Anthropologists are prone to connoisseurship of subcultures, appreciating niceties of identity and keeping weather eyes peeled for boundary-defining shibboleths. Lowlifes and marginal folk seem especially attractive, perhaps because they offer exciting alternatives to the bourgeois stolidity of the Buena Gente. In this realm I have more than 30 years of fascination with the Greek underworld of the re[m]betes and the musical genres grouped under the ‘re[m]betika/o’ rubric. Basic source materials include Gail Holst’s Road to Rembetika: Music of a Greek sub-culture songs love, sorrow & hashish (1975) and Elias Petropoulos’ Songs of the Greek Underworld: The Rebetika Tradition (2000).
To assist your exploration if this is unfamiliar territory, there’s a BBC documentary:
and Kostas Feris’ feature film Rembetiko (1983)
Today I came across a really delicious vein of text in Patrick Leigh Fermor’s The Broken Road, replete with the trademarked style for which he is celebrated. He’s describing two dance forms, hasapikos and zembekiko:
They are, in fact, the quintessence of fatalism and morose solitude, a consolation and an anodyne in individual calamity, and with the songs that accompany them create a hard metrical and choreographic counterspell. They have another black mark against them: they are linked with low life in refugee quarters, with drunken cellars and hashish-smoking dens and waterfront bars, with idle hours spent over the nargileh, and with a dandified trick of flicking those tasseled and time-killing amber beads. Traditionally they are accompanied by a sartorial style, now largely obsolete: pointed shoes, peg-top trousers held up by a red sash, the jacket worn loose on the shoulders with sleeves hanging ‚ and by twisted moustaches, a quiff falling over the forehead, and the cap aslant on the back of the head. With this goes a relaxed gait, a languid syncopated flick of the beads round the index finger held in the small of the back, a cigarette in the corner of the mouth, a faintly derisive smile, a poker face, an unflurriable deliberation of gesture and a dangerous ironic light in the veiled eyes. (pp 244-245)
Downright ethnographic, isn’t it? You really should just get the book and read it…