Saying What You Mean & Getting Better at What You Do

Just Sayin'

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.

Joan Baldwin

 

 

 

http://lithub.com/jamaica-kincaid-on-how-to-live-and-how-to-write/?mc_cid=7dea5430fc&mc_eid=6778213390

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6 Great Tips for Making Your Meetings Matter

You Get a Meeting!

It’s Memorial Day weekend. It’s Wild Bill Hickok’s birthday. And it’s definitely not a beach day here in the northeast. With some gray days ahead, we thought about this blog. The last several Leadership Matters posts tackled our impressions of AAM, organizational DNA, and diversity vs. salary. This week we return to the workplace, and more specifically the meeting.

I work in a large organization. Embedded in its institutional DNA is the need to meet. We do a lot of meeting. We meet in pairs. We meet in groups, Charged with solving a problem, we meet regularly over long periods of time. Occasionally these meetings are sprightly; many are not. Some of our meetings are scheduled weeks, even months in advance. If your organization schedules far ahead, make sure meetings can be canceled if there’s no need to meet. Going to a meeting just because it’s on the calendar to listen to colleagues banter about nothing is its own special hell.

And for those of you charged with managing meetings, here are six ways to make your meetings better:

  • Use the flipped classroom method: If you want to make sure everyone’s on the same page, provide a reading the day before.  This is not a graduate level course, so make it pithy and brief. Don’t ask people to read something only to neglect it the next day. Use it as a catalyst for discussion.  And while you’re sending things out, send out your agenda. This will help organize your thoughts and objectives.
  • And speaking of your agenda, stick to it: This may seem self-evident, but how many of us have been in meetings where the agenda is something to doodle on or worse, talking points for the meeting leader who never, ever shuts up except to ask if anyone has any questions. Few do.
  • Tell people where you want to go: This is different from an agenda. Your agenda contains discussion points, your objective is what you want to accomplish. You can’t blame staff for not getting things done if you don’t tell them what they need to do.
  • Don’t ask for discussion if your mind is already made up: Being in a meeting where it’s clear the leader has pre-digested all the information and only wants an audience of eager handmaidens wastes everyone’s time. It’s also disrespectful. Don’t be that leader. Instead….
  • Encourage debate: We’ve talked about this a lot on these pages. Debate and discussion are healthy. Your staff, team or department (and you, the leader) need to know that discussion doesn’t equal hostility, that all voices have value, and help make a better collective concept. Take a page from Jeff Bezos, Amazon’s founder, who reputedly asks staff to argue two opposing points.
  • Leave with an action plan: Meetings that end without an action plan are worthless. Staff should understand what they accomplished, where they need to go next, and what is expected of them.

Last, as a leader, the main thing you can do in a meeting is shut-up. JUST LISTEN. Keep discussion on point and moving forward, but for goodness sakes, don’t pontificate. You will learn a lot. In the meantime, you will demonstrate respect for your colleague’s ideas, foster healthy debate, and hopefully leave with a feeling of accomplishment. You hired smart staff, right? Well, point them in the right direction and let creativity happen.

Joan Baldwin


What Does Knowing Your Organizational DNA* Mean?

 

Organizational DNA

*Organizational DNA is a metaphor for the underlying factors that together define an organization’s“personality” and help explain its performance.

In a few weeks Anne and I fly to St. Louis, MO, for the American Alliance of Museums annual meeting. We arrive early, however, because the day before the meeting we are teaching in AAM’s Getty Leadership and Career Management Program. Anne will speak about career strategies, and I’ll speak about self-awareness. In both cases, we’re talking about museum leaders as individuals, but these ideas also apply to organizations.

You’ve all read about or participated in strategic planning, but how about self-awareness? And more particularly, how does self-awareness apply to your organization? Does your organization know who it is? Really? Or does it only know who it isn’t? Are you not the flashier art museum across the park or not the sophisticated science museum down the street? Does knowing you are not an outdoor site really tell you anything? Maybe what you need to know is your organizational DNA?  Because just as it helps to understand yourself in the museum workplace, it also helps when an organization knows itself in the museum marketplace.

Last week we saw a job advertisement that made us–as proponents of organizational self-awareness– leap for joy. It was listed on on Idealist.com. It’s for the Society of the Cincinnati, an organization that celebrates those who fought in the Revolutionary War. To join, you must be a male descendent of a commissioned officer of the Continental Army or Navy; however the Society is more than a membership organization. Headquartered in Washington, D.C., it also maintains a library and a house museum, both open to the public.

To be honest, based just on its name, the Society of the Cincinnati might not be our choice for the most open, transparent, authentic museum organization, but that is biased thinking, and this is a pretty extraordinary job advertisement. Clearly, this organization is comfortable in its own skin. It knows exactly who it is. And it wants you to know too, and it is respectful enough of you, as a possible applicant, that it doesn’t want you to apply if it isn’t the place for you. Read the announcement. Even if you’re not a Revolutionary War scholar, who wouldn’t want to work for an organization that writes, “We aren’t looking for clerical support or a general office assistant. We aren’t looking for someone who simply likes history or enjoys writing. We aren’t looking for someone who just graduated from college with a history degree and knows a lot about some other historical time and place…….This isn’t an internship. It’s a serious professional opportunity for someone with the right historical knowledge, writing and editing skills, creativity, and problem solving ability.”

Like a self-aware person, the Society of the Cincinnati knows itself. That knowledge allows it to be open and authentic about what it needs. What if more organizations wrote job advertisements like this one? What if, instead of the opening paragraph describing the museum, followed by a paragraph saying they need an individual with a graduate degree, at least five years of experience, who is creative, a team player, and who can walk on water while multi-tasking, and oh, is also a social media whiz, organizations described who they really are and what they really needed?

An authentic ad doesn’t have to be unprofessional or sassy. It just needs to be clear and truthful. And to do that, you need to really know your organization. That doesn’t mean that if you’ve worked there since 1980 you automatically know it. It means you have to pay attention to the way it behaves, the decisions it makes, and the people it hires.

Don’t know your organizational DNA? Here are some things to think about and do:

  1. Ask questions and listen. We know a new museum leader who’s spent his first hundred days working and learning in every department on his site.
  2. Read your organizational history. Even if it was written ages ago, look for the organizational truths that remain.
  3. Talk with your board, especially if you are new. Do they align with what the organization says about itself?
  4. Try to identify your organization’s intangibles: How do staff behave at work? What is considered the “right” way to behave at work? Does your organization have an ’embrace-all’ attitude for the public, but a staff that is bastioned and siloed?
  5. Write down the organizational truths you encounter. Discuss them. Test your theories with board members and colleagues.

It may take a while to come to consensus, but once you do, you can put all your organization’s writing to the test, and make sure it really speaks to who you are. Then maybe you can advertise for the individual you really need as opposed to the one-size-fits-all version.

Joan Baldwin


Museum Leaders and We’ve Always Done It That Way

AssemblylineIMG

Imagine this: You’re in a planning meeting. The discussion is momentarily rich, the whiteboard populated with words, phrases, and ideas. In the middle of it all, someone says, “But we can’t do that. We’ve always done it this way.” We’ve all heard it. It’s frequently offered, usually without malice, as if a higher being had just parted the clouds and offered your organization a sign that says DON’T CHANGE ANYTHING.

We know–even the person who uses the phrase knows–that past successes don’t predict the future especially in a world as lightning fast as ours. Yet museums and heritage organizations persist in trotting out the same programs in the same way, year after year. They resemble a virus. You’ve had it before, you’ve got it again.

Through the magic of Google I learned that Grace Murray Hopper (1906-1992), a pioneer computer scientist with a PhD in math from Yale, was the first person to point out how dangerous that phrase is.  In 1976 she wrote, “On the future of data processing, the most dangerous phrase a DP manager can use is “We’ve always done it that way.” Hopper was a rear admiral in the Navy so she understood what it means to work in a tradition-bound organization although the clock in her office ran counter-clockwise if that tells you anything. Admittedly, Hopper is a total aside; she’s here to point out that if a woman in a highly-regulated, hierarchical, hide-bound organization can think like that, you can too.

But what if–even if you don’t like the scheduled program or event–it’s a crowd pleaser? Should you change something that’s a cash cow just for the sake of change? The New York City Ballet doesn’t say “Let’s skip the Nutcracker this year. It will be more fun to do something modern during the holidays.” And you shouldn’t skip your metaphorical Nutcracker either. But you can change the process and the way you plan. Just doing that is a big step towards changing your organizational culture. And as a leader, remember, resistance to change isn’t irrational. Often these events come at the busiest time of year when staff is already stressed, and may (rightly) feel if it “ain’t” broke why fix it?

So here are some thoughts, (in no particular order), about breaking out of the we’ve-always-done-it-that-way loop.

  1. Don’t let discussion end when the WADITW phrase is uttered. Ask the person to explain how and why the old way is still better. Keep talking.
  2. If you want to depersonalize discussion, ask a staff member to play the devil’s advocate at the start of the meeting, arguing the counter-intuitive position for the group.
  3. Ask everyone to finish the phrase, “But what if we….” in relation to the project, program or event.
  4. Build a post-mortem into all your events, programs and projects. Allow staff to evaluate while it’s fresh in their minds, and lay out possible changes for the coming year—or scrap the whole thing.
  5. Don’t let this become a Millennial versus Boomer problem. Younger staff don’t advocate change because they’re young. They advocate change because they look at problems differently. That’s what Boomers did in the ’70’s. Now it’s someone else’s turn.
  6. Listen. Really, really listen especially to the folks who are on the front lines of whatever event you’re evaluating.

Strong organizations grow. They grow by adapting, and adaptation happens intentionally. Repetitive behavior stunts growth. That’s not what your organization needs. Be the mold-breaker. Channel your inner Grace Murray Hopper and set the clock going the other way.

Joan Baldwin


Museum Leadership: The Why, Not the How

why how what

This seems to be the season for strategic planning. Everyone wants a strategic plan. Or they want to revise the one they’ve already got. Maybe it’s because I live in Connecticut, which, if the legislature has its way, may soon be the only left-leaning state with no support for the arts and humanities. As a result, Connecticut arts and heritage organizations are scrambling to utilize dollars on the table, and many are turning to strategic planning. And that’s not a bad thing. Anything to keep the wolf from the door.

All organizations should plan, and more importantly, they should be comfortable with the planning process. Planning should be one of those things that just happens like bill paying, snow removal, or checking the temperature in collections storage. You just do it. Here’s what’s worrisome though. So much of strategic planning starts with the big-picture questions–the organizational equivalent of where do you see yourself in five years? And frequently those questions devolve into discussions about what an organization does or could do. In the end, that results in actions defining character and even mission, not the other way around.

What if museum leaders, and the legions of consultants who assist with the strategic planning process, asked why first?  Why do we do what we do? And, perhaps more importantly, what does your organization stand for?  Imagine you’re waiting outside your state senator’s office. His aide tells you his appointment with the local food bank is running over. Can you wait? Of course you can, but what are you going to say about work in a heritage or arts organization that matters as much as feeding the poor? Few of us would choose knowing why our communities are the way they are over three square meals a day. Yet understanding how our communities develop informs every decision we make today. A broad and nuanced view makes us better citizens. Isn’t that important?

If you’re asked who would miss your organization if it closed its doors 60 days from now, what would your answer be? Would it be families who come to the children’s after-school program your art museum runs, or residents who access the oral history project led by your historical society or would your answer be WHY you do those things? You run the after-school program because you believe all children need to see and make art. You run the oral history program because new residents, and those who’ve been in a community for decades, need to share and understand the choice they made in moving to your city or neighborhood. Asking the why question helps align beliefs.

So here is a short list of things to keep in mind if your spring to-do list includes the proverbial strategic plan:

  • Does your organization have a shared values statement? If not, make one. A values statement is a governor on organizational action in the same way a collections policy limits what you collect.
  • If you are a board member, ask yourself if you’re still passionate about the heritage or arts organization you serve. Are you a board member out of duty, habit or love?
  • If you are a staff person, do you understand and believe in your organization’s values? Can you articulate how your program or department upholds those values?
  • Many of us enter the museum world because things intrigue us— photographs or film, textiles or 18th-century high chests, landscape design or stained glass. As our careers move forward we find ourselves distanced from things, managing people and programs instead. Ask yourself why the museum field matters to you now. Why should it matter to your state legislator?
  • Last, find the why in your work. Join your colleagues in making it matter. Life will be better and your planning process will go smoothly.

Tell us how you differentiate the how from the why at your museum or heritage organization.

Joan Baldwin

 

 

 


Museum Leaders: The Words You Use

Words Matter

This week a colleague posted the following on social media: “Five words to use when describing what others would call a bitch: Formidable, assertive, dominant, powerful, decisive. I proudly claim all of those attributes. Screw the bitch one.” Since it’s Women’s History Month and also the time of year when many of you will either be doing performance reviews or participating in them, we thought we should focus on language, gender, and performance.

You may believe you’ve got this particular issue covered. You wore red on International Women’s day; your museum is all over Women’s History Month; you’ve gotten approval from your board to revise your organization’s personnel policies with an eye toward mitigating gender bias. And the vast majority of your staff–particularly in education and collections– is women. What more can you do?

The answer is plenty. While the list above is laudable, a lot of gender bias happens unconsciously which is why it deserves more work, particularly when it comes to language. Are you aware, for example, that in a 2014 study of tech industry performance reviews  women were far more likely to receive critical feedback then men–71-percent vs. 2-percent? Worse, the criticism was associated with perceived personality traits. In other words, even when men and women both received suggestions for improvement, and, after all, that’s in part what performance reviews are about, those for women were tied to perceived behavior. They included words like bitchy, bossy, brash, abrasive and aggressive. To the woman on the receiving end that translates to “improve your staff presentations and, by the way, stop being so (insert-your-adjective-here.)”

And let’s be clear: Women are not immune to unconscious bias so this isn’t a male leadership versus a female leadership thing. Women also tend to evaluate men on their potential rather than behavior, offering constructive criticism, while being supportive. Women’s evaluations, whether done by men or women, tend to be more focused on behavior causing the women being evaluated to prove themselves again and again. What this means is women are evaluated by the way they have done something while men are evaluated by their capacity to improve.

And bias isn’t something that only rears its head in relation to others. When I asked permission to use the opening quote, I discovered that its author, Ilene Frank, Chief Curator at the CT Historical Society, had actually used the word bitch about herself. She explained it this way: “I had a moment the other day where, after making a comment that needed to be made, I felt bad about the tone I used and the force with which the statement came out. No one criticized me for it, but I felt bad. I texted my girlfriend and wrote ‘I think I was just a bitch.” To which she, in her wisdom, responded, “How about assertive?'”

Here are some suggestions for combatting workplace bias throughout the performance review season:

If you’re a leader:

  • Review your staff assessments for the last several years. Make a list of the adjectives you use for men, versus women. Is there are difference?
  • If your staff is large, you may want to repeat the exercise breaking down assessments by age, race and LGBTQ. Remember, you’re not looking for Title IX violations; you need to identify your own way of “seeing.” Who is your tone gentler with? Who is it easier to be direct with? Why?
  • We’re going to assume all your employees receive annual performance reviews, and have access to them. If not, think about fixing that.
  • At the end of the day or the week,  as you reflect, refine, and prepare to try again, think about the language you use about yourself. There is a reason it’s called unconscious bias.

If you are a staff member:

  • Review your own assessments. Look for the places where you feel you were judged on personality, gender, race or age, rather than performance.
  • If there are adjectives that bothered you in a previous review, and still bother you, write them down. If those words are used again, feel free to smile sweetly and ask your director if she would like to choose another word or whether that is a word she would apply to–for example–an older, straight man?
  • If you report to more than one individual, you may want to ask about the possibility of a 360 review from your multiple direct reports. Studies show that more and varied feedback helps level the playing field.
  • At the end of the day or the week, as you reflect, refine and prepare to try again, think about the language you use about your self. There is a reason it’s called unconscious bias.

Tell us about bias at your museum, unconscious or not.

Joan Baldwin


Museums and the Balance of Power: Some Things to Think About

balance-of-power

This week many museum directors were in Washington, D.C., taking part in Museum Advocacy Day. They walked the Capitol’s corridors seeking support for museums, botanical gardens, zoos and heritage organizations. They were there to be persuasive. For many, it can’t have been an easy sell.  With the NEH and NEA in the Republican party’s crosshairs, it’s a challenging political climate to say the least.

But in the midst of all the hand shakes, story telling, and persuasive chatter, 204 miles to the north, the Metropolitan Museum released a statement announcing Thomas Campbell’s resignation effective June 30. The former tapestry curator who won the directorship in 2009 is leaving. It seemed abrupt. It also seemed as though it were all about Mr. Campbell. Counterintuitively, his resignation arrived in a year when the museum saw record visitation, and huge praise for digitizing 400,000 images and making them available to the public. In his statement, Campbell wrote, “I am especially proud that our visitor base is the largest and most diverse in the Museum’s history. At the same time, we are on track to be financially stable and have a solid strategic path forward.” A paragraph from the Met’s Board Chair, Daniel Brodsky, followed, praising the museum’s record visitation, its robust exhibitions, and its expansion with the Met Breuer.

Reading Campbell’s words and those of Mr. Brodsky, you would hardly know there had been what amounts to a palace coup.But for anyone looking between the lines it’s clear that Tom Campbell’s exit was choreographed down to the last step. From the outside, we can’t know what went wrong. Governing an organization that is bigger than many small towns can’t be easy though. While his successes are clear up to and including a lovely, tightly written plea on the power of the NEA published in The Times,  as the week dragged on his colleagues and the press dissected his failings as well.

But the point of this post isn’t to judge Tom Campbell at all. The point is that for the foreseeable future he will be the director who resigned from the Met, and the trustees? Well, they will still be trustees. And that, for all you directors out there should be a warning as big as “Surrender, Dorothy” in the Wizard of Oz. You can be friendly with trustees, but except in rare cases, you are not their friend. You can always be cast as the lightning rod. If you think for a minute that Tom Campbell ramped up the Met’s digitization program, took over Met Breuer, and lured Sheena Wagstaff away from the Tate to Met Breuer,  on his own without the board’s oversight, you are living on another planet. George Goldner who led the Met’s prints and drawings department for 21 years was blunt in his assessment of the trustees role. “It is unconscionable that the pension of a person making $60,000 a year is cut through no fault of his or her own, whereas senior board members, who must in part take responsibility, have borne no part of the blame or burden.” (And for all of you out there who look to the Met as the Harvard of museums, note the $60,000 a year reference.)

So here are five take aways if you’re a director or a board member:

  • Don’t say this is a big museum problem, and it can’t happen to me. This is a lesson in director/trustee relationships writ large.
  • If you are a board member, this is a gentle reminder that while you are not compensated for your work, it is work, and deserves your undivided attention. Remember, your failure to act, to speak up, or to govern results in actions that may adversely affect both the organization and its staff.
  • Both directors and board members need to listen to each other. Really listen. If you’re an executive director and you receive mixed or vague messages, meet with your executive committee. Ask for a clarifying conversation. Iron out the problems before they metastasize.
  • If you are frequently confounded and confused by your board, perhaps the conversation should begin by clarifying roles and responsibilities.
  • As a board member, make sure your board has a defined process for evaluating your director’s job performance. Take it seriously. It’s not a judgement of the director so much as it is an acknowledgement of how director and organization mesh. You can’t participate, if you don’t understand your organization.

Navigating rough water is easier when boards and directors work together. Tell us how your organization’s board and staff meet challenges.

Joan Baldwin