Tanisha Pawar
Hovyo, also known as Hoviyo, Oviyo, Ovyo, or Vovyo, are a traditional form of Goan folk songs primarily sung by women. These songs were typically performed during daily chores such as grinding rice or wheat, as well as during community occasions like pre-wedding rituals and religious festivals. Hovyo served as both an emotional outlet and a form of cultural commentary for women, who historically had few platforms for self-expression. The lyrics often included elements of humour, satire, and reflections on personal or social issues.
Though passed down orally and lacking a formal written structure, Hovyo played a vital role in preserving community identity and offered valuable insights into the lives, thoughts, and creative voices of Goan women across generations.
The struggle for survival
The oral nature of Hovyo is both its beauty and its vulnerability. “Many old songs are no longer in use because they were never documented,” says Vaishnavi. “Now, people are making efforts through writing and recordings.” One such effort is by Sushmita Subhashchandra Gawas from Valpoi, who conducts workshops to revive the tradition. “People appreciate and listen enthusiastically. Educational institutions and the government should actively support this preservation for future generations,” Sushmita urges.
A call to preserve Goan heritage
As modern life accelerates and traditional spaces disappear, the existence of Hovyo hangs in the balance. “Hovyo are not just songs, they are lived stories, emotions, and experiences in verse. They capture the soul of Goan folk life and the creative resilience of its people, especially women,” concludes Fr Roman.
If left undocumented, Hovyo may soon become echoes of a forgotten past, a cultural treasure buried beneath the noise of modernisation. Reviving them means honouring the voices of generations and safeguarding the soul of Goa for the future.
Ancient roots and historical mentions
Hovyo are far from modern inventions. “Their earliest known mentions appear in historical texts like Manasollas and Abhilashitartha Chintamani, dating back to 1051 AD. These works highlight their antiquity and cultural relevance,” says Vaishnavi Pritesh Raikar, a language expert and translator at IIT Delhi, based in Margao. She adds, “Folk literature is intrinsically linked to people’s lives, thoughts, and emotions, offering insight into their beliefs and language.”
People who keep it alive
Despite its decline, a few passionate individuals continue to preserve this treasured art. Nayana Priolkar and her daughter Vinita Naik from Priol are well-known for performing at weddings. “I started attending weddings and learning Hovyo from elderly women because the words used to be so twisted and humorous,” says Nayana.
Vinita now follows in her mother’s footsteps. “Now that she has passed the baton to me, I sing at weddings too. When singing Hovyo, one should research the bride and groom, their deities, and family relationships.”
Ladu shares how emotionally powerful these songs can be. “The best thing that I always experience when I sing Hovyo is when brides challenge me that they won’t cry. But once I start singing, no matter how hard they try, they eventually end up crying,” he says.
Regional and religious diversity
Across Goa, Hovyo differ not only in lyrics but also in their style of performance. “There are various ranges from Pernem to Canacona. The style of singing is also different, influenced by the region,” says Vaishnavi. Folk artist Ladu Shambal Parwar of Narve-Bicholim elaborates, “Every region has a different custom of saying Hovyo, the words, the rhythm, the accent varies. Hindus don’t use any instrument while Christians use the ghumat.”
Fr Roman Rodrigues, assistant professor of Konkani at Rosary College of Commerce and Arts, Navelim, and a PhD researcher notes that even under colonial rule, Hovyo persisted, often going underground or being sung in metaphors. “In Catholic villages, Hovyo evolved to reflect Christian themes or were performed in contexts such as village feasts or church-related gatherings. For example, Hovyo in Hindu-majority areas included references to local deities and festivals, while those in Christian villages might reference saints and Our Lady. They were not sung or found in elite or urbanised segments of Goan society.”
Impact of Portuguese Rule
Portuguese colonisation significantly altered the cultural landscape of Goa. According to Vaishnavi, “The Portuguese prohibited performing folk traditions, causing a cultural decline.” The colonisers’ linguistic and religious influence is still traceable — some Hovyo include Portuguese and Persian words.”
Fr Roman, on Hovyo, says, “Portuguese rule, particularly its religious interventions, led to significant cultural shifts. While some Hovyo that contained Hindu mythological or folk elements were suppressed or transformed, others adapted Christian motifs. Despite this, Hovyo remained resilient.”