STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

Street Artists in Europe
Co-operation projects are nevertheless limited and very few if we compare street arts with other
artistic sectors. The different level of development and structuring between East and West is
obvious here. Let’s quote the words of an Artistic Director from United Kingdom: ‘I believe that
at present there is a huge difference among the European countries: in the “core ones” it is quite
easy to perform, to develop, while in the fringes the work is much harder (…) in fact people in
some countries have different opinions and ways of working, are not used – often – to think
internationally and to work at an international level. We need to find some ways to make it
easier: networking and encouragement from the European Union level would certainly be useful
tools.’
6.4.2.1. Mobility of live performance
The survey UK street arts and mainland Europe established that 59 of the 62 festivals
investigated work with international artists, for reasons of cultural exchange and understanding,
festival profile and prestige, lack of product at home, the need to have variety, the high quality
of the best international work and encouragement from foreign governments/agencies.
The proportion of international companies in festival programmes varies widely, from 10% to
100%. In general, festivals in France use the lowest proportion of international artists and
Belgian and Italian festivals the highest (the majority of those who cited 'lack of national artists'
as a reason for using international groups come from these two countries).
There is no obvious correlation between well-funded festivals and the proportion of
international artists they book.
The amount of international work programmed by European festivals has appeared fairly stable
over the last three years. Companies and artists are employed from most European countries -
France, Belgium, Germany, the United Kingdom, Holland, Italy and Spain are listed most often.
Over 50% of respondents cited high travel costs as the main disincentive to working with
international artists; 42% cited language. Other reasons included ‘quality of work’, ‘fee levels’
and ‘lack of information about foreign work available’.
All festivals with no international programme stated that finance was an issue and suggested that
sharing costs between programmers might be of benefit. Of the festivals with no international
programme, one claimed a lack of information from international artists 86 .
6.4.2.2. Funding for street arts productions to go abroad
Few people had accurate information about whether it was possible to get money from institutes
or the governments for international touring. In view of the contradictory information (and lack
of knowledge by many respondents), this area should be researched more extensively, as a way
of encouraging foreign touring.
86
‘The problems with budget have got worse after Poland entered European Union two years ago: for years we
used the excuse that we were an Eastern country, that we needed special prices for the companies, etc. and it
worked, but now… We have no excuse! The main problem is that prices are about 40% higher than before, and
this is a big obstacle. On the other hand, we have the chance to apply for structural funds (if the regional
government applies for them) so this could be a good opportunity for us. Anyway we receive support and
funding from private and public sponsors and donors, which help overcoming the problem.’ (Festival Director,
Poland – interview).
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PE 375.307