Ask forgiveness, not permission: Busking, community and contempt

Pub Date : 2023-07-01 DOI:10.1386/ijcm_00080_1
Joseph Williams
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Abstract

Who would choose to be a busker and why? How are buskers positioned by, and in relation to, state, commercial and social formations that configure public spaces and public selves? I approach busking through the concept of micropolitics, developed by Gilles Deleuze and Félix Guattari, which argues that life and politics are immanent: inseparable from and coextensive with one another. I take Zygmunt Bauman’s pessimistic vision of ‘liquid modernity’ – a chimeric analysis that maps the coercive and alienating conditions of postmodernism and neo-liberalism – as a fitting backdrop for highlighting the significance of street music. To facilitate this discussion, I draw on memories of my background as a busker, documentary sources and autoethnographic fieldwork conducted in ten locations across regional New South Wales (Australia) between June and August 2022. I adopt a storytelling approach, foregrounding the experience of busking for the busker, and combine this with documentary analysis of regulatory frameworks and quantitative analysis of my busking sessions and earnings in different locations. In contrast to recent studies that applaud the efficacy of regulations, and that represent buskers as rational agents pursuing commercial and artistic interests, I argue that busking, as a way of life, makes little sense except as micropolitical resistance to the alienating conditions of liquid modernity. Moreover, expressions of state, economic and social power frequently manifest contempt for buskers and busking, sometimes to the point of precluding buskers from effectively conducting their livelihoods within the scope of the law. I draw on Macalester Bell’s theorization of contempt as an indispensable ethical position that manifests disregard for its object, to consider the ways in which busking appeals to the humanity of state, commercial and social agents. ‘Ask forgiveness, not permission’ is an idiom of conventional wisdom for buskers, signalling, on the one hand, an internalization of the contempt they are accustomed to receiving from those in a position to facilitate ‘permission’ and, on the other, the ideal that, if things go well, they might inspire human agents to condemn the regulatory pedantry that would proscribe their livelihoods.
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请求原谅,而不是允许:街头表演、社区和蔑视
谁会选择成为街头艺人,为什么?街头艺人是如何被国家、商业和社会形态所定位的,以及与之相关的,这些形态配置了公共空间和公共自我?我通过吉尔·德勒兹(Gilles Deleuze)和f利克斯·瓜塔里(f lix Guattari)提出的微观政治(micropolitics)概念来研究街头表演。微观政治认为,生活和政治是内在的:彼此不可分割、共同扩展。我把齐格蒙特·鲍曼(Zygmunt Bauman)对“流动的现代性”的悲观看法——一种描绘后现代主义和新自由主义的强制性和疏离性条件的虚幻分析——作为强调街头音乐重要性的合适背景。为了促进这一讨论,我借鉴了我作为街头艺人的背景记忆,文献资料和在2022年6月至8月期间在新南威尔士州(澳大利亚)地区的十个地点进行的自我民族志田野调查。我采用讲故事的方法,突出街头艺人的街头表演经历,并将其与监管框架的文献分析和对我在不同地区的街头表演和收入的定量分析相结合。最近的研究赞扬了监管的有效性,并将街头艺人视为追求商业和艺术利益的理性代理人,与此相反,我认为,街头艺人作为一种生活方式,除了作为对流动的现代性的异化条件的微观政治抵抗外,没有什么意义。此外,国家、经济和社会权力的表达经常表现出对街头艺人和街头表演的蔑视,有时甚至达到阻止街头艺人在法律范围内有效谋生的程度。我借鉴麦卡莱斯特·贝尔(Macalester Bell)的理论,认为轻蔑是一种不可或缺的道德立场,表现出对其对象的漠视,并考虑街头表演如何吸引国家、商业和社会代理人的人性。“请求原谅,而不是允许”是街头艺人的传统智慧,一方面,这表明他们已经习惯了从那些有权促进“允许”的人那里得到的蔑视,另一方面,这表明他们的理想是,如果事情进展顺利,他们可能会激励人类代理人谴责那些会剥夺他们生计的监管迂腐。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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