Showing posts with label Khurshed Dehnugara. Show all posts
Showing posts with label Khurshed Dehnugara. Show all posts

Sunday, 2 December 2018

Anger over fear - Day 3

Day 3

3 wise monkeys - they originate from Japan and they are Mizaru, covering his
eyes, who sees no evil; 
Kikazaru, covering his ears, who hears no evil; and Iwazaru, covering his mouth, who speaks no evil.

This post was composed in 2015 by Khurshed Dehnugara, a leading Partner at specialist research and advisory business Relume; this consultancy helps organisations, leaders, teams and individuals challenge the status quo. It touches on the "heartache and hope" elements of this year's theme. This post is a gift, as it will make you think about how and why you and others behave as you/they do.

 Khurshed commenced his career within the corporate environment, but left  off being an executive to become a coach and facilitator working with C-suite executives and leaders who are seeking paths to achieve desirable change within complex organisations. He has an eclectic educational background that crosses cultural, scientific, psychological and artistic boundaries. Khurshed is active on social media (I first met him via Twitter when he asked to join the 2014 Advent Blog series - his handle is @relume1) and writes excellent blogs as well as books. Last year he published the highly rated "Flawed but Willing - Leading Large Organizations in the Age of Connection". Similar to his book, Khurshed's below post is personal and explores why we behave as we do. It brings to life the contrast of feelings and how we interpret our responses - the heat of apparently coal-fuelled anger and its sometimes driver, the root-grip of fear that, if appreciated, can shed light on a situation and hence provide opportunities.

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At first I felt very angry, they were having a go at me, my whole body was flushed with an enormous surge of emotion. My mind was trying to grab anything that would get me through this and everything in my body was ready for a fight.
 


Then I stopped and gave it a little longer. It may only have been seconds but felt much longer as these things often do.





Now I noticed a sensation in my stomach that is difficult to describe but I know it after many years of experience to be a sign of me being scared. My intestines were all tangled up, I was hypersensitive to the environment and my heart was in my mouth. I used to deny this being about fear and call it something else; I couldn't accept that I would be scared of anything, far better to be angry than scared.

Now that I can accept it is fear it gives me some more choices.




I also know that when I feel it there is bound to be some anger somewhere, sometimes directed towards me. This is helpful when everyone in the room is still smiling but my senses are telling me something different. Sometimes it is more 'obvious', people avoiding contact with me, talking past me and turning their faces away. It is then a choice of what do I do with this? Do I want to press into the anger, encourage its expression? I often do this by reflecting back to the team their facial expressions - this sometimes causes a shift. Or do I want to diffuse the anger? In this case I chose to do that in the interests of the bigger piece of work by trying an apology. But I could only make this choice once I distinguished fear as different to anger. If I only had an angry response there was no choice about my reactions.
 


I imagine a picture of my fear when it is hiding just behind my anger. It is smaller, obscured somehow, it makes itself available but only for an instant before it hides away again, hands over its eyes or ears or mouth. If I can pause and wait quietly then he may show himself again. He feels weak but the more I wait, the more time I give him the more likely it is that he will come and speak for himself.
 


When I speak from that place I notice the whole tone of what I am saying changes, my voice and presence are different, steadier more connected, the audience are more intent on hearing what I have to say, the room is quieter. And we get a result more often than not.



·      Where does anger arise most often in your system? And when?

·      Can you identify what triggers it?


·      Is it authentic, about addressing some kind of injustice?


·      Is it a cover for another emotion?


·      Could it be fear that you are covering up?


·      Can you distinguish the changes in your body and the distinctions between what you notice when you are angry versus when you are scared?


·      If so what are you scared of? Can you articulate it or write it down? What happens? How do people react?


In the day to day it is quite easy to be angry with a whole host of things in the business that are not going to plan. In the Industrial Age cultures being angry is often admired as a form of leadership, if not admired it is certainly the currency of many organisational myths!

In the channel at the edges of the established ways of working, access to fear, especially the fear behind any anger is a source of creativity and change, if only we can give it a voice.






Sunday, 6 December 2015

Anger Over Fear

Day 7 (Monday 7th December 2015)
The 7 wonders of the ancient world are:
Great Pyramid of Giza,
Hanging Gardens of Babylon,
Temple of Artemis at Ephesus,
Statue of Zeus at Olympia,
Mausoleum of Maussollos at Halicarnassus,
Colossus of Rhodes,
Lighthouse of Alexandria.
Today we have a real treat, a piece by Khurshed Dehnugara, a leading Partner at specialist research and advisory business Relume; this consultancy helps organisations, leaders, teams and individuals challenge the status quo. Khurshed commenced his career within the corporate environment, but left  off being an executive to become a coach and facilitator working with C-suite executives and leaders who are seeking paths to achieve desirable change within complex organisations. He has an eclectic educational background that crosses cultural, scientific, psychological and artistic boundaries. Khurshed is active on social media (I first met him via Twitter when he asked to join the 2014 Advent Blog series - his handle is @relume1) and writes excellent blogs as well as books. Last year he published the highly rated "Flawed but Willing - Leading Large Organizations in the Age of Connection". Similar to his book, Khurshed's below post is personal and explores why we behave as we do. It brings to life the contrast of feelings and how we interpret our responses - the heat of apparently coal-fuelled anger and its sometimes driver, the root-grip of fear that, if appreciated, can shed a comet-tail's light on a situation and hence provide opportunities.

-----------------------------------------------------------------

At first I felt very angry, they were having a go at me, my whole body was flushed with an enormous surge of emotion. My mind was trying to grab anything that would get me through this and everything in my body was ready for a fight.
 


Then I stopped and gave it a little longer. It may only have been seconds but felt much longer as these things often do.





Now I noticed a sensation in my stomach that is difficult to describe but I know it after many years of experience to be a sign of me being scared. My intestines were all tangled up, I was hypersensitive to the environment and my heart was in my mouth. I used to deny this being about fear and call it something else; I couldn't accept that I would be scared of anything, far better to be angry than scared.

Now that I can accept it is fear it gives me some more choices.




I also know that when I feel it there is bound to be some anger somewhere, sometimes directed towards me. This is helpful when everyone in the room is still smiling but my senses are telling me something different. Sometimes it is more 'obvious', people avoiding contact with me, talking past me and turning their faces away. It is then a choice of what do I do with this? Do I want to press into the anger, encourage its expression? I often do this by reflecting back to the team their facial expressions - this sometimes causes a shift. Or do I want to diffuse the anger? In this case I chose to do that in the interests of the bigger piece of work by trying an apology. But I could only make this choice once I distinguished fear as different to anger. If I only had an angry response there was no choice about my reactions.
 


I imagine a picture of my fear when it is hiding just behind my anger. It is smaller, obscured somehow, it makes itself available but only for an instant before it hides away again, hands over its eyes or ears or mouth. If I can pause and wait quietly then he may show himself again. He feels weak but the more I wait, the more time I give him the more likely it is that he will come and speak for himself.
 


When I speak from that place I notice the whole tone of what I am saying changes, my voice and presence are different, steadier more connected, the audience are more intent on hearing what I have to say, the room is quieter. And we get a result more often than not.



·      Where does anger arise most often in your system? And when?

·      Can you identify what triggers it?


·      Is it authentic, about addressing some kind of injustice?


·      Is it a cover for another emotion?


·      Could it be fear that you are covering up?


·      Can you distinguish the changes in your body and the distinctions between what you notice when you are angry versus when you are scared?


·      If so what are you scared of? Can you articulate it or write it down? What happens? How do people react?


In the day to day it is quite easy to be angry with a whole host of things in the business that are not going to plan. In the Industrial Age cultures being angry is often admired as a form of leadership, if not admired it is certainly the currency of many organisational myths!

In the channel at the edges of the established ways of working, access to fear, especially the fear behind any anger is a source of creativity and change, if only we can give it a voice.






Monday, 8 December 2014

On The Other Side of Commitment - Day 9


Day 9
9 Muses, detail from Mantegna's Parnassus 1497, Louvre Paris
The Muses' mother was the Titaness, Mnemosyne, goddess of memory
but their raison d'ĂȘtres were to help people forget the pain and sorrow of life through the Arts.
Their names and specialisms are: Calliope - Epic Poetry; Clio - History; Erato - Love Poetry;
Euterpe - Music; Melpomene - Tragedy; Polyhymnia - Hymns;
Terpischore - Dance; Thalia - Comedy; & Urania - Astronomy.

Today's post is by Khurshed Dehnugara, a former Commercial Director at GSK, who since 2001 has been a Partner at Relume Ltd - a research and advisory boutique specialising in assessing the patterns of behaviour that underpin leaders and successful businesses. Khurshed is a valued coach and facilitator. He is also a respected author with a number of publications to his name, including "The Challenger Spirit - Organisations That Disturb The Status Quo".. You can follow him on Twittter via @relume1. I do not know Khurshed well, we became acquainted on Twitter, but I greatly enjoy his comments and observations. Having read his Advent piece, I now know that we will become better acquainted during 2015.

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There are 14 of us, standing in a circle in a small, long room; I make a feeble excuse, step outside, grab some mouthfuls of fresh air and decide if I am going to do a runner.

I knew when my friend Steve Chapman sent me the invitation to a day of Musical Improvisation that it was something I really, really didn't want to do, so of course I hovered over the delete button and then replied to say yes I would be there. I trust Steve and have been involved in a range of experiences in theatre in the past, but there was something about singing in particular that was disturbing me. I thought it was worth trying to find out why.

Back in the room, I found my constrained corporate self standing in the middle of a group of artistic, media types, all converse trainers, crumpled jackets and shirts that hang out. The idea of this current exercise is that the piano player plays a tune in a particular style and you sing to it - in gibberish - nothing has to make any sense, but it needs to match the musical style of the accompaniment. The person to your left starts singing to you and you have to respond in some way, again in gibberish. Then when you are done the music changes, you turn to your right and sing to the next person in the new style. So we go around the circle.

A musical improvisation group
Photo courtesy of makingmusicmag.com
I am standing about 6 people along the line, working out when and how to make my exit. The first few rounds do nothing to quell my panic, but it is all happening too quickly, and all of a sudden there he is, my first partner completing his piece and turning towards me. We have never met before and have no particular connection between us, I find myself unable to look at him and am turned at a slight angle away. As my eyes travel around the room, I settle on the facilitator who catches my eye. She has been a caring presence since we began the work and I feel comfortable again for a moment. She makes a slight gesture with her hand. Indicating for me to turn my head and look at my partner as he starts to respond to the music... oh for heaven's sake, it is something operatic.

He starts singing and it takes my breath away, the room goes still. It wasn't that he was any good, frankly I can't remember, was he even in tune, I have no idea. The magic was in the degree of commitment he brought to his singing and to me as his partner. There was no question that he would be half hearted in his delivery and, despite my obvious discomfort, no question that he would hold back on his meeting with me. I was spellbound.

And then without warning he finishes, I open my mouth and out comes something I don't recognise, I hadn't planned for it and all of a sudden had lost my self consciousness. Again, I can't remember what the quality was of what I produced except that it was similarly whole hearted. At the moment we build to a duet and finish our piece it seems natural and obvious to give him a heartfelt hug. Two blokes that have never met before, at least one of whom is not very tactile at the best of times.

Woodcut print by Tsugumi Ota
Depicting Dante embracing the singer from his home town
La Commedia 28. Casella from Purgatorio, Canto II
The rest of the day is stimulating and enlightening but nothing else touches that moment. As I reflect back on it in the days and weeks that follow I know it has done something to my visceral understanding of commitment in a way that is impossible for me to forget or unlearn.

I am left asking where, when and to whom in my life I am that committed. Where do I hold myself back? When do I give myself fully? And what is the role of commitment in living a successful, creative life? I am reminded of this quote, I feel like I see it everywhere now and when it first appeared in front of me 20 years ago it made a big difference to the choices I was making.

“Until one is committed, there is hesitancy, the chance to draw back, always ineffectiveness. Concerning all acts of initiative (and creation), there is one elementary truth that ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then Providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one's favor all manner of unforeseen incidents and meetings and material assistance, which no man could have dreamed would have come his way. Whatever you can do, or dream you can do, begin it. Boldness has genius, power, and magic in it. Begin it now.”   ― William Hutchison Murray

What I got from this experience though, was a shift from the other side. What it was like to be on the receiving end of commitment at the moment someone else throws themselves completely into their choice. I had a visceral experience of wanting to move in return, in response and in support. And it was unstoppable, at least in me it felt like it had to happen. 

So wherever your paths way take you in 2015, my wish for you is to commit and be committed to it; to do your version of singing at full volume, to the backing track of your choice, with no thought for your own image and then see what happens.....

Screen shot from the film "Tommy Boy", 1995

About the author:  Khurshed Dehnugara @relume1
Author of Flawed but Willing, Leading Large Organisations in the Age of Connection

The experience that informed the blog was organised by Steve Chapman @stevexoh and facilitated by Joe Samuel and Heather Urquhart who run an organisation called Open Your Mouth and Sing @sponsong.

Joe and Heather