STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

Street Artists in Europe
sought to engage in dialogue with the Ministry. At that time, street artists were in fact facing an
economic crisis that weakened their structures and the sector as a whole. According to some
writers, it was the difficulties caused by the cancellation of a number of shows following
international events linked to the Gulf War that ‘triggered a movement of collective protest by
street artists calling for ministerial recognition of the sector as a whole 176 .’ The aim was
certainly to establish a structured plan of aid for street arts, rather than isolated support measures
for selected companies. This laid the foundations for a policy in support of street arts.
During that period, Lieux Publics was reorganised as the Centre national de la création des arts
de la rue and HorsLesMurs, the national centre of resources for street and circus arts, came into
being. State intervention then took the following pattern:
‘ - labelling supply by identifying a small number of teams that could serve as a reference
base for the sector;
- setting up a structured network of local production and promotion centres to ensure
continuity of action;
- support for high-quality works according to criteria recognised by the Ministry, paying
particular attention to proposed projects and writings on the basis of two specific aid
forms;
- protection of new measures by a centrally controlled system of funding 177 .’
The Ministry therefore supports the sector with ‘specific measures under the direct control of the
central authority’ in order to protect the sector while it becomes consolidated. In 1998 the
Ministry set up a directorate for music, dance, theatre and performing arts (DMDTS), which
covers all forms of live performance, including circus and street arts. This meant they were
integrated in the common system whilst, however, still coming under two separate budget
headings. In 1999 they were given priority under the Ministry’s action plan. Other centres have
also emerged and been recognised and supported by the Ministry of Culture. A national
consultative committee specifically for street arts was set up to evaluate requests for artists’
residencies and production aid, as well as requests for aid for artistic creation. There are also
aids for writing, administered by the DMDTS.
At the turn of this century, with the reform of theatre companies, street arts companies could be
offered three-year contracts which gave them greater financial stability. The regional
directorates of cultural affairs (DRAC), ministerial departments decentralised on a regional
basis, decide on the award of contracts in cooperation with the DMDTS and after obtaining the
opinion of a committee of experts. The DRAC also grants production, equipment and
investment aid for festivals and production sites. In 2002-2003, and then again in 2005-2006,
when larger amounts became available, the number of contracted companies could be increased,
as well as the support for residencies and production sites 178 .
In 2003 the Fédération des arts de la rue requested the minister responsible for culture to draw
up a programme for street arts. In cooperation with Hors les Murs, the Ministry of Culture
(DMDTS) set up ‘Temps des arts de la rue 2005/2007’. That was a milestone in official
recognition of street arts. The challenge was to consolidate a fragile sector and make its research
and proposals more widely known. Its development was to be promoted by increasing State
176 Ibid., p. 268-269.
177 Ibid., p. 270.
178 See explanatory summary of all these mechanisms in the guide Le Goliath 2006, op. cit.
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