"The memories of the stories of the people who make history" came from a conversation between Graça Alves and Claudia Faria, both researchers at the Center for the Study of the History of the Atlantic (CSHA) about the gaps in the records of the private life, the vision of anonymous people on certain times of these landmark events in the history of the island and its very existence. A project of recollection that gives prominence to the common citizen and their direct or indirect role in the development of Madeira and that brings to the surface, the other side of the story, the more human side of affections.

How did the idea of ​​the memories of the stories of the people who make history come up?
Claudia Faria: The project arose out of my master's thesis on literature and culture, which leaned on the Phelps family. I found a diary of one of the daughters of this merchant and decided to do a PhD about that registry. I had to read about privately writting , which is a new type of documentation that is not widely used in historical research itself, because usually we research in official documents. In this case, it was a diary that was kept in the drawer of a house and soon I realized that this area, this new way of looking at the studies of social sciences and humanities was growing. Official sources are important, they are doing a good job, but we have to try the other side of the history and how we have access to that other side? Through the people themselves, of what they wrote, of what they saved about certain events that marked them, in their own life, who they forthseen such events, what they felt when shared it with others and that one could extract from these moments. I began to have contact with this type of information and particularly with an association called IABA Europe (International Auto / biography Association), founded by Philippe Lejeune, dedicated to the study of the self, the"life writing", that is, the writing of life. And then shared these events with Professor Alberto Vieira, who is the director of (CSHA), who thought the center could contribute further, because until now had only been studied the history of sugar and wine, especially on the island of Madeira and it was from that sharing ideas is that the project began.

And how is that you extrapolated from the story of a family to the reports of anonymous people, immigrants, merchants, fishermen, soldiers, etc.. How did this project took shape?
Graça Alves: The idea is to see the other side of the history, since it was the diary of a young girl who came by as a traveler. If so you could have a different view on the island, on the events of the world, why not look at people who are still alive and some of those who witnessed key events? Why not go in search of their stories? See how the memory stored and safeguarded, and how these events were seen. The project that we presented to CSHA and has the endorsement of Professor Alberto Vieira ends up being, on this other side. From the diary that Claudia was studying, the Phelps girl who wrote everything that happened to her during her stay on the island, we start with the idea that there are people who write or record everything that happens to them, that somehow has opinions, other views on the world.

How do you discover these families? And ollecting this personal estate?
CF: What exist of the official documentation clearly speaks of the most important personalities, we are talking about governors, doctors, judges, etc.. People who were linked to local, regional power and we did not want that part of the hisotry, because it's easier, or already done, or possibly it's up to others to do. We wanted the anonymous, the common people, the neighbor who witnessed the attack from Germany to Funchal, for example. People who were related, or had witnessed many events surrounding the island. Then we thought in another area of ​​intervention that is emigration, one must look in another way to those who left it and took Madeira island with them. Of the people who lived in the Portuguese colonies and locals who were at war overseas, those are life experiences that we would like to collect. Some returned, some not, but all have many stories to tell.

How do you automate all this gathering?
GA: The project is still in the very beginning, it was publicly announced in November at the colloquium of mobilities, in the Foundation John Dos Passos. So we are at the beginning. We are in the phase word-of-mouth, people will speak about the project, we have a "newsletter" that is in the beginning and there are people who come to us, or someone ask us to present the project to an audience . Our work has been collecting only what people bring us. This is not a project that even if we had seven lives we could finish it. We are starting slowly, with the clear picture of our limits, we also feed a blog with the memories of the people, little stories that somehow can call other stories. We were recording interviews and guard them and scan documents and images. We have no conclusions, nor do we claim to get them out, because this is a job that is not only ours, is something that can also be done in terms of cross disciplinary or multidisciplinary, because it speaks of people's lives, their movements, their psychological profile, the literature that comes from writing, from the historical, economic and sociological events. This is a project that we are starting and others will continue.
CF: The senior university was a springboard for the project. They are our students and obviously they had documents and stories to tell, or know someone with an interesting route. Then through from mouth to mouth people come to us, or we went to meet them. The first step is to record the interview to see what history they have to tell. It is a loose talk, without any model or topology. We monitored people's memories and then there are people who provide us with documentation, such as, letters or photos, we ask to scan then and returned the original to its owner. We are currently creating files with this material. Neither me nor Grace will do the research work, we are collecting, looking. Eventually it will help developing a study.

GA: In a small portion ...

CF: Yes, imagine someone in the U.S. is developing a paper on the Portuguese wars overseas and is looking for witnesses who went through this experience, that person will obviously contact the center and we can provide that information, ie, the person can query this data to make his study. It is this involvement that we want to create and also to be consulted by the locals.

The records may also be consulted privately in search of stories from their relatives or ancestors, since this is a land of immigrants.
CF: Yes, although the regional archive has a very interesting work in this area. People look for their families by records of baptism or marriage, or death.

What is the importance of your blog on this collection of memories?
GA: The blog has two main functions, one of which is always dissemination because we tell the stories of people, although small extracts, Bit of stories not seem much, but they serve to call attention to the work. Moreover, the blog serves as a way to catapult the memories we are telling, because things seem nothing, but they are the only memories that people have, are there to serve as an example for others to go through. What we think of is that the story of the island of Madeira, from anywhere, cannot be done only by those who made it happen. There is the other hand, ordinary people like us, who have worked to make this land what it is and what we are showing on the blog. It is serving as decoys to draw others. And they become actors, actors in the history of the island.

I realize by your presentation that basically that most of these memories are from Funchal, but you do not want only the stories of capital.
CF: No way. The center is on the history of the Atlantic and we have a purpose in this house, is to mirror this reality, not only of Madeira, or insular. It is much beyond that. Maybe at this stage is more Funchal, because we are based here, the senior college is working here, many people live in the city, but for example, one of the stories we shared of Mr. Manuel is the Ponta do Pargo. This shows that we are going beyond that in search of capital.

Of all the stories I have collected for sure there is a more striking, more cartoonish, that you like to recount.
GA: All have their stories of what important to us, because somehow these stories have made us grow as people. And often appear out of nowhere. Quickly, one of the stories appeared at the table of my dining room, an elderly couple and their children who are my friends come for tea to see my Christmas crib and in conversation I asked if they knew someone who had gone to overseas and the father told me he had been there. It was the story of a soldier, who had a special meaning for me, first because come out of nowhere, did not even know he had gone to war and then had another delightful aspect is that certain moments of this journey he told neither his children knew and they already had more than 40 years of age. And suddenly he felt relieved because he shared a story that was kept there because he did indeed suffer. It was perhaps the one that gave me most pleasure to hear. I had to listen to it alone, although it is a joint effort, just could not miss this opportunity. It is the story of my heart. But there are others. I find it delightful that a child, aged 12, alone in a boat go towards South Africa, leaving the family behind the dock, the father and the teacher, except his mother (it is indeed a common trait of all these stories, they will not see them go). Others make us laugh, once again, in the case of Mr. Manuel who traveled alone in a vessel where only was spoken English and therefore he was aware of what the next-door table order and said something like "fish" and he did not know what that word meant, tbut thanks to it he eat fish every day on the boat, because he did not know any other one. There are those aspects more cartoonish, but there is also another side to this very serious and disturb us a bit, because people when are telling us their story, suddenly they shut up and cry and we do not know if this recall is good or bad for them. We are learning to manage the emotions that are being triggered because of the stiring in things that were saved.

CF: For me, that touched me most was the story of Mr. Almano Gomes, his adventures through the world of music in Funchal. The much talk of a theater show organized by the Maritime club and while seeing the photos he told me he sang one of the tunes with a girl named Odette Gama and suddenly I find out that this girl was my godmother, Almano revive his memories and I mentally revisit my godmother's house, where everyone was on the music, which there was always singing and social gathering. In exchange, I stopped being a teacher, I became the goddaughter of Odette with whom he spent good times and there was created a very strong bond to the point of discovering that my mother made a record. I'm looking for the memory of others and I end up discovering mine. I think this is great validitation of this project, we are not alone and all this has to do with us.

Why do people feel this need to tell you these stories now? There is already a certain distance of these emotional moments, particularly those painful memories.
GA: Some yes, in case of war overseas that was a very striking time. There are other people, who despite having torn letters, photographs that made them suffer , now they can tell these stories, because there is a distance from these facts. And also because suddenly, in today's world, they found two people who are willing to hear them. We are talking about people over 60 and their children often do not have time to listen. We are someone who gives them attention and prove that they were very important people who played a major role in the history of the island and it makes them feel it was worth it. It is a good thing and they become protagonist. Everyone likes at some point in their life to be the main actor.

http://memoriadasgentes.blogspot.pt/2013_02_01_archive.html

http://www.madeira-edu.pt/ceha/tabid/1271/Default.aspx

http://www.iaba-europe.eu/

It is the eighth season of how to talk good Portuguese.

It is perhaps the most fun educational program of the Portuguese public television. It addresses the grammar in an informative way, lightweight, recreational; it is taken seriously without being too serious. Did I make myself clear? I like this didactic space, because is not just limited to correction of spelling errors, semantic and etymological differences, but especially for the discovery of idioms and linguistic curiosities that make the Portuguese one of the most spoken languages ​​on the planet. The presentation is in charge of one of the nicest actors of Portugal, Diogo Infante (in my humble opinion) and the gorgeous voice off of Flor de Maria Pedroso.

Mati is a Portuguese brand inspired by Greece. Fashion handmade accessories with semiprecious stones, pendants with blue eyes, Buddha's figurines and gilded silver wire, all coming from the imagination of Maria Bruno da Costa resulting in delicate and tasteful pieces to be used on any occasion.

How comes the idea of ​​mati?
Maria Bruno da Costa: I lived in Greece from 2006 to 2010. As you know this country has a great tradition in terms of jewelry, there are even large Greek names in jewelry design at the international level. They are very strong in this area, In Greece every door is jewelry. I always worked in banking, but stopped for personal reasons during 4 years and when I came back I thought to try and make jewelry for some of my friends. I like art, photography, to create and therefore brought some pieces that I designed, and I rode it and had some success. That was two years ago, though I was connected to a fashion site, which required a lot of time on me and it was difficult to coordinate with my personal life and then I thought: why not start with this small business? And so the restarted was about four months ago. It's recent.

How do you choose the pieces to make necklaces, or bangles?
MBC: I choose the pieces to my liking, I have some that are sent to me and others that are assembled and all are the result of the creation process. There is a great connection with fashion and new trends. I always try to do a little differently, which is not easy these days with this huge globalization, but I always try to give to the pieces a very personal touch.

The pieces continue to come from Greece?
MBC: I bring all merchandise from Greece, although some stones are from various regions of the world. They have large wholesale vendors who offer this type of stones to manufacture and retail.

Who is the woman mati?
MBC: First let me tell you that means mati is eye, or look in Greek, that was inspired by the blue eye which removes the evil eye is a symbol both Greek and Turkish. The mati woman is someone whose age is around 30 to 45 years of age, is women with some buying power, because the jewels are in gilded silver and semiprecious stones. It's a modern woman who likes what is slightly different. It is a bit fashion, hippie chic this is the image that I want to convey and I have gained a foothold in market terms.

I noticed that the collections are limited, is it not?
MBC: This is still a relatively small business; the pieces are all handmade and limited to my own production capacity. The jewels are few in number and in some cases almost unique, because I think we also have to mark the difference and I do not intend to do mass production. Therefore, I choose to do it this way and also always like to do different things, repetition tires me. Moreover, people appreciate having exclusive jewels, not equal each other.

Of all the models that you created are some pieces more special?
MBC: Yes, the necklaces with the Buddha's and the pieces of silver gilt with the blue eyes. The last one of them, I have them in several sizes. These are the models that have come out more.

What is the next step for mati?
MBC: I'm in the process of growth. I am sailing in some stores and directly to individuals. My goal is to grow in number of commercial spaces and start expanding my necklaces with certain calm, because I have a limited production capacity. At this time also I will be in Angola. Now in the coming months, with the summer collection, I'll put my pieces in three stores, which in my view identify with the brand. I do not usually choose any kind of space, I think that times are not easy and everything has to be done very slowly.

Tell me a little of the new collection, which of the new trends you used for this spring-summer?
MBC: This summer will be marked by lots of color, not so much in clothing, in jewelry yes. I will continue with the same line, necklaces with small parts, not large and within that trend, I make jewels where the color abounds. The wires will be more colorful, there will be a little macramé mixed with silver and precious stones. The tones range from blue, green to orange, is to give a little joy to the pieces and who wears them.

There will be a piece or set of pieces that will always remain as emblematic of the brand?
MBC: Yes, the pending eyes, whether rounder, cross, or applied in silver will always be present in the collections. That is the hallmark of mati I intend to keep.

It is the epic of a group of Portuguese who decide to travel thru the African continent by car.

When Tiago Carrasco, a journalist by profession and two friends, photographer João Henriques and cameraman João Fontes decide to start a car journey traversing the black continent from north to south, with virtually no money, we thought at the outset that it's total madness, but believe me, that it is precisely what happened. Everyone tried to dissuade them from this risky project, given that it was a journey of 30,000 kilometers on roads (if we can call some of that) full of hazards and unforeseen events that only happen in Africa and little or no preparation of our reckless travelers. But, as Antonio Gedeão writes, the dream commands life and these three "crazy" run for what would be the adventure of their lives ... down below. Do not think that is the typical travel book which merely describes the landscapes, cultural differences and mannerisms of the people they visit, we note very well that is written of a journalist, why do I say that? Because Tiago Carrasco is not limited to the obvious, he portraits the social and political framing of these countries where the group pass by, is the trained eye of someone who avoids judging or taking sides, just want to show the various points of view of some of the most conflictive places of our planet. The other factor that contributes to what I call a journalistic narrative is the language of the author. It's a stripped written, almost as dry as the desert sands while amused by simple observation of the unusual in some of these so dangerous stops, how about an englishman crossing Africa by bicycle? It seems a hallucination? To find out whether it is true or not you will have to read it. Every page is a delight in human terms, the solidarity of strangers also happens in these hidden places and I can guarantee that are not few cases. What I believe is the essence of this Portuguese odyssey is as my favorite traveler, Bruce Chatwin said one day, "the trip is not confined to stimulate the mind. Makes the mind "and so was I stimulated by this very unique vision of the black continent. Good reading.

Francisco Manuel Sousa is a young filmmaker with a short curriculum that marks the difference already, by his ironic, witty and very creative look visible in his short films. A name to be retained in terms of national cinema.

When did you discover you wanted to make movies and become a director?
Francisco Manuel Sousa: When I was little I wanted to pursue architecture, always had a passion for art, but when I got to school and started doing work very close to this area I realized that it was not what I wanted for my future. At that time, I began at the advice of my parents to watch author films, European films and I realized that this was what I wanted to do, I wanted to tell stories. I thought it was an interesting world in which I wanted to enter.

There's a particular film or filmmaker that prompted this change?
FMS: There were several, when I saw the "Blow-up" of Michelangelo Antonioni, the "Buffalo 66" of Vincent Gallo, these were the films that influenced me, I identified with the language, I understood it and wanted to develop through mine stories.

Let's talk now of your film projects, from your earlier short film, the "last supper" is very unique, the aim was to shock, or not?
FMS: No (laughs). It was an exercise for picture and sound at the university and had some very specific rules as to the type of sound and lighting. We could have done it without a narrative, or without dialogues, scenes could have been disconnected as long we respected these rules, but decided it was more interesting to tell a story, we joined one night and began to pitch some ideas that didn't seemed that crazy at the time, was not with the intention to shock, it was just a way to make exercise, have a narrative and have fun.

How did the idea of ​​"last days" arise?
FMS: The idea came even before entering the university. When I reached the end I had to present a project that would give me the course grade and I remembered this idea, I saw that it was good to develop with things I had learned, I had seen movies in UBI (University of Beira Interior) and done papers over the director Michael Haneke and saw that he had a language that was linked that story, then I rethink it over again, what paths I could follow. I do not remember where the idea came, perhaps with "Elephant" by Gus Van Sant, or movies that had to do with teenage depression and violent tendencies.

How did you do the casting for the lead actress?
FMS: We made two castings one in Castelo Branco and another where I live in Covilha. In schools with students of the age of the character, the very first to appeared was Joana, and I cannot explain well, but she did very well the casting. We were surprised. She is part of a group of amateur theater, so had some experience in terms of representation. In Covilha, for example, girls who appear not had any experience in amateur theater. Then Joana as I said, surprised us, because physically was what we wanted and then she managed to capture the character, then we had a few rehearsals to get more violent in several ways, but she always managed everything in a very natural way and evolved well without many problems.

Were you surprised with the success of "last days" to be selected for various festivals and have collected a few awards along that route?
FMS: It did not surprise me. I sent the film to festivals with the hope that it was selected, but also sent it to many others where it was not selected. Made me very happy that it was seen from north to south and even in the Azores. I was more surprised at the reaction of people when I put the movie on the Internet; I have had a very positive feedback from strangers.

But it didn't have any subtitles.
FMS: Because it received comments from some Brazilian and I did not think a story quite cold could be very appealing to them.

Were you surprised, because usually they do not understand our Portuguese?
FMS: Yeah that too, because our Portuguese was different.

Tell me about the "Cool" and how this project surfaces in your short journey as a filmmaker.
FMS: The "cool" came as a succession of serendipity. At the time I finished the course, I had no job, and no project to develop and two friends who were also finalists at another school in White Castle asked for my help to develop a concept. We went to see stories; we had several meetings to develop ideas for a movie without many means, nor actors, because if in Covilha it had been difficult and had some support in Castelo Branco we did not have any support. We then discover a book of short stories by a local author, who was very cinematic, about action heroes and it was a matter of talking to the writer for authorization, then we need to create a script and at the beginning I only wanted to help, but soon after I was involved in a project that was not mine, I wrote it, produced it and directed and that was "cool."

Both in "cool" as in "the last days" there are excellent Portuguese actors, how could you convince them to embark on these adventures?
FMS: Most of them are very willing to help those getting started. What is perhaps more difficult to get the contacts, but I had that job easier because I could have them through my teachers from UBI. After contacted the actors, as long they do not have a work in hand, they are very affordable, even when they do not receive any kind of cachet. Sometimes it's a matter of searching and talking to people, explaining what it is the project about and its constraints. Most eventually accepted.

Fresh out of college how do you see the national scene for young filmmakers like you?
FMS: It's hard; it is all about taking risk with little things and tries to show these works in some festivals. To obtain a loan you must be connected to a producer. Once you get up there with a script you need to convince them to present it as a film and that is something for which we are not prepare, (I speak for myself), at the university. It's a much closed world; they do not even make castings for technicians. What remains is to do independent works and appear at festivals. It is always good to go creating our name, but it's hard to do it professionally.

But there is an institution linked to the filmmaking, the Institute of Cinema and Audiovisual (ICA) it helps in your case or it is completely indifferent?
FMS: It is completely indifferent to me, because to obtain some support from this institution we must have some experience at the professional level, if they do not help me get it ends up being indifferent. Overall in terms of cinema I also think the money you have available to support is too little, over five feature nationals films, I think we need to do something else.

The only "escape" for young people like you is making short films.
FMS: Yes little shorts, small efforts that help create a resume, a portfolio. Currently, there is a new producer in Covilha that are trying to get some support from the ICA; I'm writing a script that I want to see if I can submit something. But, yes I think that is the way, because we can't just stop and doing films however smalls is better, because we learned something while we showed our own work.

http://vimeo.com/franciscomanuelsousa

Cidália Abreu, Joana Matos, Sofia Gomes and of course, the cat, Tobias are Oupas!, A small graphic design studio that is most recognized for its work in cardboard, but that has other facets in terms of sustainable design. A business idea that was born from the will of three young ladies who were initially supported by the incubator "studio 118" of the Superior School of Studies of Industries and Management (SSSIM), in Vila do Conde.

How does your tri-partnership? In what context?
Cidália Abreu: We met in college, while we took the course in Graphic Design and Advertising, and that's where we understand that we function well as a team, we share the same ideas and values.
Joana Matos: Early on we shared the desire after finishing the course, and when the opportunity arose, to come together and create our own graphic design project. And that's what happened.
Sofia Gomes: The Post-college is never easy and the job search becomes so long as bleak and that was the panorama, so we decided that while we were waiting was a good idea to try to get our dream on track and if it work out: good if not it would have an interesting experience to add to the curriculum. Oupas! Come on! Shortly after we finished college we talk to our teachers and of course they gave us a room in exchange for services for school to start our adventure. We, therefore, were newcomers in the incubator "studio 118" in SSSIM.

Why create 3D environments card? What attracts you in this type of material?
CA: The card came in a very natural way. There began the Oupas! We did not think that we were going to focus on this or that material, in this or that area, just the chain led us to this coast. One day, after we walk through Rua Miguel Bombarda to "walk" some our work, they offered us the chance to decorate the interior of the storefront of the shopping center Bombarda and we accede to this request with a lot of goodwill and out there we would launch our manifesto , what we believed in and what we believed is important in our way of working. By chance the material that we had more in our workshop (at the time we were still in the incubator), were exactly the card and then made a typographical composition of this material. And it was there that he began "craziness" of the card. After the manifesto we did a stage for TEDxYouth @ Porto that was such a success that two weeks later took us to Lisbon in collaboration with Ivity to make one of our best-known projects: the card city. From there we began received more and more request with this material to the point that we are more known by the card, other than by our design services.

What are the main challenges when creating concepts on paper?
JM: The biggest challenges arise mainly by the size of the project. When we have to make life-sized homes, for example, is what takes us more time and energy, but are also the most rewarding, especially on a personal level. This is because such concepts imply techniques and materials that are not used to dealing in particular with structures that maintain large pieces of cardboard standing. We have to climb the scaffolding and act as true builders with hammers and nails holding pieces of cardboard (which are heavier than they look) and keep everything up to the days of display. It is a challenge for 3 girls without any experience in construction, but we managed to get away and do a good job. Another type of challenge that pulls very well for us, but at another level is the animation video. Thinking of a visual history with head, trunk and limbs is a very interesting intellectual challenge and the execution of that idea on paper or paperboard only makes it even more fun. We had great training in animation, just the basics, and the challenge is to overcome this base and make something interesting.

What is the weight that environmental issues have in your project?
SG: The Oupas! was designed from day one as a sustainable graphic design studio, and everything we do is designed and thought to be as sustainable as possible, both in terms of material, technical and economic. In college we had a good education at that level since Joan did her thesis on sustainable design, so come well prepared to proceed with a green project.

What was the project that gave you the most joy?
CA: All projects give us joy. There is not a favorite. Each brings us things we love and makes us grow in a different way. When you love what you do, it cannot be different.

In addition to the card what other materials you used or already use in your projects?
JM: Anything that can be repurposed. The card is usually what the customer asks for already be accustomed to this kind of material, but if we launch ourselves the challenge we like to think of other solutions.

Is there feminine design or not?
SG: There is design from all and for all. As women, our feminism always ends up transpose in our work, but not always so premeditated.

What are the next targets of your design studio?
CA: The main objective is to get keep us true to ourselves and continue to do what we like. While we're fine. Moreover, we intent to internationalize the brand a little more and also to distinguish Oupas-card and Oupa-graphic design.

Oupas why?
SG: Because we cannot stop. We have to go ahead and continue to fight for our dream. "Oupas" is an expression of Porto, of our city, which means "Come on!" And this word perfectly defines our attitude, and even more that binds us to our favorite city and what inspires us every day.

https://vimeo.com/oupasdesign

On 23rd of February, between 10h and 12h to the Europe Direct Information Centre Madeira (Madeira CIED) will promote awareness-raising and training "Organic Farming in your garden," at the University of Madeira.

This is an initiative for all those who have a garden and want to become more environmentally friendly. Hence it will be provided practical advice on how to implement this type of farming system, and is therefore an initiative particularly suitable for users of urban gardens, but not only, as the entrance is free for any participant. Among the speakers are José Carlos Marques, regional engineer with the Department of environment and natural resources who will speak of "organic farming in urban areas," another of the guests for this session is Professor Doctor Michael Angelo, of the University of Madeira that will address the "Seeds for the future: the contribution of germplasm bank ISOPlexis for sustainability in RAM" and finalizing Silvia Silva, an engineer at Organic, an association for the promotion of organic farming in Madeira, will introduce "organic farming, the future in our hands ".
The Europe Direct information centers are official organizations managed by the European Commission at the regional and local level that act as intermediaries between citizens and the European Union (EU), thus constituting a major instrument of dissemination of information on this European body. The main objective of the CIED is provide a local service tailored to local and regional needs, allowing the public to easily obtain information, guidance, assistance and answers to questions about the EU regarding their operation, their priorities, legislation, policies, programs and funding opportunities but also, and fundamentally, about their rights as European citizens. The Europe Direct Information Centre Madeira is one of 18 centers chosen by the European Commission Representation in Portugal for the 2013-2017 period, integrating information network at European level that reaches the 500 centers.

http://europedirect.aigmadeira.com/

Paulo Marques is the creative director of one of the oldest carnival troupes of Madeira. A journey of 26 year made with a lot of imagination, care and dedication that lasts only for a few days, but that make the Carnival and other cultural events, magical moments for later recall.

Tell me a little about the group "geringonça".
Paulo Marques: It is a group that commemorate last year twenty five years of existence, working for regional tourism in Carnival, Flower Festival, New Year and the wine festival. We are in the four posters of Madeira. We follow the guidelines of the regional secretary of tourism (rst) that gives us much of the budget to be able to work throughout the year. And we just do twenty-six years of existence and this is already enough.

Looking back, what do you think of these 26 year journey?
PM: I cannot speak of the 26 years, because I'm here for 10 years. The "geringonça" has emerged from a group of friends who wanted to create a troupe of animation and it was so. We participated each time; we have grown and are currently the only group that enters in four tourist events in the region. It was slowly, but here we are.

How many people are involved in all this kind of events?
PM: It depends. At the level of the carnival we have a team that consists of eight to ten people and then we have coordinators who help us in with the food and makeup. In this carnival we have 137 elements and we have a wing of disabled, there are 10 people in wheelchairs who also parade, because we felt that everyone has the right to have fun. Our motto is "to have fun is with us", but we were happy with all kind of people, we do not exclude anyone. Everyone deserves to have fun throughout the year. In the flower festival there are much more, because we have many children. Two years ago we were a troupe with 208 elements and it is difficult because we have to control them, but can be done with the help of our associates. Incidentally, this all started that way, with a membership, which currently has 95 members. Of course, some have died, others left for personal or professional reasons, but we always have on average 4-5 new members entering the group.

When did you start preparing the Carnival?
PM: It's about 30 days before the parade.

How do you create the choreography? There is a person who works with you on this issue?
PM: No, we are given the music and then together we will elaborate the choreography. This year we decided to do the same for the entire troupe and not by wards. We intend to create a stain effect, where one goes, all go.

The department of tourism is that it indicates the theme every year, how do you develop the process of setting up the costumes?
PM: They give us the theme in October to have leeway to start working. This year the theme proposed is "Madeira magic moments" and thought I could not take just be a moment, so why not explore the island by the sun, our climate is great, also explore the landscape and vegetation and the waters, the sea that baths it. So let's have a wing that represents the sun, other vegetation and the ocean in the end.

How do draw after the costumes?
PM: Once created these wards, we choose the materials, the sea, for example, is represented by silver, blue and then I draw the costumes. We sent the draft to the RST to be approved or rejected, but it never happened be disapproved. The next step is to make an estimate of the elements that each wing will have an idea of ​​the materials and then go to the mainland to buy fabrics. We bring it all back here in November, but then have to stop because we entered the poster of the year-end and we resumed only Carnival between days 3-4 of January.

What was one of the most striking parades since you assume duties?
PM: Each one is different and parade always end up scoring either positively or negatively. It's hard to describe what is the worst or the best.

There are certainly more cartoonish times.
PM: Well, the big day of the Carnival is a very special moment. Then there are parades throughout the island, we go to Santa Cruz, Machico, etc.. Then we go to the hotels and each room is a different time, I really enjoy especially Carnival on Monday, arriving in Câmara de Lobos, the people there are happy and so nice that make us feel very comfortable. We are marching with them clapping, is a constant joy, which turns out to be so contagious that when it finished leaves us a bit disappointed. It is one of the moments that we liked more. The parade on the Avenue of the sea is also very special, with all have those lights, the crowds of people, music and constant photographs make this route a single moment. In the background are all important. It's great to get to the day, see all the people and dressed up and ready to parade with either with sun or rain, always in a good mood and all these are moments that stay.

From all parades you do which is the most difficult in terms of logistics?
PM: The flower festival. We take children and often, they are not the most problematic, the parents are. In a troupe with 200 elements everyone knows that not everyone can go in the front, but there are parents, however, do not accept that and it is complicated and we try to manage this whole situation, it created even a bad environment among the kids, so we decided to prohibit the attendance of parents in the trials. Even to set the clothes, because it was also a mess, with parents in and out of the fitting room and more all know that in a first fit a needle prick, they are basting and children must be still, but they complain and with parents present soon they begin to cry. So we decided to end it that too and parents just drop them and come and get them after an hour and a half. The gates are closed and no one goes out.

Fernanda Rodrigues leads the team of seamstresses who gives life to the costumes of the troupe "Geringonça". It is a work done by taste and is noted for her constant enthusiasm when she talks about the good times she shared over the years with several generations of locals who help fill color and joyful din the streets of Funchal.

How long you need to start and finish all the costumes for carnival?
Fernanda Rodrigues: It's not just me, are six seamstresses. It is a process that takes time, about a month and a half to be all ready. People come here to try it out, make the first and second fit. We started to take measures in December and then make some costumes already.

Each piece can take how much?
FR: How the basis are bikinis and has many applications we can take a day. What is the most delay is the Bahian costume, which is a long dress, has a petticoat, is rounded, a person must be working on these pieces from morning till night.

How long are you worked with this troupe?
FR: for twenty years or so.

What has been the changed in these twenty years?
FR: There are many people who are the same, but are always new faces showing up. But otherwise has not changed. The base of the team is always the same, some years the applications need more work and others not. Until the final moment there is always something to do, however we are early, we arrive at the time there's always a hitch, is part of the tradition. (Laughs)

Of all the costumes that you conceived, which was what constitutes a challenge in terms of sewing?
FR: The year of Egypt had a lot of work. It was all very short notice, I will never forget because it was the worst. It had many applications and details.

What do you prefer the carnival or the flower festival?
FR: I prefer the carnival, is happier, are more days. We have the big parade on the avenue, then go to the hotels. I only attended once as Bahian, never out on the streets after that. I'm always in the technical team.

But did you not like the experience?
FR: Yes, I really liked it. But, it made a impact on me during the parade, some of the girls had something to straighten, or when the sewing was wrong. It is always necessary to support the kids, but there are times when they do not need anything.

How many hours you and the team spent on this task of sewing the costumes?
FR: It's an after-work schedule. We are here since the 19 hours until midnight, one o'clock in the morning and closer to the pageant if necessary we stayed all night.

After going to work?
FR: Yes, I then go to work, I do it for fun.

It's a book about photography by David Francis and texts of Silvio Mendes. A roadmap for the capital of Madeira under the gaze of an unusual photographer.

Tell me about the importance of this work.
David Francisco: When you shoot something for the first time, the first view you have is the common picture and that is the one not doing. You have to walk through the place and only then can you shoot. We must look to the plan, a particular view that is not usual.

What was your concern for this book?
DF: The publisher, which later collapse, commissioned me books and I then made the images as I thought best. Typically made a script and this publication was an attempt to do a cultural tour. What might be interesting in Funchal with a mixture of pleasure, the idea was what could quickly be seen and visit in 3, 4 days. Within this theme I explored the best site. For example, in the palace of St. Lawrence, the golden room, or green, as I've heard many times be called, is a space that is not easy to photograph.

Why?
DF: The wall is green with gold. The worst possible set.

What other challenges did you have?
DF: The Municipal Theatre Baltazar Dias. We never see good pictures of that space, it does not mean that they do not exist, I've never seen it. The challenge was dimension, it is a small theater, and it is a very beautiful piece inwardly. What I tried was there to give it dimension, seem much larger than it is and give it the dignity of a great theater. I love the ceiling, the light is beautiful. The photograph was made from the stage; people normally photograph from the opposite direction. We have to give a lot of laps on the sites to see what can achieve or not.

Do you have some pictures in this book nocturnal, but they seem day.
DF: No, this is a moment that photographers call the magic hour, which is the last fifteen minutes of the day, which is neither day nor night. You get twilight of light, which is not sunlight, is near the day, but have tears of night.

What are the appropriate places to do this kind of photos?
DF: In this particular case, I needed to make a different image of the museum Vicente's. Another of my concerns is to not fall into the commonplace, not doing what is done. This space does not have many options in particular on the outside. So I played with the light, you'll find many of these frameworks in which only light is what is different. I play with the exposure times.

It is very difficult to make an image in the magic hour?
DF: It's difficult because in one day you just those 15 minutes. Requires experience in this area and know what you want from the shoot. You have to be there, you cannot go looking to shoot that moment. No. You need to know what image you wish to, you have the tripod standing and wait.

It is a game of patience.
DF: The photograph is a work of patience. In the book I have a picture with ten minutes late over the magic hour. The blue background should not be so dark. (Laughs). The picture is not bad, but 10 minutes before would be fabulous. That time makes a difference.

From all the photos that have placed in the book which one was a bigger challenge?
DF: There are several photographs that were a challenge, for example, the material of the sacred art museum, the bas-reliefs, are relatively complicated to grasp. You cannot have too much or, even low light. Must be well measured. For me it works almost on impulse. Sometimes I'm ashamed to say that for me it was easy because the light is something I do almost instinctive. I get to the point of putting the lighting once and that is it, I know its okay.

The aim is this type of photographs is not showing the shadows?
FD: No, you have to have shadows, because if not you have no notes of the contours of the bas-reliefs, this photography shows even the cuts in the wood. The light must be relatively brimming to obtain a good image. The problem is that by putting up too much light, or the opposite is not the most appropriate, then the result is a smoother picture. In the Sugar museum I photographed buttons that are very small pieces, but looking at picture you can read everything. All it has to do with light, the position in which you put it to obtain the relief of the piece. Unlike porcelain that has to be worked almost on backlight to stay without reflections. It was very interesting. This project was something I did in six months, as a rule, everything that had to do with tourism take that time period. March and April are the best months to work, I love the winter light.

What is so special?
FD: It is a light a little harder, because the sun is lower, as there is less air temperature is less diffuse, and then what is photographed is more defined. Its contours, no blends.

In this aspect living on Madeira makes it different?
FD: You live in the middle of the Atlantic. Influences. The first bank of the lower Alentejo images was done by me. I had photographed the Algarve, its seaside and was a completely different experience. The light of golden plains had nothing to do with Madeira. The island has also another aspect to take into consideration, you very easily 800 meters above ground and in these altitudes you find the ultraviolet, which for me creates a nice effect. Many photographers, in general, use filters to compensate. I do not. If the blue is dark is that you see in the picture, I do not make up with the wavelengths, because that is what is there. If there is fog I photograph it and the results are fabulous images. When people are inside de house due to bad weather, I am shooting in the hills. (Laughs).