"Pontic Dances": Past and Present Structural-Morphological and Typological Approach

Vasiliki K. Tyrovola, Ioakeim K. Karepidis, & Dionysios G. Kardaris

Department of Physical Education and Sports Sciences, University of Athens, Hellas

Abstract

A common dancing repertory, that incorporated an unmixed total of dances from the various regions of Pontus, appearing under the general title, "pontic dances", was cultivated by the 1st generation of refugees of Pontus in Greece in the context of refugee’s solidarity and the safeguarding of pontic cultural characteristics. The transfer of this musical-dancing identity of Pontus was attempted by Pontic Associations and dancing groups, while Mr. D. Koutsogiannopoulos attempted to transfer the musical-dancing identity of Pontus in writing for first time in 1966, through a dance notation (kinetography). The aim of this study is to point-out the structural-morphological "alteration" or transformation of dances of Pontus that has occurred within the last 40 years. More specifically, based on the dance notation and the recording of movement of the dances of Pontus that was effected for the first time by D. Koutsogiannopoulos, and with point of reference the Ptolemaida region and the local dancing association, the study aims to appoint the resemblances and differences among the structures and forms of pontic dances within the last 40 years (1966-today). It is about a theoreti- cal and an analytical practice, which based on the sample research and on the structural-morphological and comparative method, aims at revealing the degree of "alteration" or transformation of the structure and the form of the most important pontic dances (Tik diblo (n), Omal’ Kars, Kotsari, Haιreanitsa or Seranitsa, Omal’ Trapezountas or Dipat and Empropis’), which constituted in the past and continue to constitute in the present part of the common pontic dancing repertory. We finally, come to the conclusion that the abovementioned pontic dances, as they are currently taught in the Cultural Association "Union of Pontian Eordaias" of Ptol- emaida, primarily maintain the same structure of the corresponding dances that were seimiografied and delivered in the Greek secretariat by D. Koutsogjannopoulos, in 1966, with the exception of differentiations and changes in part of variable characteristics of form, or splits of partial movements into multiple ones (at the limit of kinetic patterns).

Key words: structure, form, pontic dances, dance identity, structural-morphological approach, typological approach, comparative method, cultural association, dancing repertory