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C N E TO T N S

5

Chapter 1Craftsman

Origin

the design inspiration

Accomplishments andcontribution to the craft

Financial support

Social Surrounding

The future

ShilpkarThe craftsman 6

Chapter 1

material and processes4Coconut Shell Craft

Origin

Emergence as a craft

a comparison of style

The crafts in Goa

tools and materials

process and techniques



Chapter 1

7

Chapter 1

craft and the market

2Chapter 1Clusture

Clusters in India

Clusters, culture and society

Recognition and Development

Cluster1Chapter 1Craft and Society

Craft- The ritualistic art

The Shilpkar

a tale of a CraftA dialogue between rhythm and life

8Sustainability

with respect to the craft

with respect to the coconut

shell craft

Sustainablity

3 History and Culture

Costumes

Food

Climate

Economy

Crafts of Goa

Birth of pearl of East

life and culture



a tale of a Craft A dialogue between rhythm and life

Chapter 1Craft and Society


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 processes. 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 andelegance 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 thepure 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”.

“The crasman seeks

rhythm in his life, colour in

his composions and

harmony in his forms in

order to perfect an object

which has funcon and at

the same me provides

visual pleasure.”

Craft and Society



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 is interwoven with our beliefs and rituals to form oursocial 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 'hand-

crafting' 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.

“Deep within itself,

craft holds myths,

legends and faiths”



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 consumerwithin 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 importantaspect 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.

“Craft is considered to be more

cohesive and permeating in

human relationships than

e v e n l a n g u a g e ,

f o r i t p e n e t r a t e s t h e

barriers of communication.”



Clusters

Clusture

Clusters in India


Recognition and Development

Chapter 2



An important component of the non-farm segment of a country

is the unorganized sector of workers, especially in the rural

population. A noticeable 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.

“This informal sector possesses

vast potential for opening-up

employment opportunities,

generation of rural income,

a n d s t r e n g t h e n i n g o f

purchasing power of the

r u r a l p e o p l e .

A special feature of these

a r t i s a n s i s t h a t t h e y

live in clusters!”

Clusters



Mrs.Nilam Lotlikar Parra

Ramesh Veluskar Divar

Coco ArtsMorim

Shankar TuriBicholim

Sister Rebbeca

AparantHandicraft Emporium

GHRSSIDCPanaji

GHRSSIDCPanjim

Premnath Yeshwant Haldankar

Santa Cruz Ilhas



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.


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 fromeach other makes them an asset to any society.



Birth of pearl of Eastlife and culture

Chapter 3History and Culture

Costumes

Food

Climate

Economy

Crafts of Goa



Goa.... The very mention of the name brings to mind the

smallest state of India full of beautiful sea beaches, amazingsea food and the ultimate destination for party animals. In all its

glory, somehow something very important seems to be

overlooked. Something which is perhaps more adorable than

all the fun and frolic offered by this state: A rich culture,

interesting historical background and craftworks that leave

you speechless.

History and Culture

Goa has a turbulent but remarkable history that has given it a

unique identity in India as well as abroad. The name of the

region has been changing from Gomantaka to Gubio to even

Konkana, Konkvi and finally Goa over the centuries.

Conquered and tossed over among many races (Sumerians,

Phoenicians, Kundbis etc) and dynasties (Mauryans,

Satavahanas, Rashtrakutas, Chalukyas etc) Goa ultimately

came under Portuguese control in the early 16th century.

It remained under Portuguese rule for about 450 years and

grew as a commercial port. In 1961, the Indian army annexed

Goa, Daman and Diu into the Indian union as a centrally

administered Union Territory of the country. On 30 May 1987,

the Union Territory was split, and Goa was made India's

twenty-fifth state.

The coming and going of various races and communities has

contributed to an intermingling of various religious festivals

and rituals. The state still exhibits the cultural influence of the

Portuguese and is extremely colourful and lively. People are

very passionate about their hobbies which in turn lead them to

devise new sources of income for themselves. The lifestyle is

quite easygoing and the people know how to strike a balance

between profession and recreation, seriousness and leisure.

The traditional side of Goa is quite rich too and possesses a

unique legacy of different societies. A variety of customs have

affected almost every aspect of the Goan lifestyle. The strong

Roman Catholic influences coupled with the essence of the

Konkan ways of life has led to the emergence of many festivals

and celebrations. Feast days, Thanksgiving, Christmas,

monsoon celebrations, processions, Shigmo (Goan version of

Holi) and lot of other fests and carnivals mark the holiday

calendar of Goa.

Goa

“More than just the

party hub of India”



Costumes

Traditional costume of Goan women is the 9-yard sari knownas " Nav-Vari", worn with attractive jewellery. Anothertraditional dress worn by women is " Pano Bhaju". The attire ofvarious tribes consists of mainly loincloth known as " Kashti " with a blanket on the shoulders called " Kunbi Palloo" alongwith a tied knot and sari. Ironically, the sight on Goan streets isthat of skirts outnumbering saris. This again reflects the strongPortuguese influences.

Food

Goan cuisine is mostly seafood: kingfish, prawns, oysters,squid, mackerel etc. The staple food is rice and fish. Again,Portuguese influence is clearly visible in the diet of Goans.Chocolates, cakes and sweets are highly popular and of coursewines of every kind. Feni is one of the most famous spiritsexclusively produced and consumed in Goa which is made ofcashews, another speciality of the region besides other nuts anddried fruits.

Climate

Being located on the western coast of the Indian peninsula,Goa receives rainfall between the months of June andSeptember. Temperature remains moderate with not muchvariation. The summer is at its hottest in May while the wintermonths of January and February are the coldest. Otherwise, thestate experiences tropical weather the rest of the year.

Economy

Mining is one of the principal source of Goa's industrial and

trade development and offers considerable scope for

employment. Mineral resources are an asset of Goa and iron

ore is a leading commodity.

Other important economic activities include agriculture,

manufacturing units of pesticides, tubes and tyres, footwear,

chemicals, pharmaceuticals, steel rolling, fruits and fish

canning, textiles, breweries etc. The handicraft sector also

contributes a great deal towards the economy of the state.



Crafts of Goa

This is an area which when explored grabs the attention of

tourists and has the potential of becoming a huge craze

worldwide.

The crafts of Goa are incredibly beautiful and creative. The

artisans and master craftsmen create such unimaginable

products and make innovations within the traditional work

frame that even the most creative designers are forced to

rethink and be awed at the immense possibilities and

opportunities that could be there.Some of the major art forms here include bamboo craft, wood

carving, sea shell craft, brass metal works, crochet, candle

making and of course coconut shell craft which is not only an

exceptional utilization of waste but also extremely sustainable

and eco friendly.



Coconut hell Craft

Chapter 4Origin


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 decorative 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 prac ticed by craftsmen from the Vishwakarma

community in Kerala. Traditionally 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.

Coconut Shell Craft

“ I believe that there is nothing

t h a t c a n n o t b e m a d e

o u t o f c o c o n u t s h e l l ! ”

- V i j a y d a t t a L o t l i k a r

Master craftsman, Goa



Vijaydatta Lotlikar, present day master craftsman of Goan

coconut shell craft also remembers the use of hollow half shells

in his village for making 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 has emerged and gained popularity in India

only in the last few decades and hence does not have a long

history to boast of. However, 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.

“Music and dance is part of

every Goan, and the coconut

shell goes with them too. When

netted tightly with beads around

i t , t h e c o c o n u t

shell if rotated gives out a

m e l o d i o u s s o u n d .

T h e s h e l l i s a l s o u s e d i n

f o l k - d a n c e s c a l l e d

t h e ' k o t e a c h e f u g d i ' .Two halves of the shells are struck

against each other in rhythm,

e c h o i n g t h e b e a u t i f u l

b e a t s o f t h e m u s i c . ”

-Coconut: The Art of Coconut Craft,

Vijaydatta Lotlikar



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 Karnataka, 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 objectsmade 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.

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 alternative 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 otherstates, 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 challenges

that the craftsmen face, some of them just don't stop enjoyingwhat 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

Chapter 5

the craftsman

Craftsman

Origin

the design inspiration

Accomplishments andcontribution to the craft

Financial support

Social Surrounding

The future



Coconut shells have been used since olden times; in Goa, the

shells were especially used to serve Fenni (local alcohol made

from cashew 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.

Another 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 caterers' 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 different 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 initiative 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. Parshuramis

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 andunique. 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 teaching 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 mankind 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 products range from bowls, spoons, cups, purses,

table clocks, candle stands, lamp shades, coconut shell

jewelleries, buttons, decorative pieces, lockets, 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 nearly 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

coconut 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 also takes up contracts for fashion designers like Wendell

Rodricks, singer Remo Fernandez and also from clients for bulk orders.

He has designed an entire collection of crosses (already over

500 crosses 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 collection from eleven

coconut shells collected from eleven different taluka (sub-

district) of Goa, with the help of the Goa Government. The

collection has been exhibited at the Goa's Christian Art

Museum in Old Goa and Fundaçao Oriente, the Portuguesecultural 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 experience 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 intricate 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.

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.

“ I f t h e c r a f tis promoted properly, it will

provide employment to many people in the villages, they cando the cutting and assembling,the finishing of the productcan be done in the workshop.”

“For me, I am happy withwhatever I get, I get peace ofmind. I want to train more

people, I want the craft toexpand and I want people to

get employment from this. I don o t w a n t a n y t h i n g b u t

respect.”



Besides several State awards, Mr Lotlikar is also the recipient

of the Goa Sudharop award in 2002 for promotingentrepreneurial spirit in coconut shell craft.

Mr. Lotlikar has also developed a machine for coconut shell

craft, specially designed for the ladies. When he was practising

the goldsmith business, he has developed several machines for

crafting gold. He wanted 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.

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 involved in promoting and marketing the

craft. She make agarbattis (incense 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 Bio-

technology, 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 earnings that he receives

from selling these items.



and bangles. Finishing of the product is taken utmost care ofand 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 supportive 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 coconut 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 atailor. 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

complicated machinery nor does he use any except for the

basic tools.

Accomplishments and contributions to the craftFor 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 demonstrations 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 theirworks. He mentions 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 craftsmen 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. Gradually,

GHRSSIDC extended a helping hand to a certain extent. He

mentions that travel expenses and food were provided whenthey 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.

3.5 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 artcolleges and giving demonstrations in schools.



He uses his logic and reasoning to choose the tools for working

with different products. He does not believe in copying thedesigns or works of other craftsmen 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 thecraftsmen 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 society 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 general; one can find bus stops constructed by himfor 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 severalhandicraft 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 contemporary pattern, mostly a reflection of the

craftsman's inner thoughts, highlight 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 effortwhich 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

hesitant to disclose the technology to the people. This machine

is a very big step towards reducing man-labour and time

consumption.

“They are all happy with what

they receive and are not

concerned about earning more

profit by increasing the price

factor. “



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 'dhoopbatti' which is not only sustainable but has

medicinal values, is 100% natural, 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 practise 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 hewas 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.”

GHRSSIDC 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 inGoa 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 availability 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

training should be provided to interested craftsmen so that theycan polish their skills

Ms. Paulene from St. Francis Xavier women's caterer

highlighted a major 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

“the craft is appreciatedall over, but the people ofGoa themselves are not

aware of 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 established, 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 learning or will practised this craft inthe 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. Lotlikar 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

another and most of them work on Barren Nut craft.

The Goa Government has applied for GI registration forazulejos tiles, crochet craft and coconut-shell carvings; which

have proven to be immensely popular among tourists.



material and processes A dialogue between rhythm and life

Chapter 6tools and materials

raw material

Process and techniques



“ Working with coconut

shells can be a learning

experience. One would be

surprised to know what all

can be done from the

humble kotti ” - Vijay

Lotlikar

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 smaller 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

cutting 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.



“ Art and craft has always

been been my passion. To

work on these coconut

shells is what brings out the

best of me.” - Sonu Keshav Shetgaonker

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 products made.

4. Files: Files, like those for fingernails, shave down and

remove 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

1.

Flat File grading NO.35 NO. 320

Beginning Final

Roughest Finest

Roughest Finest

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

on the coconut

1. Triangular file2. 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 carving

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.

USAGE : Gouges are most often used in creating concave

surfaces and it typically has a 'U'-shaped cross-section.

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 choosing 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, recesses

when setting locks and other hardware into furniture (hence the

name)

Coconut shell is eco-

fri endl y, and ava ilab le

almost free of cost. It is easy

to work with. It is durable,

beautiful and a household

product. It's simple to get

started.



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

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 consisting 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.

USAGE: Sand paper is used to polish the shell.

10. Glue : The parts are joined together using water resistant

adhesives,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

varnishing. But depending on items like , candle stands,

agarbatti stands, or articles kept outdoors— like lampshades

and chandeliers, varnishing is done to give it glossy effect and

durability.

USAGE: 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

people 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

t r a n s p a r e n t s c r e e n , h e fi n a l l y s u c c e e d e d o n

sepetember18th,2009 in making a mask of the required

design.. It was named as Dust-Guard-1899.List of basic tools used by the craftsmen Mr. Sonu

Keshav Shetgaonker and women of Parra

Mr. Sonu Keshav Shetgaonker and women of Parra work on a

very small scale basis. Hence, they have the most basic tools

for coconut shell craft. They also do most of the decorative

items, hence limited number of tools as compared to Mr.

Lotlikar.

1. Hand grill

2. Hack saw blade

3. Carving gouge

4. Mortice chisel

5. Coping saw

6. Polishing file

7. Sand paper

8. Araldite adhesives

9. Varnish



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 articles 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 aroundrs.30

Earlier the discarded coconut shells would be provided by

neighbour's and friends. Hotels 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.



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. Irregularly shaped

shells cannot be used to make symmetrical objects.

2.Uncracked shells: Check that the shell does not have cracks,

due to sunlight and wrong way of breaking. 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 releases 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. The final article might be a jewellery set, a cup, a jug

or an ice-cream cup,and the shell needs to be selected keeping

this in mind.

“Carving expresses the

thoughts and feelings of

those who chip away with

chisel. The art of turning

a simple, unassuming

coconut shell into a piece

of beauty involves a sense

of reasoning, precision

and aesthetic beauty”

-Mr. Vijay Lotlikar

Process



For instance, to make an ice cream cup, select a medium- sized

coconut shell, just to hold the right amount of ice-cream.Theshell 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.

UPPER

LOWER

Thickness starts from the top and goes down thinnerand 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 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 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 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

Step2: Cutting the shell

Cutting the shell to a precise round shape, to the required size,

having a smooth surface is a pre-requisite 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 rubbing 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 .

Flat File grading

NO.35 NO. 320

Beginning Final

Roughest Finest

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 120Polishing: 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, sand-

paper 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 cotton-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

religious 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 intricate 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

technique.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 adhesives, 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 required.

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 ofliquor 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

consumption of food or liquid should not be varnished.



Chapter 7

Craft andthe 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(Shantaram Shinde, Mapusa), terracotta,

Azulejos tile paintings(Shankar Turi, Marcel), 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 corporation 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 hundreds of jobopportunities 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 traditional

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, Mapusa, Calangute, Udyog Bhavan, in

Panjim, Big Foot in Loutolim and in Canacona) and one in

New Delhi.

“ 4-5 years ago all the

craf tsmen used to ge t

together and solve problems

& the government used tohelp a lot; Now it does not

happen anymore . Everyone

is behind earning money

through tourism”

-Sonu Keshav Shetgaonker



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) MarketingExtension Centre(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 organising Kala Utsav exhibitions in Goa. Also

participates in exhibitions in Udaipur (Rajasthan).

7. DRDA: The District Rural Development Agency (DRDA)

has been organising 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 displaying 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 (below-the-poverty-

line) category.

“Exhibitions take up most of

our time, theres no time to

think of setting up own

business. It seems too tied

down for now. Also theres a

need for lot of people to be

encouraged in this craft,

especially women”

- Vijay Lotlikar



8.Coconut Development Board, Kochi: Organises

exhibition on coconut based products in India. It also offers afree 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 exhibitions in other parts of the

country. It also takes part in international exhibitions.

10.Khadi Gramodyog: Organises exhibitions and has its ownoutlets in different parts of the country.

11.NGOs in Goa: Some NGOs organise one or two day

exhibitions at various places, which enables one to sell

products. These include, in Goa:

ò Green GoaWorks, Mapusa

ò Earthworm, Alto Porvorim

ò Green Aid Foundation

ò Konkan Fruit Fest (Botanical Society of Goa)

12.Dilli Haat: Dilli Haat is a combination food plaza and craft

bazaar located in the heart of Delhi,.

Dilli Haat has stalls representing each state of India, giving a

complete variety of tastes available all over India. .Unlike the

traditional weekly market, the village haat, Dilli

Haat is permanent. Some shops are permanent but other sellers

are rotated, usually for fifteen days.

Products offered may include rosewood and sandalwood

carvings, embellished camel hide footwear, sophisticated

fabric and drapery, gems, beads, brassware, metal crafts, and

silk and wool fabrics.



Shows promoting handicrafts and handlooms are held at the

exhibition hall in the complex. To sell wares, there is anapplication process and spaces are allocated according towhich state the seller is from.

13.Own showrooms: This is also possible, given some

investment. But right now, it doesn't exist.

14.Other possibilities include

Conducting private exhibitions, as part of an event; exhibiting

in hotels and resorts; or even sale through the Internet. In thelast case, the issue of being able to receive payments

efficiently, and packaging and dispatching the products are

also to be considered.



Chapter 8

Sustainablity

With respect to craft

with respect to the coconut

shell craft

Sustainablity



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 equity 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 societies 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

sustainability emerge. Thus, it contributes both to alternative

and more creative definitions 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 contested 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

environmental 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 completely 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 products. Incense sticks and

dhoopbattis are made without adding any artificial ingredients;

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 sustainabilityissue 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 logical substitute to wood. Compared to wood, it has

higher lignin level, lower cellulose level, and is composed

mainly of lignin, cellulose and hemi-cellulose. 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.

Because of these properties, the products made from kotti have

excellent quality and are imperishable. Coconut shells are

abundantly available in the coastal regions, are inexpensive,

renewable, have high specific strength to weight ratio (unlike

wood which is heavy), minimal health hazard, low density, less

abrasive to machinery and fully bio-degradable.

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 refrigerator.

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 itsunique 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.

“Eco-unfriendly plastics can be

replaced, with coconut shell as

casing material in electric and

electronic appliances. Coconut

shell can be cut and shaped

depending on the items. I've used

it for door bells, musical alarms

and emergency lights.

Coconut shell powder can help

replace non-biodegradable

plastic pens. One has to just roll

over a metal wire glue-mixedcoconut powder and dry it... Ball

pens of any shape and size can be

made.” –

Mr. Vijay Lotlikar



Sustainability – during the processThe process uses specific tools for the carving, sand papers are

used for polishing. There is no use of any artificial colors or

additives during the crafting of the shells. The final polished

look is obtained only by scrubbing the surface of the shell with

the sand paper as shown below.

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 innovative 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 respiratory system, and eyes, due to which problems

may arise in the long run. Mr. Lotlikar has specially designed a

protective head gear called the 'DustGuard-1899' to protect the

craftsmen from these dusts. .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.



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 responsible, 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 attack them. But one should protect them

from rats.

As an alternative to wood also, coconut shells are a goodalternative 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 'PerieraSocial 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.

" A p r o c e s s f o r c r e a t i n g

sustainable, successful places

that promote wellbeing, 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

engagement and space for

people and places to evolve.” -

Social Life, UK



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 increase 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 promoted 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 initiatives from the Government, could result in far

better outcomes for the society by and large.

coconut art carving a culture.pdf

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