On November 8th, the Institute of European Studies at UC Berkeley, in partnership with the Modern Greek and Hellenic Studies department and the Berkeley Center for the Study of Religion, hosted an engaging presentation by Martin Schwartz, a former Berkeley professor of Near Eastern Studies (1970–2011). The talk explored the Asia Minor Style of Greek Urban Music, focusing on the origins, evolution, and cultural significance of Rebetika—a genre deeply rooted in the traditions of Asia Minor and a powerful expression of the urban lower and working classes in early 20th-century Greece. The event drew an audience of over 30 attendees.
Schwartz introduced Rebetika as a genre shaped by the interplay of musical and cultural traditions, particularly Turkish melodies. Emerging in urban centers like Piraeus and Athens between 1927 and 1936, Rebetika became closely associated with marginalized communities and is characterized by its rich use of the buzuki instrument. While often stigmatized for its connections to hashish bars, Schwartz noted that its composers were not the “street drifters” they were often portrayed as but skilled and refined musicians who inhabited a different social space.
A significant portion of the presentation focused on how Rebetika absorbed and transformed diverse influences. For instance, Schwartz highlighted a Turkish melody from the 1880s that mourned a lost wife, which was reinterpreted in Greek Rebetika to express the sorrow of missing one’s mother. He also showcased the genre’s eclecticism by discussing how a Yiddish tune became part of its repertoire.
The presentation also addressed Rebetika’s complex cultural reception. It was beloved by working-class audiences but faced resistance from the bourgeoisie, who regarded it as morally corrupt. This tension culminated in 1936 when Greek dictator Ioannis Metaxas suppressed the genre’s “oriental” elements in favor of Western European music.
Schwartz brought Rebetika to life through a series of musical examples, inviting the audience to listen and discuss the themes and roots of various songs. These ranged from somber explorations of death and social inequality to more risqué pieces with tango influences and explicit sexual lyrics. One standout example featured a song by a member of the first Athens buzuki quartet, which critiqued class inequality with the poignant lyric: “Open the tombs, dig up the bones, the poor the rich—can you tell which is which?”
The event concluded with a lively Q&A session, during which Schwartz addressed questions about the instruments used in Rebetika and the stigma surrounding the buzuki. Throughout the lecture, he shared anecdotes about his life and research, including stories of uncovering rare recordings in store basements.