After the multiple advances and setbacks of the past academic year, the ACT Orchestra now begins to show the results of its weekly work. This week we played and paraded around the school, finished recording for our first video clip, filmed our Christmas postcard.
Soon we will publish everything!
The pleasure of making Bida Airada, every year, is inexplicable. It is a family that comes together for good things, with an energy made only of creativity and empathy. The pleasure of doing Bida Airada in July, this year 2020, was even greater, it was an act of faith in culture and people, at a time when we needed it so badly. But then this kind of miracle came: Yesterday, Bida Airada presented the show “How do you Draw a House”, for the second time, in this same year of 2020. Yes, for the second time, in this particular year, and also Susana’s documentary about this year’s process. It was an explosion of noise and love, which recharged our souls for the foreseeable future. Thank you, Bida Airada, for everything.
Photo ©João Roldão
(des- + couros + -ar)
1. Tirar o caroço ou a semente a Couros.
2. [Portugal: Minho] Deslindar; explicar Couros.
3. Contar Couros com minúcia
We’ve been working in Guimarães. Talks, songs, stories, complaints and smiles.
This was a very special edition of the Bida Airada project. Very special for all of us. Thanks to the participants, the artists, the entire 23 Miles team, to the Municipality of Ílhavo.
A Common Place.
Bida Airada’s rehearsals are finally in person. It has all been very safe and controlled, but very fun and exciting. We are so happy. We are building a common house!
Video by Susana Lage
After the Communication Award of Meios & Publicidade, now comes the APCE 2020 Grand Prize for Canal180‘s film about the project we developed for Tremor with Asism Açores, Escola de Música de Rabo de Peixe Music School and an incredible band of musicians from the island.
A hug to the Galp Foundation and Galp Açores, who made this happen.
Next June 8th we will have the honor of being with Hugo Cruz (creator and cultural programmer), Madalena Victorino and Giacomo Scalisi (Artistic Directors of Lavrar o Mar), Márcio Laranjeira (Lovers & Lollypops) and Vera Mantero (dancer and choreographer, O Rumo do Fumo) in the debate “Culture: essential service” promoted by Access Culture.
The “Culture for All” portuguese program, which aims at social inclusion through culture, is no longer a priority. Funds that have not yet been committed (some simply because contracts have not yet been signed) will be allocated to measures to mitigate the direct effects of the pandemic – for example, the purchase and production of health equipment and protective goods. A new line of financing, “Cultural Network Programming”, favors cultural programming with the potential to leverage tourism and allows a different approach – more comprehensive in terms of audiences.
These clarifications on the part of several government agents provoked a heated debate for several reasons: for the view that one has of Culture and its role in society; the understanding of democratic culture; at least the contempt they seem to manifest in relation to working with people who are usually excluded from life in society in general, and cultural participation in particular; by the hierarchy of services considered essential for citizens, where, for example, Health is more essential than Culture.
And it is. That said, during the state of emergency, and now of calamity, most portuguese resort to Cultural services more than (fortunately) Health services. One thing is as essential as the other.
Because the themes associated with this subject are many, in this debate (which may be the first of many) we would like to focus on a specific aspect. Assuming that Culture is an essential asset, how is it perceived by professionals in the sector and guardianship? What language do they use to position themselves in relation to this fact? How do they feel framed by the country’s economic and social logics? Does an essential good need “support” or investment? Is an essential good served by professionals who receive fees or by aficionados who receive charity? Does the support / investment aim to support professionals in the sector or guarantee the right of access for all citizens to enjoyment and cultural creation?
Online debate: access link
This year Bida Airada is taking place at a distance. But we are very happy with the results of the work of this wonderful group of people. We have also been working hard to feed the site, which at the moment is very fun, here:
And the weekly zoom sessions, how have they been going?
And here is Vasco Mendes’ final documentary, which accompanied our entire project for the European Capital of Culture, Valletta2018.
A beautiful poem about Malta, the Maltese people and music. Thank you Vasco!
The Portuguese subtitled version is here:
The premiere had a beautiful conversation with Vasco, Tim Steiner, Airan Berg and dozens of participants. It was so good to see all these people again!