OLYMPIC AND PARALYMPIC
CULTURAL FORUM
&
UNLIMITED:
ARTE SEM LIMITES
R E P O RT BY B RITISH COUNCIL BRAZIL
A N D P EO P L E’S PALACE PROJECTS
1
Report: Olympic and Paralympic Cultural Forum
& Unlimited: Arte sem Limites
CONTENTS
1
2
3
4
5
6
Acknowledgements
p.04
Foreword
p.06
Initiatives
a. Olympic and Paralympic Cultural Forum
p.08
b. Galpão Gamboa: The Freak and the Showgirl
p.29
c. Unlimited: Arte sem Limites
p.33
Audience: Forum and Unlimited
p.45
Achievements
a. Audience, participants and emerging artists engaged
p.47
b. Media Reach
p.48
c. Qualitative Analysis
p.56
Next Steps
A P P E N DI X E S
I. Jenny Sealey’s Presentation, Olympic & Paralympic Cultural Forum
II. Attendance List, Olympic & Paralympic Cultural Forum
III. Proposals from discussion with young community arts leaders at
first day of Forum at Pavuna
IV. Delegates’ Biographies, Olympic & Paralympic Cultural Forum
V. Evaluation Comments from delegates and artists
VI. Artists’ Biographies, Unlimited: Arte sem Limites
p.57
1. AC K N OW L E D G E M E N T S
The Cultural Olympic and Paralympic Forum took place in Rio de Janeiro in April 2013
as the first of a series of open debates on the opportunities and challenges faced by
arts organisations and cultural leaders in relation to large-scale sporting events such
as the Olympic and Paralympic Games.
The Forum was closely followed by Unlimited: Arte Sem Limites, a Festival of some of
the best Deaf and disabled UK artists featuring performances, workshops and lectures
that aimed to celebrate, inform and inspire.
Both initiatives are part of Transform, a cultural relations programme led by the British
Council that spans the 4-year period of Olympic handover from London 2012 to Rio
2016, bringing together arts practitioners, policy makers and cultural organisations
from both countries in a permanent exchange of knowledge and experiences, ultimately
encouraging human development and social change.
The Cultural Olympic and Paralypic Forum and Unlimited Festival were only made
possible through essential partnerships between British Council, People’s Palace
Projects, Olympic Public Authority of Brazil, Ministry of Culture, FUNARTE and SESCRio, and generous support from the Arts Council England, Creative Scotland, Queen
Mary, University of London and the Agency of the Networks of Young People.
Special thanks to all the speakers, moderators and performers, who gave much more
than time. Talent, knowledge and generosity are at all times the key ingredients to
these initiatives.
Obrigado a todos!
Luiz Coradazzi, Director Arts, British Council Brazil
Paul Heritage, Artistic Director, People’s Palace Projects
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Joint Curators
Paul Heritage & Cid Blanco
Co-curator
Jude Kelly
Event Producers
FSR Produções
Supported by
Arts Council England,
Creative Scotland,
Olympic Public Authority
Partners
Funarte, MNBA - Museu Nacional de
Belas Artes, Agência de Redes Para
a Juventude, Arena Carioca Jovelina
Pérola Negra, Sesc-Rio and
Queen Mary University of London
Conceptualization
British Council
Executive Producers
Ministry of Culture, British Council &
People’s Palace Projects
With special thanks to
All speakers and moderators
Event Producers
FSR Produções
Supported by
Arts Council England,
Creative Scotland and
Queen Mary University of London.
With special thanks to
AfroReggae, Agência de Redes Para
a Juventude, Alex Bulmer, CUFA,
Daily Life Limited, Dubmorphology,
Festival Panorama de Dança,
Galpão Gamboa, Graeae, Julie Atlas Muz,
Lewis Gibson, Marc Brew Company,
Mat Fraser, Michael Achtman,
Nós do Morro, Pulsar Companhia
de Dança, Spectaculu and Taksi
Executive Producers
British Council, Sesc-Rio and People’s
Palace Projects
Curators
People’s Palace Projects and British
Council
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2 . F O R E WO R D
To host the Olympic and Paralympic Games is a once-in-a-lifetime opportunity. They
bring high levels of attention and investment, and create a moment for a nation to
reiterate, re-imagine and even re-form itself on a world stage.
To host the Olympic and Paralympic Games is to tell the world a story where the
protagonists are a country, a city and a people. It is about revealing a nation’s core
values and strengthening its identity. It is also about acknowledging contradictions,
celebrating diversity, and overcoming challenges to perform beyond limits, boundaries
and borders.
London 2012 is already being looked to as a turning point in international perception
about Britain as well as a remarkable boost for national self-esteem. Much of its
success was made tangible through the ambition of the Cultural Olympiad and the
London 2012 Festival. The whole experience told a rich tale of diversity, innovation and
openness. It was a world-class chronicle, beautifully illustrated by inspiring projects
such as the Unlimited Festival, and achieved through amazingly creative funding models
and innovative responses to the particular challenges of the Olympic and Paralympic
governance structures.
Now a new chapter will begin to take shape with the handover from London to Rio de
Janeiro. A change of narrators, rhythms and voices to make new meanings and offer
new visions for the ongoing narrative of the Olympic and Paralympic story. The Cultural
Olympic and Paralympic Forum and Unlimited: Arte sem Limites in Rio de Janeiro, in
April 2013, were meant as both post-scripts and preludes to a narrative that is now to
be continued […]
The true legacy is telling the story.
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3 . I N I T I AT I V E S
a . O LY M PIC A N D PA R A LY MPIC CULTURAL FORUM
The Olympic and Paralympic Cultural Forum was created to stimulate open debate
in the Brazilian cultural sector about the role of artists and arts organisations in the
preparations for Rio 2016. At the heart of the Forum was an opportunity for key figures
from the Cultural Olympiad and London 2012 Festival to share their experiences and
reflections through formal presentations, working group discussions and informal
networking opportunities.
GUIDING PRINCIPLES IN THE CONSTRUCTION
AND REALIZATION OF THE FORUM
I . To s t a g e the forum in two distinct locations
Arena Jovelina Pérola Negra and Museu
Nacional de Belas Artes are over 30
miles apart and reflect the Forum’s
intention to engage diverse participants
from the cultural sector. Antonio Grassi
[President, Funarte] commented in his
opening remarks that the challenge for
the cultural programmers of Rio 2016
will be to maintain the same axis as the
Forum, which reached from the periphery
of the city in Pavuna to its cultural centre
in Cinelândia.
I I . To c re ate a knowledge-exchange programme relevant to the
Bra z i l i a n participants within a transparent and democratic structu re
The formal presentations of the UK speakers were a key feature that opened up the
experiences of London 2012 to the cultural sector in Brazil. The informal discussion
sessions stimulated critical reflection, allowing delegates to interrogate speakers and
8
communicate directly with representatives from a range of institutions. The focus
and content of all the sessions were agreed with the official Brazilian Working Group
on Culture with representation from the cultural departments all three instances
of government as well as the Autoridade Pública Olímpica [APO], Rio 2016 and the
Municipal Olympic Agency.
I I I . To p rovide particular focus on the engagement of young people
an d t h e o rganisations that work with them
By working closely with Marcus Vinícius Faustini, the Forum attracted nearly 100
young people to learn about the experience of London 2012 and participate in the
debates about Rio 2016. Their discussions generated three proposed principles for
the cultural programme of Rio 2016 that were presented by young community leaders
to representatives from key Olympic agencies who attended the debate during the
first day at the Arena Jovelina Pérola Negra. These were then presented again at the
Plenary Session at the end of the second day at the Museu Nacional de Belas Artes
[see appendix III].
I V. To p rovide a particular focus on the engagement of the disabili t y
se c t o r [a r ts and non-arts]
Each of the three days had a session dedicated to the Paralympics. The Forum as a
whole was publically connected to the showing of work from the Unlimited Festival at
Sesc Madureira and finished with a performance of work by artists with disability at
Galpão Gamboa. Brazilian speakers from disability arts organisations were invited to
speak at the Forum [Pulsar Companhia de Dança and Escola de Gente - Comunicação
e Inclusão] alongside a Brazilian Paralympic champion. A special presentation was
commissioned from a marketing and fundraising specialist with expertise in the
disability sector.
V. To e xc i t e and energise the Brazilian cultural sector about the
p o s s i b i l i t i es of a cultural programme as part of the Olympic and
Pa ra ly m p i c Games
UK speakers shared the highlights and diversity of the ways in which artists, arts
organisations and audiences engaged in London 2012. The effective use of strong
audio-visual material was a key factor in the presentations. Speakers covered the
full range of activities including the four-year Cultural Olympiad, the 12-week London
2012 Festival, the Opening/Closing Ceremonies as well as significant programmes
such as Artists Taking the Lead, World Shakespeare Festival, Big Dance, Art in the Park,
9
etc. There were also presentations about how ongoing arts events and programmes
adapted to the Olympic moment and the role of cultural events in engaging the nation
beyond London
I V. To p rovide a particular focus on the engagement of the disabi l i t y
se c t o r [a r ts and non-arts]
In addition to the formal and informal sessions of the Forum, a parallel programme of
visits and meetings was organised by PPP and BC [see below].
REPRESENTATION: SUMMARY
STRONG REPRESENTATION FROM KEY
INSTITUTIONS RESPONSIBLE FOR DELIVERING THE
C U LTURAL PROGRAMME FOR LONDON 2012 AND RIO 2016
UK SPEAKERS
The UK participants were chosen to represent the different institutions and agencies
that came together to produce the diverse ways in which art and cultural activities
were at the heart of the London 2012 experience. These included:
Arts Council England [Moira Sinclair, Executive Director London and South East];
Creative Scotland [Leonie Bell, Creative Programmer]; LOCOG [Ruth Mackenzie CBE,
Director of the Cultural Olympiad London 2012; Nigel Hinds, Creative Producer; Jenny
Waldman, Creative Producer; Francesca Canty, UK Cultural Programme Advisor]
Greater London Authority/Mayor of London [Justine Simons, Head of Cultural
Strategy]; London Legacy Development Corporation [Sarah Weir OBE, Director
The Legacy List]; host cultural venues [Jude Kelly OBE, Artistic Director Southbank
Centre; Dawn Reid, Associate Director Theatre Royal Stratford East], small arts
organisations/producers [Jenny Sealey MBE, Artistic Director Graeae Theatre;
Matthew Peacock MBE, CEO Streetwise Opera].
10
BRAZILIAN SPEAKERS
A clear decision was made to focus on UK speakers for the panel presentations but
representatives from relevant Brazilian cultural institutions and agencies were invited
to moderate each session. These included:
Ministry of Culture [Jeanine Pires, Executive Secretary; Juana Nunes, Director of
Education and Communications for Culture, Secretariat of Cultural Policies]; Funarte
[Antonio Grassi, President]; Olympic Public Authority/APO [Márcio Fortes de Almeida,
President; Cid Blanco, Superintendent of Culture, Communications and Events; Rejane
Rodrigues, Director of Operations and Services]; Rio 2016 [Adriana Barbedo, Manager
of the Protection of Brands]; State Secretariat of Culture, Rio de Janeiro [Adriana
Rattes, Secretary of Culture]; Municipal Secretariat of Culture [Lia Baron, Funding
Manager]; British Council Brazil [Eric Klug, Deputy Director Brazil]; [Marcus Vinícius
Faustini, Director Agência de Redes para a Juventude].
DIVERSE REPRESENTATIVES FROM ACROSS
THE CULTURAL SECTOR IN RIO DE JANEIRO AND
OTHER HOST OLYMPIC CITIES IN 2016
280 individual delegates attended the three days of the Forum. 99 people attended the
two sessions at the Arena Jovelina Pérola Negra in Pavuna [target audience: 50] and
a total of 191 [including 10 delegates who had attended Pavuna sessions] registered
their presence across the two days at the Museu de Belas Artes [target audience: 150].
The total numbers exceeded the numerical targets and the institutional representation
was exceptionally diverse across the public and private sector.
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KEY FEATURES TO NOTE ABOUT REPRESENTATION:
-REPRESENTATIVES FROM MAJOR PUBLIC
AND PRIVATE CULTURAL CENTRES
- CULTURAL ORGANISATIONS FROM THE PERIPHERY
AS WELL AS MAINSTREAM INSTITUTIONS
-INDEPENDENT PRODUCERS
-ARTISTIC AND EXECUTIVE STAFF WORKING
IN THE CULTURAL CENTRE
-DELEGATES FROM RIO DE JANEIRO, BELO
HORIZONTE,
BRASÍLIA AND SÃO PAULO
[FOUR OF BRAZIL’S FIVE OLYMPIC HOST CITIES]
-POTENTIAL FUNDING AGENCIES
-STRONG PRESE NCE OF YOUNG PEOPLE AND
AGENCIES THAT WORK WITH THEM
-STRONG PRESEN CE FROM DISABILITY SECTOR
[ARTS AND NON-ARTS]
-CROSS-ART FORM REPRESENTATION
-NON-ARTS INSTITUTIONS AND AGENCIES
[For a full list of the agencies and institutions sending representatives, see appendix II.]
Particular attention should be drawn to the delegates and speakers from the UK
that self-funded to attend the Olympic and Paralympic Cultural Forum because they
understood the benefit to their organisations. These included:
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Calouste Gulbenkian Foundation [Andrew Barnett, UK Director; Isabel Lucena,
Programme Manager]; London Legacy Development Corporation [Adriana Marques,
Arts and Culture Principal]; Livity [Michelle Clothier, Managing Director; Anna Hamilos,
Group Account Director; Jiselle Steele, Regional Team Manager]; Theatre Royal
Stratford East [Dawn Reid, Associate Director]; Graeae [Amit Sharma, Associate
Director].
O LY MPIC AND PARALYMPIC CULTURAL FORUM PROGRAMME
APRIL 17
ARENA JOVELINA PÉROLA NEGRA, PAVUNA
The first day of the Forum was a
one-day gathering of UK cultural leaders
and young producers and artists at
Arena Jovelina Pérola Negra, a multi-art
form space maintained by Rio de Janeiro
municipality in Pavuna on the
outskirts of the city. The event was
co-produced and hosted by the Agência
de Redes para a Juventude [Agency of
Youth Networks]. The event provided the
opportunity for young cultural leaders
and for organisations that work with
disabled people to engage in the process
of constructing an agenda for what could
become Rio’s Cultural Olympiad.
SESSION 1 [MORNING]
HOW CAN THE OLYMPICS AND PARALYMPICS
PROMOTE COMMUNITY-BASED ARTS PROJECTS
AND THE CULTURE OF THE PERIPHERY?
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09h00 – Introduction: Paul Heritage - Artistic Director of People’s Palace Projects;
Marcus Vinícius Faustini - writer, filmmaker, theatre director and Coordinator at
Agência de Redes para a Juventude
09h10 – Official Opening: Luiz Coradazzi – Director Arts, British Council Brazil;
Juana Nunes - Director of Education and Communications for Culture, Secretariat of
Cultural Policies at the Ministry of Culture; Carla Russi - Supervisor for Culture and
Communications, APO [Olympic Public Authority]
The opening remarks from Carla Russi explained the basic Brazilian structures for the
delivery and staging of the Olympic and Paralympic Games in 2016.
09h30 – Ruth Mackenzie CBE - Director of the Cultural Olympiad - London 2012
Festival, LOCOG [London Organising Committee of the Olympic and Paralympic
Games]; Matthew Peacock MBE - CEO, Streetwise Opera [With One Voice].
This session focused on what can be achieved through a Cultural Olympiad and
demonstrated key highlights from London 2012. The message was about how all of the
cultural sector can benefit from getting involved and the lasting legacy it can bring.
“The Olympic Games are an opportunity to show the world your artists and your
museums, but also to show that your arms are open to the world” - Ruth Mackenzie
Matthew Peacock explained how Streetwise Opera - a small arts organization became involved in achieving something that would not have been possible without
London 2012.
10h30 – Discussion groups
11h30–13h00 – Plenary Session led by Paul Heritage and Marcus Vinícius Faustini
Leaders from each group presented their ideas about what should be the proposed
principles for the cultural programme for Rio’s Cultural Olympiad in 2016 [see appendix
III] with responses from representatives of the Federal, State and Municipal Olympic
agencies and Rio 2016.
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SESSION 2 [AFTERNOON]
HOW CAN THE PARALYMPICS PROMOTE
CULTURAL PROJECTS INVOLVING
PEOPLE WITH DISABILITIES?
14h00 – Introduction: Paul Heritage and Marcus Vinícius Faustini
14h20 – Official Opening: Luiz Coradazzi - Director Arts, British Council Brazil; Juana
Nunes - Director of Education and Communications for Culture, Secretariat of
Cultural Policies at the Ministry of Culture; Carla Russi - Supervisor for Culture and
Communications, APO [Olympic Public Authority]
“For the established producers, the doors of the Olympics are already open. We are
here to open them for the smaller producers too.” - Carla Russi
14h40 – Jude Kelly OBE - Artistic Director of the Southbank Centre, Member of the
Cultural Olympiad Board and Co-Curator of the Forum; Jenny Sealey MBE - Codirector of the Opening Ceremony of the Paralympic Games, London 2012 Festival, and
Artistic Director of Graeae Theatre Company; Teresa Taquechel - Director of Pulsar
Companhia de Dança; Cláudia Werneck - Founder of Escola de Gente
The UK speakers presented the highlights of the cultural programme led by disabled
artists and arts organisations at London 2012 including the opening ceremony of the
Paralympic Games and the Unlimited Festival. Jude Kelly said that: “one of the most
important results of the Paralympic Games was the way in which we started viewing
other human beings, because there is nothing more magnificent than seeing a disabled
athlete running the same race as an athlete without disability.”
The Brazilian speakers opened up some of the key debates and challenges for
the disability arts sector. Cláudia Werneck talked about communication: “we are
constructing forms of communication with too many barriers, and choosing a reduced
number of human beings to address.”
“How much does it cost not to discriminate against disabled people?” - Claudia Werneck
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16h30 – Plenary Session - Paul Heritage and Marcus Vinícius Faustini
The rapporteurs Liz de Paula, Bruno Duarte, Carlos Meijueiro and Veruska Thayla
presented the proposals which came from the group sessions. In order to have an
effective participation of the local communities in the Cultural Olympiad, there would
be a need for:
-
-
-
-
Strategies for the creation of new funds for culture;
The concepts and objectives of the Cultural Olympiad to be clear;
Small groups and performances to be valued;
Creation of new state, municipal and federal funds
Representatives from the Federal, State and Municipal Olympic agencies welcomed
the debate and noted the issues that had been raised.
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APRIL 18
MUSEU NACIONAL DE BELAS ARTES, CINELÂNDIA
08h00 – Welcome Coffee
09h00 – Official Opening
Richard Masters - Country Director, British Council Brazil
Jeanine Pires - Executive Secretary, Ministry of Culture
Alan Charlton CMG, CVO - The British Ambassador in Brazil
Márcio Fortes de Almeida - President, APO [Olympic Public Authority]
Antonio Grassi - President, Funarte
09h45 – Panel 1: Inspiration, Regeneration, Transformation
Mediator: Adriana Rattes - Secretary of Culture of the State of Rio de Janeiro
Speakers: Jude Kelly OBE - Artistic Director of the Southbank Centre, Member of the
Cultural Olympiad Board; Ruth Mackenzie CBE - Director of the Cultural Olympiad
- London 2012 Festival, LOCOG [London Organising Committee of the Olympic and
Paralympic Games]; Justine Simons - Head of Cultural Strategy, Mayor of London’s
Office
This session presented the key features of London’s four-year Cultural Olympiad
and twelve-week 2012 Festival relating the final results to the original bid and to the
Olympic ideals.
Jude Kelly spoke about her own reaction when she found out London had been chosen
to host the 2012 Olympic games: Brilliant! ...Oh…There’s no money! How do we do it?”
She also emphasised that there is no road map for the Cultural Olympiad, which is both
challenging and liberating.
Speakers explained the institutional relationships that were constructed to produce
the cultural programme and emphasised the need to appoint a director as early as
possible to ensure proper coordination. A key message was that this is a ‘Once in a
Lifetime’ opportunity. Adriana Rattes took the opportunity to thank Ruth Mackenzie
for the platform London created for Rio artists during the London 2012 Festival
and celebrated the strength of the Rio/London cultural relationship that has been
established.
11h20 – Panel 2: How can arts and culture deliver the mission of the Olympic and
Paralympic Games?
17
Mediator: Cid Blanco, Superintendent for Culture, Communications and Events, APO
[Olympic Public Authority] and Forum Curator
Speakers: Leonie Bell - Creative Programmer London 2012 and Glasgow 2014 for
Creative Scotland; Nigel Hinds - Creative Producer, Cultural Olympiad - London
2012 Festival, LOCOG [London Organising Committee of the Olympic and Paralympic
Games]; Moira Sinclair - Executive Director of Arts Council England, London and South
East
Speakers continued to explore the different roles of different cultural agencies. This
session looked at the national engagement beyond London, the involvement of existing
Festivals and annual events as well as detailing some of the key features to the cultural
programme [Unlimited Festival, Artists Taking the Lead, Big Dance, etc]. A key message
was about developing appropriate investment across a long period which makes use of
existing funding mechanisms as well as new financial models.
And Moira Sinclair added that “the artists shouldn’t give into the investor’s agendas:
they should maintain their own vision intact”
13h30 – Lunch [provided for speakers]
15h00 – Case Studies Analysis Sessions
I. Social Transformation: Ruth Mackenzie; Matthew Peacock, Sarah Weir.
II. Urban Revitalization: Justine Simons; Moira Sinclair; Sarah Weir; Adriana Marques
III. Paralympic Games: Nigel Hinds; Jude Kelly; Jenny Sealey
IV. International Attractions: Francesca Canty; Jenny Waldman
V. National Attractions: Leonie Bell; Nigel Hinds; Moira Sinclair
VI. Digital, Media, Broadcast: Jenny Waldman
VII. Participation and Learning: Francesca Canty; Justine Simons
17h00 – Plenary Session
Mediators: Paul Heritage - Artistic Director of People’s Palace Projects and Forum
Curator; Marcus Vinícius Faustini - writer, filmmaker, theatre director and Coordinator
at Agência de Redes para a Juventude; Juana Nunes - Director of Education and
Communications for Culture, Secretariat of Cultural Policies at the Ministry of Culture.
Presentation of a proposal for three principles for Rio’s Cultural Olympiad by five
community arts cultural leaders from the first day of the Forum [see Appendix III]
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APRIL 19
MUSEU NACIONAL DE BELAS ARTES
08h30 – Welcome Coffee
09h00 – Panel 3: Paralympic Culture
Mediator: Lia Baron – Funding Manager at the Rio de Janeiro Municipal Secretariat of
Culture
Speakers: Jude Kelly OBE - Artistic Director of the Southbank Centre and Member
of the Cultural Olympiad Board; Jenny Sealey MBE - Co-director of the Opening
Ceremony of the Paralympic Games, London 2012, and Artistic Director of Graeae;
Cláudia Werneck – Founder of Escola de Gente
Jude Kelly gave background context for why and how London 2012 focused particularly
on the contribution of artists with disability. She also talked about the transformations
brought by the Unlimited Festival: “It changed our way of viewing the world.”
There was a brief video extract from the Paralympic Opening Ceremony followed by talk
by Jenny Sealey, which placed art and sport within a disability context. She demonstrated
how the journey of becoming an artist or a Paralympian athlete is bridged by a common
experience of dismantling physical and attitudinal barriers. After a further brief film
about the preparations for the Opening Ceremony, Jenny finished the session with
the following statement: “It was a once in a lifetime opportunity, and although there
are many things I would do differently I know that the show we created was because
of all the many hurdles we had to jump over. The time and financial constraints were
a huge part of how we created what we did. In reality I would not change anything for
us BUT for you here in Brazil, it is so brilliant that you are thinking of training NOW and
preparing the ground well in advance so that you can lead changing how the world sees
us and create something bigger and better. Onwards.”
10h45 – Inspirational talk by Rosinha, Brazilian World and Paralympic champion.
The paralympic athlete Roseane dos Santos, known as Rosinha, made an entertaining
and moving speech at the Cultural Forum. Rosinha said that after losing her leg in an
accident, she had contemplated abandoning everything. “ I thought: Rosinha, either
you simply get out of bed and fight, or give up completely. I looked in the mirror and
decided to get out of the house and fight.”
20
11h15 - Panel 4: The Role of the Artist: Before, during and after the Games
Mediator: Rejane Rodrigues - Director of Operations and Services, APO [Olympic
Public Authority]
Speakers: Ruth Mackenzie CBE – Director of the Cultural Olympiad - London 2012
Festival, LOCOG [London Organising Committee of the Olympic and Paralympic
Games]; Dawn Reid - Deputy Artistic Director,Theatre Royal Stratford East; Sarah Weir
OBE - CEO The Legacy List, former Head of Arts and Cultural Strategy for the Olympic
Delivery Authority
This session described the various ways in which individual artists and arts organisations
responded to the Olympic Challenges [e.g. social and personal transformation, truce,
creating opportunities for young people, etc.] Ruth Mackenzie shared with the Forum
participants her experience as Director of the Cultural Olympiad. She said that artists
must be given the chance to make new work:
“Don’t create only exceptional pieces of work. Take the opportunity to make something
extra special. During the Olympics, you have the chance to realize your dream projects…
Stay away from the obvious!”
Dawn Reid talked through the challenges of a major arts institution at the door of the
Olympic Stadium and described Theatre Royal Stratford East’s response and the way
in which they ensured diversity and community engagement remained at the heart
of their programme. Sarah Weir described the achievements of the Art in the Park
programme and the current/future activities of the Legacy List.
12h30 – Lunch [provided for speakers]
13h30 – Panel 5: Building Partnerships and Relationships with Sponsors: The Challenge
of The Brands
Mediator: Eric Klug - Senior Director of Partnerships and Director of British Council
São Paulo
Speakers: Adriana Barbedo - Manager of the Protection of Brands Rio 2016; Francesca
Canty - UK Cultural Programme Advisor, LOCOG [London Organising Committee of the
Olympic and Paralympic Games]; Roberto Trinas – Director, Vibra Branding Esportivo;
Jenny Waldman - Creative Producer, Cultural Olympiad London 2012 Festival, LOCOG
[London Organising Committee of the Olympic and Paralympic Games]
The session began with a special presentation by Roberto Trinas that looked at the
strategies used to attract funding to the Paralympic athletes. Francesca Canty and
Jenny Waldman then gave a joint presentation that detailed the strategies successfully
developed by LOCOG to allow non-Olympic brand sponsors of UK cultural venues
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and projects to be able to operate within the context of the London 2012 Festival
and Cultural Olympiad. The key message was brand separation and an offer to share
expertise from London with the Rio 2016 team.
Adriana Barbedo, Manager of Brand Protection at Rio 2016, talked about how to get
partners, build lasting relationships with sponsors and protect the brands during the
Olympic Games.
Case Study Analysis Sessions:
15h00-16h00: Access
Session 1: Jenny Sealey, Nigel Hinds
Session 2: Ruth Mackenzie, Cid Blanco, Luiz Coradazzi, Dawn Reid, Amit Sharma
16h00-17h00: Branding/Sponsorship
Session 1: Jenny Waldman, Nigel Hinds
Session 2: Ruth Mackenzie, Cid Blanco, Francesca Canty, Luiz Coradazzi
The sessions allowed participants to discuss ideas and raise questions in small groups.
Each session lasted 60 minutes and all the delegates were able to join in sessions
addressing both themes.
17h00 – Plenary Session and final reflections.
Luiz Coradazzi - Arts Director, British Council Brazil; Cid Blanco – Superintendent
for Culture, Communications and Events, APO [Olympic Public Authority]; Fernanda
Hummel Palumbo - Advisor, Executive Secretariat, Ministry of Culture
17h45 – Film With One Voice [7’’] – Matthew Peacock MBE - CEO, Streetwise Opera and
Andrew Barnett - Director, Gulbenkian Foundation UK
Short film about the inspirational London 2012 project celebrating the culture of
people who live on London’s streets [collaboration between Royal Opera House Covent
Garden and Streetwise Opera]
18h00 – Closing
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ALTERNATIVE VISITS PROGRAMME
APRIL 17
Rosie Hunter [PPP] and Cristina Becker [British Council] led a group of UK delegates to
visit Grupo Cultural AfroReggae, Spectaculu and Crescer & Viver.
The group included: Jenny Sealey, Nigel Hinds, Jenny Waldman, Sarah Weir, Moira
Sinclair, Leonie Bell, Dawn Reid, Matthew Peacock, Isabel Lucena and Lewis Gibson.
There were three aims to this alternative programme:
1. To introduce UK visiting delegates to transformative arts methodologies that offer alternatives to existing British practices;
2. To give a context for UK visiting delegates to understand cultural practices
in peripheral territories [an important theme within the Cultural Olympic
and Paralympic Forum and a potential focus for Rio’s Cultural Olympiad - as advised
by APO];
3. To enable British delegates to visit arts organisations and artists from Rio de Janeiro that have had a strong presence and influence in London and the UK over the last seven years. Each of the organisations included in the programme has
been directly or indirectly funded by Arts Council England, been part of the Cultural
Olympiad and/or participated in Points of Contact visits to the UK].
VISIT TO AFROREGGAE
www.afroreggae.org
Grupo Cultural AfroReggae is a Brazilian cultural group from Rio de Janeiro. Forged
out of the police massacre of 21 people in their local community in 1993, they have gone
on to establish an international profile for their pioneering work in taking young people
out of the drug/gang culture of Rio de Janeiro’s favelas [shantytowns]. They harness
the ingenuity and creativity of their communities to provide positive alternatives for
young people. The main band AfroReggae opened the Rolling Stones concert to two
million people on Copacabana Beach, and has played major stages from the Carnegie
Hall to the Barbican. They have played to sell-out audiences in India, South Africa,
China, and across the USA and Europe. Grupo Cultural AfroReggae now runs over 70
24
projects across a range of disciplines including music, dance & theatre, circus, and
radio & new media with over 3,000 young people in Rio de Janeiro. They also provide
social support mechanisms for young people, guiding many into employment in Rio’s
mainstream. AfroReggae balances the impact of high-quality performance with the
importance of arts as a social process.
VISIT TO SPECTACULU
www.spectaculu.org.br
Spectaculu is a design & technical school run by international scenic and graphic
designer Gringo Cardia, offering “live brief” based training and career progression
routes to young people from vulnerable communities. Its location near Rio bus station
ensures maximum transport accessibility from favelas.
25
VISIT TO CRESCER E VIVER
www.crescereviver.org.br
Founded in 2000, Crescer e Viver’s mission is to contribute to the social and
individual development of children, teenagers and young people from underprivileged
communities in Rio. The project uses circus skills as the central element of its training
and performances, and generates opportunities for young people to improve their
situation and the situation of those around them. Based in the centre of Rio, Crescer e
Viver reaches 150 children and young people from 7 to 24 years old from underprivileged
communities, particularly to those living in the surrounding favelas and in local areas
with high numbers of children living and working on the streets.
26
APRIL 20
AG Ê N CIA: REDES PARA A JUVENTUDE & COMPLEXO DA MARÉ
The following group visited Marcus Faustini and Agência: Redes para a Juventude with
Paul Heritage: Moira Sinclair, Dawn Reid, Andrew Barnett and Isabel Lucena.
This was an event led by Marcus Faustini and Paul Heritage. The UK delegates met
over 50 young people from the 23 pacified favelas in Rio de Janeiro [known as UPPs or
Unidade de Polícia Pacificadora], and these young people presented 43 arts and cultural
projects which they have created and are managing in their own communities. All of the
projects respond to research by the young people and make innovative and enterprising
use of local resources to provide positive, creative contributions to stimulating the
local economy and providing new cultural offers in the communities. This was an
inspiring session for the UK representatives who will meet again with Faustini when he
is in the UK in May/June.
The following group visited Redes da Maré, Lia Rodrigues Dance Company and Bela
Maré with Cristina Becker [BC] and Thiago Jesus [PPP]: Sarah Weir; Andrea Marques;
Nigel Hinds.
They ended up very enthusiastic and
inspired by what they accessed and
truly want to find ways of keeping the
connections that were initiated during
the Forum. The innovative models
developed by the Brazilian organisations
are examples that most of them would
like to see implemented in the UK.
PPP also organised a separate programme of visits for Amit Sharma and Lewis Gibson
[Graeae] as part of their research for a new production based on the life of Brazilian
football hero Garrincha. Their programme included visits to Nós do Morro, CUFA,
Escola de Teatro de São Paulo, Museu de Futebol de São Paulo, etc.
27
The Alternative Programme was much praised by the UK delegates in their feedback
and it was clear that it will be part of the impact of their visit going forward:
“I was really blown away by the ‘social change’ arts scene.”
Matt Peacock MBE - Streetwise Opera founder and CEO
“I really appreciated the ambition of AfroReggae.
UK really needs to learn from these models.”
“[the meeting with] Junior at Crescer & Viver was a totally glorious inspiration, His
vision, his passion and well… everything was awesome!! I have not felt as excited
about anything in ages. This has fired me up so much!!!!!!!”
Jenny Sealey MBE - Artistic Director Graeae Theatre Company
“I certainly came back with a good many thoughts and some conversations initiated
and to be taken forward.”
Andrew Barnett - Director, Calouste Gulbenkian Foundation – UK
“I learnt loads by going round but in particular I found the role of sponsorship
interesting and how that sits with each organization. Although there are difficulties,
the idea of sponsorship very much being led by the organizations that were
getting the money was a real eye opener and this is something that I would like to
dig further into.”
Amit Sharma - Associate Director, Graeae Theatre Company
“Utterly refreshing and revitalizing! ... well-conceived wrap-around activities”
Francesca Canty - UK Cultural Programme Advisor, LOCOG
28
APRIL 17, 18 & 19
Alongside the main programme of the Forum, the delegates also attended:
- The UKBrasil Legacy Gala, a special evening celebrating the Season’s legacy as well
as recognising the partnership between Brazil and Great Britain;
- The launch of edital Big Dance Shorts at Palacio Capanema, which Justine Simons
and Antonio Grassi opened. This project is a film commissioning programme which
highlights the creative relationship between Brazil and the UK;
- The dress rehearsal of Aida, followed by a cocktail reception at Theatro Municipal
do Rio de Janeiro, hosted by Carla Camurati, president of the Theatre’s Foundation;
Alongside the main programme, British Council Brazil carried out the following
meetings:
- MinC/Marta Suplicy, Luiz Coradazzi, Ruth Mackenzie, Paula Walsh [General Consul
Rio de Janeiro] – official participation of BC as interface for agenda UK-Brazil for
the arts;
- MinC/Jeanine Pires, Luiz Coradazzi, Lucimara Letelier – BC’s support for MinC with
the construction of Cultural Olympiad; official alignment of all on-going initiatives
with BC at federal level [creative economy, museums, literature, film, Olympic
agenda].
b . GA L PÃO GA M B OA : T H E FREAK AND THE SHOWGIRL
GALPÃO GAMBOA PROGRAMME
APRIL 19
GARAGEM GAMBOA, GALPÃO GAMBOA
29
22h00 – The Freak and the Showgirl, Mat Fraser and Julie Atlas Muz
23h30 – Festa sem Limites, Domenico Lancellotti [Taksi] João Brasil [Taksi] and Gary
Stewart [Dubmorphology]
This evening of performance and celebration marked the closing of the Olympic
and Paralympic Cultural Forum. The Freak and the Showgirl is a hilarious, risqué and
politically subversive cabaret and burlesque act. Mat Fraser & Julie A. Muz are two radical
artists that led their audience out of any comfort zone and challenged perceptions of
the disability arts sector. Teamed with three Rio Occupation artists [Gary Stewart, and
two leading contemporary artists from Brazil, Domenico and João Brasil], this evening
attracted nearly 250 audience members [target 120], and took Unlimited: Arte sem
Limites to another corner of the city.
30
31
32
c . U N L I M I T E D : A RT E S E M LIMITES
Featuring some of the most exciting artists from London 2012 Cultural Olympiad,
Unlimited: Arte sem Limites celebrated cutting edge, contemporary culture by deaf
and disabled artists, spanning dance, music, theatre, performance, cinema and visual
arts. Through workshops and performance, Unlimited: Arte sem Limites connected
disabled and non-disabled artists and audiences from London2012 through to Rio 2016.
Unlimited was the UK’s largest programme celebrating arts, culture and sport by
Deaf and disabled people. The project was a series of major commissions funded by
the National Lottery through the Olympic Lottery Distributor and managed by Arts
Council England, together with the other UK Arts Councils and British Council. As part
of the programme the British Council supported a series of creative collaborations
between UK and international artists, which were showcased across the UK during
2012, culminating in the showing of 29 major commissions at London’s Southbank
Centre from 30 August - 9 September 2012.
Bringing Unlimited to Rio de Janeiro as a public follow-on activity from the Cultural
Olympic and Paralympic Forum created a context in which artists, audiences, policy33
makers, funders, directors of cultural institutions and organisations working within the
disability sector could share experiences, debate ideas and celebrate what London 2012
achieved and hopes to pass on to Rio 2016. By presenting this work within Transform,
the Festival reinforced BC strategy to develop the artistic dialogue between the UK
and Brazil for mutual benefit and long-term impact.
Produced in association with Sesc Rio de Janeiro, Unlimited: Arte sem Limites was
first and foremost a programme of arts activities at the Sesc Centre in Madureira
including performances, an exhibition and workshops featuring UK Deaf and disabled
artists, with examples of theatre, music, visual arts, cabaret, dance, and literature. In
addition, there were training sessions in disability arts and access awareness for Sesc
staff and for young people from community-based arts organisations across the city
[see full programme below].
GUIDING PRINCIPLES IN THE CONSTRUCTION
AND REALIZATION OF UNLIMITED
I. To inspire Brazil to set the bar high for the 2016 Cultural Paralympic celebration:
to create a context in which artists, audiences, policy-makers, funders, directors
of cultural institutions and organisations working within the disability sector could
share experiences, debate ideas and celebrate what London 2012 achieved and
hopes to pass on to Rio 2016
Discussions around the opportunities that Rio2016 presents, as an arena to develop a
new dialogue about disability arts, went across all five days of the Forum and Unlimited.
The scale and quality of Unlimited 2012 was apparent in speakers’ presentations, and
also experienced through the performance, workshop, exhibition and film programme.
Dialogues engaged audiences, artists, policy-makers, funders and organisations.
The achievements of the UK cultural sector were noted enthusiastically by Brazilian
organisations such as Embaixadores da Alegria, whose director said ‘It certainly was
extremely encouraging to see what is being done for the disabled, and with the disabled,
and to see it here in Brazil […] with this, we would like to sit down and see how we can
work together to make this happen’ Paul Davies, April 2013. As an immediate response
to the experience, three groups in São Paulo [MAM, Sesc and Escola de Teatro] are in
discussion with BC Brazil to stage a disability arts showcase, workshops and public
34
policy debates in Autumn 2013.
II. To bring a group of leading UK Deaf and disabled artists and disability arts
organisations into the Brazil-UK network established during Rio Occupation London
with a view to further opportunities to collaborate in the run up to 2016
The Festival worked with some of the UK’s leading Deaf and disabled artists and disability
organisations. Through introduction to potential Brazilian counterparts, as well as
seeding small collaborations in a workshop environment, all artists/organisations that
participated in the Forum and Unlimited are keen to continue to develop Brazil-UK
collaborations. And by working closely with a number of artists from Rio Occupation
London, the aesthetic of the event always remained contemporary and radical rather
than worthy or an extension of social assistance. The framing of Unlimited in terms of
the contemporary arts scene was articulated through Breno Pineschi’s graphic and
scenic designs as well as the sound and images created within the Festival space by
João Brasil, Domenico and Gary Stewart. The link with Rio’s avant-garde, contemporary
art scene was anticipated by the closing public event of the Cultural Olympic and
Paralympic Forum on the eve of Unlimited at Galpão Gamboa.
III. To showcase the quality of work produced by Deaf and disabled artists in the UK,
by presenting pieces of exceptional quality which challenge preconceptions across
a range of art forms.
Unlimited [Rio] included:
- Bobby Baker’s award-winning Diary Drawings visual arts exhibition in a new
accessible digital context;
- Marc Brew Company’s high quality dance that speaks to personal lived experience
and intimate relationships;
- Graeae’s joyful explosion of music by confident and cool performers celebrating a
disabled UK artist - Ian Dury - who challenged all social conventions and was in the
vanguard of 1970s popular music as part of the punk/new wave movement;
- A performance by two of the most radical artists from the Unlimited Festival in
London - Mat Fraser and Julie Atlas Muz.
The Festival staked its place outside of the comfort zone of community arts, creating
a critical, urgent and contemporary resetting of the disability arts agenda.
IV. To start relationships between companies with a special interest in disabled
and inclusive arts practices, with the aim of developing long term dialogue and
collaborations between the UK and Brazil for mutual benefit and long term impact.
35
New dialogues and connections were established through engagement with local
audiences in workshops and performances, access training for artists, arts organisations
and youth volunteers. Unlimited also reached out to municipal, state and federal
public cultural authorities, had a significant presence in print, television and social
media, and through marketing started to develop a network of non-governmental and
governmental organisations working in the disability sector. In the variety of Brazil-UK
encounters and diverse points of dialogue the foundations have been laid for strong
and mutual collaborations through to 2016 and beyond.
V. To offer opportunities for high quality training for disabled Brazilian
practitioners, emerging artists and participants
The UK’s leading artists and arts organisations working in the disability arts sector
led workshops in four art forms [theatre, dance, music/sound, cabaret/burlesque].
All workshops across the two days were inclusive, and engaged 118 participants with
a range of disabilities and backgrounds. The feedback was extremely positive, many
participants asked when there will be further opportunities in the future.
VI. To leave a legacy of understanding by training venue staff and at least 20 young
cultural producers/technical designers in access awareness and supporting the
individual needs of disabled performers and audience members.
Alex Bulmer and Michael Achtman led a two-day access awareness and inclusive
practice workshop with 22 young people from arts organisations working with
vulnerable communities in Rio de Janeiro. These participants explored ways in which
they could provide support to disabled participants/audience members in order to
enhance their experience. The training also encouraged them to think how they might
start to consider inclusivity in their own practice as young producers and designers.
These 22 young people then became the welcome team for the festival, supporting
audience members, artists and the team. Over the four days the training programme
retained 100% of the participants, many of whom expressed an interest of taking
forward their learning in their own practice and hope to continue to engage with the
project in the run up to Rio 2016.
VII. To cross the city of Rio, from the central and port districts to the northern
suburbs.
Madureira is in Rio’s Northern suburbs, located off the main cultural axis in the South
and Centre of the City. The calculated risk of staging cutting-edge art that challenges
audience perceptions at a venue with no tradition of any similar programming was met
with full workshops and performances throughout the weekend.
36
SUMMARY OF ACHIEVEMENTS
T H E WORKSHOP AND PERFORMANCE PROGRAMME HAD
R E ACH AND IMPACT FOR BRAZILIAN PRACTITIONERS,
EMERGING ARTISTS AND PARTICIPANTS
118 people engaged across the four art forms in the artistic workshops run by Unlimited
artists at Sesc-Madureira. Many people travelled large distances to work with the UK
artists: from other cities such as São Paulo but also across the city of Rio de Janeiro to
the northern suburbs. As Paul Davies from Embaixadores da Alegria describes, in Brazil
‘there are few opportunities like this available’. Since the cabaret/burlesque workshop,
participants have been inspired to start their own cabaret /burlesque nights, one
participant has emailed to say: ‘You’ll be happy to know you’ve started a movement I’m heading to a cabaret night tomorrow night from one of the gang in the workshop!’
Retaining all 22 young people from diverse arts organisations across the city during
the four-day access-awareness training programme was a significant achievement,
and their ability to quickly adapt to audience and artists needs during the Festival
demonstrated the significance of the programme. As trainer Alex Bulmer commented,
‘now twenty-two young people have the power to keep this reality alive and growing.
I can’t wait to come back for more’. On the final evening, as two young disabled
participants jumped on stage to play tambourine and celebrate with the Reason’s to be
Cheerful artists, the impact and shift in perceptions was made manifest
THE FESTIVAL REACHED DIVERSE AUDIENCES
Attracting hundreds people to a contemporary art event featuring disabled and Deaf
artists in the northern suburbs of Rio was in itself an achievement. Many people had made
difficult and complex journeys and there was a real mix of individuals [Deaf, disabled
and non-disabled], organisations from across the cultural sector, and representatives
from state and funding agencies. On the Sunday the number of disabled people that
overcame a range of challenges to reach this venue charged the final evening of the
Festival with a particular intensity as artists and audience celebrated that change is
37
possible. By developing the relationship that had been established on Friday night at
Galpão Gamboa, - where the The Freak and the Showgirl was produced alongside João
Brasil, Domenico and Gary Stewart - Unlimited continued to attract a diverse audience
from across Rio’s cultural tribes.
THE FESTIVAL SEEDED RELATIONSHIPS BETWEEN
UK AND BRAZILIAN ARTISTS
Subsequent feedback from the Brazilian and UK artists has demonstrated that the
exchange that began during Unlimited: Arte sem Limites will continue to bear fruit. Mat
Fraser and Julie Atlas Muz have been invited to return for further performances later in
the year, while Graeae established a number of strong relationships with companies and
individual artists that they are confident will develop in productive ways. A selection of
artist feedback is included below, please see appendix V for further examples.
“It has been the most extraordinary visit.
We have had the most extraordinary time and feel
inspired by all we saw and the people we met.
This is all the beginning of a whole range of new adventures!!
[Meeting] Junior at Crescer e Viver was a totally glorious inspiration, his vision, his
passion and well… everything was awesome!! We have agreed [how we work this out
re funding I have no idea as yet] that he will find 5 -10 physically disabled/blind/deaf
people to train in Circus Skills from Sept [or maybe it was Jan 2014] onwards and then I
bring 5 of my UK artists to work with Junior’s artists and I direct a new show with them
all for their festival in May and we look to bring it over for Roundhouse Circus Festival
at end of May.
The long term aim is developing work that can inform the Paralympic Opening Ceremony
as there is a real desire to make this more prolific and ambitious than London 2012 and
the understanding of the sheer importance to use this as a platform to continue to
create a globally recognised disability arts scene and use art to challenge and change
perception.
I have not felt as excited about anything in ages.”
Jenny Sealey MBE - Artistic Director, Graeae Theatre Company
38
“It has been an incredible experience for us. We are loving being part of the first
Unlimited festival in Rio and hope it is the start of a much longer conversation and
artistic exchange.”
Marc Brew - Choreographer, Marc Brew Company
“It has given me lots of inspiration and ideas to take forward and lots of connections
to follow up.”
Michael Achtman - Access Manager, Graeae Theatre
“It certainly is clear that a cultural exchange [specially for disabled artists] is
necessary between the two countries over the next few years and there is obviously
interest from both sides of the Atlantic for this to happen. With this, we would like to
sit down and see how we can work together to make this happen.”
Paul Davies - Diretor de Carnaval, Presidente de Honra, Embaixadores da Alegria
UNLIMITED: ARTE SEM LIMITES PROGRAMME
APRIL 17
SESC TIJUCA
10h00–12h00 – Session on Management of Arts and Culture Spaces led by Jude Kelly
OBE and the British Council Brazil with the Director of SESC Rio
Jude Kelly talked to an audience of 40 SESC Rio’s leadership team [The arts centres
managers/Directors] on the theme: Cultural Connections 2013 - It’s time for the
Olympics. This was an opportunity for a peer to peer institutional relationship between
the Southbank Centre and Sesc Rio aligned with the Transform programme. The
focus of her talk was “Managing Arts and Culture Centers. Audience and programme
development for mega events such as the Olympics.”
39
12h00–13h00 – Session on Inclusive and Accessible Practices for Artists and
Audiences led by Alex Bulmer and Michael Achtman
This morning of workshop and discussion was an opportunity for Sesc managers to
engage in discussions around UK/Brazilian models of good practice, with a specific
focus on inclusive and accessible practice.
APRIL 18 E 19
SESC MADUREIRA
10h00-17h00 – Training Programme for young creative producers and designers
Alex Bulmer and Michael Achtman worked closely with 22 [target 20] young creative
producers and designers across two days, running workshops in disability awareness
and examining models of good practice for audiences, performances and venues.
Once trained, the 22 young people worked as the welcome team for the duration of
the festival. Significantly, all 22 completed the programme with 100% retention. All
monitors are keen to continue their training and working with the Unlimited programme
as it develops towards Rio 2016
APRIL 20 E 21
SESC MADUREIRA
12h00–20h00 – Diary Drawings: a digital exhibition [Bobby Baker]
Bobby Baker’s acclaimed exhibition Diary Drawings was presented in a new, accessible
and digital format as part of Unlimited: Arte sem Limites. The relaxed setting encouraged
audience participation. Audiences painted and hung their own self-portraits alongside
Bobby’s work, and by the end of the weekend there were hundreds of new diary
drawings. The exhibition was popular with audiences and many returned throughout
the weekend, approximately 500 people engaged with the work across the weekend.
12h00–14h00 – Dance Workshop [Marc Brew Company]
Marc Brew Company ran workshops in dance for disabled and non-disabled participants,
no previous dance training was necessary to participate. Across the two days 45 people
engaged with the workshop.
40
12h00–15h00 – Theatre & Performance Workshop [Graeae]
Graeae ran workshops in theatre and performance for disabled and non-disabled
participants, anyone with an interest in the discipline was free to participate. Across
the two days over 20 people engaged.
12h00–16h00 – Music and Sound Workshop [Alex Bulmer, Michael Achtman &
Lewis Gibson]
Practitioners Alex Bulmer and Michael Achtman, and Composer Lewis Gibson, ran
workshops that explored the use of sound and voice in the theatre, and how they relate
to space, movement and emotion. Across the weekend 10 people engaged with the
workshops.
41
14h00–17h00 – Burlesque & Cabaret Workshop [Mat Fraser and Julie Atlas Muz]
Mat Fraser and Julie Atlas Muz ran workshops in burlesque and cabaret techniques
for disabled and non-disabled participants. 43 emerging artists participated in the
workshops across the weekend.
42
17h00–20h00 – Lounge by Gary Stewart [Dubmorphology] and João Brasil &
Domenico [Taksi]
Throughout the afternoon and evening audiences joined the artists, playing with the
technology and creating their own sounds and images in response to the festival.
18:00–18:15 – Nocturne [Marc Brew Company]
Nocturne was conceived and created by choreographer Marc Brew in collaboration
with designer-dramaturg Luke Pell. The original music from composer Gary Lloyd
43
features a recording of cello performed by Luke Moore. In this performance Marc Brew
Company pulled back the sheets on exhausted embraces and near misses in the night.
Inspired by JM Whistler’s Nocturne, this performance provided Rio with an exquisite
contemporary dance duet that drew the audience into the unseen dreams of cities at
dusk.
18h20–18h40 – Remember When [Marc Brew Company]
Remember When was originally
commissioned & presented by East
London Dance as part of Big Dance ‘08.
This performance drew upon exposure,
peeled away layers, used line and
extension, intricate folding, placement
and re-placement, and opened up a
conversation about remembrance with
the new audiences and artists in Rio.
18h40–19h00 – Unlimited Push Me film Collection
This was a showcase of twelve 90 second short documentary films, created as part
of Unlimited London 2012. The films explored 12 inspirational Unlimited artists and
their contribution to London 2012 Festival. This collection provided a context for the
performances at Sesc Madureira, and also demonstrated the scale, reach and impact
of the Unlimited programme in London 2012. All 12 films were subtitled in Portuguese,
leaving a legacy beyond Unlimited: Arte sem Limites.
44
19h00–20h00 – Reasons to be Cheerful [Graeae]
Graeae’s Reasons to be Cheerful is a gritty coming of age tale featuring Ian Dury and
the Blockheads’ greatest hits such as Sex and Drugs and Rock and Roll, Sweet Gene
Vincent, Spasticus Autisticus and Hit Me with your Rhythm Stick. Following on from a
hugely successful 2012 tour and an appearance at the London 2012 Paralympic Games
Opening Ceremony, where the cast performed Spasticus Autisticus alongside Orbital
and Stephen Hawking, the concert version of Reasons to be Cheerful raised the roof
and left the audiences in Madureira shouting for more…
4 . AU DI E N C E : F O R U M A N D UNLIMITED
APRIL 17
A total of 87 people attended the first morning session of the Forum [plus 8 British guests
and speakers]. 12 new attendees came for the afternoon session, making a total of
107 participants during the day. The event attracted a wide range of participants
including state/government agencies [UN Agency for Human Settlements/ONUHabitat, Secretaria Municipal da Pessoa com Deficiência, Secretaria do Estado de
Cultura, Rio Negócios]; groups with a focus on disability [Superar Esportes, Escola
de Gente, Embaixadores de Alegria], cultural producers with a strong focus on
social inclusion [Muda Cultural, Central Cultura Urbana, Ponto de Cultural Jongo
45
de Serrinha, Coletivo Peneira, Plataforma Metropolis, Grupo Okum de Cultura Afro
Brasileira]; and academics from Cambridge University, UERJ, and other institutions, as
well as individual students. APRIL 18 & 19
The full range of organisations, agencies and individuals represented throughout
the Olympic Forum is available in appendix IV. Appendix V provides examples of the
comments from the delegates. Feedback emphasised the strength of the learning
opportunities, the high standard of the presentations with their inspiring images
from London 2012 and the importance of the interactive discussions, which enabled
participants to discover their own role in the exchange of ideas. The content was
described variously as stimulating and elucidating and the Forum praised for being a
‘moment of dialogue’. In addition, many of the delegates expressed their belief that the
Forum will lead to future partnerships with the UK and a commitment to continuing
the networks and dialogues started over the three days. Specific reference was made
to the importance of looking to the ‘territories of popular culture’ and transformative
arts practices in constructing a cultural programme for Rio 2016. There was much
praise for the efficient production of the event and a recognition, as one delegate
stated, that “something has definitely happened during this Forum”. It was heralded
by one of the young community leaders who presented at the end of the second day
of the Forum, as a “really important moment in the construction of a city that is more
just and fraternal”.
APRIL 20 & 21
118 individuals participated in the artistic workshops across the weekend, as well as
the 22 young monitors that underwent accessibility training 18-21 April. Around 500
people saw the performances across the weekend [approx. 200 day 1, 300 day 2]. There
was a diverse audience from across Rio and beyond – some people had travelled from
São Paulo to partake in the activities. Through targeted advertising a broad range of
deaf and disabled participants was bought together – a network that did not exist prior
to the event. There was strong representation of local audiences at Unlimited as well
as artists and audiences from across Rio meeting at a creative crossroads for dialogue,
debate, experimentation and performance.
46
5 . AC H I E V E M E N T S
a . AU DI E N C E , PA RT IC I PANTS AND EMERGING
A RT I ST S E N GAG E D
B E T WEEN 17-21 APRIL 2013, OVER 1350 PEOPLE ENGAGED
W I TH THE OLYMPIC AND PARALYMPIC CULTURAL FORUM
AND UNLIMITED PROGRAMMES
47
OLYMPIC AND PARALYMPIC CULTURAL FORUM
April 17____________108 attendees
April 18-19_________191 attendees
THE FREAK AND THE SHOWGIRL AND FESTA SEM LIMITES
April 19___________247 audience members
UNLIMITED: ARTE SEM LIMITES
April 20___________60 workshop participants
22 young monitors
100 general admissions – exhibition, lounge and films [approx.]
200 audience for performances [approx.]
b . M E DI A R E AC H
OLYMPIC AND PARALYMPIC CULTURAL FORUM
The press portrayed the Forum as an event that anticipated the actions of the Brazilian
cultural sector along with the Brazilian Olympic authorities, and mobilized society in
Rio and Brazil to prepare for the development of a cultural programme on a scale
without precedent during the 2016 Olympic Games.
Emphasis was given to the fact that the London2012 Festival was a very
successful experience and has much to contribute to a success in 2016, just as the
Brazilian cultural sector and in particular in Rio, has its own characteristics that will be
48
key in creating a cultural and artistic programme that exceeds the expectations of all
parties involved.
The issue of access for people with disabilities in the cultural production was a major
highlight in the coverage. The names of the UK delegation that were mentioned most
in press coverage were: Ruth Mackenzie, Jenny Sealey, Moira Sinclair, Justine Simons
and Jude Kelly.
SELECTION OF PUBLICATION ON WEBSITES
Cultura e Mercado - 15/04
http://www.culturaemercado.com.br/agenda/rio-de-janeiro-recebe-forum-culturalolimpico-e-paraolimpico/
Globo online/editoria Rio – 18/04
http://oglobo.globo.com/rio/forum-cultural-olimpico-reune-200-produtoresbritanicos-brasileiros-em-museu-no-centro-8151699
Agência Brasil – 18/04
http://www.ebc.com.br/cultura/2013/04/ministerio-da-cultura-distribuira-r-15milhoes-para-eventos-na-copa
Agência Brasil (replicated in Diário Popular)
http://www.diariopopular.com.br/index.php?n_sistema=3056&id_noticia=NjcwOTc=
RADIOS
- Rádioagência Nacional – 18/04 - Radioagência covered the opening of the Forum
and offered bulletins throughout the day;
- Rádio Nacional AM e FM Rio de Janeiro;
- Rádio MEC AM e FM Rio de Janeiro;
- Roquette Pinto – The station covered the opening of the Forum and mentioned the
event on air throughout the day
SOCIAL MEDIA [08/04 TO 19/04]
Facebook was the main platform. To apply for participation in the Forum, the general
public was encouraged to use a special tab to complete their application. The social
49
media team was present throughout the 3 days, posting updates, ensuring that people
who could not attend the sessions could still find out what was happening.
Some numbers:
-
-
-
-
-
Number of likes: 382
People reached by Facebook: 254.536
Female profiles: 60,5%
Male profiles: 39,2%
Majority of users between 25 and 34 years old
Examples of popular posts:
1,136 people reached
1,051 people reached
50
UNLIMITED – ARTE SEM LIMITES
Unlimited - Arte sem Limites was portrayed in O Globo RJ and TV portal G1 as a high
quality festival involving artists with and without disabilities created for the London
2012 Festival, which was brought to Rio de Janeiro by the British Council.
The press highlighted the potential of art to transcend the limits of human differences
and its ability to provide rewarding experiences for people with and without disabilities.
A half-page article in the Segundo Caderno Section in O Globo reported on Bobby
Baker’s exhibition, drawing attention to the power of art in rewriting labels and providing
new understandings of the human condition - both for those who produce art and
those who appreciate it.
The coverage avoided the common trope that presents artists with disabilities who
create high quality work as exceptions. The example of Bobby Baker showed an already
established artist who had to learn to live with mental illness.
The fact that the festival took place in Madureira and Gamboa, and the Forum in central
Rio and Pavuna drew attention to the need for the Cultural Olympiad to draw together
disparate parts of the city.
Transform and the British Council were given special mention as the programme
and institution responsible for bringing the discussion about the Olympic cultural
programming to Brazil. Coverage demonstrated the legacy of London 2012 at a time
when the Brazilian cultural sector seems still to be waiting for the opportunity to
engage with the Olympic narrative.
TV Globo – RJTV 2a edição, 19/04/2013
51
O Globo – Segundo Caderno 20/04/2013
SOCIAL MEDIA [08/04 TO 21/04]
Facebook was the main social media tool. The profile created for Unlimited has
several tabs, including one for workshop registration, which directed Internet users
to Transform’s website [the British Council cultural platform which hosted the event].
Other tabs geared towards the key interests of the public were designed to facilitate
interaction with the festival: “What is Unlimited?” introduced the festival, “Workshops”
showed the complete schedule of workshops, “Organize yourself “ had the schedule
for the performances and “Get Inspired” presented their content.
In addition, each of the events [workshops and performances] was individually created
within the platform, making sharing much easier.
Data:
-
-
-
-
-
Number of likes: 432
People reached by Facebook: 258,700
Female profiles: 60.6%
Male profiles: 39.2%
Majority of fans between 25 and 34 years old
52
Examples of popular posts
7,798; 2,658; 2,162 people reached respectively
THE FREAK AND THE SHOWGIRL + FESTA SEM LIMITES
Press coverage focused predominantly on attracting audience to the event. The Freak
and the Showgirl was billed as an irreverent and politically incorrect cabaret show that
invites its audience to accept their body and sexuality in a show where anything can
happen, from glamour to horror. Festa Sem Limites was announced highlighting the
Taksi duo presentation, formed by João Brasil and Domenico Lancellotti, with video
installations by Gary Stewart. Below, a list of publications that reported the event:
NEWSPAPERS
O Globo
- Note about “The Freak and the Showgirl” in the caderno Zona Sul [Baixo Centro], on
April 18th.
- Note about “The Freak and the Showgirl” in the caderno Tijuca [Baixo Centro], on
April 18th.
- “The Freak and the Showgirl” + Festa Sem Limites in Rio Show, on April 19th.
- Note about Festa Sem Limites in the Agenda do Transcultura [Segundo Caderno],
on April 19th.
53
O Dia
- “The Freak and the Showgirl” + Festa Sem Limites in Guia Show e Lazer, on April 19th.
- Festa Sem Limites in Guia Show e Lazer, on April 19th.
O Globo – Baixo Centro, 18/04/2013
O Globo – Segundo Caderno, 19/04/2013
54
SITES
O Fluminense – 13/04
http://www.ofluminense.com.br/editorias/cultura-e-lazer/plantao/garagemgamboa-recebe-espetaculo-freak-and-showgirl
Arte e Cultura
http://www.arteecultura.com.br/Noticia/938/rio-garagem-gamboa-recebeespetaculo-the-freak-and-the-showgirl
Banco Cultural – 15/04
http://bancocultural.com.br/teatro/?p=2611
Catraca Livre – 15/04
http://catracalivre.com.br/rio/agenda/barato/gamboa-recebe-espetaculo-thefreak-and-the-showgirl/
Todo Rio
http://www.todorio.com/rio/event/zonaportuaria/
garagemgamboa/2013/04/19/2230/the-freak-and-the-showgirl-festa-sem-limites
Blah Cultural – 17/04
http://blahcultural.com/festa-e-peca-agitam-o-garagem-gamboa-no-dia-19-deabril/
Jornal de Teatro – 18/04
http://jornaldeteatro.com.br/noticias/redacao/2080-garagem-gamboa-nocenario-carioca
Globo Teatro – 19/04
http://www.globoteatro.com.br/notas-1397-gamboa.htm
55
c . Q UA L I TAT I V E A N A LYS IS
Intrinsic to the conception of the Cultural Olympic and Paralympic Forum and
Unlimited was that they were staged together and in relation to each other. Although
this presented a challenge in promoting each of them separately for different
audiences, the inter-relation of the two events was essential to the overall impact of
what was achieved. Throughout the Forum, the UK speakers emphasised that above
all else they wanted to pass on the baton that had been carried so inspirationally in
London 2012 by artists with disability. And here those artists were in Rio de Janeiro in
all their glory: provoking laughter, tears and debate. No-one who attended the Forum
and Unlimited can have been left in any doubt about the central importance of artists
with disability to the success of London 2012 and the commitment of the UK to partner
Brazil in building on these achievements through to 2016. Recognition of the Brazilian partnerships on which these two events were built is
essential to understanding how the Forum and Unlimited will have an impact beyond
the immediate events. The significance of the involvement of the Ministry of Culture,
FUNARTE, APO, Agência de Redes para a Juventude and Sesc RJ goes far beyond their
resource contribution. These partnerships are the means by which learning, knowledgetransfer and legacy will continue to develop. The significance of the content that was
delivered by the UK speakers was clear throughout the Forum. It is rare for such an
event to be so well attended across all three days, and for institutional delegates to
prioritise receiving information as was evident not only during the Forum but in the
subsequent follow-up. PPP has been in regular dialogue with the Ministry of Culture
since the Forum to provide specific information in relation to the UK presentations, and
in response to general demand will make the presentations publicly available for
consultation. Beyond the immediate content, the conception of the Forum as a space
for dialogue and exchange in an event that was publicly marked out as a partnership
between British and Brazilian authorities ensured the authenticity and mutuality of the
shared intent which will continue to yield positive results. The unprecedented way in which the Forum and Unlimited reached out across the city,
operating on axes that challenged cultural exclusions, insisting that the UK speakers
and artists engage audiences in Pavuna, Cinelândia, Gamboa and Madureira had a
immediate and evident impact on the Brazilian as well as the UK participants. Few British
arts visitors to Rio de Janeiro can ever have seen and done so much in so many diverse
locations in such a short time. The territorial structure re-emphasised what was said in
the Forum: the Cultural Olympic and Paralympic programme is an opportunity to create
new paradigms and produce a cultural shift that will last a generation. By locating the
56
debates both within the centre of Rio’s cultural patrimony and at its periphery, the
Forum spoke in ways that went beyond its own content and insisted on principles of
inclusivity that found strong echoes with the Brazilian delegates. Unlimited pushed all involved beyond their aesthetic, geographic and cultural limits. Radical, provocative work was presented for a contemporary arts audience in Gamboa
and at a family-focused cultural centre in the northern suburb of Madureira. The
diversity of the programme lay not just in the different art forms and challenging
content presented, but in the open embrace that the artists made with Brazilian arts
institutions and audiences through the workshops, training, parties and informal
exchanges. The response was visceral: transformative in the moment and an invocation
of new horizons. Changes took place in attitudes, behaviour, knowledge and in the
lifting of the boundaries on imagination and creativity. Whether it was for the policy
makers, arts managers, artists, audiences or a young person with Downs Syndrome
taking his place to dance alongside the artists from Graeae, at every level the Festival
invited us all to go beyond our limits.
6 . N E X T ST E P S
General: If the Cultural Forum and Unlimited are to become, in Jenny Sealey’s words,
the beginning of a whole new adventure then the challenge is now to be “able to find
ways to help turn the lively discussions into positive actions” [Nigel Hinds]. “We must
all learn to become critical allies” [Jenny Sealey]
57
N E X T STEPS: OLYMPICS AND PARALYMPIC CULTURAL FORUM
- Meetings with current Brazilian partners/stakeholders to develop long-term goals
through to 2016 [MinC/Funarte/APO];
- Meetings with potential partners/stakeholders who participated in the Forum and
indicated their desire to continue an exchange with UK partners [e.g. Rio 2016, EOM,
Municipal Secretariat of Culture, Rio’s 7 Festival directors, etc.];
- Meetings with Rio’s community-based arts organisations and agencies most closely
associated with excellence and innovation within peripheral territories to maintain
and develop focus on transformational arts practices in the exchange between
London2012 and Rio 2016;
- Meetings with organisations from the Disability sector [arts and non-arts] to take
forward discussions begun during the Forum;
- Consultation with ACE, Creative Scotland and other UK agencies in drafting both
long-term goals and action plan;
- Creation of an agreed and coordinated action plan for knowledge-exchange
between London and Rio de Janeiro cultural agencies;
- Identification of and support for a number of model collaborative arts projects
between London/Rio with public outcomes that will develop alongside and enrich
the policy exchange arising out of the Forum. The British Council will continue to
lead the Transform programme until 2016 as the main platform to support the UK
and Brazil producers, institutions and artists for further cooperation including some
of the projects which might arise as a result of the Forum and the Unlimited initiatives
58
NEXT STEPS: UNLIMITED: ARTE SEM LIMITES
- Meetings with current Brazilian partners/stakeholders to develop long-term goals
for development of Unlimited through to 2016 [MinC/Funarte/Sesc];
- Meetings with potential partners/stakeholders to explore their desire to develop
disability arts strategies, policies and programming [e.g. Rio 2016, EOM, Municipal
Secretariat of Culture, Rio’s 7 Festival directors, etc.];
- Discuss with Graeae and ACE how the UK disability arts sector can most effectively:
• Support and work with Brazilian arts organisations and artists to create a
Paralympic Opening ceremony that is “more prolific and ambitious than London 2012”
[Amit Sharma];
• Develop Unlimited in Brazil as an ongoing platform to create a globally recognised
disability arts festival that challenges and changes perception;
• Agree a three-year training programme that involves exchange visits between
UK and Brazil for artists with disability;
- To meet with Brazilian organisations from the disability sector [arts and non-arts]
to take forward discussions begun during Unlimited;
- Meet with Roberto Trinas [Instituto Superar] and develop strategies for fundraising
and partnership that will support collaborative disability arts projects between UK
and Brazil;
- Identify and support one or more model collaborative disability arts projects
between London/Rio with public outcomes in UK and Brazil.
59
Thank you.
www.britishcouncil.org.br/transform
www.peoplespalaceprojects.org.uk
APPENDIX I
JENNY SEALEY’S PRESENTATION,
OLYMPIC & PARALYMPIC CULTURAL FORUM
In 2016 all eyes will be on Brazil where there will be an extravaganza of art and sport.
World famous disabled person Garrincha.
Talk about being deaf. About social model of disability. About disability arts in UK. Policy.
For me the marrying of art and sport in terms of placing this within a disability context
is about how the journey of becoming an artist or a Paralympian is bridged by a common
experience of dismantling physical and attitudinal barriers.
There is a shared ethos of doing something that the world thinks you might not be able
to do because you are deaf, blind or have physical difference.
In 2016 Brazil will be able to continue the story that we created in 2012 through the
Opening Ceremony of Paralympic Games and Unlimited Festival.
This was a story of the arts as a human right in terms of engagement, participation and
leadership. It was and still is a story of empowerment and excellence and ambition.
When London won the bid some of the disabled led companies looked at the skills gap
and ring fenced their ACE grant and applied to foundations for other money to set up
small training initiatives in circus and dance skills. It was our hope that we would be in
a strong position to offer these skills to the directors of the ceremonies.
The Unlimited funding strand then provided an extraordinary opportunity to start to
harness some of these new found skills through a wonderful diversity of projects.
I was appointed the Artistic Advisor for Unlimited and it was glorious to see the rich
ambition the initiative unleashed from deaf and disabled people across UK.
It was important that it was not a London centric funding stream as Deaf and disabled
people need representation everywhere.
Unlimited gave us the much needed visibility and exposure in the mainstream world
and the support to make some lasting relationships with this world.
It has been a world which has traditionally sidelined us, sometimes allowed us in
because of pity and more often than not ignored us.
We have had long term investment from the ACE in creating a thriving disability arts
scene over the last 20 years but we do not only want our work to be just us, we want it
to be for everyone else.
Unlimited gave us the chance to be everywhere and to challenge ourselves as artists.
We have long asked to be considered alongside our mainstream contemporaries and
here was an opportunity to pursue excellence and raise our game once and for all.
The word excellence was an ongoing mantra. The competition was tough and there
was no way that the funding was going to fund mediocrity or support those shameful
companies who include us in their work to make them look good or those companies
who think that because we are disabled it does not really matter if we are not very good.
We have all seen work where disabled people are rubbish but people applaud them
because they see the work as worthy and aren’t we doing well. This is patronising and
damaging to the disability community.
Unlimited was about the right to be equally brilliant as our mainstream peers but also
to push the uniqueness of who we are but with skill.
Unlimited was also an initiative that allowed a journey of discovery, to examine what is
an artistic process and one thing we learnt it was also a process where we did have to
ask for the right to fail. I mean fail in a positive way in that some lost their artistic nerve,
or did not create the right time frame or have the right skill set.
I think as we develop the next round of Unlimited it is crucial to manage expectation,
to create different levels of engagement from challenging established companies to
think outside of the box, to seed-bedding and developing new companies and ideas.
There is also a need to invest in training and mentoring to ensure that the exposure of
the work happens at the right time.
Like I say not every commission was a resounding success but every one was valid as
the learning curve was huge.
Oh the learning curve of 2012 is still on going through Unlimited and the creation of
the Ceremony.
In 2016 the stadium here will be an opportunity to profile the very best of the deaf and
disabled and non disabled community of artists here in Brazil.
It is an opportunity to celebrate that difference does not mean low quality or low
expectation.
When Bradley Hemmings and I were appointed Co Artistic Directors of the Opening
Ceremony of the Paralympic Games we relished the challenge ahead of us as we knew
we HAD to change the perception of what people expected of this ceremony.
We felt that previous ceremonies although grand with good production values and
‘stars’ lacked the empowerment and real inclusion of deaf and disabled artists.
They also lacked any sort of universal narrative that was about our place in the world,
our right as human beings as emotional complex intelligent people not to be defined
only by our physical or sensory impairment.
Too often the image was oh how we have suffered or how brave and sweet we are.
Our story not only through the narrative but through the inclusion of a huge diversity of
professional and volunteer deaf and disabled people created a truly inclusive landscape
where every single person knew their role in creating a historic moment in global TV - a
moment of equality and respect and of excellence.
Show Believe in the background.
We knew that our small training initiatives needed to be bigger in terms of numbers
to create our vision of deaf and disabled people artistically leading the narrative. ACE
supported by investing in a huge training initiative of 44 deaf and disabled people in
very specific circus skills.
These were all people who had a level of physical fitness but they were also not all
artists. Some were lorry drivers, shop assistants, ex Royal Marines, ex army, graphic
designers, film makers etc. ... but over an intensive training programme they became a
skilled ensemble of aerial and sway pole performers which were integral to the show.
The learning curve for them, Bradley and I was to be flexible, to adapt and to learn
the art of compromise! However we would not compromise on artistic endeavour, on
artistic access or on physical access.
It was our mission to make this the most accessible ceremony for performers and
audiences.
By artistic access we meant having audio describers who worked with us for a month
so they knew the textural and choreographic aim of each segment so they could
relay this to blind audiences, all spoken text/songs were signed where possible but
always captioned on the big screens and the set had ramps for wheelchair users, rope
pathways for blind people and a glorious intricate cueing system for deaf artists who
could not hear the music.
We had the mammoth task of making sure the whole Ceremonies team understood
our vision and ethos. It was not simply a case of ‘one glove fits all’ and we demanded
the same commitment from the team as they gave to the other opening and closing
ceremonies.
And they did. They were phenomenal but it helped that they really liked our show and
the values and meaning behind it and the potential to change the face of Paralympic
opening ceremonies forever.
It was a huge roller coaster - there were blood sweat and tears, arguments, moments
of sheer terror, sheer joy and a lot of wine was drunk. We had to develop such a strong
ownership of our narrative and hold onto our artistic integrity.
I could talk all day about what it was like and how we went about it all but the most
important thing is that Bradley and I are both Deaf and disabled directors and were
able to lead by example and understanding. We had overall less than 9 months in real
time to pull off what would be the biggest show of our careers: we had to work at the
speed of light, demanding the same high expectation of our creative team and casts.
We were also extremely skilled at working with tight budgets and making a little go a
long way. We were also very skilled at having plan B up our sleeves.
It was a once in a lifetime opportunity and although there are many things I would do
differently I know that the show we created was because of all the many hurdles we
had to jump over and that the time and financial constraints were a huge part of how
we created what we did - so in all reality I would not change anything for us BUT for
you here in Brazil.
It is so brilliant that you are thinking of training NOW and preparing the ground well in
advance so that you can lead changing how the world sees us and create something
bigger and better. Onwards.
Jenny Sealey, April 2013.
APPENDIX II
AGENCIES AND ORGANISATIONS ATTENDING
THE CULTURAL OLYMPIC FORUM
CULTURAL/DISABILITY/SOCIAL INCLUSION
Agência de Redes para a Juventude
Arte e Transformação Social
Associação Brasileira de Museologia
[ABM]
Atelier Azulejaria
Baluarte Agencia de Projetos Culturais
Base7 Projetos Culturais
British Council
Calouste Gulbenkian UK Foundation
Casa Daros
Casa França Brasil
Centro Cultural Banco de Brasil
Central Cultura Urbana
Central Única das Favelas
CIMA
Circuito Carioca de Ritmo e Poesia [CCRP]
Coletivo Peneira
Crane TV
Crescer e Viver
Dellarte
Escola de Samba Embaixadores de Alegria
Escola de Gente – Comunicação em
Inclusão
Festival Panorama
Fundação Padre Anchieta
Fundação Planetário do RJ
Fundição Progresso
Funk COnsciente
Graeae Theatre Company
Grupo Okum
Grupo Pedras de Teatro
Inffinitto
Inscrire
Itaú Cultural
Jardim Botânico do RJ
Livity
London 2012 Legacy Corporation
M/Baraka Experiencias Releventes
Marc Brew Company
Museu da Maré
Observatório de Favelas
Plano A
Projéteis
Cooperativa
Carioca
Empreendedores Culturais
Pulsar Cia. de Danca
Regina Miranda Cia. AtoresBailarinos
Rio Negócios
Superar Esportes
Theatre Royal Stratford East
Trigonos Produções Culturais
ACADEMIC
CESeC
Centro de Estudos de Políticas
Univerdade das Quebradas [UFRJ]
UERJ
Cambridge University
de
GOVERNMENTAL AND OLYMPIC AGENCIES
Autoridade Pública Olímpica [APO]
British Consulate
Casa Civil
Comitê Organizador dos Jogos
Olímpicos e Paraolímpicos Rio 2016
Empresa Olímpica Municipal [EOM]
Fundação Municipal da Cultura, BH
Funarte
Governo Estadual do Rio de Janeiro
[Museus]
ONU Habitat [UN]
Secretaria do Estado de Cultura, RJ
Secretaria Municipal de Cultura, RJ
Secretaria Municipal da Pessoa com
Deficiência
SESC
SESI
SEBRAE
UK FCO
UNICEF
UPP Social
A PPENDIX III
PROPOSALS FROM DISCUSSION WITH
YOUNG COMMUNITY ARTS LEADERS AT FIRST
DAY OF FORUM AT PAVUNA
FÓRUM CULTURAL OLÍMPICO E PARAOLÍMPICO 2013
A ARTE E O LEGADO DE LONDRES 2012
COMO FAZER COM QUE OS JOGOS OLÍMPICOS FAVOREÇAM
COLETIVOS, PROJETOS E A CULTURA DA PERIFERIA?
DIAS: 17,18 E 19 DE ABRIL DE 2013 - RIO DE JANEIRO
LOCAIS: ARENA CARIOCA JOVELINA PÉROLA NEGRA E MUSEU
NACIONAL DE BELAS ARTES.
Estiveram presentes no Fórum Cultural Olímpico e Paraolímpico 2013 artistas,
coletivos culturais, produtores/gestores culturais, representantes do poder público
[Federal, Estadual e Municipal], organizações da sociedade civil, Autoridade Pública
Olímpica, Rio 2016 e produtores das Olimpíadas Culturais Londres 2012.
O evento, dentre outros espaços de discussões, contemplou a apresentação da mesa
de trabalho composta por Paul Heritage [People’s Palace Projects], Marcus Vinícius
Faustini [Agência de Redes para a Juventude], Luiz Coradazzi [British Council], Juana
Nunes [Ministério da Cultura], Carla Russi [Autoridade Pública Olímpica], seguida
da apresentação da experiência Londrina das Olímpiadas Culturais 2012 por Ruth
Mackenzie [London Organising Committee of the Olympic and Paralympic Games]
e Matthew Peacock [Streetwise Opera]. Após as apresentações, foram organizados
quatro Grupos de Trabalho [GTs] para discutir propostas para o legado do Rio 2016, no
setor cultural. Os grupos foram provocados a debater o escopo dos desdobramentos
dos eventos olímpicos, na perspectiva do Rio 2017 em diante, especialmente em
territórios periféricos.
Somando-se as contribuições expostas entre os dias 17 e 18 de abril de 2013, apondo-se,
em seu segundo dia, a presença da Secretária de Estado de Cultura do Rio de Janeiro,
Adriana Rattes e do Presidente da Funarte, Antônio Grassi, dentre outras autoridades
públicas, a comissão que representou os produtores culturais de periferias, composta
por Pablo Ramoz, Adair Aguiar, Ítala Isis, Bruno F. Duarte, Carlos Meijueiro, Veruska
Taylla e Hanier Ferrer, elegeu 3 [três] eixos “chaves”, sob um enfoque propositivo:
1 - Construir a partir da experiência das olimpíadas culturais, uma política pública
transversal [federal, estadual e municipal] de apoio à descentralização do investimento
em pesquisa e produção cultural. Acreditamos que esse novo modo de ação, dentre
outras coisas, contribui para oferecer visibilidade aos artistas, agentes culturais e
sociais, ou seja, a culturas de periferias, considerando sua diversidade e complexidade;
2 - Incluir as representações sociais e pessoas físicas [artistas e produtores culturais
de periferias], na grade/ agenda de concepção e curadoria da programação oficial das
olimpíadas culturais, como agente legítimo desse processo, atuando na pesquisa e
inclusão de expressões e modos de fazeres/saberes de diversos territórios periféricos;
3 - Fomentar no Estado do Rio de Janeiro, uma cadeia produtiva da cultura,
considerando a Economia da Cultura [com apoio aos artistas e não-artistas locais,
pequenos empreendedores, agricultura comunitária, movimentos culturais endógenos,
propondo a difusão de modos colaborativos, como por exemplo, a criação de moedas
de trocas].
APPENDIX IV
DELEGATES’ BIOGRAPHIES, OLYMPIC &
PARALYMPIC CULTURAL FORUM
Leonie Bell, Portfolio Manager, Creative
Scotland and Creative Programmer,
London 2012 and Glasgow 2014
Leonie Bell was the Creative Programmer
for London 2012 in Scotland and leads on
the Glasgow 2014 Cultural Programme at
Creative Scotland, the national agency
for arts and the creative industries in
Scotland. Leonie worked in partnership
with LOCOG to deliver Scotland’s
London 2012 Cultural Programme
and is responsible for developing and
delivering
Scotland’s
largest
ever
cultural programme for Glasgow 2014 in
partnership with Glasgow Life, Glasgow
2014 Organising Committee and the
Scottish Government.
Leonie was previously Programme Director at The Lighthouse, Scotland’s Centre for
Architecture, Design & the City, where she directed a wide ranging programme of
exhibitions, festivals and events within the building, across Scotland and internationally.
Prior to this she worked for Glasgow 1999: UK City of Architecture and Design.
disabled led companies looked at the skills gap and ring fenced their ACE grant and
applied to foundations for other money to set up small training initiatives in circus and
dance skills. It was our hope that we would be in a strong position to offer these skills
to the directors of the ceremonies.
The Unlimited funding strand then provided an extraordinary opportunity to start to
harness some of these new found skills through a wonderful diversity of projects.
I was appointed the Artistic Advisor for Unlimited and it was glorious to see the rich
ambition the initiative unleashed from deaf and disabled people across UK.
It was important that it was not a London centric funding stream as Deaf and disabled
people need representation everywhere.
Unlimited gave us the much needed visibility and exposure in the mainstream world
and the support to make some lasting relationships with this world.
Francesca Canty, UK Cultural Programme
Advisor, LOCOG, and currently Director
of Programmes at the Bishopsgate
Institute in the City of London.
Francesca Canty has been working in
arts and culture since late 1996 when
she fled a job in banking in London to
open a nightclub in Moscow. Propaganda
[the club] still thrives today and
Francesca’s role as Promoter and
Executive DJ involved picking and buying
all the music played by the DJ team,
booking the guest DJs, occasional door
duty, sponsorship, being spokesperson,
conducting PR and turning up to collect
endless awards graciously.
Having persuaded the British Council to invest in a programme of British DJs at the
club, Francesca was headhunted to run the British Council’s arts programme across
Russia. From 2000-2003, she injected into the programme DJ and club culture
strands, fashion exhibitions and masterclasses, digital art, Mark Ravenhill, Damien
Hirst, Akram Khan and others, invented a new touring film festival, developed the new
writing programme with the Royal Court and prompted the British Ambassador to
complain in the strongest terms at being kept waiting at a Vivienne Westwood runway
show. In 2008 she took up her post in the culture team at the London 2012 Organising
Committee. Many may still be baffled as to what the Cultural Olympiad was, but few can
have failed to notice the finale, the London 2012 Festival, where thousands of events
all over the UK created for the Games the largest celebration the UK has ever seen. As
UK and International Cultural Programmes and Partnerships Manager her role was to
ensure the entire UK got involved to reap the benefits of being involved in the Games
cultural programme. In addition, as a fluent Russian and good Portuguese speaker, she
was the lead for knowledge transfer to the next Host Cities, Sochi 2014 and Rio 2016.
Nigel Hinds, Creative Producer, Cultural
Olympiad, LOCOG
Nigel Hinds was a senior member of the
LOCOG Culture team from early 2011
until October 2012. He was responsible
for the successful planning and delivery
of the London 2012 Festival across half
the UK, including Northern Ireland, Wales,
and various regions of England. Among
the major projects he oversaw were the
World Shakespeare Festival and the
Unlimited commissions to disabled and
Deaf artists, as well as the production
of three major free events in London
including Streb Extreme Action and
Piccadilly Circus Circus.
Prior to joining LOCOG Nigel was Associate Director of Festivals and Events
International, working as a consultant for a range of clients including Arts Council
England, Greenwich Council, the Commonwealth Foundation and the London
International Festival of Theatre. He was also the manager for the artists Jonathan
Burrows & Matteo Fargion.
Nigel was Executive Director of The Place, London from 2004 to 2007 and was Arts
Programming Director of Sadler’s Wells, London from 1993 to 2000. He is an expert in
the performing arts with particular skills in venue and company management, creating
artistic programmes and developing organisations.
Between 1988 and 1993 Nigel was Director of Phoenix Arts Centre, Leicester where he
was responsible for the artistic, administrative and financial success of the organisation.
Prior to this Nigel was Programme and Festival Co-ordinator at the Almeida Theatre,
London and his early career was as a theatre director.
Jude Kelly OBE, Member of the Cultural Olympiad Board and Artistic Director of
Southbank Centre
Jude Kelly is the Artistic Director of Southbank Centre, Britain’s largest cultural
institution.
She founded Solent People’s Theatre and Battersea Arts Centre, and was the Artistic
Director of the York Festival and Mystery Plays. She later became the founding
director of the West Yorkshire Playhouse. In 1997, she was awarded the OBE for her
services to the theatre. She has directed
over 100 productions including the Royal
Shakespeare Company, the National
Theatre, Chichester Festival Theatre, the
English National Opera, the Châtalet in
Paris and in the West End.
Jude left the West Yorkshire Playhouse
in 2002 to found Metal, which through
its artistic laboratory spaces provides a
platform where artistic hunches can be
pursued in community contexts. It has
creative bases in Liverpool and SouthendOn-Sea.
Jude is chair of Metal, member of the London Cultural Strategy Group, and is Visiting
Professor at Kingston and Leeds Universities and the Shanghai Centre for the
Performing Arts. She is a member of the London 2012 Cultural Olympiad Board.
Ruth Mackenzie CBE,
Director of the Cultural Olympiad, London
2012 Festival, LOCOG
Ruth Mackenzie CBE was the Director of
the London 2012 Cultural Olympiad, and
Curator of the London 2012 Festival, the
largest festival in the history of the UK.
She was General Director of the
Manchester International Festival and
of Scottish Opera; Artistic Director of
Chichester Festival Theatre, Executive
Director of Nottingham Playhouse, and
Special Adviser to Secretary of State
for Culture, Media & Sport. She has also
been Head of Strategic Planning for the
Southbank Centre, Consultant Dramaturg to the Vienna Festival, and Consultant to
Tate, London Symphony Orchestra, Barbican Centre, Arts Council, British Council and
the BBC amongst others. She is currently a freelance Consultant and Curator.
Matthew Peacock MBE, CEO, Streetwise
Opera
Matt Peacock founded Streetwise Opera
in 2002, a charity that uses opera to help
homeless people move forward in their
lives. Winner of a Royal Philharmonic
Society Music Award, Gramophone
Award and Andy Ludlow Homeless Award,
the charity runs a music programme in 11
homeless centres in the UK every week
with over 500 homeless people each year.
Streetwise’s opera productions have
all won four and five star reviews in the
national press and have been performed
around the world from Latitude to the
Sydney Biennale.
In 2012 Streetwise Opera organised the first official event for homeless people in
Olympic history. ‘With One Voice’ was a showcase of 300 homeless performers and
filmmakers at the Royal Opera House as part of the London 2012 Festival.
Matt is a former homeless support worker and opera critic. He is a Trustee of People
United and sits on the Royal Opera House Education, Engagement and Access
Committee. Matt is one of 30 social entrepreneurs profiled in former Prime Minister
Gordon Brown’s book, Britain’s Everyday Heroes and was awarded an MBE for services
to music and homelessness in 2011.
Dawn Reid,
Deputy Artistic Director Theatre Royal
Stratford East
Dawn is the Deputy Artistic Director
at Theatre Royal Stratford East. Her
directing credits for the theatre include
Jack and The Beanstalk; A Clockwork
Orange; Rikki Beadle-Blair’s Family Man;
Mad Blud; Funny Black Women on the
Edge; Ade Ikoli’s Diary of a Single Man;
DRD’s Dis is How We Do It; Speechify: Four Men on Family; Kat Francois’ one-woman
shows Me, Myself and 7, Raising Lazarus and Kat’s Got Your Tongue; Da Mic Sounds
Nice; Summit; Over The Dune; My Father and Other Superheros; Flight; Speak; Sleeping
Beauty; The Snow Queen; and Hansel and Gretel. She was Co-Director of The Harder
They Come [Barbican, West End, Toronto and Miami]. She was the Assistant Director
on Jack and the Beanstalk [2002]; Aladdin; and Red Riding Hood. Other work for
the theatre includes assisting on shows such as One Dance Will Do; Aeroplane Man;
Windrush; and Things Change. Dawn has produced festivals for Theatre Royal Stratford
East including Gateway to the Arts, a series of shows for and by young people, and
Spoke-Fest, festivals of Spoken Word, performances and workshops. Dawn produced
Boy Blue’s sold out show The Book of Koraka; and produced and directed Club V. She
has also directed rehearsed readings for BritAsia, New Voices and Angelic Tales, part
of the Theatre’s work with new emerging writers.
Other theatre credits include directing Llewella Gideon’s premiere of Fruit Salad
[Greenwich Theatre] and working as Associate Director on Avenue Q [Noël Coward
Theatre]. Dawn is the co-creator of Spoke-Lab with Roger Robinson and the recipient
of a Carlton Multicultural Achievement Award for Performing Arts.
Jenny Sealey MBE,
Co-director of the Opening Ceremony of
the Paralympic Games,
London 2012 Festival,
and Artistic Director of GRAEAE
Jenny Sealey has been Graeae’s Artistic
Director since 1997. In 2009, she was
awarded an MBE in the Queen’s Honours
and became an Artistic Advisor for
Unlimited 2012 Festival.
Theatre credits for Graeae include: Reasons To Be Cheerful [2010 co-produced with The
New Wolsey Theatre, Ipswich and Theatre Royal Stratford East, 2012 national tour coproduced with the New Wolsey Theatre and 2012 performance at Southbank Centre];
Signs of a Star Shaped Diva; Static [co-production with Suspect Culture]; Blasted;
Whiter than Snow [co production with Birmingham Rep]; Flower Girls [co-production
with The New Wolsey, Ipswich]; peeling; Bent; Iron Man and Rhinestone Rollers. Other
theatre and outdoor credits include: Blood Wedding [Setagaya Public Theatre, Tokyo];
Romeo and Juliet [Saitama Arts Theatre, Tokyo]; Against the Tide [GDIF, Milton Keynes
International Festival and The National Theatre’s Watch This Space] and The Garden
[GDIF and Southbank Centre]. In 2012 Jenny co-directed the London 2012 Paralympic
Opening Ceremony alongside Bradley Hemmings [GDIF].
She also won the Liberty Human Rights Arts Award and was named on the Time Out
London and Hospital Club h.Club100 list of the most influential and creative people in
the creative industries.
Justine Simons, Head of Cultural
Strategy, Mayor of London’s Office
Justine has worked for the Mayor of
London for eleven years. As Head of
Department, she has responsibility for
the Mayor’s Cultural Strategy leading on
London’s film, fashion, music, theatre,
international cultural exchange, visual
arts, cultural policy and arts in the public
realm. She is Director of the Mayor’s
flagship public art commission for the
Fourth Plinth in Trafalgar Square.
She took a lead role in the development and realisation of the cultural programme
for the 2012 Olympic and Paralympic Games - both as lead for the Mayor of London
and Associate Creative Producer for London Festival 2012. She spearheaded the
biggest cultural festival ever staged in London, bringing the best UK and international
artists to London to create spectacular one off commissions bringing to life the iconic
architecture of London, mass participation projects in music and dance, a major free
outdoor festival across every borough in the capital and bespoke commissions in
undiscovered city landscapes such as ballet in lidos and opera on London’s canals.
Prior to the Mayor’s Office, Justine worked in the field of contemporary dance for ten
years with a variety of leading venues. Justine is currently Vice Chair of the Thames
Festival, a board member of Artichoke, a member of the British Film Commission
National Advisory Board, the London Design Festival Advisory Board, The British
Fashion Council Board, the Platform for Art Steering Group [a London Underground
public art commissioning programme] and is the Chair of Big Dance.
Moira Sinclair, Executive Director of Arts
Council England London and South East
Moira Sinclair became Executive Director,
London for Arts Council England in
March 2008. Alongside her contribution
to national policy development on the
Board, she is responsible for the support
and development of the arts throughout
the capital, overseeing a portfolio of 250
regularly funded organisations, which
includes many of the national companies
such as the Royal Opera House and the
National Theatre, alongside smaller
influential and experimental companies
such as Company of Angels and Bigga Fish.
She leads for the Arts Council on London 2012 Olympic and Paralympic Games and
Philanthropy. Moira was previously Director of Development for the London office,
where she led on strengthening relationships with London’s Mayor and with the 33
boroughs and in placing the arts at the heart of the successful £9.4m cross-sectoral
Well London bid. She also worked closely with the other London agencies on cultural
planning for the Thames Gateway.
Before joining Arts Council in 2005, Moira was Director of Vital Arts, an award winning
arts and health organisation. She has also worked in local government, and in theatre
and production management, with roles at Greencandle Dance Company, Tricycle
Theatre and at the Hexagon in Reading among others. A graduate of Manchester
University where she studied drama, Moira became a Clore Fellow in 2004/05. She is on
the Board of Look Ahead Social Care and Housing and is a Governor of the University
of Lincoln.
Jenny Waldman,
Creative Producer,
Cultural Olympiad London 2012 Festival, LOCOG
Jenny Waldman is a cultural producer and consultant with wide experience of arts
producing, programming and management. She was Creative Producer of the London
2012 Festival, the finale of the Cultural Olympiad for the London 2012 Olympic and
Paralympic Games, where she jointly led a team of producers responsible for delivering
over 600 projects and partnerships
across the UK involving 1,270 venues and
including 160 world and UK premieres.
Jenny also led on broadcast and digital
projects, working closely with BBC and
Channel 4, and on partnership projects
with Brazil.
Jenny was Public Programmes Consultant
to Somerset House Trust from 1999 2011, where she helped open the building
and its outdoor spaces to the public. She
created a successful cultural programme of concerts, films, and London’s first openair ice rink, as well commissioning site-specific theatre and visual art installations. She
developed a financial model for sustaining the programme through ticket income and
sponsorship and delivered several successful commercial partnerships.
Jenny has commissioned large-scale performing arts events for Tate Modern and Tate
Britain and was for five years Director of Arts Centre Programmes at the Southbank
Centre. As an arts management consultant her current and past clients include
the National Theatre, Young Vic, Punchdrunk, Manchester International Festival,
Roundhouse, Kings’ Cultural Institute, Film4 and Tate.
Sarah Weir OBE, Director of The Legacy
List, former Head of Arts and Cultural
Strategy for the Olympic Delivery
Authority
Sarah Weir OBE is Chief Executive of the
new independent charity The Legacy List.
Its mission is to actively engage people in
the future Queen Elizabeth Olympic park
and use the park to transform people’s
lives. It will both find and fund creative
connections between people and the park,
through a range of places, programmes
and partnerships focused on arts and
culture, education and skills.
This role builds on the work Sarah has done over the past three years as Head of Arts and
Cultural Strategy for Olympic Delivery Authority. Here she led on integrating art into the
Olympic park through a series of over 30 imaginative interventions and commissions.
For the first nine months, this was on a part-time basis alongside an additional role as
Launch Director of the inaugural Open Weekend for London Organizing Committee of
the Olympic Games [LOCOG]. Prior to that, Sarah was Executive Director, Arts Council
England, London, from April 2003. She was previously Executive Director of the Almeida
Theatre from 1999 and project champion for the Almeida’s Capital campaign.
Sarah started her career in the Lloyd’s insurance market. She worked for Aldgate Group
Brokers, where she rose from office junior to become their non-marine managing
director during a 15 year career. Following a move from business into the arts in 1993
and a year working at Purdy Hicks Gallery, she moved to the Association of Business
Sponsorship of the Arts [now Arts & Business] as Head of the Pairing Scheme in 1994,
becoming Deputy Director General in 1996. In 1997 Sarah moved to the Royal Academy
of Arts as Head of Corporate Sponsorship, becoming Fundraising Director in 1999.
APPENDIX V
EVALUATION COMMENTS FROM DELEGATES
AND ARTISTS
FEEDBACK QUOTES ABOUT FORUM, UNLIMITED AND GAMBOA EVENT
OLYMPIC AND PARALYMPIC CULTURAL FORUM
UK SPEAKERS
“So well organised, thoughtful and a really successful conference.”
Justine Simons
Head of Culture, Mayor of London
“Very rewarding. It seems to have galvanised some of the conversations that needed
to get started about culture and the Games in Rio.
Utterly refreshing and revitalizing! … Very productive and fulfilling event, together with
well-conceived wrap-around activities. I look forward to the next one.”
Francesca Canty
UK Cultural Programme Advisor
London Organising Committee for the Olympic and Paralympic Games - LOCOG
“It was an amazing trip and opened my mind and heart to many new things.
It was a privilege to be part of it.”
Leonie Bell
Portfolio Manager, Creative Scotland
“What a wonderful trip, such exciting work - both Brazilian and British –
great presentations and discussions.”
Jenny Waldman
Creative Producer at London 2012 Festival (LOCOG)
“Amazing.
I was really blown away by the ‘social change’ arts scene. It was a privilege and quite
humbling to be part of an important conversation about the Cultural Olympiad in Rio.”
Matt Peacock MBE
Streetwise Opera founder and CEO
“It has been the most extraordinary visit.
We have had the most extraordinary time
and feel inspired by all we saw and the people we met.
This is all the beginning of a whole range of new adventures!!
I find it hard to pin down the political terrain in and around disability but recognize
the territorial aspect which was very common in UK. Companies hold on to their
own ethos and work and think they are the only people doing the work, spreading
the message, etc. but the truth of it is that there are lots of us. Through Unlimited we
stopped being so precious and really started to talk to each other, share resources
and become much
more generous as well as becoming critical allies. I think this will happen in Brazil if
people are prepared to listen to each other and form liaisons of support.
The most important thing as discussed with the wonderful British Council Brazil was
the need for the visibility of deaf and disabled artists on a diversity of platforms to
start to raise the status of not only their position in society but stake their claim as
artists.
[the meeting with] Junior at Crescer e Viver was a totally glorious inspiration, His
vision, his passion and well… everything was awesome!! We have agreed (how we
work this out re funding I have no idea as yet) that he will find 5 -10 physically
disabled/ blind/deaf people to train in Circus Skills from Sept (or maybe it was Jan
2014)
onwards and then I bring 5 of my UK artists to work with Junior’s artists and I
direct a new show with them all for their festival in May and we look to bring it over
for Roundhouse Circus Festival at end of May.
The long term aim is developing work that can inform the Paralympic Opening
Ceremony as there is a real desire to make this more prolific and ambitious than
London 2012 and the understanding of the sheer importance to use this as a
platform to continue to create a globally recognised disability arts scene and use art
to challenge and change perception. I really appreciated the ambition of AfroReggae.
UK really needs to learn from these models.
I hope to be as involved as possible in setting up,
informing and supporting Unlimited in Brazil.
I have not felt as excited about anything in ages. This has fired me up so much!!!!!!!
[about the upcoming partnership with Circo Crescer e Viver set up during
the Forum]”
Jenny Sealey MBE
Artistic Director, Graeae Theatre Company
“It was such a terrific trip in every way - such lovely company and good to spend time
with old and new friends.”
Jude Kelly OBE
Artistic Director, Southbank Centre
“It’s hard to explain in words what an amazing experience this was.
I think that the Forum was a great success and having the space to talk and share our
thoughts and hopes was fantastic. I know that only good things can come from this. The journey has just begun...”
Dawn Reid
Deputy Artistic Director, Theatre Royal Stratford East
“From the sublime (view from sugar loaf mountain) to the ridiculous (the extraordinary
number of talented and creative people we met), from the epic (the scale of what you
arranged for us across the breadth of Rio) to the intimate (the many wonderful and
thought-provoking conversations over the trip) from the sacred (the cathedral) to the
profane (Mat and Julie) it was a visit of exquisite contrasts and enormous joy.
Memories are for ever and those from this trip certainly will be. My most resonant
and lasting thought is that the further back you stand, the more you can see. Both
of yourself, of other people, of your work, of your country and of what you might
do or influence to be done differently and better. That is what you gave me and I am
profoundly grateful.”
Sarah Weir OBE
Chief Executive, The Legacy List
“It was an extraordinary feat of coordination and organisation, managed with fantastic
humour and calmness. Your feet may have been paddling frantically under the water,
but on the surface, everything was so smooth and your professionalism
and expert knowledge shone throughout.”
Moira Sinclair
Executive Director London and the Southeast, Arts Council England
“It was an incredibly stimulating four days, with the Forum, Unlimited and the
extraordinary visits. I do hope you are able to find ways to help turn the lively
discussions into positive action. Such good memories.”
Nigel Hinds
Creative Producer, Cultural Olympiad at London 2012
PARTICIPANTS
“Tremendous success. Something has definitely happened during this Forum, and
I hope Brazilians and Brazil lovers would benefit from this “legacy” or its positive
consequences.”
Philippe Northomb
Director, Inscrire
“I certainly came back with a good many thoughts and some conversations initiated
and to be taken forward.”
Andrew Barnett
Director, Calouste Gulbenkian Foundation - UK
BRAZILIAN DELEGATES
“Obrigado pela maravilhosa oportunidade. Foi um imenso aprendizado para mim.
Espero que possamos fazer várias coisas juntas no futuro.”
Cid Blanco Jr.
Superintendente de Cultura, Comunicação e Eventos
Diretoria de Operações e Serviços, Autoridade Pública Olímpica – APO
“Foi, realmente, um sucesso. Espero que este seja o primeiro de muitos.
Conte comigo.”
Carla Maria Russi
Supervisora, Diretoria de Operações e Serviços
Autoridade Pública Olímpica
“Aproveito para parabenizar pelo sucesso do Fórum, pelo seu conteúdo esclarecedor
e pela produção impecável.”
Danielle Barreto Nigromonte
Subsecretária Municipal de Cultura
Prefeitura da Cidade do Rio de Janeiro, Secretaria Municipal de Cultura
“Dois dias de debates consistentes e instigantes.
Foi um importante momento de diálogo, fundamental ao trabalho de planejamento.”
Lia Baron
Coordenadora de fomento da Secretaria Municipal de Cultura do Rio de Janeiro
e Sócia, Coletiva Projetos Culturais
OTHER PARTICIPANTS
“Programação do mais alto nível apresentada durante o Fórum Cultural Olimpico e no
festival Unlimited. Renovo a intenção de darmos continuidade às parcerias de ações
tão importantes de intercâmbio para a Cultura Brasileira e o Reino Unido.”
Fabiano Carneiro
Coordenador de Dança, Funarte
“Muito inspirador.”
Camilla Cardoso
Comunicação e Relacionamento, Itaú Cultural
“Forte. Belas apresentações e trocas.”
Nicolau Costta
Coordenador de Produção Cultural das Bibliotecas Parque
Superintendência da Leitura e do Conhecimento
“Convenceu-me da importância de criarmos uma grande rede para trabalharmos a
questão cultural e os territories populares para 2016.”
Jailson de Souza
Diretor, Observatório de Favelas
“Foi um eye-opener de muita energia e [um evento] iluminador de novos planos e
sonhos para o nosso Arte & Transformação Social. É claro que é hora de encontrar
os parceiros certos. Tenho certeza que vcs têm todo o expertise necessário para que
uma plataforma sólida e sustentável possa ser estabelecida de uma maneira bem
profissional.“
Wainer Guimarães
Diretor, Arte & Transformação Social
“Acho fundamental termos essa troca de experiência principalmente quando falamos
de um mega evento como as Olimpíadas e Paraolimpíadas.
Essa troca de informação me faz entender melhor qual pode ser a minha
participação em um evento tão importante.”
Gabriel Becker, CCRP - Circuito Carioca de Ritmo e Poesia
“O Fórum foi ótimo para mim e também para reflexões conjuntas dos 7 festivais do
Rio (Panorama, Festival do Rio, Curta Cinema, Tempo, FIL, Festlip, Multiplicidade).
Esperemos que daí saiam idéias para continuar colaborando com Britânicos em
nossos projetos.”
Eduardo Bonito
Diretor Festival Panorama
“Para mim foi muito importante perceber, na participação dos jovens na 4a feira na
Arena da Pavuna, que estamos pensando o nosso programa cultural na mesma linha
que eles manifestaram seus desejos.
Foi muito produtivo conhecer um pouco mais sobre o Programa das Olimpíadas
Culturais do Reino Unido e do Festival Londres 2012, através das belas imagens e
inspiradores depoimentos dos palestrantes.”
Ieda Lina Rockenbach
Assessora de projetos (Project Advisor)
Empresa Olímpica Municipal – Prefeiura do Rio de Janeiro
“Momento tão importante para a construção de uma cidade mais justa e fraterna.
Este é um espaço que precisa ser ocupado por mais corpos pensantes da cidade.”
Adair Aguiar
Funk COnsciente
“Foi um prazer participar do Forum, principalmente pela confiança que o projeto
passa.”
Etiene Petrauskas
Agência de Redes para a Juventude “It was a great pleasure to have participated in your marvelous Forum and UNLIMITED
exhibition.
It certainly was extremely encouraging to see what is being done for the disabled, and
with the disabled, and to see it here in Brazil, where there are few opportunities like
this available.
It certainly is clear that a cultural exchange (specially for disabled artists) is necessary
between the two countries over the next few years and there is obviously interest
from both sides of the Atlantic for this to happen. With this, we would like to sit down
and see how we can work together to make this happen.”
Paul Davies
Embaixadores da Alegria
Diretor de Carnaval, Presidente de Honra
FESTIVAL UNLIMITED: ARTE SEM LIMITES
“A fantastic festival. There were so many great aspects and I’m thrilled and proud to
have been a part of it - it has given me lots of inspiration and ideas to take forward
and lots of connections to follow up.”
Michael Achtman
Access Manager, Graeae Theatre
“The experiences that I had were pretty exceptional. There was a positivity and a real
drive to work with and share expertise with Graeae which was incredibly refreshing.
Dare I say that there was a real respect for the work that we create.
I think [having the Reasons crew out there as well as delivering] workshops and
presentations really cemented the idea of how to create disabled-led art.
I really do get a sense that there is a real opportunity for Brazil as a whole to look
at and lift deaf/ disabled art and artists to a level that perhaps they didn’t think was
possible before through training and employment opportunities pre and post World
Cup and Olympics/ Paralympics.
I learnt loads by going round but in particular I found the role of sponsorship
interesting and how that sits with each organization. Although there are difficulties,
the idea of sponsorship very much being led by the organizations that were getting
the money was a real eye opener and this is something that I would like to dig
further into.”
Amit Sharma
Associate Director, Graeae Theatre Company
“Being a part of the Unlimited Festival in Rio was truly inspiring, and reinforced the
empowering truth that creativity and change is possible if you just take hold of a ball,
and don’t let go until you make good ideas a reality. With the encouragement and
support of the British Council and People’s Palace Projects, I ran a half day creative
writing workshop and offered several sessions of skill development in the provision
of access and inclusive arts practice. Most significant for me was the experience that
my workshop team and I had training 22 bright young Brazilians to serve as access
support monitors, which they put into practice throughout the two day Unlimited Arts
Festival.
It was one of the most rewarding experiences I’ve had, because together, we all made
a good idea a reality. Now twenty-two young people have the power to keep this
reality alive and growing. I can’t wait to come back for more.”
Alex Bulmer
UK workshop leader
“It is a privilege for us to be part of the artists’ team who have been brought over
from the UK to give a taste of what is possible for Deaf and disabled artists to
contribute to the Olympic Games. We are learning about Brazilian culture and the
arts ecology here. It is a fascinating exchange.
Brazilian culture is much more relaxed than British culture and as an artist this is
really interesting as it gives room to breathe and explore my practice. Being part of
Unlimited has meant that we have been able to bring learning about embedding arts
into the Olympic Games, and I hope that we will inspire Deaf and disabled artists here
to develop great work, to be ambitious in their thinking and to change perceptions of
who can be an artist.
We are really enjoying the Brazilian experience.
It has been an incredible experience for us. We are loving being part of the first
Unlimited festival in Rio and hope it is the start of a much longer conversation and
artistic exchange.” Marc Brew
Choreographer, Marc Brew Company
“O Unlimited foi um unlimited real, enfrentamos nossos limites e superamos muitas
dificuldades juntos.
Você, toda sua equipe e os parceiros do [PPP e] British Council foram especialmente
atenciosos em todos os momentos e isso foi o que nos manteve fortes e confiantes.
Fez toda diferença.
Vamos nos planejar mais e fazer dessa experiência rica
um caminho de transformação. Conte comigo.”
Liliana Magalhães
Gerente de Cultura, SESC Rio de Janeiro
“O SESC SP foi convidado pelo British Council a participar das atividades do Festival
Unlimited, extensão do festival de mesmo nome ocorrido em Londres durante as
Paraolimpíadas.
A possibilidade de participar do festival me despertou o interesse para um tema
caro para o qual as instituições que trabalham com arte precisam se debruçar com
atenção, que é a acessibilidade para pessoas portadoras de deficiência. Mas não se
trata apenas de tornar os espaços acessíveis - algo absolutamente fundamental -, e
sim de propiciar que pessoas portadoras de deficiência possam ser protagonistas dos
espetáculos.
A mostra apresentada no Rio de Janeiro foi um excelente exemplo, para nós brasileiros,
de que é possível e necessário, criar condições para a inclusão de deficientes em
nossas salas de espetáculos e em nossas programações artísticas. Esse assunto está,
cada vez mais, presente nas ações do SESC SP e nos alegra contar com parceiros,
como é o caso do British Council, sempre dispostos a nos encorajar.”
Juliano Campos, SESC SP
T HE FREAK AND THE SHOWGIRL + FESTA SEM LIMITES
A noite foi maravilhosa para nós, e para o nosso projeto e objetivos!
Um dos dias mais cheios na Garagem!”
Raquel André, Galpão Gamboa
“O Museu de Arte Moderna de São Paulo teve e alegria de contar com o apoio do
British Council para o evento que desenvolvemos em abril de 2013, o Sencity no
MAM. Pelo comum interesse em iniciativas inovadoras de grande qualidade artística
desenvolvida por e para pessoas com deficiência e o público geral, o MAM foi
convidado a participar do festival Unlimited, para realizar um intercâmbio que pode
gerar novas ações.
Minha primeira experiência foi um show, seguido de uma festa, na sexta-feira à
noite: The Freak and the Show Girl: um cabaré cômico e burlesco com Mat Fraser
e Julie Atlas Muz. Além de uma rica pesquisa e uma irônica anunciação ao olhar
que a sociedade estabelece para com as pessoas com deficiência, trazendo à tona
o histórico do circo das aberrações, o show de sensualidade e entretenimento de
forma escrachada, cômica e crítica com certeza levou o público a repensar seus
valores e preconceitos. De forma radical, o espetáculo mostra que as repressões e
preconceitos são amplas e não se restringe às minorias.
Nos dias seguintes pude participar de oficinas promovidas pelo festival.
Um olhar completamente atento aos movimentos corporais, carisma indescritível,
movimentos delicados e extremamente potentes traduzem a oficina de dança
conduzida por Marc Brew.
A oficina de teatro e performance com o diretor da Graeae Amit Sharma mostrou
na prática como realizar um espetáculo completamente acessível através da
experiência da companhia, na qual os recursos não são compreendidos como uma
obrigação e um complemento a ser inserido ao espetáculo a posteriori, mas sim
uma potência artística que pode trazer ricas contribuições expressivas e poéticas.
Trabalho com acessibilidade cultural há mais de 15 anos e posso dizer que o festival
Unlimited está dentro das experiências mais significativas que já participei no Brasil.
A inicitaiva trouxe ações e reflexões que vão de encontro ao que o MAM acredita e
produz e, com certeza, tem muito a contribuir com a conquista da acessibilidade no
âmbito cultural para todos nós.”
Daina Leyton, MAM-Museu de Arte Moderna SP
APPENDIX VI
ARTISTS’ BIOGRAPHIES,
UNLIMITED: ARTE SEM LIMITES
ALEX BULMER
Alex Bulmer is a writer, performer, theatre
maker and teacher with an interest in
creating work that is strong in theme and
narrative, with a powerful physical life.
Alex has written for Polka Theatre
Company and Graeae Theatre Company
as well as BBC radio and was one of three
writers of the Channel 4series Cast Offs
which earned a BAFTA and Royal Television
Society nomination.
Alex recently graduated with distinction from the UAL MA programme in screenwriting
and was writer and dramaturg of the outdoor combined arts spectacle Breathe, which
opened the 2012 Olympic Sailing to a Weymouth crowd of over 11,000 people. Alex is
currently co-writer of Assisted Suicide The Musical and is part of the advanced writers’
group at The Royal Court.
BOBBY BAKER
Bobby Baker is a woman, and an artist.
She lives in London, England. In a career
spanning nearly four decades she has,
amongst other things, danced with
meringue ladies; made a life-sized edible
version of her family; and driven around
the streets of London strapped to the back
of a truck yelling at passers by through a
megaphone to ‘Pull Yourselves Together.’
Baker’s touring exhibition Diary Drawings:
Mental Illness and Me premiered at the Wellcome Collection in 2009, and the
accompanying book of the same name won the Mind Book of the Year 2011.
Her most recent show, Mad Gyms & Kitchens, was commissioned as part of the London
2012 Unlimited project for the Cultural Olympiad.
Bobby Baker is the Artistic Director of Daily Life Ltd, part of the Arts Council National
Portfolio.
www.dailylifeltd.co.uk
GRAEAE
Graeae is a force for change in world-class theatre - breaking down barriers, challenging
preconceptions and boldly placing Deaf and disabled artists centre stage. Artistically
led by Jenny Sealey, Graeae’s signature characteristic is the compelling creative
integration of sign language and audio description, which engages brilliantly with
both disabled and non-disabled audiences. Championing accessibility and providing
a platform for new generations of artists, Graeae leads the way in pioneering, trailblazing theatre. Graeae won the Promotion of Diversity Award at the TMA Theatre
Awards UK 2012.
www.graeae.org
LEWIS GIBSON
Lewis Gibson studied composition at
Dartington College of Arts, UK. He is the
composer for, and a founding member of
SABAB, the Arab/Anglo theatre company,
an associate artist with Uninvited Guests,
and as director, writer and composer with
Tangere Arts he makes work for children.
From large scale outdoor festival shows
through to intimate headphone based
pieces, he has worked with Graeae, The
Young Vic, The Unicorn, Nigel + Louise, Battersea Arts Centre and The Royal Exchange.
Lewis has received commissions for installations and sonic interventions from V&A,
Tate Britain, Fuel, Greenwich and Docklands Festival, South London Gallery, ICA, MAC,
Shunt Lounge, Bristol Old Vic, The New Zealand Fringe Festival and the Museum of
London. He is based in the UK.
MARC BREW COMPANY
Marc Brew Company has been making
performance in the UK and internationally
for the past 10 years. The company
collaborates with a range of disabled
and non-disabled performers/artists to
reveal the unusual and the inspiring in the
everyday and mundane. Choreographer
Marc Brew is renowned for his tender,
precise, material that exemplifies the
beauty of the moments shared between
people. The choreography draws out the
unexpected physicality of each performer, helping them to find new ways to work with
their bodies, entwining this newly discovered movement with the emotive nature of
human interaction to tell beautiful stories about being.
Marc’s extensive experience as a dancer and choreographer with a disability, working
with disabled and non-disabled dancers means that he challenges performers’
expectations of their own limitations. In turn this challenges and inspires both the
company and its audiences. The company is committed to developing innovative
collaborative work that interweaves a physicality derivative of strong contemporary
dance and classical ballet technique. The choreography employs the use of line and
extension, with intricate folding, placement and re-placement. This complex use of the
body fused with intimate narratives and domestic objects offers audiences a clear,
intricate and emotive experience. The works created by the company can be thought
of as a series of physical conversations, encounters and interventions that reflect
what it is to be human. It is the Company’s mission to create dance that is engaging,
entertaining and thought provoking.
www.marcbrew.com
MAT FRASER & JULIE A. MUZ
The Freak and the Showgirl are Mat Fraser
and Julie Atlas Muz, two real live CONEY
ISLAND USA SIDESHOW LEGENDS. They
are the real deal, ladies and gentlemen. Married by the Mayor of Coney Island,
Mat and Julie have the sexual prowess of
newlyweds.
Julie Atlas Muz - Miss Exotic World 2006,
Miss Coney Island 2006, winner of the
Whitney Biennial, the Ethel Eichenberger
Award,
film
and
stage
actress,
performance artist, stage director,
cabaret and game show hostess, and so
much more than a Showgirl.
- award winning disabled film television and stage actor, comedian, writer, composer,
singer, sideshow and performance artist, drummer, winner of the Erotic Award (UK) for
Best Male Striptease Artist 2007, and so much more than a Freak. Together they make a cabaret comedy sideshow striptease spectacular that is sexy,
sick, offensive, funny as hell, and like nothing you have ever seen. MICHAEL ACHTMAN
Michael Achtman is Access Manager at
Graeae Theatre, where he has coordinated
access for artists and audiences since
2006. In that capacity he has led
numerous workshops in inclusive practice,
performance and accessible marketing, and
he has contributed advice and guidance
for many performing and digital arts
companies, including work on the London
2012 Paralympics Opening Ceremony.
Michael is also writer/director working in film, video and live art, with an ongoing interest
in accessible practice and distribution. His videos and super 8’s have screened at film
festivals and galleries internationally. He directed Pete Edwards’ live art solo Fat, which
was performed at the Oval House in London and subsequently toured live art venues
across the UK and played the Edinburgh Fringe in 2012.