Artists Moving And Learning
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15 Spanish artists and 11 Portuguese artists were interviewed about their experiences with artistic mobility. Half of the Spanish artists were between 30-40 years old and most Portuguese artists were also in that age range. The interviews uncovered professional, personal, and artistic benefits from mobility including new knowledge, critical feedback, and personal fulfillment. Artists integrated into their host communities in varying degrees from mere contact to collaboration. Mobility enhanced both artistic and personal learning in intertwined ways. Direct effects included international recognition and new professional opportunities. Artists developed greater social and cultural awareness from experiencing other ways of life.
Artists Moving And Learning
- 1. Leisure Studies – University of e U f Deust to L Research update: Spain, Portugal
- 2. Contents • Situation • Samples: spanish Samples: spanish and portuguese case • Portuguese case: method and development • Artists • Next steps
- 3. The spanish case: sample case: sample Females: 5 GENDER 15 artists were interviewed. 67% of those interviewed are Males: 10 male, compared to 33% of females. 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 NA: 3 50 years. There is the same number of people under 30 years that those over 50. y NA: 8
- 4. The spanish case: sample case: sample EDUCATION The interviewees showed a high level of education. None of the artists surveyed had Vocational Training nor Adult Education. 10 NA: 9 9 8 7 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 1 0 Dance Music Theater Visual Arts Others
- 5. The portuguese case: sample case: sample GENDER 5; 45% Male 6; 55% Female 11 artists have been interviewed. 45% are female, 55% male. ARTS SECTOR 4 Performing arts 4 artists perform in the field of Visual arts visual arts, and 7 in the 7 performing arts.
- 6. The portuguese case: sample case: sample 8 7 7 6 5 4 3 2 2 1 1 1 0 20‐30 20 30 30‐40 30 40 40‐50 40 50 50+ 50 AGE 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
- 7. Spanish case: artists case: artists
- 8. Portuguese case: artists case: artists
- 9. Findings: g 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 ,
- 10. Findings: g 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 expectation, 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.
- 11. Findings: g Highlights 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 environment Access Critique Personal fulfillment Diversity y (human insight)
- 12. Findings: g Place 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. 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 artistic development.
- 13. Findings: g Relationships and exchange Areas of contact and cultural exchange Levels of participation in host community None Professional Colaboration coexistence Artistic circle Exchange Local (dialogue) community Contact Interaction occurs in different social Participation goes from mere knowledge circles, from “zero contact” to active or first contact to dialogue and cultural envolvement. envolvement exchange and collaboration with artists exchange and collaboration with artists and to the development of projects to be implemented in the local reality.
- 14. Findings: g Integration 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.” /
- 15. Findings: g Learning Impact on l I learning is assessed in terms of the i d f h intertwining b i i between artistic and vital d l 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 f the 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 the individual individual. Positive enablers of learning mentioned include Creativity, otivation, Change of perspective, Autonomy and Self‐knowldedge. perspective Autonomy and Self knowldedge
- 16. Findings: g Intertwined learning 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. 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 .
- 17. 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 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.
- 18. Findings: Social & civil competences and cultural awareness • Knowledge of daily life and the daily realities of people, not as tourists but as a p participants in the local way of life. 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 (political cultural, economic, artistic ...). • Development of zoom capabilities. • Opening and development of tolerance. Ability to connect with people.
- 19. Briefing • The part and the whole • The many ways of facing the mobility of facing experience. • U Unanimously possitive, extremely i l ii l diverse. • The travel of learning, the learning of travel. travel