The Sensory Tours invite participants to discover Estádio da Tapadinha through an immersive experience that engages all the senses.
We propose new ways of exploring and engaging with the space through observation, listening, movement, touch, smell and taste, evoking memories, emotions and new ways of relating to the heritage – the works of art, architecture and history of the stadium.
This activity includes experiences, talks and walks, intertwining sounds, scents, tastings and other sensory activities that may accompany the guided tour.
Designed for participants of different ages and backgrounds, these tours are led by facilitator Simone Longo de Andrade and transform the stadium into a place of exploration and new sensations.
Dates:
Location: Estádio da Tapadinha, Alcântara, Lisboa – get directions
Duration: 60 min.
Target audience: Children aged 6+, young people and adults
Capacity: min. 5, max. 20 participants
Meeting point: Main entrance of Estádio da Tapadinha
Price: €3 | 25% discount for MAAT Friends
A tour that invites participants to experience Vhils’ work through touch, following the logic of the artist’s own creative process and exploring the histories of the Atlético Clube and the Alcântara community that have been etched onto the stadium walls. How are we touched by artworks? How should we touch an artwork? The seemingly simple texture of a wall can trigger and create memories that take root within our bodies.
The sound of a football stadium has a number of typical associations: the crowd, the roar after a goal, the chants of the supporters, always in low tones and predominantly male. This journey proposes various contrasts: exploring the stadium through its less obvious soundscapes, engaging with a work of visual art in unexpected ways, and listening to female voices within a stadium. Can a stadium be silence? Can visual art be sound? Can female voices ring out?
Taste is the most social of the senses – one rarely tastes something alone, and food always carries a story of who made it and where it comes from. This will be a moment of sharing at the table/on the grass, bringing together two identities: that of the stadium (what is eaten before, during and after a match – the informal food culture surrounding football) and that of the surrounding neighbourhood, past and present. Of food and its movements (individual and communal).
Some smells – such as a cake baking in the oven, a specific perfume, the smell of the first raindrops or an old house – instantly and vividly triggers memories and emotions. Olfactory memory is considered the most enduring and powerful.
What does a stadium smell like? No, it is not about smelly football boots or sweat. It is closer to those cakes Grandma used to bake, fresh out of the oven.
This journey invites you on a journey through the scents of the stadium’s memory and its territory: the field (which links the grass to the players’ efforts), the backstage areas (where bodies prepare, warm up or rest) and the surrounding neighbourhood (the local community and its daily life).
Simone transforms human rights into real-life experiences and practical actions. For over two decades, she has been developing creative and participatory methods — many of them based on artistic mediation — to support communities, teams and institutions in moving beyond theory and practising social justice in their daily lives. Her journey began on the ground, alongside those who experience the inequalities she fights against, and this closeness has shaped everything that has followed. Today, she builds bridges between activism, art, culture and social justice, bringing together people and contexts that would otherwise rarely intersect, both nationally and internationally.
In Portugal, her work has taken her to museums, theatres, schools and organisations such as ArtemRede, Associação Renovar a Mouraria, Culturgest, Fundação Cidade de Lisboa, ManaAtivista, the National Museum of Ethnology, Real Pelágio, RoyalCine, and the São Luiz Theatre, amongst others, always seeking to answer the same question: how does one transform a right into something that is felt, transformed, questioned and demanded? Her projects have gained public recognition for their impact on human rights education and the fight against racism, challenging the systemic silence surrounding discrimination and the violence it entails.
Sara Anjo (PT, 1982), born in Funchal, on the island of Madeira, is an artist and choreographer whose practice moves between dance, sound and landscape. Her research draws on actions such as breathing, walking and listening, understood as choreographic and political gestures.
Her methodology brings together choreographic composition, score writing and practices that shift perception. A central aspect of her work is the concept of sonic theatre, in which sound acts as a structural element in shaping space and transforming the audience’s perception.
She has created stage works exploring landscape, including Em Forma de Árvore (In the Shape of a Tree, 2016), Sacro (Sacred, 2018) and Ilhas — uma constelação (Islands — a Constellation, 2020–23), as well as performative walking projects such as Traça | 12 partituras para Respirar, Caminhar e Parar (Trace | 12 Scores for Breathing, Walking and Stopping) and Caminha para um Lugar de Força (Walk towards a Place of Strength). Her practice also encompasses work for children and publications related to movement notation, conceived as tools for cultivating attention and poetic resistance.
She holds a Master's degree in Choreography from DAS Graduate School and is an associate artist with Agência 25.
