Mando (music)

Mando or Manddo (Konkani mānḍô) is a musical form that evolved during the 19th and 20th centuries among the Goan Catholics of Goa, India. It represents the meeting point of local Goan (Goa was at the time, not an Indian state) and western musical traditions.

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

Mando Festival in Goa.

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

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

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

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

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

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

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

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

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

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

Mando dancers on stage, Goa.

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

Some other mandos are:

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