Fugdi is a Goan folkdance performed by women in the Konkan region. These dances are performed in many Hindu religious festivals like Ganesh Chaturthi and religious occasions. Fugdi is an art form that can be traced to cultural traditions of Goa.
Fugdi is usually performed in the month of Bhadrapada the women sing and dance. Fugdi has two major variations; it is danced in a circle or by rows of dancers. In the villages they have a dance in a circle but forest settlements have it in rows. The dance is performed by enacting few fixed steps and hand laps. The dance begins with invocation to Hindu Gods. The pace is slow in the beginning but soon gains momentum finally reaching climax. The dance is not accompanied by any instrument. Fugdi songs are innumerable and the songs relate Puranic stories, family life, complaints, rivalries or people. The dancers blow air through the mouth at maximum pace. This sounds as 'FOO' hence the name Fugdi is kept.
There are diffrent types of Fugdi. Kalashi Fugdi is performed before Goddess Lakshmi during the vrata. This form of dance is performed to break the routine work of fetching water from long distances. The dance is not accompanied by any songs. The women would carry the large vessels called kalashi or and blow into them rhythmically as they spin around. Katti Fugdi is another popular form, performed with coconut shells in their hands. Altogether twenty-seven types of fugdi have been found in Goa so far.
Mando or Manddo is a musical form that evolved during the 19th and 20th century among Goan Catholics of Goa. It represents the meeting point of Indian and western musical traditions. The music has elements of both Indian and western culture. The males wear formal coats, showing Portuguese influence, while females wear a unique Indian costume torhop-baz worn during the mando dance was of velvet or silk, red, blue or green in colour, embroidered with gold threads. A white or blue shawl was worn. The socks had to be white and the slippers ornamented. This was all graced with a fan, which enhanced the lady's mood with a charm during the dance.Now a days mandos are highlighted with their dance respective of their song. The plural of manddo in Konkani is mande.The major theme of mandos is love, the minor ones being historical narratives, grievance against exploitation and social injustice, and political resistance during the Portuguese presence in Goa.
The dialect used in the classical mandos is Salcete, particularly as spoken in the villages of Benaulim, Curtorim,Loutolim, Chinchinim, Assolna, Betul, Velim, Cuncolim, Navelim and Raia where most of them originated. It is the most musical of the Konkani dialects. One of the characteristics of this dialect is that words are stretched out in pronunciation with the addition of an extra vowel sound either in the middle of the words or at the end. Thus the word dista is lengthened to disota and sanddlear into sanddilear. The possessive pronouns in the mando have the Salcete form, as tugel´lem for tujem, mugel´lem for mujem or mojem. Shorter forms are derived when the music needs to cut off a syllable, e.g. tuj´ kodden (koddem) instead of tuje koddem and mak´ naka instead of maka naka. Not only the phonetics correspond to the Salcete dialect but also words like masoli (masli) for “fish” instead of nishtem, e.g. “Dongrari fulo nam, doriant masli pun nam”. The Brahmins address a girl or a woman with “rê” instead of “gô” and use the pronoun “ti” instead of “tem”.
The mando is mostly a monologue, in the first person singular or plural, except for the historical narratives. In some mandos, however, one person addresses another, who in turn replies. Singing is accompanied by gentle turning sideways to the rhythm, thus creating both a visual and auditory performance.
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