街头艺术具有触发城市公共空间活力的积极作用，但在城镇化与城市转型交织的特殊背景中，街头艺人群体却被贴上“秩序破坏者”与“底边阶层”的标签，成为公共空间和主流秩序排挤的对象。文章以结构化理论的方法，建构街头艺人“空间-治理规则-治理图景”的解释框架，并以“社会失范理论”的视角，探寻街头艺人空间行为背后的真实目标诉求与既有社会治理规范的冲突。研究认为城市治理手段应当主动适应治理对象的行为规律与目标诉求才能避免失范，街头艺人的行为和社会关系网络具有基于其自身职业特性与理性选择的内在合理性，而既有的刚性、去流动性的稳态治理范式，同街头艺人的真实诉求之间存在不适性。进而提出“适应流动性”的空间治理策略，包括流动性的城市空间、在地化的城市权利等，希冀善待和尊重街头艺人，构建具有艺术活力和开放包容的城市空间。
Abstract
Street art has triggered the positive role of urban public space dynamic, but profound transformation in China's urbanization and urban special background of interwoven, due to the lack of perfect social norms governing the behavior of and governance buskers, cause had a negative effect on urban order, at the same time a busker group has also been labeled destroyer "order" and "bottom class" label, become the object of public space and the order of the mainstream crowd out, this not only block the development of street art, but also contributed to the order of urban public space. Through the method of structured theory, first construct a busker "space governance picture-governance rules" the interpretation of the framework, and then to the perspective of "social anomie theory", by on-the-spot investigation, as a whole and the individual two aspects analysis of urban street entertainers space behavior and social behavior, and summarizes its behavior characteristics, behavior, seek a busker space close behind the behavior of real goal demands and existing social governance norms conflict. Furthermore, it is proposed that social governance should change the planning thinking of "de-fluidity" and put forward spatial governance strategies that "adapt to fluidity", mainly including mobile urban space and localized urban rights, etc., in the hope of treating and respecting street performers well and building an open and inclusive urban space with artistic vitality.
关键词
街头艺人 /
失范理论 /
空间行为与治理 /
适应流动性 /
南京
Key words
buskers /
theory of anomie /
space behavior and governance /
adaptive mobility /
Nanjing
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