Performing

" ...The vibrant theatricality of city life is not just for show, but is typical of the kind of performative norms (of forms of 'acting out') that regulate urban co-existence" ( Smith & Davidson 2008, p.235).

The city acts as a place of performance. It is depicted as a place that is the epitome of "sophisticated, fashionable and civilized behaviour" (Smith & Davidson 2008, p.232). Yet is this a facade that conceals deeper, darker incivility that challenges the apparent etiquette  of 'decent' behaviour?
On the face of the city we see objects that act as symbols of wealth, money, power, status. Think business suits; fast cars; smart phones; money; smog; fast-pace;forward movements to the city centre. Goffman proposed when we enter the presence of others we are interested in information regarding the individuals general socio-economic status, self-presentation, attitude, values, beliefs, their trustworthiness- all of which tends to be read at 'face-value', by 'what we see' (Goffman 1959, p.1). The information helps us to understand the person or the situation better; ways to act, behave or interact. We observe the information about the individual via clues we gain from the outer appearance of the individual. However, just as the city is a facade, perhaps too the individual is a facade to what or who they really are. The facade of upper class, civility and etiquette depicted by the city is simply a 'sign-vehicle' because the existence of economy lies deeper than skyscrapers, stockbrokers and briefcases.

Smith and Davidson write of the indecent activities undertaken by the the middle class of Victorian London who had both a social dependence and economic ties to the urban underclass , which included prostitutes whose wages were paid by the very social class who were said to inhibit 'family values' (Smith & Davidson 2008, p.233). Such thinking leads me to current happenings in the ALP, surrounding Australian MP Craig Thomson. A figure of authority and position in Government has seen a clash with the private and public sphere come to light over allegations that he used a Union credit card to pay for prostitutes. Thedaily telegraph says that Gillard's defense of him tells a picturesque story of "everything that is wrong with the labor party" and suggests that the labor party needs to re-align its moral compass (Labor must re-align its moral compass 2011).  So, perhaps there is no historicity to the tales of facade in Victorian London, because "consequently, we should be aware that the call for civility, in whatever form, always has a hidden socio-political overtones" (Smith & Davidson 2008, p.233).