LECTURE 4: AESTHETIC LABOUR Flashcards
What is aesthetic and emotional labour?
It’s a form of labour that involves training and disciplining the body and delivering appropriate bodily and emotional displays or performances at work or work.
Origin of emotional labour
1) Reference of origin
1) in the 1980s, researcher named Arlie Hochschild started studying the working practices of flight attendants
- -> Coined the term emotional labour to explain how these workers managed their deepest feelings and emotions while interacting with customers
1) How does Hochschild define ‘emotional labour’ ?
2) What does she focus on?
1) “the management of feeling to create a publicly observable facial and bodily display”
2) Rather than hand gestures and facial expressions like smiling, she focuses on workers performing an act during their shift, being polite, bubbly etc
1) Emotional labour is not just about smiling but having…
2) Example
1) a certain look
2) Hollister
Aesthetic labour
1) Origin
2) Definition
1) Warhurst et al. (2000)
2) Embodied capacities and attributes’ possessed by workers at the point of entry into employment
- -> Employers then mobilise, develop and commodify these capacities and attributes through processes of recruitment, selection and training, transforming them into ‘competencies’ or ‘skills’ which are then aesthetically geared towards producing a ‘style’ of service encounter” which are then aesthetically geared towards producing a ‘style’ of service encounter.”
distinct modes of customer interaction depend not just on manufacturing feelings but also ..
performative ‘styles of the flesh’
So as Warhusrt talks about in the reading: looking good and sounding right.
Entwistle and Wissinger (2006)
argue that ‘workers’ bodies are HARNESSED to sell the organization’s image by literally embodying it
Witz et al argue about working in shops
“Work in the shop is staged and scripted: shop assistants are told where to stand, at what angle to the door, how to approach customers and what to say”
GAP case study
1) Reference
2) Findings
1) Leslie (2002)
2) Employees come to fear the material consequences of not conforming to regulatory regimes
Performances take place on the shop floor which becomes…
a stage (where workers perform)
Entwistle and Wissinger (2006) argue that the emphasis on the body is…
…arguably greater than in service work, as it is the main commodity or tool of the trade”.
What does Dean (2005) note for TV and theatre acting?
1) Key requirement of job
2) Link between…
1) That attracting the audience gaze through aesthetic labour is a key requirement of the job
2) Also notes the link between physical attractiveness and the ability to spend hours building relationships with directors and casting agents
Not only do workers need to network themselves but the act of networking
itself requires ‘performing’ and requires aesthetic labour
e.g. schmoozing at parties etc
Entwistle and Wissinger (2006) quote for how freelance fashion model must create/promote own brand
“The pressures of aesthetic labour impact upon freelancers differently: rather than commodification by corporation and clear codes of presentation, these workers have to commodify themselves under fluctuating conditions - depending on different projects and clients, as well as the whims of ‘fashion’”
Quote about walking away from themselves
1) Actual quote pls paloo
2) Reference
1) “freelance aesthetic labourer cannot walk away from the product which is their entire embodied self”
2) Entwistle and Wissinger (2006)
Reference for aesthetic labour requiring more than an aesthetic performance at work, but a degree of body preservation to reproduce one’s body for work.
Entwistle and Wissinger (2006)
Development of social media = musicians are performing aesthetic labour in…
… physical and increasingly virtual spaces
How do independent musicians differentiate their music and live performances in the crowded marketplace?
- Quality musicianship and originality of songs is no longer sufficient to win over consumers –> but instead, bands must produce a complete package by combining their sonic style with unique visual elements.
Hochschild’s ‘war of smiles’ and Brian’s research
Many of the respondents reported the importance of coming on stage with energy, smiling at the audience and that body language is crucial to the performance as a whole.
‘Stage persona’ quote by musician
“I have to have a ‘stage persona. Suddenly I have to up everything I am doing, I have to be entertaining and visually stimulating in addition to just playing my instrument”
The constructed ‘self’ is not donned and removed at the end of the working day but…
… is the product
Social media quote
“I think social media is a great music resource for musicians because it puts everything in your hands”
competing for attention online requires two things which involve aesthetic labour (2)
1) Constant updates of creative content, news, information and merchandise
2) Increasingly customized and personal engagement with consumers on the other hand.
On the emotional front, musicians are forced to blur the lines between fan and friend and do things like: (4)
1) Solicit feedback about current material and ideas for future projects.
2) Maintain blogs about their music and personal lives
3) Send customized invitations for upcoming shows and thank you cards to those who came
4) And answer questions on demand with people who may buy their stuff
