“The skin protects us. She informs us about the heat and the cold, she guides us through reality. It is our limit, our exterior and our interior, the inside and outside of us. It makes us feel as if we are dealing with a continent.
When we touch, we are also touched, so it allows us to hope for the touch of the other and to perceive the other we touch. The skin is what surrounds me. My identity. The screen, where I communicate time. My time… the time when I would like to cross your time.”
Fernando Ferreira, was born in Guinea-Bissau, but at the age of five he moves with his family to Cape Verde.
His father, a mornas singer, influences the way he hears and feels the music. But it was not only with the influences of morna, tabanca, coladeira or lundum that it grew.
Brazilian music also entered your life during adolescence at the hands of your sisters. The great composers and performers Caetano, Djavan, Gil, João Gilberto and others became part of their range of musical influences. With his mother he discovers the nostalgia for fado and song.
In a school environment, during high school, he forms, together with some colleagues, the group “O Bando” that allows him to access the music of José Afonso, Fausto, Sérgio Godinho, José Mário Branco, among others, as well as the entire estate of traditional music that resulted from the research of Giacometti and Lopes-Graça, among others.
A multi-faceted artist enters the world of theater working with different personalities from Talma’s art. Filipe la Féria, Juan Font (Els Comediants), Guilherme Filipe, Fernando Gomes among others, going through different genres, from musical to drama. He made television participating in series, and also cinema, in films such as “O Ralo” by Tiago Guedes and Frederico Serra or “O Herói” by Zezé Gamboa awarded at the Sundance festival.
It is in the context of countless experiences and influences that he tests for the School of Music at the National Conservatory where he will be tutored, in singing, by Professor Maria Cristina de Castro.
In 2010, he fulfills his dream and edits his first album “Mestiço”, an author’s edition with influences on Lusophony.
“Mantenhas”, insists on treading this Lusophone identity that stubbornly structures the look, hearing and feeling of this artist. Fernando Ferreira no longer intends to guess tomorrows, so he insists on valuing more and more what are the results of his many yesterdays.
