{"id":1901,"date":"2022-12-06T16:36:22","date_gmt":"2022-12-06T16:36:22","guid":{"rendered":"https:\/\/dentes-de-leao.runescript.pt\/forum-de-encerramento\/"},"modified":"2023-10-19T13:04:59","modified_gmt":"2023-10-19T13:04:59","slug":"forum-de-encerramento","status":"publish","type":"post","link":"https:\/\/dentesdeleao.pt\/en\/forum-de-encerramento\/","title":{"rendered":"Dandelions Forum"},"content":{"rendered":"

The Dandelions Forum takes place on the 21st and 22nd of January at Culturgest, in Lisbon. This is the opportune moment to give visibility to the different results of the project: educational, artistic and social results. In the Forum, will be held the International Conference Prompting participation in the arts and will be presented the artistic creations that were developed throughout the project in the different territories. It is also the last moment of exchange for all young participants.<\/p>\n

International conference \u2014 Free entry subject to registration<\/a><\/strong><\/p>\n

Artistic projects \u2014 Free admission subject to room capacity<\/strong><\/p>\n

 <\/p>\n

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INTERNATIONAL CONFERENCE
\nPROMPTING PARTICIPATION IN THE ARTS<\/h1>\n

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Some of the results of the participatory research carried out by the academic partners (OsloMet, IHA and ICNova) are also now beginning to be made public through a public seminar in which national and international guests will discuss some of the problems of participatory artistic processes and practices.<\/p>\n

 <\/p>\n

PROGRAMME
\n21 JAN \u00a0 <\/span><\/b>* \u00a0 <\/span><\/b>14h30 \u2014 19h30
\n<\/b>Small Auditorium<\/b><\/h3>\n

M\/12\u00a0 <\/span>|\u00a0 <\/span>Organisation: Bruno Marques (IHA\/NOVA FCSH), Cl\u00e1udia Madeira (ICNOVA\/ NOVA FCSH), Cristina Pratas Cruzeiro (IHA\/NOVA FCSH)<\/strong><\/p>\n

\u2731<\/span><\/b><\/h6>\n

14h30\u00a0 <\/strong>*\u00a0 opening
\nRaquel Ribeiro dos Santos, Mariana Mata Passos
\n<\/strong><\/p>\n

\u2731<\/span><\/b><\/h6>\n

14h50
\n<\/b>COMMONING CULTURES AS A PARTICIPATORY PRACTICE<\/strong>
\n\u2014 Pascal Gielen (BE)
\nModeration: Cristina Pratas Cruzeiro,\u00a0Cl\u00e1udia Madeira, Bruno Marques<\/b><\/p>\n

Cultural institutions have always played an important part in mediating between the past and the present. Since the nineteenth century they have been building a monocultural biography of the nation state; since the 1970s, they have been paying more attention to the multicultural society and its various forms of artistic expression. Both trends, \u2018monoculturalism\u2019 and multiculturalism, however, defend the same Eurocentric value of individualism. In his lecture sociologist Pascal Gielen attempts to analyse how both cultural filters function and then looks at how new cultural organisations respond to this today. The so-called Commoning Art Constitutions apply both constitutional and commons practices in order to really do justice to the artistic expression and cultures of the Other.<\/p>\n

Pascal Gielen<\/strong> is writer and full professor of sociology of culture and politics at\u00a0the Antwerp Research Institute for the Arts (Antwerp University – Belgium) where he\u00a0leads the Culture Commons Quest Office (CCQO). Gielen is editor of the\u00a0international book series Antennae – Arts in Society (Valiz). In 2016 he became\u00a0laureate of the Odysseus grant for excellent international scientific research of the\u00a0Fund for Scientific Research Flanders in Belgium. In 2022 he was appointed by the\u00a0Flemish Government as curator of the Culture Talks conference. Gielen has\u00a0published many books which are translated in Chinese, English, Polish, Portuguese,\u00a0Russian, Spanish, Turkish and Ukrainian. His research focuses on creative labour,\u00a0the common, urban and cultural politics. Gielen works and lives in Antwerp, Belgium.<\/span><\/b><\/p>\n

\u2731<\/span><\/b><\/h6>\n

16h35
\n<\/b>SINGULARITY AND SHARING IN PARTICIPATORY ARTISTIC PRACTICE
\n\u2014 Rui Telmo Gomes (PT)
\nModeration: Cl\u00e1udia Madeira, Cristina Pratas Cruzeiro e Bruno Marques
\n<\/b><\/p>\n

Non-professional artists often use\/recreate life experiences and paths in the participatory artistic projects in which they participate. (Auto)biography is a powerful expressive resource that plays with the singularity of each individual, as well as with the recognition effect (or unfamiliarity) of similar (or not) experiences lived by those watching. Co-creating shared aesthetic languages by both professionals and non-professionals, thus escaping the risk of patronising or rendering exotic, depends on the constancy of the artistic practice beyond short-term episodic projects, and on engaging the community (collective and institutional agents).
\nThe artistic singularity of participatory projects builds political meaning precisely based on such community engagement.<\/p>\n


\n<\/b>Rui Telmo Gomes<\/strong> has a PhD in Sociology (2013, Iscte-Instituto Universit\u00e1rio de Lisboa) and is presently an\u00a0integrated researcher at CIES-Iscte.\u00a0Moving between the broad fields of sociology of the arts, culture and youth cultures, his\u00a0current research interests are focused on participatory arts; youth cultural participation;
\nprofessional careers in the artistic and creative sector; cultural policies for the arts, cultural\u00a0practices and participation.\u00a0He is a member of the thematic section &quot;Art, Culture and Communication&quot; of the\u00a0Portuguese Association of Sociology (APS) and of the RN02 network – &quot;Sociology of the arts&quot;\u00a0of the European Association of Sociology (ESA).\u00a0He was part of the research team at the Cultural Activities Observatory as project\u00a0coordinator, editor of the OBS magazine and board member (1996-2013); he is currently\u00a0member of the Portuguese Observatory of Cultural Activities (OPAC) team.\u00a0He recently published the chapter \u201cArtistic participation and cultural capital\u201d in the volume\u00a0Cultural Participation in Portugal, coordinated by Jos\u00e9 Machado Pais and edited by the\u00a0Gulbenkian Foundation.<\/p>\n

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17h20\u00a0 <\/strong>*\u00a0 coffeebreak<\/strong><\/p>\n

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17h40
\n<\/b>POWER AND REBELLION IN THE CONTEXT OF PARTICIPATORY PRACTICES
\n<\/span><\/strong>\u2014 Dagny Stuedahl (NO)
\nModeration: Bruno Marques,\u00a0Cl\u00e1udia Madeira, Cristina Pratas Cruzeiro
\n<\/b><\/p>\n

Participation is not easy. Meanwhile, it has become so central for our contemporary western world that it leads us to reflect upon what is actually meant when we ask for participation? And why has participation become so central. Of course, the advent of social media has proposed a different understanding of citizenship and the role of public debate, and lately also given us examples where social media platforms not only supports the nice citizenship or the cosy debates, but also the darker ones. But, given this development in the social media sphere that has entered our lives, it still does not answer why multiple fields like urban development, health care development, communal and local politics as well as art projects address participation as the right means and goals of our time? In many of these project\u2019s participation is defined, if defined at all, mostly from the point of view of the organisers or from the position of the one’s that initiates the project. While the participation in question, has to be realised by the people on the ground, those who in fact already do participate in the social and cultural dynamics of their own everyday life those who daily create strategies to deal with challenges and limitations caused by this participation, and those who sometimes create collectives with peers to build a stronger case. To build stronger voices by way of participating in the collective.<\/p>\n

Dagny Stuedahl<\/strong> is a Senior Research Fellow at InterMedia, Faculty of Education at the University of Oslo and a Lecturer at the Norwegian University of Life Science. Her basic training is in Ethnology. In the last decade she has been working on research in the field of digital participation in museums. She works with collaborative research, co-design and participatory design in museums, science and heritage centres. Her main publications are in the area of co-design and social networks as a resource to involve communities and young people in museum innovation. She is currently involved in the EXPAND project focusing on design and interaction in science centers. She leads the Nordic Network Culture Kick focused on how design can work as a bridge in the triangulation of knowledge between research, innovation and education. Her current research focus is on studying how sociocultural processes and dynamics can be inscribed in methods of participation and co-design in the field of heritage.<\/span><\/b><\/p>\n

\u2731<\/span><\/b><\/h6>\n

dandelions video projection\u00a0<\/strong><\/p>\n

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18h40
\n<\/b>DENTES DE LE\u00c3O: FROM PROJECT TO PARTICIPATION(S)
\n\u2014 Cl\u00e1udia Madeira, Cristina Pratas <\/b>Cruzeiro e Bruno Marques (PT)<\/b><\/p>\n

This presentation aims at addressing the Dentes de Le\u00e3o project based on three axes. The first axis intends to question the concept of participation and the several ways of approaching it in the scope of the artistic practice. Following an analysis of the artistic projects carried out, the second axis addresses issues concerning programming strategies. Lastly, the third communication axis focuses on mediation relations, taking into account the different roles and agents involved.<\/span><\/p>\n


\n<\/b>Cl\u00e1udia Madeira<\/b>\u00a0is Assistant professor at the Faculty of Social Sciences and Humanities of the Nova University\u00a0of Lisbon (Nova FCSH), and full member of the Nova Institute of Communication (ICNOVA),\u00a0where she is deputy coordinator of the Performance & Cognition line of research. Has a\u00a0postdoctorate degree with a thesis entitled Social Art. Performing Art?\u00a0(2009-2012) and a\u00a0doctorate in sociology about hybridism in performing arts in Portugal (2007) from the\u00a0Institute of Social Sciences of the University of Lisbon. Wrote the books Arte da\u00a0Performance, made in\u00a0Portugal\u00a0(ICNOVA, 2020), H\u00edbrido \u2013 Do Mito ao Paradigma\u00a0Invasor?\u00a0(Mundos Sociais, 2010) and\u00a0Novos Not\u00e1veis: Os Programadores Culturais\u00a0(Celta,\u00a02002), and several articles on new forms of hybridism, performance, and performativity and\u00a0participation in the arts. Professor at the Department of Communication Sciences of Nova\u00a0FCSH, teaching theories of drama and performance in the scope of the graduation course,\u00a0and metamorphosis of the performance as well as scenic arts programming in the scope of\u00a0the master\u2019s degrees in scenic arts and in communication sciences (communication and arts\u00a0branch).
\n<\/b><\/p>\n

Cristina Pratas Cruzeiro<\/strong>\u00a0is\u00a0Assistant professor at the Art History Institute of the Nova University of Lisbon (IHA NOVA).\u00a0Has a doctorate in art sciences from the Faculty of Fine Arts of the University of Lisbon\u00a0(2014). Developed a postdoctorate project at IHA NOVA between 2017 and 2022 entitled\u00a0Colabora\u00e7\u00e3o e Colis\u00e3o: Interven\u00e7\u00e3o p\u00fablica e pol\u00edtica da arte. Both her doctorate and\u00a0postdoctorate were supported by the Foundation for Science and Technology (FCT). Her\u00a0research focuses on the way artistic practices relate to society from different perspectives,\u00a0paying special attention to the connection to politics.
\n<\/span><\/b><\/b><\/p>\n

Bruno Marques <\/b>is Contracted researcher at the Art History Institute, Faculty of Social Sciences and Humanities,\u00a0Nova University of Lisbon (Nova FCSH). Invited assistant professor at Nova FCSH (2016-2022). Wrote the books Cartas fora do Baralho. Os retratos imaginados de Costa Pinheiro\u00a0(2020) and Mulheres do S\u00e9culo XVIII. Os Retratos (2006), coordinated Sobre Juli\u00e3o Sarmento\u00a0(2012) and Arte & Erotismo (2012), and published several articles in international academic\u00a0magazines. Is the principal investigator of the project \u201cConfiss\u00f5es de g\u00e9nero. Autorretratos\u00a0de artistas e escritoras portuguesas no p\u00f3s-25 de Abril\u201d. His research explores topics such as\u00a0identity and portrait policies, as well as self-representation in contemporary art from a\u00a0feminist, queer and post-colonial perspective.<\/p>\n

REGISTRATIONS<\/strong><\/a><\/h2>\n

 <\/p>\n

Universities and institutions wishing to participate in the conference may also do it remotely<\/strong><\/p>\n

CONTACT US:<\/strong>
\nculturgest.participar@cgd.pt<\/strong><\/p>\n

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ARTISTIC PROJECTS PRESENTATION<\/h1>\n

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 <\/p>\n

Movement. Performance. Participation.
\n<\/em><\/h6>\n

PAREIDOLIA<\/strong><\/h4>\n

Pareidolia<\/b> was conceived based on a collective exercise of creative writing with youngsters from the territories of Sardoal, Lisbon and \u00c9vora. Its goal is to capture the manifold impacts a place has on the individual making of each person. It puts forward a creative reading of images through words and movement, resorting to the individual intuition, references, experiences and knowledge of those reading and interpreting it.<\/p>\n

 <\/p>\n

Performance. Installation. Interaction. <\/em>
\n<\/span><\/b><\/h6>\n

LINHA DE TERRA\u00a0<\/span><\/b><\/h3>\n

Linha de Terra\u00a0<\/b>is an invitation to sprout possibilities of restoring our connection to nature. It answers creative suggestions made by the youngsters involved in the project, summoning, to the same extent, the participation of human communities and some of the natural resources that can be found throughout the creative process. From nursing the sprouting of orange tree seeds from Sardoal to nursing the sprouting of the ideas by the youngsters, the piece combines and reinterprets social mores as disparate as interacting around the table or palm reading.\u00a0<\/span><\/p>\n

 <\/p>\n

Installation. Sound. Interaction.<\/em>
\n<\/span><\/b><\/h6>\n

EM ESPERA<\/b><\/h3>\n

em espera<\/b> started as a collective gathering of sounds from \u00c9vora, Lisbon and Sardoal. It becomes a reality as a phone booth where everyone can produce soundscapes based on the sounds that are available. It is an invitation to discovery through sound stimuli that seeks to give relevance and visibility to the places where the project was carried out, thus revealing that which one doesn\u2019t usually see.<\/p>\n

 <\/p>\n

Happening. Multidisciplinary.<\/em><\/h6>\n

DENTES DE LEIT\u00c3O<\/strong><\/h3>\n

Dentes de Leit\u00e3o<\/b> is an Individual Arts platform that selects and promotes both renowned and emerging individualistic artists with transcendentalist values. It focuses on the reflection and discussion on the role Art plays in the Herd Society. Initially created exclusively for Bairrada artists, this project now opens itself beyond borders and summons national and international artists dedicated to topics that are contemporary and fashionable amidst the Individual Arts.<\/p>\n

 <\/p>\n

Sculpture. Interaction.<\/em>
\n<\/b><\/h6>\n

OFERTA<\/b><\/h3>\n

Oferta<\/b> comprises a series of sculptures made with reused natural materials, such as the leftovers of extracting marble in the Alentejo region or timber found in Sardoal (cork tree, for instance). It sets itself as a giving or exchange surface for objects and gestures, and that interaction brings our attention to the implicit negotiation involved in the act of bestowing value and symbolic capital upon objects.<\/p>\n

 <\/p>\n

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<\/h3>\n

PROGRAMME
\n21 JAN<\/b><\/h3>\n
\u2731\u00a0<\/span><\/b><\/h6>\n

15h00 \u00a0 <\/span><\/b>* \u00a0 Room<\/span><\/b>\u00a06
\n<\/b>PAREIDOLIA<\/strong><\/p>\n

M\/12\u00a0 <\/span>|\u00a0 <\/span>45 pax.\u00a0 <\/span>|\u00a0 <\/span>120 min.
\nIncluding a discussion about the project<\/p>\n

\u2731<\/span><\/b><\/h6>\n

19h30 \u00a0 <\/span>* \u00a0 <\/span><\/b>Small Auditorium<\/span><\/b>
\n<\/b>LINHA DE TERRA<\/strong><\/p>\n

M\/6\u00a0 <\/span>|\u00a0 <\/span>15 pax\u00a0 <\/span>|\u00a0 <\/span>90 min.<\/p>\n

\u2731\u00a0<\/span><\/b><\/h6>\n

19h30 \u00a0 <\/span><\/b>* \u00a0 Room<\/span><\/b>\u00a01
\n<\/b>EM ESPERA<\/b><\/b><\/p>\n

Dynamic around the creating process for this piece
\n<\/b>M\/6\u00a0 <\/span>|\u00a0 <\/span>30 pax\u00a0 <\/span>|\u00a0 <\/span>45 min.\u00a0 <\/span>| Accesible between 11 am and 7 pm for one visitor at a time<\/p>\n

\u2731\u00a0<\/span><\/b><\/h6>\n

Different spaces at Culturgest
\nDENTES DE LEIT\u00c3O
\n<\/b>Dentes de Leit\u00e3o project emerges spontaneously throughout the day in different spaces at Culturgest<\/p>\n

 <\/p>\n

PROGRAMME
\n22 JAN<\/b><\/h3>\n
\u2731\u00a0<\/span><\/b><\/h6>\n

11h00 \u00a0 <\/span><\/b>* \u00a0 <\/span><\/b>Small Auditorium Foyer
\nOFERTA<\/b><\/p>\n

Dynamic around the creating process for this piece
\n<\/b>M\/6\u00a0 <\/span>|\u00a0 <\/span>45 pax\u00a0 <\/span>|\u00a0 <\/span>45 min. \u00a0| \u00a0Accesible on the 21st and 22nd of January<\/p>\n

\u2731\u00a0<\/span><\/b><\/h6>\n

11h00 \u00a0 <\/span><\/b>* \u00a0 <\/span><\/b>Room 6
\n<\/b>PAREIDOLIA<\/strong><\/p>\n

M\/12\u00a0 <\/span>|\u00a0 <\/span>45 pax.\u00a0 <\/span>|\u00a0 <\/span>120 min.
\nIncluding a discussion about the project<\/p>\n

\u2731\u00a0<\/span><\/b><\/h6>\n

15h00 \u00a0 <\/span><\/b>* \u00a0 <\/span><\/b>Room 1
\nEM ESPERA<\/b><\/p>\n

Activity for children accompanied by adults
\n<\/b>M\/6\u00a0 <\/span>|\u00a0 <\/span>30 pax\u00a0 <\/span>|\u00a0 <\/span>60 min.\u00a0 <\/span>| Accesible between 11 am and 7 pm for one visitor at a time<\/p>\n

\u2731<\/span><\/b><\/h6>\n

16h00 \u00a0 <\/span>* \u00a0 <\/span>Small Auditorium<\/span><\/b>
\nLINHA DE TERRA<\/b><\/p>\n

M\/6\u00a0 <\/span>|\u00a0 <\/span>15 pax\u00a0 <\/span>|\u00a0 <\/span>120 min.<\/p>\n

\u00a0<\/b><\/p>\n

\u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span><\/b><\/h6>\n

full programme here<\/a><\/h2>\n
\u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span><\/b><\/h6>\n

 <\/p>\n

A publication with the result of the research participating in the Dandelions project is available for free download, here.<\/p>\n

 <\/p>\n

\u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span><\/b><\/h6>\n

full publication here<\/a><\/h2>\n
\u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731 \u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span> <\/b>\u2731<\/span><\/b><\/h6>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The Dandelions Forum takes place on the 21st and 22nd of January at Culturgest, in Lisbon. This is the opportune moment to give visibility to the different results of the project: educational, artistic and social results. In the Forum, will be held the International Conference Prompting participation in the arts and will be presented the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[14],"tags":[],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-05-23 00:20:01","action":"draft","terms":[],"taxonomy":"category"},"_links":{"self":[{"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/posts\/1901"}],"collection":[{"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/comments?post=1901"}],"version-history":[{"count":44,"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/posts\/1901\/revisions"}],"predecessor-version":[{"id":3110,"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/posts\/1901\/revisions\/3110"}],"wp:attachment":[{"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/media?parent=1901"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/categories?post=1901"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dentesdeleao.pt\/en\/wp-json\/wp\/v2\/tags?post=1901"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}