In days gone by, Saligao was reputed all over Goa as a nursery of budding Goan musicians. In the 1940s and 50s when I was a young lad, almost every household in Saligao had at least one young member learning music at school, and many took additional private lessons. The violin . . . → Read More: The Goan violinist in Ceylon]]> by Fr. Nascimento Mascarenhas

In days gone by, Saligao was reputed all over Goa as a nursery of budding Goan musicians. In the 1940s and 50s when I was a young lad, almost every household in Saligao had at least one young member learning music at school, and many took additional private lessons. The violin was a very popular musical instrument then, as was the piano.

Even much earlier there had been well known private music schools in the village of Saligao that were famous in Goa and produced Goan musicians that distinguished themselves in Goa, Bombay and far beyond. The music school in Saligao run by Francisco Salvador Campos at the St Cajetan Chapel in Arrarim (Santo Caetano Chapel School) gave to India some of the outstanding Goan musicians from Saligao such as Hermenegildo Coelho and Caetano Paulo de Souza (both violinists) and Otolino de Souza (pianist). There being no pianos easily available in Saligao in those days of the late-1800s, Francisco taught the young Otolino (father of Hubert de Sousa and grandfather of Fr. Desmond D’Souza C.Ss.R.) the rudiments of piano playing on a cardboard with piano keys painted on!

Among famous Goan musicians, one of the remarkable Goan violinists from the village of Saligao was Adriano Daniel Fernandes who hailed from the Cotula ward in Saligao. He made a name for himself in Ceylon (now Sri Lanka) and often hit the newspaper headlines for his music accomplishments. In that country he conducted the Adrian Daniel School of Violin, which became a nursery for budding violinists and produced top-rankers at the London Trinity College music examinations. The founder of the Calcutta School of Music, Dr Philip Sandre of France, under whose direction Adrian perfected his talent, spoke in laudatory terms of this great Saligaokar, for whom, as Shakespeare said, “Music is the food of love”.

Frank Moraes, that doyen among Indian journalists, who was for some time Editor of The Times of Ceylon, presiding at one of the well-attended public recitals, referred to the Adrian Daniel School of Violin in glowing terms and said that Adrian’s musicianship was of a high order when compared with the best he had heard in the various part of the world. Indeed, the violinist Adrian belonged to that fine brand of Goan musicians and composers for which Saligao has always been known and admired.

by Fr. Nascimento Mascarenhas

As young boys and girls growing up in Saligao in the 1950s, we did not have TVs or video games or MP3 players or cell phones or any other trappings of the digital society that are so ubiquitous today. Yes there never seemed to be a dearth . . . → Read More: Curiosities Of Young Lads In Saligao Of The Fifties]]>

by Fr. Nascimento Mascarenhas

As young boys and girls growing up in Saligao in the 1950s, we did not have TVs or video games or MP3 players or cell phones or any other trappings of the digital society that are so ubiquitous today. Yes there never seemed to be a dearth of objects, games and fads that kept us occupied and amused.

Attó-sori

Bombi from Sangolda was a blacksmith who made cast-iron grills for windows and fancy darvontte (cast-iron gates). We boys from Tabravaddo-Mollembhatt went to him for making the attó. This was a ring made from thick wire or from an iron rod, to roll along the road with the help of a short iron rod called sori. It was looped at one end to engage the attó and push it forward. The attó was the constant companion of every pre-teen boy, whenever he went out on short errands or visits to friends in the neighbourhood. He would run along the road, rolling the attó beside him with the sori.

Khon’no

During the novenas of the church and chapel feasts, we sat around the sextons, observing how they made a khon’no. This was a solid piece of iron weighing About 3 kg, hexagonal in shape and tapering at the top. In the centre of the block there was a small hole with an L-shaped channel leading to a lower outlet at the side. Gunpowder was packed deep into the central hole using a hammer and a short wooden stick. Over this, a few pebbles were crushed in at the top. The khon’no was fired by lighting the loose gunpowder at the lower outlet.

Khon’nes were fired in a series of two or three salvos at the start and end of the services, both in the morning and the evening, and at the time of Elevation during the Mass. The blasts could be heard even in the neighbouring villages several kilometres away. At some point it was realised that the vibrations from the blasts were weakening the structure of the nearby houses and the government imposed a ban on the use of khon’nes. Nowadays, gon’nals that produce a milder salvo or firecrackers are used instead.

Judeu

Some of the church and village festivals were invested with unique traditions and ceremonies. The eve of the feast of St. John the Baptist (23^rd June) was celebrated with great enthusiasm by the village youth. In every vaddó (ward) the boys put together a “Judeu” - a straw man dressed in old, discarded clothes. It symbolised Judas, the apostle who betrayed Jesus. The effigy was carried round the vaddó by the boys who lustily repeated a chorus with words to the effect that St. John who paved the way to the Messiah was great as the hills, Judas the betrayer was nothing better than ash.

After sunset a bonfire was lit, the Judeu was severely beaten .and thrown in the fire to be reduced to ashes in a great blaze. I doubt if this practice persists today. However, in various parts of Goa they do have an “old man” burnt at night on 31^st December to ring out the old and ring in the new.

Novem

The Harvest Thanksgiving day or Novem, celebrated on 6^th August earlier (and now on 15^th August) was one of rejoicing for the Saligao people. Early in the morning the sextons of the village gathered around the house of the President of the feast, and proceeded to the church with members of his family and the ward, accompanied by a small band. In earlier times the villagers went in procession from the church to the nearest field carrying the statue of the village patroness Mae de Deus. However in our days, the senior sacristan of the church, Jacinto Travasso, prepared beforehand in the courtyard a field with sheaves well protected from cows, goats and bulls. The Vicar with ganvkar confrades would proceed to this place and after prayers cut a few sheaves of the new paddy crop. He then blessed the corn sheaves with holy water and distributed them among the congregation, who in procession went to the church.

After the celebration, everyone carried a sheaf home and placed it on the oratorio (oratory) in gratitude for the Lord’s bounty. On this day every household made kheer, a sweet preparation of rice, coconut and jaggery, to mark the prosperity that the new corn ushered in. A match of koindó-ball or the marble game godd’dé-ghus was held in the evening. The others enjoyed a game of tablam at home, with the little girls reveling in xirkutleamnim or son’nam-tonnkó.

Small pleasures that kept home, ward and village happily together.

When I was a lad growing up in the village of Saligao in Goa, the first monsoon rains in June were always welcome. They flooded the paddy fields and topped up the village wells that had dropped to a low water level in the preceding dry months. Trees would be cleansed of . . . → Read More: Go Jump in a Well!]]> by Mel D’Souza

When I was a lad growing up in the village of Saligao in Goa, the first monsoon rains in June were always welcome. They flooded the paddy fields and topped up the village wells that had dropped to a low water level in the preceding dry months. Trees would be cleansed of all the dust accumulated on their leaves, and they would sparkle in their green glory.

Although the term “monsoon” conjures images of incessant rainfall, the rainy season actually had breaks of light drizzles and a fair share of sunny days. However, there would be the odd heavy thunderstorm that would have the village awash in water. This is when the runoff from higher ground would gush into narrow lanes and drain into culverts connected to open storm-water sewers that discharged into the Arabian Sea. The open wells would be full to almost ground level and, if this happened to coincide with the feast day of São João (St. John the Baptist) on June 24th, it would be time for some of the young men in the village to venerate the saint with a big splash!

These youngsters would don their kashti (the thong covering the thing) and go calling on households that had a well at least wide enough in which to take a plunge. They would then dive in pairs following a pattern that was unique to this festival and a great source of amusement to the divers and the spectators.

The dive would start when one reveller who would hold his nose with one hand, press both arms snugly against his chest, jump feet first into the well and go as far down as possible. His rapid descent would create a large bubble that would rise to the water’s surface. Then, with perfect timing, the second diver would take the plunge, his knees touching his chin, and arms around his shins, landing on the bubble just before it reached the surface of the water. The result would be a loud “bloof” as the bubble burst, echoing against the sides of the well, much to the amusement of the participants and onlookers. A cheer would then greet the first diver as he surfaced exhaling a lungful of air. The divers would then either come out of the well or cling to the sides while another pair of divers repeated the routine.

Traditional gusto

There was almost a carnival aspect to this celebration; it was fun just to watch young adults prancing in the rain and enjoying themselves as if they were little kids. Even today, São João is celebrated with gusto in many Goan villages, and the village of Siolim also has a boat race with colourfully decorated boats and participants with bizarre headgear. For newlyweds the Sao Joao feast has special significance, as the son-in-law is invited to the bride’s house for the celebrations; he is made to don a crown of fruits and leaves and also required to jump into the well.

According to tradition, the jumping into the well is a commemoration of the leap of joy that St John is said to have taken in the womb of his mother St Elizabeth, when she was visited by Mary, who was to become the mother of Jesus. [Luke 1:41]

C Alvares, the famous tiatrist (Konkani stage artiste) from Saligao, also known as the King of Konkani Duets, composed a song for São João that remains popular till today. The chorus goes:

São João, São João

Gumvta mure vatt amkam disona

Aicho dis urbecho konn konnak hansona

Cholre piere tum ilo ghere

Faleam kaim mevonam

Oslim festam vorsak kiteak

Don pauti enam.

Swimming lessons

The São João festival period was also the time for children to learn to swim. The floatation device we used was an abnormal seedless coconut (vanz) that was all husk, lightweight and buoyant. A coir rope would be run through a hole drilled in the coconut and tied around our waist. The rope used for drawing water from the well would also be tied around our waist as a safety line. Then we’d enter the water and dogpaddle frantically to stay afloat. Our swimsuit was the khaki shorts we wore to school.

Girls, too, wore their blue school uniform when swimming. They would tie a knot to the front hem of the skirt with a coir rope, draw the rope tightly between their knees and tie the loose end around the belt behind their back.

Swimming was never a popular sport in Saligao; most villagers were content with just learning how to stay afloat so that they could join in the fun on the feast of São João.

Nestling in a coconut grove and overlooking paddy fields is the Saligao Institute, which is housed in its own building at Arrarim in Saligao. It was inaugurated in 1929. It provides its growing number of members with social, literary and cultural activities. Indoor games are popular. The cemented badminton court adjoining . . . → Read More: History of the Saligao Institute]]> by Fr Nascimento Mascarenhas

Nestling in a coconut grove and overlooking paddy fields is the Saligao Institute, which is housed in its own building at Arrarim in Saligao. It was inaugurated in 1929. It provides its growing number of members with social, literary and cultural activities. Indoor games are popular. The cemented badminton court adjoining the institute’s building also serves as a popular open-air dance floor. In recent years many valuable books on literature, economics, current affairs, biography, fiction and even child welfare, have been added to its well-stocked bookshelves, thanks to Alfred D’Cruz from Cruz-vaddo / Bandra.

During my seminary days, with the help of some young villagers, we had staged some musical items at the institute. Some time ago, a participant in that session held in the late sixties reminded me about the Italian song “Funiculi Funicula” and various other Goan folk songs and dances that we had staged, together with a talk on the involvement of Saligaokars in various fields in India and abroad.

The Saligao Institute is a standing monument to the three founders and builders of the Club: Vitorino Saldanha, Antonio Jose Cordeiro and Dr. Rodolfo de Melo, all from Arrarim, and whose portraits adorn the walls of the institute; additionally, their names are inscribed on the tablet on the façade of the institute building. It is an important landmark in the history of Saligao.

Saligao Institute [Pic by Frederick Noronha]

Christine, daughter of Alfred and Aurora D’Souza of Nigvaddo and Malabar Hill in Mumbai, throws light on a personality who spearheaded the initiative for a Clubhouse in Saligao. This is what she says:

“The Saligao Institute, which is today the hub of happy social life, providing opportunities for social, cultural, intellectual and recreational activities, has an interesting history. It was founded by three persons, namely Antonio Jose Souza-Cordeiro, Vitorino Saldanha and Dr. Rodolfo de Melo. But the principal founder was Souza-Cordeiro.

“Antonio Jose, as he was popularly called, was born in 1880, the only child of Sebastian and Guilhermina de Souza. Having in his childhood lost his father, he was brought up by his maternal uncle, Sebastiao Mariano Cordeiro, who inculcated in the young lad respect for discipline and planned for him a sound English education with the intention of making him a doctor. So he came to Bombay and joined St. Xavier’s High School. He was only 15 then, a total stranger in the city. He found lodging and companionship in a chummery at Dhobi Talao. Antonio Jose often used to recall with a twinkle in his eye that the expenses for his board and lodging those days, a half decade before the beginning of the present century, were a mere six rupees per month! He had hardly settled down in the city when the bubonic plague broke out. But the disciplinarian elders back home in Saligao did not recall Antonio Jose home but suggested that he proceed to Bangalore. From there, the lad went to Mangalore by bullock-cart—travelling by night and resting by day. He joined St. Joseph’s High School in Mangalore. It is from there that he passed his matriculation examination. Meanwhile, fate set at naught his plans for a medical career. His uncle, who had a flourishing business in Muscat, died. Antonio Jose could not therefore pursue his studies but had to attend to the family business.

“It is however the Saligao Institute with which the name of Antonio Jose Souza-Cordeiro will be associated. At the time the Institute came into existence over 50 years ago [This sketch was written in 1986] there was hardly a village in Goa that had a club of its own. It was Antonio Jose’s vision that conceived the idea of building a club house in Saligao. But even this well-intentioned project had its critics. There were some who ridiculed his plan and others even opposed it, but Antonio Jose found among those in favour of the scheme one ardent and active supporter, Franklin de Souza (father of Baptist, Oslando and Atila de Souza of Arrarim). Being fully convinced of the utility of the scheme, Antonio Jose went ahead with his plans.

Vitorino Saldanha, at this juncture, came forward to share equally with Antonio Jose the cost of construction, a gesture which the latter gratefully accepted (and Dr. Rodolfo de Melo too gave his mite for its construction). There were contributions from other Saligaokars as well, to meet the cost of furniture and amenities. The Saligao Institute came into being.”

Antonio Jose is one of the stalwarts of his generation. He passed away in Saligao at the ripe old age of 88. I, Fr. Nascimento, was fortunate to have seen and met the three founders of the institute. It is the ardent desire of Saligaokars that the Saligao Institute, which is over 80 years old now, under the leadership of the dynamic committee and the members, plans activities to help ensure a better future for the current generation.

It has been said that folk songs of a country or region “reveal the soul of a particular race”, and that “the art of the people is the voice of their heart and truest confession of their thought”. In this sense, the Goan folk songs are historical documents that record the . . . → Read More: Saligaokars And Goan Religious Folk Songs]]> by Fr Nascimento Mascarenhas

It has been said that folk songs of a country or region “reveal the soul of a particular race”, and that “the art of the people is the voice of their heart and truest confession of their thought”. In this sense, the Goan folk songs are historical documents that record the feelings and doings of the Goan life from birth to death.

There are about thirty distinct (surviving) types of folk songs in an area of roughly 3,500 square kilometres. In other words, Goan folk songs are certainly the greatest treasure in “the great song wealth of the microcosmic India that is the Konkan,” which is now ten centuries old. They are also the best known, thanks to Christian contribution. The Christian Goan Folk Song may be divided under two categories: Religious and Profane.

History

When people were converted to Christianity in Goa, great care was taken by the religious ministers to keep the converts away from cultural practices or customs connected with Hindu worship. In this endeavour they had the solid backing of the State. Now, all Hindu folk art is predominantly religious. It has its source in religion or in the festivals of the locally venerated deities. Songs such as bhajans, aarti, sigmo proclaim their inspiration in their very names. Even the songs that accompany folk dances or folk dramas sing of gods and mythological heroes. The new converts, therefore, were strongly discouraged from taking part in these expressions of Hindu culture. In 1585, for instance, a decree of the third Provincial Council of Goa said that ‘no Christian must enjoin nor allow the women folk of his family irrespective of status, to dance, play or sing in the Deccani Style, or cultivate any other pagan songs and dances.’

The innate Goan artistry could not be suppressed, however, and before long, new experiments in the musical arts resulted. This musical “encounter of Europe with India on the soil of Goa, took place in the Churches, colleges and religious institutions established in Goa and was fostered in the parish primary schools which supplanted the old patshalas of village temple complexes. Here, singing was an important and honoured subject. When their fine oriental ear for melody had been exposed for some decades to the richness of the western harmony, choral singing and instruments like violin, organ, the harp and the dulciner, Goans began to compose their own music, a subtle blend of east and west. The free and sinuous melodic lines of Gregorian plain chant which had so much in common with the traditional music of the folk of India, the simple songs of many European countries taught to them by the missionaries, particularly the early Italian songs, the delights of the polyphonic singing, all these had impressed themselves on the keenly receptive Goan ear.”

Religious Compositions

As might be expected, the first attempts were religious compositions. Devotional songs were created anew, and ranged from very simple invocations in the primitive ‘ovi’ metre to the classically haunting motet. Innumerable are the hymns, litanies and masses, unpublished but still existing in one or another church collection, which were composed by Goan musicians from the 16^th century onwards. The melody is sung in two voices, at intervals of thirds or sixths in the Western musical scale, but with all the subtle nuances of interpretation and expression of Indian Classical music.

Our religious folk songs are not just simple invocations. They are a profession of deep-rooted faith burning with consecrated fervour. One of the best examples we can think of is this:

Ami somest kor(I)tanv hi bhett,

Tujea Mha-Povitr(a) kallzak.

This hymn of love and adoration is a sort of Pater Noster of the Goan folk songs in the almost Gregorian simplicity of its melody and the richness of emotion. It implies a vast multitude come together in a spirit of prayer and dedication.

Particularly endearing among these, are the songs addressed to the Eucharistic Jesus:

Jesus mhojea Deva, anvddetanv gheuncheak Tuka,

Ie, ie mhojea Jezu, soglench mhojem, kalliz Saiba, ditam Tuka.

To the Mother of God:

Vinoti kor Maie, Tujea Put(r)a laguim, mellun gheuncheak ami, Sorginchim dennim

And to saints like St. Francis Xavier and St. Anne:

Sam Francisku Xaviera, Tuji Kuddu Goyam xhara, Jezuchea sangata, sodanch tuji niti vortota.

Sant Ana, mozott kori, Amam pordexam. Eh bhagivonti Ana, Sorginchem raj choloitai, Boddveanchea sangata, Amche pasun vinoti kor…

Not all our religious folk songs, however are quite explicit. Some of the outpourings are so enigmatic and ambiguous that they hardly seem logical. Take this verse on Saint Anthony:

Santo Antonio ange, paus ghall sanje.

What ‘ange’ means is difficult to know. All that our minds can grasp is a certain familiarity with the Saint who is undoubtedly one of the most popular of the Goans, and so our familiarity with that saint seems to justify the threat that is given to him. Good old St. Anthony commended to bring down rain and that too today, this very evening.

Even though much may be condoned to us because of St. Anthony’s miraculous power of changing dross into gold, there is no justification for treating other saints with equal indulgence.

There is a verse on St. Sebastian:

Sam Sebastiao Bhogta,

Tum Konknneachea Putra.

Konknneachea, here does not mean that St. Sebastian is a native of Konkan. What is implied, I suppose, is paganism and the lack of faith, especially in reference to saint’s father who was a pagan in Rome, Italy.

Saligaokars and Folk Songs

There is no doubt that there is music flowing in the veins of every Saligaokar. In the years gone by every male member from every second house in the village used to join the parochial school to learn music, which was the education and culture easily available those days.

Religious singing in the church, chapels, ward crosses, brought people from the village to break down the barriers of shyness and embarrassment and open their hearts to one another in praising God, Mother of God, Angels and Saints, for their goodness.

This religious fervour they have carried far and wide and the testimony of this are their annual gatherings in India, England, Canada, Africa, Persian Gulf, Australia, etc.

Those who have gone before us, marked with the sign of faith, yet kept alive the rich tradition of our religious folk songs, composing and singing them at various occasions, we living, just cannot forget them.

I shall mention just two personalities of the past era who played a significant part in arousing in the hearts of the subsequent generations the best of praise in folk song which in turn has resulted in having at least half a dozen composers from Saligao to set music especially to liturgical and religious words. These hymns are today sung in all the churches and chapels in the Archdiocese of Goa and Daman.

The first personality that comes to mind is Joaquim Antonio Mascarenhas who gave us the hymn “O Brihante e a estrela!” Brass bands, especially those in Bardez, play the tune of this hymn during festive processions and in the Saligao Church it is sung with much gusto and enthusiasm. It is a hymn that elevates the spirit of the Saligao villagers towards their patroness Mae de Deus. It brings into play the inner emotions of our hearts and minds. It is a song that unites us, builds a community, evoking nostalgia for the village regardless of where in the world the person might then be.

O Brihante e a estrela,

Com rutilos brilhos seus (2),

Nao se comparam com Ela,

Virgem pura, Mae de Deus.

Coro: Salve, Santa Mae de Deus.

Nossa Guia e Protectora

Salve, Rainha dos Ceus,

Sacratissima Senhora

The other personality is Santana Gabriel Vaz, from Mudd’davaddi in Saligao, who composed a hymn in honour of St. Anne.

Santa Ana Mai amchi,

Sodanch templan ti magnnem kortali

Aplim dukham golloitali,

Aplo kusvo uzvaddai mhunntali. (2)

Such is the power of this hymn that it brings Christians and non-Christians alike at her feet in the chapel of St. Anne at Tabravaddo, Saligao, every year.

We hope that the current generation of youngsters of Saligao will spend some moments of their time to learn the art of Mozart. Luckily we have teachers interested in imparting this musical knowledge to our youngsters of our dear village even in our days. May our villagers make their mark in every field of music and compose new religious and other folk songs to praise God, Mother Mary and Saints in heaven and entertain with religious fervour their own brethren here on earth. This is the earnest desire of the elders of Saligao.

The people of Goa have always had a fascination for names, and take the naming of their children very seriously. In days gone by it was not unusual for an infant to be given three, four or even more names – after patron saints, forefathers, famous figures from history, and miscellaneous . . . → Read More: Saligao nicknames – swearing by a quaint Goan tradition]]> by Fr Nascimento Mascarenhas

The people of Goa have always had a fascination for names, and take the naming of their children very seriously. In days gone by it was not unusual for an infant to be given three, four or even more names – after patron saints, forefathers, famous figures from history, and miscellaneous tongue-twisters. In addition to all these given names, later on in life many were lovingly bestowed with one more – a nickname.

At the time of conversion of the locals to Christianity by the Portuguese in the sixteenth century, the convert was given the surname of the person who stood as god-father to that particular batch of converts. This god-father was a Portuguese dignitary such as the Governor, Viceroy, top military official, and so on. Hence during this period there were instances when a man would convert to the Catholic religion and acquire a Portuguese surname. Several months later, his brother would decide to change religions and would also acquire a Portuguese surname, but not necessarily the same as his brother’s. Consequently there were families with different surnames although they were from the same family tree. Also, some Catholics in the village ended up with identical surnames even if they were not related. This, of course, caused identity problems. So the villagers of Saligao, as in other villages of Goa, gave many households a nickname that characterized a feature that was unique to the occupants. Thus we have nicknames given of birds, beasts, and fruits, others named for physical characteristics, still others for personal characteristics, quirks, professions, etc. There were some mischievous ones too. As my friend Mel D’Souza from Sequeiravaddo in Saligao, and now in Canada, says: “There were a few other nicknames that wouldn’t get past the censors in print although they were used quite freely – and without malice – by the villagers. A nickname was never treated with derision; instead it was prized as a symbol of a family’s name recognition and acceptance as an entrenched member of the village community”. The Konkani word for nickname is addnanv.

As I was going through the Saligao Comunidade book titled “ACTAS ou ACCENTOS E OUTROS SERVIÇOS” pertaining to the period 1756-1760, I found that the names of Saligaokars who had to do watch-and-ward duty as soldados (soldiers) were listed according to vangodd (clan). Their nicknames, wherever applicable, were also noted, probably for identification. Let’s check it out:

Francisco de Souza – Honesto (honest); Luis de Souza – Fujão; Tomás de Siqueira – Bonó; Lourenço de Souza – Meiala; Pedro de Souza – Tal’ló; Caetano de Souza  (Bobó); Francisco de Ta’vora – Mead; António de Souza – Buttó; Caetano de Souza – Migal; Diogo de Souza – Barba (beard); António Saldanha – Preto (Black); André Pais – Punido (punished); Alexandre Saldanha – Bapa; Miguel de Souza – Tipri; Lourenço de Souza – Mangró; Sebastião de Souza – Ticar; Thomé de Souza – Colvale (ganvkar of Saligao settled in Colvale); João de Sequeira – Varu; Gabriel de Souza – Pilad. The “de Souzas” mentioned belong to different vangodds and are not related to each other; to avoid confusion they were given Portuguese nicknames.

Over the years, we have become familiar with other nicknames as well. These nicknames were not only colourful but also reflected Saligao’s charming sense of humour. I will not classify them vangodd-wise nor ward-wise. They are listed here at random; each has a bit of history behind them and they need to be studied seriously and scientifically. They are as follows: Master Lawrence; Khôt (Couth); Boló ganvkar; Kuddvichi-bonch (from Kuddôv); Moskôn; Saiba Felip; Hundred Felip; Firngi Lusu; Moiddekar (Moira ganvkar settled in Saligao); Fogó; Patris; Kaulegêr; Lozkar; Mennkar; Pocian; Niklugêr; Rosalinagêr; Kursin; Pêrkar; Pirnikar; Loddôi; Amerikan; Alekar; Mari Vitorigêr; Sourak; Paddkulo; Bibi; Pikó; Delegad; Pedreagêr; Sortikarn Mary; Betteaguer; Kampin; Chonnekarager; Costagêr; Vhoddlegêr; Dakttleguer; Karu titivgêr; Paixinigêr; Mixinkaragêr; Salugêr; Padrikapelanvgêr; Aulumanagêr; Bengalkaragêr; Raza Coutinho; Bendugêr; Ganekaragêr; Goddkaragêr; Chimteagêr; Bekêrigêr; Munkuteagêr; Bautteagêr; Boddveagêr; Deucharagêr; Saibin Mauxegêr; Budugêr; Sonilagêr; Markiger; Souzilagêr; Dobddeaer; Riponager; Ladkó; Bendó; Pompró; Kolo (different from Kolé or Uxellantle Kole – the general nickname for Saligaokars); Sonxiniger; Nagddeagêr; Arxekarmigêr; Porkigêr (from Portuguese Porque); Kharekar; Raza; Kompreagêr; Bokddeagêr; Mankó; Goddgoddó; Jelisagêr; Noniger; Pokó; Sonsó; Papió; Ring-ting; Kornel; Sacro; Tony-Brazileiro; Patris; Aslekar; Joshi; Xennekarn; Bendró; Natalagêr; Bodá; Bukaneagêr; Bit’teagêr; Bolumanxegêr; Mirandigêr; Girkar; Motteagêr; Leanvgêr; Cobeaguer; Moddkeagêr; Vagmaró; Nousó; Sonsó; Bokddi; Chepekarn; Distikarn; Ranó; Ghirghiró; Bebó; Kuló; Kochrekar; Dukormaró; Dandeagêr; Agró; Sacador; Mary-Agbôtt; Salumani; Bainkan’nigêr; Buyanvgêr; Bot-modi; Kan-katró; Dukôr; Fulkarn; Kanló; Pinglló; Kalló-kul’ló; Dovó-kul’ló; Maddkar; Menxeangêr; Ladru; Pat’tivgêr; Munkuto; and, Mistirimgêr. (Please do send me any that I might have missed out, so as to make this list complete).

Such is the power of a nickname that any Saligaokar on any continent will find his roots and contacts and acquaintances by the mere mention of the nickname that has stuck on through the generations. Today, we swear when we are angry; our forefathers had finesse – they gave nicknames instead!

Footnote:

The author is grateful to José Remédios (Tabravaddo, Saligao/Santa Cruz, Mumbai);  Salvador Mascarenhas (Mollebhatt); Albert D’Souza (Sonarbhatt/Mapusa); Adolph Figueiredo (Donvaddo/UK); Alfred D’Cruz (Cruzvaddo/Bandra); and, Mel D’Souza (Arrarim/Canada), for their inputs.

As my friend Salvador Mascarenhas and I continued to walk through the vaddo (ward) of Cotula in Saligao, we found ourselves at the house of the late Sebastian Pinto. He was an Africander, a social worker, and always smiling. Opposite is Amanda Lopes e Souza’s residence—she is now in Portugal. She . . . → Read More: Cotula walk – III]]> by Fr. Nascimento Mascarenhas

As my friend Salvador Mascarenhas and I continued to walk through the vaddo (ward) of Cotula in Saligao, we found ourselves at the house of the late Sebastian Pinto. He was an Africander, a social worker, and always smiling. Opposite is Amanda Lopes e Souza’s residence—she is now in Portugal. She was a good pianist and a very amiable character. She was senior to us at Mater Dei, and we were also acquainted with her brother Jerry, and Gloria.

At this point is the road that leads to Saligao church and beyond. Being tired, we took a break under the shelter of the house of our friend Dominic Andrade. I informed them that besides Lourdes Convent, Cotula had several schools teaching Latin and Portuguese in olden times. The first school to be set up in this ward was that of Padre Mesre André Soares from Salém, Salvador do Mundo.  He was authorized to teach by a provision dated 26-08-1751. He was a master in Latin. There was a boys’ school, teaching Portuguese and ‘latinidade’ conducted by Fr. Lazaro de Souza. It was fondly known as Pe. Ladru’s school. It was one of the four Government Public Schools. It owed its existence to Mr. José da Gama, who generously offered free plots on which a large building was erected in Cotula. This building has since been demolished and private houses have come up on the premises. In an annexe, primary classes in Portuguese used to be conducted by Antoninho Cordeiro, around the beginning of the twentieth century. Another Latin and Portuguese school in this ward was that of Father Caetano Maria Anacleto Rodrigues.

There was also a Music School where José Luis Rodrigues conducted music classes. Another school in Cotula was the Anglo-Portuguese School founded in 1894 by Francisco Xavier de Mendonça and Diogo Miguel de Sousa, assisted by Leopoldina Pinto. Saligao had some other schools in other wards too. The present Lourdes Convent High School was started in Cotula in 1946 by the Franciscan Sisters of Christ the King (FMCK). Mother Bridget Sequeira, who founded the FMCK Order in Karachi was a native of Sonarbhatt in Saligao. She sailed from Karachi with three sisters at the request of a gentleman from Saligao and arrived in Goa on 13 May 1946. They arrived at a house in Cotula which would be called the Lourdes Convent in future. It was in the residence of an elderly lady and her two daughters where they started an English school with 30 pupils. It was a large private mansion from where later on the school was shifted to other private residences in Arrarim. The nuns now have their own modern one-storied imposing structure amidst pleasant surroundings on a hillock of Donvaddo in the proximity of Sonarbhatt. This convent cum school was built in three stages and finally completed in 1968.

 While resting outside Dominic Andrade’s house we glanced at the western side of the ward and noticed a school conducting classes in English by the “Believers”. Nearby, there was the house of Servulo whom we affectionately called Sevo and who is no more.

 Earlier, there was a “domestic arts” school at this spot. Girls so inclined could learn needlework, embroidery, dressmaking, dancing and music. Gender roles were obviously very well-defined in those days! In these schools, elements of reading and writing were also taught, but the emphasis was on domestic arts.   Eslinda de Souza, who conducted combined classes for dress-making and painting, lived in this part of Cotula.

 Next we saw the house of Archibald Serrao. He was our Maths teacher at Mater Dei Institute. Later on he taught the same subjects at Lourdes Convent.   He was also famous for arranging football matches in the village as well as at Mater Dei. He took utmost care of the football players, and always encouraged them.

 At the far end of this part of Cotula is the house of late Damasceno Dantas, who used to conduct the daily rosary in the church, and always seemed to be cheerful and happy. His brother, Pascoal João (Paul) Dantas, was a leader at Mater Dei School.  He now lives in the US, but does visit Saligao – I remember that Pascoal and his wife were once presidents of the Saligao feast.

 The former house of the Gama Rose family is also in Cotula. The famous journalist of yesteryear, Leopoldo da Gama was born in that house. He received his first education in one of the Portuguese schools in Cotula. He contributed his writings in Portuguese to a number of journals and newspapers in Goa and was the editor of some of them. Here is an interesting incident in his life:

“Provocation came on a sweltering day in May. Under a blazing noonday sun, a young man was stripped to the waist and publicly flogged half to death for ‘raising his hand’ at a Portuguese official. On the following Sunday, Leopoldo da Gama’s column was titled ‘A Call to Arms’.  It was an impassioned plea for violent revolution. The same night four of the most powerful men in Goa met in the imposing palace on the cliffs of Dona Paula: the Governor, the Public Prosecutor, the Chief of Constabulary and the Commander of the Panjim garrison. The Governor sought the legal view.  ‘Treason’ said the Public Prosecutor succinctly.  Leopoldo da Gama is to be arrested tomorrow. A mundkar brought the news early in the morning to Dona Carlota da Gama that her son Leopoldo would be arrested that morning.  Leopoldo da Gama saved himself from a fate worse than death by hiding beneath his mother’s skirt. The Captain arrived at Dona Carlota’s house and gave her the message ‘I have a warrant for the arrest of Leopoldo da Gama, on a charge of high treason with written permission from the Chief of Constables to search your house. ‘My son’ Dona Carlota said, lying with great conviction, ‘left yesterday morning for Margao,’ and remained unfazed in the porch without moving. The Captain and the rest of his men began to hunt for Leopoldo.  They peered into cupboards, looked under beds and tables, went up to the loft, in frustration attacked the haystack with unnecessary violence.  They searched even the chapel and also the well and the wash-room. But they did not find Leopoldo anywhere. They left the house, the mundkars rushed to announce that the troops had already reached the Porvorim hill. ‘You can come out now…’  Leopoldo emerged.  His expression made it clear that he had begun to appreciate the hazards of crusading journalism. They made Leopoldo strip, smeared him from top to toe with coconut oil, over which they rubbed in black kitchen soot. Unrecognizable, he was given trousers and shirts, a blanket, a staff and a packet of food and some money. There were tearful farewells. He could never return to Goa. Then, living off the land he walked all the way to Bombay, four hundred miles to the north, there to become the popular General Manager of the very British Royal Yacht Club.” 

After many years he did return to Goa at Penha de França where he died on 28 April, 1929 and his mortal remains lay buried in the parish cemetery. He was the son of Luis António da Gama from Saligao, a top judge, and of Carlota Joaquina Gonsalves (Penha de França). Their house in Saligao has since been bought by some rich gentleman.

[Editor's Note: This essay has been compiled by Fr Nascimento Mascarenhas from old documents, magazine cuttings, jubilee souvenirs, and myriad other sources. If you recognize an unacknowledged source, do let us know and we will rectify the lapse.] 

 Engagements and marriages are also tied down by the traditions in . . . → Read More: Customs, superstitions and traditions in Saligao – II]]>

[Editor's Note: This essay has been compiled by Fr Nascimento Mascarenhas from old documents, magazine cuttings, jubilee souvenirs, and myriad other sources. If you recognize an unacknowledged source, do let us know and we will rectify the lapse.] 

 Engagements and marriages are also tied down by the traditions in Goa and surrounded by a cluster of quaint rites and observances. A week before any wedding there is bustle all around in preparation for the Buim Jevon or Bikareanchem Jevon (Beggars’ Lunch) and so called, because all the poor as well as the rich who are invited for it are made to sit on the floor on a mat (souém) and eat.  The menu consists of rice, jaggery, sweet (onn) a mixture of gram and plantain vegetable, puris made of rice or wheat flour and an aromatic curry of all types of spices washed down by a glass of feni (the local brew).  Dessert is bananas, mangoes or jack-fruits.

Elaborate ceremony and protocol precedes the meal. A few days before, an invitation is issued to relatives and neighbours to help in husking the paddy, and everyone who lends a hand is rewarded with pieces of coconut and jaggery. After an interval of two days they are again called to grind the rice, and for their labour are given slices of manos a sweet made out of jaggery, rice and coconut.  The third invitation is to help in grinding the spices for the curry, after which they are treated to pancakes prepared from flour and powdered spices. On the eve of the dinner, the floor is covered with many new bamboo mats and the neighbours all join in to make voddé or puris all night long. While these preparations are on there is constant singing of zottis (love songs).

Here are some examples of zottis sung in Konkani in the Bardez district of Goa; in other districts such as Salcette and Ilhas these may vary slightly. This song is sung while washing the rice, carried in vol’leo (bamboo baskets) to the well. The rice will be the main item served at the wedding and the song invokes God’s blessings on it.  

Santa khursache kurven

Re-Viva nivar amkam Deva

Vora tandul duivta

Besanv ghal ga Saiba.

(By the sign of the Holy Cross

We hail you God

To come bless the rice)

Other zottis

 Bridal attention

 The bride-to-be is the source of much attention too, and is taken by her friends and relatives for the purkondd – a farewell maidenhood party where she is garlanded as queen of the feast and receives all the homage of her admirers.  The blushing maid is bathed in coconut milk to the accompaniment of zottis and then dressed in a gorgeous sari and taken around the neighbourhood under a huge red umbrella, for the blessing of its oldest inhabitants.

 On this occasion, the village bangle seller does brisk trade, as the day before the wedding, the bride’s arms are covered with thirty glass bangles, fifteen on each hand of a mixture of blue, yellow and brown (varies in the Brahmin class).  These bangles, known as ‘chuddo’, are worn to ensure long life for the husband. Regardless of all the gold a woman wears, she will not be without a glass bangle until her husband’s death, as glass is believed to have special properties.

After the engagement, it is customary for the bridegroom’s family to send the bride’s people a gift known as fulam, consisting of sweets, flowers and fruits, most of which will be distributed to the neighbours. On the second or third day of the wedding ceremonies, the bride’s family does likewise, sending the groom’s family ojem, similarly sent around.

Hindu traditions

Among the Hindus of Saligao there is a custom of consulting a priest (bott) on the occasion of any auspicious function, to fix the muhurat (auspicious time).

A child born on Amavasya (new moon) is considered inauspicious. If the death of a person has occurred on an inauspicious star, then the priest (bott) advises that the house where the death took place be vacated by the relatives residing therein, for great harm may come to them otherwise.

Some people have recourse to the ghaddi or panchakshri (witch doctor) for zhoddo performed to get themselves rid of ghosts and possession by them. Some other superstitions still prevalent among people of the Hindu faith in Saligao are as follows:

One should not look at the moon on a Chaturathi day.  No work should be done on a day subsequent to a festival. One should not dig the soil on Nag Panchami Day.  If the Nag (King Cobra) is killed, it should not be burnt, but rather, buried.

Death threats

Death too is shrouded by customs and it is no queer practice to find elaborate meals being prepared and dished out for the souls of one’s departed relatives through out the month of November.  Neglected souls are believed to haunt a house until their demands are appeased.  If you have a death in the family, you are not supposed to cook anything and it is your relations and neighbours who send you food and sweets. While women folks sat around the dead body, close relatives, neighbours and friends occupied the kitchen and cooked food in large quantities to serve people attending the funeral from afar. Thus a funeral almost becomes a party, with plenty to eat and drink. 

After the funeral, in the room of the dead person, a wick light is kept burning under a mat roll for nine days as the soul of the deceased is believed to hover around the place.

When a wife wailed, she never referred to her dead husband by name, but ended each sentence with mai (mother); in fact in the old days the husband was rarely, if ever, referred to by name – when the wife talked about her husband to others, he was referred to as amcho (ours).

Wailing examples: “Don vorsamnim ek paut tum ghara ietaloi ge mai, boreo-boreo saddie ô-vistid haddtaloi ge maim; festank kazarank gheun bonvtaloi ge maim; atam koun mhaka bonvddaitalo ge mai, mai, mai.“  (You would return home every two years; you would bring me good saris, dresses; you would take me to feasts and weddings; who will now take me around … oh mother!)

Professional mourners were recruited to conduct the wailing, which would continue at intervals depending on the need. The woman sitting next to the main mourner would whisper in her ears whenever an important relative or friend arrived.  The mourner would then suddenly burst out into heart-rending wails.

Uttun polle ghe mai.  Moiddea than Jose aila ge maim; tujea gostachim kellim haddtolo munge main; atam koun amkam Moiddea vortolo ghe main.  (Get up and see mother.  Joseph has come from Moira.  He used to bring Moira bananas.  Who will now take us to Moira…)

If a husband died, his wife was dressed like a bride in reddish clothes with flowers in her hair.  The funeral spelt an end to her jolly life.  She was also made to wear the chuddo (coloured bangles), if she still had them; if not, a new set of coloured bangles was bought and placed on both her hands.  As soon as the priest arrived to commence the funeral, everyone would start crying and screaming.  Sometimes it became difficult for the priest to conduct the prayers. One of the elderly persons would then take charge of the mourners and keep them under his control until the prayer ceremony ended.

Once prayers were over, screaming and wailing would resume and it was at this juncture that the wife would throw herself upon her dead husband, bang both her hands on the edge of the coffin and break the bangles, sometimes causing injuries to her arms.  This signified an end to her marriage, and the beginning of her widow-status. As a widow, she would no longer wear coloured clothes or flowers in her hair or don gold.  She would switch to black clothes and wear only silver ornaments.