STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

2. Difficulties and limitations at festivals
2.1. Crowds
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Street Artists in Europe
Crowds may be very large at festivals that have been running for a number of years and attract
huge numbers. This can be difficult as directors need to constantly source large shows of high
quality, to form a centrepiece for their festivals. This is not always easy, as there is not always
the product available. For this reason, international touring is essential for European companies,
so as to maintain a sustainable amount of work for festivals, and enough bookings for the show
to justify the high cost of its creation and touring. There are not many large scale shows or
installations developed in any one year; there is always an anxiety on the part of programmers at
large festivals about what they can programme to interest and excite their audiences.
"Since our festival attracts large numbers we are obliged to present shows for large audiences
and very visual. We have to look abroad for many of these shows"
In connection with audiences, it is useful to ascertain what kind of people come to street arts
festivals – and whether those are regular arts attenders or not. There has been some audience
research undertaken by Eunetstar, and several other audience surveys by different countries in
the last few years that make interesting reading. It is certainly an illuminating thing to discover
that most of the Eunetstar festival audiences are already art lovers. Which will come as a
surprise to many. It is also interesting to find out which shows people like and why, what their
overall impressions are of such a festival in their midst, and how they would like to see such
events develop. More research of this nature will broaden the scope of this sociological trail.
2.2. Public Space
There are growing problems about space as European towns and cities become ever more
developed. Street arts originally took over the streets from traffic, giving them ‘back to the
people’. This has proved too effective, as many towns are now heavily pedestrianised, with the
resulting homogeneity of the public spaces that remain – streets full of planters, seats and
encumbrances, squares with café tables encroaching into possible performance space, car parks
that have been privatised and ‘regenerated’ – no longer rough bare ground on the edge of town,
they now have lanes, tasteful bushes and signage, and, more seriously, the company owning
them makes a large income from the cars using it, which they do not want to lose for a week for
a large show to set up on the site.
2.3. Finance
There are additional financial issues in France connected with taxation. Arts events are exempt
from tax, but a small number of tax inspectors are looking at town festivals as ‘marketing
events’ rather than arts events, with unfortunate financial results.
2.4. Security
In some countries, security is a major issue. Theft and vandalism of outdoor performance rigs
can mean that ugly fencing has to be erected everywhere; and the cost of overnight (and daytime
maybe) security is high. This adds extra burdens to the cost of shows involving large structures,
unless they are located in internal courtyards or other safe spaces.
PE 375.307