Tuesday, August 28, 2018

What Church Planters Taught Me about Welcoming New People into Community Organizations

This summer, a gift landed in my podcast feed: a five-part series on evangelical church planting.

This podcast series didn't come from a Christian source. It came from Startup, a podcast about entrepreneurship. The series focuses on the intersection between mission and hustle--a battleground familiar to many nonprofit leaders.

I've been fascinated by church planting for a long time. Not because of religious affinity--I'm an atheist Jew--but because church planters teach me new lessons about relevance and inclusion.

Church planting is the act of creating new churches, often targeted for people who may not feel like church is relevant to them. Church plants bring the message of Christ to new people in new ways.

Like church planters, I'm passionate about connecting new people with mission-driven community experiences. I see church planting as way, way outside my comfort zone--leading to surprising, catalytic lessons.

Here are two reasons you might want to join me in learning from church planters:

1. Church plants are petri dishes of innovation when it comes to inviting new people into mission-based organizations.

Church plant pastors are a lot like other nonprofit leaders. They're passionate about organizational mission. They want to connect people to work they perceive as life-changing and sublime. But church planters pastors differ in an intriguing way: they are unapologetically evangelical. Their evangelism makes them creative, courageous hustlers when it comes to inviting new people into their work.

Some nonprofit leaders are put off by evangelism. It seems pushy, or gauche, to insist that passersby check out the art center or adopt environmental habits. We want people to be inspired by our mission... but we want them to come to it on their own. Instead of evangelizing, we hedge. We court newcomers, but not too much. If they don't come running to us, we demur. We don't want to be too exposed. We assume they just weren't interested. We drop it.

Evangelists don't hedge. They feel called to share the mission, to spread the message. They may be pushy, but they're also more whole-heartedly invested in bringing in newcomers. And that means they take bigger risks and attempt wilder experiments in making their work relevant.

Put in a daycare center? Hold services in a brew pub? Evangelists push themselves to reach new people in new ways. There's a lot we can learn from their experiments in pursuit of relevance.

2. Church plants are part of a healthy ecosystem for innovation and diversity--the kind of ecosystem I wish we had in the cultural sector.

The biggest, most established churches don't see church plants as threats. They see them as innovative feeders. Tim Keller, head of the giant Redeemer Presbyterian Church in NYC, claims that new churches are 3-6x better than established churches at attracting the "unchurched." And so Redeemer plants new churches. They don't just do it in far-flung cities. The majority of the churches they plant are in New York--the exact same city where Redeemer operates.

The result is an ecosystem in which large and established institutions help fuel new and risky ones. The rationale is both generous and self-serving. It's an abundance model, premised on the idea that more churches means more Christians and a better world for everyone. New churches bring new people to Christ. They bring new donors to Christ. And they bring fresh, innovative methods to pastors of churches old and new. So big churches like Redeemer spend time mentoring and funding church plants.

What would it look like if our largest organizations actively championed and funded new, experimental upstarts?

What would it feel like if we approached new potential audiences with the zeal of pastors on a mission?

What else can we learn from the weird and wonderful world of church planting?

Check out the podcast and let me know what you think.

Wednesday, August 01, 2018

Who are We Protecting?

I remember the exact moment when I snapped. I was at an informal talk by a visitor research professional from a large American art museum. The presenter was a few minutes in, setting context about a recent rebranding effort at her institution. "Our real challenge," she said, "was how to attract new audiences while protecting loyal patrons."

My eyes locked on that phrase on her slide, "protecting loyal patrons." I couldn't let it pass. I asked her: "what are you protecting them from?" A colleague of mine helpfully added: "who are you protecting them from?" The conversation went downhill from there.

I'm grateful to this presenter. She put in black and white what goes unsaid in so many talks and press releases. Cultural institutions are willing to change to attract new audiences. But not at the expense of the pain or discomfort of loyal patrons.

Some people might argue that protectionism is the natural political position of a collecting institution. These institutions exist to protect heritage. To protect artifacts from harm. To protect and preserve that which would otherwise be discarded or destroyed.

But when it comes to people, protectionism is problematic. Loyal patrons don't need protection--even if they may be the people who gave us those artifacts. Loyal patrons get most of our attention, assets, and appreciation. And they already have most of the power. They are, on average, wealthier, whiter, more educated, and older than the general population. They are, on average, people with privilege. They may feel that their privilege is at risk, or fragile. But that doesn't mean they don't have it.

For people with privilege, protection is a waste of resources that demeans their agency. Loyal patrons don't need to be wrapped in archival tissue paper. They need to be engaged in change processes. They need invitations--to participate, to be part of the new, to embrace the unexpected alongside the familiar. Just like new audiences, loyal patrons need to be welcomed into institutions full of different people, experiences, and opportunities.

When the MAH was changing aggressively, we embraced Elaine Heumann Gurian's idea of "the museum of and." We didn't want to reject some people and anoint others. We wanted to build a truly pluralistic institution.

Most of the time, this strategy works. When confronted with a conflict between two groups, or two ways of experiencing the museum, we choose both. We bring them together. We build bridges. We choose "and." But when we have to decide--and sometimes we do--we try to stand on the side of those who have less power in the given conflict.

For the MAH, siding with the less powerful is part of our work and our mission. When an institution protects powerful people, it hobbles its ability to involve new people and grow more diverse. Organizations often protect powerful people at the expense of the very same new audiences they seek to attract. Protecting power means protecting the power structures that put whiter, wealthier, more educated, older people on top.

This incident happened at the same time ICE started separating families at the southern border of the U.S. My colleagues at the MAH were working with local organizers on the Santa Cruz #FamiliesBelongTogether rally (which ended at our museum). My colleagues were working with partners in the Latinx community who were receiving overt threats. These partners--who represent audiences we have recently worked to attract--were afraid for their loved ones. Their rights and safety were at risk.

Who are we protecting?

Tuesday, July 10, 2018

The Art of Gathering: A Fabulous Book to Help You Host Better Meetings and Events

I remember the first staff meeting I ever ran. I had just started at the MAH as the new executive director. The museum was in huge financial trouble. I wasn't sure we were going to make payroll that week. But I also had a more immediate problem: I had no idea how to lead a staff meeting. I felt like a new teacher on the first day of school. Everyone's eyes on me, expecting something. I had no idea what to do.

I didn't know how to open a meeting. I didn't know how hold power and share it. I didn't know how to kick off a productive conversation, make group decisions, or close a meeting with energy. I knew that I didn't want to replicate the droning report-fests I'd encountered in other jobs... but I felt like I didn't have any alternative formats to draw on.

The weird thing is that that wasn't true. I'd spent years leading workshops around the world as a consultant. My expertise was on inviting strangers to participate in public settings like museums. I had lots of creative formats for drawing people out, sharing stories, and working collaboratively. I had tools to achieve everything I wanted to achieve in that staff meeting. But for some reason, I applied none of those lessons to my new situation. It was as if I had bought a new car and lost all memory of how to drive.

Priya Parker's wonderful book The Art of Gathering shares the core principles of how to drive. Whether you dream of better meetings or you're planning a community festival, I urge you to read this book. Parker argues that all events--from team meetings and picnics to conferences and weddings--are opportunities to come together with purpose. The book explains how to host events with purpose, drawing lessons from intimate parties, mass happenings, and international summits. This is one of those rare non-fiction books with the killer trifecta: strong stories, specific takeaways, powerful vision. It made me feel more confident about what I already know and eager to push myself further. It's an easy read, and if you're like me, you'll want to put it into practice right away.

Here are my three big takeaways from The Art of Gathering:
  1. Hosting is an exercise in courageous leadership. When you host an event, you have the power to define what happens. It takes courage to assume that power. If you shrug it off, you hurt the event. Too often, a conference moderator will tell each panelist they have exactly five minutes, and then do nothing when a speaker heads into his 18th minute at the podium. Too often, a dinner party host will airily encourage guests to "get to know each other," without providing fuel for connection. When we abdicate hosting responsibility in an attempt to practice humility or democracy, all we do is let someone else take over. Instead, Parker encourages all event hosts to adopt a stance of "generous authority." Take the lead. Set the table. Invite people into participation. Redirect when needed, even if it feels uncomfortable. You'll end up doing more work than usual--and getting the results you want.
  2. When participants are diverse, explicit rules help. I admit: I've never been a fan of events that start with the group writing rules for the day. It always feels contrived and dreary to me. Of course we know not to look at our phones, or to listen with respect. But Parker makes the point that the more diverse the participants at an event, the less likely that they have shared expectations about etiquette or ground rules. Creating event-specific rules can level the playing field, make the implicit explicit, and create a specific culture for the event. Parker calls these event rules "pop up rules," and they can be as silly or serious as desired. First names only. Everyone must wear a hat. Sit next to a stranger. These kinds of rules have the surprising dual effect of helping people know what to expect AND making events more memorable.
  3. Strong events deserve strong endings. Many events close with a whimper when we yearn for a bang. The end of an event is one of those moments when the host has to actively practice leadership (and often abdicates). The host has to decide to close the discussion. To clear the plates. If you don't decide as host, people will straggle away, some exhausted, some feeling guilty, all missing out on the opportunity for a shared closing moment. At work and at conferences, we're often "saved by the bell" of the clock telling us the time is up. But why are we letting the clock close our meetings for us? If we open meetings with purpose, we should close them that way too. Closing rituals seal the shared experience of the event and launch us back into the real world with the event's imprint on our hearts.
The Art of Gathering expanded my understanding of what it means to build a powerful culture of participation. Events are not all logistics and content. The way you welcome, the way you host, the rules you make, the way you say goodbye--all these play major roles as well. As Parker writes in the introduction: "Gatherings crackle and flourish when real thought goes into them, when (often invisible) structure is baked into them, and when a host has the curiosity, willingness, and generosity of spirit to try." Sounds like great participation to me.

Tuesday, June 26, 2018

Taking OFBYFOR ALL Out for its First Live Call to Action [VIDEO]

Last week, I had the great honor of launching the OFBYFOR ALL global initiative as the opening keynote speaker at MuseumNext in London. The talk is a 35-minute introduction to the OFBYFOR ALL framework, with a museum bent given the audience. I hope you enjoy it. Here's the link if you can't see the video embedded below.



This talk was a real challenge for me to write. In the past, I treated keynotes as opportunities to share insights and stories. I rarely shared explicit calls to action beyond the option to buy a book. I tried to do a great job, but it felt safe. I didn't feel like I had anything on the line.

With OFBYFOR ALL, the stakes feel higher. We hope this project sparks a set of tools AND a global movement. So I don't just want audiences to enjoy the talk. I don't just want them to learn something from it. I want people to take action. To sign up, join in, and help us build a more inclusive world.

I care deeply about this call to action, which increased my vulnerability and nervousness in writing the talk. It increased my sense that I needed the audience. Without them, without you, there will be no global movement.

So I got stuck. I agonized over the talk. I spent hours trying out and scrapping material. I was afraid I couldn't give a talk that would inspire people to participate.

I broke through when I realized I'd been here before. I realized I was feeling the same fear and excitement that comes with any truly participatory project. We've launched many projects at the MAH - and in my own personal work - that only succeed if people respond to our call to action. Exhibitions that only exist if enough people contribute artwork. Projects that only happen if partners show up to meetings. Books that only get edited if people decide they want to help.

For years, I've believed that the most powerful question you can ask to shift to a participatory mindset is: how can participants help make this project better? When you ask this question, your relationship with participants starts to change. You start to need them. The power dynamic swings towards them. If they are the ones who can make the project great, then you get really focused on inviting them in the most powerful way possible.

OFBYFOR ALL will only impact millions if many people at many organizations get involved. And so I tried, with this talk, to invite you to get involved. I hope watching this video will encourage you to do so too. And if it doesn't, let me know why. This project is in its earliest stages, and I'd love any and all feedback on how we can make the invitation to participate as strong as possible.

Wednesday, June 06, 2018

Want to Work at the MAH? Two New Jobs Building Community & Social Change

The Santa Cruz Museum of Art & History keeps growing and experimenting in our quest to build a stronger, more connected community. We have several jobs open right now, but I want to highlight two for people with passion for building community in new ways.

The positions are:
  • OFBYFOR ALL Communications Catalyst: to fuel the OFBYFOR ALL movement by organizing civic and cultural professionals online and at conferences around the world. 
  • Dialogue Catalyst: to work with local partners to co-develop an exhibition that sparks social action around issues facing socially-isolated senior citizens. 
Both these people will lead innovative work to build community locally and globally.

The OFBYFOR ALL Communications Catalyst will be the online host and voice of the growing global OFBYFOR ALL movement. In this job, you will welcome, motivate, and collaborate with civic and cultural professionals around the world who want to make their organizations OF, BY, and FOR their communities. If you're a great writer with experience leading digital community organizing or campaigning efforts, we want you. This is a full-time job with benefits and a salary range of $43,000-$48,000 per year. Here's the full description and how to apply.

The Dialogue Catalyst will be the community organizer for our next issue-driven exhibition focusing on the social isolation of seniors. In this job, you will recruit and work closely with a local committee of senior citizens, advocates, artists, and community members to co-create an exhibition and related events. The Dialogue Catalyst is the glue that keeps partners together and makes the resulting exhibition sticky and powerful. If you're a strong community organizer and event producer who cares about seniors  and social change, we want you. This is a part-time contract role, 24 hours/week, with a salary range of $17-$19/hour. Here's the full description and how to apply.

We believe that the strongest teams come from diverse backgrounds. You won't find requirements in these job descriptions to have a master's degree or many years of experience. You WILL find applications that ask you to demonstrate your talents and perspective. We hire high-performing people who are ready to work hard, collaborate, experiment, and get shit done in a fast-moving, fun, community-minded environment. We especially encourage people to apply who have experience feeling excluded or disconnected from the arts. A lot of our partners are in the same boat, and we want staff members who can empathize.

If you think that you are the right person for one of these jobs--or if you know the right person--I hope you will check out the job descriptions and consider applying. Both jobs are open until filled and we are ready to hire immediately. Thanks in advance for spreading the word.

Friday, May 18, 2018

OFBYFOR ALL: Let's Build Organizations that are OF, BY, & FOR our Communities

Today, I'm thrilled to announce the launch of a new global initiative, OFBYFOR ALL.

OFBYFOR ALL is a framework to help civic and cultural organizations become OF, BY, and FOR their communities. We're building tools, trainings, and hopefully, a movement for a more inclusive world.

This project is led by the MAH but global in scope. We're launching it with partners at community-based libraries, parks, museums, and cultural centers around the world. Our contexts are different. Our organizations are different. But we share a common passion for making our institutions of, by, and for our communities. We see OFBYFOR ALL as a way to share and spread that passion--and to convert it into action.

Many organizations think they have a "for" problem. They want to be for more people, or for different people, than they currently serve. I believe that in many cases, the best way to be "for" people is to become "of" and "by" them.

That's what we did to spark transformative change at the MAH. As our staff and board became reflective OF our community, more people felt represented. As we developed programming co-created BY the community, more people felt ownership. As we focused on being welcoming FOR the community, more people wanted to participate. The result? We turned a struggling museum into a thriving community center that is of, by, and for our county.

We are building OFBYFOR ALL to share this playbook for transformation, through proven tools and strategies piloted at the MAH and other community-based organizations around the world. We are building OFBYFOR ALL to help you:
  • assess your organization's current strengths in OF, BY, and FOR work (try it free right now
  • articulate goals for who you most want to involve and develop a plan of action to do so 
  • tackle change, access creative tools and strategies, and get support 
  • track your progress as you change 
  • connect with supportive colleagues at a global network of organizations who are also taking action to become of, by, and for their communities
I'm excited to share the strategies we use at the MAH to be of, by, and for our community. But I'm even more excited to learn about strategies used by innovators around the world who get involved. We see OFBYFOR ALL as itself a project that must be of, by, and for the community of cultural and civic changemakers. We're building a global network across sectors, organizational types and sizes. I can't wait to learn how rural librarians are doing this work. How national parks leaders are doing it. How cultural activists are doing it. How you're doing it.

People all over the world, in many sectors, are talking about demographic change. Talking about inclusive practices. That's great. But I want to see more organizations doing it. I want to help make that future a reality. That's what OFBYFOR ALL is all about.

Excited? Here are three ways to get started:
  1. If you work or volunteer for an organization, try the free OFBYFOR ALL organizational self-assessment. In 5-10 minutes, you'll get a baseline "OFBYFOR ALL score" for your current work. 
  2. If you are ready to take action, sign up for an OFBYFOR ALL bootcamp. In a two-day training, we'll help you map out a vision for community involvement and an action plan for change. 
  3. If you have a network of friends who need to hear about this, share it. Share the website, or this blog post, or one of our posts on Twitter, Instagram, or Facebook.
Happy International Museums Day. Let's celebrate by getting to work to make our institutions of, by, and for all. 

Wednesday, May 09, 2018

How Will You Turn Those New Ideas into Action?

You've just come home from a conference. You finished a book. You aced that course. What are you going to do with all the notes in your journal and ideas in your head?

Over the past year, I've been learning more about what it takes to spark and lead large-scale social change (especially from these folks). One of the most important things I've learned is this: building awareness is not enough.

If you want to make change in this world, you need to start by raising awareness. There's a lot of evidence that suggests that people need to know about an issue before they will act on it. But there's also a lot of evidence that shows that knowledge alone will not catalyze action.

If you want to make change, you need to find ways to translate information into action. That means building organizational will and developing concrete ways to support behavior change. Information does not organically spawn organizational will to change. Organizational will does not magically morph to behavior change. Each of those is a leap, and you need to engineer the jumps.

Think about this in an individual context. Take sleep. Lots of us know that there are good arguments for sleeping 7+ hours each night. But only 40% of Americans do it. We are aware of the issues associated with too little sleep. We know what the solution is: sleep more. And yet few of us translate that knowledge into action. Why? Some people lack the will. Sure, it would be nice to sleep more, but if it's not a top priority, it may not feel worth trying to accomplish. Others have the will but lack the support to actually make the change. How will they carve out the time to sleep more? What can they change in daily routines to help them get to bed earlier? Without the will, without support for behavior change, we don't change. We stay tired.

Imagine efforts to enhance sleep that take the awareness as a given. You might focus on building will by showing before and after photos of people who have made the change. You might create a health calculator that helps people see how much they are hurting themselves by not sleeping. You might encourage couples to compete with each other to see who can sleep the longest.

Or think about behavior supports for change. You might offer sleep coaching and celebrate progress in terms of hours of sleep banked. You might make an alarm clock that will only wake a person 7 or more hours after it is set. You might create an app that rewards people for each morning they report 7+ hours of sleep.

I suspect any of these activities, even the silly ones, would achieve stronger outcomes than another research study on the benefits of sleep.

Now think about the parallels in institutional change. Take diversity and inclusion initiatives. Lots of us know that there are good arguments for making our institutions more inclusive of more diverse perspectives, stories, and participants. How can we translate that knowledge into organizational will? How can we translate that will into action? How can we spend more time and resources in those areas, and less in raising awareness?

As a writer and speaker, I spend a lot of time in the awareness-raising camp. Any time I write a blog post or give a talk, I'm contributing to knowledge that helps build awareness about issues and solutions related to community participation. That feels good. But as the executive director of a museum, I spend a lot less time raising awareness and a lot more time on will-building and behavior change. And that feels great. Any time we embark on an initiative at the MAH, my job is to rally people, get them moving, and support the change. We've led some major efforts at the MAH and in our community. We didn't do it through awareness. We did it through action.

It is incredibly satisfying to lead change in my community. Sometimes being a writer and speaker--raising awareness--can feel risky and fragile in comparison. I put ideas out into the universe without any infrastructure to help them blossom into change. I'm relying on readers and audiences--brilliant, amazing humans all--to do that work themselves. And while I have huge respect for how people convert these ideas into change, I believe there are ways I could be more helpful. I believe there are ways being helpful could help me keep learning and growing as an individual and as a leader of the MAH. I believe there are opportunities to actively, strategically build will and support change around the world.

I've spent the past year learning how to flex will-building and behavior change skills beyond our local context. I love being a participant in global conversations about the future of cultural and civic organizations, and I want to play a more action-oriented role. I suspect many of us do. Stay tuned for an announcement next week about a new MAH initiative to bring people together to do just that.

Let's turn awareness into action and change the world.

Thursday, April 26, 2018

Which New Audiences? A Great Washington Post Article and its Implications about Age, Income, and Race

This weekend was thrilling for me. The Washington Post covered the MAH's transformation as part of an article about museums engaging new audiences. The whole second half of the article was dedicated to our work:
Smaller museums can be especially scrappy in finding ways to connect with the community. One that has found remarkable success is California’s Santa Cruz Museum of Art & History. Executive Director Nina Simon, who was hired in 2011, says that in the years following the global financial crisis, the facility was struggling.  
“At the time, we thought it was financial trouble, but it turned out it was much deeper than that,” Simon says. Museum attendance was at about 17,000 a year, and primarily made up of retirees and schoolchildren. Simon knew something had to change.  
“We said, if we’re going to make this museum successful, if we’re going to make it meaningful in the community, we’ve got to increase the number of people we’re reaching and we have to diversify who they are,” says Simon, who explores the concept of audience engagement and participation in her books “The Participatory Museum” and “The Art of Relevance,” as well as on her blog, Museum 2.0. She says that the museum made changes in hiring and board recruitment practices, and invited the community in to help reshape the facility into a place that reflected and represented its people and their interests.  
The impact was dramatic. Within three years, attendance tripled. Audiences of all backgrounds found ways to connect with museums as it presented exhibitions with the help of foster youth, migrant farmers, roller-derby girls, mushroom hunters, surfers and incarcerated artists, among others.  
In September, the museum unveiled an adjoining plaza called Abbott Square, which includes an indoor public market and food hall with six restaurants and two bars (it’s managed by a partner/tenant, Abbott Square Market), along with an outdoor performance venue with live music, yoga and art events. The plaza serves as a kind of front porch to the museum, ushering visitors old and new.  
“I always say we did not transform our museum by building a fancy building or by bringing in van Gogh,” Simon says. “We changed our museum by reorienting on our community and really saying we exist to be of, by and for you, and to help build a stronger community.”  
It’s something that any museum, of any size, can work toward.
I'm extremely proud of this coverage and appreciate journalist Kate Silver for including us. I'm also always interested in how the national media portrays changes in the cultural sector.

This article subtly juxtaposes two interpretations of what it means to "engage new audiences." The first half of the article covers high-priced events like adult sleepovers and Museum Hack tours at major urban museums. The second half covers our work at the MAH (and by implication, at other "scrappy small museums") to collaborate with community members to co-create institutions for people of diverse backgrounds.

At one point in the first half of the article, Kate writes:
Across the country, you can see a burst of creative approaches within these cultural institutions, all designed to draw in new audiences: yoga classes, pop-ups, custom beer, cat film festivals, nighttime parties with signature cocktails and DJs, dog-friendly days, scavenger hunts and more.
What does this list have in common? Youth. Urbanity. Affluence. Whiteness. This list doesn't include many approaches that I see transforming museum audiences, like political activism, multilingual programming, intergenerational events, or cultural festivals. Even in the section about the MAH, Kate chose to only obliquely reference the work we've done to involve, feature, and hire more people of color. Race and ethnicity are not directly mentioned in the article, but whiteness is implied throughout.

Reading this article made me wonder: what are the greatest diversification issues in museums today? When we talk about the need to engage new audiences, who are we primarily talking about? This article implies that the most important new audiences are white, urban millenials with money to spend.

I'd argue that age and income diversity are important, but that racial and ethnic diversity is a bigger issue in museums today. This is both an issue of practice and of media coverage.

On the side of practice, there's a much longer history and body of organizations working on audience age and income diversity than on race. Conference sessions on reaching young people. Access programs aimed at low-income people. There are many examples across the US of organizations (including the MAH) that engage the full age and income diversity of their communities.

But when it comes to race, there are fewer exemplars, fewer shared practices, and less media coverage. Many are working on it, but only a couple has been recognized in the field or media for fully engaging the racial/ethnic diversity of their community (with the Queens Museum at the top of this short list). I see race as the most important audience diversity issue of our time.

Lots of institutions--and popular media--have helped change the perception that museums are for old rich people. But we're still a long way from changing the perception that they are for white people. We've got a lot more work to do--and a lot more articles to inspire--to effect that change.

Wednesday, April 18, 2018

The Art of Relevance is Now Available For Free on the Web (and Here's Why)

It's finally here! You can now read all the chapters in The Art of Relevance for free online. I hope you'll enjoy this resource and share it widely (with attribution).

You can still buy The Art of Relevance as a paperback, ebook, or audiobook--but you can also read any chapter, any time, online. You can also post comments on any chapter, adding your reactions and questions to the published content.

The chapters are short stories, and most can stand alone. Take five minutes and learn how the Science Museum in London created better experiences for deaf visitors. Or how Food What?! unlocks relevance for disinterested teenagers. Or how Felton Thomas fought the library union to make the Cleveland Public Library matter more.

Why make the book available for free under a Creative Commons license? I do it for three reasons:
  1. It makes it easier for people to share and spread the ideas in the book. Sharing a link is often a lot easier than lending someone a book. I love hearing about staff, board, and student discussions prompted by the book, and I want to make it easy for you to have them. 
  2. It expands access to the book. If you want to buy a book, by all means, do. But if you can't afford it, or you just want one section, I want you to have access to it. 
  3. It helps sell more books. Ever since I started this blog in 2006, I've seen the power of giving away ideas. Over the years, the more I gave away, the more people wanted to pay me to consult, speak, and write. When I wrote my first book, The Participatory Museum, I released it concurrently as a paperback and free online. It went on to sell 5 times as many paperback copies as the top museum publisher predicted in its first year. I didn't have the time to do a concurrent release for The Art of Relevance because of the Abbott Square project, but I'm catching up now. Free previews are powerful. If you start checking out some of the chapters for free, I suspect you'll get even more excited to actually buy the book. And if you choose to read it all online, that's good too. 
At the end of the day, what matters most to me is that you read the book, think about it, share it, and act on it. That's worth more than all the sales in the world.






Tuesday, March 20, 2018

Ten Tips for More Powerful Public Speaking

I love presenting. Standing in front of an audience fills me with adrenaline and calm at the same time. The adrenaline comes from fear and excitement. The calm comes from a sense of mastery. Here's how to get that calm.
  1. Get a ton of practice. Public speaking is a learned skill, even for those with natural talent. Find as many opportunities - professional or otherwise - to present. Make a toast at dinner. Get up at karaoke. Experiment with the same content in different contexts, for different audiences. I started in poetry slam, which was wild, ruthless, and a killer training ground. I learned to give talks in good rooms, lousy rooms, rooms full of drunks. When I switched to professional speaking, I already knew it takes a lot of practice to hone a talk. It's not uncommon for me to give the same talk 50 times in a year. Each time, it gets better. All that practice helps, a lot. 
  2. Develop a meta-narrative for your presentation. What's the big idea or story? Is there a way to express it in a simple metaphor, image, or phrase? If possible, do that--and then repeat, layer, and deepen it throughout your talk. 
  3. Consider using Marshall Ganz's Public Narrative technique. This is a formula that starts with a story of SELF, then a story of US, then a story of NOW. It's a great format for sharing your vision for a new initiative or desired change. I've recently started using this model and I love it, especially when I want to quickly focus people towards a call to action. 
  4. Keep it short. Length is not your friend. Audiences respond better to short talks, and you'll have an easier time staying focused on presenting well. Try to create a 5 or 10 minute presentation, even if you are offered a longer time slot. It will clarify your thinking and tighten your focus. I learned this from doing a couple TEDx talks. Each time I've done one, I've been forced to revise a 60-minute talk into 12-18 minutes. It's ruthless and hard, but once I'm done, that short talk is a clear, powerful anchor--which I can then expand upon as needed. 
  5. Find your own best way to get intimately familiar with your presentation. I take the approach of scripting the broad "moves" in the presentation but not the specific words. Others prefer to script the words and memorize. Figure out what works for you and then don't take any short cuts! You want to be at your most confident when presenting. 
  6. Cultivate stage presence. Your authority as a speaker starts before you open your mouth. Practice a few simple things to establish presence as a speaker. Plant your feet before you start. Pull your shoulders back. If there's a microphone, hold it close. Make eye contact. Trust that if you pause, people will wait and listen. You will know you have presence when you can step up to a mic and people turn naturally towards you because something about your actions made them expect you to speak. 
  7. Start strong. People decide whether to tune in or not in the first 15 seconds. Lead with a bold statement or a story. Do NOT start with a long lead-in or apology for what you are about to say.  
  8. Pay attention to the sound of your words and pauses. You don't have to be Shakespeare to throw in some beautiful phrasing, rhythm, and images. Pauses are powerful too. Small theatrical touches will bring your audience pleasure and increase their interest in your talk. 
  9. Give the audience room to participate. Even if your talk is not interactive, make sure to respect the time and space your audience needs to understand and react to your words. If you tell a joke, give a pause for laughter. If you drop an intense idea, give a pause for consideration. When you rush from one sentence to the next, you don't respect the time and space your audience needs to fully connect with your words. 
  10. Use slides as a springboard, not a lifeboat. There are a million ways to use visuals in your presentation. I mostly use single images, occasionally punctuated with a bold statement or quote. But the most important thing is not which images you use but how you use them. Think of the images as complementary to your talk. They should add depth and reinforcement to what you are saying. Don't read your slides. Don't look to them as a lifeline. Focus on your audience, and have faith that your words and images will come together to create a powerful message.
What tips have helped you most as a public speaker?

p.s. I'll be speaking this year at RevitalizeWA, MuseumNext, and Next Library... I'd love to see you there!