--------------------------------------------------------------------------- **** Annual Goanetters Meet **** ---------------------------------------------------------------------------
The annual Goanetters Meet is scheduled for the first week in January 2012. Details to follow. If you plan to attend, send an email to eve...@goanet.org with contact details so we could reach you once the details are finalized. --------------------------------------------------------------------------- Guerras de Jasmim e Mogarim Susana Sardo Editora: Texto Tema: Música Ano: 2011 Livro de capa mole ISBN 9789724739557 | 334 págs. Peso: 0.500 Kg 1987 was a year of great change in Goa. It was in May this year that Goa became the youngest state of the Indian Union and has also won two months before, the recognition of Konkani as the official language of the territory. This book is born of the research work of the author, who thus witnessed the last 20 years of life in Goa and the first as a independent state of India. The current widespread concern about the Goan identity, which somehow is one of the main focuses of this book, acquires a greater expression changes from the year 1987 brought the Goan culture and society. The Goan music is the particular aspect addressed here because it is one of the most important factors Goan cultural identity. http://www.mediabooks.com/catalogo/detalhes_produto.php?id=8977 ALSO SEE: Sardo, Susana. 2000. Goa. The Garland Encyclopedia of World Music, vol. 5: South Asia: the Indian Subcontinent, edited by Alison Arnold. New York and London: Garland Publishing, pp. 735-741. AND SARDO, Susana (2010), “Proud to be a Goan: colonial memories, post-colonial identities and music”, in CÔRTE-REAL, Maria de São José (ed.), Migrações Journal - Special Issue Music and Migration, October 2010, no. 7, Lisbon: ACIDI, pp. 57-72 Proud to be a Goan: colonial memories, post-colonial identities and music Susana Sardo* During 451 years of colonial history, catholic Goans used music as a mediator of identity negotiation. In a political context repressing musical sonority of Indian flavour, in which Portuguese was the official language, catholic Goans created their own music, sung in Konkani and performed according to Portuguese models. Mandó among other hybrid and ambivalent musical genres, comprehensible for colonial rulers and Goans but with different significance for both, acquired an emblematic status. After 1961 Goa becomes an Indian territory, and the Goan diaspora, into Europe, America and Africa, increased. With it, the homeland myth created the necessity to isolate some cultural ingredients in order to maintain their cultural ties within an alien territory. Musical genres developed in Goa were recreated not for their colonial memory but because they allowed Goans to prove their difference. This paper tries to inscribe Goans as a paradigmatic case of diasporic communities where music acquires central status in the process of post-colonial identification and as an instrument of conciliation. Music, Goa, diaspora, postcolonial theory, identity http://www.oi.acidi.gov.pt/docs/Revista_7EN/Migracoes7INGp57p72.pdf Contact for the writer: ssa...@ua.pt -- FN +91-832-2409490 or +91-9822122436 f...@goa-india.org AUDIO recordings (mostly from Goa): http://bit.ly/GoaRecordings --------------------------------------------------------------------------- Protect Goa's natural beauty Support Goa's first Tiger Reserve Sign the petition at: http://www.goanet.org/petition/petition.php ---------------------------------------------------------------------------