to download the brochure. - Goa

Preserving the past 

to enrich the future 

A S U P P O R T D O S S I E R

Treasure from the past, for the future 

Goa Chitra is a tribute by its founder to his ancestors and their way of life based on 

age-old wisdom passed down through generations. It is a unique collection 

and display of traditional farming implements and other ancient tools of trade, 

set against the backdrop of a traditional organic farm. 

Originally a collection of about 200 items stored in the founder’s home, the museum’s display 

now comprises more than 4,000 objects. This collection of artifacts represents the universality 

of the culture of ancient Goa. Each artifact is supplemented by information that was collected 

in situ by interviewing community elders and through the study of its application in daily life. 

The structure of the museum blends modern technologies with traditional materials and 

elements such as wood, stone, doors, windows, pillars and railings that were salvaged by the 

designer from more than 300 traditional houses that were being demolished. 

The concept of the museum’s construction is in keeping with the philosophy that resources 

in today's world should not be wasted. 

Goa Chitra aims to revive age-old traditions through the museum display and outreach 

programs, thus allowing the younger generation to share the wisdom of the past that would 

otherwise be irretrievably lost. We hope this will also create an awareness of nature and its 

influence on and benefits to human life.

What is Goa? 

Goa’s oldest heritage-The Gaunkari System 

Goa Chitra- Aims and Objectives 

Methods for achieving objectives 

The promoter’s brief 

The location 

Design concept 

Space management and Layout 

The different zones at Goa Chitra 

Site development 

Supporting infrastructure 

Goa Chitra- The ethnographic museum 

Goa Chitra- Collections 

Goa Chitra- For Whom ? 

A call for social responsibility 

The need for assistance 

Be part of this vision 

Verodiano Award 2009 

Genesis of Goa Chitra 

Goa Chitra-Activities 2008-09 

Goa Chitra - Letters of Recognition 

Goa Chitra- Testimonials 

Contents 

Goa Chitra - It’s Mission 

“PRESERVING THE PAST TO ENRICH THE FUTURE.” 

Goa Chitra -'a fusion of Goa- the state and Chitra meaning pictures, is a tribute by its founder to his 

ancestors and their way of life. The museum is set against the back drop of an organic farm, and 

its environs highlight the traditions of the past. It is a project to promote awareness and 

appreciation of the traditional agrarian lifestyle and the eco-friendly techniques that were practiced by 

our ancestors. As an institution it sets and executes finite goals and activities to create a healing 

environment, promote health and vitality and devising one's own life enhancing programs aimed at 

creating a more harmonious environment. 

THE RED EARTH 

SAID A TREE to a man,”my roots are in the deep red earth,and I shall give you of my fruit.” 

And the man said to the tree,”How alike we are. My roots are also deep in the red earth. 

And the red earth gives you power to bestow upon me of your fruit, and the red earth 

teaches me to receive from you with thanksgiving.” 

Kahlil Gibran 

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Goa, India's smallest state, is situated 

along the west coast of India. Its 3,600 

square kilometres of land is 

endowed with rare beauty and has a unique 

cultural heritage derived from its indigenous 

people. This has been further enriched by the 

influences of various rulers through its history. 

Hindu and Muslim dynasties and, most 

recently, the Catholic Portuguese, who ruled 

from 1510 to 1961. The Goenkars (the 

quintessential Goans) today reflect these 

multiple weaves in their philosophical outlook 

and lifestyle: relaxed, friendly and open to 

various cultures while retaining the ethos of 

their lineage. 

Goa's natural beauty has been a source of 

inspiration to its people. The Goan traditional 

lifestyle is based on a respect for and 

appreciation of nature's bounty. Goa's artists, 

too, have been inspired to express themselves 

through music, dance, theatre and literature in 

styles that are unique to this land, a blend of 

East and West, tradition and innovation. 

Beyond natural beauty and blending of 

cultures, Goan society is rooted in an ancient 

social system that was visionary. 

What is Goa? 

1

Goa’s oldest heritage - The Gaunkari system 

Uniqe to Goa is a system of self rule 

dating to the first millennium and 

encapsulating administrative, 

financial and judicial powers for its members, 

referred to as the Gaunkari institution. This 

system metamorphosed through the centuries, 

its evolution in each phase a response to 

prevailing rulers. During the Portuguese 

colonisation it came to be known as 

Communidade. Given the agrarian nature of 

early societies, the principal role of these local 

governing bodies was to maintain and upgrade 

land quality, protect fishing ponds and 

waterways, and maintain an 

i n t r i c a t e s y s t e m o f 

embankments (bunds) that 

protected reclaimed land 

known as Khazans from 

inundation by saline tidal 

waters. The institutions had a 

direct incentive to maintain 

these public works as their 

revenues were dependent on 

the agricultural, horticultural 

and fish produce of the lands 

and water bodies that they 

oversaw and had a collective 

claim to. The gaunkari system 

not only produced an effective 

means to administer the 

communal lands but also 

developed intricate and ecology-friendly 

agricultural system that utilized both fertile 

and barren lands, thus maximizing benefit to 

people. 

Agricultural activities and techniques were 

adapted to suit the soil, rainfall, level of solar 

radiation and other elements of nature, a 

process referred to as gott and loosely 

translated as 'photoperiodism'. Farming 

implements were carefully and intelligently 

developed to suit soil types and with a healthy 

respect for the environment and animals that 

ensured that the system was sustainable and 

ecologically sound. 

2 

Post Portuguese: 

When Goa, a Portuguese-ruled territory from 

1510, joined the Indian Union in 1961, the 

Gaunkari/Communidade system lost its power 

considerably and was replaced by the 

Panchayat and Municipality as the new 

political and social form of government with a 

mandate from the federal government and the 

Indian Constitution. 

A major disadvantage to this change of regime 

is the Panchayat's lack of financial capability to 

m a i n t a i n t h e c o m p l e x 

agricultural system. Unlike in 

the Gaunkari system, it does not 

see any direct incentive for its 

maintenance of the land as 

revenues are transferred to 

higher tiers of the government. 

S e c o n d l y, u n l i k e i n t h e 

Gaunkari system where land 

transfers and sales were 

s e ve r e l y r e s t r i c t e d , t h e 

Panchayat does not have any 

restrictions on either land sale 

or land conversions. 

The consequences have been 

devastating for the agricultural 

economy, the livelihood of farmers, and the 

ecosystem. Land conversions, both illegal and 

legal, for mega development projects with 

scant regard for sustainability have led to 

severe degradation of the environment. 

Lesser recognised but equally devastating is 

the loss of hundreds of years of accumulated 

wisdom in agrarian practices, the rich tradition 

of implements, tools, arts, crafts and heritage of 

our ancestors and their sensitivity to the 

environment. 

Project 'Goa Chitra' seeks to address this loss by 

saving tools and technologies of the agrarian 

past.

Goa Chitra- Aims and objectives 

· To showcase the rich tradition of 

implements, tools, arts and crafts. This 

heritage makes evident that our ancestors were 

self-sufficient with material that they sourced 

from their surroundings. 

· To acquaint visitors with eco-friendly 

indigenous technology that maintained a 

balance with the natural surroundings. 

· To preserve and display traditional 

implements and tools to engender awareness 

and appreciation of past traditions, allowing 

people to become aware of their roots and take 

pride in their rich ancestry. 

· To document the various implements 

in their cultural context, to authenticate tools as 

well as understand their genesis. 

· To archive the traditions related to the 

implements and their accompanying rituals. 

· Restoring agricultural methods 

through traditional organic farming and 

applying such methods to experiment with soil 

fertility and crop production. 

· Ensuring the preservation of 

traditional art forms. One avenue to this goal is 

inspiring the younger generation to take up 

and continue these art forms like chitari (wood 

lacquer), bamboo weaving, pottery etc. by 

exposing them to their heritage. 

· Promoting the folk performing arts; to 

encourage troupes, where necessary, to put 

together a more rehearsed performance so that 

they can expand their audience. 

· Development and promoting of these 

art forms constitutes the other means by which 

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Goan culture can be preserved and continued. 

· Archiving of Goa's cultural heritage 

through documents, books, photographs, 

handicrafts, electronic recordings, costumes, 

musical instruments, artifacts and oral history, 

so that traditions that may die out are recorded.

Methods for achieving objectives 

· The creation of Goa Chitra becomes a focal 

point for providing information to its visitors. 

Workshops for young children from schools 

and university students allow them to gain the 

opportunity to work with artisans 

· To help artisans with craft development, 

where needed, to make contemporary 

products based on the inspiration of their 

traditions which are saleable and can earn 

them a dignified life. 

· In addition, a documentation or 

dissemination plan will be developed by staff 

to guarantee the systematic collection of 

information about the operation of the project 

and provide the basis for sharing information 

with other similar projects. 

4

The promoter’s brief 

Victor Hugo Gomes, a restorer by profession, always had a fascination for the various 

rituals and traditions that were an integral part of his young days. When based in 

Lucknow as a painter, he joined a team from M S University (Baroda) in researching 

tribal art and lifestyles in various places in North India. On being 

offered a Lalit Kala Academy (Goa) scholarship, he chose to study 

“Experimental transitions in the world of art”. This subject 

covered the use of different materials and processes in art over 

time. He furthered his restoration techniques on joining a course in 

restoration and conservation of art conducted by the Indian 

National Trust for Art and 

Cultural Heritage (INTACH). 

On completion, Victor returned 

to Goa in 1991 to become the curator of the Museum of 

Christian Art that was being set up at the Seminary of Rachol. 

During his tenure he became aware that artifacts of artistic 

and historical value were being neglected around the state. 

Traditional implements were being thrown out or left to 

decay in many old Goan houses. 

This focused his enthusiasm for collecting items of cultural 

heritage value, premised on the concern that the loss of 

hundreds of years of accumulated wisdom in agrarian 

practices. The rich tradition of implements, tools, arts, crafts 

and the heritage of our ancestors - would be irrevocable. 

Though this museum project is new, the artifacts it houses 

belong to the past. The space where they are displayed 

has been created using 'architectural castaways' from 300 

old Goan houses. Adjacent to the museum is a 12000 

square metre field that has been created using old 

technology and allows visitors to comprehend the use 

of some of the artifacts on display within. 

(See appendix - The Personal Perspective by Victor 

Hugo Gomes) 

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Goa Chitra is set up in Benaulim, a 

typical Goan village now burgeoning 

into a town. Despite three decades of 

tourism and a rapid pace of modernisation, 

Benaulim has retained its old-world charm. It 

has a rich and varied history, sprawling 

mansions, scenic beauty and the warm 

hospitality of simple village folk. 

Goa Chitra is barely 5 minutes away from the 

mystical Comllan Tollem, a sweet water lake. 

The lake was well- known earlier for the 

fragrant and beautiful lotus flowers that 

blossomed there. Legend has it that this is the 

very spot where Lord Parshuram's arrow 

landed and the waters of the Arabian Sea 

receded to create Goa. Therefore the village is 

known as Benaulim, etymologically derived 

from 'Bann-Alle' (the arrow has come). The 

lake water is used in the fields for vaingonn, the 

second crop of the year. 

Benaulim has its fair share of religious places. 

Barely half km from Goa Chitra, is the church of 

St. John the Baptist founded in 1581 by the 

Jesuits. The main altar here is dedicated to St. 

John the Baptist, patron saint of Benaulim, in 

whose honour the Sao Joao feast is observed on 

24th June every year. Within sight of the church 

and perched atop a hill, is the chapel of St. 

Francis Xavier. A relic of the saint is exposed for 

veneration every year on 3 December. There is 

another church & 4 chapels In Benaulim. The 

monument and the Birth place of the venerable 

Fr. Jose Vaz, a renowned missionary is just 500 

meters from Goa Chitra. 

The main place of Hindu worship is the Laxmi 

temple where the festivals of Laxmi Puja and 

Datta Jayanti are celebrated. 

The location 

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Goa's famed antique carved furniture and 

wooden alters were crafted by Benaulikars - 

Quadros, Makdam Mest, Ratos and Rosario 

Rodrigues. 

One Km from Goachitra is one of the most 

serene and beautiful beaches in Goa. The sands 

are silvery white & virgin. 

There are springs nearby whose waters are said 

to have medicinal qualities. 

A unique characteristic of Benaulim are the 

white rocks that are located in the midst of 

green paddy fields. Dancers from temples in 

Benaulim performed here in the past. One of 

these rocks even has a foot imprint, supposedly 

belonging to one of the dancing girls. Carved in 

on another rock are inscriptions which are 

supposed to be the key to a big treasure that lies 

beneath the great rock. 

Benaulim is held cosily in the sinuous coils of 

the serpentine River Sal which is 20 kilometers 

in length. The village has as neighbours the 

pretty coastal villages of Colva, Sernabatim 

and Varca and the Arabian Sea. The village has 

five primary schools and a college. There are 

also three modest medical centers and a 

hospital. Margao, with its commercial and 

educational infrastructure, is just a kilometer 

away. 

For all its conveniences, the village has 

managed to retain its rustic flavour. 

Benaulim is quintessentially Goa: thatched 

houses (chuttam ghor), old aristocratic 

mansions, antique furniture, bhatkars 

(landlords) reclining in their balcaos sipping 

copinhos of feni (a local liquer), fishermen in 

their rampons and toddy tappers climbing up 

palm trees with a song on their lips. 

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Integrated into these surrounding and set 

against the backdrop of an organic farm is Goa 

Chitra. The architecture of the place epitomizes 

traditional design and the structure has been 

built using only local material and engaging 

traditional craftsmanship.

The innate beauty of the site is kept 

intact, its natural grazing grounds and 

the low lying areas are full of varieties 

of tree ferns, mosses, flowering plants, 

flamboyantly coloured butterflies, birds, 

traditional outdoor areas with cow dung 

flooring and a variety of pet animals. The 

structure incorporates traditionally designed 

water bodies and pathways were traced. 

Design featuring the use of space to welcome 

light, wind and sun. 

The development was based on old 

maps of the Communidade system, to create 

Design concept 

8 

the original water bodies and topography of 

the land.

Space management and layout 

While conceptualizing the spatial 

organization of Goa Chitra, the 

designer took stock of the highest 

point of the property which commands a 

panoramic view of the entire landscape. It is 

here that the museum, the store house and the 

recreational block is sited, retaining the 

contours of the land and the view provided. 

Underlying the site plan is a typical layout of a 

Goan rural village, used as an inspiration to 

demarcate the land at Goa Chitra into different 

zones. The plan uses the landscape and 

contours to locate the different zones. It is 

envisioned that the flow of visitors from the 

reception area would be winding down beside 

the organic farm on to the pathway leading to 

the artisans area then to the museum area, out 

onto the continuation of the path leading to the 

performance and recreational area. 

The combination of the overall concept and 

traditional structures displayed at Goa Chitra 

communicate tranquility of mind. The 

landscaped tract, curtained off on one side by 

the dense stillness of wild trees, reveals the 

elegance and grace of a space designed for life 

and work as an expression of faith. 

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Reception, office and parking area: Designed 

in the form of a traditional Goan house which 

will have an information counter, an 

interactive kiosk available for visitors to 

explore Goa information and tourism 

possibilities for themselves. There is a secured 

parking for about 50 cars. (Total area used- 

5000 sq ft.) An approach 

road paved with stones 

leads visitors to Goa 

Chitra. 

“Goa Chitra” art gallery: 

Is designed for artists and 

artisans to showcase their 

contemporary works. 

The different zones at Goa Chitra 

“Roots” organic farm: 

Professionally laid out farm with traditional 

waterways, pond and variety of farm animals 

that include birds, cattle etc to create a friendly 

atmosphere for children. A demonstrating plot 

which showcases various crops and 

composting methods is 

the highlight of the farm. 

All retaining walls and 

pathways are constructed 

using the traditional 

Goan laterite stone fixed 

with red mud. (Total area 

- 80000 sq ft.) 

“Goa Chitra” Museum: 

The structure shelters the 

ethnographical museum, the core of which is 

the collection of implements that were used in 

the pre-electricity era in Goa. The museum is 

designed with a 16 ft high oil-grinding 

implement as its focal point. The building then 

curves around a water body that is used for 

irrigating the organic farm. The floor is a work 

of art, divided between china mosaic, tiling, 

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red oxide and traditional cow dung flooring. 

The roof has UV filters that allow light to enter 

without damaging the implements. 

“Tulsi” recreational area: This area is designed 

at 2 levels with indoor and outdoor seating and 

has an open kitchen and a juice counter. The 

building has exposed 

masonry and oyster shell 

windows, and houses an 

audio visual room, library 

and other utility areas like 

the store room, toilets, etc. 

(Total area - 5000 sq ft.) 

Performance area: An 

e x t e n s i o n o f t h e 

recreational area is the 

performance area designed as a an 

amphitheater with a band stand as a stage. 

(Total area - 1000 sq ft.) 

“Angann”: Designed as a traditional open 

space with cow dung 

floor, this area would be 

used for workshops, 

recreation, traditional 

performances and craft 

workshops. 

F a r m H o u s e : O v e r 

looking the Angann and 

the farm is the residential 

quarters for visiting 

scholars, artists, historians, writers etc.\ 

“Natural Elements” Health and Organic 

Shop: The air-conditioned shop for farm fresh 

vegetables is opposite the main recreational 

block. It is designed with traditional material 

and has a typical facade of a Goan house. (Total 

area - 500 sq ft.)

The first part of the endeavour was the 

revitalisation/desilting of a traditional 

pond which was bone dry due to years 

of neglect and soil erosion. It is approximately 

4000 sq ft with 12 ft. deep retaining walls built 

with double rubble and mud at 15 ft. height 

with 4ft foundation to avoid further soil 

erosion and to avoid flow of polluted rain 

water. The revitalised 4000 sq ft pond is used to 

cultivate sweet water fish as well as for 

irrigation. 

Alongside the revitalisation of the pond was 

the desilting of approximately 6ft wide / 3ft 

deep and 2400 ft in length of traditional 

waterways (to prevent chemical residues and 

Sylvania weed from outside being washed into 

the property). The repairs of protective bunds 

(to avoid further erosion of soil) and building of 

retaining walls of approximately 3000 running 

feet was also undertaken. The next stage 

concerned soil preparation and plantation. 

The soil was tested and further improved by 

multiple plowing and leveling after using 

gobar, neem cake, vermin compost, bone meal, 

chicken waste, leather etc. Top soil was 

recreated by the humus method. 

Furthermore a well laid out orchid farm with a 

plantation of coconut, mango, chickoo, banana, 

pineapple, amla, cocum, cashew, drumsticks 

etc was created on a area of 20,000 sq ft. 

The fields were sown with three types of 

indigenous rice namely Kendal, Honchro and 

Doga, on an area of approximately 30,000 sq ft. 

A kitchen garden of approximately 20,000 sq ft 

is planted with seasonal vegetables, herbs and 

spices. Baby corn, American sweet corn and 

hybrid watermelons besides other seasonal 

vegetables demonstrate productivity using 

organic farming and preserve dying 

techniques of crop production. 

Site development 

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Exotic vegetables are an experimentation of the 

project, with vegetables like cherry tomatoes, 

baby potatoes, sambar onions, turmeric, 

ginger, gherkins, zucchini, lettuces, medicinal 

plants, herbs and spices grown. All 

experimentations are to showcase fertility of 

land using humus method.

Supporting infrastructure 

To supplement the organic traditions: 

· A bio gas Unit of 40 cubic ft for basic cooking, 

using cow dung and human waste. 

· Two vermicompost tanks of 6ft by 3ft at 2ft 

depth with roof to compost vegetable waste, 

cow dung and foliage. 

· The fertilization unit includes a special 6000 

lts fiberglass tank with slurry bucket. It is 

charged using fish and animal waste and this 

liquid is used during irrigation at 10% to 90% 

water ratio as an excellent manure. 

· There are four compost pits of 3ft by 3ft by 

3ft depth for organic composting. 

· A shredding machine and four humus tanks 

of 3ft by 3ft by 3ft depth are used for creating 

humus. 

· Two tunnel shape green houses of 24ft by 9 ft 

each having 8 divisions used to develop 

seedlings. 

The irrigation system: 

· Construction of a well approximately 30ft 

wide and 12ft deep used for water harvesting 

and irrigation of the farm.. 

· 12mm drip irrigation system for grafts with 

micro misters. Approx 18,000 ft with 

50mmx4kg HDPE line Approx 9000 mts. With 

sand filter of a capacity of 40,000 lts per hour 

and screen filter of 800 lts per hour. 

· Eight sprinklers S-20 for cash crop. And 1000 

micro sprinklers/misters for vegetables and 

garden. 

· 6000 lts Sintex overhead tank for installation 

of gravitational drip. 2 Nos Mono block 3 HP 

pumps for major drip and sprinklers and I No 

1.5 HP. Pump for gravitational drip. 

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Goa Chitra- The ethnographic museum 

An ethnographical museum is a 

reflection of civilizations, whether or 

not technically advanced. In planning 

the museum importance is given to the concept 

that the implements represent the lifestyle of a 

people, their indigenous methods, their 

craftsmanship, their art and folklore. The 

original 200 privately collected items have 

grown to more than 4000 objects on display. 

The museum nevertheless preserves its 

universality in its collections of artifacts 

representing the culture of ancient Goa. Each of 

the artifacts is supplemented by information 

that was collected in situ by interviewing elder 

members of that community. Documentation 

includes data about the artifact, material, 

craftsmanship, period during which it was 

used, photographic evidence; and interviews. 

Categorization of the collection involves the 

various processes implicated in a trade. 

13 

itness the Goan past 

in it’s full glory. 

W

The museum houses a wide range of 

exhibits depicting the material culture 

of Goa before the electricity era. 

The exhibits on display are associated with the 

rural trades and their indigenous skills. The 

agrarian section highlights traditional 

implements displayed according to different 

operations such as tillage, sowing, interculture, 

harvesting, cutting, pruning, marking, postharvest, 

crop processing, irrigation and crop 

protection. 

Another section is dedicated to storage 

implements of varied material like metal and 

wood. Grain and liquid measures, as well as 

different types of weights and scales used by 

grocers are on display. A section is dedicated to 

the implements used on animals. 

Walking through the passages you will find 

ancient modes of transport such as carts, 

carriages and palanquins are put on show. 

Among other trades, a large selection of tools 

used by carpenters, tailors, goldsmiths, 

cobblers, barbers, blacksmiths and masons are 

on display. Importance is given to details, so 

one for example can also see tools used by 

masons who carved stone. 

There is a separate section which exhibits 

important Goan crafts such as pottery, cane 

work and weaving as well as stone work. 

Kitchen implements of wood and metal take a 

large amount of space organised according to 

their uses. 

Surprises always lurk around every corner as 

implements used for leisure activities such as 

hunting as well as traditional games and 

musical instruments are put on view. 

Since the museum is a dedication to our 

forefathers, the entrance to the museum 

depicts the religious accessories and art of the 

Catholic and Hindu religions. 


14 

Tillage implements 

Animal implements 

Interculture implements 

Sugarcane Grinder

Processing implements 

Harvesting implements 

Irrigation implements Parboiling Implements 

Measuring implements 


Measuring implements 

Processing implements 

Post harvest and hunting implements 

Weights and scales 

Spike roller 

Oil extractor 

Jaggery implements Jaggery implements Storage implements 

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Cane work Cane work 

Cane work 

Grinding, pounding and other stone work 


Cane work Pottery and kitchen implements 

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Cane work

Kitchen implements 


Religious artifacts Religious vestments Religious artifacts 

Kitchen utensils Kitchen implements Kitchen utensils 


Religious artifacts 

Kitchen implements Wind instruments Wind instrument Kitchen implements 

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Service implements Lamps and lanterns 

Metal utensils Metal utensils 

Metal utensils Processing implements 


Processing implements Kitchen implements Kitchen implements 

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The goal of this museum is to assist a 

broad range of visitors, from children 

to adults, to enjoy and become familiar 

with traditional indigenous implements and 

offer them opportunities to appreciate these 

objects from a variety of different viewpoints. 

Tourists: 

Every tourist visiting Goa is interested in 

understanding the culture of this place. Besides 

visiting religious places tourist rarely had the 

opportunity to understand the culture Goa has 

to offer. For the first time in Goa, tourists from 

around the world and India will be able to 

witness the culture in a holistic set-up. The 

museum is artistically constructed and it gives 

us knowledge about the historical background 

of the region. It is an excellent edutainment site 

where tourist will increase their knowledge 

about the cultural heritage and traditional 

lifestyle of the people of Goa. By preserving 

and promoting these facets of Goan identity 

and promoting tourism on these lines, we can 

achieve a symbiosis whereby Goan culture is 

sustained rather than endangered by tourism. 

Educational institutions: 

The Goa Chitra museum will serve as a 

resource for teachers and students by offering a 

comprehensive education program that 

includes understanding traditional methods of 

farming, indigenous knowhow and the 

material culture of our ancestors. The 

management hopes to keep admission to the 

museum free for educational institutes that 

schedule their visits in advance. 

Museum professionals: 

Curators, museologists, conservationists, 

historians, anthropologists, ethnographers and 

others associated with museums will find this 

project interesting as Goa Chitra attempts to 

diverge from traditional museum culture by 

giving visitors the opportunity to become part 

of a contemporary interactive set up. The 

Goa Chitra- For Whom ? 

19 

interest from such professionals visiting us so 

far even before the opening has been 

overwhelming. 

General public: 

Till date the museum has had more than 5000 

visitors including locals, nationals and 

foreighners, professionals and people from all 

walks of life. There has been a great curiosity 

among these people about our culture. Many 

of the visitors were brought up in this culture 

immediately connected to the project and 

were proud to share it with the younger 

generation. 

Special interest groups: 

One group of visitors to show keen interest in 

this project was environmental scientists. For 

these research scholars, the problems of 

today's global warming could be solved by 

understanding indigenous societies and their 

traditional agrarian practices. Networking 

with such institutions is one of the objectives 

of Goa Chitra. 

Partnerships: 

Goa Chitra envisages partnerships with other 

educational entities and scholars, as well as 

with institutions who share our mission to 

illuminate cultural diversity and linkages 

from ancient times to the present, providing a 

place and context for intellectual exchanges in 

a multinational community. 

Artists and artisans: 

The museum will provide a common platform 

for Goan artists and artisans to exhibit their 

talent and skill to interact with each other. In 

this Creating awareness among the general 

public of Goa's indigenous Art forms, their 

origins and development through history. 

Internet: 

Goa Chitra plans to collate information from 

other related collections and research and 

make this available online.

A call for social responsibility 

HELP BUILD AND PRESERVE THIS COLLECTION FOR POSTERITY 

Each of the exhibits on display is 

evidence of the wisdom of our ancestry. 

Every implement stands forindigenous 

knowhow that has evolved through 

hundreds of years of experience, describing 

the cultural and historical features of the Goan 

community and their lifestyle. Most of the 

implements are rare, obtained in delicate 

conditions and demanded extensive 

restoration. They were last utilized more 

than 30 years ago. In documenting their 

attributes a sense of urgency prevails. 

Potential database of oral histories related to 

these artifacts is vanishing and no amount of 

money or efforts can obtain this once the 

current older generation fails memory. Village 

elders who were interviewed for details about 

era, material used, craftsmanship proficiency, 

are 60 years and older. The test of time shall not 

stand these disillusioned men and with them 

our heritage. 

Goa Chitra is set up for posterity. This 

challenging task requires security and 

restoration. Currently financed and owned by 

Victor Hugo Gomes and managed by the Dona 

Angela Memorial Trust, the museum seeks not 

only to restore and preserve the traditional 

agrarian lifestyle of our ancestors but also 

to promote awareness and appreciation of 

the eco- friendly techniques practiced by 

our forefathers out of deep sensitivity and 

concern for the environment. 

The Need for Assistance: 

Goa Chitra needs assistance to fulfill its 

objectives. With such intentions a corpus 

fund is proposed as an escrow fund for the 

following expenses: 

Annual maintenance, restoration and 

conservation of exhibits: Every section at the 

first phase of the museum has original exhibits 

collected in fragile conditions from various 

20 

locales across Goa. These exhibits have 

undergone extensive restoration and require 

c o n s t a n t a n d c o n t i n u o u s c a r e a n d 

conservation. Made from natural material, 

they can easily fall prey to parasitic elements 

and require preservative treatment, 

dehumidifiers and daily monitoring. 

Insurance: Most of the implements are no 

longer in use and are one of a kind pieces. 

They need insurance to secure it for the 

future generation. 

Research and documentation of exhibits: 

The exhibits have years of indigenous 

knowledge associated with its creation. 

There is urgency to document bona fide 

data through interviews with the creators 

of these tools; otherwise we stand to lose out on 

an important aspect of our heritage. 

Marketing, publicity and public relations: In 

order to sustain this project we need to reach 

out to a greater audience. Across the globe 

societies are studying indigenous know how to 

find solution to global problems. At Goa Chitra 

we have at the epitome a heritage that has more 

than 1000 years of wisdom handed from 

generation to generations evolved over time to 

a perfection that needs world attention. In 

order to attain such -----we require 

media attention and other public 

relation resources. Marketing 

personnel and public relation 

professionals need to be hired. 

Equipment: Purchase of equipment like 

duplicating machine (for preparation of 

informational educational materials), 

Computer systems as in the form of touch 

screen computers that provides information

about any implement and help research 

scholars , for use of LCD and information 

processing and administration are needed. 

Other audio visual equipment like LCD, music 

system and camera (CCTV) systems to 

monitor. 

Library and documentation center: Setting up 

a full-fledged library for the museum. Goa 

Chitra is an institution where children, 

scholars, historians, anthropologist and 

anyone interested are invited to learn. Related 

data need to be made accessible e.g. Gaunkari 

system, or traditional methods of farming or 

composting etc. Purchasing of books, 

digitalizing photographs and manuscripts will 

be a special feature of the library. 

Interactive programs: Your donations will also 

help purchases, supplies for free family-day 

programs, fund a skilled intern in the summer 

vacations, or support a lecture series. 

Setting up of phase two: While implements for 

phase two are being collected, the exhibits need 

restoration and display space. Funds to 

construct extension of museum is needed. 

Staff salaries: The museum is set against the 

backdrop of an organic farm and designed so 

that the exhibits are easily accessible and 

21 

visitors can relate to them. To ensure the safety 

of the exhibits, six security personnel are 

needed during visiting hours and two during 

the night. Museum staff will include four 

guides; two cleaning and maintenance staff; a 

receptionist, administrator etc. 

Publications: An annual publication of the 

museum in the form of the museum bulletin, 

event chart, books, catalogues etc. Every year 

new researched information requires to be 

published 

Website: Maintenance and update of the 

website www.goachitra.com 

Workshops and events: Goa Chitra will be 

organizing workshops and events related to 

museology, anthropology, ethnography, 

archeology, art, history and culture. 

To bear the cost of travelling exhibitions of 

selected exhibits: To reach out to a greater 

audience and showcase their uniqueness and 

cross cultural relevance; selected exhibits will 

require to be displayed in different parts of the 

country and the world.


SUPPORT BY BECOMING A SPONSOR, MEMBER OR A DONOR 

a) Sponsor an implement at Goa Chitra: 

For the first time ever Goa Chitra will be 

documenting different implements in the form 

of a world class catalogue. The resources from 

this book will go towards ensuring that the 

implements will be maintained and secured for 

public viewing. You can sponsor an implement 

by contributing Rs. 40,000/- 

Benefits and privileges: 

(i) Your sponsorship will be recognised in the 

catalogue published by Goa Chitra on the page 

sponsored for three years. 

(ii) You will have the privilege of your name 

being displayed on the commemorative plaque 

near the display of the implements that are 

published in the sponsored pages. 

(iii) Will have name displayed on the catalogue 

below the implement on the page of your 

choice for a period of three years. 

(iv) Credentials given every time the 

implement of choice goes on display anywhere 

in the world during the three years. 

(v) Invitations to annual Benefit Banquet for 

three years. 

(vi) 50% discount entry to all our prestigious 

fund raising events for three years. 

b) Membership: 

Enrol as a member of Goa Chitra and enjoy a 

rich schedule of exhibitions and programs and 

explore the Goan culture. Enjoy a variety of 

programs and benefits. Your contribution will 

help fund many worthwhile projects, 

including a Museum internship program, 

exhibits, public programs, and lectures, as well 

as researchers who come to study our 

collections. We welcome your participation in 

what promises to be a unique and memorable 

Museum experience. 

22 

Categories & Benefits: 

1. Individual, Rs. 1000/- (annual fee); Senior 

Citizens, Rs. 500/- (annual fee): 

(I) Free admission for one. 

(ii) 5% discount at the museum shop. 

(iii) 25% discount for all events. 

(iv)Invitations to members for exhibition 

openings and other special events. 

(v) Reading room - access to Library. 

(vi)Family members discount. 

2. Family, Rs. 3000/- (annual fee): 

(I) All benefits above, plus workshops for two 

persons (adults or children). 

(ii) 10% Discounts at the museum shop. 

(iii) 50% discount for all events. 

(iv) Invitation for two to annual museum event 

(inclusive of dinner). 

3. Privilege, Rs. 5,000/- (annual fee): 

(I) All Family benefits above, plus two one-day 

guest passes. 

(ii) Invitation to Annual farm day (inclusive of 

dinner). 

TERMS AND CONDITIONS: 

(1)The date of membership or guardianship 

will commence from the date the donation has 

been made. 

(2) Sponsorships and membership are not 

transferable. 

(3) The museum reserves the right to revoke 

any privileges if it is deemed in the best interest 

of the trust. The privileges and benefits are 

always subject to change without notice.


SUPPORT BY BECOMING A SPONSOR, MEMBER OR A DONOR 

c) A “Five Dollar” or Rs. 250/- Campaign: As a 

means to support the mission of Goa Chitra, a 

requisite to build an oral history database 

(collect and catalog oral histories from 

community “old timers/Elders”) is urged. The 

goal of collecting oral histories involves more 

than just gathering information about the past. 

The research will compose a historical and 

ethnographic profile describing the cultural 

and historical features of the community and 

their life style. We are seeking support towards 

this vision to celebrate and preserve the history 

of the Gaunkar and Goan identity. The five 

dollar campaign or a Rs. 250/- campaign is the 

minimum that we request for from every 

individual who wishes to support this mission 

and call it his own. 

How to Join: 

For more information or to join, please contact 

M r . V i c t o r H u g o G o m e s a t 

v i c t o r . h . g o m e s @ h o t m a i l . c o m o r 

goachitra@gmail.com . Or make payment by 

check/ DD payable to Dona Angela Memorial 

Trust and mail to: 

Goa Chitra, 

Membership Office: 

H.No 498, 

Pulvado- Benaulim, 

Salcete – Goa. 

India. 403 716 

Verodiano Award 2009 

FOR VICTOR HUGO GOMES OF GOA CHITRA 

The 2009 Vincent Xavier Verodiano Award has been conferred on Victor 

Hugo Gomes of Goa Chitra, “in recognition of his prodigious commitment to 

conserve and showcase Goa's ethnographic past for posterity’s benefit and 

realization”. The award consists of a medal, citation, and a cheque for Rs. 50,000/- 

. A graduate of Fine Arts and former curator of the Christian Art Museum, 

Victor Hugo Gomes has spent almost half his lifetime hand-picking artifacts 

which represent Goa’s traditional and agrarian life style. There are currently 

some 4000 artifacts of a bygone era on display at the Goa Chitra Museum 

(founded and curated by Mr. Gomez). The collection includes — among other 

astonishing collectibles — pottery, farming tools, musical instruments, ancient 

carts and palanquins. 

Goa Chitra also showcases an organic farm for the cultivation of various 

vegetables, herbs, spices, sugarcane, and rice — all staples of the area. The fertiliser and pesticides utilised are 

made from farm waste, using traditional techniques. And rather ingeniously, human waste from the living 

quarters is also converted to bio-gas, and together with solar power, provides the energy needs of the farm. 

Goa Chitra is a monumental testament to one man’s quest to preserve Goa’s anachronous agrarian 

technology and lifestyle. 

Instituted in 1989 by Dom Martin, the objective of the Vincent Xavier Verodiano Award is "to 

promote the well being of mankind through individual advancement in the field of art, music, literature, 

science, medicine or humanities". 

Dom Martin Percival Noronha 

(Founder-President) (Member) 

23

Genesis of Goa Chitra 

PERSONAL PERSPECTIVE- VICTOR HUGO GOMES 

Growing up in Goa in the 1970s and 

’80s, I became aware that I was part of 

a “sandwich” generation: caught in 

the middle of a radical transition in Goan 

society. The social structure was being eroded 

by increasing consumerism, the abandoning of 

traditional implements and practices, and loss 

of self-sufficiency due to an increasing 

dependence on modern technology and massproduced 

goods. 

In our house, kerosene lamps and flooring of 

cow dung and red oxide were replaced by 

electricity and china mosaic tiles. In the 

kitchen, wood-fire stoves made way for gas 

cooking ranges, stone grinders were replaced 

by electric mixers, earthen pots and cane and 

wooden containers were thrown onto the 

rubbish heap or bonfires. In the village you 

could see tiled roofs being knocked down to 

make way for concrete slabs and the palm-leaf 

mats that protected mud walls from the 

monsoon rain replaced by plastic sheets. 

There was a drop in farming activity and fields 

were converted and filled in with earth gouged 

from neighbouring hills to create football 

grounds, housing plots and so-called public 

development, which caused flooding that 

made going to school difficult. Country 

taverns that dispensed quick shots and used to 

24 

be places for leisure after a hard day’s work, 

where the farmer would have a drink, catch up 

with village gossip and play a game of 

tabullam or gangifo, became bars where local 

craftsmen, unemployed because their services 

were no longer needed, sat idly and slowly 

turned to drink to drown their sorrows. These 

makers of tools and utensils who once made 

the village self-sufficient, the keepers of knowhow 

and skills handed down from generation 

to generation, would be the last of their kind. 

The church angelus bells which were once 

very audible were drowned in the din of 

motorised vehicles. The baker had to change 

from the pestle with metal clappers (mussol) 

was replaced with a loud rubber horn and the 

village crier had to change his drum for a loud 

bell. The wares on sale at village feasts that 

used to come from local sweet makers and 

artisans were replaced by commercially made 

produce from across the state. 

The passage of “progress” first became clear to 

me from looking at the cupboard where my 

mother carefully stored her six children’s toys 

after they had outgrown them, one shelf 

dedicated to each child. I could see how, 

within the span of about 15 years that 

separated the eldest and youngest, the 

materials used had changed from wood to

metal to plastic. 

The most neglected and untouched corners of 

people's houses, as in our house, were the 

storeroom (loz) and the wooden loft (malo). Off 

limits to me as youngster, I found these places 

for broken and discarded things to be stores of 

treasure when I first got to explore them as a 

teenager. Different types of clay pots and 

baskets neatly preserved and stacked, tools, 

old altars and wooden chests filled with clothes 

from a previous generation – like my 

grandfather's sharkskin coat. 

I collected these things that had been thrown 

away because my fascination with them 

persisted even after they were considered 

obsolete, starting with 

tools and gadgets of 

various kinds, such as 

valve radios that were 

discarded for transistor 

radios. 

I used to pull out some of 

these old implements 

and stare wistfully at 

them, thinking how incredible it would be to 

learn more about them some day. I wanted to 

know about the type of wood used (hard or soft 

species? local or imported?), find out exactly 

how old they were, whether there was pollen 

embedded in the wood that could reveal what 

plants were growing in the fields where the 

tools were used, whether there was wear or 

polish that could confirm their function, or 

other marks that could tell me more about how 

they were made and identify their makers. 

Despite my lifelong interest in traditional Goan 

implements, I only realised their true value 

while based in Lucknow as a painter. While 

there, I got the chance to accompany a 

researcher from M S University in researching 

25 

tribal art and lifestyles in various places in 

North India. My interaction with the tribals 

opened my eyes to the hard work and skill that 

went into creating their implements, and the 

understanding of materials it required. I 

realised that the things I had seen discarded in 

Goa must have similar fascinating stories 

behind them. 

On being offered a Lalit Kala Academy 

scholarship, I chose to study “Experimental 

transitions in the world of art”, a subject that 

covered the use of different materials and 

processes in art over time. With this 

background, I applied for and was accepted 

into a course on restoration and conservation 

of art conducted by the Indian National Trust 

for Art and Cultural 

Heritage (INTACH). 

Soon after completing 

t h e c o u r s e I l e f t 

Lucknow and returned 

to Goa to explore the 

possibility of becoming 

the curator of the 

Museum of Christian 

Art that was being set up 

at the Seminary of Rachol. The idea was 

proposed by museum board member Mario 

Miranda to O P Agarwal, the director of 

INTACH. 

My stint as the founding curator of that 

museum involved approaching churches 

across Goa, doing inventories of their artifacts, 

and shortlisting and negotiating for those that 

should be part of the museum display. It was 

fun to restore these objects and learn about the 

materials used to create these priceless works 

of art. I could see the shift in style of artisans 

from creating Hindu artifacts to Christian 

depictions. 

I was shocked to find that artefacts of artistic

and historical value were being neglected in 

churches around the state. Some priceless 

pieces were even being used as door and 

window stoppers. Travelling from village to 

village, I not only got to witness different 

activities and rituals that made up part of 

village life but also how, as in my own home, 

traditional implements were being thrown out 

or left to decay in many old Goan houses. This 

focused my passion for collecting items of 

cultural and heritage value, and a 

determination to save whatever I could of 

Goa's heritage. 

My collection increased greatly after I began 

restoring old Goan houses in 2002. As in my 

own home, I saw how 

people had lost all value 

for the things of old. 

House owners who 

were moving out after 

selling their homes 

would take with them 

commonplace items like 

plastic chairs and 

aluminium pots and 

leave behind beautiful but broken old 

furniture, traditional clay and woven 

household implements, tools, weights, 

measures, altars – all of which are now 

irreplaceable and priceless. It became an 

obsession to visit the forgotten lofts and 

storerooms of relatives, friends and whoever 

else would allow me to explore. There were 

times where I cleaned and organise people’s 

storerooms in hopes of finding something of 

importance to my collection. These mostly 

broken, half-decayed objects I gathered and 

restored. To restore some items to their 

authentic original state I had to consult elders 

who were familiar with them and had actually 

seen them in use. Because finding such people 

was not easy in urban areas, I accompanied 

friends on trips to remote parts of Goa where 

26 

the knowledge I needed had not yet been 

erased by the march of modernisation. These 

trips also helped to widen and complete my 

collection, especially of farming and household 

implements. Sadly, changes in Goan economy 

and society had rendered such implements 

obsolete in these areas as well. 

I began to fear that the implements and 

practices that were replacing our traditional 

ones would in future come to be considered 

Goan in the absence of any evidence to the 

contrary. I realised that, more than historical 

artefacts, Goans were losing evidence of the 

wisdom that informed the lifestyles of their 

forefathers. Despite professing a passion for 

fish curry and rice, few 

Goans nowadays could 

tell you much about 

h o w e i t h e r w e r e 

o b t a i n e d b y t h e i r 

ancestors. And the 

knowledge that went 

into the making of 

traditional farming and 

fishing equipment – the 

most suitable material to use, different designs 

for different applications – is also something 

that most people are completely ignorant 

about. In such a scenario, there is a real danger 

of misinformation about our heritage being 

taken as truth. This is especially so because of 

the dearth of academic research being done 

about our ancestry and the incompleteness of 

whatever information is currently available. 

With the realisation that our heritage was 

being lost without being properly recorded, 

my passion for collecting old artefacts, and 

especially all the facts related them, became an 

obsession. My collection now includes 

agricultural tools, artisans’ tools, household 

implements, kitchen implements, furniture, 

clothing, jewellery, musical instruments and 

modes of transport, all of which were once in

common use but can no longer be found, either 

because they have fallen out of favour or 

because the skills needed to make them have 

died. This knowledge is the invisible heritage 

that we are discarding today. In the space of a 

few decades, modern technology has usurped 

know-how that had sustained us for centuries. 

The importance of showcasing such 

information for others became clear, and hence 

the idea of setting up a museum of Goan 

ethnography - Goa Chitra. 

One unique aspect of Goa is the harmony in 

which its people lived, regardless of religion or 

social position. Every village also had its own 

barber, baker, cobbler, tailor, goldsmith, 

tinsmith, tanner, washerman, miller and fruit 

pluckers. The social fabric was woven from 

inter-dependence, a reliance on each other's 

skills, knowledge and labour. The bhatkar 

would consult his farm hands to decide which 

fields to cultivate and with which crops, and 

they knew how to get the best results. The 

farmer might know how to plough, but he 

needed a carpenter to make and repair it. How 

would the farm worker get his mid-day tipple 

if it were not for the toddy tapper? And the 

toddy tapper needed the damone from the 

potter to collect the toddy. Both farmer and 

toddy tapper went to the ironsmith (lohar) for 

their sickles. Weavers supplied the baskets 

(petaro) in which farmers' mid-day meals were 

carried to the fields in small clay pots called 

podgo (again, made by the potter), the cane 

mats on which they slept and the fans used for 

winnowing. Homes, be it the bhatkar's grand 

mansion or the worker's simple abode, were 

built with know-how of the mason, the beammaker 

(vanshekar) and the tile-maker. Besides 

the social integrity there was also the practice 

of skills, the constant search for newer 

inventions which made their life contented. 

In planning the museum, I gave importance to 

the concept that it should represent the 

27 

implements, tools and the material culture of 

Goa so that it tells the story of the people of 

Goa. Importance is given to the various trades 

of the Goan people. The implements on display 

were chosen to represent the various trades 

mentioned above. More importantly, every 

implement on display is supported by data 

from in situ research and conversations with 

village elders, farmers, artisans, historians and 

academicians. Most of the exhibits on display 

are rare and were difficult and expensive to 

restore. Their conservation and maintenance 

are recurring costs and require substantial 

allocation of funds. The museum has been a 

self-financed project so far, but to continue and 

widen its mission now requires outside 

support. The hope is that every Goan across the 

world sees this project as a showcase of their 

ancestry and will come forward, either as 

individuals, groups or in their official capacity, 

to preserve and celebrate the history of the 

Goan identity.


Students from the post graduate dept of Carmel College on a field visit to Goa Chitra. 

Organised by DAMT and PG dept. Carmel College, Nuvem. Date and time of visit: 18/04/09 from 11:30 a.m to 4: 00 

Objective: To promote health consciousness and social sensitivity amongst young women. To sensitize young women 

about the benefits of organic farming, to educate young women about the recycling of natural waste and to educate them 

about the agrarian past and the ancestral wisdom. 

Activity: 25 young women studying at the post grad uate department of Carmel college visited the organic farm managed 

by the DAMT. The students witnessed the process and stages involved in organic farming. Next they were given a lecture 

about the benefits of incorporating organic farming in their own families. They were also allowed to identify different 

types of trees, herbs, spices grown on the farm. They were next taken on a tour around the Goa Chitra museum where the 

varied implements and tools used by our ancestors are displayed and documented. Students brought their own lunch and 

were given refreshments by DAMT. 

Students from “Sxatti kids visit the museum and participating in a fancy dress competition” 

Organised by DAMT and Saxtti Kids School, Carmona. Date and time of visit: from 9:30 a.m to 3: 00 p.m 

Objective: To promote eco friendly traditions among young children.-To educate young children through a fun filled 

activity to know the importance of eco- friendly life style, to sensitize young children to the benefits of organic farming and 

to educate them about the Goan agrarian past. 

Activity: Around 30 young children from Sxatti kids, school for village kids from salcette visited the DAMT organic farm. 

The students were taken around the farm to identify the various animals and plants. A fancy dress competition was 

organized where the theme was “Goa’s agrarian past and traditions”. Each child came dressed up in some outfit that 

belonged to the various trades in Goa. The best and most expressive child were given prizes. Next the students were taken 

around the museum where they sang some nursery rhymes in konkani that were related to farming. The school 

management provided lunch for the students during the break. Post lunch session was a drawing workshop conducted by 

well known artist Charudatta Prabudesai from Auroville. The expenses of the artist and art material was provided by 

DAMT. Students while drawing had to maintain the theme of eco friendly traditions. 

28


Tribute to Goan Tiatr humor artists and Delegation of C.M. taken around Goa Chitra along with the artists. 

Organised by DAMT and Lorenz Photo Studio, Margao. Date and time: 9/01/09 from 4:30 p.m to 10:00 p.m 

Objective: To empower local artists by public acknowledgment of their contribution in Tiatr (Konkani theater), by paying 

tribute to the artists and creating awareness to the general public of the efforts of such artisans. 

Activity: 12 senior Goan Konkani comedian actors were paid tribute by initiation of a calendar on their behalf and its 

public release held at DAMT premises. The chief minister of Goa Mr. Digambar Kamat was invited as the chief guest and 

the South Goa MP Mr. Francisco Sardinha presided over the function. The 75 odd invited guests were taken round on a 

guided tour around the Goa Chitra museum and the organic farm by the curator with a detailed lecture on the traditional 

Goan agrarian past. Each artisan was presented with a gift for their efforts. Dinner was served at the end of the program 

hosted by Lorenz photo studio and the beverages were provided by DAMT. 

Participants at a workshop on personal development. Handwriting analysis Workshop 

Organised by DAMT and PG dept. Carmel College, 

Nuvem. Date and time of visit: 5/07/09 to 7/07/09 full 

day. 

Objective: To promote personal development amongst young women. To sensitize young girl students about the benefits 

of understanding themselves in relation their environment. To teach young women emotional management and 

assertiveness. 

Activity: 1) 13 young women studying counseling participated in a workshop on personal development organized in 

association with Carmel College for women post graduate department. The workshop was a residential programme. The 

resource person for the program was a trained gestalt therapist Fr. Aurel. The students were given experiential exercises 

that allowed them to get in touch with their emotions and techniques were imparted to help them express various 

emotions along with being assertive. The participants paid a minimal fee to cover the cost of meals, the rest was borne by 

the trust. The resource person was hosted by the trust. 2) 10 participants benefitted by a handwriting analysis workshop 

organized at the DAMT premises. The resource person ms. Sureka Bajaj , a clinical psychologist from Bombay taught the 

basic course. Each participant's handwriting was analyzed. The program was conducted to encourage the youth to look 

at alternative career opportunities. The resource person was hosted by the trust. 

29


Students from Bal Bhavan ( Creative arts) on a creative trip to the farm promoting environmental friendly 

agricultural activities.Organised by DAMT and Bal Bhavan, Panjim. 

Date and time of visit: 09/08/09 from 10: a.m to 5:00 p.m 

Objective: Promotion of cultural heritage through art work shop for the creative arts students and art competition, to 

sensitize participants about the rich cultural heritage, to educate them about the agrarian past and the ancestral wisdom, to 

study the different uses of the implements on display. To study and identify the construction and material of the 

traditional implements used in the past. 

Activity: Around 25 participants studying fine arts at the Bal Bhavan visited the organic farm managed by the DAMT and 

the Goa Chitra museum. The students were taken around the farm to learn the methods involved in organic farming.. They 

were also allowed to identify different types of trees, herbs, spices grown on the farm. They were next taken on a tour 

around the Goa Chitra museum where the varied implements and tools used by our ancestors are displayed and 

documented. The students were given a lecture on the function and material used to construct these implements. An art 

workshop was conducted and the students were asked to participate in a competition where they were to identify the 

mechanism of the working of the implements and to draw them. a lunch break was maintained followed by discussion and 

evening tea. The artists were guided by well known artists from Goa Mr. Wilson D’Souza, Mr. Viraj Naik, Mr. Mohan Naik, 

Mr. Ketan Naik and Victor Hugo Gomes at the end of the workshop. All the artworks done by the artists was gifted to 

DAMT. 

Artworks done by above students and “For Mother Earth” play staged by Hartman and group 

Date and time: 28/06/09 from 12noon to 3:00 p.m 

Objective: To create awareness about the dangers that is presently threatening our earth and to promote alternative theater 

and its expression amongst the local people. 

Activity: The DAMT organized a theatrical performance titled “For Mother Earth” staged by Hartman and group, Pune for 

an audience of about 75 people. It was based on four poems written by Uma Narayan and enacted by a group of five young 

men and women. The intensity of the words is depicted in the movement of the dancers. The words are filled with chants 

and sounds made in harmony with their bodies moving to the rhyme, weaving a visual tapestry of the poems. The 

performance was followed by a group discussion. 

30


Students from Sanjay school spend a day at the organic farm 

Organised by DAMT and Sanjay School, Porvorim. Date and time of visit: 20/07/08 from 10: a.m to 5:00 p.m 

Objective: Promotion of cultural heritage and organic farming to students of Sanjay school an institute for special 

children, to promote educational, cultural and agricultural activity to the participants, to educate them about the agrarian 

past and the ancestral wisdom, to educate them about eco friendly way of life, to educate them about organic farming, to 

sensitize participants about the benefits of organic farming, to educate participants about the recycling of natural waste 

Activity: 30 participants along with their teachers from sanjay school visited the organic farm managed by the DAMT. 

The students were taken around the farm to learn the methods involved in organic farming.. They were also allowed to 

identify different types of trees, herbs, spices grown on the farm. They were also shown the ways to recycle waste material. 

teachers used sign language to communicate with the students. 

A young girl dares to touch the forbidden friend- a sand boa (non- poisonous snake). The President of the trust; 

seen petting a python, along with the members of the Green Cross. 

Organised by DAMT and Green Cross. Date and time of visit: 11/05/08 from 10: a.m to 1:00 p.m 

DAMT organized a talk “Snakes In Your Backyard” to promote a level of awareness about snake life and snake bites; 

amongst young children and their parents mostly from Benaulim Constituency. The programme was held on the 11th of 

May 2008 from 10:00a.m to 1:00 p.m. the speakers and demonstrators were invited from the green cross society. The main 

speakers for the talk were ms. Neelam from the Green cross -- and Mr. Suraj and Mr.Sunil who assisted her with the 

demonstrations. The sessions were very interactive. The talk comprised information about the various snakes found in our 

back yards; how to identify snakes and what does one do in case of a snake bite. The talk was accompanied by a slide show 

making it very interesting.. This session raised a lot of questions both from the parents and the young children. However 

the most exciting part of the programme involved demonstrations of some live snakes. These snakes had been rescued 

from various locations in Goa and were on their way to be released in the jungles of Collem. 

31


Students from the NIFT University, Kerala on a field 

visit to the museum to study traditional costumes and 

jewellery. Organised by DAMT and NIFT, Kerela. Date 

and time of visit: 18/04/09 from 11:30 a.m to 4: 00 p.m 

Students of Mangalore University on a trip to the farm. 

Organised by DAMT and Mangalore University, 

Mangalore. Date and time of visit: 29/03/09 from 11:30 

a.m to 4: 00 p.m 

Objective : 1) To promote traditional craftsmanship, To educate young women from other communities traditional 

methods of weaving and to incorporate traditional elements in contemporary design. 2. To promote organic farming and 

social sensitivity amongst participants, to sensitize participants about the benefits of organic farming, t o e d u c a t e 

participants about the recycling of natural waste and to educate them about the Goan agrarian past and the ancestral 

wisdom. 

Activity: 1) 05 students from the NIFT University Kerala visited the office of the DAMT. The students were taken around 

the farm and the Goa Chitra museum. The students were then allowed to go through the collection of costumes ad 

jewellery from the reserves of the Goa Chitra collection. The curator than discussed the use of material and traditional 

design. Students were then given time to deliberate on the use of traditional material and elements in contemporary 

designs. 2) 15 students from the Mangalore University, Dept. Of zoology visited the organic farm managed by the DAMT 

and the goa Chitra museum. The students were taken around the farm to learn the methods involved in organic farming. 

They were given a lecture about the benefits of incorporating organic farming in their own surrounding. They were 

allowed to identify different types of trees, herbs, spices grown on the farm. Followed by a tour around the Goa Chitra 

museum where the varied implements and tools used by our ancestors are displayed and documented. 

Study tour of the students of Architecture College, Goa. 

Organised by DAMT and Architecture College, Panjim. Date and time: 7/03/09 from 10:00 p.m to 1:30 noon 

Objective: To promote traditional craftsmanship and understanding of material, to create awareness about traditional 

methods used in construction, to promote traditional use of material t hat is environmentally friendly, to educate future 

architects about the use of traditional design that was eco friendly and encourage use of traditional design in 

contemporary settings. 

Activity: 50 students from the Goa College of architecture along with their professors visited the Goa Chitra museum and 

the farm house of Mr. Victor Hugo Gomes. The students were first taken around the farm and were shown traditional 

construction i.e. Cow shed; goat house; etc.The students later took a tour around the museum where a lecture was held on 

the material used to construct old houses and the implements used were demonstrated. Emphasis was laid on the 

importance that our ancestors gave to their environment and use of material was from the vicinity. Traditional designs that 

have been incorporated into the design of the museum were explained again signifying use of traditional design within a 

contemporary setting. The curator of the museum took 6 selected students to Netravali for 2 days to show how the 

Dhangar community construct their dwellings using material found in their surrounding. 

32


Journalist Tara Narayan along with the farmer and the organic Farm. 

Date : 19th Dec. 2008 

Objective: To demonstrate organic farming methods, to improve crop production, to utilize available space and 

resources, to educate self sufficiency in the form of growing our own vegetables and creating our own manure, to promote 

organic farming and to establish ,promote and set up natural waste recycling 

Activity: DAMT member Victor Hugo Gomes talks to popular environmental and organic friendly journalist Mrs. Tara 

Narayan who was invited to do a feature on the activity of the trust, emphasizing the benefits of organic farming. DAMT 

has developed a property of approx 18000 square meters , in which crops are grown using traditional methods of farming. 

Composting units are constructed to recycle waste. The fields are harvested with traditional rice and vegetables. The farm 

was set up with a bio gas chamber, and fertigation unit. 

Students of colleges and schools on a study trip to the farm and Training local women in agricultural methods 

Date and time of visit: On going activity of DAMT 

Objective: 1. To promote organic farming and social sensitivity among the students, to sensitize participants about the 

benefits of organic farming, to educate participants about the recycling of natural waste, To educate them about the 

agrarian past and the ancestral wisdom. 2. To empower women by employing them and training in agricultural activities, 

to promote and revive traditional agrarian practices, to empower local women through employment as farm workers and 

to collect oral history of farming. 

Activity: 1. A routine activity of DAMT. The students are taken around the farm to learn the methods involved in organic 

farming.. Next they are given a lecture about the benefits of incorporating organic farming in their own home and 

neighborhood. They are also allowed to identify different types of trees, herbs, spices grown on the farm. The entire 

activity is ended with a tour around the museum where the varied implements and tools used by our ancestors are 

displayed and documented. 2. Traditional women from the lower socio economic strata are employed as farm workers at 

DAMT. These women are given training along with the benefits of organic farming. Older women are incorporated in 

documentation of traditional practices. The produce of the farm are also shared with these women to empower their socio 

economic status. During transplanting and harvest the number of farm workers employed are increased as required. 

33


Goa Chitra pays tribute to Goa's unsung heroes. 27th Sept. 2009 

Goa Chitra, Benaulim an ethnographical museum dedicated to promote the rich cultural heritage of Goa to the 

rest of the world celebrated their annual “Farm Day” as a tribute to the 'xetcamoti. In an attempt to create awareness of 

these unsung heroes people of all ages and from all walks of life came together to work side by side with the 'xetcamoti'. 

Theatre personality and Professor, Mrs. Prasanti Prabudesai commented, "threshing alongside the 'xetcamoti' helps our 

children value farming and the efforts that go into cultivating rice. It let's our young children appreciate their roots'. 

The idea, prompted by the curator of the museum Mr Victor Hugo Gomes, was to create an appreciation of our 

traditions in a set-up that is holistic. This gives the future generations a way to relate to their land and their heritage. 

The day was packed with fun and excitement as parents and children bent over, with their sickles to cut ripe stalk 

of grain for harvest. To match the mood a brass band churned out tunes that harmonised the spirit of the day. Artists, social 

activist, doctors, businessmen, writers, actors, professors and students gave a hand to the threshing. Dr. Belinda was heard 

remarking, "It's only when you realise the efforts that go into cultivation that you appreciate the rice that comes onto your 

table." Writer, Mr Damodar Mouzo took the 'modkul' (threshing stick) right from the farmers and began threshing. 

The editor of Prudent Media. Mr Sandesh Prabhudesai added "anybody can own and look after a museum, but 

to portray the socio-economic and political history of Goa and give one an insight into the life of our ancestor is an amazing 

task. Here we begin to feel that we are only literate while our ancestors were educated, with a vision and human touch " 

Mid-morning saw everybody take their 'matli' (clay bowls) to the wood fired 'pezecho budkulo' and enjoy 'pez' 

(gruel) together with 'chapni thor' and ‘karem’. Many kept themselves busy in the kitchen getting the mackerels 

ready for roasting on harvested hay. Enjoyment and frolic prevailed through the day with children running around 

building an appetite for the mackerel curry with 'themplam', chicken 'xacuti' and 'ukde tandoll (boiled rice) which 

made the lunch an absolute delight. 

“In each generation there are those who wish to sweep away the mess their ancestors have made, and 

those who wish to preserve the glories their ancestors have created; those who long to march more briskly 

into a promising future; and those who want to resist all change until the last possible minute.” 

Goa remembered 

34

Seixal Municipal Ecomuseum 

This is to certify that Mr. Victor Hugo Gomes had a meeting with me and the coordinator of 

the conservation service, and also had a visit to the Seixal Municipal Ecomuseum to 

introduce Goa Chitra Museum of Ethnography. 

It is unquestionably an important collection that justifies further collaboration in order to 

develop a museological project supported by a conservation program. 

Seixal, 01 de June de 2009 

The Director Seixal Municipal Ecomuseum 

(Graca Filipe) 

Museum of Work Michel Giacometti 

This is to certify that Mr. Victor Hugo Gomes had a meeting with the technicians of the 

Museum of Work Michel Giacometti. in order to introduce Goa Chitra Museum of 

Ethnography. 

We were tremendously glad to hear and see the foundations of the museum project as to 

virtually visit the rich and well-preserved ethnographic collection that concerns all the 

tangible parts of Goa's culture. It is an amazing and diverse collection that justifies our 

collaboration in order to develop any kind of museological project due to the fact that not 

only this is a valuable collection but also it has an absolutely remarkable vision and mission, 

therefore, is an example to be studied and accompanied. It touches all the important aspects 

of the world as we know today, struggling with environmental issues and lack of wisdom 

towards our origins. It embodies, in a very special way. ecological matters and preservation 

of ancestral knowledge, using the artifacts as ways of communication. All of this, just to state, that this project is larger than 

the enormous collection of over 40.000 ethnographic artifacts. 

Museum of Work strongly recommends that this project should be supported by those who have the social and economic 

responsibilities to do so. 

Setubal May 2009 

Isabel Victor (Director of the Museum) 

Fundacao Oriente Museu 

Declaro para os devidos efeitos que o Dr. Victor Hugo Gomes visitou o Museu do Oriente, 

em varias ocasioes, durante a sua estadia em Lisboa no mes de Junho, tendo-lhc sido 

proporcionados tambem o conhecimento da coleccao em reserva, assim como os criterios 

que presidem a execucao do inventario de todas as coleccoes do MO. 

Nesta ocasiao apresentou um audio-visual de sua autoria relativo ao "Goa Chitra Museum 

of Etnography" que comentou detalhadamente, sendo unanimemente elogiado pelos tres 

tecnicos superiores presentes. 

Considero muito louvavel qualquer apoio cientifico e financeiro que outras entidades 

queiram prestar ao projecto acima mencionado, a semelhanca do que agora decorreu com o 

patrocinio da Fundacao Oriente. 

Natalia Correia Guedes 

Directora-conservadora 

Goa Chitra : Letters of recognition 

35

Fundacao Oriente - Goa 

Goa Chitra : Letters of recognition 

To whomsoever it may concern 

Fundacao Oriente has decided to involve itself in the creation of the Goa Chitra Museum by 

sponsoring the study journey to Portugal of its Curator. Mr Victor Hugo Gomes, who will 

visit some ethnographic and anthropological research institutions, both museums and 

academic centres, and meet its directors or heads of department, namely the Museu do 

Oriente. the Museu Nacional de Etnografia. the Museu do Traje. the anthropology 

department of the Superior Institute of Labor and Enterprise Sciences (1SCTE). Lisbon. 

Goa Chitra Museum is a remarkable achievement, in Fundacao Oriente's view. It contains a 

wonderfully preserved and restored collection of implements and artefacts, unique in its 

kind in Goa. very rare in the Indian context, which bear testimony to Goa's traditional life 

and mores. Furthermore Mr Victor Hugo Gomes is struggling to make this collection 

available to different types of audiences in a friendly museum environment and to build a 

modern professional cataloguing system that will identify each piece in the collection and 

make the information available to the academic communities and the general public. 

Fundacao Oriente strongly recommends that the effort put by Mr Victor Hugo Gomes in 

the creation of Goa Chitra Museum be supported by all people and institutions everywhere who love Goa and uphold the 

values of conservation and heritage. 

Panjim. May 2009. 

Paulo Varela Gomes 

Delegate (resident representative) of Fundacao Oriente in India (Goa) 

National Museum of Ethnology - Lisbon 

This is to certify that Mr. Victor Hugo Gomes had a meeting with me and a visit to the 

National Museum of Ethnology to introduce Goa Chitra Museum of Ethnography. 

It is unquestionably an important collection that justifies further collaboration in order to 

develop a museological project supported by an anthropological research in the field 

The Director 

Professor Joaquim Pais de Brito 

Lisbon, May 18th 2009 

Instituto Superior de Ciencias do Trabalo e da Empresa 

To whom it may concern 

I had two meetings with Mr. Victor Hugo Gomes during his stay in Lisbon sponsored by 

Fundacao Oriente to discuss his project of Goa Chitra and future collaborations with 

ISCTE-Lisbon University Institute, namely the display of a part of his collection of the 

Gauddes' costumes and accessories, to be held in this Institute next October. 

As an anthropologist, I believe that his collection and his project of a friendly museum 

environment would deserve an adequate museological and academic supervision. I 

therefore would recommend any institutional support given to him to carry on his valuable 

project. 

Lisboa, the 27th May, 2009 

Rosa Maria Perez Professor 

Chair of the Department of Anthropology 

36


“Simply superb. One did not know that Goa had such a 

rich heritage of implements – keep it up.” 

Sarto Almeida, Architect. (27/12/08) 

“I am speechless. You have done us proud!!!!” 

Dr. Helga Gomes, senior scientist, Biglow 

University, USA. (28/12/2008) 

"I could fill up an entire page; but all I shall say for now is 

a THANK YOU! For stepping up to the plate to preserve 

our past.” 

Dr. Joaquim Gomes, senior scientist, Biglow 

University, USA. (28/12/2008) 

“Collection to reckon with, will definitely like to have the 

book. As an anthropologist am amazed at the knowledge.” 

Dr Sharmila Ghosh. Anthropologist- ASI – Delhi. 

(29/12/08) 

“Creative person! Collection of the lost heritage of Goa for 

future generation needs support from likeminded people. 

Come all to extend support.” 

Mr. N.Taher and team, ASI- Goa. (31/12/08) 

“Excited, happy to see my long last dream coming to 

reality. I call it a cultural museum.” 

Dr. Vinayak Khedekar –Former Member secretary 

Kala Academy, eminent historian and writer. 

(4/01/09) 

“What a wonderful example of what Goa was like. A huge 

amount of effort and great dedication and commitment.” 

Hon. Mr.Keith Vaz, MP – London U.K. (4/01/09) 

“Wonderful work. Such beautiful labour.” 

Farhad Contractor (Environmental Activist 

(Rajastan) and Kurush Canteenwala, Film maker 

(Pune). (5/01/09) 

“It was indeed an honor to be invited to visit this amazing 

venture produced with pure passion. This is without 

doubt an amazing achievement by one person, Victor with 

the support of his wife. Thank you for this memorable 

visit.” 

37 

Anne Claire Ketteringham, Aeronautical Engineer, 

London U.K( tourist to Goa) . (7/01/09) 

“It is a wonderful to go around the museum treasuring the 

cultural heritage of Goa ..Congratulations and all the 

best!” 

Mr. Francisco Sardinha . M.P and Ex Chief Minister 

Of Goa. (9/01/09) 

“A great effort to preserve our rich heritage.. Touches the 

pulse!” 

Dr. Percival Noronha. Eminent Historian and 

Writer. (9/01/09) 

“We have been to a number of museums but have never 

seen something like this; this is what the government 

must promote if it wants to really promote tourism. 

Amazing to think that one man has put this together and 

it is only 10% of the work. The museum is so educative 

and which makes you realize that you do not know the real 

Goa yet, victor thanks for doing this for Goa. The museum 

will go down history. We are with you.” 

Agnelo and Patricia Pinto, Panjim. (11/01/09) 

“Great to see our Goan roots! Thanks for putting this 

together. In Canada we would never see this.” 

Denise Fernandes, Toronto Canada-(Nonresident 

Goan on holiday ) . (14/01/09) 

“Excellent and unique collection” 

Dayanita Singh, Famous creative Photographer 

and Writer - Delhi. (14/01/09) 

“Amazing work to showcase history. Lovely display – 

very informative. Thanks for the explanation.” 

Fr. Maverick Fernandes- social activist and writer – 

editor of Goa diaz . (14/01/09) 

“As simple said original wisdom, a place which is hope for 

all the best hope we all take it forward." 

Annabel Da Gama Seraulim , Verna Goa. (14/01/09) 

“An excellent collection, beautiful presented! Fantastic!” 

Dr. Katherinr Poggendorf Kakar, Anthropologist

and Writer , Germany/ Goa . (15/01/09) 


“What can I say.. This perhaps is what men calls labour of 

love. Victor and Aldina feel for antiquity is .. I am 

humbled!!” 

Charudatta Ram Prabhudesai , Artist – Aroubindo 

Ashram Pondicherry. (18/01/09) 

“Persons who visit the museum have to learn life of our 

ancestors. I am deeply emotionalized, learning the oldest 

technologies invented for the living on earth. I commit 

myself to carry our forefathers legacy forward so that 

posterity shall follow and remember by my own way of 

collection. Wish Goa Chitra all the best in the future.” 

Mr. Filipe Nery Rodriques, Minister For Water 

Resources, Forest And Weight And Measures. Govt. 

Of Goa. (1/02/09) 

“Impressive and a painstaking effort. Wish you all the 

best. May the footprints of our elders be dented in our 

psyche!” 

Dr. Blanche Barnes, Clinical Psychologist and 

Chairperson of The Leo Barnes Foundation. 

(6/02/09) 

“It is a pleasure to be guided around this impressive 

beautifully created display . Thanks!” 

George Mitchell –internationally reputed 

anthropologist and writer - London (20/02/09) 

“Overwhelmed. The amount of hard work that has gone 

into the museum is amazing. An effort of this size and 

sensitivity needs the support of every Goan.” 

Dereck Almeida, editor, Gomantak Times -Goa. 

(25/02/09) 

“We remember the past and our ancestors. Just a miracle 

of love for posterity.” 

Jose Philip De Souza, Minister For Revenue Goa. 

(7/03/09) 

“Amazing collection of artifacts, exquisitely arranged. 

Needs support and encouragement. I wish this will 

become a museum for Goans to cherish their values.” 

38 

James Mathew., Sr. Town Planner Margoa Goa. 

(12/03/09) 

“It is one of the best if not the best collections of national 

treasure in one place. Well done. I hope your government 

will support you to keep this effort and to show it to the 

world.” 

Dr Afaf Elbashir – Abu Dhabi. ( tourist to Goa) 

(18/03/09) 

“It is an extra ordinary museum that should be supported 

by Goan people as a symbol of their traditions and way of 

living. I congratulate victor for his car and love for Goan 

heritage . His work is of great value to keep history alive 

for future generations.” 

Senhor Paulo Nives Pocinho, Consul General Of 

Portugal. (18/03/09) 

“Fantastic, your passion is infectious. I hope that Goa 

recognizes the legacy you are leaving her.” 

Abigail Athaide – Village Sanctuary – U.K. 

(29/03/09) 

“Amazing collection. Pictures historical records. We need 

to inculcate value of heritage.” 

Cdr.I.R.A Naryanan, editor Vasco Watch. (29/03/09) 

“It’s excellent, amazing preservation of our old things. 

Please continue to save for future generations.” 

Naranmchairk , Lecturer Dept. Dept Of Zoology 

Mangalore University Karnataka. (1/04/09) 

“Thank you very much for keeping alive our ancestror’s 

footprints on this great land. Your efforts deserve all the 

applaudes and support. Subreb work and you belong to 

the people who have carved niche on this great land for 

yourself.. keep it up.” 

Jess Fernades, author – Quepem. (1/04/09) 

“I feel ashamed and proud of myself at the same time. 

Ashamed because I realized I know nothing of our culture 

and proud that you have made it possible for us to know so 

much. Thank you. Keep up the good work.” 

Sobita Kirtani- Psychologist and Lecture – Margao.

(18/04/09) 


“Amazing it’s unbelievable that this is being handled 

single handedly. Keep it up. Go ahead. You will find 

likeminded people to help you. I am proud of this fellow 

Goan who is striving to keep up our heritage.” 

Damodar Mauzo – Writer, Social Activist. (18/04/09) 

“It was a fascinating experience going through the 

holdings in this museum. A very comprehensive 

collection and extremely informed commentary by victor. 

It is mind boggling to think how a man single- handedly 

built up such a fantastic collection with documentation, 

inventory, nomenclature and all. Everyone should 

support this venture.” 

Nirmal K. Bhaiaharjee- Birla Foundation. (18/04/09) 

“To live in the hearts of those we leave behind is not to die- 

through your collection you have achieved at imparting 

the kind of ancestral and ethnographic understanding one 

may only dream of. One feels blessed and alive.” 

Venatius J Pinto-Graphic Artist, writer. U.S. 

(25/04/09) 

“A herculean effort! Congratulations to victor and his 

family in appreciation” 

Heta Pandit. Writer and Member Of Goa Heritage 

Society. (29/04/09) 

“Simply great. No words can express the great, great 

efforts and love that has gone into this great exercise of 

yours. Truly commendable.” 

Sanjay Banerjee- Goa correspondent – Times of 

India. (29/04/09) 

“My sincere good wishes. You have done an excellent job 

to preserve our Goan culture. Most of our young people do 

not have any knowledge about our rich history. Keep up 

the good work you are doing.” 

Fr. Antonio Cotta – Cuncolim church. (13/05/09) 

“A Very enriching experience! Present and future 

generations should be grateful to Victor for painstakingly 

and patiently, collecting these many artifacts. Wishing 

39 

Victor all the best and Thanks sincerely.” 

Mr. Veno Nunes – Bambolim Beach Resort. 

(06/06/09) 

“Very enriching, interesting and inspiring experience! 

Am really glad my kids and I got to see it all.” 

Ms. Aujali Kumar (Delhi) (08/06/09) 

“Very impressive, gathered over the years with deep 

knowledge and love. It transfixes us to another world 

which fortunately is preserved here and visiting it I hope 

we preserve and live much of it in our own live to balance 

it off. Congratulations. I’ll come again and again. “To 

hope is to remember, this lovely place helps us remember 

and to hope” Thanks.” 

Fr. Aurel Brys Sj. Jharkhand. (05/07/09) 

“Excellent museum in all regards very systematic, 

scientific exhibition of all traditional things. It needs 

proper support from Art and culture Dept & Tourism 

Dept.” 

Mr. Shiv Kumar, Collectors Office, North Goa. 

(10/07/09) 

“I cannot believe the amount of effort gone into this 

project! I wish there were even a handful of people like you 

who had this love for our heritage and the will to preserve 

it. God Bless you and all the best.” 

Mrs. Kalpana Banerjee, Artist, New Delhi. 

(18/07/09) 

“I don’t think this collection can be compared to anything 

I have seen in the past. May you prosper to collect many 

more artifacts.” 

Mrs. Pamela Mascarenhas, Deputy Director, Dept 

of Tourism , Goa. (18/07/09) 

“Pleasure for me to go round this unique museum 

reflecting Goan culture. I felt like I was back in Plymouth 

in USA where the ‘May flower’ ship carrying the first 

British settlers had landed in USA. We have to preserve 

this culture of ours. Victor has done an enormous service 

by setting up this museum. Let us see what one can do to 

preserve it. “


Mr. Sujit Banerjee, Secretary, Govt. of India , Dept 

of Tourism, New Delhi. (18/07/09) 

“This collection, what we have seen is mind blowing“ 

Mr. Francisco Martins, Designer and Event 

Manager, Goa (02/08/09) 

“Amazing historical items, I must appreciate the hard 

work.” 

Mr. Mickky Pacheco, Minister for Tourism, Govt of 

Goa. (08/09/09) 

“Unbelievable collection, excellent. Well done. Keep it 

up.” 

Mr. Shyam G. Satardekar, MLA and Chairman, 

GTDC, Goa. (08/09/09) 

“Indeed this is preserving the past to enrich the future. 

You deserve all the support from every true Goan… 

Victor!” 

Mr. Lyndon S.C. Monteiro, OSD , Minister for 

Tourism, Goa. (08/09/09) 

“It is amazing. I feel every Goan needs to see this. I feel 

embarrassed that I was myself unaware of so many things 

of our ancestors. Victor needs moral and financial 

encouragement for his interest in exhibiting and 

maintaining our posterity“ 

Dr. B. Braganca, M.D. G.T.D.C. Panjim. (08/09/09) 

“Fascinated by the dedication and hard-work of one 

individual who has taken unbelievable pains over many 

years to get this collection together. Will do my best to help 

in this Endeavour.” 

Mr. Swapnil M. Naik, Director of Tourism, Goa. 

(08/09/09) 

“One can only admire your passion, initiative and 

enterprisse. Thank you on behalf of our children. This 

museum will be a huge success” 

Mrs. Sherin Antao, Margao. (08/09/09) 

“Remarkable collection of implements and very 

informative. Needs to be publicized so that it contributes 

40 

to the rich heritage of Goa.” 

Mr. Richard D’Sousa, M.D. GFDC, Panaji. 

(08/09/09) 

“Goa Chitra, museum is a living “Fairy tale” world but is 

real. We actually got to see the life lived by our ancestors. 

The museum is a recreation of our ancient lives which we 

have left behind. A must see for all people of the world.” 

Mr. Wilson D’Souza, Artist and Creative Director, 

Bal Bhavan, Panjim. (09/09/09) 

“It is a shame that these treasures of the past have been 

forgotten by us Goenkars. Wishing this museum all the 

best of luck to remind us Goans of the past splendor of our 

state.” 

Mr. Ved Prabhudesai , Student, Panjim. (09/09/09) 

“Preserving History and Culture are our weakest point as 

Indians. To see such dedication, commitment and care to 

preserve ‘life’ as you knew it, is admirable. The collection 

would do any Museum (International Level) Proud to be 

associated with you. Keep the tradition alive. It was an 

education this last hour.” 

Col. Himmat Sidhu, Vasco. (09/09/09) 

“Absolutely brilliant! – This must be given proper 

museum status, open to the public” 

Mr. Charles and Monika Correa, Architect, 

Bombay. (16/08/09) 

“Today, we realized the rich, rich culture we really belong 

to; all because of the single minded passion and devotion of 

one man. Three cheers & this is a legacy for future 

generations.” 

Dr. Oscar and Marissa Rebelo, Panjim. (16/08/09) 

“I am overwhelmed by this collection of a dedicated and 

passionate collector. It is worth making a museum which 

can be seen by many people. Keep it up.” 

Ms. Madhu Bhadur – Former Ambassador to 

Portugal , New Delhi. (22/08/09) 

“A knack to recognize the VALUE beyond its 

USEFULNESS requires a passionate heart and an ever


enquiring mind! The persistence and perseverance 

becomes a gift to others! Thank you – Both of you and all 

involved for being who you are!” 

Ms. Poonam Vema Mascarenhas, Conservation 

Architect, Goa. (22/08/09) 

“PURE PASSION ON DISPLAY” 

Mr. Dean D’Cruz –Architect, Saligao , Goa. 

(22/08/09) 

“Victor and Aldina, Thanks for the wonderful return to 

my past with this fascinating collection” 

Mrs. Thereza de Sa e Melo – Portugal. (05/09/09) 

“Victor and Aldina have done a very great service for Goa. 

Excellent!” 

Mr. Ramesh Bandekar- Architect, Margao. 

(12/08/09) 

“Unbelievable. TOTALLY FLOORED. HATS OFF!, 

I remember when Victor told me many years ago that he 

was collecting artifacts. I thought nothing of it! Today I 

can see and say ‘Salaam!’” 

Mr. Carlos Gracias - Architect, Margao, Goa. 

(12/08/09) 

“A delightful exhibition which brought back to me 

memories of my childhood on Divar island, Thank you 

Victor and Aldina for your painstaking work” 

Dr. J. J & Banita Da Costa, Margao, Goa. (13/09/09) 

“This collection is something beyond imagination, even 

though I knew him for years, never knew what he was 

going to achieve. Marvelous...” 

Mr. Thomas Chaze, Art collector, Margao.(21/09/09) 

“Anybody can ‘organise’ a museum. But Victor with his 

commentory gives you a socio-economic and even 

political history of Goa. It also makes you feel that we are 

only ‘literate’ and our ancestors were ‘educated’, with a 

vision and human touch” 

Sandesh Prabhudesai, Editor, Prudent Media. 

(27/09/09) 

41 

“Very impressed with the collection. The collector 

deserves congratulations for his meticulous work. My 

best wishes to him.” 

Jayant & Mangala Narlikar, Padmabhushan and 

Pandmavibhushan awardee and world renowned 

scientist, IUCAA, Pune. (13/10/09) 

Vinayak Khedekar, Member Secretary, Kala Academy and 

Mr. Pitre, ex Director, Goa State Museum, at Goa Chitra. 

Archaeological Society of India Director, Mr. Tahir 

with Victor Gomes at the museum. 

Union Secretary of Tourism Sujeet Banerjee 

in conversation with Victor Gomes.


Tourism Minister Micky Pacheco, Shyam Satardekar 

and Swapnil Naik with Victor & Aldina Gomes 

for the launch of Goa Chitra website. 

British MP of Goan origin, Mr. Keith Vaz 

signing the guestbook. 

Damodar Mauzo in conversation with 

Sudhir Kakkar at Goa Chitra. 

Victor Gomes with photographer Dayanita Singh 

at Goa Chitra museum. 

42 

Kanta Gawde, Sheryl D’Souza,Mrs. and Mr.Derreck Almeida 

and Damodar Mauzo at Goa Chitra 

MP, Mr. Sardinha and CM of Goa, Mr.Digambar Kamat 

at the launch of the Lorenz calendar. 

Architect Charles Correia, Monika Correia, 

Dr. Oscar Rebelo and Marissa Rebelo with Victor Gomes. 

Dr. Jayant Vishnu Narlikar with 

Victor Hugo Gomes at Goa Chitra

St. John the Baptist church road, Mondo-Waddo, 

Benaulim, Salcete Goa - 403716 India. 

Ph.: 91 0832 6570877, Mobile: +91 9850466165 

Website: www.goachitra.com 

Email: goachitra@gmail.com 

From the Airport: 

* Drive towards Mobor via Colva. 

* Crossroad at Maria Hall, Benaulim, turn left. 

* Drive for 2 kms till you reach Orchid nursery. 

* Take immediate left turn and drive till the end of the 

road (St. John the Baptist road). 

* Take the sharp right turn, drive for 500 mts and turn 

immediate right after the red sope (seats). 

From Madgaon Railway station: 

* Take the road to Benaulim. 

* After Khareband bridge keep right till you reach the 

Benaulim lake. 

* At the T junction take the left road leading to George 

Barretto bus stop. 

* At the bus stop, take the right road going towards St. 

John the Baptist road. 

* 500 mts on the left before the red sope (seats) turn left 

to go to Goa Chitra. 

Getting there 

From Margao Bus Terminal: 

* Take the road going to Colva at the old market circle 

till you come to Colva Plaza hotel on the right. 

* Take the immediate left turn and cross St. John The 

Baptist Church, view the two patches of lush paddy 

fields on either side of the road. 

* Drive for 500 mts and take the immediate right after 

the red sope (seats) at Monddo Vaddo. 

From Benaulim Beach: 

* From Maria Hall cross road, Drive 2 kms towards 

Margao till you reach Orchid nursery. 

* Take immediate left turn and drive till the end of the 

road (St. John the Baptist road). 

* Take the sharp right turn, drive for 500 mts and turn 

immediate right after the red sope (seats).

to download the brochure. - Goa

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