Bhajan competition from July 21, 2000

The annual bhajan competition of Kala Academy will commence from July 21, 2000. The first and second prize winning groups at the regional level will qualify for the state level competition to be held on August 15 at the Kala Academy. The prize amount of the regional and state level competitions has been enhanced. State level first prize winning group will get Rs 7,000, besides the rolling shields and replicas. The second, third and fourth winning groups will be awarded Rs 5,000, Rs 3,000 and Rs 2,000 respectively.


The Kala Academy Goa and the Goa Konkani Akademi will celebrate "Tiatr Day" on 17th April 2000 at 6 PM  at the Kala Academy in Panjim.

Tiatr artistes Sabina Fernandes, Anthony D'Souza, Patrick Dourado, Jessy Dias and Luciano Dias will be felicitated on the occasion.

The function will be followed by prize distribution of the 25th Tiatr Competition and presentation of skits by Prince Jacob and John Claro and their groups.

Medium of tiatr can transform society, says Sardinha

PANAJI: Chief Minister Francisco Sardinha has said that the medium of Konkani tiatr should be properly utilised to eradicate social evils existing in the society. The tiatr has turned into a powerful medium of mass communication and is in position to transform the society, he remarked.

Sardinha was speaking at the Tiatr Day celebration presided over by Speaker of Goa Legislative Assembly Pratpsing Rane organised jointly by Kala Academy and Goa Konkani Academy in the city yesterday.

The chief minister said that the lion's share for keeping Konkani language alive and its development is lifted by tiatrists, who with their dedicated and concerted efforts not only rejuvenated Konkani theatre but enriched a powerful medium of mass  communication.

Sardinha further asked Konkani playwrights, musicians, to make efforts to upgrade their artistic and cultural talent so that audience gets the opportunity to see standardised Konkani tiatr.

Rane said, that it is encouraging sign that people from all sections of the society are participating in Konkani tiatr and it is very good future.

TIATR, A GOOD TOOL: CM Francisco Sardinha asserted that the medium of Konkani tiatr should be properly utilised to eradicate social evils in the society. While speaking at the Tiatr Day celebrations, Sardinha acknowledged that the lion's share for keeping Konkani alive and its development, is lifted by tiatrist, who with their dedicated and concerted efforts not only rejuvenated Konkani theatre but enriched a powerful medium of mass communications. (Herald/19-4-2000)

The Kala Academy Goa, celebrated the `Tiatr Day' on 17 April 2000 at the D M Hall, Campal in a chaotic manner. The greatest surprise of the day was the presence of the Kala Academy chairman Pratapsingh Rahoji Rane, who otherwise seldom  attends any `Tiatr' Day celebration.

Let me take this opportunity, through you esteem daily, to congratulate the five artists, the winners of the controversial `tiatr' competition, the judges and two infamous employees of academy who pulled the strings from behind the screens and systmatically manipulated the competition results. All the prize winning `tiatrs' were directed by them, including the one that crossed the allotted time priod of three hours.

Not forgetting Shyam Kalangutkar, uncle of Sandeep Kalangutkar who has been claiming the prize for the best setting year after year. The prize is nailed on his head whatever the setting may be.

Not forgetting Michael Gracias, the first prize winner who has been translating `nataks' and presenting them at the competitions without having the `tiatr' format and still goes on to win prizes. Hearty congratulations to Mike Mehta (A well wishers of Michael Gracias), Ceaser D'Mello ( past director of Sandeep Kalagutkar, who was the judge for th 19th `Tiatr' Competition and against whom a protest was lodged by Merces Club praying to debar him from being a judge in the future) and Mr Joshi (A close friend of Mr Kalangutkar) for their biased judgement.

Viva! Kalangutkar and Polle. Next year be more shrewd and make penny while everyone is sleeping at the Kala Academy. There is no one to watch over you.

Who bothers if the Tiatr Competition dies in the near future.

Andrea Furtado
Caranzalem  (Letter to Editor in the Gomantak Times)



The 108 anniversary of the Tiatr Day was celebrated by the Kala Academy and the Konkani Academi of Goa this evening, by felicitating veteran Konkani tiatrist Luciano Dias, Jessie Dias, Sabina Fernandes, Patrick Dourado and Anthony Fernandes. A shawl and a memento was presented to each of them by Chief Minister Francisco Sardinha. Responding to the felicitation, veteran tiatrist Sabina said, "If it were not for the initiators of tiatr a century ago, I would neither an become an actress nor know my identity." Prizes were also awarded to the winners of the recently held State Tiatr competition. The function was followed by a skit by Prince Jacob and Konkani songs by various artistes including veteran Luciano Dias. (GN)

(info courtesy: Joel D'Souza)

(Dusro bhag)

Fotu-ar dista Sabina Fernandes Goenchea Mukhel Montri Francisco Sardinha tosrip bhettoitana.
Goa-World Team (Kuwait) Kala Academi ani Goemchi Konkani Akademi-nk dinvasta.
Sogglea sotkar favor zalolea tiatristank amchim porbim.  Bhesanv tumcher poddum re!

Goa-World Team (Kuwait)

'Konkani's Immortal Songs & Lyrics'

Konkani Tiatrist over the years have woven a rich tapestry of composition in the woof and  warp of Konkani music, and rightly deserves a befitting recognition..... This section is dedicated to all of them, living as well as those no more with us, but their golden voices still lingers on.....

ALFRED ROSE (Rosario Alfred Fernandes):
Appropriately crowned Goa's Melody King", The Man with the Golden Voice" (courtesy His Master's Voice Recording Company), Konkani Ambassador", International Superstar".
To the Goans he is The Living Legend of Konkani Music".

Ago mhoje Sundorea
Patovantli Kunvor
Goreta gheun gori…
Goenkar vo Mungllurkar
Ami sogle Konknne
Dev Nidonk Na
Kalchi Koddi
Poilea Cheddeamchem Baltim
Pain Korunk Na Tem
Tin Molladik Hatiaram (sui, sut, kator)
A date with Daisy
Luiza the Bombshell
Viva La Goa
Bamnali Pori
Savkaralo Por
Chander Vati
Kotta Kuwait


Nov Burgenacho Pai
Burak Puroi
Helmet Moche
Dothik Rodtat
Piklelea Vonttancho
Kosli Chuk
Rumpa Pa-Dumpa
Peixe Mulheram
Okol Bardeskarn
Torre de Babel

C. Alvares (Celistino Alvares)


To be continued.....

Tiatristanchim Nanvam & Fotu

Tony Call
John Dias (Candolim)
Francis de Verna
Cypriano (Star of Oxel)
Bernard de Parra
Philu de Aldona
Leena de Anjuna
Alexinho de Maxem
Benny de Aldona
Master Ingnatius de Mapusa
Mario de Navelim
Rosary Ferns
Querobina Carvalho
A. M. Pacheco
Patrick Dourado
William de Curtorim (famed for his political compositions).
Tony King
Kid Boxer
Souza Boy
J B Rod.
Young Menezes (famous from the 1950s for Konkani Rap Music (or jet speed singing).
Francis de Parra (Enacted female roles beautifully in Konkani dramas - one of the finest composers and singers)
Sebastian (S.B. Radio)
Alexinho  de Candolim (composed and sang depicting the woes of  the poor and unlucky)
Coutinho (from Candolim) (who  went by the name Miss Julie).
Souza Guiao  (known for his mellifluous yodelling)
Prem Kumar (Peter D'Costa)
Roglo Naik
Bom Jezu
Antonio Francisco de Gauravaddo
Diogo Cardoz de Khobravado
Dummulo de Gauravaddo
Damiao D'Costa
Filipe Dias
Peter Gomes de Umtavaddo (penned 20 plays
and composed as many as 500 songs).
Prince Jacob (Minguel Jacob Carmo Luis Fernandes)
Mike Mehta  (Transfiguracao de Jesu Cristo Rodrigues)
Alfred Rose ( Rosario Alfred Fernandes )
AMB Rose (illustrious character-actor of yore, Ambrose Fernandes (Ambrose was named AMB Rose by the Karachi Jesuits).
Premanand Lotlikar
Mario Menezes
Sharon Mazarello
Vincy Quadros
Agostinho Fernandes (father of Konkani tiatr – pai tiatrist)
J.P. Soazalin (epic master of  Goan drama - famed for religious dramas)
Alexinho de Candolim
Kid Boxer (Goa’s Charlie Chaplin)
Champion Alvares (Sebastiao Alvares)
C. Alvares (Celestino Alvares) known as Ace Director and Patxai Konkani
Earnest Rebello
Anthony Mendes
Romaldo D’Souza
Remmie Colaco
Vincent de Saligao
Star of Arossim
Andrew Fernandes
Jacinto Vaz
Miss Mohana
Souza Ferrao
Master Vaz
Anthony de Sa
Ophelia de Souza
Jessie Dias
Betty Ferns
Salini Mardolka
Seby Coutinho
Prem Kumar
Cyriaco Dias
Joe Rose
Jessie Dias (tragedienne)
Shrirang Narvekar
Prince Jacob
John Claro
Jerry Braganza
Tomzinho Cardozo
Robin Vaz (veteran folk artiste)
Wilson Mazarello (WILMIX)
Felix Mendes (Mendes Bros.)
Derik Mendes (Mendes Bros.)
Xavier Mendes (Mendes Bros.)
Augustine Rebello
Alex de Sanvordem
Clemmie Pereira
Flora Mendes
Emmy Fernandes (Colva)
Mario de Colva
Laverent Pereira
Victor de Calangute
Tony Call
Alfred Rose
Rita Rose
Antonette Mendes
Romeo Mendes
Anthony San
Annie Quadros
A J Fernandes
Bab Peter
Betty Naaz
Babush Fernandes
Betty Ferns
C D'Silva
C Alvares
Aiti Pinto
H Britton
Joe Rose
Jr Rod
Jessie Dias
Lorna Cordeiro
Lawrence de Tiracol
Lucian Dias
M Boyer
Marceline de Betim
Master Vaz
Menino de Bandar
Paul Romy
Prem Kumar
Prince Jacob
Peter V Fernandes
Philomena Crasto
Robin Vaz
Remmie Colaco
Rico Rod
Rosario Rodrigues
Succorine Figaredo
S Lemos
Seby Coutinho
Tony Martins
Titta Pretto
Wilmix Trio
Souza Boy
Marian Rodrigues
Francis de Parra
Cajetan Pereira
Marcus Vaz
Xavier Gomes
Rosary Ferns
Mendes Brothers
Junifer Rod
Carmo Rod
Jose Rod


G U P I T    M O G

Gupit mog bhurgeachponnacho,
Devan amkam nirmilolo,
Ekvott zanv tujo; mog doxim zalo
Ugddas ieta maka tujeam utrancho.

Bhurgeachponnachea suka,
Eklench dovorleim maka,
Koxem puttvolem tuka,
Sanddcheak maka

Bhurgeachponni mojea moga,
Sodanch chitti daddtalim tuka,
Atam teo kobar zaleo, soddun
Tum geloi, kalliz dukta,
Punn ugdass tuzo ieta maka.

Tambdde Roza Tuje Pole
Tambdde roza tuje pole,
Dukani bhorleat moje dolle
Papachem licens asa zalear polle,
Kazar zauncheak mhoje kodde

Papachem licens asa re maka,
Kazar zauncheak raunvtam tuka
Tum tor kazar zainaim zalear moga,
Mhoji birmot futt''teli tuka

Pain Main kazar maka kelem,
Sukachea gharan voron gatlem
Soggle ankvar chole ekttai zaum,
Adoraru maka kelem

Kanvllea Kiteak Roddtai Daran
Kanvdea kitteak roddtai daran,
Konnui marit tuka faran
Mhojea potichi khobor addleai re zalear,
Uddon voch re borean

Mojo potti ghara ailo, kanvdlo uddun babddo gelo,
Mojea potichi khobor diunu mure
Kanvdo babddo gelo

Ugddas Natalanche Ratricho
Ugddas eta Natalanche ratricho,
To dis amcheas mizadicho,
Niall korre moga chondrimacho,
Attaplare tacher mogu amcho.

Sintid nam- moga, lisavancher bogor tujer,
Dekhun punish dimbi ghaltam bankacher.

Papan Goyeam thaun addun maka,
Iskol xikonk ghatlem- re Bandra.
Axetalim ek chitt borounk tuka,
Kotta- madri pattlean bonvtat amchea.

Goyeam khobor gazteli avoi,
Baby Inglez sikta Bomboi,
Goyeam rebek maka xikkoitaloi
Ghara vetanam ek beij ditaloi.

Ratrich'' nident haunv sopnetam,
Ugddas eta lisanv kortanam,
Moga tuje vinnem sukh maka nam,
Abras beijo tuka ghe ho Goyeam

K U N B I    J A C Q U I

Sintidan paien ghal re Jacqui
Nisron tum sokol poddxi
Lokalem tum ghor vonkun borxi

Kunbi amim vauraku konnak aikona
Tenchench sor picheak konnank lagona
Zaiteo soreacheo bottleo assai amghelea gharant
Kunbi amim zolmoleaunv soreachea borlant

Anton sokol vhoir disti poddna
Paiem mhoje dottori lagna
Upkar korun ghara pavoi maka

A D E U S  
Adeus korcho vell paulo
Ai mhojem kalliz re fapsota
Dispedir korchea vellar
Ho sonvsar naka re disota

Voch voch re roddunaka
Dev feliz kortolo tuka

Sogleam am''ganko sandunum
Vetai tum dispotto zoddunko
Tuj'' felicidad choiceako
Otrekanim rabtam haunvum


Tollem sukolem, bhokem mhojem babddem re zalem
Tollem suktococh, bhokeak mhojea mannik melltolem
Mannik melltokoch, bhokem mhojem kazar zatolem

Tollem sukolem, bhokem mhojem babddem re zalem
Fator kisseigo, bokia tuka manik meutolem
Manik meutokuch, bokem mojem girest zatolem
Girest zatokuch bokem mojem ghontter kortolem
Ghontter kortukuch bokem mojem tantiam galtolem
Tantiam galtokuch, bokem mojem matrem zatolem,
Lia, lia, lia, lia sambha lia, lo.

Bannaleachea Monti sokolo roddtai kole, choi, choi, choi
Kazar zainastana ulleai title pixear poddle, choi, choi, choi

Mhojea Bar''borche ankvar chole
Kazar zake, choi, choi, choi
Kazar zainastana ulleai title
Pixear poddle, choi, choi, choi

Undra Mojea Mama
Undra mhojea mama, haunv sangta tuka
Mazorichea pilea laguim fhell manddinaka

Undir mama ailo, meza pondar liplo
Mazorichea pilean taka ekka ghansan khailo

Fugar Zata Kazraku Vocheako
Fugar zata kazraku vocheako
Baie tuka kitem kodta nachunko
Chimtte kaddlear, dumke marlear, chedva
Maink sangunaka gho

Maneri kensu kensari fulam, moghallu uttram
Xezra baban utor dilam, kazar zaunchem mullam

Cheddva go, cheddva
Horta kuxik kitem kortalem tinga

Maka mog gue fulancho
Dhubav bestoch korunakai choleancho

Moddgovam Touyager
Moddgovam touyager, touyager, mezo kela redondo
Tacher ek cheddum nachota, cheddum nachota vankdem korunum benddo
Bailean ek paklo choita,
Paklo choita burkan galunu tonddu

Paklea tum kitem choita re, kitem choitre,
voch tum geunu tujem tonddo.

Ago Fulam Bai
Ago fulambai, fulambai, Fulamchem mhojhem bai ( fulambai)
Motte motte polkist fulambai, Tuka kiteak zai

Garse tuje dolle fulambai, Arxeant vochun polle ( fulambai)
Motte motte

Motte motte chole fulambai, Tuka moddat dolle

Tambde tuje vontt fulambai rozamsarke pole
Motte, motte polkis fulambai sogllech tuje kodde

Amani Gomani Nach
Amani gomani nach baba
Ho manddo xiva re, ho manddo xiva xiva

Nach, nach, nach re novrea, rati bhor

Mall, mall, mall ghe okle, xendo bhor

Doriantulem baporu voita, baporu voita Ponnje dunvoru

Teche baxen Jakinu ieta, Jakinu ieta Miriyo fuloinu
Tanelu tanela, bhukenu bhukela
Fugdeo coxeo galcho gha, shakti maka na

Dogueo Tigueo Beatini Gheleo Kumsarak
Dogueo tigueo beatini gheleo kumsarak ( 2)

Ekli kori ters rozar
Dusri kori orasanv mental
Tisri mari odd''ear dumkeache far

Dogueo tigueo beatini gheleo kumsarak ( 2)

Eklen haddla manddsacho kopo,
Dusren haddla bolu poderalo
Tisren haddla re padgarak xevtto, rexiar kello.

Dogueo tigueo beatini gheleo kumsarak ( 2)

Santanichea don''grar
Santanichem don''grar, pakle apoita
Tambde kapopdd nheslear, rupia dakoitai

Farar Far Zatai Ranantu
Farar far zatai ranantu

Edde ratche pakle bountai khaddache
Ani Main mhojea filoz kelai ghoddache
Avem ani Main ga Deva xett kelam bagako
tech vorsa poi ga Deva paus ghela mirganko

Etea bainchem udocu mhojo Main maka dilolo
Kon re mendean tazo pakklo modilo
Re kombea ba ( ba ba ba)
Re kombea ba ( sho sho sho)
Re kombea ba ba ba ba re kombea sho

London- nacho Kir
London- nacho kir ghe Mai konknni uloita
Ankvar bailam dektokuch, xenkrem fuloita

London- nacho kir ghe Mai konknni uloita
Kazram bhaileam dektokuch, xempddi aloita

Liai liai lo, liai, liai lo
Ai liai liai
Ai liai liai liai liai samba liai lo

Sho, sho Juana
Haunv Mapuxea ghelolim
Addunc todde chonem
Helen, Helen, Helen
Helen munn ulo kelo konnem

Sho, sho Juana
Modlea vanant far poddona

Sho, sho, sho kanddta vo
Randpinicho mat''ro ghov

Sho, sho Juana
Modlea vanant far poddona

Amim Bhikari
Amim bhikari khore, rezra bore
Bhikreank tandull poddtai todde

Tandull amkam poddtai bore
Moddgovam voddlea ghara khodde

Ful Aunv Jardinantulem
Ful aunv jardinantulem
Votan bhavolem

Borem dista munn bakra baban
Raunk dovorlem

Baileanu Konnum Aila
Bhaileanu konnum eta polle ( 2)
Matheak mallun mogureanche kolle choi
Matheak mallun mogureanche kolle
Sogottu loku baim kodde 92)
Kinnim kinnim zata kana kodde choi
Kinnim kinnim zata kana kodde
Mhojo Poti Bomboi Ghela
Mhojo poti Bomboi ghela
Tacho usko maka zala
Ani nimanni rati sopeacher bosson
Beij maka dila
Poti ie, poti ei, tujea gopant maka ghe

Cecilia Mojem Nav
Cecilia mhojem naunv
Cheddvam bhitor cheddum kuriozo haunv

Tum kuriozo zaleari, Mugeli judi talhar kori  ( 2)
Tuji judi talhar kori, Moga mhoji bhurgi noi re moti ( 2)
Sinalako ditam peru, Cecil voce quer eu nao quero ( 2)
maka naka tujem peru, dilear puro mogachem utoru ( 2)

Ago Cheddva
Ago cheddva, kateak laun uzo dhi go maka
Uzo dhilear tuka, mogheli Maim martoli maka

Rai Tolleant Sai Massori
Rai tolleant sai massori
Danddo marlo pittracheri

Danddo marlo to pittracheri
Uddon pollo chicolacheri

Lo, lo, lo, lo, re babu fhellunk ghela
Re babu fhellaunk ghela
Fulola fulancho mollo
Amghelea zonela
Amghelea zonela sokolo

Ia Ia Maia Ia
Aga mhojea render mama chodd ga maddari
Damnem folleari chol binaka
Dudnem samballi

Eh bai ikkli bai, eh bai tikkli bai

Ia ia maia ia, ia ia maia ia

Uddure Pakea
Uddure pakea marire zompoi piklelea perak ( 2)
Uddta pako marta zompoi piklelea perak ( 2)
Ho pako jem kaddita sukulele tauier ( 2)


Tollem sukolem, bhokem mhojem babddem re zalem
Tollem suktococh, bhokeak mhojea mannik melltolem
Mannik melltokoch, bhokem mhojem kazar zatolem

Tollem sukolem, bhokem mhojem babddem re zalem
Fator kisseigo, bokia tuka manik meutolem
Manik meutokuch, bokem mojem girest zatolem
Girest zatokuch bokem mojem ghontter  kortolem
Ghontter kortukuch bokem mojem tantiam galtolem
Tantiam galtokuch, bokem mojem matrem zatolem,
Lia, lia, lia, lia sambha lia, lo.

Bannaleachea Monti sokolo roddtai kole, choi, choi, choi
Kazar zainastana ulleai title pixear poddle,  choi, choi, choi

Mhojea Bar''borche ankvar chole
Kazar zake, choi, choi, choi

Kazar zainastana ulleai title
Pixear poddle, choi, choi, choi

Undra Mojea Mama
Undra mhojea mama, haunv sangta tuka
Mazorichea pilea laguim fhell manddinaka

Undir mama ailo, meza pondar liplo
Mazorichea pilean taka ekka ghansan khailo

Fugar Zata Kazraku Vocheako
Fugar zata kazraku vocheako
Baie tuka kitem kodta nachunko
Chimtte kaddlear, dumke marlear, chedva
Maink sangunaka gho

Maneri kensu kensari fulam, moghallu uttram
Xezra baban utor dilam, kazar zaunchem mullam

Cheddva go, cheddva
Horta kuxik kitem kortalem tinga

Maka mog gue fulancho
Dhubav bestoch korunakai choleancho

Moddgovam Touyager
Moddgovam touyager, touyager, mezo kela  redondo
Tacher ek cheddum nachota, cheddum nachota vankdem korunum benddo
Bailean ek paklo choita,
Paklo choita burkan galunu tonddu

Paklea tum kitem choita re, kitem choitre,
voch tum geunu tujem tonddo.

Ago Fulam Bai
Ago fulambai, fulambai, Fulamchem mhojhem bai ( fulambai)
Motte motte polkist fulambai, Tuka kiteak zai

Garse tuje dolle fulambai, Arxeant vochun polle ( fulambai)
Motte motte


Haunv Saiba Poltoddi Vetam
Choltam, choltam zali maka rati
Chukun chukun vatt( u) maka chukli

Haunv saiba peltoddi vetam
Damulea lognak( u) vetam
Maka saiba vatt( u) dakoi
Maka saiba vatt( u) kollona

Damulea mattuvant( u)
Kolvantancho khell( u)
[ voi voi voi ]

Aga tarya, tarya mama
Damulea mattuvant( u)
Lognak( u) vetam

Poirvadechea dongar
Muzzgo vazota
Ani muzzgachea sadar
Kolvont( u) nachota

Ghe, ghe, ghe, ghe, ghe, ga saiba
Maka naka go, maka naka go
Hem mhojea nakantulem notem, ghe ga saiba
Maka naka go, maka naka go
Him mhojea paiyantulim paiymzonam, ghe ga saiba
Maka naka go, maka naka go

Voilea voilea dongrar, udocu congrem
Udocu congrem zalear, naunv mhojem mogrem

Choieai re, choieai re
haunv dhekni nachtana

Haunv saiba peltoddi vetam
Damulea lognak( u) vetam
Maka saiba vatt( u) dakoi
Maka saiba vatt( u) kollona

Lyrics & Music of Mando: Inocenti Mujem Vido

By: Mestre Joao Antonio (Jantu)

Inocenti mujem vido/Inocenti amchem vido
Sacrificar kortam tuka,
Mujem kallizo re ugottam
Poilem entrad tuka ditam.
Papan, maman tuka vinchilolo

Mhaka Devanum nirmilolo,
To Devan nirmilolo,
Aji amim Sakramentu zoddilo,
Ekott sagrd amcho zalo!
Aji dissu re sucacho

Sorgari uzvadd noketrancho,
Beijo tuka ditam re mogacho,
Ulas ghalun sontosacho.
Sol do sol do,
Mim re mim,
Mogan bounya amim.

Courtesy: Bibliography: Souvenir of the 4th Centenary
of St John the Baptist Church, Benaulim (1596-1996).

A part of song by Alfred Rose:
"Amche Mae Bashek aiz pasun konne jivi dovorlea
Bavani, Voi tea Padrini, toxench (KONKANI) potrani,
tech porim tiatristani, tika mannkam motiamni
surngar korun dovorlea ghorib Goenkaranim......"

Magazine on Konkani cinema stage, films to be launched 

Courtesy: Navhind Times 

On the occasion of golden jubilee of Konkani cinema, a new half yearly magazine  entitled ‘Konkan Entertainment,’ dedicated to cinema, stage and music will soon  hit the stands, with a special inaugural issue covering the history of Konkani cinema, with stills from around 50 Konkani films.  The year 2000 is yet significant year for the people of  Konkan region, as the cinema in Konkani language has  turned fifty years old. 

The first Konkani movie Mogacho Aundo was released in  1950, produced under the banner of Etica Pictures (Exchange Talkies of India, China and Africa), by Jerry  Braganza, a native of Mapusa, settled in Mumbai, in the early forties and better known as the father of Konkani  cinema.  Mogacho Aundo, was based on the book Mogachi  Vhod, by Deoguinho D’Mello and had music by Alfredo Almeida, a well-known musician from Cuncolim. The film was directed by Jerry Braganza himself, who also acted in the film along with Lena Fernandes, Lewis M Ratus, James Braganza, Irene Amaral and Jacob Fernandes. It is sad to note that many Konkani films were abandoned half-way due to lack of financial assistance. Some of these important ventures were C Alvares’ Atancho Sonvsar,  GMB Rodrigues’ Sukhi Konn? and F Khaunte’s Amchich Chuk, which still remains incomplete.  

Over the years, there were around fifty films released in Konkani language, of which about thirty were released as video films or telefilms and around twenty were full length feature films, presented on celluloid. The last Konkani film of last millennium was RajaLaxmi films’ Bogsonnem, produced and directed by Richard Castellino, which was  earlier released in Mangalore and shortly to be released on the big screen, in Goa. 

(Gaspar Almeida) 
Courtesy: Navhind Times 

Konkani Bhasha Mandal stages documentary on tiatr at KA
Courtesy Navhind Times

PANAJI, March 31: Mr Tomazinho Cardozo, playwright and former speaker of the Goa assembly, inaugurating the  premier show of Tiatr and Tiatrist said the tradition of this form which is more than 100 years old should be preserved for posterity. The show which was produced by Konkani Bhasha Mandal (KBM) in collaboration with the department of culture, New Delhi, chronicles the history of the popular genre which has thrown up a galaxy of actors and directors. Mr Cardozo said the show will be a milestone in documentation of the cultural heritage of Goa. The premier show, staged at Kala Academi’s open air auditorium, was well  attended. KBM’s president Raju Nayak, noted singer Ulhas Buyao, KBM’s vice-president Dilip Borkar, general-secretary Sushant Kunkolienkar, Anthony Vaz, Jayanti Naik, noted tiatrists M Boyer, Roseferns and Wilmix were present for the inaugural function. Konkani tiatr has also contributed towards propagating the importance of Konkani language and has made a deep impact on Goan Society, said Raju Nayak in his inaugural address. He too called for preserving this history for the coming generation. Mr Ulhas Buyao said the tiatr is patronised both Hindu as well as Catholic communities, and as such it enhances social harmony. The function was compered by Jayanti Naik. After Tiatro and Tiatrist the history of tiatr from ancient zagor to the present-day tiatr and non-stop drama was staged before the audience in which stalwarts like M Boyer, Robin Vaz, Roseferns, Wilmix, Sharon, Jr Rod, H Britton, Peter D’Costa, Albert Cabral, John Gomes and other actors performed. The show was directed by Wilmix. Similar shows will be staged all over the state from Easter Sunday onwards. (Navhind Times)


The second Goa State Film Festival organised by the Department of Information and Publicity will be held at the Kala Academy - Black Box from April 7 to 10, 2000 and will be inaugurated by Chief Minister Sardinha.
In all, eight films will be screened, of which three are produced by locals and the remaining five by Doordarshan.

All are Konkani films and two will be screened daily. The best film will be awarded a cash prize of Rs 1 lakh,
while Rs 30,000 will be given to the second winner. Two cash prizes of Rs 15,000 and Rs 10,000 will be given for best direction. 

There are also several individual prizes to be given away. The total amount involved in the prizes is Rs 3 lakh.

The Grammy should come says Indian Pop Icon
By GLEN VICTOR / The Gulf Today

For Indian pop icon, Hema Sardessai,  sky  is the limit.  Not one to sit on her laurels,  Sardessai now has her eyes set on a Grammy  and if she does make it to that elite bracket, not just she,  but India will be proud of her. ``The Grammy has to come,’’ she says. I can do it and it will be God’s gift to me,’’she says oozing with confidence.  ``If  I could do it despite all barriers in Germany winning the Grand Prix there, why can’t I go higher?  I  dared to  be different and it worked.

I know  there could  be a few problem to face and I  am ready to break these barriers. I have faced such problems earlier and am trying to fight them. At Germany I was not expected to win.But I did,’’ she said.

A  versatile singer,  Sardessai  has performed in many languages.  That, she feels,  could  make it more easier for her to achieve her goal.  ``I could probably  win  the  Grammy with a Hindi song. It could be a song that the whole word would love and that they will remember,’’she says. Recently in Dubai(UAE)to perform at the Bollywood Express Show, the  bubbly  lady  showed  just why she was a household name in India.  Sardessai who has created a niche for herself in the pop world, has performed all around the world for a range of audiences,leaving an impression wherever she went.

But the most memorable event for her is undoubted-ly  winning the "German Grand Prix"  at  the 16th International  Pop Song Festival in 1989 with her song 'Against You Against Me'  sung  with another Indian pop star Remo Fernandes.  It was here that she earned the sobriquet Indian Nightingale. Representing India, she was the youngest of all the participants hailing from different countries. ``Here  I  was  loved  and accepted by the German audience at a very young age.This was the turning point of my career,’’ she said.

In  the same year, she represented India again at the International UNICEF Concert in Belgrade with other international acclaimed artists. On  the  threshold  of  releasing  her new album, Sardessai is all excited. `The album  should  be released in June. But we are still working on the title of the album.  All  the songs are so good, that finding the right title has become difficult,’ she says.

``In the earlier album, Piya Se Milke Aaye Nain, Hema was a playback singer. Here you  hear  her real voice. My image is of a bubbly, chirpy and fun loving person and here is Hema singing  for herself and not someone else’s voice,’’ she says.

The album is going to be different from the other albums she has released. ``The album features pop songs.It is all original variety trying to exploit every angle  of Hema’s voice,’’ she describes the album.

'Piya Se Milke Aaye Nain' was the highest selling Female Pop selling Album of 1999  and the highest selling in Dubai while 'Janam Samjha Karo' was the highest selling song in the Indian film industry.

About her  music, she describes it  as something which has a heart. `I won’t describe it as Godly music as it will be misunderstood,  but my voice is  basically  a gift from God, so I call it his Music. I am not very religious but God believing,’ she said. Sardessai, began her foray into singing from early  childhood. ``I used to sing aloud in the verandhas, a  typical feature of Goan houses, where I would disturb the neighbours. They would complain to my parents about the disturbance but yet they appreciated my voice,’’ she recollects. That was a small beginning. The rest as they say is history.

She can sing folk music,rhythm and blues,hip hop, fusion along with Indian classical & western pop with equal elan. So it is no surprise that a lot of newcomers now try to imitate her voice.

``It  takes  years  for people to settle down in this field But for  me  I  get the most pleasure when new singers begin imitating Hema Sardessai. God has made his mark,’’ she says.

(Courtesy: The Gulf Today)

Tiatr: Mirror of Goa
(Editorial in 'Herald')

The Konkani tiatr, a dramatic art form, unique to Goa has flourished and thrived for over a hundred years. Tiatr has been sustained entirely by popular support as it has never been extended any patronage and help either by the Portuguese colonial regime or successive governments in post liberation Goa.

The Kala Academy, which is the premier institution in the State for the promotion of performing art has historically ignored tiatr. The Chairman of the Kala Academy was present on the occasion of a function associated with the tiatr recently for the first time probably because the Chief Minister Francisco Sardinha, an avid tiatr fan was the chief guest. Not just the Kala Academy, but even institutions like the Konkani Academy set up with the primary objective of promoting Konkani language and culture has tended to regard tiatr as a low brew form of popular entertainment rather than a distinct art form. In the highly casteist Goan society, tiatr has been looked down upon as a popular form of entertainment of the lower classes. So much in the so-called elite sections of society tiatr is virtually looked upon as taboo and unsophisticated.

But this disdainful and patronising attitude has not affected the mass support to tiatr, which has made it commercially sustainable. Tiatr shows are invariably housefull particularly when a new tiatr is launched. Tiatrist have achieved a high degree of professionalism in recent years with elaborate sets, lighting and other technical aspects. But the success of the tiatr is mainly due to the fact that the themes chosen are topical and contemporary. What distinguishes the tiatr from other dramatic forms, is the songs on topical, burning, controversial issues that are interspersed through the performance. These musical interludes which are very satirical are independent of the main theme of the play. The songs are irreverent and gently or at times even savagely poke fun at the government. We recall that a long time ago when there were no Sulabh Sauchalayas along the Mandovi river, the government came out with an order threatening anyone who irrigated the Mandovi river side with harsh punishment.

In a tiatr we attended, soon after, the super comedian Jacinto Vaz was seen carrying a bottle explaining to the audience that it did not contain feni but was being carried as there were not urinals along the river front and he did not want to attract the wrath of the authorities. Call it crude or populist or low brew but the fact remains that the message is communicated most effectively in the medium that the masses can understand. Konkani tiatrist have been unsparing of public authorities and have consistently exposed their follies and subjected them mercilessly to ridicule. While tiatr has always relied a great deal on satire, it has most of the time been clean, good fun and there is almost never any malice. Tiatrist have always demonstrated a very high degree of social awareness. Most of the themes of tiatr are concerned with social problems confronting the people. Tiatrs have focused on the drug problem, alchoholism, the false sense of values of Goans who strike it rich in the Gulf, the fall in values that lead to the neglect of parents, the problems of inter-caste marriage and the like.

There is a very healthy sense of irrevenance in the themes and the dialogues in tiatr and the high and mighty including ministers and even priests. Initially the tiatr as a dramatic form was the exclusive preserve of the Christian community. But in the last two decades, several members of the majority community have written and staged tiatrs. Tiatrist have come from all sections of society. The former speaker and the Member of the Legislative Assembly from Calangute is a very eminent and successful tiatrist, who has won the first prize in the annual tiatr competition. Several priests, notably Fr. Freddie D’costa, editor  of the Roman Konkani magazine Gulab have written and staged tiatrs. Besides the regular commercial shows, tiatrs are invariably held to commemorate every church and chapel feast in the State. Though a popular entertainment form, tiatrs have always catered to the family. Though the dialogue can be very earthy it has none of bawdiness of the Marathi tamasha, which it resembles in many ways.

The inane Parsee bedroom farces which are so popular with sections of the elite in Mumbai are far more vulgar than the Konkani tiatr has even been or will be. As in the case of Hindi films, even mediocre tiatrs become popular because of the songs during the interludes, which are distinct from the theme but do not interrupt the narrative. The unfortunate part is that with rare exceptions, there has been a lack of innovativeness in tiatr. There has been little or no interaction between leading Konkani writers and tiatrist. Tiatrist have been reluctant to experiment. There have been very few attempts to adopt well-known plays in English or the regional languages to the tiatr form. We have always felt that the tiatr could be the ideal medium for musicals. The major obstacle to innovation and growth in tiatr as a dramatic form is a complete lack of official support. The fact that Konkani in the Devanagiri script was made the official language has also worked against the interest of tiatr.

The Konkani cultural bodies consider tiatr a low brew and have tended to ignore it completely. The fact that Pratapsing Raoji Rane has been the Chairman of Kala Academy and the fact that he has always had a strong bias towards Marathi, has gone against tiatr. The neglect of tiatr is unfortunate, as it can be used as a very powerful instrument of social change - particularly in building awareness on issues like health care and pollution . Tiatrs are a powerful means of mass communication and has to be harnessed. The unfortunate part is that the bane of tiatr, as indeed of every institution, is groupism and proverbial Goan crab mentality. When we sought to get the tiatrist together to celebrate the centenary of the tiatr, the initiative fell apart because of the discordance within the ranks of the tiatrist. Goan research scholars have not bothered to study this unique dramatic form. The only authentic research on tiatr was conducted by an outsider Dr Promod Kale, but his efforts are not widely known or reported.

Even the harshest critics of tiatr acknowledge that it was this dramatic form which kept the Konkani language alive during Portuguese colonial rule, when Konkani mai was suppressed. During the post-liberation period when the Maharashtrawadis were in power again, the tiatrists preserved and promoted the language. Tiatrists played a major role in the struggle to make Konkani the officials language of the State. It is a good sign that the present Chief Minister, who is unabashed about his love for Konkani has acknowledged the role of tiatrist in preserving and promoting Konkani. Francisco Sardinha has rightly noted that the tiatr is a very powerful tool of mass communication. Tiatr should be encouraged so that both the theatric content and the level of professionalism improves. The school of dramatics and music in the Kala Academy must conduct special courses for aspiring tiatrists. Tiatrists on their part need to shed their petty personal rivalries and come together for the larger benefit of this unique dramatic form, which must work towards new vistas in the new millennium. 
(Editorial in 'Herald')


On the occasion  of the Tiatr Day, the Kala Academy and the Goa Konkani Academy today felicitated noted theatre  personalities  Minguel  Jacob  Carmo  Luis Fernandes (Prince Jacob) and Transfiguracao de Jesu Cristo Rodrigues (Mike Mehta) for their outstanding contribution to the Konkani theatre. Speaker of the Legislative Assembly Tomazinho Cardozo, who  was the chief guest, also  released Tiatrancho Jhelo, a  compilation of Konkani tiatr by wellknown konkani writer, Felicio Cardozo.

TIATR REVIEW by sahrdaya

Political drama with a difference

Ghashiram Kotwal was performed in the capital on 12 June 1999 and is termed as a representative of the modern trends in Marathi and also Indian theatre. It is a fusion of the traditions of ancient India and contemporary technique. It was indeed a risky step, a true challenge taken up by the newly formed cultural group; Gomant Creations in selecting Ghashiram Kotwal as their first production. Hats off to the office bearers of the group for bringing together a congress of about 48 artistes from drama, dance and music field and keeping them together for two long months of vigorous rehearsals.

I think half of their success lies here, in arranging organising and maintaining the large group consisting of doctors, managers, accountants, engineers, professional musicians, government servants, college students, craftsmen, teachers, contractors and even personnel from the fire services.

The aim was to achieve a distinctive style while promoting experimental theatre movement and offering a platform to young creative talent. The style of the script by Vijay Tendulkar, demands a blend of opera, verse, movement and prose.

The play incorporates elements from all previous conventions, drawing upon the classical sanskrit tradition of Sutradhar or the Narrator performed by Venkatesh Naik and Narayan Desai while absorbing songs, dances and mime from various types of folk theatre.

The expressive quality of folk drama makes this play universal; with it's elaborate facial expressions, song, dance and symbolic use of stage techniques.

The scene of 18th century Peshwa regime has been evoked only through a dominating Ganesh cut out in fragments who was the diety of the upper caste brahmins of Pune. Beyond this solitary set prop, the decadence has been created through the motions of individual actors and the grouping, regrouping of a singing and dancing chorus of 12 brahmins.

Jayendranath Haldankar, conceived and directed the chorus to selectively shield and reveal visuals from the play and also used them as a barrier and sometimes like a frame to concentrate on the action within.

The director has been successful in using this technique to accentuate the impact of the production. An atmosphere of tension and relief was achieved through the insistent drumming and steady chanting of Mantras throughout the play, by this chorus.

It is difficult to create a blend of historical fact and dramatic fiction, set in the last years of 18th century Pune. Nana Phadnavis the chancellor ran the empire dominated  by the Brahmins under the Peshwa the hereditary Prime Minister.

The entire ambience was recreated in its smallest detail by the Costume Designer; Anagha Deshpande and the Make up artiste, Premanand Polle.

Costumes and jewellery were specially brought down from Sangli to maintain their authenticity. The maroon curtain used by the chorus dominated each frame of the play which they used as their costume and also as a representation of their ideology. It is with this same curtain that they flirt with Gulabi the dancer, pay respects to Nana, form the marriage pandal and even destroy Ghashiram at the end.

Mayuresh Vasta made use of a chorus of musicians to perform the songs and accompany the dances. He has composed a Lavani , Kawwali, Keertan a typical Naandi in its true essence apart from designing background music for the scenes. His music has been responsible to maintain the mood and the pace of the presentation. Goa has discovered a good music director in Mayuresh Vasta.

The sets and lights were executed by Dnynesh Moghe. The consistency in the colour combination of the set, lights and costume was well maintained. 

The excess use of the apron stage decreased the impact of certain scenes and this can be avoided. Ramakant Anvekar portrayed Ghashiram with a lot of energy but lost control over his voice which hurt the ears. Dr Ajay Vaidya has made the best use of his physique to portray the lusty, cunning Nana through his gestures and walk. He seemed to have a problem with his voice however.

Rest of the cast does not have much to do, but the entire crew was successful in enacting the play in a disciplined manner. The director, Jayendranath Haldankar should be congratulated for not letting any particular character or element overpowering the performance.

The group should look forward to present the play in Maharashtra because they have risked to deviate from the clutches of original presentation by the Pune group and also have done justice to the production in the bargain.
(Gomantak Times)

CM to open Great Music Festival at KA

From Our City Desk 

PANAJI, May 6: The Chief Minister, Mr Francisco Sardinha, will inaugurate the mega six-day Great Music Revival 2000 concert on May 15 at the Kala Academy, Panaji.

Mr Nandan Kuchadkar, president of the youth wing of the Goa People’s Congress Party will be guest of honour while a host of dignitaries and industrialists will attend the concert.

The Great Music Revival 2000 will be spread over six days, culminating on May 21. The first three days of the live music action is being held in Panaji, while for the first time the South Goan music fans will be treated to a music extravanganza during the last three days of the concert, at the Benaulim Beach.

The Great Music Revival 2000 concert event which is being sponsored by The Navhind Times, Coca Cola, Fundacao Oriente, Hathi Mahal, Belo and UVI Holiday Homes, will be covered live by the FM Radio.

According to Resonance, the event management agency, plans of the GMR 2000 concert will be out by May 10, and seasonal as well as daily tickets will be available at Champs (Panjim and Mapusa), Kala Academy (Panjim), Infataria (Calangute) and at Kichenette and Bookmark (Margao).


Nothing is more characteristic of the spirit of Goa than its  traditional forms of theatre. In more recent times, however, a lot of pioneering and experimental work has been done,  giving the theatre movement a new direction. (CHAMAN AHUJA on the multiple streams of Goan theatre
- courtesy: The Hindu)

WHAT is it that flows down the Mandovi river? Certainly  not just water; more like elixir that fills people with joy. Whatever the cause of this exuberance, it is unique. Every day, they say, is not Sunday; but the Goans are ready to make every day a festival. On festival days, they sing, dance, drink, play music, and do theatre. It is not without reason that outside every temple, there is a performance space and, on an average, three to four thousand plays are presented every year in the streets and villages of Goa.

Whether it is music, dance, drama, folklore or painting, their creative urges are rooted in a rich and varied cultural heritage. Wedged between the Arabian sea and the Western Ghats, sandwiched between Maharashtra and Karnataka, Goa has a cultural tradition that is a unique mix. Inhabited at different times by diverse racial stocks - Proto-Australoid, Dravidian, Aryan, Sumerian - and ruled over by Bhojas, Shilaharas, Rashtrakutas,Kadambas, Vijayanagar rulers, Adilshahi and finally the Portuguese. Goa has had a chequered history spanning 2,000 years, and every phase has added lovely shades to its cultural chiaroscuro. No wonder, here folk music and dances of many types have coexisted, coalesced, and yielded new forms and formats. In this melting pot, neighbouring cultures might have contributed in small measures but, thanks to the geographical and political isolation of Goa, its culture has retained an exclusive character.

The Portuguese component, stands apart because it is both foreign and recent. Anyway, it has not only added to the cultural diversity of Goa but also lent to its arts a unique identity.

The Goan synthesis of cultures manifests itself in so many ways. Mando is a form of singing in which Goan folk music and church music stand mixed; what is more, the singers wear Kannada costumes, including typically Mysore turbans. Likewise, in the folk dance of Dekhni, to the accompaniment of Western music, Christian girls perform a dance that has gestures drawn from Bharatnatyam and Kathak. Khela, too, appears to have been influenced by Yakshagana. On the other hand, in North Goa, a martial dance called Godhemodani recalls a Maharashtrian connection because the dancers don Peshwai Puggrees; so does the Fuggdi dance that is associated with Ganesh Chaturthi. Gujarat comes to mind in Goph and Tonyamel, which are performed in the Kala festival associated with Krishna, because of their similarity to Garba and Dandya-ras, respectively. The spirit of Holi has found its way into the Goan culture through Shigma and even the carnival appears an extension of that spirit. Although Krishna appears to have a greater hold on Goa, Rama is not totally absent: Ranamale is a form of Ramlila.

Nothing could be more characteristic of the Goan spirit than their traditional theatre forms - the way their performances have got tagged to specific festivals. For example, the dance-drama Jagar is part of the festival connected with the deity Jagaryo, and after the night-long performance, a certain character goes from house to house to collect offerings. Perani Jagar (comprising, dance, music, prose and verse dialogues) presents the creation of the world - how Vishnu, after destroying demons, used their flesh to create the earth. Here performers wear the masks of the characters (e.g. horse, tiger, Adimaya, the ultimate Mother) and the use of white curtain reminds one of Yakshagana.

It is this composite culture that the Kala Academy created to promote and develop through research, documentation, archival activities, training centres, incentives, awards, exchange programmes, etc. In the pursuits of its aims, the Academy has created the Faculty of Indian Music and Dance, the Department of Western Music, the School of Theatre Art, a library with rich collection of not only rare books on literary, visual and performing arts but also musical tapes, spools and cassettes, even as its archives of heritage has an art gallery as well as a treasure house of the works of great Goan masters. But what makes the Academy unique is the fact that its beautiful complex (designed by Charles Correa) has a number of performing spaces, open and indoors - including a 1,000-seat Dinanath Mangeshkar Kala Mandir, 2,500-seat open-air amphitheatre, a rehearsal hall, and the small Black Box studio theatre for musical concerts and experimental plays.

Besides presenting plays by the School of Drama and its part-time repertory, Rangamel, the academy organises competitions every year at several levels.

All activities of the Academy have helped Goan theatre to grow, but for the pivotal role, one must turn to the School of Theatre Art which is being run on the lines of the National school of Drama. Besides giving students a sound training, exposing them to the latest trends and techniques, it has done a lot of pioneering and experimental work, giving the theatre movement a new direction, made the audience quality conscious, and added to the Marathi and Konkani theatre, the stream of Hindi theatre.

Goa is today the first Indian state where theatre is taught as a subject at the higher secondary level. Whether by chance or by design, the faculty of the School is well equipped for the kind of multi-cultural theatre it is promoting. While, the Head, S. B. Josalkar, hails from Maharashtra and Padmashree from Karnataka, Afsar Hussain is from Rajasthan and carries with him the experience of work with Badal Sircar, Peter Brook, and Richard Schechner. No wonder, in the very first decade of its existence, the School has produced such classics as Andha Yug, Adhe-Adhure,
Ashadh Ka Ek Din, Pagla Ghora, Evam Indrajit, Hamida Bai Ka Kotha, Charan Das Chor, Mahabhoj, Siri Sampige, Urubhanga, Ek Shoonya Bajirao, Thank You Mr. Glaad, Medea, Adamkhor, A View From The Bridge, Sayyan Bhaey Kotwal - besides creating collages of the works of Mohan Rakesh, Vijay Tendulkar, and post-Independence Indian plays dealing with women.

Hindi theatre has started caught the imagination of the people but is yet to attract Goan artists. Outside the School, the mainstream theatre continues to be in Marathi and Konkani. Marathi theatre has been there for ages because the Hindu Samaj of Goa, treating Marathi culture as its own, invites professional companies from Maharashtra to present mythological and historical plays. After Goa's  independence, the local Marathi speaking youth began doing plays that dealt with their lives - an urge that was spurred by competitions of Marathi drama by the Kala Academy and Marathi Natya Samarohas by the Marathi Academy. Today, Marathi theatre is fast picking up on stage techniques and productional values.

The greatest beneficiary of the new factors of training and facilities is, however, the Konkani theatre not only because of incentives and patronage from the Kala Academy but also because of the general feeling among the people of Goa that Konkani has to be the vehicle of their cultural aspirations. Originally, Konkani theatre had just skits but after Liberation, there was a spurt of translations, adaptations and transcreations before the original plays came to be written - one-act pieces to begin with and full length plays later by playwrights such as Pundalik Narayan Dande, Pundalik Narayan Naik, Dattaram Bombalkar, N. Srinivas, Prakash Thali, et al. Indeed, within a few decades, Konkani theatre has come a long way.

The most popular theatre of Goa available all the year round, especially on weekends, as also the only professional theatre run on tickets, is Tiatr which is so typically Goan that it has come to be identified with the land. Of course, it was the Portuguese rulers' contribution to the culture of Goa, precisely the way the proscenium theatre in India was a gift from the British rulers. Some people believe that tiatr is a cross between Italian Opera and Jagar but that is true of the Goan tiatr as it evolved on this land. The original tiatr - as the Spanish name signifies - originated in Italy in the 18th Century at Milano, as street theatre. In 1891, the first Indian Tiatr, "Italian Bluroga" was presented in Bombay by a Goan. During the last hundred years, it has not only grown in popularity but also acquired a typical fomat of its own. Patronised by working class Christians, it is now a cocktail of local folk music and western music. The overall objective of tiatr being entertainment, the show approaches the spirit of a variety programme. As a story progress leisurely, there are plenty of comic interludes interspersed with solos, duets and choruses of all sorts - some romantic, some farcical, some satirical. This side show may or may not have any thematic link with the plot; when it has, it is called khel tiatr.

Earlier they used to have live music, Indian percussions, and stringed instruments; now it has drums, trumpets, sexaphone, guitar, clarionet - the music loved so passionately by the Goans. The start of the performance is announced not by ringing a bell but by playing on the band. Of course, play starts with music - with a Christian prayer, music is used also to highlight an entry, an exit or an aesthetic moment, but there is music galore between one scene and the next. When a song clicks with the audience, their whistling brings the singer(s) back to offer more, and still more, a la encore. Interestingly enough, in a tiatr performance, although a lot of food-tapping goes with music, there is hardly any dancing as such. In a sense, a tiatr show is more of a musical programme and its aesthetic or artistic values as a piece of theatre are marginal.

The music element is so strong that the quintessential quality required of a performer is the ability to sing well. Acing-wise, tiatr is nor really exacting because most of the time, to play stock characters in an exaggerative style, one has to keep standing, approach the mike to deliver one's lines, and then go back. There is no attempt at blocking or composition, no effort to get into the skin of the characters and emote; demanding no subtlety, overacting is all. In the same vein, stress is on glamour rather than on realistic make up; no wonder the performers do their own make up - even their own costuming in which, naturally, motivation lies in showing off. And all this on a stage where acting area is only a few feet wide. It is a flexible stage, of course, with three to four curtains that determine the areas for specific locales. For example, most of the singing is done in front of the first curtain - at times when the stage is being set rather visibly for a scene before another curtain. The second curtain  signifies a path, the third one (now almost gone) assumes a garden, the last one being the area of the main set. In the presentation of "Mhojem Durig Tujea Bhattant" (Your Fence in My Property)" by C. Alvares, the set had a three-story building that changed instantly into several locales through the manipulation of cardboard structures within the frames. In a jiffy, the whole perspective would also change in respect of the background or the foreground - a fenced field, tall trees, mountain view, etc.

Usually tiatr plays are about family life and have six to seven scenes; always they end on the happy note of reunion. Of course, there are no printed texts and each production has to have a fresh script which is the responsibility of the director who is also the main performer. All is said and done, all the productions are similar in tone and tenor. At best, the story is an excuse for musical embellishment. For a theatre goer interested in story, drama, food for thought, catharsis or rasa, there is not much; and the recent trend to fill the intervals with advertisements as in movies may get on his nerves; but for a typical Goan, it is an experience for which he is prepared to pay anything - a tribute to his passion for music and entertainment.

Whether or not Tiatr will be able to meet the challenge from the electronic alternatives, only time will tell. Anyway, it is time the lovers of tiatr put their heads together to experiment with the possibilities of enriching it and ensuring its survival. Though the professional groups do not appear keen or even ready for experiments, things have started happening. In the tiatr competitions organised by Kala Academy, new trends have been in evidence: recorded music is becoming more popular, playwrights have started creating scripts, and trained graduates are appearing on the scene. This could mean a revolutionary transformation of tiatr and emergence of an arty brand of musical theatre with India-wide market; but, for all one knows, this might kill the spirit of tiatr and hasten its end even in the land of its birth.

Hopefully, a wag was being prophetic when he quipped, in another context, that Goan tiatr meant go-on theatre.
(Gaspar Almeida)

Eric Ozario Performs 'Bosnni' in Kuwait

Under the leadership of renowned Konkani activist,historian, musician, composer, and orator, Eric Ozario, a 5 member troupe recently toured the Gulf to awaken the Konkani people about the dangers lying ahead for their language and heritage. This troupe consisted of Eric Ozario, his wife Joyce - both singers, college going guitarist son Ritesh, violinist Sunil Kumar and Damodar Kumble on Tabla. From last week of November 1997 till first week of December
1997 they were in Kuwait. During their performances called "Bosnni" which means in Konkani they squat on the floor and the director of the troupe Eric gives discourse and along with his wife with her melifluent voice sings melodiuosly some of the most beautiful Konkani Mandos, Dulpods, Dekhnis, solos, duets and other Konkani traditional songs which evoke nostalgic feelings of Konkani heritage and culture. They have already performed hundreds of performances - Bosnnis - in the countries where they visited and during their stay in Kuwait from 24th of November every evening they regularly performed in the homes of Konkani lovers. They were helped in this mission by Mr. Francis Sirur who is one of the strong men of Kuwait Canara Welfare Association.

Eric Ozario is  doing unique sacrifice for the protection of Konkani language and Konkani culture. In order to take up this challenging task he first resigned from his 17 years lucrative job in the Bank in Mangalore and not only he, along with him his beautiful wife, college going son and medical student daughter are also involved in aligning with Eric to further the cause of Konkani and its culture. The entire
family of Eric is doing enormous sacrifices in this direction. In February 1997 he undertook a 100 days Yatra - Tour - in Mangalore covering on foot thousands of miles and visiting 1036 houses explaining every house the importance of protection of Konkani and its culture. Moreover, in every house he entered he kept there a lighted "Divlli" symbolizing Konkani heritage. Similarly along with his troupe he undertook one more Yatra covering some thousands of kilometers from Delhi to Trivandrum and Mangalore to
Madras and enacted 75 musical performances. When the first World Konkani Convention was held in Mangalore 2 years back, Eric Ozario played a good role for its success. As a composer up to now he composed over 1000 songs, produced 12 Audio Cassettes and performed number of Konkani shows on Bangalore TV.

Being an scholarly figure, one of his colleagues studying with him in the College said that he was the most brilliant student throughout his academic career, may be precisely because of this brilliance, he embarked on the brilliant task which is normally beyond the imagination of ordinary Konknni Ladru and Pedru. Another colleague who was working with him in the Bank said that if Eric had not to resigned from the Bank, today he would have been one of the topmost personality in that Bank bringing enormous financial benefit for him and his family.

On 5th of December on behalf of Kuwait Konknni Kendr (KKK), Eric Ozario and his troupe performed their show at Abbasiya at 6.00 p.m. at the residence of one of the members of KKK, Agnelo Fernandes (Royal). The show was attended by the capacity elite Konkani supporter Goans who enjoyed it to their brim. In fact I myself have never seen such a performance earlier done by any Goan or Konknnnivadi. The show was unique in all respects, it was very entertaining, very interesting, very humorous, very lively, very philosophical, every attendee was kept spellbound throughout one hour and fifteen minutes duration of the show.

In his discourse, Eric mocked at the inferiority complex Konkani people from Goa and Manglore are suffering because of their ancestral 'hoi polloi' characteristics. He expressed his sorrow over those Goans and Mangloreans who are
settled in USA-Canada-London and elsewhere and who are totally lost to Konkani and Konkani culture. He accused those parents who denied and deprived their children of their cultural and linguistic heritage.

A. Veronica Fernandes

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Prepared & Presented by
Goa-World Team (Kuwait)