The thrust on tourism as a potential money spinner for the state is possibly the reason for the excessive tourism we see in Goa today. This has inadvertently put pressure on local resources, which further threatens damage to the cultural sites and traditions.

'Mock drills' carried out by the tourism department in the guise of showcasing the state in all its glory have turned out to be damp squibs as well. The locals, too, have been conspicuous by their enthusiasm to add verve to the proceedings vis-à-vis tourism, so to speak.

However, advertising one's 'Goaness' on T-shirts and other apparel cannot be anyone's idea of proving one's 'local' credentials. 'Goaness' has to come from deep within, which is evident in one's love for one's native land and helps forge a sense of unity and connection among people native to the land.

That is when thoughts of one individual who epitomises everything that is truly Goan, not only in mannerisms, but also in his concerned approach to safeguard Goa in all its pristine glory for posterity to be proud of, come readily to one's mind.

Maendra Jocelino Araujo Alvares, an artist by temperament, but a crusader by thought, has waged a lone battle to preserve Goa's heritage. As a legacy that has had generations basking in the glory of a rich cultural tradition, it is now painful for him to see the modern generation treating it as something they have inherited by right.

"Big Foot," the theme park in the picturesque village of Loutolim in South Goa, which was an attempt at recreating a Goan village of yore, speaks volumes for Maendra's passion for everything that is Goan.

Also known as 'Ancestral Goa,' the museum is dedicated to rural Goan life, offering visitors a glimpse of an era when Goa thrived in its vibrant existence. Capturing the nuances of rural Goan life, the museum transforms itself into a miniature Goa, standing in mute testimony to the state's golden past.

Carved out of a barren tract of hilly land with no vegetation, today the entire landscape wears a lush green cover, featuring a variety of plants, shrubs, and trees that stand out as an oasis of greenery amidst a labyrinth of concrete structures.

Opened to the public in November 1995, Big Foot is unlike a regular museum, as it is an open-air ethnographic space that depicts ancient Goan culture and tradition through life-size statues and structures.

Showcasing Goa's architecture, which was a unique blend of European and Indian styles influenced by the Portuguese occupation of the region for over four centuries, the 'tavern,' the 'balcao,' and some of the other structures on exhibition are a throwback to that era.

Representations made of the Goan lifestyle, traditional trades and occupations, the tools and other implements used, and the costumes in vogue during the period, besides the figurines of the barber, cobbler, fisherman, the sweetmeat vendor with her wares to name a few, and a host of other 'attractions' complete the feel of 'a Goa that was' for visitors to the Big Foot.

There is a conscious effort to portray the communal harmony of years past, when people of different religions worked and lived together in harmony.

After a humble beginning with basic status and about ten structures in 1995, regular additions of exhibits and constant makeovers over the years have given the whole complex an ambience of innovativeness, making Big Foot a 'fresh' experience every time one visits the place.

As the Curator of the museum, Maendra Alvares toiled for five long years on his twelve-acre land to create this marvel, which has recently been declared 'one of Goa's iconic brands' by the state government.

It is, however, the gigantic statue (14X5 metres) of Mirabai, poet and mystic, sculpted out of a single laterite stone, that has showcased his prowess as an artist par excellence and won him innumerable laurels. What is more interesting is that he created the artefact using just a hammer and chisel and completed the whole essay in thirty days.

Besides entering the Limca Book of World Records, a special cancellation stamp featuring the sculpture was introduced by India Post to commemorate the artistic and cultural heritage of the region.

"This permanent pictorial cancellation stamp was first released on World Post Day at the Big foot museum in Loutolim, Goa. The cancellation stamp is used at the Loutolim post office to cancel letters and picture post cards, effectively spreading awareness of Goa's heritage and art globally."

A special cover featuring India's largest laterite sculpture of Mirabai was released on January 15, 2012, at the philately exhibition "Mahapex 2012" held at the Shri Shiv Chattrapati Sports Complex in Balewadi, Pune.
For that matter, his sculptures seem to have this uncanny ability to communicate, often conveying emotions, ideas, or stories through their form, texture, and composition.

For instance, visitors approaching the cave-like structure leading to the Big Foot shrine are sure to be enchanted by the sculpture atop the entrance. "Sangam," the 9 feet x 5 feet carving made of cement, closes its eyes as one nears it, conveying a message of connecting with God inwardly, while its smile suggests divinity in creation.

The sculpture aims to bridge communal and cultural gaps by symbolising unity amidst diversity, much like rivers converging into one. It represents various religions coming together to worship a single divine entity.

"Sangam" features Buddha's face adorned with a crown of thorns, symbolising Christianity, while Ganga flowing from Shiva's hair locks represents Hinduism, and the crescent moon signifies Islam. Just as the sculpture of Mirabai, 'Sangam,' has also found mention in several national and international record books.

For anyone taking a leisurely tour of the vast theme park with 'exhibits' along the paths meandering through different elevations, the experience is nothing short of awe. The recorded audio-guide system provides visitors with information as they explore the area.

Besides the 'shrine' (footprint of a pious man) of the Big Foot, which has garnered fame as the 'wishing spot' for thousands of visitors to the place and accords an air of sanctity to the premises, there are three other miniature museums which have further given a new dimension to the creative genius of Maendra Alvares.

The 'Left Handers Museum' houses the busts of world-renowned 'southpaws' with an appropriate description of the personalities. This was due to an initiative by Sandeep Vishnoi, President of the Left Hander's Club, who conceptualised a museum dedicated to left-handers.

The "Cross Museum" was inaugurated by His Eminence Cardinal Paul Poupard, the President of the Pontifical Council for Culture and Inter-religious Dialogue, on November 24, 2006. With crosses from around the world, the museum continues to expand its initial collection of over 1,200 crosses in 80 different categories. It is the only Cross Museum in India.

At the museum, one can see a cross carved from rock salt, a memento from the Wieliczka mines, situated in modern-day Poland. A Latin cross with three buds, the Passion cross, the Five-Jewelled cross, the Man cross, the Seasons cross, the Fish-Tail cross, the Square cross, and many more varieties, each with its own description, take one through the mazes of Christian history exhibited at the museum.

Like the "Cross Museum" at the same venue, which epitomises the symbolic aspect of the Christian Faith; the "Prayer Beads Museum" inaugurated by His Grace Rev. Filipe Neri Ferrao, Archbishop Patriarch of Goa and Daman (and now Cardinal) with its collection is another attempt at creating the generated effect of propagation and perseverance in the ideals of a composite and unusual realm of thought.

The prayer beads were used from very early times for prayers, counting time, whether in moments or space, and so on. In some instances, knots in a long string were an option, and in others, dried seeds of fruit or grain. No matter what, prayer beads, whether worry beads or rosaries, have been an intrinsic instrument for prayer.

The Curator of the collection, Fr. Savio Rodrigues SJ, believes that prayer beads are not the monopoly of one single faith; they have no claim to sacredness as they exist merely as counting aids. He aims to have the prayer beads museum help the faith seeker find, understand and practice spirituality and to learn more about faith, devotion and 'religious' rituals.
From an eighteen-century-old Mexican rosary to one of the Seven Deadly Sins, the collection is exhaustive.

This collection, initiated in 2012, was established as a means to document the devotions practised in the various villages of Goa. Today, the museum hosts more than 243 variations of rosaries. Moreover, one can spend hours browsing through information about prayer beads of different faiths.

The prayer beads museum is, like many of his other ventures, a self-assumed social responsibility! The Prayer Beads Museum is a whole new, unique collection forming part of the Big Foot, furthering the aim to conserve and promote Goan culture and traditions for posterity.

Maendra Alvares has also painstakingly cultivated a medicinal herb garden and a fruit and spice garden, where the plants are classified, with special mention of their medicinal values. The Bird & Butterfly Park is a source of delight for nature buffs.

It also has an art gallery known as "Big Foot Art Gallery," where amateur and professional artists and photographers host exhibitions. As an avid collector and man of firsts, Maendra Alvares has had no peers.

The 'Casa Araujo Alvares', an 18th-century Portuguese mansion that is an inheritance, or rather, a 250-year-old legacy, now displays many exhibits of that era, showcasing a traditional family heritage mansion.

The mansion has the first and only 'Icon Chapel,' having 374 icons. Garnering enough attention, his amazing collection of Ganesh Idols (around 2500) is housed here.

It is, however, his 'Goanness,' the unique Goan attribute that Maendra Alvares harbours, that has this silent crusader determinedly striving to save his wonderful land from what he feels would be an imminent doom were the present situation to persist.

His significant efforts to promote Goan heritage, including the traditional 'Kudumi' wear, have earned him a special mention by the state government and make him stand out as an individual who believes in 'being Goan and wearing Goan.

With 'Green Campaigns' and other initiatives, he has championed the cause of the environment, working to protect it and promote sustainability. Maendra's campaign against garbage and plastic usage, and the manner in which he brought awareness about fighting the menace through 'illustrative' means, is indeed novel. Nominated to various tourism promotion boards, he has consistently advocated for clean and sustainable tourism in Goa.

As one of the first in the village of Loutolim to install solar panels on their premises, Big Foot advocates for the promotion of solar energy and is contributing towards the state's green energy goals.

Maendra Alavres' social outreach and community engagements have always received rave reviews in the media. Programmes designed for poor and disadvantaged children have won him a permanent place in their hearts. A rehabilitation centre for alcoholics and individuals with intellectual disabilities needs a special mention here.

With a view to promoting local artisans and their work, 'Ancestral Goa' opened its doors to private enterprises. The initiative later spawned the 'Art Cottage,' The 'Big Foot Art Gallery & handicraft Centre,' and government projects like the 'Aparant.'

Over the years, events like "Son et Lumiere," which is a sound and light show in Ancestral Goa showcasing the life in a Goan village, "The Goan Kappod," "Crafts of Goa Fest," besides art exhibition camps and photography shows, have become a key attraction for students of history, art, heritage, and cultural enthusiasts.

The crowning glory, however, has been the acceptance of Big Foot as a 'Business Module' by academia, prompting colleges in the state to regularly send students pursuing management studies at the undergraduate level for a stint of internship at Big Foot.

By organising and planning events and workshops, the interns acquire first-hand knowledge of how a museum functions, with a special emphasis on operations and daily maintenance. Customer relations and Public relations are vital aspects of the training imparted, as the interns also learn to understand the intricacies of marketing. The experience gained has benefited many students.

Moreover, a study by management students at Goa University found that since its inception, the museum has catalysed many small-scale commercial ventures around Loutolim, boosting the local economy.

Felicitating meritorious students from the schools in Loutolim is an annual function at Big Foot. With some of these functions being events to look forward to, Big Foot is always a beehive of activities.

At Big Foot, everything is celebrated, from the ethnic festivals of Goa to the traditional ones observed by various religious communities across the country. Commemorative days, too, are accorded the same consideration.

Winning laurels and accolades has come so very naturally to Maendra Alvares. Yet, he is far from satisfied! It is not the extensive recognition of his works that matters to him; rather, it is the sense of fulfilment in fostering the sense of belonging that defines what it means to be a Goan more than anything else, which keeps him at it. An institution in his own right, Maendra Jocelino Araujo Alvares is rightly an embodiment of everything that is Goan.

The Big Foot at Loutolim stands in testimony to his relentless efforts at preserving Goa's age-old legacy so that future generations look back on their forebears with respect and admiration.