Revista Oriente Ocidente N.25 INSTITUTO INTERNACIONAL DE MACAU 2010

ISSN 1680-7855

EAST WEST

113º

32’ 51”

Number 25 November 2010 第 25 期號 2010 年 11月

Macanese Communities: Several Portraits 澳門土生葡人社群： 象徵標誌

22º

11’

51”

www.iimacau.org.mo

Rua de Berlim, 204, Edifício Magnificent Court, 2º (NAPE)． Macau ． 澳門新口岸．柏林街 ．星海豪庭二樓 Tel電話 (853) 2875 1727 / 2875 1767 Fax圖文傳真 (853) 2875 1797 e-mail電子郵件 iim@iimacau.org.mo www.iimacau.org.mo

ORIENTEOCIDENTE IIM’s Newsletter International Institute of Macau Number 25 November 2010 Editor Rufino Ramos Associate Editor José Mário Teixeira

Amélia Cheng Mei Ieng Production IIM Graphic Design Victor Hugo Design Printing Tipografia Welfare Print Run 1800 copies price MOP 30.00/ 3.00

This issue East/West was sponsored by Jorge Álvares Foundation

本刊“東方／西方”由歐維治基金會負責贊助出版

AD MEMORIAM 懷念

04 HENRIQUE DE SENNA FERNANDES (1923-2010) 永遠懷念 飛歷奇

EDITORIAL 編輯的話

東方／西方 澳門國際研究所．報刊 第二十五期 二零一零年11月

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編輯盧文輝 副編輯戴若善，程美瑩 出版澳門國際研究所 設計 victor hugo design 印刷華輝印刷公司 發行量1800份 價格澳門幣30元／歐羅3元

土語

PATUÁ 08 MACAU’S DIALECT 澳門的土語 - 土生葡語 08 ADÉ’S ENCHANTMENT FOR THE PATUÁ 阿德對土生葡語的愛慕 11 CARTA DI CHACHA PA SU NETO AGAPITO 12 LETTER FROM A GRANNY TO HER GRANDSON,

AGAPITO

婆婆寫給孫子阿加皮托(AGaPITO)的一封信

SABROSO NUNCA 《味之誘惑》

14 PLAY IN LINGU MAQUISTA 土生葡語話劇

DOCUMENTARY

《將會消失的土生土語》 15 DOCUMENTARY 《將會消失的土生土語》紀錄片 16 INTERVIEW WITH SILVIE LAI 黎寶安的專題訪問

VIEWING SESSIONS 紀錄片巡映站

20 Patuá di Macau, únde ta vai?”

SESSIONS CALIFORNIA 《將會消失的土生土語 》- 巡映站

美國 加利福尼亞州

IDENTITY AWARD 獎項

24 IDENTITY AWARD 2009 FOR HOLY HOUSE OF MERCY 澳門特徵獎2009 澳門仁慈堂 25 IIM ANNOUNCES 2010 IDENTITY AWARD 澳門國際研究所 宣佈2010澳門特徵獎得主

THE LOST PORTRAIT 遺失的油畫 28

30

GEORGE SMIRNOFF’S PORTRAIT OF CECILIA YVANOVICH 喬治．史密羅夫的CEcILIa YVaNOVIcH肖像畫 GEORGE SMIRNOFF´S PORTRAIT OF CECILIA YVANOVICH 1945 1945年喬治史密羅夫筆下的CECILIA YVANOVICH 肖像畫

ACTIVITIES 活動資訊

35 ANNUAL GENERAL MEETING

週年全體會員大會 36 EXHIBITIONS

非洲葡語國家 一段五十年的回憶 38 MACAU IS A SHOWCASE 澳門是動感舞台 40 VISITS

交流訪問 42 COOPERATION 合作伙伴 42 MEETINGS 會議資訊 44 FESTIVITIES

節目盛事

MEMBERS’ CORNER 會員天地 46

47

48

50

54

PORTUGUESE AWARD FOR GEN. ROCHA VIEIRA 韋奇立將軍榮譽獲獎 RUI MARTINS AT THE PORTUGUESE ACADEMY OF SCIENCES 馬許願教授 當選為 葡萄牙科學院通訊院士 CARLOS MARREIROS HONORED IN BEIJING 馬若龍在北京為澳爭光 AND HIS BUNNY LANTERN- MACAU PAVILION FOR WORLD EXPO 2010 SHANGHAI 2010年上海世博會 澳門館 “玉兔宮燈” VICTOR MARREIROS 馬偉達

Ad Memoriam 懷念

AD MEMORIAM 懷念

HENRIQUE DE SENNA FERNANDES (1923-2010) 永遠懷念 飛歷奇 Macau accepted his demise with profound sorrow, on October 4. He will be remembered as a lawyer by profession and a writer and teacher by choice. An accomplished novelist and public figure, he was recognized by the Macanese community as one of its most distinguished leaders. He will undeniably occupy a special place at the gallery of those who were the grandest Macanese ever.

飛歷奇博士（HENRIQUE DE SENNA FERNANDES）於2010年10月4日離開人 世，大家對飛歷奇的逝世都表示沉痛哀悼， 但在我們心中，卻永不會忘記這位知名大 狀、亦是大家的好老師 - 飛歷奇。 飛歷奇又被稱“說書人”和“小說家”， 他畢生堅持為熱愛的文學創作筆耕不綴， 為澳門留下多部著名作品，他於澳門土生葡 人代表中的地位、所作出的一切貢獻， 永遠是無可替代的。

EASTWEST 4

Ad Memoriam 懷念

EASTWEST 5

EASTWEST 6

EDITORIAL 編輯的話

This special edition of East/West is dedicated to the 2010 Encontro das Comunidades Macaenses. A long yearned date for seeking long lost friends, embracing forlorn distant relatives, networking with new acquaintances, remembering the good ole’ days when the world was easier and smaller, and, above all, pa matâ saudádi.

We at the IIM are here to cherish the emotions of the participants of these Encontros and have prepared to contribute some more cultural ingredients to the reunion. This issue contains several interesting scripts about the patuá and the opinions of our unquestionable reference, Adé Santos Ferreira, on lingu maquista, as well as an interview with Silvie Lai, whose documentary “Patuá di Macau, unde tá vai?”, has been seen across the diaspora.

We will also take this opportunity to pay due homage to those who have raised the Macanese flags high to assert our identity and culture: the Holy House of Mercy in Macau and the União Macaense Americana – UMA, for both associations and their members’ unyielding contributions to preserve our heritage and the vitality of the diaspora. They are worthy recipients of the 2009 and 2010 Identity Awards, created by the IIM. We are bringing to you a George Smirnoff’s watercolor, a rare portrait done by the artist, a real piece of our cultural heritage, “recovered” for Macau thanks to the generosity of the portrait owner, and model, Mrs. Cecilia Maria Yvanovich Burroughs.

Finally, we are publicizing the achievements of our dear associates who deservingly have been awarded different kinds of distinctions we want our readers to share.

For we at the IIM have taken up for ourselves this responsibility to preserve and promote the tangible and intangible assets, heritage, culture and identity of Macau. It will be our role to continue promoting a cohesive and consistent dialogue amongst individuals and institutions and highlight the sense of belonging to this speck of land.

We wish you all a happy return! May this bond of friendship keep the Macanese World united!

一年一度的“澳門土生葡人社群聚會＂使大家相識一場、天涯闊別的新老朋友、遠房親戚 相約在一起，回味逝去的美好時光，驅散那“思鄉情”（pa matâ saudádi）。 我們研究所十分珍惜懷著真摯的心來到參與聚會的每一位，並已準備好為日後的文化聚會 作更多的貢獻，因此，今期 “東方 / 西方＂亦為 “2010澳門土生葡人社群聚會＂加設多 個趣味性豐富的內容，如：出自土生葡人詩人阿德Adé Santos Ferreira手筆的信及講述其對 土生葡語的情懷、於海外巡迴播放的《將會消失的土生土語》紀錄片製作人黎寶安Silvie Lai的專題訪問等。 同時，我們亦藉此機會宣佈由本所設立的2009 和2010“澳門特徵獎＂得主，分別為澳門 仁慈堂和“美國澳門土生聯盟＂ (União Macaense Americana – UMA)，表彰他們對澳門土生 葡人的特徵和文化方面所作出的貢獻。 此外，我們亦要感謝Cecilia Maria Yvanovich Burroughs女仕的慷慨捐贈，使喬治．史密羅夫 George Smirnoff的珍藏作品回歸澳門，讓這幅罕有的肖像水彩畫能展現在大家眼前。 最後，我們希望透過“東方 / 西方＂的出版，向更多的讀者介紹我們不同範疇的活動和最 新資訊，宣佈相關組織獲獎消息，重溫成就共享喜悅。 這亦是我們研究所的使命職責，維護和促進澳門文化地位、傳承有形和無形的文化遺產和 土生葡人特徵，繼續鼓勵和加強個人或機構之間的團結合作，進一步凝聚對澳門的歸屬 感。

在此，我們再次祝各位旅途愉快！願這友誼的紐帶能將世界各地的土生聯盟團結在一起， 成為加深友誼的橋樑！ EASTWEST 7

Patuá 土語

PATUÁ 土語

MACAU’S DIALECT Lingu Maquista

澳門的土語 - 土生葡語 In the prologue to his book “Poéma di Macau” (Ballad of Macau) (published in 1994), José “Adé” dos Santos Ferreira (*) wrote in regard to the Macanese dialect that “What we have always looked for, and we go on wanting, is to contribute, by all means, to make it known and to preserve what was left of this dialect, a legacy worthy enough to be included in the values that are part of our cultural heritage.”

Safeguarding this precious legacy and adhering to the efforts that many strived, by different means, to revive the interest on Macau’s own way of speaking – the língu maquista, dóci papiáçam, patois, patuá or Macau creole, irrelevant of its name – we are going to use two interesting writings from the late “Adé”: one where he explains what made him immerse into his work; the other, a letter where he puts the words into the mouth of a grandmother, words that he probably himself have “… heard from the grannie of his grannie, told by her grannie” about the beginning and the evolution of the dialect, throughout time. 「我們只是一直希望，盡所有可能來加強促進和維護土生葡語在澳門文化遺產中佔有重要一席位。」 為本書揭開序幕的詩句是出於我們阿德（José dos Santos Ferreira），在1994年發佈的著名土生葡語作品 -《澳門之詩》 （“Poéma di Macau”）；事實上，現今大家仍通過不同的方式堅持不懈地努力，希望能重燃這種擁有多名字的土生葡語 （可稱: língu maquista、dóci papiáçam、patois、patuá或澳門克里奧爾語），隨後，我們將會引用阿德晚期所寫的２個有趣故 事：首先解釋讓他對土生葡語著迷的原因，第二篇是一封信，信中講述他從祖母口中得知的故事，“...婆婆也是由她婆婆告訴她 的，而她婆婆亦是從她的婆婆那裡所知”，一代傳一代，這一切也是見證著土生葡語在時間中的演變過程。 José dos Santos Ferreira, (1919-1993) known amongst friends as “Adé”, is a rare of the few writers who left a vast body of work consisting of essays, songs, radio programs, operetta and playwrights, in Macanese dialect, a Portuguese-based creole. 阿德（1919-1993）， 原名若澤．山度士．飛利拉（José dos Santos Ferreira），他是澳門罕有以澳門土語進行創作的土生葡人 作家，其作品有詩歌、散文、話劇劇本、及小型歌劇劇本等。

ADÉ’S ENCHANTMENT FOR THE PATUÁ 阿德對土生葡語的愛慕 The contact or the chance to play with the “patuá” was always for us a cause of great satisfaction. Rhyming or reciting poems, writing dialogues and monologues, short stories, performances, lyrics, or singing in “patuá”; composing plays and putting them on stage, acting in comedies with friends; producing radio programs and participating in their broadcast; dialoguing with our countrymen, all these we did so endless times with gusto, enthusiasm and - why not say it? – a few times even with tears in the eyes.

We enjoyed with thrill every moment of our pleasant task with the delicious poem of Macau of yesteryear.

The “patuá” of Macau, or the lingu maquista was, throughout its existence, an unpretentious dialect, full of wit and ingenuity, very typical of simple people, alien to vanities. Macanese families have always been proud of their playful dialect and never had shame of talking it out, either in their home with the folks, or in public.

The dialect has become so ingrained in the community that, even after the genuine Portuguese language has gained here significant dimensions, it continued to be spoken as a current language. Only recently - since the beginning of this (20th) century - when the learning of Portuguese language became more accessible to the working class, the use of “patuá” would have started to slacken. Even then the dialect was a desired presence in Macanese homes and social centers, except only where polished new rich “snobs”, deeply concerned by showing their refined culture, would not admit it to their gathering, but also flaunted total failure to understand it.

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Patuá 土語

We have always argued that the Macanese should know the Portuguese, and know it well, enabling them to express themselves correctly in their “mother tongue”.

But it does not conclude from this that the dialect of their homeland should not deserve a place in their homes.

We would be happy to be able to understand more fully the mysteries of this probing linguistic phenomenon, to look even more accurately into the so many different interesting aspects of its composition. We believe that all that has been written, said and retold about it remains insufficient to define it with fidelity.

The Macanese dialect means more than being just a simple language: it is so much more than the trivial everyday chatter of a people. On this account it characterizes the very nature, the feelings, the way of being, as well as the charm and customs of that people, - please excuse us, readers, for sentimental permissiveness – let’s say that it is quite the soul’s image of this Macau’s good people of bygone days.

We have no aim to attempt to recover the dialect, so to re-use it again. God forbids us such an idea, as preposterous as unthinkable. What we have always wanted, and still want, is to contribute in every way to promote and preserve what remains of that language as a legacy, precious enough to have it into the list of assets that make up our cultural heritage. Macau is extremely rich in traditions. One is its old dialect, the stamp of its identity, one of the indelible landmarks of the encounter held between different civilizations, set up in the distant past, for God’s glory and Portugal’s honor.

We have also been thinking a lot in regard to our countrymen, especially those whose destiny took them away from their homeland to live on foreign soil, where they came to earn honestly their bread, but with their thoughts always on Macau and their hearts seized by pungent nostalgia. How many of these men and women, dear filo-filo di Macau, will be delighted to be given an opportunity to read and sing, hear and say things in the old dialect of their native place, which makes them recall this language and assists them to relive those old days of carefree childhood, those good times of gentle caresses, smiles and cuddles which the loved ones used to brighten their days with. To those it is reserved the largest share of the enthusiasm with which we bring to the fore our sweet “patuá.”

The Macanese dialect, unfortunately, is on the brink of disappearing. If we traverse the length and breadth of the city, visiting Macanese families, we’ll see how small is the number of people able to sustain a conversation in maquista chapado (genuine Macanese dialect). It is very likely that within a few tens of years, it becomes nothing more than the vague and nostalgic memories and a few volumes that one or other scrupulous book collector may have saved religiously on the shelves, protected against the ravages of moths. Will it be, then, that the books of our sort will begin to be seen as something useful handed down to posterity?

This is the story of our enchantment for the melodious poem of Macau.

José dos S. Ferreira (Excerpt from the Introduction to his book “Poéma di Macau”, published in 1994, by the Leal Senado de Macau)

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Patuá 土語

對於我們來說，有機會接觸或發揮到土生葡語就已經很滿足，我們可以用它來 唱歌、朗誦詩句、寫故事、演獨角戲、編歌詞等；只要寫好劇本，就可以好好 地利用它於舞台上發揮，與好友共同排練喜劇，與我們志同道合的人一起製 作廣播節目，每次大家都充滿了百分百的熱誠和投入，甚至他們眼裡還含著淚 水，享受朗誦昔日澳門偉大詩歌的每一刻，那為什麼不堅持呢？ 澳門的土生葡語是一種十分謙遜、充滿智慧和創造力、典型的追求簡單主義、 遠離虛榮心、以娛樂放鬆為主的方言，它曾被土生葡人家庭引以為榮，從沒感 到羞愧。當時土生葡語已經在社會上根深蒂固，即使官方葡語使用率佔有重要 比例，但作為日常用語，還是繼續被使用；直至20世紀初，葡萄牙語教學開始 普及於工人階層時，土生葡語才逐漸被減少使用。不過這種語言並沒有在土生 葡人家庭或其社群中因而消失，但除了一些自以為高人一等的“暴發戶”外， 大家對這種獨特文化的傳承真的感到擔懮。 縱使我們常常認為土生葡人就應該懂得正確使用葡萄牙語，但也不要由此得出 認為土生葡語就不應給予保護。 當我們再深入專注研究、進一步了解並敞開它於不同方面的語言奧秘時，那種 欣喜的心情是無法形容的。但我們相信，即使用盡所有方法去記錄這種語言， 也不能完完全全描繪出它的準確性。

澳門的土生葡語不單是代表著一種地區的方言，且還有獨特情感的風土文化， 魅力不言而喻，比日常生活語言具有更深層的意義，使我們感慨地說土生葡語 就是舊澳門的靈魂。 我們並不是志在重新恢復使用這種語言，並且現實環境亦不容許有如此的想 法，我們只是一直希望盡所有可能來加強促進和維護土生葡語在澳門文化遺產 中佔有重要一席位；在澳門具有的豐富文化傳統中，土生葡語就是澳門土生葡 人身份的象徵，是不同民族間相遇後的結晶品，為上帝的盛名和葡萄牙的榮 耀，留下一個不可磨滅的痕跡。 我們亦時常想起於海外的同胞，他們離鄉別井到遙遠陌生的地方謀生，飽受思 鄉情的煎熬；對於這些海外的澳門土生葡人，不知還有沒有能再次接觸自己方 言的機會，重溫昔日童年往事，憶起與親友共渡的溫馨美好時光。此時此刻， 他們最祈望的就是唱出我們土生葡語的歌。 可是現在，我們的土生葡語正面臨著消失的厄運，在澳門這座城市上、於土生 葡人的家庭中，還有誰懂得這種語言；極有可能於數十年內，除了那些古老的 模糊記憶和被收藏家珍藏於宗教書籍抽屜中的資料外，它已經消失得無影無 蹤，那麼，在我們的小書本上，還能給後代子孫留下甚麼嗎？ 這一篇是對澳門柔和詩歌愛慕的故事。

若澤．山度士．飛利拉（José dos S. Ferreira） 本文為譯本，原文摘於1994年，澳門市政廳出版的《澳門之詩》 （“Poéma di Macau”）

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Patuá 土語

CARTA DI CHACHA PA SU NETO AGAPITO Iou-sa quirido Agapito, Vôs querê sabe qui-cuza sá patoá? Quelê-môdo ta vai nôsso patoá?

Dessá iou vêm contá pa vôs uví tudo ancuza qui iou sabe, disde tempo di sám-selau-catau.

Patoá sá nómi qui gente di geraçám novo chomá língu antigo di Macau.

Outrora, gente antigonostre, nádi chomá patoá. Ilôtro chomá nôs-sua papiaçám língu maquista. Têm ora, chomá língu cristám.

Quim nom pôde fazê “r” vêm fora, sã ta falá língu clistám.

Gente antigo di Macau sã tudo cristám, j’olá? China-china gentio papiá ilôtro-sua língu; nhu-nhum vêm di Portugal, labitá portoguês caregado, ramendá portoguês di vôsso carta; maquista-maquista nom-sabe torá portoguês, unga co ôtro nádi falá china sã labitá língu christám, qui sã língu maquista.

Otrora, únde têm mestre capaz vêm di Portugal ensiná portoguês drêto-drêto? Sã gente di Macau têm-qui fazê inventaçám dále vêm fora onçôm-sua língu, sã nunca?

Falá verdade, Chacha nom-sabe quelora língu maquista já vêm fora na Macau. Tánto letrado co nhu-nhúm capaz tamêm nom sabe. Pôde sã qui já começá na fim-fim di seclo dizasês, juntado co acunga quánto família nôvo-novo vêm fora na Macau.

Língu maquista sã ramendá portoguês champurado co china, co unga porçám di liguaze di ôtro raçam já sã canarim, já sa malaio co unchinho di ispanhol pingá-pingá. Ispanhol sa po cósa di Macau perto di tera filipino; canarim co malaio po cósa di Macau inchido di ilôtro. Portoguês antigo têm qui tánto já casa co nho-nhónha malaio, co nho-nhónha di Goa. Si nunca sã assi, qui-foi tánto maquista-maquista já sai iscuro-iscuro?

Na meo-meo di seclo dizassete, sã quelora Macau virá ôlo, olá más tánto filo-filo. Ilôtro já pinicá quelê tánto pa su língu sai más bem-fêto. Cavá, intrementes gente di Macau já ficá más tánto, língu mauqista já crecê juntado. Nôsso língu já pulá di geraçám pa geraçám, dia-em-dia têm más catá-cutí nôvo, co más papiaçám di portoguês na meo. Di áno pa áno ficá más dôci, más têm chiste. Gente antigo capaz cantá.

Têm cantiga-cantiga qui sã na língu cristám di Macau, têm quánto sã já vem co nhu-nhúm di Portugal; ilôtro chomá fado; quelora cantá, tem-qui fi-fó churá.

Di seclo dizôito tê meo-meo di seclo dizanóve sã tempo más quente di nôsso língu maquista. Nom-têm casa di filo-Macau, nom-têm nhum, nhónha, chacha, quiança qui dádi sabe papiá maquista chapado. Vai bazar comprá som, vai gréza cunfisssá co padre, sã papiá maquista. Têm padre subi púpito pregá sermám, metade na portoguês torto-torto, metade na nôsso

língu maquista. Tudo áma co cuzinhéro na casa, atai di cartá marmita, apô cartá águ, cegónha, lavadéra, china vendê merénda, tudo são papiá maquista, quim más bem-fêto, quim más torto-ravirado. Na quarté di sodado, filo-Macau co cristám-nôvo sã lôgo papiá unchinho portoguesado. Sium capitám qui casá co nhónha di Macau azinha sabe papiá nôsso língu. Quelora ilôtro chegá Macau nôvo-nôvo, sã torá portoguês qui fazê nôsso sodado-sodado co puliça chang-kêng ficá tonto, nom-pôde intendê bem-feto.

Tudo ora capitám gritá “sodado, avançá”, nôsso sodado sentá na chám discansá...

Na meo-meo di seclo dizanóve começá vêm tanto mestre di Portugal ensiná portoguês drêto. Cavá, quánto escola já abri, já têm colégio co covento inchido di gente capaz labitá portoguês. Nunca tardá muto, já tem Ongcông.

Nhu-nhúm capaz fazê inventaçám, começá chuchú palavra inglesado na nôsso língu. Tánto filo-filo di Macau virá vai Ongcông buscá siviço, já casá, começá têm su catravada.

Masqui capaz labitá “Oh, yes, oh, no”, ilôtro nunca pinchá fora su língu maquista. Quelora seclo vinte começá, febre di língu maquista já abrandá quelê tánto na Macau.

Têm tánto gente falá portoguês co inglês bem-fêto, pa más azinha achá siviço, ganhá sapeca. Chegá meo-meo di estunga seclo, língu maquista começá definhá, ficá pinchado na unga cánto. Quim labitá maquista sã sômente pa fazê chiste, j’olá? Unchinho saiám olá língu di nôsso bizavô, tetravô, quatrizavô, vagar-vagar ta disparecê, ramendá andorinha disparecido na tempo-frio.

Más quánto tempo nôs lõgo têm lìngu maquista pa uvi?

Más vinte áno? Más trinta? Sômente Dios sabe.

Vôsso Chacha nádi têm aqui pa sabe.

Uvi! Tudo ancuza qui Chacha já contá pa vôs nunca sã inventaçám! Chacha-sua Chacha já uvi di bóca di su Chacha, contado pa su Chacha. Nunca sã pantominice, filo.

Vôs ne-bom reva Chacha assi bafo cumprido. Sã qui Chacha querê contá tim-tim pa tim-tim pa vôs sabe. Quelora senti mám azêdo, sã nom-pôde insquevê más, sã nunca?

Virá, virá, lembrá isquevê dôs regra pa dá nova di vôs.

Lembránça di tudo di casa pa vôs. Chacha ta mandá su bénça, mamã ta chapá unga ucho fórti-fórti na vôsso rosto.

Vosso Chacha

(Da obra cit. de José Santos Ferreira, ed. 1994)

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Patuá 土語

LETTER FROM A GRANNY TO HER GRANDSON, AGAPITO My dear Agapito, Do you want to know what patuá is? How is our patuá going?

Let me tell you all I know, since old times. Patuá is the name given by people of the new generation to the old dialect of Macau.

Formerly, for people of our generation, it was not known as patuá. Others called our language língu maquista.

Some other times, it was Língu Cristám (Christian’s language).

He, who could not pronounce out the “r”, says he spoke the “Língu Clistám”. For us, old Macau folk, everything should be Christian, you know?

The Chinese Gentiles spoke their language, the men who come from Portugal spoke a heavy Portuguese that sounded like the language from your letter and the Macanese who did not know to “roast” Portuguese nor speak Chinese among them, they used the Christian language which is the maquista.

In the past, there was no qualified teacher from Portugal to teach correct Portuguese, isn’t it? It was the people of Macau that had to invent their own language, wasn’t it?

Indeed, your granny does not know where the maquista language came from. Many scholars and able individuals also don’t know. It may be that it happened in the late sixteenth century, settling along with some new families down in Macau.

The língu maquista sounds like Portuguese mixed with Chinese plus a lot of small talks from other races, similar to not only Canarese (*), but also Malay and some small droplets of Spanish. Spanish probably it is due to Macau being very close to Philippines’ lands, Canarese and Malay because Macau is full of them. There are many old Portuguese who married Malay ladies, as well as ladies from Goa. If that is not the case then why many Macanese fare so dark?

In the mid-seventeenth century, when Macau was suddenly developed, more children were born. They struggled for their language to become more composed. At the end, however, the number of people in Macau increased and the língu maquista language accompanied the growth. Our language has grown from generation to generation, and every day adds more new words, more words of Portuguese origin got in.

Each year it is getting mellower, but charming. The old folk also can sing. There are songs in the Christian language of Macau, some brought in by people who came from Portugal; they call it fado but when they sing they cry their heart out.

From the eighteenth until the mid-nineteenth century it was the highest period of our língu maquista. There was no household of Macau family that had no man, woman, old woman, kid who did not speak the typical maquista.

You went to the bazaar to buy food, to church to confess to the priest, and there you talked maquista. There was a priest who took to the pulpit to preach the sermon, and he did it, half in a very crooked Portuguese, and half in our maquista

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language. All housemaids and cooks, servants who delivered meals to order, old ladies who supplied you fresh drinking water, night soil collectors, laundresses, snack vendors, all spoke maquista, some better others in a more distorted manner. In the barracks, the soldier from Macau and the new Christian managed to speak a little improved Portuguese.

The officer who married a lady from Macau quickly learned to speak our language. Whoever was a recent arrival in Macau, roasted the Portuguese language in a way that made our soldiers and policemen become dizzy: the captain could not make himself well understood when he yelled “soldier forward” because our soldier sat down to rest...

In the mid-nineteenth century, many teachers began to arrive from Portugal to teach the correct Portuguese. Then when classes were opened at colleges and convents, there were many people who learned to speak proper Portuguese.

Before long, Hong Kong began to exist. Men, skilled and creative, began to introduce English words into our language.

Many Macanese eventually went to Hong Kong to look for jobs; they married and began having their family. Although they were ready to say “Oh yes, oh, no”, they never threw away their língu maquista. When the twentieth century came, the fever about the língu maquista has evened out a bit in Macao. There were many people who spoke Portuguese and English properly, so to find jobs more quickly and make money. By the middle of this (twentieth), century, the língu maquista started to die shoveled into a corner. Maquista is solely spoken for jokes, you know?

It is with some pity that we see the language of our great-grandparents disappearing slowly, like a swallow disappearing in the cold weather. Yet how much longer can we hear the língu maquista? Another twenty years?

For thirty more? Only God knows! Your grandmother does not have a single clue.

Listen! Everything that your grandmother told you was not invented! The grandmother of her grandmother heard it from the mouth of her grandmother told by her grandmother.

No joke, son!

Don’t be angry with your grandmother for having such a long breath. It’s Grandma who wanted to give you small details for your information. I now feel the hand sour, so I should not write anymore, isn’t it?

Please remember to write two lines to give updates about you.

Regards from everybody to you. Granny is sending her blessings and your mother a big kiss to you.

Yours, Granny

Note of the Translator (*) Canarese or Kannada is a major language of India.

Patuá 土語

婆婆寫給孫子 阿加皮托(AGaPITO) 的一封信 親愛的孫子 阿加皮托(Agapito): 我想只有上帝才知道吧，婆婆所知道的都已全告訴給你。 你想知道什麼是土生土語 “Patoá” 嗎？想知道我們的土生語是怎 聽好了！婆婆剛才說的，並不是自己編造出來，是從我婆婆口中得 樣嗎？ 知，而她也是由她的婆婆告訴她的，而她婆婆亦是從她的婆婆那裡 現在婆婆就把所知的全部告訴給你。 “Patoá” 土生土語這名字是 由澳門新一代的人改的。在婆婆這一代，沒有人把它稱為“Patoá” 所知，所以這可不是一個假的歷史故事啊，孫子！ 你不要嫌棄婆婆長氣絮叨，因為我只是想讓你有更豐富的知識；現 土生土語，而是稱它為澳門土生葡語 “língu maquista” 或者是基 在，婆婆寫到手都酸了。 督徒的語言 “língua cristã”，但假如發不出 “R” 音的話， 就會說成是 “língua clistã”，你知道嘛？澳門在那時候，幾乎全部 最後，婆婆為你送上最大的祝福，給你一個大大的吻！ 人都是基督徒。當時華人說中文，葡國人就說你寫信用的葡文， 但澳門的土生葡人不是說純正葡文，也不是說中文，而是說一種基 你親愛的婆婆 督徒的語言 “língua cristã”，即澳門土生葡語 “língu maquista” 。以前，那有葡萄牙來的老師教我們官方葡語？這都是我們自己發 （本文為譯文，原作選自：若澤．山度士．飛利拉 (阿德), 1994出版） 明的。 事實上，婆婆不知道土生葡語是從那裡傳到澳門，甚至許多專家和 學者還未追查到它的來源，因為它有可能是在16世紀末，隨著其他 不同新種族的家庭來澳定居而誕生的。 你看，澳門到處都是印度、馬拉人，說的都是印度語和馬來語， 之後當時西班牙又在統治位於澳門附近的菲律賓，所以我們的土生 葡語就像是一種以純正的葡語作基礎，加上廣東話、印度語、 馬來語和少少的西班牙語的混合方言；除此之外，以前還有很多的 葡萄牙人與馬來西亞和果亞的女人通婚生子，不然的話，為什麼大 部份土生葡人的皮膚都這麼黑？ 到了17世紀中期，澳門發生巨變，大批新血湧入澳門，因此， 越來越多人用澳門土生葡語，使這種語言變得更加多樣性， 陪伴著大家的成長。我們的土語一代傳一代，每天都有半純正葡語 的新詞句誕生，一年比一年更具風趣幽默，讓人越來越有親切感， 老一輩的都是唱歌能手，他們常常會唱些澳門土生葡語的歌， 或者是由葡萄牙男人帶來的歌，我們都叫它做 “Fado”，唱的時候 會讓你哭的！ (fi-fó)，(引用廣東話：哭得fi li fu lo) 從18世紀到19世紀中葉，是澳門土生葡語最盛行的時期，無論是去 買菜，還是去教堂向神父告解，大家都是說土生葡語，在澳門土生 葡人家庭中，沒有一個是不懂這種語言；記得有次在彌撒中， 神父還一半用(半咸淡)不標準的葡語，加上澳門土生話來講道。 此外，在那個時期，差不多所有的僕人、廚房工、清潔工、挑水 工、甚至連小販都懂得說土生葡語，當然有些說得好，有些就發音 不準。至於在服兵役的澳門土生葡小伙子，亦是用與官方葡語不同 的土生土語來溝通，而有些和澳門女子結婚的上尉就很快學會了這 種語言，但有些新來的、一口流利純正葡萄牙語的軍官， 就常常被我們的士兵和警察誤解了他的意思，例如：當上尉喊 道：“士兵，前進！”，他們就坐在地上休息……。 於19世紀中期，開始有葡萄牙來的老師教導純正葡萄牙語，自此葡 語開始被廣泛應用；隨後，香港經濟開始起飛，一些創業商人把英 文生字帶到我們的土生葡語中，同時亦有很多澳門土生葡人前往香 港尋找工作機會，之後結婚，有了自己的家庭，但他們只是講 “oh yes, oh, no”一般的英文，從來沒有放棄過自己的母語； 但直至20世紀初，人們為了尋找更好的生活和工作，更練得一口流 利純正的官方葡語和英語，所以土生葡語就從此開始沒落。到20 世紀中期，這種語言更開始被放棄使用、逐漸被遺忘，你曾聽過了 嗎？但現在說土生葡語的人也只不過是純粹為了開玩笑而已；看到 先祖傳承給我們的母語，隨著時間慢慢地消失，真的讓人感到很 可惜，不知我們的澳門土生葡語還能活多久呢？二十年後？三十年 後？ EASTWEST 13

Sabroso Nunca Exhibition 展覽 味之誘惑

SABROSO NUNCA 味之誘惑 PLAY IN LINGU MAQUISTA 土生葡語話劇

The Theater Group Dóci Papiaçám di Macau took to stage three sessions, on May 21 to 23, a comic play entitled “Sabroso Nunca” (Taste Good), in língu maquista, as part of the program of the 21st Macau Arts Festival held by the Cultural Affairs Bureau, every year.

Miguel de Senna Fernandes was the playwriter and director again and had the participation this year of a larger group of actors of different nationalities, namely Japanese and Filipinos, besides local newcomers and other well known faces.

The story tells about a Macanese cooking contest whose winner would have the opportunity to cook for the President of China.

Our hero regards this contest as a means to convince the parents of his loved one to approve their wedding and, with a little help from a “random cocktail recipe from his uncle”, obtains results beyond expectations.

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每年由澳門文化局組織的 “澳門土生土語話劇團”， 是澳門藝術節的必備節目之一， 今年第二十一屆澳門藝術節， 土生土語話劇團於 5月 21日至 23日 期間帶來了三場精彩趣劇演出 － 《味之誘惑》“Sabroso Nunca”， 該編劇兼導演飛文基表示今年除廣為 觀眾認識的原班人馬參與演繹外， 還加入了不同國藉的新演員， 特別是來自日本和菲律賓等地。 《味之誘惑》主要講述圍繞一個土生 葡人美食、競逐“一級廚神” 的比賽，最終冠軍廚神將有機會成為 中國國家主席的御用大廚。 劇中主角憑著他叔叔偶然發現的飲料 配方來參加比賽，藉此來說服女方家 長成全他們的婚事， 最後出現了令人意想不到的結果。

Documentary 將會消失的土生土語 Exhibition 展覽

DOCUMENTARY 將會消失的土生土語 DOCUMENTARY 《將會消失的土生土語》紀錄片

“Patuá di Macau, unde tá vai?”

“For several centuries, Macanese patuá was the language spoken by descendents of the Portuguese in Macau, the Macanese community. Nowadays, only a few speak fluently this Creole and UNESCO warns of the danger of its extinction.

This documentary portrays today’s reality of Patuá in Macau, introducing the remaining few Macanese people that still speak the language in their daily lives, and a group of enthusiasts that tries to keep the language alive through performing arts.

Are their efforts enough to guarantee the survival of the patuá? Macau is a small Chinese city in profound transformation, especially during these last 10 years that followed its return to Mainland China.

To understand the origins of this multicultural language, the film also collects testimonies and images from Malaysian Malacca. A result of globalization movements that began as early as the 15th century, Patuá has survived over centuries in Macau relying on its oral transmission, from one generation to the next.”

This is the synopsis of the documentary of a little over one hour that both Silvie Lai and James Jacinto produced as their personal contribution to the lingu maquista.

IIM listened to them to convey their (and ours) hopes and expectations.

《將會消失的土生土語》 “數世紀以來，澳門土生土語（Patuá）都是澳門土生葡人的日常用語，但時至今日會說這種語言的人卻寥寥無幾，而且更被聯合國教科 文組織列為“垂危語言”。 《將會消失的土生土語》紀錄片內展示了今天澳門土生土語（Patuá）所面臨的情況，並介紹現時仍用這種語言作日常用語的人和一群熱 愛土生葡語的藝術表演者等。但澳門在回歸後這十年經歷了很大的變化，單是一顆充滿熱誠的心去推動澳門土生土語（Patuá），並希望 以他們的努力使其得以保存，但他們的力量又是否足夠呢？ 為了進一步了解澳門土生土語（Patuá）的多文化歷史背景，攝製隊更遠赴馬六甲進行訪問及拍攝，全球見證著這種早於15世紀出現， 一直以口傳方式，「母傳子，子傳孫」，一代傳一代才得以流傳下來的語言。” 這部約一個小時的紀錄片，是由黎寶安 (Silvie Lai) 和孫保祺 (James Jacinto) 為了保存澳門土生土語（Patuá）而製作。 最後，他們亦託本所代為轉告其心聲和希望，但這也是代表著我們的希望。

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Documentary 將會消失的土生土語

INTERVIEW WITH SILVIE LAI 黎寶安的專題訪問 ORIENTE OCIDENTE – What made you produce a documentary on patuá?

SL – Few people nowadays speak the patuá of Macau, or lingu maquista, and in general the folks that live here, particularly the Macanese who learnt or listened to it at home when they were younger are aware of this reality. But the issue has raised our best attention when back in 2008, or even before then, people began to talk publicly about the possibility to present the oral traditions of the lingu maquista to become an intangible heritage asset of UNESCO. That’s when we thought it would be interesting to make a documentary from which we would try to understand the origins of the patuá, which were the causes of a reduction in the number of speakers and what people thought of it and, on the other hand, to collect an audiovisual recording of the few fluent speakers who are still in Macau.

For us, it turned out to be a journey to the origins of the history of this city which is connected to the arrival of the Portuguese. When we understood the cultural and linguistic richness of Portuguese-based creole in Macau, when we understood that it is rich with influences of grammatical words and expressions that have origins in different languages such as Portuguese, Cantonese, Bahasa Malay, English, Japanese, Cape Verdean Creole and Indian ... we realized that the lingu maquista is in itself a language record of the route of the Portuguese Maritime Expansion, accomplished between the fourteenth and sixteenth centuries.

In other words, the lingu maquista is the repository, a testimonial of the presence of Portuguese folks on African, Indian and Southeast Asian soil and finally in China. Macau was the last stop of this grand journey, and Macanese Creole has undeniable influences on the Chinese language and culture, due to this close relationship between different cultures spread out in time.

是甚麼原因令你們想製作一套關於土生葡語的紀錄片呢？ 澳門土生土語或稱澳門土生葡語，現今是一種在澳門少數人懂說的語言，但一般在此生活 的人，特別是澳門的土生葡人，小時候在家或在校內都必定聽過這種語言，對其有一定的 概念和認識；於2008年，這題目更引起我們大大的關注，把其傳統口語向聯合國教科文組 織申報為非物質遺產，當時我們曾經想過製作一部有趣的紀錄片來試試理解土生土語的起 源，甚麼原因導致講這種語言的人數目減少及人們對此有何想法；另一方面，向還在澳門 僅存說得流利土生葡語的人作視聽紀錄收集。 對我們來說，亦是對這城市的歷史來源作一個旅程終結，這結果是連系著葡萄牙人的抵 達。當我們了解到這土語建基於葡萄牙語的寶貴語言資源和文化後，又明瞭到它的文法詞 句和詞語是深受其他不同語言的影響，例如：葡萄牙語、粵語、馬來巴哈薩語、英語、 日語、佛得角土語和印度土語等，使我們感到澳門土生葡語本身就是在14和16世紀葡萄牙 海事擴張過程中的一種語言登錄。可想而知，這種語言是葡萄牙人經過非洲、 印度及東南亞，最後於中國土地上，實地見證的寶藏。澳門曾是這一大航海旅程的終點 站，長時間受到不同文化的緊密聯繫，因此，澳門土生葡語亦載有不可否定的中國語言 及文化。

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Documentary 將會消失的土生土語

OROC - Is Macau the place to produce this kind of work? How was the process to obtain support for the production of the documentary?

SL – Obviously, Macau was the proper place to produce this documentary, as it is where the lingu maquista developed and created its unique features. We had thought about the possibility of going to the United States and Canada to collect testimonies.

We all know there resides the largest number of fluent speakers and these Macanese communities speak more patuá than in Macau. But that would have required other resources, and when we started the project there were no resources for this, so we decided to concentrate on filming in Macau. Surely we bet also to collect material in Malacca, because it seemed important to us to understand the origin of the lingu maquista, including the testimonies done on Cristang Creole, to illustrate what it has in common with the patuá of Macau.

OROC - What possible results do you think it will bring to the Macanese community, after the public viewing of the documentary?

SL - We hope the documentary will serve to arouse greater interest in the preservation of the language, not only in the interests of the Macanese community, in its strictest sense, but of the community of Macau, in general. The lingu maquista is a heritage which is closely related to the history of the Portuguese diaspora itself and their arrival in Macao and is also deeply rooted in the history of Macau and in the influence that the Chinese population and culture were having on the Portuguese and other people who went on settling down here since the sixteenth century.

Therefore, the lingu maquista is not only a legacy related to the Macanese Asian-Portuguese culture, but also an asset of Macau, China and Portugal, as well.

The preservation of lingu maquista is not an easy task, since it is essentially an oral language, with few written records. I wonder whether it is soon to be completed or not, but the University of Macau is working on what will be the first patuá grammar, an essential tool to an eventual salvage of the language.

Of course, the bottom line is: do we want to recover the language in the sense that it becomes again a language of communication of a community, or do we just want to preserve it in order to collect as many records as possible now, while there are real fluent speakers, and keep it, for example, through theater plays?

The difficulty of the first hypothesis is that the process of intergenerational transmission of language has deteriorated, that is, parents have stopped teaching the language to their children.

We must recognize that in the Macanese families, with the exception of a case I know of, children no longer learn the language. But if we want to be optimistic, it is also true that young Macanese, especially those who grew up listening to the two official languages of Macau, the Portuguese and the Cantonese Chinese, seem to have abilities to learn in patuá – we see the case of some young people involved in the Dóci Papiaçám stage plays. There is also the case of a Portuguese speaking actor, who is not of Sino-Portuguese origin but performed recently in patuá ... Maybe not everything is lost!

Similarly, we could try to revalue the patuá, organizing for example informal meetings for the fluent speakers of this language that still live in Macau, to revive their communication skills – to speak a given language, especially the mothers’ language, learned during childhood, is a skill that one never forgets. It can stay there, hidden in our subconscious, and with a little effort, these capabilities are reactivated with some ease. Today, with new technologies, we could also organize videoconferences, connecting the speakers of Macao with those in the diaspora.

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Documentary 將會消失的土生土語

OROC – In general, a language is a communication tool. However, when it reaches the verge of extinction, it can acquire a different status, of collective memory.

Is this the case of the lingu maquista?

SL - The risks of extinction, such as the ones pointed out by the UNESCO 2009 report, are real so there’s no doubt. The attempt to salvage the language as a communication tool would be quite complex, going through a great involvement from the community, academic and teaching institutions and of course a lot of support from the government. It would be a great challenge in complexity quite different from that involving, for example, the recovery and preservation of tangible heritage.

As for the salvage of the language as collective memory, something is already being done.

We have the Dóci Papiaçam theater group and the performances of “Tuna Macaense”.

But it would be important also, besides these, to do an extensive collection of audio and visual testimonies of fluent speakers, here in Macau and the diaspora. Probably some of the fluent speakers are in their forties or fifties. But the majority is older. In fact, the old aged people have certainly a wider knowledge in terms of vocabulary and other linguistic competences.

But if this collection is not made within a short period of time, we risk losing that source.

José “Adé” dos Santos Ferreira is perhaps the single individual who contributed more to the cause of preserving the patuá: in addition to plays, he was the only one who dared to write and publish in patuá, bequeathing to us poems and other small pieces in the Dóci lingu nhom.

OROC - According to Vergilio Ferreira, “A language is the place where you see the world from and where the limits of our thinking and feeling have boundaries”.

Losing the patuá, will this place it represents and these boundaries of thinking and feeling Macanese be also lost?

SL - A difficult issue! First of all, we should consider that from a given moment the lingu maquista was a functional language only in very limited contexts, at home or at specific social gatherings.

From the nineteenth century on, with the introduction of an education system in Portuguese schools (in Macau), speakers of lingu maquista could speak also genuine Portuguese and / or Chinese, in general. Most Macanese have always expressed in more than one language. Miguel Senna Fernandes when commenting about the scripts of his plays, says, and rightly so, the lingu maquista lacks a lot of vocabulary to express the realities of today. And to write his plays he needs to resort sometimes to fiction and to invent vocabulary trying to make use of linguistic structures of the lingu maquista.

But back to the question, probably the lingu maquista expresses aspects of a Macanese thinking and feeling in a certain period of time in the history of the community. The extinction of patuá as a functional language would be an irreparable loss of a legacy that says much about the history of the founding of this city, if we do not make a large collection of audio or visual recordings of the speakers that still exist.

OROC - What are your future plans?

SL - Well, we are currently producing a new documentary about the Portuguese settlement of Malacca. It’s a new challenge to be implementing a project whose footage derives entirely abroad. The filming starts already this summer and we hope to soon show the film in Macau, Malaysia and also in Portugal.

澳門是否合適的地點來製作這紀錄片？而製作過程中從那些方面尋求協助？ 當然，澳門是土生葡語的發源地，是十分適合來製作這類紀錄片的；在製作過程中， 我們曾經想過到美國或加拿大來收集資料，因為眾所周知，該處的澳門土生族群懂土生葡 語的人會比在澳門的多，並且說得更流利；此外，我們亦相信在馬六甲也可收集到相關的 資料，但這些已經牽涉到其他方面，偏離了我們的原定計劃，所以最後決定集中在澳門拍 攝，因為我們認為這部紀錄片的重點是尋找澳門土生葡語的來源，包括說明基督徒的語言 與澳門的土生葡語類似或共同的地方。 紀錄片公演後，在澳門土生葡人族群中，大家相信會有何結果？ 我們希望這部紀錄片可引起大家的關注，齊來協力保存它，這不僅僅是對澳門的土生族群 有利，而是對澳門土生族群整體都有利的。澳門土生葡語是一項遺產，一方面，它緊密地 連繫著葡萄牙人本身的散居歷史及其到達澳門的經過；另一方面，亦深深地連繫著澳門 EASTWEST 18

Documentary 將會消失的土生土語

的歷史，見證著葡萄牙人受到中國文化及從16世紀起在此定居的其他種族文化的影響。因 此，澳門土生葡語不僅是一項連繫澳門土生葡人的葡-亞文化遺產，亦是澳門、中國與葡萄 牙之間的遺產。 保存澳門土生葡語並不是一件容易的工作，因為它是一種口語，只有很少的文字記錄。本人 不知短期內是否能夠完成，但澳門大學已正在進行編寫一部澳門土生葡語的文法書，這將會 是第一部土生葡語的文法書藉，這項重要工具有可能令其回復生機。 當然，再深入的問題是：我們目的是想挽救這種語言，重燃它成為一個族群的主要溝通用 語？還是只想保存它？現在盡量向僅存懂得流利土生葡語的人們收集更多記錄資料，盡量維 持它的使用，例如：在話劇中的運用等。 第一個假設的困難，該語言於跨代傳承過程中受到的損害，例如：雙親已停止教授這種語言 給子女；現今在澳門土生葡人家庭裡，除了本人所認識的一個例子外，大部份孩子們已經停 止學習這種語言了。但如果我們從樂觀的方面來看，現時澳門土生葡人的青少年階層，於成 長時期一直在澳門學習葡萄牙語和廣東話，相比之下，能較易學會土生葡語，在一些青少年 參與Dóci Papiaçam土生葡語話劇團的表演中，我們亦親自見證了這個事實；除此之外，還 有一個例子是：該話劇團中有位只會講葡萄牙語的演員，他雖然沒有中葡的血統，但最近亦 運用了土生葡語來演出...，這可證明土生葡語還未到完全消失的時候！ 因此，我們可以嘗試將土生葡語再次升值，例如：召集所有在澳門講得一口流利土生葡語的 人來舉行一個不拘禮節的聯歡聚會，或利用現今科技，亦可組織遙距會議，來會聚澳門及他 鄉人士，藉此嘗試重新活化土生葡語的溝通能力；母語是一種永遠不會忘記的語言，在幼兒 時學過的，亦會存在或隱藏在我們的潛意式裡，只要作些小努力，這些能力就會重新被啟動 起來。 一般情況，語言是一種溝通工具，雖然面臨消失的地步，但仍可取得不同的地位，成為大家 的集體回憶。 澳門土生葡人的土生土語是這個情況嗎？ 消失的危機，按照聯合國教科文組織2009年度佈告所指，無可否認是真的。嘗試修復一種 語言作溝通工具是非常困難，它需要社群、學術和教育機構的大力參與外，當然還需要政府 的大力支持，因為它與那些修補或保存有形遺產的情況很不同，這會是一項很巨大的挑戰。 至於保存這種語言作為集體回憶，我們都想盡辦法去收集資料，現時Dóci Papiaçam土生葡 語話劇團及Tuna Macaense澳門人樂隊亦積極地運用土生葡語來演出，但隨此之外，更重 要的是向本澳及他鄉講得流利土生葡語的人製作詳盡的視聽紀錄收集；有可能懂得流利土生 葡語的人現已四、五十歲，或更高年齡，然而，年長的人在詞句及其他語言能力水平方面亦 會有較深入的知識，但如果短期內不能進行收集，就會存在面臨喪失的危機。 阿德（Adé dos Santos Ferreira）可能是對保存土生葡語貢獻最大的人，除了話劇外，他亦 是唯一一位用土生葡語編寫書籍出版的作家，為我們留下了詩詞及 《甜蜜之語 – 澳門的土 生葡語》 (“dóci língu nhom”)散文作品。 據Vergilio所說，“從語言中，可以看到世界，並可界定我們的思想和感受”，失去了土生 葡語，將會失去澳門土生葡人在這處的代表及這些思想和感受嗎？ 這個問題很難回答。 首先，我們需要考慮到澳門土生葡語從某段時期開始，曾是一種在家或在特殊社交聚會中的 溝通用語，但從19世紀開始，當葡萄牙語正式成為澳門官方教學語言後，本來用澳門土生 葡語溝通的人亦開始逐漸轉用為標準的葡萄牙語或中文；此外，大部分澳門土生葡人也習慣 用多於一種語言來表達，好像飛文基（Miguel Senna Fernandes）所講關於他編寫話劇標 語為例，土生葡語確實欠缺很多詞句來表達當時的處境，有時編寫話劇對白，他也需要利用 澳門土生葡語的語言結構來虛構創造詞句。 那麼，現在我就嘗試解答這個問題吧，澳門土生葡語表達了過去一段歷史時期中澳門土生葡 人族群的想法和感受。現今，土生葡語面臨消失的危機，如還不向外界推廣或進行視聽紀 錄搜集，這種非物質文化遺產將無可補救地消失，同時我們亦失去了很多這個城市的歷史遺 產資訊。 孫保祺（James Jacinto）和黎寶安（Silvie Lai）將會有甚麼計劃呢？ 現在，我們正籌備製作一部新的紀錄片，主題講述位於馬六甲的葡萄牙城區；這會是一項新 的挑戰，計劃在本夏季開始，全在外國執行與拍攝，我們希望不久將來，這套影片可以在澳 門、馬來西亞及葡萄牙放映。 EASTWEST 19

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Patuá di Macau, únde ta vai?”

SESSIONS CALIFORNIA 《將會消失的土生土語》 巡映站 美國 加利福尼亞州

In its constant quest to, at the same time, preserve and foster the Macanese culture, the Lusitano Club of California (USA) held several events during a two month period to promote the Macau documentary “Patuá di Macau, únde tá vai?”

(A Creole on the Verge of Extinction).

These events were sponsored by the International Institute of Macau.

Few people, especially the younger generation, had realized that the Creole called Maquista or Patuá had been around in the Macanese community for a period of close to 450 years.

It was a surprise to many to learn that the origins of lingu maquista/patuá were based on the fusion of the Portuguese, Chinese, Malay, English and Japanese languages having been spoken by people who had no opportunity to learn formal Portuguese through the educational institutions.

One walked away from the video presentation feeling proud of their lingu and of the many historic and cultural facts presented on screen.

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The most elaborate setting was one of the viewings held on May at the Ultra Vice Lounge in Walnut Creek where participants were exposed to sevenflat panel projection screens with surround sound acoustics.

A variety of minchi dishes was also provided to allow all the participants to have a feel of our cultural eats thanks to volunteer chefs – Ricardo Collaço, Maria João da Cruz, Candy Roliz, Vanessa Roliz, Lulu Xavier, and Maria Roliz. This documentary has also been shown on June 12 at the Dia de Portugal Festival in San Jose with the support of Arthur Britto, President of the Macau Arts Culture and Heritage Institute.

At the UC Berkeley, its Portuguese Studies Program in cooperation with Casa de Macau (USA) and the support of IIM, hosted another session. Large number of friends and patuá speakers graced this event, namely Prof.

Milton de Azevedo, of the Department of Spanish Language, Prof. Inocencia Mata, of the University of Lisbon, and Deolinda Adão, of the said Program.

The documentary was also screened in Pacifica Community Center, co-hosted by União Macaense Americana – UMA – and IIM, on April 18. The gathering was held with 80 participants of all ages who exchanged

Viewing Sessions 紀錄片巡映站

and enjoyed common remembrances for the elder and story tales for the younger ones. They became more aware of the prospects of the young Macanese that live in Macau and their struggle to safeguard the intangible heritage of the city.

On August 19, the Portugal Macau Institute of America organized a viewing session at St. Mark Community, in Chinatown, Oakland. The event was reported in the Sing Tao Chinese Daily, North America News.

TORONTO During the Week of Portugal 2010, the Club Amigu di Macau (Toronto) organized a session at the Casa do Alentejo, in Toronto. Amongst the many guests, there was the Consul-general of Portugal in this city, Júlio Vilela, several associations’ leaders, Portuguese language professors from Canadian universities, and the Chairman of the Council of Presidents of the Alliance of Portuguese Clubs and Associations of Ontario. Similar sessions were organized for First Markham Place, during the Asian Heritage Month, and the Summerfest held by the County of Richmond Hill.

The Casa de Macau (Toronto) held a special event to show this documentary on patuá to its members, on August 7.

The organizers joined those that endeavored “in hopes of marking the cultural importance of this language as a part of our heritage”.

Their own group “Papiaçam Maquista” staged a play entitled “Quim vâi tratâ papelada” written and arranged by the well-known composer and songster Armando Santos.

In Vancouver, the Casa de Macau (Vancouver) had their share of the fun by organizing a session and a “Chá Gordo” with the assistance of their members, on July 10.

The English version narration was ideal as it meant that everyone present could appreciate the documentary, in particular the younger members. The documentary will be viewed again in Sydney at its Christmas function which is usually attended by more than 200 members, and in other Australian cities before the end of the year.

AUSTRALIA

The Casa de Macau in Rio de Janeiro showed this documentary to guests and members who attended their lunch party to commemorate its Anniversary and Portugal’s National Day.

The documentary was screened in Brisbane, on July 4, to mark the Day of Macau Patron Saint, St. John the Baptist, and everyone found it most interesting and definitely sparked, in a few, a desire to make an effort to learn at least a few phrases in Patuá.

BRAZIL

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在同一時間不斷努力維護和發展澳門文化 的 “美國澳門土生聯盟” (UMA)， 於《將會消失的土生土語》紀錄片的2個月 推廣期間，已舉行了多次由本所贊助的宣 傳活動。 現今只剩下很少人認識這種存在澳門近 450年歷史的土生葡語（又稱Maquista或 Patua），特別是年輕的一代，對這種語言 更可謂沒有多大知識；事實上，土生葡語 是一種混合了葡語、英語、粵語、西班牙 語、馬來語的方言，在以前土生葡人日常 生活中所使用，並沒有正式標準教學，所 以在尋找土生葡語起源的學習過程中，有 無限驚喜正等著我們發掘，使我們於紀錄 片中能深深感受到土生葡語的驕傲，透過 螢幕見證更多的文化歷史事跡。 其中，最為精心佈置的放映會莫過於在5月 美國核桃溪市Walnut Creek，Ultra Vice Lounge內所舉行的一場，該映會上設有7 幅投影屏幕並配合環繞音效，為大家提供 更優質的影音享受，此外，更感謝一群志 願廚師Ricardo Collaço、Maria João da Cruz、Candy Roliz、Vanessa Roliz、 Lulu Xavier和 Maria Roliz，為大家提供原 汁原味的家鄉美食，盡享口福；隨後，於 美國澳門文化遺產、藝術及文化特徵學會 主席Arthur Britto的協助下，《將會消失的 土生土語》亦於6月12日，在聖荷西市 San Jose的葡萄牙文化節上放映。

News Published in “Sing Tao” newspapers, American edition 以上為星島日報新聞報導

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另一方面，在本所和美國 - 澳門之家的協助 下，於加州大學伯克利分校的葡萄牙語系 亦成功舉辦了一場放映會，並吸引了懂得 說土生葡語的人士和大量有興趣的朋友出 席，如：該學系的Deolinda Adão教授、西 班牙語系的Milton de Azevedo教授及里斯 本大學的Inocencia Mata教授等。 隨後，4月18日，該紀錄片還於 “美國澳 門土生聯盟” (UMA) 和本所的合作下，在 Pacifica社區中心進行播放，本次活動有80 名不同的年齡層人士參與，相互交流和分 享回憶老故事，並呼籲居住在澳門的土生 葡人，特別是年輕一代，應進一步加強保 護澳門的非物質文化遺產。 8月19日，美國的葡萄牙 - 澳門研究所 在 奧克蘭 唐人街 聖馬克社區 為長者舉辦了一 場《將會消失的土生土語》放映會，今次 活動獲得了星島中文日報及北美新聞的報 導，並為紀錄片和其製作人作簡介。 多倫多 多倫多的澳門之友會the Club Amigu di Macau (Toronto) 在2010年的葡萄牙文化週 內，於當地的一間Casa do Alentejo（阿連 特茹之家）舉行放映會，出席者當中包括 有駐多倫多葡萄牙領事Julio Vilela、一些協 會的領導層人士、來自加拿大大學的葡萄 牙語教授、葡萄牙人俱樂部聯盟和安大略 省Ontario協會的委員會主席等；此外，在

Viewing Sessions 紀錄片巡映站

澳洲 亞裔文化月期間，亦於萬錦廣場Markham Place和鎮里士滿希爾Richmond Hill舉辦的 夏季音樂節內進行放映。 8月7日，多倫多的澳門之家亦特別為他們 的成員舉辦一場土生葡語紀錄片放映會， 並強調“希望這種語言能成為我們重要的 文化遺產一部份”，此外，他們的 “Papiaçám Maquista” 土生葡語話劇團 亦在當日表演了一場由Armando Santos編 劇，名為 “Quim vâi tratâ papelada” 《搞手續》的土生葡語話劇給大家欣賞。

7月4日，為了紀念聖約翰節，在澳洲布里 斯本舉行了土生葡語紀錄片放映會，今次的 播放引起了大家對土生葡語的興趣，反應相 當理想，有些人更現場不停重溫、學習剛才 的土生葡語單詞發音，另一方面，由於該紀 錄片的英語版本敘述得十分明確，因此在場 的每一位，尤其是年輕的朋友，都可以清楚 明白紀錄片的主題與歷史意義，此外，在今 年年底之前，《將會消失的土生土語》亦會 於約有200多名成員參加的悉尼聖誕節聚會 及澳洲的其他城市進行放映。

7月10日，溫哥華澳門之家同樣組織了一 場放映會，並為成員精心準備了豐富美味 的下午茶，讓大家在放映期間品嚐家鄉小 食。

巴西 紀錄片亦在巴西里約熱內盧的澳門之家進行 放映，並為慶祝該機構成立的週年紀念，以 及葡萄牙文化節、賈梅士日、聖派翠克節、 聖約翰節等，專程安排豐盛午餐款待參觀人 士和其機構成員。 EASTWEST 23

Identity Award 獎項

IDENTITY AWARD 獎項 IDENTITY AWARD 2009 FOR HOLY HOUSE OF MERCY The International Institute of Macau has set up from the beginning of its existence an Identity Award to reward and distinguish persons or institutions that through ideas or actions have contributed continuously and extensively to the preservation of Macau’s identity. For 2009, the social bodies of IIM decided to award this distinction to the Santa Casa da Misericórdia de Macau (Holy House of Mercy of Macau), in recognition of its hundred-years old social work, in supporting and helping the people of Macau, as a living and operative example of one of the most prestigious institutions of Portuguese origin.

The Holy House of Mercy of Macau was founded in 1569 by the first Catholic Bishop of Macau, Belchior Carneiro, and during the following centuries performed an important role in the life of Macau, in the area of social welfare. Today, the institution has a total of 329 brothers or members and operates the Our Lady of Mercy Old Aged Home, with about 100 users; a nursery, created in March 2002, with 100 children ranging from three months to three years old, who are taken care of as part of the pre-school system; a rehabilitation center for the visually impaired, set up fifty years ago, where the users meet, gather and participate in different singing activities besides engaging themselves in manufacturing pieces of rattan wares and in weaving; a museum unit located on the first floor of its building at Largo do Senado; a meeting point for members, since January 2001, where its brothers, friends and relatives gather together for a chat and a cup of coffee, or for a light lunch or a quick snack.

Besides these social structures, the Holy House of Mercy has spread its activities to other sectors of the social life of Macau, including grants and donations to institutions of social welfare, subsidies for tuition fees, as well as financial support to persons or families, by itself or in cooperation with other local institutions.

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Identity Award 獎項

2009 澳門特徵獎 澳門仁慈堂 澳門國際研究所成立初期，已設立及頒發 “澳門特徵獎”，用於表揚以行動和思想等 對澳門特徵要素具體化作出重大積極貢獻的 人仕或機構。經本所評審團審議後，決定把 2009年度的“澳門特徵獎”頒發給澳門仁 慈堂，表彰其善行，救濟有需要的市民， 是對社會有重大貢獻的、百年歷史悠久的、 澳門葡人慈善機構之一好例子。 天主教澳門教區的首任主教賈耐勞 (D. Belchior Carneiro) 於1569年創立澳門 仁慈堂，長期以來本着關懷、扶助社會上的 弱勢人士，深受社會認同。目前，仁慈堂擁 有329名服務工作人員，為屬下設有的安老 院，照顧著百多位孤苦長者，為於50年前成 立的仁慈堂盲人重建中心，提供毛衣編織、 籐器手工藝學習以及才藝表演培訓，為於 2002年3月增設的托兒所，向約100名 3 個 月至 3 歲大的兒童提供高質素的學前服務； 此外，於議事亭前地的仁慈堂大樓2樓更設 有博物館，展示其多年歷史發展有關的珍貴 展品文物，於2001年1月，則設立仁慈堂會 員中心，向大家提供一個優美的環境、與友 人相聚的活動空間，品嚐香濃的咖啡和令人 垂涎三尺的小吃。 透過政府及企業資助、社會服務團體及善心 人士的大力配合，仁慈堂的慈善工作會一直 延續下去，同時積極與不同民間機構、團體 合作，為有困難的人士提供盡可能的援助。

IIM ANNOUNCES 2010 IDENTITY AWARD

The International Institute of Macau (IIM) announced that by unanimous decision of its governing bodies, the “União Macaense Americana” (UMA), is the recipient of its 2010 Identity Award, in recognition of the work done by UMA in promoting Macau’s cultural values and for the role played by UMA in establishing the Macanese identity in the diaspora, in an English language environment.

UMA is the oldest institution of the filo-filo (Sons) di Macau, in the United States, featuring a history of more than 50 years since its inception in 1959 as a modest organization until the present days, growing into an organization of about 800 members who have just finished celebrating its golden jubilee in November 2009. Through its many social activities and quarterly newsletter, UMA has strived to keep the Macanese identity alive, disseminating information to those who wish to be updated about their place of origin and to promote harmony and good fellowship throughout the community of filo-filo di Macau.

The history of UMA began with its founding in October 1959 by a group of early Macanese immigrants to California. As with other enterprises of its kind in many other places across the world, the club’s primary objective was to provide assistance to new arrivals coming to an unfamiliar shore, to help them get settled, to find places to live and to secure employment. Accompanying these noble principles, was the secondary: to gather together for parties and outings, faithful to the age old Macanese custom of having fun together as a group of like-minded people who share the same history and traditions.

It would be fair to recall the names of the main founding members, namely John and Bernie Pomeroy, Alberto d’Almeida, Tony Gonsalves, Barry Barradas, Miguel Leite, Emmanuel (Gaudio) da Costa, Lionel Sequeira, and Mercê Ramos. Their contributions, efforts and interest have helped to consolidate the foundation upon which UMA’s success was made secure.

Its founders promised to “preserve and promote the culture, heritage, tradition and history of our Portuguese/Macanese ancestry, to maintain a fraternal relationship with similar groups globally and to promote intellectual and social intercourse among the members thereof,” and under these principles, UMA has grown to become a strong and vibrant club, boasting a membership roster that represented many countries.

Each year, UMA has maintained a full calendar of events for its members, including the “Noite Macanese” Dinner Dance, golf and lawn bowling tournaments, social gatherings and trips. It has also engaged the younger members of the community to take part in the activities of the club, so they carry on its traditions into the future.

The current board of directors of UMA is as follows: Raquel Remedios, President, Maria Gomes, vice president, Daniel Gomes, Treasurer, Robert Grace, Secretary and Directors: Eduardo de Assis, Arnaldo Barros, Sally Carchidi, Marie Guterres, Rita Guterres, Rita Ribeiro, Gloria Sequeira, Alexandre Xavier and Xavier Maureen.

Daniel Gomes is Editor and Francis Carion is Associate Editor of the “UMA News Bulletin”.

With the imminent completion of the Macau Cultural Center building in Fremont, California, it is hoped that in the not-too-distant future, UMA and the Casa de Macau and the Lusitano Club will merge into one strong united Macanese organization under the auspices of the Macau Cultural Center, Inc., and will organize joint functions and cultural events to promote and preserve our heritage.

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Identity Award 獎項

澳門國際研究所 宣佈 2010澳門特徵獎 得主

經本所評審團審議後，決定把2010年度的“澳門特徵獎”頒發給 “美國澳門土 生聯盟” (União Macaense Americana – UMA)，以表讚揚散居於美國的土 生葡人對保護澳門文化方面所進行的工作，及其有效地以英語作溝通， 在塑造土生葡人身份認同的過程中發揮重要的作用。 “美國澳門土生聯盟” 於1959年成立，擁有超過50年歷史，是美國歷史中最 悠久的澳門機構，於2009年11月慶祝其成立50周年的金禧紀念當晚，已超過 800名成員參與，並通過其出版的季刊和多元化活動，使土生葡人的身份地位 保持活躍，加強當地與澳門相關社群之間的溝通聯繫和凝聚力。 “美國澳門土生聯盟” 的歷史創始於1959年10月，由原先少數移居美國加里 佛尼亞州的土生葡人成立，其宗旨是協助澳門土生社群適應來美後的新生活， 向他們提供諮詢、就學、就業轉介、找尋住所等服務，幫助他們更好、 更快地融入當地社會；此外，並依照土生葡人的生活習慣，舉辦不同類型的活 動，凝聚愛澳之心，弘揚土生傳統風俗文化和歷史。 該聯盟今天之成功，建基於他們堅定不移的精神和無私的奉獻， 其主要創始成員有John 及 Bernie Pomeroy、Alberto d’Almeida、 Tony Gonsalves、Barry Barradas、Miguel Leite、 Emmanuel (Gaudie) da Costa、Lionel Sequeira 和Merce Ramos， 當中Bernie Santos、Tony Baptista、Mario Campos以及大家所熟悉的 Frederic“Jim”Silva、Joaquim Pereira和Delano Pereira等知名人仕， 更為聯盟作出不少重大的貢獻。 正是因為他們堅持“促進文化交流，繼承和弘揚土生社群的歷史文化傳統， 以及與全球各地的相關社群保持緊密聯繫”為其創立聯盟的宗旨， 現今聯盟已經成長為一個充滿生機與活力的俱樂部，擁有來自世界各地 的會員參與。 每年他們都會舉辦一系列活動，包括“土生葡人舞會之夜”、高爾夫球、草地 保齡球等比賽、聯歡聚會、專題座談會和聯誼旅遊等，還鼓勵年輕成員積極參 與舉辦活動，與時俱進地延續傳統的澳門土生文化。 現時“美國澳門土生聯盟” 由Raquel Remédios擔任主席一職、 其副主席為Maria Gomes、財政為Daniel Gomes、秘書為 Robert de Graça，而其他領導成員為Eduardo de Assis, Arnaldo Barros, Sally Carchidi, Marie Guterres, Rita Guterres, Rita Ribeiro, Gloria Sequeira, Alexandre Xavier 和 Maureen Xavier組成， 而 “美國澳門土生聯盟刊報” 的總編輯為Daniel Gomes擔任， Francis Carion為副編輯。 在不久將來，於美國加利福尼亞州的澳門文化中心即將成立，藉此， “美國澳門土生聯盟”、“澳門之家”和“葡國人俱樂部” 能更進一步加強聯 繫，舉辦多元化活動，促進和保護我們的文化遺產。

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The Lost Portrait 遺失的油畫

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The Lost Portrait 遺失的油畫

THE LOST PORTRAIT 遺失的油畫 GEORGE SMIRNOFF’S PORTRAIT OF CECILIA YVANOVICH 喬治．史密羅夫的 CEcILIa YvaNOvIcH肖像畫 The inquiry had come from Antonio “Toneco” Pacheco Jorge da Silva – author of the Portuguese Community in Hong Kong – Vol. 1 & 2 - about Macau’s interest to get a George V. Smirnoff’s (1903-1947) original watercolor. Our interest was spiked when we discovered that it was a rare portrait, since the collection of works done by the artist does not include any single portrait. The owner’s desire, as we were told, was to “donate it to an art museum that has the majority of Smirnoff’s collection”. Without any doubt, the recipient of the master’s unknown portrait should be the Macau Museum of Arts. The International Institute of Macau would like to thank everyone involved in this operation to bring back to Macau a piece of its cultural and artistic heritage and is proud to be instrumental in being part of this “rescue exercise”. In particular, to Ms. Cecilia Maria Yvanovich Burroughs, simultaneously the owner, model and donor of this unique piece of Macau’s heritage, we would express our sincerest votes of thanks on behalf of us all.

The Yvanovich is a listed Macanese family whose blood, sweat and tears are written in the history of Hong Kong.

A contribution that should be remembered!

The invasion of Hong Kong during the Second World War brought Cecilia and immediate family to Macau. Meanwhile, George Smirnoff was getting away from the horrors of successive military confrontations in Russia, China and then Hong Kong. He had looked for some peaceful shelter for himself and family and found it in Macau as well as a patron in the person of Dr. Pedro Jose Lobo. The 60 plus pieces of landscapes watercolors Smirnoff painted on his assignments were later donated to the Macau Museum. Fate chose Macau to provide inspiration to Smirnoff’s artistic talents and also the chance for him to meet Cecilia and transpose her gracefulness to that portrait under his brushes.

我們從《葡裔社群在香港》第一及第二冊的作者資料中，尋找到喬 治．史密羅夫George V. Smirnoff (1903-1947) 寶貴肖像畫原作品 的下落，經過我們多方的調查後得知，連澳門的珍藏品中都沒有一 幅是出於他手筆的肖像畫後，更大大激發起我們的興趣，繼續追尋 這幅屬於我們澳門的寶貴文化遺產；最終，給我們找到這位肖像畫 的主人Cecilia Maria Yvanovich Burroughs，而更幸運的是她實現 了我們的願望，表示同意送贈這幅她珍藏多年的畫像給澳門藝術博 物館，與其他喬治．史密羅夫的藝術作品一同收藏。 本所在此感到十分光榮和自豪能夠成為今次“拯救行動”的一份 子，並非常感謝所有參與今次行動的每一位熱心人士，合力使澳門 珍貴的文化和藝術遺產中添多了一幅珍藏作品，除此之外，更感謝 這位肖像畫的主人兼畫中主角Cecilia Maria Yvanovich Burroughs 女仕的慷慨捐贈，而Yvanovich女仕亦已被列入澳門土生葡人家庭 的名單中，為寫在香港歷史上，澳門土生葡人家庭血汗與淚水的故 事留下重要一頁，永遠銘記她所作出過的貢獻！ 在第二次世界大戰期間，戰事連綿不斷，Cecilia Yvanovich帶著家 人為了逃避戰火而離開香港前往澳門暫居，而喬治．史密羅夫亦為 了與家人一起尋找安全和寧靜的生活，移居來到澳門以畫為生， 並得到當時澳門政府經濟局局長伯多祿．約瑟．羅保 （Dr. Pedro José Lobo）的賞識，買下他六十多幅作品，接著無私 地全部捐獻給澳門政府，使之成為澳門博物院的重要收藏。 於“澳門2010”澳門土生葡人社群聚會當日，這幅珍藏作品將會呈 現大家眼前，同時亦會進行由Cecilia Yvanovich女仕送給澳門藝術 博物館的贈畫儀式，並講述這幅獨一無二肖像畫背後的故事。

The 2010 Encontro of the Macanese Community would be a wonderful and proper opportunity to recognize both this masterpiece and the donor’s selfless generosity, so this work of art will be in future on display for the world at the Macau of Arts Museum.

The better account about the story of this unique Portrait is given

by Cecilia Yvanovich’s own words.

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The Lost Portrait 遺失的油畫

GEORGE SMIRNOFF´S PORTRAIT OF CECILIA YVANOVICH 1945

Most of George Smirnoff´s watercolors are scenes of Macau, but in 1945 he wanted to try something different. One warm summer day in June 1945 George Smirnoff asked me to sit for a portrait which he wanted to paint. He asked three other ladies at different time to do the same for him.

Several months earlier, I was told, he asked Elsa Maria Demée who was then 12 or 13 years old to sit for the first portrait.

He then asked Maria Luisa Vidigal (née Tavares), Bessie Hagedorn and me. Of course, I was very flattered at the age of 18 to be asked and thrilled when he signed and gave the portrait to me. George was pleased with Bessie’s and mine but Luisa told me he was not happy with hers.

Elsa Maria Demée’s brother, the now famous painter, Luis Luciano Demee, was a student of George’s before he went to Lisbon to study in Escola Superior de Belas Artes, in Lisbon, in 1952. Elsa gave her picture to her son Manuel who now lives in Boston, U.S.A., Luisa’s picture was lost and it has been years since I lost contact with Bessie so have no knowledge if she still has her portrait.

The Japanese occupied Hong Kong on December 25, 1941. As Portuguese citizens, our family was not interned by the Japanese.

We did not leave for Macau like other families until about the end of October 1942 when Hong Kong was bombed by American planes. That was when our father decided that it was time for the family to move to Macau.

My father and mother, Vicente and Pureza Yvanovich, and their children, Teresa, Vincent Jr., Helen, Cecilia and John, packed whatever we could and left our home for Macau.

The Portuguese Government in Macau welcomed Portuguese refugees from Hong Kong. Families were housed in refugee centres but we were very fortunate to be able to live in a nice home on Estrada da Vitória during our stay in Macau. The war ended in August 1945 and in October we returned to Hong Kong.

Memories of those three years in Macau are happy ones. The people and Government could not have been more hospitable and friendly. The residents of Macau between the ages of 18 and the mid/30s and those of Hong Kong of about the same age soon became friends and often met at parties, tea dances, and other events. George Smirnoff who taught painting to several of them often joined us. It was through the friendly people of Macau that I met George.

I shall be very happy and honored when my portrait hangs with George Smirnoff’s other beautiful watercolors of the many scenes he painted of Macau.

Cecilia Maria Yvanovich Burroughs

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The Lost Portrait 遺失的油畫

1945年喬治史密羅夫 筆下的 CECILIA YVANOVICH 肖像畫

喬治．史密羅夫所繪畫的水彩畫，大多部份主題都是以澳門風景為主，但在1945年，他想嘗試更多不同的風格， 因此，分別在不同的時間邀請了三位女仕來擔任他的肖像畫主角，而我就是於當年6月被邀請的第四位。 在早幾個月前，有人告訴我，他第一幅肖像畫的主角就是當時只有 12、13歲的Elsa Maria Demée，之後第二幅是 Maria Luisa Vidigal (née Tavares) ，第三幅是Bessie Hagedorn，之後就是我這一幅；我真的感到十分榮幸能在18歲 的時候被邀請成為肖像畫的主角，並當他完成作品、簽上名字送給我時，更讓我感到受寵若驚，Bessie Hagedorn和 我與喬治．史密羅夫都相處得十分融洽，可是Luisa Vidigal卻曾告訴我，她跟喬治．史密羅夫相處並不開心。 Elsa Maria Demée的哥哥路易士．路西安奴．迪美Luís Luciano Demée，亦是現今著名的畫家之一，在他於1952年 前往葡萄牙里斯本接受繪畫高等教育之前，亦是跟隨喬治．史密羅夫拜師學藝的；而Elsa已經將她的肖像畫送給住在 美國波士頓的兒子Manuel，Luisa的那一幅就不見了，還有就是Bessie，但因為近幾年我已經和她失去聯繫，因此並 不清楚現時她肖像畫的下落。 記得在1941年12月25日，香港淪陷，日軍進城，不少市民因而逃往澳門避難，但當時我們並沒有離開香港，因為日軍 沒有對我們一家和葡萄牙的公民進行打壓或拘留，直至1942年十月底，香港被美軍機轟炸，於是我父親就決定一家移 居到澳門。 我父親Vicente、母親Pureza Yvanovich、兄弟姊妹有Teresa、Vincent Jr. 、 Helen、Cecilia和John，一家人收拾行理 離開香港，前往澳門再繪美好家園。

當時澳門葡萄牙政府表示歡迎並接納來自香港的難民，更妥善安排他們入住收容所暫住，但我們很幸運地被安排住在 得勝馬路的一間精緻房屋裡，渡過在澳門的時光，直至1945年8月和10月，戰爭宣佈結束，我們才返回香港。 回憶在澳門的三年生活都是在喜悅中渡過，當地政府和市民都十分熱情好客、親切友善，不論是年輕還是中年的澳門 人，很快就與他們同齡的香港人成為好友，經常相約一起，參加茶舞，活動多多，而我亦是透過澳門的好友才認識喬 治．史密羅夫，之後他常常都與我們幾個聚集在一起並教我們繪畫技巧。 我真的非常高興和萬分榮幸，可以把我的一幅肖像畫與喬治．史密羅夫的其他澳門美麗風景畫作品掛在一起，成為永 久的珍藏品。

Cecilia Maria Yvanovich Burroughs

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The Lost Portrait 遺失的油畫

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The Lost Portrait 遺失的油畫

1 Daughters of Augusto and Inêz de Carvalho circa 1909 於1909年，Augusto 和 INÊZ DE CARVALHO 的女兒們的合照 後排 Back Row: Pureza Maria d’Almada e Castro de Carvalho, Olga Maria d’Almada e Castro de Carvalho 前排 Front Row: Laura Maria d’Almada e Castro de Carvalho, Maria Elsa d’Almada e Castro de Carvalho, Idalina Maria d’Almada e Castro de Carvalho

2 Maria Luísa Salomé Tavares Maria Luísa was one of the young ladies that George Smirnoff painted a portrait of.

She later married Dr. José António “Zécas” da Silva Vidigal, a Veterinary Doctor who practiced in Macau.

Maria Luísa 年輕時，是其中一位喬治．史密 羅夫肖像畫的主角，後來嫁給在澳門當獸醫的 José António “Zécas” da Silva Vidigal博士。

3 Cecília and Helen Yvanovich

Cecília 和 HELEN YvaNOvIcH Cecília Maria Socorro Yvanovich Helena Maria Filomena Yvanovich

5 Vicente António with

Daughter and Son circa 1931 於1931年，Vicente António和他的 女兒、兒子 Back Row: Helena Maria Filomena Yvanovich João António Yvanovich Vicente António Lima Yvanovich (background: Englehaardt “Christy” Christensen married to Cassilda Maria “Cassie” Carvalho) 人物排名：Helena Maria Filomena Yvanovich、João António Yvanovich和 Vicente António Lima Yvanovich （背景為Englehaardt “Christy” Christensen與Cassilda Maria “Cassie” Carvalho的婚禮）

4 Wedding of Frederick M. Burroughs and Cecília Maria Socorro Yvanovich April 7, 1956 於1956年4月7日，Frederick M. Burroughs 和 Cecília Maria Socorro Yvanovich 的婚禮

Courtesy: Cecília Maria Yvanovich Burroughs collection 以上照片均由 Cecília Maria Yvanovich Burroughs 女仕提供 EASTWEST 33

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Activities 活動資訊

ACTIVITIES 活動資訊

ANNUAL GENERAL MEETING 週年全體會員大會 The IIM held its Annual General Meeting, on March 18, to approve changes of its Articles of Association in order to avail of a more flexible and operational organization.

At the same time, last year’s annual report and accounts were presented, discussed and approved. Election of the social bodies was also held, in result of which, the General Assembly continues to be chaired

by Maria Edith da Silva, the Board of Directors presided by Jorge Rangel and the Fiscal Committee by José Carlos Mesquita. The Board presented the outlines of the plan for the forthcoming fiscal period which received the unanimous approval of the members.

於本年3月18日，澳門國際研究所召開的週 年全體會員大會中，已批准修訂章程細則， 確保本所能更有效地靈活運作；同時於大 會上，亦一致通過了2009年的財政審計報 告，並進行領導機構成員選舉，其結果一致 認同澳門國際研究所全體大會委員會主席為 施綺蓮博士 (Maria Edith da Silva)、 行政委員會主席為黎祖智博士 (Jorge Rangel)、監察委員會主席為孟仕達 (José Carlos Mesquita)，相信透過今次全 體會議大會，使我們能邁向更成功的一步。

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Activities 活動資訊

ACTIVITIES 活動資訊

Exposições EXHIBITIONS 非洲葡語國家 一段五十年的回憶

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Activities 活動資訊

An exhibition of 150 enlarged postcards was held on March 17, at the Military Club in Macau, on “Official Portuguese Language African Countries – A memory of 50 years ago”.

They were selected from the private collection of João Loureiro, a board member of the IIM. The exhibits portray five African countries – Angola, Mozambique, Cape Verde, Guinea Bissau and São Tomé & Principe – in the sixties. The selected images, 30 for each, provide information about those countries, in a remarkable period of growth in the 20th century. They are all intensifying trade relations with China.

“非洲葡語國家 - 一段五十年的回憶” 展覽活動於3月17日，在澳門陸軍俱樂部舉 行，這次展覽展出超過150張明信片， 均由本所成員之一João Loureiro的珍藏中選 出，主要為60年代安哥拉、莫桑比克、 佛得角、幾內亞比紹、聖多美和普林西比， 這5個非洲國家的當時樣貌；但為了深入了 解他們在上世紀與中國建立的良好商貿合作 關係，本所亦為這5個非洲國家選取各30幅 圖片，展示５國現時的環境情況。

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Activities 活動資訊

MACAU IS A SHOWCASE 澳門是動感舞台

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Activities 活動資訊

“澳門是動感舞台”正在葡萄牙進行全國巡 迴展覽，並經已在里斯本Lisbon， 布拉幹薩Bragança，托馬爾Tomar， 波塔萊格雷Portalegre和貝雅Beja等城市展 覽完滿結束；另一方面，由海外土生葡人聯 盟組織的“澳門是動感舞台”亦同樣在巴西 的里約熱內盧Rio de Janeiro、 聖保羅São Paulo和北美的三藩市 San Francisco、多倫多Toronto和 溫哥華Vancouver進行，並計劃在未來的 一年內，將會轉移到更多的地方作展覽。 “Macau is a showcase” is becoming an itinerant exhibition around Portugal, having been to the cities of Lisbon, Bragança, Tomar, Portalegre and Beja.

Previously, copies of the same exhibition were shown in Brazil (Rio de Janeiro and São Paulo) and in North America (San Francisco, Toronto and Vancouver), in a joint activity organized by Macanese associations of the diaspora. More venues are being chosen, in Portugal and elsewhere, in the course of the coming year.

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Activities 活動資訊

VISITS 交流訪問

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Activities 活動資訊

本所董事會成員與澳門特別行政區長官崔世 安先生聯同多名高級官員在南灣前澳督府的 蓮花廳內進行會面交談，過程當中，介紹了 我們主要的活動和成就，並感謝他一直以來 對本所的支持。 葡語國家共同體執行秘書處(CPLP) 大使 Domingos Simões Pereira來到澳門出席本 屆葡萄牙語大學聯會會議(AULP)，並藉此 機會前往本所進行參觀。 本所主席連同一眾董事會成員前往中國與葡 語國家經貿合作論壇常設秘書處輔助辦公室 （澳門）拜會秘書長常和喜及其副秘書長 姍桃絲和羅茂德，隨後共同探討雙方合作計 劃和擴大發展空間。

Members of the Board of Directors of the IIM paid a courtesy call to H.E. the Chief Executive, Dr. Chui Sai On, to brief him about our major activities and achievements and to thank him for his support. Members of Dr. Chui’s senior staff were present at the meeting held at the Lotus Hall of the Government House, at Praia Grande.

The Executive Secretary of the Community of Portuguese-Speaking Countries (CPLP), Amb. Domingos Simões Pereira, came to Macau to attend the annual meeting of the Association of Portuguese-speaking Universities (AULP) and took the opportunity to visit the facilities of the IIM. The President and Board Members of the IIM paid a courtesy call to the Secretary General of the China and Portuguese-Speaking Countries

Economic Cooperation Forum (Macao), Chang Hexi, and his Deputies Manuel Amante da Rosa and Rita Botelho dos Santos.

Subsequent plans were discussed to implement joint activities and to enlarge the scope of cooperation.

本所董事會成員前往澳門理工學院與院長李 向玉會面，隨後還參觀了新教學大樓，大樓 內設有多個實驗室、教室、學生宿舍、餐廳 及書局，確保與其他機構能建立更密切的聯 繫與合作。 本所主席和秘書長率領代表團前往上海參 觀 2010年世博會，藉此機會，加強與合作 夥伴的交流，進一步促成相互合作研究開發 的機會。

Our Board of Directors also visited the new academic building of the Macau Polytechnic Institute and had a meeting with its President.

The new building provides more laboratories, classrooms, a student hostel, a larger canteen and a bookstore. The implementation of a closer cooperation between the institutions was agreed upon.

An IIM delegation, comprised of the President and Secretary General, was in Shanghai to visit the Expo 2010 and for contacts in the area of development of new projects and partnership.

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Activities 活動資訊

COOPERATION 合作伙伴

MEETINGS 會議資訊 On June 14, a meeting was held in Lisbon between the Executive Secretariat of the Council of the CPLP and its Consultative Observers, including the IIM, the only institution from Macau.

The proposed program of cooperation was reviewed as well as the strategic plan and the Portfolio of the Youth and Cultural Projects.

IIM and the Albergue da Santa Casa da Misericórdia (Asylum of the Holy House of Mercy – a cultural institution created to foster creative industries) signed a cooperation protocol to jointly develop common projects. It envisages a reciprocal participation in programs and exchange of projects, with the purpose of developing studies, research, training and organizing conferences, lectures, publications and exhibitions.

In April, a representative of the IIM visited tourism training institutions in Singapore upon invitation from the Pacific Asia Travel Association – PATA – and then participated in its Annual Meeting which was held in Kuching, Malaysia. The next Meeting is scheduled to take place in Beijing, when the Association will celebrate its 60th Anniversary. PATA’s Board of Directors met in Macau in September and the President of the IIM attended as a Life Member.

本研究所與仁慈堂婆仔屋均為本澳致力促進 文化創意產業的機構之一，現雙方已簽訂 了合作交流協議，能彼此之間在創意文化 領域，如書籍出版、推廣專業培訓與學術研 究、策劃大型展覽和研討會及其他活動等方 面，提供更廣闊的發展空間。

PATA hosted a Seminar in Macau, on September 14, under the topic “Human Resources Challenges in the Tourism and Hospitality Industry: Promoting Industry and Academia Collaboration”, jointly with Institute for Tourism Studies of Macau and the Hong Kong Polytechnic University. IIM representatives attended this event which was to provide a forum to analyze and discuss different perspectives of the scholars and industry on the issue and to create an opportunity for students to interact with industry leaders in PATA.

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於6月14日，本研究所作為唯一代表澳門的 機構，參與出席在里斯本舉行的“第四屆葡 語國家共同體執行秘書處與觀察員會議”， 會議中共同探討了有關合作協議，並談及 關於青年和葡語國家共同體文化項目的戰 略計劃。 本年4月，我們研究所代表獲邀請到新加坡 多個旅遊教育機構參觀，隨後，並出席了在 馬來西亞沙勞越古晉舉行的太平洋亞洲旅遊 協會(PATA)週年會議；而下一屆週年會議 將在北京舉行，同時慶祝亞太旅遊協會成立 六十週年。 於9月14日，我們研究所代表出席了由亞太 旅遊協會(PATA)與澳門旅遊學院及香港理 工大學合作舉辦的2010亞太旅遊協會旅遊 交易研討會，題目為“旅遊服務業的人力資 源挑戰”，透過今次舉辦的研討會，為學 術界及旅遊業界搭建了一個良好的相互交 流平台。

Activities 活動資訊

EU AND CHINA PROJECT 第二次 中國 - 歐盟 流域管理圓桌會議

AULP’S 20th ANNUAL MEETING 葡萄牙語大學聯會 （AULP）第 20 屆會議

A second roundtable of the “River Basin Governance in the European Union and China” was held at the University of Cambridge, on August 22 to 27, partly sponsored by the IIM, after the first one which took place earlier in Macau, in November 2009.

The Association of Portuguese Language Universities (AULP) held its 20th Annual Meeting in Macau. About 200 delegates from the Portuguese-Speaking countries, represented by leaders of Universities, Polytechnics, Research Institutes and other academic organizations, held their events at the University of Macau, the Macau Polytechnic Institute, the Tourism Training Institute of Macau and the IIM where a special session was organized to brief the participants about the major activities held here and abroad for the preservation of the language and culture.

The Academy of Social Sciences of Beijing and the above mentioned University, with the active participation of the IIM and the University of Macau, and several other academic and research units from China, Europe and UNESCO, are looking into this problem of governance of water resources at the scale of hydrological basins and the various forms of involving sectorial interests and different jurisdictions at the decision process and the implementation of laws, public policies and management plans.

澳門國際研究所於2009年11月，在澳門已 參與過第一次“中國 - 歐盟流域管理圓桌會 議”；隨後，於2010年8月22日至27日， 亦再次參與於劍橋大學舉辦的第二次圓桌 會議。 今次的交流會，除了得到我們本所及澳門大 學的積極參與外，還有中國北京市社會科學 院、劍橋大學及多位來自中國、歐洲和教科 文組織的學術研究單位參與出席，共同探討 流域尺度水文、各界利益問題和不同的司法 管轄區內所涉及的決策過程、實施法律、公 共政策及管理計劃等。

由澳門大學、澳門理工學院和旅遊學院 籌辦，為期四日的“葡萄牙語大學聯會 （AULP）第 20 屆會議”已經在澳門完滿 結束，本次會議逾有二百名葡萄牙語大學聯 會（AULP）成員及代表參加，我們於今次 活動當中，以講座的形式向大家詳盡介紹 現時本所發展情況，以及為了維護語言和文 化方面，在澳門及海外所參與和舉行過的 活動等。

SINGAPORE VISIT 新加坡參觀團 The IIM assisted in putting up a visit to Singapore of the Conselho Coordenador dos Institutos Superiores Politécnicos de Portugal – CCISP (Coordinating Council of the Portuguese Polytechnics).

Representatives of fourteen institutions and of CCISP, accompanied by the Secretary General of the IIM, visited the Republic Polytechnic, Singapore Polytechnic and Temasek Polytechnic, on September 3. The Ambassador of Portugal to Singapore, Jaime Leitão, joined the delegation at one of the meetings.

The President of CCISP expressed the wish to welcome a return visit of these Polytechnic institutions to Portugal and to initiate an exchange program with them.

由澳門國際研究所協助組織下，本所行政 總監與14間機構及葡萄牙理工高等院校協 調委員會（CCISP）等代表，一同組團前 往新加坡參觀共和理工學院、新加坡理工 學院及淡馬錫理工學院等；於9月3日，葡 萄牙駐新加坡Jaime Leitão大使亦參與出席 其中一場會議；於活動尾聲時，葡萄牙理 工高等院校協調委員會 (CCISP) 主席更向 大家表示十分歡迎前來葡萄牙理工高等院 校參觀，並希望進一步推廣教職員和學生 的學期交流計劃。

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Activities 活動資訊

MALACCA VISIT 馬六甲參觀團

FESTIVITIES 節目盛事

Members of the whole delegation, about 40 people, went to Malacca on September 4, to visit the Portuguese Settlement. They had lunch with representatives of the community and their “Regedor”, Peter Gomes, were entertained with Portuguese songs

by Manuel “Papa Joe” Lazaroo and left behind some mementos for the Museum of the Portuguese Presence. Opportunities of cooperation and assistance were discussed with the leaders of the community.

The IIM joined other Macanese institutions to commemorate the Day of the City’s Patron, St. John the Baptist. A fun fair was organized at the São Lázaro quarters, on June 26 and 27, and the event livened up that peaceful corner of the city, despite the falling rain.

Streets were properly festooned, stalls with handicrafts and appetizing savories, sardines, cakes and “febras” (pork on charcoal), provided the back up and folk dance troupes and local musicians gave the animation. The IIM hosted a “chiquia” (shuttlecock) competition for the second year with much success and participation.

為了進一步了解葡萄牙舊殖民地歷史，一行 逾四十人組成的代表團於9月4日前往馬六甲 考察，並與當地土生葡人社群代表共聚午餐 及欣賞由村長Regedor和Peter Gomes演唱 Manuel “Papa Joe” Lazaroo的經典葡語 歌曲；隨後，代表團向馬六甲葡萄牙村博物 館致送紀念品，與當地社群代表商討未來互 相合作機會。

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由本所與其他澳門土生葡人機構合作舉辦的 一年一度聖約翰節，於6月27日至28日在望 德堂瘋堂斜巷舉行，雖然一連兩日下著傾 盤大雨，但活動氣氛仍然滲透著城市每一角 落；現場設有多個展示手工藝品、遊戲及美 食攤位，讓市民可以品嚐土生特色美食， 如葡撻、蛋糕、燒沙丁魚和炭燒豬肉等， 其中亦有民間舞蹈團及本澳音樂人作表演演 出；此外，本所亦成功舉行了踢毽子比賽， 並希望下年能有機會再次參加。

Activities 活動資訊

The “pandas” Mi-Mi (guel de Senna Fernandes) and ‘Mé-‘Mé (lia António), of their grace, were captured by the photographer during St.John’s Day, when they landed at the fun fair (Photo courtesy of “Ponto Final”) 以上圖片由Ponto Final 報社提供，圖中為“熊貓” 飛飛（文基）和安安（瑪莉）於聖約翰節中所拍攝的。

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Members’ Corner 會員天地

MEMBERS’ CORNER 會員天地

PORTUGUESE AWARD FOR GEN. ROCHA VIEIRA 韋奇立將軍榮譽獲獎 The Sociedade Histórica da Independência de Portugal (Historic Society of Portugal’s Independence) has bestowed, this year, the Aboim Sande Lemos Award – Portuguese Identity upon Gen. Vasco Rocha Vieira, by unanimous decision of the respective panel, “in recognition of an exceptional military career and public service, namely for his very remarkable performance in the posts of Chief of Staff of the Army, from 1976 to 1978, Portuguese Military Representative at the Supreme Allied Command of Europe in Belgium, from 1978 to 1982, Minister of the Portuguese Republic for the Autonomous Region of Azores, from 1986 to 1991, and the last Governor of Macau, from 1991 to December 19, 1999, and for his extraordinary and patriotic contribution to the consolidation of the Portuguese heritage in its multiple facets, for the development of Macau and – ten years after the handover – for the tranquil and dignified transfer of sovereignty” contributing hence to the excellent relationship between the two countries and to the enhancement of the Portuguese identity and prestige of our country in the international context”.

IIM congratulates its honorary member, Gen. Vasco da Rocha Vieira, for this very meaningful distinction.

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葡萄牙獨立歷史研究會 (Sociedade Histórica da Independência de Portugal) 一致通過決定，宣佈今年將“Aboim Sande Lemos- 葡萄牙特徵獎” 頒發給韋奇立將軍，研究會表示: “韋奇立將軍有豐富的軍事經驗，執行職務方面表現出色， 終生為國家服務，1976至1978年擔任陸軍參謀長；1978至1982年 擔任葡萄牙駐歐洲北大西洋公約組織最高司令部軍事代表；1986 至1991年起出任亞速爾群島(Azores)自治區的共和國部長；1991 至1999年12月19日擔任澳門最後一屆總督，於回歸前十年期間， 韋奇立將軍為了確保澳門能在嚴肅的情況下，順利回歸中國，並為 澳門發展前景作準備，鞏固葡萄牙多方面的文化遺產，作出了十分 大的貢獻；中國政府更多次讚揚韋奇立將軍為促進兩國之間友好關 係的表現，大大提高了葡萄牙在國際上的威望和地位”。 本所在此祝賀韋奇立將軍榮譽獲獎，他獲得此殊榮乃實至名歸。

Members’ Corner 會員天地

RUI MARTINS AT THE PORTUGUESE ACADEMY OF SCIENCES 馬許願教授 當選為 葡萄牙科學院通訊院士 澳門大學副校長兼本所行政委員會成員馬 許願教授，最近全票當選為葡萄牙里斯本 科學院通訊院士 - 科學類第七組 “工程科 學及其他應用科學” 。 里斯本科學院於1779年已經成立，一直堅 持國際科學理事會 (ICSU) 的宗旨，亦是創 於1974年的歐洲科學基金會 (ESF) 其中之 一葡萄牙會員，目前有科學類和人文類兩 個組別，各有院士35位、70名通訊院士 （葡萄牙國內），以及不超過70名的國 外院士，全部都需經過以其個人聲望及他 們於學術或科學活動中的資歷作嚴謹審批 後，才能獲選。 在此，本所再次恭賀馬許願教授，是次當 選，使本所和澳門都感到萬分光榮。

Prof. Rui Martins, Vice Rector of the University of Macau and Member of the IIM, was recently elected correspondent member of the Academy of Sciences, Class of Sciences (7th Section, of Sciences of Engineering and other Applied Sciences), of Portugal. The Academy, founded in 1779, currently has two classes, Sciences and Arts, having each 35 effective members, 70 correspondent members and may have an equal number of foreign correspondent members. They are selected by merit on their academic or scientific work.

The Academy of Sciences of Lisbon is the Portuguese organization adhering to the International Council of Scientific Unions (ICSU), is also one of the members of the European Science Foundation since its inception in 1974.

We congratulate Prof. Rui Martins on this distinction, which also dignifies the institution and Macau.

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Members’ Corner 會員天地

CARLOS MARREIROS HONORED IN BEIJING 馬若龍在北京為澳爭光

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Members’ Corner 會員天地

Carlos Marreiros, a member of the International Institute of Macau, received China’s National Award of Prestige in Beijing. On the occasion, the architect highlighted the fact that “Macau became the talk of the town” and the Macau SAR’s Pavilion at the Shanghai Expo has had good acceptance.

He was in Beijing to talk about the Macau Pavilion at the Shanghai Expo and to participate as a speaker in a debate but he was surprised by this recognition in the field of Architecture and Design.

Carlos Marreiros was not expecting this award. “I was very happy. I do not work to get awards but that is a good incentive.

Moreover, it projects Macau to the world”, said the architect to a local daily.

The award was given on the last day of the International Forum under the theme “Participation and Difference”, which took place during the 5th International Exhibition of Art and Design, 2010.

Carlos Marreiros was the only participant from Macau in this event that is held every two years since 2000 in the Chinese capital.

He was requested to explain the concept of the Macau Pavilion. In addition, he joined the panel on the theme “Creativity and innovation in a globalized world, trends in the development of architecture in the next decade.”

Carlos Marreiros received the distinction during the ceremony that preceded the closing of the event co-organized by the Xinhua University, the Beijing Institute of Interior Architects and UIA - International Union of Architects.

The event was held with the presence of key figures of the architecture and design world, including William Baker, Kengo Kuma, Jean Nouvel, Jacques Pajot, Gregor Hoheiser, Andrew Destro amongst others.

“第五屆中國國際設計藝術博覽會” 以“共用．不同”為主題於5月6日至8日在 北京展覽館舉行，通過國際性的認可，澳門 著名建築設計師馬若龍在中國北京獲得了 “零九至一零年度國際設計藝術成就獎”。 本來，今次馬若龍建築師獲邀出席北京“ 二零一零年 - 第五屆中國國際設計藝術博覽 會”，是為了討論上海世界博覽會澳門館事 宜，並以演講者的身份進行演說，但於設博 會上，驚喜地獲得了大會為他頒發的“零九 至一零年度國際設計藝術成就獎”。馬若龍 說這個獎項不但對他個人很重要，還強調： 「在上海世界博覽會，澳門館為旅客提供優 質的接待服務，讓世人加深了解澳門，把澳 門推向世界。」隨後，他亦向北京當地報章 表示，今次得獎 感到十分意外和欣喜，他 認為工作不是為了贏取甚麼，但這個獎項對 他卻是一個很大的鼓勵。除此以外，更可藉 此機會讓世界各地觀眾進一步認識多元文化 的澳門。 自二零零零年以來，馬若龍是澳門唯一代表 澳門建築師榮獲邀請出席於北京舉行的 “中國國際設計藝術博覽會”，此外， 他更被邀請在講座上介紹二零一零年上海世 界博覽會澳門館，定位為中國館大道上迎賓 的彩燈 -“玉兔宮燈”背後的設計理念， “玉兔宮燈”一直受到外界好評，被認為是 一個美麗有趣的設計，其用意是為國家館吸 引四方八面的賓客循光而來；隨後，馬若龍 亦出席另一個題為「下世紀全球性的創新建 築創新與建築改革新趨勢」的講座。 今次“第五屆中國國際設計藝術博覽會” 得到國內權威機構和國際設計組織的支持， 如：北京清華大學美術學院、國際建築師協 會(UIA) 等，而這次盛會亦邀請了世界著名 建築師及設計師參與，當中包括有美國的 威廉．T．貝克 (William Baker)、 日本的隈研吾(Kengo Kum)、 法國的努維爾 (Jean Nouvel)和 雅克．伯爵 (Jacques Pajot)、 德國的雷格．霍海塞爾 (Gregor Hoheisel) 及意大利的迪斯特羅．安德里亞 (Andrea Destro) 等。

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AND HIS BUNNY LANTERN- MACAU PAVILION FOR WORLD EXPO 2010 SHANGHAI 2010年上海世博會 澳門館 “玉兔宮燈”

The site of the Expo 2010 Shanghai is spread over an area of 5.28 square kilometers, including indoor and outdoor areas of support facilities. It is the largest ever, in terms of number of participating countries and space and is the first time that an Expo occupies land on both banks of a river.

and Chinese society, with the primary purpose of promoting an important local symbol - the traditional Bunny Lantern.

Everybody remembers those lanterns, a rabbit with a candle inside, traditionally parading the streets of Macau on the leash of children, during the Mid-Autumn Festival!

The China Pavilion, designed from the concept of the “Oriental Crown”, “the Crest of the Chinese, the Granary of the World and Wealthy People” reflects the accumulation of a profound culture.

The Macau Pavilion, located next to the China Pavilion, has received many visitors to this event.

Those traditional lanterns were made by skilled local craftsmen, who fitted a simple and lightweight structure, with thin strips of bamboo or twig which were then covered with layers of translucent and multicolored paper and topped with simple ornaments or paintings. However, during the last two decades, with the emergence of plastic “traditional lanterns” with battery-powered lighting, they are gradually disappearing.

For this reason, the renewal of the symbol of the Bunny was fundamental for the designer.

Expo Shanghai had over 250 participants representing countries, territories and companies that showed the best of themselves, and of their economic, social and cultural potential.

In 2008, following a public tender launched by the SAR Government to create a pavilion capable of displaying the multi-facets of the city at Expo 2010, the first prize was awarded to Carlos Marreiros, a local renowned architect, with a wide variety of projects done in Macau and abroad.

Carlos Marreiros knew it would be a big challenge to highlight the multicultural society in a single pavilion. However, he believed that an emblematic symbol that represented Macau should be the concept to propose.

Based on his personal experience and understanding of the sociocultural context of Macao, he did a visually attractive pavilion, an example of our Western EASTWEST 50

The architectural culture that used to be present at World Expos, tends to be different, outstanding and usually fun.

Carlos Marreiros, inspired by his lantern, decided to build a pavilion that is visually attractive from far, invites for a reading from near but was efficient and fun through symbolism and cultural messages it contains.

The Bunny Lantern is a statement of the author’s nostalgia for it recalls his childhood, playing with the lanterns, among his Chinese, Macanese, Portuguese and American friends in Macau.

He remembers clearly that his mother told him that she had also played with the Bunny Lantern, and so did his grandfather and, more recently, his daughters.

That kind of lantern is something that everyone identifies themselves with as with “the good old days”.

The total height of the built pavilion (that corresponds to the body of the rabbit), is 19.99 meters which symbolizes the year in which Macau was returned to China.

The head and tail of the Bunny are built with inflatable balloons which produce lovable movements, mimicking the lantern when pulled by children on the cobblestone streets of bygone Macau.

The Macau Pavilion has a relevant location on the main square of the Shanghai Expo and its design is also a reflection of the surroundings and context.

In order to be visible and attractive from short distance and afar, the Pavilion is completely transparent with no sharp edges or corners.

The main building is covered by a double layer membrane-coated glass and fluorescent screens. Its transparent outer wall makes it possible to use high-tech lighting and color projections to create different aesthetic effects. Advanced technology in multimedia and interactive entertainment elements are employed throughout the five floors of the pavilion.

Visitors are invited to enter by a receptionist who offers them colorful little bunny lanterns.

While moving up and down through the colloidal ramps, with their lanterns and by touching on the multimedia surfaces, the visitors create a total interactivity and so become themselves the actors in this play.

Members’ Corner 會員天地

This Pavilion is an environmentally-friendly building as a temporary construction and their designers have made every effort to avoid waste - the energy of the flag is powered by solar photovoltaic systems, reducing harmful emission of gases into the atmosphere, the structure is made of recyclable steel and all coatings and roofs are of acrylic base.

The Macau Pavilion is in harmony with the style of the China National Pavilion, since both are inspired on a traditional element and both re-invented in a contemporary style.

Stimulating the sympathy of the audience, the Bunny Lantern is known throughout the Expo 2010 Shanghai.

The International Institute of Macau proudly congratulates its associate, Carlos Marreiros, for the success he had with his pavilion that represents all of us at the World Expo in Shanghai.

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2010年上海世界博覽會在黃浦江兩岸舉 行，其圍欄區和圍欄區外的配套設施用地面 積為5.28平方公里，已有超過250個國家和 國際組織參展，這次的上海世博會創下了歷 年以來展覽面積最大和參展國最多的紀錄， 各國藉此機會展示其社會、經濟、文化成就 和發展前景。 中國館的外觀以「東方之冠、鼎盛中華、天 下糧倉、富庶百姓」為主題，代表著中國深 厚的文化底蘊，世博觀者無不以中國館為中 心，而澳門館是離中國館最近的場館，加上 兔仔造型獨特，及其中西文化交融互動的特 色．因此亦成為最引人關注的場館之一，吸 引大批遊客排隊參觀。 2008年，澳門特區政府為2010年上海世博 會《澳門館》的興建而舉辦的《澳門館概念 設計比賽》，最終由豐富經驗、本地著名建 築師馬若龍的作品《玉兔》取得冠軍。馬若 龍表示於小小的澳門館內，以最佳的方式向 國際展示澳門多元文化交融的一面是很困難 的，但最後他十分同意，這隻代表著澳門 的“玉兔”是做得到的、取得成功的。 基於馬若龍建築師的個人經驗和對澳門多元 文化背景的認識，運用了極具吸引的視覺藝 術效果，使澳門館“玉兔宮燈”充份表露澳 門中西文化和諧交融的象徵。 大家都知道，在澳門過元宵節，不論是中國 藉、葡國藉或其他國藉的小朋友都會玩兔仔 花燈；大家在花燈裡面點著一支蠟燭，漫 遊於澳門傳統特色的街道。古時，每一個中 國傳統燈籠都是由燈籠師傅以熟練的手法， 用半透明紙作為燈籠的外皮，用竹子作為骨 架，隨後於紙燈上黏貼彩色剪紙圖案或掛上 簡單的飾物來修飾，燈籠就大功告成。但近 二十年，面對塑膠製的電子燈籠出現，中國 傳統紙燈籠正在慢慢消失，因此，馬若龍建 築師十分珍惜這個歷史悠久的傳統彩燈兔仔 設計，並把它帶回現代社會。 於世界博覽會中，各國的建築風格都是與眾 不同和充滿樂趣的，而馬若龍設計的澳門 館“玉兔宮燈”靈感，則來自於兔仔燈籠的

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外型，兔仔花燈使他回憶起童年在澳門過元 宵節時，不論是甚麼國藉的朋友，都會相約 一起玩花燈，除此之外，馬若龍還清楚記得 母親對他說以前和婆婆一起玩兔仔燈籠的趣 事，但時光飛逝，日月如梭，轉眼間已經是 他的女兒玩兔仔燈籠了，這種花燈的確喚起 了人們對往事的回憶。 澳門館“玉兔宮燈”建築高度為19.99米， 與澳門回歸年份相同，具有特別意義，而兔 頭和兔尾是兩個巨大的收藏式氣球，可任意 升降，富有動感，其用意為模仿小童拖著兔 仔燈籠於鋪滿鵝卵石的澳門老街時“兔仔” 的擺動。

今次澳門館位於世博會中面積最大的主場 館，其位置和設計突出了與中國館家國一 脈相承的同時，亦展出澳門具中華文化底 蘊、富西方多元色彩的共融文化特色。其 外層以雙層玻璃薄膜為材料，而且外牆也 是一個大型LED屏幕用以宣傳澳門，還可以 不停地更換顏色，以此吸引參觀者，館內 還有一個五層高的360度環迴影院，以高科 技多媒體互動手法，引領觀眾進行一次澳 門風情之旅。 另外，澳門館同樣貫徹著環保的理念，館 外層上半部利用太陽能板作為能源提供， 減少溫室氣體排放，建造時以鐵金屬為主

材料，所有建築材料都可以循環利用， 以此避免污染環境。 來澳門館的參觀者亦獲贈一隻小兔子燈 籠，然後進入館內，順著步道行走，周圍 都是屏幕，上下左右全是自己的影像，當 參觀者們在螺旋形長斜坡上移動，從外頭 看，點點燈光連接一起，形成一副有趣的 畫面。 最後，澳門館和中國館的確將時代、精 神、傳統和文化融合為一體，激起了遊客 的熱情，使兔仔花燈遍佈於2010年上海世 博會的每個角落！

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VICTOR MARREIROS 馬偉達 Victor Marreiros is an example of triumph— the triumph of talent and solitary, tenacious and intelligent ascent. And it is a Macau triumph: the quality, originality and success of his works among the public, especially the international public, result primarily from the confluence of the aesthetic canons of two worlds—Luso-European and Chinese—in his vast collection of works.

Because Macau’s guarantee of authenticity, amidst the confusing and syncretic change in the times and tastes, is the capacity to continue to produce original syntheses of the differences in contact.

Included among Asia’s top ten art designers and the world’s top 100, Victor Marreiros has over 100 international awards and distinctions to his credit. The image of Macau he has projected in international circles is one of quality and modernity, his design and that of Macau—indeed Macau itself—being one and the same.

Some of those works, such as our East/West, and the IIM editions and posters, which have been building our image over the past ten years, are the fruit of Victor’s talent.

There is no need for further justification of the thanks and tribute we offer him here today, in this house that is his as well. 馬偉達是一個成功的典範——具有天份、 獨立、堅持、聰慧。亦是澳門的成功： 高質素和原創性。他的作品取得成功， 特別在國際上取得成功，主要是因為在 他的大部份的作品中融合了中、 歐兩個不同世界的藝術元素。 在時代及品味的不斷變遷中, 追求真正 澳門的執著可以產生融合各種差異的 原創作品。 作為亞洲十大及世界前一百位藝術設計 家，馬偉達獲得超過一百項國際性大獎。 透過他的作品，向世界展示澳門傑出及現 代化的一面。 過去十年，澳門國際研究所的簡報—— 「東/西」、刊物及海報刊登了其作品， 為我們建立鮮明的形象，這些都是馬偉達 才華的成果。 實在不必多說為何今天我們在這裏、亦是 他家鄉的地方來感謝他，並向他致敬。 EASTWEST 54

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Portrait 風雲人物 Luís Sá Cunha

There are people like that, people who already were before they became. Because common intuition detects, X-rays, in their as yet unrevealed innermost being, the presence of talent and the impulse of genius.

Victor Marreiros is one of those people.

When I first met him, 23 years ago, he was a neophyte at graphic design.

He had trained under António Conceição Jr. at the old Luís de Camões Museum, which is now the headquarters of the Fundação Oriente, and was under contract to TDM as a graphic designer and set designer. Although he had only the basic qualifications of an ‘apprentice’, he was already considered ‘official’ and a potential master.

That is why we immediately tried to entice him to join the ICM, where a vast development project was in the embryonic stages, and Victor, who is very kind and serene by nature, said that, yes, he should go there, with the serene confidence of someone who already has an inner sense of his great skill.

The first time I saw him overflowing with creative audacity was when he designed a set for TDM (a performance by popular singers or a beauty pageant) whose geometry and lighting created magical forms, all rendered in acrylics or other transparent and translucent materials—a set that was almost a show in itself and delighted the producer and the cameramen.

I had just returned from Lisbon and, even today, 23 years later, the modernity of Victor’s set design makes the sparse, shrunken and dim sets that we see repeatedly on our TV channels or live shows look prehistoric.

It is not easy to write about Victor because, even though I have followed him closely and known him professionally and personally, it was/is impossible to keep up with someone who pursues everything that interests him, to track the endless paths he took, what he accomplished and the way he grew over twenty years, a journey on which Victor took off like a comet, excelling at everything.

I remember a caricature done by our great friend Ung Vai Meng when Victor was starting out as head of the ICM’s Graphic Design Section. With the genius

of a caricaturist who is improvising, Ung Vai Meng portrayed Victor as a man of a ‘thousand roles’ or a ‘thousand arts’, concealing in the lining of his coat the tools of all the magical expedients of the image.

Victor ‘juggled’ graphic arts.

That was no doubt the first poster to predict Victor’s brilliant path, the first portrait of him as a confirmed artist.

I would like to point out two things in this brief preface to his introduction.

One is that, since he did not study or train in graphic art schools or centres, his great affirmation is no doubt the result of innate talent, served by a specific intelligence and an instinctive sensitivity to aesthetic forms, this being solidly anchored in great, general, intelligible skill.

The other is that the brilliance with which Victor explored paths in-depth and modernised concepts and languages, the courage with which he imprinted the audacity of a genuine artist on the disciplinary limitations of graphic design, on the ancillary communicative nature of graphic design, imposed by the imperatives of the transmission of messages always propelled him over the distinctive boundary between design and art.

Because Victor started out as a painter prior to, and in addition to, having the pragmatic option of earning a living as a graphic artist.

And because of the fact that he worked mainly in the cultural field and that the prestige he won allowed him to create almost ad libitum,

Victor continued to impose the precept of pure artistic sensibility, often skilfully restricting or dispromoting, or relegating to atonic areas, all those components whose mandatory salience limited him in the prison of graphic design.

With his ‘transgressions’, the polemic obsession with the distinctive dichotomous quarrel about what graphic art and genuine art were immediately began to make no sense to him.

Victor is, first and foremost, an artist, an art ‘smith’, but in the design profession.

Thus, in figurative terms, one could say that he often risked being a ‘bad graphic designer’ because he had to yield to the irrepressible impulses of the artist in him. And in doing so, he was a superior ‘graphic designer’.

Today, design is commonly branded as the ‘ninth art’, perhaps as cinema was in relation to theatre, as we witness the creative explosion of the dilution between the two, as art design dares an intimate symbiotic relationship with art ‘tout court’, as the leaders of this movement attempt to tear down the boundaries of functionality, with editions that can be counted on the fingers of one hand or even single copies.

In placing the arts in everyone’s hands, through copies, succedanea or ersatz, as the first expression of ‘democratic’ art, industrial design is perhaps breathing its last breath, as the motion of ‘art design’ attempts to meet the titanic objective of occupying a definitive place on the Olympus reserved for the classic arts.

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But it can be said that Victor was pari passu at the forefront of this daring, always, and in the face of each challenge, overcoming the hurdles. The Victor who created the illustrations for posters is the same one who conceived Camilo Pessanha, Opium Addict (one-off) independent of print runs or practices, for he conceives and produces them with the same commitment and artistic dysfunctionality.

Of his art. The key to Victor’s creative mystery lies in his Macanese assumption, that is, the alchemical capacity to harmonise elements of the western world and the Chinese world, to synthesise the confluence of all the iconographic languages of two territories, of the two traditions.

A poster he did for the Documents and Archives Exhibition comes to mind because of the simplicity of its rendering, a western treatise on the rules of typesetting, the spaces being filled with pure calligraphic elements of the two written traditions, both handwriting and pictograms, movable type and Chinese seals in cinnabar, all aesthetically balanced and astonishing due to the modesty of the materials used.

We saw this ‘template’ being reinvented later and successively in many situations, served by the fanciful manipulation of calligraphic elements, by an astonishing cornucopia of shapes and colours ...

Also fascinating is the series of posters with a musical theme that Victor produced

for competitions, festivals and shows: a synaesthetic miracle instilling in us the image/sound of staves and registers, musical scales and phrases, with the unfettered dance of the letterings spiralling through the spaces, the spontaneist strokes of colour like pure notes in a solfeggio scale, the winding of arabesques à la Pollock from which cello vibrations emerge.

We look at the posters and part of a symphony instantly springs into the air ...!

In another series (12th Macau Arts Festival), the various arts are allegorised as feminine faces on which all the aesthetic delicateness of the Chinese tradition is refined, personae sketched in smooth ‘strokes’, as if with a marten brush, the ochres and rosy-mauves fading like pale marbles, all on dark lacquer backgrounds where, suddenly, with the skilfulness of a caricaturist, the quick expressionist stroke sets the character of the ‘personae’ and captions allegorised art with eloquent subtleness. Sublime!

‘With the skilfulness of a caricaturist’.

Yes, because a vein of humour always runs through his figurative depictions of the human comedy, and only the strength that inhabits him can explain the obsession with which Victor spent numerous solitary nights, perfecting hundreds of caricatures of boni frates and public figures to fill posters with basketfuls of them, when he would create a poster in two nights, for the same fee ...

Pure abstractions or caricatures of public or well-known figures, all his ‘dolls’ acquire a personality that is all their own through the expressiveness of the strokes, revealing an interiority that personifies them, and making us feel affection for them.

The vein of humour that offers us long, delightful, entertaining moments is endless, not because Victor is familiar with the psychological phrenologies of Gall or Lombrose, which he is not, but because his view of the Other is caricatural, but kind ...

As for Victor’s international acclaim, it is documented elsewhere, on the lengthy list of distinctions he received in competitions, in this region and in other parts of the world, from Japan to the USA, and which adds up to over a hundred ‘references’. Japanese master Shigeo Fukuda included Victor in the select group of the top ten graphic artists in Asia and the top one hundred in the world.

Among millions in the profession.

That is quite an accomplishment!

In Fukuda’s words, ‘Marreiros is one of the most invaluable, dangerous and interesting designers in the field of graphic design, like a being from another world. His designs convey a magic reminiscent of a circus performance.’

In sets for major performances, editorial work, catalogues, stamps, albums, posters (for major festivals, operas and events), etc.—in everything that came out of his hands—and in the exceptional brilliance of his creative powers (never taking the easy way out or losing heart, for what he submits is always complete, without the weaknesses of ‘something of lesser quality’), Victor has projected a victorious personal image of quality, distinction, taste and sensitivity that, at the service of so many public and private institutions, has given him the privilege of being at the heart of it all, at the point from which Macau has been projecting and disseminating its great image of quality throughout the world. Internationally, his design and that of Macau are one and the same.Victor is a man of loyalties and belongings, and he likes his roots, where he knows his inspiration and aesthetic archetypes reside.Rare coats of arms, such as his, can feature the motto he chose: ‘Design is the exercise of my citizenship’.

Macau can be proud of him.

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Members’ Corner 會員天地

有些人未出人頭地之前已注定成功。 在尋找天才的過程中，人們往往可以透視 他們而發現他們是流露出來的天賦。 馬偉達就是其中一人。 二十三年前與他初相識時，他是一個新入 行的平面設計師。他在舊賈梅士博物館、 即現在的東方基金會總部跟隨江連浩學習， 並在澳門廣播電視股份有限公司擔任平面設 計師及舞臺設計師一職。雖然當時他只是一 個學徒，但已被視為有成為大師的潛質。 因此，我們馬上慫恿他加入當時有大量發展 項目仍在初起步的文化局。偉達用一種大師 級人馬才有的自信答應了我。 第一次看見他就感覺到他的天才及大膽的 創意，他當時正在為澳門廣播電視股份有限 公司一個歌星表現節目或是選美比賽設計舞 台。他用顏料、透明、半透明物料加上構圖 及燈光創造了一個十分夢幻的舞台，那舞台 就好像是他的個人表現一樣，監制和攝影師 都看得津津有味。 當時我剛從葡萄牙回到澳門，即使二十三年 後的今天，偉達現代化的舞台設計令那些我 們經常在電視節目或直播節目中看到的舞台 變得稀鬆平常，像史前一樣。 即使我時常觀察著偉達，在工作上、私人上 我對他也有好好的認識，但是要寫關於他的 事也是毫不容易。要記錄一個像流星一樣、 每事出色、對所有他感興趣的事物都追求、 有無盡路向的人的成就及在二十年中如何 EASTWEST 58

發展是很難的。我記得我們的好朋友吳衛 鳴在偉達剛出任文化局平面設計處的主管 時，即興地在漫畫中將偉達描繪出成一個 擔當無數角色、通曉各種藝術的人。在畫 中，他的衣服內隱藏著各種夢幻般的藝術 工具。偉達駕馭著平面設計。 毫無疑問這是一張預測偉達光輝前景、 及肯定他藝術家身份的畫像。 在介紹他前，有兩點想指出。 第一點，由於他從來未有在平面設計學校 或中心學習過，他的成功毫無疑問是源自 他的天份、特別的才智及對審美的內在的 敏感。其次是偉達藉以深入探索路向及將 概念，語言現代化的才智，他表現出一個 身處平面藝術前沿的真正藝術家的無畏精 神，平面設計的溝通的本質及傳遞信息的 使命往往推動他超越藝術與設計間的清晰 界限。 由於在選擇以平面設計作為務實的謀生之 道前，偉達是一個畫家，同時由於他主要 是在文藝界工作，而他嬴得的聲譽更容許 他自由地創作，偉達堅持採用純藝術的觸 角，這往往抵制了、阻斷了或消除了那些 束縛他只能在平面設計範圍工作的戒律。 有關什麼是平面藝術及真正藝術的兩極爭 辯對他來說是毫無意義的。 偉達首要是一個藝術家，是一個在設計行 業的藝術工匠。 由於屈從於其自身的藝術家的衝動，他甘冒

Members’ Corner 會員天地

成為一個壞的平面設計師的風險，但這樣做 反而令他成為一個出類拔萃的平面設計師。 今天，平面設計師已被歸納為一種新的藝 術。設計與藝術就像電影及戲劇間的關 係，我們見證到兩者融合帶來創意的爆 發，藝術設計與藝術緊密地共生，這個運 動的領袖們正嘗試去打破兩者在功能上的 界限。 通過複製品將藝術放在每個人手中的 “民主藝術”的表達方式，正嘗試為藝術 設計在傳統藝術的殿堂上佔一席位。 偉達可說是在這方面大膽地衝在前列， 他勇於面對每個挑戰，克服障礙。那個 為海報創作插圖的偉達正是構想Camilo Pessanha，Opium Addict的偉達， 以同樣的投入及無規則的藝術思維 構想及創作。 偉達的土生葡人背景就是其創作秘密， 使其可以將中西文化結合，將兩個地區、 兩個傳統融匯在一起。 我想到他為Documents and Archives Exhibition所做的海報，簡單的表達， 西方的排版方式，中間是兩種手寫傳統 － 書法及象形圖，活字凸板，朱色的中式 璽印。 用很少的物料能創作出十分和諧的作品， 真的令人大開眼界！ 我們後來在不同的情況下看到這個模型相 繼地以新形象示人，運用複雜的書法元 素，豐富的形狀及顏色等。 偉達以音樂為主題，為比賽、音樂節及表現 創作的一系列海報也是十分有吸引力： 以他的海報為五線譜、聲區、音階及樂句傳 給我們。看他的海報，彷彿看到交響樂！ 在另一個系列中 (第十二屆澳門藝術節)， 以柔和的筆觸來描繪的傳統柔美的中國女 性面孔被用來代表各種藝術，赭色和玫瑰 紫就像用畫筆淡化成灰白的大理石色，黑 色反光的背景上以漫畫家的精湛技巧及富 有的表現力的筆觸，“以漫畫家精湛技 巧”為面孔設定了個性和所暗喻的藝術， 因為在他的作品中描繪的人物常常是充滿 著幽默感，只有那股佔據著他的力量才能 解釋偉達對工作的執迷，為此他會以無數 個獨處的晚上去完善數以百計的漫畫人物 並用以創作海報，事實上，他只需兩晚去 完成一套海報，便能收取同樣的價錢… 他創作的所有漫畫圖像，無論是憑空想像 或源自公眾或知名人仕的，都被賦予各自 的個性，通過他的充滿表達能力的筆觸，

由內而外地把圖像人物人格化，並使我們能 感受得到偉達的幽默風格為我們帶來無盡的 愉悅時光，這種風格的由來非因偉達受到 GALL或LOMBROSE的學說影響，對此他並不 熟悉，而是因為他對其他人的觀察是漫畫化 的，善良的… 偉達在澳門及世界各地得到很多獎項， 從日本到美國，累計超過一百項。日本大師 福田繁雄將偉達列入為亞洲區十大平面設計 師及世界前一百名平面設計師。 能在百萬人當中入選，真是一項成就！ 福田繁雄曾說：“馬偉達是平面設計行業 當中，其中一位最難能可貴、愛冒險又有趣 的設計師。他好像來自另一個世界。 他的設計讓人想起馬戲團夢幻的表現。” 他的作品，無論是為重要的演出、社論、 書目、郵票、唱片、海報 (重要節慶、 歌劇、活動) 等， 在任何出自他手的作品都 能感到他的傑出才華及創意能力， 其品質，優異性，品味和敏感性方面， 都顯露出成功的個人形象，他為眾多 的公共和私人機構提供的服務，更使他有幸 與澳門同時向全世界投放優秀的品質形象， 對世界而言，他的設計和澳門已合而為一， 偉達是一個十分忠心及有歸屬感的人， 他喜歡給予他靈感發審美眼光的根源。 可以罕見的徽章刻下他的座右銘是： “以設計回饋我的社會”。澳門真的值得為 他驕傲。

Victor Hugo dos Santos Marreiros was born in Macau and is a graphic designer and a set designer.

He is currently head of the Graphic Design Section of the Cultural Institute of the Government of the Macau SAR, artistic director of Review of Culture and artistic director of victor hugo design.

Artistic director of TDM (Teledifusão de Macau), 1984–8, founder of MARR Design in 1988 and of victor hugo design in 1990.

Founding member of the CAC (Círculo dos Amigos da Cultura de Macau) and member of the Macau Design Association.In October 1999, the Government of Macao awarded him the Medal of Professional Merit.

In December 2004, the Government of the Macau SAR conferred on him the Honorary Title of Valour.

Visiting professor at the Macau Polytechnic Institute (2001–3).

As artist and graphic designer, participated in exhibitions and cultural activities in Macau, Portugal, China, Hong Kong, Taiwan, Brazil, Sweden, Japan, Singapore, Malaysia, Poland, Germany, the Ukraine, the USA, Korea, Finland, the Philippines and the Czech Republic. 馬偉達出生於澳門，是一位平面設計師與 舞台設計師。 目前是澳門特別行政區政府文化局 平面設計處的主管、澳門文化局刊物 《文化雜誌》及 Victor Hugo Design 的藝術總監。 1984 至 1988 年於澳門廣播電視股份有 限公司任職藝術總監， 並分別於 1988 和 1990 年創立 MARR Design 與 Victor Hugo Design。 澳門文化之友協會的創會成員及澳門設計 師協會會員。 1999 年 10 月，澳門政府授予專業功績 勳章。 2004 年 12 月，獲澳門特別行政區授予 功績獎狀。 2001 至 2003 年，於澳門理工學院擔任 客席教授。 以藝術家及平面設計師的身份參與在澳 門、葡萄牙、中國、香港、台灣、巴西、 瑞典、日本、新加坡、馬來西亞、波蘭、 德國、烏克蘭、美國、韓國、芬蘭、菲律 賓及捷克共和國舉辦的展覽及文化活動。 EASTWEST EASTWEST 59 59