STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

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Street Artists in Europe where the event takes place. ‘Integration of excluded groups’ is querying whether the street art event or festival has a general aim to enhance social integration and to attenuate social exclusion on the local level or even on the level of the whole city. ‘New methods of solidarity’ refers to an even more specialised effect, when street artists or organisers of events voluntarily work out new methods and actions for enhancing social cohesion and solidarity. The fourth question indicating ‘professional relationships’, is on the contrary, a quite narrow approach of social effects when the ambition of the event – among others of course - is to strengthen professional relationships. Almost all interviewees stated that their event or festival did play some social effects. Main effects are played on social integration and on social inclusion. The two effects are on general mentioned as parallel ambitions of artists and organisers. In some cases, social inclusion did not figure between the goals, as for example, in Theatre en vol, societa cooperativa in Italy: ‘Question: integration of local inhabitants? Answer: Yes local inhabitants are involved – not so much in the artistic field, but on the personal level and through the performances. Question: Integration of excluded groups? Answer: We have not yet really worked on this level’ 314 La Villette shows a specific case: as a public institution, it does not play an explicit role on the local level. Their purpose is to enhance social integration and to invent new forms of solidarity on the level of the city in general: "Effectuer l’environnement urbain, c’est effectivement la mission de la Villette. Nous visons à structurer les relations habitants-ville" 315 . Introducing new forms of solidarity is maybe one of the most subjective questions, and those who assigned to be aware of such a goal of their events (6 positive answers) have done it for different reasons... The representative of Cest is DBest in Croatia underlined that the festival has a crucial role in the revival of cultural and social life in Zagreb after the war: ‘Cest is D’Best was the first open air festival held in Croatia after the war. Since 1997 it has brought back the life onto the streets, influenced and inspired other festivals. Now there are about 3-4 big open air festivals in Croatia. It brought back street communications, thus acted as a democratising force’ 316 . Sziget festival’s role in the introduction of new forms of solidarity is related to its unique position as the largest rock festival in Central Europe. During the one week festival, the organisers supported the installation and presentation of minority or marginalised cultural groups: gay tent, gipsy (roma) tent, Krishna tent etc. At that time this was one of the first ‘democratic’ initiatives and the organisers had to resolve strong political conflicts provoked by the local conservative local municipality. Professional cultural relationships as a possible part of the social effects of street arts have only been mentioned by two interviewees. It seems logical to conclude that street artists completing the questionnaires did not think of professional relationships as a kind of social effect of street arts and festivals. 314 Questionnaire completed by an artistic co-director in Sassari/ Sardaigne, Italie. 315 Interview with technical director, La Villette, France. 316 Interview with a member of Cest is D’Best. 197 PE 375.307
4.3. Cultural organisation effects 198 Street Artists in Europe What is the role of street arts and festivals within the cultural organisational structure of the city? Did the interviewed artists feel like having contributed to the creation of a (or some) new cultural facilities in the city? Namely, do they think that their event or festival did become a stable ‘institution’ within the city? Or, did it contribute in a sensible way to the enrichment of cultural services of the city? (table 9) The effect that street arts may play on the cultural institutional system or the service sector of the city is in general not considered as a strong influence by artists and organisers. Nevertheless it is observable that this role if it appears between the event’s, it is considered in a much conscientious way by artists than the other effects: all of the interviewees who stated the presence of these effects considered that they were between the primary objectives of their activities. Table 9 - Cultural organisational effects ORGANIZATION ORGANISATIONAL EFFECTS COUNTRY (new) cultural facilities (new) cultural services prime effects? 2r2c, la coopérative de rue et de cirque France 0 1 1 Festival internacional de artes de rua Portugal 1 0 1 Parc et Grande Halle de la Villette France 1 0 1 Cest is D'Best Festival Croatia 1 1 1 New Theatre Institute of Latvia Latvia 0 0 0 Sziget Hungary United 0 1 1 Manchester Intermational Arts Kingdom 1 1 1 Dominique Aussage France X X X Teatro Municipal de Faro Theatre en vol, societa Portugal X X X cooperativa Italy 0 0 0 ASBL Blizz'ArtS Belgium 0 0 0 Festival of Fools Ireland 0 0 0 La Fédération des arts de la rue France 0 0 0 Ute Classen Kulturmanagement Germany United X X X Bash Street Theatre Kingdom United X X X Bath FR<strong>IN</strong>GE / Streats Ltd. Ass. Teatro Nacional Kingdom X X X de Rua Portugal 1 0 1 Gruppo Percussioni Dadadang Thatre Association Italy 0 0 0 A PART NASA Association Poland 1 1 1 of Street Artists Scotland X X X MALTA Poland 1 1 0 Arts Council Ireland X X X TOTAL 7 6 8 PE 375.307
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Policy Department Structural and Co
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This study was requested by the Eur
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Content Executive Summary iii Stree
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Street Artists in Europe recognize
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Street Artists in Europe This secto
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• Favouring the professionalisati
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Street Artists in Europe the social
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Table of Contents xiii Street Artis
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Street Artists in Europe 4.3. Train
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Street Artists in Europe Annex 2 -
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INTRODUCTION 1 Street Artists in Eu
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1.1. Background CHAPTER 1: WHAT ARE
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1.3.1. An ethic linked to the uses
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Street Artists in Europe • The he
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2.1. Background CHAPTER 2: WHAT IS
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Street Artists in Europe number inc
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2.4. Tools 2.4.1. Mobility 13 Stree
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2.4.2.3 Language and communication
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17 Street Artists in Europe perform
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Street Artists in Europe CHAPTER 3:
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Street Artists in Europe Street art
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Street Artists in Europe activities
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Street Artists in Europe The first
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4.1. Background CHAPTER 4: STREET A
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Street Artists in Europe culture wa
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Street Artists in Europe frequent r
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33 Street Artists in Europe the sus
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5.1. Background CHAPTER 5: STREET A
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Street Artists in Europe usually di
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5.3.3. Mixed audience 5.3.3.1. Stre
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Street Artists in Europe the viewpo
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6.1. Background 43 Street Artists i
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Street Artists in Europe local fest
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• Small scale (audience of up to
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6.4.3. Budgets 49 Street Artists in
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Street Artists in Europe companies
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Street Artists in Europe badly unde
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Street Artists in Europe CHAPTER 7:
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Street Artists in Europe support fo
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Street Artists in Europe law, cover
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Books BIBLIOGRAPHY 61 Street Artist
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Articles and special issues 63 Stre
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Street Artists in Europe Goh, F., I
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Street Artists in Europe www.straat
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ANNEX 1: METHODOLOGICAL APPROACH 1.
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Street Artists in Europe • Establ
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Street Artists in Europe • The in
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1.3.3. Institutional and intellectu
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Street Artists in Europe promoters
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Total of 119 filled questionnaires
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ANNEX 2 - SECTION A: THE AESTHETICS
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Street Artists in Europe public spa
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Street Artists in Europe performanc
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Street Artists in Europe And that i
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5.1. Interdisciplinary nature 89 St
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The heritage of fairground theatre
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Street Artists in Europe ‘The tem
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Street Artists in Europe 5.3.2.5. T
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Statistics of disciplines used in s
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Mime 193 16 8.29 99 Street Artists
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ANNEX 2 - SECTION B: WHAT IS A STRE
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Street Artists in Europe interferen
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Street Artists in Europe into accou
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Street Artists in Europe • democr
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Street Artists in Europe described
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Street Artists in Europe • person
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Street Artists in Europe Isabelle D
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ANNEX 2 - SECTION C: POLITICAL AND
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Street Artists in Europe policies i
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Street Artists in Europe Any study
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Street Artists in Europe increase,
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Street Artists in Europe profession
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Street Artists in Europe sought to
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Street Artists in Europe The region
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Street Artists in Europe Irish Arts
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Street Artists in Europe produced i
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Street Artists in Europe Since then
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135 Street Artists in Europe • fo
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Street Artists in Europe with inter
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technical support and promoting com
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Street Artists in Europe contributi
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3.2.6. Croatia 143 Street Artists i
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Street Artists in Europe ANNEX 2 -
Page 168 and 169: Street Artists in Europe Christiani
Page 170 and 171: Street Artists in Europe Protestant
Page 172 and 173: Street Artists in Europe 44) who mo
Page 174 and 175: 153 Street Artists in Europe Munich
Page 176 and 177: Street Artists in Europe 5. Contemp
Page 178 and 179: Street Artists in Europe The street
Page 180 and 181: Street Artists in Europe Hopking in
Page 182 and 183: Street/fringe theatre in Europe aga
Page 184 and 185: Street Artists in Europe Daska, Sis
Page 186 and 187: Street Artists in Europe or in some
Page 188 and 189: Street Artists in Europe unique pro
Page 190 and 191: Poland 169 Street Artists in Europe
Page 192 and 193: Street Artists in Europe audience.
Page 194 and 195: ANNEX 2 - SECTION E: STREET ARTS AN
Page 196 and 197: Street Artists in Europe Gathering
Page 198 and 199: Street Artists in Europe long term
Page 200 and 201: Street Artists in Europe developmen
Page 202 and 203: Street Artists in Europe between th
Page 204 and 205: Street Artists in Europe long proce
Page 206 and 207: Street Artists in Europe Permission
Page 208 and 209: 187 Street Artists in Europe they o
Page 210 and 211: 3.2.1. The type of location Table 3
Page 212 and 213: 191 Street Artists in Europe An una
Page 214 and 215: Table 6 - Cooperations and partners
Page 216 and 217: 195 Street Artists in Europe ‘Reg
Page 220 and 221: 4.4. Economic effects Table 10 - Ec
Page 222 and 223: Table 12 - Sustainability in the ci
Page 224 and 225: 6. Conclusion 203 Street Artists in
Page 226 and 227: ANNEX 2 - SECTION F: STREET ARTS AU
Page 228 and 229: 207 Street Artists in Europe now kn
Page 230 and 231: Street Artists in Europe ‘Festiva
Page 232 and 233: 3.1. Impact of occupying the public
Page 234 and 235: Street Artists in Europe for friend
Page 236 and 237: Street Artists in Europe As we have
Page 238 and 239: Street Artists in Europe However, i
Page 240 and 241: Street Artists in Europe who say th
Page 242 and 243: 4.1.2. Duration of presence and loc
Page 244 and 245: Street Artists in Europe discover p
Page 246 and 247: ANNEX 2 - SECTION G: STREET ARTS IN
Page 248 and 249: Street Artists in Europe (c) new pe
Page 250 and 251: Street Artists in Europe Aurillac a
Page 252 and 253: 3. The funding opportunities availa
Page 254 and 255: Street Artists in Europe ‘Ireland
Page 256 and 257: Street Artists in Europe These netw
Page 258 and 259: ‘….And also there free lance me
Page 260 and 261: Street Artists in Europe ways to fo
Page 262 and 263: Street Artists in Europe Creation c
Page 264 and 265: Street Artists in Europe culture an
Page 266 and 267: 6.1. Language problems These do app
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7.2. Communications and networks 24
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ANNEX 2 - SECTION H: STREET ARTS IN
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Street Artists in Europe respondent
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2. Difficulties and limitations at
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Street Artists in Europe Artists fr
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Street Artists in Europe "… lack
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Street Artists in Europe informatio
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Street Artists in Europe festival u
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Street Artists in Europe Respondent
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Street Artists in Europe ANNEX 2 -
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1.1.2. Alternatives to public funds
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In fact, researches recommend to fo
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Street Artists in Europe health pro
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Street Artists in Europe accelerate
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Street Artists in Europe “Western
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Street Artists in Europe easier to
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Street Artists in Europe In France,
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Street Artists in Europe important
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Street Artists in Europe Of course,
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285 Street Artists in Europe Synthe
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Street Artists in Europe Synthesis
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ANNEX 2 - SECTION J: STREET ARTS IN
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Street Artists in Europe This space
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Street Artists in Europe to express
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Street Artists in Europe Store” 4
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Street Artists in Europe anticommun
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299 Street Artists in Europe democr
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Street Artists in Europe rules of t
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Street Artists in Europe This diffe
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Street Artists in Europe Out of the
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Street Artists in Europe only rebel
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Street Artists in Europe example, t
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