Mr Deputy Mayor, dear Christophe Sirugue,Mr Director of the Centre national des arts de la rue,Dear Pedro GarciaMonsieur the President of the Fédération des arts de la rue,dear Pierre Prévost,Mr President of Hors-les-Murs, Dear Jean Digne,Ladies and Gentlemen,

“The street is the umbilical cord that connects the individual to society,” Victor said.
Hugo. It means how much support for the street arts is a
cultural policy but also carries within it a vision of the world where
the words social body, urban fabric, public art have all their meaning. I want to
thank you for your welcome and tell you how happy I am
to be present among you, to celebrate the 25th edition of Chalon in the
to discover this festival, its public success, but also the
the quality and diversity of the artistic proposals he highlights,
with a very remarkable international presence.
I would like to congratulate Pedro Garcia, its director, who since 2004 has
has done considerable work to strengthen the festival’s registration in
public space, work with the outlying districts of Chalon and
create a strong link between the National Street Arts Centre (NBCC),
the Abattoir - which I visited earlier on arriving - and the festival.

On the occasion of this 25th edition, allow me to pay tribute
the founders of the festival, Pierre Layac and Jacques Quentin, as well as
Dominique Perben, who in 1987 allowed the first edition of this festival
and put it firmly into municipal cultural policy. I want to
to greet the current mayor Christophe Sirugue for having extended this desire
Chalon’s history shows that a strong artistic initiative
allows us to overcome partisan divisions.

I discovered the extraordinary vitality and capacity for innovation of the
on the street during my travels, including last year at
festival d'Aurillac, of which I greet the director, Jean-Marie Songy. I was able to
find that the street arts are attracting more and more artists who
are not native: whether they are artists, filmmakers, artists
theatre directors, dancers. The street arts are
more than a specific category of the performing arts: they are a
global artistic approach, a true melting pot, bringing a dialogue and
meetings between artistic disciplines.

Street arts also have this very characteristic
which is direct contact with the populations. They allow,
with their diversity of language - from the fairground to recovery
industrial, through burlesque inversion - to overcome the obstacle
social intimidation that often exists when it comes to crossing the
door of any theatre or place of culture. They constitute a
decisive discipline in the service of my ambition, as it has
of my predecessors: a policy of democratization and
sharing the artistic gesture with people. The public space
gathers and broadcasts widely: because the street belongs to
all, the street arts aggregate and unite new audiences. In
the public space, in fact, we are free from all social codes
which may be related to the ritual of a theatre, opera or
dance. We are in some ways freer, less
conditioned for the reception of the show that is proposed to us: we
are these «spectator-actors» immersed in a re-explained daily life
or questioned by an artistic gesture.

It is for this set of reasons that the street arts, even more than
other forms of artistic expression, cannot be dissociated from
urban, architectural and social issues of interest to a
territory, a city, a neighbourhood. Beyond their artistic dimension
intrinsic, the street arts must be conceived from a soil
to create the conditions for their full development, their
development and in order to guarantee the most successful reception by the
populations. Embellishment, grandiose, spectacular are nothing if
we do not accompany audiences in a discovery process and
awareness: no dissemination without long time, no project
real artistic, without a time of approach, installation, presence,
what some call the lovely word infusion. That’s what the
current development of cultural projects called «territory», of which I
wishes them to be part of a renewed and strengthened relationship with the
local authorities

I would like to say a few words about my policy in favour of
Street Arts. It is part of a larger project in support of the
live performance, on which I spoke recently on the occasion of the
avignon festival.

The Ministry of Culture and
street arts has consolidated over the years. It has emerged in the
seventies, and especially thanks to the pioneering work of John
Worthy - whose presence I greet again - at the time when he opened
the streets of Aix-en-Provence with «saltimbanques» as he had then
initiative. This choice was decisive in triggering a
real recognition of street arts by public authorities.

Little by little the Ministry of Culture and Communication has carried a
attention to this artistic expression, which has won an audience of
which has brought together new audiences. He
initiatives, such as festivals, support for companies and
structures - the National Street Arts Centres (CNAR), which saw the
in the 2000s.

I myself insisted that the National Street Arts Centres
(CNAR) are the subject of a label granted by my ministry, as I have
indicated by the circular dated 31 August 2010. This text recognizes 9 centres
and specifies the missions. It is essential to
strengthen institutional recognition of the sector and its
organization in the future. I would add that this circular sets a level
Ministry intervention floor at €150,000 and a minimum of 25%
State intervention on all financing.
Financing for the sector increased from €6.5 million at the beginning of the years
2000, at nearly €10 million today. I know that this is not yet
sufficient, particularly for a practice that is the first in terms of
live performance, since 34% of French people say they have at least
once a year at a street show. I will be vigilant that the
results of the study I just launched on new resources for
the live performance can benefit significantly to this
sector. I’ll come back to that.

I recently announced at the Avignon Festival an action plan for the
performing arts. This action plan concerns the street arts, in
The European Union is also a major player in the world of entertainment.
I even think that street arts will be particularly concerned
by the measure relating to the support fund for emergence and innovation,
million over the period 2011-13, as a result of your
opening at the disciplinary crossroads and your ability to invent
new forms of artistic expression. This measure could
example concerning artistic residencies in the public space, subject
that I know you’re concerned about. Artistic residency projects
in the public space could be eligible for this fund.

The action plan also focuses on better support
independent sector, in all its diversity and wealth. It is not
need to insist to tell you that you will be of course
concerned by the measure relating to independent companies:
many in the field of street arts - which intends to accompany
the most innovative approaches and new vocabularies

I wished, you understood, to strengthen the recognition
It also goes through an institutional
specific technical support, deepening expertise
and evaluation. I hope that the National Support Commission for the
creation established with the Direction générale de la création artistique
be maintained, with specific objectives, to allow for better
articulation with existing DRAC devices.

I wanted the European and international dimension to be very
Action Plan. When considering the programming of
Chalon in the street, the presence of European companies is strong,
international artistic exchanges. We must
encourage and support this openness, which serves our companies in their
international presence: according to a 2010 – albeit partial – survey
made by Hors les murs, 53% of companies benefited from a
distribution in the European Union, 14% internationally. We must
continue this dynamic of openness; at Union level
European, this calls for a proactive policy promoting traffic
artists and projects.

One of the measures of the action plan aims to establish clusters
European. I think that the street arts should benefit from such a
measurement. Their visibility at the European and international level is
extremely strong. I leave the care to the professionals, in consultation
with my administration, to define the exact contours of this pole, but I
believes that several existing structures could unite around a
true European ambition.

Specialized offices abroad are also a measure of
action plan. These offices, like the Berlin and London offices
have demonstrated their effectiveness, will enable the development of
co-production and dissemination. Six new offices will be created. The arts
have their place in this influence device. This will allow
to enhance the excellence of the French scene, particularly in the
the realm of big events, big shapes that happen
public space. A consultation on this subject will be launched with the
institutions, including the Institut Français, Lieux Publics or
Outside the Walls.

For your business, I want the implementation of the plan
in consultation with local and regional authorities and
representatives from your sector. I will ask the Directorate
General Artistic Creation (DGCA) to define the modalities
The European Parliament, the Council and the Commission are in agreement on this.

I announced that this plan will mobilize 12 million euros for the period
2011-2013. I obtained the necessary funding for 2012, with $3.5 million
new measures. I also launched a study in May
to find new resources for live entertainment:
conclusions will be given to me in October. But I want to be
clear: there is neither disengagement of the State, nor new paradigm in
support for artists and creation. New resources
are intended to add to those already existing, to strengthen this plan
action. These will be extra-budgetary credits, which will be subject to a tax
I can’t tell you the nature of that to date, because it’s a question of
the purpose of the study. The objective is clear: to identify
a dynamic tax base to ensure a sustainable resource
and increasing for the whole living spectacle.

I will also ensure that training and
the future of the street arts.

I would also like to reflect further on the conditions for
development of art in the public space, be it the arts
or live entertainment. As we celebrate the 60th
1% cultural anniversary, created on 18 May 1951 at the initiative of the sculptor
René Iché, I said how interesting art is in the Audelà public space
from the art scene, gallery or museum, the largest
artists must take part in the construction of the space of the city, that
in which the word “public” refers not only to an adjective but to
I mean citizen actors.

Cultivating the extraordinary, the surprise, the wonder at the heart of everyday life,
this is undoubtedly a building block for public action in cultural matters
today, at a time when the public itself, confronted with images often
standardised by the "society of screens", again requests a
relationship to works and artists.

I therefore think it necessary to strengthen the dialogue between the various
stakeholders involved in these projects, be it the communities
departments concerned - Ministry of the City, Ministry of
Ecology, sustainable development and equipment in particular -, the
planners, architects, and artists. I will make proposals to my
Government colleagues concerned by the issue and stakeholders,
for the creation of a body to enhance the place of art
public space in public policy. I know this is a
I agree with your request to my department
the principle, but it is now a question of defining the modalities and the

Believe me, I measure the work that remains to be done to strengthen the
place of street arts within public institutions, for better
record the broadcast of the shows in all the circuits of the
performing arts, notably through integrated cultural projects in
a territory, to accompany artists in a more efficient way
urban issues posed by certain forms. In this regard, I want to
welcome the work of monitoring, advising and foresight of the national pole
walls: professional networks are decisive. You know how to
count on me in the coming months to develop the support of
my ministry in favor of the street arts. As the specialist of the
China François Julien, connoisseur of Chinese thought, I am
convinced of their role in the contemporary world: In thought
Chinese – I quote François Julien – we must let ourselves be carried by the
movement of things, to embrace the circumstances (…) To be part of the
logic of things and of the world, allowing themselves to be carried by their potential:
the effect is contained in the given situations or recorded in the
events” (Efficiency Treatise, 2002). But the street artist, because he
flows in the landscapes, because it confronts the places of daily life,
is also, in his own way, an accoucheur of truth, a revealer of the
the scale of a square, a neighborhood, a city sometimes, like here in Chalon.

Thank you.