Mando (music)

Mando or Manddo (Konkani mānḍô) is a musical form that evolved during the 19th and 20th centuries among the Goan Catholics of Goa, India. It represents the meeting point of Indian and western musical traditions.

The music has elements of both Indian and western culture. Traditional musicians of the Goan mando, ready up on their instruments.
Mando Festival in Goa.

The music has elements of both Indian and western culture. The males wear formal coats, showing Portuguese influence, while females wear a unique Indian costume (bazu torop or pano baju).

The ceremonial torhop-baz worn during the mando dance was of velvet or silk, red, blue or green in colour, embroidered with gold (rarely with silver) threads. The mando festival at the Kala Academy, with performers decked up for the event. Goa.

The ceremonial torhop-baz worn during the mando dance was of velvet or silk, red, blue or green in colour, embroidered with gold (rarely with silver) threads. A white or blue shawl was worn. The socks had to be white and the slippers ornamented.

This was all graced with a fan, which enhanced the lady's mood with a secret charm during the dance. Singers of the Mando (Konkani folk music).

This was all graced with a fan, which enhanced the lady's mood with a secret charm during the dance. Nowadays mandos are highlighted with their dance respective of their song. The plural of manddo in Konkani is mande. The major theme of mandos is love, the minor ones being historical narratives, grievance against exploitation and social injustice, and political resistance during the Portuguese presence in Goa.With grace in voice charm in costumes the performances are enhanced.

Instruments used in mando music are guitars, violins and the ghumot drum.

Musicians ready for the Mando stage. Konkani music. Goa.

The accent in Konkani is almost always on the last syllable. The dialect used in the classical mandos is the Bambonn Saxtti of Salcete, particularly as spoken in the villages of Benaulim, Curtorim, Cortalim, Dabolim, Dramapur, Loutolim, Margao-Fatorda, Quelossim, and Raia, where most of them originated.[1]

Performers of the Mando song-dance form pose for a photo on a rainy day outside their home in Curtorim.

It is the most musical of the Konkani dialects with its consistent use of elisions. One of the characteristics of this dialect is that words are stretched out in pronunciation with the addition of an extra vowel sound either in the middle of the words or at the end epenthesis. Thus the word dista is lengthened to disota and sanddlear into sanddilear. The suffixes –i and –o are commonly used to add an extra syllable to a line. Thus larar becomes larari and neketr becomes neketro. The full sound -o- is softened in this dialect. Thus roddonk becomes roddunk, mozo becomes muzo. The possessive pronouns in the mando have the Salcete form, as tugel´lem for tujem, mugel´lem for mujem or mojem. Shorter forms are derived when the music needs to cut off a syllable, e.g. tuj´ kodden (koddem) instead of tuje koddem and mak´ naka instead of maka naka. Not only the phonetics correspond to the Salcete dialect but also words like masoli (masli) for “fish” instead of nishtem, e.g. “Dongrari fulo nam, doriant masli pun nam”. The Brahmins address a girl or a woman with “rê” instead of “gô” and use the pronoun “ti” instead of “tem”.

Mando dancers on stage, Goa.

The mando is mostly a monologue, in the first person singular or plural, except for the historical narratives. In some mandos, however, one person addresses another, who in turn replies. Singing is accompanied by gentle turning sideways to the rhythm, thus creating both a visual and auditory performance.

Adeus Korchu Vellu Paulu (The Farewell Hour is here)
Konkani lyricsTranslation
First stanza

Adeus korchu vellu paulo.
Ai mhojem kalliz rê fapsota.

The time of farewell is now here.
Oh! my heart begins to fear.

Repeat

Dispediru korchea vellar,
Ho sonvsar naka-so disota.

At this moment of saying farewell,
In this world I no longer wish to dwell.

Repeat
Refrain
Second stanza

Vochu voch rê roddum-naka,
Devu feliz kortolo tuka.

Godspeed, Godspeed, do not weep,
The Lord thy happiness will keep.

Repeat verse
Third Stanza

Sogleam amkamgo sanddunum,
Vetai tum dispott'tto zoddunk.

Leaving all your friends this way,
To earn your daily bread you go away.

Repeat

Tuj' felicidad' choicheako,
Otrekanim rabtam mu rê hanvum.

To witness your joyful cheer,
I'm anxiouslywaiting here.

Repeat
Repeat Refrain
Fourth Stanza

Forsan adeus kortam tuka.
Fugar zaun dukham rê golloitam.

Reluctantantly farewell to you I'm bidding,
As choked, I am bitterly weeping.

Repeat

Zaitem martir hanv bhogitam,
Ankvarponn tukach rê bhettoitam.

I'am suffering much tortured feeling,
So my virgin nature to you I'm offering

Repeat
Repeat Refrain
Source: Mando taken from the Greatest Konkani Song Hits Vol. 1 (2009)[2]
Tambdde Roza (Tuje Pole) (Rosy Pink Art Thy Cheeks)
Konkani lyricsTranslation
First stanza

Tambdde roza tuje pole.
Dhukhanim bhorleat mhoje dolle.
Papachem licens asa zalear polle,
Kazar zanvcheak mhoje kodde.

Your cheeks are like roses red.
Whilst from my eyes tears bled.
Check the approval of your dad,
For me, with you, to be wed.

Second stanza

Papachem licens asa rê mhaka.
Kazar(u) zanvcheak rautam tuka.
Tum tor kazar zaina zalear moga,
Mhoji bhirmott futt'ttoli tuka.

I have my father's approval, I do.
And so to wed, I wait for you.
If you do not marry me, my love true,
My curse will surely come upon you.

Third stanza

Soglle chole ekttaim zanv,
Adorar(u) kori mhaka.
Zanvcheak sasnak potin tuji,
Ballgun dhovorlol' mhaka.

All the boys used to gather round,
As me so desireble they found.
I wanted forever to be your mate,
But you left me so utterly desolate.

Third stanza

Papan kazar keli mhaka.
Sukachi dukant vhorun ghatli.
Mhotte aulist bab(u) ievn hanga,
Perturbar(u) mhaka keli.

My father did get me wed.
And from joy, did made, me sad.
Still came, the young men refined,
And disturbed my peace of mind.

Source: Mando by Ligório Costa (1851–1919) taken from the Greatest Konkani Song Hits Vol. 1 (2009)[3]

Some other mandos are:

  • Bara Tera Orsam Zalim
  • Dove Rozericho Collo
  • Gupit Môg Burgeaponancho
  • Sangato Moga Tuzo

See also

References
  1. Rodrigues 2009, p. 22
  2. Rodrigues 2009, pp. 24–25
  3. Rodrigues 2009, pp. 212
Sources
  • Rodrigues, Francis (2009), Greatest Konkani Song Hits Vol. 1, Toronto: Pater Publications, ISBN 978-0-9811794-0-7, retrieved 2010-02-22
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.