We encounter numerous problems each day in leadership positions. It is our job to identify those problems and seek out solutions. We naturally want to jump to the problem-solving stage right away. 

I wonder: do we ever pause and ask if we have appropriately identified the problem? 

The following 3 quotes continue to lodge this question in my brain: 

- "What you frame as the problem sets the universe of solutions that will follow." - Stephanie Nixon (from this, which I think is required viewing for conversations about privilege)

- “The problem is not the problem. The problem is how we think about the problem.” - Paul Watson

- "A problem well put is half solved." - John Dewey

I thought I would attempt to tackle 3 common problems we face in the arts and see if I could play with the frame a bit. 

I don't claim to have the answers to any problem, nor that the frames I chose are the only ones possible. However, I do find value in using reframing as a tool to see things differently.

***

PROBLEM 1: Our musicians are not paid enough. 

Pay immediately relates to two things - sustainable quality of life and measurement of value. When we say we are not paid enough, it can mean that we don't have enough financial means to sustain a viable quality of life. It can also mean we don't feel we are valued appropriately for their expertise.  

A possible frame to see the problem: Musicians' compensation does not adequately cater to their required quality of life and sense of self-worth as a professional. 

We can ask: What is the pay gap that exists between current and desired quality of life? What are some specific areas of financial need? How could we help with those - with pay or benefits? How else might musicians feel undervalued? Are there other ways beyond pay that exist that could help demonstrate their true value? 


PROBLEM 2: Our programming is not inclusive. 

Our programming is often determined by what is going to generate the most revenue. We know who would buy tickets and we know what they would like to see programmed. We cave in each time when we choose the safety of having audiences in seats and assured profit. 

A possible frame to see the problem: Our target audience is too limited. 

We can ask: Who else in the community would we want to come? How do we get them to become a regular? What do they want from programming? What would they want beyond programming? While diverse programming is one of the solutions, are other solutions that can be found beyond the pieces that we play? How can we set up parameters and guiding principles that allow us to make different decisions?


PROBLEM 3: We don't have enough women conductors on the podium or diverse leaders in executive positions. 

We expect a certain image of what a conductor or leader must be. We are slow to step out of our established comfort zone. Our hiring mechanisms are flawed to favor the same people over and over again. If we keep using it, the problem can't be solved. Focusing on catering to one specific diversity attribute may lead to one-time decisions that may not have grounds in solving a larger issue.

A possible frame to see the problem: We are not comfortable enough with stepping away from traditions. 

We can ask: How does it make us feel when we encounter a conductor or leader who doesn't “fit” our established expectations? How can we accept and normalize that feeling? What might be the exact opposite traits of our expectations? How can we actively seek out those alternative traits? What might be some adjustments in our hiring processes that could help?

***

There are so many other frames we can use to see these problems, and they all can yield a different set of possible solutions. 

What you are able to see may be a blindspot for me and vice versa. So exploring together with colleagues is so crucial to assessing the effectiveness of these frames.

If we know that what we've been doing is not really working, perhaps it is worth experimenting with reframing and see where it takes us. 

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