CONT ENTS

Coconut Shell Craft

Shilpkar
The craftsman

Origin

Craftsman

Emergence as a craft

Chapter 1

a comparison of style

the design inspiration

The crafts in Goa

Accomplishments and
contribution to the craft

Origin

Financial support
Social Surrounding
The future

material and processes

tools and materials

Chapter 1

process and techniques

a tale of a Craft
A dialogue between rhythm and life

Chapter 1 1

Cluster 2
Chapter
1

Birth of pearl of East

life and culture

Clusture

History and Culture

Craft- The ritualistic art

Clusters in India

Costumes

The Shilpkar

Clusters, culture and society

Food

Recognition and Development

Climate

Craft and Society

Economy
Crafts of Goa

craft and the market

Chapter 1

Sustainablity
Sustainability
with respect to the craft
with respect to the coconut
shell craft

Chapter 1

a tale of a Craft
A dialogue between rhythm and life

Chapter 1
Craft and Society
Craft- The ritualistic art
The Shilpkar

Craft is an evolved expression of human spirit. Craft was the

rst 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 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

Craft and Society

The cra sman seeks
rhythm in his life, colour in
h i s co m p o s i o n s a n d
harmony in his forms in
order to perfect an object
which has func on and at
the same me provides
visual pleasure.

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 dened on a
piece of paper; it is something that can be felt in one's need for
an escape.
Professor M.P. Ranjan has dened Crafts as those activities
that deal with the conversion of specic 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 fullment 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 nd 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- 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 sufce 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 signicant
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 dened 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 consumer
within the social fabric. Spirituality is an intrinsic aspect of the
shilpkar's life which is reected 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.
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 ,
for it penetrates the
barriers of communication.

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.

Clusters
Chapter 2
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 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 identied by the product or
product range and the place where they are located. Clusters
are basically dened as geographic concentrations of units
producing near similar products and facing common

Clusters
This informal sector possesses
vast potential for opening-up
employment opportunities,
generation of rural income,
and strengthening of
purchasing power of the
r u r a l
p e o p l e .
A special feature of these
artisans is that they
live in clusters!

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.

Sister Rebbeca
Mrs.Nilam Lotlikar
Parra

Aparant
Handicraft Emporium
GHRSSIDC
Panaji

GHRSSIDC
Panjim

Ramesh Veluskar
Divar

Shankar Turi
Bicholim

Coco Arts
Morim

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.

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 fullling 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 reection 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 signicant percentage of the country'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 efciency of the small and medium
enterprise clusters for sustainable development by assisting
selected local communities of rms 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 restructuring. 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.

Birth of pearl of East

life and culture

Chapter 3
History 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, amazing
sea 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
More than just the
party hub of India

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 nally 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-fth 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 inuence 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 inuences 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.

Costumes
Traditional costume of Goan women is the 9-yard sari known
as "Nav-Vari", worn with attractive jewellery. Another
traditional dress worn by women is "Pano Bhaju". The attire of
various tribes consists of mainly loincloth known as "Kashti"
with a blanket on the shoulders called "Kunbi Palloo" along
with a tied knot and sari. Ironically, the sight on Goan streets is
that of skirts outnumbering saris. This again reects the strong
Portuguese inuences.

Food
Goan cuisine is mostly seafood: kingsh, prawns, oysters,
squid, mackerel etc. The staple food is rice and sh. Again,
Portuguese inuence is clearly visible in the diet of Goans.
Chocolates, cakes and sweets are highly popular and of course
wines of every kind. Feni is one of the most famous spirits
exclusively produced and consumed in Goa which is made of
cashews, another speciality of the region besides other nuts and
dried fruits.

Climate
Being located on the western coast of the Indian peninsula,
Goa receives rainfall between the months of June and
September. Temperature remains moderate with not much
variation. The summer is at its hottest in May while the winter
months of January and February are the coldest. Otherwise, the
state 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 sh
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 Shell Craft

Chapter 4
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 benets. 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

Coconut Shell Craft

I believe that there is nothing
that cannot be made
out of coconut shell!
-

Vi j a y d a t t a L o t l i k a r
Master craftsman, Goa

The use of coconut shells for making varied products is not

exactly new to India. Instead of being thrown away or being
used as rewood, 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. 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 nish 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 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.

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. 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 rst 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 inuences seeped into the creative
intelligence of the Goans as well.
Due to the hardness of the coconut, it becomes very difcult 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
it,
the
coconut
shell if rotated gives out a
m e l o d i o u s s o u n d .
The shell is also used in
folk-dances called
the 'koteache fugdi'.
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

A comparison of styles
While coconut shell craft is practiced all over the world, there
are a lot of differences in terms of nish, 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, specically in the city of Mysore where the
copra is carved and the nal 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.

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 classications 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 esh 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, ower
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 dcor. Even after a lot of difculties and challenges
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

Chapter 5
Craftsman
Origin
the design inspiration

Accomplishments and
contribution 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 rst 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 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 nishing 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 nish 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 specic
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 (subdistrict) 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 Fundaao 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 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

I f
t h e
c r a f t
is promoted properly, it will
provide employment to many
people in the villages, they can
do the cutting and assembling,
the nishing of the product
can be done in the workshop.

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.

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
expand and I want people to
get employment from this. I do
not want anything but
respect.

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, 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 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 nanced; 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.

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 nishing 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 association'. 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 handiwork; 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 nal nishing of the product;
hence they create only decorative pieces and jewelleries. Their
most popular items are candle stands, key chains, key holders,
earrings, lockets

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
expand and I want people to
get employment from this. I do
not want anything but
respect.

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 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 prot 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 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 uently.
His daughters are in school and are learning 'Bharatnatyam'
very well; a dance form that does not belong to his native place.
This reects the kind of respect he gives to other cultures.
The Way it started
Mr. Shetgaonker had an artistic are in him. When he failed to
nd 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 dcor and have very less utility value.
There are animal and bird gurines, little sculptures of sh 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 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 ne 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 their
works. 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 difcult 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 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.
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 ne 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
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, uent 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 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 specic religion does not hinder him from
appreciating and respecting other religions; he shown this
gesture through his craft.
His works for the community reects the nature of the Goan
society in general; one can nd 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 nancially.
The diverse nature of the products and the designs which
follow a more contemporary pattern, mostly a reection 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 reect 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 nal designs. When raised this
question that 'whether the economical pricing of the product
justies 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 prot 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
prot 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 le 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 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 rst 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 nancial 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.

the craft is appreciated

all over, but the people of
Goa themselves are not
aware of its value.

Besides the lack of government support and issues in getting

nancial 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 they
can 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

FUTURE OF THE CRAFT

A lot of craftsmen, during the study, could not be contacted
since they had stopped practising the craft. A specic 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 prot 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 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. 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 for
azulejos 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 6
tools and materials
raw material
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
amplier 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 rmly 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.

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

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 ne 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 ne teeth.
USAGE: Used in making curved cuts in thin wood or metal.
3.Electric cutting machine/ a grinding machine/ a bufng
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 ngernails, 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 les:
1. Rough at le
2. Round le - For shaping round objects Eg: candle stand
3. Half-round le
4. Smooth le
5. Flat le
1.

Flat File grading

NO.35
NO. 320
Beginning Final
Roughest Finest
Roughest Finest
The initial le no.35 in the beginning to remove all the ridges
on the coconut
1. Triangular le
2. Micro les

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

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 woodworking, 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.

Coconut shell is ecofriendly, and available

almost free of cost. It is easy
to work with. It is durable,
beautiful and a household
product. It's simple to get
started.

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)

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

used to give a denite form to uid 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-x. Shell x 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 x 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 tted to it,
one as the inlet for fresh air, and the other as outlet, connected
to a micro exhaust fan.

The bottom side is tted 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-lter mask, a cloth, a
transparent screen, he nally succeeded on
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.
2.
3.
4.
5.
6.
7.
8.
9.

Hand grill
Hack saw blade
Carving gouge
Mortice chisel
Coping saw
Polishing le
Sand paper
Araldite adhesives
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 bre is more, making it suitable
for such crafts. If the nut is bigger and bre 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 around
rs.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.

Process
Keeping in mind the picture of the nal 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 ber. 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 identied only when
the shell is polished to the nal stage, which means efforts goes
in vain.

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

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 rmly and
there is a chance of joints being separated.
Also the selection is based on reseasoning, precision and
aesthetics. The nal 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.

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.

UPPER

LOWER

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 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 le can be used for this purpose. Sometimes this can be
done by rubbing the coconut on a rough cement oor 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 le and then a smooth one. It begins from
the initial le 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 le
b. Round le
a. Semi-round le
b. Triangular le
c. Sandpaper, numbers 60 and 120
Polishing: For polishing, the tools required are
a.
Smooth-les
b.
Round le
c.
Half-round le
d.
Triangular le
e.
Flat le
f.
Sandpaper, number 220 and 400.
Micro nishing: Items are smoothened and polished to such
an extent that it gives a matt or glossy nish. For this, sandpaper number 600 and polish-paper is used.
Glossy-nish: To get a glossy nish on the coconut, shells
should be further rubbed with leather and a cotton-piece. Even
glass pebbles can be used to obtain a glossy nish.

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 worklike 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 ne 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 les 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 t into
one another leaving minimum gap. These parts are joined
together using water resistant adhesives, preferably Araldite or
Shell x.(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 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
consumption of food or liquid should not be varnished.

Craft and
the market
Chapter 7

 4-5 years ago all the

craftsmen used to get
together and solve problems
& the government used to
help a lot; Now it does not
happen anymore . Everyone
is behind earning money
through tourism
-Sonu Keshav Shetgaonker

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), bre statues
(Dilip Rane, Pernem), banana bre 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 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 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.

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 ve 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 ve 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 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
beneciaries 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-povertyline) 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 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 exhibitions in other parts of the
country. It also takes part in international exhibitions.
10.Khadi Gramodyog: Organises exhibitions and has its own
outlets 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:
Green GoaWorks, Mapusa
Earthworm, Alto Porvorim
Green Aid Foundation
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 fteen 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 an
application process and spaces are allocated according to
which 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 the
last case, the issue of being able to receive payments
efciently, and packaging and dispatching the products are
also to be considered.

Sustainablity
Chapter 8
Sustainablity
With respect 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 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 denitions 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 denitions. It emerged as a theoretical concept and
eld 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 capitalL);
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 articial 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 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.

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-mixed
coconut powder and dry it... Ball
pens of any shape and size can be
made.
Mr. Vijay Lotlikar

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 nish 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 specic 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 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 specic tools for the carving, sand papers are
used for polishing. There is no use of any articial colors or
additives during the crafting of the shells. The nal 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 nished 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

articial 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 dcor items like table stands and door texture using
these chips.
A major health concern in this craft is the ne 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.

"A process for creating

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

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 efcient and responsible, and
likely to provide long-term benets. 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 prot.
In terms of available resource and long-term benets, the
coconut shells, as discussed above, serve as a logical choice.
The long-term benets are justied 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 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 nancial 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 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.