The history of rebetiko is often told through its great male figures. But the genre was also shaped by women who lived and worked in the same world as their male counterparts.

From the café-amans of Smyrna and Constantinople to tavernas and recording studios in Athens, female artists were an integral part of the tradition that would later come to be known as rebetiko. They carried with them experiences of migration, hardship, resilience, and love. In doing so, they left a lasting mark on the music and helped carry it far beyond Greece.

This article highlights eight of these voices. Together, they offer another way into rebetiko – and tell a story that often remains in the shadow of the more familiar male names.

Marika Papagika (Μαρίκα Παπαγκίκα)

Marika Papagika was born in 1890 on the island of Kos and grew up in a world where Ottoman and Greek cultures met. Her family first emigrated to Alexandria and later to the United States, following a path taken by many Greeks in the early 20th century.

In New York, she became a pioneer when she began performing in one of the city’s first café-amans. Through her recordings, she carried the Smyrnaic singing style across the Atlantic and helped Greek-American communities maintain a connection to their cultural roots.

Papagika recorded hundreds of songs and is considered one of the earliest female voices in rebetiko to be preserved on record. Despite her importance, she never returned permanently to Greece and died in New York in 1943. Her recordings remain an important part of the early musical life of the Greek diaspora in America.

Rosa Eskenazi (Ρόζα Εσκενάζυ)

Rosa Eskenazi, born Sarah Skinazi in Constantinople around 1897, grew up in a Sephardic Jewish family and spent her early years between Constantinople and Thessaloniki. She began her career as a dancer and singer, quickly developing a stage style where Eastern melodies met Byzantine and Greek musical traditions.

When she arrived in Athens in the 1920s, she was discovered by the composer Panagiotis Tountas. During the 1920s and 30s, she recorded hundreds of songs and became the first true female star of rebetiko.

Rosa Eskenazi toured throughout the Eastern Mediterranean, and her voice remains closely associated with port cities like Piraeus and Thessaloniki. She continued performing well into the 1970s and is today regarded as one of the greatest women in rebetiko and one of the genre’s most iconic voices.

Rita Abatzi (Ρίτα Αμπατζή)

Rita Abatzi was born in Smyrna in 1914 and arrived in Athens as a refugee after the Asia Minor Catastrophe of 1922. She began singing in small tavernas in Faliro and quickly gained attention for her powerful, slightly raw voice.

During the 1930s, she became one of the most recorded female singers in Greece, appearing on hundreds of recordings. Abatzi performed both the Greek song tradition from Asia Minor and the emerging rebetiko of Piraeus’ port districts. She collaborated with several of the era’s leading composers, including Panagiotis Tountas and Vassilis Tsitsanis.

Today, her recordings offer a vivid glimpse into the experiences of the refugee generation in Greece during the interwar years.

Stella Haskil (Στέλλα Χασκίλ)

Stella Haskil was born in 1918 in Thessaloniki into a Sephardic Jewish family. She moved to Athens shortly before the German occupation during World War II. During the war years, she performed in small clubs in Omonia and lived under difficult conditions while many of her relatives were persecuted.

After the war, her career took off and she became one of the leading female voices in rebetiko. In just a few years, she recorded more than a hundred songs. She collaborated with some of the era’s most important composers, including Vassilis Tsitsanis, Apostolos Kaldaras, and Markos Vamvakaris.

Haskil’s career was tragically short. She died of cancer in 1954 at the age of just 36, but her recordings are today considered part of the classic rebetiko repertoire.

Marika Ninou (Μαρίκα Νίνου)

Evangelia “Marika” Atamian was born in 1922 on a ship carrying her Armenian family from Smyrna to Piraeus after the Asia Minor Catastrophe. She grew up in the refugee district of Kokkinia and began performing at an early age alongside her husband in an acrobatic stage act.

After the war, she turned to singing and adopted the stage name Marika Ninou. The guitarist Manolis Chiotis discovered her voice, and in 1948 she made her first recordings. When she joined Vassilis Tsitsanis’ orchestra in 1949 at the famous tavern “Tzimi tou Chondrou” in Piraeus, she quickly became one of rebetiko’s most beloved voices.

Her powerful and dramatic singing style made her a defining figure of postwar rebetiko. She died tragically young in 1957 at the age of just 35.

Ioanna Georgakopoulou (Ιωάννα Γεωργακοπούλου)

Ioanna Georgakopoulou was born in 1920 in Pyrgos on the Peloponnese but moved to Athens at an early age. She was discovered as a teenager while singing in the church choir at Agios Pavlos and began recording at just 18. Her elegant voice quickly made her sought after, and she collaborated with composers such as Vassilis Tsitsanis, Giorgos Mitsakis, and Manolis Hiotis.

Georgakopoulou also wrote her own songs, something that was uncommon for female artists in rebetiko. Her most well-known composition is Trelé Tsigane.

Eftychia Papagianopoulou – the woman behind many of the well-known songs

Not all the women who shaped rebetiko stood on stage. One of the most important was the lyricist Eftychia Papagianopoulou (1893–1972). She was born near Smyrna and came to Greece as a refugee after the upheavals around 1922.

Eftychia wrote the lyrics to many of the most beloved songs in Greek music and collaborated with composers such as Vassilis Tsitsanis, Apostolos Kaldaras, and Manos Hadjidakis. Among her best-known lyrics are Τα καβουράκια (Ta kavourákia), Δυο πόρτες έχει η ζωή (Dyo portes echi i zoi), and Είμαι αετός χωρίς φτερά (Ime aetos horis ftera).

Despite her immense influence, she long remained in the shadow of the artists who performed her songs. It was only after her death that her importance to Greek music began to be fully recognized.

Sotiria Bellou (Σωτηρία Μπέλλου)

Sotiria Bellou was born in 1921 near Chalkida and had a dramatic youth marked by conflict and political engagement. During the German occupation, she joined the resistance and was tortured by the Gestapo. After the war, she established herself as one of the most powerful voices in rebetiko and worked closely with Vassilis Tsitsanis. Bellou is especially associated with some of the genre’s most iconic songs, including the well-known Συννεφιασμένη Κυριακή (Synnefiasméni Kyriakí).

She also became a symbol of personal freedom and defiance within Greek musical culture. Bellou continued performing well into the 1980s and passed away in 1997.

Marió (Μαριώ)

Maria Konstantinidou, known as Marió, was born in 1945 in Thessaloniki and belongs to the generation that carried rebetiko into the present day. She began performing as a child alongside her father, who was a musician, and learned to play the accordion at an early age. As a young girl, she heard Rosa Eskenazi sing and decided to devote her life to rebetiko.

Since the 1960s, she has performed with both older masters and younger musicians and is regarded as one of the last classical female voices of rebetiko. Based in Athens, she remains closely connected to the tradition, often appearing on smaller stages where the music still lives on.

The women of rebetiko who shaped the genre

Most people who discover rebetiko first encounter its great male figures – Markos Vamvakaris, Vassilis Tsitsanis, Giorgos Batis, and others whose names have become almost synonymous with the genre.

But the women of rebetiko were an integral part of this world, even if their names have often remained in the shadow of their more well-known male counterparts. On stage, in the studio, and on record, they helped shape the music’s expression and gave voice to the experiences that define so many rebetiko songs.

They all sang about the same kinds of lives – love, loss, migration, everyday struggles, and survival.

When listening to their recordings, a richer picture of the genre emerges. Not just as the story of a few legendary male musicians, but as a musical tradition and way of life in which female artists also left a clear and lasting mark on both the stage and the repertoire.

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• https://greekexpedition.com/en/music/misirlou-takes-the-world/

Over the years, many have tried. Some speak of honor. Others of care, responsibility, or dignity. Yet, each suggestion feels like a simplification. In this first installment of our series on Greek words that are difficult to translate, we begin with the very term most often mentioned first—not because it lacks equivalents, but because it contains more layers than a single translation can carry.

The Greek word filótimo cannot be pinned down by a definition. It is better understood as a stance. It is visible in how someone acts when no one is watching, in responsibility taken without being demanded, and in a dignity that is not advertised. And perhaps it is precisely in the attempt to describe it that its contours begin to emerge.

Filótimo – origins

This layered stance rests on a simple linguistic foundation. The Greek word filótimo is composed of two elements: philos and timi. Literally, it can be read as “love of honor” or “friend of honor.” In classical antiquity, however, the word carried a different connotation than it does today. It could refer to ambition, honor, and social prestige – sometimes even to a strong desire for recognition at the expense of others.

From the Hellenistic period onward, its meaning gradually began to shift. The word philotimon appears frequently in Hellenistic literature, yet its tone evolves. During the Christian era, it acquires a more inward and ethical dimension.

It becomes less associated with public honor and more with virtues such as humility, self-restraint, and selflessness. What once concerned status and visibility increasingly comes to express responsibility and moral disposition.

Within the Orthodox tradition, the Greek word filótimo takes on a particular resonance. The Greek monk Paisios of Mount Athos describes it as follows:

“The reverent distillation of goodness, the love shown by humble people, from which every trace of self has been filtered out. Their hearts are full of gratitude toward God and their fellow human beings, and out of spiritual sensitivity, they try to repay even the slightest good others do for them.”

Modern-day Filótimo

Over time, the word settled into its modern usage – not in the sense of becoming simpler, but of becoming more everyday. Today, filótimo is not an abstract idea but something that permeates contemporary Greek society, from family life to popular culture.

Many who grow up in Greece hear the word early in life. It appears in conversations, in admonitions, and in praise. A parent uses it when a child behaves selfishly. A teacher mentions it when someone shows responsibility. A neighbor invokes it as a reminder of how one ought to behave. Filótimo functions as a moral compass in everyday life – a word that contains both encouragement and correction.

Filótimo as a compass

How does one recognize filótimo in practice? Often in situations where nothing is expected.

An elderly man insists on paying for the coffee, even though he has less money than the person he is treating. Not to impress others, but because it feels right. A neighbor helps carry groceries upstairs without being asked – and disappears before the thanks grow too loud. Someone repays a small favor with something greater, not out of obligation but from an inner impulse.

The Greek word filótimo also reveals itself in taking responsibility. A person accepts blame for a mistake that was actually shared by several. Another stays late after work to complete something that ought to be done, even though no one would have noticed if it had been left unfinished.

When a Greek grandmother, who does not even know your name, sits you down and fills your plate as if you were family- that is filótimo in its purest form. It is then closely linked to another Greek word that is difficult to translate directly: filoxenía, φιλοξενία – hospitality.

It is rarely about grand gestures. Rather, it is about the feeling that one cannot refrain from doing what is right—even when there is no advantage to be gained.

Most often, filótimo is visible in small acts, but sometimes it appears in moments that make international headlines. During the most intense years of the refugee crisis, residents of the Aegean islands were seen diving into icy waters to help people in overcrowded boats reach shore. Fishermen, retirees, teachers, and students waited on the beaches, opened their homes, and shared what little they had.

Filótimo appears less as something that can be defined and more as a way of being. For many, it is not about defining filótimo but about living with it. Care without calculation. Responsibility without expectation of return. “I do not have much, but what I have, I share.”

A Greek word impossible to translate?

At the same time, some are critical of the claim that filótimo is “impossible to translate.” Linguists remind us that no words are truly untranslatable – they can always be explained, even if that requires more words, paraphrase, or context. To say that a word cannot be translated can, at worst, become a rhetorical gesture rather than a linguistic observation.

In the Greek debate, it has also been pointed out that the myth of the “untranslatable” can easily slide into something else—a belief that Greeks alone possess unique moral qualities absent in other people. That is a dangerous path. Filótimo describes a stance deeply rooted in Greek culture, but that does not mean similar ethical impulses are absent in other languages and societies.

Comparable discussions exist in many other languages. The German gemütlich—often translated as “cozy” – cannot be captured by a single word in Greek either, as it points to a particular social and emotional atmosphere. Another example is the Albanian word sedër -a blend of dignity, honor, and personal integrity. In several African languages, concepts such as ubuntu describe an ethical outlook grounded in community and mutual responsibility.

To cherish one’s language and its concepts is one thing. To turn them into proof of superiority is another.

Filótimo – a multifaceted yet living Greek word

Finally, it is worth remembering that there is no complete consensus even among Greeks about what filótimo truly means. Ask ten people, and you will likely receive ten different nuances. For some, it is primarily about honor and self-respect. For others, it is about care and responsibility toward others. Some emphasize its religious dimension, others its social or everyday character.

Perhaps it is precisely this multiplicity that keeps the word alive. Filótimo is not a fixed definition that can be looked up and closed. It is a concept shaped by context – and one that therefore continues to be renegotiated.

But it is only one of many Greek words that contain more than a direct and literal translation can capture. In upcoming parts of this series, we will explore more such words- meráki, kefi, palikari, filoxenia – terms that each carry their own layers of experience, history, and daily life.

Filótimo – what do you think?

How would you describe filótimo? Have you encountered it in everyday life during your travels in Greece?
Feel free to share your experience in the comments below 👇

Sources

Wikipedia
Neos Cosmos
https://www.akademie-solitude.de/en/filotimo/
https://greekreporter.com/2013/06/08/filotimo-the-hard-to-translate-greek-word
https://tvxs.gr/apopseis/arthra-gnomis/metafrazetai-filotimo-se-alles-glosses/

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As promised in previous post, here is a more detailed description of the sites designated as World Heritage Sites in Greece. Of the total 19 sites, 16 are of pure cultural value. The remaining three sites, Meteora, Mount Athos, and Zagoria have been designated for cultural and environmental significance.

Immerse yourself in the country’s rich history and fascinating nature by familiarizing yourself with some of these significant sites. Click on the links in the table below to explore the UNESCO pages for each World Heritage Site in Greece.

World Heritage in Greece, sites 1 – 6

Namn	Bild	Plats	Årtal för utnämning	Beskrivning
Acropolis, Athens		Athens	1987	A well-known ancient site that includes the Parthenon Temple and other ancient buildings in the heart of Athens.
The archeological site of Delphi		Delphi	1987	An ancient sanctuary and oracle dedicated to the god Apollo. Delphi was considered the world hub in ancient beliefs.
Apollon Epicurius temple at Bassae		Messenia, southwest Peloponnese	1986	A well-preserved Doric temple dedicated to Apollo, known for its harmonious architecture and magnificent views of the valley.
Rhodos medieval town		Rhodos	1988	An impressive medieval city with fortifications, palaces and narrow alleys.
Monastery complex of Meteora		Thessally, central Greece	1988	A collection of Orthodox monasteries built on the spectacular, vertical rock formations that rise several hundred meters above the ground.
Mount Athos		Chalkidiki-peninsula, northern Greece	1988	A mountainous region considered sacred, with an orthodox, strictly male, monastic republic, enjoying a high degree of autonomy since the 11th century AD.

World Heritage in Greece, sites 7 – 12

Namn	Bild	Plats	Årtal för utnämning	Beskrivning
Paleo-Christian and Byzantine monuments in Thessaloniki		Thessaloniki	1988	A collection of early Christian and Byzantine monuments, including churches and basilicas, which testify to the historical importance of the region.
Sanctuary of Asclepius, Epidaurus		Epidaurus, North-eastern Peloponnese	1988	A well-preserved sanctuary, with the famous amphitheater and temples dedicated to Asclepius, the ancient Greek god of healing and medicine.
The Historic Centre (Chora) with the Monastery of Saint-John the Theologian and the Cave of the Apocalypse on Patmos		Patmos, northern Dodecanese islands	1999	An important religious site, which includes the Monastery of St. John and the Cave of the Apocalypse, where the Apostle John is believed to have written the Book of Revelation.
Archeological site of Olympia		Olympia, central Peloponnesos	1989	The site of the ancient Olympic Games with a monumental collection of Greek architecture and sculpture.
Island of Delos		Delos, Cyclades	1990	An important island, revered in prehistoric mythology, with well-preserved archaeological remains and temples.
Monasteries of Daphni, Hosios Loukas och Nea Moni of Chios		Located in Athens, in Fokida district – near Delphi, and on the island of Chios	1990	Three ancient monasteries with unique architecture and mosaic work representing the artistic skill of the Byzantine era.

World Heritage in Greece, sites: 13 – 18

Namn	Bild	Plats	Årtal för utnämning	Beskrivning
Pythagoreion and Heraion on Samos		Samos, Northern Aegean Islands	1992	Remains of an important ancient city of high cultural and religious importance, with an impressive sanctuary dedicated to the goddess Hera.
Archaeological site of Aigai (current Vergina)		Vergina, Greek Macedonia	1996	The site of the ancient royal tombs in Macedonia, where impressive burial treasures and artifacts have been found.
Archeeological site of Mycenae and Tiryns		Mycenae, Tiryns, Peloponnesos	1999	Two important cities from the Mycenaean period, showing the grandeur and architecture of the older ancient Greek civilization.
Old town of Corfu		Corfu, Ionian islands	2007	A well-preserved Venetian city center that bears traces of several different historical cultures and varying architectural styles.
Archeological site of Philippi		Philippi, north-eastern Greece	2016	An ancient city with impressive archaeological remains of great historical importance. The site of the Battle of Philippi .
Archeological site of Mystras		Near Sparta, Peloponnese	1989	The city of Mystras developed around the fortress built in 1249 on the slopes of Mount Taygetos. The city flourished during the later Byzantine period and was conquered by both the Ottomans and the Venetians.
Zagori Cultural Landscape		Region of Epirus, North-western Greece	2023	A remote and timeless rural landscape in northwestern Greece, where the stone-built villages of Zagorochoria nestle among sacred forests and are linked by a remarkable network of arched stone bridges, cobbled paths, and hand-carved stairways connecting the communities of the Vikos and Voïdomatis river basin.

Sources: UNESCO, Wikipedia
Photo: Wikimedia Commons license,
Many of the illustrations for this post were created using the AI model Stable Diffusion

Amid the smell of wood shavings, the sound of sandpaper rasping, and strings being tuned, raw pieces of wood are transformed into instruments such as bouzouki, baglama, tzoura, and Greek folk guitars. With a passion that was sparked at the age of ten in his grandfather’s carpentry workshop, Giorgos has dedicated his life to combining traditional craftsmanship with innovative ideas.

In addition to handcrafting instruments, Giorgos has also modernized the industry. In the late 1990s, he built Greece’s first online music store – a pioneering effort that left a mark during a time of change. For this, he was awarded a prize by the Greek government for digital entrepreneurship.

But his passion truly shines in his physical workshop – where each instrument is a tribute to Greece’s rich musical heritage and craftsmanship traditions.

From apprentice to master instrument maker

Giorgos Karellas’ journey began long before he set foot in a music workshop. As a ten-year-old, he stood by his grandfather’s side in a carpentry shop, where pieces of wood were transformed into wine barrels, troughs, and saddles. It was there that his love for craftsmanship was born, a passion that has followed him throughout his life.

His fascination with sound and instruments took off in school, where he built his first flute from bamboo scraps. His passion deepened during visits to a nearby monastery, where the monks’ various signals on wooden bells sparked his curiosity about the sound and acoustics of wood. These early discoveries became the young Giorgos’ first encounters with the magical interplay between wood and sound. This combination would lay the foundation for a life devoted to Greek music.

“So, Giorgos, tell us, how did you get started in this trade? What made you so passionate about it?”

“It all started when my parents sent me to Athens to celebrate Christmas with my uncle,” Giorgos says with a smile. “He had a music workshop, and I spent the whole day there. It was like stepping into a new world – the smells, the sounds, the tools. I was instantly enchanted!”
“I was fourteen at the time,” he continues.

“When I came back, I couldn’t let it go. I kept pestering my parents to let me move to Athens and start working with my uncle.”

“And did they agree to that?”

“Yes, with the condition that I would continue my schooling there. But I spent almost all my time in the workshop anyway. I didn’t even want to leave the workshop for lunch – that’s how passionate I was.”

“I stayed with my uncle for 15 years,” Giorgos continues. “I learned quickly, but I was sometimes a bit too cocky – I’d say I could do things better than him! But over time, I matured and realized just how much he taught me.”

Tradition meets innovation

After many years as an apprentice, Giorgos began to dream of creating something of his own. He had developed a deep fascination with musical instruments, and violins, in particular, piqued his curiosity.

“For a few years, I wanted to become a violin maker,” Giorgos recalls. “There was something about the shape and sound of the violin that fascinated me. I dreamt of studying in Cremona, Italy, but I didn’t know the language, and there were many other obstacles at the time that made it impossible for me to even think about it.”

Although his dream of making violins never became a reality, his passion led him down other paths. He traveled to Germany, where he worked with modern techniques and the building of classical instruments. There, he learned to combine his traditional craftsmanship with new methods. These experiences shaped his view of the trade.

“The time in Germany gave me a new perspective,” he says. “I realized that tradition and innovation don’t have to be in conflict – they can complement each other.”

After 15 years of apprenticeship and experiences from both Athens and abroad, Giorgos finally took the big step of opening his own workshop. It was a decision that required both courage and determination.

“I felt it was time,” he explains. “I wanted to create something that was my own, where I could apply what I had learned and continue to grow.”

With his workshop as a base, Giorgos continued to seek knowledge and inspiration. He corresponded with schools in Germany to gain access to materials and information about the trade. But it was a challenge – finding details on instrument making was difficult, especially for someone working in Greece.

“At that time, it wasn’t like today,” Giorgos explains. “There was no internet, and finding the right books or manuals was almost impossible. I had to study on my own and learn through trial and error.”

Despite the difficulties, he didn’t give up. He seized every opportunity to learn more, both through correspondence and by experimenting in the workshop. It was a time marked by both determination and a thirst for discovery, where each breakthrough was a confirmation of his passion for the craft.

New roles in the world of craftsmanship

With his workshop running smoothly and years of experience behind him, Giorgos took the next step in his career – he became a teacher. When new schools for craftsmanship and instrument-making opened in Greece, Giorgos was one of the first to be hired as a teacher. Here, he had the opportunity to share his knowledge and inspire the next generation of instrument makers.

His passion for craftsmanship extended far beyond the workshop. As a teacher, he saw it not only as his task to teach technical skills but also to instill respect for tradition and the importance of continuous development.

At the same time, he took on another important role – president of the Greek instrument makers’ union. Here, he fought for better working conditions and for raising the profile of the trade within Greece’s cultural landscape.

“It was a time when a lot was changing in the guild, and it was important for us to stick together,” Giorgos recalls.

His involvement in both education and union work made him a key figure in Greek instrument making, a position he used to elevate the entire profession.

The profession from past to present

When the economic crisis hit Greece hard, Giorgos was forced to reassess his situation. It became increasingly difficult to balance work with education and the workshop. In the end, he chose to let go of all other commitments to fully focus on his craftsmanship and the instruments that were his life’s passion.

“Tell us a little about the profession. It must be a trade that stretches far back in history – one of the oldest crafts, building musical instruments.”

“The profession has developed slowly over time,” Giorgos explains. “During the early years of the modern Greek state, in the 1800s, musicians often built their instruments, but over time, the profession began to specialize, particularly in the cities.”

In the 20th century, the bouzouki developed with strong influences from the mandolin and eventually became a symbol of Greek music, despite initially being dismissed by certain social groups.

“The bouzouki became an instrument for revolutionary and cultural expression,” Giorgos continues, especially during the interwar period with the rise of rebetiko. Today, the bouzouki is Greece’s most iconic instrument and is used by musicians around the world, with its development still influenced by both societal changes and individual innovations.

How a bouzouki is made – step by step

“So, Giorgos, what is the most important thing for you when you start building a new bouzouki? What is the first thing you think about?”

“The material, of course – the wood,” Giorgos begins. “We use both local woods like walnut and linden, as well as imported materials like rosewood and ebony. Each type of wood has its specific characteristics and requires different treatment.”

“How do you choose the right wood for an instrument?”

“It depends on hardness, elasticity, durability, and of course, cost,” Giorgos explains. “Some types of wood are very expensive. It’s about creating a balance between aesthetics and function. The instrument must not only be beautiful – it must also last over time.”

Giorgos points to a bouzouki in his workshop:
“This one is 20 years old, and right now I’m doing a general service on it. But it still works perfectly. Another bouzouki, hanging over there, is over 30 years old. When the base structure is right, instruments last a long time.”

“Tell us briefly about the process from wood to finished bouzouki. How does it work?”

“First, I choose the material, often in consultation with the customer,” Giorgos explains. “Then, I start with the shape, the body of the instrument. That’s the foundation, and after that, I build the soundboard – the top. I adjust the soundboard according to the wood’s frequencies before I assemble it. Finally, the neck and fingerboard are added, where I make sure they can withstand the tension of the strings.”

“Has technology changed the work?”

“Absolutely. I use both traditional methods and modern technology like computers and lasers for greater precision. But in the end, it’s always the hands that do the final finishing.”

“And after that?”

“Then comes the varnishing. I apply several layers of varnish, with drying time between each, depending on humidity and temperature. After that, I tune the instrument and do the final tests. Only then is it ready for delivery.”

A craft that carries Greek music forward

Giorgos Karellas is not just an instrument maker – he is a bridge between the past and the future. In his workshop in Psyrri, he creates not only instruments but also a link to Greece’s rich musical traditions. Each bouzouki, each baglama, and each tzoura carries a piece of the Greek soul, a heritage that Giorgos nurtures with care and passion.

His story is a reminder that craftsmanship is not just about technique, but about a love for the material, the music, and the culture. And when he tunes the final strings on a newly built instrument, he knows that it’s not just an object leaving his workshop – it’s a part of Greece’s heart and soul that lives on.

Giorgos Karellas homepage here>>

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The timeless role of the walls

Dry-stone walls are more than mere structures—they are essential to the Cyclades’ cultural and landscape identity. For centuries, they have supported the foundations of local agricultural communities. Today, they are an important reminder of traditional architecture and the sustainable use of natural resources.

Environmentally, the dry-stone walls are crucial in combating erosion and collecting rainwater in the dry Cycladic environment. They stabilize slopes and help keep the land arable. Restoring these structures is therefore not just a tribute to the past but also an investment in a sustainable future.

Along steep slopes stretching from mountain peaks to the edge of the sea, terraces and dry-stone walls shape the landscape of the Greek island of Amorgos, enabling agriculture for generations.

Here, among abandoned vineyards and rocky trails, enthusiastic participants from around the world gathered to breathe new life into a tradition at risk of being lost.

The Amorgian craftsmanship

Recently, the third seminar in the series “Η Αμοργιανή Μαστοριά” (The Amorgian craftsmanship) was held, aiming to revive and preserve traditional construction techniques.

The seminar, organized by the non-profit association The Mitato of Amorgos, was a great success, attracting local craftsmen, representatives from many other islands, visitors from mainland Greece, and several other countries. For five days, they gathered to work, learn from one another, and share their knowledge.

The Mitato of the Greek island of Amorgos

Mitato: A stone hut offering shelter to shepherds

The Mitato of Amorgos is a non-profit organization founded in 2020. Their mission is to protect and promote the island’s natural and cultural heritage. Through various projects, including seminars on building dry-stone walls and other traditional crafts, they aim to pass down knowledge to new generations while integrating it with modern methods and technologies. They also explore how this heritage can contribute to creating a unique and sustainable form of tourism that benefits both the local community and visitors’ experiences.

Places that hold both history and future

The seminar attracted participants from around the world—from architects and engineers to farmers and environmentalists. Together with local craftsmen, they worked to revive Amorgos’ historical heritage and give the landscape a renewed purpose in our time.

The central craftsman leading the fieldwork is renowned for his passion and dedication to the art of traditional construction—a quality that has made him highly regarded in the region.

The location for this year’s fieldwork was chosen to be the area of Palia Strata, near the village of Potamos on the Greek island of Amorgos. Here, steep slopes are lined with stone walls and terraces, bearing witness to generations of hard labor.

“We carefully select sites that can benefit the local community while also highlighting the value of the environment,” explains Semeli Drymoniti from The Mitato of Amorgos.

During the five days of the seminar, extensive work was carried out with the help of participants and invited experts.

• 246 feet of supporting stone walls were restored to stabilize the ground above.
• 328 feet of the trail in Palia Strata were cleared and repaired, including a previously hidden paved section.
• 37.5 feet of the trail were reinforced at a site that had eroded.
• New stone structures were built along a stream to slow the water flow.
• An abandoned well was excavated, and repaired, and the surrounding area was paved and equipped with a protective wall.

Building with stone and tradition

During the practical phase of the seminar, the work took place out on site. Semeli Drymoniti introduced us to the restoration process and explained how every step requires precision.

“We always begin by clearing away soil and loose stones to expose the stable foundations.
Using hand tools like hammers and chisels, the local stones are then carefully shaped and stacked to create durable structures,” she explained.

“An important goal is to use as much material as possible directly from the site,” Semeli continues. “In this year’s work, no stones needed to be brought in from elsewhere.”

For the participants, the on-site work is not only a practical experience but also an opportunity to deepen their understanding of the role of dry-stone wall construction and its significance to the identity of the Cyclades.

Reflections and emotions from the seminar

For both participants and organizers, the seminar was an experience filled with profound emotions. “There’s an indescribable joy in seeing such a large-scale project come to completion,” says Semeli Drymoniti.

“Bringing together people from different parts of the world alongside local craftsmen created a unique sense of community,” she continues. “We worked together, shared ideas and perspectives, and formed bonds that will hopefully last a long time.”

The participants formed a diverse group, all united by a shared desire to learn and contribute. “It’s heartening to see how the seminar continues to evolve and strengthen its position,” added Semeli, viewing this as a sign of growing interest in preserving the cultural heritage of the Cyclades.

The work also provided an opportunity for reflection and insights. Many participants expressed how rewarding it was to work with the stones under the guidance of masters who have preserved this craft for generations.

At the same time, the organizers emphasized the importance of preserving the walls as a living part of the landscape. “Our efforts not only protect the landscape but also inspire more people to engage with this traditional craftsmanship.”

The seminars have sparked discussions about the potential of tourism in the Cyclades. The Mitato of Amorgos members see opportunities in a tourism model that combines local craftsmanship with economic development.

“Responsible tourism can become a positive force for reviving the terraces and restoring the dry-stone walls,” notes Semeli Drymoniti.

Collaboration between sustainability experts and local communities could pave the way for a more sustainable tourism industry.

Visions for the future and next steps

The seminars on dry-stone walls on the Greek island of Amorgos are not just about preserving a tradition—they are part of a broader initiative for sustainable development in the Cyclades.

Evenings were dedicated to discussions and lectures held in a conference venue, where participants exchanged ideas and planned future initiatives.

Among the topics discussed were concrete measures to create educational programs in stone craftsmanship, with the aim of establishing schools where the craft can continue to thrive and inspire new generations.

The lectures also highlighted international role models, such as Ireland’s successful programs for preserving cultural heritage while creating new opportunities for local communities.

Through new collaborations among the Cycladic islands and with support from international stakeholders, the organizers hope to strengthen the future of dry-stone wall craftsmanship. The strategy is not only to preserve the landscape but also to establish global recognition for this unique craft as a model for sustainable development.

“This is not just about tradition; it’s also about building a sustainable future for our islands,” was noted during the seminar.

Despite the positive momentum of the seminars, participants are aware of the complex challenges involved in preserving this traditional craft in modern times. Hopefully, future seminars and initiatives will not only ensure the survival of this knowledge but also foster its continued development.

Discover more about the world of dry-stone walls

The seminars held on the Greek island of Amorgos do more than breathe new life into ancient walls and trails—they also open the door to a fascinating tradition that still holds relevance in today’s society. Perhaps you too will be inspired to participate in the future or learn more about dry-stone walls and their significance to the landscape and culture of the Cyclades.

If you’re interested in exploring the Amorgian craftsmanship further, you’re welcome to join one of The Mitato Amorgos’ future seminars. As Semeli Drymoniti herself says: “Come to our seminars and learn how we build—you’ll discover many of our secrets there!”

You can find more information about the association’s activities on their website here: http://mitato-amorgos.com/en/

The seminars are supported by several organizations, including the Greek Ministry of Culture, the Cycladic Museum, the Cyclades Preservation Fund, and others. They are organized by the The Mitato Association on Amorgos and held under the auspices of the Municipality of Amorgos.
Images and video courtesy of The Mitato on Amorgos.

More about the Greek Island of Amorgos here:

We had the privilege of meeting Kostas Papatheodorou, the civil engineer, architect, artist, and philosopher behind this extraordinary building. He invited us on an exclusive private tour of what he calls his life’s work.

The church of Agia Foteini rises as a striking sight in the open landscape of Mantineia – a building that organically blends ancient, Byzantine, and Oriental elements. It is a church unlike any other, filled with both sacred and playful features.

Kostas Papatheodorou – the creator of the church

When the church was built in the early 1970s, Kostas Papatheodorou became a remarkable figure in the eyes of the locals Summer and winter alike, he worked tirelessly among piles of discarded materials, transforming them into his life’s work. One of the villagers describes him like this:

He was called “the ghost of ancient Mantineia” – a solitary figure who walked or cycled to the church construction site, where he carved stone and breathed new life into what others deemed worthless. He even lived for six months in a tent at the site in order to save time. (From the magazine lifo.gr)

Meeting a groundbreaking artist

Fifty-five years later, we meet this man in the remote mountain village of Levidi in northern Peloponnese, where he now lives, not far from Agia Foteini.

He immediately comes across as a kind-hearted, humble, and modest individual. With a warm and lively storytelling manner, and a twinkle in his eye, he openly shares memories, reflections, and anecdotes from his journey as the creator of Agia Foteini, one of Greece’s most unique churches.

After getting acquainted, he kindly asks us to accompany him to his home to retrieve the new icon he has painted and wishes to install in the church.

We arrive at his modest residence, a 160 sq. ft. apartment comprising a bedroom studio, a kitchenette, and a small bathroom. Carefully wrapping the delicate icon, which depicts Jesus mocked by the Romans, he carries it himself, despite his age, to the car and later into the church.

Once inside the church, we decide together where the icon should be placed. Then, we sit down on a church bench to talk about his life’s work.

His voice echoes through the church’s arches as he shares the vision, challenges, and inspiration behind the creation of this unique place.

Kostas explains that it was the Mantineia Society that approached him in the late 1960s. They wanted to create a church dedicated to Agia Foteini, but one that would stand out from the rest.

“I immediately felt that this was something special,” he says, adding that he promptly resigned from the Ministry of Culture and moved to Tripoli to begin his life’s work.

Guidance from within

He quickly drafted an initial sketch of the church to secure a building permit, even though the design later evolved in a completely different direction. Once construction began, he experienced strong inner guidance.

“It was as if something deep within me guided every single step,” he explains. “It wasn’t like an actual voice, but more like a profound feeling.”

Kostas explains that he and a small team of craftsmen began the construction intending to create everything by hand, following old traditions.

“Everything you see here, we made ourselves, with our own hands. We never bought a finished product. The work was intense, often continuing day and night. We even made bricks of our own and, of course, built without cement.”

Kostas carefully oversaw every step to realize his vision down to the smallest detail.

He gestures passionately toward the various parts of the building. First, he directs our attention to the unique arches and begins to explain his thoughts behind their design.

“The arches here are not circular; they are parabolic,” he points out, explaining that a parabola is a geometric curve symbolizing something that extends toward infinity.

“See over there,” he continues, pointing. “The right column stands perfectly upright, while the left has a slight tilt. Its axis points toward the Pantocrator at the top of the dome.”

He refers to the traditional depiction of Christ as the Pantocrator – a common feature in Greek Orthodox churches, where Christ is portrayed as the Ruler of the Universe, positioned high above in the dome.

“I painted Him with a small, fine brush, without following any sketch. The ideas came to me spontaneously as I worked high up on the scaffolding,” he says.

To save time, he initially slept on the scaffolding. He also recalls an owl that would come to wake him early every morning. Kostas built her a marble nest, where she later had owlets.

“She would tap on the dome with her beak every morning; we had become friends,” he says with a gentle smile.

Marble – a peculiar material

Kostas also shares his deep reverence for marble, describing it as a living material.

“Marble has a soul of its own and needs to be shaped and placed in the right way. Each piece must be set where it belongs, at the proper distance, in the correct form, and with its movement in the right direction,” he says, gesturing toward the details of the church. “That’s why we mostly used hand tools and rarely relied on machines.”

Kostas then points to the capitals and other decorative details as he explains how he drew inspiration from Greece’s rich history.

“My inspiration comes from all Greek eras,” he says, “from the Mycenaean civilization and the Classical period to the Byzantine era, all the way to modern Greece.”

“Everything in here speaks,” Kostas continues reverently. “Everything wants to tell a story. Do you see the different colors and combinations? They are trying to communicate something too.”

He also points out that the building has no right angles, which makes it appear slightly askew.

“It’s as if the church is alive. It looks fragile – almost delicate. But that’s exactly what gives it an organic life; it’s like a living being,” he says with a mysterious smile. “It doesn’t belong to any known architectural style.”

I take the opportunity to share with Kostas my impression of the church from my first visit – a curious blend of ancient, Byzantine, and modernist elements, with surreal and almost comical touches. The church had struck me as ramshackle, almost like Karagiozis’ rickety house.

“Yes, ramshackle is a good word,” Kostas agrees. “But behind the ramshackle appearance,” he explains, “lies a higher form of mathematics – not the kind we learn in school.”

But this blend of Christian and ancient elements – how did people react when they saw what was taking shape?”

“Most people liked how the church looked, especially the Mantineia Society, which financed the project. They supported me throughout the entire process.”

But then Kostas shakes his head as he recalls the negative reactions.

“Unfortunately, some people tried to hinder me,” he says quietly. “Once, they even tried shaking the scaffolding to make me fall. Others fired a shotgun at the roof while I was sleeping inside, mostly to scare me.”

But Kostas did not give up and continued his work tirelessly. Despite the many challenges and opposition from some, he persevered with unwavering determination.

“Did the official Church approve of what was taking shape?”

“At first, they were skeptical, but in the end, it was approved, though with some reservations. The regular priests love the church as it is, but opinions among the bishops are divided. Some find fault with both big and small things; it’s hard to explain to them what it’s all about.”

“And what about ordinary people?”

“Ordinary people just love Agia Foteini! Many want to get married or baptize their children here.”

Much More Than a Church

The church has become a beloved venue for weddings and baptisms, but for Kostas, it is so much more. To him, Agia Foteini is like a part of his own body, a living extension of himself.

“God can only be expressed through symbols, and it is through symbols that the building speaks,” he explains.

“The purpose of the building is to unite the human with the divine. The divine can be glimpsed in every stone, in the movement, and in the direction each part points toward.”

Kostas also shares a remarkable experience from the day before the church’s central icon of Saint Agia Foteini was to be installed. Near the cypress tree outside the church, he saw a silver-white light radiating from the tree.

“It was like many swords of light radiating toward me. I believe it was Agia Foteini herself expressing her joy,” he says with a thoughtful smile.

At this point, I wanted to continue the discussion, but I noticed his voice starting to fade.

“I’m really tired now,” he says quietly. “I actually have thousands of things to tell, but I won’t manage it, so we’ll have to stop,” he apologizes.

The private tour and Kostas’ captivating stories opened up a new dimension for me, allowing me to see the church’s stones and symbols as expressions of humanity’s longing, faith, and creative spirit throughout history.

Perhaps the true value of Agia Foteini lies in the sense of eternity and presence that permeates every corner – a feeling Kostas has woven into every detail, where the human and the divine meet in a silent dialogue that continues long after the words have faded.

Related article: Off the beaten track in the Northern Peloponnese

The Greek Film Days are organized annually by the Swedish Institute at Athens, the Greek Cultural Center Foundation, the Greek School, and the Women’s Section of the Greek Association in Stockholm.

We met the director and screenwriter Periklis in Kallithea in Athens, the neighborhood, where he grew up and still lives. He led us to a cozy book café on a quiet pedestrian street where, under the shade of trees and in the coolness of the late afternoon, we had a pleasant and enriching conversation, surrounded by the soft murmur of the other guests at the café.

“Periklis, could you briefly tell us what the film “The Promotion” is about?”

“It’s mainly about a journey that a father and son take to Thessaloniki, but also about the university film school there. The main theme is the relationship between father and son and how, with a significant delay – yes, a 40-year delay – the son seeks his father’s approval. I don’t want to reveal more for now.”

“The film seems to have many autobiographical elements; is that correct?”

“All my films are personal. I always talk about things I’ve experienced myself or stories that have been told to me. But this film might be the most autobiographical of all. It’s about my relationship with my father. He passed away when I was 19, and we weren’t on good terms. I barely even went to his funeral. I told everyone we didn’t love each other and that I wasn’t grieving his loss.”

“But many years later, when I watched some film clips about the Greek Epos of 1940 when Italy invaded Greece, I suddenly burst into uncontrollable tears and couldn’t stop crying. The clips reminded me of my father, who had fought in that war. I realized then that my earlier stance was just a shield, a defense against the deep sorrow of losing him.”

The idea was born back in 2012

“It was in 2012,” Periklis continues, “during my time as an assistant professor at the film school, that the idea for the film was born. For some reason, I started comparing my life to my father’s. I discovered that we had similar experiences at corresponding ages.”

“I jotted down an initial phrase: as I get older, my life resembles my father’s. I was 58 at the time. My father died when he was 60. Will I also die in two years? I wondered. This worry led me to start reflecting on my own life and the choices I had made up to that point.”

“This resulted in a first draft of the script, which, of course, was completely different from the final version. The initial draft was built around small anecdotes, short stories about things I had experienced with my father. They all dealt with death but were also very humorous.”

“That was in 2012-2013. But my chain of thoughts kept getting interrupted by having to go into the classroom to teach. That’s how the second important aspect of the film came about.”

The film school in Thessaloniki

The Promotion also concerns the film school in Thessaloniki. Founded in 2004, it was the first Greek state school focused on film-making. Periklis Hoursoglou taught there as a university professor from their early years until his retirement in 2023.

The main character in the film, Nikos Symeonidis, also works as a teacher at the film school, but since he lives in Athens, he commutes to Thessaloniki several times a week to teach. This aspect, too, is highly autobiographical, Periklis explains, adding:

“The idea of creating a film school was already discussed in the 1960s. I often wonder how Greek cinema would look today if the idea had been realized back then. Just imagine, with teachers like Kakogiannis, Koundouros, Tsarouchis, Hadjidakis, and others! Anyway, the film school was eventually founded over 40 years later.”

“What was it like in the very beginning?”

“We had nothing back then, absolutely nothing! The school was housed in an old tobacco storehouse and lacked equipment or teaching materials. There wasn’t even a curriculum. Fortunately, we received a small grant from the EU to buy a few inexpensive cameras and some basic film lighting. We were 15 teachers, all active in the film industry, and around 100 students.”

“But looking back, I think the extremely tough conditions we faced initially were also a gift. We were forced to go back to the true basics of filmmaking, learning both how to film and how to teach from scratch. We pushed through, developed a curriculum, and tried to pass our passion on to the students.”

“What’s it like today?”

“Today, there’s equipment and teaching materials. Some issues remain, but the school works well enough. A film created by one of our students, for example, won second prize at Cannes this year, selected from among 2,600 entries from around the world.”

“A student winning an award,” Periklis continues, “may not tell the whole story about the school, but what’s important is that the overall quality of teaching has improved significantly – the difference is almost like night and day compared to before.”

The Economic Crisis

In 2012, the Greek government decided that no temporary contract for public employees at universities could be renewed. This affected all temporary staff: teaching personnel, support staff, and technical staff.

One of the most powerful scenes in the film is when the students at the film school resist their teacher Nikos Symeonidis’s attempt to clean the toilets. This reflects the reality in Greece during the economic crisis. University students across the country protested against the government’s decision by, among other actions, preventing anyone other than the dismissed cleaning staff from cleaning the schools, highlighting how essential they were to daily operations.

“How did you, as a teacher, respond to these protests, Periklis?”

“I started cleaning myself. My classes began at 1:00 pm, but I would arrive much earlier to clean. I didn’t come into direct conflict with the students; it mostly stopped at them just saying they would try to stop me.”

“But I wasn’t doing it just to keep the school clean. I also wanted to get my message across: if you love creating film, you must also love and care for the film school.“

“In the film, the conflict that arises between three generations is shown. The father, with his conservative values, conflicts with the radical young students, while his son, the teacher Nikos, is caught in the middle, trying to keep the situation balanced.

From mathematics to film directing

Periklis Hoursoglou began his journey by studying mathematics in Thessaloniki, back in the 1970s. However, he left his studies just before completing his bachelor’s degree to pursue film instead. Much later, he returned to mathematics and finished his master’s thesis to qualify as an assistant professor at the state film school, as Greek law requires this degree to teach at the university level. We asked him how this significant shift from mathematics to film came about.

“Even as a child, I loved theater. My whole family had a passion for it. Then, while I was studying mathematics in Thessaloniki, I became friends with a classmate who was a true film enthusiast. He introduced and guided me into the world of cinema, which had a huge impact on me. The very next year, I enrolled in a private film school and attended classes alongside my mathematics studies.”

“Just before completing my bachelor’s degree, I made the big decision to devote myself entirely to film, and I left my mathematics studies. By then, I had already started working a bit on the side as an assistant, both at the state TV channel (ERT) and with individual filmmakers, like the well-known Greek director Pantelis Voulgaris.”

The best reward

The Promotion has already received several awards, including for best directing, editing, and best leading actors. It has also been screened at several major international festivals, including in Los Angeles and San Francisco. We asked Periklis how it feels to have created such a well-received film.

“The most important thing for me isn’t the individual awards. What matters most is that after each screening, lively and interesting discussions always emerge, showing that the film resonates, even though it’s very personal. This response is, for me, the best price and the greatest reward. I hope the same will happen in Stockholm on October 20.”

Images from the film courtesy of Periklis Hoursoglou.
Other photos: Ulf Björkman

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Goddess Artemis, Cult and Sanctuary

The sanctuary at Brauron is one of the most significant archaeological sites in Attica. It was expanded to its final form around the 6th century BC. This was the site of one of the most important festivals in antiquity, the Βραυρώνια/Brauronia, which was dedicated to the Olympian goddess Artemis.

The festivities were held every five years and were considered almost as important as the Eleusinian Mysteries, which we looked at in a previous article.

Artemis is one of the most versatile and fascinating goddesses in Greek mythology. Her cults were spread throughout the ancient Greek world. She was associated not only with hunting and wilderness but also with childbirth, women’s health, children, and youth, especially girls before they reached adulthood. At Brauron, Artemis seems to have been worshiped primarily in this role.

An important element of the Brauronia cult was the ritual ceremonies and processions of young girls approaching marriageable age. The girls were called άρκτοι (arktoi)/bears, symbolizing their transition from childhood to adulthood.

They honored Artemis through sacred dances, dressed in saffron-colored garments. They ran races and made offerings to the goddess. Sometimes, nudity was part of these rites of passage, symbolizing the girls’ preparation for adult life.

Before getting married, the girls also sacrificed their childhood toys to Artemis, and many of these objects have been found in the temple area.

During the later classical period, Artemis was also identified with Σελήνη/Selene, the personification of the moon. She was often said to wander in forests and mountains, accompanied by her nymphs. The Roman equivalent of Artemis is Diana.

Artemis temple

The temple dedicated to Artemis itself was built on the slope of a 78-foot-high hill where a spring, considered sacred, still flows. Today, only the foundations of the temple remain, as it has been destroyed over time by wars and natural disasters.

In the 15th century, the Byzantine chapel of Agios Georgios was built on the same site, partially carved into the rock. Nearby, the remains of an ancient church dated to the 5th century AD have also been found.

Stoa – The Colonnade

North of the temple, around the 5th century BC, what now dominates the site was built: a στοά/stoa – a colonnade or open hall, in the shape of a “Π” (Pi). It served as a central gathering place during religious festivals and promoted a sense of community among those honoring Artemis. Important ceremonies were performed here, and meals were held in honor of the goddess.

Adjacent to this was a smaller stoa that housed several rooms where the arktoi girls lived. Although this smaller stoa was never fully completed, it was actively used during the festivities in classical times. Several of the girls’ names have been found as inscriptions on the remains of the walls in this stoa.

In both colonnades, gifts and small statues were also placed, which parents offered as sacrifices when they put their children under the goddess’s protection.

Iphigenia’s tomb

The remains of what is said to be the mythological tomb of Iphigenia can be seen just east of the Temple of Artemis. The tomb was originally located inside a cave, whose roof collapsed already during the Classical period.

Iphigenia was the daughter of King Agamemnon and Queen Clytemnestra in Greek mythology. As told in the Iliad, before the Greeks could sail to Troy, the goddess Artemis demanded that Iphigenia be sacrificed to ensure favorable winds for the fleet.

At the last moment, Artemis saved Iphigenia and took her to the land of Tauris, on the coast of the Black Sea. With the help of her brother Orestes, she later returned to Greece. According to one version of the myth, retold by Euripides, Iphigenia arrived in Brauron, where she became the high priestess of Artemis.

A cult site since the Stone Age

Numerous archaeological finds have shown that the area of Brauron has been inhabited since ancient times. The hill and the sacred spring have played an important role in religious rituals as early as the Neolithic period and throughout the Bronze Age. The cult of Artemis is believed to have emerged and developed around the 9th century BC.

Unfortunately, much of the sanctuary was destroyed during the Persian invasion in 480 BC, but the site was partially rebuilt later during the Classical period. The festivities at Brauron began to decline after the 3rd century BC.

Sanctuaries near Athens: the museum in Brauron

The Archaeological Museum of Vravrona is located just a few hundred meters from the sanctuary. The permanent exhibition showcases finds from the excavations of the temple area and other nearby archaeological sites.

The exhibition focuses on the history of Brauron, from prehistoric settlements to ancient monuments, as well as traditions linked to the cult of Artemis. The museum also houses antiquities and finds from surrounding municipalities.

The museum has five exhibition halls, an inner courtyard, as well as storage and workshops for the preservation and conservation of archaeological finds.

Opening hours: Every day except Tuesday, 08:00 – 15:30.

You can download the museum guide in PDF format here (English/Greek) >>

The wetland of Brauron

The natural riverbed environment that still dominates the area around the mouth of the Erasinos River provides the land with an abundant water supply, and the Brauron area today forms an important wetland protected under Natura 2000, a European network for biodiversity conservation.

The Brauron wetland is home to a wide variety of plants and animals, many of which are very rare. Many herons find refuge here, while rare birds of prey nest on the surrounding hills. This ecological richness makes the area a central point for both history and nature conservation in the region.

Artemis – a versatile goddess

Artemis was a complex and versatile deity in Greek mythology. Her cults varied depending on the location and local traditions. In Ephesus, on the coast of Asia Minor, she was worshiped as a maternal fertility goddess. Her temple, the Artemision, was one of the Seven Wonders of the Ancient World and an important center for the veneration of the goddess as a protector of motherhood and fertility.

In Sparta, she appeared as Artemis Orthia, a strict goddess who oversaw the education and physical training of young Spartans. Here, her role was closely tied to discipline and strength, qualities that were important in Spartan culture.

On the island of Delos, where according to mythology she and her twin brother Apollo were born, grand festivals were held in their honor. The island was a significant religious center, and Artemis was worshiped here as a powerful deity associated with birth and rites of passage.

Artemis was worshiped in many different ways, but everywhere she remained a powerful symbol of nature’s wild beauty and the female life cycle. She was a central figure in ancient Greece’s religious life and one of the oldest deities to be worshiped.

Brauron – Βραυρώνα

Sources

Greek Wikipedia, Greek Ministry of Culture, archaiologia.gr, Archeological Museum in Brauron

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The mythology developed slowly over millennia, and each story often has several versions. Greek mythology is estimated to encompass over 30,000 deities, heroes, and other mythological figures. With such enormous diversity, the subject can easily feel overwhelming. Therefore, this article series on Greek gods aims to provide an overview of the Greek divine world and its most central figures.

The Twelve Olympian Gods

When we hear the words “Greek gods,” the Olympian gods most often come to mind. They are the most powerful gods in mythology and are called Olympians because, according to tradition, they resided on Mount Olympus.

According to most sources, these twelve are considered to be: Zeus, Hera, Poseidon, Demeter, Athena, Ares, Aphrodite, Apollo, Artemis, Hephaestus, Hestia, and Hermes. In some writings, the god Dionysus is mentioned as one of the twelve, instead of the goddess Hestia. Another of the most powerful and important gods was Hades, who, however, was not counted among the Olympians, because he did not have Olympus as his dwelling. Hades was the god of death and ruler of the underworld.

Click here for an overview table of the largest and most powerful Greek gods and their attributes.

Cosmogony

To truly understand the place of the Olympian gods in the great puzzle of Greek mythology, we must go back to the beginning of everything, to cosmogony – the origin of the cosmos, according to early ancient Greek tradition.

The Birth of the Gods

The first divine couple in Greek mythology was Uranus and Gaia. Their union created the first dynasty of gods.

The events that preceded the creation of Gaia and Uranus are not entirely clear. The most important and almost only source preserved for this first period in Greek mythology is the Theogony, a work written by Hesiod around 700 BC.

Hesiod wrote that before everything else, there was Χάος – Chaos. Within Chaos was the seed of everything that would later constitute the cosmos. Chaos gave birth to Erebus – the darkness of the underworld, Nyx – the night, and Gaia – the earth. Gaia then gave birth to Uranus, the sky, who covered her with his star-studded vault. This son became Gaia’s husband. And thus, mythology transitions into the “era of the gods”.

Interestingly, Hesiod also says that from Chaos, together with Gaia, Eros was also born – in his original form. Eros is presented here as a principle of utmost importance and unlimited power, that existed before the gods and led the elements to their unions and compositions.

Uranus and Gaia

Uranus and Gaia had many children who are usually called Ουρανίδες/Uranides. One category of Uranides is the Titans. They are twelve in number, six men and six women. Some of the Titans who will play an important role in the following dramatic events are Oceanus, Hyperion, Rhea, Metis, Iapetus, and finally Cronus, the youngest of the Uranides.

Other children of Uranus and Gaia were also the three Cyclopes, man-eating giants with only one eye on their foreheads. They were strong and skilled, but selfish and arrogant.

The Hecatoncheires – the hundred-handed ones – are also usually counted among the Uranides. They were monstrous giants of inconceivable size, with a hundred invincible arms and fifty heads growing from their shoulders.

Finally, the Giants are sometimes also called Uranides, but they were born differently, as explained below.

Uranus is Overthrown

Uranus, fearing that his children would one day overthrow him from the throne, cast his offspring down into Tartarus, in the darkest innards of the earth. Gaia was inconsolable and decided to take cruel revenge. She made a large diamond-sickle intending to mutilate her husband, with the help of her children. But none of the Uranides dared to help her in this endeavor. Only Cronus, the youngest of them all, agreed to cooperate with his mother. So one night he lay in wait when his father went to bed, and with the sickle, he cut off Uranus’s member.

From the drops of the spilled blood, the Giants, the Erinyes, and the Nymphs were born. Cronus threw the severed member into the waves of the sea. The sea kept it for a long time. One day, foam began to well up from the member, and from the foam, a new great deity was born: Aphrodite.

Cronus and Rhea

Cronus took his father’s throne and made one of his Titan sisters, Rhea, his wife. Together they had many children: Hestia, Demeter, Hera, Hades, Poseidon, and, later, Zeus. There was a prophecy that also Cronus would be toppled from his throne by one of his offspring. Therefore, Cronus swallowed his children immediately after their birth.

Rhea could not bear this situation. When she became pregnant again, she fled to Crete, gave birth to Zeus, left him there, and returned to her husband. She pretended to give birth and presented Cronus with a stone wrapped in swaddling clothes. Cronus swallowed it immediately, believing he had once again defeated fate.

Zeus Overthrows His Father

Ancient authors tell us very little about how Cronus was overthrown and how Zeus when he grew up, took power. The most accepted version is that of Apollodorus of Athens, who says that Zeus received help from Metis, daughter of Oceanus. She provided Zeus with an emetic which they managed to give to Cronus, causing him to vomit up the stone first, and then the rest of his children.

But after Zeus took power, he had to, as we shall see, fight terrible battles to consolidate his rule. The older deities did not submit immediatly, and frightful, fierce clashes ensued.

Battles for the Celestial Throne

The Titan-battle

When Zeus took the throne, the Titans began to wage war against the new king. This clash is known as Τιτανομαχία/The Titanomachy and lasted for ten years. Zeus freed the Hundred-Handed Ones and the Cyclopes from Tartarus to fight on his side. This resulted in an epic battle that has been vividly described in both ancient and contemporary art. According to Hesiod, the earth shook, the waves of the sea roared, and the sky was split by lightning. The Titan War ended with Zeus’s triumph. The defeated Titans were finally imprisoned in Tartarus, in the depths of the earth.

The Battle Against the Giants

The next challenge came from the Giants, born from Uranus’s blood drops. These monstrous creatures had large beards, long hair, and legs covered with reptile scales. The battle was fought in Pallene, in western Chalkidiki. On his side, Zeus had many Greek gods and heroes, such as Athena, Hera, Heracles, and Poseidon. Zeus won by destroying an herb that would have made the Giants immortal.

The Battle Against Typhon

The last and most terrible enemy was Typhon, a monster with a hundred dragon heads and eyes that hurled flames. His head reached up to the stars, and his body was covered with feathers. In the first battle, Typhon defeats Zeus. But with the help of Hermes, he recovered and re-entered the fight. The final clash shook the cosmos to its foundations. Typhon tore up entire mountains with his enormous hands and hurled them at his opponent. Zeus responded with a rain of lightning bolts from his chariot, drawn by winged horses. The hard battle ended with Zeus burying Typhon under Mount Etna, in Sicily, where, according to tradition, he still lives and spews fire and lava.

Typhon was defeated, but his offspring remained on earth: Cerberus, Chimera, the Sphinx, the Lernaean Hydra, and others. He had these children through his union with the mother of all monsters, Echidna.

The Gods of Olympus

With Zeus established as the supreme ruler among Greek gods, the first part of our journey through Greek mythology comes to an end. We have followed the lineage of the gods from Chaos to the founding of Olympus, a story that we have seen is largely based on Hesiod’s work Theogony.

In the second part of the series, we will delve deeper into the Olympian pantheon. We will explore the roles of the Greek gods, their attributes, and the myths surrounding them. This closer examination will give us an overview and a more nuanced understanding of the Greek divine world and its significance.

As we leave the Theogony – the story of the birth of the gods – behind us, a new rich landscape of mythological personalities, legends, and traditions opens up. Their influence extends far beyond the boundaries of Olympus.

Keep an eye on our blog for part 2 of the series, Greek Gods – An Overview>>

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Table of the most powerful Greek gods

Roman Names for the Greek Gods

As Rome expanded across the ancient Hellenic world, the Romans adopted the Olympian gods and gradually renamed them with Roman equivalents. This can create some confusion. Therefore, here is an overview table of the Roman equivalents of the Greek names.

Sources

The article series Greek Gods – an overview is based on the book “Ελληνική Μυθολογία/Greek Mythology” by Andreas Georgiou, published in 1960. It was the first book on Greek mythology written directly in Modern Greek (dimotiki), which was not a translation from other languages. You can reach the author’s website here>> (in Greek).

Other sources: Swedish, Greek, English Wikipedia

The concealed Mysteries

“I begin to sing of Demeter, the holy goddess with the beautiful hair and her daughter Persephone, the one with the delicate ankles, whom the King of the Shadows seized“

The Homeric hymn to Demeter gives us an insight into the mystery and sacredness associated with the town of Eleusina.
The goddess Demeter had a daughter, named Persephone. She was also called Kore/Κόρη – which means daughter in Greek. Persephone was abducted one day by Pluto, the personified Hades – the ruler of the underworld. He made her queen and kept her in his dark kingdom. Demeter became desperate and started searching for her daughter Kore all over the world. In her search, Demeter stopped in Eleusina. There she was well taken care of by the king and the people. In return, she taught them how to grow grain, gave them knowledge of agriculture and established the Mysteries.

The Eleusinian Mysteries were held every year for two millennia, between the 17th century BC and the 4th century AD. They consisted of a series of rituals that took place in a large sanctuary in the town. Only the initiated – the so-called mystai /μύσται – were allowed to participate in the ceremonies. It was strictly forbidden to reveal details of what went on there. The punishment for revealing the secrets was death.

“Hidden are the mysteries of Eleusis, but if they were revealed, they would constitute a unique experience for every human being,” writes Herakleitos, the famous philosopher who lived in the 5th century BC. (for English subtitles, click on the small wheel symbol)

Participating in the Mysteries was considered to be of enormous importance to the ancient Greeks. Held over several days, the ceremonies were an opportunity for people from all over ancient Greece to come together and exchange ideas. The rituals were also considered to provide an understanding of life’s own mysteries and insight into the deeper meaning of human existence. Pindaros, Herakleitos and Cicero are among those said to have participated in the Eleusinian Mysteries.

After the Roman conquest of Greece, the Eleusinian Mysteries gradually lost their importance and popularity. In the latter part of the 3rd century AD, the Christian Emperor Theodosius banned all pagan ceremonies, including the Eleusinian Mysteries.
After this ban, the mysteries and the city of Eleusis fell into oblivion as Christianity became the dominant religion.

Eleusina resurrects

In the early 20th century, Eleusina experienced a period of rapid industrialization. The city became one of the most important economic centers of Greece and transformed from being a small village to an industrial port town.

In the 1920s, Eleusina underwent another dramatic change when it became a receiving point for Greek refugees after the Greco-Turkish war and the 1922-1923 migration. Over 1.5 million Greeks were forced to leave their homes in Asia Minor. A large number of them settled in Eleusina, resulting in a doubling of the city’s population in just a few years.

The refugee arrival in Eleusina came at a time of political unrest and economic instability throughout the country. Many of the tens of thousands of refugees from the Ionian coast who sought refuge in the town had strong ties to the sea, which affected Eleusina and led to the emergence of several industries related to shipping.

Oil refineries and ship graveyards

Eleusina continued to expand industrially after World War II, leading to a significant increase in population. In the 1950s and 1960s, many people moved from the countryside to the town in hope of finding work in industry. However, this rapid growth led to problems with infrastructure congestion, poor living conditions and poor urban planning.

Many of the major oil refineries were established during this time and have since been the city’s main workplaces. Unfortunately, this also led to significant pollution of the environment.

During the 1980s, Eleusina faced economic and social challenges. Many industries closed down or reduced their production, leading to unemployment and an emigration of residents. Environmental problems also increased due to industrial impacts, further weakening the city’s attractiveness.

“I came to Eleusis and was more impressed by its ugliness than by anything else. It has been fully industrialized, with all the dirt, grime and misery that entails. The land is barren and factories loom over the ancient sacred sites, spewing smoke and flames. The once beautiful coastline has been destroyed and is now an eyesore“. Quote from a travel blog by David Hughes, who visited the city in the 1990s.

European Capital of Culture 2023

In recent years, however, great efforts have been made to address environmental degradation and revive the cultural heritage. Indeed, Eleusina has undergone an impressive reconstruction. The city has thus started to re-establish its reputation as an important cultural destination. This is why it was also designated as one of the European Capitals of Culture in 2023.

From the EU’s official motivation for the nomination:

“Eleusina, a city with a rich cultural heritage, has developed an innovative and ambitious cultural program that can inspire and engage people from all over Europe. Eleusina has a long history as a place of artistic and cultural creation, and through its program it wants to revive and renew its cultural identity”.

As one of the European Capitals of Culture, Eleusina will host a variety of events and performances this year. Visitors will have the opportunity to experience the city’s unique atmosphere that combines culture, history and natural beauty. In our blog, we will have several opportunities to get to know Eleusina and its legendary mysteries.

The temple area of Eleusina is central to the city center. It is considered one of the most impressive archaeological sites in Greece. Besides this, there are several museums worth visiting, including the Archaeological Museum, with its exceptionally well-preserved finds, and the Naval Museum of Eleusina.

Eleusina has undergone many changes over the years, but has finally managed to preserve its soul and identity. It is fascinating to visit a place with such a rich history that at the same time looks forward to an exciting future. A city that has been transformed, forgotten and resurrected, now ready to welcome visitors from all over the world to discover all the captivating attractions it has to offer. As the saying goes, Eleusina always has a secret to share with its visitors.

Sources:
Litteraturbanken, Visit Greece, Culture Trip, EUs webbplats, Eleusina Kommun, Wikipedia.

Note: Ancient Greek: Ελευσίς/Eleusis. New Greek: Ελευσίνα/Eleusina. The letter pair “ευ” is pronounced “ef” in Greek, so all variants of the name are equivalent: Eleusis, Eleusina, Elefsina.

Note: The other two cities appointed as European Capitals of Culture for 2023 are Timisoara (Romania) and Veszprém (Hungary).

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