Deep inside the Iberian Peninsula lay the great plains of Extremadura, a region with tight connections to the Portuguese Alentejo. Besides the land border – now virtually nonexistent due to the Schengen Area – there are deep cultural bounds that go way back to the time of Roman occupation, when the province of Lusitania was formed.
The walled city of Cáceres is a UNESCO world heritage site, with much cultural and historical overlapping between Moorish and Roman urban design and Gothic and Renaissance architecture. Most paths are an intertwining of small squares between wealthy manors and churches, in the way of the fora in Rome. Even the private outdoor space is fashioned in such manner. The two patios featured in the 15th century Palacio de Carvajal are connected by a small passage and, while one of them is a place of meeting where all compartments of the palace converge, the other is a place of reflection and meditation, a cool breeze in a dry desert
Even the Plaza Mayor has a hierarchy of different public squares, some more exposed, some more secluded, some are noisier, some are quieter. And the space beneath the dozens of parasols in front of the coffee has a different atmosphere still. The only place bearable under the Iberian sun is the shade, where the view between the tables and chairs and the thick canvas was minimal.
A friend of mine has the theory that the region could benefit if Mértola, Marvão, Cáceres and Elvas joined efforts, because between them they share traces of the most important heritages of the Peninsula: the Roman, the Moorish, the Medieval, the Renaissance and the Baroque periods.
Late at night, back in Elvas, Mor Karbasi, a Sevilla-based israeli singer seemed to tie this theory together. She was singing in spanish, portuguese, hebrew and ladino, the jewish language of the Peninsula.