{"id":9040,"date":"2023-11-03T06:45:06","date_gmt":"2023-11-03T06:45:06","guid":{"rendered":"https:\/\/www.northaegean-music.gr\/%cf%80%ce%bf%cf%8d%ce%bb%ce%b7%cf%82-%ce%bb%ce%b5%cf%85%cf%84%ce%ad%cf%81%ce%b7%cf%82\/"},"modified":"2026-10-05T07:42:46","modified_gmt":"2026-10-05T07:42:46","slug":"poulis-lefteris","status":"publish","type":"post","link":"https:\/\/www.northaegean-music.gr\/en\/poulis-lefteris\/","title":{"rendered":"Poulis Lefteris"},"content":{"rendered":"

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Place of birth: <\/strong>Mandria, Ikaria<\/p>\n

Year of birth: <\/strong>1949<\/p>\n

Short biography:<\/strong><\/p>\n

Lefteris Poulis (known as Skantzakas) is a professional musician and plays the violin: \u00abMy name is Lefteris, my surname Poulis. I come from a family of refugees. My wife is a local, from Mandria, this is where I got married. I got married at a young age, had a family. I live here, but not always. I go away, for my work [\u2026]\u00bb.<\/p>\n

Other musicians in his family were: \u00abMy grandfathers, I don\u2019t know, my uncles, all of them, all were musicians. Not all, but my father played and my grandfather played, and one of my uncles played the violin [\u2026]. My father was a fisherman, he had a trawl net [and] he played the mandolin [\u2026]. My father was from Kastelorizo. My mother was from Ikaria, from Frandato [\u2026]\u00bb.<\/p>\n

He began playing music at a young age: \u00abSince I was a child. When I was a little boy and I started, I had a grandmother who [\u2026] my parents were dead, my mother died very young, 38 years old. And I lived in Frandato, in a village, where my grandmother was a teacher at the time [\u2026]. And then when I was 10-11 [years old] they got me a violin \u2013 some aunt over there \u2013 and I started. When I was 15 I went to a festival and that way I started, little by little, on my own, without anybody showing me \u2013not one person \u2013 not a single note. Not one person [\u2026]. Well, later, when I\u2019d grown up, let\u2019s say, when I started going out, spending time with musicians [\u2026]. But I\u2019d begun all on my own\u00bb. In Athens, where he used to go: \u00abThen I sat down with the musicians and I learnt what I needed to learn, so to speak. But I\u2019d learnt already. I\u2019d started on the violin. I could play\u00bb.<\/p>\n

On his professional life: \u00abIn terms of work, I do almost anything. But my main [\u2026] my main job is this [music], because I don\u2019t just make my living here, in Ikaria. I go abroad, too, I go to America, I go [\u2026]\u00bb.<\/p>\n

On his performances, nationally and internationally, and the records he\u2019s made, he says: \u00abI\u2019ve worked in Samos, and Fournoi, and in Mykonos, and in Syros, I\u2019ve been to Turkey for work, and to Italy, and to America. In all kinds of places [\u2026]. Now they\u2019ve asked me to go to Australia, there\u2019ll be a festival for Ikaria there [\u2026]. I work a lot in the summer, yes. And in the winter, too. We do weddings, balls, I go to various associations in Athens, well, that sort of thing [\u2026]. I\u2019ve recorded a CD [\u2026], there\u2019s one in America [\u2026], yes, I\u2019ve done a lot. Now I\u2019m doing a new one, with the guys, which will be released shortly. [\u2026] Another CD, \u2018Symbol\u2019, with the lyrics written by Maglaras, a composer. There are a lot of songs about Ikaria. They aren\u2019t local songs, but he mentions Ikaria all the time [\u2026]\u00bb.<\/p>\n

He collaborated with a number of musicians: \u00abI\u2019ve worked with many people [\u2026]. I have a troupe with me, and I have good musicians with me now [\u2026]. I have a lutenist, I have an oudist, a bouzouki-player, well, the bouzouki-player doesn\u2019t play all the time, just when we do rebetika[1]<\/a>. A clarinetist, a guitarist and a girl who [sings][\u2026]. [Earier] I had a man who played the tsabounofylaka[2]<\/a> [\u2026] He played a Kariotikos[3]<\/a> [\u2026]. My wife was with me [in the band] when we were young. She played the lute. I\u2019d shown her a few things on the lute [\u2026] and she would come with me and help out. Later, of course, when we had children she didn\u2019t [\u2026] I formed a band [\u2026]. Yes, she accompanied me. She was a very dynamic person [\u2026]. I begin with a n improvisation, as they say. You know, an imporovisation. That\u2019s personal to everyone. Then each musician does their own thing \u2013 along the same lines \u2013 their own piece, the guitarist plays his piece, and that\u2019s how we begin\u00bb.<\/p>\n

Regarding the European dances played in Ikaria, and the local festivals, he said: \u00ab[\u2026] They\u2019d dance the tango, the polka, a little waltz, a fox trot [\u2026]. And even these days, they tell me: \u2018Play us a little tango, so we can dance\u2019. [\u2026] Even back then, there were associations organising the festivals. But the festival in Ikaria is not exploitable like other festivals out there. The festival in Ikaria was held by the associations of each village, to collect money [\u2026]. A strange thing. I\u2019m playing in Akamatra, in a festival with 4,000 people \u2013 not all locals, you understand, mostly foreigners \u2013 and the band is playing all kinds of songs, and rebetika, and laika[4]<\/a> and nisiotika[5]<\/a> [\u2026]. As soon as I pick up my bow for the Kariotikos, everyone gets up [to dance]. The Kariotikos, when Ikaria was occupied by the Turks, they used to dance the Kariotikos crosswise. It was meant to symbolise the shackles, you know, it showed that the dance was sort of enslaved, just like Ikaria. When Ikaria was liberated, they\u2019d hold each other\u2019s shoulder, like this [\u2026]. I played with the Lykeio Ellinidon[6]<\/a> the other day, and they danced the Kariotikos crosswise. [\u2026] I\u2019ve added a lot to the Kariotikos myself [\u2026]. I didn\u2019t learn this [by myself] \u2013 let\u2019s not be \u2013 [\u2026]. I\u2019d watch people dance \u2013 there was some old folk, twisting and turning, and it was so inspiring to watch \u2013 and I added some things that complemented it, let\u2019s say. It fit. It mellowed, as we like to say. [\u2026]. Look, we mustn\u2019t be arrogant, those people, the old men [the earlier musicians] that\u2019s where we all start from\u00bb.<\/p>\n

On the Kariotikos: \u00abIn Raches \u2013 up here \u2013 they had [\u2026] the musician who played, the violinist, played the Kariotikos with the same steps but slower, with different moves. Around Frandato, there was the \u2018Tsamourikos\u2019, the Perameritikos, in Agios [Kirykos] they had the Fanariotikos. Over in Karginari, it was the \u2018Papadiotikos\u2019\u00bb.<\/p>\n

 <\/p>\n

[1]<\/a> Greek urban folk music, traditionally played on the bouzouki.<\/p>\n

[2]<\/a> Greek island bagpipes.<\/p>\n

[3]<\/a> Traditional dance of Ikaria.<\/p>\n

[4]<\/a> Greek folk\/pop music.<\/p>\n

[5]<\/a> Traditional songs of the Greek islands.<\/p>\n

[6]<\/a> The Lyceum of Greek women.<\/p>\n

 <\/p>\n

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Images<\/h2>\n

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Video<\/h2>\n

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Fox anglais (English foxtrot) Mandria, Ikaria | 2008 Instrumental English foxtrot Lefteris Poulis or \u201cSkatzakas\u201d, violin; Leonidas Tsantiris, lute Researcher: Nikos Dionysopoulos Sound Engineer: Nikos Dionysopoulos” title_tablet=”\u03a0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u0397\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7\u03c2” title_phone=”\u03a0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u0397\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7\u03c2” title_last_edited=”off|phone” _builder_version=”4.24.0″ _module_preset=”default” title_level=”h6″ title_font=”Roboto|500|||||||” title_text_color=”#40514c” title_font_size=”1.1em” caption_font=”|300|||||||” caption_text_color=”#000000″ horizontal_offset=”0px” z_index=”0″ vertical_offset_tablet=”” vertical_offset_phone=”” vertical_offset_last_edited=”on|desktop” horizontal_offset_tablet=”0px” horizontal_offset_phone=”0px” horizontal_offset_last_edited=”on|desktop” width=”96%” width_tablet=”97%” width_phone=”90%” width_last_edited=”on|desktop” max_width_tablet=”” max_width_phone=”” max_width_last_edited=”on|desktop” custom_margin=”-3%|||1.2%|false|false” custom_margin_tablet=”|-1%||1%|false|false” custom_margin_phone=”|||2%|false|false” custom_margin_last_edited=”on|phone” custom_padding=”2vh|1vw|2vh|0.3vw|false|false” custom_padding_tablet=”|2vw||0vw|false|false” custom_padding_phone=”|4vw||0vw|false|false” custom_padding_last_edited=”on|tablet” hover_enabled=”0″ z_index_tablet=”0″ z_index_phone=”0″ z_index_last_edited=”on|desktop” custom_css_audio_buttons=”color:#40514c;” custom_css_audio_timer=”color:#40514c;” custom_css_audio_sliders=”color:#40514c;” custom_css_audio_sliders_current=”color:#40514c;” box_shadow_style=”preset2″ box_shadow_blur=”0px” box_shadow_color=”#40514c” global_colors_info=”{}” width__hover_enabled=”on|hover” box_shadow_color__hover_enabled=”on|desktop” box_shadow_color__hover=”#d17e5b” width__hover=”” positioning__hover_enabled=”on|desktop” position_origin_f__hover_enabled=”on|desktop” position_origin_a__hover_enabled=”on|desktop” position_origin_r__hover_enabled=”on|hover” vertical_offset__hover_enabled=”on|hover” horizontal_offset__hover_enabled=”on|hover” z_index__hover_enabled=”on|hover” horizontal_offset__hover=”0px” z_index__hover=”0″ sticky_enabled=”0″][\/et_pb_audio][et_pb_audio audio=”https:\/\/www.northaegean-music.gr\/wp-content\/uploads\/2023\/11\/ika_014.mp3″ title=”2. Kariotiki Borka (Ikarian Polka) Mandria, Ikaria | 2008 Instrumental polka Lefteris Poulis or \u201cSkatzakas\u201d, violin; Leonidas Tsantiris, lute Researcher: Nikos Dionysopoulos Sound Engineer: Nikos Dionysopoulos” title_tablet=”\u03a0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u0397\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7\u03c2” title_phone=”\u03a0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u0397\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7\u03c2” title_last_edited=”off|phone” _builder_version=”4.24.0″ _module_preset=”default” title_level=”h6″ title_font=”Roboto|500|||||||” title_text_color=”#40514c” title_font_size=”1.1em” caption_font=”|300|||||||” caption_text_color=”#000000″ horizontal_offset=”0px” z_index=”0″ vertical_offset_tablet=”” vertical_offset_phone=”” vertical_offset_last_edited=”on|desktop” horizontal_offset_tablet=”0px” horizontal_offset_phone=”0px” horizontal_offset_last_edited=”on|desktop” width=”96%” width_tablet=”97%” width_phone=”90%” width_last_edited=”on|desktop” max_width_tablet=”” max_width_phone=”” max_width_last_edited=”on|desktop” custom_margin=”-3%|||1.2%|false|false” custom_margin_tablet=”|-1%||1%|false|false” custom_margin_phone=”|||2%|false|false” custom_margin_last_edited=”on|phone” custom_padding=”2vh|1vw|2vh|0.3vw|false|false” custom_padding_tablet=”|2vw||0vw|false|false” custom_padding_phone=”|4vw||0vw|false|false” custom_padding_last_edited=”on|tablet” hover_enabled=”0″ z_index_tablet=”0″ z_index_phone=”0″ z_index_last_edited=”on|desktop” custom_css_audio_buttons=”color:#40514c;” custom_css_audio_timer=”color:#40514c;” custom_css_audio_sliders=”color:#40514c;” custom_css_audio_sliders_current=”color:#40514c;” box_shadow_style=”preset2″ box_shadow_blur=”0px” box_shadow_color=”#40514c” global_colors_info=”{}” width__hover_enabled=”on|hover” box_shadow_color__hover_enabled=”on|desktop” box_shadow_color__hover=”#d17e5b” width__hover=”” positioning__hover_enabled=”on|desktop” position_origin_f__hover_enabled=”on|desktop” position_origin_a__hover_enabled=”on|desktop” position_origin_r__hover_enabled=”on|hover” vertical_offset__hover_enabled=”on|hover” horizontal_offset__hover_enabled=”on|hover” z_index__hover_enabled=”on|hover” horizontal_offset__hover=”0px” z_index__hover=”0″ sticky_enabled=”0″][\/et_pb_audio][et_pb_audio audio=”https:\/\/www.northaegean-music.gr\/wp-content\/uploads\/2023\/11\/ika_019.mp3″ title=”3. Taqsim Hijaz Mandria, Ikaria | 2008 Instrumental Lefteris Poulis or \u201cSkatzakas\u201d, violin; Leonidas Tsantiris, lute Researcher: Nikos Dionysopoulos Sound Engineer: Nikos Dionysopoulos” title_tablet=”\u03a0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u0397\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7\u03c2” title_phone=”\u03a0\u03b5\u03c1\u03b9\u03b3\u03c1\u03b1\u03c6\u03ae \u0397\u03c7\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7\u03c2” title_last_edited=”off|phone” _builder_version=”4.24.0″ _module_preset=”default” title_level=”h6″ title_font=”Roboto|500|||||||” title_text_color=”#40514c” title_font_size=”1.1em” caption_font=”|300|||||||” caption_text_color=”#000000″ horizontal_offset=”0px” z_index=”0″ vertical_offset_tablet=”” vertical_offset_phone=”” vertical_offset_last_edited=”on|desktop” horizontal_offset_tablet=”0px” horizontal_offset_phone=”0px” horizontal_offset_last_edited=”on|desktop” width=”96%” width_tablet=”97%” width_phone=”90%” width_last_edited=”on|desktop” max_width_tablet=”” max_width_phone=”” max_width_last_edited=”on|desktop” custom_margin=”-3%|||1.2%|false|false” custom_margin_tablet=”|-1%||1%|false|false” custom_margin_phone=”|||2%|false|false” custom_margin_last_edited=”on|phone” custom_padding=”2vh|1vw|2vh|0.3vw|false|false” custom_padding_tablet=”|2vw||0vw|false|false” custom_padding_phone=”|4vw||0vw|false|false” custom_padding_last_edited=”on|tablet” hover_enabled=”0″ z_index_tablet=”0″ z_index_phone=”0″ z_index_last_edited=”on|desktop” custom_css_audio_buttons=”color:#40514c;” custom_css_audio_timer=”color:#40514c;” custom_css_audio_sliders=”color:#40514c;” custom_css_audio_sliders_current=”color:#40514c;” box_shadow_style=”preset2″ box_shadow_blur=”0px” box_shadow_color=”#40514c” global_colors_info=”{}” width__hover_enabled=”on|hover” box_shadow_color__hover_enabled=”on|desktop” box_shadow_color__hover=”#d17e5b” width__hover=”” positioning__hover_enabled=”on|desktop” position_origin_f__hover_enabled=”on|desktop” position_origin_a__hover_enabled=”on|desktop” position_origin_r__hover_enabled=”on|hover” vertical_offset__hover_enabled=”on|hover” horizontal_offset__hover_enabled=”on|hover” z_index__hover_enabled=”on|hover” horizontal_offset__hover=”0px” z_index__hover=”0″ sticky_enabled=”0″][\/et_pb_audio][et_pb_audio audio=”https:\/\/www.northaegean-music.gr\/wp-content\/uploads\/2023\/11\/ika_021.mp3″ title=”4. 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