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Pontic Greek folk dance

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Circle of people in folk costume dancing
Pontic Greek group performing a dance, likelykotsari
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Pontic Greek folk dancesare a group of over ninety dances traditionally performed byPontic Greeks(Pontic:Ρωμαίοι).[1]Dance has been an integral part ofPontian culturesince ancient times.[2]Dances vary based on region.[3]Today, few Pontians remain in thePontus region,but those living in the diaspora worldwide still perform folk dances to preserve their cultural heritage and group identity. Dances are accompanied by traditional music. Some traditional instruments include thelyra,[2]daouli,[2]zurna,dankiyo,tulum,andoud.[4]The instrumental music may or may not be accompanied by singing.

All dances are traditionally performed in lines or circles with participants linking hands. The circle may shrink and expand during the dance, or it may move clockwise or counterclockwise. Pontic Greek dances can be distinguished from other types ofGreek dancebecause of their unique style. Pontian dances are characterized by shoulder tremors, abrupt pauses, synchronized arm swinging, knee bends, and precise steps.[2]Shimmying—the flexion and rotation of the torso—is also characteristic of Pontian dance.[5]Some dances are only performed by women, others only by men; many dances can be performed by both.

History and origin

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Ancient times

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Modern Pontian Greek dances integrate many elements of Ancient Greek, Byzantine,Laz,Caucasian(including Armenian), and Turkish dances. Some have their origins in ancient Greek dances from the 8th century BCE, such as the ancientPyrrhichiosor Pyrrhic dance.[6]

Relief of nude men with shields dancing.
Pyrrhichios dance in ancient art,Vatican Museums.

Early modern

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Most Pontians today live in Greece. Their ancestors came to Greece as refugees fleeing theviolence in the late Ottoman Empireor as exchangees following theGreek-Turkish population exchange.Some dances were permanently lost during the Greek genocide.[7]Despite originating from many different parts of thePontosand having a variety of different cultural traditions, Pontian refugees in Greece banded together and eventually formed a shared cultural identity as Pontian Greeks. Shared dances became a way for Pontians to remember and preserve their history.[8][9]It was believed that performing dances like the kotsari could ward off evil spirits, making them not only a form of expression but also a dance of protection.[citation needed]

Modern day

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Pontian traditional dances have been incorporated into gym classes at Greek public schools. In addition, dancers performed Pontian dances at the closing of the2004 Olympic Gamesin Athens.[2]Dances are also performed by a variety of troupes at the yearlyPanayía Soumeláfestivities;[10]every year on August 15, Greek Orthodox Pontians gather at a monastery in theVermio Mountainsto celebrateMary.[11]

Many Pontic Greek dance groups exist worldwide in the diaspora. According to one Pontic Greek man living inMelbourne,"every Pontian club had a dancing group."[12]Today, some dances may be performed to Western instruments likeguitarsanddrum kits.[13]Dance is essential to Pontian life and occurs at almost all major events. Pontians dance at large dinners, at weddings, at wedding receptions, to celebrate birthdays, to celebrate upcoming marriages, at Greek festivals, at religious festivals, and during commemorative events.[5]Dance is strongly connected to emotion, group identity, and group memory as Pontians. Anthropologist Valerie Liddle argues that Pontians also dance to commemorate the loss of their former home in Pontos.[14]

Types

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Styles of music and dance vary based on the region. A dance traditionally performed in a rural village of thePontic AlpsinGümüşhane Provincewould be very different from a dance traditionally performed in coastalTrapezunta,for example.[15]Beyond that, there are a variety of dance styles. Dances performed by women and men may vary. Some dances, such as theserra,are vigorous and fast-paced. Others, such as theomal monon,have a slower, more even pace. Rhythm may vary based on region and dance group.

Grips

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Dances are typically performed by a group of people linking their hands or touching one another's arms in some way. The grips vary based on dance and performers. Some grips include:

  • "W" grip (Dancers clasp hands with elbows bent)[16]
  • "T" grip (Dancers lay their hands on one another's shoulders, as inkotsari)[16]
  • "V" grip (dancers hold hands without bending elbows)[16]

List

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Dancers in traditional Pontian clothes
Enosi Pontion Pierias,Pontian dance group in Greece, performing a mixed dance

Tikdances

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Tikis a class of fourteen mixed dances. Dances may be performed in 5/8, 7/16, or rarely 2/4 meter.[17]Tikis a Romeika word, borrowed from Turkish, meaning "upright" or "brave."[18]

  • Tik diplon( "doubletik"), a 10-step dance originally from Kars, danced counterclockwise. Participants link hands and bend their arms at the elbows in the" W "grip. The dance is mixed, performed by both women and men. The dance is also calledtik so gonaton(tikof the knee) because the knee bends during the dance. It is always danced to music with vocals.[19]The instruments can include the lyra, dankiyo, zurna, tulum,kemane,or oud; it can also be accompanied by Western instruments such as the violin, flute, and clarinet.[4]The meter is 5/8 and the tempo is 300-384 bpm, although this can vary; in one study, tik diplon was danced to 70 bpm.[20]It has a distinctive style with repeated, rhythmic bends of the knee, hence the name.[18]This is the most commontikvariant danced today.[21]
  • Varyn tik( "heavytik") is a variety fromAkdağmadeni.It is slow compared to some varieties, with a tempo of 214 bpm. The dance is typically accompanied by zurna music. It is danced in 5/8 meter.[18]
  • Varyn monon tikis a simpler variety ofVaryn tik,with fewer steps.[22]
  • Tik monon( "singletik") is a variety fromBafra.[21]
  • Tik lagefton( "jumpingtik") is a variety that includes a jump on the second step. The meter is 5/8 and the tempo is 300-384 bpm. It is similar to the dancetikifromŞebinkarahisar.[18]
  • TikofMatsoukais a lively dance with small jumps. The meter is 5/8 and the tempo is 300-384 bpm.[22]
  • Tik mononofTrapezountais a slow dance with short movements. The meter is 2/4 and the tempo is 90 bpm.[22]
  • Shytonis a variety oftik mononfrom Imera, a village nearTrabzon.It is danced clockwise, unlike most varieties. The meter is 5/8 and the tempo is 263 bpm.[22]
  • Apo pan ke kan( "from up and down" ) is a variety fromMatsouka.It involves only basic steps. Rather than linking hands with elbows bent, participants link hands with their arms crossed behind their backs. In this way, a participant links hands with the second dancer from them rather than the person immediately next to them. The meter is 5/8 and the tempo is 263 bpm.[23]
  • AtsiapatorAtschapat,from the town ofAkçaabat,is a very unique dance. It is a men's dance or mixed dance (depending on region) that involves a slight repeated bending of the trunk. Hands move up and down throughout the dance. The meter is 7/16, and the tempo is 400 bpm.[23]The is generally accompanied by a number of traditional instruments, including the daouli and Pontic lyra.[24]
  • Tik tromachton,Titireme,orTi Laziasis a very fast-paced dance with only three steps (or, in some cases, "a sharp step followed by trembling" ). It is performed across Pontos to different names with slight variations in the steps. It usually accompanies music without singing. The meter is 7/16, and the tempo is 500-580 bpm.[23]
  • Kousera,another variety fromMatsouka,combines aspects of both thetik tromachtonand thetik monon.The meter is 2/4 and the tempo is 164 bpm.[25]
  • Tsourtoughouzousis a variety from the area aroundGümüşhane.[26]The tempo varies throughout the song. It is a lively dance performed in a closed circle with much stamping of the feet. The meter is 2/4 and the tempo is 125 bpm.[25]
  • Tik laziashails from the villages aroundAkdağmadeni.This is a male dance. Unlike in most Pontic dances, the dancers don't touch; instead, each dancer raises his right hand while keeping his left hand behind his waist. The dancers still form a closed circle as if linked. The meter is 7/16 and the tempo is around 500 bpm.[25]
  • Thetsakomataorserra(not to be confused with the men's war danceserra,detailed below) is a men's dance widespread across Pontos. The dance was performed in a closed circle, and one dancer was the leader who would call out phrases to signal different motions. Most Pontian dances don't have a leader. There are many names and varieties for this dance. The meter is 7/16 and the tempo is 500-580 bpm.[25]

Omaldances

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Omalis another class of mixed dances. In Romeika,omalmeans "regular" or "smooth," as the dances have simple steps without much jumping or stomping.

  • Omal monon,oromal aplon,is a simple dance with 6 steps. Dancers link their hands in the "W" grip and stand in a closed circle. The musical accompaniment varied based on the region.[27]
  • Omal diplon
  • Omal garasaris, or theKarsomal, is danced in a 2/4 meter with a tempo of 104 bpm. It is a mixed dance. Dancers hold hands and bend their elbows in the "W" grip.[28]
  • Omal kounichton
  • Omal trapezountas,ordipat,is a variety fromTrapezountawith a meter of 9/8. The tempo is 120 bpm. Dancers use the "W" grip. It is a relaxed, slow dance with small steps.[29]
[edit]
Pontic men dance in a government building
Pontians performing a dance, probably serra, during a Christmas celebration at theMinistry of Foreign Affairsin Greece
  • Atsiapat(Ατσαπάτ), a version of the serra dance originating in the town ofAkçaabat,Trabzon Province.The atsiapat is generally accompanied by the daouli (drum) and Pontic lyra. In Akçaabat, only men performed the dance; in theMatzoukaregion, both women and men performed it.[24]
  • Syrtos,a dance with musical and vocal accompaniment. This is also a war dance; the lyrics of the accompanying song described a battle.[30]
  • Horon (dance)is the Turkish word for the serra dance, from the Romeikahoroimeaning "dance".[31]Many Pontic Turks, whose ancestors lived side by side with the Pontic Greeks, still perform the horon.
  • Serra (dance),also calledpyrrichios,is a dynamic men's dance.[32]It likely descends from an Ancient Greek war dance, thePyrrhichios.[33][34][35][36]Although danced at celebrations, it maintains the characteristics of a war dance. Mouzenidis, writing for the Greek periodicalPontiaki Estiain 1956, argued that the serra represents a fight almost lost. The first phase of dance represents a joyous people, the second represents an injured fighter, and the third represents a redemption. The dance starts slow in the first phase. In the second phase, the dance quickens pace and becomes uneasy, as the dancers mimic injured fighters, tremble, and drop to their knees. At the last phase of the dance, the dancers rise up again, heads and hands held high.[31]It is danced in sequence with other dances, including the syrtos and atsiapat. Although it evolved from a war dance, in more recent times it is typically performed at celebrations.[30]In 2022, thanks to the research of Pontian Greek scholar Alexia Ioannidou, the serra was included in Greece's National Index of Intangible Cultural Heritage.[37][38][39]

Other dances

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  • Apo pan ke ka,tikvariant, from Akdağmadeni[40]
  • Armatsoukof Kars[40]
  • Arxoulamas/Ikelemeof Bafra[40]
  • Chyton
  • Diplo kots
  • Ekativa sa Paksidesof Trapezounta[40]
  • Empropisis danced in 9/8 with a tempo of 138 bpm. It is a quick dance utilizing small steps.[41]
  • Etereof Trapezounta[40]
  • Fonaof Trapezounta,Gümüşhane[40]
  • Gemouraof Imera, Trapezounta, and Sanda inGümüşhane[40][30]
  • GetiereofGümüşhane[40]
  • Giovalantumof Akdağmadeni[40]
  • Isaiah dance, part of a traditional Pontian wedding. The bride and groom perform this dance around a small table during the church ceremony.[42]
  • Kalon korits(lit. "good girl" ) fromTrapezounta[40]
  • Kara Punarof Bafra[40]
  • Karsilamas,performed inAkdağmadeniandGümüşhane[40]
  • KavazitasofKerasunta[40]
  • KelkitofGümüşhane[40]
  • Kers gumusmaden
  • Kizela/aneforitsaof Trapezounta[40]
  • Kizlar oplamasiof Bafra[40]
  • Kizlar kaitesiof Bafra[40]
  • Kotchangel,a farewell dance[30]
  • Kots[35]
  • Kotsariis a mixed dance,[34]shared with Armenians, that originates from theKarsregion in eastern Pontos.[43]It is danced in 2/4 with a tempo of 138 bpm. Participants lay their hands on one another's shoulders in a "T" grip.[28]The dance has 8 steps.[44]
    • Tria ti kotsari,an energetic Kars variant[40]
  • Kotsihton,an omal variant from Kerasunta
  • Kounichtonof Nikopolis[40]
  • Kouseraof Matzouka[40]
  • LafragkaorLafrangais a dance similar to the kochari. It is a mixed dance performed in a closed circle. Dancers link up using the T grip. Thelafrangamoves to the right, has 6 steps, and is performed in either 2/4 or 4/8 meter. There is no vocal accompaniment, but many different instruments can accompany the dance. It originated inSampsuntaand was also danced by Pontic refugees from Samsun inAlmaty, Kazakhstan.[45]
  • LetsiofKars[40]
  • LetsinaorLetsina Karsis a dance from Eastern Pontos. It is a fast-paced, mixed dance with 16 steps performed in a closed circle. Dancers link their hands in the V grip; they swing their hands back and forth and hold them above their heads at different points in the dance. There is no vocal accompaniment, although there may be many different instruments accompanying the dance.Letsinais performed in 7/8 meter.[46][35]
  • MandiliaofGümüşhane[40]
  • Maxeraormaheriaof Kars, meaning "knives," a dance incorporating knife play.[30]
  • Milon kokkinon( "red apples" ) of Akdağmadeni[40]
  • Militsa,"little apple"[30]
  • Miteritsaof Trapezounta, a sort of couple's dance representing unattainable love[30]
  • Momogeriacustom - a festive dance performed at Lent and to ring in the New Year[30]
  • Montzonosof Kars[40]
  • Moscof,a vigorous, fast-paced dance[47]
  • MouzenitikonofGümüşhane[40]
  • Omalinof Nikopolis[40]
  • Osman Agasof Bafra[40]
  • Outsai/Outsain/Outsa Aiax/OutsagunofNikopolis[40]
  • Papor
  • Piçak Oyünü,a knife dance. Two men holding knives face each other and improvise a dance in which they mime a knife fight.[48]
  • Pipilomatena,also calledpatoula,is a mixed dance originating fromGümüşhanebut performed throughout Pontos. Dancers use the "T" grip, laying their arms across one another's shoulders. Women and men alternate: if the first dancer in the line is a woman, the next will be a man, the next after him will be a woman, and so on. The dance is fast-paced with many movements of the knee. The wordpipilomatenameans a woman with small eyes (literally "seed eyes" ). The dance can be performed to the songpipilomatena,which describes a woman with small, soft eyes; alternatively, the phrase can refer to a woman with eyes the color of almonds or hazels. The dance's other name,patoula,is slang for a plump, pale woman. A full-figured woman with white skin was seen as the ideal of female beauty in the Pontos in the early 20th century.[49][50][30]
  • Podaraki
  • SampsonofSampsunta.[40]The dancers keep their legs straight and move swiftly from side to side, creating a particular bounce.[14]
  • Sari kouzof Trapezounta, meaning "blond girl"[35][30]
    • Sari kouz bafras
  • SeranitsaorArmenitsa( "little widow" or "little Armenian"[30]) is a mixed dance performed in 2/4 with a tempo of 120 bpm. It is relatively slow; dancers make small steps with their hands linked in the V grip.[41]There are 16 steps, and the dance moves to the right. It originates from the town ofCherianain the area aroundGümüşhane.The seranitsa is also called theekosi enan( "twenty-one" ). There are two different theories on how the name came about: some say that the steps form the number 21 on the floor during the dance, while others say that the dance originally had 21 rather than 16 steps.[51]
  • Syrtos
  • Taratsou Sokaklarof Bafra[40]
  • Tas,a partner dance from the Caucasus[35][52]
  • Tamzaraof Trapezounta[40][35]
  • Tek kaiteof Bafra[40]
  • Tersfrom Akdağmadeni[40]
  • Ti Laziasof Akdağmadeni[40]
  • Tik argonof Akdağmadeni[40]
  • TikiofNikopolis,similar to theTik lagefton.[18]
  • Titaraof Kars andGümüşhane[40]
  • Tizfrom Akdağmadeni (Tiz leilum gar)[40]
  • Topalamanof Bafra[40]
  • To thymisma,a wedding dance from Kromi, Trapezounta, and Kars[30]
  • Touriof Kars[40]
  • Tournalaof Kars[40]
  • Tripatof Trapezounta[40]
  • Tromachton( "trembling" ) of Trapezounta[40]
  • Trygona[35]( "turtledove" ), performed in bothKerasoundaandTrapezounta.[40]Trygonais also a folk song about an unhappy married couple.[30]
  • Kori Kopela,a variation on thepipilomatenafrom the banks of the Galyan Stream nearTrapezounta.[49]
  • Tyrphonof Bafra[40]
  • Tsarahotfrom Akdağmadeni[40]
  • TsiourtougouzousofGümüşhane[40]
  • Xalaiof Akdağmadeni[40]
  • Xala-xalaofGümüşhane[40]
  • Yedi ara
  • Yetire[52]
  • Yuvarladum

References

[edit]
  1. ^Zografou & Pipyrou 2011,p. 442.
  2. ^abcdeGeorgoulas & Southcott 2015,p. 12.
  3. ^Georgoulas & Southcott 2015,p. 16.
  4. ^ab"How to Dance Tik Diplon [Video Tutorial]".Pontos World.10 November 2019.
  5. ^abLiddle 2016,p. 50.
  6. ^Tyrovola, Karepidis & Kardaris 2007,pp. 241–242.
  7. ^Liddle 2016,p. 54.
  8. ^Tyrovola, Karepidis & Kardaris 2007,p. 242.
  9. ^Liddle 2016,p. 49.
  10. ^Zografou & Pipyrou 2011,p. 436-437.
  11. ^Zografou & Pipyrou 2011,p. 431.
  12. ^Georgoulas & Southcott 2015,p. 13.
  13. ^Georgoulas & Southcott 2015,p. 15.
  14. ^abLiddle 2016,p. 51.
  15. ^Elias George Tiragotzis; Nikos Zournatzidis; Kyriakos Moisidis (10 November 2019)."Dances of Pontus".PontosWorld.
  16. ^abcTyrovola, Karepidis & Kardaris 2007,p. 252.
  17. ^Vavritsas, Moisidis & Vavritsas 2014,p. 83.
  18. ^abcdeVavritsas, Moisidis & Vavritsas 2014,p. 86.
  19. ^"How to Dance Tik Diplon".Pontos World.10 November 2019.
  20. ^Tyrovola, Karepidis & Kardaris 2007,p. 250.
  21. ^abVavritsas, Moisidis & Vavritsas 2014,p. 84.
  22. ^abcdVavritsas, Moisidis & Vavritsas 2014,p. 87.
  23. ^abcVavritsas, Moisidis & Vavritsas 2014,p. 88.
  24. ^ab"How to dance the Atchapat (Ατσαπάτ)".Pontos World.10 November 2019.
  25. ^abcdVavritsas, Moisidis & Vavritsas 2014,p. 89.
  26. ^Zografou & Pipyrou 2011,p. 441.
  27. ^"Omal aplon".Pontos World.10 November 2019.
  28. ^abTyrovola, Karepidis & Kardaris 2007,p. 248.
  29. ^Tyrovola, Karepidis & Kardaris 2007,p. 247.
  30. ^abcdefghijklmSavvidis, Nikos (1981)."Dances of Pontos, Greece".Folk Dance Federation of California.
  31. ^ab"The Serra (Horon)".Pontos World.10 November 2019.
  32. ^Rinaldi, Robin (2010).European Dance: Ireland, Poland, Spain, and Greece.Chelsea House. p. 116.ISBN9781604134803.
  33. ^Palfy, Barbara (1998). ""Pyrrhic"".In Cohen, Selma Jeanne (ed.).The International Encyclopedia of Dance.Oxford University Press. p. e.1417.ISBN9780195173697.
  34. ^abZografou & Pipyrou 2011,p. 437.
  35. ^abcdefgTyrovola, Karepidis & Kardaris 2007,p. 246.
  36. ^"Πυρρίχιος. Ο πολεμικός χορός των αρχαίων Ελλήνων που χόρεψαν οι μυθικοί δαίμονες Κουρήτες για να σώσουν τον νεογέννητο Δία απο τα χέρια του Κρόνου. Διασώθηκε από τους Πόντιους - ΜΗΧΑΝΗ ΤΟΥ ΧΡΟΝΟΥ".www.mixanitouxronou.gr(in Greek). 22 September 2016.RetrievedOctober 10,2019.
  37. ^"Συγχαρητήρια Αντιπεριφερειάρχη Ανδρέα Βεργίδη στην Κιλκισιώτισσα Αλεξία Ιωαννίδου για την εγγραφή του στοιχείου" χορός Σέρρα "στο Εθνικό Ευρετήριο Άυλης Πολιτιστικής Κληρονομιάς της Ελλάδας (8/2/2022)".Central Macedonia Region Kilkis Regional Unit(in Greek). Government of Central Macedonia. February 8, 2022.
  38. ^"Σέρρα – Ο ένοπλος χορός των Ποντίων".Lelevo'se(in Greek). February 24, 2022.
  39. ^Pampohidou, Georgia (February 2, 2022)."Στην άυλη πολιτιστική κληρονομιά της Ελλάδας ο ποντιακός χορός Σέρρα (video)".ERT News(in Greek).
  40. ^abcdefghijklmnopqrstuvwxyzaaabacadaeafagahaiajakalamanaoapaqarasatauavawTsirigotis, Elias George (10 November 2019)."Dances of Pontus".Pontos World.
  41. ^abTyrovola, Karepidis & Kardaris 2007,p. 249.
  42. ^Topalidis, Sam (2015)."Greek Orthodox Weddings in Pontos".Pontos World.
  43. ^Georgoulas & Southcott 2015,p. 14.
  44. ^"Kotchari (Κότσαρι)".Pontos World.10 November 2019.
  45. ^Zournatzidis, Nikos (22 February 2017)."Lafranga (Λαφράγκα)".Pontos World.
  46. ^"Letsina Kars (Λετσίνα Καρς)".Pontos World.10 November 2019.
  47. ^Liddle 2016,p. 60.
  48. ^Liddle 2016,p. 57.
  49. ^ab"Pipilomatena (Gümüşhane)".Pontos World.10 November 2019.
  50. ^"Την Πιπιλομάτενα".Pontos World(in Greek and English). 21 February 2017.
  51. ^"Seranitsa (Σερανίτσα, Şiran)".Pontos World.10 November 2019.
  52. ^abMilligan, Nancy (May 1, 2019). "Pontian Dancing in Southern California".Folk Dance Scene.Folk Dance Federation of South California. p. 14.

Bibliography

[edit]
  • Georgoulas, Renee; Southcott, Jane (2015). "A case study of a Greek Australian traditional dancer: Embodying identity through musicking".Victorian Journal of Music Education.1:9–17.
  • Liddle, Valerie (2016). "Pontic dance: Feeling the absence of homeland". In Hemer, Susan R.; Dundon, Alison (eds.).Emotions, Senses, Spaces: Ethnographic Engagements and Intersections(PDF).University of Adelaide Press. pp. 49–65.ISBN9781925261271.
  • Tyrovola, Vasiliki; Karepidis, Ioakeim K.; Kardaris, Dionysios G. (September 30, 2007). ""Ποντιακοί Χοροί": Παρελθόν και Παρόν Δομική-Μορφολογική και Τυπολογική Προσέγγιση "[" Pontic Dances ": Past and Present Structural-Morphological and Typological Approach].Inquiries in Sport and Physical Education(in Greek).5(2): 240–263.ISSN1790-3041.
  • Vavritsas, Nikolaos; Moisidis, Kyriakos; Vavritsas, Georgios (January 2014). "The Pontic dance 'Tik'. Ethnographic and rhythmic element".Research in Dance Education.15(1). Taylor & Francis: 83–94.doi:10.1080/14647893.2012.721761.ISSN1464-7893.
  • Zografou, Magna; Pipyrou, Stavroula (2011). "Dance and Difference: Toward an Individualization of the Pontian Self".Dance Chronicle.34(3). Taylor & Francis: 422–446.doi:10.1080/01472526.2011.615235.ISSN0147-2526.
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