Abstract
In 1975, my parents-in-law met in Lourenço Marques (Maputo, Mozambique). The period preceding their engagement was marked by profoundly contrasting experiences. Because of his political activities against the Estado Novo dictatorship, he was conscripted into the Portuguese Commandos and participated in the conflict that unfolded in northern Mozambique. Conversely, she travelled from the Portuguese metropolis to Lourenço Marques as a child (following her grandfather’s promotion in public service), and had a happy childhood and adolescence, as documented in a collection of Super 8 films that were entrusted to me. How to reconcile such opposite experiences? And how to honour a legacy of images that do not cease to question me in the critical present? This photo-text essay focuses on a set of images that go beyond the commonly accepted depictions of Portuguese colonialism to problematize issues of resistance, indifference and complicity, showing how private and seemingly insignificant visual materials take part in collective forms of enunciation. It stresses the importance of landscape in conveying unassimilable and traumatic aspects of Portugal’s problematic history, examining how different discourses and imaginal references about war and colonialism reflect various perspectives, experiences and sensibilities, which may or may not align with each other. Ultimately, by drawing on an experimental, self-reflexive and visual approach to history, the essay encourages readers to actively engage in shaping alternative public memories, capable of encompassing the intricacies and diverse facets of history’s manifold manifestations.
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