Καλλιτεχνικός Σύλλογος Δημοτικής Μουσικής Δόμνα Σαμίου

From amongst the content of Carnival songs emerges a grotesque landscape of human faults and weaknesses, a map of social roles and relationships, where everything is catalytically lampooned without, however, losing a deeper sense of affection and acceptance. Bishops, priests, monks, old men and women, with inadmissible or inopportune erotic desires, and rapacious women –most of them without a man: widows, nuns, and priests’ wives– are the main objects of these satirical songs. The extremely bold jokes and the ridiculing of taboos give the impression of rampant sexuality. Nevertheless, despite this climate of unbridled eroticism, sexuality continues to be dealt with as a socially defined phenomenon, and therefore forbidden or reprehensible among certain groups of people, such as those just mentioned.

Women, always the butt of the harshest social criticism, are here too in the spotlight. What is most severely satirized is their erotic voracity. Men, on a symbolic level and with magical expediency, claim the reproductive power of women by means of female disguises; but on a social plane of moral judgment, as the main performers of these particular songs, they make fun of the role they have taken on and reconfirm their authority over female sexuality.  (See also Five and ten priests' wives and An old man was approaching). Miranda Terzopoulou (1994)

The song was recorded in Kozani (Macedonia), in 1990.