SURVIVING INTERNSHIPS

A COUNTER GUIDE TO FREE LABOUR IN THE ARTS 2

The Guide This guide has been produced by the Carrot Work- ers‘ Collective in London. It attempts to explore and debunk some commonly held myths around creative careers and provide some survival tools for those cur- rently working in the creative sector. This guide asks: is unpaid interning essential for a job in the creative sector? Does interning and free labour automatically lead to paid work? Do those who work in the creative industry actually do creative work? Why do we often think that cultural work isn‘t ‘real work‘, and therefore that cultural workers don‘t deserve the same rights as everyone else? The contents of the guide are based on real life experiences of cultural workers in London who tell it like it really is, sharing the fears and desires that motivate their work, their experiences of disap- pointment and survival, and also, importantly, suggest- ing how we could organise our work otherwise.

Who are we? The Carrot Workers‘ Collective is a London-based group of cultural workers, interns, teachers and researchers who regularly meet to think and work together around the conditions of free labour in con- temporary society. We aim to understand the impact of free labour on material conditions, subjectivity, life expectations and desires.

Why ‘The Carrot‘? The Carrot represents the promise of paid work, meaningful experience, success and stability which in the cultural sector, more often than not, is never actu- ally realised. More generally ‘the carrot‘ signifies the hope that we might organise our work around ‘creativ- ity‘ rather than drudgery; an aspiration that is used to prompt, cajole and sometimes blackmail workers into long-term and recurring periods of free and precari- ous labour. The carrot becomes a disciplinary device that taps into desires and aspirations in order to string us along. CONTENTS

Interns and volunteers are fast becoming a structural ‡ The way artis- 1 necessity, de facto masking the collapse of the cultural tic labour is ARE YOU sector, hiding the exodus of public resources from organised makes these activities and thus preventing the general public artists arguably THINKING ABOUT from perceiving the unsustainability of the situation. a prototype not In this landscape, interns offer both a solution and a just for work threat. They fill in the ever-widening gaps between am- DOING AN bitions and cash, but they also legitimise the exploit- organisation, ative nature of cultural work – reminding those who are but for innova- employed in the sector that there is always someone tion in the rest INTERNSHIP? ready to do your job for free (if they can afford to). of the economy. (NESTA, 2009) Beyond the cultural sector, the carrot and the stick 2 increasingly regulate our present: from student loans, ARE YOU ‘personal development‘ pathways, to the things we tell ourselves to get through the day; we herd and are herded along a path of sacrifice through to the ‡ One in five DOING AN promise of future fulfilment. We are told that the cre- 16-24 year olds ative worker has become a symbolic economic figure, (965,000) is out INTERNSHIP? driving growth, setting lifestyle trends and reshaping of work in the urban environments. The ‘self-actualising‘ and infinitely UK.(Feb 2011) flexible (and exploitable) ‘creative‘ becomes the ideal 3 towards which all work should strive, setting a corro- DO YOU sive example and encouraging a series of expectations around non-waged labour that infiltrate the entirety of productive and social relations. HAVE AN At the time of writing this Introduction we are witness- ing an unprecedented attack on not only the cultural INTERN? sector, but on all aspects of public life: almost 20.5% youth unemployment, massive rises in university fees and student debt, a huge withdrawal of the state 4 masked by new troops of unpaid volunteers. While HOW TO the so-called ‘credit crisis‘ exposed the bankruptcy of the system that produced huge inequalities in gender, class division and social mobility over the last 30 years, FIGHT the solution proposed by our government is of course, more of the same, and worse. Now, more than ever is the time for cultural workers to resist and work in BACK? solidarity with other social struggles. 1 ARE YOU THINKING ABOUT DOING AN INTERNSHIP?

Maybe you are a student, you might have just graduated, or you are thinking of a change of career? You are an artist, curator, art historian, designer or someone who is really interested in and passionate about art and culture? You have heard that gaining experience through an internship in the cultural sector is an absolute must, not just to learn more about how differ- ent spaces and institutions work, but also to get your first foot on the rung of the jobs ladder? It‘s really important to think first about why you might want to do an internship, and what it is you want to gain. In this section you will find out what the difference is between a worker, a volunteer and an intern. You‘ll learn about the history of internships, you‘ll explore whether an internship is the best way to get what you need, and you‘ll find some helpful tips on how to read a real internship ad. At the end of this section, we address how your ‘official status‘ – whether intern, worker, volunteer – impact your rights. 8 9

THE START OF THE AFFAIR

Career Day : Things hot up!

I wonder if I‘ll Choosing the right internship is like find the one ? picking a pair of designer jeans...

Wow, this piece is great! Conceptually sophisticated, intellectually adventurous, critically aware, In the studio after much hard technically accomplished, Meanwhile, in a blue-chip gallery work and many setbacks. startlingly ambitious [...] somewhere in the West End.

This could be the start of something beautiful...

Yeah, great... Conceptually sophisticated, intellectually adventurous, critically aware, she’d make a great intern. 10 11

Is an internship the best way to get what CASE STUDY 01 you want? I would say that I decided to do an intern- Many internship guides will advise you that if you ship because of my own ambition and my motivation. I wanted to get an insight want to be successful and gain experience in the arts, into the art world, to see how it works, all you need to do is to get the right internship. You get some ideas and experience. And I was should think first however, about whether an intern- prepared to accept the conditions and ship will actually be the best way for you to get what circumstances – because, you know – it‘s the way it works, and either you accept it you want, to gain the skills you need, and to partici- or you don‘t accept it, and if you want to pate in building a culture you want to be part of. Here have a go, you just have to be prepared to is a checklist of things to consider before you set out: do certain things.

a What do I hope will be the For changing society or for ber that interning in a more not respectful to you early outcome of my internship? making culture everywhere prestigious and sought after on, this dynamic can become Am I expecting a job, a refer- and for everyone? Find an institution will not necessar- normalised and therefore ence, or to ‘get discovered‘? internship, an organisation, ily mean that you will likely to repeat itself in vari- You might want to consider and work that will help you get more interesting or rel- ous ways into your future. ☐ that most internships do not to achieve that! ☐ evant experience. ☐ lead to jobs in the same insti- i Have I thought about how tution, but can often simply e How will I fund my intern- g Have I considered whether the free work I might con- lead to more unpaid intern- ship? What happens if I can‘t I want to take an internship tribute to the cultural institu- ships. ☐ afford to do one? Some simply to ‘get ahead‘, to gain tion is not just for my ben- people will be able to rely on advantage over my peers, efit, but how it might also b Have I investigated training family help, others will rely and what that might mean? be propping up and sup- courses that might give me on student loans, and oth- The effect that this might porting the very functioning the skills that I think I will ers are forced to fund their have on me and my commu- of that institution? Have I gain from the internship? ☐ internship through other nity/ peers? Have I thought thought about the implica- part-time jobs. Is it worth it, about whether there are tions of this? You may think c Could I gain just as much, or might there be another alternatives to a competitive that your role in world of or perhaps even more rel- way to get what you hope to approach to working in the culture is really small, but evant experience working gain from an internship? ☐ arts and cultural sector? ☐ your valuable time, skills and with my friends and self- passions are exactly what organising some exhibitions, f If I am choosing an intern- h Have I thought about how the sector relies on in order events or even setting up a ship based on prestigious the choices I make early in to keep running. ☐ new space? ☐ institutional name, have I my career might set up a really considered what expe- pattern for how I organise d Am I interested in produc- rience I would actually like and value aspects of my life ing culture for commercial to gain beyond listing that and work into the future? gain? For the public good? name on my CV? Remem- If you accept terms that are 12 13

A brief history of internships in Europe and the United States publications, occupations etc. At this time, devised by state-sponsored but ‘employer- many artists worked within the contexts of led‘ bodies responsible for defining training Middle Ages (Europe) the university as an experiment called ‘The neighbourhoods, trade unions and political requirements in their sector. Apprenticeship drawn from the term ‘ap- Cincinnati Plan‘. groups gaining ‘work experience‘ through prendre‘ comes into being through guilds. In collective action. 1995 (UK) 1911 many cases young people were offered food Modern Apprenticeship added ‘flexibility‘ and board to assist trades people, gaining Labour and Apprenticeship, by Reginald Bray, 1969 (Germany) into the programme, with no set duration skills in return. cites main objectives of the apprenticeship A law (the Berufsausbildungsgesetz) was of training as a requisite for government system as ‘supervision, training and filling passed which regulated and unified the funding toward apprenticeships. This helped 1601 (England) job openings‘. vocational training system and codified the to make apprenticeships more ‘palatable‘ A two-tiered system of apprenticeships is shared responsibility of the state, the unions, to employers. Guidelines sent out from the set up through The Poor Law Act which gave 1930s – 50s (France) associations and chambers of trade and Department of Education and Skills are left to Church wardens and Overseers of the Poor Building on the experiments of New Educa- industry. The dual system was successful in open interpretation from varying geographic the power to apprentice any child under six- tion in the 19th Century, radical educator both parts of divided Germany: in the GDR, and occupational sectors. teen whose parents or family were unable to Celestin Freinet introduced the idea of ‘Peda- three quarters of the working population had provide maintenance. Described as Poor Ap- gogy of Work‘ ‘ and ‘Co-operative‘ learning completed apprenticeships. 2003 (Europe) prentices, children of poor families were ap- into teaching of the working classes . Freinet As part of the Bologna Process for European prenticed at the expense of the parish. Poor schools used practical education – such as 1970s (UK) Education reform, which aims to make apprentices ran alongside the regular system the production of collective newspapers not UK apprenticeship system virtually collapsed Europe the ‘most competitive and dynamic of apprentice-ships, which provided for boys to support work of industry, (as did other in the traditional apprenticeship sectors. knowledge-driven economy by 2010‘, Work- from slightly more affluent backgrounds in programmes for working class students) but Various initiatives attempted to replace the ing Group H is struck. Working Group H higher level trades. The former performed to support the process of ‘spontaneous re- traditional apprenticeships with new qualifi- is charged with ‘Strengthening links with tasks of lower status such as farm labouring, organisation of life in school and society.‘ The cations, increasingly taken full time at further working life and society‘. Their goal is the brickmaking and menial household service. co-op in Freinet‘s terms was related to the education colleges and with no work-based provision of validation for all forms of infor- production of shared knowledge, resources element. mal learning, including learning that ‘takes 1899 - 1906 (U.S) and ownership of production in and outside place in relation to formal education and Co-operative education defined as, ‘an edu- of the school. Participation in the internship 1980s (UK) training settings....the labour market and … or co-operative learning in this sense, took cational system in which students may earn National Vocational Qualifications (NVQs) voluntary and civil society activities as well as the form of assemblies of students, teachers academic credit for career work done in their were introduced, in an attempt to revitalise in community learning‘ . Validation is to be and community members. Freinet was field of study‘ was conceived by Dean of vocational training. assigned through a standardized system of the Engineering school at the University of attacked on many fronts: he was detained accreditation legible to industry, rendering during WWII as a political agitator but also Cin- cinnati, Herman Schneider. He came up 1990s (UK) some kinds of learning more desirable than with the idea of the co-op when startled by a fell under criticism from the Communist others. Apprenticeships took up less then one blast from a nearby steel plant, deciding that party who did not like his displacement of percent of total employment. the co- op could ‘bridge a gap‘ in the ‘people the role of the teacher and content produc- 2004 (Germany) pipeline‘, creating a trajectory extending from tion in Education. 1994 (England) The government signed a pledge with education to internship to jobs in industry. industrial unions that all companies except 1960s (UK) The government introduced Modern Appren- very small ones must take on apprentices. 1906 There was a marked decline in apprentice- ticeships again to try to improve the image of Government provides the framework for the work-based learning and to encourage young After years of Schneider‘s co-op evangelism, ships. However, a proliferation of forms of working agreements between apprentices people and employers to participate. These the first cooperative class of 27 men entered informal learning and self-managed work and employers and apprentices are paid one took place in reading groups, independent apprenticeships are based on frameworks third of regular wages. 14 15

A lesson from radical history

2006 (France) resources are less likely to be in a position to For the current government, vocational learning or learning by doing is often promoted as ‘useful ‘ in After the uprisings of 2005 prime minister forgo the opportunity to earn more in order opposition to the ‘uselessness‘ of critical thought. In Dominique de Villepin, announced the ‘law to undertake an internship.‘ With ‘only 0.2% on equality of chances‘, creating the First of apprenticeship learners progressed to their important work against university ‘employability‘ Employment legislation allowing apprentice- further or higher education in 2007/08, and agendas that instrumentalise education to corporate ships for people as young as 14 years old. few moved directly into the professions. The imperatives, many intellectuals turn their noses down From this age, students are allowed to quit report does not address broader issues at the at vocational learning and the desires of students to the compulsory school system in order to core of internships themselves: that they en- understand better how they might be in the world. If courage loans, and distribute precarity across quickly learn a vocation. This was met by we look to radical histories we can find ways around the spectrum of work, that they last for years opposition from trade unions and students this polarisation in the relationship between education rather than months and render those with including protests of over 3.1 million people, and work. university occupations and strikes. employment insecure due to the surplus of people who will work for free. ‘The Pedagogy of Work‘, a process developed by 2006 (UK) Celestin Freinet and a European network of radi- Government removed mandatory inclusion 2009 (US) cal educators in France (1930s –70s), for example, rejected the idea of learning by doing in education as of a certificate in vocational apprenticeships. M. Patricia Smith, New York‘s labour Apprenticeships no longer have to include commissioner, ordered investigations into career development. any off-the-job training and were thus de- several firms‘ internships. Many fear they Instead they believed that the school was a place in linked from educational institutions. This was will become known as troublemakers in their which to invent forms of life and work based on the seen to allow more ‘flexibility‘ for employers. chosen field, endangering their chances with needs and desires of people. Freinet‘s idea of ‘Coop- a potential future employer. 2008/2009 (Europe) erative Learning‘ involved students and teachers in the collective production of newspapers, food, and ‘Learning Employability Places‘ (LEP) are 2010 (UK) spaces. Participation in the internship or co-operative announced as part of the ‘Bologna meets The Employment Tribunals, sitting in learning in this sense took the form of assemblies that Lisbon‘ programme initiated by the Bologna Reading, ruled that workers engaged on an included students, teachers and other members of Process. Bologna meets Lisbon offers ‘study- expenses-only basis are entitled to payment related working places‘ distinguishing them at least in line with the national minimum society engaged in collective decision making about from ‘regular internships or working periods‘ wage, in addition to payment for the holiday social life. While educational forms such as ‘project- which are ‘regulated by local labour laws,‘ As they accrue. The decision arises from a case based‘ and ‘co-operative‘ learning ring familiar today, such, ‘students do not receive a salary‘. brought by Nicola Vetta, a former art depart- they are very often used to support existing hierarchies ment assistant, against London Dreams of power and wealth. Freinet however used these 2009 (UK) Motion Pictures Ltd. BECTU, The Media and formats to enable collectives to continuously re-invent National Internship Scheme set up by UK Entertainment Union, supported the case what anti-capitalist forms of work, life and education government was renamed The Graduate Read the full article on their website: http:// could be. Talent Pool and includes the suggestion that www.bectu.org.uk/news/548. talents be identified in students (particularly Many organisations change the terminology in relation to creative industries) to plot pos- referring to ‘intern‘ to that of ‘volunteer‘. sible career paths at an early age. Unleashing Aspiration: The Final Report of the Panel on Fair Access to the Professions finds that ‘Those with the least financial 16 17

What is this art world? none of the people involved receive a salary Private Foundations Who is asking you to work for free? and all the money raised is reinvested in the Usually registered charities, non-profit space, or donated to external causes. They After working through the previous checklist, its good gaining their funding from one individual, do not usually have internships but rather or individual foundation. While the ethos of to research the kinds of spaces and institutions that volunteers who become active agents in these spaces is often largely similar to public are out there. Remember that your free work can sup- shaping the organisation. galleries, they are more likely to operate port really different kinds of organisations with very under the vision of the particular individual different missions and ethos. Think about whether you Private or Commercial Galleries or foundation who directs them. Examples in want your work to support and fit into this existing Represent artists and are primarily focussed London include Parasol Unit, David Roberts spectrum, or whether you want to fundamentally chal- on sales and raising the value of their work Art Foundation, A Foundation, Raven Row, lenge it and change it! See below for a short, and by through gallery exhibitions and art fairs. Delfina Studio Trust, Jerwood Space. no means complete digest of different kinds of cultural Private initiatives vary greatly in scale and organisations in London. income. Aside from sales, they may also Art Squats be involved in supporting artists through Related to autonomous spaces are ‘art promotion, fundraising, managing commis- squats‘: buildings squatted on a short-term ‘Public‘ Art Galleries akin to the ‘professionally‘ curated Public sions and museum and biennial exhibitions. basis purposely for art exhibitions. Some Curate and organise exhibitions, residencies, Art Galleries above. Artist run and DIY art Examples of these spaces in London: Sadie of these are collectively organised, others artists‘ projects, off-site projects, education spaces and programmes such as Cubitt, APT, Coles Gallery, Whitecube, Vilma Gold, Frieze are directed by a few people. Many of the and public events. They have charitable the Old Police Station, Studio 1.1, Parade, Art Fair, Christies, Sotheby‘s, Affordable Art collectives involved in these spaces come status and gain their funding from a mixture Studio Voltaire, Cell Project Space, no.w.here, Fair, Victoria Miro and many more. Many of and go very quickly, while others are more of Arts Council, local authorities and privately cinenova, LUX etc. are sometimes registered these rely heavily on interns and other forms stable such as the Random Artists and their raised income. This private income often charities, sometimes not and are funded by of free labour in spite of the profits they earn. ‘Temporary Autonomous Art‘ spaces. Some funds the entire programmes of these spaces studio rents and a mixture of other private of these squatted art spaces such as The Ou- and comes from sponsorship, friends, bene- and public income. Some programme their Museums bliette are run almost like a Private Gallery or factors and patrons schemes, cafes, venue public spaces collectively with the artists in The museum‘s mission is: ‘primarily to an exclusive Private Foundation, which blurs hire, and other non-corporate benefactors, the studio spaces and some employ curators promote public knowledge and enjoyment distinctions and aims even further. philanthropists and private trusts such as the or other structures to generate their public of art and culture‘, to preserve and collect Elephant Trust and the Henry Moore Founda- programmes. Many of these organisations work and show this work to the public, and Community Organisations with tion. Examples of such spaces in London are currently working to reduce or eliminate sometimes to act as sites of research. Their Arts Programmes unpaid internships. include, Barbican, Camden Arts Centre, ICA, largest source of funding comes from the Many non-arts spaces have arts programmes. Serpentine, Hayward, Rivington Place, South Department of Culture Media and Sport. Self-Organised and Autonomous Spaces Spaces such as the Brady Arts Centre, The London Gallery, Whitechapel Gallery. Smaller This funding is currently maintained on Migrant Resource Centre, The Monitoring non-profit public galleries include: Stephen London also has many self-organised, condition that Museums give free admission Group, The Maudsley Hospital, Olive Morris Lawrence Gallery, Photographer‘s Gallery, autonomous spaces, rented or squatted that to permanent collections. Funds however, are House, Southall Black Sisters, Independent the Drawing Room, Pumphouse, Chisenhale, often see cultural production as central to also raised through substantial sponsorship, Photography, libraries and many other lo- Matts Gallery. Many public galleries rely what they do. Run collectively, recent and entry fees to temporary exhibitions, friends cally based groups either run or are open to heavily on internships and volunteers due current spaces such as Rampart, RAtstar, 195 and benefactors schemes, merchandis- running arts programmes and are often less to rapid decreases in public funding for the Mare St., 56a Infoshop, LARC (London Action ing, restaurants, venue hire etc. Examples defined and open to new initiatives so-called ‘public‘ sector. Resource Centre), Really Free School, organ- in London include Tate, National Gallery, ise events, screenings, art exhibitions, inde- Maritime Museum, V&A, British Museum Social Movements Artist Run Spaces and Organisations pendent publications and public discussions. etc. Museums often rely on internships and Many cultural workers dedicate their creative Many former Artist-Run spaces in London These spaces seek to be non-hierarchical and volunteers, and sometimes have developed to use consensus decision-making. They are training programmes. labour to working as artists within social such as Gasworks, the Showroom and Bea- movements. Groups such as Platform, Lab of consfield are now operating in ways more funded through donations and fund-raising events, and are not for profit, meaning that Insurrectionary Imagination, Climate Camp, 18 19

Social Forums, London Coalition Against Pov- How to read internships ads erty, Anarchist Bookfair and others provide opportunities for putting one‘s artistic labour towards social justice as active participants.

Artist Studios Many commercially successful artists employ anything from one, to a small army of assistants. Depending on the scale of their operations you‘ll get very different kinds of experiences. These are largely idiosyncratic work places, with tasks ranging from carrying out the most banal tasks, to being flown to China to do an installation for example. Many pay at least, or above the minimum wage, but increasingly artists and art collec- tives have got wind of the internship game. Different artists have different commitments to younger artists who work with them - some providing really valuable mentorship, while others treating you like a regular lackie.

A few other things to think about:

1. While many museums and these ‘partnerships‘ make it galleries are classified as impossible to disentangle ‘Public‘, sometimes as little the vested interests of muse- as 20% of their income is ums, private galleries, bien- actually publicly generated. niale curators, prize panels, By comparison in 2010, the dealers and auction houses, Royal Bank of Scotland is 84% for example? publicly owned. Should this affect how we understand and 3. Gaining public charitable fight for the term public and status for a small organisation the idea of the public good? in the UK can be really dif- ficult, and the conditions set 2. Much public gallery fund- by some public funders in this ing comes from corporate sector are sometimes thought sponsors, sales of artists‘ to be onerous, bureaucratic editions, special admissions and overly prescriptive. In fees, auctions, venue hire, edi- the face of these issues and tions, restaurants, private and obstacles, small galleries that philanthropic foundations and might have a more ‘public‘ or benefactors. What effect does experimental ethos, often opt this classic ‘public-private to remain private and at least partnership‘ model have on semi-commercial. the mission and values of these spaces? How does it affect the curatorial decisions of an institution, when for in- stance shows are curated from the ‘UBS Collection‘, or when 20 21 22 23

So what is the difference between a volunteer, ‡ 8 out of 9 Volunteers an intern and a worker? interns in the Under National Minimum Wage law, the vi. must not operate under any mutuality of Recently, there has been a lot of fast changing cultural sector crucial difference between a worker and a obligation i.e. an obligation on the em- terminology used to advertise and describe unpaid are unpaid volunteer, is that a volunteer must not be ployer to provide work and an obligation placed under any ‘obligation‘ to perform on the individual to accept it (this would work. Many organisations are now advertising their any activities in accordance with employers be the case if for example, either party is internship positions as ‘volunteer‘ positions because ‡ In Early 2011 instructions. In other words, volunteers: required to give notice); various campaigns including a recent union case won the Chartered by BECTU proved that what some organisations have Institute of i. must not be bound to any particular vii. must be paid work related expenses been calling internship is actually defined aswork . The shift rota or set number of working hours Personnel Devel- per week; There is a specific conditional exemption National Minimum Wage legislation says that everyone opment (CIPD) in National Minimum Wage legislation for working in the UK is entitled to be paid at least a mini- suggested the ii. must be able come and go as ‘voluntary workers‘ who work for a charity, mum rate set by the law (£5.93 per hour for workers they please; a voluntary organisation, an associated government in- aged 21 years and older, June 2011). The use of the fund-raising body or a statutory body. This iii. must not be put in a position where term volunteer has been adopted by many organisa- troduce legisla- exemption is designed to allow people who their specific skills are being relied on by tions in order to sidestep this definition. tion to create genuinely wish to work without profit for a formal train- the employer; good causes to continue to do so without The formal definitions of ‘volunteer‘, ‘intern‘ and ing ‘wage‘ of iv. must not be subject to rules and proce- qualifying for the National Minimum Wage. ‘worker‘ are outlined on the following pages in order £2.50 for those dures that would integrate them into the What‘s Wrong with this Picture? This exemp- for you to gain a better understanding of your rights.. on work place- business as a staff member would be; tion from the National Minimum Wage However, as we say, ‘The law‘s an ass!‘ ments or intern- v. must be additional to the normal staff presents a problem for those working in the ships of more complement (if the volunteer is not, public sector or charities who, by virtue of be- It is part of the problem. It privileges employers and ing called a ‘volunteer‘ have very few rights, than 3 months. there is an inference that they are relied supports the expansion of free labour. Apart from the upon and have obligations to work); including those of learning, training and pay. obvious age discrimination at the heart of minimum That‘s 45 hours wage legislation, if an employer in the public or chari- a week even just table sector (which encompasses most arts organisa- to cover a rent Interns tions) calls us volunteers they are under no obligation of £450! to support our learning, to pay us or to provide equi- Interns normally have significant knowledge fore pay the minimum wage and adhere table conditions. As the unemployment rates soars, of their chosen area of work and are being fully to National Minimum Wage legislation public cuts are ushered in and legions of workers are given the opportunity to develop and apply throughout the duration of the internship. re-named ‘volunteers‘, changes to this legislation pres- the skills they have obtained in the working Its important to remember that the National ent an urgent call for action! environment. Interns have a duty to perform Minimum Wage is generally less than the meaningful and valuable work for an organ- average starting salary and corresponds to isation, and for this reason, the organisation the fact that while the internship is a learning equally gains from the internship. process, there is real gain for the employer. CASE STUDY 02 According to Skillset and BECTU, activities If an internship is part of structured educa- that are undertaken as part of general tional programme (a degree course place- While I was in college, my tutor said that internships (that is, internships that are not ment, for example) it is not strictly necessary getting an internship was crucial. She said that I should try to get one at my favou- part of a degree or other educational course) for this work to be paid. However, BECTU rite gallery so I could see how the gallery are defined as work. In other words, the and Skillset recommend that a basic wage is system worked and to get my foot in the individual is obliged to carry out certain tasks offered in recognition of the value the intern door. She said that in a way, she envied my within given frameworks and is therefore brings to the organisation. position as a novice. performing as worker. Employers must there- 24

According to the Trade Union Congress (TUC) According to TUC, provided that the intern- some employers think that interns have no ship is not confined work-shadowing, on top 2 employment rights just because their post of the right to National Minimum Wage, an ARE YOU is advertised as an internship or a volunteer intern is likely to have rights to paid holidays, position. As you can see from the definitions protection from excessive working hours, and DOING AN above, it is primarily the way you are treated to not be discriminated against at work. ‘If by the organisation that affects your legal you do regular paid work for your employer status, regardless of the initial agreements. you may also qualify as an ‘employee‘. If so, INTERNSHIP? For example, if you are set a schedule, if you will benefit from a much wider range your skills are being relied upon, if you are of employment rights, including unfair not working in addition to the normal group dismissal and redundancy rights and family Ok, so you‘ve decided that an internship is what of staff, if you are obliged to give notice of friendly rights. you want to do. Now that you‘re about to start, leave etc. you are defined as a worker. As in a here are some practical things to think about. recent case taken on by the union BECTU, it What‘s Wrong With This Picture? While this designation demands rights for interns as How can you make sure that you negotiate some was possible to prove that an ‘intern‘ in the give and take from the start? What skills are you media industry had actually accumulated workers, it does very little in requiring intern- gaining, how much time are you giving this, legal rights as a ‘worker‘ or ‘employee‘, and ship placements to provide the very learning gained National Minimum Wage back pay. experience in the name of which internships what relationships are you building, and how are were developed and by which they are you managing to fund this? And finally, what will frequently justified. you do if it‘s not working out? This section takes you through some tools to understand your Workers own internship and to know when and how to Workers must always be paid at least the on the individual to perform the work and take it or leave it. National Minimum Wage, currently £5.93 an obligation on the employer to provide (increasing to £6.08 in Oct 2011) for those the work. age 21 and over; £4.92 (increasing to £4.98 in Oct 2011) for those aged between 18 and What‘s Wrong With This Picture? It is clear 20; and £3.64 (increasing to £3.68 in Oct that the minimum wage discriminates on 2011) for those under the age of 18. the basis of age and that even for its top contenders (people over 21) it amounts to A ‘worker‘ is defined as someone who works between 10,000 and 12,000 per year i.e. under a contract of employment (written or totally unliveable! implied) whereby there is an obligation

Further information on legal The Arts Group who represent http://www.volunteering.org.uk/NR/ rights, case studies and advice and act for Students of the rdonlyres/0B8EC40C-C9C5-454B-B212- can be found: http://www.bectu.org. Arts recent ‘emerging workers C8918EF543F0/0/Manifesto_final.pdf uk/get-involved/join-bectu/new-entrants report‘: http://www.artsgroup.org.uk/ and the Compact Code of Good http://www.skillset.org/companies/your_ resources-documents/emerging-workers- Practice: Volunteering: http://www. staff/placements/article_7670_1.asp report/ thecompact.org.uk/shared_asp_files/ The TUC has recently launched GFSR.asp?NodeID=100323. a website on intern‘s labour Useful guidance on an employ- rights: http://www.rightsforinterns. er‘s role in recruiting volunteers Further advice can be sought org.uk/ can be found in the Report of from the Pay and Work Rights the Commission on the Future helpline on 0800 917 2368. of Volunteering, available at: 26 27

COMPROMISE, THE SECRET TO A GOOD RELATIONSHIP? CONGRATULATIONS! The unpaid position of invigilator is yours ! Yeah, it‘s so cool, I‘ve A day later A week later ...you‘re just SO lucky!! Only got an office, loads of this week I‘ve applied for more responsibilities...Oh, than 20 unpaid internships and sorry, someone‘s ringing, I‘ve heard nothing. catch you later. Byeee!

A month later

After months of applications, our dedicated arts graduate finally gets an interview for a position at a prestigious art gallery...

Meanwhile, the successful friend... This is my chance to shine! We need someone enthusiastic proven record of excelling in Hi sweetie... How‘re you project management creative settling in?! Would you mind an MA from a London sorting out the catalogue today? Capable of working independently We know you‘re ambitious, college, a must The designer‘s called in sick and so we have set aside a small proficient in at least three conversational Japanese, a plus we are a bit tight with time... project for you to manage European languages... I‘m sure you‘ll do a great job! over the summer... one year experience as hands-on, practical ability an art administrator ... of course, the We thought you could sort out six months minimum as curator position is voluntary... our filing cabinets... This is TODAY...?! your chance, think creatively! 28 29

Later that ... and night! day...

All the hard work pays off and the catalogue is ready in time for the private view !

What ! Where is my name?

They haven‘t even credited you ? ! 30 31

Negotiating your internship CASE STUDY 03 So an internship should be above all, a learning expe- I volunteered because I thought it was rience. Don‘t be afraid of negotiating the work you will important for my experience and my academic research as well. I wasn‘t expect- do. Make sure that you have a mentor assigned to you. ing big grand things, I just wanted to be While we know that for many organisations interns are around that kind of atmosphere, to see seen to be valuable for the cost-free helping hands how things worked – just the tone of it, the they lend to basic tasks, however you have the power kind of business that gets done. The gal- lery I work for is very small, so I wanted to to negotiate some more give and take. see how something so self-sufficient could run and support itself, how that works. It took me three months to figure out that I had the power to negotiate what I would a Apart from money, are there f Respect the dates you set do there. other things that should be out for your internship: offered in return for your don‘t think that hanging work (use of equipment, ma- around longer than planned terials and facilities)? ☐ will make it any better or result in an opportunity b Do you find that most of for paid work. ☐ your time is spent doing mundane tasks? Negotiate g Make sure you establish so you‘re doing something two-way feedback, and set you really want with more it up for before you leave. of your time. ☐ Feedback sessions are not only about evaluating your c If all you‘re do is stuffing work but they are also an envelopes and doing the opportunity to let your men- recycling, be clear that they tor and colleagues know may employ you as a cleaner whether your internship was but not as a member of staff a useful experience. Remem- in the future! ☐ ber other interns may find themselves in the same situ- d Make sure you think about ation after you‘ve gone, so the end before it ends! ☐ if there‘s something that did not work out, speak up! You e Ask former interns as well can also rate your internship as your mentor and other online and share your expe- members of staff about the rience with others. ☐ possibility of getting a paid job in the organisation once the internship ends. ☐ 32 Contract for an Ethical Internship

Ethical contract 1. Intern Induction: A detailed induction shall be carried out It is hard to say what an ethical contract may look like on the first day of the placement, covering introductions to other staff, office procedures, expected practice in an within a system so flawed and inherently exploitative. office environment, health and safety, details of complaint Yet, setting out reciprocal obligations in the form of a procedures and company confidentiality requirements. contract can give you ground for negotiating and help 2. Preliminary Assessment and Tasks: you get what you really want from your internship. We 2.1 Assessment of intern‘s skills shall determine aim of tasks know that speaking out is difficult, especially in small during employment. Intern is allowed to negotiate the terms of these tasks. workplaces and when you feel your future job might 2.2 Intern is to be given a variety of tasks that fully utilize be in the hands of your new supervisor. But, it is often their skills. our collective silence that makes these unfair condi- 2.3 Intern shall not be given repetitive tasks. tions become the norm. An ethical contract doesn‘t 3. Assigning Supervisor / Mentor and Inclusion: solve the issue of free labour and low paid precarious 3.1 Upon commencement of internship a supervisor or mentor is assigned to the intern, with whom a contract with clear work conditions, but it makes possible the start of a learning objectives and tasks are formulated from the start. conversation about it in your workplace. 3.2 Intern shall be given the opportunity to shadow supervisor/ mentor and to sit in on meetings, and see how processes work, how decisions are made. 3.3 Intern shall not be excluded from meetings. 4. Expenses: Travel and lunch expenses will always be included when paid wage is not present. 5. Exit Interview: CASE STUDY 04 5.1 An exit interview with mentor and intern where by an assessment of contracted goals set at beginning of Intern #1 internship is discussed. Documentation of this shall be I thought that any experience in the provided to intern. field would be good experience. The task I was allocated when I arrived at my in- 5.2 Even if the internship in the institution doesn‘t lead to ternship however, was to organise the a job there, there should be some support for finding a job gallery‘s accounts – the whole of the afterwards. gallery‘s accounts. I set up their entire 5.3 Repetitive relocation within same institution of internships P.A.Y.E. system. Its funny, because my is not allowed. Intern must be offered contracted paid educational background was in art history position. and english literature. 5.4 Workplace must limit the number of internships, having clear progression to paid and contracted work. Intern #2 6. Special Consideration: Consideration should be given to I studied photography, but you couldn‘t potential interns who cannot afford to work full time call many of the tasks I performed there for free opening opportunity to workers from all economic ‘creative‘. I would have liked to have more backgrounds. (Eg. Limiting work hours during week, limiting creative tasks. But we both want to be length of internships, stipends if the hours required exceed curators – I‘m thinking of applying for a a certain amount.) Masters Programme. 7. Acknowledging Contribution and Credit: Projects in which intern contributes labour, acknowledgment by name and recognised contribution shall be given. I accept the terms Recently, a similar document to the ethical contract here has been outlined in this contract for an ethical internship. proposed by Ross Perlin, in his book ‘Intern Nation‘ (2011). His Signature of Employee ______‘Intern Bill of Rights‘ can be found at: http://ulucampaigner.wordpress. Date ____/____/______com/2011/05/31/imagine-a-day-without- Signature of Employer ______interns-on-wednesday-8-june-12-2pm/ Date ____/____/______34 35

Logging your time ‡ Recent gradu- CASE STUDY 05 Your internship may be full time, or it may be for part ates on aver- Intern #1 of the week. Within your internship, it‘s a really good age undertake I was getting some help from my parents. Before, I was on a student loan, and my idea to keep track of how much time you‘re spend- internships in parents helped then too. ing doing different tasks and the length of the days at least 3 dif- you are working. You need to log the time you spend ferent organ- Intern #2 building the skills you negotiated at the start of your I was getting bar jobs and any kind of shop isations before job - it was quite desperate. I didn‘t have internship and make sure that you are not burning the finding employ- any money at that point, but I was trying candle at both ends. Beyond your internship, it is a ment to fit it all in. At first, I was working there useful exercise to log how much of your time is spent for two days [at the internship], but I had doing paid work and unpaid work. You may be sup- to drop down to one day a week because I had to earn more money. Around this porting your internship with another (paid) job – this time, I ended up working seven days a will help you figure out how you are actually funding week. Someone I worked with there didn‘t your internship and how you distinguish paid from have to have any other jobs because her unpaid work in your life more generally. husband supported her.

CASE STUDY 06

ISSUED BY CARROT WORKERS COLLECTIVE Nurse Aid 0001 When I was at Uni I was working as a No. carer... but I really wanted to do some- thing related to art... NAME YOU ARE YOUR OWN TIME KEEPER AND ARE PAID OR UNPAID Caring, compared to a pub job, is good because you can get paid up to 8.50/9.50 BY THIS RECORD but then you are in someone‘s home, you never get out, usually these people are unhappy, it‘s quite draining... MORNING AFTERNOON OVERTIME DISCRIPTION OF WORK DONE But now that I‘ve been involved in the IN OUT IN OUT IN OUT artworld I just feel that it would be so nice to have a stable contract, know that you‘ll get well paid, you know, that your time is respected, has a value. And at the end these people really do need you, you‘re valued for your help, whereas in the artworld, because at the moment at least there are so many interns, you end up, like, five people fighting with each other to be the one paid – and at the end no-one gets paid. I just don‘t know anymore? What‘s the best?

TOTAL 36

Mapping paid vs. unpaid work ‡ 8 out of 9 Doing an internship can take up a lot of time, especial- interns in the ly if it is unpaid, you are likely to be compensating for cultural sector the lack of income with another paid job. For instance: are unpaid have you been doing a part time paid job as well as an internship and projects on the side? How much ‡ Student debt time on a paid job does your internship cost you? Use levels are cur- this graph to map out how much time you have been rently running spending doing paid and unpaid work in the last 6 at £25,000+ +12 months, and how you would dream this may evolve in on graduation, the future. and projected

Along the vertical axis of the graph, indicate how to rise to +9 much time per day you spend working. To do this,

£40,000+ in the MONTHS you will need to define what you see as ‘work‘ – jobs, coming years projects, networking, childcare... and then to consider +6 to what extent these are ‘paid‘.

Along the horizontal axis, you can chart out how work +3 in your recent past, present and future compare. What do you want your working patterns to look like in the

future – what ratio between paid and unpaid work TODAY would you like to see? -3 -6 MONTHS -9 -12 is unpaid Half of my Most of my Most of my time is paid time is paid time is unpaid Half of my time Mapping paid vs. unpaid work Mapping paid vs. 38

Mapping your working life Mapping can be an incisive way of examining your internship. Mapping can reveal options where none seem to exist, and can be a way to dismantle what is presented as irrefutable and inevitable. Your work- place can be mapped in various ways: identifying supportive people, resources and accomplices, as well as mapping the organisational power, problems and

blockages that may exist. The map can function as an FLEXIBILITY early warning system, a way to address small problems before they become big ones, and in general to help you articulate your experience. Locating yourself can ‘I don’t know where I’ll be next month.’ be a source of power. Maps can show you ways to move, and maybe show you if you should get out! Here is a template to use to map your working life. It will help you to imagine how where you are now relates to where you might be in the future. It‘s a graph ‘I live in two places’ divided into four sections, along two axes: Luxury – Poverty and Flexibility – Stability. You can try three ways ‘I rent.’ of working with this diagram: ‘I can’t afford the rent.’ i. Mark where on this map corresponds to your cur- LUXURY rent position POVERTY house.’ ii. Mark where you would like to be in 3 years time ‘I own a patron!’ iii. Mark where some of the people in your organisa- an art ‘I ‘m tion are (not just the interns, but also different staff, managers, cleaners, etc) ‘I have a contract.’ Luxury & Flexibility = having a flexible job and a lot of money (the star creative) Poverty & Stability = stable job and little money (the

loser caught in tedious work) ‘I can go on paid leave anytime’ Luxury & Stability = stable work and lots of money (rarely what we‘re into culture for) STABILITY Poverty & Flexibility = either flexible work and little money (exhausting and alienating in the long run), or no work and no money, but doing things we like (burning us out rather soon) Mapping your working life 40

Some call it stealing others call it pay! The forms of compensation we don‘t talk about… 3 Sometimes all of the negotiating in the world does not DO YOU produce the results we want. Interns have told us other ways they have found compensation for their free HAVE AN work, including: INTERN? 20 moleskin notebooks 2 tables and 10 foldable chairs When we imagine the one who manages interns 5 reams of high gloss photopaper it is difficult not to think of Miranda Priestly, the 5 years supply of post-it notes über-diva from The Devil Wears Prada (and her 1 case of Champagne real-world equivalents). While we all know the 1 stack of letterhead for DIY reference writing creative sector is notorious for its production of (for interns and their friends) such characters, they are often closer to the top 1 scanner of the chain. There are many others who carry on the day-to-day work, exhausted, overworked 1 light metre and feeling conflicted over the use of interns 1 laptop and unpaid cultural and artistic labour to cover VIP invitations to private views the shortfalls in their budgets and to meet the 1 taxi drive from London to the countryside demands of their supervisors and the organisa- A pocket-size artwork tion. Within these workplaces exist complex A copy of the gallery‘s contact database relationships between these workers and the Art magazines interns they are responsible for, which emerge from the various demands of the organisation Toilet paper and a broader economic tendency to institution- Batteries + alise and naturalise exploitation at all levels of the workplace. Total value = still not enough!

On an individual level these strategies give us some sense of agency and satisfaction in the face of crap conditions of free labour. If organised, they have the potential to constitute sabotage… 42 43

MEET THE FAMILY

Technician Assistant Great, now we Admin. Curator can run those extra Curator projects

Everyone, meet Jen, she‘s on placement!

She‘ll be doing Lisa‘s old job I hope she‘s good She‘s my - am I next ? at filing REPLACEMENT ???

Thank Goodness for free labour. The books might balance this year ! 44 45

Are you good with your intern? How fair and generous does your job allow you to be?

1. How many hours do you spend training 7. What is the percentage of staff in manage- 13. What efforts do you or your organisation 19. What is the nature of the work your your intern? ment versus all other departments? make to find funding for interns? intern does? a What‘s training? a More managers than other staff a We usually give it a try a Sweeping the floor b Never b 50/50 b We only take on interns if we can pay them b Making coffee and photocopies c All the time c More other staff than managers c None c Hosting and invigilating d A few hours here and there d We‘ve tried in some cases d Project research 8. Were the tasks performed by the intern 2. What percentage of the work undertaken ever performed by paid staff? 14. Is your intern invited to decision making 20. How do you find your interns? by the intern is related to their area of study? a Yes meetings? Can they make and follow through a Through a contractual relationship with an a None b No their own proposals? educational institution b Some of it c I‘d rather not find out, I might be the next to a Why would that be? b Through a public call and interview process c Most of it definitely is be replaced b That‘s a nice idea! c Through personal networks c Yes, sometimes d By referral from one of our financial patrons 3. How much time do you spend doing 9. Do you pay the intern? d Yes, always creative work? a Minimum wage or above 21. Could you do without an intern? a All my time b Below minimum wage 15. Were you ever an intern? a Never, I‘d have double the work b Half my time c Lunch and travel a No, never b No, because I‘m quite overloaded with work c Too little of my time d They pay me b Yes, I did one internship c Yes, quite easily d None of my time c Yes I did 3-5 internships 10. How many hours of unpaid overtime do 22. Does your organisation have a clear policy d Ooh yes, i did more than 5 internships 4. How much time does your intern spend you work on average? on internships? doing creative work? a None (wow! Tell us how you do this!) 16. What is the most likely future relationship a Yes, in accordance with national standards a All their time b Five hours per week between your organisation and your interns? b Yes, I think so but I‘ve never looked into it b Half their time c Ten hours per week a None c We figure out interns contracts ad hoc c Not much d Twenty hours per week b Extension of the internship (or ‘voluntary d No, what for? d They get to put the sprinkles on my e All my time (what are you doing here? Go to position‘) 23. Why are there interns in your cappuccino section one, you‘re an intern!) c Helping out once in while for a few pennies temporary contract work organisation? 5. What kind of organisation do you work for? 11. Is there a union in your workplace? a Because the educational programme d Full time permanent contract (wow! Nice) a Cooperatively run a No, but we‘re working on it (the Carrot requires this b Public-private Workers would love to hear from you!) 17. Do you sometimes worry that your intern b Because there is a labour shortage c Public b Yes, and we‘re active might be better qualified for your position c To appease and impress the patrons d Private c Yes, but I‘m not sure how to become a than you? d As part of an institutional s+m dynamic member a 100% of time 6. What percentage of funding in your 24. Upon their entry into the workplace, you d There are no more workers, we‘re all creative b That thought did cross my mind yes organisation is self-generated income and/or inform interns about: (unions are so passee!) c Not really corporate donation? a Their rights and the organisation a 100% 12. How many interns are you responsible 18. Would you say the gender distribution of b My expectations and needs b 50% for? your interns is: c Their duties c Very little a Not enough d The organisation and my expectations a 50/50 d Not sure b 3-5 b More men than women c 1-2 c More women than men d 1 46 47

Your answer CASE STUDY 07 It‘s impossible for me to do my job in the a b c d time that I have. And they keep telling me that I wouldn‘t be so overworked if I just Q 1 4 4 1 2 got an intern. But surely to train an intern properly takes time too? Q 2 4 2 1 – Q 3 1 2 3 4 Q 4 1 2 3 4 Q 5 1 2 3 3 Q 6 4 3 1 2 Below 30 points: Pretty Q 7 4 3 2 – good, seems your job Q 8 4 1 3 – doesn‘t require you to fuck people over too much ! Q 9 1 2 3 4 Q 10 1 2 3 4 Q 11 1 1 3 4

Q 12 4 3 2 1 Between 30 and 50 points: You probably suspected Q 13 2 1 4 3 that your role isn‘t that Q 14 4 3 2 1 rosy or innocent... Hm-hm. Maybe you can address Q 15 1 1 2 2 some issues with your in- Q 16 4 4 3 2 tern and improve them. Q 17 4 3 1 – Q 18 1 2 2 – Between 50 and 70 points: Q 19 4 4 3 2 You‘re exploiting people Q 20 2 1 3 4 massively! Stop! Q 21 4 3 1 – Q 22 2 3 2 4 Above 70 points: Quit your job now or organise a Q 23 1 4 4 3 revolution ! Q 24 1 3 4 3 48 49

Checklist for cultural workers who have or are about to take on an intern or a volunteer In general we feel that all work should be paid. How- ever, if you already have, or are about to take on an unpaid volunteer or intern, here is a checklist of really important things to consider and make sure you put in place:

a First, have I clearly defined load been adjusted h Have I invited the intern or l Is the workplace appropri- whether the position is a to accommodate these volunteer to a trade union ate, safe and insured? ☐ volunteer position, or an extra duties? ☐ meeting and introduced internship? (see page 9 for them to employment stan- m Have I made sure that other definitions). Is the position e Have I advertised this post dards in the workplace? ☐ staff in the organisation un- replacing work that has for- openly and appropriately, in derstand the intern or vol- merly been paid? Does the line with equal opportuni- i Have I provided the intern or unteer‘s role and that fair work require special skills? ties legislation? ☐ volunteer with a statement treatment is ensured? ☐ Remember, an internship is of agreement or a standard supposed to be a learning f Does my advertisement give contract that includes the n Have I planned a compre- experience. ☐ a detailed outline of the duration of their placement, hensive feedback session required skills and the skills and hours to be worked? ☐ with the individual and their b Can I commit to, and do I that will be developed on mentor / trainer in the final really have time to men- the placement? Does it give j In the first week of the week of the placement, tor the volunteer or intern full details of the duration placement, have I agreed a where all concluding aspects properly; to provide them of the placement, working ‘learning plan‘ with the vol- can be openly discussed? ☐ with the basic training and hours, remuneration (if ap- unteer or intern, with a clear support necessary to learn plicable) and the process for list of learning objectives, o If my organisation cannot and carry out the tasks re- claiming expenses? ☐ outlining skills and experi- take on the intern or volun- quested of them? ☐ ence that the volunteer or teer as an ordinary worker, g Have I made plans to give intern wants to gain? ☐ how can I support them to c If not, have I assigned a the intern or volunteer a find work?☐ mentor? Does this person detailed induction on the k Have I put in place a struc- have scheduled time to first day of the placement, ture for the volunteer or carry out this role? ☐ covering, as a minimum, intern to track those objec- introductions to other staff, tives? This should take the d Is the appointed mentor working procedures, health form of logs kept by the trained to do this work? and safety, details of what intern, and regular progress If not, when will they be to do if they wish to make a meetings with the mentor.☐ trained and how will they be complaint and confidential- supported? Has their work- ity requirements? ☐ 50

4 HOW TO FIGHT BACK?

As we have learned from the previous sections, unpaid internships naturalise exploitation, institutionalise hierarchies and produce isolated individuals hooked on the carrot. Addressing this situation is complicated because our desire to produce culture and to be free and creative is entangled in the manipulations of unpaid work.

While this guide has so far provided tools for dealing with the situation as it currently exists, this section is where we start to move beyond the issue of internships towards a more sys- temic look at the problem, addressing how we might work otherwise.

Collective practices allow us to resist the individ- ualization and competitiveness of the creative INTERN industries, and propose other ways of living and working.

CASE STUDY 08 I‘m worried that my job might be turned into an internship – interns are so much younger and often have loads of skills and academic qualifications that the work- place needs – so I work even more unpaid hours than I did before, jut incase they get any ideas. 52 53

HOW TO FIGHT BACK We could keep a diary Why are we competing, we are in about our experiences and the same boat... Let‘s get organised! share it with others in our work place.

We could run a know-your- rights monthly clinic !

We could squat We could start an anonymous pressure group! And could teach ourselves to live differently!

Grow our own

We could find a collective or create our own

Organise our education ourselves 54 55

‡ Cultural work- Organising: what stands in our way? ers earn 60% As we try to organize around issues of free less than labour in the cultural sector, a number of questions the national and doubts may stand in our way. median of all ‘This is only a middle class issue‘ UK employees When people say this, they often mean that this is an issue that only affects privileged people, and that real political struggles happen elsewhere. This may have been the case twenty years ago, when the cultural sec- ‡ 75% of cultur- tor was the preserve of the middle and upper classes, al sector em- but with the hype about the Creative Industries since the 1990s, the idea of a career in culture has become a ployees have much more widespread aspiration. That said, govern- no pension ment withdrawal of funds from higher education in humanities and the arts is likely to increase the class divide between the dream and the possibility. In addition, if we understand class in terms of income... recent reports have shown that cultural workers earn ‡ In 2008, 13.5 on average 60% less than the national median million people of all UK employees, and 75% of them don‘t have a pension. in UK were liv- ing in poverty ‘I‘ve paid my dues, this is something everyone – ie. around has to go through‘ one fifth (22%) Only in the last decade has the unpaid internship of the popula- become common, so even if your employer did do an tion. That was internship, there was a much higher chance for them already a 1.5 to get a job at the end of it than there is for you now. million increase While there‘s been a lot of talk about the boom in the from 2005, and creative industries, the increasing number of gradu- much higher than ates in the field has been matched by a systematic the early 1980s. decline in public spending in the arts, resulting in less In over half of jobs and pay generally. households liv- ‘It‘s only for six weeks‘ ing in poverty, Our research over the last three years in the cultural one person is in sector in London indicates that recent graduates do work. In other upwards of five consecutive internships. After this, they words – working are mostly either still unemployed or are in the lowest poor. paid and most precarious of positions. 56 57

‘I‘m desperate to find work - doing an intern- ‡ Over the last Another Internship Is Possible! How could we ship is my only way in!‘ 10 years, the do it differently? It is legitimate that you feel this way, but what makes poorest tenth of When we started this research process internships this the only option is a systemic issue. Competition the population were thought by many to be an inevitable fact of life, thrives on individual insecurity, the production of hi- have seen a fall a somewhat unfair but necessary rite of passage. The erarchies and of unnecessary scarcity. The only way to in their real belief in the internship as a step towards that dangling go beyond individualized despair is to recognize that incomes. This carrot of a satisfying life in paid employment was still it is not your burden alone to bear, but rather this is a is in sharp – to some extent –intact. Since then, the thousands of shared condition and that you are in good company. contrast to the young people, graduates and unemployed caught You can decide to compete, but you can also join oth- richest tenth of in the revolving door of one internship after another, ers and re-imagine other ways to do culture. the population, and a new right-wing government who propose free labour as the solution to cuts across every sector, have ‘Organising cultural labour reinforces the privi- who have seen exposed the internship for what it is: an empty prom- lege of a ‘creative class‘ much bigger ise extending well beyond student life, whose primary It is true that organising cultural labour runs the risk proportional aim is to teach us to bow down, to know our place, of entrenching the notion of an exceptional creative rises in their and to be happy with less. class, but it doesn‘t have to be this way. We don‘t think incomes than any The current government in the United Kingdom does that cultural workers require ‘special‘ rights and that other group. not even hide this fact. They no longer bother to our organising should be a single sector campaign. disguise their attacks on the poor, their contempt for Cultural workers like any workers need to organize in young people, and their drive to enrich the already solidarity with other struggles around specific labour wealthy and impoverish the rest with new regimes of practices and broader systemic issues. free labour, low pay and precarity. In Autumn 2010, a If I don‘t play the game, it will seem like I am broad and exciting movement of students and work- not committed (debt) ers came together to fight the government‘s savage cuts to education and the public sector, and to fight all There is a particularly pernicious myth that says that of those processes that were already underway under people show commitment through their willingness the last Labour Government: debt, privitisation, intern- to get into debt and make huge personal sacrifices. ships. At this moment, we suspended working on our Some people even pay for doing an internship, the counter-guide to free labour and joined in. Tories auction off internships with city hedge funds for £3000, for instance! This movement has given us new skills. We have learned to work collectively, to figure out ways of This belief runs deep and is propagated from school struggling against cuts without advocating for the old to university where being willing to pay a high fee for system that we are also so critical of. We have learned a course like doing an internship for free are consid- the importance of linking our own precarious strug- ered marks of dedication. This assumes that everyone gles to those working in other sectors. We have made starts from the same place, and that those who don‘t ‡ The UK is the friends on demonstrations and put our free labour into start from a place of privilege justifiably have to work sixth richest thinking about how to organise our internships, work much harder for it. It also assumes that there is only country in the and learning otherwise. one game on the table and that everyone wants the world (Source: same thing. IMF) For many in the movement, and sometimes even in the mainstream press, the issue of internships has worked 58 59 to expose the way that educational institutions are be- in form rather than content.‘ It‘s ‘autonomy‘ without ing re-shaped to train us for a life of intensified social resources, independence without the economic and inequity. The number of people who have contacted social means to counter existing inequalities: you‘re on us or expressed interested in mobilising around this your own. Does that sound familiar? issue has also taught us something about what new While the cost of basic living, education, food and forms our struggles around work and education will housing shoots up, voluntary work poses as a civic and take in the coming years. If what we have learned from moral good; a way in which we can all chip in to some our internships is that this system sucks, in the educa- phantom collective national recovery effort, where tion movement we have learned that we need to dis- we are all in it together. This rhetoric is ‘perfect for an cover what we actually want to learn, what we actually era of high unemployment in which it is necessary to want to be, and what kind of society we want to live in. placate the jobless – and make use of them. It implies In short, it is time to take a position. a future in which a wealthy elite will use free labour The rise of the volunteer from a vast body of precarious and unemployed workers to maintain its power and their dependence. In the new ‘Austerity Britain‘ 1 in 4 ‘economically active‘ Simultaneously, the discussion around the quality and young adults are unemployed, and 1 in 3 unemployed usefulness of many occupations, and the sustainability are under the age of 25. It is in this context that intern- of work as the primary method for the redistribution of ships and volunteers have been put at the heart of the the wealth that we all collectively produce, is constant- dismantling of the welfare system and public services ly postponed. as we know them. To get basic benefits today the unemployed are often forced to work for free, and in What shall we do? many cases not for recession-hit struggling small busi- Informed and critical understanding of internships nesses and not-for-profits, but for major corporations and voluntary labour is crucial to get at the core of the and superstores. All this, while the pay of corporate current re-structuring of public services in the UK. We heads soars, The Times ‘Rich List‘ gets longer and need to share ideas and use our collective intelligence longer and more and more of their money is stashed to find other ways to do what we want and to change in off shore accounts. the system. The ‘third sector‘ (ie. non state and non-private organ- If what we want from internships is experience, what isations, such as charities) is heralded by the present kind of experiences do we want? Experience of an government as the best model for running public unjust system of privilege and exploitation that we are services and institutions. And it is no surprise that this forced to internalise, or experiments in shared and model comes recommended right at the moment autonomous learning, living and working? If intern- when government funding streams are drying up. ships are about getting your foot in the door of an in- In the cultural sector, the list of casualties is already stitution, perhaps our feet would do better by joining high, both amongst Arts Council regularly funded others in occupying the halls of culture with demands organisations (RFO‘s) and public institutions, but for government support that is not contingent on also amongst independent cultural spaces and privatisation, for spaces that are truly independent, for critical platforms. common access and ownership to culture, and for more accountable and democratic modes of As CrimethInc have said, with the new rhetoric of decision-making. volunteerism we have arrived ‘at one of the most per- nicious ways in which our wishes have been granted 60 61

Inventing new ways to work and learn is not about heroic individual decisions, or refining ever more detached critical positions -- no matter what textbooks tell us of great critical cultural practices. These experi- ments must come out of collective negotiations, acts of solidarity, new constellations of desire, conversa- tions, meetings, collective imaginings and campaigns. This past year has been filled with experiments and actions, we have occupied and reused universities, libraries, houses, empty pubs; we have staged critical auctions, sit-ins, teach-ins, book blocks, col- lective publications, and free schools; and we have formed new networks of solidarity. We have learned a vast amount and experienced the beginning of another kind of internship. 62 63

This guide Campaigns and spaces to visit in the UK and abroad This Counter-guide to Free labour in the Arts has taken three years to produce by scraping together bits of While we wouldn‘t necessarily recommend that any- fees and funding. While working on this guide a lot one spend three years working on a counter-guide to has changed in the world and in our lives. Some of us free labour(!), it is possible to find exciting ‘alternative have relocated out of London, others left due to their internships‘: places for learning and sharing that lie visas expiring, others have returned to full-time educa- beyond the often dull, uninspiring and exploitative tion, and a few have entered full-time employment; all circuits that currently exist. Below is a very small list of have remained in precarious labour conditions. spaces and groups in which such learning might take place. More of these groups and spaces are formed With this, our critique of internships and free labour every day. Find out about them, visit them, support has also changed. them, join them or create your own. In the cultural sector three years is a long time, but a sustained collective process of self-education de- manded this. It was difficult to sustain the process Making a Living, UK and collectively running a space Casa Invisible, Malaga across our various modes of precarity and the vulnera- An open group of artists and other that hosts events and research Cooperatively run Social Centre bility that comes with it (stress, burnout, anxiety). We‘re cultural workers in the UK who projects. dedicated to free culture, creative really grateful for all the resources, encouragement, investigate how to obtain better cip-idf.org/index.php protest actions, and home to free enthusiasm, love, money and care that came our way. rights for artists and cultural shop, migrant-run café, bookshop workers. Chainworkers, Milan and music venue. If we think of the making of this guide as our own Conduct media and shopping lainvisible.net collective internship, we have learnt, to say the least, Scottish Artists Union, Scotland mall activism to build awareness how to: cook together, laugh together, write together, Represents artists and other and unionisation of precarious Housmans, London stay open to other people, march, paint banners, sing, cultural workers in Scotland. workers in Italy Not-for-profit bookshop, build props with papier maché, make press releases, sau.org.uk/ chainworkers.org/faq specialising in books, zines, and dress up, conduct high profile media campaigns, periodicals of radical interest and maintain many blogs at the same time, connect other Variant Magazine, Scotland Atraversadas por la Cultura, progressive politics. groups, make friends, reflect, take breaks, care for Radical arts journalists who pub- Madrid housmans.com each other, learn the language of the law and find lish in-depth coverage of culture Collective research project map- in the context of broader social, ping Madrid‘s cultural economy Pogo, London its shortcomings, sidestep police containment tech- political issues. and institutions, organising Vegan cafe organised as workers‘ niques, use theatre in the streets, read together, watch variant.org.uk actions and conferences. co-operative, mixing food with films, prioritise work and life differently...or at least atravesadasporlacultura.word- music, art, books and information. attempt to do so! W.A.G.E., New York press.com pogocafe.co.uk Working Artists and the Greater Economy (New York) advocates for 56a Infoshop, London L.A.R.C, London fair payment practices in the arts. A self-organised anarchist social London Action Resource Centre: wageforwork.com centre, bookshop, archive and re- Collectively run building provid- source for local people, campaign ing space and resources for CIP, Paris – Coordination des groups, free cinema and projects. groups working on self-organised, Intermittents et Precaires 56a.org.uk non-hierarchical projects for radi- Movement of intermittent and cal social change. precarious cultural workers, or- londonarc.org ganising actions, demonstrations 64 65

Common Place, Leeds Dissident Island, London Freedom Press and Bookshop The Really Free School Edu-Factory Autonomous Radical Social Centre A radio collective that focuses Freedom Press is a longstand- The Really Free School is a collec- Edu-factory is a transnational col- in central Leeds, providing afford- on environmental and social ing anarchist publisher based tive living and education project lective engaged in the transforma- able entertainment and food and campaigns as well as issues that in Whitechapel, functioning as that takes place in occupied tions of the global university and a non-commercial place to meet are relevant to anti-authoritarian an outlet for radical ideas and a spaces in central London. People conflicts in knowledge production. people and find information groups. meeting place. teach and learn for free, not to be edu-factory.org on political campaigns, issues dissidentisland.org freedompress.org.uk taught their place in the world but and actions. to create it. The Free/Slow University thecommonplace.org.uk Laboratory of Insurrectionary No.w.here, London reallyfreeschool.org Warsaw Imagination, London no.w.here is an artist run project The Free University of Warsaw is a OpenWear Collaborative Cloth- The Laboratory of Insurrectionary space that provides access to film The Paper nomadic centre of interdisciplin- ing, Milan and international Imagination (lab of ii) is a collec- equipment, hosts regular events Is a collectively edited monthly ary studies, critical reflection, and Collaborative, peer-produced, tive of socially engaged artists and runs a range of education newspaper that deals with independent thinking about art open-source fashion brand and activists whose work falls in projects. struggles around education, work and society. openwear.org/blog between resistance and creativity, no-w-here.org.uk and migration, based in London wuw2009.pl culture and politics, art and life. and distributed across the UK for Conservas, Barcelona labofii.net Feminist Fightback free. BoycottWorkfare Free culture organisation and Feminist Fightback is a collective wearethepaper.org BoycottWorkfare is a coalition of space; present annual oXcars that Turbulence, International that organizes discussions, confer- unemployed people, anti-cuts present awards to radical projects Turbulence is a collectively edited ences and actions, inspired by the The University of Strategic campaigners, charity work- in culture. publication that articulates some politics of a range of anti-capitalist Optimism ers, trade unionists and allies conservas.tk/english political, social, economic and feminist struggles, based in Is a university based on the prin- campaigning against compulsory cultural theories of social move- London. ciple of free and open education, work for benefits. Free Our Books, London ments. feministfightback.org.uk a return of politics to the public, boycottworkfare.org/ An initiative and a campaign to turbulence.org.uk and the politicisation of public make publicly funded books and Radical Education Forum space. Processed World articles available to QMary Countermappers, The Radical Education Forum links universityforstrategicoptimism. Processed World was a quarterly the public freely. London practitioners within mainstream wordpress.com paper first published in 1981 by freeourbooks.org.uk Countermapping QMary is a educational institutions, com- a group of dissident radical o!ce collective of students that maps munity education initiatives, Precarious Workers Brigade workers in San Francisco. Sharp Mute Magazine, London out how the neoliberal university social movements, arts organisa- PWB is a London-based growing witted and humorous, complete Mute is a collectively run intersects with the points-based tions and self-organised groups group of precarious workers in archive available at magazine dedicated to culture UK immigration regime and that through monthly discussions culture & education, processedworld.com and politics. produces tools for organising. about radical pedagogical theo- organising in solidarity with those metamute.org countermappingqmary.blogspot. ries and techniques. struggling to make a living in this com radicaleducationforum.tumblr. climate of instability and com enforced austerity. precariousworkersbrigade.tumblr. com 66

We‘d like to thank with all our carotene: All the people who have come in and out of the col- lective over the years; those who have taken part in discussions, workshops and events; those who shared their testimonies; those who mapped their past, pres- ent and futures, conditions and desires; all those who have donned donkey masks and carried carrots at demonstrations; those who drew pictures, designed, photographed, filmed and posed; those who chaired, drafted minutes, booked spaces, hosted meetings, made tea, bought and skipped for food; those who invited us to workshops and talks, and have supported our work; those who read our blog and send us emails; those who have struggled against internships in other fields; all friends, comrades and sister collec- tives that supported us with info and inspiration... carrotworkers.wordpress.com

Written by Carrot Workers Collective Printed by Hato Press using a Riso duplicator with soy based ink on recycled paper This work is licensed under the Creative Commons Attribution 3.0 Unported License.