In contrast to other regions, both of the island and mainland Greece, where some systematic archival operations have been conducted, in the case of these islands there existed a complete lack of comprehensive archives of their folk music, dance traditions, and folk poetry. The aim, thus, of the creation of the Digital Audiovisual Folk Music Archive of Amorgos and its Islands is to systematically record, preserve, and convey into the collective memory decades of music, dance, and poetry related action, as well as historical information about many generations of local musicians, as sources for future research and as part of the national and world folk heritage.
Research activity began in 2019 and was rooted in a qualitative epistemological framework that recognizes the importance of locating the research within a particular social, cultural, and historical context, and utilized qualitative data collection tools. The methodical data collection was based on current ethnomusicological practices and included, among other, the following:
– on-site audiovisual recording of musical activities
– creation of a series of new on-demand historical recordings, with the aim of preserving the distinct, older and contemporary, instrumental and vocal techniques, as well as the particular stylistic characteristics of the traditional music of the islands
– interviewing of older and younger local musicians (professional / semi-professional / amateur instrumentalists and singers) with the aim, on the one hand, to compile detailed biographical notes and, on the other, to acquire a better understanding of their personality, their experiential relationship with music, their artistic experiences, their cultural background, their artistic influence, and their contribution to the community
– interviewing other community members (non-musicians) involved in cultural activities on the islands, in order to further investigate the nature and content of musical activities as perceived in the context of generalized “cultural practices”
– identification, preservation, systematic recording and digitization of existing original audio, audiovisual, printed and other related sources which were mainly located in small, scattered private archives
– identification, systematic recording, digitization and editing of sources, both oral and printed, concerning the folk poetic tradition of the islands and their folk poets
The volume of data collected, systematically processed, and integrated into the Digital Audiovisual Folk Music Archive of Amorgos and its Islands has been organized in multiple levels, which allows for both a concise, as well as for a more detailed and in-depth study. The user of the website chooses the extent to which he/she/they wish to exploit the range of information available and, as a result, the Archive is easily accessible to the wider Greek and international community, as well as to specialists, musicians, educators, and other interested individuals and entities.
We, the Municipal Authority of Amorgos and the Municipal communities of Donousa, Iraklia, Koufonisia, and Schinousa, the research team and all associates, believe that the Digital Audiovisual Folk Music Archive of Amorgos and its Islands, a website dedicated to the hosting and dissemination of a portion of the Aegean musical tradition and the related cultural heritage, will become particularly important for the humanities and education and will hopefully promote interdisciplinary research in the field of Greek folklore, ethnomusicology, ethnography, and social anthropology. We therefore believe that it is of extraordinary national and international interest.

1. Anthropogeography

Amorgos is the easternmost Cycladic island, located southeast of Naxos and northwest of Astypalaia. It is an oblong island with successive massifs. Its highest top is Krikellos or Kroukelos (822 m.), which used to be full of oaks and rich vegetation up to the great fire of 1835. Its shores are particularly steep and abrupt. On the western coast, there are few leeward creeks (the ports of Katapola and Aigiali), in contrast to the eastern one, which is extremely steep. Its subsoil doesn’t have much to offer, save some bauxite seams.

2. History

During the Early Cycladic Period (3rd millennium BC), Amorgos was one of the most important Aegean cultural centers. It had more than 12 fortified citadels on hilltops and capes (Markiani was the chief one), as well as cemeteries (Dokathismata, Kapsala). Marble sculpture and figurine making developed at that time, when the first monumental sculptures were created and figurine workshops were established. Finally, metalwork and navigation had also spread. All this, along with Amorgos’s key location between the Cyclades and the Dodecanese, made the island part in establishing the new culture of the Bronze Age in the Aegean.
The rise of the Minoan civilization during the Middle Cycladic Period (2000-1600 BC) turned Amorgos into a trade center within the framework of the Minoan naval supremacy (1600-1450 BC). The founding of Minoa probably dates from that time, and is related to the myth identifying it with the location chosen by king Minos as his summer residence. When the Mycenaean civilization flourished (1400-1200 BC), populations from mainland Greece moved into Amorgos and spread their “Mycenaean koine,” exploiting the vital part Amorgos played in communications in the Aegean. The Geometric period (10th-8th century BC) was marked by Ionian colonists from Naxos, who founded Arkesini, at the southeastern part of Amorgos. In the 7th century BC, Ionian colonists from Miletus founded Aigiali to the north of the western coast. Those two cities, along with Minoa, were the centers of cultural development throughout historical times. They formed the Commonwealth of Tripolis (of the three cities), developed into city-states (polis) and managed to flourish. Taking advantage of its location between mainland Greece and the Asia Minor coastline, Amorgos took part in all historical and cultural developments of that time. It was involved in the Persian Wars and joined the Athenian League, partially granting Athens its own autonomy. In 337 BC, Macedonians took it over, and in 322 they won the naval battle of Amorgos against Athenian generals. The choice of Amorgos demonstrates its strategic importance for the rule over the island and mainland Greece. During Roman Times, Amorgos declined and was used as an exile destination. In antiquity, the island was a center producing robes of flax, which was grown on the island and was called “amorgos.”
For Byzantine Amorgos little is known, save the fact that it belonged to the “Aegean Sea Theme.” The imposing monastery of Panagia Chozoviotissa, built on the steep slope of the mount Profitis Ilias in the 11th century, is the most important monument of that era. The following period is quite a turbulent one, since Amorgos suffered long-standing consecutive predation by pirates resulting to the desertion of onshore settlements and the movement of populations to fortress-settlements inland. In 1309, it joined the Duchy of the Aegean Sea. Then, it was initially contended for by Venetian nobles, and next by Catalans and Ottomans up to 1537, when Hayreddin Barbarossa took over the island. Political and economic privileges granted by the Ottoman Sultan to Amorgos ended this long period of instability, turning the island into a developed port of the Aegean. Amorgos played an active part in the 1821 Greek War of Independence with its naval power. After Kapodistrias assumed the government of Greece, a school that operated according to the monitorial system was founded. In the 19th century, many inhabitants of Amorgos migrated to Athens, the new capital of Greece, in order to work as bulders and stone-cutters. Migration resulted in the demographic decline of the island. Therefore, during Ioannis Metaxas’s dictatorship (1930’s), the island became an ideal place for exile. In 1941, Amorgos initially came under Italian rule, since the Axis Powers had taken over Greece, but after Italy capitulated in 1943, the island came under German rule until it was finally liberated in 1944.

SOURCE: Foundation of the Hellenic World – Cultural Portal of the Aegean Archipelago
URL: http://www2.egeonet.gr/Forms/fLemmaBodyExtended.aspx?lemmaID=10401

1. Anthropogeography

Of all the Islands of Amorgos (the Small Eastern Cyclades complex), Donousa is the one situated farthest to the northeast. The complex is located between Naxos and Amorgos, also including Iraklia, Keros, Koufonisia, and Schinousa. Donousa is located 9 miles to the east of Naxos and 14 miles to the north of Amorgos, with an area of 13 km2, and holds a resident population of 160. Its ground is semi-mountainous, and mount Papos (383 m.), located approximately in the center of Donousa, is its highest peak. Plains on Donousa are few. Vegetation is bushy though, favoring stock farming. Its subsoil is also rich in zinc. It has many short shores that form steep oblong capes and successive coves.

2. History

First traces of habitation on Donousa date from the Protocycladic period (3rd millennium BC), as shown by the two settlements at the sites Achtia ton Agrilion and Myti tou Trachyla. Residents had formed two small communities based on stock farming and fishing, integrated into the broad cultural network of the Protocycladic civilization. The island prospered during Geometric Times (10th-7th century BC), as illustrated by the fortified settlement of Vathy Limenari (at the southeastern part of the island), near Myti tou Trachyla. Significant findings uncovered there, demonstrate a greater influence from the Dodecanese rather than the Cyclades.
Numerous funeral pyres – a very common burial rite at that time – have also been uncovered around the settlement. Little is known about the following periods, although we do know Donousa was used as an exile destination during Roman Times. During the Middle Ages and Ottoman rule, it was a pirate lair and an ideal place for herding and fishing. In 1941, Donousa initially came under Italian rule, since the Axis Powers had taken over Greece. After Italy capitulated in 1943, the island came under German rule until it was finally liberated in 1944.

SOURCE: Foundation of the Hellenic World – Cultural Portal of the Aegean Archipelago
URL: http://www2.egeonet.gr/Forms/fLemmaBodyExtended.aspx?lemmaID=10467

1. Anthropogeography

Iraklia (aka Araklia, Raklia, Iraklitsa) is the westernmost and southernmost of the Islands of Amorgos (the Small Eastern Cyclades complex). The complex extends in the area between Naxos, Amorgos and Ios, also including Donousa, Keros, Koufonisia, and
Schinousa. Iraklia is located south of Naxos, 19 miles from Amorgos and 6 miles from the east coast of Ios, with an area of 18 km2. For the greatest part, its ground is mountainous, with mount Papas (419 m.) being its highest top. Its shores are quite short and steep, forming many leeward creeks protected from sea currents and the stong north winds. The island’s flora is similar to that of the other islands of the group and includes mainly one kind of shrub, as well as low arboraceous vegetation. There are some relatively fertile and cultivable plateaus too.

2. History

Historical and archaeological data about Iraklia are insufficient; however, the existing ones can help us conceptualize the island’s course throughout the centuries. During the Protocycladic period (3rd millennium BC), there were two settlements on the island, the survival of which depended on agriculture, stock farming and fishing. They were founded at Kambos Agiou Athanasiou and Agios Mamas. The settlements’ cemetery with its cist graves has been uncovered at Agios Mamas.
At the Agios Georgios cape, a blade of obsidian from Milos was unearthed, proving the island’s participation in the Protocycladic trade illustrated by the development of naval trade routes and navigation. The fortified site Kastro, at Livadi, dates from historical times, particularly the Hellenistic Period (4th-2nd century BC). The fort has impressive tall rectangular towers. Many traces from several successive historical periods (Hellenistic and Roman Times) have been found in its interior, as in other locations on the island. Regarding Modern Times, and specifically the period of Ottoman Rule, there is data indicating that the island’s inaccessible creeks worked as ideal lairs for Christian pirates, whose activities determined the inhabitants’ life. Nothing further is known about the island’s early modern history. After the 1821 Greek War of Independence, Iraklia was integrated into the Greek state, as were the rest of the Cyclades. In 1941, Iraklia initially came under Italian rule, since the Axis Powers had taken over Greece. After Italy capitulated in 1943, the island came under German rule until it was finally liberated in 1944.

SOURCE: Foundation of the Hellenic World – Cultural Portal of the Aegean Archipelago
URL: http://www2.egeonet.gr/Forms/fLemmaBodyExtended.aspx?lemmaID=10414

1. Anthropogeography

Keros is between Naxos and Amorgos and, together with the neighboring islands of Donousa, Iraklia, Koufonisia and Schinousa forms the Islands of Amorgos complex (the Small Eastern Cyclades). The island is totally uninhabited. The land is hilly, the highest points being Mount Papas (432 m.) and the massifs of Plateia Rachi (315 m.) and Panagitsa (274 m.) covering the centre of the island, while along the shore there is some flat and fertile land. The coastline is only slightly sinuous and, as a result, there are only a few small protected bays formed mainly in the south and northeast of the island.

2. History

The history of Keros is inversely proportional to its present abandoned and deserted picture. In the Early Cycladic period (3rd millennium BC) Keros became one of the most important centers of the Cycladic civilization. Together with the settlement and the cemetery of Chalandriani of Syros, they determined the development of the mature period of the Cycladic civilization, the Early Cycladic period II, dated between 2800-2300 BC – formally known as “Keros-Syros phase”. The famous figurines (the “Harpist”, the “Flute player” and the “Cup bearer”), as well as the variety of marble and ceramic wares and objects from the island (found at Kavos Daskaleiou and Konakia) prove the central and decisive role of Keros in the prevalence and spread of the Cycladic civilization features.
Not much is known about the other historical periods, except that the island joined the Athenian League after the Persian wars, as most of the Cyclades did, under the name Kereia. In the Middle Ages, Keros, just like the entire cluster of the Eastern Cyclades, became a base and den of pirates, resulting in the economy and life of its inhabitants being determined by piracy. During the early modern period, Keros belonged to the monastery of Panagia Chozoviotissa of Amorgos. In 1952, the island was assigned to shepherds by the Agricultural Service of Greece.

3. The “Treasure of Keros”

The importance of Keros in the Early Cycladic period is proven by the “Treasure of Keros.” This is a set of several hundreds of objects in the Cycladic style, comprising intact marble figurines and purposely smashed figurines, marble ware and pottery, stone tools and small objects, dated in the Early Cycladic II period; their exact origin is unknown. The set of objects is the product of antiquities smuggling; they were illicitly exported from Greece in the 1950s and graced museums all over the world. Today, part of the “Treasure” has come home and is exhibited in the Museum of Cycladic Art in Athens. After the excavations that took place on Keros, it has been suggested that the treasure came from the location “Kavos Daskaleiou” on the west coast of the island, where, despite the extensive and devastating plunder, there is an open-air area with numerous smashed figurines, marble ware and pottery fragments, providing a magnified picture of the “Treasure of Keros.” An explanation for this accumulation of these objects is not easy, because the location was neither a settlement, nor a cemetery, nor a workshop, and the objects are not unfinished but purposely smashed. The prevalent view (according to C. Renfrew) is that the location must have been a shrine or a place to deposit smashed objects of a symbolic character, deliberately left there during some ritual. Moreover, the discovery of a cave by the archaeologist Christos Doumas, at a site where Early Cycladic objects were found, led to the hypothesis that Keros played the role of the sacred island of the Cyclades, the “gate to the Underworld,” where all neighboring islands deposited the remains of their dead. The particular location of “Kavos Daskaleiou” highlights the central – and difficult to interpret – role of Keros, while the discovery of an Early Cycladic fortified settlement and cemetery on the islet Daskaleio, which was connected with the mainland in Antiquity, may contribute to a deeper understanding of the island’s importance.

SOURCE: Foundation of the Hellenic World – Cultural Portal of the Aegean Archipelago
URL: http://www2.egeonet.gr/Forms/fLemmaBodyExtended.aspx?lemmaID=10425

Pano Koufonisi

1. Anthropogeography

Pano (Ano, Epano) Koufonisi, or simply Koufonisi, belongs to the Islands of Amorgos complex (the Small Eastern Cyclades), and it is located southeast of Naxos and west of Amorgos. It is the most heavily populated island of the Cyclades, with 366 inhabitants living in an area comprising only 5.77 km2. It is separated form Kato Koufonisi by a narrow strait 200 m. wide and 5.5 to 8 m. deep. Its isolated position, lack of natural recourses, small size and the morphology of the terrain are some of the difficulties that its inhabitants have always had to cope with. According to the linguist St. Manesis, the name Koufonisi comes from the erosion of the rocks in the area, which created cavities and depressions in the soft porous stone. The main town of Pano Koufonisi, Hora, is built on the southwest side of the island, directly above the small harbor.

2. History

There is not much information available on the history of the island but, based upon archeological findings, it can be assumed that it has been inhabited since prehistoric times and that it was prosperous in Antiquity. The sea area between Pano and Kato Koufonisi and Keros was known in ancient times as Kofos Limin (Kofos Harbor). The most important evidence about the pre-Christian history of the island is offered by archeological finds, such as those of a cemetery and settlements of the Early Cycladic period (3,000 BC). Excavations that have taken place have brought to light finds from the first phase of the Cycladic civilisation, as well as from Hellenistic and Roman times.
Pano Koufonisi was occupied by the Romans and then it became part of the Byzantine Empire. After the formation of the Duchy of the Aegean, at the beginning of the 13th century, it came under Frankish rule. Along with other islands of the Cyclades, it was conquered by the Ottoman Empire in 1537. During Ottoman rule the island became a base and refuge for pirates. With the conference of London, in 1830, Pano Koufonisi became part of Greece, as did the other islands of the Cyclades. In 1941, during the occupation by the Axis Powers, Pano Koufonisi was first under Italian rule. After the capitulation of the Italians in 1943 the island went under German occupation until its liberation in 1944. During the post-war years its population remained the same.

SOURCE: Foundation of the Hellenic World – Cultural Portal of the Aegean Archipelago
URL: http://www2.egeonet.gr/Forms/fLemmaBodyExtended.aspx?lemmaID=10428

Kato Koufonisi

1. Anthropogeography

Kato Koufonisi is part of the Islands of Amorgos complex (the Small Eastern Cyclades). It is situated south-east of Naxos and west of Amorgos and its total area is 3.89 km2. It is an island of bushy vegetation that up to a few decades ago was inhabited by a few farmers and stock-breeders from Amorgos. As it belonged to the Monastery of Chozoviotissa of Amorgos, its herds grazed there, tended by shepherds from Amorgos who lived on the island.

2. History

There is not a lot of information about the history of the island but, based upon archeological findings, it seems that it has been inhabited from prehistoric times. Archeological digs on the island have revealed remains of the early Cycladic civilisation. A cemetery of the Early Cycladic period, buildings of the 3rd millennium BC, as well as Hellenistic and Roman remains have been found. The principal site of interest is the small church of Panagia (Virgin Mary) that is built on the jetty, on top of ancient ruins. This small island shares much of the same history of Pano Koufonisi; it was occupied in turn by the Roman and Byzantine Empires; at the beginning of the 13th Century it was under Frankish rule and later in 1537, together with the rest of the Cyclades was conquered by the Ottoman fleet. During that period it was also used as a base and safe shelter for pirates. In 1830 along with the other Cycladic islands it was incorporated into the Greek state. In 1941, during the occupation by the Axis Powers, Kato Koufonisi went under Italian rule; after the capitulation of Italy in 1943 the island came under German rule until its liberation in 1944. Due to limited natural resources and the isolated nature of the island, the inhabitants were forced to leave for neighboring islands or the big cities. The population decreased steadily from 1950, so that in the 1990s it was considered uninhabited.

SOURCE: Foundation of the Hellenic World – Cultural Portal of the Aegean Archipelago
URL: http://www2.egeonet.gr/Forms/fLemmaBodyExtended.aspx?lemmaID=10429

1. Anthropogeography

Schinousa is part of the Islands of Amorgos complex (the Small Eastern Cyclades), and is located in the south of Naxos and northeast of Iraklia. The island is hilly and has a number of coves – Tsigouri, Livadi, Psili Amos and others. The highest point of the island is Milos at 133 m. Τhe whole island is just 8.14 sq km with a population of 206 people. The residents of the island are mostly farmers and are distributed in three main villages, Panagia or Hora, Mesaria, and Mersini or Mersinia. The island got its name from the plant schino that flourishes on it. An alternative version of its name origin is that it comes from from the Venetian noble Schinoza. I. Ragavis suggests the following regarding the name of the island: “A deserted island close to Naxos reported from Plinios, that maintained the ancient name that it got from the abundant schino found on it.” However, the island has also been known by the names Echinousa and Panidia.

2. History

There is little information regarding Schinousa’s history. The existing data comes from references in administrative or dioceses records of neighboring islands, like Naxos and Amorgos. However, we know that the island has been inhabited since ancient times, and archaeological finds show that it probably played its part in the creation of the Early Cycladic civilization, the centre of which was on neighboring Keros. The archaeological findings both in the land and sea area around the island, such as statuettes, marble columns, ceramics and ancient ruins in Mesaria, testify to the existence of cultural activities on the island since ancient times.
Of particular archaeological interest is the area around the church of Timios Stavros (Holy Cross) at Tsigouri. In the same area, under the medieval village, Helenistic and Roman ruins have been found. In addition at Tsigouri, Ag Vassilios and Profitis Ilias ruins of early Christian Basilicas have been discovered. A medieval tower and other ruins from the Venetian period are also preserved on the southwestern side. During the Byzantine era, Schinousa experienced significant commercial activity, as is shown by the abundant Byzantine ceramic findings. From the end of the 11th century it belonged to the monastery of Panagia Chozoviotissa of Amorgos. Later it became part of the Duchy of the Aegean under the rule of Marco Sanoudo. In 1537, after the conquest of Naxos by Hayreddin Barbarossa, the island became part of the Ottoman Empire. At various times it was abandoned by its inhabitants due to frequent pirate raids. According to information available to us, the island was abandoned for a long time during the Ottoman period and began to be inhabited around the middle of the 19th century, when it had already joined the Greek state in 1830. The new residents of Schinousa, who inhabited it from the middle of the 19th century, were mainly from Amorgos and were engaged in farming and raising livestock. In the 20th century, however, many left the island and settled in the capital in search of a better life. From 1941 to 1944, Schinousa, together with the rest of the Cyclades, was under Italian occupation (1941-1943) and then under German occupation, until its liberation in 1944. In the post-war years, isolation, economic, social and educational needs forced again a large part of its population to emigrate. During the last two decades the population of the island has been increasing.

SOURCE: Foundation of the Hellenic World – Cultural Portal of the Aegean Archipelago
URL: http://www2.egeonet.gr/Forms/fLemmaBodyExtended.aspx?lemmaID=6902

James Theodore Bent (1852-1897) was an English archaeologist and writer, best known for his ethnographic studies. From 1883 to 1888 he concentrated his research on the Eastern Mediterranean and Asia Minor. During the years 1882-1884 he travelled to the Aegean islands, including Amorgos, and the results of his research activity were recorded in his book The Cyclades; or, Life among the Insular Greeks (1885) and in articles in the Journal of Hellenic Studies.
Regarding the Easter festival of 1884 in Hora, Amorgos, he writes the following:
“… The musicians arrived. Their places were under a waving plane tree in the middle of the square. There were three of them. One had a lute, the second a lyre and the third a flute. They were a lively and endearing group and often played with improvisations. In one of these improvisations the mayor, who was sitting next to me and repeating the words, told me that it was to motivate those who were not particularly keen to dance. I expressed my surprise and perhaps disbelief. Then the mayor went to the musicians and apparently told them to sing an impromptu song for me. Immediately while I was sketching one of the dancers, thinking I was going unnoticed, the musicians made up a couplet for me, which caused me great embarrassment and made everyone laugh. The following:
The costume of Amorgos is very much admired
so the Englishman sitting there made a sketch of it.
So I was completely convinced of the ability of the Amorgian musicians to improvise lyrics… After a half hour delay the chief priest arrived and took his place of honor, which was a stone armchair on the same terrace where we were sitting. This was the signal for the musicians to begin the feast. The worship of the icons, which had lasted a week, was over and the Amorgians were now ready to celebrate… Everyone knows the beauties of the Greek syrtos dance. The dancers, in continuous waves around the plane tree in the village square, dance sometimes fast and sometimes slow, sometimes in a triple line and sometimes in a row, with the lead dancer in front of them jumping and spinning. Thus with dancing and singing the celebration of the week of Easter ended…”

James Bent reports the following about his visit to the village of Vroutsi in Amorgos:
“…Vroutsi consists of some fifteen houses, built on a rock. In the middle of the settlement we could see some of those semantic writings in half Phoenician – half Greek letters. We had seen similar inscriptions on our way back from Egiali. These archaic scripts are rare on the islands. There is the following Amorgian proverb referring to the hospitality offered by the inhabitants of Vrooutsi: Whoever goes to Vrooutsi and does not get drunk is like going to the Holy Sepulchre and not worshipping. This hospitality is not an empty boast, because as soon as we entered the house of a friend of Fr. Dimitri’s, neighbors started coming in bringing edibles. One with eggs, another with wine, a third with bread. Finally the host came, holding a piglet that he slaughtered, skinned and roasted before our eyes… After the meal there was music, singing and dancing to the tune of an ancient lyre. Upon leaving the next day, our host did not want to take a single penny for all this hospitality…”

The traditional dances of Amorgos are the following:

The dances in the Sirtos genus include Silivirios, Politikos, Thermiotikos, Sirianos, Potamos, Idreikos, and Mihanikos. Each of these kinds is performed based on the standart steps of the sirtos, but with slight variations. Generally speaking, they are all smooth dances without flips, with layered improvisatory dance figures (“tsalemia”), spins and sit-ups, which are performed by the lead male dancer, while the women dance modestly, without much swaying.

Kitsos, which is classified among the sirtos kinds, is a mens’ dance. It is a lively, robust, jumping dance, which was used in the opening of the island’s feasts, performed by two men.

Amorgian Sousta is a couples’ dance based on the steps of sirtos, and it is performed by two or more couples. The couples begin with taking sliding steps to the right and left and, when the musical tune moves to its next part (the next “parti”), the dancers grab each other by their hands in order to make spins and then to form a circle. At the new part of the musical tune, the dancers grab each other by the shoulders and their step becomes more pronounced, with a subtle thump that is characteristic of Amorgian stepping. The Amorgian Sousta was formerly practiced only in the region of Egiali and is nowadays danced relatively rarely. Both the tune and the dance of the Amorgian Sousta are found only on Amorgos.

Ni Ke Dre is a mens’ Halloween dance. The dancers start in a straight line and go left and right and, when the musical tune moves to its next part, they dance on the spot with lively foot tapping. Ni Ke Dre used to be danced only in the Egiali area.

Arapina is a more recent womens’ dance of the sirtos genus. It used to be performed by the seamens’ wives at social gatherings they held in their homes, and denotes the elegance and grace of the dancers. The dancers are grabbing each other by the shoulders.

Balos is a couple’s love dance that follows the sirtos. During the performance, the male dancer’s feelings towards the woman he is dancing with are expressed. The man’s dance gestures symbolize his attempt to approach the woman and conquer her, while the woman dances with modesty and grace. Many times during the dance, words or messages were exchanged between the dancing couple, and the man’s pick of the woman for this particular dance was revealing of romances that were either pre-existing or in the making.

Karotseris is an old dance that is no longer performed. Up until the end of the 1970s it was danced throughout Amorgos.

1.1. The traditional dance practice of “Kavos” and “Falos”

The dance that usually opened the feasts was Kitsos, which was performed by two men, the “Kavos,” who led the dance and the “Falos,” who followed. After the Kitsos dance, Kavos would ask the violinist to change the tune, and he would invite the women whom he wished to dance with, for a series of sirtos dances. Falos remained in the circle as well, positioned at the end of the dancers’ line and not allowed to perform improvisatory dance figures, as these were expected by Kavos. When the series of the sirtos dances ended, the Βalos dance usually followed, which Kavos danced alone with his chosen one. Then, either the roles were reversed (Kavos became Falos and Falos became Kavos), or Falos would ask another man to play the role of Falos while he became Kavos. The new Kavos would then take his turn to invite the women with whom he wished to dance, and the process would be repeated. It was inappropriate for any other group to get up to dance until the completion of the process. Both Kavos and Falos would ask the musicians to play specific tunes and songs and of course paid them accordingly.

1.2. The relationship between musicians and dancers during the musical and dance performance

Older lead-dancers (such as Fanis Roussos from Amorgos) suggest that there was always a two-way ” mystical ” communication between the violinist and the dancers, about the times when – mainly the lead-dancers – performed improvisatory dance figures, but also about the process of the music and dance praxis in general. The violinist, through his playing, prepared and indicated to the lead dancer the moment(s) for the improvisatory dance figures, always allowing enough time for the dancer to rest in between. Conversely, the lead dancer’s movements also implied and indicated to the violinist his readiness for improvisatory dance figures, and/or for the variation of the tempo of the dance performance. This communication certainly worked more effectively when musicians and dancers knew each other and had many similar opportunities to develop and deepen this relationship.

2. The dance tradition in the Islands of Amorgos

The dance tradition in the islands of Amorgos mainly follows that of Amorgos. It includes the dances in the Sirtos genus (Silivrios, Politikos, Thermiotikos, Syrianos, Potamos, Idreikos, Mehanikos), Balos, Mantinada and Kalamatiano. “Kitsos,” “Amorgian Susta,” “Ni Ke Dre,” and “Arapina” are not found on the islands of Amorgos. As far as the steps of the dances are concerned, they generally follow the patterns of the Amorgian tradition, with minor variations from island to island. Given the fact that Kitsos was not played/danced on the Islands of Amorgos, it was Silivrianos that opened the feasts. In the traditional dance practice of Kavos/Falos, Silivrianos was the dance that was performed by the two men (Kavos and Falos) before the rest of the tunes/dances in which women also participated. According to converging testimonies a) the order in which the dances were performed was the following: Silivrianos, Politikos, Thermiotikos, Syrianos, Dodecanese Sousta, Balos, Kalamatianos and
(b) on the islands of Amorgos, Zeibekiko, Karsilamas and Tsifteteli, mostly originating from Asia Minor, were also played/danced.

Source: Oikonomidis G. Georgios (Amorgos), dance instructor.

3) The collection of couplets and songs by the Amorgian philologist Anna Prasinou Lambrou, entitled “Songs that were sung in Amorgos,” published in the magazine of the Amorgian Association Amorgiana, vol. 10, (2004), pp. 39-155. The collection includes 1024 categorized couplets and 23 songs.

4) Small scattered private collections which were identified and collected by the research team.

The content of the latter three sources is presented in this archive as a consolidated and categorized compilation, and it includes the various collectors’ comments and annotations as they appear in the original sources. In addition, the Archive of George A. Mavros is (also) presented separately in this archive, in the ‘Archives’ section.

Although the majority of the couplets and songs presented in the Digital Audiovisual Folk Music Archive of Amorgos and its Islands belong to the oral poetic tradition of the islands, the archive of Georgios A. Mavros includes detailed references and biographical data on Amorgian folk poets of the 19th and 20th century, whose poems are recorded in their entirety and by name in his archive. We mention here indicatively the most important of them, with the reminder that their complete biographical data can be found in the “Biographies” section of this archive: Giannis of Petros (1858-1931), Emmanuel N. Koveos (Manolios of Ryakas) (1896-1991), Epaminondas Gavras (1836-1917), Nikolaos G. Nomikos (1892-1987), Mihael I. Pasaris (Mihalakis o Vounios) (1907-1992), Irene N. Mavrou (1899-1987), Demetrios Nomikos (Demetrakis of Spanos) (1900-1997), Demetrios (Demetrakis) Exarhopoulos (1854-1961), Demetrios N. Despotidis (1920-1999).

The custom is celebrated as follows: On the Sunday of Tyrini (Lent Sunday), before Clean Monday, after the morning church, all the men gather in a coffee shop in the village square (Loza). After having their coffee, they start drinking, and with the accompaniment of instruments they start singing a song, which in the Egiali area is sung only on that day. This song and the synonymous instrumental tune is called “apokrianos.” During the performance of the song, the participants begin to improvise lyrics about the custom, about the gathering, about friends sitting at the table. Then they all leave the coffee shop together and, singing the “apokrianos” the entire time, walk to Panagia Epanohoriani. When they arrive, they meet the older men of the village who are usually already there and, all together, they eat fried fish, bread, cheese, and drink sweet wine.
“Apokrianos” singing continues until the moment when the eldest man gathers all the single young men, in the courtyard in front of the church gate, and throws a vest to one of them. The vest is not randomly thrown towards the group of young men with the aim of one of them catching it. Instead, the eldest chooses which young man the vest will reach. This young man becomes the “Captain” and is regarded as the captain of the feast.
Then, all the men, young and old, change their clothes, dress in traditional costumes, breeches, fezzes, belts, waistcoats, and the Captain rides on a decorated horse. At the same time, the “Βanner” of the feast is made – a wooden pole which has a loaf of bread, a cheese wheel, and a slice of dried cod or dried octopus nailed to the top. The cheese symbolizes the Tyrini week, the bread symbolizes strength and the octopus symbolizes the Lent that follows, before Easter. The banner is raised by the leader of the procession, the “bairactaris”, who is usually a favourite of the Captain, and the procession starts the return journey, always singing the “apokrianos.”
In Lagada, at the location “Portara,” all the single women of the village are waiting for the procession, dressed in traditional costumes. The procession stops and the singing continues with the lyrics becoming more purposeful in terms of content, i.e. referring to the women, their beauty, how they are looking forward to this day and similar topics. The procession starts again and enters the village marching through the numerous alleys where the residents come out of the doors of their houses and shops and treat the Captain and his crowd. After completing the circle of the village, the procession returns at the square.
Entering the village square this time, the last improvised lyrics are heard and the “apokrianos” singing stops. The Captain runs his horse three times up and down the square, stops, dismounts, musicians are placed in the middle of the square and the Captain leads the dance by dancing “Kitsos.” Kitsos is a folk Aegean instrumental tune and is traditionally danced by men only. After the men have danced Kitsos, the Captain goes to the assembled single women and throws his handkerchief to his chosen one, the one he is in love with, and then leads her into the dance. In this sense, the custom of the Captain can also be considered a custom for unrequited love.
The protagonist is given thus the opportunity to confess his love in public, in front of the whole village and in essence to receive the blessing and grace of the village, so that this love can flourish. In older times, this was considered an official engagement. The reason for this was that the eldest man who chose the captain was the village priest himself. The priest knew from confession which couple was in love – that is, he knew for certain that the love was mutual, he approved of the romance (or not) and gave the young man the opportunity to become the Captain, to lead the girl to the dance and thus reveal his love. Certainly, since this love was blessed by the priest, there was no way anyone could raise any objection to it. The priest would choose the Captain by covering him with the “zubé” (a kind of outer robe). In addition to his other attire, the Captain continued to wear the zubé throughout the entire duration of the ritual. This practice continued until the early 1950s. After the Captain had chosen the “Captainess’ the dance began and the carnival feast in Loza lasted until sundown. Then the Captain would lead all the guests to his house and treat them, and later the party would continue in the taverns of the village.

2. The Custom of the Captain in Tholaria, Amorgos

The celebration of the Custom of the Captain in Tholaria, Amorgos is similar to that of Lagada. It is also revived every year on the Sunday of the Tyrini week, before Clean Monday and before the official start of Lent.
At the small chapel of Agios Dimitrios outside Tholaria, the young men mainly of the village gather (around 11.00 in the morning), the Captain is chosen by an older man and they all dress up in traditional costumes. Before the vest is given to the Captain, improvised couplets (mandinades) are sung to the “apokrianos” tune.
The Bairaktaris (or Bailaktaris) becomes then the leader of the procession, followed by the Captain and the musicians. The procession leaves the chapel marching towards Tholaria and arrives at about 2.00 pm at the location “Seladi” (at the entrance of Tholaria from its western side). There, the prospective “Captainesses” – the still single, local women – are waiting dressed up in traditional costumes.
The treats start here, offered by the shop owners of the village, and the procession continues its route through the narrow streets where the treats continue, offered by the residents who wait for the procession in the courtyards of their houses. Shortly afterwards, the Captain will run the horse three consecutive times in a straight line and then everyone will head to the courtyard of the church of Agioi Anargyroi. The Captain will lead the dance starting with “Kitsos” and then he will select the “Captainess.” The single women sit in a row and the Captain throws his handkerchief towards the one he desires. In this way, of course, his love is publicly revealed. The feast then begins in the churchyard, and then spreads to various parts of the village.
In older times, the beginning of the custom took place at Agios Ioannis in Akrotiri (Tholaria), while the selection of the captain was the responsibility of the village priest.

3. The Custom of the Captain in Schinousa

The celebration of the Custom of the Captain in Schinousa was similar to that of Amorgos. The custom has not been celebrated on the island since about the mid-1970s, because it was considered anti-Christian by an abbot of the time. The “Captain” in Schinousa was indicated exclusively by the priest, immediately after the mass on the last Sunday of the Tyrini week (Lent Sunday). He was then carried in the arms of the villagers from the church to the coffee shop where he would treat all those present. Many times, as in Amorgos, the selection of the Captain by the priest was based on his romance or impending marriage to a girl from the island. The banner of the feast – a wooden pole with a loaf of bread, a dried octopus, garlic, onions and a flag nailed to the top – was called “Baeraki” and all the food used for its decoration was provided by the Captain. A local feast with music and dance always followed, either in the coffee shop or in houses, until the priest rang the church bell, signaling the end of the feast.

Sources:
1) Antonios N. Roussos testimony at Istorima.org (URL: https://www.istorima.org/podcast/451/o-anomologitos-erotas-tou-kapetaniou/).
2) Manolis Vasalos testimony – Kastro tis Amorgou 27, (2006): 16-17.
3) Dimitrios N. Theologitis testimony.
4) Kovaios Nikolaos testimony.
5) Kovaios Georgios testimony.
6) Article signed by an author with the pseudonym “Lagadianos.” Aigiali 88, (1985): 5.
7) Article signed by M. Synodinos. Aigiali 151, (1996): 5.