Supervisors info:
Μαρία Ι. Κουτσούμπα
Καθηγήτρια Ελληνικού Παραδοσιακού Χορού
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού
Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Επιβλέπουσα Καθηγήτρια
Βασιλική Τυροβολά
Ομότιμη Καθηγήτρια Ελληνικού Παραδοσιακού Χορού- Μορφολογίας
του Ελληνικού Παραδοσιακού Ελληνικού Χορού
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού
Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Μέλος της συμβουλευτικής επιτροπής
Βασίλειος Λάντζος
Επίκουρος Καθηγητής Ελληνικού Παραδοσιακού Χορού
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού
Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Μέλος της συμβουλευτικής επιτροπής
Summary:
The historical and cultural development of Cyprus was marked by a significant event, the invasion of Attila in 1974. This resulted in the island to split in half. All Greek Cypriots of occupied Cyprus were forced to disperse migrating either on the free part of Cyprus, or abroad. This historic event and everything that followed, didn't leave unaffected the cultural heritage of occupied Cyprus. Marriage constituted an essential part Cypriot culture and was the main source of traditional dance in Cyprus. The invasion and its subsequent impacts (deaths, population dispersal, new places of habitation with Greek-Cypriots from different parts of the occupied area, etc.) had an effect on the traditional dance, too. This fact, combined with other socio-economic changes (urbanization, tourism development, new dance groups, folkloristic trends, etc.), led to the establishment of a 'pancypriotic' dance repertoire in the free part of Cyprus, a ' pancypriotic' dance repertoire that prevailed through the media. The review of existing literature found that, although the Cypriot dance has attracted the interest of the locals and many non-researchers, the phenomenon of its transformation before and after the invasion of 1974 has not been thoroughly studied. This also goes for Kalo Horio Kapouti, my hometown. This fact, coupled with the personal interest the researcher, has been used as an occasion to this work. On the basis of the above, the aim of this project is to study the transformation of music-dance wedding tradition in Cyprus before and after the Turkish invasion, in the light of visual culture and visual communication, through the example of the residents of Kalo Horio Kapouti, Nicosia District, in the geographical region of Morphou. Data collection will be based on the ethnographic method through primary and secondary sources. Primary sources of information shall include the collection of data based on field visits, in the form of participatory observation as it applies in the case of dance. The recording of the dances will be performed with the dance and movement notation system of Laban, while the dances will be structurally and morphologically analyzed. Finally, the description and interpretation of research data will be based on the theoretical perspective of visual culture through a folkloric-anthropological approach of the phenomenon under consideration. It has been ascertained that the disturbance of the social and demographic web of the island combined with the consequences of the Turkish invasion as much as the fact that a large part of the Cypriots turned into refugees, has led to an oblivion which established shapes, functions and frameworks of the traditional cultural expressions, including the way and the place of performance as much as the dominance of the Cypriot dancing repertoire which was dominant in the island’s media.
Keywords:
Cypriot traditional dance, “whole” Cypriot dancing repertoire, “first”and “second” existence of dance, ethnographic research, optical culture
