Suria Mure Poddlo - Mando

“Let’s keep the Goan tradition and culture alive, worldwide”

Suria Murê Poddlo

The sun has set

Type: Mando

Source: A. da Gama/ C. Xavier. Goenchim Gitam. Musical form: Binary Literary form: Monologue Translated by Alfred Noronha, Panaji, Goa

Original

Translation

Suria murê poddlo, Anim chondrim rê udelo. Suria mure poddlo, Anim chondrim rê udelo. Amorecho vellu komesar re zalo, Moga khuim rê tum pavolo. Amorecho vellu komesar re zalo, Moga khuim rê tum pavolo. Sodanch amger tum ietaloi, Mhujea gopant rê bostaloi. Sodanch amger tum ietaloi, Mhujea gopant rê bostaloi. Atam kiteak ingrat tum zaloi, Koslea dusmanank sampoddloi. Atam kiteak ingrat tum zaloi, Koslea dusmanank sampoddloi. Adeus, adeus anjea, Nimnno dispedir kortam tuka. Adeus, adeus anjea, Nimnno dispedir kortam tuka. Dolle mhuje dhamptoch rê moga, Fattlean dukam golloinaka. Dolle mhuje dhamptoch rê moga, Fattlean dukam golloinaka.

The sun has set, And the moon has risen. The sun has set, And the moon has risen. It is Angelus time, Where have you gone, my love. It is Angelus time, Where have you gone, my love. You always used to come to our house, You used to sit on my lap. You (male) always used to come to our house, You used to sit on my lap. Why did you now become ungrateful, What enemy did you get involved with. Why did you now become ungrateful, What enemy did you get involved with. Goodbye, goodbye,my angel, This is my last farewell to you. Goodbye, goodbye, my angel, This is my last farewell to you. When my eyes are closed (when I am dead), my love, Do not weep for me when I am gone. When my eyes are closed, my love, Do not weep for me when I am gone.

The Mando

The mando is a dance song from Goa in Konkani. Although it is popular among all the social stratas of the Konkani-speaking peoples and many of the composers have remained anonymous, it should not be classified as a folk song. It is an art song composed for particular occasions. There have been many attempts to explain the origin of the word mando. One of them refers to the mand which was traditionally an open space of about 100 sq.m. where religious ceremonies were held and folk dances were performed. The text form of the mando is based on that of the traditional Konkani song ovi, which was usually sung at weddings

Most of the the traditional mandos, which gained the term “classical”, were composed in the 19th century. The polka and the valsavina (Vienna Waltz) with its three-four rhythm seem to have found their way to Goa. The mando was originally composed and danced by the Brahmin aristocracy of Goa, mainly of Salcete, whose spacious mansions had a big hall for festive occasions. A memorable moment in the history of the family was the bridal mando. The mando reflects the tranquil and leisurely character of this aristocracy. The Goan woman in the mando reflects the ideals and virtues then ascribed to her, namely self-sacrifice, piety and motherhood.

As a dance the mando is a square type (double file), men facing the women. When the partners come face to face in the centre, they retreat to the starting point, then move forward again crossing to the opposite side. The men then flick their handkerchiefs while the women open their fans. All in all, it is a stately and leisurely dance. The melody of the mando is slow in movement, with a soft and languishing atmosphere.

Polleiat

Goemche Mandde