It is a short film of 15 minutes, written and directed by César Schofield Cardoso. It is, in the words of Filintio Elísio Correia e Silva, root is a very cosmopolitan film, roothed, performative, that talk about the things of the Cape Verdean man, not beeing a very green country and have a very rough and hard nature. Then addresses the man struggling with this nature, this port with Africa, which has African music and European culture brought by religion.

What led you to write a script for a film without words?
César Schofield Cardoso: I must frame this project in my beginings as a photographer and for a long time I did only photography, which is an act of speaking only with the image. When I started making films I carried that way, this purely visual language, then "root" was done that way. Also I am very intrigued the Cape Verdean people, how holds up, we are a country that has long periods of drought, I would say that is intense, there are people living in a very hard way and I wonder how these people survived all this time. Intrigues me also this coexistence, which is not very peaceful, between cultures. So, the film has those elements, in addition to a nature that is very powerful, visually and to those cultures that are in permanent shock in dialogue, reconstruction, is a universe that defines me as much as cape verdean. It is of the things that I observe in my own land, is a topic that is very dear to me.

You speak of culture shock, but there is another between nature and religion?
CSC: Yes, I must say that all religions intrigue me, but particularly Catholicism. I am interested in the blame, we are sinners, we are guilty, we must suffer, resign ourselves, right? So I bring it, I put this question in comparison with the beat, which came directly from Africa and that is the force of struggle, non-resignation, these are the elements that put in conversation.

The dry element is placed in opposition to the water at the beginning and end of the film, why?
CSC: The cinema is a language and we used our components and tricks. Talking about a drouth with the sound of water it particularly violent this condition happens that is an aspect that jumps right out when you see the film and that people talk a lot and works, because viewers are annoyed, that water appears almost as a joke, is not it? (laughs)

Gonçalo Campos is a designer who bets on unique pieces, different and with a dual functionality. Suit its products to the needs of the brands and seeks to provide innovative solutions taking into account the characteristics of industries for which he works with.

One of the features of your design pieces is deconstruction. It happens to the ceramic articles, you add another function the material itself. It is a brand in terms of your design?
Gonçalo Campos: Yes, it has to do with the production. I like to work very close to the companies, see how they work and make it much easier in terms of production. In the case of a ceramic mug is usually made in two parts, the cup and the handle separately, knowing that, you can play around with the piece and descontruí it. It is a simpler way to do something special, different and also for companies to realize is not necessary a great tool to work with designers, it is not required to go far to do something original, new and sometimes that's enough for brands.

Some of your pieces of wood are almost disconcerting in it simplicity, has almost no production, you work a lot in terms of function. It is always a concern of yours?
GC: Not always. I face it the same way, there are often ways to make a simple piece that is functional and at the same time special, that interests me. The products we design has to take into account, not the economy, but the difficulty of production, because if I approach a company and the product is very complicated, it is a reason for their disinterest at the expense of a more simple one, they realize how to produce.

Why you say that, is it because remains the difficulty of interaction between industry and designers?
GC: Yes, many times, there is not even advantages. In some cases it is the fault of the designers who does not know the company enough, or the market where these companies work, do not understand its size, since not all provide to the same types of customers and the products that are designed are not suitable. I learned that having more interaction with the companies, markets and brands. That's what pushed me to exportation and realize the needs of business and design accordingly, because that's what the brands need at this time, interesting solutions taking into account the capacities available to them and draw from there. Unlike a designer that is out of the whole process and that ultimately delays a project, often companies want to bid, want to have new products, special, competitive but need to create products with the features of price range that they practice rather than invest more money looking for a customer for this new product, which turns out to not be part of the company context.

This happens with any type of company, whether nationally or not?
GC: Yes, in general.

The volcano on the island of Fogo in Green Cape remains active for almost 15 days.

Exists on our planet more than 1300 active volcanoes in the world and many are underwater, affecting ocean ridges. The main volcanic regions on Earth are around the Pacific Rim, from Cape Horn to Alaska, called the Pacific Ring of Fire, in the central Andes of Chile, with the highest volcano in the world, Guallatiri, with 6060 meters, North Iceland, New Zealand, Hawaii, Japan and Antarctica.
In Africa one of the most active is the volcano on Fire Island in the archipelago of Green Cape, with approximately 2829 meters high, with a circular shape that has an area of 476 km2, with a boiler of 8 kms in diameter in Chã das Caldeiras on the west side, its walls reach 1000 meters, with a crater 500 meters in diameter and a depth of 180 meters. Now imagine all this natural wonder erupted spewing lava and ash in all the directions since the November 23rd , endangering the lives of about nearly 40 thousand inhabitants.

According to an official spokesman for the local government, Aleida Monteiro, who spook to Lusa, Portela and Bangaeira were literally erased from the map by the lava gushing from various volcanic cones of Chã das Caldeiras. Having destroyed these two locations on four fronts, latter was unified and created a new, 300 meters wide, which follows tend towards the Old Hill, north of the island. However, the assessor cannot confirm if this is the route these glowing mass will tend to follow, so "you never know". If it is confirmed the worst-case scenario and Old Hill is reached by the lava, the torrent again will gain speed, because a considerable gap, taking ahead the small towns of Father Antonio, Feijoal and Fonsaco, which are right next to the second largest city of Fogo Island, Mosteiros, also the head county, by the sea. Everything will depend on the terrain slopes, as there is also the possibility that the lava can go west and launch toward Corvo, Achada Grande and Relva. "But it is still very uncertain," insisted Aleida Monteiro, who said the team of experts is monitoring, minute by minute, the eruptive activity and the direction of lava, with two observation posts on the ground.

The Portuguese Government, from the first moment of this natural disaster, responded to the call of regional government of Green Cape and proceeded to send logistical and human support, but if you want to help local people anonymously, just make a small contribution indicated down bellow:

Account: SOS tchan 2014
Bank of Cape Verdean Business (BCN) with Swift: CANBCVCV
IBAN cv64 0004 0000 0569 6870 1016 3
The corresponding bank in Portugal is Banco Santander Totta with Swift: TOTTAPTPL

http://www.cig.gov.pt/2014/12/apelo-da-uccla-para-apoio-a-populacao-da-ilha-do-fogo-erupcao-vulcanica-de-cha-das-caldeiras/

http://www.universal.pt/main.php?id=160&art_hom=15785

Inserted in the includance program, spurred in partnership by the choreographer Clara Andermatt and Henrique Amoedo, there was an action of intensive training with professionals, mainly from the field of dance as well as other artistic areas such as music, theater, video, or performance. A meeting of about 20 interpreters and creators with and without disabilities that aimed to provide experiences, perspectives and reflection on different forms of expression and communication.

Living in society imposes a social behavior, aesthetic and cultural model accepted by a large majority, but does not the difference deserves a captive space in this set of rules that govern us? After all we are all so alike? So how can you be normal in the difference? Where we draw the boundaries of a normal accepted by most of the common citizens? Or normal after all are those who pledge their difference without finding excuses for the way they think, their everyday live and how they appear before society?

Thiago Soares and Flavia Cintra are both very different ... in their respective normality. He takes on his body like a canvas that he uses as he pleases, consciously, even that it means impose pain. His tattoos and pircings are just one of those stages of transformation of the being. There is also the rest, his body fluids that fascinates him and actively uses in his artistic public performances. These are all facets of Thiago forming its identity and without it would plunge him into a deep depression.

She, in turn, bears a partly petrified body, an aspect of her appearance that she displays naturally. It does not reflect her identity as a mother of twins, professional and citizen. Flavia gets up every day at the same hour, prepares the children for school and leaves for work like any other woman. Assumes that does not dream of walking, which would add nothing to what she already has and won even in a wheelchair ... her happiness.

It is the last record of Nuno & the end, with a cover of DDiarte.

In my view, there are two types of musicians in this world, there are those that strive for excellence when they play their instrument of choice, are called virtuous interpreters and can even compose, but they devote more time and effort to improve and show off the music compositions of other artists, then we have musicians that are not limited to master the technique, but go beyond, create a musical universe that identifies them and listeners recognize it immediately, it is just like a fingerprint, this is the case Nuno Filipe and the End. If in "Seance", that I already rated, he begins to explore this sound that characterizes him, in "Light Ahead", I recognize the maturation of a different project in conceptual terms. In this discography work I note at the outset a greater number of structured songs, the lyrics do not exist by chance, there is an underlying cadence would say almost biblical, so follow me, starts with the theme "the apple & the serpent", followed by "daydreaming and then "ascension", " idealistic thoughts "," when it all ends "and " light ahead" that tittles the album. If you listen carefully the rhythmic construction follows all these developments in terms of narrative, Nuno Filipe introduces several grafts and mixtures which further enrich the themes I speak not only of the various languages in which the songs are interpreted by the great voices of Tasha Glis and Moun Pinz, but the monologues that are one of prints of this composer. I also highlight the "we came in peace" the first song taken from this new work, accompanied by an ironic music video, even subversive, best first impression ever, that reflects perfectly the polyphonic, multi-lingual and conceptual world of Nuno & the End.

It is one of the major trends in terms of color palettes of the cold season.

Although one of the colors this season is red, I decided to resist the temptation and I will talk about the amazing new colors for this autumn-winter, the pastels. They are unusual colors for the climatic rigors we live in, but bring with them a lightness that although associate the summer end up making our days less gloomy. I highlight some pieces of cloth of young national designers who deserved my attention for innovation in terms of not only the modeling as the choise of materials. One such example is the young Carla Pontes, who presented a series of coordinated reminiscent of the fall of the leaves but in soft tones. Teresa Abrunhosa, on the other hand, invested in a girly silhouette, the pieces remind us all of a delicate feminine universe, soft and romantic. The concrete by Helder Baptista brings us to an ultra sophisticated, elegant and very avant-garde woman.

In a week in which we want ot inderline violence against women, under the slogan of orange, here I leave my simple tribute in the form of two pieces in that tone, signed by two big Portuguese designers, Anabela Baldaque and Teresa Martins, that thru decades contribute consistently and discreetly for fashion made in Portugal.

http://www.portugalfashion.com/galerias/

Is he one of the best actors of his generation. He does not like to embody linear characters, enjoys the complexity and contradiction in terms of representation and is not afraid to take risks.

Addressing three persogens you created in "the art of stealing," "the last condemned to death" and "call girl". Which of these three was a challenge in terms of building the characters?
IC: I really enjoyed doing the "call girl". Working with Antonio-Pedro Vasconcelos, by the scrypt, the way it was written and freedom that the director gives actors to work. It was a great challenge for the shooting speed and the characteristics of the character, was a police with lot of speed, who acted first three times before thinking.

You are attracted more to this kind of marginal characters, fleeing the stereotype of the typical good and the bad guy?
IC: Not necessarily. Whar attract me are projects where things are not absolutely linear and there is some complexity, marginals always have a rebellion that allure me, as well as the so called bad characters. But, I think it is funny as an actor not to make that decision a priori, that is, not decide whether a character is a villain. There were a few years a film that impressed me much with Bruno Ganz, a German actor, who was Hitler and what was interesting in the character is that we can create a certain empathy with him, which should not happen, due to what he made to humanity. As a human Hitler was evil for some, terrible for others, however, it was said that he had a wonderful relationship with his grandchildren, was a downright grandfather, as an actor I am interested in these contradictions and complexities.

You have a long career in Portuguese cinema. Looking at this point backwards, do you think there is an evolution, or a step backwards? Today we speak much of the crisis, of that there is no funding for the Portuguese cinema. How do you look at all this route?
IC: I think we had more economic good times. My generation picked up the movie boom, at least tried to, maybe we have not managed things the best way to set up schools, not in the literal sense, at least the habit of writing screenplays and directing actors, which I think they are two our weaknesses. It is always very difficult to find good scripts anywhere in the world and the direction of actors is not fully developed in Portugal, there are people who know how to film, but do not know always to direct and ultimately who is in front of the cameras are actors and not conducting technique, others will say otherwise, but this is where I stand. Today we face through a major crisis, funding stopped two years ago, there was a large drop in production, but on the other hand, was born a new generation that grew up with these limitations and quickly realized that they could not be waiting for support and went ahead with small projects and we have young filmmakers who are producing first and second works that I find interesting. I think our country has to solve the manner issues of patronage law, where a producer can get support from companies and they have counterparts in fiscal terms. This happens a lot in Brazil and when it was clarified the legal framework happen what they call the resumption, today Brazilian cinema has come a long way. We have to clarify, in my view, the patronage law in order to increase the independence of the state but also where you can get money in return for having viewers and movies that can be viewed by the public. Then there is also another issue where I think more and more that are the related rights, the image of the actors, we have had them and not now, it is to be paid not only to participate in the film, but each time it goes on wherever, for those who participated get a percentage of gain, it does not exist today. On one hand, the work we did continues to be passed on television, they receive money from advertising and who worked on the film does not get any more. Forcing an actor to have to participate in many things when it could be more economically safeguarded, on the other hand, and I hope to be right, because this will be solved one day, would create a larger initial investment in film production, would have a positive impact on the public and it will be worth being viewed from there to the future, so there would be a greater responsibility to pay those who participated in the film. I really believe it would have a positive impact on the industry, the actors would receive what was due them and to the public was not thrown into the eyes dozens of productions made in three strokes, at times that no one will actually see and which were produced by one reason only, just for the occupation of time schedule.

As an actor you have divided yourself in the theater, television and you participated in "ice". Can you tell me a little about this work?
Ivo Canelas: The "ice" is a science fiction story, with a very strong dreamy side which speaks, not wanting to uncover the script too much because there is an element of surprise that I do not intend to reveal, of criogenics, ie the freezing of bodies so that people can be resuscitadas in the future. My character works in this area, is who manages the criogenics company.

The ficine (itinerant black cinema forum) is a space of education and reflection on the world production of film, photography and audiovisual which has black as directors. César Schofield Cardoso, filmmaker and photographer, is one of its founding members in Cape Verde.

What is ficine?
César Schofield Cardoso: Is the black film forum. Resulted from a meeting in Salvador de Bahia, Brazil, during the week of Africa. In that event we discussed the African cinematography, the black diaspora and the problems of the black condition. Then came the idea from a Brazilian researcher called Janaina Oliveira, who proposed a traveling irinerant forum traveling to various places to talk about this topic. I like to develop several projects, on the web, so I suggested that this meeting also occur online. And it has been so, we are on the Internet, where there are several references, dissertations, companies, books and theses.

And movies?
CSC: Has a list of filmmaker.

But is a black film forum to promote black culture, or is it just for black origin filmmakers?
CSC: Black cinema is a title that denotes a certain kind of cinema. Historically took place in the US, as opposed to a film that already existed in mainstream, which was in Hollywood and did not show blacks, when there was a role they paint the faces black, the famous "black faces", but even then there are black origin actors capable of composing a character. The black film turns out to show things from the black point of view, however has been developing and arrived in Brazil, Colombia and currently addresses the black African cinema, which is different from the Maghreb. It is a film that speaks of a field, a cinema with its own characteristics that not enough to be black, has other issues that take a long time to explain, the site explains them. It is a statement of cinema, not exclusion, a white can do a black film putting this issue from the point of view of color, but the ficine has a concrete proposal on recovery of black cultures, the look and the black situation. The forum has this concern worldwide extend this discussion to form an audience, because our look is very stereotypical, we consume a particular culture and not questioned us about it, catches attention by another way of doing things, which are not prejudiced and this is also one of the objectives of deconstruct and create another imagery.

What other activities the ficine has, in addition to the debates?
CSC: We are roaming, the project has only one year, but the idea is to have a travel plan. Places where we go and set this debate, the forum has a very important factor is education where are involved teachers, students and researchers. So we have a concern about the education of the public and also with the development of materials to schools, which is not done any other way and we intend to do it.
But you show films?
CSC: Yes, after we have workshops for film production.

www.ficine.org

The environmental organization has been monitoring throughout the year several green areas of Portugal.

Since the beginning of 2014 that Quercus has carried out an assessment of protected areas of mainland Portugal, using a simplified model of analysis of various forces. The method used makes a diagnosis of what positive and negative has been made since the creation date of the creation of the protected area and an appropriate prognostic scenarios to ensure the conservation of habitats and species. Altogether have been monitored 25 landscapes, parks and protected areas of our country. The diagnosis, however, is not limited to characterize the strengths and weaknesses inherent, due in most cases to direct human intervention, it proposes sustainable solutions that could further catapult the environmental component of these green areas, together with a possible economic potential of these protected areas in the near future and subsequentemete improving the quality of life of the local population . Interestingly one of the most recurrent findings throughout the report is the introduction of exotic species in the various habitats with very negative consequences not only for the local fauna, as for the endemic flora. Another common point is the systematic loss of autochthonous forest, due in some cases to fire, but also the disorderly urban pressure that instead of bringing benefits to their regions ultimately discourage sustainable tourism of these protected areas. Another aspect to consider is the environmental education of the population, though, has made improvements to this level is still much lower than expected.

Below this the link so you can check all green areas inspected:

http://www.quercus.pt/comunicados/2014/fevereiro/3398-quercus-avalia-areas-protegidas-paisagem-protegida-da-serra-do-acor-sera-primeira-ja-a-3-de-marco

A concert of Julio Resende is a feast for the senses. The way he plays the piano, especially in this Solo record, takes us not only into the history of fado and one of its biggest names, Amalia, but also to one of the references of the Portuguese guitar, is like reviewing the master Carlos Paredes, only in the piano, running his thousand fingers masterfully through the keys. Simply brilliant and not to be missed.

Why three jazz albums later, you decide to do an album with only songs from Amalia? And at this point in your career?
Júlio Resende: I'm not a discontinuity, is a continuity. It is normal that after a pianist in his career wants to do a solo album. There is in the history of pianist that tradition. I also wanted to make mine as personal as possible and to that extent, I was increasingly involved with the fado, was increasingly obvious that I could think of it alone and when I decided to make the album, I remembered that both solo means soil and the land where I come from is Portugal, where it was engrossed and increasingly made sense to think of a solo album from fado and the songs I knew by memory, that are part of my land and I have been taught by Amalia to hear her sing.

How did you choose the themes and what was the process for creating the guidelines for music?
JR: Above all, I wanted to learn to play the themes as if he had to sing at the piano, or the piano is singing and I try to sing with the piano. I'm not the voice is the instrument. The absence of the words in this musical project is something that has to be replaced, this was the hardest part to learn the songs and sing them at the piano as if we had heard a voice. The second part was imagining my voyage around these same themes.

In concert, organized by the Society of development of Madeira, however, the concert had some jazz and improvisational sound.
JR: Of course, the whole concert is improvised in that there is nothing written.

So, all concerts are played differently?
JR: Yes, although there is an arrangement and there is a song we all know. I try to keep them stable even if it is not repeated in the same way. Soon, I will play a new concert and do not know what will happen. I know I'm going to play some of these themes and some will be noticeable, but I have not written anything, I do not know how it will be in the begining, what will be in the middle and how it will end. I do not predict, just try to let me go, but there is a base that is fado.