First up, he's in the city of La Coruna, where he examines the Celtic roots of the
Galician people, and even attempts to master the bagpipes, before meeting walkers on the pilgrims' trail to Santiago de Compostela.
Humor was included because it was one of the essential features of the Galician voice (in contrast to the declamatory tone of Castilian) and proof of the intellectual capacity of the
Galician people. Humor was used as a criterion for distinguishing Galician from Castilian and was thus a legitimizing factor for contemporary literary discourse connecting it with the Middle Ages, the golden age of Galician civilization.
The Bravu artists proposed a journey into the hinterland, to the heart of rural life, even though rurality had actually fed the inferiority complex of the
Galician people and contributed to their suppression and to a social stigma inherited from centuries of symbolic oppression inflicted by the Spanish state.
But above all, Sempre en Galiza is a meticulous analysis of the causes and the consequences of having suffered for years under the power and control of a government, Spain, that ignored the needs of the
Galician people.
His total project is the walled precinct of the monastery, the principal edifice of which is the independently realised Museum of the
Galician People. At the time of writing, minimal interventions to the enclosed cemetery and gardens (portals, paved thresholds, geometric planting) are almost complete with a site on the farthest hill awaiting a second Siza design.
At the performance a significant text was released in which it was affirmed that "one of the greatest forms of propaganda that we can use to extend the redemptive ideal of the
Galician people and emphasize their racial personality is theatre" ("unha das mais grandes formas de propaganda que podemos utilizar para espallar o ideal redentor do pobo galego e afincar a propia personalidade racial, e o teatro" [pamphlet, n.p.; unless indicated otherwise, all translations are by Wiersma]).