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Showing posts with label museum. Show all posts
Showing posts with label museum. Show all posts

Thursday, 16 October 2014

A family visit to the Museum

Angeliki arranged for the family including Liz and Sophia, to see inside the Aristeidis Metallinos Museum one Wednesday morning
“My parent's house is full of children. Let me take you all for a coffee at Stamati’s after your visit” she suggested
Given the logistics, I was delighted we were all ready just before noon. At the door of the museum Angeliki let us in.
Liz and Sophia in the Aristeidis Metallinos museum
It was a short visit – maintaining the connection – but I learned a little more. Liz had never seen the place. She harboured ideas of 'naughty carvings'. I liked her reaction to the laic sculptor's sequence ‘from the history of women'. Aristeidis, without, so far as I know, a scintilla of reading about feminism, has traced, in five carvings, his view of a puzzling, but most definite path from beast of burden via male symbols made androgynous, breasted flightless cockerel, an intercontinental missile guided by its rider, to the power source – a fecund bud and breasts. Whence came these images? First stolid and grounded, then springing, soaring?
Aristeidis Metallinos, his gaze - 'from the history of woman' (1978)
Imagine them placed and lit by a skilled curator. There are more direct works...
Aristeidis' take on Eve and original sin 1982



Aristeidis Metallinos The Queen of the World 1983 (Cat 46) "who will bring peace and love to the world"
...but that sequence seems most original, sticking in my mind, ringing no bells of connection to similar images from other hands. Alexandra Moschovi has encouraged me to run these works beside events of the artist's time. Angeliki told me over coffee at Piatsa, that her grandfather, having taken a bus from Ano Korakiana to the city, went to watch films there. Some would, like The Saint of Preveza,  from a non-fiction novel by Spyros Karatzapherēs Σπύρος Καρατζαφέρης, been erotic and sexually explicit, while disappointing the eye of an audience seeking pornography.
Mark told me that there was also a drive-in cinema on the outskirts of the city which showed porn films, but these at the Oasis were films breaking rules of imposed and self-imposed censorship before and after the departure of the Colonels; in this case the director Dimitris Kollatos Δημήτρης Κολλάτος testing the limits then and now (see also)
"My grandfather went on his own, on the bus" said Angeliki
"Not with Eleni?"
"No he was a typical Greek man in that respect. His wife stayed at home, with the children, doing the cooking..." She smiled at this.
The family with Angeliki Metallinos (centre) at Piatsa the other day (photo: Stamatis Savannis)
Later Stamatis told me that in those days Ano Korakiana was served by more buses taking villagers and visitors in and out of the city.
"Many people from here would go there for the day, the evening. There was an open air cinema near Sa'Rocco called Oasis (Stamatis pronounced it with a short 'a' ... O- as - is). You could sit and have food and drink watching a film."
Later still Richard Pine told about the cinema in town. except that when i went there one of the Marks & Spencer staff told me the cinema was called 'The Palace'. Was there another nearby. Certainly the space inside the shop, which has been there 15 years, is large enough to suggest a spacious cinema where I could imagine Aristeidis Metallinos coming to watch films in the 1970s and 80s.
The Palace Cinema? The Oasis Cinema? Now Marks & Spencer near Sa'Rocco Square
But then I asked about the Oasis when I was buying at giros to take away from George's in Kontokali and he asking a customer found me someone who sais "No it's not the Palace. There was another cinema, open only in the summer, open air in Odos Marasli, which runs the town side of the British Cemetery and the Prison, off Mitropoulos Methodiou and Menekratous. I’ll stroll down there and make enquiries of men with grey hair.
I've been imagining the self-taught sculptor's anticipation on the bus from the village; the watching, perhaps discussion - or did he sit alone? And afterwards...reflection, as the bus wound back to his village, Aristeidis' already sketching on a split-open cigarette packet, itching to set-to on marble with chisel and mallet.
The Saint of Preveza







I asked Stamatis about reaction to the showing in the 1980s of the film about Stylianos Kornaros, the bishop who'd had a scandalous affair with the wife of another bishop.
"In the town there were demonstrations against the showing;" Stamatis told me "Priests and religious people protested."
There are churchmen the laic sculptor carved in high regard...
Makarios Μακάριος by Aristeidis Metallinos 1974 (Cat 7)

*** *** ***
Just caught the bus to Ano Korakiana - "€2 to the village please"
We’ve made ourselves car free; concentrating on the local circumference encourages walking. Amid rain I dropped off the car at the airport, unloaded my folding bicycle; scurried into town between downpours. Awaiting my 12.15 bus to the village I sat with a diplo skirto and a brandy beneath an awning. Rain washed the city, scouring gutters, clearing downpipes, sweeping the marble paving, pouring into bubbling drains. Waterlogged waist down, I sat with one other passenger on the green bus back to the village with a towel over my knees. One more day the rain continued. Mist occluded our space. Washing accumulated. Two evenings I lit our stove, to Lin’s protests. On the third afternoon a long margin crossed the sky – its precise cloudless side, ours for the rest of a hot drying afternoon. These salady October days have run for twelve days,  welcoming our mornings with bright slivers and sharp shadows, even as the evenings draw in, and I add a long-sleeve shirt over my daily T-shirt and shorts.
Walking below Ano Korakiana with my beloveds

Monday, 14 October 2013

Ano Korakiana in relief ~ Αριστείδης Μεταλληνός

The Aristeidis Metallinos Museum on Democracy Street in Ano Korakiana

After we visited the museum in the village - after a few years waiting and hoping - Angeliki Metallinos  followed up our visit last Monday by allowing me to publish photos of her grandfather's work. They include marble reliefs about life in Ano Korakiana. As it was.
The cat in the bakery (Images of the sculptor's work posted with permission from the family)

A family in their donkey cart carrying wine-skins (or are they olive oil skins?)

Women of the village washing clothes

Hunting small birds for the pot

Milking the goat

Pressing the farmer's olive oil

A peddler arrives in the village

Ploughing with oxen

The village smithy

Spinning wool

Treading wine
Cutting planks with a two man frame saw

Distaff and flute in the olive groves









The family in the countryside
These reliefs represent a small part of this rich collection, their tone - innocent presentations of the remnants of a pastoral economy, enchanting and without irony or rancour, yet within the sculptor we know there is far more to see and understand. See Metallinos' comments on parliament...
'Parliament of animals - we want justice'. Aristeidis Metallinos


and these two on the telephone...
"I wait for you"

Re my blog entry 'What makes a village?', Aristeidis' record of Greek village life, brought to my mind the TV programmes - Out of Town and Old Country of my stepfather, Jack Hargreaves and, of course, the lifelong studies and books of Dorothy Hartley, who I met once long ago in London.
*** *** ***
From the Ano Korakiana website, words on distortions in current political situation by Nikos Fakiolis
Οι λόγοι που παρέσυραν μια μερίδα ψηφοφόρων

Γράφει ο/η Φακιολάς Νίκος
09.10.13

fakiolasn.jpgΈνα πολιτικό κόμμα είναι οι ψηφοφόροι του και πρέπει να παραδεχτούμε ότι μια μερίδα συμπατριωτών μας παρασύρθηκαν και ψήφισαν επιπόλαια ένα εγκληματικό, «πολιτικό» μόρφωμα που εμφανίστηκε στο προσκήνιο προβάλλοντας υποκριτικά κάποια απαράδεχτη και ανιστόρητη για τους Έλληνες και την ιστορία τους ιδεολογία και μια σειρά παραβατικές πρακτικές. Είναι όμως τα χαρακτηριστικά του πολιτικού αυτού μορφώματος που προσέλκυσαν μια μερίδα του εκλογικού σώματος που δεν το εκφράζει και αναντίρρητα καταδικάζει την τυφλή βία, από όπου κι αν προέρχεται;
Πολύ πιθανόν έστρεψαν τους πολίτες σε αυτό κάποιες πραγματικές ή ενδόμυχες ανάγκες τους. Η στάση τους γίνεται κατανοητή, μπορεί να ερμηνευτεί, αλλά δεν δικαιολογείται.
Οι πολίτες στρέφονται σε ακρότητες καθώς είναι αγανακτισμένοι με όσα συμβαίνουν στο οικονομικό και πολιτικό σκηνικό και ψάχνουν οπουδήποτε στα τυφλά να ξεφύγουν από τα αδιέξοδα που τους έχει οδηγήσει η κυβερνητική πολιτική και τους έχει εξαντλήσει. Η αγανάκτηση δεν έχει όρια ή λογική.
Πιστεύουν στα κηρύγματα περί εθνικισμού των εκπροσώπων αυτού του εγκληματικού μορφώματος που βρίσκονται σε διαμετρική αντίθεση με το ναζισμό που τόσα δεινά έχει επιφέρει στην Ελλάδα.

Με αφέλεια υποδέχονται τις υποκριτικές υποσχέσεις ότι τάχα θα τους δώσει λύσεις στην ανεργία και την οικονομική ύφεση αυτός ο πολιτικός σχηματισμός που δεν έχει κανένα πρόγραμμα εξόδου από την κρίση ή σχετικές προτάσεις. Αντίθετα, προστατεύει την πολιτική του κεφαλαίου και στρέφεται φαινομενικά εναντίον των μεταναστών, καθώς η λαθρομετανάστευση  θεωρούν ότι ευθύνεται για μεγάλο μέρος της ανεργίας ανειδίκευτων και η παρουσία τους αποτελεί μεγάλο πρόβλημα για την Ελληνική κοινωνία, και παράλληλα εκδηλώνεται εναντίον όσων εκφράζουν με οποιοδήποτε τρόπο αντίθετη γνώμη……
(συνεχίζεται)

Παράλληλα, οι εκπρόσωποι του «πολιτικού» αυτού μορφώματος υποκρύπτουν έντεχνα την πραγματική νοσηρή ιδεολογία τους και υποτίθεται καταδικάζουν τις παραβατικές πράξεις μελών τους ή αποστασιοπούνται από αυτά. Μερικά θερμοκέφαλα μέλη ισχυρίζονται ότι από τη μια μεριά διαψεύδουν για τυφλούς και κωφούς όσα έγιναν από την άλλη ότι πρόκειται για προβοκάτσιες με στόχο τα τάγματα εφόδου που συντηρούν, αλλά θα έκανε κάποιος πολιτικό παιγνίδι με βία και φόνους για να τους χρεώσει στα μέλη τους;
Οι πολίτες πιστεύουν στην ειλικρίνεια  των φιλανθρωπικών δράσεων των μελών του ναζιστικού αυτού κόμματος που γίνονται για ορισμένους ελκυστικές και καλύπτουν περιστασιακά κάποιες ανάγκες, όπως διανομή τροφίμων ή ρούχων μόνο σε Έλληνες, η υποστήριξη ηλικιωμένων, οι επιλεκτικές! ρατσιστικές αιμοδοσίες, η διανομή χρημάτων άγνωστης προέλευσης σε μέλη. Οι δράσεις αυτές είναι υποκριτικές και απευθύνονται και εκμεταλλεύονται με αναιδή τρόπο τις ευαίσθητες χορδές των Ελλήνων.
Η προσφορά εργασίας και κάποιου εισοδήματος σε οπαδούς του κόμματος με απαράδεκτα ανταλλάγματα, όπως παράνομη προσφορά προστασίας σε μαγαζιά, άτομα ή επιχειρήσεις με το αζημίωτο.
Ικανοποιούν το αίσθημα των αδύναμων πολιτών που θα ήθελαν να πάρουν αόριστα και τυφλά εκδίκηση από όσους θεωρούν υπεύθυνους για την κρίση και οι ναζιστικού τύπου βιαιότητες έχουν τέτοια τυφλά χαρακτηριστικά, ενώ πολλά πλημμελήματα μπορεί να καλύψει η βουλευτική ασυλία ορισμένων «πρωτοπαλίκαρων».
Άλλοι πολίτες οδηγούνται σε αυτούς από δυσπιστία στη δυνατότητα του αντιμνημονιακού μετώπου να εφαρμόσουν όσα επικαλούνται και να δώσουν λύσεις στα αδιέξοδα της Ελλάδας.
Διάφοροι έλκονται από την αυστηρή ιεραρχική δομή, τη στρατιωτική πειθαρχία! και τη σωματική ρώμη των ταγμάτων εφόδου από μισθοφόρους, ακόμα και ανήλικους, που συντηρεί και εκπαιδεύει η εγκληματική αυτή συμμορία.
Ορισμένοι πολιτικοί σχηματισμοί ή φορείς αισθάνονται ότι επωφελούνται από παράλογες και ακραίες πράξεις και τις ευνοούν ή τις ανέχονται ή επιδιώκουν τον αποπροσανατολισμό της κοινής γνώμης από επίκαιρα, ζωτικά προβλήματα, όπως είναι σήμερα τα προβλήματα της παιδείας, της υγείας, της διαθεσιμότητας και των απολύσεων των εργαζομένων της καταρράκωσης των εργασιακών δικαιωμάτων ή της καταστρατήγησης της συντάγματος..
Έχει δοθεί μεγάλη δημοσιότητα στις πράξεις των εκπροσώπων του ναζιστικού «πολιτικού» μορφώματος και αυτό μπορεί να το ευνοήσει δημοσκοπικά και την εκμεταλλεύεται, έστω και αρνητική για να βρίσκεται στο προσκήνιο. Σε αυτή την παγίδα πέφτουμε όλοι, κι εγώ δυστυχώς, με τη σύντομη αυτή δημοσίευση.
Πραγματική συμβολή των δημοσιογράφων θα ήταν, αν ρωτούσαν τους λαλίστατους εκπροσώπους του «πολιτικού» αυτού μορφώματος ποιο είναι το πρόγραμμα τους, πέρα από τα  εύκολα συνθήματα, για να ξεφύγει η χώρα από την κρίση και ποια μέτρα έχουν την πρόθεση να πάρουν σε αυτή την κατεύθυνση.
Το καλύτερο μέτρο για την ομαλοποίηση του πολιτεύματος και την προστασία της δημοκρατίας θα ήταν η κατανόηση των πρακτικών και η απομόνωση των μελών αυτής της εγκληματικής οργάνωσης, ιδιαίτερα η απόλυτη συρρίκνωση της κοινοβουλευτικής της παρουσίας που της αποδίδει προσχήματα, της προσδίδει δικαιώματα και καλύπτει εγκληματικές πράξεις των μελών της. Αυτό μπορεί να το επιτύχει άμεσα και ανώδυνα ο λαός που της έδωσε με την ψήφο του δικαίωμα  ύπαρξης και λόγου. Μπορεί να την εξαφανίσει.
Έργο του πολιτικού μας συστήματος θα ήταν η ριζική αλλαγή της δημοσιονομικής και κοινωνικής πολιτικής που οδηγεί την Ελληνική κοινωνία σε επικίνδυνα αδιέξοδα που αναθερμαίνουν τη φωλιά του φιδιού και κυοφορούν την αποδόμηση της κοινωνικής συνοχής. Νίκος Φακιολάς, Δρ. κοινωνιολογίας

τ. Δ/ντής Ερευνών ΕΚΚΕ, Παν/κός

Saturday, 12 October 2013

Work


The wardrobe that we are making in our bedroom, from a mix of new and old wood, has been added to. A window frame found by the roadside and stored in our apothiki is now in place. Yesterday I picked up a small cupboard door by bins below the village and that too is now part of our construction. We await one more pine drawer from England. It should arrive with other furniture brought from Brin Croft next Tuesday afternoon, courtesy of Daniel Blom. There's lots more to be done including stripping all the white paint from the old wood.
*** ***
So we visited the Metallinos Museum and were entranced.
The sculptor and his granddaughter Angeliki Metallinos


Αριστείδης Μεταλληνός - the man sits at work on a ram (a photo of him in the background of my picture) wearing a shepherd's woollen hat - as we see on countless images of the island saint. His art is almost unknown, even on Corfu, let alone the wider world. It seems he never wanted to sell his art, meaning it for and about his village, Ano Korakiana. The proliferation of stone and marble pieces in three small spaces on floor and shelves is overwhelming. The man was entirely self-taught. I'm only starting to take it in, but I understand that this work was only begun when, aged 67, Metallinos having been a craftsman -  cobbler, and maker of furniture, ovens and olive millwheels - found the time to become a sculptor. He continued on his collection, creating 250 pieces, before his death in 1987.
Aristedes Metallinos the cobbler

Wednesday, 9 October 2013

Cheese dream days

“It’s a cheese dream day” said Lin
“Go on”
“On days when it rained too much to go out, my mum promised 'cheese dreams' – cheese spread on buttered bread and fried”
“Toasted cheese sandwich”
“No 'cheese dreams'”
It has rained from the afternoon. I’m in vest, shirt and sweater. At night we need the quilt. Summer’s furnace light no long leaks through shutters, dancing bright motes of dust and sparkling mum's little chandelier we brought, so carefully packed, from Scotland.
“A few more days like this and the house will have lost the heat in its walls”
“We’ll be lighting the stove. Putting on our electric blanket”
But for brief patines of silver on the sea, rain and clouds advance our landscape from the south. There’s still an absence of the penetrating cold I take for granted in the Highlands, which - plus grief - set me back last winter until we returned to Greece at the end of March, when 30 minutes with a Greek doctor cossetted me to health, along with antibiotics an English GP wouldn’t prescribe, plus generous possets, at the Pyrgi doctor's suggestion, of chicken soup from Cinty down the road.
On Wednesday in sunny weather I was helping Lefteris, Foti and Adoni with pressing the last of their wine – some juice from Zakinthos grapes but some, this year, from Lefteris’ own garden, the weather not so hot as to wither them on the vine as has happened the previous two years.
After the final turn of the screw the press is unscrewed and taken apart and we dig our hands into the spongy cake of tsipira (what we call pomace) pulling it out in crude wedges to add to the garden compost.
Lin and I were invited to lunch as a reward for our help (as if helping is not reward enough!) and we laughed and enjoyed small crispy skinned fried fish, cold cod, bean soup, salad, bread and wine with all the family. We lingered as conversation grew into debate
“We are talking Politics” explained Natasha in English. You know Golden Dawn?”
 “Ne” I replied “Chryssí avga χρυσή  αυγά”
I know quite well the difference between αvgí and αvga, but, having decided to call them the 'eggvolk' I thought I’d try it out on Greek neighbours and was rewarded with hilarity. Lefteris observed how well the BNP are doing in UK, mentioning a double figure percentage he’d seen on TV. “They are thriving on present misery” we agreed.
I disagreed that the British National Party was having as much success in the UK as Golden Dawn in Greece; rather the opposite.
Cinty’s view, she shared with me later, is that one thing a lot of young Greeks especially won’t stand for, people who might, because of the crisis, be inclined to sympathy with the eggvolk, is the suppression of a right to speak your mind...“with the murder of Pavlos Fyssas they have shot themselves in their Greek foot”
*** *** ***
Lin and I have been using the rain to work indoors on the wardrobe in our bedroom. She's taken over management after I retreated frustrated at the intractability of the angles involved.
Drawers from Brin Croft; doors recovered from beside wheelie bins below Ano Korakiana
Under her guidance I’ve been planing and trimming surfaces, creating angles that accommodate the illogical geometry of the space in which we’re working. Shavings and saw dust proliferate but it’s slowly and steadily coming together.
This Saturday evening there was a knocking at our door. It was Angeliki and her mum Anna Metallinos. No they wouldn’t have a drink, wouldn’t stay, but asked if we’d like to come to the village museum.
“We never knew you wanted to see it. I’m so sorry”
This ισ a conspicuous slightly narrow building in the centre of Ano Korakiana we’d given up hope of visiting.

In the seven years we’ve been here it has never been open. Tactful attempts to seek an invite had not succeeded. We’d decided that the Metallinos Museum was not one, in the sense we had understood the term; not really a place open to visitors; rather a private house that happened to be called ‘ΜΟΥΣΕΙΟ’. A plaque tells passersby in Greek and English that ‘In this house lived and created his great work of art the first self-taught popular from Corfu sculptor Arestides Zach.Metallinos’. Two days ahead – meta-avrio - at 10.00 suited our bi-lingual friend and neighbour Cinty. She agreed to join us to help with conversation.
**** ****
I got an email from our solicitor in Scotland:
Dear Simon and Bay. Just a quick note to confirm that the sale of Brin Croft and the Lochan has successfully settled. The Purchasers’ Agents have authorised release of the funds and accordingly the keys have been handed over. With kind regards. Yours sincerely,  James Wotherspoon. Macandrew and Jenkins WS LLP
I could hardly not be anything but beholden to a house that stood close above the sweet river Farnack where, with my sister, I’d sat with mum as, at teatime on November 1, she breathed her last. The sale for a sum that derided shared pessimism and a rather mean Home Report – required in Scotland – vindicated mum’s good choice
Barbara, and her grandson Richard, at Brin Croft

*** *** ***
It seems hardly possible but it looks as if I may get my wish - a loose footed mainsail on Summer Song. I'm not a fan of the almost universal rig of modern yachts over the last 50 years - the Bermudan - preferring gunter or gaff. The Bermudan mast feels too tall. The sail though elegant is unwieldy and without a generous belly, and, in a world of sudden squalls, not easy, especially when single handed, to lower or even reef in a hurry. (see - parts of a sail) In the search for a seamless luff the Bermudan main is near married to its mast, running up a groove or hanging on slugs in that groove; an arrangement that's all about getting a tight luff to improve sailing close to the wind in competition - no great concern of mine. Summer Song's main has been a challenge when it come to reefing or furling.
Summer Song's main is a handful to furl or reef

Her previous owner, Norman, had been wont to stuff towels in the canvas he rolled round the boom to try and give Summer Song's main a wind-friendly shape when reefed. Imagine doing that in a sea and a stiffening breeze. So Dave has been drawing diagrams.
At Sally's Bar in Ipsos, Dave draws a loose footed furling main for Summer Song. Rob Groove looks on.

At first we thought of using another genoa rigged in the main triangle, but now he's found a mainsail that rolls up between head and tack, like a roller reefing jib; the type that reefs into a 'box' attached all up the back of a Bermudan mast; almost universal on modern charter boats. On the clew there's a sturdy pulley linked along the boom to a roller furling gear just below the gooseneck. All up the luff runs a stiff length of aluminium around which the mainsail furls and unfurls. The furling sheet runs from the clew pulley, just above where the main sheet attaches, to the furling gear and back to the cockpit so that both main and jib can be reefed from there.
"Blimey Dave! Make it happen"
"I've got the main and I think there's a furling reel fell in the sea up by the harbour. I'll go look in a moment"

Monday, 16 April 2007

Arestides Zach Metallinos


Arestides Zach Metallinos museum
Originally uploaded by Sibad.
There's a fine building about 100 paces east of our house on the narrow platea next to the kafenion with a detached balcony looking south with room for a table and chairs. The museum has always been closed when we've been by - only a matter of weeks between November and now. I'm curious to know more about this artist. Some of his sculptor is on display on a smaller balcony facing Democracy Street,

Tuesday, 3 April 2007

Democracy Street, Corfu, Greece


Democracy Street, Ano Korakiana Originally uploaded by Sibad.
DEMOCRACY STREET - the one we know - is in a village on Kerkyra or Corfu (Κέρκυρα), an island in the Ionian, close to the coast of Epirus, which includes Albania and the Greek mainland. The main town, which feels like a city, is also called Corfu. Ano (Upper) Korakiana - Ανω Κορακιανα - [Κόρακας means raven or crow] is in the widest part of the island on the slopes of the Troumpetta range - an hour's cycle ride, for me, from the port. Democracy Street runs through Ano Korakiana past the church of the Archangel Michael, past the Arestides Metallinos Museum, the school, a kafenion with views towards the mainland, the bandstand and the cluster of houses known as 'Little Venice' (for its architecture), turning north up a sinuous road past the small church of St.Isadoras, to Sokraki and over the mountains to the north coast. Westward, Democracy Street passes three general stores and surgery to a hairpin bend that leads to choices - one road running eastward again, almost parallel to Democracy Street (linked to it via steep footpaths between tightly clustered houses) to Ayios Markos and the sea at Pyrgi and Ipsos joining a north-south road along the east coast, another southwards via Kato (lower) Korakiana to the capital, and another westward to the sea via Skripero to Paleokastritsa on the west coast or Sidari in the north west. * * * Small facts gleaned from the web - which keep reappearing and need checking: Ano Korakiana - Άνω Κορακιάνα - is 18 kilometers from Corfu Town, about 3 from Ayios Markos. Its population in 1991 (last census) was a little more than in 1981 at 1400 - which is not the village trend. It has an orchestra founded in 1958 and a musical tradition going back to 1623 with the foundation of the Mantolinatas of the Pope (for which I will need an explanation). Ano Korakiana has 37 churches - the most interesting, to Byzantine scholars, are Saint Nicholas, the Archangel Michael (next to 208) and Saint Athanasios. The local school, a few metres east of 208, contains a small folklore collection. We heard from our friends in AK it was at risk of closing and being replaced by a psychiatric unit (What's new?). It's the birth village of the Greek actress Rena Vlahopoulou who died in 2004 at 81. She is quoted saying "I catch the boat from Patras and as I board I say to myself, now I’m at peace. I’m on my way home to Korakiana, I’m going to see my things, those who are close to me. I feel that Corfu embraces me every time I arrive." How true and I'm not even Greek, let alone Corfiot. Villages are being transformed all over the world. AK is probably no exception when it comes to a sustained communal core amid the foreign settlers and semi-settlers. It's not a 'tourist' village yet. The kafenion is open only at exclusive times. There's no restaurant or shop selling things other than provisions for residents. Notices are in Greek. Music practice can be heard at various times and chat in various registers - from outbursts of maternal invective, steady conversations, greetings, laughter, TV soap dialogue, monotonous sports commentary and chirruping domestic banter interspersed with the clinking of hardware in sinks, the acoustic of gossip shifting, as it comes outside, for washing to be hung or garden worked.

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Simon Baddeley