This page is under construction; check back soon and send in your recommendations if you'd like to info@nabasque.org

Related links: 
J.A. Urbeltz: The Meaning of Basque Dance 
http://www.dantzariak.net/wardrobe.htm
Creative adapting to limited numbers: Zenbat Gara performance 2003 @UCSB

Preparation: Research and learning the dances including the varied styles from one group of dances to another; preparing costumes

Practice: there only a select amount of time when dancers are gathered:  how can you best maximize that time?

Presentation: Staging, music, lighting (when applicable) and announcing the dances because the meaning of Basque folk dance is not necessarily self-evident.

Promotion: This includes fund-raising, facilitating contacts for potential performances and getting/keeping dancers involved.

Purpose:  Keeping Basque culture alive via dance is an easy go-to reason, but how about something more specifically?  How exactly through dance, and what kind of Basque dance: more-so traditional or innovative?

This is intended for the director[s] of a group who strives to maintain our Basque dance heritage and who wishes to furnish the best possible product within the limitations.  These general elements offer a framework to help guide the director in the formation and exhibition of the group.     

This is an ongoing discussion; please send your comments to info@nabasque.org

PREPARATION

PRACTICE

PRESENTATION

1.  MUSIC & MUSICIANS. 
Live musicians who match the appropriate, authentic instrument to the dance being presented is always preferable.  This of course is not always possible because many groups do not have the luxury of their own live musicians and must rely instead on recorded music.  The issue then becomes the quality of the recording:  does the recording include the authentic instrument for the dance? 

N.A.B.O. makes available to dance groups some recorded tunes.  These are posted here at our website at the various pages devoted to each dance. 

A final note:  remember to thank your musicians if you are lucky enough to have them!

2.  STAGING/PRESENTATION. 
This embraces four broad elements which include dance selection, choreography, staging and introductions.  The dances chosen for the performance are important.  Factors dictating the dance selection process include availability of dancers, preparation, space for performing, and the image or message you wish to convey to that particular audience; e.g., do you wish to present a wide panorama of Basque folk dance, or concentrate on a specific category.  Regard for the specific viewing audience is also essential; e.g., is it all Basque, non-Basque, an academic group, a youth group, etc.

The choreography of a dance regards the version of the dance presented.  The governing factor in this element are the artistic parameters.  There is some elements which are essential for a dance to be considered Basque folk dance.  This is discussed in the segment on folk dance.  The director has the right to exercise artistic license as he or she seeks to interpret a dance, but they should be aware of the dance's history and significance (see below the note on perpetuators & innovators).

The staging of the performance takes into consideration the means of entrance and exit, arrangement of the audience, balance of repertoire, and the lighting and backdrop when relevant.  Preferable staging would include a seamless transition from one dance to the next (using music, a spoken introduction, one dance's exit as the next dance's entrance, etc.) that adjusts its front to the viewing audience (varying the front if the audience is on all four sides, etc.).  The balance of the dances selected (varying the pace from faster to slower numbers) also enlivens the presentation.  Most dances originated in an outdoor context; oftentimes now performances are held indoors and sometimes on stage.  Factors include the use of the dance area (e.g., concentrating the dancing or expanding the choreography, varying the entrance or exit, etc.), lighting, sound and curtains.  A presentation on a stage allows the director to reconfigure the repertoire (i.e., ability to edit portions, moving from one dance to the next with the use of the curtain or lighting, etc.) to lift the performance to a different realm.

Finally the importance of the introduction of the numbers, whether spoken or previously provided in written form, should not be underestimated.  When in doubt, the director should assume that the audience knows little or nothing of the presentation.  This applies to both Basque and non-Basque audiences.  Few Basques have a knowledge of folk dance, and if they do, it is usually restricted to a handful of dances in and around their hometown area.  Secondly, the originating context of folk dance--an agrarian, oftentimes religious or magical world--is now lost to most all in a modern, scientific, and industrialized world.  Carefully prepare the selections, and vary their use:  too little and the significance and depth of your performance will not be conveyed; too much and the audience may lose interest.


3.  COSTUMES & EQUIPMENT. 

This might be a bit tough to hear, but sometimes the truth hurts.  If you are familiar with other ethnic folk traditions, one thing that strikes you is oftentimes and quality of the costumes, and tellingly the pride it seems that people have in being dressed this way.  This has not always been the case with the Basques.

Today's costumes were in many instance yesterday's formal wear.  Few dances make use of special apparel; most utilized the common dress and supplies of the day.  In recent times, dating from the 1930s to the present, many new groups emerged especially in the new urban areas--locales that had no dance tradition of their own but instead borrowed from others.  The costumes were oftentimes made from the material on hand because it was 1) more practical and 2) few concerned themselves with costuming.  Most early groups oftentimes used only one set of costumes as they presented a wide variety of dances.  There are reasons for all of this, but it's worth noting that there is another way.

In the 1970s, the same movement that sought to embrace the authentic, traditional choreography of dances also sought to replicate the correct costume.  Just as the steps, music and choreography vary from dance to dance, there is often a different authentic costume for each dance.  Oftentimes practical limitations limit costume acquisition and changes, but the director should be aware of the element of presenting the number in the authentic costume.  This means a director not going out and "inventing" a new costume just because it looks good.

The proper, authentic equipment is also essential.  Sticks are fine for stick dances, but swords are necessary for the Txankarrekua for example.  Then the issue is the quality of the swords.  Are they all identical and maintained well?  The wooden hoops are fine for striking, but the same hoops lose something when incorporated into a women's hoop dance that would benefit from decorated hoops.

4.  GROUP FORMATION.
Several elements comprise the formation and preservation of a exemplary folk dance group:  the training of dancers with an efficient methodology, the quality of dancers, the group's repertoire, and finally the "fun factor." 

Folk dance is not like other forms of popular dancing:  its themes and actions are not always self-evident.  The director must try to communicate a deeper appreciation for the dance, and this derives in part from a better understanding.  If your dancers do not know something about a Basque dance's background and significance, how can they fully appreciate and promote what they do?  Your group members act as dancing ambassadors, and oftentimes audiences ask them something about your group or dances and they must embarrassingly respond that they do not know, or make up a response on the spot.  Finally, without an understanding of Basque folk dance's significance, how can your dancers differentiate between the "txankarrekua," let us say, and doing the "hokey-pokey" except that one uses swords?

There are various methods of instructing a rehearsal, and each director must locate the style best suited to his/her strengths and conditions.  There is no substitute for organization:  know what it is you want to do before the session begins--time is short and you best take advantage of all that you can.  You may lack a full complement of dancers to rehearse the choreography of dances.  In that case, have prepared sessions of particular portions of a dance that can be practiced in smaller groups.  Also look to dances that do not require a large number of performers. 

There are good, better and best ways to instruct dancers.  This is something that each director develops over time.  One suggestion is to vary the order of practice, and to further vary the time used to rehearse each number.  One week once or twice will suffice; the following week can be used to practice in more often, etc.  Another suggestion would be take advantage of both video cameras and mirrors whenever possible.  Most dancers disregard general comments of correction believing it is intended for another.  A video playback or standing in front of a mirror gives each dancer an opportunity to see for him/herself if the correction applies to them.

The quality of your dancers is something over which you have little or no control.  Some individuals are gifted, while others require more time to learn and perfect dances.  Groups are usually small enough that you can tailor practice to meet the needs of each group.  Everyone can improve.  The "I already know it" response is not sufficient.  Challenge the more talented dancers with extra dances and/or use them to help you instruct the others.  Like any other director in theater or coach in athletics, the task is to maximize the potential of your group.

The dynamics of each group varies because each individual brings his or her own particular motivation to dance.  Most undoubtedly take part because they enjoy dancing to a degree, but they especially enjoy the company of others in the group.  At the other end is a smaller number of who really enjoy the dancing.  The director must seek to bridge this gap and utilize the strengths of each segment to advance the whole group.  The many who enjoy the dance and company nonetheless will appreciate it when the group progresses and others notice this improvement.  The few who more deeply appreciate dancing, on the other hand, should always be aware of the fact that they need the others--those there for pleasure--and not vice-a-versa.  So directors need to take into consideration the fun factor as well; most people participate not for the love of the dance, but because they have a good time.
 

5.  GROUP VISION:  PERPETUATORS & INNOVATORS
Now comes probably the most controversial aspect of Basque dancing:  what is "real" and what looks "good."  These are of course ultimately subjective calls so it becomes a matter of what is considered to be preferable:  should a dance group seek to be more-so the perpetuator or the innovator of Basque dance?

The perpetuator of Basque dance is one that does things like they've always been done; there is little or no room for innovation.  This means that the costumes are those of the original town that came up with the dance, for example, as everything is done (as possible) to maintain the authenticity of the dance.  The innovator, meanwhile, decided that the old dances just aren't enough anymore so something new and different was needed.  Sometimes of course innovation is necessary, because the context of Basque dance has changed drastically from when most of these dances were originated. 

Basque dance endured for centuries because of the guardianship of small villages or towns who passed them from one generation to the next.  Not every town or area, however, perpetuated a group of dances.   But it is not possible, nor preferable, to maintain a 100% accuracy rating.  How can it be?  For example the dances of Otsagi in Nafarroa are performed for the patron saint--our Lady of Muskildi--of the town on a specific day; any other replication would be thus inauthentic.  Then there was a moment in time, when all dances are innovated; the perpetuator then is only preserving the latest manifestation and not necessarily the original form. 

Then again if the innovator goes to far, you will reach a point where the dance is no longer really Basque; it could just as easily or more accurately be classified as jazz, contemporary, ballet, etc.

So is a middle path possible on the perpetuation--innovation continuum?

A successful group requires numerous elements to come together, but perhaps the most crucial element is inspired leadership with a vision for the group.  No matter the innate talent within a group, it does not advance unless it is pointed in that direction.  A visionary looks for ways to preserve and promote the group.  They look for new venues to exhibit their group, they utilize new staging techniques to vary performances, and they challenge the group to expand and improve and maximize its full potential.  They have to be a skillful politician to blend a variety of individuals together, and he or she seeks to deepen their knowledge of Basque culture.  Then if the visionary is fortunate, he or she is supported by handful in group who work together to fulfill the vision.

There are over four hundred Basque folk dances.  Therefore there is always the potential to augment your group's repertoire.  The scope of Basque folk dance is colorful and exciting, and it behooves you to explore this rich tapestry.  Most are now available on video and online at places like YouTube.  But here is the both the strength and the weakness.  Unless someone has an educated clue about what they are seeing online in these video clips, they will have no idea where this lies along the perpetuation--innovation continuum. 

More traditional dances locate their origin in one or several neighboring towns.  The steps and arrangements have been established for generations--there are distinct, definable parameters.  Therefore the director must mindful of this heritage when interpreting this numbers.  Some convey a particular theme or message.  Consequently it is not always adequate, for example, to arrange them with the rationale that the new version "is more fun" or "more exciting."

One of the biggest changes in recent times has been in the role of women. Whereas most Basque dance traditions were originated for males because of the patriarchal context of traditional Basque society, most do not require anything particularly masculine. 

The argument that woman cannot do this or that dance is not based on physical requirements.  A woman can hit a stick just like a man for dance, for example, or march in a procession.  Most acknowledge these similarities, but the real rub comes from some who believe that there should be no real social role differences between men and women:  it should all be the same.  It should be no surprise that there are some who want to maintain a male/female difference in social roles, and others who would prefer to see most if not all of these differences disappear.  This larger debate plays out in the smaller world of Basque dancing.  In some cases this has been gradual with little by way of complication, while other instances have produced prolonged confrontation.  Now there is probably not going to be agreement on this matter, so the aim instead is clarity on where it is that people differ on these matters. 

Those who push hardest for a dissolving of differences take equality to be sameness.  For women to be truly equal, they believe, women must be allowed to do whatever it is that men do.  In their minds, there is no debate on the matter; instead those who differ are nothing but sexist oppressors.  Meanwhile, those who seek to maintain a distinction in some instances base their case not on physical limitations as noted, but instead variations of tradition, aesthetics (what looks good) and keeping males involved.  

Traditions vs. Fads: re-writing history?

The temporary things are always attacking the permanent things.

Chesterton says that a fad is like a heresy.  It is the exaltation of something that, even if true, is secondary or temporary.  And it is set against the things that are essential and eternal.

Our society is plagued with one fad or fashion after another.  They are usually recognized by how short-lived they are.  Like leisure suits. Or pet rocks.

Every fashion flees.  Every fashion is a failure. 

Chesterton says that an industrial society cannot create customs, only fashions. 

Chesterton says, tradition is the truth of the common people.  It is always distrusted by snobs.

The liberalizing dogma is that God created creatures with free will, that we are really responsible for our actions and can make the right choices if we want to. 154

 

Aesthetics:  what people want to see.  “Basketball is Basketball?”

Male role models