Picturing vintage architecture

It was a bright afternoon. Sitting alongside a street at Mattanchery, 10-year-old Achuthan was immersed in painting one of his favourite pictures. Soon the crowd swelled. Undaunted by the overwhelming presence of people around him, he completed his picture. It was then he realised that his painting session had created a minor traffic block. Ask if he was aghast by the incident, he says mischievously “I was just concentrating on my painting. I did not realise until my father told me about it.” 

Unlike other young artists of his age, Achuthan Shenoy loves to paint old buildings in monochromatic sepia. It was a skill that he imbibed from his father. He has also taken the huge responsibility of imprinting the heritage through his painting, like his father. “The age-old buildings are mercilessly demolished. We can learn a lot about our past through these buildings. Hence my attempt is to absorb our heritage on a canvas,” says Achuthan.

He explains that most of the artists paint with the combination of many colours to create a sepia tone. But that cannot be called monochromatic sepia but just sepia. “My father creates the sepia tone with just one colour and hence the name. I too follow that.”

The young artist was ardently following his passion for the past one year.  Achuthan assisted his father in 15 sites before attempting himself in this forte. “Since I am small, my father paints the outer sketch and I give light and shade to it,” he says.

So far, Achuthan has drawn about 15 paintings of old buildings of Mattanchery and Fort Kochi. Though he was giving colours to age-old buildings which can of course be considered as  monuments, he is not a bit scared that it would go wrong. “I know the techniques to rectify the mistakes,” he says.

The young artist says that he also paints every angles of a building. “It will help a person who is new to the city identify the building from any angle,” he says. Besides painting old buildings, he would also like to draw sky, his another favourite subject. Among his 15 pictures, his all time favourite is the 300 year old Portuguese building which is now converted into a home stay.

Ask him why he wanted to become a painter he says, “I want to be famous.”  The dream to become a painter kindled in him, once Achuthan saw his father being interviewed. “If I become famous I will be interviewed like my father,” he says. But Achutan did not have to wait too long, as he was interviewed by BBC crew who reached Fort Kochi to document Kochi - Muziris Biennale. The documentary will have shots of Achuthan painting in the street.

Though Achuthan is indisputably a painter in the making, he has not participated in any competitions. “I do not want to participate in competitions. I just want to draw without any inhibition,” he says.

Apart from monochromatic painting, his another passion is music. Achutha Shenoy is the son of Dinesh R Shenoy and Asha Shenoy.

published in The New Indian Express

A forum for established and budding writers

 

This is the link of the journal http://issuu.com/lijla/docs/feb2013

Blogs and electronic journals have come to the aid of writers who want to write their heart out and widen their horizons. But what if you get a platform to showcase your writing, alongside renowned writers from all parts of the globe. This is exactly what the writing forum of Sacred Heart College, Thevara, Kochi has come up with. Their online journal, ‘Lakeview International Journal of Literature and Arts’, launched in the first week of February, has contributions by acclaimed writers like K Satchidanandan, Sudip Sen, Haneef Qureshi, and Meena Alexander, apart from the writings of students.

Jose Varghese, Chief Editor, and a faculty with the Department of English, said that the idea to start such a journal came from the blog which the college already has: ‘Heart - Bytes’ (www.heart-bytes.blogspot.in).

“The blog was started a year ago with the intention to develop the writing skills of students,” says Varghese. “There are many students who are serious about writing. We believe that the journal would give an impetus to their skills.”

According to Varghese, though they started the blog little did they know that it would soon gain international participation. However, it was the writing contest on the blog which led to the creation of the online journal. “Our blog has hosted many creative writing contests and, surprisingly, we started getting many international submissions,” he said. “Hence we thought of getting the contributions of well-known writers.”

One of the salient highlights of the journal is that the student writers are getting an good opportunity to interact with the prominent writers directly “which is a positive sign,” said Varghese.

The journal features the 12 best works by students. “So far, the works have been assessed by the faculty of the English Department,” said Varghese. “But now we are planning to send these works to prominent writers for assessing it. We are hoping to get a positive response. Some of our students are even sending their works for review.”

Student Editor Mariam Henna, whose two works, ‘Caged Dreams’ and ‘True Abode’, were published in the journal said that it helped garner reviews from authors. “The support given by writers Prathap Kammath and Alan Summers, a Haiku writer, were of immense help,” she said. The writing forum of Sacred Heart’s College, Thevara is also planning to start an online course in creative writing.

Reliving the saga of Ahalya Devi - Usha Nangiar

For Usha Nangiar, controversies always take a back seat when it comes to art. The front line exponent of Nangiar Koothu has performed in the Kochi- Muziris biennale twice and with other two performances remaining, Usha says that she has a memorable experience performing in the biennale. Primarily for the reason that her performance could attract a lot of people irrespective of the technical intricacies involved in the particular art form and secondly, she performed for the first time, the known but less explored character of Ramayana, ‘Ahalya Devi’.

Speaking about the controversies surrounding the biennale, she says, “I was aware of it but my thoughts hardly linger on it. And I think this is the first time a biennale has ever incorporated traditional art forms under its ambit which should be appreciated.”


For biennale, she first performed in Mathilakam and later at Changampuzha park where she says that a packed audience saw her performance.“In Mathilakam, people are not much aware of Nangiarkoothu, but yet they enjoyed throughout the performance. It might be because of the myth associated with the place. There is a reference that Ilankovadikal wrote Chilappathikaram there. But in Changampuzha park, I felt altogether a different experience  while performing ‘Ahalyamokshma Nangiarkoothu’. It is much more personal. The tempo of my emotions at that point of time was at its zenith. I felt as though lady-luck was constantly smiling at me on that day,” says a jubilant Usha.

She says that she is greatly thankful for whoever who have actually suggested this particular theme.  Though there were initial apprehensions about it, later it was proved that all anxieties were for naught.
“It opened an arena which I have never explored before. Since I did not have sufficient reference material to know more about the character, I relied completely on Ramayana.

Immersed in deep thought, Usha Nangiar says that Ahalya, the wife of celibate sage Gauthama was living the life of an obedient wife until the amorous eyes of Indra fell on her.Her life turns topsy- turvy when Indra deceives her by approaching her in the guise of her husband. Discovering the truth, sage Gauthama not only curse her but also turns her into a stone. “I want to portray the emotions and angst of a woman who is trapped in a stone,” she says.

Usha says that though inside a stone, Ahalya is aware of the world around her. Seasons change, hunger, thirst, scorching sun, parching cold engulfs her. But she could not do anything to help herself. Her travails slowly become a silent but strong prayer of utter faith.“Her redeemer Rama feels the divinity of the place when he reaches where Ahalya lies as a stone. When he knows the truth, the great lord bows before her and says she is redeemed. Till that portion, she is addressed as Ahalya but then as ‘Ahalya Devi’ which says that she commands respect,” says Usha. 

She points out that throughout the whole performance, there are four special points which presents the mental-scape of Ahalya. I believe that I could portray the mental angst of Ahalya Devi and above all, it was a day when everything fell into places,” she says.

Usha Nangiar says that the character of Ahalya Devi assumes significance as hers is a life that has overcome all the hurdles with her sheer perseverance and sacrifice.“Now-a-days, we believe in extremes. If we can’t take anymore, we cull out that portion from our life mercilessly or else we suffer tremendously. But we tend to forget that there lies a midway. Hence the life of Ahalya Devi is of paramount significance in this scenario,” she says with a satisfied smile.

OFF record with Kumar Sahani, world acclaimed film maker

 Till this day, I was just  uploading those articles which were published in the New Indian Express where I work. And I think that a personal touch would be lacking if I merely upload it. Hence I thought of writing those special experiences I had while writing those articles. I would like to start with Kumar Sahani, whom I interviewed at the start of my career. If you haven't read my article on him, you can read it herehttp://ajournotalks.blogspot.in/2011/11/interview-with-kumar-sahani-renowned.html

Of course, I have heard about him - World famous film maker,  friend of legend late M F Hussain. I met him when I started off my journalism career. He came to Kochi ( where I live ) to inaugurate a seminar in a university. For a budding journalist like me, it was an opportunity which seldom knocked - interviewing the renowned film maker. So when my boss mentioned his name,  I jumped to have a one to one conversation with him.

I still remember, it was noon when the organisors came to fetch us, reporters to interview him. Apart from me, there were other two, one from a regional news paper and other from another English newspaper.

Clad in white Kurta and off white pants, the great film maker showed no starry tantrums. He was a simple and an elegant man. He inquired the names of our organisations and he was to quick to recognize when I said I was from Indian Express which put me at ease.

To interview somebody you should have a back ground knowledge.Though I did my home work, it was not too easy. His films were not easily accessible. I also googled for more information but his movies were beyond my comprehension.

As I was an electronic journalism student, I had seen Ritwik Ghatak's movie ' Meghataktara' who was Shahani's contemporary. That knowledge came handy. Because of it, I could feel the pulse of that era.

With scant information and full of respect for such a legendary figure, I decided I would rather keep myself away from delving deep into his work but ask about his personal experiences about life. That worked. We had a wonderful conversation and I could feel the rapport he felt for me than my other companions. It was confirmed when he said to some of the organisors  of the event that he was quite impressed with the girl who came from Indian Express.

But I still doubt whether I could write everything I felt while I was interviewing him. I hope you might have read the blog post. Hope you would give me ample suggestions about my writing.

On a mission to preserve integrity of RTI Act- Shailesh Gandhi

When Shailesh Gandhi, the only Right to Information (RTI) activist to have served as the Central Information Commissioner, assumed office, it definitely looked like a long row to hoe. But in no time he made a headway with his RTI activism.

Though he has retired from service, after four years with the Central Information Commission, his voice is as intense as before. Gandhi was here to inaugurate a seminar titled ‘Challenges of RTI’ held on Monday.Gandhi feels that many political and judicial decisions are diluting the purpose of the RTI.

The Supreme Court had judged that the Information Commissions must function as a two-person bench, with one judicial member, with a strong legal background, required to be part of the bench. Gandhi feels that the judgment made by the apex court is incorrect, as the requirement puts the hearings on hold for many days. “Out of all the RTI applications that we receive, less than two per cent need legal explanations. Therefore, a judicial representative is not a necessity,” he said. Gandhi said that he had filed a review petition against the judgment made by Justice Swatanter Kumar.

“Lawyer Prashant Bhooshan appeared for me in the apex court. Any move which could kill the purpose of the RTI should not be encouraged.”  Gandhi told Express that he has launched a crusade against the forces that try to dilute the RTI. “The Supreme Court and the High Courts are issuing stays on many of the orders made by the Information Commission without even considering the details. This trend should be discouraged. I appreciate every opportunity to spread awareness on RTI.”

An IITian, Gandhi’s focus shifted to the RTI when he was in his fifties. “The political scenario was much better then. But it was changing for the worse and I wanted to do something substantial for the society. I felt that the RTI is a remedy,” he said. Gandhi thinks that the RTI faces challenges from three domains - the government, state information commissions and judiciary. “Information is power. It can change the equations of power. So these challenges should be dealt with. I am ready to fight for the sanctity of the act,” Gandhi said.

When Paramita Satpathy explains her poem ‘A sari’, it is indeed the resonance of the contemporary traumatic world. The poem says, “Though we keep on talking about a woman’s morality, her respectability is ruthlessly quelled in this unjust world. The five- yard sari is considered a symbol of respectability. But when I felt it more of a suffocation, I shred it into pieces. I gave the torn pieces to a rag picker, a rape victim, a dowry harassment victim who is struggling for her life in a hospital and a slumpy bar maid.” The renowned Odiya poet, author and social activist was in the city to inaugurate the G Smaraka Jnanapeeda Puraskara Prabhashana Parambara, held at Maharaja’s College.

The poet feels that the situation is such that women could no longer tolerate the hard cruelty meted out to them. “That’s why India witnessed such a huge commotion and protest of massive scale post the Delhi rape incident,” she says. Satpathy says that though the world has progressed, the erosion of humanitarian values has always put a spoke in our country’s wheel.

When Satpathy began her conversation, there was no airs of a high level bureaucrat. Besides being an influential voice in the Odiya literary fraternity, she is currently working in Bhubaneswar as the Commissioner of Income Tax. Though she has not encountered any challenging experience in her profession, she still feels that unlike her male counterparts, the path for women is hardly ever rosy whatever be the profession.

“There are times when you really have to push the envelope to get things done.” But Satpathy adds that as a writer she had to confront many hurdles. “Criticism was showered upon me when I wrote about the relation existed between Draupathy and Sree Krishna. Every relationship cannot be defined. But I took the criticism in my stride,” she says.

Expressing elation over the celebrity status given to writers in Kerala, Satpathy says that the writers of Odisha are not such a privileged lot. “Unlike Kerala, the writers of my state are not in an influential position in society. Besides, writing is also not as much rewarding as it is here. But we are taking painstaking efforts to raise an intense voice,” says she.

Till date, to her credit, there are seven collections of short stories and one novel in Odiya. ‘Door Ke Pahad’, a collection in Hindi and ‘Intimate Pretence’, a collection in English are widely discussed and brought her much acclaim. Most of her stories had addressed the recurring problems of the middle class of Odisha. The poet is known for her sensitive portrayal of the plights of modern woman with utmost perfection. Paramita Satpathy has received the Odisha Sahitya Academy Award and has re-presented Odiya literature at Bejing International Book Fair as a member of the Sahitya Akademi delegation in 2010.

me with the writer

Art as a vehicle of change

 ( Courtesy : P K Jeevan Jose)

“Every new venture in the world has always got a lot of flak before finding success. I believe the Kochi Muziris biennale also had to bear the brunt of that initial hubbub,” said Hoor al Qasimi, director of the Sharjah Biennial and President of Sharjah Art Foundation. She was in Fort Kochi recently to attend a talk series organised as part of the Kochi-Muziris Biennale.

She says that though Kochi-Muziris Biennale is steeped in controversies, she was pleasantly surprised to see that the event could project its actual purpose.     “The elementary objective of the biennale is to portray the local culture of the city or the place where it is being conducted. This biennale could achieve it successfully,” she says. She adds that the biennale could very well exhort the old charm of this city.

Hoor al Qasimi is a practicing artist who took her Bachelor of Fine Arts (BFA) degree from Slade School of Fine Art, London, Diploma in Painting from the Royal Academy of Arts, MA in Curating Contemporary Art from the Royal College of Art, London.

The curator recollects that she too faced stiff resistance when she wanted to bring forth a change in the character of the Sharjah biennale when she assumed charge as director of the event. “I literally grew up with biennale. After learning much about what is going on in other parts of the world in the art fraternity, I realised that the Sharjah biennial is static. It has not even took a step forward from where it began. Hence I decided to bring forth a substantial change in the character of the event. That’s when the opposition crept in,” she says.

Hoor al Qasimi says that in earlier times biennale was all about representing art from all over the world. “Artists from different countries would come and represent their work of art. A sense of unity was completely absent. Unlike other biennales that happen in different parts of the world Sharjah biennale lacked a common theme. To make it more worse, there were many embassies which sent the works of their ambassadors’ wives. So the scenario as a whole was seeking a change for the better. That’s how the call for improvement came about. But though the change is inevitable, I had to face a lot of disapproval. But that is the only way it can work,” she says. She says that unlike Kerala, Sharjah biennale is not associated with tourism so far. “I do not want people to frequent the biennale just because they came to the country as tourists. I want people to come for the biennale first which in turn help will tourism," Qasimi says.

( me with Hoor al Qasimi)

published in The New Indian Express

In search of oneself

From time immemorial, great minds were often stirred by the question of ‘Who am I’. But over the years, this search for finding oneself lost its significance as man became more materialistic.

However, reviving the same question’s long lost charm is artist Rajendran through his canvas ‘Who am I’. Through his work, the artist is on a mission to bring back the sense of oneness in man.

“As kids, we were more spirited and energetic. But as we grew up, we lost that ardor and started searching for that spark from around.

Unfortunately this search for happiness in life exerted more pain and pressure on man. At this juncture, the question of survival crops up and through my work, I want to say that there is every chance for survival,” says Rajendran.

Rajendran’s paintings are on display at ‘Sradha’ auditorium near Durbar Hall Art Gallery. He says that his works can not be purely classified into a painting exhibition as his works focus on a message.

“I used painting as a medium as I knew it. If I was acquainted with any other art form, I would have opted that to convey my message,” he says.

Rajendran has painted 21 portraits which will be systematically arrayed based on its priority to make audience aware of this concept. “It starts with a portrait titled ‘Birth’ and ends with ‘Unconditional Love’. The world has become too callous that the most pure process in life ‘birth’ is not given its due importance.

Sadly, detachment has crept up in the process,” he says. Rajendran says that the painting will help the viewer to get out of his cocoon of faith and face the reality. Rajendran says that, unlike other exhibitions, his works will stand apart with its different arrangement style.

“The music playing in the backdrop will also help the viewers to get a clearer picture of the work,” he adds. Apart from paintings, the artist has also done installations which speak about the ‘golden age’ that is yet to arrive.

published in The New Indian Express

The Strongest beard on the planet

 

In his red shirt, with a braided beard, and painting the town red, is Anthony Kontrimas from Lithuania.When you ask him about his braided beard, you will be surprised to know that he has the strongest beard on the planet. Kontrimas garnered the attention of the world when he pulled an aeroplane with his beard for 20 metres. He also pulled a jeep laden with soldiers. 

Kontrimas is also adept at lifting people using his beard. Through sheer determination and will, Kontrimas is the proud owner of eleven Guinness Book World Records.Kontrimas reached Kochi on January 1 with his wife and fellow tourists as part of a trip undertaken to celebrate the New Year. He came to hear about Kerala from Jyoti Amge, who is a Guinness World Record holder for being the world’s shortest woman. 

He had met Jyoti at an event associated with the Guinness World Records. “It was she who gave me the idea of visiting India,” he says. “When a group of us decided to go on a tour which included India, I grabbed the opportunity.”   Initially, he went to North India. “I have been to Delhi, Agra and Jaipur before I reached Kerala,” he says. Little did he know he would fall in love with God’s Own Country the instant he put his foot here.”It is a completely different atmosphere here,” he says. 

“I am awed by the hospitality shown by the people. They are warm and cordial.” Kontrimas says that he has been mesmerised by the charm of the old buildings of Mattancherry and Fort Kochi. “I am wonderstruck by  monuments like the Jewish Synagogue, St. Francis Church, Dutch Palace and, of course, the Chinese fishing nets,” he says, with a glint in his eyes. On Thursday, Anthony and his friends left for Alleppy and will shortly reach Thiruvananthapuram.Incidentally, Kontrimas, who turned 50 last month, celeberated his birthday in Jaipur.

published in The New Indian Express

Celebrities to croon for ‘One Love’

Budding music composer P V Unnikrishnan has come out with a novel  initiative, a music album ‘One Love’, which will be a celebrity treat with   actors Suresh Gopi, Ananya and Sharanya Mohan lending their voice.  

P V Unnikrishnan, who composed the music for the songs in the album, says  the concept of a celebrity album sprouted from a casual talk which happened between him and his friend Vijay Madhav.

“We have already started working for ‘One Love’. Six melodies have already been composed which were penned by my friends Rajeev Alunkal and

Sreenath V P. Since Vijay is a good friend of Suresh Gopi, he discussed   about the album to him. To our surprise, he was willing to sing for us.   That is how the idea of celebrity album popped up,” he says.

Unnikrishnan says that he then held talks with many actors who expressed  their inclination to work with them. “That is how Ananya and Sharanya Mohan came to the scene,” Unnikrishnan says.

Other prominent singers in the album are Vijay Madhav, Mridula Warriar and Sudeep Karat. Besides singing solo songs, Vijay Madhav has sung the main   lead male portions of other songs along with Sharanya Mohan and Ananya. Unnikrishnan says the professionalism showed by the stars were amazing.

“When it comes to Suresh Gopi, there were no starry airs. He showed real professionalism and always came to the studio after learning the song well”.

Unnikrishnan started his career as a music director at the age of 19. He did several works like title songs for famous TV Shows Vodafone Comedy Stars,  Ranankanam ,Star Utsav, Neelambari, theme song for Malayalam TV USA and has    worked with renowned director M P Sukumaran for his work ‘Smaraka Shilakal’ and ‘Nangyarkoothu’ and the much-discussed docu-fiction ‘Ekaroopam’.

Though this is the case, Unnikrishnan is not fully satisfied with the current scene of music.

He says the current trend is that musicians need the backing of films.

“Our music is mainly recognised with films. It is a long wait for the  musician to get recognised,” he says.

Besides, he adds that the musicians are in a dilemma regarding what people really seek in a song.  “Recently  I made a Malayalam cover to PSY’s world hit Gangnam Style - ANNA KINNAM STYLE’ with my friend Nithin. It has been a few weeks and now it has crossed 86,000 views. Unfortunately, the real and serious music is brushed aside,” he laments.

A dam song: To Tamil Nadu, with love

What if Mullaperiyar breaks? This question has left many people from Kerala and Tamil Nadu without sleep. The thought of awaiting disaster is bringing out the pessimists in the people. However, there are some trying to make people think otherwise. That’s how a Tamil song‘Pesi Tholeda’ (Speak Out!) was penned down by some Malayalis. “It was not pre-planned. We used to hang out in Chandrettan’s (Chandrasekharan R) studio, where we shot this song, and used to have lengthy discussions on this issue. This song was an offshoot of those discussions,” said Ajay Rahul, lyricist of the song. Ajay said that they wanted a different song with different feel to lure the attention of both Malayalis and Tamilians. “Songs and albums based on Mullaperiyar issues is quite common and we could not follow the same path trodden by other people. Moreover, we wanted to provide a shade of positivity through our song. Hence, we decided on a fast number,” Ajay added.

Ajay said, while preparing the song the language and the feel of the song were given top priority. “We decided to use Tamil as it would attribute our feelings quite clearly to them. Moreover, the language we used is simple,” he said.

Ajay believes that it is easy to write something on the cause one really believes in. “It just took five hours to write the lyrics and to give music. The process picked up the pace when Jayahari did not take much time in giving music to my lyrics ,” said an enthusiastic Ajay.

The significant feature of this song is that though it is speaking of Mullaperiyar issue, no where in the song have appeared terms like ‘Mullaperiyar’ and ‘Dam’. “It was a deliberate decision to keep these two words out of this song to avoid any kind of offensiveness. Making this song a medium, we need the Tamil authorities to give in to the demand of Kerala to build a new dam,” said Jayahari P S, who composed the music for the song.

When asked about the lyrics, zealous Jayahari hummed the song “Machi, entra pesame irukke ( Why do you keep mum?) Namukku vendum oreyoru vartha thaan ‘OK’ (We need just a single word from you - OK, a nod to build a new dam).” “It’s a matter of life and death. Speak out! Machi before it is too late. This is what we want to convey through our effort,” Jayahari said. “This venture became fruitful when Santhosh Kumar T V agreed to lend his voice and Riju B Sarajan agreed to finance it,” they added.

The beauty of stones

 picture courtesy : Mithun Vinod


The grinding stones, which was lying scattered at one side of Aspinwall House in Fort Kochi, reminds one of the famous quote by Michaelangelo, one of the world’s greatest sculptors. “In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it.”

But when it comes to artist Sheela Gowda from Bangalore who has accumulated these stones from three localities in Bangalore, the statement of Michaelangelo has to be changed a little.

For Sheela is not about to carve new statues out of the stones, but to show the public, at the Kochi-Muziris Biennale, the art which is hidden inside.

Titled ‘Stopover’, these stones reveal the hidden history behind them. “They were once a part of every household in Karnataka,” she says. “You can see that they are not finely cut, except at one part, where there is a perfect square.”

In olden times, the stones were buried, except for the hole in which the spices would be crushed. Now the stones have been neglected as people have found other ways to grind spices.

“But I see an art hidden in it,” says Sheela.  “That is why I have decided to showcase the long-lost tradition through these abstract sculptures.”

Sheela, who has been accompanied by her colleague, Christopher Storz, says that they could procure the stones in an intact condition as the people, who had discarded it, did not break it.

“It might be because of the emotional connect,” says Sheela. “Hence, they just threw them away without causing any damage.”

She says that through their work they want to show how a piece of stone, which has become invisible in the locality, can become visible through an art form.

“The stones, which I have got, are negligible in number,” says Sheela. “I am sure there are several more. Hopefully, through our work, people will become aware of them.”

Sheela says that she decided  to showcase this work at Fort Kochi because it has such a rich history in spices.

“Such a history makes it a suitable environment to showcase this artwork,” says Sheela.



published in The New Indian Express

Personal experience encourages Peter to feed the needy

K J Peter stands tall, both literally and figuratively as he has dedicated his life for the poor and the needy. Everyday, he reaches the isolation ward of the Ernakulam general hospital at the crack of the dawn to bathe the patients
and dress them up, and also distributes food to the patients. It has been eight years since he has commenced his mission of offering service to those in need.

 Interestingly, Peter says that for the past eight years his service has never encountered a single hurdle. However, there was a phase in Peter’s life when he was hardly aware of the melancholy
of life until he was struck by an illness which affected his mobility. He says that during those days, the patients could get free food only thrice a week.

The rest of the four days were a real nightmare without food. “My disability and the difficulties I encountered during my course of treatment made me think of an arrangement that could be of immense help to the people,” he says. Peter says, seven years back, taking up such a venture was not an easy task. “I knocked many doors for help but could not get favourable answers. Hence, I went and collected money from various sources which helped me to distribute food to the patients,” he said.

Currently, Peter distributes food for around 1,200 patients in five government hospitals in the district. The destitute patients of Taluk Hospital, Fort Kochi, Mattancherry Women and Children’s Hospital, Malipuram Health Centre and Fort Kochi Dharamshala gets his help. The Ernakulam District Collector has honoured him for his services in April and the Indian Medical Association (IMA) has honoured him for his service.
The seven-year-long service has now enabled him to garner other arrangements to help the destitute patients.


His trust, Rosary of Divine Charitable Trust, now has two ambulances for emergency situations. The food for patients is prepared at his house at Oachanthuruthu. Peter says that he gets incessant help from his family and neighbours to prepare the required food. “About 110 kg of rice is prepared here and half of it is cooked in the kitchen entrusted
by the Ernakulam General Hospital at,” he says. Sadly, the number of destitute patients in the Ernakulam General Hospital is increasing day-by-day, but Peter’s presence proves to be true solace for all of them.

Published in the New Indian Express