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Idea Transcript


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

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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 5

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? 13

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.”

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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 21

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.

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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.

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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.

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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

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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.

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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.

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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

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“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.”

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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.

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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.

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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.

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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

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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

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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

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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

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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

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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.

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