Why Serena Williams’ Anger Matters

Anger II

All good stories have a truth that makes them resonate beyond the moment. Two weekends ago, Serena Williams lost the semi-final match at the U.S. Open. While that alone might have been news, what clogged social media was the fact that Chair Umpire Carlos Ramos warned her after her coach allegedly gestured to her from the side lines. She responded angrily and was subsequently docked a point after smashing her racket. The exchange continued when she called Ramos a thief and a liar, and was further punished. Later, Williams suggested that similar behavior by male tennis players is overlooked. Lost in the narrative was Williams calming of a sometimes angry crowd, and gracious support for her opponent, Naomi Osaka.

Whether you follow the arcane and sometimes hierarchical rules of professional tennis is not the point. What we should focus on here, and what resonated for many women is the fact that public expression of anger is strongly governed by gender rules. To put it more bluntly, it’s easier for men to get angry at work than for women, and make no mistake, Serena Williams was at work. Study after study shows us that when men get angry they are perceived as more believable, more authentic, and sometimes more powerful. In one study conducted by Harvard’s Women and Public Policy Program, male job applicants who expressed anger were more likely to be hired than women. Women, on the other hand, are termed emotional, overheated, and abrasive. Their expression of anger, which runs counter to gender expectations, decreases a woman’s status, power, and competence.

What’s most interesting about men, women and anger is that men’s anger is perceived as a response, as in “You made me so mad,” as opposed to women’s anger which is understood as internal, as in, “You’ve really got a short fuse.” If you are a woman or identify as one, and work in the museum world, have you ever been chastised for being too emotional? Have you been told to smile? To calm down? To not be so upset? Or perhaps someone suggested you take a moment while you get yourself together?

It took generations for this gender divide over anger to grow, and it’s not going to go away this year. That means if you’re a woman or identify as one, you need ways to navigate the moments when you are angry. Some tips:

  1. Know what your triggers are. Maybe one of your direct reports drives you crazy, can’t answer questions, is dreamy, remote, and disconnected. Not a bad person, but on a bad day, she sends you right over the edge. Understanding that ahead of time, means you can reschedule a meeting with her if the entire rest of your day has gone south.
  2. Don’t go in hot. Also known as take a breather. Give yourself some space. Whether it’s a passive-aggressive email, a hurtful comment, ongoing eye-rolling, or being shut-out of a conversation again, give yourself some space. Take a walk. Get a coffee. Breathe. You don’t have to let go of your anger, you have to understand it.
  3. Think ahead about what you want to say vs. what you need to say. Don’t rant about the fact that the gala is in 36 hours and how suddenly you’ve been asked to revise a foundation request that was badly done (by someone else) in the first place. Try to focus on your organization and what’s best for it–how to get both things completed in a short time–rather than your hurt and betrayal at being asked to shore up a colleague’s failures yet again. By not focusing on your anger, you’re more likely to get help, and to create a climate where colleagues may be alert to the situation happening again.
  4. Support your colleagues: One of the other things studies show us is that while men’s anger and women’s anger are treated differently in the workplace, we also learn that many times both men AND women scorn women who are angry. Again, especially if you are a museum leader, look for the reason the woman is angry rather than the fact that she’s expressed it. Find out what is going on.
  5. Grow some empathy. Imagine that you’re a woman who’s been hired at a lower rate than her male colleague and knows it. Imagine that you’re a woman who’s been left out of conversations and information by male colleagues who subsequently use your knowledge gap to punish you. Imagine you’re a woman whose ideas are constantly reformulated at the staff table by a male colleague as his own. Imagine you hear inappropriate jokes at lunch objectifying women. Imagine all of that. Now imagine you’re a woman of color at work in a museum. Do we need to ask why you (or Serena Williams) might be angry?

Remember what writer Soraya Chemaly said this week in the Guardian,

“It is vital that we don’t have one-size-fits-all feminism,” she says. “It will fail and exacerbate problems. People were surprised by the percentage of college-educated white women who voted for Trump. But a white woman grappling with gender inequality might be angry, and she can leverage racial privilege to compensate for her losses. Women have always been levers of white supremacy in US culture. That does not mean that they do not themselves suffer from oppression. White women understanding how their fragility is used to enforce racism is an important lesson, which is a hard one to talk about.”

How do you manage anger in the museum workplace?

Joan Baldwin

 

Advertisements

Museum Practice: Why Do We Work So Much?

Anne-Lamott-Quote-Almost-everything-will-work-again-if-you-unplug.jpg

A million years ago when I was a young, museum director, I worked a lot. It was hard not to. I lived on site, and work–to bastardize William Wordsworth–was with me late and soon. Even having friends over meant discussing work because conversations began with questions like what’s it like to live next door to the period rooms? What’s it like, besides mortifying, when the dog barks at the sound of 4th graders on the other side of the velvet ropes?

While I was grateful for housing as part of compensation, it definitely affected my ability to separate work from life. It was all too easy to settle down after dinner for a cosy hour writing a grant application as opposed to reading or a walk. My circadian rhythms for what is known in HR as work/life balance were messed up. But that was then. Now you can work 8 hours a day, add on a two hour-plus commute, during which you scan and return emails or phone calls, and you never leave work. It’s there on the device of your choosing, and depending on the culture of your organization, you may be criticized or applauded for checking email, texts, and voicemail when you’re not officially on the clock.

Americans as a group work hard. According to a Gallup 2014 poll, Americans work 47 hours a week, one of the highest numbers in the world, and significantly higher than folks in, say,  the EU countries. Most Americans get at least two weeks off each year, in addition to federally mandated holidays, but for financial reasons many end up not taking the full two weeks. The museum workforce is no exception to the hard work/too much work conundrum. Elizabeth Merritt, director of AAM’s Center for the Future of Museums, wrote about a facet of this in 2016, terming it “the sacrifice measure.” In Merritt’s scenario, the young and presumably privileged, are willing to accept ridiculously low salaries simply to gain a toehold in the museum community. Although it’s unspoken in Merritt’s piece, we have to assume that along with the tiny salary comes a huge expectation in terms of workload. The combination of low wages and a ridiculous amount of work is not dissimilar to the Grimm’s fairy story where the aspiring princess is told to empty a pond with a spoon full of holes. And as soon as a few agree to that scenario, it becomes increasingly difficult for others to say whoa, no way, I’d have more time off waiting tables and presumably no one would text me that the salt and pepper shakers needed refilling.

What kind of culture does your museum or heritage organization have around work? Is there a sense that you’re doing something noble? Is there life and death drama to every project? Is time managed sensibly? Or conversely, do you work in a place where deadlines are mutable, where few are held to account? Are you compensated adequately? Do you and your colleagues complain, but still work an extra day’s worth each week?

Social media sites are used by one third of the world’s population. It’s likely since you’re reading this blog, that you scamper around the Internet with the best of them. If that’s true and you aren’t thinking about how Silicon Valley and social media changes your brain — not to mention your workday — then you have some more reading to do. You might want to start by listening to this. 

In the meantime, if you are a museum leader do you model good work practice? Apart from dire events, do you unplug at home and on vacation? Do you talk about your workplace culture with your staff? Do you counsel staff who seem to spend countless hours working and question those who seem to need to work all the time?

As museum leaders you don’t need one more thing on your to-do lists, but workplace culture matters. If the work week extends from 40 hours to 60 because you can always get something done at midnight or 5:30 am are you really managing time well? Some advice:

  • Tackle your own addictions first. Barring fire or flood, unplug at home and on the weekends.
  • Try not being a museum leader part of every weekend. Be a partner, a parent, an athlete, a friend instead.
  • Talk about your work culture in a generative way at work. Acknowledge the weak spots. Encourage behavioral change.
  • Discuss how texts from home, Facebook and Twitter intrude on work as well.
  • Talk about not taking work home. And if there’s a reason for that—like too many interruptions at work–how can that be fixed?
  • Support breaks, walks, the occasional yoga class.

We all want happier, more productive workplaces. And working more isn’t always the answer.

Joan Baldwin


Dissenting With Grace or What We Learned from John McCain

Reaching across the aisle

This week, in the wake of Senator John McCain’s death, the news was filled with tributes and remembrances from his friends, colleagues and family. From the beginning it was clear those tributes weren’t partisan. They came from both sides of the aisle, perhaps none as succinct as Joe Biden’s, “My name is Joe Biden. I’m a Democrat. I loved John McCain.” What do any of these remembrances surrounding McCain’s death have to do with leadership? A lot actually.

One of the great truths about leadership is good leaders are confident enough to embrace dissension with grace. If McCain’s life taught us anything it’s that we should be passionate, we should care, we should love a good argument. But that the argument is about work, it’s about the place we serve, the museum we care about, and when it’s over, we reach across the aisle or the table, shake hands, share a drink or a raucous joke.

Too often leaders, particularly leaders unprepared for their role, can’t abide dissension. It rocks the boat. They can’t separate themselves, even in their own heads, from the organizations they serve. And that is an important distinction. While some days–the Sunday you wore your oldest sweat pants to the grocery store and ran into an important, and impeccably dressed donor aside–it may feel like you are your organization, you are not. You serve the museum. You don’t embody it. And it’s that distance that permits you to welcome dissension at the staff table.

And dissension is necessary. In eulogizing McCain, President George Bush said, “Back in the day, he could frustrate me. And I know he’d say the same thing about me. But he also made me better.” It’s not just you who needs to be better, it’s your organization. If secretly, you’ve made up your mind, know what you want, then have the guts to state it and stand behind it. Don’t waste your staff’s time by asking their opinion when what you really need is adulation. That might work once, but over time it wears thin. Staff stop offering ideas, and neither you nor your museum changes for the better.

Encouraging dissension and discussion is a great equalizer. It says to everyone in the room that all ideas have value, from the person hired last week, to the person who’s working on her BA, to the curator with the PhD. Encouraging staff to be direct and strong-willed means they won’t flinch if you are direct and strong-willed back. They understand it’s not personal, it’s about work. Allowing your staff to bat an idea back and forth, engenders trust. Why? Because it tells the participants you trust them. Discussion isn’t about who wins or gets her way. It is an act of creation with the museum’s best interests at heart. And that’s what we’re all after isn’t it? A better museum—right?

Joan Baldwin


2018 Museum Leadership Myths and Realities

burke-museum-exterior-flowers (1)Thinking about leadership is something even adept leaders don’t do often enough. As we work on the revision of Leadership Matters (2019), Anne and I are pondering how museum leadership has changed in five years. Just for fun I scrolled back to the beginning of this blog (2013). There we talk a lot about the need for the museum world, particularly the history museum world, to make leadership a priority.

Leadership Matters opens with “10 Simple Myths,” where we outline the myths that frame the museum world’s professional narrative. Sadly, many still ring true, like “We don’t have to make money, we’re a nonprofit,” or “Building collections takes precedence over building talent,” or a favorite on these pages, “Compensation is secondary because the work is its own reward.”

There is one myth, however, that suddenly feels like it might be at the end of its shelf life: “We are the source of our own best ideas.” In describing why this sage-on-the-stage mentality isn’t such a great idea Anne wrote, “Their [museums] implacable deference to hierarchical decision making insulates them from ideas and solutions flowing between and among sectors.”

We could be wrong, but it feels as though in the last five years engagement, both intellectual and actual has mutated from something only the education department thought about to something more all-encompassing. Organizations are actually reaching out, and not in the give-me-your-stuff way, more like in the work-with-us-to-tell-your-story way. Not everyone and not all the time, but it feels like a sea change. Finally, history museums and heritage organizations realize that trying to force feed communities the life stories of American furniture and tools isn’t compelling. In fact, a quick scan of leadership positions on AASLH’s and AAM’s job boards yields the following phrases:

  • .….Fosters connections with local community and history in relevant and sustained ways by building beneficial partnerships, raising the level of civic dialogues …..
  • The director is responsible for developing positive community relations and partnerships with national, state, local organizations and for developing strategic initiatives in areas of community outreach, educational programming, exhibits, public history and tourism.
  • The Museum’s new leader should embrace its deeply held values, especially the active practice of diversity, inclusion, engagement and the critical representation of our multiple communities, their histories and current issues.

But….apart from engagement, many of our 10 myths are still alive, healthy, and posing as the truth. And, it’s 2018 not 2013, and there are new conundrums and problems for museum leaders. Here are five that we think need some work:

  • That understanding community is more than an anecdotal exercise. It is data-driven. Read Susie Wilkening and Colleen Dilenschneider to see what we mean.
  • The digital world is here to stay. Museums–even tiny ones–need to get a grip.
  • Museums are community partners. They build, they renovate, they employ, they use utilities, they sell things. Non-profit doesn’t mean money doesn’t matter. Just because you’re not paying shareholders, doesn’t mean you can’t be a downtown anchor.
  • Maybe, just maybe, there’s a recognition that an all-white, all-privileged field is not such a great thing and creating a more diverse field means making it a better paid field.
  • That leadership can be learned, and organizations can invest in it just like they invest in anything else; building talent is as important as constructing a new wing.

So what do you think? What leadership sectors do you think the museum world needs to work on?

Joan Baldwin

Image: Burke Museum, Seattle, WA


The Board’s Imprint on Organization Values, continued….

Board-agenda

While Leadership Matters is thankful for its loyal readership, our readers rarely — unless we’re writing about poor pay — comment much. Surprisingly, last week’s post on board culture generated some meaty discussion both here and on AAM’s Open Forum. Comments ranged from T.H. Gray’s definition of a Board of Trustees: “Museum amateurs charged with leading museum professionals,” to Steven Miller’s response on the Open Forum. The crux of much of the discussion was whether and how museum boards influence workplace culture.

Several of you, including Conor Hepp and Steven Miller, suggested that it is staff leadership who create organizational culture which the board monitors. Miller too pointed out that museum boards are distanced from organizational daily life, and their lack of training causes problems. He wrote: “I agree with Conor’s points that trustees are usually removed from a museum’s daily internal life. There are exceptions, of course, and they usually play out in small museums or with trustee committees that are close to certain museum offices, departments or operations. There can be many cultures within a museum, some known to trustees some not known.” Leadership Matters‘ Anne Ackerson also responded to Hepp, pointing out that “the leadership team is responsible for nurturing (or stunting) the day-to-day institutional culture. Don’t forget, though, that the board also has a culture that permeates staff leadership ranks.”

So which is it, chicken or egg? Do boards create and influence workplace culture or is that the responsibility of the leadership team? We agree there are likely many cultures at work in any organization, and the bigger the museum, the more likely that multiple cultures will flourish. That said, what’s the board’s role? And what about Anne’s idea that board behavior sets an example (and a culture) for the entire organization? If a board relegates women to event planning or overseeing the volunteer program, doesn’t that set an example for the organization’s attitude toward women? If the ED came to a board like that with questions about salary equity or the gender pay gap would the board step out of character and work for change?

Except in the tiniest organizations, boards cannot and should not be involved in micromanaging the workplace. But in the case of these big-ticket issues involving institutional values, we agree with Anne: The board sets a tone. In a perfect world, the board is both a microcosm and a mirror. It reflects the community it serves by making sure everyone is at the table, and, once seated, that everyone has a voice. In addition, it understands that its behavior — inclusive, empathetic, and creative — is a model for the museum itself. Last, it knows that a value-driven board attracts and retains museum leadership with similar qualities.

To circle back to last week’s post, if Wall Street is a bellwether for anything, executive behavior —  both on and off the board — is important. For Wall Street good behavior, setting values and acting on them suddenly seems to have monetary value, which is not nothing when mergers and acquisitions count in millions of dollars. How long will it be before a nonprofit board is taken to task or taken to court for its knowledge and complicity in sexual misconduct, racist or xenophobic behavior? In the Lake Wobegon of nonprofits, where all museums are above average, we’d like to think boards behave well just because it matters and that’s their job. But in a world where victims can share their  stories in a heartbeat, everyone needs to check their biases and, most importantly, be empathetic. Here at Leadership Matters, we believe that begins with the board.

********

We’d like to end this week’s post with a hearty congratulations to Local 2110 UAW, a chapter of the International Union, United Automobile, Aerospace and Agricultural Implement Workers of America (UAW), organizing for union rights across New York City. After 122 days it reached an agreement on behalf of union members at the Museum of Modern Art (MoMA). As reported by Hyperallergic, the agreement means all employees will receive raises of 3% or $1,600, depending on which amount is greater, with the lowest-paid 25% of workers receiving 4% greater additional income or higher. MoMA staff will retain their single coverage health benefits without employee contributions, and employees utilizing family coverage will not see an increase in their contributions as a result of their new raises. To learn more about Local 2110, click here.

Joan Baldwin

 


Workplace Culture Starts and Stops with the Board

board behavior

First, a big thank you to our guest blogger, “Kay Smith,” whose post elicited some pithy comments last week. If you have a museum workplace issue you’ve thought about, and you want to try your hand at a guest post, please email us at leadershipmatters1213@gmail.com.

*******

This week we read about Wall Street and the Weinstein clause. If you missed it, it’s the wordsmithing added to big-money merger agreements, guaranteeing that corporate leadership behaved themselves ahead of acquisition. In some cases potential purchasers can be compensated if subsequent executive sexual misconduct comes to light. Non-profits like museums rarely merge, but they do appoint new board members all the time, and while the change feels incremental, boards should take note. Even if you’re enough of a negative Nelly to think the #MeToo movement hasn’t moved the needle, it has. Maybe not enough, but social diligence and value-driven behavior isn’t nothing any more. The tide is turning and executive behavior is in the spotlight.

Most board members and museum leaders work hard to avoid choices that lead to negative press. Financial malfeasance, sexual misconduct, racist or xenophobic comments or workplace affairs are not the stuff of blissful social media. Yet unethical behavior happens. In three comments and a blog post last week we heard about asking a staff member to behave a certain way with donors, comments about race and gender, unethical hiring and firing, sexual harassment, and workplace bullying. What would happen if we actually polled for this kind of information?

As last week’s comment writers told us, the buck stops with the board. And where the heck were they? In both Kay Smith’s post and in their subsequent comments, the board either failed to take action or were openly contemptuous of the employees in question. From failing to police their own members to failing to be ethical employers, they didn’t do their jobs.

We’ve written about board bad behavior in the past, but it seems the museum sector–particularly the small museum world– might need a wake-up call. Just because you’re a board member for a small non-profit does not mean you and your organization get to break the law. If the thought bubble over your head says, “But it’s not me,” that’s not enough. Remember what Archbishop Desmond Tutu said: “If you are neutral in situations of oppression, you have chosen the side of the oppressor.” So if you knowingly countenance a board member pawing a young, female staff member and don’t speak up, you’re on the wrong side. If you permit sexist or racist comments around the board table, you might as well say them yourself because the person hearing them doesn’t know whether you believe them or not, only that you stood silent.

Museum and heritage organization directors and their staffs often do a lot with a little. Raising money in many communities is difficult. Why compound a challenging situation by failing to create an equitable, supportive environment for staff? So to board members out there, here’s our wish list: Know what your museum stands for, not just externally, but internally. It’s a lot easier to eliminate racist comments at work if the organization says it doesn’t tolerate hate speech; Make sure you have an HR policy; Comply with state and federal employment law (Hint: that means knowing the law first). Last, if you witness sexual harassment, racist comments or workplace bullying, imagine what you’d do if this were your child, your sibling, your best friend. Create ways to support and help your ED and her staff. In the end you’ll have a stronger museum.

Joan Baldwin

 


The Internship Commitment

Internship

If museum salaries are not what they should be–and in far too many cases they’re not–then the dark underbelly of museum and heritage organization employment must be internships. Rarely defined, at least in any universal sense, they are sometimes discussed as if they were the pupa stage of a museum career–somewhere between a national history project prize and a first job.

Long ago in museum history, trustees used to look happily around the board table and say some variation of “We can get a grant for that.” That was code for we know there is public money available, we just need to find it. Those sentiments were frequently followed by “Maybe we can get an intern!” or another more recent variation, “Maybe we can get a high school student.” The latter is often in reference to projects involving IT, video creation, social media or coding, the assumption being that students facile with their cell phones might become students who create beautiful web pages for free or at least for less than full price. Sadly, at some institutions interns are the go-to for thankless, repetitive work, marketed to make it look resume-building. In fact to paraphrase the inimitable Jane Austen, “It is a truth universally acknowledged, that a museum in possession of a good fortune, must be in want of an intern.”

Let’s be blunt: Here at Leadership Matters, we’re not fans of indentured servitude of students. They need to be paid. And they need the same respect you offer any employee. Being young or inexperienced doesn’t mean you don’t have good ideas. It just means that the context for those ideas may be a little ill-defined.

An internship is a complicated proposition. First, an excellent internship is some brilliant combination of teaching, mentoring, and learning by doing. It weaves together equal amounts of respect, experimentation, failure and independence. And in the end it’s a gift to museums as a whole. Why? Because you and your organization, serve as that person’s introductory chapter to museum work. If you are dithering, disorganized, unimaginative or demanding in the tradition of Cruella de Vil, your intern may u-turn right into another field.

Second, if you are going to manage an internship, you need to be a good teacher. And you need the time to teach otherwise your failure to explain clearly will mean extra work for all involved. When you write your internship job description, create a week-to-week syllabus to help you and your potential intern see what they will learn and how. If you need help writing internship announcements, we recommend the New England Museum Association which offers sample templates and job descriptions.

Last, pay your intern. Internships usually take place over a finite period of time–a semester, a summer, a winter term. If your organization can’t afford $200-$250 a week which is not even close to minimum wage in many states, or housing (which is often necessary for out-of-town/state interns, perhaps you should reconsider. Is it possible that in your organizational heart-of-hearts, you want cheap labor more than you want the responsibility of an internship?

The museum field is increasingly hard to break into. It doesn’t necessarily pay well, but it requires a graduate degree as an entrance ticket. The other entrance requirement is a string of seemingly endless internships and volunteer projects. Don’t be the organization that offers mindless work capped with a hollow recommendation letter. Be the place where work is interesting and really matters. Be the place that teaches. An internship is a choice, for both individual and organization. Choose wisely.

Joan Baldwin