JoeGoaUk

JoeGoaUk
A line drawing of Pinheiro (hypothetical)
Born	Joao Piedade Inacio Loyola Pinheiro (1947-10-10) 10 October 1947 (age 77) Agaçaim, Goa, Portuguese India, Portuguese Empire
Other names	Joe Pereira
Citizenship	Portuguese Empire (until 1961) Indian (formerly) Portuguese
Occupations	Correspondent photographer photojournalist online activist
Years active	2005–present
Known for	Enterprise journalism
Children	3
YouTube information
Origin	Goa, India
Channels	JoeGoaUk
Years active	2006—present
Genres	Travel lifestyle vlog
Subscribers	109 thousand
Total views	60.80 million
Creator Awards 100,000 subscribers 2022
Last updated: 29 August 2023
Website	goa-joegoauk.blogspot.com
Signature

Joao Piedade Inacio Loyola Pinheiro (born 10 October 1947), known pseudonymously as JoeGoaUK, is a Portuguese correspondent, photographer, photojournalist, and online activist. Referred to in the media as the "Scarlet Pimpernel of Goan social media" and the "Banksy of Goa," he has made significant contributions to the online sphere over the course of nearly two decades. Pinheiro's contributions include sharing a vast collection of photographs and videos that span various genres, including citizen journalism, cultural documentation, political commentary, Konkani Mog,^[a] locavore connoisseurship, and train spotting enthusiasm.

The comprehensive documentation of Goan culture throughout the year is undertaken by Pinheiro, who employs networks like Goanet, as well as archival platforms like Flickr and YouTube. Pinheiro's extensive collection of images featuring restaurant-style fish curry and rice plates is regarded as an artistic and cultural accomplishment.^[1] Pinheiro is recognized for his altruistic approach in sharing the photographs he captures and the written texts he produces. His consistent request is to be credited appropriately, often through a by-line, to ensure proper recognition of his authorship.^[2]

In the realm of contemporary journalism, Pinheiro possesses a comprehensive collection of information that captures the essence of the present era and is continuously updated in near-real-time. Menezes praises Pinheiro's 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. Menezes further stated, It is important to acknowledge that Pinheiro'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.^[3]

According to Frederick Noronha, an experienced journalist, cameras have limitations in capturing the entirety of a story. However, Pinheiro excels in reporting on grassroots issues and providing insights into culture, particularly in the realm of tiatrs, despite facing some criticism. The platform showcases the potential that arises when ordinary citizens are empowered to voice their opinions and report on events. Noronha further states, It is worth noting that Pinheiro's case is notable, as sustaining such extensive coverage across various subjects and locations without financial compensation is a significant feat.^[3]

Pinheiro's extensive archive demonstrated its 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 Pinheiro'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.^[3]

Pinheiro has written for Goa-based publications such as O Heraldo.^[4] His work is also featured in two books: "The Waste Crisis: Roadmap for Sustainable Waste Management in Developing Countries"^[5] and "Skin- Friendly Skin Care: Make Your Own Cleansers, Moisturizers, and Toners."^[6]

The Fish Curry Rice series by Pinheiro, which can be found in various locations on Flickr, is regarded as a 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.^[3]

Joao Piedade Inacio Loyola Pinheiro was born on 10 October 1947 in Agaçaim, Goa, which was part of Portuguese India during the Portuguese Empire (now in India), to José Pinheiro and Rosa Maria Da Silva. He is married to a non-Indian^[7] homemaker, the couple has two sons and a daughter.^[8] Pinheiro has been residing in Goa following his return from the United Kingdom.^[9] He holds Portuguese citizenship.^[10]

Vivek Menezes of O Heraldo, recognized the relevance of a particular comparison, which aligns with his own contemplations. Pinheiro's photography is characterized by an unpretentious and unapologetic approach, contrary to the pursuit of Instagram-friendly aesthetics. However, certain aspects of his work traverse the boundaries of popular digital platforms, finding resonance within the art galleries and museums.^[3]

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 Pinheiro, 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.^[3]

Naik expresses his belief that Pinheiro 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. In a sense, Pinheiro is likened to the street artist Banksy, as he creates his own distinctive form of art through photojournalism and online activism.^[3]

In 18 April 2010, a significant discussion unfolded during a gathering hosted by the Tiatr Academy of Goa, centering around the identity of Pinheiro. While Pinheiro garnered praise for his online contributions, there were occasional dissenting opinions, including those expressed by Noronha. Notably, Pinheiro chose to maintain anonymity, a decision that both intrigued and unsettled readers. This deliberate concealment of identity was accompanied by a lighthearted approach, reminiscent of the character the Scarlet Pimpernel.^[2]

In regards to the subject of Goa-related content, Noronha expressed a lack of personal concern. However, he acknowledged the substantial benefit of individuals sharing a significant amount of Goa-related content online. He further highlighted the noteworthy achievement of Goa in utilizing social initiatives to collaboratively disseminate a considerable volume of its content, thereby increasing its visibility to a global audience.^[2]

Noronha observed Pinheiro's multimedia blend of text, photographs, and videos offered valuable insights into the current affairs of Goa. The content showcased a diverse range of subjects, including images of seasonal fruits and traditional Goan practices that are gradually being forgotten. However, some individuals raised concerns about these posts. One particular objection questioned the identity of Pinheiro, implying that the anonymity and unwillingness to disclose personal information may raise suspicions about potential ulterior motives or questionable intentions.^[2]

In the realm of Konkani music and theater, copyright issues occasionally arise, as noted by Noronha. Tiatrists and Konkani cantarists, encountered challenges regarding copyright protection for their work. Pinheiro made notable contributions to enhance the online visibility of these artists, including curating listings of the latest Konkani VCD releases. However, some individuals perceive the act of recording these performances as a potential violation of copyright and a disturbance to the smooth execution of their programs.^[2]

According to Noronha's perspective, the technical accuracy of copyright laws should be acknowledged, even though their implementation can sometimes be perplexing. However, Noronha emphasizes that the underlying motives hold greater significance in this context. While it may appear that others are profiting significantly from the hard work of content creators, the reality is that sharing content on the Internet is a laborious, time-consuming process that often yields minimal financial returns. While it can grant generous individuals heightened visibility and popularity within certain circles, the notion that substantial monetary gains are being garnered from such activities is far from accurate.^[2]

In October 2022, Ranjit Hoskote, an art critic, curator, and cultural theorist, expressed his appreciation to Menezes for acquainting him with the artistic creations of Pinheiro. Menezes had shared a link to Pinheiro's photographs, accompanied by a fundamental query: "Is it art?" Hoskote's response not only affirmed the artistic nature of Pinheiro's work but also acknowledged its resonance within the current creative landscape, characterized by diverse mediums and platforms.^[3]

Hoskote observed an intriguing interplay between the transient and the lasting elements within Pinheiro's imagery. For instance, through a meticulous portrayal of various meals, Pinheiro crafted a broader narrative that delved into topics such as appetites, culinary traditions, evolving cuisines, and the delicate equilibrium between tradition and innovation. Apart from their archival value, Pinheiro's photographs served as vibrant and authentic representations of everyday culture, providing a compilation of gastronomic specialties and culinary establishments. Consequently, they became an essential resource for enthusiasts of the culinary arts.^[3]

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 Pinheiro'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.^[3]

Menezes inquired of Hoskote whether it was feasible to envision Indian art in the 21st century in a manner that encompasses Pinheiro'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 Pinheiro.^[3]

On 5 January 2011, Pinheiro was honored with the Goan Volunteer Service Icon Award for the year 2010 by the NGO, Goa Sudharop. This recognition was bestowed upon him in Panjim, Goa in appreciation of his endeavors to raise awareness about various aspects of Goan culture and lifestyle, both within the local community and on an international scale.^[11]

• JoeGoaUk on Facebook
• JoeGoaUk on Flickr