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BRINCAR. Apresentação do projecto e lançamento do super-poster
TO PLAY. Presentation of the project and launch of the super-poster
Event by: Tigre de Papel
Location: Tigre de Papel - Livraria, Rua de Arroios nº25, Lisboa
About event
Tuesday, December 17th, at 6pm
PLAY. Presentation of the project and launch of the super-poster, with the participation of Ana Bigotte Vieira, Isabel Lucena, Pedro Cerejo and Rosa Baptista
BRINCAR is a historical and artistic research project that seeks to work on – and the starting from – artistic and social experiences that occurred with – and for – childhood in the years surrounding the April Revolution of 1974 and the end of the century. XX. Examples of this are experiences such as those at A Comuna – Centro Cultural Casa da Criança, Centro de Arte Infantil do ACARTE/FCG, Oficina da Criança de Benfica, in Lisbon, or Oficina da Criança de Montemor-o-Novo, to name a few, just to the south.
In this session we will present the project by inaugurating a poster that will then be on sale at Tigre de Papel.
Cover image by Júlia Aranda.
Combining archival research and artistic work, its nuclear team is made up of visual artists, historians, anthropologists, designers, teachers, booksellers, parents, children, neighbors... invited to develop specific proposals with the team based on what we have called “minimal units of the play” such as gesture, sound, rhyme, jump, somersault, line, letter, clap, etc.
More than a fusion of the arts, or complex and elaborate entertainment proposals for an audience of a certain age group, the aim here is to rescue simple ideas of play and escape from a professionalization of play that excuses others from do and separate those who have children from those who do not. It also has to do with questioning the place left to children and their caregivers today, closed in schools and dispersed across specialized activities by age group – an experience very different from that found in archives, when we undertake research into the daily lives of artists. in the post-revolution of 1974. And, in fact, the disappearance of children from public space, the increasingly hyper-specialized separation into age groups and specialized skills, and the decrease in the practice of free play are very noticeable, which makes us think about the own way of organizing the city and today's life as a whole.
History
In the years following April 25, 1974, the Casa da Criança was founded, in the building of theater the Comuna, in Lisbon, where disadvantaged children from the surrounding slums spent their free time. A few years later, the Oficina da Criança was founded in Montemor-o-Novo, a project that still continues today and that would be decisive for local culture. In 1984, the ACARTE Children's Art Center opened its doors at the Calouste Gulbenkian Foundation (FCG), also known as "centrinho", a place that would cross paths with all the others, due to the support and training provided by a network of places where childhood is lived as childhood - without infantilizing it - and allowing adults access to play. In the "centrinho" decades of pedagogical experimentation by Madalena Perdigão and her team culminate. This network will include a series of groups, schools and workshops across the country.
I have repeatedly come across archival materials from these experiences since my PhD thesis on the FCG's ACARTE Service (of which the "centrinho") until, recently, the archives of Independent Theater companies from 1970-19780 within the scope of the FCT ARTHE/Arquivar o Teatro project, of which I am Co-Responsible Investigator. I have also done a series of Oral History interviews (both for the thesis and at ARTHE) in which these experiences are told to me. This project, which is called Playing in homage to the Salette Tavares exhibition at Galeria Quadrum in 1979, is part of archival research, both at Teatro A Comuna/Casa da Criança and at Oficina da Criança, in Montemor-o-Novo, in a first moment, such as from the family archives of Salette Tavares or Teatro O Bando, at a later time to, bringing together a group of artists, reinvent them with them.
Curadoria Ana Bigotte Vieira
Ana Team Bigotte Vieira, Isabel Lucena, Rosa Baptista, Pedro Cerejo, Maria Prata and guests
Design Isabel Lucena
Production Maria Folque Guimarães
Partnership Oficinas do Convento, BUALA, Tigre de Papel, O Espaço of Time
PLAY. Presentation of the project and launch of the super-poster, with the participation of Ana Bigotte Vieira, Isabel Lucena, Pedro Cerejo and Rosa Baptista
BRINCAR is a historical and artistic research project that seeks to work on – and the starting from – artistic and social experiences that occurred with – and for – childhood in the years surrounding the April Revolution of 1974 and the end of the century. XX. Examples of this are experiences such as those at A Comuna – Centro Cultural Casa da Criança, Centro de Arte Infantil do ACARTE/FCG, Oficina da Criança de Benfica, in Lisbon, or Oficina da Criança de Montemor-o-Novo, to name a few, just to the south.
In this session we will present the project by inaugurating a poster that will then be on sale at Tigre de Papel.
Cover image by Júlia Aranda.
Combining archival research and artistic work, its nuclear team is made up of visual artists, historians, anthropologists, designers, teachers, booksellers, parents, children, neighbors... invited to develop specific proposals with the team based on what we have called “minimal units of the play” such as gesture, sound, rhyme, jump, somersault, line, letter, clap, etc.
More than a fusion of the arts, or complex and elaborate entertainment proposals for an audience of a certain age group, the aim here is to rescue simple ideas of play and escape from a professionalization of play that excuses others from do and separate those who have children from those who do not. It also has to do with questioning the place left to children and their caregivers today, closed in schools and dispersed across specialized activities by age group – an experience very different from that found in archives, when we undertake research into the daily lives of artists. in the post-revolution of 1974. And, in fact, the disappearance of children from public space, the increasingly hyper-specialized separation into age groups and specialized skills, and the decrease in the practice of free play are very noticeable, which makes us think about the own way of organizing the city and today's life as a whole.
History
In the years following April 25, 1974, the Casa da Criança was founded, in the building of theater the Comuna, in Lisbon, where disadvantaged children from the surrounding slums spent their free time. A few years later, the Oficina da Criança was founded in Montemor-o-Novo, a project that still continues today and that would be decisive for local culture. In 1984, the ACARTE Children's Art Center opened its doors at the Calouste Gulbenkian Foundation (FCG), also known as "centrinho", a place that would cross paths with all the others, due to the support and training provided by a network of places where childhood is lived as childhood - without infantilizing it - and allowing adults access to play. In the "centrinho" decades of pedagogical experimentation by Madalena Perdigão and her team culminate. This network will include a series of groups, schools and workshops across the country.
I have repeatedly come across archival materials from these experiences since my PhD thesis on the FCG's ACARTE Service (of which the "centrinho") until, recently, the archives of Independent Theater companies from 1970-19780 within the scope of the FCT ARTHE/Arquivar o Teatro project, of which I am Co-Responsible Investigator. I have also done a series of Oral History interviews (both for the thesis and at ARTHE) in which these experiences are told to me. This project, which is called Playing in homage to the Salette Tavares exhibition at Galeria Quadrum in 1979, is part of archival research, both at Teatro A Comuna/Casa da Criança and at Oficina da Criança, in Montemor-o-Novo, in a first moment, such as from the family archives of Salette Tavares or Teatro O Bando, at a later time to, bringing together a group of artists, reinvent them with them.
Curadoria Ana Bigotte Vieira
Ana Team Bigotte Vieira, Isabel Lucena, Rosa Baptista, Pedro Cerejo, Maria Prata and guests
Design Isabel Lucena
Production Maria Folque Guimarães
Partnership Oficinas do Convento, BUALA, Tigre de Papel, O Espaço of Time