“Genitsaroi kai Mpoules” tis Naousas [«Γενίτσαροι και Μπούλες» της Νάουσας], Carnival season custom

This is a Carnival [Apokria – Αποκριά] custom held in the town of Naousa, in Northern Greece. Its main characteristics are masquerades and disguise, wearing masks, singing patinades [πατινάδες] while wandering in procession through the streets of the historic and heroic town of Naousa, pausing at specific crossroads or squares, where participants dance the traditional circular dances to the sound of the zournas [ζουρνάς – zurna pipe] and the daouli [νταούλι – davul drum]. The participants in this event exclusively jpin groups [bouloukia – μπουλούκια] of teenagers and young men, (unmarried, as a rule), called Genitsaroi [Γενίτσαροι -Janissaries]. They move about in pairs and accompany the Boula [Μπούλα] or Nyfi [Νύφη – Bride], who is always impersonated by a young man wearing a modified local bridal dress. The procession is preceded by little children wearing foustanella [φουστανέλλες – traditional, pleated skirt-like men’s garments]. The Genitsaroi and the Boula wear special masks and ornate headdress, while the children wear caps.

The element was iscribed on the National Inventory of Intangible Cultural Heritage in 2020.

 

 

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[toggle title=”1. Brief Presentation of the Intangible Cultural Element “]

a. Under what name is the element recognized by its bearers:

“Genitsaroi kai Mpoules” tis Naousas [«Γενίτσαροι και Μπούλες» της Νάουσας], Carnival season custom.

b. Other name(s):

“Boules” tis Naousas [«Μπούλες» της Νάουσας, “Genitsaroi” tis Naousas
[«Γενίτσαροι» της Νάουσας – Janissaries of Naousa], “Gianitsaroi” tis Naousas [«Γιανίτσαροι» της Νάουσας], “Gianitsaroi kai Boules” tis Naousas [«Γιανίτσαροι και Μπούλες» της Νάουσας ].

c. Brief Description:

This is a Carnival [Apokria – Αποκριά] custom held in the town of Naousa, in Northern Greece. Its main characteristics are masquerades and disguise, wearing masks, singing patinades [πατινάδες] while wandering in procession through the streets of the historic and heroic town of Naousa, pausing at specific crossroads or squares, where participants dance the traditional circular dances to the sound of the zournas [ζουρνάς – zurna pipe] and the daouli [νταούλι – davul drum]. The participants in this event exclusively jpin groups [bouloukia – μπουλούκια] of teenagers and young men, (unmarried, as a rule), called Genitsaroi [Γενίτσαροι -Janissaries]. They move about in pairs and accompany the Boula [Μπούλα] or Nyfi [Νύφη – Bride], who is always impersonated by a young man wearing a modified local bridal dress. The procession is preceded by little children wearing foustanella [φουστανέλλες – traditional, pleated skirt-like men’s garments]. The Genitsaroi and the Boula wear special masks and ornate headdress, while the children wear caps.

d. ICH Domain

X Oral traditions and expressions
X Performing arts
X Social practices – rituals – festive events
X. Knowledge and practices concerning nature and the universe
X. Traditional craftsmanship
X. Other

 

e. Region where the element is to be found:

Prefecture of Imathia, Heroic Town of Naousa.

 

f. Key words:

Genitsaroi [Γενίτσαροι – Janissaries] , Boules [Μπούλες], Gianitsaroi [Γιανίτσαροι], Naousa [Νάουσα], carnival event [αποκριάτικο δρώμενο], custom [έθιμο], mask [prosopida – προσωπίδα /prosopos – πρόσωπος], daouli [νταούλι -davul drum], zournas [ζουρνάς – zurna pipe], Naousa carnival [ναουσαίικη αποκριά]

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[toggle title=”2. Identity of the bearer of the ICH element”]

a. Who is/are the bearer(s) of the element?

The members of the Society for the Protection and Promotion of the custom of “Genitsaroi” and “Boules”.

b. Headquarters/location

Headquarters of the Society for the Protection and Promotion of the Dances and Custom of Naousa “Genitsaroi” and “Boules”
Address: Naousa, Prefecture of Imathia, 14 Chr. Pardikari St., Postcode 59200

Tel.: 2332022671,(Headquarters)

e-mail: mprilos@hotmail.com, info@genitsari-boules.gr

http://www.genitsari-boules.gr

c. Further information regarding the element:

Persons in charge:
Name: Aristeidis Tosios
Capacity: President of the Society for the Protection and Promotion of the
Dances and Custom of Naousa “Genitsaroi” and “Boules”.

e-mail: mprilos@hotmail.com, info@genitsari-boules.gr http://www.genitsari-boules.gr

 

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[toggle title=”3. Detailed description of the ICH element, as found today”]

Genitsaroi and Boules are the pre-eminent carnival custom in the town of Naousa. Its main characteristic is the performative action of disguised men wearing masks. Preparations start quite early, with the formation of the bouloukia, the groups that are going to take part in the event. Preparations may last an entire year, but their culmination is during the Carnival season. The custom begins on the third Sunday from the start of Carnival, continuing with a slight variation on the following day (Monday). It is repeated on the next Sunday (Kyriaki Tyrinis – Cheese-eating Sunday) and on Kathara Deutera (“Clean Monday”, the first day of Lent).

The bouloukia, groups of participants, consist only of men. Their number varies every year. Little boys, not wearing the characteristic masks, also take part. The young men playing male parts in the boulouki are called Genitsaroi. The children are called little Genitsaroi. The only female part in each boulouki is that of the Boula or Nyfi (bride), also impersonated by a young man. Besides the general name, Genitsaroi and Boules, the name Boules is generically used to refer to all the performers.

On Carnival Sunday [Kyriaki tis Apokrias – Κυριακή της Αποκριάς] and the last Sunday before Lent [Kyriaki tis Tyrinis – Κυριακή της Τυρινής] the ritual preparations begin and participants get dressed up, in their homes. The costume of the Genitsaros, whose key element is the fustanella, consists of many accessories and is completed by the prosopo [πρόσωπο – face], the typical mask with tiny openings for the eyes and mouth. Similarly, the man who dresses up as the Nyfi [Νύφη – Bride], puts on a wide, fancy, flowery dress, with characteristic accessories of the local women’s dress of Naousa. He too, wears the prosopo [mask] (without the moustache) and a bridal headdress with flowers and ribbons.

The dressing up ritual is attended by relatives and visitors; once it is completed, each participant waits in his home, until the boulouki [μπουλούκι – group] drops by, accompanied by zournas [pipe] and daouli [drum], picks him up and, all together, they continue their dancing procession. When the melody Zalistos sounds out, the Genitsaros comes to the window or out on the balcony to greet the group, raising his arms up high and shaking his upper torso three times. He then bids his family farewell and the persons who helped dress him, crosses himself at the threshold, takes the other dancers and musicians by the hand, and merges with the rest of the group. Participants greet each other by shaking hands, at the same time hopping three times on one leg, so the asimia [ασήμια] can be heard; these are coins, jewels and amulets pinned to the costume at chest height, to the back and to the fustanella of the Genitsaros.

Similarly, the man who is to impersonate the Boula, also gets dressed at home, following a specific ritual. As soon as the group arrives outside the house, accompanied by the musicians, Boula emerges, bids farewell to the family members, bows before each one and kisses their hands, while they tip her with money. She then greets the group and the musicians in the same manner, and they all begin wandering the town streets singing patinades [πατινάδες]. Once everyone has been gathered, all groups set off for the Town Hall, where they arrive around noon, by which time crowds of spectators have gathered.

The captain of the boulouki, accompanied by the Βoula, enters the Town Hall and, lifting his mask to reveal his identity, greets the Mayor and requests formal permission for the event to begin. This is the moment when the participation of the Municipality in the custom is formally declared, through the highest elected local authority. This is the only moment when the Captain briefly raises his mask, revealing his identity. However, late in the afternoon, when all bouloukia arrive in the Alonia [Αλώνια – Threshing Floor] neighbourhood, all participants raise (or remove) their masks and reveal their faces. The removal of the mask at any other tιμε is considered to be an insult. In turn, Boula also bows low and accepts money as a gift [“dorisma” – «δώρισμα»] from the Mayor.

From the balcony, the Captain announces that permission is granted to his group and gives the signal for the most ritualistic part of the custom to begin. The Genitsaroi unsheathe their pales [πάλες – sabres] and, brandishing them, they dance outside the Town Hall. They dance particular circular dances, the Captain leading, followed by Boula. They then set off, singing a patinada and follow a predetermined route, stopping only at set points, where they dance.

During the patinada, the celebrants dance in pairs, facing each other, while frequently crossing their sabres, commemorating a recreation of battle, the musicians having first given their musical signal. The procession passes through specific landmarks of Naousa that once formed the town’s old boundaries, making interim stops at seven different crossroads, where they perform circular dances (Lamia’s crossroad-τριόδι του Λάμια , Kammena-Καμμένα, Pouliana’s-της Πουλιάνας-, through the Batania-Μπατάνια neighbourhood to the Pontos-Πόντος crossroad [Megas Mahalas- Μέγας Μαχαλάς], the Kioski-Κιόσκι, Ai-Giorgi- Αϊ-Γιώργη] and via Saint Minas’ [Άγιος Μηνάς] church they end up at Alonia [Αλώνια -Threshing Floor] neighbourhood. Each dancer dances at the crossroad near his home, paying tribute to his family. While each first dancer leads the dance, his friends and relatives distribute money in his honour to the musicians, placing it on their musical instruments or in their pockets. As long as the boulouki (the group of dancers) is in motion, none of the spectators are allowed to sing or dance with them, or even lead the dance.

Late in the afternoon, when the dance groups finally arrive in the Alonia neighbourhood, the participants remove their masks. From this moment on, the dancers may be joined by persons who had taken part in the event in previous years, without, however, wearing traditional costumes. Holding their sabres and singing patinades with all the rest, they follow the route up to Kammena. It is a way of paying tribute to all those older dancers, for having contributed to the custom. After the big celebration at Alonia, the groups follow the route Galakeia – Stravos Platanos- Triodi Lamnia [Γαλάκεια-στραβός Πλάτανος-Τριόδι Λάμνια]. The procession will culminate at the location of Kammena [Dioikitirio – Government House), where the final dance is held.

On the first Monday following Carnival Sunday and on Clean Monday [Καθαρά Δευτέρα], the celebrants, not wearing masks or headdress, visit the homes of the group members, who have invited them to party, with dance, songs, mezedes and wine. Partygoers also include everyone following the procession from one house to another. On Clean Monday, in particular, after the home visits have ended, the groups gather and head for Kammena Square, where they dance circular dances. After the final dance, the Genitsaroi drive their sabres into the ground saying, “whatever we’ve said or left unsaid, let it remain here”, then surround the musicians and call out “May you always be worthy!” (Panta axios! – Πάντα άξιος!). Then they bid each other farewell and wishing “May we repeat this next year!” (kai tou chronou! – Και του χρόνου!).

There are a number of interpretations, local or other, according to which, the custom of the Genitsaroi, bears elements vesting it with the quality of a custom wishing for a good year. The time of year that the custom takes place, is at the end of winter and the start of spring; it is the season when nature prepares to flower and bear fruits. The elements of disguise and transformation through the use of masks, the overturning of balance permitted throughout the Carnival period, with men impersonating women, the role of the bride and references to bridal customs as fertility symbols, are the means by which germination and growth, and nature’s bounty may be achieved, as well as health and human eugenics. With their songs and circular dances, the loud sounds of the zournas and the daouli, aiming to ward off evil powers, Genitsaroi and Boules are a custom with a powerfully symbolic character, connected to warding off evil and to nature’s revival.

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[toggle title=”4. Location/facilities and equipment connected to the performance/practice of the ICH element”]

The musical instruments used in this custom are exclusively the zournas [ζουρνάς -zurna pipe] and the daouli [ νταούλι – davul drum].

The outfit of the Genitsaros consists of:

◦ The penevreki (πενεβρέκι) ( long men’s underpants
◦ The betsfes (μπέτσφες) (long white stockings, from the thigh to the ankle)
◦ The skoufounia (σκουφούνια) (white woolen socks)
◦ The voudetes (βουδέτες) (long black fabric tapes that hold up the socks and end in tassels)
◦ The kontela (κοντέλα) (a white shirt with very wide sleeves)
◦ The fustanella (φουστανέλα), the basic item of clothing of the Genitsaros’ costume
◦ The pisli (πισλί) (a type of waistcoat, worn over the shirt)
◦ The asimia or asimika (ασήμια ή ασημικά), silverware, including a great variety of coins, jewellery and amulets. Each one, depending on its design and manufacture, has its special name. They are pinned to the chest, the back (sewn on a waistcoat) and on the fustanella of the Genitsaros
◦ The zonari – moraitiko (ζωνάρι – μοραΐτικο) a waistband/sash for the waist, like the one worn by the bridegrooms of Naousa
◦ The seliachi (σελιάχι) (a leather accessory worn around the waist, over the sash
◦ The prosopo or prosopida (πρόσωπο ή προσωπίδα) – the “face” a kind of improvised mask, in two basic colours, white and red, with a round gold symbol on the forehead. It is made of thick fabric, using a special mould. Inside, it is lined with wax, a material which is wearer-friendly, as it keeps the face cool. A characteristic of both faces (male and female) are the tiny eyes and small mouth
◦ The tarampoulo or zonari (ταράμπουλο ή ζωνάρι) (a long silk sash which is elaborately tied around and above the mask
◦ The mantili (μαντίλι) a kerchief tied around the right wrist, used when dancing
◦ The tsarouhia (τσαρούχια ) – typical/ traditonal rustic shoe with a black woolen pompom
◦ The pala (πάλα) (a sabre, i.e. a sword with a broad curved blade) held by the Genitsaroi when they dance

The outfit of the Boula-Bride consists of:

◦ A wide gaudy dress
◦ The female mask and a headdress with brightly coloured paper flowers, ribbons and accessories from Naousa women’s “best” dress
◦ Gold coins on the chest
◦ Saltamarka (σαλταμάρκα) (a tight waistcoat with sleeves)
◦ Collars/ ruffs
◦ A gold embroidered waistband with the kolani (κολάνι) (the characteristic buckle of Naousa, embroidered in the local style..

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[toggle title=”5. Products or material goods in general which are the outcome of the performance/practice of the ICH element “]

Masks and various decorative items

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[toggle title=”6. Historical facts relating to the ICH element”]

There is very little written evidence providing information on the performance of the event in the distant past. The first written mention is by Gerasimos Kapsalis (Bulletin of the Greek Folklore Society, Vol. VI – Γεράσιμος Καψάλης – Λαογραφία (Δελτίο της Ελληνικής Λαογραφικής Εταιρείας, τόμος Στ΄) in 1917-1918, followed by articles in local newspapers (1928 and 1929), together with oral testimonies, descriptions and narratives by pre-war dancers. On the basis of these testimonies, it is surmised that the custom, at least in form, remains unchanged until today (as far as the dances, the melodies, the songs, dress, the formal ritual and overall ethos go).

The custom flourished in the late 19th and early 20th century. During World War II it ceased temporarily and was revived in 1954 with the participation of several old, pre-war dancers. Since then, it has taken place unfailingly. The entire ritual reflects elements of local tradition, songs, myths and legends that are reminders of the recent history of the town of Naousa and, more specifically, the heroic fights of the people of Naousa with the declaration of the War for Independence in 1822.

The ”Boula – Society for the preservation and promotion of local dances” was founded in 1971, and in 1979 it was renamed as “Society for the preservation and promotion of dances and the custom of Genitsaroi and Boules”. In 1978, after a fifty-two year interruption, the Society revived a variation of the event on Orthodox Church Sunday [Κυριακή της Ορθοδοξίας], with the participation of Genitsaroi (without masks) and their families, who visit the Spilaio [Σπήλαιο] area, possibly to commemorate the anniversary of the declaration of the War of Independence in Naousa in 1822.

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[toggle title=”7. The significance of the element today.”]

a. What is the significance of the element for the members of the community/its bearers?

The element is of great importance for the members of the Society. Participation in the custom requires, beyond dedication and passion, a great effort and ample time (for the preparation of costumes, rehearsals, etc.). For the inhabitants of Naousa, it is an integral part of their individual and collective identity, as well as a key element for the unification and revival of the local community, since expatriates, internal and external migrants from Naousa return annually to their town of origin, to participate in the event. Members of all cultural societies and any other young person who so desires may also join a boulouki and participate in the event, provided they follow the predetermined ritual. Furthermore, it is customary, during the performance of the event on Carnival season Mondays, for all town institutions (educational, cultural and business), to treat the dancers with a variety of delicacies. During the preparations and performance, unbreakable bonds are formed between participants, their feeling of pride for their land of origin is strengthened, and their collective historical memory is kindled.

b. What is the significance of the element for contemporary Greek society?

The custom is of the utmost importance to contemporary Greek society, as it highlights, over time, the local traditions, the myths, legends, songs and heroic struggles of Naousa. The custom is a key element of local identity, a living tradition of the town and a fixed point of reference for the people of Naousa everywhere. Furthermore, it attracts a large number of visitors to Naousa during the Carnival period, thus notably strengthening local economy.

 

c. Did the community participate, and how, in the preparations for the inscription of the element in the National Inventory of Intangible Cultural Heritage?

The “Genitsaroi kai Boules” Society submitted a nomination file for inscription of the custom in the National Registry for Intangible Cultural Heritage of Greece, in order to safeguard it and make it more broadly known. The desire and finally the submission of a Bulletin for the inscription of the custom in the National Registry for Intangible Cultural Heritage of Greece was the outcome of an initiative of the Municipality of the Heroic Town of Naousa, that took place between 2011-2014, thus recording and scientifically documenting the custom. The Municipality’s request broadly reflects the desire of all inhabitants of Naousa. Research was conducted locally by the Aristotle University of Thessaloniki (Department of Modern and Contemporary History, Folklore and Social Anthropology). Ms Eleonora Skouteri-Didaskalou, …Assistant Professor in the Department of Modern and Contemporary History, Folklore and Social Anthropology, bore scientific responsibility for the project. The research group also included Mr Iakovos Michailidis, Assistant Professor in the same Faculty, Ms Miranda Terzopoulou and Ms Zoe Margari, both researchers at KEEL [ΚΕΕΛ- Research Centre for Greek Folklore of Athens Academy], as well as a group of postgraduate and undergraduate students from the Faculty of History and Archaeology of AUTh. The research findings are included in an unpublished paper by Ms. Skouteri. Certain key research data (reports, memoranda, transcriptions and digital interviews, as well as individual research data) were submitted to the Municipality of Naousa in 2014. Key findings were announced in an event organized by the Municipality. Since 2011, the Society’s Board of Directors have actively participated in the preparations for the inscription of the element in the National Registry for Intangible Cultural Heritage of Greece, by collecting historical evidence, providing information, bibliographical references, photographs, material evidence, etc. Furthermore, they participated in meetings with competent authorities to defend the application. In all aforementioned actions, the Society’s Board of Directors, consisting of Aristeidis Tosios, Petros Koutsogiannis, Nikolaos Bratsis, Stergios Anthopoulos, Michalis Agiannidis, Theodosios Tsoukalas, Grigorios Paschoulas, had the full support and cooperation of all the former Presidents of the Society (Messrs Georgios Agris, Georgios Zachariadis), the Hon. President Dimitrios Baitsis, as well as all town Mayors until today, Messrs Georgios Polakis, Anastasios Karampatzos, Nikolaos Koutsogiannis, and Nikolaos Karanikolas.

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[toggle title=”8. Safeguarding / Promotion of the element “]

a. How is the element passed down to the younger generations today?

The custom’s ritual is transmitted experientially from one generation to the next up until today. The event is safeguarded and remains alive and important to younger generations, not only through oral tradition, but also through dance and song classes, as well as teaching of the process followed for dressing the participants with the characteristic costumes.

Dance rehearsals of the custom take place at the Society’s headquarters and this is where the participants’ costumes are kept. This is also where all activities take place, that are related to the performance ritual of the custom and its transmission to younger generations (classes for folk singing, music and local dances of Naousa). Clearly, active participation in the custom presupposes mental stamina, deriving from true passion and dedication – the so called meraki , love, and the experience of every participant.

 

b. Measures taken in the past or being implemented at present for the safeguarding/promotion of the element (on a local, regional or broader scale)

The Society’s primary concern is to safeguard and promote the custom, through a systematic effort for the transmission of the ritual to younger generations. Besides the classes offered, the Society’s activities include the publication of books and papers, exclusively through the care and attention of the members of the Board of Directors. The audiovisual and print material is kept in the Society’s archive.

The Society’s efforts have the unanimous support of Naousa’s society. The municipality of the Heroic Town of Naousa contributes towards the promotion of the custom; besides the personal participation of every Mayor in the custom’s ritual, they provide ancillary and varied support (e.g. financial support and promotion) for all activities related to the custom. Furthermore, the local press contributes towards the custom’s promotion through articles and special coverage. The numerous visitors during the Carnival period provide an additional means for spreading and promoting the event outside Naousa.

c. Proposed measures for safeguarding/promotion of the element for future implementation (on a local, regional or broader scale)

The necessity to preserve and safeguard the custom from the danger of commercialization exclusively as a tourist product is pressing. This, naturally, does not exclude initiatives and actions for the highlighting and promotion of the town as a tourist attraction during the custom’s enactment.

However, every single effort needs to be guided by the aim of promoting the custom as a living tradition and an important element of the collective memory of the people of Naousa, rather than as a musical and dance performance intended for tourists.

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[toggle title=”9. Βasic Bibliography”]

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  • Αποστόλου, Σ. (1992), «Οι Γενίτσαροι του τουρκικού στρατού και οι Μπούλες του Ναουσαίϊκου αποκριάτικου εθίμου, Έρευνα σε αλβανικές πηγές», στο Σύμμεικτα τ. Α΄ Μακεδονικές Μελέτες, Νάουσα.
  • Βαλσαμίδης, Μ. (2004), Οι ρυθμοί των τραγουδιών του δρώμενου «Μπούλες της Νάουσας», Νάουσα.
  • Γαβριηλίδης, Θ. (1995), «Γιανύτσαρος και Μπούλα (η ιστορία των ονομάτων)», στο Νιάουστα τ.70-71, Νάουσα.
  • Γκούτας, Φ. Α. (1999), Η Νάουσα στον 19ο αιώνα, Θεσσαλονίκη.
  • Δεινόπουλος, Π. (1995), «Γενίτσαροι και Μπούλες στη Νάουσα και στα Λεχαινά» στο Νιάουστα, τ. 73, Νάουσα.
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  • Δημητριάδης, Δ. (1995), «Το καρναβάλι της Ναούσης άλλοτε και σήμερα», Φωνή Ναούσης, 27/2/1955.
  • Δήμος Νάουσας (2008), «Αποκριές στη Νάουσα», Συλλεκτικό επετειακό τεύχος-αφιέρωμα στην Αποκριά της Νάουσας από το 1954 έως σήμερα, Νάουσα.
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  • Ζάλιος, Χ. (2009), Παραδοσιακοί χοροί- Ήθη και έθιμα της Νάουσας, Νάουσα.
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  • Μπάιτσης, Τ. (2010), Γιανίτσαροι και Μπούλες της Νιάουστας, 3η  έκδοση του Ομίλου Γενίτσαροι και Μπούλες, Νάουσα.
  • Μπάιτσης Τ. (1982), «Σούγγαρης Κωσταντούλης, ο λαϊκός ποιητής της Νιάουστας», στο Αποκριές, έκδοση Ομίλου Γενίτσαροι και Μπούλες, Νάουσα, σσ. 100.
  • Νίκου, Κ. (1978), «Αποκριάτικο άλμπουμ με αναμνήσεις του Τρυφ. Χατζητρύφων», στο Νιάουστα, τ.2, σσ.20.
  • Νομαρχία Ημαθίας (1971), «Το ιστορικό των Γενιτσάρων» στο Ημαθία, Γενικά Αρχεία του Κράτους (ΓΑΚ) Ν. Ημαθίας, Ιανουάριος-Φεβρουάριος, σσ. 11.
  • Σαμαρά, Χ.Θ. (1969), «Μπούλιες» στο Μακεδονικός Αγώνας, Θεσσαλονίκη: Εταιρεία Μακεδονικών Σπουδών, σσ. 77-81. 
  • Σπάρτσης, Ν. (2003), Αντέτχια στη Νιάουστα, Νάουσα.
  • Στουγιανάκης Ε. (1924), Ιστορία της πόλεως Ναούσης, Έδεσσα.
  • Στράτου, Δ. (1978), Ελληνικοί Παραδοσιακοί Χοροί, Αθήνα: Ο.Ε.Σ.Β
  • Χωνός, Σ. (ψευδώνυμο «Αμερόληπτος), (1928), «Η Ιστορία του Καρνάβαλου της Ναούσης», εφημερίδα Νάουσα, 4/3/1928.
  • Χωνός, Σ. (ψευδώνυμο Καθημερινός), (1929), «Η εξέλιξις του Γενήτσαρου» , Εφημερίς Λαού Ναούσης, 24/3/1929.
  • Χωνός, Σ. (1929), «Κομιτάτο των Απόκρεων», Εφημερίς Λαού Ναούσης, 24/3/1929
  • Στουγιαννάκης Ε.(1924), Ιστορία της πόλεως Ναούσης, ‘Εδεσσα.
  • Αδημοσίευτη μελέτη της Ελεωνόρας Σκουτέρη-Διδασκάλου, τ.Αναπληρώτριας Καθηγήτριας στον Τομέα Νεώτερης & Σύγχρονης Ιστορίας, Λαογραφίας και Κοινωνικής Ανθρωπολογίας στο Αριστοτέλειο Παν/μιο Θεσσαλονίκης.

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[toggle title=”10. Additional documentation”]

  • The Society’s Publications
    • Μπάιτσης, Τ. (1977), Τα δημοτικά τραγούδια της Νιάουστας.
    • Μπάιτσης, Τ.(1981), Κωνσταντούλης, ο λαϊκός ποιητής της Νιάουστας.
    • Μπάιτσης, Τ. (11986, 22001, 32010), Γιανίτσαροι και Μπούλες της Νιάουστας.
    • «Ο κύκλος της ζωής και το Δημοτικό τραγούδι της Νιάουστας (2003), (CD με 34 τραγούδια από παλιές ηχογραφήσεις).
    • Correspondence of the Mayors of the Heroic Town of Naousa

Additional documentation on the Custom

a. Audiovisual material

◦ Αρχείο Δήμου Νάουσας, «Καρναβάλι στη Νάουσα», Επίκαιρα του 1956.

◦ Αρχείο Ομίλου Γενίτσαροι και Μπούλες, Ανέκδοτο φωτογραφικό υλικό του 19ου και 20ού αιώνα.
◦ Αρχείο Ομίλου Γενίτσαροι και Μπούλες, Ανέκδοτα οπτικοακουστικά ψηφιακά αρχεία 1982 – 2019 παλαιών συμμετεχόντων στο έθιμο.
◦ Αρχείο Ομίλου Γενίτσαροι και Μπούλες, Κληροδότημα και Δωρεές Πινάκων του λαϊκού ζωγράφου της Νάουσας Δημητρίου Σκούπερ, 1971-2019.

 

b. Maps (Appended to the Bulletin)

◦ Δήμος Ηρωικής πόλεως Νάουσας, Χάρτης «Νάουσα, τα Όρια της πόλης και η πορεία των Μπουλουκιών»
• Μπάιτσης, Τ. (2010), Γιανίτσαροι και Μπούλες της Νιάουστας, «Χάρτης της Νάουσας με τα δρομολόγια, τις στάσεις και το σπίτι του Γενίτσαρου και της Μπούλας», 3η έκδοση του ομίλου Γενίτσαροι και Μπούλες, Νάουσα 2010, σσ.66-67.

 

c. Tourist guides

◦ «Νάουσα, Ο τόπος, το χθες και το σήμερα» (2005), Δήμος Ηρωικής πόλεως Νάουσας, σσ. 44-45.
◦ Οδηγός Ιστορικού και Λαογραφικού Μουσείου Νάουσας (2001).
◦ Στη γη του Αλεξάνδρου (2008), Νομαρχιακή Αυτοδιοίκηση Ημαθίας, σσ.134- 135.
 Τουριστικοί οδηγοί Αποκριάς Δήμου Η.Π. Νάουσας 2009-2020 d. Web sources (hyperlinks)
1)https://www.naoussa.gr/culture
2) https://el.wikipedia.org/wiki/Μπούλες. 3)https://www.e-naousa.gr/article.php?naousa.
4)http://thesingingfish.eu/genitsaroi-kai-mpoules-sti-naousa. 5)https://www.topoikaitropoi.gr/ithi-kai-ethima/oi-mpoules-genitsaroi-tis-naousas. 6)https://www.youtube.com/watch?v=4dwUNexpJuI
7) http://www.medeat.gr/northern-greece/imathia

 

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[toggle title=”11. Particulars of the Bulletin’s author”]

a. Name(s) of Author(s):
Society for the Safeguarding and Promotion of the dances and the “Genitsaroi kai Boules” custom of Naousa.
b. Capacity of author(s):
Cultural Society
Contact person: Tasos Aristeidis, Chairperson of the Society
Tel.: 2332022671
Εmail: mprilos@hotmail.com

c. Place and Date of the Bulletin’s Compilation Headquarters of the Genitsaroi kai Boules Society
Perdikari 14, Naousa, Imathia, 09-07-2019

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The bulletin is also available in PDF form: Genitsaroi_kai Mpoules_tis_Naousas