A few weeks ago, in the columns of this
very newspaper, I had suggested that projects which dealt with the documentation of traditional practices unwittingly or not become enterprises where modernity was interrogated. I had also suggested that such an enterprise, therefore, should also interrogate traditions in the same token. In this review
of a documentary Dances of Goa directed
by Nalini Elvino de Sousa and produced
by Sociedade de Fomento, I shall try to grapple with such narratives in the
selfsame framework.
Dances of Goa, in Konkani, English and
Hindi, is resplendent with
colour-rich images and soulful, mellifluous sounds of many of Goa’s traditional
dances which are largely performed by the SC/ST/OBC population of Goa such as
the fugddi, bhonvaddo, morulo, goff etc. Also featured are mando and khell-tiatr. In the technical aspects such as camera-work, sound
and editing, this documentary is not lacking in any way. However, it is the
narratives that are offered to the viewer by this documentary which need to be
critically analyzed and thus will form the meat of this review.
The
documentary, a series of 12 episodes, opens with the narrator observing that
“…much has changed and life is no longer simple.” Thus, this sets the stage for
a binary opposition between tradition and modernity; with the two worlds
distinctly separated from each other. Traditional practices here are seen as
fossilized, ossified entities, which I would argue creates problems as
traditions do change.
The
gaze that is directed largely at Goa’s tribal population is one in which the
tribal is projected as ‘essentialized’ and ‘othered’ being. In the episode
which deals with fugddi, we are told
that “…the Velips can proudly boast of setting a fine example of living
eco-friendly and self-sustainable lives. The harmony which they share with
their environs is a lesson, urban man can learn from.” Elsewhere there is
mention about Quepem as being “…one of Goa’s still green talukas with hills and
thick vegetation…” One only has to drive towards Maina-Pirla to see what mining
has done to these hills and the green cover!
Further problems emerge
because this documentary tries to understand Goa’s traditional practices
through a nationalistic lens where one origin is sought and where Christianity
is understood and is brushed aside as an historical accident. Take for instance
the comments of Pandurang Phaldesai, (then) Member Secretary, Kala Academy,
Goa: “Our ancestors have the same roots. Same
culture. Due to historical accidents (itihasik
apghat) two religions emerged. But our culture remained the same. Our
heritage is the harmony that we have maintained.”
Bhonvaddo is a form of dance that is
practiced by persons of the Mahar caste. We are told that although not many
persons from the Mahar caste are engaged in their traditional occupation of
weaving baskets “…members still continue with the folk performances they were
associated with.” Also what is interesting is the fact that when the narrator
refers to the “Mahars”, the subtitle has the term “‘Harijan’”. We need to
recognize the fact that Dalit groups have rejected this patronizing Gandhian term today. It is through such subtle techniques, I would claim, the
seriousness of the role of caste is elided and erased in this documentary.
Since
this documentary clearly understands tradition through nationalist biases, how
would one fit in mando given the fact
that the mando resulted due to the
colonial encounter? The argument falls back on a dubious revision of history in
which, “During 451 years of colonial history Catholic Goans used music as a
mediator of identity negotiation. In a political context repressing musical
sonority of Indian flavour, in which Portuguese was the official language,
Catholic Goans created their own music, sung in Konkani and performed according
to Portuguese models. Mando is a good
example of this and was able to acquire an emblematic status.” Information on
the mando is given through an
interview by Inácio Sardinha who chose to speak in Portuguese. I am not against
anybody speaking in Portuguese, but the specific context in which Portuguese is
used tells us something: that an attempt is made to reclaim the mando to the elite Catholic locations in
which it had emerged and have since been considered to have fallen from grace.
Perhaps, the ideological under-currents that are reflected in this documentary
are best illustrated by an article that Nalini Elvino de Sousa, the director of
this documentary, wrote in 2012 (See The Goan on a Saturday, 28-12-2012). Being surprised that “a bunch of people jumping all
around, clapping hands to the sound of a kind of Konkani rock song with lyrics
of a Mando…” at a wedding she attended, de Sousa tells her husband that this is
“murdering the Mando”. If people want to sing and dance to the mando de Sousa argues that there is only
one way and that is to “do it the right way.” Therefore, a certain conception
of ‘purity’ is demanded from all of us and any innovation, such as “jumping and
clapping” is to be frowned upon.
My
final comments will be on khell-tiatrs.
An interesting observation that Rafael Fernandes, professor of English at Goa
University, makes in the context of tiatrs
is “…that as long as Tiatr is
alive, the Konkani language doesn’t have to worry.” What I would like to point
out is although the documentary acknowledges the contribution of tiatrs, the crucial issue of tiatrs being viewed as lacking standard
and thus, delegitimizing the cultural productions of the larger realm of the
Roman script is glossed over. The fact is that cultural productions in romi are
considered to be ‘polluted’ by the dominant discourse in Goa
and hence not capable to represent the mainstream Goan culture. While on the
subject of romi, it is quite troubling to observe that the subtitles in the
Konkani version are only in the nagri script.
The
images and narratives that are presented in this documentary are uni-dimensional.
While confining such traditional practices to a fossilized museum, the
performance in contemporary times is expected to be mechanical and static. Can
we look beyond such notions?
(A version of this article appeared on Gomantak Times, dt: July 30, 2013).
No comments:
Post a Comment