Marika Papagkika — Nikos Politis
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Music, Image, and Identity: Rebetiko and Greek National Identity
Universiteit van Amsterdam Graduate School for Humanities Music, Image, and Identity: Rebetiko and Greek National Identity Alexia Kallergi Panopoulou Student number: 11655631 MA Thesis in European Studies, Identity and Integration track Name of supervisor: Dr. Krisztina Lajosi-Moore Name of second reader: Prof. dr. Joep Leerssen September 2018 2 Table of Contents Introduction ......................................................................................................................... 4 Chapter 1 .............................................................................................................................. 6 1.1 Theory and Methodology ........................................................................................................ 6 Chapter 2. ........................................................................................................................... 11 2.1 The history of Rebetiko ......................................................................................................... 11 2.1.1 Kleftiko songs: Klephts and Armatoloi ............................................................................... 11 2.1.2 The Period of the Klephts Song .......................................................................................... 15 2.2 Rebetiko Songs...................................................................................................................... 18 2.3 Rebetiko periods .................................................................................................................. -
REBETİKANIN KADIN DERVİŞLERİ VE DİĞER ŞÜPHELİ HANIMLARI Gail Holst-Warhaft Çeviren: E
VOLUME 6 / SPRING 2013 GENDER REBETİKANIN KADIN DERVİŞLERİ VE DİĞER ŞÜPHELİ HANIMLARI Gail Holst-Warhaft Çeviren: E. Şirin Özgün Yunanistan’da rebetikanın geliştiği ve yıldızının parladığı dönem kabaca fl amenkonun, tangonun ve ABD’de kentli blues’un yükseldiği döneme denk gelir.1 Rebetika bu tip müziklerle pek çok ortak özelliğe sahiptir: bunlar erkek müzisyen, şarkıcı ve dansçıların en azından yabancıların gözüne stereotipik olarak maço göründüğü türlerdir. İçeriden bakıldığında ise, ya da daha incelikli bir ba- kışla, bütün bu popüler müzik türlerindeki kadın ve erke rollerinin ilk anda göründüklerinden daha belirsiz olabilecekleri görülebilir; hatta bu roller yansıttıkları stereotipleri bile ters yüz edebilir.2 Rebetikada müzik icra eden gerçek kadınların rolü ile şarkı sözlerinde yansıtılan kadın imgesi erken dönem Küçük Asya-İzmir tarzı şarkılardan Pire dönemine ve geniş ölçekte popülerlik ka- zanan 1960ların buzuki müziğine kadar çeşitlilik gösterir. İcra edildiği sert ortama ve erkeklerin icracı ve şarkı yazarı olarak egemen olmasına rağmen, Markos Vamvakaris ve Pire Dörtlüsü’nün başını çektiği 1930ların rebetikası bile tamamen maço olarak nitelendirilemez. Rebetikanın çe- kici yönlerinden biri mizah anlayışıdır; kostümün duruşuna, dansın sadece erkekler tarafından yapılmasına ve buzukinin keskin sesine rağmen bu sert pozlarda kendi kendisiyle alay eden bir hal, kabadayının ipliğini pazara çıkaran bir göz kırpma vardır. Şarkılar büyük ölçüde erkeklerden oluşan bir grubun üyeleri arasındaki yoldaşlıktan bahseder, fakat bu gruplarda -
Mammon and the Greek Oriental Muse. Rebetika As a Marketing Construct*
MAMMON AND THE GREEK ORIENTAL MUSE Mammon and the Greek Oriental Muse. Rebetika as a Marketing Construct* Stathis Gauntlett Th is paper is a preliminary exploration of the role of the recording industry in the construction of rebetika as a genre of Greek song in response to evolving market opportunities and constraints. Preoccupied with less mundane issues, discussion of rebetika has hitherto neglected to consider the genre as commodity unless in order to demonise record- ing companies as corruptors of pristine tradition, or to wallow in minu- tiae of empirical discography. Today genre is a major organising princi- ple of music business and, notwithstanding the danger of crediting the Greek industry with too much foresight and control, a detailed study of the political economy of rebetika is overdue. Th is skirmish with some of the main issues, using data from corporate archives, aims to advance such an undertaking. Th e title and main argument of this paper echo the words of Jacques Attali (1985:3): “And today, wherever there is music, there is money.” By the late twentieth century the main source of money for music — and not just for musicians — was the recording industry. Indeed, as Attali * I read an earlier version of this paper to the conference on “The Musical Traditions of Modern Greece” at Yale University in March 2003. I am also obliged to one of the anonymous reviewers of this volume, To Dr. Elizabeth Close, and to Mr Kostas Vlisidis for critical comments. The final version is entirely my own responsibility. Gauntlett, Stathis 2005. Mammon and the Greek Oriental Muse. -
Refiguring the Rebetika As Literature
Macalester College DigitalCommons@Macalester College English Honors Projects English Department 4-2020 Bodies in the Margins: Refiguring the Rebetika as Literature Sophia Schlesinger Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/english_honors Part of the English Language and Literature Commons, Ethnomusicology Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Schlesinger, Sophia, "Bodies in the Margins: Refiguring the Rebetika as Literature" (2020). English Honors Projects. 44. https://digitalcommons.macalester.edu/english_honors/44 This Honors Project - Open Access is brought to you for free and open access by the English Department at DigitalCommons@Macalester College. It has been accepted for inclusion in English Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. BODIES IN THE MARGINS Refiguring the Rebetika as Literature Sophia Schlesinger Faculty Advisor: Andrea Kaston-Tange Macalester English Department Submitted April 25th, 2020 Abstract This thesis engages a literary analysis of a corpus of songs and recordings known as the rebetika (sing. rebetiko), which prospered in the port districts of major cities throughout the Aegean in the early 20th century. Engaging the rebetika as literary texts, I argue, helps us understand how they have functioned as a kind of pressure point on the borders between nation and Other. Without making unproveable biographical claims about the motives of the music progenitors, I examine why so many have reached for the rebetika as texts with which to articulate various political and cultural desires. Using a multidisciplinary theoretical framework that includes Elaine Scarry, Stuart Hall, Edward Said, Mark C. -
Rebetiko Free
FREE REBETIKO PDF David Prudhomme | 104 pages | 24 Sep 2013 | Selfmadehero | 9781906838515 | English | London, United Kingdom Feature: Greek rebetiko music rises from margins to UNESCO's list - Xinhua | Rebetiko, plural rebetika, occasionally transliterated as Rembetiko, is a term used today to designate Rebetiko disparate kinds of urban Greek folk music which have come to be grouped together since the so-called rebetika revival, which started in the s and developed further from the early s onwards. We're doing our best to make Rebetiko our content is useful, accurate and safe. If by any chance you spot an inappropriate comment while navigating through our Rebetiko please use this form to let Rebetiko know, and we'll take care of it shortly. Rebetiko your password? Retrieve it. If by any chance you spot an Rebetiko image within your search results please use this Rebetiko to let us know, and we'll take care Rebetiko it shortly. Word in Rebetiko. Wiktionary 0. Freebase 0. How to pronounce rebetiko? Alex US English. Daniel British. Rebetiko Australian. Veena Indian. How to say rebetiko in sign language? Select Rebetiko language:. Discuss these rebetiko definitions with the community: 0 Comments. Notify me of new comments via email. Cancel Report. Create a new account. Log In. Powered by CITE. Are we missing a good definition for rebetiko? Don't keep it to yourself Submit Definition. The ASL fingerspelling provided here is most commonly used for proper names of people and places; it is also used in some languages for concepts for which no sign is available at that moment. -
The Sound of Ethnic America: Prewar “Foreign-Language” Recordings & the Sonics of Us Citizenship
THE SOUND OF ETHNIC AMERICA: PREWAR “FOREIGN-LANGUAGE” RECORDINGS & THE SONICS OF US CITIZENSHIP Mathew R. Swiatlowski A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of American Studies in the College of Arts & Sciences Chapel Hill 2018 Approved by: Jocelyn R. Neal Sharon P. Holland Timothy Marr Michael Palm Andrea Bohlmam © 2018 Mathew R. Swiatlowski ALL RIGHTS RESERVED ii ABSTRACT Mathew R. Swiatlowski: The Sound of Ethnic America: Prewar “Foreign-Language” Records and the Sonics of US Citizenship (Under the direction of Jocelyn R. Neal) This dissertation explores the juncture of sound and citizenship to consider how the boundaries of nation are maintained at both geospatial and cultural borders. Specifically, the project concerns “foreign-language” recordings made by US recording companies prior to World War II (hereafter, prewar). With the onset of war in Europe in 1914, “foreign-language” recordings were increasingly cut domestically, featuring vernacular performers of the Great Wave of immigration that brought Hungarian, Syrian, Ukrainian, Turkish, Polish, Mexican, Chinese, and Japanese peoples, alongside a host of other nationalities, to the US beginning in the latter half of the nineteenth century. Initially marketed to specific immigrant populations in the US, these recordings eventually became the province of postwar record collectors and the reissue music market by the 1970s. The narrative of the project draws much of its power by connecting their discrete moments of circulation with the political realities that shaped their audition. As such, the project examines the interplay between, what I call, the “national vernacular imaginary” and state policy in regards to immigration and citizenship. -
Greek Recorded Sound in Australia: “A Neglected Heritage”
GAUNTLETT.qxd 15/1/2001 2:34 ìì Page 25 Gauntlett, Stathis 2003. Greek Recorded Sound in Australia: “A Neglected Heritage”. In E. Close, M. Tsianikas and G. Frazis (Eds.) “Greek Research in Australia: Proceedings of the Fourth Biennial Conference of Greek Studies, Flinders University, September 2001”. Flinders University Department of Languages – Modern Greek: Adelaide, 25-46. Greek Recorded Sound in Australia A Neglected Heritage Stathis Gauntlett View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons The subtitle connects this paper with a landmark publication in the bibli- ography of commercially recorded sound, the book Ethnic Recordings in America. A Neglected Heritage published by the American Folklife Center of the Library of Congress in Washington in 1982. This borrowing is in- tended to signal from the outset that parallels will be drawn in this paper be- tween Greek-Australian recorded sound and the now better documented Greek-American case. Contextualising the story of Greek recorded sound in Australia will also necessitate some narrative of developments in both the broader Australian and the metropolitan Greek record industry, as well as ex- tensive reference to the English Parent Company of the principal corpo- rate players in both Greece and Australia. This reflects the fact that sound recording has been a multinational industry virtually since its inception.1 My paper might have been better subtitled a neglected research topic, for this is the inevitable conclusion to be drawn from declared interests and publications to date.2 This is a pity, because Greek-Australian recorded 1 The company documents used in this paper are housed at the EMI Archives in Hayes, Middlesex, UK: the reference to country and date sources each document cited to an annual file for either Greece or Australia. -
Oli I Rembetes :: Tracklist Sélection / Playlist : Delair (2004 + 2018
Oli i Rembetes :: Tracklist Sélection / Playlist : Delair (2004 + 2018) Smyrneiko & Pireotiko - Smyrneïka tragoùdia - Laïko tragoudi 01 Andonis (Hatzidiamantidis) Dalgas, Lambros Leondaridis - Tis Ksenintias O Ponos (1935) 02 Yiannis Papayoanou - Captain Andreas Zepo 03 Sotiria Bellou - Ase Me Ase Me 04 Rembet inconnu - Unknown 05 I.Georgakopoulou & Vasilis Tsitsanis - I Yepakina 06 Sotiria Bellou - Kane Ligapi Epomoni 07 Markos Vamvakaris - Taximi Zeimbekiko (1937) 08 Marika Ninou - Vasilis Tsitsanis - Ta Kabourakia 09 Vasilis Tsitsanis - Theodorakis - Gonia Gonia 10 Markos Vamvakaris, Grigoris Bithikotsis - Oli i rebetes tou dounia - 28'04 11 Agathonas Lakovidis - Pente Mangas Ston Pirea 12 Sotiria Bellou - I Used To Live Alone Without Love 13 Tsaousakis Prodromos - Opou pato to podi mou 14 Marinella & Vasilis Tsitsanis - Mes ti polli skotoura 15 Grigoris Bithikotsis, Vasilis Tsitsanis, Voula Gika - Zitisate Ti Gynaika (Serse La Fam) Rembetika By Marc Dubin and George Pissalidhes Rembétika began as the music of the Greek urban dispossessed – criminals, refugees, drug-users, defiers of social norms. It had existed in some form in Greece and Constantinople since at least the turn of the century, but it is as difficult to define or get to the origins of as jazz or blues –genres with which (tenuous) comparisons are often made, not so much for the music as for its inspirations, themes and tone. Rembétika songs tell of illicit or frustrated love, drug addiction, police oppression, death – and their delivery tends to be resignation to the singer's lot, coupled with defiance of authority. Musically, rembétika is bound in with the bouzoúki – a long-necked, fretted lute derived, like the Turkish saz, from the Byzantine tambourás. -
3Ɍ Ȣɂɏɇɋɟ Ȭɂɋɇɋəɏɇɍ ɀɇƚ ɒɍ Ȭɂɋɏɚɒɇɉɍ
3ο Θερινό Σεμινάριο για το Ρεμπέτικο 3ɍȣɂɏɇɋɟȭɂɊɇɋəɏɇɍɀɇȽɒɍȬɂɊɎɚɒɇɈɍ «ȮɍɏɂɊɎɚɒɇɈɍɒɏȽɀɍɠɁɇ,ɘɑɊɜȽȽɎɟɒɇɑȾȽɐɇɈɚɑɁɇȽɖɏɍɋɇɈɚɑɐɓɋɇɐɒɣɐɂɑ ɒɍɓȽɐɒɇɈɍɠɉȽɝɈɍɠɊȽɑɎɍɉɇɒɇɐɊɍɠ» ȦȽɍɀɏȽɔɇɈɟȧɍɓɐɂɜɍȧəɋɍɓɈȽɇȜɋȽɐɒȽɐɜȽɑȰȽɉɒəɇɒɑ ȠȤȭȢȞȢȭȠȤȭȭȠȧȤȨȜȬȤȪȯ ȠɎɇɊɚɉɂɇȽɎɏȽɈɒɇɈɣɋȨɜɈɍɑȫɍɉɜɒɄɑ ȭɈɠɏɍɑ,17ɚɘɑ24Ȥɍɓɉɜɍɓ2011 2 1 3ο σεμινάριο για το ρεμπέτικο τραγούδι Εκτύπωση: Μοράρης Γιώργος - τηλ. 210 6460152 Σχεδιασμός εξωφύλλου: Κώστας Τρυφωνόπουλος 2 ȫɂɏɇɂɖɟɊɂɋȽ ȆİȡȚİȤȩȝİȞĮ ........................................................................................................................................... 3 ȆȡȩȜȠȖȠȢ ............................................................................................................................................... 4 ȂȚĮ ıȪȞIJȠȝȘ İȚıĮȖȦȖȒ ıIJȠ ȡİȝʌȑIJȚțȠ. īȚȫȡȖȠȢ ȂĮțȡȒȢ .................................................................... 5 DzȞĮ İȚıĮȖȦȖȚțȩ ıİȝȚȞȐȡȚȠ ĭȦȞȘIJȚțȒȢ țĮȚ ȉȡĮȖȠȣįȚȠȪ». ȇȑȞĮ ȈIJȡȠȪȜȚȠȣ. ...................................... 12 ĭȐȞIJȠȢ țĮȚ ȡİȝʌȑIJȚțȠ- țȠȚȞȦȞȚțȑȢ ıȣıȤİIJȓıİȚȢ. ȂȚȤĮȒȜȘȢ ȈʌȣȡȚįȐțȚȢ. ............................................ 13 Ǿ İȝȝȠȞȒ ıIJȠȣȢ ȤȠȡȠȪȢ ǽİȧȝʌȑțȚțȠ țĮȚ ȋĮıȐʌȚțȠ ıIJȠ ıȪȖȤȡȠȞȠ ǹıIJȚțȩ ȁĮȧțȩ IJȡĮȖȠȪįȚ. ȂȓĮ ʌȡȠıʌȐșİȚĮ ȞĮ İȟȘȖȘșİȓ Ș ʌȡȠIJȓȝȘıȘ. ȃȓțȠȢ ȆȠȜȓIJȘȢ. ..................................................................... 15 Ǿ ȖȣȞĮȓțĮ ıIJȠ ʌİȡȚȕȐȜȜȠȞ IJȠȣ ȡİȝʌȑIJȚțȠȣ. Gail Holst-Warhaft ....................................................... 19 3rd rebetiko seminar participants Skyros 2011 ..................................................................................... 2524 -
The Modern Greek Collections
The British Library Greek Collections Chris Michaelides Modern Greek Section, European Collections, The British Library e-mail: [email protected] The British Library, which has one of the most important collections outside Greece of material–printed, manuscript and sound-for the study of Hellenic culture, was established in 1972 by an act of Parliament and the Library came into operation from 1st July 1973. The Act brought together a number of different institutions - which included the National Reference Library of Science and Invention, the National Central Library, and the National Lending Library for Science and Technology (the centre for interlibrary lending, located at Boston Spa in Yorkshire). The best known component of the new national library consisted of the library departments of the British Museum. The British Museum was founded in 1753 and its library collections included the private libraries of great collectors like Sir Hans Sloane, Sir Robert Cotton, as well as the Royal Library, assembled by various British monarchs. Various other collections were later added to these ‘foundation’ collections, notably the collection of King George III, the ‘King’s Library’, which was given to the Museum by George IV in 1822. The library’s already strong holdings of Greek material were greatly enriched in the 1830s by the purchase at auction of manuscripts and printed books from the collection of Frederick North, 5th Earl of Guilford. A great devotee of Greek and Italian culture, Guilford travelled widely in Europe and the Near East, and from1815 he ardently promoted his scheme for the foundation of an Ionian university becoming, in 1824, the first chancellor when the university was inaugurated on Corfu. -
EFFET L OO P SUR... Le Rebetiko
EFFET L OO P SUR... Le Rebetiko (Au Pirée, marché de poisson - 1937 - Photo : X.D.R) « Je suis dans la brume sans éclaircie, Mes larmes coulent comme de la pluie. Tels qu’on est partis, demain on mangera, mon ami, Moi le pain en taule, et toi les pissenlits. » (Extrait d’une chanson de V. Tsitsanis « Je paye les yeux » - 1949 (Traduction : M. Volkovitch) BLABLA etit Lexique à l’usage de ce cocktail musical explosif composé de bourgeois déchus chassés de Smyrne et de mauvais garçons issus de l’hypocosmos (bas-fonds) du P Pirée : Rébétiko (pl. rébétika) : Το ρεμπέτικο ou chant rébétique : Ρεμπέτικο τραγούδι (rébétiko tragoudi ). Le rébète ou Rebetis (pl. Rebetès) : ο Ρεμπέτης (pl. οι Ρεμπέτες) : musicien, chanteur de rébétiko, se dit plus volontiers un « mangkas », μάγκας (pl. mangkès, μάγκες), décliné au féminin : la Rebetissa (η ρεμπέτισσα), au féminin pluriel les rebetisses (οι ρεμπέτισσες) et mangkissa (μάγκισσα). L’origine du mot est obscure. En grec moderne, « rébète » signifie rêveur, voyou, roublard, vif et en argot, mener une vie de vagabond, errer. (Cf. la racine « reb » du grec ancien : rembo, ρέμβω = tourner, errer çà et là, avoir l’esprit inquiet, planer).1 Signalons aussi qu’en turc ancien, rembet fait allusion à ce qui relève des gouttières, des bas-fonds… « LA GRANDE CATASTROPHE » e rébétiko est le genre majeur de la musique populaire grecque contemporaine. Il est le fruit d’une période tragique de l’histoire de cette communauté. Au même titre que le tango, le blues, le fado il s’agit d’une musique urbaine issue des milieux populaires pauvres qui traduit Lla difficulté de l’existence, les incertitudes politiques et le désenchantement. -
ED395857.Pdf
DOCUMENT RESUME ED 395 857 SO 025 945 AUTHOR Allen, Ray; Groce, Nancy, Ed. TITLE Folk and Traditional Music in New York State. INSTITUTION New York Folklore Society, Newfield. REPORT NO ISSN-0361-204X PUB DATE 88 NOTE 201p.; A special double issue on this theme. AVAILABLE FROMNew York Folklore Society, P.O. Box 130, Newfield, NY 14867 ($6). PUB TYPE Collected Works Serials (022)'-- Historical Materials (060) Viewpoints (Opinion/Position Papers, Essays, etc.)(120) JOURNAL CIT New York Folklore; v14 n3-4 Sum-Fall 1988 EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS American Indian Culture; Anthropology; Black Culture; Chinese Americans; Community Education; Community Resources; Cultural Activities; Cultural Maintenance; *Ethnic Groups; *Folk Culture; Greek Americans; Italian Americans; Japanese American Culture; *Music; *Music Education; Musicians; Puerto Rican Culture; Songs; Whites IDENTIFIERS Ethnomusicology; *Folk Music; Haitian Culture; Irish Americans; Musical Performance; Music Ensembles; *New York; Rap Music ABSTRACT This special journal issue is designed to draw attention to the varied musical traditions of cultural groups living in New York State. Recent research by folklorists and musicologists also is examined. Articles include:(1) "Introduction: Folk and Traditional Music in New York State" (Ray Allen; Nancy Groce); (2) "African-American Sacred Quartet Singing in New York City" (Ray Allen);(3) "The Anglo-American Fiddle Tradition in New York State" (Simon Bronner);(4) "Survival of Greek Folk Music in New York (Sotirios Chianis);(5) "Writing While They're Singing: A Conversation About Longhouse Social Dance Songs" (Michael Sam Cronk); (6) "Traditional Japanese Music in New York State" (Linda Fujie);(7) "Country Dancing in Central and Western New York State" (James Kimball);(8) "Music in New York City's Chinese Community" (Audrey R.