I forgot to mention in my article that even the "sumb" (rope) with which monitor lizard skin is tied to the neck of a Gummot/Madhiem is a local product. It is made from coir. They prefer to tie the skin with "sumb" because it holds the skin firmly to the neck of a Gummot or Madhiem. When the sumb is dipped in water prior to its use, it stretches a bit during tying process. Thus, when the sumb dries up, the knot becomes tight and remains intact. This result is not possible with a nylon rope as it just slips and renders the skin loose.
The next thing that I forgot to mention is that the fire has to be of a mild nature and for this again a local product, "sonnam" (coconut husks) are used. "Sonnam" produce a mild and long lasting fire. In the olden days, people placed a few sonnam in a �chul� (a fire place made of three stones) under the big brass "moddki" (pot) to warm water for bath. The sonnam would slowly keep on burning and warm water in the pot.
Next, the presence of Madd Fenni (Palm liquor) or Caju Fenni(Cashew liquor) is a must when playing in a traditional band. Here let me give you a little background on the people who play in the band.
I know four villages where the band is played - Anjuna, Siolim, Baga and Calangute. Basically, the players are toddy tapers. A toddy taper begins his toddy tapping process at dawn, repeats it in the afternoon and winds it up at dusk. In the process, he climbs dozens of coconut trees. Though his work is tiresome, he is always in a jovial mood and that is evident from his singing and whistling while he goes up and down several coconut trees a day. Being a human being, he too feels tired at the end of the day and what better way to drown his tiredness than sitting in his �bolkaum� (verandah) and gulping down the very palm fenni he has produced out of toddy! He too has his friends' circle who join him for evening drinks. As soon as the rainy season begins (in the past it began by May 15), toddy tapping comes to a halt as water gets into "zamnno" a special clay pot used to collect toddy and also moss begins to form on the trunk of coconut trees thus making it dangerous for him to climb coconut trees. So, toddy tapers become temporarily idle. I say temporarily because as soon as water gathers in the fields they begin field work. It is at this time, say from May 15 until June 24, St. John's feast day, that they get together and arrange to play traditional bands on a weekly basis. They mostly hold the sessions on Saturdays. They start to play at around 7:00 p.m. and wind up at around 10:00 p.m. The act of playing the band is called "Bondd laop" and by now you probably know why it is called so. It is because unless the "bondd" is applied to the center of the "Madhiem" it cannot produce that special sound which travels a few kilometers. Although the band produces a lot of sound, nobody ever complains about it, but now it may be subject to sound pollution check!
In Anjuna, the band is played in three wards - Mazalvaddo, Peddem and Chinvar. Since my house is located at the foot of a hill, we can clearly hear the sound of Madhiem as soon as they begin to play the band at any of the said three places. On a still night, the sound of Madhiem can be heard even across the hill in Parra village which is about five kilometers distance from any of the above three mentioned wards. As soon as one of the groups begin to play the band, we at Gaumvaddy say: "Aiz Mazalvaddean/Peddear/Chinvarin bondd lailam, Sam Joaumchi toeiari suru zali� (Today they began playing the traditional band at Mazalvaddo/Peddem/Chinvar; this means preparation of St. John�s feast has begun)."
From my childhood until I grew up, I witnessed the Mazalvaddo guys come tothe cross at the Anjuna Tintto bridge on St. John's feast day and play the traditional band. Practically, all Mazalvaddo residents follow the band to the Tintto. People from as far as St. Sebastian vaddo and Voilo Vaddo finish bathing in wells early and join the crowd to watch the band play and jump from the bridge into the estuary. When the group reaches the Tintto, they sit in it and play a session. Boys from either side meet at the cross on the bridge, say prayers and then jump in the estuary.
I always loved the sound of the band, especially that of a Madhiem and yearned to play it. So, while I was employed in Goa Secretariat, I decided to buy the instruments and form a traditional band. I expressed the idea to Mazalvaddo and Peddem players and they were pleasantly surprised that an educated guy wanted to take up playing traditional band, but they readily agreed to teach us to play. They even agreed to forego their weekly sessions in order to accommodate us. I held a meeting with Gaumvaddy boys and they were all for it. I bought the minimum required instruments - 2 Madhiim and 3 Gummttam from the then expert maker, Joao Fernandes, from St. Sebastian vaddo. Joao was a very nice person. He too was very happy for us; obviously, he got additional business. I bought a Kansaem from Bicholim but it did not give good sound. So, next year I asked my aunt to bring me one from Bombay which she did and it turned out to be the right one.
Besides Mazalvaddo and Peddem players, I also brought expert players from Baga and Calangute, including the famous �O Pai� (he was known to everyone by this nickname) to teach us to play the instruments. O Pai was very old, probably in his early eighties, yet he was very active. He had a fine ear for music, whenever anyone gave a false beat, he would give a serious look at the person, but he was patient with us. The traditional band may not have music notes but it too has its own synchronization. In all, we held five sessions by which time we were able to muster the basics of the band. Thus, the traditional band was introduced in Gaumvaddy in June 1969, and for the first time in living memory, Mazalvaddo and Gaumvaddy crowd danced their way to the bridge at the Anjuna Tintto along with their respective bands on either side of the bridge, celebrated �Sangoll� and bathed in the estuary. I was able to carry on with the activity only for three years as I then took up employment in Bahrain in January 1972.
The last time I played the band was in June 1984 when my late brother and I celebrated the feast of St. John, our ward patron. My father had celebrated St. John's feast in 1958 and had held a dance in the house with Johnson (his school mate) and his Jolly Boys in attendance, but I wanted to do something different - entertain our guests with traditional band. I was already employed with Aramco in Dhahran. I took special leave to attend the feast. Since I already knew Baga/Calangute players, I approached Baga players and requested them to come and give an exhibition at the chapel/my place on the feast day. They were thrilled at the idea but were a little hesitant because they had to attend their "Sangoll" on that day. However, they obliged to play but for a limited period. So, we brought them just before the end of feast mass, arranged a fire by the cross on the road side and they played 2 sessions. After that we took the group to my house and while drinks and lunch was served, I joined them and we played continuously for over two hours after which we took them home to join their people in "Sangoll". Everyone liked the idea. It was altogether a new experience but nobody else has tried it so far � as an entertainment instead of a musical band, but I intend to take it up again when I retire � it is one of many things I have on my mind during my retirement.
Goa is full of traditions and we can know and learn these traditions only if we mingle with the right people. Let us not forget that our tradition is our wealth. So, never shy away from our traditions, however educated you may be. Let us join and work together to keep alive our traditions.
I am sorry for taking your precious time � I just wanted to share my experience with Goanetters.
Moi-mogan, Domnic Fernandes Anjuna/Dhahran, KSA
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