[Goanet-News] Ruins... ICT in language learning during the Covid ... Priolkar and Christian Marathi research ... Salcete Christian Dialect ... Sari Indien... water cartographieshomekhand in Siolim...

2022-07-15 Thread Frederick Noronha 
Some recent academic-writing and links from Goa:
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Ruins, written walls and personal museums - Belonging,
(dis)place and memories at two Indian Ocean margins
Pombo, P.
This essay investigates modes of registering longing and
sharing memories of displacement at two opposite margins of
the Western Indian Ocean: South Mozambique and Western India.
http://irgu.unigoa.ac.in/drs/handle/unigoa/6447

The indispensable role of ICT in language learning during the
Covid 19 pandemic
Dharwadkar, K.D.
http://irgu.unigoa.ac.in/drs/handle/unigoa/6403

गोमंतकीय ख्रिस्ती मराठी साहित्य संशोधन क्षेत्रात प्रा.  अ.  का.
प्रियोळकर यांचे योगदान [Gomantakiya Khristee Marathi Sahitya
Sanshodhanat Prof.  A.K.  Priolkar yaanche Yogdaan] A.K.
Priolkar's contribution to the field of Goan Christian
Marathi literary research
Madgaonkar, V.
http://irgu.unigoa.ac.in/drs/handle/unigoa/6297

साश्टी क्रिस्तांवांची बोली : सुदीर-गावडा मोडयांच्या संदर्भांत
भाशाशास्त्रीय अभ्यास [A Linguistic Study of Salcete Christian
Dialect: With Special Reference to Sudir-Gawdas] Vaz, Denis
http://irgu.unigoa.ac.in/drs/handle/unigoa/6292

La Diaspora Goannaise et le Sari Indien-Ruptures et
Continuites
Silveira, I.
http://irgu.unigoa.ac.in/drs/handle/unigoa/6112

Water cartographies of Goa: Khazans, sedimentation and
dissolution of coastal cultural landscapes
Pombo, P.
Journal of Heritage Management. 4(2); 2019; 192-207.
https://doi.org/10.1177/2455929619877477
Abstract: Goa's landscape is an encounter between dry and wet
materialities, the Indian Ocean world and the Western Ghats
of Konkan, the distant and the localized, open seas and deep
currents and floodplains, estuaries and muddy soils.
Reordered in geometric geographies, these curvilineous
cultivated lowlands, named khazans, surrounded by villages,
temples and churches are part of the landscape and crucial
sensorial layers of this Indian state.  Village
neighbourhoods (named waddi in Konkani) are organized not
around a solid centre, but along several interconnected paddy
fields, creating particular territorial maps of each village.
Can our perception change, thus, if we see the Goan territory
having water as its defining element, instead of a land-based
perspective, and consider these lands as cultural landscapes?
The aesthetic and heritage dimensions of cultural landscapes
are essential to perceive Goa as a place of simultaneous
dissolution and sedimentation along time and cultural
geographies.  Based on recent research on Goa and the Indian
Ocean, this text proposes khazans to be recognized both as
natural elements and cultural signifiers and as the main
cartographic layers of inclusive Goan cultural landscapes.
http://irgu.unigoa.ac.in/drs/handle/unigoa/5931

Goan freedom struggle and 'Hom-kand' started by Jeevanmukt
Maharaj
Madgaonkar, V.
The Indian freedom straggle succeeded in year 1947, but Goa
was under Portuguese rule till 19 December 1961.  the Goan
freedom struggle was supported by the Indian Army, freedom
fighters as well as the Goan people.  Satguru Jeevanmukt
Maharaj was a religious leader who revolted against
Portuguese in Shivoli village of Goa.  At that point of time
when the Portuguese officer Casmiro Monteiro assassinated the
first Goan freedom fighter Balla Raya Mapari, and also Balla
Desai and Bapu Gavas from Pedne-Goa.  the Satguru Jeevanmukt
Maharaj challenged Monteiro and started religious festivals
called the Homkand at Shivoli (Siolim).
http://irgu.unigoa.ac.in/drs/handle/unigoa/5870

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[Goanet-News] The Shiftars, a rocking great band from the Mombasa of the 1960s

2022-07-15 Thread Goanet Reader 
Monday, September 27, 2021

The Shiftars, a rocking great band from the Mombasa of the 1960s

By Cecilia Mascarenhas
cecili...@hotmail.co.uk

[Written before the
of Benny almost a
year ago...]

Early last year, Cyprian Fernandes (Skip) was in contact as
he was doing true life stories for his blog and book on bands
and musicians from East Africa, and wanted a story on The
Shiftars, the 1960's band from Mombasa. Unfortunately, I
could not do it in time for publication. But here it is for
those interested.

Everyone who remembers The Shiftars ask me if they would
reunite again...  I doubt it though hope they will one day!

Their interests are so diverse now besides living far apart,
it might prove to be a mammoth task!  Besides Benny is a firm
believer that, despite having music in one's genes/ blood, it
is the diligence of practise, that ensures "the fit of all
players in a band should be tight and in sync" --
compatibility, when producing music and sounds, like those
that made them famous in their youth in Mombasa, as without
that, the music will just not sound right.

A personal photo book was gifted to the band boys when they
turned around 65! A kind of "Thank you" for the memories ...
which was also shared with a few close friends! This was to
give some pleasure in rekindling thoughts and memories of
their music as well as the pleasant times of our youth, the
wonderful days of being teenagers dancing to the music of The
Shiftars!

Some of this material is adapted here as well as from an
article I wrote for The Goan/Sacred Heart School's 75th
Anniversary Souvenir Brochure in 2007 since all the boys were
educated there.

  The Shiftars group was formed sometime circa early
  1964 by Benny Mascarenhas (lead guitar), along with
  Dominic Noronha (rhythm guitar), Polly (Pauly) Dias
  (bass guitar) and Rudi Lopes (drums), who were from
  the Class of '65 with their Manager Victor De
  Souza, being from Class of '64 of The Goan/Sacred
  Heart School in Mombasa.  Their interest in music
  started early, influenced with the advent of
  electric guitars and the new sounds/beats of Cliff
  Richard and The Shadows, who had taken the world by
  storm and created a new Kenyan generation when they
  visited Nairobi on their tour to South Africa.

The aptly named film and song "The Young Ones" was just what
the young ones growing up in the early 60’s needed, to infuse
their youth!

Benny at the age of 12, always had an interest in music, and
whilst his father Joaquim played the violin, and his older
brothers Lambert (violin), Leslie (trumpet) and Philip
(trumpet) were musically minded, he preferred the guitar.

So to encourage his interest, his parents bought him a simple
acoustic guitar from a store in Makupa. Later, influenced by
Hank Marvin and The Shadows No.1 hit "Apache", he and his
friend Basil D’souza built themselves a guitar in the shape
of Hank’s "Fender Stratocaster" and for "electrification",
pinched the mouth-peace from a local public telephone booth.

Benny twanged his way practising different technics and
sounds, and by the age of 15, was recruited to play with a
band named Conny Kit & The Pirates. Encouraged by his
dedication, his Mum, Maggie, bought him his first pukka
electric guitar "Elite".  The band consisted of Conny Telles,
Joey Costa Correia, Benny, and Lamartin D'Souza.

  When the band was offered a contract in Italy,
  Benny was not able go with them as he needed to
  complete his schooling education and so gave his
  silver band jacket to Leslie Peters (cousin of Joey
  Peters of The Bandits) who was then additionally
  recruited to the group.  In Italy, the band renamed
  themselves The Bushmen but disbanded a few years
  later

So, as he was not able to go to Italy, Benny then decided to
form his own band with his classmates who were as keen as he
was to emulate the sound of The Shadows and Cliff, especially
after their visit to Kenya, thus the formation of The
Shiftars.

Dominic on rhythm, had the voice and looks of the young Cliff
Richard and Benny, influenced by Hank Marvin, had the similar
twang of the Fender Stratocaster which brought the band's
unique sound to our very own doorstep in Mombasa along with
Rudi on drums and Polly on bass.  hey practised regularly in
the garage at Gupta Villa (Dom and Rudi's abode in Ganjoni),
and as their repertoire progressed, they would occasionally
play at venues including the Rex Hotel.

In time Roger, the manager of Tudor House Hotel got to hear
of them and offered them a booking to play every Saturday
night at Tudor House Hotel. Saturday night in Mombasa was
never the same thereafter, as most teenagers made it their
venue to Shadoogie and Shindig their way through the night!

  How they came about the name is a bit of a story in
  itself.  As the bands at that time took rebe