Tambde Roza Tuje Pole - Mando

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 Tambde Roza Tuje Pole 

Your cheeks are like red roses

Type: Mando

Source: Lourdinho Barreto. Goemchem Git
Musical form: Binary
Literary form: Dialogue
Translated by Lourenço de Noronha, Vienna

OriginalTranslationTambdde roza tuje pole.
Dukhanim bhorleat mhoje dolle.
Papachem licens asa zalear polle,
Kazar zauncheac mhoje kodde.

Papachem licens asa rê mhaka.
Kazar(u) zauncheak rautam tuka.
Tum tor kazar zaina zalear moga,
Mhoji bhirmot futt'oli tuka.

Soglle chole ektaim zaun,
Adorar(u) kori mhaka.
Zauncheak sasnak potin tuji,
Ballgun dhovorlol' mhaka.
(You left me ...?)

Papan kazar keli mhaka.
Sukachi dukant vhorun ghatli.
Mhotte auliste bab(u) ieun hanga,
Perturbar(u) mhaka keli.Your cheeks are like red roses. 
My eyes are full of tears. 
See if you got the permission of your father, 
To get married with me. 

I have got my father's permission. 
I am waiting to get married with you. 
If you do not get married with me, my dear, 
My curse will come upon you. 

All the boys used to get together, 
And adore (crave for) me. 
I wanted to be your wife for ever, 
(You left me ...?) 

My father got me married. 
He took me away from happiness and put me into sorrow. 
Grown-up boys came here, 
And disturbed my mind. 

 Tambdde Rozad Tuje Pole 

Your cheeks are red like roses

Type: Mando

Source: F.X. Oliveira.
Musical form: Binary
Literary form: Dialogue
Translated by Romano Abreu, Moira

OriginalTranslationCheddo/ Boy:
Tambdde rozad tuje pole,
Chouncheak distai kitle bore.
Papachem licens asa zalear polle,
Kazar zanvcheak moje kodde.

Cheddun/ Girl:
Papachem liçens asa-rê maka,
Kazar zanvcheak rautam tuka.
Sang tori kednam kazar dorchem moga,
Vengent dhorunk rautam tuka.

Cheddo/ Boy:
Aikon tujim mogall utram,
Pois thaun tuka eok beij ditam.
Tukach' lagon ankvar anvum raualam,
Govai jardintulim fhulam.

Cheddun/ Girl :
Govai naka mojea anjea,
Mojem kalliz sangta maka.
Abolim, rozam, xinvtim gehe-rê tuka,
Sukh sontos dhi-rê maka.Cheddo/ Boy:
Your cheeks are red like roses,
They are beautiful.
See if your daddy is permitting you,
To get married with me.

Cheddun/ Girl:
Daddy´s permission is given to me,
I am waiting to marry you.
Tell me, my love, when our marriage should be held,
I am waiting to embrace you.

Cheddo/ Boy:
Hearing your loving words,
I am sending you a flying kiss,
I remained a bachelor because of you,
These garden flowers are my witnesses.

Cheddun/ Girl :
I don´t want witnesses, my angel,
My heart is whispering to me,
Take these abolim, Marygold and Crysantemum for you,
And give me joy and happiness.

 Tambde Rubim (Rozad) Tuje Pole 

Your cheeks are like red rubies (roses)

Type: Mando

Source: J.A.A. Fernandes, vulgo: André Xett (1884-1980).

Musical form: Binary

Literary form: Dialogue

Translated by António Vicente de Noronha (1895-1982)

Cheddo/ Boy:

Tambde rubim (rozad) tuje polé.

Your cheeks are like red rubies.

Chouncheac distai kitule boré.

They are so beautiful to look at.

Papachem liçens assa zalear pollé,

See if you have the permission of your father,

Cazar zaũcheac mojecode.

To get married with me.

Cheddun/ Girl:

Papachem liçenço assa ré maca.

I have got my father's permission.

Cazar zãuncheac rautam tuka.

I am waiting to get married with you.

Tum mojê laguim cazar zainam zalear moga.

If you do not get married with me, my dear,

Môji birmôt futtoli tuka.

My curse will come on you.

Papan cazar maca kêli,

My father got me married,

Emcondanto vorun gaili.

And put me into hell.

Motté auliste babu ectaim zaunum,

Grown-up boys joining together,

Maca porturbaru kêli.

They disturbed my mind.

 Tambrhe Roznche Tuje Pole 

Your cheeks are of red roses

Type: Mando

Source: Pereira, José/ Martins, Michael.

Lyrics and Music: Ligório Costa (1851-1919)

Date: Composed between 1864 and 1900.[105]

Musical form: Binary

Literary form: Monologue

Translated by José Pereira

Tambrhe rozanch' tuje pole,

Your cheeks are of red roses,

Taja bemfeit tuje dolle.

And even more beautiful are your eyes.

Te tuj' dolleanko tsoichak gô,

To see those your eyes,

Yetai bambnnanle tsole.

Brahmin boys come.

Vankrhe-tinkrhe kortai mage,

They part their hair in different dashing styles (lit. They make crooked partings)

Inchan-tinchan mot-ttai dolle.

And cast side glances this way and that.

Te tuj' mogache abras gô,

Those lovely embraces of yours,

Yetai muja dolleankorhe.

Come up before my eyes.

Kituly'm bemfeit tujem sarkem.

How beautiful is your face.

Tsoilea' dista' estrel sorginchem.

It is really like a star of heaven!

Atam kitem kon-n sandduchem,

How can I then lose (lit. let go),

Em mannink gopantulem.

This jewel from my bosom?

Tuka geunum gô gopantum,

Taking you into my arms,

Orgam y aum-um ditam.

I give thanks.

Tuzo ugddas yetorich gô,

When the thought of you comes to me,

Ulas devako bettoitam.

I offer my sighs to God.

The Mando

The mando is a dance song from Goa in Konkani. Although it is popular among all the social stratas of the Konkani-speaking peoples and many of the composers have remained anonymous, it should not be classified as a folk song. It is an art song composed for particular occasions. There have been many attempts to explain the origin of the word mando. One of them refers to the mand which was traditionally an open space of about 100 sq.m. where religious ceremonies were held and folk dances were performed. The text form of the mando is based on that of the traditional Konkani song ovi, which was usually sung at weddings

Most of the the traditional mandos, which gained the term “classical”, were composed in the 19th century. The polka and the valsavina (Vienna Waltz) with its three-four rhythm seem to have found their way to Goa. The mando was originally composed and danced by the Brahmin aristocracy of Goa, mainly of Salcete, whose spacious mansions had a big hall for festive occasions. A memorable moment in the history of the family was the 
bridal mando. The mando reflects the tranquil and leisurely character of this aristocracy. The Goan woman in the mando reflects the ideals and virtues then ascribed to her, namely self-sacrifice, piety and motherhood.

As a dance the mando is a square type (double file), men facing the women. When the partners come face to face in the centre, they retreat to the starting point, then move forward again crossing to the opposite side. The men then flick their handkerchiefs while the women open their fans. All in all, it is a stately and leisurely dance. The melody of the mando is slow in movement, with a soft and languishing atmosphere.

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