There are more and more different kinds of street performances in Hong Kong. While these performances add spice to street culture, some people and even the buskers themselves call for more regulations on street performances. Write a letter to the editor stating why people have such a demand and discuss the arguments of both for and against having more regulations on busking. At the end of the letter, state your standpoint.
Dear Editor,
I am writing to express my opinion on whether more stringent regulations should be imposed on busking and street performances in Hong Kong.
In recent years, busking has become increasingly popular in crowded pedestrian areas like Mong Kok, Causeway Bay and so on. Thousands of young aspiring artists hop onto this “busking” bandwagon and display a wide variety of performances, ranging from vocal performance to mini-sized drama on the street. Most performances are well-received by the locals. Yet, some “black sheep” – impolite amanteur buskers show no respect to this brand-new kind of street art, simply treating it as a means to vent their grievance towards society. For instance, they sing some indecent pop songs with an amplifier turned to an unacceptably high level. Not only do they cause nuisance to the residents nearby, they also hamper the image of “proper” busking. No wonder why many people in the city, even busking enthusiasts, call for more regulations on street performance. Such a demand has stirred up much debate in society.
First of all, some citizens, even the buskers themselves, believe that having more regulations on busking can help distinguish between true buskers and those irresponsible performers. By imposing more regulations, such as implementing a licence system for street artists, the government can then prevent some inconsiderate artists from disrupting passers-by and the residents nearby. The system can also make it easier to lodge an effective complaint when they find some street performers not observing the Noise Pollution Ordinance. Taiwanese have done a good job in this field by issuing licenses to every busker in Taipei. Not only does the policy help rebuild Taiwanese’s confidence towards street arts but it also helps street culture to thrive. Hong Kong can certainly learn from it.
Besides, having more regulations on busking minimise the disruption caused to the neighbouring residents. Limiting the opening hours of pedestrian zone for street performance, for example, can diminish the impact on residents and pedestrians near-by. They can enjoy a tranquil and peaceful after-work life while, at the same time, these budding artists can still be able to unleash their talents and perform expressively.
Some citizens, however, worry that such a move may stifle the freedom of expression and development of street culture of Hong Kong. The recently launched pilot scheme in West Kowloon District is a case in point. The government intentionally set up a designated zone for buskers in West Kowloon District to perform during holidays. Unluckily, the scheme is proved to be a failure. It has not been well-received by local buskers as the procedures for application are too complicated and, most importantly, there simply lacks a fair size of audience in West Kowloon District, making the artists feel unsatisfied to perform. This shows that having too many regulations may not be a feasible way out for the dilemma on street performance.
To conclude, I believe that having more regulations on busking does more good than harm to both Hong Kong citizens and buskers themselves. Yet, excessive regulation, such as restricting artists to perform in a designated place, is certainly undesirable as it defeats the purpose of street performance. Street art needs diversity and freedom to thrive. If not, it will only become another kind of performance which is so similar to those performed on stage, in a grand theatre.
Yours faithfully,
Chris Wong
Chris Wong
Charlotte Chan Sze Lok
6E 2015-16