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1. INTRODUCTION
The protection of personal data is a priority of Ágora – Cultura e Desporto do Porto, EM., S.A. (hereinafter referred to as Ágora). The adopted privacy and personal data protection policy clarifies which personal data are collected, for what purposes they are used, which principles guide the use of such data and the rights that their holders enjoy.
Ágora is a local company of a municipal nature, endowed with statutory, administrative and financial autonomy, incorporated on September 29, 2006 (then as Porto Lazer E.M.), whose share capital is fully owned by the Municipality of Porto, under the terms of the Legal of Local Business Activity and Local Participations.
Its corporate purpose is the promotion and development of culture, physical activity and sport, other entertainment activities in the City, as well as the promotion and development of brands associated with the City of Porto, in addition to activities determined by the management of the spaces and equipment that are under its management.
2. CONTEXT
This policy applies to all those who, in any way, have a relationship with Ágora.
3. RESPONSIBLE FOR DATA PROCESSING
As the person responsible for processing the data entrusted to it, Ágora:
– Ensures that the processing of personal data is carried out within the scope of the purposes for which they were collected or for purposes compatible with the initial purposes;
– Assumes the commitment to implement a data minimization culture in which it only collects, uses and conserves necessary personal data;
– Does not disclose or share personal data for commercial or advertising purposes.
4. HOW PERSONAL DATA ARE USED
Ágora uses the personal data provided in an application, communication, complaint, participation or on the website, to respond to requests received, as well as for statistical purposes, continuity of service and participation in events.
In addition, it collects the information provided by its interlocutors, such as comments, suggestions and criticisms/complaints, with a view to constant improvement.
5. PERSONAL DATA COLLECTED
The personal data collected depends on the context of interactions with Ágora, within the scope of its activity.
The data collected may include the following items:
Identification:
– Name
– Age
– Tax identification number
– Citizen Card/Identity Card Number
– Social Security number
Financial/Payment Data:
– Bank identification number
Institutional data:
– Institutional email
Contacts:
– Household
– Email address
– Phone/mobile number
Image:
– Image of security cameras
6. PERSONAL DATA OF MINORS
The personal data of minors, the collection and processing of which does not result from a legal basis or from the exercise of public interest/public authority functions, will only be collected and processed with the express consent of the holders of parental responsibilities or guardians. Holders of parental responsibilities or guardians have the prerogative to exercise their rights over the personal data of minors under similar conditions to those of data subjects.
7. COLLECTION AND PROCESSING OF SPECIAL DATA
Personal data may be of a more sensitive nature in certain situations, classified by the General Data Protection Regulation (GDPR) as "special categories of data", which include, among others, health data.
The processing associated with special categories of data deserves increased protection in the GDPR and is subject to specific technical and organizational safeguards. In this sense, the addition of documentation that incorporates special categories of data should only be carried out when such data appear as instructive or optional documents in the forms made available and advertised by Ágora.
8. REASONS WHY DATA IS SHARED
Ágora only shares personal data with third parties in the exercise of public interest/public authority functions, in strict compliance with legal obligations, or with the prior consent of the holder.
9. SECURITY OF PERSONAL DATA
Ágora uses a set of technologies, tools and security procedures, making the best efforts to protect personal data from unauthorized access, use or disclosure.
10. HOW TO ACCESS AND CONTROL PERSONAL DATA
Ágora allows, at the request of its holder, access, rectification, limitation of treatment and erasure of personal data. The data subject also has the right to object to the processing of his/her personal data.
If the use of personal data is based on consent, the data subject has the right to withdraw it, without compromising the validity of the data processing carried out until that moment.
Ágora's Data Protection Officer (dpo@agoraporto.pt) can always be contacted to clarify all questions related to the processing of personal data and exercise of rights as a holder of personal data.
11. RIGHTS OF THE DATA HOLDER
The data subject has the following rights:
Right to be informed – right to be informed, in a clear, simple and transparent way, about the processing of your personal data by Ágora.
Right of access – right to access personal data concerning you and which are processed by Ágora.
Right of rectification – if you find that Ágora has incorrect, incomplete or inaccurate personal data that you own, you have the right to request its correction or rectification.
Right of opposition – right to oppose the processing of data by Ágora. However, legal or public interest grounds may prevail over the right of opposition.
Right of limitation – right to request the limitation of the processing of your personal data by Ágora, to certain categories of data or purposes of treatment. However, legal or public interest grounds may prevail over this right.
Right to erasure of personal data or "right to be forgotten" – right to request the erasure of your personal data, if there are no legal grounds or public interest that justify the conservation of that personal data.
Right to withdraw consent – whenever the processing of your personal data is carried out on the basis of your consent, you have the right to ask Ágora to stop carrying out this treatment.
Right to portability – right to receive personal data concerning you, in a commonly used and machine-readable digital format, or to request the direct transmission of your data to another entity, but in this case only if technically possible.
12. PERSONAL DATA RETENTION
Ágora retains personal data for the necessary and reasonable period and within the scope of the purpose(s) for which they are collected.
Conservation periods may change significantly when archival purposes of public interest or historical, scientific or statistical reasons justify it, and Ágora is committed to adopting appropriate conservation and security measures.
In order to determine the appropriate retention period, Ágora takes into account the various deliberations of the European data protection control authorities, namely the CNPD, and the Archival Regulation for Local Authorities (Portaria nº 412/2001, of 17 April and 1253/2009, of October 14).
The data will be deleted as soon as they are no longer necessary for the defined purpose(s) or when consent is withdrawn.
13. COOKIES AND SIMILAR TECHNOLOGIES
Ágora uses cookies (small text files that a website, when visited by the user, places on their computer or mobile device through the internet browser) to provide online services, assist in data collection and save settings, taking into account to improve performance and user experience.
14. SOCIAL NETWORKS
15. CONTACT INFORMATION
For more information about Ágora's privacy practices and personal data protection, you can send an email to: dpo@agoraporto.pt.
16. CHANGES TO THIS PRIVACY POLICY
This privacy and personal data protection policy will be updated regularly, whenever justified.
When changes to this policy are published, the respective update date will be changed at the same time.
It is recommended to periodically consult the privacy policy and protection of personal data to obtain information on how Ágora protects personal data and to update the information and rights of data subjects.
Suggestions for improvement can be made via email dpo@agoraporto.pt.
Last update date: May 11, 2022
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PARTILHAR:
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Samuel Silva
— Journalist —
With: Drew Klein, Olga Drygas,
Piny
Moderated by: Cristina Planas
Leitão
Artistic provocation: Idylla
Silmarovi
Second online talk of the cycle of
encounters promoted by DDD and Panorama festivals regarding the future of
festivals. After two digital talks (on April 4th and 13th),
this reflection will continue in person, on April 28th and 29th,
in Porto, during the Festival DDD 2022.
At the end
of the "provocation" with which she opened this talk, the performer
Idylla Silmarovi set a challenge: place a sheet of paper with the world map
printed on it in the mouth, chew it and then look at the image again.
"Perhaps with the borders blurred, wet with our saliva, we can represent
the sustainability theme in a much more incisive and accurate way", she
pointed out.
The
Brazilian performer and researcher began by reflecting on the colonial heritage
- "The arts produced a border", she said - to place the border question at the centre of the discussion of this second encounter promoted by
DDD and Panorama festivals.
The path to
think about sustainable festivals involves "breaking down borders",
not only those that "separate the self from the other",
but also those that prevent "the connection of peoples with the
earth", proposes Silmarovi.
We heard
more than once during this meeting that "borders have blurred". First
of all, the world's geographical borders themselves. In this regard, the
co-director of DDD, Cristina Planas Leitão, pointed out that in this year's
edition of the festival she cannot "truly say what is local and what is
international", while Olga Drygas noted that one of the main concerns of
Nowy Teatr, which she directs in Warsaw, Poland, is to "break the rules"
about what it is to be Western or Eastern European, in a country still strongly
marked by these categories.
The
performer Piny has emphasised other borders: those that are established within
the same society, within the same city. And which are, above all, the result of
economic and social inequalities.
"Talking
about local and international" is a talk, right from the start, reserved
"for an elite", she said, noting how in cities there are people,
especially in their peripheries, "who don't leave their place", in
the same way that "there are many artists who don't travel" - "I
am super local because I don't have the money to travel or to go to the city
centre regularly", she summarised.
Piny will
help bring voguing and also urban and oriental dances to the DDD 2022 programme.
From this experience, one also reflected on what it means to blur the borders
between the different dances that can fit in a contemporary dance festival.
It is
another border that is broken, as it can be, in a time more or less close to
ours, the border of technology, reminded Nayse López and Marlon Barrios Solano,
who also took part in the talk, mentioning technologies such as Blockchain or
the emerging of Metaverse, with which the arts will end up having to, if not
migrate, at least dialogue.
Returning
to the initial "provocation" - and because this cycle of
conversations has sustainability as its background - Idylla Silmarovi stressed
an idea that had already been discussed in the first talk: talking about
sustainability implies "bringing up issues that go beyond the consumption
of fossil fuels or plastic".
Therefore,
the talk also debated the sustainability of the current production methods in
the arts, with the financing that is almost always associated with the new
production and a system of great festivals that "induces a market of
premieres", as Cristina Planas Leitão stated.
Planas
Leitão also recalled an idea brought by the visual artist Roland Gunst in the
previous session of this cycle when she recalled the "peace of mind"
that he felt in that initial moment of the pandemic, an idea illustrated with
special acuteness by the expression "celibacy of thoughts", used by
Olga Drygas.
Drew Klein,
who directs the This Time Tomorrow festival in Cincinnati, USA, defended an
idea that had already become familiar in the first talk of this cycle: the idea
that, with the pandemic, many people have reconsidered their way of existing in
the world. A fundamental change "seems more possible now than it did four
or five years ago", he believes.
This is the
promising spirit with which one can face the challenge of sustainability beyond
the most simplistic answers that "often promote exclusion" (Cristina
Planas Leitão) or are merely greenwashing (Nayse López).
The
distance issue - and, in that sense, the need for long journeys that the
circulation of artists and their works implies - "will always be present,
whether we like it or not", understands Olga Drygas. The challenge that will have to be
answered is if we want to "place more ideas in our community", as it is
the festivals' role, or "let's put the planet first".
The Polish
programmer presented a hypothesis of answers, considering that the emergency
that the planet faces implies "changing the system" more than
"changing a festival or an institution".
Drew Klein
used this idea to remind people that the impact of the artistic world on the
number of international air travels "is so small" that the action of
festivals and artists and festivals, in practice "doesn't matter".
However,
the role of the arts has always been to raise the possibility of
"imaginative thinking", creating conditions to "normalise new
patterns of behaviour and collaboration between agents" that can
"influence the thinking of society" and thus contribute to the
necessary change.
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