Social Hackers Academy is a non-profit organization based in Athens, whose mission is to provide refugees and other socially vulnerable groups with comprehensive software engineering skills and to assist them with finding work. Sister publication GrèceHebdo met with the Social Hackers Academy founders to learn more about this different kind of school that has just completed its first “academic year”.
Tell us a bit about Social Hackers Academy. What was the idea behind its foundation? How easy was its implementation?
Million of refugees arrive everyday in Greece and unfortunately our country's infrastructure cannot fully support their integration inτο our reality. Thus, several NGOs are focusing their operations on covering their basic needs, but other needs such as education, or guiding them through job research process are not adequately coverd.
And this is the gap that Social Hackers Academy wants to fill: to educate, help integrate and find employment for people from vulnerable groups, including refugees, long-term unemployed citizens and people with disabilities. Our co-founders, Damianos Vavanos and Chris Owen are passionate about social impact and software programming, so they decided to combine those two and create the first coding school for refugees in Greece.
The implementation of our idea was not that difficult, since there is a growing need for good programmers in the job market worldwide. Our expertise and solid knowledge in the software development field helped us build partnerships with tech companies in order to achieve our mission and expand our operations.
Why a school for refugees & other social vulnerable groups?
Our main target audience is refugees, as Greece currently hosts approximately 50,000 refugees, 70% of whom will remain here. We were feeling so frustrated with the deadlock they are facing, so we thought of creating a school that would help them in a more sustainable way, by educating and helping them unlock their true potential, so that they can rebuild their lives.
We also do not like the fact that there are 100,000 Greek STEM graduates who can not find a job, and we believe that this is due to our educational system’s insufficiency in adequately preparing students for the job market. We want to fill this gap by offering training forskills that companies today need. Through technology and programming, we can create a hub in Greece where big companies can open branches that will operate for as long as developers need it. This trend is recorded in many surveys and it is estimated that by 2020 the world market will need 20 million developers.
How easy is it for vulnerable groups and refugees to learn about education programs in Social Hackers Academy?
Well it is not that easy. It’s hard to take a person who is still suffering from trauma and “convince” them that a different life is possible. They also hear that the economic situation here is not the best and so everybody just wants to leave the country.
One of our initial mistakes was that we were pitching our beneficiaries by saying that we’ll train you in software engineering for 6.5 months and then we’ll get you a job. That was a disaster as we got people who were in need of work at that very moment and didn’t have the time to wait for 6.5 months. To support our students we provide a integrated program by offering Life Coaching, LinkedIn Coaching and Soft Skills courses and trying to cater to each person’s unique needs.
How does Social Hackers Academy operate on a daily basis? Which are the impressions and outcomes of the first round of web-development sessions?
Following the successful example of similar educational projects abroad (Hack Your Future - The Netherlands, Gaza Sky Geeks - Palestine), we deliver a comprehensive education programme in software engineering, including courses as Full Stack Web Development, Wordpress (front end web development) and Computer Literacy (basic skills). Our key differentiating point is our employment-focused approach and comprehensive support for each student’s unique needs. Our holistic services include: LinkedIn, business, and job interview coaching; soft skills seminars; study groups/tutoring; access to ethical micro-loans from Pythea’s Path.
Courses are provided free of charge at BIOS Romantso Incubator in Athens and range in length from 2 weeks to 6.5 months. We provide students with laptops for the duration of the course so that they them to study and complete assignments. The lessons are taught by volunteer professional developers, not teachers, so that they can better acclimate the students to the “real world”. Courses start every 2-3 months and we expect to start 5 cycles next year. The duration of the courses is five and a half months and another one month for the final project.
The first course has begun in September 2017, with students from Syria, Iraq, Afghanistan and Pakistan. It was our pilot and we expected to make many mistakes and face major challenges. This effort was greatly helped by our partners in the Netherlands, Hack Your Future, as well as a network of similar schools in Great Britain and Denmark.
Do other initiatives, similar to yours, take place abroad?
Similar initiatives to SHA are also running abroad due to worldwide lack in tech education and efforts in the integration of social vulnerable groups. Thus, we are part of a six-countries network of schools who share knowledge, curriculums and teaching methodology, with one goal: to educate, develop and enable people to find placement in the job market and provide value for themselves and their host nations.
Read more via Greek News Agenda: Teaching refugees in Greece how to code; June 2018 Newsletter on the refugee-migrant situation in Greece; Rethinking Greece: Lina Venturas on Greek migration, population movements and integration policies for refugees; Health care and children’s education are Greece's priorities for refugees; Online language classes for asylum seekers on Lesvos
*Interview by: Maria Oksouzoglou
Zdravka Mihaylova is an accomplished and prolific translator of Greek literature into Bulgarian. She was born in Sofia and is a graduate of the Sofia University School of Journalism and Mass Media. She has worked as a journalist for the Bulgarian State Radio and the Bulgarian News Agency (BTA). Since 1994 she has been working at the Greece & Cyprus desk of the Bulgarian Ministry of Foreign Affairs, while continuing to write articles on Greek literature and cultural heritage. She has, to date, had three postings at the Embassy of Bulgaria in Athens (1995–1998, 2002–2005, 2009–2013).
As is a literary translator from Greek and Bulgarian, she has translated 45 books of contemporary Greek writers as well as some books from Bulgarian. In 2010, she received Greece’s State Translation Award for the translation of a work of modern Greek literature into a foreign language, for her anthology of poems by Yannis Ritsos «Η Γραφή του Παντόπτη» (Stigmati Publishers, Sofia: 2009). Zdravka Mihaylova spoke* to Greek News Agenda on literary translation as a platform of communication between cultures and peoples.
How known is Greek literature in Bulgaria?
Looking back at the reception of Greek literature in Bulgaria, one could say that in the 18th and 19th centuries highly educated Bulgarians used the Greek language as a conduit for communicating with European culture. This is the reason that not only ancient Greek classical writers and philosophers have been published in Bulgarian in repeated editions, but there is a significant and sustained tradition of translating modern Greek literature.
Works of Greek prose were translated abundantly, particularly in the period 1960–1990, but also in the new market conditions after 1989. Along with the quartet of Greek poets known by every well-educated Bulgarian reader – Cavafy, Seferis, Ritsos and Elytis – Nikos Kazantzakis is the most well-known, translated, widely read and best-selling Greek author, with more than a million copies printed.
Kazantzakis’ oeuvre in Bulgarian language is inextricably linked with Georgi Koufov (1923–2003), a devoted translator and a connoisseur of the author’s work. Koufov’s output includes also translations of works by Kostas Varnalis, Emmanouil Roïdis, Dido Sotiriou, Dimitris Hatzis, Stratis Doukas, Maria Iordanidou, Menelaos Loudemis, and many others.
Bulgarian readers are also familiar with classical works of Greek literature, such as Stratis Myrivilis’ Life in the Tomb, Grigorios Xenopoulos’ Rich and Poor, Ioannis Kondylakis’ Patouchas, Andreas Karkavitsas’ Words from the Prow, in several translations. In 1963, on the hundredth anniversary of Cavafy’s birth, a collection of translated poems by the great poet was published in Bulgarian by the largest – at the time – national publishing house Narodna Kultura, which had a great impact on the Bulgarian public.
How would you assess the interest for translations of modern Greek literature today?
During the last years there has been a steady interest in all Balkan literature, including Greek. After 1989, and following a brief switch of readers’ attention to banned-until-then works by Western writers, interest in modern Greek literature has been reinvigorated. Since 2000, many Greek writers and poets have appeared in Bulgarian translations: Ioanna Karystiani, Dimitris Kalokyris, Margarita Karapanou, Rea Galanaki, Thanassis Valtinos, Takis Theodoropoulos, Zyranna Zateli, Ismini Kapandai, Elena Houzouri, Dimosthenis Kourtovik, Kostas Kalfopoulos, Thomas Skassis, Yannis Varveris, Michalis Ganas, Takis Sinopoulos, Nikos Karouzos, Haris Vlavianos. There also playwrights, whose work has been translated and featured either as separate publications, or in literary journals or who have appeared as guest lecturers in Modern Greek Studies departments. These include Pavlos Matesis, Dimitris Kechaidis, Vassilis Ziogas, Marios Pontikas, Loula Anagnostaki.
How do you think literary translations affect communication between peoples?
We must acknowledge the great value of literary translation in facilitating acquaintance and communication between different cultures and peoples, especially in the Balkans. Communication between the Balkan peoples is still difficult, mainly because of the language barrier, which prevents us from realizing the existence of a common, fundamental Balkan civilization among all the peoples of the peninsula. Indeed, the peoples of the region have little knowledge of the peculiarities of their neighbors or their literary landscape. The channels of cultural communication between them had, until fairly recently, usually passed through the major European centers of art and creativity, such as Paris, London, Moscow or Berlin. For a work to be translated into one of the Balkan languages, it had to have already received the imprimatur of critics or to have attracted the public’s interest in one of the major European languages. Direct translation from Greek to Bulgarian, and vice versa, has sought to symbolically remove this communication barrier and constitutes a first-rank cultural event. In view of the prevailing domination of the major languages, literary communication between the so-called "weak languages of limited dissemination" is a palpable manifestation of the significance, autonomy and cultural specificity of the "small" or less spoken languages of Europe that deserve to be supported.
Finally, since we are talking about the importance of literature and literary translation in fostering communication and acquaintance between different cultures and peoples, how well-known, or maybe not, is Bulgarian literature in Greece?
The relation between Bulgarian titles translated into Greek and Greek literature, whether ancient or modern, available in Bulgarian, is somewhat unbalanced. Many more Greek authors have been translated into Bulgarian than the other way around. Classic Bulgarian novels like The Peach Thief, Anti-Christ, The Legend of Prince by the renowned-abroad writer Emiliyan Stanev have not been available in Greek since the 1980s. One of the iconic works of Bulgarian literature, written by its patriarch Ivan Vazov - Under the Yoke - would grab the interest of anyone interested in historical novels, with its exceptional writing and suspenseful plot. It is out of print too, as is the novel Tobacco by Dimitar Dimov, which refers to a complicated period in the history of Bulgarian-Greek relations: the Bulgarian occupation of Eastern Macedonia and the Greek part of Thrace (1941–1944).
More recently, I recommend a more contemporary Bulgarian author – Vera Mutafchieva – more readily available in Greek editions. Her books directly relate to Greece and its history: to ancient Greece, to the glory of Byzantium and to Ottoman intrigues. Bay Ganio, a venerable text satirizing an uncouth, nouveau-riche Bulgarian character during the era shortly after the Bulgarian liberation from Ottoman rule, who tours Europe trying to sell his rose oil, or embarks on political intrigues while in Bulgaria, will soon be translated by Vaïtsa Hani-Moÿsidou.
Poems by the Bulgarian poet Kiril Kadiiski are available in a discrete edition. I have presented many others, both poets and prose writers, at literary festivals – for example, Todor Todorov, a short story writer, and poet Nadezhda Radulova at the ‘Logotehniki Skini’ Festival in Kalamaria (2013); the poets Sylvia Choleva, Patricia Nikolova, and Yordan Eftimov at the Transbalkan Poetry Festival under the aegis of the Thessaloniki International Book Fair; Ivan Theofilov, Sylvia Choleva, and Palmi Ranchev at the Rhodes International Writers’ and Translators’ Center; and five Bulgarian poets at the Prespeia Festival (2000). Very recently, Georgi Gospodinov (born 1968), one of the most talented and translated modern Bulgarian writers, was introduced to the Greek readership with his last novel, which had already appeared in English as The Physics of Sorrow (2015).
Well aware of the importance of organizing events that bridge our two cultures, the Museum of Byzantine Culture and the General Consulate of Bulgaria in Thessaloniki co-hosted, in December 2017, a double book presentation of a Greek and a Bulgarian title respectively: the classic collection Balkan Legends and Myths by Yordan Yovkov (2016) and The Death of the Knight Celano and other stories by Thessaloniki-born Theofano Kaloyanni, published in Bulgarian in 2013. The two books, though very different, have Balkan myths and legends as a “common denominator”.
Finally, it would be an omission not to mention, with well-earned respect, the contribution of such profoundly knowledgeable translators of modern Bulgarian literature into Greek as Panos Stathoyannis, Dimitris Allos, Hristos Hartomatsidis, Vaïtsa Hani-Moÿsidou and others.
* Interview by Evgenia Kampaki, Press Officer at the Embassy of Greece in Bulgaria, on behalf of Greek News Agenda
Sozos Yiannoudes (Cyprus, 1946) is a graduate of the School of Fine Arts. From 1972-2004 he taught fresco painting and portable icons technique in the Athens School of fine Art. In 2004 the Ecumenical Patriarch Bartholomew honored him with the title of Grand Master for the 10 years of missionary service in Korea. He has worked in Greece, Cyprus, Korea and England. In his interview with Greek News Agenda* he talks about his experience as an iconography teacher in Korea. The initiative of these workshops was taken by His Eminence the Most Reverend Metropolitan Ambrose (Zographos) of Korea who,in addition to his service, is also full professor at the newly established Department of Greek Studies at Hankuk University of Foreign Studies in South Korea.
How did you decide to come to teach iconography in Korea?
It was in 1994 when former Metropolitan of Korea, and current Metropolitan of Pisidia (Turkey), Mr. Sotirios Trambas, invited me to paint the Metropolis of St. Nicholas in Seoul. I always wanted to go on a mission trip and so I accepted his invitation. Since then I have painted around ten churches in all of South Korea.For the implementation of this difficult project, I worked with a team of students from the Athens and Thessaloniki Schools of Fine Arts, various other collaborators and my children. We all worked on a volunteer basis.His Eminence the Metropolitan, strangled to find sponsors both in Greece and abroad to cover our travel and subsistence expenses. In exchange, we decorated the churches that the Metropolitan had so painstakingly built during the previous years. When the economic crisis hit Greece, sponsorships came to an abrupt halt. As a result, iconography in Korean churches stopped for a long period. Two years ago, I received a request from both the former and the new Metropolitan of Korea, Mr. Ambrose Zographos, to organize a one-month byzantine iconography workshop in Korea. We are now on our third year and the interest is great.
What is your impression of the Korean Orthodox community?
My experience from the Orthodox Community in South Korea has profoundly marked my life. The community has currently 6500 to 7000 adherents, many of whom used to be atheist, areligious, Buddhist, Protestants or belonged to other religions. Their love for our Orthodox Church has impressed me very much. There are worshipers who travel up to four hours just to come to the Sunday mass. They sing with devotion, they know the service, the psalms and the order of the canons. The majority has received formal music education and they contribute to the service in an effortless manner. Sometimes I feel awkwardly when I realise that they know so much more than I do. They love their community that revolves around the church, which they consider their refuge. The decisions are always taken collectively. They discuss things and together they reach a decision. When I first went to work there, they told me what kind of religious paintings they wanted me to paint. I had to follow the byzantine style of course, but, at the same time, take into account their tradition, their customs and their experiences. For instance, they feel fear when the eyes of the Saints look at them straight in the eye or when the scences are too densely painted. They also do not like colours when they are too bright. I respected all that. I also give my own intepretations. One would be that in the entrance of the Buddhist temples, there are the so called "protectors of the temple", four figures on the right and left of the entrance with fierce looking faces and protruded eyes. Also, the Buddhist temples are very densely painted with very bright colours. It is possible that the Orthodox Community does not want its churches to look like Buddhist temples.
What is the profile of your Korean students? What do they seem to appreciate the most in byzantine art?
The people who take part in the workshop belong to different religions and are eager to learn more about the interpretation and the symbolism of each icon. Many are Fine Arts graduates so they already know how to draw and how to use color and composition. Thus, they are able to quickly determine the subject-matter. Nevertheless, through the workshops they try to approach the symbolism, the style and the expression of the Byzantine icon and to appreciate its transcedental and rich content. My students are mostly Koreans. They are diligent, organised, meticulous, kind and they appoach what they do with great respect and love. Their love for the environment and nature is also remarkable. At this point, I would like to take the opportunity and talk about something that impressed me a lot. After the war, both South and North Korea were completely burned by Napalm bombs. Once a year, everything used to be closed by law so that the citizens could go and plant trees. This law was abolished almost twenty years ago but by now the country has been fully replanted from one end to the other. I wish our beautiful country would follow the example of Korea. I try to do so by planting trees inside and outside my house even though I have received not only positive but also negative comments about it.
What deeply impacts my students as they immerse themselves in the expressive richness of the icon, is the diversity and the explanation behind each brushstroke that is charged with symbolism. Once they understand the icon, my students get to love it so much that I feel they take something away from my own immense love for it. In order to appreciate the byzantine icon, they need to understand its philosophic interpretation: the illustration of any natural or perishable element is to be avoided; the illustration of a sainctified, transcedental face is very different from a common portrait or photograph; the rule of the two dimensional illustration with the abolition of dephth and perspective; the beauty of the illustrated face which is understood once we analyse the proportions and the inclination of the face (always in three-quarter view). Finally, the rich colour palette that is used for the dresses as well as the way a woolen dress is differenciated from a silk one are some of the various elements that highlight the unique artistic expression of the byzantine icon and raise many questions with my students.
Have the workshops inspired your students to learn more about Greece and the Greek culture?
Koreans know a lot about Greek civilisation and culture and want to come to Greece to see for themselves all the things they have read about or learned during the workshop. For instance, they are familiar with Manuel Panselinos, Theophanes the Cretan and Theophanes the Greek, the teacher of Andrei Rublev. They also express great love for the ancient civilization and a great interest for its continuation, the Byzantium. Many ask me to be their guide when they visit Greece. They are good-souled people, eager to enrich their knowledge of the Greek civilisation and tranfer it to their own country.
I would like to digress a moment to note that in the basement of the Metropolitical Church of Seoul there are a lot of plaster casts of ancient works of art (donated by Melina Mercouri when she was Culture Minister). They include works of Cycladic, Minoan, Archaic, Classic, Hellenistic, Roman and, of course, Byzantine art that is taught up to date. A result of that teaching is the decoration of the Metropolitan Church of St. Nicholas that was completed in three phases of 20 days each.
Are there similarities between byzantine iconography and Korean traditional painting?
There are indeed some similarities between the Byzantine and the very old Korean and Chineese art. An exemple would be the halo that we find in both Buddha and Jesus. Of course the halo is something that exists since the Hellenistic times, and it is to be found around the heads of Dionysus and Apollo (see the mosaic of the birth of Dionysus, in Paphos, Cyprus) and other Greek Gods. Other similarities would be the fine, clear line, the pastel coulours, the flat surfaces in the dresses and faces. Also, the casual placement of the figures on the surface, like a child who places all figures in the foreground. On the other hand, there are huge differences that have to do with the symbolism and the dogmatic interpretation of the two arts.
*Interviewed by Lina Syriopoulou
Kalamata International Dance Festival, the most important contemporary dance event in Greece, returns for its 24th edition in the city of Kalamata, in the picturesque region of Messinia. For ten days, on July 13-22, 2018, acclaimed Greek and international dancers will present their work to art lovers from around the world. The programme includes indoor and outdoor performances as well as workshops.
This year’s edition features performances by Greek and foreign internationally recognised dancers and choreographers, in performances that range from contemporary circus to street dance. For the first time, outdoor performances free of charge will also be taking place daily in the city’s central square. The programme also features workshops by dance masters (including one for children and one for people with disabilities), a photography exhibition and a Latin/jazz evening.
The Festival is an initiative of the International Dance Centre of Kalamata, established in 1995 as part of the Municipal Society for the Cultural Development of Kalamata. Its aim is to support and promote the art of dance and the organisation of the Festival has become one of its central purposes, helping it place the city on Europe's cultural map. The Festival’s artistic direction was assumed in 2017 by Linda Kapetanea, who was the one to introduce the outdoor dance performances.
Linda Kapetanea (photo: Mike Rafail)
Linda Kapetanea is a dancer and choreographer, with studies in Athens and New York. She performed with several dance companies in Greece and abroad, including the Flemish company Ultima Vez for three years. In 2006 she and Jozef Frucek formed the dance company RootlessRoot as a vehicle for their own productions, research and teaching. Together they have developed Fighting Monkey, a practice with applications in various fields such as dance/movement therapy, sports and art. We interviewed* Linda Kapetanea on her aspirations for this year’s edition of the Festival.
What did you have in mind when you put yourself forward as a candidate for the position of artistic director? Do you feel that the programme of the Festival’s 24th edition fulfills your vision?
I wanted to show the audience and young dancers my perception of contemporary dance. I have witnessed its power, and I wanted to share with others what I have seen and been touched by.
(Photo: Didier Carluccio)
I have the feeling that this year's Festival will leave a strong imprint on the city and on Greek cultural life. My vision stems from the ways young people learn how to move, dance and perceive life through the art of dance, as well as the ways in which the audience reflects on dance. I would like for the Festival -and not just this year’s edition- to function as a school for everyone, for both audience and dancers.
The Kalamata Dance Festival is an internationally acclaimed institution. How did you manage to successfully organise an event of this calibre, while also a practicing dancer and choreographer with the Rootless Root dance company?
The overall success of the event will be evaluated in the end. Thus far, we can talk of specific accomplishments. As far as my other endeavours are concerned, I think one can see that I engage in activities that stimulate and invigorate. This is the way I live. For now, I have sufficient stamina and, of course, excellent colleagues, wonderful friends and immense support from my family.
(Photo: Saris & den Engelsman)
Is this experience as fulfilling as your more physical ventures as a dancer / choreographer? Did it open up new artistic perspectives?
There are many instances of stress and anxiety, a lot of work to be done and a great deal of communication with people who understand things very differently to the way that I do. All this has been a great source of knowledge.
A new initiative of yours has been the public outdoor performances: every afternoon, in the central square of Kalamata, a dancer or a group of dancers taking part in the Festival will be offering a free performance. How did you come up with this idea? Do you think that we lack initiatives of this type, bringing the general public in contact with contemporary dance?
I wanted to do something for those who consider dance boring and would not be willing to buy a ticket, as well as for those who would love to watch dance performances every day but could not afford to so. The central square of Kalamata is ideal for opening the city to the art of dance. I had experienced this practice as a dancer many times in various European cities and I really loved it.
(Photo: Mario Arturo Martinez)
Do you already have some thoughts regarding the Festival’s future editions? Will it still be priority for you to attract young people?
I am drawing a plan as regards the style and character I would like next year’s edition to have. Yes, young people and children are among my priorities because I am concerned about the way in which the next generation of dancers and spectators will develop.
*Interview by Nefeli Mosaidi
Remember MacGyver, the 80’s action series about an inventive guy who could make explosives with chewing gum? What would MacGyver do in the YouTube era? Film maker Dimitris Tsilifonis offers an answer to this critical issue in his film titled “Do it yourself”. “DIY” is an escape film about a small-time crook, Alkis, who agrees to star in a video that will be used to restore the public image of a corrupt businessman. When Alkis realizes that his accomplices are going to kill him, he only has a few hours to organize his DIY escape from the porn studio in which he is imprisoned, using his wit, digital skills and a toothbrush.
Dimitris Tsilifonis probably doesn’t know MacGyver. He was born in Athens, Greece in 1991. He is an American Film Institute fellow, holds a BA in Communication, and has worked extensively in the film industry. “Do it yourself” is his directorial debut feature. It received the Special Youth Jury Award at the 58th Thessaloniki IFF.
Tsilifonis talked to Greek News Agenda* about “Do it yourself” underlying his intention to mock the unrealistic expectations that pop-culture films build up expectation in the viewer. As “DIY” is an intertextual film full of references to other films and viral videos, Tsilifonis stresses that he makes no effort to hide his cinematic influences as a film director. The same goes for the characters in his film, who feel very wary of the situations they are in, comparing them to their favourite crime dramas. Tsilifonis concludes that through its mocking of cinematic conventions, “DIY” is exploring what is real in the “fake news “ era and tries in its own way to urge the audience to “Search for yourself”.
Konstantinos Aspiotis, "Do it yourself" (2017)
What made you decide to do a Greek action film?
Well, I wouldn’t necessarily characterize it as an action film, although there are action scenes in it –but I get your point. I wanted “DIY” to be a mainstream, yet entertaining cinematic experience. The whole film in a way mocks the unrealistic expectations that pop-culture films build up in viewers. I thought the tragic consequences of pretending to be “James-Bondish”-awesome, would be interesting grounds to explore. I mean, our biggest inspiration with our fight choreographer, Chris Radanov, were Jackie Chan and the Bridget Jones fight scenes. At every opportunity, we tried to infuse comedy into them. “The dudes, who don’t know how to fight, but are trying their best”, that was our motto. (https://www.youtube.com/watch?v=iapVomK4eFA)
Christos Loulis, Mirto Alikaki, "Do it yourself" (2017)
What are your cinematic influences and how did you incorporate them in your film, which as you have said, is a very personal project?
Themis Panou, Konstantinos Aspiotis, "Do it yourself" (2017)
How did you overcome budget limitations?
By planning. A LOT. Me and my Director of Photography, Angelos Papadopoulos, knew very well that time and money weren’t on our side, so creating detailed shot-lists as well as visual photoboards was the only way to achieve the shots and performances we hoped for.
Our preproduction lasted a bit more than 3 months, and it focused on specifying exactly what we would do each quarter of our 20 shooting days. I think at the end, 70% of our shot-list ended up making into the film, exactly as it was photographed. Finally, the script was written intentionally in a way that afforded us to save money on the majority of the movie, but allowed us to “splurge” on the bigger heavy-action set pieces.
Makis Papadimitriou, Argiris Xafis, "Do it yourself" (2017)
The vast majority of the personae in “Do it yourself” love videogames, technology and refer to films or viral videos. Are these mostly characteristics of the millennials? What do you think is the influence of digital technologies in everyday life?
I feel it depends on how a person chooses to lead their life. For me, a big immersion breaker is when characters inside movies pretend they’ve never watched a movie before. Zombie/ Alien invasion films are usually the biggest perpetrators of this. So, I wanted my characters at least, to feel very wary of the situations they were in. They had sort of seen these circumstances play before in their favorite crime dramas. As for the influence of digital technologies in everyday life, I am not sure. I only have anecdotal evidence, but I feel there is a healthy majority of millennials, who aren’t necessarily involved with videogames and/or films. More and more people become tech savvy, millennials and older generations alike. I have to admit that it was a very pleasant surprise, when a lot of people in their 40s or even 50s approached me and told me how they spotted some of the most obscure references I had placed inside the film. So, yeah, I don’t think I have a good answer here.
According to Collins dictionary, “fake news” was the word of the year 2017. “Do it yourself” is at heart a film about fake news. Would you like to comment?
Yeah! It’s funny cause I wrote the first draft in 2014, and even then, I felt it was a prevalent topic. We’ve yet to find a good way to combat fake news, and it doesn’t look like we’re near a solution. Critical thinking is the foremost important element we all need in our lives. In its own way that is what “DIY” is trying to urge the audience to do. Search. “Search for Yourself”. “Investigate for Yourself”. “Do It Yourself”.
What are your future plans?
Right now, I am developing a near-future science fiction VR film and working on my next screenplay. It’s hard to say, what’s going to come first, but I promise it will be worth the wait!
* Interview with Florentia Kiortsi
Ithaca laundry is a mobile laundry service aimed at homeless people in Athens: a van fitted with washing machines and tumble dryers, collecting unwashed clothes from people residing in the streets and returning them clean and dry. It has been founded by a group of young people and operates thanks to the support of partners and sponsors and to the work offered by volunteers. The Operations Manager for Ithaca, Dimitra Kountourioti, spoke* to Greek News Agenda about this initiative, which was recently featured in a short documentary film by Nick Holland for BBC World Hacks.
When and how was the mobile washer launched? How was this idea concieved and to whom does the initiative belong?
The organisation was founded in 2015 by a group of three people, Thanos Spiliopoulos, Fanis Tsonas and Andili Rahoutis. Thanos was inspired by a similar initiative in Australia and, given the socio-economic situation in Greece, he decided to create a mobile washer for the homeless of Athens. We ran as a pilot programme from April to December 2016, and since January 2017 we have been operating regularly, 5 times a week.
How did you join the group?
I started in January 2017 as Managing Director because Thanos and Fanis had to perform military service. Since then, I have taken up the duty of running the day-to-day management and operation of the organisation on all levels, and the founding group has a predominantly advisory role and is actively involved in the decision-making process (board of directors).
How does it actually work? How do people who are in need of your services become aware of your actions?
At this point, we operate 5 days a week, based on a specific schedule and timetable. The van has 2 washers and 2 tumble dryers, washing takes 40 'and drying another 45'; those who come to us give us some contact info and get a queue number. Those benefitted by the service have come to know us and there is a steady turn-out.
At each spot, we work together with partners and groups that provide additional services to the people we tend to (food, medical assistance, psychological support, etc.), so it's easier for people to know about us.
How many are now involved in the project's operation? Does the team include only volunteers?
Since January 2017 we have created, apart from my own post, two more part-time jobs that were given to people from socially vulnerable groups. Specifically, our first employee, Christos, was benefiting from our services at Athinas street, where we operate every Wednesday and Sunday.
Our goal is to give them an actual job opportunity, providing them with the necessary support for a period of 10-12 months so that they can be reintegrated into society and the workplace, and become able to get a full-time job. In April 2018, Christos already found a new job and two new employees were recruited to fill his position.
Of course, we also have a team of 15 volunteers who either run the mobile unit every Sunday, or work in other positions (photographer, driver, social media manager, administrative support, etc.). Volunteers are vital for our operation, because they are active members of civil society and play an important role in exposing and fighting against the social exclusion faced by the homeless.
How do you manage to provide these services for free? Have you received support from private and / or state institutions?
Since the beginning we have received support by sponsors and donours. Also in the spots where we operate, water and electricity are provided by partners (organisations and municipalities). The main sponsor is the company LG, which, in addition to providing the appliances we use in our mobile unit, has also supported us financially to create the first job positions.
We have a lot of support from other companies (P&G, SANITAS, ENDLESS, COSMOTE, etc.) and we are trying to attract more donations from institutions and individuals. We must also mention that an important factor in our development was the fact that for our first 2 years of operation, our offices are hosted by HIGGS, an NGO which aims to support and reinforce other non-profit organisations.
How many vans do you have now? Is the existing number sufficient or are you hoping for further additions?
At this time we have a mobile unit with two washers and two tumblers and we operate 5 days a week. At present, it is sufficient for the number of people who seek our services. Soon we hope to add two more operating spots to reach even more people in need of our services, and then we want to carry out a survey on their needs as well as on possible new operating spots.
In what ways can one contribute to your project?
What is the most valuable lesson or experience you have gained from the project? Is there any advice for someone who would like to launch a similar initiative?
I think I learned my most important lesson by people who have worked for our group, who were long-term unemployed and either were homeless or faced the risk of being. I saw how important it is to give someone in dire need the opportunity to reintegrate and become an active member of society. We witnessed obvious changes in the psychological state and self-confidence of our first two employees already within their first 3-4 months with us. They now show more faith in themselves and have regained the courage to try and improve their everyday life.
Also, providing cleaning services to people who do not have access to something most of us take for granted, proves the great importance of hygiene in reclaiming one’s dignity and self-esteem. One recent example was a message sent to us by a former beneficiary, who had found himself displaced in our country; he was thanking us very warmly and telling us how important our services had been for him, at a time when he was struggling to survive this hardship.
My only piece of advice to someone with a similar idea is to give it a try, because it is important to offer to others and try to help them overcome the problems they face in our society.
*Interview by Nefeli Mosaidi
Read also via Greek News Agenda: Thomas Maloutas on the “Athens Social Atlas” project; Teaching refugees in Greece how to code; Social Solidarity Policies: Establishing a Welfare State that Contributes to Development
The Annecy International Animation Film Festival, established in the 60’s, is the top reference for animation worldwide, while its International Animation Film Market (Mifa) is the animation industry's foremost showcase in terms of co-producing, purchasing, selling, financing and distributing animation content for all broadcasting platforms.
For the second consecutive year Asifa Hellas - Hellenic Animation Association will participate in the Festival, with 16 projects which include 4 feature and 4 short films with the support of the General Secretariat for Media and Communication (GSMC) of the Ministry of Digital Policy, Telecommunications and Media. GSMC is actively committed to the development of Greek audiovisual production, with a focus on animation and video games and it has undertaken a series of initiatives for the promotion of Greek Video Games and Animation community, including the new legal framework for the development of the country's audiovisual sector (L. 4487/ voted by the Greek Parliament in August 2017) and the establishment of the National Center for Audiovisual Media & Communication (EKOME S.A.).
“Man Wanted”by I. Zhonga, Stop Motion Animation, 9 min
During a press conference that took place at the GSMC, the Anima Syros team that will travel to Annecy -Vassilis Karamitsanis, President of Asifa Hellas and the Anima Syros International Animation Festival + Agora, Panayiotis Kyriakoulakos, Vice president of Asifa Hellas and lecturer at the School of Engineering of the University of the Aegean, and Marineta Kritikou, film, stage and multimedia director and Agora moderator, who will promote the Greek projects at the Annecy Film Market (Mifa) - presented Asifa and its work.
Karamitsanis presented the results of the cooperation between the GSMC and Asifa Hellas, emphasizing the support that the GSMC has offered aiming at the export of Greek cultural products and the attraction of foreign investments. Asifa Hellas is the Greek branch of Asifa International and represents Greek animation. It cooperates with the GSMC in the context of the National Plan of Action for Animation and Games. A product of this cooperation was the campaign #GreekAnimation Rocks in a series of actions promoting Greek animation.
“Markos”, by Th. Kunstler, stop motion animation, 105 min
Panayiotis Kyriakoulakos further elaborated on the actions of the Greek Animation Rocks campaign for the year 2017, namely the first Greek participation in the Annecy Festival (June 12-17. 2017), where Greek Animation Rocks presented the history, the present and the near future of Greek animation, unveiling a cultural and business plan for its development, showcasing the projects and creators who dare to overcome the nation’s socioeconomic crisis and aspire to the development of international co-productions. The action was supported by the Hellenic Secretariat for Information and Communication, the Greek Film Centre, the Hellenic Broadcasting Corporation (ERT), and the French Institute of Greece.
“Tag! You’re it” by M. Kakaridi Deligianni, 2D Animation
ASIFA HELLAS also supported the introduction of a 25% cash rebate scheme for all audiovisual production expenses in Greece. AH supported five projects at the Pitching Session of the Animasyros 10th International Animation Festival’s Agora (Syros, Greece 27 September - 1 October 2017). Moreover, it signed a cooperation protocol with ASIFA China to strengthen bilateral business and cultural ties in the field of Animation (Xiamen, China 12-17 October 2017). It also organized a celebration of International Animation Day at the French Institute of Greece. And in cooperation with the Thessaloniki International Film Festival (TIFF) it showcased the results of Greek Animation Rocks so far at the 58th TIFF (Thessaloniki, Greece 2-12 November 2017).
“Karim and Hercules” by T. Deligiannis and V. Tsiouvaras, 3D Animation, 8 min
Marineta Kritikou stressed that this year’s Greek presence in Annecy will be more powerful and presented the 16 projects that will travel to Annecy this year, which include
4 feature films: “Markos”, by Th. Kunstler, stop motion animation, 105 min, “The Night with the Kalikantzarous”, by Sp. Siakas, 3D Animation, 70 min, “Walie Walnut and the Christmas tree” by T. Ioannides, musical animation, 70 min and “Tag! You’re it” by M. Kakaridi Deligianni, 2D Animation
4 short films: “Same Life, Different Day”, by K. Economou, Live Action/Digital Drawings, 6 min 30 sec, “The animated story of Breaking Bad”, by A. Smirniotis, Rotoscope, 1 min 10 sec, “Karim and Hercules” by T. Deligiannis and V. Tsiouvaras, 3D Animation, 8 min and “Man Wanted” by I. Zhonga, Stop Motion Animation, 9 min;
3 TV series: “Mentor”, by A. Rouvas, 3D & 2D Animation, Special TV, 30 min “Future postman”, by S. Kotsovoulos, 2D computer/cut-out, TV series, 13 X 5 min, “The treasure at the roots of the tree of earth” by V. Karadimas, 2D CG / Digital Puppetry, TV series, 17 X 7 min;
2 miniseries: “Save your planet" by T. Kotsiras, 3D animation, TV series, 20 X 2 min and “Month” by A. Dimitra, 2D Animation, TV series, 12 X 2 min;
a pilot episode: “Mythland” by Kl. Kyriakides, 2D, 3D, Puppet, Hand draw animation, Pilot TV episode, 12 min 31 sec
and 2 interactive web flipbooks: "A Letter - A story" by A. Papadaniel and S. Madouvalou, interactive web-based animation and Telis” flipbooks, “Pocket Cinema” series by A. Papadaniel, 2D Animation, Prod: Syllipsis Ltd
Interview with Vassilis Karamitsanis
Greek news Agenda interviewed* Vassilis Karamitsanis on the current Greek animation production, the cooperation between Asifa and GSMC and his expectations from the Greek participation at the Annecy Festival.
Born in Athens, 1976, Karamitsanis is a lisenced attorney-at-Law by the Athens Bar Association He has a degree in Law from the Aristotle University of Thessaloniki and completed his post-graduate studies in the Universities of Rotterdam, Hamburg and Aix-Marseille III. He's president to ASIFA HELLAS - and Animasyros International Animation Festival + Agora. He was recently elected member of Board of Directors of CIFEJ (International Centre of Films for Children & Young People).
“Mentor”, by A. Rouvas, 3D & 2D Animation, Special TV, 30 min
Law 4487, voted by the Greek Parliament in August 2017, sets the new legal framework for the development of the country's audiovisual sector. How do you think it will help animation production?
The new legal framework set out for the support of audiovisual productions is the first one entirely treating cinema as a vehicle of social and financial development. This is a very encouraging fact, as we all know that cinema in low-capacity European countries like Greece has been rather underfinanced by both private and public sources over decades. More precisely, in the field of animation, we believe that the new incentive providing a substantial cash rebate of 25% will soon bear fruit. Especially for international co-productions, as well as large-scale national initiatives, the rebate may prove to be a long-term tool for better produced and distributed animation works that could turn our growing animation community among the most dynamic players in our region.
“The treasure at the roots of the tree of earth”by V. Karadimas, 2D CG / Digital Puppetry, TV series, 17 X 7 min
Would you like to tell us a few things about ASIFA's collaboration with the General Secretariat for Media and Communication of the Ministry of Digital Policy, Telecommunications and Media? How did it start and what are its accomplishments so far?
Since its beginning in the 00's, ASIFA HELLAS - Hellenic Animation Association has been forging ties with competent public authorities in Greece and the EU, aiming both at financial support and the endorsement of joint activities for the promotion of Greek Animation. 2015 was a milestone year for us, since it marked 70 consecutive years of Greek Animation history. It was on this occasion that, together with the competent General Secretariat for Media & Communication, we outlined a multi-year development plan for the strengthening of our community, the enhancement of its actions worldwide and its gradual evolvement into a considerate international player. Since then, we’ve had the pleasure of reaping an impressive number of rewards, most notably the hosting of numerous selected Greek Animation tributes around the world at festivals and other events, the successful launching of our ongoing multi-action campaign #GreekAnimationRocks and, of course, the radical increase of Greek Animation visibility in media and audiences globally.
"A Letter - A story", by A. Papadaniel and S. Madouvalou, interactive web-based animation
What do you think about current animation production in Greece?
We are very optimistic. Greece is at a developing stage towards becoming a regional player in the animation industry, thanks to a large number of avid, highly-educated animators becoming active along the way. We are delighted that new animation businesses start up every year in our country. To be honest though, it’s been a decade now that Greek Animation has been growing increasingly important in the international animation scene. The interest of a global audience at last year‘s #GreekAnimationRocks at Annecy has been remarkable. We still have a long way to go however, as we join forces with all stakeholders and the Greek State striving for a better future for our national animation community.
“Same Life, Different Day”, by K. Economou, Live Action/Digital Drawings, 6 min 30 sec
What are your expectations from the Annecy Festival?
It is the second time that the Greeks peacefully invade the French Alps. Following last year's positive outcome, this June we plan a stronger presence at MIFA, the Annecy festival's market. We have a larger and better placed pavilion, we produced a comprehensive printed Hellenic Animation Guide for the first time and we’ve scheduled a range of communication events throughout the Festival’s duration. With a rich portfolio of completed works and works in progress from Greece, Cyprus and the Greek Diaspora, we intend to make our presence more powerful this year, building links with existing and new partners, enhancing the visibility of Greek talent worldwide and discussing synergy schemes to be developed in time.
“The animated story of Breaking Bad”, by A. Smirniotis, Rotoscope, short film, 1 min 10 sec
You are the President of Anima Syros International Animation Festival and Agora. What is its contribution to the enhancement of Greek Animation?
Since its establishment in 2008, Animasyros International Animation Festival + Agora has been advocating the empowerment of Greek Animation by showcasing the best of our national animation cinematography. We have been lucky enough to witness an impressive growth of national production over the years. Furthermore, we’ve organised a number of initiatives bridging Greek animators with key-players of the global industry. Our most important achievement is the establishment of the Agora in Syros, a unique regional market place for animation professionals from Europe and around the world. For the first time this year, we host the Athens Animation Agora just prior to the festival in September 2018. In this new endeavour, we are proud to receive the endorsement and support of the Hellenic General Secretariat for Media & Communication.
* Interview by Florentia Kiortsi
Read also: General Secretariat for Media and Communication boosting Greek Gaming & Animation, Lefteris Kretsos on bringing Greece on the global map of the Game and Film Making Industry, One more reason to film in Greece: A new legal framework of economic incentives, General Secretariat for Media and Communication boosting Greek Gaming & Animation, Lefteris Kretsos on bringing Greece on the global map of the Game and Film Making Industry, 10 Reasons to film in Greece, “Filming Greece”: our new series of interviews on Greek Cinema.
As of September 2018, Dr. Gonda Van Steen takes on the Koraes Chair of Modern Greek & Byzantine History, Language & Literature at the Department of Classics of King’s College in London, at the same time assuming the directorship of the Centre for Hellenic Studies. Professor Van Steen is a devoted scholar and avid researcher of the language, literature and history of Ancient as well as Modern Greece, whose interests, research and publications cover a vast area, from Classics and Archaeology to chapters of 20th-century Greek history, obscure to most people outside Greece.
Having graduated with an M.A. in Classical Philology in her native Belgium, Van Steen continued her studies in the USA, where she went on to pursue a brilliant academic career. She is the current holder of the Cassas Chair in Greek Studies at the Department of Classics and Center for Greek Studies of the University of Florida. She is also an esteemed member of the Modern Greek Studies Association of North America, where she served as President (2012-14) and currently holds the position of Executive Director. Apart from her knowledge of Ancient Greek, Gonda Van Steen is also fluent in five modern languages, including Greek.
The modern interpretation of classical theatre has been a major theme in several of Van Steen’s publications, such as Venom in Verse: Aristophanes in Modern Greece (Princeton University Press, 2000), which was awarded the London Hellenic Prize, and Theatre of the Condemned: Classical Tragedy on Greek Prison Islands (Oxford University Press, 2010) which discusses the production of ancient tragedies by the political prisoners of the Greek Civil War. Her current book project, Adoption, Memory, and Cold War Greece focuses on Greek adoption stories that become paradigmatic of Cold War politics. Professor Van Steen spoke* to Greek News Agenda about her interest in Ancient and Modern Greek culture, and the ways these can affect our perspective today.
How did your interest in the Ancient Greek language and literature begin?
As a teenager, I was interested in the myths and monuments of Greece. That fascination led me to the Ancient Greek language, itself the key to Ancient Greek literature, which I have loved ever since. I studied classical languages through middle and high school, and I continued on in college in Belgium and through graduate school in the United States. But my interest really piqued as soon as I was able to travel to Greece, which is also what opened my eyes to the need to study Modern Greek. Since my first trip to Greece in the early 1980s, I have fostered a lifelong fascination with all things Greek, starting with the Classics and with archaeology, language, and literature, to then discover Byzantium, Modern Greece, and the complexities of their contemporary histories and cultures.
Gonda van Steen with staff and students after an open workshop at the Faculty of Theatre Studies, UoA in June 2018
So it was through your classical studies that you discovered Modern Greece. However, although many non-Greek nationals engage in the study of Ancient Greek Culture, few have examined the intricacies of 20th-century Greek history.
Indeed, I followed the path of the classicist who discovers the richness of the Modern Greek language and culture. For me, however, that encounter with contemporary Greece was a path of no return, and I threw myself wholeheartedly into the study of everything Modern Greek but especially of the theater, history, and politics of twentieth-century Greece.
You don’t hesitate to explore sensitive issues, such as the recent history of Greece: the military dictatorship and the Civil War, a touchy subject for many. Is your interest in the political as strong as your love for the artistic and cultural aspects of Modern Greece?
I like to approach Greek politics from a somewhat oblique angle, such as through the lens of theater, which I see as a mirror of and on contemporary society and intellectual life. Also, I find myself attracted to topics that have not yet been properly explored, such as the theater of the prison islands of the Greek Civil War, or the performance and censorship phenomena of the Greek military dictatorship. Overall, I shy away from “loud” politics, but I relentlessly pursue the study of the impact of politics and the arts on the margins.
One particularly interesting publication of yours was Theatre of the condemned, a study on the performance of Greek tragedies by political prisoners in Greek internment camps during the Civil War period. How did this subject come to your attention, and what can be learned through this research?
I had read bits and pieces about theater productions staged on the prison islands of the Civil War and its aftermath. But I felt that these performances needed to be studied in their own right, not as vehicles for partisan political comments. That is how I started to read historical and political works on the time period in question and also many memoirs written by the political prisoners themselves. In addition, I conducted numerous interviews with former detainees and was constantly struck by how they felt that theater and culture, and the group collaborations they required, had sustained them through one of the most trying ordeals of their lives. I learned that, among the isolated or the “condemned,” the collective effort that a theater production demands, can be one of the most inspiring and also gratifying commitments.
You are currently studying another issue linked to that era: the mass international adoptions of Greek-born children by USA citizens in the 1950s and 1960s, a fact unknown to many. You have actually been involved in this issue in a more personal manner, rather than purely academic – what made you passionate about it?
I started pursuing the topic of the Greek-to-American child adoptions as another inroad into the politics of mid-twentieth-century Greece. But I soon discovered how much potential this international adoption movement, as a historical and again understudied phenomenon, holds for a deeper engagement with the (most intimate) social history of postwar and Cold War Greece. I offer a historical study of the what, why, and how of this Greek adoption movement that placed hundreds of children in the USA and also in the Netherlands. I delve into Greek, American, and Dutch archives to present a complete historical record. Once again, however, I enrich this study with, and I have personally been much enriched by, the many conversations with Greek-born adoptees, now American and Dutch adults who are looking for their roots in the home country to which they have never been thoroughly exposed. These adoptees’ quests and their first adult experiences of Greece open up a chapter in transnational studies and in “life writing” that is again worth investigating, by lifelong students of Greece and by the broader public alike.
You have recently been appointed to be the next Koraes Professor of Modern Greek & Byzantine History, Language & Literature at King’s College, London. What do you hope to contribute to this position? You stated that you intend to “delve deeper into twentieth-century Greek social history”.
At King’s College, I hope to offer courses in reception studies, language, and literature, and I will indeed delve deeper into twentieth-century Greek social and family history. I am excited to start working with graduate students and colleagues in KCL’s Centre for Hellenic Studies, and I aim to build bridges across UK campuses, to the Greek diaspora community in Britain, and also to the rest of Europe, while maintaining professional contacts with colleagues in the USA.
My prior book and article publications have foregrounded Modern Greek receptions of the Classics. Most recently, I published Stage of Emergency: Theater and Public Performance under the Greek Military Dictatorship of 1967-1974. My current book project, entitled Adoption, Memory, and Cold War Greece, is the above-mentioned Greek adoption ethnography, which is set against the backdrop of the global Cold War. This project is taking me into the new, uncharted terrain of Greek adoption stories that become paradigmatic of Greek postwar history and international Cold War politics.
What do you believe the study of the social history of Modern Greece can offer to people from the rest of Europe and the world?
The study of Modern Greece and of its social history, especially, is one that offers deep perspective, a rich vantage point of comparison, and also a complex warning signal of how to read and what to negotiate (or avoid) when it comes to state or private interventions (whether the handling of the current economic crisis or the condoning of the mass adoption movement of the postwar past).
You are the Executive Director -and also a former President- of the Modern Greek Studies Association, a US-based institution aiming to “showcase the merits of the Modern Greek tradition and contemporary Greek culture”. Would you share with us a few words about the MGSA’s initiatives and the ways it advances research in this field?
The Modern Greek Studies Association of North America functions as a professional organization of all those involved with the study of contemporary Greece and Cyprus. The MGSA’s journal, the Journal of Modern Greek Studies, is a highly acclaimed, peer-reviewed periodical that features scholarship across various disciplines but always related to the Modern Greek world. It is a truly interdisciplinary journal, and that cross-disciplinarity is also reflected in the spirit in which our biennial symposia, or three-day conferences, are conducted. The latter feature presentations by neohellenists from across the globe and also promote the participation of graduate students in the field of Modern Greek Studies. The MGSA further functions as a clearinghouse of information related to the field and devotes special attention also to the teaching of Modern Greek as a second language. The association was founded in 1968 and celebrates its fiftieth anniversary this year.
*Interview by Nefeli Mosaidi
Read also via Greek News Agenda: 100 years from the founding of the Koraes Chair at King’s College, London; Rethinking Greece: Roderick Beaton on the study of Greece and modern Greek achievements; An Englishwoman in Evia: Publisher Denise Harvey on her love for Greek literature and culture
The 18th Athens Technopolis Jazz Festival will be held on June 4-10, 2018, at the Technopolis City of Athens venue, offering music lovers a week-long jazz experience. This year, once more with the collaboration of the Οnassis Cultural Centre Athens (OCC), the festival features one of its most comprehensive line-ups, with performances by twenty-one bands, plus a number of parallel events, exhibitions and some surprises. These include NEW GENERATION 5, the fifth edition of the Greek Jazz Panorama, hosted at the upper stage of the OCC, where virtuosi from the Greek jazz scene share the stage with the new generation of musicians.
The festival’s artistic director for the 2018-19 season is Antonis Zouganelis. Zouganelis has been active in the music and events industry since 2000. Having worked as Strategy Manager for Warner Music, he later created the Archangel Music company, which initiated the music site Jumping Fish for the promotion of young artists, and ARK festival. Since 2014, he has been working as an Event and Sponsors Consultant at the Technopolis City of Athens, as well as being in charge of the concerts programme. We interviewed* Antonis Zouganelis on this year’s Athens Technopolis Jazz Festival, and his hopes for the organisation’s future.
Who had the original idea for the Technopolis Jazz Festival? How did your involvement begin?
The Festival was founded by Technopolis in 2000, conceived and initiated by Fotis Papathanasiou, then Managing Director of Technopolis, and Hirst Deinwaller, then director of the Goethe Institut in Athens. Now, eighteen years later, the festival has become international, is of a weekly duration, with performances by more than 23 artists and 40,000 visitors each year. Until last year, the embassies and educational institutions engaged in the project, together with the Technopolis’ Cultural Department, were in charge of the event’s artistic direction.
Starting this year, and always in collaboration with our partners, we have decided to give the Festival a specific orientation and a new identity within jazz music and steer it onto a new course following the latest trend in contemporary jazz around the world, hosting some of the best young jazz artists and rising stars in the world.
How hard is to sustain such a project in Greece?
Now that the Festival has grown bigger, and with the support of its patrons and sponsors, it has become more sustainable. The festival’s audience has expanded and it has become a staple as the launch of the summer concert season in Athens. Without the support of Technopolis and its partners, however, it wouldn’t have come so far. It is the vision of the Technopolis team, the support of the partners and the response from the people, which has made such a project possible, after many years of commitment and hard work. For a new project of this sort to succeed today, it would require significant investment from a private company, an institution or state agency and still that would be just the beginning. Consistency, hard work and a clear vision are some of the key features a team needs to achieve such a goal.
Are you satisfied with the Festival's progress so far and the people’s response? What do you think it has offered to music lovers?
The Athens Technopolis Jazz Festival is now hailed as one of the city’s foremost cultural institutions – and not by chance. Each year it gets better, with regard to both artistic content and event planning, featuring notable participations from Greece and abroad. The great turnout and response point to an audience with a real interest in jazz, in tune with developments on the jazz scene. This of course creates a responsibility towards them. Every year we strive for a perfect artistic result, we network, we partner up with more and more institutions and foreign organisations.
In these difficult times for our country, our festival has managed to maintain free admission to the events, without giving anything up in terms of quality; it is financially self-sufficient, thanks to its sponsors and partners, something we try to do for every Technopolis production.
What makes this year’s line-up “better than ever”?
This year we’ve added an extra day to the programme, a “Greek showcase” day, giving the audience the chance to watch and discover some of the best jazz artists in Greece and the best jazz projects of the past year. So on Monday, June 4, the John Balikos Trio, Mihalis Kalkanis, the Athens Big Band featuring Dimitris Tsakas and Vasilis Xenopoulos, the Drums & Voices Jazztronica Duet and Alex Dante will welcome the audience on the main stage and on specially designed stages in the premises of the Industrial Gas Museum.
Over the rest of the week, 18 more up-and-coming jazz artists from the international scene will appear, completing the best and biggest line-up in the history of the Athens Technopolis Jazz Festival. Do not miss Binker and Moses from England, who have entered the list for the world's best dynamic jazz duos for 2017, Theo Croker from USA, a trumpeter performing with Dee Dee Bridgewater, and Sebastian Studnitzky from Germany, the man behind XJAZZ, the most hyped jazz festival in Berlin.
Would you give us a taste of the surprises promised in your press release?
Running parallel to the concerts in the course of the festival you will find the Meet Market’s Jazz edition, Dinner in the Sky, and three photo exhibitions - two of which by Greek instagramers. Moreover, the "Booknotes" project, combining jazz with literature, comes to the Athens Technopolis Jazz Festival on the sidelines of Athens 2018 - World Book Capital, after two years of successful book-jammings at Jazz Point Cafe. There will also be many creative learning programmes, workshops and educational programmes for children and families. You will find all the information on our website and on the website of Technopolis.
Is there anything more you hope to achieve in the future? Are you confident that the Festival will continue for many years to come?
Of course! The Festival has proven to be a sustainable project, evolving each year, thanks to the right management and the team’s vision.
What we are currently working on is a special edition for the Festival’s 20th edition, in 2020; we want it to feature many of the best up-and-coming jazz bands from around the world on the three stages in Technopolis, to “open up to the city” through parallel events in various spots around Athens and to form a “club night line-up” expanding the festival’s programme to many Athens music venues. Our goal until then is for Athens and its citizens to discover and experience jazz in every corner and city square, for the duration of each Festival; for Athens Technopolis Jazz Festival to become a meeting point and a magnet for music lovers internationally.
*Interview by Nefeli Mosaidi
Paschalis Nikolaou is Assistant Professor at the Department of Foreign Languages, Translation and Interpreting of the Ionian University, Corfu. His writings on translation studies have appeared in such publications as Translation and Creativity: Perspectives on Creative Writing and Translation Studies; reviews and translations have been widely published in journals in Greece and abroad. He is the editor and co-translator of 12 Greek Poems After Cavafy (Shearsman Books, 2015) and has co-edited Translating Selves: Experience and Identity between Languages and Literatures (Continuum, 2008), The Perfect Order: Selected Poems 1974-2010 by Nasos Vayenas (Anvil Press Poetry, 2010), a volume shortlisted for the Criticos (now London Hellenic) Prize, and most recently, Richard Berengarten: A Portrait in Inter-Views (Shearsman Books, 2017). He is currently reviews editor of the academic journal mTm, consulting editor to the International Literary Quarterly, as well as a regular contributor to the Greek literary journal Nea Efthyni.
His most recent book titled The Return of Pytheas: Scenes from British and Greek Poetry in Dialogue (Shearsman Books, 2017) is a study of poetry and poems through and across two language traditions – Greek and English. While the main focus is recent and contemporary, exchanges reach back as far as Aeschylus and the Iliad. Across four chapters populated with poems compelled by the sharing of reference and imagination, Nikolaou delves into associations that are as constantly desired as they are auspiciously productive, including the endlessly varied conditions and factors that bring poets together as they pursue transfers of self, place, experience, and longing. The result is a close-range mapping of an entire community of poetic dialogues that are intensely lived as they are lived in, constantly revitalizing themselves as they carry into the 21st century.
Paschalis Nikolaou spoke to Reading Greece* about The Return of Pytheas commenting on the encounters between Greek and British Poetry, as well as on the reception of Greek poetry – both ancient and contemporary – by 20th and 21st century British poets, and, their impact on Greek literary production. He talks about the challenge of moving beyond long-standing stereotypes and the contribution of poetry to this end, while he also discusses the role of translation in the diffusion of literature beyond national borders. He concludes that "there is much to accomplish still in improving, coordinating, and deepening, exchanges", noting that "improved results will come from forming networks of universities, and through systematic discussions between them, state structures and private bodies in the future".
In your latest book The Return of Pytheas: Scenes from British and Greek Poetry in Dialogue, you comment that “the figure of the ancient Greek seafarer comes to symbolize a rich panoply of encounters: of a poet with another land and people; of expressions and revolutions in verse of the experiences of travel, long stays abroad and relocation”. Tell us about some such encounters between Greek and British Poetry.
Αbove all, it serves as a reminder to us that in both traditions, themes of exploration were always strong. There is closeness to the sea; our history is also a maritime history. And of course, in some British poets, we come across actual references to the figure of Pytheas, direct treatments. We soon realize interesting contrasts, or rather, interesting asynchronies – in Empire and post-Empire Britain, or a modern Greece that is too often (mis)understood in relation to the classical world, and its inheritance. Some relationships may seem lopsided; the one with Homer going back to Chapman, imports and negotiations of modernist values through Seferis and other poets of his generation.
When it comes to Greek (cultural) space, poetic dialogues are entangled with notions and experiences of travel. Even before Byron, visits to Greece coincide with diary records, dramatizations – and of course, poems. In The Return of Pytheas I am attempting, for the most part, to look at a number of cases post-1960. There are poets who have built a steady relationship with certain regions and islands after long stays in Greece. Sebastian Barker or Kelvin Corcoran for instance, the latter even producing an anthology of Greek-themed poems. British influences, place-names can be found in poets like Nasos Vayenas or Haris Vlavianos but also in the writing – the structuring of collections even – of poets who’ve been to Britain post-1990, often initially as students. Krystalli Glyniadakis comes to mind.
The underlying intention here, of course, is also to ask ourselves about boundaries and borders, interpenetrations which may have already happened: because there are also poets of Greek ancestry who write in English and publish their work in Britain, like Alice Kavounas or Fani Papageorgiou. Τheir poems often contemplate what it means to be Greek, half-Greek, living abroad, pursuing connections with individual and collective memory. So these dialogues can be many-sided, and often internal. On the other hand, there’s a deep, ongoing relationship with Cavafy in poets like Josephine Balmer and Christopher Middleton; again, Vayenas’s resourceful re-transmitting of Gavin Ewart; several of these dialogues happen through translation, or variously reconsider its practices.
How would you comment on the reception of Greek poetry – both ancient and contemporary – by 20th and 21st century British poets? And, in turn, what has been the impact of British poets on Greek literary production?
The impact of British poets is perhaps more diffused, a bit harder to assess. Τhough you can certainly trace resulting inflections and re-arrangements in Dionysis Kapsalis and, from the poetic voices emerging in recent years, the work of Maria Topali, Thodoris Rakopoulos, Katerina Iliopoulou and Yiannis Doukas. A sense of discipline in composition, renewed interest in formal features and narrative appears to follow such encounters (often initially taking the form of translation). Their products are well spread – which means there’s still much more for us to study here – in journals like Poiitiki, Nea Efthyni or Odos Panos. I am talking about the recent past, of course, because shifts occurring in the wake of literary modernism are well-studied. But even earlier, there are such scenes: for instance, Cavafy attempting translations of Tennyson, Shelley and Keats in the 1890s.
British poets – I mentioned this earlier – have been aligning with Homer for centuries, with three notable examples in the 20th and 21st centuries being Logue’s War Music, Walcott’s Omeros of course and Oswald’s more recent Memorial. Dramatic works, Sophocles and Euripides in particular, have appealed to Ted Hughes, Seamus Heaney and Simon Armitage.Τhe result can be staged performances, or meaningful fragments embedded within individual collections, in dialogue with original poetry.
Then there’s the example of Cavafy which is absolutely unique, not only looking at the incredible number of book-length editions, especially post-2001, but also translations done by poets like Don Paterson and John Ash, as well as Cavafy-inspired poems, even collections of poems. Seferis and Ritsos recur less in this sense, but we still come across negotiations of style and themes in a sequence like Richard Berengarten’s Black Light: Poems in Memory of George Seferis, published 35 years ago. Τhe Greek translation, by Vayenas and Ilias Lagios appeared in 2005. David Harsent has put out some mesmerizing versions of Ritsos. I haven’t seen any engagements with Elytis for some time, though the late Sebastian Barker was fascinated with him and often channeled him into his work. Greek poets writing today are even less visible.
David Connolly supports the idea that “many contemporary poets who have failed to make an impact in English translation have undoubtedly suffered from the legacy of Greece’s ancient past and from a particular perception of Greece by Westerners”. How challenging is itto move beyond long-standing stereotypes and form a new imaginary about the country? Could contemporary poetry help to this end?
It is worth noting that Connolly discusses this in introducing his English translation of Yannis Kondos’s collection O Athlitis tou Tipota (1997), itself an example of ‘best practice’, of how to conquer certain problems. Absurd Athlete was a bilingual edition, published relatively close to ‘real time’, and within a series of books of contemporary poetry – Arc Publishing’s Visible Poets, still going strong – that took particular care of details that matter. There’s a point to make, incidentally, with respect to what counts as modern or contemporary verse, for readers in other languages and traditions. Τhe translated Seferis, Fokas, or Anghelaki-Rooke are in some respects nearer in time to the Anglophone reader than they are to us. We need to synchronize our watches a bit more. There aren’t as many examples like Absurd Athlete as we would like (but I happily note the recent translation of Phoebe Giannisi's Homerica), that is, in terms of us thinking beyond a possible Selected Poems, more assertively situating the translation of a poet who is writing in the here-and-now. In 2018, several Greek poets have produced work worthy of this treatment. When it comes to stereotypes, the visual aspect too can be important: we resisted – the poet also – a blue cover initially suggested to us by the publisher for Vayenas’s Selected Poems. (The final cover was exactly the same, but a shade of brown instead of blue.) One realizes how very many book-covers of translated poetry from Greece use blue. Even such colour-codings – or other visual shortcuts – activate a set of responses, and resupply readers with stock images, well into the 21st century. I suspect that until we move beyond a stage of anthologies, a few poets rising above current groups, with recognizable, individual themes and formal concerns, it’s going to be naturally easier for editors or publishers to suggest – or impose – a direction. I’d rather have a particular poet’s perspective, sense of things (not necessarily of Greece) emphasized, a poet that happens to be Greek.
What is more, we’ve noticed in the past that when there’s survival of poetic voice(s) beyond a given frame, beyond the initiatives – commendable as they are – of translators, editors, publishers and so on, this is often precisely because their verse becomes transfused, assimilated, imitated, re-expressed by fellow poets. This would be the case of say, a Cavafy-inspired poem written by Christopher Reid or Evan Jones, who have clearly read Cavafy in translation first. Again, there’s an extra step involved here; when translation leads to something else. Not many poets have endured simply by virtue of their presence in ‘translation proper’. Other echoes, filtrations are necessary. When we start reading poems ‘in the manner of’, then we’re on to something.
Theodoros Chiotis claims that “this particular historical circumstance might be a once-in-a-generation opportunity for contemporary Greek literature to be diffused outside Greece”. Yet, could contemporary poetic voices extend their presence in English beyond the current socio-political frame?
Arguably there are already some distances involved, yet even when the effects of the crisis on Greek society were overwhelming, poetic writing was not decisively bound to social and political circumstances.Poetic voices can extend their presence beyond this sort of frame, and if anything, they must – poetry strives for a different kind of duration, I think. Particular events, behaviours intensifying in those years, are naturally reflected in some form in the literature produced in the period. I believe it happens more effectively in prose fiction than in poetry. Even so, some poets have focused on the socioeconomic crisis in parts of their work (and many more spoke about the crisis).
There is, inevitably, poetry written during the crisis. Whether it’s thematically, formally, tonally different enough from what has gone on before…that’s a harder point to argue. One dominant mode includes disjointed aphorisms, an often unearned lyricism that may even be counterintuitive to absorbing and truly describing the impact of events. On the other hand, when one is editing a book, and working out the ideas and structuring principles behind it – this can sometimes be more clearly part of the poetry of its time. The book enters a critical legacy of the period, and may reveal the way we see, or want to see, ourselves.
I think it’s preferable to consider larger categories, and if one does that, the time soon comes to champion specific poets, to progress beyond groups. And several groups were indeed formed during the crisis – that’s true. Again, ‘opportunity’ is not a word I would use, though I can sense how it is primarily meant; and I agree with Chiotis when he suggests that there needs to be a more consistent book policy, a more intelligent approach to getting people excited about contemporary poetry from Greece. It is, however, a long game; it will take time for a small set, of 2-3 poets to have their names truly recognized outside of Greece – for them to enter, really and consequentially, a literary elsewhere.
When translating from a so-called “minor” to a so-called “major” language or literature, translators do sometimes hold remarkable power, including the power to produce what will in many cases become the only interpretation of a work of literature available in a given language. How do you respond to this power?
Well, it’s true. In most cases, a poet will only get one shot. Cavafy is the exception to the rule perhaps, but we’ve long passed the point since he became part of world literature. Literatures in major languages may often be voracious, but attention-spans can be limited – and sometimes this applies to key poets, Nobel-winners: even recognition on that level won’t necessarily guarantee a continuously maintained existence in this or that literary or cultural memory.
In terms of translation, any such project attempts to take into account several, often competing, intentions. And there’s always a balance to be struck between verse that is representative of someone’s work – those key poems that unquestionably should be repeated across languages – and some titles that lend themselves particularly well, to, say, English or Spanish. Translators need to be involved, I feel, in most aspects of a book’s presentation and reception, including, as I mentioned earlier, the cover. Paratexts, their combined length and balance, need to reflect a good understanding of our intended readers, the amount of information they will normally seek, or be able to absorb. Emphasizing or clarifying intertextual relationships is often a priority.
Even more so in the case of a Selected Poems, there are connections and analogies that readers may be encouraged to pursue. For a poet like Vayenas, whose work I co-edited and co-translated some years back, it was crucial to communicate to English readers his activity as a critic, so Richard Berengarten and I thought it was important to include a brief selection from Vayenas’s essays. And a bilingual chapbook of Greek Cavafy-inspired poems I edited in 2015 also was a chance for English readers to glance at some little known Greek poets.
Overall, one needs to be patient, in so many ways, during the making of a translation and what surrounds it – even more so in cases of collaboration; and then stay involved in variously ensuring this work remains visible, long after it has been translated and published, of course. And yet, one may do everything right – and I’ve witnessed this often – the writer can be truly important, and still not much happens; the moment passes. So, at the very least, you want to be very capable and active in a number of areas, beyond actual translating – as translators, our work is often very close to that of an editor or literary critic, and this is something we also try to communicate to students of literary translation.
In your book you conclude that “there is much to accomplish still in improving, coordinating, and deepening, exchanges”. Could you elaborate on that?
Certain organizations, the Onassis Cultural Centre or the Stavros Niarchos Foundation Cultural Center for instance, are already doing great work in encouraging dialogues between scholars and poets. A rejuvenated Greek National Library (which has recently moved to the Faliro bay site of the Niarchos complex) has given signs of an ambitious schedule of events, which will hopefully include future invitations to writers working abroad. And there have also been efforts already in managing Estates and Archives of Greek poets. When done right, this kind of activity enhances our knowledge and leads to more consequential dissemination of work – especially when it comes to some key, yet lesser-known names. New discoveries often occur, when drafts and manuscripts are ordered and digitized – and such processes can later be connected to translation. We sometimes think the position of a poet within a culture is stable: non-improvable – or unassailable. But that’s precisely where translation begins. Nor is it just the younger poets that deserve our attention. Re-examinations of tradition, appreciating anew – first of all within Greece – the significance of a number of 20th century poets (Zisis Oikonomou, for instance), republishing them … These are steps that should never really be ‘skipped’.
There used to be some funding programmes, like the often-lamented ‘Frasis’, suspended during the years of the crisis. Re-instating a version of it could be crucial, and ideally, more financial sources should be directed expressly towards translation from some of the private institutions too – involving, even, stable collaborations with publishers abroad: it would be interesting to have a series of books by Greek poets, with a recognizable design and with a solid team of editors/translators attached to it. So it’s not necessarily a case of returning to anything as centralized as just one, state-run programme. Yet this is an environment where co-ordination through the entire chain is truly important, from early presentations of translations, to launching and promoting published books.
There are also certain prizes and awards that draw attention to Greek literature and its study, such as the Runciman, the London Hellenic Prize, the Edmund Keeley Book Prize… The first two sometimes honour translations, but it would be even better once again to see a prize dedicated to translations of Greek literature into English.
Finally, to my mind, few things work better than finding ways to have writers, scholars, and if possible, translators, around each other. A small literary gathering, a ‘summer school’ or ideally, a festival like the one we hosted at the Ionian University in October 2017, when we invited four Irish and four Greek noveliststo Corfu. This kind of event creates a wealth of connections, inspirations, and even sometimes, unexpected collaborations. It may still include academic sessions, book launches, roundtables, various workshops. Early translation efforts and contacts with publishers can all happen in this context. Depending on interesting funding bodies of course, I know there’s no lack of organizations and venues that would host such events; the Department of Foreign Languages, Translation and Interpreting where I’m based, certainly pursues such opportunities. Improved results will come from forming networks of universities, and through systematic discussions between them, state structures and private bodies in the future.
*Interview by Athina Rossoglou