We present you
the greatest event of the town of Naoussa
Moreover
let’s see what one of the biggest pillars of this custom has to say.
Perhaps for
the first time you watch step by step this unique for our land custom.
We'll see
how the ancient mysteries mingle with Christianity and also how the East and
the West meet together.
How time
loses its power…
This effort
would be fruitless and futile without the catalytic contribution of one of the
masters of the custom. We refer to Mr. Takis Baitsis who generously and
patiently gave us not only the opportunity to photograph the proceeding, but
also the knowledge to live the ritual together. I felt like a citizen of
Naoussa. We had to borrow passages from his book for this article. The italics
(italics) is our roaring intervention.
Although there is so much to be said we will let the pictures speak for
themselves. We would like also to thank his son Michalis Baitsis for translating the greek script.
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| The power in unity |
There's so
much color variation as well as natural quality and attention to detail.
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| Looks as if they are all one family. True brothers |
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| Ζοurnas |
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| Daouli |
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| Ζygia |
Only young,
unmarried men can be disguised as Yianitsari and Boules. In older times, after
the Christmas period, the men who wished to partake in the custom began to try
to acquire the appropriate costumes, the silver coins and jewelsfor the
occasion. Today the costume of Yianitsaros consists of the following items: a
“condela”, a “fustanela”, a “pisli”, a “zounari”, a “seliachi”, stockings and,
especially for those who come from Ipirus, a red fez with a black tassel.
So we begin
with the preparation of Gianitsaros...
We are in Mr.
Baitsis’ house, fortunate enough that elder Gianitsaroi, who decorated the
whole ritual with more stories and memories, have attended.
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| Papakonstantinou Dimitrios |
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| Τriantafyllou Georgios |
Tryfonas
Baitsis will disguise once more this year as Yanitsaros. He and his brother are
really lucky to experience this custom in its whole splendor.
The
preparation
Yianitsaroi
wear long snow-white stocks called “betsfes” which cover the legs from the
heels up to the tights. Their colour contrasts with the black colour of the
“boudetes”, which are garters decorated with tassels. Yianitsaroi also wear
short white socks, (called “skoufounia” which are made of wool).
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| Placing voudeta |
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| Kondela(back view) |
Thorough as
always, Mr. Baitsis sees to his son’s “condela” as his father did with him many
years ago.
The most
characteristic item of the Yianitsaros’ costume is the “fustanela”, which is a
kind of Greek kilt. The kilt reaches the middle of the thighs (this length
differentiates this “fustanela” from the one worn in southern Greece
They wear
leather shoes with a black tassel at the front, called “tsarouchia”.
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| Pisli |
ΤA “pisli” is a type of waistcoat made of velvet or imported woolen fabric of superior quality. It is embroidered with golden threads.
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| Moraitiko zounari |
A
“moraitiko zounari” which is worn around the waist, is made of silk and is
coloured with a natural dye extracted from violets. The edge is decorated with
tassels.
Second
to the mask (“prosopos”), the most impressive elements of
the Yianitsaros costume come the silver and other jewelry.
On
the front of the costume coins dating from the 17th, 18th
and 19th century are attached. The silver ones are of Turkish,
French or Austrian origin. They are suspended from chains, the end of which is
decorated with a cross or an amulet (“chaimali”). Today, by simplification,
these coins are sewn onto a waistcoat. Necklaces called “ghiourdania” or “
bairia” are attached to the upper front part of Yianitsaros’ coctume. In bygone
days all these jewels were neatly sewn onto the costume on the eve of the Carnival period.
The haimalia just like the jewels are of many kinds. It is said that first ones had Holy Rood inside.
Tokadia with silver chains
Uncle-George gets lost in bygone glories.
Takis Baitsis
leaves the sewing and rests recalling times long gone, and enriches the audience with his knowledge,
giving his turn to Uncle George to recall his own memories.
Everything has to be sewn on the vest of the Yianitsaros with patience and attention. As you can see they are both very happy.
The most costly
jewel is the so-called “kiousteki” which decorates the back of the Yianitsaros’
costume. Some of them are made of thin silver wires and stones that form
geometric or floral patterns. Others consist of flat silver pieces, the surface
of which bears figures of saints or the representation of the church of Saint
Sofia in Constantinople. “Kioustekia” are also adorned with the motif of the
double-headed eagle and chains of the byzantine type. There are also other
jewels that are used, like the “paiantzides”, which are manufactured with the
same technique as “kioustekia”. Their shape resembles a spider. They are worn
on the back of the costume or on the kilt (“fustanela”).
A few more minor
adjustments and the silver jewels are almost ready.
“Tokadia”
and “kopsiades” are decorative buckles with little chains and bear motives in
nielo, and stones. These ornaments can be also used to decorate the back of the
costume, instead of a “kiousteki”. Besides the fact that the jewels described
above have a certain symbolism, they are mainly used to make a strong
impression on the spectator. This is the reason why Alexis Pittakis used to say
that the most handsome Yianitsari were those who wore a large number of jewels.
Butchers and fishermenwho traveled a lot due to their professions had the
opportunity to acquire the most beautiful jewels.
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| The attendees are watching with reverence |
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| Travelling to the past |
Tryfon
bears “seliachi”.
The sword
(“pala”) awaits the steel hand of the Yianitsaros, so that they can become one.
Suddenly the doorbell rings and there comes a
young Yianitsaros. Is none other
than the grandson of Uncle
George Constantinos Tzouvaras. The watchful eye of his grandfather finds
the first flaws and he rushes to help.
As
you can see Constantinos is not fooling around… He is really “loaded”.
Grandfather
and grandson
together. And now
I am asking you, is there a greater joy? ...
He
has so
much to tell him .... but is young Constantinos
ready to listen? ... Only time will tell.
We
proceed to the most special point of the preparation… the mask (“prosopos”)
It
will be described separetly so as to keep the flow of the custom as well as
becauce there’s so much staff to mention about it.
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| So that we never forget... |
The
elder take pride in the young.
There is always some time to enjoy their lads.
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| Parents of Tryfon are happier than ever.They did everything right . |
Aproaching
to the end of the preparation, we get to the climax, which is none other than
the placing of the mask. Not that easy.
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| Takis Baitsis places the procopos onto his sons head. |
Last
adjustments before the presentation. They put on the characteristic jewel on
the forehead of the mask which helps to distinguish each person from his
brothers in this ocean of colors and designs.
Ready!
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| Father and son. Yes! Tradition lives and goes on... |
Yianitsaros is
now ready. Relatives, acquaintances and strangers are always welcome in the
homes of the participating Yianitsaroi and they are all full of admiration.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
For those who
have stood up to this point, we inform you that the long journey begins now.
The call, the introduction of the Yianitsaros to the troupe, the Boula, the way
to the Town Hall and the itinerary.
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| Waiting for their "brother". |
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| Approaching... approaching... |
His
“brothers” are approaching from afar. Anything I say is not enough. Watching
them from the balcony I shuddered to my bones. The raising of their heads was
like a thunder strike. That’s how much imposing and majestic is their presence.
The
melancholic sound of the “zournas” come from a distance accompanied by the
drumming of the “daouli”. They play a tune to a free rhythmic pattern known as
Zalistos or Proskynima, the “homage” or “pilgrimage”. To the sound of this song
which will be played until the troupe is complete, the Yianitsaros rhythmically
shakes his body in a way that causes the coins on his chest to sound.
Yianitsaros
greets his brothers. There comes perhaps the most emotional moment of custom. The
departure. Yianitsaros salutes his family. The salute is unique and usually
done with a handshake and three leaps each of which has a special meaning.
The mother
looks at her son while he crosses himself at the threshold of the house. This
point is particularly moving as she is aware that her child will go to the
mountains, to defend the land and might not see him again.
The three
leaps.
“Farewell!”
“I’m taking
leave along with the other Yianitsari
and you will never see me again!”
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| The greeting is identical between them. |
Thereafter
they will move on, in pairs of two, to meet the next celebrant.
The
tradition and the unity shine, leaving behind the dark, the wreckage, the
abandonment....
Reconciled, hand by hand.
You can not see Yianitsari as carnivals. Nothing but a strong, irrefutable message of unity and peace.
In pairs as
remembrance of the ritual during the Ottoman period, they lean back and shake
imperiously. They do not surrender to the Ottoman ruler, unlike Boules who are
bowing down to the ground.
I really
wish for everyone to wake the "Yianitsaros" inside them. The one, who is
willing to make sacrifices for the common dilemmas and is determined to
preserve his character and dignity.
On the way
to pick up the Bride (“Boula”) .. Outside the offices of the group “Yianitsaroi
and Boules” one meets two women from Naoussa in their traditional costume.
The young ones are trying to imitate the elder throughout the day.
The elder
set an example in the future and continuity of the tradition. The young try to
grow up following in the steps of the former.
Perhaps the most exciting capture of the custom while bridging time and family.
Aknowledging the attempt of the young Yannistaros, giving him a pusth to continue and surpass his masters.
Aknowledging the attempt of the young Yannistaros, giving him a pusth to continue and surpass his masters.
Young as he
is. Still, he is now one of them. His gives high fives and does not stop anywhere.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
At the Town
Hall
The leader
of Yianitsari and the Bride enter the Town Hall. They pull off their masks, so
as for the mayor to see that they are “good guys”, peaceful citizens and most
of all above any suspicion. It is time for the “zournas” player to start
playing the “Rhoido”, the only song to which the Yanitsaroi dance flourishing
the handkerchiefs tied to their hands. “There in Rhoidos, in Rhoidopoula a Turk
fell in love with a Greek girl.” Is the verse of the song which is carefully
chosen as to deceive the Mayor-“Mountiri”.
The
crosstalk between the Mayor and the Chief of Yianitsari today is as follows:
Leader:
Mayor we ask permission for the troupe to start.
Mayor: It's
all as it should?
Leader:
Absolutely. You can see.
Mayor: You
have my permission.
Responding the Chief's call.
The chief
salutes jumping on his feet and the Bride kisses at first the mayors hands and
then everyone else’s. Everyone donates money. Subsequently the Bride wanders
around giving treats to everyone.
Leader:
Begin brothers!
The dancing
begins. The zournas player starts playing the "Thourio" of King. The
swords are drawn from the scabbards.
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The
itinerary
The itinerary
followed by the troupe, always dancing, is specific and done within the limits
of the old town. The first stop is “Triodi”, followed by “Kamena”, “Pouliana”, “Batania”,
“Kioski” and "St. Georgis”. The armed dancers stop in every neighbourhood,
make a circle and those living in that neighbourhood dance first. The “zournas”
and the “ntaouli” players play each time different songs, specific for each neighbourhood.
This way, nothing is the same, as defined by the custom.
At about 17.00-18.00 pm the troupe reaches “Alonia”.
Here everyone gets rid of the mask. In older times only those living nearby
could put it off. The rest of the troupe would be revealed in the last dance at
“Kamena”.
The
“zournas” is on fire, triggering the dancers who, possessed by the spiritual
and intellectual fury of the struggle, come to the peak of the act. It’s the
time to draw the mask, reveal their true selves and the rebels to blend in with
the delirious, by the sounds of the “zournas” crowd, and get lost among it.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Boula
There is
one or two Brides in each troupe. Her sole dance is “Makrinitsa” danced outside
the town hall. It is in this dance that the children and women fell into the
falls of the river Arapitsa so as not to be enslaved by the Turks.
The costume of Boula differs in many respects from that of Yianitsaros. At first it should be made clear that Boula is a man disguised as a woman something that the custom has in common with the ancient rituals. Boula’s head is decorated with flowers, tulles and ribbons and her mask is painted red on the cheeks and bears, like the one of Yianitsaros, a golden spot on the forehead. Small silver coins worn over the bosom are indispensable ornaments of the Boula’s costume.
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| On the way to Batania |
With the
exception of the long dress with the hoop skirt, all the other garments that
Boula wears, form part of the local traditional feminine costume: the
“saltamarka” is a sleeved waistcoat worn by women on the day of their wedding,
the “trachilies” are fine silk plastrons, the silken fringed girdle, over which
the “kolania” or buckles are worn and the gold embroidered belt.
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| The handkerchief |
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Prosopos (the mask)
It is of
special importance and one of the indispensable parts of the disguise. During
the destruction of Naousa in 1922 all the moulds for its fabrication were lost
for ever. Yet, for the celebration of the Carnival period in 1823, Yiannis
Blatsiotis, an old artisan, managed to make a new mould as beautiful as his
daughter, Aspasia. It took him the whole winter to make it as perfect as the
ones that were lost.
This mould
was later given by him to his relative Aristeids Tzitziouros, who thereafter
became responsible for the part of the custom that had to do with the masks.
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| An antiquity prosopos |
A
“prosopos” is fashioned from a thick cloth covered by a layer of stucco. The
mask is then lined with beeswax in order to keep the face of the wearer cool.
The moustache is made of horsehair and tar. The colors used to render the
characteristics of the face are mixed with egg yolks. It is known that these
materials are exclusively used in the manufacture of masks up to the present.
It is worth
mentioning that the openings in the mask, corresponding to the eyes and the
mouth of the wearer, are so small that Yianitsaros and Boula can only, with great
difficulty, breathe and see. The reason for this is that big eyes and big mouth
are considered to be ugly.
Enjoy the
beautiful combinations and variety of colors.
The color
of the “prosopos” is snow-white; the cheeks are rendered with red paint. White
symbolizes death in nature and the death of Greek nation, while red denotes an
awakening,one that will gradually move the hearts of the enslaved people. The
yellow spot on the forehead was applied only to the mask of Boula at first
(since it is a trait borne by married women in the East); it is eventually
incorporated into the mask of the Yianitsaros as an ornament as well as the
symbol of the death of slavery. The symbolic use of these spots is attested by
old people. What one can be sure of is that similar colors were used on ancient
masks of the same fashion and size.
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| The Boula |
Perhaps the
masks’ origin is one of the worship of the ancient god Dionysus (the mask of
Satyrs and Maenads or the "mask" of the actors in drama). On the
other hand, it could be of “oriental” charm as given off by the white color,
the lips and the two slits in the eyes’ place.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The long
walk to the custom of Yianitsaros and Boula ended with a stop at “Kamena” neighborhood
where, due to weather conditions, the shoot was extremely difficult.
The spree
concludes on the first day of Lent known as “Clean Monday”. After the last
dance at “Kamena”, it is time for the separation. While all Yianitsari and
Boules stand in a circle, they put the instrument player in the middle, hit him
symbolically to the head with the broad side of the sword and, lifting him,
they shout "Pantaxios, Mitro kai tou xronou!" Thereafter in the same
cycle, they all hit the ground with the peak of their swords saying
“Anything
we did or didn’t say will stay here!”
In this way,they
apologize for any misunderstandings created during the day. Then, after shaking
hands between them and with the crowd, they head to their homes.
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| Bersos Zafiris, one of the most formidable young dancers with great abilities, but above all, longing to be one of the best Yanitsaros. |
So we
conclude with the youth...
We truly hope, that this
simple presentation will stimulate your curiosity and will bring you closer to the
tradition and to our fellow man. Niaousta will be here every year waiting for
you. Open your arms and embrace it.
We wholeheartedly wish, for
the young children to continue this custom with, if not the same, an ever increasing enthusiasm. And the elder ones to keep supporting them.
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| The way home... |
Once again
this year he managed to be himself.
We wish for
his every day to be full of life and love for others, always remembering how
hard he holds his companion’s hand, how careful and nimble is his every move.
Also, for the sword of morality to eliminate his every concern, the love and
power for his freedom to be always nearby. In the end we are all brothers and
the sun shines the same for everyone.
Let this custom,
filled with bravery and pride, be an example for us, and allow ourselves to look at the
beauty around us.
Every day.
Without
ornaments.
Without masks.
Among the
prominent pillars of the group Yianitsaroi and Boules as well as the folklore wealth
of Naoussa in general is Mr. Takis Baitsis who tirelessly provides his rich
knowledge. It would be a crime not to mention his name or not to share with you
his opinions and his work.
Heartfelt
thanks for his hospitality and for the permission to publish the ceremonial
preparation of Yianitsaros. But most of all, thanks for his ability to bring us
the custom spotless, in its ideal execution. "Foreigners" as though
we were, we felt citizens of Naoussa there.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
TAKIS BAITSIS
Takis
Baitsis was born in Naoussa in 1955. He has been dealing with history and folklore
of Naoussa since he was a kid. His articles were published in various local
newspapers and magazines and the newspapers “Macedonia
When eighty-yea- old throws his shoes and dances transforming into a child, you can only be
excited.
When everybody
next to you is crying and is dressing you like a Yianitsaros, is mentioning old
memories and stories, is speaking to each other after years of misunderstandings
and is mentioning all those who were in their heyday in such times, but now are
no longer with us, you can not stay unmoved.
Perhaps the
passersby, and whoever does not live into the custom do not to feel anything.
Perhaps they just admire the costumes, the posture, the dance.
But those
who were Yianitsroi and Boules, saw it in a different way.
You don not
dress as a Yianitsaros, you become one.
Works that
he released are:
- The folk songs of Niaousta.
1977
- Konstantoulis, the folk poet of
Naoussa. 1982
- Gianitsaroi and Boules of
Naousa. 1986 Edition
- Gianitsaroi and Boules of
Naousa. 2001, 2nd Edition
- Gianitsaroi and Boules of
Naousa. 2010 Edition
- The cucle of life and the folk
songs of Naoussa. 2003
- Naoussa, industries of
yesterday. 1997
- E.O.S. Naoussa, 1932-2002 seventy
years of fighting and racing. 2002
Collaborations:
“Boules of
Naousa” 2000 Edition Lyceum of Greek Women Athens
“The
traditional costumes and folk songs of Naoussa 2005 Edition Lyceum of Greek
Women of Naoussa
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| Takis Baitsis dressed as Yannitsaros |
All the
above material can be found in the wonderful edition
Gianitsaroi
and Boules of Niaousa. 2010 c edition ISBN: 978-960-86772-3-4
As an epilogue we mention some his words, an excerpt from the recent publication of the book.
Many ideas
have been brought up and written down about the most thrilling proceeding of
our city, opinions about the origin, the name and the clothing of it. If only
we could find the time machine that would take us back to the first appearance
of it, in order to answer many questions. This option unfortunately is impossible.
Thereby, we are going to have to count on hearsay evidence, written and oral
and try to serve the proceeding as faithfully as possible.
It is true
that it’s basic characteristics, its ritual, the period it takes place and the
route have all been followed up till now and I need to believe that things will
continue the same way.
Observed
interventions when it comes to clothing and music, some do it laxly,
considering them to be “ethical evolution”, in my opinion the greatest respect
to all these we have inherited is behooved. Additionally, I do not absolutely
agree with some other interventions over the way it is presented every year to
the audience, done to promote tourism. People should follow and respect the
proceeding and not vice versa.
I also believe
that some basic ifs and ands to participate in the proceeding is the knowledge
around it, the induction to it. This is why I enjoy that much the children
that participate in it and while growing up they do not give it up, but live
with it, protect it and transmit it later on their own children. The occasional participation with few convincing
rendering in prosecution from people who do not know its story, appears to
be organizers’ success (Municipality’s, associations’, etc.) but I do not think
that this contributes to the proper maintenance of this huge tradition of ours.
So, the
protection of the proceeding of Gianitsari and Boules is a duty that we, people
of Naoussa have to handle. We are the ones that serve it and have to make this
protection a goal to its future existence with respect and awareness.
Centuries
ago, we inherited something greatly unique. Let’s legate it clear and in its
entirety to the future generation.
Takis
Baitsis
March 2013
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