This is a Brazilian non profitable environmental organization that has been fighting for the rights of indigenous peoples and their lands and natural resources of their country, at a time of great social upheaval and political undermines all the work done in support these communities and environmental health in Brazil and the world, as explains one of the founders Maria Paula Fernandes.

Why you felt the need to create an environmental organization? What was behind your decision?
Maria Paula Fernandes: The ong "A drop in the ocean" was born from the resounding success of the campaign "Gota D'Água 10" in 2011 questioned the construction of the Belo Monte hydroelectric dam in Pará Held without any resources or support. Media gathered 1 million signatures in a week in the petition against the project in the Xingu River. Given this response, we conclude that there was a demand for the production of environmental content in mass communication language as a way to supply the little space theme in traditional channels of communication at the time. Our organization, as the name suggests, is collaborative and is to support the citizen as an agent of the company by consistent information, independent and engaging.

The destruction of the Atlantic rainforest for trade issues now does affect indigenous populations in Brazil?
MPF: The destruction of the Atlantic Forest affect all Brazilians because it is an important biome for water production and maintenance of the rain cycle in the country. In the case of the indigenous, we have populations confined in small areas that prevent them from living the traditional way of life, transforming reality in a way that live similarly to the indigent.

What has been the type of intervention of your ecological organization after the environmental disaster caused by the disruption of the Fundão dam?
MPF: Mariana tragedy is the biggest environmental disaster in Brazil's history and comes to highlight the neglect of the organs of control and enforcement are lax with our environmental heritage. In our platform, formed by our page on faceBook, instagram, twitter and newsletter, we treat the subject, randomly and holistically with other issues we work as indigenous rights, climate change, deforestation, energy alternatives, sanitation ... to keep the topic on the agenda, but without being tiring for the audience.

There is after all legislation that protects the indigenous peoples of Brazil? And if there is why it is ineffective? Since only when Funai published a study of the demarcation of the Indigenous Land Sawré Muybu in Pará, where it lives most of the Munduruku people, only then IBAMA suspended the licensing process for hydroelectric plant São Luiz do Tapajós.
MPF: The 1988 Constitution guarantees the traditional direct people to their ancestral lands and maintenance of living. What happens today in Brazil, in short, is that agribusiness is eyeing the last large green areas, which are precisely the Indigenous Lands. As this sector has enormous weight in our trade balance, in addition to financing political campaigns and be major advertiser of the country's media outlets, are these rights are threatened in Congress in the name of development, such as those listed here:
The Proposed Constitutional Amendment (PEC) 215 is one of the most serious threats to the rights guaranteed to indigenous peoples in the Constitution and one of the main instruments of pressure caucus to try to weaken the demarcation process. The PEC want to transfer from the federal government to the Congress the last word on the demarcation of indigenous lands.
The draft Senate Bill (PLS) 654 search weaken the environmental licensing, creating a "summary proceeding" very short, about eight months for the licensing of large projects considered strategic by the government, such as large dams, roads and transmission lines .
The New Mining Code to simplify the procedures for the execution of mining activities, which have, in general, great social and environmental impacts.
The Bill 1610 (PL) aims to regulate mining in indigenous territories.
The PEC 76 gives indigenous participation in the utilization of water resources and mining in Indigenous Lands (TIs). In practice, the proposal aims to open the TIs the installation of power plants, projects with high potential for environmental destruction and the livelihoods of traditional populations.
The PL 1216/2015 and 1218/2015, which seek to change the way they give the TIs demarcation procedures in the country.
The PL 4148 which ends the requirement of transgenics symbol on labels of products with genetically modified ingredients. And since you mecionou the case of IT Sawré Muybu, the incumbent government is threatening to review all studies and ordinances related to IT published by the government Dilma this semester.

How can we reconcile the energy needs of your country with reserved for Indians?
MPF: By our geographical position and territory, Brazil has a huge energy potential in both wind as photovoltaics, besides having other options in smaller scale as from biomass, the huge agricultural production and from the waves, just watch our coast, then we do not move on indigenous lands. Our energy policy also aims to expand the number of dams in the Amazon, but the speech that would be a clean energy no longer deceives no one, especially in the Amazon where there are huge social and environmental impacts. In addition there are studies that show that instead of building new dams could produce much more energy and much less spending simply modernizing hydroelectric plants we already have and invest to modernize our transmission lines. That is, what interests our energy policy is really serving?

With the government's instability in Brasilia how "a drop in the ocean", can prevent the approval of the PEC 65 that practically does away with the requirement of environmental licensing for public works?
MPF: Right now there is a huge information war to take advantage of the enormous political and economic uncertainty, so we are focused on identifying opportunities and offer imorensa traditional access to research and independent experts, in order to provide another point of view these questions to newsrooms.

What actions are intended to take to protect the indigenous communities in your country, a time in Brazil's history of great political and social instability?
MPF: "A Drop In The Ocean" is part of the Communication Commission of the National Indigenous Mobilization and together with other partner organizations, we act coordinately to break the barrier of prejudice and bring the voice of indigenous peoples to the population.

The fact that there are so many obstacles to defense and preserveção the Brazilian indigenous culture is mainly a question of racism?
MPF: There is a strong demoralization campaign of the indigenous population orchestrated by those who identify indigenous rights as an obstacle to their economic interests. The curious thing is that this creates a reverse bias, indigenous peoples are not infringed upon because they are different, but similar, they do not correspond to the archetype of the history books. It is an idea of the kind, if you dress or have a cell phone in your hand, it is not Indian.

http://umagotanooceano.org/

It is one of the new revelations of the music of Cape Verde. Elida Almeida sings her need to express through music her feelings, the good times and less good of her life.

You entitle your first album "now doci now margos", why? Let's start by this story.
Elida Almeida: It is a title that has a lot to do with me. With this being my life, it is also something that will appeal to many people. Today for more swimmingly that is your life, there is always a bitter tone, a time when things do not work out. Taking into account all the music I had on the record, the title could not have been better.

These songs speak of your life. Let's talk about composition, which inspired many of the themes?
EA: I did not write this album so I write always. Usually I talk about my life and for all that went so far to inspires me. I take it out through the music and the lyrics, I think that it can move people, because although the various stages of my life, people also live these moments in their day-to-day and I think so the public identifies a lot with my fear, for I approach the everyday life.

So when you started writing in terms of lyrics?
EA: My first composition was "Nta Konsigui" I wrote when I was 17 years old at the time was able to make a chord with my guitar, is a very simple melody and a few chords, but it had much impact in Cape Verde and people sing it. In Portugal thanks to the tv show on TVI has become well known, only in "youtube" we have over 2 million views.

You write a lot, from a young age, so what united all the themes of this album?
EA: We have been hearing and selecting, when we decided the title of the albun "now doci, now margos" chose themes that met with the title. So, we chose 13 songs, but there were more than a dozen topics that I had written and I wanted to play, but most of all were my choices.

I find it curious that you said that many people identify with your songs, however, you are so young and the lyrics look like from someone much more mature.
EA: Yes, but life took charge that maturity was part of my life from an early age, due to circumstances my father died when I was very young, my mother had to go to seek life in another island and I was responsible for my brothers, I had an early pregnancy, everything that made gain maturity of an early form so to speak. I am very happy to know that I am entering life of adults but also in children, because in Cape Verde they come to me and tell me they love me and that's rewarding.

You have won awards, one as revelation in your country. It weighson you in any way?
EA: Of course, the prize always weighs in terms of responsibility, and you think now? Ups! I had already won a prize in the Cape Verde Music Awards (CVMA), was the most awarded artist of the night, for best album of the year, in an unprecedented composition and most popular artist of the internet and these awards do not come every day, but turn into challenges, I have another title to defend and I earned it.

You do not come from a musical family, which is also curious, because much of the Cape Verdean musicians always have a musical past. So how music came into your house, to the point of you decided to learn to play chords and write lyrics?
AE: Very early. In Cape Verde there is very much the tradition of listening to radio. I was born and raised in an area where today still do not have electricity and I heard a lot of African or American music and I followed the themes and the second time had already memorize the lyrics. Then we had to invent things to do, were groups of children, We sat in chairs, we caught plastic bottles and we started to do drumming, improvised songs and talked about the day-to-day life and then I was part of the choir of the Catholic church, for a period I worked in radio and won two competitions in Cape Verde we have called 'the world sings "and how I won, people started talking about me and I started singing.

Are you preparing a new album?
EA: No, I'm just writing. the success of my first album was amazing, we were not expecting so much work, I still have until September a very full month with the tour and in the same July will come out a single set with a clip and then in November I will enter a phase of rest to compose, to start a new album, but do not know the date.

But you still writing?
EA: I write every day.

And the main themes continue to be your life? Or your writing is changing?
EA: I just yesterday was thinking about it, lately I've written a lot about love, which before was not my forte. I wrote about people and the everyday, but I'm lately writing about love, it's a new phase, but will pass. (laughs)

The angolan poet, writer and storyteller Ondjacki addresses one of his prose works "Avódezanove and the secret of the Soviet."

Your literature includes various styles from poetry, prose and children's literature. How comes a project?
Ondjacki: I do not have a plan, I cannot say what will happen in two or three years, I hope to continue writing short stories, writing for children, but it is a desire is not a certainty.

So how it all happens?
O: I hope a little, the idea appears and disappears if it is bad, it is consistent stays, sometimes you have to convince the ideas to be something. It is even expected, is a lot of work, but there are also lucky breaks in order to reach a good idea, as visitations like my grandmother say is necessary to be well visited, then we take the opportunity. The literutura does miracles, the Church promises, but now I know if they do, writing is about human behavior, we will touching more or less people, if it was good that touches the politicians would be good, if it is not so good literature is not worth it.

When I started reading this book came to me the idea that this story could be real.
Ondjacki: The story is real, all. There is a part that is fiction, children do not blew up the mausoleum, is still there, it is a monument and it's a huge thing. I never went there, because when I opened was not in Angola. The characters are real, the beach of Bishop is there, we had this relationship with the works of these local and the grandmother is my mother's mother and Catherine grandmother is the sister who also existed, I do not know where she is.

Som you adapted their personalities to your story?
O: No, they are who they are. I am not the child who tells the story, could have been, I say that I am one of the grandchildren of Nineteen grandmother, but I do not consider myself the narrator's, everyone else is there, Charlita, the neighbors, all this is real.

So what attracted you to this story?
O: I think it could be literary, not just a life story. Here is counted and assembled to be a book and not just what I remember what my grandmother used to say, would be meaningless. Sometimes it takes this together in order to create a thread and turned a little book, like in book form, because if I told those stories separately was a coffee conversation.

It would be possible to translate in tales?
O: I could be, I could take that Bishop Beach universe and pick up every one of those stories. It was to be a short story, but I could not stop and turned into a book, then entered the Agneta grandmother, Catherine grandmother and I started thinking about Cuba, the Soviet and was growing.

This book is also a reflection of an African culture that makes much of the woman figure.
O: Yes, but I do not know if it is African, because Africa is too large, for example, as in Morocco, or Madagascasr but in Angola, Mozambique and even in South Africa the figure of the woman not only socially and familiarly is an extremely important figure, not to say the grandmother, is a surreal dimension, I think without being intentionally this is reflected a bit in the book. See the countries that were at war and not only in Africa, even in the first war and the second war women played a very important role, are in the rear to take care of everything, not in the domestic sense, it is much higher than it is caring continuity, sometimes the husband, uncle, brother no longer returned, and it is obvious that from the point of view of humanity if not the woman had these fools who are the men and are all screwed.

Another aspect that I liked the book is that the narrator is a child, the story is told from his point of view and then there is this aspect of a certain naivety and dream, has all this side of childhood. You had to go back to your childhood to address this young narrator?
O: Yes and no. Here's an exercise that is very difficult for me and other people who are doing this recount, not only the voice, you need to tell a perspective, as it was spoken or seen, is to narrate an entire construction of children's thinking, I do not say it is achieved, but it is an attempt to honor this vision that in fact up to a certain age the world is different for us. When we grow, we spoil the fantasy part, not spoil completely, there are poets who can be have a childhood inside. This was my attempt, there is also that issue of ownership of the neighborhood, they react to a threat that is not personal, it is legal, that work will take away their neighborhood, ultimately to a child the street is their home. Their neighborhood is his world, not the country and they do not want to disappear.

It also has this aspect you focus a certain social fringe of your country.
O: Yes, I could not help it. It is a very specific time of the presence of the Cubans, the Russians, living with other people, the war, everything that happened there, in the city there were no consequences of the war, there were no combantes in Luanda, this generates in children, even in adults, but especially in children a carnival of ideas and ways of course. It is quite different for a person who did lived with Cuban teachers, who did not inhabited and saw Russians in their country doing work, it is another reality.

Your favorite character is nineteengrandmother?
O: No, nineteengrandmother is my favorite character in mine life, she will be one hundred and one years now on 12th of August, she is still alive. In this book I do not have a favorite, but the character who most surprised me is grandmother Catherine, when I started writing the book did not remember her, nor was meant to be included, she was coming and she was being imposed in history with a specific rhythm and people ask me if it was true, just ask my cousins, we have many discussions, some said she was dead, others said they had brunch with grandmother Catherine.

Nineteengrandmother read your book?
The: From one end to another no longer had patience. I wrote this book when she had 94 years, she is well, until it was the launch of the book in Luanda and was very beautiful.

The port 27 is a theater group dedicated exclusively to comedy. The creators of this art project, Cristovão Carvalho, Susana Rodrigues and Tiago Lourenço try to reach the public through the provocation of the current customs in a humorous, ironic and amusing tone, but always with a component that promotes interdisciplinary exchange.

You say in your page that created the "Port 27" to promote a multidisciplinary exchange to give body to a project in common. What do you mean by that?
Cristovão Carvalho: We worked together, is not a company with a strong structure, we have a core that then we call, we will be in contact with other professionals so that we can get to other projects on other platforms than the theater.

Suzana Rodrigues, you write all the plays, why only choose a humorous platform?
Suzana Rodrigues: For various reasons, contrary to what is often thought I think writing with humor and writing comedy ends up becoming more difficult even for the actors that do drama, or any other type of media and theater. It has to do only with the challenge, but with the "attention" of the people, it is much easier to capture the attention of people by humor than any other type of communication and we did not invented this, "ridendo castigat mores" mean laughing punishes customs, for a long time we spoke of things in a less serious way without losing the seriousness and without fail to speak of things that we want to talk.

It is in the daily issues that you get the inspiration?
SR: Yes, we have this work "the guns, crooks and problems" that addresses the current situation of lack of employment and terms of us "getting by" with what we have. We have another show that is the "Password 44" and speaks of the difficulty of working with green receipts, in one way or another we finally address the obstacles that we feel too, that is, we have taken what this in close and open the range to include more people.

It is a reflection of the generation Y, where you are included? The plays have to do with the challenges young people face currently in Portugal?
SR: I think so, yes. We have created the "Port 27" for several reasons, one of which is to allow people from the area to collaborate with each other and can create something in common. Another thing is we approach things that we are close to a public that is not habitual consumer of theater. Of course, we have people who usually go to the theater just to see our shows, but we tried to communicate with those who are not used theatrical and attract new audiences practices.

The group began in the Maneuvers in 2011 in Porto, already has six years of existence, looking back what you think of your activity?
Tiago Lourenço: I think it's positive because we are still here. When we created the company we did not know what to expect, it was not easy, but there were always people and moments when we saw it was worth, there was public who told us to continue, full houses and have continued. This is what has prevailed these six years we have created an object that is slowly saying more to more people, then, yes, for me it was worth it.
SR: Despite the difficulties and lack of financial support, always had support from structures and entities who always opened the door for us. After six years, we can talk to people who already know who the "Port 27" is, terms recognition is very good.

What has improved? Surely that over six years there were certain practices that did not work and set aside or had to adapt, or not?
CC: The vision and how we see around us is constantly changing, what we saw in 2011 and now in 2016 there are things that have changed radically. The views we had at the time made sense and now left to do and that's how it has to be so is a sign that we are growing, to see where we want to go and we felt that we want to be and also what is the right way for us which is a bit like everyone else.
TL: Currently we think in a more cautious way, we know each other and our valences, which "Port 27" needs and wants, because in the beginning when we start is difficult to establish a brand, because people may not like. Today we know what this project, what you want and what we are. We tried that in each performance that prevails, of course there are changes and issues that make us rethink the matter, but now yes, we are more based on what we are and we hoped that people like it.

So what is the brand or identity of the "Port 27"?
CC: I think it might be the deconstruction because over these six years, one aspect that has remained in our shows and one of the links we have between us is deconstruction, in the sense that, though, the pieces are based on comedy are different and experience various types of comedy. This allows us to be able to realize that in all of them we deconstruct us what we thought at the outset that could be destroyed, that is, there was a destruction that we thought about, or we want to show that it can be otherwise, cannot be exactly that way.
SR: The example of this is the "guns, crooks and problems" where there is an actor who plays a character that nterpret an actor, he in turn also plays a character, I think there is no greater deconstruction like this and the public to see the show ends up confused from who the actor is, who is the character and who is the character the actor interpret. It is an exercise, it is a way to be aware and try to understand how these characters complement each other.

You talk about construction, then how is the genesis of your performances? Suzana, you write independently or all participate and make their contribution?
SR: So far the ideas of the shows were all mine, I propose to the group, we talk between the three of us and discuss about it. Each makes a contribution, there are other ideas and there is a first draft text that we read together and we changed, or have adapted it feel the need to change, or at the bottom despite the original idea is mine and the first and last text is done be my, the work is collective. There are always ideas in "Port 27" and when I say all, I do not speak only of the players but the tecnicians and all the people who work with us and have a say, or something to add.

It also ends up happening on stage, when they take the characters, there is room for improvisation, or you follow the full text?
CC: As we worked different types of comedy, this show of "guns, crooks and trouble" has space for that impromptu. The "Password 44" does not have much space, the presentation of this show is not as open, unlike the other plays where there is room to be an interaction of the public. Everything will depend on the project and how we initially create the show and what will be the final stage.
TL: But in the design there is a great freedom and we make games.
SR: The tests are periods of experiments, we tested a lot, there are always things that do not work and in many parts of improvisation are created moments that did not appear initially and end up being fixed in the play because emerged in trials and ran so well .
TL: We also assume that all the shows we put forward are not closed, do not cease to be in the process, which can be improved even for us, or after a public having seen it, heard opinions, that is, all the shows are constantly changing and evolution.

You make difficult comedy, so what happens when you are on stage and the audience does not laugh or not react? This is where there is improvisation?
CC: That has happened to us, a show in which all language is based on the clown language, if the public fails to laugh, there is not much to do, because all the games are targeted and designed for it may occur failed acts, but normally we tried to protect ourselves the most of the tests, to eventually result in one way or another. In fact, because of this we need the tests and we supported each other, because different visions of what we are creating will be complemented throughout the process and that always ends up resulting. Of course, it is not a 100% foolproof formula, but we tried to reduce the most of this margin of error.

There are different audiences in Portugal? In the north, Porto the public is very interactive, even when the plays are not, but it is not the case across the country.
SR: There are lots and even in Oporto there are differences. One way or another we are connected to the arts and have colleagues and directors who will see our shows. Making a play for actors is completely different than doing so for not actors because they are much more critical, they see and observe the theater of another way that the general public does not see. They are attentive to light, for example, while public note that the focus is important in a scene, but is not worried about it. The actor, on the other hand, is concerned with the angle, the type of projectors and their number and ends up losing the action and analyzes the text of a much more scrupulous than the public in general, who sees the show as a whole. In the play on the green receipts, lawyers, or other professionals are more sensitive to the text, there are parts where the audience that does not depend on green receipts laughs and the ones working with green receipts as they feel that in the skin does not laugh . In this performance of "guns, crooks and problems" there was a lady who was laugh from beginning to end in the lines about the banks and we realized that spectator works in this type of institution. People who are portrayed in the characters act differently, the experience is different and so shall revise itself in different forms in the show. When Tiago Lourenço comes with the blonde wig and looks at the audience we know just for this moment which will be public behavior in the show if they do not laugh will be a tough call.
CC: It's happened to us once.
TL: It's complicated, a show for twenty is different than for a hundred, there is the fear of laughing among themselves, there is that shame, but then when two or three people begin to laugh, everyone laughs.
SR: That's because laughter is contagious and we know it.
TL: We do not work with laughter time, although already grown accustomed to having this public support to have fun. Sometimes it is more difficult, but then people come over and say they it .
SR: Before when Cristovão spoke of the absence of laughter, there is another issue that is too difficult, was the case of a show we did in Mondim de Basto in the audience to laugh at everything and for us is a huge joy to see this reaction, we have a pre-prepared time to give 2 to 3 seconds for people to laugh and follows the scene if they do not stop for people to laugh, then the audience does not hear them and the times are all uncoordinated and have to adapt, in this case we had to go calmer and then continue with the play. It is very complicated to have a participatory public, or other than it is not at all, but prefer the laugher more.
TL: It is also part of it, we are always dealing with this issue, we do not know what we will find. With the experience we learn to protect ourselves, we advance the work and noticed how this can work almost always make the perfect formula possible for all audiences.

Which of the pieces that made that had the most unexpected reaction of the public?
CC: In a way all end up being memorable. There are shows that we can understand that people will grasp, there are others who suddenly people like certain scenes we did not expect, will always depend on how Suzana said the public, or to feel that we are presenting on stage.
SR: I try to go to the maximum possible performances and there was one in Porto when entered older people than usual in our plays and I was worried because they did not laugh and left with a bad face and I got the feeling they were public servants and should be reformed of social security because they were super offended at the end I asked if liked it and said yes with a wry smile. It happens.
TL: And we have had people who insult us in the middle of a piece that deals with the troika, because they felt offended.
CC: But that was the goal, we knew we were going to cause some anger, some discomfort, precisely because we wanted to have a negative reaction, we wanted people to revolt with everything.
SR: There was a small demonstration and it was noted that there were people who wanted to get up and to speak with them, people were even feel all that, the troika, the crisis and all this evil. The public was outraged and this for us is good, because we knew we were doing our job well, when people feel what we are feeling.

They will continue this humorous line or plan to do other plays?
CC: We continued to love the comedy, I think we should just go in another type, is not out of our plans to do comedy of errors, that is, which is entering this process and try to make a "revista”.

www.porta27.pt

"Santacurtas" is an alternative film and author festival aimed at contributing towards the creation of new public and simultaneously resume a similiar event that happened in the past in the House of Culture of Santa Cruz, in Quinta do Revoredo. This year there is no competition, but you can enjoy various national and international short films awarded on the 25th of June and the rest are in July, always on Saturday, 2nd, 9th and the 16th.

Why organize a short film festival? What distinguish it from the other?
Taciana Gouveia: The idea was to give a new experience to the amphitheater and resume a practice that was started in the 80s and 90s, it was the open-air cinema. The Santacurtas is a rather suggestive name and has to do with this space, which will enhance and recreate a series of cultural activities this time with a contemporary approach to cinema. We seek young filmmakers and other more established, we invited a number of people in the area, then came others who were quite interested and I can say we have a range of very interesting filmmakers.

What was the purpose of all programming?
TG: I initially had thought to address the sociological question of the island, then soon realized that would not work because it would be splay the theming, so I decided me for a freer programming. I spoke with several filmmakers, who have identified with the project will participate, the big news is that we will have Leonor Teles that won the Berlin Golden Bear. Igor Bjorrt is another attendance, is an artist who has exhibitions in New York and beyond, is an openly photographer, but creates interesting little short films. Therefore, we have some international artists, other national names and even regional directors.

You contacted national and regional directors because you wanted to have that kind of alignment?
TG: No, I wanted people to have the opportunity to know that this event was going to happen and did not want to be castrate the opportunity for our filmmakers to participate. "Santacurtas" will happen in four editions, the first beginning on June 25th, built in the county parties. On the 9th we counted with the presence of Filipe Ferraz and his short film, "Ruins". Carlos Melim will be present via Skype and will present his latest film. We will also show a short film of Joana Rodrigues, which has been shown previously in this space, which has to do with the local people and is an experience that I think will be very good for the public.

Global temperature records are pulled officially by the Goddard Institute of NASA since 1880 and then, scientists have been studying the warming patterns of the Earth.

The recent NASA study the surface temperature shows that temperatures last April are the hottest face those recorded in the same month in previous years and with a very significant difference.
The record set last month exceeded the former by 0.24 ° C, recorded in 2010, which was 0.87 ° C above the average basis for April.
The same can be said of May 2016 which was the hottest ever measured, at the global level, beating the previous record effulgent form, dated 2014. The global average temperature last month was higher than the average 0,93oC May recorded between 1951 and 1980, according to data released by the North American space agency.

According to the Climate Observatory, May is the eighth consecutive month to hit global temperature record, which puts 2016 in almost track to be the hottest year of all history since measurements with thermometers began in 1880.
And this at a time when the warmer months of the year, the summer in the northern hemisphere, have not yet arrived. That is, hardly 2016 will be warmer than 2015, which in turn smashed all previous records.

The temperature deviation average of the second quarter of 2016 was 1,1oC compared to the average from 1951 to 1980 for the same period. As this average is now about 0,3oC higher than the pre-industrial period, probably we are experiencing this year, a global warming near 1,5oC.
The responsibility of high temperatures is partly attributed to El Niño, which caused an oceanic hot band in the Equatorial Pacific, which influences global temperatures of air and earth. However, the sense heat in April and May is also influenced by the rapid and accelerated global warming that the planet has been suffering.

First impressions during a trip to the German capital.

I decided to visit the German capital at the invitation of a friend, because she told me "you have to see the spring blooming in Berlin" and so I did. The German capital is considered one of the greenest cities of Europe by the number of parks and green spaces that we can use for free. Berliners as soon as they spot a sun gore are the first to go into these spaces and I notice that it is a vibrant metropolis and full of color. It is a city that it inspires calm and at the same time is a daily frantic rush, just watch the metro line which I must admit was difficult to master, although the areas are divided by color, we have to think on the lines almost in 3D, because they overlap, ie there rails on the surface and as soon you barely got off some escalators you are already in another line that can subdivide, understood or not really? Good luck! Forward, there are passes for tourists that last for several days, but can also opt for daily tickets, which I used quite often and I was lucky a girl offered me one of these days tickets, just like that, she friendly explain in German something I comprise and I thanked her, with my newly learned dankeschön.

The most impressive are the lower tunnels at the intersections of the lines and I can say that there is a whole other underground city at our disposal. There are all sorts of little restaurants with world flavors, newsagents, convenience stores, florists, bakeries, cofee shops and all affordable even for the Portuguese. It is an underworld within the city, because the Berliners do not stop for lunch, buy something to eat and follow their trip, always passing throu. It is fascinating to watch this entire human movement, where one hears all types of language and watch a daily run from one side to the other. And is such an existing habit so much so there are warnings in the carriages to hinder the eating, drinking or transport an animal without muzzle. However, you will see people eat or drink almost hidden and dogs only on a leash, is not the majority, as happens in any country, no hype and no fuss.

On the surface of the almost mandatory stops is the island of museums, it is a beautiful area with several neo-classical buildings along the river, just across the bridge that crosses the river Alte and you are faced with a number of museums. I decided to visit the " Alte nationalgalerie" to meet some of the most famous German painters, which I must admit was unaware almost completely, as Fritz von Uhde, Max Libermann, Karl Friedrich Schinkel, among others. On the second floor, we find several works of the Impressionists European masters. But the icing on the cake was the top floor, where I was introduce to one of the great icons of German romanticism and held my attention by its very tragic landscapes, Caspar David Friedrich. His paintings convey a deep loneliness, with its bleak landscapes, some are even grim, but do not fail to exalt the overwhelming beauty of nature. August Kopisch was another of the true discoveries of this wonderful museum, he created a wonderful color called "blue grotto", which was inspired by a cave on Capri island, Italy. And a red twilight, which helps create truly luxuries landscapes of the late afternoon. I know I used too many adjectives, but the words are sometimes not enough to describe something so, so beautiful. It's like a exilir of the soul, excites us to the core and makes us hopeful about the humanity, I known that these artists had tortuous paths and suffered personalities but without them how could be immortalize the sublime in a stroke?

http://www.augustkopischinberlin.de/

The festival reveals the names that fill your Portuguese music poster in the village of Cem Soldos in Tomar, between 12th and 16 of August. 

For four days, the festival takes Cem Soldos account with different sounds over 8 integrated stage in the Village, a fair of artisans, art and architecture exhibitions, restaurant area and numerous other activities that enliven its streets and squares.

The rocktrónica of João Vieira in the Project White Haus, the turbo-ball Tocha Pestana, rhythmic games of Adufeiras Paúl, the tresmalhadas songs from Diego Armés, the four battery Tim Tim by Tim Tum and dramatic songs of John and shadow are some of the new names for the alignment of this issue.
The Enchufada turns 10 and celebrates with GOOD SOUNDS. Branko, Rastronaut and Dotorado Pro, emblematic names of the publisher created by the Buraka Som Sistema founders, come fill the night of global rhythms.
João Vieira, after the success of the X-Wife commands and DJ Kitten, entered the electronic composition and production to the project White Haus.
Dual Torch Pestana deliberately crossing the Portuguese pop-rock aesthetic of the 80s, are the kings of turbo-ball. mirror ball pop to reflect the retro-futuristic sunglasses.
The Adufeiras Paúl mix the words of its ethnographic collections with the sounds of tambourines, screens and gravel.
Beyond wallflower and Chibazqui projects that integrates Diego Armés let escape soil their fragile and isolated songs supported on the sound of the acoustic guitar.

The four batteries on stage Tim Tim byTim Tum (José Salgueiro, Alexandre Frazão, Bruno Pedroso and Marco Franco) comprise such a vast universe as the imagination of those who play and those who listen.
The actor and musician João Tempera resurrected his musical alter ego John and Shadow. Black brings songs that comfort feathers and package fears.
In August, Enchufada will raise the decibel Hundred Soldos with Branko, Rastronaut and Dotorado Pro.
Banko, the publishing pioneer, after a residence on BBC Radio 1 and Antena 3, issued its "Atlas" album in 2015, with a sound classified as "sounding sensually dancing."
Rastronaut embodies the fullness of the mission Enchufada, azimuth traced from the African continent to Ourique field.
Dotorado Pro, one of the latest names released by the Portuguese label, working with a mixture of afrohouse and progressive sound.

Jorge Palma, composer, poet, performer and accomplished pianist, will be present with full band. Vera Mantero presents "The Serrenhos Cauldron, exercises fictional anthropology", a play in which the choreographer goes beyond dance to, a sound experience also speak of wisdom lost people.
It also plays in the Devil Roncos projects and Ai !, but it is the soil that Tiago Pereira presents, driving the Portuguese traditional percussion instruments.
Awarded the prize for Best Soundtrack at the 2015 Los Angeles Independent Film Festival, André Barros is presented in its nostalgic intimate, with a piano framed in a string quartet.
The icons of "Nights Prince" the Musicbox in Lisbon based camp until dawn, debiting sounds a determined pace and swing. They are DJ Lilocox, NiagaraePuto Márcio.
The classic revisited by guitar and piano the Tunos promise new versions of iconic themes of fate the lambada.
After much digging in the markets for months for doubtful virtuous bands unlikely, versions in Mandarin, variety artists and promotional discs, DJ Ruby Torch brings everything into question in one night.
From field recordings, Luís Antero formed a body consisting of 100 sounds that answer the question, that sounds Hundred Soldos? "One hundred Soldos, 100 Sounds" invites you to dive in the acoustic landscape of the village, projecting feelings, valuing identity and filing a memory.
Who are you Laura Santos? It is both an intriguing question and the name of the action that will receive the first visitors of GOOD SOUNDS. The party starts with selected hits that span the radio from the 60s to the (in) contemporary hits.

Knowing that major events are also great waste production structures, promote respect for the space that houses the Festival, the village of hundred Soldos, developing outreach strategies for the reuse of materials, reduced waste and implementation of collection and treatment systems more efficient. These good environmental practices and the contribution to local development have been recognized for reasons of GOOD SOUNDS as one of the best and most sustainable Iberian music events with the best contribution to Sustainability and Best Medium-Sized Festival in Iberian Festival Awards 2015 and best average size Festival 2015 and Festival More Sustainable 2014 in Portugal Festival Awards.

The remarkable stories of the jewels of Bragança house in the nineteenth century was the theme for a lecture by researcher Eduardo Alves Marques, author of "if the jewels could talk," within the conversations of "dar a ver", which addressed many of the caricatured and curious episodes of the various pieces of jewelery of Portuguese queens.

Where are the jewels of Portuguese queens today? Our story begins in 1834 when D. Maria II is acclaimed queen of Portugal, which is follow by D.Estefânia, Maria Pia of Savoy and D.Amelia in the twentieth century. But we also address the Empress D.Amelia of Leuchtenberg and the Countess d'Ebla that marries in second nuptials with the King D. Fernando II.

To understand the remarkable story of the crown jewels we have to make two distinctions, on one hand there are the so called jewels of the state, where the monarchy centered a series of specific rituals that count as a representation of power. Since 1640 the dynasty of Braganza offered the crown of Portugal to Our Lady of Conception is for this reason that there is no the coronation ceremony, but ovation. The State jewelery pieces are made with precious stones, silver and gold and can never be alienated, the king and queen could use them, transform them, but they can never be sold. Currently, the jewels are labeled, sealed and discriminated individually and safely kept at the Bank of Portugal.

Particular jewels are acquisitions made by the royal house through the state budget and we have to fit them into a constitutional monarchy. In this case, most of these private jewelery pieces are missing, they are returned to their rightful owners.

D. Maria II is the daughter of D. Pedro I Emperor of Brazil. In 700 years of history it is the first sovereign that travels and this allows hers to acquire knowledge that no king ever had to date. Between 1834 and 1853 is the culmination of Romanticism, less than 100 years the ruins of Pompeii were discover and there is a great interest in the former, they seek inspiration in the spirituality, what we once were and many of the Queen's jewels are inspired in this period. There is an emotional side in this very striking pieces, where it appears the representation of children, nephews, brothers and it is in this context that the miniatures appear, the bracelets are an ex-libris.

The Queen has 183 pieces of personal jewelry, one of the featured pieces is pendant and a necklace from ther mother's, D. Maria Leopoldina and a tiara with diamonds of various colors stones. A châtelaine with a pocket watch, from “Leitão and irmãos”, are also listed in the inventory.
D. Maria II establishes as one of the basic rules of her reign, end the law of primogeniture, which was that only the first-born is to inherit and the remaining seed had to make good marriages. From her reign each child shall receive exactly the same as the others, except the king who had his royal occupation. When the sovereign dies her private jewels are allotted by groups that are placed on a table. All lots are numbered and each of the seven surviving children choose a number at random.

King D. Fernando II came to the throne on the death of D. Maria II, as the infante is too young to reign. The widower sovereign in one of his trips to the theater ends up falling in love with an opera singer, Elise Hensler, a cultured and charming woman, with a small problem, did not belong to the nobility. Even so, against all odds he marry her, it is was a national scandal at the time, considering that he was in charge of the royal minor children. One of the most iconic jewelry that King offers her, on their wedding day, is a marigolds pin in gold the size of a hand. Each jewel carries a story, we can know the carat or the number of diamonds, but each of these pieces is an adventure and this concerns the great-granddaughter of the Countess who inherits a property that is the chalet wall, summer home of the Countess d ' Elda and the famous pin. This report begins with the granddaughter of the Countess who was a very elegant woman, who only bought the best brands and had so many Dior shoes that tied silk ribbons in the box to know what the respective color of the pair. Due to a fatality, she ends up dying in an car accident and the pin disappears. When the great-granddaughter of the Countess d'Elda come from the US and returns for good to Portugal in 1998, she decides to sell the house, because it had a great offer from a real estate developer, while at the same time, she feed a sense of guilt and loss to sold the house where she was born and where her mother lived. So, a week before handing over the house takes all the stuff off and surches for the pin in vain. In those days she begins to have a recurring dream and come to her memory the stables behind the house where her mother took her for a ride in the pony she had as a child. On the last day, in late October, she is alone for the last time in her childhood home, she hadpark in the back next to the stables, stroll the property and because in winter at five o'clock is already dark she decides to leave, as she enters the car and turn on the headlights the light shines inside the stables and she notices that in their midst was hidden inside a box of her mother's shoes, she got out of the car and open it and pick up one of her mother's shoes and it fell off from the inside the famous pin.

The new empress of Brazil, Amélia de Leuchtenberg, Queen D. Maria II stepmother, was so beautiful that according to reports at the time the Emperor Dom Pedro when he saw her for the first faints. In the first half of the nineteenth century she owned 500 pieces of private goldsmiths and then when she dies is not known for sure what happened to most of them. As her only daughter princess Maria Amélia dies in Funchal with tuberculosis, the sovereign widow who did not have more children leaves the best jewelry to her sister, the Queen of Sweden instead of the stepdaughter and sovereign of Portugal, since it was public knowledge a certain animosity that existed between the two of them. For revenge, or despite, the fact is that the pieces of jewelery were shipped by boat in 14 crates heading north and the diamond tiara of Bragança house now adorns the head of the current swedish queen.

Pedro V married D.Estefânia a very candid woman, religious and blessed and she brought some special jewelry, there are two pieces in the Ajuda National Palace, a bracelet of another offered by Queen Victoria, with the word "remember" with encrusted diamonds and another in german offered by her brother.

One of the most curious and dramatic stories of the Portuguese monarchy takes place before the king's marriage, King Pedro decides to offer her one of the most expensive jewelry ever made, a tiara with 4,000 diamonds, the piece cost 86953.645 reais and is all part real inventory. Something unusual happens after marriage, the diadem disappears, no one ever saw it, but there is a wedding day illustration, so we know that the young sovereign used it. Other curiosities about this gem is that at the time was not tasteful to use diamonds on the wedding day, these gemstones should only be used by married women and not by virgins. There is a chamberlains lady, the Duchess of Rio Maior who wrote in her memoirs, and were published in book by Gonta Colaço, that the princess was so beautiful that all the people want to see her and the diadem, but the piece was so heavy that it cuts her forehead and queen bleeds and when she leaves the church people say "oh poor thing, she will die, she is shrouded" and the truth is that the queen died a one year later of typhus. According to the report of the duchess of Rio Maior, the day of the funeral, the young sovereign was dressed in a pale silver silk and Dona Estefania, by order of the king, wore in the head the diadem of her wedding as soon as she arrived at the palace it was removed and replaced with crown of orange blossoms and from that moment on it is lost the track of the piece of jewelery. But the story does not end here, there is a marriage contract that states that when a prince or a princess marries, dies and leaves no descendants, the crown must return all the dowry, that is, the queen had no children, all her private jewelry had to be returned, this does not happen, since the estate claims it disappears and the other part of the queen's dowry in money ends up being used to build the hospital D.Estefânia in Lisbon.

Maria Pia of Savoy marries king D.Luís I on the 6th of October 1962. She brings with pieces of Roman inspiration, performed by Castellani. Also, have tiaras, hair combs, dishes, bracelets, pins and earrings with magnificent chisel work. The queen when it comes to Portugal demands an inventory of all the pieces of jewelery of the state and use them frequently. The tiara and a necklace with diamond star, much in vogue at that time, was created with diamonds belonging to royal crown. There is also a lace pin with emeralds sorround by a string of diamond, which is the size of a hand from this period.

With the establishment of the Republic nothing disappears in terms of state jewels, but Dona Maria Pia was very vain, spent much money on jewelry and lived beyond ber possibilities. At that time she had borrowed money to the Earl of Burnay, the richest man at the end of the monarchy, and as guaranteed she left her jewelry, which supposedly will be recover as soon as she pay the debt, the banker had accumulated 369 pieces of jewelery from the Queen Mother, who were auctioned by the Bank of Portugal in 1912 to recover the money lent.

D.Amelia, daughter of the Count of Paris, marries D.Carlos I and is one of the present and loved queens by the Portuguese, was the founder of the Mercies. It is also a sovereign who does not boast many jewelry because she is very religious and pious, upon becoming a widow she decides to divide her private jewelry in a Solomonic way, what she brought from France goes to the French heirs, those received in Portugal are to the heirs of national royal house.

Her diamond tiara that now belongs to Dona Isabel de Heredia, the current Duchess of Bragança was used on the day of her wedding, she even inherited a "collier de chien", the dog leash also in diamonds, as well as a brooch in emeralds and diamonds of 60 cm, where the middle is written "for your sake."

http://www.matriznet.dgpc.pt/matriznet/home.aspx

http://www.monarquicos.com/forum/viewtopic.php?t=815&highlight=j%F3ias+++coroa

A book that was released on strong controversy whose author is Henrique Raposo.

I must confess that my curiosity got the better regarding this little book, just read it because of the uproar and controversy involving its launch. I shalt perplexed by the movement of hatred and real censorship, which had never seen in Portugal, which was intended to prevent its release and I thought, but after all what is so terrible inside this volume of 107 pages to the point of threatening the author? And what I discovered? People who wanted to boycott "the promised Alentejo" surely did not read it carefully. Henrique Raposo does not denigrates, or tries to destroy the bucolic image of beyond the Tagus, only makes a personal portrait, based on the origins of his family, which uses as the foundation to address the history of the Alentejo people and tries to explain their way of being and be in life without whitening its past and this is truly courageous and innovative. I read it obsessively , because I thought the writing of this author was interesting, there is no wasted words, his reasoning is clear and concise, he even based some of hs findings on data published by the census or scientific studies and I could not help to rejoice in the fact that finally someone has an explanation, very logical to the high rates of suicide that always plagued this part of the country and not only based on the almost endemic loneliness of Alentejo. Another aspect that I appreciated from this work was to have been given to me the opportunity to know more about the way of being and of the Alentejo women, was a real discovery, their freedom regarding marriage and children after the comparison Henrique Raposo does with the North of Portugal, I say it was extremely informative and made me see with fresh eyes the Alentejo in general, but in a good way. I really enjoyed "the promised Alentejo" not because of the controversy that surrounds it, but because the author show us a part of Portugal, through his personal testimony without complexes and it is not because of the book I'll stop loving the Alentejo, on the contrary, my love is even greater if indeed this is possible, the difference is that it's real. Have a nice reading.