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3Ɍ Ȣɂɏɇɋɟ Ȭɂɋɇɋəɏɇɍ ɀɇƚ ɒɍ Ȭɂɋɏɚɒɇɉɍ

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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 Preface .................................................................................................................................................. 28 A brief introduction to Rebetiko. George Makris………………………………………………….. 29 An introductory seminar “Voice and Song”. Rena Strouliou ............................................................. 35 Fado and rebetiko-social relationships. Michailis Spiridakis .............................................................. 36 Persistence to the Zeibekiko and Chasapiko dances in the Rebetika songs. An attempt to explain the preference. Nikos Politis ............................................................................ 38 Women in Rebetika. Gail Holst-Warhaft ............................................................................................. 42 3 3 3ο σεμινάριο για το ρεμπέτικο τραγούδι ȫɏɟɉɍɀɍɑ ǹȖĮʌȘIJȠȓ ijȓȜȠȚ țĮȚ ijȓȜİȢ ȉĮ ʌȡĮțIJȚțȐ ʌȠȣ ȑȤİIJİ ıIJĮ ȤȑȡȚĮ ıĮȢ ĮʌȠIJİȜȠȪȞIJĮȚ Įʌȩ IJȚȢ İȚıȘȖȒıİȚȢ ʌȠȣ ʌȡĮȖȝĮIJȠʌȠȚȒșȘțĮȞ țĮIJȐ IJȘ įȚȐȡțİȚĮ IJȠȣ 3Ƞȣ ıİȝȚȞĮȡȓȠȣ ȖȚĮ IJȠ ȡİȝʌȑIJȚțȠ ıIJȘ ȈțȪȡȠ ıIJȠ ȁĮȠȖȡĮijȚțȩ ȝȠȣıİȓȠ ȂȐȞȠȣ țĮȚ ǹȞĮıIJĮıȓĮȢ ĭĮȜIJȐȧIJȢ, Įʌȩ 17 ȑȦȢ 24 ǿȠȣȜȓȠȣ 2011. Ȉİ ʌİȓıȝĮ IJȘȢ țĮIJȒijİȚĮȢ IJȦȞ įȪıțȠȜȦȞ țĮȚȡȫȞ ȝİ ȝȚĮ ȠȚțȠȞȠȝȚțȒ įȣıʌȡĮȖȓĮ, ʌȠȣ İȟĮșȜȚȫȞİȚ IJȠȣȢ ĮıșİȞȑıIJİȡȠȣȢ IJȦȞ ıȣȝʌȠȜȚIJȫȞ ȝĮȢ țĮȚ ȝĮȢ țĮșȚıIJȐ ȝȐȡIJȣȡİȢ ȝȚĮȢ ĮȕȐıIJĮȤIJȘȢ țĮȚ ȕȐȡȕĮȡȘȢ ȑțʌIJȦıȘȢ ĮȟȚȫȞ, ʌȡĮȖȝĮIJȠʌȠȚȒıĮȝİ IJȠ 3Ƞ ıİȝȚȞȐȡȚȠ ȖȚĮ IJȠ ȡİȝʌȑIJȚțȠ țĮȚ ȜĮȧțȩ IJȡĮȖȠȪįȚ. ǺĮıȚțȒ ȝĮȢ İʌȚįȓȦȟȘ ȝĮȢ įİȞ ȒIJĮȞ ȠȪIJİ ʌȠIJȑ șĮ İȓȞĮȚ Ș ȠȚțȠȞȠȝȚțȒ İʌȚIJȣȤȓĮ IJȘȢ ʌȡȠıʌȐșİȚȐȢ ȝĮȢ. īȚĮ ȩȜȠȣȢ İȝȐȢ, ʌȠȣ ıȣȝȝİIJȑȤȠȣȝİ ı’ ĮȣIJȒ IJȘȞ ȣʌȩșİıȘ, ıIJȩȤȠȢ IJȘȢ ʌȡȠıʌȐșİȚȐȢ ȝĮȢ İȓȞĮȚ Ș ȘșȚțȒ ȚțĮȞȠʌȠȓȘıȘ ȞĮ ȝȘȞ ȟİȤĮıIJİȓ IJȠ ȡİȝʌȑIJȚțȠ țĮȚ ȖİȞȚțȩIJİȡĮ IJȠ ȜĮȧțȩ ȝĮȢ IJȡĮȖȠȪįȚ țĮȚ “İȟȠıIJȡĮțȚıIJİȓ” Įʌȩ İʌȚțȓȞįȣȞȠȣȢ «İȚįȒȝȠȞİȢ» țĮȚ ȪʌȠʌIJĮ ıȣȝijȑȡȠȞIJĮ. ǼʌȓıȘȢ, Ș ȝİIJȐįȠıȘ IJȘȢ ĮȖȐʌȘȢ ȖȚĮ IJȘ ȝȠȣıȚțȒ ȝĮȢ ʌĮȡȐįȠıȘ ıIJȠȣȢ ȞİȩIJİȡȠȣȢ İȓȞĮȚ ȝȚĮ Įʌȩ IJȚȢ įȣȞĮȝȚțȑȢ ʌȠȣ ȝĮȢ ȩʌȜȚıĮȞ ȝİ șȐȡȡȠȢ țĮȚ țȠȣȡȐȖȚȠ ȞĮ ıȣȞİȤȓıȠȣȝİ IJȘȞ ʌȡȠıʌȐșİȚȐ ȝĮȢ. ĬĮ ȒșİȜĮ ȞĮ İȣȤĮȡȚıIJȒıȦ ȩȜȠȣȢ ĮȣIJȠȪȢ ʌȠȣ ıȣȞȑȕĮȜĮȞ ıIJȘȞ ʌȡĮȖȝĮIJȠʌȠȓȘıȘ IJȠȣ 3Ƞȣ ıİȝȚȞĮȡȓȠȣ, İȓIJİ ȦȢ ıʌȠȣįĮıIJȑȢ, İȓIJİ ȦȢ ıȣȝȝİIJȑȤȠȞIJİȢ ıIJȚȢ ʌĮȡȐȜȜȘȜİȢ İțįȘȜȫıİȚȢ țĮȚ IJȚȢ ȝȠȣıȚțȑȢ ȝĮȢ ȕȡĮįȚȑȢ. ǿįȚĮȓIJİȡĮ ȩȝȦȢ șĮ ȒșİȜĮ ȞĮ İȣȤĮȡȚıIJȒıȦ IJȠȞ ȈʌȪȡȠ īțȠȪȝĮ, ȑȞĮ įİȟȚȠIJȑȤȞȘ ȝȠȣıȚțȩ ȝİ ȕĮșİȚȐ ȖȞȫıȘ IJȠȣ ĮȞIJȚțİȚȝȑȞȠȣ IJȘȢ ȜĮȧțȒȢ ȝĮȢ ȝȠȣıȚțȒȢ –țĮȚ ȩȤȚ ȝȩȞȠ- Ƞ ȠʌȠȓȠȢ ȩʌȦȢ ȩȜȠȚ ȠȚ ȖȞȒıȚȠȚ țĮȜȜȚIJȑȤȞİȢ ĮȞIJȜİȓ, ȝİ IJȘ ȕȠȒșİȚĮ IJȘȢ IJȑȤȞȘȢ IJȠȣ, ʌȡȠıȦʌȚțȒ ıIJȐıȘ ȗȦȒȢ, ȚįȚĮȓIJİȡĮ ĮȣIJȒ IJȘȞ țȡȓıȚȝȘ țĮȚ șȜȚȕİȡȒ ʌİȡȓȠįȠ IJȘȢ ȗȦȒȢ ȝĮȢ, įȓȞȠȞIJĮȢ ĮȞȐıİȢ ȠȝȠȡijȚȐȢ țĮȚ ıIJȘ įȚțȒ ȝĮȢ ȗȦȒ. ȉȠȞ ȂȐȞȠ țĮȚ IJȘȞ ǹȞĮıIJĮıȓĮ ĭĮȜIJȐȧIJȢ ʌȠȣ ȝĮȢ įȚȑșİıĮȞ ĮijȚȜȠțİȡįȫȢ IJȠȣȢ ȤȫȡȠȣȢ IJȠȣ ȜĮȠȖȡĮijȚțȠȪ IJȠȣȢ ȝȠȣıİȓȠȣ. ȉȠȞ ȃȓțȠ ȆȠȜȓIJȘ ȖȚĮ IJȘȞ ȕȠȒșİȚȐ IJȠȣ ıİ ȩȜȘ IJȘ įȚȐȡțİȚĮ IJȠȣ ıİȝȚȞĮȡȓȠȣ țĮȚ ȖȚĮ IJȘȞ İʌȚȝȑȜİȚĮ IJȦȞ ʌȡĮțIJȚțȫȞ. ȉȠȣȢ ĮȞșȡȫʌȠȣȢ IJȠȣ ȆȞİȣȝĮIJȚțȠȪ ȀȑȞIJȡȠȣ IJȠȣ ǻȒȝȠȣ ȈțȪȡȠȣ țĮȚ ȚįȚĮȓIJİȡĮ IJȘȞ țĮ ǼȜȑȞȘ ȀȠȣțȠȕȓȞȠȣ ȖȚĮ IJȘȞ ȕȠȒșİȚĮ ʌȠȣ ȝĮȢ ʌĮȡİȓȤĮȞ. ȉȠȣȢ ȈțȣȡȚĮȞȠȪȢ ʌȠȜȓIJİȢ ʌȠȣ ıIJȒȡȚȟĮȞ IJȘȞ ʌȡȠıʌȐșİȚȐ ȝĮȢ țĮȚ İȜʌȓȗȠȣȝİ ȩIJȚ șĮ ıȣȞİȤȓıȠȣȞ ȞĮ IJȘȞ ıIJȘȡȓȗȠȣȞ țĮȚ ıIJȠ ȝȑȜȜȠȞ. ȉȑȜȠȢ IJĮ ȝȑȜȘ IJȠȣ ȝȠȣıȚțȠȪ ıȤȒȝĮIJȠȢ IJȦȞ «ȆĮȡĮʌİIJĮȝȑȞȦȞ» ȀȫıIJĮ ȉȡȣijȦȞȩʌȠȣȜȠ, ȇȑȞĮ ȈIJȡȠȪȜȚȠȣ, īȚȫȡȖȠ ȋĮȡĮIJıȒ țĮȚ ĭȦIJİȚȞȒ ȀĮȡȐȝʌĮȝʌĮ ȠȚ ȠʌȠȓȠȚ țĮIJȑȕĮȜĮȞ țȐșİ įȣȞĮIJȒ ʌȡȠıʌȐșİȚĮ ȖȚĮ IJȘȞ ʌȡĮȖȝĮIJȠʌȠȓȘıȘ IJȠȣ 3Ƞȣ ıİȝȚȞĮȡȓȠȣ. DzȞĮ ȗİıIJȩ İȣȤĮȡȚıIJȫ ıİ ȩȜȠȣȢ ȅ ȠȡȖĮȞȦIJȚțȩȢ ȣʌİȪșȣȞȠȢ īȚȫȡȖȠȢ ȂĮțȡȒȢ 4 4 ȧɇȽɐɠɋɒɍɊɄɂɇɐȽɀɘɀɛɐɒɍɏɂɊɎɚɒɇɈɍ. ȞɇɣɏɀɍɑȧȽɈɏɛɑ ȉȚ İȓȞĮȚ IJȠ ȡİȝʌȑIJȚțȠ IJȡĮȖȠȪįȚ; ȉȚ İțijȡȐȗİȚ țĮȚ ıȘȝĮIJȠįȠIJİȓ Ƞ ȩȡȠȢ ȡİȝʌȑIJȚțȠ; ȆȠȚȠȣȢ ĮijȠȡȐ; Ǿ İIJȣȝȠȜȠȖȓĮ IJȘȢ ȜȑȟİȦȞ «ȡİȝʌȑIJȚțĮ» țĮȚ «ȡİȝʌȑIJȘȢ» ȒIJĮȞ țĮȚ ʌĮȡĮȝȑȞİȚ ȑȞĮȢ ȐȜȣIJȠȢ ȖȡȓijȠȢ ȖȚĮ ȩȜȠȣȢ ĮȣIJȠȪȢ ʌȠȣ ĮıȤȠȜȠȪȞIJĮȚ ıİ ȝİȖĮȜȪIJİȡȠ Ȓ ȝȚțȡȩIJİȡȠ ȕĮșȝȩ ȝİ ĮȣIJȩ IJȠ ȝȠȣıȚțȩ İȓįȠȢ. ȆȚșĮȞȠȜȠȖİȓIJĮȚ ȩIJȚ Ș ȜȑȟȘ «ȡİȝʌȑIJȚțȠ» ʌȡȠȑȡȤİIJĮȚ Įʌȩ IJȚȢ ȜȑȟİȚȢ: "Rembet", ȝȚĮ ʌĮȜȚȐ ȉȠȪȡțȚțȘ ȜȑȟȘ ʌȠȣ ıȘȝĮȓȞİȚ ĮȜȐȞȚ Ȓ ʌİȡȚʌȜĮȞȫȝİȞȠȢ. "rebenk" ȝȚĮ ȈȑȡȕȚțȘ ȜȑȟȘ ʌȠȣ ıȘȝĮȓȞİȚ ǼʌĮȞĮıIJȐIJȘȢ, "rab", ʌȠȣ ıȘȝĮȓȞİȚ țȪȡȚȠȢ țĮȚ șİȩȢ ruba’a ǹȡĮȕo-ȆȑȡıȚțȘ ȜȑȟȘ ʌȠȣ ıȘȝĮȓȞİȚ IJİIJȡȐıIJȚȤȠ (1). ȉĮ ǼȜȜȘȞȚțȐ ȡȒȝĮIJĮ "ȡȑȝȕȦ" Ȓ "ȡİȝȕȐȗȦ" ʌȠȣ ıȘȝĮȓȞȠȣȞ ȤȐȞȠȝĮȚ ıIJȚȢ ıțȑȥİȚȢ ȝȠȣ, ʌİȡȚʌȜĮȞȚȑȝĮȚ. ȅ ȩȡȠȢ ȡİȝʌȑIJȚțȠ İȓȞĮȚ ȝȚĮ ıIJİȞȒ İȞȞȠȚȠȜȠȖȚțȒ ĮȞĮijȠȡȐ ȝȠȣıȚțȠȪ İȓįȠȣȢ, ʌȠȣ İȝʌİȡȚȑȤİIJĮȚ ıIJȘȞ İȣȡȪIJİȡȘ ȑȞȞȠȚĮ IJȠȣ ǹıIJȚțȠȪ-ȁĮȧțȠȪ ȝĮȢ IJȡĮȖȠȣįȚȠȪ. ǹțȩȝĮ țĮȚ ıȒȝİȡĮ ȩIJĮȞ ĮȞĮijİȡȩȝĮıIJİ ıIJȠ ȇİȝʌȑIJȚțȠ IJȡĮȖȠȪįȚ ȜİȚIJȠȣȡȖȠȪȞ ȠȡȚıȝȑȞĮ țȠȚȞȦȞȚțȐ ĮȞĮțȜĮıIJȚțȐ, ʌȠȣ ıȣȞİȚȡȝȚțȐ ʌĮȡĮʌȑȝʌȠȣȞ ıİ ȑȞĮ ʌİȡȚșȦȡȚĮțȩ İȓįȠȢ IJȡĮȖȠȣįȚȠȪ ıIJȠ ȠʌȠȓȠ «İȞȑȤİIJĮȚ» Ƞ țȩıȝȠȢ IJȘȢ ijȣȜĮțȒȢ, ıĮȞ IJȠ ijȣıȚțȩ ʌİȡȚȕȐȜȜȠȞ ȝȑıĮ ıIJȠ ȠʌȠȓȠ, țȣȡȓȦȢ, ȐȞșȚıİ IJȠ ȡİȝʌȑIJȚțȠ ıIJȘȞ ȚįȚĮȓIJİȡȘ ʌİȡȓȠįȠ IJȘȢ ĮțȝȒȢ IJȠȣ (1932-1940). ǹȣIJȒ Ș ȐʌȠȥȘ İȓȞĮȚ İȞ ȝȑȡİȚ ıȦıIJȒ, įȚȩIJȚ įİȞ ȜĮȝȕȐȞİȚ ȣʌȩȥȘ IJȘȢ Ȓ ıȣıIJȘȝĮIJȚțȐ ĮȖȞȠİȓ IJȚȢ țȠȚȞȦȞȚțȑȢ, ȠȚțȠȞȠȝȚțȑȢ țĮȚ ȝȠȣıȚțȑȢ ıȣȞșȒțİȢ IJȘȢ ʌİȡȚȩįȠȣ IJȘȢ İȝijȐȞȚıȘȢ IJȠȣ ȡİȝʌȑIJȚțȠȣ. ĬĮ ȝʌȠȡȠȪıĮȝİ ȞĮ ȚıȤȣȡȚıIJȠȪȝİ, ȝİ ĮijȠȡȝȒ IJȠ ʌİȡȚİȤȩȝİȞȠ IJȦȞ IJȡĮȖȠȣįȚȫȞ, ȩIJȚ Ƞ «ȡİȝʌȑIJȘȢ» İțijȡȐȗİȚ ȝİ IJȠ įȚțȩ IJȠȣ ȚįȚȩIJȣʌȠ IJȡȩʌȠ ʌȠȜȜȐ țĮȚ IJȚȢ ʌİȡȚııȩIJİȡİȢ ijȠȡȑȢ ĮȞIJȚțȡȠȣȩȝİȞĮ ıȣȞĮȚıșȒȝĮIJĮ, ȩʌȦȢ: ȋĮȡȐ, ʌȩȞȠ, ĮȖĮȞȐțIJȘıȘ, ʌȓțȡĮ, įȚĮȝĮȡIJȣȡȓĮ țĮȚ ȩIJȚ IJȠ IJȡĮȖȠȪįȚ IJȠȣ İȓȞĮȚ Įʌȩ IJĮ ȞİȩIJİȡĮ įȘȝȚȠȣȡȖȒȝĮIJĮ IJȠȣ ǼȜȜȘȞȚțȠȪ ȜĮȠȪ, ʌĮȡȐȜȜȘȜĮ ȝİ IJȘ ȖȑȞȞȘıȘ IJȠȣ ȞİȠİȜȜȘȞȚțȠȪ ĮıIJȚțȠȪ ȕȓȠȣ IJȠ ʌȡȫIJȠ IJȑIJĮȡIJȠ IJȠȣ 19ȠȪ ĮȚȫȞĮ. ȀĮIJȐ IJȠ Ȃ. ȋĮIJȗȚįȐțȚ ıİ IJȡİȚȢ ȜȑȟİȚȢ ȝʌȠȡİȓ ȞĮ ıȣȞȠȥȚıIJİȓ IJȠ ȡİȝʌȑIJȚțȠ țĮȚ ȜĮȧțȩ IJȡĮȖȠȪįȚ "ȝİȡȐțȚ", "țȑijȚ" țĮȚ "țĮȘȝȩȢ"!... Ǽįȫ țĮȚ ʌȠȜȪ țĮȚȡȩ, IJo ȡİȝʌȑIJȚțȠ IJȡĮȖȠȪįȚ ȑȤİȚ ʌİȡȐıİȚ ıIJȘ ıȣȞİȓįȘıȒ IJȠȣ ȞİȠȑȜȜȘȞĮ, ĮȞİȟȐȡIJȘIJĮ IJȘȢ IJȐȟȘȢ, IJȘȢ țȠȚȞȦȞȚțȒȢ țĮȚ ȠȚțȠȞȠȝȚțȒȢ IJȠȣ țĮIJȐıIJĮıȘȢ. ǼȓȞĮȚ ȖȞȦıIJȩ ȩIJȚ IJȠ ȡİȝʌȑIJȚțȠ, ȩʌȦȢ ȩȜĮ IJĮ ʌȡȦIJȠʌȠȡȚĮțȐ ȝȠȣıȚțȐ ȡİȪȝĮIJĮ, ʌȤ IJȠ ȝʌȜȠȣȗ, Ș IJȗĮȗ, IJȠ IJȐȖțȠ, IJȠ ĭȜĮȝȑȖțȠ, IJĮ ijȐȞIJȠȢ, ĮȞIJȚȝİIJȦʌȓıIJȘțĮȞ, İȓIJİ ȖȚĮ ʌȠȜȚIJȚțȠȪȢ İȓIJİ ȖȚĮ țȠȚȞȦȞȚțȠȪȢ ȜȩȖȠȣȢ, ȝİ ȝȚĮ ȣʌȑȡȝİIJȡȘ țĮȤȣʌȠȥȓĮ ʌȠȣ ȑijIJĮıİ ʌȠȜȜȑȢ ijȠȡȑȢ ȝȑȤȡȚ IJĮ ȩȡȚĮ IJȘȢ ʌȠȚȞȚțȒȢ įȓȦȟȘȢ IJȦȞ ijȣıȚțȫȞ ĮȣIJȠȣȡȖȫȞ IJȠȣȢ!!! ȁĮȧțȩ IJȡĮȖȠȪįȚ IJȦȞ ʌȩȜİȦȞ ȣʌȒȡȤİ Įʌȩ IJȩIJİ ʌȠȣ ȣʌȒȡȤĮȞ DzȜȜȘȞİȢ țĮȚ İȜȜȘȞȚțȑȢ ʌȩȜİȚȢ. ȉȠ ȞİȠİȜȜȘȞȚțȩ ĮıIJȚțȩ ȜĮȧțȩ IJȡĮȖȠȪįȚ ȤȡȘıȚȝȠʌȠȚİȓ IJȘ (ȞİȠİȜȜȘȞȚțȒ) țȠȚȞȒ ȖȜȫııĮ, ȑȤİȚ ȠȝȠȚȠțĮIJĮȜȘȟȓİȢ țĮȚ ȤȦȡȓȗİIJĮȚ ıİ ıIJȡȠijȑȢ, ʌȠȣ ĮȞȐȝİıȐ IJȠȣȢ ĮȞĮʌIJȪııȠȞIJĮȚ IJĮ ȠȡȖĮȞȚțȐ- ȝȠȣıȚțȐ ȝȑȡȘ. ǹʌĮȡĮȓIJȘIJȘ, ȜȠȚʌȩȞ, ʌȡȠȨʌȩșİıȘ ȖȚĮ IJȘȞ İȝijȐȞȚıȘ IJȠȣ ȞİȠİȜȜȘȞȚțȠȪ ĮıIJȚțȠȪ-ȜĮȧțȠȪ IJȡĮȖȠȣįȚȠȪ ȒIJĮȞ Ș ȓįȚĮ ʌȠȣ ȒIJĮȞ țĮȚ ȖȚĮ IJȘ ȞİȠİȜȜȘȞȚțȒ ȜȠȖȠIJİȤȞȓĮ: Ș įȚĮȝȩȡijȦıȘ țĮȚ İʌȚțȡȐIJȘıȘ IJȘȢ ȞİȠİȜȜȘȞȚțȒȢ ȖȜȫııĮȢ ıIJȘȞ țĮșȘȝİȡȚȞȒ ȗȦȒ țĮȚ ıIJȘ ȜȠȖȠIJİȤȞȓĮ. ȀȚ ĮȣIJȩ ıȣȞIJİȜȑıIJȘțİ, țȣȡȓȦȢ, 1 ƧNjǂǕǝǎ Ǖǒǀǂ ǕdžǕǒƽǔǕNJǘǂ ǂǑǝ Ǖǂ ǑdžǒǀǗLjǍǂ ƳǐǖǍǑǂDŽNJƽǕ Ǖǐǖ ƱǍƽǒ ƬǂDŽNJƽǍ ǃǒǀǔNjǐǎǕǂNJ Ǎƾǔǂ ǔǕǐ ǍNJNjǒǝ ǂǖǕǝ ǃNJǃnjǀǐ. ƧNjǂǕǝǎ Ǖǒǀǂ ǕdžǕǒƽǔǕNJǘǂ Ǒǐǖ ǂǑǐǕdžnjǐǞǎǕǂNJ ǂǑǝ ǂǎdžǏƽǒǕLjǕdžǓ ǔǕǒǐǗƾǓ NjǂNJ Ǒǐǖ Lj NjǂljdžǍNJƽ ǕǐǖǓ ǔǖǎǕǀljdžǕǂNJ ǂǑǝ ǕƾǔǔdžǒNJǓ ǔǕǀǘǐǖǓ ǀǔLjǓ ǂnjnjƽ ǑǐNJNjǀnjLjǓ ǑǒǐǔǚDžǀǂǓ· NjƽǑǐNJdžǓ ǗǐǒƾǓ ǝnjǐNJ ǐǍǐNJǐNjǂǕǂnjLjNjǕǐǞǎ ǝǍǚǓ ǔǖǘǎǝǕdžǒǂ ǐ ǕǒǀǕǐǓ ǔǕǀǘǐǓ ǂǎǂNJǒdžǀ ǕLjǎ ǐǍǐNJǐNjǂǕǂnjLjǏǀǂ. ƟǑǚǓ ǔǖǎLjljǀLJdžǕǂNJ Ǎdž ǕƾǕǐNJǐǖ džǀDžǐǖǓ ǔǕǀǘǐǖǓ ǕLjǓ ƣǎǂǕǐnjƿǓ, Ǖǂ ƳǐǖǍǑǂDŽNJƽǕ ǂNjǐnjǐǖljǐǞǎ Ǖǐ ƾǎǂ Ǖǐ ƽnjnjǐ, NjǂNJ ǝnjǂ ǍǂLJǀ Ǎǀǂ ǒǀǍǂ ǂnjǗǂǃLjǕNJNjƿ - ǑǂǒƽǏdžǎLj DžNJǂDžǐǘƿ ǘǂǒƽǓ NjǂNJ ǑƾǎljǐǖǓ. 5 5 3ο σεμινάριο για το ρεμπέτικο τραγούδι țĮIJȐ IJȠȞ 10Ƞ ȝİ 12Ƞ ȝȋ ĮȚȫȞĮ, ȩʌȦȢ įİȓȤȞȠȣȞ IJĮ «ȆIJȦȤȠʌȡȠįȡȠȝȚțȐ» ʌȠȚȒȝĮIJĮ ĮȜȜȐ țĮȚ IJĮ ıIJȚȤȠȣȡȖȒȝĮIJĮ IJȘȢ ʌȡȠijȠȡȚțȒȢ ȜȠȖȠIJİȤȞȓĮȢ IJȦȞ ĮțȡȚIJȚțȫȞ IJȡĮȖȠȣįȚȫȞ (2). ȅ ȖȜȦııȚțȩȢ ȤĮȡĮțIJȒȡĮȢ IJȦȞ ʌȠȚȘȝȐIJȦȞ ĮȣIJȫȞ İȓȞĮȚ ȝİȚțIJȩȢ. ȋȡȘıȚȝȠʌȠȚİȓIJĮȚ ȜȩȖȚĮ ȖȜȫııĮ ıIJȠ ʌȡȠȠȓȝȚȠ, ıIJȠȞ İʌȓȜȠȖȠ țĮȚ ıIJȚȢ İȞįȚȐȝİıİȢ ĮʌȠıIJȡȠijȑȢ ıIJȠ ȣȥȘȜȐ ȚıIJȐȝİȞȠ ʌȡȩıȦʌȠ, ıIJȠ ȠʌȠȓȠ ĮʌİȣșȪȞİIJĮȚ Ƞ ĮijȘȖȘIJȒȢ țĮȚ ȗȘIJȐ İȣİȡȖİıȓĮ. Ǿ įȘȝȫįȘȢ ȖȜȫııĮ ȤȡȘıȚȝȠʌȠȚİȓIJĮȚ ıIJĮ İȞįȚȐȝİıĮ ȝȑȡȘ ʌȠȣ ʌİȡȚȖȡȐijȠȞIJĮȚ IJĮ țĮțȠʌĮșȒȝĮIJĮ IJȠȣ ĮijȘȖȘIJȒ ȜȩȖȦ IJȘȢ ʌİȞȓĮȢ IJȠȣ. ȉȠ șȑȝĮ IJȘȢ ȣȜȚțȒȢ ʌİȞȓĮȢ ıȣȞįȣȐȗİIJĮȚ țĮȚ ʌĮȡĮȜȜȘȜȓȗİIJĮȚ ıȣıIJȘȝĮIJȚțȐ ȝİ IJȠ șȑȝĮ IJȘȢ ȖȜȦııȚțȒȢ ʌİȞȓĮȢ ȝȑıȦ IJȘȢ ȤȡȒıȘȢ IJȘȢ įȘȝȫįȠȣȢ ȖȜȫııĮȢ. ȍıIJȩıȠ ĮȣIJȩ įİȞ ȒIJĮȞ ĮȡțİIJȩ ȖȚĮ IJȘȞ İȝijȐȞȚıȘ İȞȩȢ ȞȑȠȣ IJȪʌȠȣ IJȡĮȖȠȣįȚȠȪ IJȦȞ ʌȩȜİȦȞ, ȤȦȡȚıȝȑȞȠȣ ıİ ȚıȠȝİȡİȓȢ ıIJȡȠijȑȢ, ȩʌȠȣ IJĮ ȩȡȖĮȞĮ șĮ İȓȤĮȞ țĮșȠȡȚıȝȑȞȠ țĮȚ ıȘȝĮȞIJȚțȩ ȡȩȜȠ, ĮȞȐȝİıĮ ıIJȚȢ ıIJȡȠijȑȢ, ʌĮȓȗȠȞIJĮȢ IJȚȢ İȚıĮȖȦȖȑȢ țĮȚ IJȠȣȢ ȝİȜȦįȚțȠȪȢ ĮȣIJȠıȤİįȚĮıȝȠȪȢ. Ǿ ıIJȡȠijȚțȒ ȝȠȡijȒ ȝʌȒțİ ıIJȠ ȞİȠİȜȜȘȞȚțȩ țĮȚ ȝȐȜȚıIJĮ ıIJȠ ĮıIJȚțȩ-ȜĮȧțȩ IJȡĮȖȠȪįȚ ȝİ IJȘȞ ȣȚȠșȑIJȘıȘ IJȘȢ ȚIJĮȜȚțȒȢ ȡȓȝĮȢ (ȠȝȠȚȠțĮIJĮȜȘȟȓĮȢ). ǹȣIJȩ ȑȖȚȞİ ıĮȞ ıȣȞȑʌİȚĮ IJȘȢ țĮIJȐȤIJȘıȘȢ įȚĮijȩȡȦȞ ʌİȡȚȠȤȫȞ IJȘȢ ǼȜȜȐįĮȢ, țĮȚ ȚįȓȦȢ ȞȘıȚȫȞ, Įʌȩ IJȠȣȢ ǺİȞİIJıȚȐȞȠȣȢ, IJȠȣȢ īİȞȠȕȑȗȠȣȢ țĮȚ ȖİȞȚțȐ IJȠȣȢ ĭȡȐȖțȠȣȢ (IJȠȣȢ țĮșȠȜȚțȠȪȢ ǻȣIJȚțȠȪȢ). ȅȚ țĮIJĮȤIJȘȝȑȞȠȚ ʌȐȞIJĮ ʌĮȓȡȞȠȣȞ ʌȠȜȚIJȚıȝȚțȐ ıIJȠȚȤİȓĮ Įʌȩ IJȠȣȢ țĮIJĮȤIJȘIJȑȢ țȚ ĮȞ ȑȤȠȣȞ IJȘȞ ȚțĮȞȩIJȘIJĮ ȞĮ IJĮ ȚįȚȠʌȠȚȠȪȞIJĮȚ, IJȩIJİ IJĮ ĮijȠȝȠȚȫȞȠȣȞ țĮȚ IJĮ İȞıȦȝĮIJȫȞȠȣȞ ıIJȘ įȚțȒ IJȠȣȢ țȠȣȜIJȠȪȡĮ.
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    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
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