Goa’s Michelangelo A tribute to Dr José Pereira

Frederick Noronha, Editor

2021 Goa’s Michelangelo: A tribute to Dr José Pereira

Copyleft 2021 Frederick Noronha

This collection may be copied with credit to the respective authors.

[email protected] or [email protected]

+91 98 22 12 24 36 Released on Jan 22, 2021, what would have been the 90th birthday of Dr José Pereira.

Published in 2015 by

Goa,1556, Saligao 403511 Goa, India. http://goa1556.in Email: [email protected] +91-832-2409490

10987654321

Project co-ordination: Frederick Noronha.

Typeset with LYX, http://www.lyx.org. Text: Utopia 10.4/14.4 Special thanks to Luis SR Vas for access to a collation of works related to Dr

Pereira.

Cover design: Bina Nayak.

Available in an e-edition.

See Goa,1556’s online catalogue at http://goa1556.in To a titan of a man, humble in his dealings, generous in sharing what he knew... one who cared for Goa. Deeply. Contents

Goa’s Michelangelo... 5

Cousin, mentor and co-author 14

Scholar, Writer, Artist, Musicologist, Linguist 27

In Defence of José and the Hindu Faith 38

Earth and Heaven in Conversation 46

Scenes in the Sacristy 54

In Goa, East and West met... 61

José Pereira (1931-2015) 66

Synopsis of Goan history 71

Martins: Major Musical Achievements 103

The Forces Destroying Goa... 121

The Works of José Pereira 127 Goa’s Michelangelo...

A fresco mural by José Pereira was unveiled by Al- ban Couto at a largely attended function in the Rosary Chapel Fatorda on April 26, 2008. The site of the mural, titled Creation Resurgent, is on the large nave of the chapel which has been largely restored by the efforts of the parishioners and by donations mainly from the artist José Pereira him- self. Creation, the animal world, is being devas- tated, along with resources that it enjoys like food and water. It is being assaulted by hu- man greed that has no consideration for the ecology and the way of life of people who live in conformity with the environment. In ex- pressing the theme in vivid colour and loving detail of children, flora, and fauna as found in Goa, the overriding figure is that of Christ holding creation in his protective hands and

5 infusing fresh life into creation, for all creeds, humanity, and all forms of life. The parish priest Fr Boulais da Costa presided. Speakers included Percival Noro- nha, Dr Francisco Colaco, and Damodar Mau- zo. The third volume on mandos written by Dr. José Pereira, Michael Martins, and Fr An- tonio da Costa was released at the function. Dr José Pereira, in his speech, explained the significance of his painting and how it em- bodied the Goan vision of East and West and the spirituality of the Goan people. Alban Couto traced the career of José Pereira as an artist, the setbacks he received and finally the triumph of justice and vindication at Fa- torda. Engineer José Lourenco whose dedica- tion and commitment contributed to the suc- cess of the function gave a vote of thanks. (José Pereira was Professor Emeritus of The- ology of Fordham University, New York; he taught in various academic institutions in Lis- bon, London, and Varanasi; has published 20 books and over 140 articles on theology, his- tory of art, on Goan and Konkani culture, lan- guage, literature and music. His paintings were part of the Display of Eastern Art at the Vatican, and his recent works include the mu- rals at Borda and Fatorda.)

6 Below is the speech by Alban Couto (1929- 2009) on the occasion:

Great artists suffer labour pains. Though with less intensity, we also feel the pains. Till the very last moment of the unfolding of this fresco masterpiece, Creation Resur- gent,1 it was not certain that its creator, Dr José Pereira, himself would be here. His beloved daughter Sophia accompanied him, snatching a few days leave before she takes her father back to New York. He arrived in Bombay and in high fever. He was hospitalised; fortunately the infection has been treated with heavy doses of intravenous an- tibiotics. Even in that condition, he insisted on coming to Goa two days ago to launch the Bragança Pereia’s Ethnogra- phy of Goa, translated by my wife, Maria Aurora. For- tunately again, doctor’s orders forced him down. It is with great reluctance that the doctors have let him arrive here in time to witness the unfolding of his fresco masterpiece. So finally the saga of Creation has been fulfilled with the artist himself present. I take it as an auspicious sign, a divine benediction, for this mas- terpiece. In sharing the vision with all of you, permit me to recount the painful road to its creation, to justice and fulfillment in this Rosary Chapel at Fatorda. The Fatorda Chapel like many of the churches and temples in Goa is a fulcrum of light. The barreled vault is dramatically illuminated by light entering through

7 the oculi or eyes of the façade and the aisle windows, symbolizing in the words of José, the three eyes of the Indian divinity Shiva. It is in this luminosity that fresco painting comes to life; divine life. The masterpiece of this genre is the Sistine Chapel and its artist, the great Michelangelo. Both have inspired our José Pereira. He would talk of them in his student days in Bombay when we first met. A film popular at that time was ’Agony and Ecstasy’ about Michelangelo and his crusty patron Pope Julius. So if it is ecstasy that you feel here, forgive me when I talk of the agony. The comparison of José with Michelangelo is not far fetched. Since his post graduate student days in the fifties, José was astonishing us with his astounding command of the classics in its original languages – Sanskrit, Latin, Greek, Persian, Spanish, Portuguese, Italian, Arabic, and his beloved Konkani. He was fluent in them, tak- ing pains to speak and even sing in their original ac- cents. I was thrilled by his knowledge, and sometimes em- barrassed. He put my infant daughter to sleep, when nothing could stop her yelling, by singing in Persian, the poems of Hafiz. But he almost got me demoted if not sacked when he won a slanging match of San- skrit slokas against some of my bosses in Delhi. Often I dearly wished that his charity could extend to bureau- crats.

8 Among the other classics venerated by José are Dante, and the great artists of Ajanta and Ellora whose masterpieces are a testament that great art and great faith go together, in fact one is not truly alive without the other. They may fight as another great contemporary Goan artist, Newton Souza, showed, using the stark silhou- ette of the Goan landscape and violent colours to epit- omize the demons that tore him. But for harmony and peace the artist has to imbibe the spiritual classics, theo- logical and mystical, St John of the Cross and the Sufis, and Bhaktis and the ladainhas, dulpods, and mandos of Goa. José absorbed all this, intellectually and with schol- arly erudition, expounding them in insightful books on theology, Baroque Art, Hindu-Christian theologi- cal concordance, Islamic Art,and the path breakers on Goan folk music. He traveled in remote villages in Goa, with a tape recorder in his shoulder pack, speaking to women and farmers in their fields and in their homes, and record- ing their songs and stories. Some of this went into his books, but the colour, vi- vacity, the fruits of the earth and of their labour, fish, mangoes, the harvested paddy, the chatter of their gos- sip and sabhin mai rosaries went into the frescoes of the Borda Chapel, and have been transformed into a kind of divine life in José’s frescoes in this Fatorda chapel. But before Fatorda of fulfillment, there was the half

9 tragedy of Borda of ten years and the complete tragedy of Juhu, Bombay, almost fifty five years ago. Borda remains incomplete, inspite of the manifesto agreed to by the Chaplain, a manifesto which advocate and writer, Udaybab Bhembre drafted and signed, a manifesto of Goan support to a great artist attempting to bring his love of Goa, of its land, of its people, of its many cultures and creeds, into one unifying vision of peace and harmony. I urge those who have not seen the frescoes in the Borda chapel to see them, and to see them again. Before Borda there was for the artist, the agony of the white- wash of the frescoes he had done in 1951 on the walls of the cemetery chapel at Juhu in Mumbai. His friends including myself saw him then at work in the hot sun, working with his bare hands, and with chisel, scalpel, turpentine, and paint, kneading them with lime plaster into the walls, till his knuckles bled. In Borda too, many years later, he could be seen prone on a high scaffolding in the sacristy so that he could en- ter his brush into the very pores of the vaulted ceiling. I often scolded him to take care as he was getting on in age; and he would retort that Michalangelo when he was no longer young did the Sistine Chapel high on his back, the paint, rubble, and dust almost blinding him, but he carried on to complete the greatest masterpiece of art of all time. Fortunately, for the Fatorda frescoes, José had the assistance of students of the Goa College of Art who

10 completed the work from the life size drawings of José. The names of these painters – Sandesh Shetgaonkar, Sudin Kurpaskar – deserve our gratitude as does José Lourenço, who provided technical expertise. The frescoes of the Juhu cemetery have been ground to dust and so also has the chapel and the cemetery. At Borda too, the precursor of the Fatorda masterpiece, he was prevented from reaching the apotheosis in the ceil- ing of the Borda Chapel. This culmination and fulfill- ment he received in the Fatorda Chapel. Our gratitude to Padre. Vigario, for being as good as the Pope to our Michelangelo. I feel that some good came from the setback at Juhu and at Borda. José was going through a phase of growth and development, intellectually and spiritually, the milestones and achievements are captured in his books of national and international acclaim. His devel- opment as an artist and painter was proceeding in his mind, in the more difficult regions, the dark nights of the heart and the soul. He was searching for the beatific vision, like his hero, Dante, who through Inferno reached Paradiso, and saw a glimpse, and returned to tell us, of the universal uni- fier where the diversities of religion and culture, flora, fauna, the earth itself are made one, whole, living, and immortal. His study of Baroque architecture in Goa, Christian and Hindu, with its play of light and shade from high windows and vaulted ceilings, the tropical fecundity of

11 flowers, animals, and fish, by Hindu artisans as dec- oratives for church. temple, furniture, and the imma- nence of divinity in the plenitude of all forms of life. It is the Incarnation, God becoming man, here I quote José Pereira, “immersing himself in the human condi- tion, to share their life, to partake of their nutrition, to become nutrition for them, and thus fortify them with his divine power.” This vision is beyond words. It is within the reach of the artist who unfolds it, in power, beauty, and above all peace. This is not the dance of death nor the Last Judgement, nor the Inferno in which among the villains are those that thwarted the great artist. All is compas- sion, peace, forgiveness, renewal and hope with chil- dren emerging from the foliage and the benediction of animals. For me and for his old surviving friends, today is fulfillment. But José this is not the end and this is not goodbye. There are no farewells and goodbyes in Goa but comings and comings. Goa and the world still want more of you. So it is with this hope that I am proud to be a witness to this masterpiece of the great intellectual and painter, José Pereira, who has brought into being this unifying revelation.

Alban Couto, who traced his roots to Aldona, was an IAS officer, first posted to Goa in December 1961, soon after the end of Portuguese rule, following a 10-year stint in Bihar. He was also advisor to the Governor when Goa was placed

12 under President’s rule. Couto also headed the Goa finance commission.

13 Cousin, mentor and co-author

Antonio Da Costa [email protected] On January 31, 2015, this humble, unpreten- tious man, yet one of the most brilliant minds and personality of Goa, India and the world in general, has been laid to rest after a poignant 2funeral Mass and services at the St. Margaret of Cor- tona Church in Bronx, New York, USA. He died at the age of 84 on January 26, 2015, the Republic Day of In- dia. The outpouring of love, respect and appreciation for his lifetime’s work and the special tribute at the Xavier

Centre for Historical Research [

] has been over- whelming. Thank you, thank you all. He has been described as "Goa’s intellectual giant", "Goa’s Michelangelo", "Goa’s Da Vinci", a theologian, "an Indologist", "a singular Indian of his generation", an

14 artist, a painter, a scholar, a teacher, an author/writer, historian, a linguist, a musicologist, etc, etc. He deserved all these accolades and more for indeed he left us a legacy equalto none other. His24 books and 145 articles spanned through multiple fields of arts and science such as:  Theology & Philosophy: Catholic and Scholastic;  Theology & Philosophy: Hindu and Its Compari- son with the Catholic;  Theology & Philosophy: Buddhist;  Theology & Philosophy: Islam;

 Art & Architecture: Baroque & Goan;  Art & Architecture: Indian, Jain;  Art & Architecture: Indian, Buddhist;  Art & Architecture: Indian, Hindu;

 Art & Architecture: Islamic;  Art & Architecture: Religious;  Song: Konkani & Goan;  History & Culture: Goan & Konkani;

 History & Culture: Indian Christian;  Language & Literature: Konkani;  Language & Literature: Sanskrit.

15 A detailed list of his publications fills seven pages. (See chapter ‘The Works of José Pereira’.) As my farewell to Dr. JOSÉ PEREIRA, I will share with you my life experience with him in Goa, and New York. To me José (and he was very particular to have the accent on top of the vowel e of his name) was first and foremost my dear cousin, son of my uncle Ma- teus Francisco Pereira, my dear mother’s brother. They have their ancestral home in Corjém, Curtorim but they lived in Bombay where José was born on January 22, 1931. As most Goans do – or did till very recently – the family came to Curtorim in the month of May each year for holidays. As far as I can remember, José was always seen with a book in his hands, always reading and learning, and interacting with me and my siblings with jokes and anecdotes. We lived close by in the next "vaddo of Xennoybhag". It was from him that I first learned that my ward was called such because it was the garden of Xennoy Dessai, my pre-Christianity an- cestor. He was always keen on imparting lessons of history. He was my mentor in my teen years and the per- son who inspired me to learn about our Goan musical heritage of mando-dulpods and deknnis. I was very fortunate to be born in a musical family, a family that cultivated mandos, dulpods and deknnis as well as Konkani religious music. By the age of 14, I knew many of these songs by listening to my parents and my aunts

16 who were Dr. Pereira’s aunts also. He would call my mother Arsentina Pereira e Costa, her sisters Carmelina Pereira and Aninha Pereira e Costa, living Mando encyclopedists. José paid close attention to my singing of mandos-dulpods and dekn- nis and began to educate me about the origin and the composers of mandos. I began to accompany him as he went around knocking on the doors of households of the living composers and the mando lovers in order to advance his research with the goal of preserving our music for the future generations. At that time I did not speak English and he did not know Portuguese. I was just learning to read and write music and he couldn’t do that at all. So we combined our strengths. In prior years he would listen to the older people sing the mandos, memorize them or record them, and then take the material to Bombay so our late Maestro Micael Martins could write them in musical notation. Once I learned English and mastered the reading and writing of music at the Saligão Seminary, José encour- aged me to continue doing this work on my own and provided me with lots of literature and articles on Goan music, written by him, Prof. Martins, Prof Lucio Ro- drigues, Prof. Ansther Lobo, and Floriano Barreto. José had a phenomenal ability to learn languages in a very short time. He spoke 13 of them. But he did not know Portuguese until around 1959. He was studying at the JJ School of Art in Bombay between 1957-1958,

17 and was very interested in learning more about the ar- chitecture of Goan Churches and mansions. I believe in early 1959 he was in Panjim, Goa mak- ing sketches of the beautiful Panjim Catholic Church. When the Portuguese police spotted him doing these sketches they suspected him of being one of the Sathya- gri, arrested him, and kept him in the jail for a few hours until somebody identified him and vouched for him as not being a spy. It was funny the way he came home and related the incident to my mother: "Tia Ar- sentina, what can I tell you? The Portuguese locked me up when I was doing my sketches and all I could tell them is ’Aum to Juze Pereira, bamnnalo cholo’ (I am José Pereira, son of a Brahmin). But the fascinating thing about him is he took this challenge, went back to Bombay, and within four months he taught himself to speak Portuguese fluently and secured a job in Lis- bon to teach at the "Instituto Superior de Estudos Ula- tramarinos". As most us know he taught there for only one year. In September of 1960 he returned to Goa for holidays . A special event was arranged to welcome him back as a distinguished son of Goa and he was to give a lecture on the Music and Literature of Goa. I was privileged to attend. The Hall was packed and the Governor Antonio Vasalo e Silva embraced José enthusiastically as he came in and took his seat. It was a brilliant talk but the Portuguese and the Governor could not accept the

18 truth when Dr. Pereira stated Goa had its own rich cul- ture and music independent of Portugal and through no merits of its influence over Goa. As the adage goes, "The Hosannas from Palm Sun- day were not far away from the ’Crucify him’ of Good Friday". The Governor and his entourage furiously turned their backs on Dr. Pereira and left the hall. "A Vida", the daily in Portuguese in those days, was cen- sored and forbidden to print the speech. Of course it was published by the late Fr. Lucio da Veiga Coutinho on the second day following the liberation of Goa. Once José returned to Portugal he had to flee to Lon- don to escape reprisals from Salazar. José had met with harsh treatment from Goans as well. He did not care about his appearance when he went knocking on the doors of people in Curtorim, Raia, Loutulim, Margão, Macasan, Chandor, Benaulim regarding his acquiring the mandos-dulpods-deknnis. He learned to ride a cycle late in life but he traveled on it dressed in shorts and sandals with a bag on his back. People took him as someone coming to rob them, asked him if he had come to tune the piano, or simply ignored him by shutting the door on him. A few times they let us in because I was dressed in my Seminary uniform. I think those days a person’s worth was judged by the way one dressed and behaved in a sophisticated way. Once an important person in Curtorim doubted that José had earned a Ph.D degree and asked me whether he was really what he said or if

19 he was paranoid and delusional. But this same person did not wasted time to claim honor for Curtorim when José returned from Portugal. However, he let his works and deeds speak for himself and never bothered to go after his detractors. José’s impetus afforded me the opportunity to meet face to face with some of the great composers and the lovers of the mando: Utilcia Rebelo; the wife of Ar- naldo de Menezes who provided so many of Arnaldo’s compositions; Placido Da Costa; Dr. Simeão Da Costa; Praxedes Da Costa; Joaquim da Costa (Morgad Joku)... and many others. He provided me a solid foundation to continue with our goal of looking for the original composers as much as we could. He encouraged me to introduce the mando in the Seminary and even sent me the music of a particular mando from London when he was working at the London School of Oriental Studies. Due to the inspiration he provided me and while he was away from Goa, I tried to carry on the work, safeguarding the originality of our music by means of broadcasts over Radio Goa, and two festivals of Mando in Pune. José also introduced me to the late Maestro Mi- cael Martins who eventually became my music teacher. At that time, Prof. Martins and I compared our long re- search and collection of all the specimens of Goan mu- sic that included his own and the ones José had pro- vided him. I came to the USA in 1974 and again José and I began to work together and to plan how to com- bine all the items collected by him, Prof. Martins and

20 myself, and the joint effort (however without Prof. Mar- tins who had passed away) produced a series of books of mandos, dulpods and deknnis. The following is the complete list of books of Mandos-Dulpods and Deknnis:  Folk Songs of Goa: Anthology of Dulpods: (in colla- boration with MICAEL MARTINS & ANTÓNIO DA COSTA). Goa: Goa,1556 & BROADWAY Pub- lishing House, 2011  Song of Goa: Crown of Mandos: (in collabora- tion with MICAEL MARTINS & ANTÓNIO DA COSTA). Goa: Goa,1556 & BROADWAY Publish- ing House, 2010  Song of Goa, 3 Mando of News & Events: (in colla- boration with MICAEL MARTINS & ANTÓNIO DA COSTA). Goa: Palm Tree Press, 2008  Folk Songs of Goa Mando-dulpods & Deknnis: (in col- laboration with MICAEL MARTINS & ANTÓNIO DA COSTA). New Delhi: Aryan Books Interna- tional, 2005.  Song of Goa, 2 Mandos of Union and Lamentation: (in collaboration with MICAEL MARTINS & ANTÓ- NIO DA COSTA). New Delhi: Aryan Books Inter- national, 2003.  Song of Goa Mandos of Yearning: (in collaboration with MICAEL MARTINS). New Delhi: Aryan Books International, 2000.

21  A Sheaf of Deknnis: (in collaboration with MICAEL MARTINS). Bombay: The Konkan Cultural Asso- ciation, 1967. José loved everything related to Goa and India. His multiple books and articles witness this fact. He loved Konkani and spared no effort to defend her against her enemies who wanted to deny her identity. Here is an impressive list of his publication on this subject:  Konknni Mandakini. (An Anthology of Konkani Lit- erature, 13th to 18th centuries: in Konkani). Panaji: Goa Konkani Akademi, 1996.  Literary Konkani. A Brief History (2nd ed.) Panaji, Goa: Goa Konkani Akademi, Goa. 1992. Literary Konkani. A Brief History. Dharwar, India: Kon- kani Sahitya Prakashan, 1973.  Konkani A Language. A History of the Konkani- Marathi Controversy. Dharwar: Karnatak Uni- versity, 1971.  The Beginnings of Konkani Literature, in MARI- OLA OFFREDI, The Banyan Tree. Essays in Early Literature in New Indo-Aryan Languages. New Delhi: Manohar, & Venice, Università degli Studi di Venezia, Departamento di Studi Eurasiatici, 2000, vol. 1, pp. 317-331.  The Beginnings of Konkani Literature, Sunday Navhind Times. Panorama, 14 September 1997, pp. 1&3.

22  Konknni Mandakini Parikarma, Rashtramat, Margão, Goa, 23 December 1990, p. 6 [in Konkani].  A New Konkani Dictionary. SNT November 25, 1979, p 3.  Xannai Goimbab, Konknnitso Vamanu ani Trivikramu (in Konkani). Konknni, August 1, 1977, pp. 3-8.  Vindication of Saxtti, SNT, July 31, 1977, pp 3 & 5.  Ignazio Arcamone (1615-1683): First Italian Orien- talist? East and West, Rome, March- June 1974, pp 153-157.  A Brief History of Literary Konkani. Mahfil. A Quarterly Journal of South Asian Literature, Chicago, nos 2 & 3, Summer-Fall 1972, pp 59-83.  Doni ati Prachina Konkanni Krityo (in Konkani). Panchkadayi, Mangalore, India, 1971, p 11.  Konkani’s Enemies: Portuguese. NT, October 22, 1970, pp 2 & 5.  The Struggle for Konkani Schools. In Essays on Konkani Language and Literature (Professor Ar- mando Menezes Felicitation Volume). Dharwar: Konkani Sahitya Prakashan, 1970, pp 41-44.  Konkani Among the Indian Languages. The Mal- abar Herald, Ernakulam, Kerala, India. March 15, 1969, p 11.

23  Ek Solla xatmanachem Konkanni Mahabharata [in Konkani: A Sixteenth Century Konkani Mahab- harata], Panchkadayi, December 1968, pp 11-13.  Adhunik Bharatiya Sahityik Bhaxentu Konkan- nichem Sthana [in Konkani], Panchkadayi, July 1968, Editorial, pp 9-10.  Karel Prikryl, S.J., Principia Linguae Brahmani- cae. A Grammar of Standard Konkani. Edited with an Introduction. In Archiv Orientalni, Prague, Czechoslovakia, no 36 (1968), pp 625-684.  GASPAR DE S. MIGUEL, O.F.M., Arte da Lingoa Canarym, Parte Segunda, Sintaxis Copiosissima na Lingoa Bramana e Pollida. A Syntax of Stan- dard Konkani. Edited with an Introduction. Jour- nal of the University of Bombay, September 1967, Arts Number (no 42), entire issue.  The Development of Konkani as a Literary Lan- guage, A Vida, Margão, Goa, October 27, 1964; November 13, 14, 19, 20, 21, 1964; June 4, 5, 9, 11, 13, 19, 1965.  A Roman Script for Konkani, A Vida, September 6, 11 & 25, 1963, all on p. 3 of each issue. José’s biggest joy of researching this subject was his find in the Archiv Orientalni, Prague, Czechoslovakia: A grammar of standard Konkani in Latin Pincipia Lin- guae Brahmanicae written between 1748-1761 by Karel

24 Prikryl. S.J. José edited it with an introduction in En- glish in 1969 and presented me with a copy. It is a highly scholarly work which I will cherish always. José wanted to learn about everything and then share his knowledge with others. He had a phenom- enal memory. He would read something once and then he could remember what he read for ages. He would recite verses in Sanskrit appropriate for the moment. He could recite inscriptions from anywhere. I remem- ber him reciting with great pride the inscription on the main door of St. Peter’s Basilica at the Vatican which lists Goa as one of the four Patriarchates of the West which I verified myself when it was my turn to visit the Vatican. Finally, because of José’s profound love for Goa, he spared no sacrifice in order for him to express this love in art form via the frescoes on the ceiling of the sacristy at St. Joaquim Chapel in Borda, Margao, Goa. It is a masterpiece for which he prepared and worked for five years, and, in the final year, he took his sabbatical, up- rooted his wife and children from NY to Goa, and lay- ing on his back for six months, completed this work for posterity. José, my dearest cousin I am eternally grateful for your love for Goa and everything Goan. Thank you for the encouragement you gave me to love, understand and preserve our Goan musical treasure. I will carry the torch to the best of my ability. Thank you my cousin and friend. Keep on singing the mandos in Heaven to-

25 gether with your parents and mine and our aunts who taught us how to sing and love mandos.

Antonio Da Costa is a Goan priest based in Tempe AZ, United States.

26 Scholar, Writer, Artist, Musicologist, Linguist...

An appreciation of the work of Dr José Pereira by Dr Maria Aurora Couto1

I feel inadequate in this role of having to present an overview of the career of Dr José Pereira – scholar, writer, artist, musicologist, linguist – whose life’s work has been devoted 3to an exploration of the interaction between India and the West in art and culture, starting with Goa and its Latin Christianity as centre point but Indian history and culture as the matrix of artistic expression. This point of view was expressed by the fearless and peerless José in Lisbon in the 1950s when he was Adjunct Professor of East-West Cultural Relationships at the Instituto Superior de Estudos Ultramarinos. Of

1 Text of a speech delivered at the launch of the book Song of Goa at the Hotel Mandovi, Panjim, July 30, 2010. Circulated in August 2010 by Goanet Reader.

27 course, this viewpoint was unacceptable to the author- ities there; he had to leave his teaching post and get out of Lisbon immediately. I feel inadequate because it is Alban who should have been performing this role and I find myself hav- ing to fill his shoes – too large for me. And so there will be large gaps for I do not possess the scholarly knowl- edge and philosophical profundity of José and Alban. Although Alban’s work in government took him in a different direction, they kept up the life of the mind and conversations that they had begun as undergrad- uate students, a conversation that has been an inspira- tion and an education for me as listener. José’s capacity for concentrated work was evident from the start when he combined studying for B.A. (Hons.) in Sanskrit, (1951) at Siddharth College with a full time course at the J.J.School of Art and then opted for a Ph.D. in Ancient Indian History and Culture, Uni- versity of Bombay(1958). Although I first met José when Alban was posted in Goa in 1962, I got to know him well when he spent time with us in Delhi before joining as Research Associate in the History of Indian Art, at The American Academy of Benares, Varanasi (1967-1969). After which he joined as Professor of Theology, Fordham University, New York. Dr Pereira has published more than 20 books and over 130 articles on theology, history of art and architecture, and on Goan and culture, Konkani language and mu- sic.

28 I recall with nostalgic pleasure our conversations at the time including about the economics of running a home. He was engaged to be married and his spartan approach to life (No Lux soap only Sunlight will do! No butter, no jam, I can dip bread in my tea) infuriated me and in great agitation I advised him not to get married. I dare not reveal to you the violence of our disagree- ments. As I said yesterday at the Xavier Centre, José though married and a father of five children, has led a monastic life and I think we should specially applaud Sofia, his daughter who is sensitive to her father’s ex- traordinary gifts, and brought him to Goa in 2008 to unveil the fresco in Fatorda and this time to exhibit his latest work. I recall him talking in awe of Hagya Sofia, the Cathe- dral in Istanbul and Alban and he discussing the intri- cacies and spirituality of Byzantine art. So it was no surprise when he called his first-born Sofia. We need to give her a special round of applause for the dedicated love and patient care with which she sustains her father during these trips. You must excuse me for being personal but I can- not talk about Dr Pereira without recalling the debates at home when quotations from St Thomas Aquinas, and St Augustine, Greek tragedy and Shakespeare, William Blake and Gerald Manley Hopkins, Greek phi- losophy and Roman orators and historians and reign- ing supremely, Dante, always Dante, were sort of flung at each other until José put a stop to it all with a long

29 quotation in Sanskrit which he then proceeded to trans- late. Glorious memories I treasure. Indeed I have known José much more as a scholar than as an artist whom Alban knew better. I repeat what I said yesterday that this belated recog- nition of Dr José Pereira points to a certain indifference in our society to scholarship. We call ourselves an en- lightened and modern society and yet gifted intellectu- als or scholarly work is largely ignored. This was not always the case, but this slow descent into a form of decadence (which started much before Liberation) has to be studied and understood in order to encourage as- piration in our youth. I am delighted that Goa,1556 and Broadway Books have organized this function [July 30, 2010] not a mo- ment too soon. José is known in Goa for his work on the Konkani language and for his books on the Mando, but less for his seminal work on Baroque architecture and Religion such as Hindu Theology, Thomism and the Magisterium: From Aeterni Patris to Veritatis splen- dor, and his very important contribution to theology in Suarez. Between Scholasticism and Modernity. When writing my book on Goa, my spirits were held up by José whom I used to telephone regularly when I found the going too difficult, and he cheered me up in a trice by singing a dulpod from New York, the lilting tune and witty words floated down the line to Chennai or in Goa wherever I happenedto be atthe moment. He seemed to have a dulpod to suit every mood. "It is your

30 destiny to write this last chapter of a particular period in Goan history, and you must complete it". And then came another dulpod. Suarez came in particularly useful. When he read my passages on the Inquisition he immediately sent me quotations from his book on Suarez to show that there were dissenters at the time. ’Don’t forget the modernist, the great Suarez!’ came the voice from New York. You must forgive me for being personal but my awareness of José’s brilliant mind and wide ranging scholarship is inextricably linked with the variety and humour of dulpods that have peppered our serious conversations over many decades. It was always a play between mind and heart, serious thought and the earthy humour of Konkani folk song, the wistful lyrics of the mando, melancholic, speaking of the unattain- able, and the richness of an inheritance that has sus- tained us. It is difficult to speak about José Pereira’s career ex- cept with a sense of awe at the variety and depth, the sheer range of scholarship. I told him yesterday of how I viewed his career as stages which combined into a whole, expecting argument; but he was very contented with what I said and wished Alban was around to lis- ten. His first career as Professor allowed him the security to indulge in his passions ie Goa, and art. His publica- tions deal with theology, philosophy but also with ar- chitectural history which I call his second career. So we

31 have work as varied as Hindu Theology (Doubleday, 1976), Baroque India. The Neo-Roman Architecture of South Asia (New Delhi, 2000), and The Sacred Architec- ture of Islam (New Delhi, 2004). His one love has always been the Baroque pe- riod, which inspired for instance The Mystical The- ology of the Catholic Reformation. An Overview of Baroque Spirituality (AUP, 2006, co-authored with Robert Fastiggi). Such work emerged from teaching the History of Re- ligions at Fordham. This primary career gave him the financial security to indulge his passions for Goa, and baroque architecture whose study (which had little to do with his work at Fordham) produced Baroque Goa and the magnificent Baroque India: The Neo Roman Reli- gious Architecture of South Asia: A Global Stylistic Survey. This book was published by the Indira Gandhi Centre for the Arts, a primary centre for the Arts in South Asia. In her foreword, Kapila Vatsyayan writes: Prof Pereira gives us his overview of the polit- ical history, the aesthetics of the Neo-Roman, the characteristics with Indian styles and the emergence of a distinctively Indian Baroque... he builds up a strong case for Indianized Baro- que as a regional development with character- istic features, despite its external origin. He carefully analyses Indian colonial mon- uments, especially the churches including those raised by Protestants in the western

32 coastal areas, and elsewhere in India to stress his view-point. According to him the regional manifestation of the Goan Baroque also con- tains typical Indian elements associated with structured tradition of medieval India. E.g. presence of amalakas, lotus and cypress mo- tifs, pot-shaped pillar-bases, Bengal-roofs etc., and develops its own structural features. He also records the presence of certain fea- tures of Baroque style in some of the Hindu shrines of Goa built during the Portuguese rule. Prof. Pereira also tries to visualize a sort of aesthetic parallelism between Hindu tem- ples and Baroque structures. Assessing the process of Indianization of Neo- Roman architecture, he describes it as ’Euro- pean in grammar and Indian in syntax, though later even grammar was considerably modified. To complete this work José not only visited the vari- ous sites which contain the monuments of Indian Neo- Roman, but has travelled as an architectural pilgrim over much of the Neo-Roman world, in Europe and the Americas. He has also familiarized himself with the art-historical theories on the various styles of archi- tecture, in particular, the Neo-Roman. He has thus pre- pared himself to contemplate Baroque India’s contribu- tion against the Neo-Roman background.

33 I spoke of three careers and the third. which is actu- ally his first passion, is as artist . The first two coalesced in the third bringing together his study of Christian- ity and Hinduism, the iconography and architecture of both traditions, the influence of the West and a cel- ebration of Indian tradition, in his painting. For us his friends, and particularly for Alban who worked hard to get José’s frescoes completed and appreciated, José’s journey as artist is heart breaking, only redeemed by the fact that we have these brilliant pastels and earlier work exhibited at the Xavier Centre in Porvorim. We need to speak out and see that the authori- ties deal firmly against objections to his work, indeed against the attempts to shrink our cultural space. Subodh Kerkar withstood such a protest as you know, and has also written in support of Dr Pereira’s work. The action of the protestors in the name of Hin- duism flies in the face of the true spirit of India’s civil- isational ethos which respects creative, intellectual and spiritual freedom. And it is outrageous to suggest that Dr Pereira, a scholar whose profound humility and spirituality is palpable, who is compassionate and wise, should set out to offend anybody, least of all Hin- duism. I will not speak of his contribution to scholarship on the Konkani Language and the mando but will men- tion in conclusion his collection , Konkani Bhagtigitam: A treasury of Goan hymns. 104 hymns from the 16th cen- tury to 1950 in both Devnagari and Romi scripts and

34 with a Konkani-English glossary of 300 words. Reviewing this book, Prof Nandkumar Kamat writes that the early hymns represent “an adjustment and adaptation phase for the neo-Christians and the first language and the phonetics of the hymns is sim- ilar to Fr. Thomas Stephens’s Kristapurana. The old- est hymns can be attributed to an elite class of neo- Christians but later the compositions seem to lose their class character and take a more folkloric form. Fusion of local folklore, mythology with Christian image. But lexicographically these words may offer rich potential for students of comparative religions, etymology and Konkani sociolinguistics – a task which Prof. Pereira himself could have done well but has left it for Konkani scholars.” I see my role today as celebrating the life and work of Dr José Pereira and also paying tribute to a great friendship, cemented by love of Goa and a life of the mind that was shared and enriched in conversation, ar- gument and perhaps unbridgeable differences! I will end with what José said of Alban, and Alban said of José’s work. With his permission I m reading a tribute he wrote when Alban passed away: I cannot begin to say anything meaningful, in a couple of paragraphs, about my intellectual bond with my friend of 61 years, Alban, a bond voiced and strengthened by our day- long heated conversations on every topic un-

35 der the sun. A lyric of the Greek poet Calli- machus on the death of a friend, Heracli- tus by name, from the city of Halikarnassos in Asia Minor, expresses my thoughts beauti- fully: Someone mentioned your death, Heraclitus, it brought me to tears and I remembered how often you and I had talked the sun to set. But my dear friend from Halikarnassos you have long become ashes. Still your nightingales live on; these, Death, who snatches every- thing, cannot take away. José then lists Alban’s nightingales: scholarly interests, a passion for music, absorption in philosophy and ex- pressive writing. I have read this out to you because it expresses José’s personality as well; a feeling heart, a mind that can connect all experience and filter it through erudition to express man’s capacity for tran- scendence. I will end with what Alban had to say at Fatorda in 2008. He bemoaned the loss of the fresco executed in the chapel in the cemetery at Juhu decades ago and the half tragedy of the chapel of Borda when José was not allowed to complete the work despite permission from the highest church authorities here: I feel that some good came from the setback at Juhu and at Borda. José was going through a phase of growth and development, intel-

36 lectually and spiritually, the milestones and achievements captured in books of national and international acclaim. His development as an artist and painter was proceeding in his mind, in the more difficult regions, the dark nights of heart and soul. He was searching for the beatific vision like his hero, Dante, who through Inferno and Par- adiso, saw a glimpse and returned to tell us of the universal unifier where the diversities of religion and culture, flora, fauna, the earth itself was made one, whole, living and immor- tal. His study of Baroque architecture in Goa, Christian and Hindu, with its play of light and shade, the tropical fecundity of flowers, animals and fish, by Hindu artisans as deco- ratives for church and temple, and the imma- nence of divinity in the plenitude of all forms of life.

Maria Aurora Couto is an author and educationist. She is best known for her book Goa: A Daughter’s Story. She currently lives in the North Goan village of Aldona. She helped start the DD Kosambi Festival of Ideas and has been involved in activities of Goa University. She played a critical role in getting translated some Konkani books into English as well.

37 In Defence of José Pereira and the Hindu Faith

Suresh Amonkar2

Some commentators justifiably assert that some self-appointed defenders of the Hindu faith have voluntarily assigned to themselves the position of official 4spokespersons of Hindu religion. Swami Vivekananda says: “The word Hindu, by which it is the fashion now-a-days to style ourselves, has lost all its meaning, for this word merely meant those who lived on the other side of the river Indus (Sindhu). The word was murdered into Hindu by an- cient Persians, and all people living on the other side

2 Suresh Amonkar is noted Goan educationist, translator of many religious scrip- tures and a Padmashree awardee. This article was published in The Navhind Times’ iGoa.

38 were called by them, Hindus. And during the Mo- hammedan rule we took up the word ourselves” (cf Es- sentials of Hinduism. pp5).” In reality Hinduism is a system which com- prises within its fold an infinite variety of thoughts. Vivekananda preferred to call Hindus the Vaidiks, fol- lowers of the Vedas, or better still, the Vendantists, fol- lowers of the Vedanta. Hinduism with its vide variety of sects is basically a view of life and a way of living which has evolved over four millennia, trying to suc- cessfully meet the various challenges it has faced from invaders, intolerant and fanatical adherents of prose- lytising creeds, etc. The vitality of “Hinduism” lies in its ability to allow diverse interpretations of man’s relationship with his creator or Parameshwar or Almighty God or the Infi- nite or the Supreme Being. One can continue to be a good Hindu as an atheist or an agnostic or one who does not follow any ritualistic way of worship (Kar- makand). Lord Buddha was the first and the greatest reformer of Hindu way of life who stressed the need for ethical and moral living and emphasised “Panchsheel” – five principles of Ahimsa (non-violence), Satya (Truth), As- theya (non-stealing), Bramhacharya (celibacy for monks and nuns and non-adulterous way of life for mar- ried people) and Aparigraha (non-possession of excess wealth). He has much to guide us in the present social trend

39 of consumerist culture. The crafty priestly class ma- noeuvered to ex-communicate him from the Hindu fold and later common Hindus elevated him as the ninth avatar or ninth reincarnation of Lord Vishnu. We are fortunate to have a series of great religious and social reformers since Buddha like sants Tiruvallu- var, Dnyaneshwar, Namdev, Tukaram, Ramdas, Narsi Mehta, Basaveshwar, and leaders like Raja Ram Mo- han Roy, Gandhiji and many others, who have always given a new direction to Hindus through their personal life, actions and examples. All Hindus accept the basic principle that there are many paths to reach the Supreme Being and achieve one’s Salvation or Nirvana or Moksha or Liberation or Redemption. In the whole System of Hindu Philo- sophical texts there is no expression which says that the Hindu alone will be saved and not others. Says Vyasa: “We find perfect men even beyond the pale of our caste and creed. One prayer I learnt as a child elucidates the thought simply and succinctly: “Just as the waters of the rain falling from the sky ul- timately reaches the sea (through thousands of rivers) the namaskar (devotional prayer) to all Gods finally reaches the Supreme Being.” So Hindus have accepted willingly thousands of manifestations of the Divine Principle both Nirguna (Formless) and Saguna (with form). Hindus do not need any self-appointed directors to tell their co-religionists how they should pray or think

40 and express themselves on every single issue that con- cerns them in life and in any artistic, literary and cul- tural activity. The guiding thought for Hindus has al- ways been to let a thousand flowers bloom. Thank heavens Hindus do not have a “Supreme Re- ligious High Command or a Politburo” to issue peri- odic diktats or orders to control their minds lest they be damned eternally. If it had the powers we would have seen expulsions or excommunication orders ga- lore and books, films or works of art would have been proscribed by such a High Command. During the Middle Ages Europe suffered a set back because great scientists, writers and translators of the Bible were burnt at the stake. Our neighbours in Pak- istan are suffering as a result of “Talibanisation” of their politics. India too suffered after the Partition when Gandhiji was put to eternal rest by a misguided man’s bullets. But truth can never be muzzled and today Gand- hiji’s thoughts continue to inspire people in all the countries of the world from Japan to Chile without any organisation or multi-national corporation to prop- agate his ideas of truth, non violence, simple living and eco-friendly programmes for reconstructing the world. Dr José Pereira who is a great Indian, Indologist, San- skrit Scholar, a linguist who speaks and/or reads fif- teen classical and modern languages, is a savant par ex- cellence. He is Professor Emeritus at Fordham Univer- sity (New York) USA. He teaches Sanskrit and lectures

41 on theology of religions - especially Hinduism, Jainism and Buddhism. He is a lover of Konkani and speaks with pride and authority in Konkani on Konkani liter- ature and folk art. He has written numerous books on temple and church architecture. He is also an accom- plished artist and Goa is fortunate to have his fresco paintings in a chapel in Margao. In publishing Hindu Theology: A Reader, he has un- dertaken a task of major theological proportions - a sin- gle volume devoted to great schools and archetypes of Hindu theology (covering the six Darshanas – Sankhya, Yoga, Mimamsa, Vaisesika, Nyaya, Vedanta, six Advaita Schools and Dvaita Vedanta, Sonic Absolutism, Puratana Vedanta, Visistadvaita (qualified Non-Dualism), Suddhad- vaita (pure Non-Dualism) to Saivadvaita, Vira Saivadar- shana and finally Shakta Darshan). A reading of his book reveals his deep and extensive knowledge of Indian thinkers and theologians. He has rendered them from the original Sanskrit texts into lu- cid and readable English and it offers fresh insights into the impact of non-western thought and philosophy on the Western world. “Knowledge of Hindu Theology”, Dr Pereira thinks, “is particularly relevant to the theology of our times, for the Indic works contain so many of the ideas that mod- ern Western theologians seem to believe are their dis- coveries.” Dr Pereira, who is himself a devout Catholic, has in the Indian tradition continued his love of and tolerance

42 for all theological thought. He is truly a “Renaissance” personality. Both as a Goan and an Indian I really feel proud of his scholarship and knowledge and his sus- tained work as India’s cultural ambassador abroad. I hope he will continue to inspire us and wish him a long and productive life. The Hindu society is an evolving society, not a static and stagnant one and therefore despite numerous set backs and impediments, has survived onslaughts by invaders or encounters with diverse thoughts and cul- tures. The great Indian scholar and reformer Dr Bhimrao Ambedkar, who wrote the Constitution of India with inputs from all his “Argumentative Indian Colleagues”, should now be adopted as a scripture by all Indian cit- izens to ultimately evolve themselves into a caste-free egalitarian society, with empowered women in a social structure sans vestiges of bigotry and intolerance, illit- eracy, female infanticide, child-marriages, untouchabil- ity, grinding poverty, superstitious beliefs and corrupt politicians and their sycophantic henchmen as all these factors impede progress. I recommend to all the champions and defenders of Hindu faith to launch a project of self-education - “Dis- covery of India” a la Nehru which should include read- ing of great scriptures – Dhammapada, Geeta, Guru Granth Sahib, Kural, the Four Gospels, works of all In- dian Saint Poets as also the reading of Kalidasa’s ‘Ku- marsambhava’ (after which they will never be scan-

43 dalised) and a visit to the Khajuraho temples, viewing of Rajasthani miniature paintings after which no “de- fender of Hindu faith” will ever think of threatening a Hussain or a Pereira. A religion, to satisfy the largest proportion of mankind, must be able to supply food for all types of minds; and where this capability is lacking, the existing sects all become one sided. I conclude this article with a message from Swami Vivekananda, who is adored and oft-quoted by Hindus holding diverse opinions. Talking of Yoga – Raja Yoga, Bhakti Yoga, Jnana Yoga and Karma Yoga – which are dif- ferent paths to achieve peace of mind and Liberation he says: “First we must hear about them (Yogas), and then we have to think about them. We have to reason the thoughts out, impress them on our minds and we have to meditate on them, realise them until at last, they be- come our whole life. No longer will religion remain a bundle of ideas or theories, nor an intellectual assent, it will enter into our very self. By means of intellectual assent, we may today sub- scribe to many foolish things, and change our minds altogether tomorrow. But true religion never changes. Religion is Realisation: not talk, not doctrine, nor theories, however beautiful they may be. It is being and becoming, not hearing and acknowledging; it is the whole soul becoming changed into what it believes. That is religion”. (cf Essentials of Hinduism pp73).

44 Suresh G. Amonkar (1935-2019) was an educationist, writer, and a former Chairman of the Goa Board of Secondary and Higher Secondary Education. He translated several classics into Konkani, including the Dhammapada, the Tirukkural¸ the Bhagavad Gita, The Gospel of John and the Dnyaneshwari. He received India’s fourth highest civil- ian honour of the Padma Shri in 2009 for his contributions to Literature and Education.

45 Earth and Heaven in Conversation

Artist-scholar Dr. José Pereira, Padmabhushan, at work

Isabel Santa Rita Vas [email protected] Limits are challenges, even when the wide world is your canvas. The earth has charmed him with its natural beauty; the things of the earth, its songs, its languages and architecture, 5have been irresistible realms that he must explore. But the earth was never enough. He needed to cross the limit. He heard the heavens beckon too. And so, Dr. Pereira turned to the study of theology, mythology, the scriptures, the writing of the mystics. He rises above narrow limits of disciplines to achieve a rich and cos- mopolitan understanding of culture. The pulse of all his meditative research is best felt transmuted into his art. It is here that earth and heaven enter into intimate conversation.

46 José Pereira was born in 1931. His family home is in Curtorim, Goa, but his scholarly pursuits have taken him far and wide. He can be described with many ep- ithets: researcher, author of books on art and architec- ture, musicologist, linguist. But in his heart, the great- est passion has always been his painting. The themes on his canvasses range from the crucified Christ, to a self-portrait, to classical themes of Hindu art. In his mu- rals we come face to face with all manner of creatures of the earth, and the God who is manifest as nourishment for the soul. He has imbibed the spirit of the great clas- sics he has studied and his paintings reveal the breadth and harmony of his vision. In the Chapel of São Joaquim, in Borda, Margao, we come face to face with frescoes of great exuberance and power executed in 1999. The sheer delicacy and wealth of detail capture our gaze and hold it in thrall. We look with wonder at rural scenes of a Goan landscape that is still recognizable, though fast disappearing in rapidly urbanizing times. Dr. Pereira writes about his work: “The production of food is envisaged as a Eu- charistic sacrifice of the earth’s first fruits, performed not in confining temples but on the wide earth and un- der the open sky.” Vivek Menezes remarks, “It is a consistently thought-provoking painting, easily among the most interesting modern public artworks in India.” The Chapel at Fatorda, Margao, hosts yet another mar- velous work. The paintings on the wall are an offer- ing of colour and form and luminosity, where feeling

47 and thought reveal the earth and heaven in conversa- tion. Dr. Pereira’s health began to fail him when he started this work, so he painted only the face of Christ in the fresco technique, with its wide glaring eyes and then surrendered the rest of the work to be painted in acrylic by two art students, Sandesh Shetgaonkar and Sudin Kurpaskar. José Lourenco provided technical ex- pertise. ’Why are his eyes so glaring,’ José Lourenco asked him. ’That’s because He is angry,’ he replied, ’at what we have done to His creation’. Pereira is a deeply religious man, who believes, like Pascal, in doing little things as great things, and great things with ease, in tandem with the Omnipotence of God. José Pereira was an avid learner even as a young man. His interest in his Indian heritage led him to opt for a B.A. (Hons.) in Sanskrit, side by side with a full- time course at the J.J. School of Art. He went on to gain his doctorate in Ancient Indian History and Cul- ture from the University of Bombay in 1958. He then took up the position of Research Associate in History of Indian Art at the American Academy of Benares, Varanasi from 1967 to ’69. He was adjunct Professor of East and West Cultural Relations at the Instituto Supe- rior de Estudos Ultramarinos in Lisbon, Portugal. He later joined Fordham University, New York, as a Pro- fessor of Theology. The research and the writing never waned. Dr. Pereira has published more than 20 books and over 130 articles of theology, history of art and ar- chitecture, and on Goan culture, language and music.

48 Referring to his brilliant mind and scholarship, Maria Aurora Couto notes: “It was always a play between mind and heart, serious thought and the earthy hu- mour of Konkani folk song, the wistful lyrics of the Mando, melancholic, speaking of the unattainable, and the richness of an inheritance that has sustained us.” “I hate Goa,” Dr. Pereira has been heard to comment drily. Perhaps it is his very love of Goa that leads him to hate certain trends that he sees emerging in the land of his ancestors. He often laments that the Konkani language may be reduced to a literary artefact. It is this same deep passion for Goan culture and language that has that has inspired him to study the traditional Goan Konkani song, the Mando. José Pereira writes about this kind of song, and about the work of Micael Martins, composer and researcher in this field: “A new culture, that of Latin Europe, embellished with music, was implanted in Goa by the Portuguese in the early 16thCentury. Quickly assimilated, this musical culture acquired a distinct Goan identity in the 18thCentury, one which matured in the second half of the 19thand first half of the 20th. The extensive and varied work of Micael Martins is the apotheosis of this musical tra- dition.” The mando is a dance-song that conveys the emotions of love and yearning for union (ekvott). It also comments on contemporary events (fobro), many of them political.” Dr. José Pereira has also personally gone round from village to village in Goa on his bicycle, armed

49 with a tape-recorder, speaking to women and farmers in their homes and in the fields, to salvage another valuable type of song – the Konkani Christian religious song. These hymns are sung at ladainhas, other reli- gious ceremonies and on feast days. Raimundo Bar- reto’s hymn Sao Franciscu Xaviera sounds to Goan ears, nothing short of celestial poetry. Dr. Pereira’s book Konkani Bagtigitan: A treasury of Goan hymns, includes 104 hymns from the 16thCentury to 1950 in both De- vanagri and Romi scripts, with a Konkani-English glos- sary of 300 words. Reviewing the book, Prof. Nandaku- mar Kamat notes that “lexicographically, these words may offer rich potential for students of comparative re- ligions, etymology and Konkani socio-linguistics.” What was it that drove Dr. José Pereira, the scholar, in so many diverse directions, carefully studying, re- searching, writing about, apparently disparate fields as language, music, architecture, philosophy and the- ology? The unifying thread is his own understanding of his identity. He reflects, “I see myself as a product of two traditions: one is the Latin-Christian tradition and the other is the Indian Hindu tradition.” Dr. Pereira has ceaselessly explored the interactions between India and the West in art and culture, with Goa as a focal point within the larger context of Indian history and culture. All these have shaped his own identity. He tells us about three discoveries that served as epipha- nies in his work: Spanish mystical literature, Mexican mural painting, and the Konkani song.

50 One palpable offshoot of this quest has been Dr. Pereira’s contribution to the study of architecture of the Baroque period. In her forward to his book Baroque In- dia, Kapila Vatsyayan notes:3 “Prof Pereira (...) builds up a strong case for Indianized Baroque as a regional devel- opment with characteristic features, despite its external ori- gin. (...) According to him the regional manifestation of the Goan Baroque also contains typical Indian elements associ- ated with structured tradition of medieval India.” José Pereira made his own what he studied. José Lourenco remembers, “We walked through the ruins of the Church of Saint Augustine and the Igreja de Nossa Senhora da Graca, and he was totally at ease there, as though he was the reincarnation of a monk himself!” Dr. Pereira’s pilgrimage in quest of deconstruct- ing his composite identity took him travelling all over Europe and the Americas. He tells us that when he came from England to Goa he took the land route, across Europe through the border of Iran, hitchhike by truck through the border of Pakistan and make his way into India. He has been indefatigable in his pilgrimage to different languages too: he is fluent in Konkani, Portuguese, Sanskrit, English, French and fa- miliar with Latin, Italian, Spanish, Urdu, Arabic and Persian. Even as an octogenarian, he has retained his gusto for reciting Sanskrit slokas and for quoting from the old Konkani fell, in his beloved Saxtti Konkani. He has always lived a simple life. The life of the mind was

3 Excerpt from M.A. Couto

51 a priority, always, and reading, discussing ideas and books with colleagues and friends, often disagreeing with them with incendiary fervour, all added endless spice to his days. The eminent scholar-artist has been no stranger to disappointment and pain. At the opening of the paint- ings at Fatorda, Alban Couto said: “Great artists suffer labour pains. Though with less intensity we also feel their pains.” The wall on which he painted a fresco at the ceme- tery of Juhu, Bombay, laboring under the hot sun, with passion and enormous endurance, was carelessly ground to dust, and that was a sad blow to him. As a Professor in Lisbon, he expressed his views that Goan culture had been enriched not only by Latin Christian influences but also deeply by Indian culture and history. His viewpoint was bitterly resented by the authorities at the Institute and Dr. Pereira had to quickly leave the country. In Goa too, in recent years, Dr. Pereira’s painting exhibition entitled “Epiphanies of the Hindu Gods” which was inaugurated at the Xavier Centre of Historical Research, Porvorim, attracted the ire of some individuals and groups. They claimed that the depic- tion of the gods as nude figures hurt their sentiments. The artist’s explanation that he has kept closely to the reading of the scriptures fell on deaf ears. Art critics in Delhi, where the exhibition had been held a few weeks earlier, had called it an “endeavour to interpret some classical themes of Hindu art in a realistic idiom, an

52 idiom that frees the drama in the themes from the con- striction of iconographic formulas”. In Goa, the exhibi- tion had to be closed down. Dr. José Pereira is today4 over 80 years old. His passion for scholarship and art are entirely undimmed. Coping with and increasingly frail and fragile body, his mind continues to engage in his meditative research. In 2012, the Government of India paid tribute to his scholarship by awarding him the title of Padma Bhushan. At last some well-deserved attention was paid to this great man. We too pay our small and long- overdue tribute to a man who has trudged the world, crossed immense boundaries, worked with unceasing love, in fact, has examined earth and heaven to crystal- ize something of the essence of the Goa that has been his spiritual home. (First published in TambdiMati.com)

Isabel Santa Rita Vas, together with Cecil Pinto, have made a documentary film on Dr Pereira, which is

available online at

and

4 This essay was published in http://www.tambdimati.com/article/earth-and- heaven-in-conversation/

53 Scenes in the Sacristy

Frederick Noronha [email protected] Like a homing pigeon, Dr José Pereira has re- mained obsessed with returning to this tiny chapel at Margao’s Borda locality over the past two decades. It took him work spanning 21 years6 to complete frescoes in the sacristy here. Next, he enthusiastically wants to contribute more in an un- usual art style that comes all the way from Italy. Frescoes are pictures made by painting on wet plas- ter (basically, a mixture of sand, lime and water) on a wall or ceiling. Some of the famous frescoes are in the Sistine Chapel in Rome, by Michelangelo. Back in Goa recently, this seventy-year-old US-based expat describes himself as a "theologian, cultural histo- rian of Indian culture, and last but not the least a fresco painter". After he retires shortly from the Jesuit-run uni- versity of Fordham, he plans to spend more time com- pleting the only frescoes that exist in Goa. (Others are

54 known to exist in India are at Santiniketan, the univar- sity set up by Tagore.) "Frescoes are the most permanent method available (to an artist)," says Pereira. On preparing the lime and sand in a special way, the art virtually becomes ’part of the wall’. "It’s a very successful marriage between painting and architecture," says he. Some have lasted since 3000 BC. But, even in polluted cities like ours, they could easily last 500 years, he explains, when asked. As he displays his work, Pereira explains what makes frescoes so unique. Pure chemical pigments are etched into plaster, when it is still wet. This means, the artist has to plan his work carefully, and execute it speedily while the medium is still wet. Frescoes are an Italian "discovery", if you could call it that. They first blossomed in the 13th century, and grew popular in Central Europe and Spain too. But fres- coes have hardly been used outside of Europe. What makes this art-form so fascinating to him, and kept him glued at the task since 1979? Partly, it was something about the kind of results that frescoes give. Its luminosity, and the fact that the pigment forms an intimate bond with the wall itself, is interesting. "Also, there was a desire to emulate the great masters," laughs Pereira, half-jokingly. Some fa- mous fresco artists were Michaelangelo, Tiepolo and the Spaniard Goya. Not surprisingly, Pereira eagerly looks forward to

55 his retirement, and the work he could do at Borda. If he had the time all these years, all the past work could have been finished in a six-month straight run. But, do- ing this during the US summer holidays – which unfor- tunately coincides with the trying monsoon period in Goa – meant things were tough. He had to spend years creating it. Why Borda? His roots are in Curtorim, and Pereira says he had al- ways been "looking for a vault" to paint his frescoes on, till he came across Borda. There, he was encouraged by the then parish priest, Martinho Noronha, to go ahead with the work. Frescoes call for a lot of homework and prepara- tion, some of which was done in his studio back in NY. Calculations have to be precise, so that everything fits into place even before the wet-plaster of sand-and-lime dries. In the sacristy, Pereira’s frecoes focus on the fruits of life.The theologian that he is, he offers multi-cultural explanations for the meanings. "This lamb is the Jewish sacrificial animal, while the boar is the Indian equiva- lent," he suggests, pointing to one part of the elaborate wall. So far, his work at Borda has been in the sacristy. His plan is a panorama of Indian wildlife in the main area of the chapel. "If God gives me energy and life, I’ll put up a range of butterflies there," he points to the exact spots where he plans to do it. You can almost see it

56 jumping out from his mind’s imagination. "I like to think of myself as a mural painter," says Pereira, who has incidentally accomplished much else. "I started off as a painter. In order to go deep into my subject, I needed to branch out into diverse themes – theology, the history of Indian cultures, languages..." he adds. Then, being the scholar he is, he "tended to stay" in each while working on these subjects. Recently, he published a book called ’Baroque India’. This looks at the Portuguese, French, British, Dutch and Danish influences in creating a new form of architec- ture, as reflected in the ’Northern Provinces’ (Daman, Diu, Vasai and Chaul), the Konkan, the Malabar and in Bengal. Better known in Goa for his work on the popular song-dance form of the Mando, Pereira has also writ- ten on the other folk song called the ’Dekhni’ and co- authored books on Goan music with the late maestro Michael Martins. Recently, he finished his work on the ’mande’ of union and lamentation. His earlier book was on the the ’mande’ of yearning, while a forthcoming one would possibly look at these songs focussing on ’events’. So far, he has published 14 books in all. ’Baroque India’, spanning a fat 495 pages, took a good part of the past 40 years in preparing. In the course of an enlightening talk, Pereira ex- plains that even the Hindu temple in parts of India car-

57 ries a legacy of Euro influences. He feels the ’Indian Baroque Quintet’ – or the prominent monuments done in this country – are largely based in Goa. His favourite- list of Baroque monuments include the Church of Espir- ito Santo in Velha Goa, Margao’s Holy Spirit, Santana at Tallauli, Nossa Senhora da Piedade at Divar, and Jua- Santo Estevao’s. "Most of these (important Baroque churches) are in Goa, through there are some magnificent churches in Kerala too," he says. He explains patiently the intricacies involved to a lay-man innocent of such matters, like this writer. "Stained glass belongs to the Gothic architecture. The only examplar of this (gothic architecture) in Goa is the Saligao church. Our climate doesn’t permit large win- dows. With storms and tempests, we don’t have the scope for vast empty spaces covered by stained glass. In their very early days in Goa (early sixteenth cen- tury), the Portuguese built in Gothic style. Few of these examples remain. Then, the neo-Roman style came in from Italy. This style has been so called because it was seen as an attempt to restore Imperial Rome. "India opened its doors to the first global inter- continental style, and produced some work of great merit... though not of the highest quality," he says, eyes shut deep in thought as he seems to conjur up images before his mind’s eye. During his Feb-March visit to Goa this year when he is based at Xennoibag in Curtorim, Pereira said he

58 would "not be painting". Instead, he was concentrating efforts on where he would find the right quality and quantity of sand, how he would transport it, and who would mix it. "I’ll do my initial drawings when I go back to New York," he added. "As a boy, I was always impressed by paintings on walls," he recalls. He says the work he did single- handedly was tiring. But that didn’t discourage him. "I retire from Fordham’s in September. Now I can come anytime," he says. Replying to another question, he points out that in the US "discrimination based on age" is not tolerated. That’s why, he doesn’t have to retire even though 70, but has voluntarily "chosen to retire". Says he: "If I can function well at age 80, why should I not be allowed to function well?’?" Makes sense, in days where life- expectancy is going up, and when persons accumulate the best skills they can over decades of experience. Dr Pereira is perhaps the only Indian architectural historian who has written on the Hindu, Buddhist, Jain, Muslim and Neo-Roman forms. At Fordham’s, Prof Pereira said they earlier had "grand plans" in the 70s and 80s to get students to learn Sanskrit, and choose for their dissertation some great Hindu theologian. "But we realised that it’s not possi- ble to learn Sanskrit in three years, and takes at least 13. So I ended up doing (much of the required translations) for them myself...." Pereira himself knows Latin, Sanskrit, Italian, Span-

59 ish, Portuguese and French... apart from, of course, En- glish and Konkani. Does he speak Sanskrit? Not really, he admits. "It’s the most archaic and most complex of all Indo- European languages. Sanskrit is a very difficult lan- guage to speak. Its grammar is very complex. There are eight cases. You don’t speak it unless you’re forced to," he adds.

Frederick Noronha has been a journalist, publisher and chronicler of Goa (in photos and videos as well). +91- 9822122436.

60 In Goa, East and West met... and that too, first

Frederick Noronha Goans were the first people anywhere in the non-Western world, to adapt Western cultural modes to "non-Western conditions", resulting in this tiny region scoring a number of firsts in 7history. This point comes out strongly in a new book pub- lished by a prominent scholar, the New York-based Dr José Pereira. "Goans became the first non-Western people (from 1510) to accept Western civilization, today the patri- mony of mankind," writes musicologist, theologian and eminent researcher Dr José Pereira, in his latest book titled Churches of Goa. Touching on a vast canvas while trying to explain the backdrop of the subject, Dr Pereira suggests that Goa played an important, but often overlooked, role in global history.

61 Other non-Western people – who had earlier encoun- ters with European colonial powers of the times – fol- lowed them. These included the Mexicans from 1519 and the Peruvians from 1533. "Today, all the lands of Asia have become west- ernized – some, like Japan, enthusiastically – availing themselves of the products of European genius: tech- nology, political systems, literary genres, types of mu- sic, forms of the visual arts and architecture, and, not least, dress," he comments. But Goans did so, or were pushed into doing so by history, first of all. Goans were the first to adapt to Asian and In- dian contexts, concepts such as a sovereign republic, sovereign national state, or political party. Goa, inspired by European ideas, also was the first to rebel against European colonial rule, in the 1787 Con- spiracy of the Pintos. This "anticipated" the French Rev- olution by two years, though it postdated the American Revolution by some 13 years. "In 1861, the Goan Francisco Luis Gomes (1829-69) formulated, for the first time, the rationale of an in- dependent nationhood for India, arguing that, as a culturally distinctive society of great antiquity, India deserved to be independent and a sovereign – to be, in other words, a European-style nation state," argues Pereira. This development, he notes, was 21 years before another Indian, novelist Bankim Chandra Chatterjee

62 (1838-94) advanced a similar ideology. In 1865, the Goan José Inacio de Loyola (1834-1902), formed the first Indian political party, the Partido Indi- ano. This came some 20 years before a like institution was organised in India, the Indian National Congress (1885). In the 19th century, Goan historians – again, before most Asians, comments Pereira – wrote Western-style histories of their native land. Among them was Jacinto Barreto Miranda (1842-79). In other fields too, early Goan pioneers made no- table headway. In linguistics, a Goan seminarian, whose name may have been Andre Vaz, had composed as early as by 1563 a grammar on his native tongue, Konkani. This turned out to be the first grammar on any Indian lan- guage based on European models, according to Dr Pereira. In 1583, in Goa, the Englishman Thomas Stephens (1549-1617) "instituted the basic notation" of compara- tive linguistics, preparing the way for a later scientific study of the subject. After that, in the 18th century, such linguistic and other research began a process that led to the creation of the "Western discipline of Indology" by French, Ger- man and British scholars. European writers in Goa, or those writing on In- dia, were among the "first to discourse on non-Western themes in Western tongues, using Western literary gen-

63 res". Native Goan authors began to write in Portuguese in the seventeenth century. Says Pereira: "More important pioneer literary work was done in Goa’s own language, Konkani, the first non-Western speech anywhere to adopt Western liter- ary genres." Curiously, comments Pereira, most of this work was done by Europeans. But Goans were also among the "first non- Westerners to adopt Western music". They availed of Western musical instruments – the violin, the piano and the organ – even while they retained their own ’gu- mott’ (a pot-shaped earthenware drum of ancient In- dian provenance)," says Pereira. Goans took to Western musical structure, harmony (both polyphonic and homophonic varieties), wile modifying it with the "typical rhythms and grace notes of Indian music". They also had recourse to Western choral singing and Western genres of music – like the motet, the ora- torio and the mass – while creating genres of their own, such as Mando, the Dulpod and Deknni. It was on the soil of Goa that the European visual arts was implanted (Neo-Roman architecture) before they were "anywhere else in the non-Western world". India’s gates to the world’s "first global style of archi- tecture" were also opened in Goa. (Incidentally, India itself had previously also hosted the inter-continental

64 Islamic style of architecture.) This new style had sought to "restore that of imperial Rome", and Pereira says it can therefore be identified as "Neo-Roman". "Goa’s churches, Roman in scale, are the finest Neo- Roman monuments anywhere in Asia – not excluding the Philippines, the other Asian site of extensive Neo- Roman construction," comments Pereira in his latest book, released in Goa in the last week of December. ’Churches of Goa’, written under Oxford ’Monu- mental Legacy’ series (which also looks at India’s splen- dour as reflected in the ruins of Hampi, Pattadakal, Khajuraho and Ellora) looks at nine churches. These nine churches, says Pereira, can be taken as examples of Goan architecture. They either "closely fol- low" European models in idiom and style, or "subject European forms to an Indian aesthetic".

Online image of the mural are here.

Dr José Pereira on Goan architecture:

Goans, pioneers in Westernisation (Dr José Pereira)



65 José Pereira (1931-2015)

J. Clement Vaz5

A truly multifaceted personality, Dr. Pereira is a writer, orator, historian, musi- cologist, theologian and a naturalist. He has been a Professor of the prestigious 8Fordham University, New York, a persistent and profi- cient scholar of Konkani literature and lore, its writers and writings, and is beyond doubt cast in the mould of a genius. He was born in Bombay on 31 January 1931. His parents hailed from Curtorim in Salcete. As a youth, Pereira was exceptionally intelligent and generally re- garded as an outstanding student at Antonio de Souza High School, Byculla, Bombay. where he completed the Matriculation examination. He then joined the Sid- dharth College where he graduated with Honours in Sanskrit in 1951.

5 Vaz, J. Clement. Profiles of Eminent Goans, Past and Present. Concept Publishing Company, 1997.

66 He showed keenness in acquiring knowledge of the ancient Indian culture and believed that it could only be done well if one had a firm grounding in Sanskrit. While he was yet a student of Siddharth College, he got himself enrolled as a student of J.J. School of Art where he exercised his native skill at painting and, when only eighteen years old, was able to put on show his early works at the Christian Art Exhibition in Bombay in 1949. Later, he joined St. Xavier’s College, Bombay, from where he obtained a Ph.D in Ancient Indian History and Culture. He flew to Portugal as Lecturer at Lisbon’s Instituto Superior de Estudos Ultramarinos. Within a year, however, he had to leave Lisbon follow- ing a statement he had made in a speech at Margao: "Goa has a cultural identity of it’s own and can never be a showcase of the greatness of the Portuguese." Dr. Pereira lost no time in securing an appointment as a Research Fellow on the history of Indian Art at the London School of Oriental Studies. After about six years there, he worked in India as a Barocco-style Research scholar of the American Academy at Benares, and in 1970 he took up a teaching assignment at Ford- ham University where he has been working ever since. He has authored several books and a host of articles on diverse subjects such as literature, architecture, the- ology, music, etc. To name only a few, Hindu Theology (New York, 1976), Monolithic Jinas (New Delhi, 1977), Konkani Mandakini (an anthology of Konkani writings),

67 Song of Goa and Golden Goa’s Art (Marg Publication, Bombay). Dr. José Pereira is a member of several reputed lit- erary, historical and art-promoting academies in the world. A polyglot, he knows no fewer than 13 lan- guages and can speak at least eight fluently. His con- tribution to a scholarly understanding of Konkani as a language in it’s own right that descended from Sanskrit has been as voluminous as it is valuable. As a painter too, Dr. Pereira has excelled. Besides his early efforts, he put on display in 1969 in New Delhi his painting depicting Goan life captioned Images of Goa. He is especially fond of frescoes. His maiden fresco on Death and Resurrection was done in 1952 on a ceme- tery chaplet at Santa Cruz, Bombay. His second fresco on Crucifixion was also done at Santa Cruz in 1955 but today both are non-existent, having been washed away by time. In 1982, he took up a third one at St. Joaquim’s Chapel at Borda, Margao. It is to be noted that the major part of Dr. Pereira’s work, whether writing or painting, has revolved around India and it’s multi-cultural civilization and not less around Goa, it’s language, art and architecture. Though living in America with his family, he visits Goa regularly to recharge his batteries. Goa delights him with its scenic beauty, the music and the song-like struc- ture of Konkani and the unique blend of Indian and Portuguese culture that altogether comprise Goan cul- ture.

68 Late J. Clement Vaz, Ph.D. authored Profiles of Eminent Goans, Past and Present, which documents the achieve- ments of many Goans across the globe, from where the above is excerpted. He earned his doctorate from the University of Bombay for his thesis ‘Eastern Spirituality and Christian Ethics’. He was well versed in classical yoga which he tried to adapt to Christian spirituality in his book Maranatha Ori- ental Methods of Praver and Meditation (St Paul’s, Bandra, 1990). Between 1975 and 1985 he was active in promoting inter-religious understanding in Bombay and elsewhere.

69 Some Writings of José Pereira

70 Synopsis of Goan history

Dr José Pereira This is an excerpt from the book Song of Goa: Crown of Mandos (2010), co-authored by José Pereira, Micael Martins (†) & António da Costa and published by Goa,1556 and Broadway Publishing House. Konkani Song came into being around the 10th century, at the midpoint of Goa’s history, so to speak. The preceding centuries heralded its advent, and the succeeding ones witnessed its 9fulfillment. To be properly appreciated, then, Konkani Song needs to be placed in its historical context. The history of Goa relevant to the understanding of this Song can be divided broadly into three epochs: pre- historic Goa; historic Goa ruled by Indian and Indo- Muslim dynasties; and Portuguese Goa.

PREHISTORIC GOA Of the first inhabitants of Goa we know little, if anything, but the Goan population of today is a com- posite of at least four races: the Negritos, the Proto- Australoids, the Dravidians and the Aryans.

71 The Negritos appear to have been the first foreigners to arrive in Goa, supposedly in the 8th millennium B.C. Dark-skinned and short-statured food gatherers, of lit- tle culture, they are believed to have come from the shores of West Africa, traveling along the coasts of Ara- bia, Persia and Baluchistan, spreading across the Indian subcontinent, and proceeding eastwards thereafter to the ends of Asia. They survive in the Andaman Islands, Malaya and Indonesia and the Philippines, but in India they were absorbed by the races that came after them. The Proto-Australoids were of larger build, and are thought to have come from the shores of the eastern Mediterranean, moving eastwards through India to Polynesia. They came in many groups, chief among which were the Kols, the Gaudas (Konkani gaurho, gau- rhe, gaurhi), the Kunnbis (Konkani kunnbi) and the Mhars. All these groups, except the Kols, are found in Goa today; they also survive in remote places in In- dia, where their languages are still spoken. Some of the words of these languages were borrowed by San- skrit, and by its descendant Konkani, the language of Goa. The Proto-Australoids appear to have been ani- mists, skilled in fishing, boat-making, and in the use of the lunar calendar. They created village agriculture and village associations that came to be known as gauponns or comunidades. The Dravidians seem to have been the most civilized of all the foreigners to arrive in India in prehistoric times. They are supposed to have originated in the is-

72 lands of the Aegean, and to have come via Iran and Baluchistan (where one of their languages, Brahui, still survives). From their speech were born the four main Dravidian tongues, Tamil, Malayalam, Telugu and Kan- nada (or Canarese), the last of which was for long Goa’s official language, and which left an indelible imprint on Konkani. The Dravidians were city dwellers, and in- deed appear to have created town planning itself. They also seem to have known how to construct docks. They had scripts of their own, and later inscribed them on their palm leaf manuscripts. They conducted a non- violent type of worship that later came to be known as puja, adored mother-goddesses, and practiced a form of yoga. They seem to have built temples, where they worshiped their gods in the form of icons. Lastly, came the Aryans (broadly known as Indo- Europeans), thought to have been fair-skinned, yellow- haired and blue-eyed, possibly originating from the banks of the Dnieper in what is today White Russia. They were the most warlike of our races, and subdued the others by virtue of their military prowess. They had a social structure of three classes, priests, war- riors and workers, to which, in India, they added a fourth class, that of servants or slaves. This became the fourfold Indian caste system: of Brahmins (Konkani bambonn, originally priests), Kshatriyas (Konkani tsad- ddi, originally warriors; Portuguese chardos), Vaishyas (originally workers), and Shudras (Konkani sudir, orig- inally servants or slaves). The language spoken by

73 the Aryans, Sanskrit, was phenomenally rich in words and shades of meaning. It was the preeminent cul- tural speech of the subcontinent through most of its history, and the vehicle of its greatest literary and theo- logical expression. The Indo-Europeans in general (but not especially the Aryans of India) were also gifted in originating political systems capable of organizing and even integrating a great diversity of peoples. Some of the outstanding polities of history are Indo-European: such as the empires of Persia, Rome, Russia, Britain, Portugal, Spain, France, and the United States of Amer- ica. Indo-European is Western civilization, the creation of the Latin and Germanic peoples, now the common inheritance of mankind; the Goans were the first non- Western people to adopt it. REIGN OF THE INDIAN DYNASTIES By the 6th century B.C. the Indian subcontinent had become a mosaic of peoples, ethnically multifarious and politically fragmented into smaller or larger king- doms and republics. At the time of the BUDDHA (c. 563- c. 483 B.C), there were three kingdoms in the north, the largest that of Magadha, ruled by the Haryanka dynasty (546-414 B.C.). Succeeding these kingdoms in more or less the same region were those ruled by the Shaisunaga (414-364 B.C.) and Nanda (364-324 B.C.) kings. Around this time ALEXANDER raided north- western India (327-324 B.C.), but was unable or un- willing to move deeper into the subcontinent. In his progress from his native Macedonia he had destroyed

74 the Persian empire of the Achaemenids (c. 550-330 B.C.), creating the first of the “world” empires known to history, a realm extending from the Nile to the Indus. While the idea of an empire as a polity ruled by a mas- ter race or dynasty had already been advanced by the early Hindu scriptures known as the Brahmanas, it was not the Aryans of India but those of Iran who realized this idea in actual fact. Yet the Indians were not tardy in adopting the polity of empire to unite their own subcontinent, north and south. It was an empire presided over by the Mau- ryas (320-183 B.C.), founded by CHANDRAGUPTA, the expeller of Alexander’s soldiers from Indian soil. Chan- dragupta’s grandson ASHOKA (ruled 268-232 B.C.), the greatest of all Buddhist emperors, and the ardent prop- agator of his faith to foreign nations, governed all of India except Assam and the tip of the peninsula. The official language of the empire was not the “refined” Sanskrit, but one of the speeches that evolved from it, speeches collectively known as the “unrefined” lan- guages or Prakrits. Ashoka’s empire was on the Iranian model, one di- vided into provinces administered by governors sub- ject to the emperor. But eventually a characteristically Indian and loose imperial model emerged, where the emperor exercised no more than ceremonial lordship over more or less autonomous feudatory kings. The institution seemed calculated to incite the feudatories, themselves avid for the imperial status, to constant re-

75 bellion, one which debilitated the Indian body politic and encouraged the Muhammadans in the west to in- vade and ravage the subcontinent. The first great empire on the Indian model was that of the Satavahanas (“Horse Riders” ? c. 231 B.C.-A.D. 225) of southern India. Founded by SIMUKA (c. 231- 208 B.C.), and including Goa in its domains, it was raised to the summit of its power by GAUTAMIPU- TRA SATAKARNI (ruled A.D. 86-110). The official lan- guage of the Satavahanas was also a Prakrit, but in the 1st century A.D. it was already becoming archaic in relation to the Prakrit actually spoken in the empire. This was the Maharashtri Prakrit, which in turn gave birth to the southern Indo-Aryan speeches Konkani and its sister-tongue Marathi. Maharashtri, considered the most euphonious of the Prakrits, abounded in folk songs of unparalleled beauty, lyricism and picturesque- ness, so much so that even city poets wrote imitations of them. A Satavahana emperor (known as HALA, but who actually may have been PULUMAYI II, ruled c. A.D. 130-c.160) was inspired to collect both the folk songs and their imitations and compile an anthology which he called The Seven Hundred Songs (Gahasatta- sai/Gathasaptasati). This exquisite work prefigures the Mando, one of the outstanding achievements of Goa’s culture, in the prominence it gives to love, in the musi- cality of its verses, and in its close link between sophis- tication and folklore. A dark age descended on India after the collapse of

76 the Satavahana empire. The North recovered from it in less than two centuries, but in the South the darkness endured for nearly five. Stability returned to that re- gion with the empire of the Chalukyas of Badami (A.D. 535-757). Its greatest ruler was PULAKESHIN (ruled 610-642), who aimed at conquering all India, as did his northern rival HARSHA (ruled 607-647), but each checked the expansion of the other. The Aryanization of Goa, begun under the Mauryas (if not earlier), in- tensified under the Chalukyas. Among the Aryan or Aryanized families in Goa around this time were the Rashtrakutas (“Crest of the Nation”), successors of the Chalukyas as empire builders. It is not clear whether the Rashtrakutas were established anywhere else in In- dia at this time; hence it is quite likely that they are of Goan origin, for they themselves claimed to have orig- inated from a place called Lattala (or Lattalura), which could well have been the Goan village of Lottali or Lotlli (Loutulim) in Saxtty (Salcete). Among the Rashtrakutas were such illustrious monarchs as DANTIDURGA (ruled 733-756), the founder of the empire and the checker of Muslim ex- pansion into India; KRISHNA I (ruled 756-773), a great general and the patron of the world’s largest mono- lith temple, the Kailasa of Ellora; GOVINDA III (ruled 793-814), the first monarch to unite all India under one imperial umbrella, if only for a brief moment; AMOGHAVARSHA I (ruled 814-880), perhaps the great- est of the Jain kings and a renowned promoter of the

77 arts; INDRA III (ruled 914-928), who reunited India again, also briefly, for the last time before the British; and KRISHNA II (ruled 939-967), the last great Rash- trakuta, queller of the Cholas, the one Indian imperial dynasty with territories overseas (in southeast Asia). Rashtrakuta power was overthrown by the Chalukyas of Kalyani (973-1165), founded by TAILA II (r. 973-997), and aggrandized by the remarkable VIKRAMADITYA VI (1076-1126). Even more remarkable was his son SOMESHVARA III (r. 1126-1138), militarily undistinguished but culturally outstanding, master of all the arts and the first recorded collector of Indian (including Konkani) folk songs in his monumental en- cyclopedia, The Wishing Jewel of Desirable Objectives (Abhilasitarthacintamani), and including a masterly treatment of architecture as well. HINDU-MUSLIM CONFLICT During the rule of the Chalukyas, the Muhammadans entered India and ravaged the north. The Chalukyas themselves were spared; so were their imperial succes- sors in the south, the Yadavas (c. 860-1317), at least till 1310. In that year the Deccan was devastated by the armies of the northern Indo-Muslim dynasty of the Khiljis (1290-1320), and again in 1327, by those of the Khilji’s successors, the Tughlaqs (1320-1414). A Muhammadan state was set up in the Deccan by the Bahmanis (1347-1527), which later split into five king- doms, the largest that of the Adilshahis of Bijapur (1490- 1686). Both these dynasties ruled Goa, the Bahmanis

78 from around 1248 to 1369, and again from 1472 to 1498; and the Adilshahis from around 1498 to the Portuguese conquest of 1510. Before the Muslim occupation, Goa was governed only indirectly by the imperial sovereigns and directly by their feudatories, chief among whom were the Bho- jas (c.300-c.600), feudatories of the Satavahanas, who deserve to be remembered because from them was born the 5th century monk BODHIDHARMA, the reputed founder of Zen. The other direct rulers of Goa include the Konkan Mauryas (c. 400-c. 700), feudatories of the Chalukyas of Badami; the Shilaharas of Goa (c. 765- c. 1020), of the Rashtrakutas; and the Kadambas (c. 980-c. 1350), of the Chalukyas of Kalyani and of the Yadavas. Under the Kadambas the Konkani language appears to have arisen (from an evolute of the Maha- rashtri Prakrit). The Kadambas were overthrown by the Bahmani Muslims, who in turn were repulsed by the last Hindu empire, the noble and ill-fated Vijayana- gara (“City of Victory”, 1354-1674). The Bahmanis re- covered Goa from Vijayanagara, but were themselves supplanted by the Adilshahis of Bijapur (1490-1686), who held the territory until it was wrested from them by AFONSO DE ALBUQUERQUE. PORTUGUESE GOA, EARLY PHASE As Islam was making victorious inroads into India, it was poised to overrun western Europe, with whose kingdoms it was locked in mortal combat, especially with those of the Iberian peninsula. Two strategies

79 were devised to confront the Muhammadan challenge. One was to complete its expulsion from the peninsula and to assail it in North Africa, a principal base for its aggression against Christendom; another was to out- flank it and to smite at the source of its prosperity, its trade with the rich nations of Asia. This was the plan that evolved from the efforts of prince HENRY THE NAVIGATOR (the Infante DOM HENRIQUE, 1394-1460), and was the one adopted: its execution assured the ex- pansion of Europe and of its civilization throughout the world. Portugal’s own expansion eastwards prospered in its early stages. A way to India was found by VASCO DA GAMA (c.1460-1524), who arrived there in 1498. The Indian Ocean was cleared of Muhammadan fleets by FRANCISCO DE ALMEIDA (c.1450-1510), especially in his spectacular battle of Div (Diu) in 1509. Next, land bases were established at three nodal points in the Asian coastline, by AFONSO DE ALBUQUERQUE (1453-1515), through his conquests of Hormoz (Or- muz) in Persia (1507), Goa in India (1510), and Melaka (Malacca) in southeast Asia (1511), all three towns cap- tured from the Muslims. From this moment the Portuguese venture failed. It was unable to penetrate the hinterlands of these three nodal points, for its manpower, drawn from a nation of a million and a half inhabitants, was woefully inad- equate to confront the might of the Asian empires that controlled those hinterlands. Its neighbor, Spain, on the

80 other hand, challenged by less powerful kingdoms in its overseas ventures, and favored with a larger popu- lation than Portugal, was more successful in establish- ing extensive land-based domains in the New World. The Portuguese venture into the east seemed to have no other destiny than to clear the way for the stronger European nations, particularly the Dutch, the French and the English. The history of the Portuguese empire can be divided into three phases. During the first or early phase, in the 16th century, Portugal attempted to build an empire in Asia, generally without success; during the second or middle phase, in the late 17th century, it sought to found an empire in South America, in Brazil, this time with spectacular success; and during the third or final phase, in the mid-19th century, it strove to build an empire in Africa, in Angola and Mozambique, with mixed suc- cess. The history of Portuguese Goa can also be de- scribed in terms of these three phases. During the first phase, Portugal was unopposed on land and on sea, and had a powerful ally in Hindu Vi- jayanagara. But from 1560, a series of disasters crippled Portuguese strength in Asia. A portent of the misfor- tunes to come was the establishment of the Inquisition in Goa (1560), which forced many Hindus to leave Por- tuguese territory and emigrate southwards to Kerala. Then came the battle of Rakkasa Tangadi (or Talikota, 1565), where a band of Muhammadan kingdoms de- feated Vijayanagara and sacked its capital. Then, for

81 over a century, the chief of that band, the Adilshahi kingdom of Bijapur, harassed Goa until its own realm was annexed by the pan-Indian Muslim imperial dy- nasty of the Mughals (1526-1858) in 1686. For most of the 17th century the relations between Portugal and Bi- japur were hostile, but the two old enemies occasion- ally formed alliances in the face of their common threat, the Mughals. There were disasters in Portugal itself, beginning with the debacle of the crusade against the Muham- madans of North Africa in the battle of Alcacer Quibir (1577). Soon Portugal itself was annexed (1580) by the Spanish monarch PHILIP II (ruled 1556-1598), him- self a Portuguese on his mother’s side, but who was a determined enemy of Portugal’s trading partners, the Calvinist Dutch. The goods that the Portuguese pro- cured from the east were distributed in Europe by the merchants of Holland. But with the annexation of Por- tugal, all trade with that northern country was banned, leaving the Dutch with no alternative but to go east and create their own empire – which they did in southeast Asia, the land of spices. In the process, from 1609 to 1663, they expelled the Portuguese from Ceylon (Sri- lanka) and Kerala. In southeast Asia itself, they cap- tured Malacca (1646) and eradicated the Portuguese presence from the Indonesian islands. Another European challenge presented itself with the arrival of the British. Supposedly Portugal’s ally, “perfidious Albion” aided the Persians to recover Or-

82 muz (1622). Forty years later Britain’s king, CHARLES II (ruled 1660-1685) married a Portuguese princess, CATHERINE OF BRAGANZA, and received as dowry Bombay (1662), an island first settled by the Portuguese. There grew a city that became the urbs prima in Indis. Still another menace appeared in the form of the Omani Arabs. It lasted from around 1650 to 1730. The Arabs sacked Div in 1668, and assaulted the Arabian and East African forts still in Portuguese hands, taking Muscat in 1650 and Mombasa in 1698. But the greatest enemies of all were the Marathas (in power from 1674 to 1818), a confederacy of Hindu chieftains who successfully challenged the rule of the Mughals. Founded with noble ideals by SHIVAJI (1627- 1680), the confederacy (with some exceptions) became nothing more than an assemblage of bandit principal- ities, with war and loot as their goals. For about six decades, from 1683, the Marathas frequently ravaged Goa, compelling many people to flee southwards to the Kanaras, in large part to the town of Mangalore. From 1737 to 1741, the Marathas overran most of Portugal’s possessions to the north of Goa, so that, in the latter year, what remained of Portuguese Asia was little more than Goa, Daman (Damão) and Div in India and Macau in China. However, the first phase of Portuguese history in In- dia was one of great cultural achievement. The foun- dations for a Luso-Indian culture were laid by acts like the inauguration of Asia’s first Western-style university,

83 the Seminario de Santa Fé, later the Colégio de S. Paulo (1541). Also launched were cultural phenomena that eventually harmonized the tradition of Goan vocal mu- sic and prepared the way for the emergence of the finest song form created by that tradition, the Mando. Re- sponsible for these phenomena, more than any other single person, was the Jesuit GASPAR BARZEU (1515- 1555), a native of the Netherlands and heir to a great tradition of Gothic mysticism and Renaissance music. At the time of its confrontation with the music of the West, India’s classical tradition of music had al- ready had over two millennia of history. It was strictly monophonic, based on single melodic lines and their rhythmic organization. These melodic lines were of a complexity far beyond that of Western practice, and were arranged in patterns governed by strict rules and known as ragas. Improvisation was held to be vital to the success of a performance, and rivalry between the virtuosi, singers and instrumentalists, was encouraged. The spontaneous imitation between singer and instru- mentalist was displayed against insistent rhythmic sub- tleties of drums. But there was very little concept of vocal or instrumental music in the Western sense. Indian classical music had the good fortune of hav- ing been studied and systematized in continuous se- ries of treatises in Sanskrit, but Indian folk and re- gional music was seldom referred to in native written records. We have some descriptions of it from West- ern observers, who report that it frequently indulged

84 in loudness, which some of them judged unpleasant. The most imaginative Portuguese traveler of the 16th century, FERNÃO MENDES PINTO (c. 1510-1583), de- scribing a performance in Tibet, whose music is partly of Indian derivation, speaks of it as being produced by “so many different kinds of barbarous, discordant instruments, that it nearly made the flesh quiver, for they consisted mainly of bells, cymbals, drums, ket- tledrums, sistra, cornets and conches...” (Peregrinação, Lisbon 1971, pp. 631-632). Goan popular music was also on occasion loud, but not felt to be unpleasant to other Western ears. A report dated 1513 tells us that the Portuguese governor (presumably FRANCISCO DE ALMEIDA, r. 1501-1509) was accustomed to dine while being entertained, in the courtyard of his palace, by the sound of trumpets and kettledrums, one of the trum- pets, of great length, emitting a loud and warlike sound that was heard above the other instruments. In the same courtyard, professional women dancers played their instruments, and sang and danced throughout the festivities. The intensive missionary effort that was engaged in at this time produced many converts who, it was believed, needed to be protected from Hindu cultural influences, which included traditional Indian music. Consequently, the Third Provincial Council of Goa, held in 1585, decreed that women were not to learn to dance, play or sing deqhanins (evidently the predeces- sors of the modern Deknni) or other festive dances and

85 courtly songs of native origin. The best protection from the allure of traditional Indian Song was exposure to the music of Europe. And the converts took to that music with alacrity. They were fascinated by its exciting, to them, new fea- tures: new musical instruments, new musical texture, new forms of vocal music, and new musical genres. In the first place, new musical instruments – of per- cussion, string and wind. Percussion instruments, like drums, cymbals, triangles and tambourines. String in- struments, like the cittern, clavichord, dulcimer, harp, harpsichord, lute, vihuela (large guitar), viola, and later, violin and piano. Wind instruments, like the flute, shawm (a kind of oboe), trumpet, and organ – the lat- ter being the largest, most versatile and most powerful of instruments: “through the deep naves and arcades” of Goan churches, “the melancholy tunes of the organ passed in electric currents, accompanying the music of the psalms and the melancholy sound of lamentations; all of which impressed an impressionable people, pro- ducing a large harvest of converts...” (TOMAS RIBEIRO, Entre palmeiras, sect. VI). Organs were probably intro- duced in India in 1500, and by 1540 appear to have been in common use in churches. Alongside these European instruments, native ones continued to be played; one of them was doubtless the gumott, an earthenware drum, shaped like a pot, of ancient Indian provenance. But in the 18th century, the gumott was banned in churches; and other Indian instruments, like flutes, from wed-

86 dings (by a decree of the Inquisition, dated 14 April 1736). Second, the new musical texture, the distinctively Western harmony – the combination of simultaneous notes to form chords (as opposed to melody, the ba- sis of traditional Indian music). Harmony took two forms, polyphony and homophony. Polyphony arrived around 1540, and homophony after 1650. Monophonic music continued alongside the polyphonic, but in its European form, Gregorian or plainchant, introduced earlier. Third, the new form of vocal music, the choral, sung by an organized band of singers, the chorus or choir. This contrasted with traditional Indian soloist singing. Choral singing is of two kinds: where all the voices in the chorus sing, in unison, the same part or melody; or where the voices have different parts – melodies or strands of melodies – with each part allotted to more than one voice. Soloists alternated with the chorus, a practice which eventually led to the use of two choirs, one on each side of the church, so that psalms, canti- cles or even masses could be sung by contrasting choirs. Music for such divided choirs developed in the early 16th century, and reached a peak of excellence in the late 16th and early 17th centuries. Documents refer to double-choir performances in 1569. In 1663, seven choirs of Goan singers performed an oratorio by GIA- COMO CARISSIMI (1605-1674). Dramas were accompa- nied by choral singing – as during the acting of a Latin

87 tragedy in the Colégio de S. Paulo in Velha Goa in 1558; of a Greek tragedy at Cochin in 1564, to the accompani- ment of flutes, shawms and viols; and of a tragicomedy in the same city and year, on the parable of the Prodi- gal Son. Again in 1564, but in the Colégio de S. Paulo, we hear of a choir singing to the accompaniment of a harpsichord and violins. Fourth, new genres of music, of three kinds: rela- tively unadorned, like psalms and litanies; more ornate, like cantigas, villancicos and cantatas; and elaborate, like motets, oratorios, operas and masses. The psalm was a sacred hymn from the Old Testament, where the mu- sic was secondary to a clear projection of the text. The litany was a sung prayer or petition, recited by an offi- ciant (or choir) with recurrent responses from the con- gregation (or another choir). The cantiga was probably a strophic song with a sacred or secular theme. The villancico was a Spanish song, alternating between a re- frain (estribillo) and a stanza (copla), sung with or with- out accompaniment. The cantata was a kind of unacted opera. The motet was a polyphonic choral setting, usu- ally unaccompanied, of a sacred Latin text not fixed in the liturgy. The oratorio was a dramatic musical com- position, especially on a religious theme, with arias, recitative and choruses, and with orchestral accompani- ment, performed as a concert, without action, costume or scenery. The opera was a stage drama, with orches- tral accompaniment, in which music is the dominant element, with the performers singing their lines. And

88 finally, the mass, a vocal and instrumental accompani- ment of the eucharistic sacrifice of Christianity, com- prising five major choral pieces: the Kyrie, the Gloria, the Credo, the Sanctus and the Agnus Dei. Some of the other cultural phenomena that rooted Latin culture in Goa were imported by Barzeu. In 1551, on the occasion of a plenary jubilee conceded to In- dia by the founder of the Jesuit order, IGNATIUS OF LOYOLA (c.1491-1556), Barzeu introduced processions like those of the Flagellants, the Devotas, and the Fes- tival of Flowers. The Flagellants were men who pub- licly scourged themselves for penance, a practice cur- rent from the days of the Black Death (1347-1350), and believed by some to be a substitute for the sacrament of penance itself. The Devotas were nocturnal chants, announced by marchers with wooden clappers, for the souls in Purgatory, the torments of which state were symbolized by a pot of burning coals carried on the head of one of the marchers. The Festival of Flowers commemorated the birth of Mary, the Mother of God, on September 8, when boys in procession, dressed as “angels”, emptied baskets of flowers at the feet of her statue. The music and singing that were part of these activities were further encouraged by Barzeu by his promoting the customs of the sung mass and of chants accompanied by the organ, as well as by his institut- ing the post of the choir master (mestre capela). Drama and music were conjoined most effectively in the Pas- sos (“sufferings”), Passion plays enacted with the aid

89 of images, including scenes from the Last Supper, the Agony in the Garden, the Scourging at the Pillar, the Crowning with Thorns, the Ecce Homo, the Judgment of Pilate, the Carrying of the Cross, the Crucifixion and the Entombment. The world of the Late Gothic and of the Renaissance was thus transplanted on Indian soil. These institutions were first established, and these cere- monies first performed, in the first monumental church ever built by the Jesuits, S. Paulo dos Arcos in Velha Goa (1560-1572, ANTÓNIO DE QUADROS). In this phase, too, Konkani literature was formed. A standard for the language was set, and in that stan- dard was created the first literary prose of any mod- ern Indo-Aryan speech; both standardization and pro- duction of literary prose were apparently the work of KRUXNNADAS/KRISHNADAS XAMA (fl. 1526). A Goan literature in Portuguese also emerged, its most prominent writer being SEBASTIÃODO REGO (1699- 1785), the “Indian Vieira”. Goans also wrote works in the south Indian language Tamil, as well as in Sing- halese, the speech of Srilanka, where a Goan Oratorian mission kept Catholicism alive under Dutch Calvin- ist persecution, and in so doing efformed a cultur- ally Singhalese Catholicism. The mission, founded by Blessed JOSÉ VAZ (1651-1711), perhaps the greatest Goan of this phase, prospered under his follower JA- COME GONÇALVES (1676-1742), who appears to have been the initiator of modern Singhalese prose. In this phase cultural creativity seemed to grow in in-

90 verse proportion to political decadence. The first struc- tures in the transplanted European styles of architec- ture, both Late Gothic and Neo-Roman (as noted, com- monly but inaccurately described as “Baroque”) were erected in Asia. Some of them retained their Euro- pean character almost wholly, like the majestic Sé of Goa (1562-1651), the largest cathedral in the Manner- ist style anywhere in the Portuguese world. It was de- signed in its present shape by JULIO SIMÃO (JULES SIMON, fl. 1597-1641), evidently the descendant of a French sculptor who had settled in Portugal. Other structures prepared the way for a more fully Indian style, like the Jesuit church of Bom Jesus (1594-1605, DOMINGOS FERNANDES, fl. 1578 ?), and the Augus- tinian Nossa Senhora da Graça, (1597-1602), both in Velha Goa/Goim. This Indian style, where European idiom harmonizes with an Indian aesthetic, was real- ized after the mid-17th century, chiefly in five build- ings which may be called the Indian Baroque Quin- tet: Espirito Santo of Velha Goa (1661-1668), Espirito Santo of Morhgoum/Margão (1675-1684), Santana of Tallauli/Talaulim (1681-1695, probably designed by the Goan priest FRANCISCODO REGO, c.1635-1686), Nossa Senhora da Piedade of Divarhi/Divar (1699-1724, the work of the Goan architect ANTÓNIO JOÃO DE FRIAS, 1664-1727), and Santo Estevão of Zuem/Jua (1759), the last structure belonging properly to the next phase of our history.

PORTUGUESE GOA, MIDDLE PHASE

91 It is ironical that the near collapse of Portugal’s em- pire in Asia occurred during the reign of one of Portu- gal’s greatest king, JOÃO V, “the Magnanimous” (ruled 1706-1750), at a time when his power was secure in Brazil, from which vast land the Dutch and the French had been driven out. But the recovery of Portuguese India began in the very year of its collapse, 1741. Up to that year Goa had consisted of three provinces, Saxtty (“sixty-six villages”, Salcete), Tisvarh (“thirty vil- lages”, or Ilhas, “islands”), and Barhdes (“twelve vil- lages”, Bardez), which together came to be called the “Old Conquests” (Velhas Conquistas). From 1741 to 1795 Portuguese arms acquired the much larger sur- rounding provinces (the “New Conquests”) which, to- gether with the Old, make up modern Goa. The Por- tuguese military victories were celebrated by the first solemn exposition of the incorrupt body of FRANCIS XAVIER (1506-1552), the “conquistador of the Orient”, on 10-12 February 1782. However, the Portuguese em- pire of the middle phase in India was of little conse- quence. From having been a polity of Asian impor- tance it had become an insignificant colony; the giant had shrunk into a dwarf. Portugal had now less inter- est in the spices of the Indies than in the diamonds and gold of Brazil. Insignificant or not, the Indian colony continued to be threatened by potent enemies from without, and fur- ther acquired an enemy from within. One of the exter- nal enemies was the Muslim ruler of Mysore, TIPPU SA-

92 HEB (or SULTAN, ruled 1782-1799), in some ways an en- lightened monarch who almost succeeded in expelling the English from India. The English were themselves a powerful enemy (from without), now that they were on their way to creating an Indian empire of their own. They entered Goa in 1799, making the Napoleonic wars in Europe their pretext, and stayed till 1813. An enemy had risen from within, the Goans them- selves, especially the Brahmins, descendants of the an- cient Indian priestly caste, the virtual creators of Indian civilization. They deeply hated the military establish- ment of the Portuguese mestizos that held the reins of power in the colony. Descendants of the warlords whose might had built Portugal’s Asian domain, and of little education, these mestizos despised the Brah- mins that their forebears had subdued. For their part, the better-educated Brahmins looked on the mestizos as their intellectual inferiors and plotted to overthrow them. They found an unexpected ally in one of the most prominent political figures of 18th century Por- tugal, a disciple of the Enlightenment but himself a callous tyrant, the MARQUEZ DE POMBAL (1699-1782, minister of king JOSÉ from 1750 to 1777). In his edict of 2 April 1761, Pombal decreed that (baptized) Asians and Europeans were to have the same legal and so- cial status, since “His Majesty does not distinguish between his vassals by their color but by their mer- its.” But the authorities in India balked, so Pombal, in 1774, repeated that both Goans and Portuguese, out-

93 siders and natives, were to be treated equally, since they were “equally the vassals of His Majesty,” and that such equal treatment was “likewise conformable with divine, natural and human laws, which under no cir- cumstances allow that outsiders should exclude the na- tives from the fruits of the soil where they were born, and from the offices and benefices thereof.” Though Pombal was dismissed not long afterwards, his instruc- tions began to take effect; the Brahmins, step by step, began to acquire social prominence. One of these educated Brahmins was the “Abbé” JOSÉ CUSTODIO FARIA (1756-1819), also a disciple of the Enlightenment, who with FRANZ MESMER (1734- 1815) and JAMES BRAID (1795-1860), was one of the protagonists of scientific hypnotism, and perhaps the most prominent Goan of the middle phase. Quite early some other Brahmins had begun to intrigue at the Por- tuguese court, with intent to curb mestizo power, but growing impatient at the slow rate of change, had plot- ted with the aid of the French and of Tippu Sahib to overthrow Portuguese rule and set up a Goan repub- lic. This was the occasion for the famous uprising of 1787, the Conjuração dos Pintos (the Conspiracy of the Pinto family), the first Asian rebellion on the part of the natives to replace European colonial rule with an inde- pendent state on the European model. So brutally was the Conjuração suppressed, that it cowed Brahmin op- position for over 30 years. Culturally this phase was less productive than the

94 previous one. In poetry and music it appears to have been fallow except for the composition of the Goan hymns. As the Goan poet EDUARDO DE SOUZA (1836- 1905) was later to say, in these hymns, “within a pure and simple diction, we see playing the most en- chanting smiles of a celestial poetry.” One of the out- standing composers of these hymns was Dona BAR- RETO of Morhgoum, authoress of the Papianchi Xer- atinni (“Advocate of Sinners”). In architecture this phase was not one of monumental churches as the previous one had been, but of innumerable chapels and mortuary chapels, which had fanciful Rococo façades and still more fanciful altars and pulpits. Goa’s aristocratic castes also began raising sumptuous man- sions. But most of all it was a period of monumental Hindu temple complexes. The Shantadurga complex at Kaullem/Queula, (c.1730-c.1738), appears to have been the first large-scale adaptation of the Neo-Roman style to Hindu temple building. The same style, more and more Indianized, was continued in the temple com- plexes of the Nageshi at Bandorhem/Bandora (1780), the Mangeshi at Piryoll/Priol, Chandranatha at Porvot, the Kamakshi at Xiroddem/Siroda, and Navdurga at Morhkoi/Marcaim. PORTUGUESE GOA, FINAL PHASE Goa’s second phase was indebted to the Enlighten- ment, but not everything that resulted from the Enlight- enment was enlightened, as for instance the bloody reign of terror that followed the French Revolution of

95 1789, and the even bloodier expansion of the French empire under Napoleon, in the course of the attempted realization of which Portugal was invaded (1807-1808) and the country’s old absolutist regime suppressed. After the expulsion of the French, the monar- chy in Portugal became constitutional, though abso- lutism made one last effort to reestablish itself (1823- 1834). Elections were introduced into Portugal and its colonies, and were the cause of much strife in Goa, a strife exacerbated by the following factors: the conflict between the mestizos and the Brahmins, between the mestizos and the Europeans, and between the Brah- mins and the Chardos (tsad-ddi); the rebellions of the “foresters” (Rannos/ranne) and of the Indian soldiers in the Portuguese army; natural calamities; British at- tempts to dominate Goa; and finally, large-scale Goan emigration. In this last phase, Portuguese imperial am- bitions were focused on Africa, where from around 1840 colonies were established in Angola and Mozam- bique. Elections gave the Brahmins the opportunity to set- tle scores with the hated mestizos, whose one profes- sion was the army. In the first election of 1822, the Brahmin BERNARDO PERES DA SILVA (1775-1844) was elected deputy to the Portuguese parliament (he was twelve when the ringleaders of the Conjuração had been mutilated and quartered not far from his birth- place). In 1835 he was appointed governor of Goa. Outraged and alarmed, the mestizos rebelled and de-

96 posed Peres, beginning a reign of terror which lasted for at least two years. The reaction of the Goans to the age’s crises was soon to be given voice in the Brah- min creation of the Mando – a dance song made up of stanzas, each a quatrain, or a quatrain with a cho- rus; in six-four time, dealing with love, tragedy and events. Of the many elections that took place in Goa, two in particular were commemorated in mandos: the municipal election of Divarhi/Divar of 1854, when a much-hated mestizo, JOAQUIM GRACEZ PALHA, was beaten to death on November 4 in the square of the parish church (Nossa Senhora da Piedade); and the election of Saxtty/Salcete of 1890, when the soldiers of the governor VASCO GUEDES (in office from 1889 to 1891) fired on an unarmed crowd on September 21 in the church square of Morhgoum, killing 23. In the words of a mando, “Vasco Guedes dug graves, turning Morhgoum into a pool of blood.” Racial affinity often led European officials like Guedes to side with the mestizos (who for their part loudly claimed to be of pure European descent). Racial purity apart, profound differences divided the two groups, the arrivals from Europe having become con- stitutionalists, while the mestizos remained stubborn absolutists. They assassinated some of the outspoken European liberals and even tried to depose a European governor. On 4 December 1854, they wreaked revenge on the Divarhi natives for the death of Joaquim Garcês. To their great annoyance, Lisbon ordered their army re-

97 organized. They rebelled in 1870 and again in 1871. The army was ordered suppressed. Military service having been their only profession, the break-up of their army sounded their community’s death knell. It was the triumph that the Brahmins had long awaited. For the most part the administration of Goa now passed into their hands and into those of their rivals, the other educated caste of Goa, the Chardos. Both castes clashed for the control of the Goan bureau- cracy, but none succeeded in overmastering the other. However, there was a subtle shift in balance. Formerly, the chief political leaders had been Brahmins, like Peres da Silva. Now they were Chardos, two of them in par- ticular: FRANCISCO LUIS GOMES (1829-1869), and LUIS DE MENEZES BRAGANÇA (1878-1938). The former (in his letter to Lamartine, 5 January 1861) pioneered in providing the rationale for an independent India; the latter advocated an independent Goa – or rather, for a Goa within a democratic Portuguese state, enjoying the same rights and privileges as any of that state’s provinces. But the cultural basis for Goa’s independence or au- tonomy became clear only in the work of the charis- matic VAMAN VARDE VALAULIKAR (“XENNOI GOEM- BAB”, 1877-1946), a Hindu Brahmin, proud of his Brah- min lineage, but prouder still of his Konkani identity, the lineaments of which no one had discerned so clearly before him. Goembab was one of the Hindus to emerge into the limelight in this phase. The Shudras (sudir) and

98 other castes had to wait until Independence in 1961 to assert themselves and take their place in Goa’s political and cultural life. Even less resigned to Portuguese rule than Brahmins and Chardos, were the Hindu hillmen or Rannos, who were what the Chardos had originally been, warriors by profession. The confusion caused by the elections and by the mestizo-European-Brahmin-Chardo quar- rels encouraged them to revolt. Some of their more no- table rebellions were those of the Desai of Uspa (1814), the Desai of Zambauli and the Sardessaina DURGA BAI (1817), DIPU RANNO (1822), the Rannos of Sot-tori (Sa- tari, 1852-1855), and the valiant KUXTOBBA (fl.1869- 1871+), the most famous of the Rannos, celebrated in song. The last Ranno revolt, also recorded in song, took place in 1912. Some of these Rannos were employed in the Portuguese army, but when in 1895 they were asked to go to Africa to fight in the colonial wars there, they re- volted. As orthodox Hindus, they had a taboo against sailing overseas. During this phase the British became the unchal- lenged sovereigns of India, though the high noon of their empire was soon to wane. Goa now posed no threat to them; they no longer sought to annex it, but were content to control it economically. In 1878 they signed a treaty with the Portuguese, called the Abkary Act. In exchange for four lakhs (four hundred thou- sand) rupees, the Portuguese were to make Goan cur- rency conform to the British Indian, permit the con-

99 struction of a railway line in their territory, and give the British exclusive rights over the production and sale of salt. The unknown writer of a contemporary mando ex- claims: “[Goa] the shining jewel of former times, how could the Portuguese have lost it! How noble is its char- acter; the British thieves are seeking to rob it! [Vasco de] Gama discovered it, the great Afonso [de Albuquerque] conquered it. Former wealth of many years, lost for four lakhs!” The unpopular treaty was denounced in 1891. All these problems were exacerbated by natural dis- asters. Outbreaks of cholera had been frequent in the 18th century and had depopulated whole villages. Similar outbreaks occurred in 1818, 1831, and in 1918. There were devastating storms and floods in 1827. The seeming collapse of the Goan world appeared to be symbolized by the government-sponsored demolition, between 1820 and 1875, of the monuments of Velha Goa/Goim, relics of its former magnificence. Among the grand structures reduced to rubble were S. Domin- gos (1550), S. Paulo dos Arcos (1560-1572, ANTÓNIO DE QUADROS ?) and Nossa Senhora da Graça (crowning Goa’s highest hill, 1597-1602). Contemplating the ruins of the “Rome of the East,” the Portuguese poet TOMAS RIBEIRO (1831-1901), in his poem O sino de oiro (“The Golden Bell” of the Sé), was moved to exclaim: Vim assistir ao desabar da glória! Ter de mostrar às tribús estrangeiras Por todos os troféus da nossa história

100 Só ruínas, desertos e caveiras! I have come to assist at the collapse of glory, to have to show to foreign peoples only ruins, deserts and skulls, as all the trophies of our history! Much distress was caused by all these happenings, par- ticularly in 1835, during the mestizo reign of terror. Then Goans began to emigrate in large numbers. Many of them had expatriated themselves before, particularly in the 16th century, out of fear of the Inquisition, and in the 18th, out of terror at the Maratha raids. Famines also had forced them to flee, mainly to the rich agricul- tural lands of the Kanaras to the south. Bullock cart car- avans and sailing ships were the usual mode of travel. But the better means of communication invented in the 19th century facilitated emigration greatly. The tele- graph was introduced into Goa in 1839, the postal ser- vice in 1841, the steamship in 1870, navigation within Goa in 1880, and the railway from 1881 to 1886. The op- portunities for a better life available in British and Por- tuguese colonies, especially in those around the Ara- bian Sea, and in the lands of the Persian Gulf, attracted emigrants in large numbers. In the second half of the 20th century there has been emigration to Europe and to the New World itself. In the mid-20th century European colonial rule world-wide began to collapse under the impact of two kinds of events: the rebellion of the natives against that rule, and the mortal strife among the colonial powers

101 themselves, which exploded in two horrendous World Wars I (1914-1918) and II (1939-1945). Enfeebled by these events the colonial nations began to quit India: the British in 1947, the French in 1954, and the Por- tuguese, under compulsion, in 1961. During this phase Goan Song attained its consummation, in the Mando; and a flourishing Goan literature was produced in four languages, Portuguese, Konkani, Marathi and English. Architecturally, no remarkable new churches or chapels were raised; but some fine Hindu temples were, as well as many notable mansions. In these mansions the Mando, the last aristocratic dance to be created, was performed in all its splendor.

102 Major Musical Achievements of Micael Martins

By Dr José Pereira6

1. Goan music before Micael Martins

A new culture, that of Latin Europe, embellished with music was implanted in Goa by the Portuguese in the early 16th century. Quickly assimilated, this musical10 culture acquired a distinct Goan identity in the 6 Professor of Theology at Fordham University, New York, Dr. José Pereira has written several books on architecture, Konkani language and Goan folksongs. He got his doctorate in Ancient Indian History & Culture from St. Xavier’s College, Bombay in 1959. He did his B.A. in Sanskrit from Siddharth College, Bombay. This text from “Celebration of Life – Micael Martins, Maestro par Ex- cellence” published in 1994 to mark the 80th birthday of the Maestro. Courtesy of Dr. Themistocles D’Silva of North Carolina, USA. Transcribed for display by John J. D’Souza of GOACOM.

103 18th century, one which matured in the second half of the 19th and the first half of the 20th. The extensive and varied work of Micael Martins is the apotheosis of this musical tradition; it will also be the elegy of the tradi- tional Goan culture of which this music is the expres- sion, when that culture, now disappearing, will have become no more than a memory. It was the Jesuit Gaspar Barzeu (1515-1555), native of Flanders and heir to a great tradition of Gothic mys- ticism and Renaissance music, who implanted West- ern Music in Goa, when he instituted the post of choir master (mestre capela), and initiated the custom of sung mass and of chants accompanied by the organ. Some of the other activities he introduced also required musical performance, such as the Devotas, nocturnal chants for the souls in Purgatory; the Festival of Flowers, which included a procession to commemorate the birthday of the Blessed Virgin on September 8; and the Passos ("sufferings", tableaux of statues displaying the Passion of Christ. Church schools taught children to sing the catechism, and we are told that their chants, echoing through Velha Goa in the evening, made the city itself seem "a chorus of music". Most assiduous in training Goans in Western music were the Jesuits, and their pupils had already a high proficiency in the 17th century. In 1663, in the basilica of Bom Jesus in Velha Goa, on the feast of St. Ignatius Loyola, seven choirs sang a composition by Giacomo Carissimi (1605-1674), the greatest master of early Ital-

104 ian oratorio. Present in the congregation was an emis- sary of Alexander (Pope from 1655 to 1667) - one of the greatest patron of the arts in an age resplendent with artistic creativity - who felt he was listening to the singing of a choir in Rome. Goan musical culture evolved further in the 19th century. In 1831 schools offering instruction in singing were elevated to the rank of parochial schools. The Viceroy Diogo de Sousa (in office, 1816-1821) had a palace orchestra, with a Eustaquio Lobo of Margao as first violinist. Church music was taught in the Semi- nario de Rachol/Raitur. There a reform of the style of singing the Gregorian chant was begun by the Patriarch Antonio Sebastiao Valente (in office, 1882-1908). In these institutions students were intensively trained. They were expected to read books on musical theory and to study 10 to 15 difficult masses by great masters like Palestrina (c. 1525- 1594), Each (1685-1750) and Mozart (1756-1791), and by lesser ones like Mar- cos Portugal (1762-1830) and Saverio Mercadante (1795- 1870). The instruments they were taught to play were the violin, the guitar, the mandolin, and the piano, and apparently also the clarinet and the clavichord. Singers were required to give a good rendition of the Magnifi- cat (the hymn by Mary recorded in Luke 1:46-55), espe- cially its last line, Sicut locuntus est ("As He spoke to our father Abraham"), which was often rendered in a low voice for a full half hour. The singers were assumed to have familiarized themselves with a number of motets,

105 examples of a musical form that had been created in France in the 13th century, and had been fashioned by Flemish composers in the 15th. As introduced by the Flemish Jesuit Barzeu - "The Father of Goan culture", as we may call him - the motet was a polyphonic com- position, based on a biblical or liturgical text in Latin, usually sung by four to six voices: these and other fea- tures in the Goan cultural complex explain why the mu- sic of Goa retained elements of the Renaissance musical tradition long after the latter had become extinct in Eu- rope. Choruses, bands and orchestras gave public perfor- mances: inside the churches during Vespers, which sometimes lasted three hours; and outside in the church squares, as musical concerts. Several pieces were executed in these concerts between displays of fireworks; the program not seldom ending in the early hours of the morning. In the second half of the 19th century, it become common for every marriageable upper class girl to be taught music, and the teaching of it was assigned to this senhor-mestre. The girl was required to learn the piano, and to play pieces like the waltzes of Johann Strauss (1825-1899). She was also expected to sing arias, apparently from composers like Gounod (1818-1897), but certainly from the very popular Verdi (1813-1901); the favorite arias were drawn from three of his works, La traviata (1853), Un ballo in maschera (1859) and La forza del destino (1864). It was assumed that the damsel

106 would also know the tunes of marches and of dances like Caledonians, Contredanse, Lanciers and Polka. The expertise in performance thus laboriously ac- quired was accompanied more importantly, by creative compositions, in folk and art song. Goan folk song had had half a millennium of history before it received the impact of Western music, one which profoundly mod- ified it. But few folk songs, if any, can be precisely dated before the 19th century. At the time of Micael’s youth, the chief song types current among the Goan Christians were the Nuptial Chants (Brahmin, Sudra and Kunnbi); the Ovi (or Verses); the theatrical types of the Fell and the Zagor; and the dance songs of the Deknni and the Dulpod. (Martins began collecting Goan folk songs when he was 19, in 1933, and ended garner- ing about 11,000 numbers, only a few of which he was able to publish). Goan art song types are principally two, the hymns and the Mando. To judge by the language, many of the hymns appear to have been composed in the 17th and 18th centuries. The Goan epic poet Eduardo de Sousa (1836-1905), speaking of them, remarks that "within a pure and simple diction (typical of those hymns), we see playing the most enchanting smiles of a celestial po- etry." Most of the hymns are anonymous, but we can identify the authors of some of them, like Dona Bar- reto of Morhgoum, who flourished in the early years of the 19th century, and composed the solemn and melan- choly Papianchi xeratinni ("Advocate of Sinners"), and

107 Raimundo Barreto of Lotlli/Loutulim (18371909?), au- thor of Sao Franciscu Xaviera, the most popular of Goan hymns, and one of the most moving. The other Goan art song type is the Mando, a verse or verse-and-refrain dance song in six-four time, deal- ing with love, tragedy and contemporary events. It ap- pears to have evolved from the Ovi, a type which, like the Mando’s own early form, is a quatrain. A refrain or chorus was added to the Mando later, doubtless un- der the influence of Portugal’s national song, the Fado, created in that country around 1840, and thus contem- poraneous with the Mando. Martins, comparing these two types of song, once remarked: O Fado e triste, mas o Mando e triste e profundo (the Fado is sad, but the Mando is sad and profound). Unlike the Ovi, however, the Mando is dance song, created only after the introduc- tion of social or ballroom dancing in Goa in the 1830s. As a dance song, as was noted, it conveys the emotions of love: a love yearning for union (utrike), achieving union (ekvott), or frustrated in its yearning and express- ing itself in lamentation (villap). The Mando comments on contemporary events (fobro), many of them political. In its musical structure, as Martins himself describes it, the Mando is modulated with patterns of phrases that follow one another in the same order. Rhythmically it has six beats, with stresses on the first and (promi- nently) on the fifth. It is rendered by two voices, the first singing the principal melody and the second the contrapuntal one, the two melodic lines being harmon-

108 ically and polyphonically combined. The second voice generally follows the first parallel motion, in thirds and sixths, and is sometimes modulated in contrary mo- tions. Saxtty/Salcete is the province of Goa where the Mando grew and flourished. Martins classifies it into two areas, the "hilly land" (dogorgaum) and the "sandy plain (renvott), to which Micael himself belongs. There is considerable variety in the style of Mando compo- sition, depending on whether the composer is from one area or the other. A large stretch of the renvott is blanketed in coconut groves and immersed in a sort of penumbra. Its Mando music is tranquil and crepuscu- lar, and is instanced in the work of composers like the Canon Antonio Joao Dias (fl. 1914) and Roque Correia Afonso (1859-1937). More productive is the dodorgaum – a panorama of wooded hills rising along the banks of the Zuari – par- ticularly the villages of Rai/Raia, Morhgoum/Margao, Lottli/ Loutulim and Kurhtori/Curtorim. The oldest dateable composer is from Rai, Frederico De Mello (1834-1888), author of the sublime Sorgo nitoll go nir- mollu. Morhgoum has the popular Pascual Noronha (1872-1936, Paicha maincha moreantulim), originally from Lotlli. The latter village itself has Eduardo de Menezes (1862-1922, Anju tum arcanju), Milagres da Silva (1855- 1931, Ek vorso bolanddilem), and the great Torquato de Figueiredo (1876-1948, Adeus kortso vellu pauta, practi- cally Goa’s national anthem).

109 But most productive of all is Kurhtori, home to Lig- orio da Costa (1851-1919, Tambrhe rozanch’ tuje pole), Azavedo Diniz (1860-1907, Oulleam’bitory oulli sundori, mando-dulpod), Arnaldo de Menezes (1863-1917, Mo- tim’ sopnnantum naxlolem), Gizelino Rebelo (1875-1931, Suria noketranche proim porzolleta), originally from Vern- nem/Verna, and Sebastiao Fernandes (1875-1937, Boll- cvancheri re boisotam). The two chief "schools" of the Mando are those of Kurhtori and Lotlli. Martins de- scribes the music of Kurhtori, whose star is Arnaldo as having a horizontal and undulant motion, reflecting the rolling scenery of dogorgaum’s terrain, and that of Lotlli, whose luminary is Torquato as having a move- ment that is vertical and ascendant, conveying the up- thrust of some of that terrain’s peaks.

2. Life and career of Micael Martins

All this traditional music displays great melodic beauty, rhythmic vitality and not seldom emotional profundity, but its productions are all on a small scale, making use of limited musical resources and confined within nar- row emotional parameters. Traditional music having attained a state of maturity, a composer was needed to exploit its melodic and rhythmic treasures and to integrate them into large-scale musical forms capable of more sustained aesthetic power, organized in more complex structures, covering a wider emotional range, and using the abundant resources of orchestration. The need produced the man: that man was Micael Martins.

110 Micael Martins was born during World War I, in his mother’s house at Corlim on 29 October 1914. On 13 January 1915 he was baptized in his father’s village church of S. Miguel, his archangel namesake. The in- fant’s full name, however, was Silvestre Micael Feli- ciano Martins. His education began early. In 1919, at age 5, he entered the parochial school and the Government Pri- mary School, in 1926, where, in 1928, he passed his segundo grau. From 1931 to 1933 he did his first three years of Liceu, in schools of Mapxem/Mapuca and Morhgoum, but was unable to continue because of fi- nancial difficulties. He was later to prepare privately for the Liceu’s fourth and the fifth year. In 1935, with postal employment in mind, he took a two-year course at the Escola Practica de Correios e Telegrafos at Pon- nji/Panaji/ Panjim. Micael’s musical education was also began early, but at home, by his mother Rosa, who played the Span- ish guitar and taught her son to sing numbers of the modinha, a song that had been developed in Portugal around 1730 and consisted of sweet and sentimental words and music (not lacking a touch of malice) accom- panied on the piano, viola, harpsichord or guitar - a song simple in melody, but capable of intricate musical effects. In the parochial school Micael’s music teacher was one Joaquim Manuel Barreto, himself a composer of sorts, who taught the boy the solfeggio, and to sing hymns, litanies and motets, in Latin, Portuguese and

111 Konkani, as well as Gregorian chant. It was Barreto who initiated him into the study of the instrument in which he was to excel, the violin. His proficiency in this instrument - wide in range and preeminent in lyric melody, but capable of dra- matic effect, subtlety of nuance, rhythmic precision and agility of movement - rapidly increased, most of all un- der the tutoring of Padre Sebastiao Luis of the Santa Cecilia College of Music at Margao, where the growing boy studied from 1928 to 1931. Young though he was not more than 17 - he was judged proficient enough to play in two symphonic concerts conducted in that town by Padre Luis. Micael’s musical training was completed in Bombay, where he earned the L.T.C.L. diploma, first in teach- ing (1947) and then in performance (1965). Among his teachers were Jules Craen, Guy Magreth, Adrian de Melo, Dominic Pereira, J. J. Castellino, Hans Koell- reuter and Joaquim Buehler. Under their instruction he learnt the theory of music, musical history, the inter- pretation of composers’ works, phrasing, articulation, the conducting of orchestra and chorus, and the tech- nique of the bow. His teachers praised his alertness to the intricacies of the chosen piece, the mellowness and control of the tone, the firmness of purpose, precision of articulation, and flawlessness of intonation. By this time too, he had learnt enough of instruments like the mandolin, and the three types of guitar, Hawaiian, Por- tuguese and Spanish, to be able to provide instruction

112 in them. His musical career can be divided into two phases, the Ponnji phase (1937-1946) and the Bombay phase (1947-1992). His activities in Ponnji included the follow- ing: as a public teacher and private tutor, as director in musical groups like the Coro Sacro and the Micael Mar- tins String Quartet; as a performer in literary and mu- sical sessions; and as a conductor of orchestras, as well as of masses - like the Missa de Angelis; sung in 1943, by 100 students on the spectacular stairway of the Imac- ulada Conceicao church of Ponnji, the celebrant of the mass being the Patriarch José da Costa Nunes himself. In 1946, Micael’s friend Dr. Bossuet Afonso sug- gested he go to Bombay to continue his studies in mu- sic. In that city his activities included the following: as a musical recitalist, particularly in the All India Ra- dio; as performer for musical societies like Cecil Men- donza’s Bombay Philarmonic and Choral Society, Jules Craen’s Bombay Symphony Orchestra, Victor Paran- joti’s The Bombay Madrigal Singer’s Organization, and Arnaldo De Andrade’s Tuna Portuguesa; as opera con- ductor (of the opera Geisha, 1953); as orchestra leader of films (Ranjit Movietone Orchestra,. 1946; Films Divi- sion Orchestra, 1949; Rajkamal Kala Mandir Orchestra, 1949) and of other musical societies (Dadar Musical So- ciety, 1949, Santa Cruz Amateur Dramatic and Musical Society, 1949); Newman Choir Orchestra, 1975). Mar- tins also participated in concerts in Delhi, where he per- formed, in 1962, alongside the renowned Indian singers

113 Lata Mangeshkar and Mohammed Rafi; and in 1972, at the inaugural function of the Delhi Symphony Orches- tra. In Bombay, he continued to be a teacher in music, both privately and publicly (Bombay School of Music, 1970).

3. Compositions and research of Micael Martins

The achievement of Micael Martins falls into two inter- connected groups; compositions and research. His oeu- vre consists of well over one hundred items. Our ca- reers have led us to different parts of the world, and so I have not had the good fortune to familiarize myself with the entire extent of that oeuvre I shall first discuss his studies of traditional Konkani Song and then clas- sify his compositions. Micael’s research into traditional Goan Song, as I noted, began in 1933. His exploitation of Konkani mu- sic’s rich heritage in his compositions is based on his first hand knowledge of it. In this sense he can be compared to the European composers who explored their respective folk traditions and organized the mo- tifs derived from them into classically structured mas- terpieces - composers like the Czech Smetana (1824- 1884) and the Hungarians Bartok (1881-1945) and Ko- daly (1882-1967). I myself first got to know Micael ex- actly 40 years ago, in 1954 having been introduced to him by the late lamented Arnaldo de Andrade – when I was preparing a special number on Goa for the Bombay art magazine Marg. We published 16 mandos and five

114 hymns and antiphons in the December number, 1954. Our information was gathered from the last representa- tives of the period of the Mando, singers who had had close contact with the composers themselves. These individuals now all deceased, include Semeao Costa, Roque Menezes, Placido Costa, Carmelina Pereira, Ar- gentina Da Costa, and Utilcia Rebelo. From 1956 to 1957 we published two mandos, one hymn and one folksong in the Bombay journal edited by Aloysius Soares, the Goan Tribune. In 1967 we pro- duced our first monograph on Konkani Song, A Sheaf of Deknnis (Konkan Cultural Association). It contained 37 deknnis and some variations of them. In 1968 and 1969 I visited the Kanaras and Kerala to collect the Konkani songs preserved by the descen- dants of Goans who had emigrated to those parts in the 16th and 18th centuries. I tape-recorded these songs and Micael transcribed them into staff notation. We were, however, unable to find anyone to publish the score, but I myself printed the text in some numbers of the Mangalore journal Panchkadayi (1969-1974). In 1981 we published our second monograph on Konkani Song. Song of Goa – An Anthology of Mandos, in the Boletim do Institute Menezes Braganza (no. 128). It contained 45 specimens of mandos of yearning (utrike). In 1990 Micael published "Traditional Goan Wed- ding Songs" in the same Boletim (no. 161, pp. 25-52), which he had started collecting as a young man. My participation in this project was minimal. There were

115 16 numbers, with both text and score. In 1993, in the same journal (no. 168), I myself compiled "A trea- sury of Dulpods", text only, no score, with 301 num- bers. Though Micael did not directly participate in this project, many of the dulpods that were included in the collection had been gathered by Micael himself. Micael’s compositions can be classified into the fol- lowing four categories:  Masses

 Hymns and other religious songs  Profane songs  Instrumental pieces Let us begin with the first category, masses. A good part of Micael’s compositions are religious in and of these compositions, the masses take the first place. As a musical form the mass, which inspired some of the world’s preeminent composers to produce some of their finest works, consists of five fixed prayers, the Kyrie, the Gloria, the Credo, the Sanctus and the Ag- nus Dei. Micael’s masses are in three languages, Latin, Konkani and English. He has one Latin mass, com- posed in 1958, which I call Missa de Nossa Senhora de Penha; two Konkani masses, Goddvaiechea kallza Jesuchea (in two versions, dated 1971 and 1975 respec- tively), and Tin Gorzanche Saibinnik (1987); and one En- glish mass, dedicated to Our Lady of Victories (1985),

116 titular of the Mahim church of which Martins was long a parishioner. The Latin mass has a special meaning for me. It was composed during the visit of six of us to the island of Uran near Bombay to see the church of Nossa Senhora de Penha built by the Portuguese in 1535 on a hill in that island. These six, besides Micael and myself, in- cluded the painter Lancelot Ribeiro, the professor Euse- bio Rodrigues, the physician Jorge de Andrade and the poet and singer Manuel Rodrigues. The path up this hill was not clear to us, so we tried to scale it on what turned out to be its steepest slope. Not being adept at mountain climbing, any one of us who had ventured to climb could have fallen to his death. However, Mi- cael remained at the foot of the hill, and watched our upward progress with consternation. We did manage to reach the top, however, to everyone’s relief, particu- larly Micael’s, who decided to write a mass of thanks- giving, and spent five hours of the night doing so; in the remaining hours before dawn he and Manuel prac- ticed the singing of the mass. Next morning we had a sung mass, the Missa Nossa Senhora da Penha, cel- ebrated by the parish priest of Uran, who was proud of the way he wore his cassock; in the Roman style, he said. As for the Konkani masses, their language is the contrived new Church Konkani that men insufficiently trained in the language have been fabricating since the late 60s. The quality of the music, however, hides most

117 of the defects, and confers on the sorry text and unde- served immortality. Our second category is that of the hymns and other religious songs. These are in four languages, Latin, Konkani, Portugese and English. Micael’s first compo- sition, at age 15, was in Latin, Venit Michael (1929), ded- icated to his archangelic namesake. Some of his other Latin hymns are those to the Blessed Virgin (Ave maris stella, 1939; Ave Maria, 1960; Regina coeli, 1981), to saints (Iste confessor, 1960; Deus tuorum militum, 1967) and the melancholy chant of Veronica (1974). The Konkani hymns, of which there are many, fall into two groups, those based on traditional and on newly composed texts. The former group includes the Mano Marie (1954), the version of the Hail Mary by the great Pramann Konkani English scholar Thomas Stephens (1549-1619) and the Sao Francisco Xaviera of Raimundo Barreto. Micael wrote an organ accompa- niment for the latter hymn in 1965 and a version for a chorus of four mixed voices in 1981. In 1990, in the church of Espirito Santo in Velha Goa, it was su- perbly performed by the choir of the Gulbenkian Foun- dation of Lisbon. I was fortunate in being able to at- tend. The latter group, includes texts either written in the new Church Konkani or in the Barhdexi dialect (on which the former is based). The words of many of these hymns were composed by Micael’s colleague, the late Manuel Rodrigues (as for example, Argam, 1967, and Ballok Jesu, 1972). However, one of these hymns is in

118 the impeccable Konkani of the poet Manohar Sardes- sai (Mori Matiek Ballok Zala 1973). Of all the new text hymns, one of the best known is Mogall Jesu yo tum yo (1972), where the noble melody infuses the mediocre text with elegant feeling. Our third category is profane songs, many of which have a noticeably religious tone. They are in three languages, Konkani, Portuguese and English. The Konkani songs fall into two groups, those with tradi- tional and with new texts. The former is the more re- markable group, those with traditional and with new texts. The former is the more remarkable group, it con- sists of stylized arrangements of traditional Goan songs like mandos, deknnis, dulpods and fugddis. Some of the more notable examples of this group are the following: Mando-Sequences 1-3 (1961-1991), Mando- Rapsodias 1-2 (19611984), Deknni Sequences 1-4 (1961- 1971), Deknni-Nach 1-2 (1988) and Fugddi Dance 1-2 (1970-1989). Among the next text songs are Fulam zai (1977, words by Manohar Sardessai), and the songs in the one-act operetta Dekik khast (1972). Martins also has a few Portuguese songs, like the early Cancao do es- cuta (1936); and more English ones, including marriage songs (1982 & 1989) and school anthems (People’s High School, 1941; Canosa High School, 1968; and Jesus and Mary College, 1975, words by Armando Menezes). Our fourth and last category is instrumental pieces, which perhaps contain Micael’s finest achievement. In these pieces he has made expressive use of traditional

119 motifs, besides creating others of his own. Most of these works are for the string quartet (or were so, orig- inally), like Rapsodia (1952), O Carnaval em Goa (1953). Quatro Aguarelas (1953) and Utsov (1971). Some are for violin and strings, like Crepusculo (1960), or for violin solo, like Festival (1971). All these motifs now demand to be organized in one magnificent architectonic entity, the symphony - a specimen of which, one hopes, Mi- cael will undertake to produce as the crowning achieve- ment of his long career. For only a symphony could ex- press, in the majestic sequence of its four movements, the drama, lyricism, passion, tragedy and exaltation of the four centuries of Goan civilization of which he, Mi- cael, is one of the consummate products.

120 The Forces Destroying Goa Are Much Stronger Than I Am

Dr José Pereira speaks to Gerard D’Souza7

One of Goa’s foremost intellectuals, Dr José Pereira, a polymath (who has published 24 books on theology, history of art, architecture, Goan culture, language, literature and music) speaks to GERARD D’SOUZA about his var- ied interests.

Q: Your interests span a wide range of issues from Islamic architecture in India to teaching Theology of World Religions at the Fordham University, 11to the Goan mando. How did you come to span such a wide range of interests and specialisations?

7 Gomantak Times

121 I see myself as a product of two traditions: one is the Latin-Christian tradition and the other is the Indian Hindu tradition. So, in order to bring to expression these traditions, I had to do extensive research. Q: You spent a majority of your life outside Goa. How did it feel to be separated from your motherland? Like a rat, I have run away from the sinking ship, which is Goa. Q: How did you manage to keep in touch with Goa despite being based in far off places, even before the internet came into the picture? When I was in London, I used to travel by land to Goa. That meant travelling across Europe and then to the border of Iran. From there, I would hitchhike by truck on the border of Pakistan and then make my way into India. Nobody does that anymore. Q: You have done extensive work on the mando. How do you look at the mando today? As I said, I am a product of two cultures. In the mando, I find a concrete symbol of the synthesis of two cultures. I needed a concrete argument to bring out the synthesis of the Latin Christian and the Indian Hindu and I find this in the mando. The mando is beloved but betrayed. It was the work of the aristocratic minority to create a fragment of Eu- rope surrounded by the waters of the Arabian sea and the hills of the Sahyadris... an attempt to create a little Vienna with a fantastic spirit and dance. It is amazing to see a file of men dressed in purely

122 Western outfits and a file of women in Indian costumes holding ostrich fans gently swaying back and forth to a melancholic tune. It was a fantasy world. It couldn’t have lasted very long. It lasted about a hundred and fifty years. I like the fantasy world of the mando. Q: What about the tiatrs? In my time, there were folk plays, beautiful plays. But they published nothing. It was only when Joao Agostinho arrived on the scene that he began publish- ing. They were lucky I arrived on the scene and took notes of what was happening. These folk playwrights were ahead of their time. They were already attacking social evils like land- lords sexually exploiting their tenants and drunken be- haviour and all this pushed them much ahead of their contemporaries. Q: Even today, the tiatr is a very vibrant industry, don’t you think? Yes, that is because the Catholics are afraid that their entity is being dissolved and this is their way of assert- ing their identity. Q: What do you feel about the future of Konkani? I’m no longer optimistic about the future of Konkani. It has to fight too many forces that are too great for it to take on. What will we do? Look at Marathi. It is spoken over such a wide terri- tory, almost 80 times the size of Goa, and they all have one standard that they can look up to. How can Konkani survive? They claim there is a

123 standard: the Devanagari Konkani, but does it inspire loyalty among a Bardezkar or Saxttikar? Take for ex- ample the mando ’Adeu Korcho Vellu Paulo’. Tem Ponddekar-ak poddlam? Amchem nu mhonntelem te. If we have the zeal of the Jews, then maybe. They have revived the buried Hebrew language. It’s plas- tered everywhere, on their walls, they speak it to their children and they speak it on the radio. Do you think we are capable of this? Q: You are primarily known as a scholar and intellectual. Where does painting come into the picture? I look at myself as a painter. It’s just that my primary source of income was not from paintings. Besides, no- body noticed my work so I went into scholarly studies. People were perhaps... equally confused as I was about myself. My painting was otherwise sporadic. Q: You were based in Benares for awhile. Tell us what you did there? I was centered in Benares as I had a project to re- search the history of Indian art with the American Academy of Benares. I was working on producing pho- tographs of Indian monuments across India. We were supposed to take pictures and store them there and then study them. That was our plan. I was doing Indian Baroque art. I travelled a lot in India then, especially visiting Daman and Diu, Bombay and Ker- ala, not to mention Goa where Baroque art is popular. Q: Tell us about your encounters with D.D. Kosambi? My encounters with him were very brief. He was

124 being driven somewhere and he allowed us to enter his car. But I was friends with Manoharrai Sardessai and still remember his poems. Q: How did you end up lecturing Theology? I’m a self-taught theologian. It is one of my greatest fascinations, especially Latin scholastic theologies. I’ve written articles on theology. But then, how does one expect people who are into theology to be interested in a painter? Q: If you were to get a chance to live again, what would you like to come back as? I supposed I could be a computer graphics expert. But then, a meditative existence would not be possible. I would not be able to have the vivid experiences that I have had. I am happy to have lived in the time I have lived and have been living. Q: What are your views on today’s young generation? I know nothing of the young of today. I am nearly eighty years old. The world that I knew is very differ- ent from the world of today. We used to read books and classics. I read all of Shakespeare, Dickens... but today’s youth know com- puters. We had an opening to Portuguese culture which today’s youth don’t have. The Portuguese have died out and with that the Goa I knew has also diedout. We no longer create new songs. In our time, the songs were being composed by the dozen. Q: Do you think Goa is a good place to nurture scholars of your caliber?

125 We don’t have the institutions. It will take time. Where can one do meditative research? Definitely not at Goa University! In any case I don’t live here so I don’t know the scene. Q: Do you ever regret leaving your home behind? What they cannot control, the wise do not grieve. The forces that are destroying Goa are much stronger than I am, why should I grieve?(SOURCE/COURTESY: Gomantak Times.)

126 The Works of José Pereira

This was shared by Pe Antonio Cos- ta, a long-time collaborator of Dr José Pereira and co-author of some of his books. Pe. Costa writes: “It 12might not be a complete one as I had done this sev- eral years ago. There may have been more publications between then and the time the Parkinson’s disease pre- vented him to use his hands. I know for sure that he was in the final stage of completing another book in Catholic Theology he never could. Any way here’s what I have and all I can say is wow!!!”

ACADEMIC EXPERIENCE

5. Fordham University, New York. Assistant Professor, 1970-1976; Asso- ciate Professor, 1976-1986; Professor of Theology, 1986-2001. 4. The American Academy of Benares, Varanasi, India. Research As- sociate in the History of Indian Art, 1967-1969. 3. University of London, School of Oriental and African Studies, Re- search Fellow in the History of Indian Art, 1962-1966.

127 2. University of London, School of Oriental and African Studies, Re- search Assistant in the History of Indian Art, 1961. 1. Instituto Superior de Estudos Ultramarinos, Lisbon. Visiting Profes- sor of East-West Cultural Relationships (Aproximação Ocidente-Oriente), 1959-1960.

DR. JOSÉ PEREIRA’S PUBLICATIONS

1. THEOLOGY & PHILOSOPHY: CATHOLIC & SCHOLASTIC 2. THEOLOGY & PHILOSOPHY: HINDU; AND ITS COMPARISON WITH THE CATHOLIC 3. THEOLOGY & PHILOSOPHY: BUDDHIST 4. THEOLOGY & PHILOSOPHY: ISLAMIC 5. ART & ARCHITECTURE: BAROQUE & GOAN 6. ART & ARCHITECTURE: INDIAN, JAIN 7. ART & ARCHITECTURE: INDIAN, BUDDHIST 8. ART & ARCHITECTURE: INDIAN, HINDU 9. ART & ARCHITECTURE: ISLAMIC 10. ART & ARCHITECTURE: RELIGIOUS 11. SONG: KONKANI & GOAN 12. HISTORY & CULTURE: GOAN & KONKANI 13. HISTORY & CULTURE: INDIAN CHRISTIAN 14. LANGUAGE & LITERATURE: KONKANI 15. LANGUAGE & LITERATURE: SANSKRIT 16. AUTOBIOGRAPHY

1. THEOLOGY & PHILOSOPHY: CATHOLIC & SCHOLASTIC

Suárez. Between Scholasticism and Modernity. Milwaukee, WIS: Marquette University Press. 2007. Marquette Studies in Philosophy 52 The Mystical Theology of the Catholic Reformation. An Overview of Baroque Spirituality. Co-authored with ROBERT FASTIGGI. Lanham, MD: Uni- versity Press of America. 2006 Towards a Theology of Aging. New York: Opera Pia International, 1982. Suárez, Francisco (1548-1617). MICHAEL COULTON & al., Encyclopedia of Catholic Social Thought, Social Science, and Social Policy, vol. 2, pp. 1037-1038. Lanham, MD: The Scarecrow Press, Inc. 2007

128 The Novus Ordo and the Ecumenical Councils, Homiletic and Pastoral Re- view, July 2004, pp. 27-31. The Existential Integralism of Suárez, Gregorianum 85, 4 (2004), pp. 633- 650. Review of JAMES LIKOUDIS, The Divine Primacy of the Bishop of Rome and Modern Greek Orthodoxy. Letters to a Greek Orthodox on the Unity of the Church. New Hope, Kentucky: St. Martin de Porres Lay Dominican Community, 2002, in Social Justice Review 94 (May/June # 2 2003), p. 95. Thomism and the Magisterium: From Aeterni Patris to Veritatis Splendor. Lo- gos, Summer 2002, p. 147-183. The Achievement of Suárez and the Suarezianization of Thomism, in ADELINO CARDOSO et. al., Francisco Suárez. Tradição e Modernidade [Proceedings of the Seminário Internacional Francisco Suárez, 1998], Lisbon: Edições Colibri, 1999, pp. 133-156. O integralismo existencial de Suárez. In calumniatorem Doctoris Eximii. Revista Filosófica de Coimbra, vol. 7, no. 14, Outubro 1998, pp. 295-312. (in Portuguese) Are Ecumenical Councils Infallible? Joséphinum Journal of Theology, Columbus, Ohio, 4-2 (Summer/Fall 1997), pp. 40-50. The Human Person, Ideal and Fallen, in Classical Catholic Theology, Dia- logue & Alliance, New York, 10-2 (Fall/Winter 1996), pp. 41-55. John of St. Thomas and Suárez, Acta Philosophica, Rome, fasc. 1, vol. 5 (Jan/June 1996), pp. 115-136. Infallible Papal Pronouncements, Homiletic and Pastoral Review, New York, March 1996, pp. 55-60. Review of JAMES LIKOUDIS, Ending the Byzantine Greek Schism. 2nd ed. Social Justice Review, Nov/Dec 1994, pp. 187-189. Review of Aidan Nichols, Rome and the Eastern Churches: A Study in Schism, American Catholic Issues, Garden City, Fall 1994, pp. 3-4. Revolt of the Theologians, Homiletic and Pastoral Review, New York, May 1992, pp. 55-59 (with Robert Fastiggi). Verdict Reaffirmed, Renovação, 1 August 1991, pp.265-268. A Verdict on the Goan Post-Conciliar Church. Renovação, 1 April 1991, pp. 125-127. Magisterium Under Fire, Priests & People, London, vol. 3, no 11 (Decem- ber 1989), pp 435-437. Catholicism and Intolerance. Priests & People, London, April 1988, pp 97-98. Epifanie della Rivelazione, Vita Monastica, Camaldoli, July-September 1977, pp 21-27. Epiphanies of Revelation, Thought, New York June 1976, pp 185-204.

129 Fallible? Thought, Autumn 1972, pp 362-414.

2. THEOLOGY & PHILOSOPHY: HINDU AND ITS COMPARISON WITH THE CATHOLIC

Hindu Theology: Themes, Texts and Structures. Delhi: Motilal Banarsi- dass, 1991. Manuale delle Teologie Induiste. Rome: Astrolabio Ubaldini, 1979. Hindu Theology. A Reader. Garden City: Image Books, Doubleday, 1976. The Significance of the Indic Religions for the West, in S. N. SRIDHAR & NIRMAL MATTOO (eds.), Ananya. A Portrait of India. New York: The Association of Indians in America, 1997, pp. 125-136. Badarayana, in IAN P. McGREAL (ed.), Great Thinkers of the Eastern World. New York: Harper Collins Publishers 1995, pp. 170-174. The Concept of the Universal Savior in Vaisnavism and in Catholic Chris- tianity, Dialogue and Alliance, New York, vol 8, no. 1 (Spring/ Sum- mer 1994), pp 53-59. Hinduism, Supernaturally Revealed? II. An Historical Analysis: 3. A Hindu Theology of the Equivalence of all Religions, 2.Renovação, 15 January 1993, pp. 28-30, 39. Hinduism, Supernaturally Revealed? II. An Historical Analysis: 3. A Hindu Theology of the Equivalence of all Religions, 1. Renovação, 1 January 1993, pp. 5-6. Inculturation Revisited, Renovação, 1 December 1992, pp, 424-426. Hinduism, Supernaturally Revealed? II. An Historical Analysis, 2: A Catholic Theology of Comparative Religion, 2. Renovação, 15 November 1992, pp. 406-408. Hinduism, Supernaturally Revealed? II. An Historical Analysis: 2. A Catholic Theology of Comparative Religion, 1. Renovação, 1 October 1992, pp. 350-352. Hinduism, Supernaturally Revealed ? II. An Historical Analysis: 1.Abso- luteness and Ecumenicity. Renovação, Goa, 15 August 1992, pp 285- 287. Hinduism, Supernaturally Revealed ? I. A Theological Assessment. Ren- ovação, 15 July 1992, pp. 245-247. The Swami from Oxford. Bede Griffiths Wants to Integrate Catholi- cism and Hinduism [in collaboration with ROBERT FASTIGGI]. Crisis, Notre Dame, Indiana, March 1991, pp. 22-25. Foreword to GEETA KHURANA, The Theology of Nimbarka. A Transla- tion of Nimbarka’s Dasasloki with Giridhara Prapanna’s Laghuman- jusa. New York & Los Angeles: Vantage Press, 1990.

130 Christian Theosophists, Dilip, Bombay, November-December 1990, pp. 11-19. Badarayana: Creator of Systematic Theology. Religious Studies, Cam- bridge, England, vol. 22, no 2, (June 1986), pp 193-204. Review of JOHN MOFFITT, The Road to Now: Claiming our Spiritual Birthright. New York, 1982. In Darshan, no 5 (August 1983), p 53. Review of FRANCIS X. D’SA, S.J., Sabdapramanyam in Sabara and Ku- marila: Towards a Study of the Mimamsa Experience of Knowledge. Vienna, 1980. In Theological Studies, September # 4 1981, pp 513-514.

3. THEOLOGY & PHILOSOPHY: BUDDHIST

Resonances of Buddhism and Christianity, Buddhist-Christian Studies, Hawaii, University of Hawaii, 1996, pp. 115-127. The Four Noble Truths in Vasubandhu, Abhidharma Research Institute (ARI), Kyoto, Japan, 10 (1993), pp 19-35. The Life of Vasubandhu According to Recent Research. Coauthored with FRANCIS TISO. East and West, Rome, 37, 1-4 (December 1987), pp 451-454. The Systematics of Mahayana in Kamalasila. Journal of Indian & Bud- dhist Studies, Tokyo, 37-2 (2 March 1989), pp 1016-1024. The Evolution of Buddhist Systematics from the Buddha to Vasubandhu. Coauthored with FRANCIS TISO. Philosophy East and West, Hawaii, vol. 38-2 (April 1988), pp 172-186. A Buddhist Classification of Reality. A Translation of the First Chapter of the Abhidharmakosa of Vasubandhu. Coauthored with FRANCIS TISO. Abhidharma Research Institute (ARI), Kyoto, Japan, 6 (1987), pp 51-84.

4. THEOLOGY & PHILOSOPHY: ISLAMIC

Muslim Holy War and Tolerance, Social Justice Review, vol. 93 (May-June 2002), pp. 71-74. Categories of Muslim Mystical Theology, Annales Islamologiques, Insti- tut Français d’Archéologie Orientale, Cairo, 34 (2000), pp. 359-373. The Portrait of Christ in the Qur’an, Encounter. Documents for Muslim- Christian Understanding. Rome: Pontificio Instituto per i Studi Arabi ed Islamistica, October-November 1999, pp. 3-9. Islam and Holy War. Sunday Navhind Times. Panorama, 26 September 1999, p. 1 & 6.

131 The Portrait of Christ in the Koran, The Canadian Catholic Review, Saska- toon, Canada, March 1995, pp. 6-12.

5. ART AND ARCHITECTURE: BAROQUE & GOAN

India & Portugal. Cultural Interactions. Edited along with PRATAPA- DITYA PAL. Bombay: Marg Publications, 2002. Churches of Goa. Monumental Legacy. New Delhi: Oxford University Press, 2002. Baroque India. The Neo-Roman Religious Architecture of South Asia. A Global Stylistic Survey. New Delhi: Indira Gandhi National Centre for the Arts & Aryan Books International, 2000. Baroque Goa. The Architecture of Portuguese India. New Delhi: Books & Books. 1995. Golden Goa. Bombay: Marg Publications, 1982. Also issued in paperback as In Praise of Christian Art in Goa. Goan Residential Architecture, Parmal, vol. 5 (2006), Porvorim, Goa Her- itage Action Group, 2006, pp. 37-44 A Goan Chapel. . . Now a Church [Nossa Senhora do Rosário chapel, Fatorda]. O Heraldo. Mirror. 15 December 2002, p. 1 St. Augustine’s Tower: a Fit Case for Urgent Preservation. The Navhind Times, 1 February 1997. Styles, Types and Evolution of Goan Houses, Sunday Navhind Times, Panaji, Goa, 1 December 1996, "Panorama", p. 3. Goan Secular Architecture of the Eighteenth Century, in NARENDRA K. WAGLE & GEORGE COELHO, Goa: Continuity and Change. Toronto: University of Toronto. Centre for South Asian Studies, 1995, pp. 204-212. Some Goan Monuments: Churches, Piazza Crosses, Temples & Man- sions. Proceedings, International Goan Convention, August 7-21, 1988. Toronto, 1991, pp. 25-30. The 18th Century Goan House, Goa Today, Panaji, Goa, June 1991, pp. 38-41. Evolution of the Goan Hindu Temple, Goa Today, September 1990,pp 36- 39. As igrejas de Goa (in Portuguese). India Hoje. Hong Kong, no 1, May 1989, pp 10-12. The Churches of Goa. India Digest, Hong Kong, July-August 1988, pp 49-51

132 The Art Historiography of Baroque India. Indica, Bombay, vol. 23 (1986), pp 159-170. Barroco europeu, barroco indiano (in Portuguese). Actas do 2º Sem- inário Internacional da História Indo-Portuguesa. Ed. LUIS DE AL- BUQUERQUE & INACIO GUERREIRO. Lisbon, 1985, pp 335-362. Last Great Age of Goan Art. Times Weekly, Bombay, November 4, 1973, p 4. Unnoticed Monuments: Piazza Crosses. SNT, June 10, 1973, p 5. Unnoticed Monuments: Goan Houses and Mansions. SNT, August 23, 1970, pp 3 & 4. Victims of Vandalism: S. Paulo dos Arcos. SNT, October 1970, pp3&4. The Splendour of Goa. Times Weekly, Bombay, September 6, 1970, pp 14 & 15. The Lamp Tower. Goa Today. Panaji, Goa, September 1970, pp 1970, pp 14 & 15. Santana de Talaulim, Goa Today, August 1970, pp 14 & 15. Unnoticed Monuments: Wayside Shrines or Furis. SNT, August 23, 1970, pp 14-15. The Goan Retable. SNT, July 22, 1970, pp 3 & 4. # 6 The Hindu Temple Tower, Goa Today, July 1970, pp 10 & 32. Goan Architecture’s Masterpiece in Danger. SNT, June 28, 1970, pp 3 & 4. The Church at Chikli. Goa Today, June 1970, p 5. The Panorama of Indian Baroque. The Times of India Annual, Bombay 1970, pp 29-36. Review of PAL KELEMEN, Baroque and Rococo in Latin America, Marg., pp 90-91. The Significance and Originality of Goan Art, Marg., pp 5-12.

6. ART & ARCHITECTURE: INDIAN, JAIN

Monolithic Jinas, The Iconography of The Jain Temples of Ellora. Delhi: Motilal Banarsidass, 1979. Ranakpur: Climax of the Jain Temple. Marg, Bombay, vol. 49, no. 1, September 1997, pp. 88-91.

7. ART & ARCHITECTURE: INDIAN, BUDDHIST

The Evolution of the Stupa: A Summary Stylistic History. In B.M. PANDE & B.D. CHATTOPADHYAYA (eds.), Archaeology and History: Essays

133 in Memory of Shri A. Ghosh, vol.2. Delhi:Agam Kala Prakashan, 1987, pp 451-465.

8. ART & ARCHITECTURE: INDIAN, HINDU

Elements of Indian Architecture. Delhi: Motilal Banarsidass, 1987. Review of SUSMITA PANDE, Birth of Bhakti in Indian Religions and Art. New Delhi: Books & Books, 1982. Review of SUMITA PANDE, Birth of Bhakti In Journal of the American Oriental Society, University of Pennsylvania, Philadelphia, vol. 106, no 4 (1986), pp 885-886. Review of MICHAEL MEISTER and M.A. DHAKY, the Encyclopedia of Indian Temple Architecture, vol. 1, South India, Lower Dravidadesa, 200 B.C.-A.D.1324. American Institute of Indian Studies and Univer- sity of Pennsylvania Press, 1983, in Darshan, New York, no. 4 (June 1983), p 55. The Plan of the Hindu Temple and its Impact on the Baroque Church. In India’s Contribution to World Thought and Culture. Madras: Vivekananda Rock Memorial Committee, 1970, pp 29-36. A Mahesamurti at Bhuvanesvara, Artibus Asiae, Ascona, Switzerland, vol 30 (1968), pp 85-89. The Dyutakrida: Identification of a Panel at Elephanta. Proceedings of the Indian History Congress, 21st Session, Trivandrum, India, 1958, pp 116-125. The Nataraja Theme. A New Interpretation. Journal of the Asiatic Society of Bombay, part 1 (1955), pp 71-86.

9. ART AND ARCHITECTURE: ISLAMIC

The Sacred Architecture of Islam. New Delhi: Aryan Books International, 2004. Islamic Sacred Architecture. A Stylistic History. New Delhi: Books & Books. 1994.

10. ART & ARCHITECTURE: RELIGIOUS

Modern Catholic Art. Downside Review, Bath, England, Spring 1954- 1955, pp 59-67. A Report on Modern Religious Art, Marg, December 1953.

134 Is it Possible to Integrate Indian Art Tradition into an Indian Christian Art ? Liturgical Arts, New York, November 1953, pp 9-10.

11. SONG: KONKANI & GOAN

Folk Songs of Goa: Anthology of Dulpods, UNDRA MUJA MAMA (in collaboration with MICAEL MARTINS & ANTÓNIO DA COSTA). Goa: GOA 1556 & BROADWAY Publishing House, 2011 Song of Goa: Crown of Mandos, (in collaboration with MICAEL MAR- TINS & ANTÓNIO DA COSTA). Goa: GOA 1556 & BROADWAY Pub- lishing House, 2010 Song of Goa,3. Mando of News & Events: (in collaboration with MICAEL MARTINS & ANTÓNIO DA COSTA). Goa: Palm Tree Press, 2008 Folk Songs of Goa. Mando-dulpods & Deknnis: (in collaboration with MICAEL MARTINS & ANTÓNIO DA COSTA). New Delhi: Aryan Books International, 2005. Song of Goa,2. Mandos of Union and Lamentation (in collaboration with MICAEL MARTINS & ANTÓNIO DA COSTA). New Delhi: Aryan Books International, 2003. Song of Goa. Mandos of Yearning (in collaboration with MICAEL MAR- TINS). New Delhi: Aryan Books International, 2000. A Sheaf of Deknnis (in collaboration with MICAEL MARTINS). Bombay: The Konkan Cultural Association, 1967. The Oral Tradition, Goa Today, Panaji, Goa, August 1995, pp. 64-66. Major Musical Achievements of Micael Martins, Celebration of Life. Mi- cael Martins Maestro par Excellence. Orlim, Salcete, Goa: Maestro Micael Martins, Eightieth Birthday Celebrations, 1994, pp. 27-33. A Treasury of Dulpods, Boletim do Instituto Menezes Bragança, Panaji, Goa, no. 168 (1993), # 8 entire issue. Some Mandos of Yearning. Souvenir of the International Goan Conven- tion, Toronto, 1988, pp 28-32. Goa and its Music (co-authored with MICAEL MARTINS), Boletim do Instituto Menezes Bragança, nos 144 (1984), pp. 75-90; 145 (1984), pp. 19-112; 153 (1987), pp. 89-108; 154 (1988), 41-48; 155 (1988), 41-72; 156 (1988), pp. 25-40; and 158 (1989), pp. 25-46. Song of Goa: An Anthology of Mandos. In collaboration with MICAEL MARTINS. Boletim do Instituto Menezes Bragança, March 1981, en- tire issue (162 pp). Types of Konkani Songs. Indica. Bombay, vol. 17, no 2, 1980, pp 123-137. A Neglected Devotee of Goan Music. Sunday Navhind Times (abbrevi- ated henceforth as SNT), Panaji, Goa, December 16, 1979, p. 6.

135 What is a Mando ? Sunday Navhind Times, Panaji, Goa, November 21, 1979, p 2. The Poetry of the Mando. Sunday Navhind Times, November 13, 1977, p 6. Composer of Mandos: Torquato de Figueiredo (1876-1948), SNT, May 16, 1976, pp. 3 & 4. First Centenary of a Great Mando Composer: Gizelino Rebelo (1875- 1931), SNT, March 2, 1975, p 1. The Mando Dance, SNT, January 2, 1972, pp 3 & 4. Kerallchim Konknni Padam (in Konkani: Konkani Songs of Kerala). An 18 part series published in Panchkadayi, 1969-1974: 1) Xobhane [Wedding Song], February 1969, pp 34-35. 2) Bhaktigitam [Devotional Songs 1], October 1970, pp 2-5. 3) Fugrham [Dance Songs], November 1970, p 187. 4) Kruxnna Stuti & Dakhai Tujem Rupa Maka [Two Hymns to Krishna], February 1971, pp 46-47. 5) KAVAYITRI G. KAMALAMMAL, hymns, March 1971, pp. 26-27. 6) Cherdduvalim Gitam [Children’s Songs,1], April 1971,p. 51. 7) Cherdduvalim Gitam [Children’s Songs, 2], June 1971, p 51. 8) Bhaktigitam [Devotional Songs 2], October 1971,pp 38-39. 9) Bhaktigitam [Devotional Songs 3], August 1972, pp 28-29. 10) Vharddikechim Gitam [Marriage Songs], April 1972, pp 39-41. 11) Cherdduvalim Gitam [Children’s Songs 3], August ]1972, pp 28-29. 12) Bhaktigitam [Devotional Songs 4], September 1972, pp 32-33. 13) Bhaktigitam [Devotional Songs 5], October 1972, pp 32-33. 14) Cherdduvalim Gitam [Children’s Songs 4], December 1972, p 45. 15) Monchuvachim Gitam [Boat Songs], January 1973, p 26. 16) Bhaktigitam [Devotional Songs 6], Julay 1973, pp 12-13. 17) Kanniyechim Gitam: Bovull Gai [Devotional Story Songs: The Cow Bahula], November 1973, p 29. 18) Bhaktigitam [Devotional Songs 7], May 1974, pp 25-26. The Mando, Art Song and Genuinely Goan, A Vida, August 30, 1963, p 3. Mandos de Arnaldo de Menezes, A Vida, June 30, July 2, August 18 & November 1, all on p 3 of each issue. Arnaldo de Menezes, the Poet-Musician of Goa, A Vida, June 1, 2, 3, all on p 3 of each issue. The Folk Song, The Illustrated Weekly of India, February 18, 1962, pp 63-65. A Goan in Exile, Anglo-Portuguese News, Lisbon, August 22, 1959, pp 8, 10-11. Classical Goan Song Series, 2. Mando. ARNALDO DE MENEZES (1863- 1917), The Adolfinian Trilogy. Tuzo mogo maca munnum, Goan Tri- bune, Bombay, February 10, 1957, p 8.

136 Goan Folk Song Series. FRANCISCO DE MENEZES, Dogueo tegueo beatinnim, Goan Tribune, October 7, 1956, p 9. Classical Goan Song Series, 2. Hymn. RAIMUNDO BARRETO, Sam Francisco Xaviera [Hymn to St. Francis Xavier], Goan Tribune, Decem- ber 2, 1956, p 9. Classical Goan Song Series, 1. Mando. TORQUATO DE FIGUEIREDO, Aji disso aitaratcho, Goan Tribune, September 9, 1956, p 8. Representative Examples of the Classical Vocal Music of Goa (in collabo- ration with MICAEL MARTINS), Marg, Bombay, December] 1954, pp 64-89.

12. HISTORY & CULTURE: GOAN & KONKANI

Christian Fetes Then. A Look Back at the 18th Century Catholic Festivals in Goa. Goa Today. Panaji, Goa: January 2000, pp. 58-59. Rashtrakutas: of Goan Origin, Goa Today, Panaji, Goa, December 1990, p. 45. The Konkani Origin of the Rashtrakutas. Sunday Navhind Times, Jly 3, 1977, p 3. Glimpses of Eighteenth Century Goa: Religious Festivals. Sunday Navhind Times, July 22, 1973, p 1. Features of Konkani Personality. SNT, July 8, 1973, p 6, & July 15, 1973, p 11. The Culture of the Konkan, A Vida, October 22, 24, 26, 29, 31, November 6 & 8, 1963; all on p 3 of each issue. Goan History and Achievement, A Vida, September 19 & 24, p 3 of each issue; September 25, pp 3 & 4; September 26, 1963, p 3. Foreword to MARIO, Goa with Love. Bombay: Times of India Press, 1964, pp 2-4. Mario Miranda, Artist and Cartoonist, Goan Tribune, January 27, 1957. Short Story: Watermelons and Gold, Goan Tribune, October 1, 1956 (Goan Folktale).

13. HISTORY & CULTURE: INDIAN CHRISTIAN

Review of JOSEPH THEKKEDATH, History of Christianity in India, vol. 2. In Theological Studies, June 1984, pp 373-374.

137 14. LANGUAGE AND LITERATURE: KONKANI

Konknni Mandakini. (An Anthology of Konkani Literature, 13th to 18th centuries: in Konkani). Panaji: Goa Konkani Akademi, 1996. Literary Konkani. A Brief History (2nd ed.) Panaji, Goa: Goa Konkani Akademi, Goa. 1992. Literary Konkani. A Brief History. Dharwar, India: Konkani Sahitya Prakashan, 1973. Konkani A Language. A History of the Konkani-Marathi Controversy. Dharwar: Karnatak University, 1971. The Beginnings of Konkani Literature, in MARIOLA OFFREDI, The Banyan Tree. Essays in Early Literature in New Indo-Aryan Languages. New Delhi: Manohar, & Venice, Università degli Studi di Venezia, De- partamento di Studi Eurasiatici, 2000, vol. 1, pp. 317-331. The Beginnings of Konkani Literature, Sunday Navhind Times. Panorama, 14 September 1997, pp. 1 & 3. Konknni Mandakini Parikarma, Rashtramat, Margão, Goa, 23 December 1990, p. 6 [in Konkani]. A New Konkani Dictionary. SNT November 25, 1979, p 3. Xannai Goimbab, Konknnitso Vamanu ani Trivikramu (in Konkani). Konknni, August 1, 1977, pp. 3-8. Vindication of Saxtti, SNT, July 31, 1977, pp 3 & 5. Ignazio Arcamone (1615-1683): First Italian Orientalist? East and West, Rome, March- June 1974, pp 153-157. A Brief History of Literary Konkani. Mahfil. A Quarterly Journal of South Asian Literature, Chicago, nos 2 & 3, Summer-Fall 1972, pp 59-83. Doni ati Prachina Konkanni Krityo (in Konkani). Panchkadayi, Mangalore, India, 1971, p 11. Konkani’s Enemies: Portuguese. NT, October 22, 1970, pp 2 & 5. The Struggle for Konkani Schools. In Essays on Konkani Language and Literature (Professor Armando Menezes Felicitation Volume). Dharwar: Konkani Sahitya Prakashan, 1970, pp 41-44. Konkani Among the Indian Languages. The Malabar Herald, Ernakulam, Kerala, India. March 15, 1969, p 11. Ek Solla xatmanachem Konkanni Mahabharata [in Konkani: A Sixteenth Century Konkani Mahabharata], Panchkadayi, December 1968, pp 11- 13. Adhunik Bharatiya Sahityik Bhaxentu Konkannichem Sthana [in Konkani], Panchkadayi, July 1968, Editorial, pp 9-10. Karel Prikryl, S.J., Principia Linguae Brahmanicae. A Grammar of Standard Konkani. Edited with an Introduction. In Archiv Orientalni, Prague, Czechoslovakia, no 36 (1968), pp 625-684.

138 GASPAR DE S. MIGUEL, O.F.M., Arte da Lingoa Canarym, Parte Segunda, Sintaxis Copiosissima na Lingoa Bramana e Pollida. A Syntax of Standard Konkani.’ Edited with an Introduction. Journal of the University of Bom- bay, September 1967, Arts Number (no 42), entire issue. The Development of Konkani as a Literary Language, A Vida, Margão, Goa, October 27, 1964; November 13, 14, 19, 20, 21, 1964; June 4, 5, 9, 11, 13, 19, 1965. A Roman Script for Konkani, A Vida, September 6, 11 & 25, 1963, all on p. 3 of each issue.

15. LANGUAGE & LITERATURE: SANSKRIT

Wildlife in Sanskrit Literature. Indian Horizons. New Delhi, vol.34, nos 3 & 4 (1986), pp 25-41. Review of BARBARA STOLER MILLER (ed.), Theater of Memory, The Pla- ys of Kalidasa. New York: Columbia University Press. In Journal of the American Oriental Society, vol. 106, no 2, April-June 1986, pp 350-351. Elegance and the Macabre as seen in Sanskrit Literature, Afrasian, Lon- don, March 14, 1962, p 5. Holi: The Carnival of Spring. The Illustrated Weekly of India, March 25, 1956, p 19.

16. AUTOBIOGRAPHY

Impressions of Easter, The Illustrated Weekly of India, July 29, 1962, p 31. Um português na Kerala comunista [in Portuguese], Mundo, Lisbon, Au- gust 22, 1959, pp 8, 10, 11.

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