STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

Street Artists in Europe
obtained in other surveys already conducted, on the European as well as the local level.
CRCMD also compared the existing results with surveys on cultural practices and used existing
studies and reports (see bibliography).
1.3.6. Methodological elements for Means of production and diffusion
A questionnaire on aesthetics forms, publics, means of production and diffusion had been
compiled by HorsLesMurs and Judith Gabay-Neisse and sent out by HorsLesMurs to key
organisations in order to ascertain for the structures (festivals or venues open all year) and artists
(companies). Anne Tucker investigated the realities, limits and potentials of the current
experience of street arts companies/artists touring throughout the European Union, taking
particular account of:
• The context in which shows are presented (in festivals, seasons or throughout the year);
• How much international touring exists and what are the limits of expanding this;
• Funding opportunities for festivals;
• Funding sources for bringing work in from abroad;
• How much knowledge promoters have of work being made outside of their national
borders;
• The size and scale of street shows on the circuit, their technical requirements etc and the
range and scales of work presented;
• Other issues concerned with international touring – language-based performance, travel
costs, safety requirements.
Anne Tucker also investigated the realities, limits and potentials of the current experience of
street artists’ means of production in the European Union, taking particular account of:
• The context in which shows are created (in festivals, seasons or throughout the year);
• How much international production exists and what are the limits of expanding this;
• Funding sources for creation, residency, etc.;
• How much knowledge promoters have of funding and grants opportunities;
• Co-production networks;
• Other issues concerned with international production – language-based performance,
travel costs, safety requirements.
Anne Tucker was not involved in the compilation of the questionnaire. She collected the filled
questionnaires and carried out interviews in a short time: responses for promoters were usually
from the artistic director or coordinator, responses for artistic companies were usually from an
artist or the tour manager. She faced the lack of existing data and statistics (for example on
human resources: permanent team, administrative and/or artistic, or average costs of production
of shows, etc.).
She collected secondary data, in particular data from a previous study made for the Arts Council
of England in March 2005 which included an extensive survey of the range and scale of shows
presented in 62 European festivals. Data from this was used to ascertain how much knowledge
76
PE 375.307