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In First Person by Nouli Tsagkaraki Presented in Athens

In First Person by Nouli Tsagkaraki Presented in Athens

1 Comment / News /

Athens, November 30, 2024 – In First Person, the latest literary masterpiece by acclaimed author, poet, and columnist Nouli Tsagkaraki, was officially launched at the Panhellenic Union of Writers in a heartfelt event hosted by Writers International Edition.

The book, a collection of 43 deeply introspective monologues, explores the intricacies of human emotion and societal undercurrents. Tsagkaraki’s eloquent writing brings to life characters whose confessions are both personal and universally relatable. Through their voices, readers are invited to reflect on their own lives, relationships, and unspoken needs.

Speaking at the event, Dr. Anthoula Daniil, a prominent philologist and literary critic, offered an insightful analysis of the book’s themes. Highlighting its exploration of the human condition, she praised Tsagkaraki’s ability to evoke deep emotions and provoke meaningful introspection. The event also featured dramatic readings of selected monologues by actors Eudokia Pavlidou and Dimitrios Moschonás, whose performances captivated the audience.

Nouli Tsagkaraki is widely recognized for her significant contributions to literature. As the Public Relations Officer of the Panhellenic Union of Writers and an editorial team member of the international magazine Writers Edition, she has played a pivotal role in promoting literature and cultural dialogue. Her achievements have earned her the title of “Visionary Greek Author” from the Writers Capital International Foundation.

The presentation was a celebration of not just the book but the transformative power of literature itself. In First Person delves into the depths of human experience, offering readers a journey of self-discovery and societal insight.

The book is available at leading bookstores across Greece, including Ianos in Athens and Thessaloniki, and Symmetria, as well as online platforms serving Greece and Cyprus.

For more information, contact:
Writers International Edition
Tel: 210 9407126

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Global Nexus Series of international Conferences Inaugural Session.png

A New Era of Scholarly Exchange: The Global Nexus Series Takes Flight

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The inaugural session of the Global Nexus Series of International Conferences took place on 1st December 2024, marking the beginning of a landmark initiative aimed at fostering global discourse on literature, nature, and society. With the theme “Writing for the Earth: The Role of Nature in Contemporary Literature,” the event brought together distinguished scholars, writers, and intellectuals from around the world. This first session of the series, which extended for over four hours, set the stage for a multidisciplinary exploration of ideas with the potential to shape societal progress.

The evening commenced with a warm and eloquent welcome by Dr. Aparna Ajith, the host of the session, whose words captured the essence of the conference’s vision. This was followed by the welcome speech delivered by Irene Doura Kavadia, Secretary-General of Writers Capital International Foundation (WCIF). Irene’s address resonated with the foundation’s commitment to global unity and creativity, underscoring the significance of nurturing nature-centric literary practices to protect our planet.

Dr. Meenakshi Mohan, Chairperson of the Global Nexus Series of International Conferences, delivered the presidential address. Her speech emphasized the pivotal role literature plays in shaping societal consciousness and promoting environmental stewardship. Her reflections inspired the audience to envision the transformative power of interdisciplinary dialogue and collaboration in addressing global challenges.

Padmabhushan Dr. Pratibha Ray, Jnanpith Laureate and one of India’s most celebrated literary figures, delivered the inaugural speech. Her profound insights on the interconnectedness of human lives and nature captivated the audience. Dr. Ray’s words were both a celebration of literature’s ability to mirror nature and a call to action for writers and scholars to use their craft to inspire environmental consciousness.

The session featured two major launches that marked milestones in the conference series. Prof. (Dr.) Nandini Sahu, a distinguished author and former director of IGNOU, unveiled the website of Nexus Review, an international peer-reviewed journal that will feature academic papers presented during the conferences. The announcement of a forthcoming print edition was met with enthusiasm, promising a platform for groundbreaking research and dialogue.

In addition, Quill Compendium 2024 was launched by renowned writer Ambika Ananth. This significant publication reflects the intellectual and creative achievements of participants and celebrates the power of literature to connect minds across borders.

The session was moderated by Dr. Bhumika Sharma, Head of the Department of English at the Central University of Rajasthan. Dr. Sharma not only guided the discussions with exceptional clarity but also enriched the audience’s understanding with her insightful observations. Her ability to interweave academic rigor with accessibility made the session both intellectually stimulating and engaging.

The inaugural session concluded on a high note with remarks from Dr. Milon Franz, a member of the steering committee. He highlighted the multidisciplinary nature of the series, envisioning it as a space for diverse dialogues that would foster positive societal change. The session left participants inspired, eager to engage further in upcoming events that promise to cover a broad spectrum of topics across various disciplines.

The first session of the Global Nexus Series of International Conferences was a resounding success, bringing together a confluence of ideas and perspectives. With its unique blend of literary focus and global discourse, the conference has laid the foundation for future sessions that will continue to explore the intersections of literature, culture, and societal progress. The launch of Nexus Review and Quill Compendium 2024 further signifies the commitment to academic and creative excellence, ensuring that the voices heard during these events resonate far beyond the conference halls.

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Abhilash Fraizer

The Night of Weeping Candles

Leave a Comment / Fiction /

“You should have come at least…!”

Marta spurted out these words between her strangled breaths of anguish.

“I never knew that you could be so inhuman. I’m ashamed of you now… literally!”

No one had heard Marta’s voice so coarsely and bitterly resounding, as yet. Nevertheless, those words of heightened agony made little impact on her brother Lazar’s face. Neither did his composure vanish.

“Don’t you feel like shedding a drop of tears at least? Are you a human being?” Marta finally exploded, mainly infuriated by Lazar’s stoic silence. With that yell, Marta disappeared into another room of that big house with loud, resounding footsteps.

Mary was somewhere there inside, still sobbing in a subdued manner.

One could hear Marta’s bitter murmurings from the kitchen, reverberating along with the clang of the utensils:

“Everyone needed the Master during his good days. He walked among us doing good to all. And what all good things to enumerate! He loved us selflessly. Lazar, you are the one he loved the most. Think about that day he raised you from the dead! What greater favor can one do for anyone than giving back life? Still, you did not come when people were ruthlessly manhandling him… when they killed him on the cross like a criminal! At least you could come and say to them: ‘Don’t kill my master!’ But you didn’t come! You are the cruelest of all!”

Marta uttered those last words, storming back to the living room, and thrusting a menacing stare on the stoic-faced Lazar, who was reclining with his eyes lost in the void. She stood before Lazar and panted with overwhelming emotion.

Some women, who had gathered there, tried to pacify Marta. Forcibly, they took her inside. Marta’s anger burst into a long and loud lamentation, which drowned the soft and subdued sobs of Mary.

Lazar gazed at the horizon, languidly waning in the west. The Sun had already set ominously, while there was still an hour to go for the evening.

Someone lighted a lamp and placed it on the lampstand in the parlor. With his stolid eyes still fixed on the horizon, Lazar muttered:

“The Sun will rise tomorrow!”

“I know that the Sun will rise tomorrow. But we need this lamp here to have some light right now.”

The man, who lighted the lamp, said with apparent uneasiness.

Lazar lifted his face and looked. It was Manasse. Manasse has a vineyard in Jerusalem. He used to come here occasionally to listen to the words of the Master. Displeasure was obvious on his face. It was clear that the reason for his displeasure was not the lamp issue.

“I agree with what Marta said. I never thought that you would be so thankless. I was among the witnesses when the Master called you back to life, from four days in the dark dampness of the tomb. I feel ashamed of you. You didn’t have the heart to visit him at least in his final moments…” Manasse’s displeasure became vocal.

Lazar was serene and unmoved. His eyes were fixed on the flame of the lamp. Softly and gently, he whispered:

“I can no longer see death from an emotional perspective, dear friend…”

Manasse gazed at the glow of the lamp reflected in Lazar’s grey eyes.

“Do you mean to say that we need not grieve when our dear ones die?” Asher asked.

By then, a group of inquisitive people had gathered around Lazar, apart from Manasse.

“Why should we feel sorry, my friends? I have seen the other side not only of death but also of life. How can I weep? I see death in every life and life in every death. Tell me, should I weep for the dead or laugh for the living?”

Everyone looked at each other’s faces, baffled. Every stare exuded different shades of meaning. While some stares meant ‘this man is crazy’, some others reflected cluelessness. A third group of people said in their minds, “His words burn with enlightenment!” With varied thoughts and a motley of emotions, they eagerly waited for his words.

When the flame of the lamp flickered in the wind, Lazar saw Marta there, leaning on the door.

“The sea is a mystery for the one standing by the seashore. A scary thing for him, ostensibly. The endless expanse and unexplored depths of the sea…! If only we had the power to traverse over the seas and the lands! But for a person, who voyages on the sea day and night, the sea is no more a mystery. Every fear and every sorrow exist only until the end of ignorance. Once we know, once we have seen the other side of everything, our minds will be free from emotions. Is it wrong to be so? Tell me, am I culpable for not wailing and screaming like you?”

Lazar surveilled each one’s face with a prying stare. Nobody dared to reply. Each one of them was thinking of their parents or relatives, who were dead. They turned pensive, meditating on their own deaths in the future. But the memories of the violent death of their Master lingered in their minds, still frightening them. They stood on the seashore of cluelessness darkened by the Sun that had set. The room was pregnant with a profoundly poignant silence.

Suddenly, the door was opened from the inside. Mary, who was sitting in one of the rooms, listening to all their conversations, stepped out with a candle in her hands. She was still sobbing.

Lazar thrust a stare at his sister’s languid face. His stare reflected a non-verbal reproach, “Why can’t you stop weeping? Haven’t you seen all these people, who have stopped weeping?”

“Lazar, I have something to tell you…” Mary said in her feeble but determined voice. Everyone turned to her, eager to listen to her words.

“What do you want to say, my sister?” Lazar asked.

Caressing the wax balls oozing from the candle, Mary said:

“Not many days ago, a death occurred in this house. The death of my brother, Lazar. For four days, my sister Marta and I wept bitterly. The Master arrived on the fourth day. My brother Lazar, you who sit in front of me right now, had rotten in the tomb. Even I didn’t hide my displeasure to the Master for being late to arrive. How can a man rotten in the tomb for four days come back to life? Overwhelmed by great sorrow, I shed profuse tears in front of him. He read my heart. He knew that my tears sprung from my love for you. Despite being so sure to raise you in the next moment, the Master wept before your tomb! In front of all these people, unabashed! Tell me now, Lazar! Shouldn’t you weep because you have seen the other side of death and the meaning of death? Why did the Master, who could bring you back to life, weep in front of your tomb? Give me the answer, brother?”

Stunned and struck by a lightning of enlightened love, Lazar gazed into the tearful eyes of Mary. The flames of her candle blazed intensely and the drops of wax oozing from it fell into his soul like the tears of Christ.

Lazar burst into a loud scream!

While everyone else except Mary stood startled, the flames of the lamps illuminated that night. Drops of wax rolled down the candle like the warmth of boundless love…

Abhilash Fraizer

About the Author

Abhilash Fraizer is an Indian author, poet, novelist, journalist, translator and advertising copy writer hailing from Kerala. A Post Graduate in English Language and Literature, Abhilash has authored 14 books and has written numerous poems, stories and articles for various international and Indian journals. His latest work is ‘Father, a collection of poems’, published globally by Wipf & Stock Publishers, Oregon, USA. His other renowned works in English include ‘The End of Wars’, a novel and ‘Everlasting Things are Incomplete’, a collection of poems. Dalamarmaram (The Rustle of Leaves), Paravakalude Vazhi (The Way of Birds), Raamazhayude Theerathu (On the banks of Night Rain), Sajalam (Aqueous) and Prapancha gaatha (The Ballad of the Universe) are some of his noted works in Malayalam, the official language of Kerala.

‘Prapancha gaadha’ won Kreatiff Silver Award for the second-best Novel in 2020. A recipient of multiple accolades, Abhilash has been awarded with KCBC (Kerala Catholic Bishops’ Council) Media Commission’s ‘Yuva Prathibha Award’ in 2014. His poem ‘Between the Islands’ was voted and enlisted among the best 100 poems in a global contest held by Poemhunter.com. A screen writer as well, Abhilash has written scripts for noted Sight and Sound Shows including ‘I Believe’ and ‘Ammamaram’, staged in a major venue in Kochi and were watched by over 50,000 people. He has also written scripts for various television programs and lyrics for about 50 songs, which have been recorded for various albums. He lives in Ernakulam, Kerala with his wife Sunitha and two sons Ezek and Izan.

 

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'Threads of Time' by Androniki Gr. Atzemoglou

‘Threads of Time’ by Androniki Gr. Atzemoglou to be Released Today

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Athens: The much-anticipated book Threads of Time by Androniki Gr. Atzemoglou will be released today, inviting readers on a remarkable journey across diverse historical landscapes and cultures. Published by Writers International Edition, this new work immerses readers in worlds as varied as the mythic realms of Atlantis, the intense Roman arenas, the elegance of the Victorian era, and the Russian battlefields of World War II.

With an evocative narrative style, Threads of Time explores the interconnectedness of humanity through different eras, highlighting the spiritual bonds and transcendent relationships that surpass the boundaries of time and place. Each story offers a glimpse into the resilience and yearning of the human soul, echoing universal themes of redemption and fulfillment.

The official release event will take place at Art Eden Cultural Space – Gallery, located at 13 Aristofanous Street, Psyrri, Athens, beginning at 6:15 PM. The evening will open with a welcome address by George Lenis, President of the Panhellenic Society of Literature and Art. The lineup of distinguished speakers includes Irene Doura-Kavadia, representing Writers International Edition and the Writers Capital International Foundation, along with Smaragdi Mitropoulou, a respected author and historian, and Christiana Mila, an author and clinical psychotherapist. Select readings from the book will be presented by Rafaela Drougouti, offering attendees a preview of Atzemoglou’s vivid storytelling.

Writers International Edition extends a warm invitation to all who wish to partake in this literary celebration and discover Threads of Time, a book that resonates with the timelessness of human connections across centuries and civilizations.

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All About Panorama International Literature Festival: A Global Celebration of Literature and Cultural Connection

Leave a Comment / Articles /

Presented by Writers Capital International Foundation, the Panorama International Literature Festival is a record-winning event, renowned as the world’s longest literature festival. Running from 1st to 31st January every year, this grand celebration of words and ideas invites writers from around the world to come together in a unique and transformative experience. Dedicated to inspiring change and bridging cultures, the festival champions not only literary excellence but also the power of literature to connect and uplift society.

A Global Stage for Literary Expression

The Panorama International Literature Festival is an unparalleled platform for writers to showcase their work to an international audience, transcending geographical boundaries. Through this festival, writers gain the opportunity to present their unique voices and perspectives, engaging in a global dialogue with readers and fellow writers alike. It is a space where literature flourishes, offering an appreciation of diverse works from across the world.

A New Dimension: Visual Poetry

This year, the festival introduces an exciting category for visual poetry, allowing creators to combine visual art with poetic expression. Selected works will be featured in prominent social media posts, and showcased in the festival’s virtual magazine, Writers Edition, offering a new avenue for artistic recognition. Separate awards will honor these contributions, highlighting the creativity and innovative spirit within the world of visual poetry.

A Hybrid Mode for Wider Reach

Embracing a hybrid format, the festival combines digital and in-person experiences, allowing writers from anywhere to participate. Writers can submit presentation videos, which are then shared across the festival’s official platforms, including social media, amplifying each participant’s voice to a global audience. In addition, select live sessions are curated for a deeper, interactive engagement, while offline events in select countries bring the festival’s mission to life in local communities.

Events that Inspire Future Generations

Beyond individual presentations, the Panorama International Literature Festival actively reaches out to schools and colleges, organizing programs that resonate with the year’s theme. These events aim to inspire young minds, encouraging them to explore literature as a medium of expression and social change. By introducing the themes in educational institutions, the festival fosters a love for literature and nurtures a new generation of thoughtful, engaged readers and writers.

Powerful Themes for Social Change

Every year, the Panorama International Literature Festival selects a theme that reflects pressing global issues, often touching on subjects that drive social change—environmental awareness, social justice, and human rights, among others. These themes serve as a guiding light, encouraging writers to reflect on these subjects in their work, making literature not just a form of art but also a call to action.

Prestigious Awards and Global Recognition

Participants of the festival stand to receive prestigious awards that celebrate outstanding literary contributions across various genres, including poetry, fiction, non-fiction, and now visual poetry. The Panorama International Literature Awards are a testament to literary excellence and social awareness, honoring works that echo the values and aspirations of humanity. By achieving this recognition, writers build a lasting legacy in the international literary community, adding to their portfolios with acclaimed global acknowledgment.

The Many Benefits of Participation

For writers and literature enthusiasts, the Panorama International Literature Festival offers numerous advantages:

  1. Recognition through esteemed awards.
  2. Opportunities to connect with an international network of writers and literary professionals.
  3. Broad exposure across global platforms, enhancing one’s online presence.
  4. A platform to share and appreciate diverse works from around the world.
  5. The chance to contribute to themes that inspire social change and progress.
  6. Feature in the virtual magazine Writers Edition, especially for visual poetry.
  7. Exposure through curated social media posts for selected works.
  8. Opportunities for SEO and digital footprint expansion.
  9. Experience and credibility in a world-renowned literary festival.
  10. Lasting recognition and a chance to be part of a global literary legacy.

And much more!

How to Join the Festival

Participating in the Panorama International Literature Festival is simple. Interested writers can register on the official website by filling out a form and submitting their work, biography, and other necessary details. Upon registration, participants will receive a confirmation email with further guidelines. This process opens the door to a world of literary exploration, connection, and recognition.

Join the Global Literary Movement

The Panorama International Literature Festival invites you to be part of this monumental event. Here, literature is more than words on a page—it’s a force for unity, understanding, and positive change. Register now and join us as we celebrate the boundless potential of literature to inspire, connect, and transform.

Registration links to join PILF 2025

Global: https://rzp.io/rzp/PILF2025Global
India: https://rzp.io/rzp/PILF2025India

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Nouli Tsagkaraki

Nouli Tsagkaraki’s In First Person Set for December Release by Writers International Edition

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Athens, Greece – Writers International Edition is excited to announce the upcoming release of In First Person, the newest book by acclaimed Greek author Nouli Tsagkaraki, set to be launched on December 1, 2024. This remarkable work, written in Tsagkaraki’s signature style, provides an introspective journey through 43 diverse protagonists, each sharing deeply personal, confessional narratives that delve into the essence of human experience.

The book’s unique monologues allow readers to connect intimately with each character, exploring hidden dimensions of personality and everyday life. Readers will find themselves immersed in stories that spark self-awareness, evoke empathy, and offer moments of both reflection and entertainment.

Official Book Launch

The launch event for In First Person will be held on December 1, 2024, at 5:30 p.m. in the event hall of the Panhellenic Union of Writers, located at 41 Geraniou Street, Omonia. Co-hosted by the Panhellenic Union of Writers (PEL) and Writers International Edition, the event invites literary enthusiasts and the public to enjoy an evening of literature and theatricality. Attendees can expect a unique celebration filled with the magic of storytelling and exploration of the inner self.

About Nouli Tsagkaraki

Nouli Tsagkaraki is widely respected as a short story writer, poet, and columnist. In addition to her literary work, she serves as the Public Relations Manager at the Panhellenic Union of Writers (PEL) and sits on the editorial board of the international literary magazine Writers Edition. Honored by the Writers Capital International Foundation as a “Greek visionary writer,” Tsagkaraki has made significant artistic and spiritual contributions to literature.

Availability

Following the launch, In First Person will be available through Writers International Edition and select bookstores. For pre-orders and inquiries, contact info.writersedition@gmail.com or call +30 210 9407126.

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ΠΟΡΤΡΑΙΤΑ ΓΥΝΑΙΚΩΝ ΣΤΟΝ ΟΜΗΡΟ

Leave a Comment / Academic Papers /

Περίληψη

Θνητές και θεές, πλούσιες και φτωχές, ελεύθερες και σκλάβες, οι γυναίκες στα ομηρικά έπη έχουν έναν κοινό παρονομαστή:  κινούν οι ίδιες, φανερά ή κρυφά, τα νήματα στη ζωή των αντρών κι έχουν περισσότερη ελευθερία από τις γυναίκες των κλασικών χρόνων.   Τα πορτρέτα τους συγκροτούνται από τα κύρια χαρακτηριστικά και την όλη δράση τους, συνθέτοντας έναν καμβά γεμάτο δράση, δυναμισμό και αρετές.  Μελετώντας δε προσεκτικά τα δύο έπη, παρατηρούμε ότι οι πολεμικές σκηνές εναλλάσσονται με τις ειρηνικές κι ανθρώπινες σκηνές, ο δε ηρωισμός, εκτός από το πεδίο της μάχης, αφορά και την ίδια τη ζωή σε όλες τις εκφάνσεις της, αναδεικνύοντας έτσι τον εξαίρετο ομηρικό ανθρωπισμό. Από την πλούσια πινακοθήκη, λοιπόν, του Ομήρου ας σταθούμε σε δύο ξεχωριστές γυναικείες μορφές στην Ιλιάδα: την Εκάβη και την Ανδρομάχη.

Εκάβη και Ανδρομάχη: στις φλόγες του πολέμου

Εισαγωγή

Η Εκάβη και η Ανδρομάχη έχουν απασχολήσει ανά τους αιώνες και τη λογοτεχνία και την τέχνη γενικότερα. Τις συναντάμε στην Ιλιάδα, στις τραγωδίες «Εκάβη» και «Τρωάδες» του Ευριπίδη,  σε πίνακες ζωγραφικής,  σε κινηματογραφικές ταινίες,   στη μουσική. Μάνες κι οι δυο, αγωνιούν για τα αγαπημένα τους πρόσωπα, χάνουν αγαπημένα πρόσωπα, θρηνούν, διαμαρτύρονται, αλλά η μοίρα κι η ζωή τις τραβούν από το χέρι να σταθούν όρθιες και να προχωρήσουν. 

Εκάβη

Μάνα περήφανη και ταυτόχρονα τραγική. «Ευτεκνοτάτην πασών γυναικών δυστυχεστάτην τε» , την παρουσιάζει ο Όμηρος.    Τη συναντάμε πρώτη φορά  στη ραψωδία Ζ της Ιλιάδας, όταν ο ορνιομάντης Έλενος συμβουλεύει τον Έκτορα να ζητήσει «μητέρα ση και εμή» να προσευχηθεί μαζί με τις αρχόντισσες στο ναό της Αθηνάς στην κορυφή του κάστρου και να προσφέρει πεπλοφόρο ανάθημα στη γλαυκομάτα κόρη. Έτσι, τις δύσκολες πολεμικές ώρες που το μάχιμο των ανδρών βρίσκεται στις επάλξεις υπερασπιζόμενο το κάστρο, η πρωτομάνα του Ιλίου, Εκάβη, γεμάτη έγνοια και  τρόμο για την επικείμενη καταστροφή και σφαγή, τρέχει βιαστικά, «μετασσεύεται», και οδηγεί την πολυάριθμη πομπή των αρχοντισσών στο ναό της Αθηνάς για να προσφέρουν δώρα και να προσευχηθούν για να σωθεί η πατρίδα. 

Στη ραψωδία Χ, η Εκάβη, δίπλα στο γέρο-Πρίαμο, επάνω στο κάστρο, απλώνει τα χέρια της και παρακαλεί τον Έκτορα, δείχνοντας του τα γυμνά μητρικά της στήθη που τον θήλασαν και του χάρισαν τη ζωή, να μπει μέσα από τις Πύλες, για να κρυφτεί από τον επιθετικό Αχιλλέα.  Ο Έκτορας, όμως, δεν ακούει τον αβάστακτο πόνο της απελπισμένης μάνας. Έτσι  ο Αχιλλέας μπροστά στα μάτια των γονιών του κάτω από τα τείχη της ανεμόδαρτης Τροίας σκοτώνει ανίερα τον γενναίο Έκτορα. Η τραγική μάνα βλέπει από μακριά το νεκρό γιο της, που σέρνεται πίσω από το άρμα του νικητή.  Ο πόνος μεγάλος κι ο θρήνος, απλός και λιγόλογος, χωρίς παροξυσμούς και υστερικές εκφράσεις, κρύβει όλο το μητρικό σπαραγμό.

«Παιδί μου τι να ζω η τρίσμοιρη, τέτοιο κακό που με ΄βρε με το χαμό σου τώρα. 

Κι ήσουνα για μένα το καμάρι, μέρα και νύχτα μες στο κάστρο μας και σε όλους μας η σκέπη» 

                                                                                                                                                          Χ 431-433

Διαφωνεί με την απόφαση του Πρίαμου να επισκεφθεί τα αργίτικα καράβια, για να ζητήσει από τον Αχιλλέα το νεκρό Έκτορα, γιατί φοβάται το χειρότερο. Ο Πρίαμος έχει ήδη πάρει την απόφασή του, γιατί ο Δίας του έστειλε εντολή με τη θεά Ιριδα. Απευθύνεται όμως με σεβασμό στην Εκάβη, ζητώντας τη γνώμη της:. 

«Αλλ΄ άγε μοι τόδε ειπέ, τι τοι φρεσίν είδεται είναι;» / «Αλλά έλα τώρα, πες μου, τι νομίζεις μέσα στο λογισμό σου να είναι;» Ω 197

Ο θρήνος της Εκάβης για το νεκρό ΄Εκτορα που έφερε πίσω ο Πρίαμος από τα αργίτικα καράβια είναι η τελευταία της παρουσία στα Ομηρικά έπη.  Στέκεται δίπλα στην Ανδρομάχη κι αφήνει ξέφρενο το ξέσπασμά του πόνου της με το σπαρακτικό της μοιρολόγι: 

«Έκτορα εσύ που απ’  όλους πιότερο τους γιους μου σε αγαπούσα 

όσο μου ζούσες, πριν οι αθάνατοι σού είχαν περίσσεια αγάπη». 

                                                                                                        Ω 748-749 

Η Εκάβη στην Ιλιάδα συμβολίζει τη γυναίκα που γερνάει και, καθώς η τύχη αναποδογυρίζει τα συμβάντα της ζωής και τα φορτώνει στους δύσμοιρους θνητούς, φτάνει στα πιο δυσβάστακτα βάσανα. Είδε τη χώρα της να καταστρέφεται, το γέρο-Πρίαμο να θανατώνεται, τα παιδιά της να χάνουν τη ζωή τους στη μάχη, τον εγγονό της Αστυάνακτα να τον γκρεμίζουν από τα τείχη της κατακτημένης πόλης οι Αχαιοί.   Το τέλος της δίνεται από την ομώνυμη τραγωδία του Ευριπίδη. Εκτός από την ομώνυμη τραγωδία του Ευριπίδη, η Εκάβη εμφανίζεται ως πρόσωπο και στις Τρωάδες του ίδιου ποιητή. Επίσης, αναφέρεται στην «Κόλαση» του Δάντη (ΧΧΧ 13-20) να παραφρονεί όταν βλέπει τα παιδιά της Πολυξένη και Πολύδωρο νεκρά, από τον Σαίξπηρ στον Άμλετ (πράξη 2, σκηνή 2) και από τον Καντ στην «Κριτική του καθαρού λόγου».

Ανδρομάχη

Η Ανδρομάχη, κόρη του Ηετίωνα, βασιλιά της Κιλικίας, και σύζυγος του Έκτορα, είναι από τις συμπαθέστερες μορφές της Ιλιάδας. Αποτελεί σύμβολο αφοσιωμένης συζύγου και φιλόστοργης μητέρας. Σκιαγραφείται στολισμένη με εξαιρετικές χάρες, γυναικεία τρυφερότητα, ευγένεια, σεμνότητα, συζυγική πίστη, θέρμη, αφοσίωση, υπακοή, πραότητα. Είναι υπόδειγμα γυναικείας μορφής που συνέδεσε με απόφαση και συνέπεια τη γυναικεία μοίρα με την ανδρική και που θα ζήσει στιγμές τραγικές με απερίγραπτη δυστυχία. 

Πρωτοεμφανίζεται στη ραψωδία Ζ, όταν ο λαμπροκρανοσείστης Έκτορας γυρίζει στον οίκο του για την «άλοχον φίλην» και το μικρό παιδί τους, επειδή δε γνωρίζει αν θα τους ξαναδεί ή θα τον τσακίσουν οι θεοί στων Αχαιών τα χέρια. Αλλά  η πρόθυμη κελλάρισσα τον πληροφορεί: 

«στο μέγα πύργο ανέβηκε σαν άκουσε οι δικοί μας πως τσάκισαν, 

κι οι Αργίτες έχουνε τρανή κερδέψει νίκη». 

                                                                      Ζ 386-387 

 Μαζί με άλλες Τρωαδίτισες που πλημμυρίζουν τις πύλες και τα κάστρα,  παρακολουθεί με αγωνία τους- κυνηγημένους από τους Αχαιούς- Τρώες. Μόλις αντικρίζει τον Έκτορα, τρέχει να τον φτάσει.  Βλέποντας τα αγαπημένα του πρόσωπα, η όψη του αντρόκαρδου γλυκαίνει. Όλη η σκληράδα του πολέμου ξεθωριάζει και χάνεται, καθώς κοιτάζει το βλαστάρι του. Δίπλα του η Ανδρομάχη «δάκρυχέουσα», του κρατά σφιχτά το χέρι και του λέει τρυφερά: 

«Από την ορμή την ίδια σου θα βρεις το θάνατό σου και το μωρό σου δε σπλαχνίζεσαι κι ουδέ τη μαύρη εμένα Ζ 408-409 … 

Μα αν είναι να σε χάσω ν’ ανοίξει η γη να μπω καλύτερα χίλιες φορές». Ζ 410-411

«Φθίσει το σον μένος/Θα σε καταστρέψει η τόση σου ορμή», τονίζει και είναι σα να προμαντεύει με τη δύναμη της γυναικείας της διαίσθησης ένα τραγικό τέλος που τρέμει και απεύχεται,  γι’ αυτό και προσπαθεί με κάθε τρόπο να τον μεταπείσει. Με κλάματα τον ικετεύει να μη ριψοκινδυνεύει τη ζωή του. Δάκρυα, τρυφερότητα, λύπηση και συμπόνια, κακό προαίσθημα, ταπεινή παράκληση και συμβουλές αντιτάσσει στη διαφαινόμενη σκληρή του απόφαση. Δεν «ελεαίρεις» το παιδί σου; Δεν το λυπάσαι; «Ουδέ εμέ ελεαίρεις;». Την ακριβή «άλοχο;» Γιατί κανείς δε μου μένει πια, αφ’ ότου «ο αρχοντογεννημένος Αχιλλέας εκπόρθησε το μυριοπλούσιο κάστρο της χώρας των Κιλίκων» ούτε γονείς, ούτε αδελφοί. 

 «Έκτορα, τώρα εσύ πατέρας μου και σεβαστή μου μάνα κι αδέρφι, εσύ και λεβεντόκορμος στην κλίνη σύντροφός μου». Ζ 429-430  

Γεμάτη έγνοια και συγκατάβαση η απόκρισή του Έκτορα δεν περιέχει συγκατάνευση στην προτροπή και στις συμβουλές της, παρά μόνο προμαντεύει τη μοίρα της μετά το χαμό του.

«Κι εγώ όλα τούτα τα στοχάζομαι, καλή μου, αλήθεια» Ζ 441 

«Μα τόσο για των Τρώων δε νοιάζομαι τα πάθη οπού και νά΄ρθουν.» Ζ 450 

«Κι ουδέ για την Εκάβη νοιάζομαι και για τον Πρίαμο τόσο. Όσο για σένα, όταν χαλκάρματος κάποιος Αργίτης πάρει τη λευτεριά σου· και ξοπίσω του σε σέρνει δακρυσμένη». Ζ 454-456 

«Τι έλειψε αυτός που δε θα σ’ άφηνε να σκλαβωθείς ποτέ σου. Μα κάλλιο να μη ζω, να βρίσκομαι βαθιά στη γη χωσμένος το σούρσιμό σου και το σκούξιμο προτού στα αυτιά μου φτάσουν». Ζ 459-461 

Την μοναδική τούτη ώρα του ζευγαριού που ο θάνατος παραμονεύει να εξοντώσει τον πατέρα και, μετά από την υποθήκη του που ως αξετέλεστο χρέος αφήνει στο γιο του ο Έκτορας, να γίνει δηλαδή ο Αστυάνακτας τρανός και περίλαμπρος, απιθώνει στο μυρωδάτο κόρφο της μάνας Ανδρομάχης το μικρό· «αλόχοιο φίλης εν χερσίν έθηκε», ως άλλη παρακαταθήκη της ευθύνης της μητέρας για το παιδί τους.  Αυτό υποδηλώνει την εμπιστοσύνη του προς το πρόσωπό της. Καθώς η Ανδρομάχη τον κοιτάζει, γελώντας δακρυσμένη, «δακρυόεν γελάσασα», προσπαθεί να την παρηγορήσει με λόγια τρυφερά. 

«Άμοιρη εσύ, μη μου πικραίνεσαι μες την καρδιά σου τόσο κανείς αν δεν το στέργει η μοίρα του, στον Άδη δε με στέλνει Ζ 486-487 Μόν΄ τώρα εσύ στο σπίτι πήγαινε και τις δουλειές σου κοίτα, Ζ 490 . .. τον πόλεμο θα τον κοιτάξουν οι άντρες». Ζ 492 

Σαν κυνηγημένη τρέχει η Ανδρομάχη στο  αρχοντικό του ΄Εκτορα, κι όλοι πίσω της κοιτάζει, βουτηγμένη στα δάκρυα.  Στη γαλήνη  της ομηρικής οικίας,  υφαίνει στον αργαλειό της και  πλέκει τη γλυκιά επιστροφή του. Αμέριμνη κι ήρεμη πια, μακριά από τις ιαχές του πολέμου και τον θόρυβο των μαχών, προστάζει τις δουλεύτρες της να ετοιμάσουν θερμό λουτρό για τον πρωτομαχητή της Τροίας. Οι φωνές όμως που ακούγονται από το κάστρο την αναστατώνουν. Από τον Μεγάλο Πύργο η Εκάβη θρηνεί και σκούζει. Το μήνυμα της καταστροφής φτάνει με απελπισία στα αυτιά της· και  τα γόνατά της λύνονται· «χαμαί δ΄ έπεσεν κερκίς», της έπεσε κάτω η σαΐτα του αργαλειού που ύφαινε. Ορμά στο κάστρο με καρδιά που πάλλεται από αγωνία, γεμάτη τρόμο για την τύχη του Έκτορα. Κοιτώντας ολόγυρα με πόνο και λαχτάρα  παρακαλεί ενδόμυχα να μην έχει πάθει κανένα κακό. Στα γεμάτα από πανικό μάτια της, το θέαμα έρχεται φρικτό. Το ακριβό της ταίρι,  ολόκληρη η ευτυχία της, έχει άκαρδα θανατωθεί από το κοντάρι του Αχιλλέα. 

«Νύχτα ολοσκότεινη τα μάτια της μεμιάς αποσκεπάζει 

και πίσω πέφτοντας σωριάστηκε και λίγωσε η καρδιά της 

της φεύγει η κεφαλόδεση σκορπώντας δώθε κείθε». 

                                                                              Χ 466-468 

Από τον σπαραγμό του πόνου της διασκορπίζεται η κεφαλόδεση, το σύμβολο των ευτυχισμένων στιγμών κι ο πέπλος που της δόθηκε από την Αφροδίτη ως δώρο γάμου, όταν ο κρανοσείστης την πήρε ταίρι. Ίσως, γιατί η όμορφη Ανδρομάχη δεν τα χρειάζεται πια να τη στολίζουν. 

«Οι συννυφάδες και οι ανδραδερφές την τριγυρίζαν όλες, 

αναβαστώντας την ως σπαρτάριζε να ξεψυχήσει ομπρός τους». 

                                                                                                X 473-474 

Μόλις συνέρχεται, θρηνεί  το τέλος της συζυγικής της ευτυχίας. Μέσα στην οδύνη της για το χαμό του αγαπημένου της, αναλογίζεται όχι τόσο τη δική της δυστυχία, όσο το δύσμοιρο παιδί τους που ορφανεμένο αρχοντόπουλο, θα το διώχνουν πια όλοι, θα το χτυπούν και θα το βρίζουν. Τη συμφορά της  μεγαλώνει ο ευτελισμός του νεκρού Έκτορα, ο διασυρμός του μέχρι τα αργίτικα πλοία και το ξεγύμνωμά του. 

«Εσένα τώρα δίπλα στ’ άρμενα κι αλάργα από τους γονιούς σου 

σκουλήκια θα σε φαν γοργόστροφα, 

τους σκύλους σα χορτάσεις γυμνός…» 

                                                        Χ 508-510 

Το όνομα της Ανδρομάχης μέσα στην Ιλιάδα αναφέρεται για τελευταία φορά με τον δεύτερο γοερό της θρήνο στη ραψωδία Ω. Στέκεται επάνω στο κάστρο μαζί με την πονεμένη μάνα, την Εκάβη, ανάμεσα σε πλήθος Τρώων και Τρωαδιτισσών, και δέχεται την άμαξα με τον νεκρό πια Έκτορα. Όταν φτάνουν στο σπίτι, πρώτη κινάει το μοιρολόγι της η Ανδρομάχη, κρατώντας πάντα μέσα στα χέρια της το κεφάλι του αγαπημένου της: 

«Άντρα μου, εχάθης πα στα νειάτα σου, κι εμένα αφήνεις χήρα στο σπίτι μέσα, 

κι είναι ανήλικο, μικρό παιδάκι ο γιος μας». 

                                                                 Ω 725-726 

 Σαν να προμαντεύει, συνεχίζει το μοιρολόγι της με το κάστρο που θα πατηθεί, αφού ο υπερασπιστής του έχει πια χαθεί· θρηνεί για τα δεινά που περιμένουν την πόλη τους από το μένος των Αχαιών. Η μοίρα της όμως γίνεται πιο φρικτή, γιατί ο ΄Εκτορας δεν τελειώνει στα χέρια της, ώστε να έχει παρηγοριά τα τελευταία του λόγια, ακριβή συντροφιά της στα ημερόνυχτα που θα τον κλαίει. 

«΄Oμως εμένα από όλους πότισες το πιο πικρό φαρμάκι τι από το στρώμα σου πεθαίνοντας δε μου άπλωσες τα χέρια κι ούτε καμιά απ’ το στόμα σου άκουσα παρηγοριάς κουβέντα μέρα και νύχτα εγώ στους θρήνους μου να την κρατώ στο νου μου». 

                                                                                Ω 742 –745 

Η Ανδρομάχη, από την πρώτη της παρουσία στην Ιλιάδα, παραμένει σύμβολο μέχρι και τον τελευταίο της θρήνο. Αποτελεί μεγαλείο μορφής,  που διατρανώνει πανανθρώπινα την αφοσίωσή της στις μεγάλες αξίες της ζωής και τη λαχτάρα της για ειρηνική διαβίωση, αλλά και την απαρασάλευτη προσήλωσή της στο χρέος που αψηφά το θάνατο. Παραμένει πιστή στη θέση που της έταξε το ακριβό της ταίρι, στην περιοχή της γυναικείας της δράσης, στον αργαλειό,  όπως πιστός παραμένει και ο Έκτορας που παραδίνεται στο θάνατο για την πατρίδα. 

Μετά την άλωση  της Τροίας, η Ανδρομάχη πιάστηκε αιχμάλωτη και, στη διανομή ανάμεσα στους νικητές, έπεσε στον κλήρο του Νεοπτόλεμου, γιου τού νεκρού πια Αχιλλέα. Ο Νεοπτόλεμος την οδήγησε στη Φθία,  την έκανε γυναίκα του και απέκτησαν μαζί ένα παιδί, τον Μολοσσό (Παυσ. Α 11, 1) ή τον Αμφίαλο (Υγίνος, Fabulae 123). Λιγότερο επικρατούσες εκδοχές αναφέρουν και άλλα δύο τέκνα τους, τον Πίελο και τον Πέργαμο. Μετά τον θάνατο και του Νεοπτόλεμου, η Ανδρομάχη έφυγε με τον Έλενο, τον αδελφό του Έκτορα, στην Ήπειρο. Εκεί έχτισαν μαζί τη Νέα Τροία. Ο Αινείας τους συνάντησε στο ταξίδι του για την Ιταλία (Αινειάδα, 3, 294 κ.ε.). Μυθολογείται πως και με τον Έλενο έκανε παιδί η Ανδρομάχη, τον Κεστρίνο (Παυσ. Β 23, 6). Η Ανδρομάχη έζησε ακόμα και του Έλενου τον θάνατο, οπότε μετά, κατά μία εκδοχή, μετανάστευσε με τον γιο της Πέργαμο στην Τευθρανία της Μυσίας. Εκεί ο Πέργαμος νίκησε τον βασιλιά Άρειο και έδωσε στην πόλη το δικό του όνομα. Ο Παυσανίας γράφει ότι εκεί σωζόταν μνημείο της Ανδρομάχης μέχρι την εποχή του (Α 11, 2).

Επίλογος

Η Εκάβη και η Ανδρομάχη επηρέασαν από το μεσαίωνα μέχρι σήμερα πολλούς δημιουργούς σε όλο τον κόσμο. Ενδεικτικά αναφέρουμε: 

  1. «Ο πόλεμος της Τρωάδος», παράφραση του γαλλικού μυθιστορήματος Le Roman de Troie του Benoît de Sainte Maure ( 12ο αιώνας),
  2. «Ανδρομάχη» του Ρακίνα, τραγωδία σε πέντε πράξεις (18ος αιώνας)
  3. «Η Εκάβη τυφλώνει τον Πολυμήστορα», ελαιογραφία του Giuseppe Maria Crespi (πρώτο μισό 18ου αι.). Σύμφωνα με τη μυθολογία, όπως αυτή παρουσιάζεται στην ομώνυμη τραγωδία του Ευριπίδη, στον Τρωικό Πόλεμο έχασε τα αρσενικά παιδιά της και, μετά την άλωση της Τροίας, την Κασσάνδρα, την Πολυξένη και τον μικρότερο γιο της, τον Πολύδωρο, τον οποίο ο Πρίαμος είχε εμπιστευτεί στον Θράκα βασιλιά Πολυμήστορα. Τον θάνατο του αδικοχαμένου γιου της εκδικήθηκε η αιχμάλωτη Εκάβη με την τύφλωση του Πολυμήστορα, όπως παρουσιάζεται στον συγκεκριμένο πίνακα. 
  4. «Η Ανδρομάχη σε αιχμαλωσία»,  ελαιογραφία του Lord Frederic Leighton (1886–1888), 19ος αιώνας
  5. «Ελένη», ποίημα του Γιώργου Σεφέρη (1953)
  6. «Τρωάδες», ταινία του Μιχάλη Κακογιάννη (1971)

Μέσα στις φλόγες του πολέμου και του θανάτου, κι οι δυο έχασαν την πατρίδα τους, τους δικούς τους ανθρώπους, κομμάτια του εαυτού τους.    Η ύπαρξη κι η παρουσία τους αθάνατη. Ο θρήνος κι η κραυγή τους, μια διαμαρτυρία διαχρονική. 

Μητροπούλου Σμαραγδή

Αναφορές

Bell Robert E. (1993). Women of Classical Mythology: A Biographical Dictionary, Oxford University Press.

Lesky A. (1985).  Ιστορία της Αρχαίας Ελληνικής Λογοτεχνίας,  Θεσσαλονίκη: εκδ. Κυριακίδη.

Μήντα Δήμητρα (2012). Μορφές και Θέματα της Αρχαίας Ελληνικής Μυθολογίας. Aνακτήθηκε από https://www.greek-language.gr/

Ομήρου Ιλιάδα (μετάφραση Καζαντζάκης Ι., – Κακριδής Θ.),   Αθήνα: Ινστιτούτο Νεοελληνικών Σπουδών. Ίδρυμα Μανώλη Τριανταφυλλίδη

Χαλκιά-Στεφάνου Πόπη (2002). Γυναικείες Μορφές στον Όμηρο,  Περιοδικό Δάφνη, 8, 3-11

About the Author

Η Σμαραγδή Μητροπούλου γεννήθηκε στην Αθήνα. Σπούδασε Ιστορία και Αρχαιολογία στην Ελλάδα και τη Μεγάλη Βρετανία. Υπηρετεί στη Δευτεροβάθμια Εκπαίδευση. Το ποιητικό και πεζογραφικό της έργο έχουν αποσπάσει βραβεία και διακρίσεις στην Ελλάδα και στο εξωτερικό. Είναι μέλος του Διοικητικού Συμβουλίου (Executive Board Member) του Writers Capital International Foundation και ισόβιο μέλος (Lifetime Fellow Member) του International Society for Development and Sustainability (ISDS) με έδρα την Ιαπωνία. Έχoυν εκδοθεί και κυκλοφορούν επτά βιβλία της στην Ελλάδα. Ποιήματα της έχουν μεταφραστεί στην αγγλική, κινεζική και ισπανική γλώσσα, καθώς και στα Ταιβανέζικα και στη γλώσσα Μπενγκάλι κι έχουν δημοσιευτεί σε site και περιοδικά στην Ευρώπη, στην Ασία και στη Λατινική Αμερική. Επίσης, ασχολείται με την τέχνη της φωτογραφίας κι έχει συμμετάσχει σε ομαδικές εκθέσεις στην Ελλάδα και στο εξωτερικό.

 

Παράρτημα

 

Εικόνα 1. Ο Πρίαμος, η Εκάβη και η Ανδρομάχη προσπαθούν να πείσουν τον Έκτορα να μην πάει στη μάχη. Ταπιτσερία, περίπου 1470–90. Νέα Υόρκη, Μητροπολιτικό Μουσείο, 39.74

 

Εικόνα 2. Αποχαιρετισμός Έκτορα και Ανδρομάχης, Gavin Hamilton,  The Hunterian, University of Glasgow

 

Εικόνα 3. «Η Ανδρομάχη σε αιχμαλωσία»,  ελαιογραφία του Lord Frederic Leighton MANCHESTER, Manchester Art Gallery (1889.2)

 

Εικόνα 4. «Η Εκάβη τυφλώνει τον Πολυμήστορα», ελαιογραφία του Giuseppe Maria Crespi. BRUSSELS, Royal Museums of Fine Arts of Belgium (257)

 

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Al Ayyala: The Heartbeat of Emirati Heritage

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The United Arab Emirates, a vibrant mosaic of tradition and modernity, stands as a cultural crossroads where East meets West. Known for its towering skylines and rich heritage, the UAE seamlessly blends its Bedouin roots with the innovations of a globalized world. Its cultural fabric is woven from a shared commitment to preserving heritage while embracing diversity, making it a compelling hub of art, literature, and intercultural exchange in the Arab world and beyond.

Al-Ayyala in United Arab Emirates culture exemplifies the ethos and gallantry of Bedouin life and reinforces the values of dignity and honour. Because it reflects the heritage and values of Emirati culture, the performance has become a symbol of national identity and union, and is an integral part of celebrations.
A profound expression of the UAE’s pinpoint, linking past traditions to the modern Emirati way of life. Its everlasting presence is a testimony to the pride and honour Emiratis feel in their heritage, and it obliges as a bridge between generations, allowing younger Emiratis to connect with their cultural roots. Ayyala is a traditional dance form deeply rooted in the cultural heritage of the United Arab Emirates (UAE) and numerous other Gulf countries.

In 2014, Al Ayyala was emblazoned on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, recognizing its significance as a cultural expression and its contribution to preserving Emirati traditions for future generations. It’s a symbol of the UAE’s values of unity, respect, loyalty, and bravery. It often serves as a cultural representation during national holidays, including UAE National Day, as well as at royal weddings and state ceremonies.

Al Ayyala traces its origins back to the Bedouin tribes of the Arabian Desert. Historically, it represented the warrior traditions of these tribes, symbolizing unity, strength, and victory in battle. The dance was performed by men, with the sticks representing swords, as they moved in synchronized steps to demonstrate their readiness for combat or defence of the tribe. Over time, Al Ayyala has evolved into a ceremonial performance that celebrates peace, heritage, and solidarity.

The dance is performed predominantly by men and boys, arranged in two rows facing each other, with each dancer holding a thin bamboo stick called a “cane” (assa). The performers move in a synchronized, rhythmic pattern while chanting poetry or verses that reflect themes of courage, love, and history.

The drumming is central to Al Ayyala. Traditional drums like the takhmir and ras are used, producing deep, rhythmic beats that guide the movements. The dancers sway back and forth in time with the drum beats, creating a sense of unity. Sometimes, the performance is accompanied by the Nafir, a long brass instrument that produces a deep sound: The movements are deliberate and dignified, often slow and steady. Dancers raise their canes high and make specific gestures as if simulating battle scenes or preparing for a hunt. Each action is precise, with a heavy emphasis on rhythm and synchronization, symbolizing the tribe’s collective strength and harmony.

Schools and cultural institutions incorporate Ayala dance into their arts education curriculums from beginning dance classes to advanced levels, students learn the dance’s intricate steps and rhythms. These classes often form part of broader dance programs, enhancing students’ understanding of Emirati heritage.

Dance instructors teach students not only the physical movements but also the cultural significance behind them. Participating in an Ayala dance can be particularly passionate and fun for young learners, especially during school events like the Spring Dance Concert. This approach ensures that the traditional dance remains vibrant and relevant for future generations.

Al-Ayyala involves two rows of 20 or more performers facing each other in a stylised battle scene, with the thin bamboo canes representing arrows or swords. Each row of performers makes alternating movements with their heads, shoulders, arms and canes to suggest victory or defeat.

In between the rows, a band consisting of brass instruments, drums and tambourines plays the music and the men chant lines of verse, usually from Nabati poetry, on the themes of chivalry and valour. There are different types of poems according to the occasion of the performance. Each community and region, whether coastal or inland, has its own particular form of Al-Ayyala. The variations are expressed in the chanted poems, the speed of the rhythm, and in minor changes in movement and sound tones. Also accompanying the performance is a group of men known as yaweela in the Emirati dialect (the name implies movement), who move in a wide circle, stepping in rhythm to the beat and waving canes.

Preetha Vikram

About the Writer

Preetha Vikram is a passionate educator with over 25 years of experience working with children aged 3 to 12 years. An Abacus instructor, subject coordinator, poet, and author, Preetha was born in Kerala and grew up across various regions of North and South India. Despite facing early challenges, including the loss of her parents, she pursued her academic ambitions, earning a Master’s degree in English Language. From her formative years, Preetha displayed a strong work ethic, delving into teaching and writing at a young age. In 2015, she made a significant move to the UAE, working as an English Language Teacher at East Point Indian International School. She has since established herself both personally and professionally in the UAE. Currently, Preetha holds a Transitional Teacher’s license and serves as an Academic Resource Person at the Sri Narayani Teacher Training Center in Hyderabad, India, reflecting her dedication to education and lifelong learning.

 

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Doina Iovanel Spineanu

A Life in Art and Letters: Celebrating the Legacy of Doina Iovănel Spineanu

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Doina Iovănel Spineanu is a distinguished figure in the Romanian and international cultural landscape, whose contributions span the realms of literature, visual arts, journalism, and education. With a career marked by versatility, dedication, and profound creativity, Doina has established herself as a celebrated writer, painter, and cultural ambassador whose work continues to inspire audiences worldwide.

A graduate of the Faculty of Philology at the University of the West, Doina dedicated many years to teaching Romanian language and literature, enriching the lives of her students with her profound understanding of the written word. However, her contributions to the world of culture reach far beyond the classroom. As a member of the Romanian Writers’ Union and the AJRP (Association of Romanian Journalists Everywhere) based in Quebec, Canada, she has earned recognition not only as an author but also as a prominent editor and journalist. Her work has brought Romanian literature and culture to new audiences around the world, through her roles in prominent cultural magazines and as part of the Romanian magazine and radio station in Vienna.

With 56 books to her name, Doina’s literary achievements are vast and varied. She is not only the author but also the creative mind behind the interior graphics and covers for each of her works, infusing every page with her artistic vision. Her literary repertoire includes poetry and novels that resonate with themes of spirituality, introspection, and humanity, which together paint a compelling portrait of the Romanian experience. Her debut book, Variations on the Theme of Lament (1999), received a heartfelt blessing from His Holiness Pope John Paul II, a recognition that remains a cherished affirmation of her calling as a writer.

In addition to her literary accomplishments, Doina is a talented visual artist and a member of the Association of Visual Artists. She has exhibited her oil-on-canvas paintings in Romania and internationally, in cities such as Paris, Madrid, Toledo, Barcelona, Lisbon, Porto, Munich, Vienna, and beyond. Her exhibitions have also extended into the digital realm, where she has participated in numerous online art shows, earning artist diplomas and certificates that celebrate her expressive style. Her paintings, imbued with themes of spirituality and emotion, strive to convey messages that resonate deeply within the human soul.

Her deep-seated belief that art must carry a message that “reaches the human soul” informs all her creative work. Doina’s paintings serve as visual narratives, exploring ideas, thoughts, and feelings that traverse the spiritual and the metaphysical. Painting, to her, is not simply an aesthetic exercise; it is a form of communication, a way to connect with viewers on a deeply personal level.

 

A cultural ambassador for Romania, Doina has represented her homeland at numerous international events. As the former director of the “6 Continents” International Culture Festival, and an honorary ambassador of the Romanian-French Culture Festival in Paris, she has promoted Romanian culture with unparalleled dedication. Her role in these festivals has been instrumental in strengthening cultural ties between nations, fostering an appreciation for Romania’s rich artistic and literary heritage. She has also launched her books in prestigious locations abroad, including at Casa Europei in Paris, and her continued participation in international festivals reflects her unwavering commitment to cross-cultural dialogue.

In all her pursuits, Doina draws upon a profound spiritual inspiration, one she attributes to the sacred blessings she received from Pope John Paul II. Her literary and artistic journey is, for her, underpinned by a divine light, which she honors through her devotion to her craft. Her life in the arts is not merely a profession; it is, in her words, “a way of living and fulfilling my soul, my spirit,” a testament to her belief that creativity is a sacred endeavor.

As Doina continues to contribute to cultural dialogues across the globe, her influence as a writer, artist, and cultural advocate endures. Through her words and paintings, she bridges the past and the present, the spiritual and the human, bringing to life the profound beauty of Romanian culture for future generations to cherish.

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The Writers Capital International Foundation Announces Esteemed Awardees of the Panorama International Arts Festival 2024

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The Writers Capital International Foundation has announced its prestigious Panorama International Arts Awards 2024, celebrating extraordinary achievements across global artistic disciplines. This year’s festival, themed “Fire,” honored a diverse array of outstanding talents, recognizing both accomplished artists and emerging prodigies who embody creativity, cultural diversity, and unity. Dedicated to the late Alfredo Pasolino, the awards pay homage to his legacy, inspiring a new generation of artists worldwide.

The awardees were meticulously selected by the International Jury, chaired by the esteemed Prof. Nuccio Mula, whose expertise and vision helped shape this year’s honors. Prof. Mula congratulated each awardee, commending their artistic accomplishments and their unique contributions to global culture. He remarked, “These awards reflect not only exceptional artistry but a profound dedication to bridging cultures through creativity, which lies at the heart of the Panorama Festival.”

Preeth Padmanabhan Nambiar, President of Writers Capital International Foundation, extended heartfelt congratulations, reminding the recipients, “These awards should not be seen as mere evaluations of one’s true genius, for the real measure of talent transcends accolades and lies in the unwavering dedication to one’s craft.” He added, “It is a pleasure to witness such passionate works that uplift humanity.”

Secretary-General Irene Doura Kavadia also expressed her admiration, congratulating the winners for their inspiring accomplishments. “Each one of you has showcased the power of art to connect, heal, and transform. Congratulations on this well-deserved recognition,” she said.

Awardees

2024 Lifetime Achievement Award

Lucia Puscasu (Romania) received this year’s Lifetime Achievement Award for her extensive contributions to the arts and her lifelong dedication to cultural enrichment.

Panorama International Arts Awards Recipients

The Alfredo Pasolino Memorial Panorama Arts Awards celebrated excellence in various creative fields. This year’s honorees include:

  • Elena Arsenidou (Greece)
  • Katerina Solomou (Greece)
  • Christine Cézanne-Thauss (Austria)
  • Charitini Thrasyvoulou (Cyprus)
  • Ioannis Alexakis (Greece)
  • Miguel Angel Guinazu (Argentina)
  • Ramesh Aundhkar (India)
  • Pietro La Barbera (Italy)
  • Ganthaus (Mexico)
  • Daniela Isache (Romania)
  • Pablo Solari (Argentina)
  • Antoney Mukhathala (India)
  • Euranie Cryzz (Italy)
  • Maximino Melchor Vasquez (Mexico)
  • Franca Goldoni (Italy)
  • Elena Felicia Cimpian (Romania)
  • Stella Chaviaropoulou (Greece)
  • Eugenio Rattà (Italy)
  • Maria Pellino (Italy)
  • Nahum Sternberg (Israel)
  • Carmen Granda (Ecuador)

The Alfredo Pasolino Memorial Awards further acknowledged specific disciplines with additional honors:

  • Dance: Maria Rita Mata Moncada (Mexico)
  • Theatre: Florena Iavarone (Italy)
  • Ceramics: Safia Slimen (Tunisia)
  • Glass Art: Lidia Nica (Romania)
  • Photography: Michael Kazemi (South Korea)
  • Panorama People’s Choice Award 2024: Mihaela Craciun (Romania)

Panorama International Youth Awards

The Panorama International Youth Awards celebrated the emerging talents of Arpita Suri (India) and Andromachi Koutserinaki (Greece).

Serena Memorial Child Prodigy Award

The Serena Memorial Child Prodigy Award was bestowed upon Aidana Victoria Milagros Gamarra Peña (Peru), recognizing her extraordinary creativity and early achievements.

Special Jury Awards 2024

  • Ioanna Ioannidi
  • Roy Karathra

The Panorama International Arts Festival 2024, hosted by the Writers Capital International Foundation, remains steadfast in its mission to unite cultures through the transformative power of art. Congratulations to all awardees for inspiring the global community with their exceptional talent and humanity.

For further details on the festival and the full list of honorees, visit www.writerscapital.org.

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