路上演奏者の公共感覚

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書誌事項

タイトル別名
  • The Public Sense of Street Musicians
  • ロジョウ エンソウシャ ノ コウキョウ カンカク シンサイバシ ノ ヒキガタリ シンガー オ ジレイ ト シテ
  • 心斎橋の弾き語りシンガーを事例として
  • Using the Example of Narrator-Singer Guitarists in Shinsaibashi

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抄録

Recent street musicians tend to be understood within the context of urban youth culture. Maintaining this trend, this paper will examine the current modes in street culture using as its model the area around Shinsaibashi, one of several urban centers in the Osaka area. The first half of the analysis is a study of trends in performer awareness based on collated interview data from 169 performers. Using that as a basis, the second half introduces information from field research to position the characteristics of street culture. The information obtained from the above analyses consists of the following three points: (1) a primary factor in the establishment of street culture is an increased sense of security towards the street rather than a decrease in awareness towards passersby; (2) the sense that street performance may be engaged in freely extends beyond the performers themselves to include the police and local governments concerned; and (3) such conditions have accelerated two opposing tendencies. One is the tendency of street performers to enjoy their own performances as they like without an awareness of the passersby, and the other is the tendency to be strongly aware of passersby in the interest of making their own recording debut.

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