Ten new projects across eight Cycladic islands—Andros, Donousa, Koufonisi, Mykonos, Santorini, Serifos, Syros, and Tinos—including two inter-island initiatives, are part of the third funding phase of the Cycladic Identity Initiative. This phase expands support to local organizations and communities throughout the Cyclades. Launched in 2023 by the Museum of Cycladic Art, the Cycladic Identity Initiative aims to preserve, restore, and promote the unique cultural and natural heritage of the Cyclades. To date, it has supported 16 projects across 11 islands.

As Sandra Marinopoulou, President and CEO of the Museum of Cycladic Art, stated: "Cycladic Identity marks three years of meaningful contribution to the local communities of the Cyclades. The Museum of Cycladic Art would not exist without our islands, and we have a duty to give back in a sustainable and impactful way. At a time when modern challenges such as increased tourism, the abandonment of traditional practices, and climate change dominate everyday life, our goal is to remain consistently close to the islanders and responsive to their needs. Cycladic Identity seeks to provide both the means and the motivation for local communities to actively engage in preserving their heritage—a heritage that has carried them from the past into the present and holds the power to guide them toward a sustainable future."

ANDROS: “The Lemon Grove of Livadia in Andros: Soundscape of Biodiversity & Stories of People” - Organization: Andros Research Center

Andros has a deep-rooted agricultural history reflected in its terraced landscapes, dry-stone walls, bridges, cisterns, olive mills, and threshing floors. Its mountainous terrain, previous water abundance, and microclimates have fostered a rich ecosystem, with nearly half the island included in the Natura 2000 network. Citrus cultivation—especially lemons, was once central to the island’s economy and maritime trade, with the fertile Livadia plain as a key growing area. While the economy has shifted toward tourism and services, lemon farming in Livadia continues under increasing environmental and social pressure.

Revitalizing the primary sector is now a sustainability priority, requiring approaches that connect agriculture with heritage, identity, and visitor experiences. This project focuses on Livadia’s lemon groves, using innovative tools such as acoustic ecology, oral history, and heritage interpretation. Key activities, among others, include:  creating a 15-stop heritage audio tour of the lemon grove route, and developing a GPS-enabled audio guide app for Android and iOS, introducing users to the history and current role of Andros lemon cultivation.

(Source: Cycladic Identity Initiative)

Read also: Andros, the “Little England” of the Cyclades

DONOUSSA: “Installation of informational signs, and maintenance and improvement of access to the Geometric-period archaeological settlement at Vathy Limenari, Donoussa”, Restoration of a historic trail -  Organization: POSEIDON Cultural and Environmental Association of Donoussa

The archaeological site of the Geometric period (9^th–8^th century BC) at “Vathy Limenari II” on Donoussa Island was excavated between 1968 and 1972 by archaeologist Foteini Zafeiropoulou. The excavation revealed a settlement and numerous pots, now kept at the Naxos Archaeological Museum. Though significant to the island’s history, the site remains largely unknown. Today, the site is abandoned and overgrown, with a deteriorated trail making access difficult. In collaboration with archaeological authorities, the organization “Poseidon” aims to restore access. The site lies on path 4 of Donoussa’s Cultural Interest Trails Network, connecting the beaches of Kendra and Livadi. Along this route, visitors pass dry-stone structures, a windmill, local flora and fauna, and reach the traditional village of Mesaria. Although the archaeological site is near the trail, it remains hidden.

The goal is to improve the trail section from Mesaria to the site, linking the modern and ancient settlements and offering a deeper experience for hikers. Skilled stone workers from nearby islands will help restore old dry-stone walls, recognized as UNESCO intangible cultural heritage. Two durable, bilingual signs will be installed—one at the port and one near the site—to inform visitors about the excavation. Content will be developed with the archaeological service. Under archaeologist supervision, the team will clear the site to reveal the remains. Using the original topographic map, they will create a walking route for visitors.

(Source: Cycladic Identity Initiative)

KOYFONISI: “Keros – The island that speaks through images”, Photography and cinema workshop for Koufonisi students on Keros – Organization: Cinemathesis Non-Profit Civil Company (Photo: View of Keros Island from Pano Koufonisi, aegeanislands.gr)

The program offers a multi-themed workshop for students in Pano Koufonisi, inspired by the island’s proximity to Keros. Though uninhabited today, Keros—just 1.5 nautical miles away—is rich in history and cultural significance, known globally for its Early Cycladic figurines that influenced modern art. Its landscape, traditions, and environment closely resemble those of Koufonisi, making it a natural focus for local engagement.

The workshop connects students with the values of Cycladic culture, exploring its ancient roots and modern relevance. Through cinema and photography, they will creatively reflect on their surroundings, guided by professionals in storytelling and visual arts. The program includes five phases: learning about Keros’ history and archaeology, receiving training in audiovisual techniques, and producing a documentary, a cutout animation, and a photography exhibition. By combining heritage with contemporary expression, the workshop empowers Koufonisi’s youth to rediscover their cultural identity and share it through modern media.

(Source: Cycladic Identity Initiative)

Read also: Keros Project: Uncovering the mysteries of Cycladic civilization

MYKONOS: “The revival of ancient Greek weaving art in 21st-century Mykonos”, The importance of the ancient art of weaving - Organization: Folklore Collection of Mykonos

Weaving, once central to daily life and culture in ancient Greece, remains a living tradition—especially in Mykonos. Historically led by women, weaving produced essentials like clothing and dowries, with patterns reflecting nature, mythology, and local identity. Even today, sayings like “you, your spindle!” capture its lasting cultural role. Today, woven items are not just utilitarian but also artistic, bridging the gap between historical craftsmanship and present-day creativity. Moreover, weaving offers a sustainable approach to production, focusing on the longevity and quality of materials like wool, linen, and cotton. This shift highlights a respect for nature and a more conscious way of life.

The proposed program aims to preserve and promote this ancient craft. It will document the full process—from animal care to finished textiles—and highlight weaving’s evolution, including its role in Mykonos’ rise as a fashion destination during early tourism. A key feature will be building and using an authentic wooden loom, along with collecting local stories and testimonies. Educational workshops for students and the community, in partnership with groups like the Women’s Association of Mykonos, will support knowledge sharing. Through film, hands-on learning, and exhibitions, the program celebrates weaving as both heritage and sustainable contemporary art.

(Source: Cycladic Identity Initiative)

SANTORINI: “The Industrial Heritage of Santorini” - Organization: Theran Society of Arts and Sciences

Santorini’s industrial past, once shaped by mining, tomato canning, hosiery, wine, and fava processing, played a key role in the island’s 19^th and 20^th century economy. Windmills, lime kilns, and shipyards also reflect earlier pre-industrial activity. Sites like the Markezenis hosiery factory in Messaria, the DAR sock mills in Oia, and the tomato factories along the eastern coast that once produced Santorini’s renowned tomato paste—many of which still house some intact machinery - stand as reminders of a once-thriving industrial era. By the mid-20^th century, this sector declined due to earthquakes, economic shifts, and the rise of tourism. The 1956 earthquake caused widespread damage, and mining ceased in 1989. Many factories were abandoned, demolished, or repurposed, and much of the island’s industrial memory faded.

This program seeks to preserve that legacy by collecting and digitizing photos, archives, and oral histories from former workers and owners. Surviving industrial sites and equipment will be mapped and documented, culminating in a documentary to raise awareness and promote heritage preservation, supported by institutions like the Santorini Historical Archive and the Industrial Tomato Museum.

(Source: Cycladic Identity Initiative)

Read also: Cherry Tomato: A Lavish Product Made in Santorini

SERIFOS: “The Living History of the Serifos Mines”, Documenting the history of Serifos’ mines - Organization: Society of Friends of Cultural Heritage & Environment “Serifos”

The project focuses on documenting, preserving, and disseminating the living history of the Serifos Mines, a key element of the island’s identity. The “living history” refers to the experiences shared by miners and their descendants, as well as historical records and private archives. The goal is to safeguard this intangible cultural heritage, which has shaped Serifos’ history from prehistoric times to the modern era. The mining operations, which flourished in the 6^th century BCE, continued through the Roman, Venetian, and modern Greek periods until the closure of the mines in 1965. The 1916 general strike, which led to the establishment of the 8-hour workday in Greece, and the harsh working conditions faced by miners are significant aspects of this history.

The project has four main parts: Videotaped interviews with miners and relatives, with highlights shared online. Collection of photos from mining life and post-closure transitions, published online and in print. Documentation and donation of historical objects to the Megalo Livadi museum. Organization and digitization of residents’ archives, focusing on personal stories, the strike, and community memory, to collaborate with local institutions.

(Source: Cycladic Identity Initiative)

Read also: Serifos: The Intangible Cultural Heritage of Its Mining Activity

TINOS: “CODE 21: The Dovecotes of the Cyclades in the 21st century”, Recording of the traditional dovecotes (peristeriones) of Tinos - Kinono – Organization: The Tinos Gathering

The dovecotes (peristeriones) of the Cyclades, particularly those on Tinos island, have been an integral part of the landscape for centuries, reflecting a rich architectural tradition. These structures were historically used for breeding pigeons, a practice that has declined over time but still remains part of the island’s cultural heritage. Dovecotes served both practical purposes (providing pigeon meat and manure) and symbolic roles, reflecting the island’s architectural identity. Dovecotes remain important symbols of the island’s rural and architectural heritage.

CODE21 is a cultural heritage project focused on preserving and promoting these iconic dovecotes, which face threats like decay, improper renovations, and loss of skilled artisans. The project will digitally map and document 30 dovecotes in Tarampados using drone photography and 3D modeling, creating a web-GIS platform and mobile app. It also features four Living Labs involving local artisans and youth in workshops on photography, drawing, jewelry-making, and traditional maintenance. CODE21 fosters community engagement, intergenerational knowledge exchange, and creative reuse, supporting sustainable tourism and heritage innovation. Through exhibitions, films, and events, the project aims to make dovecotes living monuments of memory, creativity, and development across the Cyclades.

(Source: Cycladic Identity Initiative)

Read also: The dovecotes of Tinos Island

INTER – CYCLADIC / DELOS: “Adilos: Ethnographic research and experiential engagement in Delos”, Highlighting the agricultural heritage of Delos - Organization: Boulouki - Itinerant Workshop on Traditional Building Techniques

The main goal of the program is to restore “Markos Farm” (or “Markos Village”), a ruined agricultural complex located south of Delos’s main archaeological site, a World Cultural Site since 1990, and convert it into a residence for researchers working at Delos. In the long term, it seeks to repurpose the 19^th century agricultural buildings, preserving a key part of Delos’s rural heritage. Final restoration plans are expected by early 2025. The agricultural history of Delos remains underexplored and is often overshadowed by its classical heritage.

This project highlights and preserves that legacy, that had started with Markos Farm—an ensemble of eight buildings from the late 19^th and early 20^th centuries, notable for their creative reuse of materials such as railway tracks, boat sails, and ancient fragments. The 12-month program has three parts: Ethnographic research with local agricultural workers, a 1-2 day vocational apprenticeship linked to the restoration, and dissemination through a photographic album and narrative anthology, both print and digital. The program will conclude with a public event in Mykonos celebrating its completion.

(Source: Cycladic Identity Initiative)

Read also: Delos, the Sacred Island

SYROS: “Small is Beautiful – Biodiversity Havens”, Discovering biodiversity through a treasure hunt - Organization: Social Cooperative Enterprise for Collective and Social Benefit “Kavilia”

This program invites students, residents, and visitors of the Cycladic islands to discover and protect the unique biodiversity hidden in the region’s landscapes—paths, dry stone walls, and sand dunes. Developed by locals on Syros, it aims to raise awareness of lesser known plant and animal species and their importance to island identity, while addressing threats from development and climate change. The initiative transforms students into biodiversity ambassadors, promotes sustainable tourism, and builds a strong connection between communities and nature.

(Source: Cycladic Identity Initiative)

INTER – CYCLADIC: “Pollinating Cyclades”, The role of pollinators in preserving biodiversity - Organization: The Bee Camp Non-Profit Civil Company

The program addresses biodiversity loss by focusing on the protection of wild pollinators, such as bees, in the Cycladic Islands. These pollinators are vital to ecosystems, food production, and forest health, but face threats from pesticides, intensive agriculture, urbanization, and especially intensive beekeeping, which creates competition for floral resources. Despite their close connection to nature, many local communities are unaware of the importance of wild bees and the consequences of their decline.

(Source: Cycladic Identity Initiative)

Read also: Cycladic Identity: keeping alive the heart of the Cyclades

Cycladic Identity initiative moves into its second phase – “Greek Islands Trail, Cyclades” to propose a unified hiking route

Exploring Sikinos Island: Cultural Trails and Natural Treasures Through Innovation

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In this year’s original visual art production of the Naxos Festival, held at the Bazeos Tower, two distinguished artists, Maria Grigoriou and Yiannis Papadopoulos, present their work at an exhibition entitled “The thread that holds us together”, curated by Mario Vazaios and running until October 5. With parallel, long artistic journeys, yet maintaining artistic autonomy, they delve with dedication and knowledge into weaving and manual craftsmanship. (Cover photo: Yiannis Papadopoulos, “Athens-Naxos”, hand-woven linen string, natural dyes, Source: athensvoice.gr).

The Bazeos Tower dominates the land leading to the seacoast of Agiassos on the 12th Km of the main road linking the capital city of Naxos (Chora) with the inland, outside Sangri village. The tower dates back to the 17^th century. At first, it functioned as a monastery and was called monastery of the Holy Cross (“Timios Stavros”). By the end of the 19^th century, it was bought by the Bazeos family, whose descendants are the current owners. Since 2001, when the first renovation phase was completed, the monument remains open to the public through the Naxos Festival activities, one of the most significant summer cultural events of Cyclades. (Source: bazeostower.com)

Maria Grigoriou and Yiannis Papadopoulos, exhibition “The thread that holds us together” at Bazeos Tower. (Photo:  facebook.com/Bazeostower/posts)

Using various primary materials such as linen, cotton, and silk, and employing traditional techniques like weaving, natural dyes, and handmade paper production, the two artists, Maria Grigoriou and Yiannis Papadopoulos, create independent works and sculptural landscapes. They develop old and new in situ constructions within the spaces of the historic monument, highlighting the timelessness of craftsmanship and weaving tradition and their evolution into contemporary visual art and expression. Their creations harmoniously and complementarily intertwine with works and installations present within the tower. (Source: culturenow.gr).

Maria Grigoriou and Yiannis Papadopoulos have shared the same art studio in Athens since 1978 and follow parallel paths. They studied at the Vakalo School of Art and the West Surrey College of Art and are founding members of the AFI group. They have both given seminars and lectures in various parts of the world, as well as numerous solo and group exhibitions, including at the Benaki Museum in Athens, the Foundation for Hellenic Culture in Berlin, and the Grand Curtius Museum in Liège. (Source: cycladesopen.gr Photo: lifo.gr)

Maria Grigoriou, “Sowing”, hand-woven white cotton, cotton cloth, resist dye, natural dyes indigo and walnut, acacia pods (left), “Indigo blues”, cotton, silk, wool (middle). Maria Grigoriou’s works are a daily recording of the same seascape, that constantly changing blue which contains Depth, Time, and Infinity. They bear the dark marks of Time, salt, and rust in an attempt to convey the emotion evoked by the landscape rather than the landscape itself. The process she follows to transcribe her recent daily experience into art is deeply experiential. (Source: culturenow.gr Instagram photos: maria_grigoriou_textiles)

Yiannis Papadopoulos, “Let’s twist”, “Test event”, handmade paper, rattan (left), “The tip of the thread”, hand-woven linen strings, handmade paper (right).  Yiannis Papadopoulos unravels the thread of Time and weaves his thoughts while rejecting all superfluous elements. Skillfully working with a simple linen twine, he dialectically shapes landscapes, ideally intertwining the works with the space, stirring and bringing the memory of the historic monument to the contemporary surface, offering a new and interesting perspective. (Source:  culturenow.gr, Instagram photos: maria_grigoriou_textiles)

The Naxos Festival started in 2001 with the aim to encourage the contact of local people and Naxos Island visitors with the diachronic and contemporary cultural artistic activity. Naxos Festival is nowadays a platform for intercultural meetings (Greek and from abroad) including art exhibitions, music, theatre, dance performances and many others cultural activities. The festival events take place from June to September mainly at Bazeos Tower, a 17^th century monument which predominantly overlooks the Naxian mainland, in an environment that encompasses and inspires both the events and the audience. (Source naxos.gr Photo: Naxos Festival facebook.com)

Naxos town (Chora) and the Kastro (Castle) district of the Old Town (Photo aegeanislands.gr)

Naxos, the largest of the Cyclades islands in Greece, is not only famed for its stunning beaches and ancient ruins but also for its remarkable medieval towers scattered across the island. These towers, built primarily during the Venetian occupation from the 13^th to the 16^th centuries, served as fortified strongholds and watchtowers to protect local communities from pirate raids and invasions. Constructed from local stone, their robust and imposing structures reflect the strategic importance of Naxos as a maritime and trading hub in the Aegean Sea. Today about 30 towers are preserved in the countryside of the island, offering a glimpse into the turbulent medieval past and enriching its cultural and architectural heritage. Visitors to Naxos can explore these historic monuments, which blend seamlessly into the island’s landscape, serving as silent witnesses to centuries of history. The following are some of the best-preserved examples of medieval architectural gems on Naxos.

Inside the old city of Naxos Kastro, narrow alleys lead to noble mansions, flowered courtyards, and centuries of history. The Della Rocca Barozzi Tower is now a museum of Venetian and folk heritage, and the nearby Tower of Crispi, is the last of Kastro’s original twelve towers. At the center lies the Catholic Cathedral, with its family crests and a rare double-sided icon of the Virgin Mary and Saint John. Behind it stands the older Orthodox Church of Panagia Theoskepasti. Nearby, the Capuchin Monastery features noble coats of arms and impressive icons. The Archaeological Museum, once attended by author Nikos Kazantzakis, hosts artifacts from the Neolithic to Christian eras. Across from the museum, the Ursuline School and Monastery were a former famous girls' school (Source: naxos.gr Photo: kastra.eu)

Fragopoulos Della Rocca Toweris one of the island’s oldest fortifiedtowers, dating back to the 14^th century and is found inKourounochori village. (Source: naxos.gr )

Zevgoli Tower, a two-storey Venetian-era stone structure that has been renovated and is now inhabited, is located close to the center of Apiranthos village.(Source naxos.gr)

Oskelos Tower located by the seaside road close to Kastraki is one of Naxos’s few towers built close to the sea. It dates back to the 17^th century and is distinguished by its considerable height and its strong defensive character. Offering an exceptional view towards Paros and Ios, the Oskelos tower is open to visitors. (naxos.gr)  

The tower of Ypsili, or tower of Ypsilotera, or monastery of Ypsilotera, was once a fortified monastery; the katholikon and the impressive frescoe, the towers, the murder holes etc are still preserved. The monastery was a revolution centre at the time of Naxos people uprisings against the oppression of Latin nobles. (Photo: aegeanislands.gr)

Barozzi Tower at the heart of Filoti village, is an imposing structure dating back to 1650, when Naxos was ruled by a Venetian duke of the same name. (naxos.gr)

The Markopolitis Tower has strong defensive walls and a drawbridge and is located at the entrance of Akadimi village. It holds a special place in Naxos history. Built in the late 18^th century for the House of Politis, it served as a bastion of the revolts against Frankish feudal lords in the Tragea valley. (naxos.gr)

The 17^th century Barozzi-Gratsia Tower in Chalki village, comes in three levels, with strong walls, iron-barred windows, heavy wooden gates, wooden drawbridge, murder hole to thwart attackers with scalding water and coats of arms that indicate its successive owners and repairs. (Source: naxos.gr)

The impressive Kokkos Tower at Potamia village was built by the same-name Greek Orthodox family in the 17^th century. The remains of a watermill are seen in the basement. Tradition has it that the Kokkos tower was the scene of a love story similar to that of Romeo and Juliet, involving two young members of the respective families. (Source: naxos.gr   Photo: allovergreece.com )

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About 100 years ago, Greek photographer Elli Souyioultzoglou-Seraidari (1899-1998), –better known by her professional name of Nelly's, visited Santorini (Thira) and captured the island’s daily life and landscapes through her camera lens. Her black-and-white photographs reveal the uniqueness of the Aegean landscape, skillfully playing with light, shadow and the geometry of volumes. From approximately 200 glass negatives that Nelly’s captured during her regular summer visits to the island (1928-1932), 40 themes were selected and are now presented as contemporary digital prints at the exhibition “Nelly’s: Santorini between the Wars” at the Kastelana Photography Centre in the medieval village of Pyrgos (cover pohoto: Nelly’s, Santorini 1928-1932 ©Benaki Museum/Photographic Archives).

The exhibition is co-organized by the Benaki Museum and the Kastelana Photography Centre, under the auspices of the Municipality of Thira and is part of the initiative "Santorini 2025: Year of Promotion and Support of Authenticity", aiming to emphasize the island's unique cultural identity and sustainable future.

The exhibition “Nelly’s: Santorini between the Wars” is curated by Aliki Tsirigialou, Head of the Benaki Museum Photographic Archives, and Tonia Noussia, Architect – Museologist, Founder of the Kastelana Photography Centre. Almost a hundred years later, Nelly’s images return to their birthplace creating a dialogue with the changed space of today's Santorini.

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

Nelly’s visited Thera for the first time in the summer of 1928, at the urging of her sister Maro Sougioultzoglou and her Santorinian husband Spyridon A. Malaspina. The steep volcanic landscape and the island’s unique architecture immediately attracted her interest. The dark shades of lava and the deep blue of the sea are harmoniously balanced, in tones of white and black, with the dazzling Aegean light as it reflects on the surface of houses. The curves outlined by the shadows on the buildings, the arches in the picturesque streets, the domes of the churches, but also the morphology of the terrain itself, are made manifest in her compositions. The human presence is discreet, so much so that the island seems deserted. The few elderly women and children who appear in her photographs have been placed deliberately, serving her iconographic style. (Source: Benaki Museum, Kastelana Photography Centre)

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

From the medieval settlement of Pyrgos where the family stayed at the time, Nelly's toured the island, camera in hand. She walked along the cliffs of caldera, highlighting the awe-inspiring volcanic landscape. She stood in front of Skaros Rock in Imerovigli, capturing the vertical layers of the rocks with the texture and colors of the geological formations. She walked on the black sand beach of Kamari and observed the fluid continuity of land and sea. She followed the path to Mount Profitis Ilias and captured the expanse and vastness of the landscape, and she also wandered the cobbled streets of Pyrgos and Fira, where she recorded the life of human presence and absence.

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

It is noteworthy that Nelly's visit to Santorini coincided with the discovery of Cycladic architecture by the pioneers of modernism. The charm of the island landscape that influenced Le Corbusier and other important architects of the time was captured in a unique way by Nelly's lens, creating a valuable testimony to the evolution of aesthetic perception in the 20^th century. Unlike her contemporary European photographers such as Herbert List or Henri Cartier-Bresson, who sought the "exotic" element in Greek landscapes, Nelly's approached the place with a deep understanding of its cultural identity. (Source: Benaki Museum, Kastelana Photography Centre)

In the summer of 1956, a major earthquake in the region of Amorgos struck the island of Santorini, causing significant damage to houses and infrastructure. We owe much of our knowledge of the island’s pre-earthquake appearance to its extensive recording by Nelly’s.

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

Nelly’s, Santorini 1928-1932 ©Benaki Museum / Photographic Archives

Nelly's (1899–1998), was a pioneering Greek photographer originally from Asia Minor. Influenced early on by German photographic masters, she developed a classical aesthetic marked by freedom and movement. After establishing her studio in Athens in 1924, she focused on Greek subjects, capturing portraits of interwar Athenian society and Greek immigrants in the USA. Between 1927 and World War II, Nelly’s traveled extensively across Greece, documenting its people, landscapes, and ancient monuments, helping shape Greece’s visual identity in tourism. Known for her innovative use of natural light and thematic cohesion, she later worked in the USA, expanding into advertising and street photography. Nelly’s legacy remains influential for both its artistic quality and cultural significance.

In 1984, Nelly’s donated her entire archive, comprising over 50,000 negatives and 20,000 original prints, to the Benaki Museum Photographic Archives, contributing significantly to the preservation and dissemination of Greek photographic heritage.

Kastelana is a Photography Centre housed in a three storey listed building, part of the original gateway into Kasteli, Pyrgos medieval fortification. The aim of the Centre is to host photography exhibitions from contemporary or archival sources as well as giving the opportunity to visiting artists to show their work to the public. The administration and care of the collection of photographs by Antonis Lagadas is also one of the primary aims of the Centre.

The interior of the space remains unaltered over many centuries and together with the original furniture provides a setting for the appreciation of a typical house within the fortification, while the outside offers stunning views of the island. At the ground floor café, visitors can enjoy a range of Santorini gastronomic specialties.

Panoramic view of Pyrgos Kasteli (Castle) (Photo: santorini-view.com). It was one of the five castles built by the Venetians in the 15^th century (the other ones were those of Akrotiri, Skaros, Aghios Nikolaos in Oia and Emporio). It followed the style of a settlement fortification with a subsequent yard: around the core, in the centre of which there was a tower initially and a church at a later stage, a fortification yard was later developed, consisting of the external walls of the houses. In its centre stood the small square with the churches of Panagia and Aghios Georgios. Around the square, four more residential pockets were developed, while the (now demolished) public bakery stood to the north. (Source: santorinipyrgos.com)

The medieval village of Pyrgos is 7.5 km to the east of Fira and recently, it has become a significant attraction of the island. Built at the foot of Mesa Vouno, it is one of the most beautiful settlements of Santorini and stands out from a distance along many of the routes visitors can follow. In 1995, Pyrgos was declared a “preserved monument” by UNESCO.

The visitor steps back in time wandering through the charming paths of Kasteli in Pyrgos (Photo: santorini-view.com).

Dozens of visitors come every day at Pyrgos, surrounded by whitewashed churches and vineyards with their typical Santorinian vines (Photo: santorini.gr). They go up to the castle, explore the cobbled streets with the Cycladic and the neoclassical buildings, many of which have been rebuilt, drink coffee or soft drinks at coffee shops, enjoy their lunch or dinner at the settlement’s restaurants and taverns, see the sunset over the caldera at the top of the castle or on the terraces of the winery of the island’s Wine Producers Association, visit the museum of Aghia Triada, and do their shopping at the village’s shops. (Source: santorinipyrgos.com)

Timeless architecture and rugged beauty, exploring the historic Pyrgos Kasteli (Photo: santorini-view.com)

Santorini 2025: Year of Promotion and Support of Authenticity

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Cherry Tomato: A Lavish Product Made in Santorini

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In the rugged, mountainous landscape of Amorgos, one of Greece’s easternmost Cycladic islands, a remarkable movement is unfolding. Born from necessity and a deep love for the sea, Amorgorama is a fisher-led initiative that has become a global exemplar for marine conservation and sustainable fishing. This innovative partnership, uniting local fishers, conservationists, scientists, and government bodies, aims to protect the marine environment while safeguarding the livelihoods of the island community.

The Crisis that Sparked a Movement

For generations, the fishers of Amorgos relied entirely on the Aegean Sea for their sustenance and way of life. However, like many coastal communities worldwide, they began to face a grim reality: marine pollution and overfishing were devastating ocean ecosystems. Michalis Krosman, President of the Professional Fishing Association of Amorgos, recalled, "We thought the sea was a source that will never end. There will be fish forever." But by 2010, fishers observed dwindling catches and decreasing incomes. Their nets often brought back more plastic than fish, and the northern beaches, inaccessible by land, accumulated tons of plastic rubbish every spring after winter storms. This plastic debris posed a threat to the ecosystem and fish reproduction.

The dire situation forced many fishers to take on second jobs, or even surrender their licenses and dismantle their traditional Greek fishing boats, known as Kaïkia, in exchange for compensation under a 2014 EU overfishing regulation. Faced with an uncertain future, the approximately 40 members of the Professional Fishing Association of Amorgos, known as “Η Χοζοβιώτισσα,” decided to take matters into their own hands.

The Birth of a Collective Vision: Amorgorama

The movement began taking shape as early as 2013 when the fishing association ventured beyond Amorgos to attend the 2nd European Low-Impact Fishermen (LIFE) conference in Spain. It was there that Michalis Krosman and his colleagues realized they were not alone in their struggles, and that solutions existed. This realization sparked a vision for a different future for Amorgos's seas.

In 2019, the association co-founded Amorgorama with German artist and scientist Florian Reiche. The initiative gained early momentum through a successful crowdfunding campaign and key partnerships within Greece and beyond, including the Cyclades Preservation Fund (CPF) and the Blue Marine Foundation (BMF).  The name itself, "Amorgorama," embodies this hope: Orama means vision in Greek, signifying the fishers' vision for "clean seas full of fish".

The Four Pillars of Amorgorama’s Strategy

After extensive discussions and a hard-won consensus, the fishers of Amorgos developed a four-pillar master plan aimed at revitalizing their marine environment and ensuring sustainable livelihoods. This bold approach, unique in Greek fishing history, demonstrates their commitment to long-term sustainability.

1. Seasonal Fishing Prohibition: A critical decision was to pause fishing activities for all boats—local, professional, and amateur—during April and May. These months are crucial for the reproduction of commercially important fish species. This self-imposed economic blow, suspending fishing in the middle of the breeding season, highlights the fishers' dedication to the natural environment.

2. Coastal Clean-up Actions: During these two months of fishing prohibition, the fishers repurpose their vessels to address the pressing issue of marine pollution. They use their boats and local knowledge to clean inaccessible northern beaches, which accumulate tonnes of plastic rubbish. From 2021 to 2022 alone, 38 waste collection actions were carried out, with fishers collecting over 1,200 large bags of trash and sending more than 15 tonnes of plastic for recycling. Approximately 60-65% of the recovered plastic is recycled, along with 3 tonnes of nets and ropes.

3. Transition to Environmentally Friendly Fishing Gear: Amorgorama promotes and facilitates the adoption of more sustainable fishing practices. This includes replacing traditional gear with more environmentally friendly options, such as nets with larger mesh and hooks. The goal is to avoid capturing small, young fish, allowing them to grow and reproduce. Recyclable nets have also been introduced.

4. Creation of Fisheries Restricted Areas (FRAs): Perhaps the most critical and challenging pillar involved the establishment of no-take FRAs, meaning specific zones where fishing is permanently prohibited to enhance fish reproduction and biodiversity. These areas are designed to provide undisturbed havens for fish reproduction, which has been shown in other regions to dramatically increase fish populations. Initially, the plan was to permanently halt fishing for five consecutive years in three of the island's most important fishing grounds: Nikouria, Katapola bay, and the area between the islets of Gramvoussa and Kalotaritissa. These zones will serve as sanctuaries for fish to reproduce and recover, acting as "banks" for fish stocks. The fishers themselves developed a management plan to reverse overfishing, understanding that they "had to sacrifice; they had to change, because otherwise they had to quit".

Key Partnerships and Government Endorsement

Amorgorama's success is deeply rooted in strong collaborative partnerships. From its inception, the initiative received practical support from the Cyclades Preservation Fund (CPF), which provided funding, capacity, networking, and visibility. Soon after, the Blue Marine Foundation (BMF) joined forces, further bolstering the project.

A crucial scientific partner has been the Agricultural University of Athens (AUA). Following guidelines from the Greek Ministry of Rural Development & Food, the AUA conducted a vital fisheries study for Amorgos to identify and demarcate fundamental habitats and ideal sites for the Fisheries Restricted Areas. This study also proposed alternative management and protection measures for sustainable coastal fisheries. The study was privately funded Cyclades Reservation Fund and Blue Marine Foundation, underscoring the importance of these collaborative efforts.

The initiative's community-led nature and scientific backing gained significant attention, leading to formal recognition from the Greek government. In September 2022, a memorandum of cooperation was signed between Amorgorama and the Deputy Minister of Rural Development and Food. This was a pivotal moment, signaling official support for Amorgorama's goals.

 In April 2024, at the Our Ocean Conference in Athens, the Minister of Rural Development and Food publicly announced the Greek government's approval for the proposed new FRAs around Amorgos. This commitment was also reiterated at the same conference by the Greek Prime Minister, who pledged to expand Greece's marine protected area network and ban bottom trawling in all MPAs by 2030, and to establish the FRAs around Amorgos that the fishers requested.  The study's approval is a significant step, as the establishment of these FRAs is expected to contribute to Greece's commitment to establishing more Marine Protected Areas (MPAs) and FRAs by 2030 (known as the "30-30" target).

Following the positive recommendation from the Fisheries Council of the Ministry of Rural Development and Food in December 2024, a draft Presidential Decree (PD) for the institutionalization of the FRAs around Amorgos was submitted to the Council of State (ΣτΕ) in February 2025 for consultation.

The issuance of the Presidential Decree will make the Amorgorama one of a kind initiative in the world, and it’s no coincidence that the attention of both the Greek and global fishing communities is focused on Amorgos. “If it succeeds here, it will succeed elsewhere too,” emphasizes Mr. Krosman in an interview with Gastronomos magazine. “That’s why we say that during this five-year period, state support is needed. Without compensation, no fisherman will be able to survive.”

Furthermore, at the 3rd UN Oceans Conference in Nice in June 2025, the Greek Prime Minister, Kyriakos Mitsotakis, highlighted Amorgorama as a model initiative, emphasizing Greece's commitment to expanding its marine protected area network from 20% to 30% and banning bottom trawling in all MPAs by 2030. The Prime Minister specifically cited Amorgorama as an example of "local fishing communities…establishing specific no-fishing zones around the island as safe havens for marine life".

A Global Model and Future Outlook

It has obvious that Amorgorama’s bold actions and collaborative spirit have garnered international acclaim and its success might prove crucial for the future The initiative has also fostered peer-to-peer learning; Michalis Krosman connected with the president of the Gökova Fishers Association in Rome, whose successful marine protection efforts in Gökova Bay had originally inspired Amorgos fishers. They now meet annually to exchange insights.

While government support is critical, particularly regarding compensation for fishers during the no-fishing periods, the Amorgorama partners are committed to ensuring the long-term success of the Fishing Restricted Areas (FRAs), including matters of funding, scientific monitoring, and enforcement. The effective control and supervision of these restricted areas is a prerequisite for the success of the entire endeavor.

Today, Amorgorama stands as a beacon of inspiration and optimism not only for Amorgos but for other fishing and small communities across the Aegean Sea and beyond. What began as a desperate struggle by a handful of fishers has transformed into a globally recognized model for how local communities can lead the charge in protecting our oceans and ensuring a sustainable future for generations to come.

I.L., with information from Amorgorama; Cyclades Preservation Fund; Revive our Ocean; Gastronomos; Κυκλαδική΄΄΄; Innovationinpolitics.eu

The post Amorgorama: A Greek Fisher-Led Initiative Setting a New Standard in Marine Conservation appeared first on Greek News Agenda.

Dimitris Papaioannou, the renowned Greek performing artist - director, choreographer, performer, and designer of sets, costumes, make up, and lighting – has chosen the Aegean island of Anafi as his summer hermitage. There, he has created a series of drawings recently published in a book titled “Sketches from Life”. The edition in English with translations of the texts in Greek is the result of an initiative by NOMAS publishers Yannis Bournias and Lina Stefanou, under the artistic supervision of the artist himself (cover photo: Sketches from Life, 56, liquid graphite on paper, 40x50cm, 2023).

Dimitris Papaioannou, Sketches from Life, size 20x28, pages 240, NOMAS publications, 2024

Lina Stefanou, the Director of NOMAS Publication, notes, among others: “…Papaioannou effortlessly captures the essence of summer light through his black and white sketches. On the pages of his sketchbook, naked bodies with relaxed limbs bask in the sun, emanating a luminosity that seems to come from their shadows … With just a few bold strokes, Papaioannou conveys the fluidity of bodies and the serenity of the natural world. Thus the continuum between the choreographer’s sketches and the artist’s drawings remain unbroken….Sensuous agaves and resplendent resurrection flowers burst forth in a riot of colour. The sea is ever present. Water dominates his scenes. Even when not seen, the presence of the sea is so vividly implied one can almost feel its embrace upon closing the book…In this  book, D.P. skillfully captures not just the light but also the essence of the summer, freezing it in time like a captive moment…” (Source: Sketches from Life, Editor’s note)

Anafi through the sketches by Dimitris Papaioannou in the issue of NOMAS magazine (Source: onassis.org). “All the bodies that I draw will grow old. I’d better be kind” (Dimitris Papaioannou)

Papaioannou notes, among others, that “this is a collection of drawings from the summers of 2021, ’22, and ’23 in Anafi. Every year I spend more and more time on the island. ΑΝΑΦΗ (Anafi), in the Cyclades, has become my summer hermitage. It is τhere that I restarted painting after a pause of two decade. I was in my late 20’s when I decided I was a better painter on stage than on paper and gradually left behind my visual arts and comics, dedicating myself to theater. The more my stage creations became global, programmed in major festivals and watched by hundreds of thousands, the more I crave a form of expression that is private, useless for the market and humble. My sketchbook has become my faithful companion in my days on Anafi. I always start on the last page. I’m left-handed man…”

Dimitris Papaioannou, Sketches from Life, 87, gouache and water soluble wax pastels, 36x50cm, 2021

“Drawing from Life used to be my favorite exercise when I was a nineteen year old student. We called it ΓΥΜΝΟ ΝΥΚΤΟΣ (Night Nude) at the Athens School of Fine Arts. In the afternoon there was a model for us to sketch. One nude body at the middle of an amphitheater full of clothed ones… On the beach we are all nude. Nude bodies bathing in the sun are my prey. Most of them are unaware that they are being drawn. This is an exercise on speed. Some offer a pose. This is an opportunity for detail. Some agree to a portrait. This is a study on connection. I use softer pencils as I proceed. They allow deeper tones in the detailed drawings and are good enough for the quickies. Water colours, gouache, and water-soluble wax pastels are in my toolbox as well. Last summer liquid graphite and magic markers were added to the mix. In 2022 I made a series of flower portrait studies, returning to the egg tempera technique I had learned as an iconographer”.

Dimitris Papaioannou, Sketches from Life, 53, pencil on paper, 18x25,5 cm, 2023 (upper), Sketches from Life, 55, pencil on paper, 36x28cm, 2023 (lower left), Sketches from Life, 91, egg tempera on paper, 36x25,5cm, 2022 (lower righ). The Benaki Museum Shop and NOMAS Publications collaborated to present selected prints of drawings by Dimitris Papaioannou from the collector’s edition Sketches from Life. A limited series of printed drawings — depictions of naked bodies and landscapes drawn in pencil in the notebooks that accompany him to the beach — are presented as poetic testimonies to the purity of the Greek landscape

Papaioannou also notes that “These summers, as I become that man with the sketchbook, strangers invited to my solitude and meditation has become an act of observing. Even though most of them have to be done fast - or even rapidly depending on the restleness of the unsuspecting model—the sketches are in the end a testimony to slow time in the Cycladic setting. It is there and then that the beauty of all manifests itself. These old-school studies from life, useless to the contemporary curator, were meant to be private, but here they are: A graphite diary for killing time, healing time, and embracing the human figure with a loving gaze” (Source: Sketches of Life, Dimitris’ note).

Dimirtris Papaioannou, Sketches from Life, 93, pencil on paper, 42x30cm, 2021(left), Sketches from Life, 11, pencil on paper, 42x30cm, 2021(Source: facebook.com/papaioannou.page )

Dimirtris Papaioannou, Sketches from Life, 74, liquid graphite on paper, 40x50, 2023

 “He was going up and up but Kalamiotissa was only revealed at the final turn”, sketch for the Anafi Comic by Dimitris Papaioannou, Kontrasol, 1987, reprinted and included in the edition Sketches from Life

Dimitris Papaioannou, Postcard included in the edition Sketches from Life, Nomas Publication)

Born in Athens in 1964, Dimitris Papaioannou gained early recognition as a painter and comics artist, before his focus shifted to the performing arts, as director, choreographer, performer, and designer of sets, costumes, make up, and lighting. He was a student of the iconic Greek painter Yannis Tsarouchis before studying at the Athens School of Fine Arts. He formed Edafos Dance Theatre, in 1986 as an initial vehicle for his original stage productions, hybrids of physical theatre, experimental dance, and performance art. Papaioannou became widely known in 2004, as the creator of the Opening and Closing Ceremonies of the ATHENS 2004 Olympic Games. Papaioannou’s 25 productions range from mass spectacles with thousands of performers to intimate pieces and have appeared in a wide variety of venues. Among his major works are: MEDEA (1993), ‘2’ (2006), NOWHERE (2009), INSIDE (2011), PRIMAL MATTER (2012), STILL LIFE (2014), THE GREAT TAMER (2017), SINCE SHE (2018), INK (2020), and  TRANSVERSE ORIENTATION (2021). (Source: https://www.dimitrispapaioannou.com/en/profile)

The island of Anafi is a pristine destination, known for its beautiful beaches with crystal clear waters and golden sand. According to Greek Mythology, the island emerged from the depths of the Aegean Sea to offer shelter to the Argonauts. The ancient Greeks dedicated the island of Anafi to Apollo, the God connected to Sun, Light and Music. When the visitor experiences the brilliant light of this small island, tucked away at the southern edge of the Cyclades, it becomes clear that its mythical connection is no coincidence. Anafi remains untouched by the rhythms of modern society. Visitors, after experiencing its unique landscapes and the warm hospitality of its inhabitants, often develop a lasting affection for the island. (Source: https://anafi.gr/en/)

The picture-perfect Chora village is built on the ruins of a Venetian castle and features whitewashed dome-roofed houses and narrow, stone-paved alleys. This charming setting once inspired the craftsmen who left their home island in the Cyclades for Athens, between 1860 and 1870,  and built the scenic neighbourhood of “Anafiotika” at the base of the Acropolis Rock (Source: visitgreece.gr)

On the eastern side of the island, Kalamos rock stands as the second highest monolithic limestone in the Mediterranean, after Gibraltar - a must-see for climbers. Throughout the day, the rock changes colour with the shifting sunlight, giving it a uniquely striking appearance. At the foot of the rock lie the ancient temple of Apollo and the Monastery of Zoodochos Pigi (Source: https://www.visit-anafi.gr/).

The first beach  visitors encounter upon arriving in Anafi is Kleisidi, known for its fine golden sand and the distinctive palm trees. It is one of the most popular destinations on the island, protected from wind and sun by tamarisk trees that offer natural shade (Source: https://www.visit-anafi.gr/ )

Roukounas is the most popular beach on the island – vast, with fine golden sand and tamarisk trees lining the shore, generously offering their shade to all visitors. From most parts of the beach, one can enjoy a distinctive view of the Kalamos monolith. (Source: https://www.visit-anafi.gr/ )

Anafi is a once-in-a-lifetime experience. Watch the video “Anafi Island Cyclades Greece - by Drone” (Source anafi.gr/en/):

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Weaving Histories: Margaret Kenna and Anafi

Phenomenon art project: Anafi revisited

Cycladic architecture, stunningly blending with the endless blue of the Aegean sea

I.A.

The post The island of Anafi Through the Eyes of Dimitris Papaioannou: Sketches from Life appeared first on Greek News Agenda.

The island of Paros was renowned in antiquity for its white marble quarries. The so-called “Parian marble” was highly prized for its exceptional quality - white, clean, fine-grained, and with a crystalline texture - making it ideal for sculpture and architecture. It is considered the most translucent marble in the world. Many masterpieces of Greek sculpture were carved from this pure white, luminous material. Today, the ancient quarries are regarded as monuments of industrial archeology. Recently, an ancient sculpture workshop was uncovered during excavations on the island. (Cover photo: Marble elements embedded in the Venetian Castle of Parikia, Paros, Source: aegeanislands.gr )

Parian marble (“Paria Lithos”) was already in use during the early Bronze Age, likely collected in the form of pebbles for the creation of figurines and utensils. Quarrying began in earnest in the 7^th century BC, as evidenced by a tombstone depicting a seated female figure in low relief from the cemetery of Parikia. From the 6^th century BC onwards, extraction intensified, and Parian marble began to be systematically quarried in large blocks for sculptural and architectural purposes. Semi-finished objects discovered in marble deposits from ancient activity in the pits and caves, including a stele bearing the inscription “city border”, provide evidence for the existence of workshops at the quarries sites and indicate that the exploitation of the marble may have been at least partially controlled by the state. Semi-finished objects discovered in marble deposits from ancient quarrying activity—such as a stele bearing the inscription “city border”—provide evidence for the existence of workshops at the quarry site. These findings also suggest that the exploitation of the marble may have been at least partially controlled by the state. (Source: https://parianmarble.com)

A stele (column) bearing the inscription “horos poleos” (marker of the city border), 4^th century BC, found in the quarry of Lakkoi (left) (Source: https://parianmarble.com ). The valley of Skarpathiotis in Marathi, with the ancient galleries and the newer installations (right) (Source: Cycladic Identity Initiative)

The most important marble quarries of Paros are located on the northern side of Mount Marpissa, along the banks of the Skarpathiotis stream, east of the village of Marathi, approximately 5 km from Parikia, the island’s capital.  These include the famous underground quarries of the Nymphs and of Pan. Other significant deposits lie slightly further west, such as the vast underground quarries at Spilies and the remains of surface quarries on the hill of Lakkoi and in Thapsana.

The most renowned variety of Parian marble, the high-quality "lychnite stone" or "lychnitis," comes from the Skarpathiotis valley quarries near Marathi." The name may derive either from the Greek word for lamp (λύχνος), referring to the oil lamps used to illuminate the underground galleries, or from the stone’s remarkable clarity. This variety was especially sought after for statuary due to its exceptional whiteness, fine grain, and high translucency. In terms of light transmission, lychnite marble allows up to 3.5 cm for light to pass through—compared to 2.5 cm for Carrara marble and 1.5 cm for Pentelic marble. In its highest quality form, Parian lychnite can transmit light up to 12 cm deep, giving sculptures a uniquely lifelike and plastic quality.  (Source: https://parianmarble.com)

Ancient galleries at the Marathi marble quarries (Source: https://parianmarble.com, imagine.paros.gr)  

The exceptional-quality marble extracted from the quarries of Mount Marpissa played a decisive role in the economic and cultural development of ancient Paros. The island became one of the most important artistic centers of the ancient world and was the birthplace of several renowned sculptors, including Aristion, Agoracritus, Aristander, Scopas, Thrasymedes, and others. Parian marble was used in many iconic structures and artworks, such as the Acropolis of Athens, the Temple of Apollo on Delos, the Temple of Poseidon at Sounion, the Thiseion, and the Ancient Agora of Athens. It also featured in the construction of the Mausoleum at Halicarnassus, the Temple of Solomon, the Monastery of Vlacherna in Istanbul, and numerous theaters, stadiums, and even palaces in Venice. (Source: https://parianmarble.com)

The following are ancient sculpture masterpieces carved from Parian marble, which decisively shaped the art of ancient Greece and contributed to its spread throughout the Western world, shaping the History of Art:

Head of a Cycladic statue, the Cycladic Αulos player and Harp player at the Archaeological Museum of Athens, Kleobis and Biton, Siphnian Treasury pediment, Antinous at the Archaeological Museum of Delphi, Kroisos Kouros from Anavyssos, Phrasikleia Kore, Aristodikos Kouros, Poseidon of Melos at the National Archaeological Museum of Athens, Peplos Kore, Kritios Boy at the Acropolis Museum, Hermes of Praxiteles, Nike of Paionios, Pediments of the Temple of Zeus at the Archaeological Museum of Olympia, Aphrodite of Milos, Nike of Samothrace at the Louvre Museum, Frieze of the Mausoleum of Halikarnassos at the British Museum, Laocoön and His Sons, Augustus of Prima Porta at the Vatican Museum, Hand of the colossal statue of Constantine the Great at the Capitol Museum (Source: Wikimedia)

Marie Gabriel Florent Auguste de Choiseul-Gouffier, Entrance of a quarry in Paros, Voyage pittoresque de la Grèce, 1782 (Source: Aikaterini Laskaridis Foundation Library)

Entrance of the Quarry of Pan (left), Inscriptions with the names of visitors who descended into its deeper chambers visible on the quarry walls, such as Choiseul-Guffier 1776, Fauvel 1789, Power 1813, Brooke 1818, Dauriac 1819, Pradier 1833, Cordier 1858, Siegel 1861, and others (right) (Source: https://parianmarble.com)

The Cave of the Nymphs is the oldest quarry, named after a votive inscribed relief carved into the natural stone on the left side of the south gallery, a tribute by Adamantas from Thrace to the Nymphs, a work of the 4^th  century BC (upper left). Part of the relief detached at the end of the 19^th century, now inlaid in the monastery of St. Minas (upper right). Engraving of the relief by Stuart, James, and Nicholas Revett, 1816 (lower) (Source: https://parianmarble.com)

The well-preserved underground quarries of the Nymphs and Pan were until recently accessible to visitors, in an otherwise unorganized archaeological site, but the emergence of stability problems in the rock mass, led the Ephorate of Antiquities of Cyclades to temporarily prohibit entry, for safety reasons. The Cycladic Identity funding supports the implementation of the first stage of a series of studies and interventions in the Ancient Quarries of Paros, which aim at protecting and revealing their value, and reestablishing accessibility of visitors

An ancient sculpture workshop was recently discovered during excavations at the site of Parikia in Paros. The presence of marble chippings in various parts of the site, along with a significant number of unfinished marble sculptures that were discovered, provided the first strong indications of the operation of a sculpture workshop during the Hellenistic period. The earlier structures of the buildings are linked to earlier phases dated to the late 5th and 4th centuries BCE. Waste materials found in the site, including clay molds and seals, pigments, purple dye, and metal slag, confirm workshop activities in the wider area during a later period. The movable finds are of particular interest, including unfinished marble sculptures—primarily of Aphrodite—clay heads of female figures, as well as clay molds and seals. A very large quantity of pottery was also collected. (Source: Ministry of Culture)

Findings in excavations at the sculpture workshop in Parikia (from left to right): Fragment of a relief with a depiction of part of a couch, Unfinished statuette, possibly of Aphrodite, Female figurine head with complex hairstyle and earrings, Fragment of a terra sigillata vessel with a relief depiction of a theatrical mask, Fragment of a lamp disc with a depiction of a gladiator (Source: Ministry of Culture)

Paros has been an administrative and commercial hub in the Aegean Sea since antiquity. It experienced periods of great prosperity, as evidenced by the numerous archaeological artifacts and sites scattered across the island. High on the list of top Greek holiday destinations, Paros welcomes its visitors to the heart of the Cyclades with excellent tourist facilities. The island invites travelers to explore its natural beauty, including lovely beaches with crystal-clear waters, Byzantine footpaths that connect traditional villages, and breathtaking landscapes – all with enjoying its vibrant nightlife.

Parikia, located on the site of an ancient town, is both the port town and the capital of the island. Among the village’s white, cube-shaped houses, visitors can find neoclassical and medieval ruins. The Archaeological Museum of Paros showcases a wide variety of exhibits from the island’s archaeological sites—including the sanctuaries of the gods Asklepios (Asclepius), Pythios Apollo, and Delios—as well as remarkable prehistoric finds from the nearby islets of Antiparos, Despotiko, and Saliago (Source: imagine.paros.gr,  visitgreece.gr)

The Holy Shrine of Ekatontapiliani in Parikia, just a few steps from the port, was founded by Constantine the Great. The original church was built in the 4^th century, and the oldest murals date from the 7^th to8^th century. The complex is structured like a monastery, featuring a courtyard, monastic cells, impressive chapels and a baptistery. Construction was overseen by Ignatius, a disciple of Anthemios, the master builder of the Hagia Sophia in Constantinople, and the architectural plan was nearly identical. It is estimated that over 2,500 marble ancient architectural elements were used in the construction of the church, the baptistery, and the chapel of Agios Nikolaos (Source: imagine.paros.gr)

Naoussa, the second largest village of the island with the largest fishing fleet in the Cyclades, is on the north shore of the island and boasts beautiful Venetian architecture (Source: imagine.paros.gr)

Kolibithres overlooks the bay of Naoussa, where granite rocks, eroded by salt, water, and air gradually descend to the sea, forming a series of unique, lunar-shaped beaches. Most beaches on the wind-swept island of Paros – covered mainly with fine sand – are situated next to modern, well-equipped facilities for all kinds of water sports, providing visitors with carefree and stimulating fun (Source: Visitgreece.gr, imagine.paros.gr)

Chryssi Akti, named after the golden sand that covers it, is the most popular beach for windsurfing. The waters around Paros are widely considered a surfer’s paradise, making it a top choice for Greek and international athletes. The PWA (Professional Windsurfers Association) World Championship was once held on the island (Source: imagine.paros.gr, visitgreece.gr)

Read also:

Cycladic architecture, stunningly blending with the endless blue of the Aegean sea

Cycladic Identity: keeping alive the heart of the Cyclades

Yannos Kourayos, bringing the archaeological site of Despotiko to life

I.A.

The post The Legendary Marble of the Island of Paros that Shaped Art History appeared first on Greek News Agenda.

The “syrmata” (wires) buildings on the island of Milos are traditional small, single-room structures built directly along the coast in small fishing villages. Historically, they were used as boat storage, as shelters during the harsh winter months, or as workshops. They are either fully or partially carved into the volcanic rocks of the island and are just large enough to store a boat (typically about 6 meters long). Some “syrmata” were expanded with a second floor, providing living space for the fishermen. They are characterized by colorful, vibrant wooden doors. The fishermen typically selected the same color for the “syrmata” as their boat, as the buildings were frequently painted with leftover paint from painting the boats. Blue, red, and yellow were the most common colors. They can be found as individual buildings or in groups, usually arranged in a radial layout along the shoreline, following the natural shape of a sheltered bay. (Cover photo: Klima, a traditional fishing village with colorful two-story "syrmata" built into the natural cavities of the rocks, Source: visit.milos.gr)

Firopotamos, a seaside settlement with a creek surrounded by “syrmata”

In total, there are 14 closely-knit groups of “syrmata” on Milos. Most of them are located in the northern and eastern parts of the island, in coastal areas and fishermen villages such as Aghios Konstantinos, Alogomandra, Empourios, Kaminia, Mandrakia, Mytakas, Pachaina, Provatas, Schinopi, Fyriplaka and Fyropotamos, as well as in the traditional settlements of Klima, Areti and Fourkovouni.

“Syrmata” are an example of adaptive architecture—buildings that were designed with specific practical purposes in mind, but over time, they have evolved into an integral and iconic part of the island's architectural, cultural and tourism landscape.

Colorful “syrmata” at Firopotamos, nestled in the white volcanic rocks

Areti (left) and Fourkovouni (right), small fishing villages with colorful “syrmata” (Source: visit.milos.gr)

In recent years, many “syrmata” buildings have lost their traditional function as boat storage facilities and are being converted into private residences or tourist accommodations, often with incongruous additions. In an effort to halt alterations to these local treasures, the General Secretariat for the Aegean and Island Policy has decided to classify them as protected edifices. An initial group of 52 buildings in Mandrakia has already received this status.

Mandrakia, a traditional fishing village, surrounded by colorful “syrmata”

Manolis Koutoulakis, General Secretary for the Aegean and Island Policy, told Kathimerini newspaper that “the syrmata are an image closely tied to Milos, a part of the island’s intangible cultural heritage. They are fine examples of local architectural tradition and landmarks of the island”. “The first attempt to record and protect them was made many years ago but was never completed. We decided to restart the process recently with the help of the Department for Preserved Buildings and Natural Beauty, due to the growing pressure to turn them into accommodations – something that leads to the distortion of these structures and the loss of their character. In total, there are 14 closely-knit groups of “syrmata” on Milos (we are not focusing on individual ones), and we’re starting with Mandrakia, one of the best-preserved clusters.” (Source: Kathimerini newspaper)

 “Syrmata" at Mandrakia (left - commons.wikimedia.org), “Syrmata” at Mytakas carved into volcanic rocks (right - commons.wikimedia.org)

Traditional fishing boats (kaikia) at Mandrakia

The General Secretariat's decision requires that designated buildings be preserved in their original form, excluding later additions, and that surrounding features like pathways, courtyards and stairways be protected as well. Any modifications to the "syrmata" must be removed, restoring their original appearance. The most significant and controversial aspect is the strict limits on their use. Beyond their original purpose as boat shelters or private residences, only small local product shops, cultural venues (e.g., exhibition areas, folk museums or art workshops), and local association offices will be permitted. Accommodations would require a tourism license, which is not feasible due to the design of the structures.

Tripiti, a traditional well-preserved settlement, almost united with Plaka (the capital of the island), built amphitheatrically over the ruins of the classic city of Klima. Its name is due to its soft volcanic rocks, which looked like holes, as well as to the many holes that are carved in the rock on which it is built. (Source: visit.milos.gr)

Located in the southwest part of the Cyclades, Milos boasts a unique range of natural landscapes shaped by volcanic activity. This is reflected in the island's abundance of hot springs, caves, and geological formations.

Milos has a rich history that dates back to ancient times. The island was inhabited as early as the Neolithic period, and its strategic location made it a significant trading hub in antiquity. It was known for its mineral resources, particularly high-quality obsidian, which was used for tools and traded across the Aegean. During the classical era, Milos became famous for its marble. The island is home to numerous significant archaeological sites, including the Bronze Age settlement of Phylakopi, the ancient city at Klima (where the renowned marble statue of Venus of Milo was discovered), the early Christian catacombs, and several interesting museums, such as the Mining Museum, which showcases Milos’ 11.000-years-old mineral history.

The “Lady of Phylakopi”, wheel-made figurine of a goddess or priestess, 45 cm, Late Helladic IIIA period, Phylakopi III, 14^th c BC (left), Pithos jar from Phylakopi III, 14^th c BC (right), Milos Archaeological Museum

The Archaeological Museum of Milos is housed in a neoclassical building of 1870, designed by Ernst Ziller. The museum’s exhibits date from the Neolithic period until Late Antiquity and have been aggregated from the important Prehistoric settlement of Phylakopi in their majority, as well as from other sites of the island. (Source: archaeologicalmuseums.gr)

The ancient Roman Theater was originally built by the inhabitants of the ancient city of Klima, probably during the Hellenistic era (3^rd century BC). However, after the destruction of the city by the Athenians, on top of the surviving bases of the classical building was built a larger one with Parian all-white marble and wonderful reliefs, during the Roman years, which is estimated to hold about 7,000 spectators. (Source: visit.milos.gr)

With more than 75 beaches around the island, Milos is blessed with stunning and pristine shores. This volcanic land, a true wonder of nature, has become a renowned and beloved destination, featuring dramatic lacy shores sculpted by strong winds and powerful waves. Milos boasts an impressive variety of beaches, some with soft white sand, others with pebbly bays surrounded by stones and rocks in shades of white, red, yellow or even black. Visitors can choose from fully organized beaches or quieter, wilder spots with unique colors and varying depths in the sea.

Kleftiko, located in the south of the island, is a remarkable set of gray and white rocks with unique shapes and formations, some of which lead to sandy beaches. Caves and pits, created over centuries by the forces of air and sea, add to its intriguing landscape. The area was once used as a shelter and base by pirates, which is how it got its name.  (Source: visit.milos.gr)

Sarakiniko, the most famous beach in the north of the island, is renowned for its unique lunar landscape. The beach gets its name from its historical use by pirates as a shelter, and the ship’s bollards, still carved into the rock, are a testament to this. The striking whiteness of the rocks, combined with the lack of vegetation, creates a one-of-a-kind atmosphere that visitors are unlikely to forget. (Source: visit.milos.gr)

Next to the ruins of the ancient city of Phylakopi, in the north of the island, are the three caves of Papafragas. Visitors can descend a steep carving in the rock to swim in the turquoise waters, surrounded by gray and white rocks that lead out to the open sea. (Source: visit.milos.gr)

Paliochori beach, located in the south of the island, stretches nearly 2 km and is extremely popular. It features colorful pebbles, coarse sand, and crystal-clear waters. Visitors have the opportunity to experience unique and striking views, a result of the volcanic energy and geological vitality of the area. (Source: visit.milos.gr)

Theiorycheia (the sulfur mines) is one of the island's geological attractions, where visitors can observe wagons on their tracks, old rusty tools, and unused spare parts in the warehouse, all while enjoying a swim in the clear waters and exploring the wild, mysterious landscape. The sulfur mines were in operation until 1956. (Source: visit.milos.gr)

Read also: Cycladic architecture, stunningly blending with the endless blue of the Aegean Sea

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The post The “Syrmata” of Milos: Adaptive Architecture and Cultural Heritage appeared first on Greek News Agenda.

The Cycladic Identity initiative, launched by the Museum of Cycladic Art last year, is an inspiring effort to safeguard the cultural and natural heritage of the Cyclades, as well as to preserve, restore, and reveal their unique identity. By focusing on Culture, Biodiversity, and Intangible Heritage, it serves as a vital platform for resource allocation to various programs implemented by organizations operating on the islands.

With seven new programs rolling out across five islands— two on Amorgos, one on Antiparos, one on Sikinos, one on Sifnos, one on Syros, and one inter-Cycladic — this initiative transitions into its second phase of funding. Poised to make a lasting impact, it will further enhance the unique identity and resources of the Cyclades, benefiting local communities and preserving their heritage for future generations.

The initiative’s structured approach, involves a Scientific Committee for proposal evaluation and an Advisory Board for strategic decisions, ensures thoughtful support for local organizations. Based on predefined criteria, the following programs were selected for this year:

Photo Fivos Tsavaropoulos © Museum of Cycladic Art

Inter-Cyladic: “Greek Islands Trail – Cyclades”

Organization: Social Co-operative Enterprise of Collective and Social Benefit “Paths of Greece”

The “Greek Islands Trail – Cyclades” is a proposal to connect the best hiking trails of each island in the Cyclades into a unified hiking route. The goal is to create a long-distance trail (estimated to be around 150-200 kilometers) passing through all the islands of the Cyclades. This route will consist of the most "rich" in nature and culture trail of each island. The hiker will be able to experience the nature, biodiversity, geology, and history (both tangible and intangible), as well as have a genuine experience passing through the settlements. The planned activities include: organizing a conference to present the project and engage local stakeholders for support; collaborating with local hiking groups to identify the top trail on each island; launching a photography competition via social media and email, with the top 5 photos per trail showcased on the project website; developing a website featuring detailed trail information and transportation options between islands based on maps from world's largest adventure tourism platform Outdooractive; promoting the trail to tour operators involved in hiking tourism in Greece.

Photo Roberto Cortese © Museum of Cycladic Art

Amorgos: 3^rd Dry Stone (Xerolithia) Workshop  “The Amorgian Craftsmanship”

Organization: The Mitato of Amorgos

The program aims to transmit knowledge of dry-stone walling and raise public awareness of its cultural and environmental significance. The workshop will focus on three main axes: restoration of Kalopotama's retaining walls on Amorgos, an area of exceptional beauty and cultural value, with remarkable dry-stone terraces, once completely cultivated; educational activities for the 20 participants engaging in hands-on restoration and construction of dry-stone structures, supervised by local masters; a theoretical part attended by experts, including representatives from the Ministry of Culture and members of the dry-stone community from Ireland, discussing efforts to include dry-stone craftsmanship in UNESCO's Intangible Cultural Heritage list.

Photo Antonis Vekris © Museum of Cycladic Art

Amorgos: “Games through the passage of time”

Organization: Parents & Guardians Association of the Students of the Primary School and Kindergarten of Katapola Amorgos, Cyclades Prefecture

Key Activities include research and documentation of local games inspired by Amorgos' nature and lifestyle and teaching sessions at schools, involving interactions with elders to learn traditional games.

Photo Kostas Platis © Museum of Cycladic Art

Sikinos: “Recording and highlighting the flora of Sikinos”

Organization: Sikinos Union

The proposed study aims to document the island's flora, particularly its aromatic and endemic plants, engaging 22 students in order to raise awareness of the island's biodiversity and encourage them to become future guardians of this natural heritage. Key objectives include: recording a comprehensive inventory of the remaining plant species on Sikinos, covering its 41,000 acres, of which about 4,500 acres have historical cultivation; identification and classification of the collected species; a herbarium exhibition to educate residents and visitors about local flora and biodiversity conservation; a plan for cultivating native aromatic plants that are likely to thrive on the island.

Photo Giannis Kontos © Museum of Cycladic Art

Sifnos:“Digital repository of Sifnian Songs and Carols”

Organization: Cultural Association of Sifnos

The action aims to preserve and revitalize the cultural expressions of Sifnos, focusing on the island's poetic and musical traditions as reflected in three key social events: the Sifnian Traditional Feast, Sifnian Carols, and Sifnian Carnival Dances. The program's specific objectives include: preserving the local linguistic idiom through documentation; providing material for ethnographic and anthropological research; encouraging young students and scholars to engage with the repository. The program will create a comprehensive archive of songs and carols (printed, digitized, and audiovisual), featuring a searchable database and educational resources. The repository will be continually updated, allowing external users to contribute material for evaluation and inclusion.

Photo Inbulb © Museum of Cycladic Art

Syros: “The weavers and their memories”

Organization: Hermoupolis Heritage

The program aims to celebrate and preserve the industrial textile heritage of Hermoupolis, which significantly contributed to the island's economic and cultural development over 140 years. At its peak, Hermoupolis housed 68 factories, including 24 textile factories that primarily employed women. The objectives of the program are: to highlight key aspects of Hermoupolis' identity, showcasing the daily life and professional activities of its working class; to preserve authentic testimonies and experiences of ordinary people, enriching the recorded history; to document important cultural materials for public access via the Hermoupolis Heritage website; to utilize these materials to promote industrial culture; to identify additional individuals who can contribute to the collection of this material.

Photo Goulielmos Orestidis © Museum of Cycladic Art

Antiparos: “Study of Architectural Documentation/Surveying of Antiparos Castle”

Organization: Society for the Protection and Development of Antiparos – Despotiko

The program focuses on the architectural documentation and surveying of the Venetian Castle of Antiparos, a key example of fortified architecture from the Venetian period (13th-16th century). Traditional archaeological research indicates the castle featured a central tower surrounded by three-story buildings, forming an enclosed settlement. However, recent excavations suggest that the tower may predate the settlement. The study aims to: document new findings; create a definitive architectural plan for the castle's protection, restoration, and promotion. The overarching goals are to safeguard the monument, integrate it into the modern social life of Antiparos, and preserve the island’s cultural heritage for future generations.

The call for the 3rd funding phase of the programs for the year 2025-2026 is available on the Initiative's website.

With the aim of raising public awareness, Cycladic Identity a conference titled "Tradition vs Evolution: The Coexistence of the Past with the Future in the Cyclades" was organizing on October 30.

Read more:

“Cycladic Identity: keeping alive the heart of the Cyclades”

“Hiking Greek Islands: explore off-the-beaten track treasures!”

“Cycladic architecture, stunningly blending with the endless blue of the Aegean sea”

I.A.

The post Cycladic Identity initiative moves into its second phase – “Greek Islands Trail, Cyclades” to propose a unified hiking route appeared first on Greek News Agenda.