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on dry land



Artistic and Technical Sheet


Antony Fernandes

Carmina Repas Gonçalves

Joana Leite Castro

Tiago Manuel Soares

Image capture and editing

Abel Andrade

sound capture

Daniel Santos


Sound Editing and Editing

Daniel Santos and Ricardo Torres

Elaboration of pedagogical contents

Carmina Repas Gonçalves

Art Direction epproduction

Thistle Project

Equipa técnica do auditório

Américo Fonseca

Alberto Lourenço

Duarte Ferreira

Cláudio Pires

Miguel Ângelo


City Council of Idanha-a-Nova

Paulo Longo


Up to the Castle



Song in there, there, there

Penha Garcia


If your eyes were sold



oh oh


Alunos do 4º ano do Coro Iniciação da EAIGL

Afonso Fornelos

Alice Soeiro

Amélia Fernandes

Ana Gamito

Ana Sousa

Beatriz Silva

Clara Vale

Daria Grecova

Diana Pereira

Diana Martins

Diogo Máximo

Eduardo Gonçalves

Francisco Bacalhau

Henrique Rodrigues

Joana Ferrão

Leonor Lopes

Lourenço Garcia

Manuel Goucha

Margarida Rodrigues

Margarida Santos

Margarida Carvalho

Maria Gomes

Maria Varandas

Maria Andrade

Mariana Silva

Mariana Brás

Mariana Moura

Marta Ribeiro

Myriam Matilde

Paulo Fonseca

Pedro Sousa

Rita Conrado

Rodrigo Mira

Sebastião Luís

Sofia Mão de Ferro

Sofia Oliveira

Sofia Martins

Victória Campos

Xavier Apolinário

Professoras de Coro

Dulce Correia

Joana Madeira

Rute Prates

Teresa Lancastre

Filmed in Monsanto and São Pedro de Vir-a-Corça, Idanha-a-Nova


town hall de Lousada

General Directorate of Arts

Portuguese Republic

Specific objectives

  • Having contact with melodies with an unusually modal contour

  • Understand and feel different beats

  • Coordinate voice and body

  • Understand and feel the energy and strength of vocal and percussive synchrony

  • Have contact with the natural, tangible and intangible heritage of the municipality of Idanha-a-Nova

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


  1. For all the songs that we present in this video, we suggest keeping the same strategy, described in order in the following points. We also suggest that you work on the songs by degree of rhythmic difficulty: “Lá up there, the castle” (simple binary time signature), “Canção em lá lá lá” (compound binary time signature), “Ai, ai” (simple triple time signature) and by ending “If your eyes were sold” (alternates compound binary compass with simple ternary).

  2. To memorize each of the melodies, the ideal is to focus on the first stanza and repeat it until you know it; then add the following stanzas; find gestures, signs or keywords for each stanza helping to memorize the content and order; learn the songs with the video, with the score or, ideally, directly with an adult (teacher or family member).

  3. Once the melody is memorized, we suggest that they try walking through the space with the music pulsating in their feet while they sing, occupying the entire space of the room; they can walk in different directions, hold their gait in place, walk forwards and backwards, etc. Then try walking all in the same direction and starting with the same leg; they can divide each song into parts and define in which direction to go for each one. Then, in a circle, they can try to do the exercises proposed on the board.

Pulsationit is the unit of measurement of time that we intuitively feel when we listen to a song (similar to what we do in the video at ???. We usually easily discover this pulse if we try to walk to the rhythm of the music.Compassit is a theoretical-practical organization of these pulsations. Generally in a piece of music we can intuitively feel a pulsation and an accent that in most cases has more than one pulsation within itself: 2, 3, 4 pulsations. Generally the first beat of each measure is strong or accented. A binary measure has 2 beats; a triple measure has 3; a quaternary measure has 4. In addition, there are two rhythmic universes: one that divides the pulsations in two (simple measures) and another that divides them in three (compound measures). They are measures of binary or ternary subdivision, respectively. The main difference for those listening is that a simple measure is more martial and impels us to march and the compound measure is more harmonious and light, impelling us to sway the body.


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Institutional partner:

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