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Research update: Spain, Portugal

ContentsContents• Situation

• Samples: spanishSamples: spanish

and portuguese case

• Portuguese case: method and

developmentdevelopment

• Artists

• Next steps

The spanish case: sampleThe spanish case: sample

Females: 5

GENDER 15 artists were interviewed.67% of those interviewed are

Males: 10

67% of those interviewed aremale, compared to 33% offemales.

AGE20‐30 30‐40 40‐50 >50

AGEHalf of the artists interviewed arebetween 30 and 40 years of age. Thenext largest age group is that of 40 to

NA: 2

NA: 3

NA: 2

next largest age group is that of 40 to50 years.There is the same number of peopleunder 30 years that those over 50.

NA: 3

yNA: 8

The spanish case: sampleThe spanish case: sample

EDUCATIONThe interviewees showed a high level of education. None of the artists surveyed had Vocational Training nor Adult Education. 

NA: 99

10

NA: 456789

ARTS SECTOR9 artists perform in the field of 

NA: 2NA: 3

NA: 2

01234

pvisual arts, and 7 in the performing arts.

Dance Music Theater Visual Arts Others

The portuguese case: sampleThe portuguese case: sample

GENDER 

6; 55%

5; 45% Male

Female 11 artists have been interviewed.45% are female, 55% male.

4ARTS SECTOR

7

Performing arts

Visual arts4 artists perform in the field of visual arts, and 7 in the performing arts.

The portuguese case: sampleThe portuguese case: sample

7

6

7

8

23

4

5

2

1 1

0

1

2

20 30 30 40 40 50 5020‐30 30‐40 40‐50 50+

AGE11 artists have been interviewed11 artists have been interviewed.Most of them (7) are within the 30‐40 age group. But we also have artistsabove and below that age group: 2 are betweeen 20 and 30 years old, oneis between 40 and 50 years old and another one is 65 years old.is between 40 and 50 years old and another one is 65 years old.

Spanish case: artistsSpanish case: artists

Portuguese case: artistsPortuguese case: artists

Findings:gReasons for mobility

Reasons for mobility. Three possible categories of analysis are presented, although in practice the reasons intermingle and intertwineintermingle and intertwine.

• Professional reasons: They can respond to various reasons. Proposal and indication of the organization lack of career opportunities or job instability in the country ofof the organization, lack of career opportunities or job instability in the country of residence, more professional development opportunities abroad, or even by performance of the artistic activity itself (creating tours, co ...). 

• Education: Studying at a foreign university studying techniques or specificEducation: Studying at a foreign university, studying techniques or specific cases, the student exchange experience. Importance of scholarships. 

• Expansion of perspectives: Finding creative freedom, increased awareness and the ability to change perception, and so on. y g p p ,

Findings:gExpectations and measures taken

A wide variety of situations and perspectives have been collected on how theinterviewees represent the experience of mobility before actually having it. We found:People who did not have any expectation People who take the nearby experience as aPeople who did not have any expectation, People who take the nearby experience as achallenge, People who stress the opportunity that is displayed, People who foundthemselves quiet and safe.

Most interviewees have not counted on external aid from their own or other institutions for the stay. Two big groups have been made:

• High degree of preparation. • Oriented towards artwork.• Oriented to the (technical) preparation of the stay.• A combination of both.

• Low degree of preparation.

Findings:gHighlightsP f i l d l l t d i d f th i f th bilitProfessional and personal elements derived from the experience of the mobilityexperience of the artists are identified, including:

C lt l lth f th it d th h t tCultural wealth of the city and the host country

New knowledge, artistic techniques and materials

Contact with the artistic lifeStimulating and enabling 

environment AAccess 

Personal fulfillment (human insight)

CritiqueDiversityy

Findings:gPlace of stay

Referentiality of the capital city and the host centers and infrastructures in which the stay develops. 

Enormity / vastness: the large (both geographical and cultural) size of the host country.

Ch ll th ti l ti d h ll i h t f th i i t dChallenge: the stimulating and challenging character of the experience is stressed.

Possibility of (further) travel / movement. 

Comfort: There are artists who also emphasize the comfort and facilities that encourage artistic development.

Findings:gRelationships and exchange

None

Areas of contact and cultural exchange Levels of participation in host community

Professional  coexistence

Artisticcircle

Colaboration

Exchange Local community

(dialogue)

Contact

Interaction occurs in different socialcircles, from “zero contact” to activeenvolvement

Participation goes from  mere knowledge or first contact to dialogue and cultural exchange and collaboration with artistsenvolvement. exchange and collaboration with artists and to the development of projects to be implemented in the local reality.

Findings:gIntegration

1. Adapting to the new artistic / professional (cojuncture integration): the artist is immersed in a specific project that requires an adjustment on his part to the new reality of work / study.

2. Adaptation to the new state of residence: the artist accesses a residence or accommodation where she or he  is in contact with the local artistic/academic community. 

3. Integration in the mid/long term: the artist learns the language of the host /country and even begins to consider the place as his/her second "home.”

Findings:gLearningI l d f h i i i b d lImpact on learning is assessed in terms of the intertwining between artistic and vitallearning. Experience of travel and mobility is understood as somethingcomplementary for the professional and personal life of the artist, and the idea of

di ti t M bilit i t d i t i i t th fi f thnomadic artist appears. Mobility is even portrayed as intrinsic to the figure of theartist, enhanced in a increasingly globalized world. Maturity appears as a centralidea in the learning process, related both to the artistic development and the life ofthe individualthe individual.

Positive enablers of learning mentioned include Creativity, otivation, Change of perspective Autonomy and Self knowldedgeperspective, Autonomy and Self‐knowldedge.

Findings:gIntertwined learning

Vital learning:

• Inner growth and enrichment of theimagination of the artist with other

Artistic learning:

• Different ways to initiate and cope with the artworkimagination of the artist with other

views and ways of working. A widerunderstanding of the world.• Openness to others (individuals and

with the artwork.• Self and exterior questioning: Search for new and creative possibilities of language. 

cultures): Learning from others.• Development of expressive andcommunicative competence.• Understanding life as a journey

• Awareness of the universality of one´s work (plus multiple readings)• Acquisition of new technical and artistic languages• Understanding life as a journey

(nomadic existence) to learn to keepthe essence and discard the secondary(both in the tangible and intangible).

artistic languages. • Continuous learning. • Contact with stimulating professionals and artistic fields. • Synthesis between the ideas, the creation and the everydayness . 

Findings:Direct effects

Artists point that the experiences of mobility have certain positive consequences directly related to a greater or lesser degree with their artistic activity:

• International recognition and prestige (contests, prizes, etc.).. • Initiation and organization of projects extending beyond the stay. • Establishing contacts with other professionals, exchange of knowledge and ability to initiate new projectsinitiate new projects. • Contrast and collaborationwith organizations and events similar to their own. • Translation of experience in actual works. • Opening other channels of disseminating and communication one's work or to access the works of  interest (the possibility to exhibit abroad, etc.).. • Conducting research directly related to the experience. 

Findings:Social & civil competences and cultural awareness 

• Knowledge of daily life and the daily realities of people, not as tourists but as aparticipants in the local way of life.p p y• Antidote to stagnation and auto satisfaction.• Access to other forms of life.• Expansion or imagery, enrichment of views, ways of working, etc..• Awareness of the universality beyond the cultural and language differences.• Development of a greater social awareness.• Greater knowledge of the host reality at different levels (politicalcultural, economic, artistic ...).• Development of zoom capabilities.• Opening and development of tolerance. Ability to connect with people.

BriefingBriefing

• The part and the whole

• The many ways of facing the mobilityThe many ways of facing the mobilityexperience.

U i l i i l• Unanimously possitive, extremelydiverse.

• The travel of learning, the learning of traveltravel.