Christmas, the happiest time of the year is just around the corner! Throughout this festive season, celebrated across the world, millions of people spend time with loved ones, exchange gifts, taste special treats and practice local traditions. 

In Greece, Christmas is primarily a religious holiday, strongly influenced by the Greek Orthodox tradition, as well as by local customs. It is also a great opportunity family and friends to get together and celebrate. It is a joyful season and its proximity to New Year's Eve makes it even brighter. If Epiphany (Theophania) is also added, the whole festive period runs from December 24th to January 7th. So, let’s get to know some special traditions that make Christmas so special in Greece!

The Christmas Carols (kalanda) is one of the oldest customs in Greece. Tradition calls for an early wake up on the Eves of Christmas, New Year and Epiphany. Children, in groups of two or more, holding triangles (small traditional percussion instruments), go door-to-door, knocking and asking “shall we sing them?”. If the landlord's response is positive, the kids sing the Christmas carols and wish for health and joy for the upcoming year. In the old times, children would be offered holiday sweets and pastries, but today they are usually given some money.

The Christmas boat is the traditional seasonal decoration in Greece. The Christmas tree, which is the most ubiquitous one nowadays, wasn’t brought to our country until 1833, when it was introduced by the state’s first king, of a Bavarian royal line. Until that time, a decorated miniature boat (karavaki in Greek) was the centerpiece of the season. Children would also carry it while caroling as a symbol of Christmas while their companions would hold the triangle as they sang. Today, depending on the region, it can still be seen in town and city squares or as ornaments for the Christmas tree or Christmas lights arrangements. The Christmas boat tradition is closely connected to the maritime tradition of the country. Many Greeks working in the shipping industry were away during Christmas time, and the tiny boat would symbolize the family's prayers for them. Today, many families decorating their homes with both trees and boats.

The Christmas Mass is another important tradition, still followed by many families in Greece. It bears special significance especially for those who have observed the 40-day Christmas fast, since after this service that they may finally break the fast and enjoy a festive meal.

The Christmas treats traditional top Greece are among the most popular staples of the season. Among the most popular ones we find the “kourabiedes”, a special kind of almond butter cookie dusted with icing sugar,“melomakarona” a delicious soft cookie soaked in honey and sprinkled with walnuts and “diples”, pieces of dough deep-fried until they take a golden color, and afterwards drizzled with honey and sprinkled with cinnamon and nuts.

On Christmas day, the whole family gathers around the table for a sumptuous meal. The main dish is usually roasted pork or lamb although nowadays turkey stuffed with chestnuts and dried fruits is gaining ground.

“Christopsomo” (Christ’s bread), is also served. Considered as an offering to Jesus Christ, it is a special kind of round shaped bread prepared the previous day just for the occasion. Usually made with nuts, raisins, cloves and honey, it features the cross of Christ as well as various decorations. It is believed to bring health, good luck and happiness to the household. Depending on the skill and time invested it can be turned into a true work of art!

New Year’s Eve is probably the most joyful event of the season. It is always celebrated in good company with family and friends, traditionally around another festive meal. Contrary to most traditions of the western world, gifts are not usually exchanged on Christmas. Most Greeks do that on New Year ’s Day, which is also the name day of St Basil, the Greek equivalent of Santa Klaus/Father Christmas. Gifts are usually placed under the Christmas tree until the last day of the year.

“Vassilopita” is the traditional cake of New Year’s Eve. It is a sweet cake that is cut in a special way.  The first slice is for Christ, the second for Our Lady, the third for St. Basil, then for the household, the head of the family, and so on to all other family members. Inside the cake there is a hidden coin. The one that finds it is considered to have a lucky and prosperous year ahead.  On the morning of New Year’s Day, a pomegranate, symbol of fertility and happiness, is often broken at the step of each house’s front door. The red arils, spread across the doorstep, symbolize happiness and good fortune for the family, for the year ahead.

The Kallikantzaroi are, according to Greek folklore, mischievous spirits, malicious creatures living under the surface of the Earth. Their purpose all year long is to saw down the tree of life which is holding up the world. When Christmas comes around and their work is almost done they come up to the surface to bring trouble to mortals for the next 12 days. On Epiphany, however, when the priests sprinkle holy water everywhere, they are forced to go back underground, only to discover that the tree of life has regenerated thanks to the holy water, and they have to start over for another year.

Theophania (January 6^th) marks the end of the festive season. The baptism of Christ is celebrated with the blessing of the waters. A cross is thrown by the priest into the sea or another body of water, and believers dive into the ice-cold waters to retrieve it. The one that brings it back to the priest is rewarded with a special blessing.

Read also via Greek News Agenda: The Greek New Year’s tradition of the vasilopita; Greek and Roman origins of Christmas traditions; Theophania: The Greek Orthodox feast of Epiphany; Arts in Greece | Nikephoros Lytras, the Artist behind Greek Christmas’ Most Celebrated Painting

DT (Intro Photo Nikephoros Lytras, Carols, 1872 Private collection)

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The ‘Mentis’ and ‘Antonopoulos’ manufactories are among the oldest companies in the field of thread processing and the production of silk-making items, and the only workshop still operating in Greece that continue to produce ribbons, braids, tassels, fringes, and other passementerie products using traditional methods. The legacy of these two manufactories was saved thanks to a groundbreaking initiative by the Benaki Museum, which created a centre for preserving, researching and promoting ‘silken arts’ at the Athenian neighborhood of Petralona: Mentis – Antonopoulos (‘NEMA’) Passementerie. The space also hosts educational and exhibition activities, serving as a living center of intangible cultural heritage. (Photo: © Benaki Museum / Leonidas Kourgiantakis)

The Mentis – Antonopoulos (‘NEMA’) Passementerie of the Benaki Museum collaborated with the House of Dior for the Cruise 2022 collection, presented at the Panathenaic Stadium.

The Dior Cruise 2022 collection at the Acropolis. © Filmed at the Archeological Site of the Acropolis of Athens and the Odeon of Herodes Atticus.

Dior’s artistic director Maria Grazia Chiuri envisioned a celebration of creativity and craftsmanship rooted in the cultural dialogue between Greece and France. Determined to showcase the richness of contemporary Greek artistry, Dior sought to engage local creators, visual artists, and traditional artisans whose work continues to shape Greece’s cultural landscape. This vision naturally led to a partnership with the Mentis–Antonopoulos textile workshop (NEMA). During her visit to the NEMA workshop on Polyfimou Street in Petralona, Chiuri was inspired by the living tradition of Greek textile craftsmanship. As a result, Dior commissioned decorative elements for the hats featured in the show, with production carried out by the Tsalavoutas family workshop, renowned for its handmade sailors’ caps. NEMA specifically produced the twisted handmade cord adorning the brim of the traditional nautical cap reimagined for the Cruise 2022 collection.

Under the guidance of NEMA textile supervisor, ethnologist Virginia Matseli, a series of accessories for the hats was created, overseen by the British designer Stephen Jones, who has been associated with the House of Dior as its artistic director of millinery for more than 25 years. “A Greek fisherman’s cap, special edition”, adorned with a braid, the Christian Dior signature, and jacquard laurel leaves, says Stephen Jones. “When they would come back from sea, the tradition is their wives would reknot the braid” he adds, describing the new essential as a “symbol of home, hope, happiness and family” (© Film directed by Marianna Economou) (Photos: elculture.gr)

‘NEMA’ Passementerie Museum at Petralona, Athens (Photo: © Benaki Museum / Leonidas Kourgiantakis)

 (Photo: © Benaki Museum / Leonidas Kourgiantakis)

The first step towards the creation of ‘NEMA’ was taken in 2012 with the rescue of ‘Mentis’ Passementerie from oblivion. The business was founded in 1867 in Nafplio but soon after moved to Athens in order to cater for the needs of its main clients, the Royal Court and the Palace Guard. The original workshop on Kerykeiou Street in Monastiraki included a silk workshop, a weaving facility and a dye house whereas a separate silk cocoon incubation house was located in the area of Mets. In 2011 the business closed and its equipment was donated to the Benaki Museum by Marina, Othon and Spyros Mentis. The workshop was refurbished and opened again in December 2012.

 In 2014 the Benaki Museum welcomed another donation, of the Georgios Antonopoulos family manufactory. The Benaki Museum refurbished a new space on 10 Polyfemou Street as well as the original space on no 6 so that the new donation was housed. It includes the complete archive of the business, many products and its entire equipment, among which two rare Jacquard looms. The collection was inventoried and researched by the Head of ‘NEMA,’ ethnologist Virginia Matseli. (Source: Benaki Museum)

Historical passementerie products of the Menti company (Photos: Athens Voice). The ‘Mentis’ and ‘Antonopoulos’ manufactories supplied over decades passementerie products to fashion, interior and costume designers, furniture upholsterers as well as military and ecclesiastical tailors. Their client lists included the Presidential (formerly Palace) Guard, the Greek National Opera, the Greek National Theatre, the Athens Concert Hall (Megaron), the Greek Organization of Small & Medium Sized Enterprises & Handicrafts (EOMMEX), the Greek Royal Welfare Fund, the Lyceum Club of Greek Women and many others in Greece and internationally (Source: Benaki Museum)

The Menti family: Spyros, his wife Anna, and their four children. From left: Giorgos, Dimitris, Anastasia, Othon (left), The Menti shop (right) (Photos: Athens Voice)

 (Photo: © Benaki Museum / Leonidas Kourgiantakis)

 (Photo: © Benaki Museum / Leonidas Kourgiantakis)

 ‘NEMA’ has developed into a centre for preserving traditional techniques of thread manufacture, weaving and embroidery. To this end, the Benaki Museum Education department works with specialist craftspeople and offers lifelong-learning courses focusing on these traditional techniques. The Benaki Museum Shop, in an effort to marry old expertise and contemporary creativity, works with artists using raw materials from ‘NEMA’ for their creations (photo above). Their works are offered for sale at the various Benaki Shop outlets (Photo: © Benaki Museum / Leonidas Kourgiantakis)

The Benaki Museum Shop currently presents the exhibition “From Ink to Silk” by Nikomachi Karakostanoglou and the Art Rug Projects initiative by Ilektra Soutzoglou. The exhibition is hosted in the historic space of the Mentis–Antonopoulos (NEMA) Passementerie of the Benaki Museum, until December 5, 2025. The collaboration between these two women goes beyond a shared artistic project—it is a meaningful encounter between two worlds connected through history, heritage, weaving, and art. All of this unfolds within a space that carries its own profound memory. NΕMA serves not only as the backdrop for the exhibition but as an integral part of it—a living vessel of Greek textile history that today hosts its continuation in a contemporary, creative form.

General view of the exhibition “From Ink to Silk” at the NEMA Museum (Photo: nikomachi.k_studio). The creative encounter between visual artist Nikomachi Karakostanoglou and the Art Rug Projects initiative by Electra Soutzoglou brings together an artist and a historic carpet weaving company in a dialogue between matter and spirit, past and present, the gesture of art and the art of hand-weaving in an act of translation and transformation

Works by Nikomachi Karakostanoglou for the exhibition “From Ink to Silk”: Aegean Atoll (upper), Intimately Close (lower left), Imprint (lower right). In this bold project, visual artist Nikomachi Karakostanoglou steps in as a creative voice, bringing her own cultural heritage into the conversation. In her practice, she approaches material not simply as a vessel for form, but as a carrier of memory, energy, and sensation. Light and water are fundamental elements in her work—not merely as images, but as ways of perceiving the world: endless, fluid, intangible, and ever-present. This flow continues when her work is translated into a silk carpet. Her visual language becomes more tactile through weaving, yet retains its poetic nature (Source: Benaki Museum)

The story of the Soutzoglou family begins in Sparta of Asia Minor in 1900, where Nikolaos Soutzoglou founded one of the first Greek carpet workshops. Following the Asia Minor Catastrophe in 1922, he restarts the business all over again in Greece. The third generation, represented by Electra Soutzoglou, now breathes new life into the art of weaving by linking the traditional art of carpet-making with contemporary art. Looking towards the future, Electra launched Art Rug Projects, a platform where contemporary Greek and international artists are invited to transfer their visual works onto carpets—turning painting into weaving and artistic design into handcrafted objects of art.

Since 2017, visual artist Nikomachi Karakostanoglou has been exclusively working on her drawings and sculptures, challenging herself through the scale of the works and the materials she has collected during her travels across Asia. In 2023, under commission by the Onassis Foundation’s Stegi, she created two outdoor sculptures: “Drop of Knowledge” and “Flow.” She has held solo and group exhibitions in Greece and abroad. Her works are part of private collections as well as the collections of MOMus, the Benaki Museum, and the Onassis Foundation.

General view of the exhibition “From Ink to Silk” at the NEMA Museum. Art Rug Projects by Soutzoglou focuses on interactive collaborations with Greek and international contemporary artists, whose selected works are transformed into handmade rugs and tapestries—either as one-of-a-kind artworks or limited editions (Photo: Benaki Museum)

Read also:

Soufli, the village of silk | A traditional industry comes back to life

New ‘Chic’ Revives Greek Silk

Weaving Dreams” in the village of Geraki

I.A.

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The exhibition “Playgrounds & Toys 2000-2025”, an ongoing project by the Swiss NGO ART for the World, is organized by the Benaki Museum and is curated by Adelina Von Fürstenberg, President of the ART for the World. It will remain open until January, 11^th, 2026. The exhibition is a presentation of an extraordinary collection featuring playgrounds and toys designed by contemporary artists, architects, and designers from around the world. The collection showcases more than 50 models, collected, exhibited, and fabricated between 2000 and 2025, as part of the ongoing Playgrounds & Toys project by ART for The World, now generously donated to the Benaki Museum. The exhibition is under the auspices of the Embassy of Switzerland in Greece.

Beyond showcasing this remarkable project, the ‘Playgrounds & Toys’ exhibition aims to inspire the full-scale construction of playgrounds in Athens and beyond, with at least one installation remaining permanently in the Benaki Toy Museum. This way, art will be transformed into a living experience—celebrating creativity, play, and solidarity, and creating a more beautiful world, one that is even child-sized. The Benaki Toy Museum, based on Maria Argyriadi’s renowned collection, features around 20,000 toys, books, and childhood items from antiquity to 1970, originating from all over the world. (Source: Benaki Museum)

Vito Acconci, USA, Klein Bottle, 2000 (Photo: Benaki Museum)

Playgrounds & Toys is the flagship initiative of ART for The World, an NGO associated with the United Nations Department of Public Information (UNDPI) and recognized as a Public Utility by the Canton of Geneva, Switzerland. The project was launched in 2000 to mark the 50^th anniversary of the United Nations High Commission for Refugees. Adelina von Fürstenberg invited over forty international artists, architects, and designers to create innovative playgrounds and educational games. From Nigeria to the outskirts of England, from disadvantaged areas in the United Kingdom to urban centers worldwide, the project demonstrates how art and play can become instruments of solidarity, learning, and discovery. After acclaimed presentations in Geneva and several cities in Europe, Athens now becomes the permanent home of the collection at the Benaki Museum.

Since its inception, the project has embodied the organisation’s mission: to connect art with the most vital dimensions of human life: community, imagination, and cultural exchange. Playgrounds & Toys invites children and adults alike to explore the profound link between play and human development. ‘Time is the realm of the child’, said the Greek philosopher Heraclitus. To play is to know, to learn, to relate with others, and to act while having fun. Through play, children exercise their most ‘serious’ activity: exploring their inner and outer world, developing intellectual, creative, emotional, and social skills, and discovering their own identity. Play is a fundamental human right, yet in many countries, children are denied this essential experience due to war, famine, or social injustice. (Source: Benaki Museum)

Andreas Angelidakis, Greece, Armenak, 2002-2004. Andreas Angelidakis (b. 1968, Athens, Greece) is an artist and architect whose practice spans installation, writing, and exhibition-making. Initially trained in architecture, Angelidakis explores the cultural logic of ruins, the Internet, and institutional critique through sculptural environments and speculative narratives (Source: onassis.org, (Photo: Benaki Museum)

Maria Papadimitriou,  Greece, Patini, 2000 (left), Yorgos Nikas, Greece, Cube’s Puzzle, 2003 (right) (Photos: Benaki Museum)

Lauda & Donegani, Italy, Play and Reality, 2000 (upper left), Alessandro Guerriero, Italy, Isola di Pasqua, 2000 (upper right), Marie-José Burki & Mitja Tušek, Belgium/Switzerland, Spiral Playground, 2005 (lower)

The Benaki Toy Museum opened to the public in 2017 in Palaio Faliro. Its holdings, based on the collection of Maria Argyriadi—one of the most significant in Europe—include toys, books, ephemera, clothing, and other objects associated with childhood from Europe, Africa, Asia, and the Americas. The museum’s collections comprise approximately 20,000 toys, games, and childhood items, spanning from antiquity to 1970. Its primary aim is to document all aspects of the themes "childhood", "game" and "toy", by studying the history of toys in Greece and Europe, and children’s daily life in a traditional Greek context as well

Located in the district of Palaio Faliro, the Benaki Toy Museum showcases toys from Greece and around the world

The collection’s Greek section comprises infants' and children's toys spanning the classical, Roman, Byzantine and post-Byzantine periods. They include hand-made traditional Greek toys dating from the 18^th to the 20^th century, articles from country festivals, 20^th century commercial products, team sports, board games, and seasonal games. The European part of the collection comprises dolls and games of urban and rural manufacture dating from the 17^th to the 20^th century, mainly from England, France and Germany.

Glass “astragalos”/ “kotsi” (knucklebone) used as children's toy. Rome, 1^st or 2^nd century AD, dimensions 1 x 1.5 cm. In ancient times people used to make “astragalous” of bronze, bone or ivory as children's toys. They also often used to make “astragalous” of gold and gemstones, chiefly as votive offerings to the gods (left), Ancient clay yo-yo with dark coating over its entire surface, perimeter 18 cm (right) (Photo: Benaki Museum)

Ancient “nevrospasto” clay doll. Athenian workshop probably, 3^rd or 4^th century BC, height 19.2 cm (left), Clay whistle, probably ancient, Chios island, length 5 cm (right). A "nevrospasto" doll was an ancient Greek doll with movable limbs that was manipulated by strings or wires. The term comes from the Greek words for "string-pulled" or "tension-pulled," and these dolls were popular playthings for children in ancient Greece, with some also being known as korē or plaggon. Dolls were either used as children’s toys or offerings deposited in female and children burials as well as sanctuary dedications made by girls before their passing into adulthood or wedding. (Photo: Benaki Museum)

Wooden Christmas carol boat, Lamia, 1960 (Photo: Benaki Museum). The Christmas boat is a cherished Greek tradition. Long before Christmas trees became popular, Greek children would decorate small wooden boats and sing carols (kalanda) to celebrate the season. The boat represents sailors returning home and blessings for calm seas and happiness in the year ahead, a beautiful reminder of Greece’s deep connection to the sea.

Figures from the shadow theater (left), Heroes of the Greek puppet theater (right) (Photos: athensvoice.gr). Greek shadow theater, known as Karagiozis, features leather or paper made puppets projected onto a lit screen. The humorous hero Karagiozis represents the clever, poor Greek who faces life’s struggles with wit and laughter.

A selection of 19^th and 20^th century regional costume dolls dressed in costumes from different parts of Greece (Photo: Benaki Museum)

Rattles from the late 18^th century and early 20th century (Photo: athensvoice.gr). In ancient times, rattles were among the earliest toys for infants. Made from clay, metal, or wood, their gentle sounds were meant to soothe and amuse babies. People also believed these toys had protective powers, capable of warding off evil spirits.

 Wooden rocking horse (England, 1924). Purchased at Hamleys in London and gifted by the eminent Greek statesman Eleftherios Venizelos to his grandson Lefterakis for his birthday in 1927 (Photo: athensvoice.gr)

Primers (alphabet books). A specialist library open to all interested parties includes 3000 books and studies relating to children and toys, archival sources, photographs, information about Greek manufacturers, and works on children's literature and education, as well as general reference works (Photo: athensvoice.gr)

I.A.

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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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