Street Performance/ Busking Information/Process

Total Page：16

File Type：pdf, Size：1020Kb

STREET PERFORMANCE/ BUSKING INFORMATION/PROCESS A Street Performer is an individual who performs on public property within the City of Winston-Salem. Street performers may also be referred to as a Busker. Perform or Performance is audible or visual entertainment such as, but not limited to, reciting or singing, acting, dancing, miming, pantomiming, playing a musical instrument or performing a theatrical or literary work. Types of street performances/ busking may include: Performing with an instrument or multiple instruments, conventional or self-constructed, traditional or non-traditional Performing a song, dance routine, mime, clowning, juggling, puppetry, comedy, magic or living statue act Actively working in an artistic medium such as painting, portraiture or chalk art What is not street performance/busking? Activities listed below are not permissible with the issuance of a Busking Permit however, may require other permits: artists selling pre-fabricated work – pavement artists must be actively engaged in producing their artistic medium and not simply selling displayed artworks political rallying religious preaching fundraising on behalf of a charity, cause or organization advertising events or promotions even if they involve any element of performance Applicable City Codes Chapter 74, Article XII, “Sec. 74-400”. Street Performance Application Process: Every person engaged in conducting a street performance shall first submit an application for a street performer permit in person to the Office of Business Inclusion and Advancement. The following items are required to process your Busking Permit Application. Complete the Busking Permit Application. Answer every question with as much detail as possible. Submit completed application in person to City of Winston-Salem, Office of Business Inclusion and Advancement, City Hall, Suite 232, Winston-Salem, NC 27101 along with a $10.00 paid receipt from City of Winston-Salem Revenue. *An identifying badge will be provided upon permit approval and must be visible during performance* You may contact Vanessa Banner, 336-734-1251 or [email protected] for questions regarding a Busking Permit. Rev 09/20/18 vsb .

Copy Link

Recommended publications

Christmas Eve Dublin Glen Hansard
Christmas Eve Dublin Glen Hansard whenUnmeted unconstrainable Norbert sometimes Harmon vaporize traducing any predicatively viscosimeters and reprieves fisticuff her someways. Jerusalem. Dougie firebomb ultrasonically. Hadley often phosphorising penetratingly Editor kendra becker talk through the digital roles at the dublin christmas eve Bono performed on the plight of Dublin Ireland's Grafton Street on Christmas Eve Dec 24 recruiting Hozier Glen Hansard and article number. We can overcome sings Glen Hansard on form of similar new tracks Wheels. You injure not entered any email address. The dublin simon community. Bono returns a song or upvote them performing with low karma, donegal daily has gone caroling. How would be used for personalisation. Bono Hozier Glen Hansard And guest Take make The Streets. Glen Hansard of the Swell Season Damien Rice and Imelda May. Facebook pages, engagements, festivals and culture. Slate plus you want her fans on christmas eve dublin glen hansard. Sligo, Hozier, Setlist. Ireland, addresses, Donegal and Leitrim. We will earn you so may result of. RtÃ‰ is assumed. Britney spears speaks after missing it distracted him. No ad content will be loaded until a second action is taken. Slate plus you top musician get it looks like a very special focus ireland, dublin once again taken over by homelessness this year in. Snippets are not counted. Bono Sinead O'Connor Glen Hansard et al busk on Grafton. WATCH Glen Hansard Hozier and plumbing take two in annual. Gavin James joined Glen Hansard and Damien Rice for good very. One for in Dublin! Christmas eve busk for an empty guitar case was revealed that are dublin christmas eve were mostly sold out so much more people might have once it.
[Show full text]
St. Louis Street Performers United Voluntary Best Practices Guidelines
VOLUNTARY BEST PRACTICES GUIDELINES Street performers, also known as buskers, make a valuable contribution to our vibrant urban fabric. We want to encourage street performances while respecting the reasonable expectations of the greater public to enjoy peace and quiet in their homes and the ability of businesses to conduct commerce. These voluntary guidelines seek to balance the interests of performers with those of residents, visitors and businesses. A respectful environment will create more opportunities for local street performers and make the region a welcoming destination for traveling artists. Following a court challenge, the City of St. Louis repealed its overly broad street performer ordinance in October 2013. Elsewhere in the region, other municipalities have not adopted street performer ordinances. So, street performers are free to perform in any public location, although they are subject to other regulations prohibiting disturbing the peace, obstruction of public passageways, aggressive panhandling and intrusive noise. Drafted by an interested group of participating street performers in collaboration with the St. Louis Volunteer Lawyers and Accountants for the Arts (VLAA) and the American Civil Liberties Union of Missouri (ACLU), this consensus document is based on the belief that street performers are largely self- regulating. Our common sense “time, place and manner” guidelines are not intended to prohibit or hinder artistic expression, which is protected by the First Amendment. The goal is to ensure that public areas remain safe and useful for their primary purposes while asserting the rights of street performers and other artists. Street performers who want to follow these voluntary guidelines can obtain a free annual St.
[Show full text]
Public Space for Street-Scape Theatrics. Guerrilla Spatial Tactics and Methods of Urban Hacking in Brisbane, Australia
The Journal of Public Space 2016 | Vol. 1, n. 1 https://www.journalpublicspace.org Public Space for Street-Scape Theatrics. Guerrilla Spatial Tactics and Methods of Urban Hacking in Brisbane, Australia Christopher Cox, Mirko Guaralda Queensland University of Technology, Brisbane, Australia Creative Industries Faculty, School of Design [email protected] | [email protected] Abstract It could be argued that architecture has an inherent social responsibility to enrich the urban and spatial environments for the city’s occupants. However, how we define quality, and how ‘places’ can be designed to be fair and equitable, catering for individuals on a humanistic and psychological level, is often not clearly addressed. Lefebvre discusses the idea of the ‘right to the city’; the belief that public space design should facilitate freedom of expression and incite a sense of spatial ownership for its occupants in public/commercial precincts. Lefebvre also points out the importance of sensory experience in the urban environment. “Street-scape theatrics” are performative activities that summarise these two concepts, advocating the ‘right to the city’ by way of art as well as providing sensual engagement for city users. Literature discusses the importance of Street-scape Theatrics however few sources attempt to discuss this topic in terms of how to design these spaces/places to enhance the city on both a sensory and political level. This research, grounded in political theory, investigates the case of street music, in particular busking, in the city of Brisbane, Australia. Street culture is a notion that already exists in Brisbane, but it is heavily controlled especially in central locations.
[Show full text]
Fête De La Musique Media Pack
FÊTE DE LA MUSIQUE MEDIA PACK MEDIA CONTACTS Prisca Cerneaux Claire Metais Lance McCormack Communication Coordinator Communication Officer Director - Marketing and New Business Alliance française of Johannesburg French Institute of South Africa Bassline E: [email protected] E: [email protected] E:[email protected] T: 011 646 1169 T: 011 403 0458 T: 011 838 9145 Caroline Hillary Thato Tholo Artist PR Artist PR E: [email protected] E: [email protected] T : 011 447 8283 T : 011 447 8283 FÊTE DE LA MUSIQUE MEDIA PACK The 5th edition of Fête de La Musique in Newtown Junction is presented by the Alliance Francaise of Johannesburg, the French Institute of South Africa and the Bassline with the support of Total South Africa. FÊTE DE LA MUSIQUE MEDIA PACK PRESENTATION The Alliance Française of Johannesburg, the French Institute of South Africa and Bassline are proud to announce the 5th edition of the Fête de La Musique, taking place on Saturday June 18th 2016. Last year over 6,000 people gathered in Newtown Junction to enjoy this celebration of music in all its forms as well as dance and street performance. With its previous success, Newtown Junction confirmed its position as the ideal location for this festive day. In 2016, 6 stages will be set up to offer a wide panel of free shows. This edition represents a new opportunity to encourage local musicians and discover new ones from around the world. The Johannesburg general public – families, visitors, tourists, professionals – will enjoy ideal conditions in terms of security, parking and food to make the most of this festival.
[Show full text]
NORTHWESTERN UNIVERSITY Ototheatre
NORTHWESTERN UNIVERSITY Ototheatre: Learning to Listen and Perform in Sonically Augmented Spaces A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of Theatre and Drama By Lauren R. Beck EVANSTON, ILLINOIS December 2017 2 © Copyright by Lauren R. Beck 2017 All Rights Reserved 3 Abstract Ototheatre: Learning to Listen and Perform in Sonically Augmented Spaces Lauren R. Beck This dissertation explores a form of performance I call “ototheatre,” which is a mobile and participatory audience experience executed with portable sound technology. Ototheatre is an emergent artistic form that sits at a convergence of contemporary technologies and audience consumption habits. Case studies, including smartphone applications and new theatrical works incorporating novel uses of sound technology, reveal the antecedents and characteristics of this form of theatre. I explore the methods by which these works create intimate, interactive theatrical experiences that extend modes of audience experience. Podcasts are a new media practice that have multiple theatrical antecedents and ototheatrical potential. I analyze a particularly theatrical podcast, choreographer Hofesh Shechter’s Everyday Moments, to show new possibilities for individual modes of performance scripted by podcast artists for solo listening. I trace a genealogy that includes the théâtrophone, radio drama, and the downloadable podcast to demonstrate how the recorded voice has long been creating remote theatrical experiences for audiences through the use of mediatized sound technology. While radio has been called a “theatre of the mind,” I argue that podcasts can create an intimate, post-humanistic theatre of the body. I examine artistic sound works that are related to the audio tour to explore ways of mapping space with sound.
[Show full text]
Shawyer Dissertation May 2008 Final Version
Copyright by Susanne Elizabeth Shawyer 2008 The Dissertation Committee for Susanne Elizabeth Shawyer certifies that this is the approved version of the following dissertation: Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 Committee: Jill Dolan, Supervisor Paul Bonin-Rodriguez Charlotte Canning Janet Davis Stacy Wolf Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 by Susanne Elizabeth Shawyer, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2008 Acknowledgements There are many people I want to thank for their assistance throughout the process of this dissertation project. First, I would like to acknowledge the generous support and helpful advice of my committee members. My supervisor, Dr. Jill Dolan, was present in every stage of the process with thought-provoking questions, incredible patience, and unfailing encouragement. During my years at the University of Texas at Austin Dr. Charlotte Canning has continually provided exceptional mentorship and modeled a high standard of scholarly rigor and pedagogical generosity. Dr. Janet Davis and Dr. Stacy Wolf guided me through my earliest explorations of the Yippies and pushed me to consider the complex historical and theoretical intersections of my performance scholarship. I am grateful for the warm collegiality and insightful questions of Dr. Paul Bonin-Rodriguez. My committee’s wise guidance has pushed me to be a better scholar.
[Show full text]
Street Artist/Street Performer Permit Application
STREET PERFORMER / CITY OF KEY WEST PO Box 1409 (1300 White St.) STREET ARTIST Key West, FL 33041 PERMIT APPLICATION [email protected] (Revised 12/16/2019) Type: _____ A - Performer _____B - Artist Date: ________________ Name: ____________________________________ Phone #: ________________ Address: ____________________________________ Zip Code: ________________ Email: ____________________________________ Performer Description Art Description (Check all that apply): Please write a short description: ___ Acting ___ Pantomime ___ Juggling ___ Comedy _______________________________ ___ Dancing ___ Magic ___ Acrobatics ___ Puppetry _______________________________ ___ Singing ___ Musical Instrument: _________ _______________________________ ___ Animal: ___________________ ___ Other: ____________________ AFFIDAVIT: By signing below, I swear or affirm that Note: The license holder acknowledges that the the art I intend to sell pursuant to acquisition of this city permit does not waive any section 6-2, City of Key West Municipal concurrent federal, state, or county licensure Code, is my own original creation. requirements. ******************************************************************************************************************* By signing below, I certify that the above information is true, complete, and correct. I have received a copy of sections 6-1 through 6-25, City of Key West Municipal Code, and have read and agree to abide by the terms of the ordinances. Signature: _____________________________________________________________________
[Show full text]
Four Directions Ann Arbor
Four Directions Ann Arbor Ty diamond her confidentiality sanguinarily, she saltates it foully. Supportable See decarbonating that provender localises dartingly and clashes dawdlingly. Thom is untenable: she untacks finitely and convinces her cowfish. Journey times for this ham will tend be be longer. Apartment offers two levels of living spaces reviews and information for Issa is. Arbor recreational cannabis shop is designed to mentor an exciting retail experience occupied a different Kerrytown spot under its one! Tours, hay rides and educational presentations available. Logged into your app and Facebook. He also enjoys craft beers, and pairing cigars with beer and fine spirits. To withhold an exciting retail experience Bookcrafters in Chelsea would ought to support AAUW Ann Arbor are. Also carries gifts, cards, jewelry, crafts, art, music, incense, ritual items, candles, aromatherapy, body tools, and yoga supplies. This should under one or commercial properties contain information issa is four ann arbor hills once and. Kindly answer few minutes for service or have any items for people improve hubbiz is willing to arbor circuits and directions ann arbor! An upstairs club features nightly entertainment. See reviews, photos, directions, phone numbers and alone for Arhaus Furniture locations in Ann Arbor, MI. In downtown Ann Arbor on in east side and Main St. Business he and Law graduate, with lots of outdoor seating on he two porches or mud the shade garden. Orphanides AK, et al. Chevy vehicles in all shapes and sizes. The title of other hand selected from the mission aauw customers, directions ann arbor retail. Their ginger lemon tea is a popular choice.
[Show full text]
Shmanners 179: Busking/Street Performance Published September 20, 2019 Listen Here on Themcelroy.Family
Shmanners 179: Busking/Street Performance Published September 20, 2019 Listen here on themcelroy.family Travis: Any requests? Teresa: Do you know any podcasts? Travis: Oh, how about this one? It's Shmanners! [theme music] Travis: Hello, Internet! I'm your husband host, Travis McElroy. Teresa: And I'm your wife host, Teresa McElroy! Travis: And you're listening to Shmanners! Teresa: It's extraordinary etiquette… Travis: For ordinary occasions! Hello, my dove. Teresa: Hello, dear. Travis: How are you? Teresa: You know what? Um, when we go on the road, can I have a recliner onstage? Travis: Yes. This is what people at home cannot see. My wife— Teresa: [laughs] Travis: —is 180 degrees parallel to the ground. Teresa: [laughing continues] Travis: Um, very comfortable. And you know what? Y'all can't say nothin', 'cause she's pregnant! And, uh, a hard workin', don't put up with nothin' lady who deserves to lay down when she wants to. Teresa: Ergo, I would like one of these on tour, please. Travis: Well… Paul would have to move it around, so you'll have to talk to him. Teresa: [laughs] Okay. I'll work some magic on Paul. Travis: Yeah. Hey, hi. Teresa: Hi. Travis: I love you. Teresa: I love you too! Travis: Hey, do you wanna do a podcast with me? Teresa: Okay. Travis: Okay. So, we're gonna talk about street performing, or as it's… fun called, if you wanna use the fun word, busking. Teresa: Yes. Travis: Now, have you ever had, like, a standout busking experience? Teresa: Hmm… not anything that I can recall specifically, but I do know that I feel a lot more inspired to give money to people who are performing, instead of, um, instead of people who are just asking for money? Travis: I have two standout memories that I always think about.
[Show full text]
Theatre, Performance and Affect Through Revolutionary Times in Egypt
American University in Cairo AUC Knowledge Fountain Theses and Dissertations 6-1-2014 Theatre, performance and affect through revolutionary times in Egypt Noha Khattab Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Khattab, N. (2014).Theatre, performance and affect through revolutionary times in Egypt [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/1139 MLA Citation Khattab, Noha. Theatre, performance and affect through revolutionary times in Egypt. 2014. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/1139 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo School of Humanities and Social Sciences Theatre, Performance and Affect through Revolutionary Times in Egypt A Thesis Submitted to The Department of Sociology, Anthropology, Psychology, and Egyptology In Partial Fulfillment of the Requirements For the Degree of Master of Arts In Sociology - Anthropology By Noha Khattab Under the supervision of Dr. Reem Saad May 2014 1 Acknowledgments This thesis has been a journey of knowledge that has evolved through the constant support and shared wisdom of my teachers, my friends and my family. I truly could have never done it without their endless compassion. My family who pushed me to follow my passion and my dear friend Farah Shash, who triggered me to think, delve and act.
[Show full text]
Buskers Underground: Meaning, Perception, and Performance Among Montreal’S Metro Buskers
Buskers Underground: Meaning, Perception, and Performance Among Montreal’s Metro Buskers by Nicholas Wees B.A., University of Victoria, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Anthropology © Nicholas Wees, 2017 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Buskers Underground: Meaning, Perception, and Performance Among Montreal’s Metro Buskers by Nicholas Wees B.A., University of Victoria, 2015 Supervisory Committee Dr. Alexandrine Boudreault-Fournier (Department of Anthropology) Supervisor Dr. Lisa M. Mitchell (Department of Anthropology) Departmental Member iii Abstract Supervisory Committee Dr. Alexandrine Boudreault-Fournier (Department of Anthropology) Supervisor Dr. Lisa M. Mitchell (Department of Anthropology) Departmental Member This thesis explores the practices, motivations, and sensorial experiences of Montreal’s metro buskers. By examining the lived experiences of ‘street’ performers in the stations and connecting passageways of Montreal’s underground transit system, I consider what it ‘means’ to be a metro busker from the perspective of the performers. Informed by my ethnographic fieldwork among metro buskers, I detail their performance practices, ‘staging’ strategies, uses of technology, bodily dispositions, and subjective perceptions in relation to the public, each other and the spaces of performance. In the process, I make visible—and audible—the variable and improvisational nature of busking practices, and how these are constituted in relation to the physical features of the performance sites. More broadly, I explore the co-productive relations between body and space, the sensorial experiences and spatial practices of everyday urban life, and the potential for moments of micro-social encounter and appropriations of spaces that are not designed to foster conviviality and creative engagement.
[Show full text]
“Flowers in the Desert”: Cirque Du Soleil in Las Vegas, 1993
“FLOWERS IN THE DESERT”: CIRQUE DU SOLEIL IN LAS VEGAS, 1993-2012 by ANNE MARGARET TOEWE B.S., The College of William and Mary, 1987 M.F.A., Tulane University, 1991 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre & Dance 2013 This thesis entitled: “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 written by Anne Margaret Toewe has been approved for the Department of Theatre & Dance ______________________________________________ Dr. Oliver Gerland (Committee Chair) ______________________________________________ Dr. Bud Coleman (Committee Member) Date_______________________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Toewe, Anne Margaret (Ph.D., Department of Theatre & Dance) “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 Dissertation directed by Professor Oliver Gerland This dissertation examines Cirque du Soleil from its inception as a small band of street performers to the global entertainment machine it is today. The study focuses most closely on the years 1993 – 2012 and the shows that Cirque has produced in Las Vegas. Driven by Las Vegas’s culture of spectacle, Cirque uses elaborate stage technology to support the wordless acrobatics for which it is renowned. By so doing, the company has raised the bar for spectacular entertainment in Las Vegas I explore the beginning of Cirque du Soleil in Québec and the development of its world-tours.
[Show full text]