STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

3. The funding opportunities available
3.1. Funding for street arts across Europe
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Street Artists in Europe
In spite of the vitality of the festival circuit, it is a consistent perception among presenters,
cultural officers and artists that the street arts remain of low value as an art-form and are very
badly under-funded. Budgets are extremely small, in comparison to every nation’s budget for
the conventional performing arts (in complete contrast to the number of people keen to watch
such work).
It is extremely difficult to ascertain with accuracy at this point what budgets are available. Many
respondents (both those returning questionnaires and those interviewed by telephone) did not
know and were unsure how to find out how much money was available. In many countries,
respondents wrote ‘almost nothing’, or ‘less than 1%’ or ‘it is impossible to find out’. Street arts
rarely appear as a discreet budget separate from performing arts, or theatre, or even education.
“Money is hard to get because when you apply also indoor theatre is applying in the same area.
When you have a very good written application you can ask until € 150.000 from the national
government” (Netherlands).
‘There is no street arts policy in Portugal. No. Only in 2004, during the European football
championship, the government got involved in promoting and presenting street arts in several
cities, as a cultural program for that time. [However, although] there isn’t a specific regulation
for the street arts, … artists working within this field usually apply to grants of the field of
theatre’.
Some countries admitted there was no street arts budget for production at all.
“The one-day street productions for their own events may have been produced, but never an
independent street shows that would continue the life of their own” (Croatia).
“Ministry of culture does not get involved in producing street art shows, neither helps the
festivals strictly dedicated to the street art. There is no recognition of street artist as a real
artist, but just a sort of entertainer that wants to earn some extra money on the street.”
(Hungary)
‘There are few very interesting and professional street festivals and street theatre groups in
Poland. Unfortunately there is bad situation in areas of financial support, position in cultural
landscape, managing, production area and information here.’(Poland)
‘Non existing I’m afraid. The cities and Festivals welcomes street artists, and make some
systems, rules and infrastructure, but mainly sees it as up to the street artists to take care of
themselves and finance themselves from the hat. The few that works on a regular basis, make
their earnings from the hat and from organizers of markets, days, and Festivals.’ (Norway)
‘Until the middle of the 90s there were a multitude of functions which especially featured
European street theatre. This offer of street theatre was drastically reduced as a result of the
financial crisis brought about by the reunification of Germany and the effect it had on the
taxpayer’s pocket. The budget is becoming less from year to year. As an organizer you always
have to fight for your street art festival and convince and sensitize the policy from that kind of
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