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1.Demonstrate advanced skills in project design, information acquisition, processing and synthesis.
2.Demonstrate extensive knowledge, understanding and expertise in an area relevant to employment interests.

Street Performance as a Cultural Practice

Street performance has the considerable significance in the cultural life of the cities since the Roman era. According to Gale (2015), street performance is considered as the specific mode of embodied activity that resists, transgresses, or challenges the social structure. Street performance is also conceptualized as the adopted practices in which various musical or non-musical performances are undertaken in detection of the required contribution from the passerby. It is notable that street performance makes the significant interventions into the everyday life and it has the capability of producing the luminal space (Parker, Ntounis & Quin, 2014). Street performance is accepted and appreciated by the local masses to some extent whereas it is completely negligible to some of the higher class people in the society. The study would thus focus on the conceptual analysis of the street performance and the suggestive association of the local mass in order to accept this practice in everyday life. Sometimes, the performer proposes a passerby to join in and it depends on that particular audience whether to join in or to refuse. In most of the cases, it has been observed that the passerby accepts the proposal to join in and takes the part of a role performed by the performer. During the magic show presented in the street seeks appreciation of the audience to move forward. The study would develop the research aim, objectives, and questions to determine the conceptual analysis of the entire research study. Based on this outline, the research would develop the literature study by applying appropriate methodology and data collection techniques.

Street performance is conceptualized as the act of earning gratuities by acting or performing in the public places. Such gratuities generally come as the form of money in the urbanized areas. As the form of art, street performances have the capacity of gathering the masses (Wrigley & Lambiri, 2014). On the contrary, Brozen (2014) argued that it drives away the masses to some extent. It generally depends on the perceptive values of the masses to accept this either as a form of art or as the complete nuisance. Street performance has different forms that are performed in front of the crowd. The study would thus concentrate on the perceptive values of the masses in order to conduct the entire research process.

The aim of the research is to develop the conceptual analysis of the street performance and its contribution towards the society. The study also attempts to identify the association of the mass perception in responding to street performance.

  • To identify the role of the street performance in daily lives
  • To explore the effects of legislations on street performances
  • To judge the perceptions of the tourists and locals regarding the street performance
  • To measure the satisfactory level of the audience in responding to the street performance
  • To ensure the preferences of the audiences and performers in terms of street dimensionalities
  • To understand the amount of place required for considering a smooth performance
  • What are the consequences found during the transformation of the street place into the performance place?
  • How do the societal values affect the street performance?
  • How the embodied performances are affected by the street specialty?

Perceptive Values of the Masses

The research study is widely focusing on the forms of street performance and its effectiveness on the society. It has been observed that in spite of the artistic outflow of the street performers for earning gratuities, people perceive the act as the nuisance. People tend to present their talents in front of the masses for generating gratuities, especially money. According to Salzberg (2014), such interventions are often viewed negatively. The exploration of the history based on the street performance provides the considerable instances of prohibition applied into this practice. In current world, many of the legislative responses are observable to the presence of such performance of the street performers with the variable severity degrees (Simpson, 2011). In fact, a number of codes and conducts are introduced to stick to the legislations developed against such street performance. Therefore, the research would present the perceptive values of the people in terms of accepting such practices. The diverse impacts of such street performance activities would be explored in this research to generate the enriched knowledge on this subject area by using the appropriate methods and data collection techniques.  

The structured formulation of the research aims to present the underlying concerns to develop the complete understanding regarding the subject matter. The introduction section helps in understanding the actual research area based on which the literature background would be developed. The methodology would present the appropriate techniques of collecting data and conducting research to identify the fruitful development of the core concept. The discussion would depend on the information obtained from the data collection process.

The literature study develops the identifiable concepts and theoretical understanding based on the research subject matter. The study develops the clear and concise understanding of the street performance and the perceptive values of the masses towards it. Therefore, the literature study aims to explore the conceptual analysis of the street performance and the information based on the specific subject areas. Accordingly, the study would also present the information regarding the legislative factors associated with the mass perception on this very practice. The exploration of the specific research areas with the evaluation of theoretical understanding would clarify the basic knowledge about the subject matter.

Street performance or busking is conceptualized as the practice of performance in public places for earning gratuities, which generally comes in the form of money and some edibles. The street performers are the ones who are engaged with such activities to generate money or fulfilling their purposes (Carlin, 2014). Some of the buskers, minstrels, or the troubadours are known as the street performers. It is observed that the major focus of the street performance is to attract the people towards the entertainment. Performers sometimes do aerobatics, dance, sing, show card tricks, and many more activities to draw the attentions of the passerby (Ho & Au, 2018). It is true that performing in the street may attract a lot of attention, but it also depicts the specific set of skills of the individuals. Development of such skills is not an easy approach for a person; rather it ensures considerable challenges for the people. The lack of appropriate structure brings more flexible approach, which can be both exhilarating and liberating. The performers, on the contrary, can become insecure for the long run. Street performance is generally referred to the common terms of ‘busking’ (Coutinho & Scherer, 2017). The performers play for raising donations. The term ‘busk’ indicates the heavy musical overtone, which is also depicting the non-musical performance. The performer can easily make improvisation of their performance since it helps in connecting with the people more closely and more practical way. The development of the attractive ‘performance script’ and plot presentations would generate more interests among the crowded audiences (Simpson, 2014). A better or potential performer has the ability to transform the observable disruptions into an entertaining diversion, which may lead to success.

Legislative Responses to Street Performance

Street performance is viewed as the diverse musical and non-musical performance in an era when an attention has been paid to some transgressive form of the urbanized performance, such as carnivals or political street theatre. According to Smith (2017), street performance is merely a performance undertaken for raising donations from the passerby. However, Williams (2016) pointed out that such street performance practices are often neglected in the everyday lives of the cities. In spite of establishing the significant interventions, street performance has the capability to produce the luminal spaces as well. It is also stated that the urban rituals are often presented by performing in the streets surrounded by the public. It promotes democratic, spontaneous, and intimate encounters (McNamara & Quilter, 2016). The negative perspective values surrounding this form of performance indicate the history of the legislative prohibitions. In current world, many legislative actions are undertaken against the street performance activities. Moreover, it has been observed that the local authorities have introduced some of the code of conducts as well for diminishing the act of street performance (McNamara & Quilter, 2016). The literature study would develop the considerable ideas regarding the perceive values of the masses by observing the patterns and routines.

It has been observed that the term ‘everyday life’ is kind of vague and potentially problematic. This life is generally compared to the routine, un-catalogued, and habitual aspects of the people in the day-to-day living. It can be implied that this regular activities are connecting and coordinating the diverse activities, actions, and movements of the individuals (Cohen-Cruz, 2013). The ground of resistance and renewal in the Everyday life suggests the alienation in an apparent way. It is quite observable that the everyday is compared to some sort of fertile soil that is holding the possibility for some emerging traits (Costa, PGuerra & Neves, 2017). It is considered as a process of functionalism, which refers to the routine functioning of the city spaces. It is also necessary to mention that these patterns and routines are subjected to emerge by ensuring the daily performances. The intervention is widely concentrating on the ‘representation of space’ and the method of entering into the relations. It generally affects the “spatial practices” of the diverse users of the street. However, Whittam (2015) argued that the focus should be more on the micro-political terms, such as “micro-social practices”, which generally engages the heterogenesis process. It depicts the idea of the emergence of something potential in everyday’s life. The negative perspective values surrounding this form of performance indicate the history of the legislative prohibitions (Marina, 2016). In current world, many legislative actions are undertaken against the street performance activities. Moreover, it has been observed that the local authorities have introduced some of the code of conducts as well for diminishing the act of street performance (Carlin, 2014). Therefore, it can be stated that the relationships between the performance and space holds much clearer approaches.

The Relationship between Performance and Space

The facilitation of the street performance interventions sometimes depend on the reduced distance between the audience and the performer while performing on the street. This intervention is often conceptualized as the architectural organisation of the street space. While performing in the street, the performers require considering that there is ‘no stage’ (Groemer, 2016). However, there is the clearer form of forced proximity is visible in the crowded nature of these spaces. The performer can easily make improvisation of their performance since it helps in connecting with the people more closely and more practical way. The lack of appropriate structure brings more flexible approach, which can be both exhilarating and liberating. The performers, on the contrary, can become insecure for the long run. Street performance is generally referred to the common terms of ‘busking’. The development of the attractive ‘performance script’ and plot presentations would generate more interests among the crowded audiences (Smith, 2017). A better or potential performer has the ability to transform the observable disruptions into an entertaining diversion, which may lead to success. Some of the integration of distraction and the fluidity remaining in the performance can be much significant to the nonmusical performers (Mullins, 2017). They generally directly communicate with the audiences like the scenario emerge with the musical performers.

On the other hand, the random events are performed by developing a structured plan from a longer time. It suggests the complete and concise ideas about the usage of spaces that not only can attract the audiences and have the ability to control the potential volatile gathering right after it is created (Kern, 2018). Lacking of the absolute formalization while arranging face, on the other hand, can also affect the performance parameter of the performers since they are not knowledgeable regarding the use of space while performing in the city. It is notable that they do not block the entire spaces to present their performance (Parker, Ntounis & Quin, 2014). Sometimes, such organisation becomes much simple to the people to either step forward or taking back the step. Once the crowd is gathered, the major focus of the performer is to use the appropriate use of the space. In such context, as Turle and Trindade (2015) suggested, a special temporary form of social relation is established for changing the use of the space in the street. The negative perspective values surrounding this form of performance indicate the history of the legislative prohibitions. In current world, many legislative actions are undertaken against the street performance activities (Salzberg, 2016). Moreover, it has been observed that the local authorities have introduced some of the code of conducts as well for diminishing the act of street performance. In majority of the cases, it has been noticed that the audiences are generally organized into a semi-circular shape (Sauter, 2014). It generally refers to the “Shoulder-to shoulder and across-the-space interaction”, which is highly being encouraged. It even produces a central attention focus (McNamara & Quilter, 2016). The enrolment of the assistant emerges from specific mechanisms, which crates sociality and interactions between the performer and the audiences. Sometimes, the performer proposes a passerby to join in and it depends on that particular audience whether to join in or to refuse. In most of the cases, it has been observed that the passerby accepts the proposal to join in and takes the part of a role performed by the performer (Miura et al.¸2016). During the magic show presented in the street seeks appreciation of the audience to move forward. In this event, the performer can even indulge the random passerby to participate in the act.

Everyday Life and Emerging Traits

The performance spaces are often surrounded by some of the specific codes of conduct that are expected to be maintained by the performers. Every region has the different set of regulations that specifies the practices that are needed to be undertaken prior to establishing a street performance (Ashley, 2015). The example of Bath would be portrayed in this section of the study to provide the enriched knowledge regarding to this context. The code of conduct in Batch has been into practice since 1980 and it was generally implemented for gaining the element of control over the associated performers (Shearer, 2015). In addition to this, these codes determine the measurement of the collected responsibility. The following codes are suggested in this context:

  • Noise of the performance, such as voice and music should not be louder enough that it can be clearly heard at the distance of almost 50 meters (Karati, Mitikulena & Walker, 2017). The act of busking should be free from the intrusiveness or should not create any nuisance to the nearby spaces.
  • The amplification equipment should be strictly prohibited.
  • The entertainers should be aware of the time frame. The performance should not stay longer than an hour sin any location (Gale, 2015). In fact, that specific location should not be used twice for the performance in next 2 hours. Especially, the noisy entertainers, such as drummers or bagpipers should not perform longer than 30 minutes (McNamara & Quilter, 2016).
  • Entertainers should avoid obstructing the highway. Moreover, they have to take the responsibility to clear the highway and be aware that the highway is not blocked by the people who would gather there to listen to music or watching the performance (Parker, Ntounis & Quin, 2014). The pedestrian areas are also included in this highway specification.
  • An entertainer should maintain more than 50 meters distance from the other entertainer who is also performing in the street.
  • The permission for the entertainment would be between the hours of 10.00hrs and 20.00hrs.

Every street performer requires maintaining these codes to represent the street space for the other performers. The application of these codes is not meant to de-motivate the performers. Some of the performers admitted that these codes are quite fair since they get the equal access to the most popular areas of the spaces (Wrigley & Lambiri, 2014). However, it has been observed that the time specifications set for the performers are sometimes quite troublesome to them since they need to be cautious about their time limits while they are performing in front of others. In addition to these codes of conducts, some of the specific legislations are also imposed on the street performance activities (McNamara & Quilter, 2016). The further section of the study would provide the knowledge regarding these legislations imposed on the street performance activities.

In order to get the complete control on busking, some of the specific legislations are imposed in Bath. The history based on the street performance provides the considerable instances of prohibition applied into this practice. In current world, many of the legislative responses are observable to the presence of such performance of the street performers with the variable severity degrees. Some of the recent attempts helped in modifying the codes and developing the acts. The council attempt to develop and implement a busking bylaw between 1999 and 2003, which was focusing on the complaints presented by the local residents and the retailers (Brozen, 2014). The new byelaw was developed to replace the outdated byelaw from 1904, which was quite relevant to busking. This law indicated that no performer will sound or play upon any noisy instrument. They cannot even sign in any street associated with the public space. The 1904 byelaw failed to address the issues with the amplification (McNamara & Quilter, 2016). Under the Environmental Protection Act 1990, it was stated that the council has the authority to undertake the action against any nuisance created by amplification or any musical instruments (Salzberg, 2014). The council could serve the notice to the person who is responsible for such nuisance. If the person cannot comply with the reasonable excuse, there would be probable charges of £5000 taken as the fine.

The literature study provides the suggestive ideas regarding the street performance activities and the association of the mass perception towards it. In spite of suggesting the associated regulations and conceptual analysis of the subject matter, the literature study fails to provide the considerable understanding regarding the various acts imposed on the regional areas. The laws imposed on the street performance differ on the basis of regional aspects. However, the lack of time and resource, it could not be possible to conduct research on those areas to present the diverse regulations imposed on different regions. Therefore, it can be stated that the literature study is somewhat limited in such context.

The literature section provides the theoretical underpinning of the street performance. The chapter provides the conceptual analysis and the considerable codes of conducts associated with the street performance. Furthermore, the chapter ensures the development of the mass perceptions towards the street performance. On the other hand, the regulations associated with the practices are also highlighted in this literature section. The information obtained from this study would then be linked to the information derived from the primary research study by applying the appropriate methodologies.

Research methodology is subjected to develop the structured and systematic formulation of the entire research that would develop the complete understanding of the subject area (Creswell & Creswell, 2017). The study is widely focusing on the street performance and the association of the mass perceptions towards such aspect. The research is developed by utilizing the mixed method research in which both the primary and the secondary research would be conducted. The primary data would be collected by following the quantitative data collection that would focus on the responses collected from a particular sample of population. The research methodology is developed by concentrating on the specific philosophy, approach, technique, sampling, and data collection process (Mertens, 2014). The further study would provide the knowledge regarding the appropriate methodology used in this study.

The methodological framework refers to the systematic process of a research study that develops the clear understanding regarding any particular area of research (Choy, 2014). It generates the idea about the step wise development of the different process that would be applied to a research study to derive the necessary information. The following framework would provide the idea about the systematic structure that would be followed in this chapter.

In this research process, the study would first understand the philosophy, which would describe the information analysis method. The second step would develop the appropriate approach that would provide the right direction. The research technique is the next step considered in this methodological framework in which the considerable design would be finalized. The next step of the methodological framework is the selection of the appropriate data collection process for analyzing the research issue. The selection of the appropriate sampling techniques and sample size would add more specifications to the primary data collection process. The entire research is conducted by keeping focus on some of the specific ethical parameter, which would be discussed in the further step. The final step would consider the entire time scale for conducting the research and present complete evaluation process.

The research philosophy determines the appropriate belief of conducting any research and method of analyzing the data. The research philosophy is categorized into three forms, such as realism, positivism, and interpretivism (Bernard, 2017). The realism and positivism philosophies deal with the focus developed by understanding the hidden truth behind the subject matter. On the other hand, the interpretivism philosophy concentrates on the human interpretations that can sometimes be manipulated. The research is entirely based on the extraction of the responses from the people who have been experiencing the real scenario. The use of the interpretivism philosophy would have considered ore interpretations (Berger, 2015). The positivism philosophy is used here since it provides the exact truth associated with the scenario. Hence, the use of the positivism philosophy is appropriate in this context.

Research approach is generally adjusting the focus to understand the appropriate pattern of analyzing the collected data. The research approach is characterized into two major divisions, such as deductive approach and inductive approach. Inductive approach aims to formulate new theory whereas deductive approach attempts to test the existing theory (Hartas, 2015). The study is generally focusing on the existing practices and regulations associated with the street performance. It is necessary to analyse the underlying theoretical concept. Hence, the use of the deductive approach is justified for this study.

Research design refers to the appropriate nature or pattern of analyzing the data collected from the specific sources. It is categorized into three sections, such as exploratory, explanatory, and descriptive.  The exploratory research indicates the understanding of the research problem by intending to establish the priorities and developing the operational definitions. On the other hand, the explanatory design depends on the nature of expressing the data collected from the various sources (McNabb, 2015). The descriptive design suggests the depiction of the information in an accurate way (Flick, 2015). It is generally used in conducting the primary data in which the participants would present the accurate data based on the real life scenario. The study is developed by organizing the quantitative method of gathering data. Therefore, the selection of the descriptive design is appropriate for this study.

The study is mainly developed by depending on the questionnaire formulations for collecting the primary data. The quantitative method is utilized in this study to gather responses from the people who are engaged with the experiences of street performance. The online questionnaires are distributed to the targeted participants. This research study is targeting the selected street performers, domestic and international tourists, and local populations as well. The questionnaires are distributed to the people near the statue of William Rees. This location was selected because the spot was much frequently visited by the street performers. The development of the primary data collection process through conducting the survey would be much beneficial in gathering the insights about the real life experiences. It would develop the considerable understanding regarding the perceptive values of the performers as well as the viewers.

The study has adopted the primary survey process for collecting the quantitative data associated with the random responses of the participants. It is noticeable that the formulation of the questionnaire is quite an effective method since it helps in gathering the responses from a variety of international as well as the local populations of Queenstown. The stepwise process of analyzing the information would present the accurate idea of the scenario based on the subject matter. The obtained ideas from the responses would be present to develop the final result. Following up such specific process of data collection would be much helpful in answering the research questions determined in the previous study. The tabular and diagrammatical presentation of the data would make it more attractive and clear. The further review of the data would also be discussed in this case for understanding the major issues underlying the case scenario.  

The sample size selected for this particular study would be concentrating on the participation of the both international domestic audiences who are visiting Queenstown. The street performers would also take participation in this data collection process. The research study is developed by following the probability, simple random technique in which the responses are selected randomly among a quantified population group. Almost 20 participants have participated in this survey process and presented their responses based on their experiences. The responses gathered from this scenario would develop the understanding of the real life consequences and highlights the major issues in a specific manner.

A limited pilot study was also conducted in this research process among the colleagues. The university students and tutor have completed the 10 questionnaire by sharing their experiences. These colleagues or the students have taken the active participation in developing the hospitality and tourism program. The effective communication skills and enriched knowledge of these students helped in understanding the real scenario and developing the entire study. The extensive knowledge in hospitality helped in developing a structured research solution.

In order to conduct a particular research study, it is essential to develop the appropriate ethical considerations. The research study needs to follow some of the ethical concerns that help in conducting the entire study in an authentic way. It was determined that the participants would not be forced to answer the questions. They have the right to withdraw or avoid any answer if they are not comfortable with it. On the other hand, the researcher needs to make the participants aware of the very purpose for conducting the research. It is necessary to undertake the proper consent prior to proceed with the questionnaire completion. The data gathered from the study would be protected and taken care of more specifically. The privacy of the participants would be maintained. Maintaining these specifications would be helpful enough for the researcher to conduct the survey process in an ethical way.

Main activities/ stages

Week

1st 

Week

2nd 

Week

3rd 

Week

4th 

Week

5th 

Week

6th 

Topic Selection

ü 

Data collection from secondary sources

ü 

ü 

Framing layout of the research

ü 

Literature review

ü 

ü 

ü 

Formation of the research Plan

ü 

ü 

Selection of the Appropriate Research Techniques

ü 

ü 

ü 

Selection of the data collection process

ü 

ü 

ü 

Presenting the data analysis process

ü 

ü 

Conclusion of the Study

ü 

ü 

(Source: Created by the Author)

3.11Budget

Expenses

Budget Allocated

Printing questionnaires(31)

31 NZD

Stationeries

10NZD

Internet

30NZD

Travel expenses

30NZD

Total amount

101 NZD

Table 3.2: Budget

In this section of the study, the responses gathered from the participants in the quantitative data collection process would be presented. The observation of the information gathered from a group of people will be identified in this section. This information would then be linked to the literature study for understanding the research issues and achieving the aim of the research. The presentation of the responses is given below:

 Q.1) Select your gender

Options

Response Frequency (%)

Number of Responses

Total Respondents

Male

40%

8

20

Female

60%

12

20

Others

0%

0

20

Graph 4.1: Gender

The obtained idea from the above table and graphs indicates that almost 40% of the participants are male whereas remaining 60% of the participants are female. It interprets that both males and females visit the location where the street performance take place.

Q.2) Select your age group

Options

Response Frequency (%)

Number of Responses

Total Respondents

Below 18

5%

1

20

18-25

20%

4

20

26-35

30%

6

20

36-45

25%

5

20

46-55

10%

2

20

Above 55

10%

2

20

Graph 4.2: Age Group

The above information represents that majority 30% of the participants in this survey process belong to the age group of 26-35 years. On the other hand, very minimal amount of people who belong to the age group of below 18 also participated. It generates the idea that people under this age group are more likely take interests in street performance. However, the age group of 36-45 years also suggests their interests on this street performance. Thus, it can be interpreted that the people from diverse age group participated in this process to discuss the act of street performance.

Q.3) Select your Nationality

Options

Response Frequency (%)

Number of Responses

Total Respondents

New Zealand

30%

6

20

Australia

20%

4

20

Europe

5%

1

20

Asia

10%

2

20

North America

15%

3

20

South America

15%

3

20

Other

5%

1

20

Graph 4.3: Nationality

The above table and graph shows that majority 30% of the local people visit the Queenstown where majority of the street performance take place. However, the responses also indicate that apart from the local residents, many international tourists also gather around in Queenstown. The association of the diverse people is observable in this location.

Q.4) On a level of 1-5, where 1 being very unpleasant and 5 being very pleasant. What are your perceptions regarding street performance?

Options

Response Frequency (%)

Number of Responses

Total Respondents

1 (Very Unpleasant)

10%

2

20

2 (Unpleasant)

15%

3

20

3 (Neutral)

30%

6

20

4 (Pleasant)

25%

5

20

5 (Very Unpleasant)

20%

4

20

Graph 4.4: Mass Perception on Street Performance

The obtained idea from the above graphical and tabular formulation determines that majority 30% of the respondents remained biased in this context. On the other hand, 25% of the participants are much interested in the street performance whereas 15% did not show any interest on this. However, it depicts that people are aware of such practices in their daily lives.

Q.5) Do you find street performance satisfactory?

Options

Response Frequency (%)

Number of Responses

Total Respondents

Yes

45%

9

20

No

25%

5

20

Maybe

30%

6

20

Graph 4.5: Satisfaction Level

The above table and diagram provides the insight about the satisfactory level of the respondents in terms of attending the street performance. It has been observed that majority 45% of the respondents are satisfied with the street performance act whereas 25% of the participants did not take any interest on it. On the other hand, almost 30% of the respondents remained biased in this context, which indicates they sometimes even visit the performance field even though they are not much bothered about the purposes. It is noticeable that a better or potential performer has the ability to transform the observable disruptions into an entertaining diversion, which may lead to success. Some of the integration of distraction and the fluidity remaining in the performance can be much significant to the nonmusical performers. Accordingly, it generates the sense of satisfaction among the audiences who are watching the street performances.

Q.6) Generally, do you find enough room/space while watching a street performance?

Options

Response Frequency (%)

Number of Responses

Total Respondents

Yes

10%

2

20

Mostly

15%

3

20

Sometimes

25%

5

20

Barely

35%

7

20

No

15%

3

20

Graph 4.6: Room/Space for Street Performance

The obtained idea from the above study determines that majority 35% of the respondents think that they barely find a space for watching a performance. This perception provides the idea of the crowd that is interested in watching the street performance. They do not find enough space to stay and watch. However, some of the respondents even presented the contradictory view against the questions. They stated that there is always enough space for watching the street performance.

Q.7) What street performance do you prefer?

Options

Response Frequency (%)

Number of Responses

Total Respondents

Music

20%

4

20

Dance

30%

6

20

Aerobatics

10%

2

20

Theatre

5%

1

20

Comedy

15%

3

20

Street Art

15%

3

20

Others

5%

1

20

Graph 4.7: Types of Street Performance

The above analysis indicates that majority 30% of the respondents mentioned about dance as the preferable street performance. This ratio was followed by 20% of the respondents who preferred music as the interesting street performance. However, the respondents even mention about some of creative arts developed by the street performers. Hence, people have knowledge about the diverse kinds of street performance that take place in Queenstown.

Q.8) How often do you watch street performance?

Options

Response Frequency (%)

Number of Responses

Total Respondents

Very often

15%

3

20

Often

35%

7

20

Sometimes

40%

8

20

Barely

10%

2

20

Graph 4.8: Frequency

The above information suggests that majority 40% of the respondents sometimes watch the street performance. On the other hand, the 35% of the respondents indicated that they often watch the street performance whereas almost 10% indicated they barely watch these performances. However, it clarifies the idea that people sometimes take interest in watching the street performance.

Q.9) Do you usually stay till the end of the performance?

Options

Response Frequency (%)

Number of Responses

Total Respondents

Yes

40%

8

20

No

25%

5

20

Maybe

35%

7

20

The idea derived from the above questionnaire indicates that almost 35% of the respondents stood biased against this question. On the other hand, almost 40% of the respondents answered positively whereas 25% of the respondents answered negatively. They showed their interest level to stay till the end of the performance. Hence, it is noticeable that the participants are willing to watch the street performance whereas some did not show any specific interest on it.

Q.10) Will you be willing to collect a free product (such as CD’s) if you are offered to?

Options

Response Frequency (%)

Number of Responses

Total Respondents

Yes

40%

8

20

No

25%

5

20

Maybe

35%

7

20

Graph 4.10: Interests towards the free product

The above result depicts that 40% of the respondents are willing to take the free products (such as CDs) whereas almost 25% of the respondents did not show any interests of taking the free products. Remaining 35% of the respondents stood biased in such context. It clearly infers that people take much interest on street performance. However, due to lack of time they cannot watch the performance till the end. In fact, they are much interested to take away the free products to watch it later. The interest towards arts generates such interests towards taking the free products.

The information received from the primary data collection process would be discussed and linked in the further section of the study. The alignment of the information obtained from primary and secondary data would present the clear ideas about the subject matter. It would also ensure whether the research has met the predetermined objectives or not.

The findings received from the primary data collection process indicate that people visit the Queenstown for watching street performance. It shows their interest level to appreciate the art presented by the artists. It is also noted that the people from the international and local places gather around to watch the performance. It is noticeable that the street performers are the ones who are engaged with such activities to generate money or fulfilling their purposes. They present their artistic outflow through their performance. A number of codes and conducts are introduced to stick to the legislations developed against such street performance. Therefore, the research would present the perceptive values of the people in terms of accepting such practices. It is noticeable that the street performers maintain the appropriate considerations to attract people towards the performance. The literature study depicts that Sometimes, the performer proposes a passerby to join in and it depends on that particular audience whether to join in or to refuse. In most of the cases, it has been observed that the passerby accepts the proposal to join in and takes the part of a role performed by the performer. During the magic show presented in the street seeks appreciation of the audience to move forward. The ideas obtained from the primary data survey indicate that the people sometimes stay till the end of the show. A better or potential performer has the ability to transform the observable disruptions into an entertaining diversion, which may lead to success. Some of the integration of distraction and the fluidity remaining in the performance can be much significant to the nonmusical performers. It depicts that they do not perform any noisy show due to which the audiences take the interests.

In the literature review section, it has been mentioned that the street performers are needed to be concerned about the spaces of the performance area. They have to take the responsibility to clear the highway and be aware that the highway is not blocked by the people who would gather there to listen to music or watching the performance. The ideas obtained from the survey questionnaire depicts that the audience get enough space to stay there and watch their performance. However, some of the participants even mentioned that the place become much crowded. The idea gathered from the literature ensure that the time specifications set for the performers are sometimes quite troublesome to them since they need to be cautious about their time limits while they are performing in front of others. The information obtained from the primary data also reflects the similar perception. The maintenance of the stipulated timeframe instigates the audiences to watch their performance and take interest in it. The literature study indicates that Performers sometimes do aerobatics, dance, sing, show card tricks, and many more activities to draw the attentions of the passerby. It is true that performing in the street may attract a lot of attention, but it also depicts the specific set of skills of the individuals. The ideas obtained from the primary research also indicate that people like aerobatics, dance, music, street arts, and many other forms of the street performance. The major purpose of such street is to generate money or conveying any social messages. However, collecting the donations is the major focus. The attractive performance can gather more audiences to raise the money. The objective of the study is to identify the perception of the masses in terms of watching the street performance. Hence, it can be inferred that the study has met the objectives and developed the clear understanding regarding the subject area.

Conclusion

The study develops the conceptual analysis of the street performance, which is accepted and appreciated by the local masses to some extent whereas it is completely negligible to some of the higher class people in the society. The study also focuses on the conceptual analysis of the street performance and the suggestive association of the local mass in order to accept this practice in everyday life. It is noticeable that in current world, many legislative actions are undertaken against the street performance activities. Moreover, it has been observed that the local authorities have introduced some of the code of conducts as well for diminishing the act of street performance. The identification of the literature and primary data collection technique observes the mass perceptions in terms of developing the awareness regarding the street performance. The use of the appropriate methodological approach helps in identifying the research issues in a sequential and systematic structure. The survey process has been undertaken in this study to gather responses from the various audiences including the street performers who shared their real life experiences. The association of the information collected from both literature section and primary data collection process thus help in achieving the research objectives.

The study refers to the conceptual idea about the street performance and the association of the mass conception. The information received from the literature review and primary data collection process would be used for the similar research area in future. The primary information collected from the survey process would be utilized by the future researchers as the secondary data collection process. The development of the better understanding of the subject matter would help the future researchers to use appropriate techniques and information relevancy.

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