You might not have heard of Lisa Jennings, but it's likely you've heard her.
As a professional clarinet player, Lisa played alongside such famous artists as Cliff Richards, Olivia Newton-John, and the Finn brothers, got up close with José Carreras, Luciano Pavarotti and Dame Kiri Te Kanawa, and toured Australia and New Zealand with Delta Goodrem and Andrea Bocelli.
Now, as a trainer with Our Community, she spends her time showing not-for-profits how to make beautiful music together.
We chatted with her to find out what she thinks of the new gig, and to learn a little about her approach to teaching.
What courses and webinars do you teach for Our Community?
I run cemetery trust governance training, as well as tailored training courses in governance and fundraising. And I'm currently trying to break the land speed record for finishing the OC Diploma of Governance so I can teach that as well.
What's been your own involvement in the community sector?
I've facilitated programs that address social equity issues, I've delivered VET music courses and health and wellbeing programs in regional and remote Aboriginal communities, and I've taught arts education programs in some of the most disadvantaged schools in Australia, working particularly with "at risk" students to help them succeed in education. I've also assisted artists to use the tools of business to better meet the needs of their communities, taught business subjects at various higher education providers, and provided informal mentoring as an arts education partnerships and projects manager.
Closer to home, I volunteer for organisations where my two teenage boys are involved: the local footy, baseball and cricket clubs, and their school music programs.
We're not asking you to blow your own trumpet (well, clarinet), but we hear you played in a symphony orchestra for many years. Can you compare that experience to working for a not-for-profit?
When an orchestra is in full flight, it is a dictatorship - with the conductor the supreme leader. Even in rehearsals, there is generally not much room for discussion. Musicians play what is written on the page, at the tempo, volume and style dictated by the conductor, which can be moderated by the addition of a soloist out the front. The result is that the musicians present as if "thinking as one", and after many years playing together a group can develop its own distinct sound. Professional orchestras are very expensive to run, and all need government and philanthropic funding to survive, so in a sense all are not-for profits. I think this ABC report sums up why symphony orchestras don't make money.
What have you noticed about community directors since you've started working with members of the Institute of Community Directors Australia?
I love working with them, particularly seeing their commitment
to doing good through supporting communities. The sector is full of lots of very interesting and friendly people.
What's your teaching style?
I'm not a big fan of traditional teaching models where the teacher stands at the front of the class dispensing content to a passive audience. I prefer a bit of chaos, where participants contribute to their own learning in a non-hierarchical, non-threatening atmosphere that gives everyone the confidence to experiment, fail, and learn from those experiments. In this environment, the room buzzes, and people have the
confidence to talk and disagree, as well as to reassess and challenge assumptions, and get those "Eureka" moments. For me, this is authentic, meaningful and "hands on" learning. It's also the best way to build genuinely creative solutions to the challenges faced by individuals and communities.
What's the most significant lesson you've learned outside the classroom recently?
Parenting teenagers is a constant learning opportunity. I was reminded recently - once again - that saying "do this because I say so" doesn't cut it in the long run. You must keep the communication lines open, explain, listen, sometimes admit you are wrong, and play by the rules you have all agreed on ... which can be exhausting!
What's something memorable you've heard in a recent training session?
"After yesterday's session on keeping records safe, I went out last night and bought a fire-proof safe." That was from a cemetery trust training participant.
If you couldn't be a trainer, what would you like to be?
Training is my fifth career to date, and I really enjoy it. If I couldn't do this for some reason, I'd probably get into research on how to best lead community arts practice, or start a cycling cooperative helping women get on their bikes, or get involved in the environmentally and socially sustainable housing development movement … So many interesting things out there and so little time!
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