Guest Post — Co-hosting a National Conference on Healthy Community

Guest post by Annabel Membrillo JimenezGlobal Steward Vibrancy Ins

A group of colleagues and I recently co-hosted a national gathering of Anthroposophical initiatives in Mexico, working directly with the choosing of human agreements, for the individual and the community, deeply informed from the ecosynomic view of social three-folding. This is part of a larger Global Initiative supported by the Institute for Strategic Clarity and its co-investors in universities, communities, and organizations in 12 countries. The gathering was a continuum of the 2016 gathering exploring social three-folding. In the attached 7-page briefing of the gathering (click here), I explore:

  • the story behind the manifestation
  • the inspiration for the design
  • why it was ecosynomics
  • how it was anthroposophical
  • the flow of the experience
  • the organizing team nurturing the experience



Guest Post — Prototyping an Abundance-based, Virtual, Learning Environment

Guest post by Annabel Membrillo JimenezGlobal Steward Vibrancy Ins

Inspired to design a prototype of an abundance-based, virtual, learning environment, a question came to me.  How could I expand the opportunities to nourish and grow the potential of the Vibrancy community through building capacity and understanding?  The exploration went from an inventory of knowledge to a pre-design of what would be inside multiple levels of understanding.  But, that did not seem like it was enough.  More questions emerged about how to design similar environments for other abundance-based.

The exploration went from a possibility to a probability when the UMA (Universidad del Medio Ambiente in Valle de Bravo, Mexico) opened the door to hold this program within the university’s virtual platform. So, in that moment the support of a university that had both a very well designed virtual platform and a beautiful campus that could support this prototype came into the picture.

So, what happened? The next question arose: How to build a virtual learning environment that could nourish the space for building deep understanding of what it means to co-host transformations?  And, to be more ambitious, how could that be scaled in a relatively easy way in a second iteration? We did not really know if this would interest people, although an attractive feature for the potential participants was that at the end they would receive a diploma from the UMA and the certification from the Vibrancy community.

The design is a journey of six months with a deep focus on experience and application to real cases. Half of the 110 hours required the participants to make applications, reflections, exercises and integration of learnings in documents. Six months seems to be a fair amount of time to build up maturity of knowledge, and give the opportunity to implement and apply tools and exercises in real case studies with real communities. Seeing this as a possibility for scaling globally, I decided to launch it in a mostly virtual format.

And then more and more questions arose; questions around how to build understanding about the what, how and when of the application of the tools and methodologies. But that was a dispassionate purpose for me, and I felt that there was not real aligned with the intention of the first question I was asking. So, I kept on asking myself what was the specific purpose for this prototype. And then, it came to me: the purpose was “to be at the service of each participant to become more of who they really are.” That purpose holds the first intention, for me, unleashing the potential of the Vibrancy community in its ability to unleash the potential of humanity, unleashing each person’s potential for holding the abundance framework every time they choose. In that moment, I knew everything was ready and in place for this to happen because I saw something I could dearly commit to.

So far I can see two very different sets of learnings: one about the design phase to manifest the program; and the second about the first two months of the journey.

For the design phase, I want to share two things I learned:

  1. Sit in the question to clarify the different levels of the purpose. I went from the purpose of how to expand the capacity of the Vibrancy community to the purpose of being at the service of each participant’s potential. Each purpose is perfectly fine for the level they were thought of, one was at the level of a global question and the other was at the level of the specific design of the prototype. Both are important and both are relevant for the conversations that are already happening and the ones that will be happening for the exploration of the next expression of this prototype.
  2. Be conscious of the endless journey through the O Process. Going from the purpose to possibilities and probabilities felt different when I was moving more and more into the concrete expression for a specific prototype. I knew that the more detailed levels of the purpose are invoking a bigger gesture for the bigger question and that made me hold the purpose with a different awareness.

In the first two months of the journey, here is what I have learned so far:

  1. Be very clear about the invitation. This was an invitation to explore this journey together.  All participants in the journey know that it is the first one in this format and completely in Spanish.  They also know that the invitation requires several hours of self-study, application and reflection besides the virtual and face to face session.
  2. Be conscious of what you are invoking and invite each participant to do the same. Do not be afraid to share the deeper purpose!
  3. Use the sense of harmony, intensively. The design of each session calls for a very active listening from me, with all my senses, and being able to design each session with what is emerging. Do not misunderstand me. I have a lot of clarity about the purpose and about what they need to learn, but I have discovered and learned how to flow with the rhythm of the group to introduce concepts, exercises and challenges at the pace they can take on, depending on what they are sharing in their individual assignments.
  4. Hold us all as Homo lumens. I can see each one of them as Homo lumens with enormous potential. I am amazed with the group and who they are.  And, I see myself as someone who can hold the space for them to explore their own potential.
  5. Live it as a constant prototype. The space is co-designed, co-built, and co-hosted together. This has happened in two levels: 1) with others that want to be in the conversation of how to explore environments for building understanding; and 2) using the sense of harmony I shared before.
  6. Design the assignments as a key for the virtual space. I have spent a lot of time imagining the kind of experience I would like them to have between sessions and what kind of assignment would be just enough to stretch them a little bit each time. I am the vehicle designing the underlying structure, the participants are taking up the heavy lifting, through their will, into the doing. One of the participants shared that they needed to do an exercise of honesty with themselves to really get into the assignments, and that is not easy sometimes.

So far, the journey has been delightful. We have been together for 14 hours in virtual sessions, and I am impressed with the pace of the group. Some of them are getting to very deep reflections that we never saw before in such a short time. Some of them are already venturing into actively working with specific tools and methods in different groups.  We are all already looking forward to being together in person at the end of the six months. There is already a feeling of being close to each other. At the end, they will write up case studies and they will synthetize what they have learned in their applications, and I am curious to see how this will happen.

You can enter into a little piece of the concrete prototype design through the PDF presentation, where you can find the timeline and the sharing of some of the reflections the participants are having together. I will be sharing more reflections about the journey along the way, so stay tuned.

Guest Post — Inviting the Co-hosting of a Harmonic

with Conor Ritchie-Dunham, singer songwriter, composer, and lead guitar and vocals in The Contradictions

Many of you who follow this blog lead groups of people taking on deeper levels of collaboration, working through the challenges of experiencing a deeper harmonic while embracing ever-more challenging issues. We know that this harmonic reflects the behavior of a group, and who we are being as leaders. While we talk a lot about this harmonic in our community, I realized that I have direct access to a couple of people who know a lot about generating a harmonic, in music. Having the fortune to experience great amounts of music in my home, created most often by my daughter and son, I was talking with my son Conor this past week about the art and science of generating a harmonic in one’s own music, and what it takes to generate the enlivening experience of a harmonic in music with any audience. Conor shares his experience in inviting the co-hosting of a harmonic in the rest of this blogpost.

In preparation for a performance, it is the artist’s responsibility to generate a space for the harmonic. We cannot create a harmonic, just as we cannot make someone love us. But we can create the conditions in which that harmonic has ample opportunity to arise. In hosting a dinner party, for example, we cannot simply tell our guests to have a good time. We must learn from our past positive dinner-party experiences, replicate those conditions, pay close attention to how the experience goes, and learn from there. In seeking a good experience for our guests, we hope to generate an environment where they have ample opportunity to feel comfortable, satisfied, entertained and included in a sense of companionship.

As musicians we seek many of the same factors in preparing for a performance. We wish for our audience to be comfortable: In a comfortable venue that is suitable for the type of performance at hand, and which promotes the experience we wish the performance to give. (A large stadium for awe and wonder, or an intimate poetry café for trance-like introspection.)

We wish for our audience to be satisfied: Having a performance of appropriate length so that it is long enough that they feel the event was worth their money, yet short enough so as not to bore. Ordering the songs so that there is enough dynamic and emotional variance throughout the performance to keep it interesting. Proper attention paid to the sound equipment and acoustics of the space so that sound quality complements the performance.

We wish for our audience to be entertained: That the music itself is of quality, the performances are impressive, authentic, passionate and tell a story, and that any other factors of the performance such as light show, scenery or choreography do their part to aide the emotional effect of the performances.

We also wish for our audience to feel included in a sense of companionship. Concerts of certain styles are often self selecting in the type of person they attract, but it is the co-host and artist’s job to make them feel welcome. Personal, authentic interaction with the audience, which shows leadership and command, yet gratitude and humbleness is a must.

With experience, the performer, like the co-host, can learn to consistently generate and maintain an environment where a powerful harmonic can thrive, and where it can continue to live in the hearts of those who experienced it long after the final dish is served and the final note is played.

In order to co-host a harmonic, I have learned that I must first authentically feel that harmonic within myself. As a performer, I find it helpful to solidify a pre-show routine that will reliably foster that harmonic in me. After a full-body stretch and a vocal warm-up, I go to a dark corner, close my eyes, and meditate, focusing on releasing nervous energy and connecting to my emotional core. I know the performance begins the moment I step on stage. So these preparations allow me to set the atmosphere of the performance before I even begin the first song. When performing with others, I will extend this pre-show routine to include them. After I have fostered the harmonic in myself, I will bring it to them, perhaps by holding hands and saying a blessing, cheer, or singing a song. When we are connected and ready, we can step on stage and bring that harmonic to the audience.