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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 (tambureddu).

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 the sanctuary.

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 whatever abballo.
- 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 esu.
Otu ecino tistinediche. Eforegghe, but en eforegghe cala. Tupe the principissa:
- But eforegga cala. Dommu tinaddhi stuvaletta, na ivro afforezzo cala
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 like you
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 him:
- But I not dance well. Dammi l’altro to see if I dance well
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 the protagonist.

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), 1999.

I articulate restored from the site of the cultural association conservatorio Grecanico https://www.conservatoriogrecanico.it

Arguments correlate to you

The National Park of the Aspromonte
The park, territory and characteristics
Gastronomia of the park
Distances and excursions in Aspromonte
Farm holidays: to school in the park
The manifestations in the common ones of the park
Aspromonte, Dam on the Mint: the billions on the water

Grecanica Area: the ancient Greek in the Calabria today
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
Common
Geography
History
Economy
Le The cascades of the Amendolea or Maesano
Distances and excursions
Historical-religious distance
Churches & monumentsi
Uses customs and traditions
The religious festivities
The kitchen
Proverbi and ways to say

To know it of piu', you see also:
Naturaliter
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.
Palizzi
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.
Guide.supereva.it/folklore
... Itineraries and Places. L' Area Grecanica is characterized also for
A microclima specially sweet that agrees the cultivation of the bergamotto.
Paleariza
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 Grecanica....
Andrea Casile - Mayor of Bova
For the Common dell’Area Grecanica
Cum.el.ca.
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.
Conservatorio Grecanico
It dances, it sets to music, Tradition and Environment in the Calabria Greek
Permanent seat: Cataforìo (RC)

 

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