STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

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Street Artists in Europe the viewpoint of the appropriation of a cultural project by a population. The question here is doing something for the population, with the population, with the idea of associating it with the project and, by extension, of transfiguring it in public during the time the show is presented. Collaboration with local associations, elected officials and inhabitants who wish to get involved makes it possible to make the project an integral part of the territory, rather than having it drop in from nowhere. As street artists have no need of any formatted infrastructure (hall or theatre), they can work and produce everywhere, from a neighbourhood in a large city to a small village with 50 inhabitants. In the framework of the New Audiences programme developed in England, many experiments were carried out concerning the involvement of the populations in the project developed. The results attest that “the principle of participating in the project constitutes an extremely profitable way of coming in contact with art and culture.” 76 This participation can take place during artists' residences or through the population’s inclusion in shows. The artists owe it to themselves to be very clear as to the status and function they then give to the inhabitants involved, this inclusion principle being the ultimate degree of encounter between the artist and the population that he is trying to address. In this regard, the circulation of artists in Europe seems to be as important a challenge as the circulation of the publics themselves. The confrontation with ‘the other’, through art, does not leave the artist unaffected, or the population either. 5.6. Conclusions and problems raised As the primary dissemination mode of street arts in Europe remains the festival at this time, the street arts publics are currently principally festival-going publics, with the basic characteristics that such a dissemination context implies. The holding of artistic proposals in an open milieu, with free access and admission, reveals all its impact in terms of attendance. If street arts do not escape the determinism of socio-professional and educational factors, they nevertheless succeed in uniting the most diverse and popular publics. Heterogeneity demonstrates the artists’ capacity to reach the population in all its diversity. All age brackets are represented, as well as all the socio-professional categories. If the breakdown of these categories does not precisely reflect national averages, the most ordinarily under-represented or even absent categories in live performance publics are well represented here. The heterogeneity of street arts publics induces cohabitation between publics with various cultural practices and plural attitudes. Spectators with a great deal of theatre experience find themselves beside those who are amateurs solely of street arts and novice spectators whose attention still must be focused on the works. The development of alternative dissemination projects relying on long-term work anchored in a territory attests to the capacity of street arts to be a local development tool that unites publics. From this viewpoint, the mobility of street arts must be enhanced and supported. By going to meet the populations of other countries, the artists can thus compare their vision of the world to other cultures and encourage the emergence of a common, trans-border identity through an artistic act that is uniting because it includes the population. 76 Rose, C., “Audience participation”, Essential Audiences, issue 69, Arts Council England, New Audiences Program (http://www.newaudiences.org.uk/resource.php?id=306). 41 PE 375.307
Street Artists in Europe Nevertheless, we observe the very limited knowledge of the audiences that attend these events. Except the study conducted by Eunetstar and some very local works (France, Belgium, United Kingdom), there are no surveys on effects of programming, capacity, annual period and hours of shows, topography of the venues, etc. 42 PE 375.307
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Policy Department Structural and Co
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This study was requested by the Eur
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Content Executive Summary iii Stree
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Street Artists in Europe recognize
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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 46 and 47: Street Artists in Europe The first
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 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
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The heritage of fairground theatre
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Street Artists in Europe ‘The tem
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Street Artists in Europe 5.3.2.5. T
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Statistics of disciplines used in s
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Mime 193 16 8.29 99 Street Artists
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ANNEX 2 - SECTION B: WHAT IS A STRE
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Street Artists in Europe interferen
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Street Artists in Europe into accou
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Street Artists in Europe • democr
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Street Artists in Europe described
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Street Artists in Europe • person
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Street Artists in Europe Isabelle D
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ANNEX 2 - SECTION C: POLITICAL AND
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Street Artists in Europe policies i
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Street Artists in Europe Any study
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Street Artists in Europe increase,
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Street Artists in Europe profession
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Street Artists in Europe sought to
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Street Artists in Europe The region
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Street Artists in Europe Irish Arts
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Street Artists in Europe produced i
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Street Artists in Europe Since then
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135 Street Artists in Europe • fo
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Street Artists in Europe with inter
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technical support and promoting com
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Street Artists in Europe contributi
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3.2.6. Croatia 143 Street Artists i
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Street Artists in Europe ANNEX 2 -
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Street Artists in Europe Christiani
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Street Artists in Europe Protestant
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Street Artists in Europe 44) who mo
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153 Street Artists in Europe Munich
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Street Artists in Europe 5. Contemp
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Street Artists in Europe The street
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Street Artists in Europe Hopking in
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Street/fringe theatre in Europe aga
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Street Artists in Europe Daska, Sis
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Street Artists in Europe or in some
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Street Artists in Europe unique pro
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Poland 169 Street Artists in Europe
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Street Artists in Europe audience.
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ANNEX 2 - SECTION E: STREET ARTS AN
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Street Artists in Europe Gathering
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Street Artists in Europe long term
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Street Artists in Europe developmen
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Street Artists in Europe between th
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Street Artists in Europe long proce
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Street Artists in Europe Permission
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187 Street Artists in Europe they o
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3.2.1. The type of location Table 3
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191 Street Artists in Europe An una
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Table 6 - Cooperations and partners
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195 Street Artists in Europe ‘Reg
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Street Artists in Europe where the
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4.4. Economic effects Table 10 - Ec
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Table 12 - Sustainability in the ci
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6. Conclusion 203 Street Artists in
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ANNEX 2 - SECTION F: STREET ARTS AU
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207 Street Artists in Europe now kn
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Street Artists in Europe ‘Festiva
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3.1. Impact of occupying the public
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Street Artists in Europe for friend
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Street Artists in Europe As we have
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Street Artists in Europe However, i
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Street Artists in Europe who say th
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4.1.2. Duration of presence and loc
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Street Artists in Europe discover p
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ANNEX 2 - SECTION G: STREET ARTS IN
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Street Artists in Europe (c) new pe
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Street Artists in Europe Aurillac a
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3. The funding opportunities availa
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Street Artists in Europe ‘Ireland
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Street Artists in Europe These netw
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‘….And also there free lance me
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Street Artists in Europe ways to fo
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Street Artists in Europe Creation c
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Street Artists in Europe culture an
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6.1. Language problems These do app
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7.2. Communications and networks 24
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ANNEX 2 - SECTION H: STREET ARTS IN
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Street Artists in Europe respondent
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2. Difficulties and limitations at
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Street Artists in Europe Artists fr
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Street Artists in Europe "… lack
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Street Artists in Europe informatio
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Street Artists in Europe festival u
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Street Artists in Europe Respondent
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Street Artists in Europe ANNEX 2 -
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1.1.2. Alternatives to public funds
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In fact, researches recommend to fo
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Street Artists in Europe health pro
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Street Artists in Europe accelerate
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Street Artists in Europe “Western
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Street Artists in Europe easier to
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Street Artists in Europe In France,
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Street Artists in Europe important
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Street Artists in Europe Of course,
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285 Street Artists in Europe Synthe
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Street Artists in Europe Synthesis
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ANNEX 2 - SECTION J: STREET ARTS IN
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Street Artists in Europe This space
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Street Artists in Europe to express
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Street Artists in Europe Store” 4
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Street Artists in Europe anticommun
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299 Street Artists in Europe democr
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Street Artists in Europe rules of t
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Street Artists in Europe This diffe
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Street Artists in Europe Out of the
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Street Artists in Europe only rebel
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Street Artists in Europe example, t
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