TIATRIST WILLIAM DE CURTORIM ATTACKED.
According to the news item appeared in Herald dated 28th November 2007, about 10 – 12 miscreants attending the Tiatro “Avoin Kelem Pap, Putan Dili Zap” of William de Curtorim, staged at Gomant Vidya Niketan, Margao, on 27th Nov. 07, flung eggs on the stage when William de Curtorim sang the song, a “Zupatti” to Churchill Alemao for his sin of changing political parties. The title of this Zupatti solo is “SAVE GOA SODDUN CONGRESSANT GHELO”. It is a direct slap on the face of Churchill Alemao for his bad political habit of changing political parties. According to the same news item, the miscreants who flung eggs on the stage were the supporters of PWD Minister Churchill Alemao though Alemao denied any acquiescence in this mischief.
History said that Tiatrists in Goa were the targets of their ideological foes who tried to suppress the voice of Tiatrists from the stage. During the Portuguese rule in Goa, Tiatrists’ songs and plays were censored by the Village “Regidore” on behalf of the Goa Government much before their Shows. Anything against the Portuguese Government and its functioning was censored. During those days Tiatrists were allowed to express from the Stage anything against anyone except Government. For this reason the great Tiatrist Alexinho de Candolim to express his feelings freely against Goa Government, fled from Goa and surfaced in Bombay where at Bhangwaddy Stage he rendered his most courageous solo against the functioning of Portuguese Government of Goa. This was his ire against the Portuguese Negro soldiers from Aguada who killed his colleague and son of his Village Mestiri of Candolim Parchial School. When Portuguese Government of Goa came to know of this then Alexinho de Candolim’s return to Goa was put under surveillance because of which he had to stay in Bombay leaving his entire family in Goa.
Tiatrists from Goa had to make lot of sacrifices to keep the Konkani Stage strong. Tiatrists were the mouth piece of Goan voice and especially the voice of suffering and persecuted Goans. Their voice had great effect. What Judiciary, Police and Government machinery could not do, our Tiatrists could do by making use of the Stage. The voice of Tiatrists always proved to be loudest and powerful. For this reason Kid Boxer somewhere in 1959 was deported to Goa from Bombay by the Government of Bharat for singing a song against the wrong doings of Bharati Government regarding his beloved Portuguese Goa. Because of this deportation Kid Boxer’s lost his lucrative job at Central Railway – Parel, Bombay and because of this loss he and his family had to suffer a lot. Again in Goa soon after the entry of Bharati rule in December 1961 in early 1962, at Mapusa, Kid Boxer was arrested for singing a piercing “Zupatti” against the dirty rule of Bharat in Goa. On the same day and in the same Tiatro, Conception-Nelson-Anthony were also reprimanded by the Bharati authorities came to witness that Tiatro. They were not Administrators of Mapusa but they were the Chamchas of Bharati corrupt politicians, they pretended to be the patriots of Bharat in Goa.
Kid Boxer in his solo sang thus:
“Tum bhitor sorlai chukon, mortoloi sukon, dusreacho desh pochona (Referring to forcibly annexing Goa by the Bharati Government).
Tum Panpotti khatai ani poch’chu korun thuktai, lozui kaim disona (Referring to all the Ghantti Mamas coming to Goa from all over Bharat and shamelessly spitting Pan on the roads and floors without any human decency which was very high in Goa during Portuguese rule).
Tum nestai forkot Valo ani khatai fokot Palo (Referring to all the Bharati people who descended on Goa following the forcible annexure of Goa by Bharat wearing nothing but a white piece of cloth covering the lower part of their bodies and drinking nothing but tea).
Conception-Nelson-Anthony in their maiden trio formed first time said in their song that Nationalist or Freedom Fighters were responsible for the mess that Goa became after the Bharati rule in Goa. They even suggested that Goans should migrate to Brasil because Goa is no more a good haven for real Goans. These were the most powerful songs that shattered the might of Bharat Serkar in Bombay and in Goa. Later on during the rule of Dayananda Bandodkar under Maharastrawadi Gomantak Party, the Goa Government introduced Portuguese Government initiated Censorship against Tiatros and their songs in late Sixties only to punish Tiatrists like Conception-Nelson-Anthony because they were the worst critics of MGP rule in Goa. Because they were fighting for justice for Goa, Bandodkar treated them as Jews in Naziland. But they never cared, so too Kid Boxer and they went on singing Zupatti songs. It was they who were responsible for shaking MGP Goa Government. Tiatrists deserved highest compliments for fighting for the cause of Goa, justice and common men from the Stage. They served Goa better than politicians. To serve Goa and Goans they never asked bribes as the current Ministers and politicians are demanding from the people, of course shamelessly
Why Stage artistes only? Even those artistes acting in “Zagor” and “Sangodd” also played their roles in exposing the ill deeds of the Government. People from Agacaim are known to possess militant skill to fight against injustice. During Konkani Language agitation they were always on the forefront to participate in Rallies and Meetings held in Panjim. In this movement I associated and integrated with them in Panjim and enjoyed their love and affection. Defiance to the brute rule of Goa Government was their forte. When we organized our Rallies and Meetings at Panjim in solidarity with Kuwait during the invasion of Kuwait, Kuwait evacuees from Agacaim were in big number attended our rallies and meetings. Again, almost a century back this incident happened in Agacaim, Ilhas Goa. The Toddy Tappers had to pay certain amount of Tax for their business of extracting Toddy from the Coconuts. When Government increased this Tax, “Renders” from Agacaim opposed it and as a sign of their protest they refused to carry on with this business. One of the “Renders” from Agacaim was forcibly defying his colleagues by resuming his work of extracting Toddy. When he refused to toe the line of his colleagues, one of the Toddy Tappers used a gun and shot him dead while climbing on to the Coconut. Next day all the Renders from Agacaim were arrested and taken to Panjim Police Station for questioning. Goa Government tried to suppress this news but in vain. Immediately in Candolim there was a Zagor where one of the singers sang a beautiful song on this episode and immediately he was reprimanded by the Village Regidor for awakening the masses on happenings in Agacaim. Two verses of this song go thus:
“Janerachea Pirmerak dhorun velet Rendrank,
Ani Ponje voron Pirez kelet khuim team Agxikarank,
He baxen vinchar kelo tanche kodden serkaran,
Ki hi budh konne dilea ti sangat mhonnon juramentan.
Ch.
Agxekarani sanglem ami hazir mhonn mornank,
Punni zamnno kedinch ghalchenant maddank,
Agxe eklean Madd dovorlole taka jitoch marlo faran,
Tacho deman cholta atam Ponje Serkaran.
William de Curtorim is creating lot of ripples on Goan Stage. Earlier too 5 years back at Mapusa he was harassed by the Goa Government machinery for singing a song against Rane and even he was taken to Police Station for questioning. Now at Margao according to press reports, thru Remote Control Churchill Alemao harassed William de Curtorim by silencing his mouth from expressing his voice freely. By doing this William gained more support, more publicity and more sympathy and his opponents lost much of their credibility. He became now a greater hero. His marketing value is enhanced now much more than what it was earlier. Those who are trying to suppress one’s sane voice are criminals. In democratic system everyone must express his feelings rightly and justly. Goa is disgraced by our Ministers and Government officials. They should be reprimanded first. However, while expressing themselves from the Stage the singers should not show their lust for money. Some of the singers in Goa blackmail some of the politicians by demanding thousands from them otherwise they threatened them to expose their misdeed from the Stage. Ealier powerful Tiatrists like Kid Boxer, Conception-Nelson-Anthony never did such dirty tricks, neither Rom-Rem-Rod. They used Stage to clean the rot and not to make money thru illegal manner by using the terminology of threats like “Tum makam 20 hozar dinai zalear aum tuji zupatti mhonttolom ani tukam expose kortolom”. “Tum makam 50 hozar ditai zalear aum tujevoir ek sobit kantar mhonttolom ani tukam sobemazar hero kortolom”. Such Tiatrists and singers do not deserve symphaty.
I condemn vehemently the unwarranted attack on Tiatrist William de Curtorim. Nobody got right to stop in this manner any Tiatrist from singing his song. In case there is anything wrong in the song then the singer could be tried in the court of law and not by flinging eggs in a very nasty manner. Only nasty people with the support of nasty political leaders can do such nasty acts. William de Curtorim must not cow down by such threats. If necessary, he must simultaneously go for recording such songs in his Albums and thus spread his message of justice. Irani spiritual leader Ayatolla Khomeini created his revolution by spreading his revolutionary sermons thru Audio Cassette. Thru this method he shook the powerful Palavi Empire headed by Shah of Iran. In his maiden Audio Cassette, William de Curtorim heavily praised the Churchill Bros. for their valiant fight for the cause of Konkani. In his next Audio Cassette William de Curtorim must expose all the politicians who are disgracing Goa and Goans the way he eulogized Churchill Bros. in his maiden Cassette.
While concluding, let me quote French writer Voltaire who said on freedom of expression: “I fully disagree with what you say but to allow you to say what you want to say, I will do everything within me, even to the extent of facing death to allow you to say what you want to say though I fully disagree with what you say.” If Churchill Alemao thru remote control is really involved in pushing his supporters against William de Curtorim then he must ponder over what Voltaire has said centuries back. It is not enough to ask democratic rights from others but one must know to give democratic rights to others.
A. Veronica Fernandes,
Kuwait.
November 30, 2007
November 27, 2007
Tiatro "MAIM TUJO UPKARI AUM".
MAIM - TUZO UPKARI HANV. A Tribute To All Mothers.
By: Daniel F. de Souza.
A middle aged widow fighting a long drawn court case to prove that her honest ex-serviceman husband who died fighting the 1971 India-Pakistan war was a patriot and not a traitor, her only son a US returned NRI who has such high regards and love for his mother for all the sacrifices she has done for him that on his return in recognition he authors a book as a tribute to her and names it ‘Maim – Tuzo Upkari Hanv’.
But, with passage of time and change of status this same young man does a volte face and belittles his mother publicly by calling her his servant and to add insult to injury later has the gall to scream ‘I hate you’ with rage and anger in the company of his devilish wife, as the mother’s lifeless dead body lies in the coffin. However, belatedly the reality hits straight and hard and he is made to repent profusely, this in a nutshell sums up the core theme of Rose Ferns new tiatr ‘Maim – Tuzo Upkari Hanv’.
A packed audience at the Gomant Vidya Niketan Margao on Diwali afternoon were glued to their seats for 3 hours watching in anticipation as the story of ‘Maim –Tuzo Upkari Hanv’ unfolded on stage sequence by sequence till it reaches its climax in the very last scene that was the befitting finale for the play.
The plot appears to be quite simple, the usual mother-in-law-daughter-in-law spat and tussle, with the son being the centre of the conflict torn between two women. But, the only difference here is that the mother-in-law is a very loving and submissive woman who has sacrificed everything to give her only son a respectable position in society but at the end of it all she is at the receiving end with her son being a mere spectator and turncoat. The plot too moves at a medium pace till the first half and picks up steam as it progresses into the second installment.
In the beginning it seems to be like any other normal plot that usually highlights such family upheavals between the hi-fi daughter-in-law and the traditional mother-in-law. The difference is in the twist the playwright has given to the plot in the ending with a dash of suspense so as to give it a polished finish to the satisfaction of all. The playwright and director Rose Ferns himself has a brief appearance in the first session of the play but comes out forcefully in the second half which eventually takes the story to a great ending with a befitting message. I do not wish to disclose the story line of ‘Maim Tuzo Upkari Hanv’ in any manner apart from what I have stated in the opening lines. But can safely say the plot has sufficient ingredients to tickle your funny bone as well as activate your tear ducts.
A couple of scenes where the mother is put into embarrassing situations by her only son gives ample reasons to touch your sensibilities, talented Roshan who is called upon to do the widow’s role does full justice to the script. Besides the last climax scene two more scenes that actually melt your heart are the one when Julius (Ulhas Tari) recovers from the serious head injury in the hospital and the reply he gives to the doctor when the latter questions him about the identity of the elderly woman who was constantly praying by his bedside. The other touching scene is the one when (Roshan) comes out with the brief case and coat and hands it over to the advocate (Victor) who is on his way to the court for the hearing of the case which is coming up for final judgment.
The comedy by comedians Seby- Sally-Tony de Ribandar who are blind, deaf and dumb respectively evokes good laughter with Sally being the pick of the lot, his individual skill at comedy stands out among the other two. Though at times it appears that this deaf guy suffers from ‘selective’ hearing for at one time he has to be told a thing three times, but sometimes he can hear clearly at the first instance. Tony de Ribandar too stretches every muscle in the body to bring out the dumb character effectively, a little more combination among all three characters can take this comedy to great heights. Among the many comedy sequences one that brings exceptionally good laughter is the steel ladle quiz episode.
The play has a good number of solos, duets, three trios and one quartet. Among the solos Francis de Tuem takes the cake for his decent solo, Lawrie too impresses with his solo, while Tari wins the hearts of the audience with his well composed decent solo and later being part of the trio. Incidentally Tari has now with passage of time matured well as a more confident solo singer. The quartet with Sally, Roshan, Seby and Peter de Benaulim set to a lively folk tune gave a good fillip to the entertainment turned out to be a hit. So also the comedy trio by Tony-Antonette and comedian Seby was well received. The political Trio by Tony-Lawrie-Tuem has a good punch exposing a certain politician however ending lines of the last chorus rendered by Tuem are certainly debatable. The playwright has well exploited Roshan’s singing talents in the Kantos, but one such kanto sung on the Abba’s English tune Fernando could have been provided better music backup even though otherwise overall the music is fairly good.
‘Maim tuzo Upkari hanv’ will certainly have its own share of audiences and appreciation, yet one may at the end get the feeling that there is something amiss from the usual Rose Ferns production. While three of Rose Ferns’ preceding shows have been super-duper hits, this show still falls short of coming anywhere close to his earlier hit ‘Maim- Tuzo Put Hanv’ which had the added advantage of the revolving stage. But if you truly love your mother and value her for what she is and what she has done…then this show is for you! Please do not miss it. Go ahead book your seat in advance and don’t encourage black marketeering to raise its ugly head, especially so in Margao.
By: Daniel F. de Souza.
A middle aged widow fighting a long drawn court case to prove that her honest ex-serviceman husband who died fighting the 1971 India-Pakistan war was a patriot and not a traitor, her only son a US returned NRI who has such high regards and love for his mother for all the sacrifices she has done for him that on his return in recognition he authors a book as a tribute to her and names it ‘Maim – Tuzo Upkari Hanv’.
But, with passage of time and change of status this same young man does a volte face and belittles his mother publicly by calling her his servant and to add insult to injury later has the gall to scream ‘I hate you’ with rage and anger in the company of his devilish wife, as the mother’s lifeless dead body lies in the coffin. However, belatedly the reality hits straight and hard and he is made to repent profusely, this in a nutshell sums up the core theme of Rose Ferns new tiatr ‘Maim – Tuzo Upkari Hanv’.
A packed audience at the Gomant Vidya Niketan Margao on Diwali afternoon were glued to their seats for 3 hours watching in anticipation as the story of ‘Maim –Tuzo Upkari Hanv’ unfolded on stage sequence by sequence till it reaches its climax in the very last scene that was the befitting finale for the play.
The plot appears to be quite simple, the usual mother-in-law-daughter-in-law spat and tussle, with the son being the centre of the conflict torn between two women. But, the only difference here is that the mother-in-law is a very loving and submissive woman who has sacrificed everything to give her only son a respectable position in society but at the end of it all she is at the receiving end with her son being a mere spectator and turncoat. The plot too moves at a medium pace till the first half and picks up steam as it progresses into the second installment.
In the beginning it seems to be like any other normal plot that usually highlights such family upheavals between the hi-fi daughter-in-law and the traditional mother-in-law. The difference is in the twist the playwright has given to the plot in the ending with a dash of suspense so as to give it a polished finish to the satisfaction of all. The playwright and director Rose Ferns himself has a brief appearance in the first session of the play but comes out forcefully in the second half which eventually takes the story to a great ending with a befitting message. I do not wish to disclose the story line of ‘Maim Tuzo Upkari Hanv’ in any manner apart from what I have stated in the opening lines. But can safely say the plot has sufficient ingredients to tickle your funny bone as well as activate your tear ducts.
A couple of scenes where the mother is put into embarrassing situations by her only son gives ample reasons to touch your sensibilities, talented Roshan who is called upon to do the widow’s role does full justice to the script. Besides the last climax scene two more scenes that actually melt your heart are the one when Julius (Ulhas Tari) recovers from the serious head injury in the hospital and the reply he gives to the doctor when the latter questions him about the identity of the elderly woman who was constantly praying by his bedside. The other touching scene is the one when (Roshan) comes out with the brief case and coat and hands it over to the advocate (Victor) who is on his way to the court for the hearing of the case which is coming up for final judgment.
The comedy by comedians Seby- Sally-Tony de Ribandar who are blind, deaf and dumb respectively evokes good laughter with Sally being the pick of the lot, his individual skill at comedy stands out among the other two. Though at times it appears that this deaf guy suffers from ‘selective’ hearing for at one time he has to be told a thing three times, but sometimes he can hear clearly at the first instance. Tony de Ribandar too stretches every muscle in the body to bring out the dumb character effectively, a little more combination among all three characters can take this comedy to great heights. Among the many comedy sequences one that brings exceptionally good laughter is the steel ladle quiz episode.
The play has a good number of solos, duets, three trios and one quartet. Among the solos Francis de Tuem takes the cake for his decent solo, Lawrie too impresses with his solo, while Tari wins the hearts of the audience with his well composed decent solo and later being part of the trio. Incidentally Tari has now with passage of time matured well as a more confident solo singer. The quartet with Sally, Roshan, Seby and Peter de Benaulim set to a lively folk tune gave a good fillip to the entertainment turned out to be a hit. So also the comedy trio by Tony-Antonette and comedian Seby was well received. The political Trio by Tony-Lawrie-Tuem has a good punch exposing a certain politician however ending lines of the last chorus rendered by Tuem are certainly debatable. The playwright has well exploited Roshan’s singing talents in the Kantos, but one such kanto sung on the Abba’s English tune Fernando could have been provided better music backup even though otherwise overall the music is fairly good.
‘Maim tuzo Upkari hanv’ will certainly have its own share of audiences and appreciation, yet one may at the end get the feeling that there is something amiss from the usual Rose Ferns production. While three of Rose Ferns’ preceding shows have been super-duper hits, this show still falls short of coming anywhere close to his earlier hit ‘Maim- Tuzo Put Hanv’ which had the added advantage of the revolving stage. But if you truly love your mother and value her for what she is and what she has done…then this show is for you! Please do not miss it. Go ahead book your seat in advance and don’t encourage black marketeering to raise its ugly head, especially so in Margao.
November 26, 2007
The main ensemble of BLACK
By Gasper Crasto 
Fashion is not something that exists in dresses only. Fashion is in the sky, fashion is on the street. Fashion is to do with ideas, the way we think. It is a day in the cinema world, to see a fashion of a different kind. To see what is BLACK Nhesop Atanchem Fashion (Wearing BLACK is a Fashion).
Sure, it is going to be a delight for any nationality to come and watch as ‘BLACK’ will be now screened with English subtitles.
‘BLACK Nhesop Atanchem Fashion’, the Konkani language movie by International Award Winning director T-Bush will be screened on Friday, November 30, 2007 at Hawally Auditorium at 3.00 pm sharp.
The film premiered earlier on August 10, 2007 at Al Masrah, Hawally Auditorium is the first Indian film to be made in Kuwait produced mainly for the Konkani masses.
A music maestro and his five pupils form the heart of this feature film. The five musicians who form the ‘BLACK’ ensemble portray what is wrong, what has changed, and what is inevitable in today’s genre of music and musicians in a sweet, just, humane and interesting melodrama of wit and emotions filmed with a Goan backdrop of traditions and culture.
Kala `academy Award winner for best actor Cajetan Pereira Ipopularly known as Cajetan de Sanvordem) has played the role of maestro with unmatched superiority while Salu Faleiro, Comedian Philip, Braz de Parra, Abby and Babbit Dourado are the select artistes of the ensemble in amazing roles.
The theatre comedian, Salu Faleiro who began his career with one-scene glimpses in stage shows has played a cameo role in BLACK. Salu’s ability to make someone laugh genuinely is absolutely great. His body language and dialogue delivery has the core strength of the indigenous. Infact there is something that is peculiar about the roles of Babbit Dourado, Braz, Philip and Salu Faleiro. They represent in their body and speech, the native idiom. While the other stars dressed their part, these actors have delved into the home milieu and come up with performances that carry the essence of originality. They have graduated with ease retaining their links to the native roots intact.
Philip, a young veteran of more than 3 decades on stage, has mastered the art of comedy over the years. His charm and impeccable 'screen presence' captivates the audience in BLACK. "I feel proud to say I’ve never got a bad reception for my roles,” says Philip on his successful performance. He further adds, “I would like to categorize the film as a spectacle of hilarious comedy, wit and emotion weaved together in a simplistic morality. The movie keeps your curiosity alive...”
Babbit Dourado has traversed much distance before he faced the movie camera. “I have fulfilled my dream to play the youth of this generation on screen,” stated Babbit about his role.
Braz de Parra’s role and existence in the movie is simply unforgettable. Winner of Best Singer Kala Academy Award in 1989, Braz also holds credits for the lyrics of ‘BLACK’.
Director of award winning short film in English, 'The Letter' that won the Best Film award at the 2005 London Film Festival, T-Bush has included a crew of Goan and Mangalore-ian artistes for the making of BLACK. The state-of-the-art director has made use of the latest E-Cinema technology for the making of the film.
The movie revolves around a musician who is involved in trivial assignments of traditional music. Culture and music means everything to the self-born maestro who just cannot give up on his passion for music. His effort to persuade the young genre to keep the art living in the face of fading tradition runs to an emotional zenith as the movie unfolds.
Fashion is not something that exists in dresses only. Fashion is in the sky, fashion is on the street. Fashion is to do with ideas, the way we think. It is a day in the cinema world, to see a fashion of a different kind. To see what is BLACK Nhesop Atanchem Fashion (Wearing BLACK is a Fashion).Sure, it is going to be a delight for any nationality to come and watch as ‘BLACK’ will be now screened with English subtitles.
‘BLACK Nhesop Atanchem Fashion’, the Konkani language movie by International Award Winning director T-Bush will be screened on Friday, November 30, 2007 at Hawally Auditorium at 3.00 pm sharp.
The film premiered earlier on August 10, 2007 at Al Masrah, Hawally Auditorium is the first Indian film to be made in Kuwait produced mainly for the Konkani masses.
A music maestro and his five pupils form the heart of this feature film. The five musicians who form the ‘BLACK’ ensemble portray what is wrong, what has changed, and what is inevitable in today’s genre of music and musicians in a sweet, just, humane and interesting melodrama of wit and emotions filmed with a Goan backdrop of traditions and culture.
Kala `academy Award winner for best actor Cajetan Pereira Ipopularly known as Cajetan de Sanvordem) has played the role of maestro with unmatched superiority while Salu Faleiro, Comedian Philip, Braz de Parra, Abby and Babbit Dourado are the select artistes of the ensemble in amazing roles.
The theatre comedian, Salu Faleiro who began his career with one-scene glimpses in stage shows has played a cameo role in BLACK. Salu’s ability to make someone laugh genuinely is absolutely great. His body language and dialogue delivery has the core strength of the indigenous. Infact there is something that is peculiar about the roles of Babbit Dourado, Braz, Philip and Salu Faleiro. They represent in their body and speech, the native idiom. While the other stars dressed their part, these actors have delved into the home milieu and come up with performances that carry the essence of originality. They have graduated with ease retaining their links to the native roots intact.
Philip, a young veteran of more than 3 decades on stage, has mastered the art of comedy over the years. His charm and impeccable 'screen presence' captivates the audience in BLACK. "I feel proud to say I’ve never got a bad reception for my roles,” says Philip on his successful performance. He further adds, “I would like to categorize the film as a spectacle of hilarious comedy, wit and emotion weaved together in a simplistic morality. The movie keeps your curiosity alive...”
Babbit Dourado has traversed much distance before he faced the movie camera. “I have fulfilled my dream to play the youth of this generation on screen,” stated Babbit about his role.
Braz de Parra’s role and existence in the movie is simply unforgettable. Winner of Best Singer Kala Academy Award in 1989, Braz also holds credits for the lyrics of ‘BLACK’.
Director of award winning short film in English, 'The Letter' that won the Best Film award at the 2005 London Film Festival, T-Bush has included a crew of Goan and Mangalore-ian artistes for the making of BLACK. The state-of-the-art director has made use of the latest E-Cinema technology for the making of the film.
The movie revolves around a musician who is involved in trivial assignments of traditional music. Culture and music means everything to the self-born maestro who just cannot give up on his passion for music. His effort to persuade the young genre to keep the art living in the face of fading tradition runs to an emotional zenith as the movie unfolds.
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