Balkan Beats 46 - Cultural Heritage & Migration

Balkan Beats

A BIMONTHLY MAGAZINE BY THE VOLUNTEERS OF THE UNITED SOCIETIES OF BALKANS

The 46th Edition

Cultural heritage represents the totality of all traditions, customs, knowledge and artifacts of a particular group, which have been inherited from past generations. It includes both tangible and intangible elements of human history. These constitute the identity of a specific community and for this reason are considered valuable and worthy of preservation, for the benefit of future generations.

However, it is also true that all these elements, which characterize a single group, are not immutable and especially not immune from intertwining with the ones of a different community. Migrations are an example of how cultural heritage is part of a change that so many countries have embraced over the years.

Cultural Heritage & Migration

Giusy Letizia

In this edition of Balkan Beats, volunteers from the “H2O Health and Heritage, Opportunities for a Life of Change” project immersed themselves in this world of monuments, timeless treasures, music, sports, as well as common idioms, memories of travels and forced exoduses. Experiences that helped form intercultural communities and a mixed heritage brewed of sharing and rebuilding.

O utside and inside the Hellenic borders, before and after the irreversible exchange of Turkish and Greek populations, a look at their tangible and intangible heritage, and its impact in the contemporary world.

Balkan Beats, a part of Balkan Hotspot

B alkan Hotspot is the ESC (European Solidarity Corps) project of “United Societies of Balkans”, a NGO founded in Thessaloniki in 2008 by a team of active young people.

The Balkans and Eastern Europe are geographical regions with many cultural features which offer a broad spectrum of actions and youth involvement initiatives. The organization was created as a response to the pressure of constant

www.balkanhotspot.org

United Societies of Balkans is a Non Governmental Organization, founded in Thessaloniki in 2008, by a team of active young people. The organization was created as a response to the pressure of constant changes in the Balkan and Eastern European region and under the need for the creation of a better social environment. Key areas of the organization’s activities concern the defense of human rights, the organization of youth exchanges and training courses, which will bring young people from Balkans and Europe together, the organization of local educational seminars and multimedia production (webradio, videos, documentaries).

UNITED SOCIETIES OF BALKANS, NGO 8,

Delmouzou str., Thessaloniki

Tel./Fax: +30 2310 215 629 | www.usbngo.gr

changes in the Balkan and Eastern European region and under the need for the creation of a better social environment.

K ey areas of the organization’s activities concern the defense of human rights, the organization of youth exchanges and training courses, which will bring young people from Balkans and Europe together, the organization of local educational seminars and multimedia production.

Main goals of the organization

• To promote the values of non formal le- aring,volunteering, active citizenship and democracy for the creation of a better future for European youth.

• To promote human rights, solidarity and respect for diversity.

• To build healthy cooperation bridges between countries of the Balkan area and that of Eastern Europe with the rest of Europe.

• To locate and multiply the special cultural attributes of our societies.

• The break down of prejudices and stereo- types between Balkan countries.

Property of Balkan Beats

The United Societies of Balkans, NGO, does not necessarily share the opinions expressed in Balkan Beats. It is illegal to reproduce any part of this publication without referring to the source.

Solidarity saves economy

How immigration has a beneficial impact on economy and society

Migration is an inherently connected phenomenon to human history and has always functioned as a means of seeking a better life. It is a beneficial phenomenon for host societies, while providing opportunities for personal development and happiness to individuals who are facing serious economic, social, and political problems. This article will attempt to capture the advantages of economic migration.

Research around the world, such by the Organisation of Economic Co-operation and Development (OECD), has shown that migration has a positive impact on the development of local communities. High rates of immigrants are associated with the introduction of new talents, skills, and innovation to the host country. The introduction of innovation in a country, regardless of its origin, helps create new job opportunities and increase wages across the economy. In addition to this,a research conducted

by Vasiliki Konstantinidou

by Kerr and Kerr in 2020 in the United States shows that immigrants are associated with higher rates of entrepreneurship compared to native-born individuals. This can be explained by the fact that immigrants are generally more open to taking risks, since they have already taken a significant risk in their decision to migrate to another country, with the prospect of creating a better life.

Immigration as a way of inclusion

Generally, according to Cordis research results , multiculturalism is a beneficial phenomenon for society from various perspectives. Different nationalities bring different and diverse knowledge and productive skills, creating a competitive framework in the international economic environment. In addition to these advantages, the fact that large migration flows are associated with increased commercial activities of different cultural character should be mentioned. Immigrants increase the demand for various products from their country of origin, thus creating a culture of inclusion and diverse choices in areas such as music, food, and entertainment. As a result, immigrants highlight the international orientation and extroversion of the economy, creating a favorable climate for attracting foreign investments, collaborations, and better prospects in the tourism sector.

Cultural diversity benefits work environments and the development of communication skills

A s mentioned earlier, the exchange of different ideas fosters innovation, especially in already robust businesses that possess the know-how. The development of soft skills such as open-mindedness and communication skills constitutes some of the key advantages of multiculturalism that can create favorable conditions within busi-

nesses and promote their extroversion. Additionally, it enhances open dialogue and the rejection of stereotypes, thus creating an atmosphere of collaboration and understanding among employees, leading to better conflict management and increased opportunities for the development of local organizations.

“

Our global network is a very valuable asset; we inspire and learn from each other. Diversity is a high-performance fuel — and our strength.” — Forbes 2017

© PEXELS

Together we can make impact

Germany and Australia are two countries with enviable immigration policies.

There are many examples in modern history where large populations of immigrants have significantly influenced the development and local society of host countries. One of these examples is Germany, one of the largest economies globally, with the second-largest immigrant population after the United States, comprising approximately 17% of the total population according to statista. With the “Gastarbeiter” agreements in 1960, the reception of immigrants from countries such as Turkey, Morocco, Tunisia, and Yugoslavia was established. This led to the “Wirtschaftswunder” (economic miracle), also known as the German miracle, where the problem of low-skilled labor shortage was resolved. The German automobile industry, for instance, is an example of an industry that flourished thanks to these workers.

A nother example of a country with successful migration management is Australia. The importance of economic migration is undisputed compared to other advanced economies. According to the website Australian Bureau of statistics, it seems thatOver 25% of the country’s workforce was born outside its borders, and compared to other developed democracies, the high influx of economic migrants did not cause social instability, largely due to the prevalence of a relatively inclusive economic migration policy. Migration to Australia has contributed to offsetting population aging, increasing per capita GDP, and finding specialized workers in a short period of time.

The urgent need to support migrants and facilitate their integration

However, migration has always been a contentious issue, often leading to negative dialogue. Right-wing nationalist forces in countries frequently spread inaccuracies and catastrophize potential negative consequences that a large influx of migrants could bring, such as the distortion of national identity. However, these positions largely lack scientific evidence and aim to promote fanaticism and the development of xenophobic sentiments.

On the other hand, there are host countries for migrants and refugees, whether legal or illegal, with low income and education levels, making it challenging for them to smoothly integrate into advanced economies. In such cases, economic inequality and deprivation create disturbances and problems within society as a whole. Therefore, there is an urgent need for a comprehensive inclusive policy that ensures equal opportunities and education for all, allowing countries to fully utilize and develop the potential of people from diverse cultural backgrounds.

No one is illegal

© UNSPLASH

Cultural Heritage for Equality, Diversity and Inclusion

Inclusion is a concept that concerns us all, not necessarily people with disabilities

Thessaloniki, Greece, is a city rich in cultural heritage with a long history that spans thousands of years. From the ancient ruins of the Roman Forum to the Byzantine churches that dot the city’s skyline, Thessaloniki is a treasure trove of cultural heritage. Given that, its museums are home to some of the most important artifacts and exhibits in Greece. However, for many visitors, cultural heritage can be a complex and challenging subject to engage with. This is where inclusive applications come in, promoting a deeper understanding of cultural heritage and celebrating the diversity that makes our world so rich.

Advancing Inclusive Cultural Heritage: The Transformation of Museums in Thessaloniki through Collaboration

In recent years, museums in Thessaloniki have made great strides in implementing inclusive cultural heritage solutions. These practices are designed to create a more welcoming environment for visitors with different backgrounds, abilities, and needs. The Metropolitan Organization of Museums of Visual Arts of Thessaloniki – MOMus has implemented a series of impactful events and museum programs that prioritize a human-centered approach. These programs,

by Maria Lina Anagnostidou

among others, include Date at MOMus: A Walk Together (2022), the CAre Art Program (2020), and Mind’s Eye: Touching Art (2020).

The Date at MOMus program, in collaboration with the Day Employment Center for People with Memory Disorders of the Psychiatric Hospital of Thessaloniki, catered to individuals with memory disorders and their caregivers. Through multisensory programs, the objective was to encourage social engagement, create opportunities for free, associative expression, and facilitate connections among participants who shared similar experiences. Instead of focusing solely on memory performance, these programs prioritized enhancing the quality of life and strengthening relationships. They provided a time for relaxation

© MOMus

“A walk together”

and enjoyment for both individuals with dementia and their caregivers.

In the CAre Art Program for oncology patients, 18 participants engaged in exclusive photographic activities centered around the concept of self-portraiture. The themes explored included the influence of space on the human psyche, elements of personality, and interpersonal relationships. This program aimed to provide a meaningful and valuable experience for the participants, fostering empathy and dignity.

The Mind’s Eye project aimed to include individuals with visual impairments in contemporary art and raise awareness about social inclusion. It resulted in the creation of a “system” of interconnected applications that combine audio and tactile stimuli, offering a unique way to experience

and perceive art beyond sight. These inclusive applications were afterwards donated to the museum and continue to provide access to selected artworks from the permanent collection equally to people with or without visual impairment.

Inclusive Expressions: The Mind’s Eye Project and Off Stream’s Pursuit of Equality through Art and Culture

The Mind’s Eye project was an initiative of Off Stream, an organization founded by Christina Vlachou and Stela Anastasaki, who vision a more inclusive society where different cultural, artistic, and social positions find space for expression. Their projects stand out for their remarkable quality of catering to individuals, regardless of whether they have disabilities or not, promoting equality.

© Seh & Georgakopoulos, Off Stream 2020

© Seh & Georgakopoulos, Off Stream 2020

Detail of the tactile representation of the artwork “Airplane” by Alexis Akrithakis (1981)

Detail of a tactile map created in the framework of the Mind’s Eye project by Mind the Map

A mong their greatest projects is Sonic Memorabilia (October 2021), in which 10 participants with and without visual impairments discovered the power of the sounds that surround us, made field recordings, and finally created their own sound compositions in the form of sound collages. The Sonic Memorabilia playlist is available on Off Streams website.

on the surface of papers, which they later cut into shapes, forming patterns either by hand or by scissors. Then they glued the abstract and schematic forms they created on a large cardboard surface, creating a group composition inspired by Matisse’s practice, bearing the scent of summer!

Urging Museums Towards a Human-Centered Future: Embracing Inclusion and Empowering Marginalized Voices

A nother remarkable educational program is Cut Outs (July 2021), where children aged 5–15 years old, who experience different levels of sight loss, painted with scented colors

I n conclusion, it is imperative for museums to prioritize a human-centered approach that is crucial for the future of coexistence. It encompasses the museums’ relationship with the broader community and their responsiveness to evolving multicultural and intercultural dynamics. Additionally, it involves empowering marginalized audience groups who have historically been voiceless, such as people with disabilities, indigenous communities, ethnic and racial minorities, LGBTQ+ individuals, and socioeconomically disadvantaged groups. So, inclusion should permeate every aspect of museum operations, including exhibition design, building accessibility, and innovative initiatives catering to diverse needs. After all, these concepts are relevant and applicable to all of us!

© George Mikrou 2021 Cut-Outs, Educational programme for children

A new approach: Towards a common identity through culture

How the preservation of cultural heritage is shaping both countries mutual understanding today

Turkey and Greece are two nations that undeniably share a common past - the impacts can be seen in a lot of different elements today. Easily, by looking at museums, associations and the approach of the EU.

This article discusses the impact that the preservation of common cultural heritage (linked to the exchange of populations) has on the identity of the two countries and their understanding of each other today.

The importance of culture during the exchange

by Damla Ceyda Uzun

ments for the exchanges. While they were exposed to the loss of homeland, famine and the language barrier, their culture and tradition kept them alive, giving them some feeling of having their homeland partially with them. Strolling through Thessaloniki, a city that was deeply involved in the exchange of people, it is more than visible that both populations influenced each other culturally, whether it be in food, music or traditional dresses.

B

efore moving to the preservation of cultural heritage, it is important to understand why culture was such an essential thing for the exchanges. In terms of its meaning, it can be defined as “their way of living life”, including tangible and intangible elements. Furthermore, it creates a distinct identity for a certain group (for example a population). Culture also provides the group with safety, because they have something to rely on in life, a community, sharing the same values and traditions.

A s the people were forced to emigrate to the other side of the Agean, keeping their culture was possibly one of the most important ele -

Having a common past means in this sense sharing the same cultural elements. And taking into account that culture shapes an identity, both countries are closely connected on a cultural level.

The beginning of preserving common cultural heritage

But in order to make these cultures visible and sustainable, it has to be preserved and shared among people and generations. In Turkey, the preservation of cultural heritage concerning the exchange of populations started in recent years, the late 90s. Since then, the population raised awareness and interests for what happened in the past and stayed a taboo for decades. People started reflecting about the past and especially about their family’s roots and identity.

The first steps of preserving cultural heritage offered them the opportunity to understand both nations better and approach each other as “brothers and sisters” that have lived through similar experiences. Thanks to associations and cultural events taking place more and more, physical exchange between both nations became a habit and something to look forward to.

The foundation of Lausanne Treaty Emigrants

O ne active association is the Foundation of Lausanne Treaty Emigrants, or “Lozan Mübadi-

lleri Vakfi ‘’ in its original Turkish name, based in Istanbul and founded by children and grandchildren of the exchanges. Its mission is about keeping the culture that was brought by the people alive and passing it onto the next generations.

In order to achieve this, the Foundation of Lausanne Treaty Emigrants organises travels, publications and events. Furthermore, the association offers a wide range of literature and publications about the common past. In 2005, it was given the Europa Nostra award for its efforts in preserving cultural heritage.

Exhibition about common cultural heritage between Turkey and Greece organised by the Foundation of Lausanne Treaty Emigrants.

© European Heritage Awards

The establishment of the first Turkish museum about the exchange

In 2010, the year Istanbul was selected European Capital of Culture, Turkey’s first museum dealing with the exchange of populations was opened in the district of Çatalca in Istanbul. It focuses on tangible cultural heritage, presenting daily possessions of the exchanges that they could carry during their journey, like books, stamps and even newspapers.

Further museums in Kavala

A nother museum is established in Kavala as the “Kavala museum of Greek refugees”. It was created by third generation refugees with the support of the Association of Asia Minor of Kavala. Through presenting customs, recipes, songs, photographs and more, the museum shows how the city of Kavala has been shaped by the exchange of populations. It aims to show the gradual integration of refugees into daily life after arriving in Greece.

Focusing on the culture of Cappadocian Greeks, the Historical and Ethnographic Museum of Capadoccian Greeks is located near Kavala, in Nea Karvali Village. Founded in 1981, it is one of the earliest establishments to preserve common cultural heritage and Turkey. In 1997, it was selected as the “Museum of the Year” by the European Union.

The bridge for better mutual understanding

A s mentioned above, culture creates identity. The preservation of cultural heritage makes both countries embrace their similarities and creates a bridge for better mutual understanding. The exchange was a challenging part in Greek-Turkish history that shaped both countries. Even today it is a very emotional topic for both sides combined with pain and the loss of homeland.

However, it also shows that a difficult past can be a new beginning, a new approach of understanding each other and happily sharing common things. Without the migration movement, such an exchange of cultures and common values would not have taken place. Now, Turkey and Greece are capable of celebrating their similarities and embracing each other’s cultures, collaborating through cultural events. A common cultural heritage is an enrichment for both countries.

© Pinterest

Personal Growth

Coffers filled with blankets used by the migrants after moving to Turkey.

Exhibition of materials that have been exchanged by the populations

© Visitkavala E NHANCING Shaping the present

The Jewish Perspective of Thessaloniki

What is the connection between the Jews and Thessaloniki, and how did they influence its overall image?

The Jews of Thessaloniki constituted a significant part of the city’s history, as they formed the majority of its population for a period of time. They influenced various aspects of the city of Thessaloniki. For example, their contribution to the economy was crucial, as well as their impact on architecture, where buildings that were once their homes still adorn the city’s major streets. Naturally, the Jewish synagogue was always their sanctuary, and in combination with the Jewish Museum, they now serve as focal points, where a significant part of their history is preserved. The Holocaust and their deportation to concentration camps were a great blow to Thessaloniki and the people of Israel, and certainly the return of those who survived was not as they had anticipated.

When did the Jews begin to settle in Thessaloniki?

We can distinguish two periods during which Jews started to come to the city of Thessaloniki:

The first period dates back to the early years when the first wave arrived from Alexandria and Egypt around 140 BC, until 1492 AD. This wave of Jews was called “Romaniotes” and fully settled in the region, adopting the language. They established their own synagogue, Etz Hayyim,

by Elena Kostakoglou

which also served as the center of their social and religious activities.

The second period is identified in 1492 AD when the Spanish Catholic monarchs Ferdinand and Isabella asked the Jews of Spain (known as Sephardim, meaning Spanish) either to convert to Christianity or leave the country.It’s important to be underlined that the monarchs forced the Sephardim to leave not only from the Iberian peninsula, but also from all other territories subject to the power of the Spanish Crown. In Thessaloniki, the Sephardim established various synagogues named after the cities they came from: Castilia, Catalan, Aragon, Majorca, Lisbon, Sicilia, Calabria, Puglia, Provincia, and so on.

What did they do in Thessaloniki?

The Jews primarily got involved in the cultivation and trade of silk, to such an extent that they transformed Thessaloniki into one of the largest ports in Europe. They also developed trade relations with other European cities and major ports worldwide (Ioannis Mimidas’ thesis in Hellenic University). In other words, they significantly contributed to the economic development of Thessaloniki, as they had extensive experience in trade, knowledge of various foreign languages, and a cosmopolitan mindset,

which were crucial for the evolution of the Ottoman Empire (Jewish Museum of Thessaloniki).

Until the 16th century, the population of Thessaloniki largely consisted of Jews, as Jews from various countries continuously migrated to the city in order to live a normal life. As the Jewish poet Samuel Usque once said, “Thessaloniki, you are the city and mother of Israel.”

Influence on Architecture

Most Jews were quite prosperous, and this is evident in various parts of the city, where many of the buildings they inhabited still stand out for their distinctive architectural features. The area where most of these buildings are located is Vasilissis Olgas Street. Specifically:

Villa Fernadez

Villa Fernandez, known as Casa Bianca, built in 1912 for Dino Fernandez-Diaz on the same land he purchased that year. Dino Fernandez was an Italian citizen, a wealthy Jewish merchant and banker, who founded the Olympus Brewery in collaboration with the Misrachi company in 1893

in the Sfageia area. The history of the building is closely connected to the romance between Fernandez’s daughter, Alianne, and a Greek officer Spyros Alibertis, which became the subject of extensive press coverage at the time, as the conservative society of 1912 was not approving a marriage between a Jewish woman and a Christian man. It includes Renaissance architectural elements and Art Nouveau elements.

Villa Modiano

Villa Modiano, built in 1906 for Jacob Modiano by the architect Eli Modiano. In 1913, Villa Modiano was purchased by the Municipality of Thessaloniki and converted into a palace where King Constantine resided.

Modiano Market

Modiano Market is one of the largest covered markets in Thessaloniki and was built in 1922 by architect Eli Modiano. It opened to the public in 1925 as one of the central food markets. This rectangular-shaped building, featuring a glass roof and divided into four galleries, has now become a modern market.

© City of Thessaloniki

© Dimitris Symeonidis

Villa Bianca

Villa Modiano

“Matanoth Laevionim” School

S ince 1979, the Jewish Community of Thessaloniki has operated a six-year primary school and nursery attended by about 80 children. The school is housed in the traditional building of the charity organization “Matanoth Laevionim”

(Help for the Poor).

1917 Fire

In 1917, a major fire broke out in Thessaloniki, destroying a significant part of the city, particularly the area where Jews were living. As a result, approximately 52,000 Jews became homeless. Although the Greek government was willing to compensate those Jews who lost their

homes, it prohibited them from settling in specific areas in order to implement its Hellenization policy. This, combined with the enactment of a law that banned work on Sundays (while Jews considered Saturday their holy day), led many Jews to emigrate either to Palestine or to Paris (Jews Museum of Thessaloniki). Nevertheless, there were many Jews who managed to rebuild what the fire had destroyed and continue their lives in Thessaloniki.

World War II

On April 9, 1941, the Germans entered Thessaloniki, and two days later, they banned the publication of the only Spanish-Jewish newspaper, “Mesatsevero.” Persecutions began when, in 1942, all Jewish men aged 18-45 were asked to gather in Eleftherias Square for forced labor.

A fter numerous humiliations, prohibitions, and property confiscations, Jews were required to wear the yellow star that distinguished them from the rest of the population. During the German occupation, the Jewish cemetery was destroyed, and now university buildings have been constructed in its place. On March 15, the deportation of Jews began, with trains transporting them in deplorable conditions to concentration camps in Poland (Auschwitz

© Site of Modiano Market

© Wander Lush

© Jewish Museum of Thessaloniki

Modiano Market today

Modiano Market then

Eleftherias Square 1942

and Birkenau). Approximately 43,900 Jews, 95% of the Jewish population in Greece, were deported from Thessaloniki.

S ome of the Jews of Thessaloniki were lucky and had the opportunity to hide in the homes of Greek Christians, who chose to take the risk of being executed if caught, instead of passively watching the brutality happening in front of their eyes.

The return

Very few Jews managed to survive despite the miserable conditions in the concentration

camps. When they returned, they found a foreign city, as many of their properties had been occupied or looted. After the war, there were fewer than 2,000 Jews left in Thessaloniki.

N evertheless, they managed to rebuild their shattered community and organize themselves, creating the Jewish synagogue, within which the Jewish Choir operates. Today, the Jewish Community of Thessaloniki counts fewer than 1,100 members. It maintains the Monastirioton Synagogue and the Yanit Lezikaron, the Talmud Torah Agadolon Primary School, the Saul Modiano Nursing Home, the Jewish Museum, and the Community Center.

© JD.Ch.

Jews Museum

Time and history in cultural monuments

This Photo Gallery consists of photos taken of cultural monuments and historical buildings in Thessaloniki, Greece.

by Sirlen Vodi

Arch of Galerius

Intangible cultural heritage is reflected in material outputs of culture, such as cultural monuments, landscapes and so on. With this Photo Gallery, I would especially like to emphasise the idea that cultural monuments carry history not only from the time they were made but from all the times they lived through and bring out the contrast between history and today.

Roman Forum of Thessaloniki

In the centre of Thessaloniki

Religion and heritage

Grigoris Lambrakis Monument

First memories as a volunteer inThessaloniki

My first walk through the Heritage of this ancient city

I remember as if I were at this moment in the harbor, in the warmth of the sun. The light was incredible, hanging over... and dazzling Thessaloniki, the Nymph of the Thermaic Gulf.

A s I was observing, Mount Olympus began to take shape... at the hour that the sun gives us the opportunity to see and reveal the secrets that Olympus hides. The sound of the Greek language seemed like a soothing song in my

by Fanny Gallo

ears. The weather was peaceful and warm. The White Tower, in the role of a guardian, reigned over the square nearby, to guarantee a safe haven to an unlimited number of ships, as well as the “pirate ship” who dares to come close to the shore. I could see and feel that the sea is entwined with the city, in a symbiotic relationship.

“The sound of the Greek language seemed like a soothing song in my ears.”

The atmosphere along the quays was festive and peaceful. I passed through so many gardens along my walk to the port. As I passed through the Aristotle Square I thought “This cheerful square never sleeps”. At any time of the day or night there are people. It was designed by Ernest Hébrard, a French architect who drew up the plans for the square in 1918 so that it would be perpendicular to the sea.

I could notice how the streets were colorful and the smell of souvlaki that made me feel hungry. I crossed the street in front of the park with the statue. In the square there was a gathering. At that moment it seemed to me that this place

© Solène Guignard

© Solène Guignard

The White tower Aristotle Square

played an important role in the socio-political life of the city.

C ontinuing upwards, I came across the great Forum, which I observed for a while. The richness of this city lies in the remains of the past that can be found on every street corner, … still blending perfectly in the present day.

“The richness of this city lies in the remains of the past ”

I continued to walk uphill, towards the Old Town. I sat down on a rock in the Pasha’s Garden. The view of Agia Sofia Church was majestic. At that time young musicians were gathered and played Greek music. High above the garden, lies the authentic charm of the Old Town. The houses in Anopoli are so charming. I enjoyed the last few moments of sunshine high above the castle.

“Τhe view of the sea is even more beautiful when you can see the outline of the mountains above the horizon.”

H eading towards the mountains at Anopoli, I found a passageway with steps. I was able to enjoy a spot of nature and admire the view of the town, which made me realize just how big it is. The charm is that the view of the sea is even more beautiful when you can see the outline of the mountains above the horizon.

I walked down from the castle ramparts and walked along the Rotonda and Kamara, a place where young people and students meet to express their political opinions.

A fterwards I walked along Egnatia street, where some of the old buildings had survived the tragic fire of 1917. I often wonder what would Thessaloniki look like if this tragedy never happened. Egnatia, an ancient “highway”, is the name of the Great Roman road linking the Adriatic to Asia Minor.

M y gaze stopped in a feeling of awe, in front of the Panaghia Chalkeon church, surrounded by cypress and citrus trees. With an iced coffee in my hands, I headed off in the direction of an interesting taverna on the side of the street to listen to the bouzouki sound and eat dolmas and saganaki.

© Solène Guignard

Kamara

Timeless Treasures

Exploring through a walk the multicultural Sites of Thessaloniki through time

If you want to go back in time, a stroll in Thessaloniki is enough. Thessaloniki is one of the oldest cities, with a history that takes you back 24 centuries. One civilization followed another, leaving indelible historical landmarks in the city and turning it into a crossroad of civilizations.

Walking through the streets and picturesque alleys, crossing the narrow lanes, descending the stone streets of the Upper Town, and heading towards the port, you will discover the traces of past civilizations. Byzantine, Roman, Ottoman, and Jewish monuments blend, revive, and come to life, transforming the city into a colorful and multilingual open-air museum created by the greatest civilizations of the world.

Our journey with the time machine takes us to the Byzantine period, and the walk starts from the Upper Town. The fortified city with its rich monuments can be considered an authentic Byzantine museum.

The tour begins with the Byzantine and Medieval walls and fortresses, which still stand and guard modern Thessaloniki, as they were built to protect it from enemy raids. The city walls have transformed over time, starting from the ancient Greek city, while each new ruler, such as the Romans, Byzantines, and Ottomans, added or changed something. Mostly, their Byzantine form has been preserved.

by Zoe Kalogianni

A t the northeastern end of the city walls, you will find the Heptapyrgion Fortress, also known as ‘’Yedikule’’ in Ottoman. The Heptapyrgion showcases the fusion of Byzantine culture through the Byzantine fortress, consisting of ten towers, and Ottoman culture, which emerged after the Fall of the City (1430) with the addition of the ‘’Yedikule’’ Tower. Continuing the walk alongside the walls, descending the slope and passing through the “Portara,” we reach the most important point of the walls, the Tower of Trigoniou.

© Zoe Kalogianni Trigoniou tower

A fter admiring the view of the Thermaic Gulf, the walk continues outside the city walls. Crossing the Acropolis Street, we encounter a Byzantine gem known as the Vlatadon Monastery. The Vlatadon Monastery is the only Byzantine monastery in the city that has been continuously operational since its foundation until today.

The walk continues, and the time machine transports us from the Byzantine period to the Ottoman period of Thessaloniki. The city is bathed in an eastern atmosphere. Baths and covered markets are built in the neighborhoods, while the grandest Byzantine and Christian churches of Thessaloniki are transformed into mosques. Descending from the Upper Town, we cross the Pasha Gardens, which once served as the garden of the Agios Dimitrios Hospital. Continuing our walk, we come across the house of Kemal Atatürk, a mansion representing the Ottoman presence in Thessaloniki, which now serves as a museum. A little further down, we encounter the “Yeni Hamam” (New Bath), a small Ottoman bath. The building ceased to function as a bathhouse after the liberation of Thessaloniki, unlike the other hamams in the city.

A fter the journey to the Ottoman era, we discover the Jewish presence in Thessaloniki. Jewish Thessaloniki can be described as an invisible city. However, by observing more care-

fully and raising our gaze to the mansions and elaborate buildings, one can reconstruct its significant history.

The walk in the Jewish culture begins with a visit to the Modiano Market. Modiano Market is part of the city’s culture as it is the first traditional food market and one of the largest covered markets in Thessaloniki, which still operates today. The covered market houses fishmongers, butchers, and coffee shops. However, one can

© Zoe Kalogianni Agora Modiano

also encounter other points in the city that are related to Jewish culture.

E xiting our route and exclusively to complete the picture of the Jewish element, heading towards the eastern part of Thessaloniki, in the then suburb neighborhood, one can walk on the aristocratic road of Queen Olga and admire the famous Casa Bianca as well as the mansions of Alatini and Modiano (Lifo).

The tour continues, and we go again back in time to meet the Egnatia Road, which takes us directly to the Roman era as it is located at the

same spot where the Roman road used to be. The road took its name from the then governor of the city, Egnatius.

Going up a bit on Egnatia Road, we encounter the Roman Market. This market was built in the 2nd century and was uncovered in 1966, known as the “Market of Diocletian.” It was the commercial and social core of ancient Thessaloniki. During the Roman era, the market space constituted the religious and social center of the entire city, as well as a space that gathered the most imposing and magnificent public buildings (tvxs.gnews).

C ontinuing our stroll through the era of Roman Thessaloniki, leaving behind the Roman Forum and crossing the road of Egnatia, we encounter one of the city’s most significant monuments and its true symbol, which captures its continuous transformations: the Rotonda. The ‘’Ροτόντα’’ was part of the grand architectural complex that comprised the palaces. This monument dates back to the early 4th century AD, commissioned by Galerius, and it is speculated that he intended it to be his mausoleum. However, it never served that purpose.

D escending from the ‘’Ροτόντα’’, we come across the imposing Arch of Galerius, also known as the “Kamara.” It was built to commemorate Galerius’ victories against the Persians, narrating his triumph through the engraved reliefs. The Arch of Galerius boasts an exclusive wealth of sculptural decorations.

© Zoe Kalogianni Rotonda

of Thessaloniki, located at the point where the eastern wall met the seawall.

A scending to the top of the tower, we enjoy a panoramic view of the city, with the sea stretching out before us and the monuments emerging on the horizon. This completes the tour of Thessaloniki’s past, and the time machine transports us back to the present.

During this stroll, we encountered the cultural heritage of Thessaloniki, which stands proud to this day, transforming the city into a historical center and a meeting point of languages and civilizations. This city, flooded with the spirit of diverse cultures, is worth exploring and discovering in every corner. Let us not forget that Thessaloniki has been and will continue to be a crossroad of four cardinal points on the horizon.

C

oncluding our tour of Thessaloniki’s past, it is worth descending from the famous pedestrian street where we also find the renowned Navarinou Square. This square is one of the most important monuments of Late Antiquity, as it preserves monumental structures that constituted an imperial residence during the Roman era. A

t the end of the pedestrian street, alongside the Thermaic Gulf, stands the captivating White Tower, the symbol of the city. It was constructed in the 15th century as a defensive fortification. The tower, as it stands today, was built in the late 15th century after the Ottoman conquest of the city in 1430, as part of the fortifications’ modernization. In its place, there was an earlier tower from the Byzantine fortifications

© Zoe Kalogianni

© Zoe Kalogianni

White tower

Kamara

A New Route To Mount Olympus

The Power of Myths to Redefine Gender Norms

N o matter how old we get, the captivating tales of the Gods and Heroes of Greek mythology never fail to make us dream. Our bedtime stories as little ones were the first to guide us to Mount Olympus, a trip that we would come to embark on countless of times, as we would beg and beg our parents to take us back to the enchanting land of the Gods and to recount to us again and again the stories of the Heroes who defied fate and carved their names into eternity. We longed to hear more about strong tempered Zeus who reigned supreme, the mighty Poseidon who controlled the seas and the courageous Hercules who could achieve any feat. As we grew older, our Gods and Heroes continued to accompany us. Greek Literature confronted us with the epic tales from Homer’s Iliad and Odyssey, all contributing to building our understanding of heroism, fate and complex human nature. Many consider these vestiges of the

by Marie-Lys Roche

past, as part of a shared identity in the Western world, as we all in some way have a special connection to them. These ancient stories have continued to captivate the human mind through time and space and have proven to play a central role in shaping our understanding of social norms and traditional roles, particularly when it comes to gender.

“The gender boundaries and norms as we know them today were actively being shaped by the myths we were fed as children.”

Growing up with these stories meant we came to inevitably value the key concepts and beliefs they represented. This means that the gender boundaries and norms as we know them today were actively being shaped by the myths we

© Mount Olympus from Larissa, Thessaly, Greece, Edward Lear, 1850–85

A painting showcasing a panoramic view of Greece’s highest summit

were fed as children, with for example the idea that heroism is inherently a masculine trait. By internalising these stories we absorb this idea that strength, courage and heroic deeds are exclusively reserved to the domain of men. Greek mythology is a place where women’s narratives are often marginalised, whilst men’s actions seem to always be immortalised. This not only limits our idea of the potential of the female characters, but also distorts our perception of ourselves and gender roles in the real world. In the ancient texts, despite the initial appearance of power, even the few Goddesses are often rel-

egated to the shadows, outshined by their male counterparts. Mostly, women are reduced to seducers to the male characters, merely objects of temptations and trickery, with for example the figures of Calypso or Circe.

The cultural representation of women in Greek mythology comes to explain their treatment and prescribed role in society. Women are portrayed as manipulative, devious and as the source of the downfall of men. This is then used as an explanation to the oppressive treatment and forced seclusion they can be subject to. These act as two main pillars that uphold the ideals of a patriarchal society and contribute to feeding upon the idea that there is a necessity for male domination in society. Therefore, these myths are instrumentalized to perpetuate the view that women’s innate trickery would be uncontrollable unless they were kept in order by men and thus, justify their alienated status. It was Pandora, who was weak enough to succumb to her curiosity and open her box despite being warned against it. Her story exemplifies how men’s greatest affliction is women themselves. Through her story, children are taught about weaknesses and obedience, how a woman’s

“These myths are instrumentalized to perpetuate the view that women’s innate trickery would be uncontrollable unless they were kept in order by men and thus, justify their alienated status.”

© Chauncey Bradley Ives, 1871 Marble Statue representing Pandora

nature unleashed pain and suffering into the world, plaguing society with evil and darkness. Equally, Aphrodite, who used her enchanting beauty to manipulate both Gods and mortals, is often painted as having an untrustworthy and devious character. And so, if even an immortal Goddess could not respect the rules of society, then how could men trust a mortal woman. Therefore, this paves the way towards the idea that women should stay in the domestic field, away from power.

“This has led to many artists and writers instrumentalizing these stories as their muses as a way to rebalance the perspective. These creators act as craftsmen whose main working tool is the past itself.”

I n opposition, very specific and contrasting traits are associated with men. The very word for courage, “andreia,” stems from the Greek term “aner” and “andros,” meaning male adult and manliness. This tie reveals the extent to which bravery was intertwined with traditional notions of masculinity. These ancient ideals were not merely confined to the realms of myth but found their way into the fabric of society of the time. Even today, the heroic masculinity portrayed in timeless texts such as Homer’s Iliad continues to be idealised. As a result, traditional male virtues depicted in these mythological narratives have become deeply ingrained

in our perceptions of gender, making it a difficult task to dismantle these enduring stereotypes. In the end, our constant exposure to these stories whilst growing up has led to these prescribed gender roles being normalised and playing a role during the formation of our identity. Thus, social norms end up intertwining within our rich common cultural heritage. This has led to many artists and writers instrumentalizing these stories as their muses as a way to rebalance the perspective. These creators act as craftsmen whose main working tool is the past itself. They carefully play around with the life of the actors of history to reveal the intricacies of our current social landscape as they dive into history’s depth to comprehend the challenges that shape the tapestry of today’s reality.

A recent phenomenon that has enabled to shed light on the female perspective of these stories is the growing number of books which put an emphasis on amplifying the voices of female characters such as Medusa by Charlotte Higgins. Through the prism of Medusa’s tale, she delves into a myriad of salient contemporary issue, touching upon themes such as sexual assault, gender stereotyping, societal beauty standards and female autonomy. Higgins invites to bridge ancient myth with our current reality, as Medusa’s story becomes an artefact of its own age. Other authors have also used literature as a platform to empower female narratives and diversify the voices that normally root from Greek mythology, such as the work of Madeleine Miller with her book Circe, a char-

acter who she portrays as a flawed human who we are able to relate and empathise towards, rather than alienate. In Gender Swapped Greek Myths by Karrie Fransman and Jonathan Plackett attempts to make us reflect on how gender defines everyone and everything. The authors swap the genders of the Gods and Heroes of the traditional story which razes to the ground our unconscious preconception and proves to us how the gendered bias that is ingrained in our outlook on society might be tackled and rewritten.

This new wave of modern authors that use their platform to break down the boundaries of gender has been crucial to start a conversation about the necessity to change our social constructs and outlook on the world. There is a clear need to now redefine what it means to be a “hero” but also delineate what the lines of femininity and masculinity are. This should come as little surprise that those engaged in questioning the toxic social constructs should first turn to Greek mythology to pursue their own quest instead of creating a whole new set of female heroic characters. This showcases the power contained by these narratives and their unique ability to shape the mind, acting once again as a cornerstone of humanity’s cultural foundation. As storytellers, it is our responsibility to weave tales that expand the horizons of our children’s imaginations. Arguably, Greek myths offer a fantastic stepping stone to explore gender roles with a fresh eye, though we should always be wary not to impose a modern conception to classic heritage. Those rewritten tales might even become sources of inspiration for a whole new generation of Olympians not limited by gender. We have the opportunity to nurture a generation that can break free from the confines of gender expectations. Something to consider next time we tuck our children into bed and embark on the journey up Mount Olympus.

“As storytellers, it is our responsibility to weave tales that expand the horizons of our children’s imaginations. Arguably, Greek myths offer a fantastic stepping stone to explore gender roles with a fresh eye.”

© Karrie Fransman

© Karrie Fransman

Illustrations of some of the main characters in Greek Mythology, extracted from the book Gender Swapped Greek Myths

Persephonus is dragged off by Hadea, extracted from the book Gender Swapped Greek Myths

20th century; The three main Greek music composers of 20th century

How music and musicians shape the cultural heritage of a country

The 20th century is called the century of “New Music”.

A s it is well known, the first half of the 20th century is written in red in history, including two World Wars and millions of victims. At the same time, science and technology experienced great development and discoveries that succeeded one another. Music, of course, could not be absent from this innovative change that the whole world experienced.

In general, what happened in the field of art at that time was a mix between conservative, old, liberal, and progressive elements.

But first, let’s talk a little bit about music in general and its important role as a part of our (intangible) cultural heritage.

Music keeps cultural heritage alive.

M usic has deep roots in any culture. Even though it is not something physical, such as sculptures or monuments, its importance is noteworthy, and it can describe a culture in a more creative way. People, not only in ancient times but nowadays as well, create music and make songs through which they intend to at -

by Andriana Diamantidou

tract any “stranger”, who wants to learn more about their way of life. It is not only about welcoming strangers and opening up to them, but also about giving them the opportunity to hear new sounds, learn about new instruments, and probably create the desire to get involved in something that was completely foreign to them until that moment.

Visitors take a tour in anniversary exhibition for the 96 years of active and creative life of Mikis Theodorakis in Athens, Greece on September 2, 2021

A s an example, three of the most important Greek music composers are mentioned below:

Mikis Theodorakis (Μίκης Θεοδωράκης)

B orn in 1925 on the Greek island of Chios, his musical influences from a very young age were mostly Byzantine music. He has written music for cinema, theater, composed classical music, symphonies, ballets, operas, etc. His songs have also been performed by foreign artists, such as the Beatles. His Greek syrtaki for the Zorbas movie was globally associated with Greece.

E xamples:

“

The honeymoon song” is the song that The Beatles recorded on their radio show “Pop go the Beatles” in 1963

E na to chelidoni (Ένα το χελιδόνι)

Ο choros tou Zorba (Ο χορός του Ζορμπά)

Manos Hatzidakis (Μάνος Χατζιδάκις)

B orn in 1925 in the Greek town of Xanthi, he was engaged in songwriting, poetry, and piano. In 1961, he won an Oscar for the movie Ta pedia

tou Pirea (Τα παιδιά του Πειραιά) for the best original song. As a result, he is widely known abroad. He lived in New York and traveled to London, Paris, and Brussels. In July 1972, he decided to move back to Greece.

He was the first to try to combine Greek traditional music with classical music.

E xamples:

Ta pedia you Pirea (Τα παιδιά του Πειραιά)

Chartino to feggaraki (Χάρτινο το φεγγαράκι)

Vasilis Tsitsanis (Βασίλης Τσιτσάνης)

B orn in 1915 in the Greek town of Trikala, he is considered one of the most important composers of rebetiko and folk music. Rebetiko is the name of the music that appeared in Greece at the end of the 19th century. It evolved in the port of the cities where the social class lived, taking influence from the migration, poverty, social injustice, prostitution etc.

Growing up in a poor family and having lost his father at a very young age, he started playing music in order to get his pocket money. He never followed any particular seasonal music style, however, he had some tracks that can be considered classical.

S ongs:

Mi mou ksana figis pia (Μη μου ξανά φύγεις πια)

To vapori ap’ ti Persia (Το βαπόρι απ’ τη Περσία)

Mpaxe Tsifliki (Μπαξέ Τσιφλίκι)

© avalonofthearts.gr

The music of Vasilis Tsitsanis and Manos Hadjidakis

Traditional instruments of Greece

The Word Search!

G reek music and styles as we know them today, were gradually built up from a rich tapestry of Balkan instruments. Through this Word Search, let us journey back in time together and

by Kévin Lucas

unravel the history behind these traditional instruments. Piecing together this puzzle will allow you to discover a core part of Greece’s cultural heritage, so let the musical quest begin!

© Kévin Lucas

Complete the first part of the Word Search listening to a playlist, scan the QR Code below to begin !

Part 1 : String instruments

• B ouzouki

The Bouzouki is an old traditional instrument made up of three-courses. Its principal use was for entertainment such as dances. From 1933, it became known as one of the key Greek national instruments and can be considered as one of the most precious musical heritage of the country. Like many others, it arrived in Greece through the Asia minor catastrophe. It is associated with the Rebetiko style, a Greek underworld gender that emerged from the poorer quarters of the country. However, this style, and the instrument itself, was made illegal for a period of time as the lyrics centered around themes of drugs, exile, imprisonment, drinking in excess.

• Cura

O riginating from Turkey, this instrument is a small version of the Bouzouki. Its compact size was particularly useful during the Rebetiko ban, as it was easily concealable inside a coat.

• S antouri

The Santouri is a 3,000 years old Iranian instrument, spread throughout the Middle East.

M ostly played in Rebetiko style, this 140 strings instrument arrived in Greece after the Asia minor Catastrophe.

• K anun

The roots of this instrument can be traced back to Egypt or Syria during the 18th century and has a long history in the Middle Eastern region. It is composed of 24 to 26 courses which makes up around 75 strings. It is also one of

the instruments that was brought to Greece during the Asia Minor catastrophe.

• Oud

Widespread in Armenia, Arab countries, Azerbaijan and Turkey this string instrument came to Greece after the Smyrna. The Oud is principally played in solo.

• L aterna

A variant of a piano, this instrument, the size of a trunk, was carried on the player’s back with the help of straps. It works by crank turning a cylinder and can be considered as an iconic instrument of street musicians in Greeks.

• Lyra

The Lyra is the first string musical instrument that appeared in Greece. It’s probably a transformed version of the old Pandura Instrument that didn’t need a bow to play. The Lyra was the most popular instrument during the Byzantine Empire, and spread through the Byzantine trade routes.

© Logo : FreePik

Qr Code for the first playlist during the game.

Part 2 : Wind instruments

N ow, complete the second part of the Word Search during another playlist, scan the QR Code below to begin!

A single or double-reed pipe that stems from Ancient Greece, in Greek Mythology the Goddess Athena is presented as its creator. In fact, it was one of the most used instruments during festivities in Ancient Greece, particularly those that happened in the name of the God Dionysus.

This instrument is widely used in Turkey, it originates from Eurasia and comes from the same family as the oboe. Its use is widespread in the Balkans, particularly during weddings and parties, during those events, it is well accompanied by big drums.

Brought from Turkey in the middle of the XIXth century, this type of clarinet is a significant instrument for the Greek folklore music genre.

• A ulos

• Z urna

• K larino

© Logo : FreePik Qr Code for the second playlist during the game.

© Enosis band

A man playing Bouzouki

Part 3 : Percussion instruments

To conclude, complete the last part of the Word Search during the third playlist, scan the QR Code below to begin !

• D éfi

This tambourine-like instrument roots from Ancient Greece is made up of wood, clay, animal skin and plates of metal. It is primarily used as a form of accompaniment, to complement a melody.

• Z ilia

A form of handheld cymbals that are tied together with a string. It dates back to Ancient Greece and was most commonly used for the Rebetiko style.

• Daouli

A rhythmic instrument prevalent in mainland Greece, dating back from the Byzantine era. It has always been popular and frequently played by Macedonians.

• Tarabuka

The Tarabuka, a traditional musical instrument in Greece, was created in Egypt. It consists of pieces of both skin and metal. It was mostly used for the Laïko style, an urban folkloric Greek style, as well as Rebetiko.

Search word answers © Kévin Lucas

© Logo : Flat Icons

Qr Code for the last playlist during the game.

The chronicle of the exodus

Discovering the events of the population exchange through the eyes of a 109-year-old Asia Minor refugee

by Kyriakos Kourtidis

iss Magdalene Paulidou, one of the last survivors, or quite possibly the last surviving witness, of the Asia Minor Disaster, currently standing at 109 years old, talks about the events of the great exodus. The infamous population exchange stigmatized the contemporary history of two opposing countries facing each other in the Aegean Archipelagoes.

M

A s we finally reach the 100th anniversary of the tragic events of the Asia Minor disaster, we now realize the distance from what was once a recent memory for millions of people. The testimonies of the protagonists of the drama, of which a very small percentage survives today, haunt our imagination as we wander through the events that shaped the first official mutual expulsion of populations. This major compulsory population exchange, also named the

“Convention Concerning the Exchange of Greek and Turkish Populations,” signed at Lausanne in 1923 by the governments of Greece and Turkey, was based not on language or ethnicity but upon religious identity. The exchange involved at least 1.6 million indigenous Orthodox Christian populations from Turkey, stretching from Asia Minor, Eastern Thrace, the Pontic Alps, and the Caucasus, and on the other side, 355,000–400,000 native Muslims from Greece.

The testimonies of that time take bone and flesh in our minds when we try to imagine myriads of people arriving at the ports of Greece. The refugee population that managed to finally arrive at the Greek ports consisted mainly of women and children. According to Miss Magdalene, “here (in Greece) came only some children and some widows. No men came […]. My mother (when she arrived in Greece) had a son and me. I also had another sister, who came later. She had been taken as a prisoner […]. My

Eleftherios Venizelos (right) signs the Treaty of Lausanne representing Greece. In front of him is the head of the Turkish mission Ismet Pasha

Asia Minor Refugees on board two boats

© Keystone-France/ Gamma-Keystone via Getty Images

© American Red Cross archive

“They didn’t really try to take us into their homes. We slept upon the stones”

mother-in-law was a widow, her sister too. All the women widows came here”.

when we were in Old-Greece (Asia Minor refugees used to call the Greek State Old-Greece), do you know where we lived? At the place where they made oil [...], they didn’t really try to take us into their homes. We slept upon the stones”.

Hundreds of families with few alternatives found shelter wherever possible. Refugees were settled in military barracks, camped in factory warehouses, or even under railroad sheds. “The first year

The time passed, and the difficult conditions started taking a turn for the better, but still, the refugees did not show a willingness to fully adapt to the new environment. That was due to their deep conviction that sooner or later they would return to their homelands and homes.

“When we came here, we found nothing. ”

Refugee camp outside the Temple of Hephaestus in Thesio

Interior of old Byzantine church of St. Paraskeve (over 1,000 years old), in Thessaloniki, showing refugees quartered there.

© American Red Cross archive.

© American Red Cross archive.

However, the reality had already been shaped through the Greek-Turkish negotiations. Under the new circumstances, refugees started moving from place to place in search of better opportunities and scattered relatives of their own on Greek soil.

“

We stayed in Kavala, from Kavala, we came to Drama, from Drama, we went to the Pugia villages. We stayed there for a while. There was no road. They gave us a mule, a cow, and an old Turkish house, we spent some time there [...]. A Turkish little house, one room, we stayed in the living room. Then we left again and came here to Haritomeni. Here, we worked with my mother and my brother. We bought a house here. The house we have is not Turkish. We bought it”. The urgency of the situation, combined with the consequences of poverty, did not leave much room for hesitation between professional employment options. Unskilled employment, regardless of gender or age, was the only solution for the refugees to meet their needs. “The refugees took fields. They sowed corn, tobacco, etc. […]. I was little. My mother and my brother worked on the edges, and I was put to work in the middle. Poverty!”.

The Asia Minor refugees had to get used to a new way of life. Compared to their native lands, Greece was underdeveloped and had huge economic problems. As Miss Magdalene describes: “our house was big, we had a lot of property. For the oven, we had a small house, for the grain, we had large barns. We were the first in our village. Sheep, cows, houses, fields, we had a lot. Our house had three floors, I remember it! When we came here, we found nothing [...]. The locals were poorer than us. They didn’t have clothes, quilts, or anything like that. They slept on the

floor. Very poor! [...]. Not even bread they knew how to make. Now they’ve learned something. They didn’t know anything before”.

The refugees developed a special identity that was passed down from generation to generation and distinguished them from the native Greeks. The term “refugee” resounded different to these people. It condensed in one word the events of the exodus, the marginalization, the adaptation to the new socio-economic circumstances, and the struggle for restoration. “They were refugees, and we were also refugees. We were like siblings. My neighbor is from Asia Minor. We were like siblings, like siblings with his mother. We helped each other”. On the other hand, the refugees called the local population mainly Old-Helladites (Old-Greeks) and locals.

Inevitably, the everyday contact among locals and refugees, and consequently the mutual influence between them, through social conventions and social institutions, was decisive in the subsiding of the social insecurity. The school was one of those institutions that undertook the role of transforming stereotypes and mutual suspicion into feelings of equality and solidarity. Mrs. Magdalene Pavlidou captures this transformation beautifully: “At first as strangers

“They were refugees, and we were also refugees. We were like siblings.”

“There were no ‘locals’ or ‘refugees’ for the children.”

Refugee children in school © Collection Π, Πουλίδη\ ERT Archive

but then as siblings. Together at church, together at school, everywhere we were together […]. We didn’t have locals and refugees, we didn’t separate. They were together. The children went to school together. There were no ‘locals’ or ‘refugees’ for the children. There was one school and one church for all. Also, on holidays and every Sunday, we all went to church together. We didn’t separate. We lived very well”.

social separatism starts with the mixed weddings among refugees and locals and is pleasantly depicted with an air of optimism. “At first we weren’t taking locals. Locals with locals and Pontians with Pontians […]. But then we mingled. Local people took Pontian men, and we took local brides. We had a great time. We became like siblings”. And by the passing of time, under the same Greek sky and upon the same soil, living all the varieties of Greeks, they resembled each other so much that today one can perceive one’s refugee origin only by the exotic syllables crowning certain surnames.

H owever, cases of more substantial contact, such as mixed marriages, were slow to emerge between the two groups. The place of origin continued to dominate as the most important criteria for the acceptance of the candidate, groom or bride, by the respective family. As the famous proverb goes “take a shoe from your place, even if it is patched”. From the perspective of Mrs. Magdalene, the epilogue of

I n June, 2023, Miss Magdalene reached the age of 109 years old, although her relatives hypothesize that she is older, probably close to 110. The article at hand is dedicated to her, foremost as a happy birthday gift and also as a thank you, for the bag of delicious pomegranates that she gifted me. Happy birthday grandma Magdalene!

“We had a great time. We became like siblings”

Interview with Miss Magdalene Pavlidou on November 29, 2019

The contribution of refugees in Greek sports clubs

The heart of Smyrna and Istanbul resonates in the greek refugees sports clubs

A fter the Asia Minor Disaster in 1923, a lot of refugees came to Greece due to the exchange of populations, bringing with them their culture, their customs and… their passion for sports. Some Greek sports clubs already existed in the regions of the exchange, and some were reestablished after settling in Greece.

A EK and PAOK are the most popular sports associations that were founded in Greece by refugees, while Panionios and Apollon Smyrnis were uprooted from Asia Minor and revived again. Most of the emigrants from Turkey (Istanbul, Cappadocia, Izmir) were now living in the region of Macedonia (Greece) and Athens. For this reason these regions took the names of the regions where they used to live before the exchange of populations, adding the term “new”. For instance, “New Smyrni” (New Izmir), with the historic sports club called Panionios or “New Ionia” with the most age-old greek sports club, called Apollon Smyrnis. The importance of these sports clubs for the Greek refugees was non-negotiable, because in this way they could keep some connection with their roots.

Apollon Smyrnis; “Three centuries - Two homelands - One team, this is Apollo”

The oldest Greek sport team is Apollon Smyrnis. It was founded in Smyrna in 1891, its colors are blue and white, which symbolize the desire of the Greeks of Ionia for an union with

by Vasileia Giamali

Greece. After the Asia Minor, the club was uprooted and brought to Athens, where its first home ground was located near the Greek Parliament. In 1948, Apollon changed its headquarters to Rizoupoli and it is still based there. Although Apollon hasn’t won many titles, it still has one of the most loyal fans. As their slogan says; “Three centuries - Two homelands - One team, this is Apollo”.

A nother sports team that has common roots with Apollon Smyrnis is Panionios that has a long history.

Panionios; “It has marked my life as a stamp”

Panionios is a refugee sports association, founded in Smyrna, Ionia in 1890. Its first name was “Orpheus” and was aimed to cultivate musical education. Eight years later, Orfeas joined the club “Gymnasio”. Thus, in October 1898, Orpheus and Gymnasion merged again to form

“In the albums pictures of your grandparents, you will also see mine’s”

© Pontos news

Panionios GSS, which had cultural and sports departments in its potential. After the Asia Minor, Panionios settled in “Nea Smyrni”, Athens suburb that was mainly inhabited by Greek Asia Minor refugees coming from Smyrna.

dium, exactly where the old one was located. We don’t want commercial uses, supermarkets, etc. We want a stadium that will include the best refugee museum in our country. A stadium whose founding name will be Agia Sophia”. In fact, 19 years later their dream did come true, and AEK returned back “home”. Back to Nea Filadelfia, where the first flag in the stadium had the chant “Grandpa, we came back home”.

AEK; “AEK, the mother of the refugees”

Α ΕΚ (Athletic Union of Constantinople) is a Greek professional football club established in Nea Filadelfeia in 1924, by Greek refugees from Constantinople, after the exchange of population. AEK is one of the three most successful teams in Greek football (along with Olympiacos and Panathinaikos). The immigrants from Constaninople had settled in the new suburbs of Athens, Nea Filadelfia, and their aim was to create a club that would keep their identity alive. Thus, the team adopted yellow and black as their colours, and the two-headed eagle, both symbols of the Byzantine flag.

In 2003, the stadium of AEK in Nea Filadelfia was demolished and the fans were left without a “home”. However, as the president of AEK, Dimitrios Melissanidis said: “We will build a new sta-

The fans can now enjoy a brand new stadium, with high quality facilities and with many elements of Istanbul and its history. “Agia Sophia is not just a stadium, but a center of memory, culture and sports. Children, parents, everyone will learn about the refugees that came from Turkey. The fans that cross the stadium are going to pass through the gates with the names of the cities of the unforgettable homelands. We want them to “go through” their homeland”.

However, the sports teams that were (re)established in Greece by the refugees were not only located in Athens. Two refugees’ sports clubs are in Thessaloniki (Central Macedonia): P.A.O.K. (Pan-Thessalonian Athletic Club of Constantinopolitans) and Apollon Kalamarias are located.

P.A.O.K.; «PAOK we live to see you to play in Constantinople again”

PAOK was founded on 20 April 1926 by Greek refugees who fled to Thessaloniki from Constantinople in the wake of the Greco-Turkish War (1919–1922). Their name, along with

With a boat as a leader… it has marked my life as a stamp”

“AEK means immigration uprooted”

“Pontians dancing Pyrrhichios in the stadium, Nea Filadelfia”

© tvxs

© AEK Facebook official account

© Ethnos

the club’s emblem, the Byzantine-style double-headed eagle with retracted wings, honours the memory of the people and places (mostly from the city of Constantinople) that once belonged to the Eastern Roman Empire.

The club’s colors have always been black and white, black for the sorrow related to countless thousands of Asia Minor Greeks who left their land where they had been living for centuries, and white for the hope of a new beginning that came with settling in a new home.

L astly, the club’s policy was to be open to every citizen of Thessaloniki, as it is a refugee team and wanted to “embrace” all people.

Growing in popularity amongst the inhabitants of Kalamaria, the club soon expanded with a theatrical department, and later, a sports department. It was around this time that the club colors, red and black, were chosen.

Apollon Kalamarias; “Apollon, the team of Pontus”

A pollon Kalamarias is another team, located in Thessaloniki, Kalamaria, whose history interweaves the refugees of Pontus.Pontus is a region on the southern coast of the Black Sea, located in the modern-day eastern Black Sea Region of Turkey and includes the regions of (Asia Minor, Capadoccia). When thousands of Pontic Greek refugees settled in Thessaloniki after the Greco-Turkish War and the subsequent population exchange, the main aim was to establish a new club in order to keep and spread their “rich” musical culture. Hence, a group of them formed a musical club to continue their local traditions.

A lso, on the occasion of the 100th anniversary of the asia minor disaster, the Mayor of Kalamaria, Giannis Dardamanelis declared; “The Pontians of Kalamaria are identified with Apollon Kalamarias. All these years we have been proud of our children in its sports academies, in almost all sports. We are proud that such a historical club is in our city, as this year marks 100 years since the arrival of the refugees after the Asia Minor Destruction”.

These five sports teams (Apollon Smyrnis, Panionios, AEK, PAOK, Apollon Kalamarias) have a strong refugee element, but they are not the only ones. Until the Second World War (1940), more than 500 sports teams were founded by the refugees coming from Asia Minor to the country. Only in Attica (Athens) can be found more than 335 refugee sports clubs.

I n a nutshell, the refugees that arrived –as a result of the exchange of population between Greece and Turkey- in different regions in Greece, had a crucial impact on the Greek sports, but also spread their culture through the sports team that they (re)established.

“The founders of PAOK”

“Apollon Kalamarias’ team in 1958”

© Sportretro.gr

© Apollon Kalamarias’ official website

A Taste of Asia Minor in Thessaloniki

Exploring the history and cultural significance of patsas soup and its deep connection to the Asia Minor refugee community.

In the early 20th century, the city of Thessaloniki witnessed a significant influx of refugees escaping the aftermath of the Greco-Turkish War and the subsequent population exchange between Greece and Turkey. Many of these refugees came from Asia Minor, carrying with them their traditions, culinary practices, and, of course, their love for tripe soup or “Patsas” as it is commonly known. In this article, we delve into the history of patsas soup, exploring its deep-rooted connection to the Asia Minor refugee community.

by Vryoni Stavroula

sheeps. In Greece, cows are more commonly used, while in Turkey, it is typically made with sheeps. Although tracing the exact origins of patsas is challenging, it is believed to have its roots in the East.

“It was the Asia Minor refugees that settled in Thessaloniki that opened the first tavernas serving exclusively patsas soup.”

O ne prevailing theory, as mentioned in Lena Kalaitzi-Oflidi’s book “The Patsatzidika of the

Kyriakos Tzortzis, my great-grandfather, hailing from the small village of Kasteli in Asia Minor, arrived in Greece in 1924. After several years of working various jobs, he and his brother Vangelis made their way to Thessaloniki around 1932. It was there that they opened their patsas soup store, named “Attiko’’ of which they remained the owners until their death. They were just one of many Asia Minor refugee-owned patsas soup establishments that dotted the city’s culinary landscape.

Patsas is a soup made from the stomach, feet, and intestines of cows or sheep. But what exactly is patsas? This soup is made from the stomach, feet, and intestines of cows or

“Patsas is a soup made from the stomach, feet, and intestines of cows or sheep.”

Patsas in Tsarouchas, Thessaloniki © Gastronomos

East in Thessaloniki of the West,” suggests that patsas was a dish traditionally consumed by Muslim nomads the day after a wedding. It served as a way to utilize the animal parts that were not suitable for a wedding feast. Furthermore, patsas is said to have various health benefits and soothing properties, making it an ideal choice for those nursing a hangover after a night of revelry or for workers seeking nourishment before an early morning shift.

It was the Asia Minor refugees that settled in Thessaloniki that opened the first tavernas serving exclusively patsas soup. Before the establishment of dedicated patsatzidika in Thessaloniki, patsas was served in the inns located outside the city. However, the Asia Minor refugees that settled in Thessaloniki were the ones to open the first tavernas serving exclusively patsas soup, to which they added their unique touch, turning it into a culinary emblem of their identity.

Preparation of patsas in Attico © Family archives

Most of them had learned the craft of patsas making while working in patsas soup establishments in Istanbul, before they were forced to leave. For the Asia Minor refugees, tripe soup became a way to preserve their cultural heritage and maintain a sense of belonging. The soup served as a reminder of the land they had left behind, a taste of their homeland. Patsas served as a cultural bridge between the Asia Minor refugees and the local population

the tender texture of the tripe, and the aromatic spices captivated the taste buds of Thessalonians, solidifying patsas as an integral part of the city’s gastronomic identity.

I nitially, the primary patrons of the patsatzidika were fellow refugees who found comfort in the familiar flavors of patsas. Many of them were employed as tobacco workers and dockworkers, relying on patsas for sustenance before or after long shifts. Patsas not only nourished their bodies but also served as a catalyst for fostering warmer relations between the refugee community and the locals of Thessaloniki. As time passed, the tradition of patsas gradually transcended its origins and permeated the wider culture of Thessaloniki. Through the working-class population, the consumption of patsas became more widespread, evolving to a cherished culinary tradition embraced by locals of all backgrounds. The unique blend of flavors,

“The legacy of

and the enduring influence of the Asia Minor community remained etched in the fabric of Thessaloniki’s culinary heritage.”

B eyond its culinary significance, patsas served as a cultural bridge between the Asia Minor refugees and the local population. Through the shared enjoyment of this comforting soup, bonds were formed, prejudices were shattered, and understanding grew. Patsas, with its roots in the East and its adaptation in Thessaloniki, exemplifies the power of food to unite communities and bridge cultural divides.

The legacy of patsas and the enduring influence of the Asia Minor community remained etched in the fabric of Thessaloniki’s culinary heritage. In the mid-1980s, the patsas landscape underwent a transformation. Rising costs and changing regulations led the owners to diversify their menus, serving not only patsas but also other dishes. This shift marked the end of the exclusive patsas soup stores era. Nevertheless, the legacy of patsas and the enduring influence of the Asia Minor community remained etched in the fabric of Thessaloniki’s culinary heritage. Today, this soup continues to be widely enjoyed in Thessaloniki, with numerous patsas soup stores serving this iconic dish. These establishments not only carry on the legacy of the Asia Minor refugees but also serve as a testament to their resilience and contribution to the city’s cultural tapestry.

patsas

“Patsas served as a cultural bridge between the Asia Minor refugees and the local population.”

Patsas soup store in Thessaloniki © Thessaloniki Arts and Culture

The common vocabulary between Greek and Turkish language

What has prevailed in the vocabulary of the two countries today?

Greece and Turkey, for many years now, have undoubtedly been connected to each other. We could say that in the past they were like one country, due to their common cultural characteristics, which left their mark even after the Greek Revolution in 1821.

M any Greek Christians lived on the Turkish side in cities such as Constantinople and areas of Asia Minor. Of course, there were also many Turkish Muslims living in Greece, until the signing of the Treaty of Lausanne in 1923, under which the Christian Greeks of Turkey had to move to Greece and the Muslim Turks of Greece had to move to Turkey. The only exceptions were the Greeks who lived in Imbros, Tenedos, and Constantinople and the Turkish Muslims from East Thrace. Before the Treaty of Lausanne, the Asia Minor Disaster was preceded, which caused a huge wave of refugees in Greece, resulting in the arrival of approximately 900.000 migrants.

It is noticeable that with this movement of the populations, cultural elements were incorpo -

by Paolina Elezi

rated in both countries,most of them are still adopted today. The music, the morals and customs, and the cuisine shared by the two countries are just a few of the examples that could be characterized as factors that influenced Greek and Turkish culture respectively.

“Greece and Turkey, for many years now, have undoubtedly been connected to each other.”

The language has also undergone some variations, in specific words and expressions used by the two cultures. Words related to every aspect of daily life showed great similarities and were influenced grammatically. For example, words related to the kitchen and the household:

• Tencere = τέντζερης, <en. pot>,

• P ilav = πιλάφι <en. rice>,

• S andık = σεντούκι <en. footlocker>,

• B ezelye = μπιζέλι <en. pea>;

The army:

• Tüfek = τουφέκι <en. musket>,

• Hacı = χατζής <en. pilgrims performing the Hajj, the holy pilgrimage in Mecca>,

Clothing:

• Yaka = γιακάς <en. collar>,

• Yelek = γιλέκο <en. vest>;

A nd the human himself

• (boy = μπόι <en. height>,

• L event = λεβέντης <en. fellow>,

• A bla = άμπλα, αδερφή - it’s very common in Crete- <en. sister>.

• Nargile = ναργιλές <en. shisha>

A nd some everyday words:

• Tembel = τεμπέλης <en. lazy>,

• Z orlamak = ζόρι <en. strain>,

• B ahçe = μπαξές <en. garden>,

• Duvar = ντουβάρι <en. wall>,

• Dogru = ντουγρού <en. direct>,

• D ert = ντέρτι <en. pain>.

The Turkish language also exerted a strong influence on the Pontic and Cappadocian languages, for example in certain areas of Asia Minor the language was completely Turkified, without this affecting the faith of the Christians.

A ccording to A. F. Christides, linguist, philologist and university professor at the Aristotle University of Thessaloniki from 1976 to 2004, the first Turkish words that appeared in the Greek language are found mainly in names and surnames (ending “- oglu” = - όγλου., e.x. Papazoglu = Παπάζογλου) and in toponyms (Selanik = Θεσσαλονίκη). After the cleansing of the Greek vocabulary from foreign words, from the Turkish and Italian languages, Turkish words are found in gastronomy:

• K öfte = κεφτές <en. meatballs>,

• Dolmalar = ντολμαδάκια,

• İmam Bayıldı = ιμάμ μπαϊλντί <traditional food>,

• K apak = καπάκι <en. lid>,

• Manav = μανάβης <en. greengrocer>,

In the “terminology of oriental culture”:

• Cami = τζαμί <en. mosque>,

O f course, Turks also borrowed many terms from the Greek language. For example, they claim that they borrowed the word “salad” (<it. salata>) from the Italian language, while the Greeks say that they borrowed it from the Greek. Perhaps, in reality, both countries have borrowed the word from Italian. However, there is a huge range of words, which are presented in an article on the Greek website TA NEA. For instance:

• A ristokrasi = αριστοκρατία <en. aristocracy>,

• A ritmetik = αριθμητική <en. math>,

• A stroloji = αστρολογία <en. astrology>,

• A tomik = ατομικός <en. individual>,

“It is noticeable that with this movement of the populations, cultural elements were incorporated in both countries,most of them are still adopted today.”

Turkish alphabet and pronunciation in Greek © Linguae scriptaque

• E lastik = ελαστικός <en. elastic>,

• Filarmonik = φιλαρμονική <en. philharmonic orchestra>,

• Jinekoloji = γυναικολογία <en. gynecology>.

“There is respect between people and this has been noticed from my personal experience, but also Turkish people who have visited Greece, mainly have the same opinion. ”

Also, according to professor V. N. Orphanos many words of Turkish origin have not been included in any dictionary, but are used in spoken language, such as karaağaç = καραγάτσι (type of plant, also a region in Greece). In addition, some Turkish words were erased and unfortunately have not been recorded, because they were not used in the past. In the Cretan dialect, there were Turkish words and expressions due to the Turkish Cretans, which naturally influenced the local dialect. During the exchange of populations mentioned above, the words of the specific dialect may have been lost and not passed on to the next generations.

Furthermore, there are everyday expressions that Greeks use to emphasize something they want to say, such as when they hear some news (unpleasant or good) or when they don’t like something and they begrudge. For instance:

• Τσακίρ κέφι = çakırkeyif <en. tipsy>, when someone is in a good mood, because they’re drunk.

• Α μέτι μουχαμέτι = ümmeti Muhammet <en. the nation of Muhammad>, the Greeks use it when something has to be quickly by all means.

• Ντιπ για ντιπ = “dip” in Turkish means the dip point, but Greeks use it to say “completely”.

• Π ιτς φιτίλι = “fitil” in Turkish means the flammable filament used in candles and “piç” means “waste”. Thus, Greeks use it to say that something happens fast, like the filament when it’s wasted.

• Τον χαβά του/της = “hava” in Turkish means the weather, the air or the situation. So, we use it when someone is in their world and they don’t understand what’s happening.

• Νισάφι πια! = insaf <en. mercy>.

• Πήγε στράφι = israf <en. waste>, in Greek we use it very often to express something that was not used, that did not pay off.

• Κ ύλησε ο τέντζερης και βρήκε το καπάκι = Tencere yuvarlandı kapağını buldu <en. the pot rolled and found its lid>, in both languages is used to show that someone has found the perfect match.

• Π αίρνω χαμπάρι = haber <en. news>, the phrase in Greek means if someone has perceived something, if they have understood what is happening.

H istorically, Greece and Turkey did not have the best relations and there were intense confrontations, which continue to this day. However, these only dominate the politics between the two states. There is respect between people and this has been noticed from my personal experience, but also Turkish people who have visited Greece, mainly have the same opinion.

Thessaloniki during the Ottoman Empire © Thessalonikiguide

Exchange through music: from traditional songs to modern pop music

by Damla Ceyda Uzun

This playlist is an example of how music can be a bridge between cultures. It offers a variety of songs that have been recorded in both languages, some songs include even both in one of their versions. While some songs are very traditional and have been carried and shared through the exchange of populations, others are bilingual pop duets songs popular on both sides of the Agean today. From melancholy to traditional dances, this playlist is an opportunity to dive into the musical universe of two culturally very rich neighbor countries. Enjoy listening!

S can the QR code to find the Playlist!

Kaldım Duman içi DağlardaCandan Erçetin

A very famous “Türkü” (Turkish ballade) in Western Turkey that has its actual roots in modern Greece as a love song. This version includes both the Turkish and Greek lyrics.

Damat Oyunu - Ekrem Gültekin

A Turkish folk dance with Greek lyrics that has its roots in Western Thrace. If you ever attend a Turkish Wedding or Celebration, you are very likely to see how people dance and clap in a circle to this music.

Aşka Yürek gerek - Mustafa Sandal

A pop song not just combining both languages, but also traditional instruments of both cultures like the Greek Bouzouki and the Turkish Darbuka.

Here you can find some information on some particular songs and an insight on what this playlist has to offer.

Apo Xeno Topo - Glykeria

A greek folk song that dates back to the exchange of populations in 1923; literally meaning “from a foreign place”.

Çıksam A Urumelin DüzüneGültekin İpekel, Ekrem Pehlivan

“

Urumeli” is a reference to Rumelia, meaning the Greek part of the former Ottoman Empire. This Turkish folk song from the region of Thrace is about the passion to go to “Rumelia” and find love.

https://open.spotify.com/playlist/27zxTk0BDvzIqGAqTocaqj?si=deiiCuSLQAqjbpUswLhJGw

A mixed playlist of songs that are related to Greece and Turkey.

Estonian people deported to Russia

Estonia 1945. The story of a just married woman deported to Siberia.

This article tells the poignant story of my great grandmother and grandmother, recounting their experiences and the impact of the Soviet Regime in Estonia. The Soviet occupation of Estonia involved the organized mass deportations of individuals considered as active or potential opponents of Soviet power, along with their relatives and family members. These deportations were carried out by the occupation authorities, including the employees of the People’s Commissariat of Internal Affairs of the USSR and the Estonian SSR (NKVD), with the assistance of local collaborators. At gunpoint, people were forcibly evicted from their homes

by Lisett Tiido

and transported in animal wagons, while their property was seized.

In 1943, my great grandmother Elfriede crossed paths with her future husband, Kalju, while both were residing in Estonia. A year later, they welcomed their daughter, Aime. As the Second World War unfolded, Kalju was conscripted into the German army, leaving Elfriede behind with his family to care for their child. However, in 1945, on August 15th, Elfriede became one of the 407 Baltic Germans deported from Estonia to the Perm Oblast in Russia as part of a deportation operation.

“Elfriede was not allowed to retrieve her daughter, and they were all transported in animal wagons to the Perm Oblast.”

Russian soldiers arrived at Kalju’s family home and took Elfriede, informing her that she would be taken to work on the railway. Instead, she was driven to her parents’ house to gather Elf-

Great-grandmother and grandmother in front of their new house in Giblaja.

© Family archives

riede’s mother and her two sisters, who were present at the time. Without warning, they were informed of their deportation to Siberia. Elfriede was not allowed to retrieve her daughter, and they were all transported in animal wagons to the Perm Oblast. The conditions they encountered upon arrival were dire, as numerous families were forced to coexist in large barracks. They were assigned to work in the forest, primarily sawing trees using a two-man saw.

S urvival was particularly challenging for families with a sole breadwinner and older men. Many elderly individuals perished during this period, and families were torn apart by the deportations. It was in Siberia that Elfriede met Gustav, whose family had also been left behind

in Estonia. They began living together in the village of Giblaja in 1947 and welcomed their daughter, Raili, my grandmother, in 1948.

“In 1952, following Joseph Stalin’s death, the deported Estonian individuals were finally granted permission to return to Estonia.”

R aili’s birth was not without complications, as Elfriede experienced significant bleeding and a doctor had to be summoned from a distance of 40 kilometers by horse. Fortunately, the outcome was a happy one. Subsequently, the family relocated, and their living conditions im -

The house in Viljandi, which was completed in 1961. © Family archives

proved, largely due to Gustav’s work as a driver, which provided them with a better income. They purchased a house and tended to their animals. In this village, they were distanced from other relatives, with only two Estonian families, including my grandmother’s and Aunt Meeta’s families, residing there.

In 1952, following Joseph Stalin’s death, the deported Estonian individuals were finally granted permission to return to Estonia. Elfriede returned in 1956, and they embarked on their new life in Viljandi, Gustav’s hometown. Aime’s father, Kalju, had also started a new family, and they raised their daughter together. Consequently, Elfriede and Kalju divorced in 1961.

In 2001, at the age of 80, Elfriede was honored with the Broken Cornflower badge (Murtud rukkilill) by the Estonian president, Lennart Meri, acknowledging her remarkable resilience and perseverance throughout her life’s journey.

or nazi violence, who has spent time in jail for working for the ideals of the Estonian Republic or who has been in contradiction of international law/rights been deported from their home or been born in a prison camp or mobilised to the military of the occupied country.

2 . The Parliament, the Government of the Republic and municipality have the right to constitute a discount for a victim of a foreign rule

3. The badge of honour is given by the President of the Republic

Translation for the broken cornflower badge:

1. The badge to the victim of a foreign is given to a person, who has suffered from communist

Murtud Rukkilill - Broken Cornflower.

Lennart Meri giving Broken Cornflower badge to Elfriede.

© Family archives

© Family archives

The Footprint of Cyril and Methodius in Slovakia

by Natália Bukovčáková

In Slovakia we celebrate every year the arrival of Saints Cyril and Methodius. This year, on the 5th of July 2023 it was the 1160 anniversary of their arrival to the country. Cyril and Methodius were two brothers and Byzantine Christian theologians and missionaries from Thessaloniki. For their work evangelizing the Slavs, they are known as the “Apostles to the Slavs”. The first route is connected to the territory of Great Moravia, nowadays Czech and Slovak Republics, where their most important work took place. How did the arrival of Cyril and Methodius affect the Slovak nation and what remains to this day? What fragments of the cultural heritage and message they brought are still present in society and how do people in Slovakia remind them nowadays?

Who were Cyril and Methodius?

These brothers, along with their siblings, did not take education for granted. Being born and raised in a richer and socially better-off family in the city of Thessaloniki came with its own set of obligations. They were made to learn Greek from childhood, which was the official language in Byzantium as well as being taught Latin. In addition, a Slavic community lived around the

city of Thessaloniki which ended up having an impact on their own lives.

S aint Cyril (born Constantine, 826–869) was one of the most important scholars of his time; he was an excellent theologian, orator, and political scientist. He worked as a professor of philosophy in Constantinople and successfully led several foreign religion-political missions and many theological debates. Constantine the Philosopher took the monastic name Cyril just before his death.

The elder of the brothers was Methodius (815–885). However, unlike Constantine, he excelled in the political sphere. Method, in turn, was gifted with excellent organizational administrative skills, which proved to be valuable in diplomatic service with the Byzantine emperor as the governor of a Byzantine province inhabited by Slavs. He lived in the monastery together with his brother for several years. It was during this period that their joint activity began.

Their journey to the territory of Slovakia (at that time Great Moravia)

In 833, Prince Mojmír and his guild attacked the Principality of Nitra and conquered it. The union

The journey of two missionaries across to Europe.

of these two principalities created a large and strong state unit of Slavs - old Slovaks, then known as Great Moravia. In Great Moravia (nowadays Moravia and Slovakia) they spoke Old Slovak and the liturgical language was Latin.

In 862, the Great Moravian ruler Rastislav addressed the Byzantine ruler Michael III. (842867 emperor of the Byzantine Empire), to send him missionaries who would favour the spread of the Christian faith in the language spoken by his people. Rastislav needed not only religious

teachers for his country, but also political support to stabilize power and help in the fight for independence from the Frankish rule.

Cyril and Methodius were chosen for the mission because of their knowledge of the language. Christianity was already present in Slovakia before but with the arrival of Cyril and Methodius there was a complete disappearance of “paganism” and association with the Christian faith. Even before leaving for the mission Cyril created an alphabet - Glagolitic script - adapted to the Slavic language, and with this he began to translate the holy books. They arrived in Great Moravia in the summer of 863.

From the beginning of their stay in Great Moravia they had to face the criticism of Bavarian (ie East Franconian) priests, representatives of Western

Glagolitic Script

The Elder Futhark Runes

(ie not Byzantine) Christianity, who feared that they would lose influence in the country.

The Frankish priests, on the other hand, wanted to be the movers of events themselves and rejected everything other than Latin - a language incomprehensible to the Slavs.

Frankish priests accused the brothers of blasphemy. They believed that God understands

only Hebrew, Greek and Latin and therefore religious people do not need to translate anything. However, the common people who participated in the holy masses did not understand the interpretation in these languages.

Later, Pope Hadrian II finally approved Old Slavonic as the fourth liturgical language of the Western Church, alongside Latin, Greek and Hebrew, and so the brothers could continue their work.

Church of Sts. Cyril and Methodius in Terchová, Slovakia © Jozef Feiler

The work of Cyril and Methodius in Slovakia

R eligious people in Slovakia honour them as those who stood at the cultural and religious birth of our nation, when they brought the faith, compiled the Slavic alphabet, and translated liturgical and biblical texts into Old Slavic.

The emergence of a new Slavic alphabet

B efore the introduction of the Glagolitic alphabet, the Slavs in the territory of Great Moravia used the older Futhark (Old Germanic runes) as a script/alphabet that consisted of 24 characters. The alphabet was also used by the Germanic-speaking population of Central Europe from the 2nd to the 7th century AD. Runes also had a divination character and were also used for counting. The knowledge of runes among the Germanic tribes disappeared approximately during the 7th century at the time of intensive Christianization. Christianity with its own alphabet thus displaced the old runes.

C yril gave the first letter of the new alphabet - Glagolitic script - the shape of a cross, which made the emerging letter a blessed one. He also looked for other letters in other alphabets, but above all in Greek.

L ater, Cyrillic alphabet developed from it. Historically, it was maintained for the longest time in Croatia.

Establishment of church schools

During their tenure, they developed a multifaceted religious and cultural activity - they founded church schools and contributed to the development of education and culture.

I n 863 Cyril founded the so-called The Great Moravian Academy where future Slavic priests and administrative workers were educated and which became a centre of Slavic literature. The location of the school is unknown, but according to archaeological findings there was a church school at Devín Castle (Slovakia). On the initiative of Cyril and Methodius, an archbishopric was also established in the territory of Great Moravia and a bishopric in Nitra.

Translations

They translated almost the entire Bible, liturgical texts, and other religious texts into Old Slavic. Some of them were later even adapted to the local dialect of Old Slavic. They also translated “Zakonsudnyjlyudem” (Court Code for Laymen), which is the oldest preserved Slavic legal document.

In addition to translating the Bible, Cyril wrote his own work, the now well-known poem called Proglas. It is clearly inspired by biblical texts, and it is a preface to the Old Slavonic translation of the Gospel. In it, he celebrates the gift of writing to the Slavs and also blesses his translation work which he leaves to them. This poem stands at the beginning of the history of Slovak literature.

The Cyrillic-Method tradition in Slovakia nowadays

A mong the interesting things in Slovakia is a large number of churches and temples that were consecrated by the „Brothers of Thessaloniki“ and still stand today as a legacy of their work. In total, there are 85 of them (there are only 2 in Greece) and they are scattered throughout the republic. They belong to all the main churches in Slovakia - there are 58 Roman Catholic, 16 Greek Catholic, 9 Orthodox, one Evangelical and one Ecumenical.

E lements with the influence of the cult of St. Cyril and Methodius can be found e.g. in interior sculptures and exterior sculptures, plaques, coats of arms, names of streets, town districts, squares, including two universities - in Trnava (University of Ss. Cyril and Methodius) and Nitra (Constantine the Philosopher University).

National holiday and celebrations

Nitra was one of the most important cultural, religious, and political centers of Great Moravia. It is in this city that the biggest celebrations dedicated to the „Brothers of Thessaloniki“ take place.

Mass Ceremony, 1160th anniversary of the advent of the mission of Cyril and Methodius to Great Moravia, Nitra, Slovakia (5.7.2023).

© Vladimír Rák

The statue of Saints Cyril and Methodius, Nitra, Slovakia.

© Vladimír Rák

Every year in Slovakia we celebrate the “St. Cyril and Method Day” (Slovak: Sviatok svätého Cyrila a Metoda). The National Pilgrimage and Holy mass is streamed on national television which is part of the celebrations.

- Right below the Nitra Castle we can find the statue of St. Cyril and Methodius. The largerthan-life size sculpture was created by Slovak sculptor Ľudmila Cvengrošová who deals with the theme of Great Moravia. This bronze statue of the „Brothers of Thessaloniki“ is also their largest depiction.

- Their likenesses are on a commemorative two-euro coin minted at the Kremnica mint, at the suggestion of Slovakia. As part of the comment procedure, however, the European Commission and two EU member states criticized the presence of religious symbols in the design of the coin, referring to Article 22 of the Charter of Fundamental Rights of the European Union, which implies religious neutrality. However, the coin was eventually released on July 5. 2013 during the celebrations in Nitra.

1150 th anniversary coin of the advent of the mission of Cyril and Methodius to Great Moravia.

© Miroslav Hric

-Before the adoption of the euro (January 2009) in Slovakia there was a banknote of 50 Slovak Crowns with the likeness of Cyril and Methodius

- During the establishment of the first Slovak Republic their likeness was depicted on a coin worth 20 Slovak Crowns

A rchaeologists, historians, and theologians therefore still have a discussion about whether the work of Cyril and Methodius was not only a marginal part of our history, or the famous „Cyril-Methodian tradition” is thus more of a pious legend and myth than a historical reality. However, there are very few surviving testimonies.

S o what is the contribution of the mission of the „Brothers of Thessaloniki“ when we currently do not write in Cyrillic and the Byzantine liturgy is celebrated very little in our territory? Moreover, the situation in Great Moravia developed after Method’s death in such a way that his disciples were expelled and Latin Christianity won on our territory which naturally made this territory part of the Western world.

H owever, if today we want to be inspired by these saints, even through various ideological influences, their message for us can be both the effort for a Christianity that is understand-

able and comprehensible, but also the courage to step out of our comfort zone and enter into a dialogue with the unfamiliar.

Sources:

HUDEK, A.: Cyrilo-metodská tradícia na Slovensku v 20. storočí. In: Bratia ktorí menili svet – Konštantín a Metod. Bratislava 2012.

VEČERKA, Radoslav. Staroslověnština v kontextu slovanských jazyků. 1. vyd. Olomouc: Univerzita Palackého v Olomouci, 2006. s. 88. ISBN 80-244-0889-9.

KOPRDA, Jaro. Ako bolo na počiatku: korene kresťanstva na Slovensku. 1. vyd. Bratislava: Post Scriptum, 2012. s. 12. ISBN 978-80-89567-11-9.

HORÁK, O. – 2021. Wanted: Najstarším písmom u Slovanov nie je hlaholika, ale starogermánske runy. 2021 [online].

KOVÁČ, M. - 2017. Wanted: O čom vlastne sú Cyril a Metod?. 2017 [online].

SR na žiadosť z Bruselu odstráni náboženské symboly z mince. Pravda, 2012, rev. 2012-11-21 [online].

GALAMBOŠOVÁ, M. – 2018. Wanted: Predpovedali svoju smrť a nevyhli sa mučeniu. 10 zaujímavostí o Cyrilovi a Metodovi, ktoré vás na hodinách dejepisu neučili. 2018 [online].

NEMČÍKOVÁ, M., KROGMANN, A., – 2020. Wanted: Sts. Cyril and Methodius and Their Reflection in the Landscape of Slovakia. 2020 [online].

More Slovanskí vierozvestcovia Cyril a Metod prišli na Veľkú Moravu pred 1 159 rokmi. TASAR. rev. 04.07. 2022 [online].

Two Nations, One City : Istanbul

Three Empires, One Capital

More than 25 million people visit Istanbul every year, the only transcontinental city in the world, spread across Europe and Asia. Different cultures contributed to the formation of this city, which was the capital of the Roman, Byzantine and Ottoman Empires. Let’s look at Istanbul’s Greek architectural and cultural heritage.

Istanbul has been under the influence of different civilizations throughout its history therefore has a rich urban history. The origins of Istanbul go back to ancient times, and it was founded as a Greek colony, Byzantion, during this period. Later, during the Roman Empire, it gained importance as the capital. Symbolic structures

by İsmail Mert

such as Valens aqueduct, Çemberlitaş Column and Basilica Cistern, which are still standing, were built during this period. Istanbul, as the capital of the Byzantine Empire, developed rapidly and became an important center. The city was decorated with large and impressive structures and exhibited examples of Byzantine architecture. Hagia Sophia, the Great Palace, the Hippodrome and many churches are among the important structures that have survived from this period. With the conquest of Istanbul by the Ottoman Empire, the city entered a new era. The Ottoman Empire declared Istanbul as the capital and enriched the city with its own cultural heritage. Ottoman architecture was in-

Hagia Sophia © İsmail Mert

fluenced by Byzantine architecture and many mosques, palaces, fountains, and baths were built in Istanbul. Buildings such as Süleymaniye Mosque, Blue Mosque and Topkapı Palace are among the most important examples of Ottoman architecture. Architectural interaction in the Ottoman period led Byzantine architecture to shape Ottoman architecture. The transformation of Hagia Sophia is one of the most important indicators of this interaction. Some features of Hagia Sophia, although bearing traces of the Byzantine period, have also changed under the influence of Ottoman architecture. This is an example that highlights the architectural richness of Istanbul and its connection to its past. Other Ottoman architects, especially Mimar Sinan (1480-1579), studied Byzantine architecture closely, and even restored Byzantine heritage buildings such as Hagia Sophia to ensure that they survived.

Greek Architects

The Greek architectural and cultural heritage in Istanbul is remarkable. The Greeks lived in Istanbul for a long time and contributed deeply to the city. Greek churches, monasteries, schools, and other historical buildings occupy an important place in Istanbul’s silhouette. Fener and Balat districts are the regions where the Greek

heritage is concentrated. It is one of the few non-Muslim neighborhoods in the Istanbul old town area. In the 1940s Jewish emigrated to Israel, while in 1964 Turkish government expelled 12000 Greeks, during a period of ethnic tension between the two countries. Thus, with the departure of Jews and Greeks living in Fener district, immigrants from rural areas of Turkey settled in Fener. The 2-3 storey houses with bay windows, that give the neighborhood its character, offer a unique atmosphere to the visitors. After the conquest of Istanbul, a Greek school was established in Fener with the permission of Mehmet II. In 1880, a magnificent school building, like a castle, was built with red bricks brought from Marseille.

L ocated on a hill overlooking Istanbul, this school opens its doors to Istanbulites every year at Christmas. The district of Beyoğlu, where the spirit of Istanbul lives, was formed by Greeks, Armenians, Jews, and European nations who moved from the old town region to Galata, a former Genoese colony on the other side of the Golden Horn, and to the Pera region above it, after the conquest of Istanbul. Today, with its European apartments, magnificent churches, arcades, theaters, old schools, nightclubs and bars, Istanbul has become the most vibrant and symbolic place of urban life.

Greek High school © İsmail Mert

The Greek cultural heritage of Beyoğlu, or Pera as it was formerly known, cannot be denied. An important part of the historical apartments that give Beyoğlu its identity was built by Greek architects. Indeed, the profession of architecture was not popular among the Turks from 1839, when the Ottoman Empire began to westernize, until the 1913 Balkan Wars. Most architects who graduated from the Imperial Academy of Fine Arts were Ottoman citizens of Greek origin. Konstandinos Dimadis, the architect of the Fener Greek High School that I mentioned before, is an important Ottoman Greek who graduated from this school.

Çiçek Passage, which is famous for its taverns on Istiklal Street, was built in 1876 by the architect Kleanthis Zannos. The Bristol Hotel, which was built for the passengers of the Orient Express stretching from Paris to Istanbul, was designed in 1896 by the Greek Architect Ahilleas Manussos. The building, which changed hands constantly from 1955 to 2004, said hello to the culture and art life of Istanbul as Pera Museum in 2004.

I t hosts impressive exhibitions within the scope of the Istanbul Biennial every year. The

most striking structure of Taksim Square, the Hagia Triada Church, designed by Architect Vasilakis Ionnidis, was opened in 1880. From 1880 until 2017, it has been the only place of worship in Taksim Square, which is considered the heart of Istanbul and the showcase of Turkey for 137 years. Built in the Neo Gothic style and inspired by Hagia Sophia in the interior, the church has the largest Greek Orthodox community in Istanbul. It also had great symbolic significance. From 1453 to 1839, non-Muslims were forbidden to build domed places of worship. With the beginning of the westernization movements in the Ottoman Empire and the Tanzimat Edict, this ban was lifted and Hagia Triada is one of the first churches with a dome and large-scale construction.

Tatavla Carnival

A part of Istanbul’s cultural mosaic is the Tatavla (Baklahorani) Carnival. Tatavla was a homogeneous neighborhood in the north of Taksim, where middle-lower class Greek workers lived. Starting from 1923, the Greeks from Tatavla gradually migrated to other countries, and today there are still a small number of Greek and Armenian communities. It suffered a great fire in 1934 and its name was changed to Kurtuluş. Baklahorani Carnival, which continued until 1941, was identified with the Tatavla district and became a part of the district. So, what is this Tatavla (Baklahorani) carnival? To celebrate Clean Monday (Kathara Deftera) 50 days before Easter, all the Greeks of Istanbul came together, and various events were organized. According to Hüseyin Irmak (2017), people had fun on the streets for days; maybe it is a street carnival in which everyone wears masks to eliminate the social status difference, different mise-enscene groups from each neighborhood perform

Hotel Bristol © İsmail Mert

theatrical performances with different costumes according to the topic they choose, and musicians accompany the richly accessorized marching arms. In 1941, the carnival was canceled with the prohibition of all open-air shows under the conditions of World War II, and in the following years, it was not celebrated due to the decreasing Greek population. After Istanbul became the European Capital of Culture in 2010, after 69 years, it started to be celebrated by Greeks, Armenians, and Turks from Istanbul, which is an urban culture rather than a religious carnival, with an attempt to revive it by some foundations and Tatavla residents, but it was canceled in 2020 due to the Corona Pandemic. Carnival was not held in the following years.

Istanbul, not Constantinople

With the rising nationalism after the French Revolution, the demographic structure of the

Eurasian continent changed tragically. In every city of Anatolia, there is an abandoned church, a tombstone, or a place name in Greek or Armenian, just as there is an abandoned mosque, tombstone, or Turkish place name in the Balkans. Some words that we are not aware of, especially in everyday speech, belong to the language of our grandfathers’ former neighbors. In this context, when we consider Istanbul, we witness this change. The Greeks have an important place in the formation of the urban culture of Istanbul, this culture has been continued by the Turkish middle class and the bourgeoisie. In addition, the Greeks made a great contribution to the formation of Istanbul’s cultural and artistic life, and the first opera and ballet stages were played by Greek ensembles in the 1850s. In summary, although the Greek population of Istanbul is around 1 per thousand, they have left a great mark on the city culture.

Tatavla Carnivals 1930s © İsmail Mert

What lies in between

Mermaids, evil eyes and pirates: follow me on my journey to discover what I learnt crossing the Aegean

Κ άνε το καλό και ρίχτο στο γιαλό: do a good deed, and then throw it into the sea. My father used to say it all the time: “Thalassinì, my beloved daughter, remember never to boast about your good actions. Be humble. No good ever came from blustering around”. He was right. Now I know it. But I had to endure great troubles before I came to this understanding. Troubles that urge me to write these lines now. Everybody should be aware how much hybris can cost. Don’t be foolish like me. I used to see no good in being modest. Mediocre. What for? Nothing good happens to those who live in the shadows. So I did it. I told everybody. Before nightfall all the village knew.

When the fleet of Kapudan Pasha landed I was the first one to spot it. I didn’t hesitate. I ran up to the hills. Indeed, there were no doubts why they were there. They wanted our “Robin of the Seas”: Mermelechas. All Their officers that visited our island said he was nothing but a marauder. A pirate. A criminal who raised his head too much. And now They wanted it - his head. Another sign of Their prevarication. They used to come and take. Every excuse was fine to justify this. The sultan’s new palace. Seafaring taxes. Collect ispençe. Prevarication. Nothing but prevarication. Who was the only one who cared to give? Mermelechas! It doesn’t matter where the money came from, if it was seized at sea with kindness or force. It was our money. And They took it. It was only right for it to come back to us. Unfortunately They didn’t see it the same way. They wanted Mermelechas and They finally found him. But Mermelechas was strong. He stood up against Them many times. No doubt

by Riccardo Maniscalco

he would have fought his way out again. Or at least that’s what I thought.

It was when I entered his hideout on the upper cliff that my mind changed. His treasure was lying on the floor. Scattered all around. Signs of nails on the rocks, as if somebody tried to escape digging an impossible way out.

“ There is no hope. I am lost. Lost! And with me all my beloved friends on this island…” , cried Mermelechas.

“ Kyrie Mermelechas, don’t despair”. I intervened. “Kapudan Pasha is a wise man, and you proved to be an honorable enemy. You fought bravely. But no weapon can save you now. No physical one at least. You still have your words and your honor. They are your sharpest sword now”.

H e seemed perplexed. But something in my argumentation touched him. A few hours later he was standing on the dock. No weapons. No armor. No companions. Alone. Just him and his tongue against a whole fleet. An incredible bravery. The Kapudan Pasha was impressed. This simple man was ready to sacrifice his life to save what he held more precious: the island and his fellow inhabitants. The Pasha made a decision. His life was spared. But Mermelechas wasn’t the same anymore. He lost his spine. He gave up piracy. He opened a bakery shop instead. He surrendered to a more

“When the fleet of Kapudan Pasha landed I was the first one to spot it.”

acceptable life. And as Mermelechas legend sank, mine arose. Who was the wise person who saved him? Me. Me and no one else. I felt intelligent. Strong. Invincible. Why should I have cared about my father’s words? It was just an old proverb. Now I know why. Fame brings honor. Fame brings recognition. Fame brings envy. And envy can be very powerful.

safe harbor. When They visited us sometimes They talked about this miracle. They called them “sulusu”. Beautiful young women whose life had been interrupted by the sea. It couldn’t let them go. That’s why it gave them a new form. Half woman half fish. This way they could swim together. Forever. But the young women couldn’t forget their past life. Mercy and nostalgia urged them to help the sailors in need. At least that’s what They said. But They lied to us. So I thought back then. Indeed, our mermaids had no good intention. With their charms they attracted us to the nearest rocks. After the crash there was nothing but a few floating debris. Ship, load and men lost forever. Apparently their envy for those spared from the sea was more powerful than their nostalgia.

I don’t know when I first noticed that I was cursed. It started like a lingering feeling of dizziness. A bit of nausea when ashore. Maybe some milk forgotten to rot in the pantry, I thought. A painful sprain when lifting the nets. They all can happen, right? Then the storm arrived. It was the usual night without the moon. Perfect for fishing. No clouds in sight. No wind. Nothing. And then, suddenly, the rain was there. In a second our ship was trapped in the waves. A branch lost in the stream. We bounced up and down. Up and down. The horizon was lost. The direction was lost. And with them our every hope. We started to despair. “Will I ever see my family again?”, I cried.

That was too much. I knew exactly why everything happened. It was the “mati”: the envious “evil eye” struck me. You know. I tried to protect myself. I never left the house without my blue and white eye charm. Elders used to say it was enough. But not this time. The divining drop of oil falling to the bottom of my glass of water was the proof. I never met such an amount of envy again in my life. Maybe it was Melechas himself. I had the idea he hadn’t, after all. That’s a powerful reason. Too powerful to get rid of it with the usual tricks. Not the island ones at least. As much as I tried to look for a solution none of my acquaintances offered good ideas. Spitting at my reflection in the mirror? Placing some skorda-garlic in my pocket? Just useless superstition. I needed a real solution. I needed an expert.

“ Of course you will”, replied a beautiful voice. It was charming. Fascinating. It chanted us through the waves. It wanted to lead us to a

A nd so I set sail. I remember it was around Christmas time. Like every year my friends had just finished preparing the Christmas boat of the village. They erected it on the beach with lights and fabrics. A colorful barrier against the sea winds. A good omen for the sailors in a holy time. A wish to guide them back home safely. But it couldn’t stand there too long. Celebrations can’t last forever. At least for humans. Indeed,

“And as Mermelechas legend sank, mine arose.”

Mermelechas in the imagination of Maxime Ricaud and Fanny Gallo © Maxime Ricaud and Fanny Gallo

the sea knows no rest. There are no holidays on its calendar. It gives and takes at will. Our life depends on it. Abundant fishing or wreckful storms. Generation and destruction. Gratitude and scorn. Veneration and danger: the anthropological meaning of sacred. And as sacred we treated it. Respect and fear still imbue all our rituals and stories of the sea. Like the small Tamata boats we offer on the altar of Panagia Church. They embody our hopes of safe comebacks. “To go smooth like water and to come back as quickly as it is”. A common blessing. Effective only if pronounced when tossing water behind somebody steps. That’s also how my father said it to me. A last hopeful farewell. The beginning of an odyssey.

I can see the color of the water that day. Metallic. Like the cold. Like the cross that the pope

would throw in it on Epiphany. And with it dozens of bodies would follow. The bodies of the few who dared to challenge the chill only to retrieve the sacred vestment. But who wouldn’t risk a cold? The prize for the retriever was much too appealing. A blessed year full of good luck. Luck…I wouldn’t have much in the upcoming months. A long and troublesome journey awaited me. A journey full of adventures. Full of the wonders kept from the sea. I saw kisses on holy icons push away the Evils of deep waters; fishermen spitting in their dry nets to recover them full of fish at the end of the day; streams turning silent when their water fell asleep; the Almighty grant seven holy men a tricentennial sleep to save them from pagan prosecution; and much, much more. An endless parade of prodigies before my eyes. And my ears. It seemed some mysteries could only exist in the narrated word. Counted in an endless re-combination. Indeed, the sea is full of tales. It’s enough to listen. It tells you of pirates and mermaids. Of merchants and blessed saints. Thousands of people that crossed its waters. Thousands of stories that got woven by the waves. An inextricable fabric made of endless connections. Impossible to disentangle. Telling after telling. Change after change. The original details blur. It’s a game of customization. I did it myself in telling my story. That’s because stories are alive. They adapt to the context where they are told. It is an unstable heritage. Because heritage is not something ancient. It never was. It is a construction of the present. Stories are the heritage of the sea.

“A long and troublesome journey awaited me. A journey full of adventures. Full of the wonders kept from the sea.”

A nd they know no boundaries. Us and them: what stupid categories! Kapudan Pasha and

“That was too much. I knew exactly why everything happened.”

Traveling the seas under the evil eye according to Clauia Alcalde

© Claudia Alcalde

Mermechelas are equally heroes and foes. Characters in an infinite game of mirrorings. We tell about others to highlight something about ourselves. It’s only by hearing Their stories that we can complete the pictures. We exist in dialogue. And maybe we are not that different. I heard Them counting. I discovered adaptations, connections, similarities. I discovered this big sea that lies between us. A sea of water and narratives. A sea that doesn’t divide. But connect. It has no boundaries. It is humans who set them.

A nd I wouldn’t have come to this conclusion if I hadn’t met Deniz. It was my last resort. I traveled everywhere. From Sporades to Cyclades.

From Rhodes to Samothraki. Nothing. Nobody seemed able to lift the “mati”. So I did it. My ultimate attempt. I directed my boat to the Other Shore. And there I found her. Curly hair and shiny brown eyes. The same as mine. An older reflection of myself. Carved through the slow passing of the years. We both carried the sea in our names. She introduced me to a new world. She told me of blessed saints that gush freshwater when touching the ground; of dead sailors turning into sea birds to help their fellow mariners; of fishermen who mistakenly decided to count how much fish they caught on one day and ended up catching every day the same amount for the rest of their lives; of the powerful jinns that protect water springs; of the trickster Nasreddin Hodja who wanted to teach the sea how real freshwater should taste like; of the scraps of paper that every year thou -

“Discovered this big sea that lies between us. ”

The evil eye and the sea as imagined from Natália Bukovčáková

© Natália Bukovčáková

around. A magnificent specimen. Big. Yummy. Perfect for dinner. If only it didn’t speak.

“

sand of people gift to the sea during Hilledrez. I felt she could have spoken for ever. Her warm voice hugged me like a soft blanket. That was her first medicine. A new perspective for myself. Peace at last.

I felt the “mati” tremble. A shake from my head to the bottom of my spine. She was the one. She would have healed me. She knew the way. A way of patience. A way of trust. A way that will remain obscure to me. Oh, how I would like to describe it! To be able to repeat it. But it is impossible. A piece of cloth covered my head. Deniz wanted me to linger in darkness. A space without space. Only her voice kept me present. But it came from afar. Alien and absent. A sacred chant. It danced in me to the rhythm of the sizzle. I perceived it clearly. Over my head. Something was burning. Incandescent lead. Poured in a cup of water to reflect the envious eye away. The curse cracked with the filaments of metal as it cooled down. I never experienced anything similar again.

When I opened my eyes again the curse was gone. A sudden jolt and -puff. It had disappeared. Just a memory. A story to tell on my way back. Lightheartedly. I was free at last! But not Deniz. A heavy weight lingered on her heart.

“ What would you do if you had granted three wishes?”

S o began her story. A story about her husband. He was a fisherman in the bay. A day like others he casted his net and waited. The usual business. Exactly what his catch was not. A golden fish. It waged in the net splashing water all

Let me free”, it shouted, “I am much too precious to end my life on a grill. If you spare me I’ll grant you three wishes. Anything you want”. The husband didn’t even think about it. In a second he was young and rich. And for the third wish? Well, for the third wish there was time. It was a once in a lifetime possibility. Not to be wasted with hasty decisions. In the meantime it was enough to enjoy his new fortune. Deniz could barely remember the last time she saw him.

“ But Kiria Deniz, are you happy with this situation?”

“ Not really. The Merciful knows what kind of trouble that oddball will end up in!”

“ Why don’t you do something then? You said there is a wish left: why don’t you use it for yourself? You could turn young like him”

“ Thalassinì Hanim, are you sure that’s how this story should end?”

I smiled.

“ Well, you could also convince him to turn old again. That’s the common ending of this tale. But tales are there to change. Which sensible person wouldn’t prefer to stay young, especially if you could both be young together?”

“ Indeed, you speak wisdom, abla. How can I thank you? We are not rich. But you deserve anything. Take what you want from us”

“ I don’t want anything. You already gave me the most important thing. A lesson that my father tried to teach me long ago”

S he winked. İyilik yap denize at. Do a good deed, and then throw it into the sea.

“When I opened my eyes again the curse was gone. ”

Balkan Hotspot Team

Riccardo Maniscalco, 27 years old, Italy

Eleni Kostakoglou, 21 years old, Germany

Stavroula Vryoni, 23 years old, Greece

Maria Lina Anagnostidou, 26 years old, Greece

Andriana Diamantidou, 24 years old, Greece

Vasileia Giamali, 25 years old, Greece

Vasiliki Konstantinidou, 24 years old, Greece

Marie-Lys Roche, 20 years old, France

Kévin Lucas, 23 years old, France

Sirlen Vodi,19 years old, Estonia

Lisett Tiido, 22 years old, Estonia

Natália Bukovčáková, 29 years old, Slovakia

Damla Ceyda Uzun, 21 years old, Turkey

Paolina Elezi, 22 years old, Greece

Ismail Mert, 21 years old, Τurkey

Kyriakos Kourtidis, 26 years old, Greece

Fanny Gallo

General Directors:

Aristodimos Paraschou

Christian Cibba

Graphic Designer:

Anna-Maria Diamantidou

Find us: www.balkanhotspot.org

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Editor: Giusy Letizia

The volunteers responsible for this publication are hosted in Greece in the framework of the European Solidarity Corps. This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the authors, and the Commission can not be held responsible for any use which may be made of the information contained therein.