It’s winter in New England, and in the wake of multiple storms, it’s hard not to think about snow and its dangerous cousin, ice. It falls off roofs, sends trucks spinning, and encases your car in armor. And yes, since we’re talking about museum leadership here, ice makes a pretty perfect metaphor.
Ice is all the things you can’t prepare for. You prepare for snow, but the temperature goes up just enough and the heavens deliver sleet. Some of you might say a huge percentage of your job is dealing with things you can’t prepare for: the steady-as-a-rock employee who tells you she needs six months of FMLA to resolve a family medical crisis; the unexpected leak that cascades two floors flooding the museum store; the fundraiser that seemed so brilliant in concept, but felt weirdly flat in actuality. Ice isn’t always visible, making it that much more treacherous. You pound down the sidewalk, your head on today’s to-do list and suddenly you’re flat on your back. And then there’s everybody’s favorite: thin ice, the surface that makes you think you can ’til you can’t.
There is a necessary watchfulness about good leadership. As a museum director you’re not just the visionary, you are the doer. In the event of catastrophe, your role is not sky-is-falling hysteria, but rather, a sense of purpose and a plan B. And a plan B means being the person who gets it done. How many of you have had a boss who talked a blue streak, but nothing ever happened? How many of you have worked or work in museums or heritage organizations where strategic plans languish in digital folders, where meeting minutes don’t contain action items, where annual performance reviews seem like out-of-body experiences? If so, you’re working for someone who can’t plan, and it shouldn’t be a surprise if your organization ends up on the ice.
Good leaders look ahead. They plan. They even plan for moments when their plans go awry. And they do stuff. It’s hard to inspire your staff when as director your life seems like a constant whirl of coffees, lunches and cocktails. Not that all those things aren’t important, but museum staff–indeed every type of staff–needs to know what their boss does. So here are five things museum leaders can do to aide planning, help with transparency, and maybe, steer the museum ship clear of the ice.
- Do your direct reports know what you’re working on? And, do they know how your projects and theirs intersect?
- Do all your organizational initiatives, particularly those involving big money, have a back-up plan? Are those plans articulated or in your head?
- Does your organization publish–in a Google doc, on a white board, in an email–a list of deadlines so staff know when projects are due across the organization?
- Do your direct reports share their to-do lists orally or in writing with their team, department or full staff?
- Do you regularly post-mortem all your big projects, share the results, and decide how to change going forward?
Sixteen more days and it will be March. Tell us what you’re doing to stay off the ice, metaphorically and otherwise.
Dear 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.
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.
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.
It seems fitting that a few days after Thanksgiving 2016, we should say thank you. So to all of you from 129 countries, who are responsible for Leadership Matters’ almost 85,000 views, we’re grateful, humbled, and inspired. It’s been an awe-inspiring ride, and we wouldn’t be here without you.
But if you’re a leader, you understand that thank you’s shouldn’t be reserved for once or twice a year. Good leaders, whether in a museum, heritage organization or other non-profit know the power of an authentic thank you. Here’s a story: As many of you know I am a curator serving in a large organization whose primary focus is education. As a former boy’s school, there is a long shadow of testosterone that imbues our organizational DNA. A while ago a male colleague approached me. He has distinctive handwriting and he wanted me to write handwritten thank you notes for him addressed to some of our administrative staff. Why? He felt they were rarely thanked, and he wanted the praise to stay with them, not bounce back to him. I wrote about 20 notes. Each was accompanied by a fresh flower. Did we unlock the key to American education that week? No. Was there a lot of smiling in the hallway? Yes. That was a thank you that took planning. Most don’t. They are genuine often spontaneous compliments for jobs well done.
You know that old phrase “You attract more flies with honey than vinegar”? Well, it’s true. Gratitude is a trait, an emotion and a mood. Genuine gratitude is a response for good work, for a strong team, for an innovative program or exhibit or out-of-the box thinking. So, as we do for so many topics, here are some thoughts about gratitude for individuals, leaders and organizations.
- When something goes well, when it’s a pleasure working with your team or department members, thank them. Gratitude doesn’t just come from the director; you can thank your colleagues as well.
- When someone compliments you, own it. And say thank you.
- Make a thank you matter. Don’t diminish its meaning through overuse.
- Understand what your staff is doing so you can thank them appropriately, and so you know the difference between a daily job done well and a challenge met with new and inventive thinking.
- Be clear about whether you’re thanking an individual, a group or both, and don’t hesitate to call out an individual’s or a team’s exemplary service.
- Remember that 4 out of 5 employees say they would stay in a job longer if their boss showed appreciation for their work. This is not the moment to play Scrooge. Check out this link for more details on how employees feel about being appreciated: Glassdoor Survey.
- Be equitable in your thank yous. Don’t favor one demographic–new employees vs. experienced, young vs. old–over another.
- Be creative in how you thank folks. Can you offer an exemplary employee a chance at a juicy, creative project or a new parent the chance to telecommute?
- Respect your staff. Your behavior is an ongoing thank you.
- Appreciation–the act of saying thank you is a great motivator. Museums and heritage organizations thank donors all the time. Don’t forget to thank staff as well.
- As with leaders, thank you’s come in many forms. Raises are the most obvious and reflect gratitude for dedication and achievement at work. If that’s not possible, how about career development opportunities, time off or an unexpected gift? (My colleague’s notes and flowers, for example.)
- And speaking of time off, if you can’t close the museum or heritage site, can you offer half the staff four or eight hours off while the other half covers, and then reverse the procedure? Everyone gets paid time off and it may prove eye-0pening to experience the museum while covering someone else’s job.
- Make sure your board (or the the board’s compensation committee) understands what your museum staff values when it comes to employee appreciation and what they don’t, and make sure the leadership and staff are comfortable communicating that information.
So for those of you on a break from work this long weekend, we hope it was a happy one. Write and let us know how you say thank you as employees, leaders or as an organization.
Here at Leadership Matters we believe in mentoring. It’s generous, it builds connections across the museum field, it makes us stronger. So, putting my money where my mouth is, I recently advised a young colleague to look for museum internships. And she found some. One is paid and required a formal application process, while several are unpaid. Some of the unpaid ones could be accessed through my connections and required an interview. A few weeks later, we spoke at NEMA (you can read about that here: Five Gender Myths and What Happened at NEMA) where more than a few attendees deplored the fact the museum field, while scratching its collective head about why the field isn’t more diverse, sets up a host of barriers to emerging professionals, not least of which is an expensive graduate degree followed by an internship(s) which is likely unpaid. Participants in our NEMA session suggested there should be a field-wide moratorium on unpaid internships. So what to do? Folks new to the field need experience. Internships seem like they answer that problem, but are they a wolf in sheep’s clothing?
In my case, my mentee isn’t committed to the museum field. She’s not even committed to graduate school. She’s a recent college graduate with a degree in art history. Museum and archives work have been her go-to job choice since middle school. But teaching also calls to her. While chatting with her I pointed out that a brief internship with a defined scope might help sort out what, if anything, about the museum world appeals to her. And if it does seem appealing, does it matter enough to check the big box of graduate degree? And yes, she would be the first to tell you she is lucky and privileged. She is able to live at home or with extended family and participate in the internships available to her.
So if or until the field grapples with this problem at some 30,000-foot level, what should graduate students or new museum professionals do? In no particular order, here are Leadership Matters’ ideas for individuals, organizations, and graduate programs.
- As with any job search, be strategic. Know what you want out of your experience. Random experience brought to you by an internship is not an answer. Strategize about what you need. What builds and connects with what’s already on your resume?
- If you’re looking at something unpaid, make sure the organization defines your role. What will you do and for whom? What are your takeaways? Is there academic credit? Does that matter to you if your degree requirements are complete?
- And even if you’re not being paid or getting credit, ask what else the organization offers interns: paid attendance at workshops or a regional meeting, free admission to events that support your areas of interest; parking or travel supplements; opportunities to speak or publish. Don’t be bashful. You’re offering time and skills. This is not indentured servitude. Get something back.
- Can you manage financially and balance an internship while paying your bills, eating, and having any kind of life?
- If not, consider volunteering. I know it sounds a lot less fancy, and in many cases it is, but as a volunteer you donate your time, which puts you more or less in the driver’s seat. Nonetheless, everything from bullet point one still applies only more so.
- If your area of specialty is development, communications, leadership, or anything found throughout the non-profit world, don’t confine yourself to museums. Look everywhere.
- Internships are not scut work. Good internships can launch careers. Be honest: If you don’t have the time or temperament to supervise internships, for goodness sakes, don’t do it. The museum field doesn’t need Cruella De Vil.
- If you have a donor or donors interested in education, consider helping them create a named (paid) internship. Your organization benefits as well as the field. Conversely, if they would rather endow a position, ask the board if it would consider shifting funds from the endowed position to create fellowships or internships in other departments.
- If you can’t fund a position, can your organization ally with a local college or university and offer an internship for credit? And while you’re at it, gather some of the students together and ask them to help structure the program. What works best for them?
- Be realistic with your students. Understand the job market.
- Create alliances (and internships for money or credit) with museums nearby. If you’re a virtual program, consider leveraging your brand in an internship partnership.
- Build opportunities for students to meet and work with museum staff into your program. Require them to have mentors, not just advisors. Mentors aren’t advisors.
- Too often getting a job feels like another job. Teach students how to strategize about what it is they want as they build careers.
If this week is a holiday for you, best wishes for a happy time with family and friends. And when you have a moment, share your thoughts about the internship conundrum here.
P.S. And for more detailed information on classifying someone as an intern, you may want to read this: Four Takeaways—and Good News—for Nonprofit Employers with Internship Programs
Anne Ackerson, Marieke Van Damme and I spoke at the New England Museum Association Wednesday morning at 9 a.m. Our title was Women|Museums: Lessons from the Workplace, and we were among the opening sessions of NEMA’s 2016 meeting in Mystic, CT. We expected to begin our program buoyed by a Clinton victory the night before. We counted on Clinton piercing the proverbial glass ceiling until sometime around midnight when clearly a different choice was underway, a fact confirmed when we woke much too early to the news of a pending Trump presidency.
When we began our program, the mood was somber, as if we’d all partied a bit too hard the night before, which, of course, we hadn’t. After introducing ourselves with a little story telling, we walked the group through five myths of gender in the museum world. Here they are:
Feminism is all about women being in power.
The contributions of women in museums are self-evident.
The salary disparity between male and female museum workers is a thing of the past.
There are so many women in the museum field now that gender equity will happen on its own.
It’s not about gender anymore; it’s about race, sexual orientation and class.
Then we asked the group to discuss two questions: If they could send a message to their colleagues, institutions, professional associations and graduate programs about gender in the museum workplace, what would it be? And, what is the one thing they are willing to do to make positive change toward gender equity? Each table had postcards for participants to write messages on. There’s a photograph of them at the top of the page, but they also showed up on Twitter, Facebook and various analog spots throughout the meeting.
When the groups reported out, their remarks clustered around some important topics. The hiring process came under discussion as women questioned why they don’t negotiate job offers, and whether that is something that can and should be taught. One respondent pointed out that if you are simply happy to be chosen, you lose all leverage to negotiate.
The road to a museum career also came under fire, particularly the idea that in too many instances students borrow to go to graduate school, and then find themselves working in unpaid internships as part of some additional rite of passage, all so they can earn, at best, a modest salary. One group’s solution: there should be a field-wide refusal to work for nothing. In addition, participants want women to leave graduate programs feeling confident about traditionally male areas of focus like finance. Can’t read a spread sheet from the business office? Grow your skill set.
Sexual harassment in the workplace was also discussed with participants asking where staff at small museums can go when they need help or advice, and what the board’s role is in seemingly condoning workplace sexism. A participant quipped that Boston area museums still have a Brahmin attitude, meaning you’ve been allowed to be part of the boys’ club, now deal with it. And there was also a shout out for not just doing what men do, but finding new solutions to achieve the same end.
And towards the end one woman reminded us all to “Put on our armor and fight like Amazons.” Which brings us to where we were before the election. This fall we created an advocacy group, Gender Equity in Museums Movement, or GEMM. As yet, we have no official affiliation, but we are beginning talks with AAM to see how GEMM can support its equity agenda. If you’re interested in knowing more about our call to action, please read and share our platform paper, A Call for Gender Equity in the Museum Workplace. If it speaks to you, join us via email, twitter or Facebook. Let’s make museums the poster child for women’s (and that’s all women, not just white women’s) equity. We’re not giving up and neither should you.
And if you were out of the country, living off the grid or you simply stopped reading post- election, you may want to look at:
Not everyone comes to the museum field eager for leadership. Sometimes we’re moved forward. Sometimes we realize we’re ready for it and we move ourselves forward, but all too often leadership is an unintentional consequence. Like when you become the education director and find out that you’re supervising a staff of 50 volunteers, but only until the organization hires a volunteer coordinator. In the next fiscal year. Suddenly you’re a boss of a lot of people some of whom are old enough to be your parents or your grandparents.
On the other hand, if you aspire to museum leadership, but aren’t there yet, you may have heard or read the phrase, “you can lead from anywhere in the room.” We used it more than a few times in Leadership Matters. And we believe it, but to the uninitiated, it may be hard to figure out how to look like a leader when you’re in row three at an all-staff meeting, and potentially the youngest or newest person in the organization. So here–in no particular order– are some strategies for figuring out leadership before you get the job.
- Learn how to say you’re sorry. All leaders make mistakes. And if you can’t humble yourself in front of your team, there won’t be much trust there. The next time you mess up, get out in front of the error quickly. Apologize to your boss and your colleagues and offer strategies, either personal or organizational, for moving forward.
- Separate the parts of your job over which you have authority from those where you’re the one responsible. In many museums there are the worker bees who take on more and more work. Why? Because they’re great time managers, they have a sense of duty, and their bosses know a good thing when they see it. But multiple responsibilities don’t add up to authority. They add up to a huge to-do list over which you have little control in the end. The result? You are angry or sad or possibly both. Make a list. Separate your job into areas over which you have real authority, and the areas where you’re responsible. Be strategic. At your next job review, advocate for increased authority.
- Enthusiasm isn’t everything. Be strategic when talking about your work. Let your director (or direct report) know why you like something. Hearing general enthusiasm for working with collections isn’t the same as hearing your enthusiasm about finally moving the Excel files to the new open-access collections management program.
- Don’t hang out with the office gossip. Every office has one and museum workplaces are offices. That person has defined power as knowing as much as she or he can about everyone. Back-stabbing and talking behind people’s back is not the path to leadership.
- Embrace change. Every office also has the person who can’t cope with change. They mournfully explain why new ideas won’t work, describing in painful detail how some variation of what’s just been proposed didn’t work 15 years ago. Or was it seven years ago? Don’t be that person. In fact, be the person who gently shuts them down and suggests experimenting.
- Support your colleagues. They don’t have to be your friends, and you never have to see them three sheets to the wind at the office holiday event, but you need one another to make stuff happen. That’s why you come to work. To make stuff happen. So don’t judge. Just assume everybody’s trying their best.
- Advocate for your program, project, exhibit or idea. If you don’t care about what you’re doing enough to talk about it, why should anyone else?
And let us know how you lead when you’re not the person with the title.