MULTIMEDIA MARKET GUIDE –SPAINCIRCUS AND STREET ARTS CIRCUITS

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CONTENTS

> Shorthistoryandoverviewofthestreetartsandcircus................................................p3

> Publicpoliciesandsupportschemes.................................p7> Festivalsandvenuesprogramming

circusandstreetarts..........................................................p9> Circusandstreetartscompanies

currentlyworkinginthecountry.......................................p13> Educationandtraining.......................................................p17> Creationandresidencycentres........................................p21> Advocacyagenciesandprofessional

informationproviders........................................................p23> Casestudiesofthreesuccessfulaudience

andmarketdevelopmentprojects....................................p27

texts: Aída Pallares, Mike Ribalta, La Central del Circ, Department of Culture-Generalitat de Catalunya / testimonials: Jordi Aspa and Bet Miralta, Oriol Martí, Joan Morros, Mercè Saumell, Jordi Sellas, Xavier Urbano, Ada Vilaró / translator: Chris Boswell / editor: John Ellingsworth / facilitator of the casa programmes: Yohann Floch / graphic design: Marine Hadjès-Glatard / cover picture: Kamchàtka © Jesús Vilamajó / pictures: p. 4-5 Circus Company “eia” © Ben Hopper; p. 6 Escarlata Circus © Josep Guindo; p. 6 Open rehearsal La Veronal @FiraTàrrega; p. 8 Jordi Sellas © Martí E. Berenguer; p. 10 La Industrial Teatrera © Jesús Vilamajó; p. 12 Joan Morros © Martí E. Berenguer; p. 12 Los Galindos © Martí E. Berenguer; p. 14 Animal Religion © Martí E. Berenguer; p. 16 Xavier Urbano © Martí E. Berenguer; p. 16 Joan Català © Martí E. Berenguer; p. 18 La Central del Circ © Rosa Colell / La Central del Circ; p. 20 Mercè Saumell © Martí E. Berenguer; p. 20 La Central del Circ © Irene Soler; p. Ada Vilaró © Martí E. Berenguer; p. 24-25 Leandre © Martí E. Berenguer; p. 26 Oriol Martí © Martí E. Berenguer; p. 29 La Fura dels Baus © GOL

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thefirstexamplesofstreettheatreinCataloniainthe20thcenturyarefoundinthetimeoftheSpanishCivilWarwiththeGuerrillasdelTeatro,smallwanderinggroupswhoperformeddidacticandpropagandisticmaterialwithoutliterarypretension.

Yearslater,towardstheendofFranco’sdictatorshipinthe1960s,peoplebegantoretakethepublicspaces,andtheatreshows,mimeand street festivals were reborn. However, it was not until the1970s,coincidingwiththeriseofthe‘ThirdTheatre’inEurope,thatwesawtheappearanceofasearchfornewformsofexpression.

the leading company was Comediants, created by Joan Fontin 1971. Their theatre took the medieval tradition of carnival,popular festival and play, and mixed it with a wide range oftechniquesincludingmusic,circusandfireworks.Comediantsmanaged to renew the imagery of folklore and the custom ofappealingtotheaudience.

therewasalsoaboomincompaniesandcreatorswhotookthestreet as their venue. There were acts like La Cubana and LaFura dels Baus, pioneers of a way of relating to public spacesandaudiences,andcreatorslikeCarlesSantosandAlbertVidal,geniusesofperformancewhofilledfestivalworkswithanironicandpoliticaldiscourse.

in 1981, Tàrrega town council commissioned Comediants tocreatetheFiradeTeatrealCarrer.Thisnowdrawssome147,000spectatorseachyear.Otherfestivals,likeAlCarrer(Viladecans),LaFiraMediterràniainManresa,andFestusinTorelló,appearedoverthefollowingdecades.OthercompaniescameintobeingincludingSémola Teatre, Xarxa Teatre, Sarruga, Artristras, and, recently,Obskené, Fadunito, and Insectotròpics. There are currently overseventyactivestreettheatrecompaniesinCatalonia.

SHORT HISTORY AND OVERVIEW OF THE CIRCUS AND STREET ARTS

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the circus also underwent a markedrenewal during the 1970s with theappearance of groups like La Tràgicaor the Circ Cric with Tortell Poltrona.Othercompanies,likeLosGalindos,theGermans Totó or Petit Circ de Carrer,also came into being and festivalsdedicatedtothecircusartssoonbeganto appear. These included one in LaBisbal, the International Clown Festivalof Cornellà, and the Trapezi festival inReus. Despite the lack of resources,schools and organisations were alsoborn, such as the Rogelio Rivel CircusSchool, the Ateneu Popular 9 Barris,or, in 2004, the Association of CircusProfessionals of Catalonia. The ACPCis an independent private entity whosepurpose is topromote thecircus in thecountry’s cultural, social and economiclife.

moreover, in 2008 the Catalanadministration began the First IntegralPlanfortheCircustodiscovertheneedsof the sector and promote its growth.Despite this, there is still a shortageof venues and, according to the circusschools, a need for greater public andprivatefinancing.

in 2015, the Street Arts Platformwas born. Its aim was to bring allthe street theatre festivals, fairs andshows together under one umbrellaorganisation. However, Catalonia stilllacks a good exhibition circuit and thefestivalshaveendeduptakingontherolethatthetheatreschoolsshouldfulfil.

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Jordi Aspa & Bet Miralta, Founders and artists, Escarlata CircusWhat are the most important challenges for circus/street arts in your country, particularly when it comes to marketing and audience development? When the circus or street arts place themselves in the service of capitalism and play the same commercial games, they lose

their meaning and function. Shaking up public spaces, taking poetry to the street, and remembering for once that the street is not only a place to consume, we can also find food for our souls and minds. In short, these are political acts, like all events humans produce. The important thing is the act of sharing and participating in the street spontaneously, and finding other meanings to our presence as human beings.

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cultural policy is decentralised in Spain, and so the highestresponsibility for public cultural policy in Catalonia is theCatalangovernment.However,Catalancompaniesandcreatorscan also compete for grants offered by central governmentinstitutions through the National Institute of Performing ArtsandMusic(INAEM).

theDepartmentofCultureoftheGeneralitatdeCatalunyaworksto promote Catalan culture in the fields of creation, production,distribution and exhibition in each of the cultural sectors (theperformingarts,music,audiovisualarts,thevisualarts,literatureanddigitalculture).Inordertodoso,itiscommittedtosubstantiallychangingthewaysitenvisagespublicculturalpolicybyadoptinganoutlookthatrecognisesthehybridisationoftheperformingartsinachangingrealitywhereartisticdisciplinesandsectorstendtocooperateandmixmoreandmore.

as the country’s fundamental creative motors, the street artsand circus are included in the public policies of support for theperformingarts,intheshort,mediumandlongterms,withaclearaim:topromotetheirgrowthandconsolidation.Examplesarethethree Integral Plans for the performing arts (circus, dance andfamilytheatre),andmulti-yearagreementswithlinesofsupportfor artistic production and specific support for the centres ofcreationsothatartistsfromcircusandstreetarts,amongothers,canenjoytimeandresourcestoexperiment.

the second important aspect to highlight is the consolidationand organisation of a network of the five strategic markets inCatalonia, with work focused on employment contracting andthe professionalisation of the sector. These five markets areFiraTàrrega, Trapezi, Mostra d’Igualada, Fira Mediterràniaand Sismògraf; all are related to circus and street arts, and all

PUBLIC POLICIES AND SUPPORT SCHEMES

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havebecomeauthenticplatforms forexhibitionandsaleswhichguarantee professionals a stable place where they can presenttheir projects. They are also now nationally and internationallyrecognisedmeetingplaces.

thedevelopmentofthecircusandstreetartstakesplaceinclosecooperation with public administrations and a wide network ofother entities and independent professionals. Regarding circus,since2006theinstitutionshaveworkedjointlywiththeAssociationof Circus Professionals of Catalonia in order to consolidate thesectorandenableittogrowandtakeitsplaceontheinternationalstage.Forthestreetarts,thecreationin2015ofthePlatformofStreetArts,whichbringstogetherthefestivals, fairsandshowswhosemainlineofprogrammingisinstreetarts,hasbroughtanewcohesiontothesectorthroughdialoguewithcreators,artisticcompanies,promotersandassociations.

the aim for the future is to continue these public policies tostrengthen the street arts and circus in cultural, social andeconomiclife.

Jordi Sellas i Ferrés, General Director Creation & Cultural Companies, Dept. of Culture, Generalitat de Catalunya (2013-2016)What are the most important challenges for circus/street arts in your country, particularly when it comes to marketing and audience development?The creation of high quality employment and the participation of the general public are the two main driving forces behind the growth and consolidation of street arts and circus in the fields of marketing and audience development. Creating the necessary conditions for growth means promoting solid

support mechanisms, generating more opportunities for participation in cultural life by increasing the number of shows programmed, consolidating stable venues, and increasing the number of contracts offered to professionals.

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accordingtotheDepartmentofCultureoftheCatalanGovernment,the Platform of Street Arts, and the APCC (Associació deProfessionalsdeCircdeCatalunya),Cataloniacurrentlyhasaroundsixtyfestivalsandvenuesprogrammingcircusandstreetarts.

theseincludetwentycircusfestivals,sevenstreetartsfestivals,six performing arts fairs with the presence of circus and streetarts, and six performing arts festivals with circus and streetarts.70%oftheseareinBarcelonaprovince,followedinorderbyGirona,TarragonaandLleida.

the two leading fairs are FiraTàrrega (street arts) and Trapezi(circus). The most notable festivals include the internationalfestivalofTeatre i Animació Al CarrerinViladecansforitsage;theMercèArtsdeCarrerinBarcelona,foritssize;ortheFira de Circ al CarrerinLaBisbaldeL’Empordà,foritsgrowingpopularity.

regardingvenues forcircus, theofficialregister iseightvenuesand around twenty installations with a circus presence. Thesenumbers include creation centres like the Ateneu 9 Barris andresidences like La Central del Circ or La Vela in Vilanova i laGeltrú.Therearealsoperformingartscentres,suchastheCAET,and venues, including public and privately owned theatres, thatoccasionallyincludecircusintheirprogrammes.AmongtheseareSantCugatdelVallèswww.tasantcugat.cat,theAntic Teatre,ortheSala Hiroshima,aswellaslargevenuesliketheTeatre Lliure,theTeatre Nacional de Catalunya,andtheAuditorithatcanprogrammeorproduceonelargeshowperseason.

FESTIVALS AND VENUES PROGRAMMING CIRCUS AND STREET ARTS

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outsidethiscategory,therearemunicipalprogrammesthatalwaysincludesomestreetartsshows–especiallyforlocalfestivals–orsmall-format circus shows in indoor venues that do not requirespecifictechnicalinstallation.

someexamples:

FiraTàrregathisinternationalmarketforperformingartsisheldinTàrregaonthesecondweekendofSeptember.Itisagreatshowcaseofwhatisgoingonintheperformingarts,withspecialemphasisonstreetarts.Itsmainobjectivesaretoaccompanyandpromoteemergentartists, encourage training, and generate strategic alliances todeveloptransnationalstreetartscircuitsorproductions.firatarrega.com

Festival Escena Poblenoua festival of contemporary stage arts that programmes aroundfive large projects: Embrions, which gives support to the mostembryonic moment of the creation process; Escena +DONES,with support for women in the arts; and the three strands ofEducation and Community, Territory, and Residences to supportartistic creation. Their purpose is to enhance the artistic fabricof the Poblenou neighbourhood and the city of Barcelona, whilemaintaininganinternationaloutlookandreach.escenapoblenou.com

City of BarcelonaWithin the cultural programming of the city of Barcelona, thestreet arts and circus have various windows open to the public.TwoofthemaineventsaretheCavalcadeoftheMagi(5thJanuary)which has become a great parade of the performing arts, andthelocalfestivalLaMercèinSeptemberwhichhasanextensiveprogrammeofstreetarts,traditionalcultureandcircus.barcelona.cat

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Joan Morros Torné, Coordinator, “El Galliner” Cultural Association & Programmer, Teatre KursaalWhat are the most important challenges for circus/street arts in your country, particularly when it comes to marketing and audience development? There is a double challenge: on the one hand to get the programmers of performing arts venues to decide once and for all to regularly programme circus shows; on the other, to get the audience to respond positively to these proposals. That would enable the creation of a regular circuit or network of theatres where circus companies could present their performances.

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according to data from the Department of Culture of theGeneralitat, from FiraTàrrega, and from the 2015 directoriesof companies produced by the Ramon Llull Institute and thel’AssociaciódeProfessionalsdelCircdeCatalunya,Cataloniahasaroundahundredactivestreetartsandcircuscompanies.

the street arts cover all the professional companies in theatre,dance,music,clown,animation,installation,objectorvisualarts,who,withgreaterorlesserregularity,haveusedpublicspacesastheirperformancevenue.

regardingcircus,thedatagatheredbytheDepartmentofCultureindicates that, in 2014, there were 1894 performances by circuscompanies of 94 shows, 70% of which took place in Catalonia,12.5%intherestofSpain,and17%abroad.

someexamples:

Joan Catalàacuriousobserverinterestedinthevisualartsandinmovementinwhichthebodyand/orobjectsarethecommunicators,JoanCatalàstudiedvisualartsandcircusindifferentschools.Healsotrainedincontemporarydance,physicaltheatreandclown.Hehasbeenworkingwithrenowneddanceandcircuscompaniessince2005.In2012,hestartedtodevelophisownperspectiveontheperformingarts, focused on street and urban landscapes. The result is hisfirstcreation,Pelat,whichpremieredatthe2013FiraTàrregaandhassincebeenseeninmanyinternationalfestivals.joancatala.pro

CIRCUS AND STREET ARTS COMPANIES CURRENTLY WORKING IN THE COUNTRY

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Animal Religiononeofthemostambitiouscompaniesinthecurrentscene,AnimalReligion is the collaborative effort of Niklas Blomberg (FI) andQuimGirón(ES),bothgraduatesfromtheUniversityofDanceandCircusinStockholmwhomadetheirnamein2013withtheshowIndomador. Since then they have created three shows for whichanimalsarethestartingpointandinspiration:Chicken legz,asite-specificshowofcircusandmovement,andthenTauromàquiaandSifonòfor, large-format shows co-produced with the Auditori ofBarcelona. Among their awards, we can highlight the audienceawardatFiraTàrrega2014 forChicken legzand theGranPremiBBVAZirkòlika2015awardforSifonòfor.animalreligion.com

Companyia La Talone of the all-time classic Catalan street arts companies, La Talbeganitsprofessionalcareerin1986.Internationalrenowncamein1993withCarrilló,andsincethenthecompanyhasfocusedonthecreationofvisualshowswhich includeagreatdealof interactionwith the audience. Over years of professional experience, La TalhastakenshowstomanyplacesinEurope,aswellastoprestigiousinternationalfestivals.TheirlatestcreationisThe incredible box,firstperformedin2013attheKleinesFestinHanover,andthewinneroftheawardforbestshowattheKulturbörseFreiburg2015.cialatal.com

Kamchàtkaan international reference point for new dramaturgy in streettheatre,Kamchàtkaarosefromameetingbetweenagroupofartistsofvariousnationalities/artisticdisciplines,whohadcometoAdriánSchvarszstein’sworkshoptostudytechniquesofimprovisationinthestreetinrelationtothequestionofimmigration.TheresultwasKamchàtka,firstperformedinMarch2007.Afterthat,therewasatourofover300performancesin25countries,andthecompanysetaboutmakingatrilogyofpieceson immigration.Habitaculumwaspremieredin2010,andin2014thecyclewascompletedwithFugit.Withonlyfourshows,Kamchàtkahasbecomeamodelformodernstreettheatreforitsdramaticuseofpublicspaceandthepeoplewhoinhabitit.kamchatka.cat

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Xavier Urbano, Communication, Ateneu Popular 9 BarrisWhat are the most important challenges for circus/street arts in your country, particularly when it comes to marketing and audience development? One of the ongoing challenges we face is how to consolidate circus as an artistic discipline among all the others programmed in the theatres and venues of Catalonia. Doing that will help to open new venues to the artistic language that is taking shape and developing here. If there are no venues available, the artists who have trained here move away, and if there is nowhere to train, we will never manage to consolidate an artistic circuit rooted in our own area.

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providingtrainingincircusandstreetartsisoneoftheunresolvedmatters in the sector in Catalonia. Despite the historicalimportanceofthesefields,therehavebeennoeffortstopromotespecific educational policies, nor are these disciplines includedintheprogrammesofleadingtheatreschoolssuchasBarcelonaprovincialcouncil’sTheatreInstituteortheEòlia–ConservatoryofDramaticArts(tonamebutoneleadingpublicandoneprivatecentre).However,thereareexceptionsthatareworthmentioning:

Circus School Rogelio Rivelsince1990,Cataloniahashadacircusschoolwith internationalprestige,theCentredelesArtsdelCircRogelioRivel.ThisprojectissupportedandrecognisedontheEuropeanlevelasamemberofFEDEC(theEuropeanFederationofProfessionalCircusSchools)asapreparatoryandprofessionalschoolfortrainingincircusarts.

in 2014, the Catalan administration, fulfilling its commitment inthe IntegralCircusPlan,asked theCatalanNationalCouncil forCultureandArts(CoNCA)toproduceaseriesofstudiesoncircustraininginCataloniatocollectallthebasicdataonthesector.

on 2 June 2015, the Generalitat de Catalunya, the Catalanadministration,approvedthecreationofaqualificationforexpertsin circus ‘animation’ as a form of professional training in thecircusarts.Thesestudies,unique inSpain,qualify thestudentstocarryoutanimationactivities(forinstance,leadingcommunityworkshops),toperforminpublicwithnon-specialisedcircusacts,ortocollaboratewithartistsofahigherlevel,withstandardsthatensurequalityandsafety.escolacircrr.com

EDUCATION AND TRAINING

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La Central del CirctheCentraldelCircalsohasaprogrammededicatedtoprovidingongoingtrainingforcircusprofessionalstoenablethemtodeveloptheskillstheyrequirewithouthavingtomoveabroad.Thecurrentprogramme is divided into two strands: intensive courses andstudyweekends,taughtbysuchprestigiousprofessionalsasPeterJasko, Claudio Stellato, and Roberto Olivan. This programme iscomplementedbymeetingsofdisciplinesorcyclesoftalks.lacentraldelcirc.cat

Postgraduate studies in Street Arts Creationthere is only one degree-level course in street arts: thePostgraduate studies in Street Arts Creation, promoted byFiraTàrrega and the University of Lleida. These studies are apioneering educational initiative with an international scope,intended to train street arts professionals in creation for publicspace. The programme combines theoretical and practicalmodules and is intended for professionals in the sector as wellas directors, playwrights, actors, cultural managers or urbandesigners interested in thecityasaspacewithmultipleartisticpossibilities. Although some of the contents are dedicated totheoreticalaspects,itisafundamentallypracticalexperience–animmersioninthedisciplinebasedonparticipationinstudent-runprojects,collectiveprojectsandexternalprojects.www.firatarrega.cat/formacio/postgrau

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Mercè Saumell, Head of Cultural Services and professor, Institut del Teatre de la Diputació de BarcelonaWhat do you see as the most important task of your organisation in the circus/street arts in your country? As a teaching institution in the EEES (Espai Superior d’Educació Europea), we should develop programmes in street arts and circus at degree and postgraduate levels. It is important for us to organise higher education workshops linked to these fields; to actively participate in conferences and seminars; to form part of joint degrees offered in collaboration with other European institutions; and to promote processes of creation and research (doctoral theses, accredited research, etc) in street arts and circus.

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therearecurrentlyfivelargecentresofcreationinCataloniathatarespecialisedincircusandstreettheatre.

in circus, the oldest is the Ateneu Popular 9 Barris, a publiccommunity-runsocioculturalcentrethatwassetupin1977.TheAteneucarriesoutcultural,educationalandsocialactivities,and,for the last twenty years, has acted as a centre of creation forestablished professional companies related to the circus. Eachyear,acompanyisselectedtoprepareashowthatispreformedinthewinterandoftengoesontouraroundCatalonia.In1995,Cal’EstruchinSabadellcameintobeing.ThisisaverymultidisciplinarycentreofartisticproductionandcreationthathasbeenrunbytheCircLaVelaCentreforCreationandProductionsince2014.

in1999,inparallelwiththefoundingoftheRogelioRivelschool,theRogelioRivelCentredelesArtsdelCircwasalsocreatedasaplaceformeeting,trainingandexchange,dedicatedtotrainingandcreation in thecircusarts.Finally, there is theCentraldelCirc, a place for creation, research, rehearsal, and ongoingtrainingforcircusartsprofessionals,promotedbytheAPCC(theAssociationofCircusProfessionalsofCatalonia)since2011.Thisisaspaceforcreation,residenceandtraining,andaplatformforemergingartists.

the network of residences is completed with a dozen smallerplacesscatteredaroundthecountry,liketheCircoteca(Valls),theTubd’Assaig7,70(Terrassa)orRocaUmbert,andFàbricadelesArts(Granollers),amongothers.ThecircusisalsopresentinthenetworkofFàbriquesdeCreacióofBarcelonacitycouncil.

CREATION AND RESIDENCY CENTRES

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theonlylargeplaceforcreationandresidenceinthestreetartsinCataloniaisinTàrrega(Lleida),promotedbyFiraTàrregaaspartoftheSupportforCreationprogramme.Thisisacentrewithoutitsownhome,astheresidenciesaredoneindifferentplacesaroundtowntofinishthecreationsinpublicspaces.

this entire network of residences is in response to calls in thepastfromartistsandfestivalsforwell-equippedplaceswithgoodconditionstofacilitatehighqualityartisticresearchandcreation.

Ada Vilaró i Casals, Multidisciplinary artist, Cia. Ada Vilaró & artistic director, Festival of Contemporary Creation Escena PoblenouWhat are the most important challenges for circus/street art in your country and specifically when it comes to audience and marketing development? Continue to give support to creation and multidisciplinary research in street arts, as well as promoting projects that have a direct relation to, and affect the structure of, the territory and generate a sense of community there. Empower the street arts as references for social transformation. Regarding the development of the market, continue generating national and international networks and circuits of creation, presentation and reflection.

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ADVOCACY AGENCIES AND PROFESSIONAL INFORMATION PROVIDERS

the two main public entities responsible for promoting CatalancultureabroadaretheCatalanInstitutefortheCulturalCompanies(ICEC)andtheInstitutRamonLlull(IRL),bothattachedtotheCatalanMinistry of Culture. The ICEC is in charge of supporting privateinitiativesintheculturalfieldandoneofitsgoalsistopromotethedevelopment of cultural companies, encourage domestic culturalconsumption,andcollaborateinexportingculturalproducts.

Creative CataloniatoboostculturalexportsitcreatedCreativeCatalonia,aplatformhostedbytheICEC’sMarketDevelopmentDepartmenttoincreasethe accessibility of Catalan cultural and creative companies forinternational markets. Via its network of offices around Europe(Barcelona, Berlin, Brussels, London and Paris) it works ona variety of lines of project funding, connecting, mentoring,advocatingandpromotingCatalancompaniesandstrengtheningtheirpresenceatinternationalfairsandevents.CreativeCataloniaacts as a strong catalyst to foster Catalan cultural and creativecompaniesworldwide.

Institut Ramon LlulltheothermainadvocacyagencyistheIRL,apublicbodyfoundedwith the purpose of promoting Catalan language and Catalancultural production. It ensures that artists from Catalonia arepresentinoutstandingprogrammesofinternationalcontemporarycreation, through agreements with institutions, internationalshows,artcentresandmuseums.ItworkstoensurethatCatalanculture is present at world famous festivals and fairs, andtakespart inkeyculturalevents indifferentareasofcreationinstrategiccities.ItalsopromotesexchangesbetweenthelocalandinternationalcreativesectorsbyorganisingvisitstoCataloniaforforeignprofessionals.

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Acción Cultural EspañolathethirdagencythatpromotesculturalreachisAcciónCulturalEspañola (AC/E). This agency supports the Spanish culturalsector,bothinthedifferentfieldsofcultureandinnewmodesofproductionanddistribution for thecreative industries.ThePICEprogramme is structured with two lines of support: grants forvisitors,andmobilitygrantsforartistsandprofessionals.

the two main associations that unite the sectors of street artsand circus act as advocacy agencies and focus on relayinginformation.TheAssociaciódeProfessionalsdelCircaCatalunya(APCC) represents all the different branches of Catalan circusprofessionals.Itspurposeistobringtogetherthedifferentsectorsof the Catalan circus to promote, disseminate and standardisethis performing art in all its forms, placing it among the otherperformingartsasaninherentculturalfact.TopromotethestreetartssectorinCatalonia,in2015seventeenfestivalslaunchedthePlatformofStreetArts(PAC).Someofthemaingoalsofthisnewassociationaretopromoteandcommunicatestreetperformanceactivity within Catalonia, to facilitate mobility and co-productionagreements,andtogivevisibilitytothesocialvaluesofthestreetartsandbringthesetonewaudiences.

Oriol Martí Sambola, President, Plataforma d’Arts de CarrerWhat do you see as the most important task of your organisation in the circus/street arts in your country? Our first priority, and the basis for all our work, is supporting communication and joint mapping in order to bring visibility to the many kinds of street arts happening throughout the year and all over Catalonia. Communicating clearly and in a coordinated way brings respect to the sector. Alongside this work, we host and share both discussions and resources. Finally, we work to develop the street arts as a subject of study, with links to universities, journalists, scholars and historians.

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La Central del Circla Central del Circ is a creative space that makes resourcesavailable for the training, practice and continued education ofcircus professionals. It was created in 2008 with the missionof supporting the circus arts and accompanying artisticprojects in the areas of creation, management, production anddissemination;encouragingthedevelopmentofcircusartsanditscreators;andgeneratingsynergywithotherartsandpromotinginterrelationships through local, national and internationalnetworks.Initseightyearsofexistence,ithasbecomeapointofreferenceforthesector,onboththelocalandinternationallevels,beingoneofthefewspacesinEuropewithappropriateconditionsforalmostallcircusdisciplines.

the Central del Circ works in tandem with many organisationsat the local and international level to enable the mobility of theartist and the exchange of experiences between professionalsin different contexts. This has enabled the centre to become aprivilegedintermediarybetweenCatalanandSpanishcircusandotherEuropeaninstitutions.lacentraldelcirc.cat

Support for Creation ProgrammetheSupportforCreationProgrammeappearedin2011asaresponseto a shared need: among the creators, it was a need for venueswheretheycouldproducestreetartsincomfort;forFiraTàrrega,itwastosupportthosecompaniescommittedtocreationwithinpublicvenues;andforthepeopleofTàrrega,itwastoparticipateactivelyinthecreativeprocessesoftheirtown’sfestival.

CASE STUDIES OF THREE SUCCESSFUL AUDIENCE AND MARKET DEVELOPMENT PROJECTS

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the project is based on three conceptual pillars: laboratoriesforcreation,creativeresidences,and transnationalproductions.The laboratories are dedicated to the most restless artists; theresidencesareforestablishedcompanieswhowanttomoveoutoftheircomfortzoneandattemptthestreet;andtheinternationalproductionsaredesignedtogeneratemeetingsbetweenCatalanand foreign creators. Over five editions, the programme hashostedavariedcollectionofartisticprofiles,andhasadaptedtothespecificcircumstancesandneedsofeachproject.

theopenrehearsalswhichare theendpointofmostresidenceshave become a creative pitch for the media, programmers andinstitutions, and are a parallel activity for the town’s culturalprogrammeduringthespringandsummer.firatarrega.com

La Fura dels BauslaFuradelsBausisoneofthemostdynamicandprolificCatalancompanies. It was founded in 1979 by Marcel·lí Antúnez, CarlesPadrissa and Pere Tantinyà, joined shortly after by Pep Gatell,Jordi Arús, Àlex Ollé, Jürgen Müller, Hansel Cereza and MikiEspuma.Manyofthemarestillworkingasartisticdirectors.

thecompanyarosefromthestreettheatreworld,withshowscreatedcollectively. Their first shows, in the 1980s – pieces like Accions(1984),Suz o Suz(1985)andTiermon(1988)–werecharacterisedbyanew,post-industrialaestheticwithelementsofrock,performanceandneo-circus.Thisbecameknownasthe‘Furanlanguage’,atermthathasbeenusedsincethentodescribetheirwork.

evolvingwiththetimes,inthe1990sthecompanymovedintothefieldsofwrittendrama,digitaltheatre,contemporarytheatreandopera.Theirmusicwasupdatedandthereferencesbecamemoreliterary:Noun(1990),Manes(1995),andFaust 3.0(1998).Simultaneously,theybegananewlineofcreationcoveringcorporateevents.

nowadays, the company has become a large organisation thatworkssimultaneouslyonperformingartsprojects,opera,cinema,musicandlargeeventsallaroundtheworld.lafura.com

casa is a new European support programme designedbyfiveartsorganisationstoequipprofessionalsfromthecontemporarycircusandoutdoorcreationsectorstoworkandcooperate internationally, raising theirambitionandcapacitytoworkatinternationallevel.thisbrochure focuseson theparticularculturalcontextproviding information and analysis of cultural policies,culturalinfrastructuresandlocalartisticrealities.www.casa-circuits.eu

The Partners of CASA-Circus Arts and Street Arts Circuits are

© CASA Circuits (2015-2017)

CASA is supported by

This project has been funded with the support of the European Commission. This publication reflects the views only of the author, and the Commission can not be held responsible for any use which may be made of the information contained therein.