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NOSTALGIA, EMOTIONALITY, and ETHNO-REGIONALISM in PONTIC PARAKATHI SINGING by IOANNIS TSEKOURAS DISSERTATION Submitted in Parti

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NOSTALGIA, EMOTIONALITY, and ETHNO-REGIONALISM in PONTIC PARAKATHI SINGING by IOANNIS TSEKOURAS DISSERTATION Submitted in Parti NOSTALGIA, EMOTIONALITY, AND ETHNO-REGIONALISM IN PONTIC PARAKATHI SINGING BY IOANNIS TSEKOURAS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Donna A. Buchanan, Chair Professor Emeritus Thomas Turino Professor Gabriel Solis Professor Maria Todorova ABSTRACT This dissertation explores the multilayered connections between music, emotionality, social and cultural belonging, collective memory, and identity discourse. The ethnographic case study for the examination of all these relations and aspects is the Pontic muhabeti or parakathi. Parakathi refers to a practice of socialization and music making that is designated insider Pontic Greek. It concerns primarily Pontic Greeks or Pontians, the descendants of the 1922 refugees from Black Sea Turkey (Gr. Pontos), and their identity discourse of ethno-regionalism. Parakathi references nightlong sessions of friendly socialization, social drinking, and dialogical participatory singing that take place informally in coffee houses, taverns, and households. Parakathi performances are reputed for their strong Pontic aesthetics, traditional character, rich and aesthetically refined repertoire, and intense emotionality. Singing in parakathi performances emerges spontaneously from verbal socialization and emotional saturation. Singing is described as a confessional expression of deeply personal feelings and memories that ideally entails the sharing of pain. Sharing and expression of memories, personal feelings, and pain take place through the dialogical performance of short poetic forms, distichs, sung to riff-like tunes played by the Pontic fiddle, the lyra. This dissertation documents the poetics, aesthetics, rhetorics, and pragmatics of the intimate emotional socialization, nostalgic remembering, and participatory dialogical singing that characterize parakathi and illustrates how these processes negotiate the broader discourses of ethnicity, nationalism, and regionalism that contextualize Pontic Greek senses of belonging. This analysis demonstrates the musical limits of discursivity, the special connection between music and emotion, the significance of music for imagined communities of sentiment, and the importance of musical performance in the cultural negotiations of collective memory, subjectivity, and emotionality. It also provides important information about the aesthetics, styles, structures, and genres of Pontic music, which remain rather understudied, contributing to the expansion of the ethnomusicological field. ii ACKNOWLEDGMENTS According to academic convention every dissertation has only one author. This could not be farther from the truth, in the sense that every text, and especially an academic text, emerges out of a dialogue between the writer and a multitude of sources. This is the case especially with dialogical genres of writing, like ethnography. In ethnography the sources are living subjects. It is impossible to enumerate all the co-authors of this dissertation. I will mention here only the most influential. I would like to begin with the two most important people of this dissertation and among the most important of my life: my supervisor Donna A. Buchanan and my undergrad supervisor Pavlos Kavouras. Donna Buchanan is an ideal supervisor. Anyone who has the slightest idea about graduate studies understands that this involves much more than mere supervising. During the ten plus years of my studies in Urbana-Champaign, Donna Buchanan has always been on my side, providing knowledge, advice, life and academic guidance, inspiration, funding, solutions to a multitude of economic and practical problems, English lessons, editing of manuscripts, bureaucratic help, moral backing, and psychological support—to mention only a few. Donna Buchanan’s sophisticated scholarship and pedagogical vigor offer a high standard of professionalism and ethics, which I will always look up to. There are not enough words to express my gratitude for both her guidance and her friendship. Pavlos Kavouras has been a constant source of inspiration for me since the very first lecture of his that I attended in the fall of 1996. During these two decades Pavlos Kavouras has been a model of academic excellence and freedom, but also a constant supporter and scholarly guide. It is thanks to him that I decided to come to the University of Illinois for graduate studies. It is also thanks to him that I managed to fund most of my fieldwork. On top of all these things, iii he has remained one of the closest academics that I converse with. His influence on my work is more than obvious and it is testified to here in every single page. For all this, but also for his friendship, I owe him the deepest gratitude. Third, I would like to thank my dear friend and colleague Dr. Nikos Michailidis. An accomplished anthropologist and Pontic musician, Nikos Michailidis combines in both his work and his life a warm passion for his Pontic identity with the sensitivity of an ethnographer and the open mind of an academic. The discussions I have been having with him continuously since 2011 have been especially influential for this study. I will always be grateful to his invaluable help during my fieldwork. Nikos Michailidis introduced me directly and indirectly to more than two thirds of my interlocutors and fieldwork associates. Without his help and support this dissertation would have been much poorer, and would have taken much longer. I will always be indebted to him. I would also like to thank here the other three members of my committee: Thomas Turino, Gabriel Solis, and Maria Todorova. Working with these accomplished academics has been a seminal experience for my studies. Tom Turino’s influence is obvious in this dissertation in every single chapter. Gabriel Solis has affected deeply how I conceive key issues of ethnomusicology, ethnography, and memory theory. Maria Todorova, through her teaching and scholarship, changed how I conceive my own national identity and helped me reconcile with the most controversial period of Greek national history. Tom Turino, Gabriel Solis, and Maria Todorova belong to that category of powerful intellectuals who change, with their work, the consciousnesses of their audiences. I feel lucky to have been one of their students. My fieldwork associates, whose discourse and views constitute the subject of this study, are too many to be referenced by name in these few pages. I will mention here those who iv devoted extra time to my effort, by meeting with me repeatedly and/or by introducing me to other interlocutors and aspects of Pontic music and reality. Hence, I would like to thank warmly (alphabetically by last name): Savvas Damianidis, Polys Efraimidis, Filippos Kesapidis, Elina Kniazeva, Ioannis Loukidis, Serafeim Marmaridis, Eleni Mentesidou, Christos Mentesidis, Issac Salasidis, Dimitris Yopaz Soteriadis, Thanasis Stilidis, Natasa Tsakiridou, Giannis Tsanasidis, Savvas Tsenekidis, and Afroditi Zamanidou. These extraordinary individuals conversed with me throughout my entire study, generously sharing their rich life experiences and providing intricate views, personal narratives, and insightful critique. They are the core group of my fieldwork associates and as a result I owe them special gratitude. Every one of these amazing people has a special connection to Pontic heritage and Pontic music and benefitted my work in a particular way, for which I am deeply indebted. Polys Efraimidis, Filippos Kessapidis, Serafeim Marmaridis, Dimitris Yopaz Soteriadis, Thanasis Stilidis, and Giannis Tsanasidis offered endless discussions about the lyra and the Pontic musical style, they shared their musical art, and allowed me to become their shadow in their musical performances. I also feel deeply grateful and happy for the honor of their trust and friendship. I would like especially to thank Serafeim Marmaridis for the long lessons, essentially, on Pontic musical styles and the passionate discussions about ethnomusicology (even for the fact that he recorded me recording him), and Filippos Kessapidis, for lessons on Pontic regional styles and Pontic music history, and for virtually adopting me at the beginning of my fieldwork and after my wife Jill returned to the USA. For this last blessing I would also like to extend my gratitude to his wife Anastasia and their two beautiful and smart children, Stella and Morfi. I am grateful to Giannis Tsanasidis also for sharing with me part of his rich Pontic musical archive. v I owe special gratitude to Eleni Mentesidou, her brother Christos, and her fiancé Alexandros Efraimidis for providing me with access to their entire family and their village, a center of Pontic music and tradition, for sharing the intimate personal narratives of their late beloved ones, for their endless advice and corrections, and for their warm hospitality; I thank Eleni, in particular, for sharing her own writings and for inspecting parts of this manuscript. I want also to especially thank Issac Salasidis for hosting me numerous times and for sharing his personal and family stories, and Savvas Damianidis for his friendship and his help with the Pontic Greek language, especially the transcription/translation of song verses. I am most grateful to the following leading personalities of Pontic music and dance for their contributions, hospitality, and advice (alphabetically by last name): Panagiotis
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