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old men singing: "We once did deeds of prowess and were strong young men”, to which the men in their prime would sing: “We are so now, and if you wish, behold and see”, followed by the boys singing: “We shall be sometime mightier men by far than both” (Plut. Lyc. 21.2). The three groups competing and interacting with each other helped to place an emphasis on
Spartans as a collective, rather than as individual competitors. Scholars consider the actions of the Gymnopaedia to be both a crucial part of Spartan education and a test of endurance for the children coming of age. It was considered as such because of the extremely hot conditions and precisely performed dance moves.
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as he was also the god of civic reunions such as gatherings, and this was the first large gathering of the year. There are conflicting accounts of how many days the
Gymnopaedia lasted for, but it is accepted to have been at least three days. The Spartans would have partaken in the festival from dusk until dawn each of these days. The festival came to an end during the full moon which fell closest to the
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209:(Plut. Ages. 29.2), each make note of crowds gathering in a "theatre" or "viewing place" for festivals in Sparta; this was likely a place where the public would gather on a slope to view performances on level ground below. Due to how little remains of structures or landmarks in Ancient Sparta we cannot be certain the exact location of the agora or potential "theatres".
305:, asking him via messenger what it felt like to hold public office after being a king. He responded calmly that he had experience in both unlike Leotychides himself, also saying that this question would be the beginning of either great fortune or great evil for Sparta. He then left the festival and made a sacrifice to Zeus. (Hdt. 6.67).
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been written by famous
Spartan poets. Though there were no shows of strength or arms taken up at the festival, the songs still had a militaristic quality. By performing songs with this quality the Spartans could connect the festival to their military exploits. They sang songs described as having a 'boastful' tone, which were written in
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families of the dead to suffer their grief in silence so as not to disrupt the festival. The following day all those who had lost relatives could be seen smiling and being cheerful in public. Those who had family members at the battle who were still living were sad and worried for their loved ones (Xen. Hell. 6.4).
316:(Thuc. 5.82). The Argive democrats knew how important the festival was to the Spartans, and waited until the festival began in order to attack the ruling oligarchs who were allied with Sparta. The Spartans eventually postponed the Gymnopaedia, but the oligarchs had already been defeated by this time.
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The choruses were divided into three groups, one for young men or boys coming to maturity, one for men in their prime, and one for old men. There is little surviving evidence of what songs and dance would be performed, but
Plutarch writes that at least one element of the performance would involve the
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The practices of song and dance were not reserved for only the young men. In a different area of the city three groups of choruses would gather to perform traditional songs together. They would honour Apollo through songs and performed songs which represented the phases of life. The songs would have
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The major element of celebration during the
Gymnopaedia was the songs and dances performed by choruses of naked men as a form of competition. The main focus of the festival was the young men who were about to enter adulthood. Because the contests were more symbolic than strictly athletic in nature,
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The
Gymnopaedia took place each year in approximately July. July was the first month of the year for the Spartans as their calendar revolved around the summer solstice. The festival was the first public gathering of the new year for the Spartans. The Gymnopaedia celebrated Apollo, a fitting tribute
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would not allow any dances to be cancelled or for the celebrations to be changed. When the families of the deceased soldiers had been told of the news, the ephors brought the festival to a close (Plut. Ages. 29. 2-3). Xenophon expands on this information, saying that the ephors instructed the
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The leaders of each chorus group would wear a headpiece known as the "feather crown" or "thyreatic crown". These crowns were made out of palm leaves and were referred to as "feather crowns" due to the leaves resemblance to feathers. The
Spartans also used these crowns at other festivals.
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participated despite his lameness, but was hidden in the back of the group so no one could see his physical flaws. Xenophon writes that
Agesilaus was extremely devoted to religion (Xen. Ages. 3.2), so he would have seen this participation as a duty.
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A theatre constructed in
Ancient Sparta during the late Hellenistic / Early Roman period. Though the Gymnopaedia would have been celebrated for hundreds of years before this theatre, it has the same sloped view the Spartans likely
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The choral groups would dance naked. The songs the young men sang drew attention to the physical maturity they were reaching. Physical ability was an important aspect of becoming a citizen in many
Ancient Greek
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The festival lasted for several days and took place in multiple areas, as different sources describe different locations for the activities of the Gymnopaedia. Pausanias writes of an area of the Spartan
55:, who served as representations of the childhood which would soon be left behind by the young participants. Though the festival was ritualistic, it should not necessarily be interpreted as religious.
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was likely located in the east of the agora where the chorus dances were known to have been performed. Pausanias states that near this area there were statues of Apollo Pythaeus,
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and choral singing, with a large emphasis placed on age and generational groups. It is believed that celebration of this festival began in 668 BCE to honour a Spartan victory in
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Because all of Sparta would gather to partake in or view the events of the Gymnopaedia, it helped to develop a communal identity and sense of being a part of a single group.
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says Lichas, a wealthy Spartan, gained fame for entertaining many of the strangers at a "boys gymnastic festival" (Plut. Cim. 10, 5) This festival was interpreted by
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being visible in Sparta. The festival took place at the hottest time of the year in Sparta, which meant most of the activities happened under very harsh sun.
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An artistic interpretation of Pyrrhic dance by Lawrence Tadema. Pryrrhic dance is similar to what the Spartans may have performed during the Gymnopaedia.
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252:, but Sparta was the only polis which celebrated this so prominently. These celebratory dances took place in a specified area in the agora.
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reached Sparta during the final day of the Gymnopaedia. Despite the large negative effect this news would have on Sparta's power, the
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This aspect of the festival was such a spectacle that non-Spartans would visit Sparta during the Gymnopaedia just to see it.
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Plutarch mentions that the city was "full of strangers" during the Gymnopaidia suggesting that non-Spartans and potentially
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397:- 19th century music and poetry referring to gymnopaedia; particularly the three piano compositions by the French composer
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The Gymnopaedia was important enough to the Spartans that they would avoid leaving the city even if called on.
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seems to have made a reference praising the effects of the songs and rituals of the gymnopaedia in his work
1417:"THE SANCTUARIES OF APOLLO MALEATAS AND APOLLO TYRITAS IN LACONIA: RELIGION IN SPARTAN–PERIOIKIC RELATIONS"
40:
27:, which helped to define Spartan identity. It featured generations of naked Spartan men participating in
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1503:
1464:
For more information on the study of Ancient Spartan Religion and the challenges in studying it see:
1118:
PAPAPOSTOLOU, METAXIA; KONSTANTINAKOS, PANTELIS; MOUNTAKIS, COSTAS; GEORGIADIS, KOSTAS (May 2010).
35:. The festival likely evolved over time to celebrate other Spartan victories such as that over the
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Palm leaves such as this would have been used to construct the thyreatic crowns for the festival.
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used the gathering of the Gymnopaedia to deliver an insult to the recently deposed king
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or "dancing ground" because of the significant role it played in the Gymnopaedia. The
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Powell, Anton; Kennell, Nigel (2018). "Spartan Cultural Memory in the Roman Period".
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Festivals and legends: the formation of Greek cities in the light of public ritual
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1120:"Rites of Passage and their Role in the Socialization of the Spartan Youth"
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73:, the type of dance most likely danced on Gymnopedia festivals (image from
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Christesen, Paul; Donald, G. Kyle (2014). "Sport and Society in Sparta".
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For the pyrrhic dance, a war dance spread throughout ancient Greece, see
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The festival was of such importance to the Spartans that even king
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1223:"Thucydides, The Peloponnesian War, Book 5, chapter 82, section 1"
756:"Pausanias, Description of Greece, Laconia, chapter 11, section 9"
451:
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48:
1025:, Chichester, UK: John Wiley & Sons, Ltd, pp. 543–564,
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A companion to sport and spectacle in Greek and Roman antiquity
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24:
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Powell, Anton; Flower, Michael A. (2018). "Spartan Religion".
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More information on Ancient Greek Religion can be found in
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854:"Herodotus, The Histories, Book 6, chapter 67, section 3"
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was an annual festival celebrated exclusively in ancient
1368:"Xenophon, Memorabilia, Book 1, chapter 2, section 61"
878:"Xenophon, Hellenica, Book 6, chapter 4, section 16"
63:
take more seriously than any other" (Paus. 3.11.9).
1470:More information on Ancient Sparta can be found in
59:describes the Gymnopaedia as "a festival which the
1153:"A Note on the Origin of the Spartan Gymnopaidiai"
718:, The Classical Press of Wales, pp. 193–230,
554:"A Note on the Origin of the Spartan Gymnopaidiai"
1485:
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454:- Greek Goddess and one of the 12 Olympian Gods
1199:"Herodotus, The Histories, Book 6, chapter 67"
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43:. The Gymnopaedia was primarily in honour of
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424:- An affinity for Spartan history and culture
1296:"Plutarch, Agesilaus, chapter 29, section 3"
964:: CS1 maint: multiple names: authors list (
907:"Plutarch, Agesilaus, chapter 29, section 2"
676:. Univ. of Toronto Press. pp. 147–165.
516:
218:they may be interpreted as a ceremonial and
1272:"Xenophon, Agesilaus, chapter 3, section 2"
1095:"Plutarch, Lycurgus, chapter 21, section 2"
936:. Oxford University Press. pp. 82–83.
808:"Dionysiac Elements in Spartan Cult Dances"
448:- Mythological mother of Apollo and Artemis
442:- Greek God and one of the 12 Olympian Gods
260:. The same songs would be used each year.
1421:The Annual of the British School at Athens
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1250:. Oxford University Press, Incorporated.
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712:"SPARTAN 'RELIGION' AND GREEK 'RELIGION'"
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1320:"Xenophon, Hellenica, Book 6, chapter 4"
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988:. John Wiley & Sons, Incorporated.
358:would also attend the festival. (Plut.
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430:- Main public spaces in ancient Greece
1466:Spartan Religion by Sarah M. Norvell.
1065:. Wiley-Blackwell. pp. 643–652.
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523:. Wiley-Blackwell. pp. 425–451.
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780:"γυμνοπαιδίαι - Ancient Greek (LSJ)"
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806:Constantinidou, Soteroula (1998).
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418:- Another ancient Spartan festival
407:- Another Ancient Spartan festival
14:
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1151:Wade-Gery, H. T. (January 1949).
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327:The news of Spartan loss at the
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610:Daniel, Ogden (February 2010).
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1479:A Companion to Greek Religion
1344:"Plutarch, Cimon, chapter 10"
613:A companion to Greek religion
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1415:Pavlides, Nicolette (2018).
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117:, "naked" or "unarmed") and
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7:
1499:Festivals in ancient Sparta
1246:Bayliss, Andrew J. (2020).
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10:
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1031:10.1002/9781119072379.ch21
933:Eros & Greek athletics
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16:Festival in Ancient Greece
1433:10.1017/S0068245417000089
1169:10.1017/s0009838800027774
570:10.1017/S0009838800027774
552:Wade-Gery, H. T. (1949).
80:Dictionary of Antiquities
1481:edited by Daniel Ogden.
1474:edited by Anton Powell.
670:Noel, Robertson (1996).
107:, composed of the words
1392:"Plato, Laws, page 633"
1157:The Classical Quarterly
558:The Classical Quarterly
346:to be the Gymnopaedia.
133:, "child" or "youth").
41:Battle of the Champions
1019:"Sparta and Athletics"
275:
244:
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47:, but also celebrated
1514:History of gymnastics
1472:A Companion to Sparta
1396:www.perseus.tufts.edu
1372:www.perseus.tufts.edu
1348:www.perseus.tufts.edu
1324:www.perseus.tufts.edu
1300:www.perseus.tufts.edu
1276:www.perseus.tufts.edu
1227:www.perseus.tufts.edu
1203:www.perseus.tufts.edu
1099:www.perseus.tufts.edu
1062:A companion to Sparta
1023:A Companion to Sparta
911:www.perseus.tufts.edu
882:www.perseus.tufts.edu
858:www.perseus.tufts.edu
760:www.perseus.tufts.edu
520:A companion to Sparta
480:Festivals and Legends
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242:
235:Choral song and dance
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69:
1494:Ancient Greek dances
1137:10.4127/ch.2010.0044
724:10.2307/j.ctvvnb97.8
710:Flower, Michael A.,
483:. pp. 147–166.
288:Historical relevance
436:- A King of Sparta
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1072:978-1-119-07238-6
1040:978-1-119-07237-9
995:978-1-118-61004-6
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623:978-1-4443-3417-3
530:978-1-4051-8869-2
490:978-1-4426-7485-1
477:Robertson, Noel.
411:Spartan pederasty
374:(Plat. Laws 633c)
329:battle of Leuctra
98:derives from the
71:Corybantian dance
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