Historia Y Política 38
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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. -
Urtarrila-Otsaila Herria Kultura Hizkuntza
herria kultura hizkuntza urtarrila-otsaila 2014 © JAKINeko idazlanez inon baliatzerakoan aipa bedi, mesedez, iturria aldizkari irekia da eta ez dator nahitaez idazleen iritziekin bat ZUZENDARIA Joan Mari Torrealdai ERREDAKZIO-ARDURADUNA Xabier Eizagirre KONTSEILU EDITORIALA Paulo Agirrebaltzategi, Joxe Azurmendi, Joseba Intxausti IDAZKARITZA ETA ADMINISTRAZIOA Tolosa Hiribidea, 103-1.C / 20018 Donostia Tel. 943 21 80 92 [email protected] www.jakingunea.com Aldizkari honek Gipuzkoako Foru Aldundiko Euskararen Normalkuntzako Zuzendaritza Nagusiaren laguntza jaso du Eusko Jaurlaritzako Kultura Sailak diruz lagundutako aldizkaria Aurkibidea SUMMARY 5 ZUZENDARIAREN HITZAK 7 200 zenbaki. Etorkizuna iragana baino handiagoa Joan Mari Torrealdai HISTORIA BIZIA ELEZ ELE 13 Luis Iriondori elkarrizketa Imanol Murua Uria Luis Iriondo kultur eragile polifazetikoaren bizitzan eta jardu- nean sakontzeko aukera eskaintzen digu elkarrizketak: gerra garaiko oroitzapenak; ikasketak; musika eta zinema; kazetari- tza lanak; marketing, harreman publiko eta publizitatea; Ga- raikoetxearen eta Ardanzaren gobernuetan aholkulari; ETBko lehenengo zuzendaria... ALEZ ALE 77 Euskal musika giroa 1960ko hamarkadan Joxemari Iriondo 60ko hamarkadako euskal musika berriaren hastapenak azter- tzen dira: Nemesio Etxanizen lana eta ekarpena, Robles-Aran- giztarrak eta 50eko hamarkada amaierako euskal kantugintza berria, Mixel Labegerie, Lourdes Iriondo, Mikel Laboa, irra- tietako grabaketak, dantzalekuetako taldeak... 3 Jakin 200 95 Ikuska saila: ostarte bat laino itsasoan -
Archives Du Comité D'histoire De La Deuxième Guerre Mondiale Juin 1973-Juillet 1973
Archives du Comité d’histoire de la Deuxième Guerre mondiale — Résistance intérieure : mouvements, réseaux, partis politiques et syndicats Répertoire numérique détaillé (72AJ/35-72AJ/89) Par Patricia Gillet, avec la collaboration d'Alexandra Hauchecorne et le concours de la mission du projet de Pierrefitte-sur-Seine Deuxième édition électronique Archives nationales (France) Pierrefitte-sur-Seine 2015 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_053870 Cet instrument de recherche a été originellement rédigé en XML/EAD. Ce document est écrit en français. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales. 2 Archives nationales (France) Préface Informations à l'intention des personnes consultant le fonds mis en ligne 1/ L’exploitation des documents consultés n'est autorisée que dans le cadre d’un usage privé (usage strictement personnel dans le cercle de la famille) ou dans le cadre d’analyses et courtes citations justifiées par le caractère critique, polémique, pédagogique, scientifique ou d'information de l’œuvre à laquelle elles sont incorporées, sous réserve que soient indiqués clairement le nom de l'auteur et la source (cf article L122-5 du code de la propriété intellectuelle). 2/ Toute autre réutilisation (publication, exposition...) au sens du chapitre II de la loi n° 78-753 du 17 juillet 1978, de quelque manière que ce soit, dans le cadre d'activités commerciales ou non, est expressément réservée. Elle devra faire l'objet d'une demande d'autorisation préalable auprès des Archives nationales. 3/ Compte tenu de la difficulté pour les Archives nationales à identifier les ayants-droit de certains documents composant des fonds d'archives mis en ligne, ces documents peuvent apparaître avec la mention "tous droits réservés". -
Le Faisceau De Georges Valois In: Revue Française De Science Politique, 26E Année, N°1, 1976
Zeev Sternhell Anatomie d'un mouvement fasciste en France : le faisceau de Georges Valois In: Revue française de science politique, 26e année, n°1, 1976. pp. 5-40. Citer ce document / Cite this document : Sternhell Zeev. Anatomie d'un mouvement fasciste en France : le faisceau de Georges Valois. In: Revue française de science politique, 26e année, n°1, 1976. pp. 5-40. doi : 10.3406/rfsp.1976.393652 http://www.persee.fr/web/revues/home/prescript/article/rfsp_0035-2950_1976_num_26_1_393652 Résumé ANATOMIE D'UN MOUVEMENT FASCISTE EN FRANCE, LE FAISCEAU DE GEORGES VALOIS, par ZEEV STERNHELL Le mouvement fasciste de Georges Valois est créé en novembre 1925. Pour être comparable aux entreprises analogues en Europe, à la même époque, il ne s'inscrit pas moins, cependant, dans une tradition antirépublicaine, anti-parlementaire et antidémocratique spécifiquement française. Né de la droite, le Faisceau se trouvera vite en butte à son hostilité. Financé par de gros industriels, son ouvriérisme verbal lui fera rapidement perdre ce soutien indispensable. Organisé en quatre sections : celle des « combattants », celle des producteurs, celle des jeunes et celle des sympathisants, le Faisceau au plus haut de son influence, pourra revendiquer 25 000 adhérents essentiellement dans la région parisienne. Succès éphémère ; en 1927 avec le départ des derniers bailleurs de fonds, le Faisceau disparaît de la scène politique. A cette date, la droite française, assurée de son pouvoir et satisfaite de ses formes traditionnelles d'organisation, n'a pas eu besoin d'entretenir les ambiguïtés d'une organisation fasciste. [Revue française de science politique XXVI (1), février 1976, pp. 5-40.] Abstract ANATOMY OF A FASCIST MOVEMENT IN FRANCE, THE « FAISCEAU » OF GEORGES VALOIS, by ZEEV STERNHELL Georges Valois founded his fascist movement in November 1925. -
Interview with Luis Iriondo Basque Music in the 60S Choirs... Joxemari
Summary Interview with Luis Iriondo he journalist Imanol Murua Uria conducts an extensive interview with the cultural enabler and multi-faceted Luis Iriondo, in a new issue of the series Historia bizia (Living History). he interview takes a major look back over Iriondo’s life: his childhood in Azkoitia; his recollections of war and the post-war period; his studies with nuns and Salesians; his irst job at the age of 13 at the Banco de Vizcaya; his stay in London; the founding of the Kontrapuntoak musical quintet and its successful trajectory; his activity as a composer of Christmas carols; his work as an agent for singers and musicians; his journalistic work in the written press and radio about literature and music; his pioneering work in the ield of advertising in the Basque language as the person in charge of marketing, public relations and advertising at Caja Laboral Popular; his move on from industrial ilm production to the production of the Ikuska documentary series; his work as an actor and composer of soundtracks in the world of cinema; his experience as an advisor in communica- tions, public relations and protocol in the Government led by Carlos Garaikoetxea and, subsequently, in that of Jose Antonio Ardanza; and his work as the irst director of Euskal Telebista. He also gives us his opinion about a range of personalities from cultural and political life with whom he maintained close contact. Imanol Murua Uria Basque music in the 60s Joxemari Iriondo analyzes the irst steps taken in new Basque music in the 60s: the work and contribution made by the priest Nemesio Etxaniz, the Robles-Arangiz brothers and the new Basque song movement in Bilbao and Bizkaia at the end of the 50s, Mixel Labegerie and the mu- sical environment in the North Basque Country, the prodigious burst- ing onto the scene of Lourdes Iriondo, the irst steps taken by Mikel Laboa, the recordings made on Basque radio stations of many singers, music groups from discotheques, competitions involving eight voice choirs.. -
Before Babel: a History of Basque Literatures
Before Babel: A History of Basque Literatures Joseba Gabilondo BαRβaπoaK © 2016 Barbaroak. All rights reserved Printed in the United States of America on acid-free paper. Design: Joseba Gabilondo. Photographs: Wikimedia commons. ISBN: 978-1530868322 Library of Congress Cataloging Data: PH5281 .G33 2014 Barbaroak, LLC. www.barbaroak.com Only Basques preserve, to our days, their vulgar and barbarian language, which does not show any elegance, and is very different from the rest of languages and the most ancient of Spain, […] it is said that the whole Spain made use of the Basque language before the Romans entered these provinces and, with their arms, spread their language. It is also said that, because these Basque people were vulgar, ferocious, and wild […] and the mountains they inhabited were inaccessible, they never fell completely under the yoke of the foreign empire, or they shook it swiftly. Juan de Mariana, General History of Spain, (1601). What are we waiting for while congregated in the forum? The barbarians are expected to arrive today. Why is there such lack of action in the senate? Why are the senators sitting still and do not legislate? Because the barbarians will arrive today. … Why are the streets and public squares becoming empty? And everybody is going home with skeptical thoughts? Because night has fallen and the barbarians did not arrive. Some people came from the border And reported that the barbarians do not exist anymore. Now what are we going to do without barbarians? These people were after all a kind of solution. Constantine P. Cavafy. “Waiting for the Barbarians.” (1904; translation by Konstantinos Karpozilos). -
PELLO RAMIREZ 7' 06'' Patrocinador
HALA ERE 1. Itsasora mezu bat – PELLO RAMIREZ 7’ 06’’ Patrocinador: AYUNTAMIENTO DE ZUMAIA 2. Hala ere – L. IRIONDO/X. LETE (Arreglos JOXAN GOIKOETXEA) 5’ 32’’ Patrocinador: AYUNTAMIENTO DE GETARIA 3. Arrikutz – AITOR FURUNDARENA 6’ 01’’ Patrocinador: AYUNTAMIENTO DE AZPEITIA 4. Oskiarako bidea – XABI ZABALA 5’ 31’’ Patrocinador: AYUNTAMIENTO DE ZARAUTZ 5. Kimua – MARIJOSE ARREGI 3’ 42’’ Patrocinador: AYUNTAMIENTO DE AZKOITIA 6. Kaieratu zinenekoa - PELLO RAMIREZ 9’ 08’’ Patrocinador: AYUNTAMIENTO DE ORIO 7. Abril – IÑAKI SALVADOR 9’ 42’’ Patrocinador: AYUNTAMIENTO DE ZESTOA 8. Txistulari – KEPA JUNKERA 6’ 26’’ Patrocinador: LAGUN ARO SEGUROS Banda Municipal de Txistularis: - Garikoitz Mendizabal (Director y txistu primero) - Idoia Kareaga (txistu segundo) - Gorka Zabaleta (silbote) - Asier Gartzia (percusiones) Grabado en octubre de 2007 en los estudios Elkar (Técnico de Sonido: Cesar Ibarretxe; Coordinador: Josebe Ormazuri). www. bilbaomusika.net COMPOSITORES Y COMENTARIOS SOBRE SUS OBRAS Itsasora mezu bat Pello Ramirez Acordeón: Pello Ramirez “Un mensaje a la mar”, es una composición inspirada en los textos del escritor bretón Satprem. En una alternancia del silbote y del acordeón la introducción quiere evocar a un movimiento o al viento que viene de lejos. Este comienzo, en una tonalidad mayor, abrirá camino al txistu primero con una melodía a modo de himno . Seguidamente, el acordeón se caracterizará por una emanación ininterrumpida y movida hasta el final. Por encima de esto, se encontrarán unidos los ritmos, las melodías y contracantos, como en un moviento ininterrumpido y continuo de la mar. PELLO RAMÍREZ. Nacido en Ordizia, la formación musical de Pello Ramírez Intxausti inicialmente estuvo vinculada al acordeón, instrumento con el que participó y fue premiado en numerosos certámenes tanto a nivel nacional como internacional. -
(Alter) Mainstream: the Commercial As Transgression
1.2. When underground becomes (alter) mainstream: the commercial as transgression Ion Andoni del Amo1 Abstract In the Basque Country, the combination of a Basque ethnic culture together with subcultural expressions, and the joint mobilisation of them in the different conflicts -particularly the national one- by the social and political movements, has favoured processes of cultural and identity reconstruction. This has also favoured processes of (counter) institutionalisation, in the political realm and in material infrastructures, which have granted them particular power and a lasting nature, to the point of disputing the cultural hegemony of cultural products on the market. It crystallized an aesthetic mode of counterculture and a soundtrack. In that sense, the 'Basque Radical Rock' becomes in a kind of Basque (counter) mainstream, mainstream for some sectors and geographies, in dispute with the commercial or 'Spanish' ones. With Basque rock consolidated as counter-hegemonic, the role of rhythms such as commercial music or reggaeton becomes reversed and they acquire, in countercultural environments, a certain transgressive possibility. This is what some feminist and queer groups have explored. This reflection criticises the aesthetic closure, but also the sexism of Basque rock, moral taboos about sex, or a certain ethnocentric moral superiority with regard to some rhythms, supporting dance and even a right to moments of frivolity. Transgressive praxis involved a provocative and disconcerting insertion of commercial songs, or even traditional Spanish music, at venues playing Basque rock, and passionate reggaeton dancing between young women. Keywords: Basque Country, music, transgression, counterculture, gender, mainstream. Music, protest politics and identity in the Basque country In the last 50 years, the Basque Country has witnessed major counterculture phenomena. -
Poéticas Experimentales En La Resistencia Cultural Vasca. Iratxe
Kamchatka Revista de análisis cultural N. 12 Experimentación poética y contracultura en contextos dictatoriales ibéricos y latinoamericanos (1960-1990): colectivos, acciones y reacciones Coordinado por Mercè Picornell y Maria Victòria Parra Moyà EXPERIMENTACIÓN POÉTICA Y CONTRACULTURA EN CONTEXTOS DICTATORIALES IBÉRICOS Y LATINOAMERICANOS (1960-1990): COLECTIVOS, ACCIONES Y REACCIONES KAMCHATKA. REVISTA DE ANÁLISIS CULTURAL 12 (2018) Monográfico coordinado por MERCÈ PICORNELL Y MARIA VICTÒRIA PARRA MOYÀ MERCÈ PICORNELL Y MARIA VICTÒRIA PARRA MOYÀ. Experimentación poética y 221-228 contracultura en contextos dictatoriales ibéricos y latinoamericanos (1960-1990): colectivos, acciones y reacciones. JUAN GONZALEZ GRANJA. Los tzánticos amenazan la ciudad: la performance 229-251 poética de la indig-nación en el Ecuador moderno. MALENA LA ROCCA. “Rompiendo la piñata del Mundial”. Los usos de la fiesta en 253-271 montajes teatrales, recitales y acciones callejeras durante la última dictadura cívico- militar argentina. PAULINE MEDEA BACHMANN. Poesía en circulación. Estéticas politizadas entre 273-290 exposición, documentación y lectura en el Cono Sur. JÈSSICA PUJOL DURAN. Beau Geste Press: a Liminal Communitas across the New 291-312 Avant-gardes. ALBERTO VALVERDE OTERO. El Grupo Rompente (1975-1983). Un viaje 313-332 inesperado por la Transición en el campo literario gallego. IRATXE RETOLAZA. Poéticas experimentales en la resistencia cultural vasca: 333-369 'Isturitzetik Tolosan Barru' (1969). MERCÈ PICORNELL. Campo literario y reconstrucción democrática. -
Fascism, Liberalism and Europeanism in the Political Thought of Bertrand
5 NIOD STUDIES ON WAR, HOLOCAUST, AND GENOCIDE Knegt de Jouvenel and Alfred Fabre-Luce Alfred and Jouvenel de in the Thought Political of Bertrand Liberalism andFascism, Europeanism Daniel Knegt Fascism, Liberalism and Europeanism in the Political Thought of Bertrand de Jouvenel and Alfred Fabre-Luce Fascism, Liberalism and Europeanism in the Political Thought of Bertrand de Jouvenel and Alfred Fabre-Luce NIOD Studies on War, Holocaust, and Genocide NIOD Studies on War, Holocaust, and Genocide is an English-language series with peer-reviewed scholarly work on the impact of war, the Holocaust, and genocide on twentieth-century and contemporary societies, covering a broad range of historical approaches in a global context, and from diverse disciplinary perspectives. Series Editors Karel Berkhoff, NIOD Thijs Bouwknegt, NIOD Peter Keppy, NIOD Ingrid de Zwarte, NIOD and University of Amsterdam International Advisory Board Frank Bajohr, Center for Holocaust Studies, Munich Joan Beaumont, Australian National University Bruno De Wever, Ghent University William H. Frederick, Ohio University Susan R. Grayzel, The University of Mississippi Wendy Lower, Claremont McKenna College Fascism, Liberalism and Europeanism in the Political Thought of Bertrand de Jouvenel and Alfred Fabre-Luce Daniel Knegt Amsterdam University Press This book has been published with a financial subsidy from the European University Institute. Cover illustration: Pont de la Concorde and Palais Bourbon, seat of the French parliament, in July 1941 Source: Scherl / Bundesarchiv Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 333 5 e-isbn 978 90 4853 330 5 (pdf) doi 10.5117/9789462983335 nur 686 / 689 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The author / Amsterdam University Press B.V., Amsterdam 2017 Some rights reserved. -
Towards a Basque State.Citizenship and Culture
61 The Basque SStatetate and culture Ane Larrinaga Renteria Josu Amezaga Albizu Patxi Juaristi Larrinaga Fito Rodríguez Bornaetxea Iñaki Martínez de Luna Pérez de Arriba 62 Introduction AAAnnneee LLLaaarrrrrrrriiiinnnaaagggaaa RRReeennntttteeerrrriiiiaaa,,,, PPPhhh....DDD.... ((((SSSoooccciiiiooollllooogggyyy)))).... PPPrrrroooffffeeessssssooorrrr,,,, EEEHHHUUU----UUUPPPVVV The issue of culture is important in state-building, just as it is in nation-building. Culture may in general be said to provide resources for achieving social cohesion and hence for creating a shared collective identity. Ultimately culture provides any social group which considers itself as such with ways to re-create and perpetuate itself. From this perspective, any analysis of culture reveals connections between culture and power. If a social group wishes to be reborn culturally or socially in the present era, it needs to achieve some degree of cultural sovereignty; that is to say, it needs to have the ability (power) to manage, regulate, create and defend its own symbolic resources. Notwithstanding the present-day questioning of its role, the state is still the institution that makes possible such independence in political terms. Therefore, inasmuch as it is a necessary tool for social or cultural rebirth, stateless national groups seek such an institution for themselves. Despite claims about the demise of the state, it is an observable fact that new states are being created all the time around the world, at least on those occasions when such a political opportunity arises. Let us not forget that five of the twenty-seven members of the European Union are states created during the 1990s. The world’s states numbered fifty at the start of the twentieth century; at the beginning of the twenty-first century there are two hundred. -
Diciembre 2011 a Org ISSN 1887-0554 + Suma Rio Editorial 3
12 C3B03046 ntzina diciembre 2011 awww.antzinako org ISSN 1887-0554 + suma rio Editorial 3 Alicia Ainciburu Sanz Prisioneros en la guerra de la independencia en Navarra 4 Ana María Montes Asategui Arantxa Serrano Montes Los niños de la guerra 27 Gerardo Ripa Correa Un divorcio en Luquin en el siglo XVIII 34 Izar Martínez Amezketa Música más allá del tiempo. La gaita y los gaiteros en Estella. Lizarra 47 Andoni Esparza Leibar Urtasun familiaren blasoiaren bilakaera 57 Marisa Rivas Bacaicoa Personajes : Xabier LETE 60 Carlos Olaetxea Elosegi Casas: Caserío Sagastiberri en Gipuzkoa 66 Ana García Santamaría Historia de una fotografía: Nuevas maestras 1932 70 Libros 73 Novedades 74 Autor de la foto de portada: Gerardo Zaragüeta Zabalo, fotógrafo Pamplonés, : Título: Promoción de maestras de la Escuela Normal de Pamplona. 22 de mayo de 1932. Colección: Museo de Navarra. Foto cedida por el Museo de Navarra C3B03046 © MUSEO DE NAVARRA Edit Hist orial Los grupos familiares man�enen un aire de familia que viene dado por la información gené�ca. Miramos fotogra�as an�guas, dibujos, descripciones y nos descubrimos en algunos de los que nos precedieron gracias a pequeños detalles �sicos que han permanecido durante siglos. Podemos añadir a esta memoria gené�ca los gestos, las expresiones, la forma de andar o de reír y al hacerlo damos cabida también en la familia a los adoptados, a aquellos que sin ser de la misma sangre forman parte ya del mismo linaje. De esta forma, la familia se convierte en un “nosotros” que asiste como una piña a los ritos de paso de cualquiera de sus miembros: bau�zos, confirmaciones, bodas..