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| THE MONTREAL GREEK TIMES GOPHER NEWS SERVICE |
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April 2026
Hellenic cultural academy Romiosyni preserves ancient carnival
traditions for younger generations in Laval
(GIF) article photo
By Antonia Macris
Local Journalism Initiative Reporter
The steady rhythm of regional folk music and the vibrant colors of
traditional costumes filled the Palace reception halls in Laval,
Quebec, transforming a winter afternoon into a warm celebration of
Hellenic heritage. Guests gathered around elegant banquet tables to
witness a revival of ancient customs, surrounded by young dancers
breathing life into age old stories of community and renewal. This
lively gathering served as a vital bridge to the past, aiming to
educate the diaspora about the deep historical roots of the Greek
carnival season and the enduring importance of preserving cultural
identity and the Greek language abroad.
The Greek carnival, often referred to as the “Apokries” season,
represents a three week period of uninhibited festivity that immediately
precedes the solemn fifty day fasting period of Orthodox Lent. Rooted in
antiquity long before the advent of Christianity, these observances
originally functioned as agricultural rites designed to awaken the earth
from its winter dormancy and ensure a bountiful spring harvest. Early
religious leaders initially viewed the celebrations as idolatry, but the
customs were so deeply embedded in the local populations that they were
eventually absorbed into the calendar. During this designated window of
revelry, participants are granted societal permission to engage in
absolute satire, openly mocking everything from everyday hardships to
prominent authority figures such as presidents and priests. The
tradition relies heavily on symbolic costumes, rhythmic music, and
communal dances to literally stomp the ground awake, bringing warmth and
life back to the community after the cold months.
Organized by the Hellenic Cultural Academy Romiosyni on February 22,
2026, the civic event focused entirely on the observance of these rich
traditions. Performers adorned the dance floor in an array of
authentic regional attire, while other participants wore humorous
modern outfits, including striped prisoner uniforms, local hockey
jerseys, and animal ears to reflect the festive spirit. The expansive
hall accommodated generations of families who watched as dancers
linked arms to form large, joyous circles across the wooden floor.
Dance instructor and master of ceremonies Anthony Beliotis welcomed
the attendees and guided the audience through the intricate historical
depth of the diverse performances. Beliotis explained that his group
used to hold this event annually before the global pandemic, and
returning to the venue marked an important milestone for the
community. He stressed the gravity of the academy's mission, declaring
that the community must maintain its morals and customs.
To illustrate these customs, the youth group presented an elaborate
theatrical dance narrating a complex village wedding. The central
storyline followed a young woman from the village and a young man who
had moved to the city, brought together by an enthusiastic local
matchmaker who decided they were a good match. As the vibrant
performance unfolded, hidden secrets were revealed to the audience,
including prior arrangements, family disagreements, and unexpected
relationships that added comedic drama to the presentation. The dancers
utilized specific regional music and choreography to convey the
narrative, beginning with the lively Yianka dance to engage the crowd,
acting as a reminder of the carnivals in Patras and the Ionian islands.
The troupe later performed the Pyrgousikos dance, during which the
matchmaker character excitedly grabbed the village priest by the beard,
drawing laughter from the attendees. They continued with the Gatos from
Eastern Thrace, a traditional dance heavily associated with the region
stretching toward Constantinople.
The storytelling advanced with the Piperi, a traditional folk song where
participants follow lyrical instructions to mimic grinding pepper using
different parts of their bodies, including their hands and feet. Another
notable segment featured the Base dance from Thrace, an intense routine
where men use wooden sticks to keep a steady rhythm at a specific
distance from one another. During this specific dance, a symbolic baby
is passed mouth to mouth among the performers, and the dancers must
ensure the child does not fall to the ground. If a dancer drops the
child, the mother character retrieves the baby and playfully beats the
performers with a stick. The performers highlighted the narrative
tension by executing the Sigano and Pentozali dances from Crete,
referencing local lore where a young man warns the village of his
actions if he cannot marry his chosen bride. Additional dances
represented traditions from Samos, specifically the Avas dance, aiming
to awaken nature and ensure a good year.
he young performers fully immersed themselves in the cultural narrative,
seamlessly blending historic folklore with theatrical comedy. One of the
most popular characters of the afternoon was Mama Melpo, an elderly
grandmother who navigated the dance floor using a metal walker, played
by a performer named Dimitris. Dimitris committed completely to the
persona, altering his appearance to look like an older woman and
interacting playfully with the crowd while adjusting his hair curlers.
Discussing his approach to the character, Dimitris noted the ambiguity
of the role. "We have no confirmed age. We went with a Yaya look and I
think I pulled it off pretty well," he said. He explained that his
ultimate goal was to portray an authentic character to ensure the
audience enjoyed the spectacle. "Just look at me," Dimitris joked. "It
is not the hardest thing in the world to do, but really killing your
tongue, killing, showing that you are about sixty years older really,"
Dimitris explained. He added that this commitment is what it means to do
a performance, as long as everyone enjoys the presentation. "If I was
intense, I was intense," he affirmed.
Evgenia, a vocalist who portrayed the beautiful bride in the
performance, reflected on the profound personal impact of
participating in the cultural academy. She expressed that singing
traditional Greek music makes her feel much more connected to her
culture because it represents her core identity. "Personally, it makes
me feel much more connected to my culture, because it means what I
am," Evgenia shared. She emphasized that such community gatherings are
instrumental in keeping the diaspora together and maintaining the
cultural fabric of Montreal. "I think I would not be me if I did not
do Greek singing, because it is a big part of my life that I think if
I did not do it, something would be lost," she stated. She added that
engaging with the music helps maintain Hellenic traditions even for
those who do not speak the Greek language fluently on a daily basis.
"I think it is a good way to keep your culture, to keep your culture,
even if you do not speak Greek all the time, not always at church, but
at least to do the singing, because it keeps the community, you follow
the music," Evgenia concluded.
The ambitious production required extensive preparation and dedication
from the young dancers, representing approximately thirty children and
eighteen older youth within the academy. Sponsor Peter Strifas
commended the rigorous efforts of the youth, recognizing the value
they bring to the broader community. "Truly it was very nice. The
children tried, it was exciting," Strifas stated following the
performance. He highlighted the comedic elements of the show, noting
specifically that the grandmother character resonated strongly with
the attendees. "Honestly it was something so nice. Especially the
grandmother was very, very nice. We all laughed, I think," Strifas
remarked. Civic support from twenty local sponsors provides the
organization with the means to secure necessary traditional costumes
and continue offering these vital educational experiences to the
community. Supporters included the Palace, Casablanca, the Corinthian
Association, the Messinian Association, and the Tsoroidis family. As
the two hour cultural presentation concluded, Beliotis thanked the
parents and grandparents, stating that without them the children would
not be there. The dancers then left the floor to prepare for a meal.
Following the final act of the theatrical wedding, the venue opened a
large pasta buffet and sweet table for all attendees, alongside a
raffle featuring large gifts and door prizes. Event organizers
proceeded to play music in the reception hall for guests who wished to
remain and dance the rest of the afternoon.
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