Manuel Dinis: “I had to have the courage to accept that art would be part of my future”

What advice would you give to someone considering studying at the School of Arts?

If you are thinking about applying here, it is because there is already something drawing you towards it, whether that is cinema, sound and image, or conservation and restoration. The main piece of advice I would give is to explore the course and its environment thoroughly before making a decision: look carefully at the full curriculum, visit the faculty, see the workshops and materials, and, if possible, speak to lecturers and students. Taking part in Open Days and other activities organised by the faculty is also very helpful in understanding the environment you will be joining. And for anyone who may be uncertain, as I once was, there is one thing I think is essential: perseverance. There were times when I felt completely lost and had no clear idea of what path to follow. But I kept searching, trying new things, and giving myself time. Eventually, things fell into place, and I found something I genuinely enjoy.

“When I looked at the Conservation and Restoration curriculum, I loved the fact that it combines an artistic dimension with a more scientific one”

How did you discover your interest in Conservation and Restoration?

First of all, I had to have the courage to recognise that I wanted to do something different and to accept that art would be part of my future. I started playing the guitar at the age of 13, and my dream was to become a musician. After finishing high school, I took a gap year. I worked in a bookshop that also had a bookbinding section, and it was there that I realised how much I enjoyed working with my hands.
When I looked at the Conservation and Restoration curriculum, I loved the fact that it was such a comprehensive course, combining an artistic dimension with a more scientific one, focused on understanding materials and learning how to restore them. It was this holistic approach to restoration that brought me here.

How would you assess your degree experience so far?

I have genuinely fallen in love with the field. It is a course that trains us in a wide range of areas, from art history and photography to practical subjects, sculpture and physical chemistry.
I have also discovered interests I did not expect. One module in particular fascinated me during my first year: inorganic materials, focusing on metals and stone - essentially the restoration of churches and monasteries. More recently, I have developed a strong interest in paper conservation as well.

Music continues to play an important role in your life - you are the guitarist in the band Nunca Mates o Mandarim. How did this project come about?

There are three of us — me, Campelo (the drummer) and Amorim (the vocalist) — and we already knew each other to some extent. I was eager to start playing again, and they were already exchanging ideas and songs between themselves. At a certain point, they realised they needed another person to contribute to the creative process and thought of me.
We met for a coffee and immediately realised we were all on the same wavelength. Nunca Mates o Mandarim was the name we chose; it is a reference to The Mandarin, the novel by Eça de Queirós. Our vocalist was heavily inspired by Eça when writing the lyrics and themes of the songs, and the expression itself appears in the final sentence of the book, almost as a moral lesson.

Who are your main artistic influences?

In literature, first and foremost, Gabriel García Márquez. He wrote one of my favourite books. In music, my influences include The Beatles, John Mayer, and, within Portuguese music, Jorge Palma and Rui Veloso, who inspire me greatly.
People do not usually associate painting with music, but there is a painter, Hieronymus Bosch, whom I feel influences my music, even if only subconsciously, through the worlds he creates in his work. His paintings are both magnificent and unsettling.

What do you want to express as a band at this stage of your artistic journey?

At the moment, for example, with the song we took to Festival da Canção, we were concerned with reflecting on what we experience and feel as young people and what we believe others may feel too. We wanted to talk about something that is not exactly freedom, but perhaps a certain form of emancipation for our generation. Personal and artistic emancipation are themes that guide us, as are the city and gentrification, which are also very present in João Amorim’s writing. Now we are moving towards new horizons and who knows what we will be talking about next?

“There is a balance that I find very rewarding. I may have played a major concert, but the next day I return to the classroom like any other student, to learn.”

Which live performance experiences have left the strongest impression on you, and what have you learned from them?

The concert at the Porto Book Fair stands out. It was different because we were not expecting it; when we arrived on stage, the venue was packed, and for the first time we felt a really strong connection with the audience.
We were performing at home, everyone seemed to be on the same wavelength as us, and the response to the songs was something that stayed with us. Playing at Primavera Sound was another incredible experience. It was the biggest stage we had ever performed on, and we never imagined doing that so early in our journey. More than the festival’s name itself, what stayed with me was the feeling of looking out and seeing so many people. Standing there and feeling that energy makes us want to keep performing. These opportunities give me experience, allow me to meet new people, and help me refine what I do. At every concert, I end up playing something slightly different and discovering more about my own sound. They have enriched my artistic journey enormously.

How do you balance your artistic life with your studies?

It is challenging, but it is possible. Despite the many demands, particularly in terms of time management, there is a balance that I find very rewarding.
Sometimes I arrive at university and my classmates say, “I saw you on television,” and moments later we are discussing different types of wood. I may have played a major concert the night before, but then I return to the classroom like any other student, learning things I do not yet know. I really enjoy that contrast because it helps me maintain a sense of routine and also a degree of humility.

You are also a member of the Tuna of Universidade Católica Portuguesa– Porto.

Yes. Being part of the Tuna has given me a new enthusiasm for university life beyond classes and has created a strong sense of belonging within the academic community. Although it is another commitment to balance, it is also extremely rewarding.

What are your plans for the future?

At the moment, my goal is to complete my degree and continue on to the Master’s in Conservation and Restoration of Cultural Heritage here at Católica. At the same time, I want to continue developing the band’s journey and discover, step by step, how these two areas can grow together. Although music is my true vocation, making a living exclusively from it is a difficult and unpredictable path. I like the idea of having a professional field that I also identify with and can realistically imagine combining with music in the future.