Some Solutions to the White Supremacy in Museums

White supremacy is not something easily solved in our society, with millenia of problems to counteract. Yet, the scale of the problem should not be a deterrent to action. A previous post helped set up the meaning of the phrase white supremacy, but it is useful to continue to discuss the term.

Most of the actions that support inequity and the power position of white society are subtle and constant. Inaction is a form of action. For example, when museums do not discuss race, they are choosing to maintain the current order. Museums have a great opportunity to help increase equity in our society.

What types of actions are white supremacy?

This diagram can help clarify the types of issues that contribute to the culture of white supremacy. Many more actions occur daily at the lower level of the pyramid. Those actions create the foundation of society, and in many ways, form the culture upon which the more overt actions occur. While the overt actions are shocking, the covert actions are often more pernicious. Understanding these covert actions, and then need to subvert them, is the first step in transforming white supremacy. After all, as many protest signs have stated, white silence is white compliance.

What are some examples?

Communication & Signals: Sharing ideas that ignore race or imply issues about race

Style Guide:

Most institutions have a style guide that (hopefully) ensures communication consistency. These documents are the organization’s linguistic choices codified and formalized, servings as the editor’s measuring stick for all textual output. Organizations often focus on certain elements of the style guide, like brand issues, but ignore cultural competency issues.

For example, many organizations continue to use the word “slave” over “enslaved person.” Any long-time label writer can attest to the horror of wasted words. But, at organizational level, this choice places the need to maintain word count over expressing a nuanced understanding of the humanity and horror of the state of enslaving people.

Solution: Work with bias trainers to refine your style guide.

Interpretation Strategy:

Writing about collections is enormously challenging. Writers are working with limited space and unlimited possibilities; visitors are completely variable in their desires and needs. Every exhibition is mounted as a good faith effort to balance the organization’s need and the visitors. Yet, very often, exhibition planners (curators, educators, designers, etc.) do not consider cultural competency issues, like race, when working through their installations. When space is at a premium, intellectually and physically, interpretation often decides to focus on the issues that can be tackled easily. Avoiding issues like race, colonialism, etc. only serves to support the status quo.

Solution: Lead conversations during interpretation planning to discuss the ramifications of decisions.

Marketing Imagery:

Marketing photographs are usually chosen to project the ideal audience demographic, a visualization of the diversity the organization seeks. This racial diversity is often unfulfilled dream. Visitors attending the organization, expecting a certain audience demographic, find themselves amongst a different audience entirely. Using images that misrepresent the audience is dishonest. They set up expectations for the incoming visitors. If the organization is not actually prepared to make those visitors comfortable, for example if security and front-line staff have not had extensive cultural competency training, visitors will suffer.

Solutions: Be purposeful in your imagery choices, and ensure your staff is prepared for changes to your audience demographics

Gallery Sequencing:

Gallery sequencing might feel easy, following a canonical path. Art museums might choose to set things up according to the chronological march of time. Natural history museums might choose to split organic and inorganic specimens. But, every choice is imbued with cultural norms, often dripping with white supremacy. Natural history museums, for example, often hold collections of native American art, though don’t hold corresponding collections from other American cultures. The placement of these galleries can project uncomfortable and inappropriate meaning. Placing native American collections near collections about the evolution of man, for example, can imply Native Americans are less “evolved.” Certainly, curators might not believe this, however the space juxtapositions can still imply this to visitors.

Solution: This problem can be incredibly hard to solve. Gallery cannot easily be moved without massive financial ramifications. If you are in the position to do a resequencing, spend time talking through the choices, ideally with a bias consultant. However, if not, then find ways to communicate challenges with your visitors. Meet any possible misunderstanding head on with your interpretation.

Decision-making: The business of running museums can maintain the current status quo

Tokenism: Hiring practices in museums can certainly be a full blog post. But, in short, the credentialing-based hiring and unspoken requirement of unpaid internships ensures that staff positions are drawing from a small privileged group of applicants. Museums often expand their applicant expectations, say for community engagement positions. In other words, people of color are being relegated to a few jobs associated with working with people of color. Basically, these hiring practices bring a few individuals into the existing culture, all but maintaining the current order.

Solution: Again, this could be the subject of a blog post. But, internally, the issues of diversity, equity, inclusion, and access need to be considered thoroughly and thoughtfully. Hiring in staff without internal change only exacerbates the problem.

Community Engagement: Engagement programs can be incredibly transformative for organizations, but only if they allow for the transformation. When such programs are siloed, their impact on the organization is localized. In other words, community engagement often supports the status quo, creating a culture of special interest (segregated) programming that runs in parallel with the general programming. For community engagement to truly transform white supremacy in an organization, it has to become central to all work and the job of everyone.

Solution: Leadership needs to make transforming the audience everyone’s job, then they need to increase internal capacity across the board to do so.


 

Thanks to Hrag of Hyperallergenic on his post about Newark Museum’s labels that got me thinking about this topic. The Newark Museum is obviously doing something right, as they have made the decision to move away from anonymous.

Museums & White Supremacy

White supremacy is a phrase that can startle people. For many people, the phrase connotes men in white sheets marching under cover of night fighting anonymously for a minority vision of our society. These white extremists certainly fall within the definition of white supremacy, but they are not the defining aspect of the concept.

What is white supremacy?

White supremacy is a system that maintains the structure with the white culture at the top of society. For many people, this actuality of white supremacy is challenging. There is the cognitive dissonance between their belief that white supremacy is a minority opinion counter to our pluralistic society. Being confronted with the idea that wholly contradicts their original opinion can be jarring. But, being forced to see themselves mentally aligned with such vilified members of our society can seem repugnant and repellent. Most members of our society attempt to perform “anti-racism,” i.e., they act in ways that appear inclusive. So, to learn that their actions and the society they live in is in line with the KKK, well, that can feel either earth-shaking or completely false. Either way, without coming to terms with the reality of white supremacy, people cannot work toward racial equity.

Our cultural structures are so imbued with white supremacy as to have become nearly invisible. For example, the English language has become the norm globally. Even nations that had never succumbed to the English empire, advertisements run taglines for products in English. Coca-Cola anyone? American capitalism is equally pervasive. I would be hard-pressed to imagine a single adult in the world who is without some knowledge of an American product, like a brand, actor, or idea. Western society has become our global given.

What do these economic and cultural givens have to do with white supremacy?

First, English is a language, perhaps the language, of white colonialism, the greatest propagator of white supremacy our society has ever known. Even as the economy of colonialism has largely waned, the language maintains many of those ties. Many smaller languages have given way to the power of English, the language of commerce and success. But, with a new language comes a new idea. The English language serves to support the dispersal of cultural norms as well. Any bilingual person knows that translation is an approximation, at best. And, English has forced many cultural ideas into other societies, leaving much of the pre-English ideas lost in translation.

Economics also has its part in white supremacy. The means of production since the Industrial Revolution has been held by the few, and those few have been white. Even as society has slowly transformed with more non-white people gaining ground economically, largely the system has been constructed to maintain this order. This economic reality can be incredibly jarring for people. Often, the iconic poor white miner is levied as a rhetorical brick against this reading of white supremacy. After all, aren’t there black people with Harvard degrees eating caviar while this poor white miner remains jobless in Appalachia? Of course, both people described certainly exist. But, those individuals do nothing to undo the economics of white supremacy, and in fact, they both serve to support the theory. An Ivy-league educated American black person remains a minority.

Given that most black Americans can trace their history in this nation back farther the many White Americans, the lower rates of matriculation of black Americans at Ivy League institutions should be shocking. Think about this. Black people have been in American for hundreds of years, speaking this language, living in this culture, and yet, someone whose grandparents spoke no English has more likelihood, statistically, of matriculating to an Ivy League school. So, what’s the variable? Race. We live in a society where if you are white, you are unmarked. Therefore, you can live within the scrutiny of color. Now, you might be given a silver spoon and the corner office, but white people are not hamstrung by their race. So, black American is succeeding despite the mark of their skin color, and often as one of very few to follow that path. In the story of the black Harvard grad, there are two hallmarks of white supremacy. The road of being a solo person of color in a competitive field is exhausting and intense. Career and academic isolationism, due to few people of color reaching high levels, maintain the current order. But, even more telling, the black Harvard grad is often seen as a product of affirmative action, as if their merit was not equal to white students. The underlying belief is that the playing field was not equal. Certainly, the playing field was not equal. White people have the ability to move within the academic and economic society without the baggage of race. That mobility is an enormous boon, and likely one of the greatest mechanisms that propagate white supremacy.

This mobility is also underlying the issues of the white miner. That people would see a poor white person as proof that white supremacy exists is the ultimate marker of white supremacy. The argument is that white supremacy can’t exist if there are white people who are poor. The corollary to that argument would be that all white people must be above all people of color. In other words, that argument is complete within the norms of white supremacy, where whiteness is an essential state of being. If whiteness was the issue there, the poor miner could be any color, and the argument would be about the shrinking periphery in our society. But, instead, his poverty is seen as surprising because he is white, i.e., of the privileged state in our society.

What do this poor miner and black Harvard grad have to do with museums?

Whiteness is inextricably linked to the work of museums. Museums are part of the Western (white) society. Often collections are born of the very colonial state that propagated white supremacy. Art museums certainly hold collections born of colonialism, such as Asian and African collections. But, other museums also profited from colonialism. Fossils from all around the world call Western nations home, for example. Even the very idea of collecting and cataloging is a Western one. Denying this history does not negate it, but instead allows this history to subvert any changes we attempt to put in place. After all, we know that the monster under the bed has more power when unseen and threatening; once faced, its hold dissipates quickly.

However, language and translation might be some of the most useful elements of white supremacy that permeates museums. Museums attempt to share ideas with patrons to help them connect to collections (and share collections to connect patrons to ideas). In other words, museums are basically communicators. This places museums in a power position. They have the power to chose what is communicated and how. Often, museums communicate in ways that support the current order, and therefore they support white supremacy.

Museum staff remains largely white, so the nuance of language and the bigger cultural issues of white supremacy often feel academic, which gets us back to our miner and Harvard grad. The class is certainly an issue in museums, but generally, many more white people of lower classes have been able to pass into the upper levels of museum administration than people of color. Diversity and inclusion efforts have brought in more people of color, but the numbers are low. People of color, therefore, become isolated and often disenchanted.

So, what can museums do?

There are many ways, small and large, that museums can deal with white supremacy in their work. First, though, museum professionals need to face up to the fact that white supremacy is a lot more than guys in sheets and that they are part of the problem. Museum professionals need to think about what white supremacy means within society and within their work. Without coming to terms with the fact that white supremacy is a powerful state that has suffused our society, they have no hope of moving towards a racially equitable state.

On Thursday, we will have some concrete examples of white supremacy in museum work.

The Game is Up: Game Design as Part of the Interpreter’s Tool Kit

Serious Games in Virginia is this week. Here is the gist of the ideas that I shared.

Why Games?

Games are about experience, interaction, and engagement with ideas while fueled by competition, camaraderie, and humor. Education has tried to capitalize on these elements in games as the ultimate form of constructivist learning.  No other form of content engages people quite like games.

Think of all the ideas absorbed while fighting to win. (Boardwalk is low rent; Carcassonne is one seriously walled town; the Oregon Trail was no joke.) Beyond the facts gleaned, games drop players into worlds where learning the systems and rules was imperative for victory. In a well-designed game, the player’s joy and desire propel them; learning is, therefore, self-fueled and addictive.

So Educational Games are a no-brainer?

What teacher, content-writer, interpretation professional, etc. don’t want people to be addicted to their ideas? But, the challenge is that games need to have an inherent authenticity that can be crushed by contrivances. Putting too many constraints and requirements during game design is a sure way to kill the game. This problem is at the heart of the challenges many people have with the term “edutainment.”  Detractors point out that games are inherently educational, after all as they teach systems and interactions; edutainment is a way of hobbling good games with excessive content.

Truthfully, I am on the fence about edutainment. I like the idea of games as a way to get people into ideas in an entertaining way. My issue with edutainment and any other content-based game is about expectations and design. Games can’t do everything for everyone. Games are darn-hard to design and even harder to perfect. Games that feel easy to play are hard to design. Content-providers and educators must manage their expectations for the game. So, what’s the way to get the best content-based game? Scale back content expectations, increase the time for design, and test the heck out of the game.

What are the decisions you make to create game-based interpretation? How do you think about the audience?

First, when planning a game figure out who is playing this game and what their actual behaviors are. But, thinking about the audience requires nuanced considerations. All people play games sometimes but not all people want to play games all the time. In other words, games seem universal, but they aren’t. Often, content-providers are simplistic in considering who wants games.

Children seem like an obvious audience for game-based interpretation. Sure, games often work for kids, but children often want to play games to exclusion of everything else. Ever had to play Candyland until you consider gumdrop-icide? A family exhibition that needs fast thru-put might not be the best option.

Adult audiences have not lost all joy in life; they are not inherently-game averse. But, some types of games will turn off some adults. Role-playing games draw some adults for almost the same reason that they turn off other adults. LARP lovers want to be immersed, taking pride and joy from all the nuances of language and dress required to get into it. LARP-averse folks do not want to get into it—at all. (And, yes, I know that LARP love isn’t just a binary pro or con, but more of a spectrum.)

Practically speaking, game design is expensive in terms of time and energy. The most logical conclusion might, therefore, be to plunk money into a game that works okay for most audiences. But, designing games for slightly specialized audience slices can be easier and more successful. A good approach is to pick a sizeable chunk of the overall audience, say the largest sector of an exhibition audience, and plan for them.

After honing in on your audience, you need to focus on time, space, and depth. How long will people spend, at a minimum, to play one round? Time considerations should actually be considered before content ideas. If you only slot in 1-2 minutes, you cannot expect players to learn about all the nuances of the 100 Years War. Alternately, if you are creating a game that makes people WANT to learn all the nuances of the 100 Years War, you need to accommodate longer gameplay. Therefore, content is a function of time and space. Have a game where players can sit and dig in? You can go a little deeper with content. Only have space and time for a quickie? Hold the content tight and concise.

Finally, make sure experience goals are more important than content outcomes. In other words, make sure players enjoy engaging with the ideas. Think of that saying that Coco Channel said about taking one thing off before you leave. Scale down your content goals at least once before designing your game, and then be okay with having to scale back again after playtesting starts. It is better for players to really understand a few ideas while playing a fabulous game than being turned off by a whole host of ideas due to a terrible game.

Who should design a game?

Game design is a specialized skill, in certain ways, but also a learned skill. A full-time game designer has years of experience to draw upon. A museum profession or educator has years of knowledge and teaching to draw upon. In my previous museum work, I lead a team that developed games. Creating games bonded the teams and surfaced the complementary skills amongst the staff. Yet, we were often working long, un-competed hours to make our games. We were often unsupported by our institution.

So, the question about who should design a game is a complicated one. Now, as a consultant, with the pleasure of distance, I think game design can be exquisite torture for museum professionals—worth doing for the joy but torturously hard-work. Pairing institutional content people with game design people allows the museum/education people to have the joy of creating the game without the exhaustion of working through design and playtesting without support.

What makes a game successful?

I live in a mixed house-household—Scrabble-haters and Scrabble-lovers. While true, I mention this useful fact because even the most successful games will not hit 100 percent of players. So, firstly, success cannot be measured by the percentage of people who play. Instead, focus on the quality of experience for the people who did engage with the game. Did they enjoy the game? Would they play again? Would they tell friends about the game?

After focusing on enjoyment, then focus on content outcomes. This will be hard for educators and museum professionals, as they are generally focused on sharing information. But think of it this way. If your players were miserable but understood your content goals, you failed and made people unhappy. If your players had fun but didn’t understand your content, you failed but at least your visitors were happy. The best game, of course, helps people engage with content joyfully. And, that is totally possible, as long as you are completely aware that content success only happens when a player experience is at the fore of all decisions.

Content Touchpoints

Often museums preference onsite visitors to offsite ones. But, both types of visitors engage with ideas; and both groups overlap. The numbers can be astonishing.  Art Institute of Chicago has about 1.5 million onsite visitors and 706000 on social media. LACMA 1.2 Million onsite and 2 million on social media platforms. Museum technology, particularly social media, might reach those who otherwise would never even thinking about your museum. Sometimes social media might draw visitors to the site, but that isn’t the point of social.  Thinking holistically about content, and consider BOTH onsite and offsite visitors allows interpretation to implement better differentiation by format for the audience.

For more about digital interpretation, read When Content is Global: Digital Interpretation

Content Considerations by Visitor Segment

 

Museums have a good number of people (infrequent and regular visitors), who have a need for fairly general information. Within that group, you have a small portion that is especially unlikely to know your norms. This small group, infrequent visitors, is incredibly important. In design, they often say design for the extremes. In other words, pay special care to the people who have special needs, and everyone will feel special. So, when you work hard to make sure your labels meet these infrequent visitors, your regular visitors will win.

Read more about Labels in the World of Information Overload. 

Onboarding and Interpretation


Museum interpretation professionals are creating content for people who generally know less than them. Getting the right amount of content requires understanding the visitor. Tools like content mapping can help organizations get their content right. But, all museum professionals need to remember that their visitors have different baseline knowledge levels. Onboarding is a classic corporate word that encapsulates the idea that people might need a bit of aid to get connected to an organization. I always picture a ramp when I think of the idea of onboarding. Some ramps are short, when there is little small between two elevations. Others are long. The ramp is a good metaphor for the onboarding needs of visitors. People who know a great deal about the collection area will need little onboarding. (But, these people are also the ones who are the power users of your content.)  Casual visitors are often also people with greater onboarding needs; they have less pre-knowledge. Keeping the issues of onboarding in mind as you develop content will help you create content that meets the various needs of your visitor-base. Remembering that everyone comes in with different needs and pre-knowledge, also helps center the visitor in the customer experience.

Content Journey Mapping to Hone Interpretation Planning

Content in museums where theory becomes practice. The best-laid plans of mice and curators are exposed to visitors. Then the visitors wander through the installation spaces like pinballs. Anyone who has wasted serious coin on pinball machines knows that winning the jackpot is equal parts skill and luck. Frankly, good interpretation is similarly a bit of both as well.

Hedging Your Bets

First probably, organizations will develop more content than visitors will consume, because visitors are a complicated and varied bunch.  You can use some tools to help you develop the scope and goals for your content, but you will basically still be developing a bigger net than you need. Overall, you are giving more visitors will consume because this approach is the best way ensure there will be something for everyone.

But, producing more content than you need doesn’t mean that you should produce content indiscriminately. Instead, like a good poker player, you need to be strategic about what you need and what is out there. You need to think about what content works best on each platform, and what content is most necessary onsite. Basically, you need to find ways to parse out the idea based on the visitor’s needs.

The map about is an idealized, though fairly common, content journey map. Most people will receive content about the museum on social. (Some visitors might use the website or an app, but they are in the minority). Once they are onsite, visitors will be bombarded with content. There are labels, audiotours, tours, interactives, classes, and catalogs. Most visitors will engage with a small amount of this content. An interested visitor might then return home to engage with a bit more content, like flipping through the catalog or looking at the museum’s facebook posts.

Why do this? 

Content mapping is a useful tool for everyone working on content. This tool helps the whole organization understand how interpretation overlaps many functional areas. Visitors don’t see the silos in museum organizations. In fact, when there are disconnections between social media text and labels, this can be confusing for visitors.  The visitor experience is improved considerably when everyone sharing ideas with visitors works together.

Mapping also helps museums understand the role of each type of content. Interpretation is usually focused on onsite content, most often formal tools like labels and catalogs. But, other departments are instrumental in interpretation. Social media, for example, is an incredibly important content delivery device. Social media is often relegated to solely marketing. But, social media also serve important roles in engaging with installation interpretation. Social media can hit a casual humorous tone that can entice and charm visitors. Social media can help onboard people to the ideas about collections, helping visitors learn interesting kernels of information that scaffold deeper understanding.  Social also plays an important role in changing people from casual to regular visitors. Social media is an engaging and regular tool to invite people to continue to engage with the collection after a visit. Also, casual visitors are most likely to share their feedback about their museum experiences over social.

Conclusion

Content mapping is a tool that helps museums understand how visitors actually use content, both onsite and offsite. This type of tool can help different functional areas think collectively about interpretation and their visitors. Tools such as this are essential to creating a cohesive customer experience.

Appetite for Content by Visitor Segment

When planning content, interpreters need to perform a weird type of math.  After they formalize their process and create their goals, they then need to edit their desires to meet the visitor desires. Getting just the right amount of content is challenging to say the least. Part of the program is that the majority of visitors use very little information, but then there are the frequent visitors need a high level of information (partly as they come frequently). Additionally, relative or power users are super keen to access information, and they are often donors. Firstly, go back to your goals documents. Tailor content needs to make sure that visitor desires are addressed in the interpretation. This is a great moment to do research. In almost every instance, museums will still deliver more content than visitors need/want. Evaluation can help organizations get better (over time) at creating the ideal amount of content.

Hack the Bureaucracy : MuseumNext 2018 London

Hack the Bureaucracy ( #MuseumNext 2018)

Note: These are my notes from my MuseumNext London 2018. I presented with Paul Bowers, so many of these come out of our shared conversations. I only included my parts of the talk in this write-up. 

Museum workers are doing amazing work. Millions of objects are in care for posterity. Billions of visitors experience galleries annually. Billions of dollars are added to the global economy thanks to museums. Along with these quantitative outcomes, museum workers are making an enormous change in the field and in the lives of visitors.

The onus of all this work can be exhausting to employees not to say the least because museums workers often need to do all this good work all the while feeling like there are doing battle in their offices. Yet, this feeling of fighting the systems at work is something no worker needs. Finding ways to work well within work systems can help all workers free up mental space to do the real mission-driven work they want to do.

Has Museum Work Changed? 

The museum-goer of the 19th century might be stunned if they were transmitted to the present-day museum. As leisure has changed, museums have also changed. Installation practice has certainly changed. Technology has transformed all aspects of the museum experience. But, in its essence, museum work is about connecting people to ideas and objects. So, while the products of museum labor have changed over time, the central tenets of museum work remains fairly consistent, partly because the running of the museums has not changed all that much. Museum remains bureaucratic, hierarchical systems that place a high value on expertise.

How do you hack the bureaucracy?

Paul and I think of this as a sort of emotional Tai Chi. We think of work relationships and actions as a sort of pushing hands, where you and your colleagues are working with (not against each other). Work is easier when energy is shared and harness, rather than wasted on working against each other. Now, this is easy to say but can feel like a tall order. Here are some tips to help you be able to work with people rather than against the bureaucratic orders.

Being Honest about Yourself

Think about words like bureaucracy, change, process, and strategy. What is your first idea when you hear those words? There is no wrong answer. Checking your own ideas is essential, though. You cannot act effectively if you don’t know where you stand now.

You might have a negative feeling about the idea of bureaucracy, but it is not inherently bad. In fact, those aspects of bureaucracy that are might feel bad(the slowness of approvals or the lack of power) can also be seen as the positive aspects. No system is bad or good. It is the way people work within the system that colors the way that people think of that system. Bureaucracy is a tool and it’s about communicating with different people.

The other caveat about knowing yourself is to remain thoughtful about how people react to you. Many people might feel like change agents and this is stressful. But the other roles are also stressful. Think of it this way. Some of us are big voices. Some of us live at 100 mph. Others live in quiet ways. Some people live at a stroll. All those people have to work together. The variety of humanity is at the crux of our infinite innovation but also the source of much of our emotional exhaustion. Knowing how people relate to you is decrease the emotional exhaustion you feel (and cause) in interacting with others.

2. Don’t hate on the system. Retrofit the System.

Let’s think of silos. Silos are just tall buildings that hold grain. They are a wonderful tool for holding and saving corn. They work so well that most American farms have one.

In the workplace, silos are have become a metaphor for calcified, stagnant, and/or pooled workforces. But, the silo is not inherently bad. (Think of how it keeps all that corn safe.) In work, silos can group like functional areas, giving a group of people an affinity support group. What is worse, however, is when allowing silos to become sealed. If those people in the department are excluded from cross-fertilization with other teams, then work becomes stagnated. How do you keep from letting worker rot in silos? Foster ways for people to work between silos; think of these as personal ladders. Cross-functional work teams, for example, build work bond between teams. For more on this topic, I have a long blog post. 

3. Do You, because You Do You Best.

This Chinese image sets the fish and the rock against each other. You can think about what makes either of these adversaries more likely to win the battle. Rocks are strong, stable, and hard. Fish are agile, mobile, and part of a collective (not to mention sentient). But, overall both are worthy adversaries.

Fish are just fish. They likely don’t have existential about the nature of swimming or being in schools. They swim, eat, and swim some more. Humans have some many ways to complicate our existence. We often lose sight of our strengths and pretend to be someone else. But, think of if you really focused on working from your strengths, like being the swimmingest fish, how much better you would feel at work.

This rock and fish image is a good visual mnemonic for a meeting. Everyone has a strength. When you are in a meeting, you might feel like you are the fish, but remember you are just as worth a foe as the rocks in that room. Try to find ways to work from your strength, but also know that everyone has their own strength. Slow moving people can easily be thought of as considered thinkers.

4. Reach, Reach and Repeat

Flexibility is one of the most important skills of the contemporary worker, and yet it is one that we rarely train employees to learn. You might be curious that I discuss flexibility as a skill. Sometimes people discuss mental flexibility as an innate quality rather than a learned one. When you reframe your notions about flexibility, you are practicing flexibility.

Just like stretching, learning to be more flexible is about regular practice. Put yourself into positions where you feel uncomfortable. Do things in ways that you usually don’t. Try out communicating in a way that is different than you usually enjoy. Be thoughtful about the ways that you interact, and notice how those new methods feel. Basically, explore other ways to interact with your colleagues and other methods of doing your job. When you make mindful choices to explore other ways of things, you expand your status quo and you become more resilient.

5. More Time on You and Less on Them

Humans have survived for millennia thanks to their ability to read each other quickly. On unsafe roads in the Dark Ages, for example, one’s life depended on being able to read fellow travelers — fast. But, this skill can also be problematic. Very often in interpersonal relationships, we mistake people’s reactions due to misreading their body language.

For example, all the figures in the image above are standing in different gestures. If I asked you to pick out the person who is unhappy, you might point to the guard in the corner. Now, let’s say that this image was made ten minutes before his lunch hour. Is he unhappy or hungry? How will you know? The only way to know what someone is thinking is to talk to them. Without hearing what they are thinking, you are simply projecting.

Instead, take time to really understand your feelings and your reactions. We often have certain situations that make us bonkers. For example, I can’t handle when someone replies about the quality of the product with a statement about the amount of time required to do it. For me, time spent doesn’t equal quality of the product. For a long time, I projected my frustrations onto those people. But, then I realized that my issues about their workplace were actually my problem. I was not doing a good job of communicating that I valued those people’s work. I was projecting my beliefs of efficiency and labor onto them. I realized that they wanted their time-spent to be valued. So, instead of projecting my frustration, I should have been more focused on thinking about my ideas of work value and efficiency.

6. Be a Team Player and Understand Your Team

Most museum teams are a group of people from different departments working together towards a goal. Usually, we only have one person per functional area. So, your peers work together but each person does different work. As such, you might not actually know what that other person does. You need to have to trust everyone to work together and do their role. But, you also need to support all of the members of the team, not solely the lead or the loudest person. If that project is mounted, every person who worked on it was the reason it happened. Every person deserved credit. And, most importantly everyone was essential to that project’s success. Work is a team sport. When we allow credit and success to seem like an individual activity, we devalue everyone’s labor and diminish our future work.

To read more about finding your role on your team, enjoy this blog post, “Teams, Roles, and Being You.

 

These notes are part of my talk for the 2018 MuseumNext London. Learn more about this conference here.

The Sweet Spot for Interpretation & Questions for the Whole Team

 

The ideal interpretive approach is about blending staff ideas with visitor insights. First and foremost, the team should consider and understand what visitors want from your organization using formal evaluation. Without this information, your organization is working blind.

With that research in hand, the team needs to spend some time working together dealing with big issues. A previous colleague used to call these types of meetings the come to Jesus meetings. While I don’t have that same cultural reference, I would say that these are the courtship meetings. These meetings help you learn about each other and your ideas about your collections. The questions in the graphic solicit anecdotal ideas about visitors as well as input about institutional culture/mores. Organizations often ignore staff input about visitors as being less important than formal visitor research. This move is wasteful. As long as the anecdotal input is balanced with research, this staff insight should not be disregarded. Staff members of all types are experts in visitors; don’t discount this rich source for information.

Ideally, internal staff input, such as the answers to these questions, are balanced with visitor research to develop the sweet spot organization. Each organization will have a different sweet spot. In the end, your team can develop a document that articulates the following:

  • Visitors Want:
  • Visitors will feel:
  • Visitors will understand:
  • Ideal experience
  • Experience limits
  • Ideal content tone
  • Content limits
  • Culture Norms
  • Institutional Limits

Before you start this process, make sure everyone on you have a strong understanding of each how work culture can affect the process.