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Resurrecting Goan Art: Kaavi

Bhavana Ajit – 2134046

Nandini Sunil Nair – 2134060

Nida E Zahra Zaidi – 2134061

Srijita Mukhopadhyay – 2134069

Department of Political Science and History

CHRIST (Deemed to be University)

BHIS641C: Art and Architectural Identities

Dr Anna Varghese

April 8, 2024
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Rare and Dying Minority Traditions of Art Form

Abstract

This paper explores the rare and dying minority tradition of Kaavi, an indigenous art

form deeply rooted in the cultural heritage of the Konkan region of India. Through an

examination of Kaavi's origins, practice, and contemporary challenges, the paper sheds light

on the unique characteristics and historical significance of this fading art form. Despite facing

threats from modernization and neglect, efforts to revive and preserve Kaavi highlight the

enduring commitment of individuals and communities to safeguarding their cultural heritage.

Through restoration projects and advocacy efforts, there is a glimmer of hope for the

revitalization of Kaavi, ensuring that this exquisite art form continues to be celebrated and

cherished for generations to come.

Keywords: Kaavi, Rare and Dying Art Form, Indigenous, Goan Heritage, Restoration
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Resurrecting Goan Art: Kaavi

Rare and Dying Minority Traditions of Art Form

India, renowned for its diverse heritage, boasts an array of indigenous art forms that

have thrived for centuries. Each region of this vast nation contributes its own unique artistic

tradition, deeply rooted in history and cultural significance. From intricate embroideries to

mesmerizing paintings, the traditional arts of India mirror the intricate weave of its varied social

and linguistic fabric.

However, amidst this cultural abundance, there exists a poignant reality—many of these

time-honoured art forms are on the brink of extinction. Rapid urbanization and modernization

have cast a shadow over these precious cultural treasures, threatening their survival. Despite

the wave of modernism, these traditional art forms have persisted, passed down through

generations, and continue to captivate the imagination of those who cherish local arts.

Among these rare and dying minority traditions is Kaavi, a unique art form that signals

us to explore its fading beauty. As we delve into the depths of Kaavi, we embark on a journey

to preserve and celebrate a piece of India's artistic legacy before it vanishes into the archives

of history.
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Introduction to Kaavi

The Konkan coast, which extends from the foothills of the Western Ghats, plays a vital

role in the western frontier of India. Within this coastal landscape, a distinct culture has

flourished, giving rise to a magnificent ornamental art style whose name varies depending on

the region. Known as Kaavi Kale in Kanada, "Kaavi" refers to "red oxide," while "kalé"

signifies "art form." However, the art form has its origins in Goa and thus, it is popularly known

as Kaavi in the state. The unique feature of this art form lies in its exclusive use of Indian red

pigment derived from laterite soil. The technique involves applying the reddish wall paint

against a white sandblasted background, creating striking wall murals.

Found predominantly in the Konkan region, particularly in temples of Goa, coastal

Maharashtra, and Karnataka, the history of Kaavi in Goa is intertwined with a significant event

in the 16th century when the Saraswat Brahmins allegedly fled Goa to evade forced

conversions. They carried with them their deities and temple art, including Kaavi.

Subsequently, as conditions improved, this art form made its way back to Goa. Interestingly,

during its absence, certain motifs, and figures, such as those from the Yakshagana dance

tradition in Karnataka, were incorporated into Goan temples. This historical narrative

underscores the deep cultural and historical ties of Kaavi to Goan heritage, despite its practice

in other regions. Thus, while Kaavi may be found beyond Goa's borders, its origins and

influences firmly root it within the linguistic and cultural fabric of Konkani and Goan identity.
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Practise of Kaavi

Kaavi is the regional term for the Indian red pigment known as ‘uramunji’ that is found

in the laterite soil of the Decan Plateau. The materials used for Kaavi are indigenous and unique

to the Deccan region, especially Goa. These include local materials like snow-white lime which

is made through burning sea shells and clean sand obtained from the river bed. These elements

are then hand-mixed with jaggery and left to ferment for at least two weeks. The mixture is

then hand pounded which then hardens after being applied to the wall where the painting is

being done. Kaavi is etched when the walls remain not too wet and not too dry to make the

process easier and for the effective application of the mixture. A smooth blend of lime and

uramunji is then applied to the area predetermined for the art and on larger surfaces a wooden

float is employed.

After the application, engraving work starts and skilled Kaavi artists etch small murals

without aid, however for geometric design artists use scales and compasses. Large complex

motifs are drawn on paper initially, which is then perforated with pin holes and traced to the

wall by dusting dry lime. Kantha or steel bodkins are used to engrave the design on a surface

which would expose the white lime just below the surface and result in the final image. During

this stage deformities in the murals can be easily repaired. After a day of drying initially water

is sprayed on the murals at an interval of four hours which is continued for a week this is done

to prevent the murals from cracking and ensure that the murals last long.
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Origins of Kaavi

Kaavi art rose in response to the temple's needs. The high humidity levels and the

healthy amount of monsoon rains that Goa receives meant that wall paintings were very

susceptible to ruin due to the excess moisture. Kaavi art was one way that Goan homes and

temples could display beautiful murals without the fear of ruin. Kaavi designs in temples

mainly were of deities or scenes from Hindu mythology, however, there were also variations

depending on the region. Geometrical designs in lines, triangles, swirls and so on were a

common theme in houses and temples.

During the colonial rule of the Portuguese, some of these Kaavi artists were hired to

decorate the interiors of the colonial institutions which also included many churches. Like the

Indians, the Portuguese detested the concept of horror vaccui and allowed Kaavi to decorate

their walls as long as nothing Hindu was created. Thus, Kaavi art transformed into becoming

more intricate in design incorporating most famously the lotus. Kaavi was used to decorate

along the walls, the empty spaces near the altar and around windows and doorways. Despite

Hindu imagery being banned from being created, one can see European motifs being

incorporated into Kaavi.

For instance, this Kaavi mural from the old Archepiscopal Palace in Old Goa shows the

double-headed bird of the Augustinian Order. The same motif also symbolises Jesus Christ’s

dual status as being born a man and being the Son of God. This piece of Kaavi comes from the

Convent of Santa Monica on Monte Santo Hill. Here we can see a rare image of what is possibly

a coat of arms that depicts a lion wearing a crown in the European style. Thus, despite

undergoing a regime change, Kaavi managed to sustain and evolve itself for its survival.
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Kaavi and Other Similar Art Forms

Kaavi is often confused with sharing similarities with other mural art forms like Warli

art, yet it possesses distinct characteristics that set it apart.

Warli art, which originated over 2,000 years ago, stands as a testament to the cultural

heritage of the Warli tribe, a tribal community in Maharashtra. This simplistic yet deeply

expressive art form adorns the walls of Warli huts, depicting scenes from tribal life, spiritual

rituals, and traditions. The minimalistic approach of Warli art, using a stark palette of white

against a mud or red ochre background, emphasizes the core values of the tribal community,

focusing on essential elements of life and nature. Warli art is also characterized by angular

shapes, predominantly triangles, rectangles, and lines, with only the human head depicted as

circular.

In contrast to Warli, Kaavi exhibits a greater richness and complexity in its designs.

While both are murals found on walls and utilize a unique red colour, Kaavi features more

intricate patterns and motifs. The process of creating Kaavi involves meticulous carving of lime

plaster on a surface treated with red oxide, resulting in detailed murals inspired by the folklore

of the region.

Additionally, Kaavi’s spread to coastal Karnataka and Kerala led to each region

incorporating its variations in materials, colours, and design elements. For instance, in

Karnataka, Kaavi integrates elements of Yakshagana, reflecting the coastal culture of the

region. Notably, there are differences in materials and colours used in Kaavi across these

regions. In Goa, the paste comprises laterite, jaggery, and white limestone, while in Karnataka,

rice flour is used, and in Kerala, turmeric is incorporated, resulting in colour variations.
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While Kaavi shares similarities with Warli and other mural art forms, its distinct

characteristics and regional variations make it a unique and captivating art form, deeply rooted

in the cultural heritage of the Konkan region. The Formalist theory of art gives importance to

the art's formal aspects such as lines, colours, shapes, texture etc. The same theory can be

applied to Kaavi since the art is critically analysed on its stylistic aspects.

Formalist Theory of Art

The formalist theory of art was first proposed by Roger Fry and Clive Bell. In simple

terms, the formalist theory of art analyses works of art based on their form. These forms include

lines, colours, shapes, space, and volume that the painting is composed of. Proponents of the

formalist theory of art are of the argument that art should not be a representation of the artist's

or anyone else's emotions. They further argue that pieces of art should not be associated with

any existent place, people or event in life and should only be focused on the way they are

executed.

Based on these arguments, it will be accurate to a degree to analyse Kaavi art under the

formalist theory. But this is only applicable to an extent for the Kaavi designs made during the

17th century in the churches. Since the Portuguese banned the creation of any Hindu imagery

(the original designs of Kaavi) it consequently erased the narrative structure of Kaavi. This

meant that events and places were disregarded this evolved and European version of Kaavi.

However, if one is to consider Kaavi in its original form then it is narrative structure of

events from Hindu mythology indicates a more Mimetic and Rasa Theory centric analysis.
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Kaavi Today

Today, economic, and ecological problems threaten the survival of Kaavi. Increasing

urbanisation, changing lifestyles, unsustainable traditional occupations and environmental

changes have rendered Kaavi to the brink of extinction in Goa. Unlike Madhubani or Kalamkari

art, there is no financial support or recognition given to the traditional Kaavi artisans.

However, restoration projects have been undertaken by many individuals. Two

prominent individuals are Sagar Naik Mule and Heta Pandit. Sagar Naik Mule’s attempt to

revive Kaavi was acknowledged by PM Modi in one of his Mann ki Baat sessions which

boosted awareness about Kaavi. Subsequent collaborations with the Museum of Christian Art

and Sagar have considerably increased the people’s awareness of Kaavi.

A member of the Goa Heritage Action Group, Heta Pandit has continuously strived hard

to protect Goa’s heritage in terms of structure and ecology. She has raised awareness about

Kaavi in her books, making it a point to distinguish Kaavi from the European sgraffito style.

In recent years, along with interested individuals she has been trying to get a Geographical

Indication (GI) Tag for Kaavi. Thus, all hope is not lost for Kaavi as the people of Goa are

trying their best to protect their heritage.

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Conclusion

The exploration of Kaavi, a rare and dying minority tradition of art form, reveals not

only the beauty and intricate craftsmanship of this indigenous art but also the deep cultural

significance it holds for the Goan and Konkan communities. Despite facing the threat of

extinction due to modernization, economic challenges, and ecological issues, Kaavi persists as

evidence to the resilience of cultural heritage. The historical roots of Kaavi, intertwined with

Goa's rich traditions, highlight its connection to the region's identity and culture. The efforts of

individuals like Sagar Naik Mule and Heta Pandit, in reviving and preserving Kaavi,

underscores the importance of community-led initiatives in safeguarding cultural heritage.

Through collective action and appreciation, there remains hope for the resurrection of Goan art

and the enduring legacy of Kaavi to thrive once again.

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References

1. Mandal, K. (2022, July 20). Disappearing arts of India - Media India Group. Media

India Group. https://mediaindia.eu/culture/disappearing-arts-of-india/

2. Pandit, H. (2017). The forgotten art of Kaavi from Goa, India. Memoriamedia

Review, 2, 1-6.

3. Havanje, & D’Souza. (2020, November). Kaavi Kalé: The Indigenous Architectural

Ornamentation Technique of the Konkan Coast, India. ResearchGate. Retrieved April

5, 2024, from

https://www.researchgate.net/publication/347861257_Kaavi_Kale_The_indigenous_a

rchitectural_ornamentation_technique_of_the_Konkan_Coast_India

4. Boruah, S. (2017). A Study on the concept of “Kaavi” in Indian and western

perspective.

5. Sonak, S. M. (2017). Shell Art and Shell Craft of Goa. Marine Shells of Goa: A Guide

to Identification, 185-217.

6. V. (2023, October 19). Warli Art: A Journey Through Culture And Tradition.

culturalindia.org.in. https://culturalindia.org.in/warli-art-a-journey-through-culture-

and-tradition/

7. R. (2024, January 20). Kaavi Art: Unearthing Goa’s Forgotten Folk Art Form.

Rooftop - Where India Inspires Creativity. https://rooftopapp.com/Kaavi-art-

unearthing-goas-forgotten-folk-art-form/

8. Bhat, S. (2024, January 1). Sudarshan Bhat on LinkedIn: The allure of murals.

https://www.linkedin.com/posts/sudarshannbhat_the-allure-of-murals-activity-

7147459942499725313-Q9D5
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9. S. B. (2018, December 8). The allure of murals. Deccan Herald.

https://www.deccanherald.com/india/karnataka/allure-murals-707080.html

10. Carroll, N. (2005). Formalism. In The Routledge Companion to Aesthetics (pp. 87–

96). Essay, Routledge.

11. Bal, M., Bois, Y.-A., Lavin, I., Pollock, G., & Wood, C. S. (1996). Art History and Its

Theories. The Art Bulletin, 78(1), 6–25. https://doi.org/10.2307/3046154

12. Chaudhury, P. J. (1965). The Theory of Rasa. The Journal of Aesthetics and Art

Criticism, 24(1), 145–149. https://doi.org/10.2307/428204

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How Research Conducted Shaped the Project

Choice of Topic

As the topic for the assignment specified for any rare and dying art, the group was of

the consensus to choose the art of Kaavi. Tracing its roots to Goa, another reason for choosing

Kaavi as part of the assignment was because of the regional variations that exist along the

western coast of India and the evolution it underwent during the colonial rule in the state and

when it spread to Karnataka. The aim of the project by choosing Kaavi as the topic was to

highlight more attention to this rare art that has a unique story in terms of history and evolution.

Not only this, but the members sought to establish how Kaavi is different from Maharashtra’s

Warli art and the regional variation that exists in Karnataka.

Report on Fieldwork

Due to logistical reasons and time constraints, the fieldwork was conducted by only one

member of the group since the state was her domicile. The fieldwork was conducted between

the 29th to 30th December 2023 during the Christmas break. Sites visited included the Covent

of Santa Monica, the old Archepiscopal Palace and the ruins of the St. Augustine Church all in

the vicinity of Old Goa.

On 29th December 2023, group member Bhavana Ajit visited the Convent of Santa

Monica where she took pictures of the Kaavi present in the chapel with the main altar of Saint

Monica and the Altar of the Miraculous Weeping Cross. Here she learnt of the restoration

project that was undertaken during the pandemic time to restore the church to its former glory.

It was during the restoration project that the old Kaavi designs were unearthed in previously

hidden locations.
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For instance, the Kaavi designs found near the Altar of the Miraculous Weeping Cross

and below the pulpit were covered by wood and newer coatings of cement and paint. It has

been theorized that these murals may have been added when the convent was being built but

over the years had been hidden due to repair and redecoration works. This certainly is an

interesting point to note, considering how the Portuguese tolerated Kaavi’s presence in the

beginning but not during the later years of their regime.

No Kaavi designs were found during the visit to the ruins of St. Augustine’s Church.

Despite this unsuccessful visit, it was nonetheless made as the structure was built years before

its neighbouring Convent of Santa Monica. However, the structure has been neglected for so

many years that there remain no traces of cement or similar agents on its wall, leaving only

bare laterite stones for one to analyse. On 30th December 2023, she visited the old

Archepiscopal Palace in Old Goa where she was able to distinguish between restored Kaavi

and relatively untouched pieces of Kaavi.

Certain areas of the complex did not allow for photography to be taken so only a few

photos were taken. The Kaavi in the Archepiscopal Palace were in two kinds of state: untouched

by nature and human interference; and being badly restored. The untouched pieces of Kaavi

retained the natural, chalky look that was found in the Convent of Santa Monica. The newer

ones or the restored ones were of poor quality often having a shiny coat or the traces of the

botched restoration process could be seen. Two motifs were found here: the lotus motif (being

the most recurring one) and the coat of arms depicting a crowned lion.
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However, the designs found here were different from the ones found in the Convent of

Santa Monica. The most interesting design found so far was that of the double-headed bird, a

motif of the Augustinian Order who had considerable power be it politically or religiously, in

Goa. Considering that Kaavi was originally a temple art and the fact that Kanada motifs seeped

into it, the double-headed bird could also be that of Gandaberunda, an entity from Hindu

mythology. However, this motif had a three-arched crown atop its heads, so that theory may as

well be a bust despite certain scholars saying otherwise.

Despite fieldwork being conducted by one member, the other members were able to

supplement their knowledge and research to the project by pursuing research materials on

Kaavi. Through their research, the members were able to find various perspectives of scholars

on Kaavi, with interpretations varying as years of publication passed. For instance, the

members found that works published during the post-pandemic times tended to lean towards a

more Goan-centric basis for Kaavi while works published in earlier years were more Kanada-

centric. With learning from the classroom, subsequent theories were also applied to the research

on Kaavi.
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Pictures of Kaavi

Figure 1: Coat of Arms of Crowned Lion, Convent of Santa Monica

Figure 2: Kaavi near Altar of Miraculous Weeping Cross, Covent of Santa Monica
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Figure 3: Piece of half-restored Kaavi, Convent of Santa Monica

Figure 4: Swirling Kaavi, Archepiscopal Palace

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Figure 5: Kaavi inside a complex, Archepiscopal Palace

Figure 6: Two-headed bird, Archepiscopal Palace

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Figure 7: Vase with flowers, Archepiscopal Palace

Figure 8: Part of Kaavi, Archepiscopal Palace

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Geotagged Pictures
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Video Link
https://drive.google.com/file/d/1_3A5z8trLwG5ZYaNnHlsZVhdz3s7rZr4/view?usp=drive_li
nk
Video Citations

Goa News Hub. (2022, September 23). Passay - Adpai with Sagar Naik Mule. YouTube.
https://www.youtube.com/watch?v=fPT-AUwD-Ck

The Hindu. (2020, January 17). Wounded hills: A documentary on the environmental issues of
the Western Ghats. YouTube. https://www.youtube.com/watch?v=rTV-56QagQM

The Hindu. (2020b, May 24). What are the benefits of GI tags and how are they awarded?.
YouTube. https://www.youtube.com/watch?v=3_t1A_QIAPw

IndiTales. (2019, August 24). Kaavi art of Goa at Morjai Devi temple in Morjim. YouTube.
https://www.youtube.com/watch?v=52PYxc0GkZI&t=14s

Insider Food. (2024, February 15). How 20,000 kilograms of traditional jaggery (gur) are
produced in Iqbalpura, India, every day. YouTube.
https://www.youtube.com/watch?v=HVc_2XywI28

NiceShotsPH. (2021, December 26). Rice fields with DJI Mavic minise cinematic. YouTube.
https://www.youtube.com/watch?v=lC9NNYFzU68

Nitte Institute of Communication. (2019, November 18). Kavi Art - Documentary. YouTube.
https://www.youtube.com/watch?v=-5ER726aWt4

Prudent Media Goa. (2022, January 25). Heta Pandit | Grinding stories retold | bookstars |
prudent | 250122. YouTube. https://www.youtube.com/watch?v=KY9hlkW__Qg

Science Channel. (2017, November 1). See how quicklime was made and used in ancient
building techniques. YouTube. https://www.youtube.com/watch?v=GfBDBi48Jrg

Swant, P. (2024, January 11). The unique red and white-hued Kaavi art. YouTube.
https://www.youtube.com/watch?v=-PPuqwONE2U
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Work Contribution

2134046 – Bhavana Ajit

• Field Visit and Pictures

• Topics for Research and Video: Origins of Kaavi and Kaavi Today

• Made the Kaavi Animations in the Video

2134060 – Nandini Sunil Nair

• Topics for Research and Video: Rare and Dying Minority Traditions of Art Form and

Kaavi and Other Similar Art Forms

• Research Document – Compilation and Proofreading

2134061 – Nida E Zahra Zaidi

• Topic for Research and Video: Introduction to Kaavi

• Video Making and Editing

2134069 – Srijita Mukhopadhyay

• Topic for Research and Video: Practise of Kaavi