ahporTUga Magazine

IN THIS ISSUE:

WINTER 09/10

Cultural Navigators’ Log—Travessa da Portuguesa Who’s Who @ TU

Cover Story: Lisboa Top 10 The Portuguese Bullfight Carnival and Halloween Articles: People…Luso-gente!

Jose Jr. e Mariazinha: He said she said Places…Where in Canada? O Monumento Aos Combatentes do Ultramar Profiles – Luso-icons O Arquitecto – J. George Martins O Artista – Marco Brilhante A Advogada – Silvia de Sousa

Features: Iberian vs Iberian The Capital Cities Need to know Conhecer Portugal TUga Tips The Food Guy -profile – introducing ahporTUga’s resident food guy Recipe of the Issue Luso-Vida Restaurant Profile – Ferreira

An excerpt from the book O Banqueiro Anarquista Kings and Queens of Portugal: Dom Pedro I and Inês de Castro

Susy Ferreira

If the Portuguese have such a thing as a cultural DNA, it is saudade.

Saudade bursts from the sea-faring Portuguese soul and finds expression in a heart-felt craving to seek and reclaim the scattered cultural, tribal and religious pieces of its multicultural origin, and to bring them back home.

When the world was literally thought to be flat, a small group of like-minded Portuguese navigators began to share what they knew of the unchartered waters at the edge of the western world, creating maps to navigate the globe and visit the places from which their ancestors had come.

Joanne Zuk

Now that the world has been figuratively flattened by globalization and its on-line expression, another small group of likeminded navigators begins to share what they know of what it is to be Portuguese after generations of successive immigration, creating ahporTUga magazine to navigate the net and visit the places from which their ancestors have come and where some may still be.

Joanne Zuk

Who’s Who at TU Sally Correia

EDITORS EDITORS--IN IN--CHIEF / C CULTURAL ULTURAL NAVIGATORS Susy Ferreira

FEATURES Senior Editor:

Sally Correia

PHOTO Senior Photo Editor:

Susy Ferreira

ART & DESIGN Webmaster & Art Director: Art Designer, Special Projects:

Telmo Gomes Gabriel Figueiredo

LEGAL Counsel:

Sylvia de Sousa, BA, LLB.

STRATEGIC Advisor:

Michael Fernandes, MBA

FOOD Resident Food Guy:

Mario Wilson Ferreira

INTERNATIONAL Editor, Portugal: Editor, Portugal:

Dennis Ferreira Karina Santos

CONTRIBUTORS Willson Caetano M.J. Correia J. Peter Correia Pedro A. S. Correia Manuella Honorato Alicia Ward Joanne Zuk PUBLISHERS: ah.porTUga  Magazine  Cultural events & cultural navigation Contact us by mail: Contact us by phone: Contact us by e-mail:

787 Cathedral Avenue Winnipeg MB R2X 1H8 204-981-3019 / 204-795-6808 ah.portuga@gmail.com

LISBOA! Karina Santos Dennis Ferreira

Tendo como fiel companheiro o rio Tejo, Lisboa é uma cidade apaixonante e envolvente. Com um céu azul de Janeiro a Dezembro esta cidade tem vistas amplas e ambientes verdadeiramente pitorescos. Por aqui, é possível viajar entre as ruas mais estreitas e empedradas aos lugares mais largos e avenidas mais compridas. Uma cidade onde se funde o antigo e o moderno e onde a noite é a luz do dia.

Facilmente corremos Lisboa de uma ponta a outra sem cansar a vista. Tudo é diferente ao virar de cada esquina. Os cheiros e aromas de cada lugar são dificilmente reconhecidos em qualquer outra parte do mundo.

Lisboa é, na sua forma de "estar e ser", única e singela.

Belém: Com o rio mesmo ali, Belém é um dos sítios mais bonitos de Lisboa. Afastado da azáfama da cidade, este sítio tão histórico consegue juntar monumentos singulares a uma magia calma e Karina Santos doce, ou os mais conhecidos pastéis de Portugal não tivessem esta localidade como nome. Aqui é caso para dizer que com um pastel de Belém, um porto Ferreira para acompanhar.

Extremamente cultural, também aqui se situa o CCB onde são inauguradas inúmeras exposições e onde são dados os mais prestigiados concertos de música clássica. Do outro lado da linha, a magnífica Torre de Belém e o Padrão dos Descobrimentos que tornam este país o nosso Portugal.

Sem dúvida, um dos melhores lugares para passear, estar e ser português.

A Brasileira: De cheiro intenso, mas paladar suave aqui se bebe a "bica" bem à moda de Lisboa. Na companhia de Fernando Pessoa, entre o doce e o amargo, ouve-se uma voz lá ao fundo que grita "é uma cheia e uma curta"! É assim que o dia acorda em Lisboa e quem vem de fora não se esquece de passar por aqui. Ao fundo, quem desce, deixando-se levar pelo aroma da torrefacção que ainda hoje nos preenche a alma, encontra o antigo Grandela, o Centro Comercial Armazéns do Chiado dos dias de hoje.

Manuella Honorato

Adamastor: Enquanto o fim de tarde desce e a luz do dia acaba como o rodar de um pião que perdeu a corda, ouvem-se os músicos e bebe-se uma imperial bem gelada. Com o rio lá ao fundo e a melhor das companhias é fácil esquecer do mundo. Aqui misturam-se as culturas, as raças, as línguas e os tons.

Entre o ladrar dos cães e o fumo dos cigarros fica a boa disposição de quem se ri ao som das gargalhadas dos outros. Um bom lugar para conhecer outras realidades sem "chocar" quem nunca conheceu outra que não a sua e onde o "bilhete de entrada" é deixar para trás o preconceito.

Parque das Nações: Neste parque, a antiga expo, podemos juntar nações de todo o mundo que são sopradas pelo vento de um lado para o outro. Ao som das várias bandeiras de todos os países procuramos aquelas que nos dizem mais que todas as outras e que por algum motivo nos unem a elas. Quase que como uma viagem podemos desfrutar do cheiro do rio que se encontra à distância de um passo e usufruir das vistas verdes e verdejantes dos enormes jardins que por ali encontramos. Os vários cafés e esplanadas refrescam-nos o dia, os bares aquecem-nos a noite.

Para correr, andar de bicicleta, conversar ou simplesmente ver as vistas, este lugar amplo proporciona uma verdadeira sensação de liberdade e de fuga ao ritmo e à loucura citadina.

Miradouro da Graça:

Susy Ferreira

Dennis Ferreira

Na Graça podemos ter Lisboa aos pés e sentir-nos mais perto do céu. Aqui, neste belíssimo Miradouro de Lisboa, entre os muitos que existem espalhados pela cidade, sob a sombra das árvores podemos ver Lisboa quase por inteiro. Os dedos apontam ao longe aquilo que conseguimos identificar: O castelo de S.Jorge ali mesmo ao lado, a Mouraria e um pouco mais abaixo o Martim Moniz.

Mais além reconhecemos a Baixa Pombalina e ao fundo a Ponte 25 de Abril que une Lisboa à margem Sul. A juntar a esta fantástica vista temos a possibilidade de desfrutar do sabor de um café ou de um martini com um bar e uma esplanada ali mesmo ao lado.

Ao longo do m i r a d o u r o encontramos os pintores de rua criando e recriando a cidade de Lisboa em telas de todos os tamanhos.

Quem aqui pretende chegar, terá certamente de apanhar o eléctrico 28 que proporciona uma viagem cheia de adrenalina para quem nunca experimentou este

Torre Vasco da Gama - Wikipedia

Jardim Amália Rodrigues: Ao cimo do famoso Parque Eduardo VII, onde todos os anos se realiza a feira do Livro, recebe-nos de braços abertos o Jardim Amália Rodrigues. Criado para homenagear a rainha do Fado, este espaço cheio de relevo e desenho proporciona uma diversidade de ambientes. Na área mais central e mais alta da cidade de Lisboa, podemos respirar o verde das árvores e caminhar sobre a terra batida que nos faz esquecer que estamos bem no centro da terra. Aqui respira-se arte com as inúmeras estátuas que vamos encontrando e vive-se o lazer rodeado de beleza e sentimento.

Entre patos, gansos e pavões, é um espaço divinal para ler um livro ou simplesmente desfrutar da natureza com uma boa companhia.

Quem por aqui passa não pode deixar de dar um saltinho, mesmo ali ao lado, aos jardins da Gulbenkian onde o descanso e o silêncio gritam por nós nas tardes quentes de Verão.

Elevador de Santa Justa: "Pela mão" de Gustave Eiffel, mas

não em Paris, podemos subir Lisboa e não perder de vista cada ponto histórico. Depois de uma curta viagem no elevador que sobe a 45m de altur a encontram os um a esplanada segura pelas magníficas vistas do centro de Lisboa e pelo Rio Tejo. Definitivamente, a não perder, mesmo para quem tem vertigens.

Silk:

Susy Ferreira

O mais sofisticado, o mais moderno e também o espaço mais restrito fica situado bem no coração de Lisboa. Este espaço que não pode ser considerado apenas um bar, coloca Lisboa a seus pés e transforma a vista sobre a mesma de quem lá passa.

Situado no centro do Chiado, este clube permite ter uma vista de 260º da cidade e ver cada pormenor apenas com um único movimento da cabeça. O magnífico castelo de S.Jorge, magnanimemente iluminado, e o Tejo como pano de fundo são de cortar a respiração. O espaço mais disputado do Silk é sem dúvida o seu terraço que proporciona toda esta visão ao mesmo tempo que se sente a brisa da cidade.

Fluido, moderno, conjugando uma arquitectura extremamente harmoniosa, este espaço recupera o conceito de clube nocturno onde só os verdadeiros convidados podem entrar. Divino e esplendoroso faz de qualquer noite, a verdadeira noite.

Dennis Ferreira

Bica do Sapato: Situado num dos antigos armazéns perto de Santa Apolónia este restaurante é considerado "o" restaurante da cidade de Lisboa. Aqui podemos desfrutar de um espaço extremamente bem decorado, cheio de glamour e com vistas largas para o rio.

Quem entra na Bica do Sapato fica encantado com a decoração moderna e original que o caracteriza e com o próprio conceito de restaurante. Antes do prato principal e de chegar à mesa, previamente reservada, é obrigatória a passagem pelo bar, apetecível a uma caipirinha ou um Martini para abrir o apetite.

Já no prato principal e de escolhido o menu, rasgam-se gargalhadas baixinhas de quem descobre como cada empregado comunica entre si. Segredo a não revelar, mas sim a ter em conta, para os mais curiosos, quando visitarem este fantástico espaço. A Bica do Sapato é, sem dúvida, um cartão de visita da capital e um lugar onde quem vem não pode esquecer de permanecer ao sabor de uma taça de vinho "Quinta d'Aveleda”.

Lux Frágil: Para a noite ser perfeita, depois de um jantar bem regado na Bica, um pulinho pelos inúmeros bares do Bairro Alto e pelo Silk só falta o verdadeiro pé de dança pela sempre efermera discoteca de Lisboa: O Lux. Mais uma vez junto ao rio, que torna esta cidade tão perfeita, encontramos este espaço de diversão nocturna que foi o lar para os melhores artistas alternativos do mundo e os mais badalados DJ's do momento. Cresceram nesta casa artistas das pistas de dança como Luis Leite, Rui Vargas e DJ Vibe e muitos outros de renome internacional são uma visita frequente.

Vestido com uma decoração minimalista é, no entanto, um espaço moderno e sofisticado onde as cores e as luzes dançam ao melhor som de progressive house. Dispondo de três espaços diferentes, o Lux é o lugar onde se pode conversar com amigos no piso principal, dançar freneticamente na cave ou relaxar de copo de mão no terraço avistando a cidade e, mais uma vez, o incansável Tejo.

Susy Ferreira

Lagos bullfight -Wikipedia

The Portuguese Bullfight The origins of the Portuguese bullfight are found in two ancient war exercises. One is called the running of the bulls by men on horseback, and it was brought to the Iberian Peninsula by the Carthaginians. The other one is the Iberian military practice of war on horseback, which was carried out by the Iberians against the invading Moors between the eighth and the fifteenth centuries.

The common stereotype of a bullfight these days is the show-down between man and beast; between the matador and the bull. But that wasn’t always the case.

In both Portugal and Spain, the bullfight was very different back when the Iberians were fighting off the invading Moors, or when the Carthaginians were deliberately running the bulls to create a stampede in the middle of a battlefield and trample their opponents to death.

At that time, bullfighting was an art practiced by the noble cavalry – by the men who practiced war-fare on horseback and came from the upper classes. It was a ceremony featuring a number of different players and a large cast of characters, and not just as we are used to seeing in Spain these days, the matador. The men in the ring ranged from the noble cavalryman to the common matador, who was picked from the peasant classes because it didn’t matter as much if he lived or died.

The Spanish and Portuguese bullfighting traditions began to diverge during the sixteenth century, when the Spanish cavalry was prohibited from entering the ring by the French Bourbon court, when Louis IV (a part of the Philippine dynasty) ascended to the throne in both Spain and France.

The French did not appreciate the art of bullfighting on horseback, and they outlawed it in Spain. It was barbaric, they said.

The Spanish noble man left the ring entirely, but the stubborn peasant remained. The commoners who had previously only assisted the nobility on horseback began to take center stage from start to finish. The Matadors became the stars of the show.

The Portuguese, on the other hand, continued to evolve and refine the noble art of bullfighting on horseback, with its emphasis on the Iberian horse and the brave bulls. To this day, however, the Spanish domination of the bullfight retains a central focus on the Matador, even though the cavaleiro is still a lead player in the Portuguese bullfight, and there are many celebrity matadors on both sides of the Iberian border.

In the Portuguese version, the agility of the cavaleiro on horseback, as well as his mastery of an animal who is prone to run when faced with danger, is unfortunately globally over-shadowed by it’s Iberian cousin. It is interesting, though, that the Portuguese cavaleiro is still a product of the upper classes, while the Portuguese matador is largely recruited from the lower classes.

The traditional bullfight in Portugal is a historical ritual of the skills that were once necessary for battle. It is a ceremony that continues to hold important historical military values.

In both Iberian versions, however, there is a common element of danger: the bull. At some unconscious cultural level, the bull remains a frightening figure for the Portuguese and the Spanish, even when he is contained in the ring, because of his origin as a living, breathing weapon of war used by the Moors as they invaded the Iberian Peninsula. This is stored somewhere in the collective unconscious of the Iberian soul.

There is much evidence to support this idea – ancient cave paintings depicting the bull as an important symbol in a religious cult are found throughout Spain and Portugal, and when the Moors pushed up and into the peninsula, they used this ancient religious symbol to their advantage by running bulls against the defending Iberians.

It happened like this: Moors on horseback would stampede a herd of wild bulls with firebrands attached to their tails, and then attack from behind. Two very practical responses emerged from the fearful Iberians: one, the need to have disciplined horses that would not run in the face of stampeding bulls (hence the equestrian exercises); and two, the importance of facing off (cavalier and horse) against a bull in the ring during training.

The natural inclination of bulls in the ring is to fight. The natural inclination of horses when faced with danger is to run. The point of the Portuguese bullfight is still to this day to show the training and schooling of the horse. The real hero of the bullring in Portugal is arguably not the matador, but rather, the cavaleiro and his mount. The bullfight shows off this mastery, even though the matador is acknowledged as an important and brave part of the show as well.

Pega de caras, na praça de touros do Cartaxo - Wikipedia

The cavaleiros move back and forth on the horses as they stick a series of “farpas,” or large darts, about two or three feet long, into the bulls. The farpas stick out of the bull’s neck and shoulders on either side. The final act of the bullfight consists of a “forcada,” meaning literally, to fork. This is when a number of men stand in front of the charging bull and jump onto his back to subdue him in a show of combined strength. The leader will jump on the bull’s horns and hang on while the others jump on behind him. The last man grabs the bull’s tail and pulls until the animal is subdued. To remove the bull from the ring, a number of small steers are brought in, and with them, he is herded off stage.

The Spanish say that the Portuguese version deprives the animal of its dignity, and that death should be the natural end. The Portuguese say that to kill the animal in the ring as the Spanish do is simply blood-lust, and that it is wrong to risk a man’s life for sport.

Sally Correia

Susy Ferreira

Halloween and Carnaval What’s the difference?

Sally Correia Halloween celebrates the gap between life and death; between the living and the dead, through the observance of the change in seasons between summer and fall, after the harvest. It started as a pagan festival which has since incorporated religious elements.

The North American tradition of Halloween is based on the Gaelic holiday of Samhain, which was brought over by Irish Immigrants and first celebrated in the 19th century. During Samhain, the boundary between the world of the living and the world of the dead disappeared completely, allowing evil spirits to roam freely and cause all sorts of trouble. Festivals were held annually to appease the spirits by offering them gifts, holding feasts in their honour, or even mimicking them over a bon-fire. Costumed figures would roam at night and gather offerings from the villagers to appease the spirits during these celebrations. Trick or treat literally means: if you don’t give me a treat while I’m dressed as a ghoul or goblin, then the real ghouls and goblins will come over to your place and ruin your crops, make your animals sick... Or even worse!

It eventually became All Saints Day and moved to November 1, but the traditional celebrations continued on October 31.

Whether it is called Samhain, Hallow Even, or All Saints Day, the mode of celebration and the spirit of intent remains the same. It is a masquerade celebration to grapple with the complexity and mystery of what is unknown about the human condition, as well as to practically mark the occasion of one season ending and another one beginning.

Carnaval also represents the complex relationship between birth and death, but at a different time of the year, through the change in seasons from winter to spring, starting just after Christ’s birth, and in the period called Lent, just as Christians begin to prepare for the observation of his death at Easter. It also started as a religious festival which has since incorporated pagan elements.

The Roman Catholic pre-lenten festival of Carnival occurs either in the month of January or February. The festival usually begins a week before Fat Tuesday, which is the Tuesday before Ash Wednesday, and marks the beginning of Lent.

Known as Carnaval, Καρναβάλι (Carnavali), Carnevale, Carnestoltes, Carnaval, Karneval, Carnaval and Karnawał in Portuguese, Greek, Italian, Catalan, French, Dutch, German, Spanish and Polish, the festival typically involves a very public celebration or parade together with a masquerade. As with Halloween, and other masquerade events, Carnaval marks a turning point in daily life – an ending of one period or season and the beginning of another period or season. Carnaval is also celebrated in some Eastern Orthodox societies, notably Greece, and is called Mardi Gras (Fat Tuesday) in French-speaking areas such as New Orleans, Louisiana. Protestants celebrate the beginning of lent in a more low-key fashion with Shrove Tuesday (known secularly as Pancake Tuesday in some parts of Canada).

The origin of the word carnaval comes from either:

a) the short form of carne levare, which means “to remove meat,” in many Italian dialects, and makes some sense because since meat is prohibited during Lent;

b) the Latin expression carne vale, which means “farewell to meat,”and signifies the last few days when one could eat meat before beginning the fasting of Lent; or,

c) the older Latin expression carne vale, which more poetically means as “a farewell to the flesh,” and giving in to carnival celebrations that encourage letting go of your every-day self and temporarily embracing your once-a-year festive self.

Some Carnaval Traditions in the Portuguesespeaking World

The former Portuguese colony Loulé Carnaval, Portugal - Wikipedia of Goa has a long tradition of Intruz, which is thought to come from the Portuguese word Entrudo, and is another name for Carnaval. The celebration last for three days, and ends with a parade on Fat Tuesday. Dance groups perform skits and throw water on each other, and residents wearing colourful masks as they gather in the streets to beat drums, play music, sing and dance.

In Portugal, Carnaval is celebrated everywhere – from large cities to small villages. The most well-known are at Ovar, Loulé and Torres Vedras. Some include pagan traditions. Portugal has also begun to borrow back elements of the Brazilian-style Carnaval, which evolved from the more traditional Portuguese Carnaval that the Portuguese took over to Brasil during the colonial era, in particular those more sumptuous elements found in the festival at Rio de Janeiro.

The largest Brazilian Carnaval takes place in Rio de Janeiro, with numerous samba schools parading at the sambódromo. It is called one of the biggest shows of the Earth, and attracts millions of tourists each year, both national and international. The Samba Schools are large, social groups with thousands of members. Each school chooses a theme and a song. Other participating groups include Blocos, which are small informal groups, usually with a satirical take on current politics, and Bandas, which are samba musical bands, usually formed by neighbourhood residents. According to the Guinness Book of World Records, the largest parade is the Galo da Madrugada, which occurs in downtown Recife on the Saturday of carnival.

Blackface Queen at Caucaia, Ceará, Brazil - Wikipedia

Luso-gente!

Jose Jr and Mariazinha

Susy Ferreira

My fellow Luso-Canadians, I‟ll preface my admission with a warning to my homies; and that is, what you are about to read will apply to some of you directly; to others indirectly; and to most, a little bit too close to home: Portuguese men are somewhat screwed up.

Now this may not come as a particular shock to some of our friends or to our significant others, but it is an admission that I myself have come to terms with, years after leaving my literal and figurative crib. Typical Portuguese boys, whose fathers worked construction and whose mothers worked in a factory (some part of their names being Jose or Maria, respectively), wanted and expected to be like their fathers, yet were raised basically to be like their mother. Therein lays the problem.

Let‟s take a deeper look at this paradox. Having our mothers care for us, well, that‟s the way God intended it; hence why, they were given breasts, and our fathers were only given decoys. A co-worker of mine puts it this way: most of us are still fascinated with them because we relied on these breasts for our very existence during the first years of life; in most cases, our sustenance, immunity, comfort, and pleasure all came from those beautiful attachments that God bestowed upon women....what fantastic inventions!

So, its okay, guys, to say that we are leg-men or ass-men, while never denying our true selves as being first and foremost, breast-men, but I digress…We were cared for by our mothers inside the home, but we were raised by our fathers so that we would know what to do outside the home -- as we went out into the world and learned the modern version of hunting and clubbing animals over the head to bring home for dinner.

With our dads working long hours each and every day of the year, we had to spend a lot of time at home with our mothers, watching them do all that they do as homemakers. In Portuguese culture, that‟s women’s work, so while we were never actually encouraged to do anything around the house, some parts just naturally sunk in because we saw it so much. Although Portuguese cooking isn‟t exactly high-end, it is miles ahead of mac-and-cheese, and detailed enough for some lessons to be necessary, and there were some culinary secrets that we boys were privy to on the odd occasion, usually around the holidays. For the most part, we were told to stay out of the kitchen because that’s not a man’s place, but with our fathers MIA most of the time, where were we supposed to go?

We grew up waiting for our fathers to come home, and then we internalized whatever we saw our fathers do when they were around because we wanted to be just like them. After 12 hours of hard, filthy, grunting labour, often under extreme weather conditions and arguments with co-workers about soccer teams, our fathers weren‟t always in the best of moods when they got home.

One perceived wrong thing said by mom and – bam: dad‟s either outside in the garage smoking (which he‟s been doing since he was 10...something else we idolized), or he‟s gone out to the club, that mysterious place which is a whole topic onto itself. We‟d wake up the next day, and it would be the same scene repeated over and over: you get the picture. It‟s no wonder why communication is not our forte.

Now we‟re grown up men, who don‟t fear work or getting dirty, but too often smoke; can only cook well enough to get by in a holiday emergency; are too quick at blowing up; and have an overwhelming tendency to repeat the same argument day-in and day-out, like in that Bill Murray classic from the 90s, Groundhog Day. We‟re left with pissed-off girlfriends and spouses who aren‟t talking to us, but we don‟t really understand why, and no one is giving us what we‟ve always had when times were tough: mimos– those comforting feelings of a warm embrace snuggling us; of having our tears wiped away; of hearing soft words telling us everything will be okay, with repeated kisses on our foreheads. Worse off, we can‟t even admit to ourselves that this is what we need; at least not without some deep soul-searching or psychotherapy.

Ladies, don‟t blame us... we thought we HAD to be cavemen on the inside and on the outside, because that‟s what we saw.

Nowadays we‟re just supposed to be cavemen on the outside - because that‟s what women still want, right? AND, be sensitive like our mothers on the inside, like the cavemen in the Geico commercial wearing baby-blue sweaters and corduroys while discussing what they saw on CNN or worse, The View. It‟s a confusing world for men.

The key here is for us to realize that ours is a different world than our parents‟ world. Every household now is run by two people sharing the duties, or maybe even just one after having gone through a divorce and co-parenting with a former partner who is living off-site. We‟ve grown up wanting to be the man of the house, but be careful what you wish for, because these days, that‟s everything from cooking dinner to renovating the basement, to changing diapers and parenting (dare I say babysitting). Our dads did what they had to do in their era, but now so do we in our era.

We have to draw on what we saw from BOTH of our parents. It‟s all about balance. Our goal can no longer be to simply bring home a pay check and let the women do everything else. I‟m sure everyone‟s mothers swung a hammer at least once to put up pictures or to fix a creaky door – they adapted, and so must we. We have to set our sights higher, closer to a mythical Dr Phil Tim-theToolman Emeril Holmes type at home and in life. Anyone seen Ben Affleck in the news since he‟s had his kid? No? Exactly.

The sooner we realize that being a club-wielding, sweater-wearing Neanderthal is better than a club-yielding high profile athlete (I won‟t mention names, but let‟s just call him Mr. Orange and Black Striped Jungle Cat in the Forest – Editor‟s note: Tiger Woods), then the sooner we‟ll be on the balanced road to happiness.....the one that was literally mixed, poured and paved by our fathers.

So, Flintstone, get out there and start chipping away at our growing reputation of being screwed up, one mimo at a time, only don‟t use a club this time.....use a mirror and some good hair products.

Sincerely, Jose Jr.

Minhas Queridas Lusitas, That‟s it.

That‟s as good as my Portuguese gets without a dictionary, or having my mother around to translate my anglicized Portuguese into proper continental Portuguese. My Portuguese is as dusty and faded as my grade six Portuguese school diploma, but hey, it still works reasonably well on holidays, birthdays and summer vacations, especially when I‟ve had a few Superbock --now that Portuguese women are allowed to drink beer.

I‟ll preface my rebuttal to Jose Jr with a wink at my raparigas… and it will definitely apply to some of you directly; to others indirectly; and to most, a little bit too close to home: Portuguese men are somewhat screwed up. Oh REALLY?!

I don‟t think this comes as a particular shock to any of the Portuguese chicks I know, nor the chicks who have been <ahem> fortunate enough to marry or shack up with Portuguese men.

Yes, Jose Jr, typical Portuguese boys, whose fathers worked construction and whose mothers worked in a factory, wanted and expected to be like their fathers, yet they were raised basically to be like their mothers. You‟re right about that…You‟re also right about therein laying the problem –for both typical Portuguese boys and Portuguese girls.

We were also raised by the same mothers and the same fathers, but unlike you, who were basically told to run along and play, we were raised by both of them with the expectation that in order to become good little donas de casa, which in some extreme cases meant getting married before hitting the big 2-0 (okay, I‟m exaggerating a bit to make a point), we had to be broken into the donahood while still very young – usually age six, otherwise we might rebel and take up poetry or smoking and drinking and decide to get an education and attend university; and maybe even, God forbid, date men who weren‟t Portuguese, even though we weren‟t technically allowed to date.

Our version is slightly different than yours, mostly because we were also expected to help raise YOU… So, while you boys were having mommy look after you when she was around, and crying about the fact that daddy was out working or at the club…, you were also fortunate enough to have a whole squadron of spoon-bearing Portuguese woman looking after you -- auntie, gramma, and big sis.

Most of us were second moms to our little (and sometimes even big) brothers, who themselves never bothered, nor were they expected, to make their beds, clean their rooms, cook daily family meals, clean the whole house from top-to-bottom on Saturdays and also find time for laundry, before falling exhausted to bed on Saturday night, maybe after Fantasy Island and Love Boat in my generation, and then having to get up at 8am for Sunday mass because the mass at noon was always so full.

And some of us even did your homework…, but we won‟t be naming any names.

We grew up with all of this work, and were both resentful and envious of your freedom to come and go, especially when you got the family car at 16! Some of us even had to learn to knit, crochet and embroider, for Pete‟s sake, while you were out playing soccer, and later, indoors on the Playstation, or watching something fun on TV… We spent a lot of time at home looking after you, while mom was busy in the kitchen. Yes, in Portuguese culture, housework is considered women’s work, which is why we were super-encouraged (maybe I mean coerced? ;-) to do everything around the house. We only needed to see it once in order to be expected to perform it over and over again. Portuguese cooking isn‟t exactly high-end, that might be true, but if you actually knew how to cook it, you‟d know that it requires more than just a few lessons to be good at it! Ever make rissois or massa cevada? For the most part, we were told to stay IN the kitchen because that’s a woman’s place, but with our fathers MIA most of the time, we were just as anxious to spend time with him in the living room when he did get home!

We too grew up waiting for our fathers to come home, and then ended up dating different versions of him over the years, before finally marrying (and in some cases divorcing) one that was pretty much like dad, but might have been called Manuel or Pedro instead of Jose. And after 12 hours of hard, filthy, grunting labour, either on a work site or sweating it out in a board room, our husbands or partners are not in the best of moods when they got home and that triggers memories of daddy and sends us into full projection mood even before they put the key in the lock.

And then one perceived wrong thing said by us when they get in past the door and – bam: it‟s déjà vu all over again. It‟s no wonder why communication is not our forte, unless we‟re waving our hands wildly in the air or talking with our mouths full over dinner.

Now we‟re both grown up and neither of us fears cleaning or getting dirty, but we are both too quick at blowing up. We‟re left with smothered boyfriends and husbands who we lecture, nag and try to control… like we did with YOU when you were young and because we didn‟t know what the hell we are doing (what does an 11 year old girl know about parenting a 10 year old boy?) and because mom and dad had a hostile-dependent relationship, that was the only model we could replicate… The Cosby Show just seemed so far out of reach for us, y‟know?!

And we didn‟t get as many mimos as you did when times were tough… Because we could cry, usually we did it alone, in our pinkand-white rooms, surrounded by Barbies and stuffed animals. If we did it in public or in frustration, while mom was busy trying to teach us something about laundry or cooking or cleaning that we just didn‟t want to know, we were told that we were malcreadas…

Occasionally, though, daddy would feel badly for us and give us some big hugs and wipe away our tears, while mom was trying to break us into a life of domestic bliss (we‟re thankful for it now, maezinhas, but at the time… sheesh!).

Worse off, we can‟t even admit to ourselves that we wanted to be just like our mothers, but kept falling short of it; at least not without some deep soul-searching or psychotherapy. It is only now for most of us that we have come full circle to realize just how much mom sacrificed for us all, and just how incredibly useful knowing how to cook and clean and sew, and to make high quality rissois, really is during the holidays.

Guys, don‟t blame us... we thought we HAD to be your mother. This is what we were taught to do with our brothers… but nowadays, we are told it‟s better to be a lady in the street and a freak in the bed. That‟s what men want, right? No one says anything about being anyone else‟s mother… except in the case of MILFs, and mothers these days are expected more to be friends than parents, anyway… but that is a whole topic onto itself. So we get pumped up and prodded at in the salons, and we go from wearing lululemon during the day to stiletto heels at night – the kind that push our butts out and make you think temporarily that you‟re assmen, before we turn around and stun you with deep-cleavage enhancing bras that remind you that you‟re breast-mean first and foremost.

We drink more than our mothers did in their generation, and some of us smoke, but we also laugh a lot more too… And we have the freedom to pursue our own dreams while raising a family. It‟s no longer one or the other, but it is still a confusing world for women.

The key here is for us to realize that ours is a different world than our parents‟ world. Every household now is run by two people sharing the duties, or maybe even just one after having gone through a divorce and co-parenting with a former partner who is living off-site. We‟ve grown up wanting to be the mother that you unconsciously crave because you haven‟t fully detached from her yet, and you‟re still projecting all of your unmet childhood needs onto your current wife or girlfriend, but what we really should be doing is becoming the lover and companion that you consciously want to grow up with… And this we can only do once we resolve our own daddy issues and move beyond the blame we‟ve put on mommy for making us work too hard and look after you. Oh Boohoo!

I agree with Jose Jr: we have to draw on what we saw from BOTH of our parents. It‟s all about balance. Our goal can no longer be to do everything for our men while they simply bring home the pay check. I‟m sure both of our parents had to adapt to the changing world, and so must we. Change is the only constant. And we have to set our sights higher; closer to a mythical Oprah-Gisele Budchen-Penelope Cruz – Barbara de Angelis than Jenna Jameson-Courtney Hole-Scary Spice-Roseanne Barr.

The sooner we realize that being a loving, space-giving, affirming and nurturing woman is better than being a demanding, smothering, jealous and controlling bitch (I won‟t mention names, but let‟s just call her Naomi Campbell – Editor‟s note: the reformed Naomi Campbell), then the sooner we‟ll be on the balanced road to happiness..... We have to put on our big girl panties and stop crying -- the ones that were literally cut, sewn, and packed into boxes by our mothers.

So, princesses, suck it up… get over your daddy issues, stop mothering your boyfriends or husbands, and start enjoying your life by living out your passions and sharing them with your men instead of demanding that they share theirs with you… and get your own razors!

Sincerely, Mariazinha

Joanne Zuk

Susy Ferreia

Peter Correia

Susy Ferreira

Home is where the heart is… It is where you find Peace

O Monumento aos Combatentes of the Portuguese Colonial War Chapel Lawn, Winnipeg, Canada Sally Correia Susy Ferreira

The story of how a monument to the Portuguese combatentes do ultramar came to be placed at Chapel Lawn Cemetery in Winnipeg, Canada is one Caçador’s story of how he was called to war, and how he has since been on a life-long crusade to bring old comrades together and find peace.

He was conscripted into the Portuguese army because his father had been unwilling to pull strings to get him into the navy. My son is no better than anyone else’s son, JoãoÁ had said, and if that meant being conscripted into the army and deployed to the colonies, he could die on the battlefield like anyone else’s son.

The Caçador is my father, Pedro Aires Simões Corrêa, but he could be anybody‟s father. And I could just as well be his son telling this story. There are as many fathers and daughters of war in our generation as there are fathers and sons of war.

Pedro Aires would serve one three-year tour of duty in the Portuguese Army during the Portuguese Colonial War, from September 1963 to February 1966. His rank was 2o Sargente Miliciano. He was in the Company of Hunters. Um Caçador.

They were not yet fathers when they lost their innocence to the horrors of war. They were the sons of other fathers then –boys really, who grew up quickly under the extreme carnal pressure of war. These boys became warriors – hunters who learned how to survive in the jungle on the promises made to their comrades and commanding officers, on their prayers made to God and to the saints, and on the cold comfort of their bullets and their artillery.

While in active combat, he proposed to my mother by letter, and took a brief leave of absence to be married by proxy on July 25, 1965. He was at Cassanguidi, in the Lunda (diamond) Region of Angola. She was at a church in Santarem, in the Ribatejo Province of Portugal, where they had met in 1961 at a dance, while he was studying to become a Sargent at a haunted convent in Mafra and she was working as a designer for a local architect.

They swallowed the horrors of war for breakfast, and during the day, they just got on with it – living and dying according to destino. When the war ended, they pulled together what was left of their lives and moved on with it, settling in new lands and carving out fresh identities as fathers, uncles, and grandfathers, never forgetting who they were, where they came from, or how they owed their peace to war.

After a few serious but not life-threatening injuries and an honourable discharge, Pedro returned to o continente to begin life as a husband, and then just a little over 9 months later, as a father. I was born in December 1966, and eighteen months after that, we were papers stamped and ready to immigrate to Canada, my brother having just been born in March 1968. ***

*** Pedro Aires Simões Corrêa was born to Jorgina da Graça Ferreira, a mid-wife, and João Simões Corrêa Jr, a harbour master, on the feast day of São Pedro in June 29, 1941 at the dawn of World War II, in which Portugal maintained a position of aggressive neutrality under the fascist dictator Antonio de Oliveira Salazar.

His childhood and youth on the island of São Miguel in the capital port city of Ponta Delgada was carefree and idyllic – he enjoyed the company of his older brothers and sisters, and later, in his youth, achieved local celebrity as a roller-hockey star with an eye for the ladies and a love of the sea.

It is a theme of conflict repeated often in the history of the collective Portuguese soul, and in the individual lives of the Portuguese, this push and pull between empire and immigration…from imperialist to immigrant.

The Portuguese have always looked out towards the sea. Generations of migrating tribes from Eastern Europe (Celts, Iberians, Goths, Visigoths, Vandals and Suevi) and Northern Africa (Jews and Moors) pushed out, west and north to settle, fight, and mix together at the tip of Southwestern Europe, where the ancients (Phoenicians, Carthaginians and Greeks) had also settled, and where the Romans had conquered and secured Iberia for themselves between the 3rd century BC and the 4th century AD as a province of the Roman Empire variously called Lusitania by the locals and Hispania by the Romans.

Roman Empire - Perry Casta単eda Library

These generations of migrating tribes gave rise to a cultural need to keep moving towards parts unknown; to leave a small cradle at the edge of the Iberian Peninsula and make of the world a grave, at first by the royal decree of empire, and then through the common push of a Diaspora through immigration.

Whether by empire or immigration, the need to go and see and conquer, and then flow riches back to the homeland runs deep in the Portuguese psyche… If one half of the double helix of the Portuguese DNA is the need to seek out and explore and conquer new lands, then the other half of the double helix is the intense longing to return home: saudade.

The Monumento aos Combatentes do Ultramar in Winnipeg, Canada is not excessively large; certainly not as large or as stately as the national monument to the Combatentes do Ultramar in Belem, Portugal. Still, there is a solemn dignity in the polished grey slate, and the letters carved on the flat façade are as etched with the blood shed on the battlefields of Angola, Mozambique and Guinea-Bissau as surely as they are carved with the blood, sweat and tears of the Portuguese immigrants who came and settled on the cold, windswept prairies, making to prosper their adopted homeland as their cousins, brothers, fathers and sons sacrificed to uphold the empire that had once made prosperous their native homeland.

The Portuguese know better than anyone, though, that you really can‟t go home again, and that if you do manage by some miracle to make it home against the odds of fate and sea, that it is never the same as how you left it, and that no one remembers that you even lived there anyway. This is the lesson learned of the Portuguese, be it by imperialist or immigrant. Your adopted homeland is your homeland, so you might as well get used to it, settle in, grow some roots, and while you‟re at it, build some monuments to commemorate and honour your

There is a poignancy here in the cold grey stone, giving testament to the courage of the young men in their late teens and early twenties who lived through the experience of war, some surviving the battlefield, and others dying on it. The young men who were conscripted into a militia army, and who boarded the ships at Cais de Alcantara in Lisboa to migrate to Africa, and to fight in a war in which they were nonetheless expected to bleed and to die as though they were regular army.

O Cristo Das Trincheiras

The Portuguese Colonial War Portugal is recorded in western history as being the first European nation to establish a colony in Africa, at Ceuta in 1415, and as being the last one to leave Africa, by pulling out its troops from the colonies during the Carnation Revolution on April 25, 1974.

The Portuguese Colonial War –Geurra Colonial was also called the Overseas War –Guerra do Ultramar by the Portuguese, and the War of Liberation – Guerra de Libertação by the Colonies. It was fought between 1961 and 1974 in Angola and Mozambique (and later Guinea-Bissau) between the Portuguese military and a number of armed African nationalist movements backed by either communist-led parties in other countries, or by US-supported groups. The war ended abruptly with the Carnation Revolution in mainland Portugal on April 25, 1974.

There had been pressure on Portugal to give up the colonies since the end of the Second World War, when the United States and the Soviet Union were expanding their circles of power around the world, and giving financial, military and ideological support to resistance groups.

Portugal joined the North Atlantic Treaty Organization (NATO) as a founding member in 1949, even though it had remained neutral in the war, and the threat of a soviet attack in Western Europe was not of any real urgency to mainland Portugal. The NATO preoccupation with the threat of soviet attack in Europe actually kept the Portuguese military distracted and unable to fully prepare for the guerilla uprisings that were to come later in Africa.

On the other hand, its membership in NATO integrated the Portuguese military with the military elite of democratic countries and consequently created a division between the Portuguese military – influenced by western nations with democratic governments, and the Portuguese political administration – still controlled by the Fascist dictator Antonio Salazar. Another unpopular spin-off within the military was the parachuting of the NATO-generation of Portuguese Military elites into cushy commissions high in the ranks.

The conflict in Angola began on February 4, 1961, in the ZSN (Zona Sublevada do Norte), when the US supported Union of People of Angola (UPA) entered Northern Angola from Zaire and proceed to massacre civilians: 1000 white Africans and 6000 black Africans, men, women and children included. According to historian Jose Freire Antunes, President John F. Kennedy sent a message to Antonio Salazar, telling him to leave the colonies, after pictures of the UPAmassacre were made public at the UN. It didn‟t work. And neither did a US-backed coup of Salazar‟s Estado Novo called the Abrilada, which was unsuccessful in ousting the Fascist dictator, but successful in consolidating military power and ensuring that Salazar finally sent a military response to Africa.

There were mixed feelings about Portuguese Africa and the colonial regime. The Portuguese Colonial Empire was not like any other – Africans were allowed to occupy positions of power in teaching, health, education, military and other specialized occupations as long as they had the right technical and personal qualities; and inter-marriage with white Portuguese Africans was common. Access to education and social services were opening up for both indigenous Africans and Portuguese settlers, and two large state-run universities awarded a range of degrees from engineering to medicine – this at a time when Portugal only had four public universities, and two of them were in Lisbon.

Karina Santos

State-sponsored discrimination and enormous social pressure on the indigenous tribal populations was undeniable, but the world is a far different place than it was in those days overall, and much progress has unfolded around the preservation of human rights and the protection of minorities in all countries around the globe. It‟s true that the white minority was wealthier and more skilled than the tribal black majority, but changes in the 1950s, 1960s and 1970s were opening up new socioeconomic developments and more egalitarian policies for all. It is also noteworthy that mainland Portugal itself had a sharp divide between rich and poor, and that education and social services, particularly in the country-side, were not as developed or accessible as they came to be after the revolution. Fascism is not democracy, and its reverberations during the Estado Novo (1926-1968) were felt in both the colonies and in o Continente, including the islands of the Azores and Madeira. Portugal‟s largest period of migration occurred in the midst of all of that, when citizens felt as though they had no other choice but to seek out their fortunes in foreign lands such as Canada, the United States, Brazil, Germany, France and Bermuda.

By 1974, the guerilla war was almost won, especially in Angola – the Portuguese had been in Africa a long time, and with their strong relations with the local people, had increased black participation in the colonial troops to about half of all operations. It was the growing divide between rich and poor on the mainland, and the discontent over the casualties of war, together with the influences of the communists on a group of Portuguese military officers, which finally brought the war abruptly to an end, by overthrowing the Portuguese government in April 24, 1975 in the Carnation Revolution – a revolução dos cravos.

Susy Ferreira

Karina Santos

Susy Ferreira

“Considerações Gerais” « A história de Portugal, desde a sua fundação, em 1143, até aos nossos dias, foi sempre cimentad no terreno através de Construções mais ou menos sumptuosas, conforme os feitos e as disponibilidades, monumentos, padrões, etc.

Estes marcos históricos mantêm viva a história de Portugal e, consequentemente, o nome daqueles que se baterem por Portugal nos mais diversos campos (culturais, militares, religiosos, etc.).

Se percorrermos Portugal de Norte a Sul constastamos o que referimos anteriormente e, por isso, ha necessidade de se dar continuidade a esses marcos históricos que lembrem aos presentes o que foi Portugal até os nossos dias e aos vindouros o que foi Portugal no tempo dos seus ascendentes.

Dentro dessa continuidade tornou-se imperioso passar « á pedra » a memória daqueles que tombaram em defesa de Portual no antigo ultramar e homenagear todos aqueles que serviram Portugal como simples combatentes.

Foi assim que nasceu a ideia de construire m Lisboa um « Monumento aos Combatentes do Ultramar » monumento nacional, por envolver todos aqueles que lutaram ao serviçe de Portugal, enquanto que ao nível de muitos concelhos já existem monumentos equivalentes mas com caracteristicas regionais uma vez que apenas abrangem os naturais desses concelhos. » O Monumento aos Combatentes do Ultramar, Belém, Portugal. ***

A ideia de construire em Winnipeg, Manitoba um « Monumento aos Combatentes do Ultramar » partiu do exCombatente Pedro Correia, Presidente da Liga dos Combatentes em Winnipeg, junto com o seu elenco directivo.

A delegação da Liga dos Combatentes em Winnipeg, no Canada, está firmamente empenhada em homenagem aos combatentes Portugueses – os que fazem parte da comunidade Portuguesa aqui radicada neste grande país da América do Norte – através da inauguração de o monumento que recorde e presta homenagem a memória de todos aqueles que ao servico de Portugal, serviram nas Forças Armadas Portuguesas, e combaterem por Portugal nas cinco partidas do mundo.

Optou-se por um projecto constituido por uma base com dimensões de 1.00 m x 1.20 m x .06 cm, em pedra de granite, por exemplo, sobre o qual assenta um prisma pentagonal, tambem do mesmo material, em que cada lado representa um dos cinco continentes do Mundo, em cada um dos quias é inscrito, o nome deles (Europa, Africa, América, Oceânia e Asia), sendo finalmente, encimado por uma esfura, também em granite, que se pretende representar o globo terrestre, do qual fazem parte todos os continentes, onde foi sentida a presença de combatentes Portugueses ao longo da nossa história secular.

Na face é colocada a seguinte mensagem “Aos Combatentes Por Portugal.” Levá tambem o logó tipo da Liga dos Combatentes e da Delegação da LC de Winnipeg, no canto superior direito e esquerdo, respectivamento, bem como a frase dos Lusiados « Em Perigos e Guerras esforçadas mais do que promeita a força humana. » The Project Architect was José Eduardo Varandas, Liga dos Combatentes, Portugal The committee was composed of the following: Fr. José Eduardo Medeiros, Chaplain, LC Winnipeg Alcides Almeida Albino Felizaardo Horacio Medeiros José Raposo Mario Santos, Counsel, LC Winnipeg Paul Welechko, Chapel Lawn Paul Cabral, Consul of Portugal, Winnipeg Pedro Correia Don Mackey João Paulo Melo Luis Vicente

A partial list of known ex-combatentes, who live in Winnipeg, including those who worked tirelessly towards the erection of the monument, and are featured in our photo-collage…

(If we‟re missing someone, send us their name and rank and we‟ll post it in the next issue)

Almeida, Alcides – 1 Cabo, Administração Maurício, José – Soldado, Shooter Arruda, António Pacheco – Shooter; Driver Medeiros, João Manuel – Soldado Arruda, João – Soldado 1 Classe, Air Force Melo, João Paulo – 1 Cabo, Auto – Fleet Bergantim, Elidio – Furiel Miliciano Oliveira, António – 1 Cabo, Para quedista – Borges, Manuel – Soldado-Cozinheiro, Caçador paratrooper Braga, Fernando – 1 Cabo, Infermaria; Administração Oliveira, Manuel – Para quedista – paratrooper Cabral, António – Soldado, 1 Classe Oliveira, Tomaz – Policia Militar Cabral, José F.F. – 1 Cabo, Codebreaker Operator Pacheco, João Gabriel – Soldado, 1 Classe Caetano, Domingos – Soldado, 1 Classe, Machine Gun Pavão, José Luis – 1 Classe, Shooter Operator Pimentel, Adolfo – Soldado Calado, Arsénio – 1 Cabo, Infantry Ponte, Manuel – Artillery Catojo, José – Soldado – 1 Classe Raposo, Bento – 1 Cabo Correia, João Maria – Soldado (Mozambique) Raposo, José – 1 Cabo, Caçador Correia, Orlando – Driver, 1 Classe Raulino, Virgínio – Captain‟s Aide du Campe Correia, Pedro Aires Simões - 2o Sargente Miliciano, 2nd Reis, Custódio – 1 Cabo, Infermeiro, Air Force Militia Sargent Rocha, António – Soldado, Mechanio (Guineade Medeiros, Horácio – 1 Cabo, Caçador Bissau) Dutra, Henrique – Furiel Miliciano “USO” Rodrigues, António Jose – Soldado Fazenda, Josés A. – 1 Cabo, Enginheiro, Machine OpRoque, José – Soldado erator Sá, Adelino – 1 Cabo Felizardo, Albíno – 1 Cabo, Cyrpto – Codebreaker Soares, Rui – Furiel Miliciano Fernandes, Jose Manuel – Soldado, Teixeira, José Luis – Caçador Guerra, Manuel – Para quedista – paratrooper; transValentim, José – Company Driver missions Vicente, Luis – Para quedista – paratrooper Lopes, Emanuel – Soldado, 1 Classe Vieira, Lionel – Soldado Lopes, José – Soldado, 1 Classe Vieira, Manuel R. – Furiel Miliciano RIP Amaral, João Barão, Francisco Dias, João Fernandes, Guilherme Medeiros, Gilberto Moura, António Silva, Eugénio

SKETCHING THE ARCHITECT:

QUESTIONS AND ANSWERS WITH J. GEORGE MARTINS

BY SALLY CORREIA George presents as a living paradox of emotions and characteristics; a modern yin and yang of light and dark elements he is evolving into an integrated whole.

He is still not sure what he wants to be when he grows up, even though he is an accomplished architect and successful project manager and regional director. He enjoys being single and all which that entails, but he also wistfully supposes that it would be nice to have a family. He has yet to figure out who he really is, and what he was truly meant to do with his talents. And yet, he has an intuitive sense that it is this duality that makes him who he really is, and that, just perhaps, he is already doing what he was meant to do with his talents, in living out a life less than ordinary by always asking – why?

I’ve been reading The Art of Power by Thich Nhat Hanh and he has this to say about those of us who have the courage to continue asking:

“It’s like when you climb a ladder. When you get to the fourth rung, you may think you are on the highest step and cannot go higher, so you hold on to the fourth rung. But in fact there is a fifth rung; if you want to get to it, you have to be willing to abandon the fourth rung.

Ideas and perceptions should be abandoned all the time, to make room for better ideas and truer perceptions.

This is why we must always ask ourselves: am I sure?”

Q

What inspired you to study and practice architecture?

A I always had a tendency to draw as a child. My teachers recognized this ability and promoted it. I won a prize in junior high and was sent to the Winnipeg Art Gallery to study sketching and painting, but I didn‟t know where I was going with it. I didn‟t know I wanted to be an architect.

I was really good at math and science, so that combination led me into the sciences, thinking I would do medicine, and then one day in a lab, I had an epiphany: I really didn‟t like the smell of formaldehyde!

Q

You didn‟t like the smell of formaldehyde? That‟s what propelled you into architecture?

He laughs and tugs at a coiffed fore-lock.

A Well, I began to look around at what else I could do. I was considering other science programs when I found an old drawing in one of my drawers at home. It was the sketch of a house. I began thinking at that point that I should be an architect, which combines all of the things that I‟m good at, including building.

When I got into architecture, though, I was behind the eight-ball. I had to play catch-up and compete with all of these kids who had been doing this kind of stuff their entire under graduate studies. But I persevered: there was something so appealing about architecture to me; that is, this idea that I could create something out of nothing.

Q

Tell me about “being good at building.” You come from a long line of builders, yes?

A Yes. I was always involved in my dad‟s building projects. I was fascinated by the craftsmanship, especially by craftsmanship that stands the test of time. This is part of my ancestry. I take pride in craftsmanship. It‟s a form of art.

Q

Were you born here, or in Portugal?

A I was born here, but I was always back and forth with my family. We spent summers there, in the north. I still spend about a month there every year. Up near Porto; Braga – Viana do Castelo.

I know those places. Beautiful landscapes; expansive river-valleys and majestic sea-side vistas. Still, I prefer Lisboa. We joke about north and south. George prefers Porto.

Q

How was that – the back and forth?

A Confusing! It really messes with your identity. I am very fluent in both languages, though, and some people think I have an accent.

Q What advice would you give to someone considering a career in architecture?

A

Give it up!

He is joking, of course, and exaggerating to make a point.

Seriously? You can‟t take it lightly. And it‟s not something that can really be taught in its entirety, either -- even if you have the technical skills, you still might not have it. You either have it or you don‟t… but you can‟t really become an architect if you don‟t have it, or without being passionate about it, or consumed by it.

He takes a sip of a Corona and continues. Art never has an ending.

People who are consumed by it are constantly working on it. There‟s no middle ground. Having said that, architecture is also a business and all which that entails… It‟s a funny thing, though, straddling the line between art and business. I mean, in training and in practice, you are constantly advancing to the next level based upon someone‟s subjective opinion – either a critic or a client. So, if you can‟t sell your design idea; then you can‟t pass the course or collect the bill in the end. It doesn‟t matter how good your design idea is if someone doesn‟t buy into it and want to make it their own.

And it‟s tricky to put yourself out there with a design idea, too. Those are your most intimate thoughts, and you become vulnerable when they‟re exposed – for criticism or for development. Someone else is determining whether your ideas have merit as good architecture. Not you.

It can be very damaging if you get a bad criticism, especially for a student, or for an architect who is just starting out. In school, the bottom line was: if it has architectural merit, it will pass. In life, it‟s a little different. The bottom line is may be a different standard, financial usually.

He laughs. Takes another sip of the Corona. It‟s very intensive training to become an architect, and a lot of people drop out.

There are three years, post-grad, and a thesis, and then three years of internship at a firm, and seven NCARB (National Council of Architectural Registration Boards) exams before you can be registered as an architect [editor‟s note: ah.porTUga advises perspective students to check with their provincial regulatory bodies and educational institutions for up-to-date requirements].

Once you get into the real world in Canada, you quickly see that there isn‟t the same status afforded to the occupation as there is elsewhere, such as in Portugal. As a business, it isn‟t very rewarding, so you‟d better love it for reasons other than just the money.

Some architects dabble in other design areas – there is more freedom, too, as you don‟t have to worry about building code requirements, Engineering and jurisdiction restrictions and such.

Q

What parts of the process do you like best?

A

Designing is half the fun, but it also feels great to see it being built.

He imagines it might be like having a child. You don‟t know exactly what it will look like once you‟ve sold your client on a vision and an idea… you‟re moving from an idea you‟ve sketched out on paper to a building that has to have a purpose in every line you‟ve detailed in the initial design concept. Of course things change, but the initial challenge is still there all along: to create an idea and manifest it in the real world, knowing in advance and as you go, that there will be all sorts of challenges to overcome: schedule, budget, environment, etc. You either confront or alienate.

It can be fun to work within the challenges presented and to use them as a catalyst to change as the design evolves. When money is no object, or less of an object, anyway, you do have more freedom, but ultimately, there is always some kind of constraint. And when a solution arises in response to a constraint, you just know it. It‟s an inspiration or a gut feeling. It clicks and you just know it because it feels right.

It‟s like life, though. There is always a challenge. You take the challenge or the constraint and you play with it, not against it.

It‟s like playing a game and learning the rules.

Q

What are your most important works? What projects do you like best?

A I don‟t want to specify just one design because it‟s an iterative process for me. The latest is always the best in the sense that it is the truest refection of me. You evolve and change as a person and so along with that, so do your designs.

Someone once asked me what my own house would look like if I had to design it, and I said, that depends on the given day.

With every design you get better; you learn and you grow.

Some projects are more successful than others and more fun to be involved in, even if they do present the most challenges to overcome. The Cottage is one of my favourites to date because it was designed and built from scratch. It was designed on a napkin and I was surprised that the clients went for it. The builder was a furniture builder and he took the design and breathed his own life into it. He made it his masterpiece. Everyone involved took it to a higher level. It was a combination of efforts.

Every window was custom-cut. Nothing was mass-produced. That was a rush – even dove-tailing wood!

It‟s not an innovative design, but it is unique in its implementation and in the manipulation of materials. I used traditional building techniques in modern applications. This is a building that should have been made in steel, but instead, was made in wood. [

Jose George Martins has over 15 years experience in the design, construction, project management, and facility management industry, including industrial, commercial, institutional, assembly and residential projects. He is Regional Director at SNC Lavalin ProFac, http://www.snclavalin.com/index.php?lang=en.

Q What are the key influences in your work?

A Most of my ideas come from my experiences as a child. Not in the architectural sense, but in the philosophical sense. Most of the surroundings I appreciated were Portuguese, not Canadian… the rolling hills, the water, all of nature. Living on the prairies didn‟t have the same connection for me as living in northern Portugal did… especially when you consider that architecture is inspired by the environment. To this day, I like architecture that is set in a context which is influenced by nature, whether landscape or vegetation.

Portuguese architecture has an influence on my designs because it uses raw materials that the test of time.

Q

How has living in Vancouver influenced your work?

A I feel closer to Portugal spiritually than I did on the prairies, with the mountains, the ocean, and the terraced homes.

One day I‟ll probably design something and live by the mountains and the shore.

Q

What do you think about contemporary architecture?

He pauses to think a bit and sip his Corona again.

A I am interested in good design in any discipline. Good design transcends, and it changes based on cultural changes and how these changes manifest in what is technically possible to build – in the technology of the day. Contemporary architecture, though…? Hmmm. I‟ve always had a problem when people type architecture; I think it‟s the media or the critics who come up with these types. I personally favour modern design.

Q

Why?

A If someone were to ask me to design something Victorian, I could do it, but I wouldn‟t really have that much fun doing it. Let me put it this way: in classic architecture, there is a lot of emphasis on decorative detail. In modern or postmodern architecture, it‟s about playing with proportions and simple details and how they relate to each other. The emphasis is less on the detail and more on the relationships created by forms and materials.

There are no more master builders. These days, we have to create something beautiful as well as functional in adapting to constraints of time, budgets and the climate. This is important in Canada because the climate is so extreme. This can lead to over-design. What I mean by that is instead of having something simple, we have to reinforce it with additional elements to suit the climate. It‟s a bit different on the west coast because the climate is more forgiving.

Q

How will architecture evolve in the future?

A Any development or shift in technology will lead to a corresponding shift in architecture. As this happens, there will be more ability to create and get creative.

The invention of steel during the Industrial Revolution influenced building design and construction at that time, and other technological changes in the future will have corresponding influences on future building design and construction. There will always be an architect pushing limits, whether it is based on materials or new technology. The big shift will probably be in environmental design – anything having to do with the environment and sustainable development: going green; reducing greenhouse gas; reducing energy consumption. Technology is going to look at how nature solves its problems and try to mimic it…

Q

Do you have any examples to share?

A The pond lily never gets dirty, and yet it sits in muddy water. This could be applied to glazing technology . Buildings these days have to be living and breathing. It is no longer sustainable to rely on mechanics. Canada is leading this change on the West Coast. And it‟s really not all that expensive in terms of the advancing technologies – not when you factor in the life-cycle cost. And then there is ancient technology that we are adapting in modern applications. Even a tree can have impact in this way, with the shade.

Q

Have you ever made a pilgrimage to visit a particular structure?

A Not specifically. I‟ve never used my social time for my architecture. I might take a left or right turn to check something out, but I‟ve never gone out of my way. Sometimes I prefer to have a building stay in my imagination as special or iconic. Reality can be brutal. Still, I‟ve never been disappointed, and I‟m always awed by what I have seen – the buildings have almost always exceeded my expectations, especially after studying them and then seeing them in their actual forms.

Breath-taking.

I decide to get a bit more personal and start closing what is a very insightful interview. My hand is getting tired and I’ve got a flight to catch in the morning.

Q

What is your style?

A I like to experience everything to a fault. I‟m mature, but not really. I‟m grounded, but dreamy. I wear my heart on my sleeve. I‟ve lived so much, but yet I have so much more to live. All of these things are reflected in my style, or maybe they are part of my style – they make me who I am, but they also complicate things for me. I sometimes feel as though I‟m two different people. This is probably why I jump from profession to profession. Maybe this need to experience everything is a way of adjusting to the vulnerability; to the mortality of the human expression.

I like to take the good with the bad. As in art. As in life. I think we do ourselves a great injustice when we hide the truth; from ourselves; from others. In all of it, though, I strive to have integrity. Always. This is not just important to me in my personal life, but also in my professional life as a manager and as a leader. I like the fact he has made the distinction between manager and leader. They are not the same, although many people often confuse the two.

Q

Do you have any other interests? What kind of clothes do you like to wear?

A I like all kinds of sports, and I have all kinds of interests. I appreciate clothes that are stylish – being an architect, style surrounds me; it is an extension of me. I like having stylish clothes and furniture and objects. These are extensions of me. I like being edgy. I like to push the envelope. I like to mix things up and not buy them off the rack, or the furniture show -room. I have two different looks: one is professional and one is urban. Again, it‟s like I‟m two different people. I am edgy and free – that‟s my style, and I am constantly evolving. I‟m not flashy, though. I prefer a sophisticated edge. If I were to buy a car right now, for example, I would buy an Aston Martin as opposed to a Lamborghini. I decide not to tell George that a black Lamborghini Diablo tops my current to-drive list.

I go to the gym regularly and I eat healthy. It‟s a life-style. I like to be productive, and to surround myself with positive energy. It‟s important to be successful in all areas of life, including good health.

Q

What is your favourite movie? Do you watch TV? Do you read?

A I like The Matrix. I like it for the metaphor and for the cinematography. I like anything that is visually stimulating and has a good story-line. I recommend the HBO series Rome to him.

No, I don‟t watch TV, but yes, I do read, although not as often as I would like to.

Q

What‟s in your iPod?

A Lately? It‟s eclectic as usual. I like all sorts of things, from Kings of Leon to Rihanna to Opera to JZ… I don‟t like country and easy-listening, though; otherwise, it‟s all good.

Q

What‟s next for J. George Martins?

A I take comfort in knowing that I don‟t know what‟s next – that way, I‟m never disappointed, but I‟m always excited about the possibilities.

I don‟t limit myself or live with regrets.

I don‟t have only one goal or direction.

I pride myself in thinking that I‟m whimsical, and that I can follow my dreams; that I can carve out a life that is psychologically, spiritually and financially successful.

This time next year, I might be living on a vineyard, growing grapes for a living.

I am open to possibilities.

The outside in the architecture of José George Martins: leaving a wake up on the sky Sally Correia The Cottage docks at the water’s edge in Lake of the Woods, its enormous wooden mast of windowpanes rigged up with large, translucent sails of glass. Its lower forms are like the hull of a ship.

If you squint your eyes a certain way and look up, and use your imagination like you did when you were a kid, you can see the movement of the window-sails lifting the bow against the tree-line.

The diagonal curvature of the panes as they rise up from the floor, jutting up and out towards the lake and against the green treetops and peak-a-boo blue sky gives an even greater sensation of sailing, of feeling as though we are about to push off from shore and lift into the compelling azure of the surrounding water. It is literally breath-taking.

It looks as though the entire building is being tacked into the wind by the hand of an experienced sailor and floating in time and space, leaving a giant wake up on the sky.

“I used a lot of different materials in the interior to make it feel like the outside is coming inside with smooth transitions between these different materials as they exist in nature. In the design process, and again during construction, I took into account all of the environmental constraints and benefits – the site lines, sun angles and passive shading. I used angled glass to reduced heat gain and glare.”

The Cottage is owned by a couple who grew up in the cottage country of the Canadian Shield. The water is in their blood, and there is a passion for sailing between them. It seems destined by fate – or what we dramatically sometimes call a ironia do destino, the irony of fate, that they met and commissioned an architect of maritime heritage, who grew up next door to the shield, at the bottom of the glacial Lake Agassiz, on the golden wheat-tinged grass of the central prairies. The water is carried across centuries in his blood, and there is a shared passion for sailing between designer and clients.

One of the first things architect José George Martins did for inspiration was to walk around the island, and here he says, he was struck by the water that surrounded the entire property, “and by the jagged slate edges of rock, and the soaring timbers.”

“I wanted to incorporate the region as well as the concept of sailing.

The angled walls are an extension of the rocky slate on the edges of the shore. The clean lines and solid planes balance with soft curving arches to create a dramatic geometrical effect and the illusion of floating, especially where the glass transitions into roof.”

The supported timbers were individually carved on site to meet load requirements, he explains, as well as to suit the curvature of the roof at each unique point of intersection.

“I also wanted to bring the elements of nature – to make it feel like you’re experiencing the outside, inside. The only direction that they gave me was ‘to incorporate a unique roof design, and to use a lot of glass, wood and stone to make the cottage literally disappear into the island landscape.”

Inside, there is white pine and slate-stacked dry stone as well as the massive sails of glass and mast-like timber. All are found in nature on the shield, and all were made to fit and accentuate the site. Outside, there are dark cedar shakes which dramatically contrast with the light pine, making the Cottage a part of the natural environment, making it married with the surrounding terrain.

The Cottage has a southern exposure, and the lake is visible from every single window in the house.

The view from the dining room is especially spectacular – the dining room table and chairs are nestled elegantly under the massive canopy of the wooden mast of windowpanes and glass sails.

“I incorporated a slate floor path leading up to the front door, and then beyond it, I repeated the natural stone element in the slate floor of the foyer, which I surrounded with large glazed panels to further reinforce the feeling of bringing the outside in, and to give it the illusion of floating...”

“And ready to sail away?” I suggest.

“And ready to sail away,” he nods. “Yes.”

A little bit about architecture: firmness, commodity and delight Gingerbread House: This image is in the public domain

One of the earliest known books about architecture is Vitruvius’s De Architectura. In it, we learn that good buildings strike a balance between the three core principles of architecture: firmness, commodity and delight.

None of these should over-power the other and there should be balance and coordination among the three.

Contemporary architecture is an inter-disciplinary field that includes mathematics, science, technology, art, politics, and history in its approach to addressing aesthetic, structural and functional requirements. According to Vitruvius, architecture is a science arising out of other sciences, and an architect is a builder as well as a philosopher, capable of expertise in other areas such as music or art.

The difference between an architect and a builder is in the approach to using materials to provide functional as well as aesthetic solutions to the environment. A car-port in your backyard might be a building to house your Chrysler, but the Chrysler Building in New York City is an art-deco skyscraper on the east side of Manhattan.

And what if you are both a builder and a contemporary architect like J. George Martins? That’s the difference between being good and being great.

It is not enough anymore to be good. If you want to leave a legacy behind and make an imprint; to leave a wake up on the sky, you must be great. You must be well-rounded and willing to take risks in both building and designing, and you must be willing to have the confidence to work with your clients and take into account the constraints of budgets, the natural elements, and time and space, in order to transcribe your aesthetic vision into the form and function of an actual building that not only works for those who live inside of it and enjoy its beauty, but also inspires those who live outside of it and enjoy its beauty.

Contemporary architecture is made up largely of two kinds: regular and experimental. In the regular kind, there are many different types , ranging from glass and steel skyscrapers in large urban centers, or glitzy Vegas-style hotels, to sprawling suburban homes built around the attached garage and a manicured green lawn in the front and a wooden patio deck out the back. Creativity and craftsmanship have been replaced by an assembly-line design process and an inattention to detail, or worse yet, decorative bric-a-brac.

In the experimental kind, which includes architectural styles ranging from modern and structured to deconstructive and unstructured, there is greater opportunity for creativity, and for craftsmanship as well, but there aren’t many architects being offered these opportunities for creativity or craftsmanship. Not in our “saw them out, and nail them in” bigger is better culture.

The world is becoming very uniform. Architecture is an art of time and an art of space. Its significance comes from history as well as the here and the now. Contemporary buildings are so similarly shaped by technology and its application to building materials, that to create a unique urban (or country) form is a serious challenge for an architect working today.

Traditional architecture, with its emphasis on intricate detail as found in Portuguese Gothic Manueline for example, or in Baroque or Victorian architecture, is characterized by a repetition of intricate form over and over again. Contemporary architecture, which includes modern, post-modern, and prairie styles, is characterized by a singularity in form, and a movement away from repeating intricate details over and over again, towards an emphasis on lines or angles. The easiest way to see the difference between contemporary and traditional architecture is to drive around downtown and look at the more recently-constructed buildings. They tend to have long lines and sharp corners. There isn’t a lot of detail in the form. Compare this urban glass-andsteel-and-stone style to older homes or turn-of-the-century churches, where there is a lavish attention to detail with wooden millwork on the eaves, or columns and cupolas with gilded edges and intricate arch-ways.

A positive aspect to the breaking down of elements and the loss of edge detail in contemporary architecture is the opportunity that exists for a stark beauty – a subtle minimalism that allows the viewer to gain a real understanding of how materials come together in form to pursue a specific building function. Whether this makes contemporary architecture more or less sophisticated might be a question of taste or preference, but it is hard to deny that that it remains incredibly responsive to cultural, technological and social aspects in applying appropriate technology to design; in combining function and materials in innovative new ways, and arriving at a realistic point of balance in designing buildings for our current age, while continuing to address the ageold design problems of what you can do to satisfy the three, ancient core * Other contemporary Portuguese architects of note include: principles of architecture: firmness, commodity and delight. *

Architect J. George Martins definitely satisfies all three in the cottage.

Nuno Mateus and Jose Mateus of ARX Portugal Arquitectos, www.arx.pt, and one of the best known Portuguese architects of the 20th century, Alvaro Siza, www.alvarosizavieira.com.

Designed by new and notable bay area architects EDMONDS + LEE ARCHITECTS

Karina Santos

Karina Santos Dennis Ferreira

Susy Ferreira

One-to-One with Marco Brilhante Sally Correia “In 1966,” Marco emphatically tells me, “Portugal played for their shirt.”

I sit up and pay attention. It is the year of my birth. It is also the year Portugal placed third in the World Cup. Marco is only 27 years old, and yet, here he is telling me, with the conviction of someone who might have watched the game on a small black-and-white TV in a dusty smalltown village bar, that Portugal needs to play for a love of the shirt again.

“They need to stand for something again; to stand for something besides looking good. If you stand for nothing, then you fall for everything.”

I have a set of questions to ask, but he is on a roll. I sit back and continue to pay attention.

“The players are now more concerned with how they look on the pitch or in the airports than how they actually play.

They all have so much talent, but they only play with passion when things are going well – that’s easy.”

He pauses to consider his words.

Marco and I are sitting in the school gymnasium at Mulvey School for an interview and photo-shoot. I have cracked open a diet Coke and I am swiftly taking notes. He hasn‟t yet opened his juice box, and he is speaking slowly. He is answering my questions thoughtfully and graciously, as though being interviewed in a school gym across from the hospital in which he was born on July 22, 1983, is the most natural thing for him to be doing on a Sunday afternoon.

Marco is a natural. A one-of a kind talent.

It doesn‟t take me long to figure this out as I flip though his sketchbook while listening to him talk about soccer. There is a larger-than-life representational portrait of Marilyn Monroe leaning against the wall behind him – he painted it for his mom, who loves the 1950s icon. Marilyn‟s luminous sexuality is brilliantly captured on the black and white painting with the blood red lips.

I motion to the painting as he opens up the juice box. “It‟s beautiful,” I say.

In Portuguese, his last name means brilliant, and Marco embodies this quality all the way from his bright white smile to his shining spirit. It comes through even more strongly when he begins to reminisce about his childhood, and to talk about his mother and father.

He tells me how he and his father Tony Brilhante, known more commonly by his pitch nickname Xalana, used to watch Saturday morning cartoons together. The Teenage Mutant Ninja Turtles and Roger Rabbit were two favourites.

“Tell me more about your parents,” I ask. “Where are they from?”

“My dad Tony is from Faja de Cima, Sao Miguel, Azores, and my mom Lina is from Braga, Minho. They met in Winnipeg. My dad works for the City of Winnipeg in Construction, and my mom is a travel agent at Adria Travel.”

“What was it like growing up in your father‟s footsteps? Did he encourage you to play soccer?”

Marco recalled how supportive both of his parents were about the soccer. “I actually preferred to hang out with my dad and watch him play soccer than to hang out with my friends. I loved watching him play. He is totally on another level; no one had skills like that, and I wanted to be just like him.”

Marco‟s first team was the Clifton Cougars, now called the Valour Road Community Centre. We share a good laugh about the name “cougars,” and I ask when he started to play.

“I was six years old. No one took it seriously. Not seriously enough for my liking, anyway. I remember this one kid who was swatting away at flies on the pitch. It took a while for me to find a team that could keep me interested.”

“For me,” he says, “it was always about the game, and replicating what I saw my father do on the pitch when I watched him play, but I didn‟t have the team for it. So I was doing all of these things by myself for a long time…”

He picks up the juice box and takes a sip.

“I would wear my father‟s shin pads even though they were too big. It made me happy to wear them.”

“It sounds like you were a happy little boy,” I comment. “Did you have a happy childhood?”

“Oh yes!” he says, flashing yet another brilliant grin at me.

“So…” I say smiling back, “then you‟re not one of those angst-ridden artists who wear a lot of black and blame their parents for their unhappy childhood?”

“No,” he says, “but I met a lot of them in art school. Actually, both of my parents were very encouraging, both with the soccer and with the art.”

“Let‟s talk about the art,” I say. “How did you begin drawing?”

“It started at about the same time as I started playing soccer. I loved to replicate things. I did that with soccer and watching my dad play, and I did that with the drawing, by tracing over illustrations in colouring books until I was able to draw them by myself, without the tracing paper.”

“You taught yourself how to draw by tracing?” I ask. “How long did that take?”

“Not very long – maybe a year or so… I remember watching Saturday morning cartoons with my dad, and then later, watching landscape painter Bob Ross on Public Access TV… I loved listening to Bob Ross paint and talk. The sound of his voice was so relaxing and calm, so soothing. I also loved the sound of his brush stroking the canvas.”

Who didn‟t love Bob Ross? We share another good laugh. I am still laughing when I ask him if the teenage mutant ninjaturtles, Roger Rabbit and Bob Ross were his first art-teachers.

“Did anyone else inspire you? Were there any painters in your family?” I ask.

“We don‟t know where I get my talent from… My Auntie Lucy on my father‟s side draws a little… And my great grandfather on my mother‟s side used to restore paintings and relief work in old buildings and churches…”

“Maybe you got that from him,” I suggest, “Did he paint in gold leaf? That was a secret art back then… It was passed down through generations of painters. Like your talent maybe.” It was passed down through generations of painters.

He considers this an intriguing possibility.

“I don‟t know,” he says. “It‟s not necessarily about talent. It‟s like in soccer. My first coach Steve didn‟t know much about soccer, but he sure did know how to bring the kids together. He had a good spirit and he was positive. It was like that at home. I was encouraged to trace over colouring books, so I just kept doing it. Sometimes I think spirit is more important than talent. I‟ve seen this first-hand in my coaching.”

“When did you start coaching?” I ask.

“I played soccer up until I was 18 years old, and then I switched over to coaching girls soccer for the Portuguese Association of Manitoba Thunder when I was 21 years old – in between I played here and there, but not on an organized team in a higher league.

Initially they had asked my dad to coach, but he wasn‟t interested in coaching because he still plays, so they asked me to do it. I asked my friend Jaime Governo to help coach and together we have the perfect balance.

I am a free spirit and I lead by example. If I have to discipline a player, I usually make a joke and then walk away, leave it alone and let it set in. Jaime is more structured than I am and he will specifically give the players feedback in a more structured way.

I‟m more of a motivator. I encourage them, get excited…jump up-and-down if I have to…” he laughs and sips a bit more from the juice box.

“It was rough in the beginning, though. We went through hell as we all adjusted to each other. And some of the girls were so used to losing…”

“They were used to losing?” I ask. “What do you mean?”

“It‟s a mind-set. That‟s why spirit is more important than talent. I like to take negative things and make them positive. There is no sense in being negative. It‟s like poison. It spreads and spreads… And some of the girls were used to being on a losing team.

That‟s just the way it was… They lost the game even before they got on the pitch because they didn‟t believe in themselves, didn‟t believe they could win.

“I got them into a different mind-set, and I watched them play against teams that were much better in terms of talent, and I saw them actually win games. We are now in the Premiere league as an independent team called FC Barcelona. And we play as a team, with spirit and with shared, hard work.”

He laughs. “There are no super-stars on my team and everyone pulls her own weight. I take soccer very seriously, even though I like to have fun with it.”

“Like your dad,” I suggest.

“Yep, like my dad.” He smiles.

I switch gears and fire off some snappers. “Do you believe in Santa Claus?”

“Sure, why not?” He laughs.

“And the Easter Bunny?” I ask.

“I like chocolate,” he says.

“Do you change your own oil?”

“Actually, I do,” he says, “but that‟s it as far as cars go…I like clothes, though.”

“What‟s your favourite designer?”

“I love Armani, and I wear Le Chateau,” he says “Do you file your own taxes?” I ask “No, my parents do that…,” he laughs, “I wasn‟t very good at math in school.”

“You and me both,” I say. “What were your favourite subjects?”

“Phys Ed, of course, art and history,” he says.

“What schools did you attend?”

“Principal Sparling, Clifton School, Sargent Park and then Daniel McIntyre Collegiate,” he says.

“A West-End boy!” I chuckle. “Where did you go to art school?”

“At the University of Manitoba. I have a Bachelor of Fine Arts. I had no intention of going to university, though...” he trails off.

“No?” I ask. “So how did you change your mind?”

“Well,” he says, “I had a very encouraging art teacher in high school, Ms Gagnon. She saw that I had talent and she helped me put together a portfolio and apply for art school. She was like my first coach, Steve.

Very supportive, very encouraging. Good spirit.”

“What were your majors?” I ask.

“Drawing and painting. I was really cocky going in, but I became a better artist…”

“So they broke you, did they?”

He throws back his head and laughs.

“Oh yes! I learned so much about technique. I learned that while there are no strict rules in art, that there are right choices to make, and some of them are better than others for what you want to say in ink or charcoal or paint. Maybe more like boundaries for shaping creative expression. Dunno…”

“I‟m a very emotional guy. I‟m not impulsive, although I can be impatient. I love working with pencil because painting with oil or acrylic takes too long, but I can do both. I like my art to be emotional and to be spiritual. I love listening to music while I paint or draw… bands like U2 or artists like Enya or Bocelli.

It‟s all about the melody to me. I‟m not a lyrics kind of guy.”

“What‟s your favourite kind of art?” I ask.

“I love representational stuff… I love to do portraits and I‟m very good at it. I‟m getting into graphic design as well. I also like surrealism. My favourite artists are Picasso and Dali.”

“I like to visualize. I also do this when I am coaching. I close my eyes and I see what is going to happen before it happens. I can almost predict what is going to happen when I do this… I guess if I could sum it up, I would say that I am a viewer.”

“I love watching people. And I‟m very sympathetic to their plight. I think I get this from my dad. I also like to put my own twist on things. When I watched my dad play or when I started tracing, I first just started replicating, but then, I eventually began to give it my own spin.”

“Do you dance?” I ask.

“I do,” he says, “but I‟m not very good at it. I love house music. For me, no matter what I do, it‟s all about having a good time and making a difference – bringing positive experiences to people whether it‟s by coaching soccer or sharing my art with them.”

“Do you get many commissions?” I ask.

“Yes, but I also work at Safeway parttime, and I help out at the Bomba Club, which is owned by my godfather, Manuel Felgueiras. I‟m pretty busy between all of that and the coaching, plus I am taking graphic design right now.”

“How do you put it all together and find the time to do it?” I ask.

“It‟s not hard to do because I am passionate about all of it. And I like to layer stuff on top of what I have already learned. I like to find my own way, and I like to encourage others to find their own way: I like to influence rather force… Forcing someone to do something doesn‟t work. It might be faster in the short term, but it doesn‟t work in the long term. To help people find their own way takes a good deal of patience and time. My philosophy is the opposite of “whatever it takes,” instead I like to provide a good atmosphere for learning, especially for those who worry too much.”

“I like to think of myself as a handyman artist… A jack-of-all-arts!

Since graduating from art school, I‟ve been learning graphic design, gotten into sculpture, as well as computer-aided design, magazines, brochures and more recently, tattooing…”

“Do you have any tattoos?” I ask.

“No,” he says, “but I would like to get one.” He gets up from the table and gets his sketch book. He flips through the pages and stops at one that is breath-taking. In pencil, in the left-hand corner is written: In the spirit of sorrow…

Hope sees a star and listening love can hear the rustle of a wing.

“It sounds like you play a smart game, on and off the pitch,” I say.

“Yeah…” he says, “it‟s about playing smarter, not harder, and not being afraid to win. Change is very scary to some people, even if they are used to losing and they don‟t like it, at least its constant … No pressure, no expectations… “ “How do you do with expectations?” I ask.

“Pretty good,” he says, “You know, I feel like this is 26 years worth of Annual Reporting…”

I look up at him with a surprised smile at the coincidence. “Funny you should say that… Annual Reporting across government is part of what I do during the day…”

“What is the significance?” I ask.

“It is a symbol for my sister, who lived for only a few months.”

I nod and say for the second time, “It‟s beautiful.”

“Tattooing is not a fashion or a fad to me. It is a ritual. It marks a rite of passage.”

I nod in agreement.

We sit in silence for a bit.

I ask my final question.

“What would be your ideal job?” I ask.

“Who is Marco Brilhante?”

“I wouldn‟t mind working for a big graphic design firm, but on the other hand, I would also like to work on my own.” He chuckles.

“He‟s a guy who can draw for 24 hours straight if need be… He‟s a guy who enjoys one-to-one time with himself whenever he picks up a brush or a pencil…. He‟s a guy who enjoys being creative and being positive and having a good time… I dunno what else…

He‟s… well…, he‟s me!”

Nardella Photography Inc.

Interview with a Lawyer: Q&A with Silvia de Sousa, BA, LLB Silvia and I are old friends, but for the purposes of this particular, more formal conversation, I have taken the time to run a quick Google search of her name, and to prepare a series of structured questions. The questions will help keep me on task, I reason, and ensure that the time we spend together is more than just a “catching up” between old friends, after at least a decade of quick, informal chats here and there. I want to share with the world what I have known about Silvia all along; that she is, in fact, as her most recent award attests: a Woman of Influence!

I am waiting for Silvia de Sousa at the plush Portage-and-Main offices of the prestigious law firm Thompson Dorfman Sweatman LLP, where she started articling fresh out of law school, back in 1993, and where she is now one of a small, elite group of senior partners who are women. As I think about this, I recall a conversation we had shortly after she was accepted into law school, when we had been talking about what we wanted to be when we grew up, and she told me with her inimitable, unwavering conviction that she wanted to make partner before she turned 40. I wonder if she remembers that particular conversation.

I pick up a magazine. I put it down. I check my blackberry. I take a sip of water. And then I look up and see her, bounding down the stairs wearing a stylish black jumper and crisp white dress shirt, tall black knee length leather boots and black tights. She looks like a corporate, catholic school girl, I think, as she rushes over to great me with a warm hug and a dimpled smile. I spot a tasteful strand of pears around her neck as we lean in for a hug.

Professional and down-to-earth, she offers to buy me a coffee at the Starbucks downstairs. We head down.

We talk about our personal lives.

Catch up a bit as we wait in line and order: one Chai Latte for Silvia and one non-fat, no-whip Mocha for me.

We find a table and settle in. I pull out my list of questions. I tell her that I don‟t usually prepare formal questions; that my interview style is typically more conversational, but that in her case, I am switching things up, because I want to ensure that I don‟t miss a thing.

I start by asking what inspired her to study and practice law.

She is candid, thoughtful and forthcoming as she tells me it was because her parents didn‟t speak English. As the oldest of three children, the role of advocate fell onto her capable young shoulders at an early age. “…and then my grade six teacher told my mom at one of my parent-teacher interviews that I would make a great lawyer.”

She laughs.

“I mean, I‟ve always been a good debater, and I‟ve been lucky enough to have had a great combination of wonderful teachers and the right opportunities in which to advocate for people. This is what lawyers do – they advocate for people who don‟t understand the system, and this is what I was doing for my parents at a young age, because they didn‟t speak the language. I always knew what I wanted to be when I grew up.”

“You‟ve known that you wanted to be a lawyer since you were in grade six, about 12 years old?” I ask.

“Yes,” she says, “I‟ve always stuck to a dream of practicing law; it has been a goal for a very long time, and it kept me focused on something at a time when I might have otherwise not been focused; at a time when many of my friends were left wondering what they wanted to do because they didn‟t know it in the same way I did… floundering a bit.”

“It sounds as though you were groomed for it at a very young age,” I say. “Did you ever have any doubts? Did you ever want to do anything else?”

“The one time I had a doubt was when I actually entered law school and I said to myself, „okay Silvia, this is it… this is what you have always wanted to do, so I hope you like it‟…”

“So did you?” I ask.

“Yes,” she says. The answer is obvious in her ever-confident, gracious smile.

“Have any other professions interested you at all?” I ask.

“Only one,” she says smiling again, “and that is owing to my love of travel.”

“You wanted to be a flight attendant?” I ask.

“Yes, but law school won out in the end, and I still get to travel. I have the best of both worlds!”

“What advice would you give someone considering a career in law?” I ask.

“Try to volunteer in an organization where advocacy is a big component of what they do… A poverty organization, maybe, or somewhere in the health care system… this will help them to see if law is something they would enjoy doing – let‟s face it, as lawyers, advocacy is the basis of everything we do.”

She thinks about it some more as she takes a sip of the Chai Latte.

“You also have to have an ability to work with all kinds of people. You can‟t pick and choose your clients.”

“Tell me about some of your more colourful clients,” I say, knowing full well that Silvia is too courteous and professional to disclose any of the whacky details, but still hoping to catch her offguard and get some juicy scoop.

She demures. I re-phrase the question.

“Well,” she pauses to carefully choose her words, “I‟m not sure that I would call them whacky… They might have very high expectations and need a bit more managing than clients with more average expectations; as such, managing is key. This becomes a skill that most lawyers strengthen and develop over time.”

“Do you think advocating for other people as a child gave you a head start in managing clients?” I ask.

“Yes,” she says, “I have lawyer friends whose parents weren‟t immigrants, and so they weren‟t exposed to the system at a young age, the way I was… They learned the system at an older age, and so in that sense I was fortunate. By the time I got out of high school, I already knew the ins-and-outs of it, while they only started to learn after they graduated law school.”

“I also learned a lot at a young age by being involved in the Portuguese community.”

“Tell me about your experience in the Portuguese community,” I say.

“I thought it was important to be involved, and I still do – learning the language and the culture is important; knowing where you come from; where your roots are… these things are important. They help ground you and give you a sense of identity and purpose. I also think it helped shape me, and so these days, I like to give back to the community.”

“How so?” I ask.

“I do wills,” she says, “and I lose a lot of money doing wills, but I do them anyway. This is my pro bono work as I only do wills for members of the Portuguese community.”

“Tell me about your family,” I say smiling, “and assume I know nothing…”

“Well, we‟re all very close. Both of my parents are still alive and I have two siblings: one sister who is a B.Comm with a number of finance industry designations, and is working in Bermuda; and a brother who is a teacher and working towards a career in the administrative stream.”

“My husband is a politician and we have two little girls, ages 5 and 6. They are high energy and talkative, with big opinions about everything. Annika is laid back, like my husband John, and Nicole is like me – more focused and intense… last year at a dance recital, I clearly saw the difference between my girls, while they were up on stage: Nicole was totally concentrated – making sure she got all of the moves just so, waving her scarf in the proper concentric circles, while Annika was dancing around, waving her scarf dramatically – doing her own thing without worrying about whether she was getting the moves right or wrong.”

“How long have you been practicing law?” I ask.

“I‟ve been with Thompson Dorfman Sweatman LLP for 16 years, straight out of law school.”

“Did you enjoy law school?” I ask.

“Yes, I did. I got involved in student politics (in junior high and high school as well) and the law school at the University of Manitoba is small and interactive, so I got to know everyone really well.”

“It‟s a difficult law school to get into,” I observe, and share with her my story about writing the LSAT before opting for a career in the civil service. I tell her that I would have gotten into the University of Alberta, Dalhousie and even Osgoode Hall, but not the University of Manitoba.

“Oh, I know,” she said. “And if I had advice to give for someone in that situation, I would say, enroll elsewhere and then transfer back. I know a few lawyers who had to do that…”

“Do you like politics?” I ask.

“Yes. I like working behind the scenes. I am still involved in civic and federal politics. I‟m not interested in running myself, though,” she says laughing.

“What do you like best about your work?” I ask.

“I like the variety and the interesting people that I meet… I like the area of law that I‟ve specialized in – intellectual property law – because it puts me in contact with very creative people, and this gives me hope… The hope that we can still find creative solutions to some of the very tangled problems we‟re facing in today‟s world. It‟s a very positive area of law, unlike say, family or criminal law. I tried both of those at the beginning and I was turned off. Those areas of law require a very special personality.”

“What is the most important lesson you have learned in your professional life?” I ask.

“Two things, basically. One, that you have to ask. You can‟t assume that the decision makers know what you are thinking, or what you are looking for… You have to tell them. If you want to make partner, you have to make it known. If you want to work on a specific project or file, you have to ask. Two, that you have to work hard, with a „yes you can‟ attitude‟. Both of these things together will get you a long way.”

Joanne Zuk

“More than talent will?” I ask.

“Talent at this level is a given,” she says, “or what we refer to in my profession as quality of work. You have to function at a certain level, and then you have to go beyond that and differentiate yourself. You have to be great. For example, the legal profession is service-based and so clients need to be serviced first and foremost, with prompt, courteous attention, and by returning phone calls, or e-mails within a 24 hour period. This is one way of differentiating lawyers. Not all of them return calls or e-mails right away.”

I switch gears.

“What do you think about contemporary art?” I ask.

find myself there on a professional basis, but it was great to see it. I do have the robes, though: I bought a set when I was called to the bar.”

“How would you describe your style as a lawyer?” I ask.

“I try to be a creative deal-maker. My clients want me to do deals; they don‟t want litigation. They want creative solutions. They want to say: okay, here is the issue; what should I do to make the deal? How are we going to solve it? They don‟t want to hear: well, we can‟t do this deal; or we might have to sue.”

“Tell me about the Women of Influence Award.”

“I love art! I like contemporary art, but my preference is the Group of Seven. I also like photography. One of my favourites is Sara Ann Johnson – she‟s a cousin of my husband‟s, and is a famous photographer. Her stuff is very dynamic. She‟s also the Artist in Residence at the University of Manitoba. I like prairie art. I‟m a prairie girl.”

“It‟s a national organization out of Toronto * and they recognize top executive women in Canada. I am the first Manitoban to be honoured. Chief Madame Justice Beverley McLachlin is a recipient. It‟s nice to be on the list with her.

It all came out of the blue, which makes it even better. We all work hard, and it certainly is nice to be recognized for individual efforts.”

“A prairie girl who comes from a sea-faring nation,” I comment.

http://www.womenofinfluence.ca/

She nods. “There is a similarity for me between the prairies and the ocean. Both are vast, expansive. Peaceful.”

She takes another sip of her Latte. I switch gears back to law.

“How do you think law will change in the future?” I ask.

“I think it will evolve in three ways. One, it will become more service-based… We‟re already headed in that direction. Clients have expectations and lawyers need to become more customeroriented. This is where customer service comes in – we need to start touching base with clients in a more timely manner.”

“Two, pre-forms are going to become more of the norm. This is a request increasingly made by clients and will become even more so in the future. They will want to go onto a web-site and download and print certain standard forms, such as a basic NDA (non-disclosure agreement) or a partnership agreement, that sort of thing.”

“Three, specialization. As pre-forms and standard templates become the norm, lawyers are going to have to start finding their niches: to specialize in certain areas of the law. The internet has created a complex of general availability of legal forms and advice online; lawyers need to specialize. This is in part why I do intellectual property law – people need to call me to get advice. There are no templates.”

“Who is the most over-rated celebrity lawyer?” I ask for fun.

“Well, there are lots in the US,” she says laughing, “but in Canada, not so many… We‟re not as litigious up here, and the Canadian personality is a lot more laid-back to begin with… We don‟t typically cater to the media. Having said that, even if a celebrity lawyer is catering to the media, as long as he or she is not prejudicing his or her client, then it‟s probably just another way of serving the client…”

“Have you ever made a pilgrimage to the Supreme Court of Canada?” I ask.

“Yes. I was in Ottawa and I did visit the Chambers. I was surprised by how small it was in there. I don‟t do litigation, so it‟s highly unlike that I would ever

“Since 1994, the Women of Influence Luncheon Series has shared the challenges, dreams and accomplishments of high profile women in business, government, sciences and the arts. These highly regarded speakers provide proven advice and inspiration in an environment conducive for women to network, entertain, learn and grow.”

“What are your other interests?” I ask.

“I like reading; biographies especially. I like traveling with my family, particularly to warm spots like Cuba and of course Portugal.

I also like visiting other parts of Canada. We‟re going to the Olympics as a family. We try to introduce our daughters to different cultures, so that they develop a tolerance and appreciation for difference.”

“What‟s on your nightstand right now?”

“Oh,” she laughs, “let‟s not go there… I was just in the Winnipeg Free Press “What‟s on your nightstand?” section! I‟m reading Warren Buffett‟s Snowball and I‟ve finished up biographies on Barbara Walters and Jean Chretien this year.

I‟m also waiting to open up Dan Brown‟s The Lost Symbol.”

“What kind of clothes do you like to wear?” I‟m getting totally personal now.

“I have two styles: an office style and a „mummy style.‟ My office style is conservative: pant suits and dress suits and dresses with pearls. My mummy style is more Wolseley, more granola. Pig-tails. Jeans. Embroidered shirts. Handmade bead necklaces.”

“Do you like the Fringe Festival?” It‟s a natural question at this point.

“Yes. I attend with my daughters. I also like going to the Winnipeg Art Gallery and Manitoba Theatre for Young People. I enjoy the Folk Festival as well.”

“How do you keep in shape?” I ask.

“I have no time right now, but I fit in yoga at noon hours.

I‟ve got an instructor who comes in and we do yoga and meditation in our boardroom.”

“Do you watch TV?” “I do own a TV, but I don‟t watch it,” she says smiling, “My daughters do.”

“Did you play with Barbie dolls?” I ask.

“No. And I don‟t buy my daughters Barbie dolls. I prefer that they have more educational toys. When I was young, I read lots of books. I always had books and papers and pens with me, my mom says.”

“Did you have any pets growing up?”

“No, not growing up, but when I met my husband, I inherited his three pets: a Springer Spaniel, who has since died, a black cat, who is still with us, and an aquarium full of gold fish. We‟re thinking about getting another dog. I think it‟s important for children to have pets. It gives them an appreciation for unconditional love.”

“What kind of music do you like?” I ask. “Do you listen to the radio?”

“Oh, I like Jazz – it‟s called Spa Jazz on Sirius Satellite. And Blues. And of course 80s music. I‟m an 80s girl. I also like soothing artists like Enya. I enjoy listening to CBC. I especially like Anna Maria Tremonti and Peter Mansbridge.”

We‟re almost at the end of our conversation. The drink cups are empty and noon hour is approaching. Silvia has an appointment with a yogi to keep and I have to move my car before it gets a ticket. I ask my final questions.

“What‟s next for Silvia de Sousa?”

“Not sure… Other than trying to raise 2 daughters into strong women with high self-esteem and confidence, I‟m going to continue being a strong woman myself as a partner at Thompson Dorfman Sweatman LLP.” “Parting thoughts?‟ “The younger generation has a sense of entitlement that we all need to help them get past… they need to understand that hard work is necessary in order to accomplish something of value; to leave a legacy requires both hard work and perseverance. People might shoot you down along the way, but you need to overcome the negativity of others and find the positive in yourself; to living out and accomplishing your dream.”

“Community involvement is important, and so is giving back… The organization gets something and you get something – the emotional and spiritual sense of well being that comes from doing meaningful work. It‟s not just about networking on the outside, it‟s also about making yourself stronger within.”

Nardella Photography Inc. *

www.tdslaw.com/our-people/lawyers/Silvia-de-Sousa/

Susy Ferreira

Joanne Zuk

Iberian VS Iberian Sally Correia

The modern nations of Portugal and Spain have each evolved distinctive expressions of a shared history and universal culture that is unique to the Iberian Peninsula. The ancient people who settled and flourished in both Portugal and Spain are of the same stock, as are the waves of invading tribes from Eastern Europe and North Africa who settled in the area, mixed together for greater strength, and then fought to wrestle control of the Peninsula away from the Romans, and then again from the invading Moors. The most lasting and significant influence on the Celts and Iberians who settled here seems to be Roman – the languages both have a common Latin base and both countries ancient names were given them by Rome.

At ahporTUgamagazine.com, we thought it would be interesting to lay out select features of the two cultural expressions, starting with an informal comparison of the nations’ capital cities and what’s hot in each. Of course our opinion is purely subjective — research comes courtesy of Fodor’s guide, Essential Europe, pages 733-754 for Spain, Madrid, and pages 642-663 for Portugal, Lisbon, but we think Lisboa, Portugal wins hands-down!

 Lusitania and Hispania With the Roman conquest of the Iberian Peninsula, the region of Lusitania, which the Romans decided to call Hispania, was converted into a Roman Province. Although there are no pre-Roman records of Luso or Lusus among the pre-Roman people of the Iberian Peninsula, the conquering Romans ignored the Roman name Lusitania in favour of another Roman name for the Peninsula -Hispania.

Historians of mythology speculate that when the God Bacchus first conquered Iberia and left the God Pan to rule in his place, it was Pan who named it Pania, after himself, which thereafter was mistranslated as Hispania. Either way, the origins of the ancient names of both Portugal and Spain are Roman, relating to Bacchus and his friend Pan, or Bacchus’s son Lusus. This shared mythology suggests a common ancestry for Spain and Portugal.

Portuguese national mythology attributes the origin of the word Lusitania to Lusus, son of the Roman God of Wine and Divine Madness, Bacchus. “ …these god-like heroes shin’d in ancient war… Lusus behold, no robber-chief unjust… the son of Bacchus… who subdued the savage world, and humaniz’d the nations as he pass’d. Lusus, the lov’d companion of the God, In Hispania’s fair bosom fix’d his last abode, Our Kingdom founded and illustrious reign’d…

Where, winding oft, the Guadiana roves, and Douro murmurs…

Here with his bones, he left his deathless frame, and Lusitania’s clime shall ever bear his name… On Tago’s banks at last, to vows he paid…

He bade the eternal walls of Lisbon rise The Lusiads

By Luis Vaz de Camões Strophes 2-4, Canto VIII Translated by William Julius Mickle, 1776

MADRID Nestled in a plateau 2,165 feet above sea level and bordered by a mountain range to the North, Madrid is a vibrant urban slice of Spanish life, with an insatiable appetite for art and music.

The Prado Museum holds the most valuable art treasures in all of Spanish history: Velazquez, Goya, El Greco; and the Thyssen Museum contains a large, mixed collection spanning back from the 21st century to the Renaissance.

The urban centre is mostly modern, and neighbourhoods are built around Plazas.

The city has a Royal Palace and a large botanical gardin – Jarín Botánico, and streets and buildings that have been reconstructed and modernized during the rapid political and economic development that Spain underwent following the arrival of democracy in 1977 and membership into the European Union about 10 years later.

The metropolitan, around-the-clock bustle of Spanish city-life is enjoyed by Spaniards from all regions and immigrants from around the world, who have settled in the city in recent years.

Susy Ferreira

LISBOA

Susy Ferreira

So close to the sea that you can smell and taste the salt in the air, Lisboa is a city of laid-back ancient pride, spread out over seven hills north of the Tagus – o Tejo – River, and packed into dense downtown and uptown bairros full of historical monuments and commercial centres: a Baixa, Chiado, Mouraria, Alfama, the old Jewish Quarter, and the Castelo S. Jorge, which dates back to Roman times…

It is an historic city with an incredible legacy – nearby Jerónimos Monastery and Belém Tower are UNESCO worldheritage sites, and breathtaking views – miradouros or vantage points provide fabulous views of the lower town and the ponte 25 de Abril – a suspension bridge over the Tagus River.

Electric trams give the city an old-world feel uptown, while providing a practical, inexpensive way of climbing the cobblestone hills. Shiny blue-and-white azulejos – tiles adorn churches and fountains everywhere, and in every praça or rotunda, there is a stone monument to a dead king or important historical figure.

The city has become more modern in recent years, with glass and steel skyscrapers dotting parts of the skyline and there is a multicultural complexion to the large urban centre, especially in the years since the bloodless Carnation Revolution in 1974 and integration in the European Union a decade later.

WHAT’s HOT MADRID

LISBON ANCIENT VIBE in MODERN TIMES

The authentic HEART of Madrid is said to be found in its streets: from the tiny medieval alley-ways which split into quiet, dark streets that in turn form broad avenidas, the streets of Madrid create an apt metaphor for the jumbled patchwork of urban elements that join up to give us the daily essence of cosmopolitan Spain.

To really understand Madrid, we are told, you have to walk those streets and soak it all up on foot – getting an up closeand-personal look at just how jumbled up the urban patchwork is in Madrid, and how it all fits together to create this unique urban mélange of historical periods, architectural styles, and intriguing cultural sensibilities that are distinctively and undeniably Spanish.

Founded over 3,000 years ago, this city is old, old, old… and yet, it constructed and built up beautiful, brand spanking new structures to host the last great World Expo in 1998.

The site has been re-named Parque das Nações and is now home to trendy riverside restaurants, a cable-car ride, spectacular shows, and a huge Oceanarium.

Old world COURTESY and good manners meet modern amenities, with international chains like the Hard Rock Café, McDonald‟s and Starbucks as welcomed and welcoming as the old

Antiga Confeitaria de Belém, the Nicola Café, and the Pastelaria Suiça.

A VIDA NOCTURNA

Karina Santos

FILM Spain has a thriving film industry, and its most famous son, Pedro Almódovar is as famous for his complex plots, and insightful, dark commentary about the human condition, as he is for making Penelope Cruz famous worldwide.

FLAMENCO Andalusia is the region of Spain best known for this dramatic dance, but there are several noteworthy tablaos (flamenco halls) in the capital city, where they charge for the shows, but throw in a complimentary drink.

Joanne Zuk

Bars and dance clubs are numerous in most non-residential parts of downtown and uptown Lisbon, integrated as they are into old neighbourhoods and warehouses along the river-side.

Wine, beer and spirits are readily available (and there is a huge selection) in all supermarkets, but be careful: if you drink even one glass of wine, you could blow over the legal limit, so do what the locals do and drink or pre-game in the streets!

Besides the Fado clubs, where you can hear the haunting melody of the FADO, of African, Moorish or Brazillian origin, depending on who you ask, there are many options for clubbing and barhopping, ranging from the hoity-toity Pavilhão Chinês in Bairro Alto, to the trendy up-scale bars in Santo Amaro Docas in Alcantara.

Bars are small and don‟t get going until after mid-night, but they stay open until 5:00am. The best places to go are along the larger Avenida 24 de Julho, at the docas, or in Bairro Alto. Crowds usually gather shoulder-to-shoulder in the streets.

La MARCHA – NIGHTLIFE

It reaches epic, multigenerational proportions in Madrid; it being commonly understood that Madrileños sleep very little because they spend so much time in bars and cafes, socializing until the wee hours of the morning –from young children playing on the sidewalks at mid-night to entire families and large groups of friends of all ages talking rapidly over glasses of wine or spirits.

Madrid‟s oldest disco, and one of the best and trendiest for all -night dancing to an international mix, is El Sol, open until 5:30 am.

Karina Santos

ADEGAS – taverns are also lively, but much more laid back than the clubs and bars. Here you can experience a more typical and traditional slice of urban Portugal and hang out with your friends until it‟s time to hit a pastry shop for a shot of espresso, a glass of water, and an early morning doce.

Karina Santos

EATING AND DRINKING Spain is quite famous for its wines, which are numerous and varied, as well as its beer, including: San Miguel, Moritz, Aguila, Voll Damm and (editorial favourite) Estrella.

Spain also produce sherry, brandy, and the sparkling white wine known as cava, in the Catalonia regins.

Popular restaurants in Madrid range from the historic Casa Botín (established in 1725, according to the Guinness Book of World Records), with its wooden ceiling beams and its tiled floors – Goya is rumoured to have washed dishes here before he made it as a painter, to the Castilian tavern called Casa Paco, which features thick, red cuts of beef sizzling on plates so hot that they continue to cook at your table. Be careful not to order anything „bien hecho,” or well done as the Spanish consider overcooking a cardinal culinary sin.

TAPAS! The quick and dirty definition for Tapas is “snack,” but to leave it at that would be doing a great disservice to the tasty Spanish finger-food. Found across Spain, the small treats are made with everything from potatoes to fish to green peppers and served with or covering the tops of small drinks. The origin of tapas (in Spanish, to “tapar” is to cover) is said to have occurred either during the reign of Afonso X, who had a delicate stomach and ate small portions, or began with the tradition of covering the rims of wine glasses with small slices of bread or crackers to keep the flies from diving in. Either way, it‟s a tasty Spanish tradition worth experiencing, over and over and over again.

Susy Ferreira

Red wine is consumed with most meals in Portugal, and even the cheap stuff is very drinkable. Portugal is now more actively marketing its wines both at home and abroad. Periquita is a popular brand, and wines from the Dão region (Azul Portugal is an editorial favourite) are world-class. Portuguese beer – Sagres and Superbock are served both bottled and on tap. The Sagres-mini is very popular with young and old, but Superbock is definitely the beer of the youth, with a good, clean flavour.

Local brandies – Macieira is top notch, and aguardente (at least 50-60% proof if it‟s worth its liquid weight) round out an ancient tradition of spirits that includes the fortified wines known all over the world – Porto.

Popular restaurants are situated wherever there is space and cuisine ranges from traditional to continental to foreign and fusion (editorial note: one of the best meals I‟ve had there in recent years was at an Italian restaurant run by an Indian couple from the former Portuguese Colony of Goa).

Some stand-outs are the expensive see andbe-seen Kais in the docas area of Lisbon, along the river; the Bica do Sapato in Alfama, which is known for its interior and furnishings by internationals such as Mies van der Rohe; and the Cervejaria Trinidade, a former monastery, with its colourful wall tiles and vaulted ceilings in Bairo Alto, known for its ameijoas (clams in garlic butter and coriander) and the bacalhau ábras (cod with potatos and onion).

TO BE CONTINUED… SPRING 2010

Conhecer Portugal, I Maria Jose Correia

Com os seus 88,620 Km2 de superficie, forma um rectângulo quase regular, de 561 Km no seu maior comprimento e 216 Km na sua maior largura, Portugal ocupa a faixa occidental da Península Ibérica.

Esta posição virada para o mar, foi determinante na conquista de terras distantes do outro lado do oceano.

Quando D. Afonso Henriques, um aristocrata descendente de visigodos, consegue ver reconhecida a Independência de Portugal em 1143, com o auxílio do Papa, o novo Reino ocupava o território para Sul do rio Minho até à faixa do rio Mondego.

Durante o seu reinado e seguintes, conquistaram-se mais terras aos mouros, até que, no reinado do D. Afonso III, Algarve foi conquistada aos mouros no ano de 1249. Assim se completava as fronteiras deste País à beira-mar plantado…

Do Algarve partiram as expedições dos nossos antepassados portugueses, que exploraram a Costa Africana e outras…

Além do território no Continente Europeu, Portugal abrange os arquipélagos dos Açores e da Madeira, no Oceano Atlântico.

O arquipélago dos Açores, situado a cerca de 1,450 Km do Continente, é constituído por nove ilhas que formam 3 grupos: o Oriental, com S. Miguel e Santa Maria; o Central, com Terceira, Graciosa, S. Jorge, Pico e Faial; e o Occidental, com Flores e Corvo.

O arquipélago da Madeira, situado a cerca de 900 Km do Continente é constituído pelas ilhas de Madeira e Porto Santo.

Portugal Continental é um País cortado em 2 metades: o Norte, dominado por montanhas e planaltos; o Sul constituído por planícies e terras baixas.

Ao centro, como divisória, os altos cumes da Serra da Estrela, cujo ponto mais alto, atinge 1,991 metros de altitude.

Os principais rios portugueses – Tejo, Douro e Guadiana – nascem em território espanhol. O Mondego, o maior rio nascido em Portugal, nasce na Serra da Estrela.

Portugal é o sétimo produtor de vinho. A videira adapta-se aos mais variados tips de solo e por todo o País se encontram vinhas.

Na região do Douro, por exemplo, é praticado em socalcos. O vinho do Porto sempre ocupou um lugar de destaque na economia portuguesa.

Conhecer Portugal , II

O trigo é o cereal mais importante, ocupando tambem a maior area, cultivada, especialmente nos distritos de Evora, Beja e Portalegre, no Baixo Alentejo. Por isso, chamam a esta província, Celeiro de Portugal.

O milho, desenvolve-se mais favoravelmente nos terrenos do regadio, havendo hoje em dia, grandes milheirais em Portugal, regados artificialmente.

O litoral português é bastante rico em peixes e mariscos e a pesca é uma das mais antigas actividades do País.

Portugal é o primeiro exportador mundial da cortiça, matéria prima extraída do sobreiro. É a grande contribuição do Alentejo à economia de Portugal.

A divisão de Portugal Continental tem 11 províncias: Minho, Trás os Montes e Alto Douro, Douro Litoral, Beira Alta, Beira Baixa, Beira Litoral, Estremadura, Ribatejo, Alto Altentejo, Baixo Alentejo e Algarve.

A capital de Portugal é a cidade de Lisboa e o Porto, é considerada a capital do Norte. Lisboa foi arrasada por um terramoto no ano de 1755, que provocou a morte de 40,000 pessoas e destruíu a cidade.

A sua reconstrução obedeceu a um traçado rigorosamente geométrico e só foi possivel, graças à energia do Marquês de Pombal, ministro do Rei D. José, que reconstruíu a cidade em padrões bem modernos para a época.

No ano de 1910, a 5 de Outubro, foi implantada a primeira república, que produziu graves efeitos na sociedade portuguesa.

O nosso último Rei, D. Carlos, tinha sido assassinado juntamente com o principe herdeiro D. Luis Filipe, no ano de 1908.

O principe D. Manuel, filho mais novo, ainda reinou por 2 anos, mas a Monarquia estava condenada ao fracasso e após uma reolução dos republicanos, foi exilado para Inglaterra, juntamente com rainha viuva, D. Amélia, sua Mãe.

A seguir à primeira república, sucederam-se 8 Presidentes da República, mais de 50 Ministérios, inúmeras revoltas, tudo isto vindo a desembocar no golpe de 28 de Maio de 1926, que instauraria a Ditadura Militar.

Era a antevéspera do Estado Novo, que se firmaria em 1932, com a ascenção de Salazar à chefia do governo.

Começava o grande período do fascismo, que se prolongou por 48 anos…

Em 1968, dava-se o acidente sofrido por Salazar (caíu duma cadeira na sua casa do Estoril), afastando-o do poder até à sua morte, em 1970. Marcelo Caetano foi chamado a substitui-lo, mas o mesmo regime fascista continuou…

Até ao dia 25 de Abril de 1974, data em que o Exército Português se revoltou, e surgiu o Movimento das Forças Armadas, que derrubou a ditadura Salazarista, dando início à Democracia.

Portugal, para alem-de tantos insucessos e dificuldades através dos tempos, tem-se mostrado um País de intensa vitalidade, criador constante de novas soluções. Quas 10 séculos de Independência Política, mostram que Portugal e os Portugueses são portadores de uma forte energia, que lhes permite sossobrar através dos tempos…

Viva Portugal!

Tuga Tips The tips in this section are aimed at travelers to Portugal. This issue‟s tip comes courtesy of Fodor‟s See It: Portugal For Children “Children are very much part of the mainstream of life in Portugal, fussed over by people of all ages, and happily participating in most everyday activities. This means that adult tolerance levels are high, but the downside is that there are relatively few child-specific facilities and amusements. Nor should you expect too much in the way of child concessions, baby-changing facilities or children‟s menus. There‟s plenty for kids to do, though, particularly on the coast and in the larger cities, where there are museums and other attractions. Older children might appreciate Portugal‟s great outdoors, with its opportunities for walking, horseback riding, quad-biking and water-sports.”

Algarve has a few big water-parks and there are a number of family-friendly areas and beaches to visit across the country, including theme and adventure parks in various regions. Your best bet is to ask for children‟s attractions and activities at tourist information offices.

Ai que bom, comer, beber, e viver… with food guy Mario Wilson Ferreira Sally Correia Place of birth: Winnipeg, Manitoba

Where did you grow up? In both Winnipeg and Portugal. I lived here until I was 9 and then my parents moved back to Portugal and I went along for the ride to Azambujeira dos Carros, Bombarral - Portugal. They told me we were going on vacation to Portugal…

Where did you go to school? I remember going to Wellington School here and then I went to school in Portugal. My high school was Escola Secundaria de Bombarral.

Restaurant Background: Growing up around my parents bakery (Lisbon Bakery) here in Winnipeg - helping make paposecos - and then at my parent’s restaurant (Veado Vermelho) in Portugal really gave me a head start. I’ve been a busboy, waiter, cook, bartended, managed and been around kitchens pretty much all my life! You can say it’s in my blood, although I took it for granted for a long time. I’ve worked at Veado Vermelho, Solar da Paz, Coelhos Bar, Touche Bar and a few others.

What’s your favourite dish to make?

(Portuguese Surf-n-turf)

Carne de Porco Alentejana – Pork and Clams

What’s your favourite dish to eat? So many…it’s hard to pick just one. huge fan of Caldeirada – Portuguese Style Fish Stew.

Although I’m a

What’s your favourite international food? I really enjoy Mediterranean Cooking: Italian, Greek, and of course Portuguese!

What’s your favourite fast food? For the longest time it was the Big Mac, until I met the Baconator.

Favourite TV show: Grey’s Anatomy, House and Drive-Ins, Diners and Dives with Guy Fieri – he has my dream job!

Favourite Movie: Forrest Gump Favourite Artist or Musician: Carlos do Carmo and DJ Vibe Favourite Chef: My mom What’s on your reading list? I like reading science magazines.

What’s in your kitchen? The essentials to make any meal a great one. Definitely can’t live without Piri Piri!

What do you do to relax? Turn on the TV. What’s your favourite vacation spot? Baleal (it’s a beach near Peniche) where I used to go surfing a lot.

What’s the best advice you’ve ever received about cooking? Always taste the food!

What’s the worst advice you’ve ever received cooking? I don’t think I’ve ever gotten bad advice cooking. I just see it as everyone has a different style...there are tons of ways to make 1 particular dish.

Who do you like to keep out of the kitchen? People that try to give me bad advice! lol If you could pick only one beverage to drink at every meal, what would it be and why? It has to be wine…it goes with EVERYTHING!

LUSO-VIDA <enter> Welcomes you to come in and relax with us, enjoy good old-fashioned Portuguese hospitality and hearty cuisine.

This issue, we’re stopping in at the restaurant O Veado Vermelho in the western part of Estremadura ( just 15 minutes away from the ocean), for some Bacalhau a' Ferreira and a full, cool glass of Vinho Verde! Meet you there?

The Ferreira family restaurant and snack-bar, O Veado Vermelho –The Red Deer, is well-known locally for its traditional Portuguese cuisine, as well as its Pastel de Nata. It is nestled in a small valley in Bombarral –Azambujeira dos Carros, District of Leiria, in Estremadura, Portugal.

It is family-owned and operated by Julia da Silva Ferreira and Leonaldo Ferreira, who were both born and raised in Azambujeira dos Carros, Bombarral. Together they moved to Canada, where they owned and operated the popular Lisbon Bakery in Winnipeg, Manitoba, before returning to Portugal and establishing O Veado Vermelho in 1984.

Hours:

VEADO VERMELHO– RED DEER Large deer widely distributed throughout Europe, Asia and North Africa. A full grown male (stag or hart) stands 1.2 m/4ft at the withers, and typical antlers measure bout 80cm/31in in length with a spread of about the same. During the breeding season, the colour is a rich brown, turning grey at the approach of winter.

Monday – Closed Tuesday – Sunday

8:00 am - 12:00 am

Menu:

Ensopada A' "VEADO" (in-house specialty stew) Carne de Porco Alentejana Dobrada Bife a' casa Bitoque Vitela Estufada Peixe do Dia Bacalhau a' Ferreira Bacalhau com Batata a' Murro Pescada Cozida

Specials:

Cozido a' Portuguesa (Sunday Special) Osso buco Jardineira Bacalhau a' Braz Lombo de Porco Assado Peixe Assado no Forno And many other daily specials…

Cabrito Assado no Forno (Easter & Christmas) Bakery/Pasteleria services also available, including the pastry the Ferreiras made famous in Winnipeg, the PASTEL DE NATA.

Seats up to 200 and available for special events: weddings and baptisms, birthday parties, etc.

AI QUE BOM! - BITOQUE

WHAT YOU NEED 6 oz. of thinly cut Steak 2 medium sized potatoes 1 Egg 50 grams of margarine (or 2 tablespoons of Olive Oil) 2 cloves of garlic (crushed) Salt (to taste) ½ teaspoon of black pepper 1 teaspoon of mustard Ÿ cup of white wine

WHAT YOU DO Season the meat with salt and pepper. Be generous with the pepper as it helps to add flavor to the sauce.

Using a non-stick frying pan on med heat, add margarine and 2 cloves of garlic.

Add the steak and let it cook to desired tenderness.

To the pan add in the white wine and the mustard and bring it to a sizzle. (HINT: if you want thicker sauce just add a pinch of flour) Meanwhile, in a small separate frying pan, fry up an egg sunny-side up.

Be Careful not to over cook the meat or it will become tough and chewy!

Bom Apetite!

Cantinho de Literatura Portuguesa – Fernando Pessoa O Banqueiro Anarquista Uma pequena seleção Fernando Pessoa - Wikipedia

…Não percebo nada.

Mas V. tem empenho em perceber? - Todo o empenho.

Ele tirou da boca o charuto, que se apagara; reacendeu-o lentamente; tirou o fósforo que se extinguia; depô-lo ao de leve no cinzeiro; depois, erguendo a cabeça, um momento abaixada, disse: - Oiça. Eu nasci do povo e na classe operária da cidade. De bom não herdei, como pode imaginar, nem a condição, nem as circunstâncias. Apenas me aconteceu ter uma inteligência naturalmente lúcida e uma vontade um tanto ou quanto forte. Mas esses eram doms naturais, que o meu baixo nascimento me não podia tirar. ``Fui operário, trabalhei, vivi uma vida apertada; fui, em resumo, o que a maioria da gente é naquele meio. Não digo que absolutamente passasse fome, mas andei lá perto. De resto, podia tê-la passado, que isso não alterava nada do que se seguiu, ou do que lhe vou expor, nem do que foi a minha vida, nem do que ela é agora.'' ``Fui um operário vulgar, em suma; como todos, trabalhava porque tinha que trabalhar, e trabalhava o menos possível. O que eu era, era inteligente. Sempre que podia, lia coisas, discutia coisas, e, como não era tolo, nasceu-me uma grande insatisfação e uma grande revolta contra o meu destino e contra as condições sociais que o faziam assim. Já lhe disse que, em boa verdade, o meu destino podia ter sido pior do que era; mas naquela altura parecia-me a mim que eu era um entre a quem a Sorte tinha feito todas as injustiças juntas, e que se tinha servido das convenções sociais para mas fazer. Isto era aí pelos meus vinte anos - vinte e um o máximo - que foi quando me tornei anarquista.'' Parou um momento. Voltou-se um pouco mais para mim. Continuou, inclinando-se mais um pouco.

Fui sempre mais ou menos lúcido. Senti-me revoltado.

Quis perceber a minha revolta. Tornei-me anarquista consciente e convicto - o anarquista consciente e convicto que hoje sou.

- E a teoria, que V. tem hoje, é a mesma que tinha nessa altura? - A mesma. A teoria anarquista, a verdadeira teoria, é só uma. Tenho a que sempre tive, desde que me tornei anarquista. V. já vai ver... Ia eu dizendo que, como era lúcido por natureza, me tornei anarquista consciente. Ora o que é um anarquista? É um revoltado contra a injustiça de nascermos desiguais socialmente - no fundo é só isto. E de aí resulta, como é de ver, a revolta contra as convenções sociais que tornam essa desigualdade possível.

O que lhe estou indicando agora é o caminho psicológico, isto é, como é que a gente se torna anarquista; já vamos à parte teórica do assunto.

Por agora, compreenda V. bem qual seria a revolta de um tipo inteligente nas minhas circunstâncias. O que é que ele vê pelo mundo?

Um nasce filho de um milionário, protegido desde o berço contra aqueles infortúnios - e não são poucos - que o dinheiro pode evitar ou atenuar; outro nasce miserável, a ser, quando criança, uma boca a mais numa família onde as bocas são de sobra para o comer que pode haver. Um nasce conde ou marquês, e tem por isso a consideração de toda a gente, faça ele o que fizer; outro nasce assim como eu, e tem que andar direitinho como um prumo para ser ao menos tratado como gente. Uns nascem em tais condições que podem estudar, viajar, instruir-se - tornar -se (pode-se dizer) mais inteligentes que outros que naturalmente o são mais.

E assim por aí adiante, e em tudo...

``As injustiças da Natureza, vá: não as podemos evitar. Agora as da sociedade e das suas convenções - essas, por que não evitálas? Aceito - não tenho mesmo outro remédio - que um homem seja superior a mim por o que a Natureza lhe deu - o talento, a força, a energia; não aceito que ele seja meu superior por qualidades postiças, com que não saiu do ventre da mãe, mas que lhe aconteceram por bambúrrio logo que ele apareceu cá fora - a riqueza, a posição social, a vida facilitada, etc.

Foi da revolta que lhe estou figurando por estas considerações que nasceu o meu anarquismo de então - o anarquismo que, já lhe disse, mantenho hoje sem alteração nenhuma.'' Parou outra vez um momento, como a pensar como prosseguiria. Fumou e soprou o fumo lentamente, para o lado oposto ao meu.

Voltou-se, e ia a prosseguir. Eu, porém, interrompi-o.

- Uma pergunta, por curiosidade... Por que é que V. se tornou propriamente anarquista? V. podia ter-se tornado socialista, ou qualquer outra cousa avançada que não fosse tão longe. Tudo isso estava dentro da sua revolta...

Deduzo do que V. disse que por anarquismo V. entende (e acho que está bem como definição do anarquismo) a revolta contra todas as convenções e fórmulas sociais e o desejo e esforço para a abolição de todas...

Fernando Pessoa - Wikipedia

- Isso mesmo.

- Por que escolheu V. essa fórmula extrema e não se decidiu por qualquer das outras... das intermédias?...

- Eu lhe digo. Eu meditei tudo isso. É claro que nos folhetos que eu lia via todas essas teorias. Escolhi a teoria anarquista - a teoria extrema, como V. muito bem diz - pelas razões que vou dizer em duas palavras.

Fitou um momento cousa nenhuma. Depois voltou-se para mim.

- O mal verdadeiro, o único mal, são as convenções e as ficções sociais, que se sobrepõem às realidades naturais - tudo, desce a família ao dinheiro, desde a religião ao Estado. A gente nasce homem ou mulher - quero dizer, nasce para ser, em adulto, homem ou mulher; não nasce, em boa justiça natural, nem para ser marido, nem para ser rico ou pobre, como também não nasce para ser católico ou protestante, ou português ou inglês. É todas estas coisas em virtude das ficções sociais. Ora essas ficções sociais são más por quê? Porque são ficções, porque não são naturais.

Tão mau é o dinheiro como o Estado, a constituição de família como as religiões. Se houvesse outras, que não fossem estas, seriam igualmente más, porque também seriam ficções, porque também se sobreporiam e estorvariam as realidades naturais…

1

http://www.portalsaofrancisco.com.br/alfa/fernando-pessoa/o-banqueiro-anarquista.php

The loves of the Kings of Portugal: Dom Pedro I and Inês de Castro:

ou ele não havia de ter nascido, ou nunca havia de morrer

Sally Correia Dom Pedro was born in Coimbra in April 1320 to Dom Afonso IV and Beatriz of Castile, and he died at Estremoz on January 18, 1367. He ruled as King between 1357 and 1367. He survived two royal wives: Queen Dona Branca, daughter of the King of Castile; and Queen Dona Constança, daughter of mixed Spanish parentage at Penafiel and Aragon. He also survived and crowned his royal mistress Dona Inês de Castro after her death.

Inês de Castro was born to a Galician landowner of lesser nobility – um fidalgo galego – and arrived in Portugal as lady-in-waiting to Dona Constança, the second wife of Dom Pedro.

Dona Constança married Dom Pedro by proxy in Evora on February 28, 1336, and she was promptly imprisoned in the Tower by the King of Castile, who didn’t take it very well that Dom Pedro had quit the marriage to his daughter Branca to marry Dona Constança.

The marriage and the imprisonment caused a four year war, and when Dona Constança finally arrived in Portugal after four years in the Tower as royal prisoner, she was to suffer even greater indignity as her lady-in-waiting caught and captured the roving eye of epileptic, stuttering, eccentric, and temperamental Dom Pedro.

Dom Pedro quickly settled into a pattern of conjugal rights with both his royal wife and her lady-in-waiting, who was also his second cousin as well as Godmother to one of his legitimate children with Dona Constança.

His legitimate union featured three legitimate children: Maria, Luis and Fernando, who later became Dom Fernando I. The illegitimate union

produced four bastards: Afonso, João, Dinis and Beatriz, who became legitimate following the after-death coronation of their mother, whose political assassination was plotted and carried out by none other than her lover’s father, and their paternal grandfather, the old King, Dom Afonso IV.

Inês de Castro was assassinated on January 7, 1355.

Somewhere along the way, Dom Pedro also found time to impregnate another one of his mistresses, Dona Teresa Lourenço, who bore him a bastard son who would also be king: João; Dom João I.

Peace was restored a short time later with a signed treaty, but Dom Pedro never forgot or forgave. When he ascended to the throne on May 28, 1357, one of his first orders was the execution of those who had killed his beloved. He also managed to prove that he and Inês had been married sometime in 1353, while she was still alive.

Dom Pedro might have stuttered and acted strangely from time to time, but he was loved by his people, and he avoided many wars and economic crises while building up the royal coffers.

It was said of his death during his life: ou não havia de ter nascido, ou nunca havia de morrer – either he never should have been born, or never should he die.

But despite all of these positive royal traits (and the usual royal vices), Dom Pedro could not gain the approval or trust of his father, or the court nobility. Everyone worried that his bastard children would become legitimate heirs to the throne, and since there was nothing to stop Dom Pedro from marrying his mistress Inês de Castro, and making his bastards legitimate, Inês became a royal liability after the death of Queen Dona Constança in 1345.

It was then that the old King Don Afonso IV and the worried nobility began to plot her murder, reckoning that the only thing they could do at that point was to have her killed.

Dom Pedro was devastated.

The highly eccentric and increasingly enraged Dom Pedro I turned on his father, King Dom Afonso IV, and raised arms against him and the nobility.

So it was that Inês de Castro became Dona Inês de Castro in 1357, two full years after her death. Her children became legitimate at the same time.

Still, this was not enough revenge for Dom Pedro I. He had Dona Inês de Castro disinterred and dressed up in royal robes, propped her up on a throne at his side, and then ordered his subjects to file past the dead Queen and kiss her decomposing royal hand.

***

According to legend, Dom Pedro I had Dona Inês crowned after her death and dressed in royal robes.

He then ordered his subjects to file past her to kiss the royal hand.