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The professionalism of technique and flash of dexterity are more comfortable to be around than raw creative power, hence our society generally rewards virtuoso performers more highly than it rewards original creators.

Stephen Nachmanovitch

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Stephen Nachmanovitch
Age: 74
Born: 1950
Born: November 2
Author
Jazz Musician
Power
Technique
Professionalism
Rewards
Creators
Generally
Hence
Creator
Performers
Comfortable
Flash
Creative
Highly
Society
Originals
Virtuoso
Around
Original
Dexterity

More quotes by Stephen Nachmanovitch

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When we are totally faithful to our own individuality, we are actually following a very intricate design. This kind of freedom is the opposite of just anything.
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Practice is an ever-fresh, challenging flow of work and play in which we continually test and demolish our own delusions therefore, it is sometimes painful.
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Commitment to a set of rules frees your play to attain a profundity and vigor otherwise impossible.
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The power of mistakes enables us to reframe creative blocks and turn them around...The troublesome parts of our work, the parts that are most baffling and frustrating, are in fact the growing edges. We see these opportunities the instant we drop our preconceptions and our self-importance.
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The most potent muse of all is our own inner child.
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The beauty of playing together is meeting in the One.
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There are no prescriptive solutions, no grand designs for grand problems. Life's solutions lie in the minute particulars involving more and more individual people daring to create their own life and art, daring to listen to the voice within their deepest, original nature, and deeper still, the voice within the earth.
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Improvisation is intuition in action, a way to discover the muse and learn to respond to her call.
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There is not ultimate breakthrough what we find in the development of a creative life is an open-ended series of provisional breakthroughs. In this journey there is no endpoint, because it is the journey into the soul.
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Working within the limits of the medium forces us to change our own limits. Improvisation is not breaking with forms and limitations just to be 'free,' but using them as the very means of transcending ourselves.
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We can depend on the world being a perpetual surprise in perpetual motion.
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An improviser does not operate from a formless vacuum, but from three billion years of organic evolution
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We provide both irritation and inspiration for each other- the grist for each other's pearl making.
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With too little judgement, we get trash. With too much judgement, we get blockage.
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If we are transparent, with nothing to hide, the gap between language and being disappears. Then the Muse can speak.
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The noun of self becomes a verb. This flashpoint of creation in the present moment is where work and play merge.
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Every moment of life is unique-a kiss, a sunset, a dance, a joke. None will ever recur in quite the same way. Each happens only once in the history of the universe.
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In improvisation, there is only one time. This is what computer people call real time. The time of inspiration, the time of technically structuring and realizing... the time of playing it, and the time of communicating with the audience, are all one.
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If we split practice from the real thing, neither one of them will be very real.
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Creative work is play. It is free speculation using materials of ones chosen form.
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