Goa's Kala Academy, a landmark institution designed by legendary Indian architect Charles Correa, has long stood as the cradle of Goan culture, nurturing generations of musicians, actors, dancers, and artists.
However, what was once a symbol of pride has now become a site of deep concern, leading to the birth of a striking and symbolic resistance — the Supari Movement, or as it is increasingly being called by its supporters, the Supari Andolan, (called challvoll in Konkani), a long-drawn ideological battle to protect Goa’s cultural and architectural heritage.
WHAT TRIGGERED THE MOVEMENT?
The movement was sparked after Goa’s Art and Culture Minister, Govind Gaude, made a controversial remark. The minister had lashed out, saying that kalakars (artists) were taking supari to speak against him.
His remarks came after the artists ridiculed him for the embarrassing incident during the play, Purush, by veteran artist Sharad Ponkshe, when lights started flickering disrupting the show.
In Indian slang, supari refers to a contract killing or a paid hit, evoking criminal connotations. The minister’s use of the term was seen as an attack on dissenting voices in the artistic community
Ponkshe apologised to the audience even though the technical glitch wasn't his fault, but Gaude remained defiant.
In Indian slang, supari refers to a contract killing or a paid hit, evoking criminal connotations. The minister’s use of the term was seen as an attack on dissenting voices in the artistic community who were highlighting real concerns.
BIRTH OF SUPARI MOVEMENT (SUPARI ANDOLAN)
Instead of being cowed by the accusation, artists reclaimed and repurposed the term supari into a powerful metaphor of resistance. Thus was born the Supari Movement or Supari Andolan under the aegis of the Kala Rakhonn Mandd, meaning 'Art Protection Forum' in Konkani.
The term supari was flipped from its sinister undertone into a satirical, artistic expression of defiance. It became a symbolic counterattack against the notion that artists were conspiring to defame the government. Instead, they accepted the supari to protect art and culture, turning it into a kala rakhnnechi supari (a pledge to protect Goa’s art and culture).
This wasn’t just a protest. It became a challvoll, a long-drawn ideological and creative battle to preserve not just a building, but an entire cultural legacy.
WHO STARTED IT?
The movement was conceptualised by Francis Coelho, founding treasurer of Kala Rakhonn Mandd, and executed collaboratively by Harshada Kerkar and Cecille Rodrigues. This trio, all founding members of the collective, transformed the insult into physical pieces of art.
They designed symbolic betelnuts (suparis), printed, drilled, threaded, and hand-finished each one. These betelnuts became icons of the movement, a call to arms for all artists to rally around the preservation of their cultural institution.
The movement was conceptualised by Francis Coelho, founding treasurer of Kala Rakhonn Mandd, and executed collaboratively by Harshada Kerkar and Cecille Rodrigues.
ITS CULTURAL SIGNIFICANCE
The Supari Andolan is not just a protest, it’s a linguistic intervention, a creative rebellion, and a philosophical challenge to how power interacts with culture. The activists and artists involved changed the metaphor of supari — no longer a threat, but a badge of honour for those standing up to protect Goa’s soul.
As Fr Victor Ferrao eloquently puts it in his reflective writing in Dainik Gomantak, this movement transforms the “violent” into “empowerment,” giving the people and the artists back their voice and their dignity.
WHAT’S AT STAKE?
The Kala Academy building, with its open courtyards, natural lighting, and multi-use spaces, was a pioneering work of architecture. The renovation efforts by the government have drawn heavy criticism for compromising Charles Correa’s original design, using substandard materials, and making opaque decisions without consulting the artistic community.
For many, it is not just about the physical space, but the spirit of the institution. The Supari Andolan demands accountability from the government, transparency in the restoration process, and respect for architectural and cultural heritage.
WHY IT MATTERS
This is not just a Goan issue, it’s a national case study on how public spaces for art and culture are treated, neglected or politicised. The Supari Andolan showcases the power of symbolic protest, community mobilisation through art, and how language, satire, and creativity can challenge authority.