Panigýria (summer village festivals) in Pogoni, a region on the Greek-Albanian border and the site of my dissertation fieldwork, are typically analyzed as sites of ritual collectivity and imagined community (Nitsiakos 1995; Alexakis 2001). Yet, existing scholarship offers few musical or phenomenological accounts of for how village communities continually recreate their aesthetic identities at these festivals. I find that the increasingly popular concept of víoma is used to make sense of individuals’ participation in this process. Víoma is a colloquial term used by Greek-speaking musicians and festivalgoers to signify “lived” or “embodied experience.” Functioning as a discourse, víoma indexically links together one’s autobiographical memory, subregional identity, and personal musical-dance aesthetics. My interlocutors insist that “having” víoma is crucial to playing or dancing “genuinely.” In contrast to the standardized, folkloristic “authenticity” of professional dance groups (Kotsouba 1997; Panopoulou 2001), the concept of víoma celebrates and moralizes personal authenticity. A personally authentic musical “style” is said to be co-created through the dancer-musician dialogue. Festivalgoers are expected to be tastemakers in their family village’s community through their paraggelíes (paid song orders) and performative dance-leading, while musicians are expected to meet the dancers’ unspoken desires on the level of ornamentation and stylistic adjustment. However, recently, large-scale shifts toward commercialization, urbanization, and postnationalism are feared for altering which musical choices seem desirable, which are profitable, and whose víoma is authoritative. I argue that víoma both clarifies and conceals the ways in which contemporary individuals have agency in contributing to the process of local stylistic distinction.