312:. Despite being rooted in Goa, Fernandes regularly undertook biannual tours to Bombay, where he consistently entertained the Goan community with his theatrical group. During these visits, Fernandes incorporated several artists from Bombay into his ensemble, including Dioginho D'Mello and Baldin Araujo. One of Fernandes's contributions to the realm of
31:
543:
Rapidly gaining fame, Fernandes became widely known for his singing abilities and his gift for songwriting. His compositions were characterized by vivid imagery, showcasing his imaginative and visionary nature. Moreover, Fernandes had a unique singing style. His contributions extended beyond music,
539:
songs in village concerts. These concerts, a customary part of the village church feasts, provided a platform for local boys and girls to exhibit their talents. It was during one such concert that
Fernandes made his debut on stage. His composition and performance of a song received admiration from
248:, directed by Cruz Jazzwala, held at the same venue on 6 January 1940. Once again, Fernandes captivated the audience with his performances. Writer Irene Cardozo writes, his talents and abilities established him as a cherished artist, commanding the respect and admiration of both
230:
across the entire state of Goa. Fernandes soon became a household name, cherished and celebrated by the Goan populace. In 1939, Fernandes ventured to Bombay in search of employment, a path trodden by numerous Goan youth of that time. As fate would have it, German Pinto staged a
174:'s theater scene. This individual was Fernandes, a 22-year-old who would later establish himself as a leading writer and director of Konkani stage plays, earning popular acclaim under the name "Aleixinho de Candolim." Fernandes was regarded as the pioneer who kick-started the
637:, distinguishing between those who aided impoverished customers and those who exploited them through exorbitant pricing. By advocating for strict action against errant shopkeepers and recognition for the virtuous ones, Fernandes voices his concerns through this
479:. Like J. P. Souzalin, Fernandes strove for excellence in his productions and actively fostered emerging talent, thereby making a significant contribution to the growth of Konkani theater. He is known for his songs that continue to be aired on
239:
on 11 November 1939, in Bombay during
Fernandes' stay. Upon hearing of Fernandes' arrival, Pinto swiftly secured his services as a singer for his production. Fernandes mesmerized the Goan community in Bombay with his three renditions in the
283:. However, circumstances dictated that Fernandes could not secure his desired employment in Bombay, thus compelling his return to Goa. Nonetheless, Souzalin once again invited Fernandes to participate in his production,
629:, Fernandes portrays the mistreatment of elderly parents by their own children, delivering a cautionary message about the potential repercussions when these sons themselves age and face similar neglect.
544:
as he held a deep affection for his native village, adopting the stage name
Aleixinho de Candolim to honor his roots. On 16 July 1963, Fernandes died in his hometown of Candolim, Goa, aged 50.
475:
showcased in Bombay. Known for his aptitude as an actor, Fernandes meticulously studied each role prior to commencing rehearsals, and he expected a similar commitment from the actors in his
699:
critical of landlords during the
Portuguese era was a formidable task, yet Fernandes persevered, championing the cause of the marginalized and amplifying their voices through his play.
448:, some of which continue to be broadcast on radio platforms today. Some examples of his popular compositions include "Fatima Saibinn," "Cazari Bhoinni," "Bailek Bhieta," and "Dadlea."
226:
writer, composer, and singer. His popularity soared, with each of his compositions becoming a success. His reputation as a composer and vocalist earned him invitations to perform in
279:, titled "Ostori" and "Goenchea Alfani aile Bab," both of which became instant hits. Souzalin discerned Fernandes' prodigious talent and consistently included him in subsequent
691:), who disproportionately reaped the profits. The landlords wielded considerable power, instilling fear that inhibited tenants from expressing their grievances. Following
610:, with a dual aim of entertainment and education. His plays predominantly grapple with social themes, striving to uphold moral values and propose resolutions. Fernandes's
275:'s feast). This play, staged on 5 February 1940, at the Princess Theatre in Bhangwadi, Bombay, drew a full house. Fernandes contributed two new songs to this
215:, featuring local artists and showcasing Fernandes' own compositions, struck a chord with the audience. Subsequently, Fernandes authored a multitude of
653:
encapsulates this dynamic, urging parents of prospective brides to prioritize qualities over monetary considerations when selecting suitors.
1348:
527:. Fernandes exhibited a fervent passion for music and acting from an early age. His talent for singing was honed while attending the local
219:, collaborating with both local and commercial actors, and presenting his creations not only in Candolim but also in neighboring villages.
1343:
695:, Fernandes exposed the tyranny and exploitation faced by tenants, advocating fervently for their rights and justice. Staging a
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Fernandes soon became a highly sought-after talent, attracting the attention of popular writers and directors in Bombay's
1353:
291:. As a result, Fernandes graced the stage in numerous performances, both in his own productions and those of others.
649:
has been a prevalent phenomenon, paralleling
Fernandes's era when many individuals sought prosperity in Basura.
614:
aligns with the tradition of protest theater, bearing resemblance to the pioneering work of
Brazilian director
495:
enthusiasts can enjoy his music. Fernandes occupied a pivotal position in preserving the tradition of
Konkani
316:
in Bombay was his role in expanding the geographical scope of performances. Prior to his ventures, Konkani
263:. J. P. Souzalin, a leading director, was among the first to secure Fernandes' services, casting him in
657:
explores various facets of social life, with
Fernandes emphasizing the significance of the revered
619:
444:(The Auction of Our Field). Moreover, he actively composed and performed numerous songs within the
558:
garnered lasting acclaim, transcending more than five decades since his demise. Popular among his
344:. Consequently, Fernandes's initiatives paved the way for subsequent directors to stage their own
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467:. These productions achieved success, drawing substantial audiences at each performance.
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683:) during the Portuguese regime in Goa. These tenants toiled on lands owned by
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João
Baptista Aleixinho Fernandes was born on 9 July 1913, in Camotim-waddo,
535:. At the age of 16, Fernandes began showcasing his vocal prowess by singing
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607:
268:
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488:
30:
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1182:. Government of Goa, Directorate of Art & Culture. pp. 36–41.
1241:
When the
Curtains Rise--: Understanding Goa's Vibrant Konkani Theatre
193:
684:
668:
512:
272:
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58:
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the audience, serving as a significant catalyst for his career.
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during a critical juncture, as aptly noted by Konkani historian
484:
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theater scene. Each aspired to enlist Fernandes for their own
244:. This triumph led to an invitation to participate in another
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487:. His vocal recordings are preserved by All India Radio on
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298:, Fernandes embarked on a career as a playwright, crafting
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192:, on 15 August 1935, coinciding with the feast day of the
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295:
171:
62:
184:
soil. At the tender age of 22, Fernandes began crafting
138:(9 July 1913 – 16 July 1963), known professionally as
287:, bringing him back to Bombay specifically for this
170:, emerged with a fervent desire to make his mark in
158:During the same era when J. P. Souzalin graced the
1266:"'Amchea Xetachi Pavnni' to be staged across Goa"
304:that garnered substantial support from the local
166:, another aspiring young man from Camotin-waddo,
1315:
491:and tapes, ensuring that future generations of
324:area, whereas Fernandes was the first to bring
308:population in both Goa itself and the city of
1214:TIATR 125th Anniversary Commemorative Volume
731:Putanchi Duddvanchi Ass ani Avoichem Disgras
675:in April 1962, sheds light on the plight of
667:, staged for the first time by Fernandes in
633:delves into the realm of shopkeepers in the
190:Putanchi Duddvanchi Ass ani Avoichem Disgras
606:reveals his astute awareness of prevailing
1244:. Tiatr Academy of Goa. pp. 139–141.
531:, where he had the opportunity to perform
199:at Candolim's Church of Our Lady of Hope (
29:
1237:
1175:
222:Fernandes swiftly gained prominence as a
188:and successfully staged his maiden play,
146:, singer, and composer who worked on the
348:in these centers. Fernandes authored 27
16:Indian playwright and singer (1913–1963)
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702:
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252:directors and theatergoers in Bombay.
35:Portrait of Fernandes during his youth
455:that deserve special recognition are
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602:. A careful analysis of Fernandes's
1349:Dramatists and playwrights from Goa
200:
13:
14:
1365:
1289:Cardozo, Tomazinho (2012-07-28).
1228:
1186:
1154:
795:Pai Tujeach Tonddan Magon Ghetlen
285:Pai Tujeach Tonddan Magon Ghetlen
197:Assumption of Blessed Virgin Mary
136:João Baptista Aleixinho Fernandes
45:João Baptista Aleixinho Fernandes
1238:Fernandes, André Rafael (2010).
780:Bhott Ailolo Pomburpechea Festak
506:
265:Bhott Ailolo Pomburpechea Festak
320:were primarily confined to the
1344:People from North Goa district
1282:
1258:
1:
1147:
142:, was an Indian playwright,
7:
1179:100 Years of Konkani Tiatro
991:Kallo Bazar Vo Black Market
645:seeking livelihoods in the
612:tiatr Amchea Xetachi Pavnni
547:
402:Kallo Bazar Vo Black Market
10:
1370:
1176:Mazarello, Wilson (2000).
758:
465:Sounsarant Konn Konnancho?
362:Munddari, Bhasailolo Nouro
352:, including works such as
207:Nossa Senhora de Esperança
762:
592:Sonvsarant Konn Konnacho?
519:, which was then part of
471:marked Fernandes's final
153:
125:
102:
94:
78:
40:
28:
21:
1354:Konkani-language singers
620:Theatre of the Oppressed
1291:"Aleixinho De Candolim"
1212:Cardozo, Irene (2019).
1047:Festache Ferientlem Ful
418:Festache Ferientlem Ful
963:Eu Khuim vo Pescadores
394:Eu Khuim vo Pescadores
237:Institute Luso Indiano
1132:Amchea Xetachi Pavnni
665:Amchea Xetachi Pavnni
635:Portuguese era in Goa
600:Amchea Xetachi Pavnni
469:Amchea Xetachi Pavnni
442:Amchea Xetachi Pavnni
328:to locations such as
140:Aleixinho de Candolim
23:Aleixinho de Candolim
1222:Tiatr Academy of Goa
703:Selected stage works
457:To Bavtto Dhormancho
388:(The Scary Ending),
89:Candolim, Goa, India
1117:Omtea Kollxear Udok
1075:Mhuzo Ghov Basurkar
738:Professional debut
655:To Bavtto Dhormacho
651:Mhozo Ghov Basurkar
641:. The migration of
596:Omtea Kollxear Udok
580:Mhozo Ghov Basurkar
576:To Bavtto Dhormacho
438:Omtea Kollxear Udok
426:Mhuzo Ghov Basurkar
360:(Goan Shopkeeper),
1296:Vauraddeancho Ixtt
1270:www.daijiworld.com
949:Vid Tiatristanchem
562:are works such as
390:Vid Tiatristanchem
211:). This inaugural
1299:(in Goan Konkani)
1251:978-93-80739-01-4
1224:. pp. 22–23.
1145:
1144:
1139:Final production
935:Bhirankull Xevott
525:Portuguese Empire
386:Bhirankull Xevott
380:(The Neighbour),
294:In the region of
133:
132:
126:Years active
71:Portuguese Empire
1361:
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1136:Writer/director
1121:Writer/director
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1093:Writer/director
1079:Writer/director
1065:Writer/director
1051:Writer/director
1037:Writer/director
1023:Writer/director
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925:Writer/director
911:Writer/director
897:Writer/director
883:Writer/director
869:Writer/director
855:Writer/director
851:Bhasailolo Nouro
841:Writer/director
827:Writer/director
823:Goencho Posorkar
813:Writer/director
735:Writer/director
707:
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693:Goa's liberation
588:Bhasailolo Nouro
529:parochial school
521:Portuguese India
501:Wilson Mazarello
358:Goencho Posorkar
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144:theatre director
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67:Portuguese India
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1019:Bebdeacho Estad
705:
631:Gõycho Posorkar
572:Gõycho Posorkar
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481:All India Radio
432:(Millionaire),
410:Bebdeacho Estad
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461:Ram Ram Bhaoji
398:Te Dogui Luche
366:Mottorkar Ponk
271:'s arrival at
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673:Easter Sunday
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623:
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608:social issues
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1301:. Retrieved
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269:Hindu priest
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180:movement on
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84:(1963-07-16)
82:16 July 1963
1334:Goan people
1329:1963 deaths
1324:1913 births
1218:Panaji, Goa
1103:Bhurgeankar
1061:Cheddvankar
921:St. Cecilia
523:during the
489:HMV Records
434:Bhurgeankar
422:Cheddvankar
382:St. Cecilia
356:(Old Age),
103:Occupations
95:Nationality
55:9 July 1913
1318:Categories
1303:2024-06-12
1275:2024-06-12
1148:References
1128:1961/1962
893:Aga Kumpar
659:Holy Cross
627:Mhatarponn
564:Mhatarponn
560:repertoire
552:Fernandes
374:Aga Kumpar
322:Dhobitalão
109:Playwright
51:1913-07-09
1339:Tiatrists
1089:Millionar
1033:Miss 1951
809:Matarponn
766:Untitled
748:Untitled
689:bhattkars
685:landlords
681:munddkars
430:Millionar
414:Miss 1951
354:Matarponn
194:patroness
129:1935–1962
879:Kuroikar
837:Munddari
669:Candolim
548:Analysis
513:Candolim
370:Kuroikar
273:Pomburpa
168:Candolim
118:composer
112:director
59:Candolim
799:Singer
784:Singer
772:Singer
754:Singer
677:tenants
537:Konkani
257:Konkani
235:at the
204:
201:transl.
1248:
907:Sezari
791:1940s
719:Notes
713:Title
604:tiatrs
598:, and
555:tiatrs
485:Panaji
477:tiatrs
463:, and
453:tiatrs
451:Three
446:tiatrs
440:, and
378:Sezari
350:tiatrs
346:tiatrs
340:, and
326:tiatrs
318:tiatrs
314:tiatrs
310:Bombay
301:tiatrs
281:tiatrs
261:tiatrs
228:tiatrs
217:tiatrs
186:tiatrs
164:Bombay
154:Career
115:singer
98:Indian
768:tiatr
763:1940
750:tiatr
745:1939
727:1935
716:Role
710:Year
697:tiatr
643:Goans
639:tiatr
533:hymns
497:tiatr
493:tiatr
473:tiatr
342:Poona
338:Parel
334:Mahim
330:Dadar
289:tiatr
277:tiatr
250:tiatr
246:tiatr
242:tiatr
233:tiatr
224:tiatr
213:tiatr
177:tiatr
1246:ISBN
722:Ref
306:Goan
182:Goan
79:Died
41:Born
671:on
625:In
618:'s
517:Goa
296:Goa
172:Goa
162:in
63:Goa
1320::
1293:.
1268:.
1230:^
1220::
1216:.
1188:^
1156:^
622:.
594:,
590:,
586:,
582:,
578:,
574:,
570:,
566:,
515:,
503:.
459:,
436:,
428:,
424:,
420:,
416:,
412:,
408:,
400:,
396:,
392:,
384:,
376:,
372:,
368:,
364:,
336:,
332:,
150:.
69:,
65:,
61:,
1306:.
1278:.
1254:.
687:(
679:(
404:,
267:(
53:)
49:(
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