Преломление античной традиции в современной музыкальной культуре понтийских греков

Abstract

The interest in the culture and aesthetics of Ancient Greece in the 20th and 21st centuries is expressed by various diverse comprehensive academic works by such scholars as Alexei Losev, Evgeny Shestakov and Evgeny Gertsman. The connections between the Ancient Greek and the Modern European traditions are unwittingly brought to light upon study of the culture of the Pontic Greeks. Their foundation is comprised of a syncretic unity of song, dance and musical instrumental accompaniment existing as an inseparable unified whole. The relation between the Pontic lyre with the Ancient Greek specimens of this instrument becomes apparent, as is the role of the lyrist (musician playing on the Pontic lyre), where he presents himself as a leader of t he performance. The Pontic Greeks possess a rich dance culture, the basis of which is formed by 110 dances. Those include some which in used to be prominent in Ancient Greece. These include the dances of “Maheri,” “Pyrrhichius” and “Serra.” A description of the “Maheri” dance may be found in the text “Anabasis” by Ancient Greek historian and writer Xenophon. This dance is performed by two warriors, and it includes one of them being stabbed by the knife of the other, falling down dead. In the present day this dance exists among the Pontic Greeks, bearing the same name. Xenophon aso describes the dance “Pyrrhichius.” The latter has been preserved in the dance traditions of the Pontic Greeks, who call it the “Serra.” This is a male military dance, performed by men before going to battle. Keywords: Antiquity, Pontic lyre, Pontic Greeks, lyrist, dances of the Pontic Greeks, Serra, Pyrrhichius, Maheri.