{"id":369,"date":"2021-04-12T20:41:55","date_gmt":"2021-04-12T17:41:55","guid":{"rendered":"https:\/\/www.hotsteps.gr\/?page_id=369"},"modified":"2026-09-17T10:51:23","modified_gmt":"2026-09-17T07:51:23","slug":"%ce%b5%ce%bb%ce%bb%ce%b7%ce%bd%ce%b9%ce%ba%ce%bf%ce%b9-%cf%87%ce%bf%cf%81%ce%bf%ce%b9","status":"publish","type":"page","link":"https:\/\/www.hotsteps.gr\/en\/%ce%b5%ce%bb%ce%bb%ce%b7%ce%bd%ce%b9%ce%ba%ce%bf%ce%b9-%cf%87%ce%bf%cf%81%ce%bf%ce%b9\/","title":{"rendered":"Greek Dances"},"content":{"rendered":"
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It is extremely difficult to determine the exact dating and origins of today\u2019s Greek traditional dances, because, just as with folk songs, the people themselves are the choreographers. It is even more difficult to prove that the dances we perform today were also danced in antiquity with the same melodies, exact steps, or the same form of expression. However, there is strong evidence suggesting that at least some modern Greek traditional dances are a continuation of ancient ones and have never ceased to be danced in Greece from antiquity to the present day, retaining the same movements, formations, expression, hold, and musical meter.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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The first significant indication is the dance described by Xenophon in the *Anabasis*, where, during a feast, the Thracians were the first to rise and dance with their weapons, following the melody played by the aulos player. At the same time, they leapt high into the air and used their knives. At the end, as it appeared to everyone, one of the two dancers struck the other with his knife, while the other fell to the ground with great skill.\n\nIn this dance, we see the two dancers engaging in a mock duel with their knives, using dance movements and great skill to evade each other\u2019s blows. Even today, we see the same dance movements, skill, aggression, and theatricality in Pontic dances. Just as in the dance described by Xenophon, in the modern Pontic \u201cKnives\u201d dance, one dancer pretends to strike the other with a knife; the other falls to the ground and pretends to be dead, while the victor continues dancing.\n\nConsidering that the modern Pontic dance is performed in an almost identical manner to the dance described by Xenophon, we can conclude that the two dances are directly related and that one is a continuation of the other.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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Another indication is the dance that Lucian calls the \u201cHormos,\u201d which he describes in great detail. The Hormos is a dance performed by young men and maidens, who dance close to one another and form a true \u201cHormos.\u201d The young man leads the dance, using his movements to display youthful actions and those he will later perform in battle. He is followed by the maiden, who shows the other girls how to dance modestly. In this way, the Hormos is woven together through temperance and courage.\n\nThe formation of the dance (Hormos = necklace = circle), the modest movements of the maidens, and the demonstrative movements of the young man who leads the line, just as happens today, along with the dancers\u2019 positioning, point to the modern Syrtos or Kalamatianos.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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Lucian also mentions the Geranos dance, which, according to Plutarch, was devised by Theseus. It was said that when Theseus arrived at Delos from Crete, where he had slain the Minotaur, he offered a thanksgiving sacrifice and then danced this dance with the young people he had freed.\n\nThe same dance is still performed today in Tsakonia, in the Kynouria region of Arcadia, under the name Tsakonikos or Geranos.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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In addition to these accounts, which point to specific modern Greek dances, there are many other elements that lead us to believe that many of today\u2019s dances are descendants of ancient ones.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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Many monuments dating back to the 15th and 16th centuries BC reveal that dance was widespread during the Minoan-Mycenaean period. According to Lucian, the goddess Rhea, impressed by dance, first had the Korybantes dance in Phrygia and the Curetes in Crete. He also mentions that not only ordinary citizens but also the noblest Cretans practiced dancing so extensively that they became excellent dancers.\n\nIn a relief discovered at Paleokastro in Crete, we see female dancers dancing around a lyre player, something that still takes place today around folk musicians at various festivals. We also see depictions of dancers in the frescoes of Agia Triada and Knossos.\n\nHomer, not to criticize but to praise the Cretan hero Meriones, called him an \u201corchest\u0113s\u201d (dancer). He was so well known and distinguished for his dancing ability that he was recognized not only by the Greeks but also by the Trojans, who were his enemies.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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Finally, Athenaeus and the lexicographer Hesychius describe the \u201cTelesias\u201d dance. Athenaeus states that this dance was performed with weapons and that it was named after a certain Telesias. Hesychius, on the other hand, describes the dance as being performed with a sword. If we accept Hesychius\u2019 description, we find a closer parallel in a modern Greek dance performed in the villages of Karditsa, known as the \u201cKnife Dance.\u201d<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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We must therefore acknowledge that all these accounts lead us to the conclusion that modern Greek traditional dances are a continuation of ancient ones.\n\nNational dance is closely connected to the traditions and way of life of a country\u2019s people. In many cases, it reflects the cultural development of a society. For example, the dances of peoples with a lower level of intellectual development have a limited expressive range, are characterized by sexual elements, and place a prominent emphasis on movements of the pelvis.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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In contrast, Greek dances, shaped by the beauty of the landscape, the renowned climatic conditions, the country\u2019s geographical position, which contributed to the development of a higher spiritual culture, and our glorious history, took the form of an expression of all those beautiful emotions that elevate the individual and have no connection with material concerns, but rather with the creative spirit.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

\u2022 Epirus Dances<\/h3>\n\t
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Greek dances vary from place to place and from region to region, because their development is influenced by climatic conditions, the landscape, and other environmental factors. In Epirus, the \u201charsh cold,\u201d high mountains, rugged terrain, and steep gorges call for heavy clothing and sturdy, hobnailed footwear. This makes dancers naturally drag their feet, walking with a heavier step and using more restrained movements. The people of Epirus have carried these characteristics into their dances as well. Through dance, they express their emotions with slow and measured movements rather than light and playful steps.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tKoftos<\/span>\n<\/h6>\n
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An Epirus dance that celebrates bravery and valor. It is lively and spirited. Its name comes from the abrupt stopping of the music every 22 steps, when the dancer stops moving and raises their arms overhead. This pause is enough for everyone to admire and appreciate the dancer\u2019s presence and bearing.\n\nThe 22 steps are counted as three groups of six and one group of four. The second step always comes behind the right foot. It is danced by both men and women, holding hands at the palms with the elbows bent upward. The dance is in 2\/4 time. Its steps are similar to those of the Kalamatianos. The starting position is the attention stance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tFisouni<\/span>\n<\/h6>\n
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It is danced in Preveza, mainly by women, with the dancers holding each other by the shoulders. Its name comes from a particular wind that blows in the area. This is why the rhythm of the dance is fast, in contrast to most other dances from Epirus. It consists of 16 steps, counted in two groups of eight. The starting position is the attention stance, with a slight turn of the body to the right. The dance is in 9\/8 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tVlacha of Konitsa<\/span>\n<\/h6>\n
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It is called \u201cVlacha of Konitsa\u201d because it is danced in Konitsa, Epirus, and \u201cEmbroidered Apron,\u201d after the lyrics of the song. It is danced by women, holding hands at the palms, in 2\/4 time. The starting position is the attention stance. The dance consists of 8 steps, repeated twice.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tMenousis<\/span>\n<\/h6>\n
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It is danced by both men and women in Epirus, holding each other by the shoulders, to the well-known song \u201cMenousis the Birbilis and Mehmet Agha\u2026 drunk Menousis goes and kills her; in the morning, sober again, he goes and mourns her.\u201d The dance consists of 10 steps. The starting position is with the right foot crossed over the left, as in the Tsamiko. The dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tRovas<\/span>\n<\/h6>\n
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It is danced in Epirus, usually by women, holding hands at the palms. The dance consists of 32 steps, divided into four groups of eight steps, followed by a Kalamatianos section, which is repeated twice. The dance is in 2\/4 time. The starting position is the attention stance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tSyrtos in Three Steps<\/span>\n<\/h6>\n
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This dance is performed not only in Epirus but also in other regions, such as Thessaly and Macedonia, by both men and women. It consists of 6 walking (slow) steps. The steps of this dance can be found in many other Greek dances. The starting position is the attention stance. The dancers usually hold hands at the palms, although in some regions, \u201cSyrtos in Three\u201d is danced with the dancers holding hands at the palms with their elbows bent.\n\nIn Epirus, particularly in the Ioannina region, it is danced by both men and women, holding hands at the palms and in 2\/4 time. The dance consists of two parts. Part A consists of 15 steps, repeated twice, while Part B consists of 16 steps. Eight steps are performed in the direction of the line of dance and eight against it, moving to the left. However, the steps of Part B can also all be performed in the direction of the line of dance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tZagorisios<\/span>\n<\/h6>\n
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It is danced by both men and women in Zagori, Epirus, with the dancers holding each other by the wrists and keeping their elbows bent. The dance consists of 16 steps, divided into four groups of four. The dance is in 5\/8 time. The starting position is the attention stance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tVasilio, the Noblewoman<\/span>\n<\/h6>\n
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It is called \u201cVasilio, the Noblewoman,\u201d after the lyrics of the song, which tell the story of the daughter of the nobleman Nikolaos Averoff from Metsovo, who was kidnapped by bandits and exchanged for as much gold as she weighed. In Metsovo, this song is not danced but is performed as a lament, a mournful song.\n\nIn the Ioannina region, however, and especially in the village of Syrrako, it is danced by both men and women, holding hands at the palms with their elbows bent. \u201cVasilio, the Noblewoman\u201d consists of 12 steps. The starting position is the attention stance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tDondia Pykna<\/span>\n<\/h6>\n
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It is danced by both men and women in Epirus, particularly in the Ioannina region, holding hands at the palms. Its name comes from the lyrics of the song (\u201cDense and pearly teeth\u2026\u201d). The dance consists of two parts. Part A has 12 steps, repeated three times. Part B consists of 16 hopping steps performed in the direction of the line of dance. The starting position is the attention stance, and the dance is in 3\/8 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tPogonisios<\/span>\n<\/h6>\n
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It is danced in the Pogoni region of Ioannina by both men and women, to the well-known song \u201cI will become a basil plant at your window.\u201d The dance consists of two parts. Part A has 6 steps, repeated 6 times. Part B consists of 24 cross steps, danced with the left foot crossing over the right. The dancers hold hands at the palms with their elbows bent and begin the dance with the left foot. The starting position is the attention stance, and the dance is performed in 4\/4 and 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tYatros<\/span>\n<\/h6>\n
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Its name comes from the lyrics of the song, which mention \u201cDoctor Nikolis.\u201d This dance originates from the Kor\u00e7\u00eb region of Northern Epirus and is now danced throughout Epirus by both men and women, with the dancers holding each other by the wrists and keeping their elbows bent.\n\nThe dance consists of 11 steps. On the 11th step, there is an abrupt stop, followed by a forceful stamp on the ground with either the left or right foot, depending on which foot is used to begin the dance. The dance can start with either the left or the right foot. The starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tFezo-Dervenagas<\/span>\n<\/h6>\n
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It is danced by both men and women in Epirus, particularly in the Ioannina and Arta regions, to the song \u201cYou didn\u2019t like Ioannina, Fezo-Dervenaga.\u201d The dance consists of two parts. Part A, which is slow, is danced with the dancers holding hands at the palms and keeping their elbows bent, while Part B, which is fast, is danced with a Kalamatianos-style handhold. The starting position is the attention stance, and the dance is performed in 4\/4 and 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tVerginada<\/span>\n<\/h6>\n
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This dance originates from Zagori in Epirus and is danced throughout the region, particularly in the village of Syrrako in Ioannina, by both men and women, using exactly the same steps as \u201cVasilio, the Noblewoman.\u201d Its name comes from the lyrics of the song, \u201cI had my beloved as a tree, my Verginada, etc.\u201d Here, \u201cVerginada\u201d is used metaphorically to describe a graceful, slender, and strong young woman.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tGianni Kostas<\/span>\n<\/h6>\n
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It is danced in the village of Syrrako in Ioannina by both men and women, holding hands at the palms with their elbows bent. It is said that the dance was named after the well-known fighter Gianni-Kostas from Krapsi, Ioannina, who took part in many battles during the Greek War of Independence in 1821, including the uprising and destruction of Syrrako, the capture of Arta alongside Rangos, the First Siege of Missolonghi alongside Markos Botsaris, and many other battles.\n\nThe dance consists of two parts. The starting position is the attention stance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

\u2022 Thessalian Dances<\/h3>\n\t
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In Thessaly, the practice of dance was held in such high regard in antiquity that the inhabitants referred to their rulers and leaders as \u201cproorch\u0113st\u0113res,\u201d meaning those who led the dance. This is evident from the inscriptions on statues erected in honor of those who had distinguished themselves through acts of valor.
\nOne of these inscriptions reads: \u201cTo Elation, because he danced well in battle, the people erect this statue in his honor.\u201d Moreover, no ancient ceremony was held without dancing.\n\nIn addition to its famous plain, Thessaly is also home to high mountains. A strong religious sentiment developed in this region. According to legend, it was here that the seat of the Greek Olympian gods was located. The historical origins of the region are therefore closely connected to religion, and this sense of spirituality is also expressed through Thessalian dances.\n\nReligious grandeur and slow, measured movements are characteristic of Thessalian dances.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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It is danced by both men and women throughout Thessaly, with the dancers holding hands at the palms and keeping their elbows bent. There are several theories regarding the origin of the name Karagouna. One theory is that it derives from the Karagounides, the inhabitants of Thessaly who traditionally engage in agriculture and livestock farming. Another theory is that it comes from \u201cKara-gouna,\u201d meaning \u201cblack fur.\u201d\n\nIn Thessaly, the dance usually begins with the Svarniara, also known as the Slow Karagouna. The dancers move continuously forward, in the direction of the line of dance, using the same steps as the Syrtos but with a much heavier and slower movement, accompanied by the song \u201cKaragouna Goes to the Fountain.\u201d After dancing the Svarniara several times, they transition into the Karagouna proper, accompanied by the song \u201cAnte Karagouna \u2013 Gouna Karagouna.\u201d\n\nIt is a slow and majestic dance. The starting position is the attention stance, and the dance is performed in 4\/4 and 2\/4 time. It consists of three sections of 8 steps each, followed by a Kalamatianos section of 24 steps.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tPera Ston Pera Mahala<\/span>\n<\/h6>\n
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It is a Thessalian dance performed by women, particularly in the Karditsa region, with the dancers linking arms at the elbows and accompanied by the song \u201cPera Ston Pera Mahala.\u201d In the past, at traditional weddings, it was the bride\u2019s dance. The starting position is the attention stance, with a slight turn of the body to the right.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tPilioreitikos<\/span>\n<\/h6>\n
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It is danced by both men and women in Pelion, with the dancers holding hands at the palms. Unlike other Thessalian dances, which are performed slowly, it is very fast-paced. It consists of 12 steps. The starting position is the attention stance. The dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tSvarniara or Giourgia<\/span>\n<\/h6>\n
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It is danced by both men and women in Thessaly, with the dancers holding hands at the palms. It is a slow dance, performed either in a circle or in pairs, to the song \u201cGiourgia sta Paliourgia\u201d or \u201cTo Nero Sto Rema.\u201d In Thessaly, the term Svarniara is also used for the \u201cslow\u201d Karagouna, which is danced continuously forward, in the direction of the line of dance. The starting position is the attention stance, and the dance is in 2\/4 time. The dance consists of two parts.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

\u2022 Thracian Dances<\/h3>
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It is danced by both men and women throughout Thrace, particularly in Soufli, with a crossed handhold, meaning the left hand of one dancer is held over the right hand of the next. The starting position is the attention stance, and the dance is in 2\/4 time. It consists of two sections of 6 steps each. The first section is slow, while the second is fast.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tGikna<\/span>\n<\/h6>\n
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It is a Syrtos dance from Thrace, performed in Karoti, Didymoteicho, by both men and women, holding hands at the palms. The men form a line at the front, followed by all the women behind them. It is a fast, lively dance traditionally performed on Saturday evening at the bride\u2019s home.\n\n\u201cGikna\u201d is the name given to the orange-colored dye that the bride\u2019s friends use to paint her fingernails and fingertips when they visit her home. The dance takes its name from this tradition.\n\nThe dance consists of 8 steps performed in a circle. The starting position is the attention stance, with a slight turn of the body in the direction of the line of dance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tAradiastite Sto Choro<\/span>\n<\/h6>\n
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It is danced by both men and women in Thrace, holding each other by the sashes, to the song \u201cAradiastite Stou Choro,\u201d from which the dance takes its name. The dance consists of 6 steps, performed with a trembling movement of the entire body. The starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tZonaradiko<\/span>\n<\/h6>\n
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It is called Zonaradikos because the dancers hold each other by their sashes (zonaria). It is traditionally a men\u2019s dance, particularly associated with older men, who lean slightly forward as they dance. There are, however, many variations of the Zonaradikos, performed with 6, 8, or 12 steps.\n\nThe starting position is with the feet in the attention stance, while the body leans slightly forward. The dance is performed in 4\/4 and 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

\u2022 Cretan Dances<\/h3>
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\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tChaniotikos Syrtos<\/span>\n<\/h6>\n
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It is danced by both men and women throughout Crete, particularly in Chania, from which it takes its name. The dancers hold hands at the palms, with their elbows bent. The dance consists of small, smooth steps performed simultaneously by all the dancers, without large jumps or squatting movements. There are many variations of the \u201cChaniotikos Syrtos,\u201d which differ from one region to another.\n\nThe dance consists of 11 steps performed over 12 counts. The final step can therefore be counted as (11, 12). The starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tSousta<\/span>\n<\/h6>\n
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It is danced by both men and women throughout Crete, who line up in two rows facing one another. At the beginning, the dance may be performed in a circle, with the dancers holding hands at the palms and keeping their elbows bent. Then, after repeating the Sousta steps several times, the circle breaks and the dancers face one another in two rows.\n\nThe Sousta appears to be the ancient \u201cPyrrhichios\u201d dance. However, with the introduction of women into the dance, its character changed. From being purely a war dance, it became a romantic or romantic-war dance.\n\nIts name probably comes from the Italian word \u201cSusta\u201d (spring), because during the execution of the steps, the dancers make a small up-and-down bouncing movement, much like a spring, through the knee and ankle joints.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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In the Sousta, dancers move on the balls of their feet, using small steps, slightly bent knees, and rhythmic movements of the torso, which in Crete are known as \u201ckokkalies\u201d or \u201ctsakismata.\u201d\n\nThe Sousta consists of stationary steps, performed in place; traveling steps, performed forward, backward, to the right, and to the left; changes (\u201cscissors\u201d); and side steps. The dance consists of 12 steps, with the rhythm, or counting of the steps, following the same pattern as the Kalamatianos (1\u20132, 3, 4\u20135, 6, 7\u20138, 9, 10\u201311, 12).\n\nThe starting position is the attention stance, and the dance is in 2\/4 time. The dance begins with the left foot.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tPentozalis<\/span>\n<\/h6>\n
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It is danced by both men and women throughout Crete, with the dancers holding each other by the shoulders. Its name comes from the Cretan word \u201cZalo,\u201d meaning \u201cstep,\u201d and because the dance consists of five \u201cZala,\u201d as the Cretans count them, it is called Pentozalis.\n\nCretans begin with a slow version, known as \u201cKondylies,\u201d and then transition into the faster tempo. The dance consists of 8 hopping steps, always performed on the balls of the feet. Dancers may begin the dance either with the left foot or with the right foot. In both cases, however, they perform the same steps with a different counting pattern.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tKastrinos<\/span>\n<\/h6>\n
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It is danced by both men and women in the Heraklion area, as well as throughout Crete, with the dancers holding hands at the palms and keeping their elbows bent. Representative of the agile character that defines Cretan dances, it is danced on the balls of the feet with fast, lively, and hopping steps.\n\nIts name comes from Heraklion, which was formerly known as \u201cKastro,\u201d while it is also called Maleviziotikos after the Malevizi region. The dance consists of 8 steps, performed once with the right foot in the direction of the line of dance, and then backward, against the direction of the line of dance, with the left foot. To allow the circle to move forward, the backward steps are naturally smaller.\n\nOnce they have completed a full circle, or sometimes even earlier, Cretans also dance the steps forward and backward: 8 steps with the right foot toward the center of the circle, followed by 8 steps backward, with the left foot.\n\nKastrinos is also called \u201cPidichtos\u201d because all of its steps are performed as hops on the balls of the feet. The starting position is the attention stance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

Macedonian Dances<\/h3>
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\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tAkritikos or Boufiotikos<\/span>\n<\/h6>\n
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It is danced by both men and women, with the dancers holding hands at the palms, in the village of Akrita, formerly known as Boufi, in Florina, from which it takes its name. It consists of 12 steps. The dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tAnastasia or Prosotsani<\/span>\n<\/h6>\n
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It is danced by both men and women in Prosotsani, Drama, with the dancers holding hands at the palms, accompanied by the song \u201cNas\u00adtasia goes to fetch water, and you do not give her any.\u201d The starting position is the attention stance, and the dance is in 6\/8 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tGerakina<\/span>\n<\/h6>\n
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It is danced by women in Nigrita, Macedonia. The dance consists of three parts. The starting position is the attention stance, and the dance is in 7\/8 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tKastorianos<\/span>\n<\/h6>\n
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It is danced by both men and women in Macedonia, particularly in the Kastoria region, from which it takes its name, with the dancers holding hands at the palms, accompanied by the song \u201cPenelope Karana, whom will you make your mother-in-law?\u201d\n\nThe starting position is the attention stance, and the dance is in 2\/4 time. The dance consists of three parts.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tLeventikos<\/span>\n<\/h6>\n
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It is danced by both men and women in the villages of Alona and Akrita in the Florina region, with the dancers holding hands at the palms. In Kratero, the same name (Leventikos) is used for a dance with different steps and music.\n\nThe dance consists of 15 steps, which can be divided into three groups of five. The starting position is the attention stance, and the dance is in 9\/8 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tGerontikos<\/span>\n<\/h6>\n
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It is danced by older men in Alona, Florina, with the dancers holding hands at the palms and keeping their elbows bent. It is a slow and stately dance, perfectly suited to the older dancers. Through this dance, the elders sought to compare themselves with the younger generation and show them that, despite their age, they could still dance.\n\nThe dance consists of 12 steps, divided into three groups of four. The starting position is the attention stance, and the dance is in 3\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tPartalos<\/span>\n<\/h6>\n
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It is a men\u2019s dance performed in Pylaia, formerly known as Kapoutzida, in Thessaloniki, with the dancers holding hands at the palms and keeping their elbows bent, or holding each other by the shoulders. It consists of 6 basic steps. The starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tSamarinas<\/span>\n<\/h6>\n
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It is danced by both men and women in the villages of the Pindus Mountains, Epirus, Thessaly, and Western Macedonia, with the dancers holding hands at the palms. It is, however, the national dance of Samarina. It is danced exactly like the Syrtos in Three Steps, accompanied by the song \u201cChildren from Samarina.\u201d\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tGaida<\/span>\n<\/h6>\n
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It is danced by men in many parts of Macedonia, particularly in the Florina region, with the dancers holding each other by the shoulders. It consists of two parts, with 6 and 8 steps respectively. The first part is slow, while the second part is fast.\n\nThe starting position is the attention stance, and the dance is in 4\/4 and 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tSyrtos of Ano Oreini, Serres<\/span>\n<\/h6>\n
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It is danced by both men and women in Ano Oreini, Serres, from which it takes its name, with the dancers holding hands at the palms. It consists of 12 steps. The starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\t30th Antikristos of Macedonia<\/span>\n<\/h6>\n
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It is danced by men and women facing one another, with the lady facing the gentleman, at a distance of 3\u20134 meters. Everyone holds a handkerchief in their right hand and moves it to the rhythm of the dance. The women place their left hand on their waist, while the men place theirs behind their back.\n\nThe dance consists of 4 steps, performed once with the right foot and once with the left. These steps are used to create various formations.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tNikolos<\/span>\n<\/h6>\n
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It is danced by women in Macedonia, particularly in the Siatista region, with the dancers initially holding hands at the palms. As soon as the dance begins, however, the dancers release their hands and turn in the direction of the line of dance. At the same time, they place their right hand, palm down, on the left shoulder of the dancer in front of them, while their left hand holds the right hand of the dancer behind them, whose hand rests on their left shoulder.\n\nThe starting position is the attention stance, and the dance is in 4\/4 and 2\/4 time. The dance consists of two parts: the first has 30 steps and the second has 24.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tMacedonian Syrtos<\/span>\n<\/h6>\n
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It is danced by both men and women in Pylaia, formerly known as Kapoutzida, in Thessaloniki, with the dancers holding hands at the palms. The starting position is the attention stance. The dance is in 2\/4 time and consists of 12 steps.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

\u2022 Island Dances<\/h3>
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\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tCorfiot Dance<\/span>\n<\/h6>\n
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It is danced by women, holding hands at the palms, with two men\u2014one at the front and one at the back\u2014who perform various jumps, squats, and turns. It is also danced in pairs, with one pair following another. Each pair faces in the direction of the line of dance and holds hands at the palms with their elbows bent. Their other hand, the one facing outward, is placed on their waist.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time. The dance consists of 12 steps.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tAi-Giorgis<\/span>\n<\/h6>\n
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It is danced by women in Corfu, with the dancers holding hands at the palms. All the dancers hold large, thin handkerchiefs of various colors. As they stand in the circle, each dancer holds one end of her handkerchief with one hand and the other end with the other, while simultaneously holding the edge of the handkerchief of the dancer next to her with her left hand and that of the dancer before her with her right. Their arms are now lowered, and the handkerchiefs form a straight line in front of them.\n\nThey dance to the well-known song \u201cKato, ston Ai-Giorgi sto kryo to nero\u2026\u201d (\u201cDown at Saint George, by the cold water\u2026\u201d). The song refers to the unjust death at the hands of the Turks of Emperor Andronikos\u2019 son, named Giannis. It therefore belongs to the cycle of Akritic songs, which celebrated the exploits of the Akritai of the Byzantine Empire.\n\nIt is said that this dance came to Corfu from Paxos. The starting position is the attention stance. The dance is in 2\/4 time and consists of 10 steps.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tTrata<\/span>\n<\/h6>\n
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It is a circle dance performed by women in the Megara region, usually at Easter, with a crossed handhold, meaning the left hand of one dancer is held over the right hand of the next. The dance represents the movements made by fishermen as they pull in their trawl nets, which is how it got its name, Trata.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tIkariotikos<\/span>\n<\/h6>\n
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It is danced by both men and women in Ikaria, from which it takes its name, with the dancers holding hands at the palms. The dance consists of two parts.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tBallos<\/span>\n<\/h6>\n
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Ballos is a romantic dance performed by couples on almost all the islands of the Aegean. The gentleman always faces the lady with a smile, trying to express his inner romantic feelings, while she, with her eyes lowered, avoids his advances.\n\nThere are many different versions of Ballos. They are all characterized, however, by the same smooth steps based on the \u201cPromenade Waltz.\u201d Ballos consists of: 1) \u201cPromenade Waltz\u201d steps, 2) side steps, and 3) cross steps.\n\nNot all dancing couples perform the same variations. Each couple performs whichever variation they choose, whenever they choose, and as many times as they wish. However, I believe the dance is more impressive when all the couples perform the same variations simultaneously, especially when it is presented by organized dance groups.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tSilyvrianos Syrtos<\/span>\n<\/h6>\n
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It is danced by both men and women, with the dancers holding hands at the palms. It takes its name from Selybria in the Black Sea region. The dance usually precedes the Ballos, although it is also performed independently.\n\nThe dancers enter the dance circle with the gentleman first and the lady second. They then begin the dance in this alternating formation. The starting position is the attention stance, and the dance is in 2\/4 time. The dance is based on the \u201cPromenade Waltz.\u201d<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tKorakianitikos<\/span>\n<\/h6>\n
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This dance is performed by women in Corfu and consists of two parts. The first part consists of 8 walking steps (4 to the right and 4 to the left) and is danced with the dancers holding hands at the palms. The second part consists of 8 hopping steps (4 to the right and 4 to the left) and is danced with the dancers holding each other by the shoulders.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tRhodes Syrtos<\/span>\n<\/h6>\n
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It is danced by both men and women, with the dancers holding hands at the palms, accompanied by the song \u201cMisevo Kai Ta Matia Mou.\u201d The gentleman enters the dance circle first, followed by the lady. The dance consists of two parts, each comprising 11 steps.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tDodecanesian Sousta<\/span>\n<\/h6>\n
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It is danced by both men and women throughout the Dodecanese, with a crossed handhold, as in the Trata, and accompanied by the well-known song \u201cPera Ston Pera Kampo.\u201d\n\nSousta dances are performed in Crete, the Dodecanese, and Cyprus. Their name probably comes from the Italian word \u201cSusta\u201d (spring), because during the execution of the steps, the dancers make a small up-and-down bouncing movement, much like a spring, through the knee and ankle joints.\n\nIn the Sousta, dancers move on the balls of their feet, using small and rhythmic steps. The dance consists of side steps, as well as steps performed toward the center of the circle and back again. A couple may also dance in the center of the circle, sometimes holding hands and sometimes separating.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

\u2022 Peloponnesian Dances<\/h3>
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\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tTsakonikos<\/span>\n<\/h6>\n
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It is danced by both men and women in Tsakonia, in the Kynouria province of Arcadia, from which it takes its name, with the dancers holding each other by the elbows (linked-arm hold).\n\nThe dance represents Theseus entering and leaving the labyrinth. For this reason, as it is danced, the line coils and winds like a snake. Traditionally, it is said to be the dance Theseus performed with his companions.\n\nWhen the dancers begin to unwind, the lead dancer immediately turns to the right, with his back facing the others. Once the line has fully unwound, the first two dancers form an arch for the others to pass underneath.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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The fact that this dance is performed in Tsakonia should not seem surprising, given that there were frequent movements of people from Crete to the Peloponnese and from the Peloponnese to Crete, depending, of course, on the circumstances created by wars and destruction.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tCaryatids\u2019 Dance<\/span>\n<\/h6>\n
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It is danced by women in Arachova in the Peloponnese. (In the past, Arachova was known as Karyai.) The starting position is the attention stance, and the dance is performed in 2\/4 and 7\/8 time. The dance is based on the \u201cPromenade Waltz.\u201d\n\nThe dancers form two circles, one inner and one outer, holding hands at the palms. The dancers in the outer circle, positioned in the spaces between those in the inner circle, raise their arms overhead and pass them over the heads of the dancers in the inner circle. In this way, they form a single circle and begin Part A of the dance.\n\nThe dance consists of two parts. Part A has 6 steps. Part B consists of two sets of 12 Kalamatianos steps.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tSyrtos<\/span>\n<\/h6>\n
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Syrtos, or Kalamatianos, is the best-known traditional dance performed throughout Greece by Greeks everywhere, with minor variations from one region to another.\n\nIt appears to be the ancient \u201cHormos,\u201d as Lucian calls it, and dates back to a very early period. This is suggested by depictions of dances on various ancient vases and frescoes, which display many of its characteristic features.\n\nFurther evidence of the ancient origins of the Syrtos is provided by a 1st-century AD inscription from a religious festival in Boeotia, at the sanctuary of Apollo on Mount Ptoo, near Lake Copais. This marble inscription, erected in honor of a man named Epaminondas, states: \u201cHe faithfully performed the great ancestral processions and the ancestral dance of the Syrtoi.\u201d\n\nThe word \u201cancestral\u201d therefore leads us to conclude that Syrtos dances existed long before the 1st century and were passed down to our ancient ancestors by their forefathers.\n\nFinally, we see that the inscription refers to multiple Syrtos dances, something that we still encounter today throughout Greece.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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Regarding the origin of the name \u201cKalamatianos,\u201d which is found in most parts of Greece, it is worth noting that the dance also has other names, such as Syrtos, Isios, and others. Many believe that it was named after the city of Kalamata, as is the case with many other modern Greek dances that take their names from the regions where they are performed (Pogonisios, Zagorisios, Cretan).\n\nHowever, if we pay attention to the lyrics of the song that accompanies the dance, the picture appears somewhat different: \u201cAnd if you go to Kalamata and return safely, bring me a handkerchief to tie around my neck.\u201d\n\nThe song therefore speaks of a silk handkerchief that a young woman asks her beloved to bring her if he happens to go to Kalamata, which was a renowned center for silk processing and production at the time, and return safely.\n\nThese lyrics clearly confirm that this dance was not performed only in Kalamata, but also in other regions of Greece. I therefore believe that the Kalamatianos took its name not from the city of Kalamata, but from the lyrics of the dance, which referred to the silk handkerchief\u2014a sacred symbol of traditional wedding ceremonies\u2014and which were among the most commonly sung verses accompanying the dance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

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Its basic sequence consists of 12 steps, performed simultaneously by all the dancers. Only the lead dancer\u2014the one who leads the line\u2014performs various improvised figures, such as turns, jumps, scissors, squats, and so on.\n\nWhen the dance is presented by an organized dance group or by school students as part of a dance performance, however, all the variations of the dance are performed simultaneously by all the dancers.\n\nThe dancers hold hands at the palms. The starting position is the attention stance, with a slight turn of the entire body to the right. The Kalamatianos is danced in 7\/8 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tTsamiko<\/span>\n<\/h6>\n
\n\t
\n\t\t\n\t
\n\t\t
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The majority of traditional Greek dances are circular, as their basic formation is a circle or semicircle. There are, of course, also dances performed facing one another (antikristoi), as well as others danced in pairs.\n\nCircular dances date back to ancient times, when they were performed around the \u201cthymele,\u201d near which the flute players were also positioned. This is also the origin of the tradition that continues today, in which folk musicians sit in the center of a circular dance.\n\nDepending on their rhythm, circular dances can be divided into two main categories: syrtoi and pidichtoi. Syrtoi are smooth and are characterized by modesty, simplicity, and harmony; the Kalamatianos belongs to this category. Pidichtoi, on the other hand, include the Tsamiko, which expresses pride, bravery, and valor.\n\nIt is a dance featuring numerous figures, jumps, stamps, and kneeling movements.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

\n\t\t
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The Tsamiko, also known as Kleftikos because it was traditionally danced by the armatoloi and klephts, is the most spirited and characteristic of all Greek dances.\n\nIn the past, it was a men\u2019s dance, but today it is also danced by women, who form an inner semicircle in front of the men. This formation\u2014with the men holding hands in the outer circle and the women positioned in front of them in the inner circle\u2014is still used today in many regions, particularly in the villages of Epirus. It was established as a matter of modesty, so that a young man would not have to hold a young woman\u2019s hand until it was their turn to dance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t

\n\t\t
\n\t\t\t

The Tsamiko takes its name from Tsamouria, a region around Paramythia and several other villages in the Thesprotia region. Its steps vary from one area to another.\n\nIn villages, when women also participate, it is usually danced with 8 or 10 steps, and only rarely with 12. Only the lead male dancer performs the figures, while the rest of the dancers, both men and women, follow with the basic steps of the dance.\n\nWhen the dance is performed only by men, however, it becomes very difficult to distinguish individual steps, especially when the lead dancer is \u201cmeraklis\u201d and dances \u201cin place,\u201d as they commonly say in the villages.\n\nToday, it has become customary for the dance to be taught with 12 steps in schools\u2014although these differ from the 12-step version danced in the villages\u2014as well as by organized dance groups. In order to create a more impressive performance, all the dancers perform the same figures simultaneously, which traditionally would be performed by the lead dancer alone at village festivals.\n\nAs with the Kalamatianos, the Tsamiko has many variations (figures). The dancers hold hands at the palms with their elbows bent. The dance is in 3\/4 time. In the starting position, the right foot crosses over the left, resting on the toes.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

\u2022 Dances of Eastern Rumelia<\/h3>\n\t
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Eastern Rumelia is the southeastern part of Bulgaria, which until 1361 belonged to Thrace. However, following the Ottoman conquest of Thrace in 1361 and the intervention of the powerful forces of the time, who violated every principle of human justice, the predominantly Greek Eastern Rumelia was separated from the embrace of its motherland, Greece, and became an autonomous principality.\n\nIn 1886, with the support of Russia, it was annexed to Bulgaria. The Bulgarians then began a relentless campaign against the Greeks of the region, with the aim of altering their ethnic character and national consciousness.
\nThe immortal Greek spirit, however, did not merely refuse to be subdued; on the contrary, it began a struggle for cultural influence and intellectual achievement. Thus, in 1876, the \u201cZarifeia Educational Institutions\u201d were established in Philippopolis, including a higher girls\u2019 school and a kindergarten dedicated to the education and intellectual development of Greek children.\n\nThe Bulgarians themselves acknowledged the progress and superiority of the Greeks in commerce, the arts, and intellectual culture. One can therefore understand the strength of the Greek presence and influence in this region, and why the Greeks were unwilling to accept the influence of peoples they regarded as culturally inferior, such as the Turks and Bulgarians.\n\nThey therefore preserved the traditions and characteristics of their ancestors, including their customs and traditions, dances, and songs. When, in 1920, Thrace was liberated and the Greeks were permitted to return to Greece, the only treasure they brought with them was their dances and songs. These are still danced today in Macedonia and Thrace, where they settled, always with nostalgia for the land they had cultivated with their sweat and blood, and which was now inhabited by others.\n\nThese few points are offered for those who question the Greek character of the dances of Eastern Rumelia.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

\n\t
\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tKastrinos<\/span>\n<\/h6>\n
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It is danced by both men and women from Eastern Rumelia, in Macedonia and particularly in Thrace, with the dancers holding hands at the palms. The dance consists of 8 steps.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tTsestos<\/span>\n<\/h6>\n
\n\t
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It is danced by both men and women in Thrace, with the dancers holding hands at the palms with their elbows bent, or by their sashes. It appears to be a Zonaradikos. It is also a dance of Eastern Rumelia.\n\nThe dance consists of 6 steps, performed quickly and with hopping movements. The starting position is the attention stance, and the dance is in 4\/4 and 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tTripati or Podaraki<\/span>\n<\/h6>\n
\n\t
\n\t\t\n\t
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\n\t\t\t

It is danced by both men and women in Macedonia and Thrace who originate from Eastern Rumelia, with the dancers holding hands at the palms. The dance consists of two parts, each comprising 7 steps.\n\nThe starting position is the attention stance, and the dance is in 2\/4 time.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div>

\n \n\t <\/span>\n\t <\/span>\n\t <\/span>\n\t<\/span>\n\tTrapanistos<\/span>\n<\/h6>\n
\n\t
\n\t\t\n\t
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\n\t\t\t

It is danced by both men and women in Thrace and Macedonia. It is also a dance of Eastern Rumelia. The starting position is the attention stance, with the dancers holding hands at the palms.\n\nThe dance consists of 8 steps. The dance is in 2\/4 time, and the starting position is the attention stance.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"\u0395\u03af\u03bd\u03b1\u03b9 \u03c0\u03ac\u03c1\u03b1 \u03c0\u03bf\u03bb\u03cd \u03b4\u03cd\u03c3\u03ba\u03bf\u03bb\u03bf \u03bd\u03b1 \u03c0\u03c1\u03bf\u03c3\u03b4\u03b9\u03bf\u03c1\u03af\u03c3\u03bf\u03c5\u03bc\u03b5 \u03c4\u03b7\u03bd \u03b1\u03ba\u03c1\u03b9\u03b2\u03ae \u03c7\u03c1\u03bf\u03bd\u03bf\u03bb\u03cc\u03b3\u03b7\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03bf \u03b4\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03cc \u03c4\u03c9\u03bd \u03c3\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03ce\u03bd \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ce\u03bd \u03c0\u03b1\u03c1\u03b1\u03b4\u03bf\u03c3\u03b9\u03b1\u03ba\u03ce\u03bd \u03c7\u03bf\u03c1\u03ce\u03bd \u03ba\u03b1\u03b9 \u03b1\u03c5\u03c4\u03cc \u03b3\u03b9\u03b1\u03c4\u03af \u03cc\u03c0\u03c9\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c4\u03bf \u03b4\u03b7\u03bc\u03bf\u03c4\u03b9\u03ba\u03cc \u03c4\u03c1\u03b1\u03b3\u03bf\u03cd\u03b4\u03b9, \u03c7\u03bf\u03c1\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c2 \u03b5\u03af\u03bd\u03b1\u03b9 \u03bf \u03bb\u03b1\u03cc\u03c2. \u0391\u03ba\u03cc\u03bc\u03b7 \u03c0\u03b9\u03bf \u03b4\u03cd\u03c3\u03ba\u03bf\u03bb\u03bf \u03b5\u03af\u03bd\u03b1\u03b9 \u03bd\u03b1 \u03b1\u03c0\u03bf\u03b4\u03b5\u03af\u03be\u03bf\u03c5\u03bc\u03b5 \u03cc\u03c4\u03b9 \u03bf\u03b9 \u03c3\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03bf\u03af \u03c7\u03bf\u03c1\u03bf\u03af \u03c7\u03bf\u03c1\u03b5\u03cd\u03bf\u03bd\u03c4\u03b1\u03bd \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1 \u03bc\u03b5 \u03c4\u03b7\u03bd \u03af\u03b4\u03b9\u03b1 \u03bc\u03b5\u03bb\u03c9\u03b4\u03af\u03b1, \u03c4\u03b1 \u03af\u03b4\u03b9\u03b1 \u03b1\u03ba\u03c1\u03b9\u03b2\u03ce\u03c2 \u03b2\u03ae\u03bc\u03b1\u03c4\u03b1 \u03ae \u03c4\u03b7\u03bd \u03af\u03b4\u03b9\u03b1 \u03ad\u03ba\u03c6\u03c1\u03b1\u03c3\u03b7. \u0388\u03c7\u03bf\u03c5\u03bc\u03b5 \u03cc\u03bc\u03c9\u03c2 \u03c3\u03bf\u03b2\u03b1\u03c1\u03ad\u03c2 \u03b5\u03bd\u03b4\u03b5\u03af\u03be\u03b5\u03b9\u03c2 \u03c0\u03bf\u03c5 \u03bc\u03b1\u03c2 \u03bf\u03b4\u03b7\u03b3\u03bf\u03cd\u03bd \u03c3\u03c4\u03bf \u03c3\u03c5\u03bc\u03c0\u03ad\u03c1\u03b1\u03c3\u03bc\u03b1 \u03cc\u03c4\u03b9 \u03bf\u03c1\u03b9\u03c3\u03bc\u03ad\u03bd\u03bf\u03b9 \u03c4\u03bf\u03c5\u03bb\u03ac\u03c7\u03b9\u03c3\u03c4\u03bf\u03bd \u03bd\u03b5\u03bf\u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03bf\u03af \u03c7\u03bf\u03c1\u03bf\u03af \u03b1\u03c0\u03bf\u03c4\u03b5\u03bb\u03bf\u03cd\u03bd \u03c3\u03c5\u03bd\u03ad\u03c7\u03b5\u03b9\u03b1 \u03c4\u03c9\u03bd \u03b1\u03c1\u03c7\u03b1\u03af\u03c9\u03bd \u03ba\u03b1\u03b9 \u03b4\u03b5\u03bd \u03ad\u03c0\u03b1\u03c8\u03b1\u03bd \u03c0\u03bf\u03c4\u03ad \u03bd\u03b1 \u03c7\u03bf\u03c1\u03b5\u03cd\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03ac\u03b4\u03b1 \u03b1\u03c0\u03cc \u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1 \u03bc\u03ad\u03c7\u03c1\u03b9 \u03c3\u03ae\u03bc\u03b5\u03c1\u03b1, \u03bc\u03b5 [...]","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"footnotes":"","_tec_slr_enabled":"","_tec_slr_layout":""},"class_list":["post-369","page","type-page","status-publish","hentry"],"ticketed":false,"_links":{"self":[{"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/pages\/369","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/comments?post=369"}],"version-history":[{"count":3,"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/pages\/369\/revisions"}],"predecessor-version":[{"id":593,"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/pages\/369\/revisions\/593"}],"wp:attachment":[{"href":"https:\/\/www.hotsteps.gr\/en\/wp-json\/wp\/v2\/media?parent=369"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}