STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

3.1. Impact of occupying the public space
211
Street Artists in Europe
Given that engagement with the public is a key part of the project, there is a strong likelihood
that street arts festivals and shows create conditions that will tend to attract particular audiences.
The survey conducted by the nine festivals forming part of the European Eunetstar 341 network,
in association with local studies, provides evidence of the formation of a composite public. The
‘non-public’ appears within it, which shows that street artists are able to appeal to and bring
together the general population. Before looking at the socio-professional characteristics and
cultural practices of the audiences concerned, we must analyse three factors that determine the
practice of street festivals and performances.
3.1.1. The ‘festive’ factor
Looking at why spectators will attend a festival, Dragan Laic and Alessandro Bollo identify
three types of possible motive: ‘interest and involvement in the festival as a whole; interest and
appeal of a show/artist; desire to have a pleasant and rewarding experience’ 342 . Street arts
festivals, most of which are founded on a festive approach to cultural practice, attract an
audience that is motivated by a combination of the first and the second type of motive.
Spectators at Eunetstar network festivals questioned about the festive atmosphere said they
particularly appreciated it (70% in Sibiu, 76% in Ghent, 86% in Cognac and 95% in Oerol).
This shows that the festive factor plays a part throughout Europe in the practice of street arts
audiences. Spectators are attracted by the image of the festival as a whole. The fact that festivals
concentrate a variety of performances and a large number of individuals over a short period is a
factor in their attraction. Quite apart from wanting to enjoy themselves, spectators are also
attracted by the relaxed and friendly atmosphere surrounding street performances. Far from
being what are perceived as ‘conventional’ rituals, street performances break the barriers
between artists and spectators and in so doing make art more accessible. The prescence at a
good many festivals of refreshment areas where spectators can have a drink, get to know one
another and sometimes actually meet the artists certainly plays a major role in giving the
impression of bridging the gap between artists and spectators.
The influence of the festive factor does, however, raise the question of the spectators’ main
motivation. Aside from the warm and friendly atmosphere, are they really there to attend shows?
Street arts festivals face the difficulty of trying to fulfil a double objective: providing a good
festival atmosphere, and getting the spectators to discover contemporary artistic creations.
3.1.2. The factor of free entry and free movement
Whilst the use made of the public space plays an obvious role in the spectators’ appreciation of
the extraordinary festive spirit that exists in the streets during festival time, the principles of free
entry and free movement also deserve consideration. Making shows free of charge is not the
miracle solution to attracting the non-public but it is important in the mind of the spectator.
341 Eunetstar was a European network for the production and promotion of street arts covering nine festivals:
Internationaal StraatTheater Festival in Ghent (Belgium); Namur en mai in Namur (Belgium); Stockton
International Riverside Festival in Stockton (UK); Galway Arts Festival in Galway (Ireland); Terschellings in
Oerol (Netherlands); Coup de chauffe in Cognac (France); Malta in Poznan (Poland); Ana Desetnica in
Ljubljana (Slovenia); Sibiu International Theatre Festival in Sibiu (Romania). (http://www.eunetstar.org).
342 Klaic Dragan, Bollo Alessandro, Festivals: challenges of growth, distinction, support base and
internationalization, op. cit. (no page numbers).
PE 375.307