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Leisure Studies – University of
e U f Deust
Research update: Spain, Portugal
• Samples: spanish
and portuguese case
• Portuguese case: method and
• Next steps
The spanish case: sample
15 artists were interviewed.
67% of those interviewed are
male, compared to 33% of
20‐30 30‐40 40‐50 >50
AGE NA: 2 NA: 2
Half of the artists interviewed are
between 30 and 40 years of age. The
next largest age group is that of 40 to NA: 3
There is the same number of people
under 30 years that those over 50.
The spanish case: sample
The interviewees showed a high
level of education. None of the
artists surveyed had Vocational
Training nor Adult Education.
10 NA: 9
ARTS SECTOR 6
9 artists perform in the field of
p 5 NA: 4
4 NA: 3
visual arts, and 7 in the 3 NA: 2 NA: 2
performing arts. 2
Dance Music Theater Visual Arts Others
The portuguese case: sample
5; 45% Male
6; 55% Female 11 artists have been interviewed.
45% are female, 55% male.
ARTS SECTOR 4
4 artists perform in the field of Visual arts
visual arts, and 7 in the
The portuguese case: sample
20 30 30‐40
30 40 40‐50
40 50 50+
11 artists have been interviewed.
11 artists have been interviewed
Most of them (7) are within the 30‐40 age group. But we also have artists
above and below that age group: 2 are betweeen 20 and 30 years old, one
is between 40 and 50 years old and another one is 65 years old.
40 and 50 years and another 65 years
Reasons for mobility
Reasons for mobility.
Three possible categories of analysis are presented, although in practice the reasons
intermingle and intertwine.
intermingle 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 of
of 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 specific
Education: 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 ,
Expectations and measures taken
A wide variety of situations and perspectives have been collected on how the
interviewees 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 a
challenge, People who stress the opportunity that is displayed, People who found
themselves 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.
Professional and personal elements d i d f
P f i l d l l t derived from th experience of th mobility
the i f the bilit
experience of the artists are identified, including:
Cultural wealth of the city and the host country
C lt l lth f th it d th h t t
New knowledge, artistic techniques and materials
Contact with the artistic life
Stimulating and enabling
Critique Personal fulfillment
y (human insight)
Place of stay
Referentiality of the capital city and the host centers and infrastructures in which the
Enormity / vastness: the large (both geographical and cultural) size of the host country.
Challenge: the stimulating and challenging character of the experience is stressed.
Ch ll th ti l ti d h ll i h t f th i i t d
Possibility of (further) travel / movement.
Comfort: There are artists who also emphasize the comfort and facilities that encourage
Relationships and exchange
Areas of contact and cultural exchange Levels of participation in host community
Interaction occurs in different social Participation goes from mere knowledge
circles, from “zero contact” to active or first contact to dialogue and cultural
envolvement exchange and collaboration with artists
exchange and collaboration with artists
and to the development of projects to be
implemented in the local reality.
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
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.”
Impact on l
I learning is assessed in terms of the i
d f h intertwining b
i i between artistic and vital
learning. Experience of travel and mobility is understood as something
complementary for the professional and personal life of the artist, and the idea of
nomadic artist appears. M bilit i even portrayed as i t i i t th fi
di ti t Mobility is t d intrinsic to the figure of th
artist, enhanced in a increasingly globalized world. Maturity appears as a central
idea in the learning process, related both to the artistic development and the life of
Positive enablers of learning mentioned include Creativity, otivation, Change of
perspective, Autonomy and Self‐knowldedge.
perspective Autonomy and Self knowldedge
Vital learning: Artistic learning:
• Inner growth and enrichment of the • Different ways to initiate and cope
imagination of the artist with other with the artwork.
with the artwork
views and ways of working. A wider • Self and exterior questioning: Search
understanding of the world. for new and creative possibilities of
• Openness to others (individuals and language.
cultures): Learning from others. • Awareness of the universality of one´s
• Development of expressive and work (plus multiple readings)
communicative competence. • Acquisition of new technical and
• Understanding life as a journey artistic languages.
(nomadic existence) to learn to keep • Continuous learning.
the essence and discard the secondary • Contact with stimulating professionals
(both in the tangible and intangible). and artistic fields.
• Synthesis between the ideas, the
creation and the everydayness .
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 projects.
initiate new projects
• Contrast and collaboration with 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.
Social & civil competences and cultural
• Knowledge of daily life and the daily realities of people, not as tourists but as a
participants in the local way of life.
• 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 (political
cultural, economic, artistic ...).
• Development of zoom capabilities.
• Opening and development of tolerance. Ability to connect with people.
• The part and the whole
• The many ways of facing the mobility
Unanimously possitive, extremely
i l ii l
• The travel of learning, the learning of