Gomantak Maratha Samaj

Gomantak Maratha is a relatively new ameliorative name.^[2] adopted by a community of traditional Hindu temple servants. They were previously known by the following names:^[3]

• Those who participated in music or singing and Dancing were known as ‘Kalavantini’ and Kalavant , literally meaning an artiste,’ they enjoyed a high status in the community and considered as upper castes. They were beauties with high Intelligence with vast knowledge of Hinduism, traditional puranic stories, honesty, and high devotion. Earlier they meant to remain celibate and provide music and dance for their Deity. They used to sing and dance in front of palanquin too during ritual ceremonies of their temple.^[2]

Etymologically Devli, the word Devali is derived from the word Devul or Dev meaning God. Devli ( Male ) and Bhavin ( Female ) are synonymous works. So Devlis are those who were dedicated or devoted to the temple or to God. The duties of Devli males (Jyotkar) included lighting the temple lamps and mashal (torch), hold Devdanda, act as temple attendants (kathkar), also some were temple architects (Nayak) and play the ritual musical instruments like Mahavadya, Panchavadya, Ranavadya.

• Those Females who maintained the temple lamps, Palanquin, and held Chamara (Chavar in Konkani) were known as Bhavins, literally a pious lady.

A third sub-caste which is largely included in the Gomantak Maratha caste is the Chedwa Chede or Bandi or Naik (Not to be confused with Naik Bhandari community of Goa, which is different) or Farzand. There is no problem in assuming that all the above words are synonymous. This sub-caste was not associated with the temples but with the mansions of the landlords. These Zamindars or Bhatkars were mostly Saraswats. They needed men and women for many tasks such as felling trees, lighting lamps, washing dishes, doing wedding work, taking care of animals in the cowsheds, cutting edge, and this need was met in a different way than by having paid servants or maids. In the premises where the Bhatkar's house was located, the Bhatkars built houses for the men and women who worked as housekeepers, and the dependents of the Bhatkars used to live in those houses.But this naming must have a deeper meaning. Many 'Chedwa' who have come of age at the palace, She used to walk around and fill the eyes of Bhatkar's young sons. It had the same effect. Some of the girls in this caste were married, but some girls fell in love or infatuated with these young Bhatkars and accompanied them for life as their concubines. This matter was not hidden in the house and no one complained about it. Because their fathers also used to do the same business. The daughters who were born to these concubines worked in the palace in the next generation. The women of the palace were aware that these girls were the seed of their family and hence they were probably called 'Chedwa' (girls) in this sense.Campbell wrote the following about him in the Ratnagiri Gazetteer."Pharjans literally children..... are found in the south of the district. In former times it was, and still to a less extent is, the practice for the rich to keep female servants, kunbins, to attend on the women of the family and as concubines. The children of these maidservants form the class of pharjans. They are almost all huscandmen and except that they hold a lower position, marrying only in their own class differ little from Marathas and Kunbis.^[2]

Their main occupation was acrobatics. They used to perform Jagar (a form of acrobatics) as the main source of their livelihood and held a higher status in the community.

Gomantak Maratha Term

So, This Gomantak Maratha Samaj is formed by combining the three Main sub - groups and Minor group Perni given above. Gomantak is not to be taken in the regional sense of the word or place, but in the sense of a native adjective. It means that Gomantak Maratha is not some Maratha caste of Gomantak, but it is to be taken to mean that this caste is having origin of the community which is in Goa , under the people's living there. As the old vast Gomantak extended from Kankavali to Gangavali, all the three sub - Groups of Above Mentioned were spread in this ancient Gomantak.^[2]

The Devdasi system of temple servants had been prevalent in Goa since times immemorial.^[4] The Kalawantin community finds references throughout Goan history.^[5] From ancient times, Hindu upper-caste widows originally sought shelter in the temples if they did not commit Sati after the husband's death.^[5] These widows would then become the mistresses of the Brahmins. Any resulting daughters from the relationship would either be sold by their mothers to become mistresses of Brahmins or become temple servants and entertainers. The sons would also become temple servants and musicians.^[6]

The Portuguese called them bailadeiras (dancers). In 1598, the Viceroy Francisco da Gama [pt] passed a law on behalf of King Philip I of Portugal that prohibited members of the community from entering the Velhas Conquistas on the grounds that the community members "perform many obscene dances, sing dirty songs and do all sorts of things that only reflect a diabolic state."^[7]

During British colonial rule, many Kalawantin community members moved for economic reasons to the city of Bombay and other areas of British India. Most of these emigrants followed Hindustani classical music gharanas to improve their art and talent. Those who remained in Goa began organizing themselves after the Portuguese First Republic period. In 1910, Rajaram Painginikar started Kalawantin Movement from Poinguinim village in Goa. In 1917, Maratha Gayan Samaj (Maratha Singers Society) was formed in Kakode. In 1925, the Gomantak Maratha Samaj (G.M.S.) was formed under the leadership of Rajaram Panginikar.^[8][9]

• Mangeshkar Family^[8]
• Kishori Amonkar^[8]
• Dayanand Bandodkar^[8]
• Shashikala Kakodkar^[8]
• Kesarbai Kerkar^[8]
• Moghubai Kurdikar^[8]
• Anjanibai Malpekar^[10]
• Raghunath Mashelkar^[8]
• Rattan Bai Wairikar^[11]
• Vithal Nagesh Shirodkar^[8]

• Konkani people
• Devadasis
• Harijans