It sets to music and tools
It sets to music and tools of the Greek aspromonte.
The music and the traditional song were in was pretelevisiva the
nearly exclusive fun in all of the Greek aspromonte. The traditional
music and the its you orchestrate accompanied all the phases of
the cycle of the life and of the year: marriages, baptisms (songs
and sounded to ballu), funerals (funereal complaint), as well
as the parties commanded: the Holy patron, Christmas, new Year,
Easter , Carnival.
All the parties deprived were besides rejoiced from the traditional
sound constituting a continuous occasion of socializzazione and
of fun , awkward above all to the moments of dance.
It persists a woven of musicians and traditional
singers and the aspromonte ellenofono reserves however all now
to the attentive visitor , interested to the traditional music,
more of a surprise.
To leave from 1997 it it is developed a territorial festival very
extensive with subject the ethnic music of the Mediterranean one
next to that of the Greek of Calabria. It is discussed of a formula
renewed some festival of music and song ellenofona, promoted already
from the first years '80 from the Commune of Bova. The name of
the show renewed is Palearìza (the ancient root). The festival
maintained , like its flower to the cultural buttonhole, an evening
entirely hit the center of on the traditional music, pastoral
and peasant of the Greek of Calabria. Between the tools of the
tradition peasant and pastoral ellenofona are able signal: the
bagpipe (ciarameddi), the double flute (sulàvria), the
flute of cortex (frauta ), the organetto (arganettu), the tambourine
The dance of the soul
The viddanedda has its origin in some ritual shows awkward to
the culture and to the civility of the Main one Greece , redeeming
rhythm and with simbologie that the choreographic attitudes determine
of it. In the centuries the occasions of dance were bound almost
always to the familiar holiday, to those agresti , in occasion,
for example of the vintage or of the threshing , and to those
nuns. As for the symbolism of the steps, delimited the space in
which the dance should develop itself, came chosen a charismatic
head, a mastru d’abballu, that with polite gestures dictated
the entries and the exits of the onlookers nell’aria of
its relevance. C’era then also the ritual one of the wooing
, with crossings of looks and unequivocal signs. The melodic thread
of the viddanedda entrusted all’organetto, an aerofono ,
while the rhythmic scanning is ensured from the tambourine , constituted
from a tense membrane on a simple frame, in thin wood , generally
of shape move about. To increase it the resonance , the tambourine
is enriched from a line to double tin can of bells of series.
Tarantella and socialita' in the aspromonte
"Foregguo little dhelo (*), I Dance how I want"
Tarantella and sociality in the Greek aspromonte
of Ettore Chestnut
( from Pucambù - Leader to the Tenable Tourism in the Calabria
Greek - Publisher Rubbettino - 2002)
Certainly sappiamo that the party and the traditional
dance were two indissoluble elements in the world populate Greek-calabro
at least until the second world war. In all l’Aspromonte
Greek including also l’area of Cardeto (ellenofona until
the first one nine hundred) to dance was a decisive condition
absolutely to be able to be married. Kilometers did themselves
on foot to dance and in the days of party commanded and the common
life of the country was suspended to agree sound and unbroken
dance. In the traditional society the occasions of dance, is domestic
(parties in house more or except for chance) that I publish (party
of the holy one, marriages, baptisms, carnival, etc.) were the
sole moments in which the young were able, for it except for,
to look at itself even if under the iron control of the head family
and even if inhale to do a short turn of dance together. The same
dance would have carried with himself l’occasione of to
read, across all of the symbolic code coreutico of the wooing,
the possibility of a sentimental assent in the eyes either in
the hands of a boy or of a girl. Changes thoughtful depositions
in the areas cited confirm that a capable dancer found more easily
wife. To dance it was a’occasione to put in show skill ,
ability and pride in the men, I please, bearing and femininity
for the women. "To put itself in show" with a fine turn
of tarantella, in substance, would have facilitated and accelerated
the engagement. A capable dancer in family was what very agreeable.
All that still since to the years ‘60/’70 of the ‘900.
But to dance, before the definitive disintegrazione
of the anthropological cosmos ellenofono dell’Aspromonte,
happened in relatively recent times, was however a social fact
of large importance, a shape suitable comunicativa to express
the needs, the messages and been him d’animo more complex
and different. The same traditional dance was sacred in the religious
occasions of party for ask charm, to maintain a vow or for simple
devotion, desecrates to celebrate the Carnival with his colorazioni
pagane and edonistiche (well-known was that of Bova, disappeared
with the years '60), absolutely layman in the domestic parties
, without fail ritual for marriages and baptisms. Kilometers traveled
themselves on foot from a contrada all’altra also the evening
and to the darkness to go to find a friend that "offered
to dance" in a small familiar party. With the same passion
the seven they would be confronted now on foot to go until Reggio
to take a stroll of tarantella to the party of the Madonna of
the Consolation or as much to reach Pulses and to dance out of
A story ellenofona "THE three brothers"
(*), thoughtful likely in the bovesìa and published from
Luigi Bruzzano on the number of december 15 1889 says "The
Calabria" It confirms the large symbolic value socially attributed
not only to the dance as for the to dance well.
Three brothers after the death of the father decide
go soldiers for find luck. One after l’altro, during the
nights of guard, will be bumped into in a giant that will challenge
them to duel. Naturally l’alternativa is between the death
of the soldier or a magical gift to receive clashing the giant.
All and three the brothers will succeed nell’impresa. Always
the injured giant will admit the value of the contending consegnandogli
some enchanted prizes. Also the gifts are three: an inexhaustibly
full bag of coins, a coat that gives back invisible and a couple
of boots that make run swift and to dance well. Survivors from
the soldier the three brothers will begin to lead a well-off life
until when the smallest one does not decide supporting departing
person with himself first the bag of the moneys and then the boots.
A bad princess, unequivocal symbol of a greedy nobility and quite
little "fiabesca", will be seized of these two magical
gifts by force, threatening to imprison the small hero. To the
end the first two gifts of the giant will be then reconquered
with cunning and with l’utilizzo of the coat that gives
back invisible as well as the bad princess without fail punished.
The story us confirmation the large cultural and social value
attribute, we could say, to the "status" of the good
dancer. In fact the bad princess seeing to dance well the small
first hero wonders him lessons of dance for quite fifteen days
but after, understanding that the virtue is in the enchanted accessories
, seizes by force of the boots.
()...Ejai isa isa eci cindo palace azze abballo
, embichi foreggonda. Horonda the principissa tupe:
- Posene ce foregghi otu?
- Eho tundo zugguari stuvaletti ce foregguo little dhelo ce canno
- Ce maddhenni emmena ja mere decapende, na ivro to mafdhenno
ciola ego na foreszo little foregghi esu?
Otu embichissa foreggonda oli us god, but the principissa en eforegghe
pos eforegghe ecino.
Otu you arripundezze:
- My Dommu stuvaletta emmena, an ivro assoso foreszi little foregghi
Otu ecino tistinediche. Eforegghe, but en eforegghe cala. Tupe
- But eforegga cala. Dommu tinaddhi stuvaletta, na ivro afforezzo
Otu tinegguale ce tistin ediche. Dopu you tes evale podìa
is, ecame experiences ce foregghe cala. san ivre you foregghi
cala, ecrasze all’armi ()...
() ...It is brought immediately to that palace where dances and
entrò dancing. The princess told him:
- Com’è that you dance so?
- I Have this couple of boots and dance how I want
- Sign also to myself for fifteen days to see if I learn to dance
They began to dance all and two objection the princess did not
dance like he. It told him:
- One Dammi of your boots to see if I can dance like dances you
The their one gave it. It danced but not well. The princess told
- But I not dance well. Dammi l’altro to see if I dance
If the tolse and their gave it. The princess, after to be itself
it put it to the foots fece the test and danced well.
When it saw that it screamed all’armi()...
For who it knows the world coreutico populate this story could
carry with sè a contradiction. In the traditional dance
the feminine masculine and that dance I am very differentiated.
Normally, still today, not a style it is appreciated "masculinu"
in a woman and that "fimmininu " is imitated from the
alone men ironically. For that most likely what the princess wants
to snatch all’eroe of the story is the secret of the to
dance well. It is not discussed , with the eyes of today, of the
request of fifteen dance of lessons of days. Therefore the princess
is interested to the quality of the to dance, to what gives back
that sole manner and insuperable. In fact it is not a problem
of steps and of figures. When the princess includes that the virtue
is nell’oggetto, seizes some boots of blow dances "well
", obtains what seeks and calls the guards because hunt via
Between the varied thoughtful depositions on the
value attributo not only to the dance but also to the "saper
dance" understood like quite to appear in public and private
occasions is enough significant that riferitami from Holy Crisèo,
musician and traditional dancer of Bova. They were the years of
the second world war. Holy, then boy, went to take l’acqua
with the mules and the bangs a little’ outside country.
Naturally the time to replenish the bangs is not short because
between l’altro l’acqua of that source ran slowly.
It was so than Holy taken l’abitudine of to hang up the
jacket to a registry of lemon next to the source and to dance
around the plant to exercise itself. It is imagined the music
and danced. Col pass some time taken us more flavor until when
arrived to pass a lot plus time dancing with l’albero that
to replenish the bangs. The thing went ahead for some years and
all the times that the young man went to the source to take l’acqua.
The earthly one around all’albero was so solid and trampled
that did not succeed at crescervi nothing. Holy it tells that
still today around that lemon not cresce more l’erba.
(*) The eight hundred text of end likely then was
transcribed from the researcher "so how listened to ",
this justifies shapes like "foregguo" in place of "choregguo",
etc. The story is present in: Ottavio Riding, King, magicians,
briganti, poor and fairies..., Rubbettino , Soveria Mannelli (CZ),
I articulate restored from the site
of the cultural association conservatorio Grecanico https://www.conservatoriogrecanico.it
The National Park of the Aspromonte
The park, territory
Gastronomia of the park
Distances and excursions
Farm holidays: to school
in the park
in the common ones of the park
Aspromonte, Dam on the Mint:
the billions on the water
Grecanica Area: the ancient Greek in the
Grecanica area: borders put into effect
them and history
"Language and writing
of the ellenofoni of the south Italy"
Paleariza: "Wherever travel Greece m' wounds deeply..."
Cumelca: grecaniche songs and relative translations
Roccaforte of the Greek
Le The cascades of the
Amendolea or Maesano
Distances and excursions
Churches & monumentsi
Uses customs and traditions
The religious festivities
Proverbi and ways to say
To know it of piu', you see also:
Naturaliter is a Small Cooperative Society to r. l. of the area
Grecanica (National Park of the aspromonte), that operates for
the search and the spread of the responsible tourism, promovendo
col WWF Italy you project aimed at the development echo-compatible.
Its partners founders come from varied professional experiences
that: animation and formation in environmental field, ecoturismo.
The skills of the actual partners check: the tourist services
of nets of creation in areas proteus, capable of to involve the
local community across traveled of participation and cooperation;
the environmental training. In the specific one: the organization
and management of trekking.
OBJECT: Approval diagram d’intesa for the promotion of the
economical and social development dell’Area Grecanica with
care to the P. THE. T. and initiative POR Calabria 2000 –
2006 - I Distribute expenditures for the management associated.
... Itineraries and Places. L' Area Grecanica is characterized
A microclima specially sweet that agrees the cultivation of the
It sets to music trekking and rural hospitality from the world
in the Calabria Greek
The festival has a valence political more strong nell’Area
Andrea Casile - Mayor of Bova
For the Common dell’Area Grecanica
The Cum. el. ca. is the most old association of the countries
of the participating GRECANICA and profit to the inside of the
sudetto I enliven; between a journey and another with it "native
country Greece" the association puts on a group folkloristico.
It dances, it sets to music, Tradition and Environment in the
Permanent seat: Cataforìo (RC)