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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
Rewards
Creators
Generally
Hence
Creator
Performers
Comfortable
Flash
Creative
Highly
Society
Originals
Virtuoso
Around
Original
Dexterity
Power
Technique
Professionalism

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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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As an improvising musician, I am not in the music business, I am not in the creativity business I am in the surrender business.
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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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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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Paradoxically, the more you are yourself, the more universal your message. As you develop and individuate more deeply, you break through into deeper layers of the collective consciousness and the collective unconsciousness.
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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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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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Memory and intention and intuition are fused. The iron is always hot.
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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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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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Commitment to a set of rules frees your play to attain a profundity and vigor otherwise impossible.
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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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Writing, playing, composing, painting, reading, listening, looking-all require that we submit to being swept away by Eros, to a transformation of self of the kind that happens when we fall in love.
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Any action can be practiced as an art, as a craft, or as drudgery.
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If the art is created with the whole person, then the work will come out whole. Education must teach, reach, and vibrate the whole person rather than merely transfer knowledge.
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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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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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Brahms once remarked that the mark of an artist is how much he throws away. Nature, the great creator, is always throwing things away. A frog lays several million eggs at a sitting. Only a few dozen of these become tadpoles, and only a few of those become frogs. We can let imagination and practice be as profligate as nature.
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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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