The volunteer as the entrepreneur? Meeting Andreas from YPIA

When you think of networking events, what do you think of? High profile, corporate events that you may only dream of getting an invitation too? Or perhaps daunting occasions were you may be forced to talk to strangers or even ‘sell’ yourself? (Chalk, 2013). In the case of YPIA’s (Young People In the Arts) networking events, perhaps none of these. Andreas Flohr and Niki Wenham set up YPIA in 2008, with the prime aim of providing regular networking opportunities - often promoted as “networking drinks” - for young people working in the arts, particularly in the classical music and theatre sectors: ”YPIA is open to all, but specifically intended for those who are not at a senior management level” (YPIA, 2013).

While many companies choose to organise events were networking opportunities form part of the return on investment for the delegate (Allen, 2007, p.26), networking is at the core of what YPIA do. Even more interestingly, YPIA is formed entirely of volunteers, including the founders, who (as well as heading the organisation) have full-time jobs. Even more interesting is the entrepreneurial element to Andreas and Niki’s idea, which has led to popularity, a strong membership scheme and a steady advertising income.

So, on meeting Andreas, who heads YPIA Music, I decided to put the question: are you a volunteer or entrepreneur? (amongst other questions of course…read on!)

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HM: Hi Andreas…in your own words, tell me why you decided to set up YPIA.

AF: YPIA was originally set up for junior managers because there was a need for a network for like-minded people…there is one for more senior and general managers, who go to seminars and meetings, but networking within the arts is massively important…so we felt we needed to invite, meet up with and have events with our peers…then everything developed from there. We started to meet up every month at the Southbank Centre and soon, there were calls for more events.

HM: How did you go about setting it up?

AF: Originally it was Nicky and I and two other colleagues, who had the idea so we emailed people [and gained support] because at the time there was nothing like this...the need was vital.

HM: Regarding the classical music branch of the organisation, what kinds of events do you put on?

AF: Well it really ranges from [holding] interviews with leading people in the classical music industry to having panel debates covering current, specific topics…such as we had a seminar on the music industry relating to record sales and online sales and how the surge of the internet changes business models… we try to get people together afterwards for drinks and for networking.

HM: Would you class these as networking events then?

AF: Yes, networking is always the central part, whether before or after the events.

HM: Specifically about the volunteers that now make up YPIA…initially how did you go about recruiting and attracting these?

AF: It’s actually been quite difficult…volunteering is such a central element to the entire arts scene…without volunteers, none of the arts [would] exist in the same way…what exists in YPIA is the people who are passionate about getting together and getting involved…managing [these events] in a voluntary capacity, as well as your daily job can be a strain on some people…so the organisation can’t grow in the same way as a professionally run organisation…but anyway…what I’m getting at here is that [the volunteers] need to be carefully organised…you can’t assign specific roles per-say, or ask them to fulfil specific roles…it’s more “how much time do you have?” or “where would you like to get involved?”. We now have a team of 8 committee members that completely take charge of the events throughout the season…they’re really doing a great job.

HM: So, this leads nicely onto my next question! What kinds of roles do volunteers have?

AF: If I start with the 8 committee members, we assign one of them to manage one event of the season and it’s down to those project leaders to recruit a small team to aid them in the event…marketing, finding the venue etc…and Nicky and I oversee the whole of YPIA and manage membership, administration, accounts and tax, as well as looking ahead to interview new committee members for the next season

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HM: What do you think they get out of running these networking events?

AF: That’s a very interesting question…in my mind it relates to the main reason of why YPIA was set up…they can get something that can really help them in their future careers…by running an event they can become in contact with senior members in the industry…I mean, as I said they are not getting paid, and no one here is paid but the organisations [that the volunteers are working for full-time] can really benefit as they may lack funding to put on their own networking events…they can really learn something that they wouldn’t necessarily learn [at work]. I don’t think an organisation like YPIA would exist without volunteers believing there is something in it for them…there is no monetary reward but it’s idealistic…they can get values and a whole lot more out of it.

HM: When you first started up the organisation did you see yourself as an entrepreneur or more as a volunteer?

AF: I don’t think any of us saw ourselves as entrepreneurs…maybe a little…we started by putting on networking drinks…but the number of people that signed up quickly exceeded the capacity of the venue, so we had to re-book. We had expected 30-40 people but we got about 120…and everyone who was there said how vital it was and a lot more came along…[so] we thought about setting up a website, a logo, a venue, which then became a bit entrepreneurial I guess, and of course we had to make the idea financially sound… we earned money from advertising, but not enough to pay a full-time employee…but anyway, that wasn’t our aim…we wanted to set up of network that would benefit organisations…it would not make money, but hold an idealistic purpose, which is where I think the difference is between being a volunteer and an entrepreneur.

HM: Any tips of advice to those perhaps thinking about setting up their own non-profit organisation in the arts?

AF: The first thing to consider is that you need to make your living somehow…you need to be paid so you have to factor that in on whatever you’re doing. The advice I learnt myself was that you have to have a passion for it…[through] the highs and lows you need the passion and the drive to keep you going through the difficult times so choose something you’re passionate about and try it. If you have a sound business plan and the internet to help then yeah, go for it!

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Andreas’ insight suggests that it is not only the recruited volunteers that are seeking ‘something’ from volunteering, but the new wave of ‘entrepreneurial volunteers’ (Idealist, 2013), who, as Kristina reinforced earlier this week, are “taking charge” and doing something for themselves. A lot can also be said for the ‘virtual’ volunteer (Hustinx et al, 2010, p.79), who, along with rapid advances in technology, can “volunteer in [their] pyjamas” through managing online website content, for example. Picking up on Andreas’ closing advice, this kind of volunteer, juggling a full-time job whilst managing a voluntary project, is vital for the successful survival of a new, non-profit organisation. Perhaps, in these ‘tough economic times’, a growing significance on the ‘entrepreneurial’ yet ‘virtual’ volunteer will be seen in the next couple of years.

References

Allen, J. (2007) The Executive’s Guide to Corporate Events and Business Entertaining. Ontario: John Wiley and Sons.

Chalk, K. (2013) an insight into networking events [Online]. Available at: http://kerrichalk.com/2013/01/11/networking-events/ (Accessed: 28^th April 2013)

Hustinx, L., Handy, F. and Cnaan, R. A. (2010) Volunteering in Taylor, R. (ed.) Third Sector Research. New York: Springer.

Idealist (2013) Models of Volunteering: Entrepreneurial, Episodic, Informal, Mandated, and Residential [Online]. Available at: http://www.idealist.org/info/VolunteerMgmt/Models (Accessed: 28^th April 2013)

YPIA (2013) about us [Online]. Available at: http://www.ypia.co.uk/page/about (Accessed: 28^th April 2013) 

The volunteer and the unpaid performer... behold the fine line.

The information exposed in this week’s law post is of use to both performers and entrepreneurs hoping to start up an organisation within the entertainment industry. If you consider yourself a volunteer working in the performing arts industry, this could be useful for you also.

According to the government’s Intellectual Property website, "Performers are entitled to various rights in their performances, whether these take place on the stage, during a concert and so on.  Performers also have rights in any recordings, films or broadcasts of their performances" (Intellectual Property Office, 2013). 

Once a recording of the performance has been made, the performer's permission is also needed to make copies of that recording. A performer may be entitled to remuneration in respect of broadcasting, other types of communication to the public by electronic transmission, public performance and rental of those copies.  These are a performer's property rights. (Intellectual Property Office, 2013).

Many performers are under the impression that taking on the role of an unpaid performer when there is no contract involved, puts them in the same category as a volunteer and therefore does not entitle them to any type of payment or compensation in exchange for their time and the use of their skill, image, etc. However, this is not the case; performers have the right to decide the hours they work, the nature of their work, the way they carry out their work and the length of time they work. 

A performer often works under very certain guidelines with regards to the work offered. They will have a call sheet, a time to be on set/ location and a director or assistant director telling them what to do (i.e. how to perform their work). This is not reflective of a voluntary position in the eyes of the law.

In this situation, the performer should consider themself an employee and NOT a volunteer and set about trying to claim the compensation they are entitled to!

This can be done by following the steps below:

1.       FIRST, WRITE TO THE PRODUCTION COMPANY. If you do not hear back within 7 days send them a reminder and say that you will file a case with the Employment Tribunal if monies are not forthcoming. 

2.       FILE A CASE WITH AN EMPLOYMENT TRIBUNAL:

The claim is started by filing a form ET1 which you can do online.

Make sure to state how much you are seeking- number of hours worked x National Minimum wage at the time (currently £6.19 for over 21s). 

3.       USUALLY THEY WILL NOW SETTLE: In the vast majority of cases you will get your payment with no further action.

4.       ON THE DAY OF THE TRIBUNAL: When you arrive ask the clerk for an expenses claim form – your travel, loss of any earnings, child care costs etc are paid for by the Tribunal Service.

You will be asked to give your side first and need to establish 5 things:

·         You were an employee

·         You were told to work at a certain place

·         You were told what to do

·         You were present for the claimed number of hours

·         You are entitled to the National Minimum Wage

(Actorsminimumwage, 2011)

Full details of this procedure can be found in this link.

References

National Minimum Wage Rates, 2013. GOV.UK. [online] Available at: <https://www.gov.uk/national-minimum-wage-rates> [Accessed 27 April 2013 ].

Work for nothing then claim your wages: a step by step guide: by Nick Thomas-Webster, 2011. Actorsminimumwage. [online] Available at: <http://actorsminimumwage.wordpress.com/> [Accessed 27 April 2013 ].

Performers Rights, 2013. Intellectual Property Office. [online] Available at: <http://www.ipo.gov.uk/types/copy/c-otherprotect/c-performer.htm> [Accessed 27 April 2013 ].

Getting the job done – Volunteers taking charge

This week Hope had the great pleasure of meeting with Andreas Flohr, a volunteer at the Young People in the Arts (YPIA) organisation. This is an organisation that has taken matters in to their own hands to make things happen for themselves. In a cutthroat world, such as the arts industry, networking and meeting people is essential to give yourself the edge and eventually the job. What the creators of YPIA are doing, is organising networking events for young people or people who are in the early stages of their arts career (White, no date). This is all being done alongside their working careers and they do not get paid for their efforts. We have focused very much on how to survive in the volunteer jungle and getting yourself employed; but if confident enough, a volunteer can take charge, and with enough dedication, getting the experience they might need for themselves.

The government have put a lot of effort (and a whopping £39 million!) to encourage communities to start up their own voluntary organisations since 2010 (HM Government, 2012) and Volunteering England are pushing for further work to be done. They're helping by creating further awareness on how to volunteer, as well as helping to negotiate schemes that makes it easier for volunteers to start up organisations (Volunteering England, 2012). To learn more of how to set up a volunteer organisations, the voluntary arts week is an event run for volunteers and people who are interested in setting up their own voluntary organisation specifically for the arts.  http://www.voluntaryartsweek.org/

Taking your own initiative to set up and run a voluntary or non-profit organisation can take a lot of effort and time but can also be extremely rewarding in terms of skills, as Andreas will talk to Hope about in her interview later this week.

References

HM Government (2012) Making it easier to set up and run a charity, social enterprise or voluntary organization. [Online] Available at: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/61390/9164-TSO-HMG-Make-it-easier-Charity-Progress_ACCESSIBLE.PDF Accessed: 26/04/13

Volunteering England (2012) Volunteering England: making it easier to run a voluntary organisations [Online] Available at: http://www.volunteering.org.uk/aboutus/news-releases/2345-volunteering-england-making-it-easier-to-run-a-voluntary-organisation Accessed: 26/04/13

White, H (no date) Get connected, classical music magazine [Online] Available at: http://www.ypia.co.uk/assets/pdf/get_connected.pdf Accessed: 26/04/13

http://www.voluntaryworks.org.uk/cvsmidandnorthbeds/DevelopingYourOrganisation.asp

Networking opportunities for ‘Young People In the Arts’

YPIA (Young People in the Arts) is a non-profit organisation that provides young people or ‘newcomers’ in the theatre and classical music sectors with networking opportunities, made up entirely of volunteers. Yesterday I had the pleasure of meeting Andreas Flohr, one of the founders of YPIA; the interview with him will be posted at the weekend. For now, here are some links to upcoming YPIA events – I’ll be attending the event on April 29^th, so see you there!

Producers of the Future / Mon 29^th April 13 -http://www.ypia.co.uk/events/producers-of-the-future

YPIA Lecture Series in partnership with Southbank Centre: Will Gompert / Wed 15^th May 13 - http://www.ypia.co.uk/events/ypia-lecture-series-in-partnership-with-southbank-centre-will-gompert

The glamour of the gala: Amy's experiences

Since 1974 Chickenshed, a theatre company that aims to bring “people together of all ages, backgrounds and abilities to produce outstanding theatre that inspires, challenges, entertains and educates both audiences and participants alike” (Chickenshed, 2013), has been able to run on the help of 100s of volunteers. The charity also relies on volunteers to deliver their Annual Gala fundraising event, which will be held at The Guildhall in November this year.

On Monday I had the pleasure of meeting Amy Dunbar, a very loyal and long term volunteer at Chickenshed Theatre, who has also volunteered at every Chickenshed Annual Gala since the first in 1988. Now retired from her own catering business, Amy also spends her time exam invigilating and socialising with other volunteers at Chickenshed.

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HM: First of all Amy, in your own words tell me about Chickenshed - what does the theatre company mean to you?

AD: The company is very personal to me, because my son joined when he was 7 and he’s now 34 and when your children join Chickenshed, your family joins Chickenshed… you all become involved, it’s a theatrical family, your children, and your husband, becomes involved in the bigger picture.

HM: How long have you volunteered at Chickenshed?  

AD: I’ve been a volunteer since the very beginning. In the first place I was a chaperone which is sitting backstage with the children, looking after them, and I’ve helped backstage on shows, such as dressing, ironing, helping with costumes…then I became involved with box office and then onto front of house. Years ago in this theatre everyone did everything here and as it grew… it wasn’t as departmentalised [as] it is now. I went from box office to front of house to duty manager and onto helping with the running of shows from a front of house point of view.

HM: I think you’ve answered this next question for me! - What are you involved with, what activities do you participate in?

AD: I am primarily involved in shows, for example every Friday there’s a baby show called Tales from the Shed, apart from that I’m pretty much a ‘show-gun’, I do shows or events only, when there’s [no] volunteers [in] I come in as well as without volunteers there’s no Chickenshed.

HM: Now in specific relation to Chickenshed’s Annual Galas…what happens at these? What kind of tasks do you undergo?

AD: For me personally I have been lucky enough to do site visits beforehand, usually at a beautiful venue…hopefully at the Guildhall [this year] which is rather special!... [they are] hosted by Lady Rayne who is our main fundraiser…they are usually extremely well attended by well-known people and stars in frocks… the dinners are fantastic… there’s a raffle and tombola…I organise a tree of life with other co-workers…and they are sometimes attended by Royalty… [the galas are] well stylised with many people coming and giving donations to Chickenshed to help run it as we get very little financial help from elsewhere.

HM: How have your experiences at Chickenshed’s Annual Galas compared to your-day-to-day experiences here at Chickenshed?

AD: They are different. As [only around] 10% of the people who [come to] the galas come to Cockfosters* to see other shows, we have a very active marketing team who put on a lot of shows at Chickenshed which are more localised… most who go to gala’s are mostly [around] Central London…the galas are special.

*Where Chickenshed Theatre is based

HM: Still thinking of volunteering at the Chickenshed galas specifically, what spurs you on the most? What motivates you? Why do you volunteer at the galas?

AD: Personally, I think when people come to the galas they are expecting to see a children’s show… they are really moved by the calibre of work and become lifelong friends, so I like that. I like the glamour, and not many people get to go to galas so I like the privilege, and I feel special in being able to take part and help out at the event.

HM: Do you volunteer anywhere else?

AD: No, I see myself as a Chickenshed volunteer and I would only give up my time for Chickenshed… or for fundraising walks for the North London Hospice etc, but that’s it.

HM: Would you volunteer at any other charity gala?

AD: Yes I think I would if I was asked, because I like the glamour!

HM: Why do you think so many people volunteer at Chickenshed’s Annual Galas?

AD: For the glamour, because [they are held] at some wonderful places such as The Guildhall…[usually] I would never get into places such as the Dorchester, the Savoy Hotel, the Guildhall or some other places I’ve been lucky to go to such as the Blue Peter studios, if I wasn’t a volunteer at Chickenshed.  

HM: Any tips or advice you’d give to charities or companies looking for volunteers to work at fast-paced, perhaps business-orientated events?

I think, I mean I am lucky in Chickenshed letting me go on all [of] these adventures, as I call them! Sometimes it’s nice for volunteers to work [at events]… and sometimes they put the work in, sometimes they don’t and some people’s passion are evident the second they walk through the door… the one’s with the passion and the heart… I’d give them the jobs.

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While Amy’s comments suggest that the help of passionate and dedicated volunteers is vital for a successful fundraising gala event (Wendroff, 2004, p.34), these volunteers are not always easy to find and hold on to (Haski-Leventhal et al, 2011). It could be said that Chickenshed is a ‘special case’ in how well a charity recruits and values volunteers (McKee, 2012; Chickenshed, 2013c), and sticks by their cause and message whilst raising funds at annual gala events (Allen, 2007, p.100). Nevertheless, Amy’s experiences at the galas have been ones full of glamour, excitement, and social enjoyment - while “the line between proper business behaviour and pursuit of personal pleasure” cannot become blurred for employees at corporate events (Allen, 2007, p.223), there is nothing stopping event managers offering these kinds of incentives to volunteers, even if your event is in fact ‘for-profit’ and is therefore without the ‘cause’.

Find out more about Chickenshed here

References:

Allen, J. (2007) The Executive’s Guide to Corporate Events and Business Entertaining. Ontario: John Wiley and Sons.

Chickenshed Theatre (2013a) Our Aim: Theatre that celebrates diversity to inspire positive change. [Online]. Available at: http://chickenshed.org.uk/155/our-aims/our-aim-theatre-that-celebrates-diversity-to-inspire-positive-change.html (Accessed: 20^th April 2013).

Chickenshed Theatre (2013b) 2012…what a year! [Online]. Available at:  http://www.chickenshed.org.uk/2277/news/2012-what-a-year.html (Accessed: 20^th April 2013).

Chickenshed Theatre (2013c) Volunteers – the cornerstone of our company. [Online]. Available at: http://www.chickenshed.org.uk/2324/news/volunteers-the-cornerstone-of-our-company.html (Accessed: 20^th April 2013)

Haski-Leventhal, D., Hustinx, L. and Handy, F. (2011) What money cannot buy: the distinctive and multidimensional impact of volunteers, Journal of Community Practice, 19 (2), pp.138-158.

McKee, R. (2012) Theatre’s volunteers are truly part of foundations, North London Today, 18^th June [Online]. Available at: http://www.northlondon-today.co.uk/news.cfm?id=21447 (Accessed: 20^th April 2013).

Wendroff, A. L. (2004) Special Events: Proven Strategies for Nonprofit Fundraising. (2^nd Ed.) New Jersey: John Wiley & Sons. 

The Volunteer’s Contractual Rights- Oxymoron?

When it comes to Arts awards and galas, the rules regarding the contractual rights of volunteers are the same as in any other business event; extremely limited! Some argue that there could be much to gain from events such as these on the level of self-satisfaction, as very well pointed out in Kristina’s piece on Tuesday. However, the rights of the volunteer, assuming any contract has been produced at all, would only be limited to the terms as set out in the agreement.

Volunteers are usually given a volunteer agreement that explains:

• The level of supervision and support they’ll get
• What training they’ll get
• Whether they’re covered under the organisation’s employer or public liability insurance
• Health and safety issues
• Any expenses the organisation will cover

The volunteer agreement isn’t compulsory, but sets out what volunteers can expect from the organisation. It doesn’t form a contract between the volunteer and the organisation (Gov.uk, 2013).

While there is currently no legislation specifically covering volunteer workers or any legal definition of what a voluntary worker is (NCVO, 2013), it may surprise you to know that in a section entitled ‘Legal status of volunteers’ on the National Council for Voluntary Organisations website (NCVO), to which a link is given from the Gov.uk website, there is a rather large section informing organisations that they should NOT ‘create volunteer contracts’. There is also a checklist of things to avoid saying and putting on paper, for example: “steer clear of words with contractual connotation” (NCVO, 2013).

Here is a direct quote from the site: “While organisations will wish to have detailed, formal contracts for paid staff, it is actually safer to avoid them when it comes to volunteers. They can lead to false expectations of obligation on both sides.

For this reason, you must avoid setting out the volunteer relationship in terms of rights and obligations. Instead, express your goals as intentions, hopes, or policies. This reflects the voluntary nature of the arrangement… Organisations have to be careful that the volunteers don't become employees in the eyes of the law” (NCVO, 2013).

Click here for a link to the site or see below for more information

References:

The Legal Status of Volunteers, 2013. National Council for Voluntary Organisations. [online] Available at : < http://www.ncvo-vol.org.uk/advice-support/workforce-development/hr-employment-practice/managing-volunteers/legal-status > [Accessed 18 April 2013].

Volunteers' rights, expenses and placements, 2013. GOV.UK. [online] Available at: < https://www.gov.uk/volunteering/volunteers-rights > [Accessed 18 April 2013]

Useful Links:

http://www.findlaw.co.uk/law/employment/pay_and_work_rights/9128.html

http://www.equalityhumanrights.com/advice-and-guidance/service-users-guidance/voluntary-and-community-sector-organisations-including-charities-and-religion-and-belief-organisations/your-rights-as-a-volunteer/

Ann Arbor Street Art Fair

Found this Art Fair that sounds really fun and have come up with some creative ways of rewarding their volunteers (apart from the amazing experience that you will already get from doing good of course!) 

Full website: http://www.artfair.org/main/main.jsp?id=37