MIAMI: A STREET PERFORMANCE DESERT
The art of street performing has long taken advantage of an element of surprise. A simple walk down the street can be turned into a profound cultural experience by a unexpected street artist, a ‘pop-up’ shop or performance, or a Random Act of Culture.
Only recently has the foundation of this art began to permeate the popular consciousness of our city, and it is becoming something of a trend. If not by reality, then by name. You only have to look as far as the opening of the H&M Pop-Up Shop on South Beach last month to know that the ‘Pop-Up’ trademark can be used as a marketing ploy. A ‘pop-up’ usually means that the exhibit, shop or whatever it may be is temporary, and most likely mobile.
Nevermind that they will be opening a flagship store around the corner, H&M is clearly taking advantage of the trend and driving shoppers into their store by the thousands, all under the guise of temporary status.
But before popping up was a phenomenon of the marketing world, and before the term even existed, there were artists who would fit this description. You can find them in most metropolitan cities in the United States and across the world playing instruments on street corners and train stations. A notable exception to this universal tradition is the city of Miami, a city bent on becoming a global destination, simultaneously lacking the cultural infrastructure and public buy-in to become one.
The idea is simple enough. With cans and hats in front of them, the street musician entertains the casual passerby and accept donations for the favor. Assuming that even a small percentage of the population gives a shit, or even notices the show, the deal is mutually beneficial. The musician gets to eat, and the city gets (next to) free entertainment.
No harm, no foul, right?
Except the fact that we are a public performance desert. On a quest to get to the bottom of this, I recently went to the Fete de la Musique in Coconut Grove, a street performance festival produced by the Miami Conservatory of Music. The festival was started in France in 1982, and has since spread to over 300 cities all over the world. Apparently in France, a country that takes tremendous pride in its culture, this kind of thing is normal, and even a selling point when it comes to bringing in tourists. I had the chance to speak to two experienced street musicians about the reality of Miami’s street playing scene, the challenges that they face daily, and the changes that are currently taking place.
IT’S AGAINST THE LAW
‘’Artists here in Miami don’t have much of a chance. You know in New York you can play in the streets, and in Chicago, and different places. So we decided to pioneer this. And when we first started on this corner we had the police on us. We had the city on us. Everybody was on us saying ‘What are you doing here? You can’t do this. It’s against the law.’’
That is Coconut Grove street musician Guillermo Rodiles, speaking about his band with his two sons Michael and William Rodiles. ‘’We started playing here 2 ½ years ago. We decided to do it because this is our place. This is our neighborhood, too.’’
But the cops don’t care. Whether it’s your neighborhood or not, the rules are the rules, and people can’t be playing on the streets in Miami.
Frustrated, the band made a petition. All the area’s merchants signed it.
‘’If Coconut Grove was made out of artists, why can’t we play on the street? Actually it’s like a community service.’’
That sentiment is echoed by fellow street musician Jubal MD, playing in front of Sandbar on Grand Ave. He tells me that the city isn’t strictly against street playing per se- they just want a cut of your money. ‘’Things change a lot. Now you gotta pay $450 to play to get a permit, insurance, and all that stuff… Things change with every commissioner.’’
That’s $450 in change and dollar bills in a baseball hat. All within a couple hours time.
So has our local government hijacked our culture? Not so fast, says Rodiles ‘’…we took over. We’ve been harassed here on the corner, the police have been saying ‘you can’t do it,’ but now the police gave up on us because we persist.’’
WE MUST PERSIST
How sad a commentary that a local family band has to turn to civil disobedience in order to secure a spot on the street. How counterproductive to the idea of Miami as a world-class destination. How uncreative, and dare I say it- tyrannical?
The street is where the arts are born, and where they thrive. It is where they collaborate and innovate. It is where legends find their traction. And it is also where they are all but banned.
There are few organizations that are dedicated to helping street performers, a disparate group that is essentially without a core. But there are things that can be done. Last year I helped bring awareness to the cause by helping organize Pop-Up Piano Miami, a series of public art and performance installations during Art Basel. It was an over-the-top project, idealistic in its nature, and a hell of a hassle, but somebody had to do it.
Because for all the headache, and all the meetings, and the permitting, and the jumping through hoops, it was worth it. Because at the end of the day when we held pop-up performances with local musicians on the streets of Miami, guess what happened?
The people stopped. And the people smiled.
And sometimes a smile is the most meaningful currency.
To quote Rodiles: ‘’For three years we’ve been battling for this to happen. For the musicians to be able to play in the streets and spread love. What we do is spread love, so why not allow it?’’
Exactly.
But before popping up was a phenomenon of the marketing world, and before the term even existed, there were artists who would fit this description. You can find them in most metropolitan cities in the United States and across the world playing instruments on street corners and train stations. A notable exception to this universal tradition is the city of Miami, a city bent on becoming a global destination, simultaneously lacking the cultural infrastructure and public buy-in to become one.
The idea is simple enough. With cans and hats in front of them, the street musician entertains the casual passerby and accept donations for the favor. Assuming that even a small percentage of the population gives a shit, or even notices the show, the deal is mutually beneficial. The musician gets to eat, and the city gets (next to) free entertainment.
No harm, no foul, right?
Except the fact that we are a public performance desert. On a quest to get to the bottom of this, I recently went to the Fete de la Musique in Coconut Grove, a street performance festival produced by the Miami Conservatory of Music. The festival was started in France in 1982, and has since spread to over 300 cities all over the world. Apparently in France, a country that takes tremendous pride in its culture, this kind of thing is normal, and even a selling point when it comes to bringing in tourists. I had the chance to speak to two experienced street musicians about the reality of Miami’s street playing scene, the challenges that they face daily, and the changes that are currently taking place.
IT’S AGAINST THE LAW
‘’Artists here in Miami don’t have much of a chance. You know in New York you can play in the streets, and in Chicago, and different places. So we decided to pioneer this. And when we first started on this corner we had the police on us. We had the city on us. Everybody was on us saying ‘What are you doing here? You can’t do this. It’s against the law.’’
That is Coconut Grove street musician Guillermo Rodiles, speaking about his band with his two sons Michael and William Rodiles. ‘’We started playing here 2 ½ years ago. We decided to do it because this is our place. This is our neighborhood, too.’’
But the cops don’t care. Whether it’s your neighborhood or not, the rules are the rules, and people can’t be playing on the streets in Miami.
Frustrated, the band made a petition. All the area’s merchants signed it.
‘’If Coconut Grove was made out of artists, why can’t we play on the street? Actually it’s like a community service.’’
That sentiment is echoed by fellow street musician Jubal MD, playing in front of Sandbar on Grand Ave. He tells me that the city isn’t strictly against street playing per se- they just want a cut of your money. ‘’Things change a lot. Now you gotta pay $450 to play to get a permit, insurance, and all that stuff… Things change with every commissioner.’’
That’s $450 in change and dollar bills in a baseball hat. All within a couple hours time.
So has our local government hijacked our culture? Not so fast, says Rodiles ‘’…we took over. We’ve been harassed here on the corner, the police have been saying ‘you can’t do it,’ but now the police gave up on us because we persist.’’
WE MUST PERSIST
How sad a commentary that a local family band has to turn to civil disobedience in order to secure a spot on the street. How counterproductive to the idea of Miami as a world-class destination. How uncreative, and dare I say it- tyrannical?
The street is where the arts are born, and where they thrive. It is where they collaborate and innovate. It is where legends find their traction. And it is also where they are all but banned.
There are few organizations that are dedicated to helping street performers, a disparate group that is essentially without a core. But there are things that can be done. Last year I helped bring awareness to the cause by helping organize Pop-Up Piano Miami, a series of public art and performance installations during Art Basel. It was an over-the-top project, idealistic in its nature, and a hell of a hassle, but somebody had to do it.
Because for all the headache, and all the meetings, and the permitting, and the jumping through hoops, it was worth it. Because at the end of the day when we held pop-up performances with local musicians on the streets of Miami, guess what happened?
The people stopped. And the people smiled.
And sometimes a smile is the most meaningful currency.
To quote Rodiles: ‘’For three years we’ve been battling for this to happen. For the musicians to be able to play in the streets and spread love. What we do is spread love, so why not allow it?’’
Exactly.
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