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STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

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Street Artists in Europe<br />

promoters have of work being made outside of their national borders other issues concerned<br />

with international touring – language-based performance, travel costs, safety requirements the<br />

number of national/international companies hosted and from which countries how<br />

festivals/programmers choose artists and companies to invite:<br />

• Number of countries visited per year;<br />

• Number of hosting structures in each country visited;<br />

• Number of performances (in the country of origin and abroad) during the season, in each<br />

country visited, in each hosting structure.<br />

1.3.7. Methodological elements for Mobility and co-operation<br />

A questionnaire on mobility of street artists and co-operation had been compiled by <strong>Fondazione</strong><br />

<strong>Fitzcarraldo</strong> and Judith Gabay-Neisse and sent out by HorsLesMurs to directors and members of<br />

“historic” street show networks and key organisations in order to:<br />

• ascertain individual understanding of mobility and co-operation issues;<br />

• establish stakeholders’ participation in trans-national mobility and co-operation projects;<br />

• overview realities, limits and potentials of networking;<br />

• ascertain knowledge of funding and grants opportunities;<br />

• establish the problematic aspects that complicate street arts works and exchanges at the<br />

European level;<br />

• point out the non-artistic skills required to managers, directors and to performers, if they<br />

want to gain a truly international dimension.<br />

<strong>Fondazione</strong> <strong>Fitzcarraldo</strong> used existing European studies and reports (see Bibliography).<br />

1.4. Strengths and weaknesses of the methodological approach<br />

1.4.1. Strengths<br />

• Data obtained by interviews and questionnaires were cross-referenced; a real internal<br />

consistency appears;<br />

• The survey succeeded to investigate in the different European countries the evaluative<br />

questions (see 1.1);<br />

• This is the first survey on Street Artists in Europe and the method employed can be<br />

repeated;<br />

• Street arts professionals relayed HorsLesMurs requests of information on their sector<br />

and the milieu reacted very quickly providing useful data;<br />

• The sleeping partner was always reachable to give details on the work he was expecting.<br />

77<br />

PE 375.307

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