The violin maker's vulnerability

A few days ago, I was on stage, invited to take part in the CJD regional congress and talk about the vulnerability of the luthier. At first, I had a bit of trouble understanding what was expected of me, as I didn't realize what I could bring to the mill of these 300 or so business leaders. However, Iaccepted the challenge and now I'm back to talk about it in detail.

How to deal with the violin maker's vulnerability

I had the support of Laetitia Blétrix, who told me to simply tell my story to make it interesting. And let's not forget our dear Alexandre Michiels, who volunteered to coach the participants and shape their words.

In any case, I've convinced myself to tell the story of this famous luthier, which began in high school and has continued right up to the present day.

Then, in practical terms, we can also take this opportunity to talk about a practical vulnerability: that of the stage. In fact, it's the only one I'm going to address here in detail, as I'll save the rest for another time.

The vulnerability of the stage

As some of the participants told me, getting up on stage is one of those moments of vulnerability. It's easy to understand: stage fright, shame, loss of control... In short, it's a nice cocktail for flinching.

Coping with the vulnerability of the luthier

I'm not saying I have a method for transforming vulnerability into strength. And I wouldn't presume to give anyone advice on the subject. But once again, I can speak from experience.

My method is daily practice, not repetition but an attitude, an attitude cultivated in the art of letting go. My definition of letting go is the art of improvisation: halfway between MacGyver and John Coltrane.

Contrary to popular belief, improvisation is not pure creation, the kind that springs from nothing in a more or less brilliant flash. In fact, it's quite the opposite. Improvisation is an immense work of understanding, deconstruction and recomposition according to the mood of the moment. It's actually very different from pure memorization and, above all, a more uncertain and uncomfortable exercise, which absolutely doesn't promise success every time, but does allow you to create some totally brilliant successes. You know, those successes that travel up your spine and through your body, letting you know that you need more.

As far as I'm concerned, in the way I live my music, my art or my life, or even my company, there's only this way. Maybe because it's the only way for me to feel alive. And this is also how you discover my MBTI, but good luck figuring it out.

A few tips for the stage

I'm now going to delve deeper into the preparation work, drawing parallels with what I know about music.

Work and repetition

When we perform, we draw strength from habit. The first habit is knowing your subject. In music, for example, you need to know your instrument and your songs. Similarly, remember that the more sensitive you are to pressure, the greater the difference between your performance at home and on stage. In concrete terms, if you want to play a piece comfortably in front of an audience, you'll need to be able to play faster, louder, softer and with every possible handicap in the comfort of the absence of pressure. As for me, I find it hard to work on my subjects too much, and besides, I don't have an incredible memory, so I do what I can.

Do less to do better

Le travail préalable dont je parlais permet d’atteindre le fameux état de « flow » dans lequel le corps et l’esprit fusionnent dans l’instant présent. C’est en tout cas ce que je recherche un maximum, mais avec, je dois l’avouer, le minimum de travail préparatoire. Et c’est là qu’on va utiliser le concept de la loi de Pareto, que je vais rebaptiser pour l’occasion « la loi du moindre effort ».

This law will be found in all the actions of those who use their brains to do as little as possible. And that's what's going to have the greatest impact... because it's direct and uncomplicated.

In concrete terms, I simplify. If a passage is too complicated, I cut it out, removing notes, words and ideas. This can produce a very similar effect, if not far more impactful than trying to convey impossible or incomprehensible things.

Combating stage fright

Stage fright never really leaves us, but it's only really there when we focus on it. It manifests itself in a number of ways: firstly, through abnormally high stress levels, akin to fear. On the other hand, it also manifests itself physically, in the form of uncontrolled sweating and the urge to urinate. I suppose there are explanations, but I don't have any...

I only know that to combat this feeling, you have to refocus on the moment and not project yourself. My method of fighting stage fright is to concentrate on breathing. I don't know a great deal about breathing techniques or how they work, but I've been lucky enough to practice a little and the effects are immediate and unstoppable.

A few inhalations and exhalations through the nose, concentrating on the flow and abdominal movement, will help you refocus on the moment and make the wait disappear.

Another way to combat stage fright is to transform apprehension into excitement. I'm not saying it's easy, but it's this self-imposed manipulation that I go through before jumping in and letting go. It's a bit like changing direction so that the headwind now pushes you in the back, and it's an incredible well of energy.

In fact, I really felt that Marc Lièvremont was doing the same thing when he gave his pre-match speech at his conference. Except that he was manipulating the energy of his team-mates to get them into the match, and I find this phenomenon completely mind-boggling.

The skater's vulnerability

I once listened to an interview with drummer Thomas Pridgen, who emphasized his skateboarding style of playing his instrument. Personally, I've never been much of a skateboarder, but one of my brothers was, and collected spills and broken bones, so I immediately understood his parallel: you can't perform perfect tricks without at some point plucking up the courage to wallow. And then to climb again and again, tirelessly, until you get the hang of it.

Granted, some activities are less painful and dangerous than others, but what's certain is that you have to accept this contract.

In short, what I'm trying to say is that I myself am the actor of this practice on a daily basis, as all my comrades from the CJD Strasbourg or the Réseau Entreprendre Alsace will know only too well, who know that every month I'll be coming back with as many new tricks as I have casts.

Yet every time, it's great, and I can't wait to go back, despite my own vulnerability as a luthier.

The CJD Congress

I didn't say it, but the conference was a great success overall. And everyone finally understood the relevance of accepting one's vulnerability as a player in the economic world. I'm not talking about my meagre contribution, of course, but about all the high-quality speakers, such as Marc Lièvremont, former coach of the French rugby team, ErickBOITEL, doctor in performance psychology and lecturer, as well as Christine Muscat and Edouard SAUER, directors of major companies in Alsace. These testimonials show that our resilience is our strength.

Man and insect

This resilience also reminds me of the words of Bernard WERBER, who compares man to insects in his best-selling books. He compares the apparent superiority of the insect's chitin, solid and hard on the outside, to man's own fragility, covered by his fragile skin.

It was in this opposition, which seemed to favor our segmented-bodied friend, that the author highlighted man's incredible ability to injure himself, to recover and to learn, as so many qualities that enabled him to finally turn his weaknesses into incredible assets.

The balance sheet

I can't wait to get back to you and start again. Anyway, I intend to get back to work on this blog and add a few posts regularly to complete these projects that are on my mind.