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Hasapiko
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Fast Hasapikos in the atrium of the Zappeion on March 3, 1926.
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The hasapiko (Greek: χασάπικο, pronounced [xaˈsapiko], meaning “the butcher's [dance]”) is a Greek folk dance from Constantinople. The dance originated in the Middle Ages as a battle mime with swords performed by the Greek butchers' guild, which adopted it from the military of the Byzantine era.[1] In Constantinople during the Byzantine times, it was called in Greek μακελλάρικος χορός (makellárikos horós, "butcher's dance", from μακελλάριος “butcher”). Some Greeks, however, reserve the latter term only for the fast version of the dance.

The slow version of the dance is called χασάπικο βαρύ / χασάπικος βαρύς (hasapiko vary or hasapikos varys, "heavy hasapiko") and generally employs a 4
4 meter.[2] The fast version of the dance uses a 2
4 meter. It is variously called γρήγορο χασάπικο (grigoro hasapiko, "fast hasapiko") or χασαποσέρβικο (hasaposerviko),[2] the last two terms in reference to Serbian and other Balkan influences on this version of the dance. The fast version is also called μακελλάριος χορός (makellarios horos), [citation needed]

Sirtaki, the modern staple Greek dance, is a relatively new, choreographed dance, based on hasapiko.[2]

See also

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References

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Hasapiko

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Hasapiko is a traditional Greek that originated in (modern-day ) as a mimed battle by the butchers' , according to popular tracing it to the Byzantine era. The name derives from the Greek word ''hasapis'', meaning "butcher" (from Turkish ''kasap''), reflecting its guild associations. It has evolved into a popular line or semi-circle with linked arms, characterized by strong, deliberate movements and improvisational elements. Brought to mainland Greece by refugees during the 1923 population exchange with , Hasapiko became part of urban folk traditions, including music scenes. It gained widespread popularity in the mid-20th century through films such as (1960), and its slow-to-fast progression inspired the Syrtaki dance in (1964). Today, Hasapiko is performed at celebrations across and the , often to accompaniment.

History

Origins in the Byzantine Empire

Hasapiko originated in the Middle Ages, roughly spanning the 11th to 15th centuries, in Constantinople under the Byzantine Empire, where it served as a specialized ritual dance performed exclusively by members of the butchers' guild, known as the makellarioi. This guild, composed primarily of professionals handling meat trade and slaughter, adopted the dance as a form of battle mime executed with swords, drawing from military traditions prevalent in the empire's armed forces. The dance bore the original name μακελλάρικος χορός (makellárikos horós), literally meaning "butcher's dance," a term directly tied to the guild's occupational identity and its roots in Byzantine sword-based martial exercises. This nomenclature underscores the dance's evolution from a professional fraternity activity rather than a general folk tradition, with influences traceable to earlier pyrrhic-style war dances adapted within the empire's military culture. Guild members, many of whom were Greek Orthodox Christians, used the performance to symbolize strength and unity, reinforcing social bonds within their trade community. Early performances occurred in controlled settings such as guild festivals and ceremonial processions in , emphasizing internal cohesion over public spectacle. These events allowed the makellarioi to demonstrate skill in synchronized maneuvers mimicking , without extending to broader for the empire's populace. The dance's guild-specific nature limited its dissemination during this era, preserving it as an insular tradition until later historical shifts.

Development during the Ottoman Period

Following the fall of Constantinople in to the , the hasapiko dance persisted among the Greek Orthodox communities in the city, now known as , where it was preserved as a guild tradition by the butchers' in neighborhoods like Balat and . This continuation served as a means of cultural preservation amid Ottoman rule, allowing Greek butchers to maintain performative elements of their heritage within the constraints of urban life. The name "hasapiko" emerged during this period, derived from the Turkish word "kasap" meaning "," reflecting the linguistic influences of on the Greek-speaking population while the retained its core Greek stylistic features. Originally a mimed battle involving swords performed by the , it evolved into a more rhythmic form without weapons, emphasizing slow, deliberate gestures that evoked martial traditions in a non-combative manner. This adaptation highlighted the 's role in fostering communal identity among Constantinopolitan Greeks. In the multi-ethnic urban environment of Ottoman , hasapiko was performed at gatherings, weddings, and religious festivals, bridging Greek communities with broader social contexts and even influencing parallel Turkish forms like kasap havası. These occasions underscored its function as a shared , sustaining Greek traditions through everyday celebrations in the city's diverse quarters.

Introduction to Mainland Greece

However, its major influx occurred following the 1923 Greco-Turkish population exchange, which brought approximately 1.2 million from Asia Minor and Pontus to , significantly popularizing the dance among displaced communities. In new urban settings, hasapiko adapted within the subculture, particularly in ports like , where refugee musicians and dancers incorporated it into informal gatherings in underground clubs known as tekedes. This integration transformed the dance into a symbol of displacement and resilience for refugee communities, reflecting their shared experiences of loss and cultural continuity through expressive, communal performances. Early 20th-century documentation of hasapiko appears in Greek folk dance collections from the and , marking its evolution from a ritual among butchers to a widespread communal . Retaining influences from its Ottoman-era name—derived from the Turkish kasap for "butcher"—and stylistic elements, it was captured in recordings, such as those by artists like Roza Eskenazi, highlighting its growing role in urban Greek life. The 1922–1923 Asia Minor Catastrophe served as the key catalyst for hasapiko's widespread adoption across mainland , as the defeat of Greek forces in triggered mass evacuations that flooded cities like and , as well as nearby islands, with refugees who preserved and disseminated the dance as a form of cultural resistance and identity.

Musical Characteristics

Rhythm and Meter

The slow version of Hasapiko, known as Vari Hasapiko, is performed in 4/4 meter, characterized by a heavy, deliberate pacing that emphasizes steady and measured progression. This rhythmic structure supports synchronized group movements with a syncopated pattern that accentuates each beat, creating a sense of power and precision. In contrast, the fast version, referred to as Hasaposerviko or Grigoro Hasapiko, employs a 2/4 meter, which introduces quicker tempos and off-beat emphases to heighten energy and dynamism. This form incorporates and acceleration, often with accents on the first beat marked by finger snaps from the end dancers, evoking a marching . Performances of Hasapiko frequently feature tempo progression, beginning at a slower pace in the Vari style and building to the faster Hasaposerviko rhythm, fostering a dynamic escalation that engages participants and audiences alike. The fast 2/4 meter draws from Balkan influences, particularly Serbian serviko elements adapted through Gypsy musicians, transforming the core Hasapiko motif into a more intricate pattern. Traditional instruments such as the and accompany these rhythms, reinforcing the meter's structure through melodic and percussive interplay.

Instrumentation and Style

The music accompanying Hasapiko is rooted in , an urban folk genre that emerged among working-class communities in early 20th-century , characterized by modal scales such as hijaz and phrygian that evoke a sense of melancholy intertwined with resilient strength. Lyrics in Hasapiko tunes frequently explore themes of , , and manual labor, reflecting the lives of butchers and other urban laborers from whom the style derives. Core instrumentation centers on acoustic string and wind instruments, with the serving as the primary lead for intricate melodies, often tuned to facilitate modal playing in hijaz or phrygian. The , a smaller relative of the bouzouki, provides rhythmic strumming and chordal support, while or delivers expressive melodic fills and improvisations. Percussion comes from the touberleki (a goblet-shaped drum), which adds emphatic beats to underscore the dance's 4/4 or 2/4 meter. In some regional variants, particularly those influenced by island traditions, the may substitute for string leads, though it is less common in mainland urban settings. The style evolved from strictly acoustic ensembles in the early , drawing from Ottoman café amusements, to incorporate the in the 1920s and 1930s among Asia Minor communities, adding a brighter, more harmonic texture to -influenced Hasapiko variants. In modern stage performances, fusions often introduce for amplified leads, blending traditional modals with contemporary rock elements while preserving the core essence. Representative examples include "Fragosyriani," a seminal 1935 Hasapiko tune by that exemplifies bouzouki-driven melancholy with themes of lost love and displacement, and early anonymous airs captured in 1920s-1930s recordings, such as those featuring and ensembles evoking urban gatherings.

Dance Description

Formation and Style

Hasapiko is typically performed in a linear or semi-circular formation, with dancers linking arms over each other's shoulders or clasping hands to create a connected chain that emphasizes group cohesion. The number of participants varies, often ranging from small groups of 3 to 5 in traditional intimate settings to longer lines of up to 20 or more in communal social dances. The leader, usually positioned at the front or one end of the line, guides the group's direction, turns, and pace through physical cues and subtle signals, allowing the formation to adapt fluidly during the dance. Rooted in a masculine tradition, the dance's style conveys stateliness through grounded, powerful postures, featuring deliberate knee bends and slow, weighty sways that project strength and precision. In group performances, these movements blend into more fluid, synchronized dynamics, fostering a collective aesthetic of unity and controlled energy. The overall posture remains erect yet flexible, with dancers often gazing downward or forward to maintain focus on the floor and fellow participants. Traditional attire reflects the dance's , with men donning the —a pleated white skirt—alongside a vest, , and tsarouchia pom-pommed shoes for a formal, evocative look. Women complement this with embroidered dresses, aprons, and headscarves, though in modern social gatherings, participants frequently opt for casual everyday clothing to prioritize accessibility and enjoyment. Performance etiquette underscores communal participation, where the leader introduces improvisational flourishes—such as varied turns or accelerations—to engage the group, while all dancers respond in unison to reinforce a of shared rhythm and solidarity. This interactive approach highlights the dance's evolution from intimate, men-only expressions to inclusive social rituals.

Basic Steps and Movements

The basic steps of Hasapiko, particularly in its slow form known as Vari Hasapiko, follow a structured foot pattern aligned with the 4/4 rhythm. Dancers begin with a lunge forward on the left foot (count 1, slow), bending slightly at the waist, followed by tapping the right toe near the left heel (count 2, quick), raising the right leg forward with a bent knee (count 3, quick), and lowering the right leg to the floor (count 4). The pattern then shifts backward: step back on the right foot (count 1, slow), raise the left leg forward with a bent knee (count 2, quick), lower the left leg (count 3, quick), step back on the left foot (count 4), and touch the right foot across behind the left on the upbeat. This sequence is repeated, often mirroring the sides by leading with the right foot forward to balance the choreography. Arm coordination emphasizes stability and subtle expression. Dancers grasp their neighbors' shoulders firmly with hands at shoulder height to maintain the line's , while keeping shoulders relaxed to allow fluid movement. On rhythmic accents, particularly the strong beats, dancers incorporate subtle hip sways, bending the knees slightly to enhance the deliberate, grounded style without disrupting the formation. The dance progresses forward along the line, led by the first dancer who signals changes through body cues transmitted via the shoulder hold. Occasional grapevine crosses, such as stepping the right foot over the left followed by a side step, introduce turns or directional shifts while keeping the group synchronized. To prevent stumbling, dancers must focus on even weight distribution across both feet during transitions, avoiding overcommitment on touches or lunges that could unbalance the line.

Variations

Slow Hasapiko (Vari)

The slow hasapiko, known as vari (meaning heavy) or argo (slow), represents a deliberate and weighted variant of the traditional Greek line dance, characterized by a very slow tempo in 4/4 meter. This pacing allows for exaggerated pauses, particularly on the fourth count of each measure, and deep knee bends that emphasize a grounded, introspective quality. Dancers maintain subtle, fluid movements with minimal syncopation, creating a sense of measured progression rather than lively bounce. The line formation often traces wide, sweeping arcs across the floor, guided by the lead dancer's improvisation, which contrasts with the more linear paths in standard hasapiko steps. This variant gained prominence among displaced during the 1923 population exchange with Turkey, particularly those from regions like and Smyrna, who brought the to urban centers such as . It evokes themes of mourning and steadfast endurance, reflecting the hardships of exile and resettlement in a style reminiscent of rembetiko music's melancholic undertones. Alternative regional names include Peiraiotiko (from ) and Naftiko (sailor's ), highlighting its ties to communities and seafaring laborers who performed it in taverns and on ships. In performance, slow hasapiko features step modifications such as extended holds during forward lunges and pronounced knee flexions, often with dancers adopting a forward-leaning posture or gazing downward for an air of . Originally danced solo, in pairs, or small groups of two to four to foster intimate expression, it has evolved into larger communal settings today, including gatherings that honor historical events. Hands are typically placed on adjacent shoulders in a "T" formation, with end dancers extending arms outward, reinforcing the collective yet restrained energy of the .

Fast Hasapiko (Hasaposerviko)

Fast Hasapiko, also known as Hasaposerviko, represents an accelerated variant of the traditional Hasapiko dance, characterized by a fast tempo in 2/4 meter, which imparts a lively and energetic feel through bouncy steps incorporating and . The "serviko" derives from Serbian influences, reflecting borrowings from Balkan dances that accelerated the following the integration of Slavic elements in after the 1920s population exchanges. In terms of step modifications, the basic patterns from the slower Hasapiko form are shortened and enhanced with dynamic elements, such as added kicks—for instance, a right foot flick forward after a back step—alongside rapid advances of the line through quick side steps and ankle touches. These alterations emphasize agility and synchronization, with dancers maintaining a T-position arm hold while executing pas de basque variations or heel slaps for added flair. Historically, Hasaposerviko emerged in the 1930s and 1940s in urban centers of mainland , where it blended with the burgeoning music scene and ensembles that popularized lively nightlife performances. This variant became prominent in celebratory social settings, such as weddings and festivals, diverging from the slower form as a starting point to infuse cross-cultural vitality. During performances, the lead dancer improvises jumps and rhythmic variations to guide the group, often encouraging audience participation through claps or finger snaps from the line's ends, fostering an interactive and communal atmosphere.

Cultural Significance

Role in Greek Society

Hasapiko plays a central role in Greek social gatherings, serving as an that promotes bonding and , particularly among working-class groups and in the . It is commonly performed at weddings, baptisms, and panigiria (local festivals), where participants join in line formations to celebrate life events and reinforce collective ties. This function underscores its embedding in the social fabric, symbolizing unity and shared heritage during joyous occasions. In the 20th century, Hasapiko gained prominence in cafes from the to the 1950s, where it provided a medium for emotional expression amid urban hardships and marginalization. Introduced by Asia Minor refugees following the 1923 population exchange, the integrated into rebetiko subcultures, accompanying music that articulated themes of displacement and resilience. Post-1970s, amid cultural revival efforts, it has been taught in workshops and educational programs to preserve Greek heritage, ensuring transmission to younger generations. Traditionally male-led, reflecting its origins in butchers' guilds and settings, Hasapiko has evolved into an inclusive practice with mixed-gender lines that empower women through active participation. In contemporary and communities, it continues to foster in community centers and associations, where it aids integration and maintains ties to ancestral traditions.

Influence on Modern Dances

Hasapiko provided the rhythmic and step foundation for syrtaki, a dance choreographed by Giorgos Provias in 1964 specifically for the film , which merges the slow vari hasapiko with faster hasaposerviko elements alongside Cretan motifs to create a progressive acceleration from measured drags to exuberant leaps. This innovation, while building on hasapiko's core line formation and shoulder-linked steps, transformed the butcher's dance into a symbol of Greek vitality that propelled its global recognition through the film's international acclaim and subsequent cultural exports. Beyond syrtaki, hasapiko has permeated tourist performances across , where it features prominently in staged shows for visitors, often in coastal venues and festivals to highlight urban folk traditions amid lively music and group synchronization. In contemporary , it inspires fusions with other forms, as seen in productions like "Icarus Reborn" that draw inspiration from hasapiko and other , blending folk elements with theatrical expression. These adaptations extend to videos, where hasapiko's syncopated patterns underscore modern Greek artists' visuals, amplifying its appeal in media-driven revivals. The dance's global dissemination occurs through international folk dance instruction, with hasapiko tutorials and workshops embedded in curricula from community centers to university programs in and , fostering cross-cultural appreciation of its Byzantine-rooted vigor. Its motifs also appear in shared influences with Balkan fusion styles, evident in rhythmic exchanges where hasapiko's 4/4 meter and line dynamics connect with regional variants like hora and sirba, reflecting historical migrations and musical dialogues across the region. In recent decades, hasapiko has been featured in stage spectacles, as in the 2011 urban theater event "From Andros to Athens…" at the Michael Cacoyannis Foundation Theatre, which traces its evolution for diverse audiences while preserving the foundational steps' communal essence.

References

  1. https://www.danceus.org/style/hasapiko-dance-in-greece/
  2. https://www.britannica.com/art/butchers-dance
  3. https://folkdancefootnotes.org/dance/a-real-folk-dance-what-is-it/about/hasapiko-vari-or-argo/
  4. https://www.dailysabah.com/life/2016/04/02/greek-folk-dances-still-heat-up-istanbuls-dance-floors-centuries-later
  5. http://www.folkdancenotes.com/dancenotes/Dick%20Oakes/Hasapiko.htm
  6. https://greekreporter.com/2016/04/04/greek-and-turkish-folk-dances-with-common-origins-still-popular-today/
  7. https://voxdev.org/topic/migration-urbanisation/how-refugees-continue-positively-shape-greek-economy-over-century
  8. https://socalfolkdance.org/articles/rebetika_karras.htm
  9. https://www.europeana.eu/en/stories/the-asia-minor-catastrophe
  10. http://www.folkdancenotes.com/dancenotes/Dick%20Oakes/Vari%20Hasapiko.htm
  11. https://dancemuseum.cs.ucy.ac.cy/Gallery/Hasapiko.html
  12. http://www.folkdancenotes.com/dancenotes/Dick%20Oakes/Hasaposerviko.htm
  13. https://www.academia.edu/78315174/Westernisation_of_rebetiko_modes_dromoi_brightness_and_darkness
  14. https://www.auxsons.com/en/breves/sounds-of-the-world-proletarian-folk-greek-rebetiko-as-working-class-resistance-and-cultural-mixing/
  15. https://www.hellenicmi.org/rebetiko
  16. https://folkways.si.edu/chris-kalogerson-ensemble/belly-dancing-for-everyone/world/music/album/smithsonian
  17. https://www.greekfolkmusicanddance.com/instruments.php
  18. https://folkdancefootnotes.org/music/2-genres/hasapiko-music/
  19. https://docs.google.com/presentation/d/1y7_XdjOeFQRScGjAaKmy-Nwk-rJjh-3zfqrk9FEI270/htmlpresent
  20. http://www.folkworld.eu/44/e/greece.html
  21. http://www.helleniscope.com/2025/08/23/fragosyriani-by-markos-vamvakaris-the-patriarch-of-rebetiko-music/
  22. http://www.folkdance.com/LDNotations/ArgoHasapiko1970LD.pdf
  23. https://socalfolkdance.org/dances/V/Vari_Hasapiko_%28Argo_Hasapiko%29_%28Karras%29.pdf
  24. https://socalfolkdance.org/dances/H/Hasapiko_G_Greek.pdf
  25. https://www.youtube.com/watch?v=gwSJS1v-GEs
  26. https://awspntest.apa.org/doi/10.1080/1612197X.2024.2437495
  27. https://folkdancefootnotes.org/dance/a-real-folk-dance-what-is-it/about/hasaposerviko-greece/
  28. https://socalfolkdance.org/dances/H/Hasaposerviko_%28Karras%29.pdf
  29. https://theculturetrip.com/europe/greece/articles/7-traditional-greek-dances-you-should-know-about
  30. https://folkdancefootnotes.org/dance/a-real-folk-dance-what-is-it/about/hasapiko/
  31. https://blog.greeka.com/greece/rebetiko-feasts-greece/
  32. https://www.researchgate.net/publication/248917925_Musicking_and_Communitas_The_Aesthetic_Mode_of_Sociality_in_Rebetika_Subculture
  33. https://www.academia.edu/47660135/The_Phenomenon_of_Greek_Traditional_Dance_Workshops_in_Greece_The_Case_of_the_Cultural_Association_En_Choro_
  34. https://www.weddingwire.com/wedding-ideas/greek-wedding-dance-videos
  35. https://www.academia.edu/31104301/The_invisible_dimension_of_Zorbas_dance
  36. https://www.greeksongs-greekmusic.com/zorba-the-greek/
  37. https://www.jstor.org/stable/20465014
  38. https://greektraveltellers.com/blog/most-famous-greek-dances
  39. https://chorosjournal.com/docs/choros6/6_CHOROS_6_IRENE_LOUTZAKI.pdf
  40. https://www.smc.edu/academics/academic-departments/dance/documents/GMSp25ProgramBook0514.pdf
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