i-Portunus Statistics — Call 2 (2019)
i-Portunus Statistics — Call 2 (2019)
Key data from the second i-Portunus open call (15 May - 24 June 2019), based on 710 valid individual and group applications corresponding to 1,141 individuals.
Countries of origin
- The top 10 countries of residence of applicants are mainly Western European/EU countries: France, Germany, Italy, UK, Belgium, the Netherlands, Austria, Spain, Ukraine and Poland. This “top 10” list is almost identical to that of the first call: only Portugal and Finland are replaced by Austria and Poland, and Ukraine is still the only non-EU country on the list.
- With the exception of Lithuania, countries represented by the consortium partners (France, Germany, Belgium - where the Goethe-Institut project office is located - and Ukraine) are still very well represented.
- Interestingly, the number of applications from Bulgaria and Armenia is increased. But other countries – such as Tunisia and Lithuania – are less well represented than in the first call.
- The non-EU Creative Europe countries still tend to be under-represented. Among the 14 countries from which 5 or fewer applications were received, we can find Tunisia, Georgia, Bosnia and Herzegovina, Iceland, Moldova, Kosovo*, Albania and Montenegro. But at least one application was received from each Creative Europe country (in the first call, no applications were received from Kosovo* and Montenegro).
- The EU countries with the lowest number of applications for this second call are Croatia (5), Latvia (4), Luxembourg (4), Lithuania (3), Malta (3) and Cyprus (2).
- The list of destinations echoes the list of residence with a majority of Western European countries. However Southern countries are better represented than for the first call. Requested destinations are, in decreasing order: Germany, Italy, France, Spain, UK, Portugal, Greece, Poland, Austria and Norway.
- All Creative Europe countries except Bosnia Herzegovina are covered in terms of destinations, even if, compared to the first call, a greater number of countries are mentioned less than 5 times. The least requested destinations include Albania, Armenia, Kosovo*, Moldova, Montenegro (non-EU countries) but also Cyprus, Ireland, Luxembourg, Malta and Slovakia (EU countries).
Types of mobilities
Mobilities for production-oriented residencies are the most demanded (39%), closely followed by international collaborations (38%). Professional development comes far behind (13%), followed by presentations (10%). These ratios are quite similar to those of the first call.
Length of mobilities
55% of the requested mobilities are for a length of 15 to 29 days, followed by 30-59 days (27%). Longer mobilities are less requested: 18% of applications are for 60 days and above. Here again, the ratios are quite similar to those of the first call.
‘Segmented’ mobilities were included as an option in this second call: 75% of the applicants chose a continuous mobility, against 25% for a segmented mobility. There was no major difference between sectors, though the fragmented mobilities were slightly more demanded in the performing arts sector than in the visual arts sector (52.3% against 47.7%).
The availability of segmented mobilities did not contribute to a significant increase in the number of destination countries: 71.4% of the applicants selected one country of destination, 14.6% requested 2 countries and 8.2% 3 countries. Only 3.8% of the applicants chose 4 countries and 1.5%, 5.
Means of transportation
Similarly to the first call, a large majority of applicants plan to travel by airplane (63%), followed by train (20%) and by car (12%). The other means of transport (bus, ferry, trans-national walking or biking) each fall below 4%.
58.9% of the applicants are female artists or culture professionals, which is slightly lower than for the first call (62%). The most frequent age ranges of applicants are 25-34 years old (45.8%) and 35-44 years old (30.3%). 53% hold a Master’s Degree and 22.4% a Bachelor’s as their highest diploma.
4.9% of applicants mentioned that they have some form of disability (this question was not included in the first call for applications).
Similarly to the first call, the visual arts sector is covered by 54% of the applications, against 46% for the performing arts sector.
Fine arts, digital arts and photography are the most represented sub-sectors for the visual arts sector, whereas for the performing arts sector, performance, theatre and dance are the most covered.
For the second call, it was possible to apply as a group. Still, a large majority applied as individuals: 73% against 27% as a group. This being said, the group applications cover 621 individuals, which is a higher number than the number of individual applicants (520). Almost 50% of the groups are composed of two persons; 24% number 3 people, 13% include 4 persons and 14% include 5 persons (the maximum allowed).
Types of professionals
59% of the applicants are artists. The next two most often cited professions are Performers (Performing Arts sector) and Designers (mostly in Visual Arts). Together, Artists, Performers and Designers account for close to 72% of applicants.
13% of applicants have an “Other” profession however their details have not yet been analysed. Directors of organisations, Curators and Cultural managers make up the remaining 15% of applicants. These ratios are similar to the results of the first call.
62% of applicants are self-employed and 19% are part-time employed. Also similarly to the first call, the proportion of applicants that are full-time employees is close to that of unemployed (9% against 10%).
In terms of income, 28% earn less than 5,000 euros a year, 28% have a yearly income ranging from 5,000 to 10,000 euros and 21% have an annual income of between 10,000 and 15,000 euros.
* This designation is without prejudice to positions on status, and is in line with UNSCR 1244/1999 and the ICJ Opinion on the Kosovo declaration of independence.