Sound Cultures in Tilos Paniyiria: Spaces, Rites, Technologies, and Styles in Folk vs. Popular Encounters
Music life in the island of Tilos (Dodecanese, Greece) provides ethnomusicologists and popular music scholars with many hints for reflection and research. In a microcosm inhabited in winter by no more than 500 people, and even in the touristic season by less than 3000, heterogeneous music cultures a...
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| Publicado no: | URI:https://journals.openedition.org/esma, |
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| Autor principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicado em: |
Égypte Soudan mondes arabes
2025
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| Assuntos: | |
| Acesso em linha: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Resumo: | Music life in the island of Tilos (Dodecanese, Greece) provides ethnomusicologists and popular music scholars with many hints for reflection and research. In a microcosm inhabited in winter by no more than 500 people, and even in the touristic season by less than 3000, heterogeneous music cultures and practices live together, and inevitably suggest questions about the issue of “borders”: what is traditional (or folk, or paradosiakó), and what is popular? As soon as one is involved into the sound events, which enliven the island and its mixed population of residents (not only Greek), expatriates coming back for their holidays, pilgrims, and tourists, one realizes that the guiding principles that normally help to distinguish between what belongs to “tradition” and what is mediatized and “modern” are not adequate. There are occasions where a transition from one domain to the other can be experienced, following a path that connects and separates them: sound spheres being continuously traversed by men and women of all ages, in ways that established taxonomies are not able to explain.I attended my first paniyiri in Tilos in 1997 (after attending others in Crete, Karpathos, and Lipsi), and started taking photographs, as well as making audio and audio-visual recordings, soon after my first visit. I interviewed musicians, documented dances and the very private ritual of the traghoudhia tou trapeziou, and had a chance to follow the developments of music events over a period of more than twenty years. One aspect that intrigued me from the very beginning was the development of the instruments used and the overlapping of different sound aesthetics, encompassing acoustic instruments, electrified, and amplified traditional instruments, “pop” instruments, keyboards, and rhythm machines. |
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