The art of ceramics and vase painting reached a high level of artistic quality in ancient Greece and is also a privileged testimony of the life and culture of the ancient Greeks.

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Starting from the Attic figurative period, the decorations offer useful elements to understand important aspects of the anthropology of the ancient world and of the Greek myth. It is not uncommon for classical philology to appeal to ancient pottery in the reconstruction and exegesis of the myth.

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Ceramic vessels were considered indispensable in everyday life by most ancient civilizations. They were used for the transport or storage of any type of product, food but also of other nature, such as, for example, for the construction of tiles and votive statuettes.

Working with clay requires a lot of concentration and is an excellent remedy for stress.

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The  people have the opportunity to rediscover the physicality of manual work, to relax, focus on something other than everyday problems, and also to be together "doing" something.

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Clay is sensitive to movement, it asks you to be in tune with it, it involves cerebral, emotional and kinetic work, it differentiates it from any other artistic experience. And for this reason ceramic is an excellent therapeutic method.

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Here are some of the topics that will be covered during this experience:

* Presentation of the tools

* Knowledge of coloring elements and composition of glazes and crystallines

* Preparation for "brush" decoration

* Cooking objects

* Knowledge of the transformation of ceramic colors in firing

In addition, the experience of sculpture and ceramic art:

• Improve communication 

• Strengthens self-esteem 

• Recovery of motor skills 

• Activate the brain

• Increase concentration 

• Free your emotions 

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The workshop ends with an exhibitions at the final event of the "European Festival of Ancient Greece" in one of the theaters that will host the event in which each workshop will present its own artwork.​

Modern interpretation of ancient Greek jewelry have an amazing, graceful look, and charm. Sheer, light and drapping Greek inspired outfits bring together the power of feminity and elegance.

Clothing and accessoires styles of Greece has also influenced the fashion culture of other nations.

Greek apparels were mainly made out of wool and linen. Clothes were essentially the same for men and women, drapping around the body in soft folds, with no tight fitting.

From the history of fashion apparels, fashion styles repeat itself. Ancient Greek culture has influenced modern fashion designers over and over. Designer's new muse captures ancient Greek beauty with elegant draped shapes to rival classically fluid forms.

The most interesting aspect of Grecian clothing and jewelry is that it can be twisted, tied, and wrapped to create different looks. Most common influences are motifs of Greek mythology on clothing, and jewelery.

The drape pattern of the Greeks are revived by modern designers in evening gowns with elaborate pleats, at the waistline and below the neckline.

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One shoulder necklines of the Greek are truly a timeless trend, and is here to stay. Women state they get the godess feeling with a one shoulder and floor length gowns.

Inspired by Greek gladiators, sandels with such patterns are sported by both men and women. 

A pretty jeweled headband revived from the Greek style gives an influencing princess look. .

Greek jewelry and clothing styles were very elaborate and way ahead of times. Modern fashion designers have acquired a lot of inspiration from ancient Greeks bringing the age old civilization into mainstream fashion. They are adored for its glorifying beauty and simplicity. The timeless beauty and artistic nature of the Grecian are acclaimed even today. It simply drifts one to a dreamy godess of yore.

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The ancient jewelry-fashion design workshop intends to reproduce with a sustainable action using recycling materials the ancient greek fashion. The workshop ends with an international fashion defilé at the final event of the "European Festival of Ancient Greece" in one of the theaters that will host the event in which each workshop will present its own work artwork.

In ancient Greece, music occupied a very important role in social and religious life. For the Greeks, music was an art that included, in addition to music itself, poetry, dance, medicine and magical practices. The importance of music in the Greek world is testified by numerous myths concerning it. One is that of Orpheus, the inventor of music, who managed to convince the gods of Hades to bring back the missing wife Eurydice.

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During the Archaic period (from the origins to the 6th century BC) music was practiced only by professionals: the aedi and the rhapsodes. They recited the myths accompanying themselves with a musical instrument and handed down the music orally. Later in the classical period (from the 6th century BC to the 4th century BC) music became part of the educational system and thus was popularized.

The Greeks used different tools. The most common were the lira or zither and the aulos. The lyre was a stringed instrument that was plucked by a plectrum and was sacred to the god Apollo. The aulos was a reed wind instrument, sacred to the god Dionysus. Percussion instruments were also in use including drums and cymbals, better known as cymbals.

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The Greeks approached music to mathematics and the movement of the stars. Pythagoras, approaching music to the movement of the planets, understood that it too was governed by precise mathematical laws.

At the basis of the Greek musical system there was the tetrachord formed by four descending sounds included in an interval of the perfect fourth.

The musical rhythm was based on the poetic one. In Greek poetry the metric arose from the duration of the syllables: short or long, the same was true in music.

The Greeks attributed an educational function to music because they believed it could enrich people's souls.

According to Plato, music was to serve to enrich the human soul as gymnastics were to strengthen the body.

This discourse expands with the doctrine of ethos according to which each mode has its own specific ethos and can positively or negatively affect people's souls.

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For Plato the modes of the Doric or Phrygian species have a positive effect, while those of the Lydian species can disturb the rational equilibrium.

Aristotle accepted the classification in ethos but believed that all ways could be for the benefit of the soul. Until now, music theory was known only from a mathematical point of view.

Later Aristoxenus of Taranto understood the importance of hearing in the perception of sounds.

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Music stimulates inner awareness, increases our well-being and improves our mood; affects heart rate, blood pressure, breathing, the level of some hormones, especially stress, and endorphins.

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The aim of this experience is as well to bring people together, creating original artworks and present it at the final event of the "European Festival of Ancient Greece" in one of the theaters that will host the event in which each workshop will present its own artwork.

The dance activities were a significant presence in the everyday life of ancient Greece. Not only the ancient Greeks used to dance on numerous different occasions, but they also considered some non-performative activities such as ball games (ἐπίσκυρος) and rhythmic gymnastic exercises to belong in some way to dance. In short, dance was traced by the ancient Greeks to the fundamentally physiological, mental and spiritual sphere characterizing the person. Individually or in groups, people used to spontaneously dance at weddings and symposiums, or perform pre-established choreographies as exemplified by coordinated dances and movements ascribed to the choir (χορός) of classical theater.

Dance could tell a story, show off martial strength or athletic dexterity, entertain guests, or give setting and cadence to processions and other key elements of cultic practice. all categories of performing arts: making music, dancing, singing, acting), there is however a wide range of evidence attesting to dances also practiced as an independent activity.

Choreutic education (γυμνοπαιδίαι) was a fundamental subject of education, and conspicuous vascular iconography depicts boys and girls dancing under the supervision of male and female tutors. Authors such as Plato, Luciano di Samosata, and Ateneo di Naucrati recommend dance as an essential part in the development of good citizens of both sexes, thanks to its constructive effect on the mind and body. As with several other cultures of the ancient world, dance played a fundamental role in ancient Greek society for centuries.

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Homer (c. 750 BCE), first among many authors who touched on the subject, in the Iliad, describes the shield of Achilles being decorated, among other things, by three groups of young male and female dancers. As for the material culture, the first dancers identified with names that have come down to us are depicted on the François Vase (575 BCE ca.), a large crater for pouring wine and water: along the upper band of the neck of the vase, under the rim , 14 young men and girls proceed rhythmically and holding hands, by way of celebration of Theseus, the heroic Athenian prince who freed them from the labyrinth of Knossos.

The dance aims to develop the expressive awareness of the body and movement in the participants, not only to make them learn pre-established codes. This is to deal with a society that wants to insert individuals, especially the youngest, in exclusively competitive disciplines that tend to enclose the creative potential of everyone.

Through dance the group of users can learn to know and recognize their own body and to use movement as a means of communication. He may also discover that the quality of movement varies according to the emotions and sensations experienced and is closely linked to the space used, to the music, to the rhythm, and, last but not least, to other individuals: a dancing body reveals both itself and the person who embodies as much as his belonging to a company.

Another important aspect of dance is its inherent social nature. Dance can motivate users to actively participate and thus contribute to an increase in the quality of life.

The recovery of oral traditions that are fully part of our historical memory can have important educational and didactic values. Traditional dances are first of all very often collective: their execution requires individual motor control, but coordinated with music and others. So what each one achieves acquires meaning and has value in the relationship. They also involve the body and emotions, accentuating the need to know the rules and adapt to them, developing the sense of being in a group, where everyone's energies are essential to achieve a shared goal.

Traditional dances favor the development of a sense of rhythm and favor the relationship with the Other.

It constitutes part of our identity, being a manifestation of the culture and heritage of memory and experience of past generations.

We can affirm that through traditional dances one can metaphorically educate to peace and democratic coexistence: they are in fact "relationship dances" that favor the development of a cohesive group that respects the individualities present, needing, as mentioned above, to take into account Other for the achievement of a common goal and stimulating in individuals belonging and cooperation, fundamental values ​​in a historical period so highly disintegrating and disintegrated.

Bringing individuals closer to the traditional world can also be important not only to rediscover roots, but to establish bridges between past, present and future.

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The workshop ends with a group dance performance at the final event of the "European Festival of Ancient Greece" in one of the theaters that will host the event in which each workshop will present its own artwork.​

The readings agorà is a kind of literary cafe. At the evening everyone can participate, read a text of its favorite author, dialogue, debate and esaminate its meaning. Is still an occasion of aggregation and cultural exchange.

In ancient Greece, physical activity was part of the culture of society, a duty rather than a pleasure.

Each polis had many spaces dedicated to sporting activity, which the boys already practiced during school courses, first more lightly and then, around the age of 10-12, in a serious and intensive way.

Sports competitions were considered sacred and held in honor of the gods, but they were also an integral part of the funeral rite. We find them described in particular by Homer in the book of the Iliad, with the games in honor of Patroclus, a friend of Achilles killed by Hector.

When sporting competitions flourished, the Greeks were happy to be able to honor the gods not only by showing off their physical prowess and the skill achieved in the various sports disciplines, but also by demonstrating the moral virtue they were proud of, that is the ÞretÔ that it is that complex of innate or acquired virtues that make a man worthy of admiration: loyalty, courage, temperance, wisdom. Also, according to the Greek mentality, if

a man possessed the ÞretÔ, he necessarily also possessed a beautiful exterior appearance, which reflected the interior virtues: in homage to the ideal of harmony that distinguishes classical Greekness, the paradigm of καλοκαγαθíα is formed., of the man kalój kaí qgaqój

The origin of the Panhellenic competitions is lost between myth and religion: the mythical episode to which they are traced is their foundation by Heracles to honor Zeus Olympus, and for the first time King Ifito in 776 BC. gathered all the Greeks at the Olympia feast.

The Olympics are the most important competitive solemnities and were held every four years in Olympia, for the duration of five days, and lasted continuously for twelve centuries.

The Pythian competitions, also held every four years, were celebrated in Delphi in the sanctuary of Apollo Pitio; every two years the Isthmics took place in Corinth, in honor of Poseidon, and the Nemee were also biennial, connected with the passage to Nemea of ​​the expedition of the Seven against Thebes and with the cult of Zeus.

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The aim of the workshop is to promote and transfer thanks to sport ancient activities the ethical values such as: loyalty, courage, temperance, wisdom. During the journey various collective sport tournaments are organized. The path ends with a choreographic sport performance at the final event of the "European Festival of Ancient Greece" in one of the open theaters/Stadium that will host the event in which each workshop will present its own artwork.

The scenography is a word of Greek derivation (σκηνή = scene; γραϕία = painting) which indicates all those devices intended to give the illusion of the environment in which the dramatic action takes place.

The evolution of theatrical scenography has always been closely linked to the problem of the representation of space since, like painting, it aims to recreate, according to a single overall picture, the image of an architectural space with three dimensions, and therefore of depth.

However, since ancient times, the desire to make visual representations credible, in particular pictorial ones, has clashed with the difficult graphic transposition of the three-dimensionality of the external world on the two-dimensionality of the material support of those images.

Over the centuries, the spontaneous intuitions and geometric knowledge acquired by peoples for the control of space, through credible pictorial images, have found in the scenography a field of immediate application and experimentation.

Consequently, a historical reading of the evolution of theatrical stage settings cannot be separated from the analysis of the state of knowledge of the geometric processes adopted in each era for the design of space.

In ancient Greece, in the vascular paintings we can observe how the allusion to the depth of space was achieved through rudimentary glimpses, or with the staggering of numerous planes, both vertical and horizontal; a similar illusory expedient was also used in theatrical scenes, for which Agatarco di Samo (440 BC), scenographer of the works of Aeschylus and Sophocles, was the precursor.

As for the scenes for the comedies, it was possible to establish some essential facts: first of all, that there are no differences in height between the orchestra and the scene and therefore that the actors even come into contact with the audience, that there was no stable scene but constructed elements that were to represent at the same time very disparate locations.However, from the numerous Aristophanes fairly we get the idea of ​​a complex stage building that has nothing to do with the tragic one, as they have wanted some scholars, and which ranged from comedy to comedy and consisted of movable elements.

An attempt to reconstruct some scenes of the tragedy and ancient comedy was recently made by Wirsing with the illustration of the Scenography of the main plays of Aeschylus, Sophocles, Euripides and Aristophanes. They represent the most notable demonstration so far of an attempt to revive the ancient scenography.

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These are the topics and steps of the scenographic path:

The Studio of scripts and screenplays

Identify suitable places for production settings

Confront and collaborate with the director and the artistic director

Select materials and costumes

Create and create sketches, projects, animations and sketches for the scenography

Making the sets and their staging by building the scenes

Supervise the setting up of the sets

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During the Scenography workshop experience, all participants will reproduce a scenography on the basis of the project theme using recycling materials. The scenography will be used for the final event of the "European Festival of Ancient Greece" in one of the theaters that will host the event in which each workshop will present its own artwork.

Since ancient times, man has felt the need to use a means of artistic expression such as theater to convey messages and tell stories and legends.

The theater was in fact, for many centuries, the only way with which the public was entertained, satire or, on the contrary, political propaganda.

The theatrical performance was for the ancient Greeks a real religious rite, in which citizens of all social classes and economic conditions participated

considered a community education tool.

When we talk about the theater of Ancient Greece, we are talking above all about the theatrical performances in Athens.

Today we can say with great certainty that these shows were held at certain times of the year, during religious holidays in honor of the various divinities.

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Theater as self-care and a tool for personal growth. The theatrical dimension, in its approach to the human from different points of view, gives the opportunity to experience oneself in something other than oneself, to reveal something more about oneself, one's wealth, one's limitations and personal resources.

Theater is culture, art, entertainment, entertainment and since the 1960s also a form of therapy called theatrotherapy.

That the theater was capable of producing therapeutic effects has been known for centuries. Aristotle spoke of catharsis to describe the effect of theater on spectators.

The term catharsis derives from the Greek kátharsis, meaning to purify. The theater has the ability to free and purify the individual from the contamination and encrustations that make him suffer.

Attending a representation that arouses pity or terror, Aristotle explains, the viewer experiences these emotions. This brings relief, release from similar emotions that are inside the viewer. The phase of involvement is followed by a distancing from the emotions themselves. Which allows us to rationalize them, think about them, recognize them and be aware that they are within us.

Aristotle in poetics says that the spectators, identifying themselves with the actors who recite terrible events, purify themselves of those feelings, which they too feel. At the end of the show they can return to their occupations of quiet citizens relieved to more aware of their emotions.

The real precursor to the use of theater as therapy was Jacob Levi Moreno. A psychotherapist who in 1908 inaugurated the first theatrical workshop.

Jacob discovers that group theatrical work, based above all on improvisation has therapeutic function on their personalities. The people are better off and above all they are psychologically strengthened.

From its birth to today, theater therapy has become a real discipline that uses precise artistic-therapeutic protocols suitable for all ages.

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Theatrotherapy is a technique that allows you to get to know each other thoroughly. It allows you to promote your physical and mental health. The psychic one in terms of reasoning (cognitive functions), emotions and relationships with others. To improve their quality of life in engaging and fun team work.

It uses language, voice, laughter, body, movement, relationship, role play, putting oneself on stage.

All in a group led by a conductor expert in theatrotherapy techniques. Which teaches us to use tools that derive from the art of the actor and acting.

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The theater experience as an occasion to express itself freely and acquire a deeper theatrical discipline and benefit knowledge. This is the aim of this experience that we propose through theatrical games and performances.   The workshop ends with a performance at the final event of the "European Festival of Ancient Greece" in one of the theaters that will host the event in which each workshop will present its own artwork.

Digital storytelling describes a simple, creative process through which people with little or no experience in computer film-making gain skills needed to tell a personal story as a two-minute film using predominantly still images and voiceover. These films can then be streamed on the web or broadcast on television. The topics used in digital storytelling range from personal tales to the recounting of historical events, from exploring life in one’s own community to the search for life in other corners of the universe, and literally, everything in between.

Today the use of digital storytelling is being practiced in neighborhood community centers, schools, libraries and businesses, by novice technology users to those with advanced skills. In the field of education, teachers and their students, from early childhood classrooms through graduate school, are using digital storytelling in many different content areas and across a wide range of grade levels. 

A digital storyteller can be anyone who has a desire to document life experience, ideas, or feelings through the use of story and digital media. Usually, it is someone with little experience in video production but with time to spend a few days attending a workshop and developing a story with creative support and technical assistance from compassionate, experienced facilitators.

Digital Storytelling can also be a potent tool for students who are taught to create their own stories. This type of activity can generate interest, attention and motivation for the "digital generation" students in today’s classrooms. The process can capitalize on the creative talents of students as they begin to research and tell stories of their own as they learn to use the library and the Internet to research rich, deep content while analyzing and synthesizing a wide range of content. In addition, students who participate in the creation of digital stories may develop enhanced communications skills by learning to organize their ideas, ask questions, express opinions, and construct narratives. It also can help students as they learn to create stories for an audience, and present their ideas and knowledge in an individual and meaningful way.

In addition, when digital stories are published online, students have the opportunity to share their work with their peers and gain valuable experience in critiquing their own and other students’ work, which can promote gains in emotional intelligence and social learning. Digital Storytelling appeals to students with diverse learning styles and can also foster collaboration when students are able to work in groups, and provides value in enhancing the student experience through personal ownership and accomplishment.

In short:

Creation of audio/video supports (with a mobile phone or our cameraman) to comment on place and disseminate it to a larger audience..

*Requested:

• One fifth of the participating students should know how to use an editing program such as, for example, iMovie.

• Another fifth of the students should be familiar with framing to shoot videos and take pictures.

• One fifth of the participants should be willing to put themselves at stake by interpreting or telling the text that will be processed on video.

• Another fifth of the participants must have an aptitude for research, writing, literary production and translation.

• Finally, one-fifth of the participants must have organizational skills and the responsibility to follow the parts of the production by acting as project manager.

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The Dj set agorà is the evening moment in which future Dj’s and passionate thanks to their skills bring people to dance. Six persons per night will have the opportunity to play music 10/20 minutes each as a sort of agòn. The play of different music genre is programmed.

Cinematic art realises a synthesis of distant spaces and times; it can represent a non-tangible reality, in a direct and immediate way; it can also evoke and contain different art forms. It can, therefore, revive the actions of ancient peoples and their archaic traditions in the present time.

Among film techniques, animation is certainly the one that most effectively manages to tell fantastic stories of myths and heroes.

The aim of the animation workshop is to build a fully functioning time machine, i.e. to make an experimental short film in animation and to spend a few moments of everyday life with the ancient Greeks.

They too drew ‘frames’ of their world on lithic artifacts (stelae), masonry (frescoes), ceramics (vases), etc., to comment on the present or the past in a simple way, almost as directly and immediately as in cinema.

The short film will consist of a set of scenes inspired by the original vase painting, in a style of representation similar to that used on vases preserved in museums. Each participant will animate one or more shots of the short in silhouette animation, a technique that uses flat figures on a strongly contrasting colour background. It is a variant of the more widespread cut-out animation used for most 2D television series but in this case it will be

performed in stop motion to allow participants to investigate character interaction without dwelling on software issues.

The workshop participants will try their hand at all the stages of making a short film: from pre-production, i.e. the conception of the narrative line, to the finalisation of the video. In order to realise their work to the best of their ability, they will be tutored on fundamental technical aspects such as: the 12 principles of animation, the basics of film language and the use of digital animation software. The use of computers will be necessary.

The workshop meetings will be organised following the workflow and pipeline of a real animation studio, mimicking and pursuing the same teamwork, in order to initiate students into the practice of cooperation. 

The experience will also be a further opportunity to empathise with an ancient civilisation and discover that human actions, albeit in different times and places, are often driven by the same feeling. 

The workshop will end with the projection of the stop motion cut-out short film. 

The path dedicated to ancient and modern Greek culinary art is divided into three categories related to tourism studies (tourism-hotel) of high school students from all over Europe, as well as to lovers of Mediterranean gastronomy.

The three categories are:

Cooking courses - Catering

Hospitality - Welcome

Organization of the restaurant - Maitre de salle.

We believe that a brief historical description of the Greek culinary art is needed.

In the European scenario, Greece plays, also in gastronomic terms, the very particular role of a bridge between the Mediterranean, the Balkans and the Middle East.

A trip to Greece that fascinates for its millenary history and culture, but also to closely observe a cuisine that tastes of the Mediterranean. Tzatziki, melitzanopitta, souvlaki, domadakia yialantzì, burekàkia me tiri, keftedhàkia, melintzanes, salat choriatiki, amygdalotà and moussakà.

These are some of the dishes offered at today's restaurants, throughout the Hellenic land.

But what are the origins of that cuisine?

His birthplace is very ancient. A thousand years of ancient history, from Achilles to Alexander the Great. From the offerings of the Mycenaeans to the sumptuous banquets of the last rulers of Hellenism. Almost all Hellenic authors, be they geographers, historians, poets, playwrights, have always written about food, banquets, wine, oil and cheese.

The cuisine of ancient Greece was frugal, made of cereals, oil, wine, roasted or fried meat and cheese.

A frugality that was not lost during the classical age, but which was integrated and elaborated until the creation of refined dishes was obtained.

Starting from the 5th century BC the golden age of the classic banquet begins with Pericles and the much exalted frugality begins to no longer be in fashion. Already Plato in the fifth century BC, worried about the gluttony of the Greeks, supported an "ideal diet", made up of olives, onions, cheese, vegetables, chickpeas, broad beans and acorns. Even the poet Antifane in the 4th century BC, exalts the ancient cuisine, made up of: “bread, garlic, cheese.

Food played an important role in Greek thinking. John Wilkins notes that "in the Odyssey, for example, good men are distinguished from bad and Greeks from foreigners, in part by how and what they eat. Herodotus identified people in part in terms of food and eating."

As regards the hotel industry, it is important to mention the role that Greece plays at an international level in the organization of tourist hospitality.

The friendly nature of the Greek people has in some way facilitated the development of professionalism in the field of hospitality. Greece and its islands host accommodation facilities with high quality standards, they are managed by excellent managers, directors, maitres.

The objective of this path is achieved with practical activities, such as: participants have the opportunity to choose on the basis of their course of study

-Cooking lessons / Catering:

Meeting a Greek chef who will follow the group along the way, every evening the participants will propose a specialty of Greek cuisine, acquiring new skills by expanding their knowledge in the field of Mediterranean / international cuisine.

At the end of the course, a prize will be awarded for the best elaboration and execution of the preparation and presentation of the dishes. The course will be held in English.

-Hospitality / Reception: The Receptionist works in the hotel lobby, at the concierge desk and is a key element within the hotel structure. The person in charge at the reception is the one who welcomes the customer on his arrival, assists him during his stay and manages his departure. A good welcome is the first step to a good impression and to make your holiday pleasant or even unforgettable.

The duties of the Receptionist

The typical tasks of the receptionist are the reception of the client, the sale of the rooms, the management of reservations and arrivals, the annotation of the client's data, the assignment of the room, the reception of requests from the resident during the stay, the administration of the cash register, drafting of the account and collection of the relative consideration, as well as handling the paperwork for the customer's departure.

Problem solving skills and adequate empathy towards the customer will allow us to intervene on any problems concerning the stay in a timely manner.

Knowing one or more foreign languages ​​constitute a preferential character, precisely in order to welcome and serve customers from abroad as well as possible.

This experience is aimed at all young people who intend to specialize in the hospitality sector. During the event, students will have the opportunity to welcome all visiting participants, will be guided by an expert "Receptionist" from the front office and will manage check in - check out, back office and front office, problem solving and all related tasks. A full immersion stage in hospitality. The course will be held in English.

-Restaurant organization / Maitre de salle:

This course, which takes place in English, is intended to provide participating students with the tools necessary for the organization of the dining room / restaurant,

The Maître sets up and directs the service, takes orders and continuously maintains the relationship with the customers, making sure that everything is going well.

His activities are predominantly organizational. Together with the kitchen chef and the director, he plans the menus, with the aim of choosing what he deems best suited to the needs of customers and to avoid possible repetition of the dishes in short periods. She takes care of the aesthetic aspect of the room and directs and controls the work of the waiters; she also dedicates herself to welcoming customers, presenting the menu and the wine list, advising on choices.

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At the final event of the European Festival of Ancient Greece, the groups participating at the three categories of the “Art Culinary & Hospitality experience”, will organize a banquet/Catering and they will consequently: welcome,  guide the visitors, prepare Greek specialities finger food for the participants and serve it.

The word 'Meditation' comes from ancient Greek, precisely from the noun 'meléte', literally meaning 'Cure', 'Attention', 'Exercise'. Or from the verb 'méletào', meaning 'I take care of', 'I care for', 'I care'. To say "Reflection" the Greeks used the term 'theoréo', from which "theory" derives.

In the Symposium Plato tells us that Socrates knew how to stay in meditation, still, motionless, on his feet for a whole day: "And he stayed there until it was dawn and the sun had risen: then he went away, after making the prayer in the sun ". It is the "Prayer to the sun", 'élios anéschen', 'anà' is 'up', 'ècho' and 'raise', "I raise my hands to the sun" in greeting.

Socrates prescribed attention to the body, he added the need to direct this research by looking within oneself: the soul. To really see each other and therefore to get to know each other better we must pay attention to the best part of us, that's where wisdom starts: "Attention to the soul is the key to knowledge".

"Taking care" is responding to the laws of logos, adhering to nature, accessing one's soul. Only in this way does man belong to "humanity". A man who does not meditate is not.

The meditation experience that we propose during our short and longer path shows that the practice of meditation

it decreases stress and insecurity, fighting them from within.

Some direct and indirect benefits that will help you understand why it is worth trying to meditate are the following:

• Helps relieve pain

• Enhance the Immune System

• Increase self-confidence

• Improve the health of the body

• Develop creativity, emotional stability and focus

• Helps in social relationships

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The workshop ends with a meditation performance at the final event of the "European Festival of Ancient Greece" in one of the theaters that will host the event in which each workshop will present its own artwork.

In ancient Greece, Attic vase-painting was very popular, almost like painting, prevailing in a specific area of Athens, known as Ceramico, a place full of vase shops and artisans. The Attic vase-painting was typical of all social classes, because vases were furnishings much present in houses, instead of painting and sculptures that were more decorative and characteristic of temples. From the VII century a.C., it is possible to identify as the first type of Attic vase-painting the black-vase pottery, where the figure is coloured with black paint on a cooked red background clay. The particulars of figures are made with graffiti. This kind of painting was flat and linear, representing profile figures. At the end of VI century, in the Attic vase-panting developed the red-figures pottery: the vase was all painted with black paint and the figures were red (the original vase colour without the black paint). In this technique, the artists used brushes for figures details. This kind of painting is to end in the IV century, with the “Pendici Occidentali pottery”, characterized by a specific decoration obtained with an application of diluted clay. The clay used to create Greece pottery is a particular white clay, commonly known as kaolin, where the clay might assume different colours due to diverse chemical composition of soil, that can be composed by a high or low iron oxide content. Once the clay has been extracted with the commonly known techniques, the clay will be sifted and then used to model. When the vase is ready, this will be left to dry in the shadow, slowly. In this experience, we are going to use clay as binder in the production of clay pastels: through specific movements with spatulas, we are going to mix clay and pigments to obtain the known rod-shape. We are going to use two different pigments, who remind to the Attic vase-painting colours, like ochre yellow, oxide red, black, or brown. Once the pastels will be ready, we will draw typical figures of Athenian vase painting proposing it as a scenography.

The students need comfortable clothes, they might get dirty during the workshop.

The music agorà is the evening moment in which everyone can participate and have a talk, to relax and continue to create. Is still an occasion of aggregation to perform and share its own music taste. Brand new artistic cooperation are in the air..