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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: John K. Cobra, Ong Keng Sen,
Tamara Cubas
Moderated by: Nayse López
Artistic provocation by: Alejandro
Ahmed
There is a
spectrum that surrounds this entire conversation: the spectrum of the pandemic.
The traumatic experience of the past two years is a mark in all the speeches, a
permanent reference; it serves as a point of comparison for almost all
experiences. It was a "radical moment", summarised the stage director
Ong Keng Sen. An "important" process because "the entire world
was levelled" at that moment.
For the
first time - at least in our lifetime - "the world stopped". No one
left home. No one travelled, no one got on a stage, few were able to continue
creating. For once, every person on the planet had to face the same problem,
Keng Sen recalls. There is therefore a before and an after the
pandemic.
But there
is also a during the pandemic, noted the artist Roland Gunst (aka John
K. Cobra), when he recalled the "peace of mind" he felt at that
moment when we all strongly hit the brakes. Suddenly, it was not necessary to
respond to the constant request for novelty and that seems to have been a sense
of freedom and also of learning.
Although
this idea was not explored in this first session of the cycle of talks that the
DDD and Panorama festivals are currently promoting, it is important to keep it
in mind. Maybe it will be important in the next sessions, especially when
reflecting on the future of artistic practices, the new forms of production, of
performance and, necessarily, also of programming.
In this
first talk (which took place online on April 4) the theme was sustainability.
But, after all, what are we talking about when we talk about sustainability?
Above all, are we talking about environmental issues, as it was systematised in
the introduction to the session made by the moderator Nayse López and the
choreographer Alejandro Ahmed? Or is sustainability "more complex than
that", as Tamara Cubas suggested?
Perhaps
something in-between, judging by the remaining statements. The environmental
issue - the expression "climate emergency" was not used but it was
always present in the talk - is unavoidable and will mark the debates and
decisions of the next five to ten years. However, in this session, simplistic
solutions were refused. The issue is in fact "more complex" and in
need of deeper solutions than a drastic reduction in air travel or an entirely
vegan menu at festivals can guarantee.
The
introductory text for this round of talks stated that, during the early days of
the pandemic, we lived with the feeling that, after that period, nothing would
stay the same. The problem is that "maybe many things have gotten
worse!", one wrote. This was also an idea explored in the talk on April 4
by Ong Keng Sen and Nayse López. In the first encounters of programmers after
the pandemic, it seemed that "nothing had changed". "It seemed
like 2015," illustrated the director of the Panorama festival, who
moderated the session.
A concern
that Ong Keng Sen tried to answer when he pointed to a process (of change)
"that is incomplete, unfinished". Half-digested. Is there hope?
Therefore,
this talk took place in a post-traumatic context and in a context of change (or
at least of wanting it). We talked about festivals. About the way they are made
- programmed, produced, also communicated. About the pertinence of this meeting
place.
In the
"provocation" on video that began the session, Alejandro Ahmed
recalled the historical importance of these events. For the company Cena 11,
which directs from Florianópolis, in Southern Brazil, being part of festival
programming - especially in the 1990s, pre-Internet - was the opportunity to
"be seen" and reach national and international platforms that would
otherwise be inaccessible.
Festivals
are also a way of training and of encountering other artists. "It's vital
to step out of your place," says Ahmed. "To be in touch with another
way of thinking, another way of urbanism and another way of organising the
socio-cultural path". Festivals allow it. So do world travelling.
The
pertinence that keeps the encounter, the physical presence in a show or in a
festival, one of the strongest ideas that crossed several interventions. Ken
Sen valued the dimension of the festival as "time and space for
encounter". To feel the bodies, the sweat, the saliva of the other.
The
choreographer Tamara Cubas states that " the experience of being in
another place is very important", "to understand the world and even
to understand the place where we are from". Seeing an image of a place is
not being in the place, she mentioned. "Not being able to live together
will make us have only a vague idea of what the other is". And that is,
warns the Uruguayan choreographer, a "dangerous thing".
Moreover,
in the initial "provocation" Alejandro Ahmed had already pointed to
the "historical challenge" of presence in the living arts in the
introduction to the talk. There was a need to find some ways of responding.
Roland Gunst suggests that festivals "cannot be a pure representation of
the society in which it is installed". They must question, disorganise.
For Nayse
López, it is not possible to continue doing festivals in the same way as all
the big events have been made in recent years. "I have no intention of
programming 25 shows if they are not part of a broader question".
That
"broader question" is a possible answer to the concerns raised. What
seemed clear in this talk was a willingness to question the fundamentals.
In this
sense, no intervention was as vital as Ong Keng Sen's, who raised radical
questions: "What is valuable in what I do?"; "Does the way
forward lie in doing something else together?"; "Who is the audience
[of festivals]?".
And then
"What does it mean to be present?" he also asked, putting forward one
possible answer: facing the challenges of sustainability, we must question our
movements, our journeys, and select where we can and should be present. Ken Sen
proposes that the essential is "to be present where change is
necessary".
In other
words, "it is still important" to gather 50 people from all over the
world, but it is necessary that these people are "change-makers",
who, after this encounter, can go back to their respective contexts and change
their local realities. "The human encounter is still important". The
point will be to make each of these encounters meaningful.
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