Your Museum and Professional Development: Should You Care?

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Some of you will read this post’s title and start laughing. Professional development funds are often the poor step children of organizational budgets, quickly whacked when finances are under siege. Yet in our ongoing quest to have museums and heritage organizations take their staff seriously–not just we can always depend on you to open the doors seriously, but you are the change agent(s) and we value that (seriously)–Leadership Matters believes in professional development.

Last week Fast Company did a piece on Gallup’s State of the American Workplace Report. Admittedly, this is all workplaces and museums are only a tiny minority, but guess what? Fifty-five percent of American workers aren’t in love with work. They don’t hate their jobs either, they’re just indifferent. Why, you ask? Workers cited their bosses as poor communicators, and not just about work stuff. They felt management failed to explain a job’s benefits, and one of the principle benefits listed was professional development. The article suggests that unlike other more intangible workplace qualities, lousy or inexplicable benefits make employees leave. And leaving costs organizations money.

As a museum leader, you and your board of trustees want a stable, happy staff firmly entrenched with the 45-percent of American workers not trolling job announcements for greener pastures or better benefits. That means being an organization that demonstrates care and concern about employee growth, for conservators, curators, museum educators, and everyone else on your staff. And why does that matter? First of all, because of what it says. A clear and equitable employee development program says: We value you. Whether you are the lone ranger director provided with enough funding to take a course or go to a regional or national meeting or a member of the development office sent to learn the latest donor program, it is an ongoing way of saying thank you, an explicit demonstration of trust, and staff actually care if leadership takes a genuine interest in their future.

Who should get professional development funds? Well, in a perfect world, just about everyone. Museum leaders get more because their positions demand more, and the board and everyone else expects them to think and act at the speed of light. But wouldn’t it be nice if even the non-exempt staff who meet, greet, and instruct had the opportunity to go to a regional or local meeting once a year, to take an online course or work with a group like Museum Hack? So if your organization’s professional development program is lame or doesn’t exist, here are five things to think about:

  1. Boards need to understand that when it comes to staff, the best of the best seek self-improvement. They tend to leave organizations who make professional growth difficult or impossible.
  2. Professional development program budgets need to be transparent and equitable, meaning all exempt staff receive X and all non-exempt staff receive Y. And a gentle reminder, it’s not helpful if the museum leader seems to have unlimited professional development funds, while other staff have to go through a request and approval for every ask.
  3. Don’t hide behind the “we don’t have time for that” excuse. You are not curing cancer. You are a museum. You are an idea factory. If you can’t afford to let a staff member leave for three to five days, then you have other issues.
  4. It is helpful if professional development experiences are hinged to something at work, otherwise it is easy for them to become out of body experiences with nothing to do with work. As a leader, when you agree to staff attending a meeting, program or online training, talk about how that experience will integrate into the workplace on the back end. Be mindful that “What I did on my trip to AASLH” can be mind numbing for staff left behind, so make sure these interactions are intentional, directed, and, to use a sports metaphor, move the ball up the field.
  5. Boards and museum leaders want staff who can adapt. Employees who engage in learning on an ongoing basis adapt more readily than those who don’t. What does an organization have to lose?

Tell us how your organization sustains professional development.

Joan Baldwin

 

 


Holiday Reading (& Listening)

a-woman-reading-a-bookDear friends, colleagues, readers and acquaintances,

Let’s face it, there is just too much information out there. Yes, some of us are seduced and beguiled by fake news or give up news altogether, but there is also a lot of really good writing going on. So if you’re taking time off before the new year and plan to devote yourself to self improvement of one kind or another, we recommend a cozy chair, a hot beverage, some great music, and one or more of the following.

Real books:

A Truck Full of Money by Tracy Kidder–If you’re a leader or a wanna be leader, pay particular attention to the early chapters where Paul English sets up his first company.

Between the World and Me by Ta-Nehisi Coates–A must read, particularly if you’re white, and deep in your lizard brain you think your beliefs and your unconscious biases aren’t aligned.

Articles and Short Reads:

42-Ways to Make Your Life Easier A little trite, but true. And you can download it.

Cleaning the Museum A voice from 1973 to remind us how important all our staffs are not just the ones with cool jobs.

Raising a Trail-Blazing Daughter Even if you’re not a parent, good advice from the notorious RBG.

Five Myths that Perpetuate Burn Out Across Nonprofits One of our favorites. We’ve written about this from the museum point of view, but this is better.

When It’s Dark Enough, You Can See the Stars is about the tenacity of nonprofit leaders. It’s about why we’re in this game even in the toughest of times.

How Far Should We Go In Building Leadership Qualities? To thine own self be true, baby.

Growing Bigger, Staying Collaborative – 5 Tools for Building Non-Bureaucratic Organizations  True to form, Nina Simon doesn’t hold back about sharing the good, the bad, and the ugly of her museum leadership journey.  This time it’s about facing and embracing organizational change.

The 5 Elements of a Strong Leadership Pipeline Thanks to the Young Nonprofit Professionals Network for the lead to this post which stresses organizational culture, learning through exposure, and knowledge sharing as key ingredients in movign

And to Listen to:

Just a Little Nicer If you’re not already a fan of NPR’s TED Radio Hour you should be. This is a good one to listen to as we look toward resolutions for 2017.

SNL’s Cold Open Hallelujah If your life is so busy the 8 million times this flashed on your screen you missed it, you need to adjust your life. Then you need to listen.


Embracing social media literacy: Integrate it meaningfully with your museum’s work, content and interpretation goals

moma-tweetGuest Post by Jennifer Riddell

Jennifer works in museum interpretation and is communications co-chair for the Washington, DC chapter of ArtTable.  You can reach her on Twitter at @jenlriddell.

The digital, networked museum has been slow to evolve and adoption of interactivity, open-source content and social media has been reluctant. In the early days (that is, within the last decade) a museum’s social media function was usually handled by web staff who established institutional accounts, sometimes with fuzzy support and direction from executive leadership. Under the “create once, publish everywhere” mantra, social media content was drawn from pre-approved marketing/communications material and the organizational website and redirected through social media platforms. The publicity value, as well as means of connecting with newer generations of museum-goers and supporters, solidified the business rationale for the function and for dedicated social media staff.

In 2017, we will arrive at the 10th anniversary of the debut of the iPhone and the transformation of our mobile phones into networked visual communication devices. Iphones and their progeny supercharged the development and uptake of social media, enabling people and organizations to establish an ongoing online presence.(1) Today, 79% of internet-using U.S. adults are on Facebook, which has seen increased growth in recent years, while the next most popular platforms, Instagram (32% of adults online) and Twitter (24%) hold steady.(2) Further, many people use their phones as a primary means of accessing the Internet. Analytics reveal more visits to some museum websites via phone or tablets than computers.

As the social media landscape grew, and with the rise of analytics and evaluation, proactively planned social media calendars and platform complementarity became necessary to managing the output, which would hopefully drive engagements and broader dissemination of the content. A performance announcement can go out on Twitter, alongside a calendar post and invitations on Facebook, where an attendee streams it live, all of which may followed by Instagram posts and Flickr uploads.

But how and why does social media matter to those of us who are not museum social media managers, web designers, or tech/backend experts? How does it relate to those museum professionals whose work revolves around engaging visitors with collections and exhibitions through interpretation, educational programming, visitor service and the like? Thinking about social media as another channel for engagement—with the same compelling narratives, quality of content, and relevant messaging that you develop and plan to support your interpretive and core values—can help frame a better understanding of it. Often museum professionals have little interaction with institutional social media if it is not a formal element of their work (although they may be personal users). I think it is increasingly important to get a handle (pun intended) on social media from whatever rung in your organization that you occupy — senior level on down—as it develops and evolves into an indivisible component of visitor engagement and a means of knowing more about your community.

“Now that we have visitors on board, where do we want to take them?”(3)
Social media amplifies the reach of exhibitions and programs, and provides opportunities for patrons to respond, which, in turn, increases engagement. Social media also offers significant opportunities for creativity and innovation in collection and exhibition interpretation, exploring ideas about what museums are for, and how visitors connect and form their own communities around and with them.

In the last decades, museums centralized visitor experience, alongside the traditional functions of collections stewardship and scholarship. Interpretive practices increasingly utilize storytelling, creative and relevant engagement, visitor participation, and multiple visitors’ voices. Successful and authentic social media practice embodies these qualities as well. In other words, it is part of the work you are already doing in your museum. Technology or your belief that you have no idea how Twitter or Instagram works shouldn’t inhibit you from using social media into interpretive messages or programs. Your focus is still content.

Gaining social media literacy helps you to see opportunities for its use. All staff should be empowered and encouraged to be a part of the social media wave since inclusivity (see Tate’s “digital as a dimension of everything” strategic plan(4)) ultimately yields richer and more diverse content. Don’t forget that a museum’s staff is also part of its community, and their connections and interests alone magnify the presence of the museum many times over.

“Brand ambassadors, content managers, evangelists”
Many descriptions of social media describe an organization’s social media manager as its brand ambassador. This is an important role that should be informed by and serve as a hub for professional networks across your museum and beyond. For example, inside the museum (virtually or physically) visitors’ interests are no longer confined to exhibition spaces; they are curious about the life of the museum behind the scenes. Social media allows you to show visitors what the work of the museum is about, and authorize staff to speak and respond in their own voices about what they do. Not many people outside museums know what a curator does. For that matter they don’t know about the roles of conservators or frame-makers either. It is also key to be alert to the possibilities presented by exhibitions and programs. In one museum, curators of a photography exhibition wished to connect with people who might have archival family photos of a similar theme. This type of project is a natural fit for social media outreach and fosters real participation and exchange. In these examples, it is not necessary to even know how to tweet, but just to recognize that an opportunity for engagement—and suitable platform—exists.

Externally, social media connects museums in real time with their communities. Examples could include local artists, other arts organizations, schools, non-art organizations, and enthusiastic local repeat visitors and supporters. They welcome avenues for a more vital and personal connection with your institution. If you stage a performance or sponsor an artist lecture, how might social media be used to offer a closer look at the performer’s life, process, ideas, etc.? Context can inflect and enrich your programming and demystify artistic practice. Crowd-sourcing questions, a community art project, or challenging your social media followers to see your collections in a new way encourages people to voice their own interpretations and understandings. No one has a lock on interpretation and visitors are goldmines of stories and experiences that, in turn, serve to validate others’.

Getting your social media literacy off the ground
1. Develop clear social media usage policies and guidelines
Social media policy and guidelines should be integrated into the organization’s Internet usage policy. The social media component should cover the mechanics of who establishes, maintains, and accesses what accounts, how content will push or pull from other sources, staff professional and personal interaction with museum social media, and legal and ethical considerations. Consider how social media policy and guidelines reflect the larger mission of your organization and the established policies around communications and conduct.

2. Get the basics from social media staff
Partner with your organization’s social media staff to understand the mechanics of posting (scheduling, pushing from one platform to another, live tweeting, analytics, content parameters, etc.). Ask them to explain in their own words the uses, audiences, pros and cons of different platforms from their perspective. There is no secret sauce. An understanding of basic principles will encourage museum staff to utilize their social media of choice to shape, collaborate and support the organization’s larger interpretive goals.

● Don’t feed content through social media platforms like so much wood through a wood chipper. Adapt it to meet user’s needs and expectations in each platform.

● Help empower internal networks so that when timely and interesting stories arise social media channels news from different parts of the museum.

3. Sign up.
You may have a Facebook and a LinkedIn account, but try Twitter, Instagram, YouTube or Pinterest. Start following some individuals and organizations that you like. Make a few posts. The goal is not specific skill development per se, or to become a social media star, but to just understand the basic functions. Participate in a twitter chat. Follow live tweeting of an event. Create an Instagram story. There is a degree of crossover between the personal and professional that is generally a part of using social media, so delineate your participation accordingly. Begin to observe the voice and functionality of different streams of social media information.

4. Unpack the rationales and mission-based reasons for the use of social media in your organization.
Beyond an imperative to simply have a social media presence, what can it accomplish, and what are the priorities? Does your social media presence align with what you’re doing elsewhere in the museum? Goals such as extending collection interpretation, reaching new audiences, redefining organizational identity, or promoting greater accessibility should be defined and broken down into actionable measures. Think about how social media allows you to engage in conversations locally, regionally, nationally or internationally. Not everything about social media is virtual, and successful social media campaigns/memes, and hashtags elicit action and awareness around an issue or topic.

5. Social is non-hierarchical.
Acquaint yourself with social media influencers in your community interested in your museum or related subject matter. They can be your advocates whose authentic voices and imprimatur lend a different kind of credibility to the authority a museum already possesses. Some influencers are already part of your organization, with active profiles in or outside the museum sphere. Being open to what social media may set in motion or introduce can be embraced as part of the learning, enjoyment, and connection that the museum experience can engender.

1 Facebook, established 2004, YouTube, 2005, Twitter, 2006, Instagram, 2010, Snapchat, 2011, to mention platforms with the largest user bases.
2 http://www.pewinternet.org/2016/11/11/social-media-update-2016/ accessed 12/7/16
3 Nancy Proctor, “From Headphones to Microphones: Mobile Social Media in the Museum as Distributed Network,” Creativity and Technology: Social Media, Mobiles and Museums eds. James E Katz, Wayne LaBar, and Ellen Lynch, p. 30.
4 http://www.tate.org.uk/research/publications/tate-papers/19/tate-digital-strategy-2013-15-digital-as-a-dimension-of-everything accessed 12/7/16

 


Preparing to Be a Lone Ranger

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It’s been a while since anyone at Leadership Matters was a graduate student or applying for first time jobs. (Back then it was a painfully slow business conducted via the U.S. mail.) But we suspect that in the museum bubble there are some career tropes that persist: You’ll become a museum anthropologist and spend half your time in the field; you’ll be profiled in the New Yorker for your work at a major art museum; your work in interpreting slavery or immigrants will become a model for the field. While we hope your dreams come true, it’s a fact that many newly-minted graduate students’ first job will be as “lone rangers”, serving as historic site managers for small, independent heritage organizations or managing sites for larger county or state agencies.

We were prompted to think all this when we read Robert Wolfe’s Experience Beyond the Classroom. Posted on AASLH’s blog, Wolfe’s tightly-written piece points out that being the only staff person may mean that a grasp of basic plumbing or the ability to operate heavy machinery can turn out to be as useful as the research for a master’s thesis. But we think what he’s really saying is two things: First, be open to possibility. If your pipe dream is to manage a major historic property, then realize what that means. You want to manage an old or very old property containing a lot of old or very old stuff. When you start applying for jobs a huge percentage of the competition will come to the table having completed an exhibit at a historic house or catalogued a malingering collection or done the fall school tours. But who apprentices themselves to the buildings and grounds supervisor or the director? Who watched and listened while leaders decided whether to trench the building’s exterior before or after the new roof was put on? Who sat in the back of the room while the historical society leadership went before the planning board to negotiate new signage? Wolfe mentions learning to drive a standard vehicle and operate heavy machinery. Assuming you’re not in graduate school virtually, you likely have an entire graduate school to learn from. Don’t confine yourself to the museum studies or art history program. Visit the plant manager. Shadow someone. A building is the biggest object–in fact, the container–for the rest of a heritage organization’s collection. So if you’ve been an apartment dweller or tenant all your life, recognize what you don’t know, and how to gain some experience.

You don’t need to master all the trades, but basic knowledge is helpful, which brings us to point two: be strategic. We can’t say this enough. You can want and wish and hope your way right through your graduate program, but when the rubber hits the road and you have to choose, you may end up a solo site manager. Here are some suggestions that may make the path easier once you find yourself the sole leader:

  • Reach out to the heritage leaders in your area. Arrange a once-a-month gathering for drinks or coffee and an exchange of information. Learn from each other.
  • Expand your posse of peeps to include a Mr. or Ms. Fix-it. Maybe it’s your father or your grandfather, maybe your best friend, but find someone who’s owned a home or two, who’ll take your call after you successfully turned off the spewing plumbing but before you meet with the plumbers.
  • Know what you don’t know. You wouldn’t conserve a painting by yourself, you’d raise the money and send it to a conservator so don’t trust the care of the building to just anyone.
  • Understand that there are likely people in your community who are more interested in your building and how it works than in anything inside or in the generations of folks who lived there.
  • Don’t make decisions alone. Does your organization have a building committee? There are a lot of complaints about boards that don’t manage and boards that micro-manage, but when heritage buildings need help, that generally spells money. Not only should you not make those decisions by yourself, hopefully the strategy for making decisions already exists. When the roof is failing and snow is forecast is not the moment to test how your historic house functions in crisis.
  • Know yourself: Do you work well independently? Will you seek community when you need it? Working as a loan ranger isn’t for the faint of heart.

Be well. Do good work, and send us your tips for life as a solo heritage organization leader.

Joan Baldwin

 

 

 


AAM and You

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Last week I spent two days in St. Louis. Culturally rich and bisected by parks full of fountains and families, it would have been enough on its own, but I actually joined 30 or so other museum folk from around the country for 48 hours as a member of AAM’s Annual Meeting program committee. Having said that, I should add that no one at AAM asked me (or anyone else) to blather on about the experience. This is my idea.

Perhaps you’ve been to an AAM meeting? Perhaps as you stood in line in some vast convention center, knowing just how much of your organizational travel budget went towards bringing you there, you were a teensy bit overwhelmed by how much there is to do? Because there are a lot of sessions on everything from collections to governance, from buildings to leadership, not to mention affinity cocktails, special tours, lectures, and, of course, the keynote.  Since AAM attracts a huge number of people, not only from the Americas, but increasingly from around the globe, it’s an event that warrants multiple everything. So next time you’re standing there, overwhelmed, overjoyed or over tired, know that actual humans, not an algorithm, went into planning the meeting.

We were, in fact, divided into teams, each tasked with a different group of topics. This year there were over 400 session proposals, a number we had to whittle away at, while keeping in mind museum size–meaning is a given program a one-size fits all or specifically geared to small, medium or vast institutions. We also had be conscious of tired ideas versus tried and true ideas; what was innovative as opposed to ill-defined; all  while keeping geography and the conference theme of diversity, equity and accessibility in mind. Needless to say it was a stimulating experience. When was the last time you sat in a room with your colleagues and just talked about issues, projects and possibilities in the field we know and love? So two final thoughts: If you ever have the chance to take part in program planning, say yes; and if you want programs on a particular subject–say, innovation in historic house museums or social justice programs at art museums, contact AAM. It’s too late for 2017, but not for 2018 in Phoenix. So take it from me, participate. It’s worth it.

Joan Baldwin