Gender in Traditional Music Revivals on the Island of Rhodes, Greece by Allison Sokil A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Music University of Alberta Allison Sokil, 2015 Abstract Traditional music revivals on the island of Rhodes, Greece, are accepted as a socially condoned space for women to expand on and contest traditional gender models locally. In examining the distinct ways in which two, professional, female singers, Xristína Kóza and Matína Mástora, engage with preservation, education, and performance roles, I argue that women have gained an increasing centrality in the transmission of traditional music locally, nationally, and internationally. By exploring the relationship between gender and traditional music in the context of Rhodes’ tumultuous history, the current economic and sociopolitical crisis, and in relation to the long-term impacts of modernity, I aim to illuminate how women have become leading figures in revival movements and how this has encouraged the recontextualization and decontextualization of traditional music practices to ensure the longevity of these vibrant traditions (Hill and Bithell 2014). In an effort to address the current gap in ethnomusicological literature that has yet to explore the rich musical traditions from the island of Rhodes and the complex relationship between gender and expressions of these distinct music traditions locally, this thesis attempts to illuminate the intersections of power, prestige, and gender through the tripartite framework of women’s roles in Rhodian, traditional music revivals. ii Preface This thesis is an original work by Allison Sokil. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board, “Gender in Traditional Music Revivals on the Island of Rhodes, Greece,” Pro00045663, April 8, 2014. iii Dedication This work is dedicated to the memory of my grandfather, William Sokil, who instilled in me a lifelong enthusiasm for learning and a drive to succeed in all of my pursuits and endeavours. iv Acknowledgements I would like to thank my supervisor, Dr. Michael Frishkopf, for his continuous support and encouragement throughout my program. I am constantly inspired by the integrity of his work, his dedication to the field, and his compassion and investment in communities and classrooms. I would also like to thank the members of my defense committee, Natalia Pylypiuk, Christopher Reyns, and Patricia Tao, for providing me with numerous insightful perspectives and reflections. I am grateful to the Social Sciences and Humanities Research Council of Canada, the Canadian Federation of University Women Edmonton, and the Department of Music for their generous financial and academic support of this project. To the Rhodian musicians and community members that inspired and supported my work, I am truly grateful. Thank you to Matína Mástora for your patience and openness in the many memorable conversations that encouraged and shaped this project in the early stages; to Xristína Kóza, Panagiótis Sarikás, and Giánnis Kladákis for allowing me to showcase the music traditions that you keep alive and vibrant for future generations; and to the people of Arhággelos and Kalithiés for your endless enthusiasm, warmth, and hospitality. To everyone we interviewed, I am forever grateful for your willingness to allow me to learn about your rich musical heritage. To my family and friends in Greece, thank you for your continuous physical, emotional, and mental nourishment and inspiration. To my parents and brother, Greg, Angie, and Stephen, and my partner, Ari Mastoras, your unwavering support and unconditional love throughout the process made this all possible – thank you. v Table of Contents Abstract ............................................................................................................................... ii Preface................................................................................................................................ iii Dedication .......................................................................................................................... iv Acknowledgements ............................................................................................................. v Table of Contents ............................................................................................................... vi Table of Figures ................................................................................................................ vii A Note on Transliteration .................................................................................................. ix Glossary of Terms .............................................................................................................. xi Chapter 1: Introduction ....................................................................................................... 1 A Brief Introduction to Greek Music Revivals ............................................................... 2 Personal Connections and Introductions ......................................................................... 6 Gender Studies and Greece ............................................................................................. 9 Ethnomusicology and Gender ....................................................................................... 12 Ethnomusicology of Greece .......................................................................................... 13 Rhodes, Greece ............................................................................................................. 20 Methodology and Fieldwork ......................................................................................... 22 Positionality .................................................................................................................. 25 Challenges ..................................................................................................................... 28 Overview ....................................................................................................................... 33 Chapter 2: Greek Music, Revivals, and Tradition ............................................................ 35 Contesting Concepts of Traditional Music ................................................................... 41 Rhodian Revival Movements: A Model and Its Contextualization .............................. 45 Gender in Traditional Music Revivals .......................................................................... 53 Chapter 3: The Women and Men of Local Movements ................................................... 57 Xristína Kóza ................................................................................................................ 57 Matína Mástora ............................................................................................................. 61 Panagiótis “Varvarás” Sarikás ...................................................................................... 66 Giánnis Kladákis ........................................................................................................... 69 Chapter 4: The Centrality of Women in Traditional Music Revivals as Preservers, Educators, and Performers ................................................................................................ 73 The Preservationists ...................................................................................................... 74 Past ............................................................................................................................ 76 A Historical Example: Samuel Baud-Bovy and Triantafillió Argyroú .................... 77 Present ....................................................................................................................... 81 The Educators ............................................................................................................... 87 Past ............................................................................................................................ 90 Present ....................................................................................................................... 91 The Performers.............................................................................................................. 99 Past .......................................................................................................................... 101 Present ..................................................................................................................... 102 Chapter 5: The Future of Traditional Music ................................................................... 111 Bibliography ................................................................................................................... 115 vi Table of Figures Figure 1. Old Town in Rhodes, Greece. Norbert Nagel and Mörfelden-Walldorf, 2006. Creative Commons license. ........................................................................................ 8 Figure 2. Fauriel’s Elliniká Dimotiká Tragoúdia (1999). © Crete University Press, 2015. ................................................................................................................................... 14 Figure 3. Baud-Bovy’s Tragoúdia ton Dodekaníson [Songs of the Dodecanese] (1935). © Sýllogos pros diádosin ofelímon