Reinhard, this is Chris Kloth. I have been reading but not "talking" on OSLIST for a long time and have used Open Space in a number of settings over the last 5 years.
While I have not been responding because I often do not log on untill well after the group has moved on or, as many of you will know, I tend to ramble a lot in face to face and get even worse on line when there are no non-verbal cues to remind me of my habits. However, this question touches many parts of my past and present life and is one I have a relatively clear, concise perspective on. Here is the short version...ask for more if you are interested: I use music as background, and sometimes forground, in many of my organization and community development activities. I have found that music seems to help get heart and spirit operating in the room(s) sooner than when I do not use it. I also have begun using bells, chimes or other tonal tools as Harrison (and others) have done to convene the group. I think the two practices are related. HOWEVER, what I have also learned is that when I first began using music in my consulting work (about 10 years ago) I was choosing music that met MY needs. It did not always "fit" the needs of the group, culture or task I had been engaged to work with. So it actually undermined my effectiveness in some cases! Since that time I have spent some of my preparation time with groups implicitly trying to sense the group and task culture with music as one of my "metrics" or metaphors for determining my alignment with the client(s). They may or may not know that this is one of the artifacts I am paying attention to. In any case, depending on the situation, I will choose to bring music with me to help "invoke" and reenforce the spirit of their aspirations during our work. So my question for you to consider in answering your question is this: Who's needs will be met by this flute playing? and How will the music invoke the spirit of the group's aspirations? I can imagine ways in which flute playing could be used to invoke the spirit of the church, the spirit of contemplation or the spirit of playfulness in ways that might be valuable. I can also imagine ways in which the music could attract attention to the ego of the performer or distract people from their intentions. Was denken sie? Chris Kloth
