Hora

They made a huge difference to our performance, as they had both played in England.

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

The club was formed on the 14th of February 1974. On the 14th of February 2014 a formal night was organised by the committee, and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years

The club shirt and the club emblem were designed by my nephew Val Semos. It depicts the Olympic torch (something that will live forever) and obviously the name of the club.".

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee, and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

The club was formed on the 14th of February 1974. On the 14th of February 2014 a formal night was organised by the committee, and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years

The club shirt and the club emblem were designed by my nephew Val Semos. It depicts the Olympic torch (something that will live forever) and obviously the name of the club. ".

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee, and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

On the 14th of February 1974, the Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

members of the first the Albury City Soccer Club.

On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

I am proud to have been the first President. Note also how many Kytherian and Antikytherian names appear on the board?

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

From left to right standing:
1) Tony Fallea. Born Argentina
2) Nick Andronicos. Parents from Antikythera. An excellent player
3) Joe Beggs
4) RayThomas an ex AFL player in Melbourne.
5) Phil Barrette. Played in England
6) Joseph Sagor Played in England. An excellent player
7) Peter Galanakis. Parents from Antikythera. Now coaching Kytherian players

Front row
1) George Wright
2) Ivan Rakitic
3) Eric (Trava)Saros. Parents from Kythera
4) James Caminos. Parents from Kythera

There were other players whose parents were also from Kythera.


I was instrumental in bringing the team into existence.

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

members of the first the Albury City Soccer Club.

Back row: (Left to Right). Tom Efthimopoulos, Stan Saros, Angelo Crinis, Angelo Hassapithis, Nick Andronicos, Joe Beggs, Ray Thomas, Phil Barrett, Joe Sagor, John Baratkis, Joe Meixner, Spyro Calocerinos, Steve Kowalczuk, Warwick Aldridge.

Middle Row: Steve Gounakis, George Travassaros, Nick Andronicos, Tony Fallea, George Wright, Ivan Rakitic, Eric Saros, James Cominos, Peter Galanakis, Latzi Laslo.

Fron Row: George Veneris (lying down).

"According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years".

The club shirt and the club emblem were designed by my nephew Val Semos. It depicts the Olympic torch (something that will live forever) and obviously the name of the club.

Spyro Calocerinos with other members of various committees of the Albury City Soccer Club throughout the years. 14th of February 2014.

According to a contract I had with the Company I was working with at the time, I was posted to Albury in NSW, in the early 1970's. I re-located there with my family, and we stayed for three years.

One of the important things for me was that the City of Albury had a Greek Church which was built mainly by Kytherians. When a priest (Father Agelakos) arrived, the Greek citizens were happy that a temporary priest arrived so he could also teach the children Greek and obviously do the service every Sunday in Church. As the Church was built a long time before, a priest would service the church one Sunday per month. Now there was a priest every Sunday therefore, it was a bit hard to get people to Church every Sunday. I suggested to the priest that with the children (mainly young girls) we could start a choir, therefore the parents and friends would come to listen to their children. I undertook the responsibility to do that and very soon we were getting many more people in Church, but not many of the young boys as they were out in Parks kicking a football or just playing.

I suggested to the local Kytherians that we should form a football club as I noticed that there were a number of boys that really were very good with the ball, and their feet. With the assistance of the shopkeepers (mostly Kytherians and Antikytherians) we went ahead and eventually managed to get the team in a park. We formed a temporary committee and we elected the late Steve Galanakis as the temporary president. I was doing a lot of work and as we managed to get the team into the local association. We held elections and I was elected as the first president of the club.

So on the 14th of February 1974 , Albury City Soccer Club was formed. On the 14th of February 2014 a formal night was organised by the committee,and being the first President of the Club, I was invited to attend. I went and I was amazed at what the Club achieved during those last 40 years.

the high school of kythera at hora , where a lot of people that read this web-site attended !!!!

House – in Hora with sea view/castro view veranda, 2 BR, 2 B, sleeps 7, equipped, washer, 2 week minimum, 400e/week, available from mid-July, in Greece call 698-199-7215 or email angletin@msn.com to book now.

a side view of kapsali as you go to felati bay..

In this year, the 110th anniversary of Hearn’s death, an international symposium and commemorative event will be held in July in Lefkada, Greece, the place of his birth. This event will attempt an interpretation of Hearn’s “Open Mind” and explore ways to connect Hearn’s legacy with the future. Since 2009, Hearn has been reevaluated from a range of perspectives, and attempts are being made to apply these newfound ideas and values in a practical way. This is changing people’s awareness of Hearn, not only in Japan, but also across the world. It is hoped that this exhibition “Hearn and Family” will bring a fresh perspective to Lafcadio Hearn.

Background

Born in Greece and raised in Ireland, Lafcadio Hearn travelled halfway around the world before arriving in Japan, where he settled and started a family. He died, as a Japanese national, at the age of fifty-four. Using stories passed down through the generations, this exhibition offers glimpses into Hearn’s life and the lives of his beloved wife and children.

Lafcadio Hearn passed away quietly on 26 September, 1904. He was fifty-four. He died at his home in Nishi-Okubo, Tokyo, where he was being cared for by his family.

....and said quietly, “Mamma-san, the sickness of the other day has come back again.” I went with him. For while he walked around the room with his hands on his breast. I advised him to lie quietly on the bed, and he died so. Very soon after that he was no longer of this world. He died without any pain, having little smile around his mouth. It could not be helped, if it was the order of Heaven. I wish that I could have taken care of him, and given all my strength in nursing him. This was too easy a death for me. (Reminiscences of Lafcadio Hearn by Setsuko Koizumi)

Lafcadio Hearn’s parents divorced when he was a child. He was raised by a great-aunt in Ireland, who later suffered financial difficulties. He immigrated to the USA, where his life was lonely and often solitary. Beset by misfortunes in his youth, Hearn longed for his Greek mother, Rosa, and yearned for a warm, loving family. After arriving in Japan in 1890, he found employment as an English teacher at a school in Matsue. Here, he met Setsu, whom he married, and for the first time in his life, he had a family of his own.

Except for a short period of time while living in Cincinnati, Hearn had been alone. However, upon marrying Setsu, he became the head of a large family, which included Setsu’s real mother, and her adoptive parents. Before long, his first son Kazuo was born, followed by two more sons and a daughter.

Hearn, the family man.

Kazuo Koizumi says in the introduction to Father and I by Kazuo Koizumi).: “My father died when I was ten. To me, as a young boy, he was a father, a family man. I didn’t know the man who gave solemn lectures or wrote difficult works.” To his children, Hearn was at times a strict educator and disciplinarian. However, he was also a kind and loving father, and was often humorous, and displayed a childlike heart.

This exhibition commemorates the 110th anniversary of Hearn’s death, and aims, through memoirs written by his wife and children, to uncover another little-known side to this man. At the time of Hearn’s death, his eldest son, Kazuo, was ten, his other sons Iwao and Kiyoshi were six and four, and his daughter Suzuko was just one year old. From the family memoirs and the many photographs provided by the Koizumi family, this exhibition offers glimpses into their family life, and shows the fondness the children felt towards their father. Setsu and Hearn called each other Papa san and Mama san, as a mark of respect and affection, and they communicated in a unique form of Japanese which they called “Hearn’s language”.

This exhibition has been structured with reference to the following works written by members of Hearn’s family: Reminiscences of Lafcadio Hearn by Setsuko Koizumi (1918, Houghton Mifflin Co.), Father and I by Kazuo Koizumi (1935 Houghton Mifflin Co.), Father Koizumi Yakumo by Kazuo Koizumi (1950, Koyama Shoten), RE-ECHO by Kazuo Koizumi, Edited by Nancy J. Fellers (1957 Caxton Printers. Ltd.) These works offer insight into Hearn’s writing habits, and a daily life overflowing with human warmth. Based on the concept of “family”, this exhibition aims to show Hearn in a new light. It will also consider the lives of Hearn’s children after his death.

Hearn’s son Kazuo says, “Born into this world, he first learned Greek, was brought up to speak English, was taught French, Latin, and Spanish; this Hearn on his deathbed uttered, ‘ah, byoki no tame’ (Ah, on account of sickness) regretfully, resignedly, left his final utterance in Japanese—died as a Japanese. Thus did Hearn pass away. (Father and I)

Hearn, a British national, became a naturalized Japanese citizen for his wife and children, and died as Koizumi Yakumo, a Japanese national. Through this exhibition, it is hoped that visitors will be able to see the man behind the writer.

In this year, the 110th anniversary of Hearn’s death, an international symposium and commemorative event will be held in July in Lefkada, Greece, the place of his birth. This event will attempt an interpretation of Hearn’s “Open Mind” and explore ways to connect Hearn’s legacy with the future. Since 2009, Hearn has been reevaluated from a range of perspectives, and attempts are being made to apply these newfound ideas and values in a practical way. This is changing people’s awareness of Hearn, not only in Japan, but also across the world. It is hoped that this exhibition “Hearn and Family” will bring a fresh perspective to Lafcadio Hearn.

Organizers: NPO Matsue Tourism / Matsue City Municipaly
Coordination: The Koizumi Family / The Inagaki Family
Superviser: Koizumi Bon
Coordinator: Koizumi Shoko
Designer: Ishikawa Kiyoharu

The Open Mind of Lafcadio Hearn: His Spirit from the West to the East (International Symposium in Greece to Commemorate the 110th Anniversary of Lafcadio Hearn’s Death)

In this year, the 110th anniversary of Hearn’s death, an international symposium and commemorative event will be held in July in Lefkada, Greece, the place of his birth. This event will attempt an interpretation of Hearn’s “Open Mind” and explore ways to connect Hearn’s legacy with the future. Since 2009, Hearn has been reevaluated from a range of perspectives, and attempts are being made to apply these newfound ideas and values in a practical way. This is changing people’s awareness of Hearn, not only in Japan, but also across the world. It is hoped that this exhibition “Hearn and Family” will bring a fresh perspective to Lafcadio Hearn.

Background

Born in Greece and raised in Ireland, Lafcadio Hearn travelled halfway around the world before arriving in Japan, where he settled and started a family. He died, as a Japanese national, at the age of fifty-four. Using stories passed down through the generations, this exhibition offers glimpses into Hearn’s life and the lives of his beloved wife and children.

Lafcadio Hearn passed away quietly on 26 September, 1904. He was fifty-four. He died at his home in Nishi-Okubo, Tokyo, where he was being cared for by his family.

....and said quietly, “Mamma-san, the sickness of the other day has come back again.” I went with him. For while he walked around the room with his hands on his breast. I advised him to lie quietly on the bed, and he died so. Very soon after that he was no longer of this world. He died without any pain, having little smile around his mouth. It could not be helped, if it was the order of Heaven. I wish that I could have taken care of him, and given all my strength in nursing him. This was too easy a death for me. (Reminiscences of Lafcadio Hearn by Setsuko Koizumi)

Lafcadio Hearn’s parents divorced when he was a child. He was raised by a great-aunt in Ireland, who later suffered financial difficulties. He immigrated to the USA, where his life was lonely and often solitary. Beset by misfortunes in his youth, Hearn longed for his Greek mother, Rosa, and yearned for a warm, loving family. After arriving in Japan in 1890, he found employment as an English teacher at a school in Matsue. Here, he met Setsu, whom he married, and for the first time in his life, he had a family of his own.

Except for a short period of time while living in Cincinnati, Hearn had been alone. However, upon marrying Setsu, he became the head of a large family, which included Setsu’s real mother, and her adoptive parents. Before long, his first son Kazuo was born, followed by two more sons and a daughter.

Hearn, the family man.

Kazuo Koizumi says in the introduction to Father and I by Kazuo Koizumi).: “My father died when I was ten. To me, as a young boy, he was a father, a family man. I didn’t know the man who gave solemn lectures or wrote difficult works.” To his children, Hearn was at times a strict educator and disciplinarian. However, he was also a kind and loving father, and was often humorous, and displayed a childlike heart.

This exhibition commemorates the 110th anniversary of Hearn’s death, and aims, through memoirs written by his wife and children, to uncover another little-known side to this man. At the time of Hearn’s death, his eldest son, Kazuo, was ten, his other sons Iwao and Kiyoshi were six and four, and his daughter Suzuko was just one year old. From the family memoirs and the many photographs provided by the Koizumi family, this exhibition offers glimpses into their family life, and shows the fondness the children felt towards their father. Setsu and Hearn called each other Papa san and Mama san, as a mark of respect and affection, and they communicated in a unique form of Japanese which they called “Hearn’s language”.

This exhibition has been structured with reference to the following works written by members of Hearn’s family: Reminiscences of Lafcadio Hearn by Setsuko Koizumi (1918, Houghton Mifflin Co.), Father and I by Kazuo Koizumi (1935 Houghton Mifflin Co.), Father Koizumi Yakumo by Kazuo Koizumi (1950, Koyama Shoten), RE-ECHO by Kazuo Koizumi, Edited by Nancy J. Fellers (1957 Caxton Printers. Ltd.) These works offer insight into Hearn’s writing habits, and a daily life overflowing with human warmth. Based on the concept of “family”, this exhibition aims to show Hearn in a new light. It will also consider the lives of Hearn’s children after his death.

Hearn’s son Kazuo says, “Born into this world, he first learned Greek, was brought up to speak English, was taught French, Latin, and Spanish; this Hearn on his deathbed uttered, ‘ah, byoki no tame’ (Ah, on account of sickness) regretfully, resignedly, left his final utterance in Japanese—died as a Japanese. Thus did Hearn pass away. (Father and I)

Hearn, a British national, became a naturalized Japanese citizen for his wife and children, and died as Koizumi Yakumo, a Japanese national. Through this exhibition, it is hoped that visitors will be able to see the man behind the writer.

In this year, the 110th anniversary of Hearn’s death, an international symposium and commemorative event will be held in July in Lefkada, Greece, the place of his birth. This event will attempt an interpretation of Hearn’s “Open Mind” and explore ways to connect Hearn’s legacy with the future. Since 2009, Hearn has been reevaluated from a range of perspectives, and attempts are being made to apply these newfound ideas and values in a practical way. This is changing people’s awareness of Hearn, not only in Japan, but also across the world. It is hoped that this exhibition “Hearn and Family” will bring a fresh perspective to Lafcadio Hearn.

Organizers: NPO Matsue Tourism / Matsue City Municipaly
Coordination: The Koizumi Family / The Inagaki Family
Superviser: Koizumi Bon
Coordinator: Koizumi Shoko
Designer: Ishikawa Kiyoharu

The Open Mind of Lafcadio Hearn: His Spirit from the West to the East (International Symposium in Greece to Commemorate the 110th Anniversary of Lafcadio Hearn’s Death)

[[picture:"Hearn Latest exhibition.jpg" ID:22245]]

In this year, the 110th anniversary of Hearn’s death, an international symposium and commemorative event will be held in July in Lefkada, Greece, the place of his birth. This event will attempt an interpretation of Hearn’s “Open Mind” and explore ways to connect Hearn’s legacy with the future. Since 2009, Hearn has been reevaluated from a range of perspectives, and attempts are being made to apply these newfound ideas and values in a practical way. This is changing people’s awareness of Hearn, not only in Japan, but also across the world. It is hoped that this exhibition “Hearn and Family” will bring a fresh perspective to Lafcadio Hearn.

Background

Born in Greece and raised in Ireland, Lafcadio Hearn travelled halfway around the world before arriving in Japan, where he settled and started a family. He died, as a Japanese national, at the age of fifty-four. Using stories passed down through the generations, this exhibition offers glimpses into Hearn’s life and the lives of his beloved wife and children.

Lafcadio Hearn passed away quietly on 26 September, 1904. He was fifty-four. He died at his home in Nishi-Okubo, Tokyo, where he was being cared for by his family.

....and said quietly, “Mamma-san, the sickness of the other day has come back again.” I went with him. For while he walked around the room with his hands on his breast. I advised him to lie quietly on the bed, and he died so. Very soon after that he was no longer of this world. He died without any pain, having little smile around his mouth. It could not be helped, if it was the order of Heaven. I wish that I could have taken care of him, and given all my strength in nursing him. This was too easy a death for me. (Reminiscences of Lafcadio Hearn by Setsuko Koizumi)

Lafcadio Hearn’s parents divorced when he was a child. He was raised by a great-aunt in Ireland, who later suffered financial difficulties. He immigrated to the USA, where his life was lonely and often solitary. Beset by misfortunes in his youth, Hearn longed for his Greek mother, Rosa, and yearned for a warm, loving family. After arriving in Japan in 1890, he found employment as an English teacher at a school in Matsue. Here, he met Setsu, whom he married, and for the first time in his life, he had a family of his own.

Except for a short period of time while living in Cincinnati, Hearn had been alone. However, upon marrying Setsu, he became the head of a large family, which included Setsu’s real mother, and her adoptive parents. Before long, his first son Kazuo was born, followed by two more sons and a daughter.

[[picture:"Family tree.jpg" ID:22246]]

Hearn, the family man.

Kazuo Koizumi says in the introduction to Father and I by Kazuo Koizumi).: “My father died when I was ten. To me, as a young boy, he was a father, a family man. I didn’t know the man who gave solemn lectures or wrote difficult works.” To his children, Hearn was at times a strict educator and disciplinarian. However, he was also a kind and loving father, and was often humorous, and displayed a childlike heart.

This exhibition commemorates the 110th anniversary of Hearn’s death, and aims, through memoirs written by his wife and children, to uncover another little-known side to this man. At the time of Hearn’s death, his eldest son, Kazuo, was ten, his other sons Iwao and Kiyoshi were six and four, and his daughter Suzuko was just one year old. From the family memoirs and the many photographs provided by the Koizumi family, this exhibition offers glimpses into their family life, and shows the fondness the children felt towards their father. Setsu and Hearn called each other Papa san and Mama san, as a mark of respect and affection, and they communicated in a unique form of Japanese which they called “Hearn’s language”.

This exhibition has been structured with reference to the following works written by members of Hearn’s family: Reminiscences of Lafcadio Hearn by Setsuko Koizumi (1918, Houghton Mifflin Co.), Father and I by Kazuo Koizumi (1935 Houghton Mifflin Co.), Father Koizumi Yakumo by Kazuo Koizumi (1950, Koyama Shoten), RE-ECHO by Kazuo Koizumi, Edited by Nancy J. Fellers (1957 Caxton Printers. Ltd.) These works offer insight into Hearn’s writing habits, and a daily life overflowing with human warmth. Based on the concept of “family”, this exhibition aims to show Hearn in a new light. It will also consider the lives of Hearn’s children after his death.

Hearn’s son Kazuo says, “Born into this world, he first learned Greek, was brought up to speak English, was taught French, Latin, and Spanish; this Hearn on his deathbed uttered, ‘ah, byoki no tame’ (Ah, on account of sickness) regretfully, resignedly, left his final utterance in Japanese—died as a Japanese. Thus did Hearn pass away. (Father and I)

Hearn, a British national, became a naturalized Japanese citizen for his wife and children, and died as Koizumi Yakumo, a Japanese national. Through this exhibition, it is hoped that visitors will be able to see the man behind the writer.

In this year, the 110th anniversary of Hearn’s death, an international symposium and commemorative event will be held in July in Lefkada, Greece, the place of his birth. This event will attempt an interpretation of Hearn’s “Open Mind” and explore ways to connect Hearn’s legacy with the future. Since 2009, Hearn has been reevaluated from a range of perspectives, and attempts are being made to apply these newfound ideas and values in a practical way. This is changing people’s awareness of Hearn, not only in Japan, but also across the world. It is hoped that this exhibition “Hearn and Family” will bring a fresh perspective to Lafcadio Hearn.

Organizers: NPO Matsue Tourism / Matsue City Municipaly
Coordination: The Koizumi Family / The Inagaki Family
Superviser: Koizumi Bon
Coordinator: Koizumi Shoko
Designer: Ishikawa Kiyoharu

The Open Mind of Lafcadio Hearn: His Spirit from the West to the East (International Symposium in Greece to Commemorate the 110th Anniversary of Lafcadio Hearn’s Death)

Postcard found in a box of my mothers photos.
Does anyone know the year ? (I am guessing earlier than 1970 and the fancy edging tells me a few decades before that?) And what does it say on the back??

John

On 6 March 2014, the Japan World Exposition 1970 Commemorative Fund (JEC Fund) pledged to provide financial assistance up to 6,000,000 Yen to Waterford County Council (WCC) for the “Koizumi Yakumo Memorial Garden” project. The grant is the largest of 48 international grants awarded by the JEC Fund this year.

The aim of the project is to transform the 9,400 square metre western style garden of Tramore House into a Japanese garden to honour Koizumi Yakumo, known also by his Irish name Patrick Lafcadio Hearn (1850-1904), who spent his boyhood summers in Tramore before becoming a writer and living in Japan until he died.

It is expected that the completion of this project will enhance Japan-Ireland cultural relations by encouraging not only people in the Tramore area but throughout Ireland to have a better understanding of Japanese literature and culture through a renewed interest in Koizumi Yakumo.

Mr. Chihiro Atsumi, Ambassador of Japan to Ireland, expressed his delight at the news and said the creation of the garden will be a valuable addition to the cultural links between Japan and Ireland, adding, ‘Last year, the Japanese Prime Minister Mr. Shinzo Abe visited Ireland in June, and in December the Taoiseach Mr Enda Kenny TD visited Japan. 2013 was a special year that provided an opportunity for the start of a new phase in Japan-Ireland relations. At their meeting in Tokyo in December, the two leaders issued a joint declaration entitled a “Partnership for Innovation and Growth”. The fund is part of the follow-up to the declaration. I expect cultural projects like this garden to play an important part in further strengthening the friendly ties between Japan and Ireland.’

Mr. John Neary, Ambassador of Ireland to Japan, also expressed his happiness at the news, saying, ‘I welcome the grant award from the JEC Fund. This will make the garden a truly cooperative project between Ireland and Japan, and ensure that it acts as a bridge between the two countries.’

The garden will have a number of separate areas which will tell in sequence the story of Koizumi Yakumo from his boyhood in Tramore to his life and death in Japan. It will also reflect, through planting and artefacts, stories from Japanese folklore translated by him. It will include several Japanese structures such as bridges, porticos and azumayas (gazebos), which will be of interest to Japanese, American and other international visitors. It will be a significant addition to the gardens of Waterford and southeast Ireland. It will function as an educational garden of Teagasc, Kildalton College, and the Waterford Institute of Technology.

This grant comes under the JEC Fund which manages part of the earnings of the Japan World Exposition 1970 as a fund. The earnings from the fund are used to provide financial assistance for different activities, including cultural, scholarly, and intellectual efforts in Japan and abroad. From 1971 to the present, it has provided 18,639 million Yen to 4,224 projects.

The fund supports a variety of different activities for international exchange and friendship, including human interaction, artistic performances, and art exhibits in Japan and overseas. It also contributes to building Japanese gardens and culture centres overseas. The “Koizumi Yakumo Memorial Garden” is the sixth project in Ireland to receive JEC Fund assistance since 1978.

The Mayor of County Waterford, Councillor Damien Geoghegan expressed his gratitude to the JEC Fund for supporting this project. ‘I am delighted that the JEC Fund has pledged financial assistance to the project in Tramore’, stated Mayor Geoghegan. ‘It will help to strengthen cultural and economic ties between Japan and Ireland, and I am glad that Tramore and County Waterford can play a role building these international linkages’, Mayor Geoghegan added.

The Waterford City and County Manager, Michael Walsh also expressed his appreciation to the JEC Fund. ‘Economic development is a key priority for Waterford City and County Council. This project will link with a range of tourism initiatives to improve the attractiveness of the South East Region to visitors. Importantly, the funding from the JEC Fund will help to strengthen the bridge between Japan and Ireland. By building on the legacy of Koizumi Yakumo, we hope to forge greater economic and cultural bonds between Ireland and Japan’, stated Mr Walsh. ‘We appreciate the input of the local community in Tramore, and look forward to working with them to develop the garden’, added Mr Walsh.

Agnes Aylward of the Tramore Development Trust said the award was a decisive recognition by the Government and people of Japan of Tramore’s effort to acknowledge one of their country’s most famous adopted sons. She expressed thanks to staff and public representatives of the combined local authorities, and to the voluntary members of the Garden Development Committee and Design Team for their unstinting support.

WCC will start construction work in April 2014 with the support of the Tramore Development Trust, to complete the project by March 2015 and open the garden to the public. The JEC Fund will provide the fund upon completion of the project by March 2015.

http://lafcadiohearngardens.com/

Photo: Waterford County Council & Tramore Development Trust

[[picture:"image.jpg" ID:22147]]

On 6 March 2014, the Japan World Exposition 1970 Commemorative Fund (JEC Fund) pledged to provide financial assistance up to 6,000,000 Yen to Waterford County Council (WCC) for the “Koizumi Yakumo Memorial Garden” project. The grant is the largest of 48 international grants awarded by the JEC Fund this year.

The aim of the project is to transform the 9,400 square metre western style garden of Tramore House into a Japanese garden to honour Koizumi Yakumo, known also by his Irish name Patrick Lafcadio Hearn (1850-1904), who spent his boyhood summers in Tramore before becoming a writer and living in Japan until he died.

It is expected that the completion of this project will enhance Japan-Ireland cultural relations by encouraging not only people in the Tramore area but throughout Ireland to have a better understanding of Japanese literature and culture through a renewed interest in Koizumi Yakumo.

Mr. Chihiro Atsumi, Ambassador of Japan to Ireland, expressed his delight at the news and said the creation of the garden will be a valuable addition to the cultural links between Japan and Ireland, adding, ‘Last year, the Japanese Prime Minister Mr. Shinzo Abe visited Ireland in June, and in December the Taoiseach Mr Enda Kenny TD visited Japan. 2013 was a special year that provided an opportunity for the start of a new phase in Japan-Ireland relations. At their meeting in Tokyo in December, the two leaders issued a joint declaration entitled a “Partnership for Innovation and Growth”. The fund is part of the follow-up to the declaration. I expect cultural projects like this garden to play an important part in further strengthening the friendly ties between Japan and Ireland.’

Mr. John Neary, Ambassador of Ireland to Japan, also expressed his happiness at the news, saying, ‘I welcome the grant award from the JEC Fund. This will make the garden a truly cooperative project between Ireland and Japan, and ensure that it acts as a bridge between the two countries.’

The garden will have a number of separate areas which will tell in sequence the story of Koizumi Yakumo from his boyhood in Tramore to his life and death in Japan. It will also reflect, through planting and artefacts, stories from Japanese folklore translated by him. It will include several Japanese structures such as bridges, porticos and azumayas (gazebos), which will be of interest to Japanese, American and other international visitors. It will be a significant addition to the gardens of Waterford and southeast Ireland. It will function as an educational garden of Teagasc, Kildalton College, and the Waterford Institute of Technology.

This grant comes under the JEC Fund which manages part of the earnings of the Japan World Exposition 1970 as a fund. The earnings from the fund are used to provide financial assistance for different activities, including cultural, scholarly, and intellectual efforts in Japan and abroad. From 1971 to the present, it has provided 18,639 million Yen to 4,224 projects.

The fund supports a variety of different activities for international exchange and friendship, including human interaction, artistic performances, and art exhibits in Japan and overseas. It also contributes to building Japanese gardens and culture centres overseas. The “Koizumi Yakumo Memorial Garden” is the sixth project in Ireland to receive JEC Fund assistance since 1978.

The Mayor of County Waterford, Councillor Damien Geoghegan expressed his gratitude to the JEC Fund for supporting this project. ‘I am delighted that the JEC Fund has pledged financial assistance to the project in Tramore’, stated Mayor Geoghegan. ‘It will help to strengthen cultural and economic ties between Japan and Ireland, and I am glad that Tramore and County Waterford can play a role building these international linkages’, Mayor Geoghegan added.

The Waterford City and County Manager, Michael Walsh also expressed his appreciation to the JEC Fund. ‘Economic development is a key priority for Waterford City and County Council. This project will link with a range of tourism initiatives to improve the attractiveness of the South East Region to visitors. Importantly, the funding from the JEC Fund will help to strengthen the bridge between Japan and Ireland. By building on the legacy of Koizumi Yakumo, we hope to forge greater economic and cultural bonds between Ireland and Japan’, stated Mr Walsh. ‘We appreciate the input of the local community in Tramore, and look forward to working with them to develop the garden’, added Mr Walsh.

Agnes Aylward of the Tramore Development Trust said the award was a decisive recognition by the Government and people of Japan of Tramore’s effort to acknowledge one of their country’s most famous adopted sons. She expressed thanks to staff and public representatives of the combined local authorities, and to the voluntary members of the Garden Development Committee and Design Team for their unstinting support.

WCC will start construction work in April 2014 with the support of the Tramore Development Trust, to complete the project by March 2015 and open the garden to the public. The JEC Fund will provide the fund upon completion of the project by March 2015.

http://lafcadiohearngardens.com/

Photo: Waterford County Council & Tramore Development Trust

[[picture:"Masaaki Noda with Ms Azukizawa who is a curator of the Kwaidan exhibition.jpg" ID:22092]]

Shimane University
Japan

With Ms Azukizawa who is the curator of this exhibition

[***Book your tickets to Greece & Lefkada early, and plan to attend this marvellous Symposium***]

[[picture:"Hearn photograph 3.jpg" ID:20938]]

Lafcadio Hearn (Koizumi Yakumo 1850-1904) was born in Greece and brought up in Ireland. Migrating to the United States, where he worked as journalist and translator he eventually reached and settled in Japan. Separated from his parents at an early age he moved around different parts of the world. In his 54 years of life, free from all prejudice, racial or religious, Hearn respectfully comprehended the culture he came across with an open mind.

It is within the scope of this international symposium to amplify Lafkadio’s ‘Open Mind’ precisely from such an open, multilateral, approach through the man’s work, correspondence and lecture papers. We propose that the symposium be held in his birthplace in

Greece, the island of Lefkada.

Lafcadio Hearn was born to Rosa Cassimati (Kytherian Greek) and Charles Hearn (Irish) in Lefkada, Greece, on June 27, 1850. Although separated from his mother at the age of four –never to see her again, his affection towards her and his pride over his Hellenic descent remained unabated throughout his life. Arguably, had it not been for these subconscious roots forming his open-mindedness, given the Hellenic conceptualization of being as a transmigrating soul in a polytheistic universe, he wouldn’t have fathomed so discernibly into the culture of Japan.

Such affinities between Greece and Japan, between west and east, came to be described by Hearn as a Utopia. In his own words:
“We should have to go back to the Greek times for that. Were some great classic scholar, perfectly familiar with the manners and customs of this country, to make a literary Study of the parallel between Greek and Japanese life and thought, I am sure that the result would be as surprising as it would be charming.” (Insects and Greek Poetry)

Phrases in late works of his, such as in ‘The Dream of a Summer Day’ depict, abstractly, his days with Rosa in Lefkada; and his affection for his mother, pouting out in that letter addressed to his brother, James.

Lefkada has decided to inaugurate the ‘Lafcadio Hearn Memorial Museum’ at the time of the symposium. We deem this project as an excellent opportunity for Lefkada, his own birth-place, to further enhance its comprehension of the man and his legacy.

The theme of the symposium, “The Open Mind of Lafcadio Hearn” expresses his life and concept of values. In 2009, the art exhibition expressing Hearn’s sprit through art was held in The American College of Greece in Athens for the first time in the world, whose opening attracted some five hundred people. In 2010, another art exhibition, under the same title yet organized by The City of Matsue, was held inside Matsue Castle, impressed 45,000 visitors. The exhibition has since then been held in New York in 2011, in New Orleans in 2012. Public interest and sensitivity towards Lafkadio is steadily rising and spreading.

In view of the above, it is considered rather significant that an international symposium be held, aiming at shedding still more light in Hearn’s open mind, along with further dispersing and promoting interest and attention to Hearn and his work. In his later life, Hearn urged the necessity of ancient Greece. “Those old Greeks, though happy as children and as kindly; were very great philosophers, to whom we go for instruction even at this day. What the world now most feels in need of is the return of that old Greek spirit of happiness and of kindness.” (Insects and Greek Poetry)

Thus, it is deemed appropriate to hold the symposium in Lefkada, the place of his birth and the place where the cultural events were initiated. Should, as decided, the symposium take place in Lefkada, Hellenic and Japanese bonding shall be further reinvented, and reinforced, tending to Lefkadio’s quest and wish for living and thinking in an open-minded world.

Implementation

International Symposium in Greece to Commemorate the 110th Anniversary of Lafcadio Hearn’s Death

The Open Mind of Lafacdio Hearn:
His Spirit from the West to the East
date: July 4—6, 2014

venue: Lefkada, Greece

Organizer: The Planning Committee for the Memorial Events in Greece to Commemorate the 110th Anniversary of Lafcadio Hearn’s Death

Co-Organizer: Municipality of Lefkada

With The Support of Embassy of Greece in Japan, Embassy of Japan in Greece, The American College of Greece
Symposium

The Open Mind of Lafcadio Hearn:
His Spirit from the West to the East
date: July 5—6, 2014
venue: Ionian Blue Hotel
Admission: Free

Hearn’s open mind cultivated in European climates, especially in Greece and Ireland was further developed and enriched to more open spirit through his trips to the U.S., Martinique and Japan. It may be said that the basis of his open mind was formed by his attitude in his childhood to learn and get familiarized with Hellenistic polytheism on his mother's side and the Celtic spiritual world on his father’s side.

The internaional symposium will be held at Lefkada, the place of his birth, in July, 2014, aiming at interpreting Hearn's ‘Open Mind’, focusing how Hearn’s spirit developed by receiving a variety of influences of different cultures in his journey through life.

Saturday, July 5, 10:00-13:50
Memorial Speech
Bon Koizumi (Japan/Ireland/Greece)
Professor, University of Shimane; Great-Grandson of Lafcadio Hearn
The Open Mind of Lafcadio Hearn — A Spiritual Odyssey from Greece to Japan

Session 1 “The Rediscoveries of the Open Mind”
1. Mari Christine (Japan/USA)
Inter-Cultural Interpreter; Hearn Library Researcher, Toyama University
Lafcadio Hearn’s Open Mind in the Classroom: First Findings of Hearn Lectures in Kumamoto
2. John Moran (Ireland)
Journalist, the Irish Times
The Odyssey of Lafcadio Hearn
3. (A Speaker from Greece)
4. Masayuki Ikeda (Japan)
Professor, Waseda University

What Hearn Is Telling Us Now: Universality and Literature of Retellings
Sunday, July 6, 10:00-13:00
Session 2 “The Developments of the Open Mind”
1. Hariclea Zengos (Greece)
Professor, The American College of Greece
At Home in the World: Transnational Hearn
2. Dimitrios Vassiliadis (Greece)
Professor, University of Athens
Lafcadio Hearn and Buddhism
3. Louis Solo Martinel (France/Martinique)
Instructor, University of Tokyo & Waseda University
Exoticism and Cross-Culturality: On Lafcadio Hearn’s Fantastic Tales
4. Shingo Nagaoka (Japan)
Professor, Shimane University
Greek, Irish and/or British?: Hearn's Immigration to America and his Cultural Identities
5. Paul Murray (Ireland)
Hearn Biographer
Gothic Horror: The Dublin Haunting of Lafcadio Hearn

Events

Welcome Event at The American College of Greece
date: Thursday, July 3
venue: The American College of Greece, Athens, Greece
organized by The American College of Greece

The American College of Greece will present a piano and voice recital with works by Greek composers from the Ionian Islands including Lefkada. Tatiana Papageorgiou, pianist; Zachos Terzakis, tenor.

Performance
Lafcadio Hearn Recitation Night in Lefkada — Reading Performance by Shiro Sano & Kyoji Yamamoto
date: Saturday, July 5, 21:00

venue: Open Theatre, Lefkas Cultural Center

This reading performance first started in 2006 by Shiro Sano, an actor born in Matsue. Later Kyoji Yamamoto, a world famous guitarist also from Matsue joined this performance. The combination of recitation by Sano and music by Yamamoto has created a unique atmosphere expressing the world of KWAIDAN by Lafcadio Hearn, which has been attracting the audience. This event has been held late autumn every year since 7 years ago organized by Matsue City. Sano chooses the story to be recited based on a theme and coordinates the event, while Yamamoto adds mystic music created by his guitar. This collaboration has successfully elevated the ‘recitation’ to the realm of art.

We hope this event will provide the audience with an opportunity that they will feel the beauty of Hearn’s works and what he wants to appeal through his works, so that they can find the attraction of Hearn’s literature. We also hope the audience will experience the world of imagination Hearn used to experience through recitation, which he loved all through his life.

Seiwa Bunraku (Japanese traditional puppet show) “Yuki-Onna”
date: Sunday, July 6, 21:00
venue: Open Theatre, Lefkas Cultural Center

Seiwa Buraku is a puppet play (Ningyo Jyoruri) that has been inherited since 150 years ago in Seiwa Village, Kumamoto. The performance has been carried on as a farmers’ Bunraku by the villagers and the heads and the costumes of the dolls have been kept at ‘Bunrakukan’ in the village by a preservation group. This traditional performance has been played as many as 260 times a year. ‘Yuki-onna’ was added to their repertoire as Lafcadio Hearn, the original writer of the story, stayed in Kumamoto for almost 5 years. The script was written by Kazutoshi Hando. We believe people in Greece will enjoy the Japanese traditional performance through this performance.

Opening Ceremony of Lafcadio Hearn Museum
date: Friday, July 4
venue: Lefkas Cultural Center
organized by the Municipality of Lefkada

The museum is planned to be opened in the Cultural Center of the Municipality of Lafkada. Copies of some precious documents related to Hearn’s family including the marriage certificate of Charles and Rosa, the birth and death certificate of Hearn’s brother Robert and the birth certificate of Lafcadio will be exhibited.

Unveiling Ceremony of Masaaki Noda’s “The Open Mind of Lafcadio Hearn”
Date: Friday, July 4
venue: Lefkas Cultural Center

The unveiling ceremony of ”The Open Mind of Lafcadio Hearn”, a monument created by Masaaki Noda, a Japanese artist active in New York will be held. The monuments of the same title were erected at the American College of Greece, Athens in 2009 and at the bank of Lake Shinji, Matsue Japan in 2010.

The third monument with the title will be donated by Mr. Noda on the occasion of the opening of Lafcadio Hearn Museum in Lefkada.

Exhibition and workshop
Welcome Reception
date: Friday, July 4
venue: Lefkas Cultural Center
organized by the Municipality of Lefkada

Excursion

Date: Saturday, July 5—Sunday, July 6
organized by the Municipality of Lefkada
A tour visiting sites related to Hearn.

conducting the ceremony of Epithany, on the morning of the 6th January, 2014.

At the church of the Stavromenos, Hora.

For the meaning of Paramony and Epithany, read below.

Epiphany (Koine Greek: ἐπιφάνεια, epiphaneia, "manifestation", "striking appearance") or Theophany (Ancient Greek (ἡ) Θεοφάνεια, Τheophaneia meaning "vision of God"), which traditionally falls on January 6, is a Christian feast day that celebrates the revelation of God the Son as a human being in Jesus Christ. Western Christians commemorate principally (but not solely) the visit of the Magi to the Baby Jesus, and thus Jesus' physical manifestation to the Gentiles. Eastern Christians commemorate the baptism of Jesus in the Jordan River, seen as his manifestation to the world as the Son of God.

History

The observance had its origins in the Eastern Christian Churches and was a general celebration of the manifestation of the Incarnation of Jesus Christ. It included the commemoration of his birth; the visit of the Magi to Bethlehem; all of Jesus' childhood events, up to and including his baptism in the Jordan by John the Baptist; and even the miracle at the wedding at Cana in Galilee.It seems fairly clear that the Baptism was the primary event being commemorated.

Adoration of the Magi by Bartolomé Esteban Murillo, 17th century (Toledo Museum of Art, Ohio.
Christians fixed the date of the feast on January 6 quite early in their history. Ancient liturgies noted Illuminatio, Manifestatio, Declaratio (Illumination, Manifestation, Declaration); cf. Matthew 3:13–17; Luke 3:22; and John 2:1–11; where the Baptism and the Marriage at Cana were dwelt upon. Western Christians have traditionally emphasized the "Revelation to the Gentiles" mentioned in Luke, where the term Gentile means all non-Jewish peoples. The Biblical Magi, who represented the non-Jewish peoples of the world, paid homage to the infant Jesus in stark contrast to Herod the Great (King of Judea), who sought to kill him.[17] In this event, Christian writers also inferred a revelation to the Children of Israel. Saint John Chrysostom identified the significance of the meeting between the Magi and Herod's court: "The star had been hidden from them so that, on finding themselves without their guide, they would have no alternative but to consult the Jews. In this way the birth of Jesus would be made known to all."

The earliest reference to Epiphany as a Christian feast was in A.D. 361, by Ammianus Marcellinus St. Epiphanius says that January 6 is hemera genethlion toutestin epiphanion (Christ's "Birthday; that is, His Epiphany"). He also asserts that the Miracle at Cana occurred on the same calendar day.

In 385, the pilgrim Egeria (also known as Silvia) described a celebration in Jerusalem and Bethlehem, which she called "Epiphany" (epiphania) that commemorated the Nativity of Christ. Even at this early date, there was an octave associated with the feast.

In a sermon delivered on 25 December 380, St. Gregory of Nazianzus referred to the day as ta theophania ("the Theophany", an alternative name for Epiphany), saying expressly that it is a day commemorating he hagia tou Christou gennesis ("the holy nativity of Christ") and told his listeners that they would soon be celebrating the baptism of Christ. Then, on January 6 and 7, he preached two more sermons, wherein he declared that the celebration of the birth of Christ and the visitation of the Magi had already taken place, and that they would now commemorate his Baptism. At this time, celebration of the two events was beginning to be observed on separate occasions, at least in Cappadocia.
Saint John Cassian says that even in his time (beginning of the 5th century), the Egyptian monasteries celebrated the Nativity and Baptism together on January 6.The Armenian Apostolic Church continues to celebrate January 6 as the only commemoration of the Nativity.

Etymology and original word usage

The Koine Greek ἐπιφάνεια, epiphaneia derives from the verb "to appear" and means "manifestation," "appearance." In classical Greek it was used of the appearance of dawn, of an enemy in war, but especially of a manifestation of a deity to a worshipper (a theophany). In the Septuagint the word is used for a manifestation of the God of Israel (2 Maccabees 15:27). In the New Testament the word is used in 2 Timothy 1:10 to refer either to the birth of Christ or to his appearance after his resurrection, and five times to refer to the Second Coming.

Liturgical practice in Eastern Orthodox churches

Forefeast: The liturgical Forefeast of Theophany begins on January 1, and concludes with the Paramony on January 5.

Paramony: The Eve of the Feast is called Paramony (Greek: παραμονή, Slavonic: navechérie). Paramony is observed as a strict fast day, on which those faithful who are physically able, refrain from food until the first star is observed in the evening, when a meal with wine and oil may be taken. On this day the Royal Hours are celebrated, thus tying together the feasts of Nativity and Good Friday. The Royal Hours are followed by the Divine Liturgy of St. Basil which combines Vespers with the Divine Liturgy. During the Vespers, fifteen Old Testament lections which foreshadow the Baptism of Christ are read, and special antiphons are chanted. If the Feast of the Theophany falls on a Sunday or Monday, the Royal Hours are chanted on the previous Friday, and on the Paramony the Vesperal Divine Liturgy of St. John Chrysostom is celebrated and the fasting is lessened to some degree.

Theophany Crucession. The priests throw a wooden cross in the Yantra river. Believers will then jump into the icy waters to "save" the cross.

Blessing of Waters: The Orthodox Churches perform the Great Blessing of Waters on Theophany.[42] The blessing is normally done twice: once on the Eve of the Feast—usually at a Baptismal font inside the church—and then again on the day of the feast, outdoors at a body of water. Following the Divine Liturgy, the clergy and people go in a Crucession (procession with the cross) to the nearest body of water, be it a beach, harbor, quay, river, lake, swimming pool, water depot, etc. (ideally, it should be a body of "living water"). At the end of the ceremony the priest will bless the waters. In the Greek practice, he does this by casting a cross into the water. If swimming is feasible on the spot, any number of volunteers may try to recover the cross. The person who gets the cross first swims back and returns it to the priest, who then delivers a special blessing to the swimmer and their household. Certain such ceremonies have achieved particular prominence, such as the one held annually at Tarpon Springs, Florida. In Russia, where the winters are severe, a hole will be cut into the ice so that the waters may be blessed. In such conditions, the cross is not cast into the water, but is held securely by the priest and dipped three times into the water.

The water that is blessed on this day is known as "Theophany Water" and is taken home by the faithful, and used with prayer as a blessing. People will not only bless themselves and their homes by sprinkling with Theophany Water, but will also drink it. The Orthodox Church teaches that Theophany Water differs from regular holy water in that with Theophany Water, the very nature of the water is changed and becomes incorrupt,[43] a miracle attested to as early as St. John Chrysostom.[44]

Theophany is a traditional day for performing Baptisms, and this is reflected in the Divine Liturgy by singing the baptismal hymn, "As many as have been baptized into Christ, have put on Christ. Alleluia," in place of the Trisagion.

House Blessings: On Theophany the priest will begin making the round of the parishioner's homes to bless them. He will perform a short prayer service in each home, and then go through the entire house, gardens and outside-buildings, blessing them with the newly blessed Theophany Water, while all sing the Troparion and Kontakion of the feast. This is normally done on Theophany, or at least during the Afterfeast, but if the parishioners are numerous, and especially if many live far away from the church, it may take some time to bless each house. Traditionally, these blessings should all be finished before the beginning of Great Lent).

Afterfeast: The Feast of Theophany is followed by an eight-day Afterfeast on which the normal fasting laws are suspended. The Saturday and Sunday after Theophany have special readings assigned to them, which relate to the Temptation of Christ and to penance and perseverance in the Christian struggle. There is thus a liturgical continuum between the Feast of Theophany and the beginning of Great Lent.

The explanation of Epithany is from Wikipedia. The Wikipedia entry is much more extensive.

During the morning service of Epithany, conducted by the Archbishop of kythera, on the 6th January, 2014.

For the meaning of Paramony and Epithany, read below.

Epiphany (Koine Greek: ἐπιφάνεια, epiphaneia, "manifestation", "striking appearance") or Theophany (Ancient Greek (ἡ) Θεοφάνεια, Τheophaneia meaning "vision of God"), which traditionally falls on January 6, is a Christian feast day that celebrates the revelation of God the Son as a human being in Jesus Christ. Western Christians commemorate principally (but not solely) the visit of the Magi to the Baby Jesus, and thus Jesus' physical manifestation to the Gentiles. Eastern Christians commemorate the baptism of Jesus in the Jordan River, seen as his manifestation to the world as the Son of God.

History

The observance had its origins in the Eastern Christian Churches and was a general celebration of the manifestation of the Incarnation of Jesus Christ. It included the commemoration of his birth; the visit of the Magi to Bethlehem; all of Jesus' childhood events, up to and including his baptism in the Jordan by John the Baptist; and even the miracle at the wedding at Cana in Galilee.It seems fairly clear that the Baptism was the primary event being commemorated.

Adoration of the Magi by Bartolomé Esteban Murillo, 17th century (Toledo Museum of Art, Ohio.
Christians fixed the date of the feast on January 6 quite early in their history. Ancient liturgies noted Illuminatio, Manifestatio, Declaratio (Illumination, Manifestation, Declaration); cf. Matthew 3:13–17; Luke 3:22; and John 2:1–11; where the Baptism and the Marriage at Cana were dwelt upon. Western Christians have traditionally emphasized the "Revelation to the Gentiles" mentioned in Luke, where the term Gentile means all non-Jewish peoples. The Biblical Magi, who represented the non-Jewish peoples of the world, paid homage to the infant Jesus in stark contrast to Herod the Great (King of Judea), who sought to kill him.[17] In this event, Christian writers also inferred a revelation to the Children of Israel. Saint John Chrysostom identified the significance of the meeting between the Magi and Herod's court: "The star had been hidden from them so that, on finding themselves without their guide, they would have no alternative but to consult the Jews. In this way the birth of Jesus would be made known to all."

The earliest reference to Epiphany as a Christian feast was in A.D. 361, by Ammianus Marcellinus St. Epiphanius says that January 6 is hemera genethlion toutestin epiphanion (Christ's "Birthday; that is, His Epiphany"). He also asserts that the Miracle at Cana occurred on the same calendar day.

In 385, the pilgrim Egeria (also known as Silvia) described a celebration in Jerusalem and Bethlehem, which she called "Epiphany" (epiphania) that commemorated the Nativity of Christ. Even at this early date, there was an octave associated with the feast.

In a sermon delivered on 25 December 380, St. Gregory of Nazianzus referred to the day as ta theophania ("the Theophany", an alternative name for Epiphany), saying expressly that it is a day commemorating he hagia tou Christou gennesis ("the holy nativity of Christ") and told his listeners that they would soon be celebrating the baptism of Christ. Then, on January 6 and 7, he preached two more sermons, wherein he declared that the celebration of the birth of Christ and the visitation of the Magi had already taken place, and that they would now commemorate his Baptism. At this time, celebration of the two events was beginning to be observed on separate occasions, at least in Cappadocia.
Saint John Cassian says that even in his time (beginning of the 5th century), the Egyptian monasteries celebrated the Nativity and Baptism together on January 6.The Armenian Apostolic Church continues to celebrate January 6 as the only commemoration of the Nativity.

Etymology and original word usage

The Koine Greek ἐπιφάνεια, epiphaneia derives from the verb "to appear" and means "manifestation," "appearance." In classical Greek it was used of the appearance of dawn, of an enemy in war, but especially of a manifestation of a deity to a worshipper (a theophany). In the Septuagint the word is used for a manifestation of the God of Israel (2 Maccabees 15:27). In the New Testament the word is used in 2 Timothy 1:10 to refer either to the birth of Christ or to his appearance after his resurrection, and five times to refer to the Second Coming.

Liturgical practice in Eastern Orthodox churches

Forefeast: The liturgical Forefeast of Theophany begins on January 1, and concludes with the Paramony on January 5.

Paramony: The Eve of the Feast is called Paramony (Greek: παραμονή, Slavonic: navechérie). Paramony is observed as a strict fast day, on which those faithful who are physically able, refrain from food until the first star is observed in the evening, when a meal with wine and oil may be taken. On this day the Royal Hours are celebrated, thus tying together the feasts of Nativity and Good Friday. The Royal Hours are followed by the Divine Liturgy of St. Basil which combines Vespers with the Divine Liturgy. During the Vespers, fifteen Old Testament lections which foreshadow the Baptism of Christ are read, and special antiphons are chanted. If the Feast of the Theophany falls on a Sunday or Monday, the Royal Hours are chanted on the previous Friday, and on the Paramony the Vesperal Divine Liturgy of St. John Chrysostom is celebrated and the fasting is lessened to some degree.

Theophany Crucession. The priests throw a wooden cross in the Yantra river. Believers will then jump into the icy waters to "save" the cross.

Blessing of Waters: The Orthodox Churches perform the Great Blessing of Waters on Theophany.[42] The blessing is normally done twice: once on the Eve of the Feast—usually at a Baptismal font inside the church—and then again on the day of the feast, outdoors at a body of water. Following the Divine Liturgy, the clergy and people go in a Crucession (procession with the cross) to the nearest body of water, be it a beach, harbor, quay, river, lake, swimming pool, water depot, etc. (ideally, it should be a body of "living water"). At the end of the ceremony the priest will bless the waters. In the Greek practice, he does this by casting a cross into the water. If swimming is feasible on the spot, any number of volunteers may try to recover the cross. The person who gets the cross first swims back and returns it to the priest, who then delivers a special blessing to the swimmer and their household. Certain such ceremonies have achieved particular prominence, such as the one held annually at Tarpon Springs, Florida. In Russia, where the winters are severe, a hole will be cut into the ice so that the waters may be blessed. In such conditions, the cross is not cast into the water, but is held securely by the priest and dipped three times into the water.

The water that is blessed on this day is known as "Theophany Water" and is taken home by the faithful, and used with prayer as a blessing. People will not only bless themselves and their homes by sprinkling with Theophany Water, but will also drink it. The Orthodox Church teaches that Theophany Water differs from regular holy water in that with Theophany Water, the very nature of the water is changed and becomes incorrupt,[43] a miracle attested to as early as St. John Chrysostom.[44]

Theophany is a traditional day for performing Baptisms, and this is reflected in the Divine Liturgy by singing the baptismal hymn, "As many as have been baptized into Christ, have put on Christ. Alleluia," in place of the Trisagion.

House Blessings: On Theophany the priest will begin making the round of the parishioner's homes to bless them. He will perform a short prayer service in each home, and then go through the entire house, gardens and outside-buildings, blessing them with the newly blessed Theophany Water, while all sing the Troparion and Kontakion of the feast. This is normally done on Theophany, or at least during the Afterfeast, but if the parishioners are numerous, and especially if many live far away from the church, it may take some time to bless each house. Traditionally, these blessings should all be finished before the beginning of Great Lent).

Afterfeast: The Feast of Theophany is followed by an eight-day Afterfeast on which the normal fasting laws are suspended. The Saturday and Sunday after Theophany have special readings assigned to them, which relate to the Temptation of Christ and to penance and perseverance in the Christian struggle. There is thus a liturgical continuum between the Feast of Theophany and the beginning of Great Lent.

The explanation of Epithany is from Wikipedia. The Wikipedia entry is much more extensive.

at the Church of the Stavromenos, Hora, on the morning of the 6th January, 2014.

For the meaning of Paramony and Epithany, read below.

Epiphany (Koine Greek: ἐπιφάνεια, epiphaneia, "manifestation", "striking appearance") or Theophany (Ancient Greek (ἡ) Θεοφάνεια, Τheophaneia meaning "vision of God"), which traditionally falls on January 6, is a Christian feast day that celebrates the revelation of God the Son as a human being in Jesus Christ. Western Christians commemorate principally (but not solely) the visit of the Magi to the Baby Jesus, and thus Jesus' physical manifestation to the Gentiles. Eastern Christians commemorate the baptism of Jesus in the Jordan River, seen as his manifestation to the world as the Son of God.

History

The observance had its origins in the Eastern Christian Churches and was a general celebration of the manifestation of the Incarnation of Jesus Christ. It included the commemoration of his birth; the visit of the Magi to Bethlehem; all of Jesus' childhood events, up to and including his baptism in the Jordan by John the Baptist; and even the miracle at the wedding at Cana in Galilee.It seems fairly clear that the Baptism was the primary event being commemorated.

Adoration of the Magi by Bartolomé Esteban Murillo, 17th century (Toledo Museum of Art, Ohio.
Christians fixed the date of the feast on January 6 quite early in their history. Ancient liturgies noted Illuminatio, Manifestatio, Declaratio (Illumination, Manifestation, Declaration); cf. Matthew 3:13–17; Luke 3:22; and John 2:1–11; where the Baptism and the Marriage at Cana were dwelt upon. Western Christians have traditionally emphasized the "Revelation to the Gentiles" mentioned in Luke, where the term Gentile means all non-Jewish peoples. The Biblical Magi, who represented the non-Jewish peoples of the world, paid homage to the infant Jesus in stark contrast to Herod the Great (King of Judea), who sought to kill him.[17] In this event, Christian writers also inferred a revelation to the Children of Israel. Saint John Chrysostom identified the significance of the meeting between the Magi and Herod's court: "The star had been hidden from them so that, on finding themselves without their guide, they would have no alternative but to consult the Jews. In this way the birth of Jesus would be made known to all."

The earliest reference to Epiphany as a Christian feast was in A.D. 361, by Ammianus Marcellinus St. Epiphanius says that January 6 is hemera genethlion toutestin epiphanion (Christ's "Birthday; that is, His Epiphany"). He also asserts that the Miracle at Cana occurred on the same calendar day.

In 385, the pilgrim Egeria (also known as Silvia) described a celebration in Jerusalem and Bethlehem, which she called "Epiphany" (epiphania) that commemorated the Nativity of Christ. Even at this early date, there was an octave associated with the feast.

In a sermon delivered on 25 December 380, St. Gregory of Nazianzus referred to the day as ta theophania ("the Theophany", an alternative name for Epiphany), saying expressly that it is a day commemorating he hagia tou Christou gennesis ("the holy nativity of Christ") and told his listeners that they would soon be celebrating the baptism of Christ. Then, on January 6 and 7, he preached two more sermons, wherein he declared that the celebration of the birth of Christ and the visitation of the Magi had already taken place, and that they would now commemorate his Baptism. At this time, celebration of the two events was beginning to be observed on separate occasions, at least in Cappadocia.
Saint John Cassian says that even in his time (beginning of the 5th century), the Egyptian monasteries celebrated the Nativity and Baptism together on January 6.The Armenian Apostolic Church continues to celebrate January 6 as the only commemoration of the Nativity.

Etymology and original word usage

The Koine Greek ἐπιφάνεια, epiphaneia derives from the verb "to appear" and means "manifestation," "appearance." In classical Greek it was used of the appearance of dawn, of an enemy in war, but especially of a manifestation of a deity to a worshipper (a theophany). In the Septuagint the word is used for a manifestation of the God of Israel (2 Maccabees 15:27). In the New Testament the word is used in 2 Timothy 1:10 to refer either to the birth of Christ or to his appearance after his resurrection, and five times to refer to the Second Coming.

Liturgical practice in Eastern Orthodox churches

Forefeast: The liturgical Forefeast of Theophany begins on January 1, and concludes with the Paramony on January 5.

Paramony: The Eve of the Feast is called Paramony (Greek: παραμονή, Slavonic: navechérie). Paramony is observed as a strict fast day, on which those faithful who are physically able, refrain from food until the first star is observed in the evening, when a meal with wine and oil may be taken. On this day the Royal Hours are celebrated, thus tying together the feasts of Nativity and Good Friday. The Royal Hours are followed by the Divine Liturgy of St. Basil which combines Vespers with the Divine Liturgy. During the Vespers, fifteen Old Testament lections which foreshadow the Baptism of Christ are read, and special antiphons are chanted. If the Feast of the Theophany falls on a Sunday or Monday, the Royal Hours are chanted on the previous Friday, and on the Paramony the Vesperal Divine Liturgy of St. John Chrysostom is celebrated and the fasting is lessened to some degree.

Theophany Crucession. The priests throw a wooden cross in the Yantra river. Believers will then jump into the icy waters to "save" the cross.

Blessing of Waters: The Orthodox Churches perform the Great Blessing of Waters on Theophany.[42] The blessing is normally done twice: once on the Eve of the Feast—usually at a Baptismal font inside the church—and then again on the day of the feast, outdoors at a body of water. Following the Divine Liturgy, the clergy and people go in a Crucession (procession with the cross) to the nearest body of water, be it a beach, harbor, quay, river, lake, swimming pool, water depot, etc. (ideally, it should be a body of "living water"). At the end of the ceremony the priest will bless the waters. In the Greek practice, he does this by casting a cross into the water. If swimming is feasible on the spot, any number of volunteers may try to recover the cross. The person who gets the cross first swims back and returns it to the priest, who then delivers a special blessing to the swimmer and their household. Certain such ceremonies have achieved particular prominence, such as the one held annually at Tarpon Springs, Florida. In Russia, where the winters are severe, a hole will be cut into the ice so that the waters may be blessed. In such conditions, the cross is not cast into the water, but is held securely by the priest and dipped three times into the water.

The water that is blessed on this day is known as "Theophany Water" and is taken home by the faithful, and used with prayer as a blessing. People will not only bless themselves and their homes by sprinkling with Theophany Water, but will also drink it. The Orthodox Church teaches that Theophany Water differs from regular holy water in that with Theophany Water, the very nature of the water is changed and becomes incorrupt,[43] a miracle attested to as early as St. John Chrysostom.[44]

Theophany is a traditional day for performing Baptisms, and this is reflected in the Divine Liturgy by singing the baptismal hymn, "As many as have been baptized into Christ, have put on Christ. Alleluia," in place of the Trisagion.

House Blessings: On Theophany the priest will begin making the round of the parishioner's homes to bless them. He will perform a short prayer service in each home, and then go through the entire house, gardens and outside-buildings, blessing them with the newly blessed Theophany Water, while all sing the Troparion and Kontakion of the feast. This is normally done on Theophany, or at least during the Afterfeast, but if the parishioners are numerous, and especially if many live far away from the church, it may take some time to bless each house. Traditionally, these blessings should all be finished before the beginning of Great Lent).

Afterfeast: The Feast of Theophany is followed by an eight-day Afterfeast on which the normal fasting laws are suspended. The Saturday and Sunday after Theophany have special readings assigned to them, which relate to the Temptation of Christ and to penance and perseverance in the Christian struggle. There is thus a liturgical continuum between the Feast of Theophany and the beginning of Great Lent.

The explanation of Epithany is from Wikipedia. The Wikipedia entry is much more extensive.

Kythera Photographic Encounters 2013: George Depollas giving a workshop in the Kythiraikos Syndesmos, Chora
(Photograph by Andreas Katsakos)

Thanks to a last-minute grant of 4,000 Euros from the Aroney Trust, the 12th Kythera Photographic Encounters took place once again between September 27th and October 1st. Despite the very tight budget and the last minute rush, the Encounters, one of the most popular events of this kind in Greece, were once again a great success, drawing together an eclectic mix of academics, art historians, museum professionals and distinguished photographers as well as an important leavening of students and younger photographers who were able to attend thanks to subsidised travel and accommodation.

Organised and run by the independent Kythera Cultural Association and curated by the association’s director, John Stathatos, the Encounters include a two-day Conference on the History of Greek Photography, the country’s only regular academic forum on the medium, as well as workshops and exhibitions spread around the island; this year, exhibition venues included Chora, Potamos, Kalamos and Kapsali.

Despite a well-earned reputation as Kythera’s most prestigious annual cultural event, the Encounters have always been under-funded, operating at a fraction of the cost of equivalent events elsewhere; in 2012, the absence of any funding at all meant that the Encounters were reduced to a digital presence and a retrospective exhibition in an internet gallery. A number of approaches have been made proposing a physical move of the Conference from Kythera to Athens, together with a guarantee of future funding, but have so far been resisted. Though the event is held under the aegis of the Municipality, this does not result in any financial assistance; apart from the generous grant from the Aroney Trust and an additional 1,000 Euro donation from Mr. Constantine Pilavachi, sponsorship was once again limited to minor but very welcome aid in kind or services by individuals.

[[picture:"Mercato (Filippousi)s.jpg" ID:21780]]

Kythera Photographic Encounters 2013: Exhibition opening at the Mercato gallery in Chora

after dinner at kapsali go up to hora walk around the lovely streets and have a ice cream while people watching ...

what a wonderful stroll on a hot august night through the charming streets of chora ..

Late Spring 2010: by Leah Watson

Late Spring 2010: by Leah Watson

at the Alekos Fassianos Exhibition in New York, 11th May, 2013.

The sculptor Masaaki Noda created the sculpture, The Open Mind of Lafcadio Hearn.

Hisami Kuroiwa is the producer of the Lafcadio Hearn documentary. She is working with Constandine Giannaris, who is the director-writer.

Alekos Fassianos is a Greek artist of international repute. He draws his subjects from Greek myths, Fayum portraits, Byzantine icons and the shadow theatre. His paintings are also characterised by motion which is emphasised by the hair or cloth waving in the breeze. In his artistic maturity his figures are known for their voluptuousness and the luminosity of the color he uses to highlight the sensuality and the immense pleasure of everyday life.

Next year, to celebrate the 150 celebration of the 1864 re-unification of the Ionian Islands with Greece, Masaaki will instal a sculpture in Lefkada in honor of the Great Lefkadian philosopher (with Kytherian maternal roots), Lafcadio Hearn.

This will coincide with a Symposium to be held in July 2014 in Lefkada.

Also attending will be Hearn's grandson Bon Koizumi and the Mayor of Matsue, Japan.

at the Alecos Fassianos Exhibition in New York, 11th May, 2013/

The sculptor Masaaki Noda created the sculpture, The Open Mind of Lafcadio Hearn.

Alekos Fassianos is a Greek artist of international repute. He draws his subjects from Greek myths, Fayum portraits, Byzantine icons and the shadow theatre. His paintings are also characterised by motion which is emphasised by the hair or cloth waving in the breeze. In his artistic maturity his figures are known for their voluptuousness and the luminosity of the color he uses to highlight the sensuality and the immense pleasure of everyday life.

Next year, to celebrate the 150 celebration of the 1864 re-unification of the Ionian Islands with Greece, Masaaki will instal a sculpture in Lefkada in honor of the Great Lefkadian philosopher (with Kytherian maternal roots), Lafcadio Hearn.

This will coincide with a Symposium to be held in July 2014 in Lefkada. Also attending will be Hearn's grandson Bon Koizumi and the Mayor of Matsue, Japan.

An Easter walk was undertaken at 10 o'clock in the morning on Friday May 3rd. The meeting point was at the English bridge right before Kapsali (as you begin the descent from Chora towards Kapsali).

The walk started in the morning from Kapsali. Hikers then walked to Chora on the pathway on the western side of the Castle. From Chora the walk continued to Feloti bay, and from there, "Kapitan" Spyros took the walkers by Glass Bottom boat to Chytra (Hydra), and then back to Kapsali. During the walk local participants were accompagnied by the hiking team of the Athens Walking Club. The latter had been hosted by Kythera Hiking during the past few days.

Details about the hike:

Difficulty: Easy walk
Equipment: Hiking boots, hat, sun-screen, water

Participation fee: 9euros/person (solely for the Glass Bottom boat trip)

Fivos Tsaravopoulos organised the hike.

Contact Fivos by email

http://www.kytherahiking.com/

http://www.facebook.com/kytherahiking

[[picture:"Kythera Hiking.jpg" ID:21338]]

An Easter walk was undertaken at 10 o'clock in the morning on Friday May 3rd. The meeting point was at the English bridge right before Kapsali (as you begin the descent from Chora towards Kapsali).

The walk started in the morning from Kapsali. Hikers then walked to Chora on the pathway on the western side of the Castle. From Chora the walk continued to Feloti bay, and from there, "Kapitan" Spyros took the walkers by Glass Bottom boat to Chytra (Hydra), and then back to Kapsali. During the walk local participants were accompagnied by the hiking team of the Athens Walking Club. The latter had been hosted by Kythera Hiking during the past few days.

"The walk was fabulous. We had 20 kytherian participants plus 42 people from an Athenian hiking club! They were all amazed!"

Details about the hike:

Difficulty: Easy walk
Equipment: Hiking boots, hat, sun-screen, water

Participation fee: 9euros/person (solely for the Glass Bottom boat trip)

Fivos Tsaravopoulos organised the hike.

Contact Fivos by email

http://www.kytherahiking.com/

http://www.facebook.com/kytherahiking

[[picture:"Hearn Noda The Spirit of Hermes 120cm at Art Forum Gallery in Thessaloniki 1.jpg" ID:21316]]

The Spirit of Hermes sculpture at the Art Forum Gallery in Thessaloniki

Masaaki first met Lafcadio Hearn's grandson, Bon Koizumi at the Matsue Muesum, in Japan on July 5th 1996.

[[picture:"Hearn Noda Matue 1996_1A.jpg" ID:21349]]

Masaaki Noda, Takis Efstathiou and Bon Koizumi, matsue Museum, 1996

Takis Efstathiou organized Masaaki's first one person exhibition at the gallery Cyclades Antiebs in France in 1995. At this time Masaaki travelled to Greece for the first time.

He visited Takis holiday house at Coulf, and then travelled to Lefkatha, Delfi and Athens. This visit had a profound infuence on his life and art, and began his involvement with Lafcadio Hearn, Greek culture, and Greece.

[[picture:"Hearn Noda Lefkada1995 A.jpg" ID:21351]]

Takis Efsthiou and Masaaki Noda, Lefkada, 1995

Takis Efstathiou then visited Japan for the first time. Together, in 1996 they organsised the Theodoros Stamos exhibition at the Hiro Gallery in Tokyo. Stamos was very keen to visit Japan, as Japanese culture exerted a great influence on his life and work. Stamos created drawings and brush stroke painting such as the "Tea House", which display an obvious Japanese influence. Stamos was ill, unfortunately, and was soon thereafter hospitalized. He could not risk a visit to Japan.

Masaaki enticed Takis Efstahiou to visit Tokyo, Kyoto, Osaka, Okayama, Hiroshima and Matsue. Takis became deeply involved with Japanese culture after this visit.

They have worked together since on a number of cultural projects, including the dedication of superb and significant sculptures to various Greek cities, which have resulted in a strengthening of the relationship between Greece and Japan.


New York Time Obituary of Theodoros Stamos

Theodoros Stamos, 74, Abstract Painter, Dies
By ROBERTA SMITH
Published: February 04, 1997

Theodoros Stamos, a precocious member of Abstract Expressionism's first generation and a prominent figure in a trial that rocked the art world in the 1970's, died on Sunday at the Hatsikosta Hospital in Yiannina, Greece, which he entered 12 days ago. He was 74 and lived in Manhattan and on the island of Lefkada, Greece.

He died of a lung ailment, said Takis Efstathiou, a friend.

Mr. Stamos was never considered an Abstract Expressionist of the first rank, and was nearly a generation younger than its chief innovators. But he committed himself to painting while still a teen-ager and was among the style's earlier adherents. He was also a close friend to many Abstract Expressionist artists, most famously Mark Rothko.

When Rothko committed suicide in 1970, Mr. Stamos had been named one of the three executors of his estate, along with Bernard J. Reis, an accountant, and Morton Levine, a professor of anthropology. In 1971, guardians acting on behalf of Rothko's children filed a petition against the executors charging that they had sold a large group of paintings to Rothko's representative, Marlborough Gallery, at an unusually high discount that was detrimental to his reputation, and that they were wasting the assets of the estate. The petition demanded their dismissal and cancellation of the contracts with Marlborough.

The petition noted that Mr. Reis was an officer of the gallery, and that Mr. Stamos was invited to join the gallery around the time of the sale. He had an exhibition there in 1972. The case eventually led to an eight-month trial that concluded in 1975, when Surrogate Millard A. Midonick ruled that Mr. Stamos and the other executors were guilty of negligence and conflict of interest. He dismissed them, canceled the contracts with Marlborough and levied $9.2 million in fines and assessments. Mr. Stamos paid his share by signing over to the Rothko estate his house, valued at $435,000, although Judge Midonick awarded him a life tenancy.

Mr. Stamos's reputation never recovered. He continued to exhibit his work in New York City, but less frequently, and at less prestigious galleries. His most recent exhibition was at the ACA Gallery in 1992. Nonetheless he exhibited often in other parts of the world, especially in Greece. For an exhibition at the Hiro Gallery in Tokyo in 1996 the biographical data chronicled his involvement with Rothko, his estate and the outcome of the trial.

Theodore Stamos was born in Manhattan on Dec. 31, 1922, the son of Greek immigrants who ran a hat-cleaning and shoeshine shop near St. Mark's Place. He began to draw while recovering from a ruptured spleen at the age of 8. He attended Stuyvesant High School where he studied art, mostly sculpture, for three years, quitting in 1939 just three months before graduation.

During the 1940's, Mr. Stamos supported his painting by running a small frame shop on East 18th Street in Manhattan where his customers included such artists as Arshile Gorky and Fernand Leger. He had his first solo show in New York at the Wakefield Gallery/Bookshop, run by Betty Parsons, who would later become a prominent dealer for Abstract Expressionists.

He was included in the 1945 Whitney Biennial; in 1946, the Museum of Modern Art acquired one of his paintings. The Modern also included his work in its legendary touring exhibition ''The New American Painting,'' which introduced Abstract Expressionism to European audiences in 1958 and '59. Between the late 1940's and 1970, Mr. Stamos exhibited regularly in New York, first with Ms. Parsons and then with Andre Emmerich.

Mr. Stamos's artistic style coalesced in the late 1940's and involved muted colors and soft-edged organic shapes somewhat influenced by the work of Milton Avery and William Baziotes. It was a style that he adhered to for the rest of his life, sometimes paring down the shapes to glowing fissures of color. Its strengths lay in its sense of muffled light and its sensitive, modulated surface. In the late 1980's, these surfaces turned thick and lunar and at times the lines of color would be backed by relaxed, squarish shapes reminiscent of Rothko's compositions.

Mr. Stamos's work is represented in public collections around the world.

He is survived by three sisters, Georgina Savas and Chrisula Venetsianos, of Manhattan, and Kostas Stamastelos

[[picture:"Noda crfeating sculpture.jpg" ID:21187]]

Artistic Resume

1949 - Born, Fukuyama, Hiroshima, Japan

1969 -1972 - Osaka University of Arts, Osaka
1977- Left Japan for New York City
1977-1980 - The Art Students League of New York

Selected Solo Exhibitions:

1982 - ACWLP Gallery, New York, NY - Kew Gallery, New York, NY
1982, 1985 - Miriam Per Iman Gallery, Chicago, Illinois
1984, 1985 - Belle Art Gallery, Nyack, NY
1985 - Osaka Contemporary Art Center, Osaka
1986, 1991 - Yoh Art Gallery, Osaka
1986, 1991, 2000 - Gallery Hiro, Tokyo
1988, 1989 - Wenniger Gallery, Boston & Provincetown, MA
1987, 1990 - Gilbert Luber Gallery, Philadelphia, P A
1990 - Artist Gallery, New York, NY
1991 - Fukuyama Museum of Art, Fukuyama, Hiroshima
1992 - SPF US A Gallery and Library, Washington, DC
1995 - Galerie Les Cyclades, Antibes, France
1999 - 70th Art Gallery, New York, NY
2003 - Andre Zarre Gallery, New York, NY
2004 - Shenzhen Museum of Art, Shenzhen, China
2005 - Astrolavos Gallery, Athens, Greece - European Cultural Centre of Delphi, Greece
2006 - Fukuyama Museum of Art, Fukuyama, Hiroshima
2008 - Howard Salon, Taipei, Taiwan
2009 - The American College of Greece, Athens, Greece - Gallery Kiku, Osaka
2010 - Marathon Start Exhibition Center, Marathon Municipality
Selected Exhibitions & Projects:
1982 - International Aerial Art Orchestration (Sky Sculpture), Central Park, New York, NY
1992 - Visions in Between, The Art Foundation, New York, NY, Walker Hill Museum of Art, Seoul Korea,
Fukuyama Museum of Art, Fukuyama, Hiroshima
1994 - Theodoros Stamos, Jakob Bill, Masaaki Noda, Galerie Les Cyclades, Antibes, France
1997 - Two Stained Glass, 2.35x6.3M, 2x5.05M, Keihan Rail Road at Uji Station, Kyoto
1999 - Thirty Works by The Art Students League of New York, Alumini 1965 - 95, New York, NY
2000 - Stainless Steel Sculpture, 6MH, Shinichi-cho, Fukuyama, Hiroshima
2001 - Rain Forest Exhibition, Las Vegas Art Museum, Nevada, CA, Chinese Cultural Center, New York, NY, Asian Art s & Culture Center, Towson Uni
2002 - Stainless Steel Sculpture, 5MH, Tode High School, Fukuyama, Hiroshima
- A Century on Paper Prints by Art Students League Artists, 1999 -2001, UBS Paine Webber Art Gallery, New York, NY
2003 - Stainless Steel Sculpture 3MH, Hirano Kindergarten, Kannabe, Hiroshima
2004 - Stainless Steel Sculpture, 3.5MH, Shenzhen Museum of Art, Shenzhen, China - Athens Art Fair, Athens, Greece
2005 - Stainless Steel Sculpture, 3.8MH, European Cultural Centre of Delphi, Greece
2007 - Michael Michaeledes, Masaaki Noda, Art Forum Gallery, Thessaloniki, Greece
2008 - Two Glass Sculptures 0.3MH, 0.8MH & Painting 2.5x7.5M, Fukuyama City Center Library, Hiroshima
- Silent Dialogues, ACG Art Gallery, The American College of Greece, Athens, Greece
2009 - Stainless Steel Sculpture, 4MH, The American College of Greece, Athens, Greece
- Stainless Steel Sculpture, 3MH, Fukuyama Museum of Art, Fukuyama, Hiroshima
- The Open Mind of Lafcadio Hearn, ACG Art Gallery, Athens, Greece
2010 - Stainless Steel Sculpture, 5MH, Marathon Stadium, Mara thon Municipality, Greece
- Stainless Steel Sculpture, 2.7MH, Kishi Park, Matsue, Shimane
- The Open Mind of Lafcadio Hearn, Matsue Castle, Matsue, Shimane
2011 - Stainless Steel Sculpture, 3.85MH, Hiroshima City of Contemporary Art, Hiroshima
- Window Glass, 4x1.9M, Automatic Door, 2.3x2.8M, Fukuyama City University, Fukuyama, Hiroshima
- The Open Mind of Lafcadio Hearn, Nippon Gallery, New York, NY
2012 - Stainless Steel Sculpture, 7.15MH, Fukuyama Station Square, Fukuyama, Hiroshima

Selected Public Collections:

Albright-Knox Museum, Buffalo, NY
Art Students League of New York, NY Brooklyn Museum, Brooklyn, NY
Duxbury Art Complex Museum, Duxbury, MA Minnesota Art Museum, Minneapolis, MN Philadelphia Museum of Art, Philadelphia, PA Portland Art Museum, Portland, OR
Costakis Collection, Athens, Greece
Embassy of Japan, Athens, Greece
European Cultural Center of Delphi, Delphi, Greece
Macedoniko Museum of Contemporary Art, Thessaloniki, Greece
Marathon Museum, Marathon Municipality, Greece
Municipality of Lefcas, Lafcada, Greece
National Art Gallery, Athens, Greece
State Museum of Contemporary Art, Thessaloniki, Greece The American College of Greece, Athens, Greece Shenzhen Museum of Art, Shenzhen, China
Taipei Museum of Art, Taipei, Taiwan
Embassy of Greece in Japan, Tokyo
Fukuyama Museum of Art, Fukuyama, Hiroshima, Hiroshima City Museum of Contemporary Art, Hiroshima, Hiroshima Prefectural Art Museum, Hiroshima
Lafcadio Hearn Memorial Museum, Matsue, Shimane
Matsue City, Shimane
Tama Art University Museum of Art, Tokyo
Yamanashi Prefectural Museum of Art, Kofu, Yamanashi

Sponsors:

H.E. Mr. Nikolaos Tsamados, Ambassador of Greece in Japan
Takis Efstathiou, International Cultural Coordinator
Dimitrios Vassiliadis, University of Athens
Bon Koizumi, The University of Shimane Junior College
Shoko Koizumi
Noda Metal Working Industry Co., Ltd
Mishima Sangyo Co., Ltd


Fukuyama City
3-5 Higashisakura-machi, Fukuyama, Hiroshima
Tel 084-921 -2111
www.city.fukuyama.hiroshima.jp

Download a .pdf version of Masaaki Noda's Resume here:

Resume 1.pdf

Standing, left. Professor Kleomemes (Menis) Petrochilos
Standing, right. Takis Efsathiou

Seated, left to right:

Andreas Papadopoulos (family friend from Aronthianika)
Eleni Petrochilos-Psychogiou - sister
Dimitra Petrochilos-Konstantinou, Keomemes' aunt
Spyros Petrochilos Kleomemes' (late) father
Maria Petrochilos Kleomemes' (late) mother

The family owns the house of Rosa Kassimatis, mother to Lafcadio Hearn.

Τακης Ευσαθιου

Συλλεκτης Εργων Τεχνης

Download the full article, (in Greek) as a .pdf here:

Hearn Takis Efsathiou Art Collector.pdf

[[picture:"Hearn Takis Efsathiou Art Collector.jpg" ID:21166]]

Τακης Ευσαθιου

Συλλεκτης Εργων Τεχνης

Download the full article, (in Greek) as a .pdf here:

Hearn Takis Efsathiou Art Collector.pdf

Cultural Center: Lefkada

22/1/2013

Press Release

Monday 21/1/2013

Ms Soko Koizumi, great-granddaughter of Lafcadio Hearn accompanied by Mr. Takis Efstathiou art collector and scholar of the work of Lafcadio Hearn visited Lefkada.

At a meeting held with Mayor Lefkada Costas Aravani and the Mayor of Culture and Tourism, Mr. Anastasios Gazis, Ms. Koizumi who serves as Curator of the Museum of Lafcadio Hearn in Matsue, Japan, stressed the importance of the Lefkadian origin of Hearn in understanding his work. Then Mrs. Koizumi toured the exhibition halls of the Cultural Centre, and enjoyed the folklore of the Fair Mementos of the International Folklore Festival.
 
Ms. Koizumi traveled to Lefkas to finalize the course of the Symposium on Lafcadio Hearn to be held in the summer of 2014 on the occasion of the 110 years since his death. The Symposium will be a great cultural event for the Japanese people and is expected to attract large numbers of visitors.
 
As part of this celebration the Cultural Center of the Municipality of Lefkada after the kind donation of Mr. Efstathiou who is very fond of Lefkada, will inaugurate in the premises of the Cultural Center - the permanent collection of Japanese art that is associated with Lafcadio Hearn. The donation includes paintings of Masaaki Noda and Seiho Wada, books, posters, fabrics, dishes, cards, brochures and photographs.

The Cultural Center of the Municipality of Lefkada

Πνευματικό Κέντρο: Επίσκεψη της κας Σόκο Κοϊζούμι στη Λευκάδα

Λευκάδα 22/1/2013

Δελτίο Tύπου

Επίσκεψη της κας Σόκο Κοϊζούμι στη Λευκάδα

Τη Δευτέρα 21/1/2013 η κα Σόκο Κοϊζούμι, δισέγγονη του Λευκάδιου Χερν συνοδευόμενη από τον κ. Τάκη Ευσταθίου συλλέκτη έργων τέχνης και μελετητή του έργου του Λευκάδιου Χέρν, επισκέφθηκε τη Λευκάδα.

Σε συνάντηση που πραγματοποίησε με τον Δήμαρχο Λευκάδας, κ. Κώστα Αραβανή παρουσία και του Αντιδημάρχου Πολιτισμού-Τουρισμού, κ. Αναστάσιου Γαζή, η κα Κοϊζούμι η οποία διατελεί Έφορος του Μουσείου του Λευκάδιου Χέρν στη Ματσούε της Ιαπωνίας, τόνισε τη σημασία της Λευκαδίτικης καταγωγής του Χερν για την κατανόηση του έργου του. Στη συνέχεια η κα Κοϊζούμι ξεναγήθηκε στους εκθεσιακούς χώρους του Πολιτιστικού Κέντρου και απόλαυσε τον λαογραφικό πλούτο της Έκθεσης Ενθυμημάτων του Διεθνούς Φεστιβάλ Φολκλόρ.

Η κα Κοϊζούμι ταξίδεψε στη Λευκάδα προκειμένου να οριστικοποιήσει τη διεξαγωγή του Συμποσίου για το Λευκάδιο Χέρν που θα πραγματοποιηθεί το καλοκαίρι του 2014 με αφορμή τη συμπλήρωση 110 χρόνων από το θάνατό του. Το Συμπόσιο θα αποτελέσει μέγα πολιτιστικό γεγονός για τον ιαπωνικό κόσμο και αναμένεται να προσελκύσει μεγάλο αριθμό επισκεπτών.

Στο πλαίσιο αυτού του εορτασμού το Πνευματικό Κέντρο του Δήμου Λευκάδας μετά από την ευγενική δωρεά του κ. Ευσταθίου οποίος τυγχάνει λάτρης της Λευκάδας, θα εγκαινιάσει στους χώρους του Πολιτιστικού Κέντρου μόνιμη συλλογή ιαπωνικής τέχνης που αναφέρεται στο Λευκάδιο Χέρν. Η δωρεά περιλαμβάνει πίνακες ζωγραφικής των Masaaki Noda και Seiho Wada, βιβλία, αφίσες, υφάσματα, πιάτα, κάρτες, φυλλάδια και φωτογραφίες.

Από το Πνευματικό Κέντρο του Δήμου Λευκάδας

[[picture:"Hearn episkepsi-eustathiou-2A.jpg" ID:21014]]

Cultural Center: Lefkada

22/1/2013

Press Release

Monday 21/1/2013

Ms Soko Koizumi, great-granddaughter of Lafcadio Hearn accompanied by Mr. Takis Efstathiou art collector and scholar of the work of Lafcadio Hearn visited Lefkada.

At a meeting held with Mayor Lefkada Costas Aravani and the Mayor of Culture and Tourism, Mr. Anastasios Gazis, Ms. Koizumi who serves as Curator of the Museum of Lafcadio Hearn in Matsue, Japan, stressed the importance of the Lefkadian origin of Hearn in understanding his work. Then Mrs. Koizumi toured the exhibition halls of the Cultural Centre, and enjoyed the folklore of the Fair Mementos of the International Folklore Festival.
 
Ms. Koizumi traveled to Lefkas to finalize the course of the Symposium on Lafcadio Hearn to be held in the summer of 2014 on the occasion of the 110 years since his death. The Symposium will be a great cultural event for the Japanese people and is expected to attract large numbers of visitors.
 
As part of this celebration the Cultural Center of the Municipality of Lefkada after the kind donation of Mr. Efstathiou who is very fond of Lefkada, will inaugurate in the premises of the Cultural Center - the permanent collection of Japanese art that is associated with Lafcadio Hearn. The donation includes paintings of Masaaki Noda and Seiho Wada, books, posters, fabrics, dishes, cards, brochures and photographs.

The Cultural Center of the Municipality of Lefkada

Πνευματικό Κέντρο: Επίσκεψη της κας Σόκο Κοϊζούμι στη Λευκάδα

Λευκάδα 22/1/2013

Δελτίο Tύπου

Επίσκεψη της κας Σόκο Κοϊζούμι στη Λευκάδα

Τη Δευτέρα 21/1/2013 η κα Σόκο Κοϊζούμι, δισέγγονη του Λευκάδιου Χερν συνοδευόμενη από τον κ. Τάκη Ευσταθίου συλλέκτη έργων τέχνης και μελετητή του έργου του Λευκάδιου Χέρν, επισκέφθηκε τη Λευκάδα.

Σε συνάντηση που πραγματοποίησε με τον Δήμαρχο Λευκάδας, κ. Κώστα Αραβανή παρουσία και του Αντιδημάρχου Πολιτισμού-Τουρισμού, κ. Αναστάσιου Γαζή, η κα Κοϊζούμι η οποία διατελεί Έφορος του Μουσείου του Λευκάδιου Χέρν στη Ματσούε της Ιαπωνίας, τόνισε τη σημασία της Λευκαδίτικης καταγωγής του Χερν για την κατανόηση του έργου του. Στη συνέχεια η κα Κοϊζούμι ξεναγήθηκε στους εκθεσιακούς χώρους του Πολιτιστικού Κέντρου και απόλαυσε τον λαογραφικό πλούτο της Έκθεσης Ενθυμημάτων του Διεθνούς Φεστιβάλ Φολκλόρ.

Η κα Κοϊζούμι ταξίδεψε στη Λευκάδα προκειμένου να οριστικοποιήσει τη διεξαγωγή του Συμποσίου για το Λευκάδιο Χέρν που θα πραγματοποιηθεί το καλοκαίρι του 2014 με αφορμή τη συμπλήρωση 110 χρόνων από το θάνατό του. Το Συμπόσιο θα αποτελέσει μέγα πολιτιστικό γεγονός για τον ιαπωνικό κόσμο και αναμένεται να προσελκύσει μεγάλο αριθμό επισκεπτών.

Στο πλαίσιο αυτού του εορτασμού το Πνευματικό Κέντρο του Δήμου Λευκάδας μετά από την ευγενική δωρεά του κ. Ευσταθίου οποίος τυγχάνει λάτρης της Λευκάδας, θα εγκαινιάσει στους χώρους του Πολιτιστικού Κέντρου μόνιμη συλλογή ιαπωνικής τέχνης που αναφέρεται στο Λευκάδιο Χέρν. Η δωρεά περιλαμβάνει πίνακες ζωγραφικής των Masaaki Noda και Seiho Wada, βιβλία, αφίσες, υφάσματα, πιάτα, κάρτες, φυλλάδια και φωτογραφίες.

Από το Πνευματικό Κέντρο του Δήμου Λευκάδας

Cultural Center: Lefkada

22/1/2013

Press Release

Monday 21/1/2013

Ms Soko Koizumi, great-granddaughter of Lafcadio Hearn accompanied by Mr. Takis Efstathiou art collector and scholar of the work of Lafcadio Hearn visited Lefkada.

At a meeting held with Mayor Lefkada Costas Aravani and the Mayor of Culture and Tourism, Mr. Anastasios Gazis, Ms. Koizumi who serves as Curator of the Museum of Lafcadio Hearn in Matsue, Japan, stressed the importance of the Lefkadian origin of Hearn in understanding his work. Then Mrs. Koizumi toured the exhibition halls of the Cultural Centre, and enjoyed the folklore of the Fair Mementos of the International Folklore Festival.
 
Ms. Koizumi traveled to Lefkas to finalize the course of the Symposium on Lafcadio Hearn to be held in the summer of 2014 on the occasion of the 110 years since his death. The Symposium will be a great cultural event for the Japanese people and is expected to attract large numbers of visitors.
 
As part of this celebration the Cultural Center of the Municipality of Lefkada after the kind donation of Mr. Efstathiou who is very fond of Lefkada, will inaugurate in the premises of the Cultural Center - the permanent collection of Japanese art that is associated with Lafcadio Hearn. The donation includes paintings of Masaaki Noda and Seiho Wada, books, posters, fabrics, dishes, cards, brochures and photographs.

The Cultural Center of the Municipality of Lefkada

Πνευματικό Κέντρο: Επίσκεψη της κας Σόκο Κοϊζούμι στη Λευκάδα

Λευκάδα 22/1/2013

Δελτίο Tύπου

Επίσκεψη της κας Σόκο Κοϊζούμι στη Λευκάδα

Τη Δευτέρα 21/1/2013 η κα Σόκο Κοϊζούμι, δισέγγονη του Λευκάδιου Χερν συνοδευόμενη από τον κ. Τάκη Ευσταθίου συλλέκτη έργων τέχνης και μελετητή του έργου του Λευκάδιου Χέρν, επισκέφθηκε τη Λευκάδα.

Σε συνάντηση που πραγματοποίησε με τον Δήμαρχο Λευκάδας, κ. Κώστα Αραβανή παρουσία και του Αντιδημάρχου Πολιτισμού-Τουρισμού, κ. Αναστάσιου Γαζή, η κα Κοϊζούμι η οποία διατελεί Έφορος του Μουσείου του Λευκάδιου Χέρν στη Ματσούε της Ιαπωνίας, τόνισε τη σημασία της Λευκαδίτικης καταγωγής του Χερν για την κατανόηση του έργου του. Στη συνέχεια η κα Κοϊζούμι ξεναγήθηκε στους εκθεσιακούς χώρους του Πολιτιστικού Κέντρου και απόλαυσε τον λαογραφικό πλούτο της Έκθεσης Ενθυμημάτων του Διεθνούς Φεστιβάλ Φολκλόρ.

Η κα Κοϊζούμι ταξίδεψε στη Λευκάδα προκειμένου να οριστικοποιήσει τη διεξαγωγή του Συμποσίου για το Λευκάδιο Χέρν που θα πραγματοποιηθεί το καλοκαίρι του 2014 με αφορμή τη συμπλήρωση 110 χρόνων από το θάνατό του. Το Συμπόσιο θα αποτελέσει μέγα πολιτιστικό γεγονός για τον ιαπωνικό κόσμο και αναμένεται να προσελκύσει μεγάλο αριθμό επισκεπτών.

Στο πλαίσιο αυτού του εορτασμού το Πνευματικό Κέντρο του Δήμου Λευκάδας μετά από την ευγενική δωρεά του κ. Ευσταθίου οποίος τυγχάνει λάτρης της Λευκάδας, θα εγκαινιάσει στους χώρους του Πολιτιστικού Κέντρου μόνιμη συλλογή ιαπωνικής τέχνης που αναφέρεται στο Λευκάδιο Χέρν. Η δωρεά περιλαμβάνει πίνακες ζωγραφικής των Masaaki Noda και Seiho Wada, βιβλία, αφίσες, υφάσματα, πιάτα, κάρτες, φυλλάδια και φωτογραφίες.

Από το Πνευματικό Κέντρο του Δήμου Λευκάδας

meet some of the residents of of St Basil's Nursing Home, Lakemba. 1st November, 2012.

The visiting Kytherian dignitaries were accompanied by George Hadziplis, the Mayor of Kythera, Theothori Koukoulis, and President of the Kytherian Association of Australia, Victor Kepreotis.

Lourantos Village

The Village is named after its major benefactor, the late Sir Nicholas Lourantos MBE, a very proud Kytherian.

The hostel provides accommodation for 80 residents. There are 54 rooms with shared facilities, 20 single rooms with private facilities and 3 double rooms with private facilities. Each room has its own balcony, built-in cupboards and is carpeted. Four respite beds are available for emergency cases for 63 days at each of our hostels.

A Village supervisor is on 24 hour call to assist residents, if required.

St. Basil's Nursing Home

St. Basil's Nursing Home
130 Croydon St
Lakemba NSW 2195

Ph: (02) 9784-3200
Fax: (02) 9758-0366

Email, St Basil's Nursing Home

Email:

St. Basil's Nursing Home has accommodation for 109 residents in one, two and four bed wards. Each ward is fully air-conditioned and has been designed for wheel chair use. The dining rooms and lounges face onto private courtyards and there is a chapel with a leadlight glass window, and a hairdressing salon.

The dining room, lounge room and chapel are sensitively separated from the nursing home wards.

St. Basil's encourages its residents to look after as many of their own needs as possible and thereby maintaining their independence and motivation.

The nursing home provides a Special Dementia Section.

visit St Basil's Nursing Home, Lakemba. 1st November, 2012.

The visiting Kytherian dignitaries were accompanied by George Hadziplis, Minas Raissis, and President of the Kytherian Association of Australia, Victor Kepreotis.

This photograph was taken outside the small chapel in the facility.

Lourantos Village

The Village is named after its major benefactor, the late Sir Nicholas Lourantos MBE, a very proud Kytherian.

The hostel provides accommodation for 80 residents. There are 54 rooms with shared facilities, 20 single rooms with private facilities and 3 double rooms with private facilities. Each room has its own balcony, built-in cupboards and is carpeted. Four respite beds are available for emergency cases for 63 days at each of our hostels.

A Village supervisor is on 24 hour call to assist residents, if required.

St. Basil's Nursing Home

St. Basil's Nursing Home
130 Croydon St
Lakemba NSW 2195

Ph: (02) 9784-3200
Fax: (02) 9758-0366

Email, St Basil's Nursing Home

Email:

St. Basil's Nursing Home has accommodation for 109 residents in one, two and four bed wards. Each ward is fully air-conditioned and has been designed for wheel chair use. The dining rooms and lounges face onto private courtyards and there is a chapel with a leadlight glass window, and a hairdressing salon.

The dining room, lounge room and chapel are sensitively separated from the nursing home wards.

St. Basil's encourages its residents to look after as many of their own needs as possible and thereby maintaining their independence and motivation.

The nursing home provides a Special Dementia Section.

visit St Basil's Nursing Home, Lakemba. 1st November, 2012.

Here they are met at the front office.

The visiting Kytherian dignitaries were accompanied by George Hadziplis, Minas Raissis, and President of the Kytherian Association of Australia, Victor Kepreotis.

Lourantos Village

The Village is named after its major benefactor, the late Sir Nicholas Lourantos MBE, a very proud Kytherian.

The hostel provides accommodation for 80 residents. There are 54 rooms with shared facilities, 20 single rooms with private facilities and 3 double rooms with private facilities. Each room has its own balcony, built-in cupboards and is carpeted. Four respite beds are available for emergency cases for 63 days at each of our hostels.

A Village supervisor is on 24 hour call to assist residents, if required.

St. Basil's Nursing Home

St. Basil's Nursing Home
130 Croydon St
Lakemba NSW 2195

Ph: (02) 9784-3200
Fax: (02) 9758-0366

Email, St Basil's Nursing Home

Email:

St. Basil's Nursing Home has accommodation for 109 residents in one, two and four bed wards. Each ward is fully air-conditioned and has been designed for wheel chair use. The dining rooms and lounges face onto private courtyards and there is a chapel with a leadlight glass window, and a hairdressing salon.

The dining room, lounge room and chapel are sensitively separated from the nursing home wards.

St. Basil's encourages its residents to look after as many of their own needs as possible and thereby maintaining their independence and motivation.

The nursing home provides a Special Dementia Section.

at Sculptures by the Sea.

Enquiries, Sculptures by the Sea

Sculpture by the Sea, is an event that occurs on the the Bondi Beach to Tamarama Beach coastal walk.

Each year the Bondi to Tamarama coastal walk is transformed into a 2km long temporary sculpture park featuring over 100 sculptures by artists from Australia and across the world.

It is one of the world's largest free-to-the-public events.

This year it was staged between Thursday 18 October and Sunday 4 November 2012

On 29th October, the Metropoliti of Kythera and Father Petros, accompanied by Mayor Theothori Koukoulis, and Matina Samios and Kathy Samios, walked part of the coastal walk, and admired some of the sculptures.

Public Art

The term public art properly refers to works of art in any media that have been planned and executed with the specific intention of being sited or staged in the physical public domain, usually outside and accessible to all. The term is especially significant within the art world, amongst curators, commissioning bodies and practitioners of public art, to whom it signifies a particular working practice, often with implications of site specificity, community involvement and collaboration. The term is sometimes also applied to include any art which is exhibited in a public space including publicly accessible buildings.

The quantity and quality of Public Art in a particular city, town, island or space, can be taken as a reliable measure of the cultural literacy of the society that occupies that place. The arts have been heralded as a panacea for all kinds of problems. Arts integrated school curricula invariably improve academic performance and student discipline. The arts revitalize neighbourhoods and promote economic prosperity. Participation in the arts improves physical and psychological well-being. Great art "makes you feel good". The arts can provide a catalyst for the creation of social capital and the attainment of important community goals.

The quantity, and quality of public art on the island of Kythera is poor. It would be a very positive outcome if Kythera's civic and religious leaders could take their experience of great public art at Sculptures by the Sea - back to Kythera - and cause a greater appreciation of public art, and the commissioning of superior public art on the island.

Λευκάδιος Χερν – Ο ελληνοϊρλανδός συγγραφέας των τριών ηπείρων

Η Ευρώπη τον εγέννησε, η Ασία τον εδημιούργησε ως λογοτέχνη περιωπής και η Αμερική τον ανέδειξε

Της ΦΩΤΕΙΝΗΣ ΤΟΜΑΗ

Levkathitika Nea

ΓΙΟΣ ΙΡΛΑΝΔΟΥ, ενός στρατιωτικού γιατρού που υπηρετούσε στη βρετανική διοίκηση των Επτανήσων, του Charles Ηearn, και Ελληνίδας, της Ρόζας Κασιμάτη, ο ελληνοϊρλανδός συγγραφέας Ρatrick Lafcadio Ηearn γεννήθηκε τον Ιούνιο του 1850 στη Λευκάδα, απ΄ όπου προέρχεται και το ενδιάμεσο όνομα με το οποίο βαπτίστηκε.

Σε ηλικία δύο ετών ακολούθησε μαζί με τη μητέρα του τον πατέρα του που μετατέθηκε πίσω στην Ιρλανδία. Έκτοτε θα ζήσει δυστυχισμένα παιδικά χρόνια, εγκαταλελειμμένος μετά το διαζύγιο των γονέων του στα χέρια μιας ηλικιωμένης θείας του, Ιρλανδής, που τον προόριζε για καθολικό ιερέα. Με ανεπτυγμένο αίσθημα κατωτερότητας λόγω του παρουσιαστικού του, κλειστός και εσωστρεφής χαρακτήρας, θα ζήσει μεταξύ Δουβλίνου και ΗΠΑ, όπου μετανάστευσε στα δεκαεννέα του για να γλιτώσει την ανέχεια και την πείνα ως το 1889, όταν ταξίδεψε για πρώτη φορά στην Ιαπωνία, όπου έμελλε να ζήσει τα τελευταία δεκατέσσερα χρόνια της ζωής του και να δημιουργήσει ουσιαστικά το μεγαλύτερο μέρος του συγγραφικού έργου του, για το οποίο έγινε παγκοσμίως γνωστός.

Σαν να επρόκειτο περί ουράνιας δικαίωσης, το σιωπηλό αγόρι που όπως φαίνεται κανείς από τους δύο γονείς του δεν αγάπησε αλλά και δεν ασχολήθηκε με την ανατροφή του, μειωμένης σωματικής διαπλάσεως και θύμα ατυχήματος από αβλεψία συμμαθητή του που του στέρησε το ένα μάτι, φτωχό που για τον λόγο αυτόν δεν μπόρεσε ποτέ να ολοκληρώσει τις σπουδές του στην Κλασική Φιλολογία, ήταν γραφτό να εισπράξει μετά θάνατον υπερπολλαπλάσια αποδοχή σε σχέση με την αδιαφορία που έτρεφε το περιβάλλον του γι΄ αυτόν.

Η προτομή του Λευκάδιου Χερν (Koizumi Yakumo) στο Πάρκο Παραλίας στη Λευκάδα

Statue of Lafcadio Hearn (Koizumi Yakumo), in the park on the Beach in Lefkada

Ο Λευκάδιος Χερν πέθανε στο Οκούμπο της Ιαπωνίας το 1904. Σχεδόν μαζί με τον θάνατό του έγινε γνωστό το έργο του στην Ελλάδα, όπου το 1910 άρχισαν να δημοσιεύονται σε φιλολογικά περιοδικά και εφημερίδες τα πρώτα αποσπάσματα λογοτεχνικών κειμένων του. Λίγα χρόνια αργότερα, στις 17 Σεπτεμβρίου 1932, η ιαπωνική πρεσβεία στην Αθήνα με ρηματική της διακοίνωση ανακοίνωνε στο ελληνικό ΥΠΕΞ την πρόθεσή της, όπως και του Ελληνοϊαπωνικού Συλλόγου, να εγείρει με δαπάνες της μια αναθηματική στήλη για τον Χερν στην κεντρική πλατεία της Λευκάδας και μια δεύτερη, δαπάναις της Ιαπωνοελληνικής Εταιρείας και του Συνδέσμου Χερν, στο Τόκιο. Στη βάση της στήλης που κατέπεσε στον σεισμό του 1952, αλλ΄ ανηγέρθη εκ νέου το 1984 και το 1987 συμπληρώθηκε με μια προτομή του Χερν, έργο του γλύπτη Σπύρου Κατωπόδη, υπήρχε η επιγραφή:

Plaque commemorating the achievements of Lafcadio Hearn

«Λευκαδίω Χερν (Κοϊζούμι Ιακούμω), μεγάλω συγγραφεί, το των Ιαπώνων αληθές πνεύμα παγκοσμίως και λαμπρώς εμφανίσαντι, σήμα ευγνωμοσύνης ιαπωνικού έθνους, μηνί Οκτωβρίω 1932, έτους 259200 Ιαπωνικής Αυτοκρατορίας».

Lafcadio Hearn (Koizumi Yakumo), a great writer, the true spirit of the Japanese and bright light for interpreting Japan to the world - with the gratitude of the Japanese nation, October 1932, the year 259200 of the Japanese Empire

Με την ίδια ρηματική διακοίνωση η ιαπωνική πλευρά χαρακτήριζε τον Χερν ως τον πρώτο συνεκτικό δεσμό στις σχέσεις των δύο χωρών. Σημειωτέον, το δευτερεύον όνομά του στα ιαπωνικά, Υakumo Κoizumi, έλαβε όταν υιοθετήθηκε από την οικογένεια Κoizumi, λίγο προτού νυμφευθεί την κόρη τους Setsu Κoizumi, προκειμένου να λάβει την ιαπωνική υπηκοότητα. Μαζί της απέκτησε τρεις γιους, τον Κazuo και τον Ιwao που σπούδασαν Φιλολογία και ασχολήθηκαν με την επιμέλεια και έκδοση του έργου του πατέρα τους μεταφράζοντάς το από τα αγγλικά στα ιαπωνικά, τον Κiyoshi, που έγινε γνωστός ζωγράφος, και μια κόρη, τη Suzuko, που έζησε μια μέτρια και ουδέτερη ζωή λόγω σοβαρών προβλημάτων υγείας.

Παραμένει ωστόσο εντυπωσιακό ακόμη και σήμερα το γεγονός ότι οι Ιάπωνες λάτρεψαν έναν συγγραφέα που ελάχιστα γνώριζε τη γλώσσα τους, αλλά έγραφε μόνο στα αγγλικά, και επιπλέον περιέγραφε, λόγω αμυδρής όρασης που διέθετε, όσα συνέβαιναν γύρω του από περιγραφές και αφηγήσεις φίλων και της γυναίκας του. Όπως πολύ χαρακτηριστικά ανέφερε σε πολυσέλιδο κείμενό του στο περιοδικό «Νέα Πορεία» (Αύγουστος – Οκτώβριος 1991), ο έλληνας πρέσβης στο Τόκιο (1990-1993), ε.τ. σήμερα, Κωνσταντίνος Βάσσης, από τους λίγους πραγματικά λόγιους διπλωμάτες καριέρας, «αντιθέτως (σ.σ.: με τον Χερν) υπάρχουν πολλοί ξένοι, ως επί το πλείστον Ευρωπαίοι, οι οποίοι ησχολήθησαν με την Ιαπωνία επιστημονικώς, αφιέρωσαν εις αυτήν όλην την ζωήν των, έγραψαν περί αυτής μεγάλα ιστορικά, λαογραφικά και γλωσσικά έργα. Αυτούς οι Ιάπωνες απλώς τους εξετίμησαν, τους παρεσημοφόρησαν. Στον Χερν όμως ανταπέδωσαν την αγάπη του με διαφόρους τρόπους».

Ως αποτέλεσμα αυτής της αγάπης αρχικά ιδρύθηκε στο Ματσούε, στην πρώτη πόλη όπου ο Χερν δίδαξε αγγλικά σε σχολεία της μέσης εκπαίδευσης και έμεινε 15 μήνες, ο Σύνδεσμος Χερν, με αξιόλογη ως σήμερα δράση, ενεργό μέλος του οποίου είναι ο εγγονός του συγγραφέα, Τoki, ενώ του ιδίου ο γιος και δισεγγονός του Χερν, Βon, είναι σήμερα διευθυντής του Μουσείου Χερν που ιδρύθηκε το 1933 και στεγάστηκε σε κτίριο με ελληνοπρεπή ρυθμό, αλλά επειδή δεν ταίριαζε με το περιβάλλον κατεδαφίστηκε και τη θέση του πήρε άλλο σε ιαπωνικό αρχιτεκτονικό ύφος. Στο Μουσείο Χερν εκτίθενται προσωπικά αντικείμενα του συγγραφέα, σπάνιες εκδόσεις των έργων του, αναμνηστικά εκθέματα κτλ. Στο Ματσούε το 1990 με τη συμπλήρωση 100 ετών από την άφιξη του Χερν στην Ιαπωνία έγινε πανηγυρική τελετή που περιελάμβανε διεθνές συμπόσιο και αποκάλυψη προτομής, που με δαπάνες της ελληνικής κυβέρνησης φιλοτέχνησε ο ίδιος γλύπτης (Σ. Κατωπόδης) ο οποίος τρεις δεκαετίες νωρίτερα είχε κάνει την προτομή για τον Δήμο Λευκάδας. Την ίδια χρονιά ο Δήμος Σιντζούκου (Shinjuku), 50 μέτρα από το ταφικό μνημείο στο Οκούμπου όπου τοποθετήθηκε η σορός του Χερν, αποφάσισε να δημιουργήσει πάρκο εκτάσεως 1.345,50 τ.μ. με εμφανή αρχιτεκτονικά σύνολα, δηλωτικά της ελληνικής καταγωγής του συγγραφέα: ένα είδος αρχαίας αγοράς, σειρά κιόνων, κρήνη, ναΐδριο που να θυμίζει ελληνορθόδοξο ναό (άνευ σταυρού) και χώρο παιδιάς και ανάπαυσης εν μέσω αλσυλλίου, σε περίοπτο χώρο του οποίου σχεδιάστηκε να τοποθετηθεί ψηφιδωτό, απεικονίζον χάρτη της Λευκάδας.

Το λογοτεχνικό έργο του Χερν υπήρξε πολυσχιδές, αν και όχι ενιαίο ποιοτικά. Στην Αμερική, για παράδειγμα, επί μία εικοσαετία το έργο του περιορίστηκε σε άρθρα εφημερίδων της Νέας Ορλεάνης και της Νέας Υόρκης, όπου έζησε, και σε μεταφράσεις γάλλων συγγραφέων. «Ο Χερν οφείλει πολλά στην Αμερική, και το αναγνωρίζει. Αν η Ιαπωνία τον εδημιούργησε ως συγγραφέα περιωπής, η Αμερική τον ανέδειξε. Με την διαφοράν ότι η τελευταία δεν είχε ιδιαίτερο λόγο να τον τιμήση και να φροντίση για την διαιώνιση της μνήμης του» έγραψε στο άρθρο του στο τεύχος της «Νέας Πορείας» ο πρέσβης ε.τ. Κ. Βάσσης. Στην «αμερικανική περίοδο» του συγγραφικού του έργου ανήκουν επίσης δύο μυθιστορήματα (είδος, πάντως, στο οποίο δεν διέπρεψε) και αναπλάσεις θρύλων και παραδόσεων ξένων λαών (εβραίων, Ινδών, Κινέζων και Φινλανδών) τις οποίες εξέδωσε σε δύο τόμους με τίτλους «Σκόρπια φύλλα από Παράξενη Λογοτεχνία» και «Μερικά Κινέζικα Φαντάσματα». Καλύτερο βιβλίο της αμερικανικής περιόδου πάντως θεωρείται το «Δύο χρόνια στις Γαλλικές Ινδίες», με εντυπώσεις από την παραμονή του στη νήσο Μαρτινίκ.

Στην ιαπωνική περίοδο, που είναι και η ουσιαστικότερη, ανήκουν 12 βιβλία, γραμμένα σχεδόν ένα κάθε χρόνο, αφιερωμένα εξ ολοκλήρου στην Ιαπωνία.

Σημαντική ήταν και η αλληλογραφία του που εξέδωσε ο πρωτότοκος γιος του, αλλά και οι πανεπιστημιακές παραδόσεις του που συγκεντρώθηκαν από φοιτητές του σε ογκώδεις τόμους βάσει σημειώσεων που κρατούσαν, δεδομένου ότι ο ίδιος δεν άφησε κείμενα διαλέξεών του, επειδή παρέδιδε μαθήματα αγγλικής λογοτεχνίας και κριτικής αυτοσχεδίως. Ο ίδιος έγραψε επίσης «Ιαπωνικά παραμύθια» για παιδιά.

Ο Οδυσσέας, η «τράτα» και ο μαρμαρωμένος βασιλιάς

ΕΝΔΙΑΦΕΡΟΥΣΑ είναι η ανίχνευση των ελληνικών καταβολών του συγγραφέα μέσα στο έργο του. Αν και δεν γνώριζε ελληνικά, ήταν λάτρης της ιστορίας, των παραδόσεων και των θρύλων της γενέτειράς του. Οι αέναες μετακινήσεις του από χώρα σε χώρα συμβολίζουν τις οδυσσειακές πλευρές του βίου του, ενώ οι αναφορές του σε αρχαίους έλληνες λυρικούς (Ανακρέοντα, Θεόκριτο, Μελέαγρο) είναι πυκνές στα έργα του. Αποσπασματικές ωστόσο ή λανθασμένες είναι οι γνώσεις του για νεότερα θέματα, όπως για τον χορό «τράτα» της περιοχής Μεγάρων ή τον θρύλο του μαρμαρωμένου βασιλιά, τον οποίο θα αναστήση ένας άγγελος όταν απελευθερωθεί η Κωνσταντινούπολη, με τη διαφορά ότι ο Χερν, μη γνωρίζοντας καλά την παράδοση, αντί βασιλιά και αγγέλου, ομιλεί περί ενός μοναχού. Αναμφίβολα ο Χερν ως συγγραφέας μπορεί να μην ανήκει στον πάνθεον των αρίστων της παγκόσμιας λογοτεχνίας, αλλά ως προσωπικότητα, παράγωγο των κληρονομικών καταβολών του και των παιδικών και εφηβικών εμπειριών του, υπήρξε μοναδικός.

http://www.kolivas.de/archives/12090

Λευκάδιος Χερν – Ο ελληνοϊρλανδός συγγραφέας των τριών ηπείρων

Η Ευρώπη τον εγέννησε, η Ασία τον εδημιούργησε ως λογοτέχνη περιωπής και η Αμερική τον ανέδειξε

Της ΦΩΤΕΙΝΗΣ ΤΟΜΑΗ

Levkathitika Nea

ΓΙΟΣ ΙΡΛΑΝΔΟΥ, ενός στρατιωτικού γιατρού που υπηρετούσε στη βρετανική διοίκηση των Επτανήσων, του Charles Ηearn, και Ελληνίδας, της Ρόζας Κασιμάτη, ο ελληνοϊρλανδός συγγραφέας Ρatrick Lafcadio Ηearn γεννήθηκε τον Ιούνιο του 1850 στη Λευκάδα, απ΄ όπου προέρχεται και το ενδιάμεσο όνομα με το οποίο βαπτίστηκε.

Σε ηλικία δύο ετών ακολούθησε μαζί με τη μητέρα του τον πατέρα του που μετατέθηκε πίσω στην Ιρλανδία. Έκτοτε θα ζήσει δυστυχισμένα παιδικά χρόνια, εγκαταλελειμμένος μετά το διαζύγιο των γονέων του στα χέρια μιας ηλικιωμένης θείας του, Ιρλανδής, που τον προόριζε για καθολικό ιερέα. Με ανεπτυγμένο αίσθημα κατωτερότητας λόγω του παρουσιαστικού του, κλειστός και εσωστρεφής χαρακτήρας, θα ζήσει μεταξύ Δουβλίνου και ΗΠΑ, όπου μετανάστευσε στα δεκαεννέα του για να γλιτώσει την ανέχεια και την πείνα ως το 1889, όταν ταξίδεψε για πρώτη φορά στην Ιαπωνία, όπου έμελλε να ζήσει τα τελευταία δεκατέσσερα χρόνια της ζωής του και να δημιουργήσει ουσιαστικά το μεγαλύτερο μέρος του συγγραφικού έργου του, για το οποίο έγινε παγκοσμίως γνωστός.

Σαν να επρόκειτο περί ουράνιας δικαίωσης, το σιωπηλό αγόρι που όπως φαίνεται κανείς από τους δύο γονείς του δεν αγάπησε αλλά και δεν ασχολήθηκε με την ανατροφή του, μειωμένης σωματικής διαπλάσεως και θύμα ατυχήματος από αβλεψία συμμαθητή του που του στέρησε το ένα μάτι, φτωχό που για τον λόγο αυτόν δεν μπόρεσε ποτέ να ολοκληρώσει τις σπουδές του στην Κλασική Φιλολογία, ήταν γραφτό να εισπράξει μετά θάνατον υπερπολλαπλάσια αποδοχή σε σχέση με την αδιαφορία που έτρεφε το περιβάλλον του γι΄ αυτόν.

Η προτομή του Λευκάδιου Χερν (Koizumi Yakumo) στο Πάρκο Παραλίας στη Λευκάδα

Statue of Lafcadio Hearn (Koizumi Yakumo), in the park on the Beach in Lefkada

Ο Λευκάδιος Χερν πέθανε στο Οκούμπο της Ιαπωνίας το 1904. Σχεδόν μαζί με τον θάνατό του έγινε γνωστό το έργο του στην Ελλάδα, όπου το 1910 άρχισαν να δημοσιεύονται σε φιλολογικά περιοδικά και εφημερίδες τα πρώτα αποσπάσματα λογοτεχνικών κειμένων του. Λίγα χρόνια αργότερα, στις 17 Σεπτεμβρίου 1932, η ιαπωνική πρεσβεία στην Αθήνα με ρηματική της διακοίνωση ανακοίνωνε στο ελληνικό ΥΠΕΞ την πρόθεσή της, όπως και του Ελληνοϊαπωνικού Συλλόγου, να εγείρει με δαπάνες της μια αναθηματική στήλη για τον Χερν στην κεντρική πλατεία της Λευκάδας και μια δεύτερη, δαπάναις της Ιαπωνοελληνικής Εταιρείας και του Συνδέσμου Χερν, στο Τόκιο. Στη βάση της στήλης που κατέπεσε στον σεισμό του 1952, αλλ΄ ανηγέρθη εκ νέου το 1984 και το 1987 συμπληρώθηκε με μια προτομή του Χερν, έργο του γλύπτη Σπύρου Κατωπόδη, υπήρχε η επιγραφή:

«Λευκαδίω Χερν (Κοϊζούμι Ιακούμω), μεγάλω συγγραφεί, το των Ιαπώνων αληθές πνεύμα παγκοσμίως και λαμπρώς εμφανίσαντι, σήμα ευγνωμοσύνης ιαπωνικού έθνους, μηνί Οκτωβρίω 1932, έτους 259200 Ιαπωνικής Αυτοκρατορίας».

Plaque commemorating the achievements of Lafcadio Hearn

The plaque reads: Lafcadio Hearn (Koizumi Iakoumo), a great writer, the true spirit of the Japanese and bright light for interpreting Japan to the world - with the gratitude of the Japanese nation, October 1932, the year 259200 of the Japanese Empire

Με την ίδια ρηματική διακοίνωση η ιαπωνική πλευρά χαρακτήριζε τον Χερν ως τον πρώτο συνεκτικό δεσμό στις σχέσεις των δύο χωρών. Σημειωτέον, το δευτερεύον όνομά του στα ιαπωνικά, Υakumo Κoizumi, έλαβε όταν υιοθετήθηκε από την οικογένεια Κoizumi, λίγο προτού νυμφευθεί την κόρη τους Setsu Κoizumi, προκειμένου να λάβει την ιαπωνική υπηκοότητα. Μαζί της απέκτησε τρεις γιους, τον Κazuo και τον Ιwao που σπούδασαν Φιλολογία και ασχολήθηκαν με την επιμέλεια και έκδοση του έργου του πατέρα τους μεταφράζοντάς το από τα αγγλικά στα ιαπωνικά, τον Κiyoshi, που έγινε γνωστός ζωγράφος, και μια κόρη, τη Suzuko, που έζησε μια μέτρια και ουδέτερη ζωή λόγω σοβαρών προβλημάτων υγείας.

Παραμένει ωστόσο εντυπωσιακό ακόμη και σήμερα το γεγονός ότι οι Ιάπωνες λάτρεψαν έναν συγγραφέα που ελάχιστα γνώριζε τη γλώσσα τους, αλλά έγραφε μόνο στα αγγλικά, και επιπλέον περιέγραφε, λόγω αμυδρής όρασης που διέθετε, όσα συνέβαιναν γύρω του από περιγραφές και αφηγήσεις φίλων και της γυναίκας του. Όπως πολύ χαρακτηριστικά ανέφερε σε πολυσέλιδο κείμενό του στο περιοδικό «Νέα Πορεία» (Αύγουστος – Οκτώβριος 1991), ο έλληνας πρέσβης στο Τόκιο (1990-1993), ε.τ. σήμερα, Κωνσταντίνος Βάσσης, από τους λίγους πραγματικά λόγιους διπλωμάτες καριέρας, «αντιθέτως (σ.σ.: με τον Χερν) υπάρχουν πολλοί ξένοι, ως επί το πλείστον Ευρωπαίοι, οι οποίοι ησχολήθησαν με την Ιαπωνία επιστημονικώς, αφιέρωσαν εις αυτήν όλην την ζωήν των, έγραψαν περί αυτής μεγάλα ιστορικά, λαογραφικά και γλωσσικά έργα. Αυτούς οι Ιάπωνες απλώς τους εξετίμησαν, τους παρεσημοφόρησαν. Στον Χερν όμως ανταπέδωσαν την αγάπη του με διαφόρους τρόπους».

Ως αποτέλεσμα αυτής της αγάπης αρχικά ιδρύθηκε στο Ματσούε, στην πρώτη πόλη όπου ο Χερν δίδαξε αγγλικά σε σχολεία της μέσης εκπαίδευσης και έμεινε 15 μήνες, ο Σύνδεσμος Χερν, με αξιόλογη ως σήμερα δράση, ενεργό μέλος του οποίου είναι ο εγγονός του συγγραφέα, Τoki, ενώ του ιδίου ο γιος και δισεγγονός του Χερν, Βon, είναι σήμερα διευθυντής του Μουσείου Χερν που ιδρύθηκε το 1933 και στεγάστηκε σε κτίριο με ελληνοπρεπή ρυθμό, αλλά επειδή δεν ταίριαζε με το περιβάλλον κατεδαφίστηκε και τη θέση του πήρε άλλο σε ιαπωνικό αρχιτεκτονικό ύφος. Στο Μουσείο Χερν εκτίθενται προσωπικά αντικείμενα του συγγραφέα, σπάνιες εκδόσεις των έργων του, αναμνηστικά εκθέματα κτλ. Στο Ματσούε το 1990 με τη συμπλήρωση 100 ετών από την άφιξη του Χερν στην Ιαπωνία έγινε πανηγυρική τελετή που περιελάμβανε διεθνές συμπόσιο και αποκάλυψη προτομής, που με δαπάνες της ελληνικής κυβέρνησης φιλοτέχνησε ο ίδιος γλύπτης (Σ. Κατωπόδης) ο οποίος τρεις δεκαετίες νωρίτερα είχε κάνει την προτομή για τον Δήμο Λευκάδας. Την ίδια χρονιά ο Δήμος Σιντζούκου (Shinjuku), 50 μέτρα από το ταφικό μνημείο στο Οκούμπου όπου τοποθετήθηκε η σορός του Χερν, αποφάσισε να δημιουργήσει πάρκο εκτάσεως 1.345,50 τ.μ. με εμφανή αρχιτεκτονικά σύνολα, δηλωτικά της ελληνικής καταγωγής του συγγραφέα: ένα είδος αρχαίας αγοράς, σειρά κιόνων, κρήνη, ναΐδριο που να θυμίζει ελληνορθόδοξο ναό (άνευ σταυρού) και χώρο παιδιάς και ανάπαυσης εν μέσω αλσυλλίου, σε περίοπτο χώρο του οποίου σχεδιάστηκε να τοποθετηθεί ψηφιδωτό, απεικονίζον χάρτη της Λευκάδας.

Το λογοτεχνικό έργο του Χερν υπήρξε πολυσχιδές, αν και όχι ενιαίο ποιοτικά. Στην Αμερική, για παράδειγμα, επί μία εικοσαετία το έργο του περιορίστηκε σε άρθρα εφημερίδων της Νέας Ορλεάνης και της Νέας Υόρκης, όπου έζησε, και σε μεταφράσεις γάλλων συγγραφέων. «Ο Χερν οφείλει πολλά στην Αμερική, και το αναγνωρίζει. Αν η Ιαπωνία τον εδημιούργησε ως συγγραφέα περιωπής, η Αμερική τον ανέδειξε. Με την διαφοράν ότι η τελευταία δεν είχε ιδιαίτερο λόγο να τον τιμήση και να φροντίση για την διαιώνιση της μνήμης του» έγραψε στο άρθρο του στο τεύχος της «Νέας Πορείας» ο πρέσβης ε.τ. Κ. Βάσσης. Στην «αμερικανική περίοδο» του συγγραφικού του έργου ανήκουν επίσης δύο μυθιστορήματα (είδος, πάντως, στο οποίο δεν διέπρεψε) και αναπλάσεις θρύλων και παραδόσεων ξένων λαών (εβραίων, Ινδών, Κινέζων και Φινλανδών) τις οποίες εξέδωσε σε δύο τόμους με τίτλους «Σκόρπια φύλλα από Παράξενη Λογοτεχνία» και «Μερικά Κινέζικα Φαντάσματα». Καλύτερο βιβλίο της αμερικανικής περιόδου πάντως θεωρείται το «Δύο χρόνια στις Γαλλικές Ινδίες», με εντυπώσεις από την παραμονή του στη νήσο Μαρτινίκ.

Στην ιαπωνική περίοδο, που είναι και η ουσιαστικότερη, ανήκουν 12 βιβλία, γραμμένα σχεδόν ένα κάθε χρόνο, αφιερωμένα εξ ολοκλήρου στην Ιαπωνία.

Σημαντική ήταν και η αλληλογραφία του που εξέδωσε ο πρωτότοκος γιος του, αλλά και οι πανεπιστημιακές παραδόσεις του που συγκεντρώθηκαν από φοιτητές του σε ογκώδεις τόμους βάσει σημειώσεων που κρατούσαν, δεδομένου ότι ο ίδιος δεν άφησε κείμενα διαλέξεών του, επειδή παρέδιδε μαθήματα αγγλικής λογοτεχνίας και κριτικής αυτοσχεδίως. Ο ίδιος έγραψε επίσης «Ιαπωνικά παραμύθια» για παιδιά.

Ο Οδυσσέας, η «τράτα» και ο μαρμαρωμένος βασιλιάς

ΕΝΔΙΑΦΕΡΟΥΣΑ είναι η ανίχνευση των ελληνικών καταβολών του συγγραφέα μέσα στο έργο του. Αν και δεν γνώριζε ελληνικά, ήταν λάτρης της ιστορίας, των παραδόσεων και των θρύλων της γενέτειράς του. Οι αέναες μετακινήσεις του από χώρα σε χώρα συμβολίζουν τις οδυσσειακές πλευρές του βίου του, ενώ οι αναφορές του σε αρχαίους έλληνες λυρικούς (Ανακρέοντα, Θεόκριτο, Μελέαγρο) είναι πυκνές στα έργα του. Αποσπασματικές ωστόσο ή λανθασμένες είναι οι γνώσεις του για νεότερα θέματα, όπως για τον χορό «τράτα» της περιοχής Μεγάρων ή τον θρύλο του μαρμαρωμένου βασιλιά, τον οποίο θα αναστήση ένας άγγελος όταν απελευθερωθεί η Κωνσταντινούπολη, με τη διαφορά ότι ο Χερν, μη γνωρίζοντας καλά την παράδοση, αντί βασιλιά και αγγέλου, ομιλεί περί ενός μοναχού. Αναμφίβολα ο Χερν ως συγγραφέας μπορεί να μην ανήκει στον πάνθεον των αρίστων της παγκόσμιας λογοτεχνίας, αλλά ως προσωπικότητα, παράγωγο των κληρονομικών καταβολών του και των παιδικών και εφηβικών εμπειριών του, υπήρξε μοναδικός.

http://www.kolivas.de/archives/12090

Lafcadio Hearn (Koizumi Iakoumo), a great writer, the true spirit of the Japanese and bright light for interpreting Japan to the world - with the gratitude of the Japanese nation, October 1932, the year 259200 of the Japanese Empire

Λευκάδιος Χερν – Ο ελληνοϊρλανδός συγγραφέας των τριών ηπείρων

Η Ευρώπη τον εγέννησε, η Ασία τον εδημιούργησε ως λογοτέχνη περιωπής και η Αμερική τον ανέδειξε

Της ΦΩΤΕΙΝΗΣ ΤΟΜΑΗ

Levkathitika Nea

ΓΙΟΣ ΙΡΛΑΝΔΟΥ, ενός στρατιωτικού γιατρού που υπηρετούσε στη βρετανική διοίκηση των Επτανήσων, του Charles Ηearn, και Ελληνίδας, της Ρόζας Κασιμάτη, ο ελληνοϊρλανδός συγγραφέας Ρatrick Lafcadio Ηearn γεννήθηκε τον Ιούνιο του 1850 στη Λευκάδα, απ΄ όπου προέρχεται και το ενδιάμεσο όνομα με το οποίο βαπτίστηκε.

Σε ηλικία δύο ετών ακολούθησε μαζί με τη μητέρα του τον πατέρα του που μετατέθηκε πίσω στην Ιρλανδία. Έκτοτε θα ζήσει δυστυχισμένα παιδικά χρόνια, εγκαταλελειμμένος μετά το διαζύγιο των γονέων του στα χέρια μιας ηλικιωμένης θείας του, Ιρλανδής, που τον προόριζε για καθολικό ιερέα. Με ανεπτυγμένο αίσθημα κατωτερότητας λόγω του παρουσιαστικού του, κλειστός και εσωστρεφής χαρακτήρας, θα ζήσει μεταξύ Δουβλίνου και ΗΠΑ, όπου μετανάστευσε στα δεκαεννέα του για να γλιτώσει την ανέχεια και την πείνα ως το 1889, όταν ταξίδεψε για πρώτη φορά στην Ιαπωνία, όπου έμελλε να ζήσει τα τελευταία δεκατέσσερα χρόνια της ζωής του και να δημιουργήσει ουσιαστικά το μεγαλύτερο μέρος του συγγραφικού έργου του, για το οποίο έγινε παγκοσμίως γνωστός.

Σαν να επρόκειτο περί ουράνιας δικαίωσης, το σιωπηλό αγόρι που όπως φαίνεται κανείς από τους δύο γονείς του δεν αγάπησε αλλά και δεν ασχολήθηκε με την ανατροφή του, μειωμένης σωματικής διαπλάσεως και θύμα ατυχήματος από αβλεψία συμμαθητή του που του στέρησε το ένα μάτι, φτωχό που για τον λόγο αυτόν δεν μπόρεσε ποτέ να ολοκληρώσει τις σπουδές του στην Κλασική Φιλολογία, ήταν γραφτό να εισπράξει μετά θάνατον υπερπολλαπλάσια αποδοχή σε σχέση με την αδιαφορία που έτρεφε το περιβάλλον του γι΄ αυτόν.

Statue of Lafcadio Hearn (Koizumi Yakumo), in the park on the Beach in Lefkada

Η προτομή του Λευκάδιου Χερν (Koizumi Yakumo) στο Πάρκο Παραλίας στη Λευκάδα

Ο Λευκάδιος Χερν πέθανε στο Οκούμπο της Ιαπωνίας το 1904. Σχεδόν μαζί με τον θάνατό του έγινε γνωστό το έργο του στην Ελλάδα, όπου το 1910 άρχισαν να δημοσιεύονται σε φιλολογικά περιοδικά και εφημερίδες τα πρώτα αποσπάσματα λογοτεχνικών κειμένων του. Λίγα χρόνια αργότερα, στις 17 Σεπτεμβρίου 1932, η ιαπωνική πρεσβεία στην Αθήνα με ρηματική της διακοίνωση ανακοίνωνε στο ελληνικό ΥΠΕΞ την πρόθεσή της, όπως και του Ελληνοϊαπωνικού Συλλόγου, να εγείρει με δαπάνες της μια αναθηματική στήλη για τον Χερν στην κεντρική πλατεία της Λευκάδας και μια δεύτερη, δαπάναις της Ιαπωνοελληνικής Εταιρείας και του Συνδέσμου Χερν, στο Τόκιο. Στη βάση της στήλης που κατέπεσε στον σεισμό του 1952, αλλ΄ ανηγέρθη εκ νέου το 1984 και το 1987 συμπληρώθηκε με μια προτομή του Χερν, έργο του γλύπτη Σπύρου Κατωπόδη, υπήρχε η επιγραφή:

«Λευκαδίω Χερν (Κοϊζούμι Ιακούμω), μεγάλω συγγραφεί, το των Ιαπώνων αληθές πνεύμα παγκοσμίως και λαμπρώς εμφανίσαντι, σήμα ευγνωμοσύνης ιαπωνικού έθνους, μηνί Οκτωβρίω 1932, έτους 259200 Ιαπωνικής Αυτοκρατορίας».

Lafcadio Hearn (Koizumi Iakoumo), a great writer, the true spirit of the Japanese and bright light for interpreting Japan to the world - with the gratitude of the Japanese nation, October 1932, the year 259200 of the Japanese Empire

Με την ίδια ρηματική διακοίνωση η ιαπωνική πλευρά χαρακτήριζε τον Χερν ως τον πρώτο συνεκτικό δεσμό στις σχέσεις των δύο χωρών. Σημειωτέον, το δευτερεύον όνομά του στα ιαπωνικά, Υakumo Κoizumi, έλαβε όταν υιοθετήθηκε από την οικογένεια Κoizumi, λίγο προτού νυμφευθεί την κόρη τους Setsu Κoizumi, προκειμένου να λάβει την ιαπωνική υπηκοότητα. Μαζί της απέκτησε τρεις γιους, τον Κazuo και τον Ιwao που σπούδασαν Φιλολογία και ασχολήθηκαν με την επιμέλεια και έκδοση του έργου του πατέρα τους μεταφράζοντάς το από τα αγγλικά στα ιαπωνικά, τον Κiyoshi, που έγινε γνωστός ζωγράφος, και μια κόρη, τη Suzuko, που έζησε μια μέτρια και ουδέτερη ζωή λόγω σοβαρών προβλημάτων υγείας.

Παραμένει ωστόσο εντυπωσιακό ακόμη και σήμερα το γεγονός ότι οι Ιάπωνες λάτρεψαν έναν συγγραφέα που ελάχιστα γνώριζε τη γλώσσα τους, αλλά έγραφε μόνο στα αγγλικά, και επιπλέον περιέγραφε, λόγω αμυδρής όρασης που διέθετε, όσα συνέβαιναν γύρω του από περιγραφές και αφηγήσεις φίλων και της γυναίκας του. Όπως πολύ χαρακτηριστικά ανέφερε σε πολυσέλιδο κείμενό του στο περιοδικό «Νέα Πορεία» (Αύγουστος – Οκτώβριος 1991), ο έλληνας πρέσβης στο Τόκιο (1990-1993), ε.τ. σήμερα, Κωνσταντίνος Βάσσης, από τους λίγους πραγματικά λόγιους διπλωμάτες καριέρας, «αντιθέτως (σ.σ.: με τον Χερν) υπάρχουν πολλοί ξένοι, ως επί το πλείστον Ευρωπαίοι, οι οποίοι ησχολήθησαν με την Ιαπωνία επιστημονικώς, αφιέρωσαν εις αυτήν όλην την ζωήν των, έγραψαν περί αυτής μεγάλα ιστορικά, λαογραφικά και γλωσσικά έργα. Αυτούς οι Ιάπωνες απλώς τους εξετίμησαν, τους παρεσημοφόρησαν. Στον Χερν όμως ανταπέδωσαν την αγάπη του με διαφόρους τρόπους».

Ως αποτέλεσμα αυτής της αγάπης αρχικά ιδρύθηκε στο Ματσούε, στην πρώτη πόλη όπου ο Χερν δίδαξε αγγλικά σε σχολεία της μέσης εκπαίδευσης και έμεινε 15 μήνες, ο Σύνδεσμος Χερν, με αξιόλογη ως σήμερα δράση, ενεργό μέλος του οποίου είναι ο εγγονός του συγγραφέα, Τoki, ενώ του ιδίου ο γιος και δισεγγονός του Χερν, Βon, είναι σήμερα διευθυντής του Μουσείου Χερν που ιδρύθηκε το 1933 και στεγάστηκε σε κτίριο με ελληνοπρεπή ρυθμό, αλλά επειδή δεν ταίριαζε με το περιβάλλον κατεδαφίστηκε και τη θέση του πήρε άλλο σε ιαπωνικό αρχιτεκτονικό ύφος. Στο Μουσείο Χερν εκτίθενται προσωπικά αντικείμενα του συγγραφέα, σπάνιες εκδόσεις των έργων του, αναμνηστικά εκθέματα κτλ. Στο Ματσούε το 1990 με τη συμπλήρωση 100 ετών από την άφιξη του Χερν στην Ιαπωνία έγινε πανηγυρική τελετή που περιελάμβανε διεθνές συμπόσιο και αποκάλυψη προτομής, που με δαπάνες της ελληνικής κυβέρνησης φιλοτέχνησε ο ίδιος γλύπτης (Σ. Κατωπόδης) ο οποίος τρεις δεκαετίες νωρίτερα είχε κάνει την προτομή για τον Δήμο Λευκάδας. Την ίδια χρονιά ο Δήμος Σιντζούκου (Shinjuku), 50 μέτρα από το ταφικό μνημείο στο Οκούμπου όπου τοποθετήθηκε η σορός του Χερν, αποφάσισε να δημιουργήσει πάρκο εκτάσεως 1.345,50 τ.μ. με εμφανή αρχιτεκτονικά σύνολα, δηλωτικά της ελληνικής καταγωγής του συγγραφέα: ένα είδος αρχαίας αγοράς, σειρά κιόνων, κρήνη, ναΐδριο που να θυμίζει ελληνορθόδοξο ναό (άνευ σταυρού) και χώρο παιδιάς και ανάπαυσης εν μέσω αλσυλλίου, σε περίοπτο χώρο του οποίου σχεδιάστηκε να τοποθετηθεί ψηφιδωτό, απεικονίζον χάρτη της Λευκάδας.

Το λογοτεχνικό έργο του Χερν υπήρξε πολυσχιδές, αν και όχι ενιαίο ποιοτικά. Στην Αμερική, για παράδειγμα, επί μία εικοσαετία το έργο του περιορίστηκε σε άρθρα εφημερίδων της Νέας Ορλεάνης και της Νέας Υόρκης, όπου έζησε, και σε μεταφράσεις γάλλων συγγραφέων. «Ο Χερν οφείλει πολλά στην Αμερική, και το αναγνωρίζει. Αν η Ιαπωνία τον εδημιούργησε ως συγγραφέα περιωπής, η Αμερική τον ανέδειξε. Με την διαφοράν ότι η τελευταία δεν είχε ιδιαίτερο λόγο να τον τιμήση και να φροντίση για την διαιώνιση της μνήμης του» έγραψε στο άρθρο του στο τεύχος της «Νέας Πορείας» ο πρέσβης ε.τ. Κ. Βάσσης. Στην «αμερικανική περίοδο» του συγγραφικού του έργου ανήκουν επίσης δύο μυθιστορήματα (είδος, πάντως, στο οποίο δεν διέπρεψε) και αναπλάσεις θρύλων και παραδόσεων ξένων λαών (εβραίων, Ινδών, Κινέζων και Φινλανδών) τις οποίες εξέδωσε σε δύο τόμους με τίτλους «Σκόρπια φύλλα από Παράξενη Λογοτεχνία» και «Μερικά Κινέζικα Φαντάσματα». Καλύτερο βιβλίο της αμερικανικής περιόδου πάντως θεωρείται το «Δύο χρόνια στις Γαλλικές Ινδίες», με εντυπώσεις από την παραμονή του στη νήσο Μαρτινίκ.

Στην ιαπωνική περίοδο, που είναι και η ουσιαστικότερη, ανήκουν 12 βιβλία, γραμμένα σχεδόν ένα κάθε χρόνο, αφιερωμένα εξ ολοκλήρου στην Ιαπωνία.

Σημαντική ήταν και η αλληλογραφία του που εξέδωσε ο πρωτότοκος γιος του, αλλά και οι πανεπιστημιακές παραδόσεις του που συγκεντρώθηκαν από φοιτητές του σε ογκώδεις τόμους βάσει σημειώσεων που κρατούσαν, δεδομένου ότι ο ίδιος δεν άφησε κείμενα διαλέξεών του, επειδή παρέδιδε μαθήματα αγγλικής λογοτεχνίας και κριτικής αυτοσχεδίως. Ο ίδιος έγραψε επίσης «Ιαπωνικά παραμύθια» για παιδιά.

Ο Οδυσσέας, η «τράτα» και ο μαρμαρωμένος βασιλιάς

ΕΝΔΙΑΦΕΡΟΥΣΑ είναι η ανίχνευση των ελληνικών καταβολών του συγγραφέα μέσα στο έργο του. Αν και δεν γνώριζε ελληνικά, ήταν λάτρης της ιστορίας, των παραδόσεων και των θρύλων της γενέτειράς του. Οι αέναες μετακινήσεις του από χώρα σε χώρα συμβολίζουν τις οδυσσειακές πλευρές του βίου του, ενώ οι αναφορές του σε αρχαίους έλληνες λυρικούς (Ανακρέοντα, Θεόκριτο, Μελέαγρο) είναι πυκνές στα έργα του. Αποσπασματικές ωστόσο ή λανθασμένες είναι οι γνώσεις του για νεότερα θέματα, όπως για τον χορό «τράτα» της περιοχής Μεγάρων ή τον θρύλο του μαρμαρωμένου βασιλιά, τον οποίο θα αναστήση ένας άγγελος όταν απελευθερωθεί η Κωνσταντινούπολη, με τη διαφορά ότι ο Χερν, μη γνωρίζοντας καλά την παράδοση, αντί βασιλιά και αγγέλου, ομιλεί περί ενός μοναχού. Αναμφίβολα ο Χερν ως συγγραφέας μπορεί να μην ανήκει στον πάνθεον των αρίστων της παγκόσμιας λογοτεχνίας, αλλά ως προσωπικότητα, παράγωγο των κληρονομικών καταβολών του και των παιδικών και εφηβικών εμπειριών του, υπήρξε μοναδικός.

http://www.kolivas.de/archives/12090

Η Ευρώπη τον εγέννησε, η Ασία τον εδημιούργησε ως λογοτέχνη περιωπής και η Αμερική τον ανέδειξε

Της ΦΩΤΕΙΝΗΣ ΤΟΜΑΗ

Levkathitika Nea

[[picture:"Hearn photograph 3.jpg" ID:20938]]

From a photograph taken of Lafcadio Hearn, 1889

ΓΙΟΣ ΙΡΛΑΝΔΟΥ, ενός στρατιωτικού γιατρού που υπηρετούσε στη βρετανική διοίκηση των Επτανήσων, του Charles Ηearn, και Ελληνίδας, της Ρόζας Κασιμάτη, ο ελληνοϊρλανδός συγγραφέας Ρatrick Lafcadio Ηearn γεννήθηκε τον Ιούνιο του 1850 στη Λευκάδα, απ΄ όπου προέρχεται και το ενδιάμεσο όνομα με το οποίο βαπτίστηκε.

Σε ηλικία δύο ετών ακολούθησε μαζί με τη μητέρα του τον πατέρα του που μετατέθηκε πίσω στην Ιρλανδία. Έκτοτε θα ζήσει δυστυχισμένα παιδικά χρόνια, εγκαταλελειμμένος μετά το διαζύγιο των γονέων του στα χέρια μιας ηλικιωμένης θείας του, Ιρλανδής, που τον προόριζε για καθολικό ιερέα. Με ανεπτυγμένο αίσθημα κατωτερότητας λόγω του παρουσιαστικού του, κλειστός και εσωστρεφής χαρακτήρας, θα ζήσει μεταξύ Δουβλίνου και ΗΠΑ, όπου μετανάστευσε στα δεκαεννέα του για να γλιτώσει την ανέχεια και την πείνα ως το 1889, όταν ταξίδεψε για πρώτη φορά στην Ιαπωνία, όπου έμελλε να ζήσει τα τελευταία δεκατέσσερα χρόνια της ζωής του και να δημιουργήσει ουσιαστικά το μεγαλύτερο μέρος του συγγραφικού έργου του, για το οποίο έγινε παγκοσμίως γνωστός.

Σαν να επρόκειτο περί ουράνιας δικαίωσης, το σιωπηλό αγόρι που όπως φαίνεται κανείς από τους δύο γονείς του δεν αγάπησε αλλά και δεν ασχολήθηκε με την ανατροφή του, μειωμένης σωματικής διαπλάσεως και θύμα ατυχήματος από αβλεψία συμμαθητή του που του στέρησε το ένα μάτι, φτωχό που για τον λόγο αυτόν δεν μπόρεσε ποτέ να ολοκληρώσει τις σπουδές του στην Κλασική Φιλολογία, ήταν γραφτό να εισπράξει μετά θάνατον υπερπολλαπλάσια αποδοχή σε σχέση με την αδιαφορία που έτρεφε το περιβάλλον του γι΄ αυτόν.

[[picture:"Lafcadio Hearn Statue.jpg" ID:20937]]

Η προτομή του Λευκάδιου Χερν (Koizumi Yakumo) στο Πάρκο Παραλίας στη Λευκάδα

Statue of Lafcadio Hearn (Koizumi Yakumo), in the park on the Beach in Lefkada

Ο Λευκάδιος Χερν πέθανε στο Οκούμπο της Ιαπωνίας το 1904. Σχεδόν μαζί με τον θάνατό του έγινε γνωστό το έργο του στην Ελλάδα, όπου το 1910 άρχισαν να δημοσιεύονται σε φιλολογικά περιοδικά και εφημερίδες τα πρώτα αποσπάσματα λογοτεχνικών κειμένων του. Λίγα χρόνια αργότερα, στις 17 Σεπτεμβρίου 1932, η ιαπωνική πρεσβεία στην Αθήνα με ρηματική της διακοίνωση ανακοίνωνε στο ελληνικό ΥΠΕΞ την πρόθεσή της, όπως και του Ελληνοϊαπωνικού Συλλόγου, να εγείρει με δαπάνες της μια αναθηματική στήλη για τον Χερν στην κεντρική πλατεία της Λευκάδας και μια δεύτερη, δαπάναις της Ιαπωνοελληνικής Εταιρείας και του Συνδέσμου Χερν, στο Τόκιο. Στη βάση της στήλης που κατέπεσε στον σεισμό του 1952, αλλ΄ ανηγέρθη εκ νέου το 1984 και το 1987 συμπληρώθηκε με μια προτομή του Χερν, έργο του γλύπτη Σπύρου Κατωπόδη, υπήρχε η επιγραφή:

[[picture:"Lafcadio Hearn Plaque.jpg" ID:20936]]

«Λευκαδίω Χερν (Κοϊζούμι Ιακούμω), μεγάλω συγγραφεί, το των Ιαπώνων αληθές πνεύμα παγκοσμίως και λαμπρώς εμφανίσαντι, σήμα ευγνωμοσύνης ιαπωνικού έθνους, μηνί Οκτωβρίω 1932, έτους 259200 Ιαπωνικής Αυτοκρατορίας».

Lafcadio Hearn (Koizumi Yakumo), a great writer, the true spirit of the Japanese and bright light for interpreting Japan to the world - with the gratitude of the Japanese nation, October 1932, the year 259200 of the Japanese Empire

Με την ίδια ρηματική διακοίνωση η ιαπωνική πλευρά χαρακτήριζε τον Χερν ως τον πρώτο συνεκτικό δεσμό στις σχέσεις των δύο χωρών. Σημειωτέον, το δευτερεύον όνομά του στα ιαπωνικά, Υakumo Κoizumi, έλαβε όταν υιοθετήθηκε από την οικογένεια Κoizumi, λίγο προτού νυμφευθεί την κόρη τους Setsu Κoizumi, προκειμένου να λάβει την ιαπωνική υπηκοότητα. Μαζί της απέκτησε τρεις γιους, τον Κazuo και τον Ιwao που σπούδασαν Φιλολογία και ασχολήθηκαν με την επιμέλεια και έκδοση του έργου του πατέρα τους μεταφράζοντάς το από τα αγγλικά στα ιαπωνικά, τον Κiyoshi, που έγινε γνωστός ζωγράφος, και μια κόρη, τη Suzuko, που έζησε μια μέτρια και ουδέτερη ζωή λόγω σοβαρών προβλημάτων υγείας.

Παραμένει ωστόσο εντυπωσιακό ακόμη και σήμερα το γεγονός ότι οι Ιάπωνες λάτρεψαν έναν συγγραφέα που ελάχιστα γνώριζε τη γλώσσα τους, αλλά έγραφε μόνο στα αγγλικά, και επιπλέον περιέγραφε, λόγω αμυδρής όρασης που διέθετε, όσα συνέβαιναν γύρω του από περιγραφές και αφηγήσεις φίλων και της γυναίκας του. Όπως πολύ χαρακτηριστικά ανέφερε σε πολυσέλιδο κείμενό του στο περιοδικό «Νέα Πορεία» (Αύγουστος – Οκτώβριος 1991), ο έλληνας πρέσβης στο Τόκιο (1990-1993), ε.τ. σήμερα, Κωνσταντίνος Βάσσης, από τους λίγους πραγματικά λόγιους διπλωμάτες καριέρας, «αντιθέτως (σ.σ.: με τον Χερν) υπάρχουν πολλοί ξένοι, ως επί το πλείστον Ευρωπαίοι, οι οποίοι ησχολήθησαν με την Ιαπωνία επιστημονικώς, αφιέρωσαν εις αυτήν όλην την ζωήν των, έγραψαν περί αυτής μεγάλα ιστορικά, λαογραφικά και γλωσσικά έργα. Αυτούς οι Ιάπωνες απλώς τους εξετίμησαν, τους παρεσημοφόρησαν. Στον Χερν όμως ανταπέδωσαν την αγάπη του με διαφόρους τρόπους».

Ως αποτέλεσμα αυτής της αγάπης αρχικά ιδρύθηκε στο Ματσούε, στην πρώτη πόλη όπου ο Χερν δίδαξε αγγλικά σε σχολεία της μέσης εκπαίδευσης και έμεινε 15 μήνες, ο Σύνδεσμος Χερν, με αξιόλογη ως σήμερα δράση, ενεργό μέλος του οποίου είναι ο εγγονός του συγγραφέα, Τoki, ενώ του ιδίου ο γιος και δισεγγονός του Χερν, Βon, είναι σήμερα διευθυντής του Μουσείου Χερν που ιδρύθηκε το 1933 και στεγάστηκε σε κτίριο με ελληνοπρεπή ρυθμό, αλλά επειδή δεν ταίριαζε με το περιβάλλον κατεδαφίστηκε και τη θέση του πήρε άλλο σε ιαπωνικό αρχιτεκτονικό ύφος. Στο Μουσείο Χερν εκτίθενται προσωπικά αντικείμενα του συγγραφέα, σπάνιες εκδόσεις των έργων του, αναμνηστικά εκθέματα κτλ. Στο Ματσούε το 1990 με τη συμπλήρωση 100 ετών από την άφιξη του Χερν στην Ιαπωνία έγινε πανηγυρική τελετή που περιελάμβανε διεθνές συμπόσιο και αποκάλυψη προτομής, που με δαπάνες της ελληνικής κυβέρνησης φιλοτέχνησε ο ίδιος γλύπτης (Σ. Κατωπόδης) ο οποίος τρεις δεκαετίες νωρίτερα είχε κάνει την προτομή για τον Δήμο Λευκάδας. Την ίδια χρονιά ο Δήμος Σιντζούκου (Shinjuku), 50 μέτρα από το ταφικό μνημείο στο Οκούμπου όπου τοποθετήθηκε η σορός του Χερν, αποφάσισε να δημιουργήσει πάρκο εκτάσεως 1.345,50 τ.μ. με εμφανή αρχιτεκτονικά σύνολα, δηλωτικά της ελληνικής καταγωγής του συγγραφέα: ένα είδος αρχαίας αγοράς, σειρά κιόνων, κρήνη, ναΐδριο που να θυμίζει ελληνορθόδοξο ναό (άνευ σταυρού) και χώρο παιδιάς και ανάπαυσης εν μέσω αλσυλλίου, σε περίοπτο χώρο του οποίου σχεδιάστηκε να τοποθετηθεί ψηφιδωτό, απεικονίζον χάρτη της Λευκάδας.

Το λογοτεχνικό έργο του Χερν υπήρξε πολυσχιδές, αν και όχι ενιαίο ποιοτικά. Στην Αμερική, για παράδειγμα, επί μία εικοσαετία το έργο του περιορίστηκε σε άρθρα εφημερίδων της Νέας Ορλεάνης και της Νέας Υόρκης, όπου έζησε, και σε μεταφράσεις γάλλων συγγραφέων. «Ο Χερν οφείλει πολλά στην Αμερική, και το αναγνωρίζει. Αν η Ιαπωνία τον εδημιούργησε ως συγγραφέα περιωπής, η Αμερική τον ανέδειξε. Με την διαφοράν ότι η τελευταία δεν είχε ιδιαίτερο λόγο να τον τιμήση και να φροντίση για την διαιώνιση της μνήμης του» έγραψε στο άρθρο του στο τεύχος της «Νέας Πορείας» ο πρέσβης ε.τ. Κ. Βάσσης. Στην «αμερικανική περίοδο» του συγγραφικού του έργου ανήκουν επίσης δύο μυθιστορήματα (είδος, πάντως, στο οποίο δεν διέπρεψε) και αναπλάσεις θρύλων και παραδόσεων ξένων λαών (εβραίων, Ινδών, Κινέζων και Φινλανδών) τις οποίες εξέδωσε σε δύο τόμους με τίτλους «Σκόρπια φύλλα από Παράξενη Λογοτεχνία» και «Μερικά Κινέζικα Φαντάσματα». Καλύτερο βιβλίο της αμερικανικής περιόδου πάντως θεωρείται το «Δύο χρόνια στις Γαλλικές Ινδίες», με εντυπώσεις από την παραμονή του στη νήσο Μαρτινίκ.

Στην ιαπωνική περίοδο, που είναι και η ουσιαστικότερη, ανήκουν 12 βιβλία, γραμμένα σχεδόν ένα κάθε χρόνο, αφιερωμένα εξ ολοκλήρου στην Ιαπωνία.

Σημαντική ήταν και η αλληλογραφία του που εξέδωσε ο πρωτότοκος γιος του, αλλά και οι πανεπιστημιακές παραδόσεις του που συγκεντρώθηκαν από φοιτητές του σε ογκώδεις τόμους βάσει σημειώσεων που κρατούσαν, δεδομένου ότι ο ίδιος δεν άφησε κείμενα διαλέξεών του, επειδή παρέδιδε μαθήματα αγγλικής λογοτεχνίας και κριτικής αυτοσχεδίως. Ο ίδιος έγραψε επίσης «Ιαπωνικά παραμύθια» για παιδιά.

Ο Οδυσσέας, η «τράτα» και ο μαρμαρωμένος βασιλιάς

ΕΝΔΙΑΦΕΡΟΥΣΑ είναι η ανίχνευση των ελληνικών καταβολών του συγγραφέα μέσα στο έργο του. Αν και δεν γνώριζε ελληνικά, ήταν λάτρης της ιστορίας, των παραδόσεων και των θρύλων της γενέτειράς του. Οι αέναες μετακινήσεις του από χώρα σε χώρα συμβολίζουν τις οδυσσειακές πλευρές του βίου του, ενώ οι αναφορές του σε αρχαίους έλληνες λυρικούς (Ανακρέοντα, Θεόκριτο, Μελέαγρο) είναι πυκνές στα έργα του. Αποσπασματικές ωστόσο ή λανθασμένες είναι οι γνώσεις του για νεότερα θέματα, όπως για τον χορό «τράτα» της περιοχής Μεγάρων ή τον θρύλο του μαρμαρωμένου βασιλιά, τον οποίο θα αναστήση ένας άγγελος όταν απελευθερωθεί η Κωνσταντινούπολη, με τη διαφορά ότι ο Χερν, μη γνωρίζοντας καλά την παράδοση, αντί βασιλιά και αγγέλου, ομιλεί περί ενός μοναχού. Αναμφίβολα ο Χερν ως συγγραφέας μπορεί να μην ανήκει στον πάνθεον των αρίστων της παγκόσμιας λογοτεχνίας, αλλά ως προσωπικότητα, παράγωγο των κληρονομικών καταβολών του και των παιδικών και εφηβικών εμπειριών του, υπήρξε μοναδικός.

http://www.kolivas.de/archives/12090

The Japan Times

Friday, Nov. 5, 2010

By LISA GAY and FINTAN MONAGHAN

Special to The Japan Times

Photograph: "Relief Portrait of Koizumi Yakumo" by Minoru Kurasawa.

One hundred and twenty years ago, Greek-Irish writer Lafcadio Hearn first arrived in Japan; in Matsue, a provincial backwater in Shimane Prefecture, he became Koizumi Yakumo — his adopted Japanese name. Enamored with the city's ancient and enduring culture, he married into a local samurai family: No wonder, then, that it was in Matsue that Hearn wrote his famous "Glimpses of Unfamiliar Japan." This month, the city is celebrating its most famous (adopted) son with an art exhibition.

Entitled "The Open Mind of Lafcadio Hearn," the show is Matsue's version of a 2009 exhibition at the American College of Greece, which was nearly 15 years in the making. The idea first came to Greek art dealer Takis Efstathiou and Japanese artist Masaaki Noda back in 1996 when the pair traveled from Paris to the small Greek island of Lefkada (Hearn's birthplace and namesake). After visiting Hearn's childhood home and talking with locals who remembered old stories about his family, they decided to ask the college to sponsor a statue to commemorate Hearn.

"At the time, there was no door for foreign artists to get into Greece," recalls Noda.

Years later, as Noda's profile in the art world strengthened, he finally got the greenlight to create the sculpture "Open Mind of Lafcadio Hearn." The finished piece is a tangle of metallic wings twisting toward the sky: One points Westward, the other East. In the middle is empty space — but viewed from the right angle, it forms a heart. "I came up with the name," jokes Efstathiou, "but Noda brought the heart."

While the original idea was a single sculpture, it blossomed into an entire exhibition of works celebrating Lafcadio Hearn's multicultural mindset. It was the success of the Greek show that laid the groundwork for the current exhibition in Matsue, complete with a sister statue, also by Noda, standing on the shores of Lake Shinji.

The main venue for the exhibition was, until Nov. 3, the striking Matsue Castle (from tomorrow til Nov. 14 the show will move to Karakoro Art Studio and the Lafcadio Hearn Memorial Museum). Looming over Lake Shinji from its hilltop perch, the castle was evocatively described by Hearn as a "vast, iron-grey dragon." But trying to book the ancient keep for the show wasn't easy.

"Everyone was against it at the start," recalls Shoko Koizumi, head of the Koizumi Yakumo Society. "But eventually, with persistence and the right contacts, we were able to get permission."

A diversity of themes were at play among the thick, wooden beams of the castle: Hearn as man, traveller, storyteller, symbol of multiculturalism, and even figure of myth and legend. Masatoshi Izumi's abstract "Kokoro," for example, is a smooth, gently curving stonework that seemingly represents the source of all living things.

Others take a more direct approach: Debra Bowden and Christos P. Garoufalis base their portraits on famous images of Hearn, while Seiho Wada depicts Jozan Inari shrine, one of Hearn's favorite places. Ynez Johnston paints a delightful picture of Hearn the exotic traveler, while Zoe Savina draws inspiration from Greek myth. Her poem, "To the Plum Trees — The Other Odysseus Dedicated to Lafcadio Hearn," is written in Hearn's three tongues, Japanese, English and Greek, and displayed on a striking azure wall-hanging of clouds and butterflies.

Other artists look to Hearn's stories. "I read 'Kwaidan,' which I couldn't put down," reveals Irish artist Stacia Blake, "and I especially loved 'The Dead Secret.' " The story concludes with a monk discovering a letter containing "O-Sono's secret," a mystery not revealed to the reader. Blake's abstract piece depicts what she imagines the secret to be.

Another engaging work is Aris Stoidis' "Death Giving Life, Rebirth." Taking a cue from "The Story of Kogi the Priest," Stoidis presents a giant, transparent paper fish. When illuminated, an outline of a human skeleton becomes visible, representing Hearn's rebirth in Japan.

But the most stirring works explore Hearn the orphan looking for a home. From Mitsumasa Anno, we have a portrait of Hearn's mother, based on recollections by Lefkada residents. This is particularly poignant as Hearn is said to have wanted a portrait of his mother so badly that he'd have given a fortune to have it. Along similar lines is a work by Vassiliki Koskiniotou suggestive of Hearn's search for a mother-figure and ultimately finding it in his wife Setsu.

A number of contributors to the original Greek show have returned for the Matsue exhibition, including Alexandros Maganiotis. "It's a digital collage," Maganiotis said of his piece. "Even though it's new in technique, it's old in the way it looks." Resembling a yellowing parchment, the piece depicts a double image of Hearn. One is dressed in western garb, its mirror image in kimono. "I think he was looking for a place that felt like home because he was dislocated to start with. . . . I think he found a home in Japan."

The end of Hearn's romance with Japan is a well-kept secret only obliquely referred to in this show. Hearn arrived in a time of great turmoil. Japan had just won the Sino-Japanese war and was rapidly Westernizing. Old traditions were under threat. Writing to his friend Basil Chamberlain in 1893, Hearn lamented that the "the world of electricity, steam, mathematics, is blank and cold and void." The exhibition chooses to touch on the diversity and contradiction within Hearn's thoughts with this quote: "To the child, the world is blue and green; to the old man, grey — both are right."

"The Open Mind of Lafcadio Hearn" takes place in Matsue City, Shimane Prefecture.

The show runs at Karakoro Art Studio and the Lafcadio Hearn Memorial Museum Nov. 6-14th.

For more information, visit yakumokai.org/2349

The Japan Times

Friday, Nov. 5, 2010

By LISA GAY and FINTAN MONAGHAN

Special to The Japan Times

One hundred and twenty years ago, Greek-Irish writer Lafcadio Hearn first arrived in Japan; in Matsue, a provincial backwater in Shimane Prefecture, he became Koizumi Yakumo — his adopted Japanese name. Enamored with the city's ancient and enduring culture, he married into a local samurai family: No wonder, then, that it was in Matsue that Hearn wrote his famous "Glimpses of Unfamiliar Japan." This month, the city is celebrating its most famous (adopted) son with an art exhibition.

[[picture:"Relief Portrait of Koizumi Yakumo by Minoru Kurasawa..jpg" ID:20882]]

Photograph: "Relief Portrait of Koizumi Yakumo", by Minoru Kurasawa.

Entitled "The Open Mind of Lafcadio Hearn," the show is Matsue's version of a 2009 exhibition at the American College of Greece, which was nearly 15 years in the making. The idea first came to Greek art dealer Takis Efstathiou and Japanese artist Masaaki Noda back in 1996 when the pair traveled from Paris to the small Greek island of Lefkada (Hearn's birthplace and namesake). After visiting Hearn's childhood home and talking with locals who remembered old stories about his family, they decided to ask the college to sponsor a statue to commemorate Hearn.

"At the time, there was no door for foreign artists to get into Greece," recalls Noda.

Years later, as Noda's profile in the art world strengthened, he finally got the greenlight to create the sculpture "Open Mind of Lafcadio Hearn." The finished piece is a tangle of metallic wings twisting toward the sky: One points Westward, the other East. In the middle is empty space — but viewed from the right angle, it forms a heart. "I came up with the name," jokes Efstathiou, "but Noda brought the heart."

While the original idea was a single sculpture, it blossomed into an entire exhibition of works celebrating Lafcadio Hearn's multicultural mindset. It was the success of the Greek show that laid the groundwork for the current exhibition in Matsue, complete with a sister statue, also by Noda, standing on the shores of Lake Shinji.

The main venue for the exhibition was, until Nov. 3, the striking Matsue Castle (from tomorrow til Nov. 14 the show will move to Karakoro Art Studio and the Lafcadio Hearn Memorial Museum). Looming over Lake Shinji from its hilltop perch, the castle was evocatively described by Hearn as a "vast, iron-grey dragon." But trying to book the ancient keep for the show wasn't easy.

"Everyone was against it at the start," recalls Shoko Koizumi, head of the Koizumi Yakumo Society. "But eventually, with persistence and the right contacts, we were able to get permission."

A diversity of themes were at play among the thick, wooden beams of the castle: Hearn as man, traveller, storyteller, symbol of multiculturalism, and even figure of myth and legend. Masatoshi Izumi's abstract "Kokoro," for example, is a smooth, gently curving stonework that seemingly represents the source of all living things.

Others take a more direct approach: Debra Bowden and Christos P. Garoufalis base their portraits on famous images of Hearn, while Seiho Wada depicts Jozan Inari shrine, one of Hearn's favorite places. Ynez Johnston paints a delightful picture of Hearn the exotic traveler, while Zoe Savina draws inspiration from Greek myth. Her poem, "To the Plum Trees — The Other Odysseus Dedicated to Lafcadio Hearn," is written in Hearn's three tongues, Japanese, English and Greek, and displayed on a striking azure wall-hanging of clouds and butterflies.

Other artists look to Hearn's stories. "I read 'Kwaidan,' which I couldn't put down," reveals Irish artist Stacia Blake, "and I especially loved 'The Dead Secret.' " The story concludes with a monk discovering a letter containing "O-Sono's secret," a mystery not revealed to the reader. Blake's abstract piece depicts what she imagines the secret to be.

Another engaging work is Aris Stoidis' "Death Giving Life, Rebirth." Taking a cue from "The Story of Kogi the Priest," Stoidis presents a giant, transparent paper fish. When illuminated, an outline of a human skeleton becomes visible, representing Hearn's rebirth in Japan.

But the most stirring works explore Hearn the orphan looking for a home. From Mitsumasa Anno, we have a portrait of Hearn's mother, based on recollections by Lefkada residents. This is particularly poignant as Hearn is said to have wanted a portrait of his mother so badly that he'd have given a fortune to have it. Along similar lines is a work by Vassiliki Koskiniotou suggestive of Hearn's search for a mother-figure and ultimately finding it in his wife Setsu.

A number of contributors to the original Greek show have returned for the Matsue exhibition, including Alexandros Maganiotis. "It's a digital collage," Maganiotis said of his piece. "Even though it's new in technique, it's old in the way it looks." Resembling a yellowing parchment, the piece depicts a double image of Hearn. One is dressed in western garb, its mirror image in kimono. "I think he was looking for a place that felt like home because he was dislocated to start with. . . . I think he found a home in Japan."

The end of Hearn's romance with Japan is a well-kept secret only obliquely referred to in this show. Hearn arrived in a time of great turmoil. Japan had just won the Sino-Japanese war and was rapidly Westernizing. Old traditions were under threat. Writing to his friend Basil Chamberlain in 1893, Hearn lamented that the "the world of electricity, steam, mathematics, is blank and cold and void." The exhibition chooses to touch on the diversity and contradiction within Hearn's thoughts with this quote: "To the child, the world is blue and green; to the old man, grey — both are right."

"The Open Mind of Lafcadio Hearn" takes place in Matsue City, Shimane Prefecture.

The show runs at Karakoro Art Studio and the Lafcadio Hearn Memorial Museum Nov. 6-14th.

For more information, visit yakumokai.org/2349

At the American College, in Athens, Greece.

http://www.acg.edu

6 Gravias Street GR-153 42 Aghia Paraskevi Athens, Greece

Phone: +30 210 600 9800

Center of Post-Lyceum Education

The American College of Greece-Deree College, a non-profit Center of Post Lyceum Education, admits students of any race, color and national or ethnic origin and does not discriminate in its programs.

Katerina Thomas is Academic Vice President Ad Interim and Dean of the College.

Shuji Kawakawa is Secretary General of the Japan-Greece Society
Tokyo, Japan.

[[picture:"Hearn 2012 DELPHI 018.JPG" ID:20880]]

At the American College, in Athens, Greece.

http://www.acg.edu

6 Gravias Street GR-153 42 Aghia Paraskevi Athens, Greece

Phone: +30 210 600 9800

Center of Post-Lyceum Education

The American College of Greece-Deree College, a non-profit Center of Post Lyceum Education, admits students of any race, color and national or ethnic origin and does not discriminate in its programs.

Katerina Thomas is Academic Vice President Ad Interim and Dean of the College.

Shuji Kawakawa is Secretary General of the Japan-Greece Society
Tokyo, Japan.

Copy of a recent cover of the magazine that is published in Tokyo.

Lafcadio Hearn scholar and collector Takis Efstathiou is very involved in this society.

Shuji Kawakami is the editor, and the publication is run by Sumitomo Life

Sculptor Masaaki Noda knows him well.

The Ambassador for Greece in Japan, Nikolas Tzamados, is also well known to Masaaki.

In the Economic Report Magazine, Japan.

In the letter written by Maxwell Stillwell to Takis Efstathiou below - the sentence - "the portrait of Rosa Cassimati was always a missing piece to the visual of Lafcadio's story, and now it feels more complete" - was bound to pique the interest of every Hearn aficionado.

A photograph or portrait of Rosa Cassimati is the holy grail of Hearn studies.

In this case, the portrait referred to was drawn by Mr. Mitsumasa Anno [安野 光雅 ], and is based upon an oral description from three elderly Kytherians who remembered Rosa's actual appearance from photographs. This information is drawn from Prof. Bon Koizumi's opening lecture for the exhibit.

The enhanced Stillwell version is depicted above.

A photograph of the Anno portrait is depicted elsewhere in this Vintage Portraits section.9

Letter from Maxwell Stillwell to Takis Efstathiou

Date: October 25, 2012

Dear Mr. Efstathiou,

This is Maxwell whom you met recently in New Orleans. May I call you Takis?

It was truly a pleasure to meet someone so active in the realm of Hearniana as yourself. I traveled to New Orleans for the sole purpose of the Tulane exhibit. Please allow me to describe myself in a bit more detail than the cramped New Orleanian bus allowed us opportunity for.

I graduated several years ago from Indiana University with a degree in East Asian Studies. My emphasis was Japanese language, though I graduated before I could call myself more than barely conversant. For me, the first time I heard the name Hearn was when my Professor of Japanese History wrote the name on the blackboard at Indiana. Also on the board was written the title Glimpses of Unfamiliar Japan. And upon my looking up the book, I was immediately hooked. For my last semester I chose classes that would allow me to study 19th century American Literature so that I could overlap my interests with my requirements. In the last few years I have worked at various jobs, taking every free moment to continue my Hearn studies.

Recently my collection of Hearn books has grown to about sixty-five, as you read in my notebook on the St. Charles streetcar. That day I was also very impressed with Professor Williamson's energy in procuring electronic Hearn data. However, I was never able to express to you my thanks for your Open Mind of Lafcadio Hearn exhibit. The portrait of Rosa Cassimati was always a missing piece to the visual of Lafcadio's story, and now it feels more complete. I also liked the Mimi-no-Hoichi and Hearn relief pieces.

As for our visits to New Orleans, I am so happy to see that you and the Koizumis have been to Acadian Books on St. Peter, and Librarie Books on Chartes. The proprietors of each of these shops, in my opinion, represent what the French Quarter is all about. The charming lady from Librarie knows much of old New Orleans and I always enjoy talking to her about its history. The learned gentleman from Acadian books can quote from Chita and speaks French wonderfully. By the way, I learned that an Acadian is the term for an expelled French colonist from Canada long ago. They escaped the British and fled south to the area outside of New Orleans. The names origin goes as follows: a Canadian > a Cadian > Acadian (Books) > a Cajuns

My studies of Hearn have made my letters, like his, to become long. Thank you for reading this far. I am as of yet attempting to find my feet in the world of academia and hope soon to pursue postgraduate studies. As you suggested, I would love to help research, write, or edit for you in any capacity which I am capable of. My goal is to squeeze my way into a scholarly journal of some sort. Should you ever need my assistance I will be glad to provide it. Travel safely, and thank you for bringing the Open Mind to Louisiana.

PS

Hearn, indeed, was moved by the sufferings of Native Americans. I recall, from A Winter Journey to Japan, there being a description of natives from Canada. This description is just a short part of the article and paints the sufferings of these people as though they had entirely lost their old way of life and were resorting to the selling of buffalo bones to passengers on the trans-Canadian railroad at its various stops. It is reprinted in Albert Mordell's American Miscellany volume 2.

Sincerely,

Maxwell S.
Clearwater Beach, Florida.

In the letter written by Maxwell Stillwell to Takis Efstathiou below - the sentence - "the portrait of Rosa Cassimati was always a missing piece to the visual of Lafcadio's story, and now it feels more complete" - was bound to pique the interest of every Hearn aficionado.

A photograph or portrait of Rosa Cassimati is the holy grail of Hearn studies.

In this case, the portrait referred to was drawn by Mr. Mitsumasa Anno [安野 光雅 ], and is based upon an oral description from three elderly Kytherians who remembered Rosa's actual appearance from photographs. This information is drawn from Prof. Bon Koizumi's opening lecture for the exhibit.

A photograph of this Anno portrait is depicted above.

An enhanced Stillwell version of the Anno portrait is also included in this Vintage Portraits section.

Letter from Maxwell Stillwell to Takis Efstathiou

Date: October 25, 2012

Dear Mr. Efstathiou,

This is Maxwell whom you met recently in New Orleans. May I call you Takis?

It was truly a pleasure to meet someone so active in the realm of Hearniana as yourself. I traveled to New Orleans for the sole purpose of the Tulane exhibit. Please allow me to describe myself in a bit more detail than the cramped New Orleanian bus allowed us opportunity for.

I graduated several years ago from Indiana University with a degree in East Asian Studies. My emphasis was Japanese language, though I graduated before I could call myself more than barely conversant. For me, the first time I heard the name Hearn was when my Professor of Japanese History wrote the name on the blackboard at Indiana. Also on the board was written the title Glimpses of Unfamiliar Japan. And upon my looking up the book, I was immediately hooked. For my last semester I chose classes that would allow me to study 19th century American Literature so that I could overlap my interests with my requirements. In the last few years I have worked at various jobs, taking every free moment to continue my Hearn studies.

Recently my collection of Hearn books has grown to about sixty-five, as you read in my notebook on the St. Charles streetcar. That day I was also very impressed with Professor Williamson's energy in procuring electronic Hearn data. However, I was never able to express to you my thanks for your Open Mind of Lafcadio Hearn exhibit. The portrait of Rosa Cassimati was always a missing piece to the visual of Lafcadio's story, and now it feels more complete. I also liked the Mimi-no-Hoichi and Hearn relief pieces.

As for our visits to New Orleans, I am so happy to see that you and the Koizumis have been to Acadian Books on St. Peter, and Librarie Books on Chartes. The proprietors of each of these shops, in my opinion, represent what the French Quarter is all about. The charming lady from Librarie knows much of old New Orleans and I always enjoy talking to her about its history. The learned gentleman from Acadian books can quote from Chita and speaks French wonderfully. By the way, I learned that an Acadian is the term for an expelled French colonist from Canada long ago. They escaped the British and fled south to the area outside of New Orleans. The names origin goes as follows: a Canadian > a Cadian > Acadian (Books) > a Cajuns

My studies of Hearn have made my letters, like his, to become long. Thank you for reading this far. I am as of yet attempting to find my feet in the world of academia and hope soon to pursue postgraduate studies. As you suggested, I would love to help research, write, or edit for you in any capacity which I am capable of. My goal is to squeeze my way into a scholarly journal of some sort. Should you ever need my assistance I will be glad to provide it. Travel safely, and thank you for bringing the Open Mind to Louisiana.

PS

Hearn, indeed, was moved by the sufferings of Native Americans. I recall, from A Winter Journey to Japan, there being a description of natives from Canada. This description is just a short part of the article and paints the sufferings of these people as though they had entirely lost their old way of life and were resorting to the selling of buffalo bones to passengers on the trans-Canadian railroad at its various stops. It is reprinted in Albert Mordell's American Miscellany volume 2.

Sincerely,

Maxwell S.
Clearwater Beach, Florida.

Letter from Maxwell Stillwell to Takis Efstathiou

Date: October 25, 2012

Dear Mr. Efstathiou,

This is Maxwell whom you met recently in New Orleans. May I call you Takis?

It was truly a pleasure to meet someone so active in the realm of Hearniana as yourself. I traveled to New Orleans for the sole purpose of the Tulane exhibit. Please allow me to describe myself in a bit more detail than the cramped New Orleanian bus allowed us opportunity for.

I graduated several years ago from Indiana University with a degree in East Asian Studies. My emphasis was Japanese language, though I graduated before I could call myself more than barely conversant. For me, the first time I heard the name Hearn was when my Professor of Japanese History wrote the name on the blackboard at Indiana. Also on the board was written the title Glimpses of Unfamiliar Japan. And upon my looking up the book, I was immediately hooked. For my last semester I chose classes that would allow me to study 19th century American Literature so that I could overlap my interests with my requirements. In the last few years I have worked at various jobs, taking every free moment to continue my Hearn studies.

Recently my collection of Hearn books has grown to about sixty-five, as you read in my notebook on the St. Charles streetcar. That day I was also very impressed with Professor Williamson's energy in procuring electronic Hearn data. However, I was never able to express to you my thanks for your Open Mind of Lafcadio Hearn exhibit. The portrait of Rosa Cassimati was always a missing piece to the visual of Lafcadio's story, and now it feels more complete. I also liked the Mimi-no-Hoichi and Hearn relief pieces.

As for our visits to New Orleans, I am so happy to see that you and the Koizumis have been to Acadian Books on St. Peter, and Librarie Books on Chartes. The proprietors of each of these shops, in my opinion, represent what the French Quarter is all about. The charming lady from Librarie knows much of old New Orleans and I always enjoy talking to her about its history. The learned gentleman from Acadian books can quote from Chita and speaks French wonderfully. By the way, I learned that an Acadian is the term for an expelled French colonist from Canada long ago. They escaped the British and fled south to the area outside of New Orleans. The names origin goes as follows: a Canadian > a Cadian > Acadian (Books) > a Cajuns

My studies of Hearn have made my letters, like his, to become long. Thank you for reading this far. I am as of yet attempting to find my feet in the world of academia and hope soon to pursue postgraduate studies. As you suggested, I would love to help research, write, or edit for you in any capacity which I am capable of. My goal is to squeeze my way into a scholarly journal of some sort. Should you ever need my assistance I will be glad to provide it. Travel safely, and thank you for bringing the Open Mind to Louisiana.

PS

Hearn, indeed, was moved by the sufferings of Native Americans. I recall, from A Winter Journey to Japan, there being a description of natives from Canada. This description is just a short part of the article and paints the sufferings of these people as though they had entirely lost their old way of life and were resorting to the selling of buffalo bones to passengers on the trans-Canadian railroad at its various stops. It is reprinted in Albert Mordell's American Miscellany volume 2.

Sincerely,

Maxwell S.
Clearwater Beach, Florida.

*The sentence - "the portrait of Rosa Cassimati was always a missing piece to the visual of Lafcadio's story, and now it feels more complete" - is bound to pique the interest of every Hearn aficionado.

A photograph or portrait of Rosa Cassimati is the holy grail of Hearn studies.

In this case, the portrait referred to was drawn by Mr. Mitsumasa Anno [安野 光雅 ], and is based upon an oral description from three elderly Kytherians who remembered Rosa's actual appearance from photographs. This information is drawn from Prof. Bon Koizumi's opening lecture for the exhibit.

See a photograph of the Anno portrait

And an enhanced Stillwell version of the Anno portrait

Takis Efstathiou's new room at the Cultural Centre of Lefkada

Νέα αίθουσα Τάκη Ευσταθίου στο Πνευματικό Κέντρο Δήμου Λευκάδας

Εμπλούτισε τη συλλογή του το Πνευματικό Κέντρο Δήμου Λευκάδας

Πριν λίγο καιρό διαμορφώθηκε μια αίθουσα στο κτήριο του Πνευματικού Κέντρου όπου στεγάστηκαν δέκα έργα του συλλέκτη Τάκη Ευσταθίου. Όταν πληροφορήθηκε ο κος Ευσταθίου για την τιμή που του έγινε από το Πνευματικό Κέντρο, ενθουσιάστηκε τόσο πολύ που κατέφθασε μετά από δύο μέρες με πολλά άλλα έργα για να εμπλουτίσει την αίθουσα που φέρει το όνομά του.

Τα έργα τα παρέλαβαν ο δήμαρχος Κ. Αραβανής, ο αντιπρόεδρος του Πνευματικού Κέντρου Α. Γαζής και η υπεύθυνη αιθουσών εκθέσεων κ. Γεωργάκη Θεοδώρα. Συμφώνησαν δε, ότι το 2014 που θα γίνει έκθεση και ένα μεγάλο συνέδριο στους Δελφούς για τα 110 χρόνια από το θάνατό του Λευκάδιου Χέρν παράλληλα θα εξελίσσεται και εδώ σε μια διαμορφωμένη αίθουσα μια έκθεση εις μνήμην Λευκάδιου Χέρν, την οποία θα εμπλουτίσει o κος Ευσταθίου με περισσότερα έργα.

Ο Τάκης Ευσταθίου είναι συλλέκτης έργων Τέχνης με ιδιαίτερη αγάπη για την Ιαπωνική κουλτούρα και τον Λευκάδιο Χέρν. Πριν δυο χρόνια επέλεξε την γενέτειρα του Λευκάδιου Χέρν, την πόλη μας και με αυτό το κριτήριο χάρισε 10 έργα που φιλοτέχνησαν κυρίως ιάπωνες καλλιτέχνες. Αυτή την στιγμή ο κύριος Ευσταθίου βρίσκεται στην Νέα Ορλεάνη και στην Νέα Υόρκη όπου γίνονται μεγάλες εκθέσεις και συνέδρια για τον Λευκάδιο Χέρν.

Τα έργα που δώρισε αυτήν την φορά είναι πίνακες των μεγάλων Ιαπώνων καλλιτεχνών Σ. Γουάντα και Μασάκι Νόντα. Μεγάλο ενδιαφέρον έχει ένα πουκάμισο ζωγραφισμένο στο χέρι από τον Μασάκι Νόντα. Επίσης, δώρισε στο Πνευματικό Κέντρο δύο μεταξοτυπίες του Στάμου και μια της Χρύσας που ήταν φίλη με τον Στάμο και κάνανε εκθέσεις μαζί. Μεταξοτυπίες από τον μεγάλο Έλληνα γλύπτη Θεόδωρο και μια μεταξοτυπία του Λεκκάκη πολλά βιβλία πολιτισμού και τέχνης των έργων του Λευκάδιου Χέρν, αφίσσες κ.α

Ο Λευκάδιος χέρν γεννημένος στη Λευκάδα από τον Ιρλανδό χειρουργό Τσαρλς Χερν και την Ρόζα Αντωνίου Κασιμάτη από τα Κύθηρα, έχοντας σπουδάσει στο Ντέραμ της Αγγλίας, εργαστεί στις Ηνωμένες Πολιτείες κι έχοντας επιλέξει την Ματσούε της Ιαπωνίας για κατοικία του, έγινε ο ορισμός της προσωπικότητας που γεφυρώνει συμπληρωματικούς πολιτισμούς.

Ο Λευκάδιος αποτελεί λαμπρό παράδειγμα ανθρώπου με ανοικτό μυαλό. Μας διδάσκει ότι δεν υπάρχει μεγαλύτερο κατόρθωμα από την αποδοχή της “ετερότητας’, δεν υπάρχει πλουσιότερος τρόπος ζωής από την αναζήτηση της δημιουργικής αλήθειας, δεν υπάρχει μεγαλύτερη υπευθυνότητα από το να υψώνουμε έναν καθρέφτη απέναντι στην κοινωνία, δεν υπάρχει μεγαλύτερη πρόκληση ή μυστήριο από το να παντρεύουμε τ’ όνειρο με την αλήθεια της ζωής. Με το ανοιχτό του μυαλό ο Λευκάδιος άνοιξε την καρδιά του στην ανθρωπότητα και βρήκε ειρήνη για τον εαυτό του και τον κόσμο.

Πηγή: www.lefkasnews.gr

Takis Efstathiou's new room at the Cultural Center of Lefkada

Enriching the collection of the Cultural Centre of Lefkada

Not long ago I stood in a hall of the Cultural Centre building which housed a number of Hearn exhibits, provided by collector Takis Efstathiou. When informed that the Cultural centre would honour Hearn, Mr. Efstathiou was so impressed that he arrived two days later with many other exhibits, to enrich the hall that bears his name.

The exhibits were received by Mayor, Kostas Aravanis, who is also the Director of the Cultural Centre, as well as Tasos Gazis, Deputy Director of the Cultural Centre, and Art supervisor, Theodora Georgakis. They agreed, that to coincide with the great exhibition and conference to be held in Delphi in 2014 to commemorate 110 years since the death of Lafcadio Hearn - that they would also develop in Lefkada an exhibition hall in memory of Lafcadio Hearn. Takis Efstathiou will provide more exhibits for this exhibition hall.

Takis Efstathiou is an art collectors with a special love for the Japanese culture and for Lafcadio Hearn. Two years ago chose the birthplace of Lafcadio Hearn, our city, to which to donate 10 works painted mostly by Japanese artists. Recently Mr. Efstathios has been in New Orleans and New York, where he facilitated major exhibitions and conferences on Lafcadio Hearn.

The works donated on this occasion are arrays of large Japanese artists including Wanda S. Masaki Nonta. A hand painted shirt by Masaki Nonta generated a great deal of interest. He also donated to the Cultural Centre, a number serigraphs, including one co-created with Stamos. Also serigraphs created by the great Greek sculptor Theo and silkscreen prints of many books, Lekkakos culture, and art works of Lafcadio Hearn, posters etc.

Lafcadio Hearn was born in Lefkada, the son of Irish surgeon Charles Hearn and Rosa Antoniou Kasimati from Kythera, having studied at Durham, England, worked in the United States and chose to make Matsue Japan his home. He helped to define the personality of Japan to the West, thus creating a bridges between the two cultures.

Lafcadio is a shining example of a person with an open mind. It teaches us that there is no greater feat than the acceptance of "otherness", no richer lifestyle than seeking the creative truth, there is no greater responsibility than to erect a mirror to society, there is no greater challenge or mystery than to marry the dream with the reality of life.

With its open mind Lafcadio opened his heart to humanity and found peace for himself and the world

Takis Efstathiou's new room at the Cultural Centre of Lefkada

Εμπλούτισε τη συλλογή του το Πνευματικό Κέντρο Δήμου Λευκάδας

Πριν λίγο καιρό διαμορφώθηκε μια αίθουσα στο κτήριο του Πνευματικού Κέντρου όπου στεγάστηκαν δέκα έργα του συλλέκτη Τάκη Ευσταθίου. Όταν πληροφορήθηκε ο κος Ευσταθίου για την τιμή που του έγινε από το Πνευματικό Κέντρο, ενθουσιάστηκε τόσο πολύ που κατέφθασε μετά από δύο μέρες με πολλά άλλα έργα για να εμπλουτίσει την αίθουσα που φέρει το όνομά του.

Τα έργα τα παρέλαβαν ο δήμαρχος Κ. Αραβανής, ο αντιπρόεδρος του Πνευματικού Κέντρου Α. Γαζής και η υπεύθυνη αιθουσών εκθέσεων κ. Γεωργάκη Θεοδώρα. Συμφώνησαν δε, ότι το 2014 που θα γίνει έκθεση και ένα μεγάλο συνέδριο στους Δελφούς για τα 110 χρόνια από το θάνατό του Λευκάδιου Χέρν παράλληλα θα εξελίσσεται και εδώ σε μια διαμορφωμένη αίθουσα μια έκθεση εις μνήμην Λευκάδιου Χέρν, την οποία θα εμπλουτίσει o κος Ευσταθίου με περισσότερα έργα.

Ο Τάκης Ευσταθίου είναι συλλέκτης έργων Τέχνης με ιδιαίτερη αγάπη για την Ιαπωνική κουλτούρα και τον Λευκάδιο Χέρν. Πριν δυο χρόνια επέλεξε την γενέτειρα του Λευκάδιου Χέρν, την πόλη μας και με αυτό το κριτήριο χάρισε 10 έργα που φιλοτέχνησαν κυρίως ιάπωνες καλλιτέχνες. Αυτή την στιγμή ο κύριος Ευσταθίου βρίσκεται στην Νέα Ορλεάνη και στην Νέα Υόρκη όπου γίνονται μεγάλες εκθέσεις και συνέδρια για τον Λευκάδιο Χέρν.

Τα έργα που δώρισε αυτήν την φορά είναι πίνακες των μεγάλων Ιαπώνων καλλιτεχνών Σ. Γουάντα και Μασάκι Νόντα. Μεγάλο ενδιαφέρον έχει ένα πουκάμισο ζωγραφισμένο στο χέρι από τον Μασάκι Νόντα. Επίσης, δώρισε στο Πνευματικό Κέντρο δύο μεταξοτυπίες του Στάμου και μια της Χρύσας που ήταν φίλη με τον Στάμο και κάνανε εκθέσεις μαζί. Μεταξοτυπίες από τον μεγάλο Έλληνα γλύπτη Θεόδωρο και μια μεταξοτυπία του Λεκκάκη πολλά βιβλία πολιτισμού και τέχνης των έργων του Λευκάδιου Χέρν, αφίσσες κ.α

Ο Λευκάδιος χέρν γεννημένος στη Λευκάδα από τον Ιρλανδό χειρουργό Τσαρλς Χερν και την Ρόζα Αντωνίου Κασιμάτη από τα Κύθηρα, έχοντας σπουδάσει στο Ντέραμ της Αγγλίας, εργαστεί στις Ηνωμένες Πολιτείες κι έχοντας επιλέξει την Ματσούε της Ιαπωνίας για κατοικία του, έγινε ο ορισμός της προσωπικότητας που γεφυρώνει συμπληρωματικούς πολιτισμούς.

Ο Λευκάδιος αποτελεί λαμπρό παράδειγμα ανθρώπου με ανοικτό μυαλό. Μας διδάσκει ότι δεν υπάρχει μεγαλύτερο κατόρθωμα από την αποδοχή της “ετερότητας’, δεν υπάρχει πλουσιότερος τρόπος ζωής από την αναζήτηση της δημιουργικής αλήθειας, δεν υπάρχει μεγαλύτερη υπευθυνότητα από το να υψώνουμε έναν καθρέφτη απέναντι στην κοινωνία, δεν υπάρχει μεγαλύτερη πρόκληση ή μυστήριο από το να παντρεύουμε τ’ όνειρο με την αλήθεια της ζωής. Με το ανοιχτό του μυαλό ο Λευκάδιος άνοιξε την καρδιά του στην ανθρωπότητα και βρήκε ειρήνη για τον εαυτό του και τον κόσμο.

Πηγή: www.lefkasnews.gr

Takis Efstathiou's new room at the Cultural Center of Lefkada

Enriching the collection of the Cultural Centre of Lefkada

Not long ago I stood in a hall of the Cultural Centre building which housed a number of Hearn exhibits, provided by collector Takis Efstathiou. When informed that the Cultural centre would honour Hearn, Mr. Efstathiou was so impressed that he arrived two days later with many other exhibits, to enrich the hall that bears his name.

The exhibits were received Mayor, Aravanis, Deputy Director of the Cultural Centre, A. Gazis, and showrooms supervisor Georgakis Theodora. They agreed, that to coincide with the great exhibition and conference to be held in Delphi in 2014 to commemorate 110 years since the death of Lafcadio Hearn - that they would also develop in Lefkada an exhibition hall in memory of Lafcadio Hearn. Takis Efstathiou will provide more exhibits for this exhibition hall.

Takis Efstathiou is an art collectors with a special love for the Japanese culture and for Lafcadio Hearn. Two years ago chose the birthplace of Lafcadio Hearn, our city, to which to donate 10 works painted mostly by Japanese artists. Recently Mr. Efstathios has been in New Orleans and New York, where he facilitated major exhibitions and conferences on Lafcadio Hearn.

The works donated on this occasion are arrays of large Japanese artists including Wanda S. Masaki Nonta. A hand painted shirt by Masaki Nonta generated a great deal of interest. He also donated to the Cultural Centre, a number serigraphs, including one co-created with Stamos. Also serigraphs created by the great Greek sculptor Theo and silkscreen prints of many books, Lekkakos culture, and art works of Lafcadio Hearn, posters etc.

Lafcadio Hearn was born in Lefkada, the son of Irish surgeon Charles Hearn and Rosa Antoniou Kasimati from Kythera, having studied at Durham, England, worked in the United States and chose to make Matsue Japan his home. He helped to define the personality of Japan to the West, thus creating a bridges between the two cultures.

Lafcadio is a shining example of a person with an open mind. It teaches us that there is no greater feat than the acceptance of "otherness", no richer lifestyle than seeking the creative truth, there is no greater responsibility than to erect a mirror to society, there is no greater challenge or mystery than to marry the dream with the reality of life.

With its open mind Lafcadio opened his heart to humanity and found peace for himself and the world

Takis Efstathiou's new room at the Cultural Centre of Lefkada

Εμπλούτισε τη συλλογή του το Πνευματικό Κέντρο Δήμου Λευκάδας

[[picture:"Hearn Lefkada 4.jpg" ID:20786]]

Πριν λίγο καιρό διαμορφώθηκε μια αίθουσα στο κτήριο του Πνευματικού Κέντρου όπου στεγάστηκαν δέκα έργα του συλλέκτη Τάκη Ευσταθίου. Όταν πληροφορήθηκε ο κος Ευσταθίου για την τιμή που του έγινε από το Πνευματικό Κέντρο, ενθουσιάστηκε τόσο πολύ που κατέφθασε μετά από δύο μέρες με πολλά άλλα έργα για να εμπλουτίσει την αίθουσα που φέρει το όνομά του.

Τα έργα τα παρέλαβαν ο δήμαρχος Κ. Αραβανής, ο αντιπρόεδρος του Πνευματικού Κέντρου Α. Γαζής και η υπεύθυνη αιθουσών εκθέσεων κ. Γεωργάκη Θεοδώρα. Συμφώνησαν δε, ότι το 2014 που θα γίνει έκθεση και ένα μεγάλο συνέδριο στους Δελφούς για τα 110 χρόνια από το θάνατό του Λευκάδιου Χέρν παράλληλα θα εξελίσσεται και εδώ σε μια διαμορφωμένη αίθουσα μια έκθεση εις μνήμην Λευκάδιου Χέρν, την οποία θα εμπλουτίσει o κος Ευσταθίου με περισσότερα έργα.

Ο Τάκης Ευσταθίου είναι συλλέκτης έργων Τέχνης με ιδιαίτερη αγάπη για την Ιαπωνική κουλτούρα και τον Λευκάδιο Χέρν. Πριν δυο χρόνια επέλεξε την γενέτειρα του Λευκάδιου Χέρν, την πόλη μας και με αυτό το κριτήριο χάρισε 10 έργα που φιλοτέχνησαν κυρίως ιάπωνες καλλιτέχνες. Αυτή την στιγμή ο κύριος Ευσταθίου βρίσκεται στην Νέα Ορλεάνη και στην Νέα Υόρκη όπου γίνονται μεγάλες εκθέσεις και συνέδρια για τον Λευκάδιο Χέρν.

Τα έργα που δώρισε αυτήν την φορά είναι πίνακες των μεγάλων Ιαπώνων καλλιτεχνών Σ. Γουάντα και Μασάκι Νόντα. Μεγάλο ενδιαφέρον έχει ένα πουκάμισο ζωγραφισμένο στο χέρι από τον Μασάκι Νόντα. Επίσης, δώρισε στο Πνευματικό Κέντρο δύο μεταξοτυπίες του Στάμου και μια της Χρύσας που ήταν φίλη με τον Στάμο και κάνανε εκθέσεις μαζί. Μεταξοτυπίες από τον μεγάλο Έλληνα γλύπτη Θεόδωρο και μια μεταξοτυπία του Λεκκάκη πολλά βιβλία πολιτισμού και τέχνης των έργων του Λευκάδιου Χέρν, αφίσσες κ.α

Ο Λευκάδιος χέρν γεννημένος στη Λευκάδα από τον Ιρλανδό χειρουργό Τσαρλς Χερν και την Ρόζα Αντωνίου Κασιμάτη από τα Κύθηρα, έχοντας σπουδάσει στο Ντέραμ της Αγγλίας, εργαστεί στις Ηνωμένες Πολιτείες κι έχοντας επιλέξει την Ματσούε της Ιαπωνίας για κατοικία του, έγινε ο ορισμός της προσωπικότητας που γεφυρώνει συμπληρωματικούς πολιτισμούς.

Ο Λευκάδιος αποτελεί λαμπρό παράδειγμα ανθρώπου με ανοικτό μυαλό. Μας διδάσκει ότι δεν υπάρχει μεγαλύτερο κατόρθωμα από την αποδοχή της “ετερότητας’, δεν υπάρχει πλουσιότερος τρόπος ζωής από την αναζήτηση της δημιουργικής αλήθειας, δεν υπάρχει μεγαλύτερη υπευθυνότητα από το να υψώνουμε έναν καθρέφτη απέναντι στην κοινωνία, δεν υπάρχει μεγαλύτερη πρόκληση ή μυστήριο από το να παντρεύουμε τ’ όνειρο με την αλήθεια της ζωής. Με το ανοιχτό του μυαλό ο Λευκάδιος άνοιξε την καρδιά του στην ανθρωπότητα και βρήκε ειρήνη για τον εαυτό του και τον κόσμο.

Πηγή: www.lefkasnews.gr

Takis Efstathiou's new room at the Cultural Center of Lefkada

Enriching the collection of the Cultural Centre of Lefkada

Not long ago I stood in a hall of the Cultural Centre building which housed a number of Hearn exhibits, provided by collector Takis Efstathiou. When informed that the Cultural centre would honour Hearn, Mr. Efstathiou was so impressed that he arrived two days later with many other exhibits, to enrich the hall that bears his name.

[[picture:"Hearn Lefkada 1.jpg" ID:20788]]

The exhibits were received Mayor, Aravanis, Deputy Director of the Cultural Centre, A. Gazis, and showrooms supervisor Georgakis Theodora. They agreed, that to coincide with the great exhibition and conference to be held in Delphi in 2014 to commemorate 110 years since the death of Lafcadio Hearn - that they would also develop in Lefkada an exhibition hall in memory of Lafcadio Hearn. Takis Efstathiou will provide more exhibits for this exhibition hall.

Takis Efstathiou is an art collectors with a special love for the Japanese culture and for Lafcadio Hearn. Two years ago chose the birthplace of Lafcadio Hearn, our city, to which to donate 10 works painted mostly by Japanese artists. Recently Mr. Efstathios has been in New Orleans and New York, where he facilitated major exhibitions and conferences on Lafcadio Hearn.

The works donated on this occasion are arrays of large Japanese artists including Wanda S. Masaki Nonta. A hand painted shirt by Masaki Nonta generated a great deal of interest. He also donated to the Cultural Centre, a number serigraphs, including one co-created with Stamos. Also serigraphs created by the great Greek sculptor Theo and silkscreen prints of many books, Lekkakos culture, and art works of Lafcadio Hearn, posters etc.

Lafcadio Hearn was born in Lefkada, the son of Irish surgeon Charles Hearn and Rosa Antoniou Kasimati from Kythera, having studied at Durham, England, worked in the United States and chose to make Matsue Japan his home. He helped to define the personality of Japan to the West, thus creating a bridges between the two cultures.

Lafcadio is a shining example of a person with an open mind. It teaches us that there is no greater feat than the acceptance of "otherness", no richer lifestyle than seeking the creative truth, there is no greater responsibility than to erect a mirror to society, there is no greater challenge or mystery than to marry the dream with the reality of life.

With its open mind Lafcadio opened his heart to humanity and found peace for himself and the world

Wonderful doors in the laneways of Hora

Cats

Photograph taken in the Lafcadio Hearn room and the Hogan Jazz Archive at Tulane. Nicole Shibata noted "the exhibition was a huge hit and it was by far the best one we've had in that gallery space since I've been at Tulane".

The following is an article By Doug MacCash, NOLA.com - on the occasion of the New Orleans exhibition

The Times-Picayune (Newspaper) - Greater New Orleans
on October 19, 2012

Lafcadio Hearn’s great-grandson Bon Koizumi said that he was “moved” by his visit to the Cleveland Avenue apartment his ancestor called home from 1882 to 1887. Hearn was the 19th-century crime journalist turned tongue-in-cheek cultural observer who will remain forever beloved to Crescent City-ites (though perhaps not so revered by residents of his former hometown of Cincinnati) for the evergreen quote:

“Times are not good here (in New Orleans). The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Hearn (1850-1904) was born in Greece, grew up in Ireland, became a professional writer and keen societal observer in the United States, had a brief sojourn in Martinique, then settled in Japan, where he married a woman from a Samurai family and changed his name to Koizumi Yakumois. During the five years he lived in the Cleveland Avenue boarding house, he wrote “La Cuisine Creole,” an early collection of Crescent City recipes that would have been undreamt of in Cincinnati.

In the introduction of the book, Hearn promised readers that “In this compendium will be found many original recipes and other valuable ones heretofore unpublished, notably those of Gombo file, Bouille-abaisse, Courtbouillon, Jambolaya, Salade a la Russe, Bisque of Cray-fish a la Creole, Pusee Café, Café brule, Brulot, together with many confections and delicacies for the sick, including a number of mixed drinks.” The Koizumis said that despite the spread of Creole cooking in the 117 years since the publication of great grandpa's cookbook, there were still no New Orleans-style restaurants in Matsue, Japan, where they live. But, they said, select chefs are able to whip up an occasional jambalaya or gumbo. In fact, the Koizumis said, Creole food was served to guests at their wedding.

Considering the milepost historic importance of “La Cuisine Creole” to a city that has become a world-renowned culinary beacon, shouldn’t the house at 1565 Cleveland be better known?

Lafcadio Hearn’s great-grandson Bon Koizumi visits New Orleans
Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

A surprise was waiting for Bon Koizumi and wife Shoko Koizumi when they entered the kitchen of the Cleveland Street apartment. Richard Scribner, the owner of great-granddad’s former residence, had thoughtfully prepared a kettle of miso soup for the occasion. After sampling the soy and seaweed broth and having photos taken comparing his profile with a profile photo of his great-grandfather, Bon Koizumi mounted the sturdy winding stairway to the second story. As rain clouds encroached from the horizon, he inspected the wrap-around balcony with its oak-pattern cast iron railing, then entered the spare westward apartment where great-granddad may have lived. The truth is, no one is certain which room was Hearn’s.

There was a plan to visit a second upstairs apartment where Hearn may have lived, but a loud dog and young woman who had freshly emerged from the shower wrapped in a towel made further exploration seem more troublesome for all concerned than it was worth. One felt that somewhere Lafcadio was smiling, charmed by the momentary chaos.

The big brick townhouse where Hearn roomed would fit comfortably into the shady streetscape of, say, Esplanade Avenue at the edge of the French quarter. But in the center of New Orleans’ bustling, treeless hospital district, surrounded by a desert of parking lots and brutish modern architecture, it seems somehow lonely and vulnerable. Heaven only knows how the neo-classical orphan has survived so long amid the wailing sirens and desolation.

The Open Mind of Lafcadio Hearn

What: An exhibition of first editions of Hearn books and Hearn’s art collection.

Where: Tulane University’s Special Collections Gallery, located in Jones Hall, Room 205, 6823 St Charles Ave.

When: Mon-Sat, 10 a.m. to 6; Sun, noon to 6, through Oct. 28.

Admission: Free

Scribner, a Louisiana State University professor of public health, said that old-timers recalled that neighborhood was once the site of several barrooms. As recently as 20 years ago, Scribner said, the one time Hearn residence was a seedy pay-by-the-night flop house frequented by drug abusers and the downtown demimonde. Adding another layer of celebrity to the Cleveland address, Scribner noted that the place had subsequently been purchased and beautifully restored by former Saints star Pat Swilling, who’d entered the contracting trade at the conclusion of his gridiron career. Scribner bought the property 10 years back and managed to place it on the roster of official New Orleans historic landmarks.

Koizumi is a professor of folklore at a community college in Matsue, Japan – Hearn’s last hometown. His great-grandmother, Hearn’s wife Koizumi Setsu, was a renowned story teller, Koizumi said. Is it any wonder that the union of a journalist and storyteller would eventually produce a professor of folklore? Koizumi had come to New Orleans in part to present his views of great-grandfather to Hearn fans at Tulane University, where an exhibit of first editions of Hearn books and Hearn’s art collection is on display. Great-grandpa’s great strength, Koizumi said, was his open-mindedness, and his open mindedness may have had something to do with his view of New Orleans.

“New Orleans is one of my favorite cities in the world,” Koizumi said. “The Creole culture makes people open-minded. So this is the reason I love this city.”

The cloudburst that had rolled across the city during the Koizumi’s visit had passed, leaving behind silver sunlight glittering on the abundant pavement. As the interview began to wind down, Mrs. Koizumi captured the spirit of the moment perfectly. As she glanced up at the high ceiling and the gently spinning ceiling fan she said: “I feel Lafcadio is here with us, because he loved New Orleans and so he wants to come back. Actually, in his life, he never (did). Now he travels with us … this is maybe his second life in a different world.”

Snapshot of Lafcadio's life.

Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Photograph taken in the Lafcadio Hearn room and the Hogan Jazz Archive at Tulane. Nicole Shibata noted "the exhibition was a huge hit and it was by far the best one we've had in that gallery space since I've been at Tulane".

The following is an article By Doug MacCash, NOLA.com - on the occasion of the New Orleans exhibition

The Times-Picayune (Newspaper) - Greater New Orleans
on October 19, 2012

Lafcadio Hearn’s great-grandson Bon Koizumi said that he was “moved” by his visit to the Cleveland Avenue apartment his ancestor called home from 1882 to 1887. Hearn was the 19th-century crime journalist turned tongue-in-cheek cultural observer who will remain forever beloved to Crescent City-ites (though perhaps not so revered by residents of his former hometown of Cincinnati) for the evergreen quote:

“Times are not good here (in New Orleans). The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Hearn (1850-1904) was born in Greece, grew up in Ireland, became a professional writer and keen societal observer in the United States, had a brief sojourn in Martinique, then settled in Japan, where he married a woman from a Samurai family and changed his name to Koizumi Yakumois. During the five years he lived in the Cleveland Avenue boarding house, he wrote “La Cuisine Creole,” an early collection of Crescent City recipes that would have been undreamt of in Cincinnati.

In the introduction of the book, Hearn promised readers that “In this compendium will be found many original recipes and other valuable ones heretofore unpublished, notably those of Gombo file, Bouille-abaisse, Courtbouillon, Jambolaya, Salade a la Russe, Bisque of Cray-fish a la Creole, Pusee Café, Café brule, Brulot, together with many confections and delicacies for the sick, including a number of mixed drinks.” The Koizumis said that despite the spread of Creole cooking in the 117 years since the publication of great grandpa's cookbook, there were still no New Orleans-style restaurants in Matsue, Japan, where they live. But, they said, select chefs are able to whip up an occasional jambalaya or gumbo. In fact, the Koizumis said, Creole food was served to guests at their wedding.

Considering the milepost historic importance of “La Cuisine Creole” to a city that has become a world-renowned culinary beacon, shouldn’t the house at 1565 Cleveland be better known?

Lafcadio Hearn’s great-grandson Bon Koizumi visits New Orleans
Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

A surprise was waiting for Bon Koizumi and wife Shoko Koizumi when they entered the kitchen of the Cleveland Street apartment. Richard Scribner, the owner of great-granddad’s former residence, had thoughtfully prepared a kettle of miso soup for the occasion. After sampling the soy and seaweed broth and having photos taken comparing his profile with a profile photo of his great-grandfather, Bon Koizumi mounted the sturdy winding stairway to the second story. As rain clouds encroached from the horizon, he inspected the wrap-around balcony with its oak-pattern cast iron railing, then entered the spare westward apartment where great-granddad may have lived. The truth is, no one is certain which room was Hearn’s.

There was a plan to visit a second upstairs apartment where Hearn may have lived, but a loud dog and young woman who had freshly emerged from the shower wrapped in a towel made further exploration seem more troublesome for all concerned than it was worth. One felt that somewhere Lafcadio was smiling, charmed by the momentary chaos.

The big brick townhouse where Hearn roomed would fit comfortably into the shady streetscape of, say, Esplanade Avenue at the edge of the French quarter. But in the center of New Orleans’ bustling, treeless hospital district, surrounded by a desert of parking lots and brutish modern architecture, it seems somehow lonely and vulnerable. Heaven only knows how the neo-classical orphan has survived so long amid the wailing sirens and desolation.

The Open Mind of Lafcadio Hearn

What: An exhibition of first editions of Hearn books and Hearn’s art collection.

Where: Tulane University’s Special Collections Gallery, located in Jones Hall, Room 205, 6823 St Charles Ave.

When: Mon-Sat, 10 a.m. to 6; Sun, noon to 6, through Oct. 28.

Admission: Free

Scribner, a Louisiana State University professor of public health, said that old-timers recalled that neighborhood was once the site of several barrooms. As recently as 20 years ago, Scribner said, the one time Hearn residence was a seedy pay-by-the-night flop house frequented by drug abusers and the downtown demimonde. Adding another layer of celebrity to the Cleveland address, Scribner noted that the place had subsequently been purchased and beautifully restored by former Saints star Pat Swilling, who’d entered the contracting trade at the conclusion of his gridiron career. Scribner bought the property 10 years back and managed to place it on the roster of official New Orleans historic landmarks.

Koizumi is a professor of folklore at a community college in Matsue, Japan – Hearn’s last hometown. His great-grandmother, Hearn’s wife Koizumi Setsu, was a renowned story teller, Koizumi said. Is it any wonder that the union of a journalist and storyteller would eventually produce a professor of folklore? Koizumi had come to New Orleans in part to present his views of great-grandfather to Hearn fans at Tulane University, where an exhibit of first editions of Hearn books and Hearn’s art collection is on display. Great-grandpa’s great strength, Koizumi said, was his open-mindedness, and his open mindedness may have had something to do with his view of New Orleans.

“New Orleans is one of my favorite cities in the world,” Koizumi said. “The Creole culture makes people open-minded. So this is the reason I love this city.”

The cloudburst that had rolled across the city during the Koizumi’s visit had passed, leaving behind silver sunlight glittering on the abundant pavement. As the interview began to wind down, Mrs. Koizumi captured the spirit of the moment perfectly. As she glanced up at the high ceiling and the gently spinning ceiling fan she said: “I feel Lafcadio is here with us, because he loved New Orleans and so he wants to come back. Actually, in his life, he never (did). Now he travels with us … this is maybe his second life in a different world.”

Snapshot of Lafcadio's life.

Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Leon Miller, (on the right), is the head of the Louisiana Research Collection at Tulane University.

Photograph taken in the Lafcadio Hearn room and the Hogan Jazz Archive at Tulane. Nicole Shibata noted "the exhibition was a huge hit and it was by far the best one we’ve had in that gallery space since I’ve been at Tulane".

The following is an article By Doug MacCash, NOLA.com - on the occasion of the New Orleans exhibition

The Times-Picayune (Newspaper) - Greater New Orleans
on October 19, 2012

Lafcadio Hearn’s great-grandson Bon Koizumi said that he was “moved” by his visit to the Cleveland Avenue apartment his ancestor called home from 1882 to 1887. Hearn was the 19th-century crime journalist turned tongue-in-cheek cultural observer who will remain forever beloved to Crescent City-ites (though perhaps not so revered by residents of his former hometown of Cincinnati) for the evergreen quote:

“Times are not good here (in New Orleans). The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Hearn (1850-1904) was born in Greece, grew up in Ireland, became a professional writer and keen societal observer in the United States, had a brief sojourn in Martinique, then settled in Japan, where he married a woman from a Samurai family and changed his name to Koizumi Yakumois. During the five years he lived in the Cleveland Avenue boarding house, he wrote “La Cuisine Creole,” an early collection of Crescent City recipes that would have been undreamt of in Cincinnati.

In the introduction of the book, Hearn promised readers that “In this compendium will be found many original recipes and other valuable ones heretofore unpublished, notably those of Gombo file, Bouille-abaisse, Courtbouillon, Jambolaya, Salade a la Russe, Bisque of Cray-fish a la Creole, Pusee Café, Café brule, Brulot, together with many confections and delicacies for the sick, including a number of mixed drinks.” The Koizumis said that despite the spread of Creole cooking in the 117 years since the publication of great grandpa's cookbook, there were still no New Orleans-style restaurants in Matsue, Japan, where they live. But, they said, select chefs are able to whip up an occasional jambalaya or gumbo. In fact, the Koizumis said, Creole food was served to guests at their wedding.

Considering the milepost historic importance of “La Cuisine Creole” to a city that has become a world-renowned culinary beacon, shouldn’t the house at 1565 Cleveland be better known?

Lafcadio Hearn’s great-grandson Bon Koizumi visits New Orleans
Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

A surprise was waiting for Bon Koizumi and wife Shoko Koizumi when they entered the kitchen of the Cleveland Street apartment. Richard Scribner, the owner of great-granddad’s former residence, had thoughtfully prepared a kettle of miso soup for the occasion. After sampling the soy and seaweed broth and having photos taken comparing his profile with a profile photo of his great-grandfather, Bon Koizumi mounted the sturdy winding stairway to the second story. As rain clouds encroached from the horizon, he inspected the wrap-around balcony with its oak-pattern cast iron railing, then entered the spare westward apartment where great-granddad may have lived. The truth is, no one is certain which room was Hearn’s.

There was a plan to visit a second upstairs apartment where Hearn may have lived, but a loud dog and young woman who had freshly emerged from the shower wrapped in a towel made further exploration seem more troublesome for all concerned than it was worth. One felt that somewhere Lafcadio was smiling, charmed by the momentary chaos.

The big brick townhouse where Hearn roomed would fit comfortably into the shady streetscape of, say, Esplanade Avenue at the edge of the French quarter. But in the center of New Orleans’ bustling, treeless hospital district, surrounded by a desert of parking lots and brutish modern architecture, it seems somehow lonely and vulnerable. Heaven only knows how the neo-classical orphan has survived so long amid the wailing sirens and desolation.

The Open Mind of Lafcadio Hearn

What: An exhibition of first editions of Hearn books and Hearn’s art collection.

Where: Tulane University’s Special Collections Gallery, located in Jones Hall, Room 205, 6823 St Charles Ave.

When: Mon-Sat, 10 a.m. to 6; Sun, noon to 6, through Oct. 28.

Admission: Free

Scribner, a Louisiana State University professor of public health, said that old-timers recalled that neighborhood was once the site of several barrooms. As recently as 20 years ago, Scribner said, the one time Hearn residence was a seedy pay-by-the-night flop house frequented by drug abusers and the downtown demimonde. Adding another layer of celebrity to the Cleveland address, Scribner noted that the place had subsequently been purchased and beautifully restored by former Saints star Pat Swilling, who’d entered the contracting trade at the conclusion of his gridiron career. Scribner bought the property 10 years back and managed to place it on the roster of official New Orleans historic landmarks.

Koizumi is a professor of folklore at a community college in Matsue, Japan – Hearn’s last hometown. His great-grandmother, Hearn’s wife Koizumi Setsu, was a renowned story teller, Koizumi said. Is it any wonder that the union of a journalist and storyteller would eventually produce a professor of folklore? Koizumi had come to New Orleans in part to present his views of great-grandfather to Hearn fans at Tulane University, where an exhibit of first editions of Hearn books and Hearn’s art collection is on display. Great-grandpa’s great strength, Koizumi said, was his open-mindedness, and his open mindedness may have had something to do with his view of New Orleans.

“New Orleans is one of my favorite cities in the world,” Koizumi said. “The Creole culture makes people open-minded. So this is the reason I love this city.”

The cloudburst that had rolled across the city during the Koizumi’s visit had passed, leaving behind silver sunlight glittering on the abundant pavement. As the interview began to wind down, Mrs. Koizumi captured the spirit of the moment perfectly. As she glanced up at the high ceiling and the gently spinning ceiling fan she said: “I feel Lafcadio is here with us, because he loved New Orleans and so he wants to come back. Actually, in his life, he never (did). Now he travels with us … this is maybe his second life in a different world.”

Snapshot of Lafcadio's life.

Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Michael Wood, (far left) is professor in the Asian Studies department at Tulane University. On the far right is Dr. Bruce Raeburn, who is the Director of Special Collections at Tulane University. Shoko is Bon's wife.

Photograph taken in the Lafcadio Hearn room and the Hogan Jazz Archive at Tulane. Nicole Shibata noted "the exhibition was a huge hit and it was by far the best one we’ve had in that gallery space since I’ve been at Tulane".

The following is an article By Doug MacCash, NOLA.com - on the occasion of the New Orleans exhibition

The Times-Picayune (Newspaper) - Greater New Orleans
on October 19, 2012

Lafcadio Hearn’s great-grandson Bon Koizumi said that he was “moved” by his visit to the Cleveland Avenue apartment his ancestor called home from 1882 to 1887. Hearn was the 19th-century crime journalist turned tongue-in-cheek cultural observer who will remain forever beloved to Crescent City-ites (though perhaps not so revered by residents of his former hometown of Cincinnati) for the evergreen quote:

“Times are not good here (in New Orleans). The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Hearn (1850-1904) was born in Greece, grew up in Ireland, became a professional writer and keen societal observer in the United States, had a brief sojourn in Martinique, then settled in Japan, where he married a woman from a Samurai family and changed his name to Koizumi Yakumois. During the five years he lived in the Cleveland Avenue boarding house, he wrote “La Cuisine Creole,” an early collection of Crescent City recipes that would have been undreamt of in Cincinnati.

In the introduction of the book, Hearn promised readers that “In this compendium will be found many original recipes and other valuable ones heretofore unpublished, notably those of Gombo file, Bouille-abaisse, Courtbouillon, Jambolaya, Salade a la Russe, Bisque of Cray-fish a la Creole, Pusee Café, Café brule, Brulot, together with many confections and delicacies for the sick, including a number of mixed drinks.” The Koizumis said that despite the spread of Creole cooking in the 117 years since the publication of great grandpa's cookbook, there were still no New Orleans-style restaurants in Matsue, Japan, where they live. But, they said, select chefs are able to whip up an occasional jambalaya or gumbo. In fact, the Koizumis said, Creole food was served to guests at their wedding.

Considering the milepost historic importance of “La Cuisine Creole” to a city that has become a world-renowned culinary beacon, shouldn’t the house at 1565 Cleveland be better known?

Lafcadio Hearn’s great-grandson Bon Koizumi visits New Orleans
Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

A surprise was waiting for Bon Koizumi and wife Shoko Koizumi when they entered the kitchen of the Cleveland Street apartment. Richard Scribner, the owner of great-granddad’s former residence, had thoughtfully prepared a kettle of miso soup for the occasion. After sampling the soy and seaweed broth and having photos taken comparing his profile with a profile photo of his great-grandfather, Bon Koizumi mounted the sturdy winding stairway to the second story. As rain clouds encroached from the horizon, he inspected the wrap-around balcony with its oak-pattern cast iron railing, then entered the spare westward apartment where great-granddad may have lived. The truth is, no one is certain which room was Hearn’s.

There was a plan to visit a second upstairs apartment where Hearn may have lived, but a loud dog and young woman who had freshly emerged from the shower wrapped in a towel made further exploration seem more troublesome for all concerned than it was worth. One felt that somewhere Lafcadio was smiling, charmed by the momentary chaos.

The big brick townhouse where Hearn roomed would fit comfortably into the shady streetscape of, say, Esplanade Avenue at the edge of the French quarter. But in the center of New Orleans’ bustling, treeless hospital district, surrounded by a desert of parking lots and brutish modern architecture, it seems somehow lonely and vulnerable. Heaven only knows how the neo-classical orphan has survived so long amid the wailing sirens and desolation.

The Open Mind of Lafcadio Hearn

What: An exhibition of first editions of Hearn books and Hearn’s art collection.

Where: Tulane University’s Special Collections Gallery, located in Jones Hall, Room 205, 6823 St Charles Ave.

When: Mon-Sat, 10 a.m. to 6; Sun, noon to 6, through Oct. 28.

Admission: Free

Scribner, a Louisiana State University professor of public health, said that old-timers recalled that neighborhood was once the site of several barrooms. As recently as 20 years ago, Scribner said, the one time Hearn residence was a seedy pay-by-the-night flop house frequented by drug abusers and the downtown demimonde. Adding another layer of celebrity to the Cleveland address, Scribner noted that the place had subsequently been purchased and beautifully restored by former Saints star Pat Swilling, who’d entered the contracting trade at the conclusion of his gridiron career. Scribner bought the property 10 years back and managed to place it on the roster of official New Orleans historic landmarks.

Koizumi is a professor of folklore at a community college in Matsue, Japan – Hearn’s last hometown. His great-grandmother, Hearn’s wife Koizumi Setsu, was a renowned story teller, Koizumi said. Is it any wonder that the union of a journalist and storyteller would eventually produce a professor of folklore? Koizumi had come to New Orleans in part to present his views of great-grandfather to Hearn fans at Tulane University, where an exhibit of first editions of Hearn books and Hearn’s art collection is on display. Great-grandpa’s great strength, Koizumi said, was his open-mindedness, and his open mindedness may have had something to do with his view of New Orleans.

“New Orleans is one of my favorite cities in the world,” Koizumi said. “The Creole culture makes people open-minded. So this is the reason I love this city.”

The cloudburst that had rolled across the city during the Koizumi’s visit had passed, leaving behind silver sunlight glittering on the abundant pavement. As the interview began to wind down, Mrs. Koizumi captured the spirit of the moment perfectly. As she glanced up at the high ceiling and the gently spinning ceiling fan she said: “I feel Lafcadio is here with us, because he loved New Orleans and so he wants to come back. Actually, in his life, he never (did). Now he travels with us … this is maybe his second life in a different world.”

Snapshot of Lafcadio's life.

Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

(Photo by Doug MacCash / The Times-Picayune. )

Lafcadio Hearn's great-grandson Bon Koizumi visits New Orleans author's apartment

By Doug MacCash, NOLA.com
The Times-Picayune (Newspaper_ - Greater New Orleans
on October 19, 2012

Lafcadio Hearn’s great-grandson Bon Koizumi said that he was “moved” by his visit to the Cleveland Avenue apartment his ancestor called home from 1882 to 1887. Hearn was the 19th-century crime journalist turned tongue-in-cheek cultural observer who will remain forever beloved to Crescent City-ites (though perhaps not so revered by residents of his former hometown of Cincinnati) for the evergreen quote:

“Times are not good here (in New Orleans). The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Hearn (1850-1904) was born in Greece, grew up in Ireland, became a professional writer and keen societal observer in the United States, had a brief sojourn in Martinique, then settled in Japan, where he married a woman from a Samurai family and changed his name to Koizumi Yakumois. During the five years he lived in the Cleveland Avenue boarding house, he wrote “La Cuisine Creole,” an early collection of Crescent City recipes that would have been undreamt of in Cincinnati.

In the introduction of the book, Hearn promised readers that “In this compendium will be found many original recipes and other valuable ones heretofore unpublished, notably those of Gombo file, Bouille-abaisse, Courtbouillon, Jambolaya, Salade a la Russe, Bisque of Cray-fish a la Creole, Pusee Café, Café brule, Brulot, together with many confections and delicacies for the sick, including a number of mixed drinks.” The Koizumis said that despite the spread of Creole cooking in the 117 years since the publication of great grandpa's cookbook, there were still no New Orleans-style restaurants in Matsue, Japan, where they live. But, they said, select chefs are able to whip up an occasional jambalaya or gumbo. In fact, the Koizumis said, Creole food was served to guests at their wedding.

Considering the milepost historic importance of “La Cuisine Creole” to a city that has become a world-renowned culinary beacon, shouldn’t the house at 1565 Cleveland be better known?

Lafcadio Hearn’s great-grandson Bon Koizumi visits New Orleans
Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

A surprise was waiting for Bon Koizumi and wife Shoko Koizumi when they entered the kitchen of the Cleveland Street apartment. Richard Scribner, the owner of great-granddad’s former residence, had thoughtfully prepared a kettle of miso soup for the occasion. After sampling the soy and seaweed broth and having photos taken comparing his profile with a profile photo of his great-grandfather, Bon Koizumi mounted the sturdy winding stairway to the second story. As rain clouds encroached from the horizon, he inspected the wrap-around balcony with its oak-pattern cast iron railing, then entered the spare westward apartment where great-granddad may have lived. The truth is, no one is certain which room was Hearn’s.

There was a plan to visit a second upstairs apartment where Hearn may have lived, but a loud dog and young woman who had freshly emerged from the shower wrapped in a towel made further exploration seem more troublesome for all concerned than it was worth. One felt that somewhere Lafcadio was smiling, charmed by the momentary chaos.

The big brick townhouse where Hearn roomed would fit comfortably into the shady streetscape of, say, Esplanade Avenue at the edge of the French quarter. But in the center of New Orleans’ bustling, treeless hospital district, surrounded by a desert of parking lots and brutish modern architecture, it seems somehow lonely and vulnerable. Heaven only knows how the neo-classical orphan has survived so long amid the wailing sirens and desolation.

The Open Mind of Lafcadio Hearn

What: An exhibition of first editions of Hearn books and Hearn’s art collection.

Where: Tulane University’s Special Collections Gallery, located in Jones Hall, Room 205, 6823 St Charles Ave.

When: Mon-Sat, 10 a.m. to 6; Sun, noon to 6, through Oct. 28.

Admission: Free

Scribner, a Louisiana State University professor of public health, said that old-timers recalled that neighborhood was once the site of several barrooms. As recently as 20 years ago, Scribner said, the one time Hearn residence was a seedy pay-by-the-night flop house frequented by drug abusers and the downtown demimonde. Adding another layer of celebrity to the Cleveland address, Scribner noted that the place had subsequently been purchased and beautifully restored by former Saints star Pat Swilling, who’d entered the contracting trade at the conclusion of his gridiron career. Scribner bought the property 10 years back and managed to place it on the roster of official New Orleans historic landmarks.

Koizumi is a professor of folklore at a community college in Matsue, Japan – Hearn’s last hometown. His great-grandmother, Hearn’s wife Koizumi Setsu, was a renowned story teller, Koizumi said. Is it any wonder that the union of a journalist and storyteller would eventually produce a professor of folklore? Koizumi had come to New Orleans in part to present his views of great-grandfather to Hearn fans at Tulane University, where an exhibit of first editions of Hearn books and Hearn’s art collection is on display. Great-grandpa’s great strength, Koizumi said, was his open-mindedness, and his open mindedness may have had something to do with his view of New Orleans.

“New Orleans is one of my favorite cities in the world,” Koizumi said. “The Creole culture makes people open-minded. So this is the reason I love this city.”

The cloudburst that had rolled across the city during the Koizumi’s visit had passed, leaving behind silver sunlight glittering on the abundant pavement. As the interview began to wind down, Mrs. Koizumi captured the spirit of the moment perfectly. As she glanced up at the high ceiling and the gently spinning ceiling fan she said: “I feel Lafcadio is here with us, because he loved New Orleans and so he wants to come back. Actually, in his life, he never (did). Now he travels with us … this is maybe his second life in a different world.”

Snapshot of Lafcadio's life.

Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

[[picture:"Hearn Lafcadio bon-koizumi-poses-with-a-portrait-of-his-great-grandfather-lafcadio-hearn.jpg" ID:20764]]

Bon Koizumi poses with a portrait of his great-grandfather, Lafcadio Hearn. (Photo by Doug MacCash / The Times-Picayune. )

By Doug MacCash, NOLA.com
The Times-Picayune (Newspaper_ - Greater New Orleans
on October 19, 2012

Lafcadio Hearn’s great-grandson Bon Koizumi said that he was “moved” by his visit to the Cleveland Avenue apartment his ancestor called home from 1882 to 1887. Hearn was the 19th-century crime journalist turned tongue-in-cheek cultural observer who will remain forever beloved to Crescent City-ites (though perhaps not so revered by residents of his former hometown of Cincinnati) for the evergreen quote:

“Times are not good here (in New Orleans). The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Hearn (1850-1904) was born in Greece, grew up in Ireland, became a professional writer and keen societal observer in the United States, had a brief sojourn in Martinique, then settled in Japan, where he married a woman from a Samurai family and changed his name to Koizumi Yakumois. During the five years he lived in the Cleveland Avenue boarding house, he wrote “La Cuisine Creole,” an early collection of Crescent City recipes that would have been undreamt of in Cincinnati.

In the introduction of the book, Hearn promised readers that “In this compendium will be found many original recipes and other valuable ones heretofore unpublished, notably those of Gombo file, Bouille-abaisse, Courtbouillon, Jambolaya, Salade a la Russe, Bisque of Cray-fish a la Creole, Pusee Café, Café brule, Brulot, together with many confections and delicacies for the sick, including a number of mixed drinks.” The Koizumis said that despite the spread of Creole cooking in the 117 years since the publication of great grandpa's cookbook, there were still no New Orleans-style restaurants in Matsue, Japan, where they live. But, they said, select chefs are able to whip up an occasional jambalaya or gumbo. In fact, the Koizumis said, Creole food was served to guests at their wedding.

Considering the milepost historic importance of “La Cuisine Creole” to a city that has become a world-renowned culinary beacon, shouldn’t the house at 1565 Cleveland be better known?

Lafcadio Hearn’s great-grandson Bon Koizumi visits New Orleans
Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

A surprise was waiting for Bon Koizumi and wife Shoko Koizumi when they entered the kitchen of the Cleveland Street apartment. Richard Scribner, the owner of great-granddad’s former residence, had thoughtfully prepared a kettle of miso soup for the occasion. After sampling the soy and seaweed broth and having photos taken comparing his profile with a profile photo of his great-grandfather, Bon Koizumi mounted the sturdy winding stairway to the second story. As rain clouds encroached from the horizon, he inspected the wrap-around balcony with its oak-pattern cast iron railing, then entered the spare westward apartment where great-granddad may have lived. The truth is, no one is certain which room was Hearn’s.

There was a plan to visit a second upstairs apartment where Hearn may have lived, but a loud dog and young woman who had freshly emerged from the shower wrapped in a towel made further exploration seem more troublesome for all concerned than it was worth. One felt that somewhere Lafcadio was smiling, charmed by the momentary chaos.

The big brick townhouse where Hearn roomed would fit comfortably into the shady streetscape of, say, Esplanade Avenue at the edge of the French quarter. But in the center of New Orleans’ bustling, treeless hospital district, surrounded by a desert of parking lots and brutish modern architecture, it seems somehow lonely and vulnerable. Heaven only knows how the neo-classical orphan has survived so long amid the wailing sirens and desolation.

The Open Mind of Lafcadio Hearn

What: An exhibition of first editions of Hearn books and Hearn’s art collection.

Where: Tulane University’s Special Collections Gallery, located in Jones Hall, Room 205, 6823 St Charles Ave.

When: Mon-Sat, 10 a.m. to 6; Sun, noon to 6, through Oct. 28.

Admission: Free

Scribner, a Louisiana State University professor of public health, said that old-timers recalled that neighborhood was once the site of several barrooms. As recently as 20 years ago, Scribner said, the one time Hearn residence was a seedy pay-by-the-night flop house frequented by drug abusers and the downtown demimonde. Adding another layer of celebrity to the Cleveland address, Scribner noted that the place had subsequently been purchased and beautifully restored by former Saints star Pat Swilling, who’d entered the contracting trade at the conclusion of his gridiron career. Scribner bought the property 10 years back and managed to place it on the roster of official New Orleans historic landmarks.

Koizumi is a professor of folklore at a community college in Matsue, Japan – Hearn’s last hometown. His great-grandmother, Hearn’s wife Koizumi Setsu, was a renowned story teller, Koizumi said. Is it any wonder that the union of a journalist and storyteller would eventually produce a professor of folklore? Koizumi had come to New Orleans in part to present his views of great-grandfather to Hearn fans at Tulane University, where an exhibit of first editions of Hearn books and Hearn’s art collection is on display. Great-grandpa’s great strength, Koizumi said, was his open-mindedness, and his open mindedness may have had something to do with his view of New Orleans.

“New Orleans is one of my favorite cities in the world,” Koizumi said. “The Creole culture makes people open-minded. So this is the reason I love this city.”

The cloudburst that had rolled across the city during the Koizumi’s visit had passed, leaving behind silver sunlight glittering on the abundant pavement. As the interview began to wind down, Mrs. Koizumi captured the spirit of the moment perfectly. As she glanced up at the high ceiling and the gently spinning ceiling fan she said: “I feel Lafcadio is here with us, because he loved New Orleans and so he wants to come back. Actually, in his life, he never (did). Now he travels with us … this is maybe his second life in a different world.”

Snapshot of Lafcadio's life.

Lafcadio Hearn’s great-grandson Bon Koizumi visited the Cleveland Ave. apartment in New Orleans, where the 19th-century journalist and author lived between 1882 and 1887, while writing “La Cuisine Creole” and other works that championed Crescent City culture. He spent the last years of his life 1890 to 1904 in Japan, where he married Koizumi Setsu, taking the name Koizumi Yakumois. Hearn is forever beloved in New Orleans (though perhaps not so revered in his former home town of Cincinnati) for the seemingly timeless quote: “Times are not good here. The city is crumbling into ashes. It has been buried under a lava flood of taxes and frauds and maladministrations so that it has become only a study for archaeologists. Its condition is so bad that when I write about it, as I intend to do soon, nobody will believe I am telling the truth. But it is better to live here in sackcloth and ashes than to own the whole state of Ohio.”

Visit to Australia, October-November 2012

Download the Media Release here:

Media Release on the visit by Metropolitan Seraphim to Australia.pdf

A formal reception was held at Kythera House at Rockdale on 20 October 2012 to welcome Metropolitan Seraphim (Stergioulas) of Kythera and Antikythera on his first visit to Australia. His Eminence is accompanied by Father Petros Maniatis and the Mayor of Kythera, Theodore Koukoulis.

His Eminence was born on December 27, 1950 in Vragkiana, Karditsa in western Thessaly, Greece. He was made a deacon in 1971 and received the name Seraphim. He studied theology from 1972 to 1976 at the Aristotle University of Thessaloniki and then continued with postgraduate studies from 1976 to 1978 at the University's Department of Systematic Theology.

Between 1971 and 1974 he also served as editor of the magazine Seraphim, the Hieromartyr of Phanarion, inspired by the Hieromonk Seraphim, Bishop of the Phanar, who bravely refused to accept Islam and was beaten and impaled by the Ottoman Turks in 1601.

His Eminence was ordained a priest in 1981 and then elevated to archimandrite. From 1979 to 2005, Father Seraphim served as a preacher with the Metropolis of Hydra, Spetses and Aegina.

In 1981, Father Seraphim spent three years on sabbatical leave at Mount Athos to undertake research on various issues, particularly the Neptic aspects of Orthodox monasticism which are characterised by sober-minded vigilance, watchfulness and purity of thought. His work was published in a three-volume Anthology of Philokalia.

On 2 July 2005 Seraphim was consecrated a bishop in a service conducted by then Archbishop Christodoulos of Athens at the Metropolitan Cathedral in Athens. He was then enthroned as Metropoliti (a title equivalent to archbishop of an ecclesiastical province or metropolis) of Kythera and Antikythera on 30 July 2005.

On the occasion of His Eminence’s first visit to Australia, the President of the Kytherian Association, Victor Kepreotis, welcomed the Metropolitan as well as Father Petros and Mayor Koukoulis, to the Kytherian Association’s new “spiritual centre” in Sydney, a cultural resource facility and meeting place that now houses arguably one of Sydney’s finest community Hellenic libraries. With more than eighty members, friends and guests in attendance, including Mayor Nickolas Varvaris and Councillor Nicholas Aroney of Kogarah Council and ex-Wollahra Mayor John Comino, Dr Kepreotis praised the work of the Metropolitan and wished him an enjoyable time in Australia.

Metropolitan Seraphim expressed delight at the opportunity afforded to him to visit Australia and to meet the Kytherians of the diaspora. His Eminence also thanked the well-known benefactor, George Hatziplis, for arranging the visit and indicated that he plans to visit Brisbane, Canberra and Gosford as part of his reaching out to Kytherians downunder.

Mayor Koukoulis also thanked those who attended the reception and commented that it is a truism that the Kytherians in the diaspora love their island even more than the locals.

After the formal speeches, His Eminence and the other guests and members enjoyed the small delicacies and sweets that were laid out by the Association and were able to mingle amongst the crowd and even renew some old acquaintances.

The Kytherian Association welcomes the arrival of the island’s spiritual leader to Australia.

George Vardas
Cultural Officer, Kytherian Association of Australia

Visit to Australia, October-November 2012

Download the Media Release here:

Media Release on the visit by Metropolitan Seraphim to Australia.pdf

A formal reception was held at Kythera House at Rockdale on 20 October 2012 to welcome Metropolitan Seraphim (Stergioulas) of Kythera and Antikythera on his first visit to Australia. His Eminence is accompanied by Father Petros Maniatis and the Mayor of Kythera, Theodore Koukoulis.

His Eminence was born on December 27, 1950 in Vragkiana, Karditsa in western Thessaly, Greece. He was made a deacon in 1971 and received the name Seraphim. He studied theology from 1972 to 1976 at the Aristotle University of Thessaloniki and then continued with postgraduate studies from 1976 to 1978 at the University's Department of Systematic Theology.

Between 1971 and 1974 he also served as editor of the magazine Seraphim, the Hieromartyr of Phanarion, inspired by the Hieromonk Seraphim, Bishop of the Phanar, who bravely refused to accept Islam and was beaten and impaled by the Ottoman Turks in 1601.

His Eminence was ordained a priest in 1981 and then elevated to archimandrite. From 1979 to 2005, Father Seraphim served as a preacher with the Metropolis of Hydra, Spetses and Aegina.

In 1981, Father Seraphim spent three years on sabbatical leave at Mount Athos to undertake research on various issues, particularly the Neptic aspects of Orthodox monasticism which are characterised by sober-minded vigilance, watchfulness and purity of thought. His work was published in a three-volume Anthology of Philokalia.

On 2 July 2005 Seraphim was consecrated a bishop in a service conducted by then Archbishop Christodoulos of Athens at the Metropolitan Cathedral in Athens. He was then enthroned as Metropoliti (a title equivalent to archbishop of an ecclesiastical province or metropolis) of Kythera and Antikythera on 30 July 2005.

On the occasion of His Eminence’s first visit to Australia, the President of the Kytherian Association, Victor Kepreotis, welcomed the Metropolitan as well as Father Petros and Mayor Koukoulis, to the Kytherian Association’s new “spiritual centre” in Sydney, a cultural resource facility and meeting place that now houses arguably one of Sydney’s finest community Hellenic libraries. With more than eighty members, friends and guests in attendance, including Mayor Nickolas Varvaris and Councillor Nicholas Aroney of Kogarah Council and ex-Wollahra Mayor John Comino, Dr Kepreotis praised the work of the Metropolitan and wished him an enjoyable time in Australia.

Metropolitan Seraphim expressed delight at the opportunity afforded to him to visit Australia and to meet the Kytherians of the diaspora. His Eminence also thanked the well-known benefactor, George Hatziplis, for arranging the visit and indicated that he plans to visit Brisbane, Canberra and Gosford as part of his reaching out to Kytherians downunder.

Mayor Koukoulis also thanked those who attended the reception and commented that it is a truism that the Kytherians in the diaspora love their island even more than the locals.

After the formal speeches, His Eminence and the other guests and members enjoyed the small delicacies and sweets that were laid out by the Association and were able to mingle amongst the crowd and even renew some old acquaintances.

The Kytherian Association welcomes the arrival of the island’s spiritual leader to Australia.

George Vardas
Cultural Officer, Kytherian Association of Australia

Visit to Australia, October-November 2012

Download the Media Release here:

Media Release on the visit by Metropolitan Seraphim to Australia.pdf

A formal reception was held at Kythera House at Rockdale on 20 October 2012 to welcome Metropolitan Seraphim (Stergioulas) of Kythera and Antikythera on his first visit to Australia. His Eminence is accompanied by Father Petros Maniatis and the Mayor of Kythera, Theodore Koukoulis.

His Eminence was born on December 27, 1950 in Vragkiana, Karditsa in western Thessaly, Greece. He was made a deacon in 1971 and received the name Seraphim. He studied theology from 1972 to 1976 at the Aristotle University of Thessaloniki and then continued with postgraduate studies from 1976 to 1978 at the University's Department of Systematic Theology.

Between 1971 and 1974 he also served as editor of the magazine Seraphim, the Hieromartyr of Phanarion, inspired by the Hieromonk Seraphim, Bishop of the Phanar, who bravely refused to accept Islam and was beaten and impaled by the Ottoman Turks in 1601.

His Eminence was ordained a priest in 1981 and then elevated to archimandrite. From 1979 to 2005, Father Seraphim served as a preacher with the Metropolis of Hydra, Spetses and Aegina.

In 1981, Father Seraphim spent three years on sabbatical leave at Mount Athos to undertake research on various issues, particularly the Neptic aspects of Orthodox monasticism which are characterised by sober-minded vigilance, watchfulness and purity of thought. His work was published in a three-volume Anthology of Philokalia.

On 2 July 2005 Seraphim was consecrated a bishop in a service conducted by then Archbishop Christodoulos of Athens at the Metropolitan Cathedral in Athens. He was then enthroned as Metropoliti (a title equivalent to archbishop of an ecclesiastical province or metropolis) of Kythera and Antikythera on 30 July 2005.

On the occasion of His Eminence’s first visit to Australia, the President of the Kytherian Association, Victor Kepreotis, welcomed the Metropolitan as well as Father Petros and Mayor Koukoulis, to the Kytherian Association’s new “spiritual centre” in Sydney, a cultural resource facility and meeting place that now houses arguably one of Sydney’s finest community Hellenic libraries. With more than eighty members, friends and guests in attendance, including Mayor Nickolas Varvaris and Councillor Nicholas Aroney of Kogarah Council and ex-Wollahra Mayor John Comino, Dr Kepreotis praised the work of the Metropolitan and wished him an enjoyable time in Australia.

Metropolitan Seraphim expressed delight at the opportunity afforded to him to visit Australia and to meet the Kytherians of the diaspora. His Eminence also thanked the well-known benefactor, George Hatziplis, for arranging the visit and indicated that he plans to visit Brisbane, Canberra and Gosford as part of his reaching out to Kytherians downunder.

Mayor Koukoulis also thanked those who attended the reception and commented that it is a truism that the Kytherians in the diaspora love their island even more than the locals.

After the formal speeches, His Eminence and the other guests and members enjoyed the small delicacies and sweets that were laid out by the Association and were able to mingle amongst the crowd and even renew some old acquaintances.

The Kytherian Association welcomes the arrival of the island’s spiritual leader to Australia.

George Vardas
Cultural Officer, Kytherian Association of Australia

Visit to Australia, October-November 2012

Download the Media Release here:

Media Release on the visit by Metropolitan Seraphim to Australia.pdf

A formal reception was held at Kythera House at Rockdale on 20 October 2012 to welcome Metropolitan Seraphim (Stergioulas) of Kythera and Antikythera on his first visit to Australia. His Eminence is accompanied by Father Petros Maniatis and the Mayor of Kythera, Theodore Koukoulis.

His Eminence was born on December 27, 1950 in Vragkiana, Karditsa in western Thessaly, Greece. He was made a deacon in 1971 and received the name Seraphim. He studied theology from 1972 to 1976 at the Aristotle University of Thessaloniki and then continued with postgraduate studies from 1976 to 1978 at the University's Department of Systematic Theology.

Between 1971 and 1974 he also served as editor of the magazine Seraphim, the Hieromartyr of Phanarion, inspired by the Hieromonk Seraphim, Bishop of the Phanar, who bravely refused to accept Islam and was beaten and impaled by the Ottoman Turks in 1601.

His Eminence was ordained a priest in 1981 and then elevated to archimandrite. From 1979 to 2005, Father Seraphim served as a preacher with the Metropolis of Hydra, Spetses and Aegina.

In 1981, Father Seraphim spent three years on sabbatical leave at Mount Athos to undertake research on various issues, particularly the Neptic aspects of Orthodox monasticism which are characterised by sober-minded vigilance, watchfulness and purity of thought. His work was published in a three-volume Anthology of Philokalia.

On 2 July 2005 Seraphim was consecrated a bishop in a service conducted by then Archbishop Christodoulos of Athens at the Metropolitan Cathedral in Athens. He was then enthroned as Metropoliti (a title equivalent to archbishop of an ecclesiastical province or metropolis) of Kythera and Antikythera on 30 July 2005.

On the occasion of His Eminence’s first visit to Australia, the President of the Kytherian Association, Victor Kepreotis, welcomed the Metropolitan as well as Father Petros and Mayor Koukoulis, to the Kytherian Association’s new “spiritual centre” in Sydney, a cultural resource facility and meeting place that now houses arguably one of Sydney’s finest community Hellenic libraries. With more than eighty members, friends and guests in attendance, including Mayor Nickolas Varvaris and Councillor Nicholas Aroney of Kogarah Council and ex-Wollahra Mayor John Comino, Dr Kepreotis praised the work of the Metropolitan and wished him an enjoyable time in Australia.

Metropolitan Seraphim expressed delight at the opportunity afforded to him to visit Australia and to meet the Kytherians of the diaspora. His Eminence also thanked the well-known benefactor, George Hatziplis, for arranging the visit and indicated that he plans to visit Brisbane, Canberra and Gosford as part of his reaching out to Kytherians downunder.

Mayor Koukoulis also thanked those who attended the reception and commented that it is a truism that the Kytherians in the diaspora love their island even more than the locals.

After the formal speeches, His Eminence and the other guests and members enjoyed the small delicacies and sweets that were laid out by the Association and were able to mingle amongst the crowd and even renew some old acquaintances.

The Kytherian Association welcomes the arrival of the island’s spiritual leader to Australia.

George Vardas
Cultural Officer, Kytherian Association of Australia

Visit to Australia, October-November 2012

Download the Media Release here:

Media Release on the visit by Metropolitan Seraphim to Australia.pdf

A formal reception was held at Kythera House at Rockdale on 20 October 2012 to welcome Metropolitan Seraphim (Stergioulas) of Kythera and Antikythera on his first visit to Australia. His Eminence is accompanied by Father Petros Maniatis and the Mayor of Kythera, Theodore Koukoulis.

His Eminence was born on December 27, 1950 in Vragkiana, Karditsa in western Thessaly, Greece. He was made a deacon in 1971 and received the name Seraphim. He studied theology from 1972 to 1976 at the Aristotle University of Thessaloniki and then continued with postgraduate studies from 1976 to 1978 at the University's Department of Systematic Theology.

Between 1971 and 1974 he also served as editor of the magazine Seraphim, the Hieromartyr of Phanarion, inspired by the Hieromonk Seraphim, Bishop of the Phanar, who bravely refused to accept Islam and was beaten and impaled by the Ottoman Turks in 1601.

His Eminence was ordained a priest in 1981 and then elevated to archimandrite. From 1979 to 2005, Father Seraphim served as a preacher with the Metropolis of Hydra, Spetses and Aegina.

In 1981, Father Seraphim spent three years on sabbatical leave at Mount Athos to undertake research on various issues, particularly the Neptic aspects of Orthodox monasticism which are characterised by sober-minded vigilance, watchfulness and purity of thought. His work was published in a three-volume Anthology of Philokalia.

On 2 July 2005 Seraphim was consecrated a bishop in a service conducted by then Archbishop Christodoulos of Athens at the Metropolitan Cathedral in Athens. He was then enthroned as Metropoliti (a title equivalent to archbishop of an ecclesiastical province or metropolis) of Kythera and Antikythera on 30 July 2005.

On the occasion of His Eminence’s first visit to Australia, the President of the Kytherian Association, Victor Kepreotis, welcomed the Metropolitan as well as Father Petros and Mayor Koukoulis, to the Kytherian Association’s new “spiritual centre” in Sydney, a cultural resource facility and meeting place that now houses arguably one of Sydney’s finest community Hellenic libraries. With more than eighty members, friends and guests in attendance, including Mayor Nickolas Varvaris and Councillor Nicholas Aroney of Kogarah Council and ex-Wollahra Mayor John Comino, Dr Kepreotis praised the work of the Metropolitan and wished him an enjoyable time in Australia.

Metropolitan Seraphim expressed delight at the opportunity afforded to him to visit Australia and to meet the Kytherians of the diaspora. His Eminence also thanked the well-known benefactor, George Hatziplis, for arranging the visit and indicated that he plans to visit Brisbane, Canberra and Gosford as part of his reaching out to Kytherians downunder.

Mayor Koukoulis also thanked those who attended the reception and commented that it is a truism that the Kytherians in the diaspora love their island even more than the locals.

After the formal speeches, His Eminence and the other guests and members enjoyed the small delicacies and sweets that were laid out by the Association and were able to mingle amongst the crowd and even renew some old acquaintances.

The Kytherian Association welcomes the arrival of the island’s spiritual leader to Australia.

George Vardas
Cultural Officer, Kytherian Association of Australia

Visit to Australia, October-November 2012

Download the Media Release here:

Media Release on the visit by Metropolitan Seraphim to Australia.pdf

A formal reception was held at Kythera House at Rockdale on 20 October 2012 to welcome Metropolitan Seraphim (Stergioulas) of Kythera and Antikythera on his first visit to Australia. His Eminence is accompanied by Father Petros Maniatis and the Mayor of Kythera, Theodore Koukoulis.

[[picture:"2012-10-20 17.28.31.jpg" ID:20756]]

His Eminence was born on December 27, 1950 in Vragkiana, Karditsa in western Thessaly, Greece. He was made a deacon in 1971 and received the name Seraphim. He studied theology from 1972 to 1976 at the Aristotle University of Thessaloniki and then continued with postgraduate studies from 1976 to 1978 at the University's Department of Systematic Theology.

Between 1971 and 1974 he also served as editor of the magazine Seraphim, the Hieromartyr of Phanarion, inspired by the Hieromonk Seraphim, Bishop of the Phanar, who bravely refused to accept Islam and was beaten and impaled by the Ottoman Turks in 1601.

His Eminence was ordained a priest in 1981 and then elevated to archimandrite. From 1979 to 2005, Father Seraphim served as a preacher with the Metropolis of Hydra, Spetses and Aegina.

In 1981, Father Seraphim spent three years on sabbatical leave at Mount Athos to undertake research on various issues, particularly the Neptic aspects of Orthodox monasticism which are characterised by sober-minded vigilance, watchfulness and purity of thought. His work was published in a three-volume Anthology of Philokalia.

On 2 July 2005 Seraphim was consecrated a bishop in a service conducted by then Archbishop Christodoulos of Athens at the Metropolitan Cathedral in Athens. He was then enthroned as Metropoliti (a title equivalent to archbishop of an ecclesiastical province or metropolis) of Kythera and Antikythera on 30 July 2005.

[[picture:"2012-10-20 17.41.01.jpg" ID:20757]]

On the occasion of His Eminence’s first visit to Australia, the President of the Kytherian Association, Victor Kepreotis, welcomed the Metropolitan as well as Father Petros and Mayor Koukoulis, to the Kytherian Association’s new “spiritual centre” in Sydney, a cultural resource facility and meeting place that now houses arguably one of Sydney’s finest community Hellenic libraries. With more than eighty members, friends and guests in attendance, including Mayor Nickolas Varvaris and Councillor Nicholas Aroney of Kogarah Council and ex-Wollahra Mayor John Comino, Dr Kepreotis praised the work of the Metropolitan and wished him an enjoyable time in Australia.

[[picture:"2012-10-20 17.29.21.jpg" ID:20758]]

Metropolitan Seraphim expressed delight at the opportunity afforded to him to visit Australia and to meet the Kytherians of the diaspora. His Eminence also thanked the well-known benefactor, George Hatziplis, for arranging the visit and indicated that he plans to visit Brisbane, Canberra and Gosford as part of his reaching out to Kytherians downunder.

[[picture:"2012-10-20 17.37.32.jpg" ID:20759]]

Mayor Koukoulis also thanked those who attended the reception and commented that it is a truism that the Kytherians in the diaspora love their island even more than the locals.

After the formal speeches, His Eminence and the other guests and members enjoyed the small delicacies and sweets that were laid out by the Association and were able to mingle amongst the crowd and even renew some old acquaintances.

[[picture:"2012-10-20 17.42.45.jpg" ID:20760]]

The Kytherian Association welcomes the arrival of the island’s spiritual leader to Australia.

George Vardas
Cultural Officer, Kytherian Association of Australia

The Watkinson Library is located at Trinity College in Hartford, Connecticut, United States of America.

http://commons.trincoll.edu/watkinson/2012/04/05/just-acquired-lafcadio-hearn-iana/

On April 5th, 2012, the Watkinson Library acquired a group of books by and about Lafcadio Hearn, which will join an already impressive collection both in the Watkinson and the main library stacks.

Lafcadio Hearn was a mongrel child of the world,—a global villager,—a man unattached to country, kin, or creed. He was a sensitive underdog marginalized for his proclivities from beginning to end. Born Patrick Lafcadio Hearn on June 27, 1850, on the Ionian island of Leucadia just north of Ithaca (of Homeric fame), Lafcadio’s own odyssey would bring him to far shores and settings, both exotic and mundane.

In 2009 the Library of America published a selection of Hearn’s works, edited by Christopher Benfey, entitled Lafcadio Hearn: American Writings. In an interview Benfey stated, “I’m completely convinced that Hearn’s time has come. He famously wrote that he worshiped ‘the Odd, the Queer, the Strange, the Exotic, the Monstrous.’ Such pronouncements have made it easy to dismiss him as some oddball combination of Poe and Gauguin, living in an escapist world of dreams. But what Hearn was really interested in was the astonishing variety of human life.”

Hearn’s mother, Rosa Antonia Cassimati, was from Cerigo (known to the Greeks as Kythera); his father, Charles Bush Hearn, was an Irish surgeon and officer in the British Army. Their romance was not favored by either of their families. After Charles was re-assigned to the West Indies, he managed to send Rosa and young Patrick to Dublin, where his relations greeted these “gypsy” additions to their household with predictable warmth. An estranged aunt who doted on Patrick took them in, but after Charles finally returned to Ireland and established a little household in 1853 it became clear he had lost interest in Rosa. He took a new military assignment in the West Indies, and by the time he returned in 1856, Rosa had gone back to Greece and left five-year-old Patrick alone with his great-aunt. Charles Hearn annulled their marriage, and the Hearn family hid the boy from his mother when she returned to Ireland to see him.

At age nine or ten young Patrick discovered the library in his great-aunt’s house, and found several books of art containing images from Greek mythology. “How my heart leaped and fluttered on that happy day!” he would later write. “Breathless I gazed; and the longer that I gazed the more unspeakably lovely those faces and forms appeared. Figure after figure dazzled, astounded, bewitched me.” This fascination with the elder gods did not sit well with his aunt, a devout Catholic, who sent him to a boarding school—three quarters monastery and one quarter military academy—run by “a hateful venomous-hearted old maid.” Guy de Maupassant, who attended the school months after Lafcadio left, wrote “I can never think of the place even now without a shudder. It smelled of prayers the way a fish market smells of fish . . . We lived there in a narrow, contemplative, unnatural piety—and also in a truly meritorious state of filth . . . As for baths, they were as unknown as the name of Victor Hugo. Our masters apparently held them in the greatest contempt.”

When he was sixteen Hearn suffered an accident which blinded his left eye, and from then on he would instinctively cover it with his left hand in conversation, or look down or to the left when photographed. Financial troubles forced him to seek schooling in London while living with a dock worker and his wife (distant relatives)—and there he made his first forays into the underside of urban existence, fascinated and repelled by “the wolf’s side of life, the ravening side, the apish side; the ugly facets of the monkey puzzle.” Fed up with his dilatory and dreamy ways, his family gave him a one-way ticket to New York City and told him to make his way to Cincinnati, to another set of relatives who didn’t want the strange young man. Penniless and homeless, he wandered the streets of the river town until he found work doing odd jobs at one of the local newspapers. In October of 1872 he submitted a review of Tennyson’s Idylls of the King to the editor of the Cincinnati Enquirer, which became his first signed publication. Thus was born a literary journalist—an intelligent, provocative observer with a ripe facility for language and a penchant for exposing the horror and the humor of everyday urban life.

Christopher Benfey notes, “One of our best current travel writers, Pico Iyer, uses the phrase ‘global soul’ for people who have adapted themselves to our new world of mass migration and globalization. Hearn, it seems ot me, was an early version of a global soul. Born into the British Empire, he experienced firsthand the bitter divisions of the American Gilded Age, and lived to witness the rise of a new power in Asia: Imperial Japan.”

“Late in his life,” Benfy continues, “Hearn became the Brothers Grimm for Japan, assembling the bare bones of some Japanese ghost stories and transmuting them—with a whiff of Poe and Mérimée—into literary masterpieces.”

[[picture:"Hearn at Watkinson.jpg" ID:20711]]

The Watkinson Library is located at Trinity College in Hartford, Connecticut, United States of America.

http://commons.trincoll.edu/watkinson/2012/04/05/just-acquired-lafcadio-hearn-iana/

On April 5th, 2012, the Watkinson Library acquired a group of books by and about Lafcadio Hearn, which will join an already impressive collection both in the Watkinson and the main library stacks.

Lafcadio Hearn was a mongrel child of the world,—a global villager,—a man unattached to country, kin, or creed. He was a sensitive underdog marginalized for his proclivities from beginning to end. Born Patrick Lafcadio Hearn on June 27, 1850, on the Ionian island of Leucadia just north of Ithaca (of Homeric fame), Lafcadio’s own odyssey would bring him to far shores and settings, both exotic and mundane.

In 2009 the Library of America published a selection of Hearn’s works, edited by Christopher Benfey, entitled Lafcadio Hearn: American Writings. In an interview Benfey stated, “I’m completely convinced that Hearn’s time has come. He famously wrote that he worshiped ‘the Odd, the Queer, the Strange, the Exotic, the Monstrous.’ Such pronouncements have made it easy to dismiss him as some oddball combination of Poe and Gauguin, living in an escapist world of dreams. But what Hearn was really interested in was the astonishing variety of human life.”

Hearn’s mother, Rosa Antonia Cassimati, was from Cerigo (known to the Greeks as Kythera); his father, Charles Bush Hearn, was an Irish surgeon and officer in the British Army. Their romance was not favored by either of their families. After Charles was re-assigned to the West Indies, he managed to send Rosa and young Patrick to Dublin, where his relations greeted these “gypsy” additions to their household with predictable warmth. An estranged aunt who doted on Patrick took them in, but after Charles finally returned to Ireland and established a little household in 1853 it became clear he had lost interest in Rosa. He took a new military assignment in the West Indies, and by the time he returned in 1856, Rosa had gone back to Greece and left five-year-old Patrick alone with his great-aunt. Charles Hearn annulled their marriage, and the Hearn family hid the boy from his mother when she returned to Ireland to see him.

At age nine or ten young Patrick discovered the library in his great-aunt’s house, and found several books of art containing images from Greek mythology. “How my heart leaped and fluttered on that happy day!” he would later write. “Breathless I gazed; and the longer that I gazed the more unspeakably lovely those faces and forms appeared. Figure after figure dazzled, astounded, bewitched me.” This fascination with the elder gods did not sit well with his aunt, a devout Catholic, who sent him to a boarding school—three quarters monastery and one quarter military academy—run by “a hateful venomous-hearted old maid.” Guy de Maupassant, who attended the school months after Lafcadio left, wrote “I can never think of the place even now without a shudder. It smelled of prayers the way a fish market smells of fish . . . We lived there in a narrow, contemplative, unnatural piety—and also in a truly meritorious state of filth . . . As for baths, they were as unknown as the name of Victor Hugo. Our masters apparently held them in the greatest contempt.”

When he was sixteen Hearn suffered an accident which blinded his left eye, and from then on he would instinctively cover it with his left hand in conversation, or look down or to the left when photographed. Financial troubles forced him to seek schooling in London while living with a dock worker and his wife (distant relatives)—and there he made his first forays into the underside of urban existence, fascinated and repelled by “the wolf’s side of life, the ravening side, the apish side; the ugly facets of the monkey puzzle.” Fed up with his dilatory and dreamy ways, his family gave him a one-way ticket to New York City and told him to make his way to Cincinnati, to another set of relatives who didn’t want the strange young man. Penniless and homeless, he wandered the streets of the river town until he found work doing odd jobs at one of the local newspapers. In October of 1872 he submitted a review of Tennyson’s Idylls of the King to the editor of the Cincinnati Enquirer, which became his first signed publication. Thus was born a literary journalist—an intelligent, provocative observer with a ripe facility for language and a penchant for exposing the horror and the humor of everyday urban life.

Christopher Benfey notes, “One of our best current travel writers, Pico Iyer, uses the phrase ‘global soul’ for people who have adapted themselves to our new world of mass migration and globalization. Hearn, it seems ot me, was an early version of a global soul. Born into the British Empire, he experienced firsthand the bitter divisions of the American Gilded Age, and lived to witness the rise of a new power in Asia: Imperial Japan.”

“Late in his life,” Benfy continues, “Hearn became the Brothers Grimm for Japan, assembling the bare bones of some Japanese ghost stories and transmuting them—with a whiff of Poe and Mérimée—into literary masterpieces.”

Near the United Nations building, September 25, 2012.

Near the United Nations building, September 25, 2012.

Masaaki Noda is one of Japan's, and the world's, great sculptors.

Masaaki Noda is well know in Greek and Kytherian cultural circles. Amongst others, he has created the sculptures,

- "The Open Mind of Lafcadio Hearn", located on the shore of Lake Shinji, Japan,

- the "Spirit of Mercury" sculpture which is located in the city of Marathon, Greece

- and "Delphi's Mirror", located in Delphi, Greece

Yet another tribute to Lafcadio Hearn.

The exhibition was reported in an article in Yaizu.

The exhibition was organised by Takis Efstathiou.

[[picture:"Kwaidan exhibition 1.jpg" ID:20708]]

Yet another tribute to Lafcadio Hearn.

The exhibition was reported in an article in Yaizu.

The exhibition was organised by Takis Efstathiou.

Yet another tribute to Lafcadio Hearn.

The exhibition was reported in an article in Yaizu.

The exhibition was organised by Takis Efstathiou.

Left to right:

Shoko Koizumi

Shin Masuyama, Curator for the Museum at Kalinihta

Katsuhiko Makita

Masaaki Noda

Yet another tribute to Lafcadio Hearn.

As reported in an article in Yaizu.

The exhibition was organised by Takis Efstathiou.

[[picture:"Lafcadio Hearn Kwaidan Exhibition article.jpg" ID:20704]]

Yet another tribute to Lafcadio Hearn.

As reported in an article in Yaizu.

The exhibition was organised by Takis Efstathiou.

Sponsored by the HEARN SOCIETY

Download a superb .pdf brochure of the exhibition here:

Lafcadio-Hearn_press_release_2012_english.pdf

展覧会

基本情報

日時
Period
October 18-28, 2012
mon-sat: 10:00am-6:00pm
sun: 12:00pm-6:00pm
会場
Venue
Jones Hall 2F, Jones Gallery (Room 200), Tulane University, New Orleans
料金
Free Entrance
内容

Implementation

Hearn’s Open Mind, in other words his tolerance and cooperative mindset, materializes in many of his writings. In particular, Gombo Zhebès and La Cuisine Creole written during his time in New Orleans, and Two Years in the French West Indies written in the Antilles with the same Creole cultural backdrop. Hearn praised the blended culture of the Creoles, and his open-mindedness regarding the contact and fusion of cultures was a new way of thinking that crosses over to modern post-colonialism.

‘The Open Mind of Lafcadio Hearn in New Orleans’ will display approximately 23 pieces from the 2010 exhibition in Matsue Castle; 2 pieces from The American College of Greece; 3 of his favorite items from the Lafcadio Hearn Memorial Museum in Matsue; 26 of first editions of the books mainly from his time in New Orleans (Rare Book Collection, Special Collections, Howard-Tilton Memorial Library, Tulane University). Pieces by the artists freely expressing Hearn’s life, philosophy, and open-mindedness as interpreted from his works and letters will be displayed along with the artists’ remarks. The beautifully designed covers of Hearn’s original publications create a harmonious display along with Hearn’s memo pad that he used as a journalist in New Orleans, and his favorite pen and inkwell, sharing with the viewer a sense of Hearn’s journalistic and writer’s spirit.

The Open Mind of Lafcadio Hearn

‘The Open Mind of Lafcadio Hearn’ is a project that has been nurtured by Takis Efstathiou (Art Coordinator, Greece) since 1996.

Thanks to his passion and hard work, the world’s first Lafcadio Hearn themed art exhibition was held in The American College of Greece Athens in 2009.

The following year, with 2010 marking the 120th anniversary of Hearn’s arrival in Japan and the 160th anniversary of his birth, the art exhibition called on even more artists and was this time held in the castle and Lafcadio Hearn Memorial Museum of Matsue city.

The collaboration of the 400 year old historical building and the modern art created a unique atmosphere.

On both occasions, a sculpture of the same name as the exhibition, created by New York artist Noda Masaaki, was erected in Athens and in Matsue. In 2011, as one of its international locations, the exhibit was held in New York.

There the art was displayed along with the addition of a display of beautifully bound original publications of Hearn’s works (property of Efstathiou).

The New Orleans exhibit is being held in 2012 in cooperation with Tulane University. Respect for Hearn’s open mind is continually growing, and the exhibition will be held in Toyama Prefecture (Japan), where is located “Lafcadio Hearn Library”, in 2014.

https://www.facebook.com/lafcadiokassimati.hearn

Excellent page featuring all information, exhibitions, events etc surrounding the life and times of Lafcadio Hearn.

View of the Castro of Hora from the Belvederie Pizzaria

On the 29th March, 2102, in the City is Fukuyama, (which is near Hiroshima), adjacent to the major train station and transport interchange, Masaaki Noda's The Future is Now sculpture was dedicated and unveiled.

Lafcadio Hearn's grandson, Bon Koizumi spoke as a special guest at this unveiling.

In 2004, Masaaki Noda's stainless steel sculpture Apollo's Mirror was dedicated to the European Cultural Center, which is located in Delphi, Greece.

In 2009, a monument produced by Masaaki Noda and titled the Open Mind Of Lafcadio Hearn, by Takis Efstathiou was installed on the campus of the American College of Greece in Athens in October 2009. An art exhibition under the same title, featuring works from all over the world, was subsequently held in the ACG Art Gallery.

Then in 2010, the exhibition was held in the Lafcadio Hearn Memorial Museum of Matsue, Japan. Once again Masaaki Noda donated a monument, which was erected this time on the shore of Lake Shinji (the original stands at ACG Athens). This sculpture commemorated the 160th Anniversary of Lafcadio Hearn's birth. This sculpture was unveiled and dedicated on Oct. 10th, 2010.

On Sept. 10, 2010, Masaaki Noda's brilliant Spirit of Mercury sculpture was unveiled in the city of Marathon, Greece. The monument commemorates the 2500th Anniversary of the Battle of Marathon.

[[picture:"Hearn The Future is Now Sculpture.jpg" ID:20381]]

On the 29th March, 2102, in the City is Fukuyama, (which is near Hiroshima), adjacent to the major train station and transport interchange, Masaaki Noda's The Future is Now sculpture was dedicated and unveiled.

Lafcadio Hearn's grandson, Bon Koizumi spoke as a special guest at this unveiling.

In 2004, Masaaki Noda's stainless steel sculpture Apollo's Mirror was dedicated to the European Cultural Center, which is located in Delphi, Greece.

In 2009, a monument produced by Masaaki Noda and titled the Open Mind Of Lafcadio Hearn, by Takis Efstathiou was installed on the campus of the American College of Greece in Athens in October 2009. An art exhibition under the same title, featuring works from all over the world, was subsequently held in the ACG Art Gallery.

Then in 2010, the exhibition was held in the Lafcadio Hearn Memorial Museum of Matsue, Japan. Once again Masaaki Noda donated a monument, which was erected this time on the shore of Lake Shinji (the original stands at ACG Athens). This sculpture commemorated the 160th Anniversary of Lafcadio Hearn's birth. This sculpture was unveiled and dedicated on Oct. 10th, 2010.

On Sept. 10, 2010, Masaaki Noda's brilliant Spirit of Mercury sculpture was unveiled in the city of Marathon, Greece. The monument commemorates the 2500th Anniversary of the Battle of Marathon.

Japan Times, Friday, May 4, 2012

Kyodo

Photograph: Popular - Participants take in Matsue's ghost sights in Shimane Prefecture.

MATSUE, Shimane Pref. — A set of steps haunted by the ghost of a geisha slaughtered by a samurai, a graveyard filled with the eerie cries of babies, and a huge stone turtle that roams around in the dead of night are just some of the attractions featured in the popular ghost tour of Matsue, Shimane Prefecture.

The tour, which starts in the evening in groups of about 10 participants, each carrying a flashlight, visits shrines and graveyards referred to in the horror stories of famous Meiji Era novelist Yakumo Koizumi. (Lafcadio Hearn).

Koizumi's great-grandson, Bon Koizumi, 50, conceived the event after experiencing a ghost tour in Ireland, and started the Matsue tour four years ago.

The ghost tour continues to attract participants, mostly women in their 20s through 40s, mainly through word of mouth.

As part of the tour, guests are allowed to enter a temple that is usually shut at night.

"I didn't know a temple at night could be as freaky as this. This is a very refreshing feeling," said Tsuji Kazumi, 29, a female participant from Kofu, Yamanashi Prefecture.

"Matsue nights are really dark. You don't have this pitch darkness in big cities. I would like you to learn more (about Yakumo Koizumi) and have fun with your five senses," Bon said.

For further details, please call the Matsue Tourism Society, a nonprofit organization, at (0852) 23-5470.

Tour fees start at ¥1,500.

[[picture:"Hearn Lafcadio Popular Participants take in Matsue's ghost sights in Shimane Prefecture.jpg" ID:20379]]

Photograph: Popular - Participants take in Matsue's ghost sights in Shimane Prefecture

Japan Times, Friday, May 4, 2012

Kyodo

MATSUE, Shimane Pref. — A set of steps haunted by the ghost of a geisha slaughtered by a samurai, a graveyard filled with the eerie cries of babies, and a huge stone turtle that roams around in the dead of night are just some of the attractions featured in the popular ghost tour of Matsue, Shimane Prefecture.

The tour, which starts in the evening in groups of about 10 participants, each carrying a flashlight, visits shrines and graveyards referred to in the horror stories of famous Meiji Era novelist Yakumo Koizumi. (Lafcadio Hearn).

Koizumi's great-grandson, Bon Koizumi, 50, conceived the event after experiencing a ghost tour in Ireland, and started the Matsue tour four years ago.

The ghost tour continues to attract participants, mostly women in their 20s through 40s, mainly through word of mouth.

As part of the tour, guests are allowed to enter a temple that is usually shut at night.

"I didn't know a temple at night could be as freaky as this. This is a very refreshing feeling," said Tsuji Kazumi, 29, a female participant from Kofu, Yamanashi Prefecture.

"Matsue nights are really dark. You don't have this pitch darkness in big cities. I would like you to learn more (about Yakumo Koizumi) and have fun with your five senses," Bon said.

For further details, please call the Matsue Tourism Society, a nonprofit organization, at (0852) 23-5470.

Tour fees start at ¥1,500.

He may be holding a tortoise, but Takis does not act slowly when it comes to promoting Lafcadio Hearn's life and legacy around the world.

This church was built by the Venetians in 1580.

A collection of ancient Chinese ghost stories translated into English by a 19th century scholar offers a glimpse into the legends that shape the country's culture

Bangkok Post

Published: 5/06/2011

Ghost stories have made a unique contribution to Chinese culture for thousands of years. While many Western scholars have mastered Chinese art forms such as ink painting and traditional music, few have become versed in the country's canon of ancient ghost stories.

Lafcadio Hearn was an exception. Born in Greece in 1850, but having spent most of his life in the US (1869-1889) and Japan (1890-1904), Hearn became famous for his prolific and insightful writings about Japanese culture, society and people.
He was also a celebrated translator of traditional literature from Asian countries into English, especially Japanese legends and ghost stories. His Kwaidan: Stories and Studies of Strange Things was adapted in part by film-maker Masaki Kobayashi for his 1965 cult classic Kwaidan, which won that year's special jury prize at the Cannes Film Festival.

His Chinese Ghost Stories features tales of heroic sacrifice and chilling horror along with poignant tales of hopeless love.
The beautiful Ge-Ai sacrifices her life for her beloved father and becomes a haunting presence in Beijing's Great Bell temple. Ming Yi of the Ming Dynasty (1368-1644) falls in love with a woman who turns out to be the soul of a celebrated female poet (Xue Tao) from the Tang Dynasty (618-907). Selfless son Dong sells himself to a wealthy lord to pay for a decent burial for his father and wins the compassion of the god of heaven, who sends a goddess ( Zhi Nv) to be his wife. Supreme judge Yan Zhenjing of the Tang Dynasty is killed by a rebel leader and becomes an immortal, helping to put down the rebellion.

Hearn employs a delicate touch in narrating these stories, which not only enhances their linguistic charm but makes for an exhilarating read. The elegant and dreamy scenes are captivating, although the charming characters come with the expectation of happy endings.

Lafcadio Hearn.

The evocative scene Hearn sets for a meeting between Ming Yi and Xue Tao in The Story of Ming Yi demonstrates his deft touch. ''That day all the air was drowsy with blossom perfume, and vibrant with the droning of bees. It seemed to Ming Yi that the path he followed had not been trodden by any other for many long years; the grass was tall upon it; vast trees on either side interlocked their mighty and moss-grown arms above him, be-shadowing the way; but the leafy obscurities quivered with bird-song, and the deep vistas of the wood were glorified by vapours of gold, and odorous with flower-breathing as a temple with incense.''

However, while he sets a romantic tone for the stories, Hearn doesn't veer far from the original Chinese stories. He weaves philosophical understanding into his retellings of the classical tales. In The Tradition of the Tea Plant, for example, he writes of ''the good of continence'', which is a core doctrine of traditional Chinese culture.

The stories the Soul of the Great Bell and The Return of Yan Zhenjing offer clues of how the author perceives sacrifice in the context of ancient China. While in the former, Ge-Ai's sacrifice is attributed to her love for her father, Yan's death in the latter is believed to be due to his faith in ''His Majesty the Son of Heaven''.

CHINESE GHOST STORIES: CURIOUS TALES OF THE SUPERNATURAL: By Lafcadio Hearn, 2011 Tuttle Publishing ,128pp. Available at all good bookshops, 395 baht.

Aside from exploring ancient, spiritual China, Hearn also delves into other parts of the country's culture, such as Chinese tea and porcelain in The Tradition of the Tea Plant and The Tale of the Porcelain God.

In addition to being the objects of adoration, some of the women in these stories are often the breadwinners for their families. This is strikingly different to modern China where men are expected to support and take care of women's material needs. This reflects the social context of the time from which the stories originated.

In ancient China, women were skilled food gatherers and performed most domestic tasks. They were viewed as a pillar of the economy and the social structure, while men, who only visited their spouses and children sporadically, played a smaller role in family life.

Hearn's narration reminded me of reading these stories as a child in a small village in southern China. The flavours are so alike that the language barrier does not seem to exist.

Writer: Xiangyang Tang

From left to right:

Masuyama
Shoko Koizumi
Masaaki Noda
Souichi Suzuki
Hideo Shiozawa
Katsuhiko Makita
Hiroyuki Hougetsu

[[picture:"IMG_7534.JPG" ID:20249]]

From left to right

Shin Masuyama, Curator for the Museum at Kalinihta
Shoko Koizumi
Masaaki Noda
Souichi Suzuki
Hideo Shiozawa
Katsuhiko Makita
Hiroyuki Hougetsu

where peripatetic writer Lafcadio Hearn lived during his childhood

Curriculum Vitae, Myrto Dimitriou

Επώνυμο: Δημητρίου
Όνομα: Μυρτώ
Ημερομηνία γέννησης: 02.08.1983
Τόπος γέννησης: Θεσσαλονίκη

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Curriculum Vitae, Myrto Dimitriou

Επώνυμο: Δημητρίου
Όνομα: Μυρτώ
Ημερομηνία γέννησης: 02.08.1983
Τόπος γέννησης: Θεσσαλονίκη

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Curriculum Vitae, Myrto Dimitriou

Επώνυμο: Δημητρίου
Όνομα: Μυρτώ
Ημερομηνία γέννησης: 02.08.1983
Τόπος γέννησης: Θεσσαλονίκη

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Curriculum Vitae, Myrto Dimitriou

Επώνυμο: Δημητρίου
Όνομα: Μυρτώ
Ημερομηνία γέννησης: 02.08.1983
Τόπος γέννησης: Θεσσαλονίκη

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Takis heads the Hearn Society in Athens.

In 2004 the New Orleans City Council voted 7-0 to designate the home a local landmark. Hearn was a Greek-born author who moved to New Orleans in 1877. His writings about the city’s culture and traditions helped make New Orleans a place of interest worldwide.

Happy Ending for Hearn Home

SubHead A century after his death, author Lafcadio Hearn, who many say put New Orleans on the map, is recognized for his contributions

Byline By Bruce Eggler

Staff writer

Date Sunday, September 19, 2004

[[picture:"Hearn_House_NOLA_Cleveland_Robertson.jpg" ID:20184]]

When the Rex organization decided to make "Lafcadio Hearn’s Fantastics" the theme of its 1989 parade, it realized that only a small percentage of residents and tourists would have any idea who Hearn was, so the krewe broke precedent and publicized the theme early.

Even so, most parade-goers that Mardi Gras morning had little notion of what the 26 floats, with titles such as "A Dream of Kites" and "The Night of All Saints, " represented, or what connection they had to New Orleans.

Fifteen years later, as the literary world this month marks the 100th anniversary of Hearn’s death, it is still unlikely that many Louisianians know much about the author, perhaps beyond the facts that he lived in New Orleans for several years and later moved to Japan.

But the small circle of local Hearn devotees had reason to celebrate as they gathered Saturday at the Old U.S. Mint for a daylong symposium on the writer, and looked forward to a gala banquet at Antoine’s Restaurant on Friday -- postponed from this past week because of Hurricane Ivan.

The reason for their jubilation: After years of controversy, the New Orleans City Council this month voted 7-0 to designate Hearn’s former home at 1565-67 Cleveland Ave. as a local landmark.

Previous owners of the building had fought the designation, even getting a court injunction to prevent the city from making the building a landmark, which gives the city’s Historic District Landmarks Commission authority to review and block proposals for changes to the exterior.

But new owner Richard Scribner, a professor at the nearby LSU School of Public Health and a Hearn enthusiast who bought the building from former state legislator and Saints star Pat Swilling in March for $450,000, was happy to see it get the landmark designation.

Besides its connection to Hearn, the Landmarks Commission said, the two-story, Greek Revival double townhouse at Cleveland and South Robertson Street has architectural significance in its own right.

Apparently built for Henry Beebe in 1861-62, it is one of the handful of historic buildings left in the medical district. Most of its neighbors were long since demolished to make way for hospitals, hotels, highway ramps or, in all too many cases, parking lots.

The "exceptionally fine" second-floor cast-iron balcony was added in 1895, after Hearn had vacated the second-floor rooms he rented for several years, the commission’s staff report on the building says.

A writer is born

Born in 1850 on the Greek island of Leucadia, from which his first name -- originally Lefcadio -- was derived, Hearn was the child of an Irish surgeon in the British army and a Greek woman. Rosa Kassimatis from Kythera. His parents separated a few years after his birth.

Raised by an aunt in Ireland, Hearn immigrated to the United States at 19 and settled in Cincinnati, where he became a newspaper proofreader and began writing articles. After a brief marriage to a half-Irish ex-slave, he moved to New Orleans in 1877.

In New Orleans, he worked as a writer and editor for local newspapers, also submitting articles to national magazines, writing several books and making a reputation as a skilled translator of French literature into English.

He became a keen observer of the city’s varied peoples and cultures, becoming, along with George Washington Cable, one of the foremost writers introducing the rest of the country to the Creole city’s colorful and unusual folkways.

Social historian Frederick Starr claims that Hearn virtually created New Orleans’ popular image in the nation’s mind.
"More than anybody else, " Starr wrote in 2001, "it was Hearn who devised the composite image that we know today as the Crescent City, and it was he who first won for that image a national and international renown. Hearn’s New Orleans is rich with diverse peoples and cultures, which he celebrated in hundreds of short essays and sketches, by writing the city’s first cookbook, and by publishing a pioneering collection of Creole proverbs. When other writers and artists later flocked to New Orleans, they sought out those aspects of the city that Hearn had immortalized, thus reinforcing the identity we know today."

For example, Hearn wrote one of the few eyewitness 19th century descriptions of a voodoo gathering in New Orleans, as well as some of the first accounts of the city’s music.
University of New Orleans folklorist Nick Spitzer, like Starr a participant in Saturday’s symposium, agrees with Starr in emphasizing Hearn’s importance in determining how New Orleans came to be viewed by the world, and even by New Orleanians. "I believe that in Lafcadio Hearn -- his life and works -- we have an intellectual and social figure whose legacy is more significant in working with enduring New Orleans vernacular culture than that of Faulkner or Tennessee Williams, " Spitzer has written.

A global voice

After 10 years in New Orleans, however, the restless Hearn moved on, first to Martinique in the West Indies for two years, then to Japan, a country that captured his interest after he reported on the Japanese exhibition at the Cotton Centennial Exposition, a world’s fair held in New Orleans in 1884-85.

Hearn married a Japanese woman, took the name Koizumi Yakumo, taught English at schools in the town of Matsue and later at Japanese universities, and performed for Japan the same task he had for New Orleans: writing articles and books that introduced Japanese culture to the rest of the world. He died in September 1904.

Hearn is far better remembered in Japan than in New Orleans or the other cities and countries he called home. His home in Matsue is a museum, and Japanese children continue to read his books in school.

New Orleanians such as Delia LaBarre, founder of the Lafcadio Hearn/Koizumi Yakumo International Center and editor of a new edition of Hearn’s novella "Chita, A Memory of Last Island, " hope to ease his local neglect by presenting an annual Hearn symposium.

And thanks to the City Council vote, Hearn enthusiasts now can be confident that a building with strong Hearn connections still will be standing years from now, and looking much the way it did when he wrote some of his most acclaimed works there.

. . . . . . .

Bruce Eggler can be reached by email Here


STAFF FILE PHOTO
The New Orleans City Council this month voted 7-0 to designate writer Lafcadio Hearn’s former home at 1565-67 Cleveland Ave. as a local landmark. Hearn was a Greek-born author who moved to New Orleans in 1877. His writings about the city’s culture and traditions helped make New Orleans a place of interest worldwide. [1094059]
Lafcadio Hearn


STAFF FILE PHOTO
The theme for the Rex parade in 1989 was ‘Lafcadio Hearn’s Fantastics.’ The float shown was designed by Henri Schindler and illustrated by Danny Frolich. [63739]

STAFF FILE PHOTO
When the Rex organization decided to incorporate writer Lafcadio Hearn in the theme of its 1989 parade, it decided to announce the theme early because so few locals knew of him. [63740]

Happy Ending for Hearn House

SubHead A century after his death, author Lafcadio Hearn, who many say put New Orleans on the map, is recognized for his contributions

Byline By Bruce Eggler

Staff writer

Date Sunday, September 19, 2004

When the Rex organization decided to make "Lafcadio Hearn’s Fantastics" the theme of its 1989 parade, it realized that only a small percentage of residents and tourists would have any idea who Hearn was, so the krewe broke precedent and publicized the theme early.

Even so, most parade-goers that Mardi Gras morning had little notion of what the 26 floats, with titles such as "A Dream of Kites" and "The Night of All Saints, " represented, or what connection they had to New Orleans.

Fifteen years later, as the literary world this month marks the 100th anniversary of Hearn’s death, it is still unlikely that many Louisianians know much about the author, perhaps beyond the facts that he lived in New Orleans for several years and later moved to Japan.

But the small circle of local Hearn devotees had reason to celebrate as they gathered Saturday at the Old U.S. Mint for a daylong symposium on the writer, and looked forward to a gala banquet at Antoine’s Restaurant on Friday -- postponed from this past week because of Hurricane Ivan.

The reason for their jubilation: After years of controversy, the New Orleans City Council this month voted 7-0 to designate Hearn’s former home at 1565-67 Cleveland Ave. as a local landmark.

Previous owners of the building had fought the designation, even getting a court injunction to prevent the city from making the building a landmark, which gives the city’s Historic District Landmarks Commission authority to review and block proposals for changes to the exterior.

But new owner Richard Scribner, a professor at the nearby LSU School of Public Health and a Hearn enthusiast who bought the building from former state legislator and Saints star Pat Swilling in March for $450,000, was happy to see it get the landmark designation.

Besides its connection to Hearn, the Landmarks Commission said, the two-story, Greek Revival double townhouse at Cleveland and South Robertson Street has architectural significance in its own right.

Apparently built for Henry Beebe in 1861-62, it is one of the handful of historic buildings left in the medical district. Most of its neighbors were long since demolished to make way for hospitals, hotels, highway ramps or, in all too many cases, parking lots.

The "exceptionally fine" second-floor cast-iron balcony was added in 1895, after Hearn had vacated the second-floor rooms he rented for several years, the commission’s staff report on the building says.

A writer is born

Born in 1850 on the Greek island of Leucadia, from which his first name -- originally Lefcadio -- was derived, Hearn was the child of an Irish surgeon in the British army and a Greek woman. Rosa Kassimatis from Kythera. His parents separated a few years after his birth.

Raised by an aunt in Ireland, Hearn immigrated to the United States at 19 and settled in Cincinnati, where he became a newspaper proofreader and began writing articles. After a brief marriage to a half-Irish ex-slave, he moved to New Orleans in 1877.

In New Orleans, he worked as a writer and editor for local newspapers, also submitting articles to national magazines, writing several books and making a reputation as a skilled translator of French literature into English.

He became a keen observer of the city’s varied peoples and cultures, becoming, along with George Washington Cable, one of the foremost writers introducing the rest of the country to the Creole city’s colorful and unusual folkways.

Social historian Frederick Starr claims that Hearn virtually created New Orleans’ popular image in the nation’s mind.
"More than anybody else, " Starr wrote in 2001, "it was Hearn who devised the composite image that we know today as the Crescent City, and it was he who first won for that image a national and international renown. Hearn’s New Orleans is rich with diverse peoples and cultures, which he celebrated in hundreds of short essays and sketches, by writing the city’s first cookbook, and by publishing a pioneering collection of Creole proverbs. When other writers and artists later flocked to New Orleans, they sought out those aspects of the city that Hearn had immortalized, thus reinforcing the identity we know today."

For example, Hearn wrote one of the few eyewitness 19th century descriptions of a voodoo gathering in New Orleans, as well as some of the first accounts of the city’s music.
University of New Orleans folklorist Nick Spitzer, like Starr a participant in Saturday’s symposium, agrees with Starr in emphasizing Hearn’s importance in determining how New Orleans came to be viewed by the world, and even by New Orleanians. "I believe that in Lafcadio Hearn -- his life and works -- we have an intellectual and social figure whose legacy is more significant in working with enduring New Orleans vernacular culture than that of Faulkner or Tennessee Williams, " Spitzer has written.

A global voice

After 10 years in New Orleans, however, the restless Hearn moved on, first to Martinique in the West Indies for two years, then to Japan, a country that captured his interest after he reported on the Japanese exhibition at the Cotton Centennial Exposition, a world’s fair held in New Orleans in 1884-85.

Hearn married a Japanese woman, took the name Koizumi Yakumo, taught English at schools in the town of Matsue and later at Japanese universities, and performed for Japan the same task he had for New Orleans: writing articles and books that introduced Japanese culture to the rest of the world. He died in September 1904.

Hearn is far better remembered in Japan than in New Orleans or the other cities and countries he called home. His home in Matsue is a museum, and Japanese children continue to read his books in school.

New Orleanians such as Delia LaBarre, founder of the Lafcadio Hearn/Koizumi Yakumo International Center and editor of a new edition of Hearn’s novella "Chita, A Memory of Last Island, " hope to ease his local neglect by presenting an annual Hearn symposium.

And thanks to the City Council vote, Hearn enthusiasts now can be confident that a building with strong Hearn connections still will be standing years from now, and looking much the way it did when he wrote some of his most acclaimed works there.

. . . . . . .

Bruce Eggler can be reached by email Here


STAFF FILE PHOTO
The New Orleans City Council this month voted 7-0 to designate writer Lafcadio Hearn’s former home at 1565-67 Cleveland Ave. as a local landmark. Hearn was a Greek-born author who moved to New Orleans in 1877. His writings about the city’s culture and traditions helped make New Orleans a place of interest worldwide. [1094059]
Lafcadio Hearn


STAFF FILE PHOTO
The theme for the Rex parade in 1989 was ‘Lafcadio Hearn’s Fantastics.’ The float shown was designed by Henri Schindler and illustrated by Danny Frolich. [63739]

STAFF FILE PHOTO
When the Rex organization decided to incorporate writer Lafcadio Hearn in the theme of its 1989 parade, it decided to announce the theme early because so few locals knew of him. [63740]

Massaaki Noda is one of Japan's most prominent artists. His sculptures, in particular are superior.

Through his freindship with Hearn Society, Athens, President, Takis Efsathiou, Noda has developed a profound interest in both Hellenism, and the life and psychography of Lafcadio Hearn.

In 2004, Masaaki Noda's stainless steel sculpture Apollo's Mirror was dedicated to the European Cultural Center, which is located in Delphi, Greece.

ECCD Director Christodoulos Yiallouridis,Masaaki Noda and Takis Efstathiou at the Dedication

ECCD Director Christodoulos Yiallouridis, Masaaki Noda and Takis Efstathiou at the Dedication

In 2009, a monument produced by Masaaki Noda and titled the Open Mind Of Lafcadio Hearn, by Takis Efstathiou was installed on the campus of the American College of Greece in Athens in October 2009. An art exhibition under the same title, featuring works from all over the world, was subsequently held in the ACG Art Gallery.

Then in 2010, the exhibition was held in the Lafcadio Hearn Memorial Museum of Matsue, Japan. Once again Masaaki Noda donated a monument, which was erected this time on the shore of Lake Shinji (the original stands at ACG Athens). This sculpture commemorated the 160th Anniversary of Lafcadio Hearn's birth. This sculpture was unveiled and dedicated on Oct. 10th, 2010.

On Sept. 10, 2010, Masaaki Noda's brilliant Spirit of Mercury sculpture was unveiled in the city of Marathon, Greece. The monument commemorates the 2500th Anniversary of the Battle of Marathon.

On the 29th March, 2102, the City is Fukuyama, Hiroshima, adjacent to the major train station and transport interchange, Masaaki Noda's The Future is Now sculpture was dedicated and unveiled. Lafcadio Hearn's grandson, Bon Koizumi spoke as a special guest at this unveiling.

A thought: wouldn't it be great if Kythera, an island so bereft of great public sculpture, might benefit from the connection between Lafcadio Hearn, Takis Efstathiou, and great sculptors of world reknown like Masaaki Noda?


The Airborne Gesture: Masaaki Noda’s Sublime
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In Masaaki Noda’s work the aerodynamic and the grand expressionist gesture converge: two of the basic principles of modernism become one, to new sublime effect. Both began their long careers at the beginning of the twentieth century, the former in the aerodynamic phase of Malevich’s Suprematism and in Delaunay’s cosmic disks, to cite two famous examples, and the later with Kandinsky’s Abstract Expressionism.

Aerodynamics deals with the movement of objects in the atmosphere – they can be streamlined so as to reduce wind drag, making from fore efficient movement – while the expressionist gesture resonated with instuinctive energy. Aerodynamics aims at greater and greater refinement, gesturalism aims at greater and greater impulsiveness. The triumph of Noda’s forms, whether in two or three dimensions, is that they seem simultaneously efficient and impulsive – outwardly swift and inwardly driven. They seem to pare pure form down to a necessary minimum, and to concentrate expressive power in a singular movement. They are at once sweeping and balanced. Most crucially, they convey a sense of cosmic movement – the dynamic of the infinite, as it was, suggestive of spiritual aspiration.

Indeed, Rising to the Firmament, 1997, a rare instance of modernist stained glass, and Perpetual Flight II Beyond Time and Space, 2000, are brilliant embodiments of the abstract sublime. To me they are the climactic works of the last decade – masterpieces conveying, with consummate skill, the experience of transcendence that is the implicit the theme of Noda’s work. It is as though Noda’s tow dimensional work was a rehearsal – a kind of limbering up – for the flight of transcendence realized with breathtaking precision, in both color and line, in these two works.

Perpetual Flight II is a particular triumph, for it ingeniously fuses centripetal and centrifugal movement, which have been longstanding concerns of Noda, as the Centripetal Evolution series, 1992 and the centrifugal Fluid series, 1996 indicate. This work, like so many others – for example, the marvelous Seeker and Interplay, both 1999 – seems like a Brancusi bird unfolded – playfully unpacked, as it were, so that it spreads through space as though in abstract flight. Like Brancusi’s birds, Noda’s vital sculptures, which have an uncanny creatureliness, are inherently abstract, suggesting that reality can be analyzed into an idea that is independent of it – the idea of movement, for example – which, nonetheless, seems to distill its essence. Noda’s work embodies the concept of movement as though it was a autonomous truth, even as it is emblematic of the movement of nature, which is invariable cosmic, however earthbound it seems.

Some of Noda’s sculptures are freestanding, and some are on pedestals. The latter have an uncanny resemblance to plant life – green color of the brass of Orbit and Momentary brief, both 1999 - reinforces the illusion. In contrast, the former have a peculiarly animal presence, and in fact seem on the prowl, surging through space in search of obstacles, to overcome. Flowage II, Riptide, and Notion, all 1999 are self-contained-indeed, self-entangled, like Gordian knots – yet move forward with irresistible force. They may look wild, but there is a purposive thrust to them. All of Nada’s works in fact involves purposive design and free flow, fused to suggest heroic determination and the timeless Tao.

Donald Kuspit
Professor of Art History and Philosophy,
Stony Brook State University New York
1991


Masaaki Noda - Background
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1949
Born, Hiroshima, Japan
1977
Left Japan for New York, NY,
United States of America

Education

1969-1972
Osaka University of Arts, Japan
1977-1980
The Arts Students League of New York (Elizabeth Carstairs
Scholarship)

Awards

1976
Osaka Mayor Prize – The 26th Exhibition of Modern Art, Tokyo, Kyoto, Osaka, Fukulka, (Municipal Museums).
1979
The Carl J. Blenner Prize – 78th Annual Exhibition, New Haven Paint and Clay Club, CT.
Purchase Award – 31st Boston Printmakers Annual Exhibition, MA.
1980
Purchase Award – Charlotte Printmakers 4th Annual Eastern States Print Exhibition, NC.
1982
Purchase Award – 3rd Annual Alabama Works on Paper Exhibition
Traveling Show – The Kennedy-Douglas Center for the Arts in Florance, Alabama;
Columbus College, Georgia; The Alabama School of Fine Arts, Birmingham; University of North Georgia, Dahlonega; Atmore Council of Fine Arts, Atmore;
Auburn University in Montgomery.
Fourth Prize – The 9th International Dogwood Festival Art Show, Atlanta Playhouse Theatre & Georgia Tech Student Center Gallery, Atlanta, GA.
1983
Purchase Award – The Active Members Exhibition, New Haven Paint & Clay Club, CT.
1984
Honorable Mention Award – 11th International Dogwood Festival Art Show, GA.
Second Prize – Carrier Art Festival, (Organized by Carrier Foundation Auxiliary) Gymnasium, NJ.
Second Prize – 10th Annual International Miniature Art Show, Minature Art Society of Florida, Inc. FL.
Second Prize – 9th Annual American National Miniature Show, Laramie Art Guild, WY.
Stella Drabkin Memorial Award – 40th American Color Print Society Exhibition, Abington Art Center, PA.
Third Award – 85th Annual Watercolor Exhibition, The National Art Club, New York, NY
1985
Purchase Award – 12th International Dogwood Festival Art Show GA.
Honorable Mention Award – 7th Annual International Show, Montana Miniature Art Society, Castle, MT.
Migration, ’85 Traveling Exhibit.
1986
Third Award – The 15th National Small Painting Show, New Mexico Art League, NM.
Purchase Award – Heart of America National Small Painting Show, New Mexico Art League, NM.
Honorable Mention Award – 13th International Dogwood Festival Art Show, GA.
First Award – First Annual International Miniature Art Show, Georgia Miniature Art Society, Atlanta, GA.
1989
First Award – 16th International Dogwood Festival Art Show, GA.
Second Award – 11th Annual International Show, Montana Miniature Art Society, Castile Gallery, MT.
Honorable Mention Award – 1989 National Art Show, North Valley Art League, CA.
1992
Third Prize – International Competition, the IWA Foundation, Czechoslovakia
1999
The John Taylor Arms Memorial Award – Audubon Artist 57th Annual Exhibit, New York.
2000
Purchase Award – Society of American Graphic Artists 68th National Members Exhibition, Stephen Gang Gallery, New York, NY.



Solo Exhibition
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1972
Shinanobashi Gallery, Osaka, Japan
1973,74
Miyazaki Gallery, Osaka
1975
Hanga Gallery, Kyoto
1975,76
Shinanobashi Gallery
1976
Miyazaki Gallery
Shinanobashi Gallery
1979,80
Shinanobashi Gallery
1981
Gallery Le Coin, Osaka
1982
A Clean, Well-Lighted Place, Inc., New York, NY
Miriam Perlman Gallery, Chicago, IL
Kew Gallery, New York, NY
1984
Miriam Perlman Gallery, Chicago, IL
Belle Arts Gallery, Nyack, NY
1985
Gallery Downtown, Fort Worth, TX
Belle Arts Gallery, Nyack, NY
Yoh Art Gallery, Osaka
1986
Gallery Hiro, Tokyo
Osaka Contemporary Art Center, Osaka
Yoh Art Gallery, Osaka
Gallery Access Act, Kyoto
Modern Art, Hiroshima
1987
Gallery Le Coin, Osaka
Gilbert Luber Gallery, Philadelphia, PA
1988
Wenniger Graphics, Boston, MA
Wenniger Graphics, Provincetown, MA
1990
Gilbert Luber Gallery, Philadelphia, PA
Artist Gallery, New York, NY
Seton Hall University Art Gallery, NJ
1991
Gallery Hiro, Tokyo
Garando Gallery, Nagoya
Yoh Art Gallery, Osaka
Hiro Chikashige Gallery, Okayama
Suzukawa Gallery, Hiroshima
Fukuyama Museum of Art, Hiroshima
Tennaya Bijutsu Gallery, Fukuyama, Hiroshima
1992
Gallery Seijyo, Sendai
Gallery APA, Nagoya
SPF USA, Gallery and Library, Inc., Washington, DC
1995
Galerie Les Cyclades, Antebes, France
John Callahan Gallery, Boston, MA
Gallery Hiro, Izu Kogen
1999
70th Art Gallery, New York, NY
2000
Galelry Hiro, Tokyo
Gallery Fine Art, Osaka
Tennaya Bijutsu Gallery, Fukuyama, Hiroshima
Suzukawa Gallery, Hiroshima
Bougainvlia Gallery, Greece
Art Com Gallery, Osaka
2001
Art Com Gallery, Osaka



Other Shows:

1982
International Aerial Art Orchestration, (Sky Sculpture), Organized by the Rainbow Art Foundation, The Sheep Meadow, Central Park, New York, NY.



Projects:

1997
Two pieces of 8 by 20 feet stained glass permanently installed Keihan railroad at Uji Station in Kyoto, Japan. Two stained glass works, on the first and second floor at Uji Station. The works were completed August 4, 1997. First floor title Coming And Going, and Vicissitude Second floor title, Rising to the Firmament.
2000
Sculpture Monument installed at Shinichi in Hiroshima. 20x10x10 feet Stainless Steel and White Granite Stone Base. The works was completed May 19, 2000. Title Perpetual Flight II Beyond Time and Space.
2002
Sculpture Monument Installed At Tode high School, Hiroshima 15x7x7 feet.
2003
Sculpture Monument a t Hirano Hiroshima, 10x4x4 feet.



Professional Memberships:

Society of American Graphic Artists: Council (New York, NY)
Audubon Artist: Director (New York, NY)
Boston Printmakers Association (Boston, MA)
The Print Club of Albany (Albany, NY)
The Graphic Arts Council of New York (New York, NY)



Other Exhibitions
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1971
Three Man Show, Yatsui Gallery, Osaka, Japan.
1972
Paper Plan Exhibition, Shinanobashi Gallery, Osaka.
1972-73
Print Art Festival, Miyazaki Gallery, Osaka.
1972-77
All Osaka Print Exhibition, Miyazaki Gallery, Osaka.
1975
Ge Exhibition, Osaka Municipal Gallery.
The Exhibition of Silk Screen Print, Fine Art Gallery, Osaka.
Contemporary Print Art Exhibition, Osaka Municipal Gallery.
1976
Art Now (Organized by Hyogo Modern Art Museum), Kobe, Japan.
Battle Royal Art Show, Osaka Municipal Gallery.
Kansai Exhibition of Modern Art, Nakanoshima Gallery, Osaka.
3rd Kansai Exhibition of Modern Art, Hyogo Modern Art Museum, Kobe.
1977
Contemporary Print Art Exhibition, Osaka Municipal Gallery.
Image of the City Exhibition, Kan Gallery, Kyoto.
The 13th Contemporary Art Exhibition of Japan (Organized by Mainichi Press), Tokyo, Kyoto, (Municipal Museum)
1978
Opening Exhibition, The Flax Gallery, New York, NY-Print Exhibition, Art Student League of New York at the Diamond Art Gallery, Michigan.
11th Annual Juried Graphics Exhibition, Princeton Art Association, NJ.
2nd Annual Print Exhibition, Charlotte, NC.
1978-84
The Print Show, Art Students League, New York, NY.
1979
7th International Miniature Print Competition & Exhibition, Pratt Graphic Center, New York, NY, Traveling Exhibition Itinerary ’79 – ’81
3rd Annual Print Exhibition, Charlotte, NC.
21st Annual Exhibition of Print and Drawing, Oklahoma
Art for Collectors, Ella Sharp Museum, Jackson, MI.
The Miniature Show, Ginn Gallery MA.
Contemporary Japanese Prints, Azuma Gallery, New York, NY
“Japan Today,” Contemporary Japanese Art Exhibition, World Trade Center, New York, NY.
1980
Multiple ’80, National Juried Exhibition, New Orleans, LA.
Mini International Print Biennial, Miami, FL.
13th National Print Exhibition, Charlotte, NC.
21st Annual Exhibition of Print and Drawing, Oklahoma.
Art for Public Places, Sagnaw Art Museum, Mott Community College, Miriam Perlman Gallery, Flint, MI
Art for Collectors, Ella Sharp Museum, Jackson, MI
The Miniature Show, Ginn Gallery, MA.
Contemporary Japanese Prints, Azuma Gallery, New York, NY
“Japan Today,” Contemporary Japanese Art Exhibition, World Trade Center, New York, NY
1980
Multiple ’80, National Juried Exhibition, New Orleans, LA.
Mini International Print Biennial, Miami, FL.
13th National Print Exhibition, The Silvemine Guild of Artists, Inc., CT.
15th National Print Exhibition, Potsdam Print, State University College, NY.
7th International Dogwood Festival Art Show, Atlanta, GA.
6th International Exhibition of Graphic Art, Frenchen, West Germany.
The Fine Arts Print Works, California State University, Chico, CA.
Wesleyan International Exhibition of Prints & Drawings, Wesleyan College, Macon, GA; The University of Mississippi, MS; Lexington, KT: Murray State University, Murray.
1st International Miniature Prints Exhibition, Seoul, South Korea.
6th Independent Exhibition of Prints in Kanagawa (Organized by Kanagawa Prefectural Gallery, The Press of Kanagawa), Yokohama, Japan.
56th Annual International Competition at the Print Club, Philadelphia, PA; Cherry Hill, NJ.
1981
Paper as a Surface, Miriam Perlman Gallery, Chicago, IL.
Original Print Show, International Art Contact Gallery New York, NY; Other Exhibitions (cont.):
Printmakers – New Offering, Community Gallery New York, NY
Boston Printmakers 33rd National Exhibition of the American Color Print Society, Philadelphia Art Alliance, PA.
V Biennial International de Art Valparaiso, Chile.
57th Annual International Competition at Print Club, Philadelphia, PA.
1982
The Gallery of the University of Delaware, Newark, NJ.
Two Person Show, Bell Arts Gallery, Nyack, NY.
24th Annual Exhibition of Paint & Drawing, Oklahoma
81st Annual Art Exhibition, the New Haven Paint & Clay Club, CT.
Annual Competitive Graphics Exhibition 1982, Tempo Gallery, WI.
1st Annual Artlink National Print Competition, Fort Wayne, IN.
It Can't Be Done on Canvas (Organized by Miriam Perlman Gallery), An exhibit in honor of the 25th Anniversary of the University of Michigan – Flint.
Contemporary Japances Garphic Art Galerie Autonom, Berlin, Germany.
Why the Print is an Original Childrens Museum, Minneapolis, MN.
47th Annual National Art Exhibition, Cooperstown, NY.
The 4th Annual International Art Exposition, New York Coliseum, NY.
Color in Motion, Wenniger Graphics, Boston, MA.
59th SAGA National Print Exhibition, The Cooper Union, New York, NY.
Rockford International Biennial ’83, Rockford College, IL.
Cabo Frio International Print Biennial, Brazil.
Annual Competitive Graphics Exhibition, Tempo Gallery, WI.
Three Person Show, Gallery 500, Elikin Park, PA.
14th Annual Print Exhibition, Silvermine Guild Center for Art, CT.
The 8th University of Dallas National Invitational (Organized by the University of Dallas, TX), Traveling, Show, 1984 – Lamar University, Beaumont: Angelo State College, San Angelo; Lufkin Historical Society, Lufkin; Midwestern State University, Wichita Fall; Brown-Lupton Gallery, Texas Christian University, Fort Worth; Warehouse Center of Living Arts, Corsicana; Texas A & I University, Kingsville.
11th Annual Show, “Big 7 Small,” Terrain Gallery, New York, NY
Group Show, Galerie Autonom, Berlin, Germany.
1984
8th Annual Small Work Show, 80 Washington Square East Galleries, New York University New York, NY
Aubudon Artists 42nd Annual Exhibition, National Art Club, New Yrok, NY.
83rd Annual Art Exhibition, The New Haven Paint & Clay Club, CT.
10th International Print Biennial, Cracow, Katowice, Poland.
49th Annual Art Exhibition, Cooperstown Art Association, NY.
Ge Kyoto Exhibition (Organized by Kyoto Museum), Kyoto, Japan.
The G.A.L. 15th Annual Fine Arts Competition, Greensboro Artist League, NC.
6th Annual Exhibition Pennsylvania Society of Watercolor Painters, Shippensberg University Huber Art Center, PA.
The New Haven Paint & Clay Club Members’ Show, CT.
4th Mini Print International de Cadeques, Taller Galeri Fort, Barcelona, Cadaques. Cate Lonia, Spain.
Invitational Holiday Gift Show, Abington Art Center, PA.
Juried Show ’85, Summit Art Center, NJ
6th Annual Invitational Print Show, Artist Signature Gallery, CT.
Group Show at Civilization (organized by the 5 & Dime), New York, NY.
4th Annual Print National, Payne Gallery at Moravin College, PA. Other Exhibitions.
1985
15th Annual International Exhibit, Louisiana Watercolor Society’s International Trade Mart, New Orleans, LA.
Audobon Artists 43rd Annual Exhibition, National Art Club, New York, NY.
4th International Exhibition, “Small Forms of Graphic Art, Poland Lodz ’85,” Gallery of Art Exhibition, Buesu, Poland.
The Biggest Little Art Show in Florida, Siesta Key Gallery, Florida.
Ybor National Print Competition, Ybor City of Commerce, Florida.
16th International Biennial of Graphic Art in Ljubljana, Museum of Modern Art, Yugoslavia
1985 International Exhibition, San Diego Watercolor Society, Grossmont College Art Gallery, CA.
Septemebr Competition, Alexandria Museum, LA.
Il Cabo Frio International Print Biennial, Brazil.
7th Annual Exhibition, Pennsylvania Society of Watercolor Painters, The Shardin Art Gallery of Kuztown University, PA.
86th Annual Open Watercolor Exhibition, The National Art Club, New York, NY.
Group Show, Watanabe Gallery, Hiroshima, Japan.
The Rivington School, No Se No, New York, NY.
2nd International Biennial Print Exhibit: 1985 Roc, Taipei Fine Art Museum, Taiwan.
1986
Paperart – An Open International Exhibition of Work on Paper, the PAPERART Documentation Center, Bahia, Brazil.
16th Annual International Exhibit, Louisianna Watercolor Society’s, LA.
11th International Print Biennial, Cracow, Katowice, Poland.
The 8th International Art Exposition, Convention Center, New York, NY.
Contemporary Japanese Art Created in Other Land, Gallery International 52, New York, NY.
8th Annual Exhibition, Pennsylvania Society of Watercolor of Watercolor Painters, Core B. Miller Gallery, PA.
1st Annual International Miniature Art Exhibition, Del Bello Gallery, Toronto, Canada.
1987
International Group Exhibition, Gallery International 52, New York, NY.
Artista on the Cuttong Edge, Miriam Perlman Gallery, Chicago, IL.
Fine Art Show, (organized by Carrier Auxiliary) Administration Gallery, NJ.
Benefit Show, Associated American Artist, New York, NY.
Clemson National Print and Drawing Exhibition, Clemson University, Rudolph E. Lee Gallery, SC.
Great Graphics, Gallery International 52, New York, NY.
17th International Biennial of Graphic Art in Ljubljana, Museum of Modern Art, Yugoslavia.
Special Edition, A.A.O. Galleries, Buffalo, NY.
14th International Dogwood Festival Art Show, Atlanta Playhouse Theatre and Georgia Tech Student Center Gallery, GA.
Form the Fart East, with C.J. Yao and John Pai, Souyun Yi Gallery, New York, NY.
32nd CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
1988
Japanese Printmakers in New York, Consulate General of Japan, New York, NY.
Ge Kyoto Exhibition, (Organized by Kyoto City Museum), Kyoto, Japan.
The 31st Annual Exhibit of Paintings and Sculpture, Sidney Rothman Gallery, NJ.
12th International Print Biennial, Cracow, Katowice, Poland.
Silk Screen Now, Art Space SAGA, Kyoto, Japan.
33rd CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
A Divergent Approach, The Pen and Brush Club, New York, NY.
Works on Paper and Sculpture, Juried by Barbara Haskell at the Whitney Museum of American Art, Clary Miner Gallery, Buffalo, NY.
American Color Print Society National Members’ Exhibition, The Woodmere Art Museum, Philadelphia, PA.
1989
The Boston Printmakers 41st North American Print Exhibition, The Institute of Boston, Boston, MA.
The International Miniature Print Biennial, John Szoke Gallery, New York, NY. Traveling Exhibition Itinerary, ’89 – ’91.
Man and His Space, Lever House, New York, NY.
5th International Print Biennial Varna, Varna Art Gallery, Bulgaria.
International Exhibition of Artwork on Paper, University Art Galleries, The University of South Dakota, SD; Mind’s Eye Gallery, Dickinson State University, ND.
Greater Midwest International IV, Central Missouri State University Art Center Gallery, MI.
National American Museum Art Show, Lever House, New York, NY.
34th CWAJ Print Show, Tokyo America Club, Tokyo, Japan.
18th International Biennial of Graphic Art in Ljubjana, Museum of Modern Art, Yugoslavia.
Works of Member of Atelier Ponce de Lon, Doma Gallery, New York, NY.
9 Japanese Artists, Port Washington Public Library, NY.
Boston Printmakers Members, Show, Duxbury Art Complex Museum, MA.
4th International Biennial Print Exhibit, Taipei Fine Art Museum, Taiwan.
1990
Japanese Cultural Festival, World Trade Center, New York, NY.
35th CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
Carrier Fine Art Show, Administration “Gallery,” NJ.
Ge Kyoto Exhibition, Kyoto City Museum Kyoto, Japan.
Audubon Artist 48th Annual Exhibition, National Art Club, New York, NY.
Three New York Artist, D.D. Art Space, Taipei, Taiwan.
2nd Annual Exhibition 9 Japanese Artists Living & Working in New York, The Pen & Brush Club, New York, NY.
Japanese Art After the War, Fukuyama Museum of Art, Hiroshima, Japan
1991
Audoubon Artists 49th Annual Exhibition, National Art Club, New York, NY.
Carrier Fine Art Show, Administration Gallery, NJ.
The 7th International Graphic Exhibition, Gatalina, Italy.
Four New York Artists: Robert Kushner, Daniel Gendron, Chihung Yung, and Masaaki Noda, Seibu Contemporary Art Gallery, Tokyo, Japan.
Concept that Continue, Miriam Perlman Gallery, Chicago, IL
19th International Biennial of Graphic Art in Ljubjiana, Museum of Modern Art, Yugoslavia.
The New Collections, Yamanashi Prefecture Museum of Art, Yamanashi, Japan.
64th SAGA Natioanl Print Exhibtion, Lever House, New York, NY.
1992
Audubon Artist 50th Annual Exhibition, Lever House, New York, NY.
19th International Dogwood Art Exhibition, GA.
10th Carrier Fine Art Show, Administration Gallery, NJ.
Art Asia, The Emerging Collector, New York, NY.
Aspects of Flowers, Lever House, New York, NY.
1992
Group Show, Tenri Gallery, New York, NY
Man Ray, Tapies, Pomodoro, Masaaki Noda, Galerie Les Cyclades, Antibes, France.
International Art Part 1, Seibu, Tokyo, Japan
Visions in Between, Ise Art Foundation, New York ’93 - ;94 Traveling Exhibition, Fukuyama Museum of Art, Hiroshima, Japan; Walker Hill Museum of Art, Seoul, South Korea; Park Ryu Sook Gallery, Seoul, South Korea; New Trends Gallery, Taiwan; Howard Salon, Taipei, Taiwan; G Zen Art Gallery, Taiwan; Taipei Gallery, New York.
1993
Audubon Artist 51st Annual Exhibition, National Art Club, New York, NY.
65th SAGA National Print Exhibition, New York
“Motion: Wenniger Graphics, Boston, MA
38th CWAJ Print Show, Tokyo American Club, Tokyo, Japan
National Juried Exhibition, Juror: Donald Kuspit, Gallery 84, New York, NY.
Boston Printmakers Members Show, Duxbury Art Complex Museum, MA
7th International Print Biennial Varna, Varna Art Gallery, Bulgaria
Small Works Show, Gallery 500, PA.
1994
Theodre Stamos, Jakob Bill, Masaaki Noda, Galerie Les Cyclades, Antibes, France.
Audubon Artist 52nd Annual Exhibition, Natioanl Art Club, New York, NY
The Artists Members, Spring Exhibition, The Gallery At the Market Theatre, Albany, NY.
NICAF Yokohama ‘94, International Contemporary Art Fair, Yokohama, Japan.
Contemporary American Printmakers, Thomas J.Walsh Gallery, CT.
Exhibition from the Collections, Osaka Contemporary Art Center, Osaka
International Triennial of Graphic Art, Bitoa, Republic of Mecedonia
International Print Triennial ‘94, Cracow, Poland.
SAGA, The Northwest Print Council, Union Station, Portland, Oregon.
“Art-Phitheater” Hans Hinterreier, Theadoros Stmos, Masaaki Noda, P. T. Efstathiou Fine Art, New York.
California Meets New York, Haener-kent Gallery, New York, NY.
1995
International Print Exhibition, Adair Margo Gallery, New York, NY.
Western Art Charity, Gallery Hiro, Tokyo, Japan.
Two Point View, Bijutsu Salon, Hanku Dpt., Osaka, Japan (organized by Osaka University of Arts).
Printmaking of the Far East, Municipal Gallery Bielsko-Biala, Poland.
Invitation “8th International Print Biennale-Vaarna ‘95,” Varna, Bulgaria.
Graphic Constellation ‘95, Graz, Australia
Intergraphia ‘94-World Award Winners Gallery, Leuven, Belgium
The 7th International Biennial Print & Drawing Exhibit, Taipei Fine Arts Museum, Taiwan.
19th National Triennial Print Exhibition, Schenectady Museum, NY.
A Selection of Recent Prints, Lore Degenstein Gallery, PA.
Light in August, John Callahan Gallery, Boston MA.
Group Exhibition, Galerie les Cyclades, Antibes, France.
Audubon Artist 53rd Annual Exhibition, National Art Club, NY.
The 7th Exhibition of Fukuyama Art Project Prayer, Fukuyama Museum of Art Hiroshima, Japan.
1996
East/West Print Exchange Exhibition, Kala Institute, CA; Olive Hyde Art Gallery, CA; Norwork Community Technical College Art Gallery, CT; 479 Gallery, New York, NY.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY
54th Audubon Artist, Federal Hall, New York, NY.
Jassie’s Benefit Art Show, Ise Art Foundation, New York, NY
4th Biennial of Graphic Art Beograd ’96 International Exhibition, Yugoslavia.
SAGA 65th National Print Exhibition, Federal Plaza, New York, NY.
Japanese Prints and Contemporary Art, Fukuyama Museum of Art, Hiroshima, Japan.
1997
International Print Triennial ’97, Cracow, Poland.
Painting of Fukkuyama, Fukuyama Museum of Art, Hiroshima, Japan.
55th Audubon Artist, The Samagundi Club, New York, NY
International Juried Show, Ne Jersey Center for Visual Arts, NJ.
UNIS Community Art Exhibit, United Nations International School, New York, NY.
The Boston Printmakers Members’ Show, Duxbury Art Complex Museum, Boston.
International Biennial of Small Format Print Leskovas ’97, Yugoslavia Art Gallery “Sunce,” Yugoslvia
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY.
The 66th National Print Exhibition, Nabisco Headquarters Gallery, NJ.
1998
Stockton National Exhibition, The Haggin Museum Stockton, CA.
The Printmaker, Zullo Gallery, Medfield, MA.
SAGA, Krasdale Art Gallery, Bronx, NY.
Surface and Delivery, Housatonic Museum of Art Bridgeport, CT.
5th Annual International Miniature Art Show, Casper, WY.
16th Annual International Juried Show, Rosewell Fine Arts, League, Inc., Rosewell Museum and Art Center.
Washington International Print Fair, John Callahan Gallery, Georgetown, Washington, DC.
20th National Print Exhibition, Schenectady Museum, Schenectady, NY.
22nd National Print Biennial 1998, Silvermine Guild Galleries, Sivermine Guild Arts Center, CT.
Point, Line and Mass, Fukuyama Museum of Art, Hiroshima, Japan.
56th Audubon Artist, The Salmagundi Club, New York, NY.
Artists of Graphic Arts Council of New York, Krasdale Gallery, White Plains, NY.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY
A Holiday Invitational, Ceres Gallery, New York, NY
Group Show, 70th Art Gallery, New York,, NY.
1999
44th CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
Poem of Flower, Fukuyama Museum of Art, Hiroshima, Japan.
SAGA 69th National Member’s Exhibition, Prince Street Gallery, NY.
Proof of 20th Century, Organized by Osaka Museum of Arts, ABC Gallery, 10th International Exhibition Small Graphic Forms, Kiejska Galeria Sztuki, Poland.
Thirty Works by Art Students League of New York Alumni 1965 – 95, Art Student League, New York, NY
White and Black, Fukuyama Museum of Art, Hiroshima International Print Biennial Varna ’99, Varna, Bulgaria.
Allen Ginsberg and Friends, Southby’s, New York, NY.
2000
Artist Member’s Small Work Exhibition, The Print Club of Albany, Lulu Gallery, Albany, NY.
Group Exhibition, Studio B Fine Art Gallery, Queens, N.Y.
Williamsburg Bridges Japan, Williamsburg Art & Historical Center, Brooklyn, New York.
58th Audubon Artist, The Salma Gundi Club, New York, N.Y.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY.
Friends with Yoshio Kono, ABC Gallery, Osaka.
1st Biennial International Miniature Print Exhibition, New Leaf Editions, Vancouver, Canada.
Four Contemporary Artist from Efstathiou Collection, Studio B Gallery, Astoria, New York, May 17-20, 2001.
Seventy-five works by eighteen artists, Krasdale Gallery, New York & White Plain, June 25 – September 24, 2001.
6+6=Prints, Amerasia Bank Exhibition Gallery, Flushing, New York, September 7 – September 18, 2001.
Audebon Artist, Salmagundi Club, September 17 – October 5, 2001.
Rain Forest Exhibition:
Kaohsiung Museum of Fine Art, Taiwan, August 28 – October 24, 2001.
New York Chinese Cultural Center, New York, November 2 – December 15, 2001.
Las Vegas art Museum, Las Vegas, Nevada, January 17 – March 17, 2001.
The 10th International Biennial Print & Drawing Exhibition, Taipei Fine Art Museum, Taiwan, Dec, 2001.
2002
Rain forest Exhibition, Asian Arts & Culture Center, Towson University, MD.
Japanese and Japanese American Artist in New York, JAA, NY.
Transitional Dialogues, Andre zarre Gallery, NYC.
69th National Juried Exhibition, The Art Students League, NYC.
59th Annual Exhibition Audubon artist, The Salmagundi Club, NYC.
“A Century on paper” Print by Art Students League Artists 1901-2001 UBS Paine Webber Gallery, NYC.

to the European Cultural Center, of Noda's Apollo's Mirror. The ECCD is located in Delphi, Greece.

Massaaki Noda is one of Japan's most prominent artists. His sculptures, in particular are superior.

Through his freindship with Hearn Society, Athens, President, Takis Efsathiou, Noda has developed a profound interest in both Hellenism, and the life and psychography of Lafcadio Hearn.

In 2004, Masaaki Noda's stainless steel sculpture Apollo's Mirror was dedicated to the European Cultural Center, which is located in Delphi, Greece.

In 2009, a monument produced by Masaaki Noda and titled the Open Mind Of Lafcadio Hearn, by Takis Efstathiou was installed on the campus of the American College of Greece in Athens in October 2009. An art exhibition under the same title, featuring works from all over the world, was subsequently held in the ACG Art Gallery.

Then in 2010, the exhibition was held in the Lafcadio Hearn Memorial Museum of Matsue, Japan. Once again Masaaki Noda donated a monument, which was erected this time on the shore of Lake Shinji (the original stands at ACG Athens). This sculpture commemorated the 160th Anniversary of Lafcadio Hearn's birth. This sculpture was unveiled and dedicated on Oct. 10th, 2010.

On Sept. 10, 2010, Masaaki Noda's brilliant Spirit of Mercury sculpture was unveiled in the city of Marathon, Greece. The monument commemorates the 2500th Anniversary of the Battle of Marathon.

On the 29th March, 2102, the City is Fukuyama, Hiroshima, adjacent to the major train station and transport interchange, Masaaki Noda's The Future is Now sculpture was dedicated and unveiled. Lafcadio Hearn's grandson, Bon Koizumi spoke as a special guest at this unveiling.

A thought: wouldn't it be great if Kythera, an island so bereft of great public sculpture, might benefit from the connection between Lafcadio Hearn, Takis Efstathiou, and great sculptors of world reknown like Masaaki Noda?


The Airborne Gesture: Masaaki Noda’s Sublime
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In Masaaki Noda’s work the aerodynamic and the grand expressionist gesture converge: two of the basic principles of modernism become one, to new sublime effect. Both began their long careers at the beginning of the twentieth century, the former in the aerodynamic phase of Malevich’s Suprematism and in Delaunay’s cosmic disks, to cite two famous examples, and the later with Kandinsky’s Abstract Expressionism.

Aerodynamics deals with the movement of objects in the atmosphere – they can be streamlined so as to reduce wind drag, making from fore efficient movement – while the expressionist gesture resonated with instuinctive energy. Aerodynamics aims at greater and greater refinement, gesturalism aims at greater and greater impulsiveness. The triumph of Noda’s forms, whether in two or three dimensions, is that they seem simultaneously efficient and impulsive – outwardly swift and inwardly driven. They seem to pare pure form down to a necessary minimum, and to concentrate expressive power in a singular movement. They are at once sweeping and balanced. Most crucially, they convey a sense of cosmic movement – the dynamic of the infinite, as it was, suggestive of spiritual aspiration.

Indeed, Rising to the Firmament, 1997, a rare instance of modernist stained glass, and Perpetual Flight II Beyond Time and Space, 2000, are brilliant embodiments of the abstract sublime. To me they are the climactic works of the last decade – masterpieces conveying, with consummate skill, the experience of transcendence that is the implicit the theme of Noda’s work. It is as though Noda’s tow dimensional work was a rehearsal – a kind of limbering up – for the flight of transcendence realized with breathtaking precision, in both color and line, in these two works.

Perpetual Flight II is a particular triumph, for it ingeniously fuses centripetal and centrifugal movement, which have been longstanding concerns of Noda, as the Centripetal Evolution series, 1992 and the centrifugal Fluid series, 1996 indicate. This work, like so many others – for example, the marvelous Seeker and Interplay, both 1999 – seems like a Brancusi bird unfolded – playfully unpacked, as it were, so that it spreads through space as though in abstract flight. Like Brancusi’s birds, Noda’s vital sculptures, which have an uncanny creatureliness, are inherently abstract, suggesting that reality can be analyzed into an idea that is independent of it – the idea of movement, for example – which, nonetheless, seems to distill its essence. Noda’s work embodies the concept of movement as though it was a autonomous truth, even as it is emblematic of the movement of nature, which is invariable cosmic, however earthbound it seems.

Some of Noda’s sculptures are freestanding, and some are on pedestals. The latter have an uncanny resemblance to plant life – green color of the brass of Orbit and Momentary brief, both 1999 - reinforces the illusion. In contrast, the former have a peculiarly animal presence, and in fact seem on the prowl, surging through space in search of obstacles, to overcome. Flowage II, Riptide, and Notion, all 1999 are self-contained-indeed, self-entangled, like Gordian knots – yet move forward with irresistible force. They may look wild, but there is a purposive thrust to them. All of Nada’s works in fact involves purposive design and free flow, fused to suggest heroic determination and the timeless Tao.

Donald Kuspit
Professor of Art History and Philosophy,
Stony Brook State University New York
1991


Masaaki Noda - Background
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1949
Born, Hiroshima, Japan
1977
Left Japan for New York, NY,
United States of America

Education

1969-1972
Osaka University of Arts, Japan
1977-1980
The Arts Students League of New York (Elizabeth Carstairs
Scholarship)

Awards

1976
Osaka Mayor Prize – The 26th Exhibition of Modern Art, Tokyo, Kyoto, Osaka, Fukulka, (Municipal Museums).
1979
The Carl J. Blenner Prize – 78th Annual Exhibition, New Haven Paint and Clay Club, CT.
Purchase Award – 31st Boston Printmakers Annual Exhibition, MA.
1980
Purchase Award – Charlotte Printmakers 4th Annual Eastern States Print Exhibition, NC.
1982
Purchase Award – 3rd Annual Alabama Works on Paper Exhibition
Traveling Show – The Kennedy-Douglas Center for the Arts in Florance, Alabama;
Columbus College, Georgia; The Alabama School of Fine Arts, Birmingham; University of North Georgia, Dahlonega; Atmore Council of Fine Arts, Atmore;
Auburn University in Montgomery.
Fourth Prize – The 9th International Dogwood Festival Art Show, Atlanta Playhouse Theatre & Georgia Tech Student Center Gallery, Atlanta, GA.
1983
Purchase Award – The Active Members Exhibition, New Haven Paint & Clay Club, CT.
1984
Honorable Mention Award – 11th International Dogwood Festival Art Show, GA.
Second Prize – Carrier Art Festival, (Organized by Carrier Foundation Auxiliary) Gymnasium, NJ.
Second Prize – 10th Annual International Miniature Art Show, Minature Art Society of Florida, Inc. FL.
Second Prize – 9th Annual American National Miniature Show, Laramie Art Guild, WY.
Stella Drabkin Memorial Award – 40th American Color Print Society Exhibition, Abington Art Center, PA.
Third Award – 85th Annual Watercolor Exhibition, The National Art Club, New York, NY
1985
Purchase Award – 12th International Dogwood Festival Art Show GA.
Honorable Mention Award – 7th Annual International Show, Montana Miniature Art Society, Castle, MT.
Migration, ’85 Traveling Exhibit.
1986
Third Award – The 15th National Small Painting Show, New Mexico Art League, NM.
Purchase Award – Heart of America National Small Painting Show, New Mexico Art League, NM.
Honorable Mention Award – 13th International Dogwood Festival Art Show, GA.
First Award – First Annual International Miniature Art Show, Georgia Miniature Art Society, Atlanta, GA.
1989
First Award – 16th International Dogwood Festival Art Show, GA.
Second Award – 11th Annual International Show, Montana Miniature Art Society, Castile Gallery, MT.
Honorable Mention Award – 1989 National Art Show, North Valley Art League, CA.
1992
Third Prize – International Competition, the IWA Foundation, Czechoslovakia
1999
The John Taylor Arms Memorial Award – Audubon Artist 57th Annual Exhibit, New York.
2000
Purchase Award – Society of American Graphic Artists 68th National Members Exhibition, Stephen Gang Gallery, New York, NY.



Solo Exhibition
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1972
Shinanobashi Gallery, Osaka, Japan
1973,74
Miyazaki Gallery, Osaka
1975
Hanga Gallery, Kyoto
1975,76
Shinanobashi Gallery
1976
Miyazaki Gallery
Shinanobashi Gallery
1979,80
Shinanobashi Gallery
1981
Gallery Le Coin, Osaka
1982
A Clean, Well-Lighted Place, Inc., New York, NY
Miriam Perlman Gallery, Chicago, IL
Kew Gallery, New York, NY
1984
Miriam Perlman Gallery, Chicago, IL
Belle Arts Gallery, Nyack, NY
1985
Gallery Downtown, Fort Worth, TX
Belle Arts Gallery, Nyack, NY
Yoh Art Gallery, Osaka
1986
Gallery Hiro, Tokyo
Osaka Contemporary Art Center, Osaka
Yoh Art Gallery, Osaka
Gallery Access Act, Kyoto
Modern Art, Hiroshima
1987
Gallery Le Coin, Osaka
Gilbert Luber Gallery, Philadelphia, PA
1988
Wenniger Graphics, Boston, MA
Wenniger Graphics, Provincetown, MA
1990
Gilbert Luber Gallery, Philadelphia, PA
Artist Gallery, New York, NY
Seton Hall University Art Gallery, NJ
1991
Gallery Hiro, Tokyo
Garando Gallery, Nagoya
Yoh Art Gallery, Osaka
Hiro Chikashige Gallery, Okayama
Suzukawa Gallery, Hiroshima
Fukuyama Museum of Art, Hiroshima
Tennaya Bijutsu Gallery, Fukuyama, Hiroshima
1992
Gallery Seijyo, Sendai
Gallery APA, Nagoya
SPF USA, Gallery and Library, Inc., Washington, DC
1995
Galerie Les Cyclades, Antebes, France
John Callahan Gallery, Boston, MA
Gallery Hiro, Izu Kogen
1999
70th Art Gallery, New York, NY
2000
Galelry Hiro, Tokyo
Gallery Fine Art, Osaka
Tennaya Bijutsu Gallery, Fukuyama, Hiroshima
Suzukawa Gallery, Hiroshima
Bougainvlia Gallery, Greece
Art Com Gallery, Osaka
2001
Art Com Gallery, Osaka



Other Shows:

1982
International Aerial Art Orchestration, (Sky Sculpture), Organized by the Rainbow Art Foundation, The Sheep Meadow, Central Park, New York, NY.



Projects:

1997
Two pieces of 8 by 20 feet stained glass permanently installed Keihan railroad at Uji Station in Kyoto, Japan. Two stained glass works, on the first and second floor at Uji Station. The works were completed August 4, 1997. First floor title Coming And Going, and Vicissitude Second floor title, Rising to the Firmament.
2000
Sculpture Monument installed at Shinichi in Hiroshima. 20x10x10 feet Stainless Steel and White Granite Stone Base. The works was completed May 19, 2000. Title Perpetual Flight II Beyond Time and Space.
2002
Sculpture Monument Installed At Tode high School, Hiroshima 15x7x7 feet.
2003
Sculpture Monument a t Hirano Hiroshima, 10x4x4 feet.



Professional Memberships:

Society of American Graphic Artists: Council (New York, NY)
Audubon Artist: Director (New York, NY)
Boston Printmakers Association (Boston, MA)
The Print Club of Albany (Albany, NY)
The Graphic Arts Council of New York (New York, NY)



Other Exhibitions
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1971
Three Man Show, Yatsui Gallery, Osaka, Japan.
1972
Paper Plan Exhibition, Shinanobashi Gallery, Osaka.
1972-73
Print Art Festival, Miyazaki Gallery, Osaka.
1972-77
All Osaka Print Exhibition, Miyazaki Gallery, Osaka.
1975
Ge Exhibition, Osaka Municipal Gallery.
The Exhibition of Silk Screen Print, Fine Art Gallery, Osaka.
Contemporary Print Art Exhibition, Osaka Municipal Gallery.
1976
Art Now (Organized by Hyogo Modern Art Museum), Kobe, Japan.
Battle Royal Art Show, Osaka Municipal Gallery.
Kansai Exhibition of Modern Art, Nakanoshima Gallery, Osaka.
3rd Kansai Exhibition of Modern Art, Hyogo Modern Art Museum, Kobe.
1977
Contemporary Print Art Exhibition, Osaka Municipal Gallery.
Image of the City Exhibition, Kan Gallery, Kyoto.
The 13th Contemporary Art Exhibition of Japan (Organized by Mainichi Press), Tokyo, Kyoto, (Municipal Museum)
1978
Opening Exhibition, The Flax Gallery, New York, NY-Print Exhibition, Art Student League of New York at the Diamond Art Gallery, Michigan.
11th Annual Juried Graphics Exhibition, Princeton Art Association, NJ.
2nd Annual Print Exhibition, Charlotte, NC.
1978-84
The Print Show, Art Students League, New York, NY.
1979
7th International Miniature Print Competition & Exhibition, Pratt Graphic Center, New York, NY, Traveling Exhibition Itinerary ’79 – ’81
3rd Annual Print Exhibition, Charlotte, NC.
21st Annual Exhibition of Print and Drawing, Oklahoma
Art for Collectors, Ella Sharp Museum, Jackson, MI.
The Miniature Show, Ginn Gallery MA.
Contemporary Japanese Prints, Azuma Gallery, New York, NY
“Japan Today,” Contemporary Japanese Art Exhibition, World Trade Center, New York, NY.
1980
Multiple ’80, National Juried Exhibition, New Orleans, LA.
Mini International Print Biennial, Miami, FL.
13th National Print Exhibition, Charlotte, NC.
21st Annual Exhibition of Print and Drawing, Oklahoma.
Art for Public Places, Sagnaw Art Museum, Mott Community College, Miriam Perlman Gallery, Flint, MI
Art for Collectors, Ella Sharp Museum, Jackson, MI
The Miniature Show, Ginn Gallery, MA.
Contemporary Japanese Prints, Azuma Gallery, New York, NY
“Japan Today,” Contemporary Japanese Art Exhibition, World Trade Center, New York, NY
1980
Multiple ’80, National Juried Exhibition, New Orleans, LA.
Mini International Print Biennial, Miami, FL.
13th National Print Exhibition, The Silvemine Guild of Artists, Inc., CT.
15th National Print Exhibition, Potsdam Print, State University College, NY.
7th International Dogwood Festival Art Show, Atlanta, GA.
6th International Exhibition of Graphic Art, Frenchen, West Germany.
The Fine Arts Print Works, California State University, Chico, CA.
Wesleyan International Exhibition of Prints & Drawings, Wesleyan College, Macon, GA; The University of Mississippi, MS; Lexington, KT: Murray State University, Murray.
1st International Miniature Prints Exhibition, Seoul, South Korea.
6th Independent Exhibition of Prints in Kanagawa (Organized by Kanagawa Prefectural Gallery, The Press of Kanagawa), Yokohama, Japan.
56th Annual International Competition at the Print Club, Philadelphia, PA; Cherry Hill, NJ.
1981
Paper as a Surface, Miriam Perlman Gallery, Chicago, IL.
Original Print Show, International Art Contact Gallery New York, NY; Other Exhibitions (cont.):
Printmakers – New Offering, Community Gallery New York, NY
Boston Printmakers 33rd National Exhibition of the American Color Print Society, Philadelphia Art Alliance, PA.
V Biennial International de Art Valparaiso, Chile.
57th Annual International Competition at Print Club, Philadelphia, PA.
1982
The Gallery of the University of Delaware, Newark, NJ.
Two Person Show, Bell Arts Gallery, Nyack, NY.
24th Annual Exhibition of Paint & Drawing, Oklahoma
81st Annual Art Exhibition, the New Haven Paint & Clay Club, CT.
Annual Competitive Graphics Exhibition 1982, Tempo Gallery, WI.
1st Annual Artlink National Print Competition, Fort Wayne, IN.
It Can't Be Done on Canvas (Organized by Miriam Perlman Gallery), An exhibit in honor of the 25th Anniversary of the University of Michigan – Flint.
Contemporary Japances Garphic Art Galerie Autonom, Berlin, Germany.
Why the Print is an Original Childrens Museum, Minneapolis, MN.
47th Annual National Art Exhibition, Cooperstown, NY.
The 4th Annual International Art Exposition, New York Coliseum, NY.
Color in Motion, Wenniger Graphics, Boston, MA.
59th SAGA National Print Exhibition, The Cooper Union, New York, NY.
Rockford International Biennial ’83, Rockford College, IL.
Cabo Frio International Print Biennial, Brazil.
Annual Competitive Graphics Exhibition, Tempo Gallery, WI.
Three Person Show, Gallery 500, Elikin Park, PA.
14th Annual Print Exhibition, Silvermine Guild Center for Art, CT.
The 8th University of Dallas National Invitational (Organized by the University of Dallas, TX), Traveling, Show, 1984 – Lamar University, Beaumont: Angelo State College, San Angelo; Lufkin Historical Society, Lufkin; Midwestern State University, Wichita Fall; Brown-Lupton Gallery, Texas Christian University, Fort Worth; Warehouse Center of Living Arts, Corsicana; Texas A & I University, Kingsville.
11th Annual Show, “Big 7 Small,” Terrain Gallery, New York, NY
Group Show, Galerie Autonom, Berlin, Germany.
1984
8th Annual Small Work Show, 80 Washington Square East Galleries, New York University New York, NY
Aubudon Artists 42nd Annual Exhibition, National Art Club, New Yrok, NY.
83rd Annual Art Exhibition, The New Haven Paint & Clay Club, CT.
10th International Print Biennial, Cracow, Katowice, Poland.
49th Annual Art Exhibition, Cooperstown Art Association, NY.
Ge Kyoto Exhibition (Organized by Kyoto Museum), Kyoto, Japan.
The G.A.L. 15th Annual Fine Arts Competition, Greensboro Artist League, NC.
6th Annual Exhibition Pennsylvania Society of Watercolor Painters, Shippensberg University Huber Art Center, PA.
The New Haven Paint & Clay Club Members’ Show, CT.
4th Mini Print International de Cadeques, Taller Galeri Fort, Barcelona, Cadaques. Cate Lonia, Spain.
Invitational Holiday Gift Show, Abington Art Center, PA.
Juried Show ’85, Summit Art Center, NJ
6th Annual Invitational Print Show, Artist Signature Gallery, CT.
Group Show at Civilization (organized by the 5 & Dime), New York, NY.
4th Annual Print National, Payne Gallery at Moravin College, PA. Other Exhibitions.
1985
15th Annual International Exhibit, Louisiana Watercolor Society’s International Trade Mart, New Orleans, LA.
Audobon Artists 43rd Annual Exhibition, National Art Club, New York, NY.
4th International Exhibition, “Small Forms of Graphic Art, Poland Lodz ’85,” Gallery of Art Exhibition, Buesu, Poland.
The Biggest Little Art Show in Florida, Siesta Key Gallery, Florida.
Ybor National Print Competition, Ybor City of Commerce, Florida.
16th International Biennial of Graphic Art in Ljubljana, Museum of Modern Art, Yugoslavia
1985 International Exhibition, San Diego Watercolor Society, Grossmont College Art Gallery, CA.
Septemebr Competition, Alexandria Museum, LA.
Il Cabo Frio International Print Biennial, Brazil.
7th Annual Exhibition, Pennsylvania Society of Watercolor Painters, The Shardin Art Gallery of Kuztown University, PA.
86th Annual Open Watercolor Exhibition, The National Art Club, New York, NY.
Group Show, Watanabe Gallery, Hiroshima, Japan.
The Rivington School, No Se No, New York, NY.
2nd International Biennial Print Exhibit: 1985 Roc, Taipei Fine Art Museum, Taiwan.
1986
Paperart – An Open International Exhibition of Work on Paper, the PAPERART Documentation Center, Bahia, Brazil.
16th Annual International Exhibit, Louisianna Watercolor Society’s, LA.
11th International Print Biennial, Cracow, Katowice, Poland.
The 8th International Art Exposition, Convention Center, New York, NY.
Contemporary Japanese Art Created in Other Land, Gallery International 52, New York, NY.
8th Annual Exhibition, Pennsylvania Society of Watercolor of Watercolor Painters, Core B. Miller Gallery, PA.
1st Annual International Miniature Art Exhibition, Del Bello Gallery, Toronto, Canada.
1987
International Group Exhibition, Gallery International 52, New York, NY.
Artista on the Cuttong Edge, Miriam Perlman Gallery, Chicago, IL.
Fine Art Show, (organized by Carrier Auxiliary) Administration Gallery, NJ.
Benefit Show, Associated American Artist, New York, NY.
Clemson National Print and Drawing Exhibition, Clemson University, Rudolph E. Lee Gallery, SC.
Great Graphics, Gallery International 52, New York, NY.
17th International Biennial of Graphic Art in Ljubljana, Museum of Modern Art, Yugoslavia.
Special Edition, A.A.O. Galleries, Buffalo, NY.
14th International Dogwood Festival Art Show, Atlanta Playhouse Theatre and Georgia Tech Student Center Gallery, GA.
Form the Fart East, with C.J. Yao and John Pai, Souyun Yi Gallery, New York, NY.
32nd CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
1988
Japanese Printmakers in New York, Consulate General of Japan, New York, NY.
Ge Kyoto Exhibition, (Organized by Kyoto City Museum), Kyoto, Japan.
The 31st Annual Exhibit of Paintings and Sculpture, Sidney Rothman Gallery, NJ.
12th International Print Biennial, Cracow, Katowice, Poland.
Silk Screen Now, Art Space SAGA, Kyoto, Japan.
33rd CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
A Divergent Approach, The Pen and Brush Club, New York, NY.
Works on Paper and Sculpture, Juried by Barbara Haskell at the Whitney Museum of American Art, Clary Miner Gallery, Buffalo, NY.
American Color Print Society National Members’ Exhibition, The Woodmere Art Museum, Philadelphia, PA.
1989
The Boston Printmakers 41st North American Print Exhibition, The Institute of Boston, Boston, MA.
The International Miniature Print Biennial, John Szoke Gallery, New York, NY. Traveling Exhibition Itinerary, ’89 – ’91.
Man and His Space, Lever House, New York, NY.
5th International Print Biennial Varna, Varna Art Gallery, Bulgaria.
International Exhibition of Artwork on Paper, University Art Galleries, The University of South Dakota, SD; Mind’s Eye Gallery, Dickinson State University, ND.
Greater Midwest International IV, Central Missouri State University Art Center Gallery, MI.
National American Museum Art Show, Lever House, New York, NY.
34th CWAJ Print Show, Tokyo America Club, Tokyo, Japan.
18th International Biennial of Graphic Art in Ljubjana, Museum of Modern Art, Yugoslavia.
Works of Member of Atelier Ponce de Lon, Doma Gallery, New York, NY.
9 Japanese Artists, Port Washington Public Library, NY.
Boston Printmakers Members, Show, Duxbury Art Complex Museum, MA.
4th International Biennial Print Exhibit, Taipei Fine Art Museum, Taiwan.
1990
Japanese Cultural Festival, World Trade Center, New York, NY.
35th CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
Carrier Fine Art Show, Administration “Gallery,” NJ.
Ge Kyoto Exhibition, Kyoto City Museum Kyoto, Japan.
Audubon Artist 48th Annual Exhibition, National Art Club, New York, NY.
Three New York Artist, D.D. Art Space, Taipei, Taiwan.
2nd Annual Exhibition 9 Japanese Artists Living & Working in New York, The Pen & Brush Club, New York, NY.
Japanese Art After the War, Fukuyama Museum of Art, Hiroshima, Japan
1991
Audoubon Artists 49th Annual Exhibition, National Art Club, New York, NY.
Carrier Fine Art Show, Administration Gallery, NJ.
The 7th International Graphic Exhibition, Gatalina, Italy.
Four New York Artists: Robert Kushner, Daniel Gendron, Chihung Yung, and Masaaki Noda, Seibu Contemporary Art Gallery, Tokyo, Japan.
Concept that Continue, Miriam Perlman Gallery, Chicago, IL
19th International Biennial of Graphic Art in Ljubjiana, Museum of Modern Art, Yugoslavia.
The New Collections, Yamanashi Prefecture Museum of Art, Yamanashi, Japan.
64th SAGA Natioanl Print Exhibtion, Lever House, New York, NY.
1992
Audubon Artist 50th Annual Exhibition, Lever House, New York, NY.
19th International Dogwood Art Exhibition, GA.
10th Carrier Fine Art Show, Administration Gallery, NJ.
Art Asia, The Emerging Collector, New York, NY.
Aspects of Flowers, Lever House, New York, NY.
1992
Group Show, Tenri Gallery, New York, NY
Man Ray, Tapies, Pomodoro, Masaaki Noda, Galerie Les Cyclades, Antibes, France.
International Art Part 1, Seibu, Tokyo, Japan
Visions in Between, Ise Art Foundation, New York ’93 - ;94 Traveling Exhibition, Fukuyama Museum of Art, Hiroshima, Japan; Walker Hill Museum of Art, Seoul, South Korea; Park Ryu Sook Gallery, Seoul, South Korea; New Trends Gallery, Taiwan; Howard Salon, Taipei, Taiwan; G Zen Art Gallery, Taiwan; Taipei Gallery, New York.
1993
Audubon Artist 51st Annual Exhibition, National Art Club, New York, NY.
65th SAGA National Print Exhibition, New York
“Motion: Wenniger Graphics, Boston, MA
38th CWAJ Print Show, Tokyo American Club, Tokyo, Japan
National Juried Exhibition, Juror: Donald Kuspit, Gallery 84, New York, NY.
Boston Printmakers Members Show, Duxbury Art Complex Museum, MA
7th International Print Biennial Varna, Varna Art Gallery, Bulgaria
Small Works Show, Gallery 500, PA.
1994
Theodre Stamos, Jakob Bill, Masaaki Noda, Galerie Les Cyclades, Antibes, France.
Audubon Artist 52nd Annual Exhibition, Natioanl Art Club, New York, NY
The Artists Members, Spring Exhibition, The Gallery At the Market Theatre, Albany, NY.
NICAF Yokohama ‘94, International Contemporary Art Fair, Yokohama, Japan.
Contemporary American Printmakers, Thomas J.Walsh Gallery, CT.
Exhibition from the Collections, Osaka Contemporary Art Center, Osaka
International Triennial of Graphic Art, Bitoa, Republic of Mecedonia
International Print Triennial ‘94, Cracow, Poland.
SAGA, The Northwest Print Council, Union Station, Portland, Oregon.
“Art-Phitheater” Hans Hinterreier, Theadoros Stmos, Masaaki Noda, P. T. Efstathiou Fine Art, New York.
California Meets New York, Haener-kent Gallery, New York, NY.
1995
International Print Exhibition, Adair Margo Gallery, New York, NY.
Western Art Charity, Gallery Hiro, Tokyo, Japan.
Two Point View, Bijutsu Salon, Hanku Dpt., Osaka, Japan (organized by Osaka University of Arts).
Printmaking of the Far East, Municipal Gallery Bielsko-Biala, Poland.
Invitation “8th International Print Biennale-Vaarna ‘95,” Varna, Bulgaria.
Graphic Constellation ‘95, Graz, Australia
Intergraphia ‘94-World Award Winners Gallery, Leuven, Belgium
The 7th International Biennial Print & Drawing Exhibit, Taipei Fine Arts Museum, Taiwan.
19th National Triennial Print Exhibition, Schenectady Museum, NY.
A Selection of Recent Prints, Lore Degenstein Gallery, PA.
Light in August, John Callahan Gallery, Boston MA.
Group Exhibition, Galerie les Cyclades, Antibes, France.
Audubon Artist 53rd Annual Exhibition, National Art Club, NY.
The 7th Exhibition of Fukuyama Art Project Prayer, Fukuyama Museum of Art Hiroshima, Japan.
1996
East/West Print Exchange Exhibition, Kala Institute, CA; Olive Hyde Art Gallery, CA; Norwork Community Technical College Art Gallery, CT; 479 Gallery, New York, NY.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY
54th Audubon Artist, Federal Hall, New York, NY.
Jassie’s Benefit Art Show, Ise Art Foundation, New York, NY
4th Biennial of Graphic Art Beograd ’96 International Exhibition, Yugoslavia.
SAGA 65th National Print Exhibition, Federal Plaza, New York, NY.
Japanese Prints and Contemporary Art, Fukuyama Museum of Art, Hiroshima, Japan.
1997
International Print Triennial ’97, Cracow, Poland.
Painting of Fukkuyama, Fukuyama Museum of Art, Hiroshima, Japan.
55th Audubon Artist, The Samagundi Club, New York, NY
International Juried Show, Ne Jersey Center for Visual Arts, NJ.
UNIS Community Art Exhibit, United Nations International School, New York, NY.
The Boston Printmakers Members’ Show, Duxbury Art Complex Museum, Boston.
International Biennial of Small Format Print Leskovas ’97, Yugoslavia Art Gallery “Sunce,” Yugoslvia
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY.
The 66th National Print Exhibition, Nabisco Headquarters Gallery, NJ.
1998
Stockton National Exhibition, The Haggin Museum Stockton, CA.
The Printmaker, Zullo Gallery, Medfield, MA.
SAGA, Krasdale Art Gallery, Bronx, NY.
Surface and Delivery, Housatonic Museum of Art Bridgeport, CT.
5th Annual International Miniature Art Show, Casper, WY.
16th Annual International Juried Show, Rosewell Fine Arts, League, Inc., Rosewell Museum and Art Center.
Washington International Print Fair, John Callahan Gallery, Georgetown, Washington, DC.
20th National Print Exhibition, Schenectady Museum, Schenectady, NY.
22nd National Print Biennial 1998, Silvermine Guild Galleries, Sivermine Guild Arts Center, CT.
Point, Line and Mass, Fukuyama Museum of Art, Hiroshima, Japan.
56th Audubon Artist, The Salmagundi Club, New York, NY.
Artists of Graphic Arts Council of New York, Krasdale Gallery, White Plains, NY.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY
A Holiday Invitational, Ceres Gallery, New York, NY
Group Show, 70th Art Gallery, New York,, NY.
1999
44th CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
Poem of Flower, Fukuyama Museum of Art, Hiroshima, Japan.
SAGA 69th National Member’s Exhibition, Prince Street Gallery, NY.
Proof of 20th Century, Organized by Osaka Museum of Arts, ABC Gallery, 10th International Exhibition Small Graphic Forms, Kiejska Galeria Sztuki, Poland.
Thirty Works by Art Students League of New York Alumni 1965 – 95, Art Student League, New York, NY
White and Black, Fukuyama Museum of Art, Hiroshima International Print Biennial Varna ’99, Varna, Bulgaria.
Allen Ginsberg and Friends, Southby’s, New York, NY.
2000
Artist Member’s Small Work Exhibition, The Print Club of Albany, Lulu Gallery, Albany, NY.
Group Exhibition, Studio B Fine Art Gallery, Queens, N.Y.
Williamsburg Bridges Japan, Williamsburg Art & Historical Center, Brooklyn, New York.
58th Audubon Artist, The Salma Gundi Club, New York, N.Y.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY.
Friends with Yoshio Kono, ABC Gallery, Osaka.
1st Biennial International Miniature Print Exhibition, New Leaf Editions, Vancouver, Canada.
Four Contemporary Artist from Efstathiou Collection, Studio B Gallery, Astoria, New York, May 17-20, 2001.
Seventy-five works by eighteen artists, Krasdale Gallery, New York & White Plain, June 25 – September 24, 2001.
6+6=Prints, Amerasia Bank Exhibition Gallery, Flushing, New York, September 7 – September 18, 2001.
Audebon Artist, Salmagundi Club, September 17 – October 5, 2001.
Rain Forest Exhibition:
Kaohsiung Museum of Fine Art, Taiwan, August 28 – October 24, 2001.
New York Chinese Cultural Center, New York, November 2 – December 15, 2001.
Las Vegas art Museum, Las Vegas, Nevada, January 17 – March 17, 2001.
The 10th International Biennial Print & Drawing Exhibition, Taipei Fine Art Museum, Taiwan, Dec, 2001.
2002
Rain forest Exhibition, Asian Arts & Culture Center, Towson University, MD.
Japanese and Japanese American Artist in New York, JAA, NY.
Transitional Dialogues, Andre zarre Gallery, NYC.
69th National Juried Exhibition, The Art Students League, NYC.
59th Annual Exhibition Audubon artist, The Salmagundi Club, NYC.
“A Century on paper” Print by Art Students League Artists 1901-2001 UBS Paine Webber Gallery, NYC.

[[picture:"Noda Masaaki Postcard.jpg" ID:20181]]

Massaaki Noda is one of Japan's most prominent artists. His sculptures, in particular are superior.

Through his freindship with Hearn Society, Athens, President, Takis Efsathiou, Noda has developed a profound interest in both Hellenism, and the life and psychography of Lafcadio Hearn.

In 2004, Masaaki Noda's stainless steel sculpture Apollo's Mirror was dedicated to the European Cultural Center, which is located in Delphi, Greece.

[[picture:"ECCD Director Yiallouridis, Noda, Efstathiou at Dedication.jpg" ID:20180]]

ECCD Director Christodoulos Yiallouridis, Masaaki Noda and Takis Efstathiou at the Dedication

In 2009, a monument produced by Masaaki Noda and titled the Open Mind Of Lafcadio Hearn, by Takis Efstathiou was installed on the campus of the American College of Greece in Athens in October 2009. An art exhibition under the same title, featuring works from all over the world, was subsequently held in the ACG Art Gallery.

Then in 2010, the exhibition was held in the Lafcadio Hearn Memorial Museum of Matsue, Japan. Once again Masaaki Noda donated a monument, which was erected this time on the shore of Lake Shinji (the original stands at ACG Athens). This sculpture commemorated the 160th Anniversary of Lafcadio Hearn's birth. This sculpture was unveiled and dedicated on Oct. 10th, 2010.

On Sept. 10, 2010, Masaaki Noda's brilliant Spirit of Mercury sculpture was unveiled in the city of Marathon, Greece. The monument commemorates the 2500th Anniversary of the Battle of Marathon.

On the 29th March, 2102, the City is Fukuyama, Hiroshima, adjacent to the major train station and transport interchange, Masaaki Noda's The Future is Now sculpture was dedicated and unveiled. Lafcadio Hearn's grandson, Bon Koizumi spoke as a special guest at this unveiling.

A thought: wouldn't it be great if Kythera, an island so bereft of great public sculpture, might benefit from the connection between Lafcadio Hearn, Takis Efstathiou, and great sculptors of world reknown like Masaaki Noda?


The Airborne Gesture: Masaaki Noda’s Sublime
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In Masaaki Noda’s work the aerodynamic and the grand expressionist gesture converge: two of the basic principles of modernism become one, to new sublime effect. Both began their long careers at the beginning of the twentieth century, the former in the aerodynamic phase of Malevich’s Suprematism and in Delaunay’s cosmic disks, to cite two famous examples, and the later with Kandinsky’s Abstract Expressionism.

Aerodynamics deals with the movement of objects in the atmosphere – they can be streamlined so as to reduce wind drag, making from fore efficient movement – while the expressionist gesture resonated with instuinctive energy. Aerodynamics aims at greater and greater refinement, gesturalism aims at greater and greater impulsiveness. The triumph of Noda’s forms, whether in two or three dimensions, is that they seem simultaneously efficient and impulsive – outwardly swift and inwardly driven. They seem to pare pure form down to a necessary minimum, and to concentrate expressive power in a singular movement. They are at once sweeping and balanced. Most crucially, they convey a sense of cosmic movement – the dynamic of the infinite, as it was, suggestive of spiritual aspiration.

Indeed, Rising to the Firmament, 1997, a rare instance of modernist stained glass, and Perpetual Flight II Beyond Time and Space, 2000, are brilliant embodiments of the abstract sublime. To me they are the climactic works of the last decade – masterpieces conveying, with consummate skill, the experience of transcendence that is the implicit the theme of Noda’s work. It is as though Noda’s tow dimensional work was a rehearsal – a kind of limbering up – for the flight of transcendence realized with breathtaking precision, in both color and line, in these two works.

Perpetual Flight II is a particular triumph, for it ingeniously fuses centripetal and centrifugal movement, which have been longstanding concerns of Noda, as the Centripetal Evolution series, 1992 and the centrifugal Fluid series, 1996 indicate. This work, like so many others – for example, the marvelous Seeker and Interplay, both 1999 – seems like a Brancusi bird unfolded – playfully unpacked, as it were, so that it spreads through space as though in abstract flight. Like Brancusi’s birds, Noda’s vital sculptures, which have an uncanny creatureliness, are inherently abstract, suggesting that reality can be analyzed into an idea that is independent of it – the idea of movement, for example – which, nonetheless, seems to distill its essence. Noda’s work embodies the concept of movement as though it was a autonomous truth, even as it is emblematic of the movement of nature, which is invariable cosmic, however earthbound it seems.

Some of Noda’s sculptures are freestanding, and some are on pedestals. The latter have an uncanny resemblance to plant life – green color of the brass of Orbit and Momentary brief, both 1999 - reinforces the illusion. In contrast, the former have a peculiarly animal presence, and in fact seem on the prowl, surging through space in search of obstacles, to overcome. Flowage II, Riptide, and Notion, all 1999 are self-contained-indeed, self-entangled, like Gordian knots – yet move forward with irresistible force. They may look wild, but there is a purposive thrust to them. All of Nada’s works in fact involves purposive design and free flow, fused to suggest heroic determination and the timeless Tao.

Donald Kuspit
Professor of Art History and Philosophy,
Stony Brook State University New York
1991


Masaaki Noda - Background
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1949
Born, Hiroshima, Japan
1977
Left Japan for New York, NY,
United States of America

Education

1969-1972
Osaka University of Arts, Japan
1977-1980
The Arts Students League of New York (Elizabeth Carstairs
Scholarship)

Awards

1976
Osaka Mayor Prize – The 26th Exhibition of Modern Art, Tokyo, Kyoto, Osaka, Fukulka, (Municipal Museums).
1979
The Carl J. Blenner Prize – 78th Annual Exhibition, New Haven Paint and Clay Club, CT.
Purchase Award – 31st Boston Printmakers Annual Exhibition, MA.
1980
Purchase Award – Charlotte Printmakers 4th Annual Eastern States Print Exhibition, NC.
1982
Purchase Award – 3rd Annual Alabama Works on Paper Exhibition
Traveling Show – The Kennedy-Douglas Center for the Arts in Florance, Alabama;
Columbus College, Georgia; The Alabama School of Fine Arts, Birmingham; University of North Georgia, Dahlonega; Atmore Council of Fine Arts, Atmore;
Auburn University in Montgomery.
Fourth Prize – The 9th International Dogwood Festival Art Show, Atlanta Playhouse Theatre & Georgia Tech Student Center Gallery, Atlanta, GA.
1983
Purchase Award – The Active Members Exhibition, New Haven Paint & Clay Club, CT.
1984
Honorable Mention Award – 11th International Dogwood Festival Art Show, GA.
Second Prize – Carrier Art Festival, (Organized by Carrier Foundation Auxiliary) Gymnasium, NJ.
Second Prize – 10th Annual International Miniature Art Show, Minature Art Society of Florida, Inc. FL.
Second Prize – 9th Annual American National Miniature Show, Laramie Art Guild, WY.
Stella Drabkin Memorial Award – 40th American Color Print Society Exhibition, Abington Art Center, PA.
Third Award – 85th Annual Watercolor Exhibition, The National Art Club, New York, NY
1985
Purchase Award – 12th International Dogwood Festival Art Show GA.
Honorable Mention Award – 7th Annual International Show, Montana Miniature Art Society, Castle, MT.
Migration, ’85 Traveling Exhibit.
1986
Third Award – The 15th National Small Painting Show, New Mexico Art League, NM.
Purchase Award – Heart of America National Small Painting Show, New Mexico Art League, NM.
Honorable Mention Award – 13th International Dogwood Festival Art Show, GA.
First Award – First Annual International Miniature Art Show, Georgia Miniature Art Society, Atlanta, GA.
1989
First Award – 16th International Dogwood Festival Art Show, GA.
Second Award – 11th Annual International Show, Montana Miniature Art Society, Castile Gallery, MT.
Honorable Mention Award – 1989 National Art Show, North Valley Art League, CA.
1992
Third Prize – International Competition, the IWA Foundation, Czechoslovakia
1999
The John Taylor Arms Memorial Award – Audubon Artist 57th Annual Exhibit, New York.
2000
Purchase Award – Society of American Graphic Artists 68th National Members Exhibition, Stephen Gang Gallery, New York, NY.



Solo Exhibition
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1972
Shinanobashi Gallery, Osaka, Japan
1973,74
Miyazaki Gallery, Osaka
1975
Hanga Gallery, Kyoto
1975,76
Shinanobashi Gallery
1976
Miyazaki Gallery
Shinanobashi Gallery
1979,80
Shinanobashi Gallery
1981
Gallery Le Coin, Osaka
1982
A Clean, Well-Lighted Place, Inc., New York, NY
Miriam Perlman Gallery, Chicago, IL
Kew Gallery, New York, NY
1984
Miriam Perlman Gallery, Chicago, IL
Belle Arts Gallery, Nyack, NY
1985
Gallery Downtown, Fort Worth, TX
Belle Arts Gallery, Nyack, NY
Yoh Art Gallery, Osaka
1986
Gallery Hiro, Tokyo
Osaka Contemporary Art Center, Osaka
Yoh Art Gallery, Osaka
Gallery Access Act, Kyoto
Modern Art, Hiroshima
1987
Gallery Le Coin, Osaka
Gilbert Luber Gallery, Philadelphia, PA
1988
Wenniger Graphics, Boston, MA
Wenniger Graphics, Provincetown, MA
1990
Gilbert Luber Gallery, Philadelphia, PA
Artist Gallery, New York, NY
Seton Hall University Art Gallery, NJ
1991
Gallery Hiro, Tokyo
Garando Gallery, Nagoya
Yoh Art Gallery, Osaka
Hiro Chikashige Gallery, Okayama
Suzukawa Gallery, Hiroshima
Fukuyama Museum of Art, Hiroshima
Tennaya Bijutsu Gallery, Fukuyama, Hiroshima
1992
Gallery Seijyo, Sendai
Gallery APA, Nagoya
SPF USA, Gallery and Library, Inc., Washington, DC
1995
Galerie Les Cyclades, Antebes, France
John Callahan Gallery, Boston, MA
Gallery Hiro, Izu Kogen
1999
70th Art Gallery, New York, NY
2000
Galelry Hiro, Tokyo
Gallery Fine Art, Osaka
Tennaya Bijutsu Gallery, Fukuyama, Hiroshima
Suzukawa Gallery, Hiroshima
Bougainvlia Gallery, Greece
Art Com Gallery, Osaka
2001
Art Com Gallery, Osaka



Other Shows:

1982
International Aerial Art Orchestration, (Sky Sculpture), Organized by the Rainbow Art Foundation, The Sheep Meadow, Central Park, New York, NY.



Projects:

1997
Two pieces of 8 by 20 feet stained glass permanently installed Keihan railroad at Uji Station in Kyoto, Japan. Two stained glass works, on the first and second floor at Uji Station. The works were completed August 4, 1997. First floor title Coming And Going, and Vicissitude Second floor title, Rising to the Firmament.
2000
Sculpture Monument installed at Shinichi in Hiroshima. 20x10x10 feet Stainless Steel and White Granite Stone Base. The works was completed May 19, 2000. Title Perpetual Flight II Beyond Time and Space.
2002
Sculpture Monument Installed At Tode high School, Hiroshima 15x7x7 feet.
2003
Sculpture Monument a t Hirano Hiroshima, 10x4x4 feet.



Professional Memberships:

Society of American Graphic Artists: Council (New York, NY)
Audubon Artist: Director (New York, NY)
Boston Printmakers Association (Boston, MA)
The Print Club of Albany (Albany, NY)
The Graphic Arts Council of New York (New York, NY)



Other Exhibitions
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1971
Three Man Show, Yatsui Gallery, Osaka, Japan.
1972
Paper Plan Exhibition, Shinanobashi Gallery, Osaka.
1972-73
Print Art Festival, Miyazaki Gallery, Osaka.
1972-77
All Osaka Print Exhibition, Miyazaki Gallery, Osaka.
1975
Ge Exhibition, Osaka Municipal Gallery.
The Exhibition of Silk Screen Print, Fine Art Gallery, Osaka.
Contemporary Print Art Exhibition, Osaka Municipal Gallery.
1976
Art Now (Organized by Hyogo Modern Art Museum), Kobe, Japan.
Battle Royal Art Show, Osaka Municipal Gallery.
Kansai Exhibition of Modern Art, Nakanoshima Gallery, Osaka.
3rd Kansai Exhibition of Modern Art, Hyogo Modern Art Museum, Kobe.
1977
Contemporary Print Art Exhibition, Osaka Municipal Gallery.
Image of the City Exhibition, Kan Gallery, Kyoto.
The 13th Contemporary Art Exhibition of Japan (Organized by Mainichi Press), Tokyo, Kyoto, (Municipal Museum)
1978
Opening Exhibition, The Flax Gallery, New York, NY-Print Exhibition, Art Student League of New York at the Diamond Art Gallery, Michigan.
11th Annual Juried Graphics Exhibition, Princeton Art Association, NJ.
2nd Annual Print Exhibition, Charlotte, NC.
1978-84
The Print Show, Art Students League, New York, NY.
1979
7th International Miniature Print Competition & Exhibition, Pratt Graphic Center, New York, NY, Traveling Exhibition Itinerary ’79 – ’81
3rd Annual Print Exhibition, Charlotte, NC.
21st Annual Exhibition of Print and Drawing, Oklahoma
Art for Collectors, Ella Sharp Museum, Jackson, MI.
The Miniature Show, Ginn Gallery MA.
Contemporary Japanese Prints, Azuma Gallery, New York, NY
“Japan Today,” Contemporary Japanese Art Exhibition, World Trade Center, New York, NY.
1980
Multiple ’80, National Juried Exhibition, New Orleans, LA.
Mini International Print Biennial, Miami, FL.
13th National Print Exhibition, Charlotte, NC.
21st Annual Exhibition of Print and Drawing, Oklahoma.
Art for Public Places, Sagnaw Art Museum, Mott Community College, Miriam Perlman Gallery, Flint, MI
Art for Collectors, Ella Sharp Museum, Jackson, MI
The Miniature Show, Ginn Gallery, MA.
Contemporary Japanese Prints, Azuma Gallery, New York, NY
“Japan Today,” Contemporary Japanese Art Exhibition, World Trade Center, New York, NY
1980
Multiple ’80, National Juried Exhibition, New Orleans, LA.
Mini International Print Biennial, Miami, FL.
13th National Print Exhibition, The Silvemine Guild of Artists, Inc., CT.
15th National Print Exhibition, Potsdam Print, State University College, NY.
7th International Dogwood Festival Art Show, Atlanta, GA.
6th International Exhibition of Graphic Art, Frenchen, West Germany.
The Fine Arts Print Works, California State University, Chico, CA.
Wesleyan International Exhibition of Prints & Drawings, Wesleyan College, Macon, GA; The University of Mississippi, MS; Lexington, KT: Murray State University, Murray.
1st International Miniature Prints Exhibition, Seoul, South Korea.
6th Independent Exhibition of Prints in Kanagawa (Organized by Kanagawa Prefectural Gallery, The Press of Kanagawa), Yokohama, Japan.
56th Annual International Competition at the Print Club, Philadelphia, PA; Cherry Hill, NJ.
1981
Paper as a Surface, Miriam Perlman Gallery, Chicago, IL.
Original Print Show, International Art Contact Gallery New York, NY; Other Exhibitions (cont.):
Printmakers – New Offering, Community Gallery New York, NY
Boston Printmakers 33rd National Exhibition of the American Color Print Society, Philadelphia Art Alliance, PA.
V Biennial International de Art Valparaiso, Chile.
57th Annual International Competition at Print Club, Philadelphia, PA.
1982
The Gallery of the University of Delaware, Newark, NJ.
Two Person Show, Bell Arts Gallery, Nyack, NY.
24th Annual Exhibition of Paint & Drawing, Oklahoma
81st Annual Art Exhibition, the New Haven Paint & Clay Club, CT.
Annual Competitive Graphics Exhibition 1982, Tempo Gallery, WI.
1st Annual Artlink National Print Competition, Fort Wayne, IN.
It Can't Be Done on Canvas (Organized by Miriam Perlman Gallery), An exhibit in honor of the 25th Anniversary of the University of Michigan – Flint.
Contemporary Japances Garphic Art Galerie Autonom, Berlin, Germany.
Why the Print is an Original Childrens Museum, Minneapolis, MN.
47th Annual National Art Exhibition, Cooperstown, NY.
The 4th Annual International Art Exposition, New York Coliseum, NY.
Color in Motion, Wenniger Graphics, Boston, MA.
59th SAGA National Print Exhibition, The Cooper Union, New York, NY.
Rockford International Biennial ’83, Rockford College, IL.
Cabo Frio International Print Biennial, Brazil.
Annual Competitive Graphics Exhibition, Tempo Gallery, WI.
Three Person Show, Gallery 500, Elikin Park, PA.
14th Annual Print Exhibition, Silvermine Guild Center for Art, CT.
The 8th University of Dallas National Invitational (Organized by the University of Dallas, TX), Traveling, Show, 1984 – Lamar University, Beaumont: Angelo State College, San Angelo; Lufkin Historical Society, Lufkin; Midwestern State University, Wichita Fall; Brown-Lupton Gallery, Texas Christian University, Fort Worth; Warehouse Center of Living Arts, Corsicana; Texas A & I University, Kingsville.
11th Annual Show, “Big 7 Small,” Terrain Gallery, New York, NY
Group Show, Galerie Autonom, Berlin, Germany.
1984
8th Annual Small Work Show, 80 Washington Square East Galleries, New York University New York, NY
Aubudon Artists 42nd Annual Exhibition, National Art Club, New Yrok, NY.
83rd Annual Art Exhibition, The New Haven Paint & Clay Club, CT.
10th International Print Biennial, Cracow, Katowice, Poland.
49th Annual Art Exhibition, Cooperstown Art Association, NY.
Ge Kyoto Exhibition (Organized by Kyoto Museum), Kyoto, Japan.
The G.A.L. 15th Annual Fine Arts Competition, Greensboro Artist League, NC.
6th Annual Exhibition Pennsylvania Society of Watercolor Painters, Shippensberg University Huber Art Center, PA.
The New Haven Paint & Clay Club Members’ Show, CT.
4th Mini Print International de Cadeques, Taller Galeri Fort, Barcelona, Cadaques. Cate Lonia, Spain.
Invitational Holiday Gift Show, Abington Art Center, PA.
Juried Show ’85, Summit Art Center, NJ
6th Annual Invitational Print Show, Artist Signature Gallery, CT.
Group Show at Civilization (organized by the 5 & Dime), New York, NY.
4th Annual Print National, Payne Gallery at Moravin College, PA. Other Exhibitions.
1985
15th Annual International Exhibit, Louisiana Watercolor Society’s International Trade Mart, New Orleans, LA.
Audobon Artists 43rd Annual Exhibition, National Art Club, New York, NY.
4th International Exhibition, “Small Forms of Graphic Art, Poland Lodz ’85,” Gallery of Art Exhibition, Buesu, Poland.
The Biggest Little Art Show in Florida, Siesta Key Gallery, Florida.
Ybor National Print Competition, Ybor City of Commerce, Florida.
16th International Biennial of Graphic Art in Ljubljana, Museum of Modern Art, Yugoslavia
1985 International Exhibition, San Diego Watercolor Society, Grossmont College Art Gallery, CA.
Septemebr Competition, Alexandria Museum, LA.
Il Cabo Frio International Print Biennial, Brazil.
7th Annual Exhibition, Pennsylvania Society of Watercolor Painters, The Shardin Art Gallery of Kuztown University, PA.
86th Annual Open Watercolor Exhibition, The National Art Club, New York, NY.
Group Show, Watanabe Gallery, Hiroshima, Japan.
The Rivington School, No Se No, New York, NY.
2nd International Biennial Print Exhibit: 1985 Roc, Taipei Fine Art Museum, Taiwan.
1986
Paperart – An Open International Exhibition of Work on Paper, the PAPERART Documentation Center, Bahia, Brazil.
16th Annual International Exhibit, Louisianna Watercolor Society’s, LA.
11th International Print Biennial, Cracow, Katowice, Poland.
The 8th International Art Exposition, Convention Center, New York, NY.
Contemporary Japanese Art Created in Other Land, Gallery International 52, New York, NY.
8th Annual Exhibition, Pennsylvania Society of Watercolor of Watercolor Painters, Core B. Miller Gallery, PA.
1st Annual International Miniature Art Exhibition, Del Bello Gallery, Toronto, Canada.
1987
International Group Exhibition, Gallery International 52, New York, NY.
Artista on the Cuttong Edge, Miriam Perlman Gallery, Chicago, IL.
Fine Art Show, (organized by Carrier Auxiliary) Administration Gallery, NJ.
Benefit Show, Associated American Artist, New York, NY.
Clemson National Print and Drawing Exhibition, Clemson University, Rudolph E. Lee Gallery, SC.
Great Graphics, Gallery International 52, New York, NY.
17th International Biennial of Graphic Art in Ljubljana, Museum of Modern Art, Yugoslavia.
Special Edition, A.A.O. Galleries, Buffalo, NY.
14th International Dogwood Festival Art Show, Atlanta Playhouse Theatre and Georgia Tech Student Center Gallery, GA.
Form the Fart East, with C.J. Yao and John Pai, Souyun Yi Gallery, New York, NY.
32nd CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
1988
Japanese Printmakers in New York, Consulate General of Japan, New York, NY.
Ge Kyoto Exhibition, (Organized by Kyoto City Museum), Kyoto, Japan.
The 31st Annual Exhibit of Paintings and Sculpture, Sidney Rothman Gallery, NJ.
12th International Print Biennial, Cracow, Katowice, Poland.
Silk Screen Now, Art Space SAGA, Kyoto, Japan.
33rd CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
A Divergent Approach, The Pen and Brush Club, New York, NY.
Works on Paper and Sculpture, Juried by Barbara Haskell at the Whitney Museum of American Art, Clary Miner Gallery, Buffalo, NY.
American Color Print Society National Members’ Exhibition, The Woodmere Art Museum, Philadelphia, PA.
1989
The Boston Printmakers 41st North American Print Exhibition, The Institute of Boston, Boston, MA.
The International Miniature Print Biennial, John Szoke Gallery, New York, NY. Traveling Exhibition Itinerary, ’89 – ’91.
Man and His Space, Lever House, New York, NY.
5th International Print Biennial Varna, Varna Art Gallery, Bulgaria.
International Exhibition of Artwork on Paper, University Art Galleries, The University of South Dakota, SD; Mind’s Eye Gallery, Dickinson State University, ND.
Greater Midwest International IV, Central Missouri State University Art Center Gallery, MI.
National American Museum Art Show, Lever House, New York, NY.
34th CWAJ Print Show, Tokyo America Club, Tokyo, Japan.
18th International Biennial of Graphic Art in Ljubjana, Museum of Modern Art, Yugoslavia.
Works of Member of Atelier Ponce de Lon, Doma Gallery, New York, NY.
9 Japanese Artists, Port Washington Public Library, NY.
Boston Printmakers Members, Show, Duxbury Art Complex Museum, MA.
4th International Biennial Print Exhibit, Taipei Fine Art Museum, Taiwan.
1990
Japanese Cultural Festival, World Trade Center, New York, NY.
35th CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
Carrier Fine Art Show, Administration “Gallery,” NJ.
Ge Kyoto Exhibition, Kyoto City Museum Kyoto, Japan.
Audubon Artist 48th Annual Exhibition, National Art Club, New York, NY.
Three New York Artist, D.D. Art Space, Taipei, Taiwan.
2nd Annual Exhibition 9 Japanese Artists Living & Working in New York, The Pen & Brush Club, New York, NY.
Japanese Art After the War, Fukuyama Museum of Art, Hiroshima, Japan
1991
Audoubon Artists 49th Annual Exhibition, National Art Club, New York, NY.
Carrier Fine Art Show, Administration Gallery, NJ.
The 7th International Graphic Exhibition, Gatalina, Italy.
Four New York Artists: Robert Kushner, Daniel Gendron, Chihung Yung, and Masaaki Noda, Seibu Contemporary Art Gallery, Tokyo, Japan.
Concept that Continue, Miriam Perlman Gallery, Chicago, IL
19th International Biennial of Graphic Art in Ljubjiana, Museum of Modern Art, Yugoslavia.
The New Collections, Yamanashi Prefecture Museum of Art, Yamanashi, Japan.
64th SAGA Natioanl Print Exhibtion, Lever House, New York, NY.
1992
Audubon Artist 50th Annual Exhibition, Lever House, New York, NY.
19th International Dogwood Art Exhibition, GA.
10th Carrier Fine Art Show, Administration Gallery, NJ.
Art Asia, The Emerging Collector, New York, NY.
Aspects of Flowers, Lever House, New York, NY.
1992
Group Show, Tenri Gallery, New York, NY
Man Ray, Tapies, Pomodoro, Masaaki Noda, Galerie Les Cyclades, Antibes, France.
International Art Part 1, Seibu, Tokyo, Japan
Visions in Between, Ise Art Foundation, New York ’93 - ;94 Traveling Exhibition, Fukuyama Museum of Art, Hiroshima, Japan; Walker Hill Museum of Art, Seoul, South Korea; Park Ryu Sook Gallery, Seoul, South Korea; New Trends Gallery, Taiwan; Howard Salon, Taipei, Taiwan; G Zen Art Gallery, Taiwan; Taipei Gallery, New York.
1993
Audubon Artist 51st Annual Exhibition, National Art Club, New York, NY.
65th SAGA National Print Exhibition, New York
“Motion: Wenniger Graphics, Boston, MA
38th CWAJ Print Show, Tokyo American Club, Tokyo, Japan
National Juried Exhibition, Juror: Donald Kuspit, Gallery 84, New York, NY.
Boston Printmakers Members Show, Duxbury Art Complex Museum, MA
7th International Print Biennial Varna, Varna Art Gallery, Bulgaria
Small Works Show, Gallery 500, PA.
1994
Theodre Stamos, Jakob Bill, Masaaki Noda, Galerie Les Cyclades, Antibes, France.
Audubon Artist 52nd Annual Exhibition, Natioanl Art Club, New York, NY
The Artists Members, Spring Exhibition, The Gallery At the Market Theatre, Albany, NY.
NICAF Yokohama ‘94, International Contemporary Art Fair, Yokohama, Japan.
Contemporary American Printmakers, Thomas J.Walsh Gallery, CT.
Exhibition from the Collections, Osaka Contemporary Art Center, Osaka
International Triennial of Graphic Art, Bitoa, Republic of Mecedonia
International Print Triennial ‘94, Cracow, Poland.
SAGA, The Northwest Print Council, Union Station, Portland, Oregon.
“Art-Phitheater” Hans Hinterreier, Theadoros Stmos, Masaaki Noda, P. T. Efstathiou Fine Art, New York.
California Meets New York, Haener-kent Gallery, New York, NY.
1995
International Print Exhibition, Adair Margo Gallery, New York, NY.
Western Art Charity, Gallery Hiro, Tokyo, Japan.
Two Point View, Bijutsu Salon, Hanku Dpt., Osaka, Japan (organized by Osaka University of Arts).
Printmaking of the Far East, Municipal Gallery Bielsko-Biala, Poland.
Invitation “8th International Print Biennale-Vaarna ‘95,” Varna, Bulgaria.
Graphic Constellation ‘95, Graz, Australia
Intergraphia ‘94-World Award Winners Gallery, Leuven, Belgium
The 7th International Biennial Print & Drawing Exhibit, Taipei Fine Arts Museum, Taiwan.
19th National Triennial Print Exhibition, Schenectady Museum, NY.
A Selection of Recent Prints, Lore Degenstein Gallery, PA.
Light in August, John Callahan Gallery, Boston MA.
Group Exhibition, Galerie les Cyclades, Antibes, France.
Audubon Artist 53rd Annual Exhibition, National Art Club, NY.
The 7th Exhibition of Fukuyama Art Project Prayer, Fukuyama Museum of Art Hiroshima, Japan.
1996
East/West Print Exchange Exhibition, Kala Institute, CA; Olive Hyde Art Gallery, CA; Norwork Community Technical College Art Gallery, CT; 479 Gallery, New York, NY.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY
54th Audubon Artist, Federal Hall, New York, NY.
Jassie’s Benefit Art Show, Ise Art Foundation, New York, NY
4th Biennial of Graphic Art Beograd ’96 International Exhibition, Yugoslavia.
SAGA 65th National Print Exhibition, Federal Plaza, New York, NY.
Japanese Prints and Contemporary Art, Fukuyama Museum of Art, Hiroshima, Japan.
1997
International Print Triennial ’97, Cracow, Poland.
Painting of Fukkuyama, Fukuyama Museum of Art, Hiroshima, Japan.
55th Audubon Artist, The Samagundi Club, New York, NY
International Juried Show, Ne Jersey Center for Visual Arts, NJ.
UNIS Community Art Exhibit, United Nations International School, New York, NY.
The Boston Printmakers Members’ Show, Duxbury Art Complex Museum, Boston.
International Biennial of Small Format Print Leskovas ’97, Yugoslavia Art Gallery “Sunce,” Yugoslvia
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY.
The 66th National Print Exhibition, Nabisco Headquarters Gallery, NJ.
1998
Stockton National Exhibition, The Haggin Museum Stockton, CA.
The Printmaker, Zullo Gallery, Medfield, MA.
SAGA, Krasdale Art Gallery, Bronx, NY.
Surface and Delivery, Housatonic Museum of Art Bridgeport, CT.
5th Annual International Miniature Art Show, Casper, WY.
16th Annual International Juried Show, Rosewell Fine Arts, League, Inc., Rosewell Museum and Art Center.
Washington International Print Fair, John Callahan Gallery, Georgetown, Washington, DC.
20th National Print Exhibition, Schenectady Museum, Schenectady, NY.
22nd National Print Biennial 1998, Silvermine Guild Galleries, Sivermine Guild Arts Center, CT.
Point, Line and Mass, Fukuyama Museum of Art, Hiroshima, Japan.
56th Audubon Artist, The Salmagundi Club, New York, NY.
Artists of Graphic Arts Council of New York, Krasdale Gallery, White Plains, NY.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY
A Holiday Invitational, Ceres Gallery, New York, NY
Group Show, 70th Art Gallery, New York,, NY.
1999
44th CWAJ Print Show, Tokyo American Club, Tokyo, Japan.
Poem of Flower, Fukuyama Museum of Art, Hiroshima, Japan.
SAGA 69th National Member’s Exhibition, Prince Street Gallery, NY.
Proof of 20th Century, Organized by Osaka Museum of Arts, ABC Gallery, 10th International Exhibition Small Graphic Forms, Kiejska Galeria Sztuki, Poland.
Thirty Works by Art Students League of New York Alumni 1965 – 95, Art Student League, New York, NY
White and Black, Fukuyama Museum of Art, Hiroshima International Print Biennial Varna ’99, Varna, Bulgaria.
Allen Ginsberg and Friends, Southby’s, New York, NY.
2000
Artist Member’s Small Work Exhibition, The Print Club of Albany, Lulu Gallery, Albany, NY.
Group Exhibition, Studio B Fine Art Gallery, Queens, N.Y.
Williamsburg Bridges Japan, Williamsburg Art & Historical Center, Brooklyn, New York.
58th Audubon Artist, The Salma Gundi Club, New York, N.Y.
Art Exhibition of Japanese Artists, Japanese American Association, New York, NY.
Friends with Yoshio Kono, ABC Gallery, Osaka.
1st Biennial International Miniature Print Exhibition, New Leaf Editions, Vancouver, Canada.
Four Contemporary Artist from Efstathiou Collection, Studio B Gallery, Astoria, New York, May 17-20, 2001.
Seventy-five works by eighteen artists, Krasdale Gallery, New York & White Plain, June 25 – September 24, 2001.
6+6=Prints, Amerasia Bank Exhibition Gallery, Flushing, New York, September 7 – September 18, 2001.
Audebon Artist, Salmagundi Club, September 17 – October 5, 2001.
Rain Forest Exhibition:
Kaohsiung Museum of Fine Art, Taiwan, August 28 – October 24, 2001.
New York Chinese Cultural Center, New York, November 2 – December 15, 2001.
Las Vegas art Museum, Las Vegas, Nevada, January 17 – March 17, 2001.
The 10th International Biennial Print & Drawing Exhibition, Taipei Fine Art Museum, Taiwan, Dec, 2001.
2002
Rain forest Exhibition, Asian Arts & Culture Center, Towson University, MD.
Japanese and Japanese American Artist in New York, JAA, NY.
Transitional Dialogues, Andre zarre Gallery, NYC.
69th National Juried Exhibition, The Art Students League, NYC.
59th Annual Exhibition Audubon artist, The Salmagundi Club, NYC.
“A Century on paper” Print by Art Students League Artists 1901-2001 UBS Paine Webber Gallery, NYC.

Photograph of a list of books by Hearn, which features Kwaidan.

The interest in Kwaidan is quite extraordinary.

Myrto's curriculam vitae in Greek.

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Myrto's curriculam vitae in Greek.

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Myrto's curriculam vitae in Greek.

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Bon Koizuimi is the grandson of Lafacdio Hearn.

Myrto's curriculam vitae in Greek.

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Στην εκδήλωση στο κτήμα Γεροβασιλείου, από τα εγκαίνεια της έκθεσης ORIGAMI στο Εμπορικό και Βιομηχανικό Επιμελητήριο Θεσσαλονίκης, από την καθημερινή τηλεοπτική εκπομπή μου "Origami με φαντασία!", καθώς και από το εκπαιδευτικό πρόγραμμα που παρουσιάζω στα σχολεία.

Curriculum Vitae

Επώνυμο: Δημητρίου
Όνομα: Μυρτώ
Ημερομηνία γέννησης: 02.08.1983
Τόπος γέννησης: Θεσσαλονίκη

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Σπουδές: Πτυχιούχος του τμήματος Κοινωνικής Πολιτικής και Κοινωνικής Ανθρωπολογίας του Παντείου Πανεπιστημίου, υπότροφος του ΙΚΥ.
Επίσης σπούδασα στο Ithaca College στη Νέα Υόρκη, στο Τμήμα Θεάτρου και Μέσων Μαζικής Επικοινωνίας.
Είμαι η μόνη Ελληνίδα instructor origami και μέλος του Nippon Origami Association.
Είμαι ιδρυτικό μέλος του Πανελληνίου Ομίλου Φίλων Αφήγησης (Π.Ο.Φ.Α) και της UNIMA (Παγκόσμιος Όμιλος Κουκλοθεάτρου).
Είμαι συγγραφέας και μέλος του Κύκλου Ελληνικού Παιδικού Βιβλίου.

Ξένες γλώσσες: Αγγλικά (επίπεδο Proficiency)
Γαλλικά (επίπεδο Sorbonne 1)
Ιταλικά (επίπεδο Superiore).
Γνώσεις Η/Υ: Έχω παρακολουθήσει σεμινάρια ηλεκτρονικών υπολογιστών και είμαι εξοικειωμένη με το περιβάλλον των Windows, καθώς και με τα προγράμματα Word, Excel

Έχω γράψει το παιδικό παραμύθι «Οι περιπέτειες του Φρίξου» που κυκλοφορεί από τις Εκδόσεις Δια Βίου, συνοδευόμενο από cd, στο οποίο γίνεται αφήγηση του παραμυθιού και τα τραγούδια ερμηνεύει ο Δημήτρης Ζερβουδάκης με την παιδική χορωδία του Πολιτιστικού Οργανισμού του Δήμου Καλαμαριάς.
Από τις Εκδόσεις Καλειδοσκόπιο κυκλοφορεί το βιβλίο μου «Origami με φαντασία!», το μοναδικό βιβλίο για την ιαπωνική εικαστική τέχνη της χαρτοδιπλωτικής στην Ελλάδα.
Κυκλοφορεί επίσης το βιβλίο «10 διακοσμητικά και λουλούδια origami», το πρώτο από μια σειρά βιβλίων με οδηγίες αλλά και χαρτάκια.

Origami:
Ως κοινωνική ανθρωπολόγος και θέλοντας να συνδυάσω την ελληνική λαογραφία με την ιαπωνική παραδοσιακή τέχνη, αναπαρέστησα μοτίβα ελληνικών κεντημάτων, από τη συλλογή κεντημάτων της Αμαλίας Μεγαπάνου, από το Μουσείο Μπενάκη, δημιουργώντας έτσι πίνακες κεντημάτων με χαρτί.
Η νέα συλλογή έργων μου έχει τον τίτλο «Μωσαϊκά Origami» και είναι εμπνευσμένη από το Αρχαιολογικό Μουσείο.
Έργα μου εκτίθενται όχι μόνο σε ιδιωτικές συλλογές αλλά και στην Ιαπωνική Πρεσβεία των Αθηνών, με την οποία διατηρώ άριστες εποικοδομητικές σχέσεις.
Το καλοκαίρι του 2010 συνεργάστηκα με πανεπιστήμια στο Τόκυο, όπου και δίδαξα origami. Έχω εκπονήσει εκπαιδευτικά προγράμματα για όλες τις βαθμίδες της εκπαίδευσης (νηπιαγωγείο – δημοτικό – γυμνάσιο- λύκειο-πανεπιστήμιο) τα οποία υλοποιούνται σε συνεργασία με Δήμους, Νομαρχίες, Οργανισμούς, Εταιρείες, με πολύ μεγάλη επιτυχία. Επίσης διοργανώνω εργαστήρια, σεμινάρια για ενήλικες αλλά και για εικαστικούς.
Σε συνεργασία με τον κ. Μπακατσέλο, ο οποίος είναι ο επίτιμος πρόξενος της Ιαπωνίας στη Θεσσαλονίκη και πρόεδρος του ΕΒΕΘ, πραγματοποιήσαμε με πολύ μεγάλη επιτυχία σεμινάρια και έκθεση με πίνακες και συνθέσεις φτιαγμένα από χαρτί στο Εμπορικό και Βιομηχανικό Επιμελητήριο Θεσσαλονίκης, από την Δευτέρα 8 Μαρτίου μέχρι και την Κυριακή 21 Μαρτίου 2010.
Από τις 10 Μαρτίου-10 Απριλίου 2011, συμμετείχα με έκθεση και εργαστήρια origami στις «Μέρες Έκφρασης και Δημιουργίας 2011» που διοργανώνονται για 17η συνεχόμενη χρονιά, από τους φίλους του Ιδρύματος Μελίνα Μερκούρη στο Περίπτερο 1 της ΔΕΘ. Η διοργάνωση αποτελεί θεσμό για την πόλη μας.
Στις 28 Μαρτίου 2011 στα πλαίσια της παραπάνω διοργάνωσης και κάτω από την αιγίδα της Γενικής Γραμματείας Νέας Γενιάς, θέλοντας να συμπαρασταθούμε στον δοκιμαζόμενο Ιαπωνικό λαό κάναμε μια συμβολική πράξη διπλώνοντας 1000 χάρτινους γερανούς (πραγματοποιώντας έναν παλιό Ιαπωνικό μύθο) μαζί με το 1ο-5ο Δημ. Σχολείο Συκεών που τους στείλαμε σε αντίστοιχο σχολείο του Τόκυο, με το οποίο θα υπάρξει αδελφοποίηση.
Είναι πραγματικά μεγάλη μου τιμή ,που από το Origami Kaikan -Ιαπωνικός Οργανισμός στο Τόκυο- επέλεξαν το έργο μου "Dragon Boat" (το μοναδικό έργο από την Ελλάδα) για να συμπεριληφθεί στην Takahama Collection. Η έκθεση φιλοξενείται στο Μουσείο ORIGAMI στην Ιαπωνία και θα ταξιδέψει σε όλο τον κόσμο!!!
Παρουσιάζω την εκπομπή «Origami με Φαντασία» στην Ωμέγα Τηλεόραση, καθημερινά 15:00-15:30 και τα σαββατοκύριακα 14:30-15:00.

Το μεγαλύτερο ORIGAMI του κόσμου για το Ρεκόρ Γκίνες!!!
Σε συνεργασία με το τμήμα Νεολαίας, της Αντιδημαρχίας Νεότητας Αθλητισμού και Εθελοντών, θα δημιουργήσουμε το μεγαλύτερο ORIGAMI του κόσμου!!!Από τον Οκτώβρη μέχρι και τον Μάιο θα εκπαιδεύσω πάνω από 10.000 συμμετέχοντες, στο Πολιτιστικό κέντρο της Τούμπας!!!Θα διπλώσουν ένα κομμάτι χαρτί για να δημιουργήσουν το νούφαρο-μονάδα, που θα χρησιμοποιηθεί για να σχηματίσουμε ένα πελώριο μωσαϊκό με την εικόνα του Λευκού Πύργου, περίπου 400 τ.μ.! Στις 31 Μαϊου 2012 θα φτιάξουμε το μεγαλύτερο origami του κόσμου στην πλατεία Αριστοτέλους με την προοπτική να γραφτούμε στο βιβλίο Γκίνες!

Συμμετοχή σε συνέδρια-σεμινάρια:
• Συμμετείχα σε Διεθνή Συνέδρια Origami, διδάσκοντας και εκθέτοντας τα έργα μου: στο El Escorial (Μαδρίτη) από τις 27-31 Μαίου 2011, στην Τουλούζη από τις 2-5 Ιουνίου 2011, στο Maxi-Sheffield meeting στην Αγγλία από τις 8-10 Ιουλίου 2011, από τις 5-8 Αυγούστου 2011 στο 22ο Hungarian Origami Convention.
• Το καλοκαίρι του 1999 παρακολούθησα το συνέδριο «Kids for kids» που διοργανώθηκε στη Helexpo-ΔΕΘ, υπό την αιγίδα της Ευρωπαϊκής Ένωσης. Στο συνέδριο αυτό κέρδισα μια υποτροφία για το Ithaca College στη Νέα Υόρκη (στον τομέα Communications and Theater), στο οποίο και παρακολούθησα για τρία χρόνια καλοκαιρινά σεμινάρια θεάτρου, τηλεόρασης και ραδιοφώνου.
• Συμμετείχα στην 6η Διεθνή Συνδιάσκεψη του Ευρωπαϊκού Κοινοβουλίου νέων Ελλάδας και εργάστηκα πάνω στη σχέση πολιτισμού, παιδείας και μέσων μαζικής ενημέρωσης (12-14 Νοεμβρίου 1999).
• Παρακολούθησα το σεμινάριο ραδιοφωνίας που διοργάνωσε η ΝΕΛΕ Θεσ/νίκης από τις 15-19 Μαρτίου 2000.
• Στις 25-29 Μαρτίου 2000 πήρα μέρος στο πρόγραμμα Euroscola του Ευρωπαϊκού Κοινοβουλίου, στο Στρασβούργο και ασχολήθηκα με θέματα που αφορούσαν τη δημοκρατία, τα ανθρώπινα δικαιώματα και τα προβλήματα της κοινωνίας.
• Συμμετείχα στο 5ο Παγκόσμιο συνέδριο δυσλεξίας που διοργανώθηκε στη Θεσσαλονίκη από τις 3-27 Αυγούστου 2004, στην αίθουσα τελετών του ΑΠΘ.
• Παρακολούθησα το Διεθνές Επιστημονικό συνέδριο «Νέες κατευθύνσεις στα Ευρωπαϊκά ΜΜΕ», που πραγματοποιήθηκε στη Θεσσαλονίκη από τις 5-7 Νοεμβρίου 2004.
• Πήρα μέρος στο πρόγραμμα ανταλλαγής νέων «Multipl(a)y 2» που διοργανώθηκε από τη ΧΑΝΘ στον Άγιο Νικόλαο Χαλκιδικής, το διάστημα 16-28 Μαρτίου 2005.
• Παρακολούθησα το συνέδριο “Many musics in Europe” που διοργανώθηκε από το Ευρωπαϊκό Μουσικό Συμβούλιο (EMC: European Music Council) στη Βουδαπέστη από τις 22-24 Απριλίου 2005.
• Στις 28 Μαΐου 2005 παρακολούθησα το σεμινάριο δημιουργικής γραφής, με το συγγραφέα Paul Johnston, που διοργανώθηκε από το Βρετανικό Συμβούλιο στα πλαίσια της Διεθνούς Εκθέσεως Βιβλίου.
• Συμμετείχα στο 2ο Φεστιβάλ Αφήγησης Κάτω Ολύμπου, που πραγματοποιήθηκε στην Καλλιπεύκη Λάρισας, στις 17-18 Ιουνίου 2005, και διοργανώθηκε από το Παιδαγωγικό Τμήμα Προσχολικής Εκπαίδευσης και το Εργαστήριο λόγου και πολιτισμού του Πανεπιστημίου Θεσσαλίας. Στα πλαίσια του φεστιβάλ δραματοποίησα ένα λαϊκό παραδοσιακό παραμύθι.

Τηλεοπτική και ραδιοφωνική εμπειρία:
• Από το 1993, σε ηλικία 10 ετών, και για 7 χρόνια παρουσίαζα την τηλεοπτική παιδική-νεανική εκπομπή «Το πέταγμα της πεταλούδας» ( σκηνοθεσία Ζέτας Στεφάνου), σε τοπικά κανάλια. Έχω πάρει συνεντεύξεις από ανθρώπους των γραμμάτων και των τεχνών (Ελένη Γλύκατζη- Αρβελέρ), συγγραφείς (Άλκη Ζέη, Ζωρζ Σαρή, Ευγένιος Τριβιζάς, Μάνος Κοντολέων, Βασίλης Βασιλικός, Αντώνης Σαμαράκης κ.ά), ηθοποιούς και σκηνοθέτες (Αλίκη Βουγιουκλάκη, Λάκης Λαζόπουλος, Κωνσταντίνος Καζάκος, Ανδρέας Βουτσινάς κ.ά), μουσικούς και συνθέτες (Ελένη Καραΐνδρου, Εμίρ Κουστουρίτσα, Μάριος Φραγκούλης, Νότης Μαυρουδής, Θάνος Μικρούτσικος, Διονύσης Σαββόπουλος κ.ά).
• Για δύο χρόνια παρουσίαζα την εκπομπή «Παιδόκοσμος», σκηνοθεσία Ζέτας Στεφάνου, στην Cosmos τηλεόραση του ομίλου ALPHA.
• Για 4 χρόνια συμμετείχα στη ραδιοφωνική εκπομπή «Ο κήπος με τα παραμύθια» στο Ράδιο 105 της Helexpo, καθώς και στο ράδιο Παρατηρητής.
• Συνεργάστηκα με το ραδιοφωνικό σταθμό του Μύλου 88,5 για την παρουσίαση ένθετου για το βιβλίο, του «Εκδοτικού ήχου».
• Το 2010 παρουσίαζα την εκπομπή «Κόκκινη κλωστή …δεμένη σε χίλιες και μία νύχτες» σε τοπικό κανάλι.
• Από το 2010 συνεργάζομαι με τον τηλεοπτικό σταθμό του Alpha και στην Ωμέγα Τηλεόραση έχω καθημερινή παιδική εκπομπή.

Θεατρική εμπειρία:
• Το 1993 είχα τον πρωταγωνιστικό ρόλο στην παιδική παράσταση «Η Βασίλισσα του Χιονιού» του Χανς Κρίστιαν Άντερσεν, η οποία ανέβηκε στον κινηματοθέατρο Ολύμπιον.
• Το 1996 συμμετείχα στη θεατρική παράσταση της Αλίκης Βουγιουκλάκη «Μελωδία της ευτυχίας», έχοντας το ρόλο της Λουίζας.
• Το 1999 πήρα μέρος σε μια τηλεταινία για την ΕΡΤ3 με τίτλο «Μουσική για τα παιδιά που φοβούνται τα κακά όνειρα».
• Στη θεατρική παράσταση «Το καινούργιο σπίτι» του Γκολντόνι το Μάρτιο του 2000 είχα το ρόλο της Μενεγκίνας, και στο έργο «Εμείς και ο χρόνος» του J.B.Priestley το ρόλο της Τζόαν Χέλφορντ.
• Το Μάιο του 2001 στο διαγωνισμό εκφραστικής ανάγνωσης που διοργανώθηκε από το κολλέγιο Ανατόλια ήμουν ανάμεσα στους πέντε πρώτους που διακρίθηκαν.
• Συμμετείχα σε παιδικές παραστάσεις που παρουσιάστηκαν στο Ινστιτούτο Γκαίτε και στο Βαφοπούλειο Πνευματικό Κέντρο.
• Ασχολούμαι με την δραματοποίηση παραδοσιακών και κλασικών παραμυθιών (αφηγηματικό θέατρο) καθώς και με εκπαιδευτικά προγράμματα, που εγκρίνονται από την Αντιδημαρχία Πολιτισμού, τα οποία και παρουσιάζω σε εκδηλώσεις που γίνονται σε πολιτιστικά κέντρα, σε μεγάλες εκδηλώσεις φορέων, βιβλιοθήκες, σχολεία, καθώς και σε εκδηλώσεις που γίνονται κάτω από την αιγίδα της Νομαρχίας, του Δήμου Θεσ/νίκης και άλλων όμορων δήμων (Καλαμαριάς, Νεάπολης, Λαγκαδά, Σταυρούπολης, Μηχανιώνας, Σίνδου κλπ)
• Συνεργάστηκα με τον Μύλο Α.Ε. και παρουσίαζα τις παιδικές εκδηλώσεις που διοργανώθηκαν στους χώρους του (Αποκριάτικες-Χριστουγεννιάτικες-Καλοκαιρινές κλπ).
• Με αφορμή την Παγκόσμια ημέρα του παιδικού βιβλίου παρουσιάζω συγγραφείς δραματοποιώντας αποσπάσματα από τα έργα τους με την συνεργασία των παιδιών, στα σχολικά συγκροτήματα και των πέντε δημοτικών διαμερισμάτων του Δήμου Θεσσαλονίκης και σε όμορους Δήμους.
• Κάτω από την αιγίδα του Υπουργείου Πολιτισμού και με την έγκριση του Υπουργείου Παιδείας, συνεργάστηκα με το Φεστιβάλ Κινηματογράφου Θεσσαλονίκης, διοργανώνοντας με πολύ μεγάλη επιτυχία το εκπαιδευτικό πρόγραμμα «Κόκκινη Κλωστή… Παραμυθόδραμα για μικρά παιδιά».

Επαγγελματική συνεργασία με τη ΧΑΝ Καλαμαριάς.
Συνεργάστηκα με τη ΧΑΝΚ διδάσκοντας στα τμήματα δημιουργικής απασχόλησης νηπίων και παιδιών: αγγλικά, μουσικοκινητική αγωγή, θεατρικό παιχνίδι, καλλιτεχνικό εργαστήρι. Επίσης μαζί με την κ.Στεφάνου ήμουν υπεύθυνη του τμήματος θερινής απασχόλησης παιδιών που λειτούργησε πριν από δύο χρόνια στη ΧΑΝΚ

Άλλες δραστηριότητες:
Μαζί με την κυρία Ζέτα Στεφάνου, μητέρα μου, έχουμε ιδρύσει την ομάδα Τέχνης και Λόγου «Φαντασία», που αποτελείται από παιδαγωγούς, εμψυχωτές, μουσικούς, χορευτές, κλόουν, ζογκλέρ, ξυλοπόδαρους και ταχυδακτυλουργούς, με την οποία οργανώνουμε και παρουσιάζουμε παιδικές εκδηλώσεις και εκπαιδευτικά προγράμματα.
Έχω δημιουργήσει μια ομάδα από μαζορέτες, έχοντας τη μουσική και χορογραφική επιμέλεια. Με την ομάδα αυτή έχουμε εμφανιστεί σε πολλές εκδηλώσεις.
Συνεργάστηκα με το παιδικό περιοδικό «Παιδόπολις», γράφοντας την πολιτιστική ατζέντα και αρθρογραφώντας για θέματα που αφορούν το βιβλίο.
Στην έκθεση «Ο υπέροχος κόσμος Barbie και Lego», που διοργανώθηκε στη Διεθνή Έκθεση Θεσσαλονίκης από τις 4 έως τις 22 Ιανουαρίου 2006, «ζωντάνεψα» την κούκλα Barbie, δραματοποιώντας παραμύθια της.
Έχω συνεργαστεί με το καλλιτεχνικό εργαστήρι του Μουσείου Βυζαντινών και μεταβυζαντινών μουσικών οργάνων διδάσκοντας θεατρικό παιχνίδι στα παιδιά και οργανώνοντας τις παιδικές παραστάσεις.
Είμαι μέλος της μουσικής ομάδας «Μουσικό Πολύτροπο» του τμήματος Μουσικολογίας του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης, υπό την καθοδήγηση του καθηγητή μουσικολογίας του ΑΠΘ κ. Καϊμάκη, με την οποία συμμετείχα σε παραστάσεις (έναρξη της φοιτητικής εβδομάδας στην πλατεία Αριστοτέλους, περιοδεία στη Βουδαπέστη- Βιέννη)
Επίσης συμμετείχα στο πρόγραμμα εθελοντικής εργασίας που οργάνωσε ο ΑΡΚΤΟΥΡΟΣ στο Κέντρο Προστασίας Αρκούδας στον κτηνιατρικό σταθμό στον Φανό και στο δασικό σταθμό στο Νυμφαίο της Φλώρινας, για τέσσερα χρόνια.
Είμαι εθελόντρια στο «Χαμόγελο του παιδιού» και στη «Λάμψη», ενώ με την Ομάδα «Φαντασία» παρουσιάζω εθελοντικά, προγράμματα για ευαίσθητες κοινωνικές ομάδες.
Για δέκα χρόνια παρακολούθησα μαθήματα κλασικού χορού, έχω κάνει μαθήματα Jazz και Latin- Ballroom χορών, ενώ συνεχίζω το χορό με μαθήματα Muzical.

Με εκτίμηση
Μυρτώ Δημητρίου
Κοινωνική Ανθρωπολόγος
Διδάκτωρ origami- εικαστικός
Συγγραφέας- εμψυχώτρια

Τηλ.επικοινωνίας: 2310-449204 Κιν.: 6978.858515

e-mail: Myrto Dimitriou
http://omadafantasia.blogspot.com,
http://origamiwithfantasygroup.blogspot.com

Curriculum Vitae

Επώνυμο: Δημητρίου
Όνομα: Μυρτώ
Ημερομηνία γέννησης: 02.08.1983
Τόπος γέννησης: Θεσσαλονίκη

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Σπουδές: Πτυχιούχος του τμήματος Κοινωνικής Πολιτικής και Κοινωνικής Ανθρωπολογίας του Παντείου Πανεπιστημίου, υπότροφος του ΙΚΥ.
Επίσης σπούδασα στο Ithaca College στη Νέα Υόρκη, στο Τμήμα Θεάτρου και Μέσων Μαζικής Επικοινωνίας.
Είμαι η μόνη Ελληνίδα instructor origami και μέλος του Nippon Origami Association.
Είμαι ιδρυτικό μέλος του Πανελληνίου Ομίλου Φίλων Αφήγησης (Π.Ο.Φ.Α) και της UNIMA (Παγκόσμιος Όμιλος Κουκλοθεάτρου).
Είμαι συγγραφέας και μέλος του Κύκλου Ελληνικού Παιδικού Βιβλίου.

Ξένες γλώσσες: Αγγλικά (επίπεδο Proficiency)
Γαλλικά (επίπεδο Sorbonne 1)
Ιταλικά (επίπεδο Superiore).
Γνώσεις Η/Υ: Έχω παρακολουθήσει σεμινάρια ηλεκτρονικών υπολογιστών και είμαι εξοικειωμένη με το περιβάλλον των Windows, καθώς και με τα προγράμματα Word, Excel

Έχω γράψει το παιδικό παραμύθι «Οι περιπέτειες του Φρίξου» που κυκλοφορεί από τις Εκδόσεις Δια Βίου, συνοδευόμενο από cd, στο οποίο γίνεται αφήγηση του παραμυθιού και τα τραγούδια ερμηνεύει ο Δημήτρης Ζερβουδάκης με την παιδική χορωδία του Πολιτιστικού Οργανισμού του Δήμου Καλαμαριάς.
Από τις Εκδόσεις Καλειδοσκόπιο κυκλοφορεί το βιβλίο μου «Origami με φαντασία!», το μοναδικό βιβλίο για την ιαπωνική εικαστική τέχνη της χαρτοδιπλωτικής στην Ελλάδα.
Κυκλοφορεί επίσης το βιβλίο «10 διακοσμητικά και λουλούδια origami», το πρώτο από μια σειρά βιβλίων με οδηγίες αλλά και χαρτάκια.

Origami:
Ως κοινωνική ανθρωπολόγος και θέλοντας να συνδυάσω την ελληνική λαογραφία με την ιαπωνική παραδοσιακή τέχνη, αναπαρέστησα μοτίβα ελληνικών κεντημάτων, από τη συλλογή κεντημάτων της Αμαλίας Μεγαπάνου, από το Μουσείο Μπενάκη, δημιουργώντας έτσι πίνακες κεντημάτων με χαρτί.
Η νέα συλλογή έργων μου έχει τον τίτλο «Μωσαϊκά Origami» και είναι εμπνευσμένη από το Αρχαιολογικό Μουσείο.
Έργα μου εκτίθενται όχι μόνο σε ιδιωτικές συλλογές αλλά και στην Ιαπωνική Πρεσβεία των Αθηνών, με την οποία διατηρώ άριστες εποικοδομητικές σχέσεις.
Το καλοκαίρι του 2010 συνεργάστηκα με πανεπιστήμια στο Τόκυο, όπου και δίδαξα origami. Έχω εκπονήσει εκπαιδευτικά προγράμματα για όλες τις βαθμίδες της εκπαίδευσης (νηπιαγωγείο – δημοτικό – γυμνάσιο- λύκειο-πανεπιστήμιο) τα οποία υλοποιούνται σε συνεργασία με Δήμους, Νομαρχίες, Οργανισμούς, Εταιρείες, με πολύ μεγάλη επιτυχία. Επίσης διοργανώνω εργαστήρια, σεμινάρια για ενήλικες αλλά και για εικαστικούς.
Σε συνεργασία με τον κ. Μπακατσέλο, ο οποίος είναι ο επίτιμος πρόξενος της Ιαπωνίας στη Θεσσαλονίκη και πρόεδρος του ΕΒΕΘ, πραγματοποιήσαμε με πολύ μεγάλη επιτυχία σεμινάρια και έκθεση με πίνακες και συνθέσεις φτιαγμένα από χαρτί στο Εμπορικό και Βιομηχανικό Επιμελητήριο Θεσσαλονίκης, από την Δευτέρα 8 Μαρτίου μέχρι και την Κυριακή 21 Μαρτίου 2010.
Από τις 10 Μαρτίου-10 Απριλίου 2011, συμμετείχα με έκθεση και εργαστήρια origami στις «Μέρες Έκφρασης και Δημιουργίας 2011» που διοργανώνονται για 17η συνεχόμενη χρονιά, από τους φίλους του Ιδρύματος Μελίνα Μερκούρη στο Περίπτερο 1 της ΔΕΘ. Η διοργάνωση αποτελεί θεσμό για την πόλη μας.
Στις 28 Μαρτίου 2011 στα πλαίσια της παραπάνω διοργάνωσης και κάτω από την αιγίδα της Γενικής Γραμματείας Νέας Γενιάς, θέλοντας να συμπαρασταθούμε στον δοκιμαζόμενο Ιαπωνικό λαό κάναμε μια συμβολική πράξη διπλώνοντας 1000 χάρτινους γερανούς (πραγματοποιώντας έναν παλιό Ιαπωνικό μύθο) μαζί με το 1ο-5ο Δημ. Σχολείο Συκεών που τους στείλαμε σε αντίστοιχο σχολείο του Τόκυο, με το οποίο θα υπάρξει αδελφοποίηση.
Είναι πραγματικά μεγάλη μου τιμή ,που από το Origami Kaikan -Ιαπωνικός Οργανισμός στο Τόκυο- επέλεξαν το έργο μου "Dragon Boat" (το μοναδικό έργο από την Ελλάδα) για να συμπεριληφθεί στην Takahama Collection. Η έκθεση φιλοξενείται στο Μουσείο ORIGAMI στην Ιαπωνία και θα ταξιδέψει σε όλο τον κόσμο!!!
Παρουσιάζω την εκπομπή «Origami με Φαντασία» στην Ωμέγα Τηλεόραση, καθημερινά 15:00-15:30 και τα σαββατοκύριακα 14:30-15:00.

Το μεγαλύτερο ORIGAMI του κόσμου για το Ρεκόρ Γκίνες!!!
Σε συνεργασία με το τμήμα Νεολαίας, της Αντιδημαρχίας Νεότητας Αθλητισμού και Εθελοντών, θα δημιουργήσουμε το μεγαλύτερο ORIGAMI του κόσμου!!!Από τον Οκτώβρη μέχρι και τον Μάιο θα εκπαιδεύσω πάνω από 10.000 συμμετέχοντες, στο Πολιτιστικό κέντρο της Τούμπας!!!Θα διπλώσουν ένα κομμάτι χαρτί για να δημιουργήσουν το νούφαρο-μονάδα, που θα χρησιμοποιηθεί για να σχηματίσουμε ένα πελώριο μωσαϊκό με την εικόνα του Λευκού Πύργου, περίπου 400 τ.μ.! Στις 31 Μαϊου 2012 θα φτιάξουμε το μεγαλύτερο origami του κόσμου στην πλατεία Αριστοτέλους με την προοπτική να γραφτούμε στο βιβλίο Γκίνες!

Συμμετοχή σε συνέδρια-σεμινάρια:
• Συμμετείχα σε Διεθνή Συνέδρια Origami, διδάσκοντας και εκθέτοντας τα έργα μου: στο El Escorial (Μαδρίτη) από τις 27-31 Μαίου 2011, στην Τουλούζη από τις 2-5 Ιουνίου 2011, στο Maxi-Sheffield meeting στην Αγγλία από τις 8-10 Ιουλίου 2011, από τις 5-8 Αυγούστου 2011 στο 22ο Hungarian Origami Convention.
• Το καλοκαίρι του 1999 παρακολούθησα το συνέδριο «Kids for kids» που διοργανώθηκε στη Helexpo-ΔΕΘ, υπό την αιγίδα της Ευρωπαϊκής Ένωσης. Στο συνέδριο αυτό κέρδισα μια υποτροφία για το Ithaca College στη Νέα Υόρκη (στον τομέα Communications and Theater), στο οποίο και παρακολούθησα για τρία χρόνια καλοκαιρινά σεμινάρια θεάτρου, τηλεόρασης και ραδιοφώνου.
• Συμμετείχα στην 6η Διεθνή Συνδιάσκεψη του Ευρωπαϊκού Κοινοβουλίου νέων Ελλάδας και εργάστηκα πάνω στη σχέση πολιτισμού, παιδείας και μέσων μαζικής ενημέρωσης (12-14 Νοεμβρίου 1999).
• Παρακολούθησα το σεμινάριο ραδιοφωνίας που διοργάνωσε η ΝΕΛΕ Θεσ/νίκης από τις 15-19 Μαρτίου 2000.
• Στις 25-29 Μαρτίου 2000 πήρα μέρος στο πρόγραμμα Euroscola του Ευρωπαϊκού Κοινοβουλίου, στο Στρασβούργο και ασχολήθηκα με θέματα που αφορούσαν τη δημοκρατία, τα ανθρώπινα δικαιώματα και τα προβλήματα της κοινωνίας.
• Συμμετείχα στο 5ο Παγκόσμιο συνέδριο δυσλεξίας που διοργανώθηκε στη Θεσσαλονίκη από τις 3-27 Αυγούστου 2004, στην αίθουσα τελετών του ΑΠΘ.
• Παρακολούθησα το Διεθνές Επιστημονικό συνέδριο «Νέες κατευθύνσεις στα Ευρωπαϊκά ΜΜΕ», που πραγματοποιήθηκε στη Θεσσαλονίκη από τις 5-7 Νοεμβρίου 2004.
• Πήρα μέρος στο πρόγραμμα ανταλλαγής νέων «Multipl(a)y 2» που διοργανώθηκε από τη ΧΑΝΘ στον Άγιο Νικόλαο Χαλκιδικής, το διάστημα 16-28 Μαρτίου 2005.
• Παρακολούθησα το συνέδριο “Many musics in Europe” που διοργανώθηκε από το Ευρωπαϊκό Μουσικό Συμβούλιο (EMC: European Music Council) στη Βουδαπέστη από τις 22-24 Απριλίου 2005.
• Στις 28 Μαΐου 2005 παρακολούθησα το σεμινάριο δημιουργικής γραφής, με το συγγραφέα Paul Johnston, που διοργανώθηκε από το Βρετανικό Συμβούλιο στα πλαίσια της Διεθνούς Εκθέσεως Βιβλίου.
• Συμμετείχα στο 2ο Φεστιβάλ Αφήγησης Κάτω Ολύμπου, που πραγματοποιήθηκε στην Καλλιπεύκη Λάρισας, στις 17-18 Ιουνίου 2005, και διοργανώθηκε από το Παιδαγωγικό Τμήμα Προσχολικής Εκπαίδευσης και το Εργαστήριο λόγου και πολιτισμού του Πανεπιστημίου Θεσσαλίας. Στα πλαίσια του φεστιβάλ δραματοποίησα ένα λαϊκό παραδοσιακό παραμύθι.

Τηλεοπτική και ραδιοφωνική εμπειρία:
• Από το 1993, σε ηλικία 10 ετών, και για 7 χρόνια παρουσίαζα την τηλεοπτική παιδική-νεανική εκπομπή «Το πέταγμα της πεταλούδας» ( σκηνοθεσία Ζέτας Στεφάνου), σε τοπικά κανάλια. Έχω πάρει συνεντεύξεις από ανθρώπους των γραμμάτων και των τεχνών (Ελένη Γλύκατζη- Αρβελέρ), συγγραφείς (Άλκη Ζέη, Ζωρζ Σαρή, Ευγένιος Τριβιζάς, Μάνος Κοντολέων, Βασίλης Βασιλικός, Αντώνης Σαμαράκης κ.ά), ηθοποιούς και σκηνοθέτες (Αλίκη Βουγιουκλάκη, Λάκης Λαζόπουλος, Κωνσταντίνος Καζάκος, Ανδρέας Βουτσινάς κ.ά), μουσικούς και συνθέτες (Ελένη Καραΐνδρου, Εμίρ Κουστουρίτσα, Μάριος Φραγκούλης, Νότης Μαυρουδής, Θάνος Μικρούτσικος, Διονύσης Σαββόπουλος κ.ά).
• Για δύο χρόνια παρουσίαζα την εκπομπή «Παιδόκοσμος», σκηνοθεσία Ζέτας Στεφάνου, στην Cosmos τηλεόραση του ομίλου ALPHA.
• Για 4 χρόνια συμμετείχα στη ραδιοφωνική εκπομπή «Ο κήπος με τα παραμύθια» στο Ράδιο 105 της Helexpo, καθώς και στο ράδιο Παρατηρητής.
• Συνεργάστηκα με το ραδιοφωνικό σταθμό του Μύλου 88,5 για την παρουσίαση ένθετου για το βιβλίο, του «Εκδοτικού ήχου».
• Το 2010 παρουσίαζα την εκπομπή «Κόκκινη κλωστή …δεμένη σε χίλιες και μία νύχτες» σε τοπικό κανάλι.
• Από το 2010 συνεργάζομαι με τον τηλεοπτικό σταθμό του Alpha και στην Ωμέγα Τηλεόραση έχω καθημερινή παιδική εκπομπή.

Θεατρική εμπειρία:
• Το 1993 είχα τον πρωταγωνιστικό ρόλο στην παιδική παράσταση «Η Βασίλισσα του Χιονιού» του Χανς Κρίστιαν Άντερσεν, η οποία ανέβηκε στον κινηματοθέατρο Ολύμπιον.
• Το 1996 συμμετείχα στη θεατρική παράσταση της Αλίκης Βουγιουκλάκη «Μελωδία της ευτυχίας», έχοντας το ρόλο της Λουίζας.
• Το 1999 πήρα μέρος σε μια τηλεταινία για την ΕΡΤ3 με τίτλο «Μουσική για τα παιδιά που φοβούνται τα κακά όνειρα».
• Στη θεατρική παράσταση «Το καινούργιο σπίτι» του Γκολντόνι το Μάρτιο του 2000 είχα το ρόλο της Μενεγκίνας, και στο έργο «Εμείς και ο χρόνος» του J.B.Priestley το ρόλο της Τζόαν Χέλφορντ.
• Το Μάιο του 2001 στο διαγωνισμό εκφραστικής ανάγνωσης που διοργανώθηκε από το κολλέγιο Ανατόλια ήμουν ανάμεσα στους πέντε πρώτους που διακρίθηκαν.
• Συμμετείχα σε παιδικές παραστάσεις που παρουσιάστηκαν στο Ινστιτούτο Γκαίτε και στο Βαφοπούλειο Πνευματικό Κέντρο.
• Ασχολούμαι με την δραματοποίηση παραδοσιακών και κλασικών παραμυθιών (αφηγηματικό θέατρο) καθώς και με εκπαιδευτικά προγράμματα, που εγκρίνονται από την Αντιδημαρχία Πολιτισμού, τα οποία και παρουσιάζω σε εκδηλώσεις που γίνονται σε πολιτιστικά κέντρα, σε μεγάλες εκδηλώσεις φορέων, βιβλιοθήκες, σχολεία, καθώς και σε εκδηλώσεις που γίνονται κάτω από την αιγίδα της Νομαρχίας, του Δήμου Θεσ/νίκης και άλλων όμορων δήμων (Καλαμαριάς, Νεάπολης, Λαγκαδά, Σταυρούπολης, Μηχανιώνας, Σίνδου κλπ)
• Συνεργάστηκα με τον Μύλο Α.Ε. και παρουσίαζα τις παιδικές εκδηλώσεις που διοργανώθηκαν στους χώρους του (Αποκριάτικες-Χριστουγεννιάτικες-Καλοκαιρινές κλπ).
• Με αφορμή την Παγκόσμια ημέρα του παιδικού βιβλίου παρουσιάζω συγγραφείς δραματοποιώντας αποσπάσματα από τα έργα τους με την συνεργασία των παιδιών, στα σχολικά συγκροτήματα και των πέντε δημοτικών διαμερισμάτων του Δήμου Θεσσαλονίκης και σε όμορους Δήμους.
• Κάτω από την αιγίδα του Υπουργείου Πολιτισμού και με την έγκριση του Υπουργείου Παιδείας, συνεργάστηκα με το Φεστιβάλ Κινηματογράφου Θεσσαλονίκης, διοργανώνοντας με πολύ μεγάλη επιτυχία το εκπαιδευτικό πρόγραμμα «Κόκκινη Κλωστή… Παραμυθόδραμα για μικρά παιδιά».

Επαγγελματική συνεργασία με τη ΧΑΝ Καλαμαριάς.
Συνεργάστηκα με τη ΧΑΝΚ διδάσκοντας στα τμήματα δημιουργικής απασχόλησης νηπίων και παιδιών: αγγλικά, μουσικοκινητική αγωγή, θεατρικό παιχνίδι, καλλιτεχνικό εργαστήρι. Επίσης μαζί με την κ.Στεφάνου ήμουν υπεύθυνη του τμήματος θερινής απασχόλησης παιδιών που λειτούργησε πριν από δύο χρόνια στη ΧΑΝΚ

Άλλες δραστηριότητες:
Μαζί με την κυρία Ζέτα Στεφάνου, μητέρα μου, έχουμε ιδρύσει την ομάδα Τέχνης και Λόγου «Φαντασία», που αποτελείται από παιδαγωγούς, εμψυχωτές, μουσικούς, χορευτές, κλόουν, ζογκλέρ, ξυλοπόδαρους και ταχυδακτυλουργούς, με την οποία οργανώνουμε και παρουσιάζουμε παιδικές εκδηλώσεις και εκπαιδευτικά προγράμματα.
Έχω δημιουργήσει μια ομάδα από μαζορέτες, έχοντας τη μουσική και χορογραφική επιμέλεια. Με την ομάδα αυτή έχουμε εμφανιστεί σε πολλές εκδηλώσεις.
Συνεργάστηκα με το παιδικό περιοδικό «Παιδόπολις», γράφοντας την πολιτιστική ατζέντα και αρθρογραφώντας για θέματα που αφορούν το βιβλίο.
Στην έκθεση «Ο υπέροχος κόσμος Barbie και Lego», που διοργανώθηκε στη Διεθνή Έκθεση Θεσσαλονίκης από τις 4 έως τις 22 Ιανουαρίου 2006, «ζωντάνεψα» την κούκλα Barbie, δραματοποιώντας παραμύθια της.
Έχω συνεργαστεί με το καλλιτεχνικό εργαστήρι του Μουσείου Βυζαντινών και μεταβυζαντινών μουσικών οργάνων διδάσκοντας θεατρικό παιχνίδι στα παιδιά και οργανώνοντας τις παιδικές παραστάσεις.
Είμαι μέλος της μουσικής ομάδας «Μουσικό Πολύτροπο» του τμήματος Μουσικολογίας του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης, υπό την καθοδήγηση του καθηγητή μουσικολογίας του ΑΠΘ κ. Καϊμάκη, με την οποία συμμετείχα σε παραστάσεις (έναρξη της φοιτητικής εβδομάδας στην πλατεία Αριστοτέλους, περιοδεία στη Βουδαπέστη- Βιέννη)
Επίσης συμμετείχα στο πρόγραμμα εθελοντικής εργασίας που οργάνωσε ο ΑΡΚΤΟΥΡΟΣ στο Κέντρο Προστασίας Αρκούδας στον κτηνιατρικό σταθμό στον Φανό και στο δασικό σταθμό στο Νυμφαίο της Φλώρινας, για τέσσερα χρόνια.
Είμαι εθελόντρια στο «Χαμόγελο του παιδιού» και στη «Λάμψη», ενώ με την Ομάδα «Φαντασία» παρουσιάζω εθελοντικά, προγράμματα για ευαίσθητες κοινωνικές ομάδες.
Για δέκα χρόνια παρακολούθησα μαθήματα κλασικού χορού, έχω κάνει μαθήματα Jazz και Latin- Ballroom χορών, ενώ συνεχίζω το χορό με μαθήματα Muzical.

Με εκτίμηση
Μυρτώ Δημητρίου
Κοινωνική Ανθρωπολόγος
Διδάκτωρ origami- εικαστικός
Συγγραφέας- εμψυχώτρια

Τηλ.επικοινωνίας: 2310-449204 Κιν.: 6978.858515

e-mail: Myrto Dimitriou
http://omadafantasia.blogspot.com,
http://origamiwithfantasygroup.blogspot.com

[[picture:"Hearn origami...jpg" ID:20163]]

Curriculum Vitae

Επώνυμο: Δημητρίου
Όνομα: Μυρτώ
Ημερομηνία γέννησης: 02.08.1983
Τόπος γέννησης: Θεσσαλονίκη

e-mail: Email, Myrto Dimitriou

http://omadafantasia.blogspot.com

http://origamiwithfantasygroup.blogspot.com
www.youtube.com/watch?v=GVNx1Ld9GDw
www.youtube.com/watch?v=pOgMQqY8o6A

Myrto's appreciation of Japanese culture, and her endeavours to explain Japanese culture to Greeks in Greece, and teach Japanese arts such as origami, has inevitably led her to make contact with persons associated with Lafcadio Hearn, such as Takis Efstahiou and Lafcadio's grandson, Bon Koizumi. The Japanese-Greek cultural exchange through Lafcadio Hearn is fascinating.

Σπουδές: Πτυχιούχος του τμήματος Κοινωνικής Πολιτικής και Κοινωνικής Ανθρωπολογίας του Παντείου Πανεπιστημίου, υπότροφος του ΙΚΥ.
Επίσης σπούδασα στο Ithaca College στη Νέα Υόρκη, στο Τμήμα Θεάτρου και Μέσων Μαζικής Επικοινωνίας.
Είμαι η μόνη Ελληνίδα instructor origami και μέλος του Nippon Origami Association.
Είμαι ιδρυτικό μέλος του Πανελληνίου Ομίλου Φίλων Αφήγησης (Π.Ο.Φ.Α) και της UNIMA (Παγκόσμιος Όμιλος Κουκλοθεάτρου).
Είμαι συγγραφέας και μέλος του Κύκλου Ελληνικού Παιδικού Βιβλίου.

Ξένες γλώσσες: Αγγλικά (επίπεδο Proficiency)
Γαλλικά (επίπεδο Sorbonne 1)
Ιταλικά (επίπεδο Superiore).
Γνώσεις Η/Υ: Έχω παρακολουθήσει σεμινάρια ηλεκτρονικών υπολογιστών και είμαι εξοικειωμένη με το περιβάλλον των Windows, καθώς και με τα προγράμματα Word, Excel

Έχω γράψει το παιδικό παραμύθι «Οι περιπέτειες του Φρίξου» που κυκλοφορεί από τις Εκδόσεις Δια Βίου, συνοδευόμενο από cd, στο οποίο γίνεται αφήγηση του παραμυθιού και τα τραγούδια ερμηνεύει ο Δημήτρης Ζερβουδάκης με την παιδική χορωδία του Πολιτιστικού Οργανισμού του Δήμου Καλαμαριάς.
Από τις Εκδόσεις Καλειδοσκόπιο κυκλοφορεί το βιβλίο μου «Origami με φαντασία!», το μοναδικό βιβλίο για την ιαπωνική εικαστική τέχνη της χαρτοδιπλωτικής στην Ελλάδα.
Κυκλοφορεί επίσης το βιβλίο «10 διακοσμητικά και λουλούδια origami», το πρώτο από μια σειρά βιβλίων με οδηγίες αλλά και χαρτάκια.

Origami:
Ως κοινωνική ανθρωπολόγος και θέλοντας να συνδυάσω την ελληνική λαογραφία με την ιαπωνική παραδοσιακή τέχνη, αναπαρέστησα μοτίβα ελληνικών κεντημάτων, από τη συλλογή κεντημάτων της Αμαλίας Μεγαπάνου, από το Μουσείο Μπενάκη, δημιουργώντας έτσι πίνακες κεντημάτων με χαρτί.
Η νέα συλλογή έργων μου έχει τον τίτλο «Μωσαϊκά Origami» και είναι εμπνευσμένη από το Αρχαιολογικό Μουσείο.
Έργα μου εκτίθενται όχι μόνο σε ιδιωτικές συλλογές αλλά και στην Ιαπωνική Πρεσβεία των Αθηνών, με την οποία διατηρώ άριστες εποικοδομητικές σχέσεις.
Το καλοκαίρι του 2010 συνεργάστηκα με πανεπιστήμια στο Τόκυο, όπου και δίδαξα origami. Έχω εκπονήσει εκπαιδευτικά προγράμματα για όλες τις βαθμίδες της εκπαίδευσης (νηπιαγωγείο – δημοτικό – γυμνάσιο- λύκειο-πανεπιστήμιο) τα οποία υλοποιούνται σε συνεργασία με Δήμους, Νομαρχίες, Οργανισμούς, Εταιρείες, με πολύ μεγάλη επιτυχία. Επίσης διοργανώνω εργαστήρια, σεμινάρια για ενήλικες αλλά και για εικαστικούς.
Σε συνεργασία με τον κ. Μπακατσέλο, ο οποίος είναι ο επίτιμος πρόξενος της Ιαπωνίας στη Θεσσαλονίκη και πρόεδρος του ΕΒΕΘ, πραγματοποιήσαμε με πολύ μεγάλη επιτυχία σεμινάρια και έκθεση με πίνακες και συνθέσεις φτιαγμένα από χαρτί στο Εμπορικό και Βιομηχανικό Επιμελητήριο Θεσσαλονίκης, από την Δευτέρα 8 Μαρτίου μέχρι και την Κυριακή 21 Μαρτίου 2010.
Από τις 10 Μαρτίου-10 Απριλίου 2011, συμμετείχα με έκθεση και εργαστήρια origami στις «Μέρες Έκφρασης και Δημιουργίας 2011» που διοργανώνονται για 17η συνεχόμενη χρονιά, από τους φίλους του Ιδρύματος Μελίνα Μερκούρη στο Περίπτερο 1 της ΔΕΘ. Η διοργάνωση αποτελεί θεσμό για την πόλη μας.
Στις 28 Μαρτίου 2011 στα πλαίσια της παραπάνω διοργάνωσης και κάτω από την αιγίδα της Γενικής Γραμματείας Νέας Γενιάς, θέλοντας να συμπαρασταθούμε στον δοκιμαζόμενο Ιαπωνικό λαό κάναμε μια συμβολική πράξη διπλώνοντας 1000 χάρτινους γερανούς (πραγματοποιώντας έναν παλιό Ιαπωνικό μύθο) μαζί με το 1ο-5ο Δημ. Σχολείο Συκεών που τους στείλαμε σε αντίστοιχο σχολείο του Τόκυο, με το οποίο θα υπάρξει αδελφοποίηση.
Είναι πραγματικά μεγάλη μου τιμή ,που από το Origami Kaikan -Ιαπωνικός Οργανισμός στο Τόκυο- επέλεξαν το έργο μου "Dragon Boat" (το μοναδικό έργο από την Ελλάδα) για να συμπεριληφθεί στην Takahama Collection. Η έκθεση φιλοξενείται στο Μουσείο ORIGAMI στην Ιαπωνία και θα ταξιδέψει σε όλο τον κόσμο!!!
Παρουσιάζω την εκπομπή «Origami με Φαντασία» στην Ωμέγα Τηλεόραση, καθημερινά 15:00-15:30 και τα σαββατοκύριακα 14:30-15:00.

Το μεγαλύτερο ORIGAMI του κόσμου για το Ρεκόρ Γκίνες!!!
Σε συνεργασία με το τμήμα Νεολαίας, της Αντιδημαρχίας Νεότητας Αθλητισμού και Εθελοντών, θα δημιουργήσουμε το μεγαλύτερο ORIGAMI του κόσμου!!!Από τον Οκτώβρη μέχρι και τον Μάιο θα εκπαιδεύσω πάνω από 10.000 συμμετέχοντες, στο Πολιτιστικό κέντρο της Τούμπας!!!Θα διπλώσουν ένα κομμάτι χαρτί για να δημιουργήσουν το νούφαρο-μονάδα, που θα χρησιμοποιηθεί για να σχηματίσουμε ένα πελώριο μωσαϊκό με την εικόνα του Λευκού Πύργου, περίπου 400 τ.μ.! Στις 31 Μαϊου 2012 θα φτιάξουμε το μεγαλύτερο origami του κόσμου στην πλατεία Αριστοτέλους με την προοπτική να γραφτούμε στο βιβλίο Γκίνες!

[[picture:"Hearn Εκθεση origami στο ΕΒΕΘ.jpg" ID:20164]]

Στην εκδήλωση στο κτήμα Γεροβασιλείου, από τα εγκαίνεια της έκθεσης ORIGAMI στο Εμπορικό και Βιομηχανικό Επιμελητήριο Θεσσαλονίκης, από την καθημερινή τηλεοπτική εκπομπή μου "Origami με φαντασία!", καθώς και από το εκπαιδευτικό πρόγραμμα που παρουσιάζω στα σχολεία.

Συμμετοχή σε συνέδρια-σεμινάρια:
• Συμμετείχα σε Διεθνή Συνέδρια Origami, διδάσκοντας και εκθέτοντας τα έργα μου: στο El Escorial (Μαδρίτη) από τις 27-31 Μαίου 2011, στην Τουλούζη από τις 2-5 Ιουνίου 2011, στο Maxi-Sheffield meeting στην Αγγλία από τις 8-10 Ιουλίου 2011, από τις 5-8 Αυγούστου 2011 στο 22ο Hungarian Origami Convention.
• Το καλοκαίρι του 1999 παρακολούθησα το συνέδριο «Kids for kids» που διοργανώθηκε στη Helexpo-ΔΕΘ, υπό την αιγίδα της Ευρωπαϊκής Ένωσης. Στο συνέδριο αυτό κέρδισα μια υποτροφία για το Ithaca College στη Νέα Υόρκη (στον τομέα Communications and Theater), στο οποίο και παρακολούθησα για τρία χρόνια καλοκαιρινά σεμινάρια θεάτρου, τηλεόρασης και ραδιοφώνου.
• Συμμετείχα στην 6η Διεθνή Συνδιάσκεψη του Ευρωπαϊκού Κοινοβουλίου νέων Ελλάδας και εργάστηκα πάνω στη σχέση πολιτισμού, παιδείας και μέσων μαζικής ενημέρωσης (12-14 Νοεμβρίου 1999).
• Παρακολούθησα το σεμινάριο ραδιοφωνίας που διοργάνωσε η ΝΕΛΕ Θεσ/νίκης από τις 15-19 Μαρτίου 2000.
• Στις 25-29 Μαρτίου 2000 πήρα μέρος στο πρόγραμμα Euroscola του Ευρωπαϊκού Κοινοβουλίου, στο Στρασβούργο και ασχολήθηκα με θέματα που αφορούσαν τη δημοκρατία, τα ανθρώπινα δικαιώματα και τα προβλήματα της κοινωνίας.
• Συμμετείχα στο 5ο Παγκόσμιο συνέδριο δυσλεξίας που διοργανώθηκε στη Θεσσαλονίκη από τις 3-27 Αυγούστου 2004, στην αίθουσα τελετών του ΑΠΘ.
• Παρακολούθησα το Διεθνές Επιστημονικό συνέδριο «Νέες κατευθύνσεις στα Ευρωπαϊκά ΜΜΕ», που πραγματοποιήθηκε στη Θεσσαλονίκη από τις 5-7 Νοεμβρίου 2004.
• Πήρα μέρος στο πρόγραμμα ανταλλαγής νέων «Multipl(a)y 2» που διοργανώθηκε από τη ΧΑΝΘ στον Άγιο Νικόλαο Χαλκιδικής, το διάστημα 16-28 Μαρτίου 2005.
• Παρακολούθησα το συνέδριο “Many musics in Europe” που διοργανώθηκε από το Ευρωπαϊκό Μουσικό Συμβούλιο (EMC: European Music Council) στη Βουδαπέστη από τις 22-24 Απριλίου 2005.
• Στις 28 Μαΐου 2005 παρακολούθησα το σεμινάριο δημιουργικής γραφής, με το συγγραφέα Paul Johnston, που διοργανώθηκε από το Βρετανικό Συμβούλιο στα πλαίσια της Διεθνούς Εκθέσεως Βιβλίου.
• Συμμετείχα στο 2ο Φεστιβάλ Αφήγησης Κάτω Ολύμπου, που πραγματοποιήθηκε στην Καλλιπεύκη Λάρισας, στις 17-18 Ιουνίου 2005, και διοργανώθηκε από το Παιδαγωγικό Τμήμα Προσχολικής Εκπαίδευσης και το Εργαστήριο λόγου και πολιτισμού του Πανεπιστημίου Θεσσαλίας. Στα πλαίσια του φεστιβάλ δραματοποίησα ένα λαϊκό παραδοσιακό παραμύθι.

Τηλεοπτική και ραδιοφωνική εμπειρία:
• Από το 1993, σε ηλικία 10 ετών, και για 7 χρόνια παρουσίαζα την τηλεοπτική παιδική-νεανική εκπομπή «Το πέταγμα της πεταλούδας» ( σκηνοθεσία Ζέτας Στεφάνου), σε τοπικά κανάλια. Έχω πάρει συνεντεύξεις από ανθρώπους των γραμμάτων και των τεχνών (Ελένη Γλύκατζη- Αρβελέρ), συγγραφείς (Άλκη Ζέη, Ζωρζ Σαρή, Ευγένιος Τριβιζάς, Μάνος Κοντολέων, Βασίλης Βασιλικός, Αντώνης Σαμαράκης κ.ά), ηθοποιούς και σκηνοθέτες (Αλίκη Βουγιουκλάκη, Λάκης Λαζόπουλος, Κωνσταντίνος Καζάκος, Ανδρέας Βουτσινάς κ.ά), μουσικούς και συνθέτες (Ελένη Καραΐνδρου, Εμίρ Κουστουρίτσα, Μάριος Φραγκούλης, Νότης Μαυρουδής, Θάνος Μικρούτσικος, Διονύσης Σαββόπουλος κ.ά).
• Για δύο χρόνια παρουσίαζα την εκπομπή «Παιδόκοσμος», σκηνοθεσία Ζέτας Στεφάνου, στην Cosmos τηλεόραση του ομίλου ALPHA.
• Για 4 χρόνια συμμετείχα στη ραδιοφωνική εκπομπή «Ο κήπος με τα παραμύθια» στο Ράδιο 105 της Helexpo, καθώς και στο ράδιο Παρατηρητής.
• Συνεργάστηκα με το ραδιοφωνικό σταθμό του Μύλου 88,5 για την παρουσίαση ένθετου για το βιβλίο, του «Εκδοτικού ήχου».
• Το 2010 παρουσίαζα την εκπομπή «Κόκκινη κλωστή …δεμένη σε χίλιες και μία νύχτες» σε τοπικό κανάλι.
• Από το 2010 συνεργάζομαι με τον τηλεοπτικό σταθμό του Alpha και στην Ωμέγα Τηλεόραση έχω καθημερινή παιδική εκπομπή.

Θεατρική εμπειρία:
• Το 1993 είχα τον πρωταγωνιστικό ρόλο στην παιδική παράσταση «Η Βασίλισσα του Χιονιού» του Χανς Κρίστιαν Άντερσεν, η οποία ανέβηκε στον κινηματοθέατρο Ολύμπιον.
• Το 1996 συμμετείχα στη θεατρική παράσταση της Αλίκης Βουγιουκλάκη «Μελωδία της ευτυχίας», έχοντας το ρόλο της Λουίζας.
• Το 1999 πήρα μέρος σε μια τηλεταινία για την ΕΡΤ3 με τίτλο «Μουσική για τα παιδιά που φοβούνται τα κακά όνειρα».
• Στη θεατρική παράσταση «Το καινούργιο σπίτι» του Γκολντόνι το Μάρτιο του 2000 είχα το ρόλο της Μενεγκίνας, και στο έργο «Εμείς και ο χρόνος» του J.B.Priestley το ρόλο της Τζόαν Χέλφορντ.
• Το Μάιο του 2001 στο διαγωνισμό εκφραστικής ανάγνωσης που διοργανώθηκε από το κολλέγιο Ανατόλια ήμουν ανάμεσα στους πέντε πρώτους που διακρίθηκαν.
• Συμμετείχα σε παιδικές παραστάσεις που παρουσιάστηκαν στο Ινστιτούτο Γκαίτε και στο Βαφοπούλειο Πνευματικό Κέντρο.
• Ασχολούμαι με την δραματοποίηση παραδοσιακών και κλασικών παραμυθιών (αφηγηματικό θέατρο) καθώς και με εκπαιδευτικά προγράμματα, που εγκρίνονται από την Αντιδημαρχία Πολιτισμού, τα οποία και παρουσιάζω σε εκδηλώσεις που γίνονται σε πολιτιστικά κέντρα, σε μεγάλες εκδηλώσεις φορέων, βιβλιοθήκες, σχολεία, καθώς και σε εκδηλώσεις που γίνονται κάτω από την αιγίδα της Νομαρχίας, του Δήμου Θεσ/νίκης και άλλων όμορων δήμων (Καλαμαριάς, Νεάπολης, Λαγκαδά, Σταυρούπολης, Μηχανιώνας, Σίνδου κλπ)
• Συνεργάστηκα με τον Μύλο Α.Ε. και παρουσίαζα τις παιδικές εκδηλώσεις που διοργανώθηκαν στους χώρους του (Αποκριάτικες-Χριστουγεννιάτικες-Καλοκαιρινές κλπ).
• Με αφορμή την Παγκόσμια ημέρα του παιδικού βιβλίου παρουσιάζω συγγραφείς δραματοποιώντας αποσπάσματα από τα έργα τους με την συνεργασία των παιδιών, στα σχολικά συγκροτήματα και των πέντε δημοτικών διαμερισμάτων του Δήμου Θεσσαλονίκης και σε όμορους Δήμους.
• Κάτω από την αιγίδα του Υπουργείου Πολιτισμού και με την έγκριση του Υπουργείου Παιδείας, συνεργάστηκα με το Φεστιβάλ Κινηματογράφου Θεσσαλονίκης, διοργανώνοντας με πολύ μεγάλη επιτυχία το εκπαιδευτικό πρόγραμμα «Κόκκινη Κλωστή… Παραμυθόδραμα για μικρά παιδιά».

Επαγγελματική συνεργασία με τη ΧΑΝ Καλαμαριάς.
Συνεργάστηκα με τη ΧΑΝΚ διδάσκοντας στα τμήματα δημιουργικής απασχόλησης νηπίων και παιδιών: αγγλικά, μουσικοκινητική αγωγή, θεατρικό παιχνίδι, καλλιτεχνικό εργαστήρι. Επίσης μαζί με την κ.Στεφάνου ήμουν υπεύθυνη του τμήματος θερινής απασχόλησης παιδιών που λειτούργησε πριν από δύο χρόνια στη ΧΑΝΚ

Άλλες δραστηριότητες:
Μαζί με την κυρία Ζέτα Στεφάνου, μητέρα μου, έχουμε ιδρύσει την ομάδα Τέχνης και Λόγου «Φαντασία», που αποτελείται από παιδαγωγούς, εμψυχωτές, μουσικούς, χορευτές, κλόουν, ζογκλέρ, ξυλοπόδαρους και ταχυδακτυλουργούς, με την οποία οργανώνουμε και παρουσιάζουμε παιδικές εκδηλώσεις και εκπαιδευτικά προγράμματα.
Έχω δημιουργήσει μια ομάδα από μαζορέτες, έχοντας τη μουσική και χορογραφική επιμέλεια. Με την ομάδα αυτή έχουμε εμφανιστεί σε πολλές εκδηλώσεις.
Συνεργάστηκα με το παιδικό περιοδικό «Παιδόπολις», γράφοντας την πολιτιστική ατζέντα και αρθρογραφώντας για θέματα που αφορούν το βιβλίο.
Στην έκθεση «Ο υπέροχος κόσμος Barbie και Lego», που διοργανώθηκε στη Διεθνή Έκθεση Θεσσαλονίκης από τις 4 έως τις 22 Ιανουαρίου 2006, «ζωντάνεψα» την κούκλα Barbie, δραματοποιώντας παραμύθια της.
Έχω συνεργαστεί με το καλλιτεχνικό εργαστήρι του Μουσείου Βυζαντινών και μεταβυζαντινών μουσικών οργάνων διδάσκοντας θεατρικό παιχνίδι στα παιδιά και οργανώνοντας τις παιδικές παραστάσεις.
Είμαι μέλος της μουσικής ομάδας «Μουσικό Πολύτροπο» του τμήματος Μουσικολογίας του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης, υπό την καθοδήγηση του καθηγητή μουσικολογίας του ΑΠΘ κ. Καϊμάκη, με την οποία συμμετείχα σε παραστάσεις (έναρξη της φοιτητικής εβδομάδας στην πλατεία Αριστοτέλους, περιοδεία στη Βουδαπέστη- Βιέννη)
Επίσης συμμετείχα στο πρόγραμμα εθελοντικής εργασίας που οργάνωσε ο ΑΡΚΤΟΥΡΟΣ στο Κέντρο Προστασίας Αρκούδας στον κτηνιατρικό σταθμό στον Φανό και στο δασικό σταθμό στο Νυμφαίο της Φλώρινας, για τέσσερα χρόνια.
Είμαι εθελόντρια στο «Χαμόγελο του παιδιού» και στη «Λάμψη», ενώ με την Ομάδα «Φαντασία» παρουσιάζω εθελοντικά, προγράμματα για ευαίσθητες κοινωνικές ομάδες.
Για δέκα χρόνια παρακολούθησα μαθήματα κλασικού χορού, έχω κάνει μαθήματα Jazz και Latin- Ballroom χορών, ενώ συνεχίζω το χορό με μαθήματα Muzical.

Με εκτίμηση
Μυρτώ Δημητρίου
Κοινωνική Ανθρωπολόγος
Διδάκτωρ origami- εικαστικός
Συγγραφέας- εμψυχώτρια

Τηλ.επικοινωνίας: 2310-449204 Κιν.: 6978.858515

e-mail: Myrto Dimitriou
http://omadafantasia.blogspot.com,
http://origamiwithfantasygroup.blogspot.com

The National Tour of Tulane University's Rare Books

sponsored by

NewSouth Magazine

1997
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View / download a .pdf of this Tulane University Rare Books article here:

National Tour of Tulane University 2.pdf

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The Secretary of State's Office is honored to display the Lafacadio Hearn rare book collection at the Louisiana State Archives, in cooperation with the Department of Economic Development and Tulane University. This unique traveling exhibit will remain on display at the Archives, located at 3851 Essen Lane in Baton Rouge, until November 18th. For more information, please call 504/922-1000.

A Short History of Lafcadio Hearn

Courtesy NewSouth Magazine Lafcadio Hearn (Japanese name Koizumi Yakumo, 1850-1904) author, translator, educator is known for his excellent English prose. He is highly regarded by the Japanese people as the first westerner to truly understand their culture. While living in Japan from 1890 to 1904 he wrote articles about Japan in Atlantic Monthly and Harper's. While always writing in English, his Japanese wife, Setsuko, helped him gain great insight into Japanese customs and folklore.

Born in Greece of an Irish father and Greek-Kytherian mother, he was given the name Lafcadio, which refers to the Ionian Isle of Lefkas in Greece. At the age of two his parents brought him to Dublin, Ireland where he was raised by an aunt. He studied in France and England before going to Cincinnati at the age of nineteen where he became a newspaper reporter.

He worked as a reporter in New Orleans where he wrote his first novel, Chita. It was in New Orleans when Hearn was covering the World Industrial Exposition of 1885 that he first became fascinated by the Japanese culture as he studied the Japanese exhibit. He later lived for six months in New York and for two years in Martinique, where he wrote two novels.

In 1890 he moved to Japan and was befriended by the great linguist and professor at Tokyo University, Basil Hall Chamberlain. Chamberlain helped Hearn secure a position teaching English at Matsue in Shimane Prefecture, where he fell in love with a Japan that was rapidly passing into history.

In 1891 Hearn married Koizumi Setsuko and taught English and literature in several Japanese universities until his death. His book Glimpses of an Unfamiliar Japan (1894) established his reputation as an interpreter of Japan to the West. Other writings by Hearn include, Japan: An Attempt at Interpretation (1904); Exotics and Retrospective (1898); In Ghostly Japan (1899), Shadowings (1900); A Japanese Miscellany (1901), and Kaidan (1904).

This traveling exhibition of some fifty first printed issues, unpublished photos, along with reproductions of the author's original manuscripts commemorates the centennial of Koizumi Yakumo's naturalization as a Japanese.
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UPDATED LINKS

• Happy Ending for Hearn House Nola.com Feature Article on Sunday, September 19, 2004, by Bruce Eggler, Staff writer - http://www.nola.com/news/index.ssf A century after his death, author Lafcadio Hearn, who many say put New Orleans on the map, is recognized for his contributions.

•Lafcadio Hearn . This well-resarched site contains a collector’s bibliography, an A-Z title index, a chronological bibliography, online bulletin board, links to online editions of Hearn’s work, information about Hearn’s Japan period, and links to related resources.

•The Atlantic Online: Flashbacks. During the 1890s, Hearn contributed nearly two dozen articles about Japan to The Atlantic magazine. This essay explores his fascination with the Far East and chronicles the evolution of his professional association with the venerable magazine.

• Tulane University Libraries Catalog
http://tulane.edu/libraries/

• Hearn Collection at the Cincinnati Public Library http://www.cincinnatilibrary.org/main/hearn.html

• Exploring Lafcadio Hearn in Japan http://lafcadiohearn.jp/index.html

• Project Gutenberg. Electronic versions of selected books by Hearn are on Project Gutenberg’s website.

•Encyclopedia Britannica Online. A concise overview of Hearn’s life and work.

At the European Cultural Center of Delphi, Greece. Apollo's Mirror was created by Japanese Artist, Masaaki Noda.

[[picture:"Apollo's Mirror Delphi Greece.jpg" ID:20119]]

Mr. Noda makes his home in New York City's Soho. His works are found in museums world-wide.

Mr. Noda first came to Delphi in 1995 with New York/Athens art dealer Takis Efstathiou. kythera-family knows Takis well through his obsession with Japanese - Irish - Hellenic - Lefkadian - Kytherian Lafacdio Hearn.

A dream was launched then to place a sprititual sculpture overlooking the hills and valleys of Delphi. Messrs. Noda and Efstathiou returned to Delphi in 2004 and presented a stainless steel model to the European Cultural Center. Then, with the help of the Center and Mr. Noda's supporters in Japan, New York, and Greece, the result was the installation and dedication of the full scale work in Delphi on February 26, 2005.

http://www.apollosmirror.com/

...of the stainless steel sculpture Apollo's Mirror created by Japanese Artist, Masaaki Noda.

[[picture:"Apollo's Mirror Delphi Greece.jpg" ID:20119]]

Mr. Noda makes his home in New York City's Soho. His works are found in museums world-wide.

Mr. Noda first came to Delphi in 1995 with New York/Athens art dealer Takis Efstathiou. kythera-family knows Takis well through his obsession with Japanese - Irish - Hellenic - Lefkadian - Kytherian Lafacdio Hearn.

A dream was launched then to place a sprititual sculpture overlooking the hills and valleys of Delphi. Messrs. Noda and Efstathiou returned to Delphi in 2004 and presented a stainless steel model to the European Cultural Center. Then, with the help of the Center and Mr. Noda's supporters in Japan, New York, and Greece, the result was the installation and dedication of the full scale work in Delphi on February 26, 2005.

[[picture:"Gallery Guide Apollo's Mirror.jpg" ID:20121]]

http://www.apollosmirror.com/

By Satoshi Iizuka

MATSUE, Japan, April 1, Kyodo

A museum in Matsue, Shimane Prefecture, started a year-long exhibition on Sunday to follow in the footsteps of naturalized Japanese writer Lafcadio Hearn, also known as Yakum Koizumi, through photographs.

Born to an Irish father and Kytherian-Greek mother in 1850, Hearn arrived in Japan in 1890 and married a Japanese woman in Matsue, where he lived for a while. He introduced Japan's traditional culture to the world before passing away in 1904 at the age of 54.

The exhibition at the Lafcadio Hearn Memorial Museu presents modern photos of scenes depicted by Hearn in his 1894 travelogue, ''Glimpses of Unfamiliar Japan,'' taken b Toshinobu Takashima, a photographer from Shimane Prefecture.

The travelogue is a collection of Hearn's notes during his trips mainly to Shimane and Tottori prefectures, western Japan, and includes many episodes about Matsue and its vicinity.

The exhibition, entitled ''A Journey to Glimpses of Unfamiliar Japan,'' will be presented in two stages.

The first, which began Sunday, is ''The Chief City of the Province of the Gods,'' focusing on places mainly in and near Matsue, such as the famous Izumo Taisha shrine.

The second, ''Travelling Hearn,'' opening Oct. 5, will deal with spots other than the Matsu area, like Okinoshima, a group of islands in the Sea of Japan, or Mt. Daisen in Tottori.

Sixteen photos by Takashima will be displayed in each stage to depict ''Hearn's world as it is in the modern world,' according to the museum.

''This is a collaboration between Hearn's spirit and my sensibility as a photographer,'' Takashima, 39, said. ''I was always thinking what Hearn would have felt in each situation, when taking the photos. It would be my pleasure if this event makes visitors know the world of Hearn.''

The first edition of ''Glimpses of Unfamiliar Japan,'' published by a New York-based publisher, and its German, French and Polish versions will also be displayed during the exhibition.

Shoko Koizumi, 51, wife of Hearn's great grandson, coordinated the event. ''I hope the visitors will go back and forth between the past and now through the photos,'' she said.

Koizumi is planning to use online services such as Facebook and Twitter to allow the visitors and those who are interested in Hearn to post impressions and share information about the exhibition as well as to urge them to actually visit the places introduced in the exhibition.

Hearn's representative works include ''Kwaidan,'' a collection of old Japanese ghost stories.


Satoshi Iizuka, KYODO NEWS Matsue Bureau