Last week the Center for the Future of Museums (CFM) blog wrote about the museum workplace. Specifically their Tuesday post takes on the issue of Volunteers and Museum Labor. The piece begins by referencing two earlier posts also about the museum workplace: What Is the Fair Market Value of a Museum Job? and the truly original Museum Sacrifice Measure. As a result, I re-read these two earlier posts.
I almost didn’t respond. We write about the museum workplace a lot here, and more specifically about museum workers, gender, and pay. But I couldn’t stop thinking about these posts, particularly the one titled “What is the Fair Market Value of a Museum Job?” Here is what I struggled with: First, CFM asks “…why some people are happy with the sacrifice they made (lower pay) to work in a museum, while others aren’t, and in a bigger sense, what constitutes a fair wage for museum work?”
My question: How do you know who is happy? If you look at Joyful Museums, you discover that its creator actually tried to figure out whether museum folk are happy or not, and more importantly, why. Joyful Museums 2014 survey reveals that 88-percent of respondents defined work happiness as either engaging with projects and tasks or enjoying working with co-workers. Among the most happy were the Millennials and the Boomers. When respondents were asked how work culture (and remember this is museum work culture) could be improved, the list is long, but the majority believe they are not getting paid what they’re worth.
CFM writes, “I suspect many people in these roles went into museum work with a vision of the job based museum norms that were anointed as “norms” decades ago. Or they believed in a semi-mythical version of museum work that was compelling and attractive but never entirely true.” And yet according to Joyful Museums, it’s the Boomers who are by and large, happy. We suggest that it is the world that’s changed and museum workplaces have failed to keep up. It seems a dated notion on CFM’s part to think of museums solely as stewards of collections where people work and not workplaces where culture is cared for and interpreted.
CFM suggests fair market value is “is the compensation (cash + intangibles) an employer and a job applicant agree on when both parties are knowledgeable, willing and unpressured.” So if you’re job fails to offer either cash or intangibles it lacks fair market value? The museum world isn’t known as a high-paid paradise. A look at AAM’s salary survey confirms that. Does that mean if you’re poorly paid in comparison to the for profit world you make it up in intangibles? And what does that mean? We’re pretty sure it is not paid maternity/paternity leave, excellent health care, or on-site day care. CFM seems to believe that museum workers survive on psychological rewards–creativity, beauty, power, authority. Yet intangibles don’t pay off graduate school loans or write day care checks or car payments so that leaves us with a really dark view of museum workers. Seduced by beauty, history or scientific discovery, they took out loans, received the required degrees, and miracle of miracles found jobs where 88-percent of them say they’re happy. And they’re living off fumes?
Here is what we think is missing with CFM’s argument: Museums are about meaning yet they remain traditional, hierarchical workplaces because we allow them to be that way. That isn’t the fault of the workers who have every right to enter the field with big dreams. But too often the beliefs we espouse in exhibition halls don’t extend to our offices. We collectively wring our hands about the lack of diversity in the field, but fail to examine long-standing hiring practices. Too many museum employees don’t make a living wage. And as the field reaches a tipping point between gender balanced and pink collar, we allow women to make significantly less than men. Our visiting public may dine on intangibles every day as it wanders galleries, zoos, and historic houses, but museum workers need an equitable, living wage coupled with adequate benefits. They’re smart enough to find the intangibles on their own.
Do you agree?
I have a colleague who is forthright, direct, sometimes foul-mouthed, and an incredibly dedicated and hard worker. She will also walk your dog if you’re on crutches, babysit so you can have a date night, or bring you food if you get Lyme disease. And no, she’s not perfect. Recently I commented on her new boss–a change that happened this summer–and wished her well. Her new leader is female, the outgoing one male. Knowing the former relationship was difficult, I said something to that effect. Her response? “Yes, but I enabled a lot of his behavior.”
That comment stopped me in my tracks. I asked what she meant. Her response? “Often I couldn’t wait for him to complete a project, write a letter, whatever, so I would make the work happen.” As a result, he looked good. The work got done. The way she explained it, the lightning pace of today’s workplace coupled with the power imbalance of leader to staff member, made discussing what, for her, was a challenging work situation difficult. In her mind, work trumped her frustrations so she she made sure it was completed smoothly, and moved forward. The only problem? Without time to press pause and talk things out, she was angry about doing his work and hers.
Remind you of anything? Maybe you’re an enabler: Trapped in a situation where there is no possible way explain to your boss how often she lets others (like you) pick up the slack. Or maybe you’re the leader. Museum leadership in 2017 is a multi-layered endeavor. The pace is fast, the news/social media cycle relentless. Leaders need a host of skills to move museums or heritage organizations from mediocre to majestic. We would argue, though, that the chief skill should be relationship building. Strong relationships build trust. Trust builds teams, and strong workplace teams change organizations.
We like to think a leader who’s observant about work relationships–whether through listening or watching–would have quashed a situation like the one described at the beginning of this post. Teams flourish because every member has a role to play, and in happy workplaces, staff are willing and able to cover for one another if there’s a need. Museum leaders, however, should never confuse support given willingly to help a colleague with an absence of effort that means other staff members cover or enable for someone who’s not getting the job done. And they need to be self-aware enough, to see that these situations apply to them as well as folks in external affairs, communications or education.
We’ve said it a lot in these pages: leaders need to make a habit of self-reflection–daily, weekly–whatever works. While walking the dog, sitting on the subway, jogging, or watching the sunset with a glass of wine, do a check-in. Go over what happened that day or that week. This isn’t mea culpa time. This is so you’ll know where the dragons are as you chart the course for the next day or week. And sometimes the dragons are you. Be a big enough person to recognize your own failings and self-correct.
In the wake of the ongoing dismay surrounding the Berkshire Museum’s decision to renovate its building, change its focus, and shore up a plundered endowment, and Lee Rosenbaum’s cautionary post about the National Academy of Design — another organization that hoped to cure its ills with cash — we’ve been thinking a lot about boards, board culture, board building, and board behavior.
We’ve written about museum leadership since 2013. Our focus has been the women and men leading museums and heritage organizations. Any of you who’ve read our posts know we believe passionately that the museum field needs to invest more in its leaders and staff than its infrastructure.
Lately museums have made news for a host of reasons including poor decision making and inattention. Each incident sends the press scurrying to find similar situations so the public is reminded of the field’s misdeeds. The field needs to make our job sector a place with better salaries, better benefits, HR offices, personnel policies, and gender equity training. That’s a cultural shift that isn’t going to happen overnight, and a lot of the heavy lifting needs to be done by museum boards. We don’t have a magic wand, but if we did, here are our five wishes for board behavior:
- Boards who understand why they’ve chosen to serve, who know that service is about the institution, whether it is tiny and all-volunteer or a community’s anchor store.
- Boards who believe in the museum field, who understand it’s a place with its own culture, rules, and most importantly, ethics and standards. Those standards weren’t invented a century ago because the folks at the newly-formed American Association of Museums (now American Alliance of Museums) had nothing else to do. On good days these ethics and standards actually inform what the field does.
- Boards who invest in museum leadership within their own ranks as well as staff ranks find that it can be a key to making change, not just an opportunity to shift the responsibility of leadership off their own backs.
- Boards who have a deep understanding of why their organizations matter know it is an understanding that informs and eases the ongoing task of raising money.
- Boards who know that museums hold the public trust, and realize that being a non-profit isn’t a ticket to practices and behaviors they wouldn’t sanction in their own businesses.
This sounds like we think all boards are badly behaved, and we don’t. Many, many are exemplary. But for the sake of collections, communities, and museum staffs, we’d like to see boards move the needle away from downright poor decision making and mediocrity. And the sooner the better.
There is no question that museum salaries are the field’s third rail. Whenever they are mentioned here, we see a spike in readership and the number of comments. Museum directors tell us that if salaries go up, there’s no money for heating/cooling or the education department or exhibits or the institution’s digital presence. Or how about an organization’s crumbling infrastructure? After our July 10 post a reader wrote, that she felt the low salary issues were really a two-fold problem. On the one hand there’s salary equity within an institution. Her concern was directors whose salaries are out of proportion to the rest of the staff. Obviously if a director’s or CFO’s salaries are hugely inflated in comparison to other staff, that is a problem that needs the board’s attention, and the first issue might be getting them to understand this type of inequity is a problem. And speaking of salary inequities, don’t forget the gender salary gap, but more about that later.
The writer’s second point relates to the you-can’t-get-blood-from-a-stone argument. Here’s what she wrote,” The other issue has to do with the limited overall funding available for running a museum (which could probably be expanded to most of the non-profit sector). Many (most?) museums are challenged to find additional sources for staff salaries since we are “overhead”, along with utilities, insurance, snow removal, etc., rather than programmatic activities (for which funds can more readily be obtained). I’m not sure what the solution to THAT is.”
You know this. You live with it. It is part and parcel of museum leadership in 2017. And we get it. We really do. But here’s a thought, not a judgement: Are there decisions that museum service organizations, boards and museum leaders could make over the long term leading to better salaries?
Let’s pause to note that Leadership Matters believes many small and medium sized museums don’t allow themselves to think long term. And by long term, we mean five to 10 years in the future. The reasons for that are likely complex, from poor trustee training, to dismissive attitudes toward museums and heritage organizations in general, to the risk-averse nature of many non-profit boards or an ingrained belief that a board’s role is to maintain status quo rather than to work for change. But the museum field’s salary problem demands long-term planning.
So what is the solution? There isn’t just one. The low salary problem grew over time, nurtured by the hierarchical nature of the field, and the museum world’s gentle tip towards a pink-collar workplace. The fact that a master’s degree is almost de riguer for employment brings a huge group of debt-ridden employees to museums every year. These factors make museums easiest for employees with second incomes–family money or high earning partners–creating a vicious circle where the wealthy stay on, while others leave. That may be a huge generalization, and many of you can point to exceptions, nonetheless, this is a complex problem involving race, class and gender. It took decades to create and it will take decades to undo. So here are some suggestions for change:
While who gets paid what is, at the highest level, a board thing, we believe it’s time for AAM and AASLH to step up to the plate. While AAM, AAMD, and the regional museum organizations have religiously collected salary data for decades, it’s largely a passive commitment. If you or your organization buy the survey, you may use it to your heart’s content, but isn’t it time for our national museum associations to follow the American Library Association and stipulate a minimum salary for museum professionals? The cynics among you may ask what good would that do? In the short term, precious little. Over the long term, however, a minimum salary for directors might give organizations pause before they hire a maid-of-all-work at $28,000, while allowing job applicants the courage to say no thank you, your position doesn’t meet the national association’s base salary.
Museums and heritage organizations have to be encouraged to endow positions. That isn’t something just for colleges or huge, wealthy organizations. What better way to acknowledge the importance of staff in keeping organizations alive and changing? Yes, it’s costly, but endowing positions frees up cash for other anxiety-provoking expenses.
Museums need to become the non-profit world’s leaders in addressing the gender pay gap. The salary gap is not a myth, but a real thing–look at AAMD’s report on salary equity and AAM’s newest salary survey–and is something every organization needs to address. What would happen if the museum field were known as the job sector that made women’s salaries equitable first? That means making sure all women’s salaries are equal since statistics show women of color and queer women don’t make as much as white women, and only then adjusting women’s salaries to meet men’s. How would that affect hiring and more importantly, retention?
Last, AAM, AASLH, AAMD, the regional service agencies, and the United States’ many museum boards have to support and encourage salary growth. From the accreditation process to the StEPs program, staff salaries and benefits have to matter in a visible, tangible way. Organizations should be open and transparent about staff turnover, about their ability to hire above their city’s Living Wage. Why? Because a well-paid, content, smart staff drive organizations forward. And that’s a cultural shift.
This is a problem for all of us. Let’s work for change.
Maybe it’s just Leadership Matters, but it seems as though the museum field might be pulling its head out of the sand about its salary problem–like it’s been sleeping but now it’s woke? The last few weeks we’ve seen blogs, online discussions, and press releases, all discussing the low salaries in the field.
The prompt may have been the press surrounding American Association of Art Museum Directors’ (AAMD’s) 2017 salary survey released in June. Although it’s collected data for a century, this was the first time it made the results public. And yes, it’s a small survey–219 North American art museums–and, as the name implies, we’re talking art, not history. But the good news is it’s free. Of course there’s always AAM’s salary survey, which is a massive collaboration between 10 regional museum associations, and the most comprehensive of any museum salary survey. Of AAM’s 1,000 respondents many come from history museums, however, it also includes staff from zoos, botanical gardens, and science museums. There’s only one problem, and it’s not with the survey itself, but if Facebook posts from emerging professionals are any indication, its cost sometimes makes access prohibitive.
Just for fun we Googled “salaries museum jobs.” We got 548,000 hits and a surprising amount of information from outside the field, information that ought to put the fear of god in many graduate student hearts. Payscale.com which claims its data was updated in June 2017 offers not only salary information, but hourly pay, and pay by institution. Admittedly it’s a tiny group, and many of them are large urban or suburban organizations, but information is information. Clearly it’s better to work for the Smithsonian at $26/hour then just about anybody else on Payscale’s list. Not to mention, that despite the current administration’s best efforts, the Smithsonian is here to stay. And yes, there are more than a few organizations on Payscale’s list where choosing a career at Panera Bread or Target might offer a better starting salary, more predictable raises, and where there’s no need for a graduate degree.
So what should you do if you’re new in the field and clobbered by the fact that maybe your grandma was right and you should have learned a trade like plumbing or gone to medical school? Well, pulling the covers over your head is an option, but here are some other thoughts.
- We do believe change starts from the bottom up so even though it’s a small thing, start talking about the salary issue. Talk with your colleagues. Talk with your boss. Practice ways to say what needs to be said that aren’t confrontational, but still get the point across. Your museum’s leadership won’t listen if they think they’re liable to see you with a picket sign on the front steps.
- We are fierce advocates for higher wages, but it’s important to love what you do. It sounds dopey, but honestly, no matter what you do–in or out of the museum field–if you don’t love it, you’re going to feel like your soul’s being sucked out of your body a bit at a time. Change doesn’t happen overnight except in fairy tales, so if a big salary means more to you than a life in museums, you’ll never be happy. Try investment banking. Then you can be a museum board member. Just be honest with yourself.
- If you’re in museum leadership, you need to be a fierce advocate for your staff. Your organization–and the field as a whole–is only as good as its staff. You want the best you can afford, and you want them to be happy, not covertly job hunting at their desks. Lobby your board for equitable salary and benefits. Take a page from academe and endow some of your key positions. If you lead a small organization, are there creative ways you can band together with local arts organizations and hire one person to do the same task at several places? Collaboration brings its own rewards, but that’s another post.
- If you teach in a graduate program, we hope you make AAM’s salary survey available to your students.
- Last, if you’re new to the field, DO YOUR HOMEWORK. Yes, big city salaries are often higher, but are they higher for entry level employees? And will your expenses be higher too? Do you want to work two jobs and share an apartment? The bottom line: know where you will get the best deal for you. And negotiate your offer. Again, know what you need: Is it more personal time off? Health benefits? Opportunities to travel? Or just cold hard cash? Whatever you choose, it’s not a life sentence. Get as much experience as you can and move on.
This is an issue that shouldn’t go away. Let’s all do what we can to make museum salaries equitable and livable.
Recently the Metropolitan Museum announced a change in its leadership structure. You’ll recall that former tapestry curator Thomas Campbell, the Met’s director since January 2009, resigned under pressure in February. Since then, the art museum world has been awash in speculation about who might succeed Mr. Campbell. The answer (sort of) is Daniel Weiss who is currently the Met’s president and CEO. Weiss’s new title will be president and chief executive. Most importantly, the museum’s new director–a position that’s still open– will report to Weiss.
Not surprisingly, this change set museum tongues wagging. For some, making Weiss top dog means the Metropolitan’s board is putting business (and money) ahead of content and mission; however, both Weiss and the as yet unnamed director will serve on the museum board and collaborate on its priorities. For others, there’s also the implication that the Met’s problems are all of Tom Campbell’s making. While Campbell may not have been the most able leader, it seems too easy to blame everything on him. Clearly he wasn’t prepared to move from leading the tapestry department to leading the whole museum, and his choices regarding relationships with women on the Met’s staff seem unprofessional at best. But the idea that Tom Campbell alone led the museum into its financial morass seems too facile. Where was the Metropolitan’s board in all of this? Were they so bewitched they forgot their fiduciary responsibilities, allowing Campbell to spend willy nilly?
The Met is the size of many small towns. In that, it’s unlike the vast majority of American museums. At least one museum blogger suggested that the Met’s new division of leadership runs counter to the American Association of Art Museum Directors’ (AAMD) guidelines which state, “The board should appoint the director—to whom it delegates responsibility for day-to-day operations—to be the chief executive officer of the museum.” AAMD’s guidelines may be the right path for most art museums. But the lesson here is that while guidelines are important, leadership for individuals and organizations is specific, and in many ways, personal. Museum boards need to choose the best possible leadership path for their organizations, and who’s to say that in this new, lightning-fast world, where ambiguity and change wait at every corner, that bigger museums wouldn’t benefit from a made-to-order leadership plan? The Met’s bi-partisan model is found more often in academia than museums, yet it makes its own kind of sense. The beauty of the Met’s solution is that in Daniel Weiss it found a person with a PhD in art history and an MBA from Yale, someone who has reportedly earned the trust of the Met’s chief curators, and someone who walks the walk.
How do leadership decisions like this flourish? They happen where boards aren’t wedded to old hierarchical models, where boards are interested in the challenge of change and cooperation. They happen when boards are willing to try and understand organizational culture. And, last but not least, leadership changes when boards invest time in actually finding the best solutions for their organization, rather than hiring someone so they can revert to doing what they’ve always done.
At the director/CEO level, leaders who truly embrace change need to be collegial and collaborative; they need to be as interested in serving as leading. The Met’s solution may not be the model for your organization, but the point is that the lone director, reporting to a board of trustees, is not the only model.
The world has changed. It’s global. It’s fast. Museums need alert, responsive leadership. That happens when boards and museum leaders collaborate, creating leadership models tailored to their organizations. That takes courage.
- Know your organization. Really know it.
- Use that knowledge to create a leadership model that works for the organization, not one that makes life easy for the board.
- Be bold. As trustees you want to do more than hand over a mediocre museum to your successors. Your community, museum staff, donors, and volunteers deserve the best. Figure out what that is.
We’ve waited two and a half years and the moment’s finally here: Our new book, Women in the Museum: Lessons from the Workplace has arrived.
While it is still listed as a pre-order on Amazon, Routledge assures us it really is available. So first some thank you’s: To all of you who answered our short and long surveys, who participated in our focus groups, who took time out of your busy lives to share data and thoughts, and those who were interviewed, A VERY BIG THANK YOU. We couldn’t have done it without you.
Although there are days when writing a book seems like an out-of-body experience, we’re proud to have taken a long overdue step in the gender and museum discussion. We hope it serves as a catalyst for ongoing conversation about these issues.
You may think this is not a subject that has much to do with you. Our response? If you’re working in the field you need to know who you’re working with. If you’re female, and you’re part of the 47.6 percent of museum workers identifying as female, you may have already discovered that as a woman you lead differently, make decisions differently, and often have family and sexual harassment issues that are different from your male counterparts. If you identify as male, you may want to explore how the other half of your workforce thinks, decides and works, and more particularly, how the long history of women in the museum field has influenced the way it conducts business.
You may think there are already too many women in the museum field. That’s almost true. And this book discusses the dangers of a pink collar workplace. Perhaps you have an understanding of women’s contributions to the museum field. While that was not our only goal in writing Women in the Museum, we tried to give a sense of the almost century and a half of women’s contributions as volunteers, collectors, philanthropists, founders, directors and staff. We believe it’s important to know on whose shoulders we stand.
You may believe the salary disparity between genders doesn’t exist in the museum world or that it did, but it’s over. It isn’t. The data is real, and the problems of low pay affect everyone — museum workers, their families, and ultimately, their desire to remain in the museum field. Salary disparity is especially acute for women of color. If you are a trustee, a director or department head, and you are struggling to make your workforce more diverse, you may want to read the chapters on stereotyping and on women at work in museums today.
Last, you may think this is too much feminism or too much white privilege. We hope you’ll read the book and then decide. As women, we need to support, guide, mentor, hire, and help one another. We need to solve our own salary issues first by making sure that all the women in our organizations are equitably paid. Once that goal is accomplished, we can tackle the gender divide. We want to make sure that everyone is at the table, and that once there, they are treated fairly. How can your institution preach organizational open-mindedness if the staff break room tolerates cruel remarks or the HR policy is rife with inequity?
If you care about these issues, we’ll be at AASLH Thursday, September 7 at 1:45 pm with four of our interviewees for Workplace Confidential: Museum Women Talk Gender Equity. In addition, you can join the Gender Equity in Museums Movement, a group we started in 2016 to encourage dialog on these issues: https://www.genderequitymuseums.com/.
Joan Baldwin & Anne Ackerson
This post is a two-parter. First, it’s about saying what you mean. This is a big deal for museum leaders who often think they communicate clearly, only to find, when things go wrong, how lame their skills are. But whether you occupy the fancy office and go to lunch with trustees or not, you still need good communication skills. Here are five things you need:
- Be a good listener: Say you’re a curator. A colleague asks why boxes in your storage area are stacked close to the heating pipes. There are 1,000 ways to answer the question from “All our storage is inadequate and this is the best of many bad choices,” to “This is temporary while we empty another area,” to “Gosh, I was so anxious about the mold I found last week, closer to the ceiling seemed like a good thing.” But what if you don’t hear the question? What if what you hear is an attack on your skills as curator and your personal worth? The answer you give in that situation is likely to be different, less helpful, and since you feel personally attacked, may escalate a fairly innocuous situation.
- Don’t withhold information: Sometimes we don’t say what we mean because we’re locked in a silent power struggle with a colleague. That person may be struggling too in which case only a minimum of information gets through. Remember, work is work. You all serve the museum, heritage or arts organization. Focus on what the other person needs, provide the best answer you can, and surprise, surprise, your next interaction may be different, but in a good way.
- Do not babble: Do not go down conversational rat holes. Channel your inner Hemingway. Be simple, concise, and specific.
- Try to check your ego at the door: Great communicators make everyone else feel like they’re the only people in the room. Why? Because they communicate with authenticity and care. Try pausing for a moment or two before answering a question. Reflect on whether the question is about you and your skill level or whether it’s about the collection items next to the ceiling.
- When you’re wrong, say you’re wrong: If you snapped at the curator about the boxes, we hope you’re self aware enough to figure out what happened and apologize. Conversely, if you’re the curator, who responded as if you’d been slapped rather than as if a concerned colleague also cared about the collection, apologize. Don’t wait. Don’t write absurd narratives in your head about why this isn’t the right time to talk. Just do it. A real apology offered human-to-human builds trust. There’s no better ingredient for workplace communication.
And now to getting better at what you do: There’s likely a book waiting to be written on the perfectionism found in museums. It casts a pall over everything, putting dampers on experimentation and innovation because staff feels there is no room for risk. The results of too much perfectionism are often spectacularly mediocre.
We here at Leadership Matters constantly harp on reading widely so here are two very different articles. The first is from Outside Magazine on Getting Better. Yes, it’s about exercise, but it’s also full of stuff that applies to life without spandex and a water bottle. Learning to manage challenges, to break work into manageable chunks, to put the cell phone aside–those are skills that apply in the museum workplace just as much as the gym. And for a completely different voice, here is writer Jamaica Kincaid with advice on how to live and how to write. She too advocates less cell phone time and more focus. She’s also about learning how not to write crap, and she advocates not taking yourself too seriously. She is a writer after all. She lives on her imagination.
You are museum, humanities, and culture folk. You spend time trying to make art, living things, and objects speak. You need your imagination too.
Here in America’s Northeast we’re at the peak of the long days. That’s more time to pause, think about more skillful communication, and get better at what you do. Use it. Get better.
In a week a friend and colleague of mine and Anne’s begins a new job. When all the papers were signed, and everything was real, she wrote to tell us the good news. Moving from a smaller organization to a much larger state-funded position, means she transitions from supervising a few to many.
Our friend and colleague is beginning a new chapter, and she isn’t alone. In the last year a number of our professional colleagues have gotten new jobs or new job titles. One thing distinguishes all these folks; not one thinks s/he has “arrived”. They are all learners. They read widely, observe carefully, and reflect. So while this annotated list is for them–you know who you are–we hope all our readers will find something they like.
For the Individual Leader/learner:
- For women leaders: 7 Small Steps Women Can Take to Make Their Voices Heard
- The importance and danger of bias in the workplace: 13 Cognitive Biases
- One of our colleagues to whom this post is dedicated, spent part of his first 100 days as a new leader doing other staff members’ jobs. He already knows what this article teaches us.
- What If Companies Managed People As Carefully as They Manage Money
- This was written by women to their younger selves, but we believe much of it applies to humans: Six Leaders on the Advice They Would Tell Their Younger Selves
About the Business of Museums:
- Written using theatre as the primary example, this article asks a lot of basic questions about non-profit workplace diversification. Diversity for Dummies
- If you aren’t already reading this blog, you should be: How Imaginary Lines Drawn By Cultural Institutions Hold Them Back
- An explanation of the difference between diversity and inclusion and why it matters: Beyond Diversity
A Short list of books and Ted Talks for leaders:
- Daring Greatly by Brenee Brown.
- We Need to Talk About An Injustice a Ted Talk by Bryan Stevenson.
- Why It’s Time to Forget the Pecking Order at Work
Six Practices for Your First 100 Days from Leadership Matters:
- Listen. Don’t wait for your turn to talk, listen.
- Love what you do.
- Participate before making decisions.
- Model empathy and respect.
- Practice reflection. Write, walk, meditate before or after work.
- Identify your biases and work to leave them outside the office.
And, last, a poem from Mary Oliver:
The Summer Day
Who made the world? Who made the swan, and the black bear? Who made the grasshopper? This grasshopper, I mean- the one who has flung herself out of the grass, the one who is eating sugar out of my hand, who is moving her jaws back and forth instead of up and down- who is gazing around with her enormous and complicated eyes. Now she lifts her pale forearms and thoroughly washes her face. Now she snaps her wings open, and floats away. I don't know exactly what a prayer is. I do know how to pay attention, how to fall down into the grass, how to kneel down in the grass, how to be idle and blessed, how to stroll through the fields, which is what I have been doing all day. Tell me, what else should I have done? Doesn't everything die at last, and too soon? Tell me, what is it you plan to do with your one wild and precious life?
—Mary Oliver taken from https://www.loc.gov/poetry/180/133.html
Joan Baldwin & Anne Ackerson