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1. INTRODUCTION
The protection of personal data is a priority of Ágora – Cultura e Desporto do Porto, EM., S.A. (hereinafter referred to as Ágora). The adopted privacy and personal data protection policy clarifies which personal data are collected, for what purposes they are used, which principles guide the use of such data and the rights that their holders enjoy.
Ágora is a local company of a municipal nature, endowed with statutory, administrative and financial autonomy, incorporated on September 29, 2006 (then as Porto Lazer E.M.), whose share capital is fully owned by the Municipality of Porto, under the terms of the Legal of Local Business Activity and Local Participations.
Its corporate purpose is the promotion and development of culture, physical activity and sport, other entertainment activities in the City, as well as the promotion and development of brands associated with the City of Porto, in addition to activities determined by the management of the spaces and equipment that are under its management.
2. CONTEXT
This policy applies to all those who, in any way, have a relationship with Ágora.
3. RESPONSIBLE FOR DATA PROCESSING
As the person responsible for processing the data entrusted to it, Ágora:
– Ensures that the processing of personal data is carried out within the scope of the purposes for which they were collected or for purposes compatible with the initial purposes;
– Assumes the commitment to implement a data minimization culture in which it only collects, uses and conserves necessary personal data;
– Does not disclose or share personal data for commercial or advertising purposes.
4. HOW PERSONAL DATA ARE USED
Ágora uses the personal data provided in an application, communication, complaint, participation or on the website, to respond to requests received, as well as for statistical purposes, continuity of service and participation in events.
In addition, it collects the information provided by its interlocutors, such as comments, suggestions and criticisms/complaints, with a view to constant improvement.
5. PERSONAL DATA COLLECTED
The personal data collected depends on the context of interactions with Ágora, within the scope of its activity.
The data collected may include the following items:
Identification:
– Name
– Age
– Tax identification number
– Citizen Card/Identity Card Number
– Social Security number
Financial/Payment Data:
– Bank identification number
Institutional data:
– Institutional email
Contacts:
– Household
– Email address
– Phone/mobile number
Image:
– Image of security cameras
6. PERSONAL DATA OF MINORS
The personal data of minors, the collection and processing of which does not result from a legal basis or from the exercise of public interest/public authority functions, will only be collected and processed with the express consent of the holders of parental responsibilities or guardians. Holders of parental responsibilities or guardians have the prerogative to exercise their rights over the personal data of minors under similar conditions to those of data subjects.
7. COLLECTION AND PROCESSING OF SPECIAL DATA
Personal data may be of a more sensitive nature in certain situations, classified by the General Data Protection Regulation (GDPR) as "special categories of data", which include, among others, health data.
The processing associated with special categories of data deserves increased protection in the GDPR and is subject to specific technical and organizational safeguards. In this sense, the addition of documentation that incorporates special categories of data should only be carried out when such data appear as instructive or optional documents in the forms made available and advertised by Ágora.
8. REASONS WHY DATA IS SHARED
Ágora only shares personal data with third parties in the exercise of public interest/public authority functions, in strict compliance with legal obligations, or with the prior consent of the holder.
9. SECURITY OF PERSONAL DATA
Ágora uses a set of technologies, tools and security procedures, making the best efforts to protect personal data from unauthorized access, use or disclosure.
10. HOW TO ACCESS AND CONTROL PERSONAL DATA
Ágora allows, at the request of its holder, access, rectification, limitation of treatment and erasure of personal data. The data subject also has the right to object to the processing of his/her personal data.
If the use of personal data is based on consent, the data subject has the right to withdraw it, without compromising the validity of the data processing carried out until that moment.
Ágora's Data Protection Officer (dpo@agoraporto.pt) can always be contacted to clarify all questions related to the processing of personal data and exercise of rights as a holder of personal data.
11. RIGHTS OF THE DATA HOLDER
The data subject has the following rights:
Right to be informed – right to be informed, in a clear, simple and transparent way, about the processing of your personal data by Ágora.
Right of access – right to access personal data concerning you and which are processed by Ágora.
Right of rectification – if you find that Ágora has incorrect, incomplete or inaccurate personal data that you own, you have the right to request its correction or rectification.
Right of opposition – right to oppose the processing of data by Ágora. However, legal or public interest grounds may prevail over the right of opposition.
Right of limitation – right to request the limitation of the processing of your personal data by Ágora, to certain categories of data or purposes of treatment. However, legal or public interest grounds may prevail over this right.
Right to erasure of personal data or "right to be forgotten" – right to request the erasure of your personal data, if there are no legal grounds or public interest that justify the conservation of that personal data.
Right to withdraw consent – whenever the processing of your personal data is carried out on the basis of your consent, you have the right to ask Ágora to stop carrying out this treatment.
Right to portability – right to receive personal data concerning you, in a commonly used and machine-readable digital format, or to request the direct transmission of your data to another entity, but in this case only if technically possible.
12. PERSONAL DATA RETENTION
Ágora retains personal data for the necessary and reasonable period and within the scope of the purpose(s) for which they are collected.
Conservation periods may change significantly when archival purposes of public interest or historical, scientific or statistical reasons justify it, and Ágora is committed to adopting appropriate conservation and security measures.
In order to determine the appropriate retention period, Ágora takes into account the various deliberations of the European data protection control authorities, namely the CNPD, and the Archival Regulation for Local Authorities (Portaria nº 412/2001, of 17 April and 1253/2009, of October 14).
The data will be deleted as soon as they are no longer necessary for the defined purpose(s) or when consent is withdrawn.
13. COOKIES AND SIMILAR TECHNOLOGIES
Ágora uses cookies (small text files that a website, when visited by the user, places on their computer or mobile device through the internet browser) to provide online services, assist in data collection and save settings, taking into account to improve performance and user experience.
14. SOCIAL NETWORKS
15. CONTACT INFORMATION
For more information about Ágora's privacy practices and personal data protection, you can send an email to: dpo@agoraporto.pt.
16. CHANGES TO THIS PRIVACY POLICY
This privacy and personal data protection policy will be updated regularly, whenever justified.
When changes to this policy are published, the respective update date will be changed at the same time.
It is recommended to periodically consult the privacy policy and protection of personal data to obtain information on how Ágora protects personal data and to update the information and rights of data subjects.
Suggestions for improvement can be made via email dpo@agoraporto.pt.
Last update date: May 11, 2022
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Beatriz Valentim
— Dancer and choreographer —
The body is matter; it takes up space, it has consistency and density. Therefore, the body inscribes itself and inhabits states and spaces. As with time, the human being, as a social being, experiences, lives and acts in space.
Self, as a performance, is this adaptation of the body to the space.
The staircase of Casa do Design de Matosinhos is already the third space that this performance inhabits. The first space, still in a very embryonic stage, was the lobby of studio 6 of CND – Centre National de la Danse, in Paris (France).
In the workshop directed by Dimitri Chamblas, at Camping 2020, organized by CND, it was proposed to us to develop a solo to inhabit a space in the building, chosen by us. The space I chose (figure 1) was the access hall to the studio where we were working at the time. The blue sofas soon aroused my interest, given their intense color and geometric shapes.
At that time, in June 2021, considering this very concrete spatial proposal by Dimitri – creating a performance for a certain space at CND, without a exact duration – I assumed that the work should start from and orbit around the concept of space. It should also be noted that, taking into account the pandemic context, very present in 2021, and after having written a text about the body and its social occupation 1, it made sense for me to continue this research on space and the new configurations that it was presenting. The body, used a priori to move in a large space, such as a studio or a stage, had to limit itself here to the space outlined by the sofas, in a more or less random format found by me. After improvising and defining the choreography, I "stuck myself” inside the sofas and tried to adapt all the movement. The same happened in September 2021, at the Festival Interferências, at the Pancas Palha Palace, in Lisbon, where, once again, I chose the space before moving on to the creation of the performance – in Paris (France), this piece was presented as a “work in progress”, in a solo version.
In Lisbon, the body once again knew and felt another space – outdoors, oval-shaped, and a little larger than the previous one. The body also felt another presence, that of Mercedes Quijada, with whom I share this duet.
Currently, this show will be presented on the staircase of the Casa do Design de Matosinhos, in Matosinhos (figure 2).
This is a very different space – wide, without the blue color, with a different layout for the audiences, and, above all, a public and gathering space. The whole approach to the space is different from the one we've already experienced. It is important to note that the creation of the show starts from the space, privileging it at the same time. The show is the self (the “I” and the “me”) and the space is every stage, where this relationship of adaptation and interaction takes place. Theatre and the performing arts are the relational place for performers and audiences; and between them, with the space in which they both meet.
Each body is space and has space; it is produced in space, while producing that space. Space production is a production of meaning. We can then say that the dynamics of the body are based time and space-related; and the space is mediated between the self and the world – through space, I understand and live the world. In space, I find the world, and I relate to it; there is, in each body, a unique feeling of space, and dance is a great example of this, either by our constant movement, or by a possible more detailed perception of the space that is being occupied.
In closing, I present the definition of “self”, considering this work and starting from a sociological perspective:
The self is the body and the continuity of our existence, it’s related to our ability to see ourselves as one and as a whole, making us unique and private. The sense of self is nevertheless irreducible to our sociality. What happens in the level of “the I” and personal identity interferes in the social level and vice versa. Why is that? Because we live in a contemporary society, where the dynamics and influence of institutions and the ways in which habits and traditions are broken have a strong impact on our lives.
1 Valentim, B. (2020). O corpo social e o corpo físico: o presente e o futuro in Atos de intimidade: cartografias para uma prática artística. E-book Cadernos da pandemia do Instituto de Sociologia da Universidade do Porto, vol. 1 (in press).
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