Aesthetic Labour at 'Brewsters' family theme pub.

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OWT 308

Continuous Professional Development Portfolio (CPD)

Joanne Ambler

0261289

  1. Work Experience
  2. Interview Experience
  3. Work Experience
  4. Newspaper Advertisement
  5. Meeting


1. Aesthetic Labour at ‘Brewsters’ family theme pub

Date:        Summer 2004

What did you do?

As part of my role as a ‘Fun Factory’ team member I dressed up as ‘Brewster the bear’ and paraded around the family theme pub, making hand gestures to young and old customers and acting mischievous.  On one occasion I was disliked and punched by a young customer.

Why?

Customers seeing ‘Brewster’ is a major part of the company branded image and Fun Factory members take it in turns hourly, to act the bear role.  On this occasion, I yelled at him as it hurt, consequently the customers were surprised I had done this.

What did you learn from this in the context of OWT 308?

Employees in front line service roles are social actors participating in dramaturgical presentation (Goffman, 1959).   Once stepping into these roles, an idealised form of impression management is expected by management, colleagues and customers, thus performance is shaped by social interaction and audience expectations.  Feelings embodied within our selves have been extracted, rationalised (Flam, 1990) and socially constructed (Jackson, 1993). Emotion as a resource has been commoditised and commercialised (Hoshchild, 1983) in management’s objective to formally control subjective human elements.  Corporate actors have to ‘manage their emotions in specified ways – to display particular emotions and to suppress particular feelings’ (Flam, 1990: 227), thus creating representative emotions (deep or surface level) to present the required ‘face’.  An extreme view is that a loss of personality and identity has been encapsulated by organisational scripts (Cremin, 2003).

However, my experience shows emotions cannot be contained all the time, management cannot or do not, fully control this.  Employees place their own meanings within interactions that may not adhere to the audience’s or other colleagues’, as some would have suppressed this un-prescribed emotion surfacing.  In showing discontent I replaced the prescribed emotions by a proscribed emotion of overt anger, thus obstructing corporate image (Flam, 1990).  Although ‘taking it’ (Filby, 1992: 32) from customers is accepted in service roles, my behaviour went against the ‘feeling rules’ as unacceptable to the audience, illustrating some individuals are non-passive in interpreting organisational interactions. Managing my emotions, involved what was expected of me, spontaneous physiological responses in the interaction (feelings of rage) and meanings I interpreted interacting with the customer.  Emotion comes from within and external to the self and is not entirely socially constructed (Craib, 1995), control is fragmented.  Hence, we are not fully captured in a post-emotional (Cremin, 2003; Hoshchild, 1983; Meštrović, 1997) and robotic lifeless society. .  

Thus, HRM claim to target the heart and soul of employees (Bolton, 2004), but this is questionable as the emotional self is too erratic and diverse to be fully controlled and understood.  Perhaps we forget some of the organisational prescribed ideals as the interaction role throws up new challenges.  Therefore, can a fully disciplined subject and total control over an individual’s space and time ever be achieved?  Especially as we are a society of diverse culture.  Additionally, emotional labour as the informal part of the contract is relatively untutored (Filby, 1992).  Indeed, little guidance was given on how to manage unexpected interactions such as customer abuse.  Only after my unpredictable behaviour did this occur.

How will this knowledge be useful to me in the future?

Emotion management and projecting a certain visual-self image are important employee attributes, particularly where the job involves social interaction.  Employers not only desire qualifications, and traditional non-emotive skills, they also require the ability to manage self emotion , particularly with tertiary sector growth demanding more public contact.  As a customer I will be aware that I am part of the control mechanism in the employment relationship and understand that service workers are only human and should be treated that way.

 If Hochshild (1989) and Filby (1992) are correct that emotion work is gendered women’s work, then as a female it is highly likely I will be employed in a emotional labour role.  Indeed if I fulfil my intention of becoming a Social Worker, 308 will remind me of how self-aware I must be and how emotions are perceived and controlled.  Furthermore, managing the client’s feelings (Filby, 1992). in addition to my own will be imperative in a more responsible position.  In social work training, I will undoubtedly be subjected to the idealistic interactions and roles I should act in the client relationship.  Moreover, I can apply this in understanding that the client may also be displaying emotions of not their true self as Goffman (1961b) identifies: we hold some of the self back in the private realm of our psyche.  

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Sources

Bolton, S. (2004). Lecture Notes.

Craib, I. (1995). ‘Some omments on the ociology of the motions’. Sociology, 29: 151-

158.

Cremin, C. S. (2003). ‘Self-starters, an-doers and obile Phoneys: Situation acant

olumns and the ersonality ulture in mployment’. Sociological Review, 51: 109-128.

Filby, M. P. (1992). ‘The igures, the ersonality and the ums: Service ork and exuality’.

Work, Employment & Society, 6: 23-42.

Flam, H. (1990). ‘Emotional an: II. Corporate ctors as motion-otivated motion

anagers.’ International Sociology, 5: 225-234.

Foucault, M. (1977). Discipline and Punish: The Birth of the Prison .London: Penguin 

Goffman, E. (1959). The Presentation of Self in Everyday Life. Doubleday: New ...

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