The musical identity of Lesvos island- that is “the window to the East” according to our national music teacher Simon Karas – occupies a large part in the diverse and multidimensional Greek traditional music, despite of its peculiarities. The rich musical heritage of Lesvos was adrift from the influence of each musical trends, which tend to eliminate the spiritual attributes of our nation. The partial indifference of younger generations, widespread adherence to different backgrounds musically and poetically derivatives discs and broadcasting and the lack of basic, even a provision for the preservation and dissemination of our popular cultural heritage are signs that forsee the difficult future for our national musical language. Over the last two centuries western scholars, like Korais, for the disappearance of Greek consciousness. The Greek state has not managed to find the courage to establish a more musical edifice which could heal all the muses of our culture. Argyris Eftaliotis was vindicated when speaking of barbarization that “is afraid to see the fancy, and ashamed to see its own”
Historian Sarados Kargakos states: “The process of tradition (“paradosi”) concerns what we deliver and not what we received; otherwise the process would be called reception …” ( Greek word for tradition is the same as delivery). This approach tends to be forgeten by the cultural institutions and engage in folklore type stage presence, with neologisms that carry particular ideological charge. This great responsibility of the tradition of folk muse lost modern Greeksthrough the educational system. It seems that the idea-proposal by Anthony Tritsi was not enough . Greek music schools never achieved the purpose and objective for which they were established. The blind, complex mimicry which prevailed in the post-liberation Greece quickly became visible. At this point we encourage a minimum one hour a day teaching, at all levels of compulsory education entitled “I love my country – I love Lesbos”, that inspired teachers, with the agreement of the competent departments will teach Greek children, local history , local geography, local folk music. The above program was implemented by other educational regions with great success, and were awarded for innovative actions in the educational system. We urge the local authorities and cultural operators of each place to stop for at least five years, spending money on festival-type events and to allocate this money for establishing culture schools. Shining example and success story is the Reading School of Agiasos. We propose the stakeholders with the most complete version of our popular musical culture. The “consubstantial and inseparable” of speech, music and movement. We hope the “third life” of the creations of popular muse be painless, peaceful and with good apology.
