The main stage in Covent Garden for non-musicians is the West Piazza, in front of St. Paul's Church. Even though performers seem to carry on their act in front of the church, which is a public property, they are still within the boundaries of Covent Garden's private property.

The main stage in Covent Garden for non-musicians is the West Piazza, in front of St. Paul's Church. Even though performers seem to carry on their act in front of the church, which is a public property, they are still within the boundaries of Covent Garden's private property.

Tom is performing in Southbank. Most of the non-musician performers also has a license from Westminster Council. Whenever they know that they will not perform soon in Covent Garden, they can show up in different designated places within the boundaries Westminster, queue in and start performing. Very  close sense of community.

Tom is performing in Southbank. Most of the non-musician performers also has a license from Westminster Council. Whenever they know that they will not perform soon in Covent Garden, they can show up in different designated places within the boundaries Westminster, queue in and start performing. Very close sense of community.

Tom is non-musician busker (he both juggles and unicycles) whose performance carries comedic element from the start to the end. He is also the representative of almost 40 non-musician buskers. He said that non musician buskers are more open to let auditioning performers into the group and grant them license than musicians do as long as the performance act is not dangerous. "Dangerous" is a bit open definition in the way they use it. Performers claim that they realize what dangerous act is from experience and expertise besides from the obvious ones containing fire, for example.

Non-musicians are connected via Facebook more than their musician colleagues. They use it for letting each other know about free slots or any extraordinary circumstance that needs to be discussed to the representatives and to the management.

 

According to Tom, the biggest element that attracts the audience for performances is the subconscious drive and admiration to self-confidence and courage to perform in front of public. The performances are really difficult and require a lot of practice yet he thinks it is this drive that seems to justify the longevity of these performances, which have not renovated themselves very radically over the years. As people are still entertained with these acts, we see a recursivity in performativity. This video shows how the process of building up an act for non-musicians is almost as important, if not more, as the very act itself. In fact, I believe it this process that prolongs the subconscious drive that Tom is talking about.

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Tom mentions, "street performance's latest reincarnation comes from the late 70's. World has changed a lot whereas street performance hasn't in terms of form. The political content and satire of that era in the performance arts is not very welcomed anymore."
His ideas that he expressed later about what entertainment should be seems to reflect the perspective embedded in Covent Garden. Tom thinks that people do not want to see anything with a political agenda anymore, nor do they want to bring along their children to such acts. I had the impression that the political economy of entertainment seems to decrease any room for comment making and
this situation induces the proliferation of performances that are more sterilized.

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