On December the 11th of 2011, at 11 hours and 1 minute Andresa Salgado has begun to change with "believe in Portugal" that aims to change the way we view our world. A blue wave for the blue planet, which aims through the exchange of services addressing problems, establish connections between people and make them believe that dreaming is changing life for the better. A tour that ends on December the 21st of 2012, at 11 o'clock and one minute. So, start to believar and be the wave that will surely flood your universe. Be life, Believe, Be happy!

How did you come up with the idea to create "Believe in Portugal"?
Andresa Salgueiro: I do not know what it was. It was a mix of feelings and the sensation that I had to change my life. I wanted to be a healthier person, to save more, to be greener and a better human being. Allied to this, I was a volunteer in "dreamland", is an organization that grants dreams to terminally ill children and the "time bank", only the latter closed and then I created a trade group for my friends so they could exchange services, called "return 1 hour." Shortly after I was recall the slogan of the "land of dreams" that is from Walt Disney, which says: "If you can dream, you are able to do it" and then if I am able to dream and my dream is to change the world, so I'll do it. It all happened at the same time, the fact of not being happy at work, although I had a good salary and an excellent working group, but was just more of it and I wanted something new. So as I saw that the group of trade was developing, I decided to change my life. I said goodbye and set gold: I will live of the group of trade.

A curious fact is that you want to live with 1.111 Euros for a 1 year, 11 days, 11 hours and 1 minute. Why the numerology?
AS: It's another thing that I cannot explain very well, but then I decided to change my life happened a lot of things, funny things, in particular, still had 11 days of vacation when I decided to leave my job. I noticed there was a series of posters around with the date 11/11/11 and found it fantastic. The 1.111 Euros was the value of my salary. So the challenge was to live a year with this money, then the remaining numbers emerged and have become a joke. All assessment criteria I set out by the end of the year are all with the number eleven.

What are those goals?
AS: Eleven Portuguese districts I have to cover, this is the seventh visit, be part of eleven fairs, this is the sixth and to have a "believer" country as I like to call it. Portugal is increasingly believador, but we already have an interest from Spain, Britain already has a group of exchanges and Poland, a gentleman of this country who would like to come to Portugal and participate in trade fairs and now I was invited to speak at a festival in Holland. The idea is that during this event I help organize people to "believe" as well.

Explain to me in practice how you live from trading? How did you arrive to the island of Madeira?
AS: My visit to Madeira has to do with the "transition movement" sought to organize a trade fair and it was an invitation from them. When people want to ensure my presence they take care of the trip. The plane ticket was assured by them, otherwise would have made a trade with the airline company, the food has been funny, they got a vegetarian restaurant called "mother earth" and then I'll go have lunch there every day, in exchange I help in the owner with the garden. Yesterday, I had dinner by trade, they remembered that there was an organization that distributes food to the homeless and I knew one of the founders of the group, in Lisbon, then I went with them to distribute meals and I dined at the end of the round some food that was left. Today I will speak in a social center and they will offer me in exchange for lunch, I will work all day with the elderly and evening dinner is not guaranteed, but I'll give a talk and would like to try the local delicacies in exchange. My idea was to help in one of traditional feast, cleaning tables, washing dishes and thus ensure another meal. Today everything is possible; I usually do all this like that. In my house, I trade services for food and I cook it when I go home and take my meals out.

At first Gaitúlia were only two pipers. Bruno and Vitor. The remaining attracted by the sound of bagpipes were rhythmically showing up and now they are a group that has three pipers, three drummers and an unlimited partnerships that compose a medieval surroundings that cheer the city streets and our lives.

When the Gaitúlia started to exist?
Carolina Silva: To speak of Gaitúlia have to talk about Bruno Monterroso, is one of the pipers. He comes from the North of the country and already played the bagpipes. He is a professor, came to work to Madera and brought the instrument back to the island. It is a very special person who used to go to Caniçal to the beach, alone, playing in the middle of nowhere, to keep practicing this instrument. Then there is Victor Hugo that although he is an architect by profession is a lover of music and began learning to play the bagpipe.I enter right after, I do the production.

So how did you meat Bruno, heard him play on the beach?
Victor Hugo: No, it was through a mutual friend. During a conversation. She told me that she had a friend who played the bagpipe; I was immediately interested and asked to be introduced. Although I had always had this love of learning to play this instrument in the past I regarded it as a utopia, and when I met someone who actually played, I immediately started my initiation. Then I discovered the history of this instrument. The general perception is that the bagpipes emerged in Scotland. Wrong, it is unclear what the origin of this instrument. What's in common is that they appear in places where pastoralism existed. It is the only link. But where did it start? There are several hypotheses that attribute the origin to classical antiquity, or Mesopotamia.

And the other members?
CS: Enter like pieces, in bits.

It is one of the greatest ambassadors of Cape Verdean music. It is also one of the icons of modern sounding Luso-African worldwide. With career with over 25 years Tito Paris doesn't stops and wants to launch another fusion work that mixes the sound of several Portuguese-speaking countries.

Now that Cesaria Evora disappeared, like so many other ambassadors of Cape Verdean music, you feel the weight of being one of the last of an era?
Tito Paris: A little bit, because the same source as Cesaria drank what was the master Digol, I drank and I have estimated that teaching. Although she was older, I feel the responsibility of singing the music of Green Cape.

When Cesaria Evora was launched as a singer, she said was hurt of not having achieved her first success in Portugal. Tito also felt that when you began your artistic career?
TP: You know it is said that the saint of the house are not miracle workers. Cesaria was in Portugal, her first record was made with me, and I did all the arrangements and helped her launching a career. Perhaps the Portuguese at that time did not understand the language of music of Green Cape, Cesaria and later came to understand. I've played in many places where people did not know my music and later come to appreciate it, this is normal.

It is a matter of generations?
TP: Of generations and beyond. The Portugal of twenty years ago is not the same as today, much has changed. By evolving society also develops and fetches things from the other culture. This is good, very good.

In your latest work, you used a classical orchestra, what you intended to express?
TP: I tried to express a fusion between classic lines with Green Cape. The Cape Verdean music is classic in itself. For this work I used the violins mixed with our sound.

Why an orchestra?
TP: The Cape Verdean music was always played with violins, my grandfather played the instrument and my older brothers also played and I always imagined that sound to accompany my harmonic melodies of Green Cape.

When you presented it in Cape Verde, how the audiences react?
TP: They kept their mouths wide open because it was the first time I took an orchestra to Green Cape, took ten years to get there my colleagues. We all were welcomed. It was a concert for about 5000 people, when we played for the first time.

Purists did not feel somehow usurped?
TP: No, actually not. The Cape Verdean basis is very open. It is a democratic country popularly speaking. Who does not like the culture of another does not like culture. I assume that we are our culture when we learn to appreciate others. When did this merger, Cape Verdeans just thanked.

What is the next challenge you have in mind?
TP: The next challenge is a new record that is almost ready, I am trying to mold the cultures of Portugal, Green Cape and Brazil. I'm still recording and I only have 15 songs. There is a lot of fusion in this album, there are cha-cha-cha with coladeiras, ballads with mornas and fado. Also participate in these album international musicians. But, is not ready still.

http://www.myspace.com/titoparis

The work develop by the company Vera Mantero is a special case in contemporary dance. It encompasses a series of multidisciplinary elements that do not end only in the movement of bodies, are invaded by literature, theater and music. They rather aim to transmit an experience, a living beyond the rational, they aimed to touch the emotional. "We will miss all that we do not need" is an example, a current work, that it explores the various dimensions of human beings, from the standpoint of consumption and the superfluous.

"We will miss everything that we do not need" was enacted in 2009 and again in 2012 why?
Vera Mantero: We did this work in 2009 and then again in 2010 because it was already agreed in principle to show the play on these dates, then we had no more proposals until a new call came in Madeira, for the seedlings house, and then we go to Braga and Evora. It is the nature of our work, who want us and there is no particular reason.

One of the reasons that led to stage this play it is his inherently obvious that results from a critic towars your work, the fact that often is not understood. You dvocate, however, that not everything that happens on stage must be understood by the public as a whole, why?

VM: It is not necessary to be understood by all rationality. We, as living beings understand the feeling. There is to understand the rational and the emotional. There is what people tell me and I want to see in relation to others through feeling, not words. What I mean is that we cannot realize all, the rational only, but also the feel. Do not we need to understand a piece up to the point obtained in a rational way and we can also understand it in other ways not rational.

Even when rejected, because we dislike it.
VM: I'm talking about this issue that exists today when people are going to see a work of art and being an almost angst of "I've got to understand what they mean." This is a pity. I think that a person enjoys most is the perspective view: "I can understand that, through my resources, my body and my spirit." An artistic work is not done to be able to explain it verbally and be explain at the end. No, I develop an artwork for a person to have an experience, a living which is not always all verbalized or explained, because sometimes it is stronger, more intense, to be precisely all verbalizable and explainable. With all this dictatorship "I understood all that they means" and leave the show knowing how to explain, people are reducing their aesthetic experience of life, that's what I meant.

How you are seen in the dance world? There are dancers from ballet companies and contemporary dance and Vera Mantero is a multidisciplinary project that you show since the beginning of your career.
VM: The dance world was prepared to understand, because in the mid-eighties dance was mutating in various parts of Europe and the world. It was appropriated by other tools from the theater, voice, writing as a young dancer and I was soaking up all that, I was really enjoying it and I found it interesting. I started on the path of others who were developing this type of project, were older than me and they played it.

The "olive tree dance" musical universe reflect an organic, acoustic and instrumental sound that is mostly based on the didgeridoo and the different forms of percussion. They are one of the most innovative bands in terms of trance music in the national panorama and recently they have a new work, symbologies, which is above all a spiritual journey through the world of the Maya.

The "olive tree dance" is a musical project you describe as organic. what do you mean?
Olivier: Organic music in the sense we frame ourselves in the dance music in its most common style through machines. We used this formula sound, but played it acoustically. We play acoustic instruments to reproduce electronic dance music environments. So in this sense we say that is an organic in the synthesis with electronic algorithms.

There is also a certain fusion, because you use more traditional instruments?
O: We appealed to the instruments of the "world music" to give a richer content to our composition, these wraps of countries around the world promotes a hot style for music that we propose to do, which is music for dancing.

All these musical influences stem from what? From your travels? Or of your training as a musician, since you use the didgeridoo which is a musical instrument of Australia?
O: The didgeridoo is an instrument in the background unifies the "olive tree dance" the language of drums and lots of percussions. I am a person who at some point in my life traveled every year and I already have “on my back” 36 countries in my "now how" of knowledge and almost all of them got interesting particular musical feature. In 1997 I met the didgeridoo in Norway and became an aficionado, but only in 2003 that I began to apply the instrument in band format. And then I had the idea of ​​making dance music, because when playing the instrument it inspired me and I accompany it with electronic bits and wanted to do it with real musicians. When I put this project into practice we have become innovative and unique on the national scene.

Situated in the historic city of Oporto, this building, which belongs to the founding of the youth, shelter's every last Saturday of each month the frank fairs, an initiative to promote the work of young Portuguese designers, but that is not all. It is a space that streamlines artist residencies, gatherings and is also a privileged stage for the entrepreneurs of the company's nest, as explains the responsible for communication, Filipa Paiva.

How do you organize these frank markets?
Filipa Paiva: It was recovered from a medieval tradition of some fairs that were held in the Largo de Sao Domingos, which had in its genesis the idea of ​​all people exhibit their products without paying tax. Hence the name. Once the palace of the arts was installed it made sense to recover the tradition, because we are in the historic city center and to promote the best of Portuguese in the artistic area because this space is dedicated to the arts, talent factory. So the idea of ​​creating this foundation of cultural facilities is to support the youth of this country, give them some projection, a space to display and sell products and make contact with others to obtain, perhaps, more partnerships.

How do you find them? From what I understand you also contact them directly.
FP: Right. It's obviously done some research. The project manager tries to figure out who are the new artists at fairs, or through newspapers and magazines. Others are invited because they have a big impact, but have not the recognition that they disserve and could get and many others appear through a newspaper that we created to show the schedule of this event and they come in contact thru e-mail, or phone and then a selection is made.

Who you select?
FP: It covers various creative fields, from the visual arts, furniture, jewelry, fashion, music, everything. We tried to include at each fair a bit of all these creative aspects to make it more dynamic and we took in the performing arts to attract people who are on the street into the palace of the arts. Often the general public does not even know what's happening inside, the fact that the staircase is impressive causes a certain resistance in people and they do not realize very well that the palace has to offer, the fair helps streamline the building in this direction. It is one of the most relevant activities of this project and the idea is to promote the work of these young people and give them some visibility.

Speaking a few of the activities of the palace of the arts, what else you have to offer to young people?
FP: The palace of the arts of the youth foundation was born to support criatives/artists to launch themself into the labor market. Our target is from 18 years old until 35 years old. We promote autonomy to these young people as workers and entrepreneurs, and we lacked the cultural part. Our goal is to elevate the culture at other levels because we thought Portugal has a huge potential, as well as young people of this country. The project was born of the need to promote the Portuguese culture, the new courses that have been appearing, such as the design that did not exist a few years back and now has a big impact. The idea is always to promote the work of these young people who were set aside and are seen as entertainers, hence the need to promote them.

But that not the only facet. The palace of the arts supports young people in other ways.
FP: The palace of the arts in addition to the fairs has gatherings that take place every last Thursday of each month. Each conversation has a theme, a discussion of an idea, a concept. It is open to everyone and bottom line it helps to promotes civic participation of people in the city and outside as well. We also have the artistic residencies for young people who want to apply for a project. It has a period of three years for being here and we do the bridge of their work with the frank fairs, the gatherings and also help to create a series of linkages and synergies in order to obtain greater visibility. All the activities and the equipment that we have aid to meet this goal.

The cavernous voice of Zeca Medeiros refer us to a very unique kind of record, of author music with traditional roots. It is a creator of sounds and words that brings us to a universe full of feelings and emotions.

In your performances you always sang the traditional music of the Azores, this approach has always been well regarded by the public?
Zeca Medeiros: Is not only the traditional songs. I started playing in dance groups, went on the ship crew Funchal as a musician, though I think the traditional music inspires a lot of the music I do, I sometimes participate in such projects, the vast majority of my music is mine.

You gather some of this music? Or just merely hear it?
ZM: I made very few collections. Some in parallel with my work in RTP and did the recordings in that context, but few. I worked with the brigade Victor Jara and most recently participated in the project of Pedro Lucas, "o experimentar na m'incomoda" that blends traditional music of the Azores with some electronic languages ​most modern.

The audience has changed over the years?
ZM: The audience has changed when I started playing was before the Carnation Revolution era and it was another country and I think in general, even if the Portuguese media ignore much of Portuguese music that is done and it's a shame, I think there is a trend in the public, there is increasingly more people involved in the Portuguese music and popular.

The same applies to your music?
ZM: Yes, but there are great references of authors in this field, Zeca Afonso is my main inspiration. There is a growing audience that identifies with this kind of songs that are inspired by an author tradition.

The concept of a co work is combating isolation of new entrepreneurs. There are a total of three across the country. Currently, the headquarters of Coimbra have 26 people enrolled. The professionals come from areas like: architecture, design3D, automation technicians and technical installations, translators, psychologies, PhD, illustration, web design, authentication systems, a multinational business, photography, civil engineering and staffing firm.

In that context arises the concept of co work?
Eduarda Melo: If you are referring to the birth of this concept, it took place in the U.S. and appeared to respond to combat the isolation of the people working at home, providing an affordable alternative and fostering synergies between various people from different professional areas.
If you are referring to the context in which emerged the cowork Coimbra, I can tell you that emerged at a time when we were working on a model very close to the co working space in architecture invites. We have a small company that worked in our facility and with whom we create synergies. Also provide the meeting areas and our catalogs so the architects who worked at home could gather here. In this context, we learn the concept of co working and quickly adopt the same by making small adaptation works.´

What are the main objectives?
MS: Our goal with this project is to facilitate a series of services that enable professionals, freelancers, micro businesses, entrepreneurs in general get a decent work place that values ​​their business, that will reinforce contacts, away from the isolation work at home and all at a much lower value than would implied the maintenance of its own office. We invest heavily in quality of design of all spaces and furniture, as agent and as a differentiating asset for those who work here and here they receive customers.

What is the profile of professionals who adhere to this initiative in Coimbra and why?
MS: If I had to draw a profile of our users at this time, I would say the majority are people from age 25 to 35 years old, married, with children, use cowork.Coimbra between 9h00 and 18h00, value the quality of space and decor, location, services, pricing, and human relations that take care with special attention here.
I think the concept of coworking is a response to varied niches. There are coworking spaces more targeted towards young people, sometimes even without occupation established, using the space to develop personal projects they carry out, but still dependent on their parents. Use the space mostly in night time or considered post-work.

This is not our market, not our option, but a result of an appetite and a requirement that a response of another niche encounters in our area. They are demanding people who value quality and design of environments, good secretarial services and human relations group. In short, I do not have a profile of users to Coimbra, or any other city, but a user profile for each particular project of coworking. I think that is very good!

Most coworkers are women, why the phenomenon? It is because they have more initiative? Less job opportunities, so they hope to develop their own businesses?
MS: I cannot guarantee a reason for this fact! So much so that not always they have been the majority. At this moment at Cowork.Coimbra, the percentage of women entered is slightly higher than men. If we consider only the stationary (that is used daily) this number increases. It is possible that has to do with the fact that they are more demanding about the quality of space, men generally value less the details of decoration, natural lighting, furniture, though they say they feel very comfortable here. The type of activity may also be a factor in this case to justify most women. There are a greater number of men with jobs that require them to "move" ... a work of the day outside the workplace. Anyway our sample is relatively small so that we can draw conclusions that are very reliable!

The custom café is a post-apocalyptic space where everything happens at once and no one is indifferent. It's a strange world, alternative, which combines many arts synchronized to create a very special and dynamic imagery, created by nirvana production, in Oeiras.

How did you start the adventure of custom cafe?
Michel Alex: We'll have to go back many years. It's an adventure that begins in 1988, I and my partner Rui worked for a French nomadic company called "Archaos," which gave rise to an aesthetic language and dramatic post-apocalyptic, used in the movie "Mad Max" and also "waterworld of "Kevin Kostner. It is this entire universe, this language that is closely linked to the past and It is implemented in a future world where reconstruction will discover elements of this industrial past. The "Archaos," however, ended and eventually we started working with other companies in several countries and we always kept true to that language. Then we began a partnership with Daniela and the "Furia del Baus". Over time harbored the dream of founding our own company and after years of traveling we wanted being able to stop and to recreate this imaginary where we live every day. Honestly. So we are not only artists on stage. Our life is fueled by this language. We live still, surrounded by trucks, by rulotes, for all this machinery that goes into our shows. In our music, movies, or all that surrounds us daily.

How is that you go to Oeiras, back to Portugal?
MA: Basically we returned in 2004, because of the euro, we had several customers that were connected to the event and we did a lot of multimedia, street shows and large ones. We had many events of great format that made us come to Portugal. I was precisely then that we found this space that was a former military barracks, which was left in ruins, was a fluke.

When you chose this area, how many were you?
MA: At the time the company had 30 people at present are 12, although many members drifted into other projects that are still here, as are custom bikes. Many of them worked with us in the preparation of the performances on wheel, the trucks. They also show the bikes, the Harley, go to concentrations and win prizes of "customs bikes," are artists who have increasingly more demand. Developed their studio, their name, their brand and obviously still come in larger shows. But in the day-to-day dedicate themselves to their own work.

The custom cafe is one of the studios and the rest?
MA: There's plenty of space outdoors, which is very important to us for conventions, events for companies. It has parking for several vehicles and buses, it is also where we keep our trucks. The custom cafe has about 500 square meters.

The "aqua park" have a certain aesthetic ambiguity that does not allow us to define their type of music, you cannot categorize it. Sensory explores, they not dominate a single technique, but seek to stimulate our senses with unusual sonorities. It feels déjà vu but it is something new, as is the name.

You described the album "modern painting" as a sensory stimulation therapy. This means that is more mature? So you describe it in that way?
Pedro Magina: Yes, it is a more mature album, as people, human beings and musicians too. We amend our senses and perhaps that phrase come into this dynamic. We grow. We were more alert and sensitive to a certain social and interpersonal level.

You mean the lyrics, they have a social dimension?
PM: I do not focus on the lyrics, is even higher, is the music. It is the stimulation of all the senses. This has to do with the fact that reflects the space in which we live in, the people with whom we live with.

So there is a social message?
André Abel: Not directly, only for those who want to view or remove something.

But, what you intend to express?
AA: I think is the poetry of the poor. I do not think music should be a tool to caricature, or try to draw, with the sense of capsulation something, if we write a song that will define a particular social situation, I think it will go wrong. I never liked music in which the authors admitted it had that sense. We tried making something that sounds fresh and that motivates us to keep making music. We liked the new sounds, new sensations and melodic and harmonic instruments, the lyrics also try to express something that is very old in a new way. Contemporary, how people say it.