{"id":1349,"date":"2026-04-01T13:28:44","date_gmt":"2026-04-01T10:28:44","guid":{"rendered":"https:\/\/seremetakis.othonas.aboutdev.gr\/?page_id=1349"},"modified":"2026-05-07T10:02:14","modified_gmt":"2026-05-07T07:02:14","slug":"dimiourgontas-to-avrio","status":"publish","type":"page","link":"https:\/\/seremetakis.com\/en\/synentefxeis-mme\/dimiourgontas-to-avrio\/","title":{"rendered":"Creating Tomorrow"},"content":{"rendered":"
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Creating Tomorrow<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Magazine RADIOTILEORASI<\/strong>
Issue No. 1617, 10\u201316 February 2001<\/strong>:

ET1 Documentary, \u201cCreating Tomorrow\u201d<\/strong>
Sunday, 11 February 2001, at 12:45 p.m.<\/strong>
A documentary series comprising sixteen half-hour episodes, produced in 2000. Prominent figures from the fields of art and science reveal aspects of their everyday lives before the cameras.

Episode 5:<\/strong> \u201cNadia Seremetakis\u201d<\/strong>. The renowned ethnologist and anthropologist Nadia Seremetakis is not merely a distinguished university academic who came to us from the other side of the Atlantic to shed light on a discipline that was scarcely developed in Greece, if not virtually non-existent: anthropology. She carried out one of her most important anthropological studies in this country, spending eight years in Inner Mani. That experience, viewed through the lens of anthropological research and interpretation, was recorded in her book The Last Word at Europe\u2019s Edge<\/em>, which is regarded as one of the most important and pioneering anthropological works of our time.

Throughout her work, Nadia Seremetakis focuses on the anthropology of the senses and memory, thereby opening up new dimensions within her field. For her, the key words are \u201cthe border\u201d and \u201cthe journey,\u201d two concepts she has transformed into a way of life and creative practice, both in her everyday life and in her scholarly work.

We spent four \u201cAthenian\u201d days with her, following her through the places she frequents in the city and visiting her home, which is shaped by her own distinctive perspective, always mindful that the anthropologist\u2019s natural environment is the \u201coutside world,\u201d the field of research and\u2026
of wandering. We gained a small glimpse of this relationship during our journey to Mani, the place that shaped both her creative path and her as a person.

Anthropologist Nadia Seremetakis knows very well how to define anthropology and explain its contribution to our lives. As she herself puts it, it is \u201cthe study of people in crisis by people in crisis.\u201d Listening to her during the days we spent with her, we discovered that it is much more than that\u2014and exceptionally fascinating.

Directed by: Kostas Charalambous. Editorial supervision: Katerina Maggana. Produced by: Niki Koula-Linardou.<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Creating Tomorrow (12:45 p.m., ET-1):<\/strong>
\u201cNadia Seremetakis\u201d<\/strong><\/p>

Prominent figures from the fields of art and science reveal aspects of their everyday lives before the cameras. Today\u2019s featured guest is Nadia Seremetakis, an ethnologist and anthropologist who came to us from the other side of the Atlantic to shed light on a discipline that was scarcely developed in Greece, if not virtually non-existent: anthropology.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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ET-1, <\/strong>Sunday, 3 January 2002<\/strong><\/p>

11.45 Creating Tomorrow: \u201cNadia Seremetakis.\u201d<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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CHRONOMETER<\/strong>. Weekly Newspaper of Kavala<\/strong>,
Sunday 2\/12\/2001

\u201cCreating Tomorrow\u201d on ET1:
Documentary featuring the C. Nadia Seremetakis

<\/strong>Written by Dr Maria Papapavlou*

The dialogue among places, times and persons, whether in text or image, could also serve as the subtitle to this commentary on ET1\u2019s tribute to the ethnologist, anthropologist and poet Nadia Seremetakis. She herself had initiated this dialogue in 1983\u201384 in her early article, \u201cThe Eye of the Other: Watching Death in Rural Greece,\u201d in which she discusses the relationship of an American anthropologist and a Greek-American photographer with grieving farmers in Thessaly during funerary rituals. Her critique focuses on Tsiaras\u2019s photographs, which reveal, among other things, his cultural and ethnographic distance from the village residents. His aesthetic priorities imposed visual angles that were unnatural and incompatible with local classifications of what was considered \u201cimportant\u201d and \u201cbeautiful.\u201d

The visual representation of the Other is a particularly subtle yet visible indication of whether or not the researcher understands cultural difference. The conscious ethnographer\u2019s effort to become familiar with the \u201clocal gaze,\u201d the gaze of the Other, is evident not only in written ethnography but also in photographic and video material. This is an issue with which Seremetakis\u2019s later work is deeply familiar.

Her ethnography, The Last Word at Europe\u2019s Edge<\/em> (Greek edition: Nea Synora\u2013Livanis), now regarded as a foundational work in Greek anthropology, was published in 1991 by the University of Chicago Press, an academic publisher that had until then been largely inaccessible to Greek monographs, and offered a powerful response to documentary realism. The photographic material incorporated into the book speaks at least two languages: that of the photographer and that of the person photographed. In the text\u2014both in its content and its structure\u2014we hear two voices, the local voice and that of the researcher; we see people, places and objects engaged in an equal dialogue with one another; and we sense pluralism and polyphony, even though what we ultimately hold in our hands is only a \u201csilent\u201d book. Perhaps this is because the senses function as a chain and cannot be separated from one another?

Seremetakis addressed the mutual exchange and communication among the senses in her 1993 article \u201cThe Memory of the Senses,\u201d published in the Visual Anthropology Review<\/em>, introducing the subject of the senses into anthropology in an original way. She developed it further in her subsequent book The Senses Still: Perception and Memory as Material Culture in Modernity<\/em>, published in 1996 by the University of Chicago Press (Greek edition: Nea Synora\u2013Livanis). In this book, she brought anthropology\u2014and Greek anthropology in particular\u2014into dialogue with philosophy, archaeology, history, the mass media and cinema.

And from text back into life. For, as she would later write in The Other City of Silence<\/em>\u2014published in English and German for the Vienna International Festival 2000\u2014referring to the monumental public-memory event she organized in Kalamata in 1996, ten years after the devastating earthquakes: \u201c\u2026memory is not simply a source of ideas, but has material and sensory dimensions\u2026 Memory can be located in the emotional attachment to specific places, places that possess their own life histories and carry biographies within them. Memory can be found embodied, in miniature, in objects that trigger profound emotions and narratives. Memory is connected with sounds, smells and sights\u2026\u201d

And Messenia\u2014especially Kalamata\u2014would, through this event, see and experience for the first time the difference between culture as spectacle and viewing, the so-called cultural events, and culture as action in everyday life, as citizens entered into the process of \u201cexcavating\u201d their own objects of memory. Image and word\u2014lectures, photography and video\u2014would once again come together in a harmonious and aesthetically refined dialogue.

The brief contextual reference and analysis above, concerning a multifaceted body of work and action, seeks to emphasize that the contributors** to ET1\u2019s documentary tribute to the creator Nadia Seremetakis possessed both the knowledge and the judgement required to select the \u201cprotagonists\u201d for an educational television documentary entitled Creating Tomorrow<\/em>, as well as the necessary courage. For those of us who heard about the project, the question was whether and to what extent they would gain the \u201cprotagonist\u2019s\u201d trust, so that she would open up the subtext to them rather than merely grant them an interview, and whether the director, despite all the spatial, temporal, financial and other constraints imposed on such television documentaries, would be able to convey the \u201cdialogue\u201d between them.

If documentary realism stands at the opposite end of the spectrum from ethnographic film, this particular documentary succeeds in positioning itself somewhere between the two. From the latter, it retains the commitment to safeguarding and presenting the \u201clocal gaze\u201d\u2014in this case, that of the researcher who is herself being observed, both as a scholar and as a person: how she sees and experiences her own work, how she comments on it, and above all how she experiences culture and the cultural Other in her everyday life.

With a minimally intrusive camera, and without effects or supplementary lighting, the filmmaker allows his \u201csubject\u201d to move freely through the space\u2014to stand up, sit down, rise again, laugh and speak naturally, without the intervention of a third party, such as an interrogative journalist. His discreet gaze succeeds in conveying a sense of immediacy to the viewer. The documentary begins with Seremetakis\u2019s own narration, a retrospective journey into the past as she gently rocks in her armchair against the backdrop of her library, and continues by using her voice to accompany the images that follow. The camera approaches her sensitively, gradually familiarising the viewer with her as she speaks at times in a serious scholarly register and, at others, within the natural flow of interaction among people, in everyday language and with humour. It listens as she reads and analyses the poetry of others before reading her own poem on the theme of love.

The theme of love emerges aptly through the theme of death, moving beyond romantic conventions even as idyllic little harbours of Mani appear in the background. Their contrast with the harshness of the mountains and the dry, stone-built villages lends one of the subjects of her research\u2014the death rituals of Mani\u2014a stark austerity. An excellent choice of musical accompaniment, such as the song \u201cChenellas\u2013Chenellas\u201d performed by Nikolas Mitsovoleas, colours the images of black-clad women bent over graves, as the \u201ceye\u201d captures them during its continuing journey. Is it the eye of the camera, the director, or the researcher?

A sequence of black-and-white images unfolds one after another\u2014photographs from her many years of research\u2014allowing the viewer to witness bare moments suspended in time. In the same silent manner, her books, some of which I mentioned earlier, appear one by one. Without words, without a voice. A moment of \u201cstillness\u201d within the flow of everyday life, as she herself had written earlier in The Senses Still<\/em>, leaving behind the sense of an encounter with another world.

The next scene, set inside her home, takes us into other worlds. We encounter her among the objects and memories that surround her, all originating from exotic places far from Greece\u2014places of research and continual wandering. Her words alternate with a piece of African music, drawn from or inspired by her own record collection. These are indeed the moments when the dominance of speech recedes, and music and image become the means that carry the viewer into the magic of travel. A life journey across different places\u2014geographical, scholarly and aesthetic. Poetry in motion.

And when the journey ends, you want to begin it all over again. Returning to the opening, you notice moments you had missed. In the first scene, as the titles appear, we see a series of \u201cposes\u201d entering into a gentle swirl, while the movements of her body and hands make her seem almost to be dancing as she approaches us. The director \u201creveals\u201d a hidden dancer. I do not know whether he was aware of this aspect of her life and did it deliberately, or whether what she herself has often said simply happened in practice:
\u201cPhotography is not the act of capturing the Other. It is that moment within movement when the photographer\u2019s gaze \u2018catches\u2019 the gaze of the other. This momentary \u2018stillness\u2019 within the flow is photography.\u201d

The success of this thirty-minute documentary lies primarily in this dialogue\u2014a sensitive dialogue capable of conveying far more than what is merely spoken.

* Dr Maria Papapavlou is an anthropologist and teaches in the Department of Greek Philology at Democritus University of Thrace.

** Documentary credits: Kostas Charalambous, director; Nikos Kanellos, camera; Katerina Maggana, editorial supervision; Niki-Koula Linardou, producer; music supervision: Stavros Papastavrou.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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PAMMESSINIAKI Newspaper<\/strong>Fabruary 2001

Nadia Seremetakis<\/strong>
In an ET1 Documentary<\/strong>

It has a duration of thirty minutes and was broadcast on Sunday, 11 February. It is one of the five episodes in the series Creating Tomorrow<\/em>, which focuses on prominent figures from the fields of art and science and reveals aspects of their everyday lives before the cameras.

The documentary on Nadia Seremetakis initially focuses on her work, which constitutes a major contribution to the field of anthropology. Her most recent anthropological research in Mani lasted eight years. Her findings and conclusions were incorporated into her book entitled The Last Word at Europe\u2019s Edge<\/em>. This book is regarded as one of the most important and pioneering anthropological works of our time.

The television camera followed Nadia Seremetakis over four \u201cAthenian\u201d days, accompanying her through the places she frequents in the city and into her home, where she has created an original and comfortable study.
This is a carefully produced television documentary that presents Nadia Seremetakis, both as a scholar and as a person, with sensitivity and discretion. Through her, it also highlights the value and importance of anthropological studies.

The documentary was directed by Kostas Charalambous, with editorial supervision by Katerina Maggana. It was produced by Niki Koula-Linardou. A small glimpse of this relationship with wandering was offered through the journey to Mani, the place that shaped both her creative path and her as a person.

Anthropologist Nadia Seremetakis knows very well how to define anthropology and explain its contribution to our lives. As she herself puts it, it is \u201cthe study of people in crisis by people in crisis.\u201d Listening to her during the days we spent with her, we discovered that it is much more than that\u2014and exceptionally fascinating.

Directed by: Kostas Charalambous. Editorial supervision: Katerina Maggana. Produced by: Niki Koula-Linardou.<\/em><\/p>

\u00a0<\/p>

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\u03b4\u03b5\u03bd 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