Ailton Pinheiro is the film producer, directed by student of Cinema and Audiovisual of UFRB (Federal University of Reconcavo of Bahia), Larissa Santos, born in Salvador and member of the movement of black movie Black Screen. The documentary addresses the racial representation in children's universe and how the eurocentric standard of beauty affects self-image and self-esteem of black children, revealing the silent action of racism in childhood.

Tell me about the tittle of this movie and how children look at their skin color?
Ailton Pinheiro: "Crayons" is different from those films that talk about racism, here the children say how they see themselves and there is a process, talking about something very Brazilian, which is the whitening of people. We may be keeping our multicultural identity and the identity of black people is black. We cannot deny what we are. That does not mean we think we have to change places, we want to go together, but this requires an equality of rights and opportunities. The film is a bit about it, as the racial process in Brazil is perverse to the point of a child does not see something as simple as a crayon. There is not a pencil that symbolizes the black color there, beige is the color of skin, can never be my color, or those children. Then they grow up without reference, its reference is eurocentric. I have nothing against it, but we have to know what are our benchmarks, because it says a lot of what we are, then I am a black person with African heritage, some Portuguese form, but I will never be seen as Portuguese. I'll even seen as African, then it is a film comes a little about this subject that is racism in childhood, I do not think that is peculiar to Brazil. Arriving in Portugal, this is the first time in your country, I came upon natural situations, I am a black rasta, it is natural to be stopped at the airport because I'm not Portuguese and that is internalized in people. The role of the CPLP (Community of Portuguese Language Countries) is to deconstruct it, because it's about culturality, diversity and walk about, with moments of encounter and strengthening multiculturalism without loosing our identity. The film talks about the pattern they want us to impose.

How she chose the children who appear in the film? The school that had that particular group?
AP: Those children are the family of the director of the film, are sisters, cousins, people who are very close. It is a film that comes from her head, with these questions that she has within the family. If we talk about the changes and the process of racism, she has in her own house, that's what she experiences daily, the sister arriving at school and being called monkey. Then she opened her life, her intimate, to bring a portrait of Brazilian children, all of Brazil, they have these thoughts because they are educated by TV, the media being what they are, always be another.

What is the conclusion here, one has to change the school?
AP: We believed that education and culture plays a key role. We do art and our key role is to deconstruct the racist thinking and prejudice in the world's society. It is necessary for people to see that change comes from education and culture, but there is something central, it is important for us, that is racism. It's something secular, you can not deny all the atrocities done against the black and African people. So we need to go back to history and from that reflection, to take steps that can include all real and equally, you can walk that multiculturalism, so has to do with this plurality of tracking people who are blacks, whites, Portuguese, Brazilian, Cape Verdean and African. For us it is important that culture is thought within this reference. Then yes, we are promoting this diversity, multiculturalism seeing as these differences and identities.

Carlos Mota was born in Ponta Delgada, Portugal, studied in Brussels, where he graduated in Interior Architecture in CAD (Centre des Arts Décoratifs and painting at the Ecole des Arts D'lxelles) and currently lives and works in Lisbon. An artist residency in Ouro Preto, Brazil, opened the doors of the Planalto Palace in Brasilia, where he currently exposes one of his works.

Focusing on your painting and being Azorean is there is something of island in your work?
Carlos Mota: Our experiences and the place where we always are convey something. I inspire myself often in the landscapes to the abstract, you never truly identifies that is landscaping. There was a curator that said that, I'm a contemporary landscaping, ie the draft of Ouro Preto, where I did a three-month residency, I was inspired in the soul that area, on the sidewalks, because they were rich and in heaven, it was magnificent. And then I used the pigments of Minas Gerais, introduced the color pallet of them, through a university professor, gemologist, who helped me realize this esprecto color of the region. From there I develop for my painting, it is usually always the case.

The title "great finds" have to do with all this, with the discovery of the pigments, the natural beauty of the mighty Brazil and the smells of everything around you in Ouro Preto?
CM: I had a major exhibition called "raft" and thought that this project would continue in Brazil, but as I arrived at Ouro Preto to the residence from there I found this region. In the first week I found this magnificent teacher, Mauricio de Barros, who put me to speed about all these pigments because it is a region of immense ores and then I opened my soul and emerged this title. It was not the architecture, because it is recent, not the green, it was nothing lije that, my inspiration resulted from the observation because an artist does not look, observes, so I observed the sidewalks and the sky, and all forms of "great finds "are these sketches, with eight pallets of pigments of the region, which introduced the red that has nothing to do with the remaining spectrum of tones. So why the sidewalks? The sidewalks because it is the only point where today everyone goes incognito in Ouro Preto. People go there, since artists, intellectuals, kings and queens, everything goes now as before. Slaves built it, the whole town is beautiful, beautiful, inspires and red why? Because I think the city itself provokes passions and also focus on the suffering of the slaves who built it and it hurts, because some of my Brazilian friends say when they come to town there is a hardness.

How the invantation to exhibit your piece arose in Brasília, at the Presidential Palace?
CM: The curator where this project arose went very well, and it was sedimented, the artists in residence addressed a topic of interest that was Brazil and the country and from there if they like the work they invite the artist to exhibit it. In the middle of the residence I receive an email saying they were interested in having my work. They are to restructure the interior in terms of furniture and works of art from the Presidential Palace of Planalto, so I was the first foreigner to be invited. Was a great honor for me and for the whole of Portugal, I believe. I have a permanent work in this space, being the first foreigner, although there is a Picasso. It was a gift at the end of twenty-five year career is very good.

An Azorean island transformed into an environment museum.

The Vila do Corvo, on the island of Corvo, in the Azores, became from now in an eco-museum, an idea of the Regional Government which aims to recover the historical center of the smallest island of the Azorean archipelago. And still promote it as a tourist destination to enhance their identity.

The historic center of Vila do Corvo, where the entire population of the island lies about 400 people, was rated in 1997 as "a set of public interest". This classification allows access to a program of co-financing for the rehabilitation of buildings in the village 50% to 75%, repayable.
Regional Secretariat for Education and Science of the region, said the realization of Corvo ecomuseum is "the impetus for the reversal of the current situation of physical degradation of old urban core," according to Lusa.
The development of the rehabilitation project involves the installation on the island a permanent Technical Support Office, which will be responsible for projects of rehabilitation of the property at no cost to the owners, as well as the inventory of heritage and the creation of a network of cultural interest.

One of my favorite pastimes, wherever I go, is to visit markets.

It is one of the oldest landmarks of mankind civilization, are meeting places where people gather to buy, sell or just chat and exchange information. It's all very informal and dynamic, that is way like a lot markets open air or closed, from the diversity of makeshift stalls, colorful fruits and vegetables, the clash of flavors, the joyful confusion, the cries of the fair dealers and the eternal whirl of people looking for the best at the best price, everything for me an immensely pleasurable. Interestingly, I have a list of places that I consider my favorite ever and that, in my view, well worth a visit and the order does not imply any preference, just obeys a personal sensory memorial.

One of my favorite places is the Camden Market in London, which I mentioned earlier. It is simply gigantic and you can literally find a little of everything. There are from urban crafts, furniture, clothes, food and books. It is simply mind-blowing. The most curious thing is that perchance of bringing a great number of nationalities in full commercial bustle and my greatest difficulty was the choice, there was so much affordable I could not resist. There is even an area dedicated to food and I assure that there is food from around all the world, and again, the worst was to choose, I was very indecisive for a long time such was the variety and the delicious aromas emanating from the stalls, everything was very inviting.

The floating flower market in Amsterdam, along the Singel canal is another local who welcomes my preference, because like any self-respecting woman I like flowers and plants. Again it is impossible to remain indifferent to such beauty, color and smells, there is everything in floral terms and not only tulips, though one can enjoy several fascinating species of the same flower. The Dutch women are traditionally great appreciatives of flowers so much so that this market is open every day of the week for visual and olfactory delight of local and also tourists.

Towards the South, in Rome we have Portese Door, in the Trastevere neighborhood, which happens only on Sundays and I also mentioned in one of my previous texts. The whole area is closed to traffic with makeshift tents on the sidewalks selling everything, is more of a flea market, where you can negotiate prices. There is a constant merry din, typical of the Latin countries, where there is no shame and competition is huge, so do not be surprised by the appeals contained in the fairground.

Inthe holiday season nothing there is nothing worse than seeing this shows.

I must admit that for some time I have not fed this item for lack of content that was worth my comment, however, an exception was open after the numerous culinary competitions swarming through the various channels of cable TV and I must be honest, I'm so tired that even it hurts my stomach. Always liked watching programs about cooking with Filipa Vacondeus, Chakall, Jamie Oliver, Nigella Lawson and other such where the heart is not only on the recipes, but the pleasure of cooking and eating well. Always water mouth and took immense desire of trying the recipes at the end of each one of the episodes. Lately all we see is almost insane rush by the TV channels to show the hardest and most demanding television format ever in terms of culinary competitions, which ensures that is what they think, more audiences. I'm talking about the "masterchefs", the "Gordon Rampsay", "chefs academy", "the taste", "my kitchen rules" and to culminate as if all this were not enough, we now have the "war of the dishes." Suddenly this type of competition has become a gold rush for the competitive, diversified that came to mind to the point of been ridiculous, there is nothing that they not invent, the only I can say is that after seeing so much suffering, stress, crying , laughter and disappointment on the part of competitors, I lost appetite to my dismay. It's all so horrible, we only see people running from one place to another, with creases on the forehead of concern and a lot of sweat to drip from pots and pans and in the end someone finally wins, exhausted. Literally takes away the urge to eat whatever and go to the kitchen experimenting. Really.

It is a project of creating contemporary Portuguese music, within an artistic residency, held in Ponta do Sol Collective, in a intensively period and who summoned and joined several musicians and performers of Madeira in partnership with two young composers Rodrigo Camacho and Milena Mateus. A creative work that culminated in four interactive concerts.

How the New House idea arose?
Rodrigo Camacho: First comes the desire to participate and create initiatives here on the island. Came from within. Then there was the possibility of obtaining support and the realization and fulfillment of all conditions, the house that was courtesy of Ponta do Sol Town Hall, we have the support of the Town Hotel and the joining of wills for something that is extremely sensitive to create unconventional contemporary portuguese music. We have a lot of material, with long hours of rehearsals and preparation with musicians from completely different backgrounds, and this is something that happens in an extremely sensitive habitat, so it is commendable how the organization has always tried to grant all our desires and create all conditions that would have worked.

But how did you do the selection of musicians? What aspects were considered?
RC: Before addressing the choice of musicians, we have to talk about the original music and the type of residence that is doing this, New Chamber 2014 is a project of composition and performance of new Portuguese music, and when talking about this topic we have to be originals and not necessarily innovative new material in an attempt to deploy any guidelines of consecrated music schools, not a refusal, but complementation and attempted of adding.

Milena Mateus: Francisco Loreto, who is a professor of music at concervatório of Madeira, was a great help. Provided us a list, or indicated the type of people who would be interested in participating in a project from the genre of composition and performance, and from there we joined the people.

Another point in common is that these musicians are studying music off the island.
MM: They're studying abroad or working abroad.

It is written by the chronicler Vasco Pulido Valente.

Above all I know Vasco Pulido Valente thru his chronicles in a Portuguese newspaper and it is this facet of acutely analyst of the everyday life that I like. That is only a step up to this little book, it is an essay about the revolt of the Portuguese during the French invasion and who reads gets the idea that people were are more in command and was not given to such gentle manners people we so much hear talk about. Curiously, at a time when our country is facing enormous economic and socially-transformations I can't help to wonder where are these rebels who did not leave their credit in the hands of others? "Ir pro maneta" is a portuguese expression that means "go to hell" and this particular book describes this turbulent period of the national history, one abandoned by their rulers and had to be saved the people with the help of a foreign country ally. Does not reaming you of something? Have a nice reading.

Taciana Gouveia, is now a cultural producer of the House of Culture in Santa Cruz, Madeira. With the phoenix project, that started in April 2014, she intends revitalize the cultural programming of this space that was once a reference at the regional level.

In that context appears the phoenix project?
Taciana Gouveia: I came back to live in Madeira and through an invitation of the Municipality of Santa Cruz, was a kind of mutual agreement, came to work in the area of production, management and cultura mediation at Quinta do Revoredo. Hence the phoenix project that was thought to this house, a place I've known since he was 9 years old, it was here that I began to paint with teacher Rita Rodrigues, and gave it this name, because although it may seem commonplace, what is intended here is to implement a change, is the rebirth of all a healthy, constant cultural activity with aesthetic validity and quality. Being, that the House of Culture in Santa Cruz in the 80s and 90s was a major center of reference in particular, under the direction of Antonio Rodrigues and José Baptista Fernandes, the project is with this aim of developing a line of curating, with creation of a logo for the house of culture and a visual identity and graphic line for the Quinta do Revoredo. To this end was an exhaustive work in this direction in partnership with two designers, Luísa Oliveira and Luísa Vieira, because the projects that are written and best developed if not well communicated not reach people.

But what are the main objectives?
TG: The House of Culture aims to be a living space with a continuous and assiduous programming, but open to community. The Phoenix also aims this premise, the restore of protocol synergies with local institutions and not only, we know of the actual financial difficulties of the city council and how difficult it is to work without money, anyway, I'm apologist that with creativity and goodwill can do much and it was so. It began to make works of restructuring in the building, profound eve, were recovering facades and walls that were filled with humidity, due to the proximity of the sea, we tidied up and organized the estate, in making the spaces more spacious and functional for you actually begin to effect all the programming we have planned.

Tell me about the programming that is spanning in several poles.
TG: Yes, has several points. Cyclical exposures may be of the most varied artistic expressions from sculpture to painting, there is room for everything, since the works have validity and aesthetic quality, the artists are more than welcome and we are open to new projects. We have no prejudices in working with new artists provided their work is good, we liked to promote those who do not have free access to cultural venues, this is one of the valences, is a job that I am developing at the level of curation. The educational aspect of the service is another of the poles, it is essential to approach such a work of art / spectator / viewer. In this context, we are developing a series of creative workshops, we received this time two groups of children, two distinct schools, where we provided several hours weekly for each group and we believed several activities accordingly. Once we have this space, we have a magnificent garden, a beautiful outdoor amphitheater, not to mention the house itself, which have 3 floors to be experienced and lived. The program covers some musical projects and we work more, we helped organize cyclic festivals through co-production, of suggestions that want us to do and we added our services, since that is consistent with the mission of the house of culture. Already been the case, had two outdoor concerts, one was a solidary event organized by three teachers of special education in the county, with the intention of obtaining funds for equipment, it is an area with many needs, since are children with special needs who require specific materials and we benefited from the presence of many people.

It is a 2004 film by director Fernando Fragata.

One of the reasons I chose this movie deals with a certain nostalgia for the time when there were Portuguese film been produced in Portugal. I'm not being ironic I just observe a fact, unfortunately. But then we get to it, it is a feature film of deceit, where not everything is as it seems and when we thought we get it all, there is a new variant to the story. Sounds confusing and it is in part. There are certain passages of this "zero luck" that raise some doubts, for example, after all how many lovers have Susana? And how does she know who the father of the child is? However, to get to understand this mystery and others just be aware, the script is clever, the editing is very good, because it gives a great dynamic to the film and the team of actors fulfill their role competently. I would not say it's brilliant, is one of those movies great for summer fun and is a great opportunity to review a great actor even briefly António Feio. I should add that one of the most positive aspects of this feature, in my view, is the soundtrack, enjoyed the initial track of Gil Semedo entitled "recalled time" and of course the theme of Xutos & Pontapes, which gives the title to the film and also further brighten this "zero luck." Good cinema.

https://www.youtube.com/watch?v=YcHcJaoiQxo

The TASA project is developing a range of innovative and sustainable products in terms of design, based on the traditional techniques of the Algarve and beyond. A fusion between the past and present who have not only received public acceptance, as awards and international recognition.

In which context the project Tasa appears?
Sara Fernandes: It appears in 2010 thanks to the initiative of the Coordination Commission Regional Development of the Algarve and was developed by a company called "home project", but now is being spurred by "proAciveTur- responsible tourism". The name indicates that are Ancestors Techniques with Current solutions, ie, functions as a network of master craftsmen in various traditional techniques of the Algarve as pottery, weaving among others, which are combined to give new products, closely linked to a strategic innovation in communion with the craft.

How engaged is the selection of artisans, you have to take into consideration when choosing these professionals?
SF: The artisans entering the network must have a great desire to participate in the dynamics, to recognize the value of the network, then you have to be receptive to innovation, connection, design and try new solutions or new products that are found by the craft that develop, for example, if we have someone already working cork and we needed a person working pottery, met several people connected with this art, and from there we developed the product. The most important part is the motivation of each and the recognition of the gain that is this project.

But, you contact the craftsmen and then a team of designers is what makes this bridge for the new products?
SF: The project is now with ProAciveTur, we're a team and within this working group. I am part of marketing and communications, there is still a product designer, Joana Martins, who works directly with artisans, joins to them, try to understand how they work and just what they envisioned for the creation of a product, or a range, she speaks to the artisan in order to understand if it will be possible to do so, if he finds it interesting and from there it develops this work. It is a co-creation of a product between the designer and the craftsman.

Altogether how many artisans found in the network?
SF: Altogether we have 13, but it is not a number, because we are in a new phase, called Tasa II, we are developing 15 new products in the same methodology as the first phase of this project to be applied and these new products are being developed in the Algarve, Alentejo and Andaluzia, so it certainly will get new artisans and the network will extend. The "Technical Ancestry, Current Solutions" products developed in Alentejo, in Phase I, will be presented at the Second Mediterranean Diet Fair, which will take place on 5th,6th and 7th of September 2014.