------------------------------------------------------------------------ TRI Continental Film Festival - Dona Paula, Goa, Sep 28 - Oct 2, 2007
http://www.moviesgoa.org/tricontinental/tricon.htm For public viewing. Registration at The International Centre Goa. (Ph: +91-832-2452805 to 10) Online Media Partner: http://www.GOANET.org ------------------------------------------------------------------------ Ghazal-Qawwali and Mando-Dulpod During my visit to Bahrain on May 31, 2007, I met one of my old friends at the Dilmon Hotel where the glittering May Queen Ball event was held and where my book was released. We had a long chat over a glass of barley water. My friend had arrived mid-way through the proceedings of the night. When asked why he was late, he told me he and his friends usually attend Ghazal/Qawwali sessions on weekends. He was the fourth Catholic Goan to tell me he appreciated and enjoyed these programs - a person who otherwise has no interest in music at all. I found it strange coming from a Catholic Goan but on second thoughts, I said to myself – Hey! Music runs in our blood! Just like Qawwalis, lines of every Dulpod are repeated; sometimes a line is repeated several times. Curiosity got the better of me and I decided to forage the internet for more information. I came up with the following: There are two systems of classical music in India, the Carnatic and the Hindustani. Both traditions derive inspiration from the indigenous bhakti (“devotional”) movement. The two main vocal traditions in Hindustani music are ‘khayal’ or imagination (13th Century), with a romantic content and elaborate ornamentation, which have a greater display of virtuosity and imagination, and ‘dhrupad’, the purest of all, without any embellishment and completely austere in its delivery. Less abstract vocal forms fall into the light-classical variety: bhajans, kirtans, dadra, thumris, tappaas, nazms, ghazals (shers) and qawwali. Khayal is a form of rendering a raga. The essential component of a khayal is a composition and the expansion of the text of the composition within the framework of the raga. The nuances and sub forms employed to improvise and embellish the rendition vary from singer to singer. Dhruvapada or Dhrupad is another form of rendering a raga. It has a specific composition, consisting of four parts and is sung in different styles. The percussion accompaniment is the Mridang or Pakhawaj, a one-piece drum, as opposed to the two-piece drum, the tabla, in Khayal. The main difference between these two musical forms is that the Dhrupad is rigidly bound by the composition and the tala, within which all improvisation has to be made. The Khayal, on the other hand, has the freedom to free itself from the rhythmic beat and then return to the beginning of each time cycle (tala). Also, the two essential idioms used in Khayal, which are absent in Dhrupad, are the Sargam and Taan. Sargam is the singing of the notes (sa, re, ga,..), per se, instead of words while Taan is the sequential movement through the different notes using the vowel "Aa". Khayaal or Khayal is an Urdu word of Arabic origin, meaning imagination and thought. It is difficult to explain to the uninitiated the ethos of the word khayaal, but suffice it to say that it is an entire world in abstraction. Whatever be the origin of the Khayal style, no doubt Dhrupad was the style that received patronage from kings and aristocracy till the time of later Mughal emperors, probably starting with Muhammad Shah. The Dhrupad compositions and style was serious and mostly in Sanskrit phraseology. Khayal compositions on the other hand were in commonly spoken language and the theme was mostly romantic. The singing style consequently was leisurely, ornamented and given to improvisation. Also, not being part of the religious ritual it was necessarily fostered outside the places of worship; hence an element of physical pleasure, particularly of the courtier, became predominant. I believe there is connection between Ghazal, Qawwali, Khayal songs and Goan Mandos and Dulpods. First off, let us have a look at Ghazal and Qawwali. The Ghazal (Arabic/Persian/Urdu/Turkish) is a poetic form consisting of couplets which share a rhyme and a refrain. The word literally refers to "the mortal cry of a gazelle". The animal is called Ghizaal, from which the English word gazelle stems. The allegory stems from the notion that Ghazals are usually the expression of love, separation, and loneliness, (these ideas being usually interlinked in the same Ghazal) much to the likeness of musk-developing gazelles, which must be killed to obtain the sweet fragrance they produce. The plaintive, mortal cry that the doe makes upon being killed can be etymologically likened to the painful experience of separation or loss of love; hence, the name and, indeed, inspiration of Ghazal. The form is ancient, originating in 10th century Persian verse. It is derived from the Persian qasida, which in turn comes from the Arabic form of verse. Formally a short lyric composed in a single meter with a single rhyme throughout, in its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central theme of love. The Ghazal is thus itself one of the most striking examples of those successful cultural artifacts, consisting of a seemingly infinitely adaptable combination of essentially simple elements, which are so characteristic of the Persianate civilization of the eastern Islamic world. The Ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Exotic to the region, as is indicated by the very sounds of the name itself when properly pronounced as ġazal, with its very un-Indian initial rolled g. A Ghazal, in short, is a collection of couplets (called sher) which follow the rules of Matla, Maqta, Beher, Qafiya, Radif, Khayaal and Wazan. The traditional complete Ghazal has a matla, a maqta, and three other shers in between. The first two shers of a Ghazal have the form of a qatha (a specific variation of which is a ruba’ee; most familiar to modern readers from Khayyam’s Rubayyat). A Ghazal is a song that sounds secular on the face of it. There are two extended metaphors that run through Ghazals - the joys of drinking and the agony of separation from the beloved. These songs feature exquisite poetry, and can certainly be taken at face value, and enjoyed at that level. Qawwali is a vibrant musical tradition that stretches back more than 700 years. The roots of Qawwali can be traced back to the 8th century Persia. However, Qawwali in the form we know it today was essentially created by Amir Khusrau in the 13th century in India. Amir Khusrau, a scholar poet and musicologist of rare talent in the court of Allauddin Khiji (13th Century, A.D.) is credited with the introduction of entirely new forms and styles in Hindustani music which are still in practice today. The Hindustani music that developed during the Moghul (15th and 16 Centuries, A.D.) is based on the rich Indian tradition and its interaction with Moghul influences. During the rule of Moghul emperor Akbar, Hindustani music reached its zenith, mainly due to Mian Tansen, who was one of the nine jewels in Akbar’s court. It was during this era that Hindustani music, like an ever flowing river, absorbed many streams of varied musical cultures to make it richer, more colorful yet retain its pristine purity, beauty and grandeur. During the first major migration from Persia, in the 11th century, the musical tradition of Sama migrated to the Indian subcontinent, Turkey and Uzbekistan. Rumi and his Mevlana order of Sufism have been the propagators of Sama in Central Asia. Amir Khusrau of the Chisti order of Sufis is credited with fusing the Persian and South Asian musical traditions, to create Qawwali as well as the Hindustani classical music tradition. The word "Sama" is used (or is the preferred name) in Central Asia and Turkey, for forms very similar to Qawwali. And even in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is "Mehfil-e-Sama". Goa is a priceless jewel. It is our pride. This jewel is so attractive that everyone’s eyes were set on it and almost everyone who possibly could also wanted to own it. This being the case, Goa was ruled for 1500 years directly or through local feudatories by different dynasties like the Bhojas, Mauryas, Chalukyas, Rashtrakutas, Shilaharas, Kadambas, Yadavas, Bahamanis, the Vijayanagara and Adilshahi dynasties before the advent of Portuguese colonial rule in 1510 AD. These rulers left behind their cultural imprints on society which have fused and united Goa. An expression of this unity is symbolically best captured in folk music, dance and drama. The Portuguese rule, although long-stretched, could not deeply influence indigenous art and culture. It would be interesting to see how South Indian culture has influenced Goan musical forms. The powerful dynasties like the Chalukyas of Badami, the imperial Rashtrakutas, Gangas of Talkad, Sindas of Yelburga, Rattas of Saundatti, Hoyasalas of Dwarsamudra, Alupas of Tulunadu, Chelas of Kerala, Cholas and Pandyas of Tamil Nadu, Yadavas of Devigir, among others encouraged the development of Goan music. Goa had intimate trade contact with the marketing centers in South India, facilitating the import of musical ideas. The pre-Portuguese architecture in Goa also shows similar Dravidian cultural influences. The iconography of Goan gods and goddesses is of typical Dravidian characteristics. Goa is indeed an oasis of many cultural incarnations i.e., a blending of many cultures. The main feature of the music and musicians of Goa is their remarkable adaptability to the changing fortunes of their land; their ability to assimilate new idioms, without compromising, or renouncing the traditional forms of expression and styles of composition. According to a well-known Goan scholar – Mariano Saldanha, ‘The Goan deknni, which many believe is a blend of Hindu and Catholic music, is derived from dekham, dekhann or dekhinn’. But, then again, there is Joe Pereira’s view – ‘The deknni, as we know it today, is a dance-song depicting the life in the Hindu areas on the other side of the river, other than that of the Christian parts’. The ‘Mando’ is a group song-cum-dance – a song of passion, born of leisure and civilization, often having a trivial subject. It’s a semi urban folk form, evolved by the Goan aristocracy. Latter day compositions cover a variety of themes and moods distinct from the traditional compositions. Yet another popular form of Goan music is the ‘Dulpod’, it is a song of joy, embracing all life (flora and fauna). The attitude of the poet of ‘Dulpod’ is objective; his art is the art of impressionism. This type of song is not much older than either the ‘Mando’ or the ‘Deknni’. If the Mando is the utterance of the romantic component of a Goan, the Dulpod that follows typifies the realistic and humorous facet of its psychological temperament. The Dulpod bequeaths in its couplets a compressed account of the variety of Goan life carefree and lively in its mood and mordant in its expression. The songs cover the entire gamut of emotions in love, accompanied by the beats of Ghumott and romantic strains of violins. Set to the Latin American tune, the song with a local theme starts with a sad and slow note and ends on a faster beat called “Dulpod” or “Durpodha”, the rhythmic pattern being akin to Khayal songs. In fact, Mando represents the mingling of Indian and Western traditions. The girls and the boys sing a line of the song one after the other or sometimes in chorus. The girls wear a peculiar dress called Tollopo resembling Burmese Saronge. Anna Jacques composed the popular Konkani folk song ‘Hanv Saiba Poltoddi Vetam’ more than four hundred years ago. She was married to a musician, when she wrote this song. She is also credited with composing many more songs – some 250 of them, with lyrics & musical notations. This was during the time of the exodus across the Mandovi River, by the residents of Divar Island. In the 1880s, the often-penniless Goan youth from the parish choir reached the big Indian Metros – Bombay & Calcutta in search of their fortunes, and formed small bands. Some of these budding musicians found their way into the bands of the local British Auxiliary Forces. Here, they honed their knowledge of Western music. The others found ready employment with the brass bands that performed at Hindu and Parsee wedding processions. In Bombay, most of the organized bands were established along the route from Dhobi Talao to Princess Street. But it was only with the arrival of the silent films, that the Goan musicians found a firm means of employment, in the orchestras of the theaters. Some Goan musicians were engaged to play at English Clubs, Gymkhanas and Italian restaurants, while others found favor in the courts of Maharajas. Though, they all played English tunes, it was these pioneers who molded Konkani music. This gave it a unique Western flavor. With the transition to radio, came the most creative phase for Goan music, Konkani music, was now, accessible to all. Our Goan ancestors basically lived off cattle, farming and fishing. It’s a known fact that Goans were and are good in music – no wonder they say: ‘Music runs in Goans’ veins’. In those days, the Maharajas invited female dancers to perform for them at their palaces. So, they needed musicians, too. Goans obliged and filled up the slot. Thus, our ancestors established themselves as expert cooks and musicians. Gradually, both these hobbies turned into their professions, and became a means of sustenance for their families. Indeed, these are the two initial professions which our ancestors assimilated into. Along with Maharajas, Ghazals and Qawwalis governed the entertainment scene at the time. Since Goans frequented the palaces and were closely associated with entertainment programs, they gradually picked up the art of Ghazals and Qawwalis and converted these into their own kind - Mandos and Dulpods. A group of Qawwali musicians, called a party, typically consists of eight or nine men - women are, for all intents and purposes, excluded from traditional Muslim music as respectable women are traditionally prohibited from singing in the presence of men, though these traditions are changing - including a lead singer, one or two side singers, one or two harmoniums (which may be played by lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak - usually the tabla with the left hand and the dholak with the right. Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid and abet percussion by hand-clapping. The performers sit in two rows - the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row. As we all know, Goan women were not allowed to sing or perform in public until the middle of the last century. Were we following the tenets of the past rulers? For a Qawwali, the percussions they used were a tabla and dholak. Goans initially used a “ghumott” as percussion in place of a tabla and later added a “madhiem or madhallem” in place of a dholak. By the beginning of the 20th century, Goans came up with “Mando” to which they added the sound of a violin in place of a harmonium. Thus, Goans successfully came up with an equivalent of Ghazal-Qawwali in the form of “Mando and Dulpod”. Instead of eight or nine men as in Qawwali, Goans had five or six members playing the traditional band - two or three men played “ghumott”; two played “madhiem or madhallem” and one played “kansaem or kansallem ”. Goa’s traditional band squats on the floor, around a fire, so that the players can easily warm the skin on the ghumott and the madhiem to make it taut. The “Dulpod” belongs to the middle class; in it the foreign influence is negligible. And it has been so thoroughly mastered that it is worn lightly-more than lightly, humorously. “Ede ratiche Pakle bonvtai khaddache, maimnu muje filoz keleai ghoddache”. (Bearded soldiers roam in the night; beware, my mother has made pancakes of jaggery)! To the lyricist, white soldiers were capable of almost anything on a lonely night, even thieving pancakes made of jaggery. The dulpod is more native than Mando, with a greater affinity to the soil, drawing its sustenance from the rich loamy traditions of the folk of Goa. My dear fellow-Goans, please find below the lyrics of one of the oldest Mandos along with popular Dulpods taken from Nolasco Dias’ audio cassette “Viva-Re Goa”, which I am sure you will enjoy. The Mando and Dulpods will transport you to our ancestors and will definitely make you clap your hands, just as they do while performing a Qawwali. Here they are: Prelude: Ek, don, tin, chear marun kumpas Mando ami kortanv kantar Panch, sov, sat, att, nov nach to nach Magir dulpodam aikat Ek, don, tin, chear marun kumpas Mando ami kortanv kantar Panch, sov, sat, att, nov nach to nach Magir dulpodam aikat Adlea tempar Goeam jitlem ghoddlam Tem Manddeanim boroin dovorlam Manddeanchim dukhest mhunnon him kansanvam Voilean ghoddlim Dulpodam Adlea tempar Goeam jitlem ghoddlam Tem Manddeanim boroin dovorlam Manddeanchim dukhest mhunnon him kansanvam Voilean ghoddlim Dulpodam Ek, don, tin, chear marun kumpas Mando ami kortanv kantar Panch, sov, sat, att, nov nach to nach Magir dulpodam aikat MANDO Here are the lyrics of one of the oldest Mandos: “INOCENTI MOJEA POILEACH MOGA” Inocenti mojea poileach moga Zaito tuzo moipas aslolo mhaka Inocenti mojea poileach moga Zaito tuzo moipas aslolo mhaka Kazar zalea uprant mujea amiga Sintimentan disu hanv kaddi tujea Ai! Mojea ankvarponnailea suka Kazar zalea uprant mujea amiga Sintimentan disu hanv kaddi tujea Ai! Mojea ankvarponnailea suka Pollovn tujem chintest mukamoll Kalliz mujem zata uchamboll Voch moga ghovalea ghora tum chol Pollovn tujem chintest mukamoll Kalliz mujem zata uchamboll Voch moga ghovalea ghora tum chol Zanvchem aslem zalem, bai tum roddonaka Sottve rati nirmilam tem favo zata Zanvchem aslem zalem, bai tum roddonaka Sottve rati nirmilam tem favo zata Kazar tum zalolem tedonnam mannka Pixea porim bonvtalom nhoi gho kotta Sanddlolem zai khuim punn dhilolem naka Kazar tum zalolem tedonnam mannka Pixea porim bonvtalom nhoi gho kotta Sanddlolem zai khuim punn dhilolem naka Pollovn mhaka doiea moji kor Vegim mhaka gopant tujea dhor Sodd voron khuim punn jiv poddta thuimsor Pollovn mhaka doiea moji kor Vegim mhaka gopant tujea dhor Sodd voron khuim punn jiv poddta thuimsor Pollovn tujem chintest mukamoll Kalliz mujem zata uchamboll Voch moga ghovalea ghora tum chol Pollovn tujem chintest mukamoll Kalliz mujem zata uchamboll Voch moga ghovalea ghora tum chol ------------------------------------- Welcome to Goan Qawwali in the form of Dulpods DULPODAM “LUIZINHA” Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Tujea pothiche lundde keleai Luizin Roddunaka Tujea pothiche lundde keleai Luizin Roddunaka Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Tujea pothiku abgath godduncheak oslo Guneanv koslo Tujea pothiku abgath godduncheak oslo Guneanv koslo Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Merce, Calafura thavn Divadde ietam Bhienaka Merce, Calafura thavn Divadde ietam Bhienaka Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea Luizin Luizinha mojea moga Luizinha mojea moga Luizinha mojea moga --------------------- “UTT MATHARE UTT” Utt ghe utt mathare pez randunk utt Utt ghe utt mathare pez randunk utt Utt ghe utt mathare pez randunk utt Utt ghe utt mathare pez randunk utt Peje tandull ghalun, mathari ghott nidoli pangrun Peje tandull ghalun, mathari ghott nidoli pangrun Peje tandull ghalun, mathari ghott nidoli pangrun Peje tandull ghalun, mathari ghott nidoli pangrun Utt ghe utt mathare pez randunk utt Utt ghe utt mathare pez randunk utt Dhuitannam dovlo, matharechea hathin zalo zorlo Dhuitannam dovlo, matharechea hathin zalo zorlo Dhuitannam dovlo, matharechea hathin zalo zorlo Dhuitannam dovlo, matharechea hathin zalo zorlo Utt ghe utt mathare pez randunk utt Utt ghe utt mathare pez randunk utt Randnint zalo far, matharen pez keli khar Randnint zalo far, matharen pez keli khar Randnint zalo far, matharen pez keli khar Randnint zalo far, matharen pez keli khar Utt ghe utt mathare pez jeichea utt Utt ghe utt mathare pez jeichea utt Pez zali mhunn mov, matharek sanddun gelo ghov Pez zali mhunn mov, matharek sanddun gelo ghov Pez zali mhunn mov, matharek sanddun gelo ghov Pez zali mhunn mov, matharek sanddun gelo ghov Utt ghe utt mathare pez jeichea utt Utt ghe utt mathare pez jeichea utt Pejent poddli sirli, mathari koddkoddean meli Pejent poddli sirli, mathari koddkoddean meli Pejent poddli sirli, mathari koddkoddean meli Pejent poddli sirli, mathari koddkoddean meli Pez sizon votli, matharek simiterint purli Pez sizon votli, matharek simiterint purli Pez sizon votli, matharek simiterint purli Pez sizon votli, matharek simiterint purli Nid ghe nid mathare, sasnnank tum nid Nid ghe nid mathare, sasnnank tum nid Nid ghe nid mathare, sasnnank tum nid Nid ghe nid mathare, sasnnank tum nid --------------------------------------- “OTACHEM KIRN” Otachem kirn eilam mhunn, sukonk ghailem bhat Sezarnilo kombllo einu, bhat ghailem padd Otachem kirn eilam mhunn, sukonk ghailem bhat Sezarnilo kombllo einu, bhat ghailem padd Otachem kirn eilam mhunn, sukonk ghailem bhat Sezarnilo kombllo einu, bhat ghailem padd Otachem kirn eilam mhunn, sukonk ghailem bhat Sezarnilo kombllo einu, bhat ghailem padd Amgelea tolgak deklear, kombo ghalta sad Sezarnilea komblleak lagon, tolog perturbar Amgelea tolgak deklear, kombo ghalta sad Sezarnilea komblleak lagon, tolog perturbar Amgelea tolgak deklear, kombo ghalta sad Sezarnilea komblleak lagon, tolog perturbar Amgelea tolgak deklear, kombo ghalta sad Sezarnilea komblleak lagon, tolog perturbar Voita thinga tolganchi, toxich nhoi gho zat Dekun tumi, ankvar chedde, sodanch samballat Voita thinga tolganchi, toxich nhoi gho zat Dekun tumi, ankvar chedde, sodanch samballat Xev, xev re, kombea xev, bhat tum khainaka Kednam tengea tolga deklear, sad tum ghalinaka Xev, xev re, kombea xev, bhat tum khainaka Kednam tengea tolga deklear, sad tum ghalinaka Otachem kirn eilam mhunn, sukonk ghailem bhat Sezarnilo kombllo einu, bhat ghailem padd Otachem kirn eilam mhunn, sukonk ghailem bhat Sezarnilo kombllo einu, bhat ghailem padd ------------------------------------------ “POIRCHE RATICHEA ADLLANU” Poirche ratichea adllanu, derantulea ambeacho tallo moddlo Poirche ratichea adllanu, derantulea ambeacho tallo moddlo Poirche ratichea adllanu, derantulea ambeacho tallo moddlo Poirche ratichea adllanu, derantulea ambeacho tallo moddlo Eku render einu, ghein gelo Eku render einu, ghein gelo Eku render einu, ghein gelo Eku render einu, ghein gelo Eku render einu, ghein gelo Eku render einu, ghein gelo Eku render einu, ghein gelo Eku render einu, ghein gelo Tea rendra dhorn bandun ghailo Tea rendra dhorn bandun ghailo Tea rendra dhorn bandun ghailo Tea rendra dhorn bandun ghailo Tea rendra dhorn bandun ghailo Tea rendra dhorn bandun ghailo Tea rendra dhorn bandun ghailo Tea rendra dhorn bandun ghailo Muzo voddlo irmanv kazar zalo Muzo voddlo irmanv kazar zalo Muzo voddlo irmanv kazar zalo Muzo voddlo irmanv kazar zalo Ticho voddlo irmanv kazar zalo Ticho voddlo irmanv kazar zalo Ticho voddlo irmanv kazar zalo Ticho voddlo irmanv kazar zalo Teger ek vorsanu, bab zalo Teger ek vorsanu, bab zalo Teger ek vorsanu, bab zalo Teger ek vorsanu, bab zalo Teger ek vorsanu, bab zalo Teger ek vorsanu, bab zalo Teger ek vorsanu, bab zalo Teger ek vorsanu, bab zalo Tea rendrak dhorn padrinho kelo Tea rendrak dhorn padrinho kelo Tea rendrak dhorn padrinho kelo Tea rendrak dhorn padrinho kelo Ar’re rendrak khuim kumpar kelo Tea rendrak khuim kumpar kelo Tea rendrak dhorn padrinho kelo Tea rendrak dhorn padrinho kelo ---------------------------------- “KHOTTO-KHOTTO ZAT DERARI” Ttok-ttok-ttok-ttok, Ttok-ttok-ttok Ttok-ttok Khotto-khotto zat derari, konn thinga bhairi Khotto-khotto korun mat derari, Bomboicho kumpari Khotto-khotto zat derari, konn thinga bhairi Khotto-khotto korun mat derari, Bomboicho kumpari Ttok-ttok-ttok-ttok, Ttok-ttok-ttok Khotto-khotto zat derari, konn thinga bhairi Khotto-khotto zat derari, kumar nidoli Khotto-khotto zat derari, konn thinga bhairi Khotto-khotto zat derari, kumar nidoli Ttok-ttok-ttok-ttok, Ttok-ttok-ttok Khotto-khotto zat derari, konn thinga bhairi Khotto-khotto zat derari, kumar uttoli Khotto-khotto zat derari, konn thinga bhairi Khotto-khotto zat derari, kumar uttoli Ttok-ttok-ttok-ttok, Ttok-ttok-ttok Khotto-khotto zat derari, konn thinga bhairi Khotto-khotto zat derari, konn thinga bhairi Aghe kumari, der tum kaddi, hanv to kumpari Aghe kumari, der tum kaddi, hanv to kumpari Meu kumpadri, não repari, ghov asa bhitori Meu kumpadri, não repari, ghov asa bhitori Texem zaleari, don’t-uch worry, beloved kumari Texem zaleari, don’t-uch worry, beloved kumari Randdula teka bhitor apoii, foddttam techi tokli Randdula teka bhitor apoii, foddttam techi tokli Ai meu Deus! Kuznant vochon bukla danddaii, foddli mista boxi Kuznant vochon bukla danddaii, foddli mista boxi Mhak kuznan dhaddun innieam der kaddxi ham! Tuk kitem pixem lagolam? Borem, voitam. (Ghov koitek dhar kaddta) Ttok, ttok, ttok - Ttok, ttok, ttok Ar’re kumpari, gomtti samballi, pazita koiti Ar’re kumpari, gomtti samballi, pazita koiti Ar’re kumpari, gomtti samballi, pazita koiti Ar’re kumpari, gomtti samballi, pazita koiti Sintid kumpadri, uttolo pothi Good night kumari Sintid kumpadri, uttolo pothi Good night kumari Fuim asre to? Kapaz zalear bhitor soro? Ghelo kit re? Khotto-khotto zainam derari, kumpar ja foii Khotto-khotto zainam derari, kumpar ja foii Khotto-khotto zainam derari, kumpar ja foii Khotto-khotto zainam derari, kumpar ja foii (From Dom’s antique shelf)! Not only did we inherit music from our neighboring states but we also inherited their names. Just because the Portuguese colonized Goa for 451 years, many of us think that we, Goans, are their descendents. Given the history of Goa, how can we say that? What does that make us, and where does it place us? The only identity that proves that we are Goans is the Konkani language! Moi-mogan, Domnic Fernandes Anjuna/Dhahran,KSA Tel: (966 3) 877-2744; Home: (966 3) 876-2676; Mobile: (966 5) 0281-9101 _________________________________________________________________ Call friends with PC-to-PC calling -- FREE http://get.live.com/messenger/overview
