[Goanet] SOIRIKEN KAZAR (Arranged marriage) ? Part 4

[domnic fernandes]

SOIRIKEN KAZAR (Arranged marriage) – Part 4

FLOWERS AND FRAGRANCE ON WOMEN’S HEADS AT WEDDINGS
Today, women as well as men use several brands of expensive perfumes to 
attract each other.  Some use so much of it that it looks as though he/she 
has had a perfume-bath!

During the Portuguese rule in Goa, the most famous perfume brand available 
was “Patra” but not everyone could afford it.  But it didn’t actually matter 
because we had something natural which was much better than scent - the 
flowers - “zuvieo ani mogre” (jasmine and mogra) which every woman wore on 
her head when she attended a wedding and filled the entire “mattov” with its 
fragrance.  In fact, in those days, the “ezman” (hostess), stood at the 
entrance of the “mattov”, welcomed the guests and placed a small “pantem” 
(arrangement of flowers mainly “zuvieo” or “mogre” sewn in a line) on a 
woman’s head which was tucked to her hair or on a “xenddo” with a bobby pin.

These days, people spray air fresheners in halls in order to create a 
pleasant atmosphere.  Well, nothing of this sort was available in days gone 
by and the magic of fragrance was created by the flowers worn on women’s 
heads.

Besides “zuvieo ani mogre”, women also wore “abolim”, “xinvtim”, “dalia”, 
“gulab”, “rozam” “ato”, etc. on their heads.  Oh, those girls/women looked 
so glamorous with flowers on their heads!  Usually, girls tucked single, 
large flowers like rose, dalia, marigold, sunflower, etc., on one side of 
their head.  A flower on the head combined with an elegant bow, hair 
arranged with bobby pins all around, with a stylish hair puff in front (even 
boys followed hair puff style then), a midi-length flower design dress with 
pastel background and can-can underneath, made those damsels look like 
angels from heaven.

Girls from poor families who didn’t have any flowers at home, picked a 
flower or two from a “chanfeachem zadd” (a wild tree found everywhere in 
villages, especially by a “mathiecho goddgo” [mud compound wall] which bears 
sweet-smelling flowers – a cobra snake always frequents such trees) or a 
“doshninchem ful” (hibiscus) and wore them on their heads when they attended 
weddings.  Do you remember the following lines of Deknni?

Ful mavlam tavier, cheddva tuka apoita mavier
Ful mavlam tavier, cheddva tuka apoita mavier
Ful gho chanfeachem, cheddva tuka mavtam funkeachem
Ful gho chanfeachem, cheddva tuka mavtam funkeachem
*************************************
Xinvtim-binvtim-abolim, matheak mavtolim
Mojea poti sorxem voitelim
Xinvtim-binvtim-abolim, matheak mavtolim
Mojea poti sorxem voitelim
*************************************
Maner kensu, kensar fulam, mogalla utram
Maner kensu, kensar fulam, mogalla utram
Bakra baban utor dilam, kazar zanvchem mhul’lam
Bakra baban utor dilam, kazar zanvchem mhul’lam

Actually, wearing flowers on the head was a way to attract men.  If a boy 
liked a girl and wanted to express his feelings for her, he would smell the 
flower on her head while dancing, take a deep breath of its fragrance and 
tell her how sweet it smelt.  If the girl smiled or said: “Dev borem korum” 
(thank you), it meant that she agreed with his sentiments and from then on 
things would be different; sometimes they ended up dancing with nobody else 
but each other which was an indication that they had fallen in love.  Thus, 
in the past, many men fell for the girls because of flower-wear in their 
heads.  It has become a fashion in Goa these days to send flower bouquets as 
wedding gifts, which is fine, but it is a pity neither girls nor women wear 
flowers on their heads at weddings in Goa though this is very much in 
fashion in other parts of the Konkan region.  They carried the fashion from 
Goa, which originated from Hindus and still follow it, whereas we have 
forgotten it.  The Hindu women in Goa still wear flowers on their heads at 
weddings.

WEDDING RECEPTION

They say, ‘music runs in Goans’ veins’, and it surely does!  Since we have 
good ear for music, we begin to tap our feet at its slightest sound.  Music 
is universal.  It has no language barriers.  It does not differentiate 
between the rich and the poor, the literate and the illiterate, a dancer and 
a non-dancer; it treats and considers everyone equal.  However, dancing is 
an art which few possess.  While some may be fantastic dancers, others 
simply take pleasure in dancing to the beats of the music.  On the whole, 
Goans are good dancers.

A Goan wedding reception is not complete without a dance.  In the olden 
days, most weddings began at around 9:00 p.m. and wound up early in the 
morning at around 7:00 a.m.  Life then was easy, as one didn’t have to worry 
about reporting to work.  Once a wedding got over, one just went home and 
slept and woke up for lunch in the afternoon.  Practically, every male 
present at a wedding reception picks up his dancing partner and gets on the 
floor to dance.

Children’s first dancing lessons began at weddings.  Enthusiastic boys 
picked up their partners and danced with them holding them tight – not 
because they were in love but because they were new to dancing and afraid of 
tripping.  Nowadays children are less shy but unlike us, they dance apart.  
We began our lessons by dancing ballroom dances – Waltzes and Foxtrots.  
When a boy stamped his partner’s feet, she didn’t leave him and run away; 
she understood him and continued to dance with him even though her feet 
suffered bruises from stamping.  After all, she, too, was new and wanted to 
learn to dance.  The darkness in those days helped children get rid of their 
shyness.  For shy children, parents picked up partners for them and placed 
them on the floor where they mingled with the crowd and enjoyed dancing.

A wedding in those days was an elaborate affair. “Kednam konnanchem kazar 
zatelem ani apnnank nachonk sondi mevteli kai mhunn lok dolleanim tel ghalun 
ravtalo, vodik korun tornatte.  (People anxiously looked forward to 
marriages, especially the youngsters, so they would have a chance to dance 
with girls); marriages then formed part of the entertainment.  Since boys 
and girls did not easily court in days gone by, weddings served as a 
platform for them to get to know each other.  One of the secret ways to find 
out if a girl liked you and didn’t mind to be friendly with you was to shake 
hands with her and in the process scratch her palm lightly with your 
forefinger; boys also did this while dancing.  If she didn’t mind, she would 
reciprocate by scratching back the boy’s palm or just keep quiet, but if she 
did not accept the sign, she would pull away her hand and walk away, or 
leave her dancing partner on the floor in the middle of the dance and return 
to her seat.

From the Church ceremony to the reception hall there was always a lively 
band to entertain the crowd with a range of melodies which were set to 
Waltz, Foxtrot, Tango, Jive, Bolero, Rumba-Samba, Cha-cha-cha, Lanceira, 
Kontra-Dans, Gurguret, Fugddi, etc. The songs were sung in Portuguese, 
Konkani and English.

The one band which was almost always in attendance at weddings all over Goa 
was “Johnson & his Jolly Boys”.  Every member of the band, including the 
drummer, was well-versed with solfas (music notes); it was like a mini 
symphony orchestra!  João, known to all as Joãozinho/Johnson (1913-1996) and 
my father, Roque J.R. Fernandes (1909-1983) who also was a mestre and a 
violinist and double bass player, were colleagues until my father left to 
play for the GREEN HOTEL in Bombay in the early 1940’s.

Johnson provided music to Goans for over four decades from the 1930s through 
the 1960s.  He was an avid listener of Radio Ceylon.  When at home, he sat 
by the radio, wrote down music notes of popular songs broadcasted on Radio 
Ceylon and introduced them in his band.  Johnson traveled with his group in 
“caminhão” (bus) from Siolim to every nook and corner of Goa to play for 
weddings, dances, feasts, etc.  A caminhão was required mainly to transport 
the “bonkanv” (double bass) and the drum set.  For close by functions, 
separate persons carried these instruments on his/her head.  Johnson & his 
boys played according to the crowd.  For example, they gave their best 
performance at the yearly Christmas Garden Dance and Our Lady of Miracles 
Feast Dance in Mapusa because the crowd usually was good; elite.  They did 
the same when they played for weddings.

The emcee introduced the band to wedding crowd thus:

“Atam tumkam soglleank tumche avddechem muzg ‘Joãozinho ani tache khuxeal 
bhurge’ umedir nachoitelet.”

(Now you all will be entertained by the famous band “Johnson & his Jolly 
Boys), and they are:

Joãozinho (Johnson) Carvalho, from Siolim – A maestro and one of the best 
violinists and base voice crooners.  (He also played rhythm instruments like 
tambourine, pair of macaras, rhythm sticks/hardwood claves, a guiro, etc. 
according to dance numbers.)

Camilo Fernandes, from Chinvar, Anjuna – Tenor sax

Ambrosio D’Souza, from Guirim (originally from Mandrem) – Alto sax

Remizio Fernandes, from Aldona – Trumpet

Chagas Fernandes, Trumpet

Cornelio D’Souza (one-eyed man), from Doxixir, Anjuna – Banjo

Jose Fernandes (Kannieo [squint] Jose), from Assagao – Bonkanv (Double Bass)

Leto – Drums.

At this point, everyone joins the wedding march in the “mattov”.  It is 
customary for husbands and wives, brothers and sisters, boyfriends and 
girlfriends to join in the wedding march which is headed by the bridal 
couple.  The first and last dance at a wedding is always shared with the 
closest relative, especially husband with wife, fiancé with fiancée, etc.  
The second dance is shared with the next of kin – father with daughter, son 
with mother, brother with sister, etc.

Usually, a male approaches a known/unknown female and requests her for a 
dance:  “May I have the pleasure of dancing with you,” or “May I have this 
dance with you,” or “May I dance with you?”  If he knows the female well, he 
simply approaches her, reaches her hand and says to her:  “Come on Suzy, 
let’s dance!”  In Konkani, people don’t really follow formality.  They 
simply approach a female and say:  “Nachomiea mungo/munge?”  (Shall we 
dance), or “Chol, utt gho Kotrin; nachomiea!”  (Come on, get up Catherine; 
let us dance!)  But some ladies are discriminating; when approached, they 
say “I am engaged” and the poor fellow returns to his seat disappointed.

A circle is made around the couple who is being led by the emcee for the 
cutting of the cake.  At this stage all are seated and whilst the couple 
walks around, the guests stand up and shower them with confetti and kisses; 
everybody then sits down.  The emcee announces the toast and at once all the 
gents stand up.

The waiters, who belonged to Diogo João, the main cook, went around with a 
wooden tray containing wine cups with pedestals, embossed with beautiful 
designs of grapes, filled with red wine.  The bridal couple was given one 
each large glass.  The bridal couple cut the cake and “saud” (toast) was 
raised mostly by a parish priest or by any dignitary/educated person from 
the area.  The toast was mostly raised in Konkani but well-to-do people, 
including bhattkars, had it in Portuguese.  A local singer would come on the 
stage and offer to sing a “saudichem kantar” (a toast song) in the Goan 
traditional manner.  Here is a very meaningful one by Juju:

The emcee would announce:

“Atam, Bab Sanny ani bai Cindichea kazara disak, fankivont kantorist, bab 
JuJu, tanchea manank ek saudichem kantar mhunttolo.”

(On this auspicious day of Sanny and Cindy, one of the famous singers, Juju, 
will now sing a toast song in honor of the bridal couple.

I
Munis zat rochtannam Devan khuim dadleak rochlo
Eksurponn somponk ostorecho sangat dilo
Tednam than ostore-dadleacho ekvott zalo
Ho sonvsar tanche svadin kelo
Mogan bonvon, sonsot vaddoieat, kaido ghalo
Eok novo sacrament ghoddlo

Chorus
Hoch ekvott dadlea-bailecho aichea somazan
Asa kazari sacramentachea rupan
To ekvott bandta padri, Devachea navan
Ghov-bail zatat fuddar vaddovnk sonvsarant
Formaitat cholonk eka-mekachea mogan
Bhas ditat dogaim vantto ghevnk sukan-dukhan
Zo ekvott ghott bandun dila Devan
Morosor soddum naie munxean

II
Dadlea tum korun ghetai ostorek tuji potin
Ghoran bhitor kaddtai hath ghalun tichea hathin
Vaitt-bori zanv fuddarak tuji sangatin
Dogainim hem voddem tanddunk zai ikmotin
Dadleachem jivit adurem ostore vinn
Somzikai asot tor ekvott moddonk kottin

Chorus
Dogainim khoro eka-mekacho mog korit tor
Tea mogak dusrem kainch zainam sor
Dogaimchea modem khoro sozmut asot tor
Dubav kednanch sorchonam bhitor
Bailen zavnk zai ghovachea hathancho pavor
Sodanch ghorkarak tujea tum mogan bhor
Hoch mog tache familik tuvem diit tor
Dubav nam fuddar tumcho sukhachi zor

III
Zaite pavtti ghov-bailam modem sozmut asonam
Tea ghorabeant kednanch sukh-xanti disonam
Kednanch dubav montin dovrunk favonam
Dubava oslo anik dusman sonvsarant nam
Je ghov-bailek eka-mekacher, visvas nam
Tea ghorant, kednanch sovostkai aschinam

Chorus
Khorench ho aicho dis tumkam khoxecho
Zoddlo dekun tumi sacrament kazaracho
Bab Sanny aiz thavn tum ghorkar bai Cindicho
Ho ekvott morosor tumi sambavcho
Vavrat dogainim fuddar korunk sukacho
Ghorabo tumcho zanvdi namuno mogacho
Mogan bonvat axirvad astolo Devacho
Porbim divn magtam tumcho fuddar boro zanvcho
Fuddarar tumchea uzvadd ghal anvddo amcho.

(From Dom’s antique shelf)

The moment “saudichem kantar” (toast song) was over, everyone approached the 
bridal couple, congratulated them on their marriage and poured a little wine 
from their cups into their glasses, which kept on getting filled and had to 
be replaced every now and then.

As soon as the guests are finished clicking glasses with the newly weds, 
wishing them every happiness in life, the emcee announces the first dance, 
and the couple who is escorted to the center of the hall, do the first steps 
of the Waltz and gradually the rest join them on the floor.

The emcee announces:

“Come on ladies and gentlemen please join the couple in celebrating their 
first ever dance:

‘Johnson & his Jolly Boys’ play a famous Portuguese number:

“ENCOSTA TUA CABEÇINHA”

Encosta tua cabeçinha
No meu ombro e chora
E conta toda tua saudade
Toda para mim
Quem chora no meu ombro eu juro
Que não vai embora
Que não vai embora
Que não vai embora
Quem chora no meu ombro eu juro
Que não vai embora
Que não vai embora
Se não gostar de mim

Amor eu quero teu carinho
Porque eu vivo tão sozinho
Quem chora no meu ombro eu juro
Que não vai embora
Que não vai embora
Que não vai embora
Que não vai embora
Se não gostar de mim

Encosta tua cabeçinha
No meu ombro e chora
E conta toda tua saudade
Toda para mim
Quem chora no meu ombro eu juro
Que não vai embora
Que não vai embora
Que não vai embora
Quem chora no meu ombro eu juro
Que não vai embora
Que não vai embora
Se não gostar de mim

(From Dom’s antique shelf)

As soon as the first piece of dance is over, the band plays a slow Foxtrot 
and what better number than the following from our Konkani film “AMCHEM 
NOXIB”:

MOLLBAILO DOV by Ms. Molly

Mogan asonk borem, jivit sukhi khorem
Xitollkaiechem varem, kallzan asta purem
Borea mogacho fov, amkam ditolo Dev
Fulam zatat mov, poddon mollbailo dov

Nodor amcher poddon, suknnim gelint uddon
Nistem poita buddon, nirmonn ailem ghoddon
Udkachem marun lhar, ukoddlem mogachem dar
Mogacho gollean ar, pois chintnancho bhar

Fulam soboita bhag, mogan nivoita rag
Mogacho kallzak dag, osoch uronk to mag
Mogan buddlam kalliz, lagon dolleanchem viz
Mog tuzo kela niz, zalear puro feliz

(From Dom’s antique shelf)

The third number of the first dance was always a fast Waltz at which 
everyone swung as best as they could from one end to the other.  Here is one 
of my favorite yesteryear songs “Que Sera, Sera”, the theme of the Hitchcock 
thriller “The Man Who Knew Too Much” starring James Stewart and Doris Day.  
It won the Oscar for best song in 1956:

“QUE SERA, SERA” sung by Doris Day; Lyrics by: Jay Livington

When I was just a little boy
I asked my mother, what will I be?
Would I be handsome, would I be rich?
Here’s what she said to me

Que sera, sera
What ever will be, will be
The future’s not ours to see
Que sera, sera
What will be, will be

When I grew up and fell in love
I asked my sweetheart, what lies ahead?
Will we have rainbows, day after day?
Here’s what my sweetheart said

Que sera, sera
What ever will be, will be
The future’s not ours to see
Que sera, sera
What will be, will be

Now I’ve children of my own
They ask their mother, what will I be?
Would I be handsome, would I be rich?
I tell them tenderly

Que sera, sera
What ever will be, will be
The future’s not ours to see
Que sera, sera
What will be, will be

(From Dom’s antique shelf)

One of the Konkani songs, which ‘Johnson and his Jolly Boys’ mostly played 
in the middle of a wedding, was a beautiful number by the late Alan Costa.  
They especially sang it on full moon nights when the moon shone above a 
“kazaracho mattov”.  Johnson would look up at the sky as he sang the song 
and then gaze and smile at the couples who danced holding their partners a 
little closer than the others.  Here are the lyrics of the song:

“TENKOI KALLIZ KALLZAK” by the late Alen Costa

Sorbonvtim uzvadd charneancho
Kallukant sangati mozo
Tuch moje kuddicho sando
Ubavla kallzacho gonddo
Niall team sobit utrancho
Kallzak mojea dinam to tharo
Anik gupit dorinezo
Mog ho amcho dogaimcho

Tenkoi kalliz kallzak
Thonnddai dhi jivitak
Patt korun odruxttak
Dhi tuzo mog hea mogak

Disa vo zanv ti ratrichi
Barabor asta ti savlli
Tunch mojea mogachi bavli
Sodanch mojea thaim asteli
Khori govai hea mogachi
Eka disa ti mevteli
Jea disa amchi dogainchi
Ghantt bosteli sasnnanchi

Tenkoi kalliz kallzak
Thonnddai dhi jivitak
Patt korun odruxttak
Dhi tuzo mog hea mogak

(From Dom’s antique shelf)

“TAG DANCE”

Traditionally, the closest male family members, both from the groom and 
bride’s sides, are required to approach female members and request them for 
at least one piece of a dance (a dance normally consists of 3 pieces.)  
However, this task becomes impossible if there are too many female members 
in a family.  “Magir soirim oso xinn kortat:  Kitem re Duming, bacheachem 
kazar sarkench dollear eilam kitem?  Amcher nodor passun ghalinam.  Tum 
soglleam lagim nachlo punn moje lagim mat nachonk nam.”  (Then the female 
relatives complain thus:  Domnic, you seem to be totally engrossed with your 
nephew’s wedding; you don’t even look at us.  You danced with everybody 
except me.)

It was exactly for this reason that the penultimate dance at a wedding 
reception was usually announced as a “Tag Dance”.  This dance gave a chance 
to all male relatives to “xinn bagovnk” (fulfill the formality) by dancing 
with female relatives at least for a while.  A groom was required to dance 
with all female members of his family as well as his wife’s.  As for the 
guests, it was a chance for them to dance with a good-looking girl or a 
woman they had been vying throughout the reception who was a good dancer on 
the floor but they couldn’t get a chance to dance with her.  Boys and men 
would pester the emcee:  “Ar’re tag dans kednam porgott kortolo re?”  (When 
will you announce the tag dance?)  The emcee would approach the band every 
now and then and consult them on the announcement of a tag dance, as the 
musicians had to be ready with something lengthy.  When they were ready, he 
took the megaphone in hand and announced:

“Ladies and gentlemen, engage your partners for a TAG dance”.

The whole crowd welcomed the announcement with a big round of applause and 
with that announcement, Johnson’s band played a medly of Goan Mando, Dulpods 
and Dekhnni but before that let me cap on the olden-day dancing:

Half a century ago, our musicians never failed to play Goan Mandde, Dulpods 
and Dekhnni at weddings.  The moment these were played, the elderly 
enthusiastically got up from their seats, chose their partners and began to 
dance Lanceira, Kontradans, Gurguret, etc.  It was so exciting to see them 
dance that one just couldn’t take off his eyes.  Nowadays, the youngsters as 
well as the elderly shake their bodies to the fast music as if they are 
possessed by the devil and they call it “modern” dance.  Do you remember the 
song from the film “Nirmonn” by the late Carmo Rod of “Don Panam” fame?  
Here are its lyrics:

“NACH ATANCHE” by the late Carmo Rod

Bhurge zanv zant’te, soglleanche tont’te, nach atanche
Yam-pam-ba, Yam-pam-ba
Kazari-ankvar, soglle sankvar, padde zotache
Yam-pam-ba, Yam-pam-ba

Vaztoch kaiborim haltat soglleanchim bhenddam
Khanvcho-jenvcho ugddas konnak enam
Konn nachonk nokot tanchim kaim tonddam
Punn band valeank matui soceog dinam

Kosleo re khoddi, soddat voddi, nach zainam bond
Yam-pam-ba, Yam-pam-ba
Ar're kosle gha ghodde, tanddta odde, ambott korun tondd
Yam-pam-ba, Yam-pam-ba

Avoi matharim pasun nachtat oxim halon
Kednaim kallok zata die palon
Nachachea bharan moche vetat solon
Magir bexttea paimanim ghora cholon

Nachachea salan, chimgamam galan, kitem cheracho vas
Yam-pam-ba, Yam-pam-ba
Are gamanche lott, torui nachtat fort, vah poi tum nachachi as
Yam-pam-ba, Yam-pam-ba

Muzganim vaztoch soglleank eilo full tal
Cheddo khuimsor, cheddum thuimsor dol-tal
Gom’mot kosli madd koxe tim halta
Nachonk nokoi zalearui cholta

Adle kaibore nach, pollovn nivtali as, atam marta goddgoddo
Yam-pam-ba, Yam-pam-ba
Atam koslim dongam, konn ghalta pongam, konn kaddta koddkoddo
Yam-pam-ba, Yam-pam-ba, Yam-pam-ba

(From Dom’s antique shelf)

But, by the same token, hats off to modern dancers who can twist and turn 
and retain their agility and stamina for lengthy periods.

It’s over four decades since we watched “Amchem Noxib” film but its sweet 
memories still linger on our minds.  Its songs are so popular that we 
automatically tend to sing them.  What is to be admired is that although the 
new generation is totally engrossed in modern music, they don’t forget to 
play Konkani numbers at weddings which puts the crowd into the mood.  
Whenever the musicians play the number “Mando Goencho” from “Amchem Noxib” 
film, it generates electric current in people’s legs, they are automatically 
dragged on the dancing floor and they begin to dance on the beat of our 
Mandde, Dulpods and Dekhnni until they are exhausted.  When our Siolkar, 
Remo Fernandes, sings “UNDIR MAMA”, people go crazy.

At this juncture, the emcee announces:

“Ladies and gentlemen, Johnson & his Jolly Boys will now play non-stop 
Konkani music for the Tag Dance:

“MANDO GOEMCHO”

Kalliz khoxen bhorlem amchem
Kitlem borem fest hea ganvchem
Kalliz khoxen bhorlem amchem
Kitlem borem fest hea ganvchem
Amchea monan, hem dovorchem
Ugddasan fuddlea vorsak ievchem
Amchea monan, hem dovorchem
Ugddasan fuddlea vorsak ievchem

Ganvchem fest kortat Goemchim xaram
Kaiborim nessovn aplim ghoram
Zanttim toxim, nenttim poram
Urben sartat festachim horam

Ho mando Goemcho khoro
Nachonk kitlo boro
Urba haddta aro
Vazlearuch puro
Ho mando Goemcho khoro
Nachonk kitlo boro
Urba haddta aro
Vazlearuch puro

Sogli rat, nid nam mat
San’nam, od’de korunk ukddunk dorlam bhat
Sogli rat, nid nam mat
San’nam, od’de korunk ukddunk dorlam bhat

Ratche ranan, amchea roddtat kole
Disache ganvan fivnnim ghaltat chole
Ratche ranan, amchea roddtat kole
Disache ganvan fivnnim ghaltat chole

Festa dis, ferien mis
'Happy Feast' mhunn chedde cheddvank ditat kiss
Festa dis, ferien mis
'Happy Feast' mhunn chedde cheddvank ditat kiss

Bagint amche sobit ful’leant fulam
Thuimsor mus bonvtat sangocheak talam
Bagint amche sobit ful’leant fulam
Thuimsor mus bonvtat sangocheak talam

Yeah, yeah, maya yeah
Yeah, yeah, maya yeah
Yeah, yeah, maya yeah
Yeah, yeah, maya yeah

Yeah, yeah, maya yeah
Yeah, yeah, maya yeah
Yeah, yeah, maya yeah
Yeah, yeah, maya yeah

KAIBORELO KOMBLO

Kaiborelo komblo moje main mhaka dilolo
Konnem re melean tacho paktto moddilo
Kaiborelo komblo moje main mhaka dilolo
Konnem re melean tacho paktto moddilo

Re kombea ba – ba, ba, ba
Re kombea xev – xev, xev, xev
Re kombea ba, ba, ba, ba – ba-re kombea xev
Re kombea ba – ba, ba, ba
Re kombea xev – xev xev, xev
Re kombea ba, ba, ba, ba – ba-re kombea xev
Re kombea ba
Re kombea xev
Re kombea ba
Re kombea xev
Re kombea xev-v-v-v-v-v-v-v-v

AMNNI-GOMNNI

Amnni-gomnni nach baba, amnni-gomnni nach baba
Ho mando xiva re, ho mando xiva, xiva
Amnni-gomnni nach baba, amnni-gomnni nach baba
Ho mando xiva re, ho mando xiva, xiva

Amnni-gomnni nach baba, amnni-gomnni nach baba
Ho mando xiva re, ho mando xiva, xiva
Amnni-gomnni nach baba, amnni-gomnni nach baba
Ho mando xiva re, ho mando xiva, xiva

Lia, lia lo – Lia, lia, lo
Lia, lia, lia, lia samba lia lo
Lia, lia lo – Lia, lia, lo
Lia, lia, lia, lia samba lia lo

UNDIR MAMA

Undra mojea mama, ani hanv sangtam tuka
Tea mazorichea pilea lagim fell manddi naka
Undra mojea mama, ani hanv sangtam tuka
Tea mazorichea pilea laguim fell manddi naka

Undir mama ailo, ani pette kuxik liplo
Tea mazorichea pillean taka eka gansan khailo
Undir mama ailo, ani pette kuxik liplo
Tea mazorichea pillean taka eka gansan khailo

Konddo mozo katrun, konddeachem kaddlem xirem
Kedem vhoddlem bhirem, Modgonvkar undra mamachem
Konddo mozo katrun, konddeachem kaddlem xirem
Kedem vhoddlem bhirem, Modgonvkar undra mamachem

Undra mojea mama, ani hanv sangtam tuka
Tea mazorichea pilea laguim fell manddi naka
Undra mojea mama, ani hanv sangtam tuka
Tea mazorichea pilea laguim fell manddi naka

MODDGOVAM THOVIEAGER

Moddgovam thovieager, thovieager, mez kelam redondu
Moddgovam thovieager, thovieager, mez kelam redondu
Tacher ek cheddum nachota, cheddum nachota, vankddem korun benddu
Tacher ek cheddum nachota, cheddum nachota, vankddem korun benddu
Taka ek paklo choita, paklo choita, burkan ghalun tonddu
Taka ek paklo choita, paklo choita, burkan ghalun tonddu
Paklea tum choinaka re, choinaka re, tem cheddum num bailu randdu
Paklea tum choinaka re, choinaka re, tem cheddum num bailu randdu

Maxmanamguer filoz keleai goddache
Ani ede ratiche pakle bonvtai khaddache
Maxmanamguer filoz keleai goddache
Ani ede ratiche pakle bonvtai khaddache

AGHO, AGHO CHEDDVA

Agho, agho cheddva, kateak lavn uzo dhi gho mhaka
Agho, agho cheddva, kateak lavn uzo dhi gho mhaka
Uzo dilear tuka, mogeli maim martoli maka
Uzo dilear tuka, mogeli maim martoli maka
Main marlear tuka, cheddva tum kainch bhienaka
Amger ravonk heo gho bai tum, hanv postolom tuka

SOGLI RATU BAIMKODDE

Sogli ratu baimkodde
Sogli ratu baimkodde
Kinnim-kinnim zata kanamkodde
Oi, kinnim-kinnim zata kanamkodde

Bhaileanu konnu aila polle
Bhaileanu konnu aila polle
Matheak mallun mogreamche kolle
Matheak mallun mogreamche kolle

Bhaileanu aila mozo Tome
Bhaileanu aila mozo Tome
Maim hanv kazar zatam tachekodde
Maim hanv kazar zatam tachekodde

Bai go vincharun heo paikodde
Bai go vincharun heo paikodde
Zanvdi kinnim-kinnim kanamkodde
Zanvdi kinnim-kinnim kanamkodde

Yea, yea, maya yea
Yea, yea, maya yea
Yea, yea, maya yea
Yea, yea, maya yea

Yea, yea, maya yea
Yea, yea, maya yea
Yea, yea, maya yea
Yea, yea, maya yea
Yea, yea, maya yea
Yea, yea, maya yea

                                                                            
               To be continued ……….

Moi-mogan,

Domnic Fernandes
Anjuna/Dhahran, KSA

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