ΧΑΪΔΑΡΙ ΤΟΠΟΣ ΚΑΙ ΑΝΘΡΩΠΟΙ Κ.ΦΩΤΕΙΝΑΚΗ ΧΑΪΔΑΡΙ - ΤΟΠΟΣ ΚΑΙ ΑΝΘΡΩΠΟΙ -Σ_compre | Page 98

Ôï ×áúäÜñé óôç Ëïãïôå÷íßá êáé ôéò ÔÝ÷íåò
Ô
ï ×áúäÜñé óõíäÝåôáé, üðùò ðáñïõóéÜóáìå óå ðñïçãïýìåíá
êåöÜëáéá, ìå ôïõò ìåãÜëïõò óôáèìïýò ôÞò ðïëéôéêÞò éóôïñßáò ôçò
ÅëëÜäïò. ÐáñÜëëçëá üìùò óõíäÝåôáé êáé ìå ôçí ðïëéôéóôéêÞ ôçò éóôïñßá
êáé éäéáßôåñá ìå ôá øçöéäùôÜ ôçò ÌïíÞò Äáöíéïý, ôïõò ìåãÜëïõò
¸ëëçíåò æùãñÜöïõò Íéê. Ãýæç, Íéêçöüñï Ëýôñá, Êùí/íï ÐáñèÝíç ê.Ü.
Ôçí ðåñéï÷Þ ìáò åðéóêÝöôçêáí, åìðíåýóôçêáí êáé äçìéïýñãçóáí
ìåãÜëïé êáëëéôÝ÷íåò ôçò Ëïãïôå÷íßáò êáé ôùí Åéêáóôéêþí Ôå÷íþí.
Ëßãï ðñéí ôï ôõðïãñáöåßï “áíáêáëýøáìå” Ýíá æùãñáöéêü ðßíáêá
ðïõ áðåéêïíßæåé ôç ÌÜ÷ç ôïõ ×áúäáñßïõ, 1826. Ï ðßíáêáò Ý÷åé ôïí
ôßôëï “Áðïôõ÷ßá åðé÷åéñÞóåùò, 1826”, Ý÷åé öéëïôå÷íçèåß áðü ôïí Henri
Decaisne êáé óõìðåñéëáìâÜíåôáé óôç óõëëïãÞ ôïõ éäñýìáôïò ÉùÜííïõ Ö.
Êùóôïðïýëïõ. (óåë. 18)
Éäéáßôåñç ìíåßá èá ðñÝðåé íá ãßíåé ãéá ôçí ÌïíÞ ôïõ Äáöíéïý êáé
ôçí ÉåñÜ Ïäü, ôéò ïðïßåò åðéóêÝöôçêáí êáé öùôïãñÜöçóáí ï Åëâåôüò
Fred Boissonas, ç Nelly’s, ï Ãåñìáíüò Hanns Holdt (1925), ç Âïýëá
ÐáðáúùÜííïõ (1934), ï Óðýñïò ÌåëåôæÞò ê.Ü.
Ôçí ÉåñÜ Ïäü, ôï Äáöíß êáé ôï Éåñü ôçò Áöñïäßôçò óôçí Áöáßá
áðåéêüíéóáí äéÜóçìïé ÷áñÜêôåò, æùãñÜöïé üðùò ï James Skene
(1835 - 1845) ï Henry Kook (1850), ïé ÃÜëëïé F. Perilla (“Daphni Le
Monastere”1928) - Tavy Notton - Th. du Moncel, ï M. H. Belle, ï
Ñùóïöéëáíäüò ÁëÝîáíäñïò Ìðáñêüö (1934), ï Öþôçò Êüíôïãëïõ, o
ÃéÜííçò Ôóáñïý÷çò (1920), ï Ëõêïýñãïò Êïãéåâßíáò (1934 ; ) ï ÔÜóïò
Áëåâßæïò (1956), ç ÓåëÝóô Ðïëõ÷ñïíéÜäç (1941) ê.Ü.
Ç ðåñéï÷Þ ôïõ ×áúäáñßïõ áíáöÝñåôáé óå ôáîéäéùôéêÜ êåßìåíá,
äéçãÞìáôá êáé ìõèéóôïñÞìáôá. ÕðÜñ÷ïõí êáôáðëçêôéêÝò ðåñéãñáöÝò êáé
éóôïñéêÝò áíáöïñÝò üðùò ð.÷ ôïõ Ðáõóáíßá óôá ÁôôéêÜ, ôïõ ÖëùìðÝñ,
ôïõ ÓáôùìðñéÜíô (1806), ôïõ Êñßóôéáí ¢íôåñóåí (1841), ôïõ Å. ÑïÀäç
(ÐÜðéóóá ÉùÜííá -óôï Äáöíß), ôïõ ¢. ÔåñæÜêç (ÌåíåîåäÝíéá Ðïëéôåßá
- ÅñùôéêÞ óêçíÞ óôï Äáöíß) ôïõ Ã. Äñïóßíç (Ãåþñãéïò ÍÜæïò êáé ôï
Ùäåßï Áèçíþí- ÐåñéãñÜöåé ôï êôÞìá ×áúäÜñé/ÐáëáôÜêé), ôïõ
Ê. Ðïëßôç (ËåìïíïäÜóïò - ÌïíÞ Äáöíßïõ), ôïõ Ê. ÂÜñíáëç (¢íèñùðïé -
ðåñéãñÜöåé øõ÷áóèåíåßò), ôïõ ×Ýíñé Ìßëåñ (1939 - ÉåñÜ Ïäüò êáé ôïðßï
Äáöíéïý), ôïõ Ê. ÏõñÜíç (Ôáîßäéá - ÅëëÜäá), ôçò ÅëëçíéêÞò ÅðáíÜóôáóçò
(×ñ. Ðåñáéâüò, Äçì. ÖùôéÜäçò, Ä. Êüêêéíïò, ÆáìðÝëéïò ê.Ü.), ôçò æùÞò
ôùí áãùíéóôþí ôÞò ÅèíéêÞò Áíôßóôáóçò óôï Óôñáôüðåäï ×áúäáñßïõ
(È. ÊïñíÜñïò, Á. Öëïýíæôçò, Ã. Ñßôóïò, Ä. ØáèÜò, ¸. Áëåîßïõ ê.Ü.), ôçò
ÃéïñôÞò ôïõ Êñáóéïý (Á. Êáñáíôþíçò), ôïõ ÓêáñáìáãêÜ (Ñ. Öéëýñáò),
ôùí Êïõíåëéþí óôç äåêáåôßá ôïõ ´60 (È. Ãêüñðáò), ôçò äåêáåôßáò ôïõ
´70 (Ë. Ðáðáäüðïõëïò), áëëÜ êáé óýã÷ñïíåò áíáöïñÝò óôç ðüëç
(¢. Áëåâßæïò, “Áüñáôï ¢óõëï”, Ã. Äåíäñéíüò “ÁðÝñáíôåò óõíïéêßåò”
2001 êôë).
Ï êáèçãçôÞò öéëïëïãßáò ÄçìÞôñçò Ëéáíôßíçò Ý÷åé áíáëýóåé ôï ðïßçìá
ôïõ Êùíóôáíôßíïõ ÊáâÜöç “Åéò ôá ðåñß÷ùñá ôçò Áíôéü÷åéáò (1933)” êáé
óõó÷åôßæåé ôç ÄÜöíç ôïõ ÊáâÜöç ìå ôç ÌïíÞ Äáöíéïý êáé ôï Éåñü ôïõ
Äáöíáßïõ Áðüëëùíá.
Ï ãíùóôüò äçìïôéêéóôÞò óõããñáöÝáò Ãéþñãïò ÈåïôïêÜò (“Åëåýèåñï
Ðíåýìá”, “ÉåñÜ Ïäüò”, “Áñãþ” êôë.) äéáôçñïýóå óôåíïýò ïéêïãåíåéáêïýò
äåóìïýò ìå ôéò åê ×ßïõ ðñïåñ÷üìåíåò ïéêïãÝíåéåò ÈåïôïêÜ êáé
åðéóêåðôüôáí óõ÷íÜ ôï ×áúäÜñé. Ôï 1955, ðïõ Þôáí õðïøÞöéïò
âïõëåõôÞò ×ßïõ, Ýêáíå êáé ðñïåêëïãéêÞ óõãêÝíôñùóç óôçí ðüëç ìáò.
Ï ÈåïôïêÜò Ý÷åé êáôáãñÜøåé ìáñôõñßåò êñáôïõìÝíùí óôï Óôñáôüðåäï
×áúäáñßïõ, ôéò ïðïßåò ðáñïõóéÜæåé óôï âéâëßï ôïõ “ÉåñÜ Ïäüò”.
• “Ðáíáãßá ç ×ñõóïäáöíéþôéóóá”, 1951, Ýã÷ñùìï öéëì ìå
èÝìá ôçí ÊáéíÞ ÄéáèÞêç áðü ôá øçöéäùôÜ ôçò ÌïíÞò Äáöíéïý.
Äçìéïõñãïß: ¢ããåëïò Ðñïêïðßïõ (êáèçãçôÞò ÁéóèçôéêÞò óôï
Ìåôóüâéï, éäñõôéêü ìÝëïò ôçò ôáéíéïèÞêçò ôçò ÅëëÜäïò) êáé
Æüæåö ×åð (Ïýããñïò óôç êáôáãùãÞ öùôïãñÜöïò). Äåí Ý÷åé
âñåèåß ôï ó÷åôéêü öéëì ôï ïðïßï ðñïâëÞèçêå êáé äéáêñßèçêå óôá
öåóôéâÜë Åäéìâïýñãïõ êáé ÍÝáò Õüñêçò (1952).
• “ÄéáêïðÝò óôçí Áßãéíá”, 1958 ìå ôçí Áëßêç ÂïõãéïõêëÜêç óôï
ÐáëáôÜêé,
• “Öáßäñá”, 1961, ôïõ Æéë ÍôáóÝí óôïí ÓêáñáìáãêÜ,
• “Åõäïêßá”, 1971, ôïõ ÁëÝîç Äáìéáíïý óôï Óôñáôüðåäï,
• “ÁãÝëáóôïò ÐÝôñá”, 2000, ôïõ Ößëéððïõ ÊïõôóáöôÞ óôçí Áöáßá
êáé óôçí ÉåñÜ Ïäü.
ÓêçíÞ áðü ôçí ôáéíßá “Åõäïêßá”.
ÊéíçìáôïãñÜöïé óôï ×áúäÜñé
Áôôôßê (óôç óçìåñéíÞ êáöåôÝñéá “Áßíéãìá”). Óôçí åöçìåñßäá
ÖÙÍÇ ÔÏÕ ×ÁÚÄÁÑÉÏÕ êáôáãñÜöåôáé ç åßäçóç: “ÐÙËÇÓÉÓ
ÊÉÍÇÌÁÔÏÃÑÁÖÏÕ” Ðëçñïöïñïýìåèá, üôé ðñüêåéôáé íá ðùëçèÞ
ï èåñéíüò êéíçìáôïãñÜöïò “Áôôßê” ôùí áäåëöþí Äçìçôñßïõ” (27
Ïêôùâñßïõ 1957).
¹ëéïò (áðÝíáíôé áðü ôçí Ðëáôåßá Çñþùí, óÞìåñá óïýðåñ ìÜñêåô).
ËåâÜíôá (óôï ÄÜóïò ×áúäáñßïõ, óÞìåñá êáöåôÝñéá Ðéóßíá).
Ñßôá (óôçí ïäü ÖáâéÝñïõ óôá óýíïñá ìå ôï ÐåñéóôÝñé, óÞìåñá
ó÷ïëÞ ïäçãþí).
Êáôåñßíá (óôçí ïäü ÄáâÜêç).
¢íïéîç (óôçí Áãùíéóôþí ÓôñáôïðÝäïõ).
Ï ÐÝôñïò Êïíôüò
ÓïñÜãéá (ãùíßá ÄùäåêáíÞóïõ êáé ÂåíéæÝëïõ, êïíôÜ óôï 2 ï Äçìïôéêü
óå ôáìðëü ôïõ
Ó÷ïëåßï).
êéíçìáôïãñÜöïõ
Ïé ðÝíôå ðñþôïé Þôáí èåñéíïß. Ïé äýï ôåëåõôáßïé Þôáí ÷åéìåñéíïß.
ÓïñÜãéá.
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Haidari, literature the Arts
and people
¸÷ïõí ãõñéóôåß ðëÜíá óå êéíçìáôïãñáöéêÝò ôáéíßåò ìå èÝìá ðåñéï÷Ýò
ôïõ ×áúäáñßïõ:
G
reat painters, photographers, authors and travellers have
been inspired by the history, the monuments, and natural
environment of the area. Dafni Monastery, the Sacred Way,
Scaramangas, the sanctuary of Aphrodite, the hill of Aegaleo have
become a source of inspiration and creation. Not only Greek, but
also foreign artists and travellers mention Haidari in their works:
Fred Boissonais, Hans Holdt (1925), James Skene (1835-1845),
Henry Kook (1850), F. Perilla (1828), Tavy Notton, TH. Du
Moncel, M.H.Belle, Barcov (1934), Flaumber, Chateaubriand,
H.C.Andersen et.al.
Our town is vibrant and youthful, with social cohesion,
fl ourishing fi nancial and social life and charismatic cultural
heritage.
It offers open recreation areas in the parks surrounding it, and
well organized sports centers, such as football and athletics
stadiums, basketball courts and a swimming pool.
There is a regular link of Haidari to the center of Athens,
expected to improve thanks to the expansion of Metro network.
Primary and secondary education, healthcare, social work,
provisions for the elderly and sensitive social groups are available.
A meeting point for rehearsals and concerts held by young amateur
music groups, as well as free Internet access for young citizens
are among the privileges for local residents. All the above create
feelings of security and contentment.
In Haidari there are still grocery shops, organic food market ,
baker’s, pastryshops, shoemender’s, cafes, bookshops, a library,
open-air cinemas etc., along with large department stores,
Supermarkets, and fast-food chains.
Three newspapers are published here, through which citizens are
updated and exchange views and-occasionally-shafts. The fi rst
newspaper in the town was published in 1933.
Nowadays, Haidari is a modern town, expanded in size and
population. However, it retains the friendly village features,
keeping pace with the progress of a modern city. The population
has grown from 5868 in 1940 to a 13773 in 1951, while the annual
growth up to 1981 was 1000 inhabitants. Today, according to
National Statistics, the population is 47396 ( although the actual
number reaches a 60000).
Haidari has been twinned to the Frenchtown of Villeneuve
d’Ascg since 2001.
The young respect the cultural and natural environment, and,
while bearing in mind previous generations’ experiences and
mistakes, contribute with fresh, modern ideas to the town’s
function and social cohesion.
Haidari is a historical and-at the same time-youthful town.
Haïdari à travers la littérature
et les arts
D
e grands peintres, des philosophes, des littéraires et des
voyageurs ont été inspirès par l’ histoire, les monuments et
la beauté naturelle de la région. Le monastère de Daphni, la Voie
Sacrée, Scaramagas, le sanctuaire d’ Aphrodite, la colline Aigaléo,
les combats lors de l’ Insurrection et de l’ Occupation ont été des
sources d’ inspiration et de créativité. Non seulement des Grecs
mais également plusieurs artistes étrangers s’ y sont référés.
On cite à titre d’ exemple: Fred Boissonas, Hans Holdt (1925),
James Skene (1835-1845), Henry Kook (1850), F. Perilla (1928),
Tavy Notton, Th. Du Moncel , M. H. Belle, A. Barkov (1934), G.
Flaubert, F.R. v. de Chateaubriand, H. C. Andersen et d’ autres.
La ville à l’ ère actuelle
Notre ville est une ville de jeunes qui présente de la tradition
culturelle, de la cohésion sociale, des monuments historiques et de
la diversité aux niveaux de vie socio-économique et d’ agrément.
On peut pratiquer des sports dans les parcs naturels qui l’ entourent
mais il y a aussi des infrastructures sportives (des terrains de foot,
de basket, de volley, de tennis, d’ athlétisme et une piscine).
Les moyens de transports en commun réunissent notre ville avec
Athènes et le Pirée et ils s’ améliorent par l’ expansion du réseau
du métro.
En ce qui concerne les infrastructures sociales on y trouve des
services sanitaires et des hôpitaux à une distance de 1à 3 km de la
ville, des services sociaux, des locaux de rencontre et de soin pour
les personnes âgées et pour les personnes en besoin.
Il y a une salle de rencontres, de répétitions et de concerts pour
les bandes de musique de jeunes.
Tout ça contribue à une sensation de sécurité et rend les jeunes
fi ers d’ habiter cette ville.
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