Paradosiaká: Music, Meaning and Identity in Modern Greece

Kallimopoulou, Eleni

doi:10.4324/9781315247397

Cited by 5 publications

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“…Some narratives depict rebetiko as a 'Hellenic' music, imagined as an unbroken chain since classical times, while most define it as a syncretic musical form, with various influences that reflect Greece's diverse history (Elafros 2013;Kallimopoulou 2009;Tragaki 2005). The former view rebetiko as an urban expression of the Greek 'folk soul', emphasizing its roots in dimotika (folk) and Byzantine music and attempting to downplay 'Oriental' influences from Asia Minor.…”

Section: Rebetikomentioning

confidence: 99%

Rebetiko in diaspora: The London rebetiko scene

Nissen

2022

Journal of Greek Media &Amp; Culture

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One of the most active rebetiko scenes outside Greece is in London. Drawing on ethnographic fieldwork at Rebetiko Carnival, engagement with the scene between 2014 and 2020, and personal interviews with key musicians, this article examines the meanings and the unique features of rebetiko in London. It shows the roles of music in forming a diasporic musical community and maintaining connections with Greece, while also forging a cosmopolitan music scene characterized by cross-cultural creativity, gender consciousness and education and outreach. It thus demonstrates that rebetiko is both recontextualized and transformed in London, nurtured by the city’s multiculturalism. This study suggests that, by considering this scene as part of an international network, rebetiko could be conceptualized as not only in diaspora but as a diaspora in itself, as a transnational thread that links widely dispersed and diverse musicians and enables them to create new cultural homes. This research thus contributes towards a growing literature on rebetiko in the Greek diaspora and reflects on wider issues relating to music in contexts of migration.

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Section: Rebetikomentioning

confidence: 99%

Rebetiko in diaspora: The London rebetiko scene

Nissen

2022

Journal of Greek Media &Amp; Culture

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“…In 1960 Mikis Theodorakis released Epitaphios, which was an avant-garde entehna release that aimed to unite the world of "art" (the poetry of Yiannis Ritsos) with the world of rebetika. Entehna (art-popular) is a genre of music that combines elements of western art music, Greek musical forms (including rebetika) and poetry and is best exemplified by classically-trained composers such as Mikis Theodorakis and Manos Hadjidakis (Kallimopoulou, 2009: 3). The release of Epitaphios resulted in "one of the most fervent controversies in the history of modern Greek music among local music experts and intellectuals" (Tragaki, 2005: 50).…”

Section: A Brief History Of Greek Popular Music: Mapping the Symbolicmentioning

confidence: 99%

Greek Hip Hop: Local and Translocal Authentication in the Restricted Field of Production

Elafros¹

2016

Preprint

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This paper illustrates how hip hop practitioners in Athens, Greece legitimate hip hop asan authentic musical form within the restricted field of cultural production. First, this paperoutlines how fields of cultural production operate. Second, this paper illustrates how the data forthis project was collected. Third, this paper highlights how past and current struggles within thefield shape how authenticity is defined. Fourth, this paper highlights the discursive techniquesused by hip hop practitioners to position rap music as aesthetically superior to the commerciallysuccessful genres of new wave laika, 'hip pop,' corporate American hip hop and Greek pop. Fifth,I illustrate how hip hop practitioners use two competing processes of aesthetic legitimation: localauthentication and translocal authentication, within the restricted field of cultural production.Finally, I conclude with some suggested avenues for future research.Sent from Mail for Windows 10

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“…58 The detente in Greco-Turkish relations around the turn of the millennium seems to have fostered less partisan approaches to Aegean music, at least among younger scholars, as illustrated by a recent study of the identity politics surrounding Greek popular music by Eleni Kallimopoulou, a professional exponent of 'trans-aegean' music in Greece. Indeed, her book, Paradosiaka: Music, Meaning and Identity in Modern Greece 59 begins with an unsentimental deconstruction of the 'acrobatic formulations' underlying the doctrine of musical continuity inculcated in successive generations of Greek musicians by maestro Simon Karas, whose distinguished service to 'National Music' includes directing the music at Sikelianos' Delphic Festival of 1928, founding the Society for the Dissemination of National Music in 1929 and running the National Music Section of Greek National Radio for many decades from 1938 onwards. Karas did not concern himself with rebetika, but the irredentist cultural project he developed for reclaiming elements of earlier Greek music from its levantine legatees provided some of the genre's apologists with patriotic articles of faith and rhetorical ammunition.…”

Section: Threading the Musical Labyrinthmentioning

confidence: 99%

Antiquity at the musical margins: rebetika, ‘ancient’ and modern

Gauntlett

2015

Byz. mod. Greek stud.

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With their insalubrious social connotations, low-brow content and Ottoman musical features, rebetika songs appear unlikely candidates for connection with the revered culture of ancient Greece. Yet this seemingly sacrilegious nexus has repeatedly been contrived by exponents of the genre and by commentators, unlettered and educated alike. It has also exercised the ingenuity of literati, translators, stage directors and graphic artists. The examples surveyed in this article, whether earnest or whimsical, plausible or manifestly deluded, reflect both evolving perceptions of the genre and broader issues of Greek cultural politics. They further exemplify informal mechanisms for disseminating antiquarian knowledge-and misinformation. One of the more imaginative scenes in Rebetiko (La mauvaise herbe), a graphic novel by David Prudhomme published in 2009, is set at the portico of the Erechtheum on the Acropolis of Athens in October 1936. It features the legendary rebetika-musician Yorgos Batis, who is seen licking the marble lips of a Caryatid and then presenting his artistic credentials to her: 'I had hoped to wake you ... If you could only hear the music I have in my head ... It lives and breathes from here to Poli... It walks Byzantine roads ... Comes back here, leaves again....' 1 Batis soon abandons his attempts to arouse the ancient statue and, dancing away from the ancient temple, offers this prophetic parallel between the art of the rebetes and that of Greek antiquity: 'Like you, we're going to make a sacrifice for these comings and goings. Our records will be our statues ... our sarcophagi... '. This whole scene and its 1 Both extracts quoted here (complete with original ellipses) are from the English translation, D. Prudhomme, Rebetiko, trans. N. Mahony (London 2012). I am obliged to Peter Mackridge for alerting me to it, and to Dimitry Pai'vanas, George Galiatsos, Loukia Gauntlett and Alicia L. Suarez for supplying me with several other publications cited in this article. An earlier version of it was read at the conference on 'Re-imagining the Past: Antiquity and Modern Greek Culture' at the University of Birmingham in June 2011.

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Paradosiaká: Music, Meaning and Identity in Modern Greece

Cited by 5 publications

References 0 publications

Rebetiko in diaspora: The London rebetiko scene

Rebetiko in diaspora: The London rebetiko scene

Greek Hip Hop: Local and Translocal Authentication in the Restricted Field of Production

Antiquity at the musical margins: rebetika, ‘ancient’ and modern

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