Representative List

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Representative List

CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

INTERGOVERNMENTAL COMMITTEE FOR THE

SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

Twelfth session

Jeju Island, Republic of Korea 4 to 8 December 2017

Nomination file no. 01291

for inscription in 2017 on the Representative List

of the Intangible Cultural Heritage of Humanity

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A. State(s) Party(ies)

For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed.

Greece

B. Name of the element

B.1. Name of the element in English or French

Indicate the official name of the element that will appear in published material.

Not to exceed 200 characters

Rebetiko

B.2. Name of the element in the language and script of the community concerned, if applicable

Indicate the official name of the element in the vernacular language corresponding to the official name in English or French (point B.1).

Not to exceed 200 characters

Ρεμπέτικο, Ρεμπέτικα

B.3. Other name(s) of the element, if any

In addition to the official name(s) of the element (point B.1) mention alternate name(s), if any, by which the element is known.

Rembetiko, Rebetika, Rembetika

C. Name of the communities, groups or, if applicable, individuals concerned

Identify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element.

Not to exceed 150 words

Musicians and singers of Rebetiko, organized in “Kompaníes” (groups of musicians and singers), or performing independently. The people who frequent the places where Rebetiko is performed: music-cafes, taverns, music venues of all sorts and music venues dedicated exclusively to the performance of Rebetiko, called “Rebetadika” or “Rebetomagaza”. The musicians and singers of Rebetiko and the people who regularly frequent the places where Rebetiko is performed, along with collectors of old recordings and independent researchers- writers on the genre could be considered as the core of the community of the bearers.

Nevertheless, love for this form of music and dance is widespread in a vast audience all over Greece and in the Greek Diaspora, as well as in many musicians all over the world.

D.

Geographical location and range of the element

Provide information on the distribution of the element within the territory(ies) of the submitting State(s), indicating if possible the location(s) in which it is centred. Nominations should concentrate on the situation of the element within the territories of the submitting States, while acknowledging the existence of same or similar elements outside their territories, and submitting States should not refer to the viability of such intangible cultural heritage outside their territories or characterize the safeguarding efforts of other States.

Not to exceed 150 words

This distinctive musical and cultural tradition developed initially in the main urban centres of Greece, primarily ports (Piraeus, Athens, Syros, Thessaloniki, Volos, Chania, Rethymno,

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Heraklion, Patras, Kalamata, Trikala, and others). Today it has spread throughout all over Greece and among the Greek Diaspora communities abroad (the first or later generation immigrants living in the USA, Canada, South America, Australia, Germany, and in many other places around the world).

Some of the first gramophone recordings of Rebetiko were produced by the Greek recording companies in USA.

E. Contact person for correspondence

E.1. Designated contact person

Provide the name, address and other contact information of a single person responsible for all correspondence concerning the nomination. For multi-national nominations provide complete contact information for one person designated by the States Parties as the main contact person for all correspondence relating to the nomination.

Title (Ms/Mr, etc.): Ms

Family name: Fotopoulou Given name: Stavroula

Institution/position: Director of Modern Cultural Assets and Intangible Cultural Heritage, Hellenic Ministry of Cutlure and Sports

Address: Ermou 17, Athens, 10186, Greece Telephone number: 00302103234390

E-mail address: sfotopoulou@culture.gr

E.2. Other contact persons (for multi-national files only)

Provide below complete contact information for one person in each submitting State, other than the primary contact person identified above.

1. Identification and definition of the element

For Criterion R.1, the States shall demonstrate that ‘the element constitutes intangible cultural heritage as defined in Article 2 of the Convention’.

Tick one or more boxes to identify the domain(s) of intangible cultural heritage manifested by the element, which might include one or more of the domains identified in Article 2.2 of the Convention. If you tick ‘other(s)’, specify the domain(s) in brackets.

oral traditions and expressions, including language as a vehicle of the intangible cultural heritage performing arts

social practices, rituals and festive events

knowledge and practices concerning nature and the universe traditional craftsmanship

other(s) ( )

This section should address all the significant features of the element as it exists at present, and should include:

a. an explanation of its social functions and cultural meanings today, within and for its community, b. the characteristics of the bearers and practitioners of the element,

c. any specific roles, including gender or categories of persons with special responsibilities towards the element,

d. the current modes of transmission of the knowledge and skills related to the element.

The Committee should receive sufficient information to determine:

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a. that the element is among the ‘practices, representations, expressions, knowledge, skills — as well as the instruments, objects, artefacts and cultural spaces associated therewith —’;

b. ‘that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage’;

c. that it is being ‘transmitted from generation to generation, [and] is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history’;

d. that it provides communities and groups involved with ‘a sense of identity and continuity’; and

e. that it is not incompatible with ‘existing international human rights instruments as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development’.

Overly technical descriptions should be avoided and submitting States should keep in mind that this section must explain the element to readers who have no prior knowledge or direct experience of it. Nomination files need not address in detail the history of the element, or its origin or antiquity.

(i) Provide a brief summary description of the element that can introduce it to readers who have never seen or experienced it.

Not fewer than 150 or more than 250 words

A form of musical and cultural expression directly linked to song and dance, which spread gradually among the urban lower and working-class populations during the first decades of the 20th century. In the post-war era it evolved into a type of music with a widespread popularity, functioning as a strong symbol of cultural identity and ideology for the Greek music tradition.

Rebetiko, especially during the first decades of its creation, was distinguished by aspects such as collectivity, anonymous creation, and oral diffusion, which also determine the direct “folk”

character of the form. Its performance and many of its structural features (poetical and musical) are connected with the rural folk song tradition (“demotika”, music and songs dating from the early-modern period), in particular that of the Greeks of Asia Minor and the Aegean islands. It evolved through a dynamic dialogue with the musical traditions of the other peoples residing in the multiethnic urban centres of the ex-Ottoman Empire (Turks, Jews, Armenians, Balkan peoples, Levantines), mutually exchanging and creatively adapting different musical elements.

With the appearance of gramophone records and the mass media, particularly in the 1930s, Rebetiko became even more widespread.

After the Second World War, its popularity expanded to the middle classes and since then some Rebetiko songs have always been part of the standardized repertoire in almost every social occasion where music and dance is performed. It has also been an important source of inspiration for many contemporary composers, lyricists and musicians, such as Manos Hadjidakis, Mikis Theodorakis, Stavros Xarchakos et al.

(ii) Who are the bearers and practitioners of the element? Are there any specific roles, including gender or categories of persons with special responsibilities for the practice and transmission of the element? If yes, who are they and what are their responsibilities?

The community of bearers of the element could include every Greek or Greek –speaking person who enjoys this music and dance, and regularly attends live performances of Rebetiko.

Nevertheless, the musicians and singers of Rebetiko are at the core of the community of its bearers. Among them, some members have attained the status of “Daskalos” (literally meaning

“Teacher” but could also be interpreted as Master). The title is not necessarily used for people who teach Rebetiko lessons (although some of them do), but for individuals that are respected as sagacious and very knowledgeable on the tradition.

Mastery of folk musical instruments is necessary for the performance: bouzouki, baglamas, guitar, violin and santouri. Modern ensembles also use other instruments: accordion, piano, bass, percussion and idiophones (tambourine, cymbals, spoons, etc). The Rebetiko musicians have specialized in certain techniques of playing their instruments that are suitable to Rebetiko.

Some of the instruments used are adapted to the needs of this music, e.g. the guitar is slightly different form the classical guitar, and it is called “folk guitar”. Bouzouki and baglamas (an almost pocket-size string instrument, built purposefully small to be easily hidden in a man’s clothes) are almost exclusively used for Rebetiko and Greek urban folk music of the 20th c.

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Until the 1970’s-1980’s revival of Rebetiko, the involvement of women was mainly in singing, but nowadays women are also instrumentalists and are involved in transmitting it more energetically.

Women are also very keen on representations of Rebetiko and its original milieu through theatrical and puppet plays etc.

(iii) How are the knowledge and skills related to the element transmitted today?

The initial means by which Rebetiko was transmitted was exclusively oral, through the live performance of the songs. With the appearance and spread of sound recordings, the mass media and cinema, the means of transmission were reinforced, as Rebetiko was marketed and standardised, and became extremely popular.

The traditional mode for learning Rebetiko was primarily through oral and aural/acoustic transmission, through the socialising of younger performers with older instrumentalists and singers in the places where the songs were performed. The duration of the learning-initiation process is not predetermined. It depends on the ability of the novices, their dexterity in singing and/or playing the instruments etc.

This non-formal way of learning, through this “orality” (live performances but also earlier recordings), is still important today, as the style and ethos of Rebetika cannot be rendered only through the reading of a score.

Even so, in the past few decades it is being increasingly taught in music schools, conservatories, universities and private lessons, without there yet being, however, any recognised degree course or officially approved teaching material exclusively on Rebetiko.

With the Rebetiko revival of the late 1970’s-early 1980’s, radio and television programmes, the various educational and artistic activities, and mentions on social media have reinforced its promotion and impact both in Greece and abroad. Teaching of Rebetiko in music schools, conservatories, universities and private lessons contributes to its wider dissemination.

Alongside this, research and documentation on the know-how of folk musical instrument-making has reinforced the transmission of the element in a comprehensive and holistic manner.

(iv) What social functions and cultural meanings does the element have today for its community?

Rebetiko, especially in the early decades of its creation, was associated with the social practices of the marginalised social groups of the large port cities in both sides of the Aegean Sea, and reflects their views on life, love, death, emigration, etc. It is closely associated with their strict

“code of honour”, their relations with state and economic power, their symbols of expression and communication, and forms of entertainment.

After the exchange of populations (in 1922, the Greek-Orthodox living in Asia Minor were obliged to leave Turkey and Muslims to leave Greece), it became one of the primary musical expressions of the refugee groups that settled in the peripheries of almost every Greek urban centre, acting as a powerful reference point for collective memory and identity, directly related to their particular form of entertainment.

From the 1930’s and, especially after the Second World War, the social strata that followed Rebetiko was expanded to the middle classes and to people living in rural areas all over Greece, with corresponding differentiations in the places and forms of its performance.

The songs of Rebetiko contain invaluable references to the customs, practices and traditions of a particular way of life, to specific historic events, places and people, social identities and ideology mainly of the working classes.

Above all, however, Rebetiko is a living musical tradition, with a strong symbolic/ideological and aesthetic/artistic character, thriving through new performances and creative adaptions of the old songs by contemporary social groups, the young in particular.

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(v) Is there any part of the element that is not compatible with existing international human rights instruments or with the requirement of mutual respect among communities, groups and individuals, or with sustainable development?

The element is performed in public and the performers encourage the participation of the audience (mainly through singing together and dancing). Everybody is welcome, no matter gender, ethnicity, religion etc. Markos Vamvakaris (1905-1972, the so-called “Patriarch” of Rebetiko) would never record a song unless he had first “tried it on the legs” of an excellent dancer. Therefore, there is no part of the element that could be considered incompatible with human rights, or undermining the mutual respect among communities.

However, in the 1930’s, Rebetiko had been censored rigorously as an expression of the

“dangerous classes”. Censorship was not enforced against specific songs where references to drugs, opposition to police etc were contained in the lyrics; it aimed at suppressing the genre itself. Vasilis Tsitsanis (1915-1984) lead Rebetiko in a new direction. He left his hometown, Trikala, in 1937, with “35 cantatas in his bags”, so declaring his conscious differentiation from

“underground” Rebetiko repertoire. His songs immediately attracted attention. Their main feature was the “harmonies” (western chords), which gradually led to a new musical expression abandoning some of the traditional “dromoi-roads” (modal musical scales) of the older Rebetiko songs. Tsitsanis crossed the boundaries of marginalization, integrating Rebetiko into the new social reality, the rising new classes of post-war Greece. He established a new style of playing (enriched the orchestra, enhanced the role of the singers) and the structure of the songs became more complex. He made Rebetiko an “acceptable” art form and many others followed suit.

2. Contribution to ensuring visibility and awareness and to encouraging dialogue

For Criterion R.2, the States shall demonstrate that ‘Inscription of the element will contribute to ensuring visibility and awareness of the significance of the intangible cultural heritage and to encouraging dialogue, thus reflecting cultural diversity worldwide and testifying to human creativity’. This criterion will only be considered to be satisfied if the nomination demonstrates how the possible inscription will contribute to ensuring visibility and awareness of the significance of the intangible cultural heritage in general, and not only of the inscribed element itself, and to encouraging dialogue which respects cultural diversity.

(i) How can inscription of the element on the Representative List contribute to the visibility of the intangible cultural heritage in general and raise awareness of its importance at the local, national and international levels?

Rebetiko combined musical, poetic and dance forms deeply rooted in the folk tradition of the wider eastern Mediterranean. Its main contribution to the musical and dance stage of the Region is that it transformed them into a new and dynamic music genre that reflected the effects brought by the drive towards urbanization and industrialization in peoples’ lives all over this area.

Throughout its course, Rebetiko was always absorbing influences by neighbouring musical traditions (or even more remote ones) and on the same time radiating its distinctive vibrations across the borders, transcending ethnic, religious and language barriers.

A possible inscription on the Representative List of Humanity can enhance the visibility of ICH regionally and globally by encompassing an element that testifies to the successful adaptation and creative transformation of very old musical, poetical and dance forms that took place in a rapidly (and often violently) changing social and economic environment.

(ii) How can inscription encourage dialogue among communities, groups and individuals?

The conditions of Rebetiko’s creation and performance, the social background of the artists, as well as other aspects of the element manifest interesting similarities with urban musical forms that developed in almost the same period (early 20th c.) in other countries, such as Tango, the Blues, Fado, etc. Comparative ethnomusicological studies are been conducted.

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The vitality of the Rebetiko tradition stems from the fact that it expressed the plight of the refugees, the people uprooted by war or extreme economic distress. Currently we sense hints that it might be used as a platform of intercultural dialogue among the people of the Region that once again face similar conditions; for example, almost all of the Rebetiko performers (Kompaníes and independent artists) participated in a big solidarity concert held for the benefit of refugees in Athens (21 March 2016). The concert was a big success and the message has started getting across.

(iii) How can inscription promote respect for cultural diversity and human creativity?

Rebetiko expressed the deeper aspirations and ethics of the marginalized working classes and refugees in Greece in the beginning of the 20th c. Over time, it became a dominant cultural expression of the urban populations in Greece. The songs written up until the early 1950’s consummate the “classic Rebetiko repertoire”. The contemporary “Kompaníes” perform this classic repertoire addressing the taste of a large and dedicated audience. Nevertheless, their performance is not “fossilised” (although they “remain faithful to the old masters”, as they say) because of the spontaneity and improvisation that is always required in good live performances.

Needless to say, there is a rather wide margin in interpreting the classic repertoire that leaves plenty of room to the personal expression of the performer and to experimentation.

Moreover, there are several music groups that perform fusion and sampling on old songs with often surprisingly fresh and engaging results.

Above all, Rebetiko still inspires contemporary composers and performers. It is a rich fountain from which new cultural expressions spring.

3. Safeguarding measures

For Criterion R.3, the States shall demonstrate that ‘safeguarding measures are elaborated that may protect and promote the element’.

3.a. Past and current efforts to safeguard the element

(i) How is the viability of the element being ensured by the concerned communities, groups or, if applicable, individuals? What past and current initiatives have they taken in this regard?

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After the failure of censorship to clamp-down Rebetiko in the 1930’s, gradually it was recognised as an important element of the Greek popular tradition. Nevertheless, this was not a smooth process. Intellectuals and musicians of great renown felt very often the need to defend Rebetiko as a legitimate and valuable cultural expression of the people, against voices that still presented it as the music of the “underclass”, to be tolerated only in jails and hashish-dens.

Surprisingly, in the midst of the Greek Civil War, in 1947 Fivos Anoyanakis, ethnomusicologist, wrote a famous article in the daily paper of the Greek Communist Party defending Rebetiko against the Musicians’ Union that was petitioning for the renewal of censorship. Just two years later, in 1949, Manos Hadjidakis (maybe one of the two most well-known Greek composers all around the world) also defended Rebetiko, addressing a different public, that of the established classes and the intellectuals.

Measures such as documentation and research were undertaken rather lately, starting in the 1970’s. Key figures were Fivos Anoyanakis and Panagiotis Kounadis. Kounadis tirelessly collected and documented Rebetiko, and produced important audio-visual material and publications that are still invaluable sources, easily accessible to everyone. Sociologists and Folklorists, such as Stathis Damianakos and Elias Petropoulos, were crucial during the 1970’s and 1980’s in initiating ethnographic research on Rebetiko culture.

Above all, the musicians and the people who enjoy it safeguarded Rebetiko always. Their efforts and their appreciation of the Rebetiko cultural expression have kept it alive and they still do.

Tick one or more boxes to identify the safeguarding measures that have been and are currently being taken by the communities, groups or individuals concerned:

transmission, particularly through formal and non-formal education identification, documentation, research

preservation, protection promotion, enhancement revitalization

(ii) How have the concerned States Parties safeguarded the element? Specify external or internal constraints, such as limited resources. What are its past and current efforts in this regard?

Given the very slow process of Rebetiko’s integration in a wide and indisputably accepted notion of cultural heritage in Greece, state involvement in safeguarding it was understandably late and not particularly pronounced.

The Museum of Greek Folk Musical Instruments was created after Fivos Anoyanakis donated his collection and valuable archives to the Ministry of Culture, in 1978. It is situated in Plaka, in the Lassanis Mansion, opposite the Roman Agora of Athens, and the Ministry runs it. Since its inauguration, in 1991, the Museum has been an important centre of research, documentation and promotion of Rebetiko (and Greek folk music in general). The first state-funded audio-visual material on Rebetiko was produced in 1999 by the Museum, a collection of Smyrneika songs (an early form of Rebetiko, developed in Smyrna –nowadays Izmir). The Museum is also a Centre for Ethnomusicology, as its founder wished.

Regular activities of the Museum include educational programmes for school children. A prominent feature of the Museum is providing lessons on playing traditional instruments and singing. Every year, some 230 people attend the 7-month curriculum of weekly lessons. The teachers are among the most prominent singers and instrumentalists of traditional music and, of course, Rebetiko.

In the summer months the Museum organizes concerts of traditional music from Greece and the Mediterranean in its large and cool garden. The concerts are a well –established feature of the summer in Athens and attract many people. Many “Kompaníes” have used this venue for their public appearance.

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Tick one or more boxes to identify the safeguarding measures that have been and are currently being taken by the State(s) Party(ies) with regard to the element:

transmission, particularly through formal and non-formal education identification, documentation, research

preservation, protection promotion, enhancement revitalization

3.b. Safeguarding measures proposed

This section should identify and describe safeguarding measures that will be implemented, especially those intended to protect and promote the element. The safeguarding measures should be described in terms of concrete engagements of the States Parties and communities and not only in terms of possibilities and potentialities.

(i) What measures are proposed to help to ensure that the element’s viability is not jeopardized in the future, especially as an unintended result of inscription and the resulting visibility and public attention?

Rebetiko could be considered as an illuminating manifestation of the “renewable” aspect of ICH:

The more people perform it, the more it flourishes. So, the bearers do not feel their heritage could be threatened by the enhanced visibility after a possible inscription.

The only threat may come when younger generations deem this element irrelevant (and therefore obsolete). There have been two distinct periods of a Rebetiko “revival”, one in the mid- 1960’s and one in the end of the 1970’s-beginning of 1980’s. Nevertheless, in both cases the links with the tradition were never broken, there were still enough active performers that could transmit it properly to the younger generation. It was never a case of revitalization, but rather a case of re-appreciation and gaining wider audiences. Accordingly, all the measures proposed here have an ultimate focus: awareness- raising and enhancement of the value of this element of ICH.

A. DOCUMENTATION and RESEARCH

The Centre for Ethnomusicology in the Museum of Greek Folk Musical Instruments in collaboration with the Ethnomusicology and Cultural Anthropology Laboratory of the Department of Music Studies (National and Kapodistrian University of Athens) carry out a long-term research programme documenting the current manifestations of Rebetiko culture. They organize university lessons, seminars, post-graduate studies and doctoral thesis, workshops and series of lectures on the history and the social context of Rebetiko performances today, exploring how do people perceive, practice, feel and imagine it.

Ethnomusicologists and collectors of old recordings have already produced a large corpus of documentation. Research on the worldviews embodied and inspired in the context of the ongoing Rebetiko performances is carried out regularly because the Rebetiko revivalist culture conveys understanding of broader music-cultural orientations defining contemporary Greek society. Research is funded by the Ministry of Education and through various mechanisms that deploy public funding (national or EU) on humanities and digital humanities (THALIS projects, Horizon 2020 projects etc).

The Museum of Greek Folk Musical Instruments and the Public Television Archives (ΕΡΤ) carry out extensive digitization projects of gramophone recordings and relevant audiovisual material.

There is free, on-line access to some of the content.

Lately, under the initiative of the Department of Traditional Music of the School of Arts in Epirus, research and documentation is focusing on the know-how of the the folk musical instruments, enhancing more aspects of the element.

B. TRANSMISSION

Some of the Rebetiko musicians argue for an official degree on Rebetiko music and singing, whereas others believe that it would stifle the genre. Instead, they favour the current transmission process: general music and singing lessons are necessary for performers, but the performance itself cannot be taught in conservatories. It has to be acquired through the live

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experience of the “rebetadiko”, through “oral” (and aural) non-formal educational means. They feel confident that there is enough documentation of the old masters’ ways through recordings and audiovisual material, where the novices (as well as the accomplished performers) can trace the “secrets” of the art and recreate them on stage, together with their peers. Most importantly, any official degree would tame Rebetiko culture into an academic discipline, thus shattering the links with its origins. As things stand, the latter opinion is prevalent.

C. ENHANCEMENT

Apart from the Museum of Greek Folk Musical Instruments in Athens, another Museum dedicated exclusively to Rebetiko is currently under construction, in Trikala, Thessaly, the birthplace of Vassilis Tsitsanis. The building of the old Jailhouse of Trikala has been turned into a new Municipal Cultural Centre and V. Tsitsanis Museum. During the extensive restoration and refurbishment works, an old Ottoman Bath was uncovered at the foundations of the former Jailhouse. This unexpected find enriched the museological approach, since bathhouses feature as celebrated imaginary places in quite a few Rebetiko songs, whereas jailhouses were the actual places some of the first Rebetiko musicians spent time.

The Regional Municipal Authority of Thessaly has spent 1.3 m € (co-funded by the European Union) for the restoration works that are almost complete now. The Municipality of Trikala has dedicated 1.5 m € (also co-funded by the EU) to cover all the expenses for the implementation of the museological plan and the necessary equipment of the Museum, the Archive, and the Research Centre. The Directorate of Modern Cultural Assets and Intangible Heritage (Ministry of Culture) supervises the drafting and implementation of the museological plan, as well as the research/documentation for the Museum’s collections.

The Municipality of Trikala has already set up an Orchestra of the V. Tsitsanis Museum that performs Rebetiko. The Orchestra is not only instrumental in Museum’s communication and economic viability, but also integral part of its function.

(ii) How will the States Parties concerned support the implementation of the proposed safeguarding measures?

The Ministry of Culture, under the current fiscal constraints of Greece, has merged the Museum of Greek Folk Musical Instruments with the Museum of Greek Folk Art, in order to keep both institutions functioning and it is committed in funding them. It will also support the Museum of Vassilis Tsitsanis in Trikala, providing expertise in managing the collections (documentation, conservation) and in the interpretation of the exhibits.

There is need of further documentation and research on all the aspects of the element. The folk instrument-making is another very important domain of ICH that the folklorists of DMCA&ICH came across during the preparation of the Rebetiko file for the National Inventory. The instruments used in popular music are produced in workshops, but very often they are

“perfected” by the players themselves, through slight alterations and modifications. “A good player’s instrument remains under continuous manufacture”: this observation by Fivos Anoyanakis has prompted research. Currently, there is collaboration with the Department of Traditional Music of the School of Arts in Arta (Technological Educational Institute of Epirus) aiming at inventorying of know-how of making of the “folk guitar”. Documentation on and inventorying of the making of other folk musical instruments will follow.

The Ministry of Education is committed in facilitating research on the element and on folk music in general through the funding of the Departments of Music and Social Antropology in the following Universities: National and Kapodistrian University of Athens, Panteion University (Athens), Aristotle University of Thessaloniki, University of Macedonia (Thessaloniki) and Technological Educational Institute of Epirus (Arta).

(iii) How have communities, groups or individuals been involved in planning the proposed safeguarding measures, including in terms of gender roles, and how will they be involved in their implementation?

During the long consultation process (described below), the communities of the bearers

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expressed their views, focusing mainly in the field of enhancement of the value of the element.

Although Rebetiko culture is no longer threatened by repressive measures or by blatant downgrading its status as living heritage, there will always be, according to their opinion, need for prioritizing promotion. They feel quite competent in transmitting the element to anyone willing to partake. They also believe that research and documentation is well under way, either focused on earlier, historic phases of the Rebetiko cultural expression, or on its current development.

The opening of the new Tsitsanis Museum is a much-anticipated event, but they voice concern over the recent merger of the Museum of Greek Folk Musical Instruments with the Museum of Greek Folk Art. The multifaceted activities of the former could be curtailed due to the fiscal constrains of the country. So they urge for strengthening of the structure of the Centre for Ethnomusicology and for more vigorous support of the lessons, seminars and the concerts held in the Lassanis Mansion. Overall, the activities of enhancement of Rebetiko are the most highly evaluated and the safeguarding measures proposed above take note of their concern.

3.c. Competent body(ies) involved in safeguarding

Provide the name, address and other contact information of the competent body(ies), and if applicable, the name and title of the contact person(s), with responsibility for the local management and safeguarding of the element.

Name of the body: Cultural Anthropology Laboratory of the Department of Music Studies (National and Kapodistrian University of Athens)

Name and title of

the contact person: Prof. Lampros Liavas, Head of the Dpt of Music Studies Address: 78 Xanthippou Str, Holargos, 15561 Greece

Telephone number: 00306944465777 E-mail address: lliavas@yahoo.com

Other relevant

information: Museum of Greek Folk Art and Greek Folk Instruments-Fivos Anoyanakis Collection

Elena Melidi, Director of the Museum 1-3, Diogenous str, Plaka, Athens Greece 00.30.210 3250 198

melt@culture.gr

4. Community participation and consent in the nomination process

For Criterion R.4, the States shall demonstrate that ‘the element has been nominated following the widest possible participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent’.

4.a. Participation of communities, groups and individuals concerned in the nomination process

Describe how the community, group or, if applicable, individuals concerned have participated actively in preparing and elaborating the nomination at all stages, including the role of gender.

States Parties are encouraged to prepare nominations with the participation of a wide variety of all concerned parties, including where appropriate local and regional governments, communities, NGOs, research institutes, centres of expertise and others. States Parties are reminded that the communities, groups and, in some cases, individuals whose intangible cultural heritage is concerned are essential participants throughout the conception and elaboration of nominations, proposals and requests, as well as the planning and implementation of safeguarding measures, and are invited to devise creative measures to ensure that their widest possible participation is built in at every stage, as required by Article 15 of the Convention.

A possible nomination of Rebetiko for inscription on the ICH Convention Lists was present in the minds of the community of the bearers from the start of the inventorying process. In June 2014, a concert was held in the garden of Lassanis Mansion (Museum of Greek Folk Musical Instruments) dedicated to Pireotiko Rebetiko (the distinct Rebetiko repertoire of Piraeus).

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“Pireotiki Kompanía” performed Rebetika songs but also gave information on the stories the lyrics referred to, traced on maps the places of Piraeus mentioned in the songs (neighbourhoods that have changed since, buildings and establishments no longer standing etc) and, of course, on the life of the composers and performers of the songs, all evolving around the busy port of Piraeus. It was an ingenious combination of live performance and lecture on a particular expression of Rebetiko culture, that of Piraeus. The members of “Pireotiki Kompanía” contacted the folklorists of DMCA&ICH who were present at the concert with a view at inscribing Rebetiko on the Representative List and the process of inventorying Rebetiko started.

The entry on the National Inventory was being prepared along with consultations with members of the community on the requirements and the feasibility of a nomination for inscription on the ICH Convention Lists. The particular characteristics of each List were discussed. The List of Elements in Need of Urgent Safeguarding was easily excluded since the vitality of the element is apparent and under no threat. But there was extensive discussion on the choice between the Representative List and the Register of Projects that best reflect the principles and the objectives of the Convention. Some members of the community of the bearers expressed the opinion that the element is alive and well-established as intangible heritage in Greece despite the negligence of state agents, only because the bearers wish it to be. Their own efforts at transmitting and periodically reviving it set a good example of a practice that enhances the value of an ICH element. Nevertheless, since their practice was rather a matter of course than an articulated project with well-defined goals and aims, the Representative List was finally selected as the most suitable mechanism for the promotion of Rebetiko culture internationally as an element of ICH.

During all the stages of inventorying the element and of the preparation of the nomination file, Prof. Lampros Liavas, Ethnomusicologist at the University of Athens, was actively involved, providing his expert views on the subject and encouraging both the bearers of the element and the team of DMCA&ICH. His long-lasting collaboration with performers of folk music was proven to be invaluable in providing information on several aspects of the element and in engaging the bearers of the Rebetiko tradition in all the necessary activities for both files.

4.b. Free, prior and informed consent to the nomination

The free, prior and informed consent to the nomination of the element from the community, group or, if applicable, individuals concerned may be demonstrated through written or recorded concurrence, or through other means, according to the legal regimens of the State Party and the infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community consent in preference to standard or uniform declarations. Evidence of free, prior and informed consent shall be provided in one of the working languages of the Committee (English or French), as well as the language of the community concerned if its members use languages other than English or French.

Attach to the nomination form information showing such consent and indicate below what documents you are providing, how they were obtained and what form they take. Indicate also the gender of the people providing their consent.

The means of presenting the consent of the community of the bearers to the nomination of Rebetiko for an inscription on the Representative List was decided to be letters declaring their support. The decision was taken after consultation with several members of the community during the final stages of the preparation of the nomination file, when we were creating the audiovisual material needed for the submission (on-camera interviews, shooting of performances etc). There have been two open meetings held at the premises of the Greek Sector of ICOM in Athens where more than 50 people were present at each time and the participants either gave their letters on the spot, or a few days later. The fist one was held in 17 February 2016, a few days after the decision on the inclusion of the element in the Greek National Inventory and it was mainly a celebratory event where the members of the community expressed their satisfaction for the fact. The second one was held in 16 March 2016 and more members of the community showed up in order to get informed more about the progress on the nomination file, the contents of the file etc. The two meetings were necessary because of the working hours of the members of the community and the difficulty to find days and time convenient for all (some have day-time jobs and perform on their spare time, some are performing professionally on late hours, some are teaching in the afternoons etc).

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4.c. Respect for customary practices governing access to the element

Access to certain specific aspects of intangible cultural heritage or to information about it is sometimes restricted by customary practices enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. If such practices exist, demonstrate that inscription of the element and implementation of the safeguarding measures would fully respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any specific measures that might need to be taken to ensure such respect.

If no such practices exist, please provide a clear statement that there are no customary practices governing access to the element in at least 50 words

The element is performed publicly. No part of it has ever been or is currently deemed to be secret for any reason. There are no customary barriers to the general public on getting full knowledge of it or of its transmission process. On the contrary, extensive documentation on its history, development and current performance exists and further research is more than welcome by the community of the bearers.

4.d. Concerned community organization(s) or representative(s)

Provide detailed contact information for each community organization or representative, or other non-governmental organization, that is concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc.:

a. Name of the entity

b. Name and title of the contact person c. Address

d. Telephone number e. E-mail

f. Other relevant information

1. Name of the entity: Faculty of Music Studies, School of Philosophy, University of Athens Name and title of the contact person: Lambras Liavas, Professer of Ethnomusicology Address: 78, Xanthippou str, Chalargos, 155 61, Greece, E-mail: lliavas@yahoo.com 2. Name of the entity: School of Music Science and Art, University of Macedonia

Name and title of the contact person: Dimitris Mystakidis, Musician - Professer Address: 538, Kapodistriou str., Thessaloniki, Greece, E-mail: dmystak@gmail.com

3. Name of the entity: Museum of Greek Folk Art and Greek Popular Music Instruments - Fivos Anoyanakis' Collection

Name and title of the contact person: Eleni Melidi, Director Address: 8, Thespidos str, 105 58 Athens, Greece

4. Name of the entity: Folk-ife and Ethnological Museum of Macedonia-Thrace (Thessaloniki, Greece)

Name and title of the contact person: Zisis Skampalis, Director

Address: 68, Vas. Olgas str., 54642 Thessaloniki, Greece, E-mail: lemm-th@otenet.gr, http://www.lemmth.gr

5. Name of the entity: "Research Center- V. Tsitsanis Museum

Name and title of the contact persons: Efi Leventi-Kara, Vice President & Stelios Karageorges, Researcher – Musician

Address: 1 Karditsis str., Trikala 42100, Greece, E-mail: info@mouseiotsitsani.gr, http://www.mouseiotsitsani.gr

6. Name of the entity: Kompania "1 Psychi tou Dromou"/"The Street Soul"

Name and title of the contact person: Georgios Ntinos & Pamagiotis Arvanitakis, members of the Kompania, E-mail: georgentinos@gmail.com, panosarva s 1 @gmail.com

7. Name of the entity: Kompania "Rebetokafenes Trio"

Name and title of the contact persons: Mara Kalozoumi & Tassas Kaklamanis, members of the Kompania, E-mail: maraapostolou@yahoo.gr, kaklamanist@yahoo.gr

8. Name of the entity: Rebetiko Seminar

Name and title of the contact person: George Makris, Organizer of Rebetiko Seminar

Address: 32, Liakateon, Gizi square, 114 74, Athens Greece, E-mail: makres@otenet.gr, www.rebetikoseminar.com, www.rebetikoseminar.org

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5. Inclusion of the element in an inventory

For Criterion R.5, the States shall demonstrate that ‘the element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention’.

a. Indicate below:

 when the element has been included in the inventory, which should be prior to the submission of the nomination to the Secretariat (31 March),

 its reference,

 the inventory in which the element has been included,

 the office, agency, organization or body responsible for maintaining that inventory,

 how the inventory has been drawn up ‘with the participation of communities, groups and relevant non- governmental organizations’ (Article 11(b) of the Convention), and including in terms of the role of gender

 how the inventory is regularly updated (Article 12 of the Convention).

b. Documentary evidence shall also be provided in an annex demonstrating that the nominated element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention; such evidence shall include a relevant extract of the inventory(ies) in English or in French, as well as in the original language if different. The extract should be, for example, the inventory record or file for the nominated element, including its description, location, community(ies), viability, and so on. It may be complemented by a reference below to a functioning hyperlink through which such an inventory may be accessed, but the hyperlink alone is not sufficient.

The nominated element’s inclusion in an inventory should not in any way imply or require that the inventory(ies) should have been completed prior to nomination. Rather, a submitting State Party may be in the process of completing or updating one or more inventories, but has already duly included the nominated element on an inventory-in-progress.

The element is included in the Greek National Inventory of ICH by decision of the General Director of Antiquities and Cultural Heritage of the Hellenic Ministry of Culture and Sports, Ms Elena Korka. The decision was signed in 25 January 2016 and its reference number is ΥΠΠΟΑ/ΓΔΑΠΚ/ΔΝΠΑΑΠΚ/ΤΑΠΚΔΘ/20494/ 11578/116/26/25.1.2016

The entry is uploaded in the dedicated to ICH web-site of the Ministry:

http://ayla.culture.gr/?p=444 in Greek

http://ayla.culture.gr/?p=444&lang=en in English.

The competent body for inventorying ICH and the implementation of the ICH Convention in Greece is the Directorate of Modern Cultural Assets and Intangible Cultural Heritage in the Ministry of Culture and Sports (PD 104/2014, art. 15). The National Scientific Committee for the Implementation of the ICH Convention (formed in October 2012) has produced guidelines for the implementation of the ICH Convention in Greece. The Committee resolved in a special fiche for inventorying, encompassing the requirements of the Convention and the Greek experience in the field. This model for inventorying and the sections of the fiche are to be regularly updated, after being tested in their effectiveness in describing ICH elements.

The process of inventorying Rebetiko started in the autumn of 2014 and it developed through a series of consultations with the Rebetiko performers and researchers. Particular attention was paid to the balance between the historic information on the element (which is part of its attraction, especially for the younger people) and the presentation of the current state of affairs.

Interpretations of Rebetiko history and lore are abundant and the community of the bearers tend to be very sensitive on these matters.

The Rebetiko entry in the Greek National Inventory of ICH is to be updated after 5 years.

6. Documentation

6.a. Appended documentation (mandatory)

The documentation listed below is mandatory and will be used in the process of evaluating and examining the nomination. The photographs and the video will also be helpful for visibility activities if the element is inscribed. Tick the following boxes to confirm that related items are included with the nomination and that they follow the instructions.

Additional materials other than those specified below cannot be accepted and will not be returned.

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documentary evidence of the consent of communities, along with a translation into English or French if the language of concerned community is other than English or French

documentary evidence demonstrating that the nominated element is included in an inventory of the intangible cultural heritage present in the territory(ies) of the submitting State(s) Party(ies), as defined in Articles 11 and 12 of the Convention; such evidence shall include a relevant extract of the inventory(ies) in English or in French, as well as in the original language if different

10 recent photographs in high definition

cession(s) of rights corresponding to the photos (Form ICH-07-photo)

edited video (from 5 to 10 minutes), subtitled in one of the languages of the Committee (English or French) if the language utilized is other than English or French

cession(s) of rights corresponding to the video recording (Form ICH-07-video)

6.b. Principal published references (optional)

Submitting States may wish to list, using a standard bibliographic format, principal published references providing supplementary information on the element, such as books, articles, audio-visual materials or websites. Such published works should not be sent along with the nomination.

Not to exceed one standard page.

Holst-Warhaft, Gail ([1975] 1995) Road to Rembetika Greece, Denise Harvey Publishing

([1977] 1983) Δρόμος για το ρεμπέτικο (και άρθρα για το ρεμπέτικο τραγούδι από τον ελληνικό τύπο 1947-1976). Μετάφραση Ν.Σαββάτης. Αθήνα: Ντενίζ Χάρβεϋ & Σία.

Petropoulos, Elias (2000) Songs of the Greek Underworld, the Rebetika Tradition, Translation Ed. Emery. London: Saqi Books

Tragaki, Dafni, 2007, Rebetiko Worlds, Cambridge Scholars Publishing On-line resources- blogging:

Rembetiko forum:

http://www.rembetiko.gr/forums/forum.php, https://www.facebook.com/rembetiko.gr Rebetiko sealabs: http://rebetiko.sealabs.net/home.php

Movies:

«ΡΕΜΠΕΤΙΚΟ», Κώστας Φέρης, 1983.

«Καναρίνι μου γλυκό», Roy Sher, 2010 Television Series and Documentaries:

- «Ο κόσμος του ρεμπέτικου» (documentary).

- «Το μινόρε της αυγής», ΕΡΤ, 1983-1984, television series.

- «Εις ανάμνησιν στιγμών ελκυστικών», Παναγιώτης Κουνάδης, ΕΤ1, 1994.(documentary) - «Τετράς η ξακουστή του Πειραιώς», Παναγιώτης Κουνάδης, ΕΤ1, 1998.(documentary) - «Ρεμπέτικη ιστορία», Νίκος Βολωνάκης – Πάνος Σαββόπουλος, ΕΤ3, 1999.(documentary) - «Γεια σου περήφανη κι αθάνατη εργατιά», ΝΕΤ, 2001.(documentary)

- «Οι μουσικοί του κόσμου – Ρεμπέτικο και ξένοι», Λεωνίδας Αντωνόπουλος, 2006.

- «Η ιστορία του ρεμπέτικου», Κώστας Φέρρης, 2006.

- «Ονείρου Ελλάς», Κώστας Φέρρης, ΕΤ3, 2008-20110

- «Τα Μυστικά της Μουσικής», ΕΡΤ 2012. Επιμέλεια - Παρουσίαση: Νίκος Κυπουργός.

(documentary)

- «Το Αλάτι της Γης», ΝΕΡΙΤ 2014. Μουσική εκπομπή. Λάμπρος Λιάβας.

- «Η Μηχανή του Χρόνου», ALPHA. Σειρά εκπομπών.

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7. Signature(s) on behalf of the State(s) Party(ies)

The nomination should conclude with the signature of the official empowered to sign it on behalf of the State Party, together with his or her name, title and the date of submission.

In the case of multi-national nominations, the document should contain the name, title and signature of an official of each State Party submitting the nomination.

Name: Maria Vlazaki-Andreadaki

Title: General Secretary of Hellenic Ministry of Curlture and Sports Date: 30 March 2016

Signature: <signed>

Name(s), title(s) and signature(s) of other official(s) (For multi-national nominations only)