The re-enactment of O Outro que Bate relocates the work from the Minho region to a territory deeply shaped by France’s maritime, commercial, and colonial history. As in Braga, the bell is understood here as a central element of the urban soundscape, historically associated with the regulation of time, religious morality, and the organization of collective life. In La Rochelle, a former Atlantic port and a key node in colonial trade routes, the bell takes on additional symbolic layers linked to the circulation of goods, people, and colonized bodies. It thus becomes a privileged point of listening from which to interrogate the colonial legacy inscribed in European public space. The performance begins with the sound of the local bell, which is allowed to resonate and gradually fade, making way for an electronic sound composition and performative gestures of interruption, in which the repeated cutting of the voice produces a rhythm that echoes the bell’s own tolling.

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The re-enactment of O Outro que Bate relocates the work from the Minho region to a territory deeply shaped by France’s maritime, commercial, and colonial history. As in Braga, the bell is understood as a central element of the urban soundscape, historically associated with the regulation of time, religious morality, and the organization of collective life. In La Rochelle, a former Atlantic port and a key node in colonial trade routes, the bell takes on additional symbolic layers linked to the circulation of goods, people, and colonized bodies. It thus becomes a privileged point of listening from which to interrogate the colonial legacy inscribed in European public space. The performance begins with the sound of the local bell, which is allowed to resonate and gradually fade, making way for an electronic sound composition and performative gestures of interruption, in which the repeated cutting of the voice produces a rhythm that echoes the bell’s own tolling.