M.K: Would you say that Panoply holds a supplementary role on teaching ancient Greek mythology in schools or universities? It’s really reinforced to us that people all over the world love ancient Greek culture. When the vase animations are shown alongside other vases people can still apply the ideas of energy and movement to the artefacts on display, so they make a fun and helpful addition to the exhibitions they’re in, even if their own vases aren’t there. Most of the time the animations are probably watched in people’s home or in the classroom. Several were included in a very impressive exhibition at the Winnipeg Art Gallery in Canada, and Hoplites! Greeks at War appeared in a fabulous exhibition on ancient warfare at the National Museum in Warsaw. Some other museums have licensed existing animations to show alongside other vases. It encourages people to look again at the vases – to understand the scenes, to feel their movement, and to think creatively about what the artists chose to depict. ![]() S.N: In the Ure Museum in Reading, UK, and in the University College Dublin Classical Museum in Ireland, museum visitors can watch animations alongside the vases they were made from. M.K: Can you tell us about the uses of the animations on vases? For some projects, we have worked with young people who planned stories based on existing myths, such as Sirensor Pelops, or new stories based on mythical characters, such as Bad Karma, featuring Nike. For Hoplites! Greeks at War, for example, we drew on Greek history and vase iconography to create a story that reflected the key aspects of a soldier’s experience. Some of the animations are based on history rather than myth. Achilles is superior to Ajax, so Achilles wins the game, and Ajax doesn’t take losing well, so he gets upset and indignant. So, to create Clash of the Dicers, we drew on ancient myths about the two heroes to guide us in how the characters would behave to create a new story. For a scene such as Achilles and Ajax playing a board-game, there is no specific myth attached. How it develops from there depends on the project. S.N: The starting point is always the vase scene. The animations are an addition that can help make people more inclined to do that study by helping them to understand and enjoy it. ![]() M.K: Do you create your own stories or do you base them on Greek mythology? From there we began working on getting the movement right and on ways they could be beneficial in museums and beyond. The idea of working with vase scenes came to us and really began to explode the potential of what we were doing. So we decided to push the ancient-world animation concept further. Then I heard from teachers that some of them were showing the animations in school. ![]() I showed at a few student society events and they got a great response. Steve Simons – Panoply’s animator) and I started messing around making stop-motion ancient world stories with toy-figurines, just for fun. ![]() S.N: It was during my doctorate at University College Dublin. M.K: How did you come up with the concept of Panoply? Simons of the Panoply Vase Animation Project talks to greektv all about Panoply. What if you could see the original artwork depicted on ancient Greek vases come alive in a series of animated pictures? Sonya Nevin, co-creator alongside with Steve K.
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