It’s a new year. For many it’s a time of resolutions. Eating healthier, exercising more, seeing friends, meditation, top lists of things we hope to do. But how about work? And most particularly how about work in your museum or heritage organization? What’s on the list there? Well, everyone wants a raise, but here’s another thought: How about owning what you do? How about making your work matter to you and your organization?
My grandmother–a woman of enormous independence for someone raised at the turn-of-the-last century–used to describe particular individuals with a sigh and pronounce, “She’ll only go as far as she’s pushed.” Needless to say, this was not a compliment. What she valued were individuals who not only completed whatever was assigned, but went a step further, as opposed to humans who had to be corralled into work, completing it without an ounce of extra thought or energy.
Why do my grandmother’s thoughts matter? Because, like her, employers, even at museums and heritage organizations where the sense of urgency is sometimes absent, prefer proactive rather than reactive staff. There is a laziness–maybe born of anger or job dissatisfaction–that allows staff to say things like “That’s not my job,” or “She didn’t tell me to do that so I’m not doing it,” or “He’ll be angry if I go ahead, so better to wait.”
Yes, you may work for someone who is an epically bad communicator, but it’s your career that’s at stake here, not hers. And while you’re thinking about this, know that according to a recent study, a shocking 37-percent of managers have no clue what their staff is working on. That means more than a third of employees can be on a permanent coffee break as long as they appear to be engaged in some form of activity. So…if you work for an individual you suspect may have no clue about your day-to-day work life, much less your career, here are some things you may want to contemplate.
- If you don’t already have a standing appointment with your boss, make one.
- Outline your day, hour-to-hour, and quantify percentages so you (and your boss) can see how much of your time is spent on what.
- Talk about prioritizing. Maybe you do a lot of nice things–maybe you’re the person who cleans out the volunteer break room or restocks the education space–and it’s nice, but you’re underutilized. You do it because others don’t, but it means you’re not doing things nearer and dear to your heart or your job description. And if you’re underutilized, you may be busy, but you’re likely not happy or challenged.
- Evaluate whether you’re reactive or proactive. Talk with your boss about how that could or should change. Own your goals and push for them.
And if you’re a leader, think about:
- How you communicate. Are tasks poorly executed because what staff heard was mushy and confusing? Do you ever ask “Did I explain that well enough?”
- Listen to your staff. Watch for signs of distress. Is one job full of responsibility but no authority? Does everything have to be checked with a higher power–like you? Are other staff showing signs of boredom? Are deadlines met in five seconds?
- Check-in often. Remember, check-ins don’t have to be formal. You can check-in in the hall or an office doorway, but they need to be meaningful. You need to have the time to focus and remember what your last conversation was about.
- Set deadlines and keep them. Is there a sense they matter because it will take your staff about a nanosecond to realize if deadlines don’t matter to you, they don’t need to matter to them.
- Know whether your staff is challenged or not. A recent study by Salary.com showed that more than 50-percent of employees were either not challenged or bored at work so ask yourself whether you really know what’s going on.
Work can’t be a bowl of cherries every day, but presumably many of us picked the museum field because we love it. We love collections or collections care or exhibition design or research or brilliant social media or school groups. In a world where development departments work double time nobody should be bored, unchallenged or feel they can’t move forward on a given project because they don’t have the autonomy. It’s January and a natural time for change.
Make some. Start today.
Thank you to our 875 Leadership Matters followers around the world and thousands more readers who looked at our pages a remarkable 55,300 times in 2018. And just in case you are new to Leadership Matters, here are our five most popular posts for 2018.
- The Silent Treatment
- Museum Pay (Again)
- 5 Pieces of Advice
- What’s Missing from 7 Factors….
- Guest Post: The HR Problem
Things & people who inspired us
- AASLH posting salary ranges and the National EMP Network for giving voice to the salary transparency effort.
- Colleen Dilenschneider for her clear, insightful look at the non-profit world.
- Susie Wilkening for her research about who visits museums and why.
- Appointments of Linda Harrison as President and CEO of the Newark Museum; Kaywin Feldman as the National Gallery of Art’s fifth director and Anthea Hartig as the first woman director of the Museum of American History, plus many others — the diverse list of directors and curators is growing and, for that, we are very inspired!
- MOMA Protests
- Hannah Hethmon’s great list of museum and library allied podcasts.
- Our Johns Hopkins University graduate students.
- The men and women attending the AASLH Leadership Forum this year and our colleague, Greg Stevens, with whom we developed and led the Forum’s agenda.
Looking Forward: Where to Find Us in 2019
- February 5, 2019, Baylor University, Waco, Texas: Where we will deliver the Largent Lecture on the topic of women in the museum workplace.
- Two Webinars for the Office of Programs and Outreach at the Wisconsin Historical Society: Leadership Matters: Thoughts on 21st-Century Museum Leadership, January 30 and Women in Museums on March13, 2019
- Pennsylvania Museums Annual Conference, Keynote Address, April 7-9, 2019
- AASLH Annual Meeting August 28-31 in Philadelphia
Our 2019 Wishlist
- For the American Alliance of Museums [AAM] and the American Association of State & Local History [AASLH] to join forces to combat sexual harassment in the museum/heritage organization workplace.
- For museums, their boards and leadership to lead the non-profit world in closing the gender pay gap.
- For museum and heritage organization boards to commit to spending a minimum of two meetings a year on why they do what they do, what it means, and how to be better leaders.
- For museums, their boards and leadership to work toward eliminating tokenism, bias, and stereotyping throughout the hiring process.
- For AAM & AASLH to follow the lead of the American Library Association and pass a living wage resolution.
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
Choosing a new executive director is a big deal. Whether you’re a teeny tiny historical society or the Metropolitan Museum of Art much rests on the selection of a single human. This week, both in conversations with a colleague, and in class discussion with our Johns Hopkins University students, it became clear that a lot of museums and heritage organizations don’t allow staff to meet the candidates. Too often, that opportunity seems to belong to the board and the board alone.
It’s hard, however, to see how that makes any sense. Admittedly, I work at an organization that’s taken the interview process to extraordinary levels. Except for the lowliest positions, every candidate spends at least five or six hours on site, moving from meeting to meeting, and often participating in the proverbial lunch where she or he is asked to eat while simultaneously answering questions from well-meaning staff. At day’s end, everyone submits evaluations to their direct reports. Could staff really sway a decision? I don’t know, but I can tell you that everyone feels as though they’ve participated. At the very least, they can put a name to a face when the final decision is announced. Why does any of this matter? Because “they,” whether they are a leadership team at a huge organization, or the entire staff at a small one, will be the candidate’s team. And the team is important.
One of the many misconceptions about interviewing is that it’s something that happens to you. And it does, but it’s not an entirely passive experience, nor should it be. Too often the whole job process feels like a do-or-die proposition. You turn on the charm and hope they pick you out of what must be — in your imagination at least — hundreds of capable applicants. But you’re also interviewing them, whoever they are. And how they come off, especially at a moment when everybody’s on their best behavior, matters. What does it tell you if you spend half a day on site, and never meet the staff? Granted, if you’re interviewing at the American Museum of Natural History, The Henry Ford or the Victoria and Albert Museum, you couldn’t possibly meet many staff. But, at the very least, shouldn’t you meet your future peers and/or direct reports? And what does it say about the board and the leadership if you don’t? At the very least, ask for those opportunities if it appears they aren’t on the agenda. (You never know, the staff could have fruitlessly pushed for meetings. If you ask for and get meetings, you could become the staff’s hero.)
Sometimes organizations can’t seem to get out of their own way. And boards, like an abandoned spouse after a divorce, sometimes hire quickly, frequently selecting a version of the person they just lost, perpetuating a host of organizational ills. So, if you’re a museum board member or a museum leader, and 2019 is going to be your year for an important hire, think about the following:
- Know what qualities you’re looking for. Sounds obvious, but these aren’t the standard qualities that every job advertisement lists — courage, vision, intelligence, self-awareness — they are the qualities that will take your museum or heritage organization and move it forward. And they shouldn’t be confused with qualifications. Only you, the board and the museum leadership know what your organization needs. Is it experience as a collaborator with other organizations? Is it the ability to be decisive and carry out a strategic plan? Is it an understanding of how digital and web-based content can impact your organization?
- Be open about where you might find this person. It might not be in a traditional spot. Try to shed your biases or at least acknowledge them, and be willing to look outside the box.
- If this is the top spot, decide how to engage your leadership team and/or staff. Who will give candidates a tour? Who will meet with them in small groups? Who will answer questions about living in your area?
- How can meetings with staff and candidates give you the most bang for the buck, providing information for the interviewee, while also giving staff the opportunity to listen and ask questions?
- Does your staff or board need coaching on which questions are legal and appropriate and which are not? A refresher never hurts.
Hiring, particularly for the top spot, is a time-consuming and sometimes expensive process. Presumably, you’re proud of your museum and the work it does. So showcase it. Let candidates meet with staff. Give them a mechanism to report back. Listen. Listen. Listen. Choose wisely. Choose for the team you have and the organization you want.
In the wake of Thanksgiving and the National Public Radio’s crowd-sourced poem I’ve been thinking a lot about kindness, and particularly kindness in the workplace. Much has been written about kindness, and not just by philosophers or poets, but scientists. Turns out that the same peer pressure that makes us flock to a particular Netflix show, buy the same cell phone or dine at the same eatery is what scientists call conformity. It has its bad side, like when you’re underage and everyone else is drinking ’til they puke so you do too. But conformity isn’t always associated with bad choices or our acquisitive natures.
Jamil Zaki is a professor of Neuroscience at Stanford, and he studies the way kindness and empathy spreads. He and his colleagues knew that people imitate others’ positive actions. They knew, for example, that if children or co-workers see someone turn out the lights to save energy or carefully recycle, they imitate that person’s actions. But Zaki wanted to know whether the spirit that powers turning out the lights could spread too, and if it did, what it would look like. To make a long story short, the answer is yes.
Why does this matter? And what does it have to do with museums? It matters because museums are workplaces and because they deal with the public every day. Museums are places to engage and learn, but they also make people happier, in part because experiencing something positive tends to stick with us longer than the momentary buzz from buying a new gadget. But imagine if, in addition to the happiness of learning and engagement, you also experienced a random act of kindness from a museum staff member. Say someone held the diaper bag while you opened your umbrella or offered your elderly aunt a chair and a glass of water. And what if your executive director not only picked up random bits of trash, but was known to work at the local food bank, donate time from her personal days off, take a staff member’s job when she’s ill? A saint you say? Maybe, but according to Dr. Zaki’s studies, your director’s positive behavior diffuses and spreads over time. In fact, it acts as a prompt for behavior throughout a given workplace which will trend toward the positive rather than the negative. Who wouldn’t want that?
That means there is actually evidence to back up the old saw about getting more flies with honey than with vinegar. It means as a leader your behavior really matters. Over time, you can, in fact, be a game changer. Not all staff can afford to work at the food bank or give their PTO to others, but Zaki’s studies show that positivity spreads in other ways. Yeah, right you say, people don’t change. But Zaki’s experiments show that in a group conformity is important. When we engage with the group in a positive way, our brains show the same patterns as if we had experienced a reward.
For those of us on the east coast, we’re a month from the shortest day of the year. Some of us leave for work in the dark and return in the dark. So isn’t this a good month to experiment with positive conformity at your museum or heritage site? Be an influencer because apparently it really works. And if you want to know more about Dr. Zaki, here he is on TedxTalks speaking about empathy, his new obsession.
Yours for a kinder workplace,
This Wednesday I will attend the New England Museum Association’s 100th Annual Meeting in Stamford, CT. Along with panel moderator Scott Wands (CT Humanities) and co-presenters Grace Astrove (Jewish Museum), Kelsey Brow (King Manor Museum), Ilene Frank (Connecticut Historical Society), and Diane Jellerette (Norwalk Historical Society), I will help lead a session titled “Low Pay, No Pay, and Poor Pay: Say No Way!”
Despite the alliterative and slightly confrontational title, our goal is to bring people together to talk honestly about one of the most difficult aspects of museum work: salary. We will lead table discussions on the following topics: emerging professionals and pay; unpaid internships; salary and benefits negotiation; race and pay; and gender and pay inequity.
Our goal is to give participants the opportunity to move from table to table potentially participating in multiple discussions before reporting out to the whole group. In part, that’s because there is no one size fits all compensation story. Pay is personal and pay is organizational. Pay relates to your personal narrative, your personality, and hugely to bias.
For many board members, staff represent a yawning cavern of expense and escalating benefits. And while boards may adjust an executive director’s salary and benefits package to attract and keep the multi-talented person they believe their museum deserves, beyond the aggregate numbers, they rarely dip into compensation for staff further down the food chain. Thus, for the most part, pay is an executive director versus current or potential staff question, meaning when an offer is made both individuals need to be at the top of their game. The executive director needs to fully understand her budget, know whether she can negotiate and how far she’s willing to go. The individual needs to have some sense of salary range–which is why posting salaries and ranges is so important–and how much it costs to live in the area in question and meet expenses. She also needs to know what she thinks she’s worth, and whether she’s willing to walk away if an offer is too low.
Negotiations like these are made more complicated by gender and race. Job applicants have to find ways to ask whether the museum has completed a pay equity survey and adjusted salaries accordingly. Presumably any organization that’s already had a Marc Benioff-like moment would be overjoyed to talk about it, but you can’t be sure. And in some organizations, too many questions — from women and particularly from women of color — translate into a stridency organizations want to steer clear of.
Then there is the whole issue of new professionals negotiating for the first time, or those still in graduate school who want or need internships. We would like to announce that unpaid internships were as antiquated as the rotary phone, but sadly they’re not. NEMA has been stalwart in its support for mutually beneficial internships, but the museum world is still riddled with epically bad The Devil Wears Prada experiences. And being treated like crap when you’re being paid is one thing, but being treated like crap for donating your time seems like the definition of insanity.
One of the blue-sky hopes for this session is to actually come up with a series of proposals that will help move the salary debate forward. Since not all of you will be in Stamford this week, if there are changes you’d like to see — organizationally, regionally, and nationally — let us know. Let’s make some noise and make some change.
Image: Most Frequent Forms of Gender Discrimination (in the museum workplace), from THE SURVEY: Gender Equity in the Museum Workplace, conducted by Anne W. Ackerson and Joan Baldwin, 2018.
Last week, I participated in a panel at the Southeastern Museums Conference in Jackson, Mississippi. Organized by Heather Nowak and titled “Women on the Rise,” the panel included AAM President Laura Lott, Betsy Bradley, Director of the Mississippi Museum of Art, and me. I was there not in my Leadership Matters capacity, but as the co-author of Women in the Museum, and one of the co-founders of the Gender Equity in Museums Movement (GEMM). The audience was all women.
Laura Lott opened the session, speaking about AAM’s salary survey, but perhaps most importantly about the gender bias she encountered serving on a national search committee. She also spoke about being a working mother, and the times when she’s ended up bringing her child to work. Lott’s background is in finance, and I don’t think I’m misquoting her when I say she’s still surprised at how patriarchal and old-fashioned the non-profit world is around issues of gender.
I spoke second, reviewing some of the myths associated with gender in the museum world — myths about pay equity, about feminism itself — and the fact that the Bureau of Labor Statistics tells us that women are now 50.1-percent of the museum workforce. The latter is particularly disturbing since a pink collar field is not necessarily a healthy field, and with wages in the museum world already suppressed, trending toward all-female could be the final nail in the salary coffin.
Betsy Bradley closed the session. Tall and elegant, Bradley describes herself as a polite Southern woman. She’s lived and worked in Jackson, MS, most of her adult life. After outlining her career, Bradley talked about three things: Not feeling guilty about being a working parent; asking for what you want; and #MeToo. Her #MeToo story was so unexpected that the room, which included several of Bradley’s staff, fell silent. Following the incident, Bradley took care of herself, but she told only a few people, two board members and a family member. Ultimately the accused resigned his position.
Our session took place a week after Christine Blasey Ford testified before the Senate Judiciary Committee. No matter where your allegiances lie, for many, Ford’s testimony brought back their own experiences with sexual harassment and assault. Tuesday in Jackson, MS nerves were raw So it is no wonder that during the concluding Q&A, the second question never really got asked because the woman, who’d been assaulted, broke down while trying to speak.
My question to all of you is how long can this go on? We like to say how much we love our work, how important it is, how special and wonderful the museum field is, and yet two 2018 surveys, one by Anne Ackerson, and one by nikhil trivedi and Aletheia Whitman report that 49-percent and 55-percent respectively of museum workers identifying as female have experienced sexual harassment, assault or abuse. So when is enough enough? If you or your organization is looking to make change, we suggest……
- Make sure your board understands that operating a museum or heritage organization means Title VII or the EEOC apply to you. You owe it to your organization to know how.
- Create or update your HR policy. Make sure you and the Board know what steps an employee who’s experienced sexual harassment should take. Is the reporting system clear, understandable and equitable?
- Talk with your staff leaders. Help them understand that if 50-percent of museum workers experience sexual harassment, assault or abuse, they need to know how to deal with it. Suggesting an alleged victim go talk to her alleged harasser is not the answer. People who’ve been hurt, violated and humiliated aren’t interested in being hurt, violated and humiliated a second time.
- Make sure your organization stands for something. Do you have a values statement? Is it clear you stand for a code of behavior? It’s hard to excuse or explain sexual harassment, when an organization is clear from the beginning about its code of conduct.
There are a lot of issues that swirl around gender in the museum workplace, but no one should come to work to be hurt, abused or harassed. Museums and heritage organizations have been complicit in a system that oppresses women for too long. We’re overdue for change.