Friday, October 29, 2021

Social Performance

Social Performance

Impression Management—A technique used to analyze someone’s performance in social situations, and the effort they make to influence other’s opinions of themselves. It includes the elements of setting, appearance, and manner.

Setting—The environment, such as a home, public space, or vehicle, in which a social action is performed.

Appearance—The clothing, hairstyle, makeup, and accessories that a person uses to create an impression.

Manner—The body language, movements, gestures, and expressions one makes in social communication.

Front stage—In social performance, the space and manner in which a person acts to a public audience.

Backstage—The private space in which a person acts, when alone or toward those with whom they share some intimacy.

The Presentation of Self in Everyday Life—by Ashley Crossman
https://www.thoughtco.com/the-presentation-of-self-in-everyday-life-3026754

In “The Presentation of Self in Everyday Life”, Erving Goffman looked at life itself as an act of social performance, breaking down the actions that people take in social situations into three main elements, what he called Impression Management.

These include: Setting / Appearance / Manner

By looking at social interactions through the language of theatrical performance, Goffman showed how we use these moments to perform our identities. The first element, setting, is constituted by the physical space and objects that are used to perform a social role, the environment and attributes we work with. For example, the workspace of an office is setup to show the differing roles of each employee.

Most of the workers may be situated in the front of the office in cubicles, informal spaces that are easily accessible by others. The manager’s office is usually in the back, making it more difficult to access, and is often more formal in appearance. And, the executives of the company are often set up in a different part of the building, only accessible remotely, or by appointment. The furniture and design of each area work together to demonstrate the hierarchy of roles in the structure of the workplace.

Goffman’s Front Stage and Back Stage Behavior—by Nicki Lisa Cole, Ph.D.
https://www.thoughtco.com/goffmans-front-stage-and-back-stage-behavior-4087971

The element of appearance relates to how a person presents themselves through their choice of clothing, hairstyle, makeup, and accessories. The way in which you dress to go to the gym is different than how you look to go to an interview, or on a date. This points to the differing expectations of each role. Working out at the gym is a more informal practice than interviewing for a job, and so you will dress differently for each of these social occasions. But, each one is still a social performance, a reality which has been highlighted by social media and the ways in which an influencer presents himself or herself to their fans.

Manner refers to the ways in which someone uses body language, movement, gestures, and facial expressions to communicate socially. In his performance, Sometimes Making Something Leads to Nothing (1997), artist Francis Alys pushes a block of ice through the streets of Mexico City, until it completely melts. He uses body language to convince viewers that he is a worker setting out on the mundane task of moving a block of ice. However, as the action progresses, we see the absurdity of his project, as the block of ice melts while he is pushing it through the city streets. In this work of performance art, he is playing the role of a worker to bring across a deeper concept related to life and the meaning of work.

Francis Alys performance, Sometimes Making Something Leads to Nothing (1997)
https://youtu.be/ZedESyQEnMA

This scene from Scarface, in which Al Pacino’s character, Tony Montana, is working at a Miami diner, El Paraiso, can be analyzed using Impression Management. The setting of the tiny kitchen in which Tony works is contrasted with the luxury of the Little Havana club, just across the street. The emphasis shifts to appearance, as Tony and his friend Manny, in their work clothes, take a break to watch the party people leaving the club, dressed in suits and cocktail dresses. Tony’s manner is one of agitation, as he demonstrates his impatience with being a refugee doing menial labor, and expresses his own ambitions for success.

Diner scene from Scarface (1983)
https://youtu.be/pP9qPEHEQTo

In Goffman’s theories on social performance, the terms front stage and backstage are used to describe the level of accessibility that the performer gives to their audience. What that means is that we act differently in private than we do in public. When we are front stage, or in a public setting, we adapt a self-presentation that brings in a heightened awareness of our audience, that is the people we are in social connection with, and our performance is more formal. In private, or backstage settings, we act differently, in a more relaxed or informal way, with those whom we are in more intimate contact with.

We may use the concepts of self-presentation to examine our actions in everyday life, to see how they constitute a social performance. The elements of Impression Management work to communicate ourselves to others, through the elements of setting, appearance, and manner. In this scene from Jorgan Leth’s film 66 Scenes from America (1982), Andy Warhol presents himself through his appearance and manner, as both a subtle critic, and participant in American pop culture.

Andy Warhol eating a hamburger, from 66 Scenes from America (1982)
https://youtu.be/sUd4L1oSXoE

Saturday, August 21, 2021

Pandemic Writings

 ESTAS VIVO (2020)


Estas vivo

Estas respirando

Por lo qué esperas

La muerte llegar para todos

Inclusivo a ti

Vivir, respirar, amar, crear

Mientra puedes

Todo estan empujando para ser libre


You are alive

You are breathing

For what do you wait
Death arrives for us all

Including yourself

Live, breathe, love, create

While you can

Everything is pushing to be free


WILD DOGS (2021)


What are the wild dogs in your life?

Are they playful or snarling?

When they show up, do you push them away in fear?

Or embrace them in a spirit of joy?

Come wild dogs, play now in my soul.


MAMA OAXACA (2021)


I remember how we always talked
About going to the beaches of Oaxaca
We never made it there, but here I am
The sun rising over the breakers
The morning air cool on my skin
The smoke rising from the fires of the comal
Mamá mamá mamá Oaxaca
I feel you in the air I breathe


PRAYER AT THE BREAK OF DAWN (2019)

As I wake to this new day
The chains of convention they fall away

And the mother of all she says to me

Son may you be free

To be yourself

Go and express your power
Without a doubt may you flower

In all you do

May your love shine through and through
And you be true to the light within
Share this truth and love your friends

And so I praised her name and kissed her lips

And to myself I spoke this riff
Now go forth and jam on my brother
Namaste to this day
You beautiful m*th*rf*ck*r

CHURCH CARNIVAL (2021)

Walking downstairs to the basement, the room opened up to glowing neon colors, slowly shifting from orange to green to purple and back again. People passed by dressed in strange costumes, and Mrs. Lover, who never came to church, walked up in a sultry bikini splashed in body paint, holding hands with a man in a furry ape suit, whom he took to be Mr. Lover, fresh out of prison. The Deacon, bright lights silhouetting his wart covered face, squeezed between them in his frumpy wrinkled suit. “Don’t forget me baby,” Mrs. Lover said, grasping the Deacon’s arm with a gleam in her eye.

Just then Teri walked up, wearing an eye mask and cat ears, orange lipstick accenting her smile. “Hey Brandon, what’s up? Let’s go check out the fun.” She took his hand and plunged it into a bowl next to a sign that read, “MONKEY BRAINS.” It felt squishy, and sniffing his fingers, they smelled of spaghetti mixed with tuna fish. Continuing down the hall, they passed booths with signs which read "Go Fish" and "Bob for Apples," laughing at the comical scenes. The Deacon jumped out at them, eyeballs on springs popping out of his glasses. He laughed uncharacteristically, saying, “You guys be good now.”

Turning the corner, in a dark niche where the portable chairs piled up, Teri grabbed Brandon by the arms, and pinning him to the wall, moved in close. Her breath smelled like bubble gum as she hovered there, a few inches away, looking intently into his eyes. With her lips, she grazed the plastic nose on his face, and pressing them to his mouth, he felt something weird on his tongue. Laughing, she ran around the corner as he pulled a wad of Double Bubble from his mouth. Taking off the Grouch Marx glasses, he popped the gum back in his mouth, and smacking it, blew a big pink bubble.