The concept of ‘self’ has been a topic of immense interest to sociologists
throughout history – how is one’s self constructed? Do we project different
selves according to our specific role in a context, how do people gain a sense
of value and purpose? All these questions can be viewed in relation to the data
piece in focus ‘Carly replica’ from the reality TV program ‘Toddler’s and
Tiaras’, giving viewers an insider look at the often controversial world of
children’s beauty pageants (Zaretsky, 2012).
The clip in focus titled ‘Carly Replica’ introduces mother Melissa
and her child beauty pageant contestant Carly, as they prepare for their next
contest. Although this is naturally occurring data, it needs to recognised that
this clip appeared on a reality TV program therefore is subject to editing.
Because of this fact producers may have manipulated video in order to present a
skewed representation of Carly and Melissa’s relationship (Jucquois-Delpierre, 2007). But
either way there are a number of unedited data that is useful for further
discussion and analysis.
The
video sequence can be summarised as follows:
The
opening interaction begins with Carly going through one of her pageant routines
Melissa:
“Do
you want to try it now without the music?” [with no response Melissa restates
the question]
Melissa: “Go over the motions without the music?” [Carly is on the
floor looking down, looking frustrated and tired]
Carly:“Nooo” [winy tone]
Melissa: “These other girls are practising, you will not do as well”
[She then begins to continue this rant when she is interrupted by Carly.]
Carly: “Mummmm, I know how
to do this” [ the way in which she expresses this sentence gives the impression
that she may have heard this threat many times]
The video then cuts to a solo interview with Melissa
Melissa: “Both Carly and I take pageants very seriously”
Then cuts back to another mother daughter interaction, in this cut they
are positioned away from the camera supposedly unaware they are being filmed,
Melissa is leaning over directly in front of Carly as she complains.
Carly: “I don’t want to practise”
Melissa: [whispered threat] “You are going to be a very sorry girl,
your I-pod will be gone”
Following this Carly
obliging agrees to practise
The next interaction to take place is when again Melissa is trying
to get Carly to practise her pageant routine. Carly is questioning why she has
to do this when Melissa grabs her by the arm, pulls her into place.
Melissa: “Get started” [her tone is very forceful and stern yet her
face displays a bright fake smile]
This oxymoron of expression may reflect that Carly is threatening
Melissa’s ‘face’ by publically going against her instructions. She doesn’t want
to appear to be a bad mother by getting angry so she attempts to hide the
underlying threatening nature of her request with a fake smile.
Another cut to the solo interview
Melissa: “Carly is as close to an exact replica of me as there
could ever be and I feel like her and I are the same person, and we live the
same life, and we are best friends and I just feel like that is me on stage”
The next interaction is where Melissa is going through Carly’s “Corella
routine” where she is once again defiant and refuses to partake in the
practise. Melissa then proceeds to whisper into Carly’s ear unaware that the
microphone she is wearing is picking up everything she is saying.
Melissa: “We are on camera, don’t you dare tell me ‘no’ one more
time. Do you hear me we are on national
TV. Everybody is going to see this. Do you hear me” [She then stands back up
intentionally coming back into the public sphere and says in a nicer, calmer
voice]
Melissa: “Now we are going to do the Corella run through”
To conclude the video Carly’s final response is one of acceptance
and reluctance.
Carly: “You are driving me crazy”
She says this line in such a way that she knows her mother is
overbearing but she has just learnt to accept it and is going along with the practise
in front of the cameras
There are several disputes in the interaction as a power struggle between mother and daughter is taking place. Melissa is trying to get Carly to practise her routine but she is defying her by not obeying her requests. The interaction produces a number of different social spaces, the recording is taking place in Melissa’s home a usually private space, with the inclusion of the camera it has been made into a more public space. It alternates between the two as Melissa is attempting to make a good impression when in the public sphere but whispers threats when she thinks the camera cannot hear her in the private sphere.
Within
the framework of dramaturgy social life is viewed as a drama and a game. Features
of dramaturgy are evident in the clip as it highlights microsoiological
accounts of social interactions amongst a mother and daughter in the beauty
pageant industry. According to Goffman
(1971) human actions are dependent upon time, place and audience. One’s self is
a sense of who one is emerging from the immediate scene being presented, in
relation to the ‘Carly replica’ clip Carla’s mother Melissa’s sense of self is
gained through the success of her daughter.
Dramaturgy
encompasses a theotrical metaphor with the idea that individuals present
themselves to each other bases on cultural values and norms. This statement can
be related to the data as Melissa is presenting herself and Carly to the world
through the performance of roles – successful mother and pageant winner, it is
through these roles that they gain their identity. In general pageant stage mothers
are presenting themselves to other mothers as their children compete, they are
being judged on the basis of their child’s beauty and success (Ralston, 2001)
Another
key element in this scene is that of performance, with the ways in which we act
determined by the different settings and audience. The children taking part in
these pageants are not the only ones performing, with every single person
taking on a specific role governing how they behave and speak. Parents,
children, judges and make-up artists all play a role that makes up the world of
beauty pageants. In relation to ‘stage mums’ the role that they are performing is
that of a successful mother, with their goal being to make sure their child succeeds
at pageants. Each role encompasses their own set of desired scripts and
expected actions characters are to play out.
Goffman
(1971) also introduces the idea of front stage and back stage. Front
stage is where the formal performance takes place and follows the
conventions that have meaning to the audience. The actor knows he or she
is being watched and acts accordingly – Melissa acts like the happy,
encouraging, supporting, calm pageant mum as she is aware that the
cameras are recording everything she says and does. E.g. 0.31 “Get started”
fake smile for the cameras. Back stage is where performers are present
but the audience is not, so the individual can step out of character. Things
that are suppressed in the front stage may appear – When Carly is continually
defying Melissa in front of the cameras she begins to feel embarrassed by her
daughter’s actions. She takes Carly aside and begins to whisper (thinking
that the cameras can no longer hear her). Her backstage persona is reflected as
she begins to whisper threats to Carly, her “true colours” in a sense are
revealed. ["the iPod will be gone" "you're going to be
a sorry girl" "we're on television!"] she doesn’t want to
reveal her private self to a public sphere. This action could be seen as
Impression management which can be defined as the work on maintaining
the right impression, defensive and protective techniques. Impression management
can be seen as a face saving technique, this technique is littered throughout
the clip as Melissa is urging her daughter to participate in practise by
maintaining a positive projection of herself. In relation to this clip Melissa
is attempting to protect her positive face which relates to ones self-esteem
through having our self and actions being approved of. She is searching for
meaning and approval through the success of Carly (Benwell,
Bethan, & Stokoe, 2002)
I found this clip interesting
because in my opinion it reflects how “stage moms” are living vicariously through their kids, treating them like fashion
accessories or trophies. This can be reflected in the following quote by
Melissa: “Carly
is as close to an exact replica of me as there could ever be and I feel like
her and I are the same person, and we live the same life, and we are best
friends and I just feel like that is me on stage” This quote plainly
demonstrates that Melissa is gaining a strong sense of her identity and
self-worth through Carly participating in pageants and in fact when Carly is on
stage she feels as if she is performing as well. Parents are competing for their children to achieve certain milestones in
these pageants as their success reflects upon them as parents. Going on stage by themselves, remembering a routine by heart, or
finally winning a ‘supreme’ title are all indicators of success in this
micro-world of child beauty pageants (Cannold, 2011)
Some
parents may suffer from low self esteem and vow to not let their children make
the same mistakes when they were younger. They may see this as their
opportunity for a second chance to be successful. Results of parents living through
their children may negates the child's developing ability to think for
themselves and points to an unhealthy need for parental control. In some cases,
the parent is simply unaware of her or his own needs, and seeks to make up for
a perceived but undefined lack simply by controlling every aspect of the
relationships around. This need for control is evident in the data presented (Cochran,
2005).
But
how did the rest of the public react to this data? The following excerpts are a
series of comments relating to that video on Youtube. Most of these comments
are very negative in relation to Melissa’s parenting. This negative reaction
reflects the differing views of one micro social world compared to a broader
population. The way Melissa acts and speaks to Carly in the “pageant world”
would perceived as normal and appropriate, in contrast the wider public sphere
who is not apart of the micr-social world looks down upon her. People’s
comments are further supported and reinforced through the many “thumbs up”.
This reaction to the video reflects that different social worlds encompass
different attitudes, values, beliefs and ways of acting.
References
Benwell, Bethan, and Elizabeth Stokoe. 2002. “Constructing
discussion tasks in university tutorials:shifting dynamics and identities.”
Discourse Studies vol. 4, no. 4: pp. 429-453
Cannold, L. 2011. “ The ugly face of child beauty pageants”,
Sydney Morning Herald
Cochran, S. 2005. “The Bitter Cost of Living Vicariously
Through Your Children”, Families Online Magazine
Goffman,
E. 1971. ‘Performances’, in The Presentation of Self in Everyday Life, Harmondsworth,
Penguin, pp. 28-82
Jucquois-Delpierre,
M. 2007. “Fictional reality or real fiction: how can one decide?”, Jounral of
Information Communication and Ethics in Society, vol. 5, no. 3, pp. 235-252
Ralston,
J. 2001. ‘The high cost of beauty’, Parenting,
vol. 15, no 6, pp. 132-140
TLC.
2011. “Carly Replica”, Youtube: http://www.youtube.com/watch?v=W2CTLsjslec
Zaretsky, S. 2012. “Mother of ‘Toddlers and Tiaras’ Star
Sues for Millions After Daughter Is ‘Sexualised’ on the Web”, Above the Law,
Found at:
http://abovethelaw.com/2012/01/mother-of-toddlers-tiaras-star-sues-for-millions-after-daughter-is-sexualized-on-the-web/
