I can hear “Teatr! Teatr!! boreantlo boro teatr zatolo sodancheach zagear Copela laguim justuch sanjecha 6 vaztam Dezembrchea 17 tarker assun famad teatrist Remmy Colaco, M Boyer, Jacinto Vaz, C Alvares, Alfred Rose, Ophelia, Antonette,” followed by a roll call of lesser names. (Drama! Drama! The best of all, at the usual spot near the chapel at 6 pm sharp, December 17 featuring famous actors Remmy Colaco, M Boyer, Jacinto Vaz, C Alvares, Alfred Rose, Ophelia, Antonette………….). The pickup fitted with a jarring loudspeaker that generates more static than announcement is coming closer. It is interval time. We rush precipitately chasing the pickup, some trip, fall over to suffer bleeding knees, lacerated palms, split chins, or contused limbs
The fortunate ones grab a handbill flying out of the vehicle hug it tight, lest someone take it away; we rush back, the school bell has summoned us. The injured are directed to the washroom. As they return cringing in pain, the class is half way through.
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Alarmingly, they are more bloodied than before. Have they been further punished? No not at all; only a coat of mercurochrome has been applied! Weeks later when the next teatro comes the scenario repeats. The seething teacher proclaims “You neither learn from what is taught in class nor learn from what happens when chasing pickups; at this rate you will end up either as tarvotis or teatrists” The teacher’s proclamation proved prescient. Many of my schoolmates did end up as “tarvotis”; hardly anyone is a “teatrist”, though. Evidently, the latter is a more demanding career. But the utterance of the teacher is testimony, to the disdain with which “teatrist and tarvoti” were looked upon in my school days.
I have no memories of an actual “teatro” in my childhood, having never attended one. But most of my classmates did; I was a silent listener to their dissection of the plot, the actors and the “clowns” in the ensuing days. Just for the record, back then individual songs were called “clowns”, for reasons that continue to mystify me, and lie forgotten. I can only imagine the earliest ‘teatrists’ dressed as clowns!
The Goan “teatrist” is much maligned and little appreciated by the elite. As in other occupations “teatrists” come in varying shades of white, grey, and black; the white predominates, the rest are a mere fringe. The “teatro” represents the underpinnings of the underclass. It needs to be understood, not undercut. The “teatro” was the main medium to entertain and disseminate information in the era before the Radio, TV and Cellular phones arrived. Then, as now, the “teatrist” is the earliest to smell some foul act, particularly by the ruling class and lampoon the misdoings in rhyme and rhythm.
Today, some are seeking to unsettle the title “Father of the Opinion Poll” conferred on Dr Jack de Sequeira, by those who participated in and witnessed his initiative. But, none have dwelt on the subject to find out, who actually fought the battles that saved Goa from being a mere district of Maharashtra. Remember, no general has ever won a battle, without an infantry. Who then were the foot soldiers?
Two classes of people played a starring role in galvanising the voters in the Old Conquests, the priests with their strong moral authority and the “teatrists” with their dramatic ability. Every ‘Bomboikar’ was down in Goa touring the back country, campaigning for retention of separate status for Goa; the “social worker” so common now, was rare. The people gathered in throngs to listen to their ditties; “Don panam zalach pahije! Alleluia!” boomed everywhere. Songs, skits and slogans were heard far and wide, through the mouth of man and child.
To be truthful it is the teatrists who led the charge of the Konkani brigade. Permit me to take liberties and paraphrase Lord Tennyson:
“Cantar” to right of them
“Cantar” to left of them,
“Cantar” in front of them
Volleyed and thundered;
Stormed at with “duets
and trios”,
Boldly they rode and well,
Into the “lathi” charge
by police,
Into the gates of hell
Rode the “teatrists”!
Mauled the Marathi
marauders
Rescued “Amchi Bhas!”
Salvaged “Amchem Goem!!”
From the jaws of
Maharashtra!!!
If one has to have an actual glimpse of Goa in the 1960s, one has to watch the Konkani classics “Nirmon” and “Amchem Noxib” that portray life as it was lived. Actually, in contrast to Bollywood there is no distinct film fraternity in Concanim. These films were scripted, directed, acted in and produced by the “teatrists” themselves, all for the better. The actors are “teatrists” who look typically Goan, unlike the meticulously simulated “beautiful people” that populate Bollywood films.
I am not a “teatro” goer in normal course. However, bulk of the Niz Goemkar patronise and enjoy the “teatro” better than anything else; the continuing evolution of the “teatro” over a century and half and its performance and appreciation wherever Goans have settled, indicates that it will continue to thrive ever more.
I was weeks from entering my teens when the Opinion Poll happened. I have clear memories of the campaign. It was my first realisation, that there were two sides to Goa, the majority and minority, two languages Konkani and Marathi. The battle lines were clear even in class, where we spoke “Concanni” but the majority (all non-Saraswat), claimed that their language was Marathi. It was strange, as neither knew Marathi; we conversed without hindrance, in the only language we knew. And that was Concanni! Notwithstanding, they claimed Marathi and clamoured for Maharashtra, mainly manifesting the mala fides of their parents. Nothing could ever be more perfidious. These feigned divisions are responsible for the ills that have bedevilled Goa thenceforward.
The role of the ‘tiatrists’ in the success of “Don Panam” in the Opinion Poll needs to be studied in depth to repay the debt the State owes the teatrists. Perhaps a PhD. dissertation would be in order.
(Radharao F Gracias is a senior Trial Court Advocate, a former Independent MLA, a political activist, with a reputation for oratory and interests in history and
ornithology.)
