Human communication has evolved through countless stages, employing a wide range of means and practices. Undoubtedly, writing—regardless of the transformations it underwent—served as a landmark in the critical process of substantiating information, a process fundamental to humanity. In the modern era, around the mid-19th century, written correspondence gained a new medium that would radically reshape the practice of sending written messages: the postcard. The unique nature of this medium lies in its printed image, which functions as an accompanying "gift" to the sender’s handwritten message. In many instances, the image itself constituted the entirety of the message, as numerous postcards were sent without any personal note. The official debut of this new medium occurred on 1 October 1869 in the newly established Austro-Hungarian Empire. Gradually, postcards achieved remarkable popularity: everybody wants to send an image they had personally picked out to a loved one. At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, sound recording, radio, photography, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles. It is precisely this context that allows postcards to flourish; this is their "golden age". The establishment of the "Universal Postal Union" was a catalyst for facilitating their global circulation. On October 9, 1874, the Treaty of Bern established the sending and delivery of correspondence between its members.

Continuous advancements in the technology of this new medium aimed at enhancing both its usability and appeal, in order to address it to an increasingly wider audience. The first postcards were small in size and did not contain images. Nevertheless, their convenient size, durable cardboard material, and the inclusion of the cost of postage in their purchase price were innovative features for the time that upgraded the quality of communication. One side was intended for writing the message and the other was for the dispatch details. Soon, however, the image appears, dramatically increasing their demand. The evolution of photographic technology from the 1830s onward made the "real" image sought after. Postcards make a dynamic entry into a global distribution network and serve as a catalyst in the circulation of the image, which memorializes the "local" by carrying its related social representations as far as possible. It leaves–if not seeks–space for the activation of the imaginary on the part of the recipient.

The postcard, with the bilingual caption "ΕΛΕΥΣΙΣ / Ο χορός «Τράτα» / ELEUSSIS / La Danse « Trata »," (ELEFSIS / The dance "Trata") is an edition produced in Athens, as inferred from the back/verso side, where "M. N. Michalopoulos – Éditeur – Athènes" is marked. A group of women dance in a circular formation, performing the "Trata" dance, with a crowd of people watching the event. The revival of the "Trata" custom takes place every Tuesday after Easter and continues to this day. It is an event a folkloric character, since during this period of the early 20th century the first relevant institutions were founded [such as the "Lykeion ton Hellenidon" (Lyceum Club of Greek Women)]. It is likely that the photographer was informed about the event and thus went to the location to immortalize it. Surrounding buildings complete the background of the image, offering the "viewer" a sense of festivity in the neighborhood.

The photograph is colorized, and the caption is located at the bottom of the front/recto side. The back/verso side is a single layout with lines defining the space for the message. A smaller, more prominent line at the bottom right serves as a guide for the length of the sender's potential message. At the top right is the area for affixing the postage stamp, with the numbers 100 and 6360 written.

The text is written in Greek and intended for domestic delivery, specifically to Piraeus. Based on the handwriting, it is sent from Spata, a town in eastern Attica. It does not bear a postmark or postage stamp.