{"id":311,"date":"2019-05-29T09:21:35","date_gmt":"2019-05-04T13:18:47","guid":{"rendered":"http:\/\/nuisiszobop.com\/s-a-l-t-u-s-2\/"},"modified":"2023-06-12T18:01:23","modified_gmt":"2023-06-12T18:01:23","slug":"veleda","status":"publish","type":"post","link":"https:\/\/nuisiszobop.com\/en\/veleda\/","title":{"rendered":"Veleda"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":1280,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"class_list":["post-311","post","type-post","status-publish","has-post-thumbnail","hentry","category-projects"],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 2,\r\n \"rowGutters\": [\r\n 6,\r\n 6,\r\n 6,\r\n 6,\r\n 6,\r\n 2,\r\n 12,\r\n 2,\r\n 6,\r\n 2\r\n ],\r\n \"frameMargin\": 2,\r\n \"topFrameMargin\": 12,\r\n \"bottomFrameMargin\": 2,\r\n \"rowAttrs\": [\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {},\r\n {}\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Veleda<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 0,\r\n \"col\": 3,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 2,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 4\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Hugo Calhim Crist\u00f3v\u00e3o & Joana von Mayer Trindade<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 74\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha.jpg\",\r\n \"align\": \"middle\",\r\n \"row\": 2,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 126,\r\n \"attid\": 1281,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-3200x2133.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-2560x1707.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-1920x1280.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-1280x853.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-1024x683.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-768x512.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-512x341.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2019\/05\/JoanaTrindade08\u00a9SilvanaTorrinha-265x177.jpg\"\r\n },\r\n \"w\": 3504,\r\n \"h\": 2336,\r\n \"ar\": 0.6666666666666666,\r\n \"alt\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

SYNOPSIS<\/span>\u2003Maria\u00a0Veleda<\/span>\u00a0proved to be an evidence, a <\/span>\u201c<\/span>clue<\/span>\u201dstrong enough not to be ignored, triggering the actions and the improvisations that lead to the performance structure, the starting point and<\/span>\u00a0\u00a0main inspiration for the creation of this work as a personal solution answering her questions via art, as much as we are able to, as well as the silent witness within our process of achieving it.<\/span>\u00a0 (\u2026)<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 2,\r\n \"col\": 7,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 2,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 127\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

CREDITS<\/span>\u2003Conception \/ Direction and Creation Joana von Mayer Trindade e<\/span>\u00a0Hugo Calhim Cristov\u00e3o\u00a0<\/span>Performance\u00a0<\/span>Joana von Mayer Trindade\u00a0<\/span>Music<\/span> Paula Cepeda Rodrigues or Viana Bombos \u2013 Grupo de Bombos da Casa dos Rapazes de Viana do Castelo\u00a0Special Collaboration<\/span> Valquiria Valhalladur\u00a0<\/span>Historical Support<\/span> Jo<\/span>\u00e3o Esteves\u00a0Acknowledgements<\/span> Orfe<\/span>\u00e3o do Porto, Paulo Trindade, Rui Nascimento, Joca (Viana Bombos \u2013 Grupo de Bombos da Casa dos Rapazes de Viana do Castelo) and Maria Veleda Fotography<\/span>\u00a0Silvana Torrinha\u00a0Co-production\u00a0<\/span><\/span>Commission<\/span>\u00a0for the<\/span>\u00a0Commemorations<\/span>\u00a0of the Republic<\/span>\u00b4s Centenary. The Portuguese Republican Revolution was in 1910. Duration<\/span> 26'<\/span><\/p>

Creation 2010<\/span><\/p>

\u00a0<\/p>

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(\u2026)<\/p>

For her uncompromising journey, often conditioning her life into material poverty, in the latter days to almost destitution and misery, a fact that should weigh heavily on us all.<\/span><\/p>

For the multiple and complex meanings of her historical presence, from the political struggle stamped in ever growing radical options in the aim of individual freedom,<\/span>\u00a0to the specificity of her dedication to<\/span>\u00a0\u00a0esoterism in parallel with her positions, far advanced and highly dissonant with the trend of her time, in what regards the condition of women, the nature and meaning of family,<\/span>\u00a0\u00a0the how and why of interpersonal relationships .<\/span><\/p>

By the clarity with which she analyzed and reflected upon the effective results of the Republic for which she fought, after it<\/span>\u00b4s implementation, and so realized the burdens of suffering and joy that<\/span>\u00a0\u00a0one<\/span>\u00a0\u00a0creates and one indeed pays when in the present tense standing for the dream of making the world more human.<\/span><\/p>

By the way in which her critic was relentlessly focused on the tools of dehumanization manifesting in the logic of power and of the abstractions that support it, the revolution that is turned stagnant taking the form of dead<\/span>\u00a0\u00a0institutions who no longer become in the circulation of<\/span>\u00a0\u00a0the living, but merely immobilize and constraint the concrete existence of what they were supposed to promote.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 1,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 5\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The particularity of her chosen pseudonym \\\"Veleda\\\" (a V<\/span>\u00f6<\/span>lvur, a Vala \\\") and how this fits in oddity with her first name\\\" Maria \\\"from the outset an implication that only in<\/span>\u00a0\u00a0synthesis is to be discovered: the archetype of the mother of Christianity (of the<\/span>\u00a0Christ) intertwined with a prophetess warrior bred in violence and rebellion against the Roman Empire.<\/span><\/p>

By the phonetic and subjective associations that her name soon awoke, a hill steeped in velvet, a velvet which can burn as fuel and ignite these mirrors of memory, desire, and factual realities that nourished, and who knows<\/span>\u00a0 if yet nourish, the republics: pregnant vehicles<\/span>\u00a0of utopia.<\/span><\/p>

The route started from spirals, suspensions, to trace the path of a fracture. 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AGENDA<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 7,\r\n \"col\": 1,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 1659\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

3-06-2018<\/p>

VELEDA<\/p>

Serralves em Festa | Musuem Gallery\u00a0<\/p>

Porto<\/p>

\u00a0<\/p>

23-09-2016<\/p>

VELEDA<\/p>

CIRCULAR Performing Arts Festival<\/p>

Vila do Conde<\/p>

\u00a0<\/p>

\u00a0<\/p>

09-05-2015<\/p>

VELEDA 2015<\/p>

Festival CORPO + CIDADE<\/p>

Esta\u00e7\u00e3o de S\u00e3o Bento<\/p>

Porto<\/p>

\u00a0<\/p>

08-05-2014<\/p>

Second Platform of Portuguese Dance Creators EDN&modul-dance<\/span><\/p>

CAPA|Devir<\/p>

Faro<\/p>

\u00a0<\/p>

16-10-2010<\/p>

Festival Trama 2010<\/p>

Funda\u00e7\u00e3o de Serralves<\/p>

Porto<\/p>

\u00a0<\/p>

19-09-2010<\/p>

Festival Materiais Diversos<\/p>

Alcanena<\/p>

\u00a0<\/p>

11-09-2010<\/p>

C<\/span>\u00e2mara Municipal Sobral de Monte Agra\u00e7o<\/p>

\u00a0<\/p>

28-08-2010<\/p>

Jardim da Estrela,\u00a0Lisboa<\/p>

Egeac \/ Lisboa na Rua<\/p>

\u00a0<\/p>

25-08-2010<\/p>

Centro Cultural de \u00cdlhavo\u00a0<\/p>

\u00a0<\/p>

21 a 25 -07-2010<\/p>

Museu do Traje<\/p>

Viana do Castelo<\/p>

\u00a0<\/p>

29 -04-2010<\/p>

Dia Mundial da Dan\u00e7a<\/p>

Largo do Teatro Nacional S\u00e3o Carlos, Lisboa<\/p>

\u00a0<\/p>

21-03-2010<\/p>

Centro Cultural Vila Flor<\/p>

Guimar\u00e3es<\/p>

\u00a0<\/p>

08-03-2010<\/p>

Dia Da Mulher<\/p>

\u00c1trio da C\u00e2mara Municipal de Lisboa<\/p>

\u00a0<\/p>

07-03-2010<\/p>

Premi\u00e9re<\/p>

Sala Wittgenstein, F<\/span>\u00e1brica Bra<\/span>\u00e7o de Prata<\/p>

Lisboa<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 1,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 1660\r\n },\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

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Partners<\/p>

\u00a0<\/p>

Orfe\u00e3o do Porto,\u00a0 Viana Bombos \u2013 Grupo de Bombos da Casa dos Rapazes de Viana do Castelo<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 9,\r\n \"col\": 6,\r\n \"colspan\": 2,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 7\r\n }\r\n ]\r\n}","phonegrid":"","_links":{"self":[{"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/posts\/311","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/comments?post=311"}],"version-history":[{"count":0,"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/posts\/311\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/media\/1280"}],"wp:attachment":[{"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/media?parent=311"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/categories?post=311"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nuisiszobop.com\/en\/wp-json\/wp\/v2\/tags?post=311"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}