STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

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Street Artists in Europe
The relationship between street arts and free entry is a complex one. Whilst some people think
free entry forms part and parcel of the street arts philosophy, others believe it depends on
whether the type of show can justify payment. Nevertheless, everyone agrees that it is logical
not to charge for a show performed in a public space. Festival organisers take different
approaches to charging: some make their entire programme free whilst others almost
systematically charge for tickets. Most performances shown in European public spaces remain
free today, as was confirmed by respondents to the questionnaires. The philosopher Jean-Louis
Sagot-Duvauroux points out how crucial it is not to charge at a time when society is largely
based on mercenary values.
‘To engage the public in the production of free goods is a political choice, a choice made by
politicians, both men and women, in face of the needs and propositions of society. The survival
and development of street arts depend on those choices.’ 343
Aside from the philosophical questions that free entry raises in relation to art (if it is free does it
have no price? and therefore no value?), many spectators are happy with it. Of spectators
questioned in Ljubljana, 61% said they particularly appreciated the fact that they did not have to
pay. The percentage in Cognac was 65%. Not having to pay means access to culture that would
otherwise be denied, often for lack of money. It is regarded as an effective factor of democracy.
In any case, spectators are aware of the political commitment reflected in the fact that they are
attending performances for free. This is demonstrated by the fact that 90% of spectators
questioned during a study of audiences at English street arts festivals (2003) regarded it as a
good use of public funds 344 .
Freedom of charge and free access to public spaces also have an impact on the practices of street
arts spectators. Most of them say they appreciate the fact that ‘you can leave when you want’
(65% in Oerol, 76% in Poznan and Cognac, 80% in Namur and as many as 84% in Ljubjlana).
This ‘authorised zapping’ 345 is another attraction. As a form of individualised consumption, it is
closer to what is encountered in leisure activities rather than in traditional culture (certainly in
relation to theatre, dance, circus or musical performances in institutional venues). For spectators,
the festive factor, i.e. free entry and freedom of movement, are synonymous with freedom as
such. In return they accept that sometimes the conditions for attending shows may be poor. Only
35% of spectators questioned complained of the conditions. They accepted the context within
which shows were put on, with its advantages and disadvantages. This confirms that street arts
promote a relaxed relationship with culture.
3.1.3. A social outing
Although the ratio of family outings to outings with friends varies considerably from one
country to another, street performances and festivals are areas of sociability. The different types
of outing chosen roughly reflect the distribution by age groups. For example, the Coup de
chauffe festival in Cognac is visited mainly by families (32% say they were accompanied by
their spouse and 23% by their children) whilst the Malta festival in Poznan is a meeting place
343
Sagot-Duvauroux Jean-Louis, ‘Les valeurs de la gratuité’, in Espace gratuit?, special edition of Mouvement
No 29 (June-July 2004).
344
National Street Arts Audience, Independent Street Arts Network (ISAN), summer 2003, p.4
(www.streetartsnetwork.org.uk). The study concerned audiences at seven British street arts festivals:
Xtrax/Decibel Showcase (Manchester), Streets of Brighton (Brighton), The Big Weekend (part of Cardiff
Summer Festival), City of London Festival (London), Merseyside International Street Arts Festival (Liverpool),
Garden of Delights (Manchester), Slough Arts Alive (Slough).
345
Gaber, Floriane, Les Publics des arts de la rue en Europe, op. cit., p. 8.
PE 375.307