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3TAY OUT OF ANOTHER PERFORMERS LINE OF SITE
3TAY OUT OF EARSHOT OF ANOTHER PERFORMER
3TREET #HARACTER 4HESE RULES OF VISUAL AND ACOUSTIC SEPARATION
ENSURE TOLERANCE OF BUSKERS FOR ANOTHERS
$ANIEL 2YAN PERFORMANCE 3HOPS CAN TAKE ACCOUNT OF THEM TO
REMOVE PERFORMERS FROM THE VICINITY BY BLASTING
)VE ALWAYS ENJOYED THE .OLLI MAP OF 2OME AND ITS DERIVATIONS BECAUSE OF HOW THEY CLAIM OUT RADIO ONTO THE STREET $URING PEAK HOURS
PUBLIC SPACES FOR THE STREET (OWEVER A LAYER IS MISSING ONE THAT SHOWS THE mEETING PLACES THESE TWO RULES GIVE RISE TO A CONSISTENT SPACING
CREATED BY CONGREGATIONS OF PEOPLE !S A SHOPPING THOROUGHFARE THERE IS AN ASSUMPTION OF PERFORMERS ALONG THE STREET BUT DO NOT GIVE
THAT INDOOR SPACE ON 'RAFTON 3TREET IS FOR CONSUMPTION WHILE OUT OF DOORS PEOPLE ARE FREE AN INDICATION OF CROWD SIZE 'ENERALLY MUSICIANS
TO EXPRESS THEMSELVES LINE ONE SIDE OF THE STREET WITH THE ,IVING 3TATUES
OPPOSITE ) DID NOT MANAGE TO DETERMINE THE CAUSE
)N FACT THIS FREEDOM OF EXPRESSION BECOMES A SOURCE OF INCOME AS STREET PERFORMERS CARVE OF THIS !T TIMES THERE IS A SYMBIOSIS BETWEEN THE
PERFORMER AND THE BUILDING BEHIND SUCH AS SHOWN
SPACES IN THE mOW OF PEOPLE SLOWING THEM DOWN AND ENTERTAINING THEM ON THE WAY !S
IN THE IMAGE OF %L #HE OUTSIDE A CIGAR SHOP
BUSKERS MUST NEGOTIATE SHOPS STREET FORM CROWD mOW AND THE WEATHER THEIR STUDY OFFERS
A MEANS TO UNDERSTAND THE CHARACTER OF 'RAFTON 3TREET /PENING (OURS
0ERFORMERS ARRIVE AROUND AM AND ARE FOUND
)N h-ADE IN 4OKYOv !TELIER "OW
WOW NOTE THERE UNTIL AM AT THE WEEKENDS 4HE NUMBER OF
h)F WE OBSERVE THE MICRO ECOSYSTEMS OF THE CITY IN THIS KIND OF WAY CROSS CATEGORICAL AND BUSKERS REmECT THE FOOTFALL ON THE STREET 4HIS IS
INNOCENT UTILISATION OF THE BUILT ENVIRONMENT CAN HAVE PLENTY OF FUN RATHER THAN BEING DEPENDANT ON SHOP AND PUB OPENING HOURS AS
WEIGHED DOWN BY THE SOLEMNITY OF A SINGLE BUILDINGv WELL AS TRAM ARRIVAL TIMES 3URGES OF PEDESTRIANS ARE
WITNESSED EVERY lVE MINUTES AS EACH ,UAS TRAM
-ETHOD UNLOADS ITS PASSENGERS AT &AICHE 3TIABHNA
&OUR DIFFERENT PERFORMERS WERE INTERVIEWED WITH ONE GIVING A TOUR OF THE STREET POINTING OUT AREAS
OF IMPORTANCE FOR BUSKING 0ERFORMERS WERE PHOTOGRAPHED IN *UNE AT WEEKENDS WHEN CROWDS ARE 4HERE IS A MARKED CHANGE IN THE STREET ONCE
LARGEST 4HEN OVER TWO CONSECUTIVE 3ATURDAYS IN *ULY THE CROWDS AND BUSKERS WERE MAPPED AT TWO SHOPS SHUT AFTER PM WHEN IT CHANGES FROM A
HOUR INTERVALS BETWEEN PM AM DESTINATION TO A THOROUGHFARE -OST PERFORMERS
MOVE ON TO 4EMPLE "AR WITH A FEW MUSICIANS
! #OLLECTION OF 0ITCHES LOCATING THEMSELVES AROUND !4- MACHINES AND
4HE SPACE WHERE A BUSKER PERFORMS IS KNOWN AS A PITCH 0REFERRED PITCHES FOR BUSKERS ARE LOCATED CLOSE TO THE FAST FOOD RESTAURANTS
THE ONLY SIGNS
AT THE TOP OF THE STREET BY 3T 3TEPHENS 'REEN OPPOSITE "EWLEYS #AFE BY *OHNSON #OURT BETWEEN OF LIFE ON THE STREET -USICIANS ARE STILL SPACED
7ICKLOW 3T $UKE 3T 4HESE SPACES CONSISTENTLY ATTRACT LARGE CROWDS OVER THE COURSE OF THE DAY EVENLY ON THE STREET ONLY FEWER IN NUMBER 7ITH NO
! lGURE
GROUND MAP DOES NOT SHOW THE REALITY OF THE PEOPLE PASSING THROUGH IT OVER AN SHOPS OR RESIDENTS TO OBJECT THE SIZE OF THE AURAL
HOUR 7ITH THIS NUMBER OF PEOPLE THE EMPTY POCKETS AROUND BUSKERS BREAK THE STREET DOWN INTO A SPACE INCREASES DRAMATICALLY %ARLIER THIS WOULD
SERIES OF SMALL ROOMS WALLED BY SPECTATORS HAVE SCARED OFF SOBER SHOPPERS AT NIGHT TIME IT IS
A MEANS TO ATTRACT DRUNKEN TIPS IN EXCHANGE FOR
SINGALONGS
-INIMAL )NFRASTRUCTURE
4HE STAGING OF AN EVENT IS CREATED WITH A MINIMUM
OF PROPS !LL KEEP THE FOCUS ON THE PERFORMER
! BEER CRATE FOR A LITTLE HEIGHT A CAP SUFlCES
AS A TILL ROPES AND CHAINS DElNE THE EDGE OF A
PERFORMANCE
&OR THE LIVING STATUES THE COSTUME IS THE ACT
3PECTATORS CAMERA
PHONES ARE THE MAIN PROPS OF
THE PERFORMANCE 0ROPS ARE OFTEN MULTIFUNCTIONAL
4HE CONTORTIONIST "ENDY %MMA USES A PERSPEX BOX
AS A STAND TO ATTRACT ATTENTION AT THE BEGINNING OF
THE PERFORMANCE AS A CONTAINER FOR HER BODY AND
AFTERWARDS TO CARRY HER GEAR WHEN MOVING ON
4HE STREET FURNITURE ALSO PLAYS A ROLE n lLTERING THE
CROWD OFFERING PLACES TO LINGER MARKING OFF POSTS
OF THE PITCH %VEN THE TOPOGRAPHY IS OF USE h-OST OF
THE COSTUME GUYS WORK THE OTHER SIDE OF THE STREET BUT
) LIKE TO WORK THIS SIDE BECAUSE THERE IS A SLIGHT SLOPE
TOWARDS YOUv
"ENDY %MMA SETS UP AT THE JUNCTION OF
#HATCHAM 3T 'RAFTON 3T !T PM THE
JUNCTION OFFERS A REMAINING SPOT ON THE
STREET TO ENJOY THE SUNSHINE
H
4HE LIMBO DANCERS WORK THE CROWD ! PARTY IS IN FULL SWING AT THE TOP OF
'RAFTON 3T .OT MUCH SPACE REMAINS FOR PASSERS BY
! ROPE DElNES THE PERFORMANCE AREA )T
ALSO CREATES THE CROWD FORM
H
! #HRISTIAN 2OCK BAND TRIED TO CLAIM THE PITCH AFTER THE END OF THE
$URING THE PERFORMANCE THE CROWD
LIMBO PERFORMANCE 4HE CROWD HEADS OFF LEAVING NO EVIDENCE OF THE GROWS TO SUCH AN EXTENT THAT ONLY ONE
PREVIOUS GATHERING SIDE OF THE STREET REMAINS PASSABLE
#ROWD &ORM 7EATHER
-OST CROWDS ON THE STREET TEND TOWARD A HORSESHOE SHAPE VARYING BETWEEN A SHALLOW ARC AND 4HE AREA WAS MODELLED IN %COTECT AND SUNLIGHT PATTERNS STUDIED %XCEPT FOR THE TOP OF 'RAFTON 3T
DEEP ELLIPSE !S WELL AS THE STEPS OUTLINED IN THE CROWD FORMATION DIAGRAM THE STREET GRAIN EXERTS THE MOST PRIZED PITCHES DID NOT CORRESPOND TO THE SUNNIEST LOCATIONS 7ITH PERFORMANCES GENERALLY
A STRONG PRESENCE ON THE SUCCESS OF A CROWD 5NITS VARY IN WIDTH ON THE STREET FROM M TO M OF
MINUTES DURATION TEMPERATURES OF DEGREES ARE TOLERABLE "EN +RITIKOS MENTIONED THAT
0ERFORMERS POSITION THEMSELVES AT A POINT EQUIDISTANT BETWEEN TWO SHOP ENTRANCES THE GREATER IN POOR WEATHER BUSKING CAN BE LUCRATIVE WITH MONEY GIVEN OUT OF SYMPATHY ,ARGE CROWDS WERE
THE DISTANCE THE LARGER THE WIDTH OF THE CROWD POSSIBLE 4HE LARGEST UNITS BETWEEN 7ICKLOW 3T NOTED ON THE STREET DESPITE OVERCAST CONDITIONS 4HE LIKELIHOOD OF RAIN ENHANCES THE NEED FOR LIGHT
$UKE 3T FORM THE MOST LUCRATIVE POINT FOR PERFORMANCE PORTABLE EQUIPMENT 4HE MANY PORCHES ON THE STREET OFFER SHELTER TO WAIT OFF A DOWNPOUR
$ANIEL 2YAN STUDIED ARCHITECTURE IN 5#$ AND WORKS FOR 3OLEARTH %COLOGICAL !RCHITECTURE
)T IS INTERESTING TO CONSIDER THAT WHILE AVERAGE RENTS IN SPRING FOR THE lRST SIX METRES DEPTH FOR SHOPS ON THE STREET WAS
%M HTTPWWWHOKIEPDFSPROPERTY?OUTLOOKPDF THERE ARE NO OVERHEADS FOR STREET PERFORMANCE "USKERS ARE
UNLICENSED WITH NO SYSTEM OTHER THAN A MUSICIANS UNION CARD FOR REGISTRATION
!CCORDING TO GUITARIST "EN +RITIKOS EARNINGS FOR A 3ATURDAY NIGHT FROM MIDNIGHT TO AM WOULD TYPICALLY BE %
3OME
PEOPLE LOOK AT US AS STREET ARTISTS BUT OTHERS THINK WERE BEGGARS 4HIS CONTRAST IS BORNE OUT IN THE USE OF IMAGES OF BUSKERS TO
ADVERTISE THE BUZZ OF THE CITY ABROAD YET THESE PERFORMANCES ARE AT THE DISCRETION OF THE 'ARDAÓ
3TAGE 3TAGE 3TAGE
-OMOYO +AIJIMA *UNZO +URODA 9OSHIHARU 4SUKAMOTO -ADE IN 4OKYO 4OKYO +AJIMA )NSTITUTE 0UBLISHING #O ,TD
*AZZ $UO SET UP BETWEEN TWO !BOUT PEOPLE FORM A CORE !BOUT PEOPLE OBSERVE
#"