By Dave Finnigan - Edmonds, WA

Seattle is not known as a Mecca for street performers. Eight months of rain a year make it relatively unattractive and archaic laws designed to restrict "begging and charitable solicitation" hamper performers.

In most instances the regulations prevent performances by groups of more than two artists, accumulation of crowds of more than a dozen people, and making more than a casual reference to a hat or other receptacle.

As a consequence, higher quality troupes with self-contained shows who can draw a crowd, entertain them, and make them pay, avoid Seattle. Our best local performers must seek paid bookings, rent space at street fairs, risk hassles from the authorities or leave town for sunnier, friendlier climes.

In order to help improve this situation I joined the Seattle Chamber of Commerce as a small business in 1979, and began working on the Cultural Affairs Committee, composed primarily of representatives from organizations like the opera, ballet, symphony and local theatre groups, and of the community affairs officers of major corporations.

My first action was to ask the committee to undertake a study of street regulations in Seattle and elsewhere. We conducted a survey of a dozen U.S. cities, asking mayors and city managers what they thought of the present situation, and what they expected to do in the future.

Most respondents indicated that they had no firm handle on this area, that their intent was to restrict such activities, but that they were open to making changes and were looking to us to set a pattern they could follow.

The only positive rays of light came from San Francisco, CA, where Mayor Diane Feinstein spoke with praise of the performers and turned us over to Peter Brown, president of the Fisherman's Wharf Merchants Association. We contacted Mr. Brown and asked him to provide a report on activities in the Wharf area. He asked each of four merchants' associations to give us their opinions and insights. All respondents spoke highly of the situation in San Francisco, stressing the benefit to merchants. Their most significant comments were:

"We at Pier 39 feel our street performers appeal to both the local as well as the tourist market. Their performances are an important ingredient to our overall ambiance on the pier."

"Because Ghiradelli Square is a world famous landmark and specialty shopping center, it is most important that what we do reflect the best possible quality. In essence the difference between a good expresso and an excellent one... We showcase what I consider to be the creme de la creme of street talent available in San Francisco. "

"All of the tenants facing the courtyard at The Anchorage have enjoyed seeing the different acts come and go and are pleased to have large crowds gather while a really good performer is doing a show."

And from Mr. Brown himself: "You can see by the responses that we find the bountiful supply of talented street performers a unique and desirable marketing tool for our respective specialty shopping centers. "

As you can see, from the point of view of the merchants, the benefits come down to: improvement in ambiance, entertainment value, drawing ability and enhancement of the character of the area. The performers help the merchants to attract customers. Using these responses, we developed guidelines for our own use. The committee has endorsed the project, which is now being turned over to individual merchants associations in Seattle for trial and enactment. We came up with the following guidelines:

- Spaces should be designated and designed with the needs of the performer, the audience, and the merchants in mind. This means a small stage, some seating, a quiet location, a flow of foot traffic nearby, space for a large crowd behind the seating area, and shops adjacent to the designated space.

- Performance times should be limited in order that the audience gets a chance to shop.

- Limits must be placed on noise levels and electronic amplification should be disallowed.

- Publicity should be arranged in advance of the initiation of the program in order that the public know of the situation and its special nature. This public relations effort should clearly point out that these performers are following an age-old tradition, that no one is obligated to give anything, and that these artists are not beggars.

- Auditions for the locations should be conducted according to a published schedule, at least once a month. The only continuing expense incurred should be for an entertainment coordinator to conduct these auditions. This amount should be about $500 per month, if the experience of San Francisco is to be followed. The entertainment coordinator should also assist in supervision of the location and regulation of the performers. Police and security guards should be used to handle disturbances or problems.

- Transient entertainers and those not scheduled on the stage should be prevented from taking the stage by posting of appropriate signs and regulations in the area of the stage.

- Arrangements should be made for special audi­tions of exceptional acts, particularly those which are from other cities or other countries, and are passing through town. This will enrich the cultural mix, and give itinerant performers a reason to stop in Seattle.

- Passing the hat should be done in a tasteful and non-demanding manner. It has been found by performers that the best audience response comes from a low-key reference to the hat done with humor.  Standards in this area will be set quickly by more polished performers.

- It is vital that performers be permitted to present their talent without fear of reprisal from police or other authorities. Of course, the police will become involved if complaints are lodged or if a public nuisance is obvious.

This program is in no way intended to supplant existing arrangements which performers and merchants may have established. It was found in our research that the most successful areas had both a formalized program for top talent and an informal system for talent development in less structured locations.

It is also not our intent to disturb in any way excellent entertainment programs that may already exist. Here in Seattle there is a noontime entertainment series which is funded by the city and utilizes a number of musicians and actors from established companies and groups. Our program is in no way competitive with this already proven success.

As this project evolves, an ad hoc committee should be formed composed of representatives,  interested merchants associations, the Seattle Center, the Pike Place Market, the Mayor's office and our own Cultural Affairs Committee of the Chamber of Commerce. This committee can provide the following services in the initial stages of the project:

- Audition of performers.

- Assistance in selection of spaces and design of these spaces.

- Drafting of model regulations and procedures.

- Preparation of press releases and publicity materials promoting the pilot program.

- Supervision of the space during the trial program.

- Development of guidelines for merchants associations which wish to become involved in the project.

- Preparation of a report to interested parties in other cities on the results of this experience.

The intent of this committee is to turn management of the selected pilot site and any subsequent sites over to merchants' groups as soon as possible.

We are off to a slow but solid start here in Seattle. Do not wait for our results to get started yourselves. Let your own city officials know about the positive experience from San Francisco. If you want copies of the San Francisco packet, send $1 and a self-addressed, stamped envelope to me:

Dave Finnigan Street Performer Project,  West Edmonds, WA

One eventual consequence may be to open a street vaudeville circuit around the country so that performers can find work wherever they go. If you get a positive response in your city, please let me know. Together we can make it happen.

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