Orpheus Hellenic Folklore Society Celebrating 20 Years of Music, Song & Dance Saturday, April 25, 2009 North Shore Center for the Performing Arts Welcome to the 20th year anniversary celebration of the first steps, the General Consulate of Greece with its many Orpheus Hellenic Folklore Society (OHFS). How does representatives over the last 20 years, and have extended one summarize what the past 20 years represent, not their warm support far beyond their official duties; Mr. only for OHFS, but for the Greek-American community Chris Tomaras, who through his various roles over the Orpheus Hellenic Folklore Society at large? It represents the successful fulfillment of a years, has always kept his door open to our numerous commitment to create a quality cultural program that requests; the late Mrs. Dina Sianis, a rare example of a would serve both Greek and non-Greek communities, woman with enormous spirit and inspirational strength; in an uncompromising manner, and at the same the Hellenic Museum and Cultural Center; The Greek- time, take advantage of its resources. “If you build it, American Nursing Home; the Greek Town Association; Celebrating 20 Years of Music, Song & Dance they will come” may be a cliché, but it holds true, as the Greek Star newspaper; and the Greek Circle magazine. the efforts of OHFS have had a long-term vision, far beyond the first challenging years of its existence. We would like to extend our gratitude to all those who have believed, shared and fueled the vision of OHFS for the past The cultural traditions of Hellenic dances, songs and music 20 years. We are thankful for all the grandparents, parents, Saturday, April 25, 2009 have offered OHFS an invaluable depth and variety with and relatives who continue to encourage and motivate which to organize and instruct the Greek-American youth. their children to be a part of the traditions that are a part It is immensely gratifying for the younger generation of their Hellenic heritage. We are grateful to the dedicated to embrace and find these traditions to be “cool”. All we instructors, who share their time and effort, in trying to have had to do from our end was to provide them with impart all aspects of the cultural traditions that are a part North Shore Center for the Performing Arts the opportunity and the appropriate environment for this of OHFS’s vision. Most of all, we are grateful to all the Skokie, Illinois type of cultural discovery. Thus, even in today’s digital young faces, who continue to inspire and surprise us every age, it is still “cool” to dance, sing and play music that year, with their enthusiasm, growth and infectious smiles! originated a couple of centuries ago, in a land that many of us still identify through history books, the experiences Our challenge today, 20 years later, is to sustain and of relatives, and occasional summer trips to Greece. expand our program over the next 20 years and beyond. We are determined, with your continued support and Featuring Along the way, we are truly grateful for the support and encouragement, to continue our mission, and ensure that Folk dances and songs performed by the Orpheus Hellenic Folklore Society the numerous partnerships that have developed. Some OHFS remains a worthy representative of the Greek and and with special guests, Anna Mavrou and John Peppes notable examples include: His Eminence Metropolitan non-Greek communities. Iakovos, who has observed and encouraged us since our Songs performed by the Orpheus Hellenic Folklore Society and the Chicago Hellenic Choir, under the direction of Eftihia Papageorgiou Music by the Orpheus Music Ensemble under the musical direction of George Lawler and Eve Monzingo and with special guest musicians, Beth Cohen, Panayotis League and Jim Stoynoff Production Manager: Stephanie Acosta Video Highlights: Alexander Kapotas Please note: Approximate running time of 2 hours with one brief intermission NO VIDEO TAPING OR PHOTOGRAPHY ALLOWED This performance will be professionally recorded and available for purchase through www.ohfs.org part I Welcome Video Orpheus Youth Group III: Dances from Macedonia Dance: Zaramo (Florina) Opening Act As Arhisoun Oi Horoi Dance: Leventikos (Florina) Dance: Kori Eleni Orpheus Recollections Video Performed by women on festive occasions Past and present members Dance: Pousnitsa (Edessa, Veroia) World Cup Opening Ceremonies, 1994 Performed by men in Central Macedonia Soldier Field, Chicago, IL Folk Music Improvisations Dances from the Mainland Beth Cohen, violin Dances: Kalamatianos, Tsamikos Panayotis League, laouto and tsabouna Orpheus Youth Group Video Orpheus Youth Group II: Recollections of past and present members Dances from Thrace Dance: Baedouska Orpheus Youth Group I: Dance: Tsestos - Anatoliki Roumelia (Northern Thrace) Dances from Thrace and Chios Xenitemeno Mou Pouli: folk song about emigrating Feto to Kalokairaki: folk song to foreign lands Dance: Koulouriastos (Asvestades) Dance: Xysyrtos (Thrace) Dance: Sihtir Havasi (Asvestades) Dendro Eicha Stin Avli Mou: folk love song Dance signifying the end of a celebration Dance: Dentritsi (Thrace) ‘Do Sta Lianohortaroudia: folk song Orpheus in Greece Video Dance: Zonaradikos (Thrace) Dance: Pyrgousikos (Chios) Orpheus Youth Groups I, II, III T’ Ithela Kai S’ Agapousa: folk love song performed in village streets prior to the wedding ceremony Orpheus On-Stage Video Dance: Endeka (Macedonia) Reflections of past concerts and performances Intermission part II Choral Memories Video Orpheus Hellenic Folklore Society with the Chicago Hellenic Choir Featuring compositions by Manos Hatzidakis, Stavros Kouyoumtzis, and Stavros Xarhakos. Part One: The Vision Odos Oneiron Thalassaki To Pelago Einai Vathi Part Two: The Voyage Filtisenio Karavaki Lavrio Yia Sou Hara Sou Venetia Part Three: The Memory Pou Einai Ta Chronia, Oraia Chronia Orpheus Music Group Video Orpheus Music Ensemble Mes’ Tou Aigaiou Ta Nisia: traditional island song (Dodecanese) Plataniotiko Nero: traditional island song (Samos) Orpheus Dance Troupe: Songs and Dances from the Island of Kalymnos Featuring Guest Performers: Anna Mavrou and John Peppes Issos Many of the folk traditions from A slow, line dance that is performed in this case with the song Giala. Only the mprostelatis, or kavos the island of Kalymnos revolve (leader) may improvise. The front three dancers may execute the dance variations while the rest of the line around the sponge-diving follows with the “sta tria” step. The dance is performed industry and culture that arose either with the violin/laouto or the tsabouna. as a result of it.The following Sousta One of the most characteristic dances of Kalymnos, songs and dances reflect and and always follows Issos. Sousta involves a springing motion which matches the vibrant tempo of the dance. incorporate these traditions. The leading couples of the dance may improvise in front, while the remainder of the line continues the dance with the basic step. There are a few versions of the Sousta dance in Kalymnos. It is also very popular in the other Dodecanese islands, where it is performed with slightly different variations. Tis Mihanis to Forema: Song Peismatika Moiroloi: Mourning song Ntirlanta (Kai Teza Oloi) Traditionally performed by sponge divers during A teasing, improvisational, exchange between a man As sailors return to Kalymnos from their long journey, Several versions of this song, composed by Captain Pandelis festive occasions, the title of the song refers to the and a woman, using the local dialect, and accompanied, in the mournful ringing of the church bells indicates that Ginis, have been found. It was performed by workers in diving suits they wore. The melody is also known this performance, by the tsabouna. It is performed during one of them has passed away. Only the clothes of the the olive oil presses or in the boats during the processing as Barba Thodoris or Mes Sta Petrota. many festive occasions. Depending on the skills of the dead sailor are returned to the widow, who mourns the of the sponges. North Africa, one of the destinations of participants, this type of verbal exchange may last a long loss of her husband. the Kalymnian sailors, is where the term “Ntirlanta” is Thymariotikos time. This particular version begins in a friendly tone, thought to have originated. Since the 1950s, the song has Dance performed by men along with the song, becomes more hostile in nature over time, until the end Mihanikos been performed by couples using a quick dance step. The Mia Melahrini. The name of the dance originates where, again a more conciliatory, tender tone is used. The “Mihanikos” in Kalymnos is the name given to the sponge song is considered a tsimarisma, where the song’s verses from the word thymari, the thyme-bush plant found couple’s verbal exchange is observed by the friends of the diver who used the skafandro (metal diving helmet) to search are sung by one singer and the remaining participants in the mountainous areas of Kalymnos. It begins with man and woman. for sponges. During the early days, a skantalopetra (large follow with the repetition of certain words or phrases. a clockwise movement, using a Syrto-style step, and stone) was used to help them during their dives. These men then reverses to the right with a Kalamatiano step. It Karsilamas risked their lives and were often paralyzed, due to piasimo is performed using the accompaniment of the violin Dance performed by couples. The origin of this dance in (the “bends”), which is a depth-decompression sickness. Closing Act: video or the tsabouna (island bagpipe). Kalymnos can be traced to a particular family of musicians. The dance is performed by men and is a Syrtos dance. The The change in rhythm in the dance occurred accidentally and lead dancer imitates the movements of a paralyzed sponge still remains today. As a result, dancers adjust their steps to diver who, holding onto a cane, attempts to dance.