Basque ethnography at a glance

“Alkate dantza” (1980). Archive: Josu Larrinaga Zugadi.

Closely associated with the animal patronage of the day of Saint Anthony (January 17) and the feast of Vicent Martyr (January 21), the feast of Saint Sebastian (January 20) is immersed in the curious winter commemorations. Combining elements of a particular period of masquerades (carnival characters, cow or heifer, fires and bonfires, noises and rackets, elder groups, dances, etc.) and its Catholic attributes of warrior saint and protector of the outbreaks and consequences of the plague, “auroros” (traditional songs from Murcia, usually a cappella, or accompanied by church bells) songs or the arrow-filled image of his martyrdom.

In the town of Lakuntza (Navarre), the celebration began the day before, along with the night round of the “txistulari” and the early morning reveille, around 8 a.m., he grouped the procession that went on a pilgrimage to the saint’s hermitage (placed on the lands of Arruazu) gathered together. After hearing mass (11 a.m.), they loose danced in the neighbouring square and returned to their origin. After lunch, the youth gathered at the entrance of the town hall, following the “txistulari” and the municipal entourage with jumps and claps to the square where they danced the “Alkate dantza” (the mayor dance). At the end of the dance, the audience was invited to wine (a whole wineskin), bread and cheese. In Urdiain, cattle were given time off and, during the procession of the day, the saint was carried by four people named Sebastian. As they passed, they gave them salutes of honour, the town hall provided the wine, the youth provided the nuts, and the local “Giza dantza” (open circle dance for festive context ) was usually organised.

Its resurgence began in the 1970s (30 years after), due to the research carried out by “Bihotz Alai” (a Deusto-based coral group) in the town of Lakuntza, as well as the need to carry out a broad field study (required by the research dynamics and the lack of knowledge) on the “Zortziko”s (dance rhythm also used as an accompaniment for vocal melodies) of the entire Sakana. The hard work of recovering it concluded in 1974, and this finding encouraged young people to celebrate it that year on their traditional dates of Saint Sebastian and Corpus Christi. For this, the testimonies of Emilio Andueza and other people from the area (Paquita from “Txuriko”, Anastasio Laskoz, brothers from the “La Salle” school, youth from “Lakuntzako pertza”, Germán Ostiza, etc.) were key. For several years the relationship and participation were maintained, so in 1980 the information on the “Alkate dantza” and “Ingurutxoak” (circular dance, which as its name indicates, is danced counterclockwise, reflecting lunar symbolism.) that were danced at Corpus Christi, together with the young people of Ihabar, was completed again. Emilio was very well received, he provided us with new information that, together with the scores, are published in the magazine “Dantzariak 24”, he also delighted us performing the dance enthusiastically in the square.

Table of the authorities of Lakuntza (1974). Archive: Josu Larrinaga Zugadi.

As has been pointed out, during the after-dinner conversation, the youth of Lakuntza during Saint Sebastian, gathered around the rectangular square next to the church and town hall. This day consists of clapping and jumping to the tunes of the “txistulari” and accompanying the municipal procession (presided by the mayor and his councillors) and the bailiff carrying the wine (in a wineskin or jug), two clay jugs and “barkiloak” (flat silver cups that were used to carry the baptismal salt). On Corpus Christi the dance changes when the dancers come out into the square linked by a pair of poles. For the rest they follow the classic protocol established for the “Alkate dantza”, the loose dance and parades or the unique “Ingurutxo”s.

The “Alkate dantza” begins on both dates (Saint Sebastian and Corpus Christi) by interpreting the five melodies of the “Zortziko” on the four sides of the square, starting and ending them in front of the table presided by the local authorities. The “steward” (relative of the mayor or a councillor) and his partner play the indicated melodies and the rest of the members, tied with colourful scarves, remain expectant. At the end, this first couple makes a bridge over which the group passes. This is followed by a facing dance, in which young men and women move in a loose way, to end after into the sound of the parade. They take the bread and wine, to begin the unique “ingurutxo”s of perpendicular translation (Emilio performed these choreographies, accompanied by the rhythm of castanets). That was how the party ended.

Josu Larrinaga Zugadi — Sociologist

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