A CHRONICLE OF KONKNNI CINEMA

FROM MOGACHO ANVDDO TO MOGACHI ZHOR…
A CHRONICLE OF KONKNNI CINEMA

By Walter Menezes

After Vozram, a treasure trove of Konknni adages with English interpretations,
Isidore Dantas’ second book on Konknni Cinema will be launched in Goa today.

Ten years ago, an article on Konknni Cinema appearing in a newspaper caught Isidore Dantas’ attention. Not satisfied with what he read, the Pune-based Goan writer was soon on his feet, determined to dig deeper and set the record straight. Ten long years later, his search was complete: Konknni Cholchitram, a 276 pages rich, hard-bound chronicle of 31 Konknni celluloid films, funded by George Pinto & family and sponsored by other Goans whose names are duly acknowledged, was released during the 10th Anniversary Celebrations of Goa Sudharop on April 4, 2010 in California, USA.

The first Konknni film, "Mogacho Anvddo" was screened on April 24, 1950. Collecting information spanning a period of 60 years may look easy to the eye but the task was daunting. Oso sod ghetana sabar oddchonneo dolleam mukhar aileo (I encountered many obstacles in the process), Dantas discloses in his preface, Mhojem Utor. From Doordarshan in Mumbai to National Film Archives of India in Pune to many producers, his journey ended in dead-ends. Even records of old songs were difficult to find at the Akashvani offices in Mumbai and Panaji.

Inspite of all these odds, Konknni Cholchitram stands out and not only provides various information on the films listed in the book in easy and lucid Konknni but includes 269 photographs, some rare, and lyrics of 109 songs with as many as 85 of them complete with kantaranchi surlipi (music notes).

Konknni Cholchitram sets off in earnest with Mogacho Anvddo, the first film ever to be made in Konknni. Produced and directed by Al Jerry Braganza (Antonio Lawrence Jerry Braganza), Mogacho Anvddo was based on Dioguinho De Melo’s novel, Mogachi Odd with Al Jerry himself playing the lead role opposite Leena Fernandes, then working as a telephone operator / receptionist in United Artists, an American company in Mumbai. Presented by ETICA (Exchange Talkies of India, China and Africa), the film was simultaneously released on April 24, 1950 at Mapusa’s Dashrat Cinema, Matunga’s Rivoli and Star in Mazagaon.

April 24 is celebrated as Konknni Cinema Day every year but the Day and the Father of Konknni Cinema, Al Jerry Braganza are, on many an occasion, sidelined and forgotten. A week after the curtains came down on the 4th Konknni Film Festival in May 2008, Tomazinho Cardozo writing in Vavraddeancho Ixtt (June 7, 2008) made a candid observation, “... puroskar vanttni hea dobajea vellar nodrek ailoleo kaim chuki. Survatekuch kariavollicho sutrdar vo ‘compere’ hannem thoddkean cholchitracho itihas sanglo. Bharotantlo vhoddantlo vhodd cholchitrkar sorgest Dada Saheb Phalke hanchem porian nanv ghetlem. Punn Konknni filmanchea itihasachi matui khobor kelina. Konknni cinemachea itihasachi taka mahiti asa vo na hoch mhaka dubhav poddlo (…and some mistakes which were noticed during the presentation ceremony. The compere, at the start of the function, gave a brief history of cinema. Even late Dada Saheb Phalke, one of India’s tallest film personalities, was acknowledged. But no mention was made of the history of Konknni cinema. Was he even aware of the history of Konknni cinema? I had my doubt).

It would take another 13 years before Frank Fernand produced the next Konknni film, Amchem Noxib in 1963 and followed it up two years later with Nirmonn. So successful was Nirmonn (awarded Certificate of Merit by Central Govt.) that a Hindi edition, Taqdeer soon rolled out with Shalini Mardolkar playing the lead role in both the films. It is said that this movie was dubbed in seven other languages: Telugu, Kannada, Tamil, Malyalam, Bengali, Assamese and Oriya. (Source: 50 years of Konkani Cinema edited by Andrew Greno Viegas, Vol I, Issue I, 2000). Some of the songs from these two films like Mollbailo Dov, Claudia and Nhid Mhojea Bai still do the rounds at Goan get-togethers and wedding receptions.

From 1966 onwards, there is a marked change with Konknni films making their presence felt at regular intervals not only in Mumbai and Goa but Karnataka as well. Sukhachem Sopon (1966) is followed by films like Mhoji Ghorkan’n (1969), Kortubancho Sonvsar (1970), Jivit Amchem Oxem (1972), Tisri Chitt (1973) and two films in 1977:Boglantt and Mog Ani Moipas (remember Konknni Kogull Wilfy Rebimbus’ unforgettable song, Mog Tuzo Kitlo Axelom sung by P B Srinivas?)

For lack of space and no other reason, I will randomly sift through the remainder of 21 films which makes Konknni Cholchitram at once out of the ordinary. From K G Nayak’s Toposvani and Dr K Ramesh Kamath’s Jana Mana to Prince Jacob Productions’ Padri and Rajendra Talak Creations’ Aleesha, Ontornad and Sawariya.com, Dantas takes the reader through the finer details of the films, including its cast and cost and lyrics and locales. There are others, too. Like Dnyaneshwar Moghe’s O Bai, Sanjeev Prabhudesai’s Sudd, Tiburcio Fernandes’ (T-Bush) Black Nhesop Fashion Atanchem, Fatorda MLA Damodar Naik’s Zagor and of course, Laxmikant Shetgaonkar’s much acclaimed film, Poltoddcho Monis.

Not many will know that the hymn, Sogott Sangata Melliam sung during the house-to-house visit of Mother Mary’s statue is actually a creation of Wilfy Rebimbus and finds place in Dr. Richard Castellino’s Bhogsonnem. Similarly, the story of Muthu Krishan Das’ film, Girestkai (1983) drew its inspiration from Lambert Mascarenhas’ Sorrowing Lies My Land. “Tantunt tontrik dox aslolean, tem borem cholunk pavunk na. Tem porot dub kelear taka boro protisad mellunk xokta (There were technical faults, reason why the film did not fare well. If it is dubbed again, it can get a good response),” observes Isidore. Is anybody listening?

Finally, it is ‘The End’ of Konknni Cholchitram with Sucorina D’Costa’s Dumiana Niagara Motion Films and Bonifacio Dias’ BV Films joint venture, Mogachi Zhor screened in Goa and Niagara in the last week of December 2009.

With a list of personalities from the Konknni community who have enriched Indian cinema in various spheres and a glossary of difficult words explained, Isidore Dantas’ chronicle is a glowing tribute to the fraternity of Konknni Cholchitram.


[This article first appeared on Gomantak Times dated 21.09.2010 - the day 'Konkani Cholchitram' was officially released in Goa under the auspices of Goa Sudharop - USA, www.goasudharop.org]

RAISING THE CURTAINS ON SCHOLASTIC WORK ON TIATR

RAISING THE CURTAINS ON SCHOLASTIC WORK ON TIATR

- By Dale Luis Menezes



The brass band (accompanied by a few electronic instruments today) strikes up for the third time. The auditorium fills with the vibrations of wind and percussion instruments. The curtains rise to reveal a suited man, wielding a mike, he paces the stage. The backdrop painted to resemble a garden or a park. Thus begins a tiatr, familiar and cherished by many Goans. Most of us are acquainted with this scenario, but what about the history of tiatr? Many of us don’t know much. As for me, I vaguely remember a Konknni textbook chapter in the VII standard highlighting a (brief) history of the tiatr.

ABOUT THE BOOK
But I encountered a welcome light on this vibrant and most loved Konknni drama in the form of Dr. André Rafael Fernandes’ researched book When the curtains rise…Understanding Goa’s Vibrant Konkani theatre. Dr. Fernandes reveals the history of tiatr: its birth and maturity, the challenges it faces and the numerous personalities (past and present) who have contributed to enriching this uniquely Goan art form. An interesting feature of this book is the exhaustive list of present day tiatrists given at the end of the book. Although the tiatr is 118 years strong and though roughly ten shows of tiatr are held every day in Goa, Dr. Fernandes cautions us about the onslaught of more glittering multimedia like cable and television making serious dents.
This book is important because it has given tiatr some (much needed?) legitimacy in the scholarly word. Dr. Fernandes traces the development of theatre in Goa. Theatre in the medieval times in Goa was mainly in the Portuguese language and themed on enacting the biblical scenes. The College of St. Paul’s took the lead in organizing plays in vernacular language in Goa.
Dr. Fernandes traces the origin of tiatr to the traditional khells/phells/fells and zagors performed in Goa from time immemorial. This khells traveled to Bombay with the immigrants and it is here that the tiatr was born. Exactly how the tiatr was born, I leave it up to you to find out (in the book)! Tiatr took birth due to the efforts of Lucasinho Rebeiro and João Agostinho Fernandes, who were disgusted by the vulgarity and ‘washing-the-dirty-linen-in-public’ attitude of the zagors. A history of theatre of Bombay is also traced to buttress the point as to why Konknni tiatr had to begin in that cosmopolitan city.

THE MUSIC AND TIATR
How can any Goan activity or festivity be complete without music? This reality comes forcefully to the fore, as the Goans’ love and mastery for music had a major role to play. A large part of tiatr (past and present) contains music and song. Tiatr (and Goan musicians) did benefit from the parochial music schools set up by the Portuguese as well as the more traditional forms of ovis.
Dr. Fernandes tells us about the various famous musicians of Goan extraction, who were sought out by the many bollywood producers and starred hotels in Bombay. Although the Goan musicians had a large part to play in Bollywood and the jazz scene of Bombay, they were sidetracked as mere ‘arrangers’, lements Dr. Ferrnandes. More terse and blunt words in the context of this injustice would have been welcome.

WOMEN AND TIATR
The single greatest contribution of tiatr, in my opinion, is the admittance of women on the stage. Regina Fernandes (wife of João Agostinho Fernandes) became the first woman in modern history to appear on stage, preceding Marathi, Bengali and Gujarati theatre by twenty-seven years. This means that Konknni tiatr was far ahead of its time. It had brought in social reforms, which were easily accepted by the conservative masses. Batcara I was the play in which Mrs. Regina Fernandes made her historic appearance.
Dr. Fernandes does not dwell on this subject for much long, mentioning it only cursorily. What I was hoping for was a rigorous assessment of this situation, perhaps even a full chapter, was called for. If Mrs. Regina is the first woman to appear on stage at a time when women appearing on stage were frowned upon then isn’t she a role-model deserving recognition not only from Goans but also from the whole country? We should also not forget that in the same play, two other women had accompanied Mrs. Regina on stage: Mrs. N. Gomes and Mrs. Carmelina Fernandes.

CRITIQUE ON JOÃO AGOSTINHO’S PLAYS
Dr. Fernandes analyses the plays of João Agostinho with keen understanding and finesse. João Agostinho is important in tracing the history of tiatr as he has been rightfully called Pai Tiatrist (Father of the Konknni tiatr). In plays like The Belle of Cavel, Batcara I & II and Kunbi Jaki, Dr. Fernandes paints a mental picture of João Agostinho. Pai Tiatrist had vociferously opposed casteism and alcoholism. His plays always ended with a moral or homily (a hallmark of tiatrs in those times).
Dr. Fernandes informs us about the deeply sensitive and honest personality of João Agostinho. He showed empathy to the sufferings of the poor. He can rightfully be also called as a social reformer. João Agostinho published some of his plays, something that most of the tiatrists have not done. In fact Dr. Fernandes complains about the lack of documentation of tiatr. So tiatrists heed the advice of Dr. Fernandes and start publishing your work!

AN OVERVIEW OF THE BOOK
Dr. Fernandes divides the tiatr into three phases of development: 1. The Early Phase (1892-1930s); 2. The Golden Phase: a. 1930s-1961, b. 1961-1970; 3. The Contemporary and Non-Stop Tiatr Phase. This is a novel idea as a simple taxonomy puts the development of tiatr into proper perspective.
The chapter about the challenges of today that the tiatr faces, it seems, is hastily written. Dr. Fernandes has also kept out the perceptions of Hindus regarding tiatr as well as the Catholic view or perception about the nattok. It is an open secret that one community does not view the art form of the other community favourably. The thesis is confined to a few present tiatrists’ views and opinions, an extensive survey (through questionnaires or interviews) would have enriched the same.
Nonetheless, this book will be an enlightening read to all tiatrists and tiatr enthusiasts. One only hopes that this book will raise the curtains on further scholarly works on this dynamic and vibrant art form of Konknni theatre.



Name: When the curtain rise… Understanding Goa’s vibrant Konkani theatre
Author: Dr. André Rafael Fernandes
Published by: Goa 1556, Saligão with support from the Tiatr Academy of Goa
Price: Rs. 195/- (in India)
ISBN: 978-93-80739-01-4


Note: First published in Gomantak Times, dt. 13 August, 2010.

In the article published in GT, there was an error in the title of the book.
Instead of When the curtains rise… it read As the curtains rise… The error is regretted - Dale Luis Menezes.

DESH BHAKTI, DESH SHAKTI

DESH BHAKTI, DESH SHAKTI


15ver Agostachea 2010 DESH BHAKTI, DESH SHAKTI hi kariavoll

ghoddun haddlea. Tantum Kepemche kovi ani borovpi desh-bhokticher apleo kovita sadar kortole. Heo soglleo kovita ekttaim korun heach disa pustok rupan uzvaddak yetoleo.

Tech bhaxen bhurgeam khatir Fancy Dress (vixoi: suttke chollvollintle amchea desache fuddari) ani Inter-School Patriotic Singing Competition astolem.


Walter Menezes
Kepem, Goa


[Exclusive to goa-world.com]

Story book for children ‘One eyed Ogre and other stories‘

Story book for children released

APRAJITA AND NIVEDITA

BANGALORE: A unique book for children ‘One eyed Ogre and other stories‘ was re-leased at the Catholic Club, Bangalore on Friday.

The book has been authored by Marianne Furtado De Nazareth, a journalist and academician and published by ARC Publications

Releasing the book Fr Am-brose Pinto, Principal of SJC said, “There is a child in each one of us. We need to be a child to get the creativity out of us.
“ If we read this book we will discover how imagination and creativity have been conglomerated in this book.”

Addressing the gathering, Marianne De Nazareth, the author said, “The stories were written over a period of time. I took over three full years to illustrate them.
“I am extremely grateful to my parents who inculcated the passion for books in me at a very young age.”

Penny Abraham, Vice Principal of the Canadian School, Bangalore said, “The stories in the book not only appeal to children but also appeal to the child in every adult. Personally I loved them a lot.”

Children enacted these stories with great motivation and enthusiasm.. Parents were de-lighted with their children’s performance of a couple of sto-ries in the book. Bhavani, a homemaker said, “One can easily relate to the stories, as we were told similar stories by our grandparents.

“These stories are written in a simple language which makes it more interesting.”

Various programmes like story enacting by the children, group dance and juggling added to the excitement and color to the event.

Francisco Sardarha, who is the President of the Catholic Club and R.V Pandit, a film maker, were also present at this event.

Courtesy: The Beacon. 27 July, 2010.



--
Marianne Furtado De Nazareth is a:
Fellow with UNFCCC, UNEP & Robert Bosch Stiftung
Former Asst Editor- The Deccan Herald
Freelance Journalist
Adjunct faculty St. Joseph's College & COMMITS
http://mariannedenazareth.blogspot.com/

The author can be contacted via email: mde.nazareth at gmail.com

- Forwarded by Dale Luis Menezes.


Other links:
http://groups.yahoo.com/group/gulf-goans/message/3906
http://archive.deccanherald.com/Deccanherald/feb152004/artic6.asp
http://mariannedenazareth.blogspot.com/2010/05/torino-turin-shroud-and-science.html

A THINKER TRANSLATED: Noted son of Goa made available to its people

A THINKER TRANSLATED:
Noted son of Goa made available to its people

By Dale Luis Menezes

Writings on Goa – in any language English, Konknni or Portuguese – are seldom popular and discussed or debated. They are published, they adorn the bookshelves of Goa’s scant bookstores for a while and eventually they are forgotten and if Goa’s history is recorded in Portuguese then we should consider it lost owing to the meager translations and the lack of command of Goans in that language. The reasons for such misfortune are many and varied; this however, is not the place for their enumeration or discussion. The fact that I am reviewing a book published in 2007 should be a case in point.

ON FANCHU LOYOLA’S WRITINGS
It was a few months ago that while in Panjim, I picked up a copy of José Inácio Candido de Loyola alias Fanchu Loyola’s essays titled Passionate and Unrestrained translated by journalist Alexandre Moniz Barbosa. Personally, I had heard of Fanchu Loyola as someone associated with Goa’s freedom struggle but anything more; I was blissfully unaware. Fanchu Loyola wrote in Portuguese – a language in which he had mastery and fluency. He was an outspoken and fierce critic of the Portuguese government – the one under Salazar especially. He was arrested and incarcerated in Fort Peniche jail in Portugal for fifteen years.

The writings of Loyola reflect problems society faced such as alcoholism, casteism and corruption. Reading through his essays, one gets the impression that what really bothered Fanchu Loyola – apart from the corruption in the administration – was alcoholism and casteism: evils that still plague the Goan society.

The essays are divided in two parts: Socio-Religious and Socio-Political. In the former section, Fanchu Loyola’s essays are deeply rooted in Catholic teaching. However, he was not communal but rather advocated the universal principles of love and brotherhood (enshrined in Christianity as well as other religions). It was also interesting to read his musings about the Universe – its origin and purpose. I should particularly mention one of his essays on the New Year’s Eve where he personifies the “Old Year” as an old man who walks into his office and when the clock strikes twelve (the New Year) the old year vanishes into thin air. The old man is a gentleman (of British temperament, to borrow Fanchu Loyola’s words) and cordial; he makes Loyola realize the importance of Time. In this essay Loyola displays innovation and imagination.

He also shows a deep understanding of such abstract concepts like happiness and renunciation, humility and charity and the like. He was a seeker of truth; he wanted to know the mysteries of the universe. He had a deep love and compassion for the poor. More than anything, Fanchu Loyola has to be singled out as a social reformer.

In the Socio-Political section Loyola is as eloquent as in the Socio-Religious one. He never hesitated to take sides in the elections of October 1926, as he asked the people to elect Mr. Mariano Martins over Mr. Prazeres da Costa. Fanchu Loyola also expresses some terse and stern views on the Press Laws and the colonial politics. He minces no words in pointing out the flaws and short-comings of the Portuguese administration.

ON BARBOSA AND THE TRANSLATION
I must confess that my first impulse in picking the book off the bookshelf was not so much due to the indomitable personality of Loyola but because it was a translation of a potential supplement to the history of Goa. As a person interested in Goa’s past (and a student of archaeology also), I regret for not being able to read the voluminous records left by Portuguese, who were arguably the best record keepers in this country. Many a time, a (present day) historian of Goa is left at the mercy of an English translation of a Portuguese record.

The reason why Alexandre Moniz Barbosa should deserve our praises and approval is because he has used his fluency in Portuguese and English to make available certain writings that otherwise would have gathered dust for posterity! Not many Goans know Portuguese and under such circumstances we just hope that the tribe of the likes of Barbosa grows and prospers. I too had the experience of finding a long lost writer and writings (in this case it was my uncle) and the joy is exhilarating when the task is completed! (See my article Destiny’s Book, GT dated 28.08.2008) May I suggest to you Mr. Barbosa, to take up translation as a full-time hobby with a book to your credit every year? I hope that it is not too much to ask!

Another thing that I liked about the book is the retention of the original essays in Portuguese along with their English translation. In my opinion it would reduce the lacunae caused due to arbitrary interpretations as very often happens unwittingly in translations. However, in the book the Portuguese text should have been distinguished from the English text by using a different font.

Since the book is published in a dual language (which is a very innovative approach in a translation having potential historical significance) I have a suggestion for Mr. Khalil Ahmed of Broadway Book Centre, under whose aegis this book is published, to market it in Portuguese speaking countries as well. Goa needs the audience which it rightfully deserves.

ON THE BOOK’S POTENTIAL FOR RAISING QUESTIONS FOR STUDY
Should we be content just by having the knowledge that Loyola was a nationalist or should this book serve as a stepping stone stimulating further research and to challenge conventionally held views? As informed by the blurb of the book, Loyola chose to settle in Lisbon following the Liberation of Goa. Can further research answer such questions as to why he chose to immigrate to Portugal leaving his dear Goa, for whose liberation he had so vehemently fought for?

Fanchu Loyola evidently had a good command on Portuguese and the translation done by Barbosa lives up to that level. Neatly printed and bound there is no doubt in my mind that a student (like me) as well as any enthusiast of Goan history would find this book at once interesting.

Passionate and Unrestrained
Author: José Inácio Candido de Loyola alias Fanchu Loyola
Traslated by: Alexandre Moniz Barbosa
Publisher: Broadway Book Centre, Panjim
Price: Rs. 225/-

[This review first appeared on Gomantak Times dated 21 July 2010].


Forwarded to goa-world.com by the writer who can be contacted
via email

AMBEA MULLANT KAVITA NA, KANNI ASA

AMBEA MULLANT KAVITA NA, KANNI ASA

- Walter Menezes



Hanv ekloch ambea mullant ubo asam. Mhoje voir suria loklokta. Punn mhoje mukhar kallokhuch zhollkota. Mhoje fattlean rnhojinch pavlam. Mhojea kal1zant ugdasachim lharam. Ugddas mhojea bapaicho, mhoje avoicho, ani ugddas tuzo, Kavita.

Donparcho veIl za1’lo asa. Torui jinnent kallkhe ratin biradd kel'lem asa. Uzvaddacho suria jinnent hanstolo zalear mon'xak khoim noxib asonk zai. Futtkea noxibacho hanv! Mhozo zolmuch kallokhant zal'lo. Hi soglli tuka khobor asli Kavita. Magir tum he jinnent ailench kiteak?

Sopnanchi rompi eka disa umtthun uddoitolem aslem zalear tunvern ti ximplich kiteak? Mogachi vateka disa palounchem aslem zalear tuvem ti pettoilich kiteak? Kiteak Kavita?

Mhojea kallza itlea lhan sonvsarant mhaka konnunch naslo Kavita, fokt tunch aslem. Mhojea bapain mhoje sovem aplo mog ken'nanch dakhounk nam. 'Baba' mhonnun tannen mhaka aple vengent ken 'nanch gheunk nam. Mog tannen fokt soreacho kelo. Rat-dis battlekuch veng marun ravlo. Bar-ant zhogddim, ghorant zhogddim. Hem fodd, tem modd. Mhojea bapaichi hi tor sodanchich karyavoll zaun gel'li. Sovostkay kitem, xanti kitem hi hanvem dusreanchea ghorant pollel'li. Amchea ghorant ken'nanch pollounk nam.

Mhoji avoi hem sogllem moneamni pollet ravli, sonxit ravli. Devi ti, mhoji avoi! Bapaik jen 'na nokrevelo nikhllailo ten'na khursar khillail 'lea porim avoik dislem. Koxi sambhallttoli apunn aplea ghoracheo chear vonntti? Tichem golleantlem bhangar chorun, toddun, bapain tor tika ken'na vinglli korun uddoil'li. Ghorant hansoi naslo, poisoi naslo. Avoichea dolleant mat sodanch dukancho somdir aslo. Kitleaxeach xezareanger avoin vavraddi mhunn apleo nakxeo zhoroitam-zhoroitam apli jinnunch zoroili. Ani eka disa.....

Koso visortolom hanv ti bhirankull rat? Hanv ten'na dha-bara vorsancho aslom. Ami tegaim rat-jevonn korunk boxil' lim. Bapui sarnko 'tight' aslo. Xitacheo unddio gillche suvater to avoik naka axil' leo gallio sovtaIo.

Jinnechem koddu omrut chakun chakun avoik tor ogi ravpachi sonvoy zaunuch gel'li. Magir okosmat konn zanna bapaicher khoincho devchar boslo to. Bapui jevtana modench utthlo ani udkacho glass kaddun nettan avoicher xevttilo. Avoin ekuch pavtti mottean bob marIi. Magir mostoka velean denvtolea rogta-zhorinchi porva nam kortam avoi utthli ani kuxik asloli petrolachi battli gheun nhidpa kuddant geli.

Bapaicher bosloIea denvcharak zagear haddtta mhollear khub so veIl geIo. Avoichi tor zag nasIi. Tichem kalliz pinzun kuddke zal'le hachi mhaka khobor asli. Khoinchea tori konnxak bosun pisuddlolea sopnancho ugddas korit roddtta astoli, oso hanven sumar kelo. Bapaik thoinsoruch dovrun hanv nhidpa kuddant vochunk utthlom. Kuddachem dar bond asIem. Hanvem pollelem tem polloun mhojer mollobuch tuttun poddIem!

Bhitor kuddant ujeachem agttem zal’lem. Sogllea dukhantlean meklli zaunk avoin apleakuch uzo ghatlolo. Je avoin mhaka zolm dil’l, je avoiche huntthient hanv vadlolom ti avoi mhojea dolleam mukhar soukas mortali. Hanvem bond aslolea darar mutti marleo, mhoji tokli pasun apttili. Punn tem dar ugttem korunk mhoje lagim ghoddlem nam. Atam jivitaeho ani mornnacho dhoni fokt hem dar zaun aslem. Hanvem bobo marun xezarchea lokak ektthaile. Punn dar moddun uddoita mhonnsor khub uxir zalo. Bhitor, nhidpa kuddant fokt ujeachem agttem aslem. Mhoji avoi nasIi.

Thoddim vorsam zatat mhollear bapaichi poristhiti samkich bigoddli. Eke rati bapui boroch soro piyelo ani rosteache kuxik khollient poddlo. Sokall fuddem jen'na suria udelo ten'na dusre pavtti mhozo jinne-suria kallokhant buddlo. Mhojea bapain tech khollient aplo prann soddlolo.

Oso eksuro, dukhachern vojem gheun bhovtana mhoji ani tuji bhett heach ambea zhaddachea rnullant zal'li. Yad asa tuka Kavita? Tea disa okosmat motthean pays ail’lo ani dogaim-lagim sotri naslolean amkam heach ambea mullant ubim ravchem poddlolem. Pays magir thambta mhonnsor mhojea dolleant, tujea dolleant, tujea kallzant, mhojea kallzant eke dusrech torecho pays poddunk suru zal'lo. To dis bhangaracho. To dis ojapancho. Tea disa khuxaIkayechea kupank pakham futtlirn ani suknnim zaun uddunk laglim. Kallkhi bontram pinzun uzvaddachim rongit kirnnam futtlim ani jinnechea mollbar ek novoch suria udelo. Suria sopnancho, suria mogacho!

Amchi dusri bhett, Kavita, heach ambea mullant zal’li. Tea disa pays poddlo na, mollob roddlem na; punn mhoji koddu kanni hanv sangtana tum mat roddlem Kavita, khub roddlem. Mhojea dukhant tum mhoji bhuzvonn zalem, mhojea pavlanchi ghottay. Tuzo mog, Kavita, mhoje jinnechi buniyad zali. Mhojea kantteamni guspol'lea jivita-zhaddak ful'lolo pormollit gulab!

Tum dusrea lagim logn zalem mhunn hanv tuka xinnona, Kavita. Jem kitem zaunchem aslem, tench zalem. Tujean tujea girest vhoddilanchea addkhollinchim doram toddun mhojea gorib ghorant yeunk zaunk na. Tum mhojea kallza itlea lhan sonvsarantlem pois gelem ten'na mhaka khub dukh bhogli, Kavita. Punn konnank sangum mhojem dukh?

Aiz nimnne pavtti hanv hea ambeamullant ubo asam. Zachea mullant bosun ami hozar sopnam sopnel'lim tea ambea rukhak faleam katrun urntthun kaddpache asat. Zanna Kavita, he vatten atam nogorpalikecho ek novo rosto zauncho asa. Hea ambea rukha bhoxen hanvui. go, Kavita. Hea fuddem hanv khoim astolom, khoinchea kantteak xirkotolom; futtkea noxibacheo kuraddi mhojea jinne-rukhacher poddun ken'na ani kitle ghave poddttole, hachi khobor Devak soddun konnak nastoli go, Kavita. Konnak nastoli!

Walter Menezes
KOTHAMALL (A Garland of Stories) pustokachea upkaran.

www.goa-world.com

GOA’S UNIQUE GLITTER: THE MARCASSITE JEWELLERY

GOA’S UNIQUE GLITTER: THE MARCASSITE JEWELLERY

- BY DALE LUIS MENEZES


In Goa all that glitters is not only gold but Marcassite as well. A phone call from a family friend in Baroda requests us to inquire about the price of Marcassite jewellery and although not interested in precious metals, I find myself in a joalharia, along with my parents. During the inquiry my mother makes a passing mention that such jewellery is unique to Goa and is found nowhere else in India. My curiosity leads me to Mr. Ashok Lotlikar of S.R. Lotlikar Jewellers in Margao. He is the third generation owner following in the footsteps of his grandfather, Mr. Raghuvir Vassudev Lotlikar and his father Mr. Shripathrao Raghuvir Lotlikar.
Mr. Ashok Lotlikar greets me as I enter his pristine shop lined with showcases displaying myriad intricately crafted jewellery pieces in gold and silver. The red velvet cushions in the brightly illuminated showcases, gives the gold an added touch of royalty. My eyes search for the pieces I have come searching for and I find quite a few. Comfortably seated, I start asking questions. Mr. Ashok Lotlikar talks passionately about his work and craft.
He informs me that the Marcassite jewellery came to Goa during the Portuguese time. “I don’t know exactly how old this art is. My grandfather and my father made such jewellery, so it should be at least three hundred years old,” he says. He finds questions like whether the Marcassite jewellery reached the Goan shores immediately after the Portuguese conquest or much later difficult to answer because not much is known about this jewellery which many believe is unique to Goa.

The Marcassite jewellery crafted in Goa is chiefly made of gold and silver metals. Zinc is used to harden silver. This hardened silver is then oxidized to give it the black colour, which is the hallmark of this jewellery. The metal is oxidized for about an hour and this process is repeated thrice with a gap of a few hours. This oxidized silver is locally known as ‘platinum’ but the actual metal is never used in the making of the jewellery. The stones used for Marcassite jewellery in Goa come from Switzerland and they are manually fixed by craftsmen. A large set takes at least three weeks to complete.
As far as the designs are concerned, the earliest craftsmen might have been inspired by the samples brought from Europe. This legacy was continued along with some original additions, Mr. Ashok Lotlikar disclosed. In Goa, Marcassite jewellery always has a base of gold unlike in foreign countries where a silver base is used. Elsewhere in India such jewellery is not crafted. Marcassite is hand-crafted and delicately worked upon and hence the big jewellery companies, who focus on machine and heavy work, may not have been interested in such jewellery, opines Mr. Ashok Lotlikar.
Marcassite jewellery is popular with the Catholics as such jewellery is given to a bride at the time of her marriage. The black colour of the set forms a stunning contrast with her white bridal gown. But since the last 10-15 years, according to Mr. Ashok Lotlikar, this jewellery has gained some popularity among the Hindus as well.
Mr. Ashok Lotlikar also proudly draws my attention to another unique type of Goan craftsmanship: the filigree work. By using finely drawn wires of gold, lace-like patterns are produced. This, like the Marcassite jewellery, has no rival in the whole of India.
I wonder why the Marcassite and the filigree type of jewellery are not popular despite their uniqueness. Mr. Ashok Lotlikar explains that this art is dying. It requires great patience, a virtue not compatible with the youngsters of the day. Mr. Ashok Lotlikar once had 7-8 workers, but today he has only two. “But they are good workers,” he hastens to add. Since such jewellery is unique to a particular geographical location, I ask whether the Marcassite and filigree jewellery deserve the much coveted Geographical Indication so that more popularity and encouragement will come its way. “Definitely,” he agrees. After all, should we not ask for what we rightfully deserve?
Mr. Ashok Lotlikar narrated an interesting story about people from north India, especially Punjab, purchasing Marcassite jewellery. Wives of army men, who were posted in Goa, purchased this unique and expensive jewellery. When they went home (or elsewhere) their friends and family members were fascinated by this jewellery and nursed a desire to possess a similar Marcassite set. This word-of-mouth publicity has led Mr. Ashok Lotlikar to send many sets of Marcassite jewellery to north India.
Marcassite jewellery is very expensive. Has the rising prices of gold affected the sales in any way, I ask. “Lok ghevpa asat tê ghetatuch. [People buy irrespective of the prices] The Indian mentality is such that it needs (at least) a minimum amount of gold on the occasion of a marriage. Gold always appreciates and people see the purchase of gold as an investment,’ Mr. Ashok Lotlikar tells me.
The smallest Marcassite set (pendant and earrings), without the gold chain, will cost anything between Rs. 18,000-20,000 and the purchase of a larger set will entirely depend on the depth of one’s pockets!

[END OF ARTICLE]

Pictures by: Dale Menezes

This article was first published by Gomantak Times (Goa)
exclusive on 28th May 2010.

Picture 1: Various types of Marcassite sets
Picture 2: Marcassite and filigree work on display
Picture 3: Mr. Ashok Lotlikar in his shop. Note his grandfather’s portrait which can be seen above the showcase

[Note: Although the 'Marcassite' jewellery is widely used in Goa, nothing much is written about it. Even a google and wiki search reveals nothing. The young writer requests to have feedback from the readers and can be contacted: Dale Menezes (Quepem)- [Email: dale_menezes at rediffmail.com]


The writer's recent articles as published by Gomantak Times:
http://waltermenezes.blogspot.com/2010/05/utorda-church-in-harmony-with-history.html


- Forwarded by www.goa-world.com
28 May 2010