Christopher Larkosh, Elena Como from Atlantico Books, Dário Borim

Dário Borim, a Portuguese professor at UMass Dartmouth, produces a weekly radio show for the UMass Dartmouth Radio Station: “Braziliance.” It streams live on Thursday afternoons from 3-6 EST, and at that time you just go to the website to listen: UMass Dartmouth Streaming Server – WUMD 89.3 Webcast. Braziliance features music of the Portuguese-speaking world. It’s always a great mix of Brazilian, Portuguese, and Luso-African music that keeps me tapping my toes and smiling. I always recommend listening to Brazilian music in order to learn Portuguese, and Dario is a great DJ, choosing wonderful music to learn with!

Dario is a Brazilian from southern Minas Gerais, who teaches all levels of Portuguese at Dartmouth. His students are beginners all the way up to PhD students. Dário also produces a weekly radio show on the local radio station, WUMD. You can tune in and listen to his show, “Brazilliance,” on Thursdays, 3-6pm, local time (Eastern).  Dário is a batuqueiro, a drummer, and he plays a nice variety of Brazilian, Portuguese, and African music on his show.

UMass Dartmouth has 10,000 students, and about 300 are Portuguese students. There is lots of local support and funding for the  Portuguese program because of the large Portuguese community. The PhD program is in Luso-Afro-Brazilian studies

Adam Mahler and Vasco da Gama in Times Square

September 9, 2010: This was the day I met my first big high school crush. I did what my generation calls, “lurking.” I checked her facebook, took note of her classes, interests and tried to stir up conversation with her. I had heard through some of my friends that she knew Portuguese. A good student, and always with an ear for foreign languages, I figured what way would be better to impress her than a quick snippet of Portuguese. The task ahead of me was hard. She was familiar with European Portuguese. I spent days trying to find resources on “Português de Portugal”, and made little progress. I found one phrasebook, but other than slipping through the section “Sex in Portugal” for quick laughs, I made little progress. Meu deus, mais rápido!

The notions of learning Portuguese to woo a girl failed fast. It turned out her padrasto was from Portugal, not her herself. She had a certain fondness for Portugal and Portuguese, she didn’t know much Portuguese. We ended up dating, but surprisingly Portuguese didn’t go on my mental back-burner, or even worse… trash bin.

I first found myself in my Portuguese crossover phrase, I would listen to Portuguese-English songs, such as those by Nelly Furtado–speaking of which, isn’t it a shame she does more in Spanish than in Portuguese? Anyway, I word by word became engrossed, and slowly, I had mastered pronunciation more or less, and also could form basic Portunhol sentences.

It became an obsession– I became known as Vasco da Gama, and soon even the girl I first discovered Portuguese by was telling me I was crazy. But, I was unstoppable. This past summer, I finally embarked on my first Portuguese class, and took weekly lessons. I did awesomely; not because of my talent, but because of my passion. I wouldn’t be able to wait for each lesson and I would spend nearly all my free time doing workbooks rather than my vast summer assignments. While I am by no means fluent, at this point I am fairly proficient, and at the very least able to understand the majority of the Portuguese I encounter, and am able to communicate fairly well. I eclipsed my 6-7 years of Spanish studying in a few months. Every Latin class, I would talk with my teacher, I would tell him how Portuguese descended from Latin and had some of its strange peculiarities.

After these lessons, which I still continue, came my next step into Portuguese learning: Portuguese teaching. I started the Portuguese club at my school. There were more members than expected, and granted that everyone takes Spanish, there was a good foundation and there are quite a few people in my schooling “fala-ing” as they call it. Teaching enriched my own knowledge of Portuguese– it was good to hear it and dissect it to answer others, to really comprehend and translate on your feet. When I didn’t know how to translate something from Portuguese to English, I smiled. This was the mark of true learning, I had thought in Portuguese. The club is still new, but both the faculty and students love it, and more than anything I’ve exposed people to perhaps the most advanced culture and unappreciated language in the world. Brazil, Portugal, and all of the Lusosphere have a culture that is the culmination of half a millenium of global contact. Even though many nations colonized, and languages adopted loan words, no culture of language seems as unique as Portuguese. As Mia Couto said, “Português é uma lingua que aceita muito.”

I have been a sort of Renaissance man over the years. I have been the avid guitarist, the dark poet, the sports buff, and everything in between. But in the end, those passions, no matter how strong, were to impress others and raise my self-esteem. Yet it would be the passion that started out as the most vain attempt to impress of them all that would become my long-standing passion. I need to teach and work with Portuguese for the rest of my life– my dream is to do so at Yale. No matter what though, Portuguese is my first tangible, permanent, and perhaps even only true passion.

This book review is by Maria Antonia Cowles, Professor Emeritus, Lauder Institute of the University of Pennsylvania, and it originally appeared on the Portuguese American Journal website.

Brazilians Working with Americans – Cultural Case Studies

Brazilians Working with Americans- Cultural Case Studies
2007, 218 pp. ISBN: 978029271474731
by: Kelm, Orlando R. and Mary E. Risner

In an interdependent world where intercultural communication and foreign language proficiency are a critical tool for effective business practices, dedicated texts that draw on authentic experiences and discourse are few and far between. The English/Portuguese bi-lingual 2007 publication by Orlando R. Kelm from University of Texas and Mary E. Risner, from University of Florida presents a unique collection of real life cases which illustrate cultural issues in business related transactions leading to miscommunication and/or leading to less than optimal outcomes.

The volume comprises ten non-sequential units, each relating a case based on actual experiences that Brazilian executives lived through during their work with North Americans. Each chapter follows the same format: (1) the background story contextualizing a critical incident involving a cultural issue; (2) comments from three Brazilian and three American executives expressing their personal opinion on those issues; and (3) a number of topics and questions for discussion.
In addition, supporting QuickTime movies of the executives’ personal opinions permit viewers (students or businesspeople) to see and hear the entire text in both English and Portuguese.

The main strength of this text is its adaptiveness in serving multiple functions and multiple audiences:

1. As a text for business students, it provides for insights into real-life cultural issues from the business environment. Management style and approach to problem solving, models of the discourse used in a particular domain (e.g.: repertoire and register) as well as opinions and interpretation of the cases by peer Brazilian and American practitioners in both languages inform a broad spectrum of learners.
2. As a teaching tool, it provides the instructor with a wealth of materials from which to draw and incorporate into a business language and culture curriculum.
3. As a broad spectrum resource for North-American and Brazilian business practitioners and faculty, it can be used as a primer for the first encounter as well as a rich resource for validating existing assumptions and asking new questions.

English/Portuguese and Portuguese/English glossaries, and suggested supplemental readings on intercultural communication studies complete the document.
“Brazilians Working with Americans” should belong in the library of every student, teacher, and practitioner dealing with business between Brazilians and North-Americans and to the global manager who at some point will be doing business with Brazil.
Although there is concern for the life span of any book dealing with current issues, its well conceived format has the flexibility to permit content updates to serve its broad audience for years to come.

Padrão dos Descobrimentos, Belem, Lisbon, Portugal

In my mind, the world has JUST gotten used to or is starting to realize that there is a place called Portugal which is NOT in South America.

And, after a trip to Lisbon this summer for Disquiet (International Literary Program), my personal focus has been to spread the word about Portuguese culture, as best as I can: through poetry, through posts on Facebook, through book reviews and public readings.

However, there are issues. Starting with, the name. Does the term Portuguese-American include or exclude?

It is a hard call to make and one which muddies the waters, but what is the proper name for what I had previously used as a moniker for myself: Portuguese-American (PA for short) or Lusophone? Iberian? Or, something else?

Luso-North-American is certainly not as short n sexy as Portuguese-American. And, unless you are an academic or consider yourself Luso, you probably don’t know that the term Luso is derived from the Lusitanians, one of the first Indo-European tribes to settle in Europe.

So are we Lusitanics? Are we Hispanics? Still others feel the correct term to describe those of Portuguese descent is Lusophone. Heck, even the government is confused. The U.S. Department of Transportation defines Hispanic as, “persons of Mexican, Puerto Rican, Cuban, Dominican, Central or South American, or other Spanish or Portuguese culture or origin” but the U.S. Office of Management and Budget excludes Portuguese.

Thus, in organizing a public off-site reading for next year’s Associated Writing Program’s (AWP) conference in Chicago (March 2nd 2012), I agonized over what to call “us,” this group of wonderful writers who had bonded together and found each other this summer in Portugal. A reading that would technically be the first time any Luso-esque writers had gathered together during AWP.

As far as the conference, our announcements are appearing in places called Portuguese American Journal, the Portuguese-American society, The Azorean Nation, Portuguese American Review. Early on, I tested the waters with the term Luso, and it did not resonate with a general population. Not one of the 500 members in my online Poetry Group knew what the heck a “Luso” was.

And, Oona Patrick (essayist) told me she once posted flyers in Provincetown and had to go around crossing off Luso and writing in P-O-R-T-U-G-U-E-S-E A-M-E-R-I-C-A-N because the local Portuguese denizens had no clue about Luso!

The Italian-Americans have this issue too. With Sicilians versus Italians. And I have never heard the term Italian-Canadians, but that is my own ignorance I am sure.

As a way to make peace with the issue for the AWP book fair logo. I went with the simple label of “Portuguese-American Writers” against the red and green flag of Portugal and the famous o galo de Barcelos (colorful rooster symbol of Portugal).

However for the public reading, I adopted both terms, with this title, “Kale Soup for the Soul, Luso-writers present work about family, food and Portuguese culture.” That description, I felt would include everyone. Of course with letter scramble “soul” easily becomes “luso,” a fact that was pointed out to me by my clever husband!

There is a rather large PA population in Chicago, so we are hoping to attract a non-AWP audience. And, if I list everything as American and North American and Canadian and Brazilian and Portuguese for the Book Fair, I am afraid of scaring off potential customers who will leap away from our booth like rats on a sinking ship–if our sign is too erudite, academic and confusing.

The best brands are short and completely describe the product. Like 7-Up, the un-cola. Seven ingredients, a clear, sweet bubbly beverage.

I long for THAT level of simplicity.

Now, I also have my own issues with definition since, technically, my family is from The Azores NOT the mainland. So am I Azorean-American (not very catchy)? Then there is Angola. Then there is Macau.

Heck, Europeans don’t even use the term “Hispanic” To them, if you are from Portugal or Spain or Italy or France or Romania, you are lumped into the “Latin” category. And “Hispania” is just an ancient name (23 centuries ago) for the Iberian Peninsula, so, essentially, then, the only true “Hispanics are those from Portugal or Spain?

At any rate, this whole debate is MUCH larger than me and my opinions.

Perhaps a reason why we Luso-Portuguese-Azorean-North-Americans are still unknown and isolated IS related to the whole definition of what and who we are?

In my research on this topic I found MANY Brazilian sites online and none of them include Portugal. Not the meet-ups or the film clubs or even the associations. Except for one, bookseller Elena Como (founder of Atlantico Books) who stocks Portuguese-Portuguese as well as Brazilian Portuguese books in her online bookstore and includes those from all Portuguese-Speaking countries in her blog-posts about Portuguese language activities, such as literary events and films series, that happen in New York City. Most Brazilian associations and businesses, concentrate ONLY on Brazil. There does not seem to be much discussion about whether or not to include poor little Portugal. In fact, since many people think Portugal is IN Brazil, why bother?

Though, personally, I find Brazil VERY different. And I have, for most of my life, felt more akin to and closer related to the Latino(a) culture than Brazilian. In junior high, I was bused across town because of my Hispanic last name, Borges. And I made fast friends in that community.

My childhood experiences as a second-generation Portuguese-American are similar to my Mexican-American and Cuban friends: Catholic festivals, family picnics, spicy sausages. And since Portuguese and Spanish are Latin countries, and speak neo-latin languages, does that make us “Latino.”? My counselor in elementary school pointed out that my family came from the Iberian Peninsula, which made me Hispanic. So am I “Iberian”? or “Hispanic” or both? Or neither?

To be sure, created in 1143, Portugal is one of the oldest countries in the world and technically Spain was part of Portugal, which really confuses things. Plus, Spain is 450 years younger than Portugal. And Brazil, like Cape Verde, Guinea-Bissau, St. Tome, Principe, Angola and Mozambique; and Macau are former Portuguese colonies.

There was a time when Portugal ruled the world. We were known as the navigators. Just look at what Magellan accomplished.

So, what to do now, though.

If there were an easy label or brand which included everyone, I would use it for the two events I am participating in at AWP. Also, I am wary that in America, we seem possessed with the idea of American-made. American-born. The Good Old US of A. America the Beautiful. People are never Mexican-North Americans. They are Mexican-American. One hyphen being the limit.

I don’t know. The term to define us and its definition are problematic. Like I think it was the poet Carolyn Forche, who said her grandmother called the colander “the bowl with the holes that makes the spaghetti go out” presumably because of the lack of a word for colander in Czech. And, I feel we run the risk of not appealing to anyone if our description for ourselves is too long and convoluted for deciphering by the very public we wish to attract and educate about all things literary and Portuguese.

Heck, it was only after years of individual self-identification and growth that a group of cultures (Mexican, Puerto Rican, Spanish) grew together to form Latino(a), a group that I personally feel very much a part of. But, even THAT is a debate and another story.

There are many talks to have. In the meantime, preciso de verdade e da aspirina! Or, I need the truth AND an aspirin.

Millicent Accardi in Lisbon

Note: Millicent Borges Accardi, a Portuguese-American poet, is the author of two poetry collections: Injuring Eternity (World Nouveau) and Woman on a Shaky Bridge (Finishing Line Press chapbook). She has received fellowships from the National Endowment for the arts (NEA), the California Arts Council, Barbara Deming Foundation, Canto Mundo and Formby at Texas Tech (researching the work of writer-activist Kay Boyle).

For any TRANSLATORS out there, here’s a great opportunity! Check it out. Um abraço & BOA SORTE!  Elena Como da Atlantico Books

This $5,000 grant will be awarded to a proposed work of literary translation from Portuguese into English and is open to anyone under the age of 30. The translation must fall under the category of fiction or letters, and the applicant will propose his or her own translation project. The project should be manageable for a five-month period of work, as the grant will be awarded in June 2012, and the translation must be completed by October 2012.

Susan Sontag

Acceptable proposals include a novella, a play, a collection of short stories or poems, or a collection of letters that have literary import. Preference will be given to works that have not been previously translated. (Previously translated works will be considered, however applicants should include an explanation for why they are proposing a new translation.) Applicants wishing to translate significantly longer works should contact the Foundation before sending in their applications so that supplementary materials can be included. The prizewinner will be notified on June 1, 2012 and results will be announced online at www.susansontag.org.

The recipient will be expected to participate in symposia on literary translation with established writers and translators, as well as public readings of their work once the translation has been completed.

Application Requirements (Please download the application here.) All applications must include three copies of the following:

• Application Cover Sheet (available here)
• Personal Statement (2 pages maximum) explaining your interest and background in literature and the source language
• Project proposal (2 pages maximum) outlining the work and describing its importance
• 5 page sample translation of the proposed work from the source language into English
• The same passage in the original language
• A bio-bibliography of the author (including information on previous translations of his or her work into English)
• One academic letter of recommendation
• Official transcript from your current or most recent academic institution

All applications must be submitted via regular mail to the address:

Susan Sontag Foundation
76 Franklin St. #3
New York, NY 10013

All application materials must be received by March 9, 2012.

The fine print: Applicants must be under the age of 30 on the date the prizewinner will be announced: June 1, 2012. By submitting work to the Susan Sontag Foundation, the applicant acknowledges the right of the Foundation to use the accepted work in its publications, on its website, and for educational and promotional purposes related to the Foundation. Please note that application materials cannot be returned to applicants.

CHORO DUETOS PIXINGUINHA & BENEDITO LACERDA with CD

There are 2 new Brazilian Music books for musicians who play Brazilian Choro: CHORO DUETOS PIXINGUINHA E BENEDITO LACERDA Volumes 1 & 2 with Play Along CD

Based on recordings that Pixinguinha and Benedito Lacerda made in the 1940s. Each volume includes a play-along CD with complete tracks as well as “play-along” tracks; just the accompaniment without the melodies (flute & sax). Listen and Play Along!

Includes parts for C, Bb & Eb instruments–>parts for melody line and harmony line are included.
By Mario Seve & David Ganc
Paperback, 2010 1st Edition, with Audio CD, 100 pages each
12 tunes in each book

CHORO DUETOS PIXINGUINHA E BENEDITO LACERDA, Volume 1 with Play-Along CD

This collection includes:

• Acerta o passo
• Ainda me recordo
• Descendo a serra
• Naquele tempo
• Os oito batutas
• Proezas de Solon
• Sedutor
• Segura e ele
• Seu Lourenço no vinho
• Sofres porque queres
• Vou vivendo
• Um a zero

CHORO DUETOS Vol 2 PIXINGUINHA & BENEDITO LACERDA with Play-Along CD

This collection includes:

• Aguenta seu Fulgêncio
• André de sapato novo
• Atraente
• Cheguei
• Cochichando
• Displicente
• Ele e eu
• Língua de preto
• Matuto
• O gato e o canário
• Só para moer
• Urubatã

Brazilian Choro: a Method for Mandolin by Marilynn Mair and Paolo Sá

Review by John Goodin

Brazilian Choro: A Method for Mandolin and Bandolim with CD

Brazilian Choro music has been very popular with American mandolin players in recent years and Choro workshops have often been featured at CMSA conventions. There are number of books on the market these days that offer fun and interesting approaches to the Choro repertoire but this new volume from Marilynn Mair and Paul Sá is unique in its scope.

Rather than offering another collection of interesting music with or without accompanying text, this books aspires to serve as a method to help the owner “play Choro with a true Carioca accent.” Aimed at both Brazilian and English-language audiences, the book and its accompanying CD present a combination of musical exercises, classic and recent Choro compositions, and essays on the history and practice of Choro.

The result is a potent 136 page text and CD combo that allows the mandolin/bandolim player to become immersed in the music, performance practice, and cultural aspects of Choro. For those of us in North America who have no access to this music in its native environment it provides the next best thing to being there.

The Context section at the very beginning is an excellent start, combining brief but definitive explanations of the music and its instruments while at the same time introducing some accessible tunes. This is followed by the first collection of exercises, which necessarily take up many pages.

Marilynn’s essay “Mandolin in Choro” is scholarly yet highly readable and her “A History of Choro in Context” is even more detailed in its approach. It includes fine sections on important persons in the history of Choro along with musical examples of their art. The book’s final section, “A Personal Touch”, includes original compositions from both Paolo and Marilynn that demonstrate their mastery of Choro style and give the student some satisfying material to work on.

The CD that comes with the book includes everything you could want. It has examples that illustrate various concepts and exercises and includes several complete performances from both Marilynn and Paolo. All told, this is a unique and highly valuable resource for the mandolinist who has been bitten by the Choro bug. Highly recommended.

Tocando Com Jacob

Want to get started playing Brazilian Choro? These are my suggestions of collections to get you started! Each of these is a “meaty” book that will give you lots of standard choros that are commonly played at choro jams and performances.

3 Volumes: Songbook do Choro Vol 1, 2, 3 (AKA “Choro White Book”)–>Each Songbook do Choro has 100 of the most popular choros, this collection will keep you busy playing chorinho for years to come!

Brazilian Choro: A Method for Mandolin and Bandolim with CD (by Marilyn Mair & Paulo Sá)

O Melhor De Pixinguinha  (A great collection of Pixinguinha choros)

Tocando com Jacob PARTITURAS & PLAYBACKS Americans who are getting into choro especially like the CDs that come with this spiral-bound book, which include both original and “play-along” tracks. Book comes with parts for C and Bb instruments.

There are 2 new Brazilian Music books for musicians who play Brazilian Choro, and these are great because they come with parts for Bb and Eb instruments (no more sight-transposing!): CHORO DUETOS PIXINGUINHA E BENEDITO LACERDA Volumes 1 & 2 with Play Along CD
Based on recordings that Pixinguinha and Benedito Lacerda made in the 1940s. Each volume includes a play-along CD with complete tracks as well as “play-along” tracks; just the accompaniment without the melodies (flute & sax). Listen and Play Along! Includes parts for C, Bb & Eb instruments–>parts for melody line and harmony line are included.

By Mario Seve & David Ganc
Paperback, 2010 1st Edition, with Audio CD, 100 pages each
12 tunes in each book

CHORO DUETOS PIXINGUINHA E BENEDITO LACERDA, Volume 1 with Play-Along CD

This collection includes:

• Acerta o passo
• Ainda me recordo
• Descendo a serra
• Naquele tempo
• Os oito batutas
• Proezas de Solon
• Sedutor
• Segura e ele
• Seu Lourenço no vinho
• Sofres porque queres
• Vou vivendo
• Um a zero

CHORO DUETOS Vol 2 PIXINGUINHA & BENEDITO LACERDA with Play-Along CD

This collection includes:

• Aguenta seu Fulgêncio
• André de sapato novo
• Atraente
• Cheguei
• Cochichando
• Displicente
• Ele e eu
• Língua de preto
• Matuto
• O gato e o canário
• Só para moer
• Urubatã

Brazilian Choro: a Method for Mandolin by Marilynn Mair and Paolo Sá

Review by John Goodin

Brazilian Choro: A Method for Mandolin and Bandolim with CD

Brazilian Choro music has been very popular with American mandolin players in recent years and Choro workshops have often been featured at CMSA conventions. There are number of books on the market these days that offer fun and interesting approaches to the Choro repertoire but this new volume from Marilynn Mair and Paul Sá is unique in its scope.

Rather than offering another collection of interesting music with or without accompanying text, this book aspires to serve as a method to help the owner “play Choro with a true Carioca accent.” Aimed at both Brazilian and English-language audiences, the book and its accompanying CD present a combination of musical exercises, classic and recent Choro compositions, and essays on the history and practice of Choro.

The result is a potent 136 page text and CD combo that allows the mandolin/bandolim player to become immersed in the music, performance practice, and cultural aspects of Choro. For those of us in North America who have no access to this music in its native environment it provides the next best thing to being there.

The Context section at the very beginning is an excellent start, combining brief but definitive explanations of the music and its instruments while at the same time introducing some accessible tunes. This is followed by the first collection of exercises, which necessarily take up many pages.

Marilynn’s essay “Mandolin in Choro” is scholarly yet highly readable and her “A History of Choro in Context” is even more detailed in its approach. It includes fine sections on important persons in the history of Choro along with musical examples of their art. The book’s final section, “A Personal Touch”, includes original compositions from both Paolo and Marilynn that demonstrate their mastery of Choro style and give the student some satisfying material to work on.

The CD that comes with the book includes everything you could want. It has examples that illustrate various concepts and exercises and includes several complete performances from both Marilynn and Paolo. All told, this is a unique and highly valuable resource for the mandolinist who has been bitten by the Choro bug. Highly recommended.

Teodora e o Mistério do Vulcão
Post e Livro escritos por Luísa Fortes da Cunha

Teodora e o Mistério do Vulcão

Nesta nova aventura da Teodora, a personagem terá de encontrar um cristal denominado “o gelo que queima”, substância que se virá a mostrar como sendo o combustível do futuro. As reservas existentes do gelo que queima em toda a Terra são o dobro de toda a energia que existe de carvão, petróleo e gás.

    A história começa quando Teodora é ameaçada por Pooka. A fada maléfica pretende servir-se de uma irmã (Ângela) de Teodora para conseguir os seus intentos.

    O encontro com a sua irmã é inevitável e para que Ângela desfrute de tudo o que existe no Mundo Paralelo é obrigada a colocar a pomada da visibilidade nos seus olhos.

    O mago Saramago mostra a Teodora o diário de Ângela que guarda um segredo que se vai revelar muito importante para a humanidade.

    O Encontro Anual de Fadas desenrola-se no Vulcão dos Capelinhos, na ilha Açoriana do Faial, mas Teodora deixa o vulcão para resolver a missão que lhe foi confiada. Teodora desloca-se até à costa leste dos Estados Unidos, pelo caminho descobre o segredo do triângulo das Bermudas e por conseguinte, encontra a explicação para os naufrágios de barcos e quedas de aviões naquela zona.

    Depois de passarem os perigos do triângulo das Bermudas, Teodora, Gil, Alex e Artur, chegam à belíssima Buzzards Bay junto à cidade de New Bedford (a única cidade na América que restaurou três faróis históricos).

    É no farol de Clark’s Point que descobrem uma linguagem enigmática, uma antiga escrita do século XVIII e XIX — a linguagem WAMPANOAG de Massassucets. Depois de decifrarem a mensagem e de lutarem com um monstro capaz de se transformar em vários seres, Teodora e os amigos viajam para Bóston ao encontro do Monte do Mistério, mais conhecido como o Stonehenge da América. Aí encontram Pomola, um espírito com cabeça de rato, asas de águia e corpo humano. Preside ao tempo, causa frio e vem da Montanha sagrada dos Abenaki em Katahdin (Maine).

    É nesse encontro que ficam a saber que terão de viajar até à costa Oeste da América para encontra a chave que abre a porta do gelo que queima.

    Depois de passarem perigos imensos, descem as Cataratas do Niagara, atravessam o Grande Canyon no dorso de cinco grifos que os levam até ao Parque de Yosemite na Califórnia. Visitam a Grizzly gigante, a maior sequóia do mundo e encontram-se com Tisayac a guardiã de Yosemite.

Mais perigos esperam os nossos amigos. Desde the seven whistlers ao BigFoot.

Mas é depois de passarem S. Francisco, Ring Mountain, que chegam ao Monte/Vulcão Shasta que lhes vem a revelar os segredos de Continentes perdidos. Descobrem uma cidade subterrânea onde vivem os descendentes do continente perdido – A Lemúria …….

When & Where Reveillon in Brazil is Brazil’s way to celebrate the new year. In Rio de Janeiro, crowds go to Copacabana Beach. In Salvador, in northeastern Brazil, check out the Farol da Barra area.
What to expect Amazing music- pounding Afro-Brasilian roots music, sexy carnival costumes, fireworks displays, samba, that Brazilian hospitality that you just can’t beat – a very late night.

New Years Eve Reveillon in Brazil

History This is a worldwide celebration. The word Reveillon translates from French meaning “long holiday” this comes from the time that France colonized a certain part of Brazil, exporting Brasil-wood. In Rio , a city famous for civil unrest and danger- there is rarely ever a police report filed during Reveillon.

Want to learn about Christmas in Brazil? Click here!

Portugues XXI – Livro do Aluno 3 + CD é um bom método avançado de Portugues de Portugal. Você pode ganhar um livro de exercícios também se comprar o pacote: Portugues XXI – PACK Livro do Aluno 3 + CD, Caderno de Exercicio. No final de Portugues XXI – Livro do Aluno 3 + CD, o aluno nao só ficará a conhecer muitos aspectos que se relacionam com a vida cultural e social portuguesa, como se deverá sentir apto para: compreender diferentes tipos de textos de imprensa; apresentar os seus pontos de vista e defender opiniões; intervir em trocas comunicativas próprias de relações sociais; compreender folhetos publicitários; compreender comunicações, experiências, entrevistas e dialogos, a nivel oral; intervir em conversas sobre temas da actualidade, expressando opinioes e sentimentos; compreender e elaborar diferentes tipos de texto escrito. A Carla Guerreiro, professora de português, recomenda, “pois estes livros (nível 1, 2 e 3) apresentam atividades que permitem a utilização progressiva da expressão oral, pois os alunos têm de discutir sobre temas variados, dar a sua opinião, etc.”

Outro texto para portugues europeu intermediário é : Entre Nós 2 – Português para Hispanofalantes – Com CD. Entre Nós é um curso de Português Língua Estrangeira (variante europeia) estruturado em quatro níveis, destinando-se a hispanofalantes adolescentes e adultos, podendo ainda ser útil para aprendentes de outras nacionalidades com competências linguísticas em espanhol. Cada nível está programado para cerca de 100-120 horas de trabalho, englobando o trabalho na sala de aula e o estudo autónomo.

A Actualidade em Portugues é um livro constituído por textos da imprensa lusófona, cujos temas se debruçam sobre a actualidade. Este livro é composto por vários temas que abordam áreas lexicais variadas, indo desde o stress, às superstições, violência infantil, etc.. Através dos mesmos temas os alunos são levados não só a rever estruturas gramaticais, supostamente já adquiridas, como também a trabalhar a área lexical e a desenvolver o uso da língua quer a nível escrito, quer oral. Assim, cada unidade apresenta-se estruturada do seguinte modo: glossário, vocabulário, gramática, compreensão e uma última parte em que o aluno é motivado para a oralidade, escrita ou simulação.  A Actualidade em Portugues já foi ensinado na Columbia University.

Ao Redor do Mundo:Leituras em Português Vol. 1 também é um livro de leituras, e tem vários artigos sobre o mundo lusófono, incluindo 3 artigos escritos sobre Portugal (em portugues europeu) e 2 artigos sobre a Africa Lusófona (Moçambique e Angola) em português europeu também. Ao Redor do Mundo:Leituras em Português Vol. 1 está sendo ensinado na Universidade da Califórnia em Berkeley.

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