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“If you pursue …

“If you pursue happiness as your life’s goal, you will fail. Happiness is the incidental by-product of the pursuit of a noble or worthy goal.”

– John Stuart Mill

Top 10 Lessons I Learned In College

1. It’s okay to just be you. What makes you different is what makes you special, and these talents and quirks are things to explore and expand upon in college. There are no more petty high school cliques; everyone is new and much more accepting. Don’t be what you think people expect you to be; be who you are.

2. Don’t waste your time on “fake” friends. Cut ties with people who don’t treat you well or who feed off of drama or negativity. Cultivate a group of friends who are positive, supportive, empathetic, and appreciate you for you.

3. Don’t be a afraid to love again. A lot of us are jaded from past experiences, but when you find the right person, it’s okay to fully open up and share the amazing love you have to offer. Getting hurt is part of the learning experience; it takes a few wrong relationships to help you realize when you are in the right one.

4. Family members are some of the best friends you will ever have. Relationships with parents and siblings change drastically once you move away from home and begin your new life at college. No matter the relationship you currently have with your family, know that they love you unconditionally and are usually your biggest support system. You have been through a lot together and will be family for life.

5. It’s okay not to know what you want to do with your life. Everyone is expected to pick a major, a direct career path, when they are still so young and inexperienced— ridiculous! You are probably going to change your major at least once while in college; this is completely normal. Connections and serendipitous opportunities may bring you in a completely different direction than intended; go with the flow. Don’t worry too much about the future, enjoy the here and now. The future will come soon enough and it will be better than you ever expected.

6. Change is painful, but it spurns necessary knowledge and growth. You will go through many transitions throughout your college career— moving in and out of different dorms and apartments, maybe even studying abroad, developing new relationships with college friends while attempting (sometimes futilely) to maintain friendships back home, switching majors and classes, changing your clothes, hair, and overall identity to reflect a more adult self— all of which will be beneficial as long as you stay true to who you are and what you believe.

7. The freshman 15 is real, but is easily avoidable. Leaving behind your mother’s home-cooked meals for take-out and dining hall food can be a tough change for some, especially because you now have the freedom to eat whatever you want, whenever you want. Just be careful of the 2am drunken pizza runs and the dreaded binge-drinking beer belly. Hit up the gym when you can to stay in shape and relieve stress, and don’t let an initial weight gain get you down. You can maintain your healthy weight as long as you don’t drink excessively and eat all food groups in moderation. Cafeterias do have healthy options, so seek them out once in a while.

8. Freedom is a privilege; beware of abusing it. There is no parent to scorn you or tell you no when it comes to drinking on school nights, skipping class, or having that one girl/guy sleep over that you really shouldn’t. You are independent now and must learn to make your own adult choices. Though it’s fun to let loose and disobey the rules occasionally, you should never take things too far or let your life get out of your control. Know your limits and set rules for yourself.

9. Make as many connections as you can. Be open to meeting new people and exploring the different things they have to teach. Its good to keep up a positive relationship with friends, classmates, teachers, and whoever you meet throughout your college travels. They may end up playing a bigger role in your future than you know.

10. Have fun! Enjoy the present moment because you won’t be young forever. You are beautiful, strong, and full of potential. Take pictures and savor the memories, because you’ll look back at these four years as some of the best of your life.

Cashew Pasta and Potato Salad

Ingredients

• 4 medium red potatoes
• 2 cups frozen peas
• 1/4 pound gluten-free elbow pasta, cooked and drained
• 1/2 cup Soy-Free Veganaise
• 2 Tbsp. balsamic vinegar
• 1 Tbsp. olive oil
• 1 red bell pepper, finely chopped
• 1/2 cup loosely packed fresh dill leaves, torn into pieces
• ¼ cup cashews
• ½ tsp. sea salt
• ¼ tsp. freshly ground black pepper

Instructions

• Place potatoes in a small stockpot; cover with cold salted water. Cook over high heat, bring to a boil then reduce to medium heat and cook until fork-tender, about 8-9 minutes. Remove from heat; drain in a colander and set aside to cool. Cut cooked potatoes into 3/4-inch cubes.
• Fill a small saucepan with salted water, and bring to a boil. Add frozen peas; cook according to package, then drain. In a large bowl, combine cooked peas, potatoes and elbow pasta. Set aside.
• In a separate medium mixing bowl combine Vegenaise, balsamic vinegar and olive oil; mix well to combine. Fold balsamic mixture into potato and pasta salad. Add red bell pepper, fresh dill, cashews, sea salt and pepper; gently toss to combine.
• Transfer to a serving bowl and serve immediately or cover and store in the refrigerator until ready to serve.
• Serve chilled or at room temperature.

from Amie Valpone of MindBodyGreen.com

Vegan Farro Risotto

Ingredients

• ½ cup farro
• 1 cup water (add more if needed)
• 2 tbsps. Homemade cashew milk (thick but not cream)
• ½ cup cashews
• Enough water to cover cashews about ½-inch
• ½ of a fresh squeezed lemon
• 1tbsp. olive oil
• Broccoli Florets
• Salt to flavor
• 1 tsp. pure maple syrup

1. Put the farro into a pot. Add water. Bring farro and water to a boil with a lid on (allow for some air so it doesn’t boil over) and then lower heat to simmer. Let simmer stirring occasionally until grains are plump and soft. As the farro absorbs the water, add more if needed so that you maintain a risotto-like consistency.

2. Soak cashews in enough water to cover them for 10-minutes. After 10-minutes, drain the water. Place cashews into a small blender. Add water to about 3/4–inch above the cashews. Puree and then liquefy the cashews and water.

3. Steam broccoli.

4. Once the farro is done, add 2 tbsps of cashew milk to the pot. Stir. Let sit for 1-minute. If the milk is quickly absorbed and you begin to lose the consistency of risotto, add a more cashew milk until you have the creaminess of risotto (you will have leftover milk). Squeeze your lemon into the pot. Add olive oil, maple syrup, and salt. Spoon your farro risotto onto a plate and make your bed of broccoli.

from Judy Wilcox of MindBodyGreen.com

Aravind Eye-Care Systems: A Social Entrepreneurial Case Study

Introduction

Go where the need is greatest, provide the necessary treatments for free, and reap the benefits. Sound strange or unconventional to you? Some would consider this business model unrealistic or boarder-line impossible, but Aravind Eye Care Systems is living proof that an organization run on selflessness and spiritual aspiration can be immensely successful. Dr. G. Venkataswamy founded Aravind in 1976 as an 11-bed clinic in Madurai, India with high ambitions and impeccable foresight. A sustainable, thriving social enterprise, Aravind is dedicated to curing individuals who are “needlessly blind” and providing affordable eye care to all. Though blindness is a seemingly small issue in comparison to the world’s major crises of food, clean water, sanitation, and education, Dr. V recognized eye sight as a critical problem because of its impact on overall loss of global productivity ($47 billion/year)¹. He aimed to help as many afflicted individuals as possible, and this spirit of service and endless dedication to social impact translated into an unprecedented business structure and culture.

I. Motivated by Social Impact

Upon reviewing and analyzing this case in terms of the SEI Framework, motivation clearly presents itself as one of the most important and influential elements in Aravind’s success as a social enterprise. Dr. V’s attitude and spiritual inspiration formed a rare cultural ethos that is not easily replicated outside of the organization. Because of the close-knit internal structure of Aravind, it is obvious that Dr. V’s values would be instilled in family members and other employees. Dr. V sums up his belief in something greater than himself and its effect on the success of his organization: “When you begin doing the work you are meant to do, unexpected resources will find you.”²

Religion and spirituality are the cornerstones for Dr. V’s dedication to social change and selfless action. He was enamored with and inspired by Sri Aurobindo and the Mother, two Indian philosophers, and begun his days with readings of their work. Dr. V applied his spirituality to his enterprise in a way that was not overbearing, but still managed to deeply penetrate the core of Aravind’s work culture with its positive attitude. His vision for Aravind came from the principle of mindfulness: stepping back from conditioned reactions, biases, and the unwholesome internal movements of anger, jealousy, and impatience.³

Because many Americans do not possess the same values and religious fervor as Indian people do, it would be difficult to identically replicate the Aravind model in the United States. Though there are individuals who are willing to work for a lower wage with the knowledge that they are contributing to a worldly cause, several problems arise that would inhibit progress and sustainability. First, it would be challenging to find enough dedicated employees; there are not nearly enough Americans willing to sacrifice the hefty salaries they could earn elsewhere to work at a lower-paying social enterprise. In addition, if Aravind-US did find individuals worthy of staffing, managers would have difficulty implementing the unique culture that is so crucial to Aravind-India’s success. Americans do not have the religious motivation and mindset of Dr. V and the Indian people, and this will most definitely be a disadvantage. Though Aravind’s business model of affordable health care might be successful in the states, the culture of the organization could not be replicated.

II. Business Model

Aravind’s business model is the other key element to their status as a social enterprise. Reflecting a strong desire for global impact, it is what sets Aravind apart from other eye-care facilities throughout India and the world. Dr. V structured his company with an emphasis on quality and quantity. Though the two are often perceived as mutually exclusive, he proved that it is possible and beneficial to strive for both. Low-cost and high-volume, Aravind operates in a “hospital-as-a-factory” format. Dr. V is often quoted comparing his organization’s method of service to that of McDonald’s and constantly worked to increase Aravind’s number of patients and turnover rate. He claimed that this operating system was beneficial for several reasons: streamlined work-flow increased efficiency, which meant less waiting time for patients; task repetition created competence, which meant better clinical outcomes and less complications; employment of skilled paraprofessionals allowed doctors time to conduct more surgeries, which reduced prices and increased the number of surgeries performed.⁴

In addition to their efficient, factory-style operational methods, Aravind also boasts success in the financial aspect of their business model. Innovative, generous, and fair, Dr. V structured patient fees into four categories: free, minimal payment, regular, and premium. Individuals can choose between these and will receive the same quality care no matter which option they pick. This is an unconventional model, but it has proven successful in increasing the market of potential clients and therefore the organization’s total income. Aravind makes eye-surgery accessible to the masses– the people who desperately need attention but lack the money and transportation to obtain standard hospital care. Stellar eye-care provided at no cost aligns perfectly with Dr. V’s values and motivation for social impact. Also consistent with Aravind’s strict values and uncompromising selfless nature is their refusal to accept donations. All employee wages, facilities, equipment, etc. are funded entirely from within. This financial business model qualifies Aravind as a social enterprise, not a non-profit organization or philanthropic charity.

Aravind is able to earn patient trust and satisfaction through their efficiency, pricing options, and welcoming environment; because of this loyalty, previous patients often become Aravind’s best advertisers. These individuals are usually found through the Aravind community-outreach program. To ensure maximum impact, Aravind conducts outreach operations that dispatch teams of doctors and nurses to rural communities to screen patients. These are people who are too poor to afford to pay for the trip into the city to seek treatment at one of Aravind’s hospitals, or are unaware of the opportunities that exist for them there. The camps reduce the level of fear and uncertainty associated with hospitals, cities, and eye-surgery. These eye-camps are reaching individuals who may not have sought out eye-care, and this broadening the potential market for Aravind.

III. Innovation

The business model that Aravind has set in place places a high value on innovation, especially in the areas of fee structure and factory-like operations. Dr. V’s organization promotes innovative exploration to advance the eye-care field, exemplified in the creation of the Dr. G. Venkataswamy Eye Research Institute. Aravind is also responsible for making IOLs (intraocular lenses) available to the masses– lenses that were initially believed to be too expensive to incorporate in Indian eye-surgery. Through innovative and forward thinking, Dr. V sought out a solution to this problem. Importing lenses was far too expensive, so he decided that Aravind would manufacture their own. Thus Aurolab was created– a manufacturer of high-quality ophthalmic products at affordable prices. By introducing high quality IOLs for the low end of the market, Aurolab increased the market size and mainstreamed IOL surgery.⁵ Aurolab later entered the field of ophthalmic pharmaceuticals and become India’s first nonprofit drug company.⁶

In addition to eye-surgery related innovations, Aravind founded an international training and consulting institute called LAICO (Lions Aravind Institute of Community Ophthalmology).

LAICO has consulted for 60 hospitals in 29 countries and 213 hospitals in India.⁷ Aravind also has a school to train paraprofessionals, some of whom later become part of the Aravind team, as well as postgraduate programs. Auro iTech was set in place in recent years to provide information technology services and help keep Aravind paced with the global, technological world.

IV. Sustainability

Aravind’s continued innovation and improvement protect the organization from the dangers of stagnation, ensuring financial sustainability. The genius of their fee structure and constant expansion guarantees continued financial growth; thus far Aravind has quadrupled its growth every decade.⁸

Dr. V was insistent on development– increasing the number of hospitals, community out-reach programs, employees, and patients– and through this operational method Aravind will remain financially stable for years to come.

Aravind has proved to be operationally sustainable as well as financially, as demonstrated by their successful navigation through generational leadership transitions and the continued relevance of their service.

V. Measure and Evaluation of Impact

Transparency is very important at Aravind; in fact, doctors and department heads in particular are motivated by the numbers and actively seek out statistics detailing the success of their efforts. Aravind now sees more than 2.5 million patients per year and performs more than 300,000 surgeries.⁹ It is important to note that the emphasis is not placed on the financial statistics, only the number of people cured and lives positively impacted.

If one does analyze Aravind’s financial statistics, they would see that the company continues to increase their yearly profit and patient inflow. The fee structure that Aravind has in place is working quite well: 47% of patients choose to pay regular or premium prices, while 26% opt for minimal and 27% for free treatment for cataract surgery.¹⁰ These numbers reflect that the majority of patients are willing to pay for surgery, balancing out the cost of the free services Aravind provides.

VI. Replication and Scale

In its 36 years of existence, Aravind has grown to include several eye hospitals, community outreach clinics, local eye-care centers, an IOL and ophthalmic pharmaceutical manufacturing plant, educational and training programs, and a research foundation. It is clear that the Aravind model is replicable and scalable because Dr. V successfully formed five additional hospitals, modeled after his original start-up in Madurai. The LAICO consulting group has taught Aravind’s techniques to other businesses around the globe as well. Though Aravind’s business model has been implemented in other locations– including a U.S. version in California– I don’t believe that their approach to healthcare would be as effective in America. Our selfish and greedy tendencies would result in the majority opting for free healthcare even if they could afford to pay the regular or premium price. However, a U.S.-Aravind would drastically increase the number of people served and provide accessible healthcare to those who currently have unreasonably high copays.

Conclusion and Recommendations

In numerous business case studies done on this social enterprise, Aravind’s business model is typically sighted and praised as the key to their success. Though I do agree that Aravind’s innovative business model played a major role in shaping the operations and financials of the organization, I feel that the model itself is driven by motivation for social change. This element is essential to creating a unique and non-replicable culture but is rarely referenced or given sufficient credit. It is the combination of Aravind’s business model and motivation for social impact that make this organization a high-performance social enterprise.

Note: Though I credit Aravind’s business model for a large portion of their success, this model was not formally designed or written down as a business plan upon the foundation of the organization. So it is in fact the model or design, not the plan, that I am referring to.

1Pavithra Mehta and Suchitra Shenoy, Infinite Vision: How Aravind Became the World’s Greatest Business Case for Compassion (San Francisco, CA: Berrett-Koehler Publishers, Inc. 2011).

Balinese Gamelan Music: An Ethnomusicological Study

Balinese gamelan music has fascinated musicologists as well as uninformed tourists– who happen to stumble upon a performance while in Bali seeking paradise– for generations. Distinctly unique to the islands of Bali and Java, gamelan is revered as an ancient art that is intrinsically tied to Balinese culture and religion. This style of music stands in complete contrast to Western genres, thus lending itself as a worthy study for ethnomusicologists. Though gamelan may not be initially understood by the foreign ear, further musical and cultural analysis will reveal the beauty behind its rhythmic complexity and shimmering sonorities.

Before discussing the theoretical or aesthetic aspects of Balinese music, it is necessary to explore its historical background and development. Bali, a 5,600 square kilometer island (Harnish 2) located in the Southeast Asia, has suffered a long and tumultuous history of wars, occupations, and even mass suicides. Stories from these past events are interwoven into daily rituals and are often times referenced in gamelan pieces.

Balinese history is divided into three periods: Old or Bali Aga, Middle, and New. The Old period refers to a time prior to outside influence, a time when the indigenous Balinese people lived in rudimentary, polytheistic villages (Gold 17). The gamelan music developed during the Old period, called gamelan selonding (Bellows), differs from Balinese music today because of its pentatonic scale and crude instrument design. Unlike the elaborately decorated bronze pieces in modern gamelan, selonding instruments are made out of iron and their design is basic. Tenganan is the only region in Bali that still owns and operates a gamelan selonding. Known for its replication and celebration of the Old Ways, Tenganan is a large draw for tourists and musicians alike who wish to experience Bali before it was altered by outside influences.

In the fifth century, religious scholars carried Hinduism and Buddhism to Southeast Asia along trade routes from India to China (Gold 13). The Hindu religion usurped the indigenous way of life, thus initiating a new period in Balinese history: the Middle period. The concept of a hierarchical caste system was introduced, as were Indian texts the Mahabharata and Ramayana (Gold 13). Foreign cultural practices were absorbed by the Balinese, evidenced by the translation of stories from Indian literature into Balinese dance, theater, and puppetry. Because such performances required accompanying music, gamelans began basing their compositions off these works as well. In addition, the idea of bronze kettle drums spread from the Dongson culture of southern China and were incorporated into the previously iron Balinese gamelans (Gold 29).

Cultural exchange between Javanese and Balinese courts began around the ninth century when Balinese-born king Erlangga was appointed ruler of East Java (Gold 14). When Java was seized by the Muslim kingdom of Demak in the late fifteenth century, many Javanese nobility fled to Bali, carrying their strong support of artists, musicians, dancers, and scribes with them (Gold 14). Javanese royalty surrounded themselves with gamelan ensembles, believing that the bronze itself possessed a spiritual power (Bellows). Techniques from Javanese court music were gradually adopted into Balinese gamelan, though typically they were reserved for royalty and religious ceremony.

The last period of Balinese history, the New Period, began when the Dutch colonized Bali in 1846 (Picard 39). Though this occupation was tragic and resulted in two mass suicides or puputans– for the proud Balinese would rather die stabbing themselves with ritual daggers than be slaughtered at the hands of their enemy– the Dutch did promote the preservation of Balinese culture, including gamelan music (Picard 39). Gamelans that had previous belonged to Balinese royalty were distributed among villages, and local groups called banjars (Harnish 1) were formed to promote the arts and pass down gamelan to younger generations. Villagers experimented with traditional styles, adding their own flare to the music, and developed the popular sub-genre of gamelan known as gong kebyar (Harnish 1). In 1949 Indonesia was officially declared an independent nation and the Dutch dispersed (Gold 15). However, by this point, the Balinese were facing another major cultural threat: tourism. By the end of the 1930’s, several thousands of tourists were visiting Bali for its plush jungles, heavenly beaches, and rich culture. Some of these visitors included anthropologist Margaret Mead and musicologist Colin McPhee, both of whom wrote popular works that encouraged even more Western visits (McPhee 10). They constructed a brilliant, “Garden of Eden” image of Balinese culture (Picard 40); one which may have accurately depicted Balinese traditions and landscape on the surface, but failed to convey the depth, honesty, and tragedy behind Balinese smiles. As the tourist industry continued to boom, the Balinese were forced to adapt to the influx of Westerners while still preserving and remaining true to their cultural roots– a challenging task. Gamelan music was still played for traditional ceremonies and religious occasions, but special performances were now held specifically for tourists. Though tourism surpassed agriculture as the island’s main economic asset (Picard 41), the Balinese were fortunately able to preserve the musical and artistic characteristics that made gamelan such a unique genre.

Theoretically, the distinctive sound of a gamelan ensemble can be attributed to three major factors: timbre, tuning, and texture. It is through these musical aspects that gamelan distinguishes itself from Western music and, in part, from other Asian music as well. The shimmering, metallic sonorities of the melodic instruments– the gangsa, calung, ugal, jegogan, and reyong– are created by their bronze keys and bamboo tube resonators. Gongs, the driving rhythmic force, are forged from bronze as well. The ensemble also includes a membranophone, aerophone, and chordophone, called the kendang, suling, and rebab respectively.

A gamelan is a set of instruments that are a distinct entity, built and tuned together; instruments from different gamelans are generally not interchangeable. The precise tunings are achieved by complex forgery methods passed down through a gong-making caste called padan. The crafting of musical instruments is a well-respected art in Bali, and those who possess this special ability are honored by the people. Gong makers are not only proficient forgers, but they also must be talented wood-carvers and painters. The body of a gamelan instrument is almost as important as the bronze itself. Wooden frames are chiseled to resemble mythical creatures or gods and are elaborately decorated with various ornamental designs. Though differing from gamelan to gamelan, instrument frames are traditionally painted brilliant shades of red, gold, or purple.

The tuning of a gamelan ensemble is crucial to its unique sonority. Unlike the twelve-tone-per-octave format of Western instruments, the Balinese use wider intervals between their pitches. The two most common tunings are the pelog and slendro; the former consists of seven pitches per octave and the latter has five (Gold 34). Often times, however, gamelan tunings do not fit within either of these categories. Western concepts of scale and mode have not been developed in Balinese theory; in fact, there is little musical information that can be recognized as gamelan theory at all. No written musical notation exists, and thus musicians and composers alike are required to memorize all pieces. Instead of using a numerical value for each pitch in relation to its position within a scale (i.e. 1 2 3 5 6 for pentatonic), the Balinese assign a syllable name. This practice is comparable to the Western solfege system of “do, re, mi, fa, sol, la, ti,” with the Balinese equivalents being “nding, ndong, ndeng, ndung, ndang.” (Gold 35). Though forms of cipher notation have been adopted and are used in Java, this is a recent development that is clearly attributed to Western musical influence (Gold 36).

Another apparent difference between Balinese and Western music is pedagogy. Gamelan techniques are transmitted by rote: the teacher plays a phrase, then the student repeats the phrase back until they have learned it properly. More phrases are gradually added until the whole piece is learned (Gold 36). Students do not consider the theory behind what they are doing; their sole task is to replicate and memorize. Experimentation is not encouraged, for students must learned traditional compositions before venturing out on their own. The pool of gamelan music in Bali is fairly stagnant and any newly added pieces are received with harsh criticism. It is more common for ensembles to perform variations on old works (Harnish 5).

Returning to matters of sonority, gamelan instruments are arranged in couples called “tuning pairs” that enhance the sound quality of the ensemble. Each instrument is paired with another, tuned ever-so-slightly apart; thus when sounded together, they create a shimmering, pulsating sound. The higher instrument is known as “the inhaler” or pengisep and the lower “the exhaler” or pengumbang (Gold 33). The metallophone section, comprised of gangas, calungs, and jegogans, will have multiple inhalers and exhalers all tuned to either the higher or lower pitch. When gamelans are compared to each other, they are evaluated by the quality of their “wave,” or ombak (Gold 33).

The last defining characteristic of a gamelan ensemble is its thick texture. The musical soundscape is filled with overlapping sounds; layers of metallophones, membranophones, aerophones, and chordophones meld together to create the melody. No one instrument could stand alone, for each relies on the other to complete the pokok, or melody. Most pieces contain one major pokok that is repeated throughout with added variations (Gold 57). Typically, the higher register instruments engage in a heterophonic elaboration of the basic melody, playing interlocking parts that fill the sonic space entirely. This interlocking configuration is referred to as a kotekan and is played by both gangas and reyongs (Gold 58). Within a tuning pair, one of the instruments will play the polos part and the other will take the sangsih. Kotekans may consist of alternation between the polos and sangsih, syncopated or delayed rhythm, or pivots around a single pitch (Gold 59, 60, 61). Lower register instruments play simplified versions of the kotekan on the second, fourth, or eighth beat, as Balinese music is based on internal divisions of gong cycles by multiples of two.

Underneath the melodic complexities are the gongs, anchoring the ensemble together through their cyclical pulsation. Gamelan music is not written in a specific time signature, thus the concept of time is loose and improvisational. Rhythmic adjustments are often made by the kendang player. In order for the ensemble to function as a cohesive unit, players must listen carefully to the gong cycles. The kempli acts as a time-keeping device much like a Western metronome and is also essential in ensuring unity. Sub-genres of gamelan such as gender wayang and legong require stricter timing, usually cued by the puppeteers or dancers.

Various gamelan performance contexts involve different styles of pokoks and kotekans, depending on the nature of the occasion (somber versus celebratory) and the intended audience (sacred versus secular). It is because of these specific contexts that several sub-genes of gamelan have evolved over the years, each designed to accompany a specific ritual or performance. Religious gamelan music is most commonly featured at temple ceremonies, cremations, and traditional dances, whereas secular gamelan is used in shadow puppet theater, regional competitions, and tourist performances (Bodmann & DeArment).

The most frequent religious ceremonies held in Bali are called odalans, or temple ceremonies. Odalans celebrate the anniversary of a Balinese temple and occur every two hundred and ten days– the equivalent of one year on the Balinese calendar (Gold 7). Due to the immense amount of temples scattered across the island, odalans are constantly occurring simultaneously in various regions of Bali. During a temple ceremony, priests place offerings before the gods, light incense, and pray– all with gamelan accompaniment. This music is suited for a solemn, religious environment and therefore is more reserved and courtly, reminiscent of Javanese court music.

Another ceremonial display of gamelan music can be witnessed at a Balinese cremation; however, the tone of the music played here contrasts sharply with that of the odalan. Unlike Western funerals which are usually somber occasions of mourning and distress, Balinese cremations are joyous occasions. In Bali, death is not viewed as a tragic event, instead it is a time for celebration and honoring the life of the deceased. Bodies are cremated in elaborate ceremonies that require much money and time to prepare. Entire villages participate in the cremation ceremony– bringing offerings and food, playing accompanying gamelan, and carrying the tower to the burning site. The upbeat spirit of the cremation is reflected in the gamelan music, which is fast-paced and brimming with emotion. Cremation gamelan music is referred to as gamelan gambang (Harnish 5).

The last traditional use of gamelan is in Balinese dance, mainly legong and topeng. As previously mentioned, gamelan accompanying dance is more structured and controlled than other sub-genres because the musicians must sync their pieces with the movements of the dancers. Though legong dances are always choreographed, the masked topeng dances allow participants more improvisational freedom (Gold 100). In either style, it is necessary for the members of the gamelan ensemble to be able to communicate nonverbally with the dancers, who provide subtle cues for tempo or dynamic changes.

Legong and topeng dances can be sacred or secular, depending on the date and the audience. The Balinese calendar designates certain days as “auspicious,” meaning that they are holier than others and therefore prime opportunities for religious ceremonies, weddings, and funerals (J Strand interview). Dances held on auspicious days are performed for the gods, whereas other dances are money-making schemes directed at tourists. Despite the difference in significance, the gamelan accompaniment is typically the same in either situation. Balinese dance is comprised of sharp, jerky movements of the eyes, hands, legs, and ribcage, and the music it is paired with accents these motions.

Other occasions, such as music festivals and competitions, encourage more modern styles of gamelan. Gong kebyar and musik kontemporer are two sub-genres that came about during the twentieth century, both incorporating a Western influence due to tourism and globalization. Gamelan gong kebyar stands at contrast with older styles of gamelan because of its emphasis on virtuosity, instrumental solos, and inclusion of angsels or rhythmic breaks (Tenzer 119). These rests– which last an undetermined amount of time, differing in each performance– give gong kebyar its explosive and innovative qualities. Musik kontemporer pushes the limits even further. Composers experiment with instrumentation and have been known to use anything ranging from mbiras to pots of water (McGraw 118). Cross-cultural collaborations with Western composers are popular as well (McGraw 117). The subject matter of musik kontemporer compositions is very modern; a piece written in 2007 by Agus Teja was titled Senggama, which translates to “having sex,” an unspeakable act in traditional Balinese society (McGraw 117).

Both of these sub-genres are played at the annual Bali Arts Festival in Denpasar as well as various government-funded gamelan competitions. Though it may seem at odds with the traditional Balinese government’s values to endorse such contemporary styles of gamelan, officials feel that it is their duty to support the arts and engage the youth in cultural activities (Harnish 6). Additionally, because these two styles incorporate western elements, they are more appealing and accessible to the tourists from whom the government receives the majority of their profits. It is important for the Balinese to maintain their national identity and festivals promote this as well. These events create a cross-pollination effect, spreading musical ideas between regions (McGraw 116).

The Bali Arts Festival, a competition between regional gamelans, is similar in nature to a Western sporting event. People come from all corners of Bali to watch their home region compete, and the air is full of friendly chatter, cheering, and the smell of roasting meat. Bets are placed on whichever gamelan is most likely to win and insults are hollered at the opposition. The crowd claps during especially difficult or elaborate sections; they all seemed to instinctively understand music and the artistic merit of the composition.

Why do the Balinese identify so deeply with their nations music? It is because gamelan incorporates so many important aspects of their culture. They have been surrounded by this music since birth– witnessing performances at temples, ceremonial dances, and funerals– and understand that it is intrinsically tied to their culture. Hinduism and its various traditions have a heavy influence on Balinese perceptions, beliefs, and daily activities. Balinese culture and elements of the Hindu religion impact all aspects of gamelan as well: musical texture, playing technique, instrument design, and ensemble dynamics.

The texture of gamelan music is thick, filled with overlapping polyphonic melodic and rhythmic lines. This dense soundscape reflects the Balinese principle of rame, meaning full, boisterous, or active (Gold 7). Because they believe that the Hindu gods reside within rame, detailed architecture, bright colors, and elaborately decorated clothing are staples of Balinese life. The opposite of rame is called kosong, meaning emptiness or aloneness, and is feared because of its association with the devil (Gold 7). Not only does gamelan music reflect the concept of rame, but the design of the instruments does as well. The wooden bodies of the metallophones and the stands of the gongs are quite decorative and detailed; nothing is plain or empty in a gamelan ensemble.

The Hindu emphasis on equilibrium and balance are also reflected in Balinese music. As Dunbar-Hall explains “Balinese Hinduism embraces the principle that for every good, positive, constructive force, there is a counterbalancing evil, negative, destructive force. The two sides are inseparable. They must necessarily coexist, but preferably in dynamic equilibrium, so that neither gets the upper hand. The principal efforts of the Hindu-Balinese religion are devoted to maintaining a balance between positive and negative forces. Equilibrium and balance are the key goals.” (Dunbar-Hall 180). The cyclical nature of the music– punctuated by the gongs every second, fourth, and eighth beats– as well as the even division of the pulses into multiples of two demonstrates this desire for equality and evenness. Most gamelan pieces feature an alternation of forte and pianissimo sections and of largo and vivace sections; this clearly reflects their belief of counterbalancing forces coexisting in dynamic equilibrium. Balance is also noted in the interlocking parts (polos and sangsih) played by the gangsas and reyongs.

Another major part of Hindu tradition, and therefore Balinese life, is the concept of community. The Balinese strive to cultivate ngayah–devotion and community work (Tenzer 119)– and place a high value on the cohesiveness of their gamelan ensembles. The interactions between gamelan members socially and within the context of the music reflects a strong sense of community (Gold 67). Interweaving the polos and sangsih parts requires teamwork, as does the nonverbal communication that occurs throughout the ensemble to ensure uniformity in tempo and dynamics. This sense of community can also be observed in methods of gamelan composition. Before WWII, group composition was commonplace, and it wasn’t until the late twentieth century that individual compositions were recognized and endorsed (Harnish 5).

In conclusion, elements of Balinese culture are apparent in the music, group dynamics, and performance context of gamelan. Bali’s tragic past taught its people to place an extremely high value on culture; thus religious practices, traditional dances, and gamelan compositions are passed through generations like a baton, hoping to impart a little wisdom and inspiration to young, inexperienced children. “The Balinese adhere so strictly to the art, music, and dance of their forefathers,” explains Dewa Ketut Alit, a prominent Balinese musician and composer, “This is necessary so that they do not forget who they are and where they came from in the light of occupations, or in modern times, the invasion of tourists” (Alit Interview). This reverence of the past and respect for elders is deeply rooted in Balinese culture as well as Hindu religion. Though gamelan music has recently branched out to include sub-genres of a more modern nature such as gong kebyar and musik kontemporer, instrumentation, textures, sonorities, and forms of gamelan remain unchanged. This is what makes the music of Bali so unique and stunningly beautiful.

Works Cited

Alit, Dewa Ketut. “Interview with Alit, Balinese Composer.” Skype Interview. 6 June 2012.

Bellows, Laura J. “Gamelan Selonding.” Journeying Through Balinese Lives. Spurlock Museum, 2005. Web. 17 June 2012. <http://www.spurlock.illinois.edu/explorations/online/bali/bali118.html&gt;.

Bodmann, MaRia, and DeArment Cliff. “Bali & Beyond Educational Resources.” Bali & Beyond Educational Resources. 1988. Web. 29 May 2012. <http://www.balibeyond.com/gamelanbali.html>.

Dunbar-Hall, Peter. “Culture, Tourism, and Cultural Tourism: Boundaries and Frontiers in Performances of Balinese Music and Dance.” Journal of Intercultural Studies, Vol. 22. University of Sydney Press, 2006.

Gold, Lisa. Music in Bali: Experiencing Music, Expressing Culture. New York: Oxford UP, 2005. Print.

Harnish, David. “The World of Music: Composition in Bali.” J. Musicological Research Vol. 20. Bowling Green State University, 2000.

McGraw, Andrew C. “Radical Tradition: Balinese Musik Kontemporer.” Ethnomusicology Vol. 53. University of Illinois Press, 2009. <http://www.jstor.org/stable/25653049&gt;.

McPhee, Colin. A House in Bali. New York: J. Day, 1946. Print.

Picard, Michel. “Cultural Tourism in Bali: Cultural Performances as Tourist Attraction.” Indonesia Vol. 49. Southeast Asia Program Publications at Cornell University, 1990. <http://www.jstor.org/stable/3351053&gt;

Tenzer, Michael. “Gamelan Gong Kebyar.” Google Books. University of Chicago Press, 2000. Web. 29 May 2012. <http://books.google.com/books?hl=en&gt;.

Note to Reader

The remaining information provided in this paper was obtained through observation and conversation during the author’s six week stay in Bali. It is original and therefore requires no citation.

The Impact of Generation Y on Organizational Structure

Executive Summary:

This essay looks to explore how the addition of members of Generation Y will affect the current state of the workforce in an organizational behavior context. Using the research of Jean M. Twenge and Stacy M. Campbell from their study Generational Differences in Psychological Traits and Their Impact on the Workplace (2008), it analyzes the two standard organizational structure models– mechanistic and organic– and explains why the newer generation is more apt to thrive in the latter. Gen Y’s emphasis on individualism and communication make them prime candidates for the organic model. Because members of this group will soon make up the majority of the workforce, managers must shift their organizational structures to accommodate Generation Y’s modernistic views.

The Impact of Generation Y on Organizational Structure

Organizational behavior theory provides two models of organizational structure: the mechanistic model and the organic model. As their names infer, a mechanistic organization functions efficiently with machine-like precision and regulation, whereas an organic organization is focused on interpersonal relationships, motivation, and the overall satisfaction of the employee. With modern society placing a higher focus on individualism, the characteristics of an organic system emerge as the favored form by employers and workers alike. Flexibility, freedom, and open communication at work are requirements for the incoming Generation Y. In their research on Generational Differences in Psychological Traits and Their Impact on the Workplace (2008), Jean M. Twenge and Stacy M. Campbell explored the predominant traits of this new generation and how managers are adapting to the needs and concerns of this seemingly entitled group of people. Generation Y’s entrance into the workplace will clearly effect methods of organizational structure and the field of organizational behavior in general.

The mechanistic model of organizational structure, like those who promote it, is strict, traditional, and conceived in a previous generation. Its origin can be traced back to Henri Fayol, manager of a large coal-mining company in France (Baker, 1972). Fayol compiled a list of principles which he felt define the key attributes of a successful administration. When these ideas were well-received at an industry conference, he went on to publish Administration Industrielle et Generale in Paris in 1918. (Baker, 1972) Henri’s principles were narrow and rigid, as demonstrated by their promotion of centralization of authority, vertical communication, high specialization of labor, and functional departmentalization (Gibson, J.M., J. Ivancevich, J. Donnelly, & R. Konopaske, 2012). These characteristics were very successful in manufacturing and labor-intensive endeavors, and they are the foundations of modern capitalism.

Though efficient from a historical and managerial standpoint, Fayol’s principles and the mechanistic model in general– can be the source of restriction and frustration for employees. When leaders exercise complete control over their subordinates, creativity and communication are inhibited. Workers low on the chain of command may have less motivation or investment in the company because they have little say in the functioning of the organization and are not directly effected by outcomes. Vertical communication also deprives them from speaking directly with superiors, allowing room for message errors or alterations. Because of its strict nature, the mechanistic model confines employees to their specific roles that are monotonous and discouraging.

All of these complaints and problems caused by the mechanistic model are brought to light and corrected in the organic model. Fathered by Rensis Likert in the 1960’s, the organic structure is also known as System 4 (conversely, the mechanistic model is called System 1). Like its antithesis, the organic model outlines characteristics of a successful leader; however, it differs significantly with regards to managerial function. Likert (1981) claimed an ideal manager is “supportive, approachable, friendly, and interested in the well-being of subordinates” (p. 674). Supervisors should brief workers on goals and future plans so that they may understand the direction of the organization and contribute accordingly. He also emphasized the importance of interpersonal relationships in the workplace and suggests the use of cooperative problem-solving teams.

Employees in the organic organizations surveyed by Likert reported a higher level of satisfaction than their counterparts in mechanistic structures (Likert, 1981, p. 677). With open channels of communication between supervisors and subordinates, employees feel understood and valued by the organization. Because of the decentralization of authority in an organic structure, employees have more freedom to expand their roles and contribute innovative ideas. Relationships between peers also improve in an organic company because there is less competition and higher focus on interpersonal and group achievement. All of these factors strengthen an employee’s overall motivation and commitment to the organization, which correlates to an increase in company productivity as well.

The reason why the organic structure works so well for members of Generation Y is because of its focus on communication, equality, and flexibility. The surveys taken by Twenge and Campbell (2008) showed an increase inindividualism in each successive generation, peaking at an all time high in Generation Y. The Baby Boomers, whose “upbringing in the 1950s and 1960s grounded them in non-individualistic attitudes” (Twenge & Campbell, 2008, p. 864), were more apt to accept a mechanistic organization. They had less self-esteem, were less likely to question authority, and reported fewer cases of depression (Twenge & Campbell, 2008); all of which made the Baby Boomers better candidates for such a departmentalized and controlling model. The reasons for these generational differences, Twenge and Campbell (2008) explained, are rooted in the influences of parents, peers, media, and popular culture. Such forces create common value systems among people growing up at a particular time. Historically significant events such as the Great Depression, World War II, Vietnam, etc. play an important role in shaping a generation’s characteristics as well.

According to Twenge and Campbell (2008), the generations that followed “continued the emphasis on the individual, which grew year after year as more young people took it for granted that one should focus on the self” (p. 864).This creative, technologically-savvy group of people– more specifically, those born between the years of 1980-2000– are what sociologists refer to as Generation Y. They are casual in the workplace, confident in their abilities, and are motivated by incentives of recognition and ego-boosting praise. Because these individuals were raised to follow their dreams and do what they love, their job will never be the whole of their identity (Chulick, 2011). “Generation Y doesn’t want a job– they want a life that hopefully includes a job,” says Aaron Kesher, leader of 2011’s Society for Human Resources Management Conference (Chulick, 2011). Because these workers place a higher value on home-life over work, they want their careers to be flexible and compatible with their lifestyle. This expectation “puts organizations in a difficult position as they must balance business goals with the employee’s personal goals” (Twenge & Campbell, 2008, p. 873).

So what exactly can managers doabout this? They must first understand the psychological differences that distinguish this incoming generation of employees from previous ones. Generation Y wants leaders who will motivate, praise, and befriend them; professionalism and efficiency are important, but they come as second thoughts. These individuals “appreciate authenticity, and now more than ever they appreciate this in their leaders” (Twenge & Campbell, 2008, p. 866). Managers should adapt their leadership styles to meet this criteria if they want to maximize Gen Y’s potential and stop them from job-hopping. Twenge and Campbell (2008) suggested supervisors implement “…programs promoting work-life balance, especially for employees with families. Companies with onsite daycare and flextime options are more likely to retain their best employees” (p. 871).

In a recently aired Domino’s commercial, an employee at a local branch explains how he came up with the idea for the corporation’s newest offering, Parmesan Bread Bites. This example demonstrates how previously mechanistic model companies in the fast food industry are now converting their methods to incorporate the needs of incoming Generation Y employees. It is beneficial for organizations andemployees alike to adopt such practices so that subordinates are free to share innovative ideas with their superiors, aiding with the overall company’s progress. “Organizations and managers who understand these deeper generational differences will be more successful in the long run as they manage their young employees, finding ways to accommodate differences” (Twenge & Campbell, 2008, p. 873). With Generation Y’s increased emphasis on individualism, it is difficult to confine these people to the rigid structure exhibited in the mechanistic model; therefore the workforce should expect to see a shift in the structure of organizations to a more free and organic model.

References

Baker, R. (1972). Administrative Theory and Public Administration. Hutchinson and Co.

Barlow, T. (1999). “Tribal workers.” Financial Times Limited.

Chulik, A. (2011, December 11). “Gen Y’s Impact in the Workplace.” Retrieved from

http://msn.careerbuilder.com/Article/MSN-2838-Leadership-Management-Gen-Ys-

impact-in-the-workplace/?SiteId=cbmsnhp42838&sc_extcmp=JS_2838_home1

Gibson, J.M., J. Ivancevich, J. Donnelly, & R. Konopaske. Organizations: Behavior, Structure, Processes. 14. McGraw-Hill Irwin Publishing, 2012. Print.

Likert, R. (1981). System 4: A resource for improving public administration. Public Administration Review, 41(6), 674-678. Retrieved from http://0- www.jstor.org.ilsprod.lib.neu.edu/stable/975744

Twenge, J. M., & Campbell, S. M. (2008). Generational differences in psychological traits and their impact on the workplace. Journal of Managerial Psychology, 23(8), 862-877. Retrieved from http://www.emeraldinsight.com/journals.htm?articleid=1752333

Asparagus, Mushroom, Edamame, and Tomatoes in a Balsamic Glaze

Ingredients:
1 lb. asparagus
1 package sliced mushrooms
1 cup organic shelled and cooked edamame
3/4 cup white kidney beans
1/2 cup mini tomato halves
2 tbs olive oil
3 tbs balsamic vinegar
3 cloves crushed garlic
1/2 tsp salt
1/4 tsp pepper

Directions: 
1. Place all chopped veggies, edamame, and beans in a large ziploc bag.
2. In separate bowl, mix olive oil, vinegar, garlic, salt & pepper together.
3. Pour marinade over veggies in bag and shake until evenly coated.
4. Preheat oven to 350 degrees
5. Place veggie mixture on baking sheet. Roast for 25-30 minutes.

Vegan Blueberry Muffins

Ingredients:
2 cups of whole wheat flour
4 teaspoons of baking powder
1/4 teaspoon of salt
1/4 brown sugar
1/4 white sugar
1 cup vanilla soy milk
3 tablespoons of unsweetened apple sauce
1 lemon, zested
1 teaspoon of vanilla extract
1 cup of fresh blueberries

Directions:
1. Preheat oven to 350 degrees F.  Grease 12 inch muffin pan and set aside.
2. In a large bowl, mix flours, sugars, baking powder, and salt with a whisk.
3. Add 1/2 cup of soy milk at a time and mix with a wooden spoon.  Mix in lemon zest, vanilla, and applesauce and stir until fully combined.
4. Gently fold in the blueberries.
5. Spoon batter into muffin cups, filling about 3/4 full.
6. Bake muffins for 20-22 minutes or until fully baked.