“The Right Look”: Emotional and Aesthetic Labor in Ballet
It is no secret that jobs are not what they used to be. While Karl Marx’s disturbing depiction of alienated and lifeless factory workers in the mid nineteenth century may still ring true to some, our working conditions have arguably only gotten worse. The so-called “gig economy,” in which steady jobs are replaced with task-based independent contract work, has taken a strong hold in our society. Corporations like Uber, Lyft, and Instacart are making immense profits by hiring only independent contract workers (rather than employees), who are ineligible for benefits and exempt from minimum wage requirements – no matter how many hours these independent contractors actually work. Their argument, of course, is that limiting independent contract work would decrease flexibility and jeopardize the quirks of modernity we all hold near and dear – like ride sharing or food delivery .
As our economy has expanded and morphed, so has scholars’ understanding of what “labor” actually means. In 1983, Arlie Hochschild famously published The Managed Heart: Commercialization of Human Feeling in which she details the advent of “emotional labor” in the growing service economy. According to Hochschild, emotional labor is the work we do (usually daily, on the job) to “induce or suppress feeling in order to sustain the outward countenance that produces the proper state of mind in others” (20).
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