Prutha Goa

António Xavier Trindade is indeed an exemplary Goan talent; one that has been showcased at the Fundaҫão Oriente-India. The Trindade Collection was donated to the Fundaҫão Oriente in 2004 by the Esther Trindade Trust. The collection has works of both, António Xavier Trindade and Angela Trindade (1909-1980), his daughter and noteworthy artist in her own right. Trindade was born in 1870 in Sanguem, Goa to Roman Catholic parents and went on you seek an education in art at the renowned Sir Jamsetjee Jejeebhoy School of Art in Bombay (Mumbai) at the age of 17. He then became part of the faculty in 1921 after the completion of his studies, earning a reputation as one of India’s leading artists who was well-appreciated in both Western and Indian circles. Considered a realist, Trindade would nevertheless continue to incorporate elements of the Romantic era. His technique of light and dark is similar to work by Spanish artists Diego Velázquez (Baroque) and Francisco Goya (Romanticism). His

For centuries, the Portuguese managed to hold sway over their colonies including Goa. These colonies were difficult to govern for a variety of reasons. Goa presented its own challenges in terms of the limited Portuguese demography present in the region to govern the area and the cultural and religious divide. The Portuguese brought with them the Jewish model of conversion to Christianity to allow for integration, at least theoretically (In 1496, the Jews and Muslims in Portugal had been forced to convert to Christianity or be expelled from the country; however conversion to Christianity did not diminish the discriminatory attitude towards them).  We know that similar attitudes were held towards the Goans/Indians. In his book written between 1512 and 1515, Duarte Barbosa makes use of the word casta to represent the combination of endogamy and occupation in India that reflected a similar system upheld in Portugal. But to refer to social groups, Barbosa used the term ley de gente (type

Eccentric scholars do not abound in Goa and most recently she lost one of her most enigmatic sons. Tenacious in his pursuit of refined scholarship, José Pereira formed the fourth member of an intellectual group (Mario Miranda, Alban Couto and Eusebio Rodrigues) that had sworn to resurrect intellectual endeavours so dominant in the late 19 th and early 20 th centuries, but perhaps hindered by the censorship imposed by Portuguese dictator, Salazar. He passed away after completing 84 years of age, on the 26 th of January in the USA. Though a native of Curtorim, Goa, José Pereira was born in Mumbai and spent much of his life outside the realm of his ancestry. His literary contribution is vast, amounting to 145 articles and 24 books. His knowledge spanned a range of subjects, including theology, architecture, literature and ethnomusicology. Some of his books are Hindu Theology and Golden Goa’s Art. José Pereira’s illustrious academic career began with an honours degree in Sanskrit f

German anthropologist Alexander Henn spoke at the Xavier Centre of Historical Research, Porvorim, about his fascination with the existence of a cross cultural climate in Goa and its depiction in his book Hindu-Catholic Encounters in Goa: Religion, Colonialism, and Modernity . As a cultural anthropologist, his interest in the effects of the cultural differences, how they can be constructive and how they can be challenging, how they work between people and so on, is completely satisfied by the cultural diversity that is present in Goa. With its historical and cultural connections with Portugal and other European countries, and the presence of Hinduism and Catholicism existing side by side, Goa is an extremely potent region for anthropological studies. Henn’s focus while researching his book was the effect of religion on cultural diversity. He says, ‘One of my findings in the book is that I discovered over the years I was studying something surprisingly unexpected, in the sense that commo

The Museum of Christian Art is a pleasure to anyone interested in museums, artefacts and all things to do with history and culture. Located at the world heritage site which boasts of the ruins of St Augustine’s Church, the museum is housed in part of the Convent of St Monica. It is a project of the Archdiocese of Goa, Daman and Diu and was initially funded by the Calouste Gulbenkian Foundation and the Indian National Trust for Art and Cultural Heritage (INTACH). The museum is not vast in its collection, with two floors (the ground floor is 350 square metres and the upper floor is 150 square metres) devoted to artefacts, but the items are intriguing and must be given careful study to understand their true value. The antiquities have more to do with Christianity as a religion and its observances rather than being strictly Indo-Portuguese objects of art. There are ornate priestly garments and Bibles, as well as vessels used during Holy Mass, aside from statues, paintings. Indeed, the Chur

Goa Cruti is a new addition to Victor Hugo Gomes’ increasing number of museums showcasing Goa’s history. Earlier there was Goa Chakra, highlighting the wheel and its significance in Goan culture and history. The future looks to another museum in Betul celebrating boats and the fishing community of Goa. Victor has long been driven by his passion to salvage Goan heritage and relics of the past. He believes this is essential to create and develop a sense of responsibility among the Goan youth and to whet their thirst for knowledge of the past. Goa Cruti Museum is a totally different concept from his previous endeavours and focuses entirely on the different professions of Goa’s colonial past. ‘Cruti’ means ‘work’ and some of the areas covered are medicine and law. There is ornamental furniture, exquisite crockery, bottles, priests’ vestments, musical instruments, guns and other weapons, cameras and so on. Why are the professions of medicine and law of consequence? The reason is that they w

Goa certainly has an interesting history, with significant rulers vying for control over the prosperous coastal region. Two rulers of note are Hyder Ali and his son Tipu Sultan. Alan Machado spoke at the Xavier Centre of Historical Research on their differing policies with regard to Goans who had migrated to Kanara. When Hyder Ali came to power in 1761 as the de facto ruler of the kingdom of Mysore, Goa was reeling from 150 years of a traumatic economic downturn owing to skirmishes with the Dutch. This had led to the end of overseas trade. Goans struggled with hardships related to famine as agriculture had also collapsed. The people of Goa began to depend on Kanara for rice. To add to their woes, the Marathas constantly attempted to gain Goan territory and in 1739 Goa lost its Northern territories. Owing to all these problems the people of Goa, primarily agriculturists in search of a livelihood, began migrating to Kanara. Goa responded to this situation by building a disciplined, profe