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“Dance Music” in Byzantium and in the Balkans by Angeliki Liveri

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“Dance Music” in Byzantium and in the Balkans by Angeliki Liveri IMS-RASMB, Series Musicologica Balcanica 1.2, 2021. e-ISSN: 2654-248X “Dance Music” in Byzantium and in the Balkans by Angeliki Liveri DOI: https://doi.org/10.26262/smb.v1i2.7932 ©2021 The Author. This is an open access article under the terms and conditions of the Creative Commons Attribution NonCommercial NoDerivatives International 4.0 License https://creativecommons.org/licenses/by-nc- nd/4.0/ (CC BY-NC-ND 4.0), which permits use, distribution and reproduction in any medium, provided that the articles is properly cited, the use is non-commercial and no modifications or adaptations are made. The copyright for eventually included manuscripts belongs to the manuscript holders. Liveri, “Dance Music” in Byzantium… “Dance Music” in Byzantium and in the Balkans Angeliki Liveri Abstract: This paper will present a selection of representations belonging to Byzantine art, which show dance performances accompanied by music, by focusing on the time frame from the early to the late Byzantine period. Such pictures appear in various kinds of Byzantine art (e.g. wall paintings, sculptures, ivories, and illuminated manuscripts). However, only in a few of them, musicians and their musical instruments are depicted. Only a small number of these motifs is available. Most of these illustrations are linked with religious texts (New or Old Testament and psalms). Greek mythology also inspired a great number of them. Very few have a secular character inspired by literature or historical events. The representations will be combined and compared with references in written sources and archaeological remains. Songs, dance and music were performed in various occasions and places, e.g. in the imperial palace, in aristocratic palaces, in houses of ordinary people, in public places and in the countryside. This paper aims to highlight the presence of music at the dances in Byzantium, as well as the similarities and differences of these motifs in the contemporary art of the Balkan countries, which were under its cultural influence (e.g. Serbia, Bulgaria and Romania), making comparisons among the works originating from these regions. Keywords: Byzantium, Balkan, Art, Music, Dance. In Byzantine art, a small number of dance representations with musical accompaniment is preserved. I have selected representative dance images, which I classified in accordance with the number and type of the accompanied musical instruments that they illustrate.1 These are usually religious dances, according to 1 Regarding the terminology of Byzantine musical instruments see: Nikos Maliaras, Βυζαντινά Μουσικά όργανα (Athens: C. Papagrigoriou ‒ H. Nakas Co, 2007), 64-98; 163-166; 173-179; Maria Voutsa, «Γλωσσάριο μουσικών οργάνων της βυζαντινής και μεταβυζαντινής περιόδου,» in Ελληνικά Μουσικά ΄Οργανα. Αναζητήσεις σε εικαστικές και γραμματειακές μαρτυρίες (2000 π. Χ. – 2000 μ.Χ.), ed. Alexandra Goulaki-Voutira (Thessaloniki: Telogleio Fondation of Art, Aristotle University of Thessaloniki, 2012), 199-255: both with references; “Byzantine Musical Instruments”: Koç 24 Liveri, “Dance Music” in Byzantium… texts of the Old and the New Testament: The Odes of Moses in Exodus and the Psalms of David (149 and 150). They appear in illuminated manuscripts, dated from the 9th to the 14th century, and in wall paintings, mainly during the late Byzantine period (especially in the 14th c.). Only minimal evidence is available from other source materials (e.g. ceramic, marble and ivory reliefs), as well as from secular art. Ι. Percussion instruments Castanets, krotala or rattles Castanets, krotala or rattles2 are played either by one dancer in individual dances, or by one or more dancers in group dances. Long krotala, i.e. krotala with a long handle3 are held by dancers in some representations i.e. Salome in the Banquet of Herod in the fresco of St. John at Çavuşin of Cappadocia (7th c.).4 Similarly, the dancers on the marble reliefs of the Obelisk base (figs. 1a, b) of the emperor Theodosius the Great (390-395) at the Hippodrome of Constantinople (end of the 4th c.) use this type of krotala or castanets.5 Here, their sound is combined with the music University – Stavros Niarchos Foundation Center for Late Antique and Byzantine Studies (GABAM Byzantine Musical Instruments Collection): https://libdigitalcollections.ku.edu.tr/digital/collection/BMI/search (January 15. 2021). 2 They are terms for the same instrument (in plural, because it was holding a pair in each hand), sometimes with small differences. Here I will use the term long krotala to distinguish them of the short ones. 3 Bachmann also uses the term clappers on stick: Werner Bachmann, “Musikdarbietung im Hippodrom von Konstantinopel,” Imago Musicae XXI/XXII (2004/2005): 193-227; Currie following him uses the term cymbal tongs (kymbala) for the krotala which hold the dancers on the Obelisk base (see below): Gabriela Currie, “Glorious Noise of Empire,” in Medieval and Early Modern Performance in the Eastern Mediterranean, eds. Arzu Öytürkmen, and Evelyn Birge Vitz, LMEMS 20 (Turnhout: Brepols, 2014), 432-433; cf. Liveri Angeliki, “Byzantine and Western Medieval Royal Dances,” forthcoming. 4 Nicole Thierry, Haut Moyen Âge en Cappadoce. Les églises de la region de Çavuşin, vol. 1 (Paris: Librairie Orientaliste Paul Geuthner, 1983), 86-90, fig. 34, pls. 36a, 37a, b, e; Angeliki Katsioti, «Οι σκηνές της ζωής και ο εικονογραφικός κύκλος του Αγίου Ιωάννη Προδρόμου στη βυζαντινή τέχνη» (PhD diss., University of Ioannina, 1996), 124-128, 130, fig. 6; Angeliki Liveri, “Der Tanz in der mittel- und spätbyzantinischen Kunst,“ in Vierzig Jahre Institut für Byzantinistik und Neogräzistik der Universität Wien im Gedenken an Herbert Hunger, eds. Wolfram Hörandner et al., Byzantina et Neograeca Vindobonensia XXIV (Wien: Verlag der Österreichischen Akademie der Wissenschaften, 2014), 289. 5 André Grabar, Die Kunst im Zeitalter Justinians. Vom Tod Theodosius I. bis zum Vordringen des Islam (München: Verlag C. H. Beck, 1967), 219, figs. 245-246; Bachmann as in note 3; Albrecht Berger, “Die akustische Dimension des Kaiserzeremoniells. Gesang, Orgelspiel und Automaten,“ in Visualisierungen der Herrschaft. Frühmittelalterliche Residenzen ‒ Gestalt und Zeremoniell, ed. Franz Alto Bauer, Internationales Kolloquium 3./4. Juni 2004 in Istanbul. Veröffentlichung des Deutschen Archäologischen Instituts Istanbul, Byzas 5 (2006), 63-77, fig. 1; Jean-Pierre Sodini, “Images sculptées et 25 Liveri, “Dance Music” in Byzantium… of the hydraulic organ, the syrinx of Pan/panpipes, the double flute and the long trumpet. A similar type of krotala is also used in dance performances in Egypt, as show representations of Coptic Art in textiles, or other archaeological finds, such as real instruments and terracotta statuettes representing krotalists.6 Long krotala, or perhaps a kind of rattles also appear in dance scenes depicted on miniatures of illuminated manuscripts of the 11th and 12th centuries, combined with other instruments: e.g. they are played by the young woman, who is dancing behind Rea in Zeus’ birth, participating at the ensemble of four musicians-corybantes, in the miniature of the cod. Taphou 14, fol. 310v in Jerusalem (mid. 11th c.);7 In the 14th century, the motif of krotala-holding dancers in combination with other instruments reappears in illustrations in Bulgaria (wall paintings in the Trasfiguration Chapel in the Chrelio’s/Khrelio’s tower in the Rila monastery, ca. 1334-1335)8 and in Serbia (on propaganda impériale du IVe au VIe siècle: recherches récentes sur les collonnes honorifiques et les reliefs politiques à Byzance,” in Byzance et les images: Cycle de conférences organisé au Musée du Louvre par le Service culturel du 5 octobre au 7 décembre 1992, eds. Andre Guillou and Jannic Durand (Paris: Documentation Française, 1994), 67-73, figs. 18-19; Paola Dessì, L’organo tardo antico. Storie di sovranità e diplomazia (Padova: CLEUP, 2008), 75-84, fig. 8; Maliaras, Βυζαντινά όργανα, 282- 283, 411-413, fig. 193; Gabriela Currie, «Απεικονίσεις μουσικών οργάνων στη βυζαντινή και μεταβυζαντινή εικονογραφία,» in Ελληνικά Μουσικά ΄Οργανα. Αναζητήσεις σε εικαστικές και γραμματειακές μαρτυρίες (2000 π.Χ. – 2000 μ.Χ.), ed. Alexandra Goulaki-Voutira (Thessaloniki: Telogleio Fondation of Art, Aristotle University of Thessaloniki, 2012), 131-132, fig. X.1; Currie, “Glorius Noise,” 430-433, fig. 26.1; cf. note 3 above: I find that the use of the term Kymbala for this example brings more confusion: a) with cymbals and b) because is not distinguishable the form of the upper part of this instrument on the marble base: is it cymbals-like or another one? It fits only, when a pair of small cymbals mounted on a long handle, perhaps flexible are (cf. the next note); Liveri, as in note 3. 6 Marie-Hélène Rutschowscaya, Tissus coptes (Paris: Adam Biro, 1990), 111, 123; Marie-Hélène Rutschowscaya and Dominique Bénazeth, eds., L’art Copte en Égypte. 2000 ans de christianisme. Exhibition Catalogue (Paris: Gallimard, 2000), 168, 226f, nos. 170, 284-287; Helen C. Evans and Brandie Ratliff, eds., Byzantium and Islam. Age of Transition 7th ‒ 9th century (New York: The Metropolitan Museum of Arts, 2012), 195f, no. 137. For the Coptic examples, the term cymbal tongs would fit very well, because here the krotala or rattles consist of small cymbals mounted on a long handle. 7 George Galavaris, The illustrations of the Liturgical Homilies of Gregory Nazianzenus, Studies in Manuscript Illuminations 6 (Princeton N. J.: Princeton University Press, 1969), 222-227; Joachim Braun, “Musical Instruments
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