This article touches on the functions of various forms of non-verbal cultural communication in contemporary integrating Europe. The starting point being the characteristic features of this form of art, as well as its
genesis and functions in the Eastern and Western parts of the globe. Festivals, which have been rapidly developing in the world of pantomime and street art since the beginning of the 1970s, play an exceptional role
in European cultural exchange. They are, however, generally ephemeral projects, often placed besides in-
stitutionalised mainstream culture, with no aspirations to become part of the EFA for example. Nonverbal
cultural commu nication in Europe is still poorly integrated and yet maintains a remarkable diversity of genres
and multi-colour forms. Such decentralisation is also the source of its strength manifested by its ease in
reaching an incredibly diverse audience, the ability to obtain feedback from mass audiences, its expansive-
ness (taking up various spaces), its flexible approach in its quest for answers – but at the same time re-
specting the rudiments of the rich, native European tradition of popular culture. The subsidisation of festival,
confrontation, and meeting movements related to non-verbal cultural exchange does take place through
regions, local governments, or cultural institutions – one can also count on EU sectoral support funds from
the Creative Europe Programme.