Konkani Music
A Dutch priest, Fr. Harve Barzen, is believed to be the first to introduce Goan's to Western religious music. Later, under the Portuguese, who conquered Goa in 1510, the knowledge of Western music was imparted in local parish schools. Though the Goans have derived their music from the Portuguese, Goan Folk Music is a blend of Western music and Hindu temple Music. Where the choirmaster (who was also the Parish school music teacher) played a pivotal role. As a result, much of Goa's Folk music owes its origins to religious music; many of the songs are in honour of the 'Virgin Mary'. On the other hand, 'Indian-Konkani' music was principally cultivated in the Shiva temples, by the devotees of the 'linga', the phallic symbol of Lord Shiva. There are 'Hindu khels' (drama) and 'Catholics khels'. The Hindu khels relates to Puranic episodes, such as 'Ram-male' (a variation of Ramlila staged in northern India). 'Musalam Khel,' 'Ghodemodani', 'Phugdi,' 'Goph,' 'Tonyamel,' (a dance reminiscent of the Gujarati 'dandya-ras.') and of other religious tales. While the Catholic (khels) version, has no specific structure. The 'Jagor' was the most popular Christian folk dance some of the most accomplished singers, and musicians of Indian classical music, who are products of Goa's rich music heritage, including Kesarbai Kerkar, Moghubai Kurdikar and Kishori Amonkar.
Goa is indeed 'an oasis of many cultural incarnations' i.e. a blending of many cultures.
The main feature of the music and musicians of Goa is their remarkable adaptability to the changing fortunes of their land. Their ability to assimilate new idioms, without in any way surrendering, or renouncing, the traditional forms of expression and styles of composition. According to a well-known Goan scholar - Mariano Saldanha, 'The Goan deknni - which many believe is a blend of Hindu and Catholic music - is derived from dekham, dekhann or dekhinn.' But, then again, there is Joe Pereira's view -'The deknni, as we know it today, is a dance-song depicting the life in the Hindu areas on the other side of the river, other than that of the Christian parts.
The concern with Hindu ways shows the Goan Christians nostalgia for a lost past. After all, it is often said that scratch a Goan Christian and you will find a Hindu below. Yet another popular form of Goan music is the 'dulpod', it is a song of joy, embracing all life (flora and fauna). The attitude of the poet of 'dulpod' is objective, his art, is the art of impressionism. This type of song is not much older than either the 'mando' or the 'deknni.'
The 'Mando,' is a song of passion, born of leisure and civilization, often having a trivial subject. Anna Jacques composed the popular Konkani folk song 'Hanv Saiba Poltodi Vetam more than four hundred years ago. She was married to a musician, when she wrote this song. She is also credited with composing many more songs - some 250 of them, with lyrics & musical notations. This was during the time of the exodus across the Mandovi River, by the residents of Divar Island.
In the 1880s, the often-penniless youth from the parish choir reached the big Indian Metros - Bombay & Calcutta. In search of their fortunes, and formed small bands. Some of these budding musicians found their way into the bands of the local British Auxiliary Forces. Here, they honed their knowledge of Western music. The others found ready employment with the brass bands that preformed at Hindu and Parsee wedding processions. In Bombay, most of the organized bands were established along the route from Dhobi Talao to Princess Street. But it was only with the arrival of the silent films, that the Goan musicians found a firm means of employment, in the orchestras of the theatres. Some Goan musicians were engaged to play at English clubs, Gymkhanas and Italian restaurants, while others found flavour in the courts of Maharajas. Though, they all played English tunes, it was these pioneers who molded Konkani music. This gave it its unique Western flavour. With the transition to radio, came the most creative phase for Goan music, Konkani music, was now, accessible to all.
Konkani Music Today:
'Cantaram' (Konkani for songs) have for decades now been taking their cues from real life. Local Konkani singers are quick to get across their comments, on men and matters, often within days of the event, with stunning boldness, criticism and satire. Today, their bluntness is often directed against politicians and the bureaucracy; and on occasions against the feminine gender. But, there again, this does not limit the Konkani musician to securities-scandals, hawala or Bofors - family planing, Princess Diana & Mother Teresa's deaths, and rising prices are all good subject matter. While English pop music, today is obsessed with themes of love. Konkani 'cantaram' deals with serious day-to-day issues. Be it the agitation against the Konkan Railway, the collapsing bridges in the state or flooded market places and bus-stands. Real life, realpolitik - that's Konkani music. Straight from the shoulder, no humbug no bullshit!
Oh yes, we do have our share of copycats, who will pick up a Hindi film tune as quick as any of our Bollywood maestros. They can ape western pop, as well as other opportunists' e.g. 'Sadam Hussain Tu Koso Asa….'
A Dutch priest, Fr. Harve Barzen, is believed to be the first to introduce Goan's to Western religious music. Later, under the Portuguese, who conquered Goa in 1510, the knowledge of Western music was imparted in local parish schools. Though the Goans have derived their music from the Portuguese, Goan Folk Music is a blend of Western music and Hindu temple Music. Where the choirmaster (who was also the Parish school music teacher) played a pivotal role. As a result, much of Goa's Folk music owes its origins to religious music; many of the songs are in honour of the 'Virgin Mary'. On the other hand, 'Indian-Konkani' music was principally cultivated in the Shiva temples, by the devotees of the 'linga', the phallic symbol of Lord Shiva. There are 'Hindu khels' (drama) and 'Catholics khels'. The Hindu khels relates to Puranic episodes, such as 'Ram-male' (a variation of Ramlila staged in northern India). 'Musalam Khel,' 'Ghodemodani', 'Phugdi,' 'Goph,' 'Tonyamel,' (a dance reminiscent of the Gujarati 'dandya-ras.') and of other religious tales. While the Catholic (khels) version, has no specific structure. The 'Jagor' was the most popular Christian folk dance some of the most accomplished singers, and musicians of Indian classical music, who are products of Goa's rich music heritage, including Kesarbai Kerkar, Moghubai Kurdikar and Kishori Amonkar.
Goa is indeed 'an oasis of many cultural incarnations' i.e. a blending of many cultures.
The main feature of the music and musicians of Goa is their remarkable adaptability to the changing fortunes of their land. Their ability to assimilate new idioms, without in any way surrendering, or renouncing, the traditional forms of expression and styles of composition. According to a well-known Goan scholar - Mariano Saldanha, 'The Goan deknni - which many believe is a blend of Hindu and Catholic music - is derived from dekham, dekhann or dekhinn.' But, then again, there is Joe Pereira's view -'The deknni, as we know it today, is a dance-song depicting the life in the Hindu areas on the other side of the river, other than that of the Christian parts.
The concern with Hindu ways shows the Goan Christians nostalgia for a lost past. After all, it is often said that scratch a Goan Christian and you will find a Hindu below. Yet another popular form of Goan music is the 'dulpod', it is a song of joy, embracing all life (flora and fauna). The attitude of the poet of 'dulpod' is objective, his art, is the art of impressionism. This type of song is not much older than either the 'mando' or the 'deknni.'
The 'Mando,' is a song of passion, born of leisure and civilization, often having a trivial subject. Anna Jacques composed the popular Konkani folk song 'Hanv Saiba Poltodi Vetam more than four hundred years ago. She was married to a musician, when she wrote this song. She is also credited with composing many more songs - some 250 of them, with lyrics & musical notations. This was during the time of the exodus across the Mandovi River, by the residents of Divar Island.
In the 1880s, the often-penniless youth from the parish choir reached the big Indian Metros - Bombay & Calcutta. In search of their fortunes, and formed small bands. Some of these budding musicians found their way into the bands of the local British Auxiliary Forces. Here, they honed their knowledge of Western music. The others found ready employment with the brass bands that preformed at Hindu and Parsee wedding processions. In Bombay, most of the organized bands were established along the route from Dhobi Talao to Princess Street. But it was only with the arrival of the silent films, that the Goan musicians found a firm means of employment, in the orchestras of the theatres. Some Goan musicians were engaged to play at English clubs, Gymkhanas and Italian restaurants, while others found flavour in the courts of Maharajas. Though, they all played English tunes, it was these pioneers who molded Konkani music. This gave it its unique Western flavour. With the transition to radio, came the most creative phase for Goan music, Konkani music, was now, accessible to all.
Konkani Music Today:
'Cantaram' (Konkani for songs) have for decades now been taking their cues from real life. Local Konkani singers are quick to get across their comments, on men and matters, often within days of the event, with stunning boldness, criticism and satire. Today, their bluntness is often directed against politicians and the bureaucracy; and on occasions against the feminine gender. But, there again, this does not limit the Konkani musician to securities-scandals, hawala or Bofors - family planing, Princess Diana & Mother Teresa's deaths, and rising prices are all good subject matter. While English pop music, today is obsessed with themes of love. Konkani 'cantaram' deals with serious day-to-day issues. Be it the agitation against the Konkan Railway, the collapsing bridges in the state or flooded market places and bus-stands. Real life, realpolitik - that's Konkani music. Straight from the shoulder, no humbug no bullshit!
Oh yes, we do have our share of copycats, who will pick up a Hindi film tune as quick as any of our Bollywood maestros. They can ape western pop, as well as other opportunists' e.g. 'Sadam Hussain Tu Koso Asa….'
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