STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo
STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo
STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo
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Street Artists in Europe<br />
‘Festivals tend to be rather exposed in the media, closely watched by the professionals,<br />
attractive to the sponsors and funded by the public authorities for reasons that do not always<br />
have much to do with arts and culture’ 335 .<br />
2.2.2. Local presence: relations with local inhabitants<br />
Festivals may sometimes have a real impact on local development. Their influence, whether<br />
regional, national or even international, brings many benefits to the local area. Pride in the fame<br />
of a festival can foster social cohesion and there is no longer any shadow of a doubt that<br />
festivals play a dynamic economic role. By attracting outside visitors, they boost consumption<br />
and may even go so far as to create jobs (albeit temporary ones). Under those circumstances, it<br />
is easy to see why many local councillors and authorities are keen on festivals (especially if they<br />
take place in public spaces).<br />
Apart from their local impact, festivals also have some influence on the type of audience they<br />
reach. Street arts festivals in particular can play a role in urban development policy. As a result<br />
of their siting in a town, they may shift the urban centre of gravity and draw the attention of<br />
locals and visitors to forgotten or abandoned areas. They inspire a new perception of the town<br />
and change its flow during the festival period and perhaps even in the longer term. The question<br />
of the site of the festival, ‘where?’, almost systematically leads to the more crucial question of<br />
the nature of the audiences, ‘who?’.The location of a festival within the urban fabric largely<br />
determines public participation and the target audience. So it is more a question of knowing<br />
what audience to try to reach than of how many people to tempt into the streets. As their<br />
attendance figures make it clear, street arts festivals that offer free events in public spaces are<br />
particularly successful. From the St Patrick’s Day festival in Ireland to the Detmold<br />
Internationales Strassentheater Festival in Bonn (Germany), hundreds of millions of spectators<br />
crowd into the streets.<br />
The local presence of a festival and its relations with the local population are also a major factor<br />
in its longevity. The need to engage with local inhabitants becomes more acute if a festival has<br />
international aspirations. It must foster relations with the local population whilst at the same<br />
time seeking the legitimacy it needs in order to be recognised as an international festival. In so<br />
doing, large festivals can become factors of local development whilst also forming part of the<br />
European artistic landscape they are helping to construct. Several Anglo-Saxon studies lay great<br />
emphasis on the need to establish a link between the festival and the local population, who are<br />
entitled to be the main spectators. In Brighton 336 (UK) measures that involve the local<br />
inhabitants in the festival (Children’s Parade, Carnival Encounter, etc.) play an important role in<br />
engaging with the community. In Ireland 337 the many festivals offering events that are mostly<br />
free are characterised by having both a national presence, with spectators coming from all over<br />
the country, and a strong local economic and social impact. A study 338 conducted by De<br />
Montfort University in Leicester on the economic and social impact of cultural festivals in the<br />
East Midlands emphasises that nearly 70% of people questioned said they were more inclined to<br />
attend other events in future. Festivals therefore produce a number of benefits for the local<br />
population (economic and social impact and effect on cultural practices).<br />
335 Ibid.<br />
336 Sussex Marketing, Brighton Festival 2004, Everyone benefits… A study on the economic and cultural impact of<br />
Brighton Festival upon Brighton and Hove, September 2004.<br />
337 AOIFE , Irish festivals, Irish life. Celebrating the wealth of Ireland’s festivals, an AOIFE (Association of Irish<br />
Festival Performances) report researched and written by Fiona Goh Consulting (www.aoifeonline.com).<br />
338 De Montfort University, Festivals and the creative region. The economic and social benefits of cultural festivals<br />
in the East Midlands, Key findings from a study by De Montfort University, Leicester.<br />
209<br />
PE 375.307