SATURDAY, JULY 27, 2024
Sushila Sawant Mendes
he spirit of Carnival is in the air! ‘Ole Ole Goa…Amcho Goycho Carnaval’ is the theme song for 2024. Latin folk etymology derives the word ‘Carnival’ from carne vale which means, ‘farewell to meat’. It made sense to avail of the opportunity to eat, drink and celebrate as a prelude to the period of Lent - a time when Catholics observe abstinence, fasting, self-denial and repentance. ‘Carnaval’ otherwise known as Carnival in other parts of the world is celebrated in its own distinctive style only in one State of India – Goa. It is now a part and parcel of the culture of Goa.
Carnival is celebrated from 10th to 13th February this year. The celebration on the 9th February in Porvorim is termed a “curtain raiser”. The Carnival festivities usually start off on Fat Saturday (Sabado Gordo) and conclude on Fat Tuesday (Shrove/Pancake Tuesday).This is followed by Ash Wednesday, the first day of the 40 days of Lent of the Catholic liturgical calendar.
Carnival was originally a pagan festival. Historically it is believed to have its origins in ancient Rome. It was then celebrated at the end of the winter season in order to consume all the left over supplies of food before they decayed. This festival was subsequently adopted by a few countries where the majority of its population were Catholics. Coincidently these celebrations were set before the period of lent and came to be tied together. The festival however has no real religious foundations and is basically a period of celebration and merry-making.
Culturally this event has shades of ancient Greece and Roman carnivals. Spain, Brazil and Portugal also celebrate Carnival every year. It was introduced in Goa by the Portuguese. The most iconic of all Carnival celebrations are in Rio de Janeiro from 9th to 17th February 2024. Originating from the tradition of Mardi Gras, a tradition of indulgent feasts, dancing and drinking bouts before fasting and abstinence. The Goan Carnaval shares the same colourful festivities that tie it to carnivals all over the world whether in Rio or Venice; this makes the Goa Carnaval different, yet a familiar experience!
In numerous Latin American festivities, such as those in Brazil and Colombia, a figure known as King Momo (Rei Momo in Portuguese) takes centre stage, as the festival is thrown open to the public by his declaration. The concept of King Momo can be traced back to the Greek God Momus. King Momo traditionally proclaims the Konkani message Khaya, piya aani majja kara (Eat, drink and make merry). This year’s King Momo is Clive Gracias from Chichinim. The Carnaval parade has a grand procession with King Momo leading the way on his float, followed by many other floats, with musicians, dancers and people dressed in bright costumes.
The celebration of Carnaval in Goa is also known as Intruz or just Viva Carnaval. In urban Goa, Carnaval is associated with the float parades but in the villages the merriment and fun is of a different genre. Like other villages of Goa in Assolna, Velim and Cuncolim too, Intruz is celebrated with khells and mells. Khells are street side drama performances in open spaces, normally enacted in front of the regedors and landlords balcãos, who in turn would pay for these performances. In more recent times khells are sponsored by politicians and aspiring politicians! Khells comprised of three one Act plays (Partio’s). These are still organised in a very traditional manner, in the coastal talukas of Salcete.
Each ward of Velim and Ambelim and some of the adjoining village of Assolna participate in the mell. It is common to find some men dressed as women walk in the procession to the rhythm of drums and cymbals. The mell is led by a flag bearer carrying the national flag. The mell comprises of a procession of villagers with drums and cymbals walking from their own mand to the mand of another ward. Mand is a special sacred space of each ward of the village. In Goromoroda ward of Velim, a big brass lamp is lit with coconut mola’s (matted coconut fronds) protecting the flame. All the processions culminate on the Baradi hillock.
In yesteryears, girls would not venture out of the house for fear of being smeared with indigo and red colour. The windows of buses were targets of balloons filled with water or sometimes cashew or banana stalk juice, so that the stains remain! All the bus windows were simply closed. Our new generation has not experienced this. People felt it prudent to wear old clothes on those days. Village schools would get two days holidays. These rustic pranks were carnaval then, now it is parades!
Carnival celebrations had been on the decline towards the end of the Portuguese colonialism in Goa as Portugal’s authoritarian regime itself had limited freedom of assembly and press. However the festival was revived post liberation. The current version of the Goan Carnaval was modelled after the Rio Carnival by a local musician named Timoteo Fernandes to attract tourists. It has since turned into a major tourist attraction for Goa. Parades are organized, at which floats which depict various aspects of Goa’s culture and ecology are presented. Later it became commercialized with many of the floats representing companies and brands. The church and civil society then openly criticized the turn that the Carnaval had taken.
People participate in the parade dress in costumes and wear masks; they dance and entertain the crowd as the parade moves through the main streets of the various cities. Balloons, decorated bullock carts, tempo’s and trucks make up elaborate floats which form the highlights of the parade. The Carnaval parade in Panaji is the largest and it draws thousands of visitors. Parades are also held in Margao, Vasco da Gama, Mapusa and in more recent times in Porvorim and Morjim.
Over time, the Goan Carnaval has outgrown social and cultural barriers to become a celebration of Goan unity. It has absorbed the Portuguese influence with indigenous Goan elements, resulting in a unique cultural syncretism. Today, the urban parade includes floats from villages (depicting rural Goa), commercial entities, and cultural groups. Both traditional Goan and Portuguese folk dances alongside modern dancing styles increase the festive spirit. From traditional Konkani tunes to lively beats from around the world, the air is filled with fun and frolic. Traditional dances, meaningful and colourful floats (also portraying Goa’s contemporary problems), mells and khells offer glimpses into Goa’s diverse culture.
This event is beyond just another festival; it’s a blend of Goa’s rich Indo-Portuguese culture and is also a display of the different traditions of Goa. The Carnaval in Goa is indeed unique because it represents different cultures and communities living together in peace and harmony. Everyone participates in the Carnaval regardless of their religion and community. My childhood memories of Carnaval are of the dances at Varca and the Festa de Leques at Sinquetim, Navelim. The finale of the celebrations is the popular Red and Black dance in Panjim. Carnaval is the spirit of happiness and joy uniting people from all walks of life, inside and outside Goa in a grand celebration of life. This legacy will continue…
(The writer is a Professor in History & Goa Govt.’s Awardee for Excellence in Higher Education)
