Overview of Music and Dances in Macedonia

[greekdancer]

This is a very basic overview i use to introduce the music and dances of Macedonia.

http://www.geocities.com/makedoniaxakousti/

I have posted up the abovementioned website. Which contains this information

Macedonia is the northern region of Greece that borders with Bulgaria, the Former Yugoslav Republic and reaches south to the Aegean. Macedonia has a history of thousands of years as traces of human existence from paleo-history can be found in the Petralona cave in the Chalkidhiki peninsula. The highlight of this northern Greek region is of course the reigns of Phillip II and his son Alexander the Great in the 300s B.C.E. Their contribution to human history is immense and the spread of the Greek language and culture to the then known world has changed the course of history.


The region of Macedonia is one of the richest in music expression and dances. The costumes are also vast, vibrant and colourful. The music of Macedonia belongs to the musical idioms of mainland Greece but also presents an interesting internal diversity, which is due to the great mass of refugees that Macedonia has absorbed. On the other, o its economic and cultural exchanges with the areas adjacent to it: Epiros, Thessaly, The Aegean and Thrace. If we consider in addition that the limits of Macedonian Hellenism go beyond the northern borders of contemporary Greece it is not difficult to understand the variety and differences of the musical idioms we find as we move through the provinces of Macedonia.

The south-western and western regions show a Thessalo-Epirotic colour, while the music of the plains and of the urban western areas has its own peculiar character. The music of the eastern regions is characterised by orderly rhythms and harmonious melodies; its musical centres are to be found in the Chalkidhiki peninsular and around Mt Pangaion, where some excellent musicians still live, as well as many music lovers and merry makers (and thus it is as if the ancient myth that places Orpheus, a god of music, on Mt Pangaion finds its justification in our own time).

Finally, the music of the easternmost area is related to the music idiom of western Thrace, while the coastal regions of Macedonia that used to deal with the Aegean and the sea trade – especially the coasts of Chalkidhiki, maintain tunes and airs from both great categories of Greek music, the mainland and he islands traditions, assimilated however into the local idiom.


A similar variety is to be found in the instruments used in the traditional music of Macedonia. In addition to the usual ensemble of violin, clarinet and laouto (long-necked lute), we find combinations of zournas (shawm as shown in picture), bagpipes (gaida) with drone and daires (a big tambourine), lyra (pear-shaped fiddle) and drum (used by the refuges from northern Thrace), The lyra of Pontus (Black Sea fiddle) in the settlements of refugees from Pontus (the Black Sea) and also peculiar combinations of brass wind instruments and clarinets in the west, probably a survival from the Turkish military bands that used to be kept in the urban centres of western Macedonia until the beginnings of this century.

There is evidence, also, for other instruments played in Thessaloniki and other cities of western Macedonia, namely kavali (wooden long flute), outi (short-necked lute), kanonaki (psaltery) and, until recently, bowed tambouras. These instruments facilitated the performance of urban songs, many of which originated in Constantinople ( it should be remembered in this connection that for many centuries Thessaloniki use to be the greatest urban centre of Hellenism, second only to Constantinople itself).

The regional costumes of Macedonia vary from city to city, town to town, village to village. The influx of refugees from Asia Minor and Northern Thrace also helped add to the vibrant colour mix of dress.

The Female costumes of Macedonia exhibit considerable variety, yet one particular local outer garment, the sayias, merits special mention. Costumes with the sayias are encountered in the wider area of Thessaloniki and Episkopi. These costumes include a chemise, a pair of decorative sleeves, which either protrude the chemise sleeves or cover them, an intermediate garment (dress or dress coat), the sayias, an apron and a rather elaborate headdress.

The Male costumes of the rural regions of Macedonia display greater unity than the female ones and give the overall impression that they are black. Festive occasions called for white males costumes.

The dances just like the costumes are colourful and vary from area to area. The list of dances from the region of Macedonia are endless here is a small list of popular dances that I have taught in workshops over the years.

Gaida – a male dance to the sound of the bagpipe (gaida) that starts off slow and ends up being very fast. It is danced in most towns and villages in various forms.

Nizamikos – men in Naoussa dance the dance. According to tradition, the Nizamithes were Turkish tax collectors. The inhabitants of the town would invite them to dance with them, the Nizamithes would become excited and join in the dance and celebration and in turn lower, the share of taxes they would pay.

Moustambeikos – A dance that is popular in the Carnival in Naoussa in the Apokries.

Kastorianos – A dance from Kastoria in Macedonia. It mimics being stubborn with the dancers hitting the palm of their hands. In Kastoria depending on the occasion, it is either danced in a mixed circle of men and women or just women.

T’astri kai feggaraki ¬– A dance from Roumlouki in Macedonia. It translates to ‘the stars and the moon’. It is danced by women and at certain points in the dance, the women make an ‘eée!’ sound. This is also done in the horos Epiklisis.

Dimitroula – A female dance from Imathias. This dance is made up of twelve simple steps. The dance is named after the name of the tune called Dimitroula, a popular female name – comes from the Saint Demitrius (Patron Saint of Thessaloniki).

Syre Syre – Is a female dance found in Western Macedonia. This dance is made up of 20 steps. It is popular with the locals in Edessa.

Pousnitsa – A dance from Edessa where the male dancers fall onto their knees and spring back up into the air. It is usually danced on a flat backing tray.

Levendikos – A popular dance from Florina danced in a mixed circle. Variations to the dance exist in the small villages around Florina.

Syrtos Pyleas - A syrtos style dance from Pyleas danced by women.

Ormali a dance from the areas around Serres. The dance is popular in the villages of Flambouro, Xirotopo, Pontismeno and Irakleia. The men lead the dance while the women follow at the end of the circle. The dance is accompanied by a Zourna and daouli.



Tis Partalos - A dance from the area of Roumlouki in Western Macedonia. Partalos is a male dance made up of six steps. The men hold hands with outstretched arms or hold from the shoulders. The name of the dance is derived from the word Partalia, which means rags. A beautiful woman from Pyleas was known to wear Partalia, thus they dedicated the dance to this beautiful woman. The dance is fast paced and is made up of a series of leaps and squats. The dance is also danced at weddings. The groom leading the dance, next to the groom would follow his nonos (godfather), the koumbaro (best man) and then the rest of the bridal party.

Tsourapia - A dance from Western Macedonia. A popular circular dance also called Pardala Tsourapia, Kambano More Mitro, Pardales kaltses, Serenin tsourap and Sareve Tsourapia. The name of the dance means colorful socks – pardala tsourapia. The word sareve also means colorful in local dialect. In the town of Florina, many dancers wear colorful socks when dancing this dance. The movement of the dance begins towards the right then moves towards the left of the circle.

Kori Eleni – A dance tha is popular in Edessa and around central Macedonia. It is also known as Eleno Mome, Eleni or Mikri Elenitsa.

Raikos – A popular dance in Western Macedonia that is also known as Raiko Kokoraiko. It is popularly danced in Naoussa and Edessa. It is a mixed dance.

The open arms is a gesture of welcoming in the Boules Tradition.

[Amyntas]

Tsourapia,Syre Syre and Levendiakos are the dances i can dance

[admin]

Beautiful stuff!

[greekdancer]

Would you like me to continue these posts?

Also how do i upload music? Have a whole lot of Music from the different areas of macedonia - from Vlahika to Serreika, to dopia, north south east and west - would love to share...

let me know how i upload!

[Amyntas]

try yousendit.com , rapidshare.de, megaupload.com or filefactory.com

[Amarantos]

The Dance of Roka (=the distaff) - Galatini



Western Macedonia and the Prefecture of Kozani more precisely, are famous for their rich folklore and cultural heritage. In every village or city one observes that very old customs and traditions are still maintained alive due to the efforts of the new generations, with the active attendance of the elder, and it is sure that with the necessary interest they will continue to exist for a long time in the passage of the years to come yet. A custom which originates from its beginning probably from Galatini, revives in the Municipality of Askio. It is the "Dance of Roka" that takes place on the third day of Easter. Enlightening is the very interesting information that is given by an older publication of the Educational and Cultural Association of Galatini on the "Dance of Roka":

"(...) unfolding therefore the past, in the frame of the annual celebrations, we observe an abundance of local customs and feasts connected each time with religious, historical, social and other events. An important relation with the multifarious and multishaped local tradition has the custom of the "Dance of Roka". Succinctly, it is a dance which gave its name with the passage of the years to a wider dancing event in a concrete timetable.
We consider that it would be a wasted effort and also dangerous scientifically should we try to locate the precise time of birth of the custom. Today in any case the old residents of the village certify that the custom was practised also in the years of their greatgrandfathers. In the beginning of the "Dance of Roka" the oldest women of the village were positioned. Followed by the unmarried girls without the fringed kerchief, usually with their hair woven. The oldest and the most respected woman in the village was placed first in the circle, spinning thread around her distaff.* This spectacle accompanied with cheerful songs, and not by music instruments, became a passion causing deeply human feelings.
The "Dance of Roka" was taking place at the sunset during the third day of Easter. However the women were setting up the dance dressed with the local costume every single afternoon of the three days of the celebration of Easter.
It was taking place separately in each quarter and only in the last years the resurgence of the custom happens with one single dance group in the centre of the village. After 1912, the year of liberation of Macedonia, in the dance entered in a certain moment the men too, holding high the Greek flag for obvious reasons.
The last, noteworthy, renowned "Dance of Roka" is placed in the end of 19th century, approximately in 1880 and this because the precise moment that the dance was developed Turkish soldiers arrived seeking to seize Alamanena. She was the wife of a robust man from the village whose name was Alamanis. When the Turks asked to know who this woman was and where she could be found, Alamanena herself found the courage and said to them that the woman in question had left the village. So the Turks left and she was rescued. Little later she was secretly harboued by another resident of the village from Siatista for her own safety. According to the oral tradition the same story had been repeated few days earlier with the mother of kapetan Giorgos Ntavelis (Doukas), famous hero from Galatini during the end of the previous century.
With regard to the reasons of the appearance and the perpetuation of the custom of the "Dance of Roka", the answer cannot be one and clear. Listening however the songs we can presume the reasons of the birth of this custom. Obviously the songs that accompanied the "Dance of Roka" did not need to seek for subjects, but the life itself of the people from Galatini constituted the inspiration for the creation of the songs and the dance. Besides the songs and the dance as the most spontaneous events of life constitute a sort of human "voice". It surely satisfied the need of the women of the village to express their happiness and their sorrows, their religious faith, the love for their family, everyday life experiences and finally why not, their celebratory mood. The custom of the "Dance of Roka" was also a relief and a feast after a long winter. The ceremonial reasons in order for it to reach up until today simply continued to exist".

The original article in Greek

*additional information to the original.


The Dance of Roka, 2005 - Galatini, Macedonia, Greece.


The Dance of Roka, 2007 - Galatini, Macedonia, Greece.

[PhiliptheUniterchaeronea]

What a great thread. Thank you Greekdancer for starting it and of course to all the rest who contribute. Great stuff.

[Amarantos]

After the failure of the Revolution declared by the Greeks in Chalkidiki in 1821, the Ottoman authorities managed to regain the control of the whole region. The village of Ierissos ,which took part in the Greek War of Independence in Macedonia, during the repression was burnt down and 400 persons were killed by the Turks.
According to the tradition the notables among others, afraid for more reprisals left to the mountains. When the Easter (1845) arrived, and the city of Ierissos appearred deserted without its inhabitants, the Turks sought for them and informed them that if they came back from the mountains they would not be prosecuted in any way. On Tuesday after the Easter day all the persons that had left appearred. When they reached in the first threshing floor, the Turks keeping their promise did not harm anyone. However they obliged them to pass under an arch shaped with the swords of two soldiers, in order to show how they are subjugated to the Ottoman rule. The Greeks started to pass under the arch until in a moment a young man ashamed for this humiliation in front of the eyes of his loved one, seized the swords and threw them down. He was slaughtered by the Turks on the spot.
From that day on in Ierissos, every Tuesday after the Easter, on 11 o'clock in the morning, and not in another moment, people come to the "Threshing floor of the Black Lad" and dance the "kagkeleftos" dance to its memory.

source


Ierissos, today the seat of the Municipality of Stagira-Akanthos ,
Chalkidiki, Macedonia, Greece.