JoeGoaUk

JoeGoaUk
A line drawing of JoeGoaUk
Occupation	Correspondent photographer photojournalist online activist
Years active	2005–present
Known for	Enterprise journalism
YouTube information
Origin	Goa, India
Channels	JoeGoaUk
Years active	2006—present
Subscribers	109,000
Total views	60.80 million
Creator Awards 100,000 subscribers 2022
Updated: 29 August 2023
Website	goa-joegoauk.blogspot.com

JoeGoaUK (fl. 2005), also referred to as the "Scarlet Pimpernel of Goan social media" or "Banksy of Goa", is a pseudonymous Goa-based correspondent, photographer, photojournalist, and online activist. Over the course of nearly two decades, JoeGoaUk has made substantial contributions to the online sphere by sharing a vast collection of photographs and videos. These contributions span various genres, including citizen journalism, cultural documentation, political commentary, Konkani Mog (transl. Konkani Love), locavore connoisseurship, and train spotting enthusiasm.

The comprehensive documentation of Goan culture throughout the year is undertaken by JoeGoaUk, who effectively employs networks like Goanet, as well as archival platforms like Flickr and YouTube. Joe's extensive collection of images featuring restaurant-style fish curry and rice plates is regarded as a remarkable artistic and cultural accomplishment.

Identity and trait

JoeGoaUK is a senior citizen who has been residing in Goa following his return from the United Kingdom. Vivek Menezes of O Heraldo, recognized the relevance of a particular comparison, which aligns with his own contemplations. Joe's photography is characterized by an unpretentious and unapologetic approach, contrary to the pursuit of Instagram-friendly aesthetics. However, certain aspects of his work undeniably traverse the boundaries of popular digital platforms, finding resonance within the art galleries and museums, where the intrinsic value and artistic merit of his creations can be duly acknowledged and appreciated.

Career

JoeGoaUk's photo: 2017 egg prices

In the realm of contemporary journalism, Joe possesses a comprehensive collection of information that captures the essence of the present era and is continuously updated in near-real-time. Menezes praises Joe's exemplary approach to investigative reporting, particularly in areas of great societal significance such as urban infrastructure, essential commodity prices, public transportation in all its facets, and the intricate workings of bureaucratic processes. It is important to acknowledge that Joe's offerings of "news you can use" emanate from an enigmatic figure who surpasses the collective coverage of his interests provided by traditional media outlets.

A still photograph captured by JoeGoaUk from the tiatr titled "Question Mark" in 2016

Veteran journalist Frederick Noronha emphasizes that cameras have inherent limitations when it comes to conveying the entirety of a "story." However, JoeGoaUk, defies these constraints by skillfully documenting grassroots issues and providing valuable insights into diverse cultures, with a particular focus on the tiatrs. Despite facing ingratitude, JoeGoaUk's work serves as a testament to the transformative power of empowering ordinary citizens to voice their perspectives and engage in reporting. It is important to acknowledge that JoeGoaUk's case is truly extraordinary, as sustaining such a commitment over an extended period, covering an extensive array of topics and locations, without any financial compensation, is a feat that few can imagine achieving.

Captain of Ports jetty at Panjim, 2015

Joe's extensive archive demonstrated its immense value across various contexts. A notable instance was highlighted by Valmiki Naik, a member of the Aam Admi Party's national council. Naik shared an illustrative example where he was engaged in a legal battle against the construction of the controversial Captain of Ports terminal building within the Mandovi waters. While the state authorities argued that it was merely a reconstruction, Naik had a different understanding. Utilizing Joe's archive, which encompassed comprehensive documentation of the old terminal from multiple perspectives, Naik was able to bolster his case. By complementing the archived photographs with drone imagery, he successfully substantiated his claim that the construction was not a reconstruction but an entirely novel imposition within the river waters, rather than on land.

Joe has written for Goa-based publications such as O Heraldo. His work is also featured in two books: "The Waste Crisis: Roadmap for Sustainable Waste Management in Developing Countries" and "Skin- Friendly Skin Care: Make Your Own Cleansers, Moisturizers, and Toners."

Fish Curry Rice series

JoeGoaUk's photograph of a Fish Curry Rice Thali, taken in 2017

The Fish Curry Rice series by Joe, which can be found in various locations on Flickr, is regarded as an exceptional collection deserving of recognition at a biennale. Each image within the series showcases meticulously annotated fish thalis and a diverse array of accompanying dishes from numerous local establishments. Menezes affirms that the viewer's initial curiosity is piqued, and as Goans, their taste buds are tantalized, evoking a sense of FOMO. This sensory experience elicits powerful emotions, reminiscent of one's childhood, memories of their grandmother, contemplations on the environment, and considerations of sustainability. The cumulative impact of this series establishes it as one of the most profound contemporary artistic expressions of Goan identity.

Input

According to Noronha, in order for creative works to have a lasting impact, it is recommended that individuals consider adopting Creative Commons licenses. Noronha suggests that JoeGoaUk, for instance, could share his work on platforms such as Wikipedia or Archive.org, which serve as free global archives. These endeavors have the potential to endure beyond our lifetimes. Many individuals are concerned that sharing their creative work may result in lost earnings. However, in most cases, these individuals neither achieve significant financial gains nor allow others to benefit from their work. It is important, of course, to give proper credit for such works, as it can be frustrating when people simply appropriate and reuse them as if they have a rightful claim to them.

JoeGoaUk's photograph of Immaculate Conception Church in Panjim, taken in 2016

Naik expresses his belief that Joe has a deep affection for Panjim, as well as Goa as a whole, and is motivated to extensively document various aspects of the region, regardless of whether they are positive, negative, or unsightly. However, Naik also emphasizes the need for citizens to harness this valuable repository of information in order to preserve what is rapidly being lost. Naik admires the selflessness and plainness of Joe's work, which is viewed as a genuine expression of love. In a sense, Joe is likened to the street artist Banksy, as he creates his own distinctive form of art through photojournalism and online activism.

Assessment

In October 2022, Ranjit Hoskote, a critic, curator, and cultural theorist, expressed his appreciation to Menezes for acquainting him with the artistic creations of JoeGoaUK. Menezes had shared a link to Joe's photographs, accompanied by a fundamental query: "Is it art?" Hoskote's response not only affirmed the artistic nature of JoeGoaUK's work but also acknowledged its resonance within the current creative landscape, characterized by diverse mediums and platforms.

Hoskote discerned a captivating interplay between the ephemeral and the enduring within Joe's imagery. For instance, by meticulously capturing a series of meals, Joe constructed a larger narrative that explored the realms of appetite, culinary culture, evolving cuisines, and the delicate balance between tradition and experimentation. Beyond their archival significance, Joe's photographs stood as vibrant, organic elements of everyday culture, offering a valuable compendium of gastronomic specialties and culinary establishments, thereby becoming an indispensable guide for enthusiasts of the culinary arts.

Hoskote highlighted the notable importance of anonymity, camouflage, and masking within the realm of contemporary art. According to his observations, these elements have gained considerable significance in artistic practices since the 1960s. Drawing insightful connections, he draws parallels between artists such as the Guerrilla Girls and Banksy, who employ interventionist approaches inspired by paramilitary insurgent protocols. In the context of classical art, anonymity was often perceived through a broader existential lens, where creativity was seen as a divine bestowal rather than solely credited to a specific human creator. However, Hoskote highlights that even within this context, historical evidence such as mason marks found in ancient and medieval Indian temple architecture suggests that humans have always found ways to assert their presence and agency, disregarding prevailing customs. Furthermore, Hoskote situates JoeGoaUk's Fish Curry Rice series within a spectrum of iterative art practices, ranging from the high- conceptual everyday practice of On Kawara to various practices that celebrate the rhythmic interplay between routine and surprise inherent in everyday activities.

Menezes inquired of Hoskote whether it was feasible to envision Indian art in the 21st century in a manner that encompasses Joe's artistic endeavors. Hoskote affirmed, "Certainly! Art cannot thrive within rigid and self-affirming definitions at any given period. What truly renders art significant, pertinent, and vibrant is an inherent openness to experimental forms and an inquisitiveness regarding novel and even radical ways in which the creative imagination engages with lived experiences." Hoskote acknowledged the challenge of devising exhibition formats-be they physical, online, or hybrid-that can effectively bear witness to such artistic practices. In light of this, he expressed enthusiasm for Goa to celebrate the artistic contributions of JoeGoaUk.