Basque ethnography at a glance

Castle of Eskolunbe (1915). Author: Balbino Sobrado (AMVG).

A widespread and perhaps little-studied festive element consists of the numerous acrobatic formations that are still called human towers or castles. They are usually associated with the youth category or with the groups that organize these human formations, which consist of climbing on top of each other, usually to show off their full physical capacity in front of the community, and from this position; they sing the verses that refer to the celebration.

It is also the final element or climax of the classical dance cycles (“dances”, “paloteados”, etc.), in which the dancers perform their more or less elaborate human structures, ending with classical greetings to the festive figure, the entire community or its famous figures. Furthermore, they sometimes seek to unite the entire community for the sake of social cohesion, forming tall and spectacular pyramidal structures, usually of great height.

These structures can take the form of simple acrobatic figures or giant acrobats (face to face or fighting) or two- or three-story formations. They create unique figures or acrobatic balances, performing acrobatic climbing tricks (“castle siege”), and form high and elaborate human towers of notable difficulty. The top is usually taken by a child of low weight, and in the case of dances, one of the members or the only figure in the procession is raised. They are performed with a melody that regulates the movements, or simply serves as a background tune for the performances.

Azeri dantza of Andoain: Towers. Author: Emilio X05abier Dueñas.

This custom has been common throughout the Iberian Peninsula, becoming a classic figure in the vast area occupied by “dances” from Erribera (Cortes, Murchante, Ablitas, Cabanillas, Ribaforada, etc.) and in the area occupied by dances that spread throughout much of La Rioja (on the other hand, it has been marginalized or neglected in the same area of Araba). The “castle” is essential in the Pipaón dance cycle, or in the construction of this tower (dorrea), and also in the Axeri dantza of Aduna. Without being associated with the dance group or its repertoire, young people create their famous “castles” during the pilgrimage of the Virgin of Eskolumbe or for the Trinity of Kuartango, and they are also common in the celebration of Saint Marina of Laño in Treviño.

From a pragmatic perspective, their goal is to achieve height, so that the message is properly heard by the entire community, to demonstrate the skill and ability of young people and local dancers, or, to promote the cohesive participation of the community, to get its full construction and achievement. From an interpretative point of view, the traditional mentality usually divides the world into three spheres: the underworld, the terrestrial and the celestial. The latter, so sought after by humanity since time immemorial, is eagerly sought, and efforts are made to reach the sky or the desirable fusion between heaven and earth using various symbolic systems or techniques.

This hypothetical task includes the communal raising of traditional May trees, spectacular images of festive giants, the raising of a prominent member of the group on swords or sticks (Ezpata dantza of Legazpi or Xemein) and in a recumbent figure (Dantzari dantza: txotxongiloa), the ritual and dance of walking on a chest, the evolution of dance on stilts, various acrobatic exercises of “volatins” and the special construction of these aforementioned human towers or castles.

Josu Larrinaga — Sociologist