Vera Duarte studied law at the University of Lisbon, was subsequently counselor judge of the Supreme Court of Justice and Adviser to the President of the Republic of Green Cape. In 1995, she received the North-South Prize of the Council of Europe, in recognition of her struggle in defense of human rights. She is part of the African Commission on Human and Peoples' Rights and the International Commission of Jurists. In 1993 publishes the first book of poems "Amanhã Amadrugada". In 2003 published her first novel, "the candidate" who received the Sonangol Literature Prize.

You were the first woman magistrate in you country and also linked to human rights.
Vera Duarte: That is right. Let's say I'm a very woman of my time, I lived a historic time of change, I watched a lot, Green Cape was a colony and became independent. Followed the background all this process of emancipation and empowerment of women in Africa and in the world and I also witnessed several historical periods from through the news, May 68, Woodstock, the struggle for civil rights in the US, the fall of totalitarian regimes. At the same time, it, because of my way of being, I pioneered some things especially in the judiciary sistem of Green Cape, was the first woman magistrate and why? Because it was forbidden in colonial times women to have access to such positions, but also could not be diplomats or employees of customs, etc. I and others who worked on the legislation revoke all these discriminatory standards, in the labor field and also the civil status of women.

So how did this whole process being the only woman in a totally male universe, in an African country while giving a lot of importance to women in cultural terms is very macho at the same time?
VD: Green Cape did not escape the rule of these other African countries with a deeply macho culture, not forgetting that our country comes from a slave society, where man was not only a landowner, the slaves, but also women who had theeir children and used them to their pleasure, all our Cape Verdean society was deeply sexist. Clearly, with the country's liberation process, the war for independence, although it had not spread to our territory, but we know that many Cape Verdeans were participating in the armed struggle for the independence of Guinea-Bissau and in hiding in many countries all over the world, it is clear that the whole ideology of liberation was based on the emancipation of women, as Amilcar Cabral, the leader of the armed struggle for independence of Bissau and Green Cape, that, yes, was a man who lived far ahead of his time, from the 50 have made speeches to the guerrillas and also the populations of the areas which were later released and he spoke of women's rights, them being treated as an equal, to be respected, even treat it with dignity. I would say that all this thinking had begun to bear fruit among the population and especially in layers say more intellectually prepared in Green Cape. So when we accede to independence and this process straightaway to repeal thediscriminatory laws inherited from the colonial regime, I who had the course in law ended up being named Attorney of the Republic, then made career in the judiciary system and was judge adviser to the Supreme Court justice.
What were your first challenges in these positions?
VD: One of the first challenges was the Green Cape men to see a woman in a position that was previously occupied only by men, this is the first report. After I was only 21 then hear them say things like "We have a beautiful woman there on the prosecution, but she's tough." Obviously I will not say it was easy, never was, but I always had this taste for challenge on me, has always been part of my personality and how it was touched by the struggle for women's rights of emancipation and equality, it was not difficult to have that aware that in order to open new paths, the ones that were going ahead had to go pay some price, but it was something I did with a light spirit, even though it hurt me any discriminatory treatment. By the way, it went up the same with writing which would also be a female voice and there were many different interpretations, but I always thought that my goal was always greater, for something that was worth and like, the writer, Florbela Espanca said my emancipation is greater than the universe and so worth it.

It's been already 29 years of democracy in Green Cape and I know that today your struggle is against violence against women.
VD: It's something coming from behind. Anyway, one of the most aberrant manifestations, most egregious and most violent step expression of discrimination against women was domestic violence. The fact that we come from a slave society also shows how this scourge was rooted, man always inhabited treat the woman as if they were an inferior being, a child who is taught by the blow and this early touched me. The fight against domestic violence can say it was the first major causes that have approached me, me and other women, of course, and from the beginning we have worked this issue.

This is a short film developed as part of a photographic project proposed by the Prazeres Gallery by photographer Camilla Watson.

Camilla Watson was born in the UK. She began her career as a theater scene photographer, and after it was dedicated to the portrait and reportage. Now lives in Lisbon where she has a studio in Largo dos Trigueiros in Mouraria. The work of this artist is distinguished by experimenting with new supports printing directly on stone, wood, tiles and even the walls of houses using a mobile darkroom she herself designed. Camilla likes to work especially with communities and expose in public places. Some of his photographs can be seen in the Mouraria neighborhood streets in Lisbon and now in the village of Prazeres.

The artist Teresa Gonçalves Lobo in partnership with the foundation Ricardo Espírito Santo, through the decorative arts museum, created two chairs for it's estate the "ichair" and the "ichair long", a long creative process which culminated in an exhibition , a catalog and also an album with printed "is".

How did arise this invitation for "i personally"?
Teresa Gonçalves Lobo: The invitation came from the museum of Portuguese decorative arts, Ricardo Espírito Santo Foundation in 2012 to an exhibition at the same venue the following year. The starting point was the museum itself could inspire me in some of the pieces appearing on the estate, the ones I wanted, or the foundation. I've been reviewing the collection very carefully, of course there were huge pieces that fascinated me, but what enchanted me was how the masters work in the foundation. It was as if regressed more than 100 years in time, when I got there, it was another time, people have time to do things, put all their commitment and dedication, we note that everything that is done carefully, there is love in great art. It's a different time and it fascinated me, how people worked the pieces, their love for what they do and I was thinking that I wanted to value them. More than a museum, the foundation has been preserveing the decorative arts, for this purpose it was necessary to train teachers in the Portuguese arts, I thought this was exceptional and we should not let our heritage disappear and its founder had this care. Then there are all the masters who passed by, is an institution that turned 60, all I wanted was to honor all who are there and those who went through that house to maintain it.

How appears the "i personally"?
TGL: The "i" already existed, had the "is" that only needed an opportunity to appear, I had shown one in 2007 and in 2009 expose two of them, always inserted in a collective, but I already had a group very significant of “is”, even some who I never shown up before, I thought it needed to come all together, a picture alone is lost and thought it made sense to show them all. I ended up exposing 42 drawings some of 2008 and other's of 2013 some drawn with Chinese ink, others in black and red are colors that appear a lot in my work, still others on coal and then I was in the mood to make a chair from an "i". The passion for chairs was something I had in me and had never thought much about it, then I noticed that I have been photographing chairs over the years of different countries where I'm going through, in my view this type of piece shows immense what a culture is, the way people feel, sit and its traditions. In 2005 I was in China and found fantastic that people in this country sit in a circle to talk, a table is not necessary, or a coffee, the chairs are so that people seat on and they may feel like talking or not. These are small details that I have come to notice and photograph over time. The fact that it was guide in Madeira made me look at these pieces, including the collection of the Museum of Quinta das Cruzes is a passion I have.

So you design the chair and there is some symbiosis with the masters of the foundation?
TGL: Of course, the museum of decorative arts by inviting me also wants that connection, it was not something that was suggested explicitly, but could not be seen as an exhibition hall, it would have to be looked at as a place where we will share both sides, is a joint work, the knowledge of the hands of the masters and my drawings. From this union comes a joint project, although this was never told, was a natural process and thought it was nice to join these two passions I had, the "is" and chairs. It is true that I had never drawn a piece of this genre, knew nothing of chairs and I think I still do not know, but I was careful to measure my body, that of a woman and my husband, a man, then I thought it had to be comfortable for both sexes, with different heights, then my nephew, Miguel Gonçalves, materialized in 3D. I thought it was important to get the foundation not showing only two lines but a final design for two reasons, first because it meant that those responsible would say yes, the second reason has to do with my need to feel good, I mean, I showed only a trace, the masters materialized the drawing and I signed the chair, it was not my work, so had to get to the foundation with all possible material, with all that was required from me in terms even of measures and there have asked the opinion of the masters to know whether it was practible, logical or not and had to have that feedback. This was the project of "iChair", was my first chair, also the first in my head, then I design an "i" and not thinking of anything and I saw another piece, which is the chair long, with one foot in floor and the other flowing and at the same time may be two "is" that merge into one and it pleased me this idea, so the parts are not glued together, fit into one another, fuse together, one of sides can sit down, the other can lie down. It was a piece dreamed up by me and by the masters of the foundation, where I was put to the possibility also to choose the wood intended for these pieces and I was incredulous when I heard me immediate responding was mahogany and tittle is my connection to the island Madeira and its pieces of furniture. Of course, are two protected trees, but there was mahogany in the foundation, from Brazil that was stored there for 15 years and I said so at the time, that seemed almost a lie, but that wood looked like it had been waiting for me, so the chairs are from that wood and the point of the "i" is in rosewood. Curiously, the rosewood of the "is" both in the "ichair" as in the "ichair long" there are white spots that rarely appear and the masters told me that is the soul of wood.

How comes the collection became a book? The exhibition, all of this for a compilation?
TGL: I think at the end after the exhibition is the catalog and it's always a little dimmer when we see the photos of the paintings, but it is what is, for those who saw it and for does who may not appreciate is a way to see the work and all this process, but I thought this case was important not only show all "is" I drew, but having the picture of the masters who worked with me. At the time when I discussed this idea in the foundation the responsibles they alerted me to the fact that I would reproduce the image of some and not others, but I've been a year monitoring the entire process and photographed them all, only the"ichair long" were about 5 months and the people who worked it are in the pictures and also who did trimmings I had the care of shooting them, as a rule always appear the hands of masters, but I thought the men must also be and was exciting to see happiness of these people by been reproduce because they have an image in the catalog.

The Portuguese territory has suffered from a lack of rain in the various regions of the country.

This October the Portuguese Institute of sea and the Atmosphere (IPMA) expects a significant improvement in hydrological indices after verifying that until September 30th, 85% of the territory was in dry weather situation: 24% in a low dry low situation in the North coast, 29% in moderate drought in some interior northern areas and 32% in severe drought in some areas of the center and south of the country.

According to the data provided by IPMA between October 2014 and January 2015 there was no occurrence of a continuing drought. At the end of February 2015 it was confirmed the emergence of weak dry weather situation in much of the country, a problem that has spread to the whole of the continent and intensified gradually until the end of July and remaining identical in August. In September there is a relief of the affected area and intensity of meteorological drought.

The 2015 drought had a major land area, with 79% of territory (in late July) in severe or extreme drought class, just below the drought of 2011/2012, 2004/2005 and 1944/46, however the duration (number of consecutive months in severe and extreme drought) this was dry by the end of September, lower than the majority of other droughts in Portugal.

https://www.ipma.pt/pt/oclima/observatorio.secas/pdsi/monitorizacao/situacaoatual/

Peixe: avião are an alternative rock indie group that found its own sound over a number of years of career.

Your first album was a success in terms of music critics at the national level, then you launched the "Dawn" in which you decided to write the songs all together rather than separately. You decided to do this for the greater weight in this second music work since the first was very well received?

José Figueiredo: However we launched a third album who is the namesake that is peixe: avião. It's that you're referring to these?

Yes.

André Covas: It did not had to do with the weight of the reception of the previous albums. Initially it had to do with a certain way of working feature and we wanted to do something different. The only way we found to ensure that we would do something like that and most was to begin the work of composition. Not to be at home thinking about melodies and then, we share it with others, but instead all go into the studio, into the testing room without thinking and just doing music, it was a way to ensure that we would do something different. It has nothing to do with the weight of critics has to do with the fact that we wanted to do something new.

In melodic terms what distance the namesake peixe: avião from the previous work? There seems to be a greater maturity on previous recordings.

AC: Yes, this way of working than in self impose eventually bring other immediate things the musically result of the drive and it was also something we wanted to do harmonic and melodic constructions simpler, not as complex as the "Dawn" or the "40.02". In this first album we notice an increase of complexity that we wanted counteract with this work and the fact that we are always together, the five composing, because when you're home it turns out to grant a freedom that is a little perverse, being maybe too excessive, we are with the computer, or with the instrument in front of you and can record 40 instruments at will, then we can apply them to a record and adapt them to play live. But for this work we wished the five of us composing at the same time, there was never more than five things happening and this means that there is a more naked composition, makes it more essential and not decorated, or worked with other layers on top. The end result is more concise and simpler arrangements in the composition itself, then the fact that we are working with instruments and not with the computer, we are writing what is the end result led us to work a better sound, plastically the album is harder, rawer, because we are less, we took on a guitar and we played with amplifiers. All these aspects have made the focus special and this causes the album to be more open than the previous ones.

Regarding the lyrics, how it works in terms of the creative process, you first work the sound and then add the lyrics. It is difficult to compose in Portuguese for this type of sounds or not?

JF: Maybe it's more difficult for Ronaldo Fonseca.

AC: Yes, it's harder. He has this solo mission to write the lyrics in the compositions that we delivered to him in hand and I think we never said that we never liked.

JF: We can make some suggestions, but the lyrics are his department.

AC: I think there was more hard phases and that we call lack of inspiration, which is very complex, but he will do this personal struggle and he does solo that route. For us it is much simpler, we do what we want and say just do it boy!

JF: We've done a lot of songs, not with words, but with vocal melodies. But in fact the process is deliver the compositions and never interpret the lyrics with his music.

It's another discussion on corporal fashion parameters.

Recently was published a story about a young model of just 14 years of age who was hired by Dior for their new upcoming campaigns over the next two years and I was shocked. The announcement as expected immediately generated enormous criticism from various personalities and non-governmental organizations and launched again the discussion on this matter. In fact, over the years it become more and more noticeable thru time this almost insane "race" from the brands for younger faces with almost shapeless bodies, I would even say immature to promote clothing for women of older age groups. It is a nonsense that is trivialized in such a way that is not only common to the French brand, but also affects others international fashion industry brands, such as the Zara. Yes it's true. I know that the Spanish trade mark is well known for its aversion to institutional advertising, however, the new catalog by the way very strange and the images scattered throughout the store that I had the opportunity to enjoy recently also leave many questions in the air, after all how old are those young women? Some of them appear to be girls and it is noticeable that in some cases the clothes looked back in them, because the pieces are designed for other types of bodies. Which brings me to this week's reflection, how can the fashion companies continue to find it perfectly normal to hire these young models, mostly minors, to promote only accessible garments for women with bodies matured by time? When it became acceptable to use just as a beauty parameter female teenagers, whose body structure is still in full hormonal development, to promote clothes in a market where the target audience is clearly more mature? And if society tends to boycott this time the brands that use child labor in manufacturing production, why it is that in the case of models such behavior is almost ignored? For all these reasons I leave here my protest and I stress that I simply do not want to buy garments that girls wear for several reasons, the first of which because I am no longer one of them and do not feel reflected in this type of pictures, but make no mistake, I'm proud in being a woman and in some of my curves! Furthermore, I condemn this kind of misleading advertising because convey a wrong message to the new generations of girls and young women from around the world showing a body aesthetic that nothing helps for their self-esteem. What a 25 year-old will thing looking at these photographs? That she is fat! And she is not! Now, that's a tragedy! And thirdly, in fact it is child labor and I do not care that the girls have parental permission to do so, these are brands that are not even appropriate for their age, if these girls want to be models they should begin their careers in companies that market fashion products only suitable for their age group. Even advocate greater oversight and regulation to the fashion industry that has been enjoying a certain compliance and impunity on the part of society in general and in particular from women themselves, because instead of protesting, they just blame them selves in front of the mirror when should be pressing the major brands to do something that they forget too often, listen their clients! And I'm one of them! I love fashion but not like this!

It is a compilation of short stories of the writer and teacher Lucia Bettencout.

I must confess I was completely unaware of this Brazilian author and only had knowledge of her yet small literary work through her agent who did me the favor of sending some of her books to my mailbox. I must also confess that at first I was suspicious, because normally I only write about books I love and that choice is random, I do not guarantee anything to anyone, but in this particular case I can honestly say that I liked this little compendium. Already all you must be bored to death about how I appreciate short stories, is a genre that many people disdain, but for me there are no limits of words when writing a good story, "Borges secretary" is one of such example. The writing of Lucia Bettencourt is dynamic, surprising and intelligent by the theme and by the narrators she chooses which makes it accessible to any reader. One of the tales that really excited me more of this collection was the "bug", the story is just ... how shall I put this without hurting susceptibilities? It is addictive for its viscosity! I know perfectly well that I just wrote something absolutely with no sense at all. But, you have to read it to understand. The main story, which gives the title to the book and brings us to the great writer Borges is unusual and clever for its premise, as well as "4%". In fact what I found interesting during the various narratives is that Lucy Bettencourt always puts the reader in a unusual place, of the listening ear, you know that person who always listen others? In all the tales it seems she tells the story to someone, to us, not the colective, but to the individual self, it has almost a confessional tone, you see what I mean? If you do not know, well, there's only one remedy for that! As is my prerogative, as usual, I'm not a big fond of raising the veil too much when I talk about books. So have a nice reading.

Ricardo Machado is a dancer and choreographer. He worked as a performer with various choreographers and directors such as Aldara Bizarro, Né Barros, Carlos Silva, Moncho Rodriguez, Victor Hugo Pontes, Rui Lopes Graça, Fernanda Fragateiro, Kurt Demey, Marielle Morales, Madalena Victorino . Since 2006, often works with Joana Antunes as a performer, co-creator and artistic director assistant. In 2010 he worked with the Company Olga Roriz in creating "The Rite of Spring" and the Company unsteady on creating "Tuco" with the choreographer Karine Ponties. In early 2011 he founded the "other wind." He created through this platform, the soil "Woman in Red" in partnership with Raquel Rua. Currently works with Circolando in" Camp "André Braga and Madalena Victorino and currently is collaborating with Madalena Victorino in performance" Vale "and Karine Ponties in creating" Lamali Lokta "as well to continue the tour "Tuco".

You possess a long career as a dancer in several national dance companies and not only, you were a little wonderer, which withhold you took from those professional experiences?
Ricardo Machado: Above all what has interested me more over all these years and has now gone twelve to advance professionally is going to drink to several sources. Try it, see how people work and get the best of them, it's almost like a parasite (laughs). It's interesting, because that's what happened as with Karine Ponties, which is a French choreographer but works in Belgium, we worked in four different projects and we slowly developed this choreographer-dancer relationship, we have created a strong artistic relationship and now with the "Circolando "I'm working much longer.

But from the beginning you always aimed to be a choreographer but first tried as a dancer or just grew naturally?
RM: No, it grew naturally. When I started had this passion for dance, the body and movement. Even my way of being in the dance evolved over time and later came the desire to say things, develop it and how I would say them.

So how do you define yourself as a choreographer? How are you different from the other professionals in this area at national level?
RM: What interests me much at this point is to explore the common man can also be in the stage, both can be a dancer as an actor and not be an acrobat or a fantastic performer. So, it interested me to exploit this simple side of only living and also be an ordinary person on the stage and then I've been doing this show of "Rio Sol".

So, tell me a bit about this show? You even had to request volunteers through social networks.
RM: The "Sun King" was born about three years ago and then not even have a name when I started thinking about it. The first idea I had was to make a solo about the loneliness of a man alone in the space, never thinking like a dancer, or an actor, I thought if I wanted to talk about loneliness needed the other.

Luis Campos is a young filmmaker who co-produced with other four colleagues, a short film awarded, "Olive" which was the theme of our conversation about movies, cinema and the unmistakable Manuel de Oliveira.

"Olive" was one idea that came from a personal experience or not?
Luís Campos- The "Olive" is one of four films, with Ana Almeida, Humberto Rocha, João Cazau and I, who have in common the fact that all have studied cinema in Covilhã. Therefore, the character of Olivia has a lot of our personal experiences related to that fact, some of the decors, situations, actors or even characters in the film relate to that our common experience.

It's your personal tribute to the work of Manuel Oliveira was the motto of this short film?

LC: It was a challenge of the faculty of cinema course at UBI (University of Beira Interior), for our final draft of the Master, all students would have to make a movie related to Manoel de Oliveira, which celebrated its centenary that year, with total freedom of approach. The four of us knew immediately that we wanted to pay tribute to the person, the unique personality of Manoel de Oliveira, since we hold a very special feeling of recognition and admiration before the work and life of Manoel de Oliveira. Although the film does not seem to match a tribute and the narrative of the film go far against those who were our main influences at the time, films from "Juno" to "The Amélie", which is a kind of contradiction from the cinema of Manoel de Oliveira, creating "Olive" was a way of perpetuating that feeling.

You used some of the famous filming techniques, static plans, of the Portuguese filmmaker?

LC: Interestingly, the fixed plan more "long" we used in "Olive", endowed with iconic and semiotic force the best Oliveira film style is when Olivia leaves the house and sits on the wall in front of the Fifth Empire, the tavern the landlord Manoel, with a closed door and open another on his side was commented by many viewers as too long and ineffective in the development of the narrative. This can serve as a kind of reflection to how most people interpret the film by Manoel de Oliveira. We can say that the film by Manoel de Oliveira that most influenced "Olive" at least in terms of tone or language feature film, was the "Aniki Bóbó". There are several references to his films over "Olive", but we focused essentially on the finding as the general population reacts to the films by Manoel de Oliveira and before cinema in general, in a small medium like Covilhã. This relationship of the people to Manoel de Oliveira cinema is a character with it's own life in Olive and its narrative arc holds up much in the way of how this conflict will superficiality in understanding and collective recognition.

Interestingly the film focuses on a particular location in the country where all the action happens, but you decided not to include landscape plans, why the story was most important?

LC: We have created a script with more than 30 pages and we knew that this corresponds to about 1/3 of a feature film. We had five days to shoot the film, played by Covilhã actors who accepted our challenge and we had to make some decisions regarding the full use of this time. In that sense, yes. Our focus was mainly on getting the story to work according to the initial view. We have a sequence in the Serra da Estrela, which can include some general plans with the landscape of Cova da Beira, and another sequence of Olivia walking the streets of Covilhã, which reveals a bit of architecture and history of the site. But always felt that Olive would be a narrative film, using many dialogues and many camera positions, in contrast to most of Oliveira's films. But in its contradiction, if just to supplement with Oliveira's work. The cinema is universal, has endless possibilities. We made sure to give a copy to Manoel de Oliveira. We do not know if he ever came to watch it, or what was his opinion towards "Olive", but the film is essentially it was made for him. It was the way we found to, our style, thank you for the incredible legacy he left.

The four short films that you produced, you can tell me which is your favorite and why?

LC: I have a very proud feeling about "Olive", which had a very honest way, a very interesting journey, collecting many awards at festivals, and continues to win viewers after all these years, was done in 2008, its own achievement was extremely difficult in terms of time, encountered setbacks and available budget; just so it's an incredible feeling of mission accomplished that leaves us very proud. I have a huge nostalgia for "Horizon", which was the first. We had a wonderful team who would like to accompany me in any other production I might make in the future. The Shooting of this film experience was very enriching in terms of personal learning and strengthening bonds of friendship. "Hindu Thing" was an exercise in an end-of-week fun. I keep good memories. But I still have the belief that "Chasin 'The Bird" was the most valuable short film, the cinematic language resource point of view, and more mature than we did. All of our short, this is the one that explores the visual function of performing, using the camera with subtext, the artistic construction of an environment, a tone, a coded narrative that requires more strenuous interaction of the viewer, conjugation semiotic various other elements which give depth to the film. Not a film as effective as "Olive", in relation to the general public, but it's a movie that I find very valuable. It's an interesting treat for moviegoers, if I may say something like this. I also consider that "Olive" is more directly connected to my heart, "Chasin 'The Bird" is closer to my mind while creative being.

It is the field of work of the young artist Miguel Ângelo Martins. It is a paint study without painting on canvas, confused? Go see and try to understand until the 4th of October in the gallery of Prazeres.

You decided to make an exhibition after a fieldwork on Prazeres.
Miguel Ângelo Martins: Yes, I was about a month, had already been here in Prazeres last year because I accompanied an artist and then I started thinking about this space and the people. As my work is allied to painting I thought I could link this art to the application of the color on the walls of the houses and follow that line. I began this study photographing the houses that seemed most evident in terms of color and then began to catalog them and went to the ground to make a mixture in sitium.

You have been cataloging the colors in their space?
MAM: Not cataloged, went to the house and took with me the primary colors and locally made mixing and applied directly, was thru the insistence to get the tone of the walls of their room.

You present also topographic maps, why you had this care to present the real estate in its corresponding location?
MAM: Because it seemed interesting to me to have that color saved as a testimony for the future in order to know what colors are used on the walls. It's a bit how to recover the heritage of Pleasures. The houses in this area are in decline and there were many of the walls that already had lost their color with time, so I could recover that memory.

You also said that this chromatic survey is tangled with the work that you have been developing over the color.
MAM: Not about color, but about the painting. The relationship with the canvas and the parts that are used in their design, such as the screen and the dressing. What I do is think about the painting and not use it as a means to create something, or represent it in depth in the two-dimensional support, but I give importance to painting, is not just a picture, or a surface is also a binder and a pigment is with this liquid side that I try to create dialogues.