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   This study’s mainobjective is to analyse the situation of street artists in Europe, taking into account as much as possible the 27 Member countries. It evaluates the importance of street arts and the characteristics of this artistic sector.

This study’s results are based on still confidential

aesthetic and social research, enriched with surveys and interviews on the economic, political

and cultural context of these practices, considering the multidisciplinary natureofthese forms,

their social and urban involvement as well as the publics that have access to them.



Based on the

specifications of the European Parliament, the study focuses on factual information, when it is

available, and on analysis; it reflects the viewpoints of the professionals queried.

Introduction

The development of street arts in Europe is part of an old tradition of expression in the public

space. In the 1960s and 1970s, the artistic and political contestation movement was at the origin

ofa profound renewal of these forms of expression in many countries. At the time, Europe was

undergoing a large number of historic configurations: a return to democracy, the development of

artistic practices outside “official art”, a reaction to the industrialisation of the art market and so

on. More generally, the 1980s and 1990s were marked by strong growth in this sector in terms

ofnumber of companies, shows and festivals, as well as in terms of attendance by the publics.

Street arts now constitute a very vital composite artistic movement characteristic of Europe and

its culturalidentity.

Chapter 1: What are street arts?

The aesthetics of street arts are founded on a great wealth of artistic professions and disciplines.

They bring together directors, interpreters, plastic artists, scriptwriters, video-makers and

technicians who work on inserting an artistic project into the heart of the public space. Street

arts call on theatre, prowess arts, urban plastic arts, music, dance, pyrotechnics and multimedia.

They demonstrate great inventiveness in the blending of disciplines and the renewal of

conventional forms, in particular in the area of non-textual writings. They present all sorts of

shows outdoors, stationary or itinerant, ranging from gigantic forms to the most intimate

proposals. The artists adapt to the performance venues, from city centres to peri-urban and rural

areas. Lastly, the original relationship to the public via interactivity and the questioning of the

spectator remains an essential springboardfor the creation of shows.

The richness of these aesthetics refers however to an artistic quality that is very heterogeneous

from one show to another, from one region to another. If certain forms are innovative and

polished, others still suffer from weaknesses in terms of stage direction and dramaturgyor are

more the province of entertainment than artistic creation.



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