As viewers and interested in teaching, as we continue with the election campaign, we are led by the concerts of the Municipal Band of our city, those concerts that we go every year. Musicians would be candidates for the presidency. The same scenario, all ordered, the same clothes, the same score, and with the clear consensus that the Basque educational system will not give us the musical instruments. The aim of this article is to explain how we have seen this campaign from an educational point of view.

The instruments of a band are organized around the conductor forming a semicircle. In education, the director is a corporate power. At this historic moment, collective rights are regressing in favour of entrepreneurship. In the dance of the melody as a public-private alliance, large corporations, year after year, are acquiring volume and political power. They stand above any democratic control mechanism and have in education, in addition to business, a nice platform to broaden their ideals. In Europe, historically, the European Round Table business lobby is a "neoliberal educator" score interpreted by our skilled advisor, Jokin Bildarratz.

In the front lines, in front of the director, there are rope instruments. PP and PNV would represent corporate power in the soil. They basically have a similar program, market freedom. They act loyally with public-private partnership, take resources out of the public sphere and make them available to private institutions, particularly the employers of the politico-concerted school, when we talk about education. In this election campaign, they did not say in the media or in the interviews, and very few in their endearing programmes. The reason is that they have come to the campaign with the duties they have done. The last two years have been very long for them, because with the Educational Concert and the subsequent Law they have left everything united and very united. In this process, PP has played the role of outsider, but applauds with ears. Ayuso was able to celebrate with a few beers the formulation of the Basque Public Education Service and shout at the freedom of choice of centre.

Behind the strings are sweet wind instruments that extend in the air lightly and finely. They're a little further away from the director, but this time they match the string instruments. The Education Act is a clear example of this: PSOE and EH Bildu are co-founders of the concept of the Basque Public Education Service. It's the term they create to end the old debate between the public and the private, they turn us around the sock and tell us that the private is also public. They do not care about the ownership of the center, whether it is the public network that most Euskaldunice, whether the CAV has one of the lowest rates of public school in Europe, whether it is one of the highest rates of the state in school segregation or whether quotas are systematically collected. Everything is worth saving the private concerted in times of low birth.

Under this law, the funding of the politico-concerted school has been increased and an opaque registration system has been created that is transferring students from public to private schools. Has anyone heard the wind instruments (PSOE and EH Bildu) complain about the injustice that these last two measures have caused? Has anyone heard that it is unfair for concerted private centres to offer more schools than the public in many villages? The PSOE regulated educational concerts in 1985, and EH Bildu, from the municipal governments, grants endless aid to the private concerted school: transport, infrastructure, propaganda in registration campaigns...

In the farthest part is percussion, they are musical instruments linked to the earth, united to popular rhythms. As for education, there would be Sumar and Podemos. All these tools were recently touched at once. Today they have been distributed and each one has its rhythm. We can, in the Basque Parliament, have clearly defended the public school and maintained the same attitude during the campaign. But in the months leading up to the elections, Pablo Iglesias, from Madrid, praised the virtues of the Basque educational system on several occasions. This tactism has been a lump in the handkerchief of its Basque branch.

In the middle of a concert, when the percussion takes all its strength and realizes space, a moment drives us crazy when the melody of the weak triangle appears. It seems that he is asking for permission to be considered and continue to exist. We apologize to musicians for this metaphor of so little base. Well, the moment of the triangle happened in the ETB2 debate. Education was not in the script of the debate, it is unthinkable in any other European debate. If percussion (Podemos and Sumar) is interested in this issue, why didn't they get it out? Why have they refused to tackle the issue in the campaign? Why have they been so weak with the advocates of the concerted policy?

To give up the dialectical struggle is to stop doing politics and to reaffirm the myth of the Basque oasis. We fear that this myth will soon fall by the weight of the polysis we are in. Some data tell us about it. The study of school segregation presented by the Steilas union recalls the consequences of this phenomenon: school segregation is a systematic violation of fundamental rights. We are creating a two-speed society in front of our noses. To warn, it would be advisable to turn around the neighbourhoods near Paris to check what the lack of social cohesion entails.

We need a new democratic orchestra, oriented towards the public sector and with social justice criteria. And we're going to get it, we have no question. We have many things in our favour, the mobilisations for the Basque Public School have been historic, we have managed to get out of subalternity, we have regained public pride and we have managed to increase our social base. Many EH Bildu militants, including the PSOE, recognize that what is being done with the Basque Public School has no name.

In view of the campaign, and in view of what this “most leftist and most sovereign parliament in history” is going to do, it is necessary to move away from orchestral music and look for other styles. The first thing that comes to mind is the questions that Evaristo Paramos put in one of his songs:

Why does law need justice?

Why are they not able to convince?

José Ángel Masa Espina and Aratz Ortiz de Elgea Azazazeta, members of the Gasteiz Harro Platform of the Basque Public School