Tsitsanis and the birth of the "new" laiko and the birth of the "new" laiko tragoudi

Abstract

The preceding comments from various Greek newspapers about lai"ko tragoudi and rebetika - of which there is an abundance - highlight and reflect the assumptions, the different perceptions and usages of the various terms that have been· used since at least the turn of this century, to define the different forms of Greek music. They also represent the conflicts that ensued for over two decades in the post"War era over the question of what was "real" or "authentic" Greekumsic and what was not. These were issues that appeared to be concerned with musical genres and their exponents; what were really about, however, were
issues of nationhood, national identity, cultural and historical integrity. In that sense and in that context, the discussion about musical genres was highly relevant to the modern Greek's perception of himself and could, therefore, become political as a result.