
From the Greek mountains to Manhattan: folk music icon Petroloukas Chalkias honored after death
ATHENS, Greece — Greece is honoring the late clarinetist Petroloukas Chalkias, whose hypnotic, note-bending performances over the course of more than 70 years made him a hero of mountain folk music.
Chalkias, who died at 90 over the weekend, lay in state Wednesday at the Athens Cathedral — a rare honor typically reserved for prime ministers and religious leaders.
As pallbearers emerged through the doors in a chapel next to the cathedral, carrying the coffin, silence descended. Mourners then clapped and shouted 'immortal' as musicians played folk tunes. It was a solemn prelude to his funeral which will take place in the rugged highlands of Epirus, in northwest Greece, where he first took up the clarinet as a boy of 11.
Greek President Constantine Tassoulas earlier this week described Chalkias as a 'legendary figure.'
Epirus' folk music, slowly unfolding and often centered around the clarinet, is steeped in improvisation, with its wanderings inviting comparisons to rural blues and jazz. It's one of the reasons that, while not so distinguished as a recording artist, Chalkias' live performances made him a household name for Greeks young and old alike.
His style evolved after settling in New York as a young man, joining a wave of musicians who emigrated along with other Greeks to escape the hardship of postwar poverty. Chalkias found an unlikely second stage: dimly-lit clubs filled with Greek emigres and curious outsiders. Among those drawn to his performances were jazz legends Benny Goodman and Louis Armstrong.
Musicians paying their respects on Wednesday praised Chalkias for his generosity with his time in helping fellow artists. 'I was a young woman when I started out and I was incredibly lucky to have him support me,' folk singer Giota Griva said. 'His influence was immense. He was an artist who will never leave us.'
Born Petros Loukas Chalkias, the musician was the son and grandson of clarinet players. He was raised with the region's rich tradition of live music — an essential part of village festivals, celebrations, and mourning rituals.
Chalkias spent nearly 20 years in the US and raised a family there, but said he always intended to return to Greece. He did so in 1979, performing live across the country and reconnecting with Delvinaki, the red-roofed mountain village of his birth near Greece's border with Albania.
Delvinaki bore deep scars from the devastations of World War II and the civil war that followed. Chalkias, like many of his generation, grew up with interrupted schooling and little formal training. His music was learned by ear and memory, and never performed using sheet music.
'In the hearts of all Greeks, he stands as the foremost ambassador of our folk song tradition,' President Tassoulas, also from Epirus, said in a statement. 'Though Petros Loukas Chalkias has departed this life, his voice has not fallen silent –- nor will it ever.'
Chalkias died in Athens. His family did not announce the cause of his death. His funeral will be held at the Church of the Assumption of the Virgin Mary in Delvinaki on Thursday.
He is survived by a son and a daughter.

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Indian Express
18 hours ago
- Indian Express
10 books that breathe new life into Greek mythology
Written By Prachi Mishra Greek mythology and its stories of love, power, betrayal, and tragedy have fascinated many generations. But let's also take a look at some of the writers and their works who are reframing these corpus and telling it from the perspective of characters that were once silenced or sidelined. In these retellings, the familiar myths take on unexpected turns. Circe is no longer a mere witch from The Odyssey instead she is a woman finding her voice and Briseis, the enslaved Trojan queen, becomes the heart of The Iliad in The Silence of the Girls or Medusa is no longer a monster rather she is a girl punished for surviving violence. Here are ten books that reimagine ancient myths with fresh emotion and new profound meaning. 'I had been old and stern and strong. I had been young and silly and weak. And now? Now I was something else.' 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Mint
21 hours ago
- Mint
‘Remembering': Spotlighting the healing voice in Arpita Singh's art
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Art historian and curator Kapur, for instance, in the essay titled Iconoclast, offers two theoretical frameworks for aesthetically examining Singh's works—feminist psychoanalysis and philosophy. 'Much of Arpita's work, world and ideology is history compressed into fables and allegories; what we witness are diverse imaginaries," she writes. Singh was born in 1937 in Baranagar, Kolkata, just before World War II. The period of her early childhood was marked by famine, riots and the final thrust for independence. The artist believes that our memories transcend our lifetimes, and carry imprints of our ancestors. This retrospective brings alive those traces of memory in repetitive, frenetic bursts of expression, through repetitive motifs and symbols and questions the cycle of exploitation and erasure. You enter the show with Searching Sita through Torn Papers, Paper Strips and Labels (2015). 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The American naval base Guantanamo Bay on the map of Cuba, painted prominently, points to the source of the oppression. 'Whatever I tell you three times is true" stencilled at the top right of the work speaks to the posttruth propaganda that normally accompanies such action. Through both visual and written motifs, she speaks to the collective disenchantment. My Lollipop City: Gemini Rising (2005) is a testament to the city of Delhi. She moved there just before independence and has called it home since. At its heart, the painting is about the labyrinthine palimpsest of Delhi which takes a lifetime to navigate, but where millions of refugees and migrants have found a sense of belonging. It is teeming with figures and familiar motifs that pervade her oeuvre— like swarms of airplanes flying above, gerrymandering bureaucrats and politicians, historical monuments, and serpentine roads. 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The other significant shift is observed in works such as My Mother (1993), heavily influenced by communal riots in the aftermath of the Babri Masjid in Ayodhya in 1992. It heralds a sharper focus on the horrors of violence and their impact on society. Against this backdrop stands the solitary figure of her mother dressed in mournful white sari worn by widows. It is revealing of the tragedy and loss that families, and women in particular, are left to cope with in the aftermath of violence triggered by patriarchal, colonial or capitalist overreach. Also read: 'Something like Truth': Staging four monologues around truth and justice Works such as Woman with a Boat (2002) or For Fenugreek (2005), are testament to her sensitive portrayal of the ageing female body—thereby elevating both the fragility and the resilience of a woman, who has survived patriarchy, marriage, childbirth, body shaming, depression, and more. Ultimately, her paintings are significant because they capture the precarious lived realities of post-independence India profoundly. Her repetitive motifs work despite their overwhelming presence, because they leave room for interpretation. Critically, the intergenerational traumas that women carry both from their collective pasts and uncertain futures, find a healing voice in her paintings—creating room for contemplation, support and empathy. At Serpentine North Gallery, London until 27 July. Anindo Sen is an independent art writer. A spotlight on South-Asian artists Aarti Lohia first discovered her passion for collecting art while living in Indonesia years ago. Today, she is a trustee of the South London Gallery and the Kochi Biennale Foundation, and serves on multiple councils such as at the Tate Modern. Through the S.P. Lohia Foundation—an international notfor-profit established in the UK in 2016—she backs South Asian artistic voices on the global stage. In 2022, she supported London's National Gallery's modern and contemporary programme, followed by a collaboration with the South London Gallery to bring Nairy Baghramian's Misfits series to London. Most recently, Lohia has supported Arpita Singh's major solo at the Serpentine. In an interview with Lounge, the Londonbased philanthropist reflects on the significance of Singh's practice and the broader role of philanthropy in strengthening South Asia's cultural ecosystem. Edited excerpts: How significant is Arpita Singh's exhibition at the Serpentine? Arpita Singh's works trigger emotions in the audience. Her works blend form and style with cartography, imagined and continued characters, and are done with a flourish in colour that is authentically Indian. We consider it a matter of pride to be able to bring Arpita Singh's solo works to one of the most impactful global art galleries. The fact that it is taking place during the London summer makes it a great opportunity to present her work to people from everywhere, and from across age groups and cultures free of cost. It is amazing that it has taken six decades to bring Arpita Singh's works to the world stage in a solo institutional exhibition. This has become a valuable opportunity to open doors for more artists from India and South Asia on globally relevant platforms What role has philanthropy played in strengthening the art ecosystem in South Asia? The Global South has emerged as a fluid and evolving concept, especially as colonial histories are being re-examined through contemporary voices. Artists from these regions offer alternative perspectives on recent history, young democracies, and social change. Philanthropy plays a key role in amplifying their work globally—but there's still much ground to cover. Arpita Singh, for instance, offers a deeply personal and powerful view of India's evolving society, especially through the experiences of its women. The S.P. Lohia Foundation is committed to supporting artists from or connected to the Global South, and Singh's work aligns closely with that mission. Also read: Lounge Loves: Vodka sodas, a musical time machine and more Are there intersections between your collecting and philanthropic journey? My interest in collecting began in Indonesia, surrounded by its rich traditions of art and craft, and deepened in Singapore, where I engaged more closely with Indian contemporary artists. I noticed a clear philanthropic gap in supporting this space. While my collection is personal, my philanthropic work—through the foundation and engagement with institutions like Tate and the Museum of Modern Art—is focused on amplifying South Asian voices globally. I was among the early supporters of the Kochi-Muziris Biennale and continue to champion it internationally. For me, collecting is a hobby; philanthropy is a passion rooted in creating visibility and impact for Indian artists. What leads to the decisions to support particular artists/ organisations/ museums? Art institutions hold lasting value—they preserve cultural memory beyond shifting governments or politics. I'm drawn to organisations that share our foundation's values and aim to broaden representation. Personally, I connect with artists whose work is consistent and meaningful over time. At Serpentine, for instance, I appreciate how Hans Ulrich Obrist highlights underrepresented female voices. Supporting Nairy Baghramian's Jumbled Alphabet aligned with our belief in championing immigrant narratives. We're drawn to institutions that embrace diverse, progressive perspectives beyond the mainstream. —Avantika Bhuyan


New Indian Express
3 days ago
- New Indian Express
Alfred Brendel, pianist renowned for refined playing of Beethoven, dies at age 94
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