Interview by Konstantia Douka
The custom of ‘Pyrovasia‘ (barefoot fire-walking) is the culmination of the annual religious cycle of the ‘Anastenaria‘. It mainly takes place on May 21, the feast day of Saints Constantine and Helen, in the broader region of Macedonia and Thrace.
It is a custom with deep roots in antiquity, centered around the villages of Southeastern Romylia (modern-day Bulgaria), mainly the villages of Kosti and Brontivo.
Since 1913, during the Balkan Wars until the population exchange in 1923, the ‘Anastenarides’ left together with the icons of the Saints and scattered to many rural areas of Greece, mainly Macedonia. The areas that perform the ‘Pyrovasia’ and the ‘Anastenaria’ are Lagadas of Thessaloniki, Agia Eleni of Serres, Agios Ioannis of Serres, Kerkini of Serres, Mavrolefki of Drama, and Meliki of Imathia.
According to domnasamiou.gr, the custom lasts for three days. From the eve, participants gather at the ‘Konaki‘ (room in the house of the chief Anastenaris) and in the afternoon, after the vespers, accompanied by musicians, the faithful take the icons of the two Saints from the church to place them in an honorary position in the ‘Konaki‘.
The melody accompanying the procession of the ‘Anastenarides‘ when they leave the ‘Konaki’ is called ‘The Road’s Melody‘. It is the first of the three melodies heard during the ceremony. The musicians (a drum, a large tambourine – an instrument considered sacred that keeps the rhythm – and a lyre) are placed at the head of the procession, followed by the ‘Anastenarides’ holding lit candles.
The second melody, called ‘In the Green Meadows’, is slow. The lyrics describe the abduction of a young Greek mother by the Turks. Upon hearing this melody, the ‘Anastenarides’, who are seated around the sacred icons, rise, take the icons in their arms, and begin to dance. At this point, the lyre player starts the dance ‘Konstantinos, the Little One’, the third and most important of the melodies of the ceremony. This same melody, played by the lyre and the drum, accompanies the ‘Pyrovasia’ that takes place the next afternoon, in the village square, before a large crowd.
The musical part of this very special custom is presented on folkradio.gr by the musician and professor at the School of Music Studies of the University of Ioannina, Lefteris Pavlou, who has been participating in the ‘Anastenaria’ since his teenage years, accompanying with drum, lyre, and song.
What is the main instrumentation in the ‘Anastenaria’?
The instrumentation encountered in the ‘Anastenaria’ consists of the lyre, the drum, and the bagpipe. The lyre plays a leading role in the sense that the bagpipe or the drum may stop at some point, but the lyre continues to play. In all phases of the custom, there is music in the background, which varies for each occasion. The lyre used is the Thracian lyre, the well-known type with a pear-shaped body found throughout the Aegean and Crete. The drum is narrow and long, with a thickness of 25-27 centimeters and a diameter of around 60 centimeters.
The ‘Anastenaria’ is a custom brought by Thracians from Eastern Thrace from two villages, Kosti and Brontivo. My own family came from Brontivo, and both villages are the cradle of ‘Anastenarides‘, although they also existed in other nearby villages such as Agios Stefanos, Karatzo, Resvi, as well as in Bulgarian villages like Gramatikovo and Bulgari. There, they previously had issues with the communist regime because it was completely folkloric. However, in recent years, there have been people who are very close to our aesthetics.
This particular custom, in some areas, is accompanied only by the lyre, drum, or all three together. These specific instruments are played either all three together or two together because in some areas we don’t have bagpipes.
The Thracian lyre was mainly preserved because it was essential. It had reached the point of disappearing, and only 5-6 elders were playing it. However, in the last 15 years, there has been a movement by young people who are involved with the Thracian lyre. The custom was often played with whichever instruments were available. In the best case, all three were played together, while sometimes there were two lyres. I’ve experienced playing with 3-4 lyres together, four drums, and two bagpipes. This can happen in places like Lagadas. The typical formation would mostly be one lyre and one drum or just one lyre or just one bagpipe. In a pair, we usually find two lyres, one drum, a lyre with a lyre, and a bagpipe with a drum.
Do you know specific old or new musicians who had an active role in the ‘Anastenaria’?
First of all, the ‘Anastenarides‘ are not only those who perform the Firewalking (Pyrovasia). One of the roles in the custom is music, but there is a sacredness and ritual. The lyre and the drum are hung in the ‘Konaki’, in the place where the sacred icons are. These instruments are not used for other purposes. They are hung there for this work, giving the custom a sacredness.
Are the ‘Anastenaria’ observed throughout the year? While the Firewalking (Pyrovasia) takes place on May 21st. Correct?
The ‘Anastenaria’ is a common prayer that occurs all year round when the ‘Anastenarides‘ feel there is a reason. However, the custom has specific dates. The most well-known festival is that of Saints Constantine and Helen, on May 21st, although it starts two to three days earlier. This is known by most people, but there are also celebrations for Saint Panteleimon, the Virgin Mary, Saint Demetrius, and Saint Athanasius. The major Winter festival takes place from January 17th to 20th. Some of these ceremonies involve Firewalking (Pyrovasia), such as those of Saint Athanasius, Saint Constantine, and Saint Panteleimon, while others have the so-called ‘tables’. After the end of the church service, the ‘Anastenarides’ perform incense offerings. They wish each other ‘Many years’ and sing songs from their homeland.
Who are the most well-known musicians in the ‘Anastenaria’?
An emblematic figure was Barba-Yiannis Strikos from Agia Eleni, Serres. An amazing lyre player, an exceptional virtuoso of the Thracian Lyre, by far the best and most accepted by all. He was a profound connoisseur of the custom, the repertoire, and the skills of the instrument. Also significant was his brother Nikos. Also, from Agia Eleni, Serres, was Dimitris Lantzou. Mitsos Vlaskos was an amazing singer, and Dimitris Koukourigos from Kerkini was a very good lyre player. His brother was also from there. Unfortunately, all of these have passed away. They were born in the early 1900s. The most accepted by all, at the moment, is Spyros Koukkos from Agia Eleni, Serres, a lyre player. Musicians of our generation, we do our best. Personally, I play percussion, but the lyre is another matter for me. With percussion, I satisfy my practical needs, and with the lyre, I satisfy my spiritual needs.
The ‘Anastenaria’ is a deeply rooted tradition…
Yes, it is a tradition that is deeply rooted and somewhat misunderstood by its nature. It has a Metaphysical dimension because of the Firewalking. For me, all of this is a common prayer of people.
Personally, how did you come into contact with the tradition?
My family was one of those who carried on the tradition. At some point, I left, and became a communist, atheist, but in my teenage years, I began to connect with the tradition, suddenly. I heard a lyre playing at some point, and I was moved to tears! Although I hadn’t heard that sound since I was 5 years old. So I returned to the tradition. Through the music of the ‘Anastenaria,’ I began to explore the repertoire of this region, through the Lyre.
Do you think there is a future in the ‘Anastenaria’?
Yes, there is a future. The messages are rather encouraging and optimistic. Of course, the music in the tradition is very specific and at specific moments. For those of us who are close to ‘Anastenaria,’ the first thing we tell those who want to learn is the song of ‘Pappou.’ Our Pappou is Saint Constantine.
Is there a sequence in the songs and melodies in the ‘Anastenaria’?
Yes, there is a specific structure and repertoire. With each movement that an ‘icon’ makes, whether it’s from a house to the Konaki, from the Konaki to the firewalking area, or from the Konaki to another house, there is a specific song, an instrumental tune called ‘The Road’s Melody‘ It’s a slow dance. When the Festival starts and they perform incense offerings, there we play a lament with the lyre, something like an improvisation, a melody called ‘At the green meadow,’ which is an akritic song. Then we play the song of ‘Pappou,’ the song of Constantine, which is also an akritic song. During this song, you can pause and play some melodic motifs, and then return to the song. This can be repeated several times. Everything is for the dance. During the breaks of the Festival, we sing various songs that also belong to the akritic cycle. Everything is from that era. Or during the breaks, to open the Festival again, you sing a song from the tough core of the ‘Anastenarides.’ One to relax you and the other to invigorate you, and with this logic, it creates tension and propulsion. With songs from the akritic cycle. Of course, the same happens with the firewalking, that is, you leave the Konaki with Icons, with an instrumental tune walking down the road, and you arrive at the firewalking area. You play the song of ‘Pappou’ with any changes, any melodic motifs. When this whole act is finished, you play the Syrtos. A very specific melody that the ‘Anastenarides,’ relatives, and friends can dance to. It’s a special dance rhythm in 8/8. Then, again, we play the known Syrtos of Eastern Thrace, then again ‘of the road’ to return to the Konaki, and then a little of ‘Pappou.’ There, the Icons will stay in place. Then the feast begins with the incense offering again, and when they perform the incense offering at that moment, you sing ‘Go to the green meadow’ again. And after eating and drinking, you start again with some akritic songs. But as the songs progress, the mood relaxes, and it becomes a little more danceable, and sometimes, people may even dance inside the Konaki. Finally, there is another melody when the feast is lifted. After it’s finished and before the dance begins, if there is a mood, we play a specific melody called ‘The dismissal tune,’ where everyone who ate and drank at the feast washes their hands, greets the icons, and at that moment, we play a specific melody. Everyone either sits and dances if there is a mood, or goes to pray to the Virgin Mary and the help of the Saints.
