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Read This Year's Christmas Revels Program Notes
PRESENTS THE CHRISTMAS REVELS In Celebration of the Winter Solstice Echoes of Thrace Music, Dance & Drama of Bulgaria, Greece & Turkey December 7–15, 2013 GW Lisner Auditorium • Washington, DC Roberta Gasbarre, Artistic and Stage Director Elizabeth Fulford, Music Director PHOTO BY ROGER IDE THE CHRISTMAS REVELS In Celebration of the Winter Solstice Echoes of Thrace Music, Dance & Drama of Bulgaria, Greece & Turkey The Washington Featuring Revels Company Karpouzi Trio Koleda Chorus Lyuti Chushki Koros Teens Spyros Koliavasilis Survakari Children Tanya Dosseva & Lyuben Dossev Thracian Bells Tzvety Dosseva Weiner Grum Drums Bryndyn Weiner Kukeri Mummers and Christmas Kamila Morgan Duncan, as The Poet With And Folk-Dance Ensembles The Balkan Brass Byzantio (Greek) and Zharava (Bulgarian) Emerson Hawley, tuba Radouane Halihal, percussion Roberta Gasbarre, Artistic and Stage Director Elizabeth Fulford, Music Director Gregory C. Magee, Production Manager Dedication On September 1, 2013, Washington Revels lost our beloved Reveler and friend, Kathleen Marie McGhee—known to everyone in Revels as Kate—to metastatic breast cancer. Office manager/costume designer/costume shop manager/desktop publisher: as just this partial list of her roles with Revels suggests, Kate was a woman of many talents. The most visibly evident to the Revels community were her tremendous costume skills: in addition to serving as Associate Costume Designer for nine Christmas Revels productions (including this one), Kate was the sole costume designer for four of our five performing ensembles, including nineteenth- century sailors and canal folk, enslaved and free African Americans during Civil War times, merchants, society ladies, and even Abraham Lincoln. Kate’s greatest talent not on regular display at Revels related to music. -
Evdokia's Zeibekiko
European Scientific Journal December 2017 edition Vol.13, No.35 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 The Bouzouki’s Signifiers and Significance Through the Zeibekiko Dance Song: "Evdokia’s Zeibekiko" Evangelos Saragatsis Musician, Secondary Education Teacher, Holder Of Postgraduate Diploma Ifigeneia Vamvakidou Professor at the University of Western Macedonia, Greece Doi: 10.19044/esj.2017.v13n35p125 URL:http://dx.doi.org/10.19044/esj.2017.v13n35p125 Abstract The objective of this study is to identify the signifiers and significance of the Zeibekiko dance, and those of the bouzouki itself, to a further extent, as they emerge through research conducted in the relevant literature, and which is anchored to those signifiers, as they are highlighted through their presence in material that is obtained from movies. The semiotic analysis of the film “Evdokia”, by A. Damianos (1971), is the research method that is followed. In this context, the main focus is placed on the episode/scene, where Evdokia’s Zeibekiko is displayed on stage. This ‘polytropic’ (polymodal) material that consists of listening to, viewing, playing music, and dancing encompasses a large variety of musicological and gender signifiers that refer to the specific era. The model followed is that of Greimas (1996), as it was used by Lagopoulos & Boklund-Lagopoulou (2016), and Christodoulou (2012), in order to point out those characteristic features that are expressed by the bouzouki, as a musical instrument, through a representative sample of the zeibekiko dance, as it is illustrated in the homonymous film. The analysis of images, as well as of the language message, lead to the emergence of codes, such as the one referring to the gender, and also the symbolic, value, and social codes, and it is found that all these codes agree with the introductory literature research conducted on the zeibekiko dance and the bouzouki. -
RCA Victor International FPM/FSP 100 Series
RCA Discography Part 26 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor International FPM/FSP 100 Series FPM/FSP 100 – Neapolitan Mandolins – Various Artists [1961] Torna A Surriento/Anema E Core/'A Tazza 'E Caffe/Funiculi Funicula/Voce 'E Notte/Santa Lucia/'Na Marzianina A Napule/'O Sole Mio/Oi Mari/Guaglione/Lazzarella/'O Mare Canta/Marechiaro/Tarantella D'o Pazzariello FPM/FSP 101 – Josephine Baker – Josephine Baker [1961] J'ai Deux Amours/Ca C'est Paris/Sur Les Quais Du Vieux Paris/Sous Les Ponts De Paris/La Seine/Mon Paris/C'est Paris/En Avril À Paris, April In Paris, Paris Tour Eiffel/Medley: Sous Les Toits De Paris, Sous Le Ciel De Paris, La Romance De Paris, Fleur De Paris FPM/FSP 102 – Los Chakachas – Los Chakachas [1961] Never on Sunday/Chocolate/Ca C’est Du Poulet/Venus/Chouchou/Negra Mi Cha Cha Cha/I Ikosara/Mucho Tequila/Ay Mulata/Guapacha/Pollo De Carlitos/Asi Va La Vida FPM/FSP 103 – Magic Violins of Villa Fontana – Magic Violins of Villa Fontana [1961] Reissue of LPM 1291. Un Del di Vedremo/Rubrica de Amor/Gigi/Alborada/Tchaikovsky Piano Concerto No. 1/Medley/Estrellita/Xochimilco/Adolorido/Carousel Waltz/June is Bustin’ Out All Over/If I Loved You/O Sole Mio/Santa Lucia/Tarantella FPM/FSP 104 – Ave a Go Wiv the Buskers – Buskers [1961] Glorious Beer/The Sunshine of Paradise Alley/She Told Me to Meet Her at the Gate/Nellie Dean/After the Ball/I Do Like to Be Beside the Seaside//Any Old Iron/Down At the Old Bull and Bush/Boiled Beef and Carrots/The Sunshine of Your Smile/Wot Cher -
DOCTORAL THESIS the Development of Musical
DOCTORAL THESIS The development of musical preferences in Greek Cypriot students Rousha, Yianna Award date: 2014 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 The development of musical preferences in Greek Cypriot students by Yianna Rousha A thesis submitted in partial fulfilment of the requirement for the degree of PhD School of Education University of Surrey 2013 To my godfather CONTENTS List of tables vii List of figures x Acknowledgements xii PART I: Review of the literature Chapter 1: Greek Cypriot folk music 1 1.1 Introduction 1 1.2 Folk music: concept and definition 3 1.3 Greek Cypriot folk music 17 1.3.1 Cyprus: a brief observation 17 1.3.2 Overview on ethnomusicological research in Cyprus 19 1.3.3 Greek Cypriot folk collectors: Kallinikos 24 1.3.4 An overview -
Traditional Greek Dance and Theatre1
TRADITIONAL GREEK DANCE AND THEATRE1 I R E N E L OUTZAKI Abstract In modern Greece staged folk dance performances focus on the representation of a scenario. The outcome of aesthetic experience depends on the narrative forwarded by the organizers of the event. By comparing the master narratives of three dance groups – more specifically, a “national” example, an experienced “traditional” example from one site, and a third example of “historic” evolution – the paper proposes a framework for understanding staged folk dance in Greece. It juxtaposes issues such as: dance movements, dancer’s body, costumes, staging approaches, and the audience. The paper concludes with suggestions of starting a critical dialogue with dance teachers/choreographers in the hope of creating alternative approaches to staged performances of Greek folk dances. Keywords Greece; narrative analysis; staging; performances; folk dances It is an established fact that over the past twenty years a significant growth is observed in the scholarship on traditional dance in Greece. Meanwhile, most publications are preoccupied with the potential benefits of traditional dance in education. And to a great extent this may be justified. From 1980 onward, when Greek dances are established as a discipline2 and their instruction is in- tegrated into the school curriculum, a similar interest is observed among other educational institu- tions (e.g. cultural organizations, dance groups, and various dance schools that integrated teaching into their educational programs); traditional Greek dances are now regarded as a cherished form of educational material, and there is an intention to teach all interested pupils to dance, while also acquiring knowledge with regard to the origin, history and function of these dances. -
The Dick Crum Collection, Date (Inclusive): 1950-1985 Collection Number: 2007.01 Extent: 42 Boxes Repository: University of California, Los Angeles
http://oac.cdlib.org/findaid/ark:/13030/kt2r29q890 No online items Finding Aid for the The Dick Crum Collection 1950-1985 Processed by Ethnomusicology Archive Staff. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the The Dick Crum 2007.01 1 Collection 1950-1985 Descriptive Summary Title: The Dick Crum Collection, Date (inclusive): 1950-1985 Collection number: 2007.01 Extent: 42 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dick Crum (1928-2005) was a teacher, dancer, and choreographer of European folk music and dance, but his expertise was in Balkan folk culture. Over the course of his lifetime, Crum amassed thousands of European folk music records. The UCLA Ethnomusicology Archive received part of Dick Crum's personal phonograph collection in 2007. This collection consists of more than 1,300 commercially-produced phonograph recordings (LPs, 78s, 45s) primarily from Eastern Europe. Many of these albums are no longer in print, or, are difficult to purchase. More information on Dick Crum can be found in the Winter 2007 edition of the EAR (Ethnomusicology Archive Report), found here: http://www.ethnomusic.ucla.edu/archive/EARvol7no2.html#deposit. Language of Material: Collection materials in English, Croatian, Bulgarian, Serbian, Greek Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S. -
Music of the Turkish Cypriots: Yesterday, Today and Tomorrow
MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW Section 4. Theory and history of culture Abdoulline Ilias, Lecturer at Department of Fine Arts Education. Near East University. Nicosia. Northen Cyprus E‑mail: [email protected] MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW Abstract: This article deals with the formation and development of musical culture of the Turkish Cypriots as an essential component of ethnos of Cyprus. Keywords: Island of Cyprus, ethnic cultural traditions of Cyprus, music of the Turkish Cypriots. The origins of musical culture of the peoples It should be noted that the studies devoted to from the Near and Middle East allow to speak of ex- the folk music and dance traditions of various ethnic istence of the Middle Eastern Mediterranean musi- groups in Cyprus began at the end of XIX century. cal tradition as a uniform system of artistic means, However, folklorists paid more attention in their figurative themes, genres and etc., which originate studies to lyrics rather than to musical content. from the ancient depths of history. Thus, researcher Panicos Giorgoudes states that The timeframe of this process can be determined “systematic studies of the Turkish Cypriots tradi- just approximately, but it becomes clear that the tional music developed poorly, notwithstanding modern musical art of Cyprus, which is now per- several articles about Cypriot music published by ceived as traditional, was formed already in “histori- musicologists and Theodulos Kallinikos’ collection cal” time, in connection with spread of the national of Cypriot songs in 1951. Besides, many research- Turkish culture on the Cypriot land. -
Veselo Dance List
ACTIVE DANCES Current Dance Inventory 10-4-2016 Also Available DANCE Country Instructor A Trip to Paris England Newman A Ja Tzo Saritsa Abdala Bulgaria Moreau Ace of Diamonds Adana Macedonia Boxell Achy Breaky Heart Ada's Kujawiak #1 Poland Ada Adjon az Isten Ada's Kujawiak #3 Poland Ada Alley Cat Adzhibelik Bulgaria Iliana American Medley Ağīr Halay Turkey Lüleçi Ardeleana (cu Figuri) Aino Kchume Assyria Holden Arkan Ajd' na Lijevo (Mista Kolo) Croatia Crum At The Inn Ajde Jano Serbia Joukowsky Atzay Hatsaftsafot Ajde Lepa Maro Serbia Boxell Ajde Razbole Se Bulgaria Alichev Ajnzerica Croatia Jergan Ajšino Oro Macedonia Ciga Al Je Lijepo Croatia Jergan Al Kalaa Lebanon Bozigian Al Sadenu Israel Eden Al Tira Israel Browns Alexandrovsky/Alexandrovska Russia Ali Paşa Turkey Özkök Alte Kath - Zwiefacher Germany Filcich Alunelul Romania Lucaci Alunelul Batut Romania Bloland Alunelul ca la Sadova Romania Hilferink Alunelul de la Băileşti Romania Bloland Alunelul de la Urzica Romania Bloland Alunelul Sucit Romania Bloland Ambee Dageets (Armenian Turn) Armenia Bozigian Amos Moses USA Mitchell An Dro Brittany Moreau Ana Lugojana Romania Crum Andro Retournée Brittany Moreau Arap Macedonia Boxell Arap (Turkish) Turkey Lüleçi Arcanul Moldovanesc Romania Mihai Armenian Miserlou (Eench Eemanaee) Armenia Bozigian Armenian Shuffle Armenia Lind-Sinanian Armenian Turn (Ambee Dageets) Armenia Bozigian Arnautsko Horo Bulgaria Moreau Arnold's Circle England Kotansky Arvanitovlachas Greece Graziosi Ashrei Ha'ish Israel Dassa Assoulis Armenia Van Geel At Va'ani -
PETALUMA ALPHABETICAL FOLK DANCE LOCATOR Home: Petaluma’S Best Balkan Folk Dance Music
PETALUMA ALPHABETICAL FOLK DANCE LOCATOR Home: Petaluma’s Best Balkan Folk Dance Music- http://www.sonic.net/~stevayla/PetaBestNew.html 1 = F IRST STRING DANCES, 2 = SECOND STRING DANCES, TR = TEACHING RESERVED RECORDINGS (PERMISSION NEEDED), NAMES IN BOLD TYPE = DANCE STEPS & STYLE DESCRIBED (30-PAGE, 694 KB .PDF FILE - FOLDER IV) Abdala – Bulgaria TR Bela Rada Kolo – Serbia TR Cotton Eyed Joe– USA TR Ada's Kujawiak – Poland 2 Belasicko Oro – Macedonia 1 Cradle Dance (= Legnala Dana) Adje Lepa Maro – Serbia 1 Berance (Bajcace) – Macedonia TR Cretan Syrto – Greece 1 Adjun az Isten - Hungary 1 Beratis – Greece 2 Croatian Medley – Croatia 2 Agir Halay – Turkey 1 Berovski Cocek – Macedonia 1 Cross Bar (Ari Ari) - Armenia 1 Ais Giorgis – Greece 1 Bicak – Bulgaria TR Cujes Mala (U Sest) – Serbia 1 Ajde Jano – Serbia 1 Biserka – Serbia 1 Cupi Kasturcanki – Macedonia 2 Al Sadenu – Israel 1 Bistrica Kopanica – Bulgaria 1 Cveta Moma – Bulgaria 1 Al Sadenu B – Israel TR Bistrica Kopanica B – Bulgaria TR Ali Pasha – Turkey 1 Bitola – Macedonia 1, 2 Ali Pasha (Durst) – Turkey 1 Bo Dodi – Israel TR Alunelul B – Romania TR Bobik Djour Mi Era – Armenia 2 Alunelul Batut – Romania TR Boereasca – Romania 1 Dado La Dado – Romania 1 Alunelul de la Urzica – Romania 1 Boker – Israel 2 Daichovo Horo – Bulgaria 1 An Dro – Brittany 1 Bracno Oro – Albania 2 Daichovo Horo (6 min) – Bulgaria 2 An Dro Retourne – Brittany 1 Brasni Carvul – Bulgaria 1 Daichovo Oro – Bulgaria 2 An Dro Retourne – Brittany 2 Bregovsko Horo – Bulgaria 2 Daliana – Greece 2 Andaman Pallikari -
Dhora Moustrides .Pdf (733.9Kb)
greek studies english.qxd 04/09/01 21:31 Page 60 Moustrides, Dhora 2001. Kartzilamas: Traditional Greek Cypriot Dance as a Representation of Life. In E. Close, M. Tsianikas and G. Frazis (Eds.) “Greek Research in Australia: Proceedings of the [3rd] Annual Conference of Greek Studies, Flinders University, 23-24 June 2000”. Flinders University Department of Languages – Modern Greek: Adelaide, 60-75. Kartzilamas: Traditional Greek Cypriot Dance as a Representation of Life Dhora Moustrides This investigation stems from an analysis of Greek Cypriot dance con- ducted as a part of the thesis completed by myself for the degree MA, the title of the thesis being Processes in the Development of Patterns Relevant to Marriage Partner Choice amongst Greek Cypriots.1 Other than literature, information has come from having lived the Cypriot culture, I being a Greek Cypriot, and from the bulk of data collated for the thesis, which included oral testimony from recorded histories and other sources. An additional twenty or so Greek Cypriots in Adelaide and about ten in Melbourne as well as a few people from other European countries have been questioned specifically for this paper. For the purposes of this study “traditional dance” refers to a de- scription: the way the people in Cyprus born between about 1900 and 1930 danced in what is regarded among Greek Cypriots as the traditional manner. It is associated with the peasant society. Averof (1989) and Tompolis (1980) have recorded the music of a range of dances with which Greek Cypriots identified. Some of the dances originated elsewhere and were also danced by other peoples. -
Dance in Greece
Dance in Greece Raftis, Alkis: "Dance in Greece", Λαογραφία newsletter of the international greek folklore society, Vol. 2, No. 8, 2-7, California, U.S.A., 1985. Special To The International Greek Folklore Society Newsletter By DR. Alkis Raftis 1. Roman And Byzantine Period Greek classical antiquity came to an end with the Roman conquest in the 2nd century B.C. The Romans adopted many of the achievements of Greek civilization and made great use of its artists and scholars throughout the Roman Empire. Greek dancers found themselves addressing a wider audience, spread over a large area, constituting various peoples, in most part not understanding their language. Not bound anymore to the moral and aesthetic precepts of the small Greek city, they turned to easy tricks to please their patrons: dances became burlesque, lascivious, comic or frightening. The unity that characterized the Greek notion of musike, comprising song, dance and instrumental music in one whole, was fragmented into separate parts of the performance. Song remained in Greek language for some time, sung by a passive chorus as an interlude. Music became independent by the addition of several instruments to the lyre and flute, so as to form a little orchestra. Dance, loose from word and melody, became pantomime. Although mimic dances abounded in the Greek antiquity, pantomime is the hallmark of the Greco-Roman period. Performers became famous for thier ability to relate entire stories with their gestures and postures. They wore masks, lavish clothes and jewelry, they were frequently effeminate and they resorted to vulgar jokes and obscenities. Thus dancers became professionals of low status rather than public servants and dance lost its religious and educational character to become a spectacle of mere entertainment. -
The Story Behind the Song*
The Story Behind the Song* Dancing is divine in origin . and necessary for the well-being of the soul. Plato Dear Reader, Long before there were therapists, self-help books, or TV talk shows like Dr. Phil, people expressed themselves through dance and song. And in the past, they did so communally, thereby cementing the social and family bonds that helped them celebrate the good times and get through the bad ones. As is true of many folk traditions, Greek folk songs and dances have a story to tell. In the following pages, I’ve tried to summarize what I know or have read about the stories behind some of the Greek dances taught in our class. But my descriptions should not be viewed as authoritative. In the first place, the research I did was far from exhaustive. Secondly, some Greek dances go back to ancient times. Hence their “true” origins and steps are obscure and sometimes, highly debatable. So I’m sure that many corrections are needed. Also, some of my translations may be incorrect because I either couldn’t understand the word or couldn’t find it in the dictionary. So I made my best guess. But you don’t need to worry about all that. Just keep on dancing. Sincerely, Aphrodite Matsakis Oct., 2018 1 Overview p. 2-3 Dance Descriptions (arranged alphabetically) Dance 1: Ballos p. 4 Dance 2: Ena Karavi Apo Tin Chio: A Ship from Chios p. 4 Dance 3: Fast Hasapiko/Hasaposerviko p. 4 Dance 4: Gerakina p. 6 Dance 5: Haniotikos/Chaniotikos p.