People have come to Nafarroa Arena little by little from the first hour of the morning, many of them in the more than 60 buses that have been organized from the towns. 13,300 bertsolaris have filled the Basque resonance box. The order of action of the bertsolaris in the morning session, by decision of chance, is as follows: Aitor Mendiluze, Nerea Ibarzabal, Amets Arzallus, Joanes Illarregi, Alaia Martin, Maialen Lujanbio, Subai Colina and Beñat Gaztelumendi.

All morning verses are available in Bertsoa.eus.

Many messages addressed to the situation of Euskera in greetings

In the initial greetings some bertsolaris have shown their intentions. Along with this, many have taken the theme of singing, the situation of the Basque Country and the contribution of the verse.

Nerea Ibarzabal:

"This language that goes from spelling

always cold of the legs

but smoking is intubated

Today the tablado de Pamplona"

Amets Arzallus has taken the melody of the Hertzainak group, which has given its last greeting, and has referred to the singing of the shaving until the salvation of the Basque:

"Otxagabi Tudela, Baigorri Lizarra

beard cut once and for all

All we want is for you to dance."

Joanes Illarregi recalls: "Navarra again / is zoned"

Beñat Gaztelumendi (bertso is being defined):

"A crack our diglosis

imposed

town on in autumn

nervous system

That's the verse for me.

and the universe

we are creating

It creates us."

Maialen Lujanbio, for his part, has explained how the path is unraveled in the history of three women in the textualized that sing for the first time in the final:

"In this sokatira of bertsolarism

enthusiasm

what and how and for whom

where and where

desire for progress, retreat

scratch

Art is that.

today Navarre

most

can happen

be happening

always

Something later."

Verses to enjoy

Following the txalometer, the morning bertsos session is giving verses to people. Some work in these trades, both serious and humour, has made the environment very hot. The public is grateful that in the stiff situation of the final, when the Bertsolaris have taken the path of the game, and several Bertsolaris dare to cast the bump of humor that they would throw in a town party square.

We heard round answers in the morning session. This article contains all the answers.

Chamber work to the comic smile

The subject of the House that you have put on the morning sitting is: “Smiles have become accomplices.”

Aitor Mendiluze has premiered the issue. Part of his experience, explaining in the first points he has been teaching bertsolaris in schools for 15 years. It beautifully describes the day-to-day situation in the classrooms, that is, that a girl with the intended bertso remains mute. It gathers what the professor feels at the last point of the second verse:

"I would like to throw but
I don't want to force."

He relates the third verse to the moment of smiling on the subject, explaining that the student has finally sang. And he's accomplished with meaning that little step to sing, at the end of his chamber work:

"He's dared, he's thrown,
now
he's also irritable, and he means more
than he thought."

Nerea Ibarzabal has projected a whole movie like he did in the Tournament. From the role of her mother, who lived a toxic relationship, she sings to a situation in which the custody of her daughter is shared. In the second verse defines the pain situation:

"Although it didn't give us
the impulse or kick,
the person could guess
how to drown another person
and my smile was erased
forever,
but I'd like
to keep my daughter's stiff."

He ends this verse by announcing that they will not return to the next week's father's appointment.

The show ends by car with her daughter and as in the famous film Telma and Louis:

"We have before us the path
for
billions of
summers to be free,
our time has come to smile and
we
both love to live up to
our joy"

Amets Arzallus presented first hand in his cabin work:

“We don’t
take an airplane directly we are
a subworld at the end black
people”

Miñan's writer internally describes the path to "this edge of the Bidasoa". For example, at the end of the first verse:

"Imagine how many days
of mix-making
ends up on the train
and the
biggest deserts on the
eighth."

He has placed the moment of the smile when crossing the border with Iparralde, which has been offered by a member of the Reception Network:

"He has given me the last
smile for those
who have
nothing is that strength."

The public has applauded his work and applauded the reality of everyday life.

Joanes Illarregi related the smile to the meaning of "proof." Because what he's chosen is the partner's laughter after he's played sex. Throughout the program, the passion of the public has awakened by using rhyme to create concrete images such as:

"We have acted in every
way who the horse was"

And he's also used a surprise, because until the end of the second verse he hasn't determined the sex he was working on.

"to have seen well for me that
the
gift doesn't always work the
first time"

Then came Alaia Martin and there was a nice contrast between this and Illarregi's performance. Because Martin has also taken sexual play as a theme and people have laughed when Martin also mentions the horse at this point:

"Today we are two butterflies today
I'm not a horse"

However, at the end of the verse he discovers the meaning of the butterfly, when he explains that the "first time" he has also chosen was again:

"the flesh of the children
I had tried
before today I have my
second time with a girl"

The programme has ended with a claim for freedom:

"because, in short, it is
a free
space in which the body is limited to becoming
pleasure when the
obsession is multilingual the
language of our bodies"

Maialen Lujanbio sings through the mouth of the citizen who has carried out the citizen action to bring down a facade man by the train wagon. In his first verse, the scene and the achievement of citizenship were tense:

"You

have entered us
muscularly and saturated with tattoo facade, you have chosen to avenge by the door and you have risen as I have risen, it has
been accepted by everyone else that the guy is not comfortable and so we have





managed to pull the
wagon"

At the last point of the last verse he has given a new return to his work, as he has explained his identity through the bag of two citizens who have crossed their laughs:

"You and I
were very
happy with
our car bags."

Subai Colina has sung from the skin of an immigrant who comes from Bogotá and is taking care of his old Joxe, and has dedicated laughter to Joxe. However, in the second verse, it explains the contradiction suffered by caregivers:

"Although for Joxe I'm always there
for me, there's no one who
is quiet to say and
smile."

He has used the last verse to ask questions that excite the contradictions of Europeans:

"What
does life become if there is no freedom?"
Can you crack a wall, though it doesn't save,
by
a
smile?
Do we have any payments we don't want to make?
Is there love that
escapes from power?
What dreams did I have in my retina and
what have I found in the routine?
I have a lot of questions
but I have no answer."

Beñat Gaztelumendi has sung from the body of a clumsy boy in football. He has had a lot of subtlety in what insult and contempt the minor of his colleagues receives, and he has understood the smile of another member as a protection:

"I
often do tupust with ball,
I feel rage antsia
and anguish they
call me “weak,
wet hen”
and that smile is all
I needed."

Ends by convening a meeting:

"They'll waste the
great laughs firsthand if
we get the
little ones together."

Morning farewell

The eight finalists have chosen Joanes Illarregi to sing on behalf of all the greetings of the morning. He is the youngest who has participated in the tournament and the Navarro who entered the final 55 years later. The verse he has cast with humor:

If they are not

deplete forces

double in the hall

We'd like to do that.

Now eat quiet

warm the extremes

after taking an incision

Tie

coffee tantalum

by the house.