Report from the research: The Factory of Culture Paid and Voluntary Work at Cultural Festivals

!ustyna "or#o$% Witold &ie$'% (icha) (achniko*ski% (a)#or+ata (acie,e*ska% (arcin (ars+a)ek% Tomas+ -koc+ylas

Translated .y: /u+anna &o)od+ie,ska

The pu.lication has .een financed .y the Polish 0ational Centre for Culture% as a part of its pro#ramme Culture 1nterventions2

The follo*in# report is a summary of the pu.lication The Factory of Culture 3a.our and Voluntary Work at Cultural Festivals% *ritten .y the authors mentioned a.ove and pu.lished in Polish .y the 1nstytut Wolne, &ultury 41nstitute of Free Culture5

1ntroduction 6ue to their intensity and temporary nature% cultural festivals re7uire a strictly task .ased or#anisation of la.our and% in conse7uence% staff *ho *ill *ork seasonally and temporarily2 Therefore% the festival industry compels temporary and fle8i.le forms of employment% such as civil9la* contracts and self9employment2 1t is also .ased on unpaid% voluntary *ork2 1n other *ords% due to their specifics% festivals .uild an efficient and fle8i.le *orkforce that receives lo* salary or none at all and *hich depends on the circle of festival events2 Therefore% many 7uestions arise: *hat stimulates and disciplines that *orkforce% and ho* does it do it:; does such a situation #enerate ne* conflicts% pro.lems and defence strate#ies:; *hat is the ethos of such a ,o.:; *hat may the situation of those employed in festival industry tell us a.out social and economic chan#es mentioned a.ove:; *hat does the survey of those *ho *ork in festival industry tell us a.out the chan#es in the cultural sector and chan#es of *ork in #eneral: 6evelopin# a #rass9roots theory of la.our at cultural festivals While conceptualisin# *ork issues at cultural festivals *e have encountered pro.lems une8amined in the Polish conte8t2 <ence% *e *ere lookin# for inspirations and references in analyses of similar spheres done in different #eo#raphical and historical places; *hile for the Polish conte8t *e referred to a fe* revie* articles2 =lthou#h they *ere helpful in terms of a system% and the *ay cultural sector *orks% they *ere limited tools in the conte8t of cultural festivals% .ecause of the lack of references to *ork conditions in that sector in the conte8t of its neo9li.eralisation in Poland2 Therefore% that specific empirical and theoretical void directed us first of all to*ards the 7ualitative not the 7uantitative research and secondly% to*ards the #rounded theory method >mostly this one presentedn .y &athy Charma+?% *hich seemed to us the most ade7uate to #enerate 7uestions and to find ans*ers to ho* the *ork and life conditions of festivals@ employees are shaped2 The research material is .ased on in9depth% partially structured intervie*s2 <o*ever% the scope of topics *as very *ide and conversations mostly referred to: pro.lems that the employees encountered at *ork% their motivation% e8pectations to*ards current *ork% as *ell as their future prospects2 =ns*ers that #radually appeared 2

in the intervie*s have .een then confronted *ith the analysis of data and documents that the (inistry of Culture and 0ational <erita#e made availa.le2 Aud#ets of particular festivals and #eneral data on their financial support have also .een confronted *ith the intervie*s2 -uch an analysis #ave us a stron#er% structural .ase for conclusions made over the interpretation of intervie*s2 Bne 7uestion that surprised us% .ut also sho*ed us the .enefits of the #rounded theory% *as the fact that data o.tained from intervie*s mirrored the data from the documents2 1n total there *ere CD intervie*s *ith the employees% co9*orkers and volunteers *ho *orked at EF festivals financed .y the (inistry of Culture and 0ational <erita#e located in G different cities in Poland2 1n our samplin# most intervie*ees *here those employed *ith civil9la* contracts >FH? or volunteers >EG?% and only I people had a permanent contract2 Work e8perience% re#ardless the contract% fluctuated from several months to D years and differed also accordin# to the num.er of festivals or#anised >from one to do+en?2 =ll kinds of posts have .een included in the samplin#2 The vast ma,ority of intervie*ees *ere either employees or volunteers *ho did simple service *orks% includin# or#anisational and maintenance *orks% such as% for e8ample: festival centre service% artists@ host% volunteer team mana#ement?% the minority dealt *ith pro#rammes of the festivals >only t*o intervie*ees held a mana#erial post?2 The a#e of the participants fluctuated .et*een ED and CG years old% ho*ever the ma,ority *as very youn# >FI9JK year9olds?2 Bnly the analysis of intervie*s sho*ed that *ork at festivals is the main source of income for the little minority >and sporadically the only source?% the ma,ority then have different sources of income *ith a si#nificant num.er of temporary ,o.s% *hile EK intervie*ees *ere supported .y their parents2 3a.our process in the factory of culture We *ould like to approach the issue of *ork in cultural sector from the an#le of the la.our process% that means payin# attention mostly to the issue of autonomy% control and identity creation in a *orkplace2 Wa#e la.our in its definition is a sphere of heteronomy: an area of activity *here the activity of an employee is dependent on the e8pectations and aims of an employer2 That element in a capitalist society is called *ork and it differs from other forms of activities: a hired #ardener L*orksM; a miner *ho #ro*s leek in his .ack #arden does a freely chosen activity2 <o*ever% the character of that dependence is not al*ays the same and it cannot .e concluded from the employment itself2 Bn the one hand% 3

a capitalist employer mi#ht .e only interested in the product of *ork% *hich employment #ives him the ri#ht to; on the other hand% ho*ever% an employer may take over control >in a form of appropriatin#? over the *hole la.our process% payin# attention to even the smallest activity of an employee2 =utonomist (ar8ism presents that issue on a difference .et*een formal and real su.sumption of la.our under capital descri.in# the level of capital@s involvement in a la.our process2 1t sho*s ho* much it is or#anised .y capital a#ents and ho* much of its autonomy it preserves *ithin the frame of capitalist production2 <arry Araverman in his *ork entitled Labor and Monopoly Capital has thorou#hly descri.ed the historical process of the decline of the use of skilled la.ours >in heavy industry and offices? *ho at the .e#innin# of the FK th century still had their 7uasi craftin# character2 The .ook also descri.es the decrease of the control that an employee used to have over his or her *ork2 Araverman sees the causes of those phenomena as a result of scientific mana#ement approach% the so called taylorism% that took its name from its inventor Frederick Winslo* Taylor% *hich re#ulates the activities of la.ours in the smallest details% as *ell as of utili+ation of different variants of assem.ly line that dictates tempo and rhythm of la.our2 2 1n conse7uence the la.our process has .een chan#ed not only into a mundane series of routine and imposed tasks% .ut it also has deprived employees of control over their time and intensity of *ork >time for each task *as specifically set in order to #et the ma8imal intensity of *ork?2 1t has also resulted in deskillin#% chan#in# 7ualified and independent la.ourers into deprived9of9any9specifics automatons to perform particular tasks and simultaneously limitin# their .ar#ainin# po*er in ne#otiations *ith their employers2 <o*ever% the importance of those reflections for the analysis of festival la.our process refers to the fact that a modern capitalism is of 7uite the opposite trend shiftin# from real to formal su.sumption% from detailed re#ulation and control over la.our process to stimulate employees@ independence% decisiveness and self9or#anisation2 = cycle of immaterial la.our characteristic for post9Fordist .ranches of industry and services descri.ed .y (auri+io 3a++arato has .een .ased not on a top9do*n or#anisation of production process in a factory% .ut on the so called diffuse factory *here autonomous productive syner#ies has .een stimulated and *hich product *as later taken over .y the capital2 1n that conte8t% cultural production >and may.e production of cultural events even more?% plays a special role2 1t serves as a *ell9developed and inte#rated into contemporary capitalist economy e8ample of post9Fordist production2 The e8ample of the *ay the autonomous productive syner#ies of immaterial la.our function inside a hierarchical 4

system of capitalist production2 Br#anisational forms of production *e have analysed fluctuate from #rass roots% self9or#anisational% .ased on or#anisers@ o*n means and driven .y pure enthusiasm processes to #reat% formal and hierarchical 7uasi9institutions that are cyclically esta.lished to produce a particular event2 <o*ever% *e are certain that there is a kind of continuity% even a chronolo#ical one *hen a small event% or#anised .y a #roup of enthusiasts% #ro*s and .ecomes more .ureaucratic2 The analysis of such continuity *ill ena.le us to understand .etter the mechanisms of limitin# formal su.sumption of immaterial la.our2 Production aims% criteria of efficiency and time The aim of a production process in the festival industry is an or#anisation of a cultural event >or a series of such events that make a festival? *ithin #iven limits of time% means and po*er2 <o*ever% there are no strict 7uantitative criteria >neither a .ook value? of an evaluation *hether a cultural event *as a successful one2 = direct production process is aimed at 7uite steady realisation of carefully planned pro#ramme of events2 <o*ever% the most important is a 7uality the 7uality of presented *orks% the 7uality of their presentation and hospitality services% *hich is an >inter?su.,ective and ne#otia.le cate#ory2 -uch a situation causes serious conse7uences for possi.le mechanisms of control and supervision over the la.our process and in fact e8cludes the use of all .ureaucratic% indirect% 7uantitative methods of control that are common for different .ranches of economy >from a financial sector that sets profit mar#ins for a company to 7uantitative measures of la.our efficiency such as a num.er of produced elements or customers serviced *ithin limited time and means?2 Net to control the 7uality of *ork a potential supervisor may only come to a place and see a particular outcome2 <ence% it is the outcome not a process itself that is controlled and supervised2 Work time 6espite the fact that the production process of a festival is not aimed at efficiency >that is at ma#nification of production *ithin a time unit? *ork at a festival mi#ht .e incredi.ly intensive and time9consumin#2

Weronika: -ince 0ovem.er it is like that% that *e *ork D hours% in 6ecem.er also% .ut in !anuary it is a *ork EI hours a day seven days a *eek2 =nd *hen it finishes 4name of the festival5 every.ody is like +om.ie2 The time of a festival as *ell as the time ,ust .efore it is for employees a time of a lon#% intensive effort% stress and lon# *orkin# hours2 The need to meet the deadline set .y the mana#ement turns out to .e a mechanism that disciplines as effectively as an assem.ly line2 (a,a: There@s no *ay out% it@s that kind of a machine that has already started *orkin# and you can@t #o .ack2 =nd that *as a nuisance for me% *hen 1 *as sittin# EF hours and 1 didn@t% let@s say% #et that *arm meal and 1 didn@t even have a possi.ility to #et out% .ecause it *as all #oin# on all the time2 =s time is an important element of every la.our process% in case of event production it .ecomes the main factor that puts pressure on employees@ activities2 For an event in order to #et to consumers it has to take place on a particular day and takes up a particular amount of time2 For it to have a coherent form% all elements that are part of the event have to .e coordinated in time2 1n that *ay% despite the lack of efficiency criterion% time remains the key element of the production process: a dictatorship of deadlines and the need that all of it #oes on all the time set a.solutely intensity of their *ork2 Contrary to ine8ora.le time of the event the *ork time seems to .e endlessly fle8i.le2 &arol: Neah% in #eneral *ork in the cultural industry is not a O to I ,o.2 1t doesn@t *ork like that2 <ere you *ork all the time and often at ni#ht then durin# the day you sleep it off% so these are totally fle8i.le *orkin# hours and a lot of commissions means that you practically don@t have personal life2 Festivals@ employees do not *ork particular hours nor num.er of hours a day or a *eek% .ut as much as it is necessary >from the production process@ an#le? they sacrifice their sleep and other life activities and personal life% if there is such a need2 For employers *ork time is not an element that they have to deal *ith% .ecause they pay their employees for the outcome not for the time they spent at *ork2

Wiktor: 0o% of course there are some deadlines% that till2222 Pntil some time 1 have to% for e8ample% finish some te8ts2 Bf course *e@re no* like talkin# a.out *ork .et*een festivals% aren@t *e: 6urin# festivals every hour is set2 42225 =nd at curatorial *ork% *hen some.ody222% 1 have to contact artists% deal *ith somethin# 1 have definitely more time2 -everal months for e8ample2 =nd for e8ample *ork 1@m #iven in case of 4name of the festival5 *hich takes places in 0ovem.er2 Then 1 start *ork and222 since (ay% actually% 1 have a task and 1 kno* *hat to do2 -o 1@m like ad,ustin# everythin# to my spare time% so 2222 and that@s *hat 1 really appreciate at *ork at festivals >lau#h?2 That 1 can ad,ust% that 1 can *ork at ni#ht% .ecause then 1 *ork .est2 Bn the other hand% e8actly the same mechanism *orks in such a *ay that *hen there are no deadlines to meet and there is still a lot of time to a festival% employees re#ain almost total control over their *ork time and they can or#anise it accordin# to their o*n needs and preferences2 = net*ork of cooperation While definin# the cycle of immaterial production 3a++arato *rote: The location in *hich it 4immaterial la.our5 operates is outside in the society at lar#e% at a territorial level that *e could call Lthe .asin of immaterial la.or2M -mall and sometimes very small Lproductive unitsM >often consistin# of only one individual? are or#ani+ed for specific ad hoc pro,ects% and may e8ist only for the duration of those particular ,o.s2 The cycle of production comes into operation only *hen it is re7uired .y the capitalist; once the ,o. has .een done% the cycle dissolves .ack into net*orks and flo*s that make possi.le the reproduction and enrichment of its productive capacities2 1t seems that such a description matches *ell the cycle of festival production2 Francis+ek: The festival is or#anised .y 4name of the association5 that@s ho* it@s called *hich as early as a year a#o had its head7uarter in 4name of the city52 =nd in fact there are employed people% *ho have civil9la* contracts% and there@re only fe* of them2 (ay.e five tops% to .e honest2 =nd these are those most important #uys% so (r 4name of the person5% *ho is the o*ner and a kind of the founder of all that% there@s a mana#in# director% a festival art director and 7

of course% you kno*% accountants% so these are like technical posts% and may.e t*o other people2 =nd those are like2222 This is the hard core *hich or#anises the festival% so only those fe* people2 While all the rest have civil9la* contracts and no* it depends2 "uests@ department director is employed fe* months earlier% .ecause he has a lot of *ork related to coordination of hundreds of #uests2 -o he is employed much earlier2 0o* dependin# on ho*222 many duties you have% you are earlier employed to arran#e all time schedules or some arrivals% departures and so on% or some other thin#s2 Wiktor: Neah% 1@m like havin# hope that in fe* years it@ll result in a full9time% concrete% .i#222 .i# event2 =nd 1 kno* that some people in 4name of the city5 *ho also do that also *ant to *ork like that% so 1 think *e@ll put our forces to#ether2 Creation of a net*ork of cooperatin# people or institutions constitutes a startin# point for each festival production process2 1n fact% almost nothin# else is needed2 <ence% the impression that festivals may come% in a *ay% from nothin#2 1nstitutions that or#anise them may .e disproportionately small compared to the event they or#anise2 1t is .ecause they function rather in a net*ork or cooperation than *ork on their o*n2 The ma,ority of means used in festival production is not in the hands of or#anisers2 1t is scattered .et*een different individual and institutional su.,ects2 The festival production process can .e understood as local and temporary activation of relationships and a net*ork of contacts2 1t is the point of intersection of a tra,ectory of hetero#eneous su.,ects that function independently on one another% .ut at the same time *hich are dependent on such meetin#s% these are: artists% cultural institutions% local councils% pu.lic administration clerks% private sponsors% su.contractors% employees of cultural industry% volunteers and audience2 Br#anisers function in that net*ork as initiative su.,ects *hich also control the meetin# to #ive it a more coherent% festival form% of *hich finally they .ecome sym.olic o*ners2 (acie,: 1t is ,ust related to such a technical aspect of support% if there@s no financial support then it should .e% *ell 1 don@t kno* *hat to do then2 For the first three years *e used to .orro* cameras in #eneral2 For e8ample *e recorded% in FKKD% all festival events 4name of the festival5 *ithout our o*n 8

cameras 42225 =nd *e didn@t even have a penny to pay for cassettes2 =nd someho* there *ere people *ho *anted to help us% *ho helped us and lent their e7uipment2 The net*ork creates a mutual reserve of po*er that is used durin# production process2 Qach sin#ular institution involved in the pro,ect .rin#s also its o*n net*ork of contacts and ac7uaintances% increasin# the scale and% at the same time% makin# the reserve of resources .i##er2 1t is that field that *ork in festival production mer#es *ith personal life2 1t does not consume personal life as in the case of over*ork% *here there is no time for personal life% .ut it actually mer#es *ith it2 Aartek: The simplest definition2 1f you kno* you come to your favourite pu. and you sit at the .ar and you #reet the .artender and he pours you a pint of .eer and the cask is empty and he says: 9 you kno* *hat% 1 need to .rin# another cask from the .ack% and you say: 9 1@ll help you; and you carry that cask% the t*o of you and that@s a totally different relationship2 Nou@ve already .een to the .ack of that .ar% haven@t you: =nd this is a .ar e8ample% a pu. e8ample% .ut it *orks every*here2 =nd you *ere a volunteer for him for a sec% you scarified a moment for free% .ut you must .e a*are that since then *hen you come to him and say shit% 1@ve #ot a pro.lem% 1 don@t kno*% 1 *ant to thro* a party in the pu.% yes% in your pu.% 1 need to rent a pu. and he says oh come on% *e kno* each other% don@t *e: Nou don@t have to rent a pu.% .ut *e@ll arran#e a date suita.le for .oth of us2 1@ll #ive you some discount at the .ar2 =nd that@s ho* it *orks2 Contacts and ac7uaintances made outside *ork #et the character of production means2 Friends and ac7uaintances are also potential co9*orkers and resource that you may refer to if you need to2 Professional and unprofessional relationships .ecome impossi.le to differentiate2 6a*id: This is a #roup222 a .i# festival% many events% so it isn@t like that you have to #et somethin# out of the .lue% .ut they have a contract *ith a particular sound company% particular lo#istic company *hich *ill transport portaloos and the one *hich *ill .rin# fences and the security and caterin# companies2

Relayin# on personal contacts of employees is hi#hly uncertain .oth in terms of 7uality and availa.ility of service and resources2 They are also limited in terms of a scope2 <ence% the .etter and more certain financial support% the .i##er the tendency to replace the cooperation relayed on personal contacts *ith formal contracts that specify the terms and conditions and% last .ut not least% personal relationships of an employee are replaced .y relationships and contacts of an or#anisin# institution2 Aet*een self9or#anisation and .ureaucracy The main difficulty in descri.in# festival la.our process is the variety of cases2 =mon# analysed festivals there *ere .oth: those of *hich or#anisation resem.led a comple8% .ureaucratic institution and those% more or less accidentally% or#anised chaotically and on the spot2 1n our vie*% that variety is not a coincidental variation% .ut it represents a process that *e *ill try to sho* usin# We.er@s cate#ory of .ureaucracy2 (a8 We.er descri.ed .ureaucracy as the most characteristic for modern societies and institutions type of pu.lic administration2 1n #eneral% .ureaucracy is a kind of or#anisation .ased on formal la*s and rules% *ritten documentation% strictly defined functions assi#ned to particular posts% a hierarchical or#anisation and a system of delineated lines of authority2 Aureaucratic authority is in the hands of professionals *ho hold particular posts and *ho are in po*er only .ecause of their positions and in the frame*ork of the post2 Aureaucracy as such is an ideal model *hich never appears in a pure form2 We do not mean to sho* *hether or not festivals are .ureaucratic% .ut *e use that term to descri.e the chan#es and variety of production processes2 <ence% *e *ill rather talk a.out .ureaucratisation2 =t the same time% .ureaucratisation *ill mostly interest us as a form of po*er the *ay to control la.our process rather than rationalisation of the la.our process2 This is .ecause *e are #oin# to analyse the la.our process not from the an#le of its effectiveness% *hich is characteristic for mana#erial theory% .ut as a field of production and reproduction of specific social relationships and su.,ectivity2 1n a direct relation to .ureaucracy *e *ould like to put autonomy of productive syner#y of immaterial la.our that is self9or#anisin# creative cooperation that serves as post9Fordist form of production process2 1t does not mean% thou#h% a simple opposition .et*een spontaneity and or#anisation% .ut an analysis of mutual relationships and dependency .et*een hierarchy and autonomy in the case of festival industry2 The .e#innin#s of many festivals% like the first steps in the festival industry% for 10

many of our intervie*ees are relatively small cultural events of a limited financial support from the outside and of a vesti#ial formal or#anisation% and they are or#anised .y a #roup of enthusiasts2 6a*id: 1 liked that freedom and the fact there *as no such a .i# responsi.ility% .ecause they *eren@t millions from sponsors and a commitment like: the lo#o must .e of such si+e and here and here222 .ecause there *ere a fe* small sponsors may.e plus a tiny donation from a city council and it ,ust simply *as #oin# on rather% 1 don@t kno*% it took its course someho*2 =nd% yeah% the cooperation of% in fact% many people2222 <ey dude% 1 need a computer screen2 Would you lend me one:2 1t *orked like that% kno* *hat 1 mean: -o it *as cool% .ut on the other hand that lack of professionalism sometimes pissed me off% .ecause%222 1 don@t kno*222 a #irl didn@t .rin# it or she #ot .ored% you kno* *hat 1 mean: =nd she didn@t tell us2 Br some.ody made a poster and sent some data to make .rochures% .ut everythin# *as *ithout vectors 1 ,ust222 had to222 simply cut it in photoshop222 and 1 don@t kno*% such a .ullshit% isn@t it: For independence from sponsors >private and pu.lic?% *ho *hile financin# festivals e8pect also some profits% you need to pay *ith the necessity of relyin# on your o*n resources and personal relationships in order to #et the necessary means of production2 Bn the other hand% the informal or#anisation of cooperation does not #ive a lot of opportunities to enforce the fulfilment% makin# their employees directly dependent on other people@s #ood *ill2 &rystyna: Neah% and here *e@re like222 *e also divide the tasks% they are sometimes fluid2 This year222 my main task *ere artists222 it means lookin# for artists% lookin# for theatres% contact *ith artists and collectin# also% .ut not full9time% .ut #radually collectin# promo materials% hotels this *as my *hole department2 =nd then all those other issues like orderin#% 1 don@t kno*% a tent% some permits or documents to #et and stuff like that2 The division of tasks chan#es rather into personal departments than specific posts2 The departments often have a very hetero#eneous scope of tasks dependin# on predispositions and skills of an employee2 1t does not have to mean% thou#h% that an 11

employee can each time choose *hat he or she *ants to do2 The division of tasks in that case depends rather on the feelin# of responsi.ility than on personal preferences% .ut it often offers an opportunity for a more comprehensive involvement and development2 = position of a volunteer or an employee is of special kind in such a situation% .ecause it adds to the production process not only *orkforce% .ut the *hole set of necessary resources such as contacts% skills and o*n ideas2 = position of an employee in reference to an or#aniserRemployer is respectively stron#er >on the other hand% they cannot at least financially e8pect much% or in #eneral anythin# from them?2 =melia: Neah% yeah surely yes and it is #enerally somethin#% somethin# that in #eneral is incredi.ly pleasant on the one hand% .ut on the other it@s hard and challen#in#2 There 1@m really not some role player and 1 don@t have tasks to perform and nothin# more% .ut it@s fine .ecause it@s a thin# that is .ein# created and it@s still at a nascent sta#e222 Bnly the third edition2 There@re t*o #uys *ho or#anise it plus some other people on demand2 1t is like .ecause of it or thanks to it222 Really you can do there a lot% you can have your o*n ideas and implement them and you can participate in a discussion% .ecause it@s o.vious that you can@t do it *ith the rest% .ecause it@s somethin# that is like functionin# for years% so they don@t need ne* ideas% they need someone *ho maintains and the 4name of the festival5 is ,ust2222 an opportunity for some creativity% for desi#nin# your o*n pro,ects% for that *hen 1 do de.uts 1 al*ays try to consult it% .ecause 1@m not sure *here are the .orders of all that% *hat 1 can and can@t do% .ut it happened to me many times that some of my ideas *ere accepted *hether those related to artists *ho *ere supposed to come or% 1 don@t kno*% places for events or anythin#% that you can do there a lot% .ecause it@s a ne* thin#% a ne* institution% there@re not many people and you can really develop yourself2 1n such a form% the process of festival la.our does not reduce an employee to ,ust a role of a contractor% .ut it #ives an opportunity for a real cooperation in the decision makin# process% you can participate in a discussion instead of reducin# you to nothin# else .ut a role player as the author of the a.ove9cited 7uote pointed out2 =n element of novelty of an event is also important: *hen everyone takes they first steps and paves the *ay% they all take more e#alitarian positions no one can make claims to kno*led#e% e8perience and successful solutions that have .een *orked out in previous years2 12

!ulia: -o in a very #eneral *ay: *e@ve run short of time% ener#y and a .it like enthusiasm that *e had and then everythin#222 .ecause then *e did everythin# on our o*n222 or#anised everythin# .y ourselves2 -o *e used of course our o*n computers% cars% phones and everythin# at our o*n e8pense% so *e paid e8tra ener#y and also money% and on the .asis of those e8periences *e kne* that the ne8t edition had to .e or#anised in a more professional *ay% certainly2 "rass roots and self9or#anisin#% and to some e8tent self9financin# process of production turns out to .e e8tremely tiresome: physically% emotionally and financially2 Qven if it does not discoura#e everyone% it does impose limits on the scale and conse7uently on the sta.ility of a festival that is .ein# or#anised2 =ccordin# to the dominant opinion% .i# events re7uire simply a .i##er control over the production process >=nna: 42225 the festival started to chan#e a .it% to #ro* a .it2 =nd someho* also or#anisationally they decided to chan#e like the *ay the or#anisation had *orked and then the post of a producer appeared?2 =nother factor is an interaction *ith others *ho e8pect the e8istence of formal institutions: >!ulia: it *as the time that they needed such an event and they *ere also happy *ith the or#anisation% so may.e they *ould have .een interested in that% .ut *e had to .e#in from a different an#le% so the one that *e represented some or#anisation?% or eventually e8pectations and ha.its of employees themselves >&arolina: 4people5 e8pect a .oss to #ive them some structure% to enforce the tasks% to supervise and in #eneral to do the thin#s that normally a ste*ard used to do?2 Bn the other hand% there are cases of active opposition a#ainst .ureaucratisation processes: &arolina: (e% unlike my collea#ues% had *orked in many places .efore 1 esta.lished 4name of the institution5 and 1 kno* *hat 1 didn@t *ant it in my life anymore2 1 didn@t *ant a corporation9like discipline nor corporation9like lo#ics% in #eneral% 1 didn@t *ant a lot of thin#s *hich 1 think are .ad for me and any other people2 That@s *hy 4name of the institution5 since the .e#innin# *as also that or#anisation in *hich 1 really e8perimented *ith human patience2 Aecause 1 decided not to introduce any structure% hierarchy and to mana#e it chaotically2 The idea of culture as .ein# so much different than economy not only in re#ard of produced #oods% .ut also in terms of the or#anisation of la.our process remains very 13

stron#2 1n the a.ove9cited 7uote the assumption is rooted in previous e8periences >one can assume an e8perience of *orkin# in a corporation?% hence% it #ains a particularly conscious and radical form2 <o*ever% even amon# less e8perienced employees of cultural industry and *ith their admiration for professionalism an acceptance of .ureaucratic structures has its visi.le .oundaries2 Aartek: 1n fact% suddenly a company has .een hired and it@s #ood and .ad% suddenly the event company has .een hired% the company that or#anises the festival2 1t is like that% that there is% ho* to say it% a .ureau of the festival or#anisation% *hich has hired the event company% *hich or#anises the festival and like in .et*een% 1 mean222 .et*een the .ureau and volunteers there@s that company2 =nd that@s all2 =nd on the one hand it@s #ood% .ecause the festival .enefited a .it% .ecause or#anisation is .etter and many thin#s are .etter thou#ht throu#h% .ut on the other hand some creative fun has .een chan#ed into a company standard2 Bk% *e come to you% and ok% *e@ve #ot in our offer such and such solutions2 =nd then for those tasks there is a reserve of people% that is volunteers are needed2 Aureaucratisation chan#es most of all the character of relationships .et*een people in the production process% #ivin# them more instrumental and rational character: for those tasks there is a reserve of people% that is volunteers are needed2 (utual relationships .oth outside and inside .ecome more formal and more precisely re#ulated2 6ivisions either functional or hierarchical .ecome more fi8ed2 Personal departments and areas of responsi.ility chan#ed into posts that are parts of departments2 Qmployees@ contacts and ideas are replaced .y hired su.contractors and offers of ready solutions2 6a*id: This is a #roup222 a .i# festival% many events% so it isn@t like that you have to #et somethin# out of the .lue% .ut they have a contract *ith a particular sound company% particular lo#istic company *hich *ill transport portaloos and the one *hich *ill .rin# fences and the security and caterin# companies2 =nd you #et from them all contacts and they kno* e8actly% they have a schedule and they kno* *hen to .rin# you stuff% .ut you still need to supervise them and 2222 in a *ay it@s a.out #ettin# it% a.out control ho* and *hat and *here 42225 1t is like #uardin# your2222 possessions2 =nd to .e sure that an e8hi.ition *ill take place 14

*ithout any clash and that everythin# is plu##ed in% that no one is killed and that everythin# is accordin# to the pro#ramme and technical readers and that there@s no222 1 don@t kno* any fau8 pas2 For those employees *ho keep 7uite a hi#h level of independence% *ork of co9or#anisin# a festival desi#nin# and or#anisin# .ecomes a *ork of control #uardin# possessions possessions that in fact .elon# in total to or#anisers >even if rather rented than their o*n?2 (a,a: Aecause most of volunteers don@t have any contact *ith somethin# like that 4or#anisation of a festival5% for e8ample222 .ecause these are different% different sections and there is% for e8ample% a section of #ivin#222 if there% pin a .ad#e% that222 ushers in cinemas or leafleters or% as 1 told you: a #ofer 2222 there@s a lot of that sections2 Bn the other hand% a ne* class of employees% or more precisely volunteers% is .ein# developed; they are #iven only simple and routine tasks% like a #ofer2 They are separated from the conceptual element of production process and they *ork in e8chan#e for free admission to all festival events2 Francis+ek: =nd here like the most important person% *ho resolves all those conflicts is the director of the #uest department% *ho is like a .oss of us all% you can say2 <e is directly responsi.le to 4name of the director of the festival5% alternatively to the mana#in# director% so also a very important person2 =nd he or she solves those pro.lems 42225 =nd she solves them very 7uickly% .ecause there@s no time to% like% discuss thorou#hly some matters% it is only very clearly sho*n *hat you@ve done *ron# and sometimes *hat to do not to make the same mistake a#ain2 Finally% *ith the posts a hierarchy develops a chain of command #ivin# supervisors the ri#ht to supervise and correct the *ork of employees2 The meanin# of a term .ein# responsi.le also chan#es2 =s in self9or#anisational processes it meant mostly .ein# responsi.le for >that or another element of a festival?% here it means also .ein# responsi.le to >a mana#er% a director?2 Personal responsi.ility is replaced .y institutional 15

accounta.ility2 (a,a: he@s my friend no*222 he .usted his arse% .ecause his coordinator% *ho should have .een doin# somethin#% couldn@t #rasp it2 =ny*ay there *as plenty of *ork and he *as a volunteer% .ut he *as doin# as much as people *ho *ere paid for that2 =nd people *ho *ere paid for that did virtually nothin# and they didn@t find fulfilment in it% and he222 he said that if they didn@t offer him salary ne8t year he *ouldn@t *ork222.ecause he felt .ein# a.used this year2 Aecause some handshake *ith some director is not everythin# sometimes2 =nd #ood fun is #ood% .ut2222 <o*ever% .ureaucratic or#anisation could successfully function *ithout the support of self9or#anisin# process% *hich it tries to control2 1n a situation *hen official structures and hierarchy fail% it is the personal en#a#ement and initiative of people *ho formally hold ordinary posts that saves the situation2 The cause of the feelin# of .ein# a.used from the a.ove9cited 7uote is that the .ureaucratic production process needs a #rass roots en#a#ement% .ut at the same time it neither reco#nises it nor re*ards it2 The la.our process: control and autonomy Aartek: =nd the coolest thin# 1 heard from the director of the festival% *ho *as at the same time my instructor% #oes somethin# like this: take care of it% it has to .e done ri#ht% 1@m not familiar *ith it% .ut if it #oes *ron#% then you@re scre*ed2 Task or#ani+ation is the most typical form of or#ani+ation of la.our for the festival production process% elliptically summari+ed in the a.ove cited 7uote2 The director >a producer% a coordinator% etc2? instructs the employees to perform a specific task and leaves them discretion as to ho* to do it2 Bnly the outcome is .ein# evaluated2 Bne should not .e fooled .y the facetious nature of the director@s utterance an employee *ho fails to fulfil the assi#ned tasks can actually .e scre*ed in one *ay or another2 Task assi#nment is at the same time assi#nin# responsi.ility for a particular element or aspect of the festival production process2 1t is a call for independent autonomous actin#% .utthe tone is that of the people *ho *ere in e8ecutive command under Taylori+ation; 16

-tanis)a*: 42225 in fact% apart from #ettin# a packa#e of films *hich 1 had to sho* and ,ust some order% a division into days% it@s .asically% it@s .een rather such% such voluntariness and it is ho* *e deal *ith it% no one *as su##estin# anythin# to us and% *hat@s more% no one had time to sit *ith us and talk to us2 The utterance 7uoted a.ove descri.es the typical process of task assi#nin#: a mana#er or a co9ordinator presents to the volunteer >in this case? a result to .e o.tained or a #oal to .e achieved2 The task is defined .y *hat is relevant to the *hole course of the event: the content >the film packa#e? and the time frame >the division into days?; the volunteer receives certain resources to use *hich he or she has to complement *ith his or her o*n input >-tanis)a*: 4a.out the same ,o.5: We .asically #ot a pu.% *e #ot the films% and it *as on us to or#anise the e7uipment?2 1t is also *orth notin# that in the case of more comple8 tasks% an employee can sometimes choose their co9*orkersRsu.,ects themselves2 Aartek: Aecause if% for e8ample% someone *ants to make a presentation *hich is lar#e% and all his or her achievements% and he or she has it on a drive that is not porta.le% then you need to find an adapter2 Bn the other hand% if someone has the presentation on a C6 or on a remova.le drive% then you can #ive him your laptop and that *ill also *ork% huh2 1t all depends on ho* e8perienced your people are222 sometimes it is like% for e8ample% some% let@s say% coordinator of the technical department% *ho is responsi.le for such live performances% panics% and a volunteer comes and says .ut 1 have a laptop like this% and so on% takes it out and half a second later the pro.lem is solved2 =t the same time% not all tasks are a result of the mana#ement@s assi#nment much of it appears in an une8pected *ay durin# the production process2 1n such cases% an employee cannot in the common perception of our intervie*ees *ait for someone to tell them to settle the matter% .ut they must sho* their o*n initiative2 The a.ove9cited e8ample sho*s the importance of the sense of responsi.ility >the volunteer@s attitude? over the institutional responsi.ility >coordinator% *ho is responsi.le for such performances% panics?2 1n a chan#in# and unpredicta.le festival environment% la.our or#ani+ation could not function effectively *ithout such a form of self9or#anisation2 17

=ntoni: 1 had to or#anise the *ork myself and 1 *as immediately thro*n into a mode that you ,ust #et a ,o. and you kno* *hat you have to do% that is ahead of you there is a #oal% *hich is to create an e8hi.ition% you #et a list of artists and *hat you need to do is to make this e8hi.ition open% and there is no one a.ove you to say *hat steps you have to take to achieve it2 1t is totally222 the *ay 1 *ork here depends on me2 Bf course% 1 come here to the office and sit ho*ever many hours% .ut it is not like 1 come to sit from EK a2m2 to G:KK p2m2 The la.our process at a festival #rants the employees a hi#h de#ree of autonomy the *ay they *ork depends on them they do not have to stick to any imposed procedures% fi8ed hours% or a desi#nated place of *ork% etc2 as lon# as they *ill .e a.le to fulfil the task2 =n employee or#anises% performs and controls the course of their *ork themselves2 Bn the one hand% it #ives the possi.ility of adaptin# the *ork to suit one@s needs% preferences >e2#2 intervie*ees spoke of preference for ni#ht *ork? or other activities >e2#2 study% *ork% la.our% etc2?2 Bn the other hand% it imposes on the employees a necessity to su.mit their actions to the conditions of the task performance: self9or#anisation; self9discipline; independent% critical evaluation of the results of their o*n *ork >Aartek: everyone says: #reat% a*esome and so on% and you say to yourself shit% and so many thin#s are still faulty? in other *ords% to mana#e themselves2 This so9called Sresponsi.le autonomy@ replaces the e8ternal supervision of the internal *ork2 6a*id: =nd it 4*orkin# *ith a more e8perienced *orker5 *as cool .ecause 1 #ot to kno* her *ork techni7ue a little and she is really very or#ani+ed% also222 a lot% it #ave me a lot .ecause 1 ,otted do*n on my computer a variety of her222 1 do not kno*222 methods% *hich still help me at *ork222 and e8perience too2 = hi#h de#ree of autonomy in the *orkplace allo*s to maintain control over the development of one@s skills2 1ndependence creates many opportunities to learn and develop one@s professional skills >&rystyna: 1 had a #reat decisiveness in my actions2 1@ve learned many thin#s2?2 =t the same time% it adds independent *ork or#anisation skills to the repertoire of the necessary technical and administrative skills2 The festival or#anisers only occasionally invest in the skill development of their employees% #ivin# them instead an opportunity to ac7uire ne* and .roaden the e8istin# skills durin# the la.our process2 18

The follo*in# statement illustrates this situation as a kind of e8chan#e .et*een the or#anisers and the employees: PK: Does the employer invest in the development of your skills? Aartek: Nou kno*% does he or she invest in my development222 yes% .ut it is still% you see222 1 see as the same investment that% for e8ample% 1 can do somethin# my o*n *ay2 Aecause it@s an alternative cost2 -omeone222 This is the so9called risk mana#ement2 1f 1 do somethin# *ell my o*n *ay% 1 *ill learn a lot% .ut if doin#222 and it *ill .e *ell done2 1f 1 fuck it up% then sometimes 1 *ill learn even more% .ut the event .ears a #reat risk2 The festival or#anisers take on the risk of hi#h employee autonomy a *orker doin# thin#s her o*n *ay can make mistakes that threaten the course and the 7uality of the festival2 Bn the other hand% the or#anisers do not have to invest in the ac7uisition and development of the professional skills of their employees% as they are re7uired to o.tain them on their o*n% throu#h e8perience2 &rystyna: 1 *as responsi.le% in #eneral% for orderin# the catalo#ues% flyers% and posters% as *ell222 For me% it *as the first% at all% clash *ith this *orld of printin#222 that there are some paper *ei#hts% dimensions222 Bf course it seems o.vious no*% .ut then 1 *as so222 (other of #od% ,ustT PK: What to choose? &rystyna: Nes% ho* am 1222 um222 ho* am 1 to ,ud#e% ho* am 1 supposed to kno* that% also222 not here% it *as errin#% almost completely2 This tendency to com.ine *ork *ith learnin# a profession is sometimes a cause of stress and *orry2 The a.ove 7uotation sho*s ho* even relatively simple >lookin# .ack from the perspective of already accumulated e8perience? tasks can .e a pro.lem% *hen they are performed for the first time2 The tasks performed .y an autonomous employee should therefore also include continual learnin# of their profession2

19

Q8ternal control 0atalia: =nd it@s actually that moment of inspection that is really scary% it comes at the very end% and then comes the evaluation of *ork that one has done% and often it turns out that at the end you@ve done somethin# *ron#% *ithout reali+in# it% especially if you@re *orkin# for the first time in such a system and you don@t kno* ho* to do thin#s% and then various pro.lems and conflicts% associated *ith it% arise2 The most important method of the e8ternal *ork control used in the festival production process is the control over the outcome2 =s evidenced .y the 7uote cited a.ove% this control may take the form of a very stressful moment of evaluation of the finished *ork: *e are dealin# here *ith a technician responsi.le for the realisation of individual elements of the festival2 Where an employee is responsi.le for some more #eneral aspect% rather than for a particular element >e2#2 lo#istics% accommodation% volunteers% media relations% etc2?% the control over the results involves an e8pectation of a smooth course of the event and .ecomes relevant only *hen any noticea.le a.normalities >e2#2% delays% pro.lems *ith accommodation etc2? .e#in to appear2 =ny more detailed >and more stressful? *ork evaluation usually comes after the event has finished2 =nna: Aecause 1 also employ% for any spot *here the performances take place% a man *ho needs to .e there from the .e#innin# to the end2 =nd he sits there2 <e #ets from me like a packa#e% so the e7uipment is rented% place2 Qverythin# is a#reed upon% .ut at the venue he needs to talk *ith the team and make sure that *hat 1 arran#ed .efore actually happens2 1n the case of lar#er and more .ureaucratic festivals >the a.ove e8ample comes from one of the lar#est Polish theatre festivals? monitorin# the *ork results takes on a more systematic form of keepin# an eye on the relatively autonomous >everythin# is a#reed upon? la.our process2 6a*id: 42225 someone didn@t #et the speakers even thou#h they said they *ill have speakers so *e have to 7uickly rent some others% and it@s222 summer is ,ust a festival .oom and it is e8tremely difficult to #et the e7uipment% so222 1 20

,ust #ot a speaker for FKKKP30% terri.ly e8pensive% and that% for e8ample% *as not in the .ud#et2 -o it *as a little fuck9up2 The second commonly used form of e8ternal control of the la.our process is the determination of its limits *hich cannot .e crossed2 1t re#ards the limitations of time >deadline? and means >finances% e7uipment and human resources? that are at the employee@s disposal2 The 7uotation cited a.ove sho*s that the female employee responsi.le for a specific element of the festival has the freedom to take any steps *hich *ill lead to success% .ut if she crosses the set limits >in this case: the .ud#et?% there is a fuck9up2 Crossin# set limits #ives the supervisors a reason to start a detailed control of the course of the la.our process and the validity of decisions made >in the a.ove e8ample: an employee had to e8plain the reasons for such a lar#e sum of money?% destroyin# the illusion of full autonomy and remindin# of the functionin# hierarchical relationships2 1f *e look a#ain at the presented e8amples of the *orkin# of e8ternal control mechanisms >=nna: then created various pro.lems and conflicts associated *ith it2 6a*id: -o there *as a little mess?% *e *ill find that they are the place *here conflicts .et*een the employees and the or#anisers >.ein#% in relation to them% the employers? manifest themselves2 1t is in these moments *here the hierarchical structure of the festival .ursts into the relatively autonomous la.our process% confirmin# its su.sumption under the prevailin# relations of production% and remindin# of the fundamentally heteronomous character of *a#e la.our% *hich *e *rote a.out at the .e#innin#2 The su.,ective effects of the la.our process The relationship .et*een the conditions of the la.our process% a hi#h de#ree of autonomy% and the su.,ectivity of the employees can .e descri.ed as a special normative control mechanism% su.stitutin# more direct forms of la.our control in the festival production process2 1f the pro,ect is to .e successful% the employee must contri.ute to it not only their *ork and skills% .ut also their creativity% intelli#ence% a.ility to react to une8pected situations and to independently take actions vital under #iven circumstances *ithout e8pectin# orders from a.ove% and ultimately their communicative skills and personality2 These are thin#s that cannot .e enforced .y supervision2 This is *hy the mana#ement of people in the festival production process is oriented not to supervise their

21

.ehaviour% .ut to instil a sense of responsi.ility in them2 Qmployin# people to *ork at a festival is not ,ust a simple act of sellin# la.our force: =ntonina: 1 completely devoted myself to the festival% 1 *as *illin# to sacrifice everythin# for it 42225 .ecause if you *ant to commit so completely% totally% *ith your *hole self% it is o.vious that% ,ust as at the 4name of the festival5 festival% 1 *anted to .e at every concert% 1 *anted to .e in the office every day and help and do everythin# 1 *as asked to2 Takin# a ,o. at a festival has a nature of a commitment% .oth emotional and moral2 1t means more than a contract or even a help offer >in the case of the volunteers?% it means takin# on personal responsi.ility for the realisation of the event2 Bf course% the sense of responsi.ility for the *hole festival% thou#h undou.tedly important% is secondary to the more specific responsi.ility for oneUs o*n share that is% an assi#ned or selected element% or an aspect of the festival >or ,ust a series of specific tasks? *ith *hich the *orker has to deal personally2 The process of task division is therefore a one of dividin# the areas of responsi.ility% .oth in the institutional that is% *hat one *ill .e accounted for and moral sense as a moral o.li#ation2 Aalanced a#ainst the responsi.ility taken on .y the employees% is the trust placed in them .y the mana#ement: &rystyna: =lso222 Bh yes% there is such a222 1 do not have someone *ho checks on me all time and that 1 only do thin#s like222 as if 1222 one could say that even at 4the name of the festival5% *here 1 *as *ith them222 no itUs not like itUs an important function2 <o*ever% 1 #et technical riders% so they have a #reat confidence in me .ecause222 .ut222 They kno* that 1 *ill #ather everythin# and that everythin# *ill .e in place2 -o 1 have my freedom here% 1 plan each hour myself222 ho*% *hen% *hat% *here222 1 myself am responsi.le for% 1 donUt kno*% arran#in# thin#s *ith the driver2 1Um responsi.le for it all% also222 1 don@t feel like this #reat control or somethin# here2 These are ,ust my ,o.s2 -tanis)a*: Bne is% let@s say% a relatively #ro*nup person and one has to #et a #rip of the situation2

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1n this process of moral e8chan#e% *hich could .e defined as control by sub!ectification or normative control% the mana#ement placin# trust in a *orker% reco#ni+es them as a moral a#ent% an adult% a competent and responsi.le person2 The employee in turn% reco#ni+in# himself or herself in this interpellation% takes responsi.ility% transformin# the tar#et desi#nated .y the director into his or her personal #oal2 1n this *ay% the the *orkerUs soul can .ecome part of the factory2 The employees% seein# that they are treated as responsi.le people% they themselves try to .ehave *ell at *ork so as not to disappoint the trust placed in them2 6a*id: =nd 1 like that222 1Um very responsi.le there% 1 have to .e a responsi.le person and 1 decide a.out thin#s2 =nd *hen you #ive someone a possi.ility of decisionmakin#% of .ein# a decisive person in some 7uestions% one is more motivated2 Qach commissioned ,o. is at the same time an assi#nment of certain responsi.ility% an employee takin# up a ,o. .ecomes personally responsi.le for a particular element or aspect of the festival2 We have already *ritten a.out the importance the sense of personal responsi.ility has on the functional% as *ell as the hierarchical division of la.our in the festival production process2 6a*id: =nd the #irl *ho *as the paid mana#er of the room *as pro.a.ly pre#nant or 22 1 do not kno*% she had children and *as hardly ever there2 -o the chick #ot paid from the #rant% ri#ht: From like222 the foundation funds and 1 *orked my arse off for her2 The sense of responsi.ility constitutes a mechanism of self9or#anisation of the la.our process% relatively independent of any formal and hierarchical divisions% as .est evidenced .y the fact that it is a.le to replace them *hen these structures fail2 &rystyna: 1t is an approach that is a .it222 on the one hand to put it in the resume% .ut also 1 have a feelin# that this is not only a matter of lookin# for e8perience% .ut only of #ettin# a .ad#e and may.e a possi.ility to ,ust #et in222 ,ust that2 Aecause 1 see222 like these situations *here someone applies to .e a volunteer and *orks only one shift% for e8ample% a four hour one2 The festival 23

lasts% 1 do not kno*% five days% and such a person appears only once% he or she #ets the .ad#e% and 1 see them on all sho*s% they ,ust *ant to .e a.le to #et in2 1n opposition to a responsi.le entity% committed and trust*orthy% there is an opportunistic person% commonly recurrin# as a ne#ative hero of our intervie*ees@ narrative2 The opportunistic su.,ect >not necessarily a volunteer? is only interested in the .enefits >such as a free participation in the festival?% they do not *ant to do more than necessary% do not feel responsi.le for anythin# and do not share the enthusiasm2 Without close supervision% such a person cannot .e relied on and turns out to .e completely useless in the conte8t of the festival la.our process2 <anna: Aecause if there are no strict orders one person *ill feel responsi.le and do a lot and another% as 1 said .efore% *ill do ERC and at the end *ill say% *hat a festival *eUve or#anised% *onUt they: =nd they *ould say% for e8ample% this festival *asnUt or#anisin# .ut rather rescuin# *hat *as left2 =nd al*ays *e did% *e *ent% *e laid the tracks in front of the City <all% ri#ht: They *ould only stand and look ho* my 4name of a person5 *ith222 at C am2222 the .oys are layin# tracks that *ere .rou#ht there from 4name of a city52 The or#anisation of la.our .ased lar#ely on the sense of personal responsi.ility and limited control% put the committed people in an unfavoura.le position *ith respect to the opportunistic ones2 The latter take advanta#e of the .enefits from the participation in the festival production >such as a free admission or simply claimin# credit for the or#anisation% as in the a.ove9cited e8ample? .y takin# on a disproportionately small amount of *ork2 "enerally% a hardly repressive atmosphere of la.our process also makes it impossi.le to discipline such people >&rystyna: 4a.out an opportunistic volunteer5 =nd% *ell% you kno* *e canUt do anythin# a.out it222 1 canUt say look% .ut you only came once2?2 <ence% the la.our process *orks .est *hen it is carried out .y a committed community: (ateus+: =nd *hen you see such commitment on the other side% not only concernin# the purchase of drinks or #ettin# materials% .ut people *ho *ill read all the te8ts and look for typos% apart from that they *ill capture every senseless thin# *ritten there2 Workin# *ith such a person motivates you and 24

you kno* itUs a priority% and other thin#s are222 1 think it is like *hen #enerally at *ork you see some.odyUs commitment% then you yourself *ant to commit more2 -hared enthusiasm and commitment are the key to a #ood *ork atmosphere2 The people *ho are committed motivate one another and constitute e8amples for one another2 =chievin# such an atmosphere is% a.ove all% a matter of an appropriate selection of participants of the la.our process: 6a*id: 1 try to .e nice rather than commandin#2 Aut on the other hand% 1 keep a distance .ecause222 it is immediately o.vious *hatUs a personUs attitude to *ork% isn@t it: 1f they came here to s*a##er or if they came to do somethin# su.stantial2 =nd then *ith such people 1 immediately esta.lish contact2 With the others 1 do not even kno* if 1 #ive them a chance to prove themselves% .ecause 1 see that as 1 talk% they are lookin# at somethin# else: -o 1 do not even *ant to *aste time on them2 1 kno*% for e8ample% that tomorro* they *ill .e #one2 -o 1 try ,ust to say *armly look% hereUs the deal% and it@s like cooperation% not that 1 command you2 We are *orkin# on the pro,ect to#ether% so *e have to help each other% ri#ht: Reco#nisin# people manifestin# the ri#ht attitude is essential not only in the recruitment process .ut also in the la.our process2 1t allo*s to separate the valua.le co9*orkers% on *hich you can rely% from the opportunists% *hich can only .e a source of conflict and difficulties2 Recapitulation The festival la.our process% thou#h diverse in terms of the level .ureaucracy% is characterised% ho*ever% .y hi#h de#ree of the employee@s autonomy and an advanta#e of normative controls over the e8ternal ones2 = festival employee is e8pected to .e independent and maintain control over their *ork and% at the same time% treat the tasks assi#ned to them as a personal responsi.ility2 Without this sense of responsi.ility% the or#anisation of the production process% reduced to a formal hierarchy% *ould not .e a.le to function effectively in a chan#in# and thorou#hly en#a#in# festival *ork 25

environment2 The or#anisers of the production process are therefore forced to create the conditions for the functionin# of the employees@ autonomy% *hile strictly controllin# the results of the la.our process% thus confirmin# their inaliena.le ri#ht to an e8clusive disposal of the product2

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