Bertsolaristic movement History Protest and innovation

Protest and innovation

Since this was a phenomenon directly relating to society, it cannot be denied that the Carlist Wars (1833-1839, 1872-1876) also had an effect on bertsolaris. Basque society was divided. Protests were made, and local people had little time for leisure. Written verses, however, were to play a key role in publicising their protests. Giving out written copies of the same piece was easier than the performer singing it from square to square, and so written material became more popular at the expense of actual singing.

Another reason for the recovery of bertsolaris was time itself, or rather development over time: industrialisation, steam-powered machinery, the train... although innovation was initially a shock to society, written verses softened the blow and also became the best form of publicity and integration. The unschooled bertsolaris of the time were illiterate, and needed relatives, friends or acquaintances to write down the verses they had in their memories (this was to give rise to the sale of such verses).
Xenpelar (1835-1869), Iparragirre (1820-1881), Bilintx (1831-1876) and Pierre Topet (“Etxahun” - 1786-1862) were perhaps the most memorable performers of the time. Xenpelar was a significant impromptu performer; Iparragirre sang his rhymes with guitar accompaniment; Bilintx and Xenpelar both reached new heights in terms of written verses, whilst Etxahun proved that the art was very much alive in the northern Basque Country too.

Txirrita was no friend of the Spanish politician Antonio Cánovas del Castillo; it was said that Basque nationalism emerged the very day that the Basques lost their ancient “Fuero” laws. Thus, if by that stage the Basque people were already demanding the restoration of many of their ancient rights, this situation intensified between 1876 and 1935. Written verses were to become a weapon, thanks to Txirrita and Pello Otaño in particular.

Moreover, we have no way of telling what was the precise situation of improvised singing at that time, but we know for certain that performances increased with the floral games. These were competitions to promote oral literature and poetry. The first floral games were held in Toulouse in 1324 to promote Provençal poetry. Centuries later, the scientist and philanthropist Antoine d’Abbadie brought them to the Basque Country - to Urruña, in fact. They began in 1853, and were one of the mainstays of bertsolarismo for some fifty years. These events also took the performers beyond their normal perimeters of activity, and the judges and prizes improved the quality of the songs, even though on many occasions there were disagreements on judgments. The number of bertsolaris also increased during the festivities.

Written verses constitute an incomparable chronicle of the transformation of the spoken word to the written word. It was not the first time that bertsolaris had attempted to explain changes, innovation or novelties. Txirrita, for example, provided a brilliant reflection of both society and the context of his era via written verses: the loss of the Basque Fueros, the War in Cuba (1898), the First World War, the Second Carlist War, the murder of Antonio Cánovas del Castillo (1828-1897); sport, regattas, boxing (Uzkudun, Basque Country vs. Joe Louis, USA); religion, church life, the Pope, the Goizueta missions, Adam and Eve; social topics, farm work, strikes in the port at Pasaia, Basque emigration to the Americas etc.

Industrialisation gradually appeared as a topic, since the bertsolaris had also boarded the train of progress. The beginnings of nationalism and political change brought on many changes. On the subject of the Basque language, the theories put forward by Sabino Arana (1865-1903) were of little help. In fact, purists looked down on uneducated performers in Gipuzkoa, who used Spanish words to conceal their lack of schooling.

Many of the rhymes were also officially requested at this time. Pello Errota, for example, sang many verses at the request of brides, grooms and newly-weds.

First bertsolari performance From the bar to the stage