The iAitoloakarnania.gr σας παρουσιάζει τις εθιμογραφικές εκδηλώσεις που καταγράφονται στο νομό μας στο πέρασμα του χρόνου, μέσα από την λαογραφική έρευνα της συγγραφέως Σούλας Τόσκα-Κάμπα για την τριλογία «Παραδοσιακοί Χοροί».
From the editions of Stratis G. Filippos and in the series: Folklore-Tradition, the "Traditional Dances" by Soulas Toska-Kamba are released in a second edition, consisting of three volumes dedicated to the dances of the Greek space.
Η παρουσίαση, διεξοδική και κατατοπιστική έγινε με βάση την αξιοποίηση πλούσιας βιβλιογραφίας, συστηματικής και προσωπικής έρευνας της Αρτινής συγγραφέως που παρουσιάζει σε μια μοναδική τριλογία τους παραδοσιακούς χορούς Ηπείρου-Στερεάς Ελλάδος κ.ά., τους νησιώτικους παραδοσιακούς χορούς, καθώς και τους παραδοσιακούς χορούς Μακεδονίας-Θράκης κ.ά. το οποίο τιμήθηκε με το βραβείο «Ιπεκτσί» το 2001.
Thus, the reader knows in-depth our traditional dances, one of the basic manifestations of our people. This is an original work that is the result of a lot of research time and contributes to the fundamental study of our popular culture.
In the section on Sterea Greece the author mentions the following dances for the traditional dances of Aitoloakarnania:
In Aitoloakarnania we come across the largest varieties of the dances of Sterea. This is due to the fact that it borders with Epirus and Eptanisa, from where it has probably received little influence.
It is also characteristic that in this area there were the best musicians, many of whom went to the Peloponnese for various events as well as other parts of Sterea. These are the famous weights for which K. Constas writes:
"So listening to Zygia we have to mean a small-faced folk group of two caravans or trumpets or zurnades and a muddle or a dagger.
All Greek primary purposes are played by weigh. But there are also some who are exclusively playable by themselves, such as:
The Liakosikis, the Sun, Papadias, Karakaxa, Etia or Karpenissioti, Mahaliotiko and Rast, characterized by his tsakisma, all these slow organic dances, the Karavalikos, the slow sitting of the table, alternating in three different stops and is closed by a singer who is singing it and the ballad is singing, Roussa, slow calamatian dancing, Ai Symios, purpose and rhythm of the march, mostly used at the boys 'boys' legend, but because it is also excited every other season Dytikoroumeliotes the occasion, the Gypsies often bring in actuality its purpose, at any time and if possible the feast. "
Dances that are used here are jumpers, varying in pace and pace. The protagonist makes various figures, jerks, turns, leaps supporting the second dancer holding him with a scarf or by hand. Also dancing is Syrtos, Kalamatianos, Kounitos, Absolute or The Three, Massive spectacular and simple, Kangelis impressive and lewenic and the popular dance Gaitanaki.
For the feast that takes place in 23 August in the area Crawlers which takes two days, the first hosts the foreigners celebrate and entertain with them and the second day that is for the villagers, Dim. Douzos writes:
"The men were in front of the dance, and the women behind. They were singing verses. The woman never held the men by hand, but with a clean scarf! Attractive absolute and cheerful liveliness prevailed!
There, in the dance, one could make a marriage proposal to a girl as follows: She was wearing a scarf in front of her. If the girl took it and kept it in her hands it was a point of acceptance of the proposal and the candidate could ask her for her own.
Local dancing is also the so-called "Gaitanaki". It is alloy and absolute alloy. It is spectacular and is danced at the sunset on the second day of the festival. They are dancing cheerfully, young, women, men and old men. It is danced as follows:
He associates each one's hands not with his neighbors, but with the following, in such a way that, if they pass them over the head of his neighbors, a double dance is formed.
First they dance together. Then passing their hands over the head of their neighbors they each form doubled dancing and dance absolute. They move to the right, then the first of the dance turn and enter the gaping dancers all the way to the left and then turn to the right. Finally, the back dance moves over the head of the front and the single dance is again formed.
This is the smashing and the knitting of the yarrow. The words of the song are as follows:
Beyond that mountain, my queen, my coat,
stuffed over and over, naked,
and between the two mountains, maitania, my coat,
filled vine is sprouted, your hair wrapped.
He makes rakiji, maitani, my coat,
filled grapes, smudged on your plates.
And whosoever cut it off is cut off, my queen, my ass,
and whosoever eats it dies, a curled goat.
And whoever goes to his house, my maitania, my coat,
It does not wait for you, your hair is wrapped.
I'll cut it and let it cut, yawning, my coat,
I'll go to my house, my queen, my ass
I'll eat it and let it die, on your towel
full of love and love I do not, I'm fine and you are poor! ".
Gaitanaki or Katsoudas Mazozhtos in both dancers and in her area Trichonida on the third day of Easter. It is massive In the two, with two rows of dancers and why dancing on Easter, the inhabitants consider their participation to be tricky. It is considered a thriller that the song that accompanies the dance refers to the kleftarmatolos Panos Katsoudas and before the dance begins all the dancers will sing "They moved the kleptopoula". The song that accompanies Gaitanaki dance is:
You see that mountain that is drooping
I swarmed at the top and drifted at the bottom.
At the bottom graze sheep and goats on the top
and between the two mountains two brothers killed
and between the two vines the vine was sprouted
makes a rosette grape and the muscat wine
and he who cuts it shall be cut off, and whosoever eateth it dies
and whoever goes to the house of his lot will not expect.
Shrimp on my platforms.
How tied is the dance with the place and the thieving tradition, which Kostis Palamas emphasizes in his short story "The Death of the Lamb" where he writes:
"Each year, at the fair in Ai Lia, on the side of Libra, where the cold runs, the water and the plane trees spread with their leaves a resting roof, made of dew, greyhounds and sweet-smelling, there in the thieves once, Mutros Roumeliotis, the Fouanthelophorion, as other festivals went, with the golden armor of his grandfather, protoplancar, of his long-standing Makris, he went and danced, as if he had a vow. The fanatics left their own feast and circled round and ignored and forgotten. Every step in his dance, a mermaid and a light-hearted, swirling sweet and screaming laziness. He brought you to another world, to the world of fairy tales and angels who danced in the plain with the young ones, then gave up dancing and fought at the marble threshing floor with the Charm. The women who saw him there, months after the feast, had it in their minds and they smiled at him; comrades came from the villages sideways, even from the other states, every year, at the feast of Ai Lia not so much for the feast as for the dancer. "
Tsamikos was detained at Timeless and is still rescued as it did in the old days. It has its own style, its own color. It is slow, steady and heavy, it is literally danced in the place since the dancer does not move almost from his position but improvises with field figures and gives his personal style to the dance.
Slowly chamelean songs that we could claim to be dry-hearted are Targona, Angelo, Rousse, Grivas, Mavridourola, Yousuf Arapis, Kato to Valtou the villages and more.
Other peculiar organic dances are Papadia, Vathi Berati, Potamia, Leskoviti or Lisakovic, Alameis and others. They are mainly accompanied by the clarinet and are characterized as "heavy".
In nearby villages of Messolonghi such as Wright and other villages Xymeromer, the women were singing melancholic and melancholic nostalgic songs, their main element being the bitterness of foreigners. These songs were called Good Orthodox (Good Time) or Emblazoned or Foreigner and they were in a rhythm of a tsamikos or crude syrtou.
Time and time I am going
to hear a rider
to hear a gemi and a horse
Time and time I am going
to hear a postman
the postman to ask
and a letter I do not have.
At mountain Trichonida an organic, mixed, anti-dance dance is associated with mythology and represents, in some way, the rape of girls by the Centaurs.
Musical instruments are clarinet, daula, violin, lute and lautokitara, santuri. Also the zournas or fuss or caramus and the necessary for the escort of the zurnades the daouli. Two zurnades and a drum form a group of instrumentalists the weigh, as it is called.
The second edition of the "Traditional Dances" trilogy by Soulas Toska-Kamba, released by Filippos.
- Traditional Dances (Macedonia-Thrace-M.Asia-Pontos)
- Island Traditional Dances
- Traditional Dances (Epirus-Thessaly-St. Attica-Evia-Peloponnese)