Info You Can Use: Correct Organization Of Personnel Files

by:

Joe Patti

Hat tip to Emily Chan at Non Profit Law blog for sharing a link to a Blue Avocado piece on how personnel files should be maintained. More specifically, what information should not be stored in a personnel file, if retained at all, and what should be kept in separate files.

Some of the prohibitions made sense given the need to maintain privacy of medical records and the fact that some documents must be released to federal inspection and it is inappropriate to provide access to the details of an entire employment history. It makes sense that nothing should be placed in the file that employees aren’t aware of.

There are some other factors I don’t know I would have ever considered when setting up a system of personnel records.

Following are the most important items to exclude:

* Any writing regarding the employee’s performance that the employee has not seen should not be in the file. For example, while the performance evaluation that was presented to the employee should be in there, a complaint memo from a department manager about an error the employee made that was never shown to the employee should not.

* Working notes or logs that a supervisor has kept for her own benefit, usually to assist in the drafting of a performance evaluation. The notes should be destroyed after documenting anything of importance in the annual performance evaluation.

* Any medical information (including drug testing information) about the employee from any source should never be in the employee’s personnel file, but rather in a separate, more restricted confidential medical file. This separate medical file could also include any medical-related information such as documents related to Workers’ Compensation, FMLA and ADA.

* Complaints or investigation reports (harassment, discrimination, ethics, licensing etc.). Any complaint about an employee that is subject to an investigation should not be in the employee’s personnel file, but in a separate complaint file. For example, if an employee is accused of sexual harassment, the only thing that should be lodged in the personnel file is any disciplinary action taken against the employee or a substantiated report of wrongdoing — but not the original complaint or investigation notes.

* These items also should not be kept in a personnel file, but in separate, confidential files:
o Hiring Documents, such as letters of reference, background investigation reports, or I-9s
o EEO Statistical Information for the EEO-1 Report
o Payroll records

In short, to manage all of this personnel information we suggest four sets of files:

1. A personnel file for each employee
2. A separate medical file for each employee
3. One folder that has Forms I-9 for all employees
4. A file (or set of files) for all employee payroll records

Ellen Aldridge, who wrote the Blue Avocado piece, also provides a downloadable check list of items to include. She follows the material cited above with information about what things employees can add to their files, how long you need to keep information, how to store the files and suggested policies and protocol for accessing and reviewing files.

The one thing I questioned, (literally-I ask about it in the comments section of the article), is the suggestion that notes a supervisor has been keeping to base a performance evaluation on be destroyed. The supervisor might be documenting incidents of absence, mishandling of cash or even episodes when customers praised an employee to a supervisor or were witnessed using exceptional judgment and initiative. Wouldn’t you want to retain this evidence if the employee challenged a poor evaluation or to defend the employee against potential layoffs?

There hasn’t been a response to my comment as of publication time. Perhaps the the advice will be to formally include these records as part of the evaluation and the destruction advice refers to informal handwritten notes versus a spreadsheet the supervisor has been maintaining.

If anyone has insight or wants to share their own best practices, I would be interested to learn the answers. My guess is that a modified version of these practices should be applied to volunteer records as well.

Goodwill Benefits Of The Arts

by:

Joe Patti

In the course of this blog I have posted about great customer service experiences I have encountered. I have also mentioned some superlative performances to which I have been witness. Never before have I had occasion to discuss how a great performance has earned me extended good customer service.

Last winter we had a flamenco group perform in our theatre. We had a great audience and some really good outreach events, one of which earned us the commendation of a program officer at the state arts foundation. For this alone, I would be happy.

By some confluence of events, the group and the guest services manager at the hotel we use really hit it off. I am not sure what exactly happened. The group asked us to set aside tickets for about six of the hotel staff. This doesn’t happen all the time, but it isn’t completely rare. In fact, some times I have given comps to shows front desk people have wanted to see.

This time was different from the past. In the course of the group’s stay, the front desk and they really bonded. When the group returned to Spain, they sent the guest services manager a gift. When I met with the guest services manager last week to talk about our room needs for the coming season, she mentioned that she was planning to visit the flamenco group during a vacation to Europe.

As I write this, I almost feel ashamed to admit that I have benefited from this burgeoning relationship. I haven’t pressed any advantage, but the good will the guest services manager has felt has facilitated my operations since then.

Because of flight schedules, just about every group we had perform since last winter has arrived before noon and the check in time was 3:00. In the past we were told that the hotel would try to fit them in, but it was likely they would have to wander around for awhile until the rooms were ready. This past Winter and Spring we were told the first rooms available would be theirs. No one ended up having to wander around and kill time until the rooms were ready.

As a result, the artists were more settled and rested than in the past. They were able to arrive at the theatre at the appointed time and didn’t feel rushed to set up. I can’t say they performed any better than they would have had they been obliged to wait a few hours before they checked in. I do think they left having a more positive view of our organization than they might have.

They had no idea they were the beneficiary of the good will generated by those who preceded them. From the tenor of my meeting with the guest services manager, it is likely the benefits will be extended to artists in our next season as well. Hopefully none of them will cause things to sour.

To me this is one of the intangible benefits the arts bring to the community. If I was just another company bringing a lot of business to the hotel, they would certainly make an effort to ensure all our needs were met. I don’t know that they would be as personally invested in my organization if our entire relationship was based on commerce. How we might benefit from this is a lot harder to measure than economic or even intrinsic benefits. (Though accountants will try to figure it out for you.)

Late To The Confession

by:

Joe Patti

I have only just gotten around to following up on my bookmark of John Killacky’s Regrets of A Former Arts Funder. If you hadn’t read it when it came out in late June, Killacky reflects on some of the practices he engaged in when he was a program officer at the San Francisco Foundation.

Most of his regrets focus on how he and other funders provided support to culturally specific organizations. Among the problems he identifies was the creation of a two tiered funding model that had different criteria and funding levels. It ultimately was not constructive for those organizations relegated to the second tier and tended to perpetuate and reward mediocrity on the first tier (or at least provide no incentive for taking chances). In fact, he also acknowledged, much as Scott Walters recently noted, that grant panels frequently employ evaluative criteria that punishes projects where success is not clearly assured.

I was intrigued by his suggestion that foundations adopt an approach more akin to that of venture capitalists (though not surprising given he worked near Silicon Valley, the VC capital of the nation)

“Maybe philanthropy should have taken a page from venture capitalists’ playbooks, investing more deeply at a significant level over a five- to eight-year time frame, as well as offering a range of non-cash, value-added assistance by sitting on boards, mentoring, and coaching of senior managers, in addition to artistic support. This is not hands-off, outsourced grantmaking. Focus on the triple bottom line and then get out!”

and later

When setting up these programs, I reminded the trustees that not all projects would come to fruition. For many venture capitalists, there is a rule of thumb regarding start-up investing. It suggests that on 1/3 of your investments you will lose all of your investment. On another 1/3 you may make or lose a little. The other 1/3 is where you make your money, and one or two is probably where the bulk of the return is. Unfortunately, this kind of risk-taking would seem foolhardy to funders.

I thought the second paragraph apropos to my posts of the last two days about admitting the arts experience can be disappointing.

One of the commenters to Killacky’s piece expressed concerns about the first paragraph I cited. The idea that foundation officers might come in to an organization that did not serve a traditional arts audience and tell them how they should be doing things seemed to strike the commenter as being even more detrimental than poorly funding the group.

This isn’t an unfounded concern. Venture capitalists often impose their own hand picked management teams on businesses in which they choose to invest and make demands about the way the company should be run. Depending on how it is handled, it either be a constructive or traumatic experience for the start-up that wooed VC support.

Foundations would presumably be entering a relationship with a fledgling arts organizations without the same sort of profit-driven motivation, but could still end up stifling the creative spark with too heavy handed an approach. The feeling that any attention is better than no attention being the stuff on which abusive relationships are made, arts organizations may bow to the demands of foundation officers, grateful that at least they can depend on their support over a number of years.

But obviously it can be a constructive situation for both entities if approached in a careful and deliberate manner. Being that intimately involved with an organization can give a foundation a much clearer picture about the needs and challenges faced by the sector they support than the sugar coated final reports they are getting and allow them to respond accordingly.

If foundations provide technical support and mentors over many years in the form of other working professionals rather than out of their own staff, the foundation can help arts organizations form support networks which will persist after their direct involvement ceases. As they share the fruits of their experience and own best practices, the mentors in turn can gain a deeper view of how different arts organizations operate than interactions at conferences and meetings can afford them.

Info You Can Use: Acknowledging The Arts Experience

by:

Joe Patti

Welcome readers of You’ve Cott Mail and myriad other places. I appreciate your interest in the blog and yesterday’s entry about speaking more honestly about how an arts experience can occasionally be disappointing.

It is with some chagrin that I have discovered NEA chair Rocco Landesman talked about this very subject at the Chautauqua Institution about two weeks ago. One always likes to fancy they have stimulated lively discussion through the introduction of a timely subject. But of course, even I have made posts on the subject before so I can hardly expect to be the only one thinking about the subject.

If nothing else, the fact that Landesman has been speaking about it gives some indication that it is indeed timely and worth discussing. I have tagged this entry as part of my “Info You Can Use” series because Landesman mentions a number of ideas for better audience relations as well as noting some approaches that arts organizations have already put into practice.

“We might see an organization with an artistic director and a co-equal audience director. Rather than a manager of visitor services who reports to the director of external affairs who reports to a deputy director.

We might see fellowships for audience members…What if we complemented artist residencies with audience residencies, where we paid some audience members to attend exhibitions and performances? Or, better yet, what if arts organizations gave stipends to “audience fellows,” so that the fellows could go see whatever they wanted to see at other arts organizations?”

This last bit about encouraging audiences to see performances at other arts organizations isn’t as far fetched as it may initially sound. Back in 2006 the Marketing Director of the Broward Center for the Performing Arts made a comment on the blog about the organization’s plan to let patrons know about performances at other venues. Looking at their website, I can’t quite tell if they are still providing this information, but it looks like the marketing director is still there and hasn’t lost his job over the program.

More from Landesman: (my emphasis)

I visited the Seattle Art Museum, and they now offer “highly opinionated tours,” in which people paid by the museum walk through the galleries talking about the things they like, but also the things they don’t like. One of these docents led a tour in which he explained why Seattle’s Pollock isn’t really a very good Pollock at all.

We need to stop pretending that every single audience member needs to like every single thing we do.

Nick Hytner at the National in London, actually has his box office staff track subscribers’ likes, dislikes, and preferences, and has them e-mail the members and suggest some of the plays they way want to skip. I think acknowledging the viewers’ own tastes—in addition to curators’ and directors’ tastes—is absolutely key.

Madeleine Grynsztejn, the director of the Museum of Contemporary Art Chicago put it extremely well. She said that arts professionals need to learn how to maintain their expertise, while relinquishing control. Madeleine will always have more expertise in contemporary art than I do, but I am still entitled to my own relationship with it, my own experience of it….”

Admittedly, some of these steps are a little bolder than we might be comfortable taking. This is info you canuse, but I make no claims about whether you will wantto use it. Certainly, one probably doesn’t have to adopt something as extreme as advising people not to attend a show. Just acknowledging that the arts experience can occasionally be disappointing in the course of normal conversation may earn good will through its simple earnestness.

Landesman covers other topics in his talk which might be worth a listen to many–especially for the flash mob performance which interrupts it midway. Much of the rest of his talk revolves around the same general theme of the need to support artists and artists needing to eschew the role of being separate and special to become more involved and present in their local communities.