AAC What in the world does jazz have to do with public speaking?
ne recent early morning I was listening to music, sipping hot coffee, and contemplating the day, specifically thinking about the topic of my next article for County Lines. Some mornings I listen to music, sip coffee and drift off to slumber land in my recliner. But not on this morning. I was listening to the Beegie Adair Jazz Trio. Jazz is one of my
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favorite music genres. My mind was actually moving in two di- rections that morning as I contemplated the topic of my article. I was thinking about the public speaking seminar that had just been held by the Association of Arkansas Counties and about music — jazz in particular. Te next thing I knew, being a musi- cian myself, I was tying the two together — thinking about what jazz can teach us about public speaking. Although I have written articles and given presentations on public speaking many times before, this article will look at public speaking for the county official in a different light. Back in November AAC conducted a public speaking seminar.
Eighty or so county and district officials attended — 80 out of about 1,300 county and district officials. Te AAC intends to hold a public speaking seminar occasionally for the benefit of county and district officials. Why? Because county officials are the voice of county govern-
ment. Your constituents need to know and understand county government. We need more county officials willing to go to the podium and proclaim the message as the ministers of county gov- ernment. We need people who can do it eloquently — but in their own way. Tat’s what jazz is — interpreting a piece of music in your own way, using improvisation. According to surveys, many people are more afraid of public speaking than they are of snakes. Tat doesn’t make sense to me. I mean, you don’t see someone walking through the desert, sud- denly shouting, “Watch out! A podium!” Picture yourself in a liv- ing room having a chat with your friends. You would be relaxed and comfortable talking to them. Te same applies when public speaking. You treat them like friends in your living room. Public speakers live some intense moments in the limelight, on stage or on a panel in front of an audience. And you know what it is to make mistakes. Mistakes can be looked at differently — and are. Some are so terrified of mistakes that it takes all the joy out of the moment. Others just view mistakes as a part of life, while still others believe mistakes are opportunities. If I had let mistakes stop me from speaking, I would have stopped long ago. Stefon Harris, an accomplished jazz performer on the vibra- phone, gave a spirited explanation of what mistakes mean to jazz performers in a talk a few years ago. Harris says, “Tere are no mis- takes in jazz”. You see, jazz is taking the music and giving it your own interpretation — improvisation or “improv” as they call it in
COUNTY LINES, WINTER 2018
the music world. Tose of us who live in the public speaking world, including those of you who need to begin or enhance your public speaking, should embrace his atti- tude. Tere are no mistakes. In my studies of speech and public speaking there have been any number of times when I was asked to give an “im- prov speech” — given a topic and a few minutes to collect my thoughts. Ten, get ready, set, go! As soon as you let go of the idea of right and wrong, you start loosening up and getting good at improvisation. Te attitude of “there are no mistakes” is liberating for public speakers. Te audience doesn’t know what you haven’t said. So don’t get hung up about getting every word or phrase exactly right accord- ing to some text, or to some idea of perfection. Just deliver your message as best you can, with passion, to your audience. In the end, it’s about the audience anyway — not you.
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It’s all about the present. Everyone tells us to be in the moment. Harris says jazz musicians have to be in the moment because there’s so much going on — they are all improvising — you can’t possibly worry about the past or stress about the future. Public speakers (county officials) take note, and focus on the moment.
• Leading is about influence, and influence is about listening. Harris demonstrated the difference be- tween coming into a session and insisting on your musical ideas no matter what anyone else says, and listening. If you listen, then you’re inclined to pull ideas from people around you, and they’re far more likely to follow your lead — with enthusiasm — when the time comes. Public speakers, audiences need the same treatment.
• Good music comes from awareness and accep- tance. When you’re playing jazz you’ve got to be aware of your fellow musicians and your audience, and you accept what comes at you so that you can turn it into music. Te same attitude helps public speakers deal with the inevitable differences in the setting, the audience, and the moment.
Of course, county officials as public speakers have a road map
in their heads about where they want their speeches to go. But if we can relax a little about the precise road we take and allow the moment to dictate direction to us, then, just like a jazz musician,
See “JAZZ” on Page 20 >>> 19
Eddie A. Jones County Consultant
SEEMS TO ME ...
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