How did Çiftetelli arrive in Athens? Which communities shaped it, and which ones continue to shape it today? What is the connection between Çiftetelli and the experience of minorities and the diaspora?
Patriarchy, nationalism, and racism have burdened us with many names meant to wound and diminish us: “Pastrikes” (unclean women), “Gyftisses” (Gypsy women), “Arapines” (Black women), “Skyloudes” (bitches), “Tsolakia” (sluts), “Basklasaries” (low-class people), “Poustrakia” (faggots), “Traveli” (trannies)—but we never stopped dancing. And with a sharp flick of the shoulders, we keep up our havas (mood, groove).
From the bans on Rebetiko under the Metaxas dictatorship to the Communist Party’s denouncements in the decades following 1922, Çiftetelli has remained on the fringes of Greek dance. To this day, it is not officially recognized as part of Greece’s “traditional” dances. It has been dismissed as loumpen (low-class), tourkomeritiko (of Turkish origin), an enemy of the Nation and of “white,” Eurocentric Greek identity. The expression of femininity—the joy that can be unleashed in our bodies—has always been seen as dangerous, something that needed to be contained, hidden, never allowed to spill beyond the limits imposed upon it. Otherwise, we risked dishonor—as daughters and sons, as “respectable people,” professionals, intellectuals, and so on.
And yet, Çiftetelli lives on, passed down from generation to generation—at weddings, parties, nightclubs, public squares, and village festivals, emerging late in the night when the guests reach tsakir kefi (a euphoric state of revelry).
From Roza Eskenazi to Eleni Foureira, from that one aunt who stole the show at every family gathering, Çiftetelli continues to be danced, evolving constantly, absorbing and reflecting contemporary trends.
The “Athenian Çiftetelli” is an open call to all the communities that shape contemporary Athens. A gathering where we can exchange rhythms, personal stories, and dance moves; where we can bend and sway but also break stereotypes that echo colonial mindsets, elitism, misogyny, and homophobia. A space where we can study texts together, listen to the stories of femininities who feel the Çiftetelli in their bones, celebrate our bodies, and collectively redefine what Çiftetelli means to us.

MEETINGS AT YELLOW BRICK, Eptapyrgiou 7, Nea Ionia
Saturday, March 22, 15:00 - 20:00 ANATOLIANS - MIKRASIATESSES

Saturday, March 29, 15:00 - 20:00 EGYPTIANS - AIGYPTIOTISSES

Saturday, April 5, 15:00 - 20:00 ROMA - ROMA

Friday, April 11, 18:00 - 21:00 CONTEMPORARY ATHENIANS - SYGHRONES ATHINAIISSES

Saturday, April 12, TBA DRUNK WITH JOY - TSAKIR KEFI (Çakır keyf)

Friday May 2, TBA Public Sharing - Moirasma (festive gathering)
Registrations: evassalou@gmail.com – Let me know which dates you’ll be attending and share one or two tsifteteli (musical pieces) that make it impossible for you to stay seated when you hear them!
Tsifteteli carries many contradictions. Some of our discussions may be difficult—come with an open heart, a small meze, and some wine. Looking forward to seeing you, yavria (my darlings)!
**At the moment, this research is not financially supported by any institution. A suggested contribution of €10 per meeting is welcome.** (more, less, or none at all if it’s not feasible for you—just bring yourself!)
The project is currently supported by @yellowbrick_studio (Athens), @xarkis__ festival (Nicosia), @thegreencorridor.brussels and SOFAM (Brussels)

About Elli and Çıftetellı

The gatherings are part of “Some dances last longer than castles: Çiftetelli”, an embodied research on the cross-cultural practice of Çiftetelli (Greco-Turkish dance) as a tool for collective healing, feminist place-making and queer joy.
The project travels to different places to unfold the contemporary local dance’s hybrid form: the city’s Çiftetellisi. The research is conducted through fieldwork, dance classes and the formation of study circles, in different localities.
Elli Vassalou (GR) is a Brussels-based transdisciplinary artist. Her work intertwines with the concepts of migration, diaspora & decolonial pedagogies; counter-mapping minor narratives on the experience of public space and collective memory. She designs platforms of co-creation, collective knowledge production and social change.