Tambde Roza Tuje Pole - Mando
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Tambde Roza Tuje Pole
बदलYour cheeks are like red roses
Type: Mando
Source: Lourdinho Barreto. Goemchem Git Musical form: Binary Literary form: Dialogue Translated by Lourenço de Noronha, Vienna
| Original | Translation |
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Tambdde roza tuje pole. |
Your cheeks are like red roses. |
Tambdde Rozad Tuje Pole
बदलYour cheeks are red like roses
Type: Mando
Source: F.X. Oliveira. Musical form: Binary Literary form: Dialogue Translated by Romano Abreu, Moira
| Original | Translation |
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Cheddo/ Boy: |
Cheddo/ Boy: |
Tambde Rubim (Rozad) Tuje Pole
बदलYour cheeks are like red rubies (roses)
Type: Mando
Source: J.A.A. Fernandes, vulgo: André Xett (1884-1980).
Musical form: Binary
Literary form: Dialogue
Translated by António Vicente de Noronha (1895-1982)
Cheddo/ Boy:
Tambde rubim (rozad) tuje polé.
Your cheeks are like red rubies.
Chouncheac distai kitule boré.
They are so beautiful to look at.
Papachem liçens assa zalear pollé,
See if you have the permission of your father,
Cazar zaũcheac mojecode.
To get married with me.
Cheddun/ Girl:
Papachem liçenço assa ré maca.
I have got my father's permission.
Cazar zãuncheac rautam tuka.
I am waiting to get married with you.
Tum mojê laguim cazar zainam zalear moga.
If you do not get married with me, my dear,
Môji birmôt futtoli tuka.
My curse will come on you.
Papan cazar maca kêli,
My father got me married,
Emcondanto vorun gaili.
And put me into hell.
Motté auliste babu ectaim zaunum,
Grown-up boys joining together,
Maca porturbaru kêli.
They disturbed my mind.
Tambrhe Roznche Tuje Pole
बदलYour cheeks are of red roses
Type: Mando
Source: Pereira, José/ Martins, Michael.
Lyrics and Music: Ligório Costa (1851-1919)
Date: Composed between 1864 and 1900.[105]
Musical form: Binary
Literary form: Monologue
Translated by José Pereira
Tambrhe rozanch' tuje pole,
Your cheeks are of red roses,
Taja bemfeit tuje dolle.
And even more beautiful are your eyes.
Te tuj' dolleanko tsoichak gô,
To see those your eyes,
Yetai bambnnanle tsole.
Brahmin boys come.
Vankrhe-tinkrhe kortai mage,
They part their hair in different dashing styles (lit. They make crooked partings)
Inchan-tinchan mot-ttai dolle.
And cast side glances this way and that.
Te tuj' mogache abras gô,
Those lovely embraces of yours,
Yetai muja dolleankorhe.
Come up before my eyes.
Kituly'm bemfeit tujem sarkem.
How beautiful is your face.
Tsoilea' dista' estrel sorginchem.
It is really like a star of heaven!
Atam kitem kon-n sandduchem,
How can I then lose (lit. let go),
Em mannink gopantulem.
This jewel from my bosom?
Tuka geunum gô gopantum,
Taking you into my arms,
Orgam y aum-um ditam.
I give thanks.
Tuzo ugddas yetorich gô,
When the thought of you comes to me,
Ulas devako bettoitam.
I offer my sighs to God.
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.