Written by
Eleni Karasavvidou
A remarkable initiative that truly deserves support from the Greek state — instead of being met with obstacles stemming from ignorance, fear, or ideological bias, as is unfortunately often the case — and also from the Women’s and Culture Departments of all political parties, is being carried out by the inspiring president of the Zongolopoulos Foundation Mr. Nikos Theodoridis
It is considered the first recorded act of self-determination and collective female decision against male violence, as noted by the Foundation—an act that may have been challenged precisely for this reason by parts of historiography (with the ‘dance’ being questioned more than the actual event). And yet, this act has been tragically echoed in times of conflict, such as more recently in Kobani, since wars continue to make women prime victims—not only of death as a shared human fate but also of the violence they are likely to endure if they survive. Nevertheless, great artists in Europe and Greece have created works inspired by and honoring the actions of these women.
On November 25th, the Foundation, in collaboration with the Municipality of Preveza, illuminated the Monument in orange despite the surrounding silence about the event, participating in UNESCO’s global campaign ‘Orange the World’ for the elimination of violence against women.
We met with Mr. Theodoridis, who spoke to us about this highly commendable effort and his hopes for it to become not only a National but also a Global Symbol against gender-based violence—an achievement that would be unique, as there is no other monument of this size in public spaces worldwide dedicated to the heroism of women.
Dear Mr. Theodoridis, could you please tell us a few words about the history of the Zongolopoulos Foundation?
The Georgios Zongolopoulos Foundation was established by the artist himself in February 2004, just a few months before his passing, following the encouragement and efforts of the Secretary General of the Foundation, Yvonna Theodoridi.
The Foundation’s purpose is to preserve and promote the artist’s work, as well as to award and support emerging visual artists in gaining recognition. The Georgios Zongolopoulos Foundation is governed by a six-member Board of Directors, composed of capable individuals who are familiar with and passionate about the field and who appreciate the artist’s legacy. It is managed on a voluntary basis by me, the nephew of G.Z., along with my wife, Yvonna Theodoridi, the Foundation’s Secretary General, with the assistance of a paid scientific collaborator, Elpiniki Delaporta.
What was the cause (if there is one) or at least the occasion for the conception of this important idea?
The monument is striking both as a work of art and as a construction, as well as in its size, and it has always inspired admiration and awe—especially during its restoration, when my wife and I climbed the 15-meter-high scaffolding at the edge of the cliff.
Just imagine, 15 meters in height is equivalent to a five-story apartment building.
Tons of materials were carried up by animals and by hand—iron, gravel, cement, timber, and water for the framework of the work, as well as 4,300 white stone blocks, each weighing 40–50 kilos, which were carved on-site. The support from the local community was widespread, especially from the women. The construction lasted six years, from 1954 to 1961. After an application and lengthy procedures with the Ministry of Culture and Sports, we managed—with the approval of Minister Mrs. Mendoni—to have the monument officially designated as a monument of modern cultural heritage. It is the only monument of modern and abstract style in a public space with such a designation.
That was the first step towards the recognition of the monument. Afterwards, we learned about the UNESCO campaign, Orange the World, and realized that this particular monument perfectly aligns with the campaign’s goals. Thus, we began our efforts to publicize our idea, to gain “allies” among organizations and ministries, and to find sponsors to organize events that would support this purpose.
The response was disappointing, except for that of the President of the Greek National Tourism Organization, Ms. Gerekou, who introduced us to her esteemed collaborator, the composer Giorgos Voukanos.
Our collaboration with the composer was excellent. He composed a wonderful symphonic work inspired by the monument, with a libretto by the writer Efi Panagopoulou. With the free participation of the ERT Contemporary Music Orchestra, we presented it at the Athens College Theater on the occasion of an exhibition of sculptures and paintings by Giorgos Zongolopoulos in the theater’s foyer. Unfortunately, the College did not embrace our idea, so we had to pay a high rental fee to use the theater. Now, the monument and the symphonic work can "travel" together.
At this point, without wanting to get involved in disputes with historians, I would like to emphasize that the event took place in 1803, when the Greek revolution was not even in its infancy—except for the general awakening of the Balkan peoples inspired by Rigas’ charter. The Souliot women, hardworking and everyday women, were abandoned by the rest of their clan and faced danger not only from Ali Pasha’s gendarmerie but also from the marauders who followed Ali’s army, risking rape and enslavement for themselves and their children. This had nothing to do with the Greek revolution or the national liberation struggle.
They were clearly confronted with state and male violence and calmly and peacefully, after consultation, chose the ultimate solution. Ignorance, fear, and indifference are therefore what cause the avoidance of involvement and support, and the creation of obstacles to the idea by political figures and organizations—rather than a war against it.
What actions have you taken so far to promote it?
We contacted the office of the President of the Republic, which advised us to organize an event. Subsequently, we approached various organizations (which I won’t name here) to fund and collaborate on the event, as well as the Ministry of Foreign Affairs to activate Greek organizations worldwide, unfortunately without success. We also reached out to the Greek branch of UNESCO, where Ms. Tzitzikosta welcomed us warmly, but sadly with no concrete results, and the Ministry of Tourism under the previous administration, which did not respond.
Was this the kind of response you expected?
No! We organized the concert at the Athens College on our own with the collaboration of ERT, and we invited all the relevant ministries and others. The only ministry that sent a representative was the Ministry of Culture and Sports, represented by Mr. Mitsis.
In general, the response from the political world to our call was disappointing, except for Mrs. Gerekou, who sent us a recorded greeting to be shown at the event. To be honest, I understand that changing people’s minds — including those in authority — so they can distinguish this issue from the purely national liberation struggle and recognize it as gender-based violence is difficult.
They insist that the monument was built solely to honor the Souliot women, and indeed, that is true and no one denies it. However, the Souliot women remain women who faced the threat of male violence and made the choice they did. The monument was indeed created for them, and that does not change. What can change, however, is the modern interpretation of the monument in relation to gender-based violence. The Parthenon was built as a temple dedicated to the goddess Athena, but today it is known as a symbol of democracy. Similarly, the monument “The Dance of Zalongo” was constructed to honor the Souliot women, but it can become a symbol and an international landmark against violence toward women.
The media coverage was adequate, but what else could be done?
No, it is not adequate, and certainly both the monument and the concert could have been featured more prominently in relevant programs.
Given that there is a Women’s Monastery at the foot of the magnificent monument, and from my own limited experience the nuns are hospitable and caring, do you think the Church as an institution might object or rather support an issue that generally doesn’t receive the attention it deserves, namely femicides?
I don’t know enough to answer that for you, and indeed, this is something our foundation should have already done. It was, after all, in our plans to approach the Archbishop, and we definitely need to do so.
Good luck! You are now making a call/opening to all people who understand the moral, symbolic, and socio-political value of your proposal—beyond political parties—and you are also inviting Women’s Organizations in Greece and abroad to help. In what ways could they do so?
To embrace this idea, to feel the monument as their symbol, to organize conferences against gender-based violence locally, to hold annual events at the monument’s site, to make the monument and its history known internationally, to turn the monument into a pilgrimage site for women and an international landmark for the elimination of violence against women, and to exercise their influence on Greek political authorities to make the monument accessible to all, perhaps with a cable car or elevator.
To have it translated into other languages and to perform the symphonic work abroad as well.
To turn the photo, drawing, or sketch of the monument into a logo for women’s organizations.
Can you imagine!!! We have in Greece a unique monument in the world dedicated to women, for which an entire symphonic work with libretto and songs about the violence women have suffered throughout time has been composed. These two must travel together across the world. There is no other such combination of artworks anywhere else. I believe women’s organizations should adopt both as their “flag” and promote them worldwide.
Ultimately, the monument “The Dance of Zalongo” should become a UNESCO World Cultural Heritage monument.
The Zongolopoulos Foundation is taking an important initiative for something that will give due honor to the women who usually remain in the "footnotes of history"—something that Zongolopoulos himself tried to achieve with his exceptionally inspired and monumental sculpture. This initiative will also elevate the region and has the potential to highlight our country’s history internationally, if it is promoted systematically, in the right places and in the right way.
And it has already accomplished much. May this interview, published on a reputable and dynamic site, lay a supportive cornerstone in this direction.
