised the standards for exacting fieldwork.  He focused on how culture functions to help man achieve seven basic needs: nutrition, reproduction, bodily comforts, safety, relaxation, movement and growth.

“An economic system is is a set of relations between persons and groups which maintains and is maintained by the circulation of goods and services.” A.R. Radcliffe-Brown

Radcliffe-Brown put forward the the view that all parts of a social system work together with harmony or internal consistency.  This he called Functional Unity.

The next post in this series is Cultures Respond to Complexity.   For additional information, see these resources:

High Points in Anthropology

Conformity and Conflict, Readings in Cultural Anthropology

The Cultural Experience: Ethnography in Complex Society

The Anthropology Network, an open LinkedIn Group

Anthropology and Design, an openLinkedIn Group


Cultural Anthropology is the Flagship Journal for the Society of Cultural Anthropology

This series on Anthro for Agile is intended to provide an index of ideas to help ground and articulate cultural change efforts.   SPECIAL THANKS to Lisette Sutherland of who requested the references.   She has a talk available on Tribal Leadership, and the two of us are presently collecting case studies on Remote Collaborations.  Tweet to me @artsint and Lisette @lightling. 

This article is dedicated to my friends in the Agile community who have shown interest and curiosity in understanding the academic origins of the study of culture change.  The content is derived from my chosen field in college, Cultural Anthropology.  One of my favorite things is to help build cognitive maps across domains. – E. Slomba

It was November 2013 at an Agile HR conference in Stockholm, Sweden.  My friend, colleague and collaborator Lisette Sutherland gave a talk on Tribal Leadership

Afterwards, the spirit of continuous improvement, Lisette (refreshingly!) asked me for some scholarly references from the discipline of Anthropology.  I responded in the way she generally inspires me to respond.  “With great pleasure!”

 The group of disciplines we know today as the social sciences emerged in the wake of the Industrial Revolution.  This increasing specialization was a response to the world’s increasing complexities.   Anthropology distinguished itself from the other branches of social science in two ways: first, by attempting to retain a comprehensive view of humankind and second, by an emphasis on empirical data.

Early Attempts at Explaining Cultural Differences

19th century scholars attempted to place the development of cultures within a set of evolutionary stages to tell “the” story of humankind.

“There is a psychic unity of mankind – a basic similarity of all human minds – in every land, in every culture,” Edward Burnett Tylor.

Tylor was the first to use statistical analysis in comparing cultures.  He initiated cross-cultural studies of commonly observed themes like marriage and inheritance.

“Technological inventions and discoveries alter society in a way so that new traits become necessary for survival,” Lewis Henry Morgan.

Morgan associated stages of evolution with particular technologies, and wrote about “successive arts.”  To him we owe a debt related to the concepts of disruption and innovation tracing back through generations of scholarship to his foundational work.

Data Gathering

Scholars during the early development of Cultural Anthropology focused on methodologies for ethnography and linguistics.

“Whenever we make judgements about good and bad cultures, we do so on the basis of certain overt or covert premises,” Franz Boas.

Boas was a staunch believer in the value of first-hand information.  He tore down previous contributions of “armchair anthropologists” and attacked viewpoints of certain races as being more or less evolved.

“Culture forms recognizable and persistent patterns,” Alfred Louis Kroeber.

Kroeber found examples of patterns in philosophy, music, literature and nationalism to suggest that genius tends to develop in cultural clusters.

“Borrowing is always easier than originating,” Robert H. Lowie.

For Lowie, cultural contact is an exchange of ideas.  He was interested in the ways different cultures mix and mingle, especially at their peripheries.

“I consider as my greatest accomplishment that I am an adopted member of the Comanche tribe, was accepted as a master carver by the Marquesan natives and executed commissions for them in their own art, am a member of the Native Church of North America (Peyote) according to Quapaw rite, became a properly accredited ambiasy nkazo (medicine man) in Madagascar and was even invited to join the Rotary Club of a middle western city.” Ralph Linton

Linton stressed that cultural factors were more important than biological ones in explaining differences among tribes.  He studied status and roles in class-based societies, with a main focus on the individual creating and reacting to cultural influences.

“Institutions are the vehicle through which specific influences are brought to bear on the growing individual.” Abram Kardiner

Kardiner emphasized the adaptations people choose in order to negotiate culture. His fieldwork gathered first-person biographies.

The next post will continue with Organizations & Reciprocity.  Meanwhile, THANKS for asking, Lisette.  I hope some of these points at least are helpful, and I’m glad we’re in the same tribe!

Lisette Sutherland is an expert on remote collaboration and community-building.  For more information about Lisette and her work, see & follow her on Twitter @lightling


High Points in Anthropology

Conformity and Conflict, Readings in Cultural Anthropology

The Cultural Experience: Ethnography in Complex Society

The Anthropology Network, an open LinkedIn Group

Anthropology and Design, an openLinkedIn Group

This post was originally published by The Whiteboard, a blog serving the Connecticut entrepreneurial community.  I am privileged to serve as a Start Up Community Journalist for The Whiteboard.  SPECIAL THANKS to my editor, Michael Romano.

Being an Artful Entrepreneur means differentiating yourself so utterly in the marketplace that you are acknowledged as an artist at what you do.

If offering the cheapest alternative is your value proposition, this may be irrelevant. But in a global marketplace, we see more and more examples of positioning through artistic leadership as a coherent strategy.

This was the topic of a talk I gave on Tuesday as part of The Grove’s Workbench series. To demonstrate the range of possibilities, I invited Mark Krueger, a stone sculptor based in Wallingford, CT, who specializes in high-end residential stone installations, to pair with my focus on Agile project management. Mark has been my client for the past four months, and I wrote about him recently here in another post.

Principles of Artful Entrepreneurship

As Mark and I have collaborated to open up new markets for his work using the Scrum framework, we’ve recognized a few common elements linking the diverse approaches taken by Artful Entrepreneurs:

  • You are a cross-functional team. In the Agile world, a team of developers, business analysts, designers, and testers comprise the daily scrum. Artful Entrepreneurs are, in essence, a scrum of one. At all times you must balance profit margins with aesthetics, the need for speed versus uncompromising emphasis on quality. You bring the technical eye of the craftsman to the discipline of getting things done. You know that every perspective is important.


  • You have enormous communications resources at your disposal. Free tools like Google Hangouts make it extraordinarily easy to connect remotely with colleagues and customers and keep tabs on competitors. Artful Entrepreneurs have a way of blending the efforts they spend on research and social media into constant opportunities to survey the field and take deep dives into perspectives that matter. This week, for example, Mark is preparing a talk for the American Institute of Architects on multicolored stone for decorative applications in Venice, Italy, while I’m preparing a talk for distributed teams in Utah, the UK, and Connecticut for the Royal Bank of Scotland.* There are many ways to research new topics and deliver information that benefits end users.


  • You have a unique story to tell. Consultant Joanna Rothman frames her approach to what she calls Artisanal Change like this: “Have you ever tasted a superb strawberry just off a family farm? Or a microbrew beer from a small brewery or a chocolate from a superior chocolatier? If you have, you can remember the mouth feel, the explosion of taste in your mouth, the way it felt sliding down your throat.” She encourages corporate clients and other consultants to be agents of organizational transformations delivered with similar care and artfulness.
  • You don’t have to be all things to all people. What we offer is highly specific, sometimes micro-specific. Artful Entrepreneurs seek to attract not just any customer or client, but ones who share their values and with whom they can build a culture of trust that enables more of certain things to find an established home in the world. This is why Mark decided to become co-owner of a gallery housed within a commercial stone distributorship adjacent to Yale Science Park scheduled to open next year. “We may not sell a ton of artworks,” he says, “but we’ll give architects and designers a reason to get in their cars and drive out on an evening.”


“Cover Songs Don’t Change the World”

The Accidental Creative is a podcast I’ve been listening to lately, thanks to my friends in Rome, Italy, at Cocoon Projects. Its tagline – “Cover bands don’t change the world” – is apt. Most entrepreneurs know that creativity is the greatest available weaponry to separate oneself from the pack. For Artful Entrepreneurs, every song is an original.

*The slide talk I delivered on The Agile Mindset can be found here.

Photos are from an interactive exercise called The Domino Effect, which can be found at

What better time of year to focus on the goodwill that makes for human closeness and connection?  Valuing individuals and interactions as we Agilists do, it’s the stuff we work to create.

I spent a day at my cowork space last week.  Not even a whole day, just stopped in to punctuate a stretch of meetings and deadlines.  It was enough to bring home the mystery of the season and the beauty of a coworking environment.


Picture receiving four hugs in the space of an hour and a half.  Real hugs, not those wimpy one-arm backpats.  All were for different reasons.

The first was from a coworker who had recommended me on LinkedIn.  He was energized to move that task into the “Done” column.  By his action and commitment I felt cared about and respected.  So, when we saw each other we hugged.

The second was in solidarity with a coworker overwhelmed by life and its multilayered demands.  We speak frequently and seem to take turns, as luck would have it, with our ups and downs.

That day his body language – the set of his shoulders and the tension in his jaw – spoke volumes.  We all want to give it up sometimes and go do something easier than this whole entrepreneurial shebang.

The kind of encouragement I wanted to give has no words.  No pep talk can motivate like a strong, caring hug.

The third involved a colleague visiting from another community to attend a workshop.  We are mostly facebook friends, so standing actual face to actual face was an unexpected pleasure.   After a split-second of decision-making in that awkward moment where you’re not sure if you’re going to hug or shake hands, we hugged.

The fourth was a welcome home.  I was standing near the reception area when a coworker I hadn’t seen in a while entered.  She and I have been open about personal challenges, heartaches and absurdities over lunch or coffee.  A lot had transpired in the interim, and we needed to catch up.   A long, friendly hug was the best place to start.

Like the holidays and the complex process of community-building, when it comes to hugs, receiving is also giving.  I am happy to be part of a workspace – as well as a global movement to improve the world of work – where such chance affection is not only allowed but commonplace.

For an international directory of cowork spaces, see .


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