‘Matiechem Bhangar Korunk’
Comedian Dominic along with Luis Bacchan has recently released their latest ‘tiatr’, ‘Matiechem Bhangar Korunk’, a family melodrama of love, sacrifice and ungratefulness.
Ms Preeti, a school teacher is being felicitated for her dedication to the school she is teaching at for plenty of years.
She loves her school, her students and her two brothers, Bholu and Ffloyd and won’t settle down with her fiancée Noel till Ffloyd, who is pursuing a course in Bangalore, finishes it. Ffloyd marries Tona, a vixen of a woman and brings her home with him without completing his education. Tona casts a spell of sadness to the formerly happy family and her husband does not have the courage to stop her. The play continues to depict how the family copes with Tona, until Preeti has to make a very difficult decision.
The ‘tiatr’ has a message of selfless love and fine performances from all the cast. Felcy plays Preeti and Aplon is Tona, the former makes you believe she is loving and caring, the latter convincing enough to hate. Sariton is perfectly cast as Ffloyd and so is Luis Bacchan who does a great humorous act as Bholu. Luiza, Albert, Andrew and Leslie support well. Dominic and Elias provide the additional humour.
In between the acts there are songs from Luiza, Felcy, Jr Rod, Andrew, Albert, Willie, Dominic and Luis Bacchan. A solo from the young Lascriya, Francis de Tuem and Elias deserve special mention.
(The Navhind Times)
Sunday, December 13, 2009
Tiatr Review "KALL" - By J.P. Pereira (Navhind Times)
‘Kall’
‘Kall’, the latest presentation from John D’Silva recounts a story of how life takes a full circle and sooner or later, evil begets evil. Extremely well recounted, the play keeps the viewer engrossed till the very end.
Aliston is a womaniser, “…he changes his women just like he changes his shoes…” Girls who get into relationships with him feel they will make a great future with him but are invariably deserted. Janice, daughter of a taxi driver is trapped in Aliston’s net but realises her mistake soon enough. Fortunately for her, Wilfred asks for her hand in marriage but trouble strikes again, in the form of Aliston, who tries to dissuade him. What happens next is to be witnessed on stage in this sleekly directed play with not a single dull moment.
The script is impressive, the direction perfect and the actors lend excellent performances. Newcomer Alifa makes a great entry as Janice. The girl is pretty, acts and dresses well and has a fine stage presence. Meeta puts up a fine act. Joe plays Aliston, Peter plays Wilfred and Ignatius de Xelvon plays Abel. Good acting from the three.
The highlight of the play is the laugh riot created by the three comedians. While John excels in the role of the taxi driver the talented Netto is immensely funny as the bill collector and so is Remmie. For once, the comedians don’t dress like buffoons. A particular sequence of the barking dog, the tortoise and the singing competition had the audience double up in laughter. Philip de Sanvordem provides the music, Meeta renders the opening song and there are melodious solos from Xavier Gomes, Ignatius de Xelvon, Joe, Netto as well as a beautiful duet from Meeta and Peter.
http://www.navhindtimes.in/buzz/6137-tiatr-review
‘Kall’, the latest presentation from John D’Silva recounts a story of how life takes a full circle and sooner or later, evil begets evil. Extremely well recounted, the play keeps the viewer engrossed till the very end.
Aliston is a womaniser, “…he changes his women just like he changes his shoes…” Girls who get into relationships with him feel they will make a great future with him but are invariably deserted. Janice, daughter of a taxi driver is trapped in Aliston’s net but realises her mistake soon enough. Fortunately for her, Wilfred asks for her hand in marriage but trouble strikes again, in the form of Aliston, who tries to dissuade him. What happens next is to be witnessed on stage in this sleekly directed play with not a single dull moment.
The script is impressive, the direction perfect and the actors lend excellent performances. Newcomer Alifa makes a great entry as Janice. The girl is pretty, acts and dresses well and has a fine stage presence. Meeta puts up a fine act. Joe plays Aliston, Peter plays Wilfred and Ignatius de Xelvon plays Abel. Good acting from the three.
The highlight of the play is the laugh riot created by the three comedians. While John excels in the role of the taxi driver the talented Netto is immensely funny as the bill collector and so is Remmie. For once, the comedians don’t dress like buffoons. A particular sequence of the barking dog, the tortoise and the singing competition had the audience double up in laughter. Philip de Sanvordem provides the music, Meeta renders the opening song and there are melodious solos from Xavier Gomes, Ignatius de Xelvon, Joe, Netto as well as a beautiful duet from Meeta and Peter.
http://www.navhindtimes.in/buzz/6137-tiatr-review
“Tiatr – Yesterday, Today and Tomorrow”
“Tiatr – Yesterday, Today and Tomorrow”
"Tiatr” since the last quarter of the 19th century has been a platform to illustrate the unspoken whilst manifesting the ground reality,
The scripts were well written. The theme or message be it economic, social, religious, political ,satire or comedy was excellent. The efforts put in to put a “Tiatr” was mind boggling some of the scenes, settings etc, were even despite constraints, so meticulously designed that audience were held spell bound during the entire “Tiatr”
Credit goes to those living and dead Konkani playwrights of yester years notably those prior to the Independence of India and until Liberation of Goa . Even in the early years post Liberation and before the advent of TV in Goa in 1982-1983 the “Tiatrs” were of a good order.
It is true that several “Tiatrs” have been staged in the past thirty odd years, but with an exception of a few, many of these “Tiatrs” have either failed to create an impact on audience or they have not left an indelible mark on the audiences as was case with the early “Tiatrs”
It is also true that with the advent of TV the general degradation of moral values and the crass materialism that has set in every sphere of life; the demand for cinema and quality “Tiatrs” have considerable dwindled.
“Tiatr” has not been accorded the status of industry yet and to that extent it has been extremely costly to stage “Tiatrs” that will be well received by the audiences.
It is owing to this that unhealthy competition and commercialization too has crept in. In fact today’s “Tiatr” kow-tow to make them appeal to the audience demands as a mere entertainment or better still an affordable “pass time” event and not so much for its moral.
In the considered view of this writer with the setting up of the “Tiatr” Academy of Goa on 16.2.2008 for the first time the opportunity has come to the “Tiatr” fraternity to make the best use of the Academy to enrich “Tiatr”.
However a close reading between the lines of the Constitution of the TAG as notified clearly indicates that while today the emphasis of “Tiatr” is given more specifically to “Tiatr” with scripts written in the Roman/English script it is obvious that by the mid of next decade the emphasis will be on those scripts written in
“ Konkani” ( which means written in the official language of the State notified on 4/2/1987 i.e. in the “devanagari “ script.
Keeping this in mind it is of utmost importance that if the “Tiatr” Academy of Goa should look into the interests of “Tiatr” in the scripts written in Roman/English there is much that remains to be done.
To understand this look at the case of Konkani films like Nirmon Amchem Noxib even to this day there could be Houseful audiences if the same are screened. But at the same time Konkani films like "Alisha" and others screened at the International Film Festival of India and that have won national and international awards do not find any audiences when screened?
Therefore our pursuit for official recognition to Konkani in Roman script needs to be overemphasized, as it is already too late 23 years have passed by.
The Government understands the language of “satyagraha” “fast unto death” as in the recent case of demand for carving out a State of Telangana. Hence we need to pursue this ideal immediately to achieve our objectives.
Here are a few other areas that needs to be touched into .
The Marathi theatre has excelled very well since the middle of the last century .
There are innumerable workshops being conducted, on various aspects of theatre be it in a) set designing, b) role of actor c) costumes, d) make up, e) special effects viz pyrothechnics, f) hair stylist, g) theatre critics, h) script writers, i) musician j) acoustics, k) publicity, l) event management etc etc etc . This is almost throughout the year in the neigbouring state of Maharashtra.
This has not happened in the case of “Tiatr” though some feeble attempts have been made in the recent past. Unless we enthuse those that venture into the field of “Tiatr” we cannot achieve much.
Is it not necessary that we have “Tiatr” reviews critical comments as a matter of routine? Does it suffice merely if one records a “Houseful” “century” box office records?
Is it not necessary that we fine tune our dress code to make the actors more presentable especially before family audiences?
Is it not necessary that we refine some of our scripts to find acceptance with the upper strata and elite of society, rather than restrict it to a few?
Some of our “Tiatrs” have been provocative to a point that smacks of defamation of public oriented persons or institutions ot of persons in politics..
There have been instances in the past that near defamatory performances have resulted in some of the Konkani playwrights getting on the wrong side of law?
True all this may attract guffaws of laughter from an audience disillusioned with the present day life yet this unique and time tested performing art could not be permitted to throw order and decorum to the winds.
There are several instances where the audiences the “Tiatr” is intended to attract is unclear as a result the “Tiatr” dies an unnatural death.
With event management, publicity becoming a full fledged art “Tiatr” should utilize these services to advance their shows.
Why do we need to restrict our “Tiatrs” only to city halls ---can we not adopt stage settings with backdrops of historical places, heritage sites or ecological settings ?
Can the “Tiatr” fraternity not hold mega events to showcase and expose the rich talent amongst their fraternity?
Too much emphasis has been added on child prodigies. It must be remembered that a child should be allowed to have its freedom to enjoy its childhood and not moulded to surrender to the demands of stage craft all through.
There is no documentation of “Tiatrs” not even of those that have contributed to the evolution of “Tiatr” . It is here that one needs to lay emphasis.
Finally our endeavour should be to ensure that sooner than later “Tiatr” should be accorded the status of industry and those entering this industry should attract full time employment and not as most do it at present as a part time vocation.
As we celebrate the 138th birth anniversary of Joao Agostinho Fernandes "Pai Tiatrist" on 14th December 2009 let the "Tiatr" fraternity give a solemn pledge to work to pursue these issues.
GODFREY J. I. GONSALVES,
BORDA, MARGAO, 403 602, GOA. (INDIA)
+91 98221 58584 (24 HRS)
gonsalvesgodfreyji@yahoo.co.in
13/12/2009
"Tiatr” since the last quarter of the 19th century has been a platform to illustrate the unspoken whilst manifesting the ground reality,
The scripts were well written. The theme or message be it economic, social, religious, political ,satire or comedy was excellent. The efforts put in to put a “Tiatr” was mind boggling some of the scenes, settings etc, were even despite constraints, so meticulously designed that audience were held spell bound during the entire “Tiatr”
Credit goes to those living and dead Konkani playwrights of yester years notably those prior to the Independence of India and until Liberation of Goa . Even in the early years post Liberation and before the advent of TV in Goa in 1982-1983 the “Tiatrs” were of a good order.
It is true that several “Tiatrs” have been staged in the past thirty odd years, but with an exception of a few, many of these “Tiatrs” have either failed to create an impact on audience or they have not left an indelible mark on the audiences as was case with the early “Tiatrs”
It is also true that with the advent of TV the general degradation of moral values and the crass materialism that has set in every sphere of life; the demand for cinema and quality “Tiatrs” have considerable dwindled.
“Tiatr” has not been accorded the status of industry yet and to that extent it has been extremely costly to stage “Tiatrs” that will be well received by the audiences.
It is owing to this that unhealthy competition and commercialization too has crept in. In fact today’s “Tiatr” kow-tow to make them appeal to the audience demands as a mere entertainment or better still an affordable “pass time” event and not so much for its moral.
In the considered view of this writer with the setting up of the “Tiatr” Academy of Goa on 16.2.2008 for the first time the opportunity has come to the “Tiatr” fraternity to make the best use of the Academy to enrich “Tiatr”.
However a close reading between the lines of the Constitution of the TAG as notified clearly indicates that while today the emphasis of “Tiatr” is given more specifically to “Tiatr” with scripts written in the Roman/English script it is obvious that by the mid of next decade the emphasis will be on those scripts written in
“ Konkani” ( which means written in the official language of the State notified on 4/2/1987 i.e. in the “devanagari “ script.
Keeping this in mind it is of utmost importance that if the “Tiatr” Academy of Goa should look into the interests of “Tiatr” in the scripts written in Roman/English there is much that remains to be done.
To understand this look at the case of Konkani films like Nirmon Amchem Noxib even to this day there could be Houseful audiences if the same are screened. But at the same time Konkani films like "Alisha" and others screened at the International Film Festival of India and that have won national and international awards do not find any audiences when screened?
Therefore our pursuit for official recognition to Konkani in Roman script needs to be overemphasized, as it is already too late 23 years have passed by.
The Government understands the language of “satyagraha” “fast unto death” as in the recent case of demand for carving out a State of Telangana. Hence we need to pursue this ideal immediately to achieve our objectives.
Here are a few other areas that needs to be touched into .
The Marathi theatre has excelled very well since the middle of the last century .
There are innumerable workshops being conducted, on various aspects of theatre be it in a) set designing, b) role of actor c) costumes, d) make up, e) special effects viz pyrothechnics, f) hair stylist, g) theatre critics, h) script writers, i) musician j) acoustics, k) publicity, l) event management etc etc etc . This is almost throughout the year in the neigbouring state of Maharashtra.
This has not happened in the case of “Tiatr” though some feeble attempts have been made in the recent past. Unless we enthuse those that venture into the field of “Tiatr” we cannot achieve much.
Is it not necessary that we have “Tiatr” reviews critical comments as a matter of routine? Does it suffice merely if one records a “Houseful” “century” box office records?
Is it not necessary that we fine tune our dress code to make the actors more presentable especially before family audiences?
Is it not necessary that we refine some of our scripts to find acceptance with the upper strata and elite of society, rather than restrict it to a few?
Some of our “Tiatrs” have been provocative to a point that smacks of defamation of public oriented persons or institutions ot of persons in politics..
There have been instances in the past that near defamatory performances have resulted in some of the Konkani playwrights getting on the wrong side of law?
True all this may attract guffaws of laughter from an audience disillusioned with the present day life yet this unique and time tested performing art could not be permitted to throw order and decorum to the winds.
There are several instances where the audiences the “Tiatr” is intended to attract is unclear as a result the “Tiatr” dies an unnatural death.
With event management, publicity becoming a full fledged art “Tiatr” should utilize these services to advance their shows.
Why do we need to restrict our “Tiatrs” only to city halls ---can we not adopt stage settings with backdrops of historical places, heritage sites or ecological settings ?
Can the “Tiatr” fraternity not hold mega events to showcase and expose the rich talent amongst their fraternity?
Too much emphasis has been added on child prodigies. It must be remembered that a child should be allowed to have its freedom to enjoy its childhood and not moulded to surrender to the demands of stage craft all through.
There is no documentation of “Tiatrs” not even of those that have contributed to the evolution of “Tiatr” . It is here that one needs to lay emphasis.
Finally our endeavour should be to ensure that sooner than later “Tiatr” should be accorded the status of industry and those entering this industry should attract full time employment and not as most do it at present as a part time vocation.
As we celebrate the 138th birth anniversary of Joao Agostinho Fernandes "Pai Tiatrist" on 14th December 2009 let the "Tiatr" fraternity give a solemn pledge to work to pursue these issues.
GODFREY J. I. GONSALVES,
BORDA, MARGAO, 403 602, GOA. (INDIA)
+91 98221 58584 (24 HRS)
gonsalvesgodfreyji@yahoo.co.in
13/12/2009
XIV Catholic Charasmatic Convention - 27-30 Dec. 2009
The 14th National Catholic Charismatic Convention is being held in Vasai, near Mumbai. This email is being sent to you with a request to keep it in your prayers & also for information for those who would like to be there. Brief contact details are -
Tel : 0250-2312723
Email : nccconvention09@gmail.com
Website : www.nccrs.org
Your Servant in the Lord's Service
Joseph Dias, General Secretary, The CSF
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Goa seen through Mando/Dulpod lyrics
Dear Goykars,
The lyrics Mando-Dhekni-Dulpod tell us something about the life and times of the people of Goa. If “Tarya Mama” and “Ghe re Saiba” tell us what one was prepared to pay for the ferry service from Raia or Loutolim in Salcete of the Velhas Conquista to “Shiroda” in the Antruz Mahal of Sondekar Raja while “Undra Mhojea Mama” spoke of the unequal battle between the colonizers and the colonized, the narrative of the “Voilea, Voilea Dongrar” is clear about the Devadasi or Kolvont, Mogrem.
A reading of the lyrics of the “Original compositions” at the 43 Mando Festival organized by the Goa Cultural & Social Centre [co-organizers with AICU-Goa of the apparently NRI Cell inspired debate on Church properties and the Concordat some months ago] is quite indicative of the social context of our ballads and songs.
Mariano Almeida of Curtorchim Sallkam [Lotus of Curtorim, Salcet] wrote these verses for the Dupod after their Mando “Sopna ani Xitna”:
3. “Goenkar festa fuloita konna kustari?
Puvozanchim battam vinkun danv marta ganttari!”
[How does a Goa finance his celebrations?
He sells ancestral property and migrates beyond the hills!]
6. “Monis zala axecho; poixo korta choriecho.
Koxei pori vodd zavpacho; dusreank sokoll uddovpacho.”
[Man has become greedy and amasses wealth by stealing.
He wants to get big and destroys others in the process.]
7. “Avaz yeta teng, teng , reng teng, reng teng. Narkasur yeta.
Avaz yeta dumb,dumb, du-dumb dumb, dumb, dumb; Konn-re to bomb galta.”
[The sound crescendos tang, tang, rang tang, rang tang. The Narkasur cometh.
The sound changes to doom. Doom, do-doom doom, doom doom.
Someone has planted a bomb.]
The Diwali eve bomb blast at the Narkasur [god of hell] parade at Margao in October, 2009, is implied here.
Fr. Cypriano D’Silva wrote for the Vell’lechim Sallkam [Lotus of Velim, Salcet] thus:
“Montichea dongrar voile munis ravtai; bhangar ghalun gelear suri dakhotai.
Bailea munxeancher koddok lailear dollo; Fonde, Moddganv, Vasku, bomb na futt’tolo.”
[The migrants living on Monte hill threaten to rob if gold you wear.
If surveillance is strict, to bomb Ponda, Margao or Vasco they will not dare.]
Mathew D’Souza of Merces Firgojecho Saad [Merces Parish Call, Tiswadi] penned his dulpods thus:
1.“Kaiborim sobit disot adlim tim ghoram?
Bolkanvan bosun khobranim vell sarit horam.
Atanchea ghoranmim rokddinch bond zata daram; Computer, internet vapddun vell sartat poram.”
[How beautiful were the houses of yore?
Chatting in the balcony we spent hours or more.
The doors of modern houses quickly do shut; The new kids spend time on their computers or internet.] 3. “Purtugez tempar itleo nasleo kirmi, chorio; Atam chintlearuch koplak podtat mirieo.
Bhaile zaun bhitorle, bhugeanch hatant surieo.
Toxench ganva-ganvant redde-bhoilam dhireo.
Bhurgeam, bhailancher zatai bolatkaru;
Goemche paddu poddta; sogloch kabaru.”
[So much thieving and crime was not there in colonial days; It creases one’s forehead to even think of these dangerous days.
Migrant and locals alike, young hands sprout a knife Every village has bullfights and buffalo strife.
Women and children are subjected to rape.
Goa’s gone ….there is no escape.]
Fr. Thomas Lobo hits the nail on the head for Dulerchim Sallkam [Lotus of Duler, Mapusa-Bardez]
1.Mega projects yevunk ganv-ganvanim konne dili porvangi?
Bhailea lokan ghetlim thoim flettam; ravchea adim mevlim ration karddam!
Doria prayo asleot kaiboreo, konne teo vibadd keleo?
Chollunk vatt na, torui pott bhorona. Soimba kodden amcho khell cholona.
[Who permitted the construction of Mega Projects in every ward?
The outsiders buy ‘flats’ and, even before occupancy, get their ration cards!
Who has screwed up our beautiful beaches?
Our greed does not end even when there is no space to walk on the beach.
One cannot play with Nature, and win.]
Dr. Elvis Gonsalves penned the following dulpods on the other burning issues in Goa, Casino culture, price rise and environmental damage.
2. Are monxea, kiteak aikonaim? Dongor, zadam katrunk bienaim?
Devan sobit sonvsar dilolo vibaddlear nisonttonn zatolem hem tum somzonnaim??”
[Hey Man, why don’t you hear
To cut trees and hills why do you not fear?
Why do you destroy God’s gift of a wonderful world?
That your deeds will ruin you is foretold.]
3 Are Santan cholleam sangatan; Casino ugoddla Digambaran.
Voi re Salaza, poddla pagar; Casino-nt vochon khelumia jugar.
Na, Na, Na Na, Casino-nt tumi vochum naka.
Bhurgeam-ballanche tumi pai; Oxe poixe ogddai naka.
[Hey Santan, to Digambar’s Casino lets go scramble.
Yes, Salazar, I have my pay packet, let’s go gamble.
No, No, No, No do not go to the Casino in haste.
You are the father of my children, you have no money to waste!]
4. “Margai choddlea ti margai; Xembor rupia dal ani donxim rupia chai Vostu zalea marog; Fokot munis mat sovai.”
[The price rise has gone through the roof Rs.100 for a kilo of dal and Rs. 200 for tea is enough proof.
Everything costs money by the heap;
Only men are going cheap!]
Mog asundi
Miguel Braganza, S-1 Gracinda Apts,
Rajvaddo, Mapusa 403507 Goa
Ph +91-9822982676;91-832-2255913
www.ofai.org www.pgsorganic.in
Horticulture.Facilitation.Networking
The lyrics Mando-Dhekni-Dulpod tell us something about the life and times of the people of Goa. If “Tarya Mama” and “Ghe re Saiba” tell us what one was prepared to pay for the ferry service from Raia or Loutolim in Salcete of the Velhas Conquista to “Shiroda” in the Antruz Mahal of Sondekar Raja while “Undra Mhojea Mama” spoke of the unequal battle between the colonizers and the colonized, the narrative of the “Voilea, Voilea Dongrar” is clear about the Devadasi or Kolvont, Mogrem.
A reading of the lyrics of the “Original compositions” at the 43 Mando Festival organized by the Goa Cultural & Social Centre [co-organizers with AICU-Goa of the apparently NRI Cell inspired debate on Church properties and the Concordat some months ago] is quite indicative of the social context of our ballads and songs.
Mariano Almeida of Curtorchim Sallkam [Lotus of Curtorim, Salcet] wrote these verses for the Dupod after their Mando “Sopna ani Xitna”:
3. “Goenkar festa fuloita konna kustari?
Puvozanchim battam vinkun danv marta ganttari!”
[How does a Goa finance his celebrations?
He sells ancestral property and migrates beyond the hills!]
6. “Monis zala axecho; poixo korta choriecho.
Koxei pori vodd zavpacho; dusreank sokoll uddovpacho.”
[Man has become greedy and amasses wealth by stealing.
He wants to get big and destroys others in the process.]
7. “Avaz yeta teng, teng , reng teng, reng teng. Narkasur yeta.
Avaz yeta dumb,dumb, du-dumb dumb, dumb, dumb; Konn-re to bomb galta.”
[The sound crescendos tang, tang, rang tang, rang tang. The Narkasur cometh.
The sound changes to doom. Doom, do-doom doom, doom doom.
Someone has planted a bomb.]
The Diwali eve bomb blast at the Narkasur [god of hell] parade at Margao in October, 2009, is implied here.
Fr. Cypriano D’Silva wrote for the Vell’lechim Sallkam [Lotus of Velim, Salcet] thus:
“Montichea dongrar voile munis ravtai; bhangar ghalun gelear suri dakhotai.
Bailea munxeancher koddok lailear dollo; Fonde, Moddganv, Vasku, bomb na futt’tolo.”
[The migrants living on Monte hill threaten to rob if gold you wear.
If surveillance is strict, to bomb Ponda, Margao or Vasco they will not dare.]
Mathew D’Souza of Merces Firgojecho Saad [Merces Parish Call, Tiswadi] penned his dulpods thus:
1.“Kaiborim sobit disot adlim tim ghoram?
Bolkanvan bosun khobranim vell sarit horam.
Atanchea ghoranmim rokddinch bond zata daram; Computer, internet vapddun vell sartat poram.”
[How beautiful were the houses of yore?
Chatting in the balcony we spent hours or more.
The doors of modern houses quickly do shut; The new kids spend time on their computers or internet.] 3. “Purtugez tempar itleo nasleo kirmi, chorio; Atam chintlearuch koplak podtat mirieo.
Bhaile zaun bhitorle, bhugeanch hatant surieo.
Toxench ganva-ganvant redde-bhoilam dhireo.
Bhurgeam, bhailancher zatai bolatkaru;
Goemche paddu poddta; sogloch kabaru.”
[So much thieving and crime was not there in colonial days; It creases one’s forehead to even think of these dangerous days.
Migrant and locals alike, young hands sprout a knife Every village has bullfights and buffalo strife.
Women and children are subjected to rape.
Goa’s gone ….there is no escape.]
Fr. Thomas Lobo hits the nail on the head for Dulerchim Sallkam [Lotus of Duler, Mapusa-Bardez]
1.Mega projects yevunk ganv-ganvanim konne dili porvangi?
Bhailea lokan ghetlim thoim flettam; ravchea adim mevlim ration karddam!
Doria prayo asleot kaiboreo, konne teo vibadd keleo?
Chollunk vatt na, torui pott bhorona. Soimba kodden amcho khell cholona.
[Who permitted the construction of Mega Projects in every ward?
The outsiders buy ‘flats’ and, even before occupancy, get their ration cards!
Who has screwed up our beautiful beaches?
Our greed does not end even when there is no space to walk on the beach.
One cannot play with Nature, and win.]
Dr. Elvis Gonsalves penned the following dulpods on the other burning issues in Goa, Casino culture, price rise and environmental damage.
2. Are monxea, kiteak aikonaim? Dongor, zadam katrunk bienaim?
Devan sobit sonvsar dilolo vibaddlear nisonttonn zatolem hem tum somzonnaim??”
[Hey Man, why don’t you hear
To cut trees and hills why do you not fear?
Why do you destroy God’s gift of a wonderful world?
That your deeds will ruin you is foretold.]
3 Are Santan cholleam sangatan; Casino ugoddla Digambaran.
Voi re Salaza, poddla pagar; Casino-nt vochon khelumia jugar.
Na, Na, Na Na, Casino-nt tumi vochum naka.
Bhurgeam-ballanche tumi pai; Oxe poixe ogddai naka.
[Hey Santan, to Digambar’s Casino lets go scramble.
Yes, Salazar, I have my pay packet, let’s go gamble.
No, No, No, No do not go to the Casino in haste.
You are the father of my children, you have no money to waste!]
4. “Margai choddlea ti margai; Xembor rupia dal ani donxim rupia chai Vostu zalea marog; Fokot munis mat sovai.”
[The price rise has gone through the roof Rs.100 for a kilo of dal and Rs. 200 for tea is enough proof.
Everything costs money by the heap;
Only men are going cheap!]
Mog asundi
Miguel Braganza, S-1 Gracinda Apts,
Rajvaddo, Mapusa 403507 Goa
Ph +91-9822982676;91-832-2255913
www.ofai.org www.pgsorganic.in
Horticulture.Facilitation.Networking
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About Me
- Goa-World.COM
- A big e-welcome to you. Tumcam Maie-mogacho ieukar. Enjoy Life - This is not a rehearsal! Konkani uloi, boroi, vach ani samball - sodankal. Hich Goenchi osmitai ani amchem khalxelponn. Goenchi amchi Konkani bhas! Ekvottachem saddon Goenkaranchem. This is Gaspar Almeida from Parra, Bardez, Goa, based in Kuwait and am connected with the www.goa-world.com website created by Ulysses Menezes, and as Moderator of the famous first of its kind Gulf-Goans e-Newsletter (since 1994) and The Goan Forum and several Goan and Indian associations and forums and e-forums in Goa, India, Kuwait, The Middle East and worldwide.