She was born in Lisbon, but always brings his Cape Verdean imagination wherever she goes. It's another side to the world that she carries in her music in a very peculiar, very personal way. Carmen Souza sings her memories with a smell of jazz, a very familiar odor, but it's definitely a different aroma.

From the beginning of your career always had the idea of ​​fusing jazz and the music of Green Cape?
Carmen Souza: Yes, a musician, an artist or a creator so to speak never knows where the music will take them. But my idea was always to make a mixture of my African roots; in this case of Green Cape with something that was more contemporary jazz. I started by blending rhythms on top of rhythms and found that match up very well and have things in common and that is very interesting, you never can tell what the final product will be. I just got a new album that comes out in September or October where I take the standard jazz to the reality of Green Cape and in contrast, most traditional music from Green Cape to jazz. It is all recorded. Sing live can come to life and lead me to other avenues of music.

I know you were in Green Cape. What was the reaction of the population to this new sound that is not very traditional, but a merger?
CS: It was very good they recognize something that was Cape Verdean, because the rhythms were there. To an audience like this is not necessary to explain what a warm, a perfect binder, or a drumbeat, they identify themselves, know what it is, and know what is national music, but they see it as an evolution and so it is interesting.

Purists say nothing?
CS: There was none of that. I was very happy with it; I think it is a matter of communication. From the beginning I always very keen to pass on this to the people, I'm not a purist of Green Cape, I was not born, or grew up there, but I am part of a community who was born in another country, who always felt very close to its roots, because parents always had this, the food, music and the Creole language. I have always lived surrounded much of an idea that was very familiar to me and when I visit Green Cape nothing seemed strange.

You mixed iconic music of Zeca Afonso and Cesaria Evora, just to name a few. Did you feel certain modesty in using these stirring sounds almost personal and not transferable or not?
CS: When I picked up on songs like "song of my father," or songs like the "brave" and "saudade" in the background I try to transform them into my songs, or want to give them a little bit of me. There are so many versions of these songs, each artist has given their reality to each of these themes and I wanted to convey that. Brad Mehldau is a pianist who turns themes, can be rock or pop and gives them a completely different version, so that is what I fetched more from jazz.

Miguel Rocha Vieira is Portuguese, from Lisbon, determined and passionate about his profession, the kitchen. In fact without these features he would never have achieved the first Michelin star of his career and the Costes restaurant in Hungary.

After winning a Michelin star for Costes, you went back to Portugal as a sous chef why?

Miguel Rocha Vieira: I left Hungary because I was too tired. It was the opening of a restaurant from scratch, worked for two years, seven days a week and I was exhausted not so much physically, but mentally. I came away in January 2010 and in March won a Michelin star. At the same time in Lisbon things were not going well, I was not adapting, because I came from being a chef to sous chef working under the supervision of an another person with whom I disagreed and the owners of Costes call me again and I thought if I worked so much and now there is a reward, should enjoy it if you can.

Back in Hungary, your goal now is a second Michelin star?

MRV: There was talk about it this year and I kept the star, but my goal is to continue the work I have done, if this is a second Michelin is not the most important, we must not only look at the stars, but for our customers and who will pay and that's what makes me happy to go to work.

What is your favorite dish?

MRV: I love to cook fish and seafood. I'm from Lisbon and in Hungary thing are a bit difficult because there is none. I haven't a signature dish, but I prefer to cook with these ingredients.

What is the dish that most hate to cook?

MRV: There is no dish that I hate cooking. Pastry I do less.

Unaesthetic is a group that transcends the meaning of the word theater, goes further. It is an avant-garde company that puts on the scene multidisciplinary performances that prevent the indifference, that cultivates critical thinking and above all, that show a disturbing creativity.

The group is called unaesthetic and yet, there is a concern in your work in the opposite direction, i.e. there is a great concern on the aesthetics. Can you explain this contrition?
Alexandre Lyra Leite: The Theater is a contradiction, is a provocation. It is systematically put things in question. The name comes from an unaesthetic line that we wanted to follow, very avant-garde, with great care and that has to do with the whole concept of a spectacle that is multidisciplinary. The name itself is already a challenge for the viewer comes to see something that is unsightly and probably find the opposite.

I noticed that in addition of the performances from the texts of other authors you write pieces for the theater. This writing arises by the need you feel about specific texts for the type of performances of the unaesthetic?
ALL: I think it results of the language we used. I studied film and perhaps this fact and also the need of melting the theater work with a number of languages ​​of the visual arts, stage and film resulted in very specific projects. Sometimes I do not find the texts with the right tones, with a certain point of view, the right vision so I end up writing them, which doesn't mean that we haven't made adaptations of renowned authors. Such is the case of Frank Kafka and Edgar Allan Poe. They have a lot to do with our fantastic imagination, which lives much of the image and ambience creation.

Why you place your texts online?
ALL: I should put more.
Looks like another contradiction, anyone can copy.
ALL: I'll be super happy if anyone will take a text and be able to interpret it as long as I know. Just send an email. But, I'll post more.

Another facet of the group is design, how it all fits together?
ALL: It has everything to do with the logic of looking at a project as a multifaceted experience. It's all part of the experience. From the aspect of the ticket, the music that we put before it's all part of the atmosphere it creates for the viewer and to find a particular art object. And therefore, everything must be connected and there must be a rigor in this regard.

The Club free feet was born in November 2000 with a sole purpose to promote the practice of walking across the territory of the Madeira archipelago and beyond. An association dedicated to mountaineering was born from the passion of Isidro Santos which advocates a healthy lifestyle, which helps to preserve not only the footpaths of the island, but especially that reconciles the islanders with the lush environment that surrounds them.

How did you start the adventure the club free feet association of mountaineering?
Isidro Santos: In 2000 we were a group of people who did walking. We're had a high number of walkers and we ended up deciding to create an association to provide more support an entity that would give greater credibility to the initiative. So we create it. Someone suggested and well the name of club free feet and at the time we had with us a young man who was taking a design course and draw us the boot that is our logo. When we started we were about 100 members and continued to walk. We organized tours and always with a program of walking every fifteen days. We have now already 11 years of existence and continued to maintain this activity.

Your passion for hiking started when?
IS: My passion for walking begins at a young age I was Scout them was draft for military service and later takes place 25th of April of 1974 which led to a revolt in certain institutions and the scout group to which I belonged closed. The will was still inside me and so I created the camping group of Santo António. I headed this institution for nearly twenty years and one time I had a new collaborator who organized elections and elected a new direction and I was sacked sort of speak. Little did they know that one year later would I create a new association, which are the current club free feet. Interestingly the camping group closed and we have continued to exist.

What is the balance of these 11 years of activity?
IS: It's a very positive one, each day we have more members we are about 660 subscribers. Is a number which increases every year. Are always new members, others leave. We continued with a very funny dynamic, for example, in the course of the Chao da Ribeira we took two buses. 125 people for a walk are always tricky. It is against my principles. But I cannot send them home, people come and actually we make lots of publicity, we cannot tell them that we take only half. But whenever possible we have avoided taking more than 50 people per trip.

Why?
IS: There is a great human pressure on the same footpath. We, the organization have difficulty managing a line of people who from the first until the last walker there is a difference of 30 minutes and if there is any problem is much harder to deal with the situation. I prefer to do more trips, but never more than fifty that I mentioned, because it is easier to control. It's easier to walk. There is a human as excessive load on the same route at once.

Maria Lada is a Galician poet. Describes emotions, pain, but also talks about its joys, about the magic of her people since her 17 years old and has already published five books. Miguel Seoane is a musician, classically trained, that accompanies her in this literature event that goes beyond the poetry recitals. They are poetic performances that aspire to inspire the audience that goes there regularly, or those who attend for the first time. Roaming thru our country hear the Nine with the company of the Corner House.

How this project does arrives in the house on the corner?
Maria Lada: The house on the corner organizes some residences for artists in Coimbra and offered us a time to be there, putting together a proposal and we have created the four a show, Philip, Ricardo, Miguel and I worked on my book called nine. These are poems to be more than a recital, which is what I do with Michael. I read the texts, recite the poems of the book and he plays, and is like a concert without stopping. So we purpose to do something more resembling a play with action, with physical images and work on my writing. Then we choose some poems and we have been in Coimbra in December to develop over several days how we could pass them to the scene and so we did.

And how does the partnership work with Maria?
Miguel Seoane: I make music and talking with Mary we decided not to make the recital standard melodies. I make a garment with sound environments.

Sounds create on purpose for her writings?
MS: Yes, there are few sounds that we repeated. What I do is use the guitar in an unconventional way. I evoke sounds, very organic things, ripping the strings, bumps. Create an environment, not so much a concert, giving primary importance to the texts. Make a rounding, making that the music does not interfere, or that overlaps the word.

How do you go from poems to a scenario? How do you make that transition?
ML: Well, I've writing for long. I was publishing since the age of 17. I started working in an association of poets, in which each wrote their poems in different styles, free verse, sonnets. We gave great importance to the act of transmitting the poems to people, through readings and poetry recitals. So I always worked hard to put into play. I always ran from the image of the poet who is concentrating on reading the book and that just raises the view once to the public. Then I have a theater training I did in college and now I'm even working as a professional actress in theater and then I always tried to do something in between than just a normal reading when I have a book. It is an interpretation of the poems. So I always do this work, are recitals with a turning point, theater, interpretation. The text in a theatrical point of view has always interested me much. I did some experiments in Galicia with different books and when I met Miguel started to do something different. Build a scene and I think my theatrical experience has a lot of weight on the way I read.

It is a play staged by Alvaro Correa, under the seal of the Commune Theatre that is about the hedonistic life from the point of view of three characters. A literary conception of Noël Coward with almost one hundred years of age, but that still today has a piercing view that makes us reflect on the freedom of relations and the weight of social conventions.

You choose to stage this play because it is very contemporary?
Alvaro Correia: It was written almost one hundred years ago. In 1932. Because it was written at that time it wanted to do it. I was very surprised with the way he exposes the subject, so smart and edgy which is still relevant do in it.

There was also a great care with the set design.
AC: Yes, there is always this condition, because in the original play he asks, Noël Coward, for three major scenarios. Indeed, apart from the fact of not having that kind of money, I did not make such an investment because I do not believe that in theater we need large spaces, for me the main thing is the players' work. When I did the drama of this play I did not change anything, except minor cuts that would date the piece, i.e., had to do with what was then the theater of the 30s. I focused much more on this dynamic of relationships and how they were experiencing. Goes beyond the issue of homosexuality or heterosexuality, it's kind of living the life in a hedonistic manner, for the pleasure of the people we met regardless of their sexuality and how they can relate with us.

It is a very English look?
AC: I do not know if it's English, I would say more human. English in the form of writing, yes. This hedonistic idea I think is not very English, there are people who are more than others regardless of nationality. The British are more conservatives are up to that level we have this idea that for appearance they don't do anything but behind the curtains is another matter is not? What I found remarkable was the language, as he wrote it. There was a tradition at the time of the writing of Oscar Wilde, who has a great influence on this type of plays. Only this is a bit more acidic, even cynical. It sort of goes beyond. It's about the time when he wrote it. This question of relationships, this problem keeps unchanged. I do not know if we currently live in times more conservative rather of the ones of his time.

You made a few cuts, little ones in terms of drama in this play, but what did you concentrated on?
AC: I tried to create a play as simple as possible. We arrived at this idea me and the set designer that all the management of the space reflected the evolution of their lives. Even the professional side. The space was getting bigger as the interior comfort was proportional.

Its ten days of theater for all ages and all types of audiences. With an ambitious program, the experimental theater group of Camacha, intends to create a huge feast of the performing arts. A unique festival of its kind nationally that provides a large perspective of the best we can on stage in our country. So show up, for god sake!

This third edition of "I love you theater" expanded. Why did you decide to take this step in the third year?
Sara Branco: We're slowly growing. In the first year we had five groups, we boosted one from the mainland and four locals. Last year we had 14 groups, four of them out and the rest from here. In this issue we have 18 groups and so we grow slowly. As people come to the theater this event will be expanding, we also want to spread this festival in the entire island and eventually to Europe. The goal is to grow in quantity, quality and space.

In previous editions the festival shows unconventional theater. You continue with this line?
SB: We had tremendous success with this type of choices. The public appears. There was a group that presented a mixture of water, light and images and we had a full house. The theater is not just room. The artist is a combination of several factors, he can do nothing, just be a statue, but there he is in front of an audience, or mixed between people. Being an artist has many aspects and performance art is not just some people on stage, can be painting, music and all this results in creativity. It's a bit of everything that we want to show at this festival.

In previous editions I noticed that the public came from other places to watch the shows.
SB: Yes, it was a big gamble and this is another cause for celebration for the organization. The public is not only of Camacha, although the local population is very faithful, so we have to say it. But people come from Funchal, Canico, Machico, other places, and turns out to be true to our shows. In the early days, only locals show up and them we start to see people from the outside. The word goes by and people are sensitive to the theater.

It is an online radio made by Nuno, the Elson, Mane, Noel and many more for a global world that speaks Portuguese. They are all very young, friendly, gorgeous and full of energy to bring you a truly special transmission. They are professionals who create innovative content to keep the audience glued to them and ensure the dream of a project that they do not want left to die.

How did you come out with that name?
Nuno Timoteo: It's almost a secret. It's a funny story, but we cannot disclose it. The point is to draw attention and stay in the ear.

How did the radio?
NT: It started with me and Elson. I was in Port FM and Elson was a listener who then began working as a designer in the program. Later we realized we were both Madeira then started talking about the net. The Upalala radio started without we met personally, we had no means of transport so that we can meet. The first time we've seen each other I was drunk. Elson had created a blog called Upalala and called me the attention, because it was about an exam that was taking a long time and came up with the idea of radio. I left Port FM to initiate this project, the first edition took place on December 4th if 2008 and the site came after.
Who are your listeners? I realized they are very interactive.
NT: Here in Madeira can go from 14 years to 25 years old. If in England or another country are older because they are mostly migrants. From South Africa, Angola and Brazil mostly. We can see from our statistics and there is some contact through the chat.
Elson Ponte: We have many Brazilians that listen to us, but most are from England. The site is in Portuguese and they hear it.
NT: It happened to me in July a ridiculous situation, a colleague of mine who I had not seen in years began to hear me, did not recognize me by the voice and eventually found my name on our web page. Then we started talking again and he told me he listened to the radio for some time and had a bar and put the radio on for the British clients.

But how all this works, each one has a mixer at home?
EP: It goes without it. We make the program from home, as long the computer has a quality microphone, Nuno is a mixer that puts one channel for each person and from that moment we are able to go on air. He has software that we used to talk over the internet, i.e., it receives the audio and sends it all from his home. When we put the air the 4Litro program, they are not in our studio, everything is done from their home, they talk and we put in the air from our equipment.
Manuel Vasconcelos: If you have someone to do a story on the street, Nuno is in his studio and then we establish the connection. We speak with people to include them in the radio emission. We are live all the time. The rally in Porto Santo was always done this way for a week straight. I was on the island and turned out to be possible. That was last year. The connection is made through Skype, you can do all this and even video calling. We have open chat.
NT: The main studio is in my house, and then from the server they can connect. I get it via Skype and I can mix the program.
EP: People can also interact from their webcam and we can interview them from the chat. A studio brings many fixed costs, we have to physically go there and have equipment for everyone. Thus, it is not necessary. Nuno organizes everything from his home and we just have to talk to him. We were able to Skype in a way with much more quality. We faced some complications of hardware at this point can be made the programming as well, however there are limitations, like echoes of people talking and when you have music on the PC, we hear it all. We also hear the noise of people on the street, as happens in a normal studio. Technology helps a lot.

Everything is done through a server only for radios?
EP: We have a server just to radio online, and then we have another set of Upalala just to put the songs, which is what Nuno does and use our computers. One of the applications of smart phones is Skype; we have achieved through a hi-fi network, connect our four phones at the same time and make the program with the phones thru the Internet. Some are on the computer, others with the smart phones and get them to join it.
MV: I do direct interviews thru a smart phone and if you checked the TV does the same through the hotspots, the voice may even be delayed in relation to the image, but it's all possible now through the phones and new technologies to make a radio program with quality.

Idalina Perestrelo already has a long way as the leader of the regional section of the Quercus organization. A path made of some successful battles and others lost due to the autism of the authorities and society in general about environmental issues. But this green warrior does not disarm and she still struggles for a more sustainable world that requires education and awareness for the new generations about the importance of the environment. So be bioactive and give a hand to your planet.

How can you summarize these ten years of activity in the regional directorate of Quercus? What has changed?
Idalina Perestrelo: The maturity due to age and experience gained in the direction of Quercus has been extremely positive. I learned a lot at various levels. It was very important and continues to be, either as regards the preparation of documents, meetings and all the more bureaucratic issues related to the environmental themes related to the island. I learn what's the best kind of environmental education; I no longer see it as ten years ago. Before I thought a lecture at a school had great impact and now I know that is crucial but not enough. In addition, you must complement with practical activities, with examples.

When you started to lead the movement how did you imagine it would be?
IP: I'm already sixteen years in the association. I started slowly; saw how things were done and what were the real environmental issues. A while ago the theme of the environment was put aside, it did not matter. When I started in these "wanderings" had no clear picture of how important it was to change some attitudes, with a view to improve the environment. I knew it was necessary to separate garbage and other small things. But I found that environmental issues go far beyond that. Today I know that the link between environment and economy are inseparable. You must coexist, like it or not.

Before in the beginning, you thought that the lectures were sufficient, now what do you think should be done to raise awareness of new generations?
IP: You must set the example above all. I usually say, the example is the best way to educate, sensitize and teach. When I go to the supermarket and got my bag for fruit and I carry the vegetables in a basket, usually people look and wonder. By demonstrating you serve as an example and maybe the average citizen learn more this way. Both people, as government entities need to take a major step that is put all this into practice.

And how about society? taking into account your experience, do you think there was a evolution or not?
IP: There was an evolution. We've noticed that people theoretically have a greater concern and more awareness of environmental issues. In practice there is an evolution. Not much as desired whether on the behalf of ordinary citizens, whether of governmental entities. I think there is much work to do. I even believe that we may regress, due to economic constraints, people's priorities will be changed again and environmental issues will be dismissed. In particular, will see garbage lying on the slopes again. These are situations that may occur. I believe there was an evolution in time, but I think the will be a regression.

We recognize the warm tone of her voice gently spread thru the airwaves for decades. We know all the contours of the face when she walked in inside our homes with her wide smile, through the box that changed the world, but Teresa Mizon is not limited to the role of innate media communicator. She is a genuine titan that can change the course of her existence at fifty-one years old, without fear, always with an open heart and an unwavering passion for life ... and macrobiotics.

You always were linked to the media, but suddenly you have decided to change course. Why?
Teresa Mizon: Life is made of cycles. Many years ago I left a career in hotel management, which had taken me too many places in the world; I abandoned it when I came to Madeira. I started a new stage in the media, took place in a café, someone asked me if I did not want to talk radio. I loved all the years I dedicated myself to television and radio, but had not completely abandoned the last one. I did the best I could. I fell in love. But there was always a bug inside of me that was alternative medicines to Orientalism and food. Since my teens I dreamed a little to have my life linked to these areas. Of course, to be in the media was fantastic, I did not stop and intensely lived that period of my professional life, but I reached a certain age I thought it was time to change and follow my dream of adolescence and decided to follow the macrobiotic in me.

But it was always a will?
TM: It was an area that always interested me since I was eighteen the Orientalism, Taoism, Buddhism and Eastern philosophies. There was a time when I was a vegetarian, I was always very careful about food, but like most, ended up not eating properly when you do not know the basis of all things. They do not eat meat, they "get drunk" on sweets and dairy products which is something that vegetarians do much. Thus, ten years ago I decided, even before taking the course, to follow macrobiotics without being it institutionally. I knew deep down I was on the verge of change, had lived much, much stress and speed. Communication requires a lot of us, we always do it and when the time came that he could not hear more phones, I do not feel like being "aware", I changed and now enjoy being with persons. I now have a life that allows me to meet many new people. I'm open to other things when I was connected to the media had a series of workshops and lectures here and abroad who would like to have done and did not because I was so attached to television production, which is an exciting activity. And it's time to do all this.

How do you get to your fifties and decide to change?
TM: You know as an Orientalist I am, this is the stage of life we have become wiser. We know plenty; a lot of information accumulated throughout life and are sure of where we go. The word menopause for example, does not exist in the Far East, including in Japan this time of our lives that the West is concerned with terrible things, such as illness, depression and a series of calamities that in the east is not. A woman who follows her natural cycle, that is beware, it has love and self-esteem as her habits of life will reach this age and say to herself: I have this dream, or want to do this and is now or never. I must say what I dispensed financially was huge, now it is more difficult in this field. I am so happy and it is this message that I leave women with more than forty years.

But, your closest friends do not be "warned against the folly" that you were about to do?
TM: Everybody! But, since I was a girl I hear that the decisions I make are always crazy! (Laughs). When I dropped out of college where I was enrolled in architecture and came home to tell my father I wanted to do hotel management, at the time he thought it was absolutely mad. I was forced to take courses in French and Secretarial because he was worried about my future. From then on I always did as I felt like it. I had senior positions at the Sheraton Porto hotel; I dropped it to do radio. I studied and did all the possible formations and was also effective in RTP when I decided to fire me because my philosophy of life was incompatible with theirs. At the time, I was offered promotions. I just know I do things for love, for pleasure and not for freight. Large companies have philosophies and behaviors of which I cannot identify. I went over to TSF, I was part of the initial project here in the island, was something that gave me immense joy. So, I've also open a decoration and regional handicrafts shop which also gave me immense happiness and returned later as a freelancer for RTP fifteen years ago. I want to be free and this is one of my most important values of my life. However, we must take large doses of self-discipline and responsibility, and so I'm used to be call "crazy." However, I never regretted anything.