Interview with Tatiana Mendes from UMAR about her presence at Novid Sad 2022

1. Can you explain what UMAR is, to those who don’t know it yet?

Tatiana Mendes: UMAR – União de Mulheres Alternativa e Responsta (Union of Women Alternative and Response) arises from the need felt by women to fight for their rights in the political-social context that emerged with the Portuguese revolution of April 25, 1974, in a Portugal just out of the dictatorship and with a lot to do. It was formally constituted as an association on September 12, 1976, being, until 1989, called the Union of Anti-Fascist and Revolutionary Women (it almost seems current, doesn’t it?!).

UMAR Braga was created in 2008 by a group of young feminist university students. In a deeply conservative region but also known for its youth, this center appears with the aim of creating spaces for feminist reflection and action. Since then, it has been developing unprecedented activities in several areas and at many levels, which have resulted in recognition of our work.

2. How did UMAR fit into the REWOMEN project in Novi Sad 2022?

T.M: The invitation comes from the contact of Bojan Milosavljević, coordinator of international projects of the foundation Novi Sad 2022, European Capital of Culture, to Braga’27 and who, in turn, suggested that UMAR Braga, as his partner in the bid for European Capital of Culture in 2027, to be part of one of the panels of the international conference.

This conference stems from an international project included in a wider program – “Heroines”, dedicated to the historical, cultural, and artistic heritage of women, usually hidden and/or unknown. This greatly influenced my acceptance of representing UMAR/UMAR Braga, in addition to being able to see and listen to more about a movement of which we are a part but also about the evolution of this movement in southeastern Europe.

I participated in a panel on “Women and work today”, in which contributions emerged that proved to be very interesting, as they addressed different forms of work, formal and informal, the lack of work opportunities, the difficulties in accessing work, precariousness (the specific case of minijobs in Germany) and its impacts, particularly at the social, economic and even mental health levels.

At this table, I discussed reproductive work and, as an introduction, I read excerpts from the text “As tarefas” (The tasks) from the “Novas Cartas Portuguesas” (New Portuguese Letters) by the authors Maria Isabel Barreno, Maria Velho da Costa and Maria Teresa Horta. From the text, we saw how the social and cultural construction of gender, throughout our history, has been assigning different roles and spaces to women and men, with a disadvantage for the former, and they are still responsible today and to a large extent domestic sphere and care.

We conclude, therefore, that the early deconstruction of stereotypes and gender roles is fundamental to eliminating this and other inequalities, having presented the important work of primary prevention of violence that UMAR does through the ART’THEMIS+ project.

Furthermore, I had the opportunity to talk with other European colleagues about feminism and their experiences and realities; participate in other roundtables on support for women victims, the importance of gender studies; see exhibitions of feminist art and a documentary about the abolition of abortion and contraception in Romania, in 1967, under the Ceaucescu regime (which I recommend, albeit warning against the viewing of cruel facts).

3. What do you think should be the role of culture in the struggle for women’s rights?

T.M: It’s intrinsic! The struggle for women’s rights necessarily involves social, structural, and cultural changes. Gender inequalities and violence permeate our culture, our ideas, and ways of thinking and behaving. On the other hand, it is from the culture that we can also reflect on them and transform them. Culture may in fact be the key to the revolution.

4. How does the UMAR Braga group use art as an intervention tool?

T.M: UMAR Braga has benefited from the active participation of elements from different areas of knowledge, origins, and interests. Hence, in its history of activities, in which art emerges as an important tool of communication and intervention, it has the organization of performative street actions, exhibitions, film cycles, campaigns, artistic expression workshops, and even the use of tools such as the Theater of the Oppressed. And the arts are very powerful in communication since their language reaches us through sensitive channels.

5. How do you see the current situation of women’s rights in Europe?

T.M: To be sincere, I feel apprehensive! Knowing in advance that, despite the achievements made, there is still much to be done while inequality and gender violence exist. Above all: we cannot take anything for granted. The pandemic was demonstrative of this, at different levels and all over the world!

We see some setbacks with regard to sexual and reproductive rights in Europe and the United States, some European countries wanting to go back on the commitment they made with the Istanbul Convention and therefore in the fight against gender violence, a conservatism and a moral that even get involved in the movement itself. At the same time, we see the growth of an extreme right that is very dangerous for women and other social groups!

6. If Braga is the city recommended to be the European Capital of Culture in 2027, what impact would you like the title to have?

T.M: Above all because of the possibility and the process… For the appreciation of what we have, for the present and future enjoyment of culture in Braga.

Photo by Vladimir Mucibabic