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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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Erika Rodrigues
— Escritora e doutoranda em Filosofia Contemporânea —
Tordre, de Rachid Ouramdane, inaugura uma composição coreográfica na qual as dinâmicas vitais dos corpos são minuciosamente articuladas numa torção que distende os elementos cénicos presentes entre o palco e o público. Uma viragem na qual nos voltamos em direção ao mais embrionário da dança. Através de uma relação visceral com os gestos, Lora Juodkaite e Annie Hanauer produzem uma força motriz capaz de transgredir a condição corpórea dos movimentos, mantendo-se, simultaneamente, na superfície de uma materialidade crua, sensível e poética.
Numa atmosfera cinematográfica, os movimentos de cada intérprete convocam experiências distintas que se interpelam sem jamais se sobreporem. No mesmo espaço singular e partilhado, configura-se uma espécie de avesso da dança produzido pelas sombras que se multiplicam em contacto com a luz. As silhuetas desdobram as suas curvas entre as composições geradas pelas duas presenças e as sombras que se repartem em três. Esta diferença indica-se como um retorno, um ritornelo, em constante sucessão. Entre os espasmos de um corpo a dançar nas voltas de um outro corpo a rodar coexiste um interstício.
O corpo a rodar o mundo a rodar a infância a rodar o medo a rodar, a memória a rodar a vida na carne de um corpo que roda, num turbilhão vertiginoso que o mantém em pé, diante do extravasamento dos seus contornos. No limite entre o amorfo e as formas nascentes, uma força elíptica excede a organização linear dos movimentos. Neste vórtice, tudo se alonga e se estende entre as partículas suspensas no ar e a realidade do instante. A circulação desta energia curvilínea ativa outras dimensões da corporalidade. Estas dimensões que constituem um corpo singular são igualmente constitutivas de toda criação artística.
Nas voltas que o corpo faz, a sua configuração primordial dilata-se numa fluidez que nos remete aos deslizamentos do barro trabalhado nas rodas de oleiro, aos círculos sagrados da dança sufi e às órbitas atómico-planetárias, mas também, lembra-nos a potência infigurável das contorções pintadas nos quadros de Francis Bacon. Ao rodar, cria-se uma outra modulação dos movimentos, numa abertura pela qual se ultrapassa os limites do tempo e do espaço. Pois, através destas dinâmicas, visitamos as memórias de infância da intérprete que coincidem com a infância dos próprios movimentos.
A partir da apresentação de Nina Simone, Feelings de 1976, assistimos, ainda, às deslocações de uma coreografia emocionada. Cada pausa, cada mínimo fôlego, cada sussurro invisível que advém das notas metálicas do piano estremece no corpo que dança. Os gestos surgem numa simbiose com os mais ínfimos acontecimentos, numa familiaridade com os arrepios latentes, quase impercetíveis, e com as sensações inteiras. Os aplausos do público reproduzidos pela música são duplicados na sombra do próprio público presente, colocando-nos diante da constatação e do deslocamento da nossa condição de espetador.
Num mesmo impulso, encontramo-nos diante deste espaço ilimitado de um frémito que recria as suas formas, convocando as relações fundamentais que se insinuam entre a vida, o corpo e as forças que o mobilizam. Entre a dança e aquilo que a perpassa. Diante dos corpos reais que respiram na distância da sala semi-iluminada do teatro, os movimentos transitam entre as diferentes intensidades, voltando-nos para um espetáculo no qual estamos mais que presentes, estamos, desde antes, profundamente implicados.
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