Dance In Ancient Greece

Dancing has traditionally been one of the most ancient forms of community entertainment and, indeed, has been true throughout the history of the Greeks even asit is today. References to dance in ancient Greece have come down to us through the writings of Homer, Lucian, Plato and Socrates as well as others. Dance scenes are also depicted on many ancient ceramics. One should not assume, however, that the dances of the Greeks today are the same as those of their ancient forefathers. As Tsatsou-Simeonidi states, “We do not have detailed descriptions of dances in archaic texts and the paintings which we see, especially on ceramics, cannotgive us the rhythm or the movement of a dance.” [1] There is, nevertheless, a thread of continuity seen in the types of dances and occasions at which both ancient and modern Greeks dance. Dora Stratou elaborates on that thread at length in her book but nevertheless concludes that, “When we say that our popular folk-dances embrace our entire history, obviously we do not mean that they are danced exactly as they were danced 2,500 years ago. One would be mad to even consider such a thing” (1966:13). As to the ancient Greeks, Lawler tells us “…the dance was a social activity in the truest sense of the word. By means of it the Greek expressed his personal and com- munal emotions of joy and sorrow, marked all the great events of his own life and that of his city—and thoroughly enjoyed himself ” (1985:121). Consider the events asso- ciated with dancing in the lives of the modern Greeks: baptisms, betrothals, weddings, pre-Lenten and Easter celebrations, feast days honoring patron saints, national holidays, etc. All are occasions similar to those celebrated in antiquity, either personal or communal. Anyone who has had the good fortune to observe Greeks dancing, orbetter yet, to dance with them cannot help but understand that they are still thoroughly enjoying themselves! Some of the above occasions require dances peculiar to that celebration that may not be performed at other times. Many such are performed during the pre- Lenten and Easter celebrations. Not all are “dances” in which the community as a whole takes part, but performances that may require dance movements usually connected with soil fertility rituals, rainmaking or the warding off of evil spir- its. Usually only a few take part in the actual performance, but the community as a whole participates as onlookers and beneficiaries of the particular ritual “dance” being performed. While it is true that Greeks dance and on a variety of occasions, what they dance may differ greatly not only from one region to another but frequently from village to village even though they may be separated by only a few kilometers. Particular dance names are heard over and over and some in every geographical region, i.e., Syrtos, Hasapikos, Karsilamas, Tsamikos. These are sometimesreferred to as pan-Hellenic dances. The assumption should not be made, however, that the same name is necessarilythe same dance. The Syrtos is a good case in point. The general concept is that the Syrtos is a dance performed by all Greeks and at all dance events. Indeed, adance motif exists which, with minor variations here andthere, is performed throughout the country and whichwill be danced at least once on almost all occasions. SomeGreeks, such as those from the island of Crete, refer to thatmotif as Kalamatianos. In some parts of the country thetwo names—Syrtos/Kalamatianos—are used interchangeably. However, when a Syrtos is requested by Cretans theywill perform an entirely different motif. On another island, Kythnos, couples, a man and awoman, always dance the Syrtos although there may bemany couples dancing simultaneously whereas in most ofGreece, the Syrtos is an open circle dance for as many aswish to take part. The Kalamatianos of Kythnos is also adance for couples, not particularly dissimilar to the Syrtosof that island except in rhythm; the Kalamatianos is performed to a ⅞ rhythm while the Syrtos is danced to

Available online at www.ignited.in Page 2

musicof 2⁄4 rhythms.Tsamikos is just as varied if not more so than the Syrtos. In its most common form it is really a solo for the leaddancer even though there may be many more in the danceline. In the past in some villages, only men may havedanced it. Elsewhere men and women performed it inseparate lines or in one line with the men first followedby the women with a handkerchief linking the last manand the first woman who were usually relatives. The firstdancer does his/her variations as he/she feels it in themusic and according to that individual’s particular skill. Usually one person will lead for a time and then join theline of dancers while another person demonstrates his/herskill. Because the Tsamikos is such a personal dance forthe leader with others in line taking a few steps right orleft from time-to-time, it is often considered “boring” bynon-Greeks. Not so for the participants, as those in theline are often relatives or good friends of the leader andvicariously experience his/her joy in the dance, knowing they will have an opportunity to demonstrate their own skill at another time. Technically it could be said there are as many ways to dance Tsamikos as there are dancers to lead it. In fact, there are more. Inhabitants of some villages, perhaps inaddition to dancing Tsamikos in the free-style as described above, also perform a motif to music in a tsamiko-type rhythm (6⁄8 or ¾) that is executed by all. There are hun- dreds of Tsamiko songs from which to choose, some quite localized others known throughout the country. At timesit may be a dance for one gender only. In such instances it is often referred to simply as the Women’s Tsamikos or the Men’s Tsamikos. Variety and improvisation are key words in describing the traditional dances of the Greeks. From north to south, from east to west there are hundreds of dances in this relatively small country. Because of the tendency to usethe same names again and again it may seem like less but it should be remembered, as pointed out previously, that one name used in different places might mean several different kinetic motifs. The repertoire was considerably greater in the past but has been diminished by emigration from the villages to the cities, the rise of performing ensembles and dance teachers in the villages, as well as foreign influences via television and film. In addition to the previously mentioned pan-Hellenic dances, included in the repertoire of most villages is any number of dances that may be done in only that village, in a few nearby villages or in several of the surroundingvillages. Within the various geographical regions of Greece similarities in the dances are often found that allow themto be classified in fairly broad categories such as mainland, island, mountain, plains or urban dances. Some are of the opinion that the geographical surround- ings are reflected in regional styles or have influencedthem: the stately steps with high leg lifts of inhabitants of the high mountainous regions, the running and stamp- ing step with lifts close to the ground of the villagers of agricultural or plains areas as well as the undulating flow of island dances emulating the sea. There are exceptions,of course. Where one region borders on another there will be definite influences in both music and dance as well as trading with or borrowing from one another. Regardless of regional differences, they are, nevertheless, bound together by a common thread making them identifiable as Greek. The majority of traditional Greek dances are in open circular formation moving counter-clockwise. A few exist, however, that are open circular moving clockwise. They frequently bear the name “Zervos,” meaning to the left. There are even a few dances that were traditionally per- formed in closed circles with no apparent leader; Pontic Greeks and some from Eastern Thrace mainly performthese. Today most of those dances are now done in open circular formation. Serpentine forms as well as free-form configurations (dancers placed wherever they choose on the dance floor) are also found. There are several dances throughout the country for couples. In most instances many couples perform simultaneously with each executing their own particular variations of the dance. While today most couple dances are performed with mixed genders, in many regions in the past members of the same sex mostly danced themtogether. The only exceptions were with immediate family or close relatives. A few solo dances exist and are almost always traditionally danced by men, although gender lines are rapidly disappearing. In most regions there were dances that were performed only by one gender or the other. While other dances may have been performed by both sexes, they were either in separate lines or with the last man and first woman joined not by their hands as with the other dancers but with a handkerchief. Today throughout the country, both men and women usually perform the majority of the dances and it is acceptable for women as well as men to lead. Exceptions to the above still exist in various villages. In Olympos on the island of Karpathos dancing must beginwith the men. Women gradually join afterwards to the right of a family member or close relative. A man must lead the dance as well as close it at the other end. This system also exists on several of the other islands in the Dodecanese group. Improvisation is one of the most characteristic featuresof Greek dances. It is the option as well as the obligation

Available online at www.ignited.in Page 3

insome instances of the lead dancer. The improvisations area means of self-expression and executed according to theskill as well as the mood of the performer. Because one’smood is not always the same, improvisations may be moreor less dynamic from one execution to another and maynot always include the same variations. As Drandakis writes in his excellent work on improvisation, each time the leader “…re-composes a pre-existingdance, but this recomposition also bears his own stamp”(1993:66). This “pre-existing dance” has been handeddown from generation to generation, and while each leaddancer interprets it in his/her own manner the executionof variations must conform to local stylistic and kineticstandards developed by previous generations. “The performance of variations in the lead position is,along with the perfecting of different regional styles, oneof the most difficult elements of Greek dancing. The difficulty does not usually lie with the execution of the variations…Most skilled dancers will be able to master thesewith a little practice. The problem is not so much what todo as when to do it. A good dancer is not measured by thenumber of variations he performs or by the difficulty ofthe variation. Rather it is how well it is executed, whether relatively easy or difficult, and, most importantly, how well it relates to the music” (Hunt 1996:35, 36). The relationship between the dancer and the music is extremely important. Using Cretan dances as an example, it can be said that the variations of lead males may bequite spectacular as they execute high leaps, dizzying spins, foot slapping, etc. However, all of these sensational moves are merely gymnastics if not performed in keeping with changes in the music. These dazzling variations should be executed when the music has reached an exhilarating level,a “high.” If not, then what may appear to be spectacular dancing to an observer from outside the village or ethnic group may not be perceived that way at all by the dancer’s peers. Cowan relates an interesting conversation among vil- lagers of Sohos in which they discuss the relationship between the lead dancer and the drummer (daoultzis) wherein the drummer tries to help an unskilled leader find and keep the beat (1990:127, 128). I have frequently observed musicians alter the tempo to conform to the leader’s movements and even verbally inform him/ her when he/she is off the beat. The lead dancer and the musi- cians share a special relationship when all are skilled. In this harmonious situation the dancer anticipates changesin the music while the musicians keep an eye on the varia- tions the leader executes and attempt to foresee where he will make a break or stop as punctuation or for emphasis. In the very best of this type of situation, the musicianand dancer literally become one, anticipating each other’s performance. Variations are not limited to the lead dancer although certainly the most energetic and spectacular are reserved for that position. In many, if not most dances, dancers within the line are free to perform a variety of steps thatfit within the general kinetic motif. In some instances one might think everyone in the dance line is performing a dif- ferent dance because of the many variations being simul- taneously executed. In one sense they are, and yet, they harmoniously fit within the dance motif. Music is found in every region of Greece and is an inseparable part of village life. Many events, not just dancing, are accompanied by vocal or instrumentalmusic. Each region has its own peculiar style of music and particular instruments used to achieve that style. Even though the same instruments are used in several areas, the combinations in which they are played create a distinctive sound in each of those areas. An instrument may play a dominant role in one region and a supportive or second- ary role in another. An extensive assortment of instrument combinations represents the music of Greece. There are two basiccombinations: the ziyia (ζιγιά), composed of two differentinstruments and the kompania (κομπανία), an ensemble. At times an instrument will be played solo, but today for most there is some type of percussion accompaniment. Some combinations are better suited for outdoor celebrations while others are more suitable for enclosed spaces. However, amplification has greatly modified their capabili- ties and several instruments initially used indoors are now also played in outdoor celebrations. While amplificationhas provided the opportunity for various instruments to be used in more settings than in the past, that same amplification is often so intense that it distorts the sweet- ness of sound made by some instruments in non-amplified situations. The geographical position of Greece, being both a Bal- kan and a Mediterranean country, has played a major role in shaping its traditional folk music. Within the country there are no precise musical boundaries; therefore musi- cal styles and songs often spill over from one region to another as well as from one country to another in border areas. As the borders are more open now than they were a decade or so ago, especially with the Former Yugoslav Republic of Macedonia, there has recently been an influx of both music and musicians. Those rhythms are frequently referred to as “asymmetric”; aksak, a Turkish word mean- ing to limp, is also often applied to these rhythms. This diversity of instruments and

Available online at www.ignited.in Page 4

rhythms combine to form the unique sound that is Greek music. An understanding ofand a feel for them are basic to the execution of the dances. One of the most marvelous things about Greeks andtheir dances is that they still perform them on most, if not all, celebratory occasions. Shay, in reference to the Dora Stratou Dance Theatre, leads one to believe that the tra- ditional dances of the Greeks are a thing of the past, “The repertoire reflects, to the best of the company’s collective ability, the dancing of fifty years ago when it was a living tradition” (2002:186). Fortunately for both Greeks andnon-Greeks this is incorrect. It is still very much a living tradition, alive and well in villages throughout the country although undergoing changes. One change is the village performing group, now stan- dard in many villages. This “necessitates” a dance teacher, all too often one who is a graduate of the physical educa- tion department of the university. In many instances the instructor is not from the particular village/region in ques- tion and either teaches “foreign” dances, i.e., from other regions, or stylizes the local dances. Even when villagers,without external instruction, construct performing groupsutilizing only local inhabitants, someone becomes the “director” and almost invariably they “rehearse” the danc- ers until they, too, resemble the well-known ensembles of Athens and other large cities losing the spontaneity and individuality with which they dance in their own village celebrations. Not a great deal of information on the traditional dances of the Greeks has been published in English. However, the works listed in the following bibliography will provide a basis for approaching the subject from various points of view. These divergent views will, hope- fully, enable one to have a better grasp of the multifacetedsubject of Greek dance. One might note a definitive lack of “how-to” books instructing the dances. Although several exist, mainly in Greek, I have yet to find one from which anyone can truly learn to dance. The translation of Lucian’s essay on the dance along with Lawler’s book provides the best works to date on Greeks and their ancient dances. While a few dance names and commentary regarding them are provided in both, no actual descriptions of the dances have remained. Theyare of great value, however, in understanding some of the types of dances and the occasions for dancing that were important to the ancient Greeks and the role dance played in their lives. It may not come as a surprise to find that many occasions and events are not that far removed from modern Greek society. Stratou attempts to make the leap from the ancientto the more modern world of Greek dance, not throughkinetic motifs and the dance repertoire of which we haveso little knowledge, but through “…their expression andmovement and musical rhythm—we find the threadlinking them with the ancient texts, the ancient musicalscales, the ancient poetic meters, the vase-paintings, theByzantine frescoes and Byzantine music” (Op.cit: 14). Thefounding of her dance theatre in the late 1950s was herattempt to present this to both her fellow Greeks as well asto foreigners (See Op.cit: 16). The Dora Stratou Greek Dances Theatre is the subjectof the chapter on Greece in Shay’s work on state folkdancecompanies. While he gives an interesting account of hisfirst encounter with the group in its very early years, hewrongly assumes it is a state ensemble in the sense ofthe other groups portrayed in his book (2002:167, 169). Fortunately for the sake of its living tradition Greece hasno state ensemble. There are, indeed, hundreds of performing ensembles throughout the country and many ofthem receive some amount of funding from the Ministryof Culture just as does the Dora Stratou Theatre. Thereare several inaccuracies in the account of the theatre, itsoperations and its presentations in this work. A moreaccurate picture of the situation in Greece in general aswell as the Dora Stratou Theatre in particular might havebeen portrayed if Mr. Shay had not largely limited his interviews to the current director and his staff. Neverthe- less it does provide an interesting look into the organized performance of traditional dances in Greece. A general overview of the traditional dances of the Greeks, the variety and regional style as well as the role dance plays in the lives of the Greeks is provided in Hunt’s work. Ethnomusicologist, MarkosDragoumis, director of the Music Folklore Archives of the Centre for Asia Minor Studies in Athens, writes in the foreword that the book “…shows a good balance between practical and theoretical information…” and “…whets the appetite of the novice to take the first step towards becoming a dancer and allowsthe knowledgeable to acquire a deeper understanding of the subtle art of Greek dancing” (1996:11). Essential to the understanding of Greek dances is the role of improvisation. Drandakis’ work on that subject is excellent. He leads us through the art of improvisation, the relationship between dancer and musicians, between lead dancer and others in the dance, even informing us how one’s ability to improvise influences his standing within society. Understanding the intricacies of improvisation is indispensable to understanding the way Greeks dance. Dance and social experience are deeply examined in Cowan’s work pertaining to the village of Sohos in Mace- donia. Although the work is concentrated on one par-

Available online at www.ignited.in Page 5

ticular village much of what is presented is true of Greek village society in general. The accounts of the various types of dance events—weddings, formally organized evening dances, ritual events, etc.—present a good picture of the variety of occasions at which dancing may occur and the social interaction underlying the actual dancing. It is also helpful in understanding the role gender plays in village society and how it relates to dance events. There are many ritual events in Greek culture in which dancing may play either a major or minor role. Danforth’s book reveals several underlying aspects of one ritual event, the firewalking of the Anastenaria. One such feature isthe role dance plays both during the actual event and otherwise in the lives of the celebrants. To them it is both a form of suffering as well as one of joy. We are given theopportunity to view the ritual both through the eyes of the participants as well as those of the outsiders through this work. Perhaps one’s view of what constitutes “dance” willbe changed or broadened through the reading. Music, sung or played, provides the accompanimentto the dance in most instances. A great variety of musical instruments and playing styles exist in Greece. FivosAnoyanakis’ work is the most complete and comprehensive on their variety and use throughout the country andis essential reading for one wishing to become acquaintedwith this rich assortment. Information is included concerning instrument making, musicians and different typesof music. Excellent color photographs of the instruments accompany the information. While there are disagreements among both scholars andGreeks as to whether or not the music and dance knownas “rebetika” are part of the traditional or folk repertoire,there can be little doubt that they are a definite segment ofmodern Greek culture. Two books provide a picture of thesub-culture from which they came. Both works give several of the songs of this genre with translations in English. In the book edited by Butterworth an article on the dancesby Petrides and one on the music by Dragoumis allow usa glimpse into the music/dance associated with the worldof the “rebetes.” Holst, in her work on the subject, not onlysupplies us with music and dance information but alsorecounts the history of the movement and its beginnings. There are obviously many ways from which to approacha dance or dancing. Multiple factors contribute to everydance and dance event, and the combination of thosefactors can create a favorable or unfavorable state. For aGreek to give expression to his emotions via the dance henot only needs to feel the music, but also needs good parea(παρέα), his companions. The atmosphere of the momentplays a major role, including the food and drink served. Most Greeks do not feel the need to express themselves indance until they have drunk several glasses of wine. Whenthe parea, the music and other factors are all present in theright amount and combination, the situation may becomeelectrifying, magical. At that point the Greeks dance in an outpouring of joy that is virtually unstoppable until eitherthe music ends or the dancers become too exhausted tocontinue. To witness such an event, or better yet to participate in it, is a great privilege and a look into the Greek soul. The dances have a deep personal significance for thepeople who dance them as can be seen from the suggestedreadings. The history of Greece and her people are written into them as well as into the music and songs. Theyhave been perpetuated and preserved over the centuriesbecause of the deep pride and spiritual attachment thatevery Greek feels toward his country. The bond between the Greek and his village is very strong no matter where heis living; it is the place that gives him his identity. His village dances, although they may not vary significantly from those of surrounding villages, are a vital and living element that helps to reinforce and perpetuate this identity.

• Anoyanakis, Fivos1991 Greek Popular Musical Instruments. 2nd ed.,Melissa, Athens.

• Butterworth, Katharine, and Sara Schneider (eds.)1975 Rebetika. Komboloi, New York.

• Cowan, Jane K.1990 Dance and the Body Politic in NorthernGreece. Princeton University Press, Princeton.

• Drandakis, Lefteris1993 Improvisation in the Greek Folk Dances.Athens.

• Holst, Gail1975 Road to Rembetika. Denise Harvey &Co.,Athens.

• Hunt, Yvonne1996 Traditional Dance in Greek Culture. Centrefor Asia Minor Studies, Athens.

• Lawler, Lillian B.1985 The Dance in Ancient Greece. Wesleyan University Press, Connecticut.

 ‘Lucian1972 “The Dance,” p. 211–289, Lucian V, tr. A.M.

Available online at www.ignited.in Page 6

• Harmon, Loeb Classical Library, HarvardUniversity Press, Cambridge.

• Shay, Anthony2002 Choreographic Politics. Wesleyan UniversityPress, Connecticut.

• Stratou, Dora1966 The Greek Dances, Our Living Link withHistory. Athens.