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By: L. Roschel  For centuries, women’s education was largely left aside or actively discouraged around the world. Traditionally, societal norms positioned and directed women only to roles as caretakers and homemakers, rather than learners and leaders. Women for several years didn’t have the opportunity to discover, specialize and evolve in their academic careers. Along the way, numerous triumphs were conquered with bravery, courage and resilience to achieve the right of education, however, the challenges that women had to face in this journey were extreme, frightening and lasting.
Those complex challenges involved in women’s education include: Cultural and religious beliefs, since women were often seen as intellectually inferior, and their primary value was in terms of their domestic roles. Legal barriers, until the 19th and early 20th centuries, many countries had laws that restricted women’s access to formal education. Economic disadvantages, in underprivileged communities, families prioritized the education of boys, believing that they would have better prospects for employment. At the same time, girls were often expected to marry young or work at home. In addition to Safety and accessibility, even where education was theoretically available, long distances to schools, dangerous travel routes, and lack of sanitary facilities discouraged girls from attending. Nevertheless, women never stopped fighting, passing through protests, manifests and countless fights. In 1827 in Brazil, for instance, the first elementary schools for girls were opened and the profession of school teacher was established. Moreover, by 1789, Massachusetts required both school mistresses and masters to be certified, which finally recognized women as formal teachers. Triumphs in women’s education go beyond being inside a classroom, as Michelle Obama, in her Let Girls Learn initiative, emphasized: “When girls are educated, their countries become stronger and more prosperous.” The former UN Secretary-General Kofi Annan said, “There is no tool for development more effective than the education of girls.” According to UNESCO, global female literacy rates have steadily increased. In many countries, girls’ enrollment in primary education now equals or exceeds that of boys. Furthermore, plenty of International movements such as the Malala Fund, the Global Partnership for Education, and campaigns by UN Women have brought attention and resources to girls’ education worldwide. While laws were created to direct mandatory education for girls, prohibiting child marriage, and ensuring gender equality in education, what have helped deconstruct institutional barriers. However, we still have a great number of aspects to improve and develop. Worldwide, 119 million girls are out of school and only 49 per cent of countries have achieved gender parity in primary education. Besides at the secondary level, the gap widens: 42 per cent of countries have achieved gender parity in lower secondary education, and 24 per cent in upper secondary education. Thus, what we see around us today is the result of years and decades of struggle to overcome challenges that seemed impossible to achieve, and the triumphs must continue. As St. Paul's pupils, we know how essential education is to shape both our future and our present, always seeking new learning opportunities. Such is the value that education provides and should never be underestimated, only enhanced for future generations.
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By: O. Astor  Brazil is the fifth largest country in the world. It makes up 6.28% of all land mass. It is unquestionably vast, however, what I wanted to write about today, is what I believe makes Brazil so special, and stand out so much. So, let me start again.
Brazil is the largest country in the world concerning biodiversity. It makes up an estimated 15 – 20% of the world's biological diversity and is home to a breathtaking 70% of all catalogued animal and plant species – an impressive claim. This means over 46,000 plant species, 1,800 bird species, 3,000 species of fish, over 500 identified amphibians, and a mind boggling estimated 90,000 species of insects. But why is this? Well, no doubt most people would argue a large factor is the Amazon, the largest tropical rainforest in the world. However, one of the real reasons, is Brazil’s wide variety of habitats. From Brazil’s jutting “Pico da Neblina” in the Amazon or Mantiqueria mountains in Minas Gerais to the parched savannah’s (Cerrado) or flooded Pantanal, Brazil has something for everyone. Let’s go through what makes Brazil so special. The caatinga is a biome located in the northeast that is unique to Brazil. Its lands are characterized by low humidity and rainfall and a generally dry climate. Short, thorny plants low growing to the ground scatter the spiked landscape. This biome is rich in fruit – especially passionfruit! The Caatinga also is home to many medicinal herbs – like the mulungu, which helps combat the effects of insomnia with its sedative qualities. The many fruits and flowers attract over 200 species of bee, which produce honey appreciated all over the world. The caatinga also attracts species unique to its qualities, such as Lear’s macaw, puma’s, boa constrictors, and many, many lizards. The Pantanal is the world’s largest tropical wetland area and is home to many species unique to its ecosystem. The many rivers flood and overflow during the summer rains, causing a bloom of marshes and swamps to fill the floodplains. Many medicinal herbs, honey, and organic cattle raised by indigenous families are found there, resulting in one of Brazil’s largest beef producers. Caiman, jaguars, and capybaras prowl the river edges, while the cobalt blue macaw (the world’s largest parrot) flitter in the sky. When people think of Brazil’s forest, they would typically think of the Amazon, however the Atlantic Forest is just as important. The Atlantic Forest, known to us as the ‘Mata Atlantica’ occupies much of Sao Paulo and Rio de Janeiro. Just one hectare of the Atlantic Forest can support 450 species of trees! It’s characterized by thick, lush vegetation and layered canopies that stretch in a green blanket across the sky. Mangroves and salt marshes can be found there too, much like the Amazon. Jaguars, sloths, and 900 bird species can be seen. And yet, despite this incredible ecosystem, only 12% of the original forest is left standing. These fragile ecosystems make Brazil what it is, contributing to its colour and life and diversity. They give us tourism, materials, and beauty. No other country has more biomes than Brazil. However, this diversity is fast disappearing. We are all aware of the threat our society poses to the environment, and yet I hope this article makes you appreciate, or even acknowledge, the beauty and distinctiveness that lives right here on our doorstep. By: P. Rizzi  You check the time. You're still at home, lounging in your pajamas, comfortably sunk into the couch, with a half-finished snack beside you, but your phone buzzes: “are you coming?”. Without a second thought, you reply, “tô chegando!”—even though you haven’t moved an inch. It's just a little white lie, a harmless shortcut to buy yourself a few extra minutes and to avoid the awkward truth—that you haven’t even left. It spares you from the guilt of admitting you’re still in your pajamas while also conveniently keeping the other person from getting frustrated. No harm done, right? In Brazil, this kind of everyday attitude has a name: o 'Jeitinho Brasileiro'. In other words: work smarter, not harder.
Brazilians have mastered the art of bending the rules- just enough to make life easier, but not enough to get into any big trouble. However, at what point does this clever problem-solving turn into something more problematic? Harvard University historian Sidney Chalhoub highlights the historical origins of the 'jeitinho', linking it to Brazil’s slave-based societal structure. During this colonial era, people without power had to rely on favors from landowners to get what they needed, often bending the formal rules. Yet, this habit of seeking informal solutions didn’t disappear—it became a lasting part of Brazilian culture, shaping how people navigate rules and authority through the 'jeitinho brasileiro'. As Sérgio Buarque de Holanda describes in Raízes do Brasil, Brazilians are "cordial men". The word “cordial” comes from the Latin “cordis”, meaning of the heart, suggesting that the cordial man is someone who prioritizes personal relationships over any rigid rules, often finding creative ways to navigate bureaucracy and daily life, setting aside ethics and civility when it suits him. In other words, personal interests—whether of one’s own or those of friends and family—often take priority over the collective good. This emotional and flexible approach to life is what allows the 'jeitinho brasileiro' to thrive. As Fernando Sabino put it: “na cultura do jeitinho, a cabeça está aberta a qualquer possibilidade, regular ou não. Vai dar certo e, se não der, ainda não chegou ao fim.”, meaning, anything is possible whether it is within the rules or not. For many underprivileged Brazilians, however, the 'jeitinho brasileiro' is not just about convenience--it’s a matter of survival. As Chalhoub points out, in an environment where access to opportunities is often restricted, those in vulnerable positions have no choice but to find ways around the rules. So, the 'jeitinho' becomes a tool to navigate an unfair reality. Yet, we must ask ourselves, do Brazilians act in this way because of their creative traits adapted to a context of inequality and a fight for survival? Or is this simply a social disguise for cutting corners and taking advantage of opportunities? The term itself carries a certain ambiguity. It can serve as a simple description of a household fix, as in- “dei um jeitinho”- but it can also be part of a bigger scheme to evade the law in the favour of oneself. When taken too far, the 'jeitinho brasileiro' mindset blurs the line between resourcefulness and dishonesty, which feeds into corruption, deception and what we call “malandragem”: a method of getting ahead at the expense of others. What starts as a quick workaround, like skipping a line or creating creative excuses for lateness, can easily escalate into more serious matters. Many may say that the 'jeitinho brasileiro' is the base for corruption, the starting point for larger systemic issues. After all, corruption isn’t only the huge billion-dollar government scandals, it exists in everyday actions. Like the norm of buying your driving license, or the widespread acceptance of piracy, and fake IDs. Over time, these seemingly harmless actions create a culture where rule-bending becomes the norm, and accountability is relaxed, paving the way for more serious offenses, such as bribery, tax evasion, and institutionalized corruption. Some see 'jeitinho' as an unavoidable part of Brazilian culture, a product of resilience that allows people to navigate an imperfect system. Others argue that while these are valuable traits, the 'jeitinho' has evolved into a mindset that can negatively impact the country at a wider scale. Perhaps the real challenge is not in eliminating 'jeitinho', but in redefining it. Could Brazil maintain its resourcefulness and adaptability while discouraging unfair behaviours? Is it possible to embrace the best of jeitinho without letting it become an excuse for bending the rules? In the end, the 'jeitinho brasileiro' is what us Brazilians make of it. Whether it remains a cultural quirk or transforms into something more constructive depends on the choices we make. By: L. Gurney  Bossa Nova emerged in Brazil during the late 1950s, it originated in Rio de Janeiro where young artists and musicians created a new sound expressing a youthful celebration of romance and beach culture. The music genre has the name “Bossa Nova” because it became known as the new rhythm. Interestingly, in Brazil the word “Bossa” meant something done with charm; this music style blends the elements of samba (a traditional Brazilian rhythm) with jazz. Overall, Bossa Nova is a sophisticated musical form and has become Brazil’s cultural treasure.
João Gilberto is often referred to as the “father of Bossa Nova”; his álbum 'Chega de Saudade (1959)' is considered to be revolutionary. Other artists such as Antônio Carlos Jobim and Vinícius de Moraes are also iconic in Bossa Nova; part of a wider Bossa Nova family. Bossa Nova is characterized by its calm rhythm, guitar style and smooth vocal chords, typically the lyrics are about love and longing. Around the 1960s, Bossa Nova took over the world, booming especially in the United States during the Jazz revival. In 1962 there was a concert at New Yorks’ Carniege Hall, there Bossa Nova exploded, and its craze arrived. In 1964, American Stan Getz recorded The Girl from Ipanema with Joao Gilberto, the song spent 96 weeks in the US charts, becoming the world’s second most played song behind the Beatles ‘Yesterday’. Overall, Bossa Nova is a cultural gem, encapsulating Brazil’s most vibrant culture. By: M. Gilchrist Since Brazil was discovered, it has had three different capitals, each representing distinct eras in the country’s history: the colonial period, the military dictatorship, and the emergence of democracy in 1989. These key eras played a significant role in shaping Brazil into the country it is today.
By: A. Lotufo 5th of January 2025 – Fernanda Torres, the lead actress of Ainda Estou Aqui, won her first Golden Globe, marking Brazil's first Golden Globe win.
S. Gebara  For decades, Brazilian art thrived in the shadows of European and North American movements. But in 2025, it is on the main Oscar nomination list.
Already handed with a golden globe, Fernanda Torres, a Brazilian actress, runs for 3 nominations at the 97th Academy Awards: Best Movie, actress and International Feature Film for her outstanding performance in "Ainda Estou Aqui, directed by Walter Salles. Since her mother, Fernanda Montenegro, lost her Oscar nomination for her role in Central Station to Gwyneth Paltrow in Shakespeare In Love in 1999, no Brazilian artist has ever been nominated again for the Oscars. Given that, Fernanda Torres's stellar performance has conquered many Brazilians' hearts and is now reaching internationally—opening new windows of opportunity for Brazilian entertainment. The cinematic piece, Ainda Estou Aqui, foretells the memoir of Marcello Rubens Paiva centring on the story of Eunice Paiva's journey during Brazil's military dictatorship period, as she confronts the sudden disappearance and death of her husband, politician Rubens Paiva, and her transformation into a human rights activist. The narrative delves into themes of loss, resilience, and the fight for justice in a tumultuous period of Brazilian history. The film received several critical acclaims for its remarkable performance and storytelling. Best Screenplay at the 81st Venice Film Festival (September 7, 2024): Screenwriters Murilo Hauser and Heitor Lorega were honoured for their adaptation of Marcelo Rubens Paiva's memoir. Goya Award for Best Ibero-American Film (February 8, 2025): The film received this prestigious Spanish award, marking the first time a Brazilian production has won in this category. Audience Award at the Rotterdam International Film Festival (February 8, 2025): The film was honoured with the Audience Award at the Rotterdam International Film Festival in the Netherlands. Virtuoso Award at the Santa Barbara International Film Festival (February 9, 2025): Actress Fernanda Torres was recognized for her outstanding performance. The Golden Globes and Satellite Awards for Best Actress: Fernanda Torres received both awards for her role in the film. Moreover, modernist artists such as Tarsila do Amaral, known for incorporating Brazilian root identity into her art, has once again regained significant recognition. Her artworks were presented in the Royal Academy London in the exhibition ‘Brasil! Brasil!, The Birth of Modernism’ is a major exhibition featuring over 130 works by ten critical Brazilian artists from the twentieth century, capturing the diversity of Brazilian art at the time. The exhibition brings an expanded view of Brazilian Modernism to UK audiences, showing work by artists who have historically received less exposure in the UK, including Anita Malfatti, who spearheaded the movement, and Tarsila do Amaral, now internationally celebrated as a leading female figure of Brazilian Modernism. The exhibition also includes the self-taught artists Alfredo Volpi and Djanira da Motta e Silva, an artist of indigenous descent, Afro-Brazilian artist Rubem Valentim and performance artist, Flávio de Carvalho. Most importantly, most of the works come from rarely seen private Brazilian collections and Brazilian public collections, most of which have never been exhibited internationally—especially in the UK. By: L. Roschel  Around the world, Carnival is a festival from antiquity, emerging from Catholic customs of the ancient Roman Empire. Nevertheless, it spread around the continents and adapted to divergent nations and their cultures. Nowadays, Carnival has become part of the Brazilian tradition, strengthening not only the annual economy but also the country's identity.
Connected to Brazil, the festival came through the Portuguese colonizers in the seventh century; however, in the beginning, the traditions were not the same as in the present. The event arose in carnival societies, which promoted its popularization among the less developed communities as a joke here and a masquerade there. Eventually, Brazilian creativity and spirit started to interfere. There isn't just one way to celebrate Carnival, since Brazil has a great cultural diversity spread out over the estates, for instance in Pernambuco, located in the northeast of the country, presents the typical manifestation inuenced by the indigenous and African customs like the frevo, with an explosion of colours, frenetic dance and fascinating vitality. In addition, the maracatu originated dates back to the coronations of the kings of Congo and Angola, and the impressive giant dolls, which enchant the Brazilian streets. The schools of samba, elaborate fantastic parades in São Paulo and in Rio de Janeiro, which infects both the Brazilian population and the 200 thousand foreign tourists with its rhythms and choreographies. Certainly, the most common manner to commemorate Carnival is the street blocks, where anyone can participate. Furthermore, the blocks have distinct themes and variations of rhythms, including MPB (Brazilian popular music), rock, traditional “marchinhas”, forró and Bahian music. The symbol of Brazilian Carnival for the world has become the oats and extravagant costumes, with almost 100 years since the ofcial parades began. Although, the true essence of the festival is to bring excitement, enthusiasm and energy for all, as many Brazilians say the year only starts after Carnival. By: N. Jannuzzi Carnival is one of the most iconic and cultural celebrations in Brazil. It has a deep historical root that traces back to a mix of European and African traditions. The Europeans brought their “Carnival” with the Portuguese colonizers, with the celebration occurring before Lent. They had feasts, mask and a parade. The African contribution was essential to the event, being brought to Brazil through the transatlantic slave trade. One of the additions of the African people was the “Samba,” having roots to African rhythms, particularly from the Yoruba, Bantu and other African ethnic groups. The rhythms and drumming styles came directly from African musical traditions.
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