Author: Margarida Veríssimo
EN Version
A Perspective on the Future of Portuguese Handicrafts
Franclim Caetano is a Portuguese artist with a studio in Gouveia, Guarda, Portugal. On August 20, 2024, I sat down with him for an online interview and, over the course of a long conversation, we discussed a variety of topics.
Who is Franclim Caetano?
- Who is Mr. Franclim Caetano?
I’ve been a teacher in various fields for 43, 44 years. At the moment, I’m still active, working with associations that help kids with disabilities. I started teaching handicrafts, then visual and technological education, and ceramics to the third cycle. (…) In 2014, I decided to terminate my contract with the Ministry of Education and dedicated myself to ceramics full-time. I left the schools, but I’m still involved in the associations. I’ve taken part in several craft fairs nationwide and I hope to continue for many years to come.
- But how did you get into the world of fairs? For years, the main craft fairs you attended were in Gouveia, but you were born in Mazouco/Freixo de Espada à Cinta. Why Gouveia?
I taught for several years and met my wife in Foz Côa when I was working there. From there, I decided to move closer to Gouveia, where her parents lived, and that’s why I came here. That’s when I started working seriously selling ceramics. When the Gouveia City Council heard that I was making this type of piece, linked to pastoralism and mountain motifs, they wanted to see it and they liked it. They started buying pieces to give to ministers and secretaries of state. From then on, I began to see that this interested people and they invited me to the Gouveia Craft Fair, where it all began.
- How can you summarize your work? What about your famous nativity scene?
The pieces I sell most at the moment are nativity scenes, Saint Anthony and Christ. I make other types of decorative pieces, such as Bacos, as well as works related to pastoralism and agriculture. The nativity scene came about by chance, when I was invited to work live at the Santarém gastronomy fair. Thinking about what to do, I decided to create a nativity scene with mountain motifs. While I was working, I realized that people were enjoying it and quickly began to show an interest in buying. The nativity scene, made from a log, has become one of my best-known works, and I’m the only one who makes them that way. There are collectors who, when they see other nativity scenes, say that they already have one, but when they find the log nativity scene, they take it because they don’t have it.
- But is the nativity scene and the pieces with religious motifs the whole of your work?
I make other kinds of decorative pieces that have nothing to do with religion. For example, Bacos, which are pieces linked to wine, aren’t they? And other activities linked not only to pastoralism, but also to agriculture. I also make other kinds of pieces
Education
- What led you to leave the field of education and look into ceramics as a career?
For two reasons.
Firstly, because I should have been retired by the time I took that step. I was supposed to retire after 36 years’ service, but they started putting it off, and every time I asked for a simulation, I was eight years away from retirement. In the meantime, an announcement came out that we could terminate by mutual agreement. That’s what I did. And I think the extension of the retirement age was an injustice. So I decided to resign, knowing that I wouldn’t be stuck at home; I knew I’d be working in ceramics and going to the fairs.
- And secondly? The destruction of the handicraft curriculum?
Yes, that was one of the reasons that helped me leave teaching. I was teaching technology education, and the program was completely changed. The lessons were practical and the kids liked them. From then on, the syllabus changed; it felt like I was teaching a history lesson, and it was demotivating. Teaching in Portugal is worse than in Spain, where they still have a practical aspect. Here, it’s becoming more and more theoretical. You can see a difference; in recent years, kids have stopped knowing how to do manual things. They’ve turned to cell phones and computers, but what we see is that they only use them to play games.
- And yet there are still many who take up the career, aren’t there?
They have succeeded. I’ve found students of mine from a few years ago with excellent pieces. And kids who, at the time, I never thought would go into this area. I’ve found some who went on to study in Coimbra, at the Escola Superior de Artes, and other places.
- But, at the same time, there seems to be a loss of tradition?
There are a lot of people here in Portugal who talk a lot about tradition, and so they want to support traditions more and more. From the moment we started to have handicrafts, technological education, all the kids in the whole country have contact with various materials. So it’s a learning process that has nothing to do with passing down from parents to children Nowadays, you can make pottery anywhere in the country. In the past, it was only Barcelos, Caldas da Rainha, Estremoz and little else. In the past, there were specific places to work the pottery.
Portuguese handicrafts
- Why clay as an artistic expression?
Through the University of Aveiro and Minho, we had this theoretical component. … We worked with various materials. One of them was clay. And by the way, at the time, why did I go into ceramics? For a very simple reason: at the time, when I started this activity, I lived in an apartment in the city center, so I couldn’t make any noise, or I’d disturb the neighbors. So, as I also loved ceramics, I chose ceramics. Because, look, if I had to choose today, I would have chosen wrought iron. Where I live today, yes.
- And what do you think of the support for expanding Portuguese handicrafts around the world? Do you think there is a lack of support?
I don’t know, honestly. I know people who do international fairs and I think they have support, because otherwise they wouldn’t go so often either. In any case, it’s something I’ve never really looked into, because I don’t have a lot of time to spare either, for example. The fairs I used to do, the big ones, of 8 and 15 days, I stopped doing from the moment I got busy with the associations. I’ve already received a few invitations and, well, with invitations, maybe I’ll take part in international fairs in the future.
- And here in Portugal, do you support local crafts? Especially the Gouveia City Council?
It used to, under the previous council. Now they’ve stopped supporting it… in Gouveia the fair used to have 60 or so stands, and now we’re down to 3 or 4. You hardly see any handicrafts anymore. I think that was a choice made by those responsible for organizing the fair. There are still councils that support handicrafts well, like Vila Franca de Xira council. Other councils want to hold festivals and crafts, which they should support, are forgotten.
- But we seem to be seeing more and more craft fairs.
Every parish council holds a craft fair and people are disappointed. Collectors say they will stop coming to the fair. Fair organizers are going to rent stands at any price. Things have lost quality. In Oleiros and Vila Franca de Xira, there are still craft fairs.
- Has the focus changed? From time-intensive handicrafts to simpler pieces?
At the moment, a lot of people are selling pieces that they don’t even make themselves. Instead of supporting producers, they’re supporting intermediaries. If there are people who have good handicrafts, they have to wait 2 or 3 years for a stand. That shouldn’t happen, should it? But, anyway, it happens.
- And is there plagiarism? And what do you do in that situation?
Yes. Some colleagues try to copy. I’ve only been copied a couple of times for cribs that I made for magnets. I once saw a man who works in cork copying the same models. I sent him a very direct decision and asked him to stop.
That was the end of our interview.
Personal Conclusion
In Portugal, it is clear that there has been a transformation in the craft scene. In education, this traditional knowledge has been lost over time, while at fairs we can observe a dilution of the true essence of handicrafts. The expansion and accessibility of this sector, while providing opportunities, has also brought challenges, such as the proliferation of imitations and the sale of counterfeit products that claim to be handmade. This situation compromises the authenticity and profitability of the business, raising concerns about the future of handicrafts in the country.
It is essential that we pay attention to the real artisans and their stories, as this allows us to better understand these issues and value their work. By recognizing and supporting these professionals, we can contribute to preserving the cultural and craft heritage that Portugal has to offer.
To explore Franclim Caetano’s gallery, you might like to visit his Facebook page: Franclim Páscoa Caetano | Facebook
Cover Image: A clay piece from Franclim Caetano
