{"id":1459,"date":"2019-11-10T18:56:01","date_gmt":"2019-11-10T18:56:01","guid":{"rendered":"https:\/\/christinanakou.gr\/wp\/workshops\/%cf%84%ce%b1%ce%be%ce%b9%ce%b4%ce%b5%cf%85%ce%bf%ce%bd%cf%84%ce%b1%cf%82-%cf%83%cf%84%ce%bf%ce%bd-%cf%87%cf%81%ce%bf%ce%bd%ce%bf-2\/"},"modified":"2020-01-22T09:29:41","modified_gmt":"2020-01-22T09:29:41","slug":"%cf%84%ce%b1%ce%be%ce%b9%ce%b4%ce%b5%cf%85%ce%bf%ce%bd%cf%84%ce%b1%cf%82-%cf%83%cf%84%ce%bf%ce%bd-%cf%87%cf%81%ce%bf%ce%bd%ce%bf-2","status":"publish","type":"workshops","link":"https:\/\/christinanakou.gr\/el\/workshops\/%cf%84%ce%b1%ce%be%ce%b9%ce%b4%ce%b5%cf%85%ce%bf%ce%bd%cf%84%ce%b1%cf%82-%cf%83%cf%84%ce%bf%ce%bd-%cf%87%cf%81%ce%bf%ce%bd%ce%bf-2\/","title":{"rendered":"\u03a7\u03b1\u03c1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u0395\u03c0\u03b9\u03b8\u03c5\u03bc\u03af\u03b1\u03c2 – \u0397 \u03b5\u03bc\u03c0\u03b5\u03b9\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 \u03c4\u03cc\u03c0\u03bf\u03c5 \u03ba\u03b1\u03b9 \u03c4\u03c9\u03bd \u03b4\u03b9\u03b1\u03b4\u03c1\u03bf\u03bc\u03ce\u03bd"},"content":{"rendered":"\n

\u039c\u03bf\u03c5\u03c3\u03b5\u03af\u03bf \u039c\u03c0\u03b5\u03bd\u03ac\u03ba\u03b7, \u03ba\u03c4\u03ae\u03c1\u03b9\u03bf \u03c4\u03b7\u03c2 \u03bf\u03b4\u03bf\u03cd\n\u03a0\u03b5\u03b9\u03c1\u03b1\u03b9\u03ce\u03c2<\/strong><\/p>\n\n\n\n

19\/5 \u2013 20\/6 2016<\/strong><\/p>\n\n\n\n

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\u03a3\u03b5 \u03ba\u03ac\u03b8\u03b5 \u03c5\u03c0\u03bf\u03ba\u03b5\u03b9\u03bc\u03b5\u03bd\u03b9\u03ba\u03ae \u03b5\u03bc\u03c0\u03b5\u03b9\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 \u03c4\u03cc\u03c0\u03bf\u03c5, \u03b7 \u03b5\u03c0\u03b9\u03b8\u03c5\u03bc\u03af\u03b1<\/em> \u03ba\u03b9\u03bd\u03b7\u03c4\u03bf\u03c0\u03bf\u03b9\u03b5\u03af \u03c4\u03b7 \u03b4\u03c1\u03ac\u03c3\u03b7 \u03b1\u03bb\u03bb\u03ac \u03b4\u03b9\u03b1\u03bc\u03bf\u03c1\u03c6\u03ce\u03bd\u03b5\u03b9 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03bd \u03b5\u03c1\u03bc\u03b7\u03bd\u03b5\u03af\u03b1 \u03c4\u03b7\u03c2. <\/p>\n\n\n\n

\u03a7.\u039d 2016<\/p>\n\n\n\n

\u03a3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2 – \u03a5\u03bb\u03bf\u03c0\u03bf\u03af\u03b7\u03c3\u03b7 : \u03a7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1 \u039d\u03ac\u03ba\u03bf\u03c5 2015-2016<\/p>\n\n\n\n

\u0397 \u201c\u03a7\u03b1\u03c1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u03b5\u03c0\u03b9\u03b8\u03c5\u03bc\u03af\u03b1\u03c2: \u03b7 \u03b5\u03bc\u03c0\u03b5\u03b9\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 \u03c4\u03cc\u03c0\u03bf\u03c5 \u03ba\u03b1\u03b9 \u03c4\u03c9\u03bd \u03b4\u03b9\u03b1\u03b4\u03c1\u03bf\u03bc\u03ce\u03bd\u201d \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03b9\u03ac\u03c3\u03c4\u03b7\u03ba\u03b5 \u03c3\u03c4\u03bf \u039c\u03bf\u03c5\u03c3\u03b5\u03af\u03bf \u039c\u03c0\u03b5\u03bd\u03ac\u03ba\u03b7, \u03c3\u03c4\u03bf \u03ba\u03c4\u03ae\u03c1\u03b9\u03bf \u03c4\u03b7\u03c2 \u03bf\u03b4\u03bf\u03cd \u03a0\u03b5\u03b9\u03c1\u03b1\u03b9\u03ce\u03c2 \u03bc\u03b5 \u03b1\u03c6\u03bf\u03c1\u03bc\u03ae \u03c4\u03b7\u03bd \u0394\u03b9\u03b5\u03b8\u03bd\u03ae \u0397\u03bc\u03ad\u03c1\u03b1 \u039c\u03bf\u03c5\u03c3\u03b5\u03af\u03c9\u03bd \u03c0\u03bf\u03c5 \u03c6\u03ad\u03c4\u03bf\u03c2 \u03b5\u03af\u03c7\u03b5 \u03b8\u03ad\u03bc\u03b1 \u201c\u039c\u03bf\u03c5\u03c3\u03b5\u03af\u03b1 \u03ba\u03b1\u03b9 \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03c4\u03b9\u03ba\u03ac \u03c4\u03bf\u03c0\u03af\u03b1\u201d. \u0395\u03c0\u03af\u03c3\u03b7\u03c2 \u03b5\u03bd\u03c4\u03ac\u03c7\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03bf \u03c0\u03b9\u03bb\u03bf\u03c4\u03b9\u03ba\u03cc \u03c0\u03c1\u03cc\u03b3\u03c1\u03b1\u03bc\u03bc\u03b1 What is Home? \u03a3\u03c0\u03af\u03c4\u03b9 \u03b3\u03b9\u03b1 \u03bc\u03ad\u03bd\u03b1, \u03b5\u03af\u03bd\u03b1\u03b9…, \u03c0\u03bf\u03c5 \u03c5\u03bb\u03bf\u03c0\u03bf\u03b9\u03b5\u03af \u03c4\u03bf \u039c\u03bf\u03c5\u03c3\u03b5\u03af\u03bf \u039c\u03c0\u03b5\u03bd\u03ac\u03ba\u03b7 \u03c3\u03b5 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03bc\u03b5 \u03c4\u03bf\u03bd \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03c4\u03b9\u03ba\u03cc o\u03c1\u03b3\u03b1\u03bd\u03b9\u03c3\u03bc\u03cc Segni d’ Infanzia, \u03b1\u03c0\u03cc \u03c4\u03b7\u03bd Mantova \u03c4\u03b7\u03c2 \u0399\u03c4\u03b1\u03bb\u03af\u03b1\u03c2 \u03c3\u03c4\u03bf \u03c0\u03bb\u03b1\u03af\u03c3\u03b9\u03bf \u03c4\u03bf\u03c5 \u0395\u03c5\u03c1\u03c9\u03c0\u03b1\u03b9\u03ba\u03bf\u03cd \u03a0\u03c1\u03bf\u03b3\u03c1\u03ac\u03bc\u03bc\u03b1\u03c4\u03bf\u03c2 \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03bd\u03c4\u03b1\u03bb\u03bb\u03b1\u03b3\u03ae\u03c2 Tandem Europe. <\/em><\/p>\n\n\n\n

\u201cWhat is Home?\u201d is an engagement process focused on youth, aiming to provoke expressions of identity through art & culture, using cultural entities as mediators. Through a simple-yet-loaded question, it engages generation-Z in intercultural dialogue on identity, stimulating positive thinking on diversity and cultivating empathy on current migration challenges.<\/em><\/p>\n\n\n\n

Tandem Europe<\/em> is an initiative which was developed by European Cultural Foundation (Amsterdam) and MitOst e.V. (Berlin) together with Fondazione Cariplo (Milan). It is financially supported by Robert Bosch Stiftung (Stuttgart) and Stavros Niarchos Foundation (Athens).<\/p>\n\n\n\n

Tandem Europe supports experimental collaborations between cultural change makers from the EU member states. It is tailor-made for cultural managers who work on creative solutions that tackle contemporary challenges in our societies and want to cultivate pioneering ideas and generate socio-economic impact with partners throughout the EU. The programme helps to create and sustain culturally innovative impact across sectors, disciplines and borders and allows cultural professionals from many different disciplines to acquire skills required for innovation processes, engaging long-term partnerships and organisational change. <\/p>\n\n\n\n

Read more about the project in:<\/p>\n\n\n\n

Museumedu 4<\/em><\/strong> \/<\/em> Srping 2017, pp. 211-246. Copyright \u00a9 2017 by Museum Education and Research Laboratory, University of Thessaly. All rights of reproduction in any form reserved. <\/p>\n\n\n\n

“In this part, Mapping desire: The experience of place and routes<\/em>, we present a part of the paintings that were created by children and youngsters in the context of the art workshop that the artist Christina Nakou organized in shelters for unaccompanied migrant \u2013 refugee minors and public schools in Athens.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Christina Nakou\u2019s project together with the youngsters\u2019\npaintings call us to approach the issue of migration and, especially, the reality of unaccompanied migrant-refugee minors from an open to several alternative perspectives point of view, while, at the same time, they shed light on the dynamics and hopefulness of youth. They also underline the significance of educational\ninitiatives that a) promote communication among people of different cultural, ethnic and social background and status; b) enable expression of ideas,\nthoughts, feelings, expectations and fears; c) recognize children\u2019s and youngsters\u2019\ncreative competences; d) respect and present their artistic creations as works\nof art; and e) use visual or other kinds of art to record and present non-clearly\nformulated personal and collective experiences and situations that cannot be verbalised.<\/p>\n\n\n\n

The paintings are presented in a plain mode, accompanied only by the artist\u2019s\nnotes over the personal, educational and social\ncircumstances under which they were created. According Christina Nakou, this\nplain presentation aims at underlining the paintings polysemy as works of art, inviting\nus to construct our own readings, interpretations and thoughts and to reflect\nabout them. <\/p>\n\n\n\n

The project \u201cMapping desire: The experience of place and routes\u201d was presented at the Benaki Museum in Athens (19\/5 to 29\/6\/2016), in the occasion of the International Day of Museums (2016, Museums and Cultural Landscapes),<\/em> andin the context of the \u201cWhat is Home?\u201d project of the European Cultural Exchange Programme \u2013 Tandem Europe<\/em>. <\/p>\n\n\n\n

The painter\u2019s note<\/strong><\/p>\n\n\n\n

The art workshop \u201cMapping Desire: The experience of place and\nroutes\u201d<\/em> focuses on the idea of Desire<\/em>\nas the strength that motivates us to stand for life and creation. <\/p>\n\n\n\n

Having worked as an artist in shelters for\nunaccompanied migrant-refugee minors for three months, I was impressed by their\ndynamics and their optimism. Most migrant-refugee minors expressed their\nintense desire to carry out their long journeys to countries of northern Europe\nand meet their families. Other, wish to stay in Greece. All of them imagine a\nlife in safety and prosperity. <\/p>\n\n\n\n

These youngsters, really, inspired me. They reminded\nme that Utopia<\/em>, even if scarcely\nreached, offers hope and stimulates us as a motivating force. The \u201cMapping of\nDesire\u201d project emerged by their optimism and their insistence to accomplish\ntheir imaginary. \u0391nd the exhibition of their artworks attempted to express this\npositive, optimistic gaze and the dynamics of youth. It mainly attempted to\ncontrast the unfair gaze of mercy with a gaze of contact, acquaintance and\nrecognition. <\/p>\n\n\n\n

In addition, my experience of working at the shelters\nled me to realize how important it would be for the migrant-refugee minors to communicate\nwith other youngsters of their age who permanently live in Greece, but, also,\nhow important it would be for school students to communicate with migrant-refugee\nyoungsters of their age. On this basis, the \u201cMapping\nof Desire\u201d<\/em> project was realised by the participation of unaccompanied\nmigrant-refugee minors and school-students of two public schools of Athens, some\nof which are \u201cnatives\u201d, while other students are second or third-generation refugees\nor migrants, the families of which came to Greece from Albania, Poland,\nNigeria, Congo, Romania, Egypt, Pakistan, Bulgaria and Philippines. Consequently,\nthe participants were \u201cnatives\u201d, second-generation migrants, and minor migrants-refugees\nthat had just arrived in Greece. In a way, three different states of experience\ncoexisted: permanency, relocation and being on the move. <\/p>\n\n\n\n

The idea of desire \u2013as motivation for change and action\u2013 refers\nto all these three states. What was actually recorded in the paintings was both\ndesire and its absence or lack.<\/p>\n\n\n\n

The participants were asked to map the place of present residency, the\nplace of origin or nostalgia, and the place of desire or expectation. They were asked to draw pictures,\nuse personal or impersonal photos, to write down stories or record feelings.\nThey were also asked to describe their drawings and narrate their stories. They\nwere asked to interpret their personal experiences of place. <\/p>\n\n\n\n

The project did focus on the survey\nof desire and its gaze rather than on topographical approaches to different\nplaces, since place was conceived as being imprinted through personal quest and\nas being presented as a valuable space that can express and unite the private,\nthe social and the historical. <\/p>\n\n\n\n

The participants\u2019\nartworks carry nostalgia but also express the dynamics of the present and the\ntransformative imaginary of the future. In a way, they refer to the innovative\npotential of realizing, choosing and standing for desire and its multiplicity. <\/p>\n\n\n\n

Usually, youth is gifted with optimism and\nfearlessness.\nStill, in any age, we all\nneed to allow ourselves to dream and desire, in order to survive and remain alive.\nIn every subjective\nexperience of the present, desire motivates action <\/em>and forms its interpretation.<\/em><\/p>\n\n\n\n

I suppose that \u0391rt can offer a space where our desires can guide our perception and colour the interpretation of the present.<\/em><\/p>\n\n\n\n

THE PAINTINGS <\/strong><\/strong><\/p>\n\n\n\n

The place of current residence<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The\nschool-students and the migrant-refugee minors were asked to draw a map of the\nplace of their current residence They sat around a large paper in order to mark\ntheir home, their school, the shelter,\nthe playground, their favourite routes or other things that they consider\nimportant for themselves. <\/p>\n\n\n\n

The\nfifth grade primary-school students (10-11 year old) worked all together and\nenjoyed drawing the neighbourhood of their school, in which they live and which\nthey seem to like. One student, though, did not mark her daily route to school,\nbecause, as she said, she did not like going to school. In her case, desire may\nbe expressed as denying doing\nsomething.<\/p>\n\n\n\n

On\nthe contrary, for\nthe second grade high-school students (13-14 year old)\nit was difficult to participate. They tried to avoid it and it was only when\nthey were informed that they could draw whatever they like in their\nneighbourhood that they started marking their favourite bar at the main square\nof their area, the billiards and the internet caf\u00e9. Nevertheless, most students\ncould not orientate themselves. Others started asking for help, saying that they\ndo not actually have a favourite spot or something that appeals their interest.\nA student from Nigeria marked the school party at the Black and White bar. Other students started participating marking\ntheir homes, their promenades\naround the neighbourhood or the bus that they take in order to go training. What was most surprising was their\nhesitation to define what is that they really enjoy doing. Adolescents that spend their\ndays without personal interests or wishes? Their maps show the absence of\ndesire and orientation \u2013 or, rather, that their desires remain hidden, or unconscious. <\/p>\n\n\n\n

The\nmigrant-refugee minors in the shelter drew their maps working in smaller groups\nor one by one, because they do not share the same language. Some of them used\nofficial maps to form a picture of the place where they live, while others drew\nthe nearby Metro station, the square where they meet with other\nmigrants-refugees, or the sea, through which they came to\nGreece,\nalthough they did not know how to swim.<\/p>\n\n\n\n

Unsettledness,\nuncertainty or fluidity in marking the place of current residence, in contrast\nwith the certainty and stability of the place of origin or the place of\nexpectation? The past \u2013 although hard \u2013 exist as a reality, and the future as\ndesire. The present escapes.<\/p>\n\n\n\n

The place of origin or nostalgia<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The school students and the migrant-refugee minors\nwere asked to draw their homeland, the place of origin. Most youngsters drew a\npositive picture related\nwith feelings of love and the presence of their family and friends. In<\/em> other\npaintings, though, homeland\nrelates to pain and\ninsecurity.<\/p>\n\n\n\n

Students who originate from different parts of Greece\nor East European countries, but have actually grow up in Athens, visit their\nvillages or homelands usually during vacations. So, they relate\ntheir place of origin with leisure time, the relaxation of the summer and the\ncommunication\nwith the members of their wider family, grandparents, uncles and friends.<\/em> Students who originate from Nigeria, Pakistan,\nPhilippines or Egypt and live in Athens with their families use to visit their\nhomelands from time to time. Thus, they drew their homelands expressing relevant\npositive feelings. Two students from Nigeria (in different schools) said that\nactually they would prefer to draw the airport rather than Nigeria.\nWhat they most\n<\/em>like\nduring these trips, is the sensation of traveling,\nbeing en route. <\/em><\/p>\n\n\n\n

Some youngsters in the shelters, who are already\nstaying there for some months and they feel quite safe and secure, also drew\nfavourite places of their homelands. For example, one minor from Iran drew a\npicture of his own town showing a park, a fountain with a fish and an amusement\npark, and another minor from Bangladesh drew his house, a tree and the sun.<\/p>\n\n\n\n

On the contrary, refugee youngsters from Syria or\nAfghanistan express agony and
\nambivalence.<\/em><\/p>\n\n\n\n

The place of desire or expectation.<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The\nstudents and the migrant-refugee minors were asked to draw the place of their dreams in a way\nthat could include both imaginary and real characteristics. Where would they like to live?<\/p>\n\n\n\n

Many drawings show houses in the countryside or at the seaside. One\ndrawing shows a tree house, but another picture shows a luxurious villa with balconies, helicopters, a
\nmarina and a\nswimming pool. \u201cWhat we are all looking for, is a simple
\nand\ncomfortable life. Isn\u2019t that so?\u201d mentioned the student who drew the latter. <\/em><\/p>\n\n\n\n

A school girl from Bulgaria drew New York and a school-boy from Poland drew the Central Park, noting\n\u201cWhat I like is the existence of a great park in the centre of the city\u201d. Their\nclassmate from Egypt drew a <\/em>monster city and noted: \u201cI want to live here, where no one gets killed.\u201d<\/p>\n\n\n\n

Youngsters in the shelter drew a detailed map of\nGermany, (using\na map of Germany online), a map of\nAustria, where they will meet their family, or the map of Greece, where some\nminors wish to live. Others drew the Norwegian Parliament in Oslo (accurate representation of a picture in the\nInternet) or the Big Ben in London.<\/p>\n\n\n\n

The\nstudents in the Primary School drew pictures of their vacations. Yet many of\nthem
\ndrew pictures\nof sandy beaches with palm trees, expressing a clear orientalist or exotic\ncharacter.<\/em><\/p>\n\n\n\n

The different drawings could lead us to observe two opposite directions of the expressed imaginary routes<\/em>, and to pose the question:  Is there a link between imagination and reality?<\/em>“<\/p>\n","protected":false},"excerpt":{"rendered":"

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