Goa has long been known for its deep-rooted theatrical culture, folk music, dance traditions, and the many singers and artists who brought international repute to this small state. Standing tall in the capital city, Kala Academy Goa—one of its most iconic cultural institutions—has, over the past 56 years, hosted numerous art and music events, theatre and tiatr competitions, and nurtured budding talent through workshops. Today, however, it has lost much of its prestige and, mired in controversy, stands on the brink of decline.
Just last month, Kala Academy marked its 56th anniversary, entering its 57th year as the apex body for preserving and promoting music, dance, drama, and fine arts in the state. All of this is housed in a distinctive structure designed by renowned architect Charles Correa.
Yet, the landmark building now finds itself at the centre of controversy following a nearly Rs 75 crore renovation project that failed to address essential repairs. Instead, it has resulted in shoddy workmanship, roof collapses, leaking ceilings, and damaged acoustics—sparking protests from artists across the state.
The artist community has demanded accountability for the renovation, pointing out that poor acoustics and sound management have made the auditorium difficult for performers. Promises of inspections, contractor blacklisting, and repair deadlines have largely rung hollow. A collective of artists, ‘Kala Rakkhonn Mandd’, has actively voiced concerns about the damage to the historic structure, highlighting governance failures in maintaining and restoring KA. They also allege that the original design has been compromised, with heritage experts’ advice ignored. In protest, members have taken to creative forms of expression—street plays, music, and art—outside the gates of KA.
Speaking to The Goan, noted theatre artiste Vijay Kenkre, who heads the Task Force Committee of theatre artists, said, “Renovation work at KA must begin as soon as possible; it is the need of the hour. The stage, ceiling, and other areas are in poor condition, and we fear a mishap that could endanger both performers and audiences. To prevent any such incident, the work must start immediately, and we hope it will be carried out without delay.”
Expressing his anguish over the delays and perceived apathy, artist Rajdeep Naik said the community has consistently raised concerns whenever the issue surfaced. “We had urged the then Art and Culture Minister, Govind Gaude, to take artists into confidence, because Kala Academy belongs to artists, not politicians. The government and the then minister are solely accountable for the present state of affairs, even as blame is shifted to the PWD,” he said.
“When the project began, it was termed ‘restoration’, not renovation. Restoration means preserving the original structure. Charles Correa had created a near-perfect acoustic design, which should have been retained. However, the very first show after the renovation exposed serious sound issues. After spending Rs 70 crore, the work does not even appear to be worth Rs 10–20 crore,” Naik claimed.
Theatre and film director Dnyanesh Moghe also criticised the situation. “The renovation was promised to be completed within a year or two, but when the venue reopened, the condition was extremely poor. There are leaks in the main auditorium, and the stage is in such bad shape that it could collapse at any time. As an artiste, it is disheartening to see KA in this state,” he said.
Moghe further alleged that corruption lies at the root of the problem. “Those responsible for carrying out the renovation including policymakers and the PWD minister, must be held accountable. If there is a genuine shortage of funds, it should also affect events like Founder’s Day celebrations, yet those continue. The art gallery and Black Box theatre also require attention. Public money spent on repairs and restoration has gone to waste. Recent controversies, such as allegations of payments to influence drama competition results, have further damaged the institution’s reputation. Artistes were never taken into confidence, and their suggestions were repeatedly ignored”, he said.
FOND MEMORIES
Vishal Pai Cacode, artiste and former member of the Goa State Cultural Development Committee, recalls Kala Academy shaping his 1990s college years, where disciplined acoustics honed performers. Winning acting prizes there and later at the Konkani Natya Spardha marked key milestones.
He says the recent structural collapse reflects administrative failure, negligence, and disregard for culture, worsened by the unrepaired open-air auditorium. With several crores of rupees lost and similar funds needed for restoration, he urges a High Court–monitored independent inquiry and inclusive governance with artist representation to ensure accountability, transparency, and informed decisions for the institution’s future and public trust.
VIBRANT CULTURAL HUB
Veteran journalist and member of Kala Rakhonn Mand Sandesh Prabhudesai says Kala Academy was once a vibrant cultural hub. I recall the unique “crying room” at Deenanath Mangeshkar auditorium, where parents could watch performances without disturbing others—now gone. During Vinayak Khedekar’s tenure, we hosted an informal gathering where artists, writers, and musicians organically created a live programme, embodying Kala Academy’s spirit.
The open-air theatre nurtured student talent until its collapse marked a decline. Architect Charles Correa’s concept of ‘Shoonya’ shaped its energy and design. Sadly, recent “renovations” have damaged both structure and soul. Restoring Kala Academy requires focus on its structure, infrastructure, and vibrant cultural functioning.
THOSE WERE THE DAYS…
“Those were the days,” recalls Dnyanesh Moghe, Theatre & Film Director. His association with Kala Academy began in 1984–85 with a college one-act play in a packed open-air auditorium. As part of the first theatre faculty batch (1988–89), he explored the campus, rehearsed on lawns, and staged a Greek play using the entire building.
Classes and the library were open; evenings blended music and sunsets by the Arabian Sea. Rehearsals filled multiple spaces, and the canteen buzzed with creative exchange. Moghe notes that after Pratapsing Rane’s tenure, the institution’s cultural ethos declined, with inappropriate activities replacing its earlier artistic vibrancy.
