Elli Kokkinou, Katerina Stanisi and Kosta Karafotis in Sydney, Melbourne and Adelaide 10, 11 and 12 May 2013

Three famous Greek singers of Laika (Folk-Popular) songs, Katerina Stanisi, Elli Kokkinou and Kostas Karafotis, are preparing for their performances in Australia.

The three singers on  May 10 will be in Sydney, May 11, in Melbourne and May 12 in Adelaide.

Elli Kokkinou has also performed in concerts in America and Australia in the past, with Christos Dantis.




vasilis tsitsanis


Coming to Sydney for one night only, acclaimed Melbourne group Rebetiki’s Tribute to VASILIS TSITSANIS celebrates and pays homage a legend of Greek folk and blues music. Vasilis Tsitsanis (b. 1915) was a Greek songwriter and bouzouki player. He became one of the leading composers of Greek music, particularly the style Rebetika.


Vasilis Tsitsanis (1915 – 1984) is considered the finest rebetika composer having written over two thousand songs. Though not a rebetes in the sense of being an outcast, (he came to Athens to study law), he has written some of the best rebetika and laika. He also discovered and recorded with some of the finest female singers including Marika Ninou and Sotiria Bellou.

Melbourne’s REBETIKI will bring the heart and soul of Greek blues back to life. With a variety of instruments including the traditional six string bouzouki, baglama, oud, lute, guitar and percussion Rebetiki present an acoustic passage through a musical style just as vibrant today as it was during its initial development.

For years REBETIKI have been playing urban Greek blues along with rural folk music from many regions of Greece. These songs dominated the music scene in Greece for decades during the 20th century and remain to this day a major influence in the direction of modern musical trends.

Members of the band include, Argyris Argyropoulos, (Baglama, Oud), Takis Dimitriu, (Bouzouki, Tzoura), Tony Iliou, (Guitar, Lute), and Achilles Yiangoulli (Bouzouki, Toubeleki).

Rebetiki have performed at WOMADelaide, sheppARTon Festival Shepparton, the National Folk Festival Canberra, Bellingen Global Carnival, and at Carnivale Multicultural Festival at the Sydney Opera House. The band also played on the occasion of the Greek Prime Ministers Australian Visit and Manolis Mitsias Concert, Melbourne in 2007.


The Greek Festival of Sydney presents the Hellenic Art Theatre’s production of IPHIGENIA IN AULIS

The Greek Festival of Sydney presents (ΘΕΑΤΡΟ ΤΕΧΝΗΣ ΑΥΣΤΡΑΛΙΑΣ) Hellenic Art Theatre’s production of IPHIGENIA IN AULIS

Iphigenia at Aulis is the last existent play of the playwright Euripides, written between 408 and 406 BC, the year of Euripides’ death. It was first performed after his death.

The story of Iphigenia’s sacrifice is a story for our time as much as any other, with Greeks from Greece and Cyprus now being the ‘Iphigenia’ of today.

When Helen, Queen of Sparta, abandons her husband Menelaos for Paris, the Prince of Troy, a thousand ships are launched on a mission to reclaim her and invade Troy.

The fleet is becalmed at Aulis, goddess Artemis decrees if King Agamemnon will sacrifice his daughter to her then she will send a wind to drive them on to war.

The play revolves around the Greek army leader Agamemnon and his decision to sacrifice his daughter, Iphigenia, to appease the gods and ensure the good fortune of his forces in the Trojan War.

Iphigenia is summoned under the pretence that she will marry Achilles but when her mother, Clytemnestra, uncovers the plan she resolves to stop the sacrifice at any cost.

Performed by Hellenic Art Theatre and H.A.T Youth Group, in Modern Greek (with English surtitles), in the classical style and with wonderful Ancient Greek costumes.

Hellenic Lyceum coming to Alexandria

Sydney Council has passed a motion to investigate a suitable location for exhibition of the Hellenic Lyceum historic artefacts, costumes and jewellery.

The announcement, timed to coincide with Greek Independence Day, was met with delight by Greek Australians. According to councillor Angela Vithoulkas:

“Greek Australians are one of the largest and oldest migrant groups in the country. Hellenic culture has significantly shaped and contributed to the City of Sydney since the 1850s.”

The Hellenic Lyceum collection has involved generations of immigrant Greek women preserving their heritage since 1951. There are five Hellenic museums in Victoria, which has traditionally boasted a larger Greek population than New South Wales. TheAlexandria Town Hall is the preferred short term option to display the artefacts in Sydney while the council searches for long term preservation and accommodation.

The Sydney Council meeting discussing the proposal was attended by a delegation from the Lyceum. The group included girls in traditional Greek attire. The decision is another progressive step toward consolidating a multicultural Australia.

The Sydney Hellenic Lyceum is closely affiliated with the Athens branch; itself a member of the larger international association based in Geneva. The purpose of the Lyceum is to preserve Greek customs and revitalise traditions.

The original Lyceum in Sydney was instrumental in assisting post war Greek immigrants at home or in hospitals, where they could communicate in their mother tongue. Today, the Lyceum is also focused on reaching out to Australian born Greeks.

Alexandria printing services and brochure printers will be well placed to assist in promotion of the Lyceum treasures.


Nonda Katsalidis’s soaring ambition

Source: TheAustralian

Nonda Katsalidas

Nonda Katsalidis at his Melbourne office. Picture: James Braund 

“I’VE designed a lot of buildings,” offers Nonda Katsalidis with an almost imperceptible smile, a mere upward curl of the lip. “I’m confident of my skills and wanted to take them in a different direction; to explore different things. I like a challenge.”

A trim and seemingly ageless 61-year-old with close-cropped chestnut hair, Katsalidis is best known outside his profession as the architect behind the Museum of Old and New Art, gambler and art collector David Walsh’s brooding adult theme park created by on the banks of the Derwent. But there is nothing artsy, funky or fashionable about the new direction to which one of Melbourne’s most dynamic architects refers. It will see him step inside a metaphorical phone booth and exit as an architectural Superman able not so much to leap tall towers as to raise them to record height in an astonishingly short time.

The most dramatic expression of Katsalidis’s ambition is the sky-skewering Australia 108 tower, at 388m the tallest structure in the southern hemisphere. Australia 108 on Southbank will surpass the gold-tipped 297m Eureka Tower, which he also designed, as the apex of Melbourne’s bristling skyline. As important as the scale of the proposed new 108-storey tower, approved last month by the Victorian government, is the mode of construction. By manufacturing most of the rooms and other components inside a factory while much of the structural work – the footings and the concrete core – proceeds on-site, Katsalidis aims to achieve a 25 per cent reduction in the industry-standard construction time and to have the building up and fully functioning in three years. This is a breakthrough for a building of such scale – any scale. Architecture, along with the kindred disciplines of engineering and construction, is undergoing a revolution that will change the way cities are made, and Katsalidis is at the vanguard.

Developers and the architects who serve them have dreamed of a process that might make building as efficient as, say, motor-vehicle production. But the result, where it has been applied in what has been termed “modular construction”, has tended towards the unsubtle repetition of units, or boxes, and the production of buildings that look as if they have been extruded on an assembly line. Katsalidis, in contrast, has developed a system of prefabricated construction that allows developers to design projects of considerable nuance, using a variety of floor plans, sizes and finishes, while halving production time and significantly reducing costs. He contends that these buildings are more energy-efficient and lighter than those constructed of slab concrete poured on site.

As with many fledgling technologies, big claims are being made that may take time to realise, if they are realised at all. What us undeniable, however, is that his nine-storey Little Hero apartment complex in Russell Street, Melbourne, was built in 2010 using his “bespoke” application of the modular idea in roughly half the time it would normally take to complete a conventional building of its height and mass. It has since been referred to as the city’s first “instant” building. Similar results were achieved at The Nicholson, in East Coburg, a 200-apartment complex that Katsalidis describes as a particularly complex job with “lots of ins and outs”, and in other projects since. In his patented system, the construction is driven by the architecture, not the other way around. Under the umbrella of the Hickory Group, his company, Unitised Building, directs the grunt work at a $10 million hi-tech factory in the Melbourne industrial suburb of Brooklyn.

A former collaborator of Katsalidis’s is Charles Justin, until recently a director of architecture and design firm SJB, and he has visited the Brooklyn factory where Katsalidis fabricates lightweight steel-framed units with composite concrete floors before they are trucked to the construction site and hoisted by crane into place. Justin refers to the Katsalidis system as a “game-changer” that is sorely needed.

“One of the historic problems with prefabrication has been its limitations in terms of what you can do,” he says. “But Nonda has developed a system with a lot of flexibility and you can do pretty much what you want within certain parameters, such as the size and shape of a box that can fit on a truck. “You can build some very tall buildings by simply stacking these elements. In time, when this way of building becomes competitive, it will reduce the price of construction. Building will become a lot more affordable for developers, clients and tenants.” Ultimately, Justin believes, it will change the way we live.

I meet Katsalidis in the week that the Melbourne City Council handpassed the Australia 108 project to the state government in the expectation that it would win planning approval with some design modifications. The state government gave the project the green light a fortnight later, signalling the ascension of a new uber-tower and the arrival of a big idea; if Katsalidis is right, buildings will no longer be so much built as manufactured, and much of the workforce of the future will be taken off-site to work under cover in a safe environment entirely immune from the vicissitudes of weather.

“We’re hoping our process will make a significant difference to the building industry,” he explains in his gravel voice and non-nonsense manner during an interview at the Southbank offices of architecture and design firm Fender-Katsalidis, which he founded with Karl Fender in the mid-1990s.

“Construction costs are being driven increasingly by high labour costs in this country, and we’re sending people up into high-rise buildings to do the work that they can do on the ground. As things stand, they spend a lot of time in lifts, and there’s a lot of down time. Out of an eight-hour day you might only get six or four hours of work. There’s also the safety aspect, and when you do things on the ground in safe and controlled conditions it increases the quality of the product. For all these reasons we expect the process to be adapted quite widely. We’ve had huge interest in Australia and Asia. The Singaporean government has come to us and invited us to apply, and we’re working closely with Samsung to develop some prototypes for use in South East Asia.”

Katsalidis is speaking as a businessman with something to sell – he is dressed as one in slim-fit white shirt and grey trousers – and the one thing he is careful not to convey is doubt. Yet observers note the commercial risk involved in this high-wire act of architectural entrepreneurship. Charles Justin, for example, while acknowledging that he is not privy to any financial details, reckons Katsalidis has “put significant financial resources” into Unitised Building. “He likes to push boundaries and he’s prepared to back himself,” Justin says. “It’s almost like a gambling streak where you throw everything on one last bet.” The suggestion might help to explain, in part, the architect’s close relationship with David Walsh, for whom he has built a bijoux home on Tasmania’s east coast.

A distinct aura hovers over Nonda Katsalidis in Australian architectural circles, and particularly in Melbourne. This has little to do with his recent metamorphosis into Nonda the Builder, and everything to do with the craft-like qualities he imparts to smaller-scale buildings dating from the early 90s. One of these, a home at St Andrews Beach, Rye, is a low-lying citadel of russet-hued Corten steel and weathered timber set in windblown coastal scrubland. The building looks not unlike a shipping container that has washed ashore and been left to weather, and that was precisely the architect’s intention. St Andrews is a little piece of austere architectural poetry that speaks to several traditions – industrial, agricultural, and Australian coastal – all at once.

The other significant Katsalidis building of this period, Melbourne Terrace, is an apartment development with an assertive public presence at the corner of Franklin and Queen streets near Queen Victoria Market. One of the late-modernist jewels in Melbourne’s prized urban fabric, Melbourne Terrace is the closest thing to a hand-crafted building that the economics of modern construction will allow, and it has been laurelled as one of the top 20 Australian buildings of the last century by Architecture Australia. The complex houses 60 apartments within four buildings, each bearing a Latinate name – Equus, Mondo, Roma and Fortuna – and a Peter Corlett sculpture at its entrance. The moulds for the distinctive balconies, finished in oxidised copper, were cast by students from nearby RMIT, and the roofline is punctuated rhythmically by large vertical slabs with serrated edges. The project as a whole is immersed, playfully, in the early 20th-century inheritance of European modernism.

During our interview I tell Katsalidis that Melbourne Terrace has just been put forward for heritage listing by the city, of which he is unaware. How does he feel about its potential elevation to classic status? “Old,” is his reply. He goes on to relate how he stopped outside Melbourne Terrace recently and heard a couple on the footpath discussing it in puzzled tones, wondering if it was an apartment block from the 1930s. This seems to please him. “At the time it was all a bit tongue-in-cheek with the sculptures and European forms, and it was meant to be both gritty and complex with many layers and textures,” he tells me. “It’s meant to invite many different readings. Some of the apartments were even custom-made for the tenants. But this was the early days of apartment building and you could do things then that maybe you wouldn’t do now.”

How did you get it to stack up financially? I ask.

“What makes you think it did?” he replies.

A search of online and print archives reveals little about his larger view of architecture and the world; on the rare occasions he gives interviews their focus tends to be limited. I have only an hour with the architect – less after the time it takes to photograph him – and he makes a point of shielding his inner life. He has three children from two marriages but will not discuss the “private stuff”. He once lived in an apartment in the aggressively hard-edged 36-storey Republic Tower, occasionally buys art from artist friends but insists he does not collect it, and shrugs dismissively when I attempt to draw him on his musical tastes. It’s only after our interview that I speak with a friend who claims to have visited Katsalidis while he was living at the St Andrews beach house, and to have endured a CD of Bulgarian choral music to which the architect was devoted at the time.

Before our meeting I’d been warned that while Katsalidis is a genuine intellectual, he is averse to the use of intellectual language when describing his work, and that he’s rather shy and reserved. This becomes quickly apparent in conversation, when he describes the celebrated tactile qualities of buildings such as St Andrews and Melbourne Terrace as “touchy-feely”. Despite what seems like an allergy to verbal elaboration, he begins to thaw when I describe his aesthetic as masculine. “I guess I like chunky buildings,” he says. “Direct. Often a little crude, which I like too. Over-finishing is something I try to resist.” He expresses a pronounced distaste for “pretty” and “complicated” buildings, which he thinks are too common in the contemporary Australian architectural repertoire.

When I suggest that one strand of his work – particularly pronounced in the 90s with St Andrews, Melbourne Terrace and the Ian Potter Museum at Melbourne University – bears the stamp of Veneto architect Carlo Scarpa, he agrees without hesitation. He describes these projects as “intense, detailed and crafted architecture”. The puzzle, of course, is how these small-scale jewels relate to the landmark towers – Eureka and 108 – and the diversion of his energies into what is essentially a construction-cum-manufacturing process.

Architect and urban designer Rob Adams, director of urban design at the City of Melbourne, sheds some light on the Katsalidis paradox when he notes that the phases of his career have been defined by “ground-breaking” innovation. The importance of Melbourne Terrace, from this perspective, is at once architectural and social: it marked a turning point in the evolution of inner-Melbourne urbanism. Postcode 3000 initiative, which was intended to bring more residents to the CBD and revitalise a depressed property market, was launched in 1992.

“Even before the program started, Nonda had designed a building on the corner of Russell and Exhibition streets near the magistrates courts which was one of the first with a mixture of residential and commercial space,” Adams recalls. “Soon afterwards he designed the Hero apartments on the corner of Little Collins and Russell by putting a five-storey addition in Corten steel and bright green colours on the top of an eight- to nine-storey cream brick office from the 60s.

“At that moment he starts to show the city what is possible with the conversion of these old buildings; this one being done in an incredibly innovative manner.” Melbourne Terrace, which was developed soon afterwards, is described by Adams as “the best new residential building of this period”. He also singles out the Republic Tower as “one of Australia’s best in terms of the architect’s understanding of the urban context”. Republic was conceived as a showcase for contemporary art, and its revolving exhibits at street level were co-directed by Katsalidis until 2007, at which time they came under the patronage of David Walsh. Adams cannot think of a building designed by Katsalidis, whether a residential conversion from the 1990s or a new apartment, that has not “left the street better off”‘. His story is intimately tied to that of Melbourne’s revitalisation.

While acknowledging that the move to landmark towers and prefabricated construction methods marks a new era for Katsalidis, Adams insists that, despite the gigantism of Australia 108, it is driven by the same appetite for invention. “Unitised Building is enormously relevant as it’s speaking to the future of affordable housing,” Adams says. “I don’t think we quite understand the extent to which it will change the building industry. In the future it will probably reduce the costs of construction by up to 20 per cent.”

Adams sees Katsalidis through a distinctive Melbourne civic prism, and it is true that his work within and outside his partnership with Karl Fender is strongly anchored in the Melbourne grid and its cosmopolitan aspirations. He has designed for Canberra and Hobart, though not commercially for Sydney. In 1995 Fender Katsalidis, then in partnership with Bob Nation, won a competition to redesign Circular Quay, but the project was scuppered by the electoral defeat of the Fahey government in that year, and the harbour city was the poorer for it. Even today Katsalidis draws a distinction between the Sydney style, which he associates with Harry Seidler’s predilection for sculptural towers “that don’t bother with what’s around them”, and Melbourne’s self-conscious pursuit of a civic personality. Melbourne, he believes, has been intent on “building a culture” rather than building ornaments to architectural prowess.

I sense, however, that he would like to wriggle free of the Melbourne-architect tag and broaden the brand. His affection for his adopted city is abiding, but his professional horizons are widening with every Unitised Building pitch to a national or overseas client. “I really love being in Australia,” he says. “It’s amazing when you think of all the different climates and ecologies, although you also need to consider all the abuses we’ve heaped upon it.” He admires the promethean European modernists Le Corbusier and Mies van der Rohe, and draws inspiration from the exuberant Spanish interpretation of modernism after Franco’s death. Yet he insists that while he looks to the architectural models of Europe, he does so with his feet “firmly planted on the ground of this continent”.

Katsalidis emigrated to Australia from Athens at the age of five and spoke Greek at home “until I was good at it”. The Athenian cityscape of his early childhood is one of undulations around the Acropolis: meaning city on a hill or high-point. His mother was struck, he recalls, by the flat, rusty roofs of Port Melbourne. “Her heart sank. There was nothing that looked like a city.” He recalls primary and secondary school in Fitzroy and the expectation, as the son of migrants, that he would leave school for a trade. In fact, his first jobs after graduating in architecture from Melbourne University were in building. He worked, he tells me, as “a carpenter with a nail bag”, doing renovations and extensions, and later at a petrochemical plant in Altona.

In these years he got to know tradesmen and developed a rapport with them that continues to this day. “A lot of architects that grow out of that tradition become more focused on materials and how they go together, on the texture of things, while those that are more engaged with the computer, which filters out the real world, tend to be more removed,” he reflects. “Their focus is on big ideas.” I put it to him that these two dispositions – the abstract and the tactile – are integrated in his body of work. “I’m comfortable with both,” he agrees. “When you think of the gulf between the St Andrews beach house and the Eureka Tower, there’s a huge chasm. But I’m comfortable bridging the chasm.” To underline the point he recalls that the Pritzker Prize winner Glenn Murcutt was manifestly not comfortable with the larger scale of the commercial tower.

Leon van Schaik, a professor of architecture at RMIT, believes that Katsalidis morphed into a developer and systems innovator in part because “he became restless about doing the bidding of other people with less vibrant imaginations”. It was under Van Schaik’s supervision that Katsalidis completed his master’s degree in architecture with an analysis of his own beach house at St Andrews, and the academic believes he has a good measure of the architect’s mind. He describes the two faces of Katsalidis as “a rootedness in the craft of making and a love of materials, combined with an ability to think in abstract and lateral terms in a financial sense”.

This synthesis of the carpenter-poet and the brainiac-entrepreneur, the architect with a gift for bijoux coastal dwellings and “instant” city towers, is a rare thing in any design culture. Katsalidis plans to continue working on the small and the tall, the “touchy-feely” and the sky-high, and has agreed to return to the MONA site to design and build an apartment complex for David Walsh. “He won’t go away,” says Katsalidis with another of his subtle blink-and-you’ll-miss-it grins. “I actually advised him to seek another architect but after a little more than six months he terminated the relationship. No one else will put up with him.”

Even though Katsalidis describes himself as the mere “translator” of his friend Walsh’s ideas at MONA – as the man who devised a three-dimensional structure to express his client’s singular vision – it’s clear the two share an affinity: a talent for making things happen, and a tolerance of calculated risk. By giving prefabrication architectural and industrial credibility Katsalidis is, in his view, simply realising a dream implicit in the modernist project. The rewards are enormous; the risks, too. “I’m giving it a go,” he tells me in his default setting of dry understatement. “You never know your luck.”

The Lemnos Heritage of Gallipoli – 24/04/2013

Anzacs and the Aegean

Anzacs and the Aegean

The Lemnos Heritage of Gallipoli – 24/04/2013

Speaker: Dr John Yiannakis

While much has been written about Gallipoli, the role of Lemnos has been marginalised.

As the Gallipoli centenary approaches, this presentation aims to demonstrate the importance of Lemnos to the entire Anzac campaign and to present the case for research to redress the under-representation of Lemnos in the history of Gallipoli and  World War One.

24/04/2013 @7:00pm

206 – 210 Lakemba St
Lakemba NSW 2195
Free Entry
02 9750 0440
Language English

Γάμος ανά τους αιώνες

1940 - Θεοδόσιος και Μαρία Παϊζάνου (Φωτογραφία αρραβώνα στην Κύπρο)

1940 – Θεοδόσιος και Μαρία Παϊζάνου (Φωτογραφία αρραβώνα στην Κύπρο)

Μαζί με τα πράγματά μας που έκαναν το 1967 το υπερπόντιο ταξίδι από την Κύπρο στη χώρα του Νότου, ήταν και οι οικογενειακές φωτογραφίες. Ανάμεσα στις φωτογραφίες αρραβώνων και γάμου, συγγενών και φίλων των γονέων μας, που εκτός του ότι μας ταξιδεύουν στις αρχές του 1900, όπου η νύφη ήταν τυχερή αν γνώριζε το όνομα του μέλλοντα συζύγου της, θεωρώ, ότι η καθεμιά έχει και τη δική της ιστορία.

Μια πιο προσεκτική ματιά και διαπιστώνει ο καθένας του λόγου το αληθές. Νυφικό εποχής, πέπλο, στολίδια, κουστούμι ριγέ γαμπρού, γραβάτα, φουλάρι, μαντήλι στο πέτο, δίχρωμα παπούτσια (θυμάστε το άσπρο-μαύρο και το άσπρο-καφέ;) και ένα στήσιμο που μαρτυρά πολλά. Ο γαμπρός καθήμενος και η νύφη όρθια να τον ακουμπά ελαφρά στον ώμο, κάνοντας πράξη το «η γυνή να φοβείται τον άνδρα». Υποταγή και πλήρης υπακοή.

Δυστυχώς δεν υπάρχει νυφική των γονέων μας, γιατί παντρεύτηκαν το 1940, όταν τα γερμανικά αεροπλάνα βομβάρδισαν την Κύπρο. Οπότε, η φωτογραφία των αρραβώνων το 1939, είναι το μοναδικό κειμήλιο για τα εγγόνια μας από τους προπάππους τους.

Ανατρέχοντας λοιπόν στους αιώνες οι «νύφες», κατά παράδοση, φορούσαν κατά τη «γαμήλια τελετή», εντυπωσιακά ενδύματα από φίνα υφάσματα με φανταχτερά στολίδια στο κεφάλι, το λαιμό, τα αυτιά, τα χέρια (καρπό και μπράτσο) ακόμα και στα πόδια.

Αλήθεια! Από πότε γίνονταν τελετές γάμου; Πώς προέκυψε το νυφικό; Η έρευνα που ακολουθεί είναι από ψάξιμο στο διαδίκτυο και αφηγήσεις συμπαροίκων που μοιράστηκαν οικογενειακές τους μνήμες.


Στην αρχαία Αίγυπτο την ημέρα του γάμου (οι πρώτοι που θεώρησαν τον γάμο ως νόμιμη σχέση), γινόταν γλέντι, με τους καλεσμένους να τραγουδούν και να χορεύουν. Στη συνέχεια οδηγούσαν το γαμπρό και τη νύφη στο σπίτι τους, πετώντας πράσινο σιτάρι ως σύμβολο γονιμότητας. Το γεγονός ήταν εξαιρετικά σημαντικό γι’ αυτό συνοδευόταν από τελετουργία.

Η νύφη, από εκείνα τα χρόνια, περιποιείτο τον εαυτό της παίρνοντας με ιδιαίτερη φροντίδα το λουτρό της σε αρωματισμένο νερό, ώστε να λάμπει.
Στην αρχαία Ελλάδα, αν και ο γάμος δεν ήταν υποχρεωτικός, οι νέοι παντρεύονταν, γιατί η κοινωνία ασκούσε κριτική και χλεύαζε τους άγαμους. Πρόσδιδε σεβασμό στους πολίτες αλλά και στους απογόνους τους, οι οποίοι θα ήταν χρήσιμοι στην ανάπτυξη του τόπου και την στρατολογία. Οι άνδρες παντρεύονταν μεταξύ 30-34 ετών και οι γυναίκες 12-16. Η πιο κατάλληλη ηλικία για τα κορίτσια θεωρούνταν τα 15 χρόνια.
Αν και επικρατούσε το μονογαμικό σύστημα, οι άνδρες μπορούσαν να έχουν εξωσυζυγικές σχέσεις. Ωστόσο μόνο τα παιδιά της νόμιμης συζύγου κληρονομούσαν το όνομα και την περιουσία.

Η τελετή (συμφωνία), γινόταν σε πανσέληνο, το μήνα Γαμηλιώνα (από τα μέσα Ιανουαρίου μέχρι τα μέσα Φεβρουαρίου) που ήταν αφιερωμένος στη θεά Ήρα, παρουσία μαρτύρων για τον καθορισμό της προίκας. Προηγείτο φυσικά, το προξενιό που κανόνιζε η προξενήτρα. Να, λοιπόν, που τα περί προξενήτρας, προξενιού και προίκας, χάνονται στα βάθη των αιώνων.

Στην Αθήνα ο πατέρας της νύφης πρόσφερε θυσία στους θεούς και οι μελλόνυμφοι, λούζονταν με νερό που έφερναν με ειδικό αγγείο από την ιερή πηγή Καλλιρόη.
Την ημέρα του γάμου, η νύφη συνοδευόταν από το σπίτι της στον τόπο της τελετής με λαμπαδηφορία, ενώ στο τέλος, οι συγγενείς συνόδευαν το ζευγάρι στο σπίτι μέχρι την κρεβατοκάμαρα με χορούς και τραγούδια.

Το νυφικό της νέας ήταν συνήθως ένας απλός χιτώνας σε λευκό χρώμα, το οποίο συμβόλιζε τη χαρά, ενώ στο πίσω μέρος του νυφικού, υπήρχε ένας σφιχτοδεμένος κόμπος, τον οποίο ο γαμπρός έλυνε κατά τη διάρκεια της τελετής.


Οι αυλητές και οι κιθαριστές έπαιζαν και τραγουδούσαν γαμήλια τραγούδια, τον υμέναιο, που ήταν ο ιερός ύμνος του γάμου.
Τη δεύτερη μέρα γινόταν το γαμήλιο γεύμα από τον πατέρα της νύφης. Η ίδια πήγαινε με άμαξα στο σπίτι του άνδρα της, ενώ την τρίτη μέρα δέχονταν τα γαμήλια δώρα.
Συμπερασματικά, πολλά από τα έθιμα των αρχαίων προγόνων μας, όπως το νυφικό, τα στέφανα, το γαμήλιο γεύμα, τα γλυκίσματα (ανάμεσα και ο πλακούντας από σουσάμι και μέλι), τα δώρα, το ένδυμα (λευκό), ακόμα και το πέπλο, η αγκαλιά της νύφης από τον γαμπρό να περάσει την πόρτα του νέου της σπιτικού, το ρόιδο και άλλα πολλά, καλά κρατούν.

Στην Ορθόδοξη Εκκλησία, το μυστήριο του γάμου υφίσταται ως πνευματική ένωση του άνδρα και της γυναίκας και ως σαρκική, για τη διαιώνιση του ανθρώπινου γένους. Ο γάμος δεν αποτελεί κατ’ αρχήν επαναλαμβανόμενο μυστήριο. Θεωρείται αδιάλυτος. Η Εκκλησία όμως, «κατ’ οικονομίαν», θέσπισε τη λύση του γάμου καθώς και ειδική τελετή για δεύτερο γάμο, επιτρέποντας συνολικά την τέλεση τρίτου γάμου.

Η Εκκλησία ανακήρυξε το γάμο μέγα Μυστήριο. Ευλογεί δηλαδή την ένωση των σωμάτων και των ψυχών, για να μπορεί ο καθένας, αλλά και οι δυο μαζί, να αντέξουν και να αντιμετωπίσουν τις δυσκολίες της συζυγίας και αργότερα της ανατροφής των παιδιών. Να γίνουν δηλαδή «εἰς σάρκα μίαν».
Στα βυζαντινά χρόνια, πριν από την τέλεση του γάμου, πραγματοποιούνταν ο στολισμός του νυφικού θαλάμου, που όπως και κατά την αρχαιότητα, ονομάζεται παστός. Εάν δεν επαρκούσαν τα στολίδια, η οικογένεια της νύφης έπρεπε να δανειστεί από τους γείτονες. Συγγενείς και φίλοι έραιναν τον παστό με λουλούδια κι έψαλλαν τραγούδια επαινετικά προς το γαμπρό και τη νύφη.

Οι γαμήλιες προσκλήσεις γίνονταν από τους γονείς των μελλονύμφων αλλά και μέσω των καλεστών, που άφηναν στα σπίτια των προσκεκλημένων μήλο, λεμόνι, μοσχοκάρφια και παστέλι.

Απαράβατος όρος οι μελλόνυμφοι να είναι ομόθρησκοι ή ομόδοξοι. Ο πρώτος γάμος, ήταν ιερός και απαραβίαστος στα μάτια της εκκλησίας, τον οποίο «ο άνθρωπος απαγορευόταν να διασπάσει».


Οι μέλλοντες γαμπροί προτιμούσαν συνήθως παρθένους. Η νύφη εμφανιζόταν λαμπρά στολισμένη, με το κεφάλι καλυμμένο με πέπλο μέχρι τα πόδια και με λευκά παπούτσια. Η ενδυμασία του γαμπρού ήταν επίσης κατάλληλη για την περίσταση.

Την ώρα του γάμου κατέφθαναν στο σπίτι της νύφης οι μουσικοί και οι δαδούχοι, γιατί αρχικά τουλάχιστον, το μυστήριο γινόταν τη νύχτα. Μόλις ο γαμπρός έκανε την εμφάνισή του, προκαλούσαν θόρυβο κι έριχναν μήλα και τριαντάφυλλα. Στη συνέχεια, η νύφη ανέβαινε «επί οχήματος καταστέγου» και άρχιζε με τραγούδια η νυφική πομπή προς την εκκλησία, την οποία έραιναν καθ’ οδόν με τριαντάφυλλα και βιολέτες και καίγοντας κατά διαστήματα αρωματικά ξύλα.
Το περιποιημένο λουτρό της μέλλουσας νύμφης, γινόταν πριν από το γάμο.

Κατά την πρώιμη βυζαντινή περίοδο, ο γάμος ήταν καθαρά αστική υπόθεση. Γι’ αυτό συνήθως την τελετή στέψης, πραγματοποιούσε ο πατέρας του γαμπρού. Όμως, από τον Δ’ αιώνα, κάποιες οικογένειες καλούσαν προαιρετικά ιερέα για την «ευλογία».

Το 893 μ.Χ., ο αυτοκράτωρ Λέων, έδωσε για πρώτη φορά στην εκκλησία το αποκλειστικό δικαίωμα να νομιμοποιεί τους γάμους, θέτοντας στην αρμοδιότητα των εκκλησιαστικών δικαστηρίων τα νομικά προβλήματα του γάμου.

Η «ευλογία» που γινόταν την Κυριακή, έγινε υποχρεωτική και η εκκλησιαστική κανονική νομοθεσία επεκτάθηκε σε μεγάλο βαθμό στη ζωή των Βυζαντινών. Από τους Η’ και Θ’ αιώνες ο γάμος γινόταν υποχρεωτικά στο ναό από τον ιερέα της κοινότητας ή από τον επίσκοπο εάν οι μελλόνυμφοι ήταν ευπορότεροι.
Κατά την τέλεση του γαμήλιου μυστηρίου, το ζευγάρι συμμετείχε στη Θεία Ευχαριστία, με σκοπό να ταυτιστεί η ένωση με το σώμα και το αίμα του Χριστού και να αποκτήσει την ανάλογη ιερότητα.

Σύντεκνος των στεφάνων ή παράνυμφος, γινόταν συνήθως ο ανάδοχος, ο οποίος κρατούσε κατά την περιφορά τα στέφανα.


Στη συνέχεια ένωνε τα χέρια των μελλονύμφων κι ανταλλάσσονταν τα δαχτυλίδια. Κατά την περιφορά, τους έριχναν σουσάμι ή κριθάρι για πολυγονία. Μετά τη λήξη της διαδικασίας αυτής οι προσκεκλημένοι ασπάζονταν τα στέφανα και τους μελλονύμφους με ευχές, προσφέροντας ταυτόχρονα δώρα.
Στη συνέχεια η νύφη πήγαινε στο σπίτι του γαμπρού. Οι νεόνυμφοι συνοδεύονταν με τραγούδια, αυλούς και κιθάρα. Τα άσματα αυτά, αρχικά ήταν λαϊκά. Με την πάροδο του χρόνου αντικαταστάθηκαν με θρησκευτικούς ύμνους. Οι προσκεκλημένοι κάθονταν στο γαμήλιο τραπέζι όπου γυναίκες και άνδρες έτρωγαν χωριστά -προσέφεραν δώρα και εξυμνούσαν τραγουδώντας τα προσόντα των νεόνυμφων.

Για τους γαμήλιους χορούς καλούνταν ορχηστές, γυναίκες του θεάτρου και μίμοι. Κατά την έναρξη του ολονυκτίου συμποσίου, ο γαμπρός αντίκριζε για πρώτη φορά τη νύφη, σηκώνοντάς της το πέπλο, ενώ οι καλεσμένοι έτρωγαν τραγουδώντας κάνοντας μεγάλο θόρυβο με κύμβαλα, τύμπανα και κρόταλα.
Τέλος, αφού έψαλλαν «το κατακοιμητικό», το ζεύγος αποσυρόταν στο νυφικό θάλαμο και οι καλεσμένοι αποχωρούσαν. Το πρωί της επομένης ημέρας γινόταν το παραξύπνημα των συζύγων από συγγενείς και φίλους, οι οποίοι έψαλλαν τα ανάλογα τραγούδια. Παράλληλα εξέθεταν το χιτώνα της νύφης σε κοινή θέα ως πειστήριο της παρθενίας της. Σε αντίθετη περίπτωση, ο σύζυγος θεωρούσε τον εαυτό του προσβεβλημένο και είχε το δικαίωμα να πάρει διαζύγιο.
Οι γαμήλιες διασκεδάσεις διαρκούσαν επτά ημέρες. Μετά το πέρας αυτών, ο ιερέας διάβαζε την ευχή λύσης του παστού και η όλη γαμήλια διαδικασία έπαιρνε τέλος.


Κατά το Μεσαίωνα, η Ευρώπη η οποία αναπτύσσεται από τον αρχαίο στον ελληνορωμαϊκό για να φτάσει στον μετέπειτα ευρωπαϊκό πολιτισμό με καθυστερημένες μεσαιωνικές αντιλήψεις και βασανιστήρια, το χρώμα της αγνότητας δεν ήταν λευκό, αλλά το μπλε.
Ένα χρώμα συνδεδεμένο με την Παναγία και ως εκ τούτου πίστης και αιώνιας αγάπης. Εξαιρετικά δημοφιλή ήταν και τα δαχτυλίδια αρραβώνων με ζαφείρια καθώς και νυφικά φορέματα σε παρεμφερείς αποχρώσεις.

Τα χρόνια της Αναγέννησης που ακολούθησαν, όπου η ποσοτική αύξηση και η ποιοτική βελτίωση των γνώσεων είναι εμφανής, η μακριά ουρά του νυφικού συμβολίζει την καλή τύχη και την πίστη της νύφης στο γάμο της.
Η πριγκίπισσα Φιλίππα της Αγγλίας φέρεται ως η πρώτη γυναίκα που φόρεσε λευκό φόρεμα στο γάμο της με τον πρίγκιπα Ερρίκο της Δανίας. Αργότερα, το 1559, η Μαρία Στιούαρτ, διάλεξε το αγαπημένο της χρώμα, το λευκό, για το γάμο της με το διάδοχο της Γαλλίας, παρόλο που για την βασιλική οικογένεια της Γαλλίας θεωρείτο τότε ως πένθιμο.
Το 1662 η Αικατερίνη της Πορτογαλίας παντρεύτηκε τον Κάρολο τον Β’ της Βρετανίας, με ροζ νυφικό.
Λευκό και από δαντέλα νυφικό, φορέθηκε το 1840 από τη βασίλισσα Βικτώρια της Αγγλίας με το γάμο της με τον πρίγκιπα Αλβέρτο. Είχε μακριά ουρά, βέλος, και άνθη πορτοκαλιάς, ενώ χρησιμοποίησε παρανύμφους. Το μοντέλο κυκλοφόρησε ευρέως και εκτός συνόρων, δημιουργώντας ένα πρότυπο που αντιγράφεται έως τις μέρες μας.
Από το 1920 και μετά, το νυφικό αρχίζει να γίνεται πιο απελευθερωτικό και με την πάροδο του χρόνου από συντηρητικό σε αποκαλυπτικό.


Στην Ελλάδα το 1930, χρονιά της οικονομικής κρίσης τα νυφικά εμφανίζονται πιο εφαρμοστά, ενώ από το 1950 και μετέπειτα, επικρατούν οι δαντέλες και τα πλούσια σε όγκο νυφικά. Σήμα κατατεθέν το νυφικό της Grace Kelly, με τον πρίγκιπα του Μονακό, με τη νεραϊδένια νυφική ουρά από μετάξι και δαντέλα.
Το 1960, εποχή του μίνι, πολλές νύφες το αποτόλμησαν, χωρίς ωστόσο να χάσει έδαφος το παραδοσιακό. Το ίδιο ισχύει και για το χρώμα. Το λευκό, παραμένει η πρώτη επιλογή ως έμβλημα αγνότητας και αθωότητας της γυναικείας υπόστασης.
Και μια γρήγορη ματιά στις χώρες της Ανατολής. Στην Ινδία, παραδοσιακά, η νύφη φοράει κόκκινο νυφικό φτιαγμένο από μετάξι. Με την πάροδο του χρόνου έγινε αποδεκτό να χρησιμοποιούνται και άλλα χρώματα εξίσου έντονα, όπως χρυσό, πορτοκαλί, ροζ, μπορντό και κίτρινο.
Στην Κίνα φορούσαν κόκκινο, χρώμα που εξακολουθεί να είναι δημοφιλής επιλογή, αν και σήμερα χρησιμοποιούν νυφικά ευρωπαϊκών προδιαγραφών με κόκκινο στην τελετή και λευκό στη δεξίωση.

Στην Ιαπωνία η αλλαγή φορεμάτων είναι συνηθισμένη στους παραδοσιακούς γάμους. Η νύφη εμφανίζεται αρχικά με λευκό κιμονό που κατά την παράδοση συμβολίζει το θάνατο, δηλαδή την απομάκρυνσή της από την οικογένειά της και μετά με κόκκινο, που συμβολίζει την αναγέννηση στη νέα οικογένεια.
Γενικά στους λαούς της Ανατολής, το χρώμα που συμβολίζει την καλή τύχη, είναι το κόκκινο.

Συμπέρασμα. Σε πολλές κοινωνίες, ο γάμος ως παράδοση, δεν είναι απλά ένα τελετουργικό θρησκευτικό γεγονός, αλλά εκφράζει έναν κοινωνικό θεσμό, μια διαβατήρια τελετουργία που ανακατασκευάζει ρόλους. Συνένωση, συμβίωση, συμπόρευση, χωρίς απαραίτητα στις μέρες μας, η γυναίκα να φοβάται τον άνδρα.
Επίσης, όλα τα νυφικά είναι όμορφα. Εκείνο που ενδεχομένως κάνει τη διαφορά, είναι η προσωπική σφραγίδα της νύφης, το γούστο, ο συνδυασμός με τα υπόλοιπα στολίδια της και η ιδιαιτερότητα με τα οποία το φοράει, που την κάνουν να ξεχωρίζει.

Από ευγένεια και μόνο, θα πρέπει να αποδεχθούμε την επιλογή της και να ευχηθούμε στους νεόνυμφους τα καλύτερα!

«Να παντρευτείς οπωσδήποτε.
Αν αποκτήσεις καλή γυναίκα
θα ζήσεις ευτυχισμένος.
Αν όχι, θα γίνεις φιλόσοφος»
Σωκράτης, 5ος αιώνας πΧ.



Greece’s Unsettled WWII German Reparations

A Stain in the International Legal System

Greece's Unsettled WWII German Reparations
5 Apr 2013

Frustrated with the persistent refusal of Germany to settle the decades long pending WWII German reparation obligations, ordinary Greek citizens have organized a petition and are collecting signatures to demand the long delayed settlement.

The ongoing petition atwww.greece.org/blogs/wwii/ is receiving support and solidarity from people around the world (over 188,000 signatures by now), which proves the clamor for justice by the global community.

To preempt skeptics and critics, although presently Greece is suffering a temporary economic crisis, she should not relinquish her right to demand settlement and shouldn’t be asked to resign from her obligation to seek justice for her people.

On October 1940, North-west Greece was attacked by Germany’s ally, Italy, which was repelled by the Greek army. In April 1941, Germany came to Italy’s rescue, invaded and occupied Greece for four years committing massive crimes against the people of Greece and total destruction of Greece’s infrastructure.

At the end of WWII Greece had lost 13 percent of its population, more than 1700 villages and towns had been burned, most of their inhabitants had been executed by the German occupiers, and the country virtually resembled a pile of debris.

On top of that, while the occupied Greeks were dying by the thousands from starvation, Germany forced Greece to provide an onerous US $3.5 billion loan which still remains unpaid. Moreover, from the US $14 billion well documented claim for war damages presented by Greece at the Paris Conference in 1946, only US $7.1 billion were officially accepted, which remain unsettled until today.

Italy’s Mussolini complained to his minister of foreign affairs Count Ciano “The Germans have taken from the Greeks even their shoelaces.”

Despite the non-stop Greek efforts for settlement in 1945-47,1964-66, 1974, 1987 and 1995, Germany is systematically avoiding responsibility and delays the settlement. In 1964, German Chancellor Erhard promised settlement after the unification of Germany, which took place in 1990, but the settlement is still pending.

In the presence of the indefensible massive evidence, Germany has never denied or disputed the damages, but is systematically using artificial legal obstacles to delay settlement. On the other hand, the international legal system has failed to seal legal loopholes and has allowed injustice to be perpetuated.

A clear example is the case of Distomo (a town in central Greece) where on June 10, 1944 the German occupiers following their policy of brutal collective punishment, executed 218 civilians (men, women and children) as retribution for the killing of three Germans by the local guerrillas, even though the villagers had no relation with the resistance movements.

Decades later, a Greek court awarded restitution to Greek victims, but the German government pressed Greece politically to nullify that decision.

To enforce the decision by the Greek court, this case was brought before an Italian court where the judges awarded to the families of the victims the Villa Vigoni in Menaggio, Italy, a German government-sponsored non-profit foundation but the German government appealed the decision of the Italian supreme civil court at the International Court of Justice (ICJ) claiming State immunity.

After 15 years of trials, the ICJ slammed the relatives of the 232 Distomo victims in this case with the following catastrophic verdict: “Distomo victims cannot seize German property in Italy.”

Unfortunately, the case of Distomo underscores the very serious defects in the fairness of the international justice system. With this verdict, the ICJ has set a scandalous discriminatory precedent contradicting its own rulings and moral authority when it prosecutes individuals for crimes they have committed in other countries, proven by the granting of state immunity to Germany for such massive crimes.

Clearly in the case of Germany the Court has used double standards. Observing the justifiable eagerness for prosecution of wrongdoers like Slobodan Milosevic, Radovan Karadzic, Ratko Mladic, Omar al-Bashir, Charles Taylor, Uhuru Kenyatta and others, further demonstrates of how unfairly the Distomo and the rest of the Greek cases are treated by the international legal system.

Loosening the rigidity of the law and bending it to accommodate Germany’s baseless arguments, it is equivalent to allowing a powerful nation to remove the blindfold from “Themis,” the ancient Greek goddess, founder of justice, and replace her balanced scales of justice with a tilted one. In effect, the ICJ converted itself into a safe harbor for a powerful nation.

Germany, who claims to be a strong advocate of the rule of law, must accept responsibility, settle her obligations to Greece and close this dark chapter of her history. Failure to do so will be equivalent to leaving unattended the bleeding wounds it inflicted on Greece and will stain forever the history book of global justice.

The just resolution of the case of Distomo presented a legacy-setting opportunity to the international legal system to demonstrate the essence of justice by removing Germany’s obstructionist technicalities in her effort to evade her responsibility for the war crimes committed against the people of Greece.

Only few months ago, three Mau-Mau Kenyan tribesmen, tortured by their British colonizers during the early 1950’s, won a landmark case for compensations in English courts, while the Greek victims of Germany, despite the incontestable proofs of the damages, for the last sixty years are failing to obtain justice not only in the German courts, but also in the International Court of Justice.

Fundamental questions: Do we allow Germany to invoke immunity for horrible massive crimes and stain the history books of our global legal system, or we unite our fight for fairness and justice?

* Ilias Sourdis is a freelance Greek expatriate and businessman. He has lived outside Greece outside Grece since 1976, with most of his experience in Asia, and travels to other parts of the world too.


Three generations, two countries, one family of musicians – here is the story of Psarantonis and the Xylouris clan

A Xylouris family affair

Three generations, two countries, one family of musicians – here is the story of Psarantonis and the Xylouris clan, to be captured on screen.

A Xylouris family affair

Playing music in the Xylouris family was never an expectation; it was simply hoped that the Xylouris children would follow in the footsteps of their predecessors.
It began with Nikos Xylouris, nicknamed Psaronikos – a symbol of resistance against the Greek dictatorship – and his brother, Psarantonis, the living legend who reinvented Cretan music. They acquired their nicknames from a tradition started by their grandfather – also called Psarantonis – who would chase children around the village like a fisherman (psaras) as a child. Psarantonis now heads three generations of musicians, with the same love and passion for Crete and its traditional rhythms.
The family Xylouris is now a theme of a Greek Australian documentary currently in production and shooting in Melbourne, Adelaide and Sydney. The film follows the three generations of the family, who uphold and pass on the vibrant tradition of Cretan music, performing to followers around the world. It focusses on Psarantonis, his son Psarogiorgis and his three grandchildren – Nick, Antonis and Apollonia.
This March, the film crew lead by director Angeliki Aristomenopoulou followed the family to Australia to film them performing at the Golden Plains festival, Womadelaide festival, and their Sydney, Castlemaine and Melbourne performances. At Womadelaide, the film crew captured a historical moment for the Xylouris family – it was the first time that Psarantonis performed with his son Psarogiorgis, as well as his grandchildren Nick, Antonis and Apollonia.
The award winning Athenian director, whose previous documentaries were awarded in festivals around the world and broadcasted by CBC/Canada, Al-Jazeera/UK, and other television channels, Aristomenopoulou first met the Xylouris family three years ago, while filming a documentary on Greek rock legend Angelakas.
She was filming in a shepherd’s stone hut on a mountain nearby Anogia, where Psarogiorgis and his sons were playing around the fire. Surprised by the energy of the family, the strong ties connecting the generations and the respect they showed for each other – Angeliki thought their family would make a great story.
“Gradually, the Xylouris clan accepted me into their world, and allowed me to observe the intimate moments of their lives. I have become fascinated by their unique bond to music, which connects them both to the land they come from and to each other,” Angeliki tells Neos Kosmos.
“Angeliki came to me one day and asked me if she could make a film about our family,” explains Psarogiorgis of how the documentary came about.
“Since I already knew her and her job, and how she loves what she does, I believed that she and her crew [director of photography Stelios Apostolopoulos and Angeliki’s brother Mike Aristomenopoulos] were the right people to make this great idea happen.
“It depends on who does the movie as well. In this situation the guys from the film crew had a good polite approach which helped me overcome this fear of media attention and trust them. We got used to it and hopefully it will all end up well,” Psarogiorgis says.
Making movies in Greece right now is difficult. With no funding available, most artists rely on their own resources. Until now, applications for the documentary have been submitted to a national broadcaster ERT and the Greek Film Centre.
“Right now it is very hard,” Angeliki confirms, “I’ve been able to shoot for over a year, as the film is supported by two production companies who really believe in the project – Anemon in Greece and Unicorn Films in Australia.”
Unicorn Films, based in Melbourne, have been key in allowing the crew to film in Australia, and have already submitted the movie to ABC and SBS. Yet, to have the documentary released in cinemas in 2014, more than 30,000 euros needs to be raised to cover the basic costs of the film.
“It is also a positive story that we all need,” says the director who is doing all she can to bring this documentary to life. “It’s a story about the past that looks towards the future and that’s why I believe the film can resonate so powerfully to a modern, multi-ethnic audience and can help regenerate Greece,” Angeliki explains.
Once the movie is finished, it will be distributed in cinemas across Greece and Australia.
“We are also working on promoting the film in the US and Europe, through TV and festival screenings. If the funding is raised, the movie is expected to be finished in early 2014.”
With their Australian trip reaching its end, Angeliki says working with three generations of Xylouris’ was an honour for her.
“All three generations have a mesmerising appeal. I am honoured to film Psarantonis, and very excited to see his gift passed on to his grandchildren, Nick, Antonis and Apollonia. Psarogiorgis and his wife Shelagh connect the family and provide the heart of the film. I am also very lucky to be able to film their first ever performance together, featuring three generations of the Xylouris family,” she concludes.
To help promote Crete’s unique musical tradition further, donate through their kickstarter campaign, on http://www.kickstarter.com – A Family Affair and visit the websitehttp://www.afamilyaffair.gr/.


The South Sydney Harold Matthews under 16s team has finished the regular season with the Minor Premiership, and the SG Ball under 16s team has finished in second spot on the ladder

Source: rabbitohs.com.au

Junior Rep Teams Finish Regular Season in First and Second Positions

Junior Rep Teams Finish Regular Season in First and Second Positions

The South Sydney Harold Matthews under 16s team has finished the regular season with the Minor Premiership, and the SG Ball under 16s team has finished in second spot on the ladder, following the final round of matches last weekend.

The under 16s turned in a compelling performance to win 36 points to 10 over a strong Parramatta Eels side, and the under 18s played out a ten-all draw against the Eels as well.

The Harold Matthews side are undefeated so far this season, having won all of their nine round matches.

The SG Ball side won six matches, drew two and only lost one match on their way to a top-two finish.

The South Sydney boys will both play home Qualifying Finals at the Suttons South Sydney High Performance Centre at Redfern Oval this Saturday 13 April, with the under 16s taking on the fourth placed Newcastle Knights at 12:30pm, and the under 18s playing the third placed St George Dragons at 11am.

Harold Matthews:

South Sydney 36 (Reimis Smith 2, Gabriel Hamlin, Keeden Kelly, Cameron Murray, Siosifa Talakai, Jonathan Tufuga tries; Siosifa Talakai 4 goals)


Parramatta 10

SG Ball:

South Sydney 10 (Tulsa Saumamao, Tevita Cottrell tries; Paul Momirovski goal)

drew with

Parramatta 10

Harold Matthews Cup Final Ladder


SG Ball Cup Final Ladder