Agile - The Jazz Manifesto


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This fascinating interactive session was given at the recent South African Scrum Gathering by a jazz band which compared jazz and Agile

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Agile - The Jazz Manifesto

  1. 1. The Jazz Manifesto<br />PRESENTED BY Andrew Coote and featuring<br />Alan Cameron on Keyboards<br />Chris Tokalon on Saxophone<br />Wesley Rustin on Double Bass<br />Ricardo Simon on Drums<br />
  2. 2. Highly Skilled<br />We know our instruments<br />We know the Jazz repertoire – the “Standards”<br />In each song we all know<br />Head<br />Chord structure<br />Form<br />Groove<br />Key<br />
  3. 3. Self Managing<br />Know the Rules and Permutations:<br />Tempo<br />Style<br />Form <br />Pace the delivery (for us and the audience)<br />Manage our own input/output<br />Maintain the continuity<br />
  4. 4. Specialized<br /><ul><li>Subject experts - Aim to master main instrument</li></ul>But we understand each others instruments<br /><ul><li>Diverse backgrounds</li></ul>Defined roles<br />No one Leader<br />People/Role interchange<br />
  5. 5. Collaborative<br />Listen<br />Build on others’ ideas<br />Communicate our intentions<br />Provide feedback<br />Shared sense of purpose/vision<br />
  6. 6. Skills<br />Self Management<br />Specialization<br />FourMiles Davis1926 -1991<br />Collaboration<br />
  7. 7. Adaptation<br />Ready for change<br />Adapt to what colleagues are doing <br />Compliment the flow<br />Ready to move into the lead <br />Turn mistakes into innovation<br />Experience allows us to anticipate change<br />
  8. 8. Innovation<br />Incremental/Spontaneous innovations<br />Use our Creativity to extend the theme<br />Natural creative exploration – influences/inspiration<br />Systemic innovations<br />Modal Scales, Substitute Chords, new instruments/sounds<br />Radical innovations<br />Unusual instrumentation, playing “outside” the chords<br />Disruptive vs Sustaining Innovations<br />
  9. 9. Improvisation<br />Reset the canvas<br />Create the space to extend the theme<br />Express ourselves<br />Challenge ourselves<br />Build on others’ ideas<br />Use previous musical references<br />Keep it fresh<br />
  10. 10. Take Risks<br />Break new ground<br />Push the boundaries when it feels right<br />Take calculated risks <br />Be willing to make mistakes<br />Be Remarkable<br />
  11. 11. Skills<br />Self Management<br />Specialization<br />All BluesMiles Davis1926 -1991<br />Collaboration<br />Adaptation<br />Risk Taking<br />Innovation<br />Improvisation<br />
  12. 12. Supportive<br />Encourage others to take the spotlight<br />Provide solid support for the risk taker<br />Build Respect for innovation<br />Create a trusted environment<br />Acknowledge Efforts and Results<br />
  13. 13. Deliver Value, Sustain Pace<br />Build an Incremental Performance <br />Don’t over-commit and burn out<br />Adapt Repertoire to the mood of the audience<br />Flexibility to capture the momentum<br />Build to a Crescendo and finish in style <br />
  14. 14. Passionate Commitment<br />Doing what we love and excel at<br />Constantly learning through<br />Study and Analysis<br />Practice<br />Performance<br />Teaching<br />Giving it everything we have<br />
  15. 15. 1945<br />1984<br />evolution<br />1969<br />1959<br />
  16. 16. Complex Adaptive Systems<br />Evolutionary – Variation, Heredity, Selection<br />General – Systems characterized by interactions<br />Dynamic – Stability, States, Attractors<br />Chaotic – Strange Attractors<br />Cybernetic – Vision, Act, Measure, Adapt<br />Social Network – growth through connections<br />Genetic – Adaptive evolution.. and more..<br />“All models are wrong, some are useful” – Box/Draper<br />
  17. 17. Simple<br />Complicated<br />Complex<br />Chaotic<br />Sense/Categorize/<br />Respond<br />Sense/Analyze/<br />Respond<br />Probe/Sense/<br />Respond<br />Act/Sense/<br />Respond<br />Miles Davis – evolution of complexity<br />1944 - joined Charlie Parker and Dizzy Gillespie aged 18 <br />Swing Jazz – Structured rules define “good”/”bad” notes<br /> Early Bebop Jazz – Chromatic notes, fast rhythms <br />1949 - Birth of the Cool (only released 1957) <br /> West Coast Cool Jazz sound<br />1957 – Miles Ahead – Gil Evans Orchestra<br /> Lush Orchestral Jazz arrangements<br />1958 – Milestones – John Coltrane<br /> Chordal Hard Bop Jazz Improvisation<br />1959 - Kind of Blue - 2 million copies<br />Modal Jazz improvisation<br />1969 - In a Silent Way<br />Electronic Ambient Jazz precursor to Jazz-rock<br />1970 - Bitches Brew – Jazz-rock – 3 drummers<br />Atonal Jazz, pushing the edge of discomfort<br />1984-6 – Decoy, You’re Under Arrest, Tutu <br />– R&B, Techno-funk Jazz<br />1991 – Retrospective concert in Paris<br />
  18. 18. Classical Orchestral Structures<br />Rigid adherence to written notes <br />Hierarchical organizational structures within sections<br />Increased control results in increased order for conductor<br />Creativity is tightly regulated by Conductor<br />Orchestras are rigid, static hierarchies<br />Orchestral musicians are interchangeable “parts” in the “machine”<br />Risk of mistakes is mitigated by rehearsal<br />
  19. 19. What can we learn from Jazz?<br />Encourage self-organisation<br />Increase connections to enrich growth<br />Recognise the limits of external control<br />Change is unavoidable – Limit up-front planning <br />Everyone needs to lead when the time is right<br />Develop characteristics that make us most likely to evolve, innovate, create and deliver<br />To move to a new state and learn you must traverse the Edge of Chaos <br />To recognize and harness creativity in anarchy (on the Edge of Chaos) requires Vision<br />
  20. 20. 1945<br />“The complexity of a living system is the result of individuals freely deciding how best to interpret a few simple principles or patterns that are the heart of that system.”Margaret Wheatley – Bringing Life to Organisational Change<br />1984<br />1969<br />1959<br />
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