As addictions
go, the lure of performing is no great cause of distress, unless, of
course, the addict has insufficient access to concert halls, coffeehouses,
or bar gigs. The solution? Hit the pavement! Create your own venue and
go where the people are. I’m talking about street performance or,
as it is more commonly known, busking.
As well-seasoned
a performer as you might be, busking takes a different set of skills
and tests a different set of nerves in comparison to stage performance.
It is one thing to play a venue where you have been contracted to appear
(that alone offers more security and confidence than you may realize).
It’s quite another matter finding a spot in the middle of a busy
pedestrian thoroughfare where neither shoppers, nor storekeepers, nor
police will object to your presence.
The first thing
to understand about busking is that there are no steadfast rules. However,
there are certain guidelines that, when followed, are likely to increase
your tips, and others that will most assuredly keep you in good graces
with fellow buskers–an angry juggler lobbing a flaming bowling
pin into your tip basket is not a good thing.
Be Prepared
Before packing
up and heading into the streets, go over the following checklist:
1. Appearance.
Anything goes, but being clean and groomed keeps you from being considered
just another worthless beggar. Something with a bit of flair can help
draw attention, too, especially in more crowded or spacious locations.
Make it easier for people to spot you.
2. Sheet
music. Leave it behind. Not only is it at the mercy of the faintest
breeze, it also creates a barrier between you and the audience. Memorize
a minimum of 20—30 minutes of material, and keep your head up and
your eyes on the passersby. This goes for group performers as well;
I’ve seen countless string quartets perform at London’s Covent
Garden without stands and sheet music. In fact, they prance and spin
and stomp through the likes of Eine Kleine Nachtmusik and Radetzsky’s
March and are immensely popular with the crowd.
3. Repertoire.
As lovely as they might be, airs, largos, and other slow-paced works
just don’t cut it. Bright, toe-tapping tunes are the best crowd
pleasers. Put snobbery aside, cut out the schmaltzy, pedantic bits,
and stick to classic music excerpts, if you must. Tunes from popular
songs and folk-dance music work well. Celtic pieces–reels, jigs,
polkas, and quick-paced hornpipes–are my personal favorite.
4. Tip catcher.
Have something–your case, a large hat, a box, or a basket–into
which people can throw tips. And they do throw, so make it something
with a wide opening; some folks like to drop their offerings without
ever slowing their pace. Choose something reasonably easy to see and
not easily tipped over (dazed pedestrians routinely stumble over even
my royal-blue-lined fiddle case). Depending on the venue you choose,
you might even hire a charming friend or a winsome older child or teen
to pass a jar or basket through the crowd.
5. Seed
money. Don’t leave home without it! This is one of those unexplained
mysteries of the universe–an empty tip basket takes longer to fill
than one that has been "seeded." Moreover, if you want to
grow dollar bills, don’t plant copper pennies. Generally, a single
dollar bill and a couple of quarters will suffice. In other countries
(did I mention that busking is an excellent means of supplementing travel
funds?), you will probably want to stick to the higher-denomination
coins.
Location,
Location, Location
Once you are
prepared and ready for your performance, you’ll want to head for
areas heavily trafficked by pedestrians who are not in a hurry to get
anywhere (by contrast, sports fans en route to a game are not likely
to register you as anything other than a bothersome obstacle). Outdoor
pedestrian shopping malls are great, as are old town centers with narrow
streets traveled by shoppers and tourists, wide sidewalks near tourist
attractions, and museums. Locate yourself near some place where people
loiter–outdoor cafés and markets or snack-bar kiosks, even
bus and metro stations–and
have reason to pause and reach into their pockets. Public parks and
city squares where people go to socialize and relax are also good. The
timing can be critical, but will vary according to location. Generally,
late morning or early afternoon is the soonest you’ll want to venture
out. Early evening, 4:30 or 5:00 p.m., is often a good time as well.
Scout around
for a spot that will work to your best advantage. Don’t look too
long, as other buskers can slip in quickly and take the best spots,
but take enough time to ensure that you are not intruding upon another
performer’s space, physical or sonic. You might even choose to
wander the fringes of outdoor cafés or hop on subways (although
the legality of this is dubious) with a hanging tip basket or a partner
to collect tips for you. When possible, set up near a wall or in an
unused alcove, such as a closed shop front, that will project your sound
outward. Put yourself out toward the front where folks can see you.
Narrow, winding pedestrian streets have the same acoustical effect,
but try to find an intersection to reach a larger audience. Underground
subway passages also have good acoustics and sizeable crowds, but it
is not always legal to perform in them. In London, daring buskers routinely
ignore posted signs threatening penalties of up to £200 ($300).
Often, you
will not have the luxury of optimal acoustics. In that case, I usually
try for a lamppost, a tree, or a fountain to put my back to–something
stationary that forces the crowd to part. Strange as it seems, unless
you have a sound system or play bagpipes, people will manage to stumble
over your tips, if not you. Avoid crowding close to stores’ entryways
(customers feel panhandled) and blocking window displays.
Fair Play
Some cities
require permits for street performance, although I’ve not yet seen
it enforced anywhere. It’s best to ask the local police or chamber
of commerce about any restrictions–although unless signs are posted,
you’ll most likely just be asked to move on. In London’s Covent
Garden, I was just nearing the end of my first reel when a policeman
gently tapped me on the shoulder. In typical British fashion, he politely
asked that I not perform on what he explained was privately owned sidewalk.
Then, with a smile, he pointed to the other side of the building. "I
think if you move down toward the station, you’ll find the tips
much better there, anyway." In Dusseldorf, Germany, a territorial
shoe salesman waited exactly 30 minutes before confronting me with emphatic
tones and waving hands, which clearly stated that I should clear out.
Although I doubted his right to do so, I acquiesced, rather than cause
a scene.
Some places
requiring permits do have rules about changing locations every 30 minutes,
or have a grid system, which will be explained to you. In unregulated
towns, you may occasionally find that you have inadvertently set up
in some regular’s spot. On the other hand, sometimes fellow performers,
particularly bands, will be singleminded and hardly notice your presence.
It is best to pack up and leave of your own accord, dignity intact,
rather than have them blast you away. Others will loiter, usually waiting
for a break in your routine to inquire how much longer you will be.
Be gracious and accommodating; they might prove to be useful connections.
Sometimes if you are friendly and professional and their performance
is more visual than auditory (mimes, balloon artists), they might offer
to share the space. This arrangement often works to mutual benefit:
people who wouldn’t slow down for music will stop to watch the
antics of a juggler and wind up enjoying–and tipping–both.
A quick word
on using amplifiers: If you choose to go this route, show a little courtesy
towards fellow performers. There are plenty of fans and tips out there
for all of us. There is no need to crank the volume so loud that you
clear the area of other buskers for blocks around.
Safety
First
Once you have
found your spot, place your case or tip basket (with seed money!) approximately
two to three feet in front of you, if the pedestrian traffic permits.
Generally, people like to maintain a "safe" distance, preferring
not to get too close.
While I have
neither experienced nor heard of any foul play while busking, I am always
watchful. If I set my fiddle down, I hover over it; if I stop to talk
to someone, I move closer to my tips, remaining alert. I keep my belongings
in front of me, within leg’s reach. Though I have never felt myself
or my instrument to be endangered, I have been wary of the interest
that some passersby (usually beggars) have taken in my tips. In that
event, I keep an eye out, ready to kick my case closed over my tips
if I see them again or if they venture too close.
When I’ve
finished, I pause a bit, loosening my bow, preparing my fiddle for storage,
giving listeners the opportunity to realize that the show is over. Usually
at least one or two people surprise me with a last-minute tip and compliment.
Then I scoop my earnings into a bag–never stopping to calculate
the take–tuck it quickly away, and disappear.
Powerful
Performing
When you perform,
stand up if you can. It makes you more visible, and you appear more
energetic, which appeals to an audience. I find it helps to be passionate
about performing. Dance and sway to the music, enjoy yourself. Pour
energy into the crowd, and it will generally be returned–both in
smiles and tips. In Madrid, after nearly 15 minutes of performing with
timid uncertainty and travel weariness, I received little more than
scorn from the high-class matrons and indifference from the rest. So
I did a quick attitude
adjustment and decided
to kick back and just enjoy myself, despite the fact that I needed the
money. Within minutes, the tides turned. Faces lit up with delighted
smiles, photos were snapped, tips were tossed along with words of praise.
There is something to the adage "As ye sow, so shall ye reap."
As a solo performer,
particularly if you do not use an amplifier, you are not likely to draw
a crowd. This is no reflection on your talent, just a matter of comfort
or even culture. In many countries, people seem slightly intimidated
by soloists. In a group, the attention is dispersed, making it safer
to stop, enjoy, and move on, often without tipping. If it is just you
and them, there is a sense of guilt for "taking" your music
without leaving something in return, so listeners tend to keep their
distance. They will loiter before window displays, lean against trees
while waiting for their spouses, rest on nearby benches–but you
can spot them. Their feet will be tapping; they may even permit a smile
to grace their lips. Some might even jig a step or two as they pass.
Children will turn their heads and clap their hands. They may not tip,
but they are enjoying what you offer, and they are, after all, your
audience. Accept it, laugh about it, relax, and have fun.
