Buyao honoured in Kuwait
Kuwait Goa Tiatristanchi Sonvstha, Kuwait, honoured Goem Shahir Ulhas Buyao for his contribution to art and culture and Konknai movement by Kuwait-Goa Tiatristanchi Sonvstha (KGTS), at a function held at Hawally hall, Salmiya, Kuwait, recently. Speaking on the occasion, Coelho remembered Buyao’s contribution at the time of Opinion Poll and narrated the audience some moments of the Opinion Poll.
Famous triatrists Mario Menezes and Roseferns, and musicians Babush and Philip were also honoured on the occasion. The function was coordinated by Jose Rod. President Katty de Navelim and member Cajie de Sanvordem were on the dais. Buyao sang his favourites like “Chan’neache Rati”, “Deva Mhojya Deva” and special song which he had composed specially on Goans living in the Gulf. He was accompanied by his son Sidhanath Buyao on the keyboard. A play was performed by renowned tiatrists John D’Silva, Ambe, Selly, Rosy and Joana along with artistes working in Kuwait.
Gomantak Times / 13-02-2008
Monday, January 28, 2008
Zomni khell during the Carnival
Here is a short account of the zomni khell during the Carnival in my village, Chinchinim.
Zomniche khell were mostly popular during Carnival (Intruz) and Paskanchem
fest (Easter). After the New year and three kings feast, people eagerly
waited for the Carnival
because of the khells, especially in the villages of Salcete.
In Chinchinim, there are 15-20 wards or Vadde. Each Vaddo has a place
called 'Mandd',
which was usually located close to a Chapel which was surrounded by trees.
Khell was mostly performed at the "mandd" or near Regidor's residence
and sometimes in pvt homes if they could afford.(mostly tarvotti )
The ward committee members collected a small amount (Rs 5 at my time) from
each house to organize a khell.
A Khell was formed by a group of artists. The head or the writer/director
was called ‘Mestri’ and other participants were khellgaddi.
The band consisted of instruments like drum, trumpet, clarinet and at times
a banjo.
With the exception of band members, all other members of the troupe wore a
colourful uniform. There were no ladies taking part in the khell, but some
gents enacted ladies’ role; they wore a sari or a dress. Anita Pereira from
Chinchinim was the first girl to act in a khell called "Mundkar Nores'.
The famous khell groups came mostly from the coastal villages of Carmona,
Varca, Benaulim, Colva, Betalbatim (Bettpatte), besides some groups from
Chinchinim, Verna and St. Jose de Areal.
In those days, they mostly travelled on foot from one village to another
and/or from one ward to another. In the late 70's and 80's, they started
travelling by mini buses or open tempos. Wherever they traveled, they
always played music .. the drum, snare drum, trumpet and clarinet.
When a khell reached a 'mandd', the ward members negotiated the price of an
act/play..depending on the popularity of the group. If a group was famous
one,
then they would agree for two acts/plays. At times when the mestri or
ward members could not reach an agreement, the troupe would leave the
'mandd' but not without singing one or two songs at the 'mandd'; this was to
give respect for the 'mandd'. If they reached an agreement, they would give
time for the mestri to start the play till most ward people arrived.
As kids, the moment we heard the beat of the drum, we used to run, leaving
whatever work we did, and so did our elders. A round circle was formed and
the children had to sit on the ground; the elders stood around them. Some
would get chairs if their houses were close by; others would make it on tree
tops.
One got to see many khell in my ward ‘Dandeavaddo’ in Chinchinim as it is
located on the main junction of Cuncolim-Sarzora road.
The khell would start with an Imno - opening chorus, wherein the khellgaddi
would stand in two rows in front of the band and introduce themselves, and
the act that was to follow. After the Imno, they would stand in a circle
and then start the play with dialogues, followed by a song which was sung in
two pitches. – primeiro and segundo. The songs were mostly related to the
story or dialogue. At the end of the song, if the act required them to
visit another house, they would say: “Atam
hanv kit kortolom?” .. “Matxe bazrant voitolom” and then as he started to
walk, the music would play. If there was a police, the popular police march
would follow.
The plays were mostly based on short stories of bhatkars..kunbis, Akbar and
Birbal etc. Children were fascinated with the 'Rakhos' or Rakesh...(Giant )
part wherein the actor would wear a black dress covering his whole body from
head to toe with a tail hanging from behind.
At times there would be 2-3 groups waiting to perform at the same "mandd".
This way, all the 3 days of Intruz would go on. But their performance was
best on the first and the second day, as by the third day they would be
exhausted and their voices would become rough.
There was khell competition during the Carnival, which was performed on
stage. The competition was mostly with rival groups; whoever won, was
awarded a big trophy. In course of time, these competitions were with the
Tiatros. The first to perform was a tiatro, a short one, and then a
khell...ultimately it gave rise to what is now called ‘Khell Tiatr’.
Mestri Kuddo Minguel from Chinchinim was famous for the ‘opari’; also Sucor
Piedade from Verna. There was another mestri from Carmona..Anton Marie
whose khells with emotional dialogues and opari mesmerized the hearts of the
people....Francis Mestri from Durga was famous for his songs while Buk Buko
from Chinchinim and Xempea Minguel from Benaulim made the people laugh.
Mestri Niclau Marian from Nesai and Santiago Pereira from Padde khells were
also good. The only Hindu to act in khells in those days was Gunno from
Chandor. Marian from Vhodlem Bhatt Benaulim and Don Toklo from Colva were
also very famous mestris, besides the well known Xalibai, F.Coloi and
Bhataghotto.
Antonio Moraes .. well known as A. Moraes was the first to make changes and
take the zomni khell on the stage...and thereafter the best of the Khells
were seen on stage; the famous groups refused to perform on the ground; they
performed only on stage...Vitorin Pereira, Patrick Dourado and Ligorio
Fernandes were famous on stage. Slowly, these khells were aired on Akashwani
as 'Lokham khell'.
It was in the early 70's, the late Rosario Rodrigues came up with a non-stop
show...'Ekech Ratri ani Ami Fator'. This show was well received by the
people and it completed more than 100 shows in Goa and Mumbai. From then
on, every show of Rosario was a hit!
A lot of changes have been made from the original zomni khell to the present
Tiatro, but the smaller groups still perform the zomni khell. The present
day Tiatr is a combination of the old zomni khell and tiatr, in that the
Khell had songs which were related to the story, whereas in a tiatr, the
songs sung were not related to the story.
Some of the current well known khell-tiatrs come from: Prince Jacob, Mario
Menezes,
Roseferns, Menino Mario..Jose Rod, etc.
Dev Borem Korum
Edward Verdes
Chinchinim/KSA
Zomniche khell were mostly popular during Carnival (Intruz) and Paskanchem
fest (Easter). After the New year and three kings feast, people eagerly
waited for the Carnival
because of the khells, especially in the villages of Salcete.
In Chinchinim, there are 15-20 wards or Vadde. Each Vaddo has a place
called 'Mandd',
which was usually located close to a Chapel which was surrounded by trees.
Khell was mostly performed at the "mandd" or near Regidor's residence
and sometimes in pvt homes if they could afford.(mostly tarvotti )
The ward committee members collected a small amount (Rs 5 at my time) from
each house to organize a khell.
A Khell was formed by a group of artists. The head or the writer/director
was called ‘Mestri’ and other participants were khellgaddi.
The band consisted of instruments like drum, trumpet, clarinet and at times
a banjo.
With the exception of band members, all other members of the troupe wore a
colourful uniform. There were no ladies taking part in the khell, but some
gents enacted ladies’ role; they wore a sari or a dress. Anita Pereira from
Chinchinim was the first girl to act in a khell called "Mundkar Nores'.
The famous khell groups came mostly from the coastal villages of Carmona,
Varca, Benaulim, Colva, Betalbatim (Bettpatte), besides some groups from
Chinchinim, Verna and St. Jose de Areal.
In those days, they mostly travelled on foot from one village to another
and/or from one ward to another. In the late 70's and 80's, they started
travelling by mini buses or open tempos. Wherever they traveled, they
always played music .. the drum, snare drum, trumpet and clarinet.
When a khell reached a 'mandd', the ward members negotiated the price of an
act/play..depending on the popularity of the group. If a group was famous
one,
then they would agree for two acts/plays. At times when the mestri or
ward members could not reach an agreement, the troupe would leave the
'mandd' but not without singing one or two songs at the 'mandd'; this was to
give respect for the 'mandd'. If they reached an agreement, they would give
time for the mestri to start the play till most ward people arrived.
As kids, the moment we heard the beat of the drum, we used to run, leaving
whatever work we did, and so did our elders. A round circle was formed and
the children had to sit on the ground; the elders stood around them. Some
would get chairs if their houses were close by; others would make it on tree
tops.
One got to see many khell in my ward ‘Dandeavaddo’ in Chinchinim as it is
located on the main junction of Cuncolim-Sarzora road.
The khell would start with an Imno - opening chorus, wherein the khellgaddi
would stand in two rows in front of the band and introduce themselves, and
the act that was to follow. After the Imno, they would stand in a circle
and then start the play with dialogues, followed by a song which was sung in
two pitches. – primeiro and segundo. The songs were mostly related to the
story or dialogue. At the end of the song, if the act required them to
visit another house, they would say: “Atam
hanv kit kortolom?” .. “Matxe bazrant voitolom” and then as he started to
walk, the music would play. If there was a police, the popular police march
would follow.
The plays were mostly based on short stories of bhatkars..kunbis, Akbar and
Birbal etc. Children were fascinated with the 'Rakhos' or Rakesh...(Giant )
part wherein the actor would wear a black dress covering his whole body from
head to toe with a tail hanging from behind.
At times there would be 2-3 groups waiting to perform at the same "mandd".
This way, all the 3 days of Intruz would go on. But their performance was
best on the first and the second day, as by the third day they would be
exhausted and their voices would become rough.
There was khell competition during the Carnival, which was performed on
stage. The competition was mostly with rival groups; whoever won, was
awarded a big trophy. In course of time, these competitions were with the
Tiatros. The first to perform was a tiatro, a short one, and then a
khell...ultimately it gave rise to what is now called ‘Khell Tiatr’.
Mestri Kuddo Minguel from Chinchinim was famous for the ‘opari’; also Sucor
Piedade from Verna. There was another mestri from Carmona..Anton Marie
whose khells with emotional dialogues and opari mesmerized the hearts of the
people....Francis Mestri from Durga was famous for his songs while Buk Buko
from Chinchinim and Xempea Minguel from Benaulim made the people laugh.
Mestri Niclau Marian from Nesai and Santiago Pereira from Padde khells were
also good. The only Hindu to act in khells in those days was Gunno from
Chandor. Marian from Vhodlem Bhatt Benaulim and Don Toklo from Colva were
also very famous mestris, besides the well known Xalibai, F.Coloi and
Bhataghotto.
Antonio Moraes .. well known as A. Moraes was the first to make changes and
take the zomni khell on the stage...and thereafter the best of the Khells
were seen on stage; the famous groups refused to perform on the ground; they
performed only on stage...Vitorin Pereira, Patrick Dourado and Ligorio
Fernandes were famous on stage. Slowly, these khells were aired on Akashwani
as 'Lokham khell'.
It was in the early 70's, the late Rosario Rodrigues came up with a non-stop
show...'Ekech Ratri ani Ami Fator'. This show was well received by the
people and it completed more than 100 shows in Goa and Mumbai. From then
on, every show of Rosario was a hit!
A lot of changes have been made from the original zomni khell to the present
Tiatro, but the smaller groups still perform the zomni khell. The present
day Tiatr is a combination of the old zomni khell and tiatr, in that the
Khell had songs which were related to the story, whereas in a tiatr, the
songs sung were not related to the story.
Some of the current well known khell-tiatrs come from: Prince Jacob, Mario
Menezes,
Roseferns, Menino Mario..Jose Rod, etc.
Dev Borem Korum
Edward Verdes
Chinchinim/KSA
Sunday, January 27, 2008
Anil-Olga's "HEM ZHADD DUDDVANCHEM"
KMK Presents Anil Olga’s
HEM ZHADD DUDDVANCHEM
ANIL OLGA - the sensational pair of Konkani stage stormed Kuwait in 2007 with their maiden hit MUNIS TUM now comes with another mind-blowing thriller "HEM ZHADD DUDDVANCHEM" a must for expatriate Goans.
The show will be held on 11th April 2008 at 3.30 pm at (Al-Massra) Al-Hawally A/C Auditorium, Kuwait.
Watch out for sizzling cast and more surprises; remember it’s a Kala Mogui Kuwait (KMK) Presentation, the prominent art & cultural association. For inquiries please contact: 9391452, 9540232.
adc/pub/q8
- You heard it first at www.goa-world.com
Goa's Pride - http://www.goa-world.com
Gulf-Goans e-Newsletter (Since 1994) archived at
http://www.yahoogroups.com/group/gulf-goans/
Moderated by Gaspar Almeida & presented by Ulysses Menezes www.goa-world.com
HEM ZHADD DUDDVANCHEM
ANIL OLGA - the sensational pair of Konkani stage stormed Kuwait in 2007 with their maiden hit MUNIS TUM now comes with another mind-blowing thriller "HEM ZHADD DUDDVANCHEM" a must for expatriate Goans.
The show will be held on 11th April 2008 at 3.30 pm at (Al-Massra) Al-Hawally A/C Auditorium, Kuwait.
Watch out for sizzling cast and more surprises; remember it’s a Kala Mogui Kuwait (KMK) Presentation, the prominent art & cultural association. For inquiries please contact: 9391452, 9540232.
adc/pub/q8
- You heard it first at www.goa-world.com
Goa's Pride - http://www.goa-world.com
Gulf-Goans e-Newsletter (Since 1994) archived at
http://www.yahoogroups.com/group/gulf-goans/
Moderated by Gaspar Almeida & presented by Ulysses Menezes www.goa-world.com
Declare seven Goans as Konkani martyrs: RLAF
Declare seven Goans as Konkani martyrs: RLAF
NT News Service
Margao, Dec 19 In bid to obtain official status for the Roman script,
the Romi Lipi Action Front (RLAF), on Wednesday, urged the government
to include the Roman script in the Official Language Act of 1987.The
Front has also demanded that the government table and pass a bill in
the Goa Legislative Assembly, recognizing the seven Goans – Floriano
Vaz from Gogol, John Fernandes, Audrin Fernandes, Inacio Gonsalves,
Cajetan Dias, Mathew Gracias and Joaquim Pereira, all from Agassaim --
who lost their lives in the struggle for recognition of Konkani
language, as Konkani martyrs.The government should also erect statutes
of the seven Martyrs in the state, and give their families all
facilities enjoyed by the freedom fighters of Goa, the Front demanded.
Father Pratap Naik of the Thomas Stephens Konkani Kendr blamed the
people."When I go to address Konkani lovers in Karnataka 10,000 people
gather in no time to hear me. Why such poor response in Goa?" he
asked, referring to the attendance at the Lohia Maidan, in Margao.
The meeting was organized by the Romi Lipi Action Front to honour the
`Konkani Martyrs', on Wednesday.
Elaborating further, he said people from Karnataka speak in Kanada,
Keralites converse in Malyalam and the citizesn from Kashmir in
Kashmiri. "Only Goans take pride in speaking the language of English,"
he lamented."We need to shout, scream and yell so that our legislators
know our desire," he said making a passionate appeal, on need to
remain united, to get recognition for the Roman script.
Former Vice-Chancellor of Goa University, Dr Olivinho Gomes said that
there was a need to start a new struggle to get recognition for Roman
script.Much injustice has been done to the Konkani lovers who express
themselves in Roman script, he said and stressed the need to rectify
the same.Quoting former Sahitya Academy President, Mr S Chatterjee, he
said, Mr Chatterjee was of the opinion that only Roman script would
solve the acrimony over the dual scripts in Goa.
He said government should stop issuing executive orders on giving
grants to Roman script writers. Instead the Roman script should get
official recognition in the language Act, he added.
The President of the Dalgado Konkani Akademi and former speaker, Mr
Tomazinho Cardozo, Prinicipal of St Xaviers College, Mr Newman
Fernandes, former director of AIR, Mr Yusuf Shaikh, Fr Conceisao Da
Silva, Mr Miguel Braganza and many others spoke. ENDS.
...................................
Dears,
This is a fairly accurate report of the meeting held to honour the
young men, most of them around 20 years of age, who were killed during
the KONKANI PORJECHO AVAZ-led agitiation in 1986 that gave us Konkani
as the Official language and , through the language, Statehood. The
POLITICIANS benefitted by the increase in the number of MLAs in Goa
from 28 in the UT of Goa, Daman & Diu to 40 in the state of Goa. The
power of the Chief Minister increased and he was no longer palying a
second fiddle to the Lt. Governor. The Devanagri lobby got a Goa
Konkani Academy almost exclusively to itself for 20 years, Sahitya
Puroskars for those whose newspaper articles were hurriedly compiled
and printed in book form, jobs for their chelas as teachers since 1992
,etc. The majority of the agitators and 100% of the martyrs knew not
how to read and write in Devanagri. Their families are as poor as in
1986 and still cannot read the Devangri script to file an application
in the Official Language. To what end was their sacrifice? Think about
it.
Mog asundi.
Miguel
NT News Service
Margao, Dec 19 In bid to obtain official status for the Roman script,
the Romi Lipi Action Front (RLAF), on Wednesday, urged the government
to include the Roman script in the Official Language Act of 1987.The
Front has also demanded that the government table and pass a bill in
the Goa Legislative Assembly, recognizing the seven Goans – Floriano
Vaz from Gogol, John Fernandes, Audrin Fernandes, Inacio Gonsalves,
Cajetan Dias, Mathew Gracias and Joaquim Pereira, all from Agassaim --
who lost their lives in the struggle for recognition of Konkani
language, as Konkani martyrs.The government should also erect statutes
of the seven Martyrs in the state, and give their families all
facilities enjoyed by the freedom fighters of Goa, the Front demanded.
Father Pratap Naik of the Thomas Stephens Konkani Kendr blamed the
people."When I go to address Konkani lovers in Karnataka 10,000 people
gather in no time to hear me. Why such poor response in Goa?" he
asked, referring to the attendance at the Lohia Maidan, in Margao.
The meeting was organized by the Romi Lipi Action Front to honour the
`Konkani Martyrs', on Wednesday.
Elaborating further, he said people from Karnataka speak in Kanada,
Keralites converse in Malyalam and the citizesn from Kashmir in
Kashmiri. "Only Goans take pride in speaking the language of English,"
he lamented."We need to shout, scream and yell so that our legislators
know our desire," he said making a passionate appeal, on need to
remain united, to get recognition for the Roman script.
Former Vice-Chancellor of Goa University, Dr Olivinho Gomes said that
there was a need to start a new struggle to get recognition for Roman
script.Much injustice has been done to the Konkani lovers who express
themselves in Roman script, he said and stressed the need to rectify
the same.Quoting former Sahitya Academy President, Mr S Chatterjee, he
said, Mr Chatterjee was of the opinion that only Roman script would
solve the acrimony over the dual scripts in Goa.
He said government should stop issuing executive orders on giving
grants to Roman script writers. Instead the Roman script should get
official recognition in the language Act, he added.
The President of the Dalgado Konkani Akademi and former speaker, Mr
Tomazinho Cardozo, Prinicipal of St Xaviers College, Mr Newman
Fernandes, former director of AIR, Mr Yusuf Shaikh, Fr Conceisao Da
Silva, Mr Miguel Braganza and many others spoke. ENDS.
...................................
Dears,
This is a fairly accurate report of the meeting held to honour the
young men, most of them around 20 years of age, who were killed during
the KONKANI PORJECHO AVAZ-led agitiation in 1986 that gave us Konkani
as the Official language and , through the language, Statehood. The
POLITICIANS benefitted by the increase in the number of MLAs in Goa
from 28 in the UT of Goa, Daman & Diu to 40 in the state of Goa. The
power of the Chief Minister increased and he was no longer palying a
second fiddle to the Lt. Governor. The Devanagri lobby got a Goa
Konkani Academy almost exclusively to itself for 20 years, Sahitya
Puroskars for those whose newspaper articles were hurriedly compiled
and printed in book form, jobs for their chelas as teachers since 1992
,etc. The majority of the agitators and 100% of the martyrs knew not
how to read and write in Devanagri. Their families are as poor as in
1986 and still cannot read the Devangri script to file an application
in the Official Language. To what end was their sacrifice? Think about
it.
Mog asundi.
Miguel
Thursday, January 24, 2008
Khell Tiatrs announced for Carnival 2008 in Goa
Khell Tiatrs announced for Carnival 2008 in Goa
The following Khell Tiatrs are announced for "Carnival 2008" in Goa
Keeping with the age old traditions, the 'Khell Tiatrs' form part of the Carnival merriment and entertainment in Goa. Established Konkani stage writers-director as well as amateur ones have announced their plays in Goa's newspapers, predominantly in O'Heraldo. The titles are sure to entice you to be there !
Director: Peter de Macazana
1) Tho Aslear Hanv Nam
2) Naum Tujem Boroup Mhojem
3) Febrarachi Tis Tarikh
Music By: Shahu
Contact: Peter 9822167129
Director: Comedian Marcus de Cortalim
1) Tin Vorsanni
2) Porot Iello
3) Pollounk Ieat
Music By: Noel with his Bolero Boys
Contact: Marcus 9823638352
Director: Jacinto Gracias
1) Patkam
2) Dukham
3) Nattkam
Music By: Agnelo & his Troupe
Contact: Jacinto 9881567262, Rosario 9822167207
Director: Eddy de Quepem
1) Visvas Tujer Dovorlo
2) Soddun Mhaka Ghelo
3) Ho Guneav Konacho?
Contact: 9923641734
Director: Bobet & Michael de Quepem
1) Tuka Lagon
2) Onath
3) Zalim Hanv
Contact: 9922310962/9850480428
Director: Milagres de Chandor
1) Talleo Marat
2) Tumi Tumkam Sambalat
3) Maiche Dolle, Serialan Hailea
Contact: 9822387884
Director: Mini Mario
1) Chotrai
2) Mogall Khell Pollenarank
3) Chotrai somestank
Music By: Domnic de Arambol
Contact: 9822149512
Director: Sons of Anthony de Velsao
1) Ghor Kelem Piddear
2) Bhoro Korat Fuddar
3) Na Zallim Hea Vellar
Music By: Braz de Xelvon, Elick & Jacinto
Contact: 9921382866/9822991667/9823811790
Director: Trindade
1) Visvas Nam
2) Combo Jaita Raza Choita
3) Dubao
Music By: Anthony de Velim & his Naughty Boys
Contact: Agnelo 9822970508/2766978, Anthony 9921056615
Director: Piety de Navelim
1) Mhaka Zai
2) Kitem Meulem?
3) Uddtta Tho Buddtta
Contact: Piety 9822687621, Connie-M 9822176835
Director: Sanny & Dada de Maina
1) Khonnank
2) Laglea
3) Tan
Contact: Dada 9822988925/9822149462, Sanny 9822060943
Director: Xavier de Sanguem
1) Tumi Chitat
2) Tumi Sangat
3) Tumi Vochat
Contact: Xavier 9226896161
Director: Cajie de Curtorim
1) Bore Bhaxen Ravat
2) Ghorjek Pavat
3) Sogleanchi Ekuch Suvat
Contact: 9881283556
Director: Frank de Diuler Benaulim (Bukul)
1) To Mhozo Fudar
2) Tum Rautolo
3) Mogachem Utor Dieat
Contact: 9850468309/2772009
Director: Jack Rodson de Benaulim
1) Zap
2) Korta Tor
3) Xidduk Rau
Contact: 9822157970
Director: Seby Fernandes de Curtorim
1) Sukh Ani Dukh
2) Noxibantlea
3) Khonakuch Chukonam
Contact: Seby 9922656533, Luzito 9822103576
Director: Rodrigues de Benaulim
1) Vadlelem Naka Sandlelem Zai
2) Goenkar Khuim Nidleat Kai?
3) Tho Amcho Pai
Contact: 9860434952/9923231781
Director: Jose de Velim
1) Tuka Naka
2) Konnak Zai
3) Mhaka Sangat
Music By: Remy, William & Jose de Velim
Contact: 9850456421/2773698
Director: Sansil de Benaulim
1) Noxibant Assonkna
2) Hem Aidon Koslem??
3) Tumcho Sounsar Sambalat
Music By: Ancieto & his Troupe
Contact: 0923618887/2771850
Director: Babito D?Souza
1) Tumkam Zai Aslem
2) Toxench Zalem
3) Atam Zaieat Koxeal
Contact: Babito 9764923349, Sandeep 9923921592
Director: Alroy (Selection of Chinchinim)
1) Okmann
2) Biemann
3) Tufan
Contact: 9226969369/9970129289
Director: Roy de Chinchinim (Loyd?s Selection)
1) Amkam Fudar Na?
2) Tuka Utor Ditam
3) Goemche Ganti
Music By: John
Contact: 9822433668
Director: Jack & Jan
1) Dolle Asson
2) Hem Sovsarant
3) Khuddo Tum
Contact: 9881724053/9822620053
Director: Domnic Barbosa
1) Ixtt Vo Dusman
2) Dukham
Contact: Joel 9823978490
Director: Conyferns & Seby de Quepem
1) Mainchem Utor
2) Dev Tumkam Boxitolo
3) Salosavan Ugodlle Bhattkarache Dolle
Contact: Conyferns 9822136206, Seby de Quepem 9822408501
Director: Candino de Carmona
1) Mhojea Jivitant
2) Kolloumb
3) Kiteak Assa?
Contact: 9822053901/2744338
[goa-world.com team thanks to Kala Mogui Kuwait (KMK) for compiling this list].
[Khell Tiatrs, whose performance are restricted to the festivals of Carnival/Intruz and/or Easter. It differs from the traditional Konkani Tiatr of the 5 or 7 poddeas (acts) that is that its songs are integrated with the main drama, theme and storyline and do not deviate in essence from content from it.
We invite viewers of these plays to forward their reviews + photos for publishing in the Gulf-Goans e-Newsletter of www.goa-world.com].
- Forwarded by www.goa-world.com
23/1/2008 Kuwait
Goa's Pride - http://www.goa-world.com
Gulf-Goans e-Newsletter (Since 1994) archived at
http://www.yahoogroups.com/group/gulf-goans/
Moderated by Gaspar Almeida & presented by Ulysses Menezes
http://youtube.com/watch?v=NX0VwOSHWns
The following Khell Tiatrs are announced for "Carnival 2008" in Goa
Keeping with the age old traditions, the 'Khell Tiatrs' form part of the Carnival merriment and entertainment in Goa. Established Konkani stage writers-director as well as amateur ones have announced their plays in Goa's newspapers, predominantly in O'Heraldo. The titles are sure to entice you to be there !
Director: Peter de Macazana
1) Tho Aslear Hanv Nam
2) Naum Tujem Boroup Mhojem
3) Febrarachi Tis Tarikh
Music By: Shahu
Contact: Peter 9822167129
Director: Comedian Marcus de Cortalim
1) Tin Vorsanni
2) Porot Iello
3) Pollounk Ieat
Music By: Noel with his Bolero Boys
Contact: Marcus 9823638352
Director: Jacinto Gracias
1) Patkam
2) Dukham
3) Nattkam
Music By: Agnelo & his Troupe
Contact: Jacinto 9881567262, Rosario 9822167207
Director: Eddy de Quepem
1) Visvas Tujer Dovorlo
2) Soddun Mhaka Ghelo
3) Ho Guneav Konacho?
Contact: 9923641734
Director: Bobet & Michael de Quepem
1) Tuka Lagon
2) Onath
3) Zalim Hanv
Contact: 9922310962/9850480428
Director: Milagres de Chandor
1) Talleo Marat
2) Tumi Tumkam Sambalat
3) Maiche Dolle, Serialan Hailea
Contact: 9822387884
Director: Mini Mario
1) Chotrai
2) Mogall Khell Pollenarank
3) Chotrai somestank
Music By: Domnic de Arambol
Contact: 9822149512
Director: Sons of Anthony de Velsao
1) Ghor Kelem Piddear
2) Bhoro Korat Fuddar
3) Na Zallim Hea Vellar
Music By: Braz de Xelvon, Elick & Jacinto
Contact: 9921382866/9822991667/9823811790
Director: Trindade
1) Visvas Nam
2) Combo Jaita Raza Choita
3) Dubao
Music By: Anthony de Velim & his Naughty Boys
Contact: Agnelo 9822970508/2766978, Anthony 9921056615
Director: Piety de Navelim
1) Mhaka Zai
2) Kitem Meulem?
3) Uddtta Tho Buddtta
Contact: Piety 9822687621, Connie-M 9822176835
Director: Sanny & Dada de Maina
1) Khonnank
2) Laglea
3) Tan
Contact: Dada 9822988925/9822149462, Sanny 9822060943
Director: Xavier de Sanguem
1) Tumi Chitat
2) Tumi Sangat
3) Tumi Vochat
Contact: Xavier 9226896161
Director: Cajie de Curtorim
1) Bore Bhaxen Ravat
2) Ghorjek Pavat
3) Sogleanchi Ekuch Suvat
Contact: 9881283556
Director: Frank de Diuler Benaulim (Bukul)
1) To Mhozo Fudar
2) Tum Rautolo
3) Mogachem Utor Dieat
Contact: 9850468309/2772009
Director: Jack Rodson de Benaulim
1) Zap
2) Korta Tor
3) Xidduk Rau
Contact: 9822157970
Director: Seby Fernandes de Curtorim
1) Sukh Ani Dukh
2) Noxibantlea
3) Khonakuch Chukonam
Contact: Seby 9922656533, Luzito 9822103576
Director: Rodrigues de Benaulim
1) Vadlelem Naka Sandlelem Zai
2) Goenkar Khuim Nidleat Kai?
3) Tho Amcho Pai
Contact: 9860434952/9923231781
Director: Jose de Velim
1) Tuka Naka
2) Konnak Zai
3) Mhaka Sangat
Music By: Remy, William & Jose de Velim
Contact: 9850456421/2773698
Director: Sansil de Benaulim
1) Noxibant Assonkna
2) Hem Aidon Koslem??
3) Tumcho Sounsar Sambalat
Music By: Ancieto & his Troupe
Contact: 0923618887/2771850
Director: Babito D?Souza
1) Tumkam Zai Aslem
2) Toxench Zalem
3) Atam Zaieat Koxeal
Contact: Babito 9764923349, Sandeep 9923921592
Director: Alroy (Selection of Chinchinim)
1) Okmann
2) Biemann
3) Tufan
Contact: 9226969369/9970129289
Director: Roy de Chinchinim (Loyd?s Selection)
1) Amkam Fudar Na?
2) Tuka Utor Ditam
3) Goemche Ganti
Music By: John
Contact: 9822433668
Director: Jack & Jan
1) Dolle Asson
2) Hem Sovsarant
3) Khuddo Tum
Contact: 9881724053/9822620053
Director: Domnic Barbosa
1) Ixtt Vo Dusman
2) Dukham
Contact: Joel 9823978490
Director: Conyferns & Seby de Quepem
1) Mainchem Utor
2) Dev Tumkam Boxitolo
3) Salosavan Ugodlle Bhattkarache Dolle
Contact: Conyferns 9822136206, Seby de Quepem 9822408501
Director: Candino de Carmona
1) Mhojea Jivitant
2) Kolloumb
3) Kiteak Assa?
Contact: 9822053901/2744338
[goa-world.com team thanks to Kala Mogui Kuwait (KMK) for compiling this list].
[Khell Tiatrs, whose performance are restricted to the festivals of Carnival/Intruz and/or Easter. It differs from the traditional Konkani Tiatr of the 5 or 7 poddeas (acts) that is that its songs are integrated with the main drama, theme and storyline and do not deviate in essence from content from it.
We invite viewers of these plays to forward their reviews + photos for publishing in the Gulf-Goans e-Newsletter of www.goa-world.com].
- Forwarded by www.goa-world.com
23/1/2008 Kuwait
Goa's Pride - http://www.goa-world.com
Gulf-Goans e-Newsletter (Since 1994) archived at
http://www.yahoogroups.com/group/gulf-goans/
Moderated by Gaspar Almeida & presented by Ulysses Menezes
http://youtube.com/watch?v=NX0VwOSHWns
Monday, January 21, 2008
Goan Tiatr - Not a Folk Drama
Goan Tiatr - Not a Folk Drama
By Tomazinho Cardozo
The other day Mr Paul Moras, a Konkani writer from Mangalore, came to meet me to get some more information on the Goan tiatr. Mr Moras is writing a book on Goan culture and the study of tiatr is a part of his book. When I told him that the Goan tiatr is a product of the fusion of modern drama and song, he could not believe it because everyone he had contacted in Goa in this regard - ( writers of Konkani in Devnagari scripts ) - had told him that Goan tiatr is a folk drama. I have also observed that Mr Pundalik Naik in his article ‘The tiatr Magic’ in the book ‘Redefining Horizons’ published by the department of information and publicity, government of Goa also gives the impression that the Goan tiatr is a folk play. Mr Vinayak Vishnu Khedekar, in his book ‘Loksarita’ in Marathi published by the Kala Akademy of Goa says that the soul of tiatr is folk drama. In the recently published catalogue “Tiatristes - Portraits by Alex Fernandes”, Mr Ranjit Hoskote in his introductory essay calls Goan tiatr a folk form of theatre. There are many other Konkani writers who consider Goan tiatr a form of folk theatre. My question is, on what basis can Goan tiatr be classified as a folk form of drama?
Writers who consider tiatr to be a folk drama have not understood the difference between tiatr and khell-tiatr. For them both are the same. In reality Khell-tiatr is an extension of the Goan folk play called khell or fell. About 30-35 years ago, the khell or fell, which was earlier performed on the ground, came to be performed on stage. Since that day it was called khell-tiatr. There is no doubt that it had a folk element in it when it was staged for the first time. Today khell-tiatr also shows no signs of folk theatre.
As I understand, a folk dramas or songs or music are generally limited to the knowledge transmitted from one generation to another by word of mouth or imitation. Their composers and writers are unknown. There are no written records of the prose, music and song. The music is crude, the singers are hoarse, musical instruments rustic and traditional and musicians unrefined. In case of the tiatr there is no such evidence whatsoever to say that it belongs to the folk category.
The confusion about the tiatr being a folk drama has arisen because some people do not have a proper understanding of the concept of tiatr. The tiatr has prose as well as music and song. Hence, it cannot be classified as a prose drama or a musical drama. The plot is divided into six or seven acts called ‘Podd’dde’. In between these acts there are two or three songs - kantaram - which are not related to the storyline of the play at all. Each song is composed on a different theme. Therefore if the plot of the play is based on a particular theme then it will have 12 to 14 songs based on various issues.
Let us examine how the tiatr format evolved. The first tiatr “Italian Bhurgo” was written by Lucasinho Ribeiro and staged in Mumbai on April 17, 1892. This tiatr was an adaptation of the Italian opera called ‘Italian Boy’. When Mr Ribeiro encountered difficulties setting up the stage for different scenes (time was wasted during the change of setting), he thought of introducing songs in front of the curtain while the stage was being set for the next scene behind the curtain. This way the audience was not bored. He succeeded in his first attempt. And this format came to be known as tiatr. The source of the script was known. The writer was also known. Secondly, the musical instruments used to provide music for the songs included a violin, a banjo, a trumpet, a saxophone and a drum. There were no rustic musical instruments used nor were the songs traditional. The musicians had studied music and learnt to read and write the score. This format came into existence during the days when there was tremendous influence of European modern theatre on Indian theatre.
After the success of the first tiatr ‘Italian Bhurgo’ Lucasinho Ribeiro translated some more world classics such as Alladin, Ali Baba and Carlos Magno. Sebastiao Gabriel D’Souza translated the ‘Merchant of Venice’, ‘As You Like It’, ‘Hamlet’ and ‘Winter’s Tale’ and staged them in the tiatr format. Joao Lazarus D’Souza adapted and staged ‘Romeo and Juliet’.
Joao Agostinho Fernandes was the first writer to write original scripts on themes highlighting injustices in the Goan society. He was also pioneered the composing of lyrics and original music scores. In view of this it is clear that tiatr has no relevance to folk theatre or folk songs or folk music. Tiatr is a product of modern theatre - a fusion of modern prose and modern song and music.
(The Navhind Times)
By Tomazinho Cardozo
The other day Mr Paul Moras, a Konkani writer from Mangalore, came to meet me to get some more information on the Goan tiatr. Mr Moras is writing a book on Goan culture and the study of tiatr is a part of his book. When I told him that the Goan tiatr is a product of the fusion of modern drama and song, he could not believe it because everyone he had contacted in Goa in this regard - ( writers of Konkani in Devnagari scripts ) - had told him that Goan tiatr is a folk drama. I have also observed that Mr Pundalik Naik in his article ‘The tiatr Magic’ in the book ‘Redefining Horizons’ published by the department of information and publicity, government of Goa also gives the impression that the Goan tiatr is a folk play. Mr Vinayak Vishnu Khedekar, in his book ‘Loksarita’ in Marathi published by the Kala Akademy of Goa says that the soul of tiatr is folk drama. In the recently published catalogue “Tiatristes - Portraits by Alex Fernandes”, Mr Ranjit Hoskote in his introductory essay calls Goan tiatr a folk form of theatre. There are many other Konkani writers who consider Goan tiatr a form of folk theatre. My question is, on what basis can Goan tiatr be classified as a folk form of drama?
Writers who consider tiatr to be a folk drama have not understood the difference between tiatr and khell-tiatr. For them both are the same. In reality Khell-tiatr is an extension of the Goan folk play called khell or fell. About 30-35 years ago, the khell or fell, which was earlier performed on the ground, came to be performed on stage. Since that day it was called khell-tiatr. There is no doubt that it had a folk element in it when it was staged for the first time. Today khell-tiatr also shows no signs of folk theatre.
As I understand, a folk dramas or songs or music are generally limited to the knowledge transmitted from one generation to another by word of mouth or imitation. Their composers and writers are unknown. There are no written records of the prose, music and song. The music is crude, the singers are hoarse, musical instruments rustic and traditional and musicians unrefined. In case of the tiatr there is no such evidence whatsoever to say that it belongs to the folk category.
The confusion about the tiatr being a folk drama has arisen because some people do not have a proper understanding of the concept of tiatr. The tiatr has prose as well as music and song. Hence, it cannot be classified as a prose drama or a musical drama. The plot is divided into six or seven acts called ‘Podd’dde’. In between these acts there are two or three songs - kantaram - which are not related to the storyline of the play at all. Each song is composed on a different theme. Therefore if the plot of the play is based on a particular theme then it will have 12 to 14 songs based on various issues.
Let us examine how the tiatr format evolved. The first tiatr “Italian Bhurgo” was written by Lucasinho Ribeiro and staged in Mumbai on April 17, 1892. This tiatr was an adaptation of the Italian opera called ‘Italian Boy’. When Mr Ribeiro encountered difficulties setting up the stage for different scenes (time was wasted during the change of setting), he thought of introducing songs in front of the curtain while the stage was being set for the next scene behind the curtain. This way the audience was not bored. He succeeded in his first attempt. And this format came to be known as tiatr. The source of the script was known. The writer was also known. Secondly, the musical instruments used to provide music for the songs included a violin, a banjo, a trumpet, a saxophone and a drum. There were no rustic musical instruments used nor were the songs traditional. The musicians had studied music and learnt to read and write the score. This format came into existence during the days when there was tremendous influence of European modern theatre on Indian theatre.
After the success of the first tiatr ‘Italian Bhurgo’ Lucasinho Ribeiro translated some more world classics such as Alladin, Ali Baba and Carlos Magno. Sebastiao Gabriel D’Souza translated the ‘Merchant of Venice’, ‘As You Like It’, ‘Hamlet’ and ‘Winter’s Tale’ and staged them in the tiatr format. Joao Lazarus D’Souza adapted and staged ‘Romeo and Juliet’.
Joao Agostinho Fernandes was the first writer to write original scripts on themes highlighting injustices in the Goan society. He was also pioneered the composing of lyrics and original music scores. In view of this it is clear that tiatr has no relevance to folk theatre or folk songs or folk music. Tiatr is a product of modern theatre - a fusion of modern prose and modern song and music.
(The Navhind Times)
Konkani Youth events in Goa - 2008
Yuva Mahotsav gets underway in Sanguem
SANGUEM: The 13th Yuva Mahotsav got underway here with a slew of competitions organised for the participating colleges from the state. Folk dances, one-minute speech, Rangoli, traditional instruments, Konkani pop dance, face painting, solo singing competition and street play were the highlights of yesterday's happening in this part of the state. [GT]
Yuva Konkani Sahitya Sammelan
PILAR: Fr Agnel College of Arts and Commerce, Pilar, will organise the 9th Yuva Konkani Sahitya Sammelan at Pilar on February 16 and 17. Fr Frederick Rodrigues has been elected as chief co-ordinator. [GT]
Founding fathers gathering dust!
PANJIM, Jan 13: The portraits of Goa's first Chief Minister Dayanand 'Bhau' Bandodkar and Father of the Opinion Poll Dr Jack de Sequeira are presently gathering dust at the Adil Shah palace in Panjim, the heritage building which once housed the state secretariat and the legislative Assembly. Spiders have spun webs around these portraits as they lie in the dust of the Adil Shah Palace, which is presently undergoing restoration. [Janim Xavier, Herald]
SANGUEM: The 13th Yuva Mahotsav got underway here with a slew of competitions organised for the participating colleges from the state. Folk dances, one-minute speech, Rangoli, traditional instruments, Konkani pop dance, face painting, solo singing competition and street play were the highlights of yesterday's happening in this part of the state. [GT]
Yuva Konkani Sahitya Sammelan
PILAR: Fr Agnel College of Arts and Commerce, Pilar, will organise the 9th Yuva Konkani Sahitya Sammelan at Pilar on February 16 and 17. Fr Frederick Rodrigues has been elected as chief co-ordinator. [GT]
Founding fathers gathering dust!
PANJIM, Jan 13: The portraits of Goa's first Chief Minister Dayanand 'Bhau' Bandodkar and Father of the Opinion Poll Dr Jack de Sequeira are presently gathering dust at the Adil Shah palace in Panjim, the heritage building which once housed the state secretariat and the legislative Assembly. Spiders have spun webs around these portraits as they lie in the dust of the Adil Shah Palace, which is presently undergoing restoration. [Janim Xavier, Herald]
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