Greek folk dance regions: Pontian music and dance
This overview of Pontian dances is taken from the chapter on Pontos from Yvonne Hunt's book, Traditional Dance in Greek Culture. The book is highly recommended, please contact Yvonne directly for information on how to order a copy for yourself.
The southeastern shore of the Black Sea was populated by Greeks from ancient times. It is a fertile coastal area which includes high mountains, lush greenery and forests as well as high plateaus. The word Pontos means "sea" and "...was first used to denote those Greeks living on the Black Sea coast in order to distinguish them from those Greeks in Central Cappadocia. Thus for a time the word was used as an adjective modifying Cappadocia, that is, Pontic Cappadocia or 'maritime Cappadocians'." (Kilpatrick 1980:53)
Although Pontic Greeks are found throughout most of mainland Greece today there is a high concentration of them in Macedonia where many of them were originally settled upon arrival from their Asia Minor homeland. They were frequently settled into existing villages, but there were also many settled in new villages, which, in some ways, may have helped them to retain more of their traditions. Sometimes these villages were rather remote and isolated which contributed even more-so to the retention of tradition. Kilpatrick gives the following example: "Pontic villages in Macedonia were settled with the conscious attempt to disrupt community organization as little as possible. Polymilo, therefore, has been settled by people from Trebizond, while Tetralophos is populated by families from Matsouka. The result of this policy has been that some regional differences which had developed in Turkey have been transferred to Macedonia intact and it has been possible to preserve traditions and customs surrounding work patterns, education, and music and dance." (op. cit:65)
While communities may have originally been transferred intact in some instances, thereby keeping a stronger hold on their traditions, Giorgiádis gives us a different view as to what is happening today. "In comtemporary communities... the dances lost a part of their peculiarity, while the variety of their rhythms was reduced to a minimum. At the same time, perhaps to keep pace with the contemporary spirit, they became faster. The small variations which constituted something common in Pantos (often a dance varied even in two neighboring villages) have been lost or levelled out." (1991:611)
The favored musical instrument of the Pontic Greeks is the lyra or kementzé. It has a long, rectangular shape -frequently referred to as "bottle-shaped" - and was traditionally played as a solo instrument, accompanying both songs and dances. "The kementzé player was positioned in the center of a closed circle of dancers, often dancing solo himself while playing and adding enthusiasm to the scene by shouts of encouragement: (Capidolupo 1982:14) It is played by stopping the strings with the fingertips in like manner with the violin.
Another traditional instrument is the bagpipe or touloúm as it is usually called by Pontic Greeks. Some refer to it as the angion. In its construction and playing it resembles the island form of the bagpipe (tsamboúna) more than the mainland version (gaida). It is sometimes accompanied by the large drum, doúli. The doúli is also used to accompany the zournos which is used by some Pontic communities. Other traditional instruments included various types of shepherds' flutes. Giorgiádis tells us "...in Western Pontos... the usual musical instruments were the violin, the doúli, the zournas and rarely the lyra: (1991:610) In her studies of the western part of Pontos, M. Merlier found the language of the inhabitants to be closer to common Greek than to the Pontic dialect and many of their songs, as well as their folklore in general. to be panhellenic. (see 1935:27,28)
While the above are the more traditional instruments, today they are found less and less or in combination with modern. western instruments. It is rare to find a Pontic dance taverna (kentro) where the lyra is not accompanied by the electric organ, electric guitar and drum set. Frequently the sound of the lyra is almost lost among these other instruments.
Pontic dance music is played in a variety of rhythms and tempos. Asymmetric rhythms are much more common than symmetric. They include 5/B (3+2), 7/8 (4+3 or 2+2+3), 9/8 (2+2+2+3 or 2+3+2+2) as well as others. In fact, according to Kilpatrick, only two dances - Kótsari and Trygóna - are strictly Pontic dances (i.e. not borrowed from other cultures) in even meter. (1980:167)
The Pontic Greeks have quite a variety of dances which range from relatively simple to quite camplicated. Once I more we find certain dance names being used again and again. One such name is Omal, which is used for a variety of dances, usually with another name appearing afterwards which most often designates the region from which the dance comes: Oral Trapezoundéikon, Oma1 Kerasoundéikon, Omal Garásaris, Oma1 Kars, etc. The word, "omal" means smooth and indicates dances which are quite different from the more agitated ones usually associated with Pontic Greek. The other name we encounter far more than one dance is Tik.
There are basically two types of Tik: single (Tik Monón) and double (Tik Diplón). Tik Monon is exactly like the Hasaposerviko in foot pattern, with more of an in and out movement in relationship to the circle. The hands are held at shoulder height rather than placed on neighbors' shoulders. The music is usually 5/8 but, according to Kilpatrick, it can also be danced to 7/8. (ree 1980:114T) Today it is mostly done by older people.
Tik Diplon is the most popular Pontic dance and is danced by people from all regions. The foot pattern is again like the Hasaposerviko but with two additional measures, requiring two additional step-lifts or step-touches. The in-out movement is even more obvious in this form of Tik. The handhold is the same as for Tik Monon. The music may be either 5/8 (3+2) or 7/8 (4+3) and may even change from one to the other during the dance. Both rhythms produce a slow-quick count. The tempo may be slow or fast, sometimes beginning slowly and becoming rapid later on. When it becomes very fast and the dancing is quite agitated then it is referred to as Tik Tromachtón, which simply means "trembling". The movements, while more agitated, are also more confined in terms of space covered, which makes the trembling even more obvious. At this point the dancers often raise their hands from shoulder level to almost full extension above their heads.
Probably the second most frequently danced is the Dipát or Omá1 Trapezoundéikon (from Trapezous or Trebizond). This is a dance in 9/8 meter, and as with other omals, it IS slow and smooth with almost no variation. The two names designate different phrasings or accentuations of the music. For the Omal Trapezoundéikon the music may be counted as (2+2+2+3)quick-~quick-quick-slow while the Dipat is counted as quick-slow-qick-quick (2+3+2+2). The dance step remains the same no matter which metrical structure is used. Some people find it more difficult to begin the dance when Dipat music is used. Hands are heid at shoulder height.
The Omá1-Kerasoundéikon (from Kerasous) also appears under other names. It is sometimes called Embro-pis (forward-backward) which describes its movement, but it seems to be most frequently referred to today as Láhana which is the name af a very popular song used for the dance. The rhythm is 9/8 and can be danced in either a smooth or more agitated style ,with the latter being the most popular today. Hands are held at shoulder height. Whil it is most often done in circular fashion it can also be done in a serpentine form, winding in and out as the leader wishes.
The 9/8 rhythm is also used for the dance known as Patoula. This name .is used in the western part of Pontos while those from the eastern regions usually call it Pipilomátena. For this dance the hands are placed on neighbors' shoulders: The step is the same to the right and left. three walking steps with a touch of the heel for the fourth beat.
Another popular dance is Kósari ar Kóchari. originally from the Kars area. It is performed with hands on the neighbors' shoulders to music of 2/4 rhythm, In its simplest form it resembles the Hasaposerviko with an added measure. The footwork to the right in the first two measures is mirrored to the left in the remaining two measures. Since the steps to the left are done virtually in place, there is very little movement in that direction. The music is accented on every fourth beat which fits the dance phrase exactly. Kotsari is one of the Pontic dances with several variations, Sometimes these variations are called out by the dancer at the right end of the line; other times it is a matter of individual preference. Kilpatrick has some worthwhile comments about the variations and style of this dance: "The length [sic] of the step is approximately four to eight inches and the feet never lift off the ground more than two to four inches except during a few of the more vigorous variations." These "...may be performed by one or more dancers in the line without disrupting the basic pattern being danced by others in the line. It is difficult to know how traditional some of the variations are now, since many different figures have admittedly been choreographed for the stage." (1980:112)
Another dance is the Sheranítsa (sometimes also called Ikosi Ena or Armenitsa). The music is 7/8, danced as slow-quick (4+3) for part of the pattern and as quick-quick-slow (2+2+3) for the remainder. The hands are held down at the sides while performing the first part of the step which moves to the right and then left; they are raised high while performing the second part which is virtually danced in place. It is not a very difficult dance and is usually danced frequently at kentra.
A dance in the same rhythm as Letchina. This is a more difficult dance and not done as often nor by as many -usually only those who are the "better dancers". Athanasiádis refers to it as a men's dance (see 1985:201)even though today it is danced by both sexes.
Many who are not genuinely familiar with this dance will often confuse it with the music for Sheranitsa - probably because of the same rhythm, This is sometimes a problem for Pontic people as well as non-Pontic for Kilpatrick mentions, "...Pontics who were not fully aware of the tunes hav been seen doing the dance Sheranitsa to the dance tune for Letchina, much to the dismay of the better dancers who would generally step in and change the dance to th correct steps." (1980:130) (I have personally witnessed the same situation on various occasions as well as times when the lyra player informs the dancers they are performing the wrong dance.) The arm movements present another difficulty with this dance as they are held down at the sides for the first few measures, then begin to swing forward and back for the next few and are finally held overhead for the last few.
Kots is another dance in 7/8 hythm. It, too, is danced to only one tune and is actompanied with some arm movement. It is not often requested in the Pontic kentra in Athens. Another dance which resembles Kots but with more agitation or "bouncing" is Titara, also known as Dipló Kots. This was mostly danced by Pontics coming from the USSR. (see Giorgiádis 1991:610It) It has enjoyed quite a bit of popularity from time-to-time in the Athens' kentra.
A dance that has gained in popularity in the last few years, at least in Athens, is Trygóna. This dance moves entirely to the left. It along with the Ters, another variation of the dance, appear to be the only ones which do. While the step seems to be quite simple, stepping right then left in time to the music, which may be either 2/4 or 4/4 depending on which tune is played, it s nevertheless deceptive in this simplicity for the dance phrase needs to match the musical phrase and accent. The hands also pose a problem for many who mistakenly move them back and forth the whole time while in reality they are held down at the ides for the first two measures and move forwards and back on the last two measures.
By far the most spectacular dance as far as viewers are concerned is the Serra with its often frenzied tempo and many variations. It has traditionally been a dance for men but today it is also performed by many young women at the Pontic kentra and by girls dressed in men's costumes in the various performing groups. This dance begins slowly, usually with a swaying of the body rhythmically to the singing of the lament for Matsouka, the region south of Trebizond. As the tempo increases, the dancers begin to perform the Tik in tromachtón style. Once again Kilpatrick offers an excellent description, "Throughout the dance, sections are marked by a low leap off the floor and the bodies become straight and rigid, the hands over the heads. The dancers begin the variations immediately. As the music abruptly becomes faster and slips from 7/8 into 8/8..., the variations become more frenzied; shouts from the dancers and the audience become more frequent until climax is reached and the dancers revert to the simple foot pattern of Tlk for a few short sections of 30 to 45 seconds each, and the dance ends." (1980:122)
The relationship between the lyra player and the dancers is especially important in the Serra. He watches the dancers closely in order to immediately interpret their every move, making the music coincide with every leap and increase of tempo. The musician must be familiar with the dancers and their particular variations in order to anticipate the abrupt stops that are a part of this dance. The dancers must have a feel for the music, being particularly aware of the phrasing. "It is during the Sera that the highest degree of reciprocal interplay between musician and dancer is required to produce a unified artistic performance." (Kilpatrick op. cit:182)
Another "spectacular" dance is the Mashera or Pitsák Giil (a Turkish name'commonly used), a knife dance performed by two men. In fact, it often follows the Serra, especially in stage presentations. While its basic step is similar to that of Tik, it is primarily improvisational with stamping of the feet, dancing on the knees, changes of direction and a great deal of shoulder shaking. Invariably one of the dancers is "killed": the decision as to which one is made before the dance begins. As with the Serra, the interplay between musician and dance is most important in order to emphasize the changes in mood and movement of the latter.
While the above are the most popular or most commonly performed Pontic dances they are not the only ones. A dance rarely seen in the kentra is the Támzara, sometimes also called Omá1 Nikopóleos. It strongly resembles the Turkish dance of the same name as far as dance pattern is concerned and uses the same rhythm, 9/8. Sari Kouz is another dance which does not have much popularity in the kentra. It is a relatively simple dance in 5/8. This dance varied from community to community.
A dance or "dance-game" which has gained popularity in recent years at some of the Athens' kentra is Miteritsa. It is in two parts, the first part being a "limping" step (similar to that of the Trygona) eight counts to the right and and then eight counts to the left. During the second part one dancer (usually a man in the beginning) chooses a girl and does an elbow-swing using a skipping step with her in the center of the circle. At the end of this section of music both may return to their place in the circle and the first part is repeated, or he may dance with others before returning. The dance appears to have been largely borrowed from other European dances.
Another dance that is clearly borrowed from the Caucasus region is Tas, usually performed to music of the Russian Hopak. Basically the dance consists of a running step in time to the rhythm, arms held low, moving side to side. It is usually a couple dance but not always. Men do deep knee bends and kicking of the legs characteristic of many Russian dances.
Kotsangél is a wedding dance in 7/8 (2+2+3). It may be done both before and after the ceremony and is used to move the wedding party from one place to another. It consists solely of a travelling step in time to the music, hands clasped down at the sides. There are no variatians. It is rarely done in kentra. It is sometimes used by performing groups to get on or off the stage.
The above are the most popular dances; those which are most frequently danced whenever Pontic Greeks gather today. There are, of course several other dances. These, however, are mostly dances which were done by one community or in a small group of villages and have not, for the most part, come into the general repertoire of dances being done by Pontic Greeks in their new homeland.
Today most Pontic Greeks also include in their repertoire the syrto-kalamatiano. tsamiko, hasapiko and zeimbekiko as do most Greeks regardless of their regional origin. An interesting addition to the Pontic dances. at least in the kentra of Athens and Thessaloniki, is the inclusion of various Cretan dances. Perhaps this has come about as a result of some of the Pontic lyra players learning to play a few Cretan dance songs, It is interesting to see the dances of Crete being performed in strictly Pontic style, for it is rare to find a dancer who can change from one style to the other.
While dancing is still very popular among the Pontic Greeks it seems that the dances themselves have undergone a few changes. "Unfortunately... the majority of Pontic dance ensembles, perhaps because they don't have good dance teachers, expert in Pontic dances, who modernize and interpret the dances however they want" (Athanasiádis 1985:205) Giorgiádis echoes the same saying that in Greece the dances "...lost their spontaneous common characteristic.." He feels the dance teachers and society (syllogoi) leaders are largely responsible for this as role models for the dancers, having brought in foreign (not Pontic) movements to the dances. He goes on to say "...not too long ago the canons of the dance were self-understood and sprang from the inner world of each dancer. The same dance teachers in the name of choreography changed the rhythms of so e dances. Nevertheless it is preferred that they are danced thusly rather than disappear." (1991:611)