KARPATHOS - FOLK MUSIC & POETRY

Karpathos is one of many beautiful islands that grace the Aegean Sea. It has breathtaking natural beauty and is particularly known for its pristine beaches which rival the best of the Dodecanese and all of Greece. However, the most distinguishing element of Karpathos is its people and their deep rooted culture and traditions. Karpathians are true descendants of Homer. Their social, spiritual and emotional existence is vividly expressed in their folk music, dance and poetry all of which have remarkably withstood the test of time.

Karpathian music is played by the descendant of Apollo's lyra which is accompanied by the bag pipe, called tsambouna, and only in this century by the laouto or lute. Karpathian dances are unlike most Greek folk dances. They command an imposing presence and grace through powerful yet austere motion reminiscent of the dances from Pontos. Poetry, however, has been and still remains the principal form of emotional and spiritual expression. Karpathians engage in poetry to lyrically epitomize their private and public lives and emotions.

Karpathian folk poetry is based on the "mantinatha" which is composed of two, fifteen syllable, rhyming verses of iambic rhythm identical to Homer's epics. The mantinatha is still used, to an equal or lesser extent, in other places such as Cyprus, Crete, Kassos and other islands of the Aegean.

There are two basic categories of mantinatha: (a) those composed spontaneously and sung in public as part of social and family gatherings, and (b) those planned and composed privately and communicated in writing. They convey thoughts and emotions about happiness, sorrow, personal experiences, love and romance, private, social and even political events.

In social gatherings such as weddings, baptisms, religious festivals and, in particular, impromptu parties, Karpathians engage in poetic dialog for hours and sometimes days. In such parties or "glendia", typically held in coffee shops or tavernas, participants gather around folk musicians where they compose and sing mantinathas to each other.

Their spontaneous compositions are sung to folk melodies called skopee. These melodies vary in length, tempo, and complexity. By most accounts there are about 40 known skopee some of which are not even identified by name. Singers master a number of skopee and sing each mantinatha to the tune that best conveys its emotion and context.

Each singer will sing two to three mantinathas on a topic that is being deliberated by the "parea" or group of participants. He composes each mantinatha in real time and most often begins to sing one without quite knowing how to finish it. Such improvisation is assisted by the way mantinathas are sung and the extended timing of their melodies. The singer vocalizes the first half of the first verse which is repeated by the parea in chorus. The singer then repeats the first half and completes the first verse which is also repeated by the chorus. He completes the mantinatha by singing the second verse in the same manner. This conversation in verse is continued by others until the topic is exhausted and someone introduces another.

The next piece is from a glendi celebrating a baptism at a picturesque chapel in Mertonas, Karpathos. The deeply moved grandfather sings as his name passes on to his grandchild.

As indicated above, context as well as melody are used as an ensemble to communicate thoughts and emotions. Some skopee are fast, some slow, others are sad and others are gay. There are simple ones that are easy to learn, and quite complex ones that are mastered by the few and very skilled. Skopee are rendered with small yet significant variations from village to village or geographical area, but are also heavily influenced by the individual interpretation of folk musicians and singers. As in american jazz and blues, improvisation is applied equally to lyrics and music.

Next we have an example of diversity in style and interpretation in singing and playing the melody of skopos tis niktas. The first sample is from Kassos, the second and last samples are from the villages of Othos and Olympos, Karpathos. All expressions are true to the basic melody, yet the variation in style is refreshing. Notice the slower tempo of the Kassos version and the emotion of the singer in the last sample.

Mantinathas are also synthesized outside of the spontaneous and dynamic setting of the glendi. They are prepared with care and usually addressed to loved ones privately, or openly during family events such as baptisms and weddings. Mantinathas are also prepared and published as commentary or satire on social and political issues, as well as, historical events. In some cases, mantinathas are composed as a form of personal diary.

The following is a poem, originally part of a letter from a mother to her son, expressing her love and longing for his return to the island. The poem was later set to music and performed by Marigoula Kritsiotis from Othos, Karpathos.

As mentioned earlier, Karpathian musical tradition is diverse in style geographically and interpretation individually. It has, however, been preserved faithfully and remains practically unchanged over the last one hundred years. One noteworthy exception reflective of modern times has been the increasingly faster tempo of dance music. This is demonstrated on the pano choros dance: the slow tempo on the first piece recorded by Baud-Bovy in 1935, the lavish inflections of Papaminas' lyra in 1976. and the raw energy of Sofillas in 1995.

Music and poetry identify the Karpathian soul, express its pathos and ethos, and forge an unbreakable bond with the motherland. They are a live tradition and an integral part of every day life. Young people continue to engage in them with respect and enthusiasm. By learning how to sing and dance through active participation in the traditional glendi, they are helping preserve tradition and ensure its continuity and relevance.

We will say goodby with the music of another dance called Sousta performed by Minas Papaminas in Baltimore, Maryland.
BACK