Transhumance groups and their material culture from Greece
Transhumant pastoralism is an economic activity involving the seasonal movement of domestic herds between differentiated and complementary pastures. Historically, transhumant pastoralism has been, and still is, a significant part of the economy in the Mediterranean and the Balkans. The Vlachs, or Aromanians, are a large population group with a geographical distribution from Greece to Romania. The Vlachs of Samarina are one of the most robust Vlach communities of modern Greek Macedonia and Thessaly. They traditionally moved along with their flocks from highland summer residences in the mountainous area of Grevena, to low- land winter pastures and villages (himadia) in the Thessalian plain during the winter.The journey (strata or diava) towards the plains usually began in late September or early October, and the move back to the uplands took place during the month of May. Shepherds, flocks, and accompanying family members followed a predetermined route and made stops in specific location frequented for generations (konakia). The families carried their entire households, on foot and on animals, and later on using motorized transportation.
With the increasing urbanization, industrialisation, state intervention, as well as climate change, the way transhumance is practiced by the Vlachs of Samarina has undergone major changes. Since the third quarter of the 20 th century, the Vlach communities have been extensively sedentarised, and the pastoral cycle, for those continuing to practice seasonal transhumance, has shifted, making the actual period of migration much shorter. Still, the return to the mountainous village of origin continues to be crucial for maintaining group membership. The resilience of pastoral transhumance over time is remarkable and is largely due to its adaptability. Thanks to the hospitality of the community of Samarina, we were able to document aspects of their heritage, culture, and way of life. The objects selected for the resource, intend to communicate these aspects, alongside the gender roles of the people that took or still take part in the annual movement.
With the increasing urbanization, industrialisation, state intervention, as well as climate change, the way transhumance is practiced by the Vlachs of Samarina has undergone major changes. Since the third quarter of the 20 th century, the Vlach communities have been extensively sedentarised, and the pastoral cycle, for those continuing to practice seasonal transhumance, has shifted, making the actual period of migration much shorter. Still, the return to the mountainous village of origin continues to be crucial for maintaining group membership. The resilience of pastoral transhumance over time is remarkable and is largely due to its adaptability. Thanks to the hospitality of the community of Samarina, we were able to document aspects of their heritage, culture, and way of life. The objects selected for the resource, intend to communicate these aspects, alongside the gender roles of the people that took or still take part in the annual movement.
DoubekiExpressive Arts (art, dance, drama, film and digital media and music)
Health and Well-being (nutrition, physical health and development, mental health, and emotional and social well-being) Humanities (geography; history; religion, values and ethics; business studies and social studies) Languages, Literacy and Communication (Greek, Vlach, English and international languages as well as in literature) Stone mortar used for pounding grain. Ethno-archaeological studies show that the daily use of grain processing stone tools is tied to women. The doubeki was placed outdoors, sunken in the soil to ensure its stability. Its ownership was connected with economic status, with poorer households using mortars belonging to relatives or neighbours. Its operation was a labour intensive process and had a performative nature. As the involved individuals took turns in the pounding of grains with mallet-shaped tools, the created sensory environment provided opportunities for social interaction. The object had a long working life, over at least three generations, and was passed down to female members of the owner’s family.
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SofrasExpressive Arts (art, dance, drama, film and digital media and music)
Health and Well-being (nutrition, physical health and development, mental health, and emotional and social well-being) Humanities (geography; history; religion, values and ethics; business studies and social studies) Languages, Literacy and Communication (Greek, Vlach, English and international languages as well as in literature) Sofras is a low round wooden table. The object forms part of a small community collection in Samarina. Its type has a long tradition extending to the Ottoman period and it remained a significant part of the equipment involved in the cycle of the Vlach pastoral transhumance due to its easily transportable nature. The sofras was the main dining surface during the seasonal move. It shaped a physical space where family and kinship dynamics could develop, to the degree that they intersected with food consumption. It was entangled with the interplay between culinary habits and self- or collective identification. As part of the community collection, the object evokes imagery of a shared past and heritage. Interviewed volunteers mentioned that in many cases such tables are often placed in the main reception room of the house during weddings, symbolically commemorating the common Vlach background.
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HandmillExpressive Arts (art, dance, drama, film and digital media and music)
Humanities (geography; history; religion, values and ethics; business studies and social studies) Languages, Literacy and Communication (Greek, Vlach, English and international languages as well as in literature) Woollen coat, traditionally used during herding activities. Wool was among the highly valued products of the Vlach economy. The manufacturing process was almost entirely undertaken by women within the domestic setting. The use of the coat was tied to the transhumant cycle: it was an essential article of clothing, and a protective cover for sleeping outdoors. As men were primarily responsible for shepherding activities, such coats became tied to perceptions of manhood and their use was linked to matters of self-identification. The owner of the object mentions that although he has replaced it with modern outdoor clothing, he continues to wear his kapa in Vlach seasonal festivals, demonstrating its associations with heritage.
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HaragiaExpressive Arts (art, dance, drama, film and digital media and music)
Health and Well-being (nutrition, physical health and development, mental health, and emotional and social well-being) Humanities (geography; history; religion, values and ethics; business studies and social studies) Languages, Literacy and Communication (Greek, Vlach, English and international languages as well as in literature) Woollen sacks, used for transporting possessions during the seasonal move. They were passed down to the current owner as heirlooms from her maternal grandparents. Their story is intertwined with the economic and mobility strategies of transhumant pastoralism, the gendered division of labour at household and community level, and the negotiation of collective identities. Wool-working and weaving were primarily female tasks, central in shaping perceptions of womanhood in the community. The involvement of the haragia in the transhumant cycle physically and symbolically established their link to how pastoralist identity was practiced. This was consciously appreciated, as the sacks bore village-specific colour combinations, functioning as signals of belonging, promoting group solidarity and distinguishing Vlach groups of different origin.
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GlitsaExpressive Arts (art, dance, drama, film and digital media and music)
Humanities (geography; history; religion, values and ethics; business studies and social studies) Languages, Literacy and Communication (Greek, Vlach, English and international languages as well as in literature) Glitsa is a regional variant of a shepherd’s crook. The object is made of olive wood and was handcrafted in Samarina and locally purchased by the owner. It is an essential tool for managing the animals, also used for defence against predators, and as a walking stick. It is an iconic aspect of the materiality of pastoralism that has permeated Greek culture, from folk art to religious iconography, and literature. Albeit not a material element exclusively associated with Vlach pastoralism, its association with pastoral transhumance, its values and way of life are prominent in the collective imaginary. For the owner it is an inseparable part of being a shepherd and is central for defining group membership.
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KapaExpressive Arts (art, dance, drama, film and digital media and music)
Humanities (geography; history; religion, values and ethics; business studies and social studies) Languages, Literacy and Communication (Greek, Vlach, English and international languages as well as in literature) Woollen coat, traditionally used during herding activities. Wool was among the highly valued products of the Vlach economy. The manufacturing process was almost entirely undertaken by women within the domestic setting. The use of the coat was tied to the transhumant cycle: it was an essential article of clothing, and a protective cover for sleeping outdoors. As men were primarily responsible for shepherding activities, such coats became tied to perceptions of manhood and their use was linked to matters of self-identification. The owner of the object mentions that although he has replaced it with modern outdoor clothing, he continues to wear his kapa in Vlach seasonal festivals, demonstrating its associations with heritage.
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