By the proposing Virtual Reality Experience (VRE) digitized application, the selected traditional costumes made of “smart” textiles will “come to life” within their traditional settlement where young dancers will perform dances corresponding to the specific local region.  Users – trainees will be able to better understand, through this realistic visualization, terms such us, inter alia, civilization, local heritage, customs and traditions, realize their national and local identity within the framework of the European Union and identify any similarities and differences from one country to the other. 

The dances of Greece are a living expression of the heroism, courage, patriotism and self-sacrifice of the Greek people as well as the expression of their love, hope and happiness. All of these have been handed down through the centuries and give the dance of today their meaning, vitality and significance.

Dancing has traditionally been one of the most ancient forms of community entertainment and in most of Greece this still holds true. The people gather together at certain times during the year to celebrate important historical, national, social, religious or other cultural events in their yearly calendar with music and dancing. These dances cannot be separated from the every-day life of the Greeks for it is within the context of their lives that dances have meaning.

Consider the occasions associated with the dances: weddings, betrothals, baptisms, days honoring patron saints, pre-Lenten activities, Easter etc. It is on these occasions the Greek has an opportunity to physically express his emotions associated with the particular event. This was apparently true even with the ancient Greeks, “among the Greeks….. the dance was a social activity in the truest sense of the word. By means of in the Greek expressed his personal and communal emotions of joy and sorrow, marked all the great event of his own life and that of his city – and thoroughly enjoyed himself” (Lawler, 1985:121).

In modern Greece the association of the dance with the activities of the Greek Orthodox Church is not to be overlooked nor taken lightly. The majority of the associations for dancing are celebrations conducted either in or under the sponsorship of the church. Indeed, this religious association also appears to date fro ancient, even Minoan, times. Referring to the ancient Cretans, Lawler states, “… dancing was of the highest importance, not only as an amusement and spectacle, but as an integral part of their religion” (op. cit. 29) Elsewhere she tell us “... the Greek drew no hard and fast line between religious and secular dancing; and many of the dances in which he engaged informally, to commemorate events in his own life or that of his family, or merely for enjoyment, were offered also to the gods.” (op. cit. 116)

This relationship between the church and the dance is very strong and may be difficult for the non-Greek to comprehend. In many Christian churches in western cultures dancing has long been forbidden on the grounds that is immoral even through in Psalm 150:4 we are exhorted to “Praise him with the timbrel and dance: praise him with stringed instruments and organs.” (KJV, 1978:685) Frescoes in many churches dating from byzantine times depict just activities.

The “dance” of the prophet Isaiah is included as part of the Greek Orthodox wedding ceremony, in which bride, groom, koumbaros (best man) and the priest circle the altar three times. Speaking of the koumbaros at a Sarakatsani wedding, Patrick Leigh Fermor (1966:10,11) writes, “Hand in hand, led by the priest under a fusillade of flung rice and sweets, he accompanied the thrice round the altar in a slow and dignified dance. More than any other stage in solemnization… this. Hieratic pavane hallows and confirms the sacrament.” This same “dance” is also part of the ordination service for priests as well as of the baptismal service.

At one time in the area of Iraklion, Crete, as soon as the bride and groom exited from the church the musicians began playing while the wedding guests sang mantinades (rhymed couplets) in praise of the newlyweds. At the same time bride, groom, koumbaros, sympetheri (parents and close relatives of the bride and groom) began to dance the Siganos in a stavroto or crossed handhold. After some time, other dances would also be performed – Syrto, Maleviziotiko, Pentozali – depending on the kefi and desires of the guests. All of this while still at the church before departing for the groom’s home to continue the celebration. (informant-Antonis Peristeris) Of course, in almost every area of Greece the bride is escorted to the church with music and dancing and the wedding party is frequently escorted to the groom’s house afterward with the same.

It is not uncommon to see the priest in a particular village lead the first dance at a community celebration. On Easter Monday, 1980 in the village of Athikia, near Corinth, the majority of the villagers piled into cars, trucks and any other available vehicle to drive up in the mountain to an ancient chapel dating from byzantine times. There, after a brief liturgical service, the priest circulated among the people tapping the traditional red eggs and saying “Christos anesti” (Christ is risen), elicint the response, “Alithos anesti” (He is risen indded) when he finished it was time for the music and the first dance. This is true several other areas of the country as well.

A typical paniyiri (celebration for a particular saint) on the island of Karpathos begins with the liturgy, after which a meal is served to the entire community. When it is finished the music and dancing begins. In many parts of the country such paniyiria are still celebrated with music and dance.

The dances of Greece are so many and varied that is difficult to try to classify or group them. However, they do tend to have regional similarities and can be classified in such broad categories as mainland, island, plains, mountain and urban dances. Each of these groups has its own characteristics which are thought by some to reflect their particular geographical traits: the tall, majestic mountains are evident in the stately, proud bearing of the local inhabitants of mountainous villages as they move with simple steps combined with high lifts and leaps (for the men); dances of the plains regions seem to be more “earthy”, with running steps, stamping and lifts not so far from the ground, “… leaps, whirling, and stamping on the earth are well know fertility motifs, the like of which are found among the wedding dances and agricultural rituals of primitive peoples in all ages.” (Lawler ol. Cit:45) Islanders tend to move in a way which reminds one of the sea, as their dances seem to flow and undulate in a lilting manner reminiscent of the waves.

These general characteristics are given with the understanding that the inevitable exceptions exist in almost every region. In spite of these regional differences, they are nevertheless bound together by a common thread which makes the identifiable as Greek.

They are some traditional customes frequently reffered to as dances, which in the strictest sence might not be considered as such. They include carnival celebrations such as the “goat dance” of Skyros, the “dance” of the tzamala in Thrace and Macedonia, the movements associated with the soil fertility celebrations, the “fire-dancing” of the Anastenaria and the rain-making rituals performed in many parts of Greece.

The majority of Greek dances are in an open circle moving counter-clockwise. This possibly dates form ancient times when the circle was considered magical and impenetrable be evil. The circle has a leader who is usually free to improvise his or her own step variations within the framework of the dance and the local style. He or she is usually, but not always, one of the more capable or skilled dancers of the community.

Although the counter-clockwise moving open circle is the common formation of Greek dances, it is by no means the only one. There are dances performed in closed circles, open circle dances moving clockwise, as well as couple and solo dances, serpentine forms and free-form dances where the dancers may be placed wherever the choose.

Many dances which are performed by both men and women today were at one time limited to one sex or the other, i.e. Fissouni (for women), Mennousis (for men). Other dances may have been performed by both sexes but in selerate lines or with the last man and first woman joined not by the hands but by a handkerchief. Today in most villages societies as well as in the urban areas it is usually accepted for both sexes to dance in the same line and for either men or woman to lead the dance. An interesting exception to this still exists in the village of ‘Olympos, Karpathos, in the Dodecanese islands. There the dancing is always begun by the end of the village, with the women joining in later. Except at the very beginning of the dance (before the women join) the men do not dance next to each other; there is always a woman on either side of each man unless he is either the first or last in line. There may be many women, however, in between each man. The dance must be led by a man, and the last dancer must also be a man. In other villages on the same island only the Sousta may be led by a woman or danced without male participants.

The dances of Greece cannot be considered separately form the music played or sung for the dance. The one is an integral part of the other. The Greek word for dance, horos, comes from the ancient Greek and was used in the theater to denote a leader and a chorus. This can still be observed in many areas where a leader sings a line which is then repeated by the chorus, i.e. the rest of the villagers. “During the dance the leader song a couplet, perhaps improvised, which was then repeated by the rest of the dancers, who made up the chorus. The song was rendered in this call response fashion for the duration of the dance.” (Capodilupo 1982:22) A great deal of older dance music was vocal. Speaking of a very ancient custom in Nestani, Peloponnesos, K. Kakouri writes, “all dances of that hallowed day are accompanied by local songs only, never by musical instruments.” (1978:102) More recent innovations are the use of a singer who does not participate in the dance and the use of instrumental accompaniment. There has traditionally been a strong relationship between the dancer and the music and/or musicians.

Another strong influential factor on the dances in the past was the form of dress. The traditional costumes directly influenced the dances in that they denoted the wearer’s position in the community (unmarried, betrothed, newly married, young, old, etc.) and, therefore, his position in the dance. In some cases, the construction of the costume dictated certain styles of dance as the either restricted the dancer’s ability to jump, lift the leg, leap, etc., or allowed him the freedom of movement to perform such manoeuvres. Although traditional dress is rarely worn in Greece today, the dance styles are still influenced by the dress of the past.

The dances have a personal significance for the people who dance them. The history of Greece and her people are written into them as well as the music and song. They have been perpetuated and preserved over the centuries because of the deep pride and spiritual attachment which every Greek feels toward his county. The bond between the Greek and his village is very strong no matter where he is living; it is the place which gives him his identity. His village dances, although they may not vary significantly from those of surrounding villages, are a vital and living element which help to reinforce and perpetuate this identity.