House of Cyprus
The House of Cyprus, the Cultural Centre of the Embassy of the Republic of Cyprus in Greece, has been housed since December 2011 in the new Embassy building at 2Α Xenophontos Street, in the centre of Athens, very close to Syntagma Square. However, its presence in the cultural life goes back to 1987 when it was inaugurated in Kolonaki by the President of the Republic of Cyprus, Spyros Kyprianou and the Prime Minister of Greece, Andreas Papandreou.
With consistency and stability, the House of Cyprus plays a decisive role in the cultivation and strengthening of the spiritual and cultural ties between Greece and Cyprus, serving as a hub of inspiration and creativity, promoting contemporary art, literature, the traditional values of Cyprus and the age-old unbreakable ties between the two sister countries.
In its premises it has hosted cultural events, art and other exhibitions, musical events, theatrical performances, film screenings, book presentations and other publications as well as conferences, workshops, lectures and seminars on art, literature, history, archaeology and ancient literature.
At the same time, the House of Cyprus has an important library of Cyprus-related content, which includes 8,000 book titles, rare and old publications and a remarkable collection of periodicals that constitute a valuable source of information, reference and research for students and scholars.
In addition, the House of Cyprus maintains close cooperation with the Michael Cacoyannis Foundation, as well as with many Cypriot, Greek and international institutions, including universities in Cyprus and Greece. As a founding and active member of the Athens Branch of the European Union Network of Cultural Institutes, EUNIC Athens, it participates in cultural and educational activities, with the aim of promoting cultural diversity and strengthening international dialogue and cooperation on culture within the framework of a united Europe.
The House of Cyprus has modern infrastructure and two, fully equipped, large halls, the event hall on the 1st floor and the art exhibition hall on the 2nd floor of the Cyprus Embassy building.
Today, after almost four decades of continuous operation, the House of Cyprus is renewing and enriching its programme with new themes and actions, developing new partnerships, always remaining faithful to its name, its history, its choices, while continuing to actively participate in the cultural life of Athens.
Directors of the House of Cyprus have been: George Georgis, Andreas Malekos, Nasa Patapiou, Eleni Antoniadou, Kostas Lympouris, Maria Panagidou, Nadia Stylianou, Maria Ragia (supervisor) and Loukas Xenophontos (Advisor for Educational and Student Affairs).
From 2024 to date, Diomedes Nikita.
www.spititiskyprou.gr
Iliou Melathron
At number 12 of Eleftherios Venizelos Street (Panepistimiou), among interwar apartment buildings, is the Numismatic Museum , which has one of the largest and most important collections of ancient coins in the world. However, the Museum building itself impresses visitors and passers-by alike. After all, the Iliou Melathron is a landmark for the city and was the residence of one of its most famous residents.
Already in 1837 the Panepistimiou Street had been completed. A tree-lined, wide paved street with sidewalks, a boulevard with azaleas intended for country walks, However, the installation of the Megaron in its present location in 1836 gave the street a more central character, also according to the plan of the architect Leo von Klenze.
From the middle of the century, the sub-structures, shacks and open spaces that existed on the sides of the street gave way to neoclassical buildings, luxurious mansions of public and private character, usually designed by European architects. The University was the work of the Danish architect Hans Christian Hansen; the Athens Academy Hall, the work of Theophilus Hansen; the Catholic Cathedral of St. Dionysius of Areopagite, designed by the German architect Leo von Klenze, The Athens Ophthalmology Clinic in designs by Christian Hansen, Gerasimos Metaxas and Aristides Balanos, the Shepieri Mansion in designs by Anastasios Theophilos, the Arsakeion in original design by Stamatis Kleanthis etc. etc.
One of the prominent residents of the street was the German businessman and amateur archaeologist Heinrich Schliemann. His involvement in archaeology was due to his love of Homer since his childhood. He devoted most of his fortune to research and excavations in Troy, Mycenae, Tiryns and Orchomenos and took the title of the father of "Mycenaean Archaeology" despite his controversial scientific methods, even for the time.
The three-year period 1870 - 1873 was the period of the great discoveries in Troy, among which the " Priam's Treasure ".In 1875 followed his second great discovery, the vaulted tombs in Mycenae with a number of golden grave goods. By now he was particularly well known not only in scientific circles but also to the international public interested in recent archaeological discoveries as it was a period when great discoveries in archaeology aroused the widest interest.
Schliemann had been living in Athens since 1869 when he married Sophia Engastromenou. However, in 1878 he commissioned his friend Ernst Ziller to design a large building on Panepistimiou Street with the sole request to the architect "a wide marble staircase rising from the ground to the upper floor and a terrazzo on the top". The building is considered one of the architect's most remarkable works. Its design responds to the personality and needs of the owner, while important innovations were implemented such as heating with photo gas, ventilation with ducts, fire protection measures with the careful use of wood. In 1881, the opening of the Iliou Melathron took place with a glorious reception.
On the ground floor of the two-storey building were the auxiliary rooms and the room in which the findings from the excavations of Troy were kept. The first floor was intended for the social events of the family. Dances, balls, the reception of guests, meals, literary salons...
The decoration of the Megaron was commissioned to well-known artists of the time, such as the painter Yuri Subic, and reflects Schliemann's love of antiquity. Mosaic floors with decorative themes inspired by Mycenae and Troy, clay statues copied from the classics, Pompeian decorations, and inscriptions were chosen jointly by Schliemann and Ziller, shaping the character of the building.
After the death of Heinrich Schliemann (1890), his wife Sophia never remarried. She lived in Iliou Melethron with her two children.
The Megaron was sold by the family to the Greek state in 1926. The Council of State (1929-1934), the Supreme Court (1934-1980) and the Court of Appeal (1981-1983) were successively housed in the building. Since 1998, the Numismatic Museum has been gradually transferred to the Schliemann Megaron, giving the public the opportunity to admire a great collection in an emblematic building.
Numismatic Museum, Athens Greece
Refreshment Centre - Garden
Crossing the entrance of the Museum, the visitor passes through the bustling Panepistimiou Avenue to the Museum's garden. A green area of 800 sqm with shrubs and fruit trees that thrive in Attica.
The garden was certainly an integral part of the Megaron already from its construction. In fact, during the rare periods when Schliemann was in Athens, he tended the garden himself. For its decoration, clay copies of ancient statues were used, according to the owner's preference. Even today the visitor is greeted in the Iliou Melathron by the Amazon, one of the sculptures, a copy of ancient ones, commissioned by the architect of the palace Ernst Ziller in a workshop in Vienna. The marble staircase leading to the exhibition area dominates the central courtyard.
The large courtyard at the rear of the building was the stable, coach house and well of the dwelling. Today, it is an extension of the Refreshment Centre and hosts cultural events, presentations, talks, meetings,. It is also an ideal place for a short break, so empty and so "far away" from the centre. The space is available for special events by arrangement with the Museum’s Public Relations Department.
Numismatic Museum, Athens Greece Address: Iliou Melathron, El. Venizelos (Panepistimiou) 12, 10671 Athens, Greece Tel.+30 210 3632057, +30 210 3612834 και +30 210 3612872 Email: nm@culture.gr Url: http://www.nummus.gr
The Tsitouras Collection Hotel is part of the eponymous company, the life's work of Dimitris Tsitouras. The result of many years of consistent effort and love for both Greek art and the island of Santorini.
Overlooking one of the most famous and most enchanting landscapes of the world, the Hotel, with the emblem of Yannis Tsarouchis' green wreath, overlooks the blue Aegean Sea and the caldera and welcomes guests in its luxurious rooms. The architecture is integrated into the natural landscape, creating an authentic environment of hospitality.
The Tsitouras Collection
Firostefani 84700 Santorini
Tel. +30 22860 23747
+30 22860 22760
Fax: 22860 23918
Email: reservations@tsitouras.com
Contact : Ms. Eleni Tsitoura
In Neapoli, just a few kilometers from the center of Mytilene is located the Elies Residences..
The colors, the smells, and the flavors compose a dreamy, nostalgic environment. The villas of the complex, designed with traditional architectural lines, blend harmoniously with the garden area, which has plants derived from the local flora, aromatic herbs, and an olive grove. In the five autonomous villas, traditional architecture based on the use of stone and wood is ideally combined with comfort and discreet luxury.
The villas, named after five beautiful villages on Lesvos,
the highest standards of hospitality and aesthetics are observed, with all the necessary facilities for a short or longer stay of families, individual guests, couples, and employees.
Within walking distance from Elies Residences are all the central points of Mytilene:
Port of Mytilene (6.6, km)
Airport of Mytilene, "Odysseas Elytis" (1,8 km).
General Hospital of Mytilene (5 km)
University of the Aegean (3 km)
Ideal place to stay for families
The close proximity to the town of Mytilene and the sea, makes Elies Residences an ideal place to stay for families and couples. The autonomy and amenities provided by The Villas ensure a comfortable stay. The advantages of the accommodation include Of course the living room and the elegant terrace. Moreover, the swimming pool that operates during the summer months is always an excellent choice.
The Villas are able to accommodate from four to six people each making it an excellent solution for groups or families
Contact
Address: Neapoli, Mytilene, Lesvos 81100 Tel. +30 698 058 0303 / +30 2251 063213 Email: info@eliesresidences.com Website: https://eliesresidences.com/
Attractions
Mytilene Castle http://odysseus.culture.gr
At the highest point of Mytilene dominates the Byzantine castle of the city. Following the long history of the island, the castle has undergone alterations, repairs, additions and extensions so that it can serve in any period its fortification role. Until the years after World War II the castle was inhabited. For decades it has been operating as a monument under the care of the Ephorate of Antiquities of Lesvos.
New Archaeological Museum Building of Mytilene The New Archaeological Museum of Mytilene consists of the permanent collection unit and the temporary exhibitions unit. In the museum, mosaic floors and murals of Hellenistic and Roman buildings, sculptures and clay objects are presented in an innovative way. Hosting educational programs, temporary exhibitions and cultural events it has become a center of the city's culture.
Address: 8th November
www.efales.gr
efales@culture.gr
Theophilos Museum The Theophilos Museum was built in 1964 in a suburb of Mytilene, Varia, where the folk painter was born and spent his childhood. It houses 86 paintings by Theophilos, taken from the personal collection of Mytilini, renowned art publisher in Paris, Stratis Eleftheriadis (TERIADE)
Varia 81100
www.mytilene.gr
Museum-Library Stratis Eleftheriadis-Tériade Stratis Eleftheriadis was born in Lesvos. In 1915, he moved to Paris, where he turned to art criticism and publishing, supporting many young painters and giving impetus to their work. Teriade's publications, as his stage name is, are a landmark in the history of 20th-century art. In 1979, he donated a large part of his collection, consisting of publications and works by Greek and French painters, for the establishment of the museum of the same name in his birthplace.
info@museumteriade.gr
Olive press Since olive oil has been the main agricultural product of Lesvos, since ancient times, the hand-operated and animal-powered mills of the pre-industrial period were replaced by the use of steam engines for the production of olive oil in the late 19th th century, and the mills evolved into industrial buildings.
Την εξέλιξη της βιομηχανίας της ελαιουργίας στο νησί μπορούν να γνωρίσουν επισκέπτες στο Museum of Industrial Olive Oil Production of Lesvos, housed in the old community olive mill of Agia Paraskevi. The museum also holds educational programs throughout the year, introducing children to the operation of an olive oil factory from the mid-20th century.
In the settlement of Papado is the Olive Press Museum of Vrana (Archipelagos Company). It is one of the oldest mills on Lesvos, which belonged to the family of Nobel Prize-winning poet Odysseas Elytis. The mill has been restored, with its mechanical equipment fully operational. With its architectural restoration, the museum has been transformed into a beautiful place to get acquainted with local history. Hosting educational programs and events, the museum evolved into a living cell of culture for the local community.
Natural History Museum of Lesvos Petrified Forest The Natural History Museum of the Petrified Forest of Lesvos preserves and highlights a unique "preserved monument of nature" The exhibition includes fossilized trunks, branches, fruits, and leaves of a variety of coniferous and angiosperm trees, as well as fossilized bones of animals that lived 20 million years ago. The museum, which is part of UNESCO's Global Geoparks Network, offers a wide variety of educational activities and programs.
Festival "Lesbian Summer" During the summer months, the "lesbian summer festival" takes place in Lesvos, near Mytilene. Concerts, theater, educational programs, and exhibitions aimed at young and old.
The North Aegean Prefecture and the Museum of Natural History of the Petrified Forest of Lesvos organize a conference on “NATURAL HERITAGE AND LOCAL DEVELOPMENT” with the aim of presenting the actions for the promotion of natural heritage and the interventions funded in recent years by the North Aegean Prefecture and contribute to the development of alternative forms of tourism, the improvement of the information, awareness-raising and services provided to residents and visitors and the upgrading of the tourist product of Lesvos.
The Workshop will take place on Monday 17 February 2025 at 17.00 p.m., at the “Ioannis Pavlakellis” hall of the Lesvos Chamber of Commerce.
PARTICIPANTS
Tourism professionals and citizens of Lesvos, students, volunteers
Admission is free
PROGRAM
Καθηγητής Νικόλαος Σουλακέλλης, Πρόεδρος ΔΣ ΜΦΙΑΔΛ
Γ. Πλακωτάρης, Προϊστάμενος Διαχειριστικής Αρχής ΠΕΠ Βορείου Αιγαίου
Α. Δημιουργία νέου “Ανοικτού Μουσείου” – Έργα ανάδειξης των νέων απολιθωματοφόρων θέσεων που αποκαλύφθηκαν κατά την κατασκευή μεγάλων δημοσιών έργων στην προστατευόμενη περιοχή του Απολιθωμένου δάσους.
Β. Λειτουργία Κέντρου Περιβαλλοντικής Ενημέρωση Καλλονής – Δράσεις ανάδειξης των υγροτόπων της Λέσβου.
Καθηγητής Νικόλαος Ζούρος, Διευθυντής ΜΦΙΑΔΛ
Α. Ενεργειακή αναβάθμιση του Μουσείου – “Ένα “πράσινο” Μουσείο στη Λέσβο”.
Β. Αναβάθμιση Εκθεσιακών χώρων – Νέα πτέρυγα Μουσείου
Γ. Συντήρηση – ανάδειξη και αναβάθμιση υποδομών Απολιθωμένου Δάσους Λέσβου – Περιοχή Κύρια Απολιθωμένη – Παρεμβάσεις βελτίωσης της προσβασιμότητας
Δρ. Ηλίας Βαλιάκος, Προϊστάμενος Ερευνών και Έργων ΜΦΙΑΔΛ
Α. Καινοτόμες δράσεις ψηφιακής προβολής του Μουσείου Φυσικής Ιστορίας Απολιθωμένου Δάσους Λέσβου
Β. Δημιουργία – λειτουργία Ψηφιακών εφαρμογών προβολής των γεω-μνημείων του Γεωπάρκου Λέσβου – Παγκόσμιου Γεωπάρκου UNESCO
Γ. Δημιουργία – λειτουργία Ψηφιακών εφαρμογών προβολής των γεω-μνημείων Λήμνου
Κωνσταντίνα Μπεντάνα, Προϊσταμένη Εκθέσεων και Εκπαιδευτικών Προγραμμάτων ΜΦΙΑΔΛ
A day dedicated to accommodation design and development, with workshops focusing on innovative approaches and investment strategies.
A day dedicated to villas, with workshops offering practical insights to improve efficiency and profitability.
Alongside the workshops, webhotelier | primalres will hold a special workshop, offering masterclasses focusing on the latest technological developments to improve the management and sales of accommodation.
The 28th Book Bazaar 2025 will take place at Klathmonos Square. It is organized by the Association of Book Publishers and the Panhellenic Federation of Publishers of Book and Stationery Publishers, under the auspices of the Municipality of Athens and with the support of the Culture, Sports and Youth Organization of the Municipality of Athens (OPANDA).
The Book Bazaar is the established event that has been organized for twenty-eight years, offering the reading public thousands of book titles at very low prices, starting from just 1 euro!
In the 28th Book Bazaar 2025, as every year, publishers from all over Greece (members of primary associations) participate, offering more than 9,000 book titles at prices that do not exceed 30% of their original retail price.
From Friday 31 January to Sunday 23 February 2025, Klathmonos Square will host the largest and best organized Book Bazaar in Athens, in a modern open-air-roofed installation.
Visitors to the Bazaar can discover and purchase books from a rich collection of titles, covering all categories and appealing to all ages.
The 28th Book Bazaar 2025 will be open on weekdays, Saturdays and Sundays from 09:00 in the morning until 21:00 in the evening, from 31 January to 23 February 2025.
Heraklion, 8-11 May 2025
http://www.iake.gr
The Institute of Humanities and Social Sciences, following the successful completion of the 10th Panhellenic/International Scientific Conferences, is pleased to announce to its members, partners and friends, the scientific and educational community and all interested parties, that it is planning the organization of the 11th International Scientific Conference, with the main theme of the conference:
Creative Communities
Participation and initiative in institutional collectives:
Society, Education, Political Consultation
This 11th ο International Scientific Conference embraces a broad yet coherent family of fields and concerns revolving around the key concepts of community creation, participation and participatory initiative.
Creative communities can be approached from both a broader and a more specific perspective. The more specific approach, already established as an interdisciplinary research in social sciences, uses the concept of a creative community (creative community)as a concept that highlights the collaborative and intersectional collectivity that brings together various actors from civil society, government, education and private sector organizationsprojects in individual projects that shape new collaborative cultures create added value and lead to economic, social and cultural benefits for research partners and the wider society. Creative communities are characterized by the participation of a diverse range of stakeholders, involved parties and users. They work to create a network of collaboration and exchanges, disseminating models of cooperation into further research and professional environments.
Creative Communities may include combinations of groups of active citizens, employees, entrepreneurs, researchers, academic experts, local, regional and national authorities, foundations, associations and, of course, European institutions.
The broader approach uses the term to describe a group of people who come together and converge around a common challenge or theme, aiming to create, act and share ideas, programmes and practices.
Taking into account the empirical findings and the programmes already associated with Creative Communities in the narrowest sense (e.g. the design and implementation of collaboration practices between public and private sectors in addressing the social and cultural impacts of the Covid 19 pandemic), the broader approach to Creative Communities encourages us to reflect on frameworks and platforms that design, propose and – often attempt to implement new ideas to solve educational, social, cultural and political problems. I also facilitates addressing corresponding challenges, making use of art teaching and forms of inclusion and participation in civic education, as well as the social and humanitarian utilization of new technological horizons.
In this broad yet distinct context, we are interested in studies on the different approaches and views regarding:
The primary purpose of the 11ου th International Conference of the Institute of Humanities and Social Sciences is the critical exploration and development of scientific dialogue around these issues. With regard to both the opportunities presented as well as the problems that may emerge, it is essential to raise awareness and prepare citizens for the forms of coexistence with the creation of conditions for the development of Creative Communities, the forms of development of collective pursuits in response to challenges and the encouragement of citizens' initiatives on the role of, among other things, artificial intelligence and the new relationships that are being formed between citizens and the state. Training, education and civic participation have key roles to play in this evolving theme as it unfolds before our eyes.
As every year, the Institute of Humanities and Social Sciences will honour a prominent figure of Hellenism during the inaugural formal sitting, which this year takes place on 9 May 2025.
THEMES OF THE CONFERENCE
Starting from the central theme, the Conference will focus on the following themes thematic areas, without excluding any others that may be derived from its general title:
Collective Action, Political Participation and Creative Communities
Social Education, Education and Culture
Digital Technologies and Creative Initiatives
THE CONFERENCE IS OPEN TO PARTICIPANTS
FORM OF WORK – ACTIVITIES
The following may be presented at the Conference:
The full texts of all the approved by the conference papers are published in the conference proceedings regardless of the presentation format. Detailed instructions on the structure and format of the papers will be posted on the Institute of Humanities and Social Sciences website.
In addition, the conference proceedings will include:
IMPORTANT DATES AND INFORMATION
All those who wish to participate in the Conference as Presenters - with a paper or a posted announcement or workshop - should send an abstract of their paper via http://www.iake.gr ή http://iake.weebly.com, where there is also a special form available as well as the required instructions. The text of the abstract should be up to 300 words and should be accompanied by the authors' details, as well as an indication of the type of work and the subject area to which it belongs.
Each paper can be submitted by one to four presenters. Each presenter may participate in a maximum of two papers, either as the first, second, third, or fourth presenter.
Acceptance or rejection of the abstract will be announced by February 3, 2025.
COST OF PARTICIPATION
The presenters will pay the due participation fee after the approval of their abstract, on the dates specified in a subsequent notice.
COMPETITION - AWARD OF PRIZES
The Institute of Humanities and Social Sciences will award prizes to the best scientific papers, according to the thematic axis of the Conference theme, in the categories:
Α. Best scientific paper
Β. Best teaching proposal
With the aim of supporting new researchers and scientists, the most distinguished papers submitted by the following will be awarded: a) undergraduate students, b) graduate students, c) doctoral candidates, d) scientists-researchers presenting an original scientific paper or teaching proposal.
The results of the competition will be determined by the Scientific Committee based on the general results of the anonymous evaluation of the final texts of the papers. The evaluation procedure of the final texts will follow the evaluation of the abstracts. The full texts of the papers are evaluated on the basis of their qualitative characteristics in terms of: a) originality, b) methodology, c) structure, d) content, e) documentation.
Only papers submitted by 3 March 2025 will be eligible for the award.
The awards and distinctions will be presented at the closing ceremony of the conference. Guidelines for the preparation of the full texts of the final papers are available on our websites: http://www.iake.grand https://iake.weebly.com
PARALLEL EVENTS
As part of the conference, a series of parallel activities and events is planned to promote acquaintance, entertainment, and interaction among the attendees and their companions.
QQML runs its 17th year welcoming delegates from all over the world.
The conference will be hybrid this year also: Physically and virtually organized. For those who choose to attend in person, the conference will take place between 27-31 May in Lisbon, Portugal.
Target Group
The target group and the audience are library professionals in a more general sense: professors, researchers, students, administrators, stakeholders, technologists, museum scientists, archivists, decision makers and managers, information scientists, librarians, records managers, web developers, IT specialists, taxonomists, statisticians, marketing managers, philologist, subject and reference librarians et al.
Main theme:
Transformation and Innovation in Archives and Libraries in the Digital Age: Management, Preservation, Sustainability and Technological Impact (EN)
Sub- themes
Qualitative and Quantitative Studies of User Behaviour in Public, University and School Archives and Libraries
-Analysis of interactions among users, archives and libraries, identifying how information professionals can optimize the services offered.
– Evaluation of the impact of archival and library practices on the user experience.
Bibliometrics and Evaluation of Scientific Production in Academic and Specialized Libraries
– The role of the information manager in applying bibliometrics to measure the impact of scientific publications.
– Information manager contributions to organizing and preserving academic data and collections.
Collection Management and Metadata in National, University and School Archives and Libraries
-The role of archivists and librarians in curating collections and creating metadata to facilitate information retrieval.
– Information manager practices to ensure preservation and continuous access to physical and digital collections.
Libraries and the Sustainable Development Goals (SDGs): Contributions from University, School and Municipal Libraries on Open Access Projects
– How information managers promote the SDGs by democratizing access to knowledge.
– The role of information managers in preserving and facilitating access to documents and materials relevant to social and cultural memory, in line with the SDGs.
Digital Preservation and Archives: Challenges and Opportunities in National and University Archives and Libraries
– The role of archivists in preserving and disseminating digital collections, ensuring that historical documents are accessible for future generations.
– Open Access initiatives led by information managers to promote digital preservation.
Impact of Artificial Intelligence (AI) on Archives and Libraries: Opportunities and Challenges for Information Managers
– Analysis of the impact of AI on process automation and collection management by archivists, librarians, and information managers.
– Ethical and practical considerations in the use of AI in archives and libraries.
Partnerships and Cooperation Networks among National, University, School, Municipal, Archives and Libraries on Open Access Projects
– The role of information managers in creating collaborative networks that promote resource sharing and open access.
– Cooperation between information managers from different institutions to preserve and disseminate digital and physical collections.
University, School and Specialized Libraries as Support Centres for Teaching, Research, and Open Access
-The contribution of information managers to supporting research and teaching through the management of Open Access repositories.
– Information managers as guardians of academic memory, ensuring continuous access to essential documents for research.
Innovation in the Management of Public, School and University Libraries
– Innovative initiatives led by archivists, librarians, and information managers, to improve the management of collections and services.
– Methods for evaluating the impact of new technologies and practices on archives and library management.
Virtual Assistants and User Support Tools in University, School and Public Libraries
– Implementation of virtual assistants and other technologies to support information managers in serving users.
– Transformation of the role of information managers with the use of new technological tools to support research and access to information.
Information Literacy in University, School, Public, and Open Access Libraries
– The role of information managers in promoting information literacy among students, researchers, and the community.
– Initiatives by librarians to improve information skills through Open Access repositories.
Higher Education in Information Sciences: Master’s and Doctoral Programs
– The role of master’s and doctoral programs in Information Sciences in the training of archivists, librarians, and information managers.
– Contributions of these programs to the advancement of research and innovation in information management, document preservation, and library services.
The General Data Protection Regulation (Regulation (EU) 2016/679) and its application by information managers in archives and libraries
– Theoretical investigations and case studies
Conference Language: English and Portuguese
More information on the proposals and how to submit them can be found here: www.qqml.org/call-of-proposals/
The 8th Workshop entitled “Public Health, Art and Solidarity“, organized by the MSc Public Health and the Laboratory of Hygiene of the Department of Medicine, in collaboration with the Laboratory of Stage Acting and Speech of the Department of Theatre Studies of the University of Patras, took place on Monday, December 2, 2024, with great success and particular interest.
The event, which took place at the Conference and Cultural Centre of the University of Patras, attracted students, health professionals, artists and representatives of civil society.
A Journey in Public Health, Art and Solidarity
Coordinated by the Professor of Hygiene of the Department of Medicine of the University of Patras, Mr. Apostolos Vantarakis, the workshop focused on the connection between public health and art and solidarity, offering a unique platform for the exchange of ideas and experiences. Participants had the opportunity to attend scientific presentations, interactive discussions, as well as an excellent artistic performance.
The first session, entitled “Public Health and Solidarity”, highlighted the importance of solidarity and effective health policies in supporting vulnerable populations, promoting vaccination and promoting mental health. The presentations by Mr. Apostolos Veizis, Mr. Agis Terzidis and Mr. Nikos Gionakis, who were honoured for their valuable contribution to Public Health, attracted a great deal of interest and provided food for thought and tools for action.
In the second session, entitled “Sport, Art and Solidarity”, the discussion focused on stories of inclusion and artistic approaches that highlight the importance of acceptance and diversity.
The conference culminated with the contemporary dance performance “Dancing (fancy)” by the Contemporary Dance Group Proschima, which impressed the audience with its performance and choreographic sensitivity. The performance offered the audience a unique experience, focusing on the multiple aspects of the human body, acceptance and diversity.
With the choreographic supervision of Maria Koliopoulou and the excellent performances of K. Avramopoulou, K. Gevetzi and L. Papadakis, the play highlighted how art can illuminate the characteristics that are not always considered “acceptable” in public space and on stage. Through dynamic movements, sensitive narratives and impressive choreographic compositions, “Dancing (fancy)” invited the audience to redefine the notion of beauty, diversity and inclusion.
Strengthening its externalization and promotion activities, aiming to attract visitors all year round, the Municipality of Heraklion continues to promote its new proposal through the “loveHER | 5 Senses | 365 Days” tourism campaign, focusing on the first letters of the word “Heraklion”.
The campaign was presented by the Deputy Mayor of Finance & Development of Local Economy George Agrimanakis at a special event in the heart of Piraeus, held on Tuesday 26.11.2024, promoting the values of hospitality, culture, history and authentic gastronomy of Heraklion. George Agrimanakis referred to the importance of the initiative, stating: “The “loveHER” campaign is not just an initiative to promote our city, but a strategic investment in the extroversion, creativity and authenticity that characterize Heraklion. It is a reference point for our municipality and for the whole of Crete, giving the mark of a city that is constantly evolving and leading the way in the international tourist environment. With this particular action in Athens, our aim was to reach out to those who shape the opinion of travellers worldwide and to highlight Heraklion as a unique destination that combines culture, gastronomy and sustainable tourism development. The very positive response we have received fills us with optimism and gives us strength to continue our work to make Heraklion a top destination on an international level.”
On the occasion of the 50th anniversary of the Turkish invasion of Cyprus, the Hellenic Parliamentary Foundation for Parliamentarism and Democracy and the Foundation for Parliamentarism and Participatory Democracy of the Cypriot House of Representatives, in cooperation with the Faculty of Philosophy of the University of Cyprus, are organising on 22 and 23 November a scientific conference on: “The consolidation of the democratic constitution in Cyprus after the Turkish invasion (1974-1993)” at the Ceremonial Hall of the University of Cyprus. The conference deals with the post-war political reconstruction that followed the deadly blow of the invasion (1974) and the death of Archbishop Makarios (1977).
In a formerly colonized country and in a very young state, where it was impossible to fully implement its Constitution after the 1963 crisis, followed by the inherently difficult to implement “Law of Necessity”, it could be reasonably argued that, after 1974, the country would be in a state of chaos. On the contrary, however, the Republic of Cyprus made significant steps towards consolidating democratic institutions and a liberal constitution. It would not be an exaggeration to argue that the impressive political development of the Republic of Cyprus – development that allowed it to join the European Union – after shocks of such a scale, is a unique phenomenon even internationally.
The Hellenic Parliament Foundation for Parliamentarism and Democracy is particularly pleased to have the honourable opportunity of a multi-faceted collaboration with the Cypriot House of Representatives – our joint exhibition “Cyprus, 1974. Memory is the only homeland of the people” already running in parallel in Nicosia and Athens – and with its Foundation for Parliamentarism and Participatory Democracy for the organization of this important conference.
For more information and to register your interest in attending, please visit the link:
https://www.foundation.cy/democracy-in-cyprus-after-the-invation
In an era where openness and the democratization of education and research remain paramount in international academia, AI technologies and applications are permeating all fields, bringing about significant changes affecting academic libraries.
The upcoming challenges indicate that in the following years a transformation is eminent, regarding the tools, the library services and quite possibly the very nature of information scientists. In our country, where academic libraries survive with continually diminishing financial and human resources plus an inadequate institutional framework for education and research, the boundaries of flexibility, extroversion, and their social role need to be exhausted.
The Panhellenic Congress of Academic Libraries, marking in 2024, thirty years of continuous presence, aims to trace these emerging changes and highlight the issues presented for academic libraries. The ultimate goal of the conference is to facilitate productive dialogue, ideally among communities, to generate comprehensive proposals that address the emerging needs of academic life and society.
The 14th Annual European Chestnut Days Conference, organised by the European Chestnut Network EUROCASTANEA , which will last until 15 September 2024, started on 12 September in Agia and Melivoia. The conference is held for the first time in Greece.
EUROCASTANEA is a European chestnut network consisting of chestnut producing organisations from 6 countries. France, Italy, Spain, Portugal, France, Portugal, Austria and Greece and was founded by the ASSEMBLY OF EUROPEAN FRUIT, VEGETABLE AND HORTICULTURAL REGIONS – A.R.E.F.L.H.
The conference is addressed to organisations, authorities, institutions, local entities, producers, agronomists, cooperatives and companies from all over the world involved in the production, research, processing, promotion and distribution of chestnuts.
Its aim is to present the cultivation of chestnut in Greece and neighbouring countries, to highlight the main issues that concern the sector such as chestnut diseases, cultivation practices in the context of climate change, the Common Agricultural Policy and the processing of chestnut, as well as to present the influence of chestnut cultivation on local communities.
Through dialogue, cooperation and networking, the aim of the conference is to address future challenges, protect chestnut cultivation and achieve sustainability for the entire chestnut sector.
On 6 September, the biggest Book Festival opens its gates at the Pedion tou Areos to welcome book lovers and attract new readers. 200 publishing houses, 280 booths, 200 cultural events, concerts, theatrical performances, interactive educational events and much more at the great 52nd Book Festival 2024.
The 52nd Book Festival is organized by the Book Publishers’ Association (S.EK.V.). It is held under the auspices of the Ministry of Culture, the Municipality of Athens, the Athens Chamber of Commerce, with the support of the Region of Attica, the support of the Culture, Sports and Youth Organization of the Municipality of Athens, and in collaboration with the Little Paris of Athens, the Network for Children’s Rights and the Philip Nakas Conservatory.
Το Days of Art in Greece στο περίπτερο 2 του 51ου Φστιβάλ Βιβλίου
Visitors to the Festival, against the backdrop of thousands of books, will have the opportunity to watch and participate in a diverse cultural event. Among many other events, there will be: Children’s theatre performance “The Legend of Mulan” by the theatre production company METHEXIS, a performance of Karagiozis by the Shadow Theatre “Nikolas Tzivelekis”, a concert by the Greek Music Workshop of the Municipality of Athens, musical evenings by student ensembles of the Music School of Piraeus and students of the Philip Nakas Conservatory, a concert by Mario Strophalis with Martha Moreleon and Irini Toubaki, an event of the Hellenic Comics Academy, a three-day presentation of newcomers in the field of speech, a concert with Sofia Arvanitis, Nikos Kallini, Makis Psaradellis and the Music and Vocal Ensemble of Corinth “Echoroi”.
The main tributeof the 52nd Book Festival 2024 is entitled “Youth and Reading. Spring depends on you” and focuses on the younger generations. It will focus on raising their awareness of critical issues such as human rights, the environment, the proper use of technology, Artificial Intelligence, etc. On the answers that the Book can give to key philosophical and practical questions and the outlets they can find through Culture.
The poster and the cover of the catalogue of the 52nd Book Festival 2024 is adorned with the work of the distinguished Greek artist Leonidas Giannakopoulos.
The opening event will take place on Saturday 7 September 2024 at 20:00.
52nd BOOK FESTIVAL
PEDION TOU AREOS
6-22 September 2024
Opening Hours
Monday-Thursday: 18:00-22:30
Friday & Saturday: 18:00-23:00
Sunday: 10:30-15:00 & 18:00-22:30
Organized by: Book Publishers’ Association
All global developments in marine and fisheries biology will be presented during the 22nd Annual FishBase Symposium, entitled “Fishes in changing ecosystems”, organized by the Laboratory of Ichthyology of the Department of Biology of the Aristotle University of Thessaloniki, on Monday 2 and Tuesday 3 September 2024, from 9.00 to 17.30, at the KEDEA of the Aristotle University of Thessaloniki.
Distinguished scientists from 20 countries from Africa, America, Asia, Europe, and Oceania will present the results of their research related to the biology and ecology of aquatic organisms, mainly fish, and the impact of anthropogenic actions, mainly climate change and fisheries, on population dynamics, marine biodiversity and the balance of marine ecosystems.
Founded in 1990, FishBase is the world’s largest online fish encyclopedia and database, with information on all fish species and more than 1.5 million visits every month. SeaLifeBase was founded in 2005 and contains information on all marine organisms. The Laboratory of Ichthyology of the Aristotle University of Thessaloniki has been participating in the FishBase Consortium since 2004.
Τhe Schedule
The first day of the Symposium (Advances in Gill Oxygen Limitation Theory) will be dedicated to the subversive GOLT theory of fish body growth and the celebration of 25 years since the launch of the international Sea Around Us network (https://www.seaaroundus.org), in which the Laboratory of Ichthyology is a member of the Scientific Council. Sea Around Us contains all fisheries data for every country and marine ecosystem on Earth.
The second day (Fishes in Mare Nostrum) will focus on issues related to FishBase (https://fishbase.se) και τη SeaLifeBase (https://www.sealifebase.se) and SeaLifeBase (https://www.sealifebase.se) and includes the celebration of 20 years of participation of the University of Thessaloniki’s Laboratory of FishBase.
Daniel Pauly in Thessaloniki
The keynote address will be given by the greatest scientist of all time in the field of marine fisheries biology, Professor at the University of British Columbia, Canada and Honorary Doctorate of the Department of Biology of the Aristotle University of Thessaloniki, Daniel Pauly. Daniel Pauly has authored more than 1000 scientific publications and about 20 books dealing with the biology of marine organisms and the management of their populations, and was one of the first scientists to raise the alarm about the ecosystemic impacts of overfishing on a global scale.
According to the Director of the Laboratory of Ichthyology and head of the MarinOmics research group, Professor Athanasios Tsikliras, who this year chairs the FishBase Consortium, “the participation of the Laboratory of Ichthyology of AUTh in international networks such as FishBase and Sea Around Us, which is a result of the scientific dynamics and international recognition of public academic and research institutions, aims to rebuild marine populations and ecosystems through sustainable fisheries management, which will improve the health of the seas, mitigate the effects of climate change, while enhancing the incomes of fishermen.”
More information about the Symposium, the programme and online registration at the link: https://bit.ly/2024FBsymposium
The Blue Flags for 2024, the international environmental quality symbol awarded to organised beaches, are flying on 13 beaches in the Municipality of Chania. These beaches meet the strict criteria set by the programme, such as the suitability and purity of the waters of the coast, the safety of the swimmers, etc.
The process of placing the Blue Flag has been completed in all the beaches of the Municipality of Chania with the latest, the Blue Flag at Vlite, to be placed on Wednesday 17/7/2024, by the Deputy Mayors of Tourism, Nektarios Psaroudakis, Environment, Greenery and Cleaning, Michalis Tsoupakis, and Local Economy and Development, Yannis Nikiphorakis. The President of the Local Community of Souda, Dimitris Klothakis, was also present at the Blue Flag ceremony.
It should be noted that the beach of Vlite "passed" a test stage in the past two years, with extensive and strict inspections, before it was officially awarded the Blue Flag, certifying that it meets all the requirements and criteria.
Mr. Psaroudakis in his statements stressed: "with the addition of the Blue Flag on the beach of Vlite completed the award-winning beaches throughout the coastal front of the Municipality of Chania with blue flags, which certify the quality of the waters and with equipment that ensures safe access to the beach."
Mr.Tsoupakis, responsible for issues of the Municipal Unit of Souda, stressed: "now the Municipal Unit of Souda has a Blue Flag beach, the beach of Vlite in Souda, which has great development and has been embraced by all the residents of the area."
Finally, on his behalf Mr. Nikiforakis noted: "As a municipal authority we do not stop to provide our beaches with the appropriate equipment, with our crews have taken care to place new changing rooms, corridors and additional waste and recycling baskets but also to ensure that there are accessibility conditions at all the beaches of our municipality, with the presence of mobile seats for disabled people (SEATRACK) but also separate JOB type seats".
Indeed, as said Mr. Nikiforakis, filed this year on behalf of the Municipality of Chania request for the placement of 4 more new self-propelled seats for the disabled (SEATRACK), so that even more beaches in the municipality to have the equipment that will ensure comfortable access to the sea for people with disabilities.
The beaches, where the Blue Flags for this summer season were posted are: 7 in the District of Nea Kydonia: Golden Beach, Agii Apostoli (2 spots), Kalamaki,
Stalos, Agia Marina (2 spots), 4 in Akrotiri District: Ag. Onoufrios, Kalathas, Stavros, Marathi, 1 in the district of Chania: Nea Chora and 1 in the district of Souda:Vlites.
In view of the new data and the challenges that the new digital era is shaping for identity and, consequently, for the management of archives, the ΙNational Bank of Greece, chose to organize a workshop on “The Historical Archives of the National Bank of Greece in the new digital era. Challenges and prospects for the management of electronic archives“.
The conference aims to initiate a relevant discussion with other directorates involved in the management of the Bank’s archives, in order to jointly identify, anticipate and plan in time all those actions that will allow -as has been exemplarily done in the past- the preservation of the historical memory of the organization in the future and the promotion of its historical continuity, a central objective of the National Bank Greece since 1938.
Reaching its 12th edition, the 100% Hotel Show has proven to be the most contemporary Hotel Exhibition in Greece, as it is not hesitant to make changes in its structure to offer a fresh proposal to its visitors. From simplifying its booths to facilitate exhibitors' participation and visitors' discovery of desired solutions, to presenting more alternative companies than usual, the 100% Hotel Show continuously evolves into the most pertinent Exhibition, offering real solutions and innovation.
However, considering the highly demanding daily life of hoteliers and tourism workers during the season, the 100% Hotel Show is making an even more significant upgrade by creating a lifestyle institution that will ease the pressure on hoteliers and offer solutions and know-how in an even clearer way. With this in mind, the 100% Hotel Show announces the 4 major changes you need to know.
—————————-
Taking into account the workload of hotels and the need for early planning for the next season, the 100% Hotel Show is moving to November 9-11, a week earlier than its usual date. This way, hotel owners can visit the exhibition right after the season ends, with their needs still fresh, and have the opportunity for early planning for the next season. This also allows them to create the necessary personal rest time for December, traditionally the ''hotel holiday month.'' At the same time, participating companies will have the time advantage of making deals since they will be able to meet hotel owners much earlier than in other hotel events.
Redesigning the first section of the exhibition, the most active companies in the hotel industry will have the opportunity to present themselves in the new Trending Brands section, standing out from the competition. This section will host some of the most impressive and conceptual booths and will promote regular micro-events that will create a key reference point for the exhibition, providing a different vibe that will turn the visit a truly pleasant and substantial experience. This section will give companies across the spectrum of hotel solutions the chance to present for the first time, with the launch of new products and services.
Building on the foundations set in previous events, architects are becoming even more dynamic to the exhibition's DNA, with more and more architectural firms participating as exhibitors. The new concept of the Hotel Design section puts the focus on the architectural firms that set the pulse and expertise, while this section will also host the leading companies with materials, furniture, fabrics, and technical companies that contribute decisively to hotel development. Thus, visitors will be able to discover design solutions and the specialists who can oversee the application and implementation.
With Hotel Workshops being a cornerstone of the 100% Hotel Show, the exhibition takes the next step in hotel expertise by creating a special room for Hotel Tech Demos, covering practical issues of using hotel technologies. Specifically, this room will host the top companies in the field, practically training the audience in the use of booking engines, PMS, and RMS, while there will also be special sessions on Google Ads and social media use.
————————
The first work of contemporary art to be permanently exhibited in an archaeological site in Greece is an anthropomorphic sculptural installation by British artist Anthony Gormley, in the exterior of the Archaeological Museum of Delos, following the completion of the first donation by the NEON organization to the Ministry of Culture.
The original work RULE was created by Gormley as a new commission from NEON as part of the SIGHT exhibition held on the island of Delos between May and October 2019. RULE II (2019) is on permanent display at the archaeological site as a reference point for the conversation between classical and contemporary culture.
Delos is the ideal place for such an “experiment”. Although it is now a ruin, the classical past of the place was quite different. A religious centre of the Cyclades and a sacred island of Apollo, Delos was also a bustling, cosmopolitan port. A place where people from all over the Mediterranean coexisted. A place open to contrasts and innovations.
Gormley, like so many others, was fascinated by the energy of the island, which was the driving force behind the design and implementation of the exhibition.
The seated figure, formed by cubes that clearly refers to the digital era, found its permanent place on the outskirts of the archaeological site of Delos. The installation itself, with the “oxidized” iron sculpture next to the white marble figure and the capstone, emphasizes the central idea of the coexistence of the classical and the contemporary, just as it had since the SIGHT exhibition.
Obviously, the artist’s aim was not to accurately capture a historical figure, but to capture the body in space and time. It is an invitation to the visitor to interact with the work. The stillness of the sculpture is “open” to interpretation.
Both the temporary exhibition SIGHT and the permanent exhibition of RULE II Delos are the result of the collaboration between the NEON Organization, the Ministry of Culture, the Ephorate of Antiquities of Cyclades and of course the artist. It paves the way for other similar initiatives and a new approach to archaeological sites and cultural heritage, which can be an inspiration rather than an inaccessible space.
In the heart of the ancient city of Lefkada, the first theatre in the Ionian Islands, a magnificent monument, which due to its position, dominates the ancient city, has come to light.
Ancient Lefkada, which was founded before the end of the 7th century BC by the Corinthian sea rulers at the northeastern end of the island, was a powerful city-state, which, thanks to its strategic position on the sea routes, the shipping routes to the north and west, as well as its port, experienced great economic and cultural prosperity. The rescue excavations of the Ephorate of Antiquities of Aitoloakarnania and Lefkada, in the context of public or private projects, have revealed extensive archaeological remains, such as parts of the walls, the settlement, the cemeteries and the harbour.
The only systematic excavation on the island, after the major excavations of W. Dörpfeld, was carried out in recent years, with the aim of bringing to light its most emblematic monument, the theatre. Its location is about 3km south of the modern town of Lefkada, on the northeastern slope of the middle hill of Koulmos, on a hillside overgrown with olive trees, with a panoramic view of the channel and the coastal plain, where the ancient town was spread out. Very little was known until the year 2015 about the theatre and came from the test cuts made in 1901 by E. Kruger, W. Dörpfeld’s partner, which are included in his book Alt Ithaka. The sections were recorded after the work was completed and the location of the theatre over time was no longer known, as it was entirely covered by olive groves and makeshift bunkers. The particular geomorphological characteristics of the area and the ancient remains on the surface helped in the re-discovery of the theatre’s location in 1997, by the then competent Ephorate of Prehistoric and Classical Antiquities. In 2015, under the direction of Dr. Olympia Vikatou, concerted efforts for the systematic excavation of the theatre began, which finally succeeded, after the cooperation with the then mayor of Lefkada, Mr. K. Drakontaidis, and the support of the association DIAZOMA. In the first test cuts, at the expense of the Municipality, the first test cuts identified the epi-holes, the orchestra and the retaining wall of the stage.
The systematic excavation began in 2017 by the Ephorate of Antiquities of Aitoloakarnania and Lefkada, with funding from the Region of the Ionian Islands (100.000€) and the Municipality of Lefkada (100.000€), through a Programmatic Agreement with the Ministry of Culture. The excavation started on the property of Mikronis, who gave his consent to start work before the completion of the expropriation process. In just five excavation periods and until 2023, the archaeological dig uncovered the large, impressive theatre. The systematic excavation is directed by Dr. Olympia Vikatou, Director General of Antiquities and Cultural Heritage, and then Head of the Ephorate, while the scientific team includes archaeologists Vivian Staikou and Varvara Giza, topographical engineer Georgios Lolos, architect Nikos Hadjidakis and art conservator Aphrodite Tligada.
The excavation was particularly difficult and demanding, since many large olive trees had to be removed, extensive excavations had to be made, newer structures had to be deconstructed and many architectural elements had to be moved. The survey has largely uncovered the hollow, the orchestra and frieze, the lanes, the hollow’s retaining walls, and most of the stage. The state of preservation of the monument, especially in the upper part of the cave, is not good, as a result of human activity either in ancient or modern times and the cultivation of the property. The theatre is oriented NE/SW and is divided by 13 staircases (0,72-0,78m wide) into 12 stands. In the lower part of the hollow, the stalls and the presbytery are preserved in better condition, especially in the central area, as the limestone slabs of their covering, the terraces of the stairs and the aisle slabs are also preserved . The main theatre has 21 rows of seats, and above the 21st row there was probably a frieze. Above the diazome, three rows are formed in the rock and the rest of the theatre is formed in a single slope. It is likely that the epitheatre was not completed. The seating capacity of the theatre in the 24 rows was about 3,500 spectators; when fully developed with the epitheatre, it is estimated that it would have held about 10,000 to 11,000 spectators.
The presidencies were also found to consist of two seats joined together, with a total length of 2.60m. The orchestra, partly carved into the natural rock, is a complete circle with an external diameter of 16.65m and is surrounded by a stone frame, consisting of three rows of stones each height, which at the base of their face have a cymosity and a band at the top. On the outside of the orchestra, at a lower level, was partially investigated, the particularly elaborate in its construction, frieze.
One of the most interesting elements of the research is the discovery of parts of three stone thrones, elaborately decorated with lion’s feet, dolphins, birds, siren etc., which were intended for prominent persons, priests or officials of the city and later of the Acarnanian Community.
The two retaining walls of the cave are preserved at a length of 28 m. and 20.40 m., the north and the south respectively. The stage building, 20.00 m long and about 13 m wide, is preserved at the foundation level of the pillar. Numerous fragments of sandstone columns and parts of the architrave allow the reconstruction of the Ionic façade of the lodge, which had 16 semi-columns. On either side of the Ionic stoa were ramps, 9 m long, leading to the lodge, i.e. the roof of the stoa where the actors appeared. At the beginning of each ramp the passages were closed with gates. The strong retaining wall, located 13 m behind the proscenium and at a much lower level, is the eastern boundary of the stage building.
As for the chronology of the monument, it seems that its construction began in the 4th century BC, like other public buildings, when the city experienced great economic prosperity and flourishing. Construction details, however, suggest that it was also altered later. In Roman times it followed the fate of the rest of the city, which gradually declined, and with the foundation of Nicopolis by Octavian Augustus in 31 BC, a large part of the Lefkadians were forced to settle in the new city. It was probably abandoned after the end of antiquity and much of its material was detached for later constructions, some of which were built on the hollow. Although damaged by time, but mainly by human intervention, the theatre, fully and harmoniously integrated into the geomorphology of the hill, with a panoramic view of the wider area, is undoubtedly the most important and imposing monument that has come to light in ancient Lefkada.
The upper part of the hollow and part of the scene will be investigated after the Ministry of Culture has completed the expropriation, which was planned during the visit of the Minister of Culture Lina Mendoni to Lefkada in 2020. Under the Programme Agreement, the theatre restoration study and the stone conservation study have already been prepared, which, if examined by the KAS and approved, then the monument is absolutely ripe, as a project, to be included in a co-funded programme. For the implementation of the excavation thanks are expressed to the Regional Governors Spyridon Galiatsatos, Rodi Kratsa Tsagaropoulou, and Ioannis Trepeklis, as well as to the Mayors Konstantinos Drakontaidis, Charalambos Kalos and Xenophon Verginis, which during their tenure all signed and proceeded to the Programmatic Agreement with the Ministry of Culture.
“Moments Collective” presents the “photographic works” of the participants of the first cycle as they emerged during the seminar year 2024-2025, “Artistic – Conceptual Photography“, which was held in collaboration with the lecturer and photographer-curator Hypatia Kornarou. The event will be open to the public on Saturday 12 April 2025, at the Stavros Niarchos Foundation Cultural Centre, starting at 11am.
Αλέξανδρος Βεκιάρης
The presentation will include a series of unpublished photographic works by the artists, the result of their personal work under the guidance and curatorship of the lecturer Hypatia Kornarou, in the context of the art photography courses. With this photographic event we invite the public to follow the artistic approach of the photographers, in a mostly original effort, with thematic diversity and personal identity. The main goal of the presentations is to create an open dialogue between the creator and the audience as we focus on the essential expression of the versatile art as well as the desire to read a photographic work.
In order to explore the possibilities of visual tools, artists photographers penetrate the roots of the human psyche, of the natural or immaterial world, detect light and experiment with concepts, emotions, explore the abstract, feel intimate or open, are assimilated through the portraits they create, but above all they are inspired, they draw art, they become “themselves”.
Λένα Δρουμπουνέτη
The Photographers
Group Photography 11:00 – 13:00
Dora Grivopoulou, Elizabeth Efstathiou, Ritsa Karasmanoglou, Maria Lambriadou, Thomas Tsavalos, Christina Tsatsouli, Manes Pangalos, Penny Oikonomakis.
Group Photography 13:30 – 15:30
Dimitra Amvrosiatou, Nancy Andritsopoulou, Vivi Andreadou, Konstantinos Alexiou, Lena Droumpouneti, Faye Zacharopoulou, Spyros Kotsabasis, Dimitra Koutrouba, Vilma Rodiou.
Δήμητρα Κουτρούμπα
Group Photography 16:00 – 18:00
Eleni Aliferi, Vivi Kalomouri, Spyridoula Kaberi, Christana Kokore, Natasha Lantzaki, Michalis Oikonomakis, Katerina Papadimitriou, Nina Papatriandafyllou.
Group Photography 18:30 – 20:30
Dimitris Vatsios, Alexandros Vekiaris, Maria Vogiatzaki, Danae Giuzelaki, Ioanna Enezli, Isidora Kountouri, Eleni Makridaki, Katerina Satou, Mina Trikali.
Curated– Coordinated by: Hypatia Kornarou : Υπατία Κορνάρου
Organizers : Tasos Spetsieris, Saeed Sarbati : Τάσος Σπετσιέρης, Saeed Sarbati
Δημήτρης Βίτσιος
Information:
Entrance is free by reservation. The photographers will be present at the presentation area to interact with the audience and to narrate the experience of the photographic process. Also, after the two-hour presentation each Group will be followed by a 30-minute break.
For expressions of interest, reservations and more information , visit the website: https://www.moments-collective.com/ of “Moments Collective”, fill in the participation form.
Venue: Stavros Niarchos Foundation Cultural Centre – Multipurpose Hall 2 (A2.00.113), Ave. Andreas Syngros 364, Kallithea 176 74
The Ministry of Culture is proceeding with the restoration of two more buildings-memorials, in the former royal estate of Tatoi</strong. These are the building of the Adjutant’s Office, in order to accommodate the basic support functions of the estate, and the complex of the Piggery, which will serve as a shop. The restoration studies of the two buildings for their reuse and functional integration into the new era of the estate received the unanimous positive opinion of the Central Council of Modern Monuments.
The Minister of Culture, Lina Mendoni, said: “The Ministry of Culture is systematically advancing the work of restoration and promotion of the Tatoio estate. The restoration of the monuments of the Adjutant’s Office – which remained in use until 1967 – and the Piggery are part of the second phase of the restoration of the monumental stock of the former royal estate. These are representative examples of the palatial and productive unit, which are being put to new uses, serving the modern needs of visitors. The building of the Adjutant’s Office, despite all the modifications it has undergone from time to time, is one of the most remarkable architectural examples of the Romantic period. The piggery corresponds to the increase in agricultural and livestock production, along with the bustation and the dairy. It is a post-war building – built in 1948 – evidence of the recovery process after the extensive destruction of the estate in 1944 and 1945. The interventions on the monuments serve the new functions of the buildings with absolute respect to the preservation of all historical and original documents, but also to the removal of later interventions in order to remove aesthetic issues. The morphology of the buildings is preserved and their surroundings are enhanced, so that they are organically linked to the other buildings, whose restoration is underway and will be completed by the end of this year. Furthermore, all the specifications have been taken into account in order to make them universally accessible. The restoration of the Adjutant’s Office building and the piggery complex will become a priority after the completion of the works being carried out at Stables and Cowshed".
The Adjutant’s Office
The basic principle of the study is the preservation and maintenance of the historicity of the building of the Adjutant’s Office and its reuse. The morphology and typology of the building and its immediate surroundings are restored. New functions are introduced to meet modern needs and to ensure universal accessibility on both levels of the monument. The building consists of ground and first floor, with a total surface area of 296 m² and is located near the Sturm House. The building is mainly damaged and deteriorated due to age and decades of neglect. It housed two clearly distinct functions. The Poolroom, for the recreation of the royal guard, and the Adjutant’s Office, in which the adjutants on duty lived. Immediately after its construction, in 1890-1891, George I and Olga lived in the Adjutant’s House. It was also used as a residence for the palace gardeners. Occasionally, school examinations for the royal children took place in the Poolroom. It also housed the telephone exchange of Tatoi. In a later phase it was used as a holiday home for the family’s guests. During the period of occupation it was used by the German authorities as officers’ quarters. It was also the site of historic political events. The meeting of George Papandreou and Panagiotis Kanellopoulos with Ambassador Dimitris Bitsios, director of the King’s political office, took place in this building at the end of November 1966. It was the first of two secret meetings that resulted in the Tatoi Agreement, aimed at preparing the country’s course towards the national elections.
Piggery
The building of the Piggery is located in the core of the Estate – belonging to the “Village” unit or the agro-industrial/residential unit, in the productive part – on the periphery of the Cowsheds and barns. It is a ground floor building, 195 square meters in area, of special use with a corresponding typology, i.e. distinct “apartments” for day-care and accommodation of animals. Inside the main building, on either side of the main corridor, there are 16 stalls for pigs – 8 on each side. As far as the current state of conservation is concerned, the building is in a typical state of disrepair due to disuse and lack of systematic maintenance.
With respect to the industrial architecture of the building, the necessary modifications are made to accommodate the new use. For example, the feeders and railings in the stall areas are retained and used as sales points. The open pitchers – troughs are used for sanitary facilities. The multiple courtyards along the east and west elevations are highlighted and combined with the new use. Emphasis is placed on respecting the existing morphology and typology of the building, highlighting its notable features, restoring the setting of the monument and properly reintegrating it into the wider estate.
The placement of new functions in the existing areas of the building is done in a way that meets modern needs and specifications for the disabled. Exterior landscaping around the perimeter of the building is provided to ensure safe access to the building entrances for people with disabilities.
The Press and Information Office of the Republic of Cyprus, the Embassy of the Republic of Cyprus in Greece and the House of Cyprus organize the Art Exhibition “ELLES: Mythological Figures of Yesterday, Creators of Today”.
The exhibition will be inaugurated by the First Lady of the Republic of Cyprus, Mrs. Philippa Karsera-Christodoulides, on Saturday 15 March 2025, at 19:00, at the House of Cyprus (Xenofontos 2A, Syntagma).
The Art Exhibition is a continuation of the Photographic Exhibition of the Press and Information Office entitled “ELLE: Woman in Antiquity”, which was presented at the Nicosia Municipal Theatre, the National Library of Vienna and the Cultural Centre of Fine Arts in Madrid, while from 14 March to 13 April 2025 it will be exhibited at the Museum of Byzantine Culture in Thessaloniki. The exhibition highlights the stylistic evolution of Cypriot art through female sculptures from the collection of the Department of Antiquities of Cyprus, dating from the Chalcolithic (4th millennium BC) to the Roman period (4th century AD).
In the art exhibition “ELLES: Mythological Figures of Yesterday, Creators of Today”, six artists, inspired by the figures of antiquity, revisit myths and symbols from Cypriot heritage, using the tools of contemporary artistic creation, such as performance, photography and video.
The exhibition includes, among other things, photographs of sculptures depicting deities and female figurines belonging to the Department of Antiquities of Cyprus. At the same time, through a different perspective, the artists share their thoughts on the female form in the 21st century. Through contemporary artistic and philosophical reinterpretations of ancient female figures, the exhibition also depicts the creative empowerment of women and their central role in the cultural influence of Europe, providing a prism through which to observe the evolution of Cypriot society.
“[…] Through this exhibition, Cyprus not only confirms its historical role as a bridge between cultures, but also proposes an essential reflection on the construction of European identity, where past and present, tradition and innovation, East and West meet and feed each other. […]” (Catherine Louis Nikita, curator of the exhibition)
The artists participating in the exhibition are: Klitsa Antoniou, Stefanos Kouratzis, Melita Kouta, Lia Lapithi, Arianna Economou and Effie Spyrou.
Curated by: Catherine Louis Nikita
Coordinated by: Adonis Taliadoros, Press Counsellor, Embassy of the Republic of Cyprus
Maria Ragia, House of Cyprus
Opening: Saturday 15 March 2025, at 19:00
Exhibition Duration: 17 March 2025 – 2 April 2025
Opening Days and Hours: Monday and Wednesday: 10:00 – 19:00
Tuesday, Thursday, Friday and Saturday: 10:00 – 15:00
In October 2024, the systematic archaeological research in Chiliomodi, Corinthia, was completed within the framework of the research project “Ancient Tenea”. This year, for the first time in Corinthia, a monumental burial building of the Hellenistic period was discovered in accordance with the models of the Macedonian tombs. The findings from the exterior and interior of the tomb clearly refer to its long-standing use and to a cult associated with healing.
The funerary monument has an asymmetrical “T” shape in plan and consists of two sections, the access corridor measuring 2.80m × 1.20m and the main burial chamber measuring 2.75m. × 7.40μ. The burial chamber, rectangular in plan, has its longitudinal axis oriented N-S, while the corridor meets the burial chamber vertically in the middle of its eastern long side. Access to the burial chamber is via a relatively narrow corridor running in an E-W direction, which consists of an open-air section, which can be described as a ‘road’, and a covered section, part of the horizontal roof of which is preserved, while the entrance to this section is via a doorway, which was found sealed externally with a rectangular cover plate. The lintel of the opening is formed by a rectangular member in reuse.
In the main chamber a monolithic sarcophagus and five other rectangular built-in cases were found around the walls: in two graves the covering slabs were found obviously broken, while in the others no cover was found. Of the six graves, only the sarcophagus preserved the burial of an adult, probably a woman, in an anatomical position, while in the other graves the anthropological material was found disturbed. Remarkably, a large number of animal bones from large and small domestic animals were found within the sarcophagus, including a turtle shell. A dense layer of animal bones was found both in the backfill of the monument and within the burial chamber, together with 5th and 6th century AD pottery. Χ. It seems that the monument was used for burials until the 4th century AD when it was sealed and then in the late Roman period the roof was breached, the burials were sealed and it was used exclusively for periphrastic burials.
The findings from the interior of the monument and the tombs within it are rich and date mainly to the Hellenistic and Roman periods. Among them stand out a gold ring with a semi-precious stone seal depicting Apollo with a healing serpent, two gold laces copying coin types of the Hellenistic period of Sicyon, a votive clay finger, gold leaves from a wreath, a deposit of Hellenistic period microcylindrical vases, a silver tetrovolon of Philip III Arridaios, iron sling and iron manual, bronze decorative objects, glass beads, bronze bolts, spindle-shaped and bulb-shaped myrrh vessels, etc. .
Interesting, however, is the area outside the monument the excavation of which has not been completed. East of the entrance of the monument was found part of a cobbled road with direction N/S and with a slope to the south, while north of the monument was revealed part of an enclosure 6,50 m. × 4,10 m. In the backfill of the space defined by the enclosure were found votive offerings – models of clay hand fingers with a hole suspension as well as part of a clay model arm, indications that constitute a place of special worship associated with healing. Besides, in and around the funerary monument, architectural parts were found, epicranium, part of a chest and part of a parastasis trunk, as well as parts of a horizontal cornice which could not be excluded to be part of a possible visible superstructure of the monument, such as a funerary temple or to come from smaller funerary monuments in the immediate surroundings of the cemetery. In any case, the continuation and completion of the excavation in the surrounding area of the monument, is expected to clarify the original form of the complex in which the mausoleum was included, as well as the chronological episodes associated with it.
Archaeological research continued in the residential fabric of the city with the discovery in the upper excavation layers of new structures of Roman and late Roman times related to habitation, the production process and the storage of products. Among other things, the rectangular furnace stands out, which is preserved in an extremely good condition. It has an underground heating chamber and an above-ground firing chamber. The firing tunnel leads to the heating chamber, in the middle of which there is a square section pillar from which radiating wood beams for the support of the grate, which ended in the clay-lined side walls of the kiln, are running. The firing chamber is square and saves a large part of the grate by means of evenly spaced heating holes. Inside the kiln, a large quantity of charred clay, downtrodden parts of the arches and the grate and few deformed pottery fragments were found.
The project of Ancient Tenea is carried out by the Directorate of Prehistoric and Classical Antiquities of the Ministry of Culture under the direction of Dr. E. Korka and the archaeologist in charge of the excavations is Mrs. P. Evangelloglou, archaeologist of the Corinthian Archaeological Foundation. It is supported by an interdisciplinary team headed by Dr. K. Lagos, numismatologist, Mrs. Chr. Papageorgopoulou, anthropologist and professor at the University of Thessaloniki, and Mr. A. Georgopoulos. In the framework of the above collaborations, modern methods of photogrammetric imaging, 3D imaging of spaces, objects and anthropological material were applied. For another year, students from University Institutions of Greece participated in the competition, with the responsible department heads P. Vlachou, E. Kapuralou, P. Panailidis, I. Christidis, H. Terzoudis, the architect Dr. D. Bartzis, the topographer Z.Korolis under the supervision of A. Heliodromitis, associate lecturer of the UNIWA. Responsible for the conservation of the finds is the conservator of works of art and antiquities Mrs. F. Koussiaki in collaboration with the conservator L. Dinou. The curator and editor of the educational programmes and creative writing workshops is Dr. M. Hapsa, philologist and writer, who serves at the 4th High School of Corinth. This year, educational guided tours to students of Corinth were held at the excavation site.
The result of these educational visits will be the realization of a cultural tribute to ancient Tenea on 21 February 2025 entitled: “ANCIENT TENEA, TEEN “VOICES” AND ACTIVE CIVILITY” by eleven schools of Corinthian Secondary Education.
Katerina Evangelatos, artistic director of the Athens Epidaurus Festival, presented on Wednesday 19 February 2025 the programme of the theatrical performances that will be presented next summer at the Argolic theatre. In the next period, the other artistic activities of the festival will be announced, such as the full programme of the Athens Festival and the musical performances that will be given at the Little Theatre of Ancient Epidaurus in August.
International collaborations, support from the Stavros Niarchos Foundation, contemporary readings on Sophocles’ monumental heroines, Antigone and Electra, a return to Homer’s roots and a repeat of Theodoros Terzopoulos’ “reading” of Aeschylus’ Oresteia, which is admittedly a milestone in the performance of the play at Epidaurus.
The modern look that Katerina Evangelatos and her collaborators wish to bring to the Epidaurus Festival was underlined in her opening speech at the press conference: “Our mission is to connect the heritage of Ancient Drama with contemporary performance forms and dramaturgical quests, and not the museum representation of a speculation on what the form of these plays/performances once was. Our aim is to create theatrical events that engage the contemporary viewer and evolve their perspective – on the world and on art. Towards this end we are making targeted efforts and have undertaken strategic actions to enhance contemporary drama in dialogue with ancient texts. Texts that still resonate today and invite us to be bold in our reading of them.”
EPIDAURUS FESTIVAL-ANCIENT THETRE OF EPIDAURUS
27, 28 & 29 June
Athens Epidaurus Festival – National Theatre Greece
Ulrich Rasche
Antigone
by Sophocles
The Festival will start earlier than any other year, with the famous German director teaming up with a group of Greek actors for a special interpretation of Sophocles’ play. Ulrich Rasche, in a taped message broadcast at the press conference said: “I have always dreamed of staging Sophocles’ Antigone at Epidaurus. It may sound a bit strange, but my choice had less to do with the character of Antigone itself than with the figure of King Creon. Antigone, as we know, is the heroine of the play. She resists the king’s authoritarian rule. She puts forward her own ideas of what should happen. Her strength and resistance to authority are admirable. But don’t we now live in a society where it is easy for everyone to play the hero or heroine, to speak and act according to their own standards? Do we not often forget that Creon’s mission as king is to defend the state and the laws? I think it is important to take a look at the king and his arguments, so aptly articulated by Sophocles in the tragedy.”
4 & 5 July
Poreia Theatre – Dimitris Tarlow
Electra
The Poreia Theatre returns to Epidaurus, this time with its Artistic Director Dimitris Tarlow in his first production at the Argolic theatre with the Sophoclean version of Electra. In the leading role, Loukia Michalopoulou.
In a world plagued by totalitarianism and social injustice, in an age where violence and revenge are often presented as a “necessary evil”, Sophocles’ Electra takes on a chilling relevance. This tragedy is not just a revenge narrative, but a mirror of human dilemmas, of the timeless conflict between justice and morality.
Dimitris Tarlow-Poreia Theatre
11 & 12 July
National Theatre of Northern Greece – Cyprus Theatre Organisation Michael Marmarinos
ζ – η – θ
The guest
A return to the origins: A visit to three Rhapsodies of the Odyssey
After NEKYIA with the Japanese theatre NO in 2015 and Sophocles’ The Ichneutae in 2021, performances that will remain unforgettable, Michael Marmarinos returns to the Ancient Theatre of Epidaurus with another unexpected dramatic proposal, leading a return to the sources. A visit to three rhapsodies of the epic that reveals how this unending mystery of oral storytelling (the deep mystery of theatre) has the potential to thrillingly transport us “where history still happens”.
Μιχαήλ Μαρμαρινός
19 July
Utopia – Theodoros Kourentzis
Regula Mühlemann – Eve-Maud Hubeaux
Gustaf Mahler: Symphony No. 4 and Songs for dead children (Kindertotenlieder)
The announcement of each new concert by Theodoros Kourentzis creates high expectations and impatience: for the world’s music-loving audience, the performances of the charismatic conductor guarantee great emotions. All the more so when Kourentzis’ exuberant musical personality is juxtaposed with the greatness of Mahler, who challenges the listener’s intellectual and emotional world with his existential quests and metaphysical anxieties.
In a unique concert at the Ancient Theatre of Epidaurus, the award-winning Greek conductor will lead Utopia, the independent orchestra he founded in 2022, in Mahler’s Fourth Symphony, the Austrian composer’s most popular symphony. The song in the second movement will be sung by the outstanding Swiss soprano Regula Millemann, one of the top sopranos of her generation. Τέταρτη συμφωνία του Μάλερ, τη δημοφιλέστερη του Αυστριακού μουσουργού. Το τραγούδι του δ΄ μέρους θα ερμηνεύσει η εξαιρετική Ελβετή σοπράνο Ρέγκουλα Μίλεμαν, από τις κορυφαίες της γενιάς της.
In the second part of the evening, mezzo-soprano Ev-Mod Ibo will perform the heartbreaking Songs for Dead Children (Kindertotenlieder ), the song cycle composed by Mahler (1901-1904) in the form of orchestral lieder, setting five poems by Friedrich Rikert.
Θεόδωρος Κουρεντζής
25 & 26 July
Athens Epidaurus Festival – Lykofos
Yannis Chouvardas
The two Oedipuses
Celebrating 50 years of continuous professional presence in the theatre, Yannis Chouvardas translates, adapts and directs Sophocles’ Oedipus Rex and Oedipus at Colonus in one performance as a single work. Under the guidance of the experienced Greek director, a group of distinguished actors and cast will tell, with live music, the thrilling story of Oedipus, starting from the end and going backwards to the beginning of the evil.
1 & 2 August
Athens Epidaurus Festival – Théâtre national de la Colline
Wajdi Mouawad
The Oath of Europe
The Lebanese-Canadian writer, director and actor Wajdi Mouawad, artistic director of the Théâtre National de la Colline in recent years, is best known in Greece as the writer of the Oscar-nominated foreign-language film Through the Flames (dir. Denis Villeneuve, 2010), based on his play Incendies. This dark journey through civil war Lebanon, unfolding through a traumatic family history, has at its root a deep connection with ancient tragedy, which is Muawad’s main source of inspiration: the division at the heart of the family, the struggle between the sexes, uprooting, the pernicious legacy of the previous generation to the next, and the search for catharsis are themes that recur in his plays, most of them in dialogue with heroes of Ancient Drama. The performance will star Juliette Binoche.
Ζυλιέτ Μπινός
8 & 9 August
Μaria Protopappa
Andromache
by Euripides
In a reversal of the heroic Iliad, in Andromache Euripides criticizes the arrogance of the Greeks and the illusion of the superiority of their civilization. The pre-war promises of a united, powerful country are belied in a landscape of decay, old age, fear and envy. The responsibility lies not only with the pioneers, but also with those who believed them and contributed to the debasement of values by their acquiescence. The younger generation is paying the price.
RE-OCCURRENCE
22 & 23 Αugust
National Theatre Greece – Theodoros Terzopoulos
Oresteia
by Aeschylus
The iconic trilogy of Aeschylus’ Oresteia, directed by Theodoros Terzopoulos, in the first collaboration of the internationally acclaimed Greek director and teacher with the National Theatre, was one of the greatest moments in the recent history of Greek theatre. After its triumphant run at separate venues, the performance returns on 22 & 23 August at the Ancient Theatre of Epidaurus, completing this year’s Epidaurian cycle of the Festival.
Terzopoulos’ Oresteia is a work of intellectual and philosophical depth, which manages with its shocking energy to expand the boundaries of art, and ultimately to tell the story of humanity itself. As an undeniably political act and a multidimensional spiritual experience, the performance received a rapturous reception both from the thousands of spectators who attended and from the national and international media.
Theodoros Terzopoulos
EXHIBITION SPACE OF THE FESTIVAL
27 June– 23 August
Antigone. Rule and Disobedience
Periodical Exhibition
On the occasion of the world premiere of Antigone directed by Ulrich Rasche (co-production of the Athens Epidaurus Festival and the National Theatre), the exhibition space of the Ancient Theatre of Epidaurus hosts a new temporary exhibition, entitled Antigone. Rule and Disobedience
Open to the public throughout the performances at the Argolic Theatre, the exhibition presents the transformations that one of the most emblematic works of ancient drama, which defined the Western modern consciousness, underwent during the 70 years of the Epidaurus Theatre.
“The Little Trackers”
Children’s creative workshop in Epidaurus
The successful theatrical education programme “Little Inventors” continues this year, bringing children closer to the wonderful and mysterious universe of ancient myths. While the adults watch the performance at the Ancient Theatre of Epidaurus uninhibited, the children are creatively engaged in approaching the content of the same play. A team of experienced theatre educators and teachers of music and aesthetic education participate in the programme.
STUDIO RESIDENCY
15 – 28 June
Parodos
Parodos, the inter-artistic research programme (studio residency) that we launched in 2021, aims to enable artists from a wide range of arts to advance, under ideal conditions, their research on the dramaturgy of Ancient Drama in situ.The research process has a practical character and is developed in two stages: the first stage (research) takes place in Athens, while the second stage (application) takes place at the Little Theatre of Ancient Epidaurus. The general coordination and guidance this year is undertaken by the director Dimitris Karantzas.
Olia Lazaridou
A lonely Thebes
by Kyriakos Charitos
Inspired by Sophocles’ Antigone
Award-winning author and screenwriter, Kyriakos Charitos (National Children’s Literary Book Award 2023) writes a folk tale inspired by the myth of Antigone, directed by Olia Lazaridou. Avoiding the linearity of a text that viewers know inside and out, A lonely Thebes moves both forward and backward. It takes the form of a rant. A song.
Christos Stergioglou – Alexandros Drakos Ktistakis
CRIES
The ΙCries is a performance that, based on slavery, uprooting and migration throughout the centuries, explores the points of intersection and the organic affinity between poetry, Ancient Drama and its member,, music.Excerpts from ancient tragedies, lyrics from popular and modern Greek and world poetry and original texts are combined and integrated into an original musical work composed by Alexandros Drakos Ktistakis. The work is performed by the Alex Drakos Quartet, in an on-stage musical conversation with charismatic performers Christos Stergioglou, who directs the performance, and lyric singer George Iatrou.
Χρήστος Στέργιογλου
18 July
Hellenic Film Academy –Athens Epidaurus Festival
Electra 7
A collective film inspired by Sophocles’ Electra
Part of the successful Contemporary Ancients cycle, which this year opens in the art of cinema, the film, written by Panagiotis Christopoulos, will consist of 7 chapters, each directed by a different director, male or female. Seven distinguished and distinguished filmmakers, with participations in film festivals in Greece and abroad, have been selected to represent the wide spectrum of contemporary Greek cinema and to contribute with their own perspective to this original cinematic relay. They are (in alphabetical order): Alexandros Voulgaris, Sophia Exarchou, Nerytan Zinziaria, Christina Ioakeimidi, Babis Makridis, Argyris Papadimitropoulos and Elina Psykou.
Yannis Skourletis – bijoux de kant
Right of the bed
by Yannis Palavos
Inspired by Sophocles’ Oedipus at Colonus
War session
by Aris Alexandris
Inspired by Aristophanes’ Lysistrata
Γιάννης Παλαβός
Two female monologues inspired by Ancient Drama, signed by contemporary Greek writers, Yannis Palavos and Aris Alexandris, are presented again this year as part of the Contemporary Ancients Cycle, directed by Yannis Skourletis. Written on commission from the Festival, both of them draw freely from ancient myths, revealing contemporary aspects of them in original, subversive works.
An excellent opportunity to acquire works of art at affordable prices is offered by VERGOS Auctions’ “Spring Auction of Modern Greek Art“.158 works selected by the experienced team of the historic auction house are included in the auction, which will be held online and broadcast live from the house’s website on Wednesday, March 12 at 6:00 p.m..
Discover more projects and find out how to participate in the auction: www.vergosauctions.com
With estimates starting from €200 , the auction works are offered for those looking for unique art objects to refresh their space as well as for those interested in taking their first steps in art collecting.
Yannis Tsarouchis, Yannis Moralis, Nikos Hadjikyriakos Gikas, Alekos Fasianos, Yannis Psychopedis, Yannis Gaitis, Diamantis Diamantopoulos, Pavlos, Panagiotis Tetsis, Panos Valsamakis, Antonis Kyriakoulis, Sotiris Sorogas, Vassilis Sperantzas, Tasos Mantzavinos are among the 93 names of renowned artists of the upcoming auction.
With this auction category, characterized by affordable starting prices, VERGOS Auctions encourages the wider art community to discover modern Greek art through the works of great artists of the Greek art scene.
A recent donation to the Benaki Museum, with objects mainly from Nigeria, Cameroon and Kenya, was the starting point for the collection of stories of people of African descent who were born or live in Greece.“Africa amongst us*”is a participatory exhibition that brings the Afro-diasporic community of Greece to the forefront.
It is planned by, for and with over thirty community members and is being held in collaboration with the ANASA Cultural Center for African Arts and Cultures.
Despite the abundance of objects on display, all from the John Phillipson Collection, “Africa amongst us*” is not an exhibition of African art. It uses the objects as intermediaries to hear people’s stories. Through them, the power of the human spirit and the identity of a very active community that keeps its identity alive is revealed.
The many and varied parallel events complement and enrich the exhibition. The February and March programme includes discussions, performances, music and of course guided tours and educational programmes.
John Phillipson, on whose collection the exhibition was based, was a Greek-Canadian mining engineer and exploration geologist, a prolific and avid collector, but also an accomplished translator of Cavafy’s poetry. He had been based in Africa since the 1960s and spent much of his life travelling around the continent, mainly based in Kenya. He also lived in Mozambique and Yaoundé, Cameroon. He assembled most of the Collection in the 1990s. He passed away in 2015 and his collection was donated to the Benaki Museum in his memory by his wife Connie, fulfilling the collector’s deeply personal desire to promote appreciation of African cultures and artistic developments in Greece, the country of his birth.
Benaki Museum / Pireos 138
Duration: 13 February– 25 May 2025
Curators:
Sofia Chandaka, Curator of Collections of World Cultures at the Benaki Museum,
Michalis Afolayan,founder of the ANASA Cultural Centre for African Art and Cultures
Studies for the protection and promotion, but also the safety of visitors, of the Castle of Acrocorinthos, is carried out by the Ministry of Culture through the competent Ephorate of Antiquities of Corinth, on the basis of Programmatic Agreements for Cultural Development, between the Ministry of Culture and the Peloponnese Region. Priority is given to the treatment of rockfalls.
At the same time, the restoration of the Ottoman Mosque A, the restoration study of parts of the outer wall of the Castle and the lighting study are progressing. The Akrocorinthos Castle dominates the hill of the same name in the immediate vicinity of Ancient Corinth and was a timeless refuge for the inhabitants of the area during periods of invasion. Imposing walls have been erected on the upper parts of the hill. The vulnerable western part of the hill has been reinforced with a moat and three lines of fortification with an equal number of gates. The present form of the fortification is the result of successive building phases. The oldest attested building phase dates back to Archaic times, when Corinth was ruled by the tyrant Cypselos and his descendants (657-583 BC). Large-scale interventions and extensions were carried out during the Byzantine and Ottoman periods, as well as during the Second Venetian occupation (1687-1715).
The Minister of Culture Lina Mendonisaid: “The protection of the Acrocorinthos Castle and ensuring safe tours for visitors are a priority of the project carried out by the Ministry of Culture, in close and constructive cooperation with the Peloponnese Region, for the promotion and exploitation of the fortress complex. The fixing interventions are aimed at addressing the problem of rockfalls in a section of rock adjacent to the entrance of the Castle (Gate A). The project includes works on the landscaping of the area for events, the completion of the tour routes, specialised fixing and enhancement of individual areas and monuments of the Castle, such as the Ottoman mosque, and the creation of a digital tour. At the same time, studies are being carried out for the reinforcement of the walls and their lighting. Our aim is, through a comprehensive management programme for the Castle, to ensure the protection and safety of the monument and its visitors, together with the promotion of its different historical phases and at the same time to enable its viewing during the evening hours.”
Due to the rockfalls near the entrance and for reasons of public safety, the Ephorate of Antiquities of Corinth modified the access to the 1st Gate, with the creation of a temporary alternative route. The project to fix the rocky slopes takes into account the results of the geological-geotechnical preliminary study which is being implemented. The walls, with a total length of 3 000 metres, cover an area of 240 000 m2 , a large part of which has been developed into a settlement with numerous monuments. The completion of the study for the repair and maintenance of the most deteriorated parts of the walls and the subsequent restoration work, together with the work of fixing the rocky slopes, will allow the reuse of the cobbled path to the first gate of the Castle, which was prohibited in 2023 due to the fall of rocks and stones from the wall.
The Ottoman Mosque A’, within the third enclosure of the castle walls, is one of the few buildings of the castle that are preserved in a fairly good condition. It is a building of the 1st Ottoman period (1458-1687), with at least one phase of reconstruction, and follows the simple architectural type of mosque with a prayer room (mihrab), a front (revak) and a minaret, which is common in Greece. The aim of the Ministry of Culture is to restore the mosque and include it in the network of monuments of the castle that are open to visitors, and to convert it into a venue for cultural events.
The Stavros Niarchos Foundation Cultural Centre (SNFCC) has now established itself as a favourite destination for Athenians for the celebration of Carnival. As every year, the SNFCC welcomes Lent with live music, dance and creative activities for children, through a rich program. On Sunday 2 March, a street band with Afro-Brazilian percussion, a DJ and a Latin band will fill Stavros Niarchos Park with energy and rhythm. On Clean Monday, March 3, the SNFCC celebrates the Koulouma with a big traditional feast with Greek dances and songs and invites young and old to fly their kites in Stavros Niarchos Park.
The events on Sunday 2 March and on Clean Monday are free of charge thanks to the donation of the Stavros Niarchos Foundation (SNF).
Sunday, March 2 at the Stavros Niarchos Park is all about celebration! It’s the perfect chance to break away from the everyday routine, unleash our imagination, and explore different worlds. Live music, percussion parades, a DJ set, workshops for all ages, costumes, fun, games, and dancing set the tone for a Sunday unlike any other.
Ο DJ Palov kicks things off with a mix of jazz, funk, hip hop, reggae, and dub, handing the baton over to the Los Petralonicos and Daniela Bolano , who bring a unique fusion of Latin, swing, jazz, and traditional sounds. Meanwhile, the multicultural percussion ensemble Bloco Swingueira spreads its explosive energy and Brazilian rhythms throughout the Stavros Niarchos Park.
Los Petralonicos Το μουσικό σχήμα των Los Petralonicos συνδυάζει τους ψυχεδελικούς ήχους του Αμαζονίου -μια μοναδική μίξη από latin, swing, jazz- με παραδοσιακά ακούσματα της Λατινικής Αμερικής (Cumbia Psicodelica και Chicha Peruana) που ταξιδεύουν το κοινό σε μουσικά μονοπάτια γεμάτα ενέργεια και νοσταλγία. Στις ζωντανές τους εμφανίσεις το κοινό γίνεται μέρος της παράστασης, γεμίζοντας το χώρο με τραγούδια και χορό. Από τις γωνιές της Αθήνας μέχρι τις μεγάλες σκηνές, οι Los Petralonicos καταφέρνουν να μεταδώσουν τη ζωντάνια και την αγάπη τους για τη μουσική σε κάθε ευκαιρία.
DJ Palov A true musical explorer, DJ Palov turns each of his sets into an exciting journey full of rhythm and energy. Fusing Latin, cumbia, afro, jazz, funk, hip hop, reggae, dub, and bass, he highlights sounds from all over the world. If he’s not onstage at major European festivals alongside artists like Quantic, Nickodemus, or Bonobo, he’s likely digging deep into global discographies searching for rare gems. As a co-founder of the labels Cast-a-Blast (as Palov & Mishkin) and Carnibal Records (with Panama Cardoon), he has made his mark on music production. Today, he continues his creative path through Spang Recordings in collaboration with his longtime friend and musician Angelos Angelidis (Los Tre, Patatatiti).
Bloco Swingueira Exuberant and energetic, Bloco Swingueira is a percussion band formed in 2014. Every performance they give evokes the spirit of a Brazilian carnival, featuring samba afro and samba reggae rhythms that get the crowd moving. They’ve been an integral part of Carnival celebrations at the SNFCC from the start, offering boundless energy and rhythm to all. Beyond dozens of live shows, they also host percussion classes and workshops led by renowned teachers from Brazil.
On Monday, March 3, we welcome Lent and spring with a grand traditional festival!
From 12:00 to 15:00, ethnomusicologist Lambros Liavas curates and presents a panorama of Greek musical and dance traditions on the Great Lawn, inviting everyone to partake in the ritual of the traditional festive gathering.
With in-depth knowledge of Greece’s traditional music, gained through academic research and travels to every corner of the country, Lambros Liavas shows us how to send off the Carnival period in the age-old way. Carnival mimic dances blend with kalamatiana, kangelia, and tsamika, Epirotic pogonisia, Macedonian syrta, Thracian zonaradika, Constantinopolitan hasapika, Smyrnaic karsilamades, Cretan pentozalia, and island balos dances. Αποκριάτικοι μιμικοί χοροί μπλέκονται με καλαματιανά, καγκέλια και τσάμικα, ηπειρώτικα πωγωνίσια, μακεδονίτικα συρτά, θρακιώτικα ζωναράδικα, πολίτικα χασάπικα, σμυρναίικους καρσιλαμάδες, κρητικά πεντοζάλια και νησιώτικους μπάλους.
Setting the tone is the dynamic ensemble led by Alexandros Arkadopoulos (clarinet and flute) and Giannis Pavlopoulos (violin and vocals). Joining them is Thanos Stavridis, a master on the accordion, while Tasos Valkanis adds a festive Macedonian brass flavor with his trumpet. Also taking part are Iordanis Kouzinopoulos on the laouto (lute) and vocals, and Manousos Klapakis on percussion. Six exceptional singers of the younger generation—graduates of the NKUA Postgraduate Program “Ethnomusicology and Musical Practice”—accompany them: Sevastiani Vletsi, Emmeleia Damanaki, Marianthi-Ippolyti Katsari, Chrysi Tzavla, Dimitra Tsagkaraki, and Varvara Tsiviki.
The event also features Pontic lyra player Ilias Avramidis,, as well as Cretan lyra player Manolis Bountalakis . .
The dance troupes of the Folk Society “Xoropaideia” (directed by Vasilis Karfis and Maria Ziaka) and the Pontic Association “Argonafte Komninoi” (led by Kostas Savvinidis)), invite us all to join hands and dance in their circles!
Curated & Presented by: Lambros Liavas
The event will be broadcast live by ERT2.
In 1924, only Liberal deputies participated in the country’s Parliament due to the abstention of the anti-Venizelist party from the 1923 elections. Nevertheless, the political situation in the country was not characterized by stability. The year began with a government of Stylianos Gonatas, in January the government of Eleftherios Venizelos took over, but it proved to be short-lived due to the disagreements over the “state issue”. The new government of the country was that of Georgios Kafantaris which was maintained until March to be succeeded by the government of Alexandros Papanastasiou. Internal friction led to the resignation of the Prime Minister and the “government of the summer holidays” with Themistocles Sofoulis as Prime Minister took over. The next prime minister, and the last for 1924, was Andreas Michalopoulos.
The country had to deal with political instability, but that was not the most important problem. Just a few months after the signing of the Treaty of Lausanne and the compulsory exchange of populations between Greece and Turkey, thousands of refugees were living in refugee camps in emerging new districts.
However, as is always the case, next to the big daily issues, people are looking for opportunities for temporary respite. Carnival has always been such a time, a chance for people to step out of their identities, to have fun, to dress up. Through the pages of the newspapers Vradini and Ethnos of 1924, the bourgeois way of celebrating Carnival is captured in the pages of the newspapers. The editor of Vradini observes that the dance movement of the year is not at all small, but ‘the dancing vitality, the dancing enthusiasm are those things which are missing from this year’s Carnival’. An indication, perhaps, that life in 1924 is tentatively trying to get back to normal.
The last and most prominent Carnival (of Tyrofagos), exactly a century ago today, was on 9 March. As early as 1906 the most important Carnival event was the Journalists’ Union Ball which, together with the “Journalists’ Lottery”, was a major source of income for the Journalists’ Association. Traditionally, the Ball was held on the last Sunday of Carnival. Until 1910 the Ball was held at the Municipal Theatre of Athens and was only postponed during war periods. In 1924 the event was to be hosted by the Olympion Theatre. The magnificent decoration of the venue was undertaken by set designer Ioannis Abelas and was inspired by the palaces of the Pharaohs.
In March 1924 the Journalists’ Association, which had been founded in 1921 to include journalists who did not belong to the Union, was still active. Within the year, however, the Association was dissolved and its members joined the Union. The Association also prepared its own Ball on Thursday 6 March at the Theatre Kentrikon. The advertisement stressed that the attire for the ball would be “formal or luxurious disguise”. Admission was ticketed, but box seats were also auctioned off a few days before the event. The Theatre Kentrikon was on Kolokotronis Street and had hosted many great performances during its years of operation.
Apart from the unions of the Journalists, of course, there were many other associations that organized balls on the days of Carnival, obviously with the aim of strengthening their funds. The pages of the newspapers mention the Authors’ Ball at the “Delis” and the Ball of the Constitutional Greek Women also at the Κentrikon. According to the article ‘the dance (of the Constitutional Greek Women) will be from both a lifestyle and stylistic point of view something extremely beautiful, warm and moving’. This is because members of the Constitutional Youth will help in its organization. This organization had been founded in 1924 by retired Royalist officers, with anti-Venizelism as its main characteristic.
However, on the occasion of Carnival, many more hotels, breweries, cafes in the centre of Athens and in the outskirts opened dance halls and organized balls. Among them are the two balls at the restaurant “Averoff” in Stadiou Street opposite the Parliament where the participants will participate in “confetti war – egg war – flower war” and enjoy “Soup – Bar”.
Another ball that stands out is the Ball of the bohemians. Its title sets the tone for the costume. Attendees are advised to wear “simple and so typical costumes of the Bohemian era”. The music for the ball would be provided by the Parisian Jazz Band Tardel. Jazz was a musical genre that had made a strong appearance in Athens in the 1920s and appealed mainly to the elite who wanted to stay away from the musical sounds that the refugees brought with them. A similar role was played by the many dance schools that operated in Athens teaching western dances. The most popular dance of Carnival 1924 was the foxtrot, “the beautiful, simple and rhythmic dance” that has “mesmerized the Athenians”.
The period of the Triodion lasts three weeks and ends on Sunday of Αpokria (Hallowen). The following day, on Clean Monday, the period of Sarakostis fasting begins. The word “Apokria” itself, which means “abstinence from meat” (apo=from + creo=meat) indicates precisely this period of preparation of the believers for the fasting of Sarakosti. In spite of this Christian semantics, Apokria customs are of pagan origins, in Ancient Greece and in the cult of Dionysus. In March, around the same time as Apokria, were celebrated in ancient Athens the Anthesteria, a celebration of the god and the coming of spring. Dancing, wine drinking, and pranks of all sorts, were the characteristics of the celebration that still survive to this day during the carnival days.
Of course, the dominant element of the celebration has always been the masquerade. Just for a while every person could become someone else, to behave “inelegantly”, to express themselves more freely. A necessary means for ecstasy is a mask or even face painting. In antiquity, believers covered their faces with the dregs of must and masks, dressed in sheepskins and animal skins and tried to look like the Satyrs, the attendants of Dionysus.
Γέρος, Σκύρος / Geros, Skyros
Not too far from this depiction are similar costumes that are still in use today, such as the Old Man in Skyros in the custom of the “Old Man of Korela and Fragos” or the Babougera, and the Momogeri in Macedonia, which, although they are customs of the Day of Lights, have the same origin.
Mocking songs, satire and revelry are at the heart of all carnival customs, essential features of the spring festival of fertility. In Thebes, on Clean Monday, the Vlachikos Marriage is celebrated. With origins in the shepherds’ feasts, it has not only survived and been embraced by the city, but is now part of its intangible cultural heritage. Another carnival wedding is held in Methoni where a wedding feast with wine and food is set up at “Koutrouli’s Wedding” .
Βλάχικος Γάμος, Θήβα / Vlachikos Gamos, Thebes
In Naoussa the Boules . are well-known. An ancient custom that has incorporated local folk customs and elements of history. Exclusively men participate in the boulukia of the carnival event. Dressed in traditional costumes and accompanied by music from the zourna and daouly, they dance around the city’s neighborhoods accompanying the bride – boula.
Μπούλες, Νάουσα – Boules, Naousa
However, in our country survive the more westernized carnivals that have been introduced in parts of Greece since the Venetian presence. These too have their origins in antiquity and in the Roman festival of Saturnalia which in turn had their origins in the Greek celebrations of Dionysus.
In Corfu the “Petegoletsa” is celebrated, which could be described as a kind of street theatre, with many elements of Commedia del Arte. In neighbouring Zakynthos, the “piccolo carnival” is celebrated, at the center of which is another wedding, this time the grand Venetian wedding, which of course ends in dancing and feasting.
Καρναβάλι στην Κέρκυρα – Corfu Carnival
The famous Patras Carnival also seems to have its roots in the Ionian Islands. The union of the Ionian Islands with Greece in 1864 brought many Ionian residents to Patras, along with the customs of their place. Thus the coexistence of the local dances and Apokria celebrations with the Venetian customs of the Ionian people in the flourishing Patras of the 1870s led to the birth of the Patras Carnival, which early on became part of the city’s identity.
Παρινό Καρναβάλι – Carnival of Patra
Much newer is the Carnival of Xanthi. At its core is the revival of the folklore customs of Thrace in the 1960s in the form of the Thracian Folklore Festivals. The institution was a great success and was immediately embraced by the local community. Nowadays, the Thracian festivals are organized by the Philoprotic Union of Xanthi and, apart from the Carnival, includes a series of other cultural events.
ΤΖΑΜΑΛΑ – Θρακικές Λαογραφικές Γιορτές, Αρχείο ΙΜΕΧ
From Samos and the carnival in Karlovassi to Epirus and the tzamales in Ioannina, and from Crete and the Carnival in Rethymno to Evros, Apokria is celebrated in every region of the country. And although many of the events have now become a tourist attraction, mass participation, fun and good mood remain their main characteristics.
By Giannis Loukas
The Carnival (Apokries in Greek) is not only about the primitive and the dionysian element of the countryside. Besides the custom of the “bell-bearers“(koudounatoi), the “old men“(geroi), the “janissaries“ and the “boules“ (brides), there are more “urban“ events associated with it. When we say “urban“, we do not refer that much to these celebrations that take place in large cities, but especially to these which have a more contemporary (less traditional) nature; that are more “Western-like”.
Of course, as interesting as some Carnival events are in the major Greek cities, they cannot be classified as urban. Especially the ones that take place in cities, located in areas with a more rural character. The cities of Thebes or Ioannina are some typical examples. In the first case, we have the “Vlach’s wedding”, ending each Ash Monday, along with the engagement of the couple, the tradition of dowry, the shaving of the groom and the wedding decorations of the bride. It is a tradition that has its roots in the early 19th century, when after the release of the highland areas, the Vlachs, deserted their barren earth to find fertile ground souther. In Ioannina, we also have the “Jamal” custom, huge bonfires around of which the inhabitants of the town get intoxicated with alcohol, dance, eat cake, and bean soup. It is an old tradition that survives in an environment that is today, urban. The very etymology of the word itself (probably from the Thracian carnival custom of the jamal – camel) points to other Carnival customs of the rest of the country, that are held in cities which are today urban centers, in most of which though, customs of the Carnival with a more folk character survive. In Lamia for example, one can see the ritual of the beheading of the “mischievous“ camel by the camel driver.
On the other hand, there are various traditional customs of the Carnival which with time were passed on to the “urban“ Carnival habits as well. A classic example of this, is the Maypole. It continued as a traditional custom in many rural areas and villages (as in Kallipefki of Thessaly), and then was passed on to various semi-urban or urban centres (Livadeia, Kalamata, Rhodes). It became very popular though, in predominantly urban areas of the 20th century, like Athens. This stunning cover of the magazine “Eikones“, presents us a snapshot of the time, when Athens was on the verge of urbanization: maypole in Plaka, 1957.
περ. Εικόνες, 1957 / Eikones magazine, 1957
So in a slow pace, many urban areas incorporated traditional elements in their Carnival celebrations. An example in this respect, is Xanthi, which combines the old with the contemporary. In this city we can see the survival of the old custom of ‘burning of the Tzar,’ and up to the 1950’s, the Carnival festivities had solely a traditional character. Today, Xanthi’s Carnival has a more contemporary caracter and is organized by 34 autonomous associations.
There are of course other areas that have celebrated the Carnival in a primarily urban way, over the decades. Classical urban Carnivals came to the Greek territory in the late 19thth century, with clear influences from their Western equivalents: streamers, clowns, Western dances and processions with floats, composed their backdrop. Such Carnivals are held now in several cities of Greece.
Το κάψιμο του τζαρου – The burning of Tzaros (xanthidaily.gr)
Naturally, due to their historical roots, areas such as the Ionian Islands, adopted these types of Carnival celebrations, faster than other parts of Greece. Here, these things started very early with the so-called “Speeches”. These were short folk theatrical performances, held during the Carnival. They started before the 18th century and were influenced by the Venetian Carnival. They were based on written texts and adaptations of popular readings, which also included works of the Cretan Theatre. With the evolution of time, the Carnival events in the Ionian Islands acquired their very own characteristics. In Zakynthos (Zante), a crier goes around the island and proclaims the Carnival’s program. Throughout the Carnival, dances, parades and other events, are organised. The program ends with the “Funeral of the Mask“. This is a funeral parody in which the Carnival King, takes the place of the deceased, followed by grieving relatives. In contemporary Kerkyra(Corfu), even from the years of the Venetian Occupation, there was a great Carnival tradition. A Venetian officer assumed the responsibility of entertainment and brought ballets and operas to the island, in order to organize the Carnival, leading to the end of his term. Here too, the crier passes by the city streets with trumpeters and drummers, in order to announce the arrival of the Carnival Sior (meaning “sir“ in the Ionian islands dialect). The great procession, along with floats, bands and costumed gatherings, is directed to the Kato Plateia (Lower square) for the feast, and on the last Sunday of the Carnival, the parade of the Sior Carnival ends, with the burning of his effigy.
Καρναβάλι στην Κέρκυρα, 19ος αι. / Carnival in Corfu 19th. century
Perhaps, the proximity of the region to Italy, has contributed to the early adoption of Western-like carnival customs, in the Galaxidi area too. The urban character of the area and its nautical tradition, contributed to the adoption of Western habits. It is assumed for example, that the famous ‘Flour Battles’ were copied from folk festivals in Sicily. We know from the English traveler Dodwell, who visited Galaxidi in the days of the Carnival in 1801, that these Carnival celebrations already are more than two centuries old!
Ultimately, it may not be a coincidence that the Western carnivals were established in urban areas that were under the Venetian Occupation. Even if they started much later than that, as in the case of Rethymno, it appears that the roots of the Venetian conquest remained profound. InRethymno specifically, the Carnival dates from 1914, and includes troubadours with guitars, mandolins, old melodies, maskers who pass through the city streets in the rhythms of the Philharmonic, and the Carnival festivities culminate, with a large parade on the quay.
In time, of course, other towns as well, wanted to participate in the magic of the modern Carnival. The “Carnivals of Women“ in Epirus, demonstrate a particular interest. They started in the 1960s in Preveza, another area situated opposite the Italian Coast. The distinctive quality of this carnival is obvious from its name: it is a women’s carnival! In the recent years, the Women’s Carnival of Preveza, has each time over 20 crews with 1,000 Carnival Participators. The Women’s Carnival in Arta, followed the example of the city nearby. It began spontaneously in March 1982, without having been organized by a club or an organization.
Το καρναβάλι στην παλιά Αθήνα – The Carnival in old Athens
When talking of course about “Urban Carnival” we cannot omit from our talk, the most urbanized region of the country in modern history. Attica , celebrates the Carnival in its own way. The Carnival of Moschato , dates only from 1987, but has managed to become very popular, and hosts not only Carnival representatives from other parts of Greece, but also from the rest of the world! Of course, the traditional centre of Athens’s Carnival celebrations, is Plaka . Who has not been there during the celebrations of the Carnival, found in the crowd and hasn’t got a ‘traditional’ bat on the head? The old Athenian neighborhood is each time at the centre of the celebrations.
Αρμα πιερότος – Προπομπός 1974 Πατρινό Καρναβάλι – Chariot Pierot – Forerunner 1974 (archives.carnivalpatras.gr)
But we have to face it. When we speak of “Urban Carnival”, we know for sure that the Carnival King resides in a city, again facing the Italian Coasts. For the biggest spree, we vote “Carnival of Patras forever” . It is one of the oldest “Urban Carnivals”, counting 180 years of history. It is said to have started from a Carnival dance held in 1829, in the House of the trader Morettis. The influence of the French troops stationed in the city after the liberation, and of course its geographical position, close to Italy with the great carnival tradition, lent since the beginning to the Carnival of Patras , a more Western-like character in relation to all the rest.
Painting at the top of the article: Νικόλαος Γύζης, Καρναβάλι στην Αθήνα – Nikolaos Gyzis, Carnival in Athens
The opening of the exhibition of museum memorabilia and archival material in honour of the great benefactors of IAMY, Dionysios and Ingrid Kountouriotis, took place on Saturday, 18 January 2025 at 13.00 at the General State Archives/Historical Archive-Museum of Hydra.
The late Dionysios and Ingrid Kountouriotis,, as the last descendants of the branch of the family of Lazaros Kountouriotis, donated to the museum all the precious heirlooms of the family that had been transferred to their home in Zakynthos. The museum is now adorned with these heirlooms, as a large part of them is exhibited in its permanent collections. Thus, Dionysios and Ingrid made sure that their name was associated with the Archive and Museum, and the Kountouriotis family with it. In fact, in recognition of their great contribution, the main Cultural Events Hall bears their names in honour. The exhibition includes part of the Kountouriotis family’s large donation, which is being presented to the public for the first time and consists of wooden, carved 19th century furniture (desk, dining table, seats, boudoir, screen, etc.). ), impressive paintings of the 18th and 19th century (Roman Mercy, Innocence, Holy Family, Self-portrait of the German painter Anton Raphael Mengs, etc.) and many decorative small objects (candlesticks, plates, clocks, etc.) which adorned the houses of the Lazaros Kountouriotis family in Hydra and Palea Faliro throughout the centuries.
Also on display in the room is a complete and functional 19th century loom, which was recently donated to GAK/IAMY by the philhydrama Athena Fanti. Finally, the exhibition is accompanied by indicatively selected, very interesting archival material concerning the Kountouriotis family, Kountouriotis archive, such as authentic letters from the period of the Revolution (1819-1825), correspondence between the brothers Lazaros and George Kountouriotis as well as letters addressed to or sent by important persons of that period, such as Alexander Mavrokordatos, Dimitrios Ypsilantis, John Orlandos.
The exhibition in honour of the benefactors of IAMY, Dionysios and Ingrid Kountouriotis, will remain open to the public in the second floor of the Museum until 31 May 2025, from 9 am to 4 pm on weekdays and weekends.
Historical Archive of Hydra Museum
PC 18040 Hydra Port Phone: (+30) 22980-52355 Fax: (+30) 22980-52355, mail@gak-ydras.att.sch.gr
