He observes, however, that since Linear A was a common Aegean script such an assumption will not resolve the problem of multiplicity. The Arkalochori Axe and other finds have made Cretan origin more popular: female images with pendulous breasts have also been found at Malia and Phaistos. Godart Duhoux asserts the Cretan provenance of the disc; in his review of current research, Trauth concludes that "Crete as [the] source of the Disc can no longer be called into question.
Ipsen also speaks against an entirely independent origin of the scripts, arguing that its inventors did not leap from no knowledge of writing to a syllabic script with these elegant signs. He goes on to cite Hieroglyphic Luwian as a "perfect parallel" Ipsen of an original script inspired under the direct influence of other scripts its symbol values inspired by cuneiform , its shapes by Egyptian hieroglyphs. Schwartz asserts a genetic relationship between the Phaistos Disc script and the Cretan linear scripts.
Among the known scripts, there are three main candidates for being related to the Disc's script, all of them partly syllabic, partly logographic: Linear A , Anatolian hieroglyphs and Egyptian hieroglyphs. More remote possibilities are comparison with the Phoenician abjad or the Byblos syllabary. But this opinion is not shared by all specialists of the Aegean Scripts.
A recent systematic comparison with Linear A is that of Torsten Timm, Timm identifies 20 of the 45 characters with Linear signs, assigning Linear B phonetic values to Achterberg et al. The stroke on A3 is identified as the personal name determinative. The "bow" 11 is identified as the logogram sol suus , the winged sun known from Luwian royal seals. The decipherment claims listed are categorized into linguistic decipherments, identifying the language of the inscription, and non-linguistic decipherments. A purely logographical reading is not linguistic in the strict sense: while it may reveal the meaning of the inscription, it will not allow for the identification of the underlying language.
A set of 46 Phaistos Disc characters, comprising 45 signs and one combining oblique stroke, have been encoded in Unicode since April Unicode version 5. Phaistos Disc characters were encoded with strong left-to-right directionality , and so in code charts and text such as elsewhere on this page the glyphs are mirrored from the way they appear on the disc itself. From Wikipedia, the free encyclopedia. Image of the transcription for those who do not have the appropriate fonts installed. Further information: Phaistos Disc decipherment claims. Main article: Phaistos Disc decipherment claims.
Main article: Phaistos Disc Unicode block. Who Were the Minoans? Indogermanische Forschungen : — Lay summary. The Phaistos disc: a Luwian letter to Nestor.
Mark Lion above it. This traditional bread pudding is made from two layers of bread filled with a mixture of soft nor cheese, crushed almonds and cinnamon. The Foundations of Palatial Crete. There are good conditions for the growth of tourist demand for Cyprus in the upcoming years, both from the rest of Europe and from places such as Russia, the Middle East, etc. Kaye - Death in Kenya Death in. Nixon ed.
Dutch Archaeological and Historical Society. Journal of Near Eastern Studies. Kadmos Vol. Retrieved 4 Oct The Phaistos disc.
Ancient Greece. History Geography. City states Politics Military. Apella Ephor Gerousia. Synedrion Koinon. List of ancient Greeks. Philosophers Playwrights Poets Tyrants. Society Culture. Greek colonisation. Category Portal Outline. Categories : Archaeological artifacts Minoan archaeological artifacts Inscriptions in undeciphered writing systems Inscriptions in unknown languages Ancient pottery Archaeological discoveries in Greece archaeological discoveries Individual ceramics History of printing Cretan hieroglyphs.
Hidden categories: Pages containing links to subscription-only content Articles with short description Wikipedia indefinitely semi-protected pages Pages using deprecated image syntax All articles with dead external links Articles with dead external links from August Articles with permanently dead external links Articles with dead external links from March Namespaces Article Talk. Views Read View source View history. In other projects Wikimedia Commons.
AB37 TI. At the same time, the city aims to reawaken its dormant creative and productive forces by transforming its physical space into a series of fora for casual encounter, leisure and play, exchange, creativity and growth, embracing all cultures that shape its present and its future. Where is Pafos? In terms of urban structure, Pafos provides a wide field of challenges for urban and architectural reconnection. The city is split into two main locations - Ano Pafos, the upper city with administrative and residential areas of the locals and migrants - and Kato Pafos, the lower city, along the coast, hosting mainly hotels and tourists.
Moreover, the city does not offer many opportunities for encounters between locals and visitors. Ano Pafos has a relatively dense urban environment, without tall buildings, but also without public spaces for gathering or leisure, neither for adults nor for children. The leisure areas are centred in Kato Pafos, yet even these are mainly addressed to younger adults. Or the Greek Orthodox churches, the Ottoman baths, the mosque, the neoclassical buildings that attest to the long and arduous history of Cyprus through the ages; places as witnesses, mostly invisible and usually inaccessible.
A second characteristic is the existence of introverted residential complexes, with apartments owned by foreigners of British, Russian, or Scandinavian origin that are organized around semi-public spaces courtyards and pools. These spaces are used as meeting and contact venues, and have thus a genuine public character. Finally, the end of the hotel wall at the harbour is transformed into a waterside area full of life, with restaurants, cafes, shopping mostly jewellery, optical and tourist wares that display their merchandise at the side of the pedestrian walkway, creating the atmosphere of a year-round fair.
The urban space of Pafos has been shaped by social processes relating to dominant values and cultural models of preceding decades. The decisive element for its organization is information and exchange or, in other words, flow. The centre is no longer the privileged domain of the urban community, but a functional site that hosts the movement of goods and information.
The centre operates as part of a communication system; communication that is literal rather than symbolic, and of a financial rather than cultural nature. These formulations impose new manners in the use and appropriation of space: instead of the centripetal configuration of the past, the city is shaped by communication axes that connect discreet sites over great distances. Pafos is currently structured additively, as a loose array of distinct places. As the cultural function of the city centre has faded, public life has been privatized, and public spaces for gatherings and communication in the heart of the city have shrunk dramatically.
The city streets and squares now respond to heavily congested traffic. Sidewalks, parks and plazas are almost non-existent. Together with the privatization of public life and the breakdown of community life, a new world has emerged, subject to the rationale of the utile, the effective and the individual.
Everything that supported a sense of. Instead, for the sake of modern functionality, the city centre, once the "bear-it-all" of citizens, both literally and symbolically, has now been broken down into scattered yet specialized service hubs that praise utility, effectiveness and efficiency. Prominent features of contemporary life are the explosion in the rate of exchanges and the speed in the consumption of objects and lifestyles, activities and leisure. This ephemerality and instability are not attributes merely of fashion and materialism but also of established practices and values.
And yet everyone seeks some stability and security, which can be achieved through the re-introduction and reacquaintance with principles such as authenticity, the sense of place and heritage, ideals that stem from nature and the past through a selective and critical process. The urgent request that urban space be "returned" to its citizens and visitors can be met with extensive urban redesign and restoration projects; pedestrian precincts and landscaped plazas can become public spaces that invite people together and restore civic life.
Revealing the hidden and inaccessible monuments will firstly guarantee the continuation of their existence, but, most importantly, enrich the genius loci and reinforce the sense of place, history and heritage.
Envisioning Pafos Two cities, two centres, two societies, two urban landscapes, many lifestyles. And an urban culture that is dissected between the global and the functional on the one hand which suppress the symbolic, the local and the historic on the other. The challenge and the vision: the two cities must be joined, flowing into one another, making the best use of their shared advantages and eliminating, as much as possible, their drawbacks.
The urban space, and with it, the urban culture, have to be re-structured in. Understandably, it is a tough call; yet the title of the European Capital of Culture can offer Pafos the hope of achieving it. Ano Pafos and, in particular, its centre, have to be reappropriated in a new format. Its historic buildings can be restored and host a series of not only productive and educational activities, but also social occasions. Spaces for rest, leisure and cultural events are urgently needed.
Pedestrian precincts, urban squares, green corners can be redesigned and put to use as public spaces for social interaction, communication, play, or reverie. Kato Pafos, conversely, must regain its contact with the sea, and be supported by cultural activities and spaces. A new pier, bringing people closer to the water, would be an idea of re-connecting the urban space with its natural environment. It would offer a view towards the city instead of simply from the city.
Its uses could be mostly recreational - strolling, fishing, an outdoor cinema, refreshment stands and dining. A pier can attract tourists and locals alike, act as a bridge between the urban and the natural landscape, and provide Pafos with contemporary cultural spaces of high quality. Then again, the archaeological heritage cannot be overlooked. The location of the Pafos District Archaeological Museum in Ano Pafos, away from the actual archaeological sites and hard to access, has created a physical split between the space and the artefacts.
Again, it is an issue of re-connection; a new Archaeological Museum within walking distance of the archaeological park would enhance the character and importance of the place, create a new cultural pole and, through both conventional display and new interactive media, project the history of Pafos and Cyprus more effectively.
The Open-Air Factory is a format that can make this space visible - with its drawbacks and with the visions for the future. It will break up the habits of perception and settling in the stagnating attitude to say: "It has always been like that. What is wrong about it? Challenging Pafos The history of every city is tangibly crystallized in its "built" history. It is this heritage that must be exposed, made the most of, and be freely offered to the citizens.
It is only through its everyday use that the past is actively linked to the present and the future. This strong connection fortifies the identity of a community and firmly positions its local culture within a global context. Globalization has inevitably infiltrated Cypriot society, generating the uneasy feeling that global culture causes a depreciation of the cultural attributes that.
But is it necessary for a culture to surrender its distinctive characteristics in order to be up-to-date with contemporary conditions? This is simultaneously a contradiction and a challenge: a nation must ground itself in the past and project its intellectual and cultural identity whilst, at the same time, partake of international scientific, technological and political rationalism in order to participate in contemporary culture.
Local or national civilizations have to evolve as localized expressions of a globalized culture. The survival of any genuine civilization in the future will eventually depend on its ability to generate active forms of local cultures, taking international influences into account. The "built" history and the concept of re-use will have an essential part in this process of assimilation and compilation.
It is this articulation of the local and the global that Pafos aims to explore, debate, and possibly realize through the programme of the European Capital of Culture. It is an opportunity for our city to introduce and incorporate its local presence and culture in the European family, within the wider European identity; an occasion to reconcile elements from different cultures, showcasing their similarities and contradictions. Last, but not least, it is also a chance to give the city back to its people, be they Cypriots or migrants, seasonal or permanent residents; to include everyone in its social fabric and culture, celebrating unity and respecting difference.
It is estimated that of the Some of the rest are British residents, mostly retirees enjoying the year-round mild climate of the Pafian coast. There is a considerable number of rich Russian residents whose purchases of property in Pafos even prevented the market from collapsing during the recent worldwide crisis of the financial markets.
The Turkish Cypriots who used to live in Pafos have been largely replaced by Greek Cypriots displaced from the territories in the northern part of the island, who came to Pafos in the aftermath of the invasion. Migration numbers all over the island have risen considerably after Cyprus joined the EU in Migrants from Bulgaria, Romania and Poland are among the largest communities. In addition, there are about How many of these live in Pafos is hard to tell.
They mainly enter the country through the occupied. These numbers are topped by over The development of Pafos following the invasion has been based mainly on the tourist industry. As a result, two distinct areas were shaped that constitute an acute separation of the city with a great influence on the separation of the communities between locals, migrants and visitors. Kato Pafos, spreading in a linear fashion along the waterfront, has surrendered unconditionally to tourism, with hotels, residential complexes for permanent or seasonal occupation alongside services for leisure, dining and tourist commerce.
Those born and bred in Pafos reside in their own neighbourhoods within the city proper or in the suburbs or surrounding villages, and have developed a very different lifestyle. Their everyday life takes place in spaces and times other than those of the migrants and the visitors, and seldom coincides apart from weekends. Their network of relationships includes relatives and friends, almost always themselves locals. Even in their leisure time, they frequent places and businesses that they believe are "not touristy", staying away from places visited by foreigners.
Their life is split between their workplace, their home, and their car which they use to move from one to the. Hospitable but introverted, they welcome foreign visitors as long as they keep to their separate path. Their children have many friends from school and family which they meet at cafes and private homes, since there are few playgrounds and not wellmaintained.
They hardly ever use public transportation, which mainly serves tourists and migrants. Economic migrants concentrate in neighbourhoods with older and, therefore, cheaper housing stock. Here, they establish their unique ways of community life. These neighbourhoods become the sites of articulation and transition between two worlds: the one they are entering and the one left behind; classrooms where.
Our aim for the projects must be to bring the communities together, make them get to know one another, and induce them to take part in the social life of the city. This of course is a challenge of a truly European Dimension since many countries of the European Union face these radical changes in their social structures. Nevertheless, these people are not helped through the establishment of communal support structures.
There are no areas or activities enabling socialization, i. These populations need such places and institutions in order to integrate gradually and successfully into a new way of living, thinking and working that they are not familiar with. The "tourist and retirement migrants" British, Russian, or Scandinavian concentrate in Kato Pafos and the surrounding villages, residing in housing complexes that look inwards onto pools or extensive gardens. Their communities are almost autonomous, like miniature neighbourhoods or towns sprouting up within the urban and rural fabric of the district of Pafos, but without co-existing with, supporting and even mingling with the already-established.
For a rather small population of This of course is a challenge of a truly. European Dimension since many countries of the European Union face these radical changes in their social structures.
Editorial Reviews. About the Author. Marjorie Thelen lives and writes novels outside a small town on the Oregon frontier. She enjoys writing stories that entertain. Marjorie Thelen's debut novel—The Forty Column Castle—is the first mystery in a new series of I felt it truly captured the exotic, relaxed vibe of Cyprus.
How to keep up traditions, identity, and awareness about your own roots on the one hand - and tolerance, openness and hospitality on the other in the field of tension between tourism and migration? Considering this, special programmes must strive to overcome barriers. Pafos will place an effort into establishing multicommunal performing groups to help bring closer the communities by being creative through human and social dimensions: possible examples include choirs, dancers and musicians bringing together members of all communities from both sides of the divide in order to co-create projects.
Successful groups could also collaborate with other European and Middle Eastern bicommunal groups. In this effort, a "grassroots approach" in mobilizing and inspiring local citizens to engage in culture, is considered vital to the Capital of Culture programme. The promotion of the active participation of art institutions and colleges as well as ecological non-governmental organizations both in the city and its surrounding region including Galleries, the Cyprus College of Art, E.
Pafos strongly supports best-practice examples of initiatives covering a broad spectrum of cultural collaborations. One very important point where all groups converge and have to collaborate are the schools. Hence, emphasis must be given to attracting children and young people to participate in projects like "The Big Mosaic", or "Routes Cinematic Roots", bringing the pulse of the Capital of Culture into more neglected and underprivileged parts of town.
There can be no doubt that Pafos will have to make a huge effort into having the population mix and mingle and perceive the city as the common habitat that each and every one of us shares with many different nationalities and social groups. Of course, it is always important to show the people how the Capital of Culture will have a direct and lasting impact on their lives. Opening up new spaces on the waterfront and opening the waterfront toward the city will be infrastructural projects to support the impression of immediate and palpable change see chapter on urban development and infrastructure.
The importance of urban development putting an emphasis on creating spaces for social gatherings, for leisure and for "dwelling" within the public urban space is obvious and one of the long-term challenges for Pafos. Likewise the revival and integration of neglected parts of town like the former Turkish Cypriot quarter of Mouttalos with its commanding beautiful views of the surrounding beaches and settlements and the mosque restored and re-opened to the public will be important elements in helping communities relate to the long multi-cultural history of Pafos.
Children and youth Compared to other European countries, homelessness and social exclusion as phenomena have not been social features of Cyprus, either in the past including the events of or the present. Reasons are positive economic developments and active employment policies, comprehensive housing policies with a tradition to place a high value on housing and accommodation, and a strong engagement in land and housing investment as well as a strong desire to acquire a good quality of life.
The predominant reason is the strong Cypriot social economy itself, with a steadfast commitment to social cohesion and protection of the social system. Social welfare voluntary organizations actively engage in the social sphere for the achievement of particular welfare goals, and are recognized as major providers in almost every field of social welfare in Cyprus. Yet, the most important reason is that Cyprus has a deep-rooted culture of strong values and norms religious and not and strong informal networks of family and community.
All of the reasons just mentioned positively influence the youth, even though the last two have ensured, at least in very recent years, the protection, health and progressive development of children and young people in Cyprus. Throughout the turbulent years of its history, having lived with foes and friends, the Cypriot society learned to function within closed community networks which gradually developed strong social ties within and between them.
Communities had therefore developed capacities to address their social needs, without depending on public operators or organizations. Family bonds strengthened and extended to provide emotional, mental and financial support to every family member. After the events of and during the turbulent years to ensure the survival of the Cypriot society, these ties were greatly enhanced.
In recent years though, major events occurred that altered these social and family relationships. Our recent EU-membership allowed an easier flow of goods and exchanges of services that boosted our economy and provided numerous educational and employment opportunities in Cyprus for young people. It also brought massive influxes of Cypriot emigrants, foreign residents and migrants from all over Europe, America, Asia, Africa and Oceania. Prosperity combined with a relatively low cost of living resulted in a better quality of life and a good socio-economic standing for all people living in Cyprus in general.
In , the number of births increased to 9. The proportion of senior. In recent years, the same groups continue to display the same trends; however, on a district level, not much is being done to support these groups. Statistics show that EU membership, open-trading, globalization, new policies on international migration and increased touristic waves have all brought mixed blessings to Cyprus. On the one hand, they induced an unprecedented economic prosperity and population.
From one point of view, they encouraged an increase in the number of children born, but from another, they induced a breakdown of family relationships. Respectively, they promoted a society of all ages, multiculturalism and multiethnicity, yet without any reference point or guidelines, they also caused dysfunctional social relationships among groups of different ages, ethnicities, religions, cultures and in general, different ways of living. Furthermore, in recent years and due to the global economic crisis, unemployment and poverty have increased dramatically, something which has made these social and spatial patterns much more pronounced.
Children and young people are the most affected, particularly so in the Pafos District, since the latter exhibits these patterns at a greater intensity than the other districts of Cyprus. Unfortunately, so far there is generally little scientifically-documented research about children and youth available in Cyprus in order to help us provide solutions to these problems.
This is mainly due to the fact that academic institutions and,. In fact, the UN Refugee Agency has urged the collection of more data on the life and development of children and young people on the island. The festival combines films and education in a programme for children, teachers and parents. Another example is Culture in Action, a non-profit organization which organizes a cinematography summer camp named "Crossroads II" for Greek Cypriots and Turkish Cypriots.
Through the three main production lines of "Myth and Religion", "World Travellers", and "Stages of the Future", Pafos brings culture right into the city by setting the action out in the open! For thousands of years in this part of the world, the passion for culture has been acted out in the open - from ancient Egyptian Thanksgiving Dancing for good harvests to River Games on the Nile, from Hellenistic philosophical argumentation and the oratory of public speakers at the Agora to the Olympic Games, from Cretan acrobatic bull-leaping to Turkish Jereed equestrian games, from Middle Eastern ancient markets and food fairs to drama performances at ancient Greek and Roman theatres in Cyprus and surrounding countries - all have been taking action under the Eastern Mediterranean skies.
The direct bond with the natural environment has been so strong that creating out in the open became a fundamental need and, by default, a Way of Life synonymous with culture and civilization. Moreover, and especially in theatre, the landscape became an actual part of the backdrop and was taken as part of the artwork itself. Following up and capitalizing on this ancient trend, Pafos sets up a contemporary Open-Air Factory with its cultural machinery installed outdoors. The energy generated is then fed directly into the three.
Energizing the production lines mobilizes European and Eastern Mediterranean artists engaged in residency and exchange programmes to lead open-air cultural workshops very close to and accessible to the public.
Together with the support of cultural operators, the momentum generated prompts and inspires the local citizens to set the production lines of culture in motion! Linking Continents brings in an array of multi-cultural projects, residencies and exchange programmes fostering and promoting direct collaboration among local, Western and Eastern European and Middle Eastern artists, environmentalists and cultural operators.
The representative projects in the three production lines highlight the creative synergies engaging a broad spectrum of the local community including Turkish Cypriots, especially those who once lived in Pafos and relocated as refugees in the north, youngsters and students of various age groups, the elderly, ethnic minorities and new migrants as well as tourists and foreign residents.
However, operating in this part of the world can be both exciting and unpredictable. The volatile sociopolitical developments often determined by. The recent aftermath of developments in the Middle East on Marseilles - Provence has led Pafos to take this risk factor into consideration and plan with foresight, flexibility and back-up mechanisms.
The Open-Air Factory, together with the diverse array of pre-informed partners, provides the flexibility and resourcefulness necessary to deal and adapt effectively to sudden unexpected developments in the. Additionally, we seek to develop projects with the other bidding cities in Cyprus. Linking Continents encourages the crossover and experimentation of new forms of collaborations beyond the transnational level, realizing a new sense of globality that redefines our European cultural identity.
Myth and Religion Born out of the extra-marital affair between Aphrodite, the goddess of love, and Ares, the god of war, mythical Eros is a creation of polar contrasts - seemingly contrary forces - interconnected and interdependent in the natural world and giving rise to each other in turn. Beauty, joy, divinity, mysticism are the main strings weaving the stories and legends that began and evolved in Pafos and which now both locals and Europeans perceive as an integral part of their culture. A photographic competition illustrating snapshots of moments of beauty in everyday life appreciating what surrounds us.
It prompts and inspires local and European citizens to engage creatively in photography, a vocation which is very popular not only among professionals but also among amateur citizens of diverse backgrounds. Members of local ethnic communities will be explicitly invited to join and contribute with their way of perceiving beauty and joy in their new "home". An Art Competition expressing "The Cult of Beauty", extending from the ancient past to the present and "predicting" the future evolution of beauty.
European art academies are also invited to participate faculty and students.
Amateurs and professionals participate in expressing beautiful moments as well as their vision of the future course of aesthetics. The Open-Air Factory sets up outdoor projections of selected works on large building-surfaces throughout the city, making these readily accessible to all locals and visitors. Three prizes in each competition 3. Urban ugliness feelings of suffocation - created unattractive structures on the waterfront blocking the city from the sea - waste dumping in the city and the beautiful countryside.
Production Units: Pafians of all ethnic backgrounds foreign residents - Greek and Turkish Cypriots - Europeans - Israelis - Arab Palestinians - artists and photographers both professional and amateur - art and photography students. Greek and Turkish Cypriot cultural operators including E. Cyprus Photographic Society - F. Art Academies from all over Europe. Production Area: Projections on buildings and structures as well as transparent holo screens throughout the city. Linking Continents through Culinary Adventures Being able to use food as a catalyst to aid the process of intercultural communication is a way of bringing out the best of each culture and building a platform for unity and dialogue.
Food has been used for centuries to promote friendship and goodwill among people. Through an offering of something delicious, positive feelings can be channeled, promoted or expressed. Communication through the sharing of food is a common language, a bonding beyond words. The most immediate way to experience cultural diversity is through the food we eat. The cuisine of the island that gave birth to Aphrodite is filled with flavours that turn on the senses! Through an established residency programme, top guest chefs from various European countries join forces with local leading chefs in creating innovative Euro-fusion barbecue menus.
The Open-Air Factory provides the required outdoor barbecue facilities and relevant street signage, leading the public to witness the extraordinary barbecue creations prepared and cooked in the courtyard of the Palia Elektriki Cultural Centre restaurant. The conceived menus blend the tastes and cultures of participating countries from the four corners of Europe, thus highlighting European cultural diversity. They will run for two days in the presence of guest chefs, and will continue to be served for the remainder of the year.
The project starts in October with a French chef, and continues with a different guest chef from the aforementioned countries every year, culminating in with chefs from all five countries visiting Cyprus at the same time. Production Units: Established European chefs in collaboration with local counterparts - Cypriot and. European NGOs such as "Gasteraea" and the Slowfood Organization of Italy collaborate in promoting residencies of leading European chefs bringing with them their talent and expertise in creating fusion menus.
Product: Inspiration to create Euro-fusion delights. The blending of diverse culinary techniques of Europe with the barbecue traditions of the Eastern Mediterranean citizens, visitors and foreign residents learn by attending the live demonstrations, taking home with them the newly-acquired knowledge passed on by the masters - curiosity and an open mindset to experience various European customs and traditions and explore how our own blend with theirs, thus highlighting a common European identity.
Other similar open-air locations in the city can be added at a later stage. Linking Continents by re-assembling Cultural and Social Mosaics The project, which refers directly to the famous Roman-period mosaics, is inspired by the idea that Pafos has always been an open society, accepting and absorbing external influences, without losing its identity at the same time. These influences are incorporated like individual pieces of a unified picture. Its aim is to energize Youth organizations that are active in Pafos, schools as well as young people whose families live in the northern part of the island but originally come from the area, by bringing together fragments from different social, age, cultural and national groups living in Pafos and creating, with these, an independent structured show.
As a parallel endeavour, Greek and Turkish Cypriot youths will try to reconstruct a historically- and geographicallyunified Pafos from a time when the nationalistic conflict was either nonexistent or not strong enough to affect ordinary life. Like individual pieces, artfully and cohesively arranged in shaping a beautiful large mosaic, fragments from different social, age, cultural and national groups living in Pafos will function as pieces of the mosaic that can take any form: pictures,.
In weaving these fragments into a whole, the young creators will re-address the origins of their culture and discover that often the apparently disparate present forms have much more in common as we move back in time. Many of the stories, heroes, folk songs and fairy tales are common to many European people. There have always been profound interactions in the formation of culture, myths, religious rituals and artistic practices.
The Roman period mosaics in Kato Pafos are a point in case. The whole project will aim to substitute the myth of conflict with a narrative of interactive creativity. Under the guidance of professionals and teachers, groups of young people in Pafos are given the task to collect the above media. Traditional means such as drawings and written text or readily-available contemporary technology such as cameras, mp3 recorders or scanners etc. Once these are collected, they are edited and put into a structure with the help of visual artists, teachers and technicians, with the aim of being presented in a public space.
The outcome of the presentation should be determined by the young people.
It would be beneficial to have a twin project with a similar location elsewhere in Europe where similar conditions apply. Places where Cypriot migrants live, such as the UK, could be very appropriate, because this will highlight the similarities of historical experiences among people. On a bi-communal level, the "Open Khan" is instrumental in inviting Turkish-Cypriot refugees whose families had once lived in and around Pafos to participate in this.
Collaborations between Greek Cypriot and Turkish Cypriot Youth can promote creative synergies between the younger generations of both communities in conflict, and help build trust and mutual understanding. Open-Air Factory Raw Materials: The history and multiculturalism of Pafos - interaction with Greece, Turkey, Europe, the Middle East and the legacy of the colonial rule bi-communal conflict and its influence on religion, language, economy and the military - distorted different perspectives and augmented by the official discourse of the established ideologies.
Collaborations with other European and Middle Eastern institutions, particularly from cities with similar problems of sectarianism, divisions or multiculturalism such as Glasgow, Belfast, Brussels, Sarajevo and Jerusalem are currently being explored. Product: The process itself!
Pygmalion and Galatea marry and their daughter is called Paphos, after whom the city is named. Aphrodite, in turn, blesses them with love and happiness. Also mythical in aspect and dimension is the Aeolian Park in Orites near Kouklia village filled with giant rotating wind-turbines. Pioneered by Denmark , this alternative eco-friendly source of energy is the first of its kind in Cyprus and demonstrates the potential for further environmental development in this direction.
DanceCyprus responds to these juxtaposed facets of Pafos by creating Diptych - the neo-classical ballet "Galatea and Pygmalion" and the contemporary work "Power of Wind". Associated projects are site-specific presentations for the general public and educational programmes for school children, as well as the establishment of joint Summer Schools for ballet pupils.
Denmark and Cyprus mark the almost northwesternmost and definitely the southeasternmost border of the European Union respectively. Cyprus and Denmark are surrounded by very different seas and winds. DanceCyprus, co-creating with its Danish partners, will inspire, entertain and educate, building bridges between Danish and Cypriot dancers, choreographers, ballet students and schoolchildren, driving the northern and southern winds to merge into a common multicultural stream. Events built around this production are site-specific events with the student companies and ballet pupils in collaboration with the Southern Dance Academy.
The Open-Air Factory provides the setting on the foothills by the Mediterranean Sea using the Aeolian windmills as "scenery". These events are tailored a specifically for schoolchildren and b for the wider general public. With Pafos as a catalyst, this Summer School is extended so as to include Pafos as a partner. Such collaboration is worthy of support as it has strong potential for sustainability with great mutual benefits.
Production Area: The foothills by the Mediterranean Sea using the Aeolian windmills as "scenery" individual ballet schools of Pafos. World Travellers Transcontinental travel via Pafos was first launched by the goddess of love and beauty, who set off as Ishtar in Western Asia, evolved to Aphrodite upon meeting with Hellenism in Pafos, and ultimately became Venus upon reaching Rome and beyond, throughout Europe. The westbound goddess was the first to claim Pafos as her own city, ultimately putting it on the world map.
Another audacious traveller, Saul, who was later renamed Paul, began his journey in Tarsus present day Turkey , and shuttled back and forth between Jerusalem, Antioch and Damascus before finally dropping anchor in Pafos. He launched his first westbound transcontinental mission from Pafos before sailing onto Asia Minor, Greece, Italy, France, Spain and beyond. Yes, I actually visited Cyprus twice and it is as beautiful as Claudie portrays it in the novel.
I knew it would make a great setting for mystery and romance with a little humor. I was a groupie to a team of archaeologists and historians who were finishing the catalog of the finds at the excavation of the Castle of Forty Columns or Saranta Kolones as it is known in Greek. Mainly, I hung out on the beaches. Yes, they are topless. Sometimes in the evenings, I'd join the excavating team, who were delightful people from all over, for dinner by the ruins. They had many tales to tell about the history of Cyprus. Other times I went sightseeing. And what sights there are to see on Cyprus.
She'd written what I call a cozy mystery and had been attempting to find a publisher for it. She let me read a couple of chapters and I really liked it. The characters were vivid and fresh.