About us

Imagining Greece: How Tourism Shaped a Nation
Imagining Greece is a digital exhibition that explores the evolution of tourism in Greece from the end of World War II to the closing chapters of the Cold War. The exhibition examines multiple aspects of the phenomenon by showcasing a wealth of textual and visual material curated from a wide range of state and private archival repositories and sources, including the Greek National Tourism Organisation, architectural firms, advertising agencies and both domestic and foreign press and periodicals. It is further enriched by an ongoing oral history project that captures firsthand experiences from specialists and the general public. We hope this exhibition will bring the history of tourism in Greece to life while deepening understanding of its profound impact—both on Greek society itself and on the millions of international visitors whose journeys have helped transform Greece into one of the world's most beloved destinations.

Our Team
We are an interdisciplinary team with expertise spanning history, visual culture, design studies, architectural history, cultural heritage, and digital humanities. Led by Professor Eirini Karamouzi (Principal Investigator) and Dr Mary Ikoniadou (Co-Investigator), our team includes:

Dr Stavros Alifragkis and Dr Emilia Athanasiou (Scientific and Artistic Curators, Lead Researchers), Dr Christos Christidis (Special Advisor), Despina Tsilimagkou (Digital Humanities Director), Dr Marina Emmanouil, Dr Metaxia Papageorgiou and Dr Aphrodite Kamara (Researchers). Our work has been generously supported by the Onassis Foundation, the National Bank of Greece and Research England. We are honoured to have the Greek National Tourism Organization (GNTO) and the Greek Ministry of Tourism as our patrons, and we work closely with Greece’s National Historical Museum.

Our Goal
Our goal is to make Imagining Greece a widely accessible digital exhibition that serves as a valuable resource for schools, universities, tourism professionals, and the public in Greece and beyond. We aim to promote a deeper understanding of tourism as a crucial element of Greek culture, economy, politics, and society. The exhibition is organised around four thematic experiences: Picture, Travel, Discover, and Remember. Each theme presents carefully chosen artefacts in an intuitive, easy-to-explore journey. Visitors will explore a rich collection of promotional materials, including advertising, audio-visual culture, periodicals, commercial and government sources, tourist guides, tourism infrastructure and architecture, cultural artefacts from folklore, feasts and festivals, leisure activities, books about Greece, souvenirs, vacation photographs, and postcards. The entire spectrum of Greece as a tourism destination is accessible through the thematic experiences, the interactive map, or the chronological timeline.

The Future of Imagining Greece
Imagining Greece will continue to grow with new artefacts, and we welcome your contributions. If you have relevant materials to share, please contact us at: info@imagininggreece.com

Legal Notice / Disclaimer
Every reasonable effort has been made to trace and contact the copyright holders of all material reproduced in this digital exhibition, ‘Imagining Greece: How Tourism Shaped a Nation, 1945-1989’, and to obtain their permission for the use of copyrighted material. We apologise for any omissions in acknowledging copyright. If you own the copyright for any material used on our website and believe it infringes upon your rights, please contact us directly at info@imagininggreece.com

Acknowledgements
We thank the numerous institutions and private individuals who have contributed their valuable archival materials to this project:

Benaki Museum’s Photographic Archives Department, Michael Cacoyannis Foundation, Greek Film Archive, Greek National Tourism Organisation, Hellenic Literary and Historical Archive, Hellenic National AudioVisual Archive - Hellenic Broadcasting Corporation, Hellenic Touring Club, Historical and Ethnological Society of Greece – National Historical Museum, Historical Archive of the National Bank of Greece, Constantinos A. Doxiadis Archives, ‘Konstantinos G. Karamanlis’ Foundation, The Library of the Hellenic Parliament, Modern Greek Architecture Archives of the Benaki Museum, National Bank of Greece Cultural Foundation, Neraida Floating Museum - John S. Latsis Public Benefit Foundation, Olympic Airways Workers Cultural Center, Philatelic Postal Museum, Spyros Vassiliou Archive - Dominum Artifex NPO, The Alpha Bank Art Collection, The Ghika Gallery - Benaki Museum.

Dimitris Antonakakis – Atelier 66, Archimidis & Eleni Athanassiou, Tasos Biris – Tassos Biris Architectural Firm, Vassilis Bogakos, Vassilis Giannakis, Panos Haratzopoulos, Erifyli Hontolidou, Maro Kardamitsi-Adami, Yannis Karlopoulos, Kostas Katsigiannis, Konstantinos Lyssaridis – ETETH SA, Eirini Philippides, Marina Philippides – AMK Architecture + Design, Jenny Perivolari, Christos Rallis & Georgia Sovatzoglou, Vassia Stylianidi – WOBI Architects, Vaggelis Stylianidis - Stylianidis Vaggelis Architects, Nicos Valsamakis – N. Valsamakis Architectural Firm, Ioannis Vikelas – Vikelas Architects.

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Remember / Postcards / Everyday Life / Harvesting and threshing in the 1950s

Harvesting and threshing in the 1950s

Θερισμός και αλώνισμα τη δεκαετία του 1950

Media date: 1950

The reconstruction of the country and the Greek economy in the 1950s, with the contribution of tourism development, led to the influx of population from the periphery to the urban centres and their simultaneous modernisation. However, this modernising impulse affected rural areas very slowly, where agricultural occupations and traditional professions, now extinct, provided an interesting subject matter for the country’s promotional material. These postcards depict the process of harvesting and threshing before the advent of mechanised agriculture. In the rural areas of Greece, where cereal crops were grown, harvesting typically took place in June. Workers, using small sickles and quick movements, would embrace the ears of wheat with the bow of the tool and bundle them. The bundle was held with one hand, while the other was used to cut the wheat. When a sufficient quantity of cut wheat had been gathered, it was tied into bundles, and loaded onto mules to be taken to the threshing floor.

The threshing began at sunrise and continued throughout the day. The threshing floor was round, flat area with stone surface. In the centre of the threshing floor, farmers would place a cedar hardwood pole, called a “twister”, and attach a very large hairpin made of tightly braided goat’s wool. From this hairpin, they would typically tie two horses. After the threshing floor was thoroughly cleaned, the bundles were untied, and the straw was spread in circles from one end to the other. The thresher would then lead the horses with shouts and commands, sometimes in one direction as the hairpin was unwound, and sometimes in the other direction as it was gathered back onto the pole. In this way, the animals would circle around, continually treading on the straw until it was torn to pieces. Afterward, the peasants, holding “dikoulias” (forks resembling tridents), would blow away the broken ears of wheat, separating the straw from the grain. Finally, large sieves were used to thoroughly clean the wheat of any unwanted particles. It was then taken in sacks to the mill for grinding.

Photographer: Benjamin Esaias & Co.

Media type:

Postcard

Contributors: Erifyli Hontolidou Private Collection

Documenter: E.A.
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