Find your Shambhala in Sindhudurg where the wild meets the waves

Overlooking the secluded Bhogwe ‘Blue Flag’ Beach and designed with an open-plan concept, Coco Shambhala fully leverages its prime location, offering an unparalleled experience of the lush Sindhudurg-Sahyadri forests and the Arabian Sea.
 
Craving a break from the city's incessant hum, I traded concrete for Sindhudurg's sylvan shores. The coastal road unfurled—ribbons of smooth asphalt snaked their way past emerald mangroves, all dwarfed by the endless expanse of the Arabian Sea. On the serene Konkan Coast, three hours dissolved like mist on the windshield. Our journey culminated in Bhogwe, near Parole village, as quaint as a forgotten rhyme. Amidst the rustling leaves and the ocean's gentle sighs, Coco Shambhala Sindhudurg surfaced before me, beckoning not with the promise of a mere holiday, but with a profound experience—a complete reset and a serendipitous rediscovery of the self. The resort's architecture is a congruous wedlock of tradition and modernity; Konkan aesthetics are woven into the fabric of sleek design, and every detail voices profound respect for the natural world.
 

A welcome respite awaited me upon arrival: A chilled lemon juice infused with curry leaves served in a terracotta chalice. Following a winding path of laterite jambha stone steps, flanked by spider, snake and ginger plants, I ascended upwards to Inaya, the third of four opulent private villas that cascade down the hillside. Each of the Coco Shambhala villas, Arka—(Arabic for sun), Amaresha— (Sanskrit for sky), Inaya—(Arabic for grace and kindness), and Varenya—(Sanskrit for excellence and perseverance) have a fascinating theme, drawing upon the local culture. Locally sourced materials, weathered stone, and sun-bleached wood form the bones of the structures, their sloping terracotta roofs mimicking the temperate of the surrounding hills and villages.
 
Giles Knapton, the owner of Coco Shambhala, says, “With Sindhudurg being such an extraordinary region of outstanding natural beauty, the responsibility to be responsible became even more prevalent. Therefore the first decision we took was to build without machines and not let a single vehicle on the site—everything would be manually constructed. We chose to work with the exact slope nature had gifted us and stilted the structures, working with the contours of the land, based on the existing mature trees, and surrounding the structures with indigenous dense tropical planting.”

The structures, he adds, were completed without any permanent structural joints, enabling them to dismantle and leave the land intact at any time in the future. “The interior spaces are a modern reinterpretation of the local vernacular housed under the traditional pitched Mangalore tiled roof. The buildings provide the incumbents with a close-up interaction with the heady atmosphere of the tropics while blending into their setting. Viewing the property from the sea, the roof lines ensure we look like a part of the village. I believe with this approach we have honoured the land and not taken away.”
 
Villa Inaya’s rustic wooden bridge led to a living room with an open plan, echoing the ancient concept of ‘ajapa igara’—a house without walls. Privacy is indicated by a simple rope, while two air-conditioned bedrooms on either side provide a perfect blend of seclusion and togetherness. This design philosophy allows the benevolent ‘pavana’, or life-giving wind, to flow freely. The infinity pool, mirroring the endless ‘akasha’ (sky) with its cerulean hues, blurs the lines between man-made creation and the infinite horizon.

From watching the moonlight dance on the ocean from the comfort of your bed to indulging in an invigorating massage at the on-site spa, relaxation at Coco Shambhala is redefined by the embrace of nature.

Knapton says, “We have always strived for our spaces to allow the inhabitants to immerse themselves in interactions with the natural world around us. This is the essence of staying in the magical world of the tropics. Minimal walls allow us to flow from indoors to out with ease, embracing the climate and utilising it for our comfort and benefit.”
 
Since its inception 16 years ago, Coco Shambhala has also prioritised personalised culinary experiences. Specialising in low-volume tourism, they engage with each guest from the moment they book to understand their preferences. This allows the kitchen team to tailor menus, ensuring a private dining experience.
 
Before my arrival, F&B manager Suhas Malewadkar reached out to curate a bespoke menu. During my stay, their commitment to freshness was evident in every bite. Highlights included ridge gourd and pomegranate salad, Malvani khekade (fresh crabs), tisre (local clams), rawa fried fish, and Konkani modak stuffed with coconut, jaggery, and dry fruits. The seafood, embodying the essence of the Konkan coast, arrives straight from fishermen’s boats, guaranteeing the freshest catch. Each dish is artfully presented on a banana leaf and served in clay utensils, adding a subtle earthy aroma to meals. Their micro-farm provides fragrant herbs daily, while other ingredients are hand-selected from local farmers, ensuring a deep connection to the land and its people.

The resort's seafood is sourced directly from the catch of the day, ensuring the freshest ingredients for every meal. You can savour the best of both Malvani and Konkani cuisine, with dishes served in clay vessels and on banana leaf-lined plates, enhancing the earthy flavours.
 
“At Coco Shambhala, local employment is a priority, with Dilip Bavkar, the head chef hailing from Sindhudurg. Additionally, two talented home cooks from the village have been trained to become professional chefs. These chefs are encouraged to showcase local delicacies and beloved family dishes,” Knapton says. “The menu features local cuisine and international dishes inspired by local techniques and ingredients. Fresh ingredients are sourced from within a minimal radius of Sindhudurg, ensuring authenticity and supporting the local community.” Rather than an on-site restaurant, all meals are served within the villa.

To delve deeper into the region's agrarian heritage, Malewadkar and I toured Niraamay, a nearby 8.5-acre organic farm thriving since 1986. The visit provided a look into some of the area's most celebrated produce, including Alphonso mangoes, cashews, sapodilla (chikoo), and kokum. Discussing Alphonso mangoes, the region's largest crop, owner Shyam Samant says, "Alphonso mangoes are grafted, not grown from seeds. We use conventional country mangoes, or wild mangoes, as rootstocks. These wild mangoes, with their inconsistent quality, are grafted with sticks from Alphonso trees, which have superior taste and flesh but lack root-growing capacity. Traditionally, these mangoes likely originated from Portugal and Africa, prized for their small seeds and abundant flesh."

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Sindhudurg's mountainous terrain and coastal climate create ideal conditions for Alphonso mangoes. "For Alphonso mangoes, it's healthier to let the tree mature for three years before allowing it to blossom. We typically wait five years to ensure a proper crop," says Samant whose farm alone produces nearly 50,000 mangoes each season, with the first fruits appearing in October or November. Unlike other parts of India, where mangoes ripen in summer, Sindhudurg's Alphonsos are harvested from February, peaking in March and April. Samant, who practises natural farming, adds, “I keep cattle and produce jivamrut, a natural fertiliser made from cow urine and dung, along with other ingredients.”

Painting, nearly 400 years old, is one of the oldest depictions of the Thakar Rama-Ravana war from the Ramayana. It is rendered in natural colors—red, green, and blue—the only colors known to the tribal community at the time. The Gangavane family possesses a collection of 1,000 such paintings.

The next day dawned with a boat ride through the backwaters of the Karli River with Mahesh Korgaonkar, a local legend. The hinterland, reminiscent of Kerala, was lined with betel nut, coconut, jamun, mango and fanas (jackfruit) trees, and peeled with bursts of blue, with dwarf kingfishers darting between the bordering palms. A rare sighting of Sherwad's white leaves caught my eye and Malewadkar was prompt to point out that these leaves are specifically used for Ganapati puja only.
 
Mid-journey, Korgaonkar skilfully manoeuvred the boat under a shady coconut tree and offered me coconut water. It was a simple gesture, but it spoke volumes about his warmth and connection to the land. After the boat ride, we  embarked on the next chapter of my Konkan escapade, a trek to a hidden waterfall deep within the nearby forest. Weather permitting, you can also take a trek to the historic 1664 Nivati Fort. 

But Coco Shambala isn't just for the intrepid explorer. If your ideal adventure involves a steaming mug and a comfy couch, the resort offers a delightful smorgasbord of indoor activities. To feel more grounded, channel your inner artist and get your hands dirty in a clay modelling class with Siddhivinayak Teli – it's a surprisingly therapeutic (and humbling!) experience. Or immerse yourself in Maharashtra's ancient tales with Chitrakathi puppetry by Chetan Gangavane, performed under a cashew tree at Coco Shambhala's open-air amphitheatre. Originating thousands of years ago and popularised during the reign of Shivaji Maharaj, Chitrakathi portrays scenes from the tribal Ramayana and Mahabharata, offering unique interpretations of these epics.

Chitra Katha, a fading storytelling art form of Maharashtra, is kept alive by the Gangavane family, the sole custodians of this cultural heritage. The highlight is the unique illustration of scenes from the Thakar tribal Ramayana and Mahabharata, presented with a twist through intricate string, leather, and shadow puppetry.
 
Chetan's father, Padmashri Parshuram Gangavane, curator of the Thakar Adivasi Kala Angan in Pinguli village, explains, "Developed by the Thakar tribe, Chitrakathi combines art (chitra) and storytelling (katha). The puppetry is based on finely painted pictures depicting religious events, with over 1000 ancestral pictures preserved by our family." Chetan adds, "We have a rich tradition of 11 art forms, including three artisanal and eight performing arts. Chitra Katha, the storytelling art, encompasses Chitrakathi along with leather shadow puppetry, kalsuti (stringed wooden puppets), and bullock art shows."
 
My days at Coco Shambhala were a delightful blend of exploration and relaxation. While the mornings were dedicated to uncovering the hidden gems of the Konkan, evenings found me ensconced in the luxurious comfort of my villa. Here, the vastness of the Arabian Sea stretched out before me, an ever-changing canvas that beckoned contemplation.
 
Stepping out of the villa was like stepping into a secret botanical garden. Towering palms swayed gently in the breeze, while bursts of colour exploded from heliconia, lilies, birds of paradise, hibiscus, and frangipani. The culinary delights, with curry leaves, tulsi (holy basil), lemon trees, and kokum added their aromas to the air. A hint of tanginess wafted in from the bimbla sour berry, while the cashew and coconut trees hinted at the region's bounty.
 
Inside, I would curl up with a book, the gentle rustle of turning pages the only sound breaking the serene silence. The occasional chirp of a friendly grasshopper would keep me company, and as twilight painted the sky, fireflies would magically appear, transforming the tropical setting into a scene straight out of a fairytale. These evenings were more than just restful; they were an experience that reaffirmed the magic Coco Shambhala had to offer.
 
(The writer travelled to Coco Shambhala, Sindhudurg, on invitation)