Tuesday, February 1, 2011
Konkani book "TURO" - A review by: Walter Menezes
STORIES OF LOVE AND LUST, FAITH AND FORTITUDE
A review of the book by: Walter Menezes(first appeared on Gomantak Times dated 25.01.2011)
An unusual cover design: a combination of flowers, the main altar of a church in all its glitter and the writer himself, greeted me when I picked up a copy of Turo, Vincy Quadros’ award-winning book of Konknni short stories in Roman script and I wondered why. Two pages into the book, I found it was Vincy’s way of dedicating his collection to Neves Saibinn (Our Lady of Snows), the patroness of Raia parish. “…zaitea kalla thavn mhoji itsa asli mhojem ek tori pustok Neves Saibinnik ompunk. Aiz hi mhoji itsa purnn zata mhunn Neves Saibinnik hanv din’vastam ani noman kortam. (I have been nursing a wish for a long time to dedicate one of my books to Our Lady of Snows. I thank and praise Neves Saibinn for having fulfilled this wish.),” he says in his introduction, Kothancho Turo Bandtana… Incidentally, the book was released on 5th August, 2010, the day of the feast of Our Lady of Snows.
Like the finely crafted main altar on the cover, the hundred plus pages that make this book gives us a glimpse of Vincy’s craftsmanship as a storyteller, encompassing a variety of subjects ranging from love and lust to matters of faith and fortitude. “Protek kothent ek nirop asa, dekh asa ani jivitachi somzonni asa…(There is a message and a moral, and the meaning of life in every story…),” is how Fr. Cipriano da Silva has summed up the ten stories in Turo.
The first, Olem Mon, is a touching story of Salvador who returns home after 5 long years in Kuwait and goes to visit Sabina, the girl who holds a special place in his heart, that same evening with a bag full of imported perfumes and soap. But is Sabina waiting? Towards the end of the story and using minimum space, Vincy not only creates a tragic twist in the tale but a remarkable story as well. Mukti, on the other hand, focuses on a young and educated Sunita’s journey into the rough and tumble of politics and her determined fight to free her village from the clutches of soreachim dukanam (liquor shops) and tavernas. Moved at the sight of male members addicted to liquor and families in ruins, she makes ‘hea ganvant bhouxik lugarancher soro bond (ban sale of liquor at public places in this vaillage)’ her one and only slogan during the panchayat elections and she not only wins but goes on to become the Sarpanch as well!In Svatontreo, Vincy uses Meena to give a new lease of life to her mother while elsewhere his heart bleeds at the sight of atrocities and injustices heaped upon women. Ruchika is not only a stark reminder of the ‘games’ powerful people play but a reconstruction of sorts of the infamous Ruchika/Rathore saga that hogged the limelight not so long ago.
In Ostori Dis, when Sumitra conceives for the third time and goes to her mother-in-law to inform her of the doctor’s advice and the risks involved if she continues with her pregnancy, her sasumai rubbishes her saying, “Amger zaunk nant go bhurgim? (You think we have not borne children?)” Clearly, Vincy is a man with his ear to the ground and uses such crisp dialogues, like tea-bags, to flavor his collection.
At times, however, one does notice this need not only to fine-tune the stories (Zatra, Devacho Gutt) but add a dash of colour too. In Kurpa, where the story unfolds on 5th August, the day the Raia parish celebrates the feast of Neves Saibinn, Vincy only makes a passing reference to the cutting-of-the-corn ceremony (hech disak Gõyant poilem konnos katortat) with which the feast is associated. Also known all over as Konnsachem Fest (Harvest Feast), Vincy could have done well to include a para or two detailing the pomp and pageantry as the first corn is cut by the priest, heralding the beginning of the harvest season. And in Devacho Gutt, the word horaunk (to plead) seems a little out of place, especially from a Catholic’s point of view. [“Devak horaunk hache poros dusro lugar khoim asa Padr Vigar? (Father, can anyone find a better place than this to plead before God?),” Maria asks the parish priest when questioned about her presence inside the church.]Published under the Pikavoll scheme of Dalgado Konknni Akademi, Turo could have been a shade better if Vincy had done another round of spell-check to weed out some unnecessary mistakes.
While complimenting Vincy on being awarded the Konknni Martir Floriano Vaz Puroskar instituted by Thomas Stephen’s Konknni Kendr, Porvorim for Turo, here’s wishing him Neves Saibinnichi kurpa to scale greater heights in the years to come!
Walter Menezes
About the book:
TURO (a collection of short stories) by Vincy Quadros
Published by Filomena Quadros for Snows Prakashan, Arlem, Raia
Pages: 114, Price: Rs.60/-
[ The author can be contacted via email: vincyquadros at gmail.com
Vincy Quadros is the recipient of the 2010 Konknni Martir Floriano Vaz Puroskar, the literary award instituted by Thomas Stephens Konknni Kendr, Porvorim for his collection of short stories, Turo.
The award was conferred on him on Republic Day, 26th January, 2011. Vincy Quadros is also the Vice President [Op-odheokx] of the Goa Konknni Akademi and his postal address is:
"Snows Krupa", Arlem, Raia, Salcete Goa and can be contacted on his Mobile - 9822587498.
Visit me at http://vincyquadros.blogspot.com/ ].
Related pictures:
1. Vincy receiving the Konknni Martir Florian Vaz Puroskar from Chief Guest, Shri Cyriaco Dias. Dr. (Fr.) Pratap Naik, Director, TSKK is also seen.
2. Vincy with Smt. Ophelia D’Souza (recipient of Antonio Pereira Konknni Puroskar) and Jose Salvador Fernandes (recipient of Dr. Jack Sequeira Puroskar). Fr. Pratap Naik, Shri Cyriaco Dias and Trupti Naik are also seen.
Tuesday, September 21, 2010
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]
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]
Saturday, August 14, 2010
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.
- 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]
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]
Friday, July 30, 2010
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
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 PublicationsReleasing 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
Wednesday, July 21, 2010
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
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
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