Applicants – Interested communities and organisations:
Michalis Terlikkas — “Mousa” Music Ensemble
Limassol Folklore Association
Society of Cypriot Studies
Evagoras Karagiorgis
Dr Antigoni Polyniki
“KTIMA” Folklore Society – Paphos
Element of Intangible Cultural Heritage:
Oral traditions
Year of inscription:
2019
Geographical Distribution:
Pancyprian presence of the element (rural and urban areas) but also in the Cypriot communities of the diaspora in Europe, America, Africa and Australia.
Description:
“Fones”, in the Cypriot musical tradition, are various melodies, on which new couplets are sung, mainly romantic, but not exclusively. These couplets can be either old, by unknown writers, or new by now famous writers. “Fones” function as typical models of melody based on which new poetic verses are sung. Until the mid-20th century, when transportation and communication were rudimentary to non-existent, “Fones” had a more localised character, and each one was known in the region in which they were created or developed and cultivated. Later, however, with the development of transportation and means of communication, they spread throughout Cyprus. The various “Fones” took their names mainly from the regions in which they were created, developed and cultivated, but also from other reasons that will be mentioned more extensively.
They constitute a basic manifestation of the oral and traditional culture of Cyprus. Adapted to the respective customs, traditions and peculiarities of the Cypriots, the Cypriot “Fones” continue to be a form of artistic expression and creation, a means of externalizing and communicating emotions and perceptions, a way of entertainment as well as an activity that promotes the formation of the individual and collective identity of the Cypriots.
Several of these “Fones” are found in various melodic variations, which were shaped according to the vocal abilities of the performers and the traditions of each region. The “Fones”, as songs of the (dining) “table”, have a free rhythm and are characterized by rhythmic and melodic freedom in their performance. When the singer has a good voice and depending on the mood of the occasion, they embellish the performance of the “Foni” with various melodic ornaments and variations (“tsakkismata”), resulting in the creation of different variants, without however ever altering the main body and course of the melody of the “Foni”.
In Cyprus, where in earlier times a large portion of the people literally communicated with couplets, it was natural to use existing melodies, since it was not possible for everyone to create their own melody to adapt their lyrics, resulting in the “Fones” taking a prominent place in our local music. Since these “Fones” were sung by almost everyone, it was again natural for each person, either because they did not retain the melody well, or because their “Foni” wasn’t adaptive to the melody, or because they had a good voice, to change the melody somewhat, leaving the basic structure intact, resulting in the creation of multiple variants.
“Fones” were named mainly from the regions in which they were created, developed and cultivated. Noting that there are several “Fones” that are not expressed by regional names, we can classify the “Fones”, in terms of name, as follows:
- “Fones” named according to the region they come from, such as Karpasitissa (from Karpasia), Mesaritissa (from the valley of Mesaoria), Pafitissa (from Paphos), Akathkiotissa (from Akanthous), Paralimnitissa (from Paralimni), etc.
- “Fones” named according to an event, a festival, or the occasion during which they are sung, such as tou gamou (wedding ceremony), ton sikoson (carnival), ton satsion (sacks) or “asherombasman” (the transportation of hay to the barn), kamilarisimi (like a camel), piitariki (poetic) et. al.
- A third, smaller category, is comprised of certain “Fones” which were originally independent songs, or dances, but whose easy and pleasant melody was later used extensively for the musical accompaniment of various couplets. An example is the well-known song “Portokalia tou Karava” which was originally a song with origin from Asia Minor but later evolved into a “Foni” sung throughout Cyprus.
- “Fones” named according to their style or mood, such as the Nekalisti (dirge).
- “Fones” named after the person who first sung them, such as Kotrofisimi, or someone related to it.
- “Fones” named after a specific word in a characteristic couplet of this Foni, such as the Foni Katarameni (cursed).
Cypriot “Fones”, in the form they are preserved today, continue to be a means of artistic expression and externalization of the identity and emotions of Cypriots at important moments in their lives, both private/family and collective/community. They are performed by men, women and sometimes children in various situations: 1) in everyday life, 2) at gatherings, 3) at weddings, as well as by members of traditional music and dance groups, in the context of: 1) musical concerts and performances, 2) important religious holidays (e.g. Easter, Day of the Holy Ghost “Kataklysmos”), 3) festivals and cultural events of municipalities and communities (e.g. Wine Festival), 4) dance events and festivities, 5) television shows on the subject of folk and traditional culture, 6) scientific conferences and meetings (Polyniki 2011).
An important role in maintaining personal idiosyncrasy in the interpretation/performance of the Cypriot “Fones” is played by experienced older traditional performers and renowned singers and teachers of traditional music and song, who continue to perform the “Fones” according to the occasions and preferences during moments of their private/family life, at various social and musical events as well as in the context of music lessons in music schools, conservatories and traditional music schools.
Selected Bibliography:
Averof, G. (1989) The folk songs and folk dances of Cyprus. Nicosia: Bank of Cyprus Cultural Foundation.
Apostolidis, Chr. (1910) Songs and dances of Cyprus. Limassol, cc.
Artemidis, K. (1952) From Cypriot folk songs, Cypriot Studies, 16. Nicosia, pp. 29-36.
Assioti, G. (2004) Cypriot Dances. Men's and Women's (Choreographies & Music). 2nd edition (first edition 1962). Nicosia: cc.
Yiangoullis, K. (2011) Anthology of Cypriot Poets and Folk Poets, Nicosia.
Katsoni K. (2015) The Poetic Leaflets of Andreas Mappouras, Larnaca, Andreas Mappouras Foundation
Papadopoulou, M. (ed.) (2003) Thrace – Aegean – Cyprus: Folklore Music and Dance Routes. Conference Proceedings (Limassol 7-9 September 2001). Limassol: Limassol Folklore Association.
Papadopoulou, S. (1993) Traditional Songs and Dances of Cyprus, Nicosia: Archbishop Makarios III Foundation.
Peloponnesian Folklore Foundation (1999) Cyprus Folk Music. Nafplio: Peloponnesian Folklore Foundation.
Protopapa, K. (2003) Dances and events at the Cypriot wedding In: Proceedings of the 4th Symposium of Cypriot Folklore, Nicosia: Limassol Folklore Association.
Polyniki Antigone (2011) From wedding dance floors to music classrooms: Narratives of Learning to Play Traditional Music Instruments Amongst Greek Cypriots (1930-2010). Dissertation. Reading: University of Reading.
(1999) Proceedings of the 3rd Symposium on Cypriot Folklore. Nafplio: Limassol Folklore Association and Peloponnesian Folklore Foundation.
(2008) Proceedings of the 4th Symposium on Cypriot Folklore (Limassol 22-23 November 2003). Nicosia: Limassol Folklore Association.
(2012) Proceedings of the 5th Symposium on Cypriot Folklore “Women in the Traditional Society of Cyprus” (Limassol 20-22 November 2009) Nicosia: Limassol Folklore Association
Rousounidis, A. (ed.) (1985) Proceedings of the 1st Symposium on Cypriot Folklore (Limassol, 20-25 March 1978) Nicosia: Scientific Research Centre and Limassol Folklore Association.
Tombolis, S. (1966) Cypriot Rhythms and Melodies. Nicosia: ZAVALLI Printing House.
Tombolis, S. (1980) Folk Songs and Dances of Cyprus. Nicosia: Violaris Printing House LTD.
Christodoulou, M. & Ioannidis, K. (1987) Cypriot Folk Songs. Nicosia, Scientific Research Center.
Contact Information:
Dr. Antigoni Polyniki
Musicologist
Email: polynikia@gmail.com
Michalis Terlikkas
Founder and Head of the “Musa” Music Ensemble
Email: mousalyra@cytanet.com.cy