Girls from Brazil`s favelas find escape in ballet – EXTRA no. 2140

AP PHOTO
29.08.2014 fri
More than 20 girls from a rough Sao Paulo
neighborhood known as crackland are learning
the graceful art of ballet. The time they spent
focused on grace and control is far removed
from their daily lives growing up amid drug
dealers and addicts. The project brings children
hope and happiness
X3
Music: My Everything by Ariana Grande
Wine: The Anglo-Portuguese Alliance
Food: comfort with an italian flair
Girls from
Brazil’s favelas
find escape in
ballet
Movies: The Congress
Books: The Crossword Century: 100 Years of Witty Wordplay,
Ingenious Puzzles, and Linguistic Mischief by Alan Connor
Macau Daily Times | Edition 2140 | 29 Aug 2014
X2
PÁTIO DA ILUSÃO illusion
DRIVE IN
AP PHOTO
Jake Coyle, AP Film Writer
Meta and mad, ‘The Congress’ is a trip
V
stardom — “the trailers ...
the skipping out on PR ... the
coke ... the sexual kinks,” he
glowers, is disappearing. The
industry is changing, and he
couldn’t be happier to see picky actors like Wright vanish.
What he wants is to scan her,
to “sample” her and turn Wright, or as he says, “this thing
called Robin Wright,” into a digital avatar that the studio can
control completely. She just
has to sign, never act again,
and she (or specifically a younger, 34-year-old computergenerated version of her) will
live on in whatever movies
Miramount wants.
AP PHOTO
ery soon, this whole structure that we all love so
much will be gone,” prophesies Danny Huston’s widegrinning movie studio head in
Ari Folman’s “The Congress.”
He’s speaking to Robin Wright, who plays a version of
herself in the film. In a meeting with Wright and her perplexed agent (Harvey Keitel),
Huston’s Jeff Green, the head
of the wryly fictional Miramount Studios, relishes foretelling a coming doomsday for
actors: a reckoning that will
rid the movie business of their
gross inefficiency.
All the trappings of movie
Robin Wright (playing a version of herself) projecting wonder within
the machine scanning her likeness
“I need Buttercup from ‘Princess Bride,’” Green says. “I
need Jenny from ‘Forrest
Gump.’”
This is the brilliant, high-concept start of Folman’s followup to “Waltz With Bashir,”
the hypnotic, Oscar-nominated, animated documentary
about a (real) Israeli soldier’s
nightmares of regret from a
1982 massacre of Lebanese
civilians. Like that film, “The
Congress” is wholly unique
hallucinogenic concoction of
psychological trauma and florid cartoon.
A defeated Wright goes in for
the scan. Her agent urges her
to, lamenting the squandering
of her once-promising career:
“Lousy choices. Lousy movies.
Lousy men.” Ouch. (The sound
you hear is a thousand actresses shuddering.)
The film shifts forward 20
years and it gets trippy in a
hurry. When Wright arrives in
a “restricted animated zone,”
she drinks down a vial that
converts her and her surroundings into loony, “The Yellow
Submarine”-style animation.
The road turns to rainbow. A
sperm whale breaches alongside her convertible. You’d
Harvey Keitel, right, as Al meeting with his client, Robin Wright (playing a version of herself) at her home in
Drafthouse Films’ sci-fi epic, ‘The Congress’
swear Ringo is in there somewhere.
Wright’s avatar is now a global star, her image beamed
across adverts on floating
blimps. A future forecast by a
cynical doctor played by Paul
Giamatti has come to pass:
people leave their lives behind
in a bizarre, animated playground of chemically induced
fantasy.
Green is still presiding over
Miramount, but he’s now preparing for another revolution,
pushing still further away
from reality. He now wants to
bottle celebrities like Wright,
allowing them to be ingested,
drunk in a milkshake. (Tom
Cruise is also among the fla-
vors.)
“The Congress” gets lost in
its surrealism and turns into
a metaphysical mess. It’s the
whole structure of “The Congress” that falls apart, quite
intentionally. Wright’s animated odyssey is lengthy and
muddled (Jon Hamm drops in
as the head of animation for
Miramount), and the inelegant
imagery saps the film of its
energy, even if it fits Folman’s
scheme.
Yet this mad, ambitious movie
is also urgent and unforgettable. The deal offered Wright
(whose steely, meta performance is a marvel) isn’t so farfetched. The digital cloning of
actors is well underway. The
commodification of movies
and celebrity is already in
hyper-speed. If Wright were
signing up with Marvel, the
deal might not look so different.
Loosely adapted from the scifi novel “Futurological Congress” by “Solaris”-scribe Stanislaw Lem, “The Congress” —
a trip, to be sure — is busting
with ideas, from ageism in
Hollywood to the soullessness
of digital life. It’s a cautionary
tale about escapism, hitting
theaters after a summer of little else at the movies.
“The Congress,” a Drafthouse
Films release, is not rated. Running
time: 122 minutes.
BOOK IT
tTUNES
Author’s ode to crosswords is right
Grande’s ‘My Everything’
I
T
“The Crossword Century: 100 Years
of Witty Wordplay, Ingenious Puzzles,
and Linguistic Mischief” (Gotham
Books), by Alan Connor
to crossword fans without a hint
of smugness why their obsession
feels so satisfying.
He clearly relishes the ambiguity
of the English language, as when
he recounts clues such as “Die of
cold?” for ICE CUBE.
He also appreciates the choreography between the puzzle creator
and solver.
“Yes, the constructor is aiming to
lose gracefully and intends you to
decrypt every clue,” he notes. “But
that doesn’t mean the crossword
should simply crumble before the
novice. There has to be a degree of
bloodshed.”
One of the most interesting
chapters is his paean to one of
the most famous puzzles of all:
a 1996 New York Times gem in
which the solver is asked what
the next day’s headline will be.
The answer was designed so the
intersecting letters could spell either CLINTONELECTED or BOBDOLEELECTED.
While Connor spends plenty of
ink appreciating the crossword, he
also devotes several chapters to its
British cousin, the cryptic. He tries
to teach readers how to decipher a
cryptic’s maddening clues — with
limited luck.
For example, we’re supposed
to recognize that the answer to
“Strange I should tan poorly” is
OUTLANDISH, an anagram of “I
should tan.” Seriously?
Despite Connor’s best efforts, he
may not inspire many crossword
fans to tackle cryptics. But with his
short chapters and crisp, elegant
writing he does give them a fresh
appreciation for their crossword
obsession.
“To tackle a crossword is to enjoy the experience of your brain
pulling on many different areas
simultaneously, working in a way
that everyday life rarely calls for,”
he says.
Crossword lovers will certainly
relate.
Dinesh Ramde, AP
is everything
his is how you follow up an impressive debut: simply step into
the recording booth, and be amazing yet again.
Maybe it’s easier said than done, but
Ariana Grande manages to pull off
the feat with her sophomore release
“My Everything,” the successor to
last year’s near-pop perfection “Yours Truly,” which topped the Billboard
200 chart and spawned the hit single
“The Way,” featuring Mac Miller.
Admittedly, Grande’s sophomore effort doesn’t go in a radically different
direction (she was on the right path
to begin with), but big changes are
there. For one, music veteran Kenneth “Babyface” Edmonds is nowhere
to be found. Still, the R&B and soul
sensibilities that he brought to “Yours
Truly” are at play, even without him.
That’s evident on “Be My Baby,”
featuring Norwegian DJ Cashmere Cat, and in the slick bounce of
“Break Your Heart Right Back.” Produced and co-written by duo Pop &
Oak, the latter samples Diana Ross’
“I’m Coming Out.” Featured guest
Childish Gambino repurposes bars
from Notorious B.I.G.’s “Mo Money, Mo Problems” for the track.
Additional collaborations with rappers, including Big Sean, A$AP
Ferg as well as Iggy Azalea on the
successful single “Problem,” might
tempt critics to accuse Grande of
relying on old formulas. But she
shows growth, busting out of familiar genres, and exploring electronic dance music on second single
“Break Free,” featuring Zedd, and
again on the David Guetta-written
AP PHOTO
f you love solving crosswords,
you know how it feels to be in
the fraternity. There’s the rush
of matching wits with a mysterious puzzle-maker, the thrill of
nailing an elusive answer and the
satisfaction of filling in the final
square.
There’s a charm in playing the
game, a charm that can be hard to
describe. But Alan Connor, a British quizmaster who writes a column on crosswords for the Guardian newspaper, is more than up to
the challenge.
Connor is the author of “The Crossword Century: 100 Years of Witty
Wordplay, Ingenious Puzzles, and
Linguistic Mischief.” The book
details the history and evolution
of crosswords since the first one
appeared in 1913. But what makes
it such a fun read is Connor’s evident passion for all things crossword.
“The moments you spend in a puzzle have the potential to shut out
the outside world for a blessedly
silent period,” he says. “You return
refreshed from a happier place.”
Indeed. Solvers recognize that
feeling, but it’s nice to be reassured that others share our appreciation. Crosswords are largely a
solitary affair, so it’s easy to lose
sight of how many others share
our bond.
Connor traces the history of crosswords across newspapers and
Hollywood. But his deeper message is when he preaches charmingly to the choir, reaffirming
AP PHOTO
on the mark
Ariana Grande, “My Everything”
(Republic Records)
“One Last Time.”
Thankfully, no matter where Grande ventures, her dazzling vocals lead
the way — powerful on the Benny
Blanco and Ryan Tedder-produced
“Why Try,” with its hypnotic drums,
and light-as-a-feather on “Just a Little Bit of Your Heart,” with its aching
and lovesick lyrics co-written by
One Direction’s Harry Styles.
The 21-year-old Grande has a fantastic voice, and she and her team
have found the music to showcase that. A feat that isn’t to be
underestimated, considering the
powerhouse vocalists who’ve been
bypassed for passable singers with
more memorable tracks.
Sure, “My Everything” was a safe
bet — but only in the best of ways.
For some fans, the listening experience will be like returning to a delicious little restaurant they’ve recently discovered, and finding that
the food is as good as they thought
it was the first time.
Melaine J. Sims, Associated Press
29.08.2014 fri
NEWS OF THE WORLD
AP PHOTO
Girls from Brazil’s favelas
find escape in ballet
Ballet instructor Joana Machado instructs young girls at her House of Dreams dance studio in Crackland, one of the roughest
neighborhoods of downtown Sao Paulo
Adriana Gomez Licon, Sao Paulo
P
AP PHOTO
ast the graffiti-covered
overpass and subway
tracks, in a slum penned
in by high-rises, 8-year-old Gabriela Aparecida fixes her curly
hair into a bun as she waits
for a ride to her new favorite
activity: ballet. Peeling back
the tarp over the doorway, the
skinny girl reaches out into the
dirt alleyway to hug the church
volunteer arriving to take her
to dance class.
Growing up amid drug dealers
and addicts, Gabriela has yet to
learn how to read. Yet she and
other girls from a rough neighborhood known as a “cracolandia,” or crackland, are learning the graceful art courtesy
of a local church group that
also offers them food, counseling and Bible studies. The class
is among several groups where
young dancers hope to catch
the eye of a respected Brazilian
ballerina who recruits dozens
of disadvantaged girls for an
annual workshop.
Twice a week, more than 20
girls, ages 5 through 12, board
a Volkswagen van for a 10-minute ride to class, where they
put on pink or black tights and
ballet shoes donated by a dancewear store.
On a recent day, instructor
Joana Machado played a jaunty tune of f lutes and piano.
Sitting on the f loor, the girls
formed a circle with their legs
out in front of them and knees
straight. They f lexed their feet
and then stretched their toes
down toward the f loor, over
and over again while Machado
corrected the younger ones’
form.
The time spent focused on
grace and control is far removed from the girls’ daily lives.
Many are being raised by parents who are recovering from
or are addicted to drugs. Some
girls live with relatives who
are dealers, or they have been
abandoned and taken in by neighbors. Some have experienced
violence.
Girls growing up in favelas are more likely to become
pregnant as teens, and the last
2010 census found the rate of
illiteracy was twice as high in
the slums than in other areas of
Brazil.
“We see all kinds of stories
here. From girls who haven’t
showered in days, who don’t
know how to brush their teeth, who are locked inside their
homes all day,” said Machado,
instructor and head of the project. “I feel always responsible
for their lives, always worried
about what may happen.”
Machado just opened the studio named “House of Dreams”
in the neighborhood, relocating
the class from a more commercial area of Sao Paulo. Machado
herself was raised by a drug
addict, who later recovered, in
the northeastern state of Bahia.
Ballet dancer Priscilla Yokoi,
whose performances have
taken her to 15 countries including the United States, recently
visited and chose five of the
girls for the annual workshop.
It allows 150 disadvantaged
children to take four days of
classes with foreign ballerinas
and perform a show in October.
The school Gabriela attends
doesn’t accept boys, but some
of the other groups that Yokoi
visits do.
Yokoi recently traveled to
another slum in Sao Paulo where an audition at a basketball
court attracted about 40 dancers and dozens of onlookers
from the neighborhood. Some
of the girls who took up dancing at a local studio sat on
the cold concrete while Yokoi
looked for the prettiest pointed
feet.
At the workshop in Paulinia,
a city north of Sao Paulo, Yokoi
brings dance scouts from the
only school the prestigious
The way I see
ballet in these
forgotten areas
is that it brings
children hope.
They audition,
they participate
in a workshop
and they are
more motivated
PRISCILLA YOKOI
BALLET DANCER
Bolshoi Ballet operates outside of Russia. Yokoi said she
wanted to expand on efforts
like the Bolshoi school, which
opened in 2000 in the southern
Brazilian city of Joinville and
accepts only a handful of students each year.
“The way I see ballet in these
forgotten areas is that it brings
children hope. They audition,
they participate in a workshop
and they are more motivated,”
Yokoi said. “I see my project as
a window into what ballet can
become in Brazil if we find talent within these communities.”
Russians largely introduced
classical ballet to Brazil in the
1920s, when dancers began immigrating and established dance
companies in cities like Rio de
Janeiro and Sao Paulo. The Bolshoi school in Brazil has given
birth to a new generation of
Brazilian ballet dancers, such as
Deise Mendonca, who performs
with the State Street Ballet company in Santa Barbara, California. Earlier this year, she brought tears to the eyes of judges
on the Fox television show “So
You Think You Can Dance.”
Mendonca’s father was a mail
carrier and her mother unemployed when the family moved
to Joinville so she could join
the Bolshoi school as a scholarship student.
“We struggled. We had no
money,” Mendonca said. “But
it changes your mindset. Many
doors open for future opportunities.”
Back in the “crackland” studio, some of the girls make
faces and giggle at their ref lections in the large mirror next
to the barre. The barre work
requires more concentration,
instructor Machado tells them
as they bend their knees into
what is known in ballet parlance as a grand plie. Keep your
chin and chest lifted, but not
too much, she tells them. Keep
your back firm, not arched.
“You think it is easy. It looks
easy. It’s not, and it hurts,” Machado tells three sisters who joined the group earlier this year.
After class, the girls get in the
van to return home. At the last
stop, 8-year-old Sandra Alves
doesn’t want to get off and she
hides her face in her knees.
“Just pretend I am not here.”
But eventually, she has to go.
“It’s a nightmare. It’s a nightmare,” she sings as she glides
side to side and disappears into
the gritty dark hallway. AP
X4
PÁTIO DO SAL salt
The Anglo-Portuguese
Alliance
WORLD OF BACCHUS
by Jacky I.F. Cheong
Churchill’s Tawny 20 Years Old
Tawny is typically a blend of several harvests; the age designation
refers to the average age of blended wines, not their actual or minimum age. Barrel-ageing exposes the wine to gradual oxidation and
evaporation, hence the nutty flavour and silky tannins. Once bottled, tawny can be enjoyed without decanting as it does not throw
sediments, but it does not improve with age.
This tawny was bottled in 2011. Bright chestnut-mahogany with
auburn-rosso corsa reflex, the nose is aromatically redolent, presenting dried apricot, dried fig, caramel, roasted walnut and mushroom, infused with Qimen red tea. Underpinned by lively acidity
and mellow tannins, the intensely multifarious palate radiates
mandarin peel, dried cranberry, allspice, toffee, Stollen and caramelised oak. Medium-full bodied and medium-sweet at 19.5%, the
composed entry evolves into an exuberant mid-palate, leading to a
lavishly spiced finish.
Churchill’s Crusted 2004
Churchill’s Late Bottled Vintage 2007
Sourcing entirely from one single vintage, LBV is barrel-aged for 4-6
years. Bottled unfined and unfiltered, “traditional” LBV often comes
from good vintages. It is ready to drink, but can improve with age; it
does throw sediments, and so decanting is necessary. Often filtered
and cold stabilized, “modern” LBV does not require decanting, but
generally does not improve with age.
From the excellent 2007 vintage, this LBV was bottled unfiltered.
Dark garnet with cardinal-crimson rim, the nose is evocatively
perfumed, exuding black cherry, prune, confit de cassis, liquorice,
Christmas spice and dark chocolate, elaborated with lily. Buttressed
by vibrant acidity and seductive tannins, the fragrantly seething
palate supplies plum, damson, dried blackberry, clove, cocoa, sous
bois, enriched with lavender tisane. Full-bodied and medium-sweet
at 20%, the honeyed entry transforms into a spicy mid-palate, leading to persistent finish.
Crusted is usually a blend from several vintages,
although single-vintage Crusted does exist. The
indicated year refers to bottling, not vintage. Both
barrel-aged and bottle-aged for a minimum of 4
and 3 years respectively, Crusted is ready to drink,
but can improve with age. Bottled unfiltered,
crusted requires decanting; indeed, its name
comes from the sediments that form in the bottle.
Rich garnet with cardinal-rosso corsa rim, the
nose is captivatingly scented, effusing bilberry,
black cherry, black olive, cocoa, spice box and
sandalwood, adorned with rose. Supported by vivacious acidity and delicious tannins, the elegantly
rich palate oozes dried damson, dried prune, confit
de cassis, allspice, tobacco leaf, coffea arabica and
cedarwood. Full-bodied and medium-sweet at
19.5%, the spiced entry continues through an energetic mid-palate, leading to a lingering finish.
The Anglo-Portuguese alliance is the oldest one in the world
that is still in force. Ever since the Anglo-Portuguese Treaty of
1373, which is in turn the oldest active treaty still in existence,
Anglo-Portuguese relations have been strengthened by the
constant threat of France and Spain, whether Habsburg or
Bourbon. In comparison with the Anglo-French Entente Cordiale, which was often not very cordial, the Anglo-Portuguese
alliance has been by and large mutually beneficial to both
countries.
Whenever wars broke out between England – and later on
Britain – and France or Spain, it was Portuguese wine that
quenched the thirst of the British Isles. Due to the lack of
reliable storage and transport, fortified wines were the safest
bet, hence the British obsession with Port, Madeira, Sherry
and Marsala. If Italian is the language of opera, Spanish the
language of cigar, French the language of haute cuisine and
German the language of philosophy, English would be the
language of fortified wine.
Starting from the 2nd half of the 17th century, English – and
later on British – wine merchants began to take root in the
Douro region. As the Methuen Treaty of 1703 gave Portuguese wine preferential duty rates, Port became hugely popular
on the British Isles. Today, a clear majority of Port houses –
known as shippers – bear English names, followed by German
and Dutch names, and curiously only a few have Portuguese
names. Established in 1981, Churchill is the first independent
British Port shipper to emerge in the last 50 years.
The Port story to be continued…
Available at Palatium Fine Wines; Contact: Mr Pedro Lobo; W: www.palatiumwines.com; E: [email protected]; T: +852 2875 0782
Jacky I.F. Cheong is a legal professional by day and columnist by night.
Having spent his formative years in Britain, France, and Germany, he
regularly writes about wine, fine arts, classical music, and politics in
several languages
.
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29.08.2014 fri
TASTE OF EDESIA
COMFORT WITH AN
ITALIAN FLAIR Irene Sam
B
y now we all know that SOHO at City of
Dreams is the hottest spot to be for casual
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are looking for comfort food, you will find one
of the best places for pizza and pasta at the venue. Following the success of its first location in
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set to raise the bar for chic-casual dining scene
in Macau by presenting one of the most unique
sustainable dining spaces in the region.
A contemporary culinary oasis, the brand new
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and like its sister restaurant in Hong Kong, the
concept and design of Shelter is a green oasis
amidst the prosperous urban environment. Nature inspired designs and materials as well as
an abundance of luscious greenery around the
restaurant help create an indoor dining space
that is fresh and tranquil. Shelter Italian Bar &
Restaurant also boasts an al-fresco bar lounge
and a café.
The restaurant’s thoughtfully designed menu
showcases the essence of Italian cuisine, which lies
in bringing out the true flavors, aromas and purity of the ingredients. The signature Chargrilled
Australian M5 Wagyu Beef Toma Hawk, is tender,
succulent and is served with garlic and rosemary
baked potato and organic vegetables. Another highlight on the menu marries the sweetness of Spanish red shrimps with melt-in-the-mouth pan-seared foie gras and finished with a brush of balsamic
vinaigrette sauce.
The team at Shelter Italian Bar & Restaurant
knows that a dish is only as good as its ingredients. The commitment to using the freshest
and best produce extends beyond sourcing from
quality and reputable suppliers. Chef Nadia Fri-
sina, one of the hottest talents in global cuisine,
has created a pizza that mixes Chinese ingredients with the best Italian produces.
“At Shelter, we have traditional Italian pizzas
like prosciutto e rucola arugula pizza, but if you
want to try something different, we have one
pizza that is made with Chinese mushrooms, artichoke, and olives. I like to give an Asian touch
to my creations,” Chef Frisina explains.
Indeed, her creation is definitely one of a kind,
delicious, yet healthy, a must-try. Complementing the dining experience is a carefully compiled menu of over 60 distinct international selections in wine, champagnes and cocktails. To end
the meal on a high note, guests can indulge in a
variety of sorbets and cheesecakes or select from
one of Shelter’s specialty desserts, which include
its signature cashew cake and a refreshing lemon
custard tart.
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PÁTIO DO SOL sun
WHAT’S ON
...
Time: 3pm
Venue: Art Plaza, Macau Cultural Centre, Avenida
Xian Xing Hai, s/n, NAPE
Admission: Free
Enquiries: (853) 2870 0699
Organizer: Macau Cultural Centre
http://www.ccm.gov.mo
TODAY (AUG 29)
XXX Collective Exhibition of Macau Artists
The 63 selected artworks include 21 Chinese
paintings, 20 western paintings and 22 Chinese
calligraphy works for awards and inclusion in the
exhibition.
Lio Man Cheong was awarded the “Best Creation
Special Prize” and the “Best Work – Chinese
Painting” with exquisite details and truthful
representation of spirit, his work “ A World of
Compassion” depicts a scene in a small city.
The “ Best Work – Western Painting” went to Mak
Kuong Weng. Full of artistic tension, his piece
for the exhibition integrates special modernist
techniques and a unique structure to showcase
the characteristic side of the Ruins of St. Paul. Wu
Ruofang received the “Best Work – Calligraphy”
with her calligraphy of an excerpt from the
miscellaneous poems of Qing Dynasty calligrapher
Pan Linggao (known as “Mr Pan, the Hanlin
Academic”.) Furthermore, the Prize for New Talent
went to three young people: Lei Hiu I, Tam Hiu Lam
and Cheong Kit Pan.
Time: 9am-9pm, open on public holidays
Until: October 5, 2014
Venue: Temporary Exhibitions Gallery of the Civic
and Municipal Affairs Bureau
Admission: Free
Enquiries: (853) 8988 4100
Organizer: Civic and Municipal Affairs Bureau
http://www.iacm.gov.mo
Arturo Sandoval Quintet
10-time Grammy Award-winner Arturo Sandoval,
one of the world’s most celebrated jazz musicians,
as well as a renowned classical artist, pianist and
composer, is set to delight music lovers with his
Arturo Sandoval Quintet concert at The Venetian
Theatre, as part of the celebrations commemorating
the 7th anniversary of The Venetian Macau.
Having begun his classical trumpet studies at the
age of 12, Sandoval was soon immersed in the
excitement of the jazz world, becoming a protégé
of the legendary bebop and Afro-Cuban jazz master
Dizzy Gillespie. The upcoming performance is a rare
opportunity to enjoy the talents of one of the true
masters of his art form.
Time: 7:45pm
Venue: The Venetian Theatre
Admission: MOP180, MOP280, MOP380
Enquiries: (853) 2882 8818
Organizer: Venetian Macau-Resort-Hotel
http://www.venetianMacau.com.
MONDAY (SEPT 1)
Macau Science Centre
Know your Locks and Keys - Locks & Security
Exhibition serves as a fascinating insight into the
march of civilization. Invented about 4,000 years
ago by the Egyptians, the technology for locks and
keys has evolved as today’s padlock, latch, dead
lock, door edge lock and mortise lock.
To Space & Back 3D whisks audiences to the far
reaches of our known universe. Discover how the
technology that transports us through space is
paving a way for the technology we use every day.
Time: 10am-6pm (Closed on Thursdays)
Venue: Macau Science Centre, Avenida Dr. Sun
Yat-Sen
Admission: Exhibition Centre MOP25
Planetarium MOP50-65
Enquiries: (853) 2888 0822
http://www.msc.org.mo
TOMORROW (AUG 30)
Constellations - Spanish Dance Company
Aracaladanza
Bring your family to enjoy the creative and colourful
world of master painter Joan Miró. Spanish
group Aracaladanza invites you for a taste of
Constellations, a dance cocktail of colours, shapes
and games conceived after the imagery of one of
the 20th Century greatest artists.
Staged in a magical space, Constellations brings
five dancers on stage conveying the Catalan
painter’s emotional universe. Light and movement
are used to open the doors of fantasy, letting the
flow of simple emotions run freely with amazing
props, puppetry and inventive animation.
Time: 3pm & 7:30pm
Date: August 30-31, 2014
Venue: Macau Cultural Centre, Avenida Xian Xing
Hai, s/n, NAPE
Admission: MOP180
Enquiries: (853) 2870 0699
Organizer: Macau Cultural Centre
http://www.ccm.gov.mo
TUESDAY (SEPT 2)
SUNDAY (AUG 31)
ARTmusing Fun: Creative Summer Party
The creative moments will start with Disney classic
musicals “Cinderella” and “Aladdin” presented by
the participants of the Musical GoGoGo! Workshop
and a series of outdoor activities. These will
include arts and crafts, face painting, music and
drawing corners, a drum circle, clown tricks and
a parental tambourine playing session. The grand
finale is reserved for a mini world music concert
that will gather the Kumara singers and drummers
with CCM’s Children Choir, delivering well-known
international tunes to the audience. On the same
day, children will be invited to perform on a ministage, showcasing their artistic potential.
Christian McBride Big Band
Macau is soon to find out why Christian McBride is
considered an exhilarating and powerful force that
has definitely conquered the jazz world. A renowned
bass player and composer, his big band’s swing is
about to shake our town with a smashing musical
display, improvising on the coolest of sounds, from
blues and bebop jazz to the golden oldies and his
own original tunes.
In 2011, McBride’s big band was awarded a
Grammy for the recording of The Good Feeling,
an album featuring reinvented arrangements of
jazz standards such as “Broadway” and original
works like “Bluesin’ in Alphabet City”, a piece
commissioned by Wynton Marsalis for the Jazz at
Lincoln Center Orchestra.
29.08.2014 fri
Time: 8pm
Venue: Macau Cultural Centre, Avenida Xian Xing
Hai, s/n, NAPE
Admission: MOP100, MOP150, MOP200, MOP250
Enquiries: (853) 2870 0699
Organizer: Macau Cultural Centre
http://www.ccm.gov.mo
WEDNESDAY (SEPT 3)
Calendar Illustrations by Guan Huinong
The exhibition Calendar Illustrations by Guan
Huinong aims to offer the public a chance to gain
a deeper understanding of the artist’s peculiar
creations. In this exhibition, viewers will enjoy the
charm of this refined yet popular art through the
illustrations combining artistry, graphic design,
printing skills, and commercial value.
Time: 10am-7pm (closed on Mondays, no
admission after 6:30 pm)
Until: December 28, 2014
Venue: Macau Museum of Art, Av. Xian Xing Hai,
s/n, NAPE
Admission: MOP5 (Free on Sundays and public
holidays)
Enquiries: (853) 8791 9814
Organizer: Macau Museum of Art
http://www.mam.gov.mo
THURSDAY (SEPT 4)
Transformers 30th Anniversary Expo
Divided into 10 interactive zones, the exhibition
allows visitors to experience the exciting world of
Transformers up close. The expo is also home to a
theatre showing a series of Transformers movies. A
variety of Transformers merchandise including world
limited-edition items are available for purchase
exclusively at the expo, as well as branded almond
cookie and cookie gift boxes for the first time –
launched as part of a joint venture by Yeng Kee
Bakery Macau and Transformers.
Time: 11am-8pm (Last entry is 7pm)
Until: October 5, 2014
Venue: Cotai Expo, The Venetian Macau-ResortHotel
Admission: MOP80 (Child), MOP100 (Adult)
Enquiries: (853) 2882 8818
Organizer: The Venetian Macau-Resort-Hotel
Language: Chinese
http://www.cotaiticketing.com
29.08.2014 fri
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