Small traditional “quinta” across Portugal commonly have a rabbit hatch to supply a meat treat for the family. This guarantees high quality home-bred rabbit meat which features in a number of traditional dishes. The most famous, “cabidela”, being a wet risotto to which rabbit blood mixed with vinegar is added towards the end of the cooking. This achieves an extremely rich, nutritious and contorting one pot meal.
This recipe is a basic rabbit stew with a flavour twist provided by the sweet and complex aroma of dried figs. Rabbit has a relatively subtle flavour and the figs here add a layer of fruitiness which makes for a unique combination. As with all good stews, any left overs should be deboned and make it into small home made pies (empadas)!
1 Cup of dry white wine
12 Dried figs
1 cup of cubed pancetta
1 Onion (cut in thin slices)
1 Bouquet garni
2 Cloves of garlic (minced)
2 Tbsp olive oil
Salt and pepper
1. Rinse the figs and soak in cold water for 10 minutes.
2. Joint the rabbit (or ask your butcher to do it) into individual portions (legs, thighs, chunks of saddle), lightly season with sea salt and pepper and set aside.
3. In a casserole or oven proof deep pan, fry the finely chopped onion until translucent then add the pancetta. Cook until fat from the pancetta is rendered and add garlic. Cook for another couple of minutes and then add the rabbit. With a wooden spoon mix so that all pieces of rabbit brown slightly.
4. Add the white, cook for a couple of minutes at high heat then add bouquet garni cover, the drained figs and put in a medium high oven. Cook for an hour mixing, occasionally. If the stew becomes dry, add more wine or a mix of wine and water.
5. Check seasoning and serve hot with, potatoes, white rice or polenta.
Pedro is a composer, sound artist and performer. In 2002, he was awarded a PhD by the University of Edinburgh where he conducted research in both music and architecture.
Pedro has recently led participatory projects involving communities in Belfast, favelas in Maré, Rio de Janeiro, travelling communities in Portugal and a slum town in Mozambique. This work has resulted in sound art exhibitions at venues such as the Metropolitan Arts Centre, Belfast, Centro Cultural Português Maputo, Espaço Ecco in Brasilia and Parque Lage and Museu da Maré in Rio, Museu Nacional Grão Vasco and MAC Nitéroi. His music has been presented in venues such as the Melbourne Recital Hall, National Concert Hall Dublin, Queen Elizabeth Hall, Ars Electronica, Casa da Música, and in events such as Weimarer Frühjahrstage fur zeitgenössische Musik, Wien Modern Festival, Cynetart and Música Viva. His work as a pianist and improvisor has been released by Creative Source Recordings and he has collaborated with musicians such as Chris Brown, Mark Applebaum, Carlos Zingaro, Evan Parker and Pauline Oliveros as well as artists such as Suzanne Lacy.
His writings reflect his approach to design and creative practice in a wider understanding of contemporary culture and emerging technologies. Pedro has been Visiting Professor at Stanford University (2007), senior visiting professor at UFRJ, Brazil (2014) and Collaborating Researcher at INEM-md Universidade Nova, Lisboa (2016). He has been Music Chair for international conferences such as ICMC 2008, SMC 2009, ISMIR 2012 and has been invited keynote speaker at ANPPOM 2017, ISEA 2017, CCMMR 2016 and EMS 2013. At Queen's University Belfast, he has held posts as Director of Education, Director of Research and Head of School. In 2012 he was appointed Professor of Sonic Arts at Queen's and awarded the Northern Bank's "Building Tomorrow's Belfast" prize. He has recently been awarded two major grants from the Arts and Humanities Research Council including the interdisciplinary project “Sounding Conflict”, investigating relationships between sound, music and conflict situations. Ongoing research interests include immersive sound design and augmented listening experiences. Pedro has been appointed Director of the Sonic Arts Research Centre in 2021.
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