I recently returned from a “people-to-people” cultural exchange trip to Cuba.   The trip was incredible – so rich with Cuban culture, history, art, music, architecture, and discovery.  And, as with most adventures – also rich with personal growth and learning.  I want to focus today on some observations around deep collaboration. Which was the real purpose of the trip.

This Cuban adventure was organized to help two not-for-profit arts organizations – River North Dance Chicago and Orbert Davis’ Chicago Jazz Philharmonic (CJP) – collaborate on a new work slated to premiere in Chicago in April 2013.  The work will redefine music and dance collaboration, and celebrate Cuba.  The original music and dance is being conceived together, from the beginning.  Which will allow the dance to influence the music, in contrast to the more traditional linear approach with music first, then choreography.

So the trip was designed to provide the two Artistic Directors – Orbert Davis of CJP and Frank Chavez of River North – as well as board/staff, family, friends, fans, and patrons (“key stakeholders”) with an immersion in Cuban life, music, dance, and art.  As Board Chair for CJP, I was blessed to be a part of the journey.  In eight days, we enjoyed countless music and dance performances – in street cafes,  old run-down un-air-conditioned theaters, a 16th century cathedral,  jazz clubs, a music college, and a dance school.  Multitudes of talent, everywhere.

But one of the most captivating stories of the trip unfolded as I observed and talked with Orbert.  I was privileged to see his collaborative creative process in action, and even become a part of it.  He told me that in order to compose this music, “I need to BECOME a Cuban musician.”  Which meant watching, listening, and playing with them, in their own environment.  Spoken languages differed, but the language of music and human connection is universal. And it also meant being open to what unfolded as the relationships developed. We never knew exactly what would occur as we met and connected with each musician.  But with each note, connections, meanings, memories and new musical gumbos (“mezcla”) emerged.

One day early in the trip, we were captivated by the percussionists accompanying a dance class at Danza Contemporanea with their Afro-Cuban rhythms.  At the end of the class, Orbert’s connection with the percussionists led to him improvising on trumpet.  Which led to the student dancers grooving along.  Which led to the tour group getting out of their chairs, shifting from spectators to participants. And the Director of the school to shift into teaching mode, much to the delight of all…

Creative Collaboration Lesson #1: Get immersed in the subject of your innovation without focus on outcome

In the rush of business life, we usually skip this, or try to do a short-cut version.  But I think this is where so much genius lies.  So how might we do this?   Maybe just spend time in our customers’ worlds.  Observing, asking naive questions, just trying to understand their ways of working, thinking, living.  BECOMING them. Joining them. Without judgement, orchestrated questions or agendas.

For leaders or HR professionals looking to create a more innovative structure or environment, this step might mean some kind of hiding in plain sight as in Undercover Boss. Or at least creating a more egalitarian way of interacting with employees in their own environment.  Again, unorchestrated, unscripted, more listening than talking.  Not like those planned way in advance visits to the frontline where everyone puts on a good show for the visiting execs.  More sleeves-rolled up, side-by-side.  Purpose is only to understand their world.  BECOME them.

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