Mother’s Reflection on St George Icon

January 17, 2024

The door creaked open a bit, letting in the scent of incense down the hallway. Shadows danced on the bedroom walls, leaving the corners in darkness. The flickers came from the kandili beside the family’s icons in the corner of my mother’s room. I made sure not to think that my mother worshiped those images. She once said, “These holy pictures are like windows for us, a peek into the eternal worlds while we’re stuck in this one.” It was tough for a kid like me to wrap my head around that. But every time I kissed an icon, I reminded myself I wasn’t worshiping it.

I nudged the door open a bit more, trying to slip into the room without being noticed. Stepping onto the woolen rug, I tiptoed to the edge of the bed. There, I saw my mother on her knees, arms outstretched toward the iconastasi. Her back faced me. Slowly, she stood up, crossing herself. In the reflection off the icon of St. George and the Dragon, I saw my mother’s face. Her image overlapped with the saint’s, dividing her nose in half with the saint’s spear. One eye covered the saint’s chest, while the other floated above the horse’s bridle. The tip of her eyebrow touched the captured princess’s crown, her mouth a cushion for the Dragon’s back.

Mother’s greying hair framed a perfect silhouette within the silver frame.


Words of Wisdom from Kurt Vonnegut about Creative Expression.

March 18, 2023


“Creativity: The Soul’s Footprint”

January 30, 2023

Creativity, like an ethereal dance upon shifting sands, leaves behind the footprints of the soul. Without the presence of a soul, those footprints fade, dissolving into glitter and fleeting flashes of light. It is within the realm of art that these footprints find their true expression, manifesting as a testament to the depths of human existence.

True art emerges when the drive to create is fueled by an inner necessity—a relentless longing to give form to the intangible, to weave meaning from the threads of emotion and experience. It is this inherent compulsion that sets art apart, for it transcends mere aesthetics and becomes a profound reflection of the artist’s innermost being.

Poetics, the study of soul graphics, unravels the intricacies of this creative journey. It delves beyond the surface, exploring the vast depths of meaning that lie beneath the scribbles and strokes. The significance of art does not end with its immediate interpretation; instead, it invites us to embark on a poetic voyage, where each line and curve unravels a story yet to be fully grasped.

In a world obsessed with quantifiable measures, why should a reality defined by liters and meters be deemed more real than one measured in sighs and tears? The richness of human experience defies numerical constraints, extending far beyond the boundaries of empirical observation. Art, in all its forms, offers a sanctuary where the immeasurable finds a voice, and emotions are given shape and color.

Just as a bouncer at a nightclub selects who enters, words possess a similar power. They can choose their own context, finding resonance in specific realms of expression. Yet, it is not the grandiosity of vocabulary that defines true creativity. Rather, it is the sincere interplay of thoughts, emotions, and words that grants depth and meaning to artistic endeavors.

Creativity, at its core, is a testament to the intricate workings of the human spirit. It defies conventions and boundaries, unveiling new perspectives and possibilities. In the realm of art, the footprints of the soul take shape, leaving an indelible mark upon the tapestry of existence.

So let us celebrate creativity in all its forms, for it breathes life into our world, sparking inspiration and igniting the flames of imagination. May we embrace the study of soul graphics, venturing beyond the confines of the mundane. And in doing so, may we recognize the profound truth that lies within each stroke, each word, and each creation—an eternal testament to the beauty and depth of the human experience.


Home Grown Songs from a 1980’s Lounge Room

September 12, 2022

In the 1980’s, as a hobby, I’d write poems & then transform them into lyrics with music making songs. Most of the music was written by a friend, Henry, and there are some I wrote the music. I wasn’t a great guitarist, just knew a few chords & made do with them for my music to the lyrics. Apart from Henry there was also Dennis who played lead guitar and Willie, my brother, who also played guitar.

I scored a cheap Casio player and there are some jams we recorded with me playing the Casio. It was one of the first players that had programmed polyphonic auto accompaniment. “Playing” implies I knew what I was doing. I didn’t. I just pressed some keys in rhythm hoping it’d make some semblance of a tune. It provided the “metronome” drum beat & the programmed beats/notes. These acted as “guard rails” to the jam.

The Casiotone we used was like this. It was the first to have programmed polyphonic auto accompaniment

It was a great way to spend a Friday or Saturday night. We didn’t have any plans to perform, we just liked hanging together making music for ourselves. I’m so glad we took out the microphones to record them on cassette.

It all is SO long ago.

I’m uploading these recordings for posterity sake. No, I’m not putting them up on YouTube or SoundCloud because this blog is good enough for my purpose. My purpose? Why do I bother? Simple – for my kids & grand kids to have easy access to what I was up to, musically. It’s also a part of my Journey in this World Within Worlds.

I have already posted some of the songs’ lyrics so I thought, once I overcame my cringe factor, to complete the outing by posting some of the songs – complete with my singing & mates’ music. Writing a poem is very different to writing a song lyric. Transforming a poem into a song lyric is an interesting exercise, especially if someone else writes the music.

So, step back in time – come into my lounge room & get a taste of some home grown songs from Sydney in 1980’s.

By the way – if there’s anybody interested in updating these songs let me know by messaging me at dodona777@yahoo.com.au

I think some of these may work with right mixing even 40 years later. Some have links to the lyrics on this blog.

This is the simple & cheap transformer from cassette tape to mp3 I used to digitise tapes about 40 years old!

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“Julia” Lyrics by Stavros, Music by Henry. Recorded on cassette in lounge room.
Stavros – singing, Dennis – Lead Guitar , Henry – Rhythm Guitar

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“Prison of Time” Lyrics by Stavros, Music by Henry. Recorded on cassette in lounge room.
Stavros – singing, Dennis – Lead Guitar, Henry – Rhythm Guitar

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“Games of Solitaire” Instrumental jam Stavros – Casiotone, Dennis – Lead Guitar, Willie – Rhythm Guitar

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“One Son of a Gun” Lyrics & Music by Stavros,
Dennis – Lead Guitar, Stavros – Singing & Rhythm Guitar

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“Pilgrimage of Minutes” Lyrics & Music by Stavros,
Dennis – Lead Guitar, Stavros – Singing & Rhythm Guitar

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“Lines of Crazy Fortune” Lyrics by Stavros, Music by Henry,
Stavros – singing, Henry – Guitar

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“Once” Lyrics & Music by Stavros
Dennis – Lead Guitar, Stavros – Singing & Rhythm Guitar

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“Magdalene” Lyrics by Stavros, Music by Henry,
Stavros – singing, Dennis – Lead Guitar, Henry – Rhythm Guitar

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“Forgotten Madonna On the Run” Lyrics & Music by Stavros
Dennis – Lead Guitar, Stavros – Singing & Rhythm Guitar

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“Do You Remember” Lyrics & Music by Stavros
Dennis – Lead Guitar, Stavros – Singing & Rhythm Guitar

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“Fortune of Unloaded Hips” Lyrics by Stavros, Music by Henry,
Henry Singing & Guitar

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My Table of Memories

September 17, 2019
 
Let me tell you a story about the table I cobbled together back in the day. It ain’t no fancy affair, just a slab of wood perched on some logs, a DIY masterpiece. This table, my friends, is where the cosmic dance of star matter goes down—or so I hope. Memories cling to it like a vibrant aura, living entities harmonizing in a psychedelic symphony. It feels like I have some unfinished business with these memories, like a cosmic debt hanging over my head.
 
 
 
What I love about this table is that it’s a mishmash of recycled goods, a Frankenstein creation of sorts. The top, a gift; the legs, scavenged from a demolition yard; and the dowling, an old broom handle. Nothing’s square, and if those logs weren’t giants, the whole table would probably collapse. It’s structurally unsound but remains steady ’cause of what it’s made of—kinda like yours truly, I reckon. There’s a certain charm in being recycled, you know?
 
 
 
The hands that carried this table top to my home left more than just fingerprints—they left a piece of themselves. Tin Sheds, Sydney Uni, where I taught the Earthworks Poster Collective & Architecture Students who built and designed the Alternative House in the fine art of Tai Chi—it’s all etched in my soul. Back in the 1970s, the Tin Sheds were real tin sheds, none of that fancy gallery facade it’s become. Take a peek for yourself, it’s in the link.

That’s me up front on the grounds of The Tin Sheds Gallery, Sydney University

 
Now, picture this: the 1970s, Architecture Faculty cleaning house, tossing out tables. My students, clued in to my desperate need for a desk, volunteered to haul a reject tabletop to my place. We didn’t own a car, and my home was a stone’s throw away. Can you believe that our past exploits are just wisps of smoke, fading memories rising from chimney tops of NOW? Those friends and their hands, like the bones of my body—here now, that will be buried in the future. Life’s an Ourobouros, where the first kick in the womb and the final exhale at death share the same moment. P D Ouspensky’s idea of Eternal Recurrence , now that’s an idea I find strangely comforting.
 
The legs for this table were born soon after the tabletop landed in my possession, back when I was diving into literature and psychology doing an Arts degree. The legs were my ticket to this recycled universe I was creating. But that’s not the end of the saga, my friends. After completing the table, I unearthed a forgotten set of icons from my Greek Orthodox Sunday School days. Football-card-sized prints, survivors of the ages, depicting the life, death, and resurrection of Jesus Christ.
 
In the throes of my Dharma Bum thing, hitchhiking across Australia, these icons were my talismans, nestled amidst the pages of the I Ching — the Book of Changes—in my backpack.
Paired with my filakto – my cross talisman, pinned inside my shirt, they shielded me during my hitchhiking journey across Australia. It seems fitting they tagged along on my intellectual odyssey and trek through a Humanities degree.
 
 
 
Glued to the table in a cross-like constellation, Resurrection at the center, Crucifixion to the South, Transfiguration to the North, Birth to the East, and Last Supper to the West. It was my compass, my North Star. I varnished the whole thing, making the icons one with the wood. The Cross of Events amidst the chaos of my table—a border beyond death etched into the very grain.
 
Academic textbooks rested and unfurled on these icon-clad surfaces. When uncertain about life’s crazy directions, I’d throw a hexagram, letting the Book of Changes whisper its cosmic wisdom. This time when uncertain about intellectual directions the coins danced on these icons instead of road dust.
Resurrection

I Ching Hexagrams

I Ching Hexagrams

 
Now, let me tell you about a friend named Colin Little, a memory that winks at me from the ghost of my table. Check out this article in Eye Magazine > Political clout: Australian posters  http://www.eyemagazine.com/feature/article/political-clout-australian-posters.
 
The table’s long gone, but the memory lingers. Colin, asked me to teach him and his crew the ways of Tai Chi. Colin knew I was no grandmaster but when you’re friends and when you’re all beginners with minds wide open, who needs to be a master? We were Tai Chi novices, finding Zen in the chaos. Colin left the planet in 1982, but his spirit still kicks it in the tales of the Tin Sheds and the Earthworks Poster Collective.
 
So here’s to the table that birthed cosmic symphonies, housed cosmic deities, and echoed the cosmic journey of a ragtag gang of seekers. It’s gone now, a mere whisper in the winds of time, but the stories, wow, the stories live on.
 
Here’s some work he did at the Tin Sheds as part of the Earthworks Poster Collective:

Earthworks Poster Collective by Colin Little, “Bo Diddley SRCEarthworks Poster Collective by Colin Little “Lenin Conference on Radical Economics

Here’s a classic Earthworks Collective Poster by Chips Mackinolty – Land Rights Dance

Earthworks Collective Poster by Chips Mackinolty – Land Rights Dance


The Devil’s Secret

October 16, 2009

 

The following quote comes from ” The Conference of the Birds”   a beautiful Sufi Persian Book of Poems written in 1177 by  Farid ud – Din Attar.

During the 1970’s it was adapted into a play by Peter Brook and  Jean-Claude Carriere which Brook took on a tour through parts of wild Africa and performed in the streets and later to Western audiences in New York, Paris and in Sydney. I was lucky at the time because I was living in Sydney and saw it. The play communicated at a very subliminal level in that it didn’t really matter if you understood rationally what the actors were saying because the “meaning” was transmitted almost viscerally through the movements and the sounds that emanated from the stage.

The devil’s secret:

       God said to Moses once:  “Go out and find                        

       The secret truth that haunts the devil’s mind,”

       When Moses met the devil that same day

       He asked for his advice and heard him say:

       “Remember this, repeat it constantly,

       Don’t speak of ‘me’, or you will be like me.”

       If life still holds you by a single hair,

       The end of  all your toil will be despair;

       No matter how you prosper, there will rise

       Before your face a hundred smirking “I”s.

                              The Conference of the Birds 

Conference_of_the_birds

“Manteq at-Ṭayr” (“Conference of the Birds”)


History is an Angel

April 21, 2009

 

History is an angel
Being blown backwards
Into the future
History is a pile of debris
And the angel wants to go back
And fix things
To repair things that have been broken
But there’s a storm blowing from paradise
And the storm keeps blowing the angel backwards
Into the future
And this storm
This storm is called Progress

Laurie Anderson, ‘The Dream Before’

http://en.wikipedia.org/wiki/Laurie_Anderson


A Palestinian Belt with Badges

March 29, 2009

 

Below is a photo of a hand woven belt given to me as a gift when I was in Palestine in 2000. I have attached a number of badges to it. The Hope for Refugees badges were made from images downloaded from my first website for Woomera. The others came from all sorts of experiences.

palestinian-belt-badges


Cultural Stomp 1997 – 2007

February 21, 2009

Below are a series of articles, photos and graphics of the Cultural Stomp. Rather than me writing about it here, just read the articles – one from the NSW Government Hansard, one I wrote for “Education Australia” and there is the editorial I wrote for the 2007 Tenth Anniversary of the Cultural Stomp. I was one of the original founders of this amazing Festival, being part of the organising group we called Cultures in Action ( CIA ).

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Cultural Stomp, 1998

 

Newcastle Celebrates it’s Cultural Diversity

 

Around Easter, 1997, there was a feeling in the City of Newcastle’s air that was brittle, if not fragile. BHP had just announced the closure of its steelworks and 2500 workers were to be on the scrap heap by 2000. Many of these workers had literacy and numeracy learning needs. The “downsizing” of BHP also would have a painful effect on ethnic communities of the Hunter, with about 600 non English speaking background workers needing extra English language skills.

 

The Hunter region was in a state of shock, because those 2500 workers retrenched would by the multiplier effect mean another 12 to 20,000 jobs would also disappear in the region. Newcastle was hurting, and hurting bad. So when, only a couple of weeks later, the announcement that the One Nation Party was to be launched for the first time in NSW on 30 May, 1997 at the Civic Theatre in Newcastle it was important that an alternate forum for people with opposing views should be organised.

 

Drawn by a common need and a common objective, a diverse group of citizens met at Wollatuka, Newcastle University to see what would be done. A young Aboriginal student stood up and said to the circle of people who had gathered, “Hi, my name is Belinda and I’m glad that so many people have shown up today. I want to do something about Pauline coming to visit us, but I don’t want to yell at her… I want to do something positive… I want to celebrate what we already have in our city. Who also wants to?” Instantly people called out “Yes” in their diverse ways. We divided up into work groups and we all knew that whatever we come up with we only had three weeks to organise it. We decided that on the same night that Pauline Hanson was speaking we would hold a celebration of our cultural diversity in Civic Park which is only about 200 metres from Civic Theatre. Some us met later at the Pod, and we called the event, The Cultural Stomp and our group, Cultures In Action (CIA).

 

On the night, over five thousand people turned up at Civic Park to let One Nation know that we have something to celebrate in our local community ; we were celebrating our diversity and the unity of that diversity as Australians. With dancing, singing, music, poetry, fire twirling and a Ceremony scheduled at the same time Pauline Hanson was due to speak, The Cultural Stomp made its debut. Outside the Theatre, where 1000 people paid $10 to listen to Hanson, there was a large crowd of people letting her know that her views weren’t necessarily felt by a large percentage of people living in Newcastle. In many ways, the Cultural Stomp was a reconciling force to the active and the resistant forces of One Nation and confronting each other outside the theatre. The Lord Mayor was quoted in the Newcastle Herald as saying, “If it wasn’t for The Cultural Stomp last night, there may well have been violence.”

 

This year, Cultures in Action (CIA) met once again to see if we would organise another Cultural Stomp. In a fundamental way the purpose was the same as last year; to hold a peaceful celebration of Newcastle’s cultural diversity and unity in Civic Park. The only difference this year was that we didn’t have the visual presence of the One Nation Party to contend with, which meant that we probably wouldn’t get the media exposure and build up of hype. The process of organising the event, the networking and the seeking of support and sponsorship revealed that Newcastle loved the concept of The Cultural Stomp. Its sponsors and supporters included Newcastle City Council; The Pod; Newcastle City Centre; Newcastle Trades Hall Council; Ethnic Affairs Commission; Awabakal Co-Op; New South Wales Ministry of the Arts; Hunter Area Health; Newcastle University Student Association; Purrimaibahn Unit; Migrant Resource Centre; Multicultural Neighbourhood Centre; Ethnic Communities Council; Hunter Institute of Technology Association; Newcastle University Union; Newcastle Workers Club;Wollatuka; Fast Events; Ron Hartree Art School; Alan Morris M.P; Bryce Gaudry M.P., Brian Birkefeld and many more.

 

Three nights before the event, at the end of the Sorry Service for the Stolen Generation at the Anglican Cathedral, the bishop said, “Don’t forget to come to The Cultural Stomp at Civic Park on Saturday.” The night before the event I had returned home late after working with fellow CIA members making lanterns and the bamboo and paper Globe of Reconciliation for the Cultural Stomp Ceremony. As I walked through the door my kids called out, “Dad, come quickly, The Cultural Stomp is on TV!” I rushed over and saw our logo of the nine petalled flower and heard our event announced in the middle of a football game between the Newcastle Knights and Western Suburbs Roosters. From an utterance in the Cathedral to the middle of a televised footy game, The Cultural Stomp was announced.

 

On the day we had crowds coming and going in the thousands. This year’s Stomp included Hunter Institute of Technology’s Purrimaibahn Unit displaying art and writings from TAFE students and kids at infant, primary and high schools of our region. It was a wonderful gesture of reconciliation where Aboriginal people shared their work, their hopes and dreams of living in harmony with other members of our culturally diverse community. Throughout the day, performances and speeches from the local multicultural community kept people entertained and informed. We had started the day at 2 o’clock in the afternoon with an Aboriginal Smoking Ceremony; at dusk we were united in the Globe of Reconciliation Fire Ceremony; and the night ‘finished’ at 10 o’clock with dancing irt the park.

 

Two weeks later, after the news of the One Nation win in Queensland, I was talking to a few students and teachers in the sun outside the classrooms. Someone raised the spectre of Hansonism and an Aboriginal student said, “Newcastle is OK, we had the Stomp and people here are OK.” Someone else said, “You know, I walked through Civic Park the other day, and it was different. I could still remember all the people and the kids painting the didgeridoos, the South Pacific Islanders dancing and just the whole thing. The Cultural Stomp has changed the way I see Civic Park.”

Cultures in Action is planning another Cultural Stomp for next year and it promises to be bigger and better; regardless of the political landscape.

 

Stavros

Education Australia, 1998

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Legislative Assembly Hansard (Extract)

Hansard extract, NSW Legislative Assembly, 7 June 2000 (article 36).

Speakers: Gaudry Mr Bryce; Markham Mr Colin  |   Speech Type: PRIV; Private Members Statements

CULTURAL STOMP

Page: 6794

 

 

Mr GAUDRY (Newcastle—Parliamentary Secretary) [5.52 p.m.]: Last Saturday, together with several thousands of Newcastle and Hunter people, I participated in the fourth Cultural Stomp in Newcastle, an event the aim of which is to bring people together. The Cultures In Action Committee organised the event to nurture the spirit of the culturally diverse Australian society, to give people the opportunity to work together and celebrate reconciliation while simultaneously respecting differences and commonality in our cultures. That cultural event occurred approximately a week after one of the greatest, if not the greatest, demonstrations of solidarity that one could ever wish to see, when hundreds of thousands of people came together in Sydney to celebrate Corroboree 2000 and reconciliation with Australia’s indigenous people.

The Cultural Stomp was first staged in Newcastle in May 1997 as a strong but peaceful statement opposing the strong and divisive politics that were being espoused at that time by One Nation. The whole approach was to bring people together into social action and in peace to demonstrate all the values that can be combined in a community rather than focusing on the divisiveness that was occurring at that time. Since that time, the Cultures in Action Committee in Newcastle has built a really successful cultural event which takes place in Civic Park, opposite Newcastle City Hall. The events bring together a whole range of young people and community groups such as the ethnic communities in Newcastle, the arts communities and visitors from areas outside Newcastle.

 

The Cultural Stomp day of celebration includes demonstrations of a whole range of dancing and singing. Very importantly, this year’s celebration involved people who have disabilities. The Life Without Barriers group. Life Without Barriers, a special group in Newcastle that works towards providing access and opportunities to people who have disabilities, participated in performances in Civic Park. One of the really significant events was the participation of Mrs Benita Mabo. Tuesday 6 June was the anniversary of the handing down of the Mabo decision, a decision that has brought about tremendous change. It ended the theory of terra nullius and began the continuing struggle by many indigenous people for reconciliation and recognition of their rights as the original occupants of this land. Mrs Mabo spoke of the personal struggle of Eddie Mabo and the struggles of her own people, the South Pacific Islanders, who came to Australia during the labour trade, which featured blackbirding. She referred to the struggle that continues for her people to obtain recognition in this country.
One of the outstanding features of the day was a performance by the Mulloobinba Newcastle high school dance group, which previewed the dances that they will be performing at the opening ceremony of the Sydney Olympic Games. I congratulate Mrs Barbara Greentree and the dance group on the selection they will perform at the opening Olympic ceremony and also on the performance that was given on the Cultural Stomp day. One of the organisers of the Cultural Stomp, Mrs Lorraine Norton, has adopted a comment from David Suzuki’s book The Sacred Balance, which states that local communities are actually the mainstay during change. It states further: 

 

“The social unit that will have the greatest stability and resilience into the future is the local community which provides individuals and families with a sense of place and belonging, fellowship and support, purpose and meaning.”

That is the whole idea underlying the celebration that takes place annually in Newcastle. Its aim is to bring people together, to celebrate their diversity and the linking of all cultures in Australian society.

Mr MARKHAM (Wollongong—Parliamentary Secretary) [5.57 p.m.]: The honourable member for Newcastle is to be congratulated for bringing to the attention of this House the Cultural Stomp, which takes place annually in Newcastle. The event is a real demonstration of reconciliation in action—and as I have often said, actions speak louder than words. I congratulate all those involved with the Cultural Stomp. Similar events, as often as possible, should be held in all parts of Australia.
 

cultural-somp-2007-foot1

 

Cultural Stomp 1998

Cultural Stomp 1998

Scanned article from the 10th Anniversary Cultural Stomp Programme

Scanned Editorial from the 10th Anniversary Cultural Stomp Programme, 2007.

cultural-somp-2007-stomp-out-racism1

Horoscope: Cultural Stomp 4 PM 30 May, 1997, Civic Park, Newcastle, Australia.

Horoscope: Cultural Stomp 4 PM 30 May, 1997, Civic Park, Newcastle, Australia.

Original 1997 Poster with phone numbers erased.

 

2007 Cultural Stomp Poster - note the 9 petalled flower from the first Cultural Stomp in 1997.

2007 Cultural Stomp Poster – note the 9 petalled flower from the first Cultural Stomp in 1997.

 

Combined Churches' Statement on the visit of Pauline Hanson on 23 May, 1997.

Cultural Stomp, 1998

First Press Release for Cultural Stomp, 1997

First Press Release for Cultural Stomp, 1997

Letter to people, May 1997.

Letter to people, May 1997.

Cultural Stomp, 1998

Cultural Stomp, Newcastle

Cultural Stomp Update May, 1997.

cultural-somp-original-logo-green

Flyer for Community Meeting to Organise Cultural Stomp in 1998.

Flyer for Community Meeting to Organise Cultural Stomp in 1998.

From 2007 Cultural Stomp Programme

From 2007 Cultural Stomp Programme

From 2007 Cultural Stomp Programme

From 2007 Cultural Stomp Programme

From 2007 Cultural Stomp Programme

From 2007 Cultural Stomp Programme

Cultural Stomp 1998

Cultural Stomp, Newcastle


Portrait

February 20, 2009

Stavros - portrait by John Bell

Stavros , 1974  – portrait by John Bell