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Notícias / News - Arquivo / Arquive - 2016


Creative Connections was a fascinating project in many respects: it included complex interactions, research and provided a rich basis for research in the area of European Citizenship within the domain of education. Drawing together research expertise and the perspectives of educators and children in six countries was a challenging endeavour but one which was realised through innovative research methods and the development of new technologies for teaching and learning. Creative Connections also occurred during a time (2012-2015) when the very foundations of modern Europe and the European Union were shaken by the global economic recession. The work in schools and our subsequent reflections and data analyses has produced research that helps to enlighten our understanding of how we exist within fragile constructs of nationhood, societies and individual belonging. However, within such turbulent times, we were often buoyed by the sense of commitment and determination to challenge and change that were shown by the educators and the children who worked with them. Central to the project was the creation of a digital catalogue - essentially a means of sharing and reflecting on art and the ideas of artists. This way of creating and publishing art in an online environment allowed the children to analyse the work of contemporary artists and to see themselves as authors/creators - "real artists" whose own work was showcased alongside that of practicing professionals. Such opportunities are unusual for young people and their contributions provide a sustained legacy for others to access and use. Creative Connections has provided opportunities to question stereotypes, to challenge how we share information and how we can create sustainable relationship between nations both now and in the future.


Mary Richardson



Twenty six DocNomads students traveled in November 2015 to Viana do Castelo, for 15 days of an intensive practical filming workshop that resulted in 13 short movies, of 5 minutes, about local characters, as a result of a partnership with the Higher School of Education of Viana do Castelo Polytechnic (ESE-IPVC), AO NORTE – Audiovisual Production and Animation Association, Ethnographic Association of Areosa and AXIS Hotel.

This workshop was supervised by the film directors Tiago Hespanha and Margarida Cardoso and with a special guest, the Peruvian film director – one of the most important names of documentary cinema in the world – Heddy Honigmann.  This workshop had the collaboration of 13 students of the Arts and Cultural Management undergraduate course  from ESE-IPVC that collaborated with the filming teams, at all stages, from research to the final editing of the movies.

From November 2nd to 14th, the classes and masterclasses took place at the ESEVC-IPVC’s auditorium. Heddy Honigmann masterclasses (November 5th, 6th and 7th) were opened to registration according to the available seats (check schedule and registration process at

Every partner that helped creating this workshop believes in its relevancy, not only at the training aspect, but as a multicultural and ideas exchange experience. Acceptance and understanding of cultural differences and tolerance are the greatest asset in the difficult days that we are living today. During those 15 days, Viana do Castelo saw a lot of young people, from every nationality, walking around carrying their cameras and microphones, thereby training the art of film and the gift of capturing the cultural and human heritage.  

DocNomads is an international master focused in documentary, which results of a partnership of universities from Portugal, Hungary and Belgium: Lisbon’s Lusófona University, Budapest’s University of Theater and Film Arts, and Brussels’ LUCA University. The underlining idea is for students to be able to live in different cultures and societies, giving them a bigger sensibility to execute their documentaries in different cultural and societal contexts from their own, therefore travelling from Lisbon to Brussels via Budapest is mandatory to all students. The classes are in English, and the course has a duration of two years, 120 ECTS. Lusófona University welcomes the students in the first and forth semester. The 4th Edition (2015-2017) is currently taking place and the movies made by the students of previous editions have had very positive results. Most of them were shown in hundreds of festivals, some of great importance like the IDFA – Amsterdam, Locarno’s Festival, FID Marseille or DocLisboa, where they have won awards and honours. One of the movies won the “Goya” in 2015, the most prestigious award of cinema in Spain.

DocNomads’ study plan gathers theoretical and practical components with masterclasses from renowned professionals and miscellaneous cultural experiences, like participating in festivals and also field work in several locations in Portugal, so that the students may have direct contact with the world and the culture that surrounds them.  It’s a practical master oriented to the documentary of creation, encouraging the students to develop a strong and authorial language. The evaluation consists in several essays and three short films about a place or a character, which instigates the students to explore and find stories to tell.

More detailed practical information about DocNomads can be consulted in the website: The master is open to any graduated person in Cinema or Media. Independent filmmakers are also accepted, as long as a good portfolio and strong knowledge of English is presented and proven.
During the selection process, the students should make a presentation movie where they show “their world”, physical or psychological, and also present a qualification certificate or recommendation letter. The movie will be evaluated by the people responsible for the project, namely teachers of the three universities. The second stage will be an interview via Skype, where the candidates’ social skills will be evaluated, to make sure that they are fit to be part of the experience.  DocNomads is associated with a scholarship program granted by the European Commission, since this master is integrated within the Erasmus Mundus programme.


Docnomads’ visit to Viana do Castelo ended with a presentation of a Performance by Guelra | Gabriela Barros & Play Bleu, Arte Total production, which is a transcreation Choreographic Laboratory is a multidisciplinary laboratory interaction and artistic interconnection whose poetics creates the transfiguration and trial experience and memory of the city,embodied by the hybrid movement of bodies in their trans-substantiation and other bodies average. Each laboratory is guided by a guest artist. During one week of testing, the link-up survey of four main points: space, memory, the body and writing, using the city map - Use it Braga - and its shift to a pre-defined artistic intervention zone.

“Communicate. Impossible not to communicate. Words, images, music, movement, standing, facial expressions, all serve to communicate. We communicate all the time and forever. But will the message arrives as we want? Or is the message inside as something that only those who understand the issues altogether? In this project entitled Gill let's add two arts that we believe are a rich source of communication and realize that walk through the paths such message. We want to use various forms of communication, several bodies, multiple languages, multiple spaces. We want to take BRAGA for this project.”

[Text Gabriela Barros]


Gabriela Barros

She was born in 1985. She graduated in Engineering, Environmental Health, working the monograph and the final project of the course together with the area of ​​dance under the guidance of Ana Macara and Cristina Mendanha. Studied dance at the Arte Total. Since 1998, she has worked as a dancer with choreographers such as Cristina Mendanha, Joana Domingues, Maria Reis Lima, Margaret Serrao, Paola Moreno, Agnes Villasmil, Aldara Bizarro, Paulo Henrique, Peter Michael Dietz, Paula Castro, Joan Providence and Madalena Vitorino. Currently, she collaborates with Total Art in administrative project management and at the same time takes up teaching positions in various institutions.


Play Bleu [Filipe Lopes]
He was born in Braga in 1972. He began his training with the multimedia course at the School of Professional Braga (1996) and attended the Photography courses in Arts School in Vila Nova de Cerveira (1999) and Multimedia Arts in School and Professional Tree in Port (2005). The relationship of their work to the design, photography and video was reflected in a number of advertising jobs and in individual projects that began to gain visibility with the blog Play Bleu. Through the projects in partnership with Total Art, has worked with choreographers Maria Inés Villasmil, Valentina Parravicini, Micahel Peter Dietz, Romulus Neagu and Paulo Henrique. His latest work, "So far, so close" was awarded the Creativity prize / Shair in the 2014 edition of Fast Forward - Film Festival.


Artistic and programming direction: Cristina Mendanha

Sound: João Figueiredo

Ballerina: Ines Pereira


From 10th to 15th May, 2016.


INTERNATIONAL VIANA MEETINGS OF CINEMA organized by AO NORTE Association and the Town Hall of Viana do Castelo are an unique experience in the cultural context of the region and the country. It provides a common space for sharing, training and debate for students of cinema, and schools of the region, film association of Portugal and Galicia and the public in general. This event is enriched with active participation of professionals of this artistic context.

Local: Teatro Sá de Miranda / Viana do Castelo





It is impossible to describe the undertaking of the coordinator of the Painting workshop at the International Biennial of Vila Nova de Cerveira without recognizing, first and foremost, his plastic sensitivity, his painterly gestures and the unusual spontaneity and chromatic purity of his varied and expressive palette.One could say that Henrique do Vale thinks with colour and humour, that he reveals the rare capacity to motivate those that for the first time set foot in a painting studio, allowing them to experiment, keeping in mind the individual expressive authenticity, be they recognized artists or those just starting their careers.Angolan-born, and living in Vila Nova de Cerveira, Henrique do Vale has been embodying the soul of the Biennial, alongside other artists that, for 27 years, have never given up fighting for its survival. Among those, it’s fair to highlight Jaime Isidoro, José Rodrigues, Henrique Silva, Margarida Leão e Augusto Canedo, besides the awarded, and acknowledged Júlio Resende, Fernando Lanhas, Nadir Afonso, Artur Bual, Eurico, Margarida Reis, Ângelo de Sousa, Álvaro Lapa, Manuel Baptista, Clara Menères, Gracinda Candeias, Dacos, Zadoc, Rodrigo and Isabel Cabral, Robert Schad, Albuquerque Mendes, Gerardo Burmester, Justino Alves, Emerenciano, Américo Silva, Rui Pimentel, Mário Américo, Carlos Barreira, Jaime Azinheira, Rui Anahory, Paulo Neves, Sobral Centeno, Carqueijeiro, Francisco Trabulo, Joana Rêgo, Ana Vidigal, Miguel d’ Alte, Álvaro Queirós, Agostinho Santos, Ana Maria, among many others, Portuguese or not. The Via Nova de Cerveira Biennial is an event of primordial artistic relevance, in Portuguese and international culture.


Dalila d’ Alte Rodrigues

(Painter, PhD in Sciences of Art, belongs to C.I.E.B.A. Research Centre – Research Centre at Fine Arts, Faculty of Fine Arts, University of Lisbon)


Sudha Daniel is a British artist who had collaborated with Viana do Castelo Polytechnic as an Artist in Residence in Painting, between 2007 and 2009. He also taught some students on the under & postgraduate Course in Art Education and ran several workshops on oil painting for the community there.

In the past, he was a curator of Multicultural Art at Leicestershire Museums in England and at the Commonwealth Institute, London, where he interpreted the art and culture of 7 Asian countries. Subsequently, he worked as Senior Lecturer in Fine Art at the University of Derby for 14 years. Nowadays he is engaged in full-time painting, his passion and forte; his paintings are on the theme of the Cosmos, inspired mainly by Hubble Space Telescope imagery. In recent years his artwork has been shown in several venues in Britain and on a large electronic LED outdoor screen at the Cultural Centre, Perth, Australia for a whole month. His Cosmos Art is due to be shown at significant universities and other venues across the world soon.

In June 1st of 2015 Sudha Daniel exhibited his Cosmos Artwork during the International XI Conference of Arts at the Higher School of Education, Viana do Castelo Polytechnic. His art was seen in the main Hall at this venue by thousands of children and adults who participated in the celebrations of the Children’s World Day and the United Nations 2015, International Year of Light.


Latest show:  OUTDOOR PROJECTION of COSMOS paintings, Derby University Multi-Faith Centre, United Kingdom.

As part of the celebration of Inter-Faith Week, the University of Derby Chaplaincy, in conjunction with the Multi-Faith Centre, has arranged for ‘Splendour of Cosmos’, a work by international artist Sudha Daniel, to be projected onto the exterior wall of the Multi-Faith Centre.

These colourful paintings celebrate the beauty of the Cosmos, bringing art, astronomy and spirituality together in a unique and spectacular way and so, they not only make a fitting subject for Inter Faith Week at the Multi-Faith Centre, but also link well with the celebration of 2015 as the United Nations International Year of Light.

Sudha, who is a former Fine Art lecturer at the University of Derby, says that the curvature of the MFC wall enhances the nature of the subject as nothing out there in the Cosmos is a flat surface.  In his personal statement, he writes:

“As a subject for painting and as a colourist I find the Cosmos very exciting, uplifting and liberating, stretching my imagination to the limit. What a gift and pleasure to celebrate the stunning beauty, awe, wonder, magic and the huge mystery of the infinite Cosmos of which we are an integral part !”

Projection of the images will take place on  Mon. 16th Tue. 17th and Wed. 18th November 2015, between 4pm and 6pm and will be made possible through the endeavours of the College of Engineering & Technology students from Derby University.

 In 2014, Sudha’s Cosmos artwork was successfully projected outdoors at the Cultural Centre of Perth, Australia, and the artist hopes to show his work at other suitable venues across the world.

Below is an image of the Multi-Faith Centre where the Cosmos images will be projected; plus Sudha’s lead painting, 'Phoenix Nebu Sphere' from his Cosmos paintings series.


                           Multi-Faith Centre, University of Derby, United Kingdom                 “Phoenix Nebu Sphere” painting, oil on canvas, from his Cosmos Art series


The International Forum of Arts and Cultural Management – FIGAC – it is a scientific and cultural event promoted by the undergraduate course of Arts and Cultural Management (BA), since 2010, at the Higher School of Education, of Viana do Castelo Polytechnic (ESE-IPVC), Northern Portugal.

FIGAC aims to promote dialogue and reflection on aspects related to contemporary cultural management at national and international level, and it has the medium term aim of establishing itself as a reference with regard to the dissemination of good practices, promotion and discussion of scientific literature on contemporary topics on cultural management.

In the first six editions of FIGAC, the final year students of the degree course of Arts and Cultural Management promoted and produced, in the Alto Minho region, a set of very diversified activities - training events, conferences, debates, exhibitions, lectures, performances, artistic residencies - which included the participation of hundreds of students, teachers, researchers and professionals from the, national and international, cultural and creative sector.

The VII edition of FIGAC will take place on June 2nd and 3rd, 2016, and will address the following theme “Cultural Management: Training and Professionalization”.

Discussions focus this year will be: Cultural Management Genealogy, Training and Professionalization Identity of the Cultural Manager in the XXI century; Training of Professionals of the Cultural and Creative Sector; Employment in the Cultural and Creative Sector; Mediation and Cultural Management; Cooperation and Internationalization of Cultural Manager.

We hope you will join us in this discussion about Contemporary Cultural Management.


Manuel Gama


More information is available at:


This book starts from the assumption that a new artistic paradigm is emerging, which involves the construction of a continuously renewed knowledge, both in conceptual and relational dimensions and its consequences on art education in of initial teacher training.    This project focuses on the awareness of the need to integrate art education in initial teacher education, on the horizon of contemporary issues such as: subject based identities, changes in teaching and learning, disbelief on educational justification systems, changings in art concepts and artistic practices and changes in behaviour and envisioning the future.

The study starts from a review of current literature and the opinion of arts education keys experts on the value and relevance of contemporary art in teacher education. In a second stage it   includes a framework of competencies to be acquired by the students during their course and the implementation of a pedagogical project focused on contemporary art as pedagogical practices.

In this context, the study analyses theories and pedagogical practices offering new lines of action for teaching and learning based on Post Modern Curriculum and Critical Pedagogy. The study presents ways to improve initial teacher training courses by redefining students' roles as builders of their own knowledge and identity.

Keywords: Arts Education, Contemporary Art, Initial Teacher Training, Critical Pedagogy.


Contemporary Art for a Critical Pedagogy

(Oliveira, M. (2015). A Arte Contemporânea para uma Pedagogia Crítica. Porto: APECV. ISBN: 978-989-99073-4-8)


Art education that does not keep abreast of developments in the contemporary art world eventually becomes irrelevant. It is with this idea in mind that I started work as artistic director of the second edition of the Valletta International Visual Arts festival (VIVA) in Malta in 2015. VIVA is a new, modestly-sized festival, made to the measure of the island of Malta’s limited cultural budget, facilities and human resources. Yet, there are virtues in smallness, amongst which I would include the relative ease of establishing networks and creating projects that impact cultural stakeholders on a national scale. In fact, the festival was initiated to establish international connections that could contribute positively to a developing local artistic scene and to bring important curators and visual artists to Malta. In the 2015 edition, held in September-October, the festival included the work of international artists such as Yael Bartana, Femke Bakker, Libia Castro & Ólafur Ólafsson, Khaled Jarrar and Zineb Sedira but, given the general title of this edition (“Communities and Contexts”), I decided to upgrade the festival by complementing its cultural events with a researched educational programme that would bring different members of the public and communities into contact with contemporary art and visiting artists as well as curators like Fulya Erdemci, Simon Sheikh, Adam Budak and others who were invited to present their ideas in a Curatorial School. VIVA would thus provide the framework for new educational encounters that would in turn advocate for the significance of the arts in our lives.

One of the most noteworthy educational projects in VIVA 2015 was unLOCK, a project by Maltese art educator Pierre Mifsud held in collaboration with a group of male inmates from the national correctional facility. Mifsud met these prison inmates many times over several months, teaching them in a makeshift ‘studio’ created to permit them to work creatively. Inspired by Ai Weiwei’s work about his own imprisonment in China—an installation called S.A.C.R.E.D. and shown at Sant’Antonin church at the Venice Biennale in 2013 (a work that the inmates had only seen in reproductions)—they decided to work collaboratively in order to “bounce back to the Light,….living a sense of inner freedom, always in continual self-discovery”, as one inmate stated. Their collaborative piece was a very large, grey box with keyholes through which individuals could look to see individual sculptural metaphors of the inmates’ desire for a better life.  Its installation in the basement of the School of Art led to its being shown to a much larger public, including family members of the inmates.

Another educational project that formed part of VIVA was What’s your secret?, conceived by curator Mare van Koningsveld and Dutch artist and educator Yvonne Blaauw. What’s your secret? was composed of a series of educational workshops held in homes for the elderly in Holland and Malta. The ‘secret’ that each elderly participant was asked for was the secret of successful ageing, which each participant was expected to represent visually and/or textually on a postcard. These postcards were then sent to their counterparts in the other country’s home; hence, the Dutch postcards travelled to Malta while the Maltese postcards went to Holland.

Two other educational workshops forming part of VIVA were intended for youths. A weeklong drawing workshop with German artist Christoph Schäfer called Imagination and the City was held in a community centre belonging to a group of volunteers working in the parish of St Paul’s in the capital city, with excursions around the streets of Valletta. The second youth project, Youth identity portraits, was organised by art educator Charmaine Zammit in collaboration with a national youth agency, and urged young participants to discover themselves through a deep engagement with works in the festival as well as other works at the National Museum of Fine Arts in Valletta.

In the best of conditions, formal schooling can be a tool of advocacy for the arts. The problem, perhaps, is that it usually isn’t sufficiently effective.  There are various reasons for this, amongst which we could mention: the general perception that art is a ‘soft’ school subject, not meant to take up too much time from the daily timetable; the separation between the kind of activities that fall under the category ‘art’ at school and whatever is called ‘art’ in the art world; the lack of provisions for art in many schools and curricula. If we really believe that the arts contribute in a substantial way to the intellectual, emotional and social development of each human being, regardless of gender, age, cultural background and economic class, then we need to work to improve the situation of the arts in our formal educational systems. Many art teachers and arts educators based in universities have dedicated their lives to doing this. Yet, if we want the arts to be relevant to the lives of individuals and communities in our contemporary world, we need to look beyond compulsory schooling too and think of the arts as a lifelong process that reinvigorates the self and society. Hence, the implementation of non-formal art educational projects in different contexts is essential to improve the professional and social status of the arts, to develop new cultural and social networks through the arts, and to help people who have ‘failed’ during their schooling years reconnect with the world.


Raphael Vella is an art educator based at the Department of Arts, Open Communities and Adult Education at the University of Malta.  He is also active as a visual artist and organiser of arts events and workshops. The Valletta International Visual Arts Festival is organised by Valletta 2018 Foundation, St James Cavalier Centre for Creativity, Agenzija Zghazagh and Arts Council Malta.


Jesus returns to earth. After meeting activist Magdalene who is fighting for a better world, he becomes embroiled in three problematic situations. He meets an extremist ecological group, which is plotting to destroy a maize plantation it believes to be genetically modified. Then, he observes the rise up against a tourist development that is to be built in a forest reserve. Finally, he witnesses an armed conflict between blacks and gypsies. Along this journey, he meets a series of characters: the ecologists already mentioned, a priest who forces him to take confession, a corrupt local politician, unscrupulous contractors, a police commander forced to play Pilate, the inhabitants of run-down neighbourhood, a wizard who solves all the problems, and a black boy and a gypsy girl in love (Romy and Julian). However, although he limits himself to accompanying Magdalene attempting only to pacify those on bad terms, even then Jesus is unable to escape the fury of mankind. And only the con man – Professor Kacimba – will recognise him. Using irony and sarcasm, The Second Coming of Jesus to Earth broaches recent phenomena of social and political conflict.


The second coming of Jesus won the silver medal in the 2015 Latino Book Award.

Web page -


ESE in particular and the IPVC in general has been consistently promoting entrepreneurship of students and teachers by encouraging competition to external financing, at the level of Poliempreende programs and others.

On the other hand, the employability of students and the provision of services abroad are criteria valued by the external evaluation of courses and a challenge already diagnosed in students of ESE and all IPVC.

In this sense, the idea of ​​creating a club about "educational technologies” arises. This club aims simultaneously for:

  1. The creation of a platform that allows students to develop projects about "educational tools" and make these projects likely to constitute marketable products or by achieving the same for entrepreneurial strategies.

  2. The promotion of research associated with ESE’s courses, allowing teachers from all over the IPVC with interest in the field of education, develop research projects that use the material tools and the knowledge and experience developed in this club.

With this club, the team aims at developing a functional structure within the ESE/IPVC that supports research in the creation and optimization of educational tools and serves as a foundation for the creation of a future research unit on this theme.

João Moura

Anabela Moura

Carlos Almeida

Luísa Neves

Joaquim Escaleira

João Pereira


Institutions Involved: Câmara Municipal de Viana do Castelo, Viana do Castelo Polytechnic Institute and De Montfort University


The Festas de Nossa Senhora D’Agonia, one of the oldest and largest festivals held in Portugal is the subject of research being carried out by the Escola Superior de Educação of Instituto Politécnico de Viana do Castelo with the collaboration of De Montfort University, Leicester, UK.  This investigation into the festival’s artistic, cultural, economic and social impacts has several aims which include identifying how Festival d’Agonia can become more sustainable, and less dependent upon public sector funding, through identifying additional funding/income streams and partnerships that will strengthen its overall position within the cultural offer which is available at local, regional and national levels. It promoted contact with a range of existing and new stakeholders/beneficiaries and provided all parties with a deeper understanding of the benefits that result from the festival and importantly how these benefits can be developed in order to assist the festival in becoming more sustainable. A pilot study has been developed in collaboration with Viana Festas and the Municipality of Viana do Castelo; this began in June 2014 and was completed with a short report in January 2015. This pilot study has focused on one aspect of the festival, the ethnographic procession held on Saturday 23rd August, in order to test the proposed research methodology and explore the diversity and response of the audience at this event.

This research is unique within Portugal in terms of its scope, depth and breadth. It is an innovative response to the need for publically funded cultural activities to demonstrate ‘value for money’, a requirement that has increased in importance as a result of the current economic crisis and the resultant pressure on public sector budgets. It is anticipated that these insights will have demonstrable benefit to public authorities, crafts makers and the wider artistic and business communities at local, regional and national levels. One of the key topics is tourism and the extent to which the festival attracts cultural tourists and visitors from other parts of Portugal and Europe, in particular. It is proposed that the research will examine and therefore identify how the tourism potential can be developed through stronger partnerships between the festival, local business and other cultural attractions in the municipality and the wider region.

The outcomes of this research are of interest to other agencies too, thus dissemination of the results across Europe has been an important goal. The research derived recommendations from the pilot study which can then be applied in the future. Dissemination has been including presentations at selected conferences in Portugal and other European countries plus other academic outputs.


All materials will also be made available on a website along with recommendations for developing further work in this emerging field of festival and event studies. The pilot project has been funded by the Local Municipality, Viana do Castelo Polytechnic and De Montfort University.


Anabela Moura & Christopher Maughan (Coordinators)

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