The Plenary of Parliament approved by majority vote the bill of the Ministry of the Interior titled “Designation of an Electoral Constituency for the Greek Diaspora – Facilitation of the Exercise of Voting Rights for Voters Outside the Territory through Postal Voting in Parliamentary Elections”, following a roll-call vote, in accordance with the constitutional provision.

The provisions concerning the introduction and availability of postal voting for citizens residing outside the country received more than 200 affirmative votes and will apply starting from the next national elections. The provisions concerning the creation of an electoral constituency for the Greek Diaspora did not obtain the required two-thirds majority of votes. This means that they will not apply in the upcoming national elections, nor in the event of repeat elections (with party lists), but only in elections that will again be held using the preference vote system.

More specifically, the provisions concerning the establishment of a three-seat electoral constituency for the Greek Diaspora, the number of MPs representing it, the right of political parties to submit candidate lists (only parties that have candidate lists in three-quarters of the total constituencies in the country), the adaptation of existing legislation, the setting of campaign spending limits for Diaspora candidates, and the entry into force of these provisions did not receive the constitutionally required majority of 200 affirmative votes. As a result, these provisions will not apply in the upcoming national elections.

By contrast, the provisions aimed at facilitating the exercise of voting rights by Greek citizens residing outside the country were approved. These include the possibility of voting by post or in person, the choice of voting method by voters abroad, the adaptation of special electoral registers, the upgrade of the voter registration system for Greeks abroad, the relevant application deadlines, the organization of polling stations, and the procedures for postal ballots and the announcement of election results. Consequently, the option of postal voting for Greeks living abroad will apply from the next national elections.

(Source: www.amna.gr )

Interior Minister Theodoros Livanios, concluding the two-day debate in the Plenary, stressed that “postal voting can operate safely and reliably and it strengthens participation. The Diaspora constituency ensures authentic representation and a genuinely distinct voice for Greeks abroad in Parliament”. Offering a brief historical overview, the minister said that the bill resolves an outstanding issue concerning the vote of Greeks abroad that stems from the 1975 Constitution, for which, for various reasons, no implementing law had ever been enacted. Referring to the legislative initiatives undertaken over the years, Mr Livanios noted that many successive attempts had been made, but that the time is now ripe to take this step, both with regard to the right to vote and the right to stand for election for Greeks living abroad.

The minister noted that significant progress has been made thanks to technological developments adopted in the transmission of election results. He clarified that election results are not issued by the Ministry of the Interior, but by the Courts of First Instance across the country. The company that is used— the same one for many years— simply transmits the results on election night for the information of citizens. Regarding the bill, Mr. Livanios said that it was examined in three meetings of the cross-party committee, where the discussion focused specifically on its provisions. He also noted that changes were made during this process.

Concerning the choice of a single three-seat constituency for Greeks abroad, he explained that this is the best option in order to avoid single-party representation, which could occur if an equal number of single-member constituencies were created. The minister also clarified once again that the creation of this special constituency does not prevent political parties from including additional Diaspora candidates in electable positions on their nationwide party lists.

The minister announced that in the coming days, the cross-party committee at the Ministry will be convened again to discuss registration applications, how there should be a formal channel of communication between the Greek state and Greeks abroad, and the initial details regarding the organization of postal voting. Regarding a census of the Greek Diaspora, he noted that this is not feasible, but the registration applications will provide a general idea of their numbers. Concerning the limit on campaign expenses, he explained that it is set precisely to prevent millionaire candidates from dominating, and the limit is three times higher for Diaspora candidates, which he considers reasonable. On the proposed preference vote system, he observed that this serves as a guarantee of accountability, ensuring that the elected Diaspora MP will advocate for their constituents’ concerns in the Hellenic Parliament, rather than the other way around.

Mr. Livanios noted that the legislative improvements made addressed the observations raised by the Ombudsman, and that provisions will be in place to ensure an alternative method of registration in the electoral rolls, since the aim is not to exclude those who do not have Taxisnet codes, as this would reintroduce the problems related to previous limits. The Interior Minister also stated that the difference compared to 2024, when changes to postal voting were introduced for the European elections, is that “we now have practical results, as everyone has seen how it worked. Our experience has shown that postal voting can operate safely, reliably, and it enhances participation.”

(Source: www.amna.gr)

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The 2nd Greek Youth Diaspora Symposium took place in Athens on November 25–28, 2025, bringing together young members of the Greek Diaspora aged 18–25, from 31 countries and 5 continents, who participated as speakers.

The Symposium was established in 2024 by the General Secretariat for Greeks Abroad and Public Diplomacy of the Greek Ministry of Foreign Affairs, aiming to enhance the engagement of young people of Greek descent with contemporary Greek society. The Symposium aims to showcase opportunities for collaboration and networking between young people of the Diaspora and their peers in Greece, through the lens of contemporary challenges and emerging global prospects. This year, the Greek Youth Diaspora Ambassadors, young participants from the first Symposium, presented their initiatives promoting Hellenism and were awarded for their achievements.

The opening of the proceedings was addressed by the Minister of Foreign Affairs, George Gerapetritis, followed by a speech of Deputy Minister of Foreign Affairs responsible for Greeks Abroad, Ioannis Loverdos, and the Secretary General for Greeks Abroad and Public Diplomacy of the Ministry of Foreign Affairs, Maira Myrogianni.

Among the participants in the Symposium were, inter alia, the Minister of Education and Religious Affairs, Sofia Zacharaki; the Deputy Minister of Development responsible for Research and Innovation, Stavros Kalafatis; the Deputy Minister of Digital Governance, Christos Dermetzopoulos; the Secretary General for Communication and Information, Dimitrios Kirmikiroglou; and the Chairman of the Hellenic Parliament’s Committee on Greeks Abroad, Filippos Fortomas. The proceedings were also attended by heads of diplomatic missions in Athens and a representative of the Patriarchate of Alexandria.

On this occasion, Greek News Agenda spoke to one of the participants in the Symposium, namely Victoria Paneras, who talked about her overall impressions from participating in the Symposium, also discussing the ties that she and the Greek community in her country maintains with the homeland, and the ways in which Greece’s cultural image is represented there, as well as whether she would pursue a professional career in Greece either in the short term or in the long term.

Victoria Paneras is a 23-year-old, South Australian, second generation, Greek Cypriot who is a youth leader and emerging educator. She is currently studying a degree in Primary Education, majoring in science. She is the President of the Flinders University Hellenic Association and has previously been Co-president of the Adelaide University Greek Club. She is also part of the founding committee of the Greek Youth of South Australia, with a current role as Marketing Officer. Victoria is also, heavily involved in the Senior dance group of the Greek Lyceum of South Australia. Her philosophy is to actively promote and participate in Greek culture, community engagement and youth empowerment within South Australia and beyond. With experience in teaching, event organisation, and social media management, she is passionate about creating inclusive, culturally rich spaces for young people in the diaspora.

What are your overall impressions from participating in the 2nd Greek Youth Diaspora Symposium?

Participating in the second Greek Youth Diaspora Symposium was both inspiring and empowering. This experience provided a rare opportunity for young people of the diaspora to gather in one space to describe their experiences and reflect on the future of Hellenism beyond Greece’s borders. I was impressed by the diverse perspectives, particularly how many participants from different countries expressed a shared sense of identity but also raised unique local challenges. For me, what stood out was the emphasis on collaboration and creation on a global scale rather than just passive participation. There was a genuine effort to listen to youth voices and to involve us in the decision making, education and strategy and to involve our feedback. For me personally, this experience strengthened my confidence that the Greek diaspora is not just maintaining culture, but actively reimagining it on a global level.

How would you describe the ties that you - and the Greek community in the city/country where you live - maintain with the homeland?

Personally, my connection to Greece is deeply rooted through family, language, cultural practice and my Greek Orthodox faith. Despite living in South Australia, Australia, Greek traditions shape my identity and values. I regularly engage with Greek language, participate in Greek dance and often visit Greece. Within my local community, these ties are expressed through participation in organised initiatives such as Greek Youth of South Australia, Adelaide University Greek Club & Flinders University Hellenic Association, participation and volunteering at festivals and educational programs. In our city, the Greek community is vibrant and strongly interconnected – many of us attend Greek events, dance groups and youth led events. Digital communication has also allowed us to maintain close ties with other Greek organisations in Melbourne, Sydney, Perth and Canberra, where we often meet via ZOOM to plan and organise meet ups or events.

Would you consider pursuing a professional career in Greece, either in the short term or in the long term?

I speak for many youth representatives from the symposium in regard to pursuing a life in Greece. Many of us, including myself, are open to the idea of undertaking a professional career in Greece in areas related to education, culture, or international collaboration. In the short term, I would be interested in exchange programs, internships or collaborative projects that allow me to contribute while gaining experience. In the long term, it would depend on structural factors such as economic opportunity, career development pathways and the ability to build a sustainable life. While Greece offers an appealing cultural and lifestyle environment, the job market can be challenging for young professionals with specialised degrees. However, if meaningful opportunities existed, especially those involved in diaspora engagement, education and youth empowerment, I would strongly consider working in Greece either temporarily or permanently.

In your view, to what extent, and in what ways, is Greece’s cultural image represented or promoted within your community?

Greece’s cultural image is actively promoted within my community and its often through a traditional lens. Festivals, language schools, educational programmes, dancing groups and religious celebrations play a central role in showcasing our heritage and attract both Greek and non-Greek audiences. That said, there is a growing interest in expanding beyond just traditional representations. There is a large youth-led organisation presence in our country, where we are now experimenting with contemporary Greece through film, art, music & cuisine just to name a few. This presents Greece as a modern and innovative nation. This shows us that maintaining cultural identity is not simply about preservation, but also adaptation. Promoting Greece as a living culture, rather than a nostalgic one resonates with younger generations and builds a more forward-looking community identity.

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Deputy Minister of Foreign Affairs Yiannis Loverdos traveled to Limassol, Cyprus (November 10-11, 2025), to participate in the 6th trilateral meeting between Greece – Cyprus – Egypt on Diaspora issues, within the framework of the "NOSTOS" program, representing the Greek Ministry of Foreign Affairs. The Cypriot delegation was led by the Director General of the Cypriot Ministry of Foreign Affairs, Ambassador Ms. Konstantinidou, while the Egyptian delegation was led by the Deputy Minister of Foreign Affairs, Migration and Egyptian Expatriates, Ambassador Mr. Habashi.

During the proceedings, the neighbourly spirit of this trilateral cooperation was confirmed and views were exchanged on further promoting synergies in the fields of culture and education, with an emphasis on the implementation of joint initiatives for the new generations of expatriates.

More specifically, the Deputy Minister stressed the importance of science diplomacy and the role it can play in strengthening ties between the expatriate communities of the three countries. Mr. Loverdos thanked the host country for the impeccable organization of the event noting that emphasis should be placed not only on the glorious past of the three countries, but also on the present and the future, making the most of the many remarkable members of the Diasporas of Greece, Cyprus, and Egypt.

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The current exhibition, “Greek Visual Artists and the Shaping of American Art in the 20^th Century”, presented at the Athens Municipal Arts Center until October 30^th, highlights the role played by Greek and Greek-American artists - "Greeks of the Diaspora" - in the formation of an American visual language with a global and lasting impact. In a time when connections between the local and the global are once again being sought, the exhibition, co-organized by the Hellenic Diaspora Foundation and the Organization of Culture, Sports, and Youth of the Municipality of Athens (OPANDA), serves as a vibrant cultural link and a vehicle for cultural diplomacy. (Cover photo: Artwork creation by Christos Antonaropoulos, cover of the catalogue of the exhibition)

Georgia Manolopoulou, curator of the exhibition, Museologist and  Researcher in Cultural Diplomacy, notes that “art has always been a bridge. And this exhibition functions as such a bridge, between places and times, between the memory and matter of Greek cultural heritage and the dynamism of the American avant-garde, between the silent influence and the recognized role of the Greek Diaspora. An aspect of the creative Diaspora that, although actively present in the formation of the international artistic avant-garde, often remains invisible in public discourse in Greece. The exhibition attempts to bring this contribution back to the forefront, not as an act of restoration, but as an opening towards interconnection and co-creation”.

Featuring 23 artists of Greek descent, 176 works, and decades of creative presence in the USA, the exhibition offers a lived narrative in which each work reveals the inner tension of “belonging” and “co-belonging,” artistic expression as an act of identity, and the influence of the Greek perspective within American avant-garde. According to the curator of the exhibition, Georgia Manolopoulou, “culture and Art created by Greek Americans is not merely the sum of individual works; it is participation in a new version of the Common Place, where Art becomes a means of presence, soft power and co-creation. In this context, the contribution of the Greek Diaspora is not only evidence of successful integration, influence, and co-creation, but also an example of cultural diplomacy from within. An informal but essential ethical and political act, where aesthetics becomes a language of common understanding, acceptance, and dialogue, and difference becomes a field of coexistence rather than exclusion”.

Nina Leen, The Irascibles, November 24, 1950, Black and white photograph, 34x27 cm, Collection of the Hellenic Diaspora Foundation. The photograph depicts two Greek visual artists: on the left, Theodoros Stamos, first in the front row, and William Baziotes, second in the middle row, who profoundly influenced the Abstract Expressionism movement, known as the New York School (Source:  Catalogue of the Exhibition). The Irascibles or Irascible 18 were the labels given to a group of American abstract artists who put name to an open letter, written in 1950, to the president of the Metropolitan Museum of Art, rejecting the museum's exhibition American Painting Today - 1950 and boycotting the accompanying competition. The subsequent media coverage of the protest and a now iconic group photograph that appeared in Life magazine gave them notoriety, popularized the term Abstract Expressionist and established them as the so-called first generation of the putative movement. Life magazine decided to publish a photo story for their January 15, 1951 edition, which would document the results of the competition and feature a photograph of the protesters. Front row: Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, Mark Rothko; middle row: Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin; back row: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Hedda Sterne (Source: https://en.wikipedia.org/wiki/The_Irascibles)

Georgia Manolopoulou also notes that “Greek visual artists and those of the Diaspora contributed values, ideas, forms, and innovative practices, and forged a network of relationships through art studios and universities to galleries, major museums, and public spaces. Through their work, these creators transformed their relocation and their new home into a creative force, and cultural diversity into a source of innovation. Gestural surfaces and fields of color (Stamos), new sculptural materiality and expression of matter (Voulkos, Benglis), the relationship between typography, city, and light (Chryssa), as well as the radical anatomy of self-image (Lucas Samaras), are milestones in a polyphonic but coherent and unique artistic journey. At the same time, the lyricism of William Baziotes reveals how memory and myth can be integrated into modernism with sensitivity and inner balance”.

Theodoros Stamos, Sentinel, 1962-1964, Oil on canvas, Dimensions 173 x 152.4 cm (left), Infinity Field, Lefkada Series, 1977, Αcrylic on canvas, Dimensions 182.9 x 152.4 cm (right).

Theodoros Stamos (1922-1997) was born in New York to a family of Greek immigrants. Initially he attended evening sculpture classes at the American Artists School; he shifted to painting in the late 1930s. Influenced by artists like Milton Avery and Henri Rousseau, his style evolved toward surreal biomorphism and later abstract expressionism. In the early 1950s, Stamos joined the famous group known as “The Irascible Eighteen”. He exhibited widely, including with André Emmerich’s gallery until 1970. That year, he moved to Lefkada, Greece, and began his Endless Fields series. His works are in major museums such as the Met, MoMA, and the Whitney. (Source: hellenicdiaspora.org) 

William Baziotes, Sphynx, 1947, Oil on canvas, Dimensions 96.5 x 75.2 cm (left), Indolence, 1951, Oil on canvas, Dimensions 76.3 x 61.4 cm (right).

William Baziotes (1912-1963) was born in Pittsburgh to Greek parents and grew up in Pennsylvania. In 1933, he moved to New York and studied at the National Academy of Design. Influenced by surrealism and expressionism, Baziotes developed a biomorphic abstract style. He exhibited widely, including solo shows at Peggy Guggenheim’s Art of This Century gallery (1944) and Samuel Kootz’s gallery (1946). In 1948, he co-founded the Subjects of the Artist School alongside Rothko and others. Baziotes was also part of “The Irascible Eighteen. His works are held in major museums such as the Met, MoMA, and Whitney. (hellenicdiaspora.org)

Nassos Daphnis, #26-66, 1966, Epoxy paint on paper, mounted on masonite, Dimensions 87 x 121.9 cm (upper), Untitled, 1982, Acrylic resin and enamel on canvas, Dimensions 223,5 x 185,4 cm (lower left), Untitled, 1977, Enamel on canvas, Dimensions 190,5 x 228,6 cm (lower right).

Nassos Daphnis (1914–2010) was a Greek-born American artist and a pioneer of hard-edge painting. Immigrating to the U.S. at 16, he began painting without formal training and held his first solo show in New York in 1938. After serving in World War II, his style evolved from surreal biomorphism to bold geometric abstraction, influenced by Piet Mondrian. He developed a personal color theory and became known for vibrant compositions with sharp lines and contrasting hues. Throughout the 1960s–1980s, he experimented with plexiglass, monumental murals, and even computer-generated designs. Daphnis’s work bridged minimalism and abstract expressionism with both structural precision and expressive energy. His paintings are held in major institutions, including MoMA, the Whitney, and the Met. (Source: hellenicdiaspora.org)

New York, 1982, 25th Anniversary Lunch of Castelli Gallery at The Odeon. Standing left – right: Ellsworth Kelly, Dan Flavin, Joseph Kosuth, Richard Serra, Lawerence Weiner, Nassos Daphnis, Jasper Johns, Claes Oldenberg, Salvatore Scarpitta, Richard Artschwager, Mia Westerlund Roosen, Cletus Johnson, Keith Sonnier Seated left – right: Andy Warhol, Robert Rauschenberg, Leo Castelli, Ed Ruscha, James Rosenquist, Robert Barry. Photo: Hans Namuth (Source: hellenicdiaspora.org)

Chryssa Vardea-Mavromichali , untitled (Chinese relief), 1981, Charcoal, pastel and pencil on paper, Dimensions 49 x 49 cm (left), Bouzouki Capital, 1957, Bronze, brass, ivory, limestone base, Dimensions 39 x 37 x 37 cm, Base 75 x 42 cm (right).

Chryssa (1933–2013) was a pioneering Greek-American artist known for her innovative use of neon lighting in sculpture. Born in Athens, she studied in Paris and San Francisco before settling in New York in the 1950s. Influenced by the vibrant urban life of New York, she created iconic works such as The Gates to Times Square (1966), combining neon, steel, and plexiglass. She exhibited widely, including at MoMA, the Whitney Museum, and Documenta, and collaborated with leading galleries like Betty Parsons and Leo Castelli. Returning to Athens in the 1990s, she created the Cinema Oasis series, blending neon, aluminum, and city sounds. Chryssa’s work is held in major museums worldwide, including MoMA, the Hirshhorn Museum, and the National Museum of Contemporary Art in Athens. (Source: hellenicdiaspora.org)

Peter Voulkos (1924-2002), Walking Man, 1990, Fired stoneware, Dimensions 71,1 x 50,8 x 40,6 cm (upper), Stoneware basin, Fired stoneware, Dimensions 12,7 x 50,8 cm (lower left), Ice bucket No2, 1986, Fired stoneware, Dimensions 35 x 47 x 46 cm (lower right).

Peter (Panagiotis) Voulkos was born in Bozeman, Montana, to Greek immigrant parents. He studied ceramics at Montana State College. Voulkos revolutionized ceramics by blending traditional techniques with abstract expressionist styles, creating large-scale, gestural works. He chaired the ceramics department at the Los Angeles County Art Institute and later taught at the University of California. His work expanded to monumental bronze sculptures exhibited widely, including a solo show at MoMA in 1960. Voulkos held hundreds of exhibitions, earned numerous awards, and influenced the transformation of ceramics from craft to fine art. (Source: hellenicdiaspora.org)

Stephen Antonakos, MA 13, 1980, Col-erase pencil on paper, Dimensions 43,18 x 35,56 cm (upper), Floor Neon, 1967, Mixed Media, Dimensions 35.6 x 55.9 cm (lower left), Neon, 1967, Mixed Media, Dimensions 35.6 x 55.9 cm (lower right).

Stephen Antonakos (1926–2013) was a Greek-American artist known for pioneering the use of neon lighting in contemporary art. Born in Laconia, Greece, he moved to New York in 1930, where he began drawing and working in advertising. In the late 1950s, he started creating three-dimensional constructions and, by 1960, became one of the first artists to use neon tubes as an artistic medium. His work explores the interplay of light, color, and architectural form, blending painting and sculpture. Antonakos exhibited internationally, participated in major events like Documenta and the Venice Biennale, and created public installations across the US, Europe, and Asia. His pieces are held in prestigious collections including MoMA, the Guggenheim, and the Metropolitan Museum of Art. (Source: hellenicdiaspora.org)

Lucas Samaras, Chair Transformation, 1969-70, Corten Steel, Dimensions 240 x 150 x 45 cm (upper left), Drawing #2, 1982, Colored pencil, on black cutout wove paper, Dimensions 44,5 x 29,2 cm (upper right), Panorama, 1984, Polaroid collage, Dimensions 27,3 x 81,3 cm (lower)

Lucas Samaras (1936–2024) was a Greek-American artist known for his innovative work in photography, sculpture, and installation art. Born in Kastoria, Greece, he moved to the United States in 1948. He studied at Rutgers University and Columbia, influenced by mentors like Allan Kaprow and George Segal. Samaras gained early recognition for his experimental use of materials such as aluminum foil and mirrors. In the 1960s, he created his famous “Mirrored Room” installations and began transforming everyday objects in his sculptures. He is also renowned for his “AutoPolaroids,” a photographic series exploring self-identity through distorted and manipulated self-portraits. Samaras exhibited widely, including at MoMA, Whitney Museum, and Documenta. His retrospective exhibitions have been held internationally. His work is held in major collections such as the Guggenheim and Tate Britain. Throughout his career, he explored themes of self-exploration, transformation, and the boundaries between reality and illusion. (Source: hellenicdiaspora.org)

Lynda Benglis (1941), Weaver, 1999, Aluminum with gold leaf, Dimensions 33 x 33 x 17.8 cm (left), Bird’s Nest, 2016, Glazed ceramic, Dimensions 92,7 x 21,6 cm (right).

Lynda Benglis, born in 1941 to a Greek-American family - her father was a son of Greek immigrants from Kastelorizo - grew up in Louisiana and studied painting at Tulane University. Moving to New York in 1964, she became known for her innovative sculptural works using materials like latex and polyurethane foam, challenging traditional art forms and minimalism. In 1969, her work featured in the Whitney Museum’s Anti-illusion exhibition. Benglis embraced feminist ideas, creating provocative installations and videos exploring gender and identity. She taught at various universities and continued evolving her practice through glass, ceramics, and large-scale sculptures. Benglis has exhibited globally, with works held in major museums like MoMA and the Guggenheim. (Source: hellenicdiaspora.org )

The Hellenic Diaspora Foundation is based in Patras, and holds in its collections over 2,000 works of art, including paintings, sculptures, as well as visual artworks and installations by artists of Greek descent who lived in America or other countries abroad during the 20^th century. The Foundation collects, preserves, and maintains contemporary artworks with the aim of promoting Art and Culture. It utilizes contemporary art as a tool for inspiration, education, research, innovation, and development.

The Hellenic Diaspora Foundation ensures access to research, knowledge, and the connection of the wider public with contemporary art; supports contemporary artistic creation; collaborates with cultural institutions, both public and private, domestically and internationally, as well as with civil society, implementing joint contemporary art initiatives; supports new ideas, creativity, and innovative productions; promotes understanding between different cultures through dialogue with its exhibition collections; embraces the belief that culture should not be regarded as a luxury, but rather as the cohesive fabric of societies, a source of collective memory, knowledge, inspiration, spiritual liberation, and creativity.

(Source: The Hellenic Diaspora Foundation)

Also read:

Visual Arts in Greece: 1950s–1990s – Part 1/6

Visual Arts in Greece: 1950s–1990s – Part 2/6

Visual Arts in Greece: 1950s–1990s – Part 3/6

Visual Arts in Greece: 1950s–1990s – Part 4/6

I.A.

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Maira Myrogianni is Secretary General for Greeks Abroad and Public Diplomacy at the Greek Ministry of Foreign Affairs since August 2024; she has previously served as Secretary General for International Economic Affairs at the Ministry, from July 2023 until July 2024.

She is a graduate of the School of Law of the National and Kapodistrian University of Athens and of the Faculty of Law of the University of Lille II in France. She also holds a Master’s Degree in Social Discrimination, Immigration and Citizenship, while being a PhD candidate at the Faculty of Social and Political Sciences of the University of Peloponnese. Her scientific interest is focused on the fields of Human Rights and European Law. She is an Expert on Immigration and Asylum Issues at the Ministry of Foreign Affairs.

Maira Myrogianni has a wide and diverse experience in public administration, having served for several years as a legal advisor to the Ministry of Foreign Affairs, the Ministry of Maritime Affairs, the Ministry of Culture & Sports, the Ministry of National Defense and the Ministry of Labor & Social Affairs in the realms of International Relations, as well as the cooperation with the European Institutions and other International Organizations.

In her interview, Secretary General Myrogianni talks about the role of public diplomacy in promoting the country’s image globally, Greece’s comparative advantages, the importance of fostering links with the Greek Diaspora, and the government’s initiatives in this regard as part of the Strategic Plan 2024-2027.

What is your strategic vision for Public Diplomacy? How can public diplomacy contribute to the goals of Greek foreign policy?

The Ministry of Foreign Affairs has drawn up the Strategic Plan 2024-2027, emphasising on relations with  Greek Diaspora and Public Diplomacy policies. Central pillars of the Strategic Plan concern foreign policy priorities as well as Greece’s international image. Always in line with the Ministry’s guidelines under the coordination of Minister Mr. Gerapetritis and in cooperation with Deputy Minister Mr. Loverdos, we have set as our top priorities the reinforcement of Public Diplomacy and the enhancement of our country's assets and competitive advantages.

These include our language and culture under a universal dimension, in the light of our cultural heritage and contemporary cultural production, the promotion of Greek studies, and of educational and scientific exchanges. Our priority is to showcase the country's innovation, reforms, investment opportunities, green initiatives and actions to tackle climate change, as well as to promote Greece as an energy hub and highlight its role as stability pillar in the Eastern Mediterranean and South-Eastern Europe.

We will soon be presenting the Strategic Plan for Public Diplomacy, aiming at highlighting the country's comparative advantages, with an emphasis on the use of digital tools. One of the key objectives is to implement a new strategy for rebranding the country, based on Greece's traditionally strong cultural capital and promoting intercultural dialogue.

What role do Diaspora Greeks play in enhancing Greece's international image, and what initiatives have you taken in this regard?

Greeks abroad are invaluable in promoting our country's image internationally. Millions of Greeks around the world keep our traditions, language, and culture alive, acting as bridges between their host countries and Greece acting as ambassadors of our culture, language, and customs worldwide. This unique relationship gives us the opportunity to strengthen our international relations, especially with younger generations, while preserving the language as a cohesive element of national identity is a huge challenge.

Strengthening the ties between expatriate Greeks worldwide and our country is a key pillar of the Greek government's foreign policy. Our primary goal is to further interconnect members of the Greek Diaspora by encouraging scientific, academic, business, artistic, cultural and youth networks.

In this framework, the Minister Giorgos Gerapetritis presented the Strategic Plan 2024-2027 for Greeks Abroad in the presence of Prime Minister Kyriakos Mitsotakis. This is the first time that a comprehensive and coherent Plan for Greeks abroad has been drawn up, considering factors such as the diverse characteristics of each expatriate group and their contemporary needs.

Among other things, the Plan involves supporting and developing expatriate networks and bodies, fostering links between the Greek innovation and entrepreneurship ecosystem with corresponding expatriate networks, particularly encouraging and facilitating the new generation of Diaspora Greeks.

Two characteristic examples of strengthening ties with the Greek Diaspora include, on the one hand, the launch of the Greek Youth Diaspora Symposium, held for the first time in November 2024 in Athens along with the Youth Diaspora Ambassadors initiative, and on the other hand the introduction of annual programs for the hosting of Diaspora youths in Greece.

You have undertaken a series of initiatives to promote Greece on a global scale. Could you tell us more about some of them?

Among our initiatives, I would like to mention hosting of this year's Club of Venice Plenary Meeting in Athens on May 21-22. This is a European network of senior government communication professionals where more than 30 countries are represented at the highest level, including the member states of the European Union, candidate countries, the United Kingdom, the institutions of the European Union, the Council of Europe, and other relevant bodies. The Plenary Meeting was hosted in our country as part of a broader effort to highlight Public Diplomacy issues through targeted conferences, seminars, and workshops.

Furthermore, it is our core policy to support the teaching of the Greek language, history and culture in schools and universities abroad, where Greek Studies departments exist. In this context, last year we took the decision to support 43 Greek Studies departments, and this year we are proud to announce that we will do the same for over 80 departments. At the same time, we seek to support and develop collaborations between Greek and foreign universities and to promote English-language courses offered by Greek universities.

To this end, plans are underway towards networking and interconnecting University Chairs with relevant organizations in Greece, developing exchange and hosting programs for students, researchers, and educators, supplying books and educational materials, and utilizing digital tools for distance learning.

Within this framework, a Memorandum of Cooperation was signed between the Ministry of Foreign Affairs and the Study in Greece organization, which will provide opportunities for new collaborations in the academic world. In the same vein, the Ministry of Foreign Affairs signed a Protocol of Cooperation with the National and Kapodistrian University of Athens. In particular, the Protocol provides for the promotion of programs and actions for the learning of the Greek language, history, and culture among Greeks of the Diaspora and philhellenes, while also encouraging synergies in the field of Greek Studies through the interconnection of the University of Athens with Greek Studies departments and centers abroad.

At the same time, we work closely with the University of Western Macedonia (UWM), Aristotle University of Thessaloniki (AUTH), Columbia University and Columbia Global Center in Athens, and the University of Ioannina.

In the same context, we awarded scholarships to foreigners and Diaspora Greeks who wish to study at Greek universities during the academic year 2025-2026, with the aim of obtaining a higher education degree. Through the program, 50 scholarships were awarded to people from a total of 34 countries, creating an international network of young scholars who acquaint themselves with the Greek language and culture, becoming potential "ambassadors".

What is the added value that culture brings to a country's “soft power”?

Culture is one of the main pillars of a country's “soft power.” Greece, a country with a rich cultural heritage, draws on its culture, arts, language, music, cinema, and other forms of cultural expression to enhance its international profile and influence.

According to soft power ratings, Greece ranks hig among the most powerful countries. Greece's soft power stems from a combination of historical and contemporary achievements. Our country has a rich cultural capital, the result of its long history and cultural heritage, which, combined with its strategic geographical position and other factors, such as its leading position in shipping, strengthens its overall influence and potential at a global level.

Greek culture, in particular, is our great competitive advantage. Cultural diplomacy is a powerful tool that allows us to disseminate our universal values to an international audience. Τhe Ministry's annual Action Plan, coordinated by Minister Giorgos Gerapetritis and in collaboration with Deputy Minister Ioannis Loverdos, provides for targeted cultural diplomacy actions, which we are implementing in cooperation with the Public Diplomacy Offices of our Authorities abroad, namely cultural events, participation in exhibitions, support for Greek festivals. Our strategy also includes initiatives that fall under the other pillars of Public Diplomacy, such as the promotion of Greek language, cooperation in the field of education, and sports.

More specifically, we support initiatives and collaborations relevant to cultural expression that enhance the visibility of traditional art forms: from organizing Greek traditional art fairs to supporting traditional music, dance shows and dance teaching programs, in partnership with cultural institutions and universities. In addition, we intend to promote folk art and traditional crafts, workshops dedicated to the arts of weaving, embroidery, ceramics, and jewelry making, aiming at emphasizing the osmosis between contemporary and traditional culture as well as artistic interactions.

We are also pursuing initiatives for highlighting contemporary cultural and artistic expression; this involves implementing a strategy for books as cultural assets and bridges of communication, by promoting Greek literature and publications as well as supporting libraries abroad and book fairs; and also, planning actions to highlight Greek film production, in collaboration with relevant bodies in the context of festivals or weeks of international European or Greek cinema. In this way, we aim to build bridges of cooperation between Greek and foreign creators and cultural institutions in the fields of literature, theater, and cinema, as well as to establish institutional partnerships with museums and cultural institutions.

Read also via Greek News Agenda: The Strategic Plan 2024-2027 for Greeks Abroad; 1st Greek Youth Diaspora Symposium: A Platform for Dialogue on Culture, Education, Innovation, and Contemporary Challenges

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ELIAM (Greek Historical Archives of the Eastern Mediterranean) is a new digital archive, dedicated to preserving and presenting the history of Greek presence in the Eastern Mediterranean during the modern era. The project aims at showcasing the multicultural and multiethnic context in which Greeks lived in the Eastern Mediterranean, emphasizing the interconnectedness and interactions between Greeks and other communities in the region.

The archive focuses on the Eastern Mediterranean, encompassing countries that emerged from the Ottoman Empire including Egypt, Greece, Jordan, Israel, Cyprus, Lebanon, Libya, Palestine, Syria, and Turkey, focusing on the time period between the 19th and 20th centuries, a historical period of significant political and social change.

Both along the coasts of the Eastern Mediterranean and in its broader hinterland, populations who often identified ethnically as “Greeks” or “Romaioi” and predominantly religiously as “Greek Orthodox Christians” lived—and in some cases, still live. However, there were also Greek Catholics and Protestants, as well as Greek Jews and Muslims. The project acknowledges that their professional activities ranged from industrialists and large-scale merchants to office clerks, craftsmen, and unskilled laborers, with the majority of these Greeks belonging to middle and lower social classes. Countering the prevalent monolithic view of Greek populations in these regions, they occupied a broad socio-economic spectrum.

Alexander Kitroeff, historian, author of The Greeks and the Making of Modern Egypt (American University in Cairo Press, 2019), and one of ELAM’s founders, talked to Greek News Agenda:

"Two colleagues of mine, historian Angelos Dalachanis, and visual anthropologist Irini Chrysocheri, invited me to join them in establishing the Greek Historical Archives of the Eastern Mediterranean (ELIAM). It is a non-profit organisation whose aim is the creation of a digital archive that will bring together printed (e.g. documents from private or other archival collections), visual (e.g. family and school photographs, maps, films) and audio (e.g. interviews, music, songs) material, following international standards for registration and documentation.

Other organizations are already collecting archives of Greek associations that existed in the Eastern Mediterranean. But we realized that privately held papers, documents and photographs of the Greeks who lived in Egypt, and other places in the region such as Jerusalem and Aleppo, also need to be safeguarded.

Our purpose is to preserve these documents belonging to individuals and families. But we do not want to take these away from private individuals, because we recognize these have great sentimental value along with their historical value. These include printed books, periodicals, archival material, photographs, films- or personal documents such as correspondence, unpublished notes, autobiographies, school certificates and items of material culture and intangible items, such as oral interviews or musical recordings.

Therefore, instead, we scan the materials or ask persons to do it themselves and then we presented these materials on our web-page which was established thanks to a grant from the Onassis Foundation. Through our website, these materials are freely available the academic community and everyone else who has an interest in the history and cultural heritage of the Greek presence in the Eastern Mediterranean.

We are searching for these materials all over the world. The Greeks who lived in the Eastern Mediterranean and left the region went not only to Greece but in many other places, Europe, the Americas, Australia. We had a successful launch of the website https://eliam.gr in early February with many people in attendance and there was great support and interest. The next step for us is to find sources of funding so we continue our work."

The website organizes its collections into various categories, including photos, old footage films, documents, artifacts, oral testimonies, and ephemera, encouraging individuals to "share their family documents and and pictures," actively seeking contributions from the public to expand its archival holdings.

ELIAM helps preserve and promote awareness of a complex and often overlooked aspect of Eastern Mediterranean history and serves as a valuable resource for researchers, historians, genealogists, and anyone interested in the history of Greeks in the Eastern Mediterranean.

I.L.

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The National Museum of Contemporary Art Athens (EMST) presents the first major museum retrospective in Europe of the work of Penny Siopis, one of the most important artistic voices of her generation  (photo by Mario Todeschini). The exhibition For Dear Life. A Retrospective, curated by the institution’s director, Katerina Gregos, is the flagship event of What If Women Ruled the World?, a year-long cycle of exhibitions centered on women artists and artists who identify as female. The exhibition has been extended until 16.2.2025.

Born in South Africa in 1953 to Greek parents, Siopis came to prominence in the 1980s and 1990s with her historically and culturally charged paintings that exercised a fierce critique against colonialism, apartheid, racism and sexism. She went on to experiment with other media such as installation and film, creating a rich, incisive and poignant body of work that has consistently engaged with the persistence and fragility of memory, notions of truth and accountability, the rights of women and the disenfranchised, the issue of vulnerability, and the complex entanglements of personal and collective histories. For 50 years Siopis has explored the politics of the body, grief and shame as they play out in her home country, South Africa. In the process she has established herself as one of the most important artistic voices of her generation on the African continent and beyond.

Penny Siopis has an MFA and an Honorary Doctorate from Rhodes University, and is an Honorary Professor at Michaelis School of Fine Art, University of Cape Town. She has presented numerous institutional solo exhibitions and has participated  in major group exhibitions. Siopis is the recipient of many awards.  Her work is in the collections of major art Institutions worldwide.

The exhibition at EMST features work from each of Siopis’ major series, including the Cake (1980–1984), History paintings (1985–1995), Will (1997–), and Pinky Pinky (2002–2005), as well as a number of her celebrated experimental films.

Penny Siopis, Charmed Lives, 1998-99, Installation of found objects, 3 panels, 200x150x50 cm, Collection of the artist, Photo by Paris Tavitian, EMST. Inspired by having to pack away her mother's personal belongings after she became critically ill, Siopis became aware of how objects can and do come to 'stand in' for a human life; what should be kept, for sentiment or posterity, and what is disposable? As she says, it is the "raw intimate archive gone public". (Source: Artthrob - Contemporary Art in South Africa)

Frieze magazine reported that the excellent retrospective dedicated to Penny Siopis, left a number of visitors wondering why they were unfamiliar with her work despite the fact she was born to Greek parents and many of her contemporaries, including William Kentridge, are household names in Europe (In Athens, Female Artists Have Taken Over the National Museum of Contemporary Art).

Furthermore, Frieze magazine has included the exhibition in the top ten list of shows in Europe in 2024. According to Chloe Stead, associate editor of Frieze, “Writing about the all-woman takeover of EMST earlier this year, I was shocked that I hadn’t previously been aware of the work of Penny Siopis, a South African artist who has been critiquing colonialism, apartheid, racism and sexism for more than four decades … I hope this show – the artist’s first major European solo – will result in more institutional attention for Siopis in the Northern hemisphere” (The Top Ten Shows in Europe in 2024).

Penny Siopis, Patience on a Monument: ‘A History Painting’, 1988, Oil and collage on board, 180x200 cm, William Humphreys Art Gallery, South Africa (left), Restless Republic: Groundswell, 2017, Newspaper cuttings, glue, ink and found object on canvas, 300x200 cm, Collection of the artist (right). Penny Siopis produced what is probably her most emblematic body of work, the History Paintings (1985-1995), during one of the most transformative decades in late twentieth century South African history: the fall of apartheid, the establishment of a democratic state, and the run-up to the national Truth and Reconciliation Commission. These paintings, which make reference to and subvert the grand tradition of European history painting of the eighteenth century, present colonialism on its last legs, as a visually gluttonous, excessive and decadent ‘feast’ as well as highlighting the trauma inflicted on black people collectively and individually. (Source: EMST). In Patience on a Monument: ‘A History Painting’, a black woman sits on a pile of western cultural debris. Her position and the classical drapery revealing her breast allude to heroic imagery European history painting epitomised in Delacroix’s ‘Liberty Leading the People.’ At the same time her posture and the act of peeling a lemon are anti-heroic. The landscape around her is constructed from collaged illustrations torn and photocopied from old history text books presenting the colonial point of view on South Africa’s past. (Source: EMST)

Penny Siopis, Obscure White Messenger, 2010, Single-channel digital video, 15’ 7" (left), She Breathes Water, 2019, Single-channel digital video, 5’ 12" (right) © Penny Siopis, Courtesy of the artist and Stevenson, Cape Town, Johannesburg and Amsterdam. Siopis’ experimental films combine found footage with personal archives and texts to produce poignant meditations on the political, personal and historical cornerstones that marked her life, and that of her home country also, during a time of socio-political change and rights-based struggles in South Africa and beyond (Source: EMST).

Penny Siopis, Will, 1999-, 95 objects, texts by the artist, Variable dimensions, Collection of the artist, Photo by Paris Tavitian, EMST. Will (1999- ) is a monumental, autobiographical conceptual work-in-progress which will only be completed on the artist’s death. As part of this work, Siopis bequeaths a diverse collection of objects to beneficiaries of her choice: friends, family, collaborators from all over the globe. Will is an installation that includes over 700 objects that provide insight into the artist’s collecting habits and interests – artistic and vernacular  –  but also into her own personal history and experience, rooted in its own particular time, place and circumstance. (Source: EMST).

Penny Siopis, Shame, 2021 (detail), Installation, 182 paintings, Mirror paint, oil, enamel, glue, watercolour, paper varnish and found objects on paper, 18,5x24,5 each, Collection of the artist. Siopis' Shame series was born because of the shame that was felt during South Africa's Truth and Reconciliation Commission in the wake of apartheid. 'When shamed, we lose our dignity and integrity in full view of others', writes Siiopis. […] As much as shame is pain, it also offers the grounds for empathy, encouraging us to recognise shame in others and empathise with situations not immediately our own'. (Source: EMST catalogue of the exhibition)

Penny Siopis, Cake paintings, 1982,Installation view at EMST, Photo by Paris Tavitian. Siopis first garnered attention for her Cake paintings (1980–84), rooted in her early experiences in the family bakery in Vryburg. These feed on cakes as symbols of celebration and commemoration, but also on their ephemerality: elaborate confections are destined to grow stale or be devoured, suggesting the intimate horror of aging and decay. (Source: EMST catalogue of the exhibition)

Penny Siopis, Pinky Pinky, 2002-2004, Installation view at EMST, Photo by Paris Tavitian. Pinky Pinky is an urban legend in South Africa that speaks to the uncanny cultural and sexual tangle of female adolescence: a half-human, half-animal creature that prowls on prepubescent girls in restrooms. Here, the artist plays with the limits of form at its most visceral, “dragging it to the verge of formlessnes”, as she notes. (Source: EMST catalogue of the exhibition)

Penny Siopis, History Lesson, 1990, Pages torn from South African history textbooks, photographs, 127,5x96 cm, private collection, Installation view at EMST, Photo by Paris Tavitian. Pages from apartheid-era South African history textbooks are combined with a pictogram shaped by identical photographs of the artist as a child performing in a school concert. She appears to dance on the white male history that frames her. (Source: EMST catalogue of the exhibition)

Penny Siopis, Wringing Hands, 2002, oil and acrylic on canvas (left), Stranger, 2008, Glue and ink on paper, 36x43,5 cm, Private collection (centre), Atlas, 2020-, Glue, ink and oil on paper, Installation of 84 paintings, Dimensions variable, Collection of the artist (right), Installation view at EMST, Photo by Paris Tavitian.

Read also: What if Women Ruled the World? Women Artists Take Over the National Museum of Contemporary Art in Athens

I.A.

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Young members of the Greek Diaspora from 16 countries across 4 continents convened for the first time in Athens on November 27-28, 2024, at the “Hellenic Cosmos” Cultural Center. The occasion marked the inaugural Greek Youth Diaspora Symposium, “Diaspora Dialogues: Connecting Young Voices Around the World”, organized by the General Secretariat for Greeks Abroad and Public Diplomacy.

A New Initiative for Global Dialogue

This newly established Conference, alongside existing hosting programs of the Ministry of Foreign Affairs, aims to create a lasting platform for dialogue and cooperation among young Diaspora members and between them and Greece. The Symposium aspires to become a point of reference for young members of the Diaspora, fostering networking and collaboration, and emphasizing their significant role in an ever-evolving world.

A key highlight was the launch of the Youth Diaspora Ambassadors initiative. These young representatives will have the mission to promote Greek culture and values through targeted actions and initiatives.

Exploring Solutions for the Future

Participants had the opportunity to discuss issues of particular interest to younger generations, such as cultural identity, arts, professional development, and the youth's role in shaping a more fair and inclusive society. Esteemed speakers from the fields of politics, business, diplomacy, and academia enriched these conversations, sharing valuable insights and expertise.

Four Key Themes for a Dynamic Agenda

The Symposium focused on four central themes:

1. Cultural Identity and Heritage: Exploring roots as a source of strength.
2. Education and Career: Building bridges for professional growth.
3. Arts and Culture: Harnessing creativity for unity.
4. Social Cohesion: Empowering youth to address contemporary societal challenges.

The Greek government is committed to supporting the future of the Diaspora

This initiative forms part of the Greek government’s Strategic Plan for Greeks Abroad 2024-2027, recently presented at the Ministry of Foreign Affairs in the presence of Prime Minister Kyriakos Mitsotakis. By establishing this platform for young Diaspora members, the Greek government underscores its commitment to strengthening bonds with Greek communities worldwide while addressing modern challenges, including the need to reconnect the Greek Diaspora with its roots.

Keynote Addresses

The Symposium featured addresses by prominent officials:

Minister of Foreign Affairs, George Gerapetritis:

“The Strategic Plan for the Greek Diaspora will fortify the connection between the homeland and the Diaspora, uniting all generations of Greeks.
Every new generation surpasses the previous one in potential. So make use of your strengths, keep Hellenism alive in your hearts, and spread the message that Greece is one and it is everywhere.”

Deputy Minister of Foreign Affairs, George Kotsiras:

“The Greek Diaspora is an invaluable national asset. I urge all young participants of this Symposium to exchange ideas and perspectives on the challenges you face, contributing to policies that will shape the future of Hellenism and deepen ties with Greece.”

Secretary General for Greeks Abroad and Public Diplomacy, Maira Myrogianni:

“This Symposium was inspired by our commitment to understanding the views, concerns, and aspirations of young Diaspora members. Our goal is to establish a meaningful platform for dialogue where young people take center stage. This event marks the first step in a vision that recognizes the Greek Diaspora as an integral and vibrant part of our national identity.”

Read also via Greek News Agenda: The Strategic Plan 2024-2027 for Greeks Abroad

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Evanthia Reboutsika is among the most famous contemporary Greek composers. She has created music for both instrumental pieces and songs, and is especially famous for her original music scores that have been used in films, TV programs and theater productions.

Reboutsika was born in Patras and at the age of six she began studying the violin at the Conservatory of Patras. She continued her studies at the Athens Conservatoire and the Greek National Conservatoire and later in Paris at the École normale de musique. From a young age she played with her brother and sisters as a quartet, touring in Greece and abroad.

Her works have been internationally distinguished, at the Rome International Movie Awards, the Cannes Indies Cinema Awards, the London Greek Film Festival, and others. The World Soundtrack Academy awarded her with the "Discovery of the Year 2006" for Çagan Irmak's film "Babam ve oglum" which was also awarded by Bosphorus University as Soundtrack of the Year. The score she composed for Tassos Boulmetis’s A Touch of Spice won the State Prize at the Thessaloniki International Film Festival.

She created original music themes, among else, for the bicentenary of the Greek War of Independence and for the play "The Ellinikon", while together with the lyricist Lina Nikolakopoulou she created the song "Hellenism", a hymn to the Greek Diaspora. She has been awarded the Golden Lion of the Order of Alexandria by the Patriarch of Alexandria.

Her latest project is called "Gefyres / Bridges Greece - Israel - Palestine" (with the participation of Israeli Ladino singer Yasmin Levy, Palestinian-Israeli singer-songwriter Mira Awad and Greek soprano Christina Poulitsi) conveying the message of peace coexistence togetherness through the healing value of music that aims to function as a bridge across nations and cultures.

What are your influences? What role has Greece played as a symbolic space of inspiration? And how are Eastern and Western melodies combined in your work?

Ever since I was a child, my life has been full of various types of music, since I grew up in my father's movie theater, a place echoing with film soundtracks from all over the world. In the darkened auditorium we had melodies from around the globe to keep us company, at home we listened to my father who was an excellent Byzantine cantor, at the Athens Conservatoire I pursued my studies in classical music and our daily life was permeated by traditions, local and beyond.

For centuries, Greece has been a source of inspiration for all people, all the more so for me since it is my homeland. My travels have brought me to distant countries but in each of them I have always found a common language, music.

I sensed Greece everywhere, its colors and sounds, its art and culture have influenced the whole world. The West and the East, whatever their differences, remain elements of the same humankind.

You have composed several film scores and TV sountracks; where do you get the inspiration for this kind of compositions?

A fleeting moment, a thought, a story I read, a memory - all of these can provide inspiration. Then the melodies flood the heart and become notes that give rise to new emotions. The journey of inspiration is unique to each person and may not be just about art. Connecting with the people of the Diaspora who sought out new homes without forgetting their roots, their own experiences and their stories, all of these are sources of inspiration.

I often like to create my own stories with my imagination and a melody is born to accompany each story.

You have composed the song "Hellenism" with the support of the General Secretariat for Greeks Abroad and Public Diplomacy. What is your relationship with the Greek Diaspora?

I have always had deep emotions towards Diaspora Greeks, with whom I often come into contact through my travels and concerts abroad. Along with Lina Nikolakopoulou, who wrote unique lyrics and whose words caused hearts to beat louder, we created "Hellenism" as a minimal offer to Greeks abroad.

We wanted to give voice to the nostalgia, dreams and hopes of people who live far away but always have their homeland in their soul.

What are your views on contemporary Greek songmaking?

Songs are our friends and, as such, sometimes they have a lot to tell us. There are many songs worth discovering in a time when there is often low quality in cultural production.

Tell us about your upcoming plans.

I've always loved to travel, I've said many times that I had my suitcase ready for the most unexpected trips. This time I want to travel with the "Bridges" of music around the world. The start was made on October 4 at the Odeon of Herodes Atticus, with the aim of using the melodies to speak about the necessity of togetherness and to underline the unifying and healing value of music.

Read also via Greek News Agenda: Filming Greece | Film Director Tassos Boulmetis: Strangely Enough, the Crisis Promotes Greek Cinema

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Varvara Athanasiou-Ioannou AM, a dedicated educator, human resources professional, and founder of the NGO Food for Thought Network, was born in Epirus, Greece, and moved to Australia in 1972. She began her career in Victoria’s Department of Education, initially as a teacher and author of textbooks for Greek language education. Later, she became a school counselor before moving into private-sector leadership roles in human resources. She has alse served as a sessional lecturer at Swinburne University, focusing on diversity in the workplace.

In 2001, Athanasiou-Ioannou founded the Food for Thought Network with a mission to empower and connect Greek women, a commitment for which she was recognized with awards from the Victorian Honour Roll for Women and the Hellenic Australian Chamber of Commerce and Industry in 2004.

This September, Athanasiou-Ioannou and the Food for Thought Network organized the inaugural "Women and Hellenism" conference in Ioannina, Greece. Held during September 2-6, 2024, the event brought together 50 speakers, distinguished women from around the world—business leaders, scientists, authors, academics, and politicians—to discuss themes such as omen’s multifaceted identities and roles, Greek identity and heritage across generations and the sustainability of Hellenism in a global context.

The conference marked a landmark occasion in celebrating Hellenism and the role of Greek women in shaping a more inclusive and vibrant future for Hellenic culture globally.

Athanasiou-Ioannou discussed with Greek News Agenda* the impact of the Food for Thought Network in empowering Greek Australian women through community and cultural preservation. She reflects on the challenges facing the Greek Diaspora in Australia, the evolving role of women as community leaders, and her vision for an ongoing global dialogue through the Women and Hellenism Conference that can strengthen intergenerational Greek identity and foster global partnerships.

As the founder of the “Food for Thought Network,” how have you seen the organization influence the lives of Greek Australian women?

The Food for Thought Network has been a powerful catalyst for change in the lives of Greek Australian women by providing a platform for them to connect, share their stories, and offer mutual support, both personally and professionally. Through over 150 events, a Philosophy Café, an online interactive platform, and a self-published book, HER VOICE: Greek Women and Their Friends, which profiles the voices of 42 women, the network has fostered a vibrant community. Additionally, the Inaugural Global Conference has been a significant milestone in the journey.

By focusing on education and raising awareness about the barriers and enablers to women's development, leadership, and cultural heritage, the network has supported many in strengthening sense of identity, building confidence and in pursuing ambitions. Providing mentorship opportunities, referring women to relevant organizations, offering financial support to young women seeking to improve their lives. Like Soprano Christiana Aloneftis, sharing the role of Maria Callas with Angelina Jolie in the film MARIA.

Beyond its immediate activities, the network has helped reconnect women with their cultural roots, especially those who had previously “distanced” themselves from their heritage or let go. Many now attend events related to Greek culture, seeking opportunities for involvement and connection they once avoided.

What inspired you to organize the Women and Hellenism Conference ? How does it align with the mission of the Food for Thought Network?

The Global Women and Hellenism Conference was inspired by a long-held dream of mine to unite women from Greece and the diaspora to foster stronger connections and collaboration; fueled by the success and positive reception of my book, HER VOICE: Greek Women and Their Friends Global Forum and the thriving closed Facebook group, "Greek Women and Friends Global Forum." Both platforms highlighted the need for a global space where women of Greek heritage could come together to share stories, experiences and aspirations.

Aligned to the network’s mission, the conference was born out of a desire to celebrate and amplify the contributions of Greek women worldwide while reinforcing the cultural ties. With the aim to provide a unique opportunity for women to come together – to exchange ideas, explore their roles as leaders, cultural custodians, community change-makers, and advance women empowerment and leadership.

The Greek diaspora in Australia has a rich history spanning over a century. What are the biggest challenges currently facing the Greek diaspora in Australia, especially in terms of cultural preservation, integration, and identity?

The Greek diaspora in Australia, spanning over a century, faces several nuanced challenges such as cultural preservation, integration, and identity which vary significantly across generations.

For the first generation migrating in the mid-20th century, a deep anxiety exists about maintaining the Greek language and traditions. With over 400 thousand Australians of Greek descent today, (some claim 700 thousand) this generation is aging accentuated by a growing urgency to pass on their stories, customs, and values to ensure Hellenic “continuity”. There is a pressing need for community-based programs that preserve their language and culture while fostering new generational engagement.

The second generation, born and raised in Australia, faces different challenges around balancing co-existence (Australian society vs Greek cultural heritage). Many grew up speaking Greek at home while navigating a multicultural environment outside. In Victoria, Greek is still ranked higher when it comes to the language spoken at home, other than English. After Mandarin (221,798) and Vietnamese (118,801), Greek is in third place with 107,158 with a gradual erosion of the language among younger generations. This generation wrestles with maintaining identity amidst increasing cultural integration, especially as mixed marriages and diverse family structures—such as high divorce rates and single-parent households—become more common.

For the younger, third and fourth generations, growing up in an even more multicultural Australia, the connection to their Greek roots sometimes feels more distant. In a world shaped by modern global challenges, such as economic inequality and social change, cultural preservation often takes a back seat.

Ensuring younger generations stay connected to their Greek heritage, language, and traditions is a major community concern. Programs like Greek language schools, cultural/religious festivals, youth exchange programs, scholarships and community events are vital, however their reach is sometimes limited.

Without active and innovative efforts to engage youth, Hellenism sustainability is at risk. New ways of being connected to the heritage such as travel opportunities, technology, theatre, music and gastronomy were discussed at the Conference.

Women have always played a crucial role in maintaining cultural heritage within the diaspora. How do you see the role of women in the Greek Australian community evolving today?

Greek Australian women play a pivotal role in preserving cultural heritage within their community, often juggling careers, young children, and elderly parents, creating an exhausted "sandwich generation." Today’s women are well-educated, independent, and highly skilled at navigating the multiple challenges they face in both their personal and professional lives.

The economic crisis in Greece led to a "brain drain," but for Australia, it resulted in a "brain gain," with many educated, bilingual, and well-travelled women migrating to the country. Injecting fresh energy into the community, creating new organizations and enriching the cultural and social fabric.

Currently Greek Australian women remain underrepresented in leadership roles within both mainstream and community organizations, many of which remain patriarchal. Research shows that diversity in leadership, particularly gender diversity, directly correlates with more productive, innovative, and financially successful organizations. Studies by McKinsey and Catalyst have found that companies with higher levels of gender diversity on their boards outperform those with lower diversity by as much as 15-25% in financial returns.

Women-led not-for-profit service provider organizations, such as Pronia, Frondidha Care, and AGAPI Care in Melbourne, helmed by Greek Australian women, are thriving because they benefit from the leadership and decision-making approaches women bring; emphasising collaboration, inclusivity, and long-term strategic vision.

As Greek Australian women increasingly step into leadership roles across various sectors, as culture carriers they juggle the preservation of Greek traditions while advocating for gender equality and empowerment. Shaping the narrative of what it means to be both Greek and Australian and vice versa: blending tradition with modernity and driving positive change and impact within their communities and beyond.

In your experience, how have Greek Australian women acted as cultural ambassadors both in Australia and Greece? Are there any stories or individuals that stand out to you?

Greek Australian women, as culture carriers, are actively engaged in professional spheres and play a vital role in preserving Greek traditions through community events, educational initiatives, and cultural festivals. Notably, many have championed causes like bilingual education, ensuring that younger generations not only learn Greek but also embrace the richness of their heritage.

There are numerous examples of women who have excelled in leadership across various fields. Professor Vasso Apostolopoulos, a globally recognized immunologist, Associate Professor Magdalena Simonis AM, a national advocate for women's health, Professor Catherine Itsiopoulos an advocate on the mediterranean “diaita”, prominent journalists Helen Kapalos and Patricia Karvelas, are just a few. Others, such as festival director Nia Karteris, Violet Roumeliotis AM have influenced government policies related to refugees and asylum seekers, and Chanel Contos who successfully advocated for consent to be included in sex education, stand out.

Politicians like Maria Vamvakinou, Jenny Mikakos and accomplished academics such as Professor Joy Damousi, Judge Nola Karapanagiotidis along with numerous businesswomen. Like Global diversity consultant Maria Dimopoulos AM, Penny Sahinis who mentors top female leaders who take a seat at the IMF and G20 table. Leading researchers and academics recognised for their significant contributions both in Australia and internationally.

Their efforts as leaders and advocates exemplify the essential role they play in connecting and enriching both cultures whilst advancing reforms in their field of work and creating noteworthy impact.

Looking forward, what is your vision for the Women and Hellenism Conference? How do you believe we can foster a deeper intercultural exchange and understanding of Hellenism, both within Greece and in the diaspora communities abroad?

The future of the Women and Hellenism Conference lies in expanding its reach and depth through ongoing dialogue between women in Greece and diaspora and reporting on tangible outcomes and impact.

A permanent global network of women who can collaborate across countries, sectors, and cultures to promote Hellenism and the role of women in leadership is nested with the vision.

Requiring financial support of the Greek Government to continue with regular global conferences in Greece (with economic benefit) and fostering intercultural exchange through mentorship programs, scholarships, cultural/business exchanges via collaborative projects to sustain Hellenism. As an aside, we can also play a role in facilitating strategic partnerships across academia, business and NGO level.

As I look back to on the conference, the women of the Greek diaspora arrived and were visible to their compatriots who were surprisingly taken aback and, equally, enveloped in our multifaceted identities.

So much to do we’ve just only started.

* Interview to Ioulia Livaditi

Read also from Greek News Agenda

• Rethinking Greece | Nicholas Doumanis on the last century of Greek history: Greeks are resilient and resourceful
• Book of the Month: ‘Forty Photographs: A Year at a Time’ by Effy Alexakis
• Migration Routes: First Greek Australian Archive Underway

The post Empowering Greek Australian Women: Varvara Athanasiou-Ioannou on Diaspora, Female Leadership and Hellenism appeared first on Greek News Agenda.