| The Gawda-Kunbis of the Old
Conquests of Goa, who are the converts, shed their tension of hard work
by dancing what is called Dandalam Khel. Men donning female sartorials
spin out mind boggling dance patterns. Like their paan and beedi, the
Gawdas from Salcete love their dance and songs.
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Gauda Khel
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| Four
and half centuries ago , the Kunbis, who are the original settlers of
Goa, were converted to Christianity with the advent of the Portuguese.
Their religious faith changed but not their cultural traditions. The
Kunbi women, who work shoulder to shoulder with their men folk in the
fields, burst into songs and dance once in a year when the harvest has
brought in plenty. It is the Kunbi Khel and it marks fulfillment of the
objective behind long months of labour. This dance is peculiar to the
Kunbi community of Goa.
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Muslam Khel
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The
Kadambas ruled over Goa for a few centuries. Chandrapur or today’s
Chandor in Salcete taluka has been their capital city. They built a
magnificent temple for Lord Shiva. The ruins hold eloquent testimony of
the glorious bygone Kadamba period . A thousand years ago, the residents
of Chandrapur celebrated the resounding victory of their Kadamba King
Harihara over their enemies in a war. They held and brandished pestles
during the victory parade. And, this became an annual ritual for the
Kshatriyas of the ancient city.
Five centuries later , some of the Kshatriyas were converted to
Christianity. But the converts retained their cultural heritage. Thus ,
even today , the Christians of Chandor perform “Muslam Khel” by
holding pestles in their
hands during the month of February- March, while singing songs of Lord
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Virbhadra
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A exotic cultural tradition the
rulers of South Indian dynasties brought to Goa, is Virbhadra. This
ritual is equally popular in some parts of Karnataka. Virbhadra, who
owes his origin to mythology, is enacted during the Chaitra Pournima in
Sanquelim and also in Dhalo festival at Sanguem and Ponda taluka.
The person enacting the role of Virbhadra is draped in warrior's costumes. He wields swords as he dances his way in the precincts of the
temples. Virbhadra is supposed to get possessed by a divine Spirit and
the belief is that even if he inflicts blows of swords on the faithful,
it does not hurt them. True to the tradition, even today the invocation
of Virbhadra is done in Kannada.
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Romatam Mel
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| Romtam Mel is a marching
procession cum ceremonial thanks giving, dance. It is crowded, and colorful, with banners and umbrellas of ceremonial build, festoons,
sticks and battens with team of dancers from various sectors of the
village population, with the biggest banner in the lead called gudhi.
The dance and march is accompanied with nerve-wracking beats of huge
percussions. The whole procession marches towards the temple of the
presiding deity of the village.
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Intruz/
Carnaval
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Intruz is the original form of
the most popular Carnival being celebrated in Goa. This original form
viz. Intruz was introduced during the Portuguese regime in four talukas
called the ‘Old Conquests’ and was celebrated exclusively by the
Goan Catholics. The said tradition is maintained in Salcete taluka and
also a few villages in Tiswadi. People move in colorful attire playing
music from place to place and also throw colours as a mark of joy and
happiness. The music and songs are greatly influenced by western
tradition.
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Dashawtari
Kala
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| Dashawtari Kala or Kalo is a
folk play presented by the Hindu community depicting various avtar
(incarnations) of Lord Vishnu. It is based on definite mythological story
presented through music and dance. The introductory part is based on
another story in which Sankasur, a demon comes in disguise and robs the
four Vedas of Brahma and simultaneously he is killed by Lord Vishnu by
taking the incarnation of a fish.
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Khel/Dashawtari Natak
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It
is a folk play staged through music and dance greatly influenced by
South Indian traditions. The dancing style and martial art patterns are
the specialties of this theatre form.
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Gaulan Kalo
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This
folk theatre form is related to the story of Lord Krishna. Along with
Krishna there are many characters like Radha, Gopis , peasant boys and
donizons of Vrundavan. The play highlights the childhood of Krishna in
Vrundavan. It includes his friends, Gopis and his childhood pranks, right
from the mother beating Lord Krishna for robbing the butter of their neighbors, playing with the Gopis, his love for Radha, killing of
serpent Kalia, lifting of Govardhan mountain, killing of demoness Putna and other
Asuras. The play is presented in the premises of the village temple on
festive occasion.
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Perni Jagor
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Perni Jagor originated in the Zuari
river basin, in the villages like Molcoem in Quepem taluka and Vaghurme
in Ponda taluka and subsequently spread into other localities like
Canacona,Sanguem and Pernem. Distinct character of this folk theatre form is the
exclusive use of beautifully carved and painted wooden masks. These masks
represent various deities, animals, birds, and also demons. This Jagor is
performed by Perni community which belongs to Gomantak Maratha Samaj. It
differs from other Zagors in respect of heavy dependence on Hindu
mythology. It has deep ritualism which other Jagors are not having.
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Gauda Jagor
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Jagor means Jagran or wakeful
nights. Those were the days when people could not get any entertainment or
recreation. At such a time, people come together with their own percussion
instruments like Ghumat, Mhadalem, Dhol, Dobe, Cymbals etc. for singing
and dancing in almost caricature fashions and depict various caricatures
of these times around them. The characters usually shown in
the Jagor performed by the Hindu Gauda community included mostly
goldsmiths, mahars, brahmins, government authority, misguided errant youth,
way-ward and spinsters. The play begins at late hours and continue till
dawn.
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Ranmalem
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A
unique form of outstanding combination of social education and
entertainment is Ranmalem. Renmalem is different from other forms as it
has vision of its own as regards the craftsmenship of presentation. The
first part of the play is invocatory called Naman , whereas the second
part is just based on the story narrating social theme or Ramayana epic.
And the third part is humorous and entertaining known as Dhongam. At
certain intervals , breaking the main story song, a number of characters
enter and enact some episodes for entertaining the messes.
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Lalit
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On certain occasions
like Datta-Jayanti and other annual festivities , a few performances of
Lalit are staged in the temple premises. It is a series of various
caricatures of social and religious relevance presented by folk men . The
artistes appear on the stage in different attire and entertain the
gathering to mark the festivities. This kind of performance is more
popular in Sanquelim at the time of Datta-Jayanti.
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Sunvari-Chandraval
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It is the traditional tone-setter to
all religious and festive performances of the majority of the Hindus.
Though the spoken words (songs) are few, there is a heavy emphasize on
Laya
and Tala (rhythm and beats). Sunvari orchestra normally consists of
various folk musical instruments like Ghumat, Shamel and Kansalem
(cymbals), and at times Shenai and Surt ( pipes). Sunvari
Chandraval is thus found all over Goa. A meritorious band of Sunvari
players is considered to be a matter of pride in Goan villages.
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Mando-Dhulpod
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Mando is a group song where a choric group of boys and girls, stand in
semi-circular formation with girls forming the front line and the boys
forming the back line. In singing the tune, orchestral in outlook,
sometimes girls sing a line followed by the boys, whereas sometimes they
sing altogether as Chorus. The peculiarity of the costumes of the girls in
notable in its form because it is of Burmese Saronge-type dress, locally
called Tollopo, probably picked up by high family ladies while traveling between Goa and Macao and
Timor, erstwhile for eastern Portuguese
colonies. Sometimes, a few couples present dance to the beats of music
provided by a percussion called Ghumat and Violin .
Set to the Latin-American tune, the theme of Mando is thoroughly local
and the sentiment is sufficiently romantic, expressing frustrations and
deceptions in love. The song which starts with a sad and slow note ends on
a faster beat labeled as dhulpod, reminiscent of the similar rhythmic
arrangement in Khaiyyal singing which beings on a slow rhythm and ends on
a faster one.
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Ghumat Arati
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Arati is a religious ceremony of
waving around an idol a platter containing a burning lamp. However , on
this occasion it is the tradition of all the Hindu communities to sing
songs or prayer in different tunes and rhythm. The singing is always
accompanied with loud music provided with the help of different percussion
such as Ghumat, Shamel, Tall and Zanj.
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Banvad
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| It
is the musical composition of ancestral worship performed by the lower
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Gudulya
-Gitam
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It is the singing of story songs
throughout the night to keep everyone awake, as a part of celebration of
the festivities among the Hindu Kunbis.
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Lagan-gitam
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Lagan-gitam
are the marriage songs sung in almost all the Hindu communities.
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Yers (verses)
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Marriage songs sung among the
Christians in rural areas dominated by the Christian population are known
as Yers.
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Cantaram
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Cantar,
originally folk song of the Christians, usually covers the entire gamut of
life around the village. Mainly these songs depict the social theme and
are sung by singers on stage as well as while working in the fields. The
toddy tapper will always carry out his work with beautiful Cantar on his
lips.
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Dasara-Vadan
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It
is a musical composition presented by Mahar community on the occasion of
Dussehra festival in the temple premises. Special performances can be seen in
various localities like Pernem, Amona (Bicholim) and Canacona.
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Ratib
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Religious music of the Muslims
associated with self-infliction. During this performance percussion
instruments are vigorously played by the performers and a few dancers
perform the self-infliction as fulfillment of vows and offering to the
Almighty.
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Gaun Kani
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When
the labor class ladies are free from the farm operations, they sing
songs narrating different folk tales.
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Pavada
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It is a ballad sung by men folk to
inspire the masses by way of recollecting the biographies of great
warriors and kings who laid their lives for their country-men. This
tradition is mainly performed in Sattari taluka.
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Lavni
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Song cum dance presented by the
shepherd community during the festivities such as Dussehra and occasions
like weddings.
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Gosavi Gayan
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Religious/devotional
music performed by the beggar community of villages (Gosavi) while
collecting alms from house to house.
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Jot-Sonkarat/ Arat
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Song cum dance presented by men folk
during Shigmo Festival.
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Gadyam Ramayan
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Religious songs of Ramayana story,
During the singing of the same. The dancers go into trance as a part of
rituals of village festivities.
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Bhajan-Dindi/Dholaki Bhajan
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It
is a devotional music form very popular among the Goan Hindus and
performed in almost all temples on different occasions.Dholaki Bhajan is a
typical devotional singing in folk style mainly prevailent in Pernem
taluka
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Kirtan
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Another religious music cum dance
enactment of different stories based on Hindu mythology as well as
socio-religious themes. It is also used as a means of mass communication/
education.
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Carol singing
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Religious music form presented by
the Christians. It is also a part of church music performed in almost all
Christian settlements during Christmas time.
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Ladainha
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It
is the Litany of Our Lady and religious music presented before the village
cross
and also in the houses as prayer and for fulfillment of vows.
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Pursao
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| Choral singing presented during
the procession in honour of the patron deity of the church or any idol
of saints or on any other religious occasion.
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Nabat-Isharat
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Temple
music depicting commencement or performance of Hindu temple rituals on different
occasions.
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Pene
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| Religious
music presented in the temple premises while the procession of the idol
of the Hindu deity is taken around with specific halts. |
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Kala Academy,
Campal, Panjim, Goa.
E-mail : kalaacademy@kalaacademy.org
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