Remembering Agapito de Miranda, researcher of Goan culture and music By Fr Antonio Costa Tempe, Arizona
Recently in the news was an item about Fundação Oriente in Panjim organising an exhibition of works by Senhor Agapito Miranda, brought together by Prof. Susana Sardo of Aveiro. I am overjoyed that this event has finally happened. It is a well-deserved honor and recognition of a man who, without fanfare or boasting, silently but devotedly contributed so much for the preservation and advancement of Goan music and everything that one could say belongs to genuine Goan tradition. Kudos to the family, organizers, and the sponsors of this event. Having worked with Senhor Agapito (as I used to address him) very closely for two years and being associated with him and his work from 1970 until his death, I would be remiss if I do not share my memories of him and my impressions on the importance and value of the gigantic work this humble and unpretentious man has left behind. In 1970, I was introduced to Senhor Agapito by his daughter Lisette de Miranda, now Lisette de Miranda e Cotta, the lead singer of the well-known group in Goa, 'The Cotta Family' a true exponent of genuine interpretation of Mando. Lisette, who was also the lead singer of my then newly formed Choir at the Holy Spirit Church Margão, was at the time very involved in her father's work, especially the Mandos, and has published a mimeographed fascicle called 'Novea Manddeancho Jhelo' poilo ank. My first encounter with Senhor Agapito was an instant meeting of the minds on a common subject, the Mando. I immediately became aware of his deep knowledge and genuine understanding of the mando and, as he stated, he could see in me my genuine love of and experience in Mandos. We both came from mando-loving families and we hailed from villages of great composers. He was born in Loutulim, the birthplace of the great Torquato de Figueiredo, Paulo Milagres da Silva and Eduardo de Menezes. I am from Curtorim, the land of the greatest mando composers such as Arnaldo de Menezes, Gizelino Rebelo, Utilcia Rebelo, Ligorio da Costa and more. Once this bond was established, Senhor Agapito gave me full access to his entire repertoire, and I perused it with great pleasure and awe. What transpired from my review of his Goan music research first and foremost was is genuine love and appreciation of his love for Goan classical music (the Mando), for Goan Folk music (dulpods, deknnis, fugddeos and many other types from the 34 types of Goan songs thus far identified by research). Senhor Agapito also had great love for the religious music in Konkani, Latin and Portuguese (hymns, motetes, masses). His repertoire was a rich collection of these different types of songs by composers from the past as well as a vast number of his own compositions in every category mentioned above. A great and valuable treasure indeed. * * * In the book 'Song of Goa: Crown of Mandos' by Dr. Jose Pereira, Micael Martins and Antonio Da Costa, the authors have included three extensive essays: Essay on the Mando (64 pages), The Romantic World of the Mando (16 pages) and the Political and Social World of Mando (8 pages). They give the reader an idea of "all you want to know about Mando". It was in the Mando that the West and the East merged, and this fusion gave a beautiful new musical creation that we all love. The themes of the Mando are love and events in the socio-political life of Goa. But its favorite theme is love, This love is oriented toward marriage, where the lover yearns for union with his beloved, achieves that union, or laments at his failure to realize it. The love mandos are thus of three types: (1) Mandos of Yearning -- Utrikeanche mandde such as Anju Tum Arcanju by Eduardo de Menezes from Loutulim. This mando is commonly known/sung by its second verse Doriachea Larari; Zaito Tempu Zalo by Sebastiao Costa Fernandes from Curtorim. (2) Mandos of Union -- Ekvottache mandde such as Sontos Bogta Re Jivako by Gizelino Rebelo from Curtorim and Suryan Uzvadd fankarolo by Torquato de Figueiredo from Loutulim) and (z3) Mandos of Lamentation -- Villapanche mandde such as Chintun Fuddar Deva Muzo by Arnaldo de Menezes from Curtorim and Soglem Mujem Vido Chintunum by Torquato. The Mandos of Events (Fobranche mandde) deal frequently with social satire in which no one is spared, whether poor or rich, big or powerful or clergy and even the governor. Common examples will be Amkam Mel'lleai Beatinnim by Arnaldo de Menezes, Raj Zal'm mhunn Republiko by Pascoal Barbosa Noronha from Margão. Finally the mandos of political events are a kind of political chronicle, a historical document that registers political events for the future such as Setembrache Ekvisaveri by Carlos Trinidade Dias from Davorlim and Luizinh' Muje Luizinh’, author unknown. The mandos composed by Senhor Agapito that I perused extensively cover all the types of mando I described above. He has composed many weddings Mandos or Mandos of Union: a few examples will be Rochnnarachea Nirmitanum composed for the wedding of his daughter with Senhor Miguel Cotta and Sorginch' Uzvadd Fankarolo. An example of his Mandos of yearning is: Sorginch' Anju Mhunnum Mannka. He has composed many mandos of lamentation. A few examples would be: Soglo Uzvadd Pollun Gelo; Ontoskornache Villap and Villap Jivitache. Also has written many satirical and political events Mandos such as Ganvant konnom re foboro, Moddganvch'm Cholio-Bailo, Goencho Nad and Bangla Des. All are beautiful melodies and lirics. I am quite surprised that the organizers of this exhibition as well as producers of the video "Agapito De Miranda, a neglected devotee of Goan Music", missed the opportunity to sing/expose to the public a few mandos selected from Senhor Agapito's own compositions. Senhor Agapito's rich repertoire provides evidence of his great interest and love for mando that motivated him to research and collect past compositions as well as compose his own. It seems he enjoyed doing it for himself but his precious work needed public recognition. We would meet at his house several evenings a week to discuss and to advance the preservation of Goan music. After a few meetings, he joined my Choir and began contributing his and past composition for me to use the way I saw fit. He became active in my choir together with his daughter Lisette and eventually his wife and son Arlindo were singing in my choir. With his permission, I used some of his old and newly composed dulpods, deknnis, fugddis and motets in my arrangements for the multiple recordings our Choir made at the Emissora de Goa (All India Radio Pangim) 1970-1972 for broadcast. As an accomplished gumott player he enjoyed playing gumott for these recordings. Occasions such as these encouraged him to continue his interest in doing the things he loved. In 1970, I was invited to broadcast live a talk on the Origin, development and decline of Mando for Radio Renascença program at the All-India Radio Goa. This was an opportunity I could not miss to introduce my friend Senhor Agapito to the Goan radio audience as a great mando composer thus far hidden or lesser known to the public, while listing side by side all our great mando composers from the past. Also, years later when I was already in the USA, I introduced him to late Dr. Jose Pereira when the latter was painting his now famous frescos on the ceiling of the sacristy at the Chapel of St. Joaquim in Borda Margão, next to his house. That was another friendship Senhor Agapito cherished, and it was beneficial to both due to their mutual interest in mando research. In 2005, 10 years after Senhor Agapito's death, Dr. Pereira and I dedicated our book, "Folk Songs of Goa: Mando-Dulpods & Deknnis" to Agapito de Miranda together with Prof. Micael Martins, Lucio Rodrigues and Antonio Mascarenhas all prominent students of Goan Song. It appears this great composer felt enriched with the friendship and support Dr. Pereira and I offered him over the years as evidenced by his written inscription on books of his original compositions which says, "Do not lend my work to anyone unless it is Pe. Antonio F.N. Da Costa and/or Dr. Jose Pereira". Senhor Agapito's interest in anything Goan is phenomenal. Realizing the lack of interest in the younger generation for the customs of the past, he made the preservation of our music and customs his main goal. He was a multitalented individual. Besides saving and advancing goan music, Senhor Agapito was an artist, painter, historian, writer. He has left us articles on the history of famous Goan Bands, the history of Parochial Music Schools and of Mando in general. His paintings are his visualization and recording, for future generations, of what he observed, lived and grew up with, i.e. the customs and traditions that are no more such as the different modes of public and private transportation before the advent of cars, the various types of footwear, the headwear and the types of dresses in the life of Goan of yesteryears. In the early 1990s he had a one man show for all his exhibits in Panjim at the Institute Menezes Braganca. I visited Goa at that time and was lucky to see his exhibition. It was very good. That was the last time I saw my gentle friend. Before my departure he gave me several of his paintings and about 35 of his original mando compositions, which I plan to prepare for publication in the near future. Until we meet again Senhor Agapito, my dearest friend. Thank you for making me richer in understanding and loving our Goan music. Antonio Da Costa, STL, MA, Med, MSW Tempe AZ USA