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Artistic and Technical Sheet


Antony Fernandes - Bagpipe (Swedish) and Voice

Carmina Repas Gonçalves - Viola da Gamba and Vocals

Joana Lopes - Choreography and Voice

Tiago Manuel Soares - Percussion (snare, bass drum, tambourine, adufe, vibraslap and mouth harp)


Video and sound capture and editing

Abel Andrade

Artistic direction and elaboration of pedagogical contents

Carmina Repas Gonçalves


Thistle Project

Music collected in Apúlia, Esposende, by Armando Leça

Filmed in the village of Quintandona, Penafiel

Specific objectives

  • Opposite speed exploration (slow and fast)

  • Exploring opposing dynamics (Piano e Forte)

  • Exploration and interiorization of contents through creativity, expressiveness and sensorial perception 

  • Exploring the sonic possibilities of toys and small instruments 

Suggestions for exploring the contents of the video at home or in the classroom:


  1. Look for toys and small objects at home or in the classroom; sitting in a circle each one  shows the object he has chosen and explores the timbre possibilities (shaking, scraping with his nails, hitting with his hand, with another object, on the floor, etc. ); the others listen and wait for their turn.

  2. Talking and relating the objects that produce similar sounds  (by sizes, textures, materials and ways of producing sound); organize the circle by timbre sections (the ones that play when you shake it, the  made of wood, the  made of plastic, those that are hollow, etc).

  3. Collectively look for the Piano  sound (lowest) and the Strongest (loudest) sound they can produce, each with its object; then the slowest and fastest sound; then explore the articulation possibilities of these 4 elements (eg: Strong and slow, Strong and fast; Piano and slow, Piano and fast); finally, practice passing from one to the other in two different ways: suddenly or gradually. It might be interesting for each one to suggest a way to play and for everyone to try it out (Ex: Maria - slowly and softly; João - starts slowly and ends quickly, etc); the reverse also works - each one makes a sound and everyone says how this sound was played. In the video we do not explore the gradual articulation between Piano and Forte (growing and decreasing) because they aretechnically  difficult to perform for children in these age groups, which does not prevent talking about the subject or trying it out, if you feel  that the children are following along easily.

  4. Explorar memories/sensations relating to the different dynamics and speeds. Ex: Como é o som de dormir? E de correr?_cc781905-5cde-3194-bb3b -136bad5cf58d_being under water, eating a piece of gum or chocolate, eating a slice of lemon, drinking water, drinking a banana smoothie, bathing in cold or hot water, spinning fast until you get dizzy, etc…. They can be sensations, thicknesses, temperatures, colors, etc. Finally, represent these memories through the sound exploration of objects and make  the exercise increasingly  and faster, thus working on agility reaction and creativity; it can help comprehension to say each word with great expressiveness (Ex: Meeeeeel; sonhaaaaaar; Oooondas do Maaar!!; VERMEEEELHO!!!!).

  5. Land the objects and learn the song. First with small sentences, then with larger phrases. Repeat until memorized. Explorar gestos, possibilidades expressivas da voz e do texto relacionando com cada parte da música (como aparece no_cc781905-5cde -3194-bb3b-136bad5cf58d_video). It is important that this exploration be done in a very exaggerated way and with patience with the most embarrassed children. It can be difficult for them but, as a rule, if the teacher or guardian participates actively and uninhibitedly, they end up joining in the fun. 

  6. Stand up, learn and dance the choreography. If the children find it difficult to sing and dance at the same time, you can  divide  the group into two: one group sings, the other dances, then switches._cc781905- 5cde-3194-bb3b-136bad5cf58d_

  7. Explore the musical contents worked through improvised movement, looking amplitudes and expressive possibilities of the body and face (ex: how is a slow face? and a fast face? and how I represent a Piano_cc781905-5cde-3194 -bb3b-136bad5cf58d_with the body? with tiny movements, lying on the floor?). They can sing along or simply react to the recorded music. 

  8. Finally, it's important  to explore other dynamic and velocity possibilities in each part of the song. The suggestion presented in the video is just one of the possible versions; each part of the song can be sung, danced_, expressed in many ways. The more diversified  the music is, the more interesting and rich this exploration becomes. Ex: A (slow and strong) Chorus (starts fast and strong and becomes piano and slow) B (piano and very slow), etc. This exploration can be improvised or combined and done with the different tools worked on (with choreography, with the sounds of objects, with movements and facial expressions improvised individually or simply through vocal expressiveness).





stanza 1



stanza 2




This song was taken from Esmoriz, municipality of Ovar, by Armando Leça

THE -O life of my life

And oh pion.....

I have no life

And oh, dance

And oh dance top

And oh Pion d'Aveiro

And oh pion d'Ovar

playing my top

I learned to date

B- Dancing, dancing

by the sea


THE -How am I supposed to have life

And oh pie...

If she is in your hand?

And oh, dance

And oh dance top

And oh Pion d'Aveiro

And oh pion d'Ovar

playing my top

I learned to date

B- Dancing, dancing

by the sea








Dance in a simple circle, facing the center or scattered around the room. The class can be divided into 2 or 3 groups to rotate alternately in the chorus, as you can see in the video.

THE -Do 3 gallops to the right, with your hands behind your back; pretend to throw a top and spin around, taking advantage of arm momentum. Suspend. Repeat to the left.

One group kneels and claps to the beat of the music; while the other group spins on itself imitating a top; (in the following chorus, the groups switch).

B - Improvise in space by drawing  with a body part large, medium or small round shapes. Examples of body parts: top of head, feet, hands, knees, elbows, nose, navel, etc. Students should be encouraged to use the various levels – high, medium and low.

According to age and learning level, they can do it without leaving the place or crossing the space. In the same way, the choice of body part, in an initial phase, can be suggested by the teacher, it is advisable to start with a simpler part such as the index finger, the foot or the whole hand.


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