the pearl of

the orient

a craft study by:

Aman Saini
Bhavik Ranga
Sharanya Gupta
• Foreword
• Acknowledge-
ment
• Preface
• About Goa
• Coconut Craft
Digital publication of student document for private
circulationonly.
Product Design 2018
Department of Design, Rohtak

Conceived, researched and edited at Department of

Product Design, Rohtak

All rights reserved under international copyright

conventions. No part of this document may be re-
produced or transmitted in any means, electronic
or mechanical, including+ photocopy, recording or
any other information storage and retrieval system,
without the prior permission in writing from the
Product Design Department, Department of Design
Rohtak.

Edited by Athar Ali, Chirag, Sharanya Gupta, Bha-

vik Ranga, Aman Saini
Designed by Sharanya Gupta, Bhavik Ranga, Aman
Saini
Processed by DOPD
 Acknowledgement

The authorship of a monograph is usually attributed to one person but a report on the Internship or a project work like this one is a joint affair.
Through this document, I take the opportunity to express my sincere gratitude and thankful to the almighty and all those who helped me in making
my experience in Goa successful.

First of all I would like to thank the academic fraternity at my college, State University Of Performing and Visual Arts, Rohtak for having such a
system in place, where students are given opportunities to learn about different crafts , their culture and understand it.
I am also grateful to my Mentor Mr. Chirag, for his continuous and deliberate discussion on the topic and indeterminable burden taken by him in
helping me.
Special regards and greatest appreciation is reserved for all the craftsmen who helped me in completing this document.
Preface

Craft sector in India is a vast one with its own rich tradition,
values and culture, which is evident in the forms, color, tex-
ture and techniques. But while some crafts have been pro-
moted by the government, exporters, designers, and get to
evolve, some are often lesser known and do not see a growth
with time and eventually die out. People are often unaware
of their own cultural heritage and the different crafts that are
indigenous to their birthplace.
There is a need for people to know about the different crafts
of India, because they directly talk about India and its cul-
ture, and also because they are a repository of our traditions
and way of life.
Being interested in Goa craft for a long period of time I took
this opportunity to study one of the finest Goa Art- coconut
shell carving.
Undertaking this journey enabled me to understand the spe-
ciality of the craft and its existence and as to how and why
its important in the present day. Being a design student at
the State University of Performing and visual Arts, I got a
scope to understand and interpret it as a document in my
own way. This journey has helped me to identify the craft
as an interpretation of culture, values, environment, and ex-
periences along with how also traditions & techniques are
becoming modernized.
 introduction

On December 19, 1961, Goa officially became part of India The origin of the city name Goa is unclear. In ancient literature, Goa was known by many
names such as Gomanta, Gomanchala, Gopakapattam, Gopakapuri,Govapuri, Govem, and Gomantak. The Indian epic Mahabharata refers to the area
now known as Goa, as Goparashtra or Govarashtra which means a nation of cowherds.

Goa is a state on the western coast of India, within the region known as the Konkan. It is bounded by Maharashtra to the north and Karnataka to the
east and south, with the Arabian Sea forming its western coast. It is India’s smallest state by area and the fourth-smallest by population.

The state of Goa, in India, is famous for its beaches and places of worship, and tourism is its primary industry. ... Major tourist attractions include:
Bom Jesus Basilica, Fort Aguada, a wax museum on Indian culture and a heritage museum. The Churches and Convents of Goa have been declared a
World Heritage Site by UNESCO.

Goa is India’s smallest state in terms of area and the fourth smallest by population. The state is one of India’s wealthiest states with a GDP per capita
over two times that of the nation. It was positioned the best placed state by the Eleventh Finance Commission for its framework and positioned on top
for the best
personal satisfaction in India by the National Commission on Population taking into account the 12 Indicators. Panaji is the capital, while Vasco da
Gama is the biggest city.
 Area: 3702 sq. km.
Capital: Panaji
Population: 1,457,723
Literacy rate: 88.70%
Districts: 2
Languages: Konkani, Marathi, Hindi and English State
animal: Gaur
State bird: Yellow-throated Bulbul
State tree: Matti
Goa is a state located on the shore of Arabian Sea.It has two districts namely North Goa and South Goa and the capital is Panaji. It is known
for its pristine beaches, beautiful churches and delicious Goan cuisine and much more.
Goa is well connected when it comes to transportation and commutation. The Goa International Airport is located in Dabolim near the city
Vasco da Gama. The government has established a proper connection on road by running the Kadamba Transport Corporation. National
highways like NH4A, NH17 pass through Goa. For commutation, private vehicles are available throughout the state. Goan railway lines are
administered by South Western Railway which connects this state with Bangalore, Chennai, Hyderabad etc. and Konkani Railways which
connect Goa with Mumbai, Mangalore and Kerala. Cites like Ahmedabad, Mumbai are very well connected to Goa, through air route. 
Goa has two world heritage sites as inscribed by UNESCO:
The Bom Jesus Basilica Churches and Convents of old Goa.
Goa is a state on the western coast of India,
within the region known as the Konkan. It is
bounded by Maharashtra to the north and
Karnataka to the east and south, with the
Arabian Sea forming its western coast. It is In-
dia’s smallest state by area and the fourth-small-
est by population. Goa has the highest GDP
per capita among all Indian states, two and a
half times that of the country. It was ranked
the best-placed state by the Eleventh Finance
Commission for its infrastructure and ranked
on top for the best quality of life in
India by the National Commission on
Population based on the 12 Indicators.

Panaji is the state’s capital, while Vasco da

Gama is its largest city. The historic city of
Margao still exhibits the cultural influence of
the Portuguese, who first landed in the early
16th century as merchants and conquered it
soon thereafter. Goa is a former Portuguese
province; the Portuguese overseas territory of
Portuguese India existed for about 450 years
until it was annexed by India in 1961.

Goa is visited by large numbers of internation-

al and domestic tourists each year for its white
sand beaches, nightlife, places of worship and
World Heritage-listed architecture. It has rich
flora and fauna, owing to its location on the
Western Ghats range, a biodiversity hotspot.
The ancient Hindu city of Goa, hardly a fragment of which survives, was built at the southernmost point of the island of Goa. The city was famous in early Hindu leg-
end and history; in the Puranas and various inscriptions, its name appears as Gove, Govapuri, and Gomant. The medieval Arabian geographers knew it as Sindabur, or
Sandābūr, and the Portuguese called it Velha Goa. It was ruled by the Kadamba dynasty from the 2nd century CE to 1312 and by Muslim invaders of the Deccan from
1312 to 1367. The city was then annexed by the Hindu kingdom of Vijayanagar and was later conquered by the Bahmanī sultanate, which founded Old Goa on the island
in 1440.
With the subdivision of the Bahmanī kingdom after 1482, Goa passed into the power of Yūsuf Ādil Khan, the Muslim king of Bijapur, who was its ruler when seafarers
from Portugal rst reached India. The city was attacked in March 1510 by the Portuguese under Afonso de Albuquerque. The city surrendered without a struggle, and
Albuquerque entered it in triumph.
Three months later Yūsuf Ādil Khan returned with 60,000 troops, forced the passage of the ford, and blockaded the Portuguese in their ships from May to August, when
the end of the monsoon season enabled them to put to sea. In November, Albuquerque returned with a larger force and, after overcoming a desperate resistance, recaptured
the city, killed all the Muslims, and appointed a Hindu, Timoja, governor of Goa.
Goa was the rst territorial possession of the Portuguese in Asia. Albuquerque and his successors left almost untouched the customs and constitutions of the 30 village
communities on the island, abolishing only the rite of suttee (sati; the immolation of widows on the funeral pyres of their husbands).
Goa became the capital of the whole Portuguese empire in Asia. It was granted the same civic privileges as Lisbon, reaching the climax of its prosperity between 1575
and 1600. The appearance of the Dutch in Indian waters precipitated the decline of Goa. In 1603 and 1639 the city was blockaded by Dutch eets, though never captured,
and in 1635 it was ravaged by an epidemic. In 1683 a Mughal army saved it from capture by Maratha raiders, and in 1739 the whole territory was again attacked by the
Marathas and was saved only by the unexpected arrival of a new Portuguese viceroy with a eet.
The seat of the government was moved to Mormugão and in 1759 to Panjim. Cholera epidemics were one of the chief reasons for the migration of the inhabitants from
Old Goa to Panjim. Between 1695 and 1775 the population of Old Goa dwindled from 20,000 to 1,600; in 1835 the city was inhabited by only a few priests, monks, and
nuns.
After India achieved independence in 1947, it made claims on Goa in 1948 and 1949, and Portugal came under increasing pressure to cede Goa and its other possessions
in the subcontinent to India. Another crisis occurred in 1955 when satyagrahis (nonviolent resisters) from India attempted to penetrate the territory of Goa. At rst the
satyagrahis were deported, but later, when large numbers attempted to cross the borders, the Portuguese authorities resorted to force, which resulted in many casualties.
This led to the severance of diplomatic relations between Portugal and India on Aug. 18, 1955. Tension between the two countries came to a head on Dec. 18, 1961, when
Indian troops supported by naval and air forces invaded and occupied Goa, Daman, and Diu.
 DIFFERENT ERA AND STORIES

1. Myths And Stories From Mahabharata

The history of Goa or Gomantak has been woven into seamless strings of
various myths and stories that take us back into the time of Mahabharata.
For some, the origin of Goa lies when Parshurama; the sixth incarnation
of Vishnu ordered the sea god Varuna to recede the sea to the point his axe
struck after he flung it. Lord Varuna then gave up this piece of land till the
banks of River Mandovi and River Zuari to Parshurama and Aryan clan ac-
companying him. This piece of land came to be known as Konkan of which
Goa is a southernmost part.

2. The Bronze & Iron Age – Age Of Village God & Goddesses

In 2200 B.C., the first written reference to Goa appears to have been in
Cuneiform, in Sumerian times when the King Judea of Lagash called it
Gubio. Sumerians had established trade contacts with Goa and many
Sumerians settled in Goa and along the Konkan coast. Sumerians are
believed to have modified many local customs and introduce their own
systems such as their style of temple architecture, the Devadasi system;
the Sumerians also influenced the language, caste system, and the kinship
practices to some extent. Sumerian influence in Goa can also be seen in
the entertainment and games of the region. Even before any king ruled
the territory, oligarchic democracy in the form of Gavkari existed in Goa.
Gavkari System’s main idea was that village land must belong to the
village god or goddess. It consisted of definite boundaries of land from
village to village with its topographic detail, its management and social,
religious and cultural interaction.
 3. Era Of The Great Emperor Ashoka

Goa was a part of the Mauryan empire of Emperor Ashoka. It has been
known to other cultures by different names. Two hundred years before
Christ, Goa became the southern fringe of the empire of Ashoka. The Ar-
yans had pushed the Dravidian kingdoms to the southern tip of India, such
as the Cholas, Pandyas, Tamil Mad, Satyaputras, and Keralaputras. Having
an edge over the past helps us understand the history of Goa better.

4. The Era Of Consecutive Hindu Dynasties

Goa was ruled by several dynasties of various origins from the 1st cen-
tury BC to 1500 AD. For 700 years, a lot of Hindu dynasties ruled Goa.
History of Goa is a timeline rule by several dynasties from origins with a
different traditional and cultural background.
 CONQUERING
The Portuguese rule in Goa lasted for as long as 450 years. The history
of the Portuguese in Goa was similar to the British in India. It is interest-
ing to know that while the Portuguese ruled Goa, their country itself was
ruled by Spain from the late 16th century for a period of 60 years. The
Portuguese rule in Goa began in 1498. The Portuguese explorer Vasco
da Gama landed in Calicut after setting off from Lisbon, in present-day
Kerala in 1498. This discovery and the establishment of a new sea route
to India around the Cape of Good Hope gave an impetus to the Portuguese
who wanted very much to exploit it to their advantage and profit from it.
In 1510, when Goa was under Sultan Adil Shah of Bijapur, Portuguese
attacked Goa under the command of Alfonso de Albuquerque.
On February 17th he entered the city of Goa for the first time and met lit-
tle resistance as the Sultan was engaged with his forces elsewhere. Soon
after, Sultan came after Alfonso and that led to Alfonso fleeing the city of
Goa.

SETTLEMENT

Once established in Ela, the Portuguese began a religious conquest, aim-

ing to convert Hindus that had remained in the city. Persuasion rather
than force were used to convert at first, and soldiers were encouraged to
marry local women thus ensuring Christian children. In 1532, however,
the tactics became more forceful. Shrines across the territory were plun-
dered, temples were closed and Hindus were even tortured and killed for
failure to convert. Despite these measures, secret temples were still used
throughout the crusades.
 DECLINE

Several factors contributed to Goa’s decline as a Portuguese territory

throughout the 17th Century. A recession in Portugal, the spread of dis-
eases such as malaria and typhoid in the colony and the poor position
of Old Goa on a river that was beginning to fill with silt all led to the
decay and decline of this once rich and prosperous city. Muslim attacks
weakened the Portuguese’s resistance. The Maratha Wars of 1664 to
1739 further destabilized the Portuguese stronghold in India. The Mar-
atha Wars of 1664 to 1739 further destabilized the Portuguese strong-
hold in India. During this period, the Portuguese slowly expanded their
territories which enabled them to extend their control over Bicholim
and Safari Pernem, Ponda, Sanguem, Quepem and Canacona in 1791.
These acquisitions are known as the” Novas Conquestas. history is
written in Blood so is the history of Goa.

GOLDEN AGE OF GOA

Goa reached its peak culturally and economically by the end of 16th cen-
tury when it was fondly referred to as ‘Lisbon of the East’. Christianity
arrived in Goa with St. Francis Xavier and the Jesuits. Such was the Saints
impact on the people’s mind that he still is remembered by the Goan’s as
the city’s patron saint. The inquisition of Goa saw its attitude toward the
Hindus change from being liberal to imposing with more duress given on
to promoting Roman Catholicism and converting to Christianity. Yes, God
did have a golden age and the history still remembers it. The history of Goa
is embedded deeply with religion, wars, defeats, settlements and what not
but isn’t that exactly what the past and present are all about.
Operation Vijay To Liberate India From the
Portuguese Empire

The Portuguese influence on nearly 500 years of

Goan history came to an end on December 17th,
1961 when Indian forces entered Goa, responding
to an attack on Indian fishermen by the Portuguese
a month earlier. The liberation of Goa, known as
Operation Vijay took place with barely a shot fired
on either side. Within three days, without much
resistance from the small Portuguese force, In-
dia liberated Goa. On December 19, 1961, Goa
officially became part of India and two years lat-
er, held its first general election. It’s important to
know every detail to get into the depth of the evo-
lution of goa and nothing can help us know this
better other than the history of Goa.

Goa was declared as a Union Territory and after a

popular vote from the public, it was decided that
Goa would not merge with Maharashtra but remain
a Union Territory. Public pressure in the second
half of the 1980s ensured Konkani, the language
spoken by most Goans, was recognized in India
as an Official Language. After India’s takeover in
1961, the Hindus that spoke Marathi came to pow-
er in Goa’s first democratic elections through the
Maharashtrawadi Gomantak Party (MGP) headed
by Dayanand Bandodkar. The history of Goa ends
here but with a new beginning - a stronger begin-
ning with a recognition established for good.
population of goa

The Portuguese colonial heritage and the diverse local population of

Goa have cultivated a unique cultural landscape. The population is
primarily a mixture of Christians and Hindus: the western coastland
and estuaries are dotted with
wayside crosses and Roman Catholic churches, while the hilly east
is scattered with Hindu temples and shrines. There is also a notable
Muslim population in Goa, as well as smaller communities of Jains,
Sikhs, and practitioners of local religions. Portuguese was once the
language of the administration and the elite, and as part of that lega-
cy, many Goans bear Portuguese personal names and
surnames. Today, however, most Goans tend to speak Konkani, Mar-
athi, or English.
The population of 1,458,545 people, 66. % were Hindu, 26% Chris-
tian and 8.3% Muslim. Different minorities of around 0.1% com-
prised of Sikhism, Jainism and
Buddhism. The sex proportion is 973 females to 1000 males. The
birth rate is 15.70 for each 1,000 people in 2007. Goa in like manner
is the state with most reduced extent of Scheduled Tribes at 0.04%.
 Geography
Goa encompasses an area of 3,702 km2 (1,429 sq mi). It lies between the latitudes 14°53’54’’ N and 15°40’0’0 N and longitudes 73°40’33’’ E and 74°20’13’’ E.
Goa is a part of the coastal country known as the Konkan, which is an escarpment rising up to the Western Ghats range of mountains, which separate it from the
Deccan Plateau. The highest point is the Sonsogor, with an altitude of 1,167 metres (3,829 ft). Goa has a coastline of 101 km (63 mi).
Goa’s seven major rivers are the Zuari, Mandovi, Terekhol, Chapora, Galgibag, Kumbarjua canal, Talpona and the Sal. The Zuari and the Mandovi are the most impor-
tant rivers, interspaced by the Kumbarjua canal, forming a major estuarine complex. These rivers are fed by the Southwest monsoon rain and their basin covers 69% of
the state’s geographical area. These rivers are some of the busiest in India. Goa has more than 40 estuarine, eight marine, and about 90 riverine islands. The total naviga-
ble length of Goa’s rivers is 253 km (157 mi). Goa has more than 300 ancient water-tanks built during the rule of the Kadamba dynasty and over 100 medicinal springs.
Most of Goa’s soil cover is made up of laterites rich in ferric-aluminium oxides and reddish in colour. Further inland and along the riverbanks, the soil is mostly alluvial
and loamy. The soil is rich in minerals and humus, thus conducive to agriculture. Some of the oldest rocks in the Indian subcontinent are found in Goa between Molem
and Anmod on Goa’s border with Karnataka. The rocks are classified as Trondjemeitic Gneiss estimated to be 3,600 million years old, dated by rubidium isotope dating.
A specimen of the rock is exhibited at Goa University.
 Climate
Goa features a tropical monsoon climate under the Köppen climate classification. Goa, being in the tropical zone and near the Arabian Sea, has a hot and humid climate
for most of the year. The month of May is usually the hottest, seeing daytime temperatures of over 35 °C (95 °F) coupled with high humidity. The state’s three seasons
are: Southwest monsoon period (June – September), post-monsoon period (October – January) and fair weather period (February – May). Over 90% of the average
annual rainfall (120 inches) is received during the monsoon season.
Goa experiences a pleasant climate all year round which is a boost for the tourism industry. A typical coastal climate with rainy season dominating for four to five
months in a year, the summers are hot and humid reaching a high of almost 35 degree Celsius in the month of May. The winters do not contribute much with only 2
months; between mid-December to mid-February dedicated to the season. The temperature drops to around 29 degree Celsius during the day while the night experiences
around 20 degree Celsius. Temperatures may vary slightly according to the location of the coastal and inland region. Monsoon is the main season of Goa with lashes of
rain of around 325 cms per day with sunshine of 3-5 hours per day. This is a prominent change for a region which receives sunshine of 9-10 hours per day during any
other season. The tourist season is by and large from October to February when there is no rain, humidity is at its lowest and it’s not too hot either. The region of Goa
is set apart from the Deccan Plateau due to the division made by the Western Ghats. As you travel further from the coastline towards the ghats the slope starts rising
forming the cliffs, hills and mountains. Goa is engulfed within these slopes from one side resulting in a favorable climate.
 economy
The Economy of Goa depends on the agricultural, industrial, mining, and tourism sectors. The Economy of the state of Goa depends for its revenue on the agricultural
sector. The various kinds of crops grown in Goa are rice, maize, bajra, ragi, pulses, and jowar.

Agriculture, forestry, and fishshing

Agriculture remains a mainstay of Goa’s economy, with rice, fruits (such as mangoes), coconuts, pulses (legumes), cashews, betel (areca nut), and sugarcane among
the leading crops. Principal forest products include teak and bamboo. The state has an active sheries industry along its coast, although sustainability has been a growing
concern in the 21st century. The state exports a number of its agricultural commodities.

Resources
Goa is rich in minerals. Mining began in the mid-20th century, and over the next few decades it emerged as a central component of the state’s economy. Iron ore,
manganese, and bauxite are among the primary products of the industry. Especially since the late 20th century, however, the adverse environmental impact of opencast
mining has prompted heated controversy and intermittent government-mandated moratoria on production. Although new environmental regulations were put into place
in the early 21st century, mining remains a sensitive issue.

Manufacturing
Since the late 20th century, government policies and concessions have promoted Goa’s rapid industrialization, particularly through the development of many industrial
estates. Fertilizer, chemicals, pharmaceuticals, iron products, and processed sugar are among the leading large-scale industries. There also are medium- and small-scale
industries, including traditional handicrafts. Goa’s manufactures are distributed both domestically and abroad.

Services
The service sector of Goa’s economy has increased in importance since the late 20th century. This is attributable largely to the rapid growth of the tourism industry.
By the early 21st century, tourism constituted a signicant segment of Goa’s economy, as the state’s long, sandy beaches, coastal vegetation, coconut palms, and unique
hotels attracted large numbers of international and domestic visitors. The expansion of tourism, however, has raised concerns about preservation of the natural envi-
ronment.
 Flora and Fauna
Flora and fauna of Goa. Forest cover in Goa is diverse. ... Goa’s state animal is
the Gaur, the state bird is the Ruby-throated yellow Bulbul, which is a variation of
Black-crested Bulbul, and the state tree is the Matti. The important forests products
are bamboo canes, Maratha barks, chillar barks and the bhirand.

As Goa is partly coastal and partly hilly it exhibits a variety in its biodiversity.
Goa forest coverage is around 1,424 sq kms. of which 33% is covered by the gov-
ernment forests and 62% is protected under the Protected Areas (PA) of Wildlife
Sanctuaries and National Park. These forests are located within the inland regions
of Goa and its tropical diversity can be proven the rich examples of flora and fauna
such as bamboo canes, chillar barks, maratha barks and bhirand. Nearly 56% of
Goa is covered under forests and tree cover which includes fields of coconuts, man-
goes, cashews, jackfruits, etc. Animals which rule the forests are boars, foxes and
migratory birds. Crabs, lobsters, shrimps, jellyfish, oysters and catfish are some of
the aquatic life found in the seas surrounding the Goan coastline. There are various
wildlife sanctuaries such as Bondla Wildlife Sanctuary, Molem Wildlife Sanctuary,
Cotigao Wildlife Sanctuary, Madei Wildlife Sanctuary, Netravali Wildlife Sanctu-
ary and Mahaveer Wildlife Sanctuary, but the most visited is the Salim Ali Wildlife
Sanctuary located on Chorao Island, known for its bird species.
 languages of goa
Konkani is the official state language and the most widely spoken language of Goa. However, Goa, like elsewhere in India, is multi-cultural and
multi-lingual. The locals speak and write Konkani, Marathi, Kannada, Hindi, English, and even Portuguese, though they are very few in number.
People from many regions have come and settled in Goa, and this is why so many languages are spoken here. Marathi comes second in popularity
in the state.

THE KONKANI LANGUAGE IN GOA

The western coast of India is popularly referred to as the Konkan coast. The culture is distinct, with its own food habits and festivals. The language
is from the Devanagari script, which is common in India. But there are dissimilarities as well, as Konkani has been influenced by Portuguese over
the years, when Goa was a colony of Portugal. The Portuguese ruled Goa for 450 years till 1961 when it was finally freed. Approximately 7.4 million
people speak the language in India, many of whom are in Goa. It is a minority in other states and union territories – Kerala, Maharashtra, Karnataka,
Dadra and Nagar Haveli, and Daman and Diu. Goa is the only state where it is a majority. Almost everyone will understand in Goa, even if they
cannot write in the language.

MARATHI IN GOA
Marathi comes second to Konkani. It is popular, because the state of Maharashtra is next to Goa. Marathi too is derived from Sanskrit, like many oth-
er Indian languages. They both use Devanagari script. Many Goa people speak them both easily. The Official Language Act of 1987 made Konkani
Goa’s official language. However, Goa’s government states that Marathi can also be used in official communication. The government will often cor-
respond through emails and letters in Marathi. Most people comfortable in Marathi are from north Goa, bordering Maharashtra. Interestingly, there
is some conflict between the two. Supporters of Marathi consider Konkani to be one of its dialects, and the state of Goa to be a part of Maharashtra.
After independence in 1961, the Goanese people had to fight to gain official recognition of their native language. They waged a stubborn struggle,
which led to even bloody clashes and deaths. Finally, Konkani was recognized as the official language.

PORTUGUESE LANGUAGE IN GOA

During the colonial days, only Portuguese was used in verbal and official communications. Everyone had to learn it. The missionaries would use it
for every purpose. But both Konkani and Marathi survived, as parents would secretly teach their children at home. The usage of Portuguese began
to fall drastically as soon as the colonists left Goa. It is not an official language at this time. Now, you will find very few people speaking and writing
in Portuguese.

HINDI AND ENGLISH

Hindi is the national language in India and spoken almost throughout the country. It is widely understood and spoken in Goa as well. Many can write
in Hindi too. English too is widely understood, and spoken, especially in the tourist places and resort areas. All educated people speak fluent English,
and many, especially the teenagers, even speak in English at home. English is not as popular in the interior and village areas, though.
 cuisine of goa
Goan cuisine consists of regional foods popular in Goa, an Indian state located along India’s west coast on the shore of the Arabian Sea. Rice, seafood, coconut, vege-
tables, meat, pork and local spices are some of the main ingredients in Goan cuisine. The area is located in a tropical climate, which means that spices and flavors are
intense. Use of kokum is another distinct feature. Goan food is considered incomplete without fish. It is similar to Malvani or Konkani cuisine.
Goa is a mix of east meets west, which is not only represented in the goa culture but also in the style of cooking. If you visit any rural area, the locals can be seen cook-
ing in the clay pots on firewood. Though modern conveniences are available, the conventional food preparation is preferred as it adds an additional smoky flavor to any
Goan dish. The degree of heat varies amongst Goan recipes from mild to explosive. Goans have a miscellaneous platter ranging from prawns to sausages, chicken to
beef, and numerous vegetarian dishes. Its broad sweep of unique approaches to cooking is the consequence of historical events. Consequently, Goan cuisine is predom-
inantly influenced by religious of Christianity and Hinduism. Over time, cooking methods have been blended together and allowed to simmer, producing an authentic
selection of delicacies. Both religions emphasize that food should be served only if it is tasty and fresh. Presentation is paramount to Goans as they often share their
food, especially during feasts, where food is distributed among neighbors.
 BEBINCA
This is Goa’s most famous sweet. This dessert is a multi-lay-
ered cake made from egg, coconut milk, sugar and ghee.
Cooking a perfect bebinca is considered an art form. A lot of
patience is needed at the time of its preparation as the next
layer can only be added once the previous layer has been
cooked. Each layer is cooked in the oven until it has a light
fudge consistency. This can be eaten hot or cold and is tradi-
tionally served at Christmas.

AMBOT TIK
In Konkani, ‘ambot’ means spur and ‘tik’ means spicy. As
the name suggests, the dish is slightly sour and pungent. It is
a delicious gravy dish that is usually prepared from dried red
chillies, peppercorns and tamarind. The fish used is normal-
ly shark or catfish and it tastes great with plain steamed or
boiled rice.

CRAB XEC XEC

Sea food is easily available a Goa’s ideal location is on the
coast. This curry is made from grounded coconut, coriander
and dry mixed roasted spices, which are added to crab meat.
The thick coconut gravy dish is usually served with rice or
bread.
 FISH CURRY RICE
This is the staple food for Goans and is known as xitt coddi in
konkari. The curry is usually yellowish-red in color due to the
presence of chillies and turmeric. The tangy and spicy dish
can be cooked with a variety of fish, although mackerel is one
of the favourites. The dish is served with steamed white rice
and is the traditional Goan meal.

CHICKEN CAFREAL
This spicy chi
cken made from coriander, lime, green chillies, peppercorns,
and mint. It can be cooked in oven or pan roasted. The dish
originated from Africa and is usually accompanied by green
salad.

GOAN FENI
This is Goans local alcoholic drink with strong aroma. The
word ‘feni’ derives from the word ‘fenn’, which means froth.
In fact, a good feni, when poured in a glass produces a lit-
tle froth, which is an indication of the superior quality of the
product. There are two types of feni, one is made from coco-
nut and the other is made from cashew. Coconut feni is less
popular and is made from the ssap of coconut palms. Cashew
feni is made from cashew apples, which are manually crushed
and allowed to ferment. Traditionally, there are three grades
of Goan brew. Urrac is the product of first distillation, Cazulo
is the product of second and Feni is the product of third dis-
tillation.
 SORPOTEL
It is a rich stew which is made from pork although sometimes
liver, heart and kidney are also added. Preparing sorpotel is a
long procedure: first the meat is parboiled, finely diced, fried
and then cooked in spices and vinegar. Sorpotel usually tastes
better on the 2nd and 3rd day, after it is prepared, once it has
had time to mature.

MUSHROOM XACUTI
It is a rich stew which is made from pork although sometimes
liver, heart and kidney are also added. Preparing sorpotel is a
long procedure: first the meat is parboiled, finely diced, fried
and then cooked in spices and vinegar. Sorpotel usually tastes
better on the 2nd and 3rd day, after it is prepared, once it has
had time to mature.

MACKEREL REACHEADO
This dish is prepared by slicing a cross section of the fish
and it is stuffed with red hot chilly masala called ‘reacheado’.
Reacheado is made from red chillies, spices, ginger, garlic and
ground with malt vinegar. The fish is them pan fried.
 SANNA
White, fluffy bread that is made of coconut and finely ground
rice flour is mixed with toddy, which is then fermented and
steamed. These are usually served at parties and special occa-
sions and can be eaten with most curries, especially sorpotel or
simply a cup of Indian tea.

GOAN SAUSAGES
These sausages are made from pork meat and fat that has been
loosely diced. The strings of sausages are marinated in pickling
spices and then sun dried. They are usually served with pulao
rice or in bread. These sausages are very popular at feasts

kulkul
A sweet Goan recipe made from plain flour and coconut cream
is made predominantly during Christmas is as looks as cute as
it sounds and is as tasty as it looks.
 Ros Omelette
Ros omelette, also known as ras omelette, is a snack
and street food in Goan cuisine. Ros means “gravy” in
Konkani. It is a spicy gravy of either chicken or chick-
peas, which is often similar to xacuti which is commonly
seen in the Goan Catholic style of cooking

Mussel Rawa Fry

Mussels deep fried in rawa batter, this recipe could be the
crunchy appetizer or the perfect chakhna you could want.
Just before frying, add a beaten egg, mix well. Heat oil
in a heavy-bottomed skillet over medium heat. Coat the
marinated mussels with rava, and shallow fry on medium
heat, about 2-3 minutes per side. Serve hot with a salad
of your choice

Feijoada
Feijoada is a stew of beans with beef and pork of Portu-
guese origin. It is commonly prepared in Portugal, Ma-
cau, Angola, Cape Verde, Guinea-Bissau, Mozambique,
Goa, India and Brazil, where it is also considered a na-
tional dish. However, the recipe differs slightly from one
country to another.
People living in Goa are referred to as Goans. A small state on India’s western coast, Goa has always benefitted as a trade centre because of its easily accessible ports.
A beautiful harmonization of the East and West, Goans have taken the best of both worlds. A civilization of warm, happy people, Goa sees a mix of different religions
like Christians, Catholics, Muslims and Hindus that live together in consonance. Following their age-old traditions and customs, Goan’s celebrate all major festivals
with fervour without bringing any religious barriers within the society.

Dwellers who live in small villages within the state are neither overtly greedy for money nor poor. Living off lavishly with what they earn through the peak months
of tourism, goan’s live life to the fullest. With a strong influence from the west, Goa has always had the more modern mindset as compared to other states of India.
Their rich heritage culture has been untouched with modern reformations one sees in big cities. Celebrating livelihood and religious festivals with scrumptious food
and delightful music, the locals are humble, warm and fun loving individuals.

Goa, also referred as the ‘Rome of East’ is one of the most happening and modern tourist destination in india with heritage goan culture and tradition. Colonized by
Portuguese for 450 years, cultural heritage of Goa consists of numerous goa churches, temples and mosques. Moreover, Goa’s exotic beaches that sprawl over wide
and soft sands as well as the sea food of Goa are much admired and liked by people visiting Goa from different places. Goa’s cultural richness and vividness is well
reflected through Goan folk dances, Goan folk culture and Goan songs.One also gets charmed by a series of Christian monuments that reveal some of the most attrac-
tive architecture.

A lot has been inherited from Portuguese in the form of attire which is western including skirts worn by women. Be it the western music including jazz, techno as well
as western classic or western cuisines including the amazing sea food, everything in cultural Goa has great western influence. People here are extremely modern and
have their inclination towards contemporary advancements. It’s been 40 years since the Portuguese left Goa and since then Goa has turned itself to being one of the
most westernized and dashing places in India, which is much frequented and loved by tourists from across the world.

Numerous popular singers came up from Goa to please the minds and hearts of music lovers. Singers such as Emiliano D’cruz, Prince Jacob, , Souza Boy, M.Boyer,
Alfred Rose, Kid Boxer, Rosario Rodrigues, Tony King and J. B. Rod. Goa also showcases buzzing nightlife to you. Goans flock around exotic beaches or let the
various restaurants go buzzing all through the night. Festivals as well are celebrated with great festive cheer.

And when it comes to scrumptious food, one gets a chance to taste mouth watering Portuguese, Konkan, as well as Bahamani cuisines that are more than enough to
satisfy your taste buds. Goans love to eat fish curry with rice which serves to be their staple diet. In addition to this, Goans also like pork as well as chicken. In the
monsoon season, fish is quite abundant, and therefore, Goans have galore of them. The most preferred and liked drink of the Goans is known as Feni, which is made
mainly from coconut water.

Some of the popular sports that are played in Goa include bull fighting as well as football. Moreover, wonderful fairs and festivals such Seista, a popular Hindu fes-
tival, are also celebrated in Goa with much enthusiasm. Moreover, cultural Goa is found to be replete with diverse cultural faiths. The contemporary Goa is replete
with numerous hotels and resorts that serve to be a comfortable and pleasant abode for people coming to Goa. Therefore, make it a point to visit Goa closely and get
acquainted with its rich and stunning cultural heritage that adds to its overall charm among the people.
 dance
Be it a Christian festival or a Hindu, be it sands or the shades, the Goan people
have an obsession for dance to rhythmic musical patterns. Men, women and chil-
dren actively participate in traditional dance forms. Goa’s folk dances display old
traditions, cultures, lifestyles and objectives of various religions, castes and stra-
tum of the Goan society. Mussoll is a popular folk-play-cum-dance form through
which the tale of victory of King Harihara II of the Vijayanagar empire over the
Cholas is narrated to the viewers. Dakhni, Talgodi Dance and Foogddi are a few
other traditional dance forms which are a major attraction for the tourists. Zagor
is again a folk play popular in Goan villages performed by the Gawda communi-
ty. You can see folk dramas such as Dashavatari, Goulankala, Ranmale, Rathkala,
Corredinho Dance and Ghode Modni throughout the year.
Kunbi and Morulem are two traditional dance patterns that are performed by the
tribes mainly on the Shigmo festival. Kunbi is performed by the women, by hold-
ing lamps on their heads. If you visit Goa during Navratas (October), you may
also get the opportunity to see Dhangar, which is a great combination of worship
and vigorous dance. Goff, popular in rural as well as urban areas, is an age-old
dance which indicates the happiness of peasants after harvest.

music
It is remarkable that people of Goa are trained and encouraged to learn music from
a very young age in schools. That enthusiasm and love for music can be seen in
every occasion and festival, whether big or small. Goans have a passion for sing-
ing, playing an instrument, and creating beats. Goa has a long list of cultural music
and dances. The people in urban areas have adopted modern music styles while the
rural areas are still known for traditional and folk music forms.
Ghumat, Shamel, Violin, Cymbals, Shehnai and Surt are the major instruments that
are used in almost all types of Goan music. While visiting Goa, you can listen to
the traditional music patterns such as- Suvari, Mando (a love song sung by Goan
Catholics), Kunnbi-Gee, Painnem Halounk (cradle song), Dantear Ovio (sung while
grinding wheat and rice). A few decades back, Goan culture was introduced to the
Latin American tune, theatrical music and wedding music ‘Ovi’. It is becoming
very famous in urban areas. The real feel of Goan music can be witnessed during
the Carnival celebrations. Goan Trance, a form of electronic music, popular since
1970, when hippies left the Goan shores, attracts most of the tourists from all over
the world. From the church bells to the violins, Goa is known for fascinating and
tempting music.
 GHODE MODNI

This is the name of a splendid folk dance that is main-

ly performed in Bicholim Taluka of Goa. The dances
brangs back the memory of the great warriors in the
past. The dancers swing around with dummy hors-
es tucked to their waists. They carry swords in their
hands showcasing bravery and at the same time they
wear ‘ghungrus’. The background music is the music
of dhol and tasha.
 mando

Mando refers to the various love songs that are

enriched by capturing each and every emotion.
These are folk songs that came into existence
with the Goan aristocracy. The starting of these
songs reflect the sad state of mind but the rhythm
they acquire in the end is named as dulpod. A
blend of Indian and Western traditions can be
found in these songs. The contemporary songs
belonging to this category present varied and
distinct emotions and therefore, they are differ-
ence from the old compositions such as bhajan,
arti, dasarwadem, etc.

dekhni dance
Dekhni is referred as a song cum dance. This is because the song has western
bearings while the dance is of Indian form. It is only the women dancers who
conduct this beautiful dance. A film producer got so enchanted by a popular
Dekhni song that he made it familiar to every child of the country. Whenever
this dance is performed, it is done with ghumat.
GOFF TALGADI AND SHIGMO
They are awesome and beautiful folk dances that are a part of Spring jubilation
and they are basically performed to spread festive mood and happiness among the
peasants. These dances are mainly performed by peasants of Goa. The peasants
residing in Canacona Taluka perform the Goff dance. Goff consists of weaving
of braid with various tints. The entire dance is a symbol of extreme discipline.
Talgadi is also a folk dance that is performed on ghumat beats. It is quite identical
to the dandiya dance of Gujarat. Shigmo is a dance that is performed by wearing
colorful dresses and is done of the beats of dhol, tasha, cymbals, etc.
 DHANGAR DANCE

Hangars form a community of shepherds

who worship a folk god named as Bira Deva.
They believe in rituals and various celebra-
tions. They celebrate with dances on dhol
and flute. The dances they
perform are usually dedicated to Shri Radha
and Krishna.

ZAGOR

Zagor is a folk dance inherited from the Mod-

ern Marathi Theatre in Goa. It
consists of two formsone of which
belongs to the Pernni community, while the
other belongs to the Christian
Gawdas. Pernni Zagor concentrates on the
philosophical topics based on the origin of
universe. On the other hand the Christian
Gawdas has been taken from the contempo-
rary village life.
 Lamp Dance Of Goa
Lamp Dance also known as Divlyanchi Nach is a dance in Goa performed by
women during Shigmo festival. In this dance the Goan women balance heavy
brass lamps with burning wicks on their heads. The Lamp Dance is called so
because of these brass lamps. ... The dance is popular in central and southern
Goa.
FUGDI AND DHALO
These folk dances are basically performed by women and they are quite com-
mon. The pace of Dhalo is slow while that of while that of Fugdi is fast. The
pattern followed by the Fugdi dance is circular and in Dhalo a dozen of wom-
en dance having their faces in front of each other. Both these folk dances are
performed on Marathi and Konkani songs.
 festivals of goa
Though Goa is considered as the most westernized state of India, it celebrates all the events that occur in the western countries of the world but with a difference
along with Indian festivals.

So, all the events associated with religious festivities present a unique blend of cultural confluence in Goa. Below mentioned are some of the major events and fes-
tivals in Goa which is celebrated with much enthusiasm.
 Grape Escapade

One of the most unique festivals in Goa, The Grape Escapade is a popular gour-
met and unique cultural celebration. The is one of the best Goan festivals which
brings wine connoisseurs of the world to savour the delectable flavours of grapes
from India and abroad. Being one of the famous festival of Goa, it has worldwide
charm.
Location: Panjim
When? January
Major attractions: Taste the decade old wines and let the fashion shows, live mu-
sic and dance performances add to the merriment of the evenings at the Grape
Escapade
 Shigmotsav / Gulalotsav Festival

Shigmo is a festival of color celebrated to honor the warriors in Goa. It is the

biggest festival of spring season. Troupes of dancers perform folk dances on
the road.
 Goa Cashew and Coconut Fest

As Cashew was introduced firstly in Goa, it adds greatly to the economy of the
state. This interesting festival in Goa showcases rare arts, cuisines and concoc-
tions. Some interesting activities that can be experienced are cashew stomping,
coconut breaking and a taste of exotic fenny cocktails.
Location: Panaji When? In the month of May Don’t miss: Must go for cashew
fenny, poi filled with meat, Goan curries, rice and whole lot of seafood.
 Goa Food and Cultural festival

Do you drool over the Goan curries, the Portuguese Vindaloo and the Goan
fish ‘n’ chips?! The Food & Cultural Festival of Goa is the place to be for
you! Everyone from homemakers, restaurateurs to high-profile chefs of 5-star
hotels take part in the festival exhibiting their culinary art at various beaches
in Goa!
Where- Beaches of Goa
When?-9th February to 13th February

Holy Spirit Feast
Holy Spirit feast is celebrated fifty days after Easter at the Holy Spirit
church of Margao. It is a procession which includes a Priest and members
of the Church wearing red ceremonial robes.
Sao joao
This is a festival that is celebrated with much cheer on 24th of June
every year since during this day the catholic community pays honor to
St. John the Baptist. The festivities involve a number of folk dances that
are referred as ‘Sangodds’. The people of the village, mainly the young
people make it a point to wear leaves and fruit laden crowns. People
also present fruits to their in-laws as well as friends
 THREE KINGS FEAST

This is a feast which takes place when three

boys of Goa play the role of going to see Je-
sus. They are actually taken by a small boy
playing the kettle drum. In order to meet Je-
sus, the kings ride on the back of a horse and
pass through the Hill of Remedios to take
part in the High Mass. During this feast, peo-
ple also worship the Lady of the Mount and
make it a point in gaining blessings from and
shelter in the lap of the goddess

Sunburn Festival goa

If you are a music lover, you need to get

yourself to Asia’s premiere three day elec-
tronic dance and music event Sunburn! Sun-
burn is a synergy of music, entertainment,
food, shopping and lifestyle that pulls music
tourism in India. It is one of the most popu-
lar Goa festivals that attracts tourists from all
over the world.
Location: Calangute Beach
When? In the month of December for 3 days
There are elaborate celebrations where you can see cheerful crowds just loosing themselves to the madness and vibe of the festivities. It is truly a dance and music
extravaganza for the people who have never seen it. There is a parade stuffed with beautiful floats, entertainers and dances at the end of the carnival giving it a grand
close every year. To put things in better perspective, let us further throw some light on the history of the carnival.
 History of Goa Carnival

Goa carnival was brought to India by Portuguese during the time they ruled here and approximately 500 years ago the first every carnival was organised in the state. But
it was not the Portuguese originally who had these kind of exuberant riotous celebrations, the culture actually came from ancient Rome and Greece and spread to Spain
and Portugal eventually. This quite explains that when Portuguese colonised Goa they wanted their culture to be dominant here and hence this carnival was organised.
It had a Portuguese flavour to it earlier but with time the celebrations have taken up the essence of Goan culture and thus people identify with the festivities and take
part in the carnival in crazily large numbers.

Entry to Goa Carnival

There are no entry tickets for the carnival and you just have to come and take part in the celebrations. Everyone is invited with open arms to join in and revel in the four
days of exhilaration and unmatched exuberance.

Goa Carnival Celebrations

There would be no doubt in your mind by now that Goa Carnival is the most awaited event in the state. You can get this from the fact that preparations start in December
to make the carnival a roaring success! Music, dance and entertainment are the shining features of the carnival and along with these there are plays of a short length
which portray the Goan traditions and culture very beautifully.
It is organised before the month of Lent is going to begin when people would have to completely abstain themselves from the consumption of meat. Starting with a
grand procession on the Fat Saturday evening, the parade is lead by King Momo who sets out with his entourage of dancers, bands, clowns, acrobats and other enter-
tainers to spread the message of merry making across the state.
The parade moves down through the main street of Panaji, the capital city of Goa? to come to rest after some hours of what seems like “endless gaiety”. The festivities
end with red and black dance where women and men dresses in red coloured upper garments and black coloured lower garments dance to the beats of the bands in a
festooned procession. Ash Wednesday as it is called is the last day of the carnival when the month of Lent begins. One thing to note is that the feasting is a major part
of the festivities and hence this is time for the foodies to venture out and taste some of the best cuisines, drinks and wines here. Pure indulgence, we must say!
Places to Visit in Goa
 #1 – AGONDA BEACH
Agonda beach in South Goa is a must visit. 39.2 kilometers from Margao, this is an isolated stretch of sand lined by palm groves. It is a very quiet, peaceful, and
picturesque beach with few tourists. There is a turtle center in the north, and rocky outcrops in the south. Developed tourist infrastructure! You will find many
shops, cafes, beach shacks, bars, restaurants, yoga centers and massage parlors. But you will still get a less “touristic feel” here
 #2 – FORT AGUADA
Fort Aguada is an old 17th century Portuguese fort in north Goa. It is at the confluence of the Mandovi River and the Arabian Sea on top of a hill. The Portuguese
constructed this fort as a defense against the Marathas and the Dutch. There is a deep dry moat here and a 13 meter high lighthouse, which was constructed in 1864.
Many buildings within the fort are still in very good condition.

From Aguada, you can get awesome views of the shoreline, the Arabian Sea, Mandovi River, and even the city of Panaji, which is on the other side of the river.
 #3 – CHAPORA FORT
The Chapora fort is in North Goa, close to Vagator beach. The Chapora River meets the Arabian Sea here. Chapora fort is a must-visit for those who love Bollywood
Hindi movies. The famous Bollywood movie “Dil Chahta Hai” was filmed here. The fort is almost in ruins now, but it still offers incredible views of the river and the
coastline. Take a picture – there are many photo opportunities here!
Distance from Panaji – 21.7 kilometers by the NH66.
 #4 – DUDHSAGAR FALLS
Witness the fury of nature, in what is one of India’s tallest and most powerful waterfalls. Dudhsagar Falls is 47 kilometers from Margao by the MDR52. It is located
on the Goa-Karnataka border. Dudhsagar Falls looks most impressive in the monsoon when there is a lot of water.
It cascades down for 1017 feet from a steep mountain face. You can view the falls from a train journey to and from Margao, or you can trek to the base of the falls. You
have to trek through the Bhagwan Mahaveer Sanctuary and Mollem National Park. There are many viewpoints along the way.
 #5 – BAGA BEACH
Baga beach in North Goa is one of Goa’s most popular beaches. The Baga River is in the north. Calangute beach, also popular, is in the south. The Baga-Calangute
stretch is one of the longest sandy shores in Goa. You will find many beach shacks, pubs, restaurants, shops, nightclubs and water sports activities, including banana
riding, speed boats, paddle boarding, paragliding, surf boarding, and more. Britto’s at the northern end of the beach is a famous shack. Club Tito’s and Cafe Mambo are
two famous Goa nightclubs, both in Baga.
 #6 – ANJUNA WEDNESDAY MARKET
Started by hippies in the 1960s, the Anjuna flea market is a landmark in Goa. It is at the southern end of the Anjuna beach. The Anjuna flea market is open on Wednes-
days between 9 AM and 6 PM. There are more than 500 stalls selling handicrafts, handmade jewelry, Kashmiri and Tibetan goods, bags, clothing, tribal artifacts, and
more. There are food stalls, bands playing jazz and rock music.
 #7 – BASILICA OF BOM JESUS
The body of St. Francis Xavier is kept preserved at the Bom Jesus Basilica in Goa. It is one of the most important tourist attractions in Goa, and a landmark for Catho-
lics from around the world. The Basilica of Bom Jesus is an UNESCO World Heritage site.
The Church was constructed in baroque style in 1605. The Saint’s body was brought here in 1622, and it has since then been laid in a glass mausoleum. There is also
a gallery of Modern Art in the Basilica.
Timings: 9.00 am — 6.30 pm
Distance from Panaji – 12 kilometers by the NH748.
 #8 – THALASSA RESTAURANT
The Thalassa restaurant is in Vagator, North Goa. It serves the best Greek and Mediterranean food in Goa. Good décor and awesome views of the Arabian Sea! Good
music in the evening. The meat platter, mock tails, baklava, vegetable moussaka, mushroom saganaki, chocolate cake, and the chocolate cheesecake are some of the
favorites here. Their seafood, including prawns, and calamari are also legendary. See the sunset with a drink if you are in North Goa. You may want to stay back till
dinner
 #9 – MAPUSA MARKET
The Mapusa Market is 10.3 kilometers by road from the Anjuna Beach in North Goa. Open on Fridays, this is one of the biggest, most colorful and interesting mar-
kets in Goa. People from the villages and far-off places come here to sell their produce. You will find a wide variety of fish, meat, and vegetables, fresh spices, fruits,
flowers, nuts, home-made chouriço, marinated pork sausages, pickles, ropes, coir mats, jewelry, clothes, and even wines. The stores are grouped together by the type
of products sold.
 #10 – CHURCH OF OUR LADY OF IMMACULATE CONCEPTION
Also called the “Immaculate Conception Church”, this beautiful church is in Goa’s capital Panaji, close to the Mandovi Bridge. It used to be a chapel in 1541. The larger
church building came up only in 1619. Since then, many revisions and improvements have been carried out, but the original building remains.
Devotees have been coming here for a long time. Old Portuguese sailors offered their prayers, asking for a good voyage. They returned after the trip to say thank you.
There is a feast every year on December 8th, which many locals and tourists attend.
Timings: 10 am — 12.30 pm, 3 — 5.30 pm
 #11 – LATIN QUARTER
The Fontainhas neighborhood in Panjim is Goa’s Old Latin Quarter, a UNESCO Heritage Zone. Explore the narrow winding lanes and streets, see the old buildings,
quaint shops, bakeries, restaurants, and art galleries.

Don’t miss the Portuguese mansions here. Watch out for the red tiled roofs and the projecting balconies. They have a distinct Mediterranean feel. You can also take the
heritage walk of the Fontainhas area.
 #12 – NAVAL AVIATION MUSEUM
The Naval Aviation Museum is at Dabolim in Vasco da Gama, just behind the international airport. This is the only Naval Aviation Museum in India and unique in Asia.
There is both an indoor and outdoor section with exhibits that include bombs, rockets, aircrafts, parachutes, protective gears, armaments, outfits of pilots and much
more
 #13 – CASINO IN PANJIM
Casino gaming is big in Goa. In Goa, you will find both land-based and off-shore casinos, on ships. Many casinos are located just off Panjim, on the Mandovi River.
Famous casinos in Goa are Deltin Royale, Casino Paradise, Deltin Jaqk, Casino Carnival, Casino Pearl, Casino Pride, and Casino Paradise.

There is live music, dancing, and entertainment shows, apart from the usual games – Indian Flush, poker, black jack, and baccarat.
 #14 – GRANDE ISLAND
Grande Island or Ilha Grande is in the Arabian Sea, off the coast of Vasco da Gama. There are ferry services from the mainland. You can do scuba diving, reef diving,
snorkeling, swimming, fishing, and dolphin watching. There are many water sports activities to enjoy. It’s a great place for both beginner and advanced divers and
snorkelers.
You can explore ship wrecks, including the Suzy wreck, the Davy Jones Locker, Turbo Tunnel, Bounty Rock, and the Serge City. Professional instructors are availa-
ble. There are banana boat and bumper boat rides too. Just carry your swimming and beach essentials. You can also go on a daylong fishing trip from 8 in the morning
to 4 in the afternoon, and finish off with a barbecue
 #15 – GO KART RACING
Go karting is great fun. The sport is becoming very popular in India. There are two tracks in Goa, at Nuvem in South Goa, and Arpora in North Goa. The Nuvem track
is the largest in India. The 482 meters track is on a hill, just behind the Tata Motors Showroom. There are many turns here, some more complicated than others, which
the skilled drivers will especially love. There is a huge bulletin board that displays the racing data.
The Nuvem track is open from Tuesday to Sunday, 4 p.m. to 10 p.m. The North Goa track at Arpora is shorter, and has fewer turns.
 #16 – PARAGLIDING IN ARAMBOL
Arambol in North Goa is a good place for paragliding. Take off from a rocky headland and get an amazing view from the top. You have to trek to the top of the head-
land. Your pilot will then give you brief instructions and explain the safety precautions. Fly sky high over Arambol and see the shoreline from the top, the sea, and
the interiors. It will be a memorable experience.
 #17 – HILL TOP CLUB IN ANJUNA
The Hilltop Nightclub in North Goa is between Ozran Beach and Anjuna on the top of a hill. This is one of the best places in Goa for trance music and rave parties.
There is a big area for people to drink and dance. The outside is lit up with pretty lights. There is a swimming pool too. Thousands attend rave parties during week-
ends in the peak season. The DJs are from England, Sweden, Italy, France, Russia, Germany, Israel, and India.
 #18 – ARAMBOL HIPPIE FESTIVAL
Arambol in North Goa was popular with the hippies. They are long gone, but you will still find the hippie spirit here. You can hear the songs and stories of their times.
You can feel the free spirit. Music brings a whiff of fresh air at the Drum Circles in Arambol, where the locals and tourists come together to enjoy music, dancing, and
drumming to remember the days of the hippies.
 #19 – FORT CABO DE RAMA
The Cabo de Rama Fort is in South Goa, 17.2 kilometers from Agonda Beach. This old fort has been held by the Portuguese, Hindu, and Muslim monarchs at various
times. There was a chapel and commandant quarters within the fort during the Portuguese days. There was also a military barrack here. It was turned into a prison
for a short time after the Portuguese left. Now it is in ruins, but is still a popular tourist spot. You will get very good views of the sea and the surrounding landscape
from the top. The Cabo de Rama Fort is a great place to see sunsets.
 #20 – TEREKHOL FORT
The Terekhol or Tiracol Fort is in extreme North Goa, on the northern side of the Terekhol River. It is actually in the neighboring state of Maharashtra, as the state
lines pass through the middle of the river. But many tourists from North Goa visit the fort. There is a ferry service from Querim.
It was constructed in the 17th century by Maharaja Khem Sawant Bhonsle, a Marathi ruler. The fort sits on a hill and gives a commanding view of the river and the
sea. There was a barrack and 12 guns here, but the fort still fell to the Portuguese. They extensively revamped Terekhol in 1764 and held it for strategic maritime
defense till 1961 when Goa became a part of India.
 #21 – AMBOLI WATERFALLS
Amboli in the Western Ghats is an “Eco Hot-Spot” as there are many unusual fauna and flora here. The Amboli Ghat waterfall is 78.2 kilometers from Panjim. It is
one of the most beautiful waterfalls in the Western Ghat hills. The best time to visit the waterfall is just after the monsoon months. There is a lot of greenery and mist.
The drive through the hilly road is beautiful. You will hear a roar when you come close to the falls. It is worth taking the two hour road trip from Panjim.
 #22 – PALOLEM BEACH
Palolem beach is the one of the best beaches in South Goa. It is a natural bay with lofty headlands on both sides. Palolem is close to another beautiful beach in the
south – Agonda. Cola and the beautiful Butterfly beach are also close. They are more secluded. Palolem is also a hot party destination. Silent Noise parties are held
here every Saturday from 9 pm till 4 in the morning at Neptune Point, the southernmost part of the beach.
Handicrafts
of
Goa
As magnificent a place goa is, its handicrafts are equally appealing and intricately beau-
tiful. The streets of Goa are full of colours and beautiful items, which are made to per-
fection by the residing local craftsman. The unique colours of joy that sit, in the brightly
lit markets capture the fancies of locals and tourists alike. The art of making these tra-
ditional crafts have been passed on in Goa from generation to the next in almost every
household. These crafts show the hints of Portugese dominance, along with the aesthetic
blend of other Indian cultures. Most of the handicrafts are made with the help of natu-
rally available materials like clay, sea shells, paper, bamboo, brass, coconut husk and
palm leaves. In the highlt competitive industry, the craftsmanship of the local artisans
has managed to leave an impact in the market globally.

The products have gained much attention majorly due to the boom of tourism in Goa.
With so many tourists coming in, there has been an increase in the rush to carry back tra-
ditional Goan souveniers. Due to this the local handicrafts makers are in the limelight,
and the government of Goa is taking the possible measures to improve their situation
and flourish their industry. The products are sold through various handicraft emporia
set by the government and at stalls at all the major tourist spots and fairs throughout the
year.
Pottery and Teracotta
The word terracotta comes from the Lat-
in “terra” “cotta” translated as ‘baked’
‘earth’. While pottery is art of tradition-
al form made with earthen clay, teracotta
is ceramic clay. Derived from clay, ter-
acotta has been used throughout histo-
ry with sculpture and pottery as well as
for bricks and roof shingles. These are
traditional crafts with utility-cum-dec-
orative items produced by thr potters
with artistic perfection and realistic fin-
ish. The items produced with this craft
include flower garden pots, bowls with
floral designs, figures of saints, god’s
and goddesse’s, ashtrays and penhold-
ers, etc.
BAMBOO CRAFT
Bmaboo Craft is considered to be the
oldest craft , which was initiated by a
community called ‘maharas’ in Goa re-
gion. they initially used to make utility
based things required by fisherman and
farmers. With this time traditional craft
has taken shape of decorative cum utili-
ty craft items. One of the major craft in-
dustries in Goa is the bamboo craft. The
list of popular bamboo products include,
flower baskets, mats, letter holders, pen
stands, fans and other decorative items.
FIBER CRAFT
Nuns from kerala brought the fiber
craft to Goa. Fiber articles were ealri-
er produced for utility purposes. The
function of fiber is combined with
some ornamentation to bring out some
attractive and colourful items. Shop-
ping bags, ladies purse, coasters, wall,
hangings and other essential accessory
items used in daily purposes are made
of banana and sisal fibers. The major
fibre craft centre is situated in Corlim.
COCONUT MASK CARVING AND
SEA SHELL CRAFT
Goa produces beautiful, decorative
and utility items made out of coconut
fiber. Apart from consuming the coc-
nut in the meals it has done wonders
to earn livelihood for the local artists.
Mask carving has got a whole new look
in Goa as it is done on coconut shells.
Sea shell craft produces ashtrays, lamp
shades, coasters, chandelier, cutains,
pot hangers, table mats, clocks, mir-
rors, frames, etc.
CROCHET AND EMBROIDERY
Crochet, tatting and lace making were in-
troduced onto Goa by Potugese nuns of the
Santa Monica Church and convent in 1606.
It’s made using a simple hooked needle.
Traditionally made by the women, lace and
crochet was evidence of their skill and used
not only in the everyday but as a part of
ceremonial attire of the women too. Works
such asa tablecloth, children and ladies
garments, pillow, cushion covers and linen
form a breathtaking apparel range.
WOOD TURNING
Lac, a material taken from insect res-
in, has been used in indian craft for
centuries. Coloured lacquer is applied
to wood by heat through turning with
a hand lathe. Wood turning is a form
of wood carving that is used to create
wooden objects on a lathe using cutting
tools. Wood turning differs from most
other forms of woodworking, here the
wood is moving while a 9relatively0
stationery tool is used to cut and shape
it. Some of the most exquisite items
produced in Goan woodcraft include
cradles, baby carts, toys, corner stands,
etc.
JUTE MACRAME CRAFT
Jute is woven into a coarse lace and knot-
ted in pattern form. Similar to other crafts of
Goa, this art also exhibits a blend of Portug-
ese and Indian culture. Jute craft is known
to be one of the most unique craft of India
and itema such as decorative bags, belts, wall
hangings, lamp shades, flower pots, hangars,
etc are popular Goan souveniers.
BRASS METAL WARE
Brass is an alloy of copper and zinc. It is
a typical material of art metal ware. It has
been used since early times to make many
items. While utensils of utility are made of
sheet metal(copper), brass metal casting is
a craft passed on from one generation to
another practised on hereditary basis. The
items produced include oil lamps in vari-
ous designs, candle stands, temple towers,
church bells, ashtrays, etc.
 A tale of a Craft
a dialogue between rythm and life
• Craft and Society
• Craft- the ritualistic art
• The Shilpkar

Cluster
• Clustere
• Clusters in India
• Clusters, culture and society
• recognition and development

Coconut Shell Craft

• Origin
• Emergence as a Craft
• a comparison of style
• The crafts in Goa
 Shilpkar
the craftsman
• craftsman
• origin
• the design inspiration
• accompalishments and contribu-
tion to the craft
• financial support
• social surrounding
• the future

Material and Processes

• tools and materials
• process and techniques

Craft and the Market

Sustainability
• sustainability
• with respect to the craft
• with respect to the coconut shell
craft
a tale of a craft
a dialogue between
rythm and life

• craft and soci-

ety
• craft - the rit-
ualistic art
• the shilpkar
Craft is an evolved expression of human spirit. Craft was the first evolved expression of man which gave birth to Arts and other life sustaining process-
es. Craft is considered to be more cohesive and permeating in human relationships than even language, for it penetrates the barriers of communication.
This act of crafting is the most potent proof of ‘civil-ness’ in any civilization. Deep within itself, craft holds myths, legends and faiths. The growth of
craft in a society is a sign of the cultivation of sensitivity and the stirring and mellowing of humanism. It stands for mans endeavour to bring grace and
elegance into an otherwise harsh and drab human existence. Man’s elevation from mundane to divine is marked by his yearning for something beyond
the satisfaction of mere needs and creature comforts. It is this yearning that found its natural expression in Craft Craft is not merely concerned with the .
skilled labour in materials and styles but it is the cultivation of mind. It is an activity which involves the emotion; body; mind and rhythm. Craft mirrors
the aesthetics, it mirrors the pure human expression, and it mirrors culture.

Kamaladevi Chattopadhyay believes that craft is not an exercise of intellect to be learnt in a studio but it arises from a deeper hunger of humanity. Craft
was born from the need for beauty, man’s need to communicate, to possess and to document. The role of craft in a society cannot be defined on a piece
of paper; it is something that can be felt in one’s need for an escape.

Professor M.P. Ranjan has defined Crafts as “those activities that deal with the conversion of specific materials into products, using primarily hand skills
with simple tools and employing the local traditional wisdom of craft processes”.

In the Indian context, crafts have been both for personal use and an expressional fulfilment as well as an economic activity. Craft started as a ritual; a
need but today craft stands for our golden heritage. Crafts have weathered many storms at the hands of industrialization and the consumption patterns
of industry. Today the society yearns for the art of hand and tries to find an escape from this plastic jungle. At such a time craft comes as a solace, it is
craft that binds man to his roots. As we become more conscious of the interlocking nature of the world that we live in, and we realise that species are
disappearing, that environments are getting damaged, so we realise the vulnerability of our own human cultural heritage and of the ‘intangible’ assets
such as crafts that we carry as communities.

Craft and Society

“The craftsman seeks rhythm in his life,
colour in his composions and harmony in
his forms in order to perfect an object
which has function and at the same time
provides visual pleasure.”
 Craft- The ritualistic art

Craft is interwoven with our beliefs and rituals to form our social fabric. It is believed that the Cave man drew animals and killed them in his
sketches as it gave him power to face the real one. This practise made that mere sketch a ritual; a culture that gave him courage to hunt. Handicraft
-The act of ‘handcrafting’ an object to suffice a daily chore; to pacify a need of faith; as an artistic expression; or perhaps to hone the dexterity of
a pair of hands. Aesthetics and function are two significant characteristics that craft combines. Craft serves the psychological and physical need of
man. It is food for the eyes and yet serves a purpose. Indian Craft can also be defined as the ritualistic art. In India, craft activities have a myriad
hue that is above economic growth.

The Shilpkar

The shilpkar or the craftsman is the unbroken link between tradition and society. Since time immemorial, the shilpkar has been the keeper and
practitioner of ancient traditions. He combines within his being the functions of both the conceiver and the executor. He symbolises to society
the outward manifestation of the creative purpose and the unbroken link in tradition that embraces both the producer and the consumer within the
social fabric. Spirituality is an intrinsic aspect of the shilpkar’s life which is reflected in his work too.
The craftsmen are an integral part of our culture and society. In our past it was the craftsmen who created artefacts that helped in leading a better
and comfortable life. Be it as a ritual, as a tradition or as a need the craftsmen have always given their best to the society. Even today their role
cannot be ruled out; they are not only the link to our heritage but also an important aspect of our economy.
Today many craftsmen like Mr Lotlikar (master craftsman in Coconut carving) are trying hard to create a model for unprivileged segments of
society which could help them earn a living. They are not only trying to revive the craft but also trying to create opportunities for the society to
learn and earn for it.

“Deep within itself, craft holds “Craft is considered to be more

myths, legends and faiths” cohesive and permeating in human
relationships than even language, for
it penetrates the barriers of commu-
nication.”
Clusters
• clusture
• clusters in India
• clusters, culture
and society
• recognition and
development
An important component of the non-farm segment of a country is the unorganized sector of workers, especially in the rural population. A notice-
able aspect is the existence of artisans in this informal sector. These artisans comprise blacksmiths, carpenters, weavers, potters, sculptors etc.
These artisans, on one hand, are regarded as custodians of a country’s heritage, and on the other, play an important role in the village life through
their repairs and maintenance services. This informal sector possesses vast potential for opening-up employment opportunities, generation of
rural income, and strengthening of purchasing power of the rural people. A special feature of these artisans is that they live in clusters!

Craft Clusters in India

Craft clusters in India have been in existence for decades. These clusters are generally identified by the product or product range and the place
where they are located. Clusters are basically defined as geographic concentrations of units producing near similar products and facing common
opportunities and threats. In other words, several groups of craftspeople working on the same craft in a particular region can be called a craft
cluster. These craftspeople may or may not have their own unique styles lending variations to the same craft. Also, a region can have more than
one cluster depending upon the location of the groups, their co ordination among themselves and several other factors.
Craft clusters or artisan clusters are mostly located in villages and small townships. These can also be small household units that come together
to make handicrafts or handloom products.
In a typical cluster such producers often belong to a traditional community, producing the long established products for generations. Indeed many
craft clusters are centuries old.

Clusters
“This informal sector possesses
vast potential for opening-up em-
ployment opportunities, generation
of rural income, and strengthening
of purchasing power of the rural
people. A special feature of these
artisans is that they live in clus-
ters!”
 Clusters, culture and society

Artisan clusters are widespread phenomena in many developing countries. It is estimated that India has around 3,500 such clusters involving
a variety of crafts such as basketry, mat weaving and cane articles, earthenware, folk paintings, horn and bone, leather, jewelry, glass, musical
instruments, footwear, pottery, seashell works, woodwork, coconut shell craft, metalwork, jute work and so on. They may have originated for
fulfilling the needs of their communities but went on to develop into areas of commercial trading. During olden days, when the craft industry was
supported by mass consumption, craft making was a family tradition and every member of the family contributed in the process. There was a ready
market created by the existing social practices and choices which were used for making typical products to cater to the demands of the common
man. Most of the times, the crafts brought together distant people and bound them into one cultural identity of the craft itself. No wonder the
professions became their castes! The clusters also enjoyed royal patronage. It is interesting to observe that in a lot of places, generations of those
same clusters have maintained that same circle and are a part of the present day craft clusters.
These are still a reflection of the rich culture of the particular region. Their lifestyle, their spirit of co existence without the sense of any unfair
competition and their ability to learn from each other makes them an asset to any society.
As all individuals and group artisans work around their houses or at a common place, they repeatedly set examples of unity, social bonding and
mutual respect. These clusters also have an estimated high share in employment generation and contribute to a significant percentage of the coun-
try’s manufactured exports.

Recognition and Development

Several institutions in India have taken up Cluster Projects besides various government initiatives. UNIDO Cluster Development Program (CDP)
aims to contribute to the overall performance and collective efficiency of the small and medium enterprise clusters for sustainable development
by assisting selected local communities of firms and associated institutions in the clusters. This entails the implementation of cluster support
initiative in selected pilot clusters as well as assistance to central and local institutions in their programs of cluster modernization and restruc-
turing. The Indian Government has been giving a lot of support and has designed various measures for the development of handicrafts industry.
Organizations like the Goa Handicrafts Rural and Small Scale Industries Development, Pereira Welfare Organization, Foundation for MSME
Clusters among several others are working towards bringing these clusters under the limelight and generating a great deal of interest among the
masses for their initiatives. Various schemes and policies are also being launched for the betterment of the craft clusters notable among them are
the Rural Artisan Scheme, Comprehensive Handicrafts Cluster Development Scheme, Cluster Development Initiative, Industrial Infrastructure
Up gradation Scheme and so on.
Coconut Shell
Craft
• Origin
• Emergence as a
craft
• a comparison of
style
• the crafts in Goa
The coconut palm and its fruit are famous all over the world for their countless uses and health benefits. The shell of the coconut is strong, hard
and rough. However, underneath that roughness lays an immensely beautiful surface which when revealed and polished looks no less than dec-
orative wood of the highest quality. Raw but imperishable, hard but workable, discarded but sustainable; the coconut shell is a classic material
that can be used to create artworks, utility products, decorative items, jewelry and even furniture!

Origins

The use of coconut shells for making varied products is not exactly new to India. Instead of being thrown away or being used as firewood, dry
coconut shells were cut and used intelligently. Household objects were made by coconut farmers in South India. They would scoop out the copra
by making a neat hole at the top of the shell and then use it as a water or oil container.
It is believed that as a craft, coconut shell carving could have been practiced by craftsmen from the Vishwakarma community in Kerala. Tradi-
tionally involved in sword making and carving wood and ivory, they may have tried out coconut wood and shell as well due to the abundance of
the palms in the region. Besides the use of gold and silver utensils, the royal families also preferred cups made of hollow coconut shells. These
did not have a proper finish or aesthetic appeal. These were used more for their medicinal and soothing properties.
Coconut shells were also broken into small pieces so that buttons could be made. Indians mostly in the southern part of the country have long
been using such buttons. the trademark drink of the state.
Vijaydatta Lotlikar, present day master craftsman of Goan coconut shell craft also remembers the use of hollow half shells in his village for mak-
ing offerings to idols in Hindu temples. They were used as serving bowls too. He also mentions how these shells were used as cups for pouring
cooking oil and for serving Feni, the trademark drink of the state.

Coconut Shell Craft

“I believe that there is nothing

that cannot be made out of coco-
nut shell!”
Vijaydatta Lotlikar
Master craftsman, Goa
 Emergence as a craft

Coconut shell craft has emerged and gained popularity in India only in the last few decades and hence does not have a long history to boast of. How-
ever, archaeological reports suggest that this craft must have been brought in from Iraq about 900 years ago. It could be that the wood carving artisans
from the Middle East and Persia were the first ones to actually try carving on a coconut shell. When the Portuguese came to Goa, they brought with
them their favorite hobby of carving on any kind of fruit. Naturally, the coconut did not fail to grab their attention. With time, those influences seeped
into the creative intelligence of the Goans as well.
Due to the hardness of the coconut, it becomes very difficult to make products out of it. Only highly skilled craftsmen are successful in achieving the
desired shapes. The craft has evolved as a means of creative employment in different countries like Cambodia, Thailand, Philippines, Java, Maldives,
Sri Lanka and of course India. Parts of West Bengal, Kerala, Tamil Nadu, Pondicherry, Andaman and Nicobar Islands, Goa and other coastal regions,
have witnessed a rise in popularity of products made of coconut shells due to their uniqueness, novelty and durability.

A comparison of styles

While coconut shell craft is practiced all over the world, there are a lot of differences in terms of finish, design and form. The Portuguese coconut craft
is very intricate and perhaps the most time consuming. It is mainly coconut carving and resembles wood carving to some extent. Even the coconut
carvings of Spain have similarities with the Portuguese style. A different version of this delicate technique can be found in the Indian state of Karna-
taka, specifically in the city of Mysore where the copra is carved and the final output displays a contrast of two colors of the coconut shell.
There are slight variations in the craft in other parts of India too. The carvings of West Bengal are very basic and raw, a complete opposite of the ones
done by the Spanish and the Portuguese. In Tamil Nadu, more emphasis is given to form rather than adornment. Same goes with the rest of the South
Indian states where carvings are very simple but the objects made out of the shells are of a wide variety.
Kerala is an exception though. The coconut craft here is more decorative but the shells are lighter in color when compared to the shells of Goa.
“Music and dance is part of every Goan, and the co-
conut shell goes with them too. When netted tightly
with beads around it , the coconut shell if rotated
gives out a melodious sound. The shell is also used in
folk dance called the ‘koteachefugdi‘. Two halves of
the shells are struck against each other in rhythm,
echoing the beautiful beats of the music . ”
- Coconut: The Art of Coconut Craft,
Vijaydatta Lotlikar
 The Craft in Goa

There is an abundance of coconuts in the state with two main varieties of the palm: the tall and the dwarf. Within the tall variety, there are further
classifications out of which the Goan craftsmen use the Benaulim and the Calangute. These two types help in a better durability of the products
because these shells are harder and thicker than others. In a way, the craft makes use of this non exhaustible natural resource and creates an alter-
native to harmful plastic.
Beautiful, decorative and utility items are made out of the coconut shells. Apart from consuming the flesh of the coconut in meals, the local artists
have created a platform to earn their livelihood. There are good opportunities for the widespread demand of coconut shell craft of Goa because it
is eco friendly and available almost free of cost.
For the gifted craftsmen, any coconut shell is a potential material for making interesting objects. The products are 95% utilitarian and the shells
have a unique beauty of their own. Instead of the usual spots that are found on the shells of other states, Goan coconuts have small irregular veins
which add to the overall appeal.
The craftworks include hair clips, spoons and ladles, flower vases, masks, lamps of different shapes and sizes, clocks, earrings, bangles, neckpieces,
food bowls, teacups, small purses, money boxes, containers, idols and random products for home décor. Even after a lot of difficulties and chal-
lenges that the craftsmen face, some of them just don’t stop enjoying what they have been doing. Even women actively learn and practice this craft
in Goa. Moreover, machinery and tools are also designed keeping women in mind so that they can be encourages to take the craft forward. This is
mostly because most of them started working with coconut shells as a hobby and when a hobby becomes a profession, it tends to keep the person
occupied for long.
The craftsmen of Goa get complimented for the quality of their work by the craftsmen of other states. Their products also have a natural dark brown
polished look which makes them stand out among similar products of other states.
The Shilpkar
the craftsman

• craftsman
• origin
• the design inspi-
ration
• accompalish-
ments and con-
tribution to the
craft
• financial support
• social surround-
ings
• the future
Coconut shells have been used since olden times; in Goa, the shells
were especially used to serve Fenni (local alcohol made from ca-
shew or coconut) and also to serve food dishes. Considered one of
the most hygienic materials, the modern coconut shell craft was
popularized by Mr. Vijaydatta Lotlikar. He has also authored a book
“Coconut – The Art of Coconut Craft” which was released on Dec 7,
2009 at the Institute Menezes Braganza art gallery at Panjim, Goa.
He has trained several craftsmen on coconut shell craft; interestingly
the art of these craftsmen are very unique and different from each
other. For example, Mr Naik (from Divar, Goa) makes Barren Nut
Craft i.e. making face carvings and idols from coconut shells. An-
other such skilled craftsman was Mr. Franco Fernandez, who used
to design for Wendell Rodricks but now he has stopped practising
the craft.

Mr. Lotlikar is also actively involved in training self help groups in

coconut craft, one such group being ‘St. Francis Xavier women’s ca-
terers’ under the ‘Pereira social welfare centre’. The welfare centre
is located in Panjim and was started in 16-06-2007.

‘Coco Arts’ is another coconut shell craft workshop that has been
well acclaimed by the Goa Government. His art is again very differ-
ent from those of Mr. Vijay Lotlikar and other craftsmen. He was not
trained under any master craftsmen and it was through his personal
creativity, that he started ‘Coco Arts’.
The study of this craft is incomplete without the mention of the ‘Pereira
social welfare centre’. The centre organizes training courses in Spoken
and written English for ladies, and also trainings for women self help
groups under BPL and APL income group. Sister Edith, started the initia-
tive in 2008, and this initiative has helped many women in Goa earn their
own livelihood with respect.

There are now 5-6 batches each year, each batch with 15-20 members.
Besides several other training courses, these ladies have been trained by
master craftsman Mr. Vijaydatta Lotlikar and his wife Mrs. Nilam Lotlikar
in the art of coconut shell carving. Through this initiative, not only have
these women gained a respectful means of livelihood, but at the same
time, the coconut shell craft is being spread and promoted in Goa. The
welfare centre is now headed by Sister Rebecca, who was kind enough to
meet us and personally introduce us to Mr. Vijaydatta Lotlikar and Mrs.
Nilam Lotlikar.

MR. VIJAYDATTA LOTLIKAR

He is the most well known master craftsmen of coconut shell carving in

Goa. He stays at Parra, Bardez, Goa along with his wife and son; he has
been practising this craft for more than 20 years. He is originally from
Pilerne (Bardez, in Goa, India) was the first to start the coconut shell art
in his family. He worked as a teacher in St Xavier’s High School, Moira,
Goa. His family business was that of goldsmith; his father, Mr. Parshur-
amis Lotlikar is State awardee for his contribution to imitation jewellery.
He initially worked in their family jewellery shop in Mapusa, along with
his two brothers. He has completed his B.Sc (IInd Year) at Panjim, and a
diploma in electronics.
The way it started

The craft started as a hobby for him. As told by Mrs. Nilam Lotlikar “My
husband’s colleague Mrs Manyata D’souza had gifted us this giant sized
coconut, it was very different and unique. We wanted to preserve it; my
husband came upon this idea of carving on the shell. He is very talented
in creating beautiful art works out of simple objects; he also has a keen
eye in design being from a goldsmith background. He carved a box out of
that coconut, it was a little crude and the finishing was not as good as the
products that you see now. He took his to the school where he was teach-
ing and showed it to his colleagues and students, they all loved it; people
started asking us to make similar products for them as well.” This was the
beginning of this beautiful craft which is now the pride of Goa.
Product Range

“Some of the best compliments that I received for my product are when
they said the items are so perfect in finish and detail; they don’t believe
its coconut shells.”
Mr. Lotlikar is perhaps one of the most contemporary craftsmen in India;
he has connected ancient belief with modern technology in his craft. He
had taken the inspiration from olden days, when the Kings and Sadhus
believed coconut shell to be one of the purest materials available to man-
kind and stood next to only gold and silver in terms of their value.

The product range of his coconut shell craft is very varied; he has more
than 450 different items out of which 95% are utility based. His prod-
ucts range from bowls, spoons, cups, purses, table clocks, candle stands,
lamp shades, coconut shell jewelleries, buttons, decorative pieces, lock-
ets, keychain, Christian crosses, etc to exquisite home decor items like
door carvings made with coconut shell chips and coconut shell ply. It is
very interesting to note that in serving spoons itself, he has created near-
ly 80 different varieties to cater to specific requirements of each purpose/
occasion.

He has also created many interesting unique and interesting items like
the mask cum key-holder. There is a very interesting story behind this
creation. “... I had met a tour guide; he had requested me to meet him
since he wanted to include the coconut shell craft in his Goa tour guide
which he provides to tourists. He had suggested me ‘Why don’t you
make face masks as well? Wooden face masks are in high demand from
tourists, this will be even better.’ To make masks, I need perfect, big co-
conut shells; it is of a different variety, so I never made masks. But then I
started thinking upon the idea, I decided to carve this small mask which
will also be a key chain holder. Incidentally, it is one of the most popular
products and is in high demand. I truly consider him a friend send by
God in disguise...”
He has designed an entire collection of crosses (already over 500 cross-
es and still growing), each cross is unique from the other. The smallest
cross is about 3 mm and the largest measures around 1.5 feet. There is
another very unique aspect to this collection; he has crafted the collec-
tion from eleven coconut shells collected from eleven different taluka
(subdistrict) of Goa, with the help of the Goa Government. The collec-
tion has been exhibited at the Goa’s Christian Art Museum in Old Goa
and Fundaçao Oriente, the Portuguese cultural foundation.

Design Inspiration

Each and every item which he makes comes from his own creative
thinking; he conceives the design in his mind and relies on logic and ex-
perience to develop a design. There is no limitation to the designs which
he makes, the designs could be inspired from simple things – something
which he saw while on a trip or on the T.V. or on the internet or it could
also be random designs which comes to his mind.
Taking an example of his collection of crosses, he was motivated by the
Christian friends and clients whom he had met and who had appreciated
his craft. It was a heartfelt gesture from him.
Being a goldsmith himself, he is not only a master in conceiving in-
tricate designs but also in understanding the need and demand of the
consumers. The combination of his technical skills, creative skills and
understanding of human nature sets his craft on a different level. For
him, the designs are not just a means of livelihood but an outlet for his
creativity

“ If the craft is promoted prop-

erly, it will provide employment to
many people in the villages, they
can do the cutting and assem-
bling, the finishing of the product
can be done in the workshop.”
Accomplishments and contribution to the craft

Nominated by the Coconut Development Board for the Best Craftsman

2008, he received this national award from Sharad Pawar, Minister of
Agriculture, on July 31, 2009.

His name has also entered the Limca Book of World Records for crafting
the tallest lamp (Samayee) which is of 8.3 ft height, 2.5 ft diameter and
weighs 9 kgs, made exclusively out of coconut.

Besides several State awards, Mr Lotlikar is also the recipient of the Goa
Sudharop award in 2002 for promoting entrepreneurial spirit in coconut
shell craft.

Mr. Lotlikar has also developed a machine for coconut shell craft, spe-
cially designed for the ladies. When he was practising the goldsmith
business, he has developed several machines for crafting gold. He want-
ed to apply those techniques and knowledge on coconut shell craft.

He has also developed several protective gears for women and men both,
to protect themselves while working on the coconut shells.

“For me, I am happy with

whatever I get, I get
peace of mind. I want
to train more people, I
want the craft to ex-
pand and I want people
to get employment from
this. I do not want any-
thing but respect.”
Role of the Family

Mrs. Nilam Lotlikar, his wife has always been a constant support for him
not only in his personal life but his professional life. She is actively in-
volved in promoting and marketing the craft. She make agarbattis (in-
cense sticks) and dhoopbattis from the coconut shell powders.
His son, Mr. Anikat Lotlikar also makes coconut shell crafts, specialising
on the skills of ‘Barren Nut craft’, called ‘bondo’ in Goa; he has crafted
exquisite face masks which are proudly displayed at his home. Having
completed his study in Biotechnology, he has done research on coconut
tree plantation. Though he has not taken up the craft professionally, he
has always supported him in his endeavour and personally carves coconut
shell items during his free time.

Financial support

The initial start-up of the business was all self financed; he used to create
all the items as a collection and never for selling it the market. It was at
a later stage, due to huge demand, that he started making items for retail
purpose. Even now, he is able to carry forward the business with the earn-
ings that he receives from selling these items.
He wants to develop a bigger workshop, train more people and spread the
craft. But getting an area or plot for the workshop in Goa is a problem. “If
the craft is promoted properly, it will provide employment to many people
in the villages, they can do the cutting and assembling, the finishing of the
product can be done in the workshop.”
ST. FRANCIS XAVIER WOMEN’S CATERERS

St. Francis Xavier women’s caterer is located at Parra Panchayat, Goa

and is a self help group supported by ‘Perreira social welfare associa-
tion’. They are a group 16 women in each batch; they have been trained
in several crafts like coconut shell craft, crochet, candle making and jute
bags. They run the catering business during daytime, on a shift basis and
during other free time, they work on the items for sale. They also travel
to different parts of India for exhibiting their craft, with the help of the
Goa handicraft department. Mrs Nancy is the secretary of the group; to be
a member of the group they have to pay an amount of Rupees 100- 200
each. The entire money goes to the person who made it the craft and 10%
membership fees go to GHRSSIDC.

The way it started with coconut shell craft

The ladies were trained under the ‘Perreira social welfare association’
scheme; Mr. Lotlikar himself had trained them on the art of this craft
nearly 3 years back. They do not spend on purchasing the raw materials
i.e. coconut shells, they collect discarded coconut shells. The tools for the
craft were provided by Goa handicraft department.
In 2011, NID students had provided training for 15 days on more things
like add-ons to the shells.

Product range

Since, they do not have the machine for shell carving, everything is handi-
work; small tools which can be handled by them are used. They work with
only basic shapes and simple designs.
Varnish is used for making the final finishing of the product; hence they
create only decorative pieces and jewelleries. Their most popular items
are candle stands, key chains, key holders, earrings, lockets, and bangles.
Finishing of the product is taken utmost care of and all the products which
they sell, no matter how simple, boasts of their attention to detail.
Financial support

The Parra Panchayat (where the restaurant is located) has been very sup-
portive of them and even pays the rent for the shop.
GHRSSIDC provided all the training to them but no funding was provided.
The stalls at the exhibitions are sponsored by Goa Handicrafts; the ladies
receive stipend on participation in the exhibitions.The entire profit that
comes out of selling a product goes to the person who makes the product.
COCO ARTS

Mr. Sonu Keshav Shetgaonker is a very simple man who runs a small coco-
nut carving workshop called ‘Coco Arts’ near Morjim beach in Goa. Born in
1968, he is a native of Morjim district itself and lives with his two daughters
and wife who is a tailor. He is not professionally trained. It’s his interest level
that drives him to work with coconut shells.
He has completed his class XII and speaks Hindi, English, Marathi, Konkani
fluently.
His daughters are in school and are learning ‘Bharatnatyam’ very well; a dance
form that does not belong to his native place. This reflects the kind of respect
he gives to other cultures

The Way it started

Mr. Shetgaonker had an artistic flare in him. When he failed to find a job
for himself, he decided to put his creativity to use. He started painting sign
boards, cards etc. and undertook contracts for thermocol decorations during
Ganesha and Durga festivals, fairs and other celebrations. His creative ideas
pushed him to experiment with new materials and that’s when he came upon
the coconut shell. He had never known that his little shell craftwork would
actually be sold in a village fair. His wife encouraged the artist in him and he
started working with coconut shells even more.
Product range

The craftworks of Mr. Shetgaonker are very raw and less polished. They
have a style of their own. The products are mostly meant for home décor
and have very less utility value. There are animal and bird figurines, little
sculptures of fish and tortoise, wine bottles, small lamp shades, ladies coin
pouches etc. His works are mostly handmade. He does not have any compli-
cated machinery nor does he use any except for the basic tools.

Accomplishments and contributions to the craft

For this craftsman, coconut shell work is a seasonal business. In the year
2009, the Goa government awarded him with The Directorate of Art and
Culture Award for completing a decade of coconut shell crafting.
He lends his artistic talents to events and functions by taking hobby classes
in summer vacation camps, teaching in fine art colleges and giving demon-
strations in schools. He uses his logic and reasoning to choose the tools for
working with different products. He does not believe in copying the designs
or works of other craftsmen even though he respects their works. He men-
tions Mr. Vijaydatta Lotlikar in particular and his admiration for his tools
and techniques.
Financial Support

Mr. Shetgaonker feels that the government lags behind in supporting the crafts-
men and it is also difficult for them to get loans from banks. Initially, he sold
off his wife’s jewelry to collect the startup capital for the craft business. Grad-
ually, GHRSSIDC extended a helping hand to a certain extent. He mentions
that travel expenses and food were provided when they went to participate in
exhibitions and craft fairs. However, with time, that too has stopped thereby
taking away another source of motivation for practicing the craft.

Accomplishments and contributions to the craft

For this craftsman, coconut shell work is a seasonal business. In the year 2009,
the Goa government awarded him with The Directorate of Art and Culture
Award for completing a decade of coconut shell crafting.
He lends his artistic talents to events and functions by taking hobby classes in
summer vacation camps, teaching in fine art colleges and giving demonstra-
tions in schools.
He uses his logic and reasoning to choose the tools for working with different
products. He does not believe in copying the designs or works of other crafts-
men even though he respects their works. He mentions Mr. Vijaydatta Lotlikar
in particular and his admiration for his tools and techniques.

PSYCHO -GRAPHIC (DIALECTS AND CASTE)

All the craftsmen are of Goan origin and thus, fluent in Konkani language,
Marathi and English; they are also quite comfortable with Hindi as well. Also,
since there are many Russian buyers, they can speak Russian fairly. Some of
the craftsmen are Christian and some are Hindus.
COMMUNITY AND SOCIAL LIFE

For the people in Goa, an active social life is part and parcel of their lifestyle.
Even in terms of their crafts, for the craftsmen of Goa, it is not just a means
of livelihood. They look at their passion for craft in terms of self-satisfaction;
and also, interestingly for the betterment of the society as a whole.

Mr. and Mrs. Lotlikar are actively involved with Pereira Social welfare so-
ciety in training women in coconut shell carving. He has even designed the
machine especially for women. They have also co-operated with the Goa
Government in conducting workshops for women self -help groups.
Belonging to a specific religion does not hinder him from appreciating and
respecting other religions; he shown this gesture through his craft.

His works for the community reflects the nature of the Goan society in gen-
eral; one can find bus stops constructed by him for the welfare of the people.
He also conducts workshops and seminars for students who want to learn
the craft. He has also trained other craftsmen in the past who look forward to
improve their skill in coconut carving.

He sincerely believes coconut shell craft will be able to provide employment

to a lot of people in Goa, especially to the people in villages.
For the women of St. Francis Xavier women’s caterer, coconut craft is an
alternative means of livelihood. They make several handicraft items which
help them support each other which also made them independent financially.

The diverse nature of the products and the designs which follow a more con-
temporary pattern, mostly a reflection of the craftsman’s inner thoughts, high-
light the open-mindedness and acceptance of the diverse culture in Goa. The
views and opinions of the craftsmen reflect the easy-going nature, the high
sense of community welfare and respect for different cultures.
CONSUMER PSYCHOLOGY

As highlighted by Mr. Lotlikar, the psychology of the customers is quite

complex in terms of pricing. On one hand, the ask for the products to be
priced reasonably while on the other hand, when the pricing is not high,
they again feel the product is not good enough and that it is not a collectible.
While the raw material is not a major cost issue, there is a lot of effort which
goes into making the final designs. When raised this question that ‘whether
the economical pricing of the product justifies the human effort and time
which they have spend’, Mr. Lotlikar, Ms Paulene and Mr. Shetgaonker
all seemed to have the same response. They are all happy with what they
receive and are not concerned about earning more profit by increasing the
price factor.

PROBLEMS VOICED BY CRAFTSMEN

While Mr. Lotlikar highly appreciates the initiatives taken up by the Goa
Government in promoting and sustaining the craft; he wants to promote
and create awareness of the craft in a much larger scale. He had applied for
patent for his coconut shell craft machine, but he is still awaiting the patent;
without some sort of assurance or support from the Government; he is hesi-
tant to disclose the technology to the people. This machine is a very big step
towards reducing man-labour and time consumption.

He also wants to build a bigger workshop but have not been able to obtain
a plot for the same.
Besides this, he has applied for a patent for the coconut shell powder ‘dhoop-
batti’ which is not only sustainable but has medicinal values, is 100% nat-
ural, and also serves as a mosquito repellent. He has even requested to the
Government to file the patent under the Goa Government’s name, but till
date, there has been no strong initiative.
He has been offered a chance in Kerala, Maharashtra and Karnataka to prac-
tise and promote his craft; he wants to carry forward the craft in Goa itself,
but he needs the Goa Government’s help for this.
Mr. Shetgaonker has especially highlighted the point that he was unable
to obtain a loan from the bank since the banks did not consider coconut
shell craft as collateral for obtaining loan. His wife supported him when
he first started his business by selling her own jewellery. He has raised
a very crucial point when he said that “the craft is appreciated all over,
but the people of Goa themselves are not aware of its value.” GHRS-
SIDC also help him initially but to a due to lack of exposure in terms of
exhibitions and financial funding from the Government, he was unable
to further develop and expand his skill. He wishes for a system where
crafts are encouraged in Goa as much as tourism.
Besides the lack of government support and issues in getting financial
resources, monsoon is another problem that he talked of. The availabili-
ty of coconuts is comparatively less during that season and transporting
them from far distances is quite expensive. He has also highlighted the
need to meet other artists and craftsman of coconut craft, through which
they would share and gain more knowledge. He feels that proper train-
ing should be provided to interested craftsmen so that they can polish
their skills
Ms. Paulene from St. Francis Xavier women’s caterer highlighted a ma-
jor problem which hinders them from further practicing coconut craft
which is human labour and time. They await the approval for the patent
on Mr. Lotlikar’s machinery, which will really help them reduce time
and effort.
Besides this, the ladies are very happy with the initiative taken up by the
Government for the self-help groups; they have mentioned that without
the help from the Goa Government, they would not have reached where
they are now

“They are all happy with “the craft is appreci-

what they receive and are ated all over, but the
not concerned about earn- people of Goa them-
ing more profit by increas- selves are not aware of
ing the price factor. “ its value.”
FUTURE OF THE CRAFT

A lot of craftsmen, during the study, could not be contacted since they
had stopped practising the craft. A specific reason could not be estab-
lished, but the general response was that the craft requires a lot of human
labour for the cutting and polishing of the shells and is time consuming,
the profit which they earn from selling these items fail to meet their daily
requirements. Financial funding from the bank was another main issue,
the reason for this being that coconut shell craft is not recognized as a
major craft in Goa.

Mr Vijay Lotlikar and his wife Mrs Nilam Lotlikar have only one son
who also used to practise this craft initially before he started working.
Whether he will continue with this craft later on in his life, he himself is
not sure of, coconut shell craft was a hobby to himMr Lotlikar has been
promoting the craft through exhibitions and training workshops, he has
worked alongside the Government in creating awareness about the craft.

Mr Sonu Keshav have two daughters aged 7 and 15 respectively, who are
still in school, he has not mentioned at all whether his daughters are learn-
ing or will practised this craft in the future but at the moment Mr Sonu
Keshav is the only member from the family who is practising this craft .
The ladies from the self help groups who have been trained by Mr. Lot-
likar are actively practising the craft (even if at a smaller scale). Some
other craftsmen who work on coconut shell are Ms. Shubhangi M Naik,
Ms. Amita A.Naik, Mr. Ramesh Bharne, Mr.Vividha Kerkar and Vasanti
Pednekar. The artifacts of each craftsman are very different from one an-
other and most of them work on Barren Nut craft.
The Goa Government has applied for GI registration for azulejos tiles,
crochet craft and coconut-shell carvings; which have proven to be im-
mensely popular among tourists.
Material and
processes
a dialogue between
rythm and life

• tools and mate-

rial
• raw materials
• process and
techniques
Tools used by the master craftsmen Mr. Vijay Lotlikar
List of tools to get started :

1. Hand drill: A hand drill is a manual tool that converts and

amplifier circular motion of the crank into circular motion of a
drill chuck. Though it has been replaced by power drills, the hand
drill is still used by many woodworkers. The hand drill is used by
loosening the chuck and inserting the appropriate drill bit, then
tighten the chuck. Most hand drills require a special tool to firmly
tighten the chuck. Place the bit’s tip where you want to cut a hole,
making sure the bit is at the same angle as the desired hole. Turn
the cranking handle to rotate the bit and drill the hole. With small-
er drill bits, be careful not to apply excess pressure on the handle
or the bit may bend or break.
USAGE: The drill is used to bore holes in the shell. It is also used
to polish the outer layer of the shell.

2. Saw: The Saw is either hand-operated or power- driven it have

a thin metal blade or disk with a sharp, usually toothed edge, used
for cutting wood, metal, or other hard materials.
a) Coping saw: A handsaw with a U-shaped frame, used for cut-
ting curves in wood Fret saw: It is long and have narrow-bladed
saw with fine teeth.
USAGE: It is used in making curved cuts in thin wood or metal.
b) Hack saw blade : Usually used sed with one hand for cutting
metal.
USAGE: the blade is used for cutting the internal design and to
carve outlines.
c) Mini saw: The Mini Saw Guide System includes an aluminum
guide with 45- and 90- degree stops for cross-cuts and mitres, a
dummy blade insert for accurate positioning, and a sliding guide
for use.
USAGE: Designed for cutting or moulding.
d) Fret saw: A long, narrow-bladed saw with fine teeth.
USAGE: Used in making curved cuts in thin wood or metal.
3.Electric cutting machine/ a grinding machine/ a buffing
machine These above resources could also be used, which
could make the work easier and faster depending on the prod-
ucts made.

4. Files: Files, like those for fingernails, shave down and re-
move excess wood. It is used to smoothen the rough surfaces
of the shells and edges, and also give shape to the shell. There
are different types of files:
1. Rough flat file
2. Round file - For shaping round objects Eg: candle
stand
3. Half-round file
4. Smooth file
5. Flat file

The initial file no.35 in the beginning to remove all

the [ridges on the coconut
1. Triangular file
2. Micro files

5. Piercing Blades : These are as thin as a single strand of hair

and are used for carving.

6. Carving chisels: A chisel is a tool with a characteristically

shaped cutting edge (such that wood chisels have lent part of
their name to a particular grind) of blade on its end, for carv-
ing or cutting a hard material such as wood, stone, or metal.
USAGE: Carving chisels are used for intricate designs and
sculpting.
There many types of chisels for cutting the edges such as,
Gouge, Skew, Parting, Straight, Paring, and V-groove.
a) Gouge, is one type of chisel, is used, particularly in wood-
working, wood turning and sculpture, to carve small pieces
from the material.
b) Carving gouge: Wood carving gouges are ‘U’ shaped
tools. Both the width and the depth (sweep) of the gouge’s
cutting edge are important factors to consider when choos-
ing the right gouge .
USAGE: It is used to cut furrows in wood.

c) Mortice chisel: Thick, rigid blade with straight cutting

edge and square sides.
USAGE : To make mortises and similar joints.

d) Lock Mortice chisel: Lock mortise chisels, which are

sometimes called ‘swan neck chisels’ are used to clean and
square up the bottom of blind mortises. This is simply one
of those tools that make the job go faster and easier.
USAGE: This tool is used in clearing deep, narrow, recess-
es when setting locks and other hardware into furniture
(hence the name)

7. Metal mould (also mould): The mould is a shaped cav-

ity used to give a definite form to fluid or plastic material.
USAGE: While making buttons and beads out of coconut
shell powder. To get the desired shape, one needs to press
the powder mixed with glue in a semi-moist state under
metallic moulds and dried.

8.Table vice: A vice is a clamping device, usually consist-

ing of two jaws closed or opened by a screw or lever, used
in carpentry or metalworking to hold a piece in position.

9. Sand-paper: It ranges from number 220 and 400. US-

AGE: Sand paper is used to polish the shell.
10. Glue : The parts are joined together using water resistant ad-
hesives,preferably Araldite (which are strong epoxy resin best
known as glue) or shell-fix. Shell fix is an adhesive particularly
created by Mr. Vijay Lotlikar, which according to him gives him
the desired best results and is available at his workshop.
USAGE: goes to fix the different parts together, and converts
them into a whole item.

11. Varnish : All coconut-related handicrafts do not require var-

nishing. But depending on items like , candle stands, agarbatti
stands, or articles kept outdoors— like lampshades and chande-
liers, varnishing is done to give it glossy effect and durability. US-
AGE: It gives some heat-resistance and prevents the shell from
developing a crack.

12. Dust guard : This is specially designed to cover the entire

face, with a transparent acrylic sheet on its front. It is made from
plastic and is light-weight. Two hose pipes are fitted to it, one as
the inlet for fresh air, and the other as outlet, connected to a micro
exhaust fan. The bottom side is fitted with cloth, which can be
tied from the outside, so that dust does not enter from the opening
at the neck.
USAGE: Mr. Vijay Lotlikar found out that in spite of a lot of peo-
ple taking keen interest about the craft, did not anticipate owing
to the health issues caused by the husks. Therefore after a lot of
trial and error means of using air-filter mask, a cloth, a transparent
screen, he finally succeeded on sepetember18th,2009 in making a
mask of the required design.. It was named as Dust-Guard-1899.
Raw materials

Coconuts - mostly the Benaulim variety of coconuts

are used. In Goa, the large Calangute is prized and
hard to come by. With this shell, one can get large
sized, large products can be made. For Barren Nut
craft:Articles are made from the entire coconut, using
the husk of the coconut too. The husk is carved in the
shape of the required design. For this, it is preferable
to use the sterile nut, called the vanz in Goa. The nut
is smaller, and the fibre is more, making it suitable for
such crafts. If the nut is bigger and fibre is less, you
cannot create the required design. To create larger ar-
ticles of the barren nut craft, we use a special variety
of the nut called the xellavno, which is larger in size.
These are specially available in the Calangute variety
of coconuts in Goa.

Pricing - 8- 25 rs. Raw coconut, the big ones costs

around rs.30 Earlier the discarded coconut shells
would be provided by neighbour’s and friends. Ho-
tels too would keep it at Vijay Lotlikar s request.
However now with the increase of production and
the variations in it, the same is not always possible.
At the same the women who supply to the self-help
groups make the products only out of waste.
Process
Keeping in mind the picture of the final article to be
made, the following steps are considered:
Step1: Selection of shell The shell to be worked on
has to be selected very carefully. If the shell is dumped
for a long period, it may catch fungus on the outer
fiber. But the hard portion remains unaffected. Shells
should be protected from direct sunlight which would
otherwise develop cracks and render the shell useless
for carving.
While selecting following points need to be kept in
mind:
1.Shape of shell: Select the shell of the required size,
thickness and shade needed to complete the article. Ir-
regularly shaped shells cannot be used to make sym-
metrical objects.
2.Uncracked shells: Check that the shell does not
have cracks, due to sunlight and wrong way of break-
ing. This can be tested by sound test- an iron nail is
stuck into shell, a good uncracked shell will give clear
deep sound and the cracked shell will give distorted
sound. Very often the cracks are identified only when
the shell is polished to the final stage, which means
efforts goes in vain.
3.Oil free shell: Selected shells should not have oil
marks on them. Often very dry coconut or copra re-
leases oil inside the shell itself. This is easily absorbed
by the shell. This oil marks remain for a long period
of time. And spoils the look of the craft. Besides it is
noticed that such shells do not join firmly and there is
a chance of joints being separated. Also the selection
is based on reseasoning, precision and aesthetics.
For instance, to make an ice cream cup, select a
medium- sized coconut shell, just to hold the right
amount of ice-cream.The shell should be round and
full, having no ‘eyes’ (holes) in it. In other words
choose the bottom half of the shell as shown in the
image given below.
One without the eyes (thinner) - for cups One with
eyes (thicker) - smaller purpose like earings, chips.
Thickness starts from the top and goes down thinner
and thinner
Checking the colour of the coconut:
Word of Caution: One needs to avoid colouring the
item, as it will lose its originality. Shells have their
own natural colour,based on their maturity. For in-
stance, a well-matured coconut shell is dark brown
or black. A tender coconut shell is white or ivory
or cream in colour. Ivory colour veins on coconut
shells are ready designs one can opt to keep that as
an option for design. So, while deciding the item
planned to carve, checking the colour of the coconut
shell is also important One needs to avoid colouring
the item, as it will lose its originality. Shells have
their own natural colour,based on their maturity.
For instance, a well-matured coconut shell is dark
brown or black. A tender coconut shell is white or
ivory or cream in colour. Ivory colour veins on co-
conut shells are ready designs one can opt to keep
that as an option for design. So, while deciding the
item planned to carve, checking the colour of the
coconut shell is also important
Step2: Cutting the shell
Cutting the shell to a precise round shape, to the re-
quired size, having a smooth surface is a pre-req-
uisite of this art.. The shell is marked with a chalk
or pencil with desired designs or lines. Using a
hacksaw blade it is cut on the marking. Sometimes
modernized cutting machine could also be used.
Some articles require a whole coconut to work
with. For this, special mechanized round cutting
machines have been designed by me. This cuts the
required part of the shell through which the kernel
can be removed with the help of a sharp too like
a knife.
Step3: Cleaning the husk (katoh) /ridges (siroh)
3 prominent ridges are found on coconut shell.
They are seen projecting outside the shell. These
ridges are hard. To get a uniform shape these lines
need to be removed. A metal file can be used for
this purpose. Sometimes this can be done by rub-
bing the coconut on a rough cement floor or rough
sand paper. The inner side of the shell can be
cleaned too. This can be removed by angled hand
scraper and smoothening sand paper.
Step4: Shaping the shell
To start use a rough file and then a smooth one. It
begins from the initial file no.35 in the beginning
to remove all the ridges on the coconut .
Smoothen the edges and polish the coconut shell
with sandpaper from both inside and out.
For shaping the shell, following tools are used :
a. Rough file
b. Round file
a. Semi-round file
b. Triangular file
c. Sandpaper, numbers 60 and 120
Polishing: For polishing, the tools required are
a. Smooth-files
b. Round file
c. Half-round file
d. Triangular file
e. Flat file
f. Sandpaper, number 220 and 400.
Micro finishing: Items are smoothened and polished
to such an extent that it gives a matt or glossy finish.
For this, sandpaper number 600 and polish-paper is
used.
Glossy-finish: To get a glossy finish on the coconut,
shells should be further rubbed with leather and a cot-
ton-piece. Even glass pebbles can be used to obtain a
glossy finish.
Step 5: Carving & Engraving Carving expresses
thoughts and feelings to the world – whether on a
small grain of rice, on a large marble stone, or a re-
ligious shrine. Coconut’s shell serves as the best base
for carving, and carrying out the imagination of the
craftsman. Replicas of leaders, gods and goddesses
can be carved on coconut shell. Carving chisels are
used for intricate designs and sculpting.Very intri-
cate work—like creating earrings, necklaces, intricate
crosses can be done.
Tools required:
The desired shape could be given using the tools, developed
by the craftsmen himself using micro-cutting techniques.
This allows for fine cutting – of even a one millimetre line.
For this, piercing blades are used. Blade numbers start from
.02 mm to .07 mm.
Simple tools like the hacksaw blade and various files are
also required.

Engraving:
Engraving is one type of carving. The image of the chalice
on the back cover of this book employs an engraving tech-
nique.Once the shell is polished, to get a smooth surface,
the required design can be engraved on it. This mean the
removal of unwanted shell pieces using small micro-chisels.

Step6: Assembling Assembling means joining the different

pieces to make a whole article. Two or more parts are shaped
so well that they fit into one another leaving minimum gap.
These parts are joined together using water resistant adhe-
sives, preferably Araldite or Shell fix.(developed by Mr.
Lotlikar himself )

Step7: Varnishing All coconut related handicrafts do not

require varnishing, but some like candle stands, agarbatti
stand, lampshades, chandeliers, do need varnishing. It gives
some heat resistance and prevents shell from developing
cracks. It is also easy to create a craft with varnishing as
it gives shiny appearance; hence lot of cleaning is not re-
quired. Items made should be kept in direct sunlight for 5-10
minutes, and then 1-2 layers of varnish should be applied
and again kept for drying for 5-10 minutes. Articles made
for consumption of liquor should not be varnished. A lot of
times coconut oil is applied, to give natural colour to the
shell. Also care, should be taken that products made for con-
sumption of food or liquid should not be varnished.
Craft and the
Market
After completing the production of handicrafts, the challenge becomes how
to market the same. In Goa, artisans have some options to market their work
through the following networks, including government agencies:

GHRSSIDC Ltd: The State-owned Goa Handicrafts Rural andSmall Scale

Industries Development Corporation Ltd currentlypromotes exquisite Goan
handicrafts sourced from master craftsmen such as coconut shell craft (Rajesh
Veluskar, Divar, and the author of this book), carved wooden items (Aristides
Alvares, Neura), sea shell craft (Radhika Malik, Porvorim), brassware(Shan-
taram Shinde, Mapusa), terracotta, Azulejos tile paintings(Shankar Turi, Mar-
cel), fibre statues (Dilip Rane, Pernem), banana fibre craft, and the like.

Goa’s share in India’s export handicraft market is still limited. But the corpora-
tion was quoted as saying in news reports recently that it “is striving to create
a steady demand for Goan handicrafts to generate the potential to create hun-
dreds of job opportunities as well as to preserve the traditional Goan handicrafts
which have been practiced by the artisans since many generations.”

The corporation is also in the process of identifying professional designers to

undertake design development workshops to improve the overall quality of tra-
ditional handicrafts.
Major activities are:
1. Aparant emporiums, showcasing Goan art: There are some 12 in
Goa (Neuginagar, Tourist at Panjim, ISBT Panjim, airport, Vasco, Margao, Ma-
pusa, Calangute, Udyog Bhavan, in Panjim, Big Foot in Loutolim and in Cana-
cona) and one in New Delhi.

2. Aparant Maand: Annually two exhibitions are organized in the two
districts of Goa. This annual mega event focuses exclusively on the work of
Goan artisans, and is held over four to five days in the major cities of Goa, on
a rotation basis. It contributes to popularizing the handicraft items.Some 120
stalls are proposed to be given free to Goan artisans to display and sell their
handicraft products over four to five days. Participating Goan artisans are paid
DA at Rs 100 per day per head, allowing up to two artisans per stall.
3 GHRSSIDC-sponsored exhibitions are held in Goa and other parts of the
country.

4.Overseas sales: GHRSSIDC participates in exhibitions overseas, and hopes

to promote exports too.

5.Development Commissioner (Handicrafts) Marketing Extension Cen-

tre(DC Handicrafts): Organises exhibitions in the state as well as other parts
of the country. Allots free stall, and TA is paid to the artisan.

6.Directorate of Arts and Culture (Government of Goa): has been organis-

ing Kala Utsav exhibitions in Goa. Also participates in exhibitions in Udaipur
(Rajasthan).

7. DRDA: The District Rural Development Agency (DRDA) has been organ-
ising the 12-day national level SARAS Fair. This exhibition-cum-sale under
the brand name of SARAS (Sale of Rural Artisans of Society) has been dis-
playing a range of products manufactured by rural artisans, craftsmen and
beneficiaries of self-help group (SHGs) across the country. Over 200 stalls
have taken part, from many states including Goa. In 2008, this event was held
in Rajkot. Priority is given by the DRDA to self-help groups of the BPL (be-
low-the-povertyline) category.

8.Coconut Development Board, Kochi: Organises exhibition on coconut

based products in India. It also offers a free stall, with travelling allowance.

9.GCCI: The Goa Chambers of Commerce & Industry (Women’s Wing)

has been organising exhibitions in the state, as well as participating in exhibi-
tions in other parts of the country. It also takes part in international exhibitions.

10.Khadi Gramodyog: Organises exhibitions and has its own outlets in dif-
ferent parts of the country.
Sustainability
• sustainability
• withrespect to
craft
• with respect
to the coconut
shell craft
Sustainable development is more than a concern with climate change and/or
recycling. It is a concern for the longevity of all forms of life, for social equi-
ty and for the environment conceived as a context of relationships that exists
and takes on meaning in relation to the beings who inhabit it. It thus calls for
the explicit acknowledgement that the transition to more sustainable societ-
ies requires a major change and reorientation of ways of thinking; lifestyles;
consumer patterns and values. Craft offers a number of leverage points where
links between its economic and educational models and pathways to sustain-
ability emerge. Thus, it contributes both to alternative and more creative defi-
nitions of “sustainability”, and to current debates on the “persistence” of craft
and its role in “modern” societies. Craft, can no longer be seen as existing
against or in spite of modernity; on the contrary, in the context of sustainable
development, it clearly emerges as “a modern way of thinking otherwise”

As with craft, sustainable development is also subject to contested definitions.

It emerged as a theoretical concept and field of practice from the merging of
the interests and actions of the environmental and the social justice .Concerns
for the environmental integrity of the planet and the need to achieve equitable
development outcomes for all humans alive today and for future generations
is inextricably linked. While sustainable development is a notoriously con-
tested term, common aspects of :

A concern for the longevity of the planet and of Life in its multiple forms
(hence the capital“L”);
A concern to live in an ecologically sustainable manner, within environmen-
tal limits;
A commitment to equity and socially just outcomes;
A concern with the needs of future generations;
A commitment to democratic and inclusive processes that allow all people
to have a say in decisions and actions that affect their present and future life.
On sustainability by the craftsmen

Coconut shell craft is in itself a very sustainable craft. As mentioned by Mr.

Lotliker, starting right from the raw material itself, the sustainable aspect of
this craft begins. This is because

1) the source of raw material i.e. the coconut trees, grow in abundance in Goa,

2) the properties of the coconut shells are such that they are considered complete-
ly eco-sustainable;

3) The shells which they use for carving is collected from the wastes. Even
the coconut shell powder, which is generated as a waste product during the
process of shell cutting, polishing and carving are reused to make utility prod-
ucts. Incense sticks and dhoopbattis are made without adding any artificial in-
gredients; these amazing products are 100% natural with medicinal properties
and also serve as mosquito repellant. Besides the beautiful shells artworks,
these incense sticks are high in demand due to their unique properties.

Mr. Lotlikar was aware and concerned of the sustainability issue and acted
upon it by converting these coconut shells into beautiful craft products. 95%
of his products are utility based items. The people of Goa in general, were
found to be concerned about the sustainability issue which was evident from
the abundant use of solar energy as energy fuel for homes.

Why coconut shell is considered sustainable?

Coconut shell or kotti in Konkani is considered hard wood and serve as a log-
ical substitute to wood. Compared to wood, it has higher lignin level, lower
cellulose level, and is composed mainly of lignin, cellulose and hemi-cellu-
lose. Cellulose, which is at the centre of the shell, is soft and can be removed.
Hence, the hard lignin which is less porous in nature, gives a good finish to the
craft after polishing.
There is a lot of scope to use coconut craft even as kitchen cutleries. In fact,
coconut utensils have been used in the Goan kitchen since time immemorial.
Cups, saucers, kettles, bowls, spoons, ladles, frying-spoons, ice-cream cups,
soup bowls, dry-fruit bowls ... almost every item required in our kitchen can
be made of the coconut shell. Their traditional spoon called the doulo is made
of coconut shell. These items are washable and reusable. Curds set very well
in a curd-bowl made of the coconut shell. This can be also kept in the refrig-
erator.

Even as a substitute for fashion accessories like buttons, they offer a very good
alternative. During olden days, the kings used to get their royal buttons made
out of coconut shells due to its unique looks and also, since the color do not
fade during washing. Well known fashion designers like Wendell Rodricks,
uses coconut shell buttons and accessories for a number of his fashion garment
collection.

Sustainability – during the process

The process uses specific tools for the carving, sand papers are used for pol-
ishing. There is no use of any artificial colors or additives during the crafting
of the shells.

Special varnish is sometimes used to give a more finished look but only on
decorative items. For kitchen cutleries and other utility items, no varnish is
used.

The main waste that results during the process is coconut dust powders and
small chips. As mentioned earlier, the coconut dust powder is utilized to make
Incense sticks and dhoopbattis. No artificial ingredients are used during the
process of making these incense sticks, due to which the products are in very
high demand from his clients. A drawback of this process is that it results in
stiff neck and back problems for the craftsmen due to constant bending.
The small chips which result from the cutting process are used in a very inno-
vative and creative way by Mr. Lotlikar. He has created decorative home décor
items like table stands and door texture using these chips.
A major health concern in this craft is the fine dust that could enter the re-
spiratory system, and eyes, due to which problems may arise in the long run.
Mr. Lotlikar has specially designed a protective head gear called the ‘Dust-
Guard-1899’ to protect the craftsmen from these dusts. .This is specially de-
signed to cover the entire face, with a transparent acrylic sheet on its front. It
is made from plastic and is light-weight.

Economic Sustainability

“Economic sustainability is the term used to identify various strategies that

make it possible to use available resources to their best advantage. The idea
is to promote the use of those resources in a way that is both efficient and re-
sponsible, and likely to provide long-term benefits. In the case of a business
operation, it calls for using resources so that the business continues to function
over a number of years, while consistently returning a profit.”

In terms of available resource and long-term benefits, the coconut shells, as

discussed above, serve as a logical choice. The long-term benefits are justified
by the properties for the coconut shell craft products. Due to the uniqueness
of the shell, and its content, articles made from coconut shell have a very long
life, remaining for over a hundred years. Termites and other insects do not at-
tack them. But one should protect them from rats.

As an alternative to wood also, coconut shells are a good alternative for home
decor and most utility items. Mr. Lotlikar has already developed prototypes
for coconut shell ply and decorative doors using coconut chips, which not only
looks beautiful but are durable.

Social Sustainability

In simple terms social sustainability seeks a way to improve local and global
social conditions of workers, their families, communities and society at large.
Coconut shell craft in Goa has managed to provide employment to many young
women through the ‘Periera Social Welfare Centre’. These ladies have been
trained by Mr. Lotlikar and his wife Mrs. Neelam Lotlikar in the craft and
through this training; they have managed to earn a small income by selling
coconut shell jewelleries and accessories. They do not need a financial setup
to purchase raw materials as it is collected from waste and the simple tools are
provided by the Goa Handicrafts department.

As highlighted by Mr. Lotlikar, the coconut shell craft, if promoted on a higher

scale, will be able to provide employment to many people, especially those
staying in the village.
He has already developed a machine for coconut shell carving, which will in-
crease productivity to a good extent by reducing human labor and time. Also,
the machine has been designed especially for ladies to be able to operate with
ease.

Coconut shell carving provides a good alternative to many non-biodegradable

products. Though small in scale as of now, this craft could serve as a good
source of economy for the place in terms of employment and tourism, if pro-
moted on a large scale. This beautiful craft has already put Goa on the map for
eager tourists. This craft is sustainable in many forms and with proper initia-
tives from the Government, could result in far better outcomes for the society
by and large.

“A process for creating sustainable,

successful places that promote wellbe-
ing, by understanding what people need
from the places they live and work.
Social sustainability combines design
of the physical realm with design of
the social world – infrastructure to
support social and cultural life, social
amenities, systems for citizen engage-
ment and space for people and places
to evolve.” - Social Life, UK