By Sotiris Bekas
Savvas Siatras is one of the most important figures in Greek folk music, with a significant contribution, especially to the Epirotic song, which he has served as a performer for six decades. A true child of the “land of pentatonic music,” he hails from Karitsa, located in a broader region with a rich tradition of folk musicians, just outside Ioannina. Karitsa, besides being the birthplace of Savvas Siatras, became the place where he was immersed in customs and traditions that profoundly influenced and shaped his personality. His natural talent led him to a rich professional career, taking him around the world, and he rightly enjoys universal recognition for his work and dedication to folk music.
The important moments of his life and career are many. However, a few days ago, on August 19th to be precise, marked 40 years since a milestone in his personal life, which he never fails to highlight. And rightfully so.
It was the date of his wedding to Mrs. Chrysoula Samara, from Dervitsani, Dropull, which became a model for the reverent observance of the entire ritual with customs and traditions, in accordance with Epirotic tradition.
In reality, Savvas Siatras, true to his personal stance, wanted to turn such a personal moment into a timeless example and to provide the opportunity for the ritual associated with the Epirotic wedding to be recorded, while he and his wife could share the atmosphere of these customs.
It was not merely a personal event in the lives of two people (August 19, 1984), but a social event, still remembered as a great occasion, gathering thousands of people, the elite of Epirotic music, and covered by a large television crew for the Hellenic Broadcasting Corporation (ERT).
Savvas Siatras himself recounts to folkradio.gr what happened during those days:
“I remember, during the first days, women were kneading dough while others poured water with copper jugs, and some, seated on stools with white scarves, sang. ‘Work your hands, knead well,’ my mother encouraged them, and there was a strong sense of emotion in the air. The rural people had such a beautiful philosophy of life, and everything they said was full of wisdom.
They brought the kanisia (offering trays) with bread rings on a large tray made of good, clean bread. This was how we invited relatives, villagers, and even neighbors from other villages. It was like a wedding invitation.
On Tuesday, they prepared the yeast, on Wednesday they kneaded and baked, and on Thursday the invitation was made, early in the morning, so that people would be found at their homes.
They brought the kanisi in a straw basket, where they placed inside bougatsa (a Greek pastry), wine, raki (a distilled drink), and a generous portion of meat. The person responsible for this process was the kelartzis, the one in charge of the cellar, much like a modern chef. He determined how the food, wine, and raki would be served. Back then, tomatoes and cucumbers were considered luxury items.
Meanwhile, this was the ritual until Saturday. On Sunday morning, when the Divine Liturgy ended, the church, and the musicians would come out onto the road, in the alley. They played a beautiful instrumental patinada (processional tune), and the groomsmen came out to greet them. While continuing to play, they entered the home of the family marrying off their child, and the musical group took a prominent position, so they could see the people, and the people could interact with the musicians.
The main delicacy during this phase was tsipouro (a strong distilled spirit) with cheese, and that’s how the singing began slowly: ‘In this house – my son – that we’ve come to, may no stone crack, and may the master of the house live a thousand years. May his children prosper, and we rejoice at others’ weddings.’ As the musicians started playing, the village priest and the president of the community also came to offer their blessings.
Gradually, more people arrived in groups. It was time for the bride’s adornments to arrive, and the koumparos (best man) was informed about the midday feast. Another small celebration was held at the koumparos’ house, who had the overall responsibility, and later at the wedding.
Then began the psiki, the wedding procession, led by the schariaris (the bearer of the good news), to go to the bride’s house. When the relatives of both families met, there was a warm welcome. They prepared and offered the groom eggs with sugar, to sweeten him. The bride was still in her room, where her friends or cousins sang for her.
When the groom’s psiki began its journey to the bride’s house, the first song was ‘Potamia,’ followed by ‘Pigena to dromo – dromo koumblo, Haido.’ When the song says ‘I find an apple tree on the road,’ it actually refers to the bride. As the procession approached the house, they sang ‘Wake up, my partridge-eyed one, I’ve come to your neighborhood, I brought you golden adornments to put in your hair.’
At my wedding, I had the best musicians and singers from Epirus. Singers like Stylianos Bellos, Alekos Kitsakis, Dimitris Vagias, Christos Fotiou, Alekos Kostas, Giorgos Kourtis, Lefteris Konstantinou, Kostas Tzimas. The musicians who played were Napoleon Dimos (clarinet), Manolis Ballas (lute), Vangelis Gogos (violin), and Manthos Stavropoulos (tambourine).”
PS All photos are coming from the personal archive of Savvas Siatras
Watch the documentary about the wedding of Savvas Siatras and Chrysoula Samara.