Mike Mehta, born Miguel Transfiguraçaõ de Cristo Rodrigues on August 6, 1947, is a multifaceted figure in Goan cultural history—a former advocate, criminal lawyer, actor, playwright, and theatre director whose work has profoundly shaped the Konkani tiatr tradition. His contributions to Goan theatre, particularly through socio-political tiatrs, reflect a deep engagement with the concept of “Goan-ness”—a term encapsulating the unique cultural, linguistic, and historical identity of Goa.
This study explores how Mehta’s work embodies and articulates Goan-ness, drawing on his theatrical oeuvre to highlight themes of identity, language, and socio-political commentary that resonate with the Goan ethos.
Tiatr as a Canvas for Goan Identity
Tiatr, a traditional Goan musical drama form, is a vibrant expression of Goan culture, blending music, dance, and storytelling to address social, political, and cultural issues. Rooted in the Catholic community of Goa, tiatr has historically served as a platform for Goans to reflect on their identity, especially in the context of Portuguese colonial rule and post-liberation challenges. Mike Mehta’s tiatrs are a testament to this tradition, using the stage to explore what it means to be Goan in a rapidly changing socio-political landscape.
Mehta’s plays, such as Goenkaranchem Rogot (Goans’ Blood), Goem Viklem Ghanttar (Goa Sold to the Bell), and Canta E Beira (Sing and Dance), are steeped in themes that resonate with Goan-ness. These works address issues like the struggle for Konkani language recognition, political defections, and the preservation of Goan land and culture. Through these narratives, Mehta captures the essence of Goan identity—a blend of Indo-Portuguese heritage, linguistic pride, and resistance to external cultural and political pressures.
Linguistic Pride and Konkani Advocacy
A cornerstone of Goan-ness in Mehta’s work is his unwavering commitment to the Konkani language, which he saw as central to Goan identity. Konkani, spoken by approximately 66.11% of Goans as a first language, is a marker of cultural distinctiveness, yet it has faced historical suppression under various rulers, including the Portuguese.
Mehta’s tiatr Goenkaranchem Rogot advocates for the inclusion of Konkani in the Eighth Schedule of the Indian Constitution, a milestone achieved in 1992, reflecting the collective aspiration of Goans to elevate their language’s status. His reflection on why Bengali poet Rabindranath Tagore received a Nobel Prize for Gitanjali while Konkani writers remained unrecognized underscores his ambition to elevate Konkani literature and theatre to global prominence.
Mehta’s use of Konkani in his tiatrs, infused with Portuguese influences in vocabulary due to Goa’s colonial history, mirrors the linguistic hybridity of Goan Catholics. This linguistic choice is not merely artistic but political, asserting Goan-ness against the backdrop of Marathi and Hindi influences from neighboring states and the marginalization of Konkani under past regimes. By crafting dialogues and songs in Konkani, Mehta reinforces the language as a living, breathing vessel of Goan culture.
Socio-Political Commentary and Goan Concerns
Mehta’s tiatrs are deeply rooted in socio-political commentary, addressing issues that strike at the heart of Goan identity. His play Goem Viklem Ghanttar critiques political defections, a persistent issue in Goa’s political landscape, where elected representatives switch parties, often undermining the electorate’s mandate. This theme resonates with Goans’ frustration with political instability, which threatens the state’s cultural and economic autonomy.
Similarly, Goem Tum Roddo Naka (Don’t Cry, Goa) emphasizes the preservation of tenanted lands, highlighting the tension between development and the conservation of Goa’s agrarian heritage—a key aspect of Goan-ness tied to its lush landscapes and traditional livelihoods.
In Canta E Beira, Mehta explores Goan identity explicitly, weaving narratives that celebrate the state’s cultural vibrancy while questioning external influences that dilute it. These works reflect a broader anxiety about Goa’s transformation in the post-liberation era, with increased migration from other Indian states reducing the proportion of ethnic Goans to less than 50% of the population by 2021. Mehta’s tiatrs serve as a call to action, urging Goans to preserve their cultural distinctiveness amidst demographic and economic shifts.
Portuguese Legacy and Catholic Influence
Goan-ness, as depicted in Mehta’s work, is inseparable from the Portuguese legacy that shaped Goa for over 450 years. The Catholic influence, evident in the use of Latin script for liturgical purposes and Portuguese names among Goan Catholics, permeates his tiatrs. Mehta, a Catholic himself, proudly embraced the title of “tiatrist,” aligning with the community’s cultural practices. His adherence to Konstantin Stanislavski’s acting principles further bridges Western theatrical techniques with Goan storytelling, creating a unique fusion that reflects the Indo-Portuguese synthesis of Goan identity. Plays like Purtugez Kolvont of John Claro (Portuguese Artist), which ran for over 200 performances across Goa, Bombay, and Poona, celebrate this hybridity. The success of this play underscores the resonance of Portuguese-influenced narratives with Goan audiences, who see their history reflected in such works.
Mehta’s ability to weave Catholic sensibilities with universal themes of justice and identity makes his tiatrs a powerful medium for articulating Goan-ness.The Unrecognized TiatristDespite his significant contributions, Mehta’s work has not received formal recognition, a point of contention noted by Goan writer Fausto V. Da Costa in his 2023 article, “Has the Tiatr Fraternity Disowned Mike Mehta?” This lack of acclaim highlights a paradox in the preservation of Goan-ness: while Mehta’s tiatrs passionately advocate for Goan identity, the tiatr community’s failure to honor him reflects a broader challenge in valuing cultural contributors.
His relative anonymity, as noted by Fausto, contrasts with the impact of his work, which continues to resonate with audiences through its focus on Goan concerns.Mehta’s dedication to tiatr, despite the lack of awards, mirrors the resilience of Goan-ness itself—a spirit that persists in the face of external pressures, whether colonial, political, or cultural. His eleven tiatrs, including acclaimed works like Pavl Mhojem Chuklem and Grant Road, demonstrate a commitment to addressing unconventional and challenging topics, further cementing his role as a chronicler of Goan identity.
Conclusion
Mike Mehta’s work is a vibrant tapestry of Goan-ness, weaving together linguistic pride, socio-political critique, and the Indo-Portuguese cultural legacy. Through his tiatrs, he captures the essence of Goa—a state grappling with its colonial past, linguistic identity, and modern challenges of migration and development. His plays serve as both a mirror and a beacon, reflecting Goan anxieties and aspirations while urging audiences to preserve their unique identity. Though unrecognized by formal accolades, Mehta’s legacy endures in the hearts of Goans, where his tiatrs continue to sing the song of Goenkarponn—the true essence of being Goan.
