THE SANTOURI AS AN INSTRUMENT OF CULTURAL HERITAGE OF LESVOS
Keywords:
Santouri, Lesvos, Cultural Heritage, Asia MinorAbstract
This article explores the cultural significance and heritage of the santouri, a traditional musical instrument deeply intertwined with the rich history and traditions of the Greek island of Lesvos. The santouri, a stringed percussion instrument, was traditionally present in mainland and mainland Greece, but its actual exposure and dissemination in the region has received a radical renewal since the arrival of Greek refugees from Asia Minor after the disaster of 1923. This migration gathers notable musicians and creators, making the santouri an integral part of traditional music and company. Lesvos, in particular, is considered the last remnant of the original Asia Minor preserved in Greece. This island retains a wealth of political elements that it had in common with Asia Minor, and many of these traditions still thrive on the island.In this environment, the santouri became part of the living tradition and cultural heritage of Lesvos. Τhe aim of this study is to shed light on the role of santouri as a reference instrument of the cultural identity of Lesvos. To achieve this, a multifaceted research methodology was used, including interviews with local musicians, archival analysis and an examination of the instrument's evolution over time.The santouri, as a stringed percussion instrument, has played a central role in the island's vibrant musical heritage, reflecting the cultural diversity and influences that have shaped Lesvos throughout its history.The results of our study show that Sandouri functions as a strong emblem of the cultural heritage of Lesvos. It represents a fusion of influences, including Byzantine, Ottoman and Aegean, that have shaped the island's musical traditions over the centuries. Furthermore, we found that the santouri remains a vital part of local musical practices, both in traditional folk music and in contemporary compositions. Musicians on Lesvos continue to innovate and experiment with the instrument, demonstrating its adaptability and enduring appeal.By recognizing the importance of the instrument and promoting its study and practice, Lesvos can ensure the continued vitality of the instrument as a cultural symbol. Initiatives aimed at education and conservation can help bridge the gap between past and present, strengthening a sense of cultural continuity and identity on the island.
References
Aristides-Papis, G. (1863). Panegyric Tetralogy, Foreword by Papanis Ioannis, introduced by George Valletas. Pigi, 1972.
Baily, J. (2001). Music and the social anthropology of Lesvos. In R. Barz & T. J. Cooley (Eds.), Shadows in the field: New perspectives for fieldwork in ethnomusicology (pp. 101-119). Oxford University Press.
Chtouris, S. (2000). Musical crossroads in the Aegean. Lesvos 19th-20th century,Athens: University of the Aegean - Ministry of the Aegean – Exantas
Dionysopoulos, N. (1996). Lesvos Aeolis. Songs and Chorites of Lesvos, 1996, Heraklion: University Publications of Crete
Doudounis, D. (2023). The music and musicians of Lesvos.Thessaloniki
Dragoumis, M. (2016).The refugees of 1922 and their musical activity in their new homeland.Athens
Fegalas, S. (2021). Music education providers in Lesvos in the first quarter of the 20th century. In: Proceedings of the Conference "Island educationGreece" 1st PECES of the Ionian Islands, Corfu September 18-19, 2020 (pp.131-144). Corfu: Corfu Press.
Kofteros, D. (2019). Dokimio gia to Elliniko Santouri.Edited by Mousikos Oikos Philippos Nakas
Kofteros, D. ,& Feygalas, S. (2020). The musicians of Lesvos from 1945 to 1951 through the minutes book of their union. In: Lesbian Calendar 2020. Letters - Arts - Culture, Skordas P. (ed.), Mytilene: Mythos
Launary, P. (1897). Near the Greeks of Turkey.Paris
Papadakis G. (1983) Folk Practical Organists, Athens
Papadakis, G. (1996). "Greek folk instruments: The santouri. Myths and primitives". Diphon (5): 78-84.