APPROACHING USE BY DATE
The protagonist is a senior marketing manager for clothing for a large commercial entity and this, apparently, for Woolworths makes her an expert on Greek Orthodox culture. The occasion is the company’s Easter promotional catalogue, a seasonal lift-out in which recipes and imagery are assembled to evoke a version of cultural celebration. The lift out checks all the required boxes of diversity, yet the culture it purports to honour is treated as vestige rather than presence, something relegated to the yiayia, who appears to be the only figure capable of plausibly observing the Lenten fast.
The rest of us hover somewhere
between costume and consumption. We are wheeled out in calibrated doses, our
icons flattened into patterns, our rituals translated into textures that can be
folded, discounted, and cleared from racks by season’s end. Greek Orthodoxy is
rendered as aesthetic rather than ontology, a palette of Pascal reds and golds
suggestive of incense yet never permitting a discussion of its deeper meaning.
Here, the fasting body is replaced by the curated body, sustained by visibility
rather than abstinence.
Within this frame, Lent is
reduced to a narrative device, a gesture towards gravity in a spread otherwise
indistinguishable from any other. The yiayia is invoked as a guarantor of
authenticity, her hands dusted with flour, her faith rendered immutable precisely
because it is never taken seriously enough to threaten the dominant narrative.
She is safely contained, her world bounded by the kitchen and her beliefs
preserved through distance and exhibition rather than via engagement.
It is no incidental detail that
the entire tableau in the promotional material is inhabited exclusively by
women. Yiayia presides with serene, unselfconscious authority, a younger woman
remains close at hand in practised assistance, while a child is ushered into
the small disciplines of repetition. No male presence disturbs this
pre-arrangement. Their absence of course, is not in any way neutral. Evidently,
the ethnic Greek-Australian household of 2026 is imagined as a feminised space,
sustained by women and confined to them, while men, (and with them long
established stereotypes about the positioning and function of authority,
intellect, and public agency), are displaced beyond the frame. The scene
resolves into a decontextualised household, set apart from the social world in
which it actually exists, and made to stand as representative of the culture as
a whole. In that isolation, no structures of thought, leadership, or
participation in the public sphere are permitted to appear, not because they
are absent, but because they fall outside the terms of representation.
Accordingly, the ethnic woman,
even as her ‘professional’ credentials are noted, is situated within a frame
that permits no development. The domestic sphere is not simply her setting. It
becomes her horizon. Authority remains bounded by the kitchen and its
matriarchs, while identity is aligned with continuity, care, and inherited
custom that is never subjected to change. The ethnic woman, of all generations
is held at a single point in time, required to stand in for a past that must be
preserved rather than reworked. Culture, in turn, is rendered static, its
capacity for evolution set aside in favour of recognisable repetition.
Feminist and postcolonial
scholarship has long observed this manoeuvre. As Chandra Talpade
Mohanty has shown, the non-Western woman is repeatedly produced as a
stable figure, bound to tradition and stripped of internal differentiation,
while Gayatri Chakravorty Spivak identifies the manner in which such figures
are spoken for within dominant discourses, appearing only in forms that confirm
their subordination. The tableau in the promotional material conforms to this
logic, with representation not merely depicting but actively constructing a
narrative in which certain features are selected as legible, others excluded as
irrelevant, producing a version of culture that can be recognised only in its
most domesticated form.
Significantly, the effect is not
produced by marketers alone. It is sustained by the participation of those
being represented. Ethnic subjects often step into these roles
willingly, often with a sense of pride, because the invitation is received as
recognition rather than as framing. There is no need to question the good faith
of the participants or the genuineness of their intentions. The form it takes,
however, is decidedly not neutral, aligning instead with
expectations of the dominant class already in place, in which ethnic
culture appears in domesticated, familiar, and non-disruptive terms. The
alignment of these participants is rarely conscious, reflecting
instead something more deeply absorbed. Having been born and raised within
an Anglophone order, ethnic communities internalise what will be accepted and
what will not, and adjust accordingly. Expression is moderated, elements that
might appear excessive or unintelligible are set aside, and culture is
presented in a form that will be received the most palatably, without
friction. Rather than presenting itself as constraint, it passes as
appropriateness, as the natural way in which such a culture should comport
itself in public.
In the process, the authority to
interpret culture is displaced, so that meaning, rather than
being generated within practice, becomes performance, assigned according
to what can be recognised from outside it. Consequently, internal variation is
flattened, with differences of region, class, theology, and practice collapsing
into a single intelligible form. Crucially however, what is being
reproduced are limits that have not been set by those who inhabit the culture
itself. As George Vassilacopoulos and Toula Nicolacopoulou has
argued, the migrant remains positioned as an eternal stranger and a
subversive. Mainstream acceptance is extended within bounds and
conditions, and it is often through these acts of accommodation that those
bounds are preserved.
The promotional insert makes
much of the yiayia’s cookbook, lovingly annotated and translated into English,
as though the very act of translation were one of cultural rescue. To those of
us inhabiting the culture, her barely literate scrawl and misspelled words are
highly emotive and relatable, causing us to identify with her immediately. In
the process, we run the risk of forgetting that Greek in this curated sphere,
is permitted its afterlife only in glossaries and explanatory brackets,
tolerated as opacity that must be clarified rather than inhabited. It is
assumed to belong to those who arrived bearing it, carried across borders and
relinquished upon settlement. The possibility that it persists, that it remains
a living medium of thought among those born here, or indeed that it has a
future is dismissed, or in the best case, left unconsidered.
There is a reason for this.
Greek must remain confined to the first generation because its continuation
unsettles the terms on which multiculturalism is extended. The presence of a
living, transmitted language introduces into an Anglophone order a parallel
system of meaning that does not require translation and a mode of thought that
exceeds the linguistic monopoly through which that order understands itself. In
this sense, Greek is not merely different. It is subversive, with evidence of
its persistence suggesting that assimilation is neither complete nor
inevitable, that another linguistic and cultural continuity can endure without
yielding to the dominant one. Such continuity cannot be openly rejected, yet
neither can it be encouraged. It is instead contained. Languages that do not
circulate within the dominant economy are recoded as sentimental rather than
functional, their value located in nostalgia. Within this framework,
multiculturalism operates as toleration with an endpoint. Expression is permitted
so long as it signals transition. Continuity beyond the migrant generation
disrupts that expectation and is therefore recast as excess, as a failure to
integrate. The language is accepted only on condition that it is in the process
of disappearing.
Thus the Lenten fast, with all
its discipline and defiance, becomes unintelligible within the frame that seeks
to display it. It lingers on the margins of glossy pages, untranslated and
therefore unthreatening, waiting patiently for a world that no longer expects
to be changed by it. But by all means believe them when they tell you that the
twists of the koulourakia, described helpfully as braided shapes, signify
eternity. Of such explanations are myths sustained, and of such myths, cultures
elegantly concluded.
DEAN KALIMNIOU
kalymnios@hotmail.com
First published in NKEE on Saturday 11 April 2026
