报有一个初学者的心态
“Read the books, practice everyday. Focus … Be a monk.”
“读书，每天练习。 专注……成为一个和尚。”
This post-it note was sitting on my full-length bedroom mirror for the last four months. I wrote it down during a dance training session with a list of 10 foundational moves I wanted to focus on training during COVID-19 lockdown. During that time, I would wake up and look at the post-it as a reminder that — in order to create shifts in my own self and in the world around me — I don’t need to be brilliant or perfect, I just need to create habits that allow me to slowly perfect my craft.
过去四个月中，这张便笺一直坐在我的全身卧室镜子上。 我在一次舞蹈培训课程中写下了它，并列出了10个基本动作，我想重点关注COVID-19锁定期间的训练。 在那段时间里，我会醒来，看一下便利贴，以提醒自己-为了在自己和周围世界中产生变化，我不需要变得聪明或完美，我只需要养成可以让我慢慢完善自己的Craft.io的习惯。
I grew up in a music & performance family; my parents were both musicians and performers before they chose different careers to pursue the long-term. I think like all parents, they raised us in their image. I started dancing and playing piano at the age of four. By the time I graduated high school, I played 4 instruments and 4 dance styles. When I tell people this, they think it’s a bit intense, but I didn’t realize it at the time. My parents had convinced me all this practice was all play and fun. And for me, it was.
我成长于音乐和表演家庭； 我的父母既是音乐家又是表演者，之后他们选择了不同的职业来追求长期。 我想像所有父母一样，他们以自己的形象养育了我们。 我四岁开始跳舞和弹钢琴。 到高中毕业时，我已经演奏了4种乐器和4种舞蹈风格。 当我告诉人们这一点时，他们认为这有点紧张，但当时我没有意识到。 我的父母说服我所有的做法都是玩耍和娱乐。 对我而言，确实如此。
Training and practice through play were instilled into me at a young age. “Practice your [insert instrument or dance style]” was a direction I was given by my parents and teachers daily. Followed by positive encouragement: “you’re getting so good!” “I’m so proud of you!” And then they would tell me why they thought this would help me in my life. They said, “even if you don’t become a [musician/dancer/actor] the skills of performance are going to be very useful to you in your life. Life is a stage; and you know how to present yourself to an audience, how to play a part, how to create with your peers and be on a team.” My parents wanted me to be great, but they weren’t obsessed with that. (To be honest, I’m not great at a lot of the instruments and dance styles I learned, but I enjoyed learning them.) My parents just wanted me to be focused and practice. They wanted me to develop self-awareness. And they wanted me to have the confidence to express myself. And I did :) I didn’t love being taught to play by the books; my favourite thing to do was freestyle. As a performer and as a designer, my favourite thing to do is still freestyling.
从小就开始通过游戏进行训练和练习。 “实践[插入乐器或舞蹈风格]”是我的父母和老师每天给我的指导。 其次是积极的鼓励：“你变得很好！” “我很为你骄傲！” 然后他们会告诉我为什么他们认为这会对我的生活有所帮助。 他们说：“即使您不成为[音乐家/舞者/演员]，表演技巧对您的生活也会非常有用。 生活是一个阶段； 而且您知道如何向观众展示自己，如何发挥作用，如何与同龄人一起创造并成为团队成员。” 我的父母希望我做的很棒，但他们并不痴迷于此。 (说实话，我在所学的很多乐器和舞蹈风格上都不擅长，但我很喜欢学习它们。)我的父母只是希望我专注和练习。 他们要我发展自我意识。 他们希望我有信心表达自己。 而且我做到了:)我不喜欢被教给孩子玩书； 我最喜欢做的是自由泳。 作为表演者和设计师，我最喜欢做的事情仍然是自由样式。
自由造型 (Freestyling)
Freestyling comes from the jazz tradition (we can deconstruct the deeper history of this, but maybe that’s for another day). In freestyling, you first have to learn all your foundations and some common melodies and rhythms. They are the building blocks that you then use to build your own song or dance. You have to build up to freestyling by practicing these moves, rhythms, melodies…. Once you’ve practiced the basics over and over, everything comes together in the most beautiful way when you’re given permission to take your training and just express yourself from your own point of view.
自由风格源自爵士乐的传统(我们可以解构更深层次的历史，但这也许又是另一天)。 在自由样式中，您首先必须学习所有基础知识以及一些常见的旋律和节奏。 它们是您用来构建自己的歌曲或舞蹈的基础。 您必须通过练习这些动作，节奏，旋律来建立自由风格。 一遍又一遍地练习了基础知识，当您被允许接受培训并以自己的观点表达自己的意见时，一切都以最美丽的方式组合在一起。
My parents were right when they told me this training would serve me outside of the arts. I am not a professional dancer or musician, but I use those skills every day in my design career. I am the Design Practice Lead at MaRS Discovery District, where I coach young professionals who want to develop design skills. I lead teams of creatives — using play and craftsmanship to create social innovations that help the planet and people’s health. I present to my team and clients, they present to me, we perform for each other, we create together, we play. We are a team. We all learn the foundational moves of design, we practice them together in a ‘studio’ format, and then we encourage people to freestyle and interpret the methods from their own point of view when they take on a project.
当我的父母告诉我这项培训将为我提供艺术以外的服务时，他们是对的。 我不是专业的舞者或音乐家，但我在设计生涯中每天都使用这些技能。 我是MaRS探索区的设计实践负责人，在那里我指导想要发展设计技能的年轻专业人员。 我领导创意团队-使用游戏和手Craft.io来创造有助于地球和人民健康的社会创新。 我向我的团队和客户介绍，他们向我介绍，我们互相表演，我们一起创造，我们一起玩。 我们是一个团队。 我们都学习了设计的基本原理，我们以“工作室”的形式一起实践它们，然后我们鼓励人们在进行项目时自由样式并从他们自己的角度解释方法。
“读书，每天练习。 焦点。” (“Read the books, practice every day. Focus.”)
I started working with a professional coach, and in our introductory meeting, she asked me to talk about myself. I told her I’m a craftsman. I’m obsessed with my craft and I love working with people who are obsessed with their craft. She asked me what my craft was and I said, well, that’s a bit complicated. I’m a designer at work, but I’m a musician and dancer outside of work. The truth is I’m both and I view them the same way. They are crafts that I love, that I want to perfect and help others learn. I told her I love to coach designers to build their foundations, so they can build beautiful things that change the world as independent professionals; just like my dance teachers help me to keep working on my dance foundations to help me build my ability to freestyle dances that express my own point of view.
我开始与专业教练合作，在我们的入门会议上，她让我谈论自己。 我告诉她我是个工匠。 我迷上了我的手Craft.io品，并且我喜欢和迷上手Craft.io品的人一起工作。 她问我我的手艺是什么，我说，那有点复杂。 我是工作中的设计师，但我是工作以外的音乐家和舞者。 事实是我俩都是我，而且我以相同的方式看待他们。 它们是我喜欢的Craft.io品，我想完善它们并帮助他人学习。 我告诉她，我喜欢指导设计师建立基础，以便他们可以打造美丽的事物，以独立的专业人员的身份改变世界。 就像我的舞蹈老师帮助我继续在舞蹈基础上努力，以帮助我建立表达自己观点的自由式舞蹈的能力一样。
I love coaching, teaching and learning. I think it’s a privilege. Training is so beautiful because when you’re given the opportunity in life to get on a stage — whatever stage that is — and the curtain opens — you have what you need in your back pocket to perform your role. You have the skills and self-awareness to show up for your team; at work, at home, in your community.
我喜欢教练，教学和学习。 我认为这是一种特权。 培训之所以如此美丽，是因为当您有机会进入一个人生舞台时，无论身处何处，只要窗帘开了，您就可以在腰包中发挥自己的作用。 您具有展示您团队的技能和自我意识； 在工作中，在家中或在您的社区中。
When COVID-19 hit, my life — like everyone’s life — started to spiral a bit. My coping mechanism to keep going through it was the discipline and practice of dance, paired with the discipline and practice of design. Before COVID-19, I balanced a somewhat obsessive habit of design and dance training with a busy city life in Toronto. I would wake up, go to the office for work, then to my dance studio to train. Those were my daily training and practice spaces. After that, maybe I would go out with some friends to dance or chat at a bar. These were the freestyle places — mental and physical. Then I would rest and recuperate at home for a day to rebuild my energies for a new week. This was the recharge zone, the rest for my mental and physical muscles.
当COVID-19袭击时，我的生活-就像每个人的生活一样-开始有点螺旋式上升。 我一直坚持下去的应对机制是舞蹈的学科和实践，再加上设计的学科和实践。 在COVID-19之前，我平衡了设计和舞蹈训练的某种嗜好习惯与多伦多繁忙的城市生活。 我会醒来，去办公室上班，然后去我的舞蹈室训练。 那是我的日常训练和练习空间。 之后，也许我会和一些朋友出去跳舞或在酒吧聊天。 这些都是自由式的地方-精神上和身体上。 然后我会休息一天，在家休养，以恢复新一周的能量。 这是补给区，其余的用于我的身心。
But when COVID-19 hit, my somewhat frantic but beautiful rhythm of coaching my teams in my design studio and then going to be coached in dance at my studios zeroed into 20 ft x 20 ft — my bedroom in my 5-person communal house. So I decided to try to make that space my own personal temple for training, practice and rest.
但是，当COVID-19出现时，我有些疯狂但美妙的节奏，即在设计工作室执教我的团队，然后在我的工作室执教舞蹈，舞蹈的指导调到20英尺x 20英尺-我在5人共用房子里的卧室。 因此，我决定尝试将该空间用作我自己的私人殿堂，以进行训练，练习和休息。
Every day, I would wake up and do my dance training in my bedroom before folding out my table and setting up my computer to log in and coach my design teams. Then, I would put it all away, call my friends and family, freestyle, and rest. It took awhile for me to find a new rhythm, but it’s working for me…
每天，我都会醒来并在卧室里进行舞蹈训练，然后再折叠桌子并安装计算机以登录并指导我的设计团队。 然后，我会全力以赴，打电话给我的朋友和家人，自由泳和休息。 我花了一段时间找到新的节奏，但对我来说却很有效……
什么是训练？ (What is training?)
In both design and dance, training is all about coming back to the basics every day. People think that dance training is pirouettes and leaps, but dance training at its foundation is all about strength and mobility. We don’t actually dance all the time. Most of the time, we are training basic movements that anyone can do. Push ups, sit ups, squats, stretching…these exercises are the foundations that all dancers practice on a daily basis to keep our muscles in-tact. Then, we learn the history and culture of the dance styles we train in. We learn the foundational moves, the choreographies, and we start to build story arcs. After a while, once you understand the style, you can put on some music and freestyle a dance that is your own interpretation and expression, within the boundaries of the style.
在设计和舞蹈方面，培训都是关于每天回归基础的。 人们认为舞蹈训练是旋转和跳跃，但舞蹈训练的根本在于力量和灵活性。 实际上我们并不是一直在跳舞 。 大多数时候，我们正在训练任何人都可以做的基本动作。 俯卧撑，仰卧起坐，下蹲，伸展……这些练习是所有舞者每天练习以保持我们的肌肉完整的基础。 然后，我们学习了所训练的舞蹈风格的历史和文化。我们学习了基本的动作，编舞，并开始建立故事的弧线。 一段时间后，一旦您了解了样式，就可以在样式的边界内放一些音乐和自由样式的舞蹈，这是您自己的解释和表达。
Design is the same. The foundations of design aren’t the complex or beautiful concepts you see in the world. The foundations of design are the scientific process and small creative tasks. They are small skills that anyone can learn. And you have to train them one by one, in a focused way. You train the small skills, which build your muscles. Then you learn the history and culture of the design styles you want to work in . You learn the foundational moves, the templates, the story arcs of the design. After a while, once you understand the design method and you’ve found your style, you can ‘solo’. You can interpret and express yourself within a design method, true to the scientific process.
设计是相同的。 设计的基础并不是您在世界上看到的复杂或美观的概念。 设计的基础是科学过程和小的创意任务。 它们是任何人都可以学习的小技能。 而且，您必须集中地对他们进行一次培训。 您会训练一些小技巧，这些技巧会增强您的肌肉。 然后，您将了解要使用的设计样式的历史和文化。 您将学习基本动作，模板，设计的故事情节。 一段时间后，一旦您了解了设计方法并找到了自己的风格，就可以“独奏”。 您可以在设计方法中诠释和表达自己，忠于科学过程。
独奏与团队合作 (Soloing vs. teamwork)
In both of these examples, you can solo, or you can work as a team. Watching a solo is beautiful and focuses on the style of the individual. But watching a group presentation is so much more beautiful, because you see a group of individuals with their own expression, who are unified by a team, a style, a point of view. They have created something together that you can’t create as a single person.
在这两个示例中，您可以独奏，也可以团队合作。 观看独奏很美，并且注重个人风格。 但是观看小组演讲会更加美丽，因为您会看到一群具有自己表达的个人，这些个人被团队，风格和观点所统一。 他们共同创造了一些您无法作为一个人创建的东西。
My actual dance training happens in a group setting, a couple times a week. On Sundays, I practice street styles — funk, hip hop, house — with a crew called Footnotes. For three hours each week, we would dial in on Zoom (typically it would be in the studio, 45 sweaty bodies piled together in cyphers and training lines) and our teachers would pick a few foundational moves to train and play with. Their philosophy, and the philosophy of most freestyle dancers, is not to teach a choreography, but to pick a few of the foundational moves, teach the technique and the history of the move, train it, and then ask you to interpret it in your own freestyle.
我实际的舞蹈训练是在小组环境下进行的，每周两次。 在星期天，我与称为Footnotes的工作人员一起练习街头风格-放克，嘻哈，房屋。 每周有三个小时，我们会拨动Zoom(通常是在工作室里，将45个汗湿的身体堆积在密码和训练绳上)，而我们的老师会选择一些基本的动作来训练和玩耍。 他们的哲学以及大多数自由式舞者的哲学，不是教编舞，而是挑选一些基本的动作，教导动作的技术和历史，进行训练，然后请您在自己的动作中对其进行解释。自己的自由泳。
My design training was similar. I learned design in teams at work. We would be taught a technique, it’s history and application. We would practice it’s technique, and then we would be encouraged to apply it in our own work.
我的设计培训是相似的。 我在工作团队中学习了设计。 我们将被教导一种技术，它的历史和应用。 我们将练习它的技术，然后鼓励我们将其应用到我们自己的工作中。
The more we practice, the more we train, the more we focus on the small building blocks, the more beautiful our presentations become. The more fluid and natural our performance is. The more fulfilling and inspiring our work is. The more effective we are at inspiring and creating shifts in ourselves and in the world.
我们练习的越多，训练的越多，我们对小型积木的关注就越多，我们的演讲就越漂亮。 我们的表现越流畅和自然。 我们的工作更加充实和鼓舞人心。 我们在激发和创造自我和世界转变方面越有效。
初学者的心态 (The beginner’s mindset)
One last thought…. I’m always trying to stretch into new skills in design and the arts, but I was reminded this year that you really do need an open mind to start training a net-new skill set. I only started my street dance training a year ago. It’s a new zone for me. I was terrible for the first 4 months. And it was a slap in the face :) I got into a crew filled with really amazing street dancers and here I was, just not good! I was confused why I joined. I forgot how to be truly bad at something and lost faith in myself. I got embarrassed, and I kind of shut down. When I was at the studio, I felt really anxious and self-conscious and my training suffered. But patience is the key. Enjoying the journey and practicing self-awareness is way more important than being obsessed with perfection. I had a breakthrough in street dance during the COVID-19 lock down because I started practicing alone a lot more, and this removed my social anxiety of feeling really bad in front of my peers. Letting go of that fear, my own voice started to come out and my dancing started to get a lot better :)
最后一个想法……。 我一直在努力拓展设计和艺术方面的新技能，但今年我被提醒，您确实确实需要一个开放的心态来开始训练一种全新的技能。 我一年前才开始街头舞训练。 对我来说这是一个新区域。 前四个月我很糟糕。 这是一个耳光:)我进入了一个充满了真正令人惊叹的街头舞者的工作人员，我来了，只是不好！ 我很困惑为什么加入。 我忘记了如何对某事真正变得不好，对自己失去了信心。 我很尴尬，我有点停下脚步。 当我在工作室时，我感到非常焦虑和自觉，我的训练也受到了影响。 但是耐心是关键。 享受旅程和练习自我意识比痴迷于完美更为重要。 在COVID-19锁定期间，我在街头舞蹈方面取得了突破，因为我开始独自练习更多，这消除了我在同龄人面前感到非常难过的社交焦虑。 放开恐惧，我自己的声音开始发出，我的舞蹈开始变得好很多。
Fear is not a useful emotion. But commitment is.Shame is not a useful emotion. But self-awareness is.We have to love ourselves.Love each other.Be honest.Create a safe community for each other.And create beautiful things together.
恐惧不是有益的情绪。 但是承诺是。羞耻不是一种有用的情感。 但是自我意识是。我们必须爱自己，彼此相爱，诚实，为彼此建立一个安全的社区，共同创造美好的事物。
“Read the books, practice everyday. Focus … Be a monk.”
“读书，每天练习。 专注……成为一个和尚。”
报有一个初学者的心态
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