STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

Street Artists in Europe
described not as a break with the past but, on the contrary, as an attempt to return to and then
move on from past experience. But that comes both from memory and from selective omission.
It is, in a sense, an improvised reconstruction.’ 131
4. Instruments
4.1. Official recognition
Since the early 1990s the growth of street arts in the European cultural landscape has been
dramatic. They are increasingly visible in the media, audiences are growing and companies
flourishing. ‘In that sense, this integration of street arts into the institutional landscape is due to
the efforts of the artists, who started festivals and workshops, won over some of the critics,
persuaded the authorities to support an expanding profession. These achievements meant that
public bodies that had until then granted only a few companies subsidies borrowed from the
theatre had to take decisions. The state is much less forthcoming in its support than it is for the
other theatrical arts, but it remains committed.’ 132 It should be noted that, despite this trend, a
certain confusion reigns on several levels: artistic practices, organisation and promotion
methods, public behaviour and different relationships with elected representatives.
4.2. Relationship with elected representatives
Street artists are in fact well aware that they do not enjoy the completely unqualified support of
local councillors and MPs. Those representatives appreciate the shows the artists put on for the
public and are also very much in favour of the image the town creates for itself with a day’s or
week’s modern carnival. ‘They listen to local tradesmen and know that the shows attract the
public, most of them from the surrounding area. Along with manufacturers and service
providers, they hope to attract television or national press coverage. Although they find the
“backpackers” and the like who surround the performers a nuisance and sometimes take refuge
in anti-begging bye-laws, local authorities nonetheless value the life brought to their towns for
very little cost … After a period of heavy investment, they expect the artists to strengthen
community solidarity, bring life to the town centre and revive outlying areas.’ 133
Even though they are enthusiastic supporters of street arts, many of the people involved (such as
artistic directors of festivals, culture centre planners) realise that street arts are not that highly
regarded artistically. According to Nicole Ruppert, who has been co-director of the Kulturbüro
since 1998, ‘In Germany street arts are seen as events rather than an art form in their own right’.
Consequently, street shows have to be funded from ticket sales or private investment. That view
of street arts means that the shows put on are more commercial and the projects sometimes
limited in scope and of a regrettably low standard. As a result, many of the shows are small and
not particularly original or ambitious.
4.3. Training
In Europe as a whole, there are very few street arts training centres that are institutionalised or at
least recognised by the government and that receive state funding. However, that unequivocal
statement can be qualified. In fact, although there are hardly any public or officially recognised
training centres, the companies themselves often organise ‘one-off’ training courses. In
131 Chaudoir, Philippe, Discours et figures de l’espace public à travers les arts de la rue, op. cit.
132 Wallon, Emmanuel, ‘Arts de la rue’, op. cit.
133 Wallon, Emmanuel, op. cit.
109
PE 375.307