A varied tradition of Shigmo

Once, Goa was dominated by the agricultural communities. The farmers toiling hard in the soil during the winter season for Vaigan agriculture needs relief through entertainment and religious rituals and celebrations. Shigmo was the forum through which they were getting relief from the day today pains and sufferings.

Throughout Goa, the Shigmo festival has important place in the cultural life of the land. Though the non - Brahmin communities are mainly involved in the celebration and rituals of the Shigmo; now a days the Brahmin communities are taking part wholeheartedly in the various performances of the festival.

During the sixteenth century, when the Portuguese conquered Tiswadi, they to discourage the morale of the Hindus, put ban on the celebration of the Shigmo.

All over Goa Shigmo is celebrated in the month of Phalguna, but only in Dongari of Mandur, Tiswadi, it coincides with the carnival of the Catholic community, known as ‘Intruz' which is derived from ‘Entrudo' meaning carnival. As the Shigmo was abolished by the Portuguese in the whole territory of the old conquests, it only survived in disguise in Dongari.

The farming communities celebrate Intruz in Dongari with the same fun and frolic of Shigmo with the blessing of their presiding deity Shashti Shantadurga. Even after the religious persecutions, our forefathers have continued to celebrate Shigmo under the name of Intruz and there by have maintained their linkages with the ancestral cultural heritage.

In Goa, there are two types of Shigmo performances are observed. The first Shigmo which take place from the first half of Phalguna is known as the Dhakto Shigmo where as the Shigmo that take place from the full moon day of Phalguna is known as Vodlo Shigmo. The Dhakto Shigmo is mainly observed by the villagers of Zuari basin whereas Vadlo Shigmo by the villagers of Mandovi basin.

Mallikarjuna temple of Shristhal is associated with village communidades of Canacona, Nagarshe and Palole. From time immemorial the deity Mallikarjuna is not only related with villages of Canacona but also with villages of Karnataka like Hosali, Mudgeri, Makkeri, Kharge.......which are the parts of Shirveshwar or Karwar region are offering gratitude to Mallikarjuna.

The Avatar Purush of the temple of Mallikarjun from full moon day of Paush pays visits to Karwar region. Devotees welcome the procession with the utmost respect. After spending two and half months, the procession returns back to Canacona on the seventh day of Phalgun. On the return journey of insignia of Mallikarjun, devotees scattered in various areas of Canacona too welcome with the celebrations.

In many villages of Canacona, villagers assemble near the temple to invoke the deity by reciting ‘Naman' wherein they sing folksongs praising the gods. These folksongs are sung by the folklorists from the tradition with the tune inherited from the ancestors. These songs are important and known by very few elders of the village.

Loliye has the temple of Keshav. Villagers sing the ‘Naman' and perform folkdances and then proceed to cover whole village by presenting folkdances in large group on the tune of folk musical instruments. Till full moon day whole village become one with the various folk performances of Shigmo festival.

In Poiguini, Loliye and other villages of Canacona, the Bhagat and Velip communities annually observe the Viramel, a unique form of martial art from the ninth day of Phalgun to the full moon day.

The folk artists of Bhagat community wearing the white dhoti and a turban holds a naked sword and visits every house in the procession carrying a broom of peacock feathers called the Pillakucho with the folk musicians playing dhol, taso, jaghat and a horn ‘shing'. The artists make the ritualistic performance.

The Shigmo of Canacona reflects a varied and rich tradition folk dances mainly performed by the male artists. These include Tonyamel, Talgadi and Goff.

The folk artists from Canacona have maintained the tradition of the folk dances, even when the rest of Goa is under the influence of modernization.

Actually, the preparation for Shigmo starts from the Mahashivratri, in some village of Goa, wherein the folk artists impart training to the budding artists.

Shigmo : exhibition of vivid cultural heritage

No festival in Goa, exhibits a wide range of variety of folk dances like Shigmo. It is the most appropriate occasion wherein the folk artists with out fail make the presentation of folk dances. Folk songs are normally not d, but grow rather through a process of recreation of material already in existence.

These folk dances are spread over many individuals and generations, and they never come to end as long as the tradition of the festival like Shigmo is alive. The folk dances like Talgadi, Tonyamel, Goff are specially performed by the men folk during the Shigmo

Talgadi folk dance was once found to be performed all over Goa. But now it is confined to few areas. The artists who dress in traditional attire of dhoti and mundashe perform the Talgadi on the tune of folk music. They make use of folk musical instruments like Zanj (cymbal), Samel (a small drum from the goat skin) and Ghumat (earthen drum of monitor lizard skin) while performing the Talgadi.

There are traditional folk songs which are sung during the Talgadi. But many occasions it starts with the song, ‘Shrirang Talgadi Shrirang Tal'. The folk songs used for Talgadi are called as ‘Jot'. For presenting Talgadi, there is need of six to eight artists. The folksongs are based on the mythological stories. The artists present vivid patterns in the dance and conclude it by saying, "Tha thai tha" words.

Tonyamel is a folk dance having similarities with the Talgadi except making use of Tonyo or sticks made from cane or bamboo. This dance requires very quick movements on the tune of the folk music. They wear dhoti and a turban with the garlands of crossanda flowers in the neck.

In the villages of Sanguem, Canacona there was a tradition of the Goff dance. Before performing the dance, artists tie colour strings to the twig of tree or to a horizontal pole. Men folk by holding strings present this most colourful dance. Weave and untie the braid in different patterns while dancing for the Goff. The artists sing folk songs praising the lord Krishna.

The Gadyachi Jatra - a tribute to the ghosts and holy spirits

Though, science does not believe in the existence life after death. Many cultures in the world have a lot of rituals for the ghosts and holy spirits. In order to appease them in many parts of Goa, various cultural and religious ceremonies are performed.

The Shigmo festival is considered to be the most appropriate occasion to express gratitude to the ghosts and holy spirits in Goa. The Gadyachi jatra of Sal, Borde -Bicholim, Pilgao, Kudne, Savai - Vere are involved around the ghosts (bhuta) and holy spirits (devchar).

In Poinguini of Cancona, there is a Betal temple which is associated also with the ‘Gadyachi jatra' that is celebrated in April once in three years. Four male persons who are dressed in the white dhoti are called as ‘Gade' take part in the ceremony along with other devotees. A document written on cloth in 1823 A.D. is read out on the occasion. In front of Betal temple a tall platform of areca nut trunks is erected on which ‘Gade' are made to suspend by means of hooks to a revolving wheel, and they are set free, when the audience, on being asked by the ‘Mall Gaddo' declared that they are satisfied.

Sal in Bicholim is famous for ‘Gadyachi Jatra' which attracts a big crowd from Goa and border areas of Maharashtra, Karnataka. On day of Holi Pournima, a wooden trunk of mango tree which is decorated in mango leaves is made to stand near Mahadev temple.

As per the Hindu tradition, Mahadev is believed to be the god of ghosts and holy a well as evil spirits who prefer to meditate in the crematorium. On the second day of Holi at the night persons who are dressed in the white dhoti assemble at the sacred place called ‘mand. As soon as a crowd (romat) comes to the mand dancing on the beats of dhol and taso, the villagers invoke for blessing of all the deities of the village.

The elderly persons sit nearby singing non-stop folk song called ‘naman' on the beats of dhol., 52 persons known as ‘Gade' belonging to Raut, Parab, Naik, Ghure, Mhale, Mesta communities are dressed in dhoti moves around the pole which is erected as the Holi on the mand. It is believed that under the trance they all run in the direction of hill where in they are taken in to the forest by showing mysterious torch by the spirit called ‘Devchar'.

Sometimes he lights the torch on the top of the tree, then suddenly on the ground. Lighting and extinguishing process of torch mesmerizes the people who specially come to witness this phenomenon. "In past all together 64 Gades were taking part in the Gadyanchi Jatra but now only 52 Gades participates in the three nights fair", says Pandurang Krishna Parab of Sal. 

For the three nights the ‘Devchar' shows Chudti or torch. He also hides few persons known as Gade on the tree or inside the temple premises. On that night or on the next two nights these hidden Gades who are unconscious are handed over by the Devchar to other Gades by lighting the torch. Afterward they are brought on the sacred place. The unconscious Gades return to their senses when the sacred water is poured into their mouth who then participates with other Gades. These Gades during the whole night goes to all places where the holy spirits are residing. They also visit to the crematorium and carry remnants of burnt dead body in their hands for some time along with the votive clay figures.

In Kudne Gadyanchi Jatra is held for three nights with out lighting any type of lamp, where as in Sal lighting of lamp is allowed. Rohidas Pal from Borde - Bicholim says, "We have continued the tradition of Gadyanchi Jatra with the intention to get rid off wrath of ghosts and evil spirits".

Shigmo Festival at Marcela

The most of all over Goa, Shigmo is being celebrated during the last month of Hindu calendar Falgun along with other parts of India. However Vargao of Phonda Taluka has exception since the Shigmo is celebrated twice, first during the Holi Pournima and secondly during the Chaitra, the first month.

The Shigmo is the joyful outburst of varied talents of folklore which are inherited by the sons of the soil from the past. Vargao nestle amidst the grove of coconut and enrich by perennial spring has the temple of village deity Shantadurga.

Today, hardly few are aware about Vargao as Marcela, a ward of this village is more popular and densely populated than the main village. People involved in various parts of Goa have settled in Marcela ward as it is near to Phonda and Panaji cities and also the hub of many Hindu temples.

Temples of Shantadurga from Talaulim of Santana of Tiswadi, Shantadurga of Verla - Parra of Bardez, Ravalnath and Mallinath of Chorao of Tiswadi, Shantadurga of Cumbharzua of Tiswadi, Bhagavati of Chimbel of Tiswadi along with affiliate deities are situated in Marcel to avoid the religious harassment of the Portuguese rule.

All these temples have given the honour of land of gods or Devbhumi to Marcela. Throughout the year Marcela has a variety of fairs and festivals. However the presiding deity of Marcela lies in the village from where annually deity Shantadurga is brought in procession through Palkhi.

Coming of Gramdevi Shantadurga to Marcela is considered as the auspicious and happiest moment and to welcome her, the residents celebrate the Shigmo festival with a lot of activities of amusement for seven days.

The devotees from Marcela pay visits to the temple of Shantadurga at Vargao during the night and early in the morning they all come back to Marcela with the Palkhi of Shantadurga.

The Shigmotsav is the occasion when the artists from our area make the presentation of dramas, with the immense degree of devotion and interest. Marcela is known all over Goa for the artists of caliber and one can witness extra ordinary skills and talents during the presentation of these dramas.

On 5th day, there is a funny entertainment performance of Navardev wherein an unmarried youth is dressed as the bridegroom and taken in the procession from bus stand to Vithal Mandir on the tune of music. On the way he is offered presents and gifts by the locals.

Next day there is a special performance of Virat Vetal Darshan at the dawn. A man from Kholkar family is dressed in the costume of Vetal, a god related with ghosts and evil spirits holding sword and shield. The devotees make invocation and urge for his blessing. This is followed by the Gulalotsav. All takes part in the Gulalotsav. First they offered Gulal (colour powder) to Shantadurgaand then by applying the colours to each other.

In the past Palkhi processions of Shantadurga Cumbharzuakarin and Shantadurga of Vargao used to hold more or less during Shigmo festival. Once there developed differences. To avoid clashes it was decided to organise the Shigmo in honour of Shantadurga of Vargao before the Akshya Trutiya.

At the midnight of last day the Palkhi of Shantadurga is taken back in procession from Marcela to Vargao. However while returning back the Palkhi pay visit to all the temples and shrines situated in the various areas of Marcela. Along with the dance, drama, folk music, gambling is the integral part of this Shigmotsav.

The Morulo folk dance depicts the vivid dancing styles of the peacock. Once it was there in many parts of Goa, but today Sarvan, Narve of Bicholim has the tradition of Morulo dance. The artist singing the song describes the behavioral pattern of the peacock on the tune of folk music.

The Morulo dance and Sarvan village were once synonymous. During the Ghodemodni, we were performing the Morulo and people from various parts of Goa were coming specially to witness the performance of this unique dance.

In some villages of Pernem, Bicholim and Sattari and border areas of Maharashtra there is Ghodemodni dance. The dancers tie wooden effigies of the horse mouth along with the bamboo structured covered with the colourful cloth and wear turban. Holding a naked sword in the right hand, the dancers march towards the temple of village deity and perform the dance on the beats of drums.

This dance reflects the heritage of warfare and while performing the dancers act as if they are seating on the live horse back. The Ghodemodni of Thane - Dongurli of Sattari attracts very large crowd and is held every after nate year. 14 horses from Rive, Golauli, Hivre - Budruk, Hivre - Khurd, Charavane, Pali and Thane come to the sacred place called ‘Mundalgiryche mol'.

Villagers which are dominated by the warrior class have the tradition of Ghodemodni. Annually these dancers will visits the fixed places and perform dance to pay the gratitude.

Thane village has the rich history of warfare. This history of bravery is reflected through the folk dance of Ghodemodni with the blessing of the folk deities Kolgiro and Mundalgiro who were known for the warfare and brave deeds.

Shigmo of Phonda- reflection of the ethno-musicological heritage

Antruz mahal or Phonda has the rich tradition of ethno musicological heritage and to experience this, there is no right occasion then the Shigmo festival. Music and musical instruments have become unavoidable part and parcel of Phonda's Shigmo.

The mercantile, religious and martial connections of Phonda are responsible for enriching the folk music of the area. The musical instruments which are used in the Shigmo of Phonda are so varied that have not only meaningful sounds but even significant substances.

The use of musical instruments has involved forth not only discharging passionate feelings but also through muscular urge concomitant to the nervous tension. Phonda is actually the land of tall and towering temples. Many temples from Salcete, Tiswadi were transferred to Phonda and all these temples are responsible for giving patronage to the folk artists who have established excellent tradition of the ethnomusicology.

Most probably, in various folk performances, the artists from Phonda make use of the Ghumat, Shamel, Zod-shamel, Taso, Dhol, Nagaro, Ghoom which are the popular percussion instruments along with idiophone instruments like Zanghat Kansalem, Zanz, Tal. They also uses a curved trumpet of brass called Shing, a wooden straight trumpet known as Korno and a curved pipe instrument Banko which a harsh and loud sound . All these instruments are belonged to aero phone group.

Shri Mhalsa temple of Mardol is much respected by the devotees and also feared when the decisive oaths were prevalent in Goa. The oath under the bell of her temple was established by several laws since 1532. Thus, this deity commands great respect.

The Romtamel, a big group of folk dance presentation during the Shigmo, march on the 14th day of the first half of Phalgun to Mardol to express their gratitude to goddess Mhalsa.

The Romtamel with their various insignias and folk musical instruments comes to Mardol. Romtamel from Madkai, Keri, Savai vere, Bhom-Adcon, Priol, Cuncolaye, Kundai and Mangeshi came and enthrall the audience with their excellent and energetic performances.

Among these Romtamal, Madanant Devasthan Romtamel of Savoi-vere according to the tradition had initiated the procession.

The Romtamel of Antruz Mahal exhibits varied facets of Goa's vibrant and dynamic culture during the Shigmo. The folk artists have kept this tradition alive since it is related with their identity.

Most of all villages of Phonda nowadays are one with the colourful and enchanting Shigmo. Through the presentation of dances, songs, they express their love and respect to the folk deities.

The Romtamels of Savoi vere pays visits to each house and after the recitation of folk songs ‘Jot' blessed the family members. They all assembled at Sateri temple during the night and from there went to Kanvgal. Today at the noon villagers will observe Gadotsav followed by the Holi celebration.

Shigmo of the tribals of the hilly areas

Shigmo festival is celebrated totally in different way by the forest dwelling tribals residing in the hilly areas of the Canacona, Sanguem and Quepem. The scheduled tribes Velip were once the forest dwellers. Their religious and cultural life is mainly related with the forest.

Once they were relied on the forest for the food, fodder, fuel. Their needs were few and could be fulfilled in the jungle. As their life was depend on the forest, they were cutting trees but not on large scale and for commercial purpose. Their gods and goddess were not in constructed temples or shrine but inside the jungle without any concrete structure.

Now to avail the benefits of modern civic amenities and restrictions put on the forest dwellers for the movement, they preferred to settle near to villages and towns. However, they still have continued to maintain their ties with the forest. Shigmo festival urges them to live their houses in the villages and move to the remote hilly areas where their shrines of various deities are situated.

The Cotigao Wildlife Sanctuary of Canacona has many tribal hamlets. The Velips of Ave on the Navami ninth day of the first half of Phalgun goes to Avalidano, the place of their earliest settlement and reside till the day of Holi Pournima in the specially erected thatched roofs huts.

They carry with them food and all the necessary items of daily domestic use. During this period of stay, they strictly make use of vegetarian foods that is cooked by bringing fresh water of spring or well.

In many parts of Goa, Shigmo and use of alcohol is closely related. However, the Velip community is the exception. They never drink alcohol or nor consume fish and meat.

Since many generations, they have continued the tradition. By invoking deities on the Navami, they acquire the blessings of Sinyapurush. The moon - lit night becomes pleasant with the presentation of Tonyamel folk dance.

The Avali Dano is the sacred grove. Once it was densely forested. All the species of wild trees are protected. Inside the grove, there is a spherical shaped platform made by using stone which is used for making religious discussion.

In the moon light inside thatched rooted hut, floor pasted with the cow- dung become alive with the presentation of various folk dances.

Next day, the folk artist of Velip community moves down in villages for performing folkdances on the recitation of folksongs. On the sacred place called ‘mand', the present's folk songs of Chourang, Aarat and Talo. All these folk songs reflect the ecotheological dimension of the community.

In the past their livelihood was depend on the forest resources and making the optimum use for subsistence was their way of life.

There are four shrines at Avalidano, namely, Sataidevi, Mahabaleshwar, Paikadev and Kulgati Purush. On the full moon day, the women light the traditional lamp of clay called ‘Divaz' and keep them in front of the wooden pole throughout the night.

Birth and death in the family, menstruation keep a woman from observing this ceremony. The woman considers lighting the ‘Divaz' as the most important annual ritual. After celebrating the fair of Sataidevi, most of the families return down to their villages.

Those who possess cattle, they prefer to reside till the Gudi Padvo, the Hindu new year. The Velip community does not erect the pole of wild tree by decorating it with neither mango leaves nor they burn wooden logs or grasses to celebrate a Holi.

In Neturli of Sanguem, a pole of mango tree is erected and worshipped as the Holi. From Navami to Pournima, the Velip of Neturli performs a marshal art form called ‘Hanpet' which begins from the shrine of Bhagvati. The main four persons with the naked swords hit their bodies causing injuries and bleeding.

There are other folk artists who too perform ‘Hanpet' without causing any injuries to the body. They visit each house and perform the ‘Hanpet' dance on the music of dhol, taso, Janghat, ghumat. All the rituals which are performed by the Velip depict the rich eco - cultural heritage inherited by them from their ancestors.

In many parts of Goa, there was a tradition to impart training in the folk performances from the night of Mahashivratri which is considered as the most auspicious occasion to impart training by the experienced folk artists. In villages within the river basin of Mandovi, the celebration of Shigmo begins on the full moon day.

In Sattari, Bicholim, Pernem, a trunk of wild tree is brought from the forest on the tune of drum. It is decorated with the leaves of mango and white or red coloured flog along with a coconut is tied on the top. This trunk is erected in the whole dug in front of the temple. Pooja is performed and grosses are put on the fire around the trunk. In some villages, people assembled break coconut on the stone kept near the Holi where a in some areas weight lifting event is organised. Huge spherical stones are lifted to prove the ability and strength. The winner receives the appreciation from the community.

On the second day of Holi Pournima, in many villages youths decorated their head with cheaply available seasonal wild flowers visit house to house. They are called as ‘Chor' or thieves. On this particular day, they are allowed to loot flowers, fruits, nuts or fowls. No one dare to give bad words and worship them. They sing melodious songs on the tune of percussion instruments like dhol, taso, samel, ghumat, idiophonic instruments like cymbals or kasale. After presenting folk dances and songs in front of the village's deity, they move house to house and make the presentation of performances. They recite the invocation and urge all the deities to bestow blessings on all the members of family. At every house, a troupe is welcomed whole heartedly and offered rice, coconut and other gift and money.

They are worshiped and offered eatables. Only two villages in Goa celebrate the unique festival of Chorostav. Zarme situated at the foot hills of Vagheri near to the Chorla ghat and Caranzol at the foothills of Hulan dongor and near to the Kelil ghat are known for the Chorostav. In Zarme on the second day and Caranzol on the seventh day of Holi Pournima, the Chorostav is observed. Eight pits were dug in the Swastik like structure. Four men are buried with their whole body except above neck is out whereas four are buried with their head part inside and legs and abdomen cavity is outside. Beside these, two persons out of whom one is made to lay down on the platform in sleeping and other in sitting posture. The whole scene is d of the ferocious massacre that took place in the history. As per the local tradition, prevailed in Zarme and Cranzol, the villager by mistake slaughtered innocent youths thinking thieves. When the parents of these youths came to Zarme, they realized about the tragedy. The villagers felt uneasy about the crime committed by them so to appease the souls of slaughtered youths, the tradition of Chorotsav have started in both villages. In Zarme, immediately after the Chorotsav is over, the folk artists present the folk drama Ranmale and in Caranzol this performance is held on the previous day. The Ranmale Folk drama depicts humour, wit, spiritualism as well as the tragic incident of the hoary past. During the Shigmo, performance of the Ranmale is a part of ritual and hence the tradition is prevailed till this date.

Today the custom of Sati is declared as the evil practice as it was cruel and against humanity. But in spite of this even nowadays there is feeling of respect prevail in many parts of Sattari, Bicholim and Sanguem which is expressed through the festival of Karvalyo. Two young boys are dressed like married women and are taken in the procession on the tune of folk music from house to house. They are welcomed and worshipped by the married women having husbands. The folksongs called ‘Sakarat' are sung on the tune of folk musical instruments reflect the mythological stories related with the Sati Women of the village for two days and nights the celebration of the Karvalyo festival is observed with the utmost devotion and respect.

Predominantly in many villages of Sattari and Bicholim and few villages of Pernem and Sanguem, the Ghodemodni festival is celebrated which remember about the heroic deeds and warfare fought in the past. The Ghodemodni of Thane-Dongurli of Sattari is the biggest performance of Ghodemodni in which 14 horses are participated.There are twin shrines of Kolgiro and Mundalgiro which are honoured by the devotees coming from various parts of Sattari.

According to the cultural historian of Goa late Anant Dhume two sculptures of Kolgiro and Mundalgiro are related with two leaders of Maratha community who were responsible for wiping out totally two tribal communities namely Kol and Mundari who were supposed to be the earliest settlers of the land. In all seven villages of Ivrem Khurd, Ivrem Budruk, Charavne, Rive, Golauli, Pali and Thane even today the Marathas are dominant. In order to show the gratitude to their leaders horses of the Ghodemodni from these villages comes on the ground entitled as Mundalgiryache mol. When all 14 horses are meeting and performing the ritualistic dance it seem that the warriors of the yore appear to wage the battle.

In Ghodemodni, wooden effigies of horses are made and persons dressed in the white robe holding a naked sword in the hand perform dance as if he is riding a horse.

During the medieval period, study and hardworking youths were taking part in the warfare to maintain the honour of community to safeguard the border or to make the expansion and consolidation of their territory. In order to receive the tradition of warfare this folk dance continued to be perform in the villages dominated by the Marathas.

Shigmo is not only celebrated as the festival of fun and merriment but also to observe various rituals to express thankfulness for the unseen spirits, ghosts of the village. The troupe of folk artists on the tune of dhol, taso and kasale pay visits the shrines, sacred trees associated with the unseen spirits. Every year many villages perform Gade Utsav in the honour of spiritual ghosts. In Pilgao and Gavane Gade Utsav is celebrated from the midnight to the afternoon whereas in Borde, Kudne and Sal it is observed for three consecutive nights.

The person dressed in the white dhoti on the tune of dhol visit the sacred shrines situated inside the forest and also go in the crematorium to bring the remnants of the dead or the materials lying their of funeral rites. It is believed in Sal of Bicholim that Holi Spirit lights the magical torch and take the Gades inside the forest. They hide some of the Gades on the sacred tree or inside the top floor of the temple. This hides and seek phenomenon is believed to be monitored by the Holy Spirits for three nights. Hundreds of peoples from various parts of Goa and other areas from outside Goa come to witness this ceremony.

Mallikarjun temple of Shristhal from Canacona is one of the important centres for devotees from Goa and Karnataka to take part in the Shigmo festival. Every nate year this temple celebrate an unique ceremony called Shishiranni, where in three persons called Gades are make to sleep in the Rajangan and on their three heads a clay pot is kept and rice is cooked. When this ritual is going six insignias (Tarangas) stand erect without any support. Folk artists play music and mysterious atmosphere. Next year temple will observe Veeramel in which participants will perform marshal dance by making injury to their body with swords on the tune of folk music.

Fatorpa of Quepem, has Shantadurga Cuncolicarin temple which is famous for the festival of Satryos. During the Portuguese regime Shantadurga use to come in procession from Fatorpa to Cuncolim every year on the 20th day of the Falgun. In this procession along with the Hindus, the Christians converts were holding umbrellas in honour of the deity. But this was forbidden by the government at the request of the Patriarch D. Antonio Sebastiao valente. However it was re-established as soon as the Portuguese republic was set up and nowadays both the communities forgetting their religious differences participate in the festival with a lot of happiness and zeal.

On the day of Falgun Chaturdashi (14th day after new moon day) various troupes of folk artists called Romtamel from villages of Madkai, Keri, Savoivere, Bhom- Adcona, Priol, Kunkalaye, Kundai and Mangeshi comes to Mardol to express their respect for goddess Mhalsa. This deity originally brought from Verna and was a much feared deity when the decisive oaths where prevalent in Goa from 1532.

In Pernem Shigmo festival involves many communities. For five or seven days folk artists visits house to house and perform folk dances on beats of dhol, taso and kasale. They sing folk songs which reflect rich knowledge of ecology and environment.

In Mahamaya temple of Borde, Bicholim on the concluding day of Shigmo of performance of Virbhadra is presented. Virbhadra holding two swords in his hands perform this war dance which shows clear influence of Karnataka style of Folk dance. In some villages, the heap of wooden logs is set on fire and devotees walk on burning charcoal.

Shigmo festival is the most colourful event among all the festivals of Goa. There is no uniformity in the rites rituals songs dances Talgadi Tonyamel, Goff, are the folk dances mainly found among the tribals of Canacona, Sanguem and Quepem. In Sarvon of Bicholim, youths perform a folk dance called Morula in which they depict behavioural patterns of peacock. The Velip community of Cotigao for about two weeks leaves their residential houses in the villages and stay on the top of the hill near to the sacred grove called Deva dano in the company of nature eating only vegetarian food and drinking pure water of springs and wells. The Dhangar Gouly community on the day of Holy Pournima burn dried cow dung during the night and sing the melodious folk songs in the beats of Ghumat.

Karvalyo- respect to the womanhood

Though the women have had suffered subjugation, she is respected as the mother in the Goan Society since she posses the unique ability of procreation. The festival of Karvalyo which has formed the integral part of Shigmo from Sattari, Bicholim and border areas of Maharashtra and Karnataka, reflect the feeling of respect for the womanhood.

Like, other parts of India, the Goan woman was also confined to the four walls of her house and was dependent first on the father, then the husband and lastly the son, for sustenance. But, in spite of this she is respected as the goddess.

In many villages of Sattari, Bicholim, during the Shigmo, the festival of Karvalyo command great respect from the married women. They are very happy to welcome the Karvalyo and worship them by first washing their feet.

Karvalyo are the two male persons between 10 to 12 years of age who are dressed in the female attire with the sarees and ornaments. Their head are decorated with the flowers of crossandra.

Mostly on the third or the fourth day of Holi Pournima, the festival of Karvalyo is held. The two males are dressed in the temple and then they are made to sit on the shoulders and taken various places in the procession.

A group of folk artists continuously beat the dhol, taso and kasale and sings folksongs called ‘Sakarat'. These songs make the description of the village environment and mythological stories associated with the deity. The songs also throw light on the bond of relationship existing between the deity and Karvalyo.

In Nanoda village from Latambarce of Bicholim, two Karvalyo represent Sateri and Kelbai goddesses. Their arrival in the house is considered to bring good fortune.

The Karvalyo festival is said to be related with the practice of Sati which was prevalent in Goa. During the sixteenth century Alfonso de Albuquerque, Constantino de Braganza discouraged the evil practice of Sati. However, unofficially, the Sati continued in Goa.

After the death of husband when the wife jumped in to burning pyre of husband, it is regarded as holy and deceased woman is elevated to the respectable status in the society. Thus, during the Shigmo the sati is shown gratitude by celebrating the festival of Karvalyo, in whole of Sattari and Bicholim.

Once Keri, was village which was famous for sati festival during the Shigmo. As per the local tradition when Lakhamo Gawas was killed by a wild boar during the community hunting, his wife self immolised herself and became Sati. There is a shrine established in Keri in honour of this lady which is known as Kalasati. Every year a married woman having husband was given a bath of ignited charcoal to mark the occasion. Two boys dressed like Karvalyo were taken into procession. Presently, Keri does not celebrate the Shigmo and hence the Sati Utsav is also not observed.

In Sanguem near Tambdi surla there is a hamlet called Dharge which is famous for the Sati Utsav. In the border areas of Maharashtra villages like Matne, Ambadgaon, Aai and in Karnataka village like Chorla celebrate Karvalyo.

Continuously for two days and nights the celebration of Karvalyo goes on attracting all the members of family in the house. The festival of Karvalyo was once become immortal through singing of folk songs depicting rich history and sociology which is today becoming rare day by day.

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