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LAKEER

Part V · 1940s–1977

Flags Change

New flags go up, and people who never moved find they belong to a different country. East Pakistan becomes Bangladesh in 1971, in a war told here in letters home. In Bombay, Goan musicians trained in parish schools write the sound of Hindi cinema and are billed as assistants. In December 1961 India takes Goa, and a Goan clerk in Kampala becomes Indian by an order made three months later and backdated. Ten years on, Uganda gives its Asians ninety days, and a Goan family leaves Kampala with 220 kilos and lands at Stansted in the rain.

  1. 19 EKATTUR 1970–1971 3:06
  2. 20 THE ARRANGER 1546–1977 3:40
  3. 21 IN ABSENTIA 1961–1962 3:22
  4. 22 NINETY DAYS 1972 3:20

4 songs · 13 min

Listen straight through, or choose a song. Words underlined in gold translate; a magnifying glass opens the sources.

19. EKATTUR

1971: three letters from a son to his mother, and a fourth he'll deliver himself

In November 1970 a cyclone struck the coast of East Pakistan, and relief came slowly from a government a thousand miles away. In December the Awami League won 160 of East Pakistan's 162 seats, a majority in the national assembly, and the assembly was postponed. On the night of 25 March 1971 the army moved on Dhaka. Nine months of war followed, with about ten million refugees in India, until Pakistan's forces surrendered at the Race Course on 16 December. The song is three letters from a composite student-turned-fighter to his mother: in April, in August, and in December. The last one he doesn't post. He brings it.

A patachitra painting of a young man seen from behind, writing by a hurricane lantern in a bamboo hut at night, with rain beyond the doorway.
Three letters home The song is three letters from a composite student-turned-fighter to his mother, written in April, August and December 1971, after published collections of letters from the war. AI illustration, in the manner of Bengal patachitra storytelling scroll (village patua painting)

Verse 1

A patachitra painting of the sea surging over a low island at night, palms bent flat, huts half under water and a boat caught in a tree.
The Bhola cyclone The Bhola cyclone of 12–13 November 1970 was one of the deadliest on record, and anger at the slow relief effort fed the election result. AI illustration, in the manner of Bengal patachitra storytelling scroll (village patua painting)

,April, seventy-one. I'm writing from over the border. Don't tell anyone where.You remember . The sea came over the islands in one night,and the relief took weeks, from a government a thousand miles away.Then we voted, and we won out of a hundred and sixty-two,and they put the assembly off., they came to the university.Soldiers of the Punjab Regiment. , where the Hindu boys lived.Ten of our teachers. Then .And the Minar, মা. Our Minar. Rubble, with a signboard on it that said mosque.

Refrain

Stay well, Ma.Eat something. Don't wait up.ভালো থেকো, মা।

Verse 2

A patachitra painting of a line of swimmers crossing a broad river in monsoon rain towards tents under mango trees.
Operation Jackpot Bengali naval commandos trained at a camp on the Bhagirathi at Plassey, where the Company took Bengal in 1757, and mined ships in several ports on 15 August 1971. AI illustration, in the manner of Bengal patachitra storytelling scroll (village patua painting)

মা,August. Monsoon. They've taught us to swim., on the river where Clive took Bengal in seventeen fifty-seven.Each of us gets fins, a knife, swimming trunks, and a mine.The signal is a song on the radio. When it plays, we go.Fifteenth of August, India's birthday, we swim out into the harbour in the dark,put the mines on the hulls, swim back, and the ships go down behind us. over the border now, in the rain.Don't write back. The post opens letters.

Refrain

ভালো থেকো, মা। Stay well, Ma.Eat something. Don't wait up.ভালো থেকো, মা।

Verse 3

A patachitra painting of a desk with a blank-keyed typewriter, folded spectacles and a cold cup of tea beside an empty chair and an open door.
A teacher's empty chair Munier Chowdhury, playwright and designer of the Munier Optima Bengali typewriter keyboard, was abducted on 14 December 1971, and his body was never identified. AI illustration, in the manner of Bengal patachitra storytelling scroll (village patua painting)

মা,Sixteenth of December. I'm in Dhaka. It's over., where they told us Urdu only,where we were told ., both born in the Punjab. The one signing for India was born in a village that's in Pakistan now.But two days before, on the fourteenth, :teachers, doctors, writers, taken from their houses.My teacher. . , who taught me Bangla,who wrote a play in jail for the dead of fifty-two, who redesigned the typewriter.They haven't found him. They're finding the others in the brickfields at .And in Mirpur, the Urdu-speaking families, the ones they call ,are behind locked doors, and some of our boys are knocking.

Refrain

A patachitra painting of a woman in a red-bordered sari watching from a doorway as a lantern-lit boat crosses the river at dusk.
The sixteenth of December Nine months of war, with about ten million refugees in India, ended when Pakistan's forces surrendered at the Race Course in Dhaka on 16 December 1971. AI illustration, in the manner of Bengal patachitra storytelling scroll (village patua painting)

I'm coming, Ma.I won't post this one. I'll bring it.Put the rice on.

See the real thing

Side-rooms

The Concert for Bangladesh

On 1 August 1971, at Madison Square Garden in New York, Ravi Shankar and George Harrison staged two benefit concerts for the refugees, with Bob Dylan, Eric Clapton and others. It was the first benefit concert of its kind. The live album won a Grammy.

Further reading

  • Srinath Raghavan, 1971: A Global History of the Creation of Bangladesh (Harvard University Press, 2013).
  • Jahanara Imam, Of Blood and Fire: The Untold Story of Bangladesh's War of Independence, trans. Mustafizur Rahman (1989).
  • Gary J. Bass, The Blood Telegram (Knopf, 2013).

20. THE ARRANGER

The Goan musicians who wrote the parts for Hindi cinema and were left off the poster

Portuguese Goa's parish schools taught music: reading, writing, sums, and Latin church music with solfège. Centuries of that produced a generation of Goan musicians who could read Western notation and play in orchestras, and in the 1940s and 50s they went to Bombay. They played in the dance bands, and then, in the film studios, they wrote the parts. The music director's name went on the poster, and the arrangers were billed as assistants, or not at all. This is the album's joy track and the most arranged thing on it. It credits four of them by name: Chic Chocolate, Sebastian D'Souza, Chris Perry and Anthony Gonsalves.

A poster-style painting of a small boy holding a violin on the steps of a white Goan church between paddy fields and palms at sunset.
The parish schools Parish schools in Portuguese Goa taught reading, writing, sums and church music; the song follows the usual account, which dates the royal order to 1546. AI illustration, in the manner of hand-painted 1960s Bombay film poster

Credits

  1. With
  2. arrangerSebastian D'SouzaReis Magos
  3. trumpetChic Chocolate (Antonio Xavier Vaz)Aldona
  4. conductor, uncreditedChris PerryMargão
  5. violin, and his studentsAnthony GonsalvesMajorda
  6. And the rest of the string section

Verse 1

A poster-style painting of a ballroom seen from above, couples dancing before a band in white jackets, with the night sea beyond tall windows.
Bombay's jazz age From the 1930s Goan musicians filled the sections of the bands in Bombay's hotels and ballrooms, then led their own. AI illustration, in the manner of hand-painted 1960s Bombay film poster
A poster-style painting of a violin section seen from behind, bows raised together, under coloured spotlight beams in a film studio.
Whose bit is it? The preludes, interludes and bridges were very often written by the arranger; the music director's name went on the poster, and the arrangers were billed as assistants. AI illustration, in the manner of hand-painted 1960s Bombay film poster

Fifteen forty-six. The King of Portugal writes to Goa:. Reading, writing, sums, and music.Latin music. Do, re, mi, in a village between the paddy and the .Any boy who can sing twelve Masses gets handed a violin.Four hundred years of that, and by the fortiesBombay's dance bands are full of Goans reading the dots.The music directors know their . The Goans know the page.The star gets the close-up. The poet gets the words. The composer gets the poster.Somebody still has to write down what the violins do.

Hook

— the name on the poster. — the poet's.The bit before the verse, the bit in between, the bridge?. Assistant. A boy from Goa who could read the dots.

Interlude

(This bit! This bit!)

Verse 2

A poster-style painting of a trumpet lying on a chair with a saxophone hanging from its back, under a warm spotlight.
Uncredited on the podium Chris Perry, Goan bandleader, trumpeter and saxophonist, is reported to have conducted the orchestra on Kabhi Kabhie and Trishul without his name on either. AI illustration, in the manner of hand-painted 1960s Bombay film poster

That bit? Somebody from a village wrote it.Antonio Xavier Vaz from Aldona blows trumpet at the Taj, and they call him ,the Louis Armstrong of India. He swings for , and Hindi songs start to bounce., Reis Magos: twenty-four years beside .Job title? Assistant. out of Margão switches from trumpet to sax in the middle of a song,conducts the orchestra on , conducts it on ,and his name's not on either.Then he goes home and fights to make records in . .

Hook

संगीत — the name on the poster.गीत — the poet's.The bit before the verse, the bit in between, the bridge?सहायक. Assistant. A boy from Goa who could read the dots.

Verse 3

A poster-style painting of a giant painted Easter egg standing open and empty under a spotlight on a deserted film set.
My name is Anthony Gonsalves Anthony Gonsalves of Majorda taught violin to Pyarelal, whose 1977 song "My Name Is Anthony Gonsalves", from Amar Akbar Anthony, carries his teacher's name. AI illustration, in the manner of hand-painted 1960s Bombay film poster

, Majorda. His father leads the choir at Mãe de Deus.He teaches violin in Bombay, and one of his students is .Fifty-eight, , a Goan conducts a symphony orchestra,and the soloist is .Mangeshkar. It means "of Mangesh", in the night.Both Goas, one stage.Seventy-seven, Pyarelal names a song after his violin teacher,Amitabh climbs out of , and the whole country sings a Goan's namewithout knowing he's a real man.

Hook

संगीत — the name on the poster.गीत — the poet's.The bit before the verse, the bit in between, the bridge?Anthony. Sebastian. Chic. Chris.

Outro

Sebastian D'Souza, Reis Magos.Chic Chocolate, Aldona.Chris Perry, Margão.Anthony Gonsalves, Majorda.And the rest of the string section.. Dev borem korum.

See the real thing

Side-rooms

Bombay's jazz age

From the 1930s, bands from America and Europe played Bombay's hotels and ballrooms, and Goan musicians filled their sections, then led their own. When the ballrooms declined after independence and prohibition, many of those musicians moved into the film studios, which is how swing got into Hindi film songs.

Further reading

  • Naresh Fernandes, Taj Mahal Foxtrot: The Story of Bombay's Jazz Age (Roli Books, 2012).
  • Gregory D. Booth, Behind the Curtain: Making Music in Mumbai's Film Studios (Oxford University Press, 2008).

21. IN ABSENTIA

Goa, December 1961: a clerk in Kampala changes nationality in his sleep

On 18 December 1961 Indian forces began the main offensive into Portuguese Goa. The Governor-General surrendered on 19 December, and 451 years of Portuguese rule ended. Three months after that, an order from the Government of India deemed every person born in Goa before 20 December 1961, with their children and grandchildren, to have become Indian on that date. The test was birth and descent, not where you lived. So it reached a Goan clerk in Kampala, about 3,000 miles away, exactly as it reached a farmer in Bardez. Portugal said nothing had changed. The hook is the Order itself, read like a notice. The song ends on the stamp.

A line engraving of green hills, bungalows and telegraph poles under lifting rain clouds, with a flowering flame tree in the foreground.
A clerk in Kampala The song's Goan clerk in Kampala is composite, living about 3,000 miles in a straight line from Goa. AI illustration, in the manner of mid-century postage-stamp line engraving (intaglio, recess-printed), vignette only

Verse 1

A line engraving of a man seen from behind in a cane armchair beside a shortwave radio on a sideboard, in lamplight.
Goa, December 1961 On 17 December 1961 India's army moved into Portuguese Goa, and about 36 hours later the Governor-General surrendered, ending 451 years of Portuguese rule. AI illustration, in the manner of mid-century postage-stamp line engraving (intaglio, recess-printed), vignette only

Kampala. December, sixty-one. The short rains are ending.A in , clerk, post and telegraph.Evening. Slippers. The shortwave on the sideboard.Seventeenth: . Forty-five thousand troops against three and a half thousand Portuguese.Lisbon tells to fight to the death.Thirty-six hours. Nineteenth, half past eight at night, he signs anyway., over. Lisbon throws him out of the army for it.. Goem. The village on his passport is India now, an ocean away,and he's sitting in his slippers.

Hook

Every person who, or either of whose parents, or any of whose grandparents,was born before the twentieth day of December, nineteen sixty-one,in the territories now comprised in the union territory of Goa, Daman and Diu, to have become a citizen of India on that day.

Verse 2

A line engraving of a farmer ploughing paddy with buffalo, a white church and coconut palms behind, and the sea along the horizon.
The same sentence The Order's test was birth and descent, not where you lived, so it reached a clerk in Kampala exactly as it reached a farmer in Bardez. AI illustration, in the manner of mid-century postage-stamp line engraving (intaglio, recess-printed), vignette only

The Order's made on the twenty-eighth of March. It says he changed on the twentieth of December.Three months before it existed, it had already happened to him.Birth and descent. Not where you live.A farmer in Bardez and a clerk in Kampala, the same sentence.He can say no. In writing. To . Within one month.An office he's never seen, in a town he's never been to, on the far side of the ocean.And Lisbon? . He's . He always was.Two countries claim him, and neither will admit the other one is there.

Hook

Every person who, or either of whose parents, or any of whose grandparents,was born before the twentieth day of December, nineteen sixty-one,in the territories now comprised in the union territory of Goa, Daman and Diu,shall be deemed to have become a citizen of India on that day.

Verse 3

A line engraving of a crowd seen from behind on a hillside at night, watching fireworks over a distant flagpole.
Uganda, October 1962 Uganda became independent on 9 October 1962; residents who wanted Ugandan citizenship had two years to register and couldn't keep another nationality. AI illustration, in the manner of mid-century postage-stamp line engraving (intaglio, recess-printed), vignette only

Ninth of October, sixty-two. . Another one.Want to be Ugandan? Two years to register, and give up everything else. No dual nationality.Twenty-five thousand people apply. By the deadline, about half have been looked at.So on the sideboard, next to the shortwave: a Portuguese passport,an Indian citizenship he never asked for, and a Ugandan form, pending.Three countries in ten months. Nobody asked him once.

Hook

Every person who, or either of whose parents, or any of whose grandparents,was born before the twentieth day of December, nineteen sixty-one,shall be deemed to have become a citizen of India on that day.He slept through it.

Outro

A line engraving of a half-open drawer holding a blank sealed envelope and a fountain pen, beneath the edge of a radio.
The right to say no Anyone who didn't want Indian citizenship had to say so in a written declaration to the Administrator in Panjim, within one month of the Order's publication. AI illustration, in the manner of mid-century postage-stamp line engraving (intaglio, recess-printed), vignette only

The letter to Panjim is still in the drawer when the month runs out.Ten years later, .

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Side-rooms

Before 1961

Goans had campaigned against Portuguese rule long before India's army arrived. Tristão de Bragança Cunha, often called the father of Goan nationalism, was arrested in 1946 and deported to Portugal. In 1955 unarmed satyagrahis crossing into Goa from India were fired on by Portuguese police.

Pio Gama Pinto

Pio Gama Pinto (1927–1965), born in Nairobi to Goan parents, campaigned against colonial rule in Goa and then in Kenya. The British detained him during the Emergency, from 1954 to 1959. After Kenya's independence he became a member of parliament, and he was assassinated outside his home in Nairobi on 24 February 1965.

After 1961: the Opinion Poll and Konkani

On 16 January 1967 Goans voted in an opinion poll on whether to merge with the neighbouring state of Maharashtra. They chose to stay separate. In 1987 Goa became a state, and Konkani, the language the 1684 order had tried to end (FERNANDES), became its official language.

Further reading

  • Margret Frenz, Community, Memory, and Migration in a Globalizing World: The Goan Experience, c. 1890–1980 (Oxford University Press, 2014).

22. NINETY DAYS

The 1972 expulsion from Uganda, as a list of what fits in 220 kilos

On 4 August 1972 Idi Amin announced that Uganda's Asians had ninety days to leave. He said the order came to him in a dream. Each person could take a small sum of money and 220 kilos. Around 27,000 to 29,000 came to Britain before the November deadline, the first 193 of them landing at Stansted on 18 September. Their shops and farms were handed out. The narrator is a composite Goan daughter. Her song is a list: everything the family owns, weighed on the bathroom scale, and then everything taken from them at the roadblocks on the way to the airport. The hook is line 10 of the prologue.

A flat poster-style image seen from above of a sewing machine, accordion, pressure cooker and folded sari around a suitcase on a bathroom scale.
Two hundred and twenty kilos Each person expelled could take a small sum of money and 220 kilos; the song's family, and every weight it sings, are composite and illustrative. AI illustration, in the manner of Ugandan barkcloth (lubugo) printed with 1970s airline travel-poster shapes

The suitcase

An illustrative household. Weights from the song where it gives them. The 220 kg allowance is as usually given.
ItemWeight
Pai's Singer, the hand-crank 14 kg
The wedding sari 1 kg
The rosary, the missal, the crucifix off the wall 3 kg
Photos in a biscuit tin 2 kg
The accordion 9 kg
The pressure cooker 4 kg
The radio 5 kg
The dining table and six chairs 60 kg
The fridge 55 kg
The beds and the bedding 70 kg
Clothes for the family 40 kg
Books and school books 25 kg
Pots, pans and the good plates 20 kg
The bicycle 15 kg
The watch, the ring 0.1 kg
The gold, sewn into Mãi's hem 0.5 kg
Allowance220 kg

Verse 1

A flat poster-style image of a black hand-crank sewing machine stitching a length of yellow satin beside a sunlit window.
The Goan Institutes Goan Institutes were founded in Entebbe, Kampala and Nairobi, and for decades they excluded tailors, cooks and stewards; the tailors founded their own society. AI illustration, in the manner of Ugandan barkcloth (lubugo) printed with 1970s airline travel-poster shapes

Fourth of August, seventy-two. The radio: .Ninety days. , the list gets longer: India, Pakistan, Bangladesh.So the suitcase is on the bathroom scale, and the whole house is on the kitchen floor.. Start.'s Singer, the hand-crank: fourteen.He sewed the dresses for dances, and the Institute didn't take tailors.The wedding sari: one. The rosary, the missal, the crucifix off the wall: three.Photos in a biscuit tin: two. The accordion: nine.The pressure cooker, because says so: four.Joseph carries it all to the hall. Forty-one years old, and Mãi still calls him the houseboy.

Hook

Ninety days. A hundred and twenty dollars.A Portuguese name on the side of a suitcase.Who was holding the pen?

Verse 2

A flat poster-style image of a small car approaching a striped barrier pole on a straight road beside a lake under a golden sky.
The road to Entebbe On the way to Entebbe, Uganda's international airport on Lake Victoria, the song's family loses what it carries, piece by piece, at the roadblocks. AI illustration, in the manner of Ugandan barkcloth (lubugo) printed with 1970s airline travel-poster shapes

On the radio they call it . Lots of fat. shops and farms and firms, handed out.Joseph carries the cases to the car and says ,and I realise I never asked his surname.. First roadblock, the takes the watch.Second roadblock, the ring.Third roadblock, the gold Mãi sewed into her hem.Fourth roadblock, the hundred and twenty dollars.By the airport, the list is one suitcase and the name on the side.

Hook

Ninety days. A hundred and twenty dollars.A Portuguese name on the side of a suitcase.Who was holding the pen?

Verse 3

A flat poster-style image of a single suitcase on a wet runway, an unmarked airliner and a line of small figures walking away in grey rain.
Stansted, 18 September 1972 The first flight of expellees landed at Stansted on 18 September 1972 with 193 people aboard, as widely reported; around 27,000 to 29,000 came to Britain before the deadline. AI illustration, in the manner of Ugandan barkcloth (lubugo) printed with 1970s airline travel-poster shapes
A flat poster-style image of an empty army hut with two rows of iron beds, each with one folded grey blanket, and rain on the window.
A blanket each Sixteen temporary resettlement centres, many of them on disused military bases, were opened in Britain for the arrivals from Uganda. AI illustration, in the manner of Ugandan barkcloth (lubugo) printed with 1970s airline travel-poster shapes

Eighteenth of September. . Rain on the runway.A hundred and ninety three of us off the first plane. so they wouldn't have to take us.They take us anyway: , a blanket each. in the Ugandan papers. Don't come here.Mãi counts the twice.A man with a clipboard asks us where we're from.In Kampala, we were the ones with the clipboards.

Hook

Ninety days. A hundred and twenty dollars.A Portuguese name, spelt wrong on an English form.Who was holding the pen?

See the real thing

Side-rooms

Where people went

Before the expulsion there were somewhere between 55,000 and 80,000 Asians in Uganda. Most with British passports went to Britain. Thousands went to Canada, India, Pakistan, Kenya and elsewhere, and some thousands left stateless were taken in by UN camps in Europe. Add up the destination figures and they fall well short of the total.

Caste, carried across

Conversion in Goa didn't end caste. Goan Catholic communities kept caste distinctions for centuries, in marriage, in church confraternities and in clubs, and they travelled with Goans to East Africa. Historians of the Goan diaspora connect the Institutes' exclusion of tailors, cooks and stewards to both caste and class.

Further reading

  • Mahmood Mamdani, From Citizen to Refugee: Uganda Asians Come to Britain (Frances Pinter, 1973).
  • Yasmin Alibhai-Brown, No Place Like Home (Virago, 1995).

End of Part V.