Bruno's drawings is a project that came out of necessity, but is the result of a passion for cartoon by Bruno Prates. An initiative that is not limited to caricatures, but extends to the youngest, through a project in preschool that want's to promote creativity, through this art form and in the future an academy of design for all.

What led you to this project of Bruno and his cartoons?
Bruno Prates: This project somehow begins in childhood, when my father encouraged me to draw uncle Mac Duck, or Zé Carioca, that was how we passed the time. Then I started to create my own figures with the head of a cartoon, legs and arms of others, because I thought it was more important to copy the originals. Because I was training a lot, I began to hear that I drew well and in 1997 tried to send to an Alcobaça newspaper some drawings in a more critical tone, humorous strips, the director like it, published it and then I started to my experience in press. On the other hand, also had a habit of making designs to offer to my friends or family at a wedding or anniversary and people began to encourage me to charge for the drawings, but I did not, because I am a professor of visual education and technology since 2003, if my job was to draw I charged money, but I do it for pleasure. In 2013 the Ministry of Education decided that there was no longer a need to have two teachers per room and only need it one and many of us teachers of that area we were unemployed and I had to find an alternative to school and many things I could do I remembered that the cartoons was the one thing I domain and started to publish my work in social networks and started to receive orders.

You have a main character in the cartoons or your are just a result of the photos they send you?
BP: There are two different concepts, I have the custom cartoon, where people send the photo and I do the design and then have the humorous strip to the press that I always have a main character who is Zé Povinho, is a design that represents us all inspired by Bordallo Pinheiro and yes that is my usual character.

When you draw the cartoon on demand in addition to the photo, you ask for a summary of the personality of the person you will caricatured or not really?
BP: Normally I ask for the photo and a theme that they want to see the person depicted. If something very elaborate increases the price is depending on the complexity of the work. In general people tell me the musical tastes of the target for me to draw something that has to do with the music, or enjoy the computers to have an element associated with that, or new technologies. For example, there are children who dream of being astronauts, I draw them in that way. There are features that I question the customer, if it is just a caricature I do it in the humorous and entertaining style that characterizes me, if it's a company to place an order then yes I ask the "portrait" of various personalities, or people to represent. The cartoons for companies is a more recent and a less consistent project, in this case I make a cartoon based on what co-workers notice in that person, which idea has from it.

What are the people who ask you for cartoons? Have you got the idea of a target customer?
BP: Yes, already. Bruno's designs have been around since 2013, and in these three years of existence already can do this classification, mostly are women between the age group between 25 and 45 years of age, they are those that hire me, why? I do not know, they ask me many caricatures of children, husbands or Valentine to offer. Men are more modest or distrustful but they also order, it's more the corporate level. It is more noticeable particularly in father's day, when approaching the date I have many orders, when is Mother's Day, I have almost no requests.

Reveals a little of what you intend to long-term to be "Bruno's drawings"?
BP: As I teach and give training have a project with the pre-school which aims the development of creativity from the cartoon. This is a work that I intend to develop with the earlier ages and that already exists. I started last year to present the idea and this year I have to implement it in partnership with the Municipality of Caldas da Rainha. Another goal is to go to the schools address this issue of caricature, to explain how to live from design only depends on the way we worked. The medium and long term which is why I'm working, I want to help create an academy of drawing in the shed cartoon and not so much the plastic expression, because we have a lot of requests for workshops for adults and sometimes is not easy because I have no availability for all. I would like to provide a facility where it could develop such skills in terms of design.

Have you had any request for a caricature somewhat strange or unusual?
BP: I have one or another customer asks me to favor certain parts of the body, I speak of the genitals and these situations leaves me somewhat embarrassed, though it is all over the Internet and I have to keep the maximum a certain distance and respect so there is no confusion. Then I have very beautiful customers and try to get the message that will probably be difficult to transpose it to the design because it is a fun caricature.

So it's always that way that orders are made? By Internet? You never find yourself physically with the person to make a cartoon?
BP: No, there are few such situations, because the cartoon is very simplified. It's a quick design that does not require an analysis on the spot, through photography can make the drawing, although there are customers who have this idea, but I always explain the process, which is simple because it allows me to work the hours I want I'll managing my time efficiently and can work this way.

How long on average delays to make a caricature?
BP: First, I read everything people write about the person, then I draw a caricature on a sheet in pencil, I scan it, then do the vector on the computer and chick at the end command apply on t-shirts or mugs, or frames, but also do paintings on walls, on average it takes me two hours per person. I continue to draw in pencil not to miss this design habit, I like drawing and also because of the scan is the most boring part of the job. Then, step the cartoon into the vector to make it easier for their application in other materials. When I design send a proof for client approval, if approved immediately everything is solved in two hours, but if they do not respond immediately, or you need to change something, that happens sometimes, a job may take longer. There is also this issue, the person sends me a picture that they like very much and does not show cases the true of his features, I draw from that image, then the person says he does not like it, why? For one, the design is mine and and my view of that person, not just reproduce what they want, although not everyone is easy to draw.

What makes one person more difficult to draw than others?
BP: It is to be as normal as possible. If you do not have a physical characteristic that you can highlight like the nose, teeth, ears, eyes or hair, it becomes more difficult because it is a common face and you have to go looking for something to not be like the picture. (laughs).

New guide to help promote tourism in the North throughout the year.

"Villages of Portugal" is a new guide to "combat tourism seasonality" and promote "local economy" that Tourism of Porto and North of Portugal (TPNP) and the Tourism Village Association (ATA) launched later this month of March.

The publication presents 80 villages of Portugal over about 100 pages and reveals those rural areas as a "unique and inimitable tourism product", "personalized" and that values hospitality", "leisure" and "traditions", according to a statement from TPNP.

"This project is an excellent bet to combat seasonality, increase the average stay and bring added value to our public and private partners, with the dynamism of the local economy," argues the president of the northern institution, Melchior Moreira.

Ana Paula Xavier, from ATA states that the villages of the northern region have local "a scenic beauty and memorable architectural wealth." "Over the last ten years, we have promoted an important effort in the integrated and sustainable development of tourism in rural areas, the enhancement of local resources and products and the preservation of culture and heritage of the countryside," concludes.

with Lusa

Dany Silva is one of the leading names of Cape Verdean music in Portugal. His name will be forever associated with the promotion of Creole rhythms and dissemination of mornas and coladeiras in our country, but it was the song "old white, red and jeropiga" that made him an immortal artist in the memory of the Portuguese.

In 2012 you recorded the album "Love in adjective".
Dany Silva: I did not record it, I participated in this album, me, Vitorino and a Cuban singer. In this work I participate with 3 or 4 themes, the idea was a create a triangle of the Atlantic, Portugal, Green Cape and Cuba.

What you removed from this experience? I'm sure there was an exchange of views on the music of your respective countries?
DS: What happens in the case of Vitorino is that it is popular Portuguese music, alentajana and there was no great difficulty, because I know him for several years and even know this brother, Janita Salomé. Regarding the Cuban musician, we hear a lot of this kind of sonorities in Green Cape, is a song with rhythm and dance and Cape Verdean by nature like to party. On this album I had four poems to musicalize and did a show in Guimarães where we realized, in the rehersals, we were following similar paths. After all, this global world in which we live and hear music everywhere, especially those that we liked, poems led us to these sides, but it was funny. This concert was recorded live and then later released on CD and it was an interesting work, because it gave me great pleasure to do.

Danny Silva you are very fond of musical partnerships. Why, you do this repertoire, which is extensive?
DS: I do it especially whith performers that please me and the songs too.
In my career I have done many duets, not only in my work, as I appeared on others people records. Usually, it is a way to gain experience and a different way to display a theme, I compose a song and it give me "joy" to hear someone else sing it. I choose the people, see how they sing and feel the music, it gives me great pleasure to do this kind of experiences. Typically, these duets have come out with a lot of quality and I do not remember any exception.

With over 40 years of career, which is to your view the record that best defines you as a musician?
DS: It's hard, because all work, especially those who are recorded or edited, has to do with me. There is one that marked my career, the first album I recorded in Portuguese, was a single, then was lucky, was a huge success, which is "old white, red and jeropiga". It was a hit, but I do not speak only of that, people came to see me from the younger, to the oldest. These forty years in all the shows I did, I leave this song to the end to see if people forget about it, because I played it hundreds of times, but people asked always to sing it and was not only in Portugal, but in Angola and Mozambique and I was invited to play in France and other countries because of this theme. Even in this EP I wasvery linked to the a blues theme was sung in English, it had a good acceptance in the interim, but that does not reach the heels of "old white, red and jeropiga" which gave me and put me up there. This theme appeared because when I contact the record company, Valetim de Carvalho that was more powerful of the time in Portugal, it was at the time of the explosion of Portuguese rock music, Rui Veloso, the GNR and Já fumega, I was prepared to make Cape Verdean music, my country, which at the time was little known and was part of the contract to sing in Portuguese, because it was the wave. From there was born the song and just to add that later there was another album that marked me, I convinced the recordor label to write themes of Cape Verdean roots and sung in Creole, was my first LP, called "slut Moon" and where it was included a very old morna, from the island of Boavista, "the moon and the witness" and this theme gave me a great pleasure and when people, not Cape Verdean began to hear it , began to sing it anda huge acceptance as well. As well as the "Creole of St. Benedict" which is a more African theme, which has a joyfull tone at the time that Lisbon area we called it the released zone because of Cape Verde restaurants and taverns and is a theme that is also part of my route.

Is there any musical project in mind, or not finished and you would like to write?
DS: There's a lot to do still, I'm 68, but I can still do much more, provided I have health. I have a project that started in 2007, are songs that I did not composed, not recorded but are songs that I love, from others, are duets, I began to recorde them and how did not have a record label to support me, I made my own production, with economic costs that I backed myself and with the support of the musicians who participated. The musical material each recorded with love and affection, or paid a third of what should pay of copyright and this record I just complete it two years ago, as I cannot get behind a marketing machine so it is in drawer. I've contacted several companies, but we have not reached agreement, not by economic issues, I want the album to be treated well at the level of production and not less, by respecting the people who participated in this work, most have a made career in Portugal with great sacrifice and I do not want this album appear mistreated, to have an adequate cover with a production to match and an acceptable distribution in the whole country and Lusophony, but still could not get a record label to accept these terms and so it is in the drawer, I heard it once in a while, waiting for an opportunity arises, or sponsor.

It has a title this record work?
DS: I do not have it, but I could call it the songs of my life around that, because I wanted people to understand that are the subjects that I like the most and I have "rage" I have not I come up with them, because they are beautiful.

Currently more people value the Cape Verdean music precisely the work done by Dany, by Tito Paris, Cesaria Evora and other names.
DS: Before me, Tito Paris began recording because it had its own record house and passed by Senegal before arriving in Paris, but there were others before him that went unnoticed because there was a ghetto so to speak. That area of São Bento was frequented by those who were in Green Cape, or who had come from Angola also to listen to music, but the companies were not interested much. So it is that the Bana opened a bar in Largo do Rato, attended by Africans in general and with the money that was winning was making his records, with his record company that was a home distribution, through friends, through crates that were taken to France to sell to the colony of Cape Verdean emigrants, then he made second editions, but he recorded more work in Creole and there was the recognition he deserved.

But when it comes to Cape Verdean music in Portugal your name is always remembered.
DS: Yes, it's true. When I recorded the single with two sides, I could not do a concert with two songs, then what did I do ? Sing Cape Verdean music first and then the middle sang one of the song and more coladeiras and mornas and then face b. Building on the success of "old white, red and Jeropiga" I was spreading the Cape Verde music. It was this that marked much people who wrote critics to my concerts, it turned out to associate my name to the promoters of Cape Verdean music. The Angola music was heard little, only heard about the duo "black gold", was basically it, then later, after the April 25th appears a great poet and Angolan composer Rui Midas, who recorded, but as he was linked to the MPLA it was forwarded to the government and very rarely sang. In the last 10 years the Angolan music appears stronger thanks to Kuduro and Kizomba, I think it appears behind the widely reported that the Cape Verdean music had, in particular with Cesaria Evora. Then there is another very important phenomenon to the music of Angola and Green Cape which was the appearance of Zouk, the music of the Antilles that it was sang in Creole.

New generations still recognize that legacy.
DS: In Green Cape youth is very trench to the roots. Like the foreign rhythms such as reggae and hip-hop, but make up in Creole, they release their genuine mornas, or coladeiras.

So the Cape Verdean music is in good health and is recommended.
DS: This good health and recommended more and with very good people sing in it.

And the Portuguese musicians are sensitive to this kind of African sound?
DS: Vitorino, a few years ago, made a new album and recorded with Joan Rosa. I even made a translation in Creole, I did a duet with Tito Paris and the generation enjoying traditional music like fado, also began to be interest in the Cape Verdean sound.

It is a journey through the beautiful scenery of the archipelago of Madeira.

The origins of the Fajãs date back to the cessation of volcanic activity on the island. In geological terms result from the upper land collapse, along the coastline, which disintagrates the mountain slopes, without any warning or possible predictability, just happen and can either create ground tracts of greater or lesser extent, as may simply disappear by the land been drag by the tides. It is a nature event that can cause giant waves, due to the collapse of the slopes and according to popular accounts that already were faced with these natural poignant acts seem authentic earthquakes, such is the force of the fall of the impact of land in the ocean.

In Madeira along its coastline has several of these lands since the beginning of the island's colonization that were used by the population for the high fertility of the land and easy access by sea. The Priests plateau is one of such example, located on the south coast, it is an area of land at the bottom of a large rock colonized by the Jesuits that it produced all kinds of fruits, vegetables and were also responsible for planting one of the most famous varieties of Madeira wine, the malvasia.

Since the fifteenth until the eighteenth century priests and another 50 people who were obeying them were responsible for the export of thousands of barrels of wine throughout Europe, a success story that ended abruptly when the Marquis of Pombal decided to terminate the Society of Jesus and expelled the Jesuits from all over the kingdom of Portugal. In the case of Fajã dos Padres the land that extended until Campanário was sold in a public auction and the property was fragmented.

Nowadays the fajã is considered one of the best kept secrets of the island, the top of the high hill are still visible traces of the passage of the Jesuits in this area, the chapel where they prayed for the salvation of the souls, the cellar where they squeezed the grapes and some dwellings of the ancient settlers, who at present are rented to tourists and locals.

Notice to navigation, a visit to the Priest plateau is an adventure, believe me, to access the panoramic lift overlooking the ocean, you need to go down about 92 stairs, then it's a four-minute journey along a slope 300 meters height in the vertical that is breathtaking and I do not speak only of the endless blue sea parading in front of our eyes. But the odyssey does not end there, since it is necessary walk over another ninety two in the exit. I promise it's worth the effort, because we are then treated to a studded landscape of different varieties of tropical fruit trees, are more than 25 species, which are one of the most beautiful visit card of this area and you can still taste the famous malvoisie wine is produced on a smaller scale. It's a corner to discover calmly, where it seems that time has stopped, almost isolated from the world, where we only hear the waves lapping on the pebble... Well, not everything is so heavenly, there is wi-fi, a bar beach and is also available a cable car for the delight of visitors.

The short film by Marco Espirito Santo and Miguel Coimbra, won the best documentary award at the Tampere Film Festival.

"Blood Brothers" follows one night in the lives of the Amateur forcado of Montemor. Returning to the main arena of the country for the first time after the death of their leader, these pitchforks will have to demonstrate that their winning spirit still lives among them.
The film, which has not yet premiered in Portugal, have been through film festivals in Mexico, France, Spain, United Kingdom, Slovakia, Italy, Netherlands, Korea, Lithuania and Russia.
The prize was awarded by the jury of the international competition consists of Lauris Abele (Latvia), EG Bailey (USA), Tatu Pohjavirta (Finland), Alina Rudnitskaya (Russia) and Enrico Vannucci (Italy).
The Tampere Film Festival, one of the oldest film festivals and most prestigious internationally, is every year, the meeting point for professionals in the film industry. The 46th edition of the festival took place between 9 and 13 March that Finnish city.

Agency films awarded at Monstra

The Monstra attributed to the short film "Shards" by José Miguel Ribeiro Award for Best Portuguese Short Film, the Audience Award and an Honorable Mention. The Lisbon animation festival also awarded the "Amelia & Duarte," Alice Guimarães and Monica Santos, the SPA Awards and Vasco Granja Best Portuguese Film.
The production of the Short Film CRL, "Our Lady of the Presentation" held by Abi Feijo, Alice Guimarães, Daniela Duarte and Laura Gonçalves, and the film "Within", Natalia Andrade de Azevedo, were awarded honorable mentions.

The films are part of the catalog of the Short Film Agency. Built in 1999 by Short Film CRL, an entity that performs more than two decades Short Vila do Conde International Film Festival, the ACC plays an extremely important role in the international projection of Portuguese short films, either through promotion actions in several film festivals or by organizing special retrospective programs or initiatives such as the shortest day. Currently, the catalog of the Agency Short Film includes almost 400 films, emerging authors and renowned Portuguese directors.

Eduardo Bragança is a self-taught artist who paints with soul. His works are a reflection of the emotions that floods him, the little things that beautify the world and the people he meet along that route that took him to Brazil.

You were linked to fashion and then you changed course to the arts, why this change?
Eduardo Bragança: Despite my training is fashion design, I was soon invited at the end of the course to be part of a Portuguese footwear design team and accepted the challenge despite being about to change radically of area, because still the fashion market in Portugal was too competitive for the size and space that the country had. Moved forward with this project and I was two years working on shoes, on my first visits to the country at fairs, museums and the world in search of inspiration for a visual language, found in painting this vision. Over time I became a self-taught and created my artistic expression that I always liked, art met this objective in a more detached way, without that need, that aim and competitive search for a result. The painting brought me a more altruistic result and more worthy, this search also resulted from a shortfall in relation to an area that is a very bad, that we live much of the competition and spent so much time already in something I did not like as much as I envisioned what would my career in fashion.

It is then that you decide to leave this universe?
EB: No, then with this professional experience jump from creator to creative in a company also linked to fashion, but more in the audiovisual, advertising and ads on TV. During four years that was my entrepreneurial journey, breaking away from the company came up the painting into something more serious, my friends pushed me and encouraged the idea of showing the work that was in the garage. The first exhibition I sold some paintings, but only in the following sold all and as I continued to succeed started to show my work one or twice a year.

Let's address your works, there are several stages, at first you portrait your emotions, it was an inner quest in the first case?
EB: It was yes, it was a discovery phase. At the time when almost broke up with my professional connections to dedicate myself exclusively to painting, talking about it was a very strong bond, I discussed human values, things that symbolized more than the work expressed, the search for understanding and respect and love between people. During all these years I was discovering myself as painter, also did the same with a regard to human relationships, I was me linking more to personal and human themes that are always present in all my work, through sentences or short poems.

Another of your inspirations of a more later stage, comes from abroad, when you began to travel, you made huge portraits of people and even did an art video project, which is "exploring emotions". Tell me about this work and how you began to explore the video that was an area that you had not yet research.
EB: Well, it was in 2011 that I decided that my work would have a jump since started selling to Greece and I saw more results. I thought if I turn to the outside my work would have a different facet again, another counterpart and this would be positive because when I sold my works in Athens had an interesting return. From then on there was a call to explore a project more in a context outside of my country and that made me rethink what I was doing, what should perform as a creator. It would be a different alternative and then decided to join one of the tools that already knew who was filming to idealize a project also very emotional, connecting people and recording them on film after answering a simple question, so that all these individuals were present beautifully, or on a real way. My goal was to bring that content of each trip, uncover the answers and content of the many people who responded to my question and then portray all this, these sketches in one work by each country. The process was random whether in the choice of the people, whether the content of the questions, because everything was done by me walking the city streets for hours to choose someone and have a dialogue, to be five minutes or two hours and it brought me a great personal and professional enrichment.

Now you have a new project on video?
EB: I am making a short film with a Portuguese actress and other non-actress, I'm finishing this short film, because it involves several people from various countries, the soundtrack is from Caetano Veloso and the others are in London. I'm in this project for almost two years and I hope this year to have everything finalized. I have no intention to be professional in this area, I just want to show a story made by several people.

But this is a new phase of your work, artistic videos? Painting is no longer part of the part of your body of work, or not really?
EB: Not at all. Since 2012 I do travel and do the disclosure of my name, to get the message of who I am and what I do, but in a way detached without having a gallery behind or an agent. I met a lot of people in this wanderings, gave me knowledge and it certainly opened a lot of doors, in a more professional manner. I went to Brazil where I had a lot of success and got here one agent who introduced me to a gallery that signed me in Curitiba, this professional relationship for few years ended up becaming more personal, I changed my life radically and only now I'm finishing up my studio here. As all this took a long time, I made a stop at painting, I had to bring all my stuff it is a complicated logistics from Portugal to Brazil and was in this stop I was focused on the short film. However, I continued to paint enough, but not always show it up, because fortunately I do not feel the need to show it, I do two to three works per month and this is an average very demanding for an artist, virtually nullifies the need to exhibit instead of having to sell.

What inspires these new paintings?
EB: What inspires me is this diversified bond with people, relations of different styles and in different countries knowing directly my client, I do not do the typical artist's approach which is linked to the gallery and let them do all this contact . I'm like a one man show, have architects from different parts of the world who see my work, also through my professional page, I have people requesting work and thus get a wide variety of very good relations and experiences as a person and artist. I have a very great capacity for work, I have a lot of sensitivity and taste and it all can always produce new works. I might add that one of my clients asked me to present a project in Macau, he is a fashion photographer and invited me to do a plastic intervention in his studio, in the walls, I accepted and was a rewarding relationship. This type of stimulus to the creation arise in travel, meeting new people and inspiring me with things quite simple, what I feel. Incidentally, the project "exploring emotions" I felt a very great transition with the arrival of the crisis to Portugal not at the financial level, but on an emotional side and this led me to the streets and people in a more instropective way, is it not most important to value less things that it did not matter, rather than our neighbour? I was hitting that button and my work reflects this same subject, showing the relationship of love between two people, or mutual neighbor, or a charitable relationship, always around it, I think this is my personal touch and walk always around this theme. There are also so simple things that inspires me and the more horrors I see on the news, I create something that is the opposite of what is reported. Now, Brazil is going through a major crisis, as entered in Portugal and we feel it, but the energy of the people, happiness, carnival, color and I shape how they view all this is also a source of inspiration and it all changed to my painting. Since here I did not show anything, but my work is more alive due to a more colorful life in Brazil (laughs).

This then is your new project showing a more colorful stage of your painting?
EB: Yes, but I do not read very well in showing these works. I have a project that is being exhibited at the Museum of Contemporary Art of Curitiba, is connected to an institution of social solidarity. My works are exhibited there and are printed on t-shirts to be sold in order to obtain funds. Another exhibition will take place in the museum Guido Viaro who proposed me a space to show my work, but this is going to be schedule, because the date depends on me. I'm selling many works on paper, because people asked me a lot of this, the canvas require a very large logistics, then there is another problem in the works on canvas that is shipping, the cost very to the point of being almost the price of the work.

These last works there are many phrases in French.
EB: I have many clients from Paris and normally I end up writing something that often helps to indicate this is my client and not only because I have this connection with these countries, it is a poetic way of expressing what I felt a most beautiful way and not so flat that other words would have, because it has that sound. I've used Italian, Portuguese and just refuse to use Nordic languages, it does not make sense. I have Swedish customers, but the sentences above all reflect this my poetic side, like to talk and express myself in these languages, I appreciate that phonetic exploration and see this result in the end.

The doctoral thesis of Tania Barros, defended at the University of Aveiro (UA) bought and genetically explains the origin of the expansion of this animal species in the Iberian Peninsula.

The scientific discovery of this young Portuguese scientist was highlighted and made the cover of the latest Mammalian Biology number because is has proven through a genetic study the origin of the expansion of the Egyptian mongoose, since it was public knowledge that this species was not brought to the Iberian Peninsula by the Arabs.

The occurrence of mongoose in the north of the country and not just in the South, as was common a few decades ago, has aroused the curiosity of animal ecology researchers on this species that exists in Africa, the Middle East and in Europe, exists only in the Iberian Peninsula. In this regard, the UA investigators proceeded to study the population genetics of the Egyptian mongoose in order to clarify, in evolutionary terms, the consequences of this expansion.

It was already known studies showing the North African origin of the Iberian mongoose and the species would not exist only from the period of Arab presence. But the work now published in Mammalian Biology, which received cover photo and was based on the doctoral thesis of Tania Barros, with guidance from a teacher and researcher Carlos Fonseca, allowed to relate the genetic patterns of the species with its registered expansion in the Iberian Peninsula.

The scientist demonstrated that the recent expansion of the Egyptian mongoose shaped own genetic patterns of the species in Portugal, revealing that the southern specimen population has a greater genetic diversity results these that are consistent with their presence over a longer time in the area of Portugal . The species remained for a long time in the south of the Iberian Peninsula, which allowed the emergence of new genetic information in this population, leading to increased diversity. In contrast, the populations of mongoose sampled in areas of the center and north of the country, which correspond to areas recently colonized by the species, have a lower genetic diversity, panorama consistent with the pattern of the known expansion of this population.

Crossing for decades of thousands of years

Additionally, the results from the genetic analysis showed that the dispersion of the species to areas in the center and north of the country came from various "subpopulations source" distributed by the south of the country, leading the researchers to conclude that probably there are several expansion of routes of the species, through which the Egyptian mongoose colonized the territories of central and north.
Based on previous studios this small mammal will have passed from North Africa to the Iberian Peninsula during a period of earth's history in which the distance between the two territories and the water level allow it. More specifically, during the Middle Pleistocene and the Late Pleistocene from 2.5 million to 11,500 years ago in the succeeding several glaciations.

The expansion in the peninsula, namely in Portugal, have been favored by climate change and the abandonment of agricultural activity in certain areas, with the consequent expansion of the scrub. The high rate of reproduction and a varied diet, although it is known that the rabbit has an important role in the diet, also contribute to the pattern of widening geographical distribution of species.

www.greensavers.sapo.pt

It is a journey through time by the fishing district of Câmara de Lobos.

Life in a small islet was like being on an island within the island. We were surrounded by a sea of people that left no room for dream or poetry. Everyday life was made of harsh words, screams, cries and laughter and where we tried unsuccessfully to hide a little our own wretchedness of the remaining 4,999 souls who lived in such a small space that was not just of one, was of all. The houses tacked on each other leave no room for privacy, we could heard even the more shy of sighs, the neighing of the parched doors by salt announced the appeal of the salty sea that led men every day looking for bread to fill mouths. Life here had always a bittersweet taste, the generous sea gave plenty, but not infrequently took all too many fishermen lie in unmarked graves in the deep blue water and not under a blessed green mantle on the ground, leaving behind hordes of hungry children. Rum also claimed lives some said that the white evil keep away hunger, others the cold and still others justified in claiming that helped to forget the curse of being born miserable, all served to excuse the inexcusable, spend the meager savings on something it was not essential.

Women charged by pain immediate filled the void with an uninterrrupted and repetitive daily hustle that printed the idea of apparent normality. The fight for survival started so early in the entrance of the morning, some departed in search of the clothes of the rich to wash and dry in the pebble stone beach, while the smaller children play on the shore bay, others sold the fish conquered the sea at the market, the remaining luckiest were good in sewing, or embroidering to make some essential spare change for themselves and the community, because it was for one, was for all too, no one was alone, or abandoned, we shared-all, where ate some, ate many more.

The only day of rest even for the fishermen was Sunday, in that day flowed through the narrow alleyways of the islet bodies covered in black suits and flying color dappled dresses in soft passes because most came barefoot, each holding right next to them the shoes itself , so it won't get spoil in the descent, others shared the pair before entering the church. The days of greater overall excitement was when there was ball match on existing single radio of that almost black rock, one of the few small dwellings housed had the object of worship that was strategically placed in the window so that everyone could hear, small tufts of people crowded everywhere silently to listen as the radio announce the danger of bids that would determine the fate of the game. The goals were celebrated with great hubbub, of course, depending on the club and after spenting almost hour and ninety minutes of frantic football discurse, people stay a bit longer to hear the great lady, Amalia.

Happiness also had its place in the islet, the marriageable young women as they had little or nothing for a dowry and even less money for the wedding celebration took advantage of the early birth masses to marry in a reputed color dress themselves made, or sent to be made in the dressmaker, so they celebrated not only the arrival of boy Jesus, but also the life of a young couple to the world until death thu as apart. The children were soon welcomed, because the priest used to say at Mass "grow and reproduce" and in fact, there was no much more to entertain, so people were born in the islet. The hard, painful life and many mouths to feed launched many men, like thousands of other Madeiran, for emigration in search of a better life and a route overseas to escape war. The less fortunate young men were mobilized for the colonial war and the island within the island once again the radio played a crucial role, religiously mothers, grandmothers, aunts, wives and daughters, gathered to hear the list of prisoners or siege, as they said, in a longing contained shrouded in tears for a name and their respective military graduation, when nothing happened it was nor good or bad, it was just a sign that prayers had been heard. The revolution of April in the distant capital also arrive to Câmara de Lobos, through the same radio waves, creating a huge commotion which led to tempers exalted and the local police station was raided, some shots were heard and there was some panic, but nothing more serious to report and that's how freedom came to these shores, then basically life went on in the island without major surprises.

The arrival of the EEC changed everything in the rock. The president of the regional government, Alberto Joao Jardim, decided to relocate families to a new social housing built for the purpose, was the new Madeira as they called it and the fishermen district was demolished on 22nd of June of 2004. Currently, at the top there is a garden where you can have a rein look and has a breathtaking landscape, which includes the Community Development Association of Câmara de Lobos, according to the coordinator, Dina Rodriguês, the activities of this institution to the level particularly of young people seek to "have some workshops to work with, on Fridays and Saturdays, we also have live talent that is a project that we have been perfecting through video and photography workshop, because the idea is to develop a short film. During holiday periods and school disruption they also enjoy the facilities with a ping pong table, TV, video and games. However, it is very difficult to conquer this audience, is very unstable, hard to work, but has huge potential. Teenagers have more freedom, but do not know what they want to do with it and it is difficult to motivate them, the idea is to create an attractive place for them. Seniors, moreover, enjoy the voice group, they have trips and dance club is a normal occupational center. What we tried to implement is an intergenerational aspect, mix everybody and we have achieved positive results, although in the beginning generated some confusion. Over time there were users who were captivated with this type of social intervention, others less so, as in everything, we won and lost, is a work for the long term. " And still retains 60 homes in their gray hollows, but what was there recorded was my memory and many who were born and lived there and who returned to a graceful and touristic Câmara de Lobos.

The report is based on several testimonies of former residents of the islet, Maria Ferreira, Odete Rodrigues and Innocence Pestana whom I thank greatly and were somewhat fictional, through the voice of a single narrator.

Karyna Gomes is one of the new voices of Guinea-Bissau music. Her first album, called Mindjer, is dedicated to all the women of her country and although it has this African identity rather creased by percussion and voice, is a record stuffed with warm sonorities from other places that influenced throughout her life.

You dedicate this record to women, but there is a whole very feminine universe in your songs, in Guinea-Bissau, the music begins with women? You spoke of an instrument, the tub and the reason for women to use it.
Karyna Gomes: Women are very much involve in music in Guinea, from the ethnic context shall we say to the pre-colonial, as a context ever more mestizo, or postcolonial. They are present in all, leading associations, taking care of the children, in the house, in agriculture, fishing, government, and is the mainstay of guinienses families. They walk kilometers in search of water, they go to markets to sell, they do miracles and it is so difficult the life of a guiniense woman, because tradition still penalizes too, she is considered an inferior being, is lower in social scale and it is only good to serve man. This makes these women real heroines because socially still suffer from very serious problems. I usually say that the quality of government in this guinienses homes, women are the best example of governance, because they make a thousand things at once and well.

So why only chosen this time to launch this first album? I know that only now did find the record label in which you feel reflected.
KG: Because I went to Brazil to take a course in 1996, in media, I'm a journalist and during this period I was part of a gospel group and started singing. I often say that I was taking a course and that God showed me my true path, it was just not easy to return to Guinea-Bissau, I was working as a journalist in RTP, was on community radio as radio host and trainer, in the middle had a daughter and that made everything more complicated to leave my child to chase the dream. To get the recordr I wanted to do I had to leave my country, knock on doors of record labels and get someone who believed in my talent. But what happened was not so I had to work, I was part of important institutions such as UNICEF, but then I thought I had to leave this part, not forever, because I continue to do something, but I decided to follow my dream, because I thought that the more I postponed, forward I would repent. During the time not recording, I researched a lot about the history of music of Guinea-Bissau, its instruments, I did a lot of studies, now, I'm doing a masters and I lack the thesis. I think the record came at the right time in terms of maturity, in which I have a clear idea, I long to see how things should be and what should I do, now I know more what I want.

What was the guiding principle for this album beyond the instruments? I realized the influence of Cuban music with its enormous fluidity.
KG: My album has much Cuban influence and I will explain why, we had a revolution that was strongly supported by the Cubans and many went to Guinea and with them came the music. I was born two years after independence, my parents had many Cuban friends who took their music, we shared conversation and sounds. Furthermore, I am the niece of one of the great guiniens music icons that is Micas Cabral, from the Tabanca Jazz, he was in Cuba to study and when he came back brought a lot of "Buena Vista Social Club" at the time they were not even known. I drank a lot of that Cuban source, was something wonderful, then, to have studied in Brazil also had a lot of influence of Brazilian music, but I heard more gospel, but before I went there I already heard Caetano Veloso, Gilberto Gil, Milton Nascimento, Roberto Carlos and many other stars.

You are very eclectic in your musical taste and it turns out to have influence on the music you do?
KG: Yes, always. It is subconscious.

But begins as?
KG: It depends. Two days ago I remembered a song that came out of nowhere, in the kitchen, which is my favorite place because I like to cook. And suddenly, during tidying and cleaning, I stop, because it came to me the melody and I saw the whole song. It is also a result of the many things I hear sometimes is only melody and then come the lyrics, or vice versa, and when I find the topics I find that there is a lot, this song I spoke of recalls the african-Mandingo which is the style that inspired the blues and has a lot of soul, so when I see my songs are very cast, the music I make goes thru soul, to R & B, the Brazilian and is very african-Cuban. Once I recorded the album that I realize how great is the influence of Cuban music in my life, was much the sound of my childhood, when we are children is when it seems that things influence us more.

Also is label as urban music.
KG: Yes, because I'm from Bissau, I am not only urban and African, I heard a lot of traditional and ethnic music, but especially during the 60s was done in Guinea-Bissau a lot of what we called the modern guiniense music. I take it all and add more things, which is why the Portuguese critics calls my songs new music of Guinea-Bissau because it is not a sound in its purest form, there is a format that fits this aesthetic that appears at the end of 50s and early 60s and it will be consolidated in the 70s and 80s and now its lost a bit. I get it back, but I traveled a lot, I also heard a lot of jazz, I sang with a jazz band and it's amazing how everything is in our head and when we compose everything comes naturally. I do not like nothing forced, if they ask me to do a song is mechanical, it is not spontaneous.

So one can say your music is fusion?
KG: Yes is the typical fusion music. It is for all ears, for anyone to identify with something in my song, for example, I attended a festival where there were Cubans, I had a very strong percussionist in the congas and they in the public were amazed, have even said that when they announced a singer from Guinea-Bissau they thought were listening to African music, has a lot of it, but there's a lot of Cuban, because they were our fighting brothers.

You are now promoting this record, but you are already preparing a second work?
KG: Yes. I think from 2005 that was when I started to 2015 are ten years that could led to three albums and If I wanted I could already record a second album and only wait for the right time to launch it.

What is the difference between one and the other, as part of the same research?
KG: The difference is minimal, the only certainty is that on my next album will not have so much, because this record would show where I left, I have an urban root that is recupercursion music, voice and tina, have two modern music themes, the 60s decade and my songs result of this merger. My second album will have more of my themes, will keep the root is touching the tub, live singing, voice and percussion. I will keep this sound, because it gave me a lot of work to create an identity, I can sang an older theme, but with a different guise. I think there will be no difference, perhaps more of my writing for the next album, with my way of singing, of being in the music and play classics that are always a challenge and sometimes it's not easy, unlike the themes that you compose that they are easier to sing.

http://tutaudio.su/mp3-album-mindjer-download-7028945.html

A provocative initiative which will be open in the Town Hall, in Lisbon, from 11th of March between 18h to 21h, 12th and 13th from 14h to 21h30.

Altogether 20 actors and actresses and 11 Portuguese designers were challenged by the stage director and costume designer John Telmo to explore the theme of identity. The result is an exhibition that more than an initiative to raise funds that accrue in favor of Abraço (a non govermental organization that helps AIDS pacients) is one more reason to explore the topic of gender in the contemporary societies. An exploratory artistic concept that, in my view, meets a trend that has already been exploited by the fashion world in recent seasons. And why it has become so important to challenge the standards set with regard to what is considered feminine and masculine? Because the identity concept that decided that the color pink is for girls and blue is for boys has been increasingly called into question by the society that created it. The reading that we do iof these codes raises many questions and discussions about sexual discrimination and how sexuality is not a reality that must be represented as immutable. What is ironic is that the brands are the most sensitive to these social phenomena and end up being pioneers in the field of gender equality, from Selfridge, the Toy R 'Us, Reebok and more recently Zara, all bets on the so call neutral collections, or agender and I must say that in this matter there are opinions for all tastes. From my point of view this question of the rules of sexuality is part of the societies constantly evolving and it is often necessary to deconstruct the basic concepts when the objective is to change mentalities, nothing is air tight, because as said Lavoisier in nature, nothing is created, nothing is lost, everything is transformed and this surely seems to be one of the signs of social transformation that is expected dignify in the future gender equality.