Avanti, maestro! The music for the Shadow Theatre as a part of the Balkan, Oriental and the Western cultural identity of Greece

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Avanti, maestro! The music for the Shadow Theatre as a part of the Balkan, Oriental and the Western cultural identity of Greece

Dalianoudi Renata - PhD Musicology, Athens University, Lecturer, Dpt. of History and Archaeology, University of Ioannina, Tutor, Hellenic Open University

Abstract

Is it possible for a country to have a three-part cultural identity? Is it possible for three different and often «opposing» cultural languages, such as Orientalism, Balkanism and Occidentalism, to coexist as identical components in the same geographical, social and cultural environment? What are the proportions of this triple cultural identity, under which conditions the components of this identity «converse» with each other, and consist the musical mosaic of Greece in the 21st century? Greece was under the Ottoman occupation for a long period of time, while from the 19th century and henceforth - in the frame of the eagerly anticipated westernization and of the renunciation of its oriental identity - directs its intellectual and musical interests towards the West, without, however, excluding cultural forms influenced by the Balkan peninsula (where Greece as a country geographically belongs).

The musical elements, which in a first level testify the Ottoman past, the Balkan as well as the Occidental present of Greece will be examined through the famous «Istanbul Tьrkьleri » (anonymous Konstantinopolitan music) for the Greek without hyphenation theatre, as well as through some recent «art popular» music for Ka- raghiozis, composed by Greek musicians. Light is going to be thrown on different musical and dancing traditions, tonal and modal systems, rhythms, orchestration and style, through which different origins (Ottoman, Balkan andfinally Greek) with often common cultural cores, «loans» and «anti-loans» are expressed.

Key words: Shadow Theatre, Karaghiozis, Orientalism, Balkanism, Occidentalism, folk, urban folk, cultural identity

Аннотация

Вперед, маэстро! Музыка для театра теней в контексте балканской, восточной и западной культурных компонентов самобытности Греции

Далиануди Рената - доктор музыковедения, Афинский университет; Венский университет, лектор; Университет Янины, репетитор; Греческий открытый университет.

Возможно ли, чтобы у страны была трехчастная культурная идентичность? Возможно ли, чтобы три разных и часто «противоположных» культурных языка, таких как ориентализм, балканство и западничество, сосуществовали как идентичные компоненты в одной и той же географической, социальной и культурной среде? Каковы пропорции этой тройной культурной идентичности и при каких условиях компоненты этой идентичности «обращаются» друг к другу и состоят из музыкальной мозаики Греции в XXI веке? Греция находилась под османской оккупацией в течение длительного периода времени, а с XIX века - в ожидаемой вестернизации и отказа от ее восточной идентичности - направляет свои интеллектуальные и музыкальные интересы на Запад, не исключая, однако, культурные традиции Балканского п-ова.

Музыкальные элементы, которые свидетельствуют об оттоманском прошлом Балкан, а также западный «подарок» Греции рассматриваются через знаменитую «Стамбул Туркуллери» (анонимную музыку Константинополя) для греческого теневого театра, а также через недавно появившуюся «популярную музыку» для жанра Карагиозис. Освещаются различные музыкальные и танцевальные традиции, тональные и модальные системы, ритмы, оркестровка и стиль.

Ключевые слова: театр теней, Карагиозис, ориентализм, балканизм, оксидентализм, городской фольклор, культурная идентичность.

Introduction

ottoman music genre

Is it possible for a country to have a three-part cultural identity? Is it possible for three different and often «opposing» cultural languages, such as Orientalism, Balkanism and Occidentalism, to coexist as identical components in the same geographical, social and cultural environment? What are the proportions of this triple cultural identity, under which conditions the components of this identity «converse» with each other, and consist the musical mosaic of Greece in the 21st century?

On the one hand, the Greek culture inevitably - due to the Ottoman Occupation for a long period of time (almost 400 years) - was influenced by the Ottoman multi-ethnic culture1, while on the other hand, from the 19th century and henceforth - in the frame of the eagerly anticipated westernization and of the renunciation of its oriental identity (Лєккад 2001Г: 287) - the new-born Greek state directs its intellectual and musical interests towards the West, without, however, excluding cultural forms influenced by the Balkan peninsula (where Greece as a country geographically belongs).

The chosen for this report musical example, which testifies the Ottoman past (in its large meaning, including Balkan and Asian influences) as well as the Occidental present of Greece, is the characteristic instrumental introduction of the Greek Shadow Theatre2, viewed as an inspiration tank for new musical styles and «westernized» cultural identities.

Fig. 1. Karaghiozis.

The musical introduction of Karaghiozis is a quick circle dance called in Greek `has- saposervikos' (with musical measure 2/4) derived from Tatavla (a cosmopolitan neighbourhood in Istanbul, lately known as Kurtu- lus, meaning `independence' or `deliverance' in Turkish)3, which belongs to the anonymous Turkish folk music from Istanbul, known in Turkish as «Istanbul Turkulleri».

The etymology of the word «hassaposer- vikos» attests a double dance: «hassapikos» and «servikos» dance together. The first is a rather slow-moving circle dance, while the latter is the faster option of the first one. Despite the fact that it has two rhythmical parts, it is danced only in its fast-moving option.

The «servikos» dance denotes its origin as it belongs to the Balkan folk dance «sir- ba» or «sarba»4. The fact that this dance is one of the main dances of the Greek urban folk music (known as rebetika songs [TvpoЯoДa 2003E: 136]) and has morphological and chorographical similarities with other Balkan folk dances, such as the «hora» in Rumania, the «kasapsko horo» in Bulgaria, the «kasapsko kolo» in Serbia, as well as the «hora» in Israel (TnpoЯoM 1995: 70; TnpoЯoM, 2003E. Access: 137/ http://en.wikipedia.org), confirms the common origins and the cultural «loans» from the North to the Balkan countries and from there towards the East5.

This «hassaposervikos» has been identified as the opening tune for the Greek Shadow Theater performance and especially with its hero, Karaghiozis (who usually enters the stage dancing it together with his sons «kollitiria»). This identification -beside the obvious reason (the continuous use of «hassaposervikos») - has an ideological reason (not necessarily completely realized by the people who first used this music): the «hassapos- ervikos» dance and the shadow theatre both belong to the urban folk art (ПоЬхугр 1978;

1986; 1993:176; ПоЬууєр 1985Я: 10; MvoraKiSov 1982: 81,102; MvoraKiSov 1998: 44; 1986; 1993: 125; ПоЬууєр 2001: 193-194), they both have Balkan and Ottoman at large influences6 and they both have been Hellenised (ПоЬууєр 1978; 1986; 1993: 179-182; MvoraKiSov 1998: 25, 29; ПоЬууєр 2001: 379; ПоЬууєр 1985Я: 10, 66-67), meaning that they have become part of the Greek culture and they have extended social functionality (MvoraKiSov 1982: 74; Кіоиргоащд 1983: 27, 71-72, 138; noь%vsp 1985Я: 10; ПоЬууєр 1989: 171, 176-177; ПоЬууєр 2001: 379) (see stave below: Opening tune. Transcription by Renata Dalianoudi).

The Greek Shadow Theatre is a folk7 theatrical genre mainly developed in the urban environment and based on both rural principles, values and practices, such as: the oral tradition (Кіоиргоащд 1983: 41-42, 45, 143; Danforth 1986; 1993: 157; ПоЬууєр 2001: 194)8 and the improvisation (ПоЬууєр 1978; 1986; 1993: 175; ПоЬууєр 2001: 194; Кіоир- гоащд 1983: 47, 51, 144-147; AayiavвKoз 1986; 1993: 91; Myrsiades 1985a; Myrsiades L., Myrsiades K. 1992: 90-94; ПоЬууєр 1989: 17-18, МиотакіЗои 1998: 25), the folk painting, the massive and spontaneous participation of the audience/spectators9, as well as on urban ones, such as the personal «signature» of each performer10, some kind of written tradition (notes) for the stories (Danforth 1986; 1993: 157), the urban folk music and instruments, the urban repertory and the urban heroes (with the exception of the peasant Barba-Yioryos [MvaraKiSov 1982: 102,133-134]).

Fig.2. The main heroes: Karaghiozis, Barba-Yioryos, Nionios, Morfonios (meaning: handsome), Stavrakas and Hacivat.

Not to forget, that it is a folk theatre, «condensed» in one person: a «one-man-show»; the performer/shadow puppet player, who acts different roles, manipulates the puppets, improvises on the dialog and the jokes, makes and paints the scenery, makes the shadow puppets, directs the play and often sings (Lnadвpnз 1978: 76)11. This `cheap' theatrical art is created by folk and poor men from the low class (KiovpzaвKyз 1983: 97-103), and it is addressed to folk people (ПоЬхуєр 1978: 715; ПоЬууєр 1989: 14-15; MvazaKiSov 1982: 75, 93, 129; KiovpzaвKtfз 1983: 85, 132)12, who identify themselves with the adventures of the poor and unfortunate hero, Karaghiozis, and thus satisfy their mental and psychological needs13.

Fig. 3. Karaghiozis ' poorhouse on the left and the Pasha S/Vizier S palace on the right.

In other words, the Greek Shadow Theatre is a theatrical genre, which combines some traditionally based subcultures together with some urban ones; it combines forms of the official/»art» culture with forms of the unofficial/folk culture (Myrsiades, Myrsiades 1992: 86), and this mixture creates a heterogeneous but not contradicting or conflicting cultural product (Ibid: 36-38).

The introductory dance «hassaposervikos» of the Shadow Theater, that belongs to the rebetika songs (urban popular songs related to sub-cultural, often marginalized people), as well as the Shadow Theater itself experienced disapproval and social marginalization during the first years of their appearance in Greece14. Probably this fact impelled Manos Hadjidakis, an Oscar-awarded, non-folk Greek composer (Dalianoudi 2010: 193-195), to use the symbolic music for the shadow theater «hassaposervikos» in his song «Nocturnal Statues» («nychterina agalmata») from the song cycle «The Ballads of Athena Street» (1973). This work is consisted of 16 songs (For the complete list of the songs, see: Dalianoudi 2010: 221-222), «which are a musical depiction of our fringe impulses»15 (as the composer wrote on the cover of the LP) in one of the most frequented and «suspicious» streets of the city of Athens, identified with low-class people, with their folk habits and with the «purchased sex», especially at night. With this music, Manos Hadjidakis describes this «marginalization» in the alienating and often dangerous urban environment implied in the lyrics, written by Aris Davarakis, and in the whole atmosphere of this work.

It is interesting to see how this tune inspires Manos Hadjidakis to make new musical styles and thus innovate the urban folk culture. If we listen to this ballad16, we can see that the composer combines elements from five different cultural identities:

a) the urban folk music from Istanbul, which is anonymous («Instanbul Turkulleri»), through the traditional tune of «hassaposervikos»/ «hora»;

b) the Balkan folk dance tradition through the dancing rhythm (2/4) of «hora»;

c) the Greek folk and popular17 music (as far as modal scales and instruments are concerned);

d) the Byzantine chant (as far as style and modes are concerned);

e) the Greek urban modern poetry.

The following musicological analysis will help us see the relationship between Manos Hadjidakis' music and the shadow theatre, as well as the five different cultural identities.

The main melody of this hassaposerviko consists of 10 measures: a 4-measure-phrase and a 6-measure-phrase (see stave above). Manos Hadjidakis uses the first four measures with the characteristic repetitive notes played by the bouzouki (an urban popular instrument, symbol of the Greek urban popular music [AvrnyeiavвKtfз 1991: 219]), while the rhythm of hassaposervikos (2/4) is stressed by the rhythmical beatings (downbeat and upbeat) of the guitars.

The tune is written in RE (D) diatonic mode18 (one of the most typical modes of the Greek rural folk music), which is reminded by its minor dominant LA- (A-).

After the first two measures a masculine voice is being heard complain with a long sigh, reminding thus of Hacivat's street call (like a recitative - in Turkish is called tellal) at the beginning of the shadow puppet performance, through which he announced Pasha's new demand, on which is actually based each Shadow Theater performance (Ецщщд 1984: 57; KвaфayXn 1986: 249). It also reminds of the amanes, the characteristic Turkish sad song, either sung by Hacivat (MvoiaKiSov 1982: 131; Danforth 1986; 1993: 165)19 or played at the beginning of the performance as leitmotiv20 for Pasha's/Vizier's or Bey's entrance into the stage, according to the old practice, or during the performance as interlude (Kaifrjз 1937: 25, 27). No doubt, this sigh has Byzantine references like the amanes (EnaOвpnз 1978: 156); it is sung on naos echos (similar to the makam sabah), (equivalent to the 2nd alteration of RE diatonic modal scale, with the 4th note in flat: solb)21.

The melody goes on with a female voice, accompanied by the bouzouki, and the mode from RE (D) diatonic turns into RE (D) hard chromatic with the characteristic trihemitone E flat-F sharp [mib-fa#] (roughly equivalent mode to the 2ndplagios echoes of the Byzantine chant). During the main melody of the song, the characteristic notes (la-re, la-re, la-re, fa-mi-re) of the «hassaposervikos» are continuously played as background either from the bouzouki, or from the whole orchestra, functioning thus as leitmotiv of Karaghiozis' main theme. What's more, the lyrics of the song «nocturnal statues», written by Aris Davarakis are rather symbolic and they often touch a surrealistic aspect.

It is to be noticed that Manos Hadjidakis is a literate composer with urban social origins and urban musical education, that the singer-interpreter (Nena Venetsanou) is not a folk singer, that the song is orchestrated with bouzouki, guitars, violin, mandolin, drums, horn, trombone and piano (instruments that do not refer to traditional music but to urban popular and western music) [Dalianoudi 2010: 320, 329, 338; AЯepay 1998: 44-46, 47-48, 55-56], and that the lyrics are written by an erudite lyricist.

The final cultural product of this cooperation and combination is a song, which belongs to the «art-popular» music, a new genre of Greek urban popular music that appeared after the 2nd half of the 20th century, which derives from both folk and art forms of music22, creating a completely new, a modern «westernized» identity and compromising thus the existing cultural dualism of Greece.

The main characteristic of this kind of music is that the three synthesizing arts: music-dance and lyrics, (which - since the very Antiquity - were a solid and inseparable unity [Пахикод 1905: Ј0; Лєккад 2003A: 219-221; 2шурафоп 2003A: 227; MspaK^з 1985: 42-43; ApapyravaKnз 1999: 36; TupoЯoM 1998: 74]), have lost their bond and interaction (as they do have in the folk music tradition) and that they have become completely independent arts which coexist separately and non-interactively. What's more, the song - despite its recognizable dancing rhythm of «hassaposervikos» - leads the listener to a «passive» attitude/ behavior (characteristic of the western art music), reducing thus the willingness of dancing (characteristic of the folk music [TupoЯoM 1998: 74-82; A^apyravaK^з 1999: 36]).

In brief, Greek Shadow Theater's musical theme functions as the connecting link between the East and the West, between the old inherited folk culture from the Ottoman past and the new European and Greek musical identity, on three levels:

• as far as structure (rhythmical patterns from the urban folk dances)

• as far as genre of music and repertory

• as far as ideology (urban folk cultural expression for the entire populace) are concerned.

Mikhail Bakhtin's statement that «the truest understanding of popular culture is the pluralistic dialectic between different subcultures» (Bakhtin 1981. See: Myrsiades, L., Myrsiades K. 1992: 37) finds in Manos Hadjidakis' song «nocturnal statues» its perfect example, as the composer succeeds in combining different heterogeneous sub-identities from four different arts (theater, dance, music, poetry), from different social, cultural and geographical origins, and creates a unified new musical identity.

In conclusion, with Manos Hadjidakis' song, and taking also into consideration that other non-folk Greek composers followed his example and felt inspired by the Greek Shadow Theater (like Nikos Mamagakis, Demetrios Lekkas, Giorgos Papadakis, Dionysis Savopoloulos), it is obvious that the Greek Shadow theater not only has the force to penetrate and survive into heterogeneous cultural contexts, but also that it denies neither its westernization and transformation nor its ottoman origins (Myrsiades L., Myrsiades K. 1992: 29-30).

Endnotes

⁴ https://en.wikipedia.org/wiki/Kolo_(dance). Access: 29.5.2018; https://www.britannica.com/art/kolo. Access: 29.5.2018.

⁵ The folk culture of the Balkan Peninsula is a cultural crossroad between East and West (Cvijic 1918; Gavazzi 1958: 11 and on. See: Поп^єр 1989: 21. For music see: Драуоп^т? 2003Г: 155; Леска? 2003Д: 262).

⁶ The Shadow Theater appeared in the urban environment but when it came in Greece, it was also performed in the province (Поп^єр 1989: 175; Danforth 1986; 1993: 149; Поп^єр 2001: 193-- 194). It must also be mentioned that until the 2nd half of the 20th century the Shadow Theatre was completely ignored by the Greek folklorists, who focused only on the rural folk art (Миатак^ои 1982: 75; Іг|фшсп?; 1984: 11; Danforth 1986; 1993: 149; Миашкйои 1998: 44.

⁷ For the Balkan - and Ottoman at large - origins and influences of Karagiozis see: Миатакйои 1982; Поп^єр 1985Я; 1986: 125; Миашкйои 1998: 8-10.

⁸ In the same essay Puchner makes out three different phases of assimilation of the Turkish Karagioz:

a) the oriental “inadaptable”, vulgar type, without elements of creative assimilation (it is performed in the city of Patra by someone called Pagalos), b) the team of the shadow-theater-performers from Epirus, who give performances about Alexander the Great, and c) the new type of Karagioz by Mimaros, that consists a progressed phase of the assimilation process (ПоП^р 1985Я: 51-52. See also: ПоП%уєр 1984: 248-261).

⁹ The adjective folk has also the meaning of traditional (Миатак^ои 1982: 10,202; Кюирташст? 1983: 19, 20; Миатакйои 1998: 25; Storey, 1997). See also: AuSto? 2009: 324. It is to be noticed that Professor Mr. Avdikos calls the culture of the rural environment as folk culture, in contrast to the popular culture (the technology of the last 5 decades included) of the urban environment (Avdikos 2009: 319, 333, 336, 348).

¹⁰ According to Миашга§ои, the Shadow Theater belongs to the oral tradition without being a typical example of it because it combines the oral speech with visual media (Миатага§ои 1982: 237).

¹¹ As it happens with the Greek folk song, the heroes and the plot of the Greek Shadow Theater is - to a certain extend - a product of the collective cooperation of the audience and the interaction between the performer and the folk (Іг|фшст? 1984: 14-15; Да^іауако? 1986: 91; ПоП%уєр 1989: 17, 177, 178).

¹² The personal “signature” refers to the shadow-theater-performer's acting, singing, painting, directing and joking talent, who - as a member of an ethnic group (that actually sets the rules of the folk art and checks the performers abilities) - tries to serve the folk art in the best way. It does not imply an “individual” modern art in the western meaning of the word, where the artist is distant from the mass and expresses only his own experience and feelings (Миатага§ои 1982: 93, 202; Миатага§ои 1998: 45; Кюирташст? 1983: 25-26, 152; Јпфшсг|? 1984: 15).

¹³ According to Гіауу|? Кюирташст? (Yiannis Kioyrtsakis), the shadow theater performer is “one-man-

theater” (Кюирташст? 1983: 31-34).

¹⁴ It's noteworthy that the Shadow Theatre was also a kind of entertainment in the imperial court of the

Ottoman Empire in Istanbul (ПоП^р 1985Я: 14, 15, 16; ПоП%уєр 1989: 168; Да^іауако? also mentions that during the 17th century there were performers for the folk and performers for the upper classes and the imperial court (Да^іауако? 1986: 86).

¹⁵ The job of shadow theater performance was often treated with a negative stereotypical prejudice. In

Sotiris Spatharis', published in his memoirs (1978), it is often mentioned that parents did not want to give their daughters to shadow theater performers, that people from the middle class usually looked down on them and that the police officers often took the chance to accuse or even hit Karagiozis performers because of their bad name, due to offenses that had been committed by people who happened to be shadow theater performers (Іпабарт? 1978: 26, 38, 40, 44, 63; Поп^єр 1985Я: 34; Да^іауако? 1986; 1993: 91). As far as the performance itself is concerned, until 1894, date when the Shadow Theater dismissed its vulgar elements inherited from the Turkish Karagioz, the upper social classes/new urban classes expressed their strong disapproval (Myrsiade L., Myrsiades K. 1992: 41; Миатага§ои 1982: 76; Кюирташст? 1983: 115-118; Хат^трта-ута^п? 1984: 14; ПоП%уєр 1985Я: 34; Поп^єр 1989: 174-175; МПрт? 1952: 26; Поп^єр 2005: 184). But during the “classical” period of the Greek Karagiozis theater (1890 - 1910) and afterwards till the “illicit rivalry” with the new trends of the cinema and the TV (from 1950's), the Greek Shadow Theater became a popular spectacle and the performances were being watched also by families of the middle class ^аокопогАо? 1918;

noыxvsp 1978; 1986; 1993: 177; Кюиртоакл? 1983: 118, 120, 121, 122, 127; XaxZnnavxaЗnз 1984; Danforth 1986; 1993: 155-156; Миотакйои 1998: 29).

¹⁶ For the complete list of the songs, see: Dalianoudi 2010: 221-222.

¹⁷ As Manos Hadjidakis wrote on the back-cover of the LP “The ballads of Athena street [NOTOS: 3909-LYRA, 1983]: They are a melodic strain of imaginative erotic complexes. They involve self-analysis, confessions and mental meandering in the hidden part of our inherited soul. They are a musical depiction of our fringe impulses. At length, they are a ritual attempt to expose the dark, domineering powers within us that cold-bloodedly push us, lead us, towards our primeval and ultimate destiny... from life to death.. ,”.See: Dalianoudi 2010: 161.

¹⁸ For a complete analysis of the song cycle and especially of the song “Nocturnal statues” see: Dalianoudi 2010: 161-167.

¹⁹ The adjective popular is the translation from the Greek word laпkos. As far as music is concerned, the word laпkos is quite problematic; it is used both for all kinds of music (from the Ionian and Athenian kantada, and from the politico/smyrneiko song to the rebetiko song and the operetta) in the urban environment - in contrast to the folk music of the rural environment- from the beginning of the 20th century, as well as for a specific kind of music after the “disappearance” of the rebetika songs, almost after the 2nd World War. Typical examples of this kind of music are -among many others- the popular composers and musicians Tsitsanis, Mitsakis, Kaldaras, Aggelopoulos, Zabetas etc. (Dalianoudi 2010: 28, 29). Here in this context the word popular is used in its second - limited - meaning for the relevant music label.

²⁰ The 7-note-diatonic mode is as it is: re-mi-fa-sol-la-sib (si)-do-re. Under the term mode or modal scale it is not only implied the seven notes, but also the dominant notes, the 5-chord-systems, the alterations etc (IkupiSњcriз, Пєріахєрп? 1968: ка'-к.е.).

²¹ Aa^iavЫKOз explains that Hacivat usually sings sad songs as if he is complaining and attributes this sad mood to his timidity, to his feeling of inferiority and to his pathetic temperament (Aa^iavњcoз 1986; 1993:106).

²² Leitmotiv is a characteristic melodic and/or rhythmic motive that functions as “recall” of a theme, or of a music idea (Kennedy 1985; 1989: 142). In the Shadow Theater every puppet/hero has their stereotypical characteristics concerning the way they move, the way they talk, the accent they have, the song/music they sing or dance. All this functions as leitmotiv for the hero prepares their entrance to the stage and makes the hero recognizable (to the audience) (&|факп<? 1984: 47; Aa^iavњcoз 1986; 1993: 100; Danforth 1986: 156; Миотакйои 1998: 41).

²³ The 2nd alteration of RE diatonic mode has the 4th note in flat (IkupiSњcriз, Пєріахєрп? 1968: ка'-к. e'; Kapвз 1970: 12).

²⁴ For the characteristics of the “art-popular” music see: Dalianoudi 2010: 185-188.

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