Keep The Sign [on Flawed Wednesday]

I have never, until this election, planted candidate signage in my yard. This season, however, Biden signs abounded. Our front yard was a wash of blue.

We opened the blinds the morning after the election was called and our signs were gone. The sign kidnapper left a clear trail through the leaves. We took a drive around the neighborhood and saw that other homes had their signs nabbed. The larger Biden signs had been tipped over or kicked to the ground.

Anger, as the old trope states, is a secondary emotion. Anger is one of the many shades of fear. That someone – or many someones – would, in their anger at an election loss, troll a neighborhood, stomp and steal signs would be laughable except it is akin to the behavior of their candidate, the one that lost. An angry pout. A child breaking toys so others can’t play. Holding the nation hostage.

In my career I worked with many, many schools and learned that a school generally takes on the personality of its principal. Nations are the same. Aggression, thuggery, bullying, lying…generally erasing opposition (“you’re fired”) in a single-direction-loyalty-imperative is the personality of our outgoing populist-principal. His behavior-fractal extends to the smallest cell of the sick red organism he created so it was not a surprise that election signs were stolen or stomped. Would-be bullies following their leader.

As we endure the final pout, a myriad of empty court cases in a frantic attempt to manufacture evidence of voter fraud, all-caps twitter-temper-tantrums, hoarding all the toys so the transition of power is delayed, sycophants-in-suits tumbling over themselves to please the grand-pout, we should perhaps ask the obvious question, ” What are they afraid of?”

They. Them. They are, I suspect, afraid of Us – of what US really implies. They are afraid of progress, an intention to unify. They fear the exposure of science and fact. They are afraid of women in power and a “minority” becoming the majority. They are afraid of people of color. Just as wagon wheel makers shook their fists at auto makers, just as coal barons now sneer at wind power, the boys club stuffs the courts while throwing doubt at a system called democracy. The remaining tools in their box are obstruction and denial.

We are a crossroads nation that is made great because we have to constantly reinvent ourselves. We change. That is our strength when the center ideals hold. The sign-stompers would have us look backward to a Hallmark time that never actually existed. Perhaps out of our recent chaos will emerge an order that finally fulfills the promise and includes all citizens, one that strives to fulfill the democratic ideals of equality rather than remove them. Obstruct them. Deny them. Perhaps.

“They can have the signs,” Kerri said, “as long as they take their guy with them.”

Amen to that.

read Kerri’s blog post about SIGNAGE

Unify

a watercolor from 2003, House On Fire

a watercolor from 2003, House On Fire

Stay with me. I actually have a point.

If ever I teach actors again, or coach people in any endeavor, or communities/businesses seeking betterment, I will only have two things to teach: 1) Grounded-ness and 2) Focus placement on the unifiers. These two concepts are really  one looping concept but for ease and the sake of being understood, I will offer them independent of one another.

As focus placement goes, an actor on the stage has two options and depending on the focus placement they choose, they will either create the play or destroy it. A focus on how they look or sound or feel destroys the play. It is a self-focus in an art form of relationship (all art forms are made vital in relationship). A self-focus breaks the relationships and effectively locks the audience out of participating in the story. It makes the actor giddy with fear, easily distracted, alone. Conversely, the actor can focus outside of themselves, on the other actors on the stage, on the energy between, on their pursuit. An outer-focus creates relationships and serves as a magnet that pulls audiences into the story. It facilitates participation, creates relationship, and shared experiences. It unifies. Literally.

The actor who listens to him/herself pulls up their root. They unground themselves. The actor whose focus is outward, who is actively pursuing relationship, creates grounding. In fact, they must be grounded to create vital relationships. It is a first principle. Grounded-ness begets grounded-ness; it unifies. It strengthens. It invites. It clarifies truth.

The same principles apply off the stage or out of the studio. It is, however, more complex off the stage. It is much, much, more sticky.

And here’s the point: It has been said that nothing is better at uniting a community than having an enemy. It’s true. A common enemy provides an outer focus. It provides another team to defeat. It works so well that leaders across the ages, leaders who would otherwise look insipid, leaders who, like a bad actor, have a self-focus, a control need, have concocted all manner of enemies. It is a deflection. It works for a short while but what starts as false unity strips a community of its true binder. It separates and splits. It diminishes. It destroys.

Here’s the sticky part. One of the oldest tricks in the book for controlling a community is to split them, to locate the enemy within the community. And then, for good measure, magnify the split. In the early colonies – that ultimately became The United States of America – it was a strategy known as The Giddy Masses (see Ronald Takaki’s excellent book A Different Mirror). Make the people giddy with a false enemy. Uproot them. Deflect them so they cannot join in relationship and be strong as a community. Self-focused leaders cannot survive a unified, healthy populace. It is a strategy: separate the people so they cannot see the movement of power.

Today I started to read the news but stopped after only a minute. Building walls. Expelling Muslims. Enemy creation everywhere! Fox news and MSNBC are great giddy creators. It’s a bad story poorly told. It weakens all players. The primary actors do harm to their audience. Grounded-ness, a first principle, can only come to all when the actors choose to focus on the relationships, see the unifiers, to create rather than destroy. Groundedness comes when the audience engages, questions what they are being told and open (rather than close) their minds.

Grounded-ness. Focus placement on the unity. The principles that make great art also make great society. Fear, the province of the bad actor, the lot of a passive audience, although temporarily effective, can only destroy the play.

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