Comune di Montegranaro (Fermo - I)

Promotions des Arts Forains asbl, Namur (B)
La Strada Straßenzirkusfestival, Bremen (D)
Federazione Naz. Arte di Strada - Rome (I)


Public Boards and Istitutions:
Regione Marche (I);
Provincia di Fermo (I);
Senator für Kultur Bremen (D);
Ville de Namur (B);
Ville de Arles (F);
Ville de Barcelone (E);
Province du Limbourg (B);
Conseil Général de l'Essonne (F);
Ville de Luxembourg (LUX);
Comune di Monterubbiano (I);
Comune di Moresco (I);
Comune di Lapedona (I);
Comune di Porto San Giorgio (I);
Comune di Campofilone (I)
Comune di Fermo (I);
Comune di Ortezzano (I);
Comune di Falerone (I);
Comune di Monte Vidon Corrado (I);
Comune di Servigliano (I);
Comune di Grottazzolina (I);
Comune di Francavilla d'Ete (I).

Local Association for Cultural Promotion:
Associazione Pro loco di Campofilone (I)
Associazione Pro loco di Lapedona (I)
Associazione Pro loco di Ortezzano (I)
Associazione Pro loco di Petritoli (I)
Associazione Pro loco di Grottazzolina (I)

Università degli Studi di Macerata;
Facoltà di Beni Culturali (I).

Theatre Boards & Networks:
Bund. Theater im Öffentlichen Raum (D);
A.M.A.T. Ass. Marchigiana Attività Teatrali (I);, art services network (D);
AgitPolska e.V. (D).

International Festivals:
Ratataplan Int. Festival, Lessona (I);
Artistiinpiazza, Int. Festival Pennabilli (I);
Ferrara Buskers Festival, Ferrara (I);
Mercantia Int. Festival, Certaldo (I);
Ulicnih Sviraca Festival Novi Sad (SR);
Szárnyas Sárkány Festival, Nyírbátor (HUN);
Tuin der Lusten, Overijssel (NL);
Feta Festival, Gdansk (PL);
Internationaal Straattheaterfestival, Gent (B);
Spraoi Festival, Waterford (IR);
Bath Fringe, Bath (UK).

ID: Psw:

wednesday 30 / 9 / 2020 | 1228 members

To OPEN the city gates to street arts means to bring out the value of open air spaces assigned to social life, to enforce the cohesion inside communities, to improve the local tourist activity, to create new routes for exchange and integration between European countries.

The creation of a international debate, the comparisons between normative and laws, different urban patterns and policies for development and support of street arts, will drive to a new consciousness and will produce new stimulus in administrators and art operators. This route could not be undertaken on a simple regional or local level. Our country, now, is Europe!

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Open Street support Rhodes-Dodecanese 2021

Rhodes is at the final selection stage for the title of the European Capital of Culture for the year 2021. Its Candidacy titled “Rhodes/Dodecanese 2021: Journey to the Light” was pre-selected last February among 14 Greek cities, and now competes with Kalamata and Ellefsina. The winner will be designated this coming November.

Open Street aisbl has signed an agreement protocol for cooperation in the project, with the Committee chaired by Nikos Chatzipapas, historical member of the network Open Street, director of the INTERNATIONAL STREET THEATRE FESTIVAL in Athens.

The European Capital of Culture action is part of the Creative Europe Program. It was founded in 1985 by the Greek Minister of Culture, Melina Merkouri, and so far it has been hosted in more than 50 European cities. This initiative has evolved through the years to promote the European identity, cultural diversity, intercultural dialogue, creativity and the Arts.

Each year the title is awarded to a city in each of the two member states designated in the calendar included in the aforementioned Decision. Every three years, another city is selected from a candidate or potential candidate country for joining the EU. For example, in 2021 the event will be hosted in Greece, Romania, and Serbia or Montenegro.

For the latter two countries, the 2021 European Capital of Culture will be NOVI SAD (RS), which is home to one of the festivals that founded the International Association OPEN STREET aisbl: Internacionální FESTIVAL ULICNIH SVIRACA. This is not a coincidence, in our view, given that the street arts help to make the hosting cities more vibrant, capable of a cultural offer addressed to all social catogories, according to a smart and innovative model.

More Information:


Waiting the last call

July 2016 is the month in which the last call of the largest European programme for cultural and creative sector it will be published.

The Creative Europe programme is a 1.46 billion euro programme dedicated to the cultural and creative sector for 2014-2020, it includes two subprogrammes (Culture and MEDIA)

General Aims:
1. To promote and safeguard linguistic and cultural diversity in Europe;
2. Enhancing the competitiveness of the cultural and creative sector to promote sustainable and inclusive smart growth.

Call issuing: July 2016
Submission deadline: October 2016
Information to applicants: March 2017


Category 1 - Small-scale cooperation project
Partnership: at least 1 project leader + 2 partners (3 different countries)
EU co-financing: up to 200,000 euros (up to 60% of total costs).
Duration: up to 48 months

Category 2 - Large-scale cooperation Project
Partnership: at least 1 project leader + 5 partners (5 different countries).
EU funding: up to € 2,000,000 (up to 50% of total costs).
Duration: up to 48 months

Members: at least 15 members (at least 10 different countries)
EU funding: up to 250,000 euros per year (up to 80% of total costs).
Duration: up to 4 years

Members: at least 10 members (at least 10 different countries)
EU funding: up to 500,000 euros per year (up to 80% of total costs)
Duration: up to 4 years.

For all information and forms:

The UK performing arts view on Brexit

Majority of performing arts opinions leaders are Worried about Brexit: 'A huge step backwards for creatives'

The prospect of leaving the EU has been variously described as a “nightmare”, “artistic isolation” and a “huge creative step backwards” by arts leaders surveyed by the Media.

The vast majority of figures contacted from a Gardian Journalists team, and many more responding to a Guardian appeal, said they were against the UK leaving the union for both practical and emotional reasons.

Many voiced fears about barriers to the free movement of labour and the loss of access to EU arts funding.

Alistair Spalding, chief executive of Sadler’s Wells theatre in London, one of the UK’s most internationally diverse venues, said he could not think of a single advantage to leaving, but foresaw many problems.

"There is the nightmare of visa and work permit applications that we have to do. It is less complex for countries in the EU but that would all be thrown up in the air… we would have to bring in more staff to deal with it... Honestly, I don’t think people really understand what a nightmare it is. Leaving Europe, for our business, it’s bad".

John Summers, chief executive of the Halle Orchestra in Manchester, which employs players from 14 countries and many visiting artists and conductors, said:

"Leaving it's disastrous. The biggest thing that has changed in UK orchestras over the past 10 to 20 years is the quality of players coming for audition from outside the UK – it has been hugely positive".

Summers said Brexit could mean artistic isolation in the longer term. He said: "Music is an international language. There is no barrier and if we were to lose that free movement I think we could become the land without music".

The Barbican’s managing director, Sir Nicholas Kenyon, said: "My approach is: we are all Europeans now if you look at the range of co-productions that we now have that depend on the free movement of talent between European countries".

Kenyon stressed that leaving Europe would not mean the end of partnerships and collaborations – "the arts are ingenious, the arts will always find ways of doing things" but added: "Being in is an immense benefit in terms of the possibilities of creating these co-productions".

That was a view echoed by the Southbank Centre’s artistic director, Jude Kelly. She said: "We see creative collaboration being supported by remaining part of the EU. I’m not saying it could not happen by being outside the EU, but it would be that much more difficult, that much trickier".

Another practical argument in the debate is, of course, money. The Creative Europe fund was established in 2014, and it says it has supported 228 UK cultural and creative organisations and audiovisual companies, and the cinema distribution of 84 UK films in other European countries with grants totalling € 40m (£30m).

The remain camp also cites the transformative success of European capital of culture status on cities. The last UK city to hold the title was Liverpool in 2008, and the next one is due in 2023.

David Lan, artistic director of the Young Vic, said the UK had much to learn from Europe. "Many of the European theatre companies are way ahead of us in terms of imagination, sophistication, intelligence, skill, acting … certainly in terms of how to run a company effectively – way ahead of us".

"We don't be part of that, we don't fall into the old slogan ‘we know better’, the same old complacencies…" he concluded.

CREATIVE EUROPE results 2016

50% of funded projects is in the field of Performing Arts

Click here for complete results.

The results of the call EACEA 29/2015 on European Cooperation Projects were published. On a total of 529 projects, submitted by 36 countries participating in the program, 66 of them, between Small and Large Scale, were financed. 50% of them are in the field of Performing Arts !!!

Regarding the Small Scale, 51 projects (24 on Performing Arts) were selected out of 404 submitted by 36 countries, for a total of 9,847,360.77 Euros: France is leader in 10 selected projects, followed by UK (7) and Italy (6). Italy is leader in presence, having 31 partners in the selected projects, followed by France (28) and UK (20).

Regarding the Large Scale, 15 projects (8 on Performing Arts) were selected out of 125 submitted by 24 countries, for a total of 27.291.922,27 Euros: France is leader in 4 selected projects, followed by Germany (3) and Italy (2). France and Belgium are present with 17 partners each in selected projects, followed by Germany (14) and Italy (11).

The results of the 2016 call on Cooperation Projects demonstrate an increasingly competitive environment and a clear detachment of four nations - France, Italy, United Kingdom and Germany - which are characterized by a good representation among the selected projects, compared with other European countries, that indeed act on more modest numbers. A reflection must also be done about the proportion between the number of countries that have sent a project and the number of countries that in this last call has received a co-financing, which clearly results uneven in its distribution: for the Small-scale, 17 participating nations on 36 have received a grant; for Large-scale, only 9 of 24 nations have their projects selected.

The call for cooperation is an undoubted opportunity for all operators in the European cultural and creative sector, and includes projects based on networking activity, with a balanced and equitable international partnership. Also, eligible projects may not, by their very nature, support national activities, but must provide for cooperation activities focused on transnational mobility, audience development, capacity building, digitizing, creation of new patterns of cultural business, education and training.

The next call on the European Cooperation Projects will be published in July 2016.

The European Culture Forum

19-20 April 2016, Flagey, Brussels

The European Culture Forum is a biennial flagship event organised by the European Commission, aimed at raising the profile of European cultural cooperation, uniting the sector's key players, taking stock the European Agenda for Culture's implementation, and sparking debate on EU culture policy and initiatives. The event, also a major networking opportunity, will highlight culture's role in breeding talent and creativity. The Forum will reflect on culture's contribution to the new Commission's priorities such as innovation, jobs and growth; the digital single market; social cohesion and intercultural dialogue; and Europe's position on the global scene. This year's Forum will consist of two full days of debates, including larger plenary sessions focusing on the main aims of the European Agenda for Culture, as well as smaller, technical sessions on the work of the EU. Plenary sessions will be launched by thought-provoking inspirational speeches, followed by moderated panel debates bringing in experiences, views and questions from the audience.


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15 - 18 May 2014
Feria de Artistas Callejeros in
Leioa (ES)

6 - 15 June 2014
Sibiu (RO)

Montegranaro (IT)

27-29 June 2014
Rochefort (FR)

04 - 06 July 2014
Internationales Strassenzirkus festival
Bremen (DE)

27 June - 27 July 2014
Międzynarodowy Festiwal Artystów Ulicy
Gliwice (PL)

04 - 07 September 2014
Novi Sad (SRB)

9 - 12 October 2014

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OPEN STREET - Anno 2020 - Association International Sans But Lucratif - Rue Washington 40, Ixelles - 1050 Bruxelles (BE) -