“ What is the Best Street Performer Management System? ”
In 2021, various cities across Taiwan transitioned their street performer management system to a registration-based system, eliminating the previous examination and review process, ushering in an era where anyone could become a street performer.
The intention behind this change was to grant all citizens the opportunity to showcase their talents in public spaces, receive applause, and earn tips. However, some individuals exploited loopholes within the system, leading to unfair practices such as family members drawing lots on behalf of performers, fans occupying performance spots, and malicious complaints against other artists.
The best management system remains a shared question among street performers.
To address this, the Taiwan Street Arts and Culture Development Association has invited street performers and street arts association leaders from Hong Kong and Singapore to Taipei Huashan for an in-depth discussion. They will share insights on their cities’ street performance regulations and cultural practices, while engaging in a direct dialogue with the Taipei City Department of Cultural Affairs and Huashan street performance management team.
The goal is to collaboratively explore and develop a fair and effective street performance management system tailored for the Chinese-speaking community.
Tzu-Chen Chien
Researcher –Department of Cultural Affairs, Taipei City Government
Previously served as Section Chief at the Department of Arts Development, specializing in street performance policies for six years.
Holds a Master’s degree from the Graduate Institute of Arts Management and Cultural Policy, National Taiwan University of Arts.
Part 1. From the Audition System to the Registration System
I’m Tzu-Chen Chien from Department of Cultural Affairs, Taipei City Government. I’ve been involved in street performance policy and development for about five to six years, and today, I’d like to share how Taipei’s street performance system has evolved over time.
The Legalization of Street Performance in Taipei
Taipei introduced street performer regulations in 2005. Although street performers had always existed in society, the goal of legalizing their presence was to ensure that street performances were officially recognized and allowed in public spaces.
The city hoped that by integrating art and diverse cultural expressions, street spaces could be opened up for artistic appreciation, making art more accessible to the public.
The Early Audition System (Examination-Based Licensing)
In the early years, obtaining a street performer license required passing an examination and review process.
•Initially, the test was held twice a year, but later it was reduced to once a year.
•Successful applicants were allowed to perform in officially designated locations within Taipei City.
•In high-demand locations, a lottery system was used to determine performance slots.
The Legal Challenge That Led to Change
In 2020, a street performer who failed the review process filed a lawsuit. This case became a turning point.
The Administrative Court and later the Constitutional Court ruled that, under Taiwan’s constitutional principles, artistic quality should not be determined through an examination system.
This ruling reflected a broader cultural and historical evolution, questioning whether a formal test should decide what constitutes “good art.”
While the examination system had its benefits—such as filtering out inappropriate performances—it also had limitations:
•New and experimental performance styles might not fit within the rigid evaluation framework.
•Some artists might struggle to pass the exam, even if their performances had artistic value.
As a result, Taipei decided to transition to a registration-based system.
Transitioning to the Registration System
With the new registration system, performers still need to apply for a license, but they no longer need to pass an examination.
This change sparked mixed reactions within the street performer community. Some welcomed the greater accessibility, while others questioned whether an unregulated system would maintain performance quality.
Before Taipei adopted the registration model, Tainan had already implemented it, making it part of an ongoing evolution of street performance policies in Taiwan.
The Impact of COVID-19 and Growth in Performer Numbers
Shortly after switching to the registration system, the COVID-19 pandemic hit, preventing street performances from taking place.
Now, as street performance activities gradually resume, we’ve seen a significant increase in registered performers:
• Under the previous audition-based system, Taipei had about 900 licensed street performers.
• Now, under the registration-based system, the number has fluctuated between 3,000 to 4,000.
Since licenses are valid for two years, the number of active performers changes over time based on renewal rates.
Taipei’s transition to a more open street performance model reflects a shift toward greater artistic freedom, but it also raises ongoing discussions about how to maintain fairness and performance quality in public spaces.
Part 2. The Role of the Public Sector
This is the general evolution of our street performance system, and within this framework, the Taipei City Department of Cultural Affairs plays two key roles:
1. Establishing Policies and Regulatory Frameworks
The Cultural Affairs Bureau is responsible for formulating the rules and legal framework for street performances.
• Registration Requirement:
• Street performers must register before performing, which serves as an official acknowledgment by the government that they are engaging in this profession legally.
• This regulatory function is one of the key responsibilities of the Cultural Affairs Bureau.
2. Managing Performance Venues
The second role of the Cultural Affairs Bureau is overseeing and managing specific performance locations.
In Taipei, the management of street performance venues varies based on the type of location:
• Public parks → Managed by park authorities
• Riverside parks → Managed by the Water Resources Department
• Cultural venues (e.g., Songshan Cultural and Creative Park) → Managed by their respective administration teams
• Museums & exhibition spaces (e.g., Taipei Fine Arts Museum, Museum of Contemporary Art Taipei) → Managed by their own administrative bodies
Each type of venue follows different management systems, depending on the overseeing agency.
Special Case: Direct Management by the Cultural Affairs Bureau
Some key street performance zones do not fall under any specific venue’s management and are directly overseen by the Cultural Affairs Bureau:
• Xinyi District
• Ximending Pedestrian Area
These locations are public roads rather than designated cultural spaces. Normally, road infrastructure is managed by the Public Works Department, while public activities and events fall under the jurisdiction of the police department.
The Cultural Affairs Bureau plays a role similar to that of Singapore’s street performance system, advocating for designated time slots where street performers can legally perform in pedestrian areas.
During permitted performance hours, specific designated spots are allocated—rather than opening the entire pedestrian street for performances. This system ensures organized management while maintaining accessibility and traffic flow in public spaces.
Integration of Venue Registration and Support Measures under the Registration System
This diagram illustrates how the Taipei City Department of Cultural Affairs has integrated venue registration and supporting measures under the new registration system.
To streamline the application process, we have consolidated all available performance venues into a single online platform. Although each location is managed by a different administrative unit, our goal is to create a centralized entry point where street performers can easily find information on where and how to apply for performance spaces.
As seen in the diagram, performance venues are spread across various districts and locations, including:
• MRT stations and plazas → Managed by Taipei Metro Corporation
• Underground malls → Also managed by Taipei Metro Corporation
• Other designated street performance zones → Managed by different local authorities
This integrated system provides performers with greater accessibility and transparency, helping them navigate the complex venue application process more efficiently.
Online Registration and Lottery System for Performance Spots
Here, you can see the lottery-based scheduling system for the Xinyi Pedestrian Zone, which I mentioned earlier.
• The lottery is conducted every two weeks, at the beginning and middle of each month.
•Performers can register online for about three days during each period.
•After the registration period closes, the lottery results are announced, and the system moves on to the next cycle.
The diagram also shows performance locations within Xinyi Pedestrian Zone as well as Ximending Pedestrian Zone, which follows a similar lottery and registration process.
This integrated system ensures that all performance spots are managed fairly and efficiently through a centralized online platform.
Part 3. The Purpose of Arts Festivals and Events
In addition to the regular performance application system, we also organize special events.
After implementing the registration system, some concerns arose about varying performance quality. Without an examination or approval process, how can we ensure that the general public recognizes and appreciates high-quality street performances?
To address this, in 2021, we launched the Taipei Buskers Festival. The goal of this festival is to:
• Provide a platform where high-caliber street performers can showcase their talent.
• Offer audiences a curated experience, helping them understand what makes a great street performance.
• Create a space for artists to exchange ideas, network, and refine their craft.
Beyond the Taipei Buskers Festival, we also organize special performances for major cultural events. For example, in 2023, the Taiwan Lantern Festival was hosted in Taipei, with a major venue in Xinyi District. We took this opportunity to invite street performers to participate, further integrating street arts into large-scale cultural celebrations.
Through these events, we hope to enhance visibility for talented street performers, foster public appreciation for street arts, and elevate the overall quality of performances in Taipei.
Part 4. Complaints and Coordination
Host:
With the registration system, a wide variety of street performers have entered the scene. Recently, I’ve seen videos from Ximending, where some performances are hard to distinguish between avant-garde art and inappropriate acts.
If the public files complaints against such performances, does this put the Cultural Affairs Bureau in a difficult position? How can these issues be addressed?
Chien Tzu-Chen, Taipei City Department of Cultural Affairs:
As the managing authority for street performers, the Cultural Affairs Bureau consolidates feedback from various agencies regarding street performances.
Whether under the previous review system or the current registration system, we mainly receive two types of complaints:
1. Regulation Violations
• This includes performers exceeding their time limits or performing in unauthorized locations.
• Most of these complaints come from other street performers reporting violations.
2. Noise Complaints
• This is the most common type of complaint, usually filed by local residents.
• Since specialty acts (e.g., acrobatics, magic) require more skill, the registration system has led to a significant increase in music-based performances, resulting in more noise-related complaints.
Unlike cultural venues, which have full control over their programming and management, public roads require coordination between multiple stakeholders:
• Infrastructure repair teams
• Event permit authorities
• Business district associations
• Local residents
Managing street performances on public roads requires balancing the interests of all these parties.
The Cultural Affairs Bureau aims to secure more performance spaces and time slots for street performers within a fair and well-structured system that considers the needs of all stakeholders.
Today’s forum is a valuable opportunity—when street performers build a strong community, collaboration becomes easier, and solutions can be found collectively.
However, compromise is necessary because everyone has different priorities:
•Business districts want high foot traffic to boost commerce, and street performances can help attract crowds.
• Public authorities see the value in allowing street performers to enhance urban culture and entertainment.
• But when performances negatively affect businesses, store owners may ask:
•“Why should I pay hundreds of thousands in rent, only to have my business disrupted by loud performances?”
Likewise, local residents are also affected:
• Many cannot relocate, and long-term exposure to excessive noise or extended performance hours can cause mental stress or even health issues.
• It’s important to acknowledge that street performances should not come at the expense of residents’ quality of life.
This is why a communication platform is essential—so that performers, businesses, and residents can express their concerns, find compromises, and foster mutual understanding.
Organizers｜Taiwan Street Arts and Culture Development Association
Co-organizers｜Huashan 1914 Creative Park
Host｜吳顥中
Panelists｜Hong Kong – 施寶盛 / Singapore – 楊應豪 / Department of Cultural Affairs, Taipei City Government – 簡孜宸 / Huashan 1914 Creative Park – 陳姿君
Chief Planner｜Hsu Kai-Hsuan 徐開炫
Visual Design｜王璽媛
Photographers｜Yang Yuan-Ching 楊元慶、王璽媛
Transcription｜Hsu Kai-Hsuan 徐開炫
Writer｜Hsu Kai-Hsuan 徐開炫、陳志政、呂佳玲、陳亭云
