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Το μ* το λένε Γιώτα
Here, my friend, they call the fanny, here they call the fanny Yiοta,
here they call the fanny Yiοta and the pecker Panayiοta,
and the pecker Panayiοta; tug the one you want and ask,
tug the one you want and ask; it’s the prickhead goes in first,
it’s the prickhead goes in first, and the bollocks close the door.
Translated by John Leatham
Το μουνί, καλέ το μουνί, το μουνί το λένε Γιώτα,
το μουνί το λένε Γιώτα και τον πούτσο Παναγιώτα,
και τον πούτσο Παναγιώτα· κι όποιον θέλεις σύρε ρώτα,
κι όποιον θέλεις σύρε ρώτα· το κεφάλι μπαίνει πρώτα,
το κεφάλι μπαίνει πρώτα, και τ’ αρχίδια κλείν’ την πόρτα.
In a great number of bawdy songs, the genitals are a law unto themselves and, in personified form, act independently of the bodies to which they belong. Their every activity, as the songs relate, merrily centers on the eternal battle of the sexes and promotes pleasure and happiness as the supreme obligation of human beings.
Nevertheless, within the humorous situations depicted in these songs, one finds echoes of the prevailing conceptions regarding gender differences and male supremacy, as well as prejudices concerning female erotic proclivities — in sum, all the cultural content with which male-dominated modern Greek society endows human sexuality (see also A Cunt up in the Cherry-Tree, Full Forty Cunts Encircled Me, A Braggart of a Cunt, Now List, Good Man).
Miranda Terzopoulou (1994)
Live recording from the concert Carnival Songs with Domna Samiou, held on March 4, 2003 at the Thessaloniki Concert Hall.
Singers
Clarinet
Violin
Constantinopolitan lute
Percussion
Dancers
