DOCSLIB.ORG

Rhythms of Struggle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rhythms of Struggle Rhythms of Struggle Recovery, Revival and Re-Creation of Txalaparta in the Basque Country by María Escribano del Moral A dissertation submitted in satisfaction of the requirements for the degree of Ph.D. by research May 2012 University of Limerick Supervisors: Prof. Mícheál Ó Súilleabháin Dr. Colin Quigley © Copyright by María Escribano del Moral 2012 To my Father and my Mother, who gave me the Life To those who came before To my brothers and sister, to Sean To all the txalapartariak in whose search I shared To all who have helped me To you I stay in my place Table of Contents Abstract .......................................................................................................................... viii Declaration ....................................................................................................................... ix Acknowledgments ............................................................................................................. x List of Figures ................................................................................................................ xiii List of Appendices .......................................................................................................... xv Transliteration of Basque ............................................................................................... xvi Introduction ................................................................................................................... 1 Section I. Chapter 1. Interpretation Approach and Methodology Introduction ........................................................................................... 10 The Methodological Field of Embodiment .......................................... 11 Identity and Embodiment: Sensibility ..................................................... 15 On Fieldwork as Experience, and Experience as Grounding .................. 17 The Field ............................................................................................. 18 Iruñea .............................................................................................. 19 Ireland ...................................................................................................... 23 Fieldwork Amid Conflict......................................................................... 24 Ethnographer’s Horizons ......................................................................... 26 Research Delimitation ........................................................................... 28 Participants .............................................................................................. 28 Time Span: The Present .......................................................................... 29 Research Duration and Space Delimitation ............................................. 31 Research Techniques ............................................................................... 31 Learning To Perform .......................................................................... 34 Inter-Influence and Reciprocity ........................................................... 35 The Figure of the Researcher .................................................................. 36 Proving Myself Through Action .......................................................... 37 Applied Ethnomusicology in Research ............................................... 39 iv Representation ....................................................................................... 43 Partial Truths ........................................................................................... 44 Transcription of Txalaparta ..................................................................... 45 “Writing in the field” ............................................................................... 45 “Writing out of the field” ........................................................................ 47 On Interviews and Observant Participation .................................... 47 Writing Style ..................................................................................... 50 Expressive Culture ........................................................................... 51 Conclusion .............................................................................................. 54 Chapter 2. Encountering Txalaparta Introduction ........................................................................................... 57 The Old Txalaparta: A Rhythm, A Way of Playing, and “An Instrument” with No Name . ................................................................. 58 Txalaparta as Played by the Old Txalapartariak . Descendants’ Memories .......................................................................... 63 The Awakening ...................................................................................... 75 The Generation of the 1960s and 70s ...................................................... 76 The 13 th Apostle: The Basque Artist Jorge Oteiza ............................ 80 The Birth of Txalaparta Zaharra .............................................................. 86 The Artze Brothers ............................................................................ 86 The Discovery .................................................................................. 86 The Poet Txalapartari ...................................................................... 96 Ez Dok Amairu (1965-1972) ............................................................... 104 Txalaparta in Ez Dok Amairu ................................................... 117 The End of Ez Dok Amairu. 1972 .................................................. 123 The Beltran Brothers ...................................................................... 127 Argia Dance Group ............................................................................. 130 Avant-Garde Txalaparta ........................................................................ 136 Mikel Laboa’s Compositions .......................................................... 137 Further Promotion and Popularisation of Txalaparta .................... 141 Txalaparta Festa..................................................................................... 144 Conclusion ............................................................................................ 150 v Section II. Performance. Interface Between Discourse and Action Chapter 3. Narratives Introduction ......................................................................................... 153 The Horse Totem ................................................................................. 157 Euskal Herri Musika .............................................................................. 163 Calling Device / Calling Rhythms ...................................................... 173 The Basque “Tam-Tam” (Talking Drums) ........................................... 173 A War Call ........................................................................................ 180 Work and Celebration ........................................................................ 181 Auzolan .................................................................................................. 182 Txalaparta Festa. The Making of Community ...................................... 185 Socialist Ethos ....................................................................................... 192 Conclusion ............................................................................................ 214 Chapter 4. Plural Understandings and One Project Introduction ......................................................................................... 217 Limits of Txalaparta. When Txalaparta Is No More ....................... 218 Interlocking Technique .......................................................................... 224 “Variants” of Txalaparta ........................................................................ 227 Improvisation .................................................................................... 232 Bertsolaritza .......................................................................................... 237 Ttakun Beat ............................................................................................ 250 Txalaparta is Music ............................................................................. 258 Understandings of “Music” ................................................................... 259 Sound Making Spectrum ....................................................................... 263 Construction of Music: What Ought To Be .......................................... 266 Txalaparta Batua? .................................................................................. 272 Conclusion ............................................................................................ 274 vi Section III. Efficacious Performance Chapter 5. Ritualising Txalaparta Introduction ......................................................................................... 278 Art, Ritual, Ritualising ........................................................................ 279 Tendency to Ritualisation in Relation to Txalaparta ....................... 285 Rhythms of Struggle .............................................................................. 293 Call To Battle .................................................................................... 303 Political Prisoners ...........................................................................
Load more

Recommended publications
  • Who's Who in Basque Music Today
    Who’s Who in Basque music today AKATZ.- Ska and reggae folk group Ganbara. recorded in 2000 at the circles. In 1998 the band DJ AXULAR.- Gipuzkoa- Epelde), accomplished big band from Bizkaia with Accompanies performers Azkoitia slaughterhouse, began spreading power pop born Axular Arizmendi accordionist associated a decade of Jamaican like Benito Lertxundi, includes six of their own fever throughout Euskadi adapts the txalaparta to invariably with local inspiration. Amaia Zubiría and Kepa songs performed live with its gifted musicians, techno music. In his second processions, and Angel Junkera, in live between 1998 and 2000. solid imaginative guitar and most recent CD he also Larrañaga, old-school ALBOKA.-Folk group that performances and on playing and elegant adds voices from the bertsolari and singer who has taken its music beyond record. In 2003 he recorded melodies. Mutriku children's choir so brilliantly combines our borders, participating a CD called "Melodías de into the mix, with traditional sensibilities and in festivals across Europe. piel." CAMPING GAZ & DIGI contributions by Mikel humor, are up to their ears Instruments include RANDOM.- Comprised of Laboa. in a beautiful, solid and alboka, accordion and the ANJE DUHALDE.- Singer- Javi Pez and Txarly Brown enriching project. Their txisu. songwriter who composes from Catalonia, the two DOCTOR DESEO.- Pop rock fresh style sets them apart. in Euskara. Former member joined forces in 1995, and band from Bilbao. They are believable, simple, ALEX UBAGO.-Donostia- of late 70s folk-rock group, have since played on and Ringleader Francis Díez authentic and, most born pop singer and Errobi, and of Akelarre.
    [Show full text]
  • 45.000 Let Stare Fosilne Dlake Jamskega Medveda Iz Najdišča Divje Babe I V Sloveniji
    45.000 let stare fosilne dlake jamskega medveda iz najdišča Divje babe I v Sloveniji Ivan TURK, Franc CIMERMAN, Janez DIRJEC, Slavko POLAK in Jurij MAJDIČ Izvleček Abstract V paleolitskem najdišču in fosilnem brlogu jamskega medveda Imprints and fossilised remains of cave bear hair were found Divje babe I so bili najdeni poleg številnih kosti in zob tudi in a fossil den at the Palaeolithic site of Divje babe-I, in ad- odtisi dlak in njihovi fosilni ostanki, stari 45.000 let. Fosilizirane dition to a plethora of bones and teeth. The hairs from Divje dlake iz Divjih bab I so zaenkrat edinstven primer v jamskem babe-I are currently the only example of their kind found in sedimentacijskem okolju. cave deposits. UVOD let (RIDDL 734,746, 759; Turke/al. 1989). Najbolj zanesljive datacije plasti z mousterienskimi najd- Dolgoletne raziskave v novejšem večplastnem bami so bile pridobljene na podlagi vzajemnih paleolitskem najdišču Divje babe I v dolini Idrijce vzorcev lesnega oglja in kostnega kolagena (RIDDL v severozahodni Sloveniji so pripeljale tudi do 739 + 745 in 746 + 759) iz zaključenih celot (kvadrat zanimivega in po svoje pomembnega odkritja fo- 1 x lm in reženj debeline 0,25 oz. 0,30 m), tako siliziranih ostankov dlak in njihovih odtisov. da različni materiali vzorcev niso dali statistično Najdišče Divje babe I je v slovenskem prostoru različne radiokarbonske starosti (P > 0,80) (cfr. pomembno predvsem zaradi nove skupine paleo- Taylor 1987, 125). litskih najdb in trenutno najbolj bogatih paleon- Sistematska izkopavanja v Divjih babah I so toloških in paleobotaničnih ostankov v arheolo- se začela leta 1980 in še trajajo.
    [Show full text]
  • Witches Sabbath( the Great He- Goat)
    Witches sabbath( the great he- goat) Continue Otherwise known as the Great On-Goat, Francisco Goya provides a visually stunning and historically terrifying representation of this famous mural that adorned the mid-1800s that brought to life vivid and terrifying memories of the Spanish Inquisition. The description of the painting depicts Satan surrounded by a group of frightened and anxiously mutilated witches. Satan appears as an almost shady goat whose characteristics are not so easy to see or define. A goat man appears with his mouth wide open, as if he are shouting curses (or instructions) to his closest followers. He appeals to the modern belief that power is asserted through fear, not respect for power or title. Women's age varies, but throughout their work they have similar distortions. They seem frightened, but overwhelmingly obedient, as if they obey Satan's orders and intentions to obey. He is considered to be part of fourteen or more paintings depicting Goyah's Black Paintings. The story of Francisco Goya took extreme measures and risks on the heels of the terrible Spanish Inquisition, as well as the witch hunt and trials that followed soon after. Goya directly and visually attacks the feelings and mentality of the time, which reveled in superstitions and religious horror on the dark side of human nature. Although this mural (among other works by Goya) was moderately hidden during its creation for fear of recriminations in his artistic commentary, it is considered one of his best works - all of which appear later in his career. Francisco Goya retreated from the public eye and was constantly afraid to go crazy.
    [Show full text]
  • Connections Between Sámi and Basque Peoples
    Connections between Sámi and Basque Peoples Kent Randell 2012 Siidastallan Outside of Minneapolis, Minneapolis Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota “D----- it Jim, I’m a librarian and an armchair anthropologist??” Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota Connections between Sámi and Basque Peoples Hard evidence: - mtDNA - Uniqueness of language Other things may be surprising…. or not. It is fun to imagine other connections, understanding it is not scientific Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota Documentary: Suddenly Sámi by Norway’s Ellen-Astri Lundby She receives her mtDNA test, and express surprise when her results state that she is connected to Spain. This also surprised me, and spurned my interest….. Then I ended up living in Boise, Idaho, the city with the largest concentration of Basque outside of Basque Country Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota What is mtDNA genealogy? The DNA of the Mitochondria in your cells. Cell energy, cell growth, cell signaling, etc. mtDNA – At Conception • The Egg cell Mitochondria’s DNA remains the same after conception. • Male does not contribute to the mtDNA • Therefore Mitochondrial mtDNA is the same as one’s mother. Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota Kent Randell (c) 2012 --- 2012 Siidastallan, Linwood Township, Minnesota Four generation mtDNA line Sisters – Mother – Maternal Grandmother – Great-grandmother Jennie Mary Karjalainen b. Kent21 Randell March (c) 2012 1886, --- 2012 Siidastallan,parents from Kuusamo, Finland Linwood Township, Minnesota Isaac Abramson and Jennie Karjalainen wedding picture Isaac is from Northern Norway, Kvaen father and Saami mother from Haetta Kent Randell (c) 2012 --- 2012 Siidastallan, village.
    [Show full text]
  • Malas Madres. De Brujas Voraces a Fantasmas Letales
    ARTÍCULOS Amaltea. Revista de mitocrítica ISSN-e: 1989-1709 http://dx.doi.org/10.5209/amal.63073 Malas madres De brujas voraces a fantasmas letales María Tausiet1 Resumen. El miedo a las mujeres se expresó desde antiguo en la figura de la madre insensible y cruel, capaz de arrebatar la vida a sus hijos. Desde la Medea griega, el mito de la infanticida terminó plasmándose en la Europa Moderna en las brujas devoradoras de niños. Entre los arquetipos extremos de la madre-bruja asesina y la madre idealizada, se sitúa un tipo de maldad ambigua y sutil: la de la madre dominante que, aunque no elimina a sus hijos físicamente, ejerce una influencia debilitadora y maligna sobre ellos. El tabú de las malas madres afloró tímidamente en la literatura europea desde la Edad Media, para alcanzar su expresión más refinada con el auge de la narrativa gótica y el Romanticismo. Palabras clave: Malas madres; Infanticidio; Brujas; Vampiras; Fantasmas; Literatura Gótica. [en] Evil Mothers From Devouring Witches to Deadly Ghosts Abstract. Since time immemorial, the figure of the mother has sparked ambivalent emotional reactions, ranging from adoration to deep-rooted fear. The myth of the child-killing woman was materialized during the Early Modern Age in the classic witch. The transformation of the myth of the evil mother from devouring witch to deadly ghost occurred in Europe during the Enlightenment and the early Romantic era.Then, the traditional wicked witch mother adopted a guise that was considerably more ambiguous and subtle, though no less threatening: that of the dominant mother who might not physically eliminate her children but nonetheless exerted a debilitating influence over them.
    [Show full text]
  • Panthera Pardus ., 2003).Ouraim,However, Is Var
    THE LEOPARD (PANTHERA PARDUS), THE RARE HUNTER OF THE ALPINE AREA DURING THE UPPER PLEISTOCENE MARTINA PACHER UNIVERSITY OF VIENNA, INSTITUTE OF PALAEONTOLOGY, PALAEOBIOLOGY-VERTEBRATEPALAEONTOL- OGY, GEOZENTRUM UZA II, ALTHANSTRASSE 14, A-1090 VIENNA, AUSTRIA, [email protected] GERNOT RABEDER UNIVERSITY OF VIENNA, INSTITUTE OF PALAEONTOLOGY, PALAEOBIOLOGY-VERTEBRATEPALAEONTOL- OGY, GEOZENTRUM UZA II, ALTHANSTRASSE 14, A-1090 VIENNA, AUSTRIA, [email protected] Abstract The paper presents a revision of leopard remains in the Alps with special focus on the Eastern Alpine area and Switzerland. The oldest evidence comes from the Middle Pleistocene of Hundsheim, Austria, followed by remains from Repolust-cave, Styria, Austria. During the Upper Pleistocene the leopard also reached the high Alps. The highest elevated finds come from the Drachenloch, Switzerland. Nonetheless, its distribution into the Eastern Alpine area is limited, especially at higher elevations. The leopard reached the Alpine area only occasionally with exception of the southern French Alps and Liguria, Italy. Samenvatting Dit artikel presenteert een herziening van de gevonden luipaardresten in de Alpen met een speciale focus op het Oostelijk Alpengebied en Zwitserland. Het oudste bewijsmateriaal komt uit het Midden-Pleistoceen van Hundsheim (Oostenrijk), gevolgd door resten uit de Repolustgrot in Styria (Oostenrijk). Gedurende het Laat- Pleistoceen bereikte het luipaard ook het Alpengebied. De hoogst gelegen vondsten komen van de Drachen- lochgrot in Zwitserland. Toch is de distributie in het Oostelijk Alpengebied beperkt, vooral bij grotere hoogtes. Het luipaard bereikte slechts incidenteel het Alpengebied met uitzondering van de zuidelijke Franse Alpen en ICBS PROCEEDINGS Liguirië (Italië). at the collection Weinfurter at the Institute of Palaeontology INTRODUCTION Vienna (table 2, table 4-8, plate 1).
    [Show full text]
  • Paisajes Y Naturaleza Ppaisajes Ynaturaleza a I S a J Mono-Gráficas E Iratxe Tejedor Jaunarena S Enrique Pinterllopis Unai Huicialejandro
    a z e PPaisajesaisajes y nnaturalezaaturaleza l a r u t a n y s e j a s i a P Iratxe Tejedor Jaunarena Unai Huici Alejandro Enrique Pinter Llopis mono-gráficas michelena 27 ARTES GRÁFICAS Paisajes y naturaleza Iratxe Tejedor Jaunarena Unai Huici Alejandro Enrique Pinter Llopis mono-gráfi cas michelena 27 2019 MONO-GRÁFICAS MICHELENA, 27 1ª Edición 2019 CATALOGACIÓN EN PUBLICACIÓN Iratxe Tejedor, Unai Huici, Enrique Pinter Paisajes y naturaleza [1.ª ed.]. Donostia / San Sebastián : Michelena, 2019. (Mono-gráficas Michelena ; n.º 27). – 192 p. : il. ; 21 cm. ISBN: 978-84-121208-0-6 D.L. SS-01187-2019 Reservados todos los derechos. Está prohibido, bajo las sanciones penales y resarcimientos civil previstos en las leyes, reproducir, registrar o transmitir esta publicación, íntegra o parcialmente por cualquier sistema de recuperación y por cualquier medio, sea mecánico, electrónico, magnético, por fotocopia o por cualquier otro sin la autorización previa por escrito de Michelena artes gráficas S.L. y de los autores. Índice Aurkezpena / Introducción . 7 Donostia / San Sebastián . 11 Pasaia, Oiartzun, Peñas de Aia /Aiako Harria, Errenteria . 33 Hendaya, Anglet, Sokoa, Larun . 61 Hondarribia, Jaizkibel . 69 Deba, Getaria, Zumaia, Lekeitio . 75 Sierras de Aralar, Urbia, Urbasa . 109 Alkiza, Baliarrain, Berastegi, Gorriti, Zerain . 123 Navarra: Burgi, Monasterio de Leyre, Ekaitza Mendia, Orbaizeta, Otxagabia, Pantano de Irabia, Sierra de Abodi, Foz de Lumbier, Bardenas Reales, Zubieta, Cueva de Mendukilo, Xorroxin, Iruña, Estella, Embalse de Yesa
    [Show full text]
  • Basque Studies N E W S L E T T E R
    Center for BasqueISSN: Studies 1537-2464 Newsletter Center for Basque Studies N E W S L E T T E R Center welcomes Gloria Totoricagüena New faculty member Gloria Totoricagüena started to really compare and analyze their FALL began working at the Center last spring, experiences, to look at the similarities and having recently completed her Ph.D. in differences between that Basque Center and 2002 Comparative Politics. Following is an inter- Basque communities in the U.S. So that view with Dr. Totoricagüena by editor Jill really started my academic interest. Al- Berner. though my Master’s degree was in Latin American politics and economic develop- NUMBER 66 JB: How did your interest in the Basque ment, the experience there gave me the idea diaspora originate and develop? GT: I really was born into it, I’ve lived it all my life. My parents are survivors of the In this issue: bombing of Gernika and were refugees to different parts of the Basque Country. And I’ve also lived the whole sheepherder family Gloria Totoricagüena 1 experience that is so common to Basque identity in the U.S. My father came to the Eskerrik asko! 3 U.S. as a sheepherder, and then later went Slavoj Zizek lecture 4 back to Gernika where he met my mother and they married and came here. My parents went Politics after 9/11 5 back and forth actually, and eventually settled Highlights in Boise. So this idea of transnational iden- 6 tity, and multiculturalism, is not new at all to Visiting scholars 7 me.
    [Show full text]
  • The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
    Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography.........................................
    [Show full text]
  • Basque Studies
    Center for BasqueISSN: Studies 1537-2464 Newsletter Center for Basque Studies N E W S L E T T E R Basque Literature Series launched at Frankfurt Book Fair FALL Reported by Mari Jose Olaziregi director of Literature across Frontiers, an 2004 organization that promotes literature written An Anthology of Basque Short Stories, the in minority languages in Europe. first publication in the Basque Literature Series published by the Center for NUMBER 70 Basque Studies, was presented at the Frankfurt Book Fair October 19–23. The Basque Editors’ Association / Euskal Editoreen Elkartea invited the In this issue: book’s compiler, Mari Jose Olaziregi, and two contributors, Iban Zaldua and Lourdes Oñederra, to launch the Basque Literature Series 1 book in Frankfurt. The Basque Government’s Minister of Culture, Boise Basques 2 Miren Azkarate, was also present to Kepa Junkera at UNR 3 give an introductory talk, followed by Olatz Osa of the Basque Editors’ Jauregui Archive 4 Association, who praised the project. Kirmen Uribe performs Euskal Telebista (Basque Television) 5 was present to record the event and Highlights 6 interview the participants for their evening news program. (from left) Lourdes Oñederra, Iban Zaldua, and Basque Country Tour 7 Mari Jose Olaziregi at the Frankfurt Book Fair. Research awards 9 Prof. Olaziregi explained to the [photo courtesy of I. Zaldua] group that the aim of the series, Ikasi 2005 10 consisting of literary works translated The following day the group attended the Studies Abroad in directly from Basque to English, is “to Fair, where Ms. Olaziregi met with editors promote Basque literature abroad and to and distributors to present the anthology and the Basque Country 11 cross linguistic and cultural borders in order discuss the series.
    [Show full text]
  • Elko Jaietan 51 Urte Celebrating 51 Years of Basque Tradition Schedule of Events
    2014 Elko Jaietan 51 Urte Celebrating 51 Years of Basque Tradition Schedule of Events 2014 Elko Jaietan 51 Urte 2014 Elko Basque Festival Celebrating 51 Years Friday July 4th/Ostirala 4an Uztaila 6:00 p.m. – Kickoff/Txupinazua- Elko Basque Clubhouse Enjoy the evening with your family and friends with a taste of what is to come during the weekend. There will be dancing by the Elko Ariñak dancers, a Paella contest, Basque sport exhibitions of weight lifting and wood chopping, and handball games. Stay for exceptional food, drink, bounce house, and a special performance by this year’s Udaleku group. Saturday July 5th/Larunbata 5an Uztaila 7:00 a.m. – 5K Run/Walk – Eusko Etxtea – Elko Basque Club- house $20 participation fee and you get a t-shirt Registration is at 6:15 a.m. Race starts at 7:00 a.m. For more information contact Cody Krenka at 738-6479 11:00 a.m. – Parade – Downtown Elko 1:00 p.m. - Games & Dancing – Elko County Fairgrounds $10 Adults $5 Children 12 & Under Featuring the following dance groups: Elko Ariñak, Utah’ko Triskalariak, Reno Zazpiak Bat, and Ardi Baltza. Watch traditional Basque rural sports featuring weightlifting, wood chopping, weight carrying, relay, tug o war, and more! 2 9 p.m. Dance - Eusko Etxea - Elko Basque Clubhouse $12 Admission Dance - featuring Boise’s Amuma Says No; come enjoy a fun filled evening of dancing, catching up with old friends and making new ones Sunday July 6th /Igandea 6an Uztaila Eusko Etxea - Elko Basque Clubhouse Please NO outside Food or Beverage 10:30 a.m.
    [Show full text]
  • Elko Jaietan 50 Urte Celebrating 50 Years of Basque Tradition
    2013 Elko Jaietan 50 Urte Celebrating 50 Years of Basque Tradition 2013 Schedule of Events Elko Basque Festival Celebrating 50 Years Elko Jaietan 50 Urte Friday, July 5th 10:00 a.m. – Parade – Downtown Elko Ostirala 5an Uztaila Starting at the Crystal Theater on Commercial Street, continuing through Downtown Elko down Idaho Street, ending at the Elko County 6:00 p.m. – Kickoff/Txupinazua – Fronton Fairgrounds. come during the weekend. There will be dancing by the Elko Ariñak dancers, 1:00 p.m. – Games & Dancing – Elko County Fairgrounds Basque sport exhibition of weight lifting and wood chopping, and handball $10 Adults, $5 Children 12 & Under games. Stay for exceptional food, drink, bounce house and the North Featuring the following dance groups: Elko Ariñak, Utah’ko Triskalariak, American Basque Organizations Txerriki contest, a celebration of all things Reno Zazpiak Bat, Boise Oinkari, aGauden Bat from Chino, CA, Zazpiak- Bat from San Francisco, CA. Watch traditional Basque rural sports featuring weightlifting, wood chopping, weight carrying, bale toss, tug-o-war, and more! 9:00 p.m. – Dance – Eusko Etxea – Elko Basque Clubhouse Saturday, July 6th $12 Admission Laurnbata 6an Uztaila Dance - featuring Boise’s Amuma Says No; come 7:00 a.m. – 5K Run/Walk – Eusko Etxtea – Elko Basque Clubhouse of dancing, catching up $20 participation fee and you get a t-shirt with old friends and Registration is at 6:15 a.m. Race starts at 7:00 a.m. making new ones. For more information contact Cody Krenka at 738-6479. 8:00 a.m. – Golf Tournament – Ruby View Golf Course $30 per person a $120 per team DOES NOT INCLUDE GREENS FEES OR CART FEE Registration is at 7:00 a.m.
    [Show full text]