Estágio no escalão de iniciados (sub-15) no clube atlético e cultural 2010-2011

RESUMO: O Clube Atlético e Cultural (C.A.C.), apesar de ser relativamente recente, é reconhecido como um Clube Desportivo de formação de atletas de referência na zona de Lisboa. O seu pico de reconhecimento e a sua maior “montra” de formação é sem dúvida o Torneio Internacional da Pontinha (escalão Sub-13), onde é palco de jogos durante 4 dias entre os maiores clubes nacionais, bem como, alguns clubes mundialmente conhecidos. Como prova desse facto, se analisarmos alguns jogadores de elite profissional, têm no seu percurso de formação o C.A.C. como instituição representada. O relatório que de seguida se apresenta, surge no âmbito do estágio de Mestrado em Treino Desportivo e pretende divulgar todas as decisões, acções e reflexões subjacentes ao Treino Desportivo de jovens jogadores. O contexto onde foi realizado foi na equipa de Iniciados “A” (Sub-15), que disputou o Campeonato da Divisão de Honra da Associação Futebol de Lisboa. O relatório encontra-se estruturado do geral para o particular, estando dividido em três tipos de planificação: (1) Planificação Conceptual – na qual abrange uma análise ao Clube em questão, o seu contexto, os seus recursos e os vários constrangimentos. Compreende ainda um estudo prévio de situações anteriores, leia-se, épocas anteriores, bem como, a formação da equipa e dos seus jogadores, em função dos objectivos traçados e assumidos no inicio da época desportiva. Integra também a preparação de todo o período Pré-Competitivo e o recurso a meios de observação e análise visando a melhoria de todo o processo de planeamento do treino. (2) Planificação Estratégica – Esta prevê todas as acções que dizem respeito ao Período Competitivo da equipa, como por exemplo a recolha de dados tanto da nossa equipa como dos adversários, a antecipação dos graus de dificuldade dos nossos adversários, o planeamento mais operacional (Microciclos) e a escolha de estratégias consoante os diferentes adversários e por fim, as reflexões necessárias entre os vários intervenientes no processo. (3) Planificação Táctica – Por fim este tipo de planificação abarca todas as acções, decisões e reacções nos momentos que antecedem o jogo, no momento em que este decorre e ainda após este terminar. Em suma, o relatório pretende expor toda a preparação de uma equipa ao longo de uma época desportiva, visto de uma perspectiva das funções de um treinador principal. ABSTRACT: The Clube Atlético e Cultural (C.A.C.), although relatively recent, is recognized as a reference club in youths training in the Lisbon area. The peak recognition and more “showcase” training ins undoubtedly the Torneio Internacional da Pontinha (Under-13), which is host to games during four days among the biggest national clubs, as well as some world-renowned clubs. As proof thereof, if we look at some elite professional players, have in their educational path C.A.C. represented as an institution. The report that presents itself, appears in the stage of Master of Sports Training and intends to disclose all the decisions, actions and thoughts behind the Sports Training of young players. The report is structured from general to particular, being divided into three types of planning: (1) Conceptual Planning - which includes an analysis on the club in question, its context, its resources and various constraints. It also includes a previous study of past situations like earlier seasons, as well as the formation of the team and its players, according to the objectives and commitments outlined in the beginning of the season. Also includes the preparation of all pre-competition period and the use of means of observation and analysis aimed at improving the entire process of planning the training. (2) Strategic Planning - This provides all the activities that concern the competitive period of the team, such as collecting information both from our team as well as opponents, anticipating the degree of difficulty of our adversaries, the more operational planning (microcycles) and the choice of strategies depending on different opponents and finally the necessary reflections between the various actors in the process. (3) Tactical Planning - Finally this type of planning includes all actions, decisions and reactions in the moments before, during and even after the game. To resume, the report seeks to expose all the preparation of the team throughout a sports season, by the perspective of the functions of a head coach.

The new professional: underdog or expert? New Museology in the 21th century

For a long time, museum’s form and function were impregnated with social exclusion, only accessible for a prosperous and educated minority. It held the monopoly on the past and therefore in a way on the present and the future. However times have changed and different perspectives on museum practices have been taken. In 1989 the British Peter Vergo mentioned as quoted below, a number of possible museologies, including a ‘new’, and therefore presumably an ‘old’ type of museology: “At the simplest level I would define it, as a state of widespread dissatisfaction with the ‘old’ museology, both within and outside the museum profession; and though the reader may object that such a definition is not merely negative, but circular, I would retort that what is wrong with the ‘old’ museology is that it is too much about museum methods, and too little about purposes of museums; that museology has in the past only frequently been seen, if it has been seen at all, as a theoretical and humanistic discipline.” (Vergo, 1989)

Who am I? An identity crisis Identity in the new museologies and the role of the museum professional

Whilst the title of this essay suggests more than one “new museology”, it was rather a licence poétique to emphasize the two major theoretical movements that have evolved in the second half of the 20th Century[1]. As a result of the place(s)/contexts where they originated, and for clarity purposes, they have been labelled in this essay as the “Latin new museology” and the “Anglo-Saxon new museology”; however they both identify themselves by just the name of “New Museology”. Even though they both shared similar ideas on participation and inclusion, the language barriers were probably the cause for many ideas not to be fully shared by both groups. The “Latin New museology” was the outcome of a specific context that started in the 1960s (de Varine 1996); being a product of the “Second Museum Revolution”(1970s)[2], it provided new perceptions of heritage, such as “common heritage”. In 1972 ICOM organized the Santiago Round Table, which advocated for museums to engage with the communities they serve, assigning them a role of “problem solvers” within the community (Primo 1999:66). These ideas lead to the concept of the Integral Museum. The Quebec Declaration in 1984 declared that a museum’s aim should be community development and not only “the preservation of past civilisations’ material artefacts”, followed by the Oaxtepec Declaration that claimed for the relationship between territory-heritage-community to be indissoluble (Primo 1999: 69). Finally, in 1992, the Caracas Declaration argued for the museum to “take the responsibility as a social manager reflecting the community’s interests”(Primo 1999: 71). [1] There have been at least three different applications of the term ( Peter van Mensch cited in Mason: 23) [2] According to Santos Primo, this Second Museum Revolution was the result of the Santiago Round Table in Chile, 1972, and furthered by the 1st New Museology International Workshop (Quebec, 1984), Oaxtepec Meeting (Mexico, 1984) and the Caracas Meeting (Venezuela, 1992) (Santos Primo : 63-64)

The Baltic Museology School : its role in the professional education system

Due to various reasons museum employees from the Baltic States rarely use the chance to study museology abroad. Therefore the State Authority on Museums of Latvia in collaboration with ICOM-Latvia decided to ―deliver‖ this knowledge, by inviting internationally acknowledged lectors from different countries to widen the scope of takers of this opportunity. Estonian and Lithuanian colleagues are also joining in the project, which is included in the cooperation programme of the Ministries of Culture of the Baltic States.