Leading with Structure vs Empowering Creativity

Attending the season premiere performance by the Philharmonic Orchestra in Paris earlier this month was a refreshing and thought-provoking experience. The program expectedly featured classic pieces by French composers like Berlioz and Ravel, alongside Tchaikovsky’s violin concertos and excerpts from Beethoven. Yet, what truly stood out was the inclusion of an improvised segment of Gospel Symphonique Expérience by Youssoupha. This blend of tradition and innovation prompted my reflections on leadership and creativity, both in art and in organizations.

During my recent visits to the Picasso Museum and the Musée de l'Orangerie in Paris, I was struck by the innovative mindsets of artists like Picasso and Monet. Grounded in classical training, both achieved success by embracing influences from other cultures. Picasso, for instance, drew inspiration from African art to revolutionize painting. Similarly, Monet’s work was heavily influenced by Japanese aesthetics, which is evident in his famed lily pond and Japanese bridge at Giverny, a place we also had the chance to visit. These artists exemplify how creativity thrives when built upon strong foundations while remaining open to new ideas and external influences.

In the same way, the Philharmonic Orchestra of Paris is experimenting with bold ideas in a traditionally conservative field. Part of this experimentation, I assume, is to attract a broader, younger audience, while also pushing the boundaries of how orchestras can evolve. Youssoupha’s Gospel Symphonique Expérience, which blends rap, soul, classical music, and gospel, exemplifies this innovation. It is a creative challenge, enabling both the artist and the orchestra to reinvent the symphonic show into a space for bold musical experimentation.

As someone with a limited musical background, I found myself reflecting on the role of the conductor in this innovative context and how it relates to leadership. In traditional orchestral performances, the conductor serves as the guiding force, much like a leader in any organization. Through precise gestures, they unify the musicians, ensuring each section follows a shared vision. This leadership is crucial in complex compositions requiring flawless coordination, as even highly skilled musicians may struggle without the conductor’s direction to maintain cohesion.

However, in Youssoupha’s more improvised performance, a different kind of leadership takes shape. While the performance has a certain framework and structure, the soloist has the freedom to explore creative choices in real time. In this context, the conductor steps back, adapting to a more flexible dynamic, becoming a facilitator rather than a directive leader. This balance between structure and spontaneity mirrors a leadership style that fosters innovation—knowing when to provide guidance and when to step aside. It contrasts sharply with the rigid, top-down approach seen in traditional performances.

The performance also raised an intriguing question: can a team or ensemble function without a designated leader? In some cases, yes. Highly trained musicians, such as those in chamber ensembles, can perform without a conductor by relying on their deep understanding of the music and their ability to communicate directly with each other. This self-led approach mirrors empowered teams in organizations—those capable of driving innovation from within while still working toward a common goal. However, in more complex or large-scale endeavors, a leader is often necessary to provide clarity, direction, and cohesion, especially when various elements need to synchronize with precision.

Ultimately, the Paris performance highlighted a key insight: leadership is not just about control or direction. Whether in music, art, or business, true leadership is about creating an environment where structure and innovation can coexist, allowing individuals to thrive creatively while still working toward a shared vision.

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