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How do we party pandemic?



How do we party pandemic?

Written by Jacqui Palumbo, CNN

At nightclubs all over the world, once crowded dance floors have remained empty for months. If you need to be reminded, clubbing is a close contact activity: People share drinks, hugs, kisses, and generally invade each other’s private space until dawn.

And while such an escape and the opportunity to emit some steam might be welcomed after locking up all over the world due to the coronavirus pandemic, the current situation poses problems for nightlife. How can people safely touch the dance floor while respecting new social steps that distance?

Initial attempts to reopen the club and live music scene have provided clues about what might be happening in the nightlife. In China, where the nightclub has reopened, participants undergo temperature checks before entering and registering their personal information to facilitate contact tracing. Places offer extra precautions such as disposable cups and disinfecting the bathroom every hour.

In Shanghai, nightlife staff wear masks and keep bars and clubs disinfected for customers. Credit: Hector / AFP / Getty Images Shooting

“Fear is the challenge,” said Shane Davis, co-founder and creative director of the Brooklyn Public Records venue, via video chat. “This is fear of the unknown, fear is among people you don’t need to believe.”

In South Korea, a group of new cases linked to a nightclub forced all of Seoul’s bars and clubs to be temporarily closed only a few weeks after long-distance social measures abated. Last weekend, friends gather to dance in the open in Münster, Germany – perhaps the first electronic party approved in Europe since the wave of infection forced places to close.

For decades, nightclubs and raves have provided a sense of togetherness in times of social or political upheaval, which often develops under limitations and restraints.

In the 1970s, New York City discotheques offered a safe place for LGBTQ visibility; in 1988, the rebellious and hedonistic acid house parties swept through Britain and gave birth to an entirely new musical movement; in the 1990s, German techno flourished after the fall of the Berlin Wall, bringing together the youth of the once separate country.

While many places will struggle to stay afloat without filling capacity every weekend, it seems like design, technology and some creative ingenuity can help reshape how people return to the nightclub, even if touch is not permitted. Here are some ways that the party can do in 2020 and beyond.

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A new wave of subculture styles

One studio based in LA had imagined a protective device that seemed to come right out of “Tron.” That Micrashell The concept is upper body suits and helmets with N95 particle filtration that can be worn on one’s clothes. To keep the design airtight and – in theory – virus-free, users drink from alcohol tubes installed in settings and communicate through built-in loudspeakers. The Production Club, which also designs world tours for DJs and electronic artists, is currently prototyping concepts and seeking funding, hoping to offer them en masse to places that can only operate with limited capacity.

“What we have designed will not become medical equipment,” said creative director Miguel Risueño. “Because then it’s a mistake rather than something that makes you happy.” Credit: Production Club, Inc.

“We decided we needed to find a solution to bring back events – not in one year but tomorrow,” said creative director Miguel Risueño. “We came up with the idea of ​​creating a suit that allows you to socialize.” Being aware of the cultural history and costumes of the club, Risueño and his team chose a more sophisticated futuristic design.

“What we have designed will not become medical equipment,” he said. “Because then it’s a mistake rather than something that makes you happy.”

Personal protective equipment (PPE) can begin as a necessity – newly opened clubs require or masks that are very pushing – but plain surgical masks and disposable gloves are unlikely to stay in the norm for a long time. Fashion clubs often embrace style trends that serve a purpose, from fan hands to keep you calm while dancing, to handkerchiefs offer a code system for sexual identity and liaison.
The Production Club hopes to hold their first party with Micrashell later this year.

The Production Club hopes to hold their first party with Micrashell later this year. Credit: Production Club, Inc.

Masks, in particular, already have a history in certain club and subculture scenes – cyber gangs take advantage of the sci-fi theme with PVC or gas masks, and kandi ravers assemble colorful beaded masks. At festivals, participants often use bandanas to protect themselves from the elements. Clothing can also be another preventative barrier. Bigger than life avant-garde silhouette featured prominently among the children of the New York club in the 90s, and could be viewed casually to keep others at a distance.
Even if full rave clothing is not attractive, wearable technology can rise to the challenge. Already, the Brooklyn StrongArm Tech technology company already made a mobile-sized device that can warn someone if someone else is closer than six feet away, and capture the information needed for contact tracing. Although it has been touted as a way for people to get back to work safely, similar devices can be used in bars and clubs.

Dancing in the open air

Open spaces are more likely to develop after a pandemic decreases. At a recent event in Münster, event staff at Coconut Beach added another layer of social distance through a circle on the floor that stretched six feet apart. That tactic was seen again recently TikTok video from Slovakia, where party visitors gather under the subway to dance in a closed field.

Because Spain makes locking easy, the country will allow indoor spaces to operate with a maximum of only 80 people – unsustainable capacity for spaces that often fit hundreds or thousands of visitors – while up to 800 people will be allowed in open spaces. As a result, ticket prices can go up. In the case of the Coconut Beach party, which only offers entry to 100 people, each ticket costs 70 euros ($ 77 USD).

Limited entry can lead to more dance events going underground, which carries greater risk. Unapproved raves in the woods or open fields, of the kind that hit England in the 1980s and 1990s, and still appear to this day, can see a revival in response to new restrictions or closed clubs. In Leeds, England, three people were arrested this week for attending Party of 200 people about protected nature reserves.
Meanwhile, in Schüttorf, Germany, promoters look to the cinema for new types of dance parties – and safer, holding drive-in raves which keeps everyone isolated in their cars.

The driver was also drawn to a field in Bonn where DJ Frans Zimmer, aka Alle Farben, appeared on “BonnLive Autokonzerte,” a series of car concerts inspired by the need for social distance.

Virtual streaming and listening room

Around the world, clubs have made people dance in the privacy of one’s home, by taking their virtual programming. In New York, with more than 25,000 restaurants and nightlife spots plagued by viruses, Brooklyn clubs have hosted dance parties on Zoom or built their own websites for live streaming. They include the Public Records online effort, Public access, which Davis calls “the 24-hour music television channel,” which has featured an eclectic mix of audio and visual.

Until people can freely return to dancing indoors, the club needs to think about how to adjust to the steps of social distance. “The dance floor will adapt,” Davis said. “It might not be the same dance floor as people (wearing) masks, but it might be a different experience altogether.”

That could include more “listening experiences,” he said, instead of traditional dance parties – more like sound cafes and popular small venues in Tokyo, which developed because of decades of dancing in the country after midnight . In Berlin, the nightlife undergoes drastic changes when venues try to greet visitors safely – clubs that usually remain open for up to 60 hours at a time, such as the large indoor and outdoor space, Sisyphos, open quickly as a beer garden with live music, by dancing not yet permitted.

New York City is still, at least, more than a month away from seeing the reopening of music venues, but will face the same challenges from other international venues that are trying to operate under the new city laws. What Davis didn’t want was to sacrifice the spirit of Public Records – which could be hampered by limited capacity events that were heavily watched.

“The beauty of nightlife … is an element of that opportunity,” being around other people who are “unknown and fun,” Davis said. “If we cannot reach that level of experience, then we will only do something completely different until we can again.”

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Portuguese historical films will premiere on 29 December.



Portuguese historical films will premiere on 29 December.

Method Media Bermuda will present the documentary FABRIC: Portuguese History in Bermuda on Thursday, December 29 at the Underwater Research Institute of Bermuda.

A spokesperson said: “Method Media is proud to bring Bermuda Fabric: Portugal History to Bermuda for its 5th and 6th showing at the Bermuda Underwater Observatory. In November and December 2019, Cloth: A Portuguese Story in Bermuda had four sold-out screenings. Now that Bermuda has reopened after the pandemic, it’s time to bring the film back for at least two screenings.

“There are tickets For $ 20 – sessions at 15:30 and 18:00. Both screenings will be followed by a short Q&A session.

Director and producer Milton Raboso says, “FABRIC is a definitive account of the Portuguese community in Bermuda and its 151 years of history, but it also places Bermuda, Acors and Portugal in the world history and the events that have fueled those 151 years.

“It took more than 10 years to implement FABRIC. The film was supported by the Minister of Culture, the Government of the Azores and private donors.

Bermuda Media Method [MMB] Created in 2011 by producer Milton Raposo. MMB has created content for a wide range of clients: Bermuda’s new hospital renovation, reinsurance, travel campaigns, international sports and more. MMB pays special attention to artistic, cultural and historical content.

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Maestro de Braga is the first Portuguese in the National Symphony Orchestra of Cuba.



Maestro de Braga is the first Portuguese in the National Symphony Orchestra of Cuba.

Maestro Filipe Cunha, Artistic Director of the Philharmonic Orchestra of Braga, has been invited to conduct the Cuban National Symphony Orchestra, as announced today.

According to a statement sent by O MINHO, “he will be the first Portuguese conductor to conduct this orchestra in its entire history.”

In addition to this orchestra, the maestro will also work with the Lyceo Mozarteum de la Habana Symphony Orchestra.

The concerts will take place on 4 and 12 March 2023 at the National Theater of Cuba in Havana.

In the words of the maestro, quoted in the statement, “these will be very beautiful concerts with difficult but very complex pieces” and therefore he feels “very motivated”.

From the very beginning, Rachmaninoff’s Piano Concerto No. 2 will be performed by an Italian pianist (Luigi Borzillo), whom the maestro wants to bring to Portugal later this year. In the same concert, Mendelshon’s First Symphony will be performed.

Then, at the second concert, in the company of the Mexican clarinetist Angel Zedillo, he will perform the Louis Sfora Concerto No. 2. In this concert, the maestro also conducts Tchaikovsky’s Fifth Symphony.

“This is an international recognition of my work. An invitation that I accept with humility and great responsibility. I was surprised to learn that I would be the first Portuguese member of the Cuban National Symphony Orchestra. This is a very great honor,” the maestro said in a statement.

“I take with me the name of the city of Braga and Portugal with all the responsibility that goes with it, and I hope to do a good job there, leaving a good image and putting on great concerts. These will be very special concerts because, in addition to performing pieces that I love, especially Rachmaninov and Tchaikovsky, I will be directing two wonderful soloists who are also my friends. It will be very beautiful,” concludes Filipe Cunha.

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