Quanto à digressão de Benjamim, esta antecede o lançamento do seu novo (e agora primeiro) disco, intitulado "Auto-Rádio". No entanto o primeiro single deste trabalho já pode ser escutado na compilação dos Novos Talentos FNAC 2015. Sobre o escritor de canções que passou quatro anos radicado em Londres e voltou para Portugal em 2013, pode dizer-se que veio para escrever canções novas e revolucionar a sua maneira de olhar para o mundo. O resultado que traz a Viseu vai buscar tanta inspiração ao Duo Ouro Negro, à Lena d'Água, ao Chico, ao Zeca como ao Dylan que lhe encheu a juventude de sonhos de uma terra distante, aos Beatles, aos Beach Boys e a todas as coisas que o fizeram mexer. A acompanhar esta viagem, dobrando funções como co-piloto e documentarista, está o fotógrafo Gonçalo Pôla que tem a seu cargo o registo foto-videográfico de todo o percurso, atualizado num diário de estrada.

There is a temporary connection between women and some types of fabrics.

When I came across some of the pictures on one of the new trends of this season, I could not help but smile, the total denim look is one of those things that apparently looks good, but over the years quickly we perceive ourselves that is a mistake. Wear denim from head to toe is one of those combinations to be avoided at all costs, it is not that it is bad, just does not work. It is a blue overdose that only hurts to look at is pure visual pollution. Believe it! I've got proof! I have a picture with some of my friends in that we all showed up smiling dressed in denim and the only aspect that makes me truly happy about that image in particular is that it was one of the most beautiful stages of my life, a real Kodac moment. Looking now to our garments I cannot avoid the sigh, it is not that we are ugly, on the contrary, we are even quite beautiful (without any false modesty) but the clothing, Aaarg! It hurts. New sigh! I think all of us, without exception, at some point in our lives we let ourselves be influenced by the fashion trends and when one does not achieve a definite style is enough for committing a series of mistakes. If it was today, no one would ever caught me dead in 100% denim. In the end what should prevail is our personal style, know not only what looks good on us, but with what make us feel great. And for me, without a doubt, this spirit of be yourself works, because on the one hand the total denim look never more again at any time, on the other, the combination of a denim pants with a white shirt and high heels never fails and definitely is not out of fashion. Therefore, the only advice I can possibly leave, if you wish, is to test, do not be afraid to experiment and if you don't feel comfortable in your own skin, powerful and feminine, then change the style without hesitation and give away immediately the unwanted pieces in case of a new relapse and to avoid clutter your closet with clothes that you are never going to wear.

Livia Natalia is university professor, researcher and poet of the feminin black literature. Her book "black water" deals with familiar themes from the point of view of the African-based religions.

In your book of poetry, "black water", there is a tribute to two mothers, yours and nature.
Livia Natalia: The mother nature of the religions of African origin, Candomblé it is not a very strong religion, or majority, but it is traditional, came to Brazil with the african who were enslaved and the familiar theme of mother and father are very present . I think of poetry as a way for me to understand and represent the universe as it touches me. The presence of these two elements and in "streams" that is my next book where I see it in a stronger way, because in "black water" the mother who appears in a more systematic basis is more than a representation of my mother and my own motherhood I've experienced, it appears an energetic mother who is metaphorically and allegorized by a deity of Candomblé oxum which is mother of all freshwater, owner of fertility and the belly all women, according to this belief all this takes care of children under five years of age.

Would you define your poetry as feminin? Or do you think that the concept does not exist?
LN: My poetry is markedly feminine, because it suggests thinking. I tend to joke by saying that for some things we have to have uterus because it is the female that leads to family and somehow the world. Conceição Evaristo who is a poet that really like it says that the woman is the matrix and driving force of the universe, then I see my poetry very affiliated to it. By thinking this female, this place of women and rethink our relationship with the male, with the body, with the children and with motherhood. So this is something that interests me, because they are things I think about all the time.

The color comes also in your thinking?
LN: Yes, the demand that we have in Brazil and we classify as an ethnic-racial demand because it is political thinking this matter of the race. For me it is important as I frame me like a black literature poet precisely because it is necessary to joint, for example, this religion Candomble as a black majority in Brazil and thinking about all the crossings that all black women make in the course of their life to be considered and recognized apart from its beauty, the body and the stereotypes were built for us. My poetry this all the time thought in one thing that the poet called Miriam Alves says that is african-feminin poetry, it is another way of saying what I do. I do black themed literature with the stamp thought from the feminine view of the world.

Your look has to be feminin, because even within the black community there is a certain male bias on the role of women, that show them someone submissive.
LN: Following the Brazilian Institute of Geography data, the last two or three years show that black women earn four times less that the white man is statistical data landing in the country and in respect of human relationships exist today many discussions in Brazil on the affectivity of black women. How does this woman think this relationship with the male, either with another gay-oriented woman and a man mainly white and black think of. Many times we thought we found a partner who is black and knows about this idea of submission, because he is black and knows what it is to be black, but still men do not know what being a woman is. And because of not knowing what is to be a woman they end up incurring the same clichés and stereotypes we spent centuries on end. I highlight a poet called Akins Kinte, he is from São Paulo, which has a very beautiful poetry about thinking that women beyond that image, he thinks that black woman who is fat, has cellulite, has stretch marks that have belly and for him that is the desire body, but also desired. It is at least that I think about.

She defines herself as a nostalgic singer printing in her songs a certain innocence despite the many kilometers of road and life experience as an artist in Portugal. Her latest album "looking up" is an example of that, a breath of fresh salty air, a charming drive full of emotion.

Let's talk about the new album and what are been looking for Susana Felix?
Susana Felix: I am searching like everybody is at this point a new way to adapt myself the great changes that are going to happen, is one of my searches.

But it is the personal level or as an artist who looks at the world?
SF: We artists have a vision of the world closely linked to our heart, it is always very personal, artists work with the filter in their heart, we see what is happening around us, what is happening in our lives and in our inteior then we communicate it. It's all very mixed, we worked with emotions, then, it is always a deeply felt way to see everything in life.

The critics that have been written on your last record work and said it is your most mature album. You confirm that?
SF: No, I think not. I like to leave in the albums some innocence for inspiration to happen.

It's a passage along the tracks of the island of Madeira.

Our walk begins exactly to 1862 meters high at the Red Peak, high above the clouds on a cold morning that guesses to be hot surrounded by a rough and quiet nature, dotted with a green and yellow mantle from various plants in unusual unison colorful, surrounded by a powerful silence that is only interrupted by the hiss wind and the short sounds of our breathing. A perfect day for a descent that will end by the sea, during a track that drastically changes the landscape along its 10 kilometer route. We go toward Santana to the Pico das Pedras, which overlooks the standing man, a towering basalt rock formation that is a kind of gateway to the endemic landscape of the island, the Laurel, whose tall, leafy trees are home to mosses and lichens that recall garments that adorn their trunks and branches of various shades of green, is as entering in an enchanted forest, covered up by the refreshing mist that caresses it with small shiny droplets of water and whose edges are embellished with ferns and wildflowers of various shades, from the Pico das Pedras to the Queimadas owhere you can observe the entrance to the paths of the Green and Hell Cauldron , but that is for another day.

Joaquim Arena is not the typical Cape Verdean writer, has no diasporic profile but has a sharp eye towards his country, Green Cape. It is a book that shows the colors of a young nation, the creolization of a society where there is a deep cultural shock, a romanticized history and an environmental focus.

Why did you choose this time of the first republic for your book?
Joaquim Arena: It's a time of opening of the countrie, the first multiparty elections and also transferred to the people a message of hope and this happens in all countries. There is this historical course of a single party or a dictatorship, as in Portugal and then there is an explosion of joy, ideas and projects. There was also a string of concern throughout a historical process, is also the result of an investigation of a nationalist group ETA, ex-combatants, who exile in Green Cape. There is a choice of this period, because there is a coincidence of several factors, the opening of the country, the time when ETA sought places of exile and tourism which in a way put at risk the environment of turtles, megalomaniac projects that put in danger spawning zones of this species, so here there are also many aspects that contribute to this story have occurred in that period.

There is also the issue of various kinds of language that you use the "Where do fly the turtles", a multiple mirrors, it was an original idea?
JA: It happens naturally. The characters have very different stories, speak a completely different language and in this context also reflects their concerns. There are parts where I speak of fishermen has to do with a way of life in which the concept of environmental balance is something they do not understand because always their grandparents and parents hunted turtles to feed on it's flesh. Of course it is a different language taking in account the update information what is the more international, more ecological thought and hatching at the same time because all this does not make sense in the fishing island of Boavista, where people expect the spawn season to catch turtles, usually these animals are an alternative food to fishing, because, as a rule, weather does not allow it. It has always been like that.

These multiple languages also has to do with the fact that you not subscribe this book as a novel? Also wanted to escape that stereotype or this idea of book?
JA: The idea of novel is not unequivocal, there are several ways of presenting it. There is a linear story with two people and then there are more complex plots, with mirrors and that converge to a point that is Cabo Verde. Lives are different, people are arriving and somehow end up being connected, like us, so, a kind of God is looking at all, eventually looking at me and you and see our connections with others. I was born in Green Cape, but I live in Portugal for several years, I am the son of a Portuguese father, who came from Minho and there is this kind of stories. To me never satisfy me the linear and short stories, I always see this branch. At the bottom the characters in this book have common stories that end up being in a particular geographic location, because it has to happen at some point, because people are free, they travel, circulate and bring components of their culture of origin and after they have to deal with others and with this diversity of people who are on site and make concessions and often fail and there are conflicts. Therefore, the history of mankind is made of these frictions, but if they want to try to find a language in common, some times succeded others cannot. The history of humanity evolves, there has been success, is like a tide that will flowd and will spread in various cultures and then it comes up a synthesis of cultures that result from these populations.

Another issue that was placed and they talk about is that you approach the creolization of society, how this translates in your writing? In what way?
JA: Naturally and this has to do only with creole, I never liked to see people of a humble up bringing have a dialogs in which the author did not take into account the real structure both mental or cultural of that person. We in Green Cape speak on a day-to-day basis creole, but in the solemn institutions, parliament, courts, conservatory is spoken Portuguese, but all the literature and I am speaking in prose, poetry and fiction is all in the language of Camões since the first and the last line does not make sense and what have I done? I have creole characters and write in creole mixed with Portuguese, was the only way to be able to reflect some realism and who was these characters. They were fishermen, who are in their natural form of expression, they do not speak Portuguese, speak creole, there was this need to approximate the natural language of the character, to have the body and life and I did not bastardize it, nor gave a higher cultural level than there is in the reality, you will not find not a fisherman in Green Cape with the Portuguese that are talking, but in literature you will find these examples, whether other professions and I put them to speak creole, with the risk of a Portuguese do not understand, but this dialect read by a Portuguese speaker is understood and they can frame it, I always defended it.

Nuno Preto is a member of the "palmilha dentada" theater group. A company that has always defined by an original repertoire, ironic and with a subtle humor, with a narrative that infiltrates, or implies into the public that discovers them and stay true over the years.

Wanted to address your last work, with which go on tour across the country over the general delgado, is a theather play that runs off a little to your line art, has a more restrained sense of humor and has a very strong political message, why you decided to dodge this your course?
Nuno Preto: The political line has always been present in our work. The comic also, although not shameless. Most performances of "the toothed insole" is not an easy comic, is a comic situation, which has some references. The general play, which is Bill who plays, has historics references and so how could we make it today? It's a very political piece, the comic is very camouflaged, is much more serious when compared with "the guardian of the river," "Raven gene" and others, though based on some assumptions, the pieces are written for the actors who play them by concerns that live in the moment, whether family or social, ideas, discussions of interpreters up to the director and things are going well, they are well staged and that result in this artistic object.

Let's talk a little about the writing, you decide the texts together. How is all this creative process?
NP: There is a process together, that is, writing is not common, it is participatory, but the text is the responsibility of Ricardo Alves, who is the director of the company, things are discussed and are open accordingly.

But, how do you choose the text...
NP: Yes, first come the ideas, I feel like doing this, or that, like to see it like this and Ricardo will be composing ideas that appeal to him in the form of a small dictatorship that he imposes, but it makes sense because it this out looking at things and then write about it. It is participatory in another sense, what happens from the moment that happens to us, we looked at it sometimes and destroyed it, we have added a new sentence and that is because we know each other a long time.

So there is a lot of improvisation throughout the show, although all written?
NP: Yes, there is a lot of improvisation, but more in some performances than others. Thus, the "reaven gene" is closed, there is no room for improvisation, other plays are very open, ie the intervention of the public is almost a tag to have, or guideline. Still others, like the beetle are completely closed and is somewhat our anti-dna, although there is always a breath that is shared with the public.

It is a short film signed by Ana Almeida and produce by anexo 82.

It is a nostalgic film about the year 1999 and no, it is not about space, I promise! It is the prelude of a potential love story between two young people who barely know each other and create a very special connection through the video club of their area, VHS tapes and cinema. "Video Club" ends up making us remember many of the films of our lives, the marks they left in our memories and the people who we saw it with.
Ana Almeida wrote the script and is in charge of the direction of this short film, which in my view, only has a small flaw, the passage by James, the character, of the video footage that would be perfectly dispensable in terms of the narrative, except the exchange of cassettes in ´the end that makes perfect sense. It's a small tribute and maybe, the first love of our young director ... the cinema. It is also a touching interpretation of young actors Daniela Love and Tiago Jácome who are up to their "small" rols. I liked it and recommend it. Good movie.

http://www.anexo82.com/#!sobre/ci2f