Stories of Cabeceiras

Cabeceiras chose beans for the Minho Gastronomic Reference. The description connects kale and yellow beans, also called miller, to the fireplace kitchen. At the fullest meals, the cooking water of pork and sausages enriched the dish. The Museum also retains a family version collected in February 2010: Maria da Conceição Gonçalves Mouta, a native of Cavez and resident in Pedraça, had learned the dish from her grandmother. In this preparation, the cabbages and potatoes used the cooking water of beans and meat; the olive oil was added to the table.

In March 2011, Maria da Conceição recalls the bread cooked every eight days. A portion of the previous mass was in a bowl, with a little salt inside the wooden mass. On the eve of the new batch, warm water and flour were added. The testimony of Recovos, Pedraça, also describes an adaptation: when it started cooking less often, the yeast purchased in the bakery was used.

This change has a family history. Maria da Conceição was a native of Cavez and had learned from her grandmother to make cornbread. When she was interviewed, at the age of 69, she also made mix bread. The collection does not present an immobile tradition: it shows learning, choices and a routine that adapts.

The cooking schedule was also extended to the community. In the testimony of 2011, the batches are associated with the festivals of the year, the longing for homemade bread, the feast of Santa Marinha and the Christmas and defoliated initiatives of the Association D. Nuno Álvares, of Pedraça. Saving pasta for the following week made sense in a weekly routine; cooking only from time to time put other needs. These are remembered uses in this collection, not a current party program.

Chestnuts in April and May? In the memory of Maria da Conceição Gonçalves Mouta, they were dried chestnuts that arrived at the table during the cultivation and sowing of corn. The broth, with beans, cabbage and potatoes, closed the first meal, by nine or nine and a half in the morning, after fried cod with bread.

The testimony was collected by Maria de Fátima Carvalho in February 2011, in Pedraça. Maria da Conceição had learned the preparation with her mother-in-law. The chestnuts were previously dried and aired; the baked potato was crushed and returned to the pot. Conservation, texture and working hours are found in this family memory.

Here there are two calendars: that of the fruit and that of the meal. The dried chestnut kept allowed to bring to the spring table a food associated with the harvest of another season. The memory does not only describe ingredients: it explains how the reserves of the house accompanied the time of tilling and sowing. The time of the “lunch” also surprises those who today use this word for the midday meal.

It is a story with voice and place, not a rule for all the houses of Cabeceiras. When talking about a family recipe, it is worth keeping these differences: who taught it, when it was prepared and what changed between the fireplace and the stove. Thus, a list of ingredients becomes a small history of work, learning and domestic life.

Orilheira, gruelos and potatoes composed the carnival meal remembered by Maria da Conceição in February 2011. It is a documented family memory, not a menu available all year round. Potatoes and grells cooked in the water of the meat; the earpiece returned to the container at the end, before serving with olive oil.

The collection allows us to follow the passage between generations: Maria da Conceição was born in Cavez and lived in Recovos, Pedraça; she had learned this dish from her grandmother. In 2011, the gas stove and stainless steel pots were already part of her kitchen, while the fireplace was present on special occasions. The testimony shows a tradition that coexists with changes in utensils.

In the January collection of 2011, Maria da Conceição Gonçalves Mouta recalls beans, grelos, pork and cornmeal. It is a cooking memory transmitted by the grandmother of Cavez and registered in Recovos, Pedraça. The flour entered close to the end of the cooking, moved continuously to undo the clumps. This gesture helped to body the broth.

The testimony also notes a change in the utensils: the gas stove and the stainless steel pans had entered the everyday, while the fireplace and the three-legged pot remained present in the conoada. The memory does not describe a kitchen stopped in time. In 2011, the informant said to prepare this broth rarely, distinguishing the custom remembered from the frequency of that moment.

Compare this dish with the cabbages with migas from the same informant: the broth receives cornmeal, while the cabbages receive pieces of bread after runoff. One collection is associated with January and February; the other value the tender cabbages of April and May. The cereal connects the dishes, but the gesture and the season distinguish us.

Maria da Conceição added broa, beans and sausage to the cabbages. The collection of February 2011 associates the dish to April and May. It is a family testimony, distinct from the cabbages with beans. After the preparation, the broa, garlic and olive oil were added together in an alguidar. The same container went to the table.

The dish accompanies the calendar of the garden: in the memory of Maria da Conceição, April and May brought new and tender cabbages. The recipe also holds gestures — thin cutting, running, involving — and an object of service, the alguidar. Ingredients, time and utensils count different parts of the same memory.

In a testimony collected in February, 2011 by Maria de Fátima Carvalho, Maria da Conceição Gonçalves Mouta recalls a winter meal made with bread, green wine and sugar. It was preferred the bread out of the oven; on other occasions, a slice was heated in the coals. It is a familiar memory published by the Museum of Lands of Basto.

The occasion is part of the story as well as the ingredients: the collection situated the lunch in the middle of the afternoon and associated it with the winter. The bread connected the meal to the rhythm of the oven or the use of embers. The learning came from the grandmother of Cavez; the report was recorded with the granddaughter resident in Recovos, showing a family transmission between places.

In 2011, Maria da Conceição Gonçalves Mouta already cooked in gas stove and stainless steel pans. However, the whole meal returned to the fireplace and to the three-legged pots.

The collection in Recovos, Pedraça, also notes that it sometimes resumed this way of cooking outside Christmas. The old utensil continued to take place in a kitchen that had changed. It is a family memory, not a custom attributed to all the houses of the municipality.

In the crops remembered by Maria da Conceição, the first meal was called lunch and arrived at nine or nine and a half. Fried cod was served with bread, followed by chestnuts broth.

The testimony associates this rhythm to April and May, when tilling and sowing corn. The words of the meals also guard ways of organizing the work. It is the memory collected in this family, not a general time of the municipality.

In this case, the learning of broth came from the mother-in-law, born in Pedraça. The testimony thus distinguishes different people in the transmission of the recipes. The preparation used dried chestnuts, approaching an autumn harvest of spring labor from the fields. The meal recalled gathered preserved food, bread and a concrete agricultural task: to till and sow corn.

In the recipe collected in March 2011 by the Museum of Lands of Basto, Maria da Conceição Gonçalves Mouta, resident in Recovos, Pedraça, combined white rye, dark rye and wheat. The testimony distinguishes the cornbread learned with the grandmother from the mixture bread that she later made. Tradition also changes inside a kitchen. In the same collection, he says that he no longer cooked weekly: he made bread for the parties and when he missed the homemade bread. I also prepared him for Santa Marinha and for Christmas and the defoliation of Association D. Nuno Álvares, Pedraça. The bread connected the kitchen to the community meetings.

The rhythm of the batches also changed the yeast. When it was cooked frequently, the dough of the previous batch was kept; in the preparation described in 2011, the informant resorted to baking leaven prepared on the eve. The change of the ingredients accompanies a change of calendar, between the weekly bread and the bread of the meetings.

In the March collection of 2011 in Recovos, Pedraça, Maria da Conceição described several signs: the mass rested and increased in volume; the whitish interior of the oven indicated enough heat for the batch. It then served the dough in a basin, giving it a rounded shape. The testimony shows a knowledge made of gestures and observation, learned in a kitchen and registered by the Museum. It does not establish a universal rule for all ovens or masses.

There is a sequence between these signals. First, the rest allows us to observe the change of mass; then the oven is prepared and the breads are formed. The record adds attention to the time, volume and color of the inside of the oven. Knowing how to cook included relating these observations, besides knowing the ingredients.

In the collections of the Museum, Maria da Conceição Gonçalves Mouta, a native of Cavez and resident in Recovos, Pedraça, identifies who transmitted the dishes. The cabbages with migas came from the grandmother, from Cavez; the broth of chestnuts, from the mother-in-law, from Pedraça. Maria de Fátima Carvalho recorded these testimonies in February 2011. Names help to realize that this memory belongs to a concrete family experience.

In Pedraça, Maria da Conceição Mouta recalled a cake made with the bread's own dough. She took small sardines or chorizo and entered the oven before the breads.

The collection of 2011, published by the Museum in 2015, links the name of the cake to the organization of the batch. The recipe holds gestures of a traditional oven, to know together with the history of bread.

A dessert of bread for Christmas and New Year, with honey, dried fruits and Port.

Fatima Magalhães collected this version in 2011 from Maria da Conceição Gonçalves Mouta, born in Cavez and residing in Pedraça. The Museum published it in 2016.

The preparation sequence gives the bread a leading role: it enters small pieces, after the dried fruit, and thickens the prepared as it moves. The lemon peel and cinnamon stick join the water and honey at the beginning; the cinnamon powder finishes the sweet in the dish.

This version keeps measurements of different natures: liters, a cup and quantities left to the taste of the cooker. The record keeps that difference. The collection does not provide portions or weights for all ingredients, so the recipe was not converted into an invented precision formula.

Pedraça and Abadim are referred to by the municipality by the weaving of flax. Fabrics take handmade work into the house and to the memory of families.

On 6 July 2024, the Soutinho field, in Pedraça, received an activity of the Lining Cycle: manual plucked from the Galician linen, ripped and wet. The municipal news records the collaboration of the Junta, ANAP and Cultilinho — Fátima Mota. It is an example of sharing this knowledge, not an announcement of future activities.

Before reaching the loom, the plant passes through several hands and operations. The municipal explanation of the cycle distinguishes the removal of the baghan, the passage through the water, the drying and the work that prepares the fiber. The spade and the seireiro help in this transformation. Only then do the spinning: a cloth begins long before there is a thread.

The inventory of the Museum distinguishes two pieces of zinc foil: the cantaro L 16, Pedraça, 12, and the cantara L 62, Devesa, Basto, with seven. Both measured and transported wine.

The capabilities belong to these objects, not to a universal measure. Comparing them shows why the name of a container is not enough to know how much it takes.

The dimensions add a surprise: the 12 liter cantaro is 46 cm high and 16,7 in diameter; the seven-litre cantara is lower, with 34,5 cm, but it is 23,3 in diameter. A larger width does not in itself mean more capacity.

The inventory associates the first piece to Fátima Magalhães, from Pedraça, and the second to Álvaro Magalhães, from Devesa. They are registered owners, not an attribution of authorship. These names help connect the objects to the people who kept them.

A bowl of seeds can be the beginning of an activity. In the catalogue Inexhaustible Land, Teresa Soeiro tells that Fátima Mota, from Pedraça, learned from the weaver Amelia Alves de Moura. After participating in a pullout, received from it flaxseed. He took it to the father, farmer, who sowed it; the seed harvest allowed to increase the cultivated area the following year. Thus obtained raw material to trust and weave autonomously.

This story brings together three contributions: the teaching of the weaver, the father's agricultural work and the practice of Fatima Mota. The fabric begins long before the loom, in the connection between cultivation and learning.

The same catalogue shows the flax grown and woven by Fátima Mota applied to experimental footwear. Tradition thus enters another conversation: how to use an old material and knowledge in a new object? The reference documents this experience; it is not a catalogue of products currently on sale.

The catalogue Terra Inexhaustible features shoes with flax grown and woven by Fátima Mota, in Pedraça, and others with wool of Bucos, woven by Maria Jorge under the guidance of Helena Cardoso. It is a contemporary application of traditional knowledge. The publication documents these pieces; it does not confirm their sale or a currently visitable exhibition.

The Almude L023, associated with the Casa de Passo de Vides, in Pedraça, served to transport and measure wine. The plug of 2015 gives it 28 liters and describes zinc plate painted brown, with paint to peel; the original color was blue. The capacity belongs to this invented piece, not to all almudes. Even a layer of paint helps to tell the life of an object.

The record indicates 55 cm tall and 28 in diameter and identifies Jacqueline Vilela Passos as owner. External measurement, capacity and property are distinct information: joints make the description more useful than the name of the object alone.

The brown painting and the traces of blue also show that a piece may have been transformed throughout use. The inventory does not give the date of repainting. The observation of the ink allows to count a change, but does not reconstruct all the episodes of the almude's life.

In Pedraça, the survey of 2008 related two equipments of Souto do Rego. The old mill received water from Levada das Águas Santas; the factory that replaced it had four presses and electric motorization.

The fact sheet placed the decommissioning of the factory in the 1990 decade. It is two moments of olive processing, documented in private properties, without confirmation of current public access.

The municipal presentation recovers this ancient form of the name. It is a small window on medieval documents: the land we know today may appear otherwise written in the sources. The reference allows to situate Pedraça in the registry of 1258, without transforming this date at the beginning of the settlement.

Pedraços and Pedraça are two forms that are worth putting side by side. A written name is also a clue to look for documents: if we search only the current spelling, we can let old references slip away. The municipal presentation provides this variant, but it does not explain here when or why the spelling changed.

The same care applies to the names of the houses. In Casa do Paço, the municipal presentation draws attention to the toponymy. The name can open an investigation; alone, it does not identify a construction date or the function that a building had in all times.

The parish memory describes the matrix dedicated to Santa Marinha and states that the rector was presented by the rector of the College of São Jerónimo de Coimbra. This historical link shows how a small parish was part of relations that surpassed the lands of Basto.

The same transcript places Pedraça at the end of Cabeceiras de Basto and in the district of Guimarães. It records 96 fires and 322 souls of communion, in addition to a congruity of 50 thousand réis for the rector. They are categories of the document: fires are not people, and souls of communion do not automatically equal the total inhabitants.

The numbers and connection to Coimbra show two plans of parish life: the community described and the organization that framed his parish priest. The municipal version identifies the transcription of José Viriato Chapel, published in 2003, from the Memórias of 1758.

The municipal page also distinguishes the account from the references that accompany it: it refers to the memory 296 of the volume 42 and lists an obligation to the Santa Bárbara hermitage factory, of 1624, and another linked to the Blessed Sacrament, of 1722. They are archive clues. The existence of these references does not mean that the full text of the two documents is reproduced on the page, nor transforms 1624 on a date of construction of the chapel.

The history of Pedraça is also read in the houses. The municipal presentation highlights Casa do Paço, Casa de Parada and the houses of the Baron of Basto and Paço de Vila. For Parada, it uses the expression Brazilian taste; for Casa do Paço, it draws attention to the name of the place. They are different clues: one points to architecture, another to the toponymy.

These houses are part of a parish that the Municipality describes as fertile and abundant in water, linked to agriculture and the cultivation of flax. Approaching the housing of the work landscape helps to look at the heritage beyond religious buildings.

The municipal description does not provide construction dates for this set nor identifies those responsible for each work. Nor does the reference to Brazilian taste enough to reconstruct the biography of a owner. The houses are here starting points to know the parish; their inclusion does not presuppose public access.

The Municipality presents as a tradition the narrative of a pickpocket next to the Casa de Pedraça, associated with D. Nuno Álvares Pereira, and the nuptials passed there after the wedding with D. Leonor de Alvim. It is a memory linked to the place; the formulation of the source itself does not transform it into a demonstrated event. Distinguishing the two plans helps to know history without erasing the local imaginary.