Basque ethnography at a glance

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Photo: Fernando Hualde

Last week of May, first half of June… it all depends on the state of the pastures, and how spring goes; but in any case, it is time to leave the Bardenas Reales and head to the ancient Cañada Real de los Roncaleses (old drovers´ roads) with the flocks of sheep, searching for the high mountain pastures of the Roncal Valley. Just as it was done last year, five years ago, a hundred ago, and more than a thousand years ago. It is an ancient tradition and a well-earned right, based on bravery in combat, by the Roncalese, as they were shepherds in times of peace, and soldiers in times of war. That warrior spirit is what made them, in the year 882, the first congozantes (referring to the entities that enjoy the rights of use and usufruct of a facero territory [act between several communities for the use of pastures on land located next to the boundaries of their own territories. In some cases, some of the communities that use these pastures are not adjacent to the farm, or the uses are not only of pastures, but also of firewood and wood], it applies mainly to entities that enjoy these rights in Bardenas Reales, but is also used in other areas), also co-owners, of the Bardenas Reales by order of King Sancho García of Castile (also called Sancho of the Good Laws).

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Painting by José Arrue. Source: Labayru Foundation photo archive.

Professor José Manuel Pedrosa from Alcalá University wrote a short article on Hilarión Bengoa the drummer; the article, published by Labayru Fundazioa, was based on news items in the Memorial literario instructivo y curioso de la Corte de Madrid (Madrid Court Circular) for 1875. Coincidentally, Juan Ignacio Iztueta refers to a drummer named Hilario in his Gipuzkoako dantza gogoangarrien kondaira edo historia (Euskal Editoreen Elkartea, Klasikoak. Donostia, 1990. Edition by María José Olaziregi. The quote I have used appears on pages 110-111). Iztueta considered Hilario to be the very model of the conceited drummers who – despite being talented whistle players, were greatly responsible for the loss and falling out of fashion of the old dances of Gipuzkoa, as the result of the drummers’ indifference and disdain for the traditional melodies. He discusses that in a section entitled Gipuzkoako dantzari prestuak beren sorterriko dantza oniritzietan ibilteari zergatik utzi izan dioten (Why the noble dancers of Gipuzkoa have stopped performing the beloved dances of their land). And he blamed the drummers for those dances falling out of fashion.

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Photo: Nasapunta at the Carmen festivity; Armintza, 2012. Author: Akaitze Kamiruaga, Labayru Foundation Photo Archive.

In traditional agricultural societies, plants and trees have had an extensive and recurring presence. In particular, trees with a significant character and a strong community or prophylactic load that, during the spring period will protect the potential harvest. During summer, they can also commemorate a satisfactory harvest, evidenced or materialized in their unique presence. In these contexts, the so-called maypoles (maiatzeko zuhaitzak) or festive trees (tree or poplar of Saint Joan, Donienatxa, etc.) have been, and still are a common practice.

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Collecting heritage in Tudela. Source: Labrit Heritage.

Gypsies, bohemians, the Romani people. They have been part of Euskal Herria society for a long time. However, how much do we know about the history and culture of this community? In the following paragraphs, the testimonies extracted from the compilation of oral memories carried out by Labrit Patrimony, commissioned by Gaz Kaló, Federation of Gypsy Associations of Navarre, are presented. The main objective of this study is to bring the issue of otherness to the ethnographic field and do our bit to contribute against the invisibility experienced by the Gypsy community, through an anthropological point of view.

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