1084:. Following this, he pursued his musical journey by joining the band V4U where he continued to display his drumming skills. Towards the end of his life, Moraes eventually withdrew from active involvement in the Konkani theater scene. In a personal account he penned around 2007, Moraes noted that his advanced age had rendered him unable to play musical instruments, and that he had grown increasingly dependent on his personal physician, Dr. Telaulikar, to whom he entrusted some of his unpublished biographical information. Moraes died on 14 January 2012, aged 87, at his residence in Pulwado, Benaulim.
1018:. Moraes was meticulous in ensuring that each time Miguel participated in his theatrical productions, they were advertised under the name of his brother, known as "Xempea Minglilo Fell". On 25 March 1990, Miguel died at his residence in Pulwado, Benaulim, at the age of 68. Moraes married Antonieta Fernandes, a
311:
before becoming a seaman, took on the responsibility of caring for him and his other siblings. As Moraes and his siblings were still minors, their mother Conceição struggled to support the family on her own. To supplement the household income, Conceição arranged for her children to
878:, as women were often reluctant to participate in these productions. Moraes made concerted efforts to involve female performers, and was successful in casting Anita Pereira (later known as Anita de Chinchinim or Anita de Goa) in the lead role of his 1959 production
678:, and produced his own original folk plays. Moraes exhibited proficiency as a lyricist, often crafting new songs upon request. He launched three albums featuring his original musical creations, for which he also orchestrated the arrangements. The album titles were
411:), introduced him to this theatrical tradition. Moraes soon developed a reputation of a writer, crafting several original carnival plays over the course of two years. His carnival plays, which featured strong musical elements, gained popularity among
339:
during early morning hours on days of religious or cultural celebrations), village festivals, and funeral ceremonies. This musical work provided Moraes with a source of income. Moraes' trumpet playing caught the attention of John
Rodrigues of
31:
471:
for the performers in his plays. Moraes left a significant mark on Goan carnival traditions through his body of dramatic and musical work, which helped shape the cultural landscape of the region during the mid-20th century.
1034:
before their church wedding in Paroda. Together, they had five children three sons, Mario (born 1967), Carlito (born 1962), and Pedro (born 1964), as well as two daughters, Sanita (bom 1969) and
Kuanita (born 1972).
962:
model, following Moraes' lead, was readily adopted by the succeeding generation of acclaimed mestris. These included
Rosario Rodrigues, Minino de Bandar, Ligorio Fernandes, R. Moraes, A.M. Pacheco, Rosario Dias,
307:, mastering a wide range of disciplines over a period of about 1 to 2 years. At a tender age, Moraes experienced the death of his father, Paulo. His older brother Tiburcio, who had previously worked as a
716:, Epa de Paroda, Vitorino Pereira etc., until Rosario Rodrigues subsequently pioneered the development of the non-stop drama style. By the end of his career, Moraes had written and directed more than 50
1248:
851:
productions utilized a whistle or other auditory signal to cue the musicians to begin playing the introductory music. Moraes moved away from this practice, instead providing the musicians with
1302:
1218:
867:. Moraes diverged from this customary practice by meticulously designing each actor's costume to suit the specific character they were depicting during their performance.
955:), each lasting around 90 minutes. One play would be staged before the intermission, and the other after it, leading to a combined duration of slightly over 3 hours.
335:
leaders in his vicinity and nearby areas to showcase his trumpet skills during various cultural events like "alvorada" (a musical tradition performed by residents of
929:
theater tradition were inspired to emulate the production qualities and innovations pioneered by Moraes. This led to the widespread adoption of a new format for
602:
were affiliated with Moraes' theatrical ensemble. Moraes' pioneering innovations and adaptations played a pivotal role in the growth and popularization of the
1355:
770:
between song verses, enhancing the overall artistic expression of the performance. Furthermore, Mazarello's account highlights Moraes' modernization of the
1066:, and carpenter. Moraes had two sons who followed in his footsteps in the Konkani performing arts. His son Mario, more commonly known as Seby, worked as a
331:
after returning from a sea voyage, within a year or two of completing schooling. Moraes quickly mastered the instrument. He was subsequently recruited by
1240:
906:
as the accepted name for this evolving performance style. Moraes' innovations are credited with elevating the overall quality and professionalism of
523:
similarly emulated this behavior. Another contribution by Moraes was his engagement of the first female artist, Anita de
Chinchinim, to perform in a
1350:
826:. Through his innovative approaches, musical sensibilities, Moraes played a pivotal role in elevating the production values and artistic merit of
747:
tradition, pushing it towards higher levels of refinement and complexity. One of Moraes' key innovations was the replacement of the traditional "
811:. This evolution was made possible by Moraes' proficiency in music, as he was a musician with the ability to read, write, and create
1210:
975:. However, the mestris of this era still strove to elevate the Konkani theatrical tradition to the standards set by the original
613:
bearing his name, "A. Moraes," known for its sought-after performances. However, his primary artistic focus was on his work as a
855:
or keyword indications within the dialogue to trigger the start of the musical introduction. Another longstanding convention in
1104:
455:
were particularly beloved by carnival attendees. In addition to his playwriting, Moraes also made innovations in the realm of
280:. When Moraes was 15 years old, he was admitted to this same parochial school by his older brother Tiburcio, who worked as a
385:
celebrations and performances. His initial progression was being involved participating in performances at carnival
735:, Moraes was the individual who dedicated himself to systematically improving the quality and presentation of the
287:
During his time as a student, Moraes received instruction in several musical disciplines. He learned to play the
981:
works. Ongoing efforts towards refinement and improvement were required to fully realize that level of quality.
344:, the brother of another popular local musician named Abdon Rodrigues. John formally invited Moraes to join his
1112:
272:(born 1922). At the age of 10, his family moved to the same town where he commenced his education at the local
727:
has documented the contributions of Moraes to its development. Mazarello's research indicates that while the
1196:
348:. Subsequently, Moraes transitioned his focus from a music career spanning 1944 to 1949 towards engaging in
1295:"Directorate of planning, statistics and evaluation and office of the chief registrar of births and deaths"
557:" - a distinct type of khell performance. For this pioneering work, he is regarded as the founder of the
1270:
1015:
639:
212:, was an Indian playwright, theatre director, trumpeter, bandleader, and composer known for his work in
694:
scholar
Michael Jude Gracias, Moraes made significant strides in transforming the traditional carnival
921:
The success of Moraes had a significant impact on the broader theatrical landscape of the time. Other
1340:
1335:
1330:
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in
Konkani theater, contributing to the commercial success of these playwrights and their respective
863:, whereby each performer in the troupe adorned themselves in corresponding cotton garments styled as
759:
1038:
Antonieta, the wife of Moraes, frequently took part in Moraes's theatrical works, commonly known as
543:, which was presented on a custom-built stage by Domingo Pidade "Dumpidad" Sequeira at Sirvoddem in
1294:
1014:. The two brothers shared a close fraternal bond, with Miguel exclusively participating in Moraes'
871:
812:
752:
296:
967:, Christopher Leitão, and Pascoal Rodrigues. For over a decade, this format remained the dominant
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378:. He originated from a locality within the region known as a significant center for traditional
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were performed at various venues in the city, including P. T. Bhangwadi, St. Mary's Hall
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in the same production. This marked a departure from the previously all-male casts of
268:, Goa. His three older brothers were Tiburcio (born 1918), Zpeferino (born 1916), and
1324:
941:, Succur Piedade Fernandes, and Vitorino Pereira began branding their productions as
791:
739:. Mazarello notes that Moraes was singularly committed to enhancing the standards of
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408:
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241:
58:
997:. His elder brother, Miguel Morais, was also actively involved in the production of
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to symbolize this fusion. This new terminology was subsequently adopted by other
327:
Moraes' musical talent was recognized by his brother
Tiburcio, who brought him a
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performance traditions in the mid-20th century. Prior to Moraes' interventions,
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708:". This innovative staging format was subsequently continued by other popular
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performances. In
February 1959, Moraes introduced the first performance of a
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395:. Moraes began his career by creating music and content for carnival-themed
341:
292:
223:
30:
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productions. Whereas previously such works had simply been referred to as "
551:
theatrical form. Moraes is credited as the first individual to produce a "
527:
production in 1959, he also introduced another female cast, Milagrin from
1054:
plays) in which
Antonieta showcased her talent was the production titled
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Paulo Morais and Conceiçaō Maria
Fernandes, his mother being a native of
88:
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as they grew older. After completing his schooling, Moraes finished his
1075:
783:
702:
performance into a more refined stage production, pioneering the term "
544:
508:
328:
240:
Moraes was born as Antonio Morais on 7 February 1922 in the village of
1062:, Moraes engaged in several other occupations, including as a tailor,
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productions, setting a new standard that was widely emulated by other
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658:. He frequently showcased his talents as a performer in the annual
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1074:. Moraes' other son, Carlito, showcased his musical talent as a
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performances. He aimed to elevate the artistic standards of the
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484:
412:
994:
915:
589:, among others. During their time in Bombay, the popular Goan
375:
336:
245:
62:
830:
performances, leaving a mark on this theatrical tradition.
208:; 13 July 1924 – 14 January 2012), known professionally as
833:
Moraes made several contributions to the evolution of the
467:
cloth costumes, Moraes began creating more elaborate and
894:
theatrical styles, Moraes started labeling his works as
565:
productions initiated by Moraes expanded to the city of
503:
as well. He also broadened the instrumental palette of
483:
productions had historically utilized the instruments "
364:
Moraes played a prominent role in the mid-20th century
802:-mirroring the musical accompaniment commonly used in
463:
productions. Dissatisfied with the traditional use of
882:, marking the first time a woman had appeared on the
475:
Moraes introduced significant changes to traditional
1058:(Engulfed in Greed). In addition to his work in the
670:work, Moraes also created musical content for Goan
185:
177:
154:
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40:
21:
1239:da Silva, Pe. Edmundo José Miguel (14 June 1961).
1010:. Miguel was more widely known by his stage name,
547:. This innovation in staging helped elevate the
712:artists like A. M. Pacheco, Ligorio Rodrigues,
947:. The fundamental framework of the innovative
925:(playwrights or directors) working within the
886:stage. Recognizing the necessity to unify the
415:audiences. Some of his popular works included
1026:, Goa, on 9 May 1961. The couple first had a
989:Moraes resided in the locality of Pulwado in
8:
1149:TIATR 125th Anniversary Commemorative Volume
29:
18:
16:Indian playwright and director (1924–2012)
958:The concept of staging two plays in the
874:was also a well-established practice in
1093:
815:, having studied under the tutelage of
1211:"Prosperity of Khell Tiatr in Kuwait"
1186:
951:format comprised two distinct plays (
7:
1305:from the original on 23 January 2024
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782:, incorporating instruments such as
609:Moraes founded an acclaimed wedding
1356:Dramatists and playwrights from Goa
1191:Mazarello, Wilson (10 March 2018).
1115:from the original on 10 August 2023
937:" (street plays), playwrights like
731:had already been incorporated into
626:productions. Moraes served as the
14:
314:take on work in other local homes
1251:from the original on 20 May 2024
1078:by contributing to his father's
495:). Moraes replaced these with a
1241:"Registo De Casamento Canónico"
1221:from the original on 2024-05-29
1199:. pp. 17–19, 242–243, 245.
766:. Furthermore, he incorporated
167:
1351:People from South Goa district
662:competitions conducted by the
1:
902:theater groups, solidifying
469:character-appropriate attire
260:family as the fourth son of
872:female roles by male actors
324:) in Portuguese education.
299:. Moraes was instructed in
1372:
778:. Moraes assembled a full
447:, among others. The plays
1147:Gracias, Michael (2019).
674:productions broadcast on
303:by a teacher named Roque
150:Founder of A. Moraes band
35:Moraes in his later years
28:
1271:"Creating his Own Tunes"
859:theater was the uniform
291:, studied the theory of
250:Portuguese colonial rule
1197:Dalgado Konknni Akademi
1105:"Registo De Nascimento"
295:, and gained skills in
252:at the time during the
232:(theatre) productions.
1016:theatrical productions
638:dramatists, including
634:for several acclaimed
409:street play instructor
723:Writer and historian
640:Aleixinho de Candolim
499:and incorporated the
429:Amjele Put Inspekttor
256:. He was born into a
1157:Tiatr Academy of Goa
813:musical compositions
760:musical introduction
1301:. 4 February 2012.
1193:Konkani Khell Tiatr
1159:. pp. 200–201.
870:The performance of
577:, and locations in
297:musical composition
160:Antonieta Fernandes
248:, which was under
1215:The Goan EveryDay
912:theater companies
798:, and a complete
776:musical structure
768:musical intervals
733:stage productions
606:theatrical form.
453:Zolmachi Khomptti
445:Zolmachi Khomptti
354:zomnivhele khells
254:Portuguese Empire
196:
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139:Years active
71:Portuguese Empire
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1111:. 30 June 2006.
1101:
1030:registration in
820:Santiago Pereira
725:Wilson Mazarello
628:musical director
611:musical ensemble
439:(Our Children),
419:(Tenant Nores),
401:Santiago Pereira
346:musical ensemble
274:parochial school
171:
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122:theatre director
105:Other names
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67:Portuguese India
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1195:. Panaji, Goa:
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1095:
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1060:performing arts
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973:theater troupes
939:Patrick Dourado
758:with a melodic
714:Patrick Dourado
690:. According to
684:Pormollit Fulam
676:All India Radio
648:M. Dod de Verna
541:carnival season
521:khellam-mestris
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238:
173:
170: 1961)
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81:14 January 2012
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1046:). One of the
1028:civil marriage
1012:Xempea Minguel
986:
983:
880:Munddkar Nores
853:verbal prompts
615:trumpet player
600:Jephsis Hitler
479:performances.
457:costume design
441:Amje Put Dotor
437:Mhojim Bhurgim
417:Munddkar Nores
405:khellam-mestri
361:
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199:Antonio Moraes
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190:Xempea Minguel
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720:productions.
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689:
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680:Devacho Ghutt
677:
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669:
666:. Beyond his
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644:Nelson Afonso
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569:in 1962. His
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459:for carnival
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374:) culture of
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318:primeiro grau
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258:Goan Catholic
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43:
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27:
20:
1307:. Retrieved
1298:
1289:
1278:. Retrieved
1274:
1265:
1253:. Retrieved
1244:
1234:
1223:. Retrieved
1214:
1205:
1192:
1148:
1117:. Retrieved
1108:
1079:
1064:toddy tapper
1056:Axek Lobdolo
1055:
1048:khell tiatrs
1047:
1044:street plays
1039:
1037:
1008:folk theater
1003:, a type of
1000:khell tiatrs
998:
988:
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959:
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944:khell-tiatrs
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764:opening song
748:
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688:Ami Tiatrist
687:
683:
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672:folk theater
667:
664:Kala Academy
659:
635:
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603:
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571:khell-tiatrs
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539:play during
536:
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403:, a popular
396:
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365:
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350:street plays
326:
317:
309:toddy tapper
286:
262:day laborers
239:
227:
213:
209:
205:
198:
197:
91:, Goa, India
83:(2012-01-14)
55:13 July 1924
1341:Goan people
1336:2012 deaths
1331:1924 births
1309:29 December
1255:14 December
1153:Panaji, Goa
960:khell-tiatr
949:khell-tiatr
904:khell tiatr
896:khell tiatr
844:khell tiatr
839:street play
828:khell tiatr
822:of Paroda,
796:bass guitar
718:khell tiatr
705:khell tiatr
563:khell tiatr
561:genre. The
559:khell tiatr
554:khell tiatr
372:street play
322:first grade
220:street play
113:Occupations
97:Nationality
1325:Categories
1299:Goa Online
1280:2024-05-29
1245:Goa Online
1225:2024-05-29
1109:Goa Online
1088:References
1024:Chinchinim
953:don parteo
861:dress code
753:march-like
656:C. Alvares
632:bandleader
583:Santa Cruz
519:. Similar
507:by adding
493:percussion
435:(Heaven),
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352:known as
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293:solfeggio
210:A. Moraes
192:(brother)
186:Relatives
125:trumpeter
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1303:Archived
1275:oHeraldo
1249:Archived
1219:Archived
1113:Archived
991:Benaulim
969:paradigm
800:drum set
756:drumbeat
652:M. Boyer
596:M. Boyer
575:Mazagaon
513:clarinet
497:drum set
423:(Word),
380:carnival
282:seafarer
278:Benaulim
178:Children
131:composer
89:Benaulim
1076:drummer
1070:on the
1052:Konkani
927:Konkani
923:mestris
865:pajamas
804:Konkani
784:trumpet
762:to the
545:Navelim
509:trumpet
487:" and "
329:trumpet
242:Assolda
172:
164:
59:Assolda
1081:tiatrs
1040:khells
1032:Quepem
935:khells
841:) and
824:Quepem
817:mestri
808:tiatrs
772:khell'
686:, and
654:, and
587:Bandra
585:, and
567:Bombay
515:, and
465:pajama
443:, and
392:tiatrs
387:khells
360:Career
305:mestri
301:violin
270:Miguel
266:Xeldem
226:, and
206:Morais
155:Spouse
100:Indian
1022:from
978:tiatr
908:khell
892:tiatr
888:khell
884:khell
876:khell
857:khell
849:khell
835:khell
745:khell
741:khell
737:khell
729:khell
710:tiatr
700:khell
692:tiatr
668:tiatr
660:tiatr
636:tiatr
623:tiatr
604:khell
579:Parel
549:khell
537:khell
533:khell
529:Colva
525:khell
505:khell
501:banjo
481:Khell
477:khell
461:khell
449:Xalli
425:Xalli
397:khell
383:khell
367:khell
289:rebec
229:tiatr
215:khell
166:(
162:
147:Title
1311:2023
1257:2023
1121:2023
1005:Goan
900:Goan
890:and
751:" a
749:modd
696:fell
630:and
619:Goan
617:for
598:and
485:dhol
451:and
433:Sorg
421:Utor
413:Goan
389:and
78:Died
41:Born
995:Goa
916:Goa
914:in
698:or
491:" (
489:kax
376:Goa
337:Goa
276:in
246:Goa
244:in
222:),
63:Goa
1327::
1297:.
1273:.
1247:.
1243:.
1217:.
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1165:^
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1151:.
1129:^
1107:.
1096:^
993:,
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794:,
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786:,
774:s
682:,
650:,
646:,
642:,
581:,
511:,
431:,
427:,
356:.
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203:né
168:m.
69:,
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61:,
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1228:.
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