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Kunnbi-Geet
Kunnbi-geet is a folk song prevalent among the hardy labourers
called Kunnbis which are sung to the accompaniment of the
ghumatt and the drum and the clang of cymbals. These Kunnbis are found
concentrated in the Chandor-Kouddi hamlet of Chandor in an exclusive ward
of their own called Kunbeam-Vaddo now being called by them as Miream-Jirem.
The theme of their songs varies from romantic love to bitter resentment
and satire couched in suggestive language against their landlords (Bhakar)
who have usurped their lands and are exploiting them. The Kunnbis sing
songs at different times, like at different stages of cultivation of rice.
It is done at the time of Nondnni (weeding), Mollnni (threshing), Luvnni
(harvesting). Winnowing does not find expression in songs. There are also
songs with reference to the rain and its bounty.
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Occupational
Songs Amon
The Goan fisherman have their own folk-songs which they sing at
the time of the Sangodd (two boats being tied together). The most famous
of these performances being at Calangute, at the time of their first trips
to the sea after the resumption of the fishing seasons after monsoons.
The
toddy-tappers who are the largest group among the Sudir group of castes
in Chandor, have their own charming songs called Rendrachim Geetam (songs of
toddy tappers), which are equally fully of native verve. Other occupational
songs are the Mitta-geet of salt pan workers and the Ghanno of the oil-mill
crushers.
The general run of workers/labourers
have another type of song sung at random at siesta time or may be during recreational
hours, to the accompaniment of ghumatt and Kansallim (cymbals) which are known
as tandnni which is derived from 'tan' (thirst). Such songs arise from the native soil have the freshness and smell of
it.
Konkani songs of Goa are found in an infinite
variety. For the song has been
the mainstay of the Goan in his hour of joy and sorrow, even in the expressions
of protest against injustice and oppression even when he was confronted with the
threat of extermination.
The cradle songs in Goa are known as Painno or
Halloio. Though they are very
few in number, they are fine expressions of lilting tunes, the best of the
existing ones being Painnem Halounk (to rock the cradle) and Dol re Baba (Rock,
baby).
There are songs for various ceremonies connected with
weddings. After the
engagement is over, Goan Christians and Hindus follow more or less similar
customs in their weddings. The songs that accompany the different stages and
ceremonies of the wedding ritual are called Zoti.
Another lilting traditional song, sings of the cowherds and
milkmaids who used to come down from the Ghats in search of plenty, in
Goa and the regions around it. The song is sung alternately by choruses
of two groups, boys and girls.
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Talgoddi Dance
There are some activities which are peculiar to Goan Hindus.
The spirit of the carnival finds its expression in Chandor village among
the Hindus in the form of the Talgoddi dance. It literally means young
men in rhythm in Konkani. It has eight distinct modes, expressed through
its theme and is danced by eight to twelve men. They show their skill
in footwork and muscles by dancing a number of group dances, which are
a spontaneous outburst of genuine folk spirit, on the Mandd or paved courtyard
under the graceful and cool mattov (pavilion made of thatched green coconut,
tree plaited leaves and mounted on betel nut poles). It is a sort of an
aimless dance expressing a pure rhythmic pattern of human movements, energy
and sheer joy of living.
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