"I didn't know anything about the Azores, I thought it was merely a farming community. The exhibit has changed my perceptions of the Azores,'' says artist Helen Daniel in response to the Bermuda National Gallery's latest exhibit "A Window on the Azores''.

In response to Bermuda's perceptions, local businessman Robert Pires says: "We perceive the Portuguese as a people without money or education, essentially as a people lacking sophistication. It is true that if our families had been affluent they would not have emigrated. A sad fact of the immigrant process however is an almost forced assimilation.

"This has resulted in a reticence among the Portuguese to be identified as such. As a result the rich tradition of the arts in the Azores has not been carried on in Bermuda.'' Mr. Pires, who was involved in fund raising for this exhibit found "In approaching the older generations, although a few gave substantially, more money came from my generation. The older generation still tends to disassociate themselves from that culture. Yet there is now an upper class of Portuguese professionals who feel the loss and are keen to discover this culture and its rich artistic roots''.

Judith Simpson, a gallery volunteer, learned through the exhibit. "There is this sense that the Portuguese are labourers who came to Bermuda as an economic opportunity. In fact, I learned that Governor Reid invited the Portuguese in an effort to enhance Bermuda's agriculture reputation. They were also instrumental in Bermuda's onion export trade. Through the exhibit I see the Portuguese in a different light''.

Benjamin Rego Sr., a longtime supporter of the National Gallery says, "From my experience, there has been expressed a desire to know more about Portuguese culture and through the current show at the National Gallery a great insight has been provided''.

In response to the need of an educational package to accompany the exhibit, a mix of different cultures, races and backgrounds came forward. The fact that a broad spectrum of the community was involved suggests an interest in the Portuguese and their value to this community.

"The educational programme promotes pride in one's cultural heritage,'' says Marlee Robinson, "and could be applicable to anyone.'' If anything the exhibit has made the Portuguese community more visible.

Ayo Johnson, a poet and volunteer/docent of the National Gallery says: "In Bermuda there is the habit of making certain people invisible, as with the Portuguese community. Anyone who sees the show will not look at the Portuguese in the same way. The exhibit and the overwhelming community response to it is moving.'' Penny Fowkes Sousa, who did translation for the gallery cautions: "The exhibit alone will not raise the consciousness, but it is a good start.

Almost everywhere I go I overhear people talking about the exhibit. There are also plans for Bermudian artists to exhibit over there and one young artist expressed the opinion that it won't be Bermuda cottages, but contemporary work, a response to quality with quality. The end result is the Portuguese won't be so one dimensional, or I hope that is the result''.

The exhibit continues at the Bermuda National Gallery until January, 2000. In its first two weeks the exhibit has attracted over 1,600 visitors.