16 Researchers in the area of study of art, history, anthropology and tourism, psychology, geophysical and culture studies focusing on artistic and literary discourse, coordinated by Ana Salgueiro, intend to answer the question which "(No) memory of disaster? Culture and natural hazards, disasters and resilience, Madeira, a case study "until 2014.
What led to this study?
Ana Salgueiro: Above all the fact that research does not have to be radically away from what are the problems of everyday life. When I talk about a study I am referring to the areas of social sciences, arts and humanities, because people make the mistake of considering that this kind of research that is carried develops a superficial knowledge, not applicable, not profitable, as in the case of economics and finance. What these people forget is that there is the creation of knowledge that can effectively give good results even from a financial standpoint, because it prevents spending. On the other hand, this project is structured in three lines of action, one for scientific research itself, another directed toward art projects and a third that includes the development of initiatives in schools. It is an attempt, through these projects, to create a more resilient culture, more appropriate attitudes that motivate these communities all together. There is another purpose which is to consider that art in parallel with scientific research can also be a powerful contribution in finding answers to natural disasters, as is the case in particular of Madeira.
What this study focuses specifically? Since there are many issues to address in this area of natural disasters and an interdisciplinary team was created for this purpose.
AS: Exactly this is one of such problems which we will have to confront. This is a project and you said it well is multidisciplinary and transdisciplinary as possible. The methodology adapted is not equal for everyone, i.e. not require that all work the same way, it is according to our areas of research methodology and the studies will be different. What we try to do is a study of the memory of natural disasters in Madeira, essentially a cultural memory, built across multiple instruments, artistic and non-artistic binomials, which over time are being built by people and also by visitors. We have for example, a colleague who will work the discourse representation of the island in the German language, travel narratives, but also possibly some things that has to do with tourist propagation. Therefore, our work will look at the phenomena of cultural objects and see how the memory of these events was crystallized and were being recreated or deleted over time.
One of the aspects of the study is the art. How do you find these type responses in art?
AS: It exists. I had the opportunity to do an analysis and study of "art of open door" which is precisely a project born in 2010, the year of the disaster of 20th of February, but for what he could research it does not rises or begin to take shape with the catastrophe, but ultimately gain greater momentum due to the destruction that area suffered at the time. Thus, all phenomena and artistic objects integrated in this project had times when there was this integration of the natural disasters in Madeira. Notably, one of the ports where there was some reflection on the phenomena of alluvium, or at least can be read like that, the installation of 2012 addressed some fires that ravaged the island last summer.
Over the centuries Madeira had always floods that destroyed possessions and killed people and animals, all you have to do is just check some of the historical documents, or even the books "dictionary the islands of Madeira" and "Zarco island".
AS: This remark is very relevant, but we make the difference between what are histography and memory studies. We have historians working with us, they are developing an investigation into precisely the memory and not the history, because the last often relegates to the background, or completely ignores, features narratives of the disaster events in this case, to who wants to know these phenomena. So let's not focus on the analysis of documents, reports, narratives of disasters that were written in an official way, but we will cover the discourse that remained in the shade and that maybe are interesting from the standpoint of scientific analysis and may provide answers to some of the problems that local populations and civil protection faced. How to respond to disaster? In studying these memories we will seek to problems that triggered these disasters, memory responses that were given over time to such events.
Where do you find these answers?
AS: For example, hence the importance of artistic phenomena, travel accounts and works of art. We have tried to address these narratives and from our work preparing a chronology of periods of disaster in Madeira and we also see the extent to which cultural production more or less official, left some mark or written document somewhere on these events. And if you notice the title of the study appears the word nomemory, the silence, the lack of narrative is also under study.
You also spoke of the psychological point of view. This type of memory is important in people who were somehow victims of these disasters. How you address this more painful aspect?
AS: We have three professionals in the area of psychology. It's a question that, in addition to memory, you can do some exercise to reflect on some of the biological and psychological mechanisms that underlie this process of remembering or remember and this is our concern too, because for people like me who have no training in this area, felt the need to know how things work, on the therapeutic point of view what can be done or not, because we work with children and young people which is our third line of action. If we try to do this we should work solidly accompanied by researchers in this area that may indicate what appropriate paths to follow.
Already have some data that you can advance?
AS: The project is starting right now. There is a preparatory work that only now is beginning, because researchers who are involved in this project are not dedicated solely to the study, since they do not receive any salary or compensation. They develop it in parallel with their work and we are only now beginning to produce some of the work that is needed. Four events are planned for the dissemination of results. Two conferences at regional level in February 2013 and next year, at February 20th, 2014 and an international colloquium on 9th of October this year and 9 October 2014 on the very day on which we commemorate the flood of 1803 and it was not by chance the choosing of these dates where we can get to know some of the results.
This is a pioneering study at the regional level, but in national terms can we say the same?
AS: I just started working in this area in 2012, is new to me. I am aware of other related studies, but not identical, because there circumscribe a particular case, Madeira. But somehow are look alike, although with their specificities. By the end of last year the study center and promotion of culture had one on the same topic, our project is the heir of this study, which was based on the representation of natural disasters not only and exclusively emotional, but also located in the cultural spaces and had as core a reflection on such events. And I am aware of another project, also developed by the institute of geography and regional planning from the University of Lisbon, completely different from ours, where one of the objects of study turns out to be natural hazards. Its aim is to analyze the level of periodical publications nationwide, including the islands, is a kind of history or chronology of disasters, because they consider that this information could be critical to characterize the most vulnerable areas for the occurrence of such events.
After all this survey and study, how this can actually be a tool to aid and protect civilian populations?
AS: I think it will depend on many factors. Before everything will depend on our ability to motivate the communities and their reaction, their willingness to hear what we have to say. I think it is precisely through art and prevention in school that some of this information may pass along. On the other hand, would be one of our goals, but not up to us but to the structures at the regional level that are responsible for the situation of risks and emergencies, we will provide as much information possible to these institutions and some have already approached us accordingly. If they want to disseminate such data in the performance of their duties through their emergency plans, they have all legitimacy to do so.
