Saskia Constantinou

“I want the content on Elbow Music to be timeless and I’d rather spend my time building that” Ariane Todes – Former Editor of The Strad

Tell us about your beginnings in the world of strings? Do you hail from a musical family?

I was lucky enough to start the violin with Sheila Nelson, one of the most important violin teachers of the era, who had studied with Suzuki and Paul Rolland, and based on that, devised her own system of teaching children. Initially it was about playing games with music, and as well as having a private lesson each week, at the weekend we’d have group lessons and her whole house in Highgate would fill up with youngsters playing chamber music. She also used to encourage us to improvise, and I’m very grateful for that, as it’s something I do regularly with my band. I think many classical players feel insecure about doing it because it hasn’t been introduced early enough. Sheila produced generations of people who play just for the sheer love of it – I still play with members of a quartet I was in when I was eight – and I feel really privileged to have had the experience.

I left Sheila when I was 11 and had various teachers after that. I decided on an academic education and studied Philosophy at Edinburgh University. I went on to do post-graduate studies at the Royal Academy of Music but eventually realised that I didn’t have the dogged determination to be a full-time musician and eventually fell quite randomly into music journalism.

As for my family background, my uncle played in an amateur way, and my brother Raphael is second violinist of the Allegri Quartet, so there was always violin playing in the house, and violins hanging up on the wall!

As a writer and former editor of The Strad magazine, you must have had a rather special lifestyle meeting the greats of the music world. Was it all as glamorous as it sounds to the outsider?

Being editor of The Strad really was a dream job. Most of the time I was behind a desk in an office, but when it was good it was really special, and amazing to be part of such a long tradition. Meeting my favourite players was always thrilling, with the intense conversations about music, so inspiring. Having Ida Haendel play Wieniawski down the phone to me from Florida; sitting next to Ivry Gitlis as we watched Nikolaj Znaider rehearse with the London Symphony Orchestra in the Salle Pleyel; getting to play a collection of Strads and Guarneris; or sitting in a café with Hilary Hahn all day planning her guest editor issue: life doesn’t get better than that for a string geek like me – so yes, I suppose you could say there was a lot of glamour.

But of course there is the less glamorous side of the business, which is not so easy to cover in print without being sued. There were also people who exerted pressure for coverage in the magazine when not deserved! That was the hardest part of the job and I had to learn to be very diplomatic, but quite firm, especially if they were advertisers!

You’ve also written for a number of other editions such as Sinfini Music, ClassicFm and Gramophone – what inspires you to investigate so many differing and diverse subjects?

Writing for The Strad for 12 years, I got in the habit of writing with a certain voice, about subjects that were specific to The Strad’s readership. One can get in quite a rut that way – it was certainly a challenge to write an interesting editorial comment piece every month for my 8 years as editor! So learning to talk to different sorts of readers has been a refreshing learning curve, and has made me a more flexible writer, I think. I’ve also had commissions that I wouldn’t have done for The Strad – for example a top 20 list of violinists for Sinfini. Spending a few days listening to recordings of the world’s top violinists to discover what you like about them? Nice work if you can get it!

Tell us about Elbow Music – why did you create it and how has it developed in the last year?

I’d had the idea of setting up Elbow Music when I was still at The Strad, as a supplement to the main magazine, so when I left, it seemed like the perfect opportunity. I believe the music world is changing radically and that while there are still borders around specific musical styles, musicians are increasingly curious about the other styles around them. It’s not that classically trained violinists only listen to classical music these days – they are much more free-range. I want to represent this diversity with Elbow Music. You’re as likely to read an article about Gary Hoffman talking about Bach as you are one about Regina Carter finding her jazz voice: completely different styles and life stories, but both fantastic players in their respective styles and fascinating views on music. The only criterion is that they have to be special players. As either Duke Ellington or Louis Armstrong said (both have had it attributed to them) there are only two kinds of music – good and bad.

Also, after 12 years on a print magazine, I’m really enjoying the freedom of having a website, and of being able to put up whatever I want whenever I want. I still love print magazines, but there are certain conventions and limitations to them, and there is so much planning ahead for the whole year, with regular features, that you’re quite hemmed in. Each one is like its own creative entity, and has to be perfectly balanced – there are certain rules. You have to achieve a certain artistic balance across each year, too. Each month you go through this intense creative process and then you’re back to the beginning again. Having a website is much more fluid – you can respond very quickly to something you see or hear, or a person you meet, and you can include YouTube. After all, music is there to be listened to, not just read about. It’s a very exciting freedom: so is not having word restrictions, and being able to talk about whatever I want.

Also, with print magazines, the convention (and often the commercial necessity) is to interview players who have something new to talk about (or sell). Because of the website format, and because I don’t take advertising, I don’t have to think about that with Elbow Music – if I see a fabulous player who doesn’t necessarily play the publicity game and doesn’t have the profile they deserve, I can feature them. It feels a little bit subversive, which I like! And even if it means I don’t cover the most popular players who might get me more clicks, I believe that discerning listeners are glad to hear about such performers. I’ve also decided not to compete with the many music websites who put up news stories. While these stories might get lots of clicks, it’s hard to say anything original and it just becomes a race against time to get a good story that is going to be very short lived. I want the content on Elbow Music to be timeless and I’d rather spend my time building that – as I make my living as a writer beyond Elbow Music, I have to be quite efficient about what I focus on with the content.

 

What are your plans for its future?

 

Originally I started Elbow Music as a blog, but I am now turning it into its own brand, and have started running long-read interviews with players, while continuing to post blogs. I want to build up an important archive of interviews, and include people with really important stories who aren’t necessarily even players, but who have something interesting to say.

I do still love print magazines, though, and the good news is that while some print music magazines are struggling to maintain readership with the amount of competition they have online, there’s also a vibrant market for independent magazines that have something unique to say. So when I have enough content, with the right balance and some interesting visuals, I hope to create a high-quality print magazine, maybe just as a one-off. But there’s a lot to do before that point!

 

How and why was Los Desterrados formed? Who are the other musicians in the ensemble?

Los Desterrados was formed in 2000 by the oud player, Daniel Jonas, when he realised that there was a whole canon of ancient Ladino music in danger of disappearing. The music comes from the Sephardic Jews who were expelled from Spain in 1492. At first we were one of the few bands playing the music in the UK, and we’re still the only ones who play solely Sephardic music, but the genre is becoming better known, which is wonderful. The band is made up of six with instruments which include oud, flamenco guitar, flute, violin (me), bass, and vocals. I’m the only one who doesn’t sing, as they sing in Ladino, a UNESCO-protected language, and I was never very good at languages or at singing!

 

What is your particular interest in the music of the Sephardic Jews and how is it different from that of Klezmer which is what Jewish music is usually associated with?

Because the music represents the journey that the Sephardic Jews took as they found new homes as they fled Spain in 1492, whether in the Balkans, Turkey, Greece, Morocco, or farther afield, the songs are full of musical variety as different influences creep in, so there’s much more variety to them than in klezmer music. Most people associate Jewish music with the Ashkenazi klezmer tradition, and few people know the Sephardic story. In a way, the Sephardic folklore is a richer one than Ashkenazi. The lyrics are full of such passion – they’re about love, death, war, and sometimes just the banal details of life all those centuries ago. Some are religious and dancey, others poetic and quiet and there a wide range of rhythms. It’s amazing to think that our ancestors sang these songs so many years ago, and that the important themes of life don’t really change – I find that very moving. There is a family legend that an ancestor of mine was the doctor of Queen Isabella of Spain, so I like to believe that! Added to all the historic musical influences, the fact that each of us has a different musical background – whether classical, folk, jazz, flamenco or rock – and you come up with our sound. It’s not what purists call authentic, other than in the sense that we have evolved our sound influenced by the local music with which we were surrounded, just as our ancestors did.

 

Where do you perform?

 

We’ve played in some wonderful festivals and venues – Womad, Shambala, Trafalgar Square, Abbey Road Studios, The Roundhouse, Wilton’s Music Hall, the Clore Ballroom, Rich Mix, IndigO2. We’re currently working on our next CD – our fifth – so we’re rehearsing every week but don’t have any gigs lined up just yet this year.

 

There is evidence around the world of orchestras closing, funding for the arts being constantly reduced, and yet colleges and universities are still full of young, aspiring musicians. Do you believe that it is still a feasible profession?

It’s a tricky question. I think there is a level at which music education is a business, and conservatoires and music schools have to make money, which involves hitting certain student targets. In some places, teachers too have to meet targets for bringing in students who can pay their fees. So the number of people colleges admit doesn’t necessarily reflect the number of opportunities on the other side, or the quality that players need to attain to have a career. On the other hand, as someone who went through postgraduate studies, I’m deeply grateful for having had the experience, and to be able to say that I pursued my dream, even if it evolved subsequently. So there may well be a drop off of numbers going into the profession from college, but there are many other opportunities for players to pursue around the music industry, whether it’s in press or PR or management, even if they don’t make money from playing. As for the profession itself, it’s tough, but if people are prepared to be flexible, creative and driven, they can succeed. And actually, that applies to most professions, these days, not just music!

 

Do you believe that musicians have sufficient knowledge and understanding of marketing principles – of themselves and their art and if not, what can be done about it.

 

I think there are many wise, imaginative, clever young musicians out there who are doing a great job of marketing themselves with the many tools that are available these days. There may also be very great players who are uncomfortable about being seen to sell themselves, and I can understand this reluctance. The players who get the most publicity aren’t necessarily the best players musically, but I have every respect for the fact that they can build a career through their use of marketing, by telling great stories about themselves and their music, and by building good relationships. It’s up to the others to find a way of promoting themselves that they feel happy with. Audiences don’t want to be oversold artists either, they want to feel that they have a direct relationship with them, and there are so many ways of achieving that these days. Maybe a good starting point for someone is to look at a player they like who markets themselves well, and model them. These days, having a blog and social media feeds are all vital to building relationships and being seen by the right people, and these can be done very simply and well (or very badly).

What about the private Ariane?

In true string geek fashion, I must admit that my hobbies mainly centre around music. I play in various London amateur orchestras, such as Corinthian Chamber Orchestra, Haydn Chamber Orchestra and Kensington Symphony Orchestra, and still really love the buzz of being in the middle of a big orchestra. I also play quartets regularly. Both are ways of keeping me in some playing shape. Apart from that, I’m a bit of an old movie fiend, with a particular thing for silent movies and Charlie Chaplin. I’ve also recently joined the council of the European String Teachers Association British branch, and it’s really interesting to get involved in their important work. I’m ashamed to say I spend too much time on the internet, looking at news and magazine sites to keep on top of developments in the media. That’s my excuse, anyway!

 

 

 

 

Saskia Constantinou first met and interviewed Dmitry Sitkovetsky ten years ago, and was pleased to welcome him back to Cyprus and catch up on the years…

 

Your career has flourished and progressed over so many years – and you still have a phenomenal schedule. Would you have done anything different in hindsight?

I would have loved to continue to direct a summer festival – I’ve done it for 10 years in Finland, 5 years in Seattle, USA – and gave them both up because of increased involvement in conducting. In hindsight I probably should have continued – they were my creative laboratories.

You are very focused on your conducting now – do you feel that your years as a violin soloist gave you an additional, inner understanding for your podium work?

Of course being a string player since the age of five, and a well-known soloist, gives me a shortcut to all the string sections of an orchestra – which is the majority of musicians. Also, I could use the rehearsals to give them some of the important elements of string playing: bow-change, strings-change and the distribution of the bow, which are all crucial elements for creating a singing line, a phrase and an expression. Orchestral musicians understand immediately if a conductor plays or used to play a string instrument.

We hear of arts funding crises universally – are they real? And if yes, what and where do you feel the focus should be?

It is a real problem- funding of the arts is not increasing, on the contrary – it’s getting harder and harder. The most important element for me is the essential musical education at schools – not professional ones, but ordinary ones. Music should be taught as part of the school curriculum in the same way as languages, maths, physics, biology etc. Singing in a choir and playing in ensembles and orchestras is even more important for schoolchildren’s all-round education and upbringing. It gives them a sense of rhythm and harmony with others and it has been proven countless times about how it develops social skills. Being part of a group that makes music together is very important.

 

Having performed all around the world, you’ve had so many experiences. Would you share some of your highlights with us?

Some years ago, I went to play the Brahms Violin Concerto with the Simon Bolivar Orchestra in Caracas, Venezuela. While warming up in the dressing room, I met Carl St.Clair, the American conductor, who asked me if I take the cuts in the last movement of the concerto. I said – what cuts??? In the Brahms??, he said – no, in the Tchaikovsky!!! I showed him my contract where it clearly stated Brahms, but Carl said it was a mistake and they had the music for the Tchaikovsky Violin Concerto. Five minutes later I was on stage playing the Tchaikovsky which I hadn’t played for over year before that. This is what a professional life of a soloist is like – I have many stories like that.

What drives you on those days of frustration and irritation?

I love music and consider myself very to be spending the majority of my time in the best company of Bach, Mozart, Beethoven, Brahms, Tchaikovsky, Debussy, Ravel, Prokofiev, Shostakovich and many others. It’s a very great privilege to be doing something that I love so much and be paid for doing it. I never consider my involvement in music as work, or a job, or chore. The travelling, dealing with all extra-musical problems of my profession is a constant challenge, but when I am studying my scores, or go to rehearsals or perform, I feel the balance – I’m home, that is where I belong and life suddenly makes sense again.

 

Your name is inextricably linked with the fabulous arrangement of the Bach Goldberg Variations and has been the foundation of many concerts around the world. Is this an avenue you might explore in more depth?

The making of transcriptions is one of my favourite past-times, my musical hobby. To date, I’ve made more than fifty transcriptions with many of them being performed all over the world. I also receive some interesting commissions to write them. In 2013, I transcribed the 12 Chopin Preludes for the Verbier Festival’s 20th Anniversary and they were played by my very esteemed colleagues: Leonidas Kavakos, Yuri Bashmet, Mischa Maisky, Martin Frost, Pletnev, Yuja Wang, Emanuel Ax and many others. Last year I made a very special transcription for the Orpheus Chamber Orchestra and Augustin Hadelich which was premiered at Carnegie Hall last December – Stravinsky’s Suite from Fairy’s Kiss for violin solo & orchestra.

What are your next challenges and dreams?

I would like to conduct more operas. Last January I did my first La Boheme – beautiful music…and it would also be wonderful to have an opportunity to further explore the string quartet’s repertoire while I am still quite active as a player.

Since I don’t teach regularly and only give an occasional masterclass, I hope to be able to find a way to guide very talented young performers. The world of music is constantly changing and in many ways is treacherous, so I feel that youngsters need more and better guidance about potential pitfalls. The established conservatories, music academies, colleges seem to be ill-equipped to prepare young, aspiring musicians for a long life in music.

Our times demand a constant reinvention of our profession.

 

Michalis Pantelides is a luthier from the famed Stradivari School in Cremona and spoke to Saskia Constantinou about the art of creating stringed instruments and bows.

What led to your decision to become a luthier?

I started playing the violin from a very young age and that’s when my love for classical music and especially for the violin was born. Apart from playing the violin and participating in various orchestras, I also used to create plastic models and always paid attention to details. My passion for searching something different led to the idea of following this antique craft art of violin making and restoring.

What did your studies in Cremona involve?

I studied at the International Violin Making School A. Stradivari in Cremona in Italy for 5 years and completed two diplomas with Honors, in Violin Making and Restoration. During my studies I learned the traditional Cremonese violin making method, which passes from one Maestro to another during the centuries and includes the selection of the wood, the carving process, as well as the varnish and setting up of the instrument, combined with modern research like acoustic physics and sound analysis. I then worked for two years in various workshops while completing a diploma in Bow Making.

In your own instruments, do you follow any particular style and if yes, why?

In my instruments I always follow the traditional style of Cremona, and the first Masters such as Antonio Stradivari, Andrea Amati and Guarneri. The Cremonese style of violin making is the oldest and most famous in the world for its high quality instruments. I was very fortunate to be part of this tradition, with great teachers, who passed on their knowledge of this antique art, which had been passed on to them by other maestros in a lineage going back to Stradivari’s era.

Do you also make other stringed instruments?

Yes – violas and cellos on order, as well as their bows. I also import a variety of string quartet instruments from other countries and try to have in stock whatever a violin player may need, such as strings, cases and accessories.

How does a luthier evaluate an instrument, as opposed to a violinist who is concerned primarily with sound?

A luthier evaluates an instrument mainly by the quality of its making. He examines details such as the quality of the wood, the varnish, how accurately it was crafted by its maker, etc. He also evaluates the instrument according to the maker and the violin school and tradition to which he belongs.

Violin making is a long process as everything is done by hand. A violin needs 250 working hours and a month for the varnish.

How long does it take to make an instrument or a bow?

A violin takes around 250 working hours plus one month for the varnish. A bow needs approximately 70 working hours. Violin making is a long process, since you are creating everything by hand, and, apart from making something aesthetically beautiful, you also have to produce a high quality sound to satisfy musicians and their needs.

Where do you source your wood from?

I import my wood from the Balkans, where maple is found and is used for the back, the scroll and the ribs of the violin. From the Italian Alps I import top quality red spruce for the top part of the instrument. For bows, I use pernambuco, imported from Brazil.

Why is the varnish so important?

There are three important factors to consider. The first is to seal and protect the wood and instrument, the second is to exalt the characteristics of the wood and the details of the work, creating a beautiful result. Last, but not least, is how it increases the quality of the instrument’s sound. One of my Maestros always said that “With a bad varnish you can destroy a very nice violin” and I couldn’t agree with him more.

Cyprus is probably rather limited market – how important is it to have an international following?

Undoubtedly it is important to have international following and I am very lucky to have that especially in Cremona, as well as other parts of the world. It is also important to keep in touch with other violin makers, since you can always share ideas, exchange knowledge and stay up to date.

How do you break into international markets and have your art recognized and appreciated?

Your own instruments are the best way to break into international markets. They’re the best advertisement of your work and carry a part of you and your personality. I also participate in international fairs and competitions to present my work. I recently participated at the famous “Triennale” Violin Making Competition of Cremona and am proud to say that my instrument was selected from hundreds to be part of the exhibition and of the competition’s printed catalogue with the world’s top violins.

“Culture in the developed world has now taken up a new strategic role and is no longer considered an abstract or theoretical concept that primarily concerns a few people. Instead, it is treated as a core asset for development, as a permanent and renewable resource and as a set of products and services that can potentially contribute to the country’s economy.” Saskia Constantinou delves into the fascinating and diverse work of cultural and arts guru, Dr Yiannis Toumazis

Was it a given that you would follow a career in Arts and Theatre?

Certainly not. Allow me to play around with the word “given” and tell you that I firmly believe that nothing is given in this life. The only things that are “given” are the unique gifts we are born with, which should be used to follow our dreams. Initially, I studied Civil Engineering but have been involved with art and theatre since high school. I was born and raised in Famagusta and after the tragic events of 1974, when we were forced to flee the city and become refugees in our own country, things were very fluid. There was widespread insecurity and everyone urged us to follow so-called “secure” professions. However, I’d already made up my mind to indulge in Arts and Theatre. After studies in The Netherlands, I pursued a Ph.D. in Theory of Art and Aesthetics in France.

Since 1994, when you became Director of the Nicosia Municipal Arts Centre, there have been great strides forward in Arts and Culture in Cyprus. Tell us about some of the contemporary art exhibitions you have curated on the island?

NiMAC or the Powerhouse, is located in the historical centre of the capital of Cyprus, and is the oldest and largest Contemporary Art Centre of the island. Its architectural restoration and conversion into a beautiful art and cultural space was awarded the Europa Nostra Award in 1994. During the twenty-two years of its operation, NiMAC has organised and presented more than ninety exhibitions of modern and contemporary art with the participation of well-known artists from Cyprus and abroad.

I was fortunate to have been involved with NiMAC from the outset and so have experienced its development for more than two decades.

Among the objectives, is to open up new channels of communication and cooperation between Cyprus and other countries; to establish and encourage partnerships between artists and cultural managers in Cyprus and abroad; to introduce to the public new trends, tendencies and ideas in the fields of art and culture; and to provide ample opportunities to Cypriot artists for fruitful collaboration with artists from other countries.

NiMAC has been and continues to be innovative and pioneering, providing, along with its exhibition programme, various multifaceted pedagogical activities. Apart from educational programmes, designed to enhance specific exhibitions, the Educational Centre for Children, which is housed in a renovated building of the Old Powerhouse complex and was inaugurated in 2008, offers children and youngsters specialised courses and workshops in Contemporary Art, Engraving, Cinema and the New Media.

As Chief Curator of NiMAC, I’ve designed, organised and curated several of its numerous exhibitions, – there are literally too many to mention over all the years. Just a few include, Homage to Vincent Van Gogh in 1996, and more recently Mirò of Mallorca (2010) with the Mirò Foundation in Mallorca, inaugurated by Queen Sofia of Spain; Cyprus in Venice: 1968-2009 in 2011; and in 2015, a group exhibition of contemporary Israeli artists in Cyprus, as well as our current exhibition Glyn Hughes 1931-2014, a homage to the great Welsh artist, who effectively introduced contemporary art in Cyprus.

You were the first Cypriot curator of the Cyprus Pavilion at the 54th Venice Biennale – have we made enough impact in the international arts arena and if yes, in which way?

Cyprus has been participating in the Venice Biennale since 1968, with all Cypriot participations characterised by dynamism and high quality. Indeed, I was the first Cypriot curator to have been selected by a committee of international experts appointed by the Ministry of Education and Culture of Cyprus for the island’s participation in 2011. The exhibition, entitled Temporal Taxonomy, presented at Palazzo Malipiero in Venice, the artworks of artists Marianna Christofides and Elizabeth Hoak-Doering. The latter is an American who recently moved permanently to Cyprus and acquired Cypriot nationality. Marianna Christofides, born of a Cypriot father and German mother, travels and works between Cyprus and Europe. Their coming together at the Cyprus Pavilion sought to highlight and negotiate existing positions and contradictions surrounding the apparent homogeneity of a globalised environment. The work of both artists departs from the Cyprus experience and the field of socio-politics, but also transforms, so as to articulate a substantial discourse, as part of a much broader global system. Issues of multiculturalism, crossings, displacement, migration and hybridization are common ground in their work. It was a great experience for everyone involved and both artists continue to show their great work both internationally and in Cyprus.

Does Cyprus have a 10-year, or even 5-year plan for the development of Arts and Culture? It seems that we go on a year-to-year basis, without long-term fiscal planning… or am I wrong?

That’s a very good question to ask the Ministry of Education and Culture. Unfortunately, I’m not the right person to give you an answer. I think that today Cyprus needs a Ministry of Culture, which would deal exclusively with this issue. Our country has a long centuries-old tradition in culture and could certainly develop it even further. Particularly, in this troubled region of the Southeastern Mediterranean, Cyprus, as a member of the European Union, could contribute a lot to the development of Arts and Culture and could certainly become a cultural hub for the surrounding countries. Furthermore, as a tourist country, cultural tourism would increase our cultural product. Certainly, a lot more needs to be done. At some point (especially as a country that depends almost exclusively on tourism) we should understand that cultural infrastructure, cultural heritage and cultural industry are potentially substantial development tools. Unfortunately, Cyprus has lagged behind in this issue. Culture in the developed world has now taken up a new strategic role and is no longer considered an abstract or theoretical concept that primarily concerns a few people. Instead, it is treated as a core asset for development, as a permanent and renewable resource and as a set of products and services that can potentially contribute to the country’s economy.

In Manifesta 6 in 2006 we lost great prospects cancelling just three months prior to the opening. As European Capital of Culture in 2017, the focus will again be on Cyprus with huge opportunities. Have these been maximised?

Manifesta 6, the European Biennial of Contemporary Art, was cancelled because the foreign organisers (Manifesta’s Amsterdam-based home organisation, the International Foundation Manifesta (IFM), and the curatorial team consisting of three curators, who had never worked together previously) not only showed no respect but also completely ignored the complicated socio-political realities of our island which has been divided since 1974. Naively, they chose to make politics by manipulating local sensitivities and exploiting Art in the name of personal ambitions. Unfortunately, this led to the cancellation of Manifesta 6, in which Cyprus had invested quite a lot. The European Biennial could have served as a pioneering example of the constructive role of culture in politically contested areas. The case of Pafos is very different, though. The European Capital of Culture project may be one of the most recognised EU programmes, but the organisational responsibility lies with the organising country. I am confident that we will see an excellent programme and I hope that some things will stay for the future. Pafos 2017 is not just a series of local events but a project that touches the entire island.

Has there been collaboration across all the cultural boards?

After the financial crisis of 2013, collaborations in the cultural sector are a sine qua non. Unfortunately in Cyprus, culture is the last issue on the list of state priorities. Therefore, only with collaboration can it be further developed. I am confident that such collaborations will intensify and multiply for the good of our island in general and for Culture and the Arts in particular.

You’ve been responsible for designing several museums in Cyprus and Greece including the Thalassa Municipal Museum. Did you find your civil engineering background to be of help? What inspires you and how do you retain the balance of history with modern, accessible approach?

Yes, I was happy about the museological design of the Thalassa Ayia Napa Municipal Museum and well worth a visit. My civil engineering background and arts training certainly helped. For me, both the past and the future are identical reflections of the present in the space-time continuum. This is precisely how I see things when I design a museum and I hope this view is passed on to the visitors.

You’ve had so many achievements and accolades across so many fields. What do you consider to be your greatest achievement and why?

Well, that’s a tough question… I’ve been creatively active for more than thirty years, so difficult to mention works close to my heart, and certainly not in order of importance or preference. The set design for Bernard-Marie Koltès’ play Roberto Zucco, my book Marcel Duchamp-Artiste Androgyne, published by Presses Universitaires de Paris Ouest, the museological design for the Thalassa Ayia Napa Municipal Museum, selecting and curating the installation of artworks for the new international airports of Larnaca and Paphos and, of course, the exhibitions I curated at the Nicosia Municipal Arts Centre, but it’s hard to choose… they are so many and most of them equally important: Flashback – 100 Years of Design, Terra Mediterranea – In Crisis and certainly the most recent one, Glyn Hughes 1931- 2014, which I very much loved. Last but not least, it was a great honour for me to have been the curator for the Cyprus Pavilion at the 54th Venice Biennale in 2011.

How would you like to see Cyprus’ cultural scene develop over the next five years and how do you believe it can be done

Cyprus should no longer delay seeking an international role in culture. Despite the many political and economic problems Cyprus faces, it is EU’s gateway to one of the most turbulent regions of the world. The security prevailing in Cyprus in relation to the regional instability of neighbouring countries should trigger our cooperation and collaboration to become a leading incubator of ideas, a cultural centre, creating a new and exemplary model in the E.U. Cultural diplomacy is now among the most modern means and we too should create our own foreign policy, with openness, dynamism and innovation. Simultaneously, we need to develop stable international collaboration with state encouragement. Cyprus has many promising and innovative artists, ready to contribute and so we should embrace this cultural and artistic potential.

As Director of THOC, there have been great strides forward to encourage English-speaking people to patronise Greek theatre…

As Chairman of the Board of the State Theatre of Cyprus, encouraging the English-speaking audience to attend THOC’s productions has been among my top priorities and today, all our plays have surtitles in English. Moreover, in collaboration with the groundbreaking project “National Theatre Live” we have brought the best of British theatre to THOC’s Central Stage. Certainly, our goal is to attract the interest of more and more foreign spectators, particularly to our summer ancient Greek drama productions, which are staged in ancient theatres of the island. It is a unique experience that should be had by all visitors to Cyprus.

What do you do for relaxation?

I’m most rejuvenated by a good book or intellectual conversation with friends and colleagues. I also enjoy a Sunday walk in the park with my playful dog as well as strolling through antique shops, particularly when abroad. I regularly watch athletics, swimming and tennis championships with Baghdatis and Rafael Nadal, my favourite players.

 

Despina seems restrained and rather muted, but behind that exterior, is a charismatic, determined, effective and compelling woman. We first met at a conference in Paphos, and I was immediately drawn to her warm and friendly personality. She has achieved what few others have in the shipping industry, but remains modest and unconceited.

 

How and why did you decide to become part of the maritime industry?

Growing up shipping was part of my life. My father is a Captain, who stopped sailing when I was born but remained in the shipping industry until he retired. Most of our family friends were involved in shipping and so, grew up thinking of it as any other industry. I realised much later, how many people are completely unfamiliar with it. Although I was initially hesitant, but I soon realised that I was always inspired by the industry and have a passion for it.

Can you tell us about your role as MD in the Tototheo Group?

Tototheo Group is a group of companies that specialises in the fields of maritime satellite and radio communication, automation and navigation systems. We also have an engineering company that focuses on ship repairs, spare parts and shipyard representation. Our headquarters are in Cyprus with offices in Dubai, Singapore and Greece.

My role as Joint Managing Director comes with various responsibilities including developing and executing the corporate strategy as well as overseeing financial and commercial matters. We are operating in a dynamic industry which provides new business opportunities for the future, therefore my aim is to work towards sustaining and growing our brand while maintaining excellent service levels.

As 90% of the world’s trade is carried by sea, there are so many job opportunities, and yet it seems to be very male dominated…has this changed at all in the last 10 years worldwide and how does Cyprus fare?

Shipping has historically been a male dominated field but that tradition is slowly changing. Many women are not only working in the industry but are moving up the ranks. It is certainly not easy and it’s true that women do not have the same opportunities as men, due to the fact that many shore positions require sea-going experience. However, things are changing and women in Cyprus constantly prove that they are professional, efficient and worthy of the positions they hold.

The first female captain, Captain Anna Schetinina was appointed in 1935 – how many more are there now and more particularly, in Cyprus?

Women seafarers represent less than two per cent of the global seafaring labour force. 94% of them are employed on cruise ships and ferries. Only 7% of women seafarers are officers and most women work as ratings service staff on passenger ships. However women seafarers’ role has gained attention, especially to address the global shortage of seafarers.

In 2011, you founded WISTA Cyprus – what led to this and how has the organisation developed?

WISTA International was founded 42 years ago and within a few years, took its form as an association supporting women in management positions in the maritime industry, and grew from strength to strength. Today WISTA is present in 35 countries and has over 2500 members worldwide. Cyprus is a country with a strong shipping industry and I believed it was the right time to establish a local WISTA. Women in the industry needed a common platform where they could network and exchange ideas and experiences. WISTA’s primary goal is business networking and the facilitation of exchanging contacts and information nationally as well as globally, and for that reason WISTA Cyprus quickly developed. We organise various events throughout the year, either updates on industry matters, educational events or social. While we are a women’s association we do not support discriminatory policies and for this reason, do not exclude men from our membership or from our events.

You’ve achieved great successes in your career and have not hit those proverbial ‘glass ceilings’ so often reached in middle management – what do you attribute these to?

Any success I may have had, I attribute to my ability to be disciplined and stay focused on my goals and ambitions. I am also not afraid to take risks and am competitive by nature. In shipping you have to be, as it is not an industry for the faint-hearted. Having said that, I believe that the more you succeed as a professional, the more you need to stay humble and keep your feet firmly on the ground.

What do you believe still needs to be done in this industry to further encourage woman’s participation?

The Maritime sector offers many options and opportunities. In the past, due to its reputation as a male dominated sector, young women did not see it as an obvious career choice. Things are changing though because of growing awareness. Organizations like the International Maritime Organization and the World Maritime University launch projects on the development of strategies to attract women to the industry and particularly in leadership roles. Associations like WISTA promote role-models for women aspiring for a career in the industry. In Cyprus, local universities include maritime studies in their curriculum thereby promoting the industry not only to women, but to young people in general. Women can have rewarding careers in shipping but it’s something that the industry needs to encourage and support.

Is there a lot of rivalry between women within the business?

There is competition among professionals but I believe that women do support each other once they realise that intentions are genuine.

Much of your time is spent travelling – how do you balance this with a home life? How important is it to have support from a spouse?

I travel extensively and give priority to whatever is most important. My husband also travels a lot so we are lucky that we understand each other’s obligations and responsibilities. Whenever possible, I travel with our young son who is young and doesn’t need to be at school yet. My parents are also very helpful – the most important for mothers who are career women, is to know that her child is safe and happy when she is away.

What is it about your job that you love most?

Each day is different and challenging which keeps me interested. I also love the global interaction with people, visiting different countries and learning about other cultures.

What are the greatest challenges?

Undoubtedly the long work-hours which became a greater challenge with motherhood. It comes with the territory so I just deal with it and don’t think about it too much.

How do you balance still continuing and furthering your studies? Why do you feel this to be important?

It’s another challenge but not impossible. I believe in continuous education and not becoming complacent with what you know and what you have achieved. I enjoy the interaction with my “classmates” who are all executives in their own fields, and I learn a lot from them too.

What about the ‘private’ Despina? How do you relax and take time out?

Time is so limited that I spend it with my son and family. I enjoy going out to dinner with my husband and our friends and also try to go on short breaks abroad as often as I can.

 

Interviewed by Saskia Constantinou

Andreas Hadjixenis hails from a business/management based background and has over 25 years’ experience in the Aviation Industry. He’s held several key roles including Airport Operations, Planning and Control, Crisis Response, Operations Centre Manager and Airport Duty Manager.

Saskia Constantinou spoke to him about the industry and the development of courses and training for managers in Cyprus.

How did your interest in the aviation industry begin?

Since I was a youngster, I always remember myself inspired by the thrill of flying – going places and meeting new people and cultures. The essence of life!

With over 25 years of experience in the Aviation Industry, including key roles in the Operations, Planning and Control of Larnaca and Paphos Airports, you’ve held many positions. What is the greatest challenge facing the airline industry at present?

My engagement with Hermes Airports as well as my long term with Cyprus Airways gave me the opportunity to develop my skills, learn new ones and advance my competencies in many areas pertinent to Aviation; as well as on a number of items relevant to Management. There is still a lot to learn though, as I see it as a life-time process. The Aviation Industry, Airline and beyond, is faced by many challenges nowadays the most important of which are:

• Economic Conditions / on-going financial crisis – at least, in some places of the world
• Terrorism
• Adherence to legislation/regulation and Safety concerns
• Congested Air Space
• Aging Facilities and Infrastructure
• Environmental issues (CO2 emissions and waste management)
• Overcapacity and Saturation
• Technology, innovation and Management of Change
• Globalization and work place diversity

As a certified trainer by the Human Resources Development Authority of Cyprus, you’ve now developed a series of courses for managers and leaders in Cyprus. Can you elaborate on why you feel the courses necessary?

The courses are necessary because they are market driven and contemporary in nature which is what the market needs and demands these days. Unless we improveour knowledge and develop the proper skills, we cannot maximise performance, improve quality and enhance efficiency which are skills and competencies necessaryto compete at a global scale.

Additionally, the courses offered by Kratis combine a collegial and experiential approach, are highly interactive and are delivered by high profile professionals with long term and hands-on experience in key positions of the industry. What really matters for us is the overall experience we provide to our customers and associates and the cultivation of long term relationships. We practise ethics, standards and values, as our slogan states.

All too often, businesses do not plan for crises. How does this lack of planning affect their operations, both financially and emotionally?

If you don’t plan for crises, then by default you plan to fail. A plan B or better said various Plan Bs under a general corporate Emergency Plan, should guide the actions and responses when things start to go wrong. Statistics reveal that all organisations sooner or later encounter a crisis – some even several times with different emergency scenarios. Contingency planning starts with Enterprise Risk Management –an identification of risks and hazards and the implementation of prevention as well as mitigation measures to minimise the impact of a crisis if and when it happens. All types of issues including operational, emotional, financial, etc. should be taken into consideration with proper planning.

A post emergency planning is also part of the exercise to enable the organisation to restart and continue. Downtime should be kept to the absolute minimum and recovery should be expedited in a planned, safe and coordinated manner.

How have you made your courses more interesting to managers?

Certainly we didn’t reinvent the wheel – we simply make it turn! We’ve made the courses interesting and appealing to participants and particularly managers by using a complete set of tools and techniques including :

• Presentations
• Videos
• Group exercises
• Open discussions
• Case studies
• Shared experiences and input (participating managers have a lot to say – give, receive and gain)
• International best practice (contrary to other local organizations we work with the best in the International arena, some of our clients are pioneers and leaders in their industries, i.e. Rolls Royce and Gulf Stream) therefore we bring locally international experience and industry best practices

Health and Safety seems to be a buzz word in Cyprus, which often is not implemented by managers across many fields. Is this due to a lack of understanding or an effort to curb costs? How can we improve on this?

Health and Safety should be looked with open eyes without financial concerns being the priority. It is a regulatory and compliance item which touches on every organisational discipline and business activity and concerns all stakeholders and all industries.

The cost is negligible and not prohibitive if associated with the many benefits gained realised following the implementation of a proper Health and Safety System. Benefits include reputation, financial, drop in insurance premiums, welfare, operational, and many more.

Once a Health and Safety Management systems is in place, how can it be implemented and what are some of the challenges involved in these steps?

Implementation is the cornerstone of a potential system. It begins by educating people, and then building and sustaining a Safety culture, by encouraging the reporting of incidents and hazards and with the constant revision of the output and potential enhancement of the system. All those small things which gradually become habits, help the organisation to become safer and healthier.

How have you managed to keep the costs down to such a minimum for these courses?

Recognizing the financial constraints and concerns of most organisations locally, we appeal to them by offering a series of open courses which are approved and highly subsidised by the HRDA of Cyprus. Our pricing structure is such, that accounts for lunch, snacks and beverages for the entire duration of each course are included in the course price.

We are also able to keep prices low and highly competitive by hosting these courses in our own Training centre – a fully equipped training facility in our corporate office in the centre of Nicosia. At this stage it is perhaps useful to remind that individual organisations may apply to HRDA for the subsidisation of an in-house course entirely for their own staff – on any topic and of any nature. We are able to assist with the documentation and pertinent variables. We are an HRDA approved organisation, an approved Training facility with all our trainers and instructors fully accredited by the authority. Please feel free to contact us direct for any information. We will be glad to help and assist.

The length of each course is at least 3 days – is this not too long for managers to be out of the office?

We wanted to offer an in depth course with advanced knowledge, so 3 days was not really too long. The courses are published well in advance, helping managers to easily plan their time and schedules. Prioritising is one of those tools which helps us to manage time and obligations. Those who have attended previous courses always ask for more!

What future projects do you have planned for Kratis Development and Training?

A series of projects and initiatives are currently in the pipeline but until we have some confirmed, we do not publish it for obvious reasons. Our company policy is reliability and trust.

However, we are in a position to announce an innovative accredited Summer School. This is a two week intensive programme on Aviation, titled ‘Mastering Aviation Management’ which will take place in Nicosia at the University of Cyprus from 12 – 24 June. This is a cooperation between the University of Cyprus and Kratis Training & Consulting and is international in nature. It’s open to business professionals, industry experts, business, management and aviation graduates as well as postgraduate students and Aviation enthusiasts. University Professors, industry experts from Cyprus and abroad will be delivering a series of Aviation Management topics pertinent to most areas of the industry.

 

Telephone: 22449088
Email: registrations@kratisconsulting.com

From university days, we all knew that Stef Albert was destined for a brilliant career as a concert pianist. He’s now also a highly successful and sought after internationally renowned interior designer and has just published his first series of children’s books Saskia Constantinou spoke to him about his transition from concert pianist to interior designer of multi-million dollar homes and palaces.

How did it all happen and what elicited the change?

Since my teenage years I’ve entertained equal interest in music and the visual arts. However, the discipline and intensity of piano in the classical world consumed me fully during my formative years. Becoming a concert pianist was e my focus and where my passion was anchored. I gave no thought to the inevitability of degrees and continued education abroad. After achieving what I’d set out to accomplish, I suddenly found myself in a grown-up world in which the isolation and one-dimensional world of a musical career left me drained, unfulfilled and bored. My creativity was like the acorn ready to burst forth. There were early signs… I remember transforming my assigned practice room at the University of Washington and spending endless hours drooling over beautiful things in windows and feeding my imagination instead of studying. I couldn’t practice unless my environment was beautiful and balanced. So, I dipped into my food allowance and gave new life to the dreary practice room with aqua blue paint and cheerful Expressionist posters. I actually spent more time and creative energy on my first apartment than I did learning and performing all the Beethoven sonatas. Instead of buying music scores, I attended auctions and marvelled at precious antique textiles and shapes. I expressed myself through color and dabbled in drawings and paintings that leaned against colorful walls and flea market finds. But it was my first little house in Seattle that tipped the scale completely. I was playing a great deal and 58 students had me chained to the piano bench seven days a week. My passion for music was dwindling while my interest in design and art were boiling. It’s probably not good to admit, but I had greater pleasure transforming my home week after week than following a student’s progress or learning another concerto. Miraculously, a keen parent who had witnessed my budding creativity asked me to design a newly purchased home. Within two months I had several referral projects in my lap including a prominent celebrity in Los Angeles. Being the fast and astute learner that I am, I simply stepped out of one costume into another without questioning my abilities or potential. I followed my instinct and hired experts to support areas I hadn’t yet mastered. I had vision, passion and a good eye. All the rest I considered nothing but tricks of the trade and surrounded myself with an excellent team. Nothing was too big or too challenging and I loved every moment of it. My new career and prominent projects changed my life overnight and I’ve never looked back. Nobody has ever asked to see my degrees and most clients had no idea of my past life as professional musician.

What is it that you most enjoy from large scale projects and do you insist of being involved from start to finish?

A project is no different from a recital or a canvas. The larger the scope, the deeper you can reach. I’ve always enjoyed substantial repertoire, complex recital material and large canvasses. I find it difficult to paint on a small canvas or play miniature pieces. I respect those who do. I like broad strokes and moving fast. Over the years I’ve have come to the conclusion that in design one spends just as much time and energy, if not more, on small projects as on large ones. Generally, clients too, are more challenging, demanding and fearful with smaller projects. Clients with large business consciousness leave details to the experts and seldom micro-manage. This offers me the perfect arena in which I express myself fully to the benefit of all. It’s no different from forests versus trees, bigger strokes and bigger pictures are indeed much more rewarding and I get a lot more accomplished on large projects than on small ones. Being involved in a project from the outset to completion is ideal, but I’m in a complex industry and sometimes projects come because of what went wrong. This is all part of the collaborative process. The ability to adapt, solve problems, edit and transform is equally rewarding.

“I strive for artistic and professional integrity for each project from the outset through completion”

Do you consider design to be an art or science?

Undoubtedly both. Great design is rooted in divine proportion and at the end of the day it’s all about mathematics. The designer sees how things relate to one another – proportion, balance, rhythm. I think, this is what sets great designers apart from the average. It is not about blue goes with red, but how the proportions of the room equals this in relation to that and the flow of color here provides a backdrop for that particular accent while this unique piece is able to stand out just right due to its conversation with another unique piece. Rooms have form, texture, color, proportion, content. I refer to it as “logic” while some refer to it as talent.

How would you describe your style?

First and foremost I would say timeless. If you were to stand in the same room forty years from now, the same harmony and balance will caress the senses as they do now. My work differs because it contains music – there is always movement, motion, harmonic frequency and colour. As with a symphony, rooms must have layers and structure. I believe the prevailing strength over the years has also been variety. In design, there are those whose work, palettes and accessories are instantly recognizable. I liken myself to an actor who loves variety. The project determines the style just as the script determines the character. This has served as the best education and training ground for me over the years and the same applies to my art. As I look at my work, balance, proportion, stillness and warmth are always present within larger musical content.

What inspires you?

I travel a great deal and my vast capacity to absorb and take in all I see and experience is my biggest inspiration. I’ve always learnt through observation as opposed to instruction. I start each day looking at beautiful books (of which I have thousands) and finding stillness and in that, my creativity is born. I cannot start a day without my private hours of stillness and beauty. My living environment is extremely important and the surrounding beauty feeds and inspires me. I’m constantly moving things around my rooms, changing vignettes, flowers, art. These are the best parts of my days.

“The three prevalent elements in my work are always balance, beauty, and rhythm—never trend, force or pretense”.

Are you very structured, organised and disciplined in the way you work?

Yes, and this is directly linked to many years of training as classical pianist and musician. When you glance at a piece of music, your eye organises and your mind structures. You apply the finest discipline in order to be accurate and see the big picture immediately. Time, metre, key, form, tempo, scope, brevity – all these elements organise themselves in ones mind instantly. There is no room for sloppiness or error. You have to play the right notes in the right time with the right fingers. I am known to work extremely fast and my capacity has served me well in this industry. In my design world, the daily work-load is extremely intense with no room for mediocrity. So, those who work with me are very sensitive and skilled individuals who are able to juggle the many balls thrown at them with high expectations. My weakness is an inability to maintain order around me, as I tend to leave a trail behind wherever I go. Although I’m obsessed with order and neatness, my constant creativity unables me to stop and tidy up. I expect those who work with me to be equally disciplined and focused. I tend to use the word immaculate a great deal and I think this is the prerequisite for any design studio’s methodology.

Can you briefly describe your design process –

The project always leads me. At the outset, I ask to be left alone in the space, in silence, and from there it all falls into place logically and rapidly. If it is a pre-construction project on paper, I imagine the space in the same way as I would sit on the floor. Fortunately technology enables us to create empty room shells with accurate views and light exposures. I observe details, structure, form, and from there, the completed room presents itself in my mind’s eye. Light and location always dictate colour palettes and textures. Function, purpose and the client’s lifestyle are naturally additional key elements. Part of my challenge is to translate that vision to the client and colleagues. Then the process and work continues at the office where I draw, select and specify. Wherever I am on location, whichever city around the world, there is always a printer at hand to scan and correct. The process is varied and while some projects are being completed, others are just starting. An important part of the process often underestimated or overlooked by the public is the actual installation. This is extremely important and I oversee each installation personally. My teams prepare and execute but nothing is final until I personally approve and adjust the final touches.

Do you work with music?

It depends but mostly yes. I find baroque or jazz the best but also love to listen to movie soundtracks. Music truly affects the mood but it’s not because of a fear of silence. In the office, I’m very sensitive to music and background noise and have my own enclosed office as I’m disturbed by phones, conversations and noise at large.

Your philosophy is to enrich the perspective and experience of the client and to establish their own individual standards of living – how do you do this?

Clients come to me because they are searching and taking the necessary steps to get closer to their dreams. In many instances, they are unable to identify or illustrate what they are after. It’s my role to pinpoint the essence, lead them gently and open their eyes. From that point, the collaborative process grows and expands. I would say my biggest role is to awaken the client, to help them formulate their own individual expressions and standards through exposure and subtle education. A client may harbor exquisite taste but be unable to interpret or manifest that which lies beneath the surface. My role is to ignite the growing process.

How do you deal with ‘difficult’ clients – maybe those who don’t really know what they want? Are you flexible to change parameters as you work?

With experience comes the ability to notice red flags right away. I select clients and projects very carefully and the interview process is as much for them as it is for me. I listen well, observe and read the signs. The designer is first and foremost a psychologist and secondly, the creative visionary. The important necessity between client and designer is healthy boundaries. When I feel a project or client holds conflict or un-called for problems, I pass. I work with clear contracts and prefer professional relationships not to be on a first name basis. Not only does it set the proper tone and dynamics, but cancels any possibility for faulty boundaries. Integrity is a big part of my operation and even when a client is demanding, I keep focused on the project and not on personal matters. Usually clients are difficult because of a misunderstanding. So, I always ask the client to define what is expected of me. In the end, the work of a designer is a delicate dance between vision, skill, passion, project requirements, expectations and psychology.

“The key to a successful project is in allowing free creativity to preside over preconceived notions or limitations”

What are you most proud of to date?

First and foremost, that I live each day passionately and freely, doing what I love and secondly, that I am not intimidated working with famous or important people. I usually don’t even know a lot about them, and often find myself reading about their lives and achievements only later. There is a silent comfort around them and vice versa.

Your clients primarily hail from the upper echelons of society – what would you suggest to someone with a limited budget, but who still strives for elegant and beautiful surroundings?

Beauty and harmony does not need vast sums of money. I sometimes wear a jacket from H&M with expensive boots and jeans from Gap. It’s about how you wear it – how you put things together. My homes sport items from Goodwill or flea markets too. It’s not about where it comes from or the price tag, but how you play with things and express yourself as an individual. We all know that labels and expensive things are of no use if you can’t apply them artistically or with panache. So, to aspiring homemakers after style, I would advise questioning the essence behind your dreams and check what gives you joy. When something excites or inspires you, follow the scent. What are you after? What small things can you do each day to get you closer to your goals? Beauty is all around and there is so much of it. Money is but a tool. Style is priceless.

Is the design process the same whether it’s a jet or a palace?

Ultimately yes. The design process is about vision and the end product, something spectacularly beautiful, quietly sophisticated and most of all, very practical and comfortable.

Tell us about Sophie, your beautiful dog.

My constant companion over the past ten years. She travels with me to most locations all around the world except for countries with quarantine restrictions. She’s adored by everyone, fills my life with tenderness, playfulness and unconditional love. One would think I own a Great Dane or Russian Hound, but this little one is as potent and remarkable as any dog could be.

What about Stef Albert, the private man?

I seldom take vacations. Actually, let me clarify that with never. My creative life offers satisfaction and my work is always a combination of work and play. I’ve never worked for anyone and create my own schedule. So, if choose to be alone for a day or a week, I do so. But I’m always connected to my work which is fun and rewarding. Taking time off makes me restless, although it’s then, that creativity boils. Before long, I’m sketching or imagining….Despite constant business trips, I always take time out and live life to the fullest and enjoy the best I can find, from restaurants, spas, beaches, museums, parks, private and quiet places. I love luxury and beauty and it’s my private indulgence. In order to be successful, you must live your passion. It’s not point being stressed, overworked and constantly compromising, if you design the opposite for your clients. I devour biographies, history and my continued education process in culture, aesthetics, fashion and creative subjects at large. I also love to cook and write; all things rooted in beauty and the senses. A healthy body and mind is important and I am committed to daily exercise and meditation. And then there is sleep…lots of it! I tend to go to bed early as I am an early riser and despise pointless conversations, parties and events.

What are your dreams and where do you see yourself in five years?

I’ve worked on many high-profile projects and enjoyed the rewards of one-on-one dynamics. So often I finish a super project which is only enjoyed and used by a fortunate family or small group of people within private or confidential criteria. The time has come for me to take my work out into the world so more people might enjoy and benefit from it. I dream of public spaces and areas frequented and seen by many people around the world. So, my dream is to design superb hotels and resorts, specific retail and museum spaces. I’m currently working on formulating my own brand which encompasses lifestyle. Think of it…. unique hotels that branch into product, fragrance, luggage and travel, music, fashion and all things delicious to the senses. I believe dreams are the very essence of our growing process. My main goal is to uplift, improve and inspire, and with my brand I intend to do just that.

 

Director of the Cultural Services of the Ministry of Education and Culture Pavlos Paraskevas in conversation with Saskia Constantinou about cultural development in Cyprus.

Pavlos Paraskevas was born in Cyprus, in the village of Kontea, Famagusta. He graduated with a BA from the department of Archaeology and Art, Faculty of Philosophy from the Aristotle University of Thessaloniki in Greece. He also holds an MBA in Management and Public Administration from the Mediterranean Institute of Management in Cyprus.
Between 1981 and 1987 he held the position of chief editor at ‘Chr. Andreou’ Editorial House. Since 1987 he has been working at the Cultural Services of the Ministry of Education and Culture.
He is the author and editor of significant works on Cyprus literature and poetry. He has also published various essays and articles in newspapers and literary magazines and has cooperated with the Cyprus Broadcasting Corporation for the production of radio shows on cultural issues.

As Director of Cultural Services of the Ministry of Education and Culture, what are some of the responsibilities you have?

As the Director of the Cultural Services, I’m responsible for the administration and effective performance of the Department. I am also the Secretary General of the Cyprus National Commission for UNESCO and a member of the Board of Directors of the Cyprus Symphony Orchestra Foundation. The Cyprus Library, the National Struggle Museum, SIMAE and the Offices of the three cultural attachés in Athens (The House of Cyprus), London and Berlin are also under my authority. As the Head of this Department, it is my duty to envision, propose and execute the state´s cultural policy as regards to contemporary culture.

We have seen a great progress in the Cultural Services especially over the last decade with regard to high profile international musicians and artists visiting Cyprus – What is your long term plan to further develop culture?

One of the main goals of the Department is to further enhance access and participation in Culture. This is achieved through the “POLITISMOS” funding programme, which aims at supporting high standard performances by celebrated artists, as well as through the various Festivals that are organised or co-organised by the Cultural Services, such as the KYPRIA Festival, the Ancient Greek Drama Festival, the Cyprus Film Days Festival, the Contemporary Dance Festival etc. We expect that the forthcoming upgrade of the Cultural Services shall further accelerate our cultural policy and strategic planning, which in turn will give culture on the island a boost.

What are the biggest challenges you face every day?

Our sector faces a constantly increasing number of challenges that need to be addressed every day. Primarily, we have financial restraints and a lack of human resources. This then puts limitations on proper management structure and inhibits the proper utilisation of a very promising cultural force.

How involved are businesses in supporting the arts and what benefits does the government offer them for their support? Are there enough cultural figures on boards of major businesses?

Before the financial crisis there was great support from the Bank sector as well as other major companies. At the moment, the government offers small tax benefits to those who support culture. However, although there is some interest, we do not have a proper plan that aims at encouraging organisations to invest in culture.

Many artists leave Cyprus, as there is not a steady platform for their art – for example, we have no permanent Opera of Ballet company. Are there any plans to focus on these areas?

The fact that Cyprus is a small country puts limits on the way we proceed with regards to Culture, especially in certain sectors where the need for investment is considerable and the audience’s interest is limited. Our aim is to first attempt to create a proper background in order to support the acquirement of such artistic tastes and then proceed to decide whether to bring forward new ideas regarding cultural infrastructure. For now, our intention is to acquire basic cultural infrastructure.

A healthy creative sector is absolutely vital for a healthy economy. Do you have a five or ten year plan of how cultural organizations can be supported?

At the moment we have the five-year “POLITISMOS” funding programme which comprises our main funding tool. There is also the funding programme for Film Production as well as smaller grants for specific sectors in order to meet their distinct needs.

Saskia Constantinou first met and interviewed Dmitry Sitkovetsky ten years ago, and was pleased to welcome him back and catch up on the years…

Your career has flourished and progressed over so many years – and you still have a phenomenal schedule. Would you have done anything different in hindsight?
I would have loved to continue to direct a summer festival – I’ve done it for 10 years in Finland, 5 years in Seattle, USA – and gave them both up because of increased involvement in conducting. In hindsight I probably should have continued – they were my creative laboratories.

You are very focused on your conducting now – do you feel that your years as a violin soloist gave you an additional, inner understanding for your podium work?
Of course being a string player since the age of five, and a well-known soloist, gives me a shortcut to all the string sections of an orchestra – which is the majority of musicians. Also, I could use the rehearsals to give them some of the important elements of string playing: bow-change, strings-change and the distribution of the bow, which are all crucial elements for creating a singing line, a phrase and an expression. Orchestral musicians understand immediately if a conductor plays or used to play a string instrument.

We hear of arts funding crises universally – are they real? And if yes, what and where do you feel the focus should be?
It is a real problem- funding of the arts is not increasing, on the contrary – it’s getting harder and harder. The most important element for me is the essential musical education at schools – not professional ones, but ordinary ones. Music should be taught as part of the school curriculum in the same way as languages, maths, physics, biology etc. Singing in a choir and playing in ensembles and orchestras is even more important for schoolchildren’s all-round education and upbringing. It gives them a sense of rhythm and harmony with others and it has been proven countless times about how it develops social skills. Being part of a group that makes music together is very important.

Having performed all around the world, you’ve had so many experiences. Would you share some of your highlights with us?
Some years ago, I went to play the Brahms Violin Concerto with the Simon Bolivar Orchestra in Caracas, Venezuela. While warming up in the dressing room, I met Carl St.Clair, the American conductor, who asked me if I take the cuts in the last movement of the concerto. I said – what cuts??? In the Brahms??, he said – no, in the Tchaikovsky!!! I showed him my contract where it clearly stated Brahms, but Carl said it was a mistake and they had the music for the Tchaikovsky Violin Concerto. Five minutes later I was on stage playing the Tchaikovsky which I hadn’t played for over year before that. This is what a professional life of a soloist is like – I have many stories like that.

What drives you on those days of frustration and irritation?
I love music and consider myself very to be spending the majority of my time in the best company of Bach, Mozart, Beethoven, Brahms, Tchaikovsky, Debussy, Ravel, Prokofiev, Shostakovich and many others. It’s a very great privilege to be doing something that I love so much and be paid for doing it. I never consider my involvement in music as work, or a job, or chore. The travelling, dealing with all extra-musical problems of my profession is a constant challenge, but when I am studying my scores, or go to rehearsals or perform, I feel the balance – I’m home, that is where I belong and life suddenly makes sense again.

Your name is inextricably linked with the fabulous arrangement of the Bach Goldberg Variations and has been the foundation of many concerts around the world. Is this an avenue you might explore in more depth?
The making of transcriptions is one of my favourite past-times, my musical hobby. To date, I’ve made more than fifty transcriptions with many of them being performed all over the world. I also receive some interesting commissions to write them. In 2013, I transcribed the 12 Chopin Preludes for the Verbier Festival’s 20th Anniversary and they were played by my very esteemed colleagues: Leonidas Kavakos, Yuri Bashmet, Mischa Maisky, Martin Frost, Pletnev, Yuja Wang, Emanuel Ax and many others. Last year I made a very special transcription for the Orpheus Chamber Orchestra and Augustin Hadelich which was premiered at Carnegie Hall last December – Stravinsky’s Suite from Fairy’s Kiss for violin solo & orchestra.

What are your next challenges and dreams?
I would like to conduct more operas. Last January I did my first La Boheme – beautiful music…and it would also be wonderful to have an opportunity to further explore the string quartet’s repertoire while I am still quite active as a player.

Since I don’t teach regularly and only give an occasional masterclass, I hope to be able to find a way to guide very talented young performers. The world of music is constantly changing and in many ways is treacherous, so I feel that youngsters need more and better guidance about potential pitfalls. The established conservatories, music academies, colleges seem to be ill-equipped to prepare young, aspiring musicians for a long life in music.

Our times demand a constant reinvention of our profession.

Harris Georgiades, Cyprus’ Minister of Finance was pivotal in the successful implementation and conclusion of the economic reform plan for Cyprus. Saskia Constantinou spoke to him about future fiscal policies

Since the economic disaster of 2013, you’ve implemented and achieved an ambitious reform and consolidation programme and managed to eliminate the deficit. How are you going to continue to keep public spending down?
Yes, doing away with the deficit was one of the main objectives of our policy. Balancing the budget, by focusing on the spending side, enabled us to avoid any tax hikes and to re-establish conditions of stability and confidence in the real economy. As fiscal space is gradually being created, we are now in a position to offer significant tax breaks, essentially giving back to households and business and in this way further boosting economic activity. And this, let me say, is certainly not austerity. In fact, it is the only way to avoid austerity and the risk of a vicious cycle in an economy. So we should indeed maintain this prudent fiscal stance. Apart from a very clear political commitment in this direction, I would point out to a number of structural reforms like the welfare reform, which has already been implemented or the public administration reform, which is currently debated before our Parliament, which will safeguard that public finances will never again spiral out of control.

What were the main factors which contributed to the downfall in 2013? What have we learned?
It was a combination of the unsustainable course of public finances together with an equally unsuitable course of our banking sector which was fuelling an excessive credit expansion and a property bubble. However, we have taken decisive action on both fronts, working under the watchful eye of the IMF and the EU. I have already referred to the ambitious fiscal consolidation. Likewise, the banking sector has healed to a significant extent. Capital adequacy, corporate governance and supervision have all been enhanced. The main lesson learned is that we cannot operate against common sense. We cannot sustainably spend more than we earn and we cannot borrow more than we can repay. Both will work for a while, but will inevitably end in disaster. And that is exactly what we faced a few years ago. However, Cyprus has achieved a remarkable recovery and a very strong rebound, which clearly points to the resilience and good prospects of the Cyprus economy.

Is there going to be compensation for those who lost their savings in the 2013 crisis?
I wish I could say so. But savings were lost because two large banks failed and it was not possible for the taxpayer bear the burden and to bail-out those banks. Thus the bail-in, which has since been adopted across the EU.

There is so much corruption in the world of politics and yet you have remained firm and adamant in your policy. How have you achieved this, and how can we develop a more ethical culture in Cyprus?
I believe it is the duty of those who hold public office to speak the truth and to act for the public interest even if this means that, at times, they become unpopular. But I also believe that it is the responsibility of citizens to scrutinise those in power, to reject populism and to realise that how we vote matters.

What is the current situation with unpaid loans – especially those which are in the millions?
Things are gradually but steadily getting better. Loan restructurings and settlements are happening with a very satisfactory pace. In the case of those mega-loans I would point out to the handing over of property of equal value, which has also been happening on a very significant scale. But obviously more needs to be done both by the borrowers and lenders, especially now when the recovery of the economy is starting to make things a bit easier.

While you have eliminated the deficit, the unemployment rate remains high. Has enough emphasis and opportunity been given to entrepreneurs?
Ultimately all our efforts aim at creating a stable, safe, business friendly environment which will create new opportunities and new jobs. We have come a long way in this direction and even though unemployment remains high, at 12%, it is already much lower than its peak of 17%. It is actually registering the fastest drop in the EU. So we should maintain a steady course, never ceasing to work for a more competitive, productive economy which will be attractive to new business and new investment.

So how attractive are we really for foreign investment and growth? Are we still dominated by bureaucracy and how are we perceived by international investors?
I definitely consider Cyprus as an excellent destination for foreign investment and such significant investments have been happening and were instrumental in pulling our economy out of recession. We offer a stable and attractive tax regime, a wide network of double tax treaties, excellent business and commercial ties with other regional economies, a well-developed legal and institutional framework and above all a very skilled human capital. At the same time, we know where our shortcomings lie. Our banking sector and our public finances were part of the problem but as I have mentioned, we have achieved significant progress on those fronts. Bureaucracy can still be a problem, and that’s where we are focusing our attention, among others, by investing in e-governance and simplifying procedures especially in front line government departments like Tax and the Registrar of Companies.

Fiscal management in the public sector seems to be a great problem – the Cyprus Broadcasting Corporation for example where there is a huge deficit. The national healthcare system is also struggling and it seems that only with financial and administrative autonomy can it proceed. What are your thoughts?
The broader public sector offers good examples and not so good examples. For instance, I am quite satisfied with the University of Cyprus and its progress. On the other hand, nobody can deny that the CyBC does not have a name for efficiency. Local administration is also in dire need of reform. As far as the public health care sector is concerned, I am of the opinion that simply increasing the wage bill for doctors and nurses will not improve things. This does not make the unions happy, but I believe that first we should promote substantial reform, transforming public hospital into administratively and financially autonomous organisations. This will give them flexibility but also responsibility which is exactly what we need if we are to improve.

Do you believe that teenagers have enough knowledge about economics and fiscal management or are we still in a culture of wanting everything the neighbour has and more?
It’s been a while since I was a teenager and my daughter is still 8 years old, so I cannot claim to be an expert on teenage attitudes! But I do believe that we must offer knowledge and inspire responsibility and critical judgement from the early stages in life. We want our youth to be well equipped to cope in a demanding and sophisticated world and this includes being knowledgeable in the basics of economics. Besides, the effort to reconcile unlimited wants with limited means is the very definition of economics and is something which will perpetually face a teenager, a family, an entrepreneur or a government. In all cases, the best answers are those provided by rationality and common sense.

Some economists believe that the Brexit will cause a new Great Depression throughout Europe – do you believe this to be true and has it given Cyprus any added opportunities?
No, I do not believe that we are heading towards a Great Depression. There will be a negative impact but this will primarily affect the UK itself. I regret the vote but at the same time I respect it and what we must now ensure is that the terms of exit will minimise any negative consequences. Cyprus stands ready to support a new, close relationship between the EU and the UK which will minimise any of these downside risks.

Do you believe that this will create a domino effect and lead to any partial dissolution of the European Union?
The European Union has received a blow but it’s wrong to jump to such conclusions. In fact, I believe that the vote has acted like a wake-up call across the EU. Over the years we had become complacent and we did not realise that the European unification process and liberalism itself became vulnerable to populism and to the irresponsible chants of the far left and the far right. The vote should remind us that we should never take history for granted. Instead we should step up the effort and we should fight for our common values and our common future.

How does Harris unwind after his hectic and pressured days? 
There is nothing like those evenings with no public engagements, when I can simply stay at home with my family. This is what I have come to value most.

Nicoletta = if there is space, we can add this in a box.
Harris Georgiades was appointed Minister of Finance of Cyprus on 3 April 2013 by President Nicos Anastasiades. He was elected as a Member of the Parliament in 2011 and served as a Member of the Committee of Financial and Budgetary Affairs, the Watchdog Committee and the Committee of Communications and Public Works. He has served as Chairman of the Democratic Rally Young Graduates and as Director of the Democratic Rally President’s Office. During 2009-2013 he served as press spokesman of the Democratic Rally and was also the Deputy Head of the Economic Policy of the Party. He has also been professionally involved in the tourism sector. Georgiades studied Economics and International Relations and European Studies at the University of Reading, UK.

Was it a given that you would follow a career in Arts and Theatre?

Since 1994, when you became Director of the Nicosia Municipal Arts Centre, there have been great strides forward in Arts and Culture in Cyprus. Tell us about some of the contemporary art exhibitions you have curated on the island?

You were the first Cypriot curator of the Cyprus Pavilion at the 54th Venice Biennale – have we made enough impact in the international arts arena and if yes, in which way?

Does Cyprus have a 10 year, or even 5 year plan for the development of Arts and Culture? It seems that we go on a year to year basis, without long-term fiscal planning…or am I wrong? (I hope I’m wrong in this case)

In Manifesta 6 in 2006 we had and lost great prospects cancelling just 3 months prior to the opening. As European Capital of Culture in 2017, the focus will again be on Cyprus and gives us huge opportunities. Have these been maximised and if yes, in what way? If not, what can still be done to move forward?

Has there been collaboration across the all the cultural boards?

You’ve been responsible for designing several museums in Cyprus and Greece including the Thalassa Municipal Museum. Did you find your civil engineering background to be of help? What inspires you and how do you retain the balance of history and a modern, accessible approach for 2016?
You’ve had so many achievements and accolades across so many fields. What do you consider to be your greatest achievement and why?

How would you like to see Cyprus’ cultural scene develop over the next 5 years and how do you believe it can be done (I understand this is can become a Phd discussion, but briefly)

As Director of THOK, there have been great strides forward to encourage English speaking people to patronise Greek theatre – how have you achieved this and what are your next steps? With so many tourists in Cyprus, surely it is an untapped market for cultural tourism?
What do you do for relaxation?

Michael Virardi is a keynote speaker who speaks to the heart and souls of his global audiences. He spoke to Saskia Constantinou about his passion for inspiring people and organisations.

How did your ‘inspirational speaking’ come about?

In 2002, I attended a seminar in North Carolina by Jeffrey Gitomer, arguably the best sales consultant in the world. After the seminar, I approached him to ask him about something that had been spinning in my mind from the start: what did I need to do in order to become as successful as him in the same profession? I shall never forget his answer for two reasons: because he really did tell me the “secret of success” and because I was surprised as soon as I heard what he had to say. He told me that in order to become so successful I needed to study the subject I chose to specialise in for 2 hours every day, taking a break at weekends, and when I had done that, to contact him again in ten years’ time!
Retrospectively, I’ve come to the conclusion that Gitomer was absolutely right which I’ve proved in my professional career. I studied for 7-8 consecutive years and didn’t have a single client for my seminars or motivational speaking. Or rather, I had not managed at that point, to persuade anyone to believe in me and trust me. I listened to Gitomer, turned his words into action and, at the same time, I was patient until an opportunity came along and I seized it, always keeping in mind the saying “Luck is where preparation meets opportunity.”
Today, I’m in the happy position of holding dozens of seminars and lectures every year – both in Cyprus and abroad, and have succeeded in multiplying both my knowledge and income.

Are you still involved in your family business of Virardi ?
My passion is training, developing and coaching people. My aim is to help these same people reach their goals, as my business card slogan states! My ‘secret love’ will always be the family business though and where I’m still involved as a Director.

What do you consider to be your three most successful habits?
Working out (especially in the morning): In the early morning hours, crucial hormones (i.e., testosterone) that help to build muscle mass are elevated in the body. So, by exercising the, one takes advantage of these naturally circulating hormones as they peak. It also keeps you energised during the day. I also swim throughout the year, which is also super exercise.
Reading: Gitomer’s advice was not only crucial in helping me build a career, but was also beneficial in developing my critical thinking. Life is way too short to learn only from your mistakes and your successes. Reading and absorbing autobiographies and other similar material has helped me achieve my goals.
Having a Mentor: As the African proverb states, “If you want to go fast go alone; if you want to go far go with others!” Having a Mentor (and in my case it is more than one, with their ages range from 24 to 74!) has helped tremendously in my personal and professional life.

What do you do to keep yourself motivated?
I read the Success magazine, spend quality time with my loved ones especially my wife, Christine, and my 3 ½ year old son Rolando. I also avoid watching the evening news (80% of it is negative news).

What does success mean to you and what do you believe are the necessary attributes needed to be successful?
Success means so many things to so many different people. When I was young, success meant becoming a millionaire. Today, success is making a comfortable living, doing work I am passionate about. It also means having enough time to spend with my loved ones. Now that I am a father and husband, success is also about ‘security.’ The fact that I have opted to be self-employed, and that I managed to take my craft and brand word-wide, helps me fend off any local financial crises. So, I have that sense of ‘security.’ As long as I keep growing and moving out of my comfort-zone, I believe success will ‘accompany’ me, and everywhere I choose to practise my craft.

How different are the reactions of people around the world? Are we basically all the same?
The answer to this question is very much and not very much! If you get an audience to laugh with a certain joke, you are more than 80% to 90% guaranteed that you will get a different audience – in another country – to laugh at the same joke provided it does not involve religion or something offensive to a certain civilisation. Having said that, there are also differences one of which I experienced very recently when I addressed the Management and 250 people from Ericsson in Tallinn, Estonia. Estonians, as I was told, are shy to ask questions following a speech. So, the Management of Ericsson designed an application where participants ‘flooded’ me with interesting questions which I had the pleasure to answer there and then. Another example is my experiences in Switzerland where I lecture at two Universities. Unlike some other cultures, Swiss lecturers and administrative staff will take me to one side and ask me various questions, to help them enhance their craft, improve their skills, etc. However, these people might have more experience than me and they certainly hold more degrees under their belt than I do!

Tell us about your best-selling books…
I’ve written two best-selling books and both appear on Amazon. They are titled “Positive Impact!” and “Crisis? Let’s Beat it!”. The first one is on customer care and the second one on the five pillars of self-development.

Success is often linked to wealth – what are your thoughts?
Your bank balance might reflect a certain kind of success and might probably be a clear indication that you are doing a job very well done (if it is done in a legal way!). Other than that, there are so many variables that determine success in my books (i.e. being good father for my son and a good son to my father, etc.)

Michael Virardi graduated from Richmond University (UK) in 1995, where he studied Business Administration with an emphasis in Psychology and continued with a Masters in International Business from the University of Westminster (UK) in 1996. He is currently one of the youngest inspirational speakers not only in Cyprus, but also in the USA, UK, Switzerland, Turkey, Greece, Malta, Spain, Jordan and Estonia.

Michael is also a visiting lecturer at the University College London and the University of Lausanne.

One of the richest sources of garden design has been the Mediterranean garden and is an easy style to develop whatever the size of your garden. There is a large collection of plant species well suited to the climate which is typically cool and wet in the winter, and hot and dry in the summer.

The term sclerophyllous comes from the Greek word sclera (hard) and phyllon (leaf) with the foliage often evergreen, compact in leaf size and which is green in colour. The plants a typically drought resistant but photosynthesize throughout the year.

There are certain elements which constitute a Mediterranean Garden:

Protection: High walled gardens offer protection and relief from drying winds and the elements. They also provide a sanctuary and framework to a garden.

Shelter: Shade and shelter from the intense heat is central to Mediterranean gardens with structures such as pergolas, arbours and arcades. Pergolas should be in keeping with the mood and style of the buildings around it. Timber is the most common material but will require annual treatment with a wood preservative.

Water: This is an element which offers an immediate feeling of relief from the heat. It does not have to be a big feature which will have excessive loss of evaporation – a dribbling fountain offering a trickle of water is sufficient to achieve the feeling.

Outdoor Rooms: The modern concept of outdoor rooms evolved from Mediterranean gardens. A well-planned garden with mature trees and other forms of shade can be an energy-saving alternative to the air-conditioned indoors.

Think Local: In Italy and Spain, many Mediterranean gardens scramble up hillsides or are carved into rocky cliffs and feature walls and other features made from local stone. Always try to reduce your carbon footprint by sourcing materials locally.

Planting: If you plant carefully, you can enjoy the fruits of your labours by planting herbs, citrus trees, olives, vines (which will also provide shade) and figs. Planting edibles close to the living areas where they can be smelled and tasted, adds to the allure of the garden. Lavender is easy to grow and can even be pruned to form a hedge. Pots of bamboo make excellent additions too.

Fryne Eliades is a true entrepreneur, dynamic and full of enthusiasm over new projects that her Ethnographical Museum is undertaking.

Tell us about the origins of the Museum and the visions your father, George Eliades had when he began the museum in 1958.

My father George Eliades was a cosmopolitan man who spoke seven languages fluently and who studied Ancient and Modern Greek Literature and Archaeology at the University of Athens with scholarships from various European countries. When he married my mother Chryso Antoniadou, they decided to convert her house into a museum. The entire collection is therefore, housed in this building which comprises two floors and a big garden.
The house was constructed in 1894 and displays a unique architectural style, with grand gothic style arches at the entrance, and Roman styled arches on the ground floor. The top floor consists of five rooms, a large hallway in the shape of the letter T. The ground floor also has five rooms and a large corridor shaped like a cross. The two rooms on the top floor were used by my father as his private study room and dining room.
Each of the rooms on ground floor display different objects and images of Cypriot life, folk art and history through the ages: from the villager’s room with the workshop and the bedroom with folk/traditional costumes and laces, the traditional kitchen, to the ceramic room and the room of Chalcolithic period (3000 BC).
The corridor shows the traditional methods of cultivating land in Cyprus with the rooms connection to a beautiful large yard with a garden. There is a village fountain, chapel, traditional ovens, laundry room, olive-mill and an original tomb which dates by to the end of the 3rd and beginning of 2nd century B.C. The Museum first opened in 1958.

You say that “museums are not just about objects but about the cultures that produce them.” Can you tell us a little more…

My father always said, an Ethnographical Museum should always aim to provide both a general and specific picture, a form of living image, reflecting man’s evolutionary development, from prehistoric times to present. It should be a representation and expression of life through its most essential phases.” Ethnography derives from the Greek word ethnos – meaning the elements of history, our customs, habits, heritage, in one word culture. So, the museum is not just about objects, but rather a journey to historical tradition and the soul of the Cypriot civilization encompassing the Cypriot life from the Neolithic age three thousand B.C. until today.

Can you tell us about your childhood and the people your father had in the museum

Since opening in 1958, thousands of people have visited the museum including distinguished visitors such as the dethroned ex-King of Italy Umberto, Eleni Kazantzaki (wife of Nikos Kazantzakis), the painter Vasiliou, foreign prime ministers, ambassadors, patriarchs, archaeologists, professors, authors and artists. For my brother and I, living in a museum was quite normal. We used to play in the garden like any other children and my father would take us on excursions and long walks around Paphos. In this way, he nurtured in us a love of nature and enjoyment in the simple aspects of life.

What made you decide to continue your father’s work?

Although I studied political science and economics at the University of Athens, I chose to continue my father’s work because of my love and passion for archaeology. Moreover, I always admired my father as a personality. My mother and I currently work at the museum, guiding tourists and taking care of the daily operations. I strongly believe that when you do something you are passionate about, then you are willing to work hard and thus succeed in it.

The collections are beautifully laid out and include a fascinating array of artefacts – can you tell us about a few of the very special and unique pieces?

Every object of the museum has its own history making it invaluable and difficult to choose one object over another. However, some of the most notable collections include those of jewelleries, chalcolithic axes, old coins, fossils dating back 30 to 50 million of years, the head of Apollo (classic period), the geometrical amphora, the old flower pot, the wooden chests with symbols. Even our piano and our empire mirror, the old lamps, the shelf with the old plates have their own history.

The museum is not only an inner venue, but also an outer one …

In the garden you can see the olive oil mill, the ovens and the original tomb dated to the period of Alexander the Great, end of the 3rd and beginning of the 2nd century B.C. (Hellenistic period). The tomb brings memories from the Turkish occupation in 1974, where together with my family and neighbours, we used it as a hide out for nearly a week to protect ourselves from the bombings. Beside the tomb there is the village fountain, and the catacomb 2nd A.D which was converted into a chapel.

Do you continue to collect pieces for the museum?

The collections of the museum are really very rich. I believe the lack of space, would make it hard to continue collecting any additional pieces. Moreover, the upkeep of the building and collections is huge and we rarely receive any funding from the Government. The upkeep of the museum is a difficult task both financially and mentally and includes the maintenance of both the collections and the actual building, as well as the daily cleaning of the rooms and garden.

Following the death of my father, my mother and I thought that in his memory we should attempt to open up the premises of the Museum to a wider audience in order to secure necessary funds to ensure the continuation and upkeep of the museum. With this in mind, we now offer the premises for small private functions, such as civil weddings, parties etc. The museum offers the perfect place for a historic wedding and standing in the heart of the old town of Paphos and occupying one of the oldest finest heritage buildings, the Museum provides an elegant location for both the ceremony and reception.

The proverb says “Tell me and I forget. Show me and I remember. Involve me and I understand” – this is part of the museum’s philosophy regarding education…

Yes, exactly. We try always to capture a child’s imagination and welcome school visits and private groups of children. The fact that the collection is actually housed within a home environment makes the youngsters feel less intimidated by the objects surrounding them, and can therefore, fully relish the experience. Many return on their own to use some of the exhibits for their class projects and essays. I believe that learning is an active process, and here, they can actually see the objects they have been reading in their history books. We also have a wonderful library of books which can be accessed by those working on specific projects.

How do you envisage the future of the museum?

There is a Greek saying ‘’when we make plans God is laughing’’ which in my opinion is true. For the moment, my mother and I operate the museum. Both my children love the museum and are very proud of their grandfather. However, I do not want to force them to continue his work if they do not want to, but of course, I hope that they will continue the tradition.

British pianist Charles Owen was in Cyprus for the 3rd Apollon International Arts Festival and spoke to Saskia Constantinou about his life of performing and his new London Piano Festival.

Do you hail from a musical family? How did it all begin?

I grew up with my mother playing hymns in church. She had a little piano that was given to her mother as a twenty-first wedding anniversary present – a Bosworth upright, and I learnt on that with my aunt, who still incidentally, owns that piano. My aunt had a scholarship to the Royal Academy but turned it down to be a missionary in Africa. Hearing her mezzo voice in church inspired my love of the human voice and lyricism. A local church organist taught me the piano – lessons were just 50p but he was very strict. The toughest was Easter time though – he had a wall of Easter eggs all perfectly preserved in their wrappers!

You’re in demand all over the world – as soloist and chamber musician in various festivals – how do you manage to practice and teach with all your travelling?

Like most musicians, I try to be very organised with my time and have learnt to practice in a very concentrated manner and at different times of the day and night. My idea of bliss is to have a whole day free at home for practice, rest, reading, exercise followed by the reward of socialising in the evening!

Do you believe in silent practising?
Indeed I do particularly when it comes to memorisation. I enjoy studying the scores away from the piano and aim to imprint them into the brain.

There are pianists who have said that the daily grind of practicing is like going to the salt mines – is it odious to you, or a joy?

This very much depends on my mood, the repertoire I am preparing and even the weather. Some aspects of practice are tough but I aim to make to make the process as creative as possible. I feel it is essential to always have a clear idea what one is trying to achieve at a given moment during practice. There are so many different ways to make the daily grind into a positive experience. Essential as the years go by!

Do you think it is more difficult to launch a career today than it was when you began?
To be honest I think that it has always been a challenge to embark on a musical career let alone sustain one over a lifetime. I certainly worry about the diminishing concert scene in some countries whilst the conservatoires continue to produce a stream of fine players.

As a Professor of Piano at the Guildhall, do you believe it necessary to be brutally honest with your students with regard to their potential to become concert pianists?
I try to be kind but realistic and only give an answer when a student asks me outright about their aims and ambitions.

In your teaching, have you ever felt that there’s a certain common fault that many students have?
Sadly one often encounters a lack of harmonic understanding and awareness in students. A lazy approach towards dynamics and a genuine fidelity to the score also seems prevalent. I always appreciate a musician who spends time delving deep into the different styles of the various composers. Essential but sometimes rare!

What do you believe is the best kind of musical training for a young person?
The development of the ears is as important as the need for technical mastery. A good knowledge of theory, fine ear training and exposure to many different kinds of music can really help to build a young musician’s understanding.

What is stage presence for you?
The ability to fill the stage, hold the listener and lead them on a journey with one’s interpretation.

How do you prepare for a concert on the day of the event?
I usually rise a little later than usual and spend time thinking about the music rather than practising too relentlessly. Power naps are helpful and can really make a difference to the concert. It is also important not to give a performance in the rehearsal!

Paderewski once said that nerves come from a bad conscience, from holes in the preparation –Do you agree? Does your heart pound before you go on stage?
Good preparation is truly essential and needs to be done well in advance. I usually learn very quickly and can bring familiar pieces back fairly easily. However I aim to plan my practice schedule carefully in order to avoid the worst of the pounding heart syndrome!

There is such an incredible build up to a concert – do you ever have post-concert depression?
Sadly this does and can happen. With experience I’ve gradually learned how to handle the anti-climax and let the adrenaline return to a more normal level. Often after a major concert I will take a short break away from everything. On other occasions one must continue straight onto the next event and programme!

“If I’m going through inner turmoil in my life, I turn to Bach. The mathematical balance can be very comforting. When Bach’s being sad, it’s never about the individual, like in Chopin or Schubert – it’s always about higher powers.”

Do you work out your pedalling as precisely as phrasing and dynamics?
I pay a great deal of attention to pedalling during practice sessions and try out various options. However I rarely set anything in stone as the pedalling will vary according to the piano and hall one is playing in. I am a great believer in using many kinds of pedalling such as half pedals, flutter pedal etc.

Which composer is the greatest interpretive challenge for you and why?
This is a very hard question to answer as every great composer brings huge challenges as well as rewards. If pushed I would have to say Beethoven for the unbelievable richness, depth of expression and complexity not to mention the huge technical obstacles inherent in so much of his music.

I guess this could result in a book – but briefly, what is it about Bach which draws you so?
For me as for so many other musicians Bach really remains Number One in the pantheon of Western Classical composers. His influence and genius in taking existing forms and pushing them to their limit puts him in a class of his own. I love the sense of joy and spirit of the dance that runs through so many of his works. His obsession with numbers and patterns is endlessly fascinating and rewarding. Finally, like Beethoven he has a way of addressing the cosmos and the eternal.

You’ve recorded the cello and piano sonatas of Brahms, Schubert, Rachmaninov and Chopin for EMI with Natalie Clein – how important is recording with other musicians for you?
Recording is one of the greatest teachers a musician can have. Suddenly one’s playing is under the microscope in a completely different way from in a concert! Collaborating in the studio can be exciting but the partnership must be absolutely solid if the players are to survive the degree of exposure that the process entails. I recently finished recording the four hand duet versions of Stravinsky’ ballets with the wonderful pianist Katya Apekisheva. We emerged well from the challenge.

What about Charles Owen the private man? What are your other interests/hobbies?
My favourite times are spent reading quietly at home, attending theatre/opera/concerts particularly orchestral ones. Together with my partner I love escaping into the depths of the British or indeed French countryside with no mobile or Internet reception! Fitness plays a regular part in my life, gym and pilates training also help the piano playing and one’s sanity.

What are your goals and dreams for the next five years?
To keep growing as a musician and person, to really widen and focus my repertoire, record more solo discs starting with the Bach Partitas. Also to travel and explore more of the world’s beauty both man made and otherwise!

In October, you are presenting with Katya Apekisheva the London Piano Festival. Tell us about the origins and concept behind it all.
Katya and I have both attended many excellent festivals where various instrumentalists gather together to play chamber music. In 2011 we were invited to the New Ross Piano Festival in Ireland where the atmosphere, camaraderie and sheer quality of the concerts very special. After this positive experience, we decided to create something similar in the UK and were thrilled when Kings Place in London, enthusiastically took up our idea. Pianists are destined by the very nature of the instrument to be solitary creatures but for one dazzling weekend in October, we hope to change that!

You and Katya have a special chemistry at the piano – has the administrative side of putting a festival together been equally fun?

Sharing a strong bond and connection at the piano has certainly translated well into setting up the London Piano Festival. No one can prepare the initiate for the challenges of creating a new venture from scratch – choosing the pianists and their programmes was certainly the easiest part!

There is such a diverse repertoire for the piano – did you have any criteria about how to do the programming?
For this inaugural festival we decided to avoid a specific theme for the programming. Each solo artist has chosen to perform music by composers with whom they particularly identify, in my case JS Bach, an all French signature programme for Kathryn Stott whilst Katya focuses on the Romantic Impromptu repertoire.

You have an incredible array of the world’s leading pianists – can you tell us about them?
We are happy and fortunate to see so many wonderful pianists on board for our very first festival weekend. Each artist is someone we know personally, an essential component of creating a unique event such as this.
The legendary Alfred Brendel will open the concerts in his role as speaker. His lecture on Liszt will be followed by a performance of the B minor sonata from one of the finest Hungarian pianists, Denes Varjon. Kathryn Stott, a truly outstanding British pianist is at the very height of her powers as is the jazz pianist, Julian Joseph, who will close the festivities with the best of standard and contemporary favourites.

What is the Two-Piano Gala feat?
This mammoth concert will see the two Kings Place Steinway pianos placed together for an evening of piano duo music drawn almost exclusively from the Twentieth Century repertoire. Seven pianists including Stephen Kovacevich, the doyen of current players, will join forces in various duo formations to explore the riches, complexities and excitement of music for two pianos. Rachmaninoff, Ravel and a world premiere by the superb American composer Nico Muhly, will all be on the menu!

Education always plays such an important role in these festivals – what will you be presenting?
We are delighted that the charismatic Japanese pianist, Noriko Ogawa will devote a morning to sharing the delights of the piano through three Family Concerts. The youngsters will be able to gather around and peer into the big Steinway grand piano (or just relax on bean bags!) as Noriko introduces them to the sheer thrill of the instrument up close and personal.

Mats Lidström talks about his scale book, The Beauty of Scales to Saskia Constantinou

“My favourite is F sharp melodic minor, three octaves” Mats Lidström

Swedish concert cellist Mats Lidström is, without doubt, a man of great depth with many layers and dimensions to him as musician, composer-arranger and professor at the Royal Academy of Music. His interests are diverse, and he’s involved in a variety of projects which include not only performing but the composition, arranging, transcribing and writing books. His latest achievement is finishing his scale book.

It’s not easy to find a time, but in a secluded corner of a rather boisterous coffee shop in London, shielded by a large, white cello case, he tells me where he finds the time and inspiration. “I think I’m very organised and disciplined, so a lot gets done during the working day. Sometimes though, I do wish for more hours, but…” he says laughing, “one can always borrow from the night.”

The Beauty of Scales became a labour of love and took far longer than Mats expected. A long sigh and contemplative look is followed by “Yes….well, it’s been five years. I lost six months of work when I accidentally clicked the wrong thing and my computer re-programmed itself to ‘factory mode.’ I was utterly deflated and unable to work on it for several months. There was another reason too – one far more positive in a way. Through the intense process of thinking about scales and technique, one starts to know oneself better and better and further examine one’s own approach to playing. I made lots and lots of notes and gradually also discovered new answers, new ways of improving things….and you know what..” he asks, almost rhetorically, “I think I have come up with a fingering for thirds in the low register which enables fast playing!”

The Beauty of Scales published under CelloLid.com is distributed by Spartan Press. Typical of his rather nonchalant way, Mats explains why he set up his own publishing company. “It’s a vehicle really – to spread my compositions and transcriptions. I also have a series called If Bach was a Cellist, which toys with the idea that everything Bach wrote was intended for the cello. I’ve also published a set of encores for cello and piano taken from piano concerts and even from the B minor Mass…and a few years ago, in Cyprus, wrote a piece for solo cello called Aphrodite’s Rock. I last played it at the Hellenic Centre in London for the 40-year commemoration of the Turkish invasion – it was a moving moment.”

Mats is a dedicated teacher and Professor of Cello at the Royal Academy of Music. The dedication in his book reads “To my students. And to myself.” Smiling, he answers the question I don’t need to even ask. “I needed the book for teaching and for myself. Most scale books on the market are very dated, incomplete and use fingerings based on fear rather than brilliance and of finding bold fingerings and enjoying a musical adventure. My book also contains many scales which haven’t been addressed before, such as pizzicato, artificial harmonics, scales of unisons, 2nds, 4ths, 5ths, 7ths, 9ths and 10ths.”

While some musicians may look at scales as warm-up material, Mats believes “Scales are a concertant feature which appears in every piece we play, so one should be properly warmed up before playing them, in order to execute the stretched positions and double-stops with a balanced left hand and to play string-crossings with a bow which responds to all type of string contact. The bow arm is also incredibly important when practising scales – commitment with the bow gives the scale direction and pulse and so, shifts our attention away from the perceived difficulty of the left hand. So, a committed bow means that a scale is never musically ‘switched off.’ I’ve also addressed another issue, rarely examined or even taught despite its frequent use – the pizzicato. I have superb students of great artistic calibre – they listen well, ask few questions and work hard making progress apparent. It’s fun for everyone involved.”

Mats also holds the Solo Cello chair in the Oxford Philomusica, an orchestra of soloists as well as many of the greatest players from the London orchestras. “The first violin section is probably the best in the country. It’s a relaxed atmosphere and the visiting soloists are fabulous. One week Vengerov plays Brahms, the next Mutter plays Bruch. I was also pleased to play Bruch’s Kol Nidrei with the orchestra’s founder and artistic director Marios Papadopoulos. We understand each other well.”

With orchestras and arts foundations worldwide constantly collapsing, the arts cannot be said to be flourishing, and yet the number of students doesn’t diminish. Mats has a summer school Expansion, and he too wonders what will happen to all the students. “The situation is grave and jobs keep disappearing. Who will find ‘proper’ jobs, will they end up playing at weddings or be swallowed up by that adventure called ‘crossover’?” My question becomes rhetorical as he doesn’t seem to have answers. I question whether ‘honesty is the best policy’ – should one be totally honest with students? Mats ponders over the question a while – “it’s tricky you know” he says in a suddenly more pronounced Swedish accent, “because we’re dealing with people. People change. They can suddenly blossom, improve and take off, so one needs to be really careful before removing a person’s dream or plan for their life.”

What does Mats Lidstrom do to relax and unwind from hectic days? “Work can be very relaxing, the work which makes you feel you’re moving forward. Alternatively, after finishing a writing job which took 13 hours, I watched one of the Star Wars episodes…that was very relaxing.”

In conversation with Mats, it’s easy to understand why he is held in such high regard by all those who work with him. From Vladimir Ashkenazy, with whom he recently just finished recording, to Lynn Harrell, compliments are always forthcoming – and as André Previn said “Mats Lidström is more than an excellent cellist, he’s a wonderful musician. His immaculate technique and wonderful instincts make him a pleasure to hear and work with.”

“My life is troublesome, colourful and glamorous – it’s not easy to compromise but I’m always ready to learn and discover. Expeditions are a wonderful escape and help to arouse the mind”

Your studied Economics at the University of London – what made you turn to art?

I still follow Economic theories and practises worldwide. While at university in London, some photography caught my eye and became my first passion. I loved colour film photos and travelled the globe extensively to take photos and print them. Digital photography was a disappointment for me as it killed the drama and action of the catch. With the digital world, the catch is manipulated on computers behind the scenes…My second passion was motorsport, another form of Art. I didn’t have formal art education – I’m self-taught, but have read and researched in great depth. I was always fascinated by decorations, designs, art and culture and worked with contracts in home designs. It was in 2000, when in London refurbishing a house in Marble Arch, that I decided to try painting. Art is my third and biggest passion of all!

You describe your life as troublesome, colourful and glamorous – in which ways?

I think my personality and character has not helped in having a normal, relaxed easy going way of life. My indomitable, impulsive, always searching spirit, mind and brain pushed me towards a nomadic lifestyle. I don’t compromise or accept easily although I’m always ready to learn and discover. Expeditions are my escape. I need my mind to be aroused by new findings. In personal relationships, I hide a lot and focus on my dreams which is troublesome as partners or friends feel left out. I also went through two major difficult periods of life. The first was after an horrific accident in my rallying days where I was almost left paralysed. I had neurological operations in London and was lucky to escape the worst. The team of doctors told me to never again rally or make any dangerous movements. A year later, I was in the mountains rallying like crazy and travelling on dangerous expeditions to the Kinabalu Mountain in Borneo….discipline is not my strongest asset!

The second difficult part of my life was going through depression. I declined all sort of help and medicine and decided to fight it head on. It took me three years, in which I lost 20 kilos, many friends, most of my money and my dignity. This period of my life I will describe as a charisma and an anathema. The former as it helped me become a more caring person, and the latter as the pain was unbearable. The colourful and glamorous way of my life comes from the explosive part of character which likes to work hard and party harder.

Tell us about your time as a professional athlete

After my studies in London, I returned to Cyprus. I always followed motorsport but my preference was Rallying, especially the gravel stages. Cyprus was ideal due to its curvy, hard gravel stages. I started participating in local rallies in 1982. I fell in love with all things associated with this sport – the enormous hardship on the body, the teamwork of mechanics, managers, co-driver etc and was immersed body and soul. The technique is important and I practised very hard. I soon realised however that even if I conquered the technique of maximum flat out sideways and left foot braking, it would still be not enough. The way to be champion is to conquer your fear, and to push the limits just that bit more. Then that extra .01 of a second going faster on every corner to put you on the top place on the podium. The less the fear, the faster you are, the bigger the gain on extra seconds. The problem is, that the less the fear, the greater the chances of accidents. In 1984, Marlboro cigarettes were introduced in Cyprus and the Middle East. Cigarette advertising at the time was legal so the Marlboro Rally Team was formed to promote Marlboro. Three drivers were chosen from Dubai, Qatar and Cyprus. I was thrilled to be chosen for three years and became Cyprus’ first professional athlete even before football became pro in our island. It put extreme pressure on me as I had to compete at the highest level and win. In 1985, I was Cyprus Rally Champion and as a present, I was selected to compete in more rallies in the Marlboro team in Middle East, Jordan, Dubai and Greece. The experience was remarkable and unforgettable. Sometimes people ask me how it’s possible to move from rally to art and I believe that the adrenaline is there in whatever you do. As I pushed and extended the boundaries of fear, I push my mind to extend my limitations and create unique beautiful art.

Your artistic style is quite unique – one which you have termed “Christos is Passion” – why?

Possibly being self-taught helped to free my mind, and open my spirit… My travels, love of colours and Asia, my observations, a mind full of dreams and many hours of work. The myriad of patterns and colours are my strength. The diversity in my art is because I find it boring to repeat the same thing many times. The technique is irrelevant, as I’m not interested in perfect lines, in fact, quite the contrary. I do hard, rough, imperfect figures and lines and even use paint as if one colour finished in the middle of my work forcing me to use another. My brushes are torn, the canvas or wood fights to survive my fearsome hits and the contradictions need to be evident. The end result of all this great bloodshed, in my eyes, should be harmonious and gorgeous looking. I destroy or paint on top of all the art I don’t feel has the right final finish. This style is what I call ‘Christos is Passion.’

What is your preferred medium?

I started with oil and then used anything from everywhere. Red oil hues from China used in calligraphy and ancient scripts, black eyelash paint from Oman and Gold from Thailand used to cover Buddhas. When I travel, I’m constantly searching for materials. Next month, I’m off to Malaysia and Bali. Bali is my home really – I’ve been twelve times and love the culture and vivid character of the island. I use gold leaves used in icons, wood, canvas, fabrics, steel and glass. Now I use acrylic paints as they dry faster and have a huge colour palette. I use them un-watered and prefer to mix fluorescents with pastels, fabric paints etc.
Sculpture is my next project. I did a few wooden ones but now I am studying metals and metal machines, glues and welding and hope soon to set up a state of art studio that will facilitate operations for metal sculptures of titanium, nickel and aluminium.

Tell us about your painting process as you’ve already said you’re not disciplined…

Well, I’m disciplined as a father! I love being responsible and close to my children. I’m also tidy and clean with my paints and materials in line, and my studio super clean. But, my art painting style does not present my finished artwork as beautifully as it would if done in a disciplined way. Sometimes I sketch my ideas or figures in pencil but generally I am completely free.

What inspires you?

My brain never stops really – I’ve never had difficulty in starting and I dream of colours. Travels, imagination, observation…I look at something of no importance but can have an idea which come at all times of the day.

You’ve had incredible success with solo exhibitions in Cyprus , London, New York, Paris, Berlin and Hong Kong – do you arrange everything yourself?

I’ve been on a world tour the past three years with my work appreciated worldwide. I’m very excited about a huge solo exhibition in Manhattan, New York in March 2018, competing with the best. I began in London and since then, receive invitations. I arrange a lot myself and even do my wooden boxes and transport, but also work closely with Galleries who take on the whole procedure. I’m also learning to work on computers to promote my work on social media, which is essential. Many galleries and collectors as well as magazines use social media to source new artists. In fact, even you found me through Facebook!

You say that contemporary art is thousands of years old – what are you inferring?

If you see ancient civilizations artworks from Aboriginals to Egypt, Peru, Asia, and Hellas – all have patterns, figures, signs and drawings in differing ways including abstracts. In any era, we have the contemporary art of the time. So, what I’m trying to say is that contemporary art is always a past, as it’s so volatile and fast moving. Emerging new contemporary art can be found in caves or shells which are thousands of years old.

Working with children always makes an impact in some way – how has it affected you?

It’s a super experience which I cherish as the children liked my art and showed their appreciation, respect and love. Schools should use more external artists to introduce children to art and culture. Municipalities in Cyprus have a responsibility to promote art and culture, but I’m sad to see little done. Children need direction, vision and tasks. Give them ideas and dreams and try to make them creative, to feel unique and special and they will. Being part of a team, whether it’s football, basketball or formula one racing does not make you a winner. Anyone can announce themselves as a Barcelona team supporter, but you can’t be the winner of a championship unless you won it!!

What do you think would make the world a better place?

More love, fewer financial products, oil and pills. My slogan is Love the Planet, Love Yourself and Respect our Children.
The human brain has unfortunately not been developed for thousands of years. Humanity is in decline with governments and controlling organisations, religions and financial institutions merely interested in business and material wealth. Wars, poverty and hunger prevail with the vast majority of the planet in hardship. Material wealth is concentrated on a handful of people and organisations. I believe in people being happy in social justice and in becoming better through education and culture. I am a world citizen and love Earth our Planet.

What about the private Christos?

I would like to have the opportunity to help in aesthetically improving areas by the sea through art and culture and have announced 10 proposals in my Facebook profile Christos Eliades ART.

Email: christoseliades27@gmail.com
Website: www.christoseliadesart.com