First, a thank you to everyone who responded to last week’s post. Leadership Matters doesn’t receive a ton of comments so last week was a happy surprise. Many of you–especially Millennials and Gen-Xers– thought your point of view was missing, and sent examples. Clearly there’s more to say on generational collaboration and conflict in the workplace. We’re working on it, but if you’re drawn to this subject, and you’d like to write a guest post, let us know. Our email is firstname.lastname@example.org.
While questions of intergenerational workplace collaboration continue to simmer, we’d like to talk about a different sort of leadership challenge. This came to our attention through Laurie Norton Moffat, director and CEO of the Norman Rockwell Museum in Stockbridge, MA. (Parenthetically, we should add something: Over the years we’ve ranted about how museum leaders need to read (and listen) widely–absorbing poetry, podcasts, science, philosophy, long-form journalism, novels, you name it—because it makes you more empathetic, broadens your perspective and helps you connect the dots in many unexpected ways. Moffat is that person. If what she posts on social media is a taste of what’s on her bedside table, screen and other devices, she’s an example to us all.)
This week Moffat posted an op-ed piece by Pamela Tatge, director of Jacob’s Pillow, Becket, MA. For those unfamiliar with “The Pillow” as it’s known locally, it is home to America’s longest running dance festival. Tatge’s piece details the interaction of a woman of color and members of the Pillow’s opening gala audience. Needless to say, it wasn’t good. The interactions were demeaning, objectifying, and horrifying. In fact, as Tatge reports, it’s a wonder the patron stayed for the whole event. What’s interesting here is Tatge’s reaction. First, let me say that everything I know about this incident is in her piece. There is nothing on the Pillow’s website, and only two dismaying follow-up letters in the Berkshire Eagle.
If a member of your audience insulted another visitor, how many of you would bare your organizational soul in the newspaper? The Pillow’s experience brings to mind the incident at Boston’s MFA in May where middle school students were subjected to racist comments by security guards and other visitors. In that case, reading between the lines, one of the most horrifying things was the sense that the museum might not have acknowledged what happened had the teacher not come forward on Facebook. In the end, the MFA revoked the visitors’ membership and banned them from the museum. In addition, it says it plans to provide additional training for guards in how they engage with visitors inside and outside the Museum.
One of the places organizations turn in crisis is their value statement. And while Jacob’s Pillow is curiously silent about Tatge’s piece on its own web site, it’s clear her actions were rooted in the Pillow’s Value Statement, which includes the following:
We encourage a broadly diverse group of individuals to participate in our programs and join our Board and Staff, and insist on being inclusive of all peoples regardless of their race, ethnicity, gender, sexuality, socio-economic background, physical or mental ability.
We listen carefully, take the time to reflect on our successes and challenges, admit when we do not know something, and are accountable for our actions; recognizing that a crucial part of our role is to mentor the next generation of artists, arts administrators, and production staff.
Of the many issues on your 2019 leadership plate does audience behavior keep you up at night? What can and should a museum leader do to forestall racist behavior or hate speech in its galleries or heritage site? Is Tatge’s transparency the way to go?
Not that we haven’t written about this before, but here are some things to think about when your audience attacks its own:
- Use your value statement. Presumably you all–board, staff, volunteers–played a part in its creation, and live it day-to-day. Where else can your patrons read the values statement besides the web site? How often do board and staff talk about it? Is it clear to your visitors that your museum has a code of conduct?
- Silence is death. Don’t fetishize silence. Not saying anything will land you in a world of trouble. It will also make a mockery of your carefully crafted values statement. If you believe in something, stand by it, but have a plan.
- Think ahead. What steps should you take to ensure the right messaging in the event of controversy or crisis related to your organization and its values? Role play possible controversies to make sure your organization reacts as a team.
- Show some humility. Even if you aren’t the cause of the hurt, the hate speech or the racist comments, you are the venue in which they happened. Own what’s yours. If you hosted a cocktail party at home and one of the guests insulted another, you’d apologize wouldn’t you?
- Talk about these issues with your board. It’s easy to say what a museum or heritage site should do, but how (and when) does a board choose to discipline its audience, the very audience that is its lifeblood?
- Does your museum have a clear and easy way for visitors to let staff know when something bad happens? Once you say what you stand for (see the first bullet point), you have to provide the opportunity to express how the experience measured up. Help your staff learn to listen and respond accordingly.
A decade ago the glittery object among museum thought leaders was the idea of museums as a third space. As a concept–the museum as neutral ground where people gather and interact–is laudable if slightly utopian. But if the last 10 years have taught us anything, it’s that saying you’re the third space won’t work with a community clamoring for you to take a stand, to believe in something, and when appropriate, to say something. Hopefully museum staff, boards and volunteers agree on their common values, but your audience? It’s the wild card, the known-unknown you must court, charm, and cultivate. And what happens when the audience values don’t align with institutional values? If a visitor related an experience like the one Pamela Tatge heard, what would you do?
Image: The National Liberty Museum
Image: Courtesy of the American Alliance of Museums
By Guest Blogger Jackie Peterson
(See Jackie’s bio below)
Prior to launching the independent consultant phase of my career, I coveted the experience my museum-employed colleagues had going to AAM’s annual meeting. I used to think how wonderful it must be to learn what’s happening across our field, to meet new colleagues, to explore museums in a new or favorite city. But since striking out on my own, it has become clear this experience is no longer for me. Here’s why:
COST: Having to cover all of my costs to attend a conference now directly impacts my revenue. I’m only a few years into building my independent practice, so I’m not raking in 6-figure projects (yet). So I’ve had to be incredibly strategic about how I devote my resources to professional development. Like many others, I can no longer justify the cost. For all AAM talks about equity and inclusion, the cost of attendance continues to rise without addressing how it affects attendance. I am no longer a member of AAM, so even registering early would have cost me $695. Add the flight and lodging, and that’s a minimum total of $1850 – this doesn’t include meals or other networking and evening events. The response is always “We’re doing what we can to offset costs by offering scholarships.” The reality is that AAM estimates that 5,000* people attended the conference this year, and yet less than 1 percent** of attendees received a scholarship. That’s not equitable. I’m not saying every attendee needs a scholarship, but there are barriers inherent in the general pricing and pricing structure of this conference that prevent so many from being able to attend.
MISSED OPPORTUNITIES: The Museum Expo is supposedly the largest generator of conference revenue, yet AAM continues to miss opportunities to be more equitable within this space. Rarely – if ever – have I seen AAM highlight vendors that are women-owned, LGBTQ+ – owned or POC-owned or any intersection therein. Like the overall conference, it seems like whoever can foot the bill gets to come. Yes, bringing in revenue is necessary, but surely there are ways to allow smaller businesses, especially local or regional vendors, to participate. To add to that, rarely does AAM advocate for local businesses (beyond museums) in the host city by providing attendees with that information and encouraging people to patronize them. This is information that is easily available from local chambers of commerce and other business organizations, and even easier for AAM to distribute. Every year, I continue to be disappointed by who appears in the Expo space, and who does not.
MEDIOCRE, STATUS QUO SESSION CONTENT: Very often I attend a session based on the program’s description (as many do) and find the content presented is much different than the description or the presenters just rattle off their latest professional achievements to a captive audience. On top of that, the same names and faces keep showing up. I spent some time combing through the presenters on the first full day of the conference (Monday, May 20). After some unscientific analysis, I found that of the 65 or so sessions that day (exclusive of those that took place in the Museum Expo), roughly nine had panelists that were 50-percent or more people of color. And a majority of the panelists (almost 75-percent) were managers, senior managers, department heads, directors or chief officers. Again, for all the talk of equity and inclusion, the conversations that happened that first day were led or facilitated by an overwhelmingly white group of people in senior positions. With some exceptions, this means the perspective on content being presented is very limited. And I am no longer interested in these kinds of conversations. It reinforces the idea that “leadership” is a position rather than a skillset that can be embodied and enacted at every level of an organization. More importantly, it limits opportunities for more junior staff and staff from underrepresented departments (security, facilities, maintenance, front-line visitor services staff) to engage more formally in field-wide conversations.
While I recognize that some of these issues are deeply systemic, many of them don’t require upending AAM as an organization to fix. Organizations like the National Council on Public History (NCPH), the Association of African American Museums (AAAM), and regional museum associations have already been making strides and taking measures to actively include people and keep conference content relevant, rather than simply posture. As a large organization, AAM is in a unique position to be the change, so to speak. But the more I witness personally and hear anecdotally from other colleagues, the more AAM seems to lack credibility and relevance to museum work.
Jackie Peterson is an independent exhibit developer, curator and writer based in Seattle, WA. She loves nothing more than working with museums to unearth and share their most meaningful – and more importantly, untold – stories.
Prior to establishing her independent practice, Jackie spent six years learning the museum trade at Ralph Appelbaum Associates in NYC. There, she served as a content coordinator and developer for a wide variety of projects from the NASCAR Hall of Fame to the S.E.A Aquarium at Resorts World Sentosa to the Smithsonian National Museum of African American History & Culture. She has always loved the intersection of public service, cultural institutions and education, and has landed in the exhibit design world in order to pursue this work.
Jackie currently serves on the steering committee for the Museums & Race initiative and on the Northwest Regional Council for the National Parks Conservation Association.
Sometimes people contact Leadership Matters with thoughts about blog posts. A few weeks ago a friend, a museum thought leader, suggested we speak with someone. Our friend felt this person was worth hearing. And she was right. The interviewee asked for anonymity, but here is what we can say: She uses the pronouns she/her. She worked full time in the museum business for more than a decade. Partnered and a parent, she left the field. She is articulate, thoughtful and self-aware. What gives her story such resonance is not its uniqueness so much as its sameness. And that’s the sad part. It’s 2019. The Equal Rights Amendment to the Constitution was introduced almost a half-century ago and remains unrealized, yet, as of 2018, women comprised nearly half the American workforce.
As we’ve said before, women’s narratives in the museum workforce is a Ground-Hog day tale. Not only do experiences repeat themselves over generations, as our interviewee points out, too often harassment doesn’t arrive in the overt ways we’ve seen on television or watched in Congressional testimony. Too often it’s the death of a thousand small cuts. “When you sit underneath the best of the male directors,” she says, “He seems so woke and he’s not touching you under the table.” Her experience though leads her to ask whether too many museum leaders want diversity conceptually, but are ill-prepared to truly lead a diverse organization.
“My experience, ” she said, “led me to fall out of love with my museum.” She describes her former boss as someone who hired women and promoted women, and whose outward-facing reputation was good. But behind the curtain this director displayed many of the subtle gendered characteristics that foster a climate of bias. Oh, lots of men–especially older men–do that you say. You’ve got to roll with the punches. But here’s what happens: Women are told they can’t show emotion; they’re told not to stand up for female staff when inappropriate remarks are made. In other words many of the characteristics that make our interviewee (and possibly you) a successful museum leader–compassion, passion, clarity of thought, cooperation–are the same characteristics that despite success and promotions are not actually valued, but instead are used to target women.
“How can we begin to identify patterns if we can’t talk about them?” our interviewee asked. “When are we going to admit that our internal practices are a problem?” Sadly, her experience with 21st-century bias and harassment didn’t end when she left her full time position. In fact, the museum recruitment process delivered another complex set of challenges. While search firms and museums talked about diversity and inclusion, she describes her journey as “Making it to the end, but not to the choice.” Recruiters told her what to wear for final stage interviews, asked for previous W-2’s as proof of salary, made biased statements regarding work she’d previously undertaken, and allowed board interviewers to ask about her marital status and children. Perhaps most telling, both the recruiters and the museum kept pressing our interviewee for a vision. Could she have come up with a meaningless one-liner? Certainly. Did she? Not really. Reflecting on it today, she says, “This isn’t how I work. I would have spent a year watching and listening, and then we [she and her new organization] would create a vision together.”
Please don’t dismiss that last bit as the whining of a disgruntled applicant who didn’t get the job. That’s not the point. What’s important is her statement “This is not how I work,” because it’s how many women work. Studies show that women lean toward flat, task-focused, collaborative organizational structures. Men, on the other hand, lean toward the transactional and hierarchical, with a focus on performance and competition. Ignorance regarding these issues makes for a clumsy, biased hiring process.
Museums and heritage organizations shell out tons of money to recruitment firms. And even if they don’t use a firm, the entire process of hiring takes time and therefore money. If you’re going to pay a firm, shouldn’t you receive transparent, equitable guidance? People who will help your board not ask women whether their husband will allow them to move? Yes, our interviewee did get that question. No, she didn’t go up in flames. But honestly. Has the needle moved at all?
This brings us back to the initial question. If we don’t talk about these things because we hope for promotion, don’t want to be a trouble maker or anticipate a future job search, how can we change anything? As I’ve said too often on these pages, bias and harassment is often delivered in a thousand tiny ways that constantly reinforce who has power and who doesn’t. It’s not just the province of men. Women do it too. And for those of us who are white and cisgender, there’s a whole other layer of inherent bias we carry with us directed, often implicitly, toward colleagues of color.
The museum field must stand up for women, all women, not just white ones. Can we legislate people’s feelings? No, but as a field we can say what we care about and what we believe in. How can AAM have a Code of Conduct that applies only to its annual conferences, but not to its membership?
- Understand what implicit bias or second-generation discrimination in the workplace looks like. It’s not only inappropriate touching or racially charged language. It’s the death of a thousand cuts, and the odds are, you have colleagues of color and/or female colleagues who are experiencing the effects of it.
- Support your friends and colleagues. If you hear hate or inappropriate speech, say something.
- Learn to recognize your own biases. If you find yourself admiring your male boss who roars, but not the female leader who roars, ask why. Emotion is emotion. Why is women’s tied to hormones and men’s to courage?
- Ask yourself what you can risk to support others. This is a small, tight field. Becoming a leader is a tricky business. If you’re the person known for saying the emperor has no clothes, will you ever get promoted? Are you counting on someone else to be that person?
- Find resources and participate through Gender Equity in Museum’s Movement (GEMM); Museum Hue, Incluseum; AAM, AASLH, AIC, and other national, regional, and state professional associations.
This week in discussion with our Johns Hopkins class we asked students about threats to 21st-century museums. While there were outliers who mentioned the lack of leadership training, poor pay, and becoming a pink collar field, the vast majority felt diversity was today’s biggest challenge. And by diversity, they meant its absence. This group is young, hopeful, largely female, and mostly Caucasian, yet they see our field as riddled with white, male patriarchy.
To be totally transparent, we here at Leadership Matters are older, white, straight and female. We occupy a weird nether-world that has trouble claiming a demographic silo so there may be some who bristle when we write about diversity and leadership. But as people who’ve watched the museum world, and particularly museum leadership, for a long time, we believe this field is overdue for change. And creating diversity by checking boxes–one handicapped staff member plus one LGBTQ person, plus one person of color, plus one transgender individual equals diversity–is not the answer. In fact, it can result in a lonely group of individuals who are burdened with representing an entire population, and who feel they’ve only been hired because of who they’re not. And who aren’t they? They aren’t your usual Caucasian, privileged, cisgender, straight, liberal-arts college crowd. So what should you do? How about hiring for the whole not for other-than?
How do you do that? Know your community. That’s your actual community, meaning your museum neighborhood, not the people who come to openings. Know your staff. Know where you want your organization to go, and who your museum cares about. Hire to mirror your forward motion. Hire to create a team, not to check boxes, but make sure you’ve done due diligence in spreading the word. Don’t place one advertisement with your regional museum service program and call it a day. Put the ad in as many places as you can afford and see who you attract.
Be willing to invest some time in the process. Hiring new staff is far more complex than ordering from Amazon, and yet too many organizations treat it in much the same way. They don’t discuss what the new or revised position could or should look like, how it might fit into the organization, and most importantly how one particular position adds to or complements a team. Add to that a boatload of bias, and it’s easy to hire the same old, same old.
When we wrote “Know your staff” above, we really meant it. Even if you work at an organization as big as some small towns, someone knows the group of people you are hiring for. They know whether they interact with the community daily or move entirely behind the scenes. They know whether they’re chummy, go out for drinks together, and finish everything on time but at the last minute or whether they are goal driven and competitive. And they know whether their team really needs a master’s degree or whether a bachelor’s degree and a lot of imagination will move the ball up the field just fine.
If you’re the board and hiring for the ED position, you know what’s on the “to-do” list at the micro and macro level. If you’re making a huge shift, you know you’re going to need someone who will smile and be personable, someone who can sell change. That means you must park your bias at the door. Listen and watch. Again, don’t choose the person who makes you comfortable; choose the person that’s the best fit for the job.
I would be doing us all a disservice if I made it sound as simple as applying good listening techniques. Hiring is a complicated process, where bias, aspiration, hope, and memory frequently clash. AAM offers good resources on how to make the process more open and transparent. Don’t forget too, part of hiring and keeping a diverse staff is to maintain an equitable workplace. Maybe now’s the moment to make sure your 2019 to-do list includes:
- a gender pay equity audit.
- a values statement–what does your organization believe in back stage away from the public?
- an HR/personnel policy that includes a standard of conduct and anti-harassment and anti-discrimination policies.
- An understanding of what it costs to live in your museum’s neighborhood, city or town.
- Know what diversity means in your community. Know who’s not at your table.
Once again, hiring for social media/PR value only nets disappointment and expense. Instead, hire because you want a diverse crowd around your table. Because the diverse crowd is the best crowd and diverse teams are imaginative teams. And who isn’t looking for the dream team?
Image: Harvard Gazette, Harvard University
It’s AAM week–the annual conference of the American Alliance of Museums. This year AAM is in Phoenix where it was (no lie) 110 degrees Fahrenheit on Sunday. Because Leadership Matters is also a co-founder of GEMM we devoted ourselves to AAM’s diversity, equity, accessibility and inclusion initiatives.
We started with “Beyond Diversity,” AAM’s DEAI working group. Led by Dr. Nicole Ivy, AAM’s Director of Diversity, four members of the working group talked about their six-month journey creating a shared vocabulary and basic principles to guide museum professionals in incorporating DEAI in their workplaces. Dr. Johnnetta Cole called the dialog around the table energizing, embodying what it meant to be “the other.” She reinforced the experimental nature of the process by recollecting a quote from her own mother and quoting Zora Neale Huston, who said that “if you jump for the sun and don’t make it, at least you get off the ground.”
Several of the panelists pointed out their work was an iterative process that succeeded because their team worked so hard. Nonetheless, at the conclusion of their comments, audience members challenged them, and by extension AAM, asking what AAM’s role would be in making change? One questioner said that she’d been in the field for five years, but wasn’t sure if she would stay because salaries are so low she isn’t sure she can afford it. Panelists deflected her question, responding that their job wasn’t to actualize, it was to frame the questions.
The following day we and GEMM joined other diversity and inclusion initiatives at AAM’s Diversity Forum. Each group made a brief presentation about its goals and work. Then participants moved from table to table, moving in and out of conversations. At the GEMM table women spoke about the pay gap, salary negotiations, and the rigors of combining parenthood with work. Participants allied over common problems, what to do about low salaries, and how to advise the next generation of museum professionals. Hopefully, the women who participated in the GEMM conversation left with renewed confidence and a sense of support.
It’s impossible to talk about the first full day of AAM sessions and not mention the opening session and the keynote. Certainly the moment when Hallie Winter, Curator at the Osage Nation Museum, received the Nancy Hanks award was a high point. The Hanks award goes to a museum professional who’s been in the field less than 10 years, and recognizes a specific achievement that benefits either the honoree’s home institution or the museum field in general. In a short video and in person, Winter’s brief acceptance speech was heart-breakingly wonderful, reminding all of us why we do what we do.
Then came Kevin Jennings’ keynote. Holy smokes. There are speakers and then there are the ones who get you where you live. Jennings, a former teacher, non-profit director, and writer is the new president of The Tenement Museum in New York City. Weaving his personal history with the museum’s story, and placing them both against a back drop of the national narrative stretching from roughly 1900 to the present, Jennings asked his audience to see themselves (and their stories) as facets in a bigger chronicle.
It’s rare to hear such a personal speech that was packed with leadership lessons if you knew where to look. He made himself vulnerable. He was funny. How many of us are ready to show a huge audience our high school prom picture? He talked about loss. He wasn’t afraid to pause so his audience could comprehend a wrenching turn in the story. It is the way good teachers teach, mingling the now with the then so listeners understand the iterative nature of time. And it’s the way we all need to approach our work, with open arms and minds so our audiences hear the echoes of their own stories. If you weren’t in Phoenix yesterday, try to listen to this speech when AAM makes its recordings available. You’ll be glad you did.
We begin by expressing our sadness and dismay over the Massachusetts Supreme Judicial Court’s decision allowing the Berkshire Museum to sell its paintings. Kudos to Berkshire Eagle reporter Larry Parnass for his dogged reporting, and applause for AAM and AAMD for their quick and direct response to the the ruling. Deaccessioning is not illegal. It exists for a reason. It’s also possible for a museum or heritage organization to change focus and mission. In the Berkshire Museum’s case, leadership seemed to say we’re in crisis, but we also don’t want to be who we’ve been, so we’re going to sell our heritage, become something different, and never have to fund raise again. There is a tangled web of leadership questions here. We hope that over the coming months, AAM and AAMD create safety nets for directors who find themselves with boards who want to sell their museum’s prime pieces and cite the Berkshire Museum as their example.
Say the word diversity and most people think race. But as we’ve said frequently on these pages, diversity actually means variety. Colleagues with identifiable differences produce a better more creative product than a homogeneous team. And age is another piece in the diversity puzzle. That means that while it’s critical to have staff of color and LGBTQ staff at the table, it’s also good to mix the very young with the long-tenured. Why? Because since you serve a diverse and changing community and few communities are homogeneous when it comes to age.
And yet, organizations sometimes fail to look at older staff as anything other than a liability. They command high(er) salaries, they have opinions–sometimes too many–and you know someday they’ll retire, but the waiting is driving you crazy. In fact, it’s no surprise that when CFOs and directors look at longtime staff they see dollar signs because in financial terms they represent money that could be saved or better yet divided between multiple new positions.
So what’s the big deal? These folks will retire anyway, and goodness knows there’s a line around the museum workspace of Gen Xers and Millennials waiting to move up. First, it’s hard to generalize. Perhaps you know staff who are genuine fossils, whose sole reason for working is to cross the Medicare finish line. But what about the ones who’ve stored away a wealth of organizational history and narrative? The ones who know where you’ll find all the information you need. Or what about staff who, despite their greying hair, have reached a place overflowing with creativity? Or what about geezers who are models and mentors for younger staff? Is it equitable to let age be the only determinant?
Younger employees sometimes face a similar situation. They don’t get hired because they don’t have any experience, and they don’t have any experience because they don’t get hired. And then, when they are hired, particularly if they’re women, they are frequently patronized and talked over which means they are not taken seriously, which makes it harder to move forward.
The point is only that diversity is about variety. It is about making your staff reflect your community, and it is about understanding and acknowledging that a diversity of lived experience makes for better chemistry and more creativity around the table. (Don’t believe us? Read McKinsey’s 2018 report on Diversity.) A diverse team also makes a group more aware of its own biases because interaction with staff who are younger, older, LGBTQ or people of color challenges entrenched beliefs at work where everyone shares (hopefully) a common goal.
It may be a lame metaphor, but if you need an image for diversity at its best, remember the Muppets. Yes, The Muppets. I heard Frank Oz talk about their back stories Saturday, and one line stuck with me. He said all the Muppets are very different, flawed characters–even Kermit–and yet they made music, had adventures and looked out for one another. You could do worse than to have staff members as different as Miss Piggy and Floyd Pepper.
Leadership Matters was on the road over President’s Day Weekend, heading south to the Small Museums Association meeting in College Park, Maryland. There, we talked about “Lessons from the Workplace: Women in the Museum.” We’ll be back next week to report on the audience reaction to issues of gender and the museum world, but in the meantime, here are some things that have captured our attention recently.
Books: Women & Power-Manifesto by Mary Beard. A short (128 pages), but blistering account of how women have been silenced throughout history. Don’t want to spend the money on the book? Here’s the backstory from the New Yorker: The Troll Slayer.
Managing People and Projects in Museums: Strategies that Work by Martha Morris. Morris rightly states that “The majority of work in museums today is project based.” So, why not combine the topics of projects, people, management, and leadership in one easily accessible book from a veteran museums studies educator? In addition to a whole chapter on museum leadership, Morris takes a deep dive into creating, managing and sustaining teams, including the team leader’s critical role.
Articles & Blogs: Not enough ethical challenges in your leadership life? Read this: The Family That Built An Empire of Pain.
#MeToo and the nonprofit sector: Vu Le is the fertile mind behind the blog, Nonprofit AF. If you’re not reading, you’ll want to make this one of your weekly must do’s. In the post we highlight here, Vu offers up his thoughts about creating safe environments for staff, volunteers, and community members. “We must examine our implicit and explicit biases,” Vu writes. “We need to confront one another and point out jokes and actions that are sexist. And we need to do our own research and read up on all these issues and not burden our women colleagues with the emotional and other labor to enlighten us.”
In this Harvard Business Review article, the fastest path to the top of an organization usually isn’t a straight shot. The authors rely on extensive research to explore why big, bodacious, and bold may feel counterintuitive sometimes, but are usually the keys to CEO success.
The Women’s Agenda is a regular shot of women’s empowerment reading from across the big pond (Australia, that is). News and research is gathered from around the globe on women in leadership, politics, business, and life.
Are Orchestras Culturally Specific? Jesse Rosen, League of American Orchestras president and CEO, recently led a discussion with four thought leaders about orchestras and cultural equity. From the intro: “While diversity, equity, and inclusion (DEI) are complex topics that require thoughtful consideration and strategic action, the concept of equity can be especially nuanced. It challenges us to fundamentally reconsider what it means for orchestras to play a constructive and responsive role in their communities—a role that acknowledges and responds to past and current inequities in the arts and in society.” Museums and other cultural institutions, take note.
Video: This video features CharityChannel’s Stephen Nill and members of the Governance Affinity Group of the Alliance of Nonprofit Management discussing their research on nonprofit board leadership. The discussion centers around a ground-breaking survey representing the second phase of research on this topic. The first phase, the widely acclaimed Voices of Board Chairs study, investigated the roles and preparation of board chairs, surveying 635 board chairs across the United States. Not only is there very little research that investigates nonprofit board chair leadership, but there is even less about other pivotal leadership roles within boards such as the officers and committee chairs.
You may think there’s not much connection between endurance running and museum leadership, but perhaps there is. Take a look at this video on how to run a 100 miles. Perhaps there are some parallels?
Sound: A big thank you to podcaster Hannah Hethmon who assembled all the museum-related podcasts in a handy link for us all: https://hhethmon.com/2017/12/31/a-complete-list-of-podcasts-for-museum-professionals/