Acritic songs

RESUMEN Algunas canciones acríticas continúan aún vivas en el pueblo griego, adaptándose a las nuevas circunstancias, consecuencia de la plurifuncionalidad de la canción popular. Incluso pueden entonarse en los funerales. Ello ha llevado a la inclusión de este tipo de composiciones dentro de la categoría de los miroloyia o de las canciones de Jaros, con las que comparten motivos, temas y versos formularios. En el presente artículo se analizan las interrelaciones entre estas categorías de canciones en la región de Tracia, extrapolables al resto del territorio heleno. PALABRAS CLAVE: Canción popular neogriega, canciones acríticas, miroloyia, canciones de Jaros, Tracia. ABSTRACT «Acritic and mourning songs. Interrelationships in Thrace». Some acritic songs are still alive in the Greek people, adapting to new circumstances, due to the multifunctionality of the folk song. Even they can be sung at funerals. It has led to the inclusion of these compositions within the categories of mirológia or moirológia of the Underworld and Charos, with which they share themes, motives and verses forms. This study focuses on the interrelationships between these song categories in Thrace, that can be extrapolated to the rest of the Greek territory. KEY WORDS: Modern Greek folk songs, acritic songs, moirológia, moirológia of the Underworld and Charos, Thrace. Integradas antropológicamente en los llamados ritos de paso 1 , las cancio-nes populares de muerte se clasifican en miroloyia (μοιρολόγια 2) y canciones de Jaros (τραγούδια του Χάρου) 3. Mientras que los primeros son cantos rituales de lamento, a modo de treno, por la muerte de una persona amada, en los que se destacan sus virtudes y, a veces, parte de su biografía, o simplemente canciones tristes en boca del propio difunto o sus familiares, lamentando la pérdida de la vida y las penalidades del Mundo Inferior 4 , los segundos constituyen un ciclo temático de alegorías tradi-cionales sobre el Hades, basadas en una personificación, de origen medieval, entre-cruzadas con temas de la poesía acrítica. No están relacionadas con casos concretos,

В статье разбираются две акритские песни, обнаруженные у греков Приазовья и высказывается предположение о том, что переезд греков из Крыма в Приазовье вырвал их из контекста греческой культуры.

The folklore of Azov Greeks can be chronologically divided into three groups: 1. Modern songs; 2. Songs composed before the Soviet period; 3. Songs composed before the immigration to the region of the Azov sea. In this article I analyze two Acritic songs from the repertoire of Azov Greeks about Yannis and Dragon. I also share my hypothesis that the migration of Greeks from the Crimea to the region of the Azov sea was in a way some kind of cultural catastrophe as it has taken Greeks out of the context of the Greek culture.

The Greek speaking peoples of the Eastern Mediterranean, from the Danube to the Euphrates, sang the deeds of heroes, warriors, soldiers, lords and kings for centuries. Very few of these heroic songs were recorded before the 19th century and those that have survived made a long and hard-to-trace journey through time as an oral tradition. The space in which these brave deeds took place – or, rather, the world through which these heroic accounts would resound – is delineated in the songs by precisely those borders: the two great rivers to East and West which, even when not mentioned by name, are there hidden in the formula ‟From the very edge of the edge all the way to the other...” And it was these edges (akrai) of the Byzantine world (Romania) that lent their name to the soldiers who guarded them and the heroes who fought on them, the akrites, a military corps and akritic the distinctive qualities bestowed on the guardians of this real or mythic borderland.

The Greek speaking peoples of the Eastern Mediterranean, from the Danube to the Euphrates, sang the deeds of heroes, warriors, soldiers, lords and kings for centuries. Very few of these heroic songs were recorded before the 19th century and those that have survived made a long and hard-to-trace journey through time as an oral tradition. The space in which these brave deeds took place – or, rather, the world through which these heroic accounts would resound – is delineated in the songs by precisely those borders: the two great rivers to East and West which, even when not mentioned by name, are there hidden in the formula ‟From the very edge of the edge all the way to the other...” And it was these edges (akres) of the Byzantine world (Romania) that lent their name to the soldiers who guarded them and the heroes who fought on them, the akrites, a military corps and akritic the distinctive qualities bestowed on the guardians of this real or mythic borderland.