BUILDING

VOLUNTEER/STAFF
THE RELATION-
SHIP BETWEEN
HARMONY
STAFF AND
BY NANCY MACDUFF
VOLUNTEERS
MUST IMPROVE
DURING THE
1990s OR SOME
of relpect and appreciation shown to

T
he general manager of the HIPlewhite
ORCHESTRAS Symphony arrived at work 0' Monday
to find a hand-delivered me .0 from
WON'T BE
the director of development:
AROUNDAS
THE 21ST The contribution of;r.ihev
ciation was less than
Itmb!.· asso-
e percen of the
CENTURY total budget last y ~r. Ess~n9 lly it
has remained the sa~ped for
DAWNS. the past five years. Volunteers are not
pulling together with the staff to raise
money. They frequently make impos-
sible requests of the staff and have little
appreciation for the responsibilities
staff have apart from working with
volunteers. As the person responsible
for overseeing the volunteer program,
I have often found the president of the
volunteer association critical of staff
and more interested in arranging park-
ing reimbursement for volunteers than
raising money. We need to discuss
what Isee as a difficult problem that is
draining time away from my img.4":
tant tasks.
Two days later the general manager and
the conductor received the following "confi-
dential" memo from the executive committee
of the volunteer association, with an attached
note from two members of the board of
trustees saying they concurred with the alle-
gations in the memo:
Weare extremely disturbed by the lack
the lolunteers in the Hepplewhite
SymlhOnyorchestra. Neither trustees
nor lunteer association members are
aHo. ed parking reimbursement,
despve the fact that parking continues
to bet serious problem. Our efforts to
fundraise are thwarted by the director
of development through lack of atten-
tion to the importance of projects or
outright lack of interest. We ask ques-
tions and cannot get answers. The staff
seem to have little interest in the efforts
of trustees to raise money or the volun-
teer association to promote orchestra
programs and raise money. They
always seem more interested in other
things. We must meet to talk about
this matter.
The Hepplewhite Symphony has a prob-
em. A poor relationship between two parts
f the orchestra family has reached "g~
ass." This fictional account relateskommon
omplaints heard in homes, parking
restrooms when volunteers and staf
candidly. The relationship between
volunteers must improve during the
some orchestras won't be around as
Century dawns.
The Hepplewhite Symphony is J. ructured
like most orchestras in America toda . It is
located in a mid-size city. A board 0 trustees
hires the general manager and the conductor.
The trustees raise about 40 percent of the

NOV E M B E R DEC E M B E R
26

orchestra's budget; the remainder comes from
grants, corporate and foundation donations,
season ticket sales, and the fund raising efforts
of the Hepplewhite Volunteer Association and
a new volunteer association for young profes-
sionals. The budget has increased by 12 per-
cent in the last three years. Corporate dona-
tions have increased four percent in that same
time period while the volunteer association's
contributions have remained stahle. The bud-
get is balanced through an aggressive market-
ing campaign for season subscribers, a target-
ed development campaign, and a hiring
freeze.
Government funding for the arts is in dra-
matic decline all over the United States.
According to Independent Sector, corporate
and foundation funding for the arts has
increased by a scant four percent, not keeping
pace with inflation. The competition for sub-
scribers is fierce, and audience development is
a long-term solution to the financial problems
facing orchestras today. So where is the
money to come from?
Increased revenue generation by volun-
teer associations seems one likely source. One
major U.S. orchestra volunteer association
increased its annual contribution in a single
year by $50,000. The budget for 1993 shows
them raising an additional $100.000 over 1992.
The director of volunteer services says the
group is committed to making that goal and is
planning to see that it happens.
Trustees who have been contributors have
to take a more active role as recruiters of indi-
vidual donations. These leadership volun-
teers not only set policies and guide the
orchestra, but move into positions as opera-
tional volunteers as they help recruit individ-
ual donors and corporate sponsors.
The Hepplewhite Symphony Orchestra is
an extreme example of the lack of communica-
tion that can and does exist in American orga-
nizations and institutions. Sometimes volun-
teers and staff are in an adversarial role that is
detrimental to the health of the entire organi-
zation. How can the management of the
orchestra and the voluntary leadership deter-
mine the current state of volunteer /staff rela-
tions and develop strategies to improve the
work environment to increase productivity?
The first step is to conduct an audit of cur-
rent volunteer / staff relations, and the second
SYMPHONY
•
is to implement appropriate steps or strateg'
to improve the rerafl~lf"'l'1
groups.
THE AUDIT. AI¥@"llalWza·
Audit (see page 29) estimates t
of volunteer /staff relations an
way to monitor cl1Mi'ges-M'flf~Rfft
environment. It is distribute?.~fr~ndomly
selected members of the staff; ttleadershiP'
of the volunteer as~atiowa·n '. -stees,.-m:t-
if an "outsider's perspective" is eeded, to
people outside the orchestra faTi1y who
regularly work wita.itSi8taffienf,
volunteers. The audit is given f one third 0:
each group to obtain a random ampling of
opinions.
The results of the audit are hared with
the leadership of the trustees, v' lunteer
association, and management. 'eople
participating in the audit may so want to see
the results. A decision to distri ute the results
more widely may be made join y by members
of the leadership team from th stees,
management, and volunteer as ciation.
IMPROVING RELATIONS.I After
completing the audit)j
consider the following steps or Itrategies to
determine your course of actiorZto improve
the volunteer / staff relationshi
Coordination of voluntee rograms is a
detailed, professional job req Iring the
attention of a volunteer coordi ator or
director. The general manager')o IS
intricate and all-consuming, Ie ing little ti
to act as manager of a voluntee association.
Orchestras are in hot ~, 'tl1'-'llH,
organizations for qualified pro ssional
volunteers. Recruiting and reta ning
volunteers is an evolving ar an SClence. 0
small-budget orchestras this means creatin?a
volunteer position with the title Coordinator.
of Volunteer Activities; in a mid-size orchmra
it means hiring a part-time staff member to
coordinate volunteer activities. Large-bud
orchestras need full-time professionally
trained volunteer managers and staff to work
with other staff and volunteers in running a
top-flight program. The coordinator of
volunteer activities is a member of the
•
orchestra management team. This person can
also advise the general manager on issues
27
 related to the board of trustees: While trustees
employ the general manager they too are
volunteers, and the principles of volunteer
management apply to them no less than to
volunteer association members.
The volunteer coordinator is seen by
both volunteers and staff to have a key
linking role. This person communicates the
views of volunteers to the staff and explains
the demands on staff time to the volunteers.
The roles and responsibilities of both staff
and volunteers should each be very clear to
the other.
Staff members need training and orien-
tation on working with volunteers. A train-
ing session on supervision with application to
volunteers can help to prevent problems of
poor volunteer / staff relations.
Both the general manager and the vol un-
GUARDING THE VOLUNTEER INVESTMENT
W
hat would be missing from your
orchestra if it had no volunteer sup-
port? Ticket sellers? Secretarial
help? Docents in the schools? Ushers at chil-
dren's concerts? Solicitors for donations?
Ambassadors to the community? What about
T-shirts and people to sell them? Elegant
social affairs? Phonathons? Data entry?
Newsletters? Adult education? Without vol-
unteers, how would you stage those smashing
fundraisers that contribute significantly
toward the orchestra's budget?
If your orchestra is lucky enough to have
an active volunteer association, its members
are probably helping to provide most of these
services, and possibly more. The success of
their efforts depends on volunteers and staff
working in concert.
It will come as no surprise that relations
between staff and volunteers can be strained.
The points of stress are not new. In recent
years, however, the need for increased activity
by volunteers, particularly in fundraising and
ticket sales. has exacerbated the problems.
Orchestra volunteers are operating in a
rapidly changing environment. Manyorches-
tras have experienced dramatic growth in the
past decade. Budgets have doubled and even
tripled, requiring a proportionate increase in
contributed income. The number of sub-
NOVEMBER
28
teer coordinator need to develop effective
management skills. As the chief executive
officer of a nonprofit, the general manager has
multiple responsibilities: to recognize what
an effective nonprofit program looks like; to
evaluate the current organization; and to help
the staff set goals and objectives for the future.
By developing these skills, the general manag-
er directly influences the effectiveness of the
entire organization.
Training in "team-building" enhances
volunteer/staff relations. Volunteers, staff,
and musicians are a team. Just as an orchestra
uses a team approach when selecting a music
director, so too it should work as a team when
it comes to volunteers. Involving volunteers
at all levels of the organization in planning
and decision-making can lead to more "buy-
in" of fund raising goals or season ticket sales
scribers to classical concerts is flat, if not
declining. In many places music education in
the public schools is nearly extinct. There has
been an enormous proliferation of "causes"-
many of them seeking support for human
needs that touch our hearts-and these causes
have decreased the number of volunteer hours
and dollars available to the arts. In addition,
the volunteer force itself is changing, and now
includes more employed and retired men and
women and fewer traditional non-employed
persons.
Adapting to these changes requires each
of us to adjust, whether staff or volunteer. If
we are to succeed in negotiating the road
ahead, we need to identify our problems and
discuss them openly and honestly. Together
we must plan for the future in an atmosphere
of trust and understanding.
Volunteers are a vital resource to Amer-
ican orchestras. They can provide the creativi-
ty, energy, hours. and dollars that make the
difference between success and failure. Is
your orchestra prepared to take advantage of
that potential?
-Carole C. Birkhead
CAROLE C BIRKHEAD IS A PAST PRESIDENT OF THE lOUISVIllE
ORCHESTRA, ITS VOlUNTEER ASSOCIATION. AND THE
AMERICAN SYMPHONY ORCHESTRA LEAGUE'S VOlUNTEER
COUNCIl.
DECEMBER 9
 THE ORGANIZATION CLIMATE AUDIT
Read each situation and decide how frequently it occurs. Circle appropriate number. Try to respond to every situation.

SITUATION USUALLY SOMETIMES RARELY

1. "They never" or "we always" are words heard when 1 2 3
referring to volunteers.
2. Volunteers ask for credits or measures of their worth. 1 2 3
Examples: paid parking, discounts.
3. Volunteers and staff both use words like "together, we, 3 2 1
our project" (meaning staff and volunteers).
4. Reports on volunteer activities during management 3 2 1
meetings come from most department heads.
5. Volunteers are visible on board of trustee committees. 3 2 1
6. Decisions affecting volunteers are made by staff without 1 2 3
consulting the volunteers.
7. Decisions affecting staff are made by volunteers without 1 2 3
consulting the staff.
8. Volunteers say "thank you" to staff publicly. 3 2 1
9. Staff treat volunteers who serve as trustees or directors 1 2 3
with greater respect than other volunteers.
10. Orchestra projects are planned collaboratively between 3 2 1
staff and volunteers.
11. Volunteers focus on the past rather than on future 1 2 3
possibilities.
12. Volunteers jump appropriate organizational structure 1 2 3
lines to get answers to their questions from staff.
13. Staff are too busy to explain the "rules of the game" to 1 2 3
volunteers.
14. Management and trustee leadership are visible at 3 2 1
volunteer association events.
15. Volunteers are asked to give input and assistance in most 3 2 1
projects, not just fundraising.
16. Staff say "thank you" to volunteers publicly. 3 2 1
17. "They never" or "we always" are words heard when 1 2 3
referring to staff.
SCORING: Add the numbers you circled. If there are situations for which you did 110tcircle any 11llmbers.add 2
points for each situation. A score of 38-51 means you have excellent volunteer-staff relations (but don't let up!); 28-
37 means you are doing some things right, but could use some tuning up in some areas (the situations can help you
identiftj those areas); 17-27, you have a serious problem and need to take action immediately.

TOTAL: Date:

Check whether you are: Vohmteer Trustee __ Staff__ Other

SYMPHONY
29
 targets, for example.
Staff should be represented on the volun-
teer association board and the volunteer associ-
ation should be represented on the orchestra's
board of trustees and its committees.
Volunteers need to understand all institu-
tional roles including their own. Volunteers
jump the lines of communication in an organi-
zation when they don't get their questions
answered. It is essential that all staff working
with volunteers see their role as supervisory
and educational.
Open, honest evaluation of volunteer
activities is a necessary and appropriate activ-
ity. Volunteers need to evaluate their own
efforts, including gathering information from
staff who worked with the volunteers on the
project. This is a joint effort, not a session
where the staff outline a list of transgressions.
Volunteers can improve only if they identify
the weaker elements of an event or program
and take steps to correct them.
Staff should also be evaluated on their
supervision and management of volunteers.
When applicable, the performance appraisal
should include assessment of a staff member's
ability to work effectively with volunteers. [f
management does not take volunteer /staff
teamwork seriously enough to evaluate staff
on a regular basis, why should the staff?
Integrate the money raised by volunteers
into the budget of the orchestra: A team
approach to volunteer/staff relations means
that everyone works together to further the
mission of the orchestra. Fundraising goals are
arrived at jointly. If the volunteer association's
budget is part of the orchestra budget, it builds
a sense of teamwork.
Monitoring how often the volunteers are
included in planning for new projects will
give a measure of how effective the relation-
ship is between volunteers and staff. For
example, a director of volunteers in a large
urban setting measures how consistently the
volunteer association assists in orchestra pro-
jects-everything from stuffing envelopes to
meeting with the marketing department at a
problem-solving session on reaching a target
audience for season subscriptions. This staff
member knows things are "O.K." if there are
frequent requests for the special expertise that
volunteers bring to the orchestra team.
NOVEMBER
30
Clear communication is essential. It
includes:
• straight talk from both volunteers and
staff;
• active listening by volunteers and staff;
• emphasis on building a teamwork envi-
ronment;
• volunteer work areas in close proximity
to staff;
• paying volunteers with a constant flow of
information;
• management and trustees working contin-
uously with volunteer association leader-
ship to promote understanding of the
larger needs and goals of the orchestra;
• "thank you's" coming often to volun-
teers-publicly, even when volunteers
contributed only part of the total job.
So, whatever happened to the volunteers
and staff at the Hepplewhite Symphony
Orchestra? Here is how the general manager
responded to the director of development, the
executive committee of the volunteer associa-
tion, and the trustees who endorsed the memo
from the volunteers:
I share your concern about volun-
teer/staff relationships here at the
H50. I noted with interest a recent
article in SYMPHONY that addresses
many of the issues you raised. I
enclose a copy. 1 believe you have an
abiding interest in the success of the
orchestra and would be willing to
work with me to build a strong volun-
teer and staff team. I propose that we
meet soon to plan the working envi-
ronment for both staff and volunteers.
Perhaps we could begin by distribut-
ing an Organization Climate Audit. I
will call you soon to set up a meeting
time.
Will she be successful? Too early to tell'
But she has started in the right direction by
bringing volunteers, staff, and trustees togeth-
er to plan an audit of communications that so
directly influence the orchestra's capacity to
raise money, increase ticket sales, and develop
new orchestra constituencies. •
NANCY MACDUFF IS AN INTERNATIONALLY RECOGNIZED
ADULT EDUCATOR WHO SPECIALIZES IN VOLUNTEER AND
NONPROFIT MANAGEMENT.
DECEMBER 9 9