Washington Square Park located in New York City is specially known for its performances. No matter which side one enters, he or she is bound to experience some sort of musical or artistic performance. This essay strives to understand the roots from which this occurs, and what about it that still keeps it musically alive. Deep throughout Washington Square Park’s history, events mark it as a stage for musicians and artists, and its spacious but gated design gives it a sense of community and artistry for its people.
I spent three days visiting the park, walking in from different entrances each time. I noted each location I found a performer, whether it be musically or artistically, which way he or she was facing, if they were standing or sitting, and some details about their audience. I marked them each on a map to see which parts of the park they gravitate towards. They each used the space in different ways; I sketched their positions, detailing their effects on people. From these observations I began to understand the relationship between performers and the park, giving me insight into their habits and forcing me to figure out the reasons behind them[1].
As purely an observer, I found patterns in their placement. Many musicians placed themselves in the walkways leading up to the fountain. Located in the shade, they typically sat on a bench or stood by a corner of the path and played outwards towards the people. The listeners sat on benches opposite the performer: the perfect positioning for an audience. Additionally, many musicians had their cases laid out in front of them, along the walkway, making it easy for people to throw in a dollar while walking by. In contrast to a subway station performer for example, these performers did not place themselves in an area to attract a large, round crowd that would obstruct traffic. Rather, the park is a quiet-enough space with convenient pathways and plenty of seating that listeners can be easily confused with simple park-users. They are one in the same. This seemed to be effective and efficient for musicians. Occasionally I would see performers closer to the fountain facing the benches on the circumference of that circle. This also proved to be exceedingly beneficial for the performer as they nearly have a 180-degree audience view, plus everyone else who can see a piece over the fountain. One performer was painting his entire body white, quite an attractive scene on a hot, sunny day. Finally, I found a cello player during the evening, located right underneath the arch. Once again, he was placed conveniently on the inside of the arch, catching people as they walked in and out. And with the beautiful monument above him, the ground lights lighting him and the sunlight fading, his music became a gorgeous welcome or goodbye to whoever was entering or leaving the park.
From my observations, I was able to conclude that the specific design of the park is beneficial to the performers. The multiple pathways separated by trees allow multiple performances to go on at once, giving each enough privacy to not be distracted. Furthermore, there are countless seating areas from benches, to the fountains, to the grass areas in between. This allows for audiences to spread out along pathways or around the fountain and listen if they please. It also rids people of the choice of listening as well, another benefit to the performers. And the grand feeling the arch emits is reminiscent of the feeling when one walks into a theatre. With decorative ceilings and intricate carvings, it feels classic and beautiful. Finally, the iron gates along the park give it a special community feel. It makes people feel closed in enough that they belong, but open enough that anybody who is anybody may enter. While designed to be purely a park, its elements have seemed to be advantageous for performers, keeping their presence alive.
Present day observations helped me understand the performers as they are now, however I still hadn’t understood how this park came to be the iconic stage for performers over other parks in New York City. The land began as a marshy ground with a stream called Minetta, and then in the 17th Century it was a trading outpost for the Dutch West India Company. A century later, after the Revolutionary War, it was a potter’s field where, (mostly) yellow fever victims were buried. When it became almost completely filled, New York’s Common Council declared it the Washington Parade Ground for the volunteer militia companies[2]. Perhaps this is when performances of sorts began.
When New York University used prison labor for construction of one of their buildings, the square erupted in riots. And during the Civil War, troops from Gettysburg tried to ensure peace in the city by camping out in the square[3]. Throughout history, the space was integral in gathering to promote change. And after its major renovation in the late 1800’s, leaving the park mostly of what we see it now, NYC Parks Commissioner, Robert Moses, planned for major highways to cut through Greenwich Village and Soho in 1940. One of these plans would split Washington Square Park in half. In response, Jane Jacobs, a resident, battled against its construction by grouping with other residents to write letters to the city and organize rallies and media[4]. If it hadn’t been for Jane Jacobs, Washington Square Park would not be the same park we know today.
One of the most prominent events in history that I believe helped shape the performative characteristic of the park was the Beatnik Riot in 1961. A group of folk musicians applied for a permit to play in the park, but their application was denied for no explained reason. Still, however, they proceeded to play in the park as a form of protest as then, the permit was “really just a formality.” As they played their folk music, police barged in and aggressively arrested many of them, causing the Beatnik Riot. This made headlines and was known as one of the only interruptions of performances in the park. And musician David Bennett Cohen who participated, stated that after the riot, “[music] came back even stronger.[5]” This was an instance where the protest won, and one that won for a long time to come. Today, performers need a permit to play in parks, and in some parks they are only permitted to collect money where medallions on the ground are located. This is technically applied to all parks, but Washington Square Park is treated with much less enforcement. Park officials have listened to the public criticize the crackdown on the parks rules, and “’the park representative heard the music and decided to let the music continue.[6]’” Washington Square Park has become almost the place the play for free, without rules and restrictions. It is so well known for its musical performances that it has become a stigma that resists change.
Looking at the park broadly, it is clear that music and performance in general is part of its history, dating back to parade grounds and riots. The park has created a name for itself, one that holds closely to the hearts artists and musicians for decades. Zooming in, the design of the park aids to its artistic and home-like feel. It benefits performers in their placement of themselves and their audiences, gaining listeners regardless of their desire. The park’s gates, pathways, the fountain and the arc give it a special welcoming feeling, one that invites and rewards people for walking in, and makes them feel happy and comfortable when they stay. The music that exists there is nothing less than an additional element of enjoyment and relaxation for people. It spreads art and joy and makes the park even more successful. Performance in Washington Square Park is evident in multiple perspectives and is built so strongly on performance that it seems to be the place in which it will never be able to disappear.
Appendix
Locations of Performers in Washington Square Park
Closed circles: Day 1
Open circles: Day 2
Triangles: Day 3
Written Observations
- April 24th, 2017 Day 1 12pm
- Entered from North
- Pianist at W pathway
- Benches filled-
- People on phones
- Reading
- Some talking to friend
- Most sit and stare at other people and pianist
- People walk by pianist and look as they pass
- Artist on E side of fountain
- Painting himself white
- Facing out to people sitting on benches
- People gathered and took pictures
- Many people passed by
- People could watch from other side of fountain
- April 26th, 2017 Day 2 4pm
- Walked in from E entrance
- Benches packed-in shade
- 2 guys preparing to play on corner of path and fountain area
- case set up along pathway
- people watched and listened but stayed in their seat as if they weren’t.
- pianist still on W side
- similar observations
- some money in case
- stayed on grass, not in pathway
- April 28th, 2017 Day 3 11pm
- Cellist at arc
- Underneath column
- Lights from ground light him up
- People pass by in and out
- Welcoming music
- Calm time of day
- More people leaving, but watching him as they did
- Magician (?) at south entrance
- Dark-not many people stopping to look, still more crowded than without him
Observational Drawings
N End under arc/11pm/Cello
Piano/W pathway/12pm
Guitar Player/Noon/NW side of fountain facing in
Bibliography
Foderaro, Lisa W. “A Reprieve for Performers in Washington Square Park.” The New York
Times. May 17, 2012. Accessed May 01, 2017.
http://www.nytimes.com/2012/05/18/nyregion/a-reprieve-for-performers-in-washington- square-park.html.
Folpe, Emily Kies. “History.” Washington Square Park. Accessed May 01, 2017.
http://washingtonsquareparkconservancy.org/history/.
“Jane Jacobs and the fight for Washington Square Park.” Washington Square Park. Accessed
May 01, 2017. http://washingtonsquareparkconservancy.org/news/2017/03/07/jane-jacobs-and-the-fight-for-washington-square-park/.
Rose, Joel. “How The Beatnik Riot Helped Kick Off The ’60s.” NPR. April 09, 2011. Accessed
May 01, 2017. http://www.npr.org/2011/04/09/135240040/how-the-beatnik-riot-helped-kick-off-the-60s.
[1] See Appendix
[2] Folpe, Emily Kies. “History.” Washington Square Park. Accessed May 01, 2017. http://washingtonsquareparkconservancy.org/history/.
[3] Ibid, 1.
[4] “Jane Jacobs and the fight for Washington Square Park.” Washington Square Park. Accessed May 01, 2017. http://washingtonsquareparkconservancy.org/news/2017/03/07/jane-jacobs-and-the-fight-for-washington-square-park/.
[5] Rose, Joel. “How The Beatnik Riot Helped Kick Off The ’60s.” NPR. April 09, 2011. Accessed May 01, 2017. http://www.npr.org/2011/04/09/135240040/how-the-beatnik-riot-helped-kick-off-the-60s.
[6] Foderaro, Lisa W. “A Reprieve for Performers in Washington Square Park.” The New York Times. May 17, 2012. Accessed May 01, 2017. http://www.nytimes.com/2012/05/18/nyregion/a-reprieve-for-performers-in-washington-square-park.html.
