Macedonian Music

[dragofly]

This is my collection of Macedonian folk dances in mp3 format before joining this forum. It's only 47 MB but I think it's a worthwhile download.

http://rapidshare.com/files/67552762/Macedonian_folk_dances.rar

Admins/Mods my apologies if I haven't posted it right.

[Amarantos]

Τραγούδια Μακεδονίας με τον Χρόνη Αηδονίδη / Songs of Macedonia with Chronis Aidonidis

1. Τι μαύρη Κορδελίτσα / Ti mavri kordelitsa
2. Με κάλεσε μια αρχόντισσα / Me kalese mia arhontissa
3. Τ' ήθελα κι σ' αγαπούσα / T' ithela ki s' agapousa
4. Ήρθαν καράβια στο γιαλό / Irthan karavia sto yalo
5. Τώρα που στήσαν το χορό / Tora pou stisan to horo
6. Όσα βουνά κ' αν πέρασα / Osa vouna k' an perasa
7. Από ξένο μέρος / Apo xeno meros
8. Ανοίξαν ούλα τα δέντρα / Anixan oula ta dentra
9. Μια Ντιρνιλούδα / Mia Ntirnilouda
10. Μάναμ' νιρό δεν έχουμε / Manam' niro den ehoume
11. Με γέλασαν τα πουλιά / Me gelasan ta poulia
12. Τρία χρόνια παντρεμένη / Tria hronia pantremeni

[dragofly]

Guys help ... I'm trying to find the music of two Macedonian folk dances called :
ελαφρύ καρσί και βαρύ καρσί. I know they come from Drama Xiropotamos, but I don't know where to locate them.

Thx in advance,

drago

[Amarantos]

Originally Posted by dragofly

Guys help ... I'm trying to find the music of two Macedonian folk dances called :
ελαφρύ καρσί και βαρύ καρσί. I know they come from Drama Xiropotamos, but I don't know where to locate them.

Thx in advance,

drago

You can find some information here. Check the original link too. I might be wrong, but i think that elafri karsi corrisponds to hasapia and vary karsi to karsilamas. You can find various versions on the previous music posts that do not come from Xiropotamos though. I do not know if this place has a particular version of the dances you are searching or if they are the same to those performed thoughout the rest of Macedonia.

[dragofly]

Thx for your prompt reply Amarantos. I'll check the link you gave me tomorrow.

Edit :

I studied the article you posted mate and found very interesting information, however, I think you're wrong, there are lots of karsilamades in Greece, especially in Macedonia and Thraki and they're different from hasapia dances. I'll keep looking for these particular dances and let you know when (and if) I find something.
Thanks for your help anyway. You're a person of great value.

[dragofly]

Σκοποί και χοροί του νομού Σερρών

ΞΗΡΟΤΟΠΟΣ

Κράι Μοναστήρι
Νικόλας
Μπουριάνα
Θοδώρα
Τσομπάς

ΠΟΝΤΙΣΜΕΝΟ
Κετσέκια

ΗΡΑΚΛΕΙΑ

Γιουρές(Πεχλιβάν)Χαβάσι
Σεργιάνι
Δράμα βασί
Αράπ χαβάσι
Αρναούτ χαβάσι
Νταουλάρ τσαλάρ
Καράντα βάσι
Ορμανλί
Γκάιντα βασί
Χατζημπελίκ
Πατρούλα μπιλέ
Ενα κι ενα
Καλίνω μόμε
Τούρκα Νιβέστα
Σαμ-Σαμαρίνα
Μαγνουστάρ

http://rapidshare.com/files/69008217/tunes_and_dances_from_Serres.rar

41,7 MB

[admin]

Holy I never even knew this thread got this big.

Bravo Paidia ZHTO MAKEDONIA ELLAS

[Amarantos]

The Custom of Yianitsari and Boules in the City of Naoussa

Three typical features characterize the Carnival in the city of Naoussa (located in Macedonia, Northern Greece), namely: its inhabitants’ adherence to tradition, customary Greek hospitality and the spontaneity and enthusiasm that accompany the beginning of the feasts. Groups of people in disguise who indiscriminately satirize everything, including even the representations of customs, form part of the celebration of the Carnival. The highlight of the Carnival is the appearance of people disguised as Yianitsari and Boules (Brides).

In an effort to trace the stages of evolution of the custom of Yianitsari and Boules, it is inevitable that we mention its close relationship with the rites of Dionysus. As it has been argued, not only for the custom under discussion, but also for similar ones celebrated in other regions of Macedonia (Kali Vrisi, Drama), the distant predecessor of all these customs must have been the grand festivities (called Anthestiria) with which people welcomed spring in antiquity; Dionysus was closely connected with the spring season and, therefore, worshipped by the people in the belief that in this way they would be favored and would reap a good harvest.

No documents have been found referring to the history of the custom dating from earlier than the middle of the period of the Turkish occupation. The oldest known event connected with the custom is the violent recruitment of Christian boys for the Turkish army in 1705 where the Sultan sent Achmet Tselebi to proceed with the first recruitment in the city of Naoussa. The inhabitants of Naoussa not only refused to give up their children, but also killed Achmet Tselebi. The event took place during the Carnival period. As a consequence, many men in Naoussa left the city and found shelter at Mount Vermion where they formed rebel troops under the leadership of Zisis Karadimos.



Βαγγέλης Ψαθάς, Μπούλες, Λύκειο Ελληνίδων / Vaggelis Psathas, Βoules, Lyceum Club of Greek Women

1. ΖΑΛΙΣΤΟΣ / ZALISTOS

2. α) ΚΑΤΩ ΣΤΗ ΡΟΪΔΟ (πατινάδα) β) ΩΣ ΠΟΤΕ ΠΑΛΙΚΑΡΙΑ (πατινάδα) / a) KATO STI ROIDO (patinada) b) OS POTE PALIKARIA (patinada)

3. ΠΑΠΑΔΙΑ / PAPADIA

4. ΜΑΚΡΙΝΙΤΣΑ / MAKRINITSA

5. α) ΤΟΥ ΣΑΝΙΔΑ (πατινάδα), β) ΤΗΣ ΧΟΝΤΡΟΣΟΥΓΚΛΑΣ ή ΣΤΙΣ ΔΕΚΑΤΡΕΙΣ ΤΟΥ ΑΠΡΙΛΙΟΥ (πατινάδα) γ) ΠΟΥΛΙΑΝΑ (πατινάδα) / a) TOU SANIDA (patinada), b) TIS HODROSOUGKLAS or STIS DEKATRIS TOU APRILIOU (patinada) c) POULIANA (patinada)

6. ΤΣΙΑΜΙΚΟΣ / TSIAMIKOS

7. ΝΙΖΑΜΙΚΟΣ / NIZAMIKOS

8. ΤΟΥ ΜΙΧΑΗΛΟΥ (πατινάδα) / TOU MIHAILOU (patinada)

9. ΤΟΥ ΥΨΗΛΑΝΤΗ (πατινάδα) / TOU YPSILANTI (patinada)

10. ΤΟΥ ΣΩΤΗΡΑ ή ΠΑΙΔΙΑ ΣΑΝ ΘΕΤΕ ΛΕΒΕΝΤΙΑ α) ΤΟΥ ΣΩΤΗΡΑ, β) ΠΑΙΔΙΑ ΣΑΝ ΘΕΤΕ ΛΕΒΕΝΤΙΑ / TOU SOTIRA or PEDIA SAN THETE LEVEDIA a) TOU SOTIRA, b) PEDIA SAN THETE LEVEDIA

11. ΜΕΛΕΚΕΣ / MELEKES

12. ΝΤΑΒΕΛΗΣ / DAVELIS

Closely connected with the custom of Yianitsari and Boules are significant events of the history of Greece, such as the organization and preparation for the Greek Revolution of 1821, the consecutive War of Independence and the destruction of Naoussa in 1822. These historical events along with other contemporary social events are echoed in the songs that gradually became part of the custom. The custom of Yanitsari and Boules reached its peak between the end of the 19th century and the beginning of the 20th century. By that time, the troupes of Yianitsari and Boules, called Mpouloukia, reached the number of twelve. It was during this time that the most gifted musicians made their appearance with the Mpouloukia. It should be stressed that the members of a troupe paid the musicians, while the leader of the troupe was expected to extend hospitality to them. The Carnival period was the only time of the year during which one could hear the sound of a zournas (a clarinet-shaped instrument with a shrill sound) and a daouli (a big drum). The custom of Yianitsari and Boules has been performed uninterruptedly during the 19th and 20th century, with the exception of the period from the beginning of World War II to about 1954.

The custom of Yianitsari and Boules is held to strict guidelines. The performance of this ritual requires disciplined obedience to certain rules. Only young, unmarried men are allowed to participate. Special care is required when donning the traditional disguises. The strict execution of the performance with traditional music and dance is expected. The troupe (Mpoulouki) must follow a specific itinerary as they travel throughout the city and the only instruments that accompany the troupe are the zournas and the daouli which are referred to as a couple (zygia).



Βαγγέλης Ψαθάς, Μπούλες, Λύκειο Ελληνίδων / Vaggelis Psathas, Βoules, Lyceum Club of Greek Women

13. Ο ΜΙΛΗΣ Ο ΠΕΡΗΦΑΝΟΣ (πατινάδα) / O MILIS O PERIFANOS (patinada)

14. ΤΗΣ ΣΟΥΔΑΣ ή ΤΗΣ ΣΙΑΝΝΑΣ / TIS SOUDAS or TIS SIANNAS

15. ΚΑΜΠΑΝΑ ή ΔΕ ΜΑΣ ΦΟΒΙΖΟΥΝ... (πατινάδα) / KABANA or DE MAS FOVIZOUN... (patinada)

16. ΤΟΥ ΥΠΑΤΡΟΥ ή ΣΤΡΩΣΙ ΛΕΝΚΟΥ ΤΟΥ ΣΙΝΤΟΝΙ (πατινάδα) / TOU IPATROU or STROSI LENKOU TOU SIDONI (patinada)

17. ΚΑΤΕΒΑ ΛΕΝΚΟΥ (πατινάδα) / KATEVA LENKOU (patinada)

18. ΑΛΩΝΙΑ (πατινάδα) / ALONIA (patinada)

19. ΠΑΠΑΔΙΑ / PAPADIA

20. ΤΟΥ ΝΙΚΟΥ (πατινάδα) / TOU NIKOU (patinada)

21. ΜΟΥΣΤΑΜΠΕΪΚΟΣ / MOUSTABEIKOS

22. ΖΑΛΙΣΤΟΣ (πατινάδα) / ZALISTOS (patinada)

23. ΠΑΠΑΔΙΑ / PAPADIA

24. ΜΑΚΡΙΝΙΤΣΑ / MAKRINITSA

Today the costume of Yianitsaros consists of the following items: a condela (white shirt with wide sleeves), foustanela (white kilt consisting of 250-400 pleats), pisli (type of waistcoat made of velvet or imported woolen fabric), moraitiko zounari (belt worn around the waist, made of silk and colored with a natural dye extracted from violets), seliahi (worn over the belt, made of embroidered leather and is embroidered), betsfes (white tights which cover the legs up to the thighs), skoufounia (white socks), tsarouhia (leather shoes with black tassel at the front), taramboulo zounari (large headscarf consisting of three separate pieces sewn together that is made of pure silk and bears motifs of eastern origin).
The costume of Yianitsaros is augmented with a wide variety of jewels, which bear different names according to their shapes, motifes, and way of manufacture. On the front of the costume coins dating from the 17th, 18th and 19th centuries are attached. The silver ones are of Turkish, French or Austrian origin. They are suspended from chains, the end of which is decorated with a cross or an amulet. Today, for simplification, these coins are sewn onto the waistcoat.

The most impressive item in the costume of Yianitsaros and Boula is the mask (prosopos). It is of special importance and one of the indispensable parts of the costume. The mask is made from a thick cloth covered by a layer of plaster. It is then lined with beeswax in order to keep the face of the wearer cool. The moustache is made of horsehair and tar. The colors used to render the characteristics of the face are mixed with egg yolks. It is worth mentioning that the openings in the mask corresponding to the eyes and the mouth of the wearer are so small that Yianitsaros and Boula can only, with great difficulty, breathe and see. The reason for this is that big eyes and a big mouth are considered to be ugly. The color of the mask is white with cheeks painted red.

The costume of Boula differs in many respects from that of Yanitsaros. It should be made clear that in keeping with tradition, a Boula is a man disguised as a woman. Boula’s head is decorated with flowers, tulle and ribbons and her mask is painted white with red cheeks and a golden spot on the forehead.

The preparation for the performance begins on the eve of the Carnival period. On Sunday morning the dressing of the Yianitsaros is completed and he is ready to join the troupe. The melancholic sounds of the zournas come from a distance accompanied by the drumming of the daouli. They play a tune to a free rhythmic pattern known as Zalistos or Proskinima (the homage or pilgrimage). The Yianitsaros will cross himself three times when he comes to the threshold of his home and then he will salute the members of the troupe who had come to fetch him. After the troupe has assembled, the procession moves to the Town Hall. The permission to proceed with the procession is nowadays granted by the mayor of the city. It is at that time that the zourna player starts playing the Rhoido, a song to which the Yianitsari dance and flourish the handkerchiefs tied to their hands before they draw their swords. Other dances and songs performed include Patinada, Thourios, Papadia, Makrinitsa, Nizamikos, Tsiamikos, Sarantapende, Melekes, Pouliana, Tou Ypsilanti, Tou Ypatrou, and O Milis o Perofanos.

The custom of Yianitsari and Boules has survived until today because it carries with it old memories which, presented anew, express the worries and needs of our own time.

Source: Takis Baitsis, “Yianitsaroi and Boula of Niaoustas”, 2nd Edition, Thessaloniki 2001

Βαγγέλης Ψαθάς, Μπούλες, Λύκειο Ελληνίδων / Vaggelis Psathas, Βoules, Lyceum Club of Greek Women

25. ΝΙΖΑΜΙΚΟΣ / NIZAMIKOS

26. ΝΤΑΒΕΛΗΣ / DAVELIS

27. ΓΚΑΙΝΤΑ / GAIDA

28. ΑΛΙ ΝΤΟΥΝΙΑ (πατινάδα) / ALI DOUNIA (patinada)

29. ΚΑΤΩ ΣΤΗ ΡΟΪΔΟ (πατινάδα) / KATO STI ROIDO (patinada)

30. ΣΑΡΑΝΤΑ ΠΕΝΤΕ / SARADA PEDE

31. ΜΠΟΓΙΑΤΖΗΣ - της τάβλας / BOYADJIS - tis tavlas

32. ΜΟΥΣΤΑΜΠΕΪΚΟΣ / MOUSTABEIKOS

33. ΤΗΣ ΣΩΤΗΡΩΣ - της τάβλας / TIS SOTIROS - tis tavlas

34. ΑΥΤΟΣΧΕΔΙΑΣΜΟΣ / AFTOSHEDIASMOS

35. ΜΠΑΪ ΑΠΟΣΤΟΛΗ / BAI APOSTOLI

36. ΓΕΛΕΚΑΚΙ / YELEKAKI



A Naoussa Mask Maker, Thomas Tomtsis.

By Carsten Bregenhoj, Archivist, Archives of Traditional Culture in Vasa, Finland



In connection with a seminar on masks and masking during the 14th Folklore Festival in Naoussa, Northern Greece, 3-7 July 2002, my wife and I had the opportunity of interviewing the mask maker Thomas Tomtsis and his mother Fani Tomtsis 1).

The family Tomtsis is famous for its workshop and the one room museum in the center of Naoussa. Here the five members produce not only the masks for the traditional Carnival but entire costumes as well. A byproduct of their craft is miniature masks for the few tourists that for odd reasons come to this end-of-the-road townlet.

The most impressive maskers at the Naoussa Carnival are the "Dancers", locally called the Yianitsari and Boules. These Carnival participants are all males, the main part of which wear dresses resembling the uniform of the Greek soldiers of the early 19th century, the minor part consisting of one or two attendants wearing female dresses. Both Thomas Tomtsis and others connect the "Dancers" with the Greek resistance movement of the early 19th century against the Ottoman occupation and relate that Macedonian partisans from the mountains were smuggled into Naoussa hidden among the "Dancers" 2).



Thomas Tomtsis is keen to point out that what he narrates about the craft and tradition is what he has been taught by his father and grandfather and experienced hemself as a "Dancer" and a member of a "Dancers Club". Moreover he states that he has a degree in agriculture but that he prefers to work in the family business. He skipped the agriculture to work with something close to his heart in spite of the fact that it is much less lucrative. Everything is made by hand, the only machinery the workshop can boast is a couple of sewing machines.

The special characteristic about the Yianitsari and Boula masks is that they are made from bee wax. Thomas takes out a mask that he is reparing and subsequently shows us the procedure on a miniature mask. The wax is formed over a wooden matrix or mould representing a face in the following way: A piece of canvas is cut in the appropriate size and dipped into a boiler with hot bee wax. The waxed piece of cloth is then left to dry. Meanwhile the wooden matrix is watered so that the wax will not stick. It is easier to work with the waxed sailcloth if the wax is still warm but the warmth of the trained fingers will soon make the raw material into a face like image. Thomas commences the process on the false face by bending the edges around the sides and the chin of the mould and continues from the forehead downwards using his thumbs to get the waxed fabric into all the details of the matrix. When he has finished with the nose there is a surplus of waxed canvas standing out which he then cuts open in the middle from the bottom of the cloth to the tip of the nose. He then bends each flap one over the other and presses them together. The handling continues over the mouth and chin. Subsequently he cuts the waxed canvas along the edges of the mask matrix and the first stage is finished. The image is then dipped into melted wax once more to gain in thickness and this may be repeated until the mask has reached suitable dimensions. The holes for eyes and mouth are cut and the edges smoothened.

There are strict limitations in the use of colours for the mask. As the base is a lifeless white, the cheecks and mouth are bright red and the eyebrows and moustages black, all according to tradition. For the male mask a preferably checkered piece of thin cotton cloth of 4 x 1 meter is stiched to the upper part of the forehead and artfully arranged as a headgear. As the proper cloth is hard to come by Thomas or a member of his family goes to Athens in search of material for the headscarfs. The maskers in female attire, often worn by the leaders of the group to make them easily destinguisable, have a loose flower decoration and veil on their heads and wear a traditional female folk costume.



It would go too far to get into all details of the dresses and the Carnival itself. The "Dancers" are in all a little over 200 males, women are not permitted as "Dancers" -"we are Greeks here, you know!" Thomas says with a wink. On the Greek orthodox Shrove tide Sunday the first touring of the town takes place. Early in the morning the "daouli" drummer and the "zournas" piper pick up the first masker and they go from house to house until the entire group is gathered. Following the "Dancers" is a large crowd of spectators, the music is shrill and melancholic, the legendary origin in the dangerous time of Ottoman rule and the tradition surrounding the "Dancers" as spearhead liberty fighters put a stamp on the event even today. "In a way the "Dancers" are gathering the volunteers for war and both songs and tunes are very sad," Thomas explains. "Last year they picked up the last "Dancer" from our house and the feeling was overwhelming when from the balcony we saw them coming with perhaps 500 onlookers all crying! All day I am singing, danceing and tears run down my cheecks on the inside of the mask". We later asked his mother Fani what she felt about the Carnival and she stated that women feel the same as the men, "just even more so". However, she also points to a large photo and proudly indicates that the two "Dancers" in the foreground are her sons.



The "Dancers" will move along a certain crisscross route of inner Naoussa. At eight points and in certain streets the troupes will dance. Each street has its song and they are all about distress, disaster and death. Every "Dancers' Club" follow the same itinerary. In Naoussa it is a prerequisite to dance no matter how bad the wheather might be.

All the way the maskers are followed by hundreds of spectators as well as townspeople watching from their balconies. When the route is finished the "Dancers" will gather at a very old platan close to the North side of the old city border and unmask.

Thomas points out that "Dancers" used to be burried in their hearscarfs when they died. No one even today would ever sell his costume. To make a new outfit would probably cost about 6000 Euros or more depending on how much silver decorations the customer would want on the costume.

The traditional Naoussa Carnival is recognized all over Greece as a very special event. In 2002 the Greek postal authorities issued a stamp with the Yianitsari as motive. From all over the country enthusiasts come to Naoussa during Carnival or the following Sunday. The traditional itinerary is done four times, two with masks on two successive Sundays and without the masks on the following Mondays.

At present there is no e-mail address. Contacts can be taken by snail-mail or telephone:

Thomas Tomtsis

K. Dimitriadi 2

GR-592 00 Naoussa

Greece



1) On July 4th, 2002. The following is written down after sketchy notes and memory. There are a number of descriptions of the Naoussa Carnival tradition, however, none which would satisfy an ethnographer. An important task still waits to be done.


2) A book in Greek and English exists on the Naoussa Carnival tradition: Takis (Dimitrios) Baitsis: Yianitsari and Boules of Niaousta. Published by the "Yenitsari and Boules" Association, Naousa. Thessaloniki, 2001, richly illustrated, 139 pp. ISBN 960-86772-0-3, 960-86772-1-1.




Το ξεφάντωμα του Γενίτσαρου

Ο Γενίτσαρος, που αναπηδά τινάζοντας περήφανα τα ασημικά του θώρακά του, δακρύζει. Ο ζουρνάς και το νταούλι παίζουν τον Θούριο σε έναν τοπικό σκοπό, έναν σκοπό που οι Ναουσαίοι έχουν τραγουδήσει και χορέψει τόσες και τόσες φορές. Πρόκειται για το έθιμο της πατινάδας (από το πατώ και το άδω), που ξεκίνησε για να διατηρηθούν άσβεστες οι μνήμες όσων είχαν χαθεί στην Επανάσταση του '21. Ολοι μαζί, Γενίτσαροι και Μπούλες (οι μελλοντικοί αντάρτες δηλαδή και οι νύφες τους) πιάνονται χέρι χέρι, διασχίζουν την πόλη χορεύοντας και τραγουδώντας και εύχονται χρόνια πολλά.



Οι άνδρες και τα παιδιά που γίνονται Γενίτσαροι ή Μπούλες χορεύουν αυτές τις ημέρες της Αποκριάς αναβιώνοντας το έθιμο της πατινάδας. Αστράφτουν πάνω στο χιόνι η ολόλευκη φουστανέλα και τα ασημένια ρούπια, οι σταυροί, τα χαϊμαλιά, τα κιουστέκια, τα σελάχια, όλα κοσμήματα της βαρύτιμης στολής τους.

Τις Απόκριες οι Μακεδόνες τιμούσαν ξεχωριστά τον Διόνυσο, ως σύμβολο της ανθισμένης φύσης, στα αρχαία Ανθεστήρια, τον μήνα Ανθεστηρίωνα (15 Φεβρουαρίου-15 Μαρτίου). Τότε, αλλά και ως σήμερα, στη Νάουσα, χορευτές οπλισμένοι με ξύλινα ή αληθινά σπαθιά ξεκινούσαν τη γιορτή, ταράζοντας την ησυχία της πόλης. Την ευθύνη για την τέλεση των γιορτών, ακολουθώντας το αρχαίο έθιμο, την έχει ο προύχοντας της πόλης ή, τώρα πια, ο δήμαρχος. Στα αρχαία χρόνια οι Μακεδόνες αναπαρίσταναν εορτάζοντας τον θεϊκό γάμο του Διόνυσου με την Βασίλιννα. Οι ένοπλοι συνοδοί του θεϊκού ζευγαριού που ήταν στολισμένοι με ρόδια λεγόντουσαν ρογκαστάρια και μετονομάστηκαν σε Γιανιτσάρια (σύμφωνα με το σύγγραμμα του Τάκη Μπαϊσή «Γιανίτσαροι και Μπούλες της Νιάουστας»).



Κυριακή πρωί της μεγάλης Αποκριάς στην ορεινή Νάουσα. Ο γιος του Αντώνη, του επιπλοποιού, ξυπνά μέσα στα άγρια χαράματα για να φορέσει τη φουστανέλα και ύστερα το «ταράκουλο», ύφασμα με το οποίο τυλίγει το στήθος του. Οταν απλώνουν το ταράκουλο, παρατηρώ με έκπληξη ότι το μήκος του είναι περίπου τέσσερα μέτρα. Οι γυναίκες που τον ντύνουν τραγουδούν μοιρολόγια, προετοιμάζοντάς τον για το φευγιό του στην ανταρσία στην οποία πρέπει να καταφύγει προτού τον αρπάξει ο τούρκος απεσταλμένος του πασά. Συνεχίζουν δένοντας γερά γύρω από το στήθος του Γενίτσαρου το βελούδινο πισλί (γιλέκο). Οι μαστόρισσες συνεχίζουν: κάλτσες, γιλέκα, ζωνάρια, πανιά. Αρχίζουν έπειτα να ράβουν πάνω στη φουστανέλα ασήμια. Στη μέση, πάνω από το μοραΐτικο ζωνάρι αραδιάζουν και τους τοκάδες, από τους οποίους κρέμονται ασήμια, ενώ η πλάτη του Γενίτσαρου στολίζεται από τα κιουστέκια, κοσμήματα δουλεμένα με ασήμι και πέτρες, στα οποία δεσπόζουν ο Δικέφαλος και η βυζαντινή αλυσίδα.

Τα παλαιά χρόνια ο στολισμός του Γενίτσαρου και της Μπούλας κρατούσε μία ολόκληρη νύχτα και το χάραμα κάποιος ειδικός * πρώην Γενίτσαρος * του έβαζε και τον Πρόσωπο (μάσκα). Το κατάλευκο χρώμα της μάσκας αυτής συμβολίζει τη νεκρότητα της φύσης και του υπόδουλου Ελληνισμού, σε αντίθεση με τα μάγουλά της που είναι βαμμένα κόκκινα, συμβολίζοντας έτσι το ζωντάνεμα της καρδιάς του σκλαβωμένου έθνους. Ο Γενίτσαρος και η Μπούλα την εποχή εκείνη δεν αποχωρίζονταν την αρματολή φορεσιά και κοιμόντουσαν μαζί της, ενώ για να πιουν νερό ή ρακί χρησιμοποιούσαν τσιμπούκι, γιατί το στόμα της μάσκας ήταν πολύ μικρό, όπως άλλωστε και τα μάτια της. Σήμερα η στολή είναι πιο άνετη και τα παλικάρια δεν ξαγρυπνάνε φορώντας τη.



Το μάσιμο

Ο Γιανίτσαρος είναι έτοιμος. Αφού πιαστεί χέρι με χέρι με τους συγγενείς του, αναπηδά τρεις φορές, χαιρετώντας τους με αυτή την κίνηση, εννοώντας ταυτόχρονα ότι πλέον φεύγει για το βουνό και δεν θα τον ξαναδούν πια!
Δύο δύο οι Γενίτσαροι ξεκινούν και τριγυρνώντας στην πόλη συναντούν και τους υπόλοιπους. Ανύπαντρα παλικάρια υποδύονται τον Γενίτσαρο αλλά και την Μπούλα, όπως στις αρχαίες τραγωδίες. Η Μπούλα μαζεύει χρήματα από όλους. Κάποτε μάζευε ακόμη και από τους Τούρκους, που βέβαια δεν γνώριζαν ότι επρόκειτο να τα ξοδέψουν σε μπαρουτόβολα για να εφοδιάσουν τους κλέφτες των βουνών. Οταν συγκεντρωθεί όλο το μπουλούκι, οι μικροί Γενίτσαροι, οι Γενίτσαροι με τις δύο Μπούλες ανάμεσά τους και πίσω ο αρχηγός με τους οργανοπαίκτες, κατευθύνονται προς το Κονάκι του Μουντίρη (το σπίτι του πασά). Στον δρόμο τινάζονται και κουνούν τα μεταξωτά μαντίλια που οι αγαπημένες τους έχουν ράψει στο δεξί μανίκι τους για να μπορούν έτσι να τους αναγνωρίσουν την επομένη.

Στο κονάκι δύο ναουσαίοι γνωστοί φιλήσυχοι πολίτες καθησυχάζουν τον τούρκο Μουντίρη και βγάζουν τις μάσκες αποκαλύπτοντας το πρόσωπό τους για να τον βεβαιώσουν ότι δεν είναι αντάρτες. Του εξηγούν ακόμη πόσο δύσκολο είναι και για τους υπόλοιπους χορευτές να βγάλουν τους Προσωπάδες τους με τη δικαιολογία ότι θα χαλάσει το δέσιμό τους. Πόσοι ήταν οι επαναστάτες που κρύβονταν στο βουνό Βέρμιο και πολεμούσαν μα ταυτόχρονα κατέβαιναν και γλεντούσαν τις Απόκριες στη Νάουσα, κρυμμένοι πίσω από τον Πρόσωπό τους!



Οταν ο Μουντίρης φώναζε «άδεια», ο ζουρνάς άλλαζε σκοπό για να παίξει το «Ρόιδο». Χορεύουν όλοι σε κύκλο και με πατινάδα μπαίνουν και βγαίνουν από τους μαχαλάδες της πόλης. Οι ιστορικοί χοροί εναλλάσσονται από μαχαλά σε μαχαλά. Ο μοναχικός χορός του καπετάν Νταβέλη, όπου μόνο ο πρώτος χορεύει και σέρνει τον κύκλο, η Σούδα που χορεύεται από μια Μπούλα η οποία καταχειροκροτείται, το τσάμικο, η «παπαδιά» και τόσοι άλλοι...
Το αποκορύφωνα έρχεται στην τελευταία στάση που κάνουν, όπου βγάζουν πλέον τις Προσωπάδες για να φάνε, να πιουν και να χορέψουν μαζί με ντόπιους και ξένους αλλά και με τους παλιούς Γενίτσαρους που δίνουν όλο τον εαυτό τους σε έναν τόσο λεβέντικο χορό! Ολοι μαζί πετούν τις πάλες (τα σπαθιά) και τις πιάνουν στον αέρα, χορεύοντας σε ζευγάρια· πολλοί από αυτούς είναι ξυπόλητοι.

Ôï ÂÇÌÁ onLine - ÔÁÎÉÄÉÁ

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[Greek-Cowboy]

Thank you for make this part of the forum the most enjoyable! I appreciate your eforts!

[tzaziki]

Hello everyone.
I just found this forum yesterday and I am extremely impressed. You'll be seeing me around here quite often reading everyone's posts. Hopefully, I'll be able to contribute something soon.