On 3 June the Ziburu Basque Book and Disco Fair will take place. On 3 May, the Baltsan Association organised a show of ambition, music and literature.

Gotzon Barandiaran told to locate the performance how the conversations between him and Rafa Rueda became intuitive in 2015: they felt a rupture in the transmission of the song in Basque both in regulated and non-regulated education and at home. To this intuition Barandiaran referred to two studies that in 2018 introduced facts: the one carried out by Siadeco at the request of the government. In both cases the same conclusion was drawn: "the Basque lives behind his culture, prefers to consume literature, music and theater in another language".

From this void, the performance was created, in which pieces of the song have been gathered, arising from the interaction of writers and musicians. Over these eight years the songs have been changing to accommodate the new songs that are emerging. In 2018 he published the essay book of the same name with Susa.

To round the entry, he presented to the audience two precious tools that have been the main source of action: the spider (Susarena), the richest portal in Basque literature for adults, and the main portal of music in Basque (Berriarena).

The attendees enjoyed the performance. Barandiaran started with various questions and analyses. Rafa Rueda then sang his songs with the help of the acoustic guitar, and it is to be applauded that with the simple help of the guitar he managed to bring the original music of singing to the minds of the audience.

Thread: History of the Basque Country

In the Baltsan association, several songs that speak of some conflict in the history of our people were heard: the conflict of Roncesvalles, between the Oinatz and Ganboa lineages, the Carlist Wars... all those words that could be read on the big screen had a characteristic: "These writers have aesthetically given a feeling created by a historical fact, they do not need a journalist or a historian."

The collective awareness of being a loser perceived in these songs, the intention to create epic, the role songs could play to fuel disputes between sides, the knowledge of historical facts from the point of view hidden in school...

The journey undertaken since the freedom of the homeland entered into the freedom of one ' s own conscience to end the search for unity among the various oppressed collectivities. The songs created with the purple glasses of a collective struggle put the guing.

Creators' dilemmas: for what purpose?

"What should the work of the creator respond to in a hyperpoliticized era? What attitude should the creator adopt in this environment? ", Barandiaran hung these questions in a little from the beginning of the performance and spoke throughout the trip of the creators' elections, taking into account the intentionality of singing: it was heard singing for the altar, singing to insult other sides, singing that he called for the freedom of the people, calling collective anonymous to the struggle for the treasure, singing and defending the autonomy of creation that does not want to vindicate to the listeners.

At the service of the intentionality of singing, the words put by the writers are explicit in some themes, have an open interpretation in others... and some of these themes will continue to pretend to decipher messages.

Barandiaran acknowledged the contribution of each author during the performance.

Threads between creators

The listener was able to know the wires of the writers thanks to Barandián's explanations: from what source he had drank from before, what was his relationship with the other, what was the tendency followed by the following...

The listener also understood that songs are strings, as tens of years after the publication of this song we continue reading and interpreting the words of a writer on a subject that occurred hundreds of years earlier.

The Kinship of Words in Audiovisual

At the Sara Writers' Congress in 2022: