Για δευτερη χρονια στη Σκοπελο το φεστιβαλ “Μερες Ρεμπετικου” ανοίγει κι εφέτος την αυλαία του από 15/7/2019 έως 18/7/2019, μετά από την περυσινή επιτυχημένη διοργάνωσή ,του Πολιτιστικού και Λαογραφικού Συλλόγου Σκόπέλου και με τη στήριξη του Δήμου Σκοπέλου και της ΠΕΔ αλλά και τη χορηγία προβολής της ΕΡΤ3 που πραγματοποιηθηκε στο νησι μας..Το Φεστιβάλ Ρεμπέτικου καθιερώθηκε ως θεσμός στα πολιτιστικά δρώμενα της Σκοπελου, καθώς τιμά την μνήμη και το έργο των μεγάλων λαϊκων συνθέτων, του Ρεμπετικου και παράλληλα αξιοποιεί τη μουσική μας παράδοση,προβάλλοντας το νησί μας στην Ελλάδα και το εξωτερικό.Το σημαντικότερο όμως είναι ότι o θεσμός αυτός στοχεύει να διαφυλάξει,αλλά κυρίως να διατηρήσει ζωντανή την αστική λαϊκή μουσική, η οποία αποτελεί μέρος της πολιτιστικής ταυτότητας και της άυλης πολιτιστικής κληρονομιάς της Σκοπελου και της Ελλαδας.Για μία ακόμη χρονιά, το πρόγραμμα του Φεστιβάλ θα περιλάβει μεγάλη ποικιλία εκδηλώσεων, μέσα από τα οποία θα προβληθεί και θα αναδειχθεί τόσο το ρεμπέτικο τραγούδι όσο και η συμβολή των καλλιτεχνων της Σκοπελου,αλλα και αλλων που θα ερθουν απο αλλα μερη της Ελλαδας στην κατανοηση και διατηρηση του .Σας προσκαλούμε όλους στον τόπο οπου παλεται η καρδια του Ρεμπετικου, στην Σκοπελο των Σποραδων.

ΕΚΔΗΛΩΣΕΙΣ

Συμμετεχουν καλιτεχνες που ζουν και δημιουργουν στη Σκοπελο ,το μουσικο συγκροτημα ΚΑΤΗΦΕΣ από την Θεσσαλονικη ,οι ΕΝ ΧΟΡΔΑΙΣ ΚΑΙ ΟΡΓΑΝΟΙΣ η [Μεγαλη του Μαρκου Σχολη] και το Μουσικο συγκροτημα από τη Συρο,,επισης το ΣΥΓΧΡΟΝΟ ΩΔΕΙΟ ΠΑΓΓΑΙΟΥ με την λαικη ορχηστρα τους “ΠΑΓΓΑΙΟΡΕΙΤΕΣ” και ο Αγάθωνας Ιακωβίδης με τους Βαγγελη Χατζηγιαννη ,και Αλεκο Τσολακη κα…

ΕΝ ΧΟΡΔΑΙΣ ΚΑΙ ΟΡΓΑΝΟΙΣ η [Μεγαλη του Μαρκου Σχολη]

https://www.youtube.com/watch?v=5yUrzuGK7zw

ΠΡΟΓΡΑΜΜΑ

ΣΕΜΙΝΑΡΙΑ

16-18 ΙΟΥΛΙΟΥ Σεμινάρια για τους ΛΑΙΚΟΥΣ ΔΡΟΜΟΥΣ και το ΤΑΞΙΜΙ στο Μπουζουκι με τον δεξιοτεχνη ΜΑΝΩΛΗ ΠΑΠΠΟ

1.Τεχνικη ,2.Ταξιμι ,αυτοσχεδιασμος ,3.Λαικοι Δρομοι και εναρμονιση.

Ο Μανώλης Πάππος γεννήθηκε στον Πειραιά το 1963 και από το 1978 άρχισε να ασχολείται με την λαϊκή και την παραδοσιακή μουσική μαθαίνοντας μπουζούκι, ούτι και κιθάρα. Εργάζεται ως επαγγελματίας μουσικός από το 1982, παίζοντας σε κέντρα διασκέδασης και συναυλίες, ενώ ταυτόχρονα συμμετέχει σε ηχογραφήσεις δίσκων πολλών γνωστών συνθετών και τραγουδιστών. Στο ξεκίνημα της καριερας του βρεθηκε να παιζει και στη Σκοπελο .

Πρόσκληση προς κατασκευαστές Λαϊκών Μουσικών Οργάνων στο πλαίσιο του 2ου Φεστιβάλ Ρεμπέτικου “ΜΕΡΕΣ ΡΕΜΠΕΤΙΚΟΥ'' (2019) στην Σκοπελο.

Rebetiko is a musical and cultural expression directly linked to song and dance that initially spread among the urban lower and working-class populations in the early twentieth century. Rebetiko songs are now a standardized repertoire in almost every social occasion involving music and dance. The element is performed in public and performers encourage audience participation. The practice is open to all and bearers could include any Greek or Greek-speaking person who enjoys this form of music and dance. Rebetiko songs contain invaluable references to the customs, practices and traditions of a particular way of life, but above all the practice is a living musical tradition with a strong symbolic, ideological and artistic character. Initially, transmission occurred exclusively orally, through the live performance of songs and the instruction of younger performers with older instrumentalists and singers. This non-formal method of learning is still important, but the recent spread of sound recordings, the mass media and cinema have reinforced other methods of transmission. In the past decade, Rebetiko has increasingly been taught in music schools, conservatories and universities, contributing to its wider dissemination, and the musicians and people who enjoy Rebetiko continue to play a key role in keeping the practice alive. 

The last 2 centuries Greece ,Aegean sea and east Mediterranean was a war scenery and all big changes of social conditions in Greece went through violent warfare ,revolutionary processes,national liberation struggles which made not only our people but also other nationalities living in the same area to suffer a lot,so the interaction between these people in this <<volcano>> activity gave the birth of the phenomenon of Rebetiko in the beginning of the 20th century during the creation of the Urban centers in Minor Asia and after the burn of Smyrna, in Greece took it's final form through the same social conditions which went on until 1974.

Our famous composer Manos Chatzidakis described the genre as the essential expression of Greek kefi, or spirit. “Rebetiko songs are genuinely Greek, uniquely Greek,” he articulated,and continued “Imagine this stagnant vitality and grace of a people like ours, to seek a way out, to express..., to contact the outside world and to treat everything that we have mentioned above as the main traits of the time, and even the harsh conditions of the place us. Vitality gets burned out, soul is getting sick from sadness depression , beauty is staying. This is rebetiko. And that's where his theme comes from.”

During the Greek Economic Crisis, which started in 2008, rebetiko has reemerged as the soundtrack of popular protest, continuing its history as a symbol of Greek folk culture in conflict with Western ideals and the “establishment.”

As a result of this, shanty towns grew up around Athens, Piraeus and other cities. These refugees brought their music with them and this had the most pronounced effect on the urban music of Greece. Since the emergence of the modern Greek state, the upper and middle classes leaned towards the classical style of European music while at the other end of the social spectrum Greek and Byzantine traditions and some ''mourmourika''around the center of Athens in Thision and Psyri prevailed. This poor class of workers had a constant contact with the refugees and their culture. The musicians of these two cultures were constantly exchanging musical ideas.

Rebetiko have always been the music of the poor and the dispossessed, combined different styles of the region and with lyrics describing the joy, the sorrow, the difficulties of everyday life. The best definition of Rebetika is given by Gail Holst in her book The Road to Rebetika: "What was special about the Rebetika song was the combination between traditional musical forms of the Eastern Mediterranean and the words of the songs, which dealt with the life of the urban underworld and the less reputable elements of the society."

After the Greco-Turkish War (1919-1922), 1,500,000 Greek refugees fled Asia Minor to Athens and Piraeus. Rebetiko was born from of the resulting synthesis of Anatolian and Greek traditions. The refugees were ostracized from Greek society and blamed for rising unemployment, resulting in the “poem-lament” lyrics of rebetiko, which convey feelings of deep loss. The musicians who practiced rebetiko were persecuted and constructed a semi-criminal subculture that was reflected in their music.

The resettlement of the refugees coincides with the appearance and dissemination of the Gramophone so most of the musicians which were even more skillful than the locals found a job and some of them became directors in the new Gramophone record companies which came to Greece to record the phenomenon of Rebetiko.

Gradually, rebetiko and the refugees integrated into the Greek working class, but remained at odds with the bourgeoisie and conservative intellectuals. The working class absorbed rebetiko and its culture because it retained Eastern traditions from the period of Ottoman occupation and rebetiko remained at odds with the bourgeoisie which prioritized Westernization and disdained Ottoman traditions; rebetiko was condemned for undermining the vision of Greece as a Western nation. Conflict over rebetiko was a microcosm of a larger cultural clash in Greece, a divide that continues today even after the recognition of Unesco http://www.ekathimerini.com/224068/article/ekathimerini/life/unesco-adds-rebetiko-to-its-intangible-cultural-heritage-list

From its origins in semi-criminal subculture, rebetiko evolved into an expression of anti-“establishment” politics: Greek sociologists describe rebetiko as the articulation of underdog social movements’ defiance of oppressive states and social structures. Rebetiko was popular in resistance movements to Greece’s dictatorial governments, starting with Ioannis Metaxas’ dictatorship (1936-1941). Metaxas’ regime prohibited rebetiko, although it persisted in the Greek underground. Rebetiko was also popular during the Greek Resistance to Nazi occupation (1941-1944), and among Communist partisans during the Greek Civil War (1946-1949).

After the civil war, Rebetiko served as an outlet for Greek disillusionment under the military junta. The junta’s severe economic program provoked feelings of exploitation in the working class,These anti-capitalist sentiments recalled the Marxist rhetoric of the defeated partisans, making rebetiko particularly subversive and leading to its prohibition.

Nevertheless, rebetiko spread from the workers to radical students, ultimately contributing to student-led resistance to the junta. Lyrics expressed endemic anger and longing for freedom. In 1960, Eftyhia Papagiannopoulou sang, “I’ll throw a kick and break it, this world made of glass / to create a brand new, different society from the shards.” Rebetiko music expressed frustration that coalesced into an uprising at the Polytechnic School of Athens (1973). Although protests were suppressed, they culminated in the fall of the junta and restoration of democracy.