Category Archives: heritage

A Greek edition of an English wedding

Whilst I’m not one to make excuses, my blogging absence over the summer is less to do with the unusual summer’s heat, or ‘writer’s block’, and more to do with a momentous family event.

So I’ve decided to do a minor detour and share the most memorable of performance pieces right here.  Like most performances it required considerable planning.

Our eldest, our only daughter Kate and her husband Lloyd, decided that they wanted their wedding celebration to be in Greece in the village of Rovies, north Evia.  No ordinary village to us and one that many of the Collective members have visited.

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The village of Rovies, Evia

My Greek mother Eleni spent many summers as a child and teenager in the area with family friends who owned an olive estate in the north of this very green part of Evia. When she finally built a house there in the 1960’s I started to spend my childhood summers there and built strong bonds with many people in the village who have remained life-long friends.  Kate first visited when she was just 5 months old and was so excited by the experience she barely slept the whole holiday. It was ‘love at first visit’.  If it hadn’t been for my dear mother who rescued us every morning from sleep deprivation we would probably not have survived to tell the tale.  As the years went by all our children began to look forward to those summer holidays in Rovies with family or with friends.  It seemed no surprise that when Lloyd started going it was hard to drag him away.

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Photo: Michael Pappas

The ‘performance’ wasn’t a typical Greek wedding and it wasn’t a typical English wedding. Somewhere in between the two cultures melded to produce the most memorable edition of a wedding.  And if anyone is thinking “isn’t this Mama Mia being played out in real life?”, the answer is “no”.  There was only one father and we didn’t sing along to Abba music.

The setting for the wedding ‘ceremony’ was the ruin of the village’s 13th century Medieval tower. Still standing next to the Greek Orthodox Church after more than 700 years of Frankish, Venetian and Ottoman occupation (and not withstanding earthquake tremors and weathering) it finally came to Greek ownership in the 19th century.

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The wedding ceremony outside the c.700 year old Franko-Venetian tower in Rovies, North Evia. Photo: Michael Pappas

History doesn’t record whether any wedding ceremonies had ever been held within the grounds of the tower since the time it was built.   In recent years the idea that an English couple were going to exchange rings in the shadows of the tower surrounded by a spread of English and Greek friends and family never entered anyone’s thinking.  When our Rovies florist, Iota, said “when I came to look at the place I could not imagine how you were going to have a wedding ceremony here” – she had a point!  I couldn’t imagine a bride walking through the scrub and weeds to the main door of the ruined tower either.  But it did happen and after some hard work to clear it and Iota’s creative input, it proved to be the most magical setting, worthy of its long history.

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Miko’s notes for the ceremony including some guidance on Greek pronunciation

The bridal procession to and from the tower led by a violinist and a clarinetist is an entirely Greek tradition, the ceremony itself much less so.  Led by our celebrant Miko, readings at the ceremony came in English and Greek, with the love poem by Greek poet Odysseas Elytis being read by Annoula, the grand-daughter of my mother’s closest friend.  Two generations on, with grandmothers absent, the grand-daughters still hold a key to our life-long connection with Rovies and family history. The Greek custom of throwing rice at the couple after the ceremony was abandoned in favour of more gentle real petal confetti.  A fusion of English & Greek that typified this performance throughout.

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The bride and groom at the head of the traditional wedding procession led by a clarinetist and violinist.  Photo: Michael Papas

Greek musicians are an essential ingredient to a Greek wedding and as we gathered under the pine trees of our good friend Maria’s taverna, nestled by the calm sea at sunset, Greek music welcomed our wedding goers.  What wasn’t expected was the huge response to the music and the urgency with which our English guests clamoured to the dance floor to join the Greek dancing providing their own interpretation of what was required.  There were enough Greeks present to help with dance steps but there was no stopping the English desire to express themselves to the live Greek music as they only know best.   Zorba himself may have welcomed such creative interpretations.

The Greek musicians were so overwhelmed with the response of the English guests to their playing that they played on longer saying “the English know how to have a good time”!   Gratitude flowed both ways well in to the night and an array of unusual Greek dancing was celebrated.

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Under the full moon Greek musicians played for the wedding party at Maria’s taverna “Korydallos”. Photo Summer Richards

An English wedding would not be a proper wedding without the series of speeches that weave themselves in to the meal from Father, Best Man and Groom but are quite unexpected in Greek weddings.  The surprise was the learned Greek words that were read out at the start of the speeches to include our Greek guests, who were quite happy to shout out any corrections as the words unfolded.

A few days later my sister met a local friend in the village who said “Thank you for choosing our village to have the wedding” . The choice was an easy one and we thank everyone there, and those who came, for helping to make it such a truly memorable occasion.

Good performance art “creates a mood and a moment to collectively take an audience to a space where we consider the edges of our expectations and our highs and lows,”  There were no lows and all expectations were exceeded.

A very special Greek edition of a English wedding.

 

 

 

 

Workplace Gallery: The Collective goes public

 

The Old Post Office in Gateshead, a 19th century grade 2 listed building that is now home to WorkPlace Gallery, was appropriately built on the site of the studio of the 18th century British artist and naturalist Thomas Bewick, so maintaining the location’s dedication to art.  Founded in 2002 to promote artists in the north-east, Workplace Gallery has now become an established part of the British cultural art scene with an additional gallery in Mayfair London opened in 2013.   For The Collective, founded in the same year as Workplace, it was a unique opportunity to open up a part of our collection to the public and introduce the idea of collective buying and sharing of contemporary art for domestic spaces to new audiences in the north-east of England.

As we entered the Gateshead gallery on a brilliant sunny afternoon in May, the first thing that struck me was the effect of seeing the works in a gallery space, rather than surrounded by the trappings of our various domestic existences.   Suddenly the diversity of our collection seemed all the more pronounced and intriguing with Gallery directors Paul Moss and Miles Thurlow quizzing us on possible themes within the collection.  This is usually difficult to determine as most works are bought on an individual basis by different buying panels within the Collective and the works then spread across six households.

Given this exhibition represented only half of the Founding Collective’s collection it was an eye-opener to see how far we had come with a limited monthly investment over the last 15 years. Artist names, once less known – now well-known!

As I looked at the works on the gallery wall what I began to see more vividly than before was the different acquisition “stories” behind each one, the different Collective members, the research, the learning, the gallery and studio visits with the artists.  Was it possible to determine, not themes, but the characters and influences of different Collective members over the choice of certain artists and works?  And then there were the memories of reactions to the art works within our households and the history of anecdotes that go with many of them.  Each work seemed to have a life of its own, now brought together in a single gallery space to an unsuspecting exhibition audience.

Workspace Gallery talkThe opening was preceded by an informal discussion chaired by the Gallery’s Co-Directors about the Collective, how it began, how it worked and expanded, and where we had got to today. Bob Lee and myself spoke about every aspect with contributions from members Tim Eastop and Paul Tanner.  The questions that followed were often focussed on the practicalities of the Collective objectives, the constitution, the insurance, succession, our families – all of them important elements in the success and longevity of such a co-operative way of collecting between households. Investment, however modest will always be a source of anxiety across a diverse group of people.  The individual discussions with participants after the panel discussion were equally illuminating often with very frank remarks about what they would find acceptable in their homes and what they would not!  I didn’t hesitate to remind them that having a work that was not to my taste was often part of the learning curve inherent in being part of a collective  – seeing how my relationship would change by living with the work over a period of months. It usually did.

Over the course of the evening the steady flow of visitors was impressive ranging from those working in the arts, fine art students, curators from Baltic and interested art collectors. This was especially gratifying as the exhibition was not about a represented artist(s) but about a different way of collecting amongst a group of households bound together by an interest in buying and sharing contemporary art at home.

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The Workplace Gallery start to fill up as the evening progresses

Towards the end one of the visitors said to me “I can tell how much you enjoy it from the way you talk about it” .  Fifteen years on that wasn’t a bad place to be!

Many thanks to Paul Moss and Miles Thurlow for all their hard work in putting together the Collective exhibition (on until the 3rd June) and ensuring its success at the wonderful Workplace Gallery, Gateshead!

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A view across the Tyne that bridges Newcastle with Gateshead

 

 

An influence not to be dismissed

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The Parthenon © Chris Conway

I’ve always been proud of my (half) Greek heritage. As I was growing up I felt that it enabled me to think differently and see life through more than one lens, which I saw as something special.   And it didn’t stop there.

The more tenuous connection between Greeks today and their ancient forbears didn’t stop any additional thoughts I had of laying claim to a small part of all the best of their great Classical Greek heritage. What more proof did I need than the ancient Greek words I could pick up in modern day conversation? The remaining monuments themselves, testament to that great civilisation: the Parthenon, ravaged so many times by unwelcome pillagers and yet still there!  As I studied the ancient language and learnt about the civilisation I continued to make my connections from ancient to modern with a degree of satisfaction.

But that’s just my personal view. Well known to most is the legacy that the “Classical” Greek civilisation left to modern western thought and philosophy. A society that lasted at its peak for less than 200 years and yet continues to influence some of our thinking, our teachings and provided the foundation for parts of our modern western culture over two thousand years later. Whilst other cultures have certainly influenced our development what is most striking is the limited time and small scale that was “Classical Greece”.

There are other links too that are less acknowledged but equally remarkable for their sophistication so long ago. Take today’s communication through social media and the digital space it sits in?

In Classical Greece the “agora” (from the Greek “ὰγορᾱ” meaning gathering place or mil_northmarket2assembly) was the place where “citizens” including philosophers, artists, playwrights, artisans, thinkers and decision makers , met to demonstrate new skills, discuss and exchange ideas and information about the future of society. Every person in the agora was equal and “no-one subjected to another”  It was an open public forum that was democratic. All it lacked was today’s technology and digital social networks. But the concept was the same – it was a “common space” that could be accessed by all citizens on an equal footing and involved the sharing of multiple common beliefs or opinions (Πολυδόξα) both commercial, political and social. Whilst the link back to Roman times, where the written word became transportable on small parchments has been documented ,for me “social” communication started in the ancient Greek agora itself and rested on the principle of open and shared communication.

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Sculptural relief: Plato and Aristotle in heated debate!

Plato and Aristotle, two of the best known philosophers of the classical world, would have visited the agora regularly, standing in the shade of the colonnades espousing their views on different subjects. Their perspective on art and artists was well known and recorded [Plato’s Republic and Aristotle’s Poetics].

Plato completely disagreed with his pupil Aristotle viewing art as merely “an imitation” or “mimesis” (μίμεσις) and “thrice removed from reality” that had no connection with those that possessed a real skill (tέχνη) – (like the medics, the builders and the mathematicians)

Both focused their attention on the theory of mimesis and the principle that all art was a form of it. But it was the “imitative function of art which promoted disdain in Plato and curiosity in Aristotle” [Stephen Conway 1996, Plato, Aristotle and mimesis]. For Aristotle imitation was good, how we learn, how we understand objects and how we can understand “an inner beauty” by viewing an object through art. All forms, thought Aristotle, should be subject to scrutiny and understanding – that’s how we learn.

For Plato the visible result of any human creation was “an indistinct expression of truth” (Republic X, 22), truth and knowledge being the ultimate objective in life. “Art as an imitation is irrelevant to what is real” and still worse Plato believed it could corrupt the mind of the viewer. He saw art as a threat to his ideal Republic because for him it widened the gap between “reality and appearances”.

Aristotle, however believed imitation was a creative and educational process, and that

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The 200 year old art room at the Royal Academy

skills required to do it well could be taught, learned and developed over time.  Some art schools today teach skills in drawing as Aristotle might have imagined.  How infants learn from the adults around them is through imitation.

But as I look at the art works around my house I often wonder what these philosophers might have thought of contemporary art forms? Imitation has become irrelevant in many ways.  Contemporary Art is more about reaction.  It can engender a feeling or a thought that may trigger a conversation. Imitation might be the seed for an abstract concept but to the viewer may offer a completely different interpretation to what the artist originally conceived. But that’s fine. We don’t seek absolute truth and knowledge like Plato.  What we seek is the reaction art

creates in ourselves as we look at a work: the emotion, the appreciation, the transcendence to something outside of the ordinary. And yet embedded in our everyday lives at home as we surround ourselves with contemporary art.

Perhaps Aristotle saw that capability in human understanding. Whilst he didn’t speak much about individual artistic expression he appreciated that skill and knowledge was required and that we could learn and understand about life by looking at art.

That’s not to be dismissed.