Early Greek Dancers Make a Splash in North America
EARLY GREEK DANCERS MAKE
A SPLASH IN NORTH AMERICA
By Steve Frangos
Published in The National Herald, August 5, 2006
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I am excited that The National Herald has given Hellenic Genealogy Geek the right to reprint articles that may be of interest to our group.
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Greeks have always been
dancers. One of the most enduring
stereotypic images of contemporary
Greek Americans shows them
dancing to their hearts’ content. If
there is one thing that can be said
indisputably about Greek public
and private entertainment, it is
this: Greeks really like to dance.
Knowing this inherent love of
dance it is extremely curious, then,
why, with so many self-proclaimed
experts on Modern Greek music in
North America, has not one of
them paid systematic attention to
the actual dancers?
Oh, to be sure, there is always
some obligatory mention about
the complexities in Greek dance
rhythms, but nothing about the
dancers themselves, or even about
the various and sundry setting for
Greek dance.
I’m speaking here of traditional
Greek folkdance. I want to roughly
outline the early history of
Greek dance in a professional setting,
and in the local community.
But I also want to take up a notch.
I want to discuss public dance.
DANCING AT KASTONGADI
The earliest eyewitness accounts
of Greeks dancing in North
America, aptly enough, were at
kastongadi. “Kastongadi” was the
Greek American term for the Castle
Garden building on Ellis Island.
Those Greek immigrants
wishing to enter the port of New
York City, and therefore the United
States of America, in the late
1880’s and early 1900’s, had to go
through the long lines at kastongadi.
In 1888, American observers
had no clue as to what the Greeks
were up to the first time Greek
dance was recorded. “It was generally
supposed that they (the
Greeks) were engaged in a religious
ceremony of some sort.” The
steamship Rhaetia had landed at
Castle Garden with a party of 250
Greeks, 67 of whom were men.
For reasons not explained in the
news account, the Greeks were detained.
How did the Greeks respond
to this quarantine?
“A dozen of them joining
hands, all but the two end men,
formed a semicircle, and walked
very sedately from left to right, while the right-end man went
through the most extravagant capers.
During this dance, if it could
be called a dance, all sang in a very
monotonous tone, repeating the
same words over and over. The agile
right-end man suited his actions
to the words, evidently, and at the
proper periods leaped in the air,
threw his feet sideways and turned
around, regaining his feet with a
fling under the arm of his next
comrade, to whom he was joined
by a handkerchief instead of clasping
his hand. At intervals the end
man was relieved until all had
been given a chance to caper. They
kept up this demonstration for
over two hours, while their companions
gazed on in admiration,
and the emigrants outside the enclosure
jeered at them and mimicked
their chant (New York
Times, May 7, 1888).”
The next account may be tied to
the World’s Fair, which was just
then being mounted in Chicago.
The “dance der ventre” is what
Western Europeans in the late
1880’s and early 1900’s called all
forms of what is today known as
belly dancing.
“A party of five Egyptians and
two Grecian dancers were among
the passengers who were landed
on Ellis Island yesterday from the
steerage of the steamship Obdam.
They come to this country to introduce
a new dance – “der ventre,”
they call it – the feature of which is
a sensuous, swaying movement of
the body, which is said to have
made quite a hit among the sensation-loving
Parisians. Four of the
Eastern visitors are dusky-faced
young men.
One of the others is a handsome
Greek girl. The other two
are daughters of the Nile. The party
is in charge of Stamadi Polenei,
a young Grecian woman. She
came in the saloon of the Obdam.
She did not call at the island for
her charges yesterday, and they
were consequently detained (New
York Times December 3, 1892).”
The real question here is who
was Stamadi Polenei? Was she also a dancer? Was she a promoter?
LITTLE EGYPT
Ever since 1893, when George
Pangalos, the Greek businessman
from Constantinople, first introduced
Balkan and Middle Eastern
dancers to North America via the
World’s Fair Columbian Exposition
in Chicago, this centuries-old
dance form has met both heartfelt
acceptance and open disdain. The
various dancers, even the media
created figure of “Little Egypt,”
were all the rage from May 1 to
October 31, 1893 when the Chicago
World’s Fair was host to 27 million
visitors – nearly one quarter of
the country’s population at the
time.
The overwhelming popularity
of the Midway on which the various
foreign theaters were found
had a huge influence on popular
culture in the 20th Century. Not
only did the “… display of ‘native
villages’ on the Midway of Chicago’s
1893 Columbian Exposition
inspired circuses to enlarge their
own displays of tribal people.
The Midway also stimulated
the idea for a collective amusement
company… and the carnival,
as we know it, was born. Bringing
cakes, rides, food, music and theatrical
entertainment into one
complex was an idea heartily approved
by the entertainers and
theater managers who peopled the
Midway and the Wild West Show.
By the turn of the century, the first
permanent iteration of the concept
of the Midway was established
at Coney Island, New York
and has been followed by scores of
permanent amusement and theme
parks throughout the country – including
Disneyland and Disney
World (www.xroads.virginia.edu).”
Little Egypt was the stage name
for at least two popular exotic
dancers: Ashea Wabe, who danced
at the Seeley banquet in Chicago
(causing a scandal at the time),
and Frieda Mahzar Spyropoulos
(died, 1937), both appeared (as
did other women dancers) in the
Egyptian Theatre on the Fair’s
Midway. Frieda Mahzar married a
young Greek who was a vendor at
the Fair: Andrew Spyropoulos (1882-1955).
ALREADY ESTABLISHED
What few Greek Americans today
realize is that there was already
an established form of
“Greek dance” when their ancestors
arrived in North America.
These Greek dances were most often
performed by the young
daughters of America’s upper
classes, who would don gauzy
white costumes and perform
“Greek Suites” of classical dances.
These dances were inspired by
Isadora Duncan’s free interpretation
of classical Greek dances, after
she studied dance figures on
the classical vases at the British
Museum. These dances were very
popular among the upper classes
in the Roaring Twenties.
Not everyone cared for these
free interpretations of classical
dance. Edna St. Vincent Millay
(1892-1950), the renowned American
poet, once complained: “I am
tired of the Greek dance. I am
tired of a group of respectable
young women garbed in pastel
shades of home-dyed cheesecloth,
limping discreetly about, in reticent
abandon, to the tune of something
or other in three-four time. I
am tired of the curved elbow, the
dangling hand, the lifted knee, the
thrown-back head, the parted
mouth, the inarticulate bust restrained
by a bath-cord… the look
that registers horror, the look that
registers woe, the look that registers
that Spring is here… Why is it
the girls of so many of our best
families, the hope of our land, as
you might say, insist upon getting
all safety-pinned up into several
yards of mosquito-netting… (and
then are found) standing around
somebody’s golf links?”
This sort of dancing was far different
from the Greek dancing one
could see during this same period
in any Greektown in the nation.
Louis Adamic (1899-1951), the
Slovenian American who wrote
extensively on the 1880-1920 massive
wave of immigrants to the
United States, offered this description
of the urban American
“Greek dance” one could see by
the late 1900’s (interestingly, Adamic uses the Bulgarian term,
“kyotchek” for belly dancing):
“In large cities like Chicago,
Detroit and St. Louis, where there
are large colonies of Balkan immigrants,
there are coffeehouses for
the different strata of immigrant
society-dingy places for the menial
workers and luxuriously appointed
parlors that cater to the intelligentsia
and the business class. A
coffeehouse is generally located in
a big hall, either on the first or second
floor of a building. It is furnished
with marbled-topped tables
and chairs with wire-twisted legs…
at the back of the hall, there is a
small kitchen where the proprietor
brews the coffee and the tea which
he himself serves to his patrons.
Lokum, baklava and other Oriental
delicacies are also served, in
addition to bottled American soft
drinks… The kyotchek troupe (i.e.,
the belly dance ensemble appearing
in these coffeehouses) consists
of two girls and three men, the latter
making the orchestra of a violin,
a clarinet and a xylophone.
The girls, mostly American-born,
schooled by the managers to sing
obscene Turkish and Greek songs,
and to dance the sensuous kyotchek,
are generally plump of
body – a discernment on the part
of the producers, they having taken
into consideration the tastes of
the patrons…
The troupes now form in Chicago
and first present themselves to
the critical eyes of the Chicago
Greeks. If the girls ‘can do their
stuff’ and meet the approval of the
blasé Chicago first-nighters, they
are instantly booked for long periods…
with contracts for extended
and profitable visits to Detroit and
other Midwest cities.”
As we can see, it is not so difficult
to locate eyewitness accounts
of Greeks dancing from 1888 until
the very early 1920’s. How much
more Greek American history is
just waiting to be rediscovered and
brought to our collective attention?
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