Joseph Lewis D’Silva
As I was born in little Goa, when alien government was in power, I witnessed the Carnaval in these Goan shepherd villages.
The spirit of “Intruz” (as it was then called) was spontaneous — an inner self of merry-making. And to get into it we wore weirdest costumes: men dressed like women and women like man; filled our pockets with “cocotes” (powder bomb); pulled a “topi” (small cap) on our head and then, it was difficult to say who was who.
During Carnaval days, Goa went naughty with happiness unbounded, as people masqueraded and unmasked their inner self by putting on a mask to hide their face and thus revealed their naughty behaviour with naughty happiness.
With “cocotes” we had street fights and every road had its own group of youngsters armed with it. Many people were hit unawares by it. Victims showed their discomfort; and the culprits, echoed triumphant laugh. Local boys stopped girls on roads and emptied powder tins on their head.
In those halcyon days a handful of musicians and singers gathered in good fellowship with the sole aim of preparing a Carnaval “Khell” (street plays)… Its drum-sound would be heard even at ungodly hour. Its music would wake the snoring village from its saturated slumber. Its effect would swell everyone’s heart with excitement and pull them towards the sound of Carnaval “Khell”.
The first show of ‘khell’ was held at the residence of the ‘rejidor’ (chief village official) or ‘bhatkar’ (landlord) or ‘mand’ (platform for group activities). These Khells had no stage and they traveled from place to place under the blazing sun and starry sky; the troupe used to move in a dancing walk to the tune of blaring trumpet and beating drums through the swaying green coconut trees.
In the afternoon and at night the “Khell” stopped at the local tavern for a little “copachem” — few pegs of coconut “feni” to ease their tired limbs. Its comedies laughed as it tickled everyone; and its tragedies cried as it weted every eye with tears.
Their performance consisted of mocking skits and sketches of village life.
The theme of the “Khell” was mostly based on love and hate — showing how the better half (I mean the wife), fights with the bitter half (I mean the husband); how marriages fly apart under the cross current of negative feelings and how broken marriages are sometimes welded like a battleship by well wishers.
The joy of Carnival which started on Fat Sunday would continue on Rose Monday and Shrove Tuesday. The merriment would end just before the somber period of penitential lent. And the “Khell” would fold its tired wings like a migrating bird.
In the distant past, this ancient Goa Carnaval used to spread amusement.
The present Carnival is a welcome boost to tourism in Goa.
Such was the Carnaval of the past in this land of “Susegad” Goa.
