Street Character
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! #OLLECTION OF 0ITCHES 4HE SPACE WHERE A BUSKER PERFORMS IS KNOWN AS A PITCH 0REFERRED PITCHES FOR BUSKERS ARE LOCATED AT THE TOP OF THE STREET BY 3T 3TEPHENS 'REEN OPPOSITE "EWLEYS #AFE BY *OHNSON #OURT BETWEEN 7ICKLOW 3T $UKE 3T 4HESE SPACES CONSISTENTLY ATTRACT LARGE CROWDS OVER THE COURSE OF THE DAY ! lGURE GROUND MAP DOES NOT SHOW THE REALITY OF THE PEOPLE PASSING THROUGH IT OVER AN HOUR 7ITH THIS NUMBER OF PEOPLE THE EMPTY POCKETS AROUND BUSKERS BREAK THE STREET DOWN INTO A SERIES OF SMALL ROOMS WALLED BY SPECTATORS
-ETHOD &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 LARGEST 4HEN OVER TWO CONSECUTIVE 3ATURDAYS IN *ULY THE CROWDS AND BUSKERS WERE MAPPED AT TWO HOUR INTERVALS BETWEEN PM AM
)N h-ADE IN 4OKYOv !TELIER "OW WOW NOTE h)F WE OBSERVE THE MICRO ECOSYSTEMS OF THE CITY IN THIS KIND OF WAY CROSS CATEGORICAL AND INNOCENT UTILISATION OF THE BUILT ENVIRONMENT CAN HAVE PLENTY OF FUN RATHER THAN BEING WEIGHED DOWN BY THE SOLEMNITY OF A SINGLE BUILDINGv
)N FACT THIS FREEDOM OF EXPRESSION BECOMES A SOURCE OF INCOME AS STREET PERFORMERS CARVE SPACES IN THE mOW OF PEOPLE SLOWING THEM DOWN AND ENTERTAINING THEM ON THE WAY !S BUSKERS MUST NEGOTIATE SHOPS STREET FORM CROWD mOW AND THE WEATHER THEIR STUDY OFFERS A MEANS TO UNDERSTAND THE CHARACTER OF 'RAFTON 3TREET
)VE ALWAYS ENJOYED THE .OLLI MAP OF 2OME AND ITS DERIVATIONS BECAUSE OF HOW THEY CLAIM PUBLIC SPACES FOR THE STREET (OWEVER A LAYER IS MISSING ONE THAT SHOWS THE mEETING PLACES CREATED BY CONGREGATIONS OF PEOPLE !S A SHOPPING THOROUGHFARE THERE IS AN ASSUMPTION THAT INDOOR SPACE ON 'RAFTON 3TREET IS FOR CONSUMPTION WHILE OUT OF DOORS PEOPLE ARE FREE TO EXPRESS THEMSELVES
$ANIEL 2YAN
3TREET #HARACTER
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
-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
4HERE IS A MARKED CHANGE IN THE STREET ONCE SHOPS SHUT AFTER PM WHEN IT CHANGES FROM A DESTINATION TO A THOROUGHFARE -OST PERFORMERS MOVE ON TO 4EMPLE "AR WITH A FEW MUSICIANS LOCATING THEMSELVES AROUND !4- MACHINES AND CLOSE TO THE FAST FOOD RESTAURANTS THE ONLY SIGNS OF LIFE ON THE STREET -USICIANS ARE STILL SPACED EVENLY ON THE STREET ONLY FEWER IN NUMBER 7ITH NO SHOPS OR RESIDENTS TO OBJECT THE SIZE OF THE AURAL SPACE INCREASES DRAMATICALLY %ARLIER THIS WOULD HAVE SCARED OFF SOBER SHOPPERS AT NIGHT TIME IT IS A MEANS TO ATTRACT DRUNKEN TIPS IN EXCHANGE FOR SINGALONGS
/PENING (OURS 0ERFORMERS ARRIVE AROUND AM AND ARE FOUND THERE UNTIL AM AT THE WEEKENDS 4HE NUMBER OF BUSKERS REmECT THE FOOTFALL ON THE STREET 4HIS IS DEPENDANT ON SHOP AND PUB OPENING HOURS AS WELL AS TRAM ARRIVAL TIMES 3URGES OF PEDESTRIANS ARE WITNESSED EVERY lVE MINUTES AS EACH ,UAS TRAM UNLOADS ITS PASSENGERS AT &AICHE 3TIABHNA
4HESE RULES OF VISUAL AND ACOUSTIC SEPARATION ENSURE TOLERANCE OF BUSKERS FOR ANOTHERS PERFORMANCE 3HOPS CAN TAKE ACCOUNT OF THEM TO REMOVE PERFORMERS FROM THE VICINITY BY BLASTING OUT RADIO ONTO THE STREET $URING PEAK HOURS THESE TWO RULES GIVE RISE TO A CONSISTENT SPACING OF PERFORMERS ALONG THE STREET BUT DO NOT GIVE AN INDICATION OF CROWD SIZE 'ENERALLY MUSICIANS LINE ONE SIDE OF THE STREET WITH THE ,IVING 3TATUES OPPOSITE ) DID NOT MANAGE TO DETERMINE THE CAUSE OF THIS !T TIMES THERE IS A SYMBIOSIS BETWEEN THE PERFORMER AND THE BUILDING BEHIND SUCH AS SHOWN IN THE IMAGE OF %L #HE OUTSIDE A CIGAR SHOP
3TAY OUT OF ANOTHER PERFORMERS LINE OF SITE 3TAY OUT OF EARSHOT OF ANOTHER PERFORMER
"USKER ETIQUETTE CONSISTS OF TWO SIMPLE RULES
3TAGE *AZZ $UO SET UP BETWEEN TWO BOLLARDS &IVE SPECTATORS FORM THE AUDIENCE ! NUMBER OF COU PLES HOVER BY WALLS AND STREET FURNITURE IN PASSIVE PARTICIPATION
3TAGE !BOUT PEOPLE FORM A CORE GROUP AROUND 0IGMAN &LOW MOVES TOWARDS THE JUNCTION SEPARATING GROUPS OF SPECTATORS AT THE BACK ! NUMBER OF OTHER COUPLES OBSERVE FROM A DISTANCE AS IN 3TAGE
3TAGE !BOUT PEOPLE OBSERVE "ENDY %MMA IN ACTION 0ASSAGE IS AFFORDED ALONG ONLY ONE SIDE OF THE STREET )T IS NO LONGER POS SIBLE TO WATCH FROM A DISTANCE AND PEOPLE MUST JOIN THE MAIN CROWD TO SEE THE ACT
4HE NARROW WIDTH OF THE STREET LENDS ITSELF TO PERFORMANCE IN THE ROUND ONLY AT THE TOP SOUTHERN END WHERE CROWDS MAY REACH PERSONS
!S NOTED IN THE CROWD FORMATION DIAGRAM PEOPLE INITIALLY STOP BY BOLLARDS AND THE EDGES OF BUILDINGS ACROSS THE STREET FROM A BUSKER *AN 'EHL EXPLORES THE EDGE ZONE IN A COMPREHENSIVE MANNER IN ,IFE "ETWEEN "UILDINGSv ! PLACE THAT IS INITIALLY USEFUL TO DISCREETLY SURVEY A PERFORMANCE BY A SINGLE PERSON BECOMES A COMMUNAL AREA WHEN OTHERS ACT SIMILARLY
#ROWD &ORM -OST CROWDS ON THE STREET TEND TOWARD A HORSESHOE SHAPE VARYING BETWEEN A SHALLOW ARC AND DEEP ELLIPSE !S WELL AS THE STEPS OUTLINED IN THE CROWD FORMATION DIAGRAM THE STREET GRAIN EXERTS A STRONG PRESENCE ON THE SUCCESS OF A CROWD 5NITS VARY IN WIDTH ON THE STREET FROM M TO M 0ERFORMERS POSITION THEMSELVES AT A POINT EQUIDISTANT BETWEEN TWO SHOP ENTRANCES THE GREATER THE DISTANCE THE LARGER THE WIDTH OF THE CROWD POSSIBLE 4HE LARGEST UNITS BETWEEN 7ICKLOW 3T $UKE 3T FORM THE MOST LUCRATIVE POINT FOR PERFORMANCE
H ! #HRISTIAN 2OCK BAND TRIED TO CLAIM THE PITCH AFTER THE END OF THE LIMBO PERFORMANCE 4HE CROWD HEADS OFF LEAVING NO EVIDENCE OF THE PREVIOUS GATHERING
H 4HE LIMBO DANCERS WORK THE CROWD ! PARTY IS IN FULL SWING AT THE TOP OF 'RAFTON 3T .OT MUCH SPACE REMAINS FOR PASSERS BY
P *AN 'EHL ,IFE "ETWEEN "UILDINGS 5SING 0UBLIC 3PACE !RKITEKTENS &ORLAG TH %D
)T IS INTERESTING TO CONSIDER THAT WHILE AVERAGE RENTS IN SPRING FOR THE lRST SIX METRES DEPTH FOR SHOPS ON THE STREET WAS % M HTTPWWWHOKIEPDFSPROPERTY?OUTLOOKPDF THERE ARE NO OVERHEADS FOR STREET PERFORMANCE "USKERS ARE UNLICENSED WITH NO SYSTEM OTHER THAN A MUSICIANS UNION CARD FOR REGISTRATION !CCORDING TO GUITARIST "EN +RITIKOS EARNINGS FOR A 3ATURDAY NIGHT FROM MIDNIGHT TO AM WOULD TYPICALLY BE % 3OME PEOPLE LOOK AT US AS STREET ARTISTS BUT OTHERS THINK WERE BEGGARS 4HIS CONTRAST IS BORNE OUT IN THE USE OF IMAGES OF BUSKERS TO ADVERTISE THE BUZZ OF THE CITY ABROAD YET THESE PERFORMANCES ARE AT THE DISCRETION OF THE 'ARDAÓ -OMOYO +AIJIMA *UNZO +URODA 9OSHIHARU 4SUKAMOTO -ADE IN 4OKYO 4OKYO +AJIMA )NSTITUTE 0UBLISHING #O ,TD #" 2ICHARD %LLIS )RISH 2ETAIL -ARKET 6IEW 1 !CCESSED HTTPWWWCBRECOM.2RDONLYRES%" !# " !& """%$)RISH2ETAIL-ARKET6IEW1PDF )N AN INTERVIEW WITH ** 4IERNEY 0IGMAN *ULY 4HE BOLLARDS THAT ARE FOUND IN MANY SOUTHERN %UROPEAN CITY SQUARES FUNCTION WIDELY AS SUCH WELL DElNED SUPPORTS FOR LONGER STAYS 4HESE ARE USED TO STAND AGAINST TO STAND NEAR TO PLAY AROUND AND TO PUT THINGS NEXT TO
$ANIEL 2YAN STUDIED ARCHITECTURE IN 5#$ AND WORKS FOR 3OLEARTH %COLOGICAL !RCHITECTURE
#ONCLUSION 7HILE THIS STUDY FOCUSED EXCLUSIVELY ON 'RAFTON 3TREET THE CITYS OTHER MAIN COMMERCIAL STREET n (ENRY 3TREET HAS A SIMILAR LEVEL OF ACTIVITY YET DOES NOT SUSTAIN BUSKERS DURING DAY TIME ! COMPARISON BETWEEN THE TWO WOULD FURTHER HIGHLIGHT THE URBAN QUALITIES THAT ENCOURAGE OUTDOOR PERFORMANCE /BSERVING THESE PERFORMANCES ONE SEES HOW LITTLE MATERIAL IS NECESSARY FOR THEIR STAGING )T IS STRIKING TO WATCH A THEATRE FOR PEOPLE BUILT BY A SINGLE PERFORMER A ROPE AND A BOX AND THEN CLEARED WITHOUT A TRACE IN FOUR MINUTES TIME )T IS ALL ABOUT THE CREATION OF A PLACE FOR ENCOUNTER 7ITH THANKS TO %MMA 4UNBRIDGE ** 4IERNEY "EN +RITIKOS !IDAN 'ORMAN
7EATHER 4HE AREA WAS MODELLED IN %COTECT AND SUNLIGHT PATTERNS STUDIED %XCEPT FOR THE TOP OF 'RAFTON 3T THE MOST PRIZED PITCHES DID NOT CORRESPOND TO THE SUNNIEST LOCATIONS 7ITH PERFORMANCES GENERALLY OF MINUTES DURATION TEMPERATURES OF DEGREES ARE TOLERABLE "EN +RITIKOS MENTIONED THAT IN POOR WEATHER BUSKING CAN BE LUCRATIVE WITH MONEY GIVEN OUT OF SYMPATHY ,ARGE CROWDS WERE NOTED ON THE STREET DESPITE OVERCAST CONDITIONS 4HE LIKELIHOOD OF RAIN ENHANCES THE NEED FOR LIGHT PORTABLE EQUIPMENT 4HE MANY PORCHES ON THE STREET OFFER SHELTER TO WAIT OFF A DOWNPOUR
$URING THE PERFORMANCE THE CROWD GROWS TO SUCH AN EXTENT THAT ONLY ONE SIDE OF THE STREET REMAINS PASSABLE
! ROPE DElNES THE PERFORMANCE AREA )T ALSO CREATES THE CROWD FORM
"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
-ETHOD &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 LARGEST 4HEN OVER TWO CONSECUTIVE 3ATURDAYS IN *ULY THE CROWDS AND BUSKERS WERE MAPPED AT TWO HOUR INTERVALS BETWEEN PM AM
)N h-ADE IN 4OKYOv !TELIER "OW WOW NOTE h)F WE OBSERVE THE MICRO ECOSYSTEMS OF THE CITY IN THIS KIND OF WAY CROSS CATEGORICAL AND INNOCENT UTILISATION OF THE BUILT ENVIRONMENT CAN HAVE PLENTY OF FUN RATHER THAN BEING WEIGHED DOWN BY THE SOLEMNITY OF A SINGLE BUILDINGv
)N FACT THIS FREEDOM OF EXPRESSION BECOMES A SOURCE OF INCOME AS STREET PERFORMERS CARVE SPACES IN THE mOW OF PEOPLE SLOWING THEM DOWN AND ENTERTAINING THEM ON THE WAY !S BUSKERS MUST NEGOTIATE SHOPS STREET FORM CROWD mOW AND THE WEATHER THEIR STUDY OFFERS A MEANS TO UNDERSTAND THE CHARACTER OF 'RAFTON 3TREET
)VE ALWAYS ENJOYED THE .OLLI MAP OF 2OME AND ITS DERIVATIONS BECAUSE OF HOW THEY CLAIM PUBLIC SPACES FOR THE STREET (OWEVER A LAYER IS MISSING ONE THAT SHOWS THE mEETING PLACES CREATED BY CONGREGATIONS OF PEOPLE !S A SHOPPING THOROUGHFARE THERE IS AN ASSUMPTION THAT INDOOR SPACE ON 'RAFTON 3TREET IS FOR CONSUMPTION WHILE OUT OF DOORS PEOPLE ARE FREE TO EXPRESS THEMSELVES
$ANIEL 2YAN
3TREET #HARACTER
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
-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
4HERE IS A MARKED CHANGE IN THE STREET ONCE SHOPS SHUT AFTER PM WHEN IT CHANGES FROM A DESTINATION TO A THOROUGHFARE -OST PERFORMERS MOVE ON TO 4EMPLE "AR WITH A FEW MUSICIANS LOCATING THEMSELVES AROUND !4- MACHINES AND CLOSE TO THE FAST FOOD RESTAURANTS THE ONLY SIGNS OF LIFE ON THE STREET -USICIANS ARE STILL SPACED EVENLY ON THE STREET ONLY FEWER IN NUMBER 7ITH NO SHOPS OR RESIDENTS TO OBJECT THE SIZE OF THE AURAL SPACE INCREASES DRAMATICALLY %ARLIER THIS WOULD HAVE SCARED OFF SOBER SHOPPERS AT NIGHT TIME IT IS A MEANS TO ATTRACT DRUNKEN TIPS IN EXCHANGE FOR SINGALONGS
/PENING (OURS 0ERFORMERS ARRIVE AROUND AM AND ARE FOUND THERE UNTIL AM AT THE WEEKENDS 4HE NUMBER OF BUSKERS REmECT THE FOOTFALL ON THE STREET 4HIS IS DEPENDANT ON SHOP AND PUB OPENING HOURS AS WELL AS TRAM ARRIVAL TIMES 3URGES OF PEDESTRIANS ARE WITNESSED EVERY lVE MINUTES AS EACH ,UAS TRAM UNLOADS ITS PASSENGERS AT &AICHE 3TIABHNA
4HESE RULES OF VISUAL AND ACOUSTIC SEPARATION ENSURE TOLERANCE OF BUSKERS FOR ANOTHERS PERFORMANCE 3HOPS CAN TAKE ACCOUNT OF THEM TO REMOVE PERFORMERS FROM THE VICINITY BY BLASTING OUT RADIO ONTO THE STREET $URING PEAK HOURS THESE TWO RULES GIVE RISE TO A CONSISTENT SPACING OF PERFORMERS ALONG THE STREET BUT DO NOT GIVE AN INDICATION OF CROWD SIZE 'ENERALLY MUSICIANS LINE ONE SIDE OF THE STREET WITH THE ,IVING 3TATUES OPPOSITE ) DID NOT MANAGE TO DETERMINE THE CAUSE OF THIS !T TIMES THERE IS A SYMBIOSIS BETWEEN THE PERFORMER AND THE BUILDING BEHIND SUCH AS SHOWN IN THE IMAGE OF %L #HE OUTSIDE A CIGAR SHOP
3TAY OUT OF ANOTHER PERFORMERS LINE OF SITE 3TAY OUT OF EARSHOT OF ANOTHER PERFORMER
"USKER ETIQUETTE CONSISTS OF TWO SIMPLE RULES
3TAGE *AZZ $UO SET UP BETWEEN TWO BOLLARDS &IVE SPECTATORS FORM THE AUDIENCE ! NUMBER OF COU PLES HOVER BY WALLS AND STREET FURNITURE IN PASSIVE PARTICIPATION
3TAGE !BOUT PEOPLE FORM A CORE GROUP AROUND 0IGMAN &LOW MOVES TOWARDS THE JUNCTION SEPARATING GROUPS OF SPECTATORS AT THE BACK ! NUMBER OF OTHER COUPLES OBSERVE FROM A DISTANCE AS IN 3TAGE
3TAGE !BOUT PEOPLE OBSERVE "ENDY %MMA IN ACTION 0ASSAGE IS AFFORDED ALONG ONLY ONE SIDE OF THE STREET )T IS NO LONGER POS SIBLE TO WATCH FROM A DISTANCE AND PEOPLE MUST JOIN THE MAIN CROWD TO SEE THE ACT
4HE NARROW WIDTH OF THE STREET LENDS ITSELF TO PERFORMANCE IN THE ROUND ONLY AT THE TOP SOUTHERN END WHERE CROWDS MAY REACH PERSONS
!S NOTED IN THE CROWD FORMATION DIAGRAM PEOPLE INITIALLY STOP BY BOLLARDS AND THE EDGES OF BUILDINGS ACROSS THE STREET FROM A BUSKER *AN 'EHL EXPLORES THE EDGE ZONE IN A COMPREHENSIVE MANNER IN ,IFE "ETWEEN "UILDINGSv ! PLACE THAT IS INITIALLY USEFUL TO DISCREETLY SURVEY A PERFORMANCE BY A SINGLE PERSON BECOMES A COMMUNAL AREA WHEN OTHERS ACT SIMILARLY
#ROWD &ORM -OST CROWDS ON THE STREET TEND TOWARD A HORSESHOE SHAPE VARYING BETWEEN A SHALLOW ARC AND DEEP ELLIPSE !S WELL AS THE STEPS OUTLINED IN THE CROWD FORMATION DIAGRAM THE STREET GRAIN EXERTS A STRONG PRESENCE ON THE SUCCESS OF A CROWD 5NITS VARY IN WIDTH ON THE STREET FROM M TO M 0ERFORMERS POSITION THEMSELVES AT A POINT EQUIDISTANT BETWEEN TWO SHOP ENTRANCES THE GREATER THE DISTANCE THE LARGER THE WIDTH OF THE CROWD POSSIBLE 4HE LARGEST UNITS BETWEEN 7ICKLOW 3T $UKE 3T FORM THE MOST LUCRATIVE POINT FOR PERFORMANCE
H ! #HRISTIAN 2OCK BAND TRIED TO CLAIM THE PITCH AFTER THE END OF THE LIMBO PERFORMANCE 4HE CROWD HEADS OFF LEAVING NO EVIDENCE OF THE PREVIOUS GATHERING
H 4HE LIMBO DANCERS WORK THE CROWD ! PARTY IS IN FULL SWING AT THE TOP OF 'RAFTON 3T .OT MUCH SPACE REMAINS FOR PASSERS BY
P *AN 'EHL ,IFE "ETWEEN "UILDINGS 5SING 0UBLIC 3PACE !RKITEKTENS &ORLAG TH %D
)T IS INTERESTING TO CONSIDER THAT WHILE AVERAGE RENTS IN SPRING FOR THE lRST SIX METRES DEPTH FOR SHOPS ON THE STREET WAS % M HTTPWWWHOKIEPDFSPROPERTY?OUTLOOKPDF THERE ARE NO OVERHEADS FOR STREET PERFORMANCE "USKERS ARE UNLICENSED WITH NO SYSTEM OTHER THAN A MUSICIANS UNION CARD FOR REGISTRATION !CCORDING TO GUITARIST "EN +RITIKOS EARNINGS FOR A 3ATURDAY NIGHT FROM MIDNIGHT TO AM WOULD TYPICALLY BE % 3OME PEOPLE LOOK AT US AS STREET ARTISTS BUT OTHERS THINK WERE BEGGARS 4HIS CONTRAST IS BORNE OUT IN THE USE OF IMAGES OF BUSKERS TO ADVERTISE THE BUZZ OF THE CITY ABROAD YET THESE PERFORMANCES ARE AT THE DISCRETION OF THE 'ARDAÓ -OMOYO +AIJIMA *UNZO +URODA 9OSHIHARU 4SUKAMOTO -ADE IN 4OKYO 4OKYO +AJIMA )NSTITUTE 0UBLISHING #O ,TD #" 2ICHARD %LLIS )RISH 2ETAIL -ARKET 6IEW 1 !CCESSED HTTPWWWCBRECOM.2RDONLYRES%" !# " !& """%$)RISH2ETAIL-ARKET6IEW1PDF )N AN INTERVIEW WITH ** 4IERNEY 0IGMAN *ULY 4HE BOLLARDS THAT ARE FOUND IN MANY SOUTHERN %UROPEAN CITY SQUARES FUNCTION WIDELY AS SUCH WELL DElNED SUPPORTS FOR LONGER STAYS 4HESE ARE USED TO STAND AGAINST TO STAND NEAR TO PLAY AROUND AND TO PUT THINGS NEXT TO
$ANIEL 2YAN STUDIED ARCHITECTURE IN 5#$ AND WORKS FOR 3OLEARTH %COLOGICAL !RCHITECTURE
#ONCLUSION 7HILE THIS STUDY FOCUSED EXCLUSIVELY ON 'RAFTON 3TREET THE CITYS OTHER MAIN COMMERCIAL STREET n (ENRY 3TREET HAS A SIMILAR LEVEL OF ACTIVITY YET DOES NOT SUSTAIN BUSKERS DURING DAY TIME ! COMPARISON BETWEEN THE TWO WOULD FURTHER HIGHLIGHT THE URBAN QUALITIES THAT ENCOURAGE OUTDOOR PERFORMANCE /BSERVING THESE PERFORMANCES ONE SEES HOW LITTLE MATERIAL IS NECESSARY FOR THEIR STAGING )T IS STRIKING TO WATCH A THEATRE FOR PEOPLE BUILT BY A SINGLE PERFORMER A ROPE AND A BOX AND THEN CLEARED WITHOUT A TRACE IN FOUR MINUTES TIME )T IS ALL ABOUT THE CREATION OF A PLACE FOR ENCOUNTER 7ITH THANKS TO %MMA 4UNBRIDGE ** 4IERNEY "EN +RITIKOS !IDAN 'ORMAN
7EATHER 4HE AREA WAS MODELLED IN %COTECT AND SUNLIGHT PATTERNS STUDIED %XCEPT FOR THE TOP OF 'RAFTON 3T THE MOST PRIZED PITCHES DID NOT CORRESPOND TO THE SUNNIEST LOCATIONS 7ITH PERFORMANCES GENERALLY OF MINUTES DURATION TEMPERATURES OF DEGREES ARE TOLERABLE "EN +RITIKOS MENTIONED THAT IN POOR WEATHER BUSKING CAN BE LUCRATIVE WITH MONEY GIVEN OUT OF SYMPATHY ,ARGE CROWDS WERE NOTED ON THE STREET DESPITE OVERCAST CONDITIONS 4HE LIKELIHOOD OF RAIN ENHANCES THE NEED FOR LIGHT PORTABLE EQUIPMENT 4HE MANY PORCHES ON THE STREET OFFER SHELTER TO WAIT OFF A DOWNPOUR
$URING THE PERFORMANCE THE CROWD GROWS TO SUCH AN EXTENT THAT ONLY ONE SIDE OF THE STREET REMAINS PASSABLE
! ROPE DElNES THE PERFORMANCE AREA )T ALSO CREATES THE CROWD FORM
"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
