Street musicians in New Orleans are one of type of contemporary performers or buskers who represent an occupational community located in the French Quarter. Though often marginalized or seen as deviant, these urban troubadours regard themselves as professional entertainers who adhere to ethical standards and business practices. This study is an analysis of these performers that includes a description of their cluster of performing activities, the concomitant artifacts used in the performances, and the cohesiveness of this group during times of difficulty. Because of a dearth of published research on this specific topic, this study will contribute a new dimension of cultural knowledge.

In recent years, region governments actively impelled the buskers to be engaged in the street performance. They handle the examination and certification of buskers and open public space to become the legal venues of street performance, so that the arts enter into daily life of the city to result in new cityscape. The festival has been regarded as one of the most rapidly growing form of tourism. Using the street performance festival to develop the culture tourism industry, it is profitable for marketing cities and gaining economic benefits. This study is to use TOWS matrix, in-depth interviews with experts and famous foreign cases as the foundation of the operation strategies of Kaohsiung city International Street Performance Festival; then use Delphi method to evaluate strategies by industrial, governmental and academic experts. Finally, the researcher concludes strategies regarding to five aspects, which are ¡§Environmental Resources¡¨, ¡§Organization and Manpower¡¨, ¡§Activities Planning¡¨,¡¨ Marketing Publicity¡¨ and ¡§Financial Planning¡¨.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Laurence A. Clement / Street musicians and performers attract people to public spaces. These performers, or ‘buskers’ as they are commonly referred, typically congregate along specific streets, parks, plazas, and transit stops in a city. The term pitch describes the place buskers perform. Pedestrian flow, visibility, and acoustics are just some of the factors that street performers consider when selecting a pitch. While performers resourcefully adapt to the challenges of different pitches, public spaces often do little to accommodate performers and their audiences. William Whyte observed how street performances facilitate social interactions between strangers and give character to cities and neighborhoods. Relative Pitch explores where performances occur and how they benefit public places. Case studies of popular busking locations establish a typology of squares, streets, and transit stops. Video clip analysis of street performances demonstrates the spatial relations between performer and audience. Dimensions and observations from these case studies provided insight and information for the application of the typology to proposed sites in Wichita, Kansas. Buskers adapt pitches relative to their physical environment. Point, linear, planar, and volumetric elements define and articulate temporary stages, audience space, and circulation paths during performances. Design proposals for the typology sites in Wichita illustrate how flexible performance spaces can be incorporated in squares, streets, and transit stops. This project looks at ways to activate public spaces by encouraging street performance.