MERAKI
LAOGRAPHIC
ARTS
Second Annual
PANYGIRI
and
PARASTASI
Meraki-
to do something
with passion, absolute
devotion and undivided
attention. No matter how
difficult a task, it is met with
enthusiasm, eagerness and
heart. To leave a piece of
yourself in all that you do.
It is a labor of love.
Meraki Youth Meraki Adults
Spiro Argyros Christos Agrapidis
Yianni Argyros Andrew Annitsakis
Maria Balanikas Padelis Astrinidis
Rosa Filipoussis Alexia Astrinidou
Vasiliki Filipoussis Anna Astrinidou
Vasilios Kamvosoulis Dimitri Carabas
Apostolos Koutroulos Dennis Damakos
Konstantinos Koutroulos Alexandra Devaris
Elias Kritikos Niki Devaris
Antonis Kritikos Alexandra Dimas
Manoli Mastoros Victoria Gavras
Maria Mastoros Ellena Karapatakis
Angelica Monogioudis Thodoris Karnavas
Pantelis Monogioudis Despina Kourpouanidis
Anna-Maria Potamitou Tina Vourna-Machani
Athena Pristouris Eleanna Makris
Marianthi Pristouris Michael Moskos
Lucas Savidis Alex Mouyios
Kyriaki Savidis Katerina Pantginis
Penelope Seremetis Mary Pouli
Alexandros T. Maria Sagos
Our Philosophy of
Preservation and presentation
The goal of our research and presentations is to offer a
historical snapshot—one that highlights the unique musical
and dance variations found across different regions of
Greece. Through this work, we aim to embody the people,
values, and traditions of another time.
Folkloric practices are far more than expressions of joy or
artistic flair; they are essential tools for building, sustaining,
and enriching communal life. These traditions served
practical social functions: they offered frameworks for
resolving conflict, reinforcing intergenerational bonds,
honoring shared milestones, and transmitting unspoken
codes of behavior. They taught individuals how to
participate in collective life. They taught how to lead, how
to follow, how to listen, and when to act. The songs, dances,
and rituals often mirrored the values and hierarchies of their
communities, reinforcing identity while offering space for
emotional release and social cohesion.
In our exploration, we go beyond steps and melodies to
study the ethos and etiquette that once held villages
together, communities where differing personalities thrived
through shared customs. To truly embody these traditions is
to live not only for oneself, but for the collective whole.
Our Setting
A Night in Sitia: Music, Memory, and Modernization
By the 1950s, Sitia entered a new musical era as a generation of
formally trained musicians began reshaping the soundscape of
Eastern Crete. Influential figures such as Stratis Kalogeridis and
Giannis Dermitzakis composed many of the songs featured in this
performance, blending traditional roots with evolving musical
sensibilities. During this time, the typical instrumentation at a
panygiri shifted to include violin, guitar, and occasionally the
daoulaki, reflecting a growing fusion of rural and urban influences.
Our costuming offers a glimpse into this transformative period—
updated styles of the mid-20th century worn by younger
generations, while the older members of society continued to wear
traditional dress well into the 1960s. What we have attempted to
create is a living snapshot of a night in a taverna, where music,
dance, and community weave together the old and the new in a
uniquely Cretan atmosphere.
A Night in Ikaria: Dance, Freedom, and Island Soul
Ikaria’s musical identity is as bold and unrestrained as its people.
While rooted in deeply traditional practices, the island fostered a
culture of open-mindedness and egalitarian spirit, particularly
evident in the greater expressive freedom afforded to women—a
rarity in much of mid-20th-century Greece. In Ikaria, women not only
participated in dance and song, but did so with vibrancy and
leadership, often initiating and guiding the flow of celebration.
The music of Ikaria in this era blended lively violin melodies, laouto
rhythms, and robust vocal traditions, creating the backdrop for long
nights of spontaneous dancing, storytelling, and community joy.
Songs and dances like Ampelokoutsoura, Sympethera and Kariotiko
reflect both the historical resilience of the island and its people’s
unapologetic zest for life.
The Dances Ierapetra
Skoiniotikes Kontylies - Skoiniotikes Kontylies refers to a local variation of the
"kontylies" song-dance form from the village of Skoinas in Eastern Crete,
particularly in the Lassithi region. These are typically danced in a slow tempo
(siganó), and they represent a deeply expressive and intimate aspect of Cretan
music and dance tradition.
Zervodexos - Zervodexos is an Apokriatiko (Carnival) dance from eastern Crete,
known for its playful and improvisational nature. Dancers hold handkerchiefs
draped over their left shoulders, performing a single triaraki step as they move
together. What makes Zervodexos particularly engaging is the way the musicians
interact with the dancers, using sliding notes on the lyra or violin to signal sudden
changes in direction. The frequency and timing of these directional shifts are
entirely at the discretion of the musicians, turning the dance into a kind of musical
game. This spontaneous communication between players and dancers adds a
sense of surprise, laughter, and challenge, making Zervodexos a beloved feature of
Cretan Carnival celebrations.
Aggaliastos - Aggaliastos, meaning “embraced,” is a ceremonial and symbolic
circle dance found in eastern Crete. The dance begins with participants walking
slowly toward the end of the line, where the last and second-to-last dancers raise
their hands to form an arch, allowing the leader and the rest of the group to pass
underneath. This process repeats, with each successive pair forming an arch until
all dancers are entwined, their right hands resting over their left shoulders. The
woven circle symbolizes unity, continuity, and shared tradition. As the music
continues, the dancers begin to unravel, restoring the original circle. Aggaliastos is
both a visual metaphor and a communal ritual, celebrating connection through
motion.
Priniotis / Ierapetra - In Lasithi, several variations of this pidichtos dance are
practiced, commonly referred to as Prinianos, Priniotis, or Priniotakis, depending on
the village or context. The most common form involves three steps to the right
followed by a small hop, with some versions featuring a syncopated bounce in the
first two steps or a dip following the hop. Arm positions also vary, with
basketweave, W hold, and shoulder holds all appearing across different
performances. In the Ierapetra area specifically, the dance is typically done in
basketweave handhold and is known for avoiding the syncopated bounce, favoring
a smoother and more grounded execution. These micro-variations offer insight into
the localized nature of Cretan dance traditions, where small stylistic differences
carry regional significance.
The Dances Sitia
Lasithiotikos Syrtos - The Lasithiotikos Syrtos is a vibrant and locally distinct version of the Cretan syrtos,
notable for its strong, rhythmic movement and its striking similarity to the dance known as Roditikos. While
the step is commonly associated with the island of Rhodes, the dance is referred to there as Kritikos,
acknowledging its Cretan origins. As the dance spread from Rhodes across the Dodecanese, it became
known as Roditikos, yet its roots are firmly planted in Lasithi’s dance tradition. The style is bold and
structured, often danced in open or semi-open lines, and highlights the shared cultural currents between
Crete and the Dodecanese islands while emphasizing the regional pride of Lasithi.
Erotokritos / Sigano (Sitia Version) - In Sitia, the epic romance Erotokritos is not only recited or sung—it is
also danced, most notably in the form of a local siganos. This version is performed to a slow and melodic
setting of the Erotokritos text, traditionally sung in the distinctive Cretan rizitiko or mantinada style, often
accompanied by lyra and laouto. Dancers hold hands in basketweave formation, moving with a gentle and
deliberate step pattern—three steps to the right, one to the left—mirroring the meter and lyrical flow of the
poetry. The sigano in Sitia is less about showcasing movement and more about embodying the emotional
depth and storytelling of Erotokritos. It is often danced at the opening of events, creating a solemn and
respectful atmosphere that honors Cretan identity, love, and resilience. Unlike faster versions of siganos
found elsewhere in Crete, the Sitian interpretation maintains a measured, almost meditative tempo, allowing
the dancers to move in harmony with the narrative’s lyrical cadence.
Pentozali (Sitia Version) - In the region of Sitia, Pentozali retains all the fiery spirit and martial roots that
define this iconic Cretan war dance, but with a notable stylistic difference—instead of the widely seen
shoulder hold, dancers in Sitia use the “W” hold, where arms are raised and bent at the elbows with palms
joined between partners at chest height. This handhold creates a more uplifted and open posture, allowing
for greater freedom of movement and an increased sense of unity across the line. While the step structure
remains fast-paced and powerful—marked by strong leaps, quick transitions, and intricate footwork—the W
hold gives the Sitian version a lightness and buoyancy unique to the eastern part of the island. Traditionally
led by the most skilled dancer, Pentozali in Sitia still serves as a symbol of heroism, vitality, and communal
strength, embodying the region’s fierce pride while offering a distinct local flavor to one of Crete’s most
emblematic dances.
Tango and European Dances in Crete - During the late 19th and early 20th centuries, Crete—particularly
in urban centers like Heraklion, Chania, and Rethymno—experienced a wave of European cultural influence.
Dances such as the Tango, Waltz, Polka, and Foxtrot were introduced through interactions with Venetian,
Ottoman, and later Western European visitors and settlers. These dances were often embraced by the urban
bourgeoisie and gradually filtered into village festivities, especially during wedding celebrations and formal
gatherings. In Crete, musicians adapted these styles using local instruments such as the lyra, laouto, and
violin, often giving European melodies a distinct Cretan character. Over time, composers began writing new
pieces in these meters, infusing Cretan modal traditions and ornamentation into the Western forms. The
Tango, in particular, became a popular expression of romance and elegance, blending seamlessly with the
island’s evolving musical identity.
Stieakos Pidichtos - Stieakos Pidichtos is a dynamic and vigorous leaping dance from the region of
Stieakos, located in eastern Crete near Sitia. As its name suggests (pidichtos meaning “leaping”), the dance
is characterized by energetic hops, bounding steps, and sharp directional changes, all performed with a
controlled yet expressive quality. Traditionally danced by men, Stiakos Pidichtos served as both a display of
skill and stamina and a means of storytelling, often incorporating improvised flourishes that showcased a
dancer’s prowess, pride, and connection to the land. The dance is typically performed to fast-paced
instrumental music, led by the Cretan lyra and laouto, often in 7/8 or 2/4 meter, depending on the local
variation. Its martial intensity and upright posture reflect the rugged spirit of eastern Crete, where dance
served not only as celebration but also as a symbol of resistance, identity, and masculine virtue. In modern
times, Stieakos Pidichtos is still performed at festivals and cultural events, preserving the fiery essence of
Cretan tradition through its bold, commanding steps.
The Dances Ikaria
Ampelokoutsoura - While it is common today to see people dancing to this song, Ampelokoutsoura
is historically a table song (τραγούδι της τάβλας)—meant to be sung informally among friends and
family during feasts, rather than danced to. These types of songs are part of the oral tradition, often
passed down through generations and sung without instrumental accompaniment. Their rich
melodies and lyrics speak to local life, humor, or nature, offering an intimate glimpse into Ikarian
culture.
Syrtos Zevgarotos - In addition to the line variations of Syrto danced throughout Ikaria, there exists
a beautiful couples’ version known as Syrtos Zevgarotos. This form is typically danced to the song
Sgoure Vasilike mou, a beloved Ikarian melody distinguished by its modal melancholy and poetic
lyricism. Unlike the communal line formations, Syrtos Zevgarotos is danced face-to-face by partners,
emphasizing grace, connection, and intimacy. The dance retains the familiar 6-beat syrto structure
but is often performed at a slower tempo, allowing dancers to interpret the music with gentle sway
and ornamentation, sometimes adding subtle foot flourishes or expressive turns.
Musically, Sgoure Vasilike mou draws on the Hijaz mode (Makam Hicaz), giving it a haunting,
Eastern-influenced sound that reflects centuries of cultural exchange in the Aegean. The melody
features a descending tetrachord with a characteristic augmented second, creating a plaintive,
almost yearning quality. This aligns it with other zevgaroti dances found throughout the islands and
Asia Minor, where modal inflection and microtonality play a key role in emotional expression. In
Ikaria, however, the dance remains grounded in the island’s relaxed, unhurried ethos, offering
dancers a moment of romantic reflection amid the exuberance of the panigyri.
Sympethera - Known also as Palios Ikariotikos (“Old Ikariotikos”), Sympethera is the original step of
what would later evolve into the modern Ikariotiko dance. The name Sympethera (meaning “mother-
in-law”) refers to the playful or teasing nature sometimes attributed to the song and dance.
During the 1st century BCE, Ikaria was frequently raided by pirates. To protect themselves, the
island’s inhabitants built homes camouflaged into mountainsides and boulders, oriented away from
the sea to make the island appear deserted from passing ships. Despite the danger, Ikarians
preserved their traditions—often dancing indoors in confined spaces. This led to the development of
the basketweave handhold, a compact formation that allowed groups to dance closely together.
This practical adaptation is a beautiful example of how geography and history shaped dance
tradition.
Ikariotiko / Kariotikos Tsamourekos - Once piracy diminished and life on the island became more
open, the dance evolved. The basketweave handhold was replaced with the more expansive
shoulder hold, and the step itself became more lively, faster, and expansive. The modern Ikariotiko—
also affectionately referred to as Kariotikos or Tsamourekos—is a staple of island festivities, known
for its driving rhythm and joyful, free-spirited energy. The dance typically begins with a slow walking
step that gradually builds in intensity, reflecting the celebratory and communal spirit of Ikarian
gatherings.
Trata - Though often associated with Apokries (Carnival), Trata is also a favorite late-night dance
once the festive spirit—and perhaps a bit of wine—has settled in. The basic step mirrors a syrto, but
with playful movements mimicking the rocking of a boat, reflecting its namesake (trata means
“fishing boat”). Traditionally, such dances were full of gestures and theatricality, often incorporating
improvised movements and humorous pantomimes, especially during Carnival season when the social
order was humorously inverted.
Giannis
Sfakianos
Giannis Sfakianos is a traditional violinist born in 1995 in Kritsa,
Lasithi, Crete. A key figure in his early life was his grandfather and
namesake, who inspired him to begin learning music at the age of
six. Giannis began his musical journey studying under local folk
musicians, exploring instruments such as the askomantoura, lyra,
mandolin, and laouto before ultimately focusing on the violin as his
primary instrument.
He is pursuing a degree in Traditional Music with a specialization
in Greek Tambura at the University of Macedonia’s Department of
Music, Science and Art. During his studies, he attended seminars
and took private lessons with prominent musicians including
Kyriakos Gouventas, Michalis Kouloumis, Ross Daly, Haris Lambrakis,
George Marinakis, George Symeonidis, among others.
Giannis’s professional career began remarkably early—at the age
of 13—and since then, he has collaborated with numerous
renowned artists across Greece. His performances have taken him
internationally to countries such as the United States, Canada,
Germany, Turkey, and Egypt. He has contributed to a wide range
of projects, including music recordings, films, television series,
documentaries, and radio broadcasts.
A dedicated researcher, Giannis focuses on the musical traditions
of Eastern Crete, systematically studying Cretan music and
exploring its connections with other regional traditions throughout
Greece and the broader Eastern Mediterranean.
Charis Laurijsen
Charis Laurijsen is a multi-instrumentalist and
music educator based in Athens, specializing in
the Turkish lute, Cretan lute, and three-string
bouzouki. He studied Ottoman music at the
conservatory in Rotterdam and has since
performed extensively across Greece, Turkey,
and the Netherlands.
Charis brings a wealth of professional experience to his teaching, blending
deep-rooted tradition with refined technique and cultural context. His recent
world tour with André Rieu and the Johann Strauss Orchestra further broadened
his musical perspective, enriching his approach as both performer and
educator.
Damnianos
Mavrakis
A self-taught musician from Krousta, Lasithi, [Name] was born in 1987 and
began playing music at the age of 13. He is a skilled performer on the lute and
electric guitar and is also a vocalist.
While deeply rooted in the pure sound of the Cretan folk tradition, he does
not hesitate to explore new musical territories, blending elements of rebetiko,
experimental rock, and other genres into his work. His openness to innovation
complements his strong connection to tradition, creating a unique musical
identity.
Over the years, he has collaborated with several major figures in Cretan
music, including Leonidas Klados, Gerasimos Stamatogiannakis, Nikos Manias,
and Psarantonis. He currently lives and works in Agios Nikolaos, Lasithi.
Our ancestors left us stories woven in
melody, dance, and clothing. Every tradition
upheld ensures these threads remain
strong, carrying forward the essence of
connection, identity, and belonging. Step
into a community where passion for Greek
culture meets a mission for preservation. By
participating, you become part of a living
tapestry: one that expresses life’s joys,
struggles, and triumphs. These traditions
are more than artifacts, they are blueprints
for a connected and meaningful existence.
Join us to honor the past, enrich the
present, and ensure the future of this
enduring legacy.
DRINKS
Wine:
Glass - $5 Beer - $6
Bottle - $20 Soda - $4
Mix Drinks - $10 Water- $2
Shots - $8
Zelle- Dimitri Carabas
(702)903-5351
Thank You From meraki
We appreciate the continued support of:
The Geros Tou Morea
Orpheus Panthracian Union of America
Sts. Constantine and Helen (Jackson Heights)
Minos Cretan Syllogo
Pontian Society Komninoi of New York
Kimisis Tis Theotokou Brooklyn
We thank all of our dancers, parents and participants in all of our
events who make a project like Meraki possible.
Follow the QR code to keep up with our work. FIllowout the interest
form if you are interested in our program for yourself or your child.
