The lyrics of "MOLLBAILO DOV" along with English translation, which I did.
I thought I would share those lyrics on the net for the benefit of all.“MOLLBAILO DOV” from ‘Amchem Noxib’ film sung by Molly
Mogan assonk borem,
jivit sukhi khorem
Xitollkaiechem varem,
kallzan asta purem
Borea mogacho fov,
amkam dhitolo Dev
Fulam zatat mov,
poddon mollbailo dov
It’s great to be in love, a wonderful life indeed
Cool feelings dwell in the heart
God will reward us for our sincere love
Flowers turn soft with dew from the skies
Nodor amcher poddon,
suknnim gelint uddon
Nistem poita buddon,
nirmonn ailem ghoddon
Udkachem marun lhar,
ukoddlem mogachem dar
Mogacho golleant har,
pois chintnancho bhar
Birds flew away the moment they saw us
Fishes watched us while we sealed our fate
A wave of water opened the door of our love
A garland of love around the neck,
keeps worries away
Fulam soboita bhag,
mogan nivota rag
Mogacho kallzak dag,
osoch uronk to mag
Mogan buddllam kalliz,
lagon dolleanchem viz
Mog tuzo kela niz,
zalear puro feliz
Flowers decorate garden,
love tames anger
Pray the sign of love lasts on the heart
The lightning from your eyes
sunk my heart
I love you truly, may we live happily
>From Dom’s antique shelf!
Moi-mogan,
Domnic Fernandes, author of "Domnic's Goa - A nostalgic romp through a bygone era"Anjuna/Dhahran, KSA
Saturday, January 3, 2009
Lyrics of three Konkani songs of LORNA
Lyrics for three Konkani songs of LORNA
Occasionally, one requests lyrics for a song but your requests are forseveral lyrics for songs at a time (last time you requested lyrics for fivesongs) that, too, urgently/desperately! What is it that you are up to?Could you please share it with us?
(1) "NOXIBAK RODDTTAM" - Sung by Lorna
Kantar korun, dis moje sartamChintun moga, noxibak roddttamKallzan thavn mog keloJurament diloAbgath korun geloKallzak toploi baloMollbailea neketrarZalelint jurarZanvchim nhoi mhunn amiKednanch separarChorusFottkiro mog koriGhott mhaka vengent dhoriAtam roddttam hanv dukancheo zoriKitlem kalliz niborAikon khoborSanddleim mhunnon mhakaZalem zoborChorusFottkiro mog koriGhott mhaka vengent dhoriAtam roddttam hanv dukancheo zoriKitlem kalliz niborAikon khoborSanddleim mhunnon mhakaZalem zobor
(2) "PITI-PITI MOG" - Sung by Lorna
Dista mhaka anik moga oslem nam mhunnon sukBhorla kallzan tuvem roila poi to mogacho rukBoroin hanvem dovorla, amchea istorin bhorlolo bukSozmotam kallzak hea divchonam mhunnon tum dukPiti-piti-piti, piti-piti-piti, piti-piti-piti kalliz hem zataNidlear nid poddonam punn tuzoch ugddas mhaka ietaGhott vengent mhaka to dortaChiddun-muddun moje kiss to ghetaPiti-piti-piti mog amcho kallizak khuxealkai dhitaLal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aLal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aChintlear dista mhaka mog amcho novlanim bhorlaOslo novlancho mog kallzan mojea bhitor sorlaTutton vochonam zavnk, kallzan ghott taka bandun dorlaKazar zavn fokot ekvott zavpacho urlaPiti-piti-piti, piti-piti-piti, piti-piti-piti kalliz hem zataNidlear nid poddonam punn tuzoch ugddas mhaka ietaGhott vengent mhaka to dortaChiddun-muddun moje kiss to ghetaPiti-piti-piti mog amcho kallizak khuxealkai dhitaPiti-piti-piti, piti-piti-piti, piti-piti-piti kalliz hem zataHai-i-i-i!Nidlear nid poddonam punn tuzoch ugddas mhaka ietaGhott vengent mhaka to dortaChiddun-muddun moje kiss to ghetaPiti-piti-piti mog amcho kallizak khuxealkai dhitaLal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aAvoi-i-i-i!Lal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aHai-i-i!Lal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-a(Giggles)Lal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-a
(3) "RED ROSE" - Sung by Lorna
Ghor mugelem, Curtore saxtti, Rozalin mujem navumTambddelem Rozu, mhunnit tor soglo, ollkota mhaka ganvumValkixer vhoddlea, Parxeangea bongleant, kam' kortam hanvumRostean choltannam, fattlean re lagta, cheddeanchem pursanvumChorusKonn mhaka chokletti haddun ditaiKonn mhaka pikcherak apoitaiKonn mhaka bextech zapaitaiKonn mhaka poixe dakoitaiIIZaite amgele, Goenkar chedde, pattlean mojea ietaiKhuimchorui vochonk, suseg mhaka dinaim, jivui muzo khataiKazar zata mhunn, kitle zann mhaka, utor pasun ditaiTesole novre, nakai baba te, kontri soro pitaiChorusAikon hem ghott motin dhoriAichean tum khoro nichev koriSoreak tea dorieant voron mariKazar moko zaichea zai zaleariIIIParxeange pasun, chedde re mhaka, bextech moddttai dolleRed Rose mhunnon, apoitai mhaka, fokannam kortai thodde'I love you' mhunnon, kissu re muzo, magtai muje koddeDusre mhaka nakai, kazar zatom hanv, fokot Goenkram koddeChorusParxi mhaka duddu ditoleiGhoddie te bhangar ghetoleiMelear mhaka kanvdde khatoleiGoenkar muje mathie ietoleiLa-la-la-a, la-la, la-la-a, laLa-la-la-a, la-la, la-la-a, la>From Dom's antique shelf!
Moi-mogan,
Domnic Fernandes, author of "Domnic's Goa - A nostalgic romp through abygone era"Anjuna/Dhahran, KSA
Occasionally, one requests lyrics for a song but your requests are forseveral lyrics for songs at a time (last time you requested lyrics for fivesongs) that, too, urgently/desperately! What is it that you are up to?Could you please share it with us?
(1) "NOXIBAK RODDTTAM" - Sung by Lorna
Kantar korun, dis moje sartamChintun moga, noxibak roddttamKallzan thavn mog keloJurament diloAbgath korun geloKallzak toploi baloMollbailea neketrarZalelint jurarZanvchim nhoi mhunn amiKednanch separarChorusFottkiro mog koriGhott mhaka vengent dhoriAtam roddttam hanv dukancheo zoriKitlem kalliz niborAikon khoborSanddleim mhunnon mhakaZalem zoborChorusFottkiro mog koriGhott mhaka vengent dhoriAtam roddttam hanv dukancheo zoriKitlem kalliz niborAikon khoborSanddleim mhunnon mhakaZalem zobor
(2) "PITI-PITI MOG" - Sung by Lorna
Dista mhaka anik moga oslem nam mhunnon sukBhorla kallzan tuvem roila poi to mogacho rukBoroin hanvem dovorla, amchea istorin bhorlolo bukSozmotam kallzak hea divchonam mhunnon tum dukPiti-piti-piti, piti-piti-piti, piti-piti-piti kalliz hem zataNidlear nid poddonam punn tuzoch ugddas mhaka ietaGhott vengent mhaka to dortaChiddun-muddun moje kiss to ghetaPiti-piti-piti mog amcho kallizak khuxealkai dhitaLal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aLal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aChintlear dista mhaka mog amcho novlanim bhorlaOslo novlancho mog kallzan mojea bhitor sorlaTutton vochonam zavnk, kallzan ghott taka bandun dorlaKazar zavn fokot ekvott zavpacho urlaPiti-piti-piti, piti-piti-piti, piti-piti-piti kalliz hem zataNidlear nid poddonam punn tuzoch ugddas mhaka ietaGhott vengent mhaka to dortaChiddun-muddun moje kiss to ghetaPiti-piti-piti mog amcho kallizak khuxealkai dhitaPiti-piti-piti, piti-piti-piti, piti-piti-piti kalliz hem zataHai-i-i-i!Nidlear nid poddonam punn tuzoch ugddas mhaka ietaGhott vengent mhaka to dortaChiddun-muddun moje kiss to ghetaPiti-piti-piti mog amcho kallizak khuxealkai dhitaLal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aAvoi-i-i-i!Lal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-aHai-i-i!Lal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-a(Giggles)Lal-la-la, la-lal-lal-la, lal-la-la, lal-la-la, la-la-a-a
(3) "RED ROSE" - Sung by Lorna
Ghor mugelem, Curtore saxtti, Rozalin mujem navumTambddelem Rozu, mhunnit tor soglo, ollkota mhaka ganvumValkixer vhoddlea, Parxeangea bongleant, kam' kortam hanvumRostean choltannam, fattlean re lagta, cheddeanchem pursanvumChorusKonn mhaka chokletti haddun ditaiKonn mhaka pikcherak apoitaiKonn mhaka bextech zapaitaiKonn mhaka poixe dakoitaiIIZaite amgele, Goenkar chedde, pattlean mojea ietaiKhuimchorui vochonk, suseg mhaka dinaim, jivui muzo khataiKazar zata mhunn, kitle zann mhaka, utor pasun ditaiTesole novre, nakai baba te, kontri soro pitaiChorusAikon hem ghott motin dhoriAichean tum khoro nichev koriSoreak tea dorieant voron mariKazar moko zaichea zai zaleariIIIParxeange pasun, chedde re mhaka, bextech moddttai dolleRed Rose mhunnon, apoitai mhaka, fokannam kortai thodde'I love you' mhunnon, kissu re muzo, magtai muje koddeDusre mhaka nakai, kazar zatom hanv, fokot Goenkram koddeChorusParxi mhaka duddu ditoleiGhoddie te bhangar ghetoleiMelear mhaka kanvdde khatoleiGoenkar muje mathie ietoleiLa-la-la-a, la-la, la-la-a, laLa-la-la-a, la-la, la-la-a, la>From Dom's antique shelf!
Moi-mogan,
Domnic Fernandes, author of "Domnic's Goa - A nostalgic romp through abygone era"Anjuna/Dhahran, KSA
Konkani Music Program on German Radio
By Mariano A. Pereira (President Bharat Association,Frankfurt).
Excerpts: Sigrid Pfeffer of the German Radio Station, Hessisches Rundfunk, wasfascinated by the Konkani music she heard when on vacation in Goa. She tookseven weeks unpaid leave to interview Konkani literary and music figures.Thehour-long program entitled "Konkani music - the almost forgotten music ofIndia" will be broadcast on 26 June, 2008 from 21.30 hrs [20.30, UK time;01:00, 27 Jun. IST] on Hessisches Rundfunk (HR2). Sigrid Pfeffer is alsoworking on a CD of Konkani music.
To listen to the programme live, go tohttp://www.hr-online.de/website/radio/hr2/index.jsp?rubrik=23746For the programme website (in German), seehttp://biggs.hr-online.de/website/radio/hr2/index.jsp?rubrik=31124&key=standard_document_33624614If you have problems with the links and/or for a photograph of MarianoPereira visit http://www.goanvoice.org.uk/Below is the full text of Navhind Times article of 25 June 2008.Konkani Music Program on German Radio Station. By Mariano A. Pereira,Frankfurt, Germany.Sigrid Pfeffer a German tourist heard some out-of-the-ordinary yet pleasantsounding music at a Goan guest house where she was spending her vacation.She being a music aficionada, working for the popular German Radio Station,Hessisches Rundfunk, in Frankfurt, Germany, instantly fell in love with themelodies. Ms. Pfeffer, however, was unable to determine where that music mayhave come from and the language in which the melodies were sung. She waspuzzled. To her ears it sounded like a blend of Mexican mariachi, Italianfolk tunes, Cuban sounds, and South Sea rattles. She wondered whether theItalian mandolin and Mexican trumpet had anything to do with India.Sigrid Pfeffer was surprised when she found out that the music she fell inlove with were Konkani folksongs, i.e., Mandos, Dulpods, and Cantaram. Shetook seven weeks of unpaid leave with permission from her employer and beganincessant search for the roots of this music and the Konkani Tiatrs in Goaand Mumbai. She interviewed Konkani literary figures like Uday Bhembre, John"Kokoy" Gomes, and Tomasinho Cardoso, and further went to Mumbai to continueher research where she spoke to Jazzy (Joe) Pereira, Naresh Fernandes, andRita Rose. She also visited Goan Clubs "kuds" at Dobiltalao and even foundsome old Konkani records collecting dust at Mumbai's Chor Bazar. Upon carrying the Massala Mixes" as she calls them back to Germany, shethought of presenting them to Cornelia Rost, the producer of the BroadcastProgram, Music of the World. She too felt the music would appeal to theGerman ear and gave her the green light to do an hour-long radio programdevoted to Konkani music. Perhaps for first time in history such a programwill be broadcast by a major German radio station. Featuring in this programamong others will be songs by Minguel Rod, Jacinto Vaz, Helen D'Cruz, HenryD"Souza, Lorna, Robin Vaz, Alfred & Rita Rose, Oslando and compositions byUday Bhembre & Chris Perry, as well as one of India's top Goan popmusicians, Remo Fernandes. The hour-long program entitled "Konkani music - the almost forgotten musicof India" will be broadcast on 26 June, 2008 from 21.30 hrs on HessischesRundfunk (HR2). It will include an historical review of Konkani music andits unique form of Tiatro development.Sigrid Pfeffer is also working on a CD of Konkani folksongs, mandos, dulpodsand cantaram for the German public slated to be in the market includingmusic stores in Goa by the end of the year.
Excerpts: Sigrid Pfeffer of the German Radio Station, Hessisches Rundfunk, wasfascinated by the Konkani music she heard when on vacation in Goa. She tookseven weeks unpaid leave to interview Konkani literary and music figures.Thehour-long program entitled "Konkani music - the almost forgotten music ofIndia" will be broadcast on 26 June, 2008 from 21.30 hrs [20.30, UK time;01:00, 27 Jun. IST] on Hessisches Rundfunk (HR2). Sigrid Pfeffer is alsoworking on a CD of Konkani music.
To listen to the programme live, go tohttp://www.hr-online.de/website/radio/hr2/index.jsp?rubrik=23746For the programme website (in German), seehttp://biggs.hr-online.de/website/radio/hr2/index.jsp?rubrik=31124&key=standard_document_33624614If you have problems with the links and/or for a photograph of MarianoPereira visit http://www.goanvoice.org.uk/Below is the full text of Navhind Times article of 25 June 2008.Konkani Music Program on German Radio Station. By Mariano A. Pereira,Frankfurt, Germany.Sigrid Pfeffer a German tourist heard some out-of-the-ordinary yet pleasantsounding music at a Goan guest house where she was spending her vacation.She being a music aficionada, working for the popular German Radio Station,Hessisches Rundfunk, in Frankfurt, Germany, instantly fell in love with themelodies. Ms. Pfeffer, however, was unable to determine where that music mayhave come from and the language in which the melodies were sung. She waspuzzled. To her ears it sounded like a blend of Mexican mariachi, Italianfolk tunes, Cuban sounds, and South Sea rattles. She wondered whether theItalian mandolin and Mexican trumpet had anything to do with India.Sigrid Pfeffer was surprised when she found out that the music she fell inlove with were Konkani folksongs, i.e., Mandos, Dulpods, and Cantaram. Shetook seven weeks of unpaid leave with permission from her employer and beganincessant search for the roots of this music and the Konkani Tiatrs in Goaand Mumbai. She interviewed Konkani literary figures like Uday Bhembre, John"Kokoy" Gomes, and Tomasinho Cardoso, and further went to Mumbai to continueher research where she spoke to Jazzy (Joe) Pereira, Naresh Fernandes, andRita Rose. She also visited Goan Clubs "kuds" at Dobiltalao and even foundsome old Konkani records collecting dust at Mumbai's Chor Bazar. Upon carrying the Massala Mixes" as she calls them back to Germany, shethought of presenting them to Cornelia Rost, the producer of the BroadcastProgram, Music of the World. She too felt the music would appeal to theGerman ear and gave her the green light to do an hour-long radio programdevoted to Konkani music. Perhaps for first time in history such a programwill be broadcast by a major German radio station. Featuring in this programamong others will be songs by Minguel Rod, Jacinto Vaz, Helen D'Cruz, HenryD"Souza, Lorna, Robin Vaz, Alfred & Rita Rose, Oslando and compositions byUday Bhembre & Chris Perry, as well as one of India's top Goan popmusicians, Remo Fernandes. The hour-long program entitled "Konkani music - the almost forgotten musicof India" will be broadcast on 26 June, 2008 from 21.30 hrs on HessischesRundfunk (HR2). It will include an historical review of Konkani music andits unique form of Tiatro development.Sigrid Pfeffer is also working on a CD of Konkani folksongs, mandos, dulpodsand cantaram for the German public slated to be in the market includingmusic stores in Goa by the end of the year.
Father of Konkani Films - Frank Fernandes
FATHER OF KONKANI FILMS 'AMCHEM NOXIB', 'NIRMONN' FRANK FERNAND NO MORE
By Isidore Dantas
isidordantas at yahoo.co.in
Frank Fernand, the producer and music director of epoch
making Konkani films Amchem Noxib and Nirmonn, breathed his
last at the age of 87 in Mumbai on April 1, 2007 and was
buried the next day at a quiet funeral at Dadar. He is
survived by his wife Maggie, daughters Elfin, Doris, Larissa
and son Max. Many Goan musicians have made it big in Hindi
films, of whom Frank Fernand is one.
Frank Fernandes, popularly known as Frank Fernand, was born
on May 3, 1919 and hails from Curchorem, a small and dusty
mining town and railway station now in the district of South
Goa. He was baptized by the saintly priest Fr. Agnelo de
Souza.
Fernand received his initial training in music at the hands
of the local maestro Diogo Rodrigues, where he could master
violin and trumpet. In 1936, Frank migrated to Mumbai to join
Don Bosco's for studies. His first assignment in music was to
play at Green's Hotel and Taj Mahal Hotel under the
leadership of George Theodore, an East Indian, as the
community of Christians from the region of Bombay (Mumbai) is
known.
In 1942, he left Mumbai for Mussorie to play at Savoy Hotel
under the Rudy Cotton band. It is here that he got a good
opportunity to be a Jazz musician in his band. The same year
he had a brief stint in New Delhi.
Fernand is indebted to our statesman and India's first Prime
Minister the late Jawaharlal Nehru for his Biography and
Discovery of India, which completely changed his outlook. He
considers Nehru to be the great Son of India and is grateful
to him for the orchestration of the National Anthem Jana Gana
Mana. A true patriot, Frank commemorated August 15 as the
biggest event every year.
In 1946, he set for Mumbai to participate in Mickey Correia's
band. The year 1948 saw him joining the film industry as a
musician to the popular music duo, Shankar-Jaikishan. He
proudly recalled his association with the success of
R.K.Films' Raj Kapoor's super hit 'Barsat'. He has had the
privilege to work under the music directors of repute. These
include Kishore Kumar. C.R.Ramchandra, Roshan, and Anil
Biswas.
His last assignment with Kalyanji-Anandji as his first
assistant is fondly remembered by the Hindi Film music
community. He has excelled in musical arrangement for these
film music directors.
In the footsteps of the end of colonial Portuguese rule in
Goa, in keeping with the immense love he had for Konkani and
with the vast knowledge of film craft in his possession, he
launched his first Konkani film 'Amchem Noxib' under the
banner of Frank Films (Goa).
It starred C. Alvares and Anthony Mendes in the main roles.
Apart from being its producer, the film had melodious music
composed by him. This film has cast a magic spell on the
spectators and its immense popularity has brought him
adulation and draws large crowds even today whenever and
wherever it is released.
Some time back, he expressed his gratitude for the patronage
received for this first film, which boosted his enthusiasm.
However, he regretted that Portuguese- and English-speaking
Goans did not appreciate the film and called it cheap.
To counteract this criticism, he produced his second film,
'Nirmonn' based on Lord Tennyson's character Enoch Arden, for
which he set music in his own style. This film had a powerful
story and bagged the Certificate of Merit for regional films,
the first of its kind for Konkani, at the hands of the then
Prime Minister, the late Indira Gandhi.
This film had memorable performance by C. Alvares, Shalini,
Anthony D'Sa and Jacinto Vaz. The lyrics and scenes have been
beautifully captured on mementoes of the films.
'Nirmonn' was remade into Hindi and was entitled 'Taqdeer'
and was directed by A. Salam with Shalini in the lead role.
Besides these two films, Frank has also provide the musical
score to the Konkani film 'Mhoji Ghorkarn' directed by A.
Salam with Shalini, C.Alvares and Jacinto Vaz in the main
leads.
With the success of the two Konkani films, Frank ventured to
produce a Hindi film in 1965 entitled 'Priya', starring
Sanjeev Kumar and Tanuja with music by Kalyanji-Anandji. This
film flopped because it was considered an art film by the
audience and not a commercial one.
Not loosing heart, Frank again attempted to produce another
Hindi film 'Ahat' starring Dr. Shriram Lagoo, Jaya Bahaduri,
Vinod Mehra. 'Ahat' inspired by the popular English film
'Wait Until Dark' was made under the banner of Vishal
Gomantak Films with screenplay by G.D.Madgulkar, Kishore Rege
as director and music by himself. The film was over-budgeted
and could not be released because the distributor was
arrested under COFEPOSA. The film has not seen the light of
the day.
Frank has set music to the lyrics of the popular Konkani poet
Dr Manohar Sardesai's 'Fulam Zai', 'Sobit Amchem Goem', for
HMV Recording Co for which he bagged the Bombay Journal
Award. Cine Musicians has honoured him as founder and he was
bestowed the Goan Review Award. His contribution can also be
seen on Konkani discs, for which he has provided musical
score. He has also staged tiatr entitled 'Bekar Patrao' in
the eighties with first time introduction of a ten-piece
orchestra.
He was the first to play classical as Jazz player, and
Trumpet Concheto by Handel under the music maestro Victor
Paranjoti. Audience still remember the concert he organized
in 1958 where he played Evolution of Music, Jazz, starting
with Negro Spirituals, Dixie Land Jazz followed by New
Orleans Jazz, Sound of America commercial music, Symphony
Jazz and Ravi Shankar's Caravan. Frank was suffering from the
dreaded Parkinson's disease since 1985.
By Isidore Dantas
isidordantas at yahoo.co.in
Frank Fernand, the producer and music director of epoch
making Konkani films Amchem Noxib and Nirmonn, breathed his
last at the age of 87 in Mumbai on April 1, 2007 and was
buried the next day at a quiet funeral at Dadar. He is
survived by his wife Maggie, daughters Elfin, Doris, Larissa
and son Max. Many Goan musicians have made it big in Hindi
films, of whom Frank Fernand is one.
Frank Fernandes, popularly known as Frank Fernand, was born
on May 3, 1919 and hails from Curchorem, a small and dusty
mining town and railway station now in the district of South
Goa. He was baptized by the saintly priest Fr. Agnelo de
Souza.
Fernand received his initial training in music at the hands
of the local maestro Diogo Rodrigues, where he could master
violin and trumpet. In 1936, Frank migrated to Mumbai to join
Don Bosco's for studies. His first assignment in music was to
play at Green's Hotel and Taj Mahal Hotel under the
leadership of George Theodore, an East Indian, as the
community of Christians from the region of Bombay (Mumbai) is
known.
In 1942, he left Mumbai for Mussorie to play at Savoy Hotel
under the Rudy Cotton band. It is here that he got a good
opportunity to be a Jazz musician in his band. The same year
he had a brief stint in New Delhi.
Fernand is indebted to our statesman and India's first Prime
Minister the late Jawaharlal Nehru for his Biography and
Discovery of India, which completely changed his outlook. He
considers Nehru to be the great Son of India and is grateful
to him for the orchestration of the National Anthem Jana Gana
Mana. A true patriot, Frank commemorated August 15 as the
biggest event every year.
In 1946, he set for Mumbai to participate in Mickey Correia's
band. The year 1948 saw him joining the film industry as a
musician to the popular music duo, Shankar-Jaikishan. He
proudly recalled his association with the success of
R.K.Films' Raj Kapoor's super hit 'Barsat'. He has had the
privilege to work under the music directors of repute. These
include Kishore Kumar. C.R.Ramchandra, Roshan, and Anil
Biswas.
His last assignment with Kalyanji-Anandji as his first
assistant is fondly remembered by the Hindi Film music
community. He has excelled in musical arrangement for these
film music directors.
In the footsteps of the end of colonial Portuguese rule in
Goa, in keeping with the immense love he had for Konkani and
with the vast knowledge of film craft in his possession, he
launched his first Konkani film 'Amchem Noxib' under the
banner of Frank Films (Goa).
It starred C. Alvares and Anthony Mendes in the main roles.
Apart from being its producer, the film had melodious music
composed by him. This film has cast a magic spell on the
spectators and its immense popularity has brought him
adulation and draws large crowds even today whenever and
wherever it is released.
Some time back, he expressed his gratitude for the patronage
received for this first film, which boosted his enthusiasm.
However, he regretted that Portuguese- and English-speaking
Goans did not appreciate the film and called it cheap.
To counteract this criticism, he produced his second film,
'Nirmonn' based on Lord Tennyson's character Enoch Arden, for
which he set music in his own style. This film had a powerful
story and bagged the Certificate of Merit for regional films,
the first of its kind for Konkani, at the hands of the then
Prime Minister, the late Indira Gandhi.
This film had memorable performance by C. Alvares, Shalini,
Anthony D'Sa and Jacinto Vaz. The lyrics and scenes have been
beautifully captured on mementoes of the films.
'Nirmonn' was remade into Hindi and was entitled 'Taqdeer'
and was directed by A. Salam with Shalini in the lead role.
Besides these two films, Frank has also provide the musical
score to the Konkani film 'Mhoji Ghorkarn' directed by A.
Salam with Shalini, C.Alvares and Jacinto Vaz in the main
leads.
With the success of the two Konkani films, Frank ventured to
produce a Hindi film in 1965 entitled 'Priya', starring
Sanjeev Kumar and Tanuja with music by Kalyanji-Anandji. This
film flopped because it was considered an art film by the
audience and not a commercial one.
Not loosing heart, Frank again attempted to produce another
Hindi film 'Ahat' starring Dr. Shriram Lagoo, Jaya Bahaduri,
Vinod Mehra. 'Ahat' inspired by the popular English film
'Wait Until Dark' was made under the banner of Vishal
Gomantak Films with screenplay by G.D.Madgulkar, Kishore Rege
as director and music by himself. The film was over-budgeted
and could not be released because the distributor was
arrested under COFEPOSA. The film has not seen the light of
the day.
Frank has set music to the lyrics of the popular Konkani poet
Dr Manohar Sardesai's 'Fulam Zai', 'Sobit Amchem Goem', for
HMV Recording Co for which he bagged the Bombay Journal
Award. Cine Musicians has honoured him as founder and he was
bestowed the Goan Review Award. His contribution can also be
seen on Konkani discs, for which he has provided musical
score. He has also staged tiatr entitled 'Bekar Patrao' in
the eighties with first time introduction of a ten-piece
orchestra.
He was the first to play classical as Jazz player, and
Trumpet Concheto by Handel under the music maestro Victor
Paranjoti. Audience still remember the concert he organized
in 1958 where he played Evolution of Music, Jazz, starting
with Negro Spirituals, Dixie Land Jazz followed by New
Orleans Jazz, Sound of America commercial music, Symphony
Jazz and Ravi Shankar's Caravan. Frank was suffering from the
dreaded Parkinson's disease since 1985.
Goeant Konkani Romi Lipi Khoimche Suvater?
Goeant Konkani Romi Lipi Khoimche Suvater?
Ganv-bhoin Brenda Menezes hachi 'one-act plays in Konkani' hem pustok Goa Konkani Academy hanchea asrea-khal porgott zala tem vachun jivak khos bhogli. Mhojim un-unit porbhim bai Brendak, tachea hea molladik vaurak. Ojeap dista bai Brenda-n, hem pustok Romi Lipin-n kaddinastanm Nagri Lipi-n porgott kelem tem polloun. Ho mhuzo ek xinn koso taka, zalear ho ek amkam Romi boroiteleank okmann koso zaun asa. Goeant aiz Romi Lipi-k mannacho dhorzo favo korunk nam. Anim dista Goa Konkani Academy aiz Romi lipik bhed-bhav korta xi, anim dista Academy fokot Nagrik tenko dita xi. Hi Romi anim Nagri lipimchi dusmankai, kednam punn nopoit zait ghai? Kiteak azun passun donui lipi-nk ek sarkho dhorzo kiteak favo zaunk nam? Unnench mhollear aiz ponchvis vorsam odhik torui zalim, him lipink lagon Goeant dusmankai cholta. Mhojea bhurgea ponnar anvem zaitinch borovpam keleat, Goeant anim Bombaim porgott zatelea soglea potramcher anim masikamcher punn soglim mat Romi lipin. Punn aiz ponchvis vorsam odhik somplim punn azun Romi-chem kestanv azun jivem assa tem polloun ojeap dista. Zorui tor bai Brenda-n hench pustok Romi lipi-n porgott kelelem zalear koslem unnem ponn aslem ghai? Nagri-n boroilem pustok Romi vachpeanchea athan zobor-xem poddonam anim ugttea ponnim anv sangtam, anvui Nagri vachinam, karann bhurgeaponnim thaun anv Romichi boroin anim vachun ailam. Romi-n boroilelim pustokam aiz pordhesant vetele Goemkar mogan ghetat, vachtat anim pordhesan vhortat. Nam zalear polle adle amche Konkani Romi boroinar zoxe porim Romanxincho raza Reginald Fernandes, Joao Inacio de Souza, Bonaventuro Pietro anim adi. Adle Tarvotti bhav tarvar vechea adim Reginald Fernandes-achi romanx ghetlea bhogor tarvar vochonaslo. Aplo vell kitem torui mogan vachun sartolo mhunn anim tenvui zalear amche Konkani Romi lipin. Urbha mhaka bhogta polloun amchea tiatrist bhav-bhoineank, je dis-rat Romi lipichi seva kortat ti polloun. Osoch ho Konknnicho anim Romi lipicho bhavtto tumi unch dourunk mhuzo anvddo anim otreag zaun asat. Xabaski tumkam, tiatrist bhav-bhoineank, Romi lipi tume azun jivi dourunk vaur kortat dekhun. Khoim pavli amchi Konkani Romi lipi? Kiteak tika khas apleach putam-dhuvanim pois dovorlea? Anim kednam Romi lipik favo to mhannacho zago mellot ghai?
Konknnicho Romi Borovpi,
Mguel Barreto, Kepem-USA
Ganv-bhoin Brenda Menezes hachi 'one-act plays in Konkani' hem pustok Goa Konkani Academy hanchea asrea-khal porgott zala tem vachun jivak khos bhogli. Mhojim un-unit porbhim bai Brendak, tachea hea molladik vaurak. Ojeap dista bai Brenda-n, hem pustok Romi Lipin-n kaddinastanm Nagri Lipi-n porgott kelem tem polloun. Ho mhuzo ek xinn koso taka, zalear ho ek amkam Romi boroiteleank okmann koso zaun asa. Goeant aiz Romi Lipi-k mannacho dhorzo favo korunk nam. Anim dista Goa Konkani Academy aiz Romi lipik bhed-bhav korta xi, anim dista Academy fokot Nagrik tenko dita xi. Hi Romi anim Nagri lipimchi dusmankai, kednam punn nopoit zait ghai? Kiteak azun passun donui lipi-nk ek sarkho dhorzo kiteak favo zaunk nam? Unnench mhollear aiz ponchvis vorsam odhik torui zalim, him lipink lagon Goeant dusmankai cholta. Mhojea bhurgea ponnar anvem zaitinch borovpam keleat, Goeant anim Bombaim porgott zatelea soglea potramcher anim masikamcher punn soglim mat Romi lipin. Punn aiz ponchvis vorsam odhik somplim punn azun Romi-chem kestanv azun jivem assa tem polloun ojeap dista. Zorui tor bai Brenda-n hench pustok Romi lipi-n porgott kelelem zalear koslem unnem ponn aslem ghai? Nagri-n boroilem pustok Romi vachpeanchea athan zobor-xem poddonam anim ugttea ponnim anv sangtam, anvui Nagri vachinam, karann bhurgeaponnim thaun anv Romichi boroin anim vachun ailam. Romi-n boroilelim pustokam aiz pordhesant vetele Goemkar mogan ghetat, vachtat anim pordhesan vhortat. Nam zalear polle adle amche Konkani Romi boroinar zoxe porim Romanxincho raza Reginald Fernandes, Joao Inacio de Souza, Bonaventuro Pietro anim adi. Adle Tarvotti bhav tarvar vechea adim Reginald Fernandes-achi romanx ghetlea bhogor tarvar vochonaslo. Aplo vell kitem torui mogan vachun sartolo mhunn anim tenvui zalear amche Konkani Romi lipin. Urbha mhaka bhogta polloun amchea tiatrist bhav-bhoineank, je dis-rat Romi lipichi seva kortat ti polloun. Osoch ho Konknnicho anim Romi lipicho bhavtto tumi unch dourunk mhuzo anvddo anim otreag zaun asat. Xabaski tumkam, tiatrist bhav-bhoineank, Romi lipi tume azun jivi dourunk vaur kortat dekhun. Khoim pavli amchi Konkani Romi lipi? Kiteak tika khas apleach putam-dhuvanim pois dovorlea? Anim kednam Romi lipik favo to mhannacho zago mellot ghai?
Konknnicho Romi Borovpi,
Mguel Barreto, Kepem-USA
Comedy Queen Querobina Carvalho
Comedy Queen Querobina to release Konkani Video CD "DUKHAM" in Kuwait
By Gasper Crasto
Comedy Queen Querobina Carvalho - Quero to friends - will launch her first
songs and jokes Video CD entitled 'Dukham' (Tears) at the Goa Day event on
9th November 2007 in Kuwait.
Querobina has transcended Goa's stereotype stage style to become one of the
finest actresses of this generation against all odds. She is undoubtedly a
superstar and on a pedestal equal to legendary celebrities of the stage.
Querobina is perhaps the only actress who can do comedy as well as tragedy
roles and at the highest standard at that, and sing with a voice that can
melt stone hearts.
The Video CD produced by Music House (Mapusa) and music composed by famed
Goan musician Norman Cardozo, consists of a selection of songs and jokes.
Querobina has the distinction of winning 3 straight Kala Academy awards as
the Best Singer of Goa from 1973 to 1975. Acclaimed as one of Goa's popular
comedienne and an actress for enacting tragedy roles, Querobina has
tirelessly served Konkani stage even after landing in Kuwait. The
multi-talented star recently featured in the first Konkani E-Cinema 'BLACK
Nhesop Atanchem Fashion' produced and directed by T-Bush.
Querobina is a singer with an eloquent voice and has to her credit several
songs in Konkani CDs, video films and audio albums. She has sung in
approximately 39 audios and features in 8 videos. Her first Album 'Dhinvas'
was a runaway hit. Not too long ago, Querobina presented her first Konkani
album "Tragedy Queen" dedicated to her favourite stage actress Ophelia
Cabral.
Querobina's first step on the stage was at the age of 9 years where she sang
her first solo at St. Aloysius High School. Querobina's rise to fame began
with her 'first break' on the professional stage in A.M. Pacheco's drama
'Mr. Romeo' and 'Odruxtt' in 1977. Querobina labored long in the field of
different roles for Patrick Dourado's 'Soth' and the second ever ladies show
on Konkani stage 'Oxem Ghoddtta' before her acting in Goa's mega hit dramas
showed the extent of her brillance and talents. She soon went on to act in
A.M.Pacheco's 'Don Roste', 'Vis Vorsam Adim' and Nelson
(Nelson-Conception-Anthony) Alphonso's 'Asro.' In 1978 she joined Patrick
Dourado's troupe that brought her recognition as a professional artiste and
also the title 'Comedy Queen Querobina' for his drama 'Ostori'.
The greatness of her acting came forth again in performances of Patrick's
tragedy hit 'Lok Sangtolo', and M. Boyer's 'Mog Kazar Divorce'. Soon she was
pulled in Bombay by late Bab Peter to act in an all Bombay professional
group in 'Guneaum Mhozo Nhuim'. Later, she performed mostly comedy roles in
Prince Jacob's productions. Die-hard tiatro fans have followed her career
closely, watching her metamorphose into one of the State's most recognized
faces on the Konkani stage. Her numerous other acting credits include
Patrick Dourado's superhits such as "Oxem Ghoddtta", "Ghatki Bhoinn",
"Bhavacho Cheddo", "Familik Vollkona", "Lok Sangtolo", "Tem Mhojem Soirem",
"Dev Borem Korum", "Tin Fogotteache Marann", "Varem", "Noketr", "Patok",
etc; C. D'Silva and Patrick Dourado's joint venture 'Mannkam Motiam', 'Mog',
etc.
Querobina featured in approximately 27 different dramas of Patrick Dourado
and later acted in shows of Conny M. D'Silva, Vitorino Pereira, Master Vaz,
legendary late Rosario Rodrigues, Menino de Bandar, etc. Prominent hits
that she acted are late Bab Peter's 'Mijas', 'Guneanv Mhozo Nhoim', 'Tuka
Kiteak Poddlam'; Robin Vaz's 'Biatin', 'Chamcha'; late C.Alvares' 'Xezari
Kombo' ; late Jacinto Vaz's drama 'Sukh ani Dukh'; Wilmix's 'Sonvsar ani
Sorg'; Roseferns' 'Tuttlele Dhaage'; and Prince Jacob's superhits 'Pavnnek',
'Ponvot', 'Pordexi', 'Poltodd', 'Pangddo', 'Pergao', 'Poixe-Poixe', etc.
Querobina has also sung and rendered her voice in 56 folk plays on All India
Radio (AIR) - Goa which were a major source of entertainment for public
before the advent of television in Goa in the wake of the 1982 ASAID. As a
comedienne Querobina has acted alongside famous artistes of Konkani stage
that include Comedian Dias, Comedienne Platilda, Comedian Philip, Comedian
Domnic, Augustine, Sherly, Sally, Comedian Jesus, Luis Bachchan, Nelson,
Ben, Ambe, X. Almeida, M. Boyer, Jacinto Vaz, Titta Pritto, Tony Martins,
Paul Romy, Hortencio, late Luis Dias, etc. She was a darling of the crowd in
Prince Jacob's shows alongside Jacob and Humbert.
Born to Andrew Carvalho and Arcangela Fernandes and coming from the
beautiful coastal village Majorda, Querobina grew up with her younger
brother Anthony. It was in celebrated director M.Boyer's drama 'Mog Kazar
Divorce' that she first toured the Middle East and made the trip again for
another 5 times in Prince Jacob's shows. Recalling her overseas tours
Querobina underlines "In 1989, I performed in London for Prince Jacob's
'Painem' and 'Pergao'; my first trip to Kuwait was in Mario de Majorda's
"Sambau" drama staged in 1994 at Keifan Hall." The much in demand actress
also toured Dubai and Bahrain for Jose Rod's "Mauli" and for Comedian Philip's
drama 'Hem Kazar Koslem?', and also traveled to Qatar, Bahrain from Kuwait
to act in dramas on several occasions. Querobina's 'residency' in Kuwait
has been hailed in the media by many Goans as a gift to Kuwait Konkani
lovers but the void created by her absence in Goa is missed by thousands.
Since her arrival in Kuwait in 1995 she has acted in various dramas directed
by Jose Rod, Rosary Ferns, Comedian Philip, Mario de Majorda, etc. Most
recently, she has acted for the shows directed by Salu Faleiro, Simon
Gonsalves, Francis de Tuem, etc. Indisputably, a multifaceted actress like
Querobina would have been hailed as a "top star" had she been acting in any
other language dramas. The artiste has been felicitated in Kuwait by
Konkani Heritage Kuwait (2000) and United Club of Utorda (2007) and in
Bahrain at the staging of Anthony Luis Fernandes' show. After a gap of 22
years, she had performed in July 2007 in Goa for Laurente Pereira's 'Hea
Gharachim Dharam Bondh' tiatr to a thunderous ovation.
"The audience has accepted and appreciated me as an actress. I am sure the
latest video of songs and jokes will be a joy of tears for the Konkani
speaking masses", stated Querobina on the release of 'Dukham'.
- You heard it first from www.goa-world.com !
By Gasper Crasto
Comedy Queen Querobina Carvalho - Quero to friends - will launch her first
songs and jokes Video CD entitled 'Dukham' (Tears) at the Goa Day event on
9th November 2007 in Kuwait.
Querobina has transcended Goa's stereotype stage style to become one of the
finest actresses of this generation against all odds. She is undoubtedly a
superstar and on a pedestal equal to legendary celebrities of the stage.
Querobina is perhaps the only actress who can do comedy as well as tragedy
roles and at the highest standard at that, and sing with a voice that can
melt stone hearts.
The Video CD produced by Music House (Mapusa) and music composed by famed
Goan musician Norman Cardozo, consists of a selection of songs and jokes.
Querobina has the distinction of winning 3 straight Kala Academy awards as
the Best Singer of Goa from 1973 to 1975. Acclaimed as one of Goa's popular
comedienne and an actress for enacting tragedy roles, Querobina has
tirelessly served Konkani stage even after landing in Kuwait. The
multi-talented star recently featured in the first Konkani E-Cinema 'BLACK
Nhesop Atanchem Fashion' produced and directed by T-Bush.
Querobina is a singer with an eloquent voice and has to her credit several
songs in Konkani CDs, video films and audio albums. She has sung in
approximately 39 audios and features in 8 videos. Her first Album 'Dhinvas'
was a runaway hit. Not too long ago, Querobina presented her first Konkani
album "Tragedy Queen" dedicated to her favourite stage actress Ophelia
Cabral.
Querobina's first step on the stage was at the age of 9 years where she sang
her first solo at St. Aloysius High School. Querobina's rise to fame began
with her 'first break' on the professional stage in A.M. Pacheco's drama
'Mr. Romeo' and 'Odruxtt' in 1977. Querobina labored long in the field of
different roles for Patrick Dourado's 'Soth' and the second ever ladies show
on Konkani stage 'Oxem Ghoddtta' before her acting in Goa's mega hit dramas
showed the extent of her brillance and talents. She soon went on to act in
A.M.Pacheco's 'Don Roste', 'Vis Vorsam Adim' and Nelson
(Nelson-Conception-Anthony) Alphonso's 'Asro.' In 1978 she joined Patrick
Dourado's troupe that brought her recognition as a professional artiste and
also the title 'Comedy Queen Querobina' for his drama 'Ostori'.
The greatness of her acting came forth again in performances of Patrick's
tragedy hit 'Lok Sangtolo', and M. Boyer's 'Mog Kazar Divorce'. Soon she was
pulled in Bombay by late Bab Peter to act in an all Bombay professional
group in 'Guneaum Mhozo Nhuim'. Later, she performed mostly comedy roles in
Prince Jacob's productions. Die-hard tiatro fans have followed her career
closely, watching her metamorphose into one of the State's most recognized
faces on the Konkani stage. Her numerous other acting credits include
Patrick Dourado's superhits such as "Oxem Ghoddtta", "Ghatki Bhoinn",
"Bhavacho Cheddo", "Familik Vollkona", "Lok Sangtolo", "Tem Mhojem Soirem",
"Dev Borem Korum", "Tin Fogotteache Marann", "Varem", "Noketr", "Patok",
etc; C. D'Silva and Patrick Dourado's joint venture 'Mannkam Motiam', 'Mog',
etc.
Querobina featured in approximately 27 different dramas of Patrick Dourado
and later acted in shows of Conny M. D'Silva, Vitorino Pereira, Master Vaz,
legendary late Rosario Rodrigues, Menino de Bandar, etc. Prominent hits
that she acted are late Bab Peter's 'Mijas', 'Guneanv Mhozo Nhoim', 'Tuka
Kiteak Poddlam'; Robin Vaz's 'Biatin', 'Chamcha'; late C.Alvares' 'Xezari
Kombo' ; late Jacinto Vaz's drama 'Sukh ani Dukh'; Wilmix's 'Sonvsar ani
Sorg'; Roseferns' 'Tuttlele Dhaage'; and Prince Jacob's superhits 'Pavnnek',
'Ponvot', 'Pordexi', 'Poltodd', 'Pangddo', 'Pergao', 'Poixe-Poixe', etc.
Querobina has also sung and rendered her voice in 56 folk plays on All India
Radio (AIR) - Goa which were a major source of entertainment for public
before the advent of television in Goa in the wake of the 1982 ASAID. As a
comedienne Querobina has acted alongside famous artistes of Konkani stage
that include Comedian Dias, Comedienne Platilda, Comedian Philip, Comedian
Domnic, Augustine, Sherly, Sally, Comedian Jesus, Luis Bachchan, Nelson,
Ben, Ambe, X. Almeida, M. Boyer, Jacinto Vaz, Titta Pritto, Tony Martins,
Paul Romy, Hortencio, late Luis Dias, etc. She was a darling of the crowd in
Prince Jacob's shows alongside Jacob and Humbert.
Born to Andrew Carvalho and Arcangela Fernandes and coming from the
beautiful coastal village Majorda, Querobina grew up with her younger
brother Anthony. It was in celebrated director M.Boyer's drama 'Mog Kazar
Divorce' that she first toured the Middle East and made the trip again for
another 5 times in Prince Jacob's shows. Recalling her overseas tours
Querobina underlines "In 1989, I performed in London for Prince Jacob's
'Painem' and 'Pergao'; my first trip to Kuwait was in Mario de Majorda's
"Sambau" drama staged in 1994 at Keifan Hall." The much in demand actress
also toured Dubai and Bahrain for Jose Rod's "Mauli" and for Comedian Philip's
drama 'Hem Kazar Koslem?', and also traveled to Qatar, Bahrain from Kuwait
to act in dramas on several occasions. Querobina's 'residency' in Kuwait
has been hailed in the media by many Goans as a gift to Kuwait Konkani
lovers but the void created by her absence in Goa is missed by thousands.
Since her arrival in Kuwait in 1995 she has acted in various dramas directed
by Jose Rod, Rosary Ferns, Comedian Philip, Mario de Majorda, etc. Most
recently, she has acted for the shows directed by Salu Faleiro, Simon
Gonsalves, Francis de Tuem, etc. Indisputably, a multifaceted actress like
Querobina would have been hailed as a "top star" had she been acting in any
other language dramas. The artiste has been felicitated in Kuwait by
Konkani Heritage Kuwait (2000) and United Club of Utorda (2007) and in
Bahrain at the staging of Anthony Luis Fernandes' show. After a gap of 22
years, she had performed in July 2007 in Goa for Laurente Pereira's 'Hea
Gharachim Dharam Bondh' tiatr to a thunderous ovation.
"The audience has accepted and appreciated me as an actress. I am sure the
latest video of songs and jokes will be a joy of tears for the Konkani
speaking masses", stated Querobina on the release of 'Dukham'.
- You heard it first from www.goa-world.com !
Official Language Act of Goa (The cause, of all our problems)
OFFICIAL LANGUAGE ACT - of Goa.
Thu Jan 1 2009
OFFICIAL LANGUAGE ACT-of Goa.(The cause, of all our problems).
Why are Goans so agitated ? Why do Goans refuse to be subdued ?Why do they object to anything that is done in the name of development?Why are Goans so suspicious of their own Government?I've been seeing this phenomenon going on for several years now.The same attitude has now percolated down to the Goan masses.Goans from one community look at Goans from the other community with suspicion.The common trust that once existed among Goans, does not exist any more.Why do people openly revolt against all mega-projects ?Why do people reject any S.E.Zs in Goa ?Why was there such a hatred for the Regional Plan 2011?Why is the Regional Plan 2021, still not well accepted?Let's go further down to the people's level.Why do popular people' movements, fritter away?Why is there infighting among members of the G.BA?.Why do members of "Utt-Goykara", playing "blame-games"?Why does one N.G.O support a mega-project while another N.G.O opposes the same mega-project?Some of us may wish to point a finger at the Government in power.Some of us may want to blame the people "for all the maladies".According to me, both may be right.It is the Government and it is also we the people, who should share a part of the blame.However, where we miss out is "where lies the mistake"?What is the real cause of all these maladies?The Government will say "what wrong have we done "?The people will say "what is our fault"?According to me, when a problem becomes "chronic", such as the situation in Goa, there comes a time, when we need to dig deep, to find out the "cause" of the problem..The "infection" is deep rooted.All that we see are the "symptoms ", of an underlying infection.The "symptoms" are dissatisfaction, suspicion, frustration, annoyance etc.The disease is "mistrust".The cause is "Konkani".I am sure , your immediate response is a shocking "What"?Yes my fellow Goans, I am deeply convinced , that the "Official Language Act of Goa", is responsible for the chronic disease of "mistrust" among Goans.Going back to pre-liberation period and post liberation upto 1987, Goans , irrespective of what religion they belonged to, were just one community.A Goan community.Goa was an epitome of "communal-harmony".Then came the "highly communal & partisan" Official Language Act of Goa, that, sowed the seeds of dissatisfaction, suspicion, frustration, and annoyance .Today, Goans from one religious community do not see eye to eye with Goans from another religious community.The "bond" of brotherhood that once existed is no more there.There is an aura of "suspicion" all around.All because of that one, "Official Language Act" of Goa.Every good intention of the Government is looked upon with suspicion by the people , because they have lost their "trust".They say "this Government does not have it's priorities right".Konkani should be at the top of it's priorities.It is Konkani that unites us.The people's movements like 'Goa Bachao.Abhyian", "Utt Goykara" and other N.G.Os, also do not have their priorities right.All "issues" taken up by them, are "symptoms'.The "cause" is forgotten.Konkani is the "cause'.They all should take up the cause of Konkani first..No movement in Goa, will succeed, until & unless, the issue of Konkani is settled.To rid of the symptoms, the "cause" is to be removed.Goans did not need the "Official Language Act", at least in its present form.Hence, remove it.Konkani is the mother-tongue of all Goans.Give Goans, a choice to decorate her, enrich her, the way each one wants.Don't force the views and convenience of one section ,on the others.Let Konkani flourish with full freedom, without any restrictions of dialect or script.Let every Goan, spontaneously, feel it his or her duty to protect and enrich "mother-tongue Konkani".My Gut-feeling is, if the "Official Language Act" is totally removed, the aura of "mistrust" will automatically, be taken care of.The "symptoms' of dissatisfaction, suspicion, frustration , annoyance etc. will slowly disappear.The people will be more receptive to 'genuine' development-works of the Government.The various people's movements and N.G.Os will also be more effective and lasting.Konkani alone can restore Goa, back to its original "glory".Konkani in all it dialects and all it's scripts, free to flourish, free as a bird.All that the Govt. of Goa , needs to do is, treat the "cause" and not the "symptoms".The "cause' is, the communal Official Language Act of Goa.The various people's movements and N.G.Os , should also put "solution of the Konkani script" issue, at the top of their priority-list.Konkani alone. will be the "uniting force" of Goa & Goans..
Wilmix Wilson Mazarello.
Thu Jan 1 2009
OFFICIAL LANGUAGE ACT-of Goa.(The cause, of all our problems).
Why are Goans so agitated ? Why do Goans refuse to be subdued ?Why do they object to anything that is done in the name of development?Why are Goans so suspicious of their own Government?I've been seeing this phenomenon going on for several years now.The same attitude has now percolated down to the Goan masses.Goans from one community look at Goans from the other community with suspicion.The common trust that once existed among Goans, does not exist any more.Why do people openly revolt against all mega-projects ?Why do people reject any S.E.Zs in Goa ?Why was there such a hatred for the Regional Plan 2011?Why is the Regional Plan 2021, still not well accepted?Let's go further down to the people's level.Why do popular people' movements, fritter away?Why is there infighting among members of the G.BA?.Why do members of "Utt-Goykara", playing "blame-games"?Why does one N.G.O support a mega-project while another N.G.O opposes the same mega-project?Some of us may wish to point a finger at the Government in power.Some of us may want to blame the people "for all the maladies".According to me, both may be right.It is the Government and it is also we the people, who should share a part of the blame.However, where we miss out is "where lies the mistake"?What is the real cause of all these maladies?The Government will say "what wrong have we done "?The people will say "what is our fault"?According to me, when a problem becomes "chronic", such as the situation in Goa, there comes a time, when we need to dig deep, to find out the "cause" of the problem..The "infection" is deep rooted.All that we see are the "symptoms ", of an underlying infection.The "symptoms" are dissatisfaction, suspicion, frustration, annoyance etc.The disease is "mistrust".The cause is "Konkani".I am sure , your immediate response is a shocking "What"?Yes my fellow Goans, I am deeply convinced , that the "Official Language Act of Goa", is responsible for the chronic disease of "mistrust" among Goans.Going back to pre-liberation period and post liberation upto 1987, Goans , irrespective of what religion they belonged to, were just one community.A Goan community.Goa was an epitome of "communal-harmony".Then came the "highly communal & partisan" Official Language Act of Goa, that, sowed the seeds of dissatisfaction, suspicion, frustration, and annoyance .Today, Goans from one religious community do not see eye to eye with Goans from another religious community.The "bond" of brotherhood that once existed is no more there.There is an aura of "suspicion" all around.All because of that one, "Official Language Act" of Goa.Every good intention of the Government is looked upon with suspicion by the people , because they have lost their "trust".They say "this Government does not have it's priorities right".Konkani should be at the top of it's priorities.It is Konkani that unites us.The people's movements like 'Goa Bachao.Abhyian", "Utt Goykara" and other N.G.Os, also do not have their priorities right.All "issues" taken up by them, are "symptoms'.The "cause" is forgotten.Konkani is the "cause'.They all should take up the cause of Konkani first..No movement in Goa, will succeed, until & unless, the issue of Konkani is settled.To rid of the symptoms, the "cause" is to be removed.Goans did not need the "Official Language Act", at least in its present form.Hence, remove it.Konkani is the mother-tongue of all Goans.Give Goans, a choice to decorate her, enrich her, the way each one wants.Don't force the views and convenience of one section ,on the others.Let Konkani flourish with full freedom, without any restrictions of dialect or script.Let every Goan, spontaneously, feel it his or her duty to protect and enrich "mother-tongue Konkani".My Gut-feeling is, if the "Official Language Act" is totally removed, the aura of "mistrust" will automatically, be taken care of.The "symptoms' of dissatisfaction, suspicion, frustration , annoyance etc. will slowly disappear.The people will be more receptive to 'genuine' development-works of the Government.The various people's movements and N.G.Os will also be more effective and lasting.Konkani alone can restore Goa, back to its original "glory".Konkani in all it dialects and all it's scripts, free to flourish, free as a bird.All that the Govt. of Goa , needs to do is, treat the "cause" and not the "symptoms".The "cause' is, the communal Official Language Act of Goa.The various people's movements and N.G.Os , should also put "solution of the Konkani script" issue, at the top of their priority-list.Konkani alone. will be the "uniting force" of Goa & Goans..
Wilmix Wilson Mazarello.
Digitised "Faxi Mogachi" - Konkani film
Digitised “Faxi Mogachi”
C Alvares, the late thespian and innovative tiatr director, who shone brightly in the early Konkani movies “Amchem Noxib” and “Nirmon”, went on to produce “Faxi Mogachi”, and released it on a very small scale. His daughter Capucina produced his play “Atancheo Sunom” and her own first film “Disson Kurddo Aikon Bhero”, followed by “Ghutt” with which her father was toying before he passed away.
Capucina, to perpetuate C Alvares’ rich legacy under the banner of C. Alvares Films, partnered by Ashterwayne Productions, eventually produced the digitized version of “Faxi Mogachi”, which was released recently. [I. Dantas]
C Alvares, the late thespian and innovative tiatr director, who shone brightly in the early Konkani movies “Amchem Noxib” and “Nirmon”, went on to produce “Faxi Mogachi”, and released it on a very small scale. His daughter Capucina produced his play “Atancheo Sunom” and her own first film “Disson Kurddo Aikon Bhero”, followed by “Ghutt” with which her father was toying before he passed away.
Capucina, to perpetuate C Alvares’ rich legacy under the banner of C. Alvares Films, partnered by Ashterwayne Productions, eventually produced the digitized version of “Faxi Mogachi”, which was released recently. [I. Dantas]
N.Shivdas is chief of Goa Konkani Akademi
Shivdas is GKA chief
PANJIM: Konkani writer N Shivdas, on January 1, assumed charge as president of Goa Konkani Akademi after the state government reconstituted the committee.
The order reconstituting the committee was issued by the Director of Official Language. The other official members are Damodar Mauzo, Vincy Quadros and Prof SM Borges. The term of the committee is for two-years. [GT/3-Jan-2009]
PANJIM: Konkani writer N Shivdas, on January 1, assumed charge as president of Goa Konkani Akademi after the state government reconstituted the committee.
The order reconstituting the committee was issued by the Director of Official Language. The other official members are Damodar Mauzo, Vincy Quadros and Prof SM Borges. The term of the committee is for two-years. [GT/3-Jan-2009]
Veeam Braganza
Veeam tells her story:
Daughter of Tiatrist Alphonso ‘Bond’ Braganza, Veeam was encouraged to sing or the family’s listening pleasure. At eight he released her first Konkani album “Mhaka Jievonk Di”. She never looked back, releasing three Konkani albums – Mhozo Hero, Johnny Johnny, and three English albums... Veeam is a founder member of Jazz Goa.
She loves singing Jazz and has sung with UB40’s saxophonist Graeme Hamilton and Colin D’Cruz at Jazz Inn in Mumbai. She has also performed with Jazzy Joe at Mumbai’s Hyatt, where she did a Konkani single.
[Dolcy D’Cruz, Herald2day]
Daughter of Tiatrist Alphonso ‘Bond’ Braganza, Veeam was encouraged to sing or the family’s listening pleasure. At eight he released her first Konkani album “Mhaka Jievonk Di”. She never looked back, releasing three Konkani albums – Mhozo Hero, Johnny Johnny, and three English albums... Veeam is a founder member of Jazz Goa.
She loves singing Jazz and has sung with UB40’s saxophonist Graeme Hamilton and Colin D’Cruz at Jazz Inn in Mumbai. She has also performed with Jazzy Joe at Mumbai’s Hyatt, where she did a Konkani single.
[Dolcy D’Cruz, Herald2day]
Delhi feasts on Goan dramas
Delhi feasts on Goan dramas:
The Directorate of Art and Culture on the initiative of director Prasad Lolyekar presented the Goan folk dramas Kalo, Ranmale and Jagor at Meghdoot theatre, New Delhi, recently in collaboration with Sangeet Natak Academy, New Delhi. Folk dramas are traditional performances of dramas that are presented by artistes who have little or no formal training. Goa has a rich tradition of folk dramas which are on the verge of disappearing due to lack of patronage. [Rajendra P Kerkar, TOI]
The Directorate of Art and Culture on the initiative of director Prasad Lolyekar presented the Goan folk dramas Kalo, Ranmale and Jagor at Meghdoot theatre, New Delhi, recently in collaboration with Sangeet Natak Academy, New Delhi. Folk dramas are traditional performances of dramas that are presented by artistes who have little or no formal training. Goa has a rich tradition of folk dramas which are on the verge of disappearing due to lack of patronage. [Rajendra P Kerkar, TOI]
Guddhameva Jayate !
Guddhameva Jayate!
TEOTONIO R DE SOUZA laments the fact that Goans who try to be critically creative get little support and encouragement
T aking stock of the year ending – one more of the many that have ended and others that will follow and end – are we not more inclined than ever to be driven down the path of a Labadda Upanishad rather than to be elevated by the Mundaka Upanishad? In other words, the preferred motto of the national citizens today seems to be ‘Guddhamella Jayate’! In Bardeshi lingo guddhamella would be pronounced as guddhameva – that rhymes well with the ‘Satyameva’ of the Indian national motto. Dalgado’s Konkani-Portuguese dictionary provides the meaning of guddhamella as pacto secreto, conluio (secret pact, conspiracy). Instead of the Upanishadic world of mumukshu, we now live in the brave new world of aparavidya where truth is stranger than fiction. While truth forces one to look at the reality outside confronting us, fiction promises autonomy and egoistic uni-directionality of Kafkaian einsinnigkeit, one-track mindedness of the maniacs. Dedicated terrorists are just one of the frightening results of this trend, but we have a whole range of other variants, beginning with the milder variety of fiction writers who pick up their knowledge of history from book cover flaps. We have such mushrooming literati in Goa-related internet forums and some local press organs that cater to peasant tastes. This lot is condemned to producing fait divers that will hardly be remembered after a year ends. To prevent that from happening to him, one such guddhameva-lover resorted to Goanet before the year ended to remind us of what he wrote on Herald in 1996. It was about a controversy he invented, but saw the need of recruiting Shirodkars, Pearson and Teotonio to corner some public attention to his ability. He also denounces his own democratic credentials, seeking to protect the unwary masses from the foreign influences he attributed to the above-mentioned authors: “Too many common people have begun subscribing to such views and they should be stopped before the situation deteriorates.” Is that also a reflection of “foreign concepts like Marxism, or other strange ideas like Feminism or Post-Structuralism and so forth”, or is it Derrida’s “democracy to come”?It is a pity so much talent and energy in Goa are wasted on trifles and petty issues, instead of supporting and encouraging those who try to be critically creative. We do not object to destroying to construct, and isn’t that the symbolic message of the cosmic dance of Nataraja? Goans crying wolf about their identity in danger could try to be more attentive and concerned about the attempts being made to “invent” Goa to cater for market-oriented academic and non-academic tastes. One need not fall into the easy trap of calling it post-colonialism or fail to accept critically any positive contributions coming from any source. Before I present a few recent attempts at understanding Goa and Goans better, including one high-falutin bombastic “invention”, I cannot but denounce painfully the cases of promising Goan/Indian scholars who manifest their insecurity by preferring at times to pay homage to questionable Western scholarship to proven and better substantiated native research. This inheritance of orientalism is unfortunately still with our young generations, and it bodes ill for the immediate future. Correspondingly, the young generations in the West are still suffering from the occidentosis of their forefathers, and still reveal the hangover of a colonial superiority complex. These young generations in the West include some of Goan/Indian origin. During the past two decades nearly a dozen young and not-so-young Goans have made noteworthy contributions to the understanding of different aspects of Goa’s cultural past. Without intending to keep anyone out, I remember P P Shirodkar, S K Mhamai, Charles Borges, Pratima Kamat, Shyam Bhat, P D Xavier, Celsa Pinto, Fatima Gracias, Philomena Antony, Délio Mendonça, Phal Desai, Xavier Martins, Sharon D’Cruz, Remy Dias and Rochelle Pinto, who have produced PhD theses on themes related to Goa. I had the honour of guiding the research of at least three of them officially. Maria Aurora Couto is a specialist in English literature, but has given us a masterpiece of cultural studies in the form of the autobiographical Goa: A Daughter’s Story. Lourdes Bravo da Costa Rodrigues is no less active in tracing Goa’s cultural traditions. And we have more such worthy examples. One does not necessarily need a University diploma to make a mark. Most of these researchers have consulted and utilised information produced by Filipe Nery Xavier and a host of others who never saw any University. For further proof one need only to glance through the three volumes of Dicionário de Literatura Goesa recently compiled by Aleixo Manuel da Costa. How many readers of this column have made an effort to find out what exactly each of the above mentioned scholars produced to enrich our knowledge about Goa? That could be a test of sincerity and honesty of Goans who proclaim their concern for Goa’s identity and future. I could list another dozen of foreign scholars who have worked on Goa and we owe them gratitude for that. Some of them are very senior or senior scholars, like M N Pearson, G D Winius, A Disney, Robert Newman, Caroline Ifeka, Janet Rubinoff, A T Matos, M J Mártires Lopes, Cristiana Bastos, Timothy Coates, Tim Walker, Susana Sardo, Paul Axelrod, Michelle Fuerch and R Trichur, who have covered such varied aspects as history, anthropology, ethnomusicology and tourism studies. As one can expect, Portugal will continue to take interest in the field, and more recently we have seen published research by two young and upcoming scholars, Catarina Madeira Santos and Angela Barreto Xavier. We may have other occasions to appreciate the specific contributions of these various scholars, both Goan and foreigners, but for now let us have only a very brief review of Angela Barreto Xavier’s A Invenção de Goa (Lisboa, ICS, 2008). This scholar shares the virtues and defects of a young scholar. With a PhD from the European Institute of Florence, and with a glamorous institutional affiliation in Portugal, this Portuguese citizen of Goan origin could be more modest in her work and not just in words. She seems to have discovered the moon, and classifies summarily and brattishly most existing studies as “synchronic”, “orientalist”, “nationalistic”, etc. She offers us a diachronic approach to prove that the Portuguese imperial presence in Goa was made possible by consent and negotiation between all parties, and not necessarily by any hegemonic group, imperial or local. Curiously, she contradicts her own premises, choosing to cite a Goan priest, A Frias, and using him as a metaphor and point of departure for her research. In addition to inventing a Jesuit General Jacopo Lainez (p 140), the Hindus of Sirula may learn about their ‘Garam-Purusha’ (p 186). The author rushes into details wherein the angels would fear to tread: while dealing with the caste traditions of Chorão (pp 277 ff), instead of quoting Srinivasan and Cohn, a much better job could be done by consulting and citing F X Gomes Catão who published his extensive ‘Notes for the History of Chorão’ in the Portuguese journal Studia (nos 15 & 17, 1965-66). The title of this thesis well justifies the contents and approach of the book. More modesty and less brashness augur a better future for any research.
Satyameva Jayate!
TEOTONIO R DE SOUZA laments the fact that Goans who try to be critically creative get little support and encouragement
T aking stock of the year ending – one more of the many that have ended and others that will follow and end – are we not more inclined than ever to be driven down the path of a Labadda Upanishad rather than to be elevated by the Mundaka Upanishad? In other words, the preferred motto of the national citizens today seems to be ‘Guddhamella Jayate’! In Bardeshi lingo guddhamella would be pronounced as guddhameva – that rhymes well with the ‘Satyameva’ of the Indian national motto. Dalgado’s Konkani-Portuguese dictionary provides the meaning of guddhamella as pacto secreto, conluio (secret pact, conspiracy). Instead of the Upanishadic world of mumukshu, we now live in the brave new world of aparavidya where truth is stranger than fiction. While truth forces one to look at the reality outside confronting us, fiction promises autonomy and egoistic uni-directionality of Kafkaian einsinnigkeit, one-track mindedness of the maniacs. Dedicated terrorists are just one of the frightening results of this trend, but we have a whole range of other variants, beginning with the milder variety of fiction writers who pick up their knowledge of history from book cover flaps. We have such mushrooming literati in Goa-related internet forums and some local press organs that cater to peasant tastes. This lot is condemned to producing fait divers that will hardly be remembered after a year ends. To prevent that from happening to him, one such guddhameva-lover resorted to Goanet before the year ended to remind us of what he wrote on Herald in 1996. It was about a controversy he invented, but saw the need of recruiting Shirodkars, Pearson and Teotonio to corner some public attention to his ability. He also denounces his own democratic credentials, seeking to protect the unwary masses from the foreign influences he attributed to the above-mentioned authors: “Too many common people have begun subscribing to such views and they should be stopped before the situation deteriorates.” Is that also a reflection of “foreign concepts like Marxism, or other strange ideas like Feminism or Post-Structuralism and so forth”, or is it Derrida’s “democracy to come”?It is a pity so much talent and energy in Goa are wasted on trifles and petty issues, instead of supporting and encouraging those who try to be critically creative. We do not object to destroying to construct, and isn’t that the symbolic message of the cosmic dance of Nataraja? Goans crying wolf about their identity in danger could try to be more attentive and concerned about the attempts being made to “invent” Goa to cater for market-oriented academic and non-academic tastes. One need not fall into the easy trap of calling it post-colonialism or fail to accept critically any positive contributions coming from any source. Before I present a few recent attempts at understanding Goa and Goans better, including one high-falutin bombastic “invention”, I cannot but denounce painfully the cases of promising Goan/Indian scholars who manifest their insecurity by preferring at times to pay homage to questionable Western scholarship to proven and better substantiated native research. This inheritance of orientalism is unfortunately still with our young generations, and it bodes ill for the immediate future. Correspondingly, the young generations in the West are still suffering from the occidentosis of their forefathers, and still reveal the hangover of a colonial superiority complex. These young generations in the West include some of Goan/Indian origin. During the past two decades nearly a dozen young and not-so-young Goans have made noteworthy contributions to the understanding of different aspects of Goa’s cultural past. Without intending to keep anyone out, I remember P P Shirodkar, S K Mhamai, Charles Borges, Pratima Kamat, Shyam Bhat, P D Xavier, Celsa Pinto, Fatima Gracias, Philomena Antony, Délio Mendonça, Phal Desai, Xavier Martins, Sharon D’Cruz, Remy Dias and Rochelle Pinto, who have produced PhD theses on themes related to Goa. I had the honour of guiding the research of at least three of them officially. Maria Aurora Couto is a specialist in English literature, but has given us a masterpiece of cultural studies in the form of the autobiographical Goa: A Daughter’s Story. Lourdes Bravo da Costa Rodrigues is no less active in tracing Goa’s cultural traditions. And we have more such worthy examples. One does not necessarily need a University diploma to make a mark. Most of these researchers have consulted and utilised information produced by Filipe Nery Xavier and a host of others who never saw any University. For further proof one need only to glance through the three volumes of Dicionário de Literatura Goesa recently compiled by Aleixo Manuel da Costa. How many readers of this column have made an effort to find out what exactly each of the above mentioned scholars produced to enrich our knowledge about Goa? That could be a test of sincerity and honesty of Goans who proclaim their concern for Goa’s identity and future. I could list another dozen of foreign scholars who have worked on Goa and we owe them gratitude for that. Some of them are very senior or senior scholars, like M N Pearson, G D Winius, A Disney, Robert Newman, Caroline Ifeka, Janet Rubinoff, A T Matos, M J Mártires Lopes, Cristiana Bastos, Timothy Coates, Tim Walker, Susana Sardo, Paul Axelrod, Michelle Fuerch and R Trichur, who have covered such varied aspects as history, anthropology, ethnomusicology and tourism studies. As one can expect, Portugal will continue to take interest in the field, and more recently we have seen published research by two young and upcoming scholars, Catarina Madeira Santos and Angela Barreto Xavier. We may have other occasions to appreciate the specific contributions of these various scholars, both Goan and foreigners, but for now let us have only a very brief review of Angela Barreto Xavier’s A Invenção de Goa (Lisboa, ICS, 2008). This scholar shares the virtues and defects of a young scholar. With a PhD from the European Institute of Florence, and with a glamorous institutional affiliation in Portugal, this Portuguese citizen of Goan origin could be more modest in her work and not just in words. She seems to have discovered the moon, and classifies summarily and brattishly most existing studies as “synchronic”, “orientalist”, “nationalistic”, etc. She offers us a diachronic approach to prove that the Portuguese imperial presence in Goa was made possible by consent and negotiation between all parties, and not necessarily by any hegemonic group, imperial or local. Curiously, she contradicts her own premises, choosing to cite a Goan priest, A Frias, and using him as a metaphor and point of departure for her research. In addition to inventing a Jesuit General Jacopo Lainez (p 140), the Hindus of Sirula may learn about their ‘Garam-Purusha’ (p 186). The author rushes into details wherein the angels would fear to tread: while dealing with the caste traditions of Chorão (pp 277 ff), instead of quoting Srinivasan and Cohn, a much better job could be done by consulting and citing F X Gomes Catão who published his extensive ‘Notes for the History of Chorão’ in the Portuguese journal Studia (nos 15 & 17, 1965-66). The title of this thesis well justifies the contents and approach of the book. More modesty and less brashness augur a better future for any research.
Satyameva Jayate!
Tiatr-ical theory
Tiatr-ical theory
Sayeesh Naik, Marcel
How often have we seen the ‘Ayurvedic’ peddler of patent medicine, who sits at the roadside with bowls full of herbs, narrating to bystanders how his magic concoction can cure every illness, from arrhythmia to arthritis and from indigestion to impotence? Now, similarly, we have a ‘single solution’ to each and every one of Goa’s ills. According to Wilson ‘Wilmix’ Mazarello, the root cause of all of Goa’s chronic problems (which he says are mere symptoms) is Konkani; because it has been chained by the present Official Language Act (‘Official Language Act: The cause of all our problems’, OPinionatED, Herald, 1 Jan). If only that perfidious Act is totally removed and we ‘set Konkani free’, Wilmix implies, Goans will stop mistrusting each other, the mega-project standoff in villages will come to an end, the SEZ controversy will be over, members of Utt Goykara and the Goa Bachao Abhiyan (GBA) will stop infighting and playing the blame game, and people’s suspicion and hatred for the regional plans will disappear. Wonderful, is it not, that one single deed could make everyone happy? A perfect ending – for a tiatr. Life, unfortunately, is far more complicated. If the Official Language Act is removed, Konkani will no longer be Goa’s official language! Wilmix is a great tiatrist. But he should stick to his strengths. Goans have fought long and hard for Konkani and statehood. They cannot even think of gambling it away on the basis of a whimsical, tiatr-ical theory.
(As published in the Herald / 3 Jan 2009)
Sayeesh Naik, Marcel
How often have we seen the ‘Ayurvedic’ peddler of patent medicine, who sits at the roadside with bowls full of herbs, narrating to bystanders how his magic concoction can cure every illness, from arrhythmia to arthritis and from indigestion to impotence? Now, similarly, we have a ‘single solution’ to each and every one of Goa’s ills. According to Wilson ‘Wilmix’ Mazarello, the root cause of all of Goa’s chronic problems (which he says are mere symptoms) is Konkani; because it has been chained by the present Official Language Act (‘Official Language Act: The cause of all our problems’, OPinionatED, Herald, 1 Jan). If only that perfidious Act is totally removed and we ‘set Konkani free’, Wilmix implies, Goans will stop mistrusting each other, the mega-project standoff in villages will come to an end, the SEZ controversy will be over, members of Utt Goykara and the Goa Bachao Abhiyan (GBA) will stop infighting and playing the blame game, and people’s suspicion and hatred for the regional plans will disappear. Wonderful, is it not, that one single deed could make everyone happy? A perfect ending – for a tiatr. Life, unfortunately, is far more complicated. If the Official Language Act is removed, Konkani will no longer be Goa’s official language! Wilmix is a great tiatrist. But he should stick to his strengths. Goans have fought long and hard for Konkani and statehood. They cannot even think of gambling it away on the basis of a whimsical, tiatr-ical theory.
(As published in the Herald / 3 Jan 2009)
Suppression of Romi Konkani
Suppression of Romi Konkani
Fri Jan 2 2009
ToThe Editor,Herald, Panjim Goa.
SUB:Injustice for Konkani people by Herald or is it by few staff reporters?
Sir,I am one of the regular reader/subscriber for the Herald (since 1983) and it gives me great pleasure to bring to the notice of the editor or their staff of any injustice is felt by its readers. I consider myself Herald is the only newspaper that represents to the poorest of the poor and people seeking justice irrespective of cast, creed and language. Nobody can dispute your efforts for making Konkani as the mother tongue of Goa. As a true lover and activist of Konkani then and now, I can proudly nullify the claim from any quarter and pull the string towards Herald. The battle was initiated by KPA but Herald was leading from the front with lakhs of Romi Konkani jawans suffering bullets lathis, hartals hundreds of them physically handicapped for life and 7 of them losing their lives forever. To mention another incident, your work during the CHOGM Retreat especially the front pages Photos and headlines had driven out the rest of the Goan Newspapers from the CHOGM Media Centre at Fidalgo where hundreds of print and media people were flashing out their news around the globe. I was personally involved in promoting our own Herald with no personal benefits whatsoever with the addition of my company's work allotted to me in the Media Centre. To be frank I was awarded a Special Certificate by the Director,In charge & Public Relation Officer, Media Centre (PIB) New - Delhi Mr.Suresh Chopra which I am still holding as an asset.My point to write you few lines on the subject that very recently it is noticed that Herald or its few reporters are giving step motherly treatment for the Romi Konkani lovers which is hard to believe. As a president of the Konkani organization registered with the govt.of Goa I had attended the two day "Poilem Konknni (Romi Lipi) Sahitya ani Sonsvkruti sommelon at Ravindra Bhavan,Pai Tiatrist Joao Agostinho Fernandes Nagar, Margao Goa .It was organized in a most dignified and fantastic way.The two day literary and cultural seminarhad opened the eyes of many except the few Devnagari Terrorists. I find no reason to believe whatever Fr.Pratap Naik and Churchill Alemao had spoken about the sufferings of Konkani and its people.Shri Alemao and Fr.Pratap deserves all the compliments and supports as had come out with facts and figures.Fr.Pratap is running an institution and made several discoveries that exposes the lies of the Devnagiri fanatics as their work in the last 22 years have failed to match the work of the literary priest. In Konkani we have the old saying"Chorak khuim tondd vodlem" Naiqinik khuim Naiquinn mhonnlear rag eta"Ajeak xikoitalo natu'(Someone younger or immature advising an older and wiser person. The Konknni Bhaxa Mondol and Asmitai Pratisthan have no right to criticize the priest as they have failed miserably to develop the Konkani language and on the contrary indirectly always supported the cause of Marathi. The people who had lost lives, money, faced lathis and bullets were systematically put into great inconvenience by these same Devnagiri terrorists,like any atkankwadi they have crushed the minorities for the last 22 years. Now to blame the Congress leaders for drafting the Official Language Bill is the easy way to pass the buck.Now as far as Herald is concern kindly check the news publicity given to Press report of Konkani Bhaxa Mandal and Ashmitai Prathistan in the last few days (both Devnagiri Associations) and the publicity given to Romi Lipi Sommelon or other Romi Konknni associations. Please judge it your self or may be someone is working silently to crush the movement of the Romi Konkani without the knowledge of Herald in Herald. I am not ready to believe such thingsscan happen in 'VOICE OF GOA'Please consider this as an advice.Thanks.
Fri Jan 2 2009
ToThe Editor,Herald, Panjim Goa.
SUB:Injustice for Konkani people by Herald or is it by few staff reporters?
Sir,I am one of the regular reader/subscriber for the Herald (since 1983) and it gives me great pleasure to bring to the notice of the editor or their staff of any injustice is felt by its readers. I consider myself Herald is the only newspaper that represents to the poorest of the poor and people seeking justice irrespective of cast, creed and language. Nobody can dispute your efforts for making Konkani as the mother tongue of Goa. As a true lover and activist of Konkani then and now, I can proudly nullify the claim from any quarter and pull the string towards Herald. The battle was initiated by KPA but Herald was leading from the front with lakhs of Romi Konkani jawans suffering bullets lathis, hartals hundreds of them physically handicapped for life and 7 of them losing their lives forever. To mention another incident, your work during the CHOGM Retreat especially the front pages Photos and headlines had driven out the rest of the Goan Newspapers from the CHOGM Media Centre at Fidalgo where hundreds of print and media people were flashing out their news around the globe. I was personally involved in promoting our own Herald with no personal benefits whatsoever with the addition of my company's work allotted to me in the Media Centre. To be frank I was awarded a Special Certificate by the Director,In charge & Public Relation Officer, Media Centre (PIB) New - Delhi Mr.Suresh Chopra which I am still holding as an asset.My point to write you few lines on the subject that very recently it is noticed that Herald or its few reporters are giving step motherly treatment for the Romi Konkani lovers which is hard to believe. As a president of the Konkani organization registered with the govt.of Goa I had attended the two day "Poilem Konknni (Romi Lipi) Sahitya ani Sonsvkruti sommelon at Ravindra Bhavan,Pai Tiatrist Joao Agostinho Fernandes Nagar, Margao Goa .It was organized in a most dignified and fantastic way.The two day literary and cultural seminarhad opened the eyes of many except the few Devnagari Terrorists. I find no reason to believe whatever Fr.Pratap Naik and Churchill Alemao had spoken about the sufferings of Konkani and its people.Shri Alemao and Fr.Pratap deserves all the compliments and supports as had come out with facts and figures.Fr.Pratap is running an institution and made several discoveries that exposes the lies of the Devnagiri fanatics as their work in the last 22 years have failed to match the work of the literary priest. In Konkani we have the old saying"Chorak khuim tondd vodlem" Naiqinik khuim Naiquinn mhonnlear rag eta"Ajeak xikoitalo natu'(Someone younger or immature advising an older and wiser person. The Konknni Bhaxa Mondol and Asmitai Pratisthan have no right to criticize the priest as they have failed miserably to develop the Konkani language and on the contrary indirectly always supported the cause of Marathi. The people who had lost lives, money, faced lathis and bullets were systematically put into great inconvenience by these same Devnagiri terrorists,like any atkankwadi they have crushed the minorities for the last 22 years. Now to blame the Congress leaders for drafting the Official Language Bill is the easy way to pass the buck.Now as far as Herald is concern kindly check the news publicity given to Press report of Konkani Bhaxa Mandal and Ashmitai Prathistan in the last few days (both Devnagiri Associations) and the publicity given to Romi Lipi Sommelon or other Romi Konknni associations. Please judge it your self or may be someone is working silently to crush the movement of the Romi Konkani without the knowledge of Herald in Herald. I am not ready to believe such thingsscan happen in 'VOICE OF GOA'Please consider this as an advice.Thanks.
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