STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

More documents

Recommendations

Info

Street Artists in Europe The first plan dates back to 1994 and concerned aid for written projects, for the recognition of companies, festivals, and national centres for street arts. This was strengthened in 1999 by aid to street authors and, in 2002, by the establishment of the founding framework of an accompaniment policy. In 2005, the minister of culture announced new measures (and promised 2 million euros but finally gave 1 million in 2006). A steering committee was also set up that was representative of the different street arts partners (state/region/professionals) to work on the specific street arts project. This committee established nine working groups that were to deepen and re-examine questions specific to street arts. To implement their principal creation project, nine projects were defined including notably: • The encounter between artistic, population and territorial approaches; • Participation in the recognition of the qualification of street arts and the accompaniment of young artists; • The opening of national multidisciplinary stages to street arts and programming at least three shows; • Training; • Aid for the creation of a master’s degree in cultural projects; the broadening of knowledge; • Support for a continuous research network; • The extension to street arts of ONDA’s dissemination projects (French National Office of Artistic Dissemination). One of the flagship measures for street theatre is the networking, with increased financial resources, of nine venues in France, and their labelling as Centre national des arts de la rue (CNAR or National Street Arts Production Centres). 3.5. Conclusions and problems raised From the point of view of artists and cultural managers, the core issue concerning street arts in Europe lies in the general lack of recognition of the artistic quality of this kind of activity. Street arts are generally considered as a form of entertainment, not as a artistic production. Starting from the lack of recognition by governments and institutions, a set of problems derives, at local, national and European levels: • The lack of money. Street arts are generally cut off public funding allocated to culture. Therefore, this lack is a great obstacle to mobility, influencing therefore professional education and international work, as well as to production, influencing the artistic dimension of activities. • Lack of information. Studies concerning contemporary creation or live performance sector don’t take into account this sector. European states don’t establish rigorous statistics (number of professionals, amounts of stipends and subsidies, etc.). • Lack of encouragement to development and structuring. For example, no European operator working for street arts was selected in 2006 in the framework of “support bodies active at European level in the field of culture”. One more time, there are many disparities in the very development of street arts sector, most particularly between the new Member States and the countries of the West. 25 PE 375.307
26 Street Artists in Europe PE 375.307
Page 1 and 2: Policy Department Structural and Co
Page 3 and 4: This study was requested by the Eur
Page 6 and 7: Content Executive Summary iii Stree
Page 8 and 9: Street Artists in Europe recognize
Page 10 and 11: Street Artists in Europe This secto
Page 12 and 13: • Favouring the professionalisati
Page 14 and 15: Street Artists in Europe the social
Page 16 and 17: Table of Contents xiii Street Artis
Page 18 and 19: Street Artists in Europe 4.3. Train
Page 20 and 21: Street Artists in Europe Annex 2 -
Page 22 and 23: INTRODUCTION 1 Street Artists in Eu
Page 24 and 25: 1.1. Background CHAPTER 1: WHAT ARE
Page 26 and 27: 1.3.1. An ethic linked to the uses
Page 28 and 29: Street Artists in Europe • The he
Page 30 and 31: 2.1. Background CHAPTER 2: WHAT IS
Page 32 and 33: Street Artists in Europe number inc
Page 34 and 35: 2.4. Tools 2.4.1. Mobility 13 Stree
Page 36 and 37: 2.4.2.3 Language and communication
Page 38 and 39: 17 Street Artists in Europe perform
Page 40 and 41: Street Artists in Europe CHAPTER 3:
Page 42 and 43: Street Artists in Europe Street art
Page 44 and 45: Street Artists in Europe activities
Page 48 and 49: 4.1. Background CHAPTER 4: STREET A
Page 50 and 51: Street Artists in Europe culture wa
Page 52 and 53: Street Artists in Europe frequent r
Page 54 and 55: 33 Street Artists in Europe the sus
Page 56 and 57: 5.1. Background CHAPTER 5: STREET A
Page 58 and 59: Street Artists in Europe usually di
Page 60 and 61: 5.3.3. Mixed audience 5.3.3.1. Stre
Page 62 and 63: Street Artists in Europe the viewpo
Page 64 and 65: 6.1. Background 43 Street Artists i
Page 66 and 67: Street Artists in Europe local fest
Page 68 and 69: • Small scale (audience of up to
Page 70 and 71: 6.4.3. Budgets 49 Street Artists in
Page 72 and 73: Street Artists in Europe companies
Page 74 and 75: Street Artists in Europe badly unde
Page 76 and 77: Street Artists in Europe CHAPTER 7:
Page 78 and 79: Street Artists in Europe support fo
Page 80 and 81: Street Artists in Europe law, cover
Page 82 and 83: Books BIBLIOGRAPHY 61 Street Artist
Page 84 and 85: Articles and special issues 63 Stre
Page 86 and 87: Street Artists in Europe Goh, F., I
Page 88 and 89: Street Artists in Europe www.straat
Page 90 and 91: ANNEX 1: METHODOLOGICAL APPROACH 1.
Page 92 and 93: Street Artists in Europe • Establ
Page 94 and 95: Street Artists in Europe • The in
Page 96 and 97:
1.3.3. Institutional and intellectu
Page 98 and 99:
Street Artists in Europe promoters
Page 100 and 101:
Total of 119 filled questionnaires
Page 102 and 103:
ANNEX 2 - SECTION A: THE AESTHETICS
Page 104 and 105:
Street Artists in Europe public spa
Page 106 and 107:
Street Artists in Europe performanc
Page 108 and 109:
Street Artists in Europe And that i
Page 110 and 111:
5.1. Interdisciplinary nature 89 St
Page 112 and 113:
The heritage of fairground theatre
Page 114 and 115:
Street Artists in Europe ‘The tem
Page 116 and 117:
Street Artists in Europe 5.3.2.5. T
Page 118 and 119:
Statistics of disciplines used in s
Page 120 and 121:
Mime 193 16 8.29 99 Street Artists
Page 122 and 123:
ANNEX 2 - SECTION B: WHAT IS A STRE
Page 124 and 125:
Street Artists in Europe interferen
Page 126 and 127:
Street Artists in Europe into accou
Page 128 and 129:
Street Artists in Europe • democr
Page 130 and 131:
Street Artists in Europe described
Page 132 and 133:
Street Artists in Europe • person
Page 134 and 135:
Street Artists in Europe Isabelle D
Page 136 and 137:
ANNEX 2 - SECTION C: POLITICAL AND
Page 138 and 139:
Street Artists in Europe policies i
Page 140 and 141:
Street Artists in Europe Any study
Page 142 and 143:
Street Artists in Europe increase,
Page 144 and 145:
Street Artists in Europe profession
Page 146 and 147:
Street Artists in Europe sought to
Page 148 and 149:
Street Artists in Europe The region
Page 150 and 151:
Street Artists in Europe Irish Arts
Page 152 and 153:
Street Artists in Europe produced i
Page 154 and 155:
Street Artists in Europe Since then
Page 156 and 157:
135 Street Artists in Europe • fo
Page 158 and 159:
Street Artists in Europe with inter
Page 160 and 161:
technical support and promoting com
Page 162 and 163:
Street Artists in Europe contributi
Page 164 and 165:
3.2.6. Croatia 143 Street Artists i
Page 166 and 167:
Street Artists in Europe ANNEX 2 -
Page 168 and 169:
Street Artists in Europe Christiani
Page 170 and 171:
Street Artists in Europe Protestant
Page 172 and 173:
Street Artists in Europe 44) who mo
Page 174 and 175:
153 Street Artists in Europe Munich
Page 176 and 177:
Street Artists in Europe 5. Contemp
Page 178 and 179:
Street Artists in Europe The street
Page 180 and 181:
Street Artists in Europe Hopking in
Page 182 and 183:
Street/fringe theatre in Europe aga
Page 184 and 185:
Street Artists in Europe Daska, Sis
Page 186 and 187:
Street Artists in Europe or in some
Page 188 and 189:
Street Artists in Europe unique pro
Page 190 and 191:
Poland 169 Street Artists in Europe
Page 192 and 193:
Street Artists in Europe audience.
Page 194 and 195:
ANNEX 2 - SECTION E: STREET ARTS AN
Page 196 and 197:
Street Artists in Europe Gathering
Page 198 and 199:
Street Artists in Europe long term
Page 200 and 201:
Street Artists in Europe developmen
Page 202 and 203:
Street Artists in Europe between th
Page 204 and 205:
Street Artists in Europe long proce
Page 206 and 207:
Street Artists in Europe Permission
Page 208 and 209:
187 Street Artists in Europe they o
Page 210 and 211:
3.2.1. The type of location Table 3
Page 212 and 213:
191 Street Artists in Europe An una
Page 214 and 215:
Table 6 - Cooperations and partners
Page 216 and 217:
195 Street Artists in Europe ‘Reg
Page 218 and 219:
Street Artists in Europe where the
Page 220 and 221:
4.4. Economic effects Table 10 - Ec
Page 222 and 223:
Table 12 - Sustainability in the ci
Page 224 and 225:
6. Conclusion 203 Street Artists in
Page 226 and 227:
ANNEX 2 - SECTION F: STREET ARTS AU
Page 228 and 229:
207 Street Artists in Europe now kn
Page 230 and 231:
Street Artists in Europe ‘Festiva
Page 232 and 233:
3.1. Impact of occupying the public
Page 234 and 235:
Street Artists in Europe for friend
Page 236 and 237:
Street Artists in Europe As we have
Page 238 and 239:
Street Artists in Europe However, i
Page 240 and 241:
Street Artists in Europe who say th
Page 242 and 243:
4.1.2. Duration of presence and loc
Page 244 and 245:
Street Artists in Europe discover p
Page 246 and 247:
ANNEX 2 - SECTION G: STREET ARTS IN
Page 248 and 249:
Street Artists in Europe (c) new pe
Page 250 and 251:
Street Artists in Europe Aurillac a
Page 252 and 253:
3. The funding opportunities availa
Page 254 and 255:
Street Artists in Europe ‘Ireland
Page 256 and 257:
Street Artists in Europe These netw
Page 258 and 259:
‘….And also there free lance me
Page 260 and 261:
Street Artists in Europe ways to fo
Page 262 and 263:
Street Artists in Europe Creation c
Page 264 and 265:
Street Artists in Europe culture an
Page 266 and 267:
6.1. Language problems These do app
Page 268 and 269:
7.2. Communications and networks 24
Page 270 and 271:
ANNEX 2 - SECTION H: STREET ARTS IN
Page 272 and 273:
Street Artists in Europe respondent
Page 274 and 275:
2. Difficulties and limitations at
Page 276 and 277:
Street Artists in Europe Artists fr
Page 278 and 279:
Street Artists in Europe "… lack
Page 280 and 281:
Street Artists in Europe informatio
Page 282 and 283:
Street Artists in Europe festival u
Page 284 and 285:
Street Artists in Europe Respondent
Page 286 and 287:
Street Artists in Europe ANNEX 2 -
Page 288 and 289:
1.1.2. Alternatives to public funds
Page 290 and 291:
In fact, researches recommend to fo
Page 292 and 293:
Street Artists in Europe health pro
Page 294 and 295:
Street Artists in Europe accelerate
Page 296 and 297:
Street Artists in Europe “Western
Page 298 and 299:
Street Artists in Europe easier to
Page 300 and 301:
Street Artists in Europe In France,
Page 302 and 303:
Street Artists in Europe important
Page 304 and 305:
Street Artists in Europe Of course,
Page 306 and 307:
285 Street Artists in Europe Synthe
Page 308 and 309:
Street Artists in Europe Synthesis
Page 310 and 311:
ANNEX 2 - SECTION J: STREET ARTS IN
Page 312 and 313:
Street Artists in Europe This space
Page 314 and 315:
Street Artists in Europe to express
Page 316 and 317:
Street Artists in Europe Store” 4
Page 318 and 319:
Street Artists in Europe anticommun
Page 320 and 321:
299 Street Artists in Europe democr
Page 322 and 323:
Street Artists in Europe rules of t
Page 324 and 325:
Street Artists in Europe This diffe
Page 326 and 327:
Street Artists in Europe Out of the
Page 328 and 329:
Street Artists in Europe only rebel
Page 330 and 331:
Street Artists in Europe example, t
show all

STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

Create successful ePaper yourself

Delete template?

Save as template?