Saying What You Mean & Getting Better at What You Do

Just Sayin'

This post is a two-parter. First, it’s about saying what you mean. This is a big deal for museum leaders who often think they communicate clearly, only to find, when things go wrong, how lame their skills are. But whether you occupy the fancy office and go to lunch with trustees or not, you still need good communication skills. Here are five things you need:

  • Be a good listener: Say you’re a curator. A colleague asks why boxes in your storage area are stacked close to the heating pipes. There are 1,000 ways to answer the question from “All our storage is inadequate and this is the best of many bad choices,” to “This is temporary while we empty another area,” to “Gosh, I was so anxious about the mold I found last week, closer to the ceiling seemed like a good thing.”  But what if you don’t hear the question? What if what you hear is an attack on your skills as curator and your personal worth? The answer you give in that situation is likely to be different, less helpful, and since you feel personally attacked, may escalate a fairly innocuous situation.
  • Don’t withhold information: Sometimes we don’t say what we mean because we’re locked in a silent power struggle with a colleague. That person may be struggling too in which case only a minimum of information gets through. Remember, work is work. You all serve the museum, heritage or arts organization. Focus on what the other person needs, provide the best answer you can, and surprise, surprise, your next interaction may be different, but in a good way.
  • Do not babble: Do not go down conversational rat holes. Channel your inner Hemingway. Be simple, concise, and specific.
  • Try to check your ego at the door: Great communicators make everyone else feel like they’re the only people in the room. Why? Because they communicate with authenticity and care. Try pausing for a moment or two before answering a question. Reflect on whether the question is about you and your skill level or whether it’s about the collection items next to the ceiling.
  • When you’re wrong, say you’re wrong: If you snapped at the curator about the boxes, we hope you’re self aware enough to figure out what happened and apologize. Conversely, if you’re the curator, who responded as if you’d been slapped rather than as if a concerned colleague also cared about the collection, apologize. Don’t wait. Don’t write absurd narratives in your head about why this isn’t the right time to talk. Just do it. A real apology offered human-to-human builds trust. There’s no better ingredient for workplace communication.

And now to getting better at what you do: There’s likely a book waiting to be written on the perfectionism found in museums. It casts a pall over everything, putting dampers on experimentation and innovation because staff feels there is no room for risk. The results of too much perfectionism are often spectacularly mediocre.

We here at Leadership Matters constantly harp on reading widely so here are two very different articles. The first is from Outside Magazine on Getting Better. Yes, it’s about exercise, but it’s also full of stuff that applies to life without spandex and a water bottle. Learning to manage challenges, to break work into manageable chunks, to put the cell phone aside–those are skills that apply in the museum workplace just as much as the gym. And for a completely different voice, here is writer Jamaica Kincaid with advice on how to live and how to write. She too advocates less cell phone time and more focus. She’s also about learning how not to write crap, and she advocates not taking yourself too seriously. She is a writer after all. She lives on her imagination.

You are museum, humanities, and culture folk. You spend time trying to make art, living things, and objects speak. You need your imagination too.

Here in America’s Northeast we’re at the peak of the long days. That’s more time to pause, think about more skillful communication, and get better at what you do. Use it. Get better.

Joan Baldwin

 

 

 

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

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What Does Knowing Your Organizational DNA* Mean?

 

Organizational DNA

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

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

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

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

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

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

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

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

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

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

Joan Baldwin


Museum Leaders and We’ve Always Done It That Way

AssemblylineIMG

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

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

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

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

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

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

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

Joan Baldwin


Museum Leadership: The Why, Not the How

why how what

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

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

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

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

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

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

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

Joan Baldwin

 

 

 


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

balance-of-power

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

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

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

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

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

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

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

Joan Baldwin


Museums & Social Media Literacy

social-media-literacy

Guest Post by Jennifer Riddell

Embracing social media literacy:

Integrate it meaningfully with your museum’s work, content and interpretation goals

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. 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. 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 be 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 engagementwith the same compelling narratives, quality of content, and relevant messaging that you develop and plan to support your interpretive and core valuescan 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 downas 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?”

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) 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 engagementand suitable platformexists.

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 that, in turn, serve to validate others’ experiences.  

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.

  1. 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.
  1. Sign up

You may have a Facebook and LinkedIn accounts, 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.

  1. 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.

Jennifer Riddell works in museum interpretation and is communications co-chair for the Washington, DC chapter of ArtTable.

 


The Thin Ice in Your Museum Leadership

thin-ice

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.

  1. Do your direct reports know what you’re working on? And, do they know how your projects and theirs intersect?
  2. Do all your organizational initiatives, particularly those involving big money, have a back-up plan? Are those plans articulated or in your head?
  3. 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?
  4. Do your direct reports share their to-do lists orally or in writing with their team, department or  full staff?
  5. 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.

Joan Baldwin