Krētikē, meaning the Cretan dance/style, is one of the most ancient dance steps known. [1] As suggested by its name, it originated in the great island, where artistic and written evidence can be traced back to Homeric times. The iconography of the krētikē is identified by the outstretched position of the arms and the forward-moving legs. The dancers’ torsos are shown frontally, while their heads are frequently turned back in profile.
The so-called geranos dance (crane-dance) is clearly inspired in the krētikē, at least in its basic steps. In the Thesean tradition, krētikē dancers perform the impression of a labyrinth by circulating around the horned altar of Aphrodite, stepping uniformly to the beats of the aulos music. The krētikē became the conventional iconography to represent dance, either by men or women – or both, especially linked to the Dionysian thiasos.
In 5th century’s Athens (BC) the image of krētikē female solo-dancers started to decorate small funerary pots and drinking vases, carrying cups, vine branches, clappers and torches, a trace of their previous Dionysian association. The presence of these objects can also be understood in the context of a cultic procession: when paired with Eros, these parades became linked to nuptial ceremonies.
The formulaic combination of Eros/ krētikē performer was adopted synchronically by the Greek colonies in southern Italy and Sicily. These variations include a krētikē dancer accompanied by a nude youth and a maiden, all performing the dance and carrying attributes already mentioned, to which flower baskets and tympanon were added.
Apulian bell krater displaying a krētikē dancer, Ure Museum of Greek Archaeology
[1] This text is inspired in the research poster presented by Nathalie Choubineh in 2019.