Street Performance Art from a Cross-Cultural Perspective: Forms of Expression and Social Significance 
Chen Yingxu

Hebei University, Baoding Hebei 071002;

Abstract：Against intensified globalization, street performance, as a grassroots urban art, has transcended geographic and linguistic limits to serve as a vital medium for cross-cultural dialogue. This paper explores street performance’s expressive features, regional disparities and formation mechanisms through theoretical and empirical analysis, comparing Sino-Western stylistic, thematic and value differences while highlighting the pluralistic integration of multi-ethnic street art in Yunnan. It further interprets the art’s social functions in cross-cultural communication, cultural inheritance, public space renewal, cultural-tourism integration and individual development, providing theoretical and practical implications for street performance’s cross-cultural dissemination and diversified development.

Keywords: Cross-Cultural Perspective; Street Performance Art; Cultural Inheritance

Reference

[1]Yang Ling, Xia Wei. Formal Evolution of Graffiti Art and Changes of Urban Cultural Spirit[J]. Literature & Art Studies, 2022(03).

[2]Wang Zhongde, Yang Ling. Looking Beautiful — A Rational Critique of Pan-visualization of Urban Spatial Landscape in Contemporary China[J]. New Architecture, 2010(1).

[3]Liu Jiong. Research on Beijing Street Graffiti from the Perspective of Public Space Theory[J]. Social Sciences of Beijing, 2019(12). Hu Wenzhong. An Introduction to Intercultural Communication[M]. Beijing: Foreign Language Teaching and Research Press, 1999.

[4]Wang Zhongde, Yang Ling. Critique of the Landscape-oriented Trend of Urban Street Art[J]. Art Observation, 2021(05).

[5]Edward T. Hall. The Silent Language[M]. Trans. He Daokuan. Beijing: Peking University Press, 2010.

[6]Geert Hofstede. Culture’s Consequences: Comparing Values, Behaviors, Institutions and Organizations Across Nations[M]. Trans. Yan Wenhua. Shanghai: Shanghai People’s Publishing House, 2018.

[7]Homi K. Bhabha. The Location of Culture[M]. Trans. Zhang Jingyuan. Beijing: Peking University Press, 2017.

[8]Hu Wenzhong. An Introduction to Intercultural Communication[M]. Beijing: Foreign Language Teaching and Research Press, 1999.

[9]Jia Yuxin. Intercultural Communication Studies[M]. Shanghai: Shanghai Foreign Language Education Press, 1997.

[10]Guan Shijie. Intercultural Communication Studies[M]. Beijing: Peking University Press, 1995.

[11]Chi Shuwen, Lin Dajin. The Track and Trend of Intercultural Communication Research in China — An Analysis Based on Core Journal Literature from 1990 to 2014[J]. Journal of Fujian Normal University (Philosophy and Social Sciences Edition), 2014(4).

[12]Li Yue. Day of the Dead and Halloween: Identity and Reconstruction of Globalized Latin American Festival Culture[J]. World Culture, 2026(02):15-18.

[13]Du Mengzhao, Chen Luan, Huang Yaofu, et al. Practical Path of Public Art Intervening in Urban Micro-renewal — Taking Wall Painting in Zhu Guang Community of Guangzhou as an Example[J]. Southern Architecture, 2026(03):73-81.

[14]Guo Guanghou. Research on the Spatial Form Development of Quyi Performance Venues in Beijing Tianqiao Area[J]. Art & Design (Theory), 2020,2(11):58-60.

[15]Liu Yi. Street as Stage: Research on the Third Space Construction of Youth Street Music Practice[J]. Youth Studies, 2025(08):14-22+40.

[16]Chen Chaobing, Liu Hanlin. Collaborative Production: How Can Urban Public Cultural Services "Let the Public Produce Directly"? — Taking Chengdu Street Art Performance Project as an Example[J]. Hubei Social Sciences, 2024(08):59-72.