Tcheka of his name Manuel Lopes Andrade is a songwriter who brought new rhythms to Cape Verdean music. The songs refer us to his origins, which reinterprets the traditional rhythms of the island of Santiago.

You start playing early, what attracted you in music?
Tcheka: My father was a violinist and needed musicians to accompany the concerts, then was forced to learn to play with my brother. From the age of 14 I started creating my own music, and I'm here.

But, how the opportunity arises for the first CD?
T: I worked in television and in the week-ends when exit after reports were playing in a bar, one of the journalists knew a producer who went to watch me perform, liked it and then I started working.

This was your first musical work was everything you wish for? You put a lot of you on this record?
T: You know, when you have no experience will be something that comes. It is like having two kids that are quite different from the other, the former is more honest. But it's all part of my career, my first album was very important to me because it is the first dream, the new experience in which I tried to do something different.

"Nu Monda" I brought you international recognition. You won a prize, from that moment your career jumped, or you had already noticed that there was an appetite for Cape Verdean music?
T: The "nu monda" gave me recognition for that reason is that I'm here. Having won this radio award for musicians of the world has opened many doors for me, although the Cape Verdean music has an open door thanks to Cesaria. So, this award has made my career more remarkable, was more recognized internationally.

Átrio is born of two great passions, the love for a Portuguese man and for the history of the country of his birth. Elisabeth Anjos, of American origin, turned all this love into replicas of tiles that applies in many tipes of fashion accessories and are already hit abroad.

How did you come up with the idea of átrio? And when it all started
Elizabeth Anjos: About two and a half years ago, I began making the tiles. The name Átrio means "Courtyard" and it comes from one of my favorite verses in the Bible. Psalms 84:2 My very being longs, even yearns, for the LORD's courtyards. My heart and my body will rejoice out loud to the living God! As a follower of the person and teaching of Jesus Christ, he is the one who gives me the inspiration to create.

How long took the market research for the tradicional elements present in your jewelry even in the packaging?
EA: I try to make things that I would personally enjoy receiving. Packaging in a traditional way only makes the piece more special and enjoyable to receive.

Do you take pictures of the tiles you like to use on the jewelry pieces, or you just use photos from books?
EA: My husband is my photographer and we only use our own original photos.

You reproduce yourself the replicas of the tiles or you just have artisans who do it for you and them you apply it on the jewels? How is it in terms of handmade process?
EA: Yes, I make all of the tiles myself. It's a very long process which begins with a photo. The pieces are made of polymer clay and they need to be baked. No glue is used in the process.

Gonçalo M. Tavares wrote about a modest man who undertakes a spiritual tour to India. An epic in verse and prose that takes us to another great national literary treasure, the Lusiadas.

How did the idea of writing a book as if it were the "Lusiadas" Vasco de Camões?
Gonçalo M. Tavares: The idea was to recover a literary genre that is epic, it is considered that marked an era and how could such a feate been done today. In a way was to make a sort of modern adventure of a very modest individual character, a man who intended to go to India to somehow save him selves spiritually. Therefore, the entire path of travel has the same structure as the Lusíadas. Has the same number of songs and fragments narrative follows the events, but in a more modest way. When there is a storm in the epic of Camões, there's a storm in "Journey to India", i.e., there is a parallel. What really interested me was to create another type of text that walked across anything that was not poetry nor was prose.

You describes this book as an epic, but in the "Lusiadas" are all described as heroes, almost demigods, but Bloom is the antithesis of all that.
GMT: Modern literature somehow put the anti-hero, the criminal, the useless man in the center. We may have a novel a protagonist who is a cockroach, or any insect for example, as some key pieces of literature have done. The question here is basically that literature and contemporary art does not treat on the hero as a moral reference, can do it, but talks about other things. I look at the characters as a criminal or not and try to see what the point of view from which he may have, from which point we gained empathy for this character.

Bloom is a foreign name is not Portuguese, was also purposeful?
GMT: In a way it's a tribute to a character in James Joyce and is a name that pleases me loudly, sometimes the only choices are sound. Bloom is something that pleases me.

Yes, but I mean in english blooming.
GMT: Yes, has this sense too.

João Fernandes is the current sub director of the National Art Museum Reina Sofia in Madrid and was for several years the artistic director of the Serralves Museum in Oporto. A career that allows him to reflect on the present and future of museums.

You claimed that museums are no longer places of knowledge rather places of information. There is a contradiction given that politicians tend to cut spending on culture, precisely because they provoke critical thinking?
John Fernandes: I will not say that the museum is not a place of knowledge, continues to have this function to build collections of protecting them, present them so that they can function as detonators of thought. But what happens is the transformation of the museum as a space for mediation with its visitor, it is colonized by a pedagogical discourse where information dominates over the construction of knowledge. This space is also done with emotions with an aesthetic relationship with a sensory and conceptual seizure and a reflection from the artwork. And instead, it reduces this interpretation by the viewer due to the time that takes to read its own explanation. Today visiting a museum is also clashes with texts that seek to respond to something that the viewer wants that is an explanation for what they see. And I think we should not even try to offer that because the work does not require an explanation. Sometimes the information is such that it takes away the need from the viewer to build their own construction.

Yes, but it happens in most contemporary art, but for the works of earlier periods this explanation is almost irrelevant, since many artists painted what they saw.
JF: Maybe they do need them because the viewer does not need to know anything about the era in which these works were painted, or the codes that were used. When you look at a Flemish primitive painting, or an Italian Renaissance, they were dress codes to represent certain types of figures, if the viewer does not master this language does not get there. For example, a saint with a tower beside, if they do not know the history of Santa Barbara cannot connect the tower to the figure. Any work of art inquiries, construction of knowledge, but it is up to the viewer to be neither lazy nor cowardly, nor shy. Must confront with the work of art because it is a personal confrontation. When I said the phrase of Franz Fannon, from the 60's, saying that the viewer was a coward and a traitor, I was referring to the viewer lesser responsibility to even sees the artwork. People often go to a museum to tell they are there and all the contemporary society is increasingly so, invites people to be just passive spectators in their relationship with the artwork. The museum precisely instead of worrying only invite viewers for statistical purposes, should be concerned primarily with the relation that same viewer has with the museum and how it can acquire knowledge in confrontation with the artwork.

This is one of the current challenges of museums to attract the public, there are not only places to acquire knowledge, but also pedagogical spaces and places for other types of cultural events. So what is the future?
JF: The future of museums will be what its collections, its directors and the society determine where they are inserted. I do not know what the future is, I know what I'm building at the museum where I work. But no one can answer that. There are situations, today, that derive from these models of financing institutions that can interrogate. The museums are to be privatized in the contemporary world and its forms of finance and this sometimes affects their own function. The museum is a public service must continue to be so and it is a right of citizenship. It is no coincidence that the museum in the sense that we ascribe it arises in the context of the installation of the republic with the palace of the Louvre making accessible the collections of the royal family to all French citizens.

Regarding the privatization of museums you focused on the art collectors, in more contemporary art, they almost decide the artists worth investing on.
JF: I spoke of something that happens mainly in American museums, where the capacity to decide on the collections today is much more taken by collectors who fund these institutions than actually the curators of the museums.

It's a film of António Ferreira of the former Zed films production.

Breathing (under water) is a refreshing short film although verses on a hot topic. Jealousy in an age when hormones command life and not the opposite, it is a love triangle with tragic contours, with the backdrop of the banks of a river. What I liked most about this little film was the photography, in particular, the underwater images, refers us to a landscape almost ethereal, timeless, even the urban areas are almost devoid of an identity; only near the end we realize that the city is Coimbra. It is an interesting film, but I think it lacked a more consistent script, the characters say little or nothing, maybe because they do not have much to say, prefer the silence of the opaque waters, everything hidden and nothing showing. I think however that was essential to develop a more elaborate dialogue, allowing a psychological profile of each the actors to better understand their motivations. Again I leave up to you whether or not you agree with me. Good movie!

http://filmesportugueses.com/respirar-debaixo-dagua/

Pedro Vasconcelos is scuba diving instructor and a photographer in love with the seabed. This images seek to make aware the various regards of the fauna that inhabit the seas of Madeira and the world.

How does begins your passion for underwater photography?
Pedro Vasconcelos: Started by diving. I am on this business for about twenty years. I am from Madeira and I always been a passionate of the sea. I began to observe the seabed when I was young I used to do snorkling then evolved and I became diving instructor. Some of my friends whom I had taught to dive used underwater cameras, after seeing what they produced it enthused me and I started to invest. I started with small cameras and the passion grew. I am a diving instructor to be able to teach people to observe the sea bed, in a better and safe way. The image is also a way to show people what I see, for those who do not dive can observe a passion I have and what I see on the botton of the ocean.

You dived in the sea around the archipelago, but you also dived in various parts of the world. Currently you slather this activity for the pleasure, or it is more about the picture?
PV: For those two reasons. Nowadays more for the image. Incidentally, if I do not have training I can't imagine myself without a camera on the botton. There are certain things underwater that you only see once, or are very rare to observe, as an encounter with the whale, or many small organisms with five millimeters you do not see every day and of course, capture these moments is key .

What precautions you should take when you intend to capture images of these tiny marine organisms?
PV: We have to go very attentive and go very slowly, obviously, we have to control the air we breathe, because the time down there is limited both can be 10 minutes, as it can be an hour, but we have to control it, because to observe animals as small great care is needed. In a normal dive divers see the place in general, I, on the other hand, observe organisms confined to an area with 2 square meters and get to shoot them in the same half hour. Hedgehogs are many in Madeira, everybody sees them, probably many divers have observed them, but never seen a small shrimp in the back of the hedgehogs with only 1 cm. We have to look at the deep with eyes to see and that bring us a lot. Then when we want to take pictures we bring special lenses, duplicators and we must be very quiet. You need an underwater training to photograph these animals, we are never truly stopped, the water always has some movement and is not easy.
So before some photographic dive you got to take into account weather factors, the movement of the currents is that it?
PV: We have all these movements into account, after been safety guaranteed, there are often surprises, the water conditions are not what we expected and we have to change lenses. To do this kind of images the water must be clear in order to get bluer and have less particle suspension, but we don't often dived with the best weather conditions, if this happens, we switched from macro to micro, I photograph small animals since the visibility does not influence much.

The censuses of common buzzard promoted by the Portuguese Society for the Study of Birds (SPEA), in the Azores and Madeira realize a total of 4399 birds of prey. An initiative which had the largest number of Azorean volunteers rather than Madeiran which influenced the final results of the data, know how as reported by the biologist and assistant project of SPEA, Cátia Gouveia.

In the last census of the common buzzard I noted a decrease in the number of volunteers in the opposition of the Azores?
Cátia Gouveia: In general we noticed that in the Azores are a group of people participating in this count all over the islands in much more significant numbers than we do here. We tried the same in other activities of SPEA capture a greater number of people interested in field trips or courses in bird watching and here we noticed that compared to the Azores, and knowingly, that people here do not adhere well. It's a growing process and hence it is important to have this type of activity frequently, i.e. every year, so that people will hear the information. It is work that we are doing now, we tried to instill these values, but we realize that maybe only in a few years we will have a larger share. However, we have always had around 30 volunteers each year.

The counting of these birds is made by observing a certain point?
CG: No.

So how is performed in this case the census of these birds of prey?
CG: People show their interest in participating, or can suggest us a route that they may make and can be done by car, by bike or on foot. As a rule, they must inform us of the place they wish to observe the birds, which is often close to their homes, or maybe they choose a longer path. We like to possess this information before the census to be able to put people in different areas, because it turns out not to have any interest to SPEA having ten people in the same route. So, if we do that we are derailing data with the collection of information in the same place. Therefore, we spread people at the maximum possible sites to cover the largest possible area and the largest number of habitats. One of the data we collect is precisely the number of areas where these birds may reside, hence it is important to go through all kinds of habitats to prove where there they are in great density. These birds are more common in forested areas or agricultural fields. But, you can also see them along the urban areas. It is important to cover the largest possible number of roads and then in our analysis we determined which points where these birds are more abundant.

Even so it is not hard to sees them? They are large birds that fly at high altitudes.
CG: The probability of observing these animals are related to the sites where the habitat is more conducive to their either breeding or feeding conditions.

The Theater Prague arises in Lisbon in 1995. It is a group of artists who work without a director and wish to emphasize the uniqueness of theatrical practice. Are always different, are in constant metamorphosis and subject to unpredictable variations of themselves. Due to its progressive nature always found ideological barriers in our country that were dissipating throughout its 18 years of activity and culminating with a new work that will be presented in March 2014 at the National Theater Dona Maria II, as told by one of the its founders André Teodósio.

When you created the theater Prague you mentioned were bombarded by all, but why and by whom?
André Teodósio: Initially, because we very deconstructed. Then why did dance with text, or because we did not have any sense. We were bombarded by all sides, particularly by people who had an idea of theater that did not include our activity. Gradually we created a community, either through artists, philosophers, who understood what we were doing. We were finding partners abroad, or local, who were working with us and we created an audience. When we had an audience theaters could not shut us up, then began to admit that perhaps not converging with what we were doing could be considered as a kind of theater. And today we present shows in various sites, the next will take place at the National Theatre, but it was something that took 18 years to win.

One such innovation that you brought to the theater was not having a director, why?
AT: Because it continued to belong to logic of theatrical production that had been naturalized and did not allow the accountability of all intervenient of a show, whether they are actors or directors, or artists. The theater defended an idea of art that people think the art object and not just the media that are being run thru by that. Therefore, the designer has to think of the show, as well as the actor, the writer, the illuminator, we tried none prioritize the theater, which is what we do in our lives. We are all responsible for the world we live in; we could not defend a particular thing and do another. So much so that we coordinate our artistic practice with our lives and our ideas.

But your group puts on classical and complex theater plays, requiring a certain mental gymnastics, so how you combine all that diversity of thought?
AT: Thru very long and very hard processes. We work like a ruby, take away the parts that do not matter until you get to the heart and always in favor of the object you intend to build. Earn a speech that has nothing in opposition, not everyone thought the same thing, is why we just dismiss a few things, because we have no speech against. The performances are managed in the allocation of various knowledge and ideas from various people.

When focusing in the misunderstanding in terms of your work as theater Prague, you mentioned that it was also a feeling that did not extend to the outside, was circumscribed only Portugal, why?
AT: Maybe because there wasn't a distance in terms of the language, or to the people's route. We also did shows with other directors in a more "classic" theater production. But perhaps this proximity provoke a negative response and not abroad where nobody knew us, so they accepted our story, our journey and inscribed us in a kind of artistic practice that was already quite common in these countries.

It is a program of José Avillez in thematic channel SIC woman.

I like cooking programs like any self-respecting woman, fond of correction as any self-respecting food, though not very cherish the act of cooking itself, odors, fumes and dirty pans. So enjoy watching programs with recipes relaxes me and opens my appetite for the best reasons. "Already the fire" is a good format, but the chef José Avillez need to relax a little more. Note also that does not feel very comfortable in front of the camera, speaks as if reading a telegram and it turns out to be monotonous. Revenues, some seem easy and affordable, some not so, but there are moments that make up everything especially when hit with the immense energy dips to garnish the dishes, or cream for the desserts. It's so delicious and fun than just tired of seeing! Only a man to want to do everything by hand, when you have an electric mixer at your disposal!

It is a fundamental part of the summer and now is on the loose.

The shorts have so many variations that allow it to be used on multiple occasions. However, it is not suitable for all types of profiles, personal preferences, settings, or even ages. The short is a recycled jeans, it is how it got started, but now the fashion industry has catapulted this garment to a much higher level that allows the choice of different designs, materials and lengths. When choosing every care is essential. Above all, shorts are not suitable for more mature women, whatever they say. There is something extremely sexy in a young woman in shorts! In part, I think, is due to a certain aura of youth that we associate with this garment. It is a remarkably youthful style. Hence the first step before going out with a lovely pair of shorts is to check if the legs have cellulite and are well shaved. And do not think that is advice given to the wind, there is nothing more pitiful than seeing a beautiful woman with a poorly cared pair for legs!

The short girls have this garment a true ally, a pair of shorts makes them look taller and sexy if they ever want to use version more casual during the day, or the latest version of chic for a night out, options in this department are not is lacking. Remember Kylie Minogue "spinning around" in some gold shorts? Well, there it is. Brutal! For the tallest, the shorts with double bar make a great look that elongates the silhouette.
For women with curves I advise models with pleats, pockets and flashy prints that help to disguise the hips. The rounder should wear slack shorts, above all, it should not be just because you do not want to stand out what certain parts of your body, tailor shorts can make a difference. It's a matter of trying. Summer is already here ...

The most skinny should take into consideration their legs if they are thinner, the appropriate model is the booty shorts, so named because they divert attention from the legs to the ass and the "hot pants" for the more legroom modeled in highly relaxed environments. There are other options for the more timid and discreet, straight shorts, while helping to disguise wider hips.

For sportswomen nothing better than a "board shorts", but beware! These shorts are advised for bodies in great physical shape. It is the ideal model for the beach. So as you can see there is no lack of fantastic models at your disposal, all you need is warm weather.