Goa-World.Com News: Alfred Rose No More

J U L I A N A

Juliana, Juliana, tokli moji tharear nam,
Juliana, Juliana, kernam mevxi Dev Zannam
Sopnan sanglelm nanv
Vonttancho ghetloi umanv
Sanglonaim tuzo ganv,
Khuimsor tuka sodum anv
Juliana etc……….
Vatter choltat titleaim cheddvank, ubo ravon polletam
Moje nodrek, moje zoukek, poddteleim mhunn axetam
Mogan kalliz fugar
Sopnan tokli pikar
Rupnnem korta virar
Sodun anv zalom bejear
Ponnje, Vasco, tossoch Margao tuka sodunk bhonvlom anv
Aldona, Britona, atam pavlom Saligao
Sadho anv nestolom
Urleat te ganv bhonvtolom
Kuddik trass ditolom
Kontan tuka sodtolom
Juliana………….

This is a Concanim Academy Charitable Trust Presentation in association with GoldenGoa.Org

NOMAN TUCA ALFRED ROSE

ALFRED (ROSARIO FERNANDES) ROSE, AMCAM SODDUN APLAI ROCHNARACHEA GHARA GELA 

21ST OCTOBRA-CHEA DISA, TANCHO INTER'R 23TH OCTOBAR 2003 SAJACHAI 16.OO VORAR 

ST.MICHAEL IGORJ (MAHIM, MUMBAI, INDIA) ZATOLO.

Sean D'Souza.
 

Translation of a column by Hemacharya, the novelist, dramatist who hails from Karnataka, but also known in Goa, Mumbai and elsewhere for his long association with Konkanni literature & culture. He has published Konkanni books and won awards including Konkanni Bhasha Mandal, Goa, for his much acclaimed novel "Bai" in 1981.
 

The column appears on www.Daijiworld.com. (Amchi Mati, Amchi Monxam) and depicts the true personality of Alfred, whom Hemacharya knew closely.
The writer can be contacted on Hemacharya2001@yahoo.uk.ae
Please visit the www.Daijiworld.com for more konkanni news from around the world.
 

Alfred Rose: The True Konkankar
 

'T was the midnight of October the 21st. I was not least surprised when Walter (Nandalike) of DaijiDubai.Com informed me of Alfred Rose' death. I was aware that he had since long been confined to the bed and sort of gone into an oblivion. The unfortunate physical state had deprived him of his most valuable gift, his voice, his wit, his physic failed him from his aspirations for a better tomorrow, for himself, Rita and kids, personally, and to the Konkanni world at large.
 

And in no sooner all the live memories folded into a distant past, the glorious tiatro days, the many accolades such as 'he was the first one, he was the only one' many 'first time' were credited to his blank account, the proceeds which he could no longer en-cash.
 

The Goan Tribute

I happened to read through some prominent pieces written over his life and times, and his remarkable achievements. He was rightly called the 'the melody King of Goa', 'the man with the golden voice, the living legend of Konkanni music, and so on.
 

He rightly reserved all these sobriquets, and may be more. He also deserved a state level award for he rose from the Goan soil, which was not to be. Not to get worried, Mahatma Gandhi was never given a Nobel Prize. Yet he remained a Mahatma. For its in Bible we read -'No prophet has ever been recognized in his hometown'.
 

But I had my reasons to get annoyed when none of the above writers made any mention to his rapport with Konkani’s beyond the boundaries of Goa. Probably very few from the Goan circles know of the fact that Alfred was one of a very few artists, besides H. Briton, who was associated with the programmes ventured by other groups including Managaloreans.
 

He was not the one to be restricted within the boundaries of Mangalore, Goa, Karwar or Cochin. He gave performances in the company of Mangalorean stalwart singers such as Wilfi Rebimbus, Henry D'Souza, Jerome D'Souza, Lawrence Saldanha to name a few.
 

He sang in between the scenes of dramas of Francis Fernandes, Cascia, Baptist Mendonca (Bams), Henry D'Silva and others.
 

A Person closer to heart
 

We all his old pals will miss him surely, we will miss his place Mahim, his shop and the vicinity where we used to frequent after a good days drama practice. We will miss the nearby country liquor bar which was our joint, where the well known activities from Mangalorean stage, Harryboy, Leo Rod, K.E. Stanley, Dany Coutinho and others would join us over a sip of peg or two, and then all of them would settle down for a serious discussion. The discussion was never went beyond 'Konkani stage and the people associated with it, including Bab Alfred, as affectionately called by all of us.
 

Some of the above artists were even active on Goan Tiatros and were investigating on the ways and means how both the types of forms in terms of music, dance, and dialogue delivery could possibly be integrated into a common form of stage performance.
 

Alfred was like a bridge between the households of two sisters: one lived in Goa, the other was married off to a distant land called Mangalore. Both loved each other but could not live under one roof for they had their own families to look after. Someone has referred Alfred, as the Konkani’s Ambassador'. I see no reason to dispute on this.
 

Attitude and Approach
 

Has he ever restricted himself to be called as a Goan Melody King ?
 

I beg to disagree. In my opinion, Alfred had a broader vision and a much bigger perspective. He wanted to go beyond the state boundaries and become international, not only through his performance but also in his approach towards Konkanni and its rich heritage.
 

He had realized for sure that it’s our petty mind that confines us within the boundaries and eventually hampers us into planning something bigger, greater. I am afraid it’s the agony and irony of this blessed language. Probably the State Government of Goa is right in not giving Alfred Rose a state award for they knew he belonged to all the other states. Why only a state award, he was befitted a national award, no less than a Sangeet Natak Academy Award. Certainly he belonged to a league of a Girish Karnad of Karnataka or a Vijay Tendulkar of Maharashtra.
 

Ami Sogli Ek
 

I still hold the memory of the day when we saw him standing tall on the stage of Shanmukananda Hall, Matunga, alongside Wilfi Rebimbus, the other Melody King who is also called the 'Nightingale of Konkan'. This was some twenty years ago, and to immortalize an evening which was rightly named as 'Madhur Sangeetachi Sanz'.
 

Families of both the eminent’ were on stage, in full attendance. The audiences, who had no leanings whatsoever to a Goan or a Mangalorean group were there in full attendance. They were listening to a melodious Konkanni music and witnessing a great event to commemorate the association of two great societies, hitherto driven apart by 'opportunists' who had least regard or respect for any religion, language or culture for that matter.
 

And together they sang that beautiful song: Ami Soglim Ek, Hanv noi Goinkar, Hanv noi Manglurkar, bogar Hanv Ek Khoro Konkankar.
 

The Berlin wall
 

It was the year 1987 and I was long been driven out of India to a distant land called Salalah, thousand miles south of Muscat city. We had a united Konkanni association then which presented varied Konknanni programmes for some years. But for the same reason that the rift is common between two sisters, the united association saw a vertical split. Never mind a foreign land, never mind a small thousand plus konkanni speaking populace, never mind a few affluent leaders who called the shots, yet the members felt the need of two different camps. They formed a wall between them, which was stronger than a Berlin wall.
 

And then Alfred Rose came all the way from Bombay with his group that consisted of Mangalorean and Goan artistes. The group was a part of a thiatro written by Meneno De Bandar, which was rightly named 'Ami Sogli Ek'.
 

Bab Alfred came to see me in my office. He was looking young and cheerful. But he was not impressed when I told him that I have disassociated myself from the Konkani stage and literature. But before leaving he said: 'Please come on time in the evening, don't miss the opening chorus." And I knew which song he's in store for us.
 

It was Bab Alfred we knew. For this very reason it pained me when I read the 'obituaries' that appeared on websites and on print media, when Basilo Magno from Spain, among others, said on Alfred Roses' death: A great loss to Goa and to konkani?
 

I beg to disagree with you Basilo, it was not the Goa, but the whole konkanni world lost a role model, a person par excellent and a great entertainer.
 

We were never united before, can we not come together at least now after Bab Alfred’s departure. And behold, as I wind up my column I get to hear that Rita is coming to the Gulf to carry on the mission of her beloved and how ? Very soon she will be appearing on Kuwait Konkani stage alongside Wilfi Rebimbus to revive the memories of the past and probably to sing ‘hanv noi goinkar, hanv noi manglurkar, bogar hanv ek konknankar.
 

And I am sure as they do this, they would miss Bab Alfred to a great deal, the true Konkankar and we all will miss him too.
 

-Hemacharya

Sorgest Alfred Rose haka Xrod’dhanjoli
 

Bhangarachea talleacho Konknni kantaram gavpi Alfred Rose, Otubrache 21ver, Mumbointlea Mahim vattarant somplo.
Alfred Rose gitam ghoddpi, gavpi, tiatr boroupi, digdorspi, kolakar toso porgottnnar ani songitkar aslo. Goem, Mongllur, Golf ani sonvsarchea chearui konnxeamni boroch gazlo. Lokache avddicho aslo.

Alfred Rose, 1932 vorsa Agostache 5 tarker, Aldonachea Nivim vaddeant zolmolo. Tachem purai nanv Rosario Alfred Fernandes. Tachea bapaichem nanv Ambrose Fernandes ani avoichem Dolorosa Fernandes. Lhanuch astana Alfred Rose Mumboi xarant pavlo ani thoinchea Dabul Sonapur igorjechea songit pongddant to mhotvacho aslo. Tannem SSCE meren aplem xikop kelem. Aplea xallechea disamni Alfred Rose khubxea kariavollimni umedhin bhag ghetalo, gitam gaitalo ani lokam koddlean taka xabaski ani inamam favo zatalim. Aplem xikop zatoch to benkint nokrek laglo. Zababdaren ani mogan to apli nokri kortalo. Rita Rose tachi potinn. Tanchea ekvottak dog put - Schubert ani Englebert- ani ek dhuv - Alaria Dally. Aplea bapai Alfred Rose hache vixim dhuv Alaria sangta “amchea bapai sarko amkam anik bapui mellpacho na. Ghorant to sodanch amche thaim Konknni uloitalo.”

Alfred Rose-achim kitlimxinch kantaram HMV, Coloumbia ani Young India hannim gramafonar rikordd korun dovorlelim asat ani az tim amkam Ponnje, Mumboi, Mongllur, Goem FM oxea akaxvannicher aikunk mellttat. Alfred Rose hachea svadik talleak lagun HMV komponin taka Bhangarachea Talleacho mhunn pacharlo.

Alfred Rosean, Joe Mendes hachea tiatrantlean poilech pavtt Konknni machier pavl dovorlem. Tachi machieveli umedh pollevn 1945 vorsa, somplolo nanvosto tiatrist Souzalin hannem taka aplea “Poilea Cheddeacho Bavtizm” hea tiatrant bhurgeachi bhumika korunk soeg dilo.

Alfred Rose lhan piraieruch thavn songit xiklo. Mhunnonuch, rebek, guitar vazounk taka kainch nhoi aslem. 1950 vorsa Rose Buds Swing Band hea nanvacho tannem aplo songit pongodd ghoddlo. Hea songit pongddantlean tannem apleak borench nanv zoddlem. 1956 vorsa tannem aplo poilo tiatr Hench Tem Karann Mumboichea xarant machier haddun lokam koddlean xabaski zoddli. Director Saib ho tacho poilo khell-tiatr. Hache uprant, Monis vo Denvchar ani Pesanvkar oxe he anik don khell-tiatr tannem machier haddle. Rita Rose tachi potinn taka sodanch sangat ditali.

Alfred Rose aplea kuttumba sangata musical show korunk Goeam ailo. Tea xivai Maharaxttr, Mongllurant pavlo. Jerman, Frans, Inglandd, Afrika toxench golfachea desamni gelo. Jivo asumsor tannem 6 musical show dakhoileat. London xarant Konknni musical show dakhoupi to poilo Goenkar.
Alfred Rose hannem aple potinni sangata cholchitramni-i bhumika keloli asa, gitam gailolim asat. Amchem Noxib, Sukhachem Sopon, Boglantt ani Love in Goa him cholchitram tachi govai ditat. Jivo astana Alfred Rose hannem Konknni kantarancheo sumar 40 kesetteo uzvadda haddlelo ani teo hot cakes koxeo khopleoi. Uzvadda haddttolo zalear tache thaim anik don kesetteo toiar zaloleo asleo, ponn tea adinch to hea sonvsarantlo utthun gelo.Tachea nanva khal Kantarancho Jhelo (1 tem 10) uzvadda ailolo asa. Tea bhair 3 romaxeo, ek tiatr ani ek vinodhi chitramni surungailolem pustok uzvadda ailolem asa.Alfred Rose-an sumar apleo 400 gitancheo rikorddi kaddleat oxem mhonnttat, tea bhair 5 hozar odik gitam rochun gaileant. Tantuntlim dedd hozar inglezintlim gitam asat.

1970 vorsa Ceylon reddiocher don inglez kantaram Date with Daisy ani Seagull -gavpi to poilo Goenkar aslo. Toxench, Kuveitt, Qatar, Beirut durdorxonnacher Rita Rose-a vangdda dispi poilo Goenkar. Oso anikui khub toramni tannem poileponnacho man zoddlolo asa.

He toren Alfred Rose-an aplea kantarantlean Konknnik sonvsarbhor bhonvddaili. Ponn tannem Konknni songitachea mollar kelolea vavrak taka fokot loka koddchean xabaski mell’lli. Tachi-tust tokhnnai mhunnon sorkaran taka jivo astana ekui inam’ diunk na. Noxib Alfred Rose-achem !

- Ives Tavares / V-Ixtt

Melody king, Alfred Rose passes away

NT Staff Reporter

Panaji Oct 21: Alfred Rose, beloved of Goans the world over for his Konkani songs as well as his melodious voice is no more. Alfred Rose, dubbed Goa’s Melody King, died at his residence at Mahim, Mumbai around 5 today evening. He was aged about 70. With his death, a long and glorious chapter in Goan Konkani music comes to an end.

The sad news was conveyed to the Navhind Times, by Alfred’s brother-in-law, Mr John Paes of Mapusa who is the younger brother of Rita Rose, Alfred’s wife. Mr Paes said the funeral service will be conducted at St Michael’s church, Mahim, on October 23.

Alfred’s superb voice, his brilliant composing skills and songs with myriad themes, all of which showed his love of his homeland Goa, got a rude jolt when around 2000, he suffered a paralytic stroke that not only incapacitated his entire side but also took away his most prized asset, his voice.

His vast repertoire of Konkani songs includes some of Konkani’s most loved solos and duets with his wife and partner-on-stage, the beautiful Rita. He also introduced his three children to music. While his elder son, Schubert now lives in the United States, his second son, Engelbert and daughter, Alria live in Mumbai.

According to Mr Paes, Alfred though incapacitated by paralysis and despite suffering a second paralytic stroke, was walking about the house with the help of his wife. In fact, the Roses were scheduled to come down to Goa around September 28 to attend Rita’s mother’s 75th birthday on October 2. The party was however held on October 1 and though all the three other siblings were in Goa, Rita the eldest, was the only one absent as Alfred suddenly took ill.

Mr Paes said he was treated at the Holy Family hospital in Mumbai for three weeks and discharged around October 18. But the very next day, he became delirious and semi-conscious from which he never recovered. Mr Paes said the sad news was conveyed to him by Alfred’s daughter, Alria on the telephone today evening.

‘’My mother is broken down. She helped them a lot when their third child Alria was born. Rita suffered severe complications and we almost lost her,’’ said Mr Paes.

It was in late June this year that this reporter spoke to Rita at her brother, John Paes’s Mapusa apartment. In an interview published in the Navhind Times on June 29, Rita spoke lovingly of her husband and their life together.

She said her husband had produced 40 Konkani cassettes while he was working on two more even while being sick. Recounting his pioneering work, Rita said he staged the first Konkani programme on Bombay Doordarshan, produced the first Konkani audio cassette and also produced the first Konkani non-stop musical show.

‘’Yes, he is a trailblazer,’’ said Rita. ``Fourteen plays, five musical shows including the Konkani Rock musical show and the Musical Fiesta. He has written two Konkani novels. But most important are his countless songs.’’

Despite his immense contribution to Konkani music, Goa failed to honour him with the state award due to snags in the rules which forbid the award to non-resident Goans. Though pained at the denial, Rita quoted a friend who told her, “I don’t think he needs awards. He is an icon who will be remembered for a long time. But it is silly of the government to overlook his immense contribution to Konkani and give the award to less deserving people.”

Noted Konkani theatre personality and former Speaker, Mr Tomazinho Cardozo has condoled the death of Alfred Rose and described late Rose as stalwart of Konkani stage.

Mr Cardozo said that late Rose was instrumental in elevating the Konkani stage at the international level. He said the songs of late Rose are on the lips of Goan tongue. ‘In passing away of Rose, Goa and Konkani language has lost a great son”, Mr Cardozo said.

Courtesy http://www.navhindtimes.com/
 

From: Francis Fernandes <francisji@yahoo.com>

Subject: Ace Singer of the Konkani stage passed away

To: goaworldtoday@yahoo.com (www.goa-world.com)/Gulf-Goans e-Newsletter

Ace Singer of the Konkani stage passed away

Alfred Rose the ace singer of the Konkani stage passed away on the 21st October 2003. A great loss to the mother tongue and Goa. With his death another pillar of the Konkani stage has fallen, a singer who has no comparison. We will never again come across another Alfred Rose who served the Konkani stage for a long long time, his love for Konkani will never be forgotten by Goans around the globe. By his death I have lost a great friend and a guru.

May his soul rest in peace.

My heartfelt condolence to his bereaved family, specially Rita and children.
 

Francis De Verna
President, Kuwait-Goa Tiatristanchi Sonstha (Kuwait)
 

From: "Ben Antao" <ben.antao@rogers.com>

Alfred Rose: A Tribute

By Ben Antao

Like many aficionados of Konkani tiatr, I too am saddened to hear the passing away of Alfred Rose, 71, whom I met in Toronto in the summer of 1999. He had told us then that he had been very sick in January of that year, had lost a lot of blood, but God the creator had saved him for Canada.

I was touched by that sentiment. At the end of the concert, he asked for requests. I was sitting close to the stage by the side, next to Francis D'Costa, the promoter, who was operating the audio-visual equipment.

When I called out Kalchi Koddi, he shot a surprised look in my direction as if somebody still remembered that song. But he chose to sing other requests.
Two weeks later, I met him at his birthday party (August 5, 1999) held at the Pride of Goa restaurant (now no more) in Mississauga, Ont. I gave him a copy of the review I had written of his concert.

I shook hands with him and said: "My Konkani is not as good as yours, so I've written the review in English."
"That's okay," he said smiling and accepted the envelope.
Here's the first verse of Kalchi Koddi, composed and sung by Alfred Rose.
 

Lhan astanam anv ankuddtam mhunn thonddiem

Maim maca guttlaitali aple unttien

Bhonvonk voro maca ghoddeanche gaddien

Maim moji sobit diso saddien

Pai borim passoiek vetali zoddien

Sodanch maca vaddtali kalche koddien

Kalche koddien xitui borem lagtalem

Kuddneant jeit zalear vodik ruchtalem

Kunddnea bogor mojean jeunk zai naslem

Nistem tonddak launk nam zalear choltalem

Pai mozo hem polloun maca mhunttalo

Kazarak puta tujea pauo poddtolo

Utram aikon jiv mozo murgottalo.
 

Following is my review that was posted on TGF on July 20, 1999.
Subject: Alfred Rose in Toronto


 

Age may have mellowed his muscles, sagged his skin somewhat, but not vitiated his voice whose resonance and phrasing still remain a delight to the ear.

Yes, the famed tiatrist from Goa, Alfred Rose who has regaled fans of the Konkani tiatr for nearly two generations now was in Toronto this week. He and his wife Rita, also a singer and performer, gave two concerts to appreciative audiences of 300 each on Sunday, July 18.

Alfred shot up on the tiatro scene in the fifties. With his melodious voice and dramatic phrasing, the young Alfred in bowtie and Mexican-style straw hat captured the hearts of Konkani tiatr lovers. He composed songs that celebrated the ordinary Goan and his lifestyle--kalchi koddi and the tailor--and sang them with panache and love that was at once engaging and enduring.

Now in his sixties, Alfred, wearing a toupee, was at his vivacious best. Still slim as ever, he moved like one born to the stage, with elan and aplomb, and enunciated his Bardez Konkani with passion and verve.

Even those in the audience with little acquaintenance with Konkani--the second generation of Canadian Goans--seemed to understand him and lustily cheered his comedy sketches interspersed through the solos and duets.

He started with a rousing rendition of his Kampala piece and held the audience in thrall with his Mandovi rendering, and a recent new composition saluting the late Princess Diana and Mother Teresa.

His much-younger wife Rita, whom I had not heard before, sang like a professional that she is, and complimented her husband well. They were ably supported by a local cast of ten singer-performers in funny skits and satirical songs.

Alfred said that he had performed all over the world--India, the Middle East, Africa, Europe--and it was a genuine miracle that he was in Canada.

He had been very sick in January, had lost a lot of blood, but God the creator had saved him for Canada, he said. Indeed, his deep faith and abiding love of Konkani permeated through much of his singing and performance in Toronto.

He and his wife have three children--the eldest son Schubert is in Arizona, U.S. They were invited to perform by the D'Costa Financial Group, whose president Francis D'Costa said he feels fortunate to live in a country that gives its citizens a chance to promote their Goan and Konkani culture.

Ben Antao

Toronto

July 20, 1999
 

CONDOLENCES
 

Amcho Konkani palkar-cho MELODY KING Bab Alfred Rose (Aldona /

Mahim-Mumbai) hanchea dukhest mornachi khobor aikun amchim kallzam

dukhin villaptat.

Amchi prarthona Dhonia Deva thaim taka Sorgichem sukh ani xanti favo

korunk.

Amchi dukhest buzvonn tachea familik - ghorkarnik Rita Rose, bhurgeank:

Schubert, Engelbert/ Peggy, Alria/ Pravin, natu/natink: Sachia, Shardae,

Ethan, ani tachea bhoinink & bhavank, Elsie/ Xavier, Marshall/Calista,

ani Albert/ Helen.

Kuwait-Goa Tiatristanchi Sonstha

(Kuwait)
 

We are saddened to hear the news of the untimely death of Konkani Stage's MELODY KING, Bab Alfred Rose (Aldona / Mahim-Mumbai).

Our prayers to God Almighty to grant our artist Eternal rest and peace in His Heavenly Abode. Our condolences to the bereaved family - wife Rita Rose, children:

Schubert, Engelbert/ Peggy, Alria/ Pravin, grandchildren: Sachia, Shardae, Ethan, and his sister & brothers: Elsie/ Xavier, Marshall/Calista, and Albert/ Helen.

Kuwait-Goa Tiatristanchi Sonstha

(Kuwait)
Funeral Mass on 23/10/03 at 4 p.m. at St. Michael's Church - Mahim, Mumbai.

A GREAT LOSS TO GOA AND TO KONKANI

- by Basilio Magno (Spain)

Alfred Rose is no more. He breathed his last on 21 October 2003 at his residence at Mahim, Mumbai at the age of 71. But his musical spirit will forever live in the hearts of Goans the world over, for he was truly an international Goan star - a composer, singer, playwright and director - who had won the hearts of all Konkani lovers, wherever he had been. And he had been to many countries where the Goan communities lived, like England, France, Germany, Africa and the Gulf.

He is the only Goan composer-singer in India who has recorded his Konkani songs in London with an English band, thanks to the patronage of the Konkani loving East African Goan, Mr. Jerome Mendes.

Alfred and I were friends in Bombay in the fifties, when I was editing the Cinema Bulletin weekly. When Jerome brought Alfred and Rita to London to give a Show and to record an album of songs in Konkani in 1979, Alfred contacted me in Germany by letter expressing his desire to perform for Goans over there. I hurriedly formed the Goan Cultural Society and with our combined efforts brought them to Germany. For the Musical Show in Russelsheim he was very ably assisted vocally by his popular singing wife Rita Rose. While there he stayed with Rosi and me for four days reviving old friendship and memories. When Rosi and I visited India in 1980, Alfred had come with his car to pick us up at the Mumbai airport to take us to our hotel in Bandra.

The passing away of Alfred Rose is a great loss not only to Rita and her children but also a loss to our Motherland Goa, and more partiularly to Konkani which he had upheld through his songs and plays in Konkani. On this account India's 25th State - Goa, owe to him a sense of gratitude, and I hope it will be repaid by getting Kala Academy's open air auditorium named after Alfred Rose, as was promised by ex-Tourism Minister Victoria Fernandes. It must be left now to Chief Minister Manohar Parrikar to take up the cause.

Many have complained, and rightly too, that for all Alfred's super-worth he did not receive the Goa State medal, saying it is awarded only to Goans residing in Goa, and not in Mumbai. I think it is about time that this rule was amended to include all Goans wherever they may be resident. A Goan is not less Goan for living outside Goa. And Alfred won't be less brilliant because he did not get the shine of the State Medal, for the Goan people's verdict has enthroned him as Goa's Melody King.

I know that no symphony of tears could wash away the sorrow of our dear Rita Rose and her children. But remitting our heartfelt sympathy we assure her of our fervent prayer for the departed soul of Alfred Rose, who I have no doubt, will entertain the Goan souls in heaven, among whom he'll find our two holy compatriots Bl. Joseph Vaz and Ven. Agnelo de Souza. Finally, I may say that in the darkness of his death there'll always be for us the light of his precious music and his contribution to our mothertongue, Konkani.
 

e-mail: basiliom@terra.es

Goa-World.Com Team adds:

ALFRED ROSE (Rosario Alfred Fernandes):

Appropriately crowned "Goa's Melody King", "The Man with the Golden Voice" (courtesy His Master's Voice Recording Company), "Konkani Ambassador, International Superstar". To the Goans he remains "The Legend of Konkani Music". Some of his immortal songs include:

Ago mhoje Sundorea, Patovantli Kunvor, Goreta gheun gori…, Goenkar vo Mungllurkar, Ami sogle Konknne, Sad'di, Ixtt, Dev Nidonk Na, Kalchi Koddi, Poilea Cheddeamchem Baltim, Pain Korunk Na Tem, Mandovi, Lighthouse, Tin Molladik Hatiaram (sui, sut, kator), Pai, A Date with Daisy, Luiza the Bombshell, Viva La Goa, Bamnali Pori, Savkaralo Por, Chander Vati, and Kotta Kuwait.

- courtesy: www.goa-world.com website

A tearful farewell to Alfred Rose
 

The funeral was attended by over 1000 people this evening (October 23, 2003).
The mass was concelebrated by three priests. Before the mass a  cassette was played which brought tears to the eyes of many people. It was a very well organised ceremony.

A thank you address was given by the sister of Rita Rose. Just before the burial Joe Rose spoke in Konkani highlighting some of the achievements of late Alfred Rose.
The month's mind mass is on 21st November 2003 at 7.00 p.m. in St.

Micheal Church, Mahim.
Report by www.goa-world.com - Mumbai team member.

www.goa-world.com

From: "A. Veronica Fernandes" averonicaf806@hotmail.com

GREATNESS OF ALFRED ROSE

It was somewhere in 1958/59, Goans then could not come to Goa without proper travel documents from Bombay. The relationship between Portuguese Government of Goa and Bharat was not good. Yet C. Alvares came to Goa with his magnificent troupe with charming artistes males and females. Amongst females was young and attractive Ophelia Cabral, attractive Violet, physically mighty Cecilia Machado and evergreen Philomena Braz while amongst the males the charismatic Alfred Rose was the center of attraction. With a Chimney Pot Hat on his head and magic wand in his hand and white gloves to his hands came Alfred Rose for the opening song 'Mandovi, ­ Mandovi, ­ Mandovi'

in English & Konkani. On the first row were seated top Portuguese officials from Aguada Jail along with some local “Fidalgos”. The moment Alfred Rose appeared on the stage with his beautiful smile, the entire audience went crazy including the Portuguese officials who especially came only to see him and listen to his angelic voice. Earlier Alfred Rose was known as golden voiced singer thru his song “Dev Nhidonk Na” which was very popular on Emissora de Goa (Goa Radio). That was the first time as a small boy I saw Alfred Rose in my locality for C. Alvares Tiatro “Axea”.

Alfred Rose death on 21st of this month surprised us all even though he was almost bedridden for over a year, physically not fit to move nor speech wise able to talk. His mental faculty was intact and when I met him at his residence in Bombay over 2 years back he was mentally very sound. Earlier very often I used to phone him from Kuwait and enquire about his health, he was answering me o.k. inspite of certain audible symptoms of weakening his speech. Two years back when I met him last was at Margao where he was brought on wheel chair from Bombay for Sangeet Samelan where he was profusely applauded by the capacity crowd attending the Samelan, he was during that time honoured by the organizers for his enormous contribution in the promotion of Konkani Stage Art. During my meetings with him though he was not capable to speak freely but his smile was telling me everything what he wanted to tell me.

After Master Vaz, he was the second Konkani stage celebrity to begin his acting at an early age; the third one was Bab Lipo who is gone into oblivion. He was not only a singer of very high quality but also a very good actor, director, writer, producer and Konkani “Romansi” Writer/Author. For posterity he gifted his songs in the form of books even with Solfas. As an actor he once won the Cine Times Award for performing a very good character role of a 'Blind Person'. As a director he did marvelous job in staging Non-Stop Drama, which was a very good innovative idea on Konkani Stage. As a singer, there is no parallel to him; his voice was so angelic that if I am permitted I can rightly say that only his father A.M.B. Rose’s voice could be somewhat similar to that of Alfred. Those who are trying to imitate him are making mockery of themselves. As composer he was a class by himself.

He was the first to introduce Konkani audio cassette and first to produce and stage musical shows on 'Minus Track'. As a musican he had his own Band "Rose Budds" of which he was the lead singer. During the Portuguese time in Goa, from Bombay he was singing Hosanas in praise of Goa. Many of his songs are most memorable and one of them “Gupit Mog” was unique. His other song “Amche Communidadin Sobona” was a direct attack on those who despise Goan language Konkani inspite of being Goans. His love for Konkani was extreme even though he had his reservation on being a Goan because of the crab mentality of Goan community. Once he told me “if I am permitted to take one more birth, surely I will opt for some other community but never he disowned Konkani".

Even for his wedding, he printed Invitation Card in Konkani. His superlatives lies in creating songs for every occasion and on topics relevant to almost all the aspects of human lives. "Tumchea Burgeank Samballat" was a very good song for Bombay settled people. His “Teg Foler Artinche” speaks volumes of his love for Goan geneii in different fields namely Musician ­ Jose Perry; Konkani Romansi ­ Damacian Caridade & Konkani Stage ­ Minguel Rod. By composing and singing songs with Hindu Konkani accent he attracted huge Goan Hindu community to Konkani Stage. He was also a great Mandoist and Mando singing was his forte.

In 1975 he was the first ever visiting Tiatrist along with his beautiful wife Rita to perform on Kuwait Konkani stage at The Holy Family City Church Hall. The then Bishop of Kuwait Monsg. Victor SanMinguel a Spanish Missionary ­ in his speech praised the beautiful singing qualities of Alfred Rose while Fr. Domnick Santamaria was more vocal in praising Alfred Rose. He staged two shows during his 2 months stay in Kuwait, one was “Angounnechi Vokol” and the other “Bhangaracho Hoti” with the participation of local artistes headed by his “Kumpar” Tony Call who was instrumental in getting the couple to Kuwait. I still remember that overwhelming majority of the audience came to see his first Tiatro in such a festive dress that it looked really great to watch them in Suit and Tie gents while females in rich festive costumes, this was to give high profile welcome to Alfred Rose along with Rita.

Then after he came to Kuwait a number of times, before the invasion of Kuwait as well as after the liberation of Kuwait. About 20 years back when he came once again to Kuwait he was taken to Kuwait T.V. and one of the duets with his wife was recorded and shown on Kuwait TV, which was watched by, innumerable people of different nationalities. He had great love for Kuwait and to express his sorrow he composed a beautiful song “Kotta Kuwait” after the invasion of Kuwait by the brute Saddam Hussain. In Kuwait he had some very good friends and one of them was Alex Martins from Taleigao, also an stage artiste and playwright who was then working for Kuwait Airways. With the initial consent of Alfred Rose, Alex Martins made all preparations for Alfred Rose to come to Kuwait for job but later on Alfred Rose decided otherwise since he took a decision to devote himself entirely for the cause of Konkani Stage and to supplement his income he purchased a Shop in Bombay.

When he appeared on Konkani Stage as a full-fledged artiste mainly as singer Konkani Stage was suffering from the dearth of great artistes who are capable of attracting to it the then new audience. Exactly during this period Alfred Rose appeared and managed to woo this segment of audience, which was considered as anglicized Goans, this audience wanted something new on the pattern of English songs and tunes. Hence, Alfred Rose gave them what they wanted and filled the vacuum and thereby enriched the following of Konkani songs and Konkani Tiatro. His service to Konkani Stage will be remembered by the posterity. He enriched Konkani Stage, he enriched Konkani songs, he enriched Konkani Musical Art. Konkani community in general and Goan community in particular are indebted to his Musical Art. May his soul rest in peace and may God produce mothers to give innumerable births to such Alfred Roses so that Konkani Musical Art will flourish more and more. May Heavenly Father give courage to his wife Rita Rose, his two sons and a daughter Alria to bear this colossal loss.

A few years back, approximately about 10 years when he came to Kuwait to participate in Meena Leitao's "Tiatro", Kuwait Konknni Kendr honoured him in one of the City hotels and presented him with a Gold Medal as a token of appreciation for the excellent work he did for the cause of Konkani Stage Art. While delivering his thanksgiving speech, Alfred Rose said "it was first time that such a honour bestowed upon him and he was all pleased for this small but rare honour". The news of this was widely highlighted in the local media.

On Sunday, 26th October at 7.30 p.m. in Kuwait City, Kuwait Konknni Kendr will organize a condolence meeting for the late Alfred Rose.
 

A. Veronica Fernandes,
Kuwait.

Email: averonicaf806@hotmail.com

- Forwarded by www.goa-world.com

Links at: www.goa-world.com

GOA WORLD Konkani Activists Visit Kuwait

www.goa-world.net/kuwait/1997/activist.htm

ALFRED ROSE & RITA ROSE

Alfred Rose Agostache 5ver 1932 vorsa Aldona zolmolo. Tachem sarkhem nanv zaun asa Rosario Alfred Fernandes. To zaun asa put tiatrist A.M.B. Rose ani Dolorosa Fernandes, hancho.

Sumar oddez vorsancho astanam, taka Bombaint haddun Little Flower of Jesus iskolant ghatlolo. 1939 vorsa taka tachea xikovpean her bhurgeam vangdda ek git gavunk dilem. He toren to poilo C.J. Hall Museum palkar dislo.

Alfred Rose-ak boro soprano tallo aslo dekhun Valent Mascarenhas, hannem taka Dabulchea Mestirik melloun dilo, zannem taka Sam Francis Xavier-achea festachea Novena-che, Salve-int kantar korunk soeg dilo.

Alfred Rose professional palkar poilech pavtt Miss Ida (Jose Mendes - Aldona), hachea tiatrant dislo Dhobitalao. Tannem Salvin ani Thomas Coogan, hanchea sangatak ek kantar mhunnlem, 'Kiteak Jiv Khatai'.

Durea vorgant than to Xavier Iskolant xiktalo, zhoim taka gavpant khup inamam favo zalelim. Tachi huxearkai polleun J.P. Souzalin hannem taka, ek kherit ispixial bhurgeachi part boroili aplea "Poilea

Cheddeacho Baltim" tiatrant 1945 vorsa Bhangwaddi palakar.

Hea tiatrant Alfred Rose-an part keleli Anton Bautis-achi ani tachea podonichi part keleli Anthony D'Sa hannem. Tea xivai hea tiatrant Alfred Rose-an gailem ek Inglez Konkani kantar.

Tachi huxearkai polleun C.Alvares-an taka aplea tiatrant ghatlo nanv diun Junior Rose. Aplea kanatara vorvim tannem lokank dipkhaun uddoile. Tea uprant C.Alvares-an taka aplea khup tiatramnim ghatlo ani 1946 and 1950 vorsa aplea nanv Jr. Rose aslem tem tannem Alfred Rose kelem.

St. Xavier iskolant xikon, 1949 vorsa to SSC pass zalo ani uprant National Overseas & Grindlays, heam bankimnim tannem nokri keli.

Bhurgechponnim Alfred Rose songit xiklo ani violin ani guittar vazoitalo. Adim tiatrist rikorrdim voilim Inglez kantaram mhunntale. Alfred Rose, hannem 1949 vorsa aplem poilench Inglez kantar "Flowers" ghoddlem, ani tea uprant tannem zaitem Inglez kantaram ghoddleant. Tachem bororeantlem borem Inglez kantar mhollear "Happy Go Lucky Man".

1956 vorsa tannem aplo poiloch tiatr 'Yench Tem Karann" Bhangwaddi palkar dakhoilo, zantun tannem mhunnllelem kantar "Mozo Noman" apleak voir kaddteleank man diun. Tache her lovkik tiatr zaun asat "Rogtak Tannelelo", "Lakhpoti Nouro", "Dotor Advogad", "Bhangaracho Voti", "Angounnechi Okol", "Munis vo Deuchar, "Director Saib", "Pessaumcar", adi.

1962 vorsa tannem poiloch non-stop show "Director Saib" dakhoilo. 1960 vorsa to Kid Boxer-a vangdda Afrikek gel'lo tiatr dakhovpak. Konknni E.P. korpak to zaun asslo poilo kantorist.

Alfred Rose Konknnint Romanxi boroitalo ani uvaddaitalo ani tech porim to apleam kanatarchim putikam uzvaddaitalo. Tannem "Amchem Noxib", "Sukhachem Sopon", "Bogllant", heam Konknni filmanim bhag ghetla.

Alfred Rose Konknnint Romanxi boroitalo ani uvaddaitalo ani tech porim to apleam kanatarchim putikam uzvaddaitalo. Tannem "Amchem Noxib", "Sukhachem Sopon", "Bogllant", heam Konknni filmanim bhag ghetla.

"Bogllant" film-ak tannem songit dilam ani gavop kelam. Konknni cassett kaddpeank rosto tannench dakhoila.

Alfred Rose zaun asa poilo Konknnint cassette kaddpak. Aiz meren tannem apleo 28 cassetti kaddleat. Ho zaun assa ek rikordd, karann azunui ekui Konknni kantoristan 9 vo 10 vhoir cassetti kaddunk nant. Tech porim to zaun asa poilo tiatrist, Dhobitalao-chea

Birla Hallant aplo tiatr palkar haddpak. HMV rikorddincher tannem Mahendra Kapoor, Krishna Kale, Shailendra Singh, heam navosteam Hindi playback kantorist-ank, kantaram ani songit diun Konknnintlean tancheo rikorddi kaddleat.

Alfred rose, hachea songit band choltalem "Rosebuds Swing Band" nanvan, zantun tachea dogui bhav, Marshall Rose ani Albert Rose vazoitale. Tachem ek kherit Inglez kantar mhollear "Light House". Hem tachem band kazarank ani her dhobajeank vazoitale.

Alfred Rose-an akaxvannir ani durdixnnear apleo kariavolli dileat, ani azun diit asa. Tech porim to Mungllurkaranchea show-amnim vantto gheta.

Alfred Rose, hannem Konknni palkar sumar 6 'Musical Shows' dakhoileat, zantlo tacho poilo 'musical show' ekdom hitt zalolo. Aplea tiatr ani show gheun tannem London, Paris, Frankfurt - Germany, Afrikechea ani Gulf dhesamnim bhonvddeo keleat.

Alfred Rose-achi ghorkarn, Rita Rose, zaito kall Konknni palkar dista. Ti ganvan Soccorro, Bardez. Konknni palkar tinnem parti keleat ani kantaram gailleant. Tinnem Konknni cholchitra-mnim bhag ghetla, "Bogglant" filmachi ti heroine". Tech porim tinnem akaxvarnnir , durdixnnear, rikorddincher ani cassettincher khup gitam gaileant.


Alfred Rose-achea dogui put Schubert ani Engelbert ani dhuv Alria Dolly Rose tanchea musical show-amnim bhag ghetalim ani tech porim cassettincher gitam gaitalim. Schubert atam tanchea cassettink songit dita, ani gaita.

Special Thanks for the arrangements: Gaspar Almeida with Fausto V. Da Costa. {Amchea kerit dhinvas Gaspar

Almeida ani Fausto V. Da Costa-k) - Goa-World Team

(Kuwait).

REQUIEM MASS – LATE BAB ALFRED ROSE at Holy Family Cathedral - Kuwait City.

Rich tributes were paid to Late Konkani Stage 'Melody King', Bab Alfred Rose (Aldona-Goa / Mahim-Mumbai) by the President (Francis de Verna) of Kuwait-Goa Tiatristanchi Sonvstha as well as Cajetan de Sanvordem. All members acknowledged the effort by the late Bab Alfred Rose as a pioneer in promoting the rich heritage of our Konkani stage. A condolence meeting was organized on October 23, 2003 at 10:30 a.m. at the City Mughlai Restaurant, Kuwait. A Requiem mass offered by Kuwait-Goa Tiatristanchi Sonvstha for the departed soul of Bab Alfred Rose will be held on Wednesday, October 29, 2003 at 5:30 p.m. at the Holy Family Cathedral - Kuwait City. Kindly accept this as the only intimation.

Augusto Morais

Joint Secretary

Kuwait-Goa Tiatristanchi Sonvstha (Kuwait)

(picture: courtesy: Goa Today & Alister Miranda & www.goa-world.com)
http://www.goa-world.net/goatoday/aug2000/leisure.htm )
 

Govt to posthumously honour Alfred Rose on Liberation Day. Goa-World.Com Team thanks the CM for this assurance.

PANJIM, OCT 25 — BY HERALD REPORTER
 

— The Goa government will posthumously honour Alfred Rose who passed away on Tuesday, for his contribution to the Konkani stage on December 19 this year.

This was announced by Konkani Sangeet and Natak Academy’s managing trustee, Tomazinho Cardozo at a meeting held to condole the death of Alfred Rose. The meeting held at T B Cunha hall was organised by Konkani Sangeet and Natak Academy, tiatr artistes and Konkani writers.Cardozo said that when he broached the topic of the demise of the legend Alfred Rose to the Chief Minister, Manohar Parrikar, the latter responded positively and made a commitment that the icon of the Konkani stage would be honoured posthumously on December 19. Parrikar said nobody had brought to his notice that injustice was done to top artistes who have contributed tremendously but live outside Goa and as such are not eligible for the State Cultural Awards. Alfred Rose was one of them as he was not a ‘resident of the State’.

Cardozo spoke about the contribution of Alfred to the Konkani stage, music, etc.

Cyriac Dias urged Cardozo to take up with the matter with the government so that such injustice is not meted out to the deserving artistes in future. Actor-cum-lawyer, Mike Mehta lamented that people in general do not appreciate the contributions and sacrifices made by Konkani drama/tiatr artistes. They have helped enrich the Konkani language but everyone seems to have forgotten them, he rued. His view was the posthumous award should not be accepted as the governments should have recognised Alfred Rose’s contribution to the Konkani language with an award long ago. Anthony San and Ortencio sang specially composed songs on Alfred Rose while Young Chico and Socorro de St Cruz sang Alfred Rose’ ‘oldies’.

Rich tributes were paid to the late singer, musician actor and director. Writer John Kokoi Gomes said Alfred Rose encouraged and introduced several youngsters on the Konkani stage. Among others who spoke were Naguesh Karmali, Madhav Borkar, Shridar Kamat, John Claro, and Bouventro Pietro. Anil Kumar compered.
(courtesy: www.oherald.com)

- Forwarded by Gaspar Almeida, www.goa-world.com

THE SINGERS

From Pamela D'Mello - The Asian Age


Do you prefer your newsheadlines spread across a page or sung in a velvet voice between interludes of swinging saxophone and double bass? In Goa, you could have them both.

"Cantars" (Konkani for songs) have for decades now been taking their cues from real life ...and realpolitik. Local Konkani singers virtually jostle with writers in the print media to get across their comment on men and matters. Their verdict comes often within weeks of an event, and often with far more boldness if not bluntness.
If English pop music today is obsessed with themes of love, then Konkani pop is dominated with social and political comment and criticism. Konkani singers will belt out rousing songs about family planning, hawala-tainted politicians, rising hemlines ...and even on Rajiv Gandhi!

"Ever since I travelled on the Bombay-Goa bus journey and heard the swinging Konkani music that kept up up all night, I was impressed with Goa," commented one visitor to this state.

But, in Konkani pop, content rises above form. The jaunty music, with a lot of saxophone and trumpet will probably grab your attention. But its message is meant to hit you right in the gut. It could deal with anything and everything.

Seemingly every major event, political or social, will get relived in a Konkani "cantar". Very soon after the scam broke there was a song on the hawala -- something perhaps not unknown to some emigration-prone Goans.

When Panaji's Mandovi bridge created history and collapsed into the river beneath just a decade-and-half after construction, this provided a field day for lyricists. So did the agitation to get the route of the Konkan Railway shifted.

Lesser civic issues, city neglect and sectional contemporary irritants are some other themes tackled, not always without a dose of chauvinism or narrow-mindedness.
From social comment in song, politics cannot be far behind. Some singers have shared the stage with politicians at campaign meetings, to canvass for votes in song.
But all song is flattering to the powers that be. Some chief ministers have all found themselves being lampooned in songs, that get blared over Goa's notorious private buses. These travelling black-holes perhaps believe that a funny or irreverent song can be an ideal way to placate humans squeezed tight into buses that should have been scrap metal years ago.

How does a humble singer hit back at the powerful? Below the belt in verse, it seems. One tried to rhyme the name of a politician with a soft-drink!

For some reason, women are a favourite whipping-girl of not a few Konkani compositions. Sometimes, the lyrics blame women for being lazy, not rolling out "chappatis" at home, and thereby allowing bakers to raise the price of bread! Other numbers, coming from the 'seventies, lambasted "immodest" styles of dressing for women. Nylon clothes, women went adequately warned, would permit someone to view your intestines!

Singers from the Tiatr, the local drama form, lend a strong satirical and irreverent tone to their music, sometimes harsh and strident, evocative of the anger and frustration of the powerless common man of Goa. Take this verse, translated freely:


Dis-an-dis hi mhargai choddot veta;

ixttamno, amcher vhodd odruxtt ieta,

Aslolo bankantlea duddvancher jieta:

Naslolo pejecho nis pieta.

 

(Every day the prices rise;

Friends, we're in for a quick demise/

The haves can live like bankers and kings:

The have-nots survive on free water springs.)

By the time they reach the covers of popular cassettes or on the stage, they acquire flamboyant names. Some of the songsters and dramatists who have become household names here include persons called Prince Jacob, Alfred Rose, Tony King, Kid Boxer, Souza Boy or J B Rod.

The moral context of Konkani pop is very Goan Catholic with intense regional pride, a strong belief in the sanctity of married life. Scores of compositions will extoll local silvery beaches, grist to the nostalgia of its expatriates, who probably are among the largest section of consumers.


Fidelity and caring for elderly parents are recurring themes, more so since Konkani pop is closely tied to the Tiatr (Konkani theatre) which are mainly melodramas about family and domestic life.
 

One composition lists the heights that Goans have achieved in music and their contributions to the music of commercial Hindi cinema. "Despite this directors hide these talents and portray Goans as drunks in their films," laments famed comedian-singer- dramatist M. Boyer in a song.

Konkani pop, now packaged in cassettes, gained its popularity on stage, where "the most enthusiastic and rousing response is reserved for cantarists (singers) who stand up and call the Konkani speakers to rouse themselves to fight battles for mother Konkani so that she gets her rightful place as an official language in the eight schedule of the Indian Constitution", as academic Dr Pramod Kale wrote in the 'eighties. Since Konkani got its recognition, cantarists have moved to other themes, with little problems.


"Sometimes they are a bit too childish and simple," says journalist Paul Fernandes, a regular listener. Each lyricist will offer his own explanation for life's varied problems, often coloured by individual prejudices.

William de Curtorim is famed for his political compositions. Drawn from simple subaltern background, some songsters have a reputation for being unpredictable and direct.
 

From political satire to direct electioneering is a small step, and some singers land straight onto the podium. William was part of former Union Minister Eduardo Faleiro's electoral machine as was another cantarist in opponent (South Goa MP) Churchill Alemao's entourage, often sharing the dais with him.

Love became a theme mainly in the songs of the Jazz artiste and classy composer Chris Perry. His ballads, immortalised by singer Lorna, remain all time favourites.

Unbelievable though it may seem, Konkani rap music -- or jet speed singing at it is known here -- is at least four decades old, by one estimate. It was popularised by an artiste called Young Menezes, famous in the 1950s.

Bombay-based Alfred Rose is believed to be among the first to get down to cut cassettes and records of his music, with printed lyrics to accompany.

Since then it has begun a virtual industry, with two or more releases each month. Sometimes you have more music cassettes coming out than magazines in Goa. Sadly some newer songs lack appeal with the entry of the synthesizer and the plagiarised compositions from Hindi and English pop. It's message though still remains quaintly Goan.

Not surprisingly, not everybody would be in a position to appreciate this form of humour. The official All India Radio, for instance, offers some technical reason for preferring to play decades-old Konkani songs rather than the latest churned out each month. On the other hand, the privately-run FM services do manage to play the latest, and the result can be sometimes... wild.

Email:fred@goa1.dot.net.in
 

Alfred Rose

5,000 copies per title. Programmes which have crossed sales of 5,000 copies are: Alfred Rose's 'Album No 1 ' and 'Album No 2', Fr Freddy J Da Costa's 'Niz Mog', Wilmix Trio's Konkani Originals', Anthonete-Romeo's Jivit Ek Sopon', Bab Peter's 'Goan' and M Boyer's 'Golden Goa'.

Today, a good Konkani title is expected to sell a maximum of 3,000 copies. One exception is 'Jivit Ek Sopon', in which film star Amitabh Bachchan gives the introduction in Konkani. This is the only cassette which has had record sales in recent times.

The most sought after Konkani singers today are M Boyer, Young Chico, Anthony San, S Lemos, Sharon, Laura D'Souza and Peter V Fernandes.

C Alvares, Remmie Colaco, Jacinto Vaz, Ophelia, Bab Peter, Anthonete, H Briton, Alfred Rose, Rita Rose, Succurine, Rico Rod and Robin Vaz are older singers of the Konkani stage and they have already established themselves among the Konkani audience.

Among the composers of classical Konkani music, there are some

talented ones who produce cassettes rich in music. But these cassettes generally fail to click, as the majority of the Konkani listeners prefer light music and sensational, emotional and comedy songs of the popular 'tiatrista' (a term used for the Konkani stage artistes) to the rich music provided by classical musicians of Goa such as Prof Michael Martins, maestro Lourdino Barretto, Fr Peter Cardozo, Manuel Alphonso, Emmeliano D'Cruz, Fr Santan Faleiro, Balthazar Fernandes and others. Prof Martins has done some research in music and his cassette 'Goycho Sad' has some fantastic musical compositions, but this cassette failed miserably in the market. The fact that the Konkani cassette business today is very dull does not deter youngsters from venturing in this field, mostly for the sake of 'prestige'. Companies, which encourage new talent to produce Konkani cassettes, include (apart from HMV, CBS, IBH and Oriental), V P Sinari, Melwil Enterprises, United Quality Productions, Dinfa Productions, among others.

Most of the Konkani producers however, produce cassettes on their own and also market it themselves.

piracy in Gulf countries by almost 75 per cent.

Another attempt to kill piracy in Goa is being made by United Quality Productions. This company has supplied cheap duplicate cassettes for Rs 15 in Goa, along with their original cassettes costing Rs 50. How far this will help curb piracy in India remains to be seen.

Except for Oriental's cassette 'Soul of Goa' which has sold more than 10,000 copies, the rest of the Konkani programmes sell between 1,000 and

ALFRED ROSE: OBITUARY -- GOA'S MELODY KING IS NO MORE

Goa's Melody King Alfred Rose faded away on Tuesday, even as his song will continue to inspire the tens of thousands of listeners it enchanged when played on the radio or across cultural performances of local Konkani-loving audiences that cut across dividing lines of religion, caste, or state.

"Remember, the singer with a Panama hat on his head and a magic wand in his hand delivering the opening song for tiatrs in English-Konkani in the '60s?," reminisced Isidore Dantas, in a recent profile published in the local monthly 'Goa Today'.

Rose had the ability to appeal to a wide range of taste; one recalls his performance at an 'international' Konkani meet organised in Mangalore in 1995, where his acceptance by a wide range of Konkani speakers was quickly apparent.
 

Besides being called Goa's Melody King, Alfred Rose was also called The Man with the Golden Voice by the HMV recording company, and gifted other sobriquets like Konkani's Ambassador, International Superstar, and the Living Legend of Konkani Music.

Rose had been ailing for some time now, and was tended by his musician-wife Rita and their family.
 

Born Rosario Alfred Fernandes in 1932 at Calvim, Aldona, he got his stage name from his father Ambrose Fernandes, who's name is believed to have got shortened to AMB Rose by the Karachi Jesuits.

He has six decades of musical popularity to his credit, and was christened Junior Rose by versatile Konkani tiatrist C Alvares, being the youngest among the actors during his tiatr debut way back in 1943.

Alfred Rose, who had directed the music for the film "Bogllant", is also credited with recording all eight songs in a single day.

Rose spoke highly of the patronage of Goans abroad, saying he has toured globally and performed his Konkani musical show in almost every Goan centre of emigration.

Tributes to the artiste recall that Alfred Rose who started out in fifties with ever popular hits such as "Sui Sut Ani Cator" (The Needle, The Thread, and The Sissors)) and "Dev Nidonk Nam" (God's Not Asleep) is credit with having charmed the air waves of Portuguese-run pre-1961 era Emissora de Goa and All India Radio.
 

Archive reports noted Alfred Rose's recent felicitation in Goa, which took place before his bout of illhealth. Together with the Aldona-origin singer, also feted were his singer-actress wife Rita and daughter Alria.

For some reason, the Goa government's lack of public recognition to this talented musician who won the heart of lakhs of fans, has been critically commented on in various fora. In Mapusa too, the felicitation was not by the government, but by the local Konkani Seva Kendra.

In the presence of Konkani scholar Dr Tanaji Halarnkar, then Tourism Minister Victoria Fernandes did the honours of felicitating the ageing singer, amidst a thunderous applause.
 

She also promised to take cognizance of the memorandum handed over to her by the Konkani Seva Kendra, and said she would work towards getting Kala Academy's open air auditorium named after Alfred Rose, the Goanow webzine reported.

In his short but inspiring speech then, Alfred Rose then emotionally exhorted Goans not to look down upon Konkani, but to wholeheartedly embrace it and speak it in the homes.

Goan philanthropist Jerome Mendes is credited with being the first Goan to take Alfred Rose and his troupe to the UK with his tiatrists and produced his first Konkani long-play record called 'Londoncho Mog' with English musicians.

Together with popular singers, Alfred Rose is also credited with having sung for Bollywood's film industry. Others besides Rose who have this to their credit include Lorna (who sang chorus for Mohamed Rafi, Asha Bhonsle, Lata Mangueshkar), Asha Bhonsle, Francis Vaz ('Baarish'), Usha Mangueshkar, Usha Amonkar, Sudesh Bhonsle, among others. Rose's performance was for 'Love in Goa'. (ENDS)
 

(Source: Goanet - news)

The King of Melody

In the world of Tiatr and Konkani music, there's no one quite like Alfred Rose, says Isidore Dantas, in a profile of the singing star.

Remember, the singer with a Panama hat on his head and a magic wand in his hand delivering the opening song for tiatrs in English-Konkani in the '60s? He is none other than Alfred Rose who has earned the sobriquets of Goa's Melody King", The Man with the Golden Voice" (courtesy His Master's Voice Recording Company), Konkani Ambassador", International Superstar". To the Goans he is The Living Legend of Konkani Music".

Rosario Alfred Fernandes - his real name, was born in the picturesque village of Calvim, Aldona, on 5 August 1932. He is the proud son of the illustrious character-actor of yore, Ambrose Fernandes (Ambrose was named AMB Rose by the Karachi Jesuits). This actor, who has six decades of popularity to his credit was christened Junior Rose by the versatile Konkani tiatrist C Alvares, because he was the youngest among the actors during his debut in Konkani tiatr way back in 1943. Rose, who has made his village proud by carving a niche among the Goans in the field of music, later changed his name to Alfred Rose in 1952.

He was first seen in Miss Ida's (Jose Mendes) drama where he sang the solo Kiteak jiv khatai? The well known konkani dramatist JP Souzalin, known for his plays on religious themes, introduced Alfred in his Poilea Cheddeachem Baltim staged at the Princess Theatre, Bhangwadi, Dhobitalao, Mumbai, a nursery of Konkani drama. He is one of the few educated tiatrists, having completed the CAIIB (Banking professional examination) after passing the SSC Examination. He had brief stints with National Overseas & Grindlays Bank Ltd and Larsen & Toubro. He had also served at Citi Bank in the Gulf in the year 1970.

There was a time when tiatrs were looked down on by the hoi-polloi because of the base fare they presented. Alfred resurrected the tiatr scene by composing and rendering educative and decent presentations. His first drama Hench tem Karann was staged in 1956.

Being the cynosure of numerous ardent fans, he has many firsts to his credit. Alfred was the first to stage a Konkani tiatr at Birla Matoshri Hall, Dhobitalao, Mumbai. He has the distinction of publishing fourteen song books containing lyrics of the numerous songs he has cut on disc. His novel Vingans Monte Cristochem, based on the famous novel of Alexander Dumas, has highlighted the role of our very own father of hypnotism - Abade Faria. His novels include Munis vo Devchar, which is based on his drama by the same title. The only person to my knowledge to publish comics in Konkani is Alfred Rose. The book is entitled Zomnintli Bhirant. He introduced the concept of non-stop drama in Konkani with his presentation of Director Saib in 1961, which included twenty seven songs relevant to the story of the drama, making its presentation look like a film. For this he bagged the Bombay Mayor's Medal. He was the first to compose a song on Mother Teresa way back in 1981, which features in his Audio Cassette Album No 2. He also has the distinction of presenting the first non-stop Rock Musical Show with sound track on stage, which no singer English or Konkani has done. The audience remembers with affection the tribute paid by him in song on the stage to the late tiatrist Souza Ferrao during the latter's lifetime accompanying him. Flowers was the first song rendered by a tiatrist in English composed and sung by him. He was the first tiatrist to record an English song A Date with Daisy on disc.

This ace musician has provided the musical score to the Konkani film Boglantt, starring Prem Kumar with his better-half Rita Rose - herself a very good singer. He has performed in the Konkani film Amchem Noxib which has the English song I Lost my Heart to You as his composition. The Hindi film Love in Goa has music composed by him. He was the leader of the band Rosebuds in the '50s. Alfred, who is at ease with the violin and guitar, has his songs sung by eminent singers Mahendra Kapoor, Shailendra Singh and Krishna Kalle.

The thirteen tiatrs to his credit include Nirmon vo Formonn, Lakhpoti Novro, Dotor-Advogad, Natalanchi Bhett, Bhangaracho Hoti, Angounnechi Hokol, Pessaumkar… the last being Somestancho Kumpar. He has been a writer of repute and has contributed regularly to the now defunct Konkani weeklies published from Mumbai, Soth-Uloi and Cine Times.

Among the awards and plaudits earned by him, mention must be made of the Cross International Award, Mumbai. Mangalore's Mandd Sobhann has bestowed on him the title of Sangitsagar. He has also been honoured with a gold medal in the Gulf for this composition of the song Kotta Kuwait based on the 1990 Kuwait war. An audio cassette by Video World Production entitled Bhangaracho Tallo is a tribute to this versatile artist.

Besides his performance in India, he has performed abroad in Africa (1960), Germany, France, Canada, the UK and the Gulf, to the immense satisfaction of the audience. Alfred has also been featured on All India Radio and Doordarshan.Alfred had a great desire to perform internationally and had successfully tested for BBC and ATV, but during those days Goans were called Portuguese and considered aliens because of which he had difficulty in staying abroad and therefore he had to give up the idea.

The epitome of popular songs, this gifted clairvoyant has to his credit the unforgettable Tin Molladik Hatiaram namely sui, sut, kator - the three important tools of the tailors; Pai, which desribes the goodness of the father; Goenkar vo Mungllurkar, Ami sogle Konknne, depicting unity of the Konkani-speaking areas; Saddi, which cleverly brings out the virtues of the sari; Ixtt, personifying the real friend; Dev Nidonk Na, which reminds us of the watchful eye of the Almighty on us; Kalchi Koddi, which brings nostalgia of the curry to be preserved for posterity and Poilea Cheddeamchem baltim, which teaches us to sing litany in Konkani which hitherto was sung in Latin and Portuguese without understanding its contents. Pain Korun na tem has contributed in the moulding of an ordinary Goan into an industrialist.

Besides tiatrs, Alfred has performed six musical shows, composed and sung five thousand songs out of which fifteen hundred are in English in his soprano voice, has 400 extended and long playing records and 39 audio cassettes. His album Londonacho Mog has been recorded in London.

Among his English-Konkani songs, mention must be made of Mandovi, Lighthouse, A date with Daisy, Luiza the Bombshell, Viva la Goa. His songs in Hindu style include Bamnali Pori, Savkaralo Por, Chander Vati, Ago mhoje Sundorea, Patovantli Kunvor, Goreta gheun gori…

According to him, Konkani dramas do have a future and primarily requires people who know the language to encourage it by patronising the same rather than pay lip sympathy. He laments that tiatrs have stopped not because of the disunity among the tiatrists but because of the audience who find it costly. The fare is unable to match the increasing production costs and is therefore not a paying proposition for the tiatrists. Alfred Rose has woven a rich tapestry of composition in the woof and warp of Konkani music and therefore rightly deserves a befitting recognition from the government.

(Goa Today)

THE EVER POPULAR "TRIO" SONGS CONTINUE TO ENTERTAIN KONKANI TIATR AUDIENCES

- Compiled by Augusto & Gracy Morais

The history of Tiatr goes back to 1892 when on April 17th, Lucasinho Ribeiro staged his first Konkani Tiatr "Italian Bhurgo" at the New Alfred Theatre in Bombay (now Mumbai). Since then, the Tiatr has evolved as a wholesome family entertainment for the Konkani lovers. It would be interesting to note that in Goa, presently, TIATR is the only form of entertainment - be it at the weekend or any week day.
 

Tiatros have different types of songs for the side-show in between the acts. These are on different topics. In the beginning all songs, the side-show, were composed by the playwright/director himself and readily provided to the singers.
 

As time passed, the playwright took the responsibility of writing & directing the play only along with the songs or cantos which were an integral part of the main play. So started the trend of each singer bringing his/her own songs composed by himself/herself or from any other composer.
 

www.goa-world.com/tiatr&tiatrist
 

This brought in a lot of variety in the tiatr. Singers presented their own compositions on topics and music of their choice, and to be performed the way they felt best. This raised the standard of the tiatro to newer glorious heights, as artistes and singers started using their own ingenuity, and thereby earned a lot of goodwill and were rewarded handsomely.
 

http://www.goa-world.com/tiatr/tiatristprofiles.htm
 

Imagine 18 to 20 songs on different topics, on different tunes, sung by different singers, all in addition to the main play and the audience just loved it with thunderous applause and encores. Moreover these songs would be in different forms i.e. solos, duets, duo, trios, quartets, quintets, etc. - a unique feature of the Konkani Tiatro. This started the trend of singers coming  together as regulars for duets, trios and also regular solo singers.
 

Some made name for themselves as solo-singers and people would come to tiatros  to listen to the solos of their favourite singer. Examples of solo-singers are

Anthony D'Sa, Dioginho D'Mello, Alfred Rose, Kid Boxer, Minguel Rod, Aleixinho  de Candolim, Romeo Mendes, Jose Rose, Bab Peter, Jose Rod, Jr. Rod, and a galaxy

of others. Examples of duo/duet singers are, C. Alvares and Remmie Colaco,  Kamat de Assolna and Lucas Ferns, Alfred and Rita Rose, Wilmix and Sharon, Greg

and Sabina, Jr. Rod and Josephine, etc.


However, the trend for trios took a phenomenal turn as trio singers started singing songs on current topics and mainly with political overtones. These were very much liked by the tiatro audiences. A time came when adding a "Trio" group to the cast of a tiatro would make it go houseful. This "Trio" -trend was first started by Kid Boxer when he first formed the Kid-Young-Rod Trio, consisting of Kid Boxer himself, Young Menezes and Minguel Rod. It seems Kid Boxer got the idea of a "Trio", when he first read the name of the Film Company, Metro-Golwyn-Mayer (MGM). As Kid, Young, Menezes and Minguel Rod were very good friends he thought of making a partnership company of Kid-Young-Rod. He did it, and it clicked. It clicked to such an extent, that any tiatro by Kid-Young-Rod "trio", was guaranteed houseful! This gave the idea to other singers to do likewise.
 

Many Trios followed thereafter, and to quite an extent, all had a good experience. People just loved Trios. They were sensation-makers. Trios started singing to the galleries, and this helped the tiatro. The next group to follow in line was the group called "Big Three from Saxtti" consisting of Souza Ferrao, Anthony Mendes and M. Boyer. Then came the immortal Trio of Conception-Nelson and Anthony. The Trio of Boyer-Remmie Colaco-Jacint Vaz followed this, Rom-Rem-Rod was the next to follow in line. This Trio comprised of Roam Tony, Remmie and Julio Rod.
 

The great 'Mendes Brothers' were next. They were the sons of the legend Anthony  Mendes viz. Felix, Derrick and Xavier. Then came the Wilmix Trio, consisting of

Wilson, Michael and Xavier. This was followed by Mil-Mel-Nel, consisting of Milagres Fernandes, Cezar D'Mello and Agnelo Costa.

In Kuwait, the favourite and ever popular Trio consisting of Cajetan-Marcus-Xavier was much loved for quite a many years. In 2000, Xavier Gomes left Kuwait for good due to family commitments. Currently, he is busy singing solos on the Goan Konkani Stage for many directors and Musical Shows and as well rendering his voice on many audiocassettes and CDs. But the Kuwait Trio has managed to survive and keep the trio alive by inducting a new partner, Mario de Majorda - a playwright, director, singer and actor.
 

Marcus Vaz, son of Master Vaz and Cajetan Pereira will continue the tradition of enriching the Kuwait Konkani stage with their innovative and thought provoking Trios along with Mario de Majorda. After a break of one and half years, the  Kuwait Trio are all set to have the ball rolling with more novel ideas and entertainment packed composes in the forthcoming tiatro “Lokachim Tondam Bondh…!” http://www.geocities.com/lara_production/LTB.html

The Mendes Brothers based in Kuwait have lately made rare public appearances in Musical shows. Tiatrogoers still cherish the soulful singing of these talented

brothers and wish for more entertainment from this Trio.

Another upcoming Trio in Kuwait is Rosary Ferns-Sylvester Vaz-Sanny de Quepem (RSS) who have presented their Trios in recent Konkani Musical Shows and Tiatrs

staged in Kuwait.
 

All the above Trios have made a mark on the Konkani stage. In fact each Trio had a style of their own and they had their own following among tiatro audiences. All in all they gave a boost to the konkani tiatro. Other than the above Trios, at every village level also, Trios were being formed from time to time. It is difficult to name these Trios or enumerate them. But the fact remains "Trios" as such are still liked by tiatrogoers.
 

www.goa-world.com team

(c) All Rights Reserved.

Singers and Tiatr

Some of the singers and dramatists, who have become household names, include Prince Jacob, Alfred Rose, Tony King, Kid Boxer, Souza Boy, M.Boyer, Emiliano D'cruz, Rosario Rodrigues and J. B. Rod.

A lot of the music churned out today (2 to 3 releases per month) is from 'Tiatre' (Konkani theatre), which are mainly melodramas about family and domestic life. Each lyricist will offer his own explanation for life's varied problems, often coloured by individual prejudices. Although there are quite a few 'Tiartist' who produce plays with political satire. Notable, is William de Curtorim.
 

Love became a theme, mainly in the songs of the Jazz artistes, and the classy composer Chris Perry. His ballads, immortalized by singer Lorna, remain all time favorites. Lorna has now returned to Konkani music after a gap of almost 28 Years. Bombay-based, Alfred Rose, is believed to be among the first to actually cut cassettes, and records of his music, with printed lyrics to accompany them.

(Source: AmcheGoa.com)

KONKANI ACTIVISTS VISIT KUWAIT
A. Veronica Fernandes averonicaf@usa.net


Culture is our most precious heritage, it is our duty to protect and preserve it and gift it to our children and future generation. Every culture is unique and great and as such every culture must survive. One's culture is directly related to one's own mother tongue which creates direct impact on one's culture. In Kuwait there are innumerable Konkani speaking people among whom the number of Goans and Mangloreans stands high. Konkani is as beautiful language as any other but due to English language and western cultural influence the importance of Konkani among original Konkani speaking people is dwindling and with this the end of Konkani is approaching fast. Regretfully with every language that dies, the image of mankind is wiped out. In this century itself due to strong English and western influence, languages have been dying at a faster pace and this has been noticed in the third world countries. When a particular language dies the cultural heritage of the community speaking that language also dies. Normally Konkani speaking people are soft hearted and docile because they are God fearing due to the strong influence of Godly and divine words deeply integrated in this language namely "Dev Boro Dis Diunk - Dev Bori Rat Diunk -Dev Borem Korum etc". There is fear all around the Konkani intellectuals that if appropriate steps are not taken immediately then there is every possibility for Konkani to disappear from this planet. In one of his songs Alfred Rose says:

"Amche Mae Bashek aiz pasun konne jivi dovorlea Bavani, Voi tea Padrini, toxench (KONKANI)) potrani, tech porim tiatristani, Tika Mannkam Motiamni surngar korun dovorlea ghorib Goykarani etc"

To comment on this, yesterday's Priests protected Konkani because they wanted its usage to propagate Gospel and not so much in love with language. It is they who disgraced Konkani by bringing it to the level of Kuzner, Sankistao & Pedo by conversing with them only for specific purposes otherwise they used Portuguese to converse within themselves. Since today's style among Konknni Goans and Mangloreans is to speak English even in their Kuznan so priests need not use Konkani and need not protect Konkani because it is become useless now as Gospel is very well, better than in Konkani, understood by the people in English. Secondly there was once a time when Konkani papers played major role in the development and protection and promotion of Konkani but now since every grandchild & child of Ladru, Pedru, Bostiao, Magdulem and Kotrin is fed on Konglish then what is the use of Konkani paper ? who will read them in such a situation? Precisely because of this Konkani papers are dying at a faster pace after the liberation of Goa. Thirdly once tiatr was a huge movement in support of Konkani promotion and protection but now no. It is coming to an end because of lack of patronage by the new English educated crop. And when Alfred Rose sang that song, Goykar was still not that affluent but with the acquisition of abundant wealth due to many factors into the hands of earlier poor people, they revolted against the so called elite and so called educated Goans of yesteryears and started to remain on par with them by discarding Konkani.

(Goa-World.com archives)

Goa heading towards de-culturisation: Bhembre

A STAFF REPORTER/Times of India
[ FRIDAY, DECEMBER 21, 2001 05:01:55 AM ]

PANAJI: Expressing deep concern over de-culturisation of Goan society, the speakers at a symposium on "Identity, society and culture: Goan perspective", organised by Goa International Centre at its premises at Dona Paula, this evening feared that attempts were being made by certain elements to divide and destroy Goan identity. The symposium was held under the chairmanship of Ms Maria Aurora Couto and was well attended. Ms Couto refrained from giving her concluding remark on the symposium stating that society and culture being large issues more time is needed to come to a certain conclusion. Noted Konkani scholar and editor of daily Sunaparant, Udai Bhembre in his paper highlighted the plight of present Goan society and visualised great cultural divide, especially at the turn of 21st century. A sizeable section of Goan community will uproot itself from the soil of Indian culture, give up most of the attributes of Goan cultural identity and will begin to live as an Indo-Anglican community, while the other section will by and large preserve Goan identity, Bhembre opined. It is a strange phenomenon, Bhembre explained and added that the task of de-culturisation that the Portuguese tried to accomplish in 16th and 17th centuries by imposition and force and which remained unfinished will be completed by Goan themselves voluntarily. "Such a divide is what the fundamentalists and communal elements are aspiring for", Bhembre said adding " towards the end of this century a section of Goan though unintentionally, will play into their hands". Bhembre said that the adverse effect on the cultural identity of Goans has its origin in the attempt of the Portuguese rulers and missionaries who in the 16th century started the process of suppressing and destroying the Goan cultural identity and transplanting their own culture in its place. This was started with vigour and it continued though with lesser momentum throughout the colonial period, Bhembre said. Though, Bhembre said liberation of Goa was a turning point but that did dot happen because the party which was voted to power by Goans in the first general elections desired and worked for wiping out cultural identity of Goans through the merger of this territory with Maharashtra and that then government despised Konkani and culture associated with it and tried by all means to suppress it. Bhembre said the Goan society influenced by alien culture though proceeded in the same direction on its own free will and perhaps with greater zeal. The only difference was that English language replaced the Portuguese language and that the process of de-culturisation, which was restricted to the elite class percolated down to the middle classes. Referring to the present scenario, Bhembre said two types of elements are furiously trying to disown and destroy the Goan identity, especially the identity woven around the language. A section of Hindus are still trying hard to establish Marathi as their language and favour Maharastrian culture, Bhembre said. The demand to make Marathi as other official language of Goa and the attempt to project Goa a bilingual state are the means of these people to achieve their goal, he added. Bhembre also alleged that Government of Maharashtra was encouraging pro-Marathi activists in Goa by providing financial and other help. In order to substantiate his point, Bhembre said the Maharashtra government had provided financial assistance of Rs 7 lakh to the recently held state Marathi literary conference held at Quepem. He said another section comprising mainly educated Catholic and few Hindus is taking pride in despising and discarding Konkani language and culture that is associated with it. This section refuses to speak Konkani or use it for any other purpose, Bhembre said. Elaborating further, he said they want to make English language as their medium of _expression in every walk of their life. "

For them Konkani is not good either for the mass in the church or for raising toast at a wedding", he remarked. Though, Bhembre said Konkani teatro stage still continues to be popular amongst the masses but English continues to be the language in the wings and behind the curtain. The generation next to great artistes like Alfred Rose and M Boyer is no more near the Konkani theatre. Bhembre said the church is an important institution that influence the life of an average Catholic and added that unfortunately the church was aiding and abetting this trend of de-culturisation. He said the church in the past encouraged Konkani and preservation of Goan identity, but today and for quite sometime now, the church shows total indifference to Konkani or to the cultural identity of Goans. "Religious leaders have adopted the policy of political leaders that of giving to the people what they ask for and not what keeping with this policy, the number of masses in English is increasing and that in Konkani is decreasing", Bhembre said. Referring to the diocesan schools which have Konkani medium of instruction, Bhembre said this schools are using English to encourage children at every level and thus give false impression only to receive grants from the government. This in turn creates an inferiority complex about Konkani language and every thing that is Goan or Indian. Bhembre said in view of adopting such a lifestyle it would bound to have serious and adverse impact on the cultural identity of Goan Catholic. Those who still have roots in the Goan culture are fast losing the grip in their attempt to imitate the westernised ones. " The trend of imbibing western culture right from the stage of nursery schooling will gradually lead to a situation where there will be litle or no difference between the second generation Goan youth of Canada or England and youth in the Catholic community of Goa in 22nd century", Bhembre opined. He said as regards to Catholic community, there was no force to counter the indifference and the addiction to western culture although there are few honorable exceptions.

But the tide being strong, it will swallow up these exceptions and will lead to the emergence of a community, which might be labelled as Indo-Aglican community, he felt. Globalisation, growth of tourism and influx of people from neighbouring states into Goa coupled with our own apathy accelerate or help this process, he lamented. Stating that this is a bitter reality of today, Bhembre said liberation bestowed upon us self-rule, but it failed to liberate some of us from inferiority complex. He said Konkani literature, and culture is expected to create a resurgent Goa— a Goa that will be proud of its cultural identity. Veteran freedom fighter and founder editor of The Navhind Times, Lambert Mascarenhas who spoke on " Facets of Goan society, transition and modernity" said that he considers Goa as tragic land, because Goans are only creating problems for Goa and Goans. Though, Mascarenhas said earlier foreigners were creating problems for us but today Goa has become the land of controversies. Hitting out at those who claim that Goa was wonderful during the Portuguese period, Mascarenhas said these people are curse to Goa and India. He said Portuguese had given some good things, especially education. Pre-Portuguese may be worse but the Portuguese regime was terrible, he said. Mascarenhas said the Portuguese through spread of education taught how to give respect to others and imbibed good manner in Goans. After Portugal became republic, the journals in Marathi and Konkani have done a good job. Mascarenhas said though Goans may take pride that Goan is one society but in reality Goan society is divided on religious grounds. "Let us not fool anybody, we are socially not one", Mascarenhas remarked.

He also came down heavily on the Goans settled in England for taking pride to be Goan and thus trying to pose as greater than the original Goan residing on Goan soil. He also said that politics in Goa has become the business in the state. Dr Kiran Budkuley of Goa University who presented paper on "Paradoxes of Goan society" said that the need of the hour was to study dispassonately the reality of the migrations with an open mind and take appropriate step to integrate and not assimilate the non-Konkani migrant population into Goan society. Dr Budkuley said the consumer-savvy ideology of the market technology is already forging a faceless global identity for the world and if Goa is not careful, Goan identity will soon be a legendary theme in folk memory. Former Principal of Goa College of Architecture, Mr Cho Padamsee who spoke on "Architecture-Decisions and revisions" said Goans could derive distinct separate identity only because of the arrival of Portuguese or else Goans would have been the society like other parts of the country. He also presented the slides on Goan architectural designs. Mr Pandurang Phaldessai highlighted the Goan folklore, rituals and festival and solicited the cooperation from the people for protection and preservation of distinct folk form "Pirni Zogor", which is on the verge of collapse. He said the folk artistes number is fast dwindling and it was a matter of concern. Mr Phaldessai said this was the oldest folk form in Goa and added that the government agencies only wanted to document the folk forms but nobody was coming forward to make systematic attempt to preserve this age old folk forms.

THE WORLD IS A STAGE

- Pramod Kale

The Opening Chorus Scene from C. Alvares tiatr Kortub Avoichem L to R: Alfred Rose, Anthony Mendes, Andrew Fernandes, Jacint Vaz, Remmie Colaco, C. Alvares, Miss Mohana, Souza Ferrao, Vincent de Saligao, Effie Fernandes, Master Vaz and Anthony de Sa.

The historical experience of Goas four and half centuries of political, social and cultural domination by a European nation has given the Goan population an identity distinct from the rest of India. The British presence in India was of a shorter duration and much more diffuse. In Goa, the Portuguese influence was direct and radical, affecting the population as a whole, at all levels. This is especially true of the three districts of Velhas Conquistas (Old Conquests) - Ilhas (Tiswadi), Bardez, and Salcette. Most Contemporary generalisations and stereotype image of Goa and Goan society are based on the culture of these districts. The Novas Conquistas (New Conquests), although larger in terms of area, have a somewhat different cultural aspect.

While complete assimilation and Europeanisation was attempted by a few very well-placed and well-connected native Christian families (whose members were professionals such as lawyers, doctors and educators) and while administrators began to share the power and the prestige of the colonial elite, the majority of the Christian population retained elements of their pre-Christian indigeneous traditions in some form or other as part of their newly evolving culture.

Among the numerous cultural performances of Goa partaking of both indigenous and European transplanted traditions, the most popular and vibrantly alive is the Konkani language tiatr. It is a form which is

rooted in the working class and lower middle class Goan Catholic population living in Goa or outside expressing their trails and tribulations, hopes and aspirations.

Tiatr is a unique performing arts genre. It has elements of drama, music, comedy and improvisation. In a typical Tiatr performance, there is a loose story line, which runs through the show. It is punctuated by side shows – irreverant and improvisational material consisting of songs - solos, duets, and choruses (chantars), dances, comic skits and monologues - all this to the accompaniment of a very loud Goan steel band which sits between the audience and the performers.

The plots of these dramas are contemporary. For the most part the situations are set within the framework of family and domestic life. Their structure is episodic, each individual scene being a more or less independent unit within an ongoing generalized framework. They play upon the emphathic response of the audience - especially of the women. The plays works within a strictly Goan Christian moral context and reflect a complex set of attitudes which include, amonst others, an intense regional national pride of Goa and things Goan, a strong belief in the sanctity of family life and an abiding faith in God and his church.

The language of the tiatr is Konkani as it is spoken in the Bardez district. But the relationship between tiatr and Konkani is much deeper. Tiatr can be said to be the celebration of Konkani. For tiatr audience, Konkani is not merely a language, a medium of communication, but a cause, a totemic symbol, a flag to rally around in fighting battles with the establishment and authority. At tiatr performances, the most enthusiastic and rousing response is reserved for cantorists (singers) who stand up and call the Konkani speakers to rouse themselves to fight battles for Mother Konkani, so that she gets her rightful place as an official language in the eight schedule of the Indian constitution.

In spite of the immense popularity of tiatr, not enough attention has been paid to it by critics, scholars or researchers. The few articles in the English and Konkani popular press are somewhat cursory and superficial, given to quick overviews an incantation of well known names of writers and performers. This neglect is partly due to the scorn with which an influential section of Goan population regards this popular entertainment as being a vulgar _expression of low taste.

The very fact that tiatr is the most vibrantly alive and commercially successful theatrical entertainment of the Goans demands serious attention and inquiry into what makes it so. Popularity of this form suggests the existence of share, common code of values, attitudes, perceptions of the self and world between the encoders (the performancers) and the decoders (the audience). These common code, are a part of the context (the historical background, the social and cultural institutions) and the text (tiatr performances themselves).

The study looks upon theatre primarily as a social institution and upon communication in theatre as a social act. Although theatrical performance has many elements in common with other public performance such as the circus, magic, ritual, acrobatic and martial art displays, in tiatr the enactment (mimetic presentation) of a story through action, words and music appears to be the most important constituent of theatrical performance.
 

Tiatr and Konkani

Joao Agostinhos tiatr was a reformist movement in the last decade of the 19th centuary. Agostinho himself was a Charado and an educated man. It was his disgust with the vulgarity of the Zagors performed in Bombay by the Goan clubs for more than three quarters of a century before him, that led him to experiment with and launch a new form of theatrical presentation. Although the texts of his plays are not extant, from the praise they received from being high minded and moral (as against later tiatrs which are condemned like the earlier Zagors which they were supposed to replace as being vulgar and cheap, pandering to low taste) one can assume that the laugage used for dialogue was a refined version of the Bardez dialect. The language of the tiatr even today is Bardezi no doubt, but it is not the Bardezi of the actual colloquial speech. It is a stage Bardezi (written and spoken mostly by Salcette writers and actors) delivered in intonation patterns and cadences which have more to do with the convention and artifice of the stage than the actual speech of the people.

It is in the sideshows that the comedians use and play with the colloquial and natural elements of the language. It must be mentioned that the more popular khell-tiatrs of the present day show a tendency towards naturalism in dialogue. The Hindu Konkani, the so-called Antruzi dialect espoused by V.R. Varde Valaulicar (Shenoy Goembab) as a literary vehicle has had very little to do with the Konkani used in the past and present in the performance of tiatr.

Konkani used in tiatr is thus a stage language based partly on the actual speech of the Bardez Catholics and partly on the high sounding, declamatory, formal Konkani adopted for public discourse especially form the pulpit. This artificialality does not seem to affect adversely the popularity of tiatr. The new Konkani drama (nattok), on the other hand, consciously using the rhythms of natural colloquial Konkani seems to have very little popular appeal as performance, though respected as literature.


Special Thanks for the arrangements: Gaspar Almeida

with Fausto V. Da Costa. {Amchea kerit dhinvas Gaspar

Almeida ani Fausto V. Da Costa-k) - Goa-World Team

(Kuwait).

The Sound of Konkani Music
With its pristine ear-tickling melody gone, the Konkani music, although alive, is kicking rather badly today

By Alister Miranda

It’s been around since time immemorial; its roots lie embedded in the red tribal soil of Goa; the gumott, madhem and kansallem are its earliest exponents; the rhythm is vibrant; the lyrics are reflectively ethnic; the music is Konkani. Perhaps, this profile could well describe the Konkani music of Goa’s golden days. Music that serious collectors are now worriedly hurrying to document and save in archives for posterity.

A short ‘musical’ walk down memory lane, would bring sweet-sounding distinctly Goan notes playing on one’s ear drum. Music that the Konkani soul silently yearns for and identifies itself with. But, alas! Literally, there has been a drought of authentic Konkani music in the recent past, and save for the occasional flash, there has hardly been any brilliant path-breaking Konkani music created for quite some time. Is it the winds of change, or is it utter lethargy, that has failed to lift Konkani music to a new high?

Somewhere, it seems to have lost its way. It has been abused, distorted and adulterated left, right and centre. Making it lie cheek-by-jowl to vulgar jokes, made it lose its remaining virginity. Considering the present-day suicidal onslaught it has had to endure, it can safely be added up that Konkani music must be the one music entity that despite patiently enduring grave transgressions, continues to live on.

That Konkani music has Goan roots goes without saying. And that the wholesome beat it generates has a familiar Kunbi and Gauddi feel, is also beyond doubt. It is like the hearthrob of Goa. More than a hundred years from now when the popular tiatr was taking its consolidatory steps, Pai Tiatrist Joao Agostinho Fernandes brought this rustic beat under the arclights in his tiatrs - the most shining example being the lead song of Kunbi Jaki. It was around this time, that the Konkani beat married the Portuguese-generated Latin American style, giving birth to another distinct Goan form of song and music, the Cantaram. This music, holding aloft satirically penned lyrics, appealed to the common-man Goenkar, but was rather cold - shouldered by the self-proclaimed elite who, at best, settled with the Mando and Dulpods – both rightful siblings of the same Konkani music family. Both grew side by side. But Cantaram sprinted ahead in popularity following the advent of gramophone records. Suddenly Konkani music sailed across the seven seas to warm the hearts of expatriate Goenkars who till then were mainly concentrated in East Africa, and other Portuguese colonies. The likes of Minguel Rod, Anthony Mendes, Alexinho de Candolim, Young Menzes, Jacint Vaz, M Boyer, C Alvares, Alfred Rose, Miss Mohana, Ophelia, etc became household names with their characteristic style of composing lyrics and the original tunes they came up with. The trumpets, saxophones, clarinets, banjos, pianos, violins and raw acoustic drums reigned supreme in those vintage recordings. The salient feature of these songs were that only those who won thunderous applause on the tiatr stage qualified for the turntable. This was the unwritten rule that everyone followed and that’s why each oldie we listen to can be termed as a hit. Unlike the unpalatable stuff that’s stuffed into modern Konkani albums, most of which would have been better dumped in the dustbin. But, relegated to the dustbin of Konkani music history they will surely remain.

Despite the gramophone becoming a rage, the high cost of the record spinner made the avid Konkani music lover heavily depend on the radio station for his dose of music – the radio itself being a luxury in those days. All this changed once cassette players entered the Goan homes. And ‘Melody King’ Alfred Rose it was who took that bold revolutionary step of bringing Konkani music to the masses via audio tape. In the early seventies his first Konkani cassette hit the stands, and the new medium was a runaway hit. The trickle that had slowly started then, has today reached alarming flood-like proportions. Alarming, since all and sundry are being seen wearing the crown of Konkani cassette producers. Talent has now taken a back seat, as today many of those who are low on talent but high on finance can be seen keeping the recording studios busy. And if one would care to view their outputs under a microscope, concluding that Konkani music has almost reached its nadir would not be outrageous.

The sudden spurt in Konkani audio production was seen once Whitney Recordings set up their studio in Margao in 1994. Until then the Konkani artistes had to trudge it out to Mumbai for every recording. The recording activities have picked up even more since another studio ‘Magic Touch’ , owned by Chris Correia, has taken birth in Margao – in fact, both lie a mere stone’s throw away from each other. The other two studios lie on the other side of the Zuari river. Star Systems, owned by Orlando Fernandes, is at Panjim, and Leo D’Souza’s Audio Wave operates from Porvorim. Of course, the studios cannot be faulted for the music that leaves their premises on ‘master’ tapes. But competition, that has led to slashing of rates, is partly responsible for tempting the cantorists to walk into the studios and have their photographs smiling out of inlay cards. Recording an entire album in a studio in Goa can be done for anything between Rs 6,750 to Rs 12,000. Whereas in Mumbai the costs are much higher.

Recording also has become so much easier, with the amount of individual tracks available. Gone are the days where the musicians and singers had to record an entire song in a single take. Any mistake would mean redoing the song. Nowadays, vocals as well as music can be recorded line by line. Numerous effects can be added, some even to cover up mistakes. Alfred Rose, who had directed the music for the film "Bogllant", recalls that, in those days he had recorded all eight songs in a single day. Some kind of a record that!

A few artistes market their own cassettes, but many prefer to have their albums produced and marketed by big Konkani labels like V P Sinari, Dinfa, Manfa, and many others.

But is Konkani music selling? Yes, says Fabian Da Costa who owns the Manfa label. "But sales have come down very badly", he adds hastily. Could this be because of the quality of music being churned out? Yes and no. Fabian points out that if all Konkani music was routed through established labels then there would be some tabs on the quality. He also highlights the fact that a good album may lose out against a bad one, only because the individual producer offers a hefty commission to the cassette seller, who in turn pushes the sale of the one with lesser merit. Another factor that lowers the lucrative aspect of a production is piracy. There is rampant piracy in this small ‘industry’ too. "In Mumbai, piracy of Konkani cassette rarely takes place. But in Goa, I believe it’s on a very large scale. In Gulf though, it’s 100% piracy of Konkani cassettes. We have never been able to get a single pie from the sales done in the Gulf. Ironically the pirated cassettes sold in Goa are being manufactured in Mumbai, so also the masters of thecassette, which go to the Gulf for piracy also fly from Mumbai", says Fausto da Costa, proprietor of Mumbai-based Dinfa Productions.

The hectic activity on the Cantaram scene lead many to believe the falsity that Konkani music is synonymous with Cantaram. "We have two water-tight compartments – the Folk Songs and the Cantaram", points out Suresh Sinari, who fronts the V P Sinari label since 1979. Traditional music still has its own small audience, and beginning from Manuel Alphonso and Oslando there has been an occasional release of traditional and original Goan folk songs. "Traditional music sells on the popularity of the programme and not on the popularity of the singers", informs Fausto. Then there are the Konkani songs with music of Indian classical form, but sadly there are no takers. Only some of Ulhas Buyao’s songs have managed to attain some sort of popularity. Likewise, music produced by Mangalorean artistes does not sell in Goa and vice-versa, points Sinari.
 

Musical score and orchestration play an important role in Konkani music and its glorious days were of the ‘Nirmon’ and ‘Amchem Noxib’ era, when Frank Fernand embellished those classic Konkani films with his pleasing music. It was the Goan beat that he stuck to. Says ace drummer Abdonio Rodrigues, "I played for both those films, and Frank Fernand used to ask to play Goan Gaudi Rhythm. I wish the upcoming musicians would come forward and learn the true Goan rhythm, since Konkani music is helping them earn." Leo laments, "The big bands never did anything. They never came out with Konkani albums. Recently some of them have cut some albums, but have not done anything new; they have only resung the classics." Yes, the need of the hour is originality and quality; not a copy-cat attitude and quantity.

Many critics lay the blame of the decline of Konkani music at the feet of music directors. But is that the truth? Celebrated musicians Mariano Rodrigues, Babush, Tony Dias, Josinho D’Souza and Agnelo Dias who, jointly, have provided music to countless Konkani cassettes have a different tale to tell. "We are handicapped, as the singers come to us with lyrics set to their melodies and our role is only to provide the introduction, interludes and the fill-ins. We are not given a free hand," says Josinho. Agnelo points out that given their limited role, they would still be able to provide scintillating music, but there are hardly any musicians that can read the musical score. "We cannot write any music for the keyboard and guitar players as they cannot read. If the score leans heavily on the brass section, then again it sounds monotonous," he adds. Another common complaint from almost all the music directors is that there is no professionalism among the Konkani artistes. Most of the singers do not practice earlier, but wait to rehearse in the studio, and then actually, at times, dub line by line. It is a frustrating exercise for score writers to work on Hindi film and English music adaptation, we are told. "More and more youngsters should learn to play brass instruments. Only then Konkani music will come into its own again," opines Mariano. How true, since Konkani music is structured around the brass section.

Goans abroad have also contributed their mite in keeping Konkani music alive and from time to time have even brought out their own albums. Alfred Rose speaks highly of their patronage since he has toured globally and performed his Konkani musical show in almost every Goan destination. But, the expatriate Goans too are now disillusioned with the happenings on the Konkani music scene. Yes, the oft repeated phrase, that music flows in Goans’ blood, might still ring true, but it won’t be out of place to conclude that it has been diluted by synthesised aberrations.

The future may seem bleak. But doesn’t every cloud have a silver lining, and isn’t there light at the end of every dark tunnel? Many like Correia, see that light. Says he, " I am 100 per cent confident that things will change like it has happened to Hindi music. At times a stage comes of stagnancy, but someone will come out of it."

Well, let us recollect the days when the dimunitive ‘golden’ trumpeter Chris Perry turned Konkani music on its head in the early 70s. Until Perry came on the scene, Goa’s so called aristocrats despised Konkani music. But all that changed after the advent of Perry, who made these same people singing and dancing to his tunes. Perry is the one who literally brought Konkani music from the ‘kitchen’ to the ‘living room’. He created the Konkani singing sensation of all time Lorna, and together they rewrote the history of Konkani music. He also had India’s top singers, the late Mohammed Rafi, Asha Bhosle and Usha Uthup sing some of his classics. "While recording with HMV, I would use 20-22 musicians for each recording. HMV would pay for only 6 musicians, at the rate of Rs 100 per musician, while I would bear the cost of the rest", he says. Ask any musician and they will agree that the standard Perry has set may never be achieved again. The re-release of Chris Perry’s hits, with Lorna singing to Babush’ arrangement, pales in comparison to the Original. Why such an attempt even was made is debatable and beats one’s imagination. It definitely wasn’t a tribute, but a money-spinning effort.

There may not be another Chris Perry or another Lorna, but there still have it in them to give us an encore. And we may not be disappointed, as a little bird told us that Perry has a surprise in store for Konkani music lovers.
 

Melody King Takes a Bow

He has endeared himself to the Goan multitude and Konkani lovers worldwide through his songs for more than half a century. His passionate lyrics, his sleek musical arrangements and his inimitable singing style has made him a living legend. On the firmament of Konkani music and cantaram, he undoubtedly towers like a colossus. His name literally brings music to one’s ears – ALFRED ROSE. Well, this affable Aldonkar was in Goa last month, accompanied by his singer-actress wife Rita and daughter Alria, to receive a felicitation in Mapusa. No, not from the Goa government, but from the Mapusa-based Konkani Seva Kendra, for his contribution to Konkani language. A legion of his ardent fans were there to applaud this great singer. In the presence of renowned Konkani scholar Dr Tanaji Halarnkar, Tourism Minister Victoria Fernandes did the honours of felicitating the ageing singer, amidst a thunderous applause. She also promised to take cognizance of the memorandum handed over to her by the Konkani Seva Kendra, and said she would work towards getting Kala Academy’s open air auditorium named after Alfred Rose. In his short but inspiring speech, Alfred Rose emotionally exhorted Goans not to look down upon Konkani, but to wholeheartedly embrace it and speak it in the homes. The high point of the programme, that was interspersed with Konkani songs, was when the entire audience, Alfred Rose included, spontaneously sang along with Young Chico as he belted out Mandovi, Rose’s classic foot-tapping composition. Then, smilingly giving in to the request of his fans, the Melody King provided the perfect finale for the function with a superb rendition of his hit song Chouvis Horam (24 hours). Receiving hugs, kisses; posing for pictures and signing autographs then followed.

By Alister Miranda
 

www.oherald.com

ALFRED ROSE VOL 2 ALBUM RELEASED:

The volume two of Alfred Rose featuring Konkani songs of yesteryears are now available on cassettes and CDs with

original voice and tunes at Rock and Raaga, Panjim. Hits like Mandovi, Bhikunn Martale, Tin Kalzam, Kampala, Bambolim are digitally re-recorded to

provide the magic of classics.
 

From: Gaspar Almeida <galmeida_2000@y...>

Date: Tue Jul 18, 2000 4:19 pm

Subject: Konkani Seva Kendr honours Alfred Rose

Popular stage artist and melody king of Goa, Alfred Rose, was felicitated by the literary association, Konkani Seva Kendr - Mapusa on July 16, 2000 in Mapusa. The association also felicitated students of Bardez who topped in Konkani in SSC, HSSC and college level.

The association launched its first souvenir on the occasion. Minister For Tourism, Ms Victoria Fernandes was the chief guest while Dr Tanaji Halarnkar, Editor of Konkani Encyclopaedia, Goa University, was the guest of honour. The programme was held at 4.00 pm at Mapusa Municipal Hall with Goa Doordarshan covering the felicitation

programme.

A high profile personality in the field of music, Alfred Rose comes from the little village of Aldona, in Bardez. Alfred Rose with his golden voice and lilting music has captivated the hearts of every red-blooded Goan. In late ’70s and in ‘8Os, Alfred Rose created waves with his music which achieved him the sobriquet of being the `Melody King of Goa’ and numerous fan following as well.
 

With his powerful lyrics and his vast contribution on the stage, Alfred Rose has contributed in a big way for the cause of Konkani.
 

Alfred Rose, who resides in Bombay, has brought out various cassettes in Konkani and has given performances at various places in the Gulf and  London. A large number of devout followers, wellwishers and friends of Alfred Rose were present for the felicitation programme.
 

Goa-World Team

http://www.goa-world.net/

Govt to confer special award on Alfred Rose posthumously

NT Staff Reporter

Panaji Oct 25: Alfred Rose, the Melody King of Goa, who expired on October 21 will be posthumously given a special award by the government of Goa on the state’s forthcoming Liberation Day on December 19, according to eminent thiatr personality, Tomazinho Cardozo.

Mr Cardozo made the surprise announcement at a condolence meeting for Alfred Rose held at Tristao Braganza hall, Panaji, today evening. He said he had taken up the issue of honouring Goa’s famed singer with the Chief Minister, Mr Manohar Parrikar, in a meeting on October 22. After being apprised that the state award had been denied to Rose despite his immense contribution to Goan culture, the Chief Minister assented to conferring a special award on Alfred Rose on December 19, Mr Cardozo said.

“On behalf of the “Konkani Sangeet ani Natak Academy,” (KSNA) we wiil give a formal letter to the Chief Minister with our demand,” Mr Cardozo told the Navhind Times.

Fond remembrances were expressed and glowing tributes heaped expressed by Alfred Rose’s admirers and peers about this gifted singer and song writer in today’s condolence meeting organised jointly by the KSNA, ‘’tiatr’’ artistes and Konkani writers from all over Goa.

The condolence meeting resolved to compile a report of today’s meeting and a booklet of comments and sentiments expressed on Alfred Rose by various persons and hand it to his wife, Rita Rose. The KSNA has also decided to arrange a special programme on Alfred Rose that will be shown at various places all over Goa.

Praising the endearing quality of Alfred Rose’s songs, Mr Cardozo said many of his most loved songs were written almost 40 years ago. “We must carry forward his legacy,” Mr Cardozo said.

The speeches were interspersed with songs. Young Chico sang Rose’s old classic “Mandovi,” Socorro de Santa Cruz sang “Campala” and Shirish Lawande sang the romantic, “Bauli Distai Mennachi.” Anthony San and Hortencio sang thier own special compositions for Rose.

The meeting was attended by eminent personalities from the theatre and writing world; Ciriaco Dias, Mike Mehta, Bonaventure D’Pietro, Anil Kumar, John (Kokoy) Gomes, John Claro, Naguesh Karmali, C D’Silva, Ms Jessie Dias and Akashwani deputy Director, Mr Madhav Borkar were present.

Courtesy http://www.navhindtimes.com/

The Roses, Their Lives, Their Music

by Joaquim Fernandes

The Roses were in Goa recently. Yes, though Alfred and Rita Rose live in Mumbai, they come home every year. It’s a pilgrimage they must make. For it is the motherland Goa and the mother tongue Konkani that inspired Alfred Rose to sing all those songs; songs so beloved of Goans and the Konkani speaking Diaspora spread all over the world. In a musically prolific period spanning more then four decades, Alfred Rose composed Konkani songs, set them to music and sang them: solos, duets, trios with myriad themes, often sung with his wife Rita and children.

Age and two paralytic strokes have taken a toll on the man lovingly known in Goa as the “Melody King”. In an informal chat with The Navhind Times, Alfred Rose’ wife Rita Rose, recounts their life, their triumphs, his illness, her faith and their music. Join us then, on a brief journey through the life and times of Konkani music’s most enduring, most endearing couple.

It’s on a rainy June afternoon that we barge into her brother John’s apartment at Mapusa where they are holidaying. Rita Rose is gracious and agrees to talk. Also present are Alfred and Rita’s two children Schubert and Alria with her husband and toddler son. Sadly, Alfred Rose is resting and will not come out. After the niceties, Rita Rose goes down memory lane.

“I first acted in his show Monis Vo Deunchar while still in school in Bombay,” she says. “My husband and I gave our last show together in Canada in 1999. He got his first attack in 2000. But even when he was moving in and out of hospital, he wrote music for an entire cassette.” She says her husband has produced 40 Konkani cassettes. The 41st is nearing completion. “The one he wrote while he was ill is very spiritual,” says Rita. That will be cassette number 42. The numbers apart, as far as Konkani music goes, Alfred Rose is a pioneer in more ways then one; he staged the first Konkani programme on Bombay Doordarshan, he produced the first Konkani audio cassette and also produced the first Konkani non-stop musical show.

“Yes, he is a trailblazer,” says Rita. “Fourteen plays, five musical shows including the Konkani Rock musical show and the Musical Fiesta. He has written two Konkani novels. But most important are his countless songs.”

Is he pained that the Goan government did not honour him with the state award? “His fans keep asking us that,” says Rita. “And his answer will be the same that he gave in a television interview to Srirang Narvenkar a few years ago: `I did not produce Konkani music for awards. I did it because God blessed me with the talent and because of my love for Konkani’.”

The government’s indifference notwithstanding, love and support from fans has been overwhelming. Rita quotes Dr Rebello, a Goan heart specialist, who told her, “I don’t think he needs awards. He is an icon who will be remembered for a long time. But it is silly of the government to overlook his immense contribution to Konkani and give the award to less deserving people.”

There is nothing like happy memories to forget the hurts. “We’ve performed in London, Canada, Beirut and all over the Gulf,” she smiles. For almost thirty-five years of their married life they sang together, delighting audiences, savouring the shows, the songs, the bouquets and the adulation. But Alfred Rose wrote a whole lot of romantic songs for other girls, you tell her jokingly. There is Esta, Angela, Celina, Janet and Lynette and others. “But he sang one of his first love songs for me Tuji mhoji bhett,” she laughs.

Did Alfred Rose have a fixed routine when he sat to write his songs? “No, No. He wrote songs anytime, all the time. Sometimes, he composed songs in a jiffy; like when Rajiv Gandhi died.”

So how does he cope now? “He can handle himself but needs help. Of late he is a little demoralised because he is not getting well. But I won’t give up. My faith is strong and I keep on motivating him.”

She devotes a lot of time to her husband now but has refused to sit and mop. “I have not given up performing. He is supportive of me and wants me to continue singing,” she says. It will be for a long time that Alfred and Rita Rose will hear their songs being played on the radio or sung by others. And whether they sing together again or not, at least Alfred Rose will have the satisfaction of smiling and whispering in her ear, “Darling, they’re playing our song.”

Courtesy http://www.navhindtimes.com/

Konknni machiechea anim maimbhaxechea onodak jem hanvem jem kitem kelam, tem hanvem nanv zoddunk korunk nam. Punn Devan mhaka gavpachem dennem dil'lem taka noman korun hanvem soglem kelam. Anim hem soglem aiz pasun mandlam dekun mhaka dhadosponn bhogta. Mhaka ghorkarnui Devan tech bhaxen dilea.
Aplea rosall tallean amchim monam bhulgavpi Konkani kantorist-tiatrist ALFRED ROSE halimch Goeam ailolo. Tiatranim kam korunk orxim to Goeam ietalo punn durdoivan Alfie gelea vorsa marekar duensak sampoddlo…zomnir panvom tharona titlii hea stylist tiatristachi bolaiki bigoddli. Punn Devache doien tachi bolaiki atamsudhorlea Atam Alfred hollu-hollu cholunk lagla. Machier choddun porot lokak aplea sobit tallean dipkavcho…oxem pasun taka dista…Punn to sarkho boro zalea xivai taka machier sangat divpii potinn Rita Rose taka oslo risk ghevnk porvangi dita? Bonaventure D'Pietro ani Joel D'Souza Alfieche khobrek gelele tednam thoddem bhov ulovp zalem, tache kaim bhag hanga ditanv.
BONAVENTURE D'PIETRO: Tiatristam koddem ghoddunk nam tem tuvem kelam: tuvem kadambori boiroilea. Borovpeam koddem ghoddunk nam tem tuvem kelam: sundor kantaram ghoddleam. Jem tiatristam anim borovpeam kodem goddunk nam tem tuvem kelaim: kantarank songit bosoilam. Muzgam koddem ghoddunk nam tem tunvem kelam: kantaram tuvem machier gaileam. Tujea kantaramchem buk xaplea. Konknnintlo ekuch comics buk xapla. Poilemch Konknni kesett kelam. Music show kelea. Inglezin kantaram ghoddun Ceylon Radiocher pasun gaileaim. Ani Goemkar sonvsarachea san'ni konxeamnim ximpoddleat thuim pavon tankam amche maimbhaxechea fulam-follamcheo daleo pavoilea. Amchea mannkulea Goeank lagta titleaim vixoiancher tuvem kantaram mhunttleaim anim ganvbhavank zagrut dovorleai. Vivid vostu tuvem amkam korun dakhoileai.
ALFRED ROSE: Konknni machiechea anim maimbhaxechea onodak jem hanvem jem kitem kelam, tem hanvem nanv zoddunk korunk nam. Punn Devan mhaka gavpachem dennem dil'lem, Taka noman korun hanvem soglem kelam. Anim hem soglem, aiz pasun, lokak mandlam dekun mhaka dhadosponn bhogta. Devan, tech porim, mhojea taleak anim sobhavak sobhta tosli ghorkarn mhaka bhettoilea.

P: Punn tuje bolaikecho sogleank usko zala.
A: Dev mhaka boro kortolo. Atam hanv zaitoch boro assam. Mhaka konn pollovnk ail'li tim mhunno lagli: Alfie tum boddi ghevn choltoloi mhunnon somzolelim, punn tum boddi nastanam choltai? Hem ek ojeap.
JOEL: Tuvem veglleam-veglleam torimnim gitam ghoddleam anim gaileam
A: Hoi, hanvem zaiteam torimnim kantaram ghoddleam. Punn dusreamchi nokol marunk. Karann, Devan mhaka ek sobit tallo dila anim mhaka dislem ho tallo hanvem bore toren vaprunk zata mhunnon. Hanv "lharam" ghalun gaietam toxem adim konnuch korinaslo. Atam thodde toxem kortat. Te mhaka man' ditat hanvem kitem kelam toxem korun…
P: Zaite torne gavpi jednam mhaka vinchartat tednam hanv tankam sangtam: Alfred Rose zavnk sodhinakat. Devan tumkam soimbhik tallo dila toch, ghoddta zalear sudhravn, vaprat.
A: Te hanvem jem kitem kelam tachi nokol kortat zalear te mandtat hanv tancho nomuno vho guru mhunnon. Zoso Young Chico mhunntta, Alfred mhozo guru. Tem mhaka mandlam dekhun hanv tachea panvlar panvoll ghalun choltam.
P: Kesettamchea mollar atam kitem bodol zala? A: Subez commission divpachi sonvoim keli. Punn hanvem nhoi. Hanv tharaileli kimticheruch viktalom. Vikpi mhunno lagle her bhurge subez ditat, anim tum itlech…? He porim kesettinchim dhor khala poddlea. Anim kesett korteleank favo title poixe mellonant. Despez ekdom vaddla. Vikri zavnk zai, punn ti koxi zateli aiz amchea ghoramnim Konkani bhas cholonam zalear? Kelem…amim tea tempar. Cheallis kesettam hanvem kaddlim hanvem aiz pasun anim thoddim kaddunk Devan mhaka kurpa dilea puro mhunnon magtam.
J: Tuvem Konkni khatir itlo vavr kela astanam, Goemchea serkarache nodrek kaimch poddunk nam. Zaitea tiatristank inam anim award favo zaleat. Punn…
A: Mhozo vhoddlo award zavn asa lokachi maneatai. Lokh mhaka mandun gheta mhunnon hanv koxi. Hanv kantaram ghoddtoch ravlom, mhaka award mellunk zavo mhunnon nhoi.
J: Khuimche piraer tuvem kantaram korunk suru keleleim?
A: Ikra vorsamcho astanam.
J: Khuimchea tiatran tuvem poilech pavtti kantar kelem?
A: 1944 vorsachea sumarak J P Souzalinachea "Poilea Cheddeachem Baltim" tiatran. Punn Konknnin nhoi, Inglezin "When you are going to pay me what you owe me?" Uprant, C Alvaresan mhaka aplea soglleam tiatramnim ghatlo. Tachea tiatran, hanv Goeam ievn, famad zavnk pavlom.
P: Liberation zanvchea adim tum Goeam pavlai tor?
A: Purtugezachea tempar hanvem ek kantar mhunttlem "Goa Goa mhunnon sogleamnim marli dhanv". Tem lokak itlem mandlem ki veta thuim mhaka lok tem mhunnunk laitalo. "Mandovi"…tea tempailem...1960.
J: Tiatr pollovpi anim Konknnim kantaram aikopi azunui tuka ukllun dhortat…
A: Hanv duent zalam mhunnon gomtoch, sogle mhoje borem-magpi, mhoje fan…Kuwait, Qatar, Konknni Kendr, Dubai, Philip Dias, Goeam, Bombai, Canada anim Londonan thavn pasun mhaka fon aile sangun "Ami chodd sintid tum sik zaloi mhunn. Punn Dev tuka boro kortolo; amim tujea pasot magtanv". Tannim magnnem kelam mhunnon hanv aiz itlo veguim boro zavnk pavlam. Kitlea lokan maglam astelem…Dev nam mhunnttolo? To mhojea sangata asa dekhun konnuch mhojea virudh assonozo. Mhaka anink thoddem auk tannem dilea puro mhoje anvdde xarti pavonk.
J: Khuimchea-khuimchea ganvamnim, desamnim tum pavlai?
A: Indient: Bombai, Calcutta anim Delhi. Afrikak: Nairobi, Kampala, Mombasa. Londonank. Gulfak mhunntlear poilo tiatr 1970 vorsa hanvem dakhoil'lo Abu Dhabi…Atam sogle vetat. Londonankui poilo music show hanvem dakhoilolo. Kuwait mhozo poilo professional show zalolo to…"Lakhpoti Novro", dusro "Angovnnechi Okol". Gulfachea sogleam ganvamnim hanv bhonvtoch asam.
J: Tuvem kitle Musical show keleai?
A: Bombay anim Goem dhorun hanvem tin musical show keleat: Musical Show No.1 anim 2, Rock Musical Show anim ek mhojea baby-k ghevn "Musical Fiesta". Hea musical showank band stejir aslem anim gavpi tanchea fuddean…anim modekat lahn nattkulim, skitts…to break the monotony.
J: Tell us something about your family life as far as your work goes.
A: When I got married, my wife Rita joined me in this work. She helps me in composing various songs, gives me ideas, and those ideas I use to impart my knowledge to people. My son Schubert is in the States, he was singing with me. And my younger son, Engelbert, who plays the keyboards, has also helped me a lot. Tumim tanchim kantaram aikoleam…"Punn tum mhozo Daddy"…him kantaram lokak bhovuch mandleant. Tea uprant amchem dhaktem cheddum, Alria Dolly Rose, ailem dekhun hanvem "Musical Fiesta Show" kelo anim tovui lokan mandun ghetlo.
P: Atam tiatr khuim pavlet tor?
Atam tiatr zainam. Ani musical show kortolo zalear despez chodd zata. Tantun sound zo vapddunk zai tachech unnemxe Rs.50,000 zatat. Title poixe vaprun loka laguim tikett viktti ghevnk zainam. Tea passot hanv mhunntam, to teomp zednam amim tiatr kortaleonv, to teomp bhangaracho aslo. Tea bhair, atam soglemch mudar zalam. Music has developed a different taste altogether now. Punn tim adlim kantaram kednamch kabar zanvchinam. Atam ghoddtat kantaram…Devan apnank dennem dilam tea pormonnem.
J: Tuvem itlim sobit kantaram ghoddleaim, tanchea modhlem khuimchem kantar tuzo masterpiece koxem tuka dista?
A: Mhojean oxem kainch mhunnonk zainam kiteak mhojem dor ek kantar hanv ghoddun topastalom, ghorkarnink dakhoitalom…Tea adim, mhojea papak anim mamank dakhoitalom, anim tankam mandlear lokakui mandtelem mhunnttalom. Hanvem "Ghupit Mog" kantar ghoddlem. Lok somzolo tem mhojea jivitak lagu zata mhunnon punn tim chintnam mhojim…jim lokak avoddlim anim tem kantar zaiteam ganvanim azunui mhunntat. Dusrem hanvem ek kantar ghoddlem tem "Ami Sogle Ek"---zanv Mungllurkar, Goemkar, Karvarkar, Malvonnkar…amim sogle Indieche cidadao. Tem hanvem sogleam artistank ghevn Mumboi machier gailem…anim tem azun pasun mhunntat. Hea fuddem hem kantar soglea Goeam gaitele mhunn hanv axeon ravtam.
J: Tiatrist anim kantorist zavpak tuzo…
A: Hoi, mhozo papa. Poilim kantaram mhozo papa ghoddttalo. Poilem English kantar ghoddunk hanv koxem pavlom? Ek dis amim picture-ak geleanv. Thuim rekord vaztali. Hanv ghara ailom anim papak vincharlem: Papa amchean English kantaram ghoddunk zainam? Tannem mhunnttlem: Zanvchenam? Kor. Anim tednam thavn hanv English kantaram ghoddunk laglom, anim pasun 1500 English kantaram mhojim asat, tantlim thoddim hanvem rekord keleam.
J: Hantlem poilem English kantar khuimchem?
A: "Flowers". Maguir "Mandovi".

J: Ani Radio Ceylon-acher ietalim tim?
A: "Date with Daisy". "Seagull"…these were on HMV records. Anim he bhaxen…I was the first one to make an English-Konkani record.
J: Are you a musician too?
A: Yes. I play the violin and the guitar. And God has given me the art of making music arrangements. I have not studied it though I have studied music. Hanv ek dis recording-ank gelom tednam konnem mhaka mhunttlem: Alfie tum kiteak dusreamchem music haddttai? Tum amkam kaibore tune ditai, tum kiteak tujem music arrangement boroinaim? Tem mhojea monan riglem anim hanv music borovnk laglom. Anim oxim kantaram fattlean mhojim kantaram bhair soronk laglim.
J: Tea munxeachem nanv?
A: B. Paul (Colvalecho). To tiatrank saxophone vazoitalo.
J: Sogllem mellun kitle tiatr tuvem boroileai?
A: Ikra. Poilo tiatr Hem Tem Karann anim nimnno Somestancho Kumpar. Tiatr sudravnk hanvem zaitem kelem. Somestancho Kumpar tiatran…pordde poddttale te bond kele. Punn tiatr pollovpi mhunno lagle: Are pordde poddonam mure.
P: Adim porddo poddunk pirluk martale. Punn Angovnnechi Okol tiatran oxem zainam tem pollovn lok ojeaplo anim intervalak tuvem hem lokak ugddapem kelem.
J: Jitli tuvem kantar gavpan anim gaitanam ektting korpan umed/urba dakhoilea tosli tuvem partichea ekttingan…
A: Basically, I am a singer. Ektting konnui kortat punn Devan poi ho tallo dila to dusreank divunk nam. Dekun to vaprun, mhoje stylin gitam ghoddun, lokak aikunk dileam. C. Alvaresan mhaka zaiteo parti boroileat, jeo lokak avoddleat.

JOEL D'SOUZA  (GoaNow)
 

Grabbing a larger slice...

This is a tendency that pervades many fields in Goa and, only recently, it didn't spare the Konkani melody king Alfred Rose. Both while alive, and after his death, Rose and his fans have been told that he is not eligible for a state cultural award, since he is not a resident of Goa. The way in which Goa keeps disowning its own people, is it any surprise that we end up with only a very few trying to repeatedly grab a larger slice of the cake?

This is not an argument for an award to Alfred Rose, an issue which needs to be decided on merit. In any case, artistes like him -- who have popularised local culture by their own initiatives -- have already etched out a place in the heart of tens of thousands. That is reward enough. But what is galling indeed, and a rather unkind cut, is the attitude reflected in the position outlined above. You could call this a reflection of a 'small state mentality'. Instead of trying to increase the size of the cake, we keep fighting over it. Much of our energies are spent in ensuring that we ourselves get a larger slice, while excluding an increasing number of people from a fair share. Let's face it. Ours is a state which has seen its sons and daughter migrating out in droves since the turn of the early 1900s, and even before that. But in a region which has probably the highest per capita ratio of expats and out-migrants in the country, we adopt a stance that disinherits one large chunk of the population by saying they are not 'living in Goa'.

But that's not all. Goa seems to have perfected the art of exclusion in different fields. Even if you live in Goa, or spent almost your entire life here, there's no guarantee that you'll be accepted in the inner sanctum. Language, instead of becoming a tool to include the weak, seems to be fast becoming another tool for exclusion. Language politics have divided two sections of Goans into warring Konkani and Marathi camps, while the main beneficiaries of this seems to be politicians and a handful of others. Romi Konkani speakers themselves feel a sense of alienation and exclusion, on being kept out of receiving prizes or other official support on the grounds that generations of work has been done in the 'non-official' script. But even if you're fluent in the Devanagari script, there's no assurance that you'll make the grade. Some get excluded because their Pernem or Canacona variants of the language may simply not be acceptable to those who define what is 'standard', 'acceptable' and 'correct'. In places like the state-sponsored Kala Academy, this policy towards exclusion is stark.

Some elements of 'culture' are more acceptable than others; so is it any wonder that culture with any Western influence gets step-motherly treatment in post-colonial Goa? Radio announcers too have been, wittingly or otherwise, playing into such negative trends by perennially reminding listeners that the most popular form of Konkani music is, you guessed it, just "Western style" Konkani music. We exclude another segment of our population by simply labelling them 'non-Goans'. Never mind that some of them have lived in Goa for many times longer than it would take to get a Green Card in the US. Never mind that many do have a long-term stake in Goa, and aren't just carpet-baggers out to squeeze the most of this region and her people. Never mind that this section of the population, together with the returned expat Goan, has lent a vibrancy to Goa in a way few residents have managed. Then, of course, there's this patriarchal attitude which seeks to exclude women from Goan social and political life. Reservations in political posts have become, in many cases, just another tool for proxy-control of institutions like panchayats. There are cases where women have been told to stop speaking in traditional institutions like comunidades, since rules framed in less liberal times don't see them as having a role. In religious institutions, including the Church, women are finding their voice and asking for greater responsibility, considering their already-high level of participation and the notable performance of Goan women in many fields, particularly education.

In the past, to be a non-Portuguese speaker was something that excluded you from an elite club. Today, the boot seems to be on the other foot; anything to do with the Portuguese language and culture is, most unfortunately, judged as being politically incorrect! Sociologists have also studied how colonial Goa had institutionalised discrimination in recruitment policies till the Republican Revolution  of 1910. Today, a feeling is again growing that to get into a government job -- never mind that this often is a dead-end for any creatively minded person -- you have to belong to the 'right' community or caste-group. Talking about caste, this form of discrimination has undeniably also long been another exclusion-barrier in Goa. Domicile and knowledge-of-language clauses, if not carefully worked out, could badly hit the very same sections of sons-and-daughters of Goa whom they are ostensibly meant to protect! At the end of the day we need to ask ourselves: whom are we bluffing? Are rules being made just to exclude others? If so, let's shed the pretense that the goal is simply grabbing a larger slice of the cake?

"Frederick Noronha (FN)" <fred@bytesforall.org>
(Posted on Goanet)
 

Concanim Academy Charitable Trust, a non-profit organisation promoting the works of various artists, was launched with the idea of documenting Concanim drama, literature and music, thus preserving 'Concanim' culture and exhibiting the talent of the people. This work has led to the release of Alfred Rose's Song Collection--seventy songs, which have been heard over the years and are being listened to by many to this very day. More information at website: www.goldengoa@goldengoa.org

From: "annie rodrigues" <andreadarl@hotmail.com>

In memory of Alfred Rose, I would like to pen down some of his old songs from his old album which many of you would like to sing. These songs are from his 1973 Album. I, being one of his fan, many a times just open the Jhelo and sing remembering my teenage days. Hope you too do the same. May God grant him eternal rest and courage to his bereaved family. These are the few words he wrote before he could publish this
"Kantaracho Jhelo"

Best regards.
Annie Rodrigues

Poilim Don Utram
Tiatr pollenaranim, Radio aikoteleanim, anim mojea kantaram sovem
moipaspon
dakoiteleam mojem bhavam anim bhoinnanim, maka sabar chitti boroilea
uprant, anvem mojeam kantarancho jhelo xapache vavr athan ghetlo, chear
jele
xapun te vikrek dovorlet, anim maka vodd khuxealkai bogta porgott
koruk, he
soglle khopon rokddench kabar zalet mhunn.
Don vorsanim Europak ravnnem korun anv porot etoch, torui astannam maka
sabar chitti aileot, anink eok novo kantarancho jhelo xapachi goroz
assa
mhunn. Dekun mojeam borem magteanchea magnneank pall diun, anv aiz vho
jhelo xaptam, asson tantun kantaram jim anvem atam record kelelim
assat.
Poili LP record heam dissani bhair sorpachi assa, zacher bara kantaram
assat, anim dusreao don LP recordi anink thoddeanch moinennim bhair
sorteleot. Sogllim mellon 20 kantaram, zanche tune ou sangit soggleank
Radio anim recordancher aikonk mevtelet.
Alfred Rose
Bombay 15-8-1973


1. JIVIT GOEMKARANCHEM

Goa, zolmancho ganv Goa,
Goa, sobit amchem Goa, Goa.
Zaddam maddanim bhorlelem amchem Goem
Porzollit neketr Indiechem
Porke azun vodditat sobitaie sovem,
Mhunntat Goa Bangarachem,
Fulam follanim bhorlam sukachem toyem,
Xitoll varem kitlem thonddaiechem
Kaiborem udok zorichem, bangar team dongranchem,
Herans goemkaranchem
La la la la la la la la la la
La la la la la la
Soglleank Kongotti lagta borem,
La la la la la la la la la la
La la la la la la
Xitoll nitoll Kongotttechem varem
Xit koddi nastannam zainam Goemkaranak,
Toxench ilexem kopachem,
Samarachi koddi ruchik lhanam voddank,
Toxench sorpatel gostachem,
Sarnam vodde nam tor zainam festakarank
Toxench amott tik amchem ruchichem,
Kalchi koddi, lonnchem borem, para anim kharem,
Jivit Goemkaranchem.

*****
(courtesy: goancauses.yahogroups.com)
 

FOTTOUN GELEIM (On the ryhme of WHERE DO I BEGIN - Love Story)
- Lyrics and sung by: Alfred Rose


Dukham sanvronam
Nirmoll kallzak ghavo zala to pekonam
Tuje osoli devi dusri mevchinam
Rochnnaran kazar kiteak favo kelenam,
vhoi kelenam

Anstem rup tujem
Nialltoch kallzak pet'ta akttem ujeachem
Tunch mozo fuddar dissoi neketr Sorginchem
Sozmotalom tunch mhunn amrut jivitachem
Khuimsor geleim,
khuimsor geleim
Kazarachea dissa,
aksident zaun,
choddfoddeanim meleim
Kallzak balo topun geleim,
kalliz toddun veleim
Zogllaunnem koxem jivitan aileim
Ekach minutan, tum nattak zalaim,
fottoun geleim

Pisso zalam anv,
chintunk naslelea mornan giraslem tuka
Kazarachea dissa, tunvem fottoilo maka
Makai vor, sonvsaran anink dovrinaka
tunch vor maka. 

Our special thanks to:

Fausto V. Da Costa (The Goan Review & Tiatr & Tiatrists publication)
Alister Miranda (Goa Today)
Isidore Dantas (Goa Today)
Ben Antao (The Goan Forum)
Francis de Verna (Kuwait-Goa Tiatristanchi Sonstha)
Joseph (Remmie) Fernandes - EXPRESSIONS-Mumbai.
Pamela D'Mello (The Asian Age)
Joaquim Fernandes (The Navhind Times)
Frederick Noronha (Goanet)
Sean D'Souza (Concanim Academy Charitable Trust - Mumbai)
Joel D'Souza (GoaNow webzine)
O'Heraldo   www.oherald.com
Basilio Magno (Goa-World.Com)
Augusto & Gracy Morais
Udai Bhembre (The Times of India)
Pramod Kale (Tiatr & Tiatrists - 100 years of Tiatr History)
and to the Alfred Rose Family & all those who have contributed to this webpage.

Concept & Pictures by: Gaspar Almeida      www.goa-world.com