THE MOONEE VALLEY “UNA RAZZA UNA FAZZA” FESTIVAL RETURNS

 

There is a village named after Saint Dimitrios in Calabria. It was founded by refugees from Epirus in the fifteenth century, fleeing the Ottoman occupation of their homeland. The refugees settled near the ancient oratory of Sant Adriano, where in tenth century, Saint Nilus the Younger, patron saint of scribes and calligraphers, founded Italo-Byzantine monasticism. The village is called San Demetrio Corone, the latter title referring to the fact that a later wave of refugees arrived from Coroni in the Peloponnese. While a small village of only three thousand inhabitants, it is of great importance to Italy because it has produced many patriots, theorists and revolutionaries in the Risorgimento, the unification of the country. Saint Dimitrios is the patron saint of the village and his feast day is celebrated with great pomp, since the inhabitants of the village, who have long since converted to Catholicism, still use the Byzantine Rite.

Further north, in the Abruzzo, there exists the village of San Demetrio ne' Vestini, whose principal church is that of San Demetrio da Tessalonica, Saint Dimitrios of Thessaloniki. Saint Dimitrios of course, though a Greek, was a high ranking official in the service of the Roman Emperor and the seventh century manuscript of the miracles of Saint Dimitrios, which contains unique information about the topography of Thessaloniki and the Slavic invasions of Macedonia, is housed in the Vatican.

It is thus almost as impossible to separate the Italic component from the traditions and veneration of Saint Dimitrios, as it is to sever the Italic character from the City of Moonee Valley, where the parish of Saint Dimitrios, Moonee Ponds is situated. This year, one of the candidates for election to council proudly boasts Italian grandparents and a Greek surname and there are not a few parishioners who are of mixed Italian and Greek ancestry, which amounts to the same thing, not solely because of “una razza, una faccia,” (which according to a friend is not so true, for there is a certain amount of darkness that attaches itself to the Balkan soul that is not present among our Italic cousins, even if we share the same DNA) but also because, well as everyone knows, we got there first.

The Italians who attend our parish smile graciously when I tell them that culinary mainstays that are associated with their culture such as pizza (from the ancient Greek πήτεα meaning bran bread), or macaroni (from the Greek μάκαρος, a dish originally made to commemorate the dead), or lasagne (from the ancient Greek λάζανον meaning a flat baking tray), are actually Greek in origin, adding that the Romans employed Greek bakers to produce breads and prized Greek cheeses from Sicily, but I can tell that they are not convinced. I concede that the Vlach language, historically spoken in many parts of Greece, including in those parts from which many of our parishioners derive their ancestry is a Latin tongue, which most likely evolved as a consequence of the long Roman sojourn in Greece, but they have never heard of it. Instead, they point to the Italian coffee machine that dispenses Italianate coffee after the Liturgy, far outperforming and overshadowing the humble electric briki that resides inconspicuously behind it.

Some of the older parishioners also remind me that going to get a pizza after Bible Study was a Rite of Passage for many of them, while others point out that my baptismal name, Constantine, is of Roman origin, and that of the patron saints of my children, two, Saint Helena and Saint Alexandra of Rome, were both Empresses of Rome while the last, Saint Alexios, Man of God, was according to the Greek tradition, also reputed to be a Roman.

The fusion not only of our cultures but also of our religious beliefs thus not only precedes our arrival in this land, but somehow, also predetermines its continuation. After its tremendous inauguration last year, the annual Moonee Valley “Una Razza Una Fazza” Greek Italian Festival is returning for an il grande spettacolo on 27 October. An initiative of the Greek Orthodox Parish of Saint Dimitrios, Moonee Ponds, the Festival aims to celebrate the unique contributions made to the city of Moonee Valley by two of its most venerable and vibrant migrant communities: the Greeks and the Italians.

The “Una Razza Una Fazza” Greek Italian Festival truly is a premier multicultural event for the city of Moonee Valley. Greek and Italian artists, musicians, actors will collaborate in order to showcase and share each other’s cultures, memories and experiences, celebrating diversity and focusing on what we all have in common, a love of tradition, community, and let’s face it, the majority of times, of ourselves.

Italian bands, dancers, musicians, magicians and entertainers will share the stage with Greek dancers, traditional instrument players and singers, facing off tsamiko with the  tarantella, (for as the immensely talented people from the Rustica Project able reminded enthralled crowds at the Festival last year, there IS such a thing as demotic Italian music beyond the Chicken Dance (which is actually Swiss), Dean Martin and Frank Sinatra) while in the children’s tent, younger members of the community can enjoy face painting, pairing VR Games with Italian Dancing and specialised early learning activities.

While Greek-Australian panigyri mainstays such as the souvlaki and loukoumades will make themselves manifest, this year, Italian cuisine will also be purveyed, with disputation as to its ultimate origin mandatory rather than discouraged.

Paying homage to the reverence both the Italian and Greek communities share for Saint Dimitrios, an exhibition of rare and old Orthodox icons will be held in the Church Hall. These icons are part of my own collection. Dating from the eighteenth and nineteenth centuries, come mainly from Asia Minor and the Greek-speaking regions of the former Russian Empire, especially from the Black Sea region now comprising parts of modern Russia and Ukraine. These too are contested regions where the confluence of linguistic, ethnic and religious conflicts in yet to be resolved.

These icons, of diverse styles and iconographic traditions, some of which were placed in iconostasis of holy churches, have their own harrowing stories to tell; they were hidden during the years of the Soviet rule so that they would not be destroyed or vandalised and were guarded with reverence and with many risks by the faithful. They serve to remind us that the multicultural harmony that we enjoy in this country should not be taken for granted, but rather, cherished, preserved, defended and celebrated, which is exactly what the parish festival seeks to accomplish.

While all of the above is well and good,  both the timing of the Festival and its hybrid nature, being held as it is, one day before the 28th of October, the anniversary of OXI Day, which commemorates the Greek nation’s courageous stance against the Invasion of Greece by Fascist Italy, have given rise to questions. Is it in poor taste to celebrate with one’s erstwhile enemies a day before the anniversary of their aggression? Absolutely not. Here the word “erstwhile” is the key. At a time when ethnic conflicts in the region fester and simmer, it is a testament both to the vitality and the humanity of the Greek and Italian peoples that they can put the past behind them and join together to venerate Saint Dimitrios. Forgiveness and reconciliation are not mere buzz words. They lie at the core of our system of beliefs. After all, what better opportunity to remind our forgiven and reconciled brethren who won the War than in public, again and again and again?  Saint Dimitrios has thought of everything.

The Moonee Valley “Una Razza Una Fazza” Festival will be held on Sunday 27 October 2024, between 11am-5pm on Gladstone Street, Moonee Ponds, outside Saint Dimitrios Greek Orthodox Church.

DEAN KALIMNIOU

kalymnios@hotmail.com

First published in NKEE on Saturday 26 October 2024

THE COMING OF THE DIGNITARIES

 

In those days dignitaries walked among us from over the sea, from the land we left behind, in order to confer legitimacy upon us all and to certify our ethnic credentials. We knew they were not from our climes, as they entered the building in procession, accompanied by local grandees, elected of course, for the adults around us treated them with a reverence and a respect we had never seen them afford to their peers. They bustled about them gently, touched their white linen suits adoringly, in the manner in which our grandmothers would reach out to touch the priest’s vestments on Sundays, during the Great Entrance, and would hasten to flank their paths as they walked, blocking access with their broad shoulders, to the fallen, the vanquished and the deposed, who in their desperation to be seen in the company of the dignitaries, to address their august personages and regain their erstwhile potency, would utter unintelligible cries akin to the exclamations of Cassandra in Aeschylus' Agamemnon: «ἰὼ! ἆ ἆ! ἒ ἔ, παπαῖ παπαῖ! ἰὼ πόποι! ὀτοτοτοῖ πόποι δᾶ!», not just untranslatable but inarticulate syllables representing yesterday’s men’s howl of despondency, drowned out partially, by the musicians who preceded the dignitaries, as if in a village bridal procession, where the dowry comprised of all of us.

A Byzantine satirical song about the widow of Nicephoros II Phocas, Theophano, describes a parade where she rides a mule, accompanied by “shrivelled horn-players with hand-sized anuses,” (κουκουροβουκινάτορες φουκτοκωλοτρυπᾶτοι). Our klarintzides were neither shrivelled, nor diminutive. Their hands were callused from years of work in the factories and they played not for the dignitaries, but for themselves.

As was the custom, we had been weighted with the task of learning vast chunks of appropriate verse off by heart, to be parroted for the benefit of the dignitaries upon cue. To this end, we had been subjected to vigorous training and rehearsal weeks in advance, and having mastered the verse, we were exhorted to deliver it with feeling, which according to the aesthetic directions of our instructors, basically meant to shout it at the top of our prepubescent voices. Try as we might, and regardless of the countless warnings that we were about to shame our families, our syllogo, our place of origin and our common ancestors down to Pericles and Kolokotronis,  we could not ever imbue the epic verse with the emotion it seemed to require. As the guilt trip continued, we considered Linos of Thrace, the brother of Orpheus, who taught music as well as the alphabet to the young Heracles. The demigod, learning to play the lyre, was unable to appreciate what which was taught to him “because of his sluggishness of soul.” When Heracles proceeded to murder the instrument, Linus reprimanded him for making errors by striking him with a cane. Sufficiently provoked, Heracles flew into a rage and bludgeoned his teacher to death with his own lyre.

Our performance was preceded always by the speech of welcome by our first among equals. On and on he would intone, valiantly retrieving every single cliché he had ever learned in the village primary school, as well as those acquired during intercommunal relations in the adopted country, striving to seek the dignitaries approval and a possible invitation to visit them in Greece by praising them in the most superlative way possible. Having been born in the mountain fastnesses, our first among equals would most likely not have been aware that in medieval Nubia, the nobility enjoyed Greek titles such as αρχιτρικλινάριος or indeed: αρχιμειζότερος (ie arch-greatest) which is a mercy, for in the time before internet and mobile phones, the younger generations found compound words commencing in αρχι- most absorbing.

Sadly, these particular dignitaries shared a political affiliation with a political party, which, most disturbingly, espoused a form of informality in public appearances and the traditional tropes fell rather flat. To everyone’s relief, they had brought with them their own laudatory code of prescribed forms of acclamation, which was delivered in the manner and style of Byzantine polymath Michael Psellos exhorting his rather serious Byzantine friends to lighten up:

“In order to appear solemn and pompous, you reject the charms of words, you reject the audacity that belongs to friendship, you detest jocular speech and you dispense with play, the only thing that can make our life more cheerful when we mix it into our lifestyle.”

Curiously, the injunction fell flat and our first of equals was so discomposed that he forgot to release us from the αποθήκη were we were secreted in order to conduct a last minute rehearsal. The dignitaries, relieved that the show was ostensibly over, walked past him, a signifying to all those cognoscenti that he had lost the Mandate of Heaven and would not survive the next Annual General Meeting, and somehow contrived to free us from our confinement. Observing us reciting the poem about the Death of Botsaris to the tune of AC DC’s Back in Black, one of the dignitaries exclaimed:

-Ρε, τι γίνεται εδώ πέρα;

-Συναυλία κλασίματος, I responded nonchalantly, as his face turned various shades of porphyry.

As I was hurriedly whisked away by our incensed second (and soon to be first) among equals to be delivered to the custody of my parents with a sore posterior and the observation: «Να χαίρεστε το γιο που κάνατε», I could have referred  in my defence, to the Byzantine Emperor Basil I who enjoyed poking fun of his mother, the saintly Theodora, restorer of icons’ exaggerated exhibitions of public piety. Accordingly, one day he decided to dress his court jester Groullos in patriarchal vestments and sat him on the throne in the Chrysotriklinos, the imperial throne room. Subsequently he summoned his mother, to receive a patriarchal blessing. When Theodora approached, Groullos turned around abruptly and exposed his posterior to her, all the while “emitting a donkey-like noise from his foul entrails.” After waiting for the odour to disperse, the Emperor then advised his mother that he wished from thereon in, to be known as the Bishop of Colonville.

I did not do so, for I was only six and had no idea who the Emperors were. It so happened that a few weeks before, my mother, who belonged to an esteemed body known as the γυναικείο τμήμα, or women’s auxiliary, of a regional community organisation, (for it was not meet for women in those days to collaborate as equals with the power-brokers of the patriarchy) was granted the rare privilege of being granted an audience with the Gerousia, specifically in order to receive orders as to the proper reception of the dignitaries. Returning home and having been asked by my father how the meeting went, I overheard her describing it as a «συναυλία κλασίματος», and assumed that this was the proper Greek phrase to employ, in order to denote any Greek community organisation’s deliberations.

The patronage, funding and continued communication promised to us by the visiting dignitaries turned out to be a load of hot air. It did not materialise, and this apparently was my fault, as I insulted them and not because they were, as the Byzantines put it, Πρεσβευτοκερδοσυγχυτοσπονδοφθόροι, that is, those who destroy (phthoros) treaties (spondai) and throw them into confusion (synkhyzo) by being an ambassador (presveutis) motivated by greed (kerdos). The Homo hellenicus paroiciaigeticoi of our organisation are long gone and the dignitaries of yore have forgotten of their existence. There no longer exists the existential need, nor the financial capacity to invite them to witness our diminution. Yet, on the odd occasion, when some of them remember that there exist brethren abroad among whom a cheap and enjoyable sojourn is considered possible, and the appropriate feelers are put out, I am reminded of the following joke from the ancient Greek joke book Philogelos;

“A man with bad breath meets a deaf person and greets him.

“Yuck!” the deaf person replies.

“What have I said?” asks the halitosian.

“You farted!” replies the deaf person.

There are certain things, you just can’t unsmell.

DEAN KALIMNIOU

First published in NKEE on Saturday 19 October 2024

GERSHOM AND THE COMPASSION OF THE PATRIARCH

 

When I was ushered into the room, I was transfixed by his gaze immediately. Two pairs of large, pitch black eyes, poring into the innermost recesses of my being. At least that is what I was told later. For, whenever faced with a situation that could prove daunting, I automatically resort to pilot mode, placing myself mentally at some distance from that particular circumstance, for preference, within the reign of Byzantine Emperor Nicephoros Phocas, recalling and listing the dates of his deeds. Yet this was no ordinary situation. No amount of Phocas could assist me in my own meeting of the Fokkers, for here I was about to meet my prospective father-in-law, for the first time. As he apprised me silently, I braced myself for the inevitable questions, formulating answers in anticipation: “What work do you do?” (Anything that redounds to the glory of the August Roman Emperor Nicephoros Phocas). “How would you support a wife?” (I suppose with a little pressure under the arm while crossing a busy street). The silence lay so thick and cloying upon the room that it could have been mistaken for baklava syrup. “Who invented baklava, the Greeks or the Assyrians?” (I refuse to answer on the grounds that I may incriminate myself).

When he did speak, the first words that came out of his mouth, delivered in precise, formal English, were these: “Did you know, I have actually met your Patriarch?” He signed, gestured for me to sit net to him and began to tell me the story of how he was forced to leave his homeland. Much of it I already knew from his daughter, but I discerned in his voice, the same timbre of pain that I had already to come to identify in the voices of my own people, who recalled their dislocation and final uprooting, their words perennially hovering above them unanchored, ceaselessly searching and finding no respite.

He recounted how he and his family abandoned their home “like thieves in the night,” leaving behind all their possessions and precious memories, lamenting especially the loss of photographic albums that serve as aides-mémoire. He kept me spellbound too as he regaled me with tales of hiding up in the barren Kurdish mountains, being led by Kurdish guides who would stop ever so often and threaten to abandon them there unless they handed over more of their money and it was only because of my father in law’s knowledge of the Kurdish language that he was able to shame them into upholding their end of the bargain. I was enthralled as described the desperate trek through wetlands covered in reeds, of endless walking in absolute silence, knowing that should they be apprehended, they would be shot on sight. On the crossing of the border into Turkey, of being provided with filthy blankets and foul and rancid food and water he did not dwell, but his voice quivered as it conveyed his fear and adject despondency, being completely unaware of the whereabouts of two of his sons who had made the escape prior to his own and his concerns about the future.

“You cannot imagine what it is to be an indigenous person, being treated as a second class citizen by the conquerors of your homeland,” my father in law grasped my arm. “The simmering resentment that you belong to your land and that it belongs to you but still you are considered illegitimate. That is how we Assyrians felt in Iraq. And when we got to Constantinople and saw everywhere the marks left on the city by your people, this feeling of resentment became worse even as we felt relief. Why relief, you ask? Simply because in the traces your people left behind, we realised that we are not alone, that others have suffered just as we have, that there is someone out there who understands us.”

My father in law’s family found lodgings in Therapeia, once an important centre of the Greek population of the City, now largely bereft of its Greek inhabitants. He described how they planned their movements carefully, rarely going out except to purchase necessities for if they were caught by the police they would be beaten, robbed, taken to the Iraqi border and sent over the other side where only death awaited those who left without permission during the time of Saddam. Once in a while, with whatever meagre savings were left to them, they would pay people-smugglers to attempt the crossing over into Greece and freedom. Each time, they would be apprehended and thrown back across the border.

Destitute and desperate, their only solace was attending a Greek church they managed to find after seeing the flames of some candles through a window in a room below street level in their neighbourhood. “This church was almost completely empty, except for two old ladies wearing black. I would go there, pray for my sons, pray for my family, pray that we would soon get out of that place.”

On one day, to his surprise, the normally empty church was filled with people. “I realised that they were local Greeks because they would speak Greek inside the church but as soon as they would emerge into the street, they would switch to Turkish. A bishop was conducting the service. Even though the church was full of people, I could see that he was looking at me and my family intently. When the service concluded and we lined up to obtain a blessing, he gestured towards us to come up to him. “Who are you?” I asked him in English and he answered, “I am the Patriarch.” He asked me where I was from and upon learning that I was an Assyrian refugee from Iraq, he asked me where I was living and if there was anything he could do for me. Most importantly (and here my father in law’s eyes began to grow glassy and he paused to wipe the tears from his eyes), he asked  me how I was feeling. I will never forget this moment. How I was feeling… What could I tell him? That I didn’t know where my boys were, that I had no idea what would happen to us, that our money had dwindled away to nothing and that I did not know how long we could afford to eat. I told him: “I feel like Gershom. I am a stranger in a strange land. I feel like a refugee who has lost everything,” and the Patriarch nodded in understanding and embraced me. He told me to continue to attend the church to come to him if I needed any help.” “I’ll be praying for you,” he told me, as we parted.”

My father in law looked into my eyes and grasped my hand. He wanted me to understand that the Ecumenical Patriarch’s words and the manner in which he showed he cared were like balsam to his soul, infusing him with the courage and confidence to hope and to fight, at a time when he was teetering on the brink of giving up. When I told him that I too had met the Patriarch and had been the recipient of his kindness, his face lit up and he embraced me excitedly. That was when I knew I was in.

 To his dying day, my father in law would speak of the Ecumenical Patriarch in loving terms, marvelling at his humility and his humanity and expressing his most ardent hope that he would play a decisive role in the reunification of all the churches.

The last conversation I had with my father in law took place in his bedroom as he was to sick to join us for lunch. “Do you speak to your Patriarch at all?” I informed him our communication was sporadic. “I doubt he will remember me,” he rasped. “But if you ever speak to him, tell him that an old stranger, in an even stranger land, across the other side of the world says thank you. Thank you, from the bottom of his heart.”

It was only a few days later that he left us and some time after that, that I discovered, among his personal effects, an old dried flower and net to it a small, pocket sized photograph of the Ecumenical Patriarch, inscribed with the date of their meeting. I have treasured it ever since.

DEAN KALIMNIOU

kalymnios@hotmail.com

First published in NKEE on Saturday 12 October 2024

ANZAC: THE GREEK CHAPTER

War documentaries often seek to propagate or reinforce a national myth. When this happens, it is difficult for historians and veterans alike not to act as performative agents, showcasing power or espousing a certain narrative in front of the camera to legitimize themselves.

War documentaries thus form part of a broader documentary conflict, where images, information, and emotional engagement can often be weaponized. This in turn may serve to construct a symbiotic relationship where both historians and veterans collaborate to cultivated a mediated portrayal of the conflict in question, addressing the historian’s quest for control over the narrative, as well as the veterans’  need for recognition. This dynamic reveals both the harsh realities of conflict and but also the overarching predominance of an overarching discourse, portraying veterans not just as soldiers but as architects, albeit forgotten, of a new order, complicating the perception of war and its practitioners as violent and destructive.

Peter Ewer and John Irwin’s fascinating recently released documentary:  Anzac: The Greek Chapter thoughtfully addresses the aforementioned conundrum by their nuanced treatment of their subject matter. Narrated by journalist Barry Cassidy, whose father took part in the campaigns mentioned in the documentary and supported by a number of Greek community organisations, it purports to tell the story of the ANZAC contribution to the defence of Greece during World War II.

This in itself, forms part of the foundational tradition of the post-war Greek community in Australia. While our presence here predates the formation of the Australian state, mediated and controlled as it was by a dominant class that usurped sovereignty from its native inhabitants, it is widely disseminated in our community that the bonds connecting Greece and Australia were forged in the conflagration of conflict and somehow, our esteem in the eyes of those who allowed us to come here, derives from our conduct towards them during the Second World War.

In the documentary, this tradition is analysed via extensive interviews conducted of veterans. Indeed, these interviews comprise most of the documentary, ostensibly permitting the veterans to tell their own story, while also facilitating the viewer to establish an emotional connection with them. All of them describe the Greeks in glowing terms. They are “noble,” they “share food,” old ladies give them “pieces of chicken,” they provide ANZAC troops with a “royal welcome,” they display “typical Greek bravery.” Their generosity is so great that often the veterans narrating their experiences break into tears and cannot continue their narrative. One Greek lady featured in the documentary describes how her mother, risking the execution of her entire family, fed, clothed and bathed a paraplegic ANZAC soldier in a Cretan cave for over two years. She, like the veterans, portrays her mother as a selfless hero.

Both veterans and Greeks therefore seem to collaborate to adhere to a narrative that serves the ideological needs of both parties. While no archival footage or interview attests to the fear of the Greeks, the burden on their families or any resentment felt at having to hide or feed the ANZACS, the directors of the documentary subtly allow the interviewees to interrogate, analyse and ultimately question their own prevailing discourses. Some of the veterans for example, cast their relationship in terms of reciprocity. Greek hospitality was offered because the Greeks were “grateful the [ANZACS] were defending their country.” In this light, the Greek’s brave and selfless care of the ANZACS, while no doubt appreciated greatly, was considered recompense for the bravery and selflessness of the ANZACS themselves. Another veteran couches the relationship within the context of necessity: “They trusted us. They had to trust us.” Is this then a relationship and a subsequent admiration that developed out of a lack of choice? Possibly but this is not at all certain and is refuted by the veterans’ recounting of so many acts of sacrifice by the Greek populace. All of the veterans interviewed express surprise not at the fact that the Greeks cared for them, but at the magnitude of that hospitality and the intensity of the emotional connection they displayed towards them. On the other hand, the veteran who recounts how he witnessed from his hiding place, the execution of over twenty Cretan villages, subverts the narrative of reciprocity. This is after all, the raw reality of war.

Similarly, the country of Greece is described or rather idealised by the veterans, especially after their harrowing service in the deserts of North Africa, as a “paradise,” a “utopia,” or a “heaven.” Words such as “primitive” and “crude” appear to portray a Greece as a colonial backdrop to an imperialist endeavour. This is another area where a discourse forming narrative takes place. The documentary through extensive archival footage, provides valuable broader context as to the Greek campaign: how it came about, why it was necessitated and for what reason ANZAC troops participated. In the considered view of the directors, the ANZAC presence is a type of re-run of Gallipoli: British Prime Minister Winston Churchill did not tell the Australian and New Zealand Prime Ministers that Greece was indefensible and thus the ANZACS were dispensable, sacrificial lambs to his wider strategic concerns.

The directors of the documentary could have weaponised it so as to portray Australian soldiers as virtuous heroes, fighting and giving up their lives so that the preferred order, that of democracy and the rule of law would prevail. They chose not to do so. After all, such an ideological slant is not supported by the testimony of the veterans themselves, who present themselves not as lofty idealists but rather as reluctant heroes, or carefree larrikins, going off to war, for a sense of adventure, to see the world or because it is preferrable to fruit picking. Even here however, the documentary allows for alternative perspectives to emerge, with Aboriginal veteran, the late Reg Saunders poignantly stating: “We have been fighting wars ever since the Whites came.”

Allowing the veterans to narrate the campaigns provides immediacy as well as emotional intensity. From Vevi in the north we follow the ANZAC troops with bated breath south as they valiantly but futilely attempt to arrest and ultimately flee from the Nazi onslaught, our hearts leaping both at their successes and almost predetermined reverses. In Gallipoli, ANZAC troops were placed in a position where they were mere cannon fodder. In Greece, we learn, not only were ANZAC troops not told that their commanders believed that there the prospect of success was non-existent, they were also underequipped and not supplied with the necessary kit to make it through, among other challenges, the harsh Macedonian climate. Learning from veterans that they were forced to did trenches with their tin hats because they were not issued with shovels causes us to feel even more admiration for their steadfastness and their indomitability of spirit. Having already accepted that the overwhelming superiority of Nazi soldiers and materiel doomed the Anzac campaign from the outset, and learning as we do, that the Nazi parachute landing on Crete was completely unexpected, the implication however, is that on an equal playing field, “our” boys would have prevailed and that by enduring privation, displaying the courage that they did under fire, the ANZACS of the Greek Campaign have earned their place in the national myth as equal to the ANZACS of Gallipoli. The veterans’ narrations make it exceedingly hard to argue otherwise.

The documentary’s conclusion is inspired: There is moving footage of the descendants of veterans make pilgrimages to Greece in order to honour their ancestors’ sacrifice, and impliedly, co-opting the Greeks of Greece to do the same. The wreath laying and erection of plaques and monuments has become a common vocabulary between Greeks, Australians and Greek-Australians for the enshrinement of memory and the formation of mutually acceptable rites in which to celebrate and commemorate a particular form of martial valour and inter-ethnic solidarity. Thus two significant purposes are served: Recognition is afforded to soldiers whose particular contribution is no longer fashionable or highlighted adequately in their national narrative while contemporaneously, Greek-Australians who have largely been left out of that prevailing national narrative, gain enough purchase to attempt to entrench themselves within it, legitimising their presence and making claims of validation upon the dominant class.

 “Anzac: The Greek Chapter,” is a thoughtful, sensitive, multi-faceted, well-paced and exciting documentary that provides valuable insights both into our common history but also the formation of our modern identities. A feature of the 2024 Melbourne Greek Film Festival, it should not be missed.

DEAN KALIMNIOU

kalymnios@hotmail.com

First published in NKEE on Saturday 5 October 2024