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Syrtos

Syrtos is a traditional Greek folk dance in which participants link hands to form an open circle or line, moving counterclockwise in a slow, gliding manner that emphasizes smooth, dragging steps, typically in 2/4 time, with the lead dancer often improvising variations at the front.^[1] The name derives from the ancient Greek term syrtós, meaning "dragged along" or "trailing," which captures the dance's characteristic fluid and connected motion.^[2] Originating in ancient Greece, syrtos is described by Lucian in the 2nd century AD and referenced in an ancient inscription as an ancestral dance, representing one of the oldest continuous forms of communal expression in Greek culture.^[3] As a pan-Hellenic dance, syrtos transcends regional boundaries and is performed at social events like weddings, baptisms, and festivals, fostering group identity and joy through its inclusive, participatory nature. It encompasses numerous local variants, such as the Cretan syrtos with its structural improvisations, the Kalamatianos from the Peloponnese (originally called Syrtos Peloponnesios), and the Haniotikos from Chania, each adapted to specific island or mainland traditions while retaining the core chain formation.^[4]^[5] In contemporary settings, syrtos has evolved into both authentic village performances and staged versions, sometimes blending with modern influences, yet it continues to symbolize cultural continuity and social bonding across Greece.^[6]

Description

Formation and Basic Steps

Syrtos dancers typically arrange themselves in an open circle or line formation, facing counterclockwise, with participants of mixed genders joining hands at shoulder height. The hands are often held in a "W" position, with elbows bent at approximately 90 degrees and palms facing down or fingers interlocked for stability. In certain variants, particularly those emphasizing leader improvisation, the lead dancer and the second dancer may connect using a handkerchief gripped between their outstretched fingers, allowing greater freedom of movement while maintaining the chain.^[7]^[8]^[9] The basic steps of Syrtos derive their name from the Greek verb syro, meaning "to drag," reflecting the slow, gliding footwork that keeps the feet close to the ground without lifts or jumps. Performed in a typical grapevine pattern, the dancers advance with the right foot stepping to the side or forward (count 1), the left foot crossing behind the right (count 2), and the right foot stepping to the side again (count 3), creating a smooth, trailing effect where each dancer mirrors the preceding one's steps with a brief delay, ensuring synchronization across the group.^[8]^[7] Footwork in Syrtos emphasizes low, sliding glides rather than energetic leaps, promoting a continuous flow that preserves even spacing within the circle or line. This setup allows the formation to undulate in a serpentine manner as the group progresses, with dancers maintaining shoulder-to-shoulder alignment to avoid bunching or gaps. Regional adaptations may introduce minor variations in step direction or emphasis, but the core dragging pattern remains consistent for group cohesion.^[10]^[11]

Leader's Role and Improvisation

In Syrtos, the leader, known as the koreftis, occupies the position at the front of the line or circle formation, where they are selected based on their experience and skill as a dancer to guide the group effectively.^[12] The koreftis sets the overall pace, direction, and intensity of the dance, ensuring the chain of dancers maintains cohesion while allowing for expressive variations.^[7] The koreftis frequently performs improvised solos, breaking away from the line to execute dynamic movements such as turns, knee bends, spins, or flourishes with a handkerchief before rejoining and pulling the group forward to resume the collective motion.^[7] These improvisations draw on the dancer's kefi, or spirited mood, and are timed to musical cues like instrumental breaks, enabling the leader to vary step speed or incorporate hand gestures that subtly encourage followers to echo elements without breaking the unified rhythm.^[12] In certain traditions, the koreftis signals changes in tempo or pattern through shoulder movements, subtle pulls on the handkerchief, or verbal calls, which foster interactive energy and communal joy among the participants while preserving the dance's traditional structure.^[13] This leadership style emphasizes individual creativity within the bounds of regional conventions, enhancing the overall expressiveness of the performance.^[12]

History

Ancient Origins

The Syrtos dance traces its roots to at least 1000 BCE, marking it as one of the oldest forms of Greek folk dance, with early literary evidence appearing in Homeric epics that describe circular and chain formations integral to communal rituals. In Book 18 of the Iliad, Homer depicts a scene on the shield of Achilles where youths and maidens hold hands in a circle, performing a measured dance that echoes the gliding, linked movements characteristic of Syrtos, performed during festive or ceremonial gatherings.^[14]^[15] These references highlight Syrtos-like dances as embedded in Mycenaean and early Greek social life, often accompanying epic narratives of heroism and community bonding. Classical authors such as Lucian (c. 125–190 AD) described the syrtos as a chain dance, while Plato and references attributed to Socrates mention similar communal dances in philosophical contexts.^[3] Archaeological evidence from the Geometric (c. 900–700 BCE) and Archaic (c. 700–600 BCE) periods further supports these origins, with numerous pottery and vase depictions illustrating chained or circular dancer formations suggestive of Syrtos. Vases from sites like Athens and Corinth show groups of figures in gliding lines or rings, hands linked at the wrists, participating in processional dances tied to Dionysian festivals honoring the god of wine and ecstasy, as well as harvest celebrations invoking agricultural abundance.^[16]^[17] Such imagery, found on black-figure and proto-Attic pottery, portrays dancers in serene, trailing steps, contrasting with more vigorous motifs and indicating Syrtos's role in joyful, collective expressions. The dance's prehistoric and classical foundations were deeply intertwined with communal rituals serving fertility, religious ceremonies, and social gatherings.^[18] Etymologically, "Syrtos" derives from the ancient Greek verb σύρω (syro), meaning "to drag" or "to draw," reflecting the dance's signature trailing steps in linear or circular processions that mimicked agricultural dragging of tools or migratory herd movements in early agrarian societies. This terminology appears in a 1st-century AD inscription from Acraephia (IG 7.2712.66), referring to the "ancestral dance of the syrtos," confirming its established presence in Hellenistic-era rituals.^[19]^[20]

Development in Byzantine and Ottoman Periods

During the Byzantine era (4th–15th centuries CE), Syrtos evolved as a prominent circle dance, maintaining continuity from ancient Greek traditions while incorporating influences from Christian liturgical practices. Greek folk dance melodies, including those accompanying Syrtos, derived from Byzantine ecclesiastical modes, scales, and intervals, reflecting the integration of sacred musical elements into communal performances.^[21] Depictions in 11th-century icons and illuminated manuscripts portrayed group circle dances during village feasts and social gatherings, emphasizing collective participation and gender-integrated formations that highlighted women's roles in everyday Byzantine society.^[22] The Orthodox Church generally condemned exuberant or profane dancing but tolerated more subdued forms in sacred or familial contexts, such as weddings, allowing Syrtos to persist as a humble expression of community bonding under religious oversight.^[23] Under Ottoman rule (15th–19th centuries), Syrtos endured in rural villages as an expression of Greek cultural identity preservation amid foreign domination, with no major institutional suppression from either Ottoman authorities or the Orthodox Church.^[24] Performed in circle formations, it fulfilled ongoing social needs in isolated communities, adapting subtly to include minor Turkish influences in step patterns while retaining core Greek characteristics and avoiding direct assimilation.^[24] This period of adaptation ensured Syrtos's survival over four centuries, often confined to private or rural settings where it reinforced communal solidarity against external pressures. By the mid-19th century, European travelogues documented its widespread performance at weddings and social events, underscoring its shift toward broader entertainment and cultural expression in the nascent nation.^[25]

Music

Rhythmic Structure and Tempo

The syrtos dance is predominantly performed in 2/4 or 4/4 meter, characterized by a slow tempo typically ranging from 80 to 100 BPM, which emphasizes dragging pulses that create a smooth, flowing motion central to the dance's style.^[26]^[27] The rhythmic pattern follows a slow-quick-quick structure (often notated as 2-1-1 in 4/4), aligning the dancers' step-touch movements with the meter to produce a gliding progression along the line.^[28] A notable variant, the kalamatianos, employs a 7/8 meter organized as a 3-2-2 pattern, introducing a lilting asymmetry that adds a gentle sway while preserving the overall dragging quality.^[29] Accents typically fall on beats 1 and 3 in 4/4 meter, reinforcing the step-touch patterns and providing rhythmic anchors that guide the collective movement.^[28] These accents contribute to a serene pulse, distinguishing syrtos from more energetic, leaping dances like pidiktoi. Rhythmic variations arise during the leader's solos, incorporating subtle syncopations that disrupt the steady pulse to generate tension-release dynamics and inspire improvisation among the dancers.^[30] In some performances, the tempo gradually accelerates to heighten energy while retaining the non-leaping, dragging essence, often starting with slower medleys that build progressively.^[31] This evolution maintains the dance's contemplative flow, allowing for expressive freedom without altering its core rhythmic framework.

Instruments and Ensemble

The traditional music accompanying the Syrtos dance relies on a core set of acoustic string and percussion instruments, which produce the characteristic melodic lines and rhythmic drive essential to the dance's flowing style.^[32] The primary string instrument in Cretan and island variants is the Cretan lyra, a pear-shaped, three-stringed bowed fiddle that leads the melody with its expressive, vibrant tone, often tuned in fifths and played upright.^[33] Complementing the lyra is the laouto, a long-necked lute with four courses of strings, which provides rhythmic accompaniment and harmonic support through strumming and plucking, typically tuned to C, G, D, and A.^[33] In mainland Greek styles, the violin often takes the lead for melody, delivering intricate lines that guide the dancers, while the laouto continues its role in rhythm and harmony.^[32] Percussion instruments add depth and propulsion to the ensemble, with the daouli—a double-headed drum about 20–30 inches in diameter—delivering steady bass beats using two sticks to maintain the underlying pulse.^[33] The defi, a frame drum or small tambourine fitted with metal jingles, contributes accents and decorative rhythms struck by hand, enhancing the music's lively texture.^[32] Triangles provide a shimmering, metallic overlay, struck rhythmically to accentuate key phrases and add brightness to the overall sound.^[32] In some mainland ensembles, the clarinet may join as an additional melodic voice, blending with the violin for richer lead lines.^[33] Syrtos ensembles are typically intimate, comprising 3 to 6 musicians to allow for close interaction and improvisation during performances.^[33] A standard setup includes one primary melody instrument (such as lyra or violin), one for harmony and rhythm (laouto), and at least one percussionist on daouli or defi, with triangles handled by a band member as needed; island groups emphasize the lyra-laouto pairing, while mainland ones incorporate clarinet or santouri for fuller harmony.^[32]^[33] Vocal elements are optional but common, featuring group singing of folk lyrics on themes of love or nature, often in antiphonal style with calls exchanged between the lead musician and the ensemble or dancers.^[32]

Regional Variations

Mainland Greece Variations

In mainland Greece, Syrtos variations exhibit more structured choreography compared to insular forms, with dancers forming straight lines or semi-circles that emphasize collective precision during festivals and social events. These dances typically feature deliberate steps involving drags and lifts, performed with hands joined in a low "V" position or at shoulder height, and are accompanied by ensembles led by the klarino (clarinet), which provides melodic ornamentation supported by violin, laouto (lute), and defi (tambourine). Improvisation is generally confined to the leader, fostering a sense of communal unity rather than individual flair.^[34]^[35] The Syrto-Kalamatianos, originating from the Peloponnese region around Kalamata, is a quintessential mainland example danced in 7/8 meter, characterized by three quick steps followed by a pronounced lift or pause on the third beat to accentuate the rhythm. This faster-paced variant suits lively social gatherings, where dancers advance in a line with subtle knee bends and forward drags, maintaining a steady tempo that builds energy through repetition. Its style shows minimal regional deviations, preserving a uniform structure that highlights the dance's role in community celebrations.^[36]^[36] Northern variants, such as Syrtos Makedonias and Syrtos Pyleas from Macedonia, incorporate heavier foot stamps and wider formations to convey robustness, often in open lines that allow for expansive movements during regional festivals. Syrtos Makedonias, prevalent across central Macedonia, follows a 12-step sequence with palm-to-palm handholds and subtle arm swings influenced by neighboring Slavic traditions, adding a swinging motion that contrasts with southern restraint. Similarly, Syrtos Pyleas, from the village of Pylea near Thessaloniki, features rocking steps forward and back in 7/8 time—such as a forward step on the right (counts 1-3), rock back on the left (4-5), and forward rock on the right (6-7)—with occasional crosses and side steps that emphasize grounded stamps for rhythmic emphasis. These elements reflect the terrain's influence, promoting a more forceful execution.^[35]^[37]^[38] Pontic Greek communities, resettled in mainland Greece after the 1923 population exchange, have adapted Syrtos forms like the Syrto Bafra, drawing from the Bafra district in Pontus with quicker drags and abrupt pauses integrated into local lines. This variant retains Pontic vigor through accelerated step transitions while aligning with mainland structures, often performed at refugee-descended festivals to honor heritage.^[39]

Island Variations

Island variations of the Syrtos dance reflect the maritime influences of the Greek islands, particularly in the Aegean and Ionian seas, where adaptations emphasize lighter, more fluid movements compared to the mainland's sturdier styles. These forms often feature open or circular formations with dancers holding handkerchiefs between partners for a graceful, undulating flow that evokes the sea's waves, performed in contexts like festivals and social gatherings. Music typically accompanies in duple meter, with ensembles highlighting melodic ornamentation through string instruments such as the violin and laouto in Aegean styles, creating a buoyant yet restrained tempo.^[11]^[40]^[41] The Nisiotikoi Syrtoi, prevalent in the Aegean islands such as Kythnos in the Cyclades, incorporate elongated steps that mimic the gentle rolling of waves, executed in a strict 4/4 time signature for a smooth, continuous progression. Dancers form an open circle or lines, linking hands or handkerchiefs at shoulder height, with the leader guiding subtle extensions and contractions in the step pattern to maintain the wave-like rhythm. Accompaniment relies on violin-laouto duets, where the violin's soaring melodies contrast the laouto's rhythmic pulse, fostering an improvisational yet cohesive group dynamic. On Kythnos specifically, variations may involve couples dancing simultaneously in multiple groups, adapting the traditional open circle to island social norms.^[42]^[11] In the Ionian Islands, the Syrto Kefallonias, also known as Dhivaratikos from the village of Dhivara on Kefalonia, adopts a slower tempo with pronounced knee bends and shoulder sways, imparting a swaying, almost lyrical quality distinct from faster continental forms. Performed in open lines rather than tight circles, it suits wedding celebrations where participants join fluidly, emphasizing expressive upper-body movements alongside the basic syrtos drag-step. The 3/4 meter, unusual for syrtos, lends a waltz-like deliberation, often supported by violin-led ensembles that allow for elongated phrasing.^[43]^[44]

Cretan Variations

The Cretan Syrtos, originating in western Crete particularly around the Chania region, features powerful glides and extended arm movements in a 2/4 time signature, allowing dancers to form expansive circles that emphasize communal bonds.^[45] The leader initiates dramatic solos, incorporating spins and improvisational flourishes that highlight personal skill and express emotional intensity, often evoking the island's rugged terrain and historical resilience.^[46] This variant, commonly known as Haniotikos Syrtos, remains the most emblematic dance of Crete, performed at social gatherings like weddings and festivals where participants link hands in a chain.^[6] Across Crete, Syrtos performances typically involve larger circles and are predominantly male-led, with leaders displaying virility through bold improvisations such as leaps and emphatic footwork that symbolize strength and defiance.^[47] The music relies on the Cretan lyra, a bowed string instrument providing melodic leads, accompanied by the rhythmic strumming of the mantoura lute to maintain the 2/4 pulse.^[46] These elements underscore the dance's role in reinforcing male camaraderie and cultural identity during communal events.^[45] Historically, the Cretan Syrtos spread beyond the island as a cultural export through migrations, particularly during the early 20th century and interwar periods, influencing mainland Greek traditions while preserving its core expressive traits.^[45] This diffusion occurred via Cretan communities relocating for economic reasons, carrying the dance to urban centers and diaspora groups where it adapted yet retained its robust, improvisational essence.^[47]

Cypriot and Anatolian Variations

In Cyprus and among Greek communities in Anatolia (Asia Minor), Syrtos variations reflect historical cross-cultural exchanges, blending indigenous Greek elements with Levantine and Ottoman Turkish influences, often performed in smaller groups during social gatherings. These forms typically feature violin-led ensembles occasionally incorporating the oud for oriental melodies, emphasizing communal unity through chained lines or circles.^[20]^[48] Politiko Syrtos, an urban Cypriot style derived from Constantinopolitan traditions, is characterized by elegant upright postures, subtle hand flourishes, and a slow-quick-quick rhythm in 4/4 time, suited for formal events like weddings. Dancers form an open circle with hands at shoulder height, allowing the leader to improvise turns while maintaining a stately flow. This variant highlights the multicultural heritage of Greek urban centers, disseminated through historical migrations.^[20]^[49] Rural Cypriot forms incorporate Turkish rhythms in chained lines, fostering intimate community bonds. These rural variants often blend violin with lute and tambourine, evoking Ottoman-era fusions.^[20]^[48] Bournovalios Syrtos, from the Anatolian Greek community near Izmir (Bornova) prior to the 1923 population exchange, features quicker steps and oriental melodies in quick-quick-slow 4/4 time, danced in an open circle to courtship songs like "Ti Tha Yino, Ego Me Sena." Reflecting the multicultural roots of Smyrna's Greeks, it involves lively leader figures and shoulder-height handholds, preserving pre-exchange Levantine-Greek synergies in smaller ensembles.^[20]

Cultural Significance

Traditional Contexts

Syrtos served as a central element in lifecycle rituals across historical Greek and Cypriot communities, particularly at weddings, baptisms, and name days, where it functioned as a unifying dance that symbolized harmony, social cohesion, and the continuity of family and village life. In these settings, participants formed circles or lines to perform the dance, reinforcing communal bonds and marking transitions such as marital unions or the welcoming of new members into the faith and society. For instance, during weddings in rural Greece, Syrtos accompanied celebrations to express joy and collective support for the couple, while in Cyprus, it was a staple at similar gatherings, blending solemnity with festivity.^[50]^[51] At religious festivals known as panigiria, which honored saints' days and drew entire villages together, Syrtos typically opened sequences of line dances, promoting intergenerational participation that bridged elders, adults, and youth in shared cultural expression. These events, often held in village squares under the summer sky, emphasized community solidarity through the dance's slow, dragging steps, allowing participants of all ages to join and sustain traditions passed down orally. In both mainland Greece and Cyprus, panigiria performances of Syrtos highlighted the dance's role in maintaining social ties during public feasts.^[52]^[51] Gender dynamics in traditional Syrtos varied by region but commonly featured mixed groups, with men frequently taking the lead position to guide the line or circle, reflecting societal norms of male initiative in public displays. In rural settings of Greece and Cyprus, the dance also facilitated courtship, as young men and women used improvised solos during the leader's breaks to showcase agility and attract partners, blending social interaction with ritual. Women participated actively, often in segregated or integrated formations, contributing to the dance's communal fabric.^[51] Symbolically, Syrtos embodies resilience and collective identity. The circle formation represents unbreakable unity and endurance, underscoring the dance's deeper role in fostering a sense of belonging through embodied tradition.

Modern Practice and Global Influence

In the 20th century, Syrtos experienced a revival through organized Greek folk dance ensembles and educational programs, which helped standardize and propagate the dance both in Greece and abroad. These efforts included the establishment of cultural associations and schools that teach Syrtos as part of broader folklore preservation initiatives, such as the EU-funded Terpsichore project, which digitally captures and analyzes traditional Greek dances including various Syrtos variants to ensure their transmission to future generations.^[53] A significant modern adaptation is the Syrtaki dance, choreographed by Giorgos Provias in 1964 for the film Zorba the Greek, with music composed by Mikis Theodorakis. Drawing from the slow, dragging steps of traditional Syrtos and accelerating into a faster hasapiko rhythm, Syrtaki quickly gained international fame through the film's global success, becoming a symbol of Greek culture and introducing Syrtos-derived movements to worldwide audiences.^[54] Today, Syrtos features prominently in stage performances by professional and amateur groups, such as those at diaspora festivals in the United States and Australia, where it fosters community identity among Greek-American and Greek-Australian populations. In regions like Crete and Cyprus, the dance is showcased in tourism-oriented events and cultural demonstrations, often highlighting regional styles to attract visitors and promote local heritage. Additionally, contemporary fusions incorporate Syrtos rhythms into modern genres, including electronic and trance music remixes that blend traditional melodies with electronic beats.^[55]^[56]^[57]^[58] Preservation efforts have been bolstered by international recognition, such as UNESCO's 2022 inscription of the Tranos Choros—a grand, circular Syrtos variant—on the Representative List of the Intangible Cultural Heritage of Humanity, emphasizing its role in community festivities. Educational programs worldwide integrate Syrtos into curricula, while diaspora festivals, including those by groups like the Orpheus Hellenic Folklore Society in Chicago, actively maintain specific variants such as the Bournovalios Syrtos from Asia Minor, ensuring its continuity through performances and teaching.^[59]^[20]

References

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“syrtos is a traditional Greek dance whose origins bring him to ancient Greece. The name of the dance comes from the ancient Greek word "syrtos" (dancing)”.
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Achilles' voice was loud, clear as the trumpet sounding from some beleaguered city, beset by a lethal force. The hearts of the Trojans were appalled when they ...Bk XVIII:1-77 Thetis responds... · Bk XVIII:148-242 Hera tells...
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There were youths dancing and maidens of the price of many cattle, holding their hands upon the wrists one of the other.<|separator|>
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[46]
[PDF] NISIOTIKOS SYRTÓS (SYLIVRIANOS) BOTяY 20жIndian
Nisiotikos Syrtos (Nee-see-OH-ti-kohs Seer-TOHS) means the island syrtos. More particularly, this syrtos is from the islands. of the Aegean Sea. It is ...
[47]
Dhiváratikos (Syrtós Kefalliniás) - Circle Dance - Greece/Kefalonia
Aug 31, 2023 · Dhiváratikos, also known as Syrtós Kefalliniás, is a variation of Greek Syrtó from the village of Dhivara (Divarata) on the Ionian island of Kefalonia.<|control11|><|separator|>
[48]
[PDF] Dhivaratikos - Folk Dance Federation of California
Dhivaratikos. (Greece) from the Ionian Island of Kefallonia is basically a Syrto dance which has been rhythmically modified to fit the uncharacteristic 3/4 ...
[49]
Folklore, Nationalism, and the Ban of the Cretan Violin
The dominant dance and music form in modern Cretan music, the syrtós, was developed in Haniá province and spread to the rest of the island in the early ...
[50]
Kritiko Syrto (L*), Haniotiko – Crete - Folkdance Footnotes
Kritiko Syrto (L*), Haniotiko – Crete *a Living dance is a 1st Generation dance that is still performed in the country of origin (or immigrant communities)
[51]
(PDF) Cretan Identity through its Dancing History - Academia.edu
... dance which is also called syrtos. The name Chaniotikos Syrtos indicates that this is a “shuffling” line dance from the city of Chania. The leader of this dance ...
[52]
The Cyprus Folk Dance “The Syrtos” - Limassol Local Newspaper
Aug 6, 2024 · Syrtos is typically accompanied by traditional Cypriot music. Instruments like the violin, lute (laouto), and tambourine set the rhythm and mood ...
[53]
Objects :: Region : Cyprus - Greek Dance Pandect
Syrto Politiko, a Syrtos from 'Poli' (Constantinople) 9. Zeimbekiko Aivaliotiko 10. The Drepani (sickle) dance 11. Karsilamas 12. Karsilamas 13. Karsilamas
[54]
(PDF) Traditional Dance in Greece - Academia.edu
Drandakis' work on that subject is Lawler's book provides the best works to ... Improvisation in the Greek Folk Dances. (παρέα), his companions. The ...
[55]
CYPRIOT FOLK DANCES - Kypros-Net
Syrtos: This folk dance, performed by men and women in couples in a circle, is very popular in social gatherings, weddings and religious festivals. It ...Missing: contexts | Show results with:contexts
[56]
(PDF) Traditional Greek Dance: An Introduction - ResearchGate
Jun 28, 2022 · ... Syrtos. One particular Syrtos, the Kalamatianos, is considered ... holding a handkerchief. 38 www.dance-pandect.gr/en/dance-situations ...Missing: reliable | Show results with:reliable
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New technical system captures and stores traditional dance - CORDIS
Oct 5, 2020 · Terpsichore targets Greek folkloric dances including Kalamatianos, various tempos of Syrtos, and Enteka, plus Slovak traditional dances.
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https://www.soundclick.com/omadeon/?content=songs
[59]
[PDF] Greek Diaspora of America and Greek Traditional Dance
Mar 14, 2023 · The collection of ethnographic data was based on the ethnographic method, under the terms of an online ethnography or otherwise Netnography.Missing: variations | Show results with:variations
[60]
[PDF] The Symbolic Meaning of Greek Dancing in Diaspora - Athens Journal
For many younger members of the Melbourne Greek diaspora, participation in Greek dancing is a way of expressing their cultural identity and associating ...Missing: Syrtos | Show results with:Syrtos
[61]
Cretan “Syrtos” dance, a cultural identity
It is a meeting point for musicians and students and is recognized as the leading institution in Greece today, in the field of education of modal and ...
[62]
omadeon – Electronic & Trance Music | Free MP3 Downloads (MP3 ...
Picture for song 'CRETAN Ethnic Trance (SYRTOS)' by artist 'omadeon'. CRETAN Ethnic Trance (SYRTOS) CRETAN Ethnic Trance (SYRTOS). WinterSwimmer's remix of a ...
[63]
Tranos Choros (Grand Dance) in Vlasti and Syrrako Festival
August 15th (Dekapentavgoustos) festivities in two Highland Communities of Northern Greece: Tranos Choros (Grand Dance) in Vlasti and Syrrako Festival - UNESCO ...