The article focuses on the journey of a Giavanese street musician from Banyumas (Central Java) to the metropolis of Yogyakarta, where he managed to improve his socio-economical status through public performances. The diffusion of busking phenomena in Yogyakarta is therefore explored in socio-musicological terms, focusing on the diffusion of the hybrid ensembles known as 'angklung bands' (or kenthongan, tek-tek in Banyumas) and therefore on the urbanization and spectacularization of a rural musical practice of recent origins
