NYLON LUGGOT - Lyrics and sung by Jacint Vaz

Courtesy: JIVIT - Konkani Magazine


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Shankar Bhandari (1928-87) crafted programmes for All India Radio

GOAN MUSIC - By Valmiki Faleiro

Shankar Bhandari (1928-87), of the landed gentry of Cumbarjua, was a rare personage.
A creative writer with unambiguous opinions, great wit and genuine Goan values, he
crafted programmes for All India Radio. I longed to be in his presence, even if only for a few moments, when, as a casual artiste in my college days, I often went for ‘YuvaVani’ talk recordings – no, I can only croak, not sing! – at AIR’s Panjim studios.

Pearls flowed from his fertile mind! One reason, perhaps, I was more impressed was
that he hailed from the same village as that of my maternal grandfather – an exotic little “Republic” of my childhood images.

Shankar Bhandari was a man of cool courage, and conviction. And one who defied the
adage, ‘When the wine is in, the wit is out.’ True (not Dutch) courage it would take when, some years after 1961, he penned a verse on India’s ‘Ganarajya’ (Republic.) In that era, India was the only nation besides the Soviet Union to define “sedition” amongst the gravest offences under the penal law.

‘Ganarajya’ was a parody on India. Goa had been integrated into the Indian Union on
March 27, 1962. Shankar Bhandari daringly asked: “Gonachem Ailam Raj / Khuincho
Gana Konn Zanna?”

The governance of ‘Gana’ has arrived (upon Goa), but who knows this ‘Gana’ or
wherefrom (it comes)? In the name of ‘Gana,’ Andhra and Telangana fight each other.
Maharashtra and Vidarbha tussle over the (waters of) Godavari. Who knows this ‘Gana’?

If you’re still wondering which ‘Gana’ (no, not another song) he was on, think of the
national anthem … “Jana, Gana, Mana.” That was Shankar Bhandari. Like him or
lampoon him. No Goan freedom fighter dared report him “anti-national.”

He could come up with rare ones like “Goenkar: ratche torrad, sokallche honrrad!” Or his riddle, “Why does Bandodkar always face the river Mandovi?” (When CM, mineowner
Bandodkar’s chamber faced the river, after demise, his statue by the old Secretariat also faced the river.) His answer: “To count his barges carrying ore, he doesn’t trust his daughters!”

The ‘Trio Kings,’ Conception-Nelson-Anthony, were notorious for stage songs chopping
Bandodkar’s policies to pieces. They thwarted his moves to woo the Catholic vote bank. Their songs ruffled the CM’s feathers more than Opposition MLAs ever did. When all his offers to rein in the Trio failed, Bandodkar imposed a Tiatr tax!

Tiatrists faced tough days, but none suffered as Kid Boxer did.

Sometime in 1958, Siolim-born Kid Boxer (Caetano Manuel Pereira, 1917-1991) sang an
“anti-India” song in Bombay. Goan freedom fighters there got him jailed. Kid was then
deported to Goa. The Portuguese immediately employed him at the Goa Radio. As an
artiste, he worked with the likes of Jacinto Vaz, Allen Costa and Georgina Jacques.
According to my Candolim friend in Kuwait, Anthony Veronica Fernandes, a walking
encyclopaedia on Konknni songsters, Kid was the highest paid Konknni artiste.

The songs he recorded at Goa Radio were runaway hits, like:

Divo pettounk guineanacher / Uzvadd ieunk chintnacher / Zo kon zanna konnem ghoram
bandleant tim pongeranchea zaddancher.

Suskar soddlet maeyani / Dolle bhortat dukhani / Aiz putancheo maeyom duddu na
zaun, rodtat zorinnim.

The true meaning of his riddlesome lyrics was known only to close friends. Yet, listeners lapped up his songs. The one above was scripted in the wake of a Govt. of India ban on both money transfers and travel by Bombay-Goans to Goa.

After liberation, Kid Boxer was arrested again when singing on stage at Mapusa. The
song that earned official ire went as follows:

Tum bhitor sorlai chukon, mortoloi sukon, dusreacho desh pochona;
Tum nestai fokot valo, ani khatai fokot palo, hem matui hanga sobona;
Tum panpotti khatai, ani poch'chu korun thuktai, lozui kaim dissona…

After things cooled down, Kid returned to Bombay and began stage acting again. During
a Tiatr, as he sang one of his by now famous ‘zupattis’ (tongue-lashings), freedom
fighter Evagrio George in the audience raised a ruckus over Kid’s “anti-national” song. “Audience was with Kid but the law was not,” says Veronica. Kid was arrested yet again, incarcerated at Nasik jail for six months, where he was physically – and mercilessly – tortured. His spirit didn’t break. In jail, Kid wrote another Tiatr, "Somzonnem Zali Chuk." He sang a hit in it, "Sov mhoine Nasik conventan kaddle, torui converter zaunk na." (Despite six months at the Nasik “convent,” I was not converted.)

Kid Boxer was incomparable, especially when delivering melodious ‘zupattis,’ like:
“Nesson dusreachem kapodd, hath paiem kamrun bosleat makodd.” Obviously alluding
to his conviction that Goa was invaded and illegally occupied by India.

Lucky that Kid Boxer was not charged with sedition! (Concludes.)

Pics courtesy: Kid Boxer (Fausto da Costa, ‘Tiatr ani Tiatrist’, Vol-I, The Goan Review publication, 1994), TrioKings Conception-Nelson-Anthony (JoeGoaUK, www.flickr.com/photos/joegoauk12) and Shankar Bhandari (Goa Konkani Academy.) (ENDS)

The Valmiki Faleiro weekly column at:
http://www.goanet.org/index.php?name=News&file=article&sid=330

=======
The above article appeared in the October 5, 2008 edition of the Herald, Goa



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Allan Da Costa - Goa's foremost Konkani announcers at AIR Panjim

Allan Da Costa, one of Goa's foremost Konkani announcers whose mellifluous voice wafted from the Emissora da Goa (now All India Radio) broadcasts for several years, breathed his last on March 8, 2006.

The popular radio announcer was a superb vocalist too and his admirable rendition of musician-novelist Reginald Fernandes' evergreen song "Adeus Korchea Vellar" is a tribute to his vocal prowess. The funeral service was held the following day at teh Holy Family Church, Porvorim

(Goa Today - April 2006 issue)

___________
Just yesterday, I happened to listen to Goaworld's Konkani Online Radio and I must say it's fantastic. When I listen to it all the time, looks like I am in Goa listening to Lorna and others.

http://www.live365.com/stations/61664

So much variety and a very good selection! Really classy material and great quality. Aren't we lucky! My congrats to Uly Menezes and Gaspar Almeida for doing yomen service to Goans worldwide.

While I was listening to this Radio, I was doing other things on my PC and all of a sudden I was startled to hear a familiar song. It was from my album "Classic Goa: Hits of the Millennium" by Young Chico in"Budhichim Utram" and exactly 3 songs later, another of my song appeared "Goa Ke Raste Pe"(in Hindi) by Young Chico, Anthony San and Sumeeta.

Next day I heard another song "Asha ani Gopi" by Sumeeta and Anthony San from the same CD "Classic Goa" to be followed by another song "Roddum Naka" by Young Chico. Isn't it a great thrill to hear songs written by yourself? Well, it is for me. I felt the same sensation when I went to Goa last year and heard many of the songs from my album "Classic Goa" on Goa's FM Radio.

Great work, Uly. Where's my royalty re? Just kidding! It's my pleasure. I am glad listeners like these songs!

http://www.goa-world.com/GOA/music/live.htm
Hope pretty soon we can hear Goanetter Sanny de Qepem's "Saibinnicho Tisro Segred" from his just released CD.

It was another thrill for me to see another Goanetter(writer) Daniel F D'Souza appearing in Konkani VCD "Axirvadi". Daniel was really mad because comedian Jesus stole his suit (you should see his acting). More reviews of VCD s later. So far now the best VCDs I like are "Aleesha" for great production (can't compare with any other Konkani films) and the best film "Kantteantlem Ful" produced by Arnold Da Costa.

Don't you just love Domnic's article "Good Old Days of Radio"?. Well written piece as always. Almost forgot the names of Ansu Rodrigues from Sanvordem and Georgina Jacques from Majorda? And the sweet distinct voice of Allan Da Costa in "Adeus korchea vellar?" What about Balduino Araujo?

And what about the recital of Konkani poems on Goa Radio? I remember in 1968, I was privileged to recite my Konkani poems on All India Radio Goa. That was a thrill too, but I was very nervous. I just about made it to Cuncolim in time after recording in Panjim that day (took 4 hours to travel 40 kilometers, with ferry boat at Agasaim?) at 7:30 pm to listen to it on our Sony Transistor. Oh those were the days!

Here's my suggestion to Goa Government!

Please initiate SOCIAL SERVICE AWARDS to:

1) KONKANI RADIO GOAWORLD and

2) GOANET

Silviano C. Barbosa
Canada
29/1/2006

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The Goan festival in which Hindus and Christians pray together

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Faith accompli
Shiv Kumar on the Goan festival in which Hindus and Christians pray together



Vitthal Devraj Shirodkar performs at the zagor


Just 30-minutes away from the Calangute beach, a small hamlet in Siolim, Goa is struggling to maintain a centuries old tradition that enjoins Hindus and Catholics to salute Zagorio, the formless village deity.

On the first Monday after Christmas, Hindu and Christian residents of the waddo or the hamlet of Dando congregate on an open area to keep a night-long vigil and appease the deity who is believed to protect the village. The Zagor or wake begins with prayers that are unmistakably Christian though the chants are said to have been drawn from the abhangs of Sant Tukaram, Maharashtra�s poet-saint. The priest leading the congregation is a Hindu villager from the toddy-tapper caste who does this just once a year.

"I am the fifth generation purohit to carry on the tradition," says Vitthal Devraj Shirodkar. Eightythree-year-old, Shirodkar emphasises the non-Brahminical traditions of the post-harvest festival. "It is a salute to khazaneshwar or the god of the khazan after a good harvest. People offer oil, candles and even cigarettes and feni in thanksgiving," says Shirodkar, affectionately called Daaji by the villagers. The khazan style of agriculture, unique to this region, enables paddy cultivation, pisciculture and salt manufacture on the same land by regulating the ingress of seawater.

http://www.tribuneindia.com/2005/20050403/spectrum/main5.htm

Eunuchs play a significant role in the celebrations

The annual ritual is preceded by 40 days of abstinence when the priest stays away from non-vegetarian food and prepares for the zagor with prayers and rehearsals with the villagers. The proceedings begin with a procession from the house of his neighbours, the Fernandes� with a coconut ritually offered to the deity. The procession halts at wayside Hindu shrines and crosses, including St. Ann�s Chapel.

"Traditionally, three hymns are sung by the Hindus and the Christians at the chapel before the procession moves on," says Santan D�Souza, one of the participants at the zagor. Then Hindus make offerings of oil while Catholics offer candles at the chapel.


The prayers before the Zagorio has Shirodkar offering salutations to the unity of the Father, Son and the Holy Ghost. The ritual five hymns are followed by traditional dances and folk drama enacted by villagers, hereditary participants whose roles are inherited through generations. The principal characters like firangi-raja (white lord), mali (gardener), malin (gardener�s wife), mahar (untouchable), represent Goan society as it evolved through the years. The all-night vigil is also helped by the Konkani tiatr, or theatre, where skits based on socio-political satire are performed.

According to Dr Alito Sequiera, head of Goa University�s Sociology Department, the tradition of zagor faced stiff opposition from the Portuguese rulers and the Church. "Zagors were banned from the mid-17th century till the 1930s," says Dr Sequeira. However, the ban was ineffective and Hindus and Catholics performed distinctive zagors across the state, says Dr Sequiera.

In her book, Feasts, Festivals and Observances of Goa (L & L Publications, 2004) Maria de Lourdes Bravo da Costa Rodrigues traces the Siolim zagor to 1865 when Hindus and Catholics lobbied with the then Portuguese rulers to get the ban lifted. "The Catholics who were banned from participating in the prayers got Hindus to pray on their behalf," explains Shirodkar.

Till singer Remo Fernandes discovered it in the 1980s, the zagor remained just another little tradition that dots the Indian spiritual landscape. "It used to be so localised that few outside Siolim knew about it," recollects the singer. The zagor hit big time after Remo wrote about it and gave performances for almost a decade. He quit attending after the zagor threatened to become another party. "It got bigger and famous and I was no longer comfortable with it," says the singer.

With the Siolim zagor now on the tourist map, the hereditary participants at the zagor have money in their hands. "Money is causing problems for everyone," says Shirodkar. A few years ago, the residents of Dando got into a scrap with neighboring villagers who wanted to take the place of the traditional performers. "There was trouble and police had to be called in," says Shirodkar.

Communalism is also raising its head. Differences among the villagers cropped up after Shirodkar's family built a small shrine akin to a temple on the zagor rounds. Though no idol has been installed, some Catholics are showing signs of discomfort.

"After some people complained, our parish priest told us not to dance with the Hindus," says Santan D�Souza. The Shirodkar family however maintains that the funds generated during zagor are used to improve amenities in the village. "Earlier people had to spend out of their own pockets, now we have the funds to provide facilities," says Kanhaiya Shirodkar, the old man�s son and a local pharmacist. According to him, the committee managing the funds has representatives from both the Hindus and the Christians.

Villagers insist that most of the 28 Catholic families in Dando showed up for the last zagor despite the Church�s injunctions. "Only a few who joined sects like 'The Believers' didn't turn up," says Fernandes. Growing prosperity poses a bigger danger though. "With the spread of education, entire Catholic families are migrating out thereby altering the colour of the zagor", bemoans Kanhaiya Shirodkar.

Though the villagers of Dando have resolved to maintain the zagor�s character, observers like Dr Sequiera warn of shared spaces transforming into purely Hindu shrines. "It would only be too tempting to adopt Brahminical practices to attract more people and money," he notes.

(Part of a series on 'Communal Polarization and Threat to Shared Traditions in India' supported by the National Foundation for India)

April 3, 2005

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Archived by gaspar almeida, www.goa-world.com

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