Eñaut Elorrieta has never given his scarf the grip he has given Ken Zazpi with the theme Gernika. All witnesses have understood that we were looking at one of those historic moments when our boys and girls will learn by heart tomorrow at the ikastolas, when nationalist coaches, like Saldias and a couple more, have begun to levitate and the program has burst.

This needs a bit of context. After reading the latest article by Iñaki Segurola we have started to see Bago! And of course, we had a lot of doubts about what it means to be Abertzale in the 21st century and what it doesn't mean. Eider Etxeandia has cleared us of all those doubts. Everything was there, the popular identity, the performativity, the metaphor and the meta-metaphor. The full competition is the size of the inhabitants of Liliput in front of this way of singing and dancing that has just arrived directly from Esparta. Pablo Picasso, Jose Luis Zumeta, Mikel Laboa, Alain Resnais, Paul Eluard, leaves the site, already here Eider Etxeandia. A cutting-edge musical spectacle that has made us regain faith in this people.

What the jury has done in most democratic countries would be considered a betrayal of the homeland. There is no right. In other words: Eider Etxeandia has made live art, no one was prepared for it, and the program has not been able to assimilate the fact. But the headline is as clean as the head of Asier Aranguren: the loser of today will be the winner of tomorrow.

In comparison, everything else is small, we know. But we're professional and we're not going to leave it in that chronicle, though it deserves it. We also have to mention the winner: Danae Riaño. In fact, it is a great merit that he has done. The program had prepared a deadly trap against mosquitoes this year. There is no more to see how the disciples of Andoni Ollokiegi have been falling from one to one, like those of Neymar in the area. But in the end they've had a little bit of justice. Dánae's triumph is that of all the Olloki and that of Andoni Ollokiegi in particular, who, from all things, had to have been the winner of the last edition, as everyone knows. Salt and pepper, soy and wasabi have been the ollokis of this program.

Saldias, oh Saldias

Five programs, five, and he wasn't getting tears. But when the boring of Saldias opened up, the tears they could give to drink in the middle of the Urola began to manar. The end, however, has taken on a different dimension. It wasn't just a tear. There's been sweat. At the time of the last ballot, Saldias was as if he had finished the Zegama-Aizkorri race, so that an entire aquarium would get involved in the skin. You have to have a lesson behind that for the Basque youth: hydrate well, this life has strong emotions for you and it is normal that sometimes one of them is spilled out of the body. And of course, to keep it healthy, the body needs a lot of fluid.

Speaking of the issue of tears, we cannot fail to mention the television experiment carried out by ETB in this end. In fact, we rarely see crossover on our public television. That is why it is to be welcomed the mix between the talent show Bago!az and the Ur Handitan report program, which have tested at some moments of this final when they have shown the finalists the images of their whole family. ETB has obtained from the programmes presented by Isabel Gemio something that could not be seen on television at any time. The plató has become a great tearjerker when they have shown the parents of contestants, their siblings, their partners, their grandparents and other beloved people. But we think more could be done. Where are the starters who died of the finalists when they were eight? And when I showed them, I would have beaten the chantaia emotional people who have looked up. Still Bago!az has spaces therefore not explored. That seems to us, at least to us.

The Joy of Revenge

We did not like it, and we condemn it to the self-affirmative ceremony that has come to an end: we have seen the competitors from before – by the way, sitting on the Ollokitegi, on that stretch full of looming symbolisms – making harsh criticism of the coach who has sung. However, this role exchange has no other role than to strengthen the status quo: to put more pressure on the oppressed, to give more strength to the winners.

However, it has served something. But this also requires a little bit of context: there was a couple of songwriters, Josu and Jokin, who in the late 1970s had a tour as short as interesting, leaving songs that have later had less appreciation than they should. One of them was composed by the letters of Xabier Amuriza: “If you start pasting, not retiring, you have taken all those that have already been given before.”

Why do we bring to the chronicle of the end of Bago!az the story of these wrestling singers? For forty years later, Josu and Jokin are forced to make an appeal: in the first session, despite surprising the world with a resounding falsete, he was expelled by Josu, and despite being the brightest of the competition and the chameleonic beasts of the stage, by Jokin, who has been left out of the end. We have seen the two again and in the short space that the programme has allowed them to speak, they have taken a very fair and civic vendetta against a jury that did not value them as they should, when the coach has sung emphasizing how unfortunate their engravings, treads and faults have been. History will judge you for leaving out such excellent competitors.

What cultural elitists will never recognize

We are not non-negotiable materials that José Luis Korta is made. And we trust it: so far we haven't empathized enough with the coaches, because until the end we haven't realized that the stone that you've had to carry over your back during the program was a more sinuous piece than Igeldo's. We did not realize that, in addition to the competition on the table, there was another implicit competition between the coachs of BaGo!az: the assertion of who would pull more bloated. At the end of a song, Zuriñe Hidalgo gives the floor to each coach. And that's where the challenge begins. “He’s put the burgundy beards on me,” says the first. “In my case, mustaches have been the only ones that have not gone upright,” the seconds. The third, Saldias usually says nothing and melts in tears. The room has to cry forcefully and also remembers a particularly difficult moment in its life: “You reminded me that fall in which we lost my aunt.” So they continue until the last of the line, looking at others and breathing deeply, not only spills tears, but mucus and other fluid bodies that you don't see on the screen, squeeze and cut your lips: “We are the sea.” A reason to review from the beginning of BaGo! It's to be right who's been the winner in the coach struggle.

We believe that this program also requires a more general reflection on the strategies to be developed in the future by Basque music. Zuriñe Hidalgo rightly said: This artist-show is the “Basque artists’ quarry.” And it's time for all those elitist Basque culture buffs to accept it as well, rather than continue to look for fresh water in depleted wells. These are the voices, these are the staging positions, that is, the farandula, the juergasm and the dultzemeneum that demands the Basque national rebirth of this new century. And since nobody is going to say it, we say it. Long live Bago!