The joyous pealing of the two large and sonorous Saligao Church bells at 5 a.m. heralds the beginning of the patronal feast of Mae de Deus in the north Goa village of Saligao on the first Sunday of May every year. This is followed by the lovely and rousing music of . . . → Read More: A bird’s eye view of the Saligao Feast of Mae de Deus]]> by Fr. Nascimento Mascarenhas

The joyous pealing of the two large and sonorous Saligao Church bells at 5 a.m. heralds the beginning of the patronal feast of Mae de Deus in the north Goa village of Saligao on the first Sunday of May every year. This is followed by the lovely and rousing music of Alvorada played with all enthusiasm by the Saligao Brass band at the residence of the President of the Saligao feast. The continuous firing of crackers by young lads and the people who have now lit up their houses, some with decorative lights, are sights and sounds that linger in our memories.

The chimes of the Saligao Church bells inviting the faithful of the village to attend the patronal Feast Mass strike a vibrant chord in the hearts of Saligaokars. So, dressed in their Sunday best, the villagers walk or drive towards the Saligao Church to receive the blessings of Mae de Deus, the Mother of God. The brass band playing beautiful tunes welcomes one and all to the House of Prayer and Thanksgiving.

The neo-Gothic Saligao Church of Mae de Deus during the day or night presents a structure of beauty and splendour for all to behold. Photographs of the Saligao Church adorn tourist brochures and books about Goa and its postcards are collectors’ items.

Solemn Mass

The ringing of the small sacristy bell reminds all to be ready for the Solemn Mass. It calls the priests to dress for the Eucharistic celebrations while the altar servers also get ready for the service.

The tuning of the string instruments to the right tone and pitch as well as the clearing of throats by the choir singers all turns into a melodious unit once the chords of the organ are struck for the entrance hymn.

In olden times the entrance hymn was solemn; today it is martial with occasional drum beats lending punch to the congregational singing helped by the choir. The deafening and thunderous sounds of crackers and Khon’nes accompanied by the wild ringing of the big bells make the hearts go boong-bang-a-bang and the legs weak at the knees as Paular Pavl is rendered. The altar, well lit and draped with linen and natural flowers looks majestic.

Saligao Church Altars -- Pic by JoeGoaUK

The entrance procession is led by the altar servers carrying a cross and two lit candles, followed by a select number of lay people that will play specific roles during the Eucharistic service. Making up the rear of the procession are the concelebrants of the Saligao Feast Mass in their flowing white and gold vestments. Their dignified walk along the aisle of the Saligao Church adds colour to the ceremonies. The quick count of how many priests have attended the Saligao Feast Mass will invariably be a topic of discussion while returning home. The greater the number the greater the solemnity, hence there always is a mad rush to invite as many priests as possible for the Saligao Feast Mass. The message of the Word of God seems to be of less importance than the attendance of a larger number of the clergy. O Tempora, O Mores!

While all stand during the entrance hymn, the young ladies have something to whisper to each other about their neighbours: “What a lovely pair of earrings, I wonder who gave them to her;” “Lipstick too loud;” “Dress piece from Salgaokars shop in Mapusa;” “Broach not matching.” And mind you, all this in a flash, even before the congregation has replied to the priest’s “The Lord be with you.”

Meanwhile, young chaps aloft in the choir cast down their eyes on the colourful spectacle below and render thanks to God for the presence of the coy young damsels in the nave.

Readings and Sermon

Everybody is eager to see who is going to do the readings. The reader assures everyone that “Nothing is impossible for God.” [Luke 1:37]. And so “Everything is possible to one who has faith.” [Mark 9:23]. The sermon is not too lengthy, quite bearable; surely not as dry as stones. Certainly the overture leads to the blaming of foxes tails. My God! A chorus ascends to heaven – Padarin sermanv koddock uddoilo! But the docile, serene and humble Lady seated on the main altar takes the foxes’ pride in her stride and willfully grants the requests made. Hence so much love for Mae de Deus wherever Saligaokars reside. On this day, worldwide, their hearts and minds are directed towards Her visage. They are back home in Saligao, in spirit if not in the flesh.

The prayer of faithful is for the welfare of the Church and government leaders, the President of the Saligao feast and prosperity of all the people from the village at home and abroad. Another 50 take part in the offertory procession and with added commentary of the gifts, the hearts, minds, joys and sufferings are offered to the Lord.

The rest of the Saligao Feast Mass ceremony goes as planned. During the Feast Mass the fervour of the congregation gradually builds to a crescendo and all partake in the Eucharistic meal.

Procession

Under the scorching sun, the Saligao Church Feast procession begins. And whether you like it or not, in Saligao, it is a must. It has something more than penitential indulgence and that is why most wait for this moment. The same suited-and-booted bachelors who where were on the loft are the first ones to descend down. With cameras in hand, hurriedly clicking photos they rush to take their place in the procession and whether they know or don’t know the lines of O’ Brilhante!- they open their mouths wide and sing: Salve Santa Mae de Deus, Nossa Guia e Protectora, Salve Rainha dos cues, Sacratissima Senhora!

And the brass band carries the most loved hymn to new musical heights. As the procession slowly wends its way one notices multicoloured parasols protecting the heads and fashionable sunglasses adorning pretty and rugged faces alike. Relatives and friends coming to Goa from overseas for the Saligao Feast join the ones at home in the prayerful walk. A few have their eye on a prospective bride or groom and ready themselves to make their first move later during the fair, but not before they receive the blessing of their Patroness Mae de Deus. The Mother of God blesses every one as she is carried in the procession: Ghall Maie tujem besanv, bhagi zaum amcho ganv! Pau Maie, Ie Maie, ghe amkam tujea gopant is soulfully sung to the sounds of the Saligao Church bells. The ties with the procession, come what may, are seldom broken.

It is a fashion nowadays to thank each and everyone at the end, from the main celebrant to the sacristan and sexton, not forgetting the mordomo and his family. No one in the audience minds it though, as the thanks are more than justified for the efforts put in by everyone for the Saligao Feast.  The mordomo for the Saligao Feast of the next year is announced together with the weekly programme and names of the donors. Finally the blessing of Our Lady is given and the new mordomo is crowned. With the kissing of the image by one and all, the final hymn is chanted. Happy Feast. All pains and heartaches are forgotten. We are one in the Lord.

The vendors at the stalls of the Saligao Feast fair do roaring business. Inflation or no inflation, in Goa all shell out good money to buy ample quantities of traditional sweets. In my younger days, with just eight annas I carried home a good measure of grams, ladoos, and three packets of firecrackers, besides one balloon, whistle and mialheiro (mellor).

Boas Festas!

Lenten observances have always been elaborate and intense in the churches of Goa, and the ceremonies I witnessed when I was growing up in Saligao during the 1940s and 1950s are etched in my memory.

The liturgy of the Holy Week began at Mae de Deus Church in Saligao with the . . . → Read More: Palm Sunday at Saligao Church and Passo at St. Anne’s Chapel]]> by Fr. Nascimento Mascarenhas

Lenten observances have always been elaborate and intense in the churches of Goa, and the ceremonies I witnessed when I was growing up in Saligao during the 1940s and 1950s are etched in my memory.

The liturgy of the Holy Week began at Mae de Deus Church in Saligao with the blessings of palms at the entrance of the Saligao Church on Palm Sunday, where we youngsters gathered with palms in our hands. Those who had coconut trees on their property usually engaged a padai to climb the trees and cut off some palm leaves, others pleaded with their neighbours to give them a few, and a few mischievous fellows nicked the leaves from wherever they could. Regardless, everyone had a saintly look on their faces while assembling in the portico of the Saligao Church the next morning.

There was a wide variety of decorated and intricately woven palms on view in the congregation. Some were embellished with artwork, others were woven together in the form of an alette, and many brought palms draped with crosses and mogrins and rosam. Still others had white tiny flowers on each palm leaf interlaced with other flowers of different colours shapes. It was a colourful, kaleidoscopic public display at Saligao Church on Palm Sunday.

Colourful spectacle

We had an informal competition among us with respect to whose palm was the best decorated one. I remember the boys from Bairro Alto fringed their palms in alette style; the Mudd’davaddi, Tabravaddo and Mollembhatt parishioners had them decorated with rosam from their fields, whilst Donvaddo folks decorated them with white and crimson colours. Arrarim, Cotula, Dhaktem and Vhoddlem Morodd and Goletem brethren highlighted their palms with crisscross patterns along with mogrins and abolim in the background. Sonarbhat and Salmona youth carried palms ornamented with xinvtins, some white and some yellow. The spectacle was fantastic. All stood regally, proudly brandishing their palms.

At the allotted hour, the three celebrants (a priest and two acolytes) ceremoniously walked to the portico where some big palms taken from the Saligao Church property were placed on a table and blessed, then kept aside for use the following year by the sacristan for ash on Ash Wednesday.

The main celebrant together with the acolytes and altar servers came solemnly from the sacristy to the portico of the Saligao Church and the religious ceremony commenced. Prayers were sung in a solemn manner which prepared the congregation for this liturgical occasion. After the palms were blessed with holy water and incensed, came the long-awaited moment of demonstration of power–the shaking of the palms with the greatest possible force and noise, so much so that celebrant had to intervene and put a stop to it by admonishing all of us with a stern and loud “Stop it!”

Stop it we did, but not before exchanging quick sniggers of triumph among ourselves, after which we settled down into complete silence. Next came the Gospel reading and the celebrant read the Word of God outside the Church, reminding us of the solemn entry of the Lord Jesus in Jerusalem and how the people welcomed him with palms in their hands and shouted hosannas to the King who arrived mounted on a donkey.

Palm Sunday Mass

Soon the procession began in the direction of the nave, transepts and sanctuary of the Saligao Church, the processionists with palms in their hand balancing them this side and that, and singing in Latin “Christus vincit, Christus regnat, Christus imperat or Benedictus qui venit in nomine Domini, Hosanna Filio David, etc.”

In the Church they began the other parts of the Palm Sunday Mass. At the solemn singing of the Passion of Our Lord Jesus Christ, the main celebrant represented Christ, another read the narrative and a third was assigned the words of the others who spoke. The solemnity of the singing in Latin in three different tones by three people kept all in a meditative mood while they stood continuously for more than 45 minutes. This was followed by a sermon. After the Mass we quickly returned home, hung up the palm near the oratory on the nail where the rosaries were usually hung, to be placed later on inside the oratory.

After the religious service in the Saligao Church, some of us from the three wards of Mudd’davaddi, Donvaddo and Tabravaddo-Mollembhatt directed ourselves to the Chapel of St. Anne to help in getting things ready for the evening service of the Passo.

Passo at St. Anne’s Chapel

The life-size image of the Dead Lord (Senhor Morto), which was offered to St. Anne’s Chapel by Idinha P Dias, wife of Pedro Joao dos Remedios from Tabravaddo, and kept inside the main altar of St. Anne, was cautiously removed and kept on two or three benches. Then Mr. Patru and some elders cleansed it thoroughly with sacramental wine. Next the image was draped in a dark blue vestment studded with false diamonds of different hues and sizes and imitation-gold laced boarders.  The “mogreanche jhelle” decorated the base of the altar case where the image was kept for veneration after been washed and clothed.

Everything was set in its proper place; the candlesticks with candles, the ritual books, the thurible and incense boat, the ceremonial vestments, the sprinkler, the cross, etc. The evening ceremony, based on the liturgy used in those days, began with the singing of a motet in Latin – such as Filiae, Filiae Jerusalem — in four voices accompanied by two violins, two clarinets and a bass. People brought with them more jhelles, and these were handed to the sacristan to be deposited near the Senhor Morto image or tied to the candlesticks of the main altar in semicircular or crescent arrangements.

When all were assembled at the appointed time, the Way of the Cross service commenced.  Three altar servers carrying a cross and two candles on each side walked from one station to the other, with the people following slowly, genuflecting, praying and singing along the way. This Way of the Cross was led by the Chaplain Rev. Fr. Arcanjo de Menezes, dressed in his surplice and purple stole over his black cassock. The singing after each station was in Konkani, rendering the common hymn of the Lenten season, “Papia Re Nibhagea, Tum Pap Na Sandxi…” At the end of the 14th station a prayer was said and Senhor Deus Misericordia was sung three times.

The highlight of the whole religious ceremony was the sermon preached on Jesus the Compassionate, usually by a preacher from outside the parish of Saligao. Then came the procession with irmaos dressed in their white opa and blue mursa, distinctive of St. Anne’s Chapel, wending through the traditional route. At the end came the chaplain dressed in his black cape and carrying the relic of Holy Wood (Santo Lenho), offered to the chapel by Rodolfo Napoleao Fernandes from Donvaddo. The choir singers sang the popular Latin hymn Miserere Mei Deus during the procession, with the chapel bell ringing soulfully, allowing the faithful to meditate on the Merciful Compassion of Jesus.

When all has assembled in the chapel, the relic was kept on a decorated table. The celebrant incensed it, then sang the prayer in Latin and kissed it. Finally people proceeded towards the altar in two lines, where the image of Senhor Morto was kept for kissing and veneration. A tray at the side of the altar was kept for people to place their offerings. The motet Porje Mhoje rendered during the veneration brought to an end to this Passo service.

At sunset we youngsters were given a soda, which satisfied us immensely, while the elders had a light intoxicating drink. All this was a long time ago, and a lot has changed since then, mostly for the better I suppose. I am indeed blessed to have had the experience of the old Trindentine rite and also of the new Vatican Liturgy and the changes it has undergone over the years. This year, I join my fellow bairristas in spirit in their celebration of Palm Sunday at Saligao Church and the Passo at St. Anne’s Chapel in Saligao.

As we come to the end of the season of Lent, and approach Holy Week 2012, my thoughts go back to about a decade ago, during the time of the Golden Jubilee celebrations at the Seminary of Our Lady, at Saligao in Goa. At that time, I attended the Chrism Mass . . . → Read More: Chrism Mass at Saligao Seminary]]> by Fr. Nascimento Mascarenhas

As we come to the end of the season of Lent, and approach Holy Week 2012, my thoughts go back to about a decade ago, during the time of the Golden Jubilee celebrations at the Seminary of Our Lady, at Saligao in Goa. At that time, I attended the Chrism Mass that was specially held at the Saligao Seminary Chapel. I had written the following description soon after that:

A bishop blows over the amphora of Holy Oils

“The Chrism Mass, which the bishop celebrates with his presbyterium, and at which the oils are blessed, manifests the communion of the priests with their bishop. For at this Mass, priests gather and concelebrate, coming from different parts of the diocese, as witnesses at the confection of the chrism and as fellow workers with their bishop, in whose sacred ministry for the building up, sanctification and government of the people of God they participate. Thus is manifest in a clear way the unity of the priesthood and the sacrifice of Christ living on in the Church.”

This is what the Archbishop Patriarch Raul N. Gonsalves said in his homily at the Saligao Seminary chapel during the Chrism Mass. In continuation, His Grace also emphasised that the celebration of the Chrism Mass was an ecclesial and hierarchical communion for the service in the Church. The laity and the priests together with their bishop form an integral part of this communion. We are all one in the Spirit. The priests serve the faithful and the laity helps their priests to live up to their priestly vocation by getting involved in the various services of the Church.

We are all part of this common unity and each one of us has an important place and role to play, which we should recognise in the light of the Holy Spirit. The Archbishop Patriarch particularly called upon the clergy to make good use of the oils and prayers in their healing ministry towards the old and sick especially through the sacrament of the anointing of the sick. His Grace said that we could make use of so many prayers that are found in the ritual when dealing with the old and infirm.

After the homily the priests renewed their priestly vows and in the course of the Holy Mass His Grace blessed the Oils of the Sick, Catecumenate and Chrism. Before the conclusion of the Mass his Grace said: “The newly blessed oils should be borne with honour to the parish churches. The old oils should be burned or poured into the Blessed Sacrament lamp.”

The entire liturgy was conducted in Konkani. The seminary choir sang parts of the Mass beautifully in bhajan style in the vernacular. Liturgical hymns in Latin and English were also rendered under the baton of Fr. Bernardo Cota. At the introductory rite of the Mass, Fr. Manuel Gomes, the Rector of Saligao Seminary, welcomed all those present for the solemn occasion and wished them well.

Before the conclusion of the Mass, His Grace released two books — “Sursum… from Roots to Fruits” (the Souvenir of the Seminary), and “The Old Testament in Konkani” (some parts) to help those using the “Jivitacho Prokas” to further deepen their knowledge. Around 300 hundred priests and religious, besides seminarians and a large crowd of laity attended the Chrism Mass. I was happy to see and meet a large number of faithful from Saligao and exchange with my colleagues pleasant memories of our stay during our formative years in the Seminary of Our Lady, Saligao.

by Fr. Nascimento Mascarenhas

Before the Golden Jubilee of Mae de Deus Church in Saligao on 26 November 1923, a well-organised Triduum was held in the church, with religious services both in the morning and evening. After its conclusion, the parishioners of Saligao gathered at the chapel of St. . . . → Read More: The Golden Jubilee of Saligao Church (1923) – II]]>

by Fr. Nascimento Mascarenhas

Before the Golden Jubilee of Mae de Deus Church in Saligao on 26 November 1923, a well-organised Triduum was held in the church, with religious services both in the morning and evening. After its conclusion, the parishioners of Saligao gathered at the chapel of St. Anthony in Sonarbhatt. The historical statue of Mae de Deus had been kept there overnight on 25th November 1873 before being taken to the church. From then on, this date was celebrated with recitation of the Rosary, a sung litany and a hymn of Our Lady of Mae de Deus every year. Although this prayer service did not form part of the programme of the festivities for the Golden Jubilee, it was a spontaneous gathering promoted by the people of Sonarbhatt, and other parishioners too joined them in celebration.

Around 11.45 pm, some people gathered around their respective chapels while others armed themselves with musical instruments and stayed ready in their balconies and courtyards, awaiting the ringing of the bells of the church accompanied by 21 salvos of the khon’nes. All the chapel bells were also rung and people sang praises to the Mother of God in their homes. This was something quite unusual, and it marked the beginning of the festival of the 50^th Anniversary of the founding of Saligao’s Mae de Deus Church.

After just a few hours, the Angelus bells rang again at 5:00 am along with the khon’nes and firecrackers and the Alvorada played by Banda Central from Margao. Wafting along the morning breeze, the sounds of the brass band could be heard in every nook and corner of the village and the villagers awoke. The brass band paraded from the church, playing a series of popular tunes, going past the Aula (primary school), D. Pedro Road, the old-age home, the old tinto and then back via the same path to the church, with the villagers cheering and celebrating all along.

Dressed in their Sunday best, the villagers attended the morning Eucharistic celebration in the church at 9:00 am. With Our Lady’s image kept in the transept of the church and all her dear children around her giving thanks to Almighty God, the numerous clergy gathered at the sacristy took part in the High Mass specially approved by his Excellency the Patriarch of the Maternity of Our Lady. The Mass was celebrated by Rev. Cirilo Saldanha from Arrarim, with    Rev. Duarte Fernandes from Donvaddo and Nicolau José Cordeiro from Mollembhatt serving as acolytes. The orchestra played the mass of Santa Cicilia with a magnificent choir of singers.

All the altars were tastefully decorated with natural and artificial flowers of all colours and hues under the meticulous eye of the artist Rev. Cirilo Saldanha. The space where the pavilion of Our Lady stood was decorated with green plants and vases with flowers of various colours. After the gospel, the Rev. Parish Priest Bacharel Sebastião José Lopes Lobo ascended the pulpit, and with intense emotion uttered the first words “Te-Deum Laudamus” (We praise you, O Lord). Then the preacher spoke about what must have been going on in the minds and hearts of his parishioners and with words of praise and thanksgiving to God spoke about the Mother of God being a teacher and mother for 50 years to her sons and daughters of Saligao. It was a stirring sermon. The rest of the ceremony went on well, at the end of which the blessing of the Blessed Sacrament was given and the ceremony ended with the singing of Salve Regina (Hail Holy Queen). The mass ended at 10 am and the devotional music played by the band filled the hearts of the parishioners with pride and joy as they left the church.

by Fr. Nascimento Mascarenhas

A couple of weeks ago we celebrated the 137th anniversary of the Mae de Deus Church in Saligao. Elaborate as the celebrations no doubt were, it is unlikely that they came even close to the pomp and grandeur of the 50th anniversary celebrations way back in 1923 [the Church . . . → Read More: The Golden Jubilee Of Saligao Church (1923) – I]]>

by Fr. Nascimento Mascarenhas

A couple of weeks ago we celebrated the 137^th anniversary of the Mae de Deus Church in Saligao. Elaborate as the celebrations no doubt were, it is unlikely that they came even close to the pomp and grandeur of the 50^th anniversary celebrations way back in 1923 [the Church was founded on 26th November 1873].

In the annals of the Saligao Church, the 50^th anniversary celebrations of its foundation, held on 26^th November 1923, was an event that made big news in various journals of Goa. Its remote preparation began with the meeting of the parishioners held on 29th October 1922 under the chairmanship of the then parish priest of Saligao, Rev Bacharel Sebastião José Lopes Lobo from Moira, wherein a tentative programme of festivities was placed before the assembly and time was given to them to come out with new ideas to be included in the programme as well as celebrate the events both religious and social in the best manner that would have a lasting impression on the minds of the people of the village.

It was also decided that two books would be released: One in 1923 itself, titled Igreja de Saligao authored by the vicar Rev. Fr. Lopes Lobo; and, the second, titled As festas do Cincoentenário da Inauguração da Igreja de Saligao to be written by a Saligaokar, identified as Fr. José Francisco dos Remédios from Tabravaddo, and distributed a year later on 26^th November 1924. During the year-long preparation, the particulars of the various items planned were chalked out in minute detail.

The proximate preparation of the festivities of the 50th anniversary began from the month of September 1923. From then, every evening the boys of the village assembled in the compound of the church under the command of the parish priest. They lined up and marched around the entire compound to the march tunes played on the violin by Fr. Adrião de Sousa. Soon bugles and drums were added to the band in the early days of the month of October.

As the parish priest was busy with many activities, he handed over charge of the boys to Manuel António de Mendonça from Cotula, a teacher at Colégio Mater Dei, for further marching practice. Manuel Mendonça added a large number of boys from the school and trained them all to perfection for the celebrations. Besides marching, the boys were given myriad other responsibilities for the celebration. There would also be boy scouts from the school who would maintain order during the celebrations, while schoolgirls belonging to the Red Cross would provide first aid to those who took ill during the festivities in and around the church.

A map of Saligao to be designed by João Salustiano de Souza, a young artist from Saligao at the time employed in Calcutta, would appear in the Saligao books and in O Heraldo, a Goan daily newspaper, which would also bring out a special edition commemorating the 50^th year, a few days before the feast on 26^th November 1923.

The hymn O Brihante e a Estrela had already been set to music by Joaquim António Mascarenhas from Arrarim. The words of the hymn were composed by the famous poet from Margao, the late Barreto Miranda.

Meanwhile, there would also be a sports meet open to all, and a play staged by the girls of the village. The Director of the Colégio de Santa Maria, Etelvina de Melo, along with her associates would put up the concert with an all-female cast on 27^th November, using the stage specially constructed in the church courtyard. Prior to the big day, there would be three days of spiritual preparations both in the morning and evening.

The preparations and practices for the music concerts were entrusted to various musicians. Dr. Rodolfo de Melo would be the Director and Conductor of the classical concert. Around 50 musicians from Saligao would gather at his residence at Demelovaddo together with the old and young singers from different wards for daily practices of various items. Young girls would be trained in their respective wards by the notable musicians from the village, such as Francisco Xavier Machado from Grande Morod, Joaquim António Mascasrenhas and Wolfgango da Cruz from Arrarim, Santana Gabriel Vaz from Mudd’davaddi, etc. Meanwhile The glory and love and O brilhante e a estrela, would be learned and sung by everyone in the wards. By the beginning of November the villagers had memorized the lyrics and music, and sang wherever they went. There was music all around the place!

As the day of the festival approached, the efforts were redoubled. Buntings of varied colours were readied, and would be hung from the towers of the church and fastened at the other end to the fence in the compound. More than a thousand lanterns for marche aux flambeaux, as well as to be hung on the façade of the church on the night of the 26^th November were readied. Banners with different messages to be displayed over the various gates of the compound, vases and flower pots, bil’lo-madd portals, etc, were planned in advance to the minutest of detail.

Everyone worked together as a team. Everything would have the aura of a festival befitting the commemoration of the Golden Jubilee of the foundation of the Mae de Deus Church of Saligao. The singers and musicians, the celebrants and the preachers, the sacristans and the sextons, and many others working behind the scenes, were all busy in preparation for the imminent great day.

Most of the activities would be taken care of by the sons and daughters of Saligao. The only exception was “Banda Central”, a band from Margao, which would provide music for the vespers, alvorada, procession and sports activities. The band would also perform on the arrival of the Archbishop Patriarch from Calangute (who was to encamp there with his Rev. Secretary) to take part in the evening service on 26^th November 1923. The description of this day needs to be highlighted in another article.

A month before the feast, the historical image of Mae de Deus, made from wood, was brought down from the side altar where it had been placed in 1873. It was noticed that it was made of cedar wood and that it required some refurbishment. Hence the image was shifted to a room in the residence and the restoration work commenced. The left foot of the image was mutilated due to a number of nails that had been inserted therein. A new one was made of teak wood to replace the older cedar wood one. The right foot was also severed, separated and replaced by another made of teak wood, maintain the symmetry. The legs were to be painted anew and other parts of the historic image to be retouched. Everything was worked upon and completed in record time. The image looked perfect now. Much later, in 1972,  C Hubert de Sousa from Nigvaddo (Arrarim), who had a chance of seeing this image from close quarters, wrote in glowing terms about the statue of our Lady of Mãe de Deus, the Patroness of Saligao Church. Once the restoration was complete, the image was kept in the hall, and on the first triduum day it was kept on a podium in the transept of the church.

[To be continued]

As people from all over the world, with roots in Goa’s northern village of Saligao, today celebrate the 137th anniversary of the inauguration of the Mae de Deus Church in Saligao, it’s interesting to look back and establish how much money was set aside for the construction of our beloved Saligao . . . → Read More: What did it cost to build the Saligao Church?]]> by Fr. Nascimento Mascarenhas

As people from all over the world, with roots in Goa’s northern village of Saligao, today celebrate the 137^th anniversary of the inauguration of the Mae de Deus Church in Saligao, it’s interesting to look back and establish how much money was set aside for the construction of our beloved Saligao church all those years ago.

We begin with the set-up of things prior to the laying of the foundation stone of the Saligao church. The year is 1866.

The Inspector of Public Works Department, Major Engineer Martins was asked to draw up a plan for a Gothic Church in Goa, which he did. He presented a budget of the construction of the Saligao Church amounting to 49,869 xerafins and 8 reis in silver. The Comunidade of Saligao is to pay all expenses of the building.

Then Major Martins, through Colonel Inspector Candido Jose Mourao Garcez Palha, sent a letter from Nova Goa, dated 10th April 1866, to the Governor General, Jose Ferreira Pestanha, informing him about the building of a new Church at Saligao in Bardez, Goa, and its plan and budget, as well as the days of auction.

The Comunidade of Saligao also sent its minutes to the Governor General, dated 6th May 1866, regarding the auction of the works of the Saligao church submitted according to the plans and budget proposed by Major Engineer Martins. These were approved by the Governor General through an Order of 20th June 1866.

Public tenders were invited and the concerned parties were asked to appear on the first, eight and fifteenth of July 1866 in the House of Comunidade, where the plan, budget and terms of auction by the Notary of the Comunidade, Sebastiao Salvador Coelho, through public announcement dated 28th June 1866, were displayed.

An additional budget of 1606 xerafins, 4 tangas and 26 reis was presented by the Chief Engineer Martins who was present in the Comunidade of Saligao on 16th July 1866. The Procurator of the Comunidade, Francisco Salvador Pinto, made a petition to the Governor General, dated 17th July 1866, to approve the budget and project. The Governor General gave his approval by an Order of 26th July 1866.

In a public meeting of the Comunidade of Saligao held later that same year, it was decided to have the laying of the foundation stone of the new Saligao church in Goa on 7th February 1867.

Below is a free translation by me of the original budget documents that were in Portuguese. Since I have limited knowledge of architectural designs and terminology, my descriptions might not be accurate. Nevertheless, converting the old system into present-day units and measures, we can conclude that the Saligao Church is 45.70 metres in length, 10.97 metres in breadth, and, from base to the tip of the Cross on the spire, 45.70 metres in height.

Here are details of the documents pertaining to the budget of the construction of Saligao Church of Mae de Deus:

YEAR 1866. More or less the Budget of the expenses of the construction of the Church in the Village of Saligao of the Council of Bardez in the place close to Temba known as MADDAVADDO belonging to the Comunidade de Bardez, is as follows:

Article  A.

In what respects to the works of masonry of the church, the sanctuary and the belfry.

The church will be 100 maos [1 mao = 18 inches] in length and 24 maos in breadth; each wall of the church and that of the sanctuary (Capela-mor) of the northern side will be 40 maos in height, built on a foundation of 8 maos in depth and 7 maos thickness, except the two walls opposite on the southern side. These will be 4 maos in thickness and reinforced by eight buttresses of the dimensions indicated in the plan. The sanctuary will have a vault of full turn.

The belfry will be built bound to the front of the Saligao church. This front which will serve as one of its four surfaces will be 100 maos in height from the base and 13 maos of foundation in depth. The exterior breadth with its pillars will correspond to the total breadth of the church. The principal front of the church and its inferior part with its porch will serve as an entrance to the church.

Regarding the works of the masonry of the sacristy, its corridor and choir arcade of the Saligao church:

The sacristy and the corridor joined to the internal part of the sanctuary of the church will be of 50 maos length and 24 maos breadth and its lateral walls will be 16 maos in depth and 4 maos medium thickness. The three respective dividing walls will have the height proportionate to the breadth of the said accommodations.

The arch of the choir, which should not be more than 20 maos in height from its base, will be supported on four pillars of 4 maos thickness and will have a staircase beginning from the corridor, of 6 maos breadth.

Regarding the roofing of the church, the sanctuary, sacristy and corridor:

The roofing of the Saligao church will have the Gothic system and sustained on six big beams with all supports and covered with tiles. The sanctuary, sacristy and corridor will have the system in use and will be covered also with tiles.

Budget of the Works of Masonry

The foundations and the walls of the Saligao church, sanctuary, arcade of the choir and belfry require 170 braces of masonry of 300 cubic maos each brace. For its construction, the following material will be used: 12,750 big stones, each one 3 BD maos of length, 10 thumbs of breadth and 7 maos of thickness. At the rate of 30 xerafins a brace; 5,100 xerafins.

34 mounds of lime at the rate of 25 xerafins a mound; 850 xerafins.

5,000 baskets of mud (of stones) at the rate of 10 xerafins a hundred baskets; 500 xerafins.

1,500 baskets of sweet sand at the rate of 3 xerafins a hundred baskets; 45 xerafins.

15 maos of coconut jaggery at the rate of 6 xerafins; 90 xerafins.

For works of masons and helpers to dig the foundations, its construction and the walls regulating 10 xerafins a brace, approximately 1,700 xerafins.

The walls in general of the church, sanctuary, arcade of the choir and the belfry, which should be constructed with all its mouldings cimalhas, columns, arcarde, tribunes, vaults and cupolas will produce approximately 425 braces of masonry work of 300 cubic maos each brace. For its construction the following material will be used:

9,000 big stones of dimension and price indicated above; 3,600 xerafins.

10,000 stones of 3 BD maos of length, 10 thumbs of breadth and 7 maos of thickness at the rate of 33 xerafins a hundred; 3,300 xerafins.

12,000 stones of 2 BD maos of length, 9 thumbs of breadth and 7 maos of thickness at the rate of 30 xerafins a hundred; 3,600 xerafins.

5,500 stones of the said length, 14 thumbs of breadth and 6 maos of thickness at the rate of 35 xerafins a hundred; 1,925 xerafins;

400 stones of 3 BD maos square and 7 thumbs thickness at the rate of 100 xerafins a hundred; 400 xerafins.

800 baskets of mud stones idem 800 xerafins.

70 maos of coconut jaggery, idem 420 xerafins.

35 maos of cato, idem 525 xerafins.

For the works of masons and helpers for the perfect execution of all the referred work inclusive of red and white cafelo, calculated at the rate of 20 xerafins each brace; 8,500 xerafins.

The same for the works of carpenters for the construction of all unadorned, entering into account the wood and all necessary material; 500 xerafins.

The walls of the sacristy an the corridor with its foundations and the walls of cement mixed (entulho) in total will produce 60 braces of masonry work. For the execution of its construction the use of the following material will be necessary; 6,700 stones of 2 BD maos of length, 9 thumbs of breadth and 7 thumbs of thickness at the rate of 30 xerafins a hundred; 2,010 xerafins.

15 moios of chunnam at the rate of 25 xerafins a moi; 375 xerafins.

1,200 baskets of mud stones at the rate of 10 xerafins a hundred; 120 xerafins.

300 baskets of sweet sand at the rate of 3 xerafins per hundred; 9  xerafins.

4 maos of coconut jaggery at the rate of 6 xerafins a mao; 24 xerafins.

2 maos catho at the rate of 15 xerafins a mao; 30 xerafins.

Of the works of masons and helpers at the rate of 12 xerafins a brace; 720 xerafins.

The staircase of the choir and the steps, for internal doors of the corridor of the church can produce 7 braces of work of masonry which sum up to 35 xerafins each brace; 245 xerafins.

In what respects to the budget of the timber (roofing):

For the roofing of the sanctuary which should be of two layers and covered with false-tiles will have the following materials:

60 maos girders of timber of mareta of 4 and 6 thumbs of thickness at the rate of 2 xerafins a mao; 120 xerafins.

62 beams of timber each one of 8 maos of length and of 3 or 4 thumbs of thickness at the rate of 1 xerafin a mao; 496 xerafins.

31 beams of timber each one of 5 maos of length and one of said thickness at the rate of of 3 tangas a mao; 93 xerafins.

100 maos of thin timber planks fillings and over it wooden planks of 5 thumbs of breadth at the rate of 15 xerafins a hundred; 15 xerafins.

3,000 small beams kami at the rate of 8 xerafins a hundred; 240 xerafins.

12,000 false tiles of big dimension at the rate of 10 xerafins a thousand; 120 xerafins.

1 BD moios of chunam for the peaks, water channels and moulding (patnam) at the rate of 25 xerafins a moi; 37 xerafins, 2 tangas and 30 reis.

100 baskets of sweet sand at the rate of 3 xerafins a hundred; 3 xerafins.

For carpentry work 100 xerafins.

The same for persons (oleiros) that place the tiles, mouldings (patnam), etc, 60 xerafins.

For the roofing of the church by Gothic system which has to be fixed on master beams and covered with false tiles, the following amount will be spent:

12 tin boxes of seasoned teak, each piece of 14 maos of length and 6 to 8 thumbs of thickness, 6 master beams at the rate of 42 xerafins each; 504 xerafins.

350 tin boxes of equal timber and thickness for plumes, arcs and other inclinations that should reinforce the beams at the rate of 2 BD xerafins a mao; 900 xerafins.

36 curves of the same timber each one of 5 maos of length which after chiseling remains 6 and 8 thumbs of thickness at the rate of 2 xerafins a mao; 360 xerafins.

5 small beams of 11 maos of length each and 5 and 7 thumbs of thickness for the peak at the rate of 22 xerafins each; 110 xerafins, 2 tangas and 30 reis.

120 maos traverse of 5 and 7 thumbs of thickness at the rate of 2 BD xerafins a mao; 300 xerafins.

40 water channels (aguaneiras) each one of 11 maos of length and 4 and 6 thumbs thickness for the 8 orders of frames (fieira) or moldos madres at the rate of 2 xerafins a mao; 880 xerafins.

68 teak (mareta) for 34 scissor-shaped (tesoura), each one of 15 maos of length and 3 BD and 5 thumbs of thickness at the rate of 1 BD xerafin a mao; 1,530 xerafins.

34 teak beams for oliveis idem 408 xerafins.

3,800 maos of teak for the laths (ripa) of 3 thumbs of length and one of thickness, 25 xerafins a hundred; 950 xerafins.

2,700 maos of champo of 10 thumbs of length at the rate of 30 xerafins a hundred; 810 xerafins.

24 bolts of iron (cavilha de ferro) to bolt the master beams at the rate of  3 xerafins each; 72 xerafins.

14 maos of big nails of teak (pregos grandes aguaeiros) at the rate of 6 BD xerafins a mao; 91 xerafins.

10 maos of nails with head (pregos da cabeca) for the laths at the rate of 10 xerafins a mao; 100 xerafins.

5,000 big iron nails at the rate of 4 xerafins a thousand; 20 xerafins.

3,000 big false tiles at the rate of 10 xerafins a thousand; 30 xerafins.

12 black stones each one of 4 maos in length to be placed under the big cachorros in which the bases of the master teak should remain firm at the rate of 6 xerafins each stone; 72 xerafins.

6 mounds of chunnam (mois de cal) for the top and water-channels, to equip and fix the tiles with mortar by a system of pipes, at the rate of 25 xerafins a moi; 150 xerafins.

400 baskets of mud of stones at the rate of 3 xerafins a hundred; 12 xerafins.

4 maos of coconut jaggery at the rate of 6 xerafins a mao; 24 xerafins.

For the work of carpentry, for the perfect execution of all this construction; 1,500 xerafins. The same for blacksmiths in the form mentioned; 300 xerafins.

To construct the wooden frames of the sacristy and corridor with tiles of one water-channel and false tiles will consist of the following materials:

164 maos of traverses (frechas) of 4 and 6 thumbs of thickness according to the price indicated above; 328 xerafins.

One architrave (tirante) of 7 to 9 thumbs thickness of 16 maos of length at the rate of 4  xerafins a  mao; 64 xerafins.

Two teak beams each of them 14 maos in length and 3 BD and 5 thumbs thickness for the sticks of the frames (para paus de fieira) at the rate of 1 BD xerafin a mao; 42 xerafins.

31 of the same, each one of 15  maos of length and 3 BD and 4 thumbs of thickness at the rate of 6 tangas a mao; 620 xerafins.

18 maos of cross-bars (travetas) of 6 and 7 thumbs of thickness for the 12 cachorros at the rate of 1 BD xerafins a mao; 27 xerafins.

3,000 large laths (covado de ripas largas) at the rate of 80 xerafins a thousand; 240 xerafins.

19,000 false-tiles of big dimension at the rate of 10 xerafins, 2 tangas and 30 reis.

100 baskets of sweet sand at the rate of 3 xerafins a hundred; 3 xerafins.

For the carpentry work 100 xerafins. For the same work by blacksmiths (oleiros) 50 serafins.

For the construction of the floor of the choir of the church (soalho do cor o da Igreja) and its staircase which should be of turned balustrades (balustres torneadas). This will require the following material:

1109 traverses each of 2 maos of length and 6 to 8 thumbs of thickness at the rate of 36 xerafins each; 432 xerafins. 450 maos of planks of 9 thumbs of length; 4 tangas and 13 xerafins.

For the railings of the choir with timber and pattern; 175 xerafins.

For the construction of 9 doors of framework (caixilho) of different size and thickness, being four of these with big moulds and panels (mouldur as e almofadas em relevo), all of good and solid teakwood with iron fittings (ferragem) could cost with the pattern (feitio) and fixing in their proper places 785 xerafins.

TOTAL AMOUNT: The total amount of the budget for the Saligao church is 52,802 xerafins, 2 tangas and 30 reis, two parts in silver and the third in copper, which all reduced to silver coinage is equal to 49,869 xerafins and 8 reis in silver. This amount approximately corresponds to the funds allocated by the mentioned Comunidade.

The Mae de Deus Church in Saligao is surrounded by a sizeable courtyard, aptly setting back the impressive façade of the building from the busy CHOGM Road, enabling tourists visiting Goa as well as locals to adequately soak in the Neo-Gothic architectural beauty of the church building as they pass by.

If I am a priest today, I owe it in no small measure to the early guidance I received from Patricio A C Vaz, popularly known as Patru, from Donvaddo in Saligao. At St. Anne’s Chapel, not far from where I lived, whenever the twin-brother priests Monsenhor Cosme, Parish Priest of . . . → Read More: Patru, My Guide]]> by Fr Nascimento Mascarenhas

If I am a priest today, I owe it in no small measure to the early guidance I received from Patricio A C Vaz, popularly known as Patru, from Donvaddo in Saligao. At St. Anne’s Chapel, not far from where I lived, whenever the twin-brother priests Monsenhor Cosme, Parish Priest of Santa Cruz, Ilhas, or Fr. Tome Cordeiro, Educationist in Carona de Aldona, from Mollebhatt; or Fr. Francisco dos Remedios, Vice-Rector of Damao Seminary, from Tabravaddo; or Fr. Eugenio Francisco Xavier Sequeira, Superior General of Pilar Society, from Donvaddo; or Monsenhor Valentino das Chagas Fernandes, Dean of Margao, and Fr. Faustino de Sousa, founder of the Congregation of the Holy Family of Nazareth, both from Mudd’davaddi, and other priests returned to their respective residences on holidays, we youngsters would assemble every morning in St. Anne’s Chapel (there were three altars then) to serve their Masses as altar boys.

Patricio Vaz would guide us in serving them at the Eucharist and if we went wrong at any point, he was always there to help us. He never shouted at us nor raised his hand in anger. He corrected us gently and patiently. He also made sure that we pronounced the words correctly in Latin, as at that time all Masses were conducted in Latin.

Patru loved us much and tolerated our mischief too. He loved us much and tolerated our mischief too. His kindness and courtesy were beyond measure. He often carried sweets and other goodies in his pockets, probably with the sole intention of sharing them with us. Somehow, whenever and wherever help was needed, Patru magically appeared. As a result, he was a household name in Saligao.

He was particularly fond of me and often narrated to me stories about the Saints, explained the meaning of the Mass, and told me the life stories of some exemplary priests – thus, I felt a flame burning in my heart to embrace the priesthood. This vocation was reinforced in my heart and mind by my family members also. May God reward them all.

From the organisation of the Sunday liturgy or the annual St. Anne’s feast, to giving final touches to the funerals of the dear departed, to using his influence in matters social, religious and even governmental, Patru was always at the forefront. The fantastic annual dances he organised on the occasion of the Church Feast, the football matches at which he officiated as a referee, can never be forgotten. Patru is also credited with having saved a woman from drowning, despite danger to his own health and life, and that too in the dead of night.

He served as an assistant sacristan in the Saligao Church and later migrated to Bombay in search of greener pastures. But Saligao beckoned him lovingly and insistently. He returned and set up his own bar near the old tinto, called Casa Vaz e Irmaos, which was very popular and successful up to 1961.

Patricio Antonio Caridade Vaz was the son of Sebastiao Caetano Vaz (Saligao) and of Ana Maria Mascarenhas (Siolim). He passed away at Donvaddo in Saligao on 2nd. October 1981. But, to quote the well-known epigram of Greek poet and scholar Callimachus, “A good man never dies.”

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 Saligao Church parish in Goa has been celebrating the “Passos” (Passion Play/Procession) in the Mae de Deus Church over the years during Lent. The church has the images of all the Passos and they are held at the Saligao church on every Sunday evening during Lent, except one Passion play . . . → Read More: The Passos at Saligao Church]]> by Fr. Nascimento Mascarenhas

The Saligao Church parish in Goa has been celebrating the “Passos” (Passion Play/Procession) in the Mae de Deus Church over the years during Lent. The church has the images of all the Passos and they are held at the Saligao church on every Sunday evening during Lent, except one Passion play which takes place at St. Anne’s Chapel on Palm Sunday. The Passos are enacted at many other Goan churches and all churches in Goa observe the season of Lent with great solemnity.

On the 5th Sunday of Lent, Saligao village celebrated the main Passo, commemorating “Jesus carrying the Cross, meets His most afflicted Mother.” A lot of preparation went into the erection of the stage and dressing of the image of Jesus in purple, crowned with thorns and carrying the cross, as well as that of Our Lady, in blue, and depicting a crescent silver crown and seven silver swords on her chest.

The sacristans and the men folk of the village gathered at theSaligao  church in the morning. On an especially erected dais, the two images were dressed and the cross draped with “jelles” and kept one behind the other. In our times a black curtain covered the images from the view of the faithful. At a given signal during the sermon, the curtain was raised and the images were on full view. After a short meditational break, the sermon would continue. During those old times there was no Mass in the evening. But there was singing of the Penitential Psalms by the priests, followed by a sermon on the Passion of Christ.

Procession

Then the procession began. The sacristan with the bell for “escanso” (rest) and the altar boy with a cross led the procession, followed by little boys and girls in a double line. Next came older girls and ladies, sodalities, boys and men, followed by confrades with their white opa and red murca (opmus) holding candles. These were followed by the bearers with the image of Jesus carrying the cross. The image was always carried along in the procession by strong confrades in turn, and there were four boys carrying supports to bear the weight of the image when the procession came to a halt.

Passos procession during Lent in Goa

Behind these groups was the priest carrying the image of Holy Wood (Lenho Santo), followed by motete singers and the brass band that played penitential tunes. Our Lady, on a specially-made pedestal, arrived next. She was carried by other confrades, and another four youngsters with wooden supports to hold the handles of the pedestal and image walked alongside.

Descanso

Prayers were conducted by each section of the crowd, but when the bell was rung for the “descanso” all kept quiet and listened to the motete sung by four cantors accompanied by violins and clarinets.

In Saligao we had three “descansos”. The processional route was from the Saligao Church to the Aula. Then the procession turned and moved in the direction of the tinto and turned again at the tinto facing the Saligao Church, walked down the Cotula road to wend its way through to the compound of the church. It was a good two-hour walk along this traditional route.

The first descanso was on what is now the CHOGM road in Saligao, which touched a muddy road with coconut trees on both sides. Through this road in the middle of the fields one reaches St. Caetano’s Chapel, Arrarim. The second descanso was after the Aula turn and the third was near the small diversion on the Cotula-Church Road. At all the descansos, three different motetes were sung with great feeling, which brought repentance to those who were listening and meditating on them, as they rested for a while before continuing on the onward penitential journey. They were sung in Latin as well as in Konkani.

Saligao villagers of the Hindu faith too carried jelles and deposited them at the foot of the images and joined in the procession for part of the way. The soulful sound of the Saligao church bell broke the occasional silence of the processionalists. Tents were erected at the spots for the descansos. The confrades and other Saligao church association members maintained the order during the procession. They also led the rosaries and hymns.

Veronica Song

Once the procession reached the compound of the Saligao church, those who could get seats were considered lucky, while the others stood patiently for another hour or so. The specially-constructed pulpit outside the church had a big tent alongside. It was from here that the Veronica Song would be sung. Everyone one strained their eyes and eyes to see and hear which young lad or lass was singing “the Veronica”.

The mestre tuned his violin to the right tone. The lad cleared his throat and was ready to begin the first lines of the Veronica Song. At the appropriate bar the young fellow opened his mouth in song, while at the same time unravelling a scrolled picture of the Vero Icon (the real face) of Jesus. All admired the way the lad sang the high-pitch note to perfection (it is this note that the young lad/lass had been asked to sing repeatedly, during practice). At the end, the people kissed the face of Jesus from a distance, and the young lad too kissed the picture, rolled it quickly and descended from the tent. The nearby “Houddeveam fullamchim zaddam” kept shedding their flowers even as many of the faithful shed tears during the Veronica song. Later the priest, usually someone invited from another parish, ascended the outside pulpit to unfold the mystery of the Seven Sorrows of Our Lady.

A few of the restless people, instead of listening to the Word of God, were more keen to buy “boje” from Surya of  Cotula. The aroma of the fried snacks tempted the faithful to break their fast… and the “tambddi xerbott” of Harichand, also from Cotula, invited all and sundry to quench their thirst. During the preaching, several people went forward to worship  Jesus and Mary by bowing before their images. Some fulfilled their vows, others did it as a humble gesture of reverence. After the service, as the people departed in silence, the doors of the Saligao church were finally opened, and the images kept in the Saligao church until the feast of Our Lady of the Sorrows on the following Friday, preceding Palm Sunday.

My only regret

My only regret, and a dream which remained unfulfilled, was that as a young boy I was never picked to sing the Veronica Song! To appease me, in the year 1948, my uncle made me stand on the dining table in our house, handed me a rolled almanac with a picture of Jesus on it and asked me to sing “Ecce Vidimus” (the Veronica Song, “Auchituch Nodor”). The audience was made up of our family members. After the song I walked around the table with the picture, and my “audience” kissed it. I was accompanied on the violin by my uncle. Of course as a priest, in several of the churches of Goa, I have had ample opportunity over the years to teach the Veronica Song to many, in Latin as well as in Konkani, making up many times over for my juvenile childhood regret.