GOAN MUSIC (9)
- By Valmiki Faleiro
Shankar Bhandari (1928-87), of the landed gentry of Cumbarjua, was a rare personage.
A creative writer with unambiguous opinions, great wit and genuine Goan values, he
crafted programmes for All India Radio. I longed to be in his presence, even if only for a few moments, when, as a casual artiste in my college days, I often went for ‘YuvaVani’ talk recordings – no, I can only croak, not sing! – at AIR’s Panjim studios.
Pearls flowed from his fertile mind! One reason, perhaps, I was more impressed was
that he hailed from the same village as that of my maternal grandfather – an exotic little “Republic” of my childhood images.
Shankar Bhandari was a man of cool courage, and conviction. And one who defied the
adage, ‘When the wine is in, the wit is out.’ True (not Dutch) courage it would take when, some years after 1961, he penned a verse on India’s ‘Ganarajya’ (Republic.) In that era, India was the only nation besides the Soviet Union to define “sedition” amongst the gravest offences under the penal law.
‘Ganarajya’ was a parody on India. Goa had been integrated into the Indian Union on
March 27, 1962. Shankar Bhandari daringly asked: “Gonachem Ailam Raj / Khuincho
Gana Konn Zanna?”
The governance of ‘Gana’ has arrived (upon Goa), but who knows this ‘Gana’ or
wherefrom (it comes)? In the name of ‘Gana,’ Andhra and Telangana fight each other.
Maharashtra and Vidarbha tussle over the (waters of) Godavari. Who knows this ‘Gana’?
If you’re still wondering which ‘Gana’ (no, not another song) he was on, think of the
national anthem … “Jana, Gana, Mana.” That was Shankar Bhandari. Like him or
lampoon him. No Goan freedom fighter dared report him “anti-national.”
He could come up with rare ones like “Goenkar: ratche torrad, sokallche honrrad!” Or his riddle, “Why does Bandodkar always face the river Mandovi?” (When CM, mineowner
Bandodkar’s chamber faced the river, after demise, his statue by the old Secretariat also faced the river.) His answer: “To count his barges carrying ore, he doesn’t trust his daughters!”
The ‘Trio Kings,’ Conception-Nelson-Anthony, were notorious for stage songs chopping
Bandodkar’s policies to pieces. They thwarted his moves to woo the Catholic vote bank.
Their songs ruffled the CM’s feathers more than Opposition MLAs ever did. When all his offers to rein in the Trio failed, Bandodkar imposed a Tiatr tax!
Tiatrists faced tough days, but none suffered as Kid Boxer did.
Sometime in 1958, Siolim-born Kid Boxer (Caetano Manuel Pereira, 1917-1991) sang an
“anti-India” song in Bombay. Goan freedom fighters there got him jailed. Kid was then
deported to Goa. The Portuguese immediately employed him at the Goa Radio. As an
artiste, he worked with the likes of Jacinto Vaz, Allen Costa and Georgina Jacques.
According to my Candolim friend in Kuwait, Anthony Veronica Fernandes, a walking
encyclopaedia on Konknni songsters, Kid was the highest paid Konknni artiste.
The songs he recorded at Goa Radio were runaway hits, like:
Divo pettounk guineanacher / Uzvadd ieunk chintnacher / Zo kon zanna konnem ghoram
bandleant tim pongeranchea zaddancher.
Suskar soddlet maeyani / Dolle bhortat dukhani / Aiz putancheo maeyom duddu na
zaun, rodtat zorinnim.
The true meaning of his riddlesome lyrics was known only to close friends. Yet, listeners lapped up his songs. The one above was scripted in the wake of a Govt. of India ban on both money transfers and travel by Bombay-Goans to Goa.
After liberation, Kid Boxer was arrested again when singing on stage at Mapusa. The
song that earned official ire went as follows:
Tum bhitor sorlai chukon, mortoloi sukon, dusreacho desh pochona;
Tum nestai fokot valo, ani khatai fokot palo, hem matui hanga sobona;
Tum panpotti khatai, ani poch'chu korun thuktai, lozui kaim dissona…
After things cooled down, Kid returned to Bombay and began stage acting again. During
a Tiatr, as he sang one of his by now famous ‘zupattis’ (tongue-lashings), freedom
fighter Evagrio George in the audience raised a ruckus over Kid’s “anti-national” song.
“Audience was with Kid but the law was not,” says Veronica. Kid was arrested yet again, incarcerated at Nasik jail for six months, where he was physically – and mercilessly – tortured. His spirit didn’t break. In jail, Kid wrote another Tiatr, "Somzonnem Zali Chuk."
He sang a hit in it, "Sov mhoine Nasik conventan kaddle, torui converter zaunk na."
(Despite six months at the Nasik “convent,” I was not converted.)
Kid Boxer was incomparable, especially when delivering melodious ‘zupattis,’ like:
“Nesson dusreachem kapodd, hath paiem kamrun bosleat makodd.” Obviously alluding
to his conviction that Goa was invaded and illegally occupied by India.
Lucky that Kid Boxer was not charged with sedition! (Concludes.)
Pics courtesy: Kid Boxer (Fausto da Costa, ‘Tiatr ani Tiatrist’, Vol-I, The Goan Review publication, 1994), TrioKings Conception-Nelson-Anthony (JoeGoaUK, www.flickr.com/photos/joegoauk12) and Shankar Bhandari (Goa Konkani Academy.)
(HERALD / October 5, 2008)
Wednesday, February 11, 2009
YEAR-END MUSINGS - by Valmiki Faleiro
YEAR-END MUSINGS.
- By Valmiki Faleiro.
“Year-end? We’re almost one-twelfth into the new year!” This Rip van Winkle knows. But, my year-end seldom ends before this time in the following year. I mean the festive season of joy, of visiting overseas friends who with unscheduled ‘surprise’ visits upset schedules, of birthdays, wedding invites… Which makes the ‘holiday season’ my busiest in the year. The time of the year is literally a holiday for overseas friends. To escape the bitter winters in their country of domicile, for a slice of the Goan sun and warmth of local folks. For most of us, poor country bumpkins, it is not vacation but work as usual, save the day of Christmas and at best a couple of days around it. But, when one is on holiday, one perhaps presumes everyone around is also on holiday. Not that I grudge giving overseas friends time. Provided it be factored in my schedule.
Most folks will come unannounced. To give you a ‘sweet surprise.’ Abroad, they would have the door slammed on the face – after being curtly told to phone and come. The way it should be, because in the times we live, everyone’s day is planned, and nobody is waiting to welcome ‘surprises.’ Personally, such ‘surprises’ do not fascinate. They irritate. So be alerted friends ‘n’ foes:phone and come! On the eve of Republic Day, let’s turn our thoughts to those gallant men who give their lives in defence of the nation. The numbing November terror attack in Mumbai produced more national heroes. (Incidentally, ‘Param Vir – Our Heroes in Battle,’ by Maj. General Ian Cardozo, Roli Books, 2008, ISBN: 978-81-7436-262-9, Pgs.225, Rs.295, is veryinformative and inspiring.) The unsung heroes of Mumbai were ordinary men.
Unfortunately, just as the media stayed stuck with elite targets like the Taj and Trident hotels, with negligible coverage of CST, Cama hospital and Girgaum junction, it was, ironically, the latter that produced the greatest heroes of that black day. Like the announcer at CST who, perched high above the platforms, saw what Ismail and Kasab were doing with their AK-47s. Over the public address, he continuously advised passengers which way to alight from trains and in which direction to run for safety. The perplexed terror duo, seeing a rich harvest suddenly vanish, spotted the announcer and opened fire at him. The man ducked and saved himself, but not before saving heaven knows how many innocent lives.
Like the unarmed constable who grabbed an ancient 303 rifle from the frightened hands of a colleague, to take on the might of two AK-47s, each discharging 150 death rounds per minute.
Like the humble generator technician at Cama, on his way down after locking dozens of doctors and others in the hospital’s terrace, encountered Ismail and Kasab, who asked the way to the terrace. The brave man saved those sure terrace deaths. But my greatest were two men of the Mumbai Police at the Girgaum road block, hastily erected to halt the terrorist duo. Moment the commandeered Skoda hit the road divider, a constable sprang to the driver side window and snatched the car keys, sealing any chance of Ismail and Kasab’s getaway. As Ismail, at the wheel, opened fire at the cops and was soon wounded mortally, Kasab crouched. Abruptly opening the side door, from the still crouched position, Kasab fired. He got PSI Tukaram Ombale. Despite a hail of bullets on his chest, Ombale lunged onto Kasab, deflected the AK-47, and, as he died, gave the nation not just his life but also the only terrorist from ten to be captured alive.
Ashok Chakra, India’s highest gallantry award, will be bestowed tomorrow on the 12Mumbai cops who died. Honestly, men like Tukaram Ombale deserve much more… Hats off to Lorenz Photo Studio, Margao, for the lovely wall calendar dedicated to ‘Tiatr,’the stage art form despised by upper classes. Photography was brought to Margao by an Amar from Cortalim. Then came studios like ‘Atelier Moderno Fotografo Antao, ’Mauzo and Raikar. Started by a ‘Times of India’ lensman in 1947, Lorenz’s 2009 calendar does the history of Goa’s photography proud.
24 January 2009
- By Valmiki Faleiro.
“Year-end? We’re almost one-twelfth into the new year!” This Rip van Winkle knows. But, my year-end seldom ends before this time in the following year. I mean the festive season of joy, of visiting overseas friends who with unscheduled ‘surprise’ visits upset schedules, of birthdays, wedding invites… Which makes the ‘holiday season’ my busiest in the year. The time of the year is literally a holiday for overseas friends. To escape the bitter winters in their country of domicile, for a slice of the Goan sun and warmth of local folks. For most of us, poor country bumpkins, it is not vacation but work as usual, save the day of Christmas and at best a couple of days around it. But, when one is on holiday, one perhaps presumes everyone around is also on holiday. Not that I grudge giving overseas friends time. Provided it be factored in my schedule.
Most folks will come unannounced. To give you a ‘sweet surprise.’ Abroad, they would have the door slammed on the face – after being curtly told to phone and come. The way it should be, because in the times we live, everyone’s day is planned, and nobody is waiting to welcome ‘surprises.’ Personally, such ‘surprises’ do not fascinate. They irritate. So be alerted friends ‘n’ foes:phone and come! On the eve of Republic Day, let’s turn our thoughts to those gallant men who give their lives in defence of the nation. The numbing November terror attack in Mumbai produced more national heroes. (Incidentally, ‘Param Vir – Our Heroes in Battle,’ by Maj. General Ian Cardozo, Roli Books, 2008, ISBN: 978-81-7436-262-9, Pgs.225, Rs.295, is veryinformative and inspiring.) The unsung heroes of Mumbai were ordinary men.
Unfortunately, just as the media stayed stuck with elite targets like the Taj and Trident hotels, with negligible coverage of CST, Cama hospital and Girgaum junction, it was, ironically, the latter that produced the greatest heroes of that black day. Like the announcer at CST who, perched high above the platforms, saw what Ismail and Kasab were doing with their AK-47s. Over the public address, he continuously advised passengers which way to alight from trains and in which direction to run for safety. The perplexed terror duo, seeing a rich harvest suddenly vanish, spotted the announcer and opened fire at him. The man ducked and saved himself, but not before saving heaven knows how many innocent lives.
Like the unarmed constable who grabbed an ancient 303 rifle from the frightened hands of a colleague, to take on the might of two AK-47s, each discharging 150 death rounds per minute.
Like the humble generator technician at Cama, on his way down after locking dozens of doctors and others in the hospital’s terrace, encountered Ismail and Kasab, who asked the way to the terrace. The brave man saved those sure terrace deaths. But my greatest were two men of the Mumbai Police at the Girgaum road block, hastily erected to halt the terrorist duo. Moment the commandeered Skoda hit the road divider, a constable sprang to the driver side window and snatched the car keys, sealing any chance of Ismail and Kasab’s getaway. As Ismail, at the wheel, opened fire at the cops and was soon wounded mortally, Kasab crouched. Abruptly opening the side door, from the still crouched position, Kasab fired. He got PSI Tukaram Ombale. Despite a hail of bullets on his chest, Ombale lunged onto Kasab, deflected the AK-47, and, as he died, gave the nation not just his life but also the only terrorist from ten to be captured alive.
Ashok Chakra, India’s highest gallantry award, will be bestowed tomorrow on the 12Mumbai cops who died. Honestly, men like Tukaram Ombale deserve much more… Hats off to Lorenz Photo Studio, Margao, for the lovely wall calendar dedicated to ‘Tiatr,’the stage art form despised by upper classes. Photography was brought to Margao by an Amar from Cortalim. Then came studios like ‘Atelier Moderno Fotografo Antao, ’Mauzo and Raikar. Started by a ‘Times of India’ lensman in 1947, Lorenz’s 2009 calendar does the history of Goa’s photography proud.
24 January 2009
Roseferns' Tiatr "MAIM TUZO UPKARI HANV"
Roseferns' Tiatr "MAIM TUZO UPKARI HANV"
Once again ROSEFERNS will be back in Kuwait with his hit Konkani tiatr "MAIM TUZO UPKARI HANV" with his full cast. The tiatr is scheduled to be held on Friday, 4th April 2008, at the Hawalli A.C. Auditorium at 3:30 p.m. and presented by Jolly Boys of Benaulim-Kuwait. A tiatr with a touching story of love and sacrifice, the bitter truth, with enjoyable comedy and superb fine acting under the direction of the King of Centuries, Roseferns.
The review of "MAIM TUZO UPKARI HANV" in the Goan English newspaper 'The Navhind Times' goes thus "The play entertains to capture the attention of the viewer with a good script that has many surprises and fine display of emotions".
Konkani tiatr lovers watch out for the next media announcement or email: jollyboysofbenaulim@gmail.com or contact Aseno Ferns 9420352 or Benny Vaz 6533229 or Raja Stores Tel; 2412970 or keep following up on the our blog http://maimtuzoupkarihanv.blogspot.com/
GOAN MUSIC (7) - by Valmiki Faleiro
GOAN MUSIC
By Valmiki Faleiro
"Tiatr" produced copious volumes of music-song. Named after the Portuguese
'Teatro,' the Konknni stage was Goa's largest of performing arts, mainly among
Catholics. It sure featured names like Kamat de Assolna but bulk was Goan Catholic, some with curious stage names like Titta Pretto and Jhepsis Hitler!
"Pai Tiatrist" Joao Agostinho (JA) Fernandes, actually "Irmao" of pioneer
Lucasino Ribeiro as JA himself always protested, wrote original plays and music
right from his first, and history's second, Tiatr. JA set Tiatr in the seven-Acts format, and between the Acts, songs that could be solos, duets, trios or quartets. With his own wife, he introduced women to the stage. His themes were clearly aimed at social reformation.
Thence, the world of Tiatr produced many giants. They would take a tome to
even be briefly discussed. I'll restrict to a few whose song-music so impacted my
young mind that I remember them to this day. I was not old enough to see some of them live, but heard their renditions from vinyl records or from 'Akashvani' (in those times, "Aqui Portugal, fala Emissora de Goa.")
Personally, my greatest Tiatrist was singer-actor Kid Boxer. Not just for his song, but for his courage of conviction. Allow me to leave the best for the last, in a
couple of Sundays, when I'll elaborate.
One colossus of the Tiatr world was Minguel Rod. He strode the Konknni
stage at a precocious age, entering when he himself was only 13. His songs attacked
social ills, which is natural as he hailed from a poor tribal background of Cortalim.
His verse-lyrics were absolutely original – even if his tunes at times were borrowed. His imagery and satirical bite was not. A song went like, "(The landlord's) house was massive/ built of rock-solid stone/ but a wall collapsed/ when a pig's tail accidentally brushed against it."
Credited with revival of the Tiatr during its gloomiest days, Minguel produced colourful titles like 'Lembddo Santan' and 'Pobre Fidalgo.'
Year 1955 was tumultuous for the Portuguese in Goa. August 15, India's Independence
Day, saw several "Jai Hinds" shot dead or injured at border points of Patradevi, Molem and Polem. On October 5, Portugal's Republic Day, hundreds of natives
converged at Cortalim. Everyone from Governor to gun-totting soldier quaked, until it
was discovered it was not an internal 'Satyagraha.' Minguel Rod had died. Like several Tiatr greats, at a young age: 32. "Aqui Portugal …" announced the demise in all its six language news bulletins. And annual radio tributes until liberation.
Anthony Mendes is my best Konknni comedian-singer, not because his ancestral house
was a whistling distance from mine. Such was his singing, dancing and acting talent that he was about to be inducted in Hindi films, when he too departed – also at
a relatively young age. Upon his death, Alfred Rose composed and sang a tribute to him.
Several times during its rendition, Alfred broke down, and with him, most in the
audience.
Anthony need not have uttered funny Konknni lines to have the crowd in splits. He
achieved that by merely twitching his bushy whiskers or squinting his saucer-sized eyes. Or a faked movement of his agile body – or even with an equally spurious
Padri-style short quote in Latin! He scripted Tiatrs but only one, "Joao Paddekar," was staged in Goa. Typical of his song lyrics:
"Ho tuzo guneaum, muzo guneaum, kestaum pettota / Beijeam svater, vontt
poleancher, thapttam suzota" (on domestic tiffs between spouses, where, instead of
kisses, slaps resound off cheeks.)
After him, Jacinto Vaz and M. Boyer held the flag of stage comedy high.
In this galaxy, the greatest in his day was Alexinho de Candolim. He sang
and also penned some pretty powerful Tiatrs, including his famous "Sonvsarant Konn
Konnacho,"and his trademark last, "To Bhavtto Dhormancho." Alexinho died at age 49,
in 1964.
Young Menezes was the first rapid-fire ("jet-speed") singer. He liberally
used Konknni adages in his songs, including one titled 'Hotel de Jakin!' Like his senior fellow villager Alexinho, Young's songs rhymed perfectly.
Trio singers (three actors interspersing in a song) were popular on the
Konknni stage. The most legendary was Kid-Young-Rod (Kid Boxer, Young Menezes and Minguel Rod.)
Among the famous Trios was Rom-Rem-Rod, who sang on the abominable murder of a
Taleigao housewife, her daughter and a yet unborn child. That crime, a few
years from liberation, shocked Goa, earned Malayalees local hatred and, in a long
time, the Aguada gallows a trophy.
The generally accepted "Trio Kings" were Conception-Nelson-Anthony. Their
political satire was so devastating that they invited post-1961 official wrath on the
Tiatr fraternity – special guys, let's leave them for the last piece. (To conclude.)
Herald / September 21, 2008
By Valmiki Faleiro
"Tiatr" produced copious volumes of music-song. Named after the Portuguese
'Teatro,' the Konknni stage was Goa's largest of performing arts, mainly among
Catholics. It sure featured names like Kamat de Assolna but bulk was Goan Catholic, some with curious stage names like Titta Pretto and Jhepsis Hitler!
"Pai Tiatrist" Joao Agostinho (JA) Fernandes, actually "Irmao" of pioneer
Lucasino Ribeiro as JA himself always protested, wrote original plays and music
right from his first, and history's second, Tiatr. JA set Tiatr in the seven-Acts format, and between the Acts, songs that could be solos, duets, trios or quartets. With his own wife, he introduced women to the stage. His themes were clearly aimed at social reformation.
Thence, the world of Tiatr produced many giants. They would take a tome to
even be briefly discussed. I'll restrict to a few whose song-music so impacted my
young mind that I remember them to this day. I was not old enough to see some of them live, but heard their renditions from vinyl records or from 'Akashvani' (in those times, "Aqui Portugal, fala Emissora de Goa.")
Personally, my greatest Tiatrist was singer-actor Kid Boxer. Not just for his song, but for his courage of conviction. Allow me to leave the best for the last, in a
couple of Sundays, when I'll elaborate.
One colossus of the Tiatr world was Minguel Rod. He strode the Konknni
stage at a precocious age, entering when he himself was only 13. His songs attacked
social ills, which is natural as he hailed from a poor tribal background of Cortalim.
His verse-lyrics were absolutely original – even if his tunes at times were borrowed. His imagery and satirical bite was not. A song went like, "(The landlord's) house was massive/ built of rock-solid stone/ but a wall collapsed/ when a pig's tail accidentally brushed against it."
Credited with revival of the Tiatr during its gloomiest days, Minguel produced colourful titles like 'Lembddo Santan' and 'Pobre Fidalgo.'
Year 1955 was tumultuous for the Portuguese in Goa. August 15, India's Independence
Day, saw several "Jai Hinds" shot dead or injured at border points of Patradevi, Molem and Polem. On October 5, Portugal's Republic Day, hundreds of natives
converged at Cortalim. Everyone from Governor to gun-totting soldier quaked, until it
was discovered it was not an internal 'Satyagraha.' Minguel Rod had died. Like several Tiatr greats, at a young age: 32. "Aqui Portugal …" announced the demise in all its six language news bulletins. And annual radio tributes until liberation.
Anthony Mendes is my best Konknni comedian-singer, not because his ancestral house
was a whistling distance from mine. Such was his singing, dancing and acting talent that he was about to be inducted in Hindi films, when he too departed – also at
a relatively young age. Upon his death, Alfred Rose composed and sang a tribute to him.
Several times during its rendition, Alfred broke down, and with him, most in the
audience.
Anthony need not have uttered funny Konknni lines to have the crowd in splits. He
achieved that by merely twitching his bushy whiskers or squinting his saucer-sized eyes. Or a faked movement of his agile body – or even with an equally spurious
Padri-style short quote in Latin! He scripted Tiatrs but only one, "Joao Paddekar," was staged in Goa. Typical of his song lyrics:
"Ho tuzo guneaum, muzo guneaum, kestaum pettota / Beijeam svater, vontt
poleancher, thapttam suzota" (on domestic tiffs between spouses, where, instead of
kisses, slaps resound off cheeks.)
After him, Jacinto Vaz and M. Boyer held the flag of stage comedy high.
In this galaxy, the greatest in his day was Alexinho de Candolim. He sang
and also penned some pretty powerful Tiatrs, including his famous "Sonvsarant Konn
Konnacho,"and his trademark last, "To Bhavtto Dhormancho." Alexinho died at age 49,
in 1964.
Young Menezes was the first rapid-fire ("jet-speed") singer. He liberally
used Konknni adages in his songs, including one titled 'Hotel de Jakin!' Like his senior fellow villager Alexinho, Young's songs rhymed perfectly.
Trio singers (three actors interspersing in a song) were popular on the
Konknni stage. The most legendary was Kid-Young-Rod (Kid Boxer, Young Menezes and Minguel Rod.)
Among the famous Trios was Rom-Rem-Rod, who sang on the abominable murder of a
Taleigao housewife, her daughter and a yet unborn child. That crime, a few
years from liberation, shocked Goa, earned Malayalees local hatred and, in a long
time, the Aguada gallows a trophy.
The generally accepted "Trio Kings" were Conception-Nelson-Anthony. Their
political satire was so devastating that they invited post-1961 official wrath on the
Tiatr fraternity – special guys, let's leave them for the last piece. (To conclude.)
Herald / September 21, 2008
Tuesday, February 10, 2009
Tiatr Akademi –A Big Responsibility
Tiatr Akademi –A Big Responsibility
The Konkani Tiatro has a big following in Goa, in the Gulf Countries and in the U.K. Not to mention, a sizeable following in Maharashtra, Karnataka and Gujrat. Elsewhere in India too and the World , however small may be the Goan population, the Konkani Tiatro, is very very dear to their hearts.
Anything and everything that has to do with the Konkani Tiatro, catches attention of all Goans, in whichever part of the world they may be.
However, Goa being the center of Konkani Tiatro, controls the Tiatro-Activities all over the world.
The recent happening, that has a direct bearing on Tiatro and Tiatrists, is the setting-up of the “Tiatr-Akademi”, by the government of Goa.
An Akademi for Tiatr, was a long over-due “need” of the Konkani Tiatro.
To ensure that this unique “theatre-form” of Goa develops, grows and is passed on to future generations, it was but necessary, to have a Tiatr Akademi that could cater to all these needs.
Now that it has come into existence, through the Government of Goa, it is very much a happy ‘sign’.
However, we also know from our past experiences, that Institutions and Associations, formed by Tiatrists , with best of intentions, have finally ended up, doing just the “opposite”.
Hence, it is now, all the more necessary, that we Tiatrists, learn from our past experiences and make a “success-story’ , of the Tiatr-Akademi.
Apart from the representatives from allied Govt. Departments , the following are the members of the General Council of the Tiatr Akademi :- Tomazinho Cardozo, Daniel D’Souza, Premanand Sangodkar, Roseferns, Anil Kumar, Sharon Mazarello, Mario Menezes, Mario de Vasco, Prince Jacob, Jessie Dias, Michael Gracias, Marcelin de Betim, Auggie D’Mello, Mike Mehta, Premand Lotlekar, Osvie Viegas, Josinho D’Souiza, Shaikh Aamir, Menin de Bandar & Joe Rose.
The Executive-Committee, consists of Tomazinho Cardozo (President), Roseferns (Vice President) & Prince Jacob, Mario Menezes, Sharon Mazarello, Anil Kumar, Mario de Vasco, & Premanand Sangodkar, as members.
By & large, within it limitations, there is no doubt that, this is the most well-balanced Executive Committee.
The General Council and the Executive Committee have a huge responsibility, on their shoulders.
It will, undoubtedly, be a tough job ahead, as the Konkani Tiatro , in general, is urgently, in need of an “organized set-up”.
In the past , we Tiatrists have always been working , on “ad hoc”-ism.
Each one on his own.
There is a dire need to work cohesively, for the common good of the Konkani Tiatro.
Sharing of responsibilities, could go a long way, for getting maximum participation.
To begin with, I think the General Council, must sit down and identify:-
a) Short-Term Needs & b) Long –Term Needs, of Tiatro & Tiatrists.
Among the “Short-Term Needs”, that immediately come to my mind are :-
1) Demand for a much bigger allotment of Funds, from the Government.(Rupees 15 Lakhs, is too little for a Tiatr Akademi).
2) Plan, how best to spend the already allotted amount, for further improving the quality of the Konkani Tiatro, in all its aspects.
3) Start publishing of “Tiatro-Scripts”.
4) Iron-out the wrinkles, in the “Tiatr-Competition”, organized by the Kala Academy, Goa.
5) If need be, the Tiatr-Akademi, must organize its own “Tiatr-Competition”.
6) Demand “special-rates” for Govt.Halls and facilities for Hall-Bookings, for Konkani Tiatros.
7) Organize Workshops, Seminars, Lectures etc. on Theatre for Tiatrists.
8) “Kantaram” & Music, being an integral part of Konkani Tiatro, the Tiatr-Akademi must organize “Training-Classes” in Singing & Music for those wanting to learn.
9) Konkani Tiatro should get representation in all Govt. Bodies of Art & Culture and allied Institutions.
10) Tiatrists must be given National & International exposure, through Government of Goa’s Art & Culture exchange programmes.
11) Every year the Govt, of Goa must depute a Tiatrist overseas, to study Theatre-Activity in other Countries.
12) Ensure “transparency’ in Directorate of Art & Culture’s “State Cultural Awards” & “Financial Support Scheme”, so that Tiatrists get a reasonable representation , in both these schemes.
Among the Long-Term Needs , that immediately come to my mind are :-
1) “Setting-Up” of a Library of Tiatro-Scripts and Tiatro-related Literature along with an “Archaic-Center”.
2) ‘Plan of Action’ to take the Konkani Tiatro to deep interiors of Goa, where it has not been able to reach till now.
3) “Plan of Action’ to ensure Goans of all communities, embrace the Konkani Tiatro.
4) “Plan of Action” to take Konkani Tiatro, to all other States of India and Abroad as a Goan Art & Cultural Form.
These are a few of the works for the Tiatr-Akademi” that immediately come to my mind.
However, many more such works, that need to be undertaken, will come to light, once the General Council of the Tiatr-Akademi sits down for a serious discussion.
The Tiatr-Akademi is also a “platform” for Tiatrists, to voice their opinion on “Tiatro”-related as well as other theatre-related matters.
My sincere advice, to my colleagues in the General Council and the Executive Committee of the Tiatr-Akademi is, to make use of this platform to further the “cause” of the Konkani Tiatro.
Inspite of your heavy “tiatro-schedules”, please do attend all the meetings and actively participate in them, with your valuable suggestions.
You are now, representing the entire Tiatrist Community and you are “answerable”, to them.
You have accepted a huge responsibility. My best wishes to you all.
Wilmix (Tiatrist)
10/2/2009
- Forwarded by www.goa-world.com
http://www.goa-world.com/goa/tiatr&tiatrists/
The Konkani Tiatro has a big following in Goa, in the Gulf Countries and in the U.K. Not to mention, a sizeable following in Maharashtra, Karnataka and Gujrat. Elsewhere in India too and the World , however small may be the Goan population, the Konkani Tiatro, is very very dear to their hearts.
Anything and everything that has to do with the Konkani Tiatro, catches attention of all Goans, in whichever part of the world they may be.
However, Goa being the center of Konkani Tiatro, controls the Tiatro-Activities all over the world.
The recent happening, that has a direct bearing on Tiatro and Tiatrists, is the setting-up of the “Tiatr-Akademi”, by the government of Goa.
An Akademi for Tiatr, was a long over-due “need” of the Konkani Tiatro.
To ensure that this unique “theatre-form” of Goa develops, grows and is passed on to future generations, it was but necessary, to have a Tiatr Akademi that could cater to all these needs.
Now that it has come into existence, through the Government of Goa, it is very much a happy ‘sign’.
However, we also know from our past experiences, that Institutions and Associations, formed by Tiatrists , with best of intentions, have finally ended up, doing just the “opposite”.
Hence, it is now, all the more necessary, that we Tiatrists, learn from our past experiences and make a “success-story’ , of the Tiatr-Akademi.
Apart from the representatives from allied Govt. Departments , the following are the members of the General Council of the Tiatr Akademi :- Tomazinho Cardozo, Daniel D’Souza, Premanand Sangodkar, Roseferns, Anil Kumar, Sharon Mazarello, Mario Menezes, Mario de Vasco, Prince Jacob, Jessie Dias, Michael Gracias, Marcelin de Betim, Auggie D’Mello, Mike Mehta, Premand Lotlekar, Osvie Viegas, Josinho D’Souiza, Shaikh Aamir, Menin de Bandar & Joe Rose.
The Executive-Committee, consists of Tomazinho Cardozo (President), Roseferns (Vice President) & Prince Jacob, Mario Menezes, Sharon Mazarello, Anil Kumar, Mario de Vasco, & Premanand Sangodkar, as members.
By & large, within it limitations, there is no doubt that, this is the most well-balanced Executive Committee.
The General Council and the Executive Committee have a huge responsibility, on their shoulders.
It will, undoubtedly, be a tough job ahead, as the Konkani Tiatro , in general, is urgently, in need of an “organized set-up”.
In the past , we Tiatrists have always been working , on “ad hoc”-ism.
Each one on his own.
There is a dire need to work cohesively, for the common good of the Konkani Tiatro.
Sharing of responsibilities, could go a long way, for getting maximum participation.
To begin with, I think the General Council, must sit down and identify:-
a) Short-Term Needs & b) Long –Term Needs, of Tiatro & Tiatrists.
Among the “Short-Term Needs”, that immediately come to my mind are :-
1) Demand for a much bigger allotment of Funds, from the Government.(Rupees 15 Lakhs, is too little for a Tiatr Akademi).
2) Plan, how best to spend the already allotted amount, for further improving the quality of the Konkani Tiatro, in all its aspects.
3) Start publishing of “Tiatro-Scripts”.
4) Iron-out the wrinkles, in the “Tiatr-Competition”, organized by the Kala Academy, Goa.
5) If need be, the Tiatr-Akademi, must organize its own “Tiatr-Competition”.
6) Demand “special-rates” for Govt.Halls and facilities for Hall-Bookings, for Konkani Tiatros.
7) Organize Workshops, Seminars, Lectures etc. on Theatre for Tiatrists.
8) “Kantaram” & Music, being an integral part of Konkani Tiatro, the Tiatr-Akademi must organize “Training-Classes” in Singing & Music for those wanting to learn.
9) Konkani Tiatro should get representation in all Govt. Bodies of Art & Culture and allied Institutions.
10) Tiatrists must be given National & International exposure, through Government of Goa’s Art & Culture exchange programmes.
11) Every year the Govt, of Goa must depute a Tiatrist overseas, to study Theatre-Activity in other Countries.
12) Ensure “transparency’ in Directorate of Art & Culture’s “State Cultural Awards” & “Financial Support Scheme”, so that Tiatrists get a reasonable representation , in both these schemes.
Among the Long-Term Needs , that immediately come to my mind are :-
1) “Setting-Up” of a Library of Tiatro-Scripts and Tiatro-related Literature along with an “Archaic-Center”.
2) ‘Plan of Action’ to take the Konkani Tiatro to deep interiors of Goa, where it has not been able to reach till now.
3) “Plan of Action’ to ensure Goans of all communities, embrace the Konkani Tiatro.
4) “Plan of Action” to take Konkani Tiatro, to all other States of India and Abroad as a Goan Art & Cultural Form.
These are a few of the works for the Tiatr-Akademi” that immediately come to my mind.
However, many more such works, that need to be undertaken, will come to light, once the General Council of the Tiatr-Akademi sits down for a serious discussion.
The Tiatr-Akademi is also a “platform” for Tiatrists, to voice their opinion on “Tiatro”-related as well as other theatre-related matters.
My sincere advice, to my colleagues in the General Council and the Executive Committee of the Tiatr-Akademi is, to make use of this platform to further the “cause” of the Konkani Tiatro.
Inspite of your heavy “tiatro-schedules”, please do attend all the meetings and actively participate in them, with your valuable suggestions.
You are now, representing the entire Tiatrist Community and you are “answerable”, to them.
You have accepted a huge responsibility. My best wishes to you all.
Wilmix (Tiatrist)
10/2/2009
- Forwarded by www.goa-world.com
http://www.goa-world.com/goa/tiatr&tiatrists/
Tuesday, January 29, 2008
GOA KONKANI AKADEMI 6th TIATR-WRITING COMPETITION 2008
GOA KONKANI AKADEMI 6th TIATR-WRITING COMPETITION
Goa Konkani Akademi has declared the result of its 6th tiatro-writing competition held in the name of 'Pai Tiatrist Joao Agostinho Fernandes', the first tiatrist of Konkani stage.
Bonicio Vitorin Pereira has won the first prize of Rs.4000 for his script "Ashirwad" which will be published soon in book form by the Akademi as per the provision.
The second prize winner is Albert D'Souza (Rs.3000) for his script "Mummy, Mhaka Tuje Vengent Dhor", while the third prize of Rs.2,000 has been won by Agnelo Fernandes for his script "Fantodd".
Info source: Gomantak Times/30-01-2008
http://www.goa-world.com/goa/music
KONKANI KOVITA - LINO B. DOURADO
http://www.goa-world.com/goa/poems
Aitaracheo Katkutleo: Krikett, Ghorabeacho Suseg Ibaddta?
http://groups.yahoo.com/group/gulf-goans/message/17491
(Established by Government of Goa).
Office: 243, Patto Colony, Panaji - Goa - 403001
. phone : +91 832 2437385/87. email : info@goakonkaniakademi.org
www.goakonkaniakademi.org
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