José Mari Esparza rounds off with the name “heretical jack” the coplas that have faced everything that political, social, religious or moral motivations have established. As he explained in his speech within the Bertsoaroa cycle, his interest is focused on showing that other view that has given popular inspiration, the vivid and dynamic expression that the people have created in different times. The editor comes to defend improvisation and, in some way, the inadequacy of the old girls, with an extraordinary collection of heretic coplas: In 1988 he wrote the book Jotas herética de Navarra. In 2013, the Altaffaylla Cultural Group published its third edition, under the direction of Altaffaylla, with 300 new coplas.

According to him, the first news received around the festival shows letters of all kinds, reflecting the naturalness and improvisation of the rounds of the time on stage. But this didn't last long, and the jotar didn't take long to be relieved by the jota. Since the civil war, anything that affected political status was banned, so the Orthodox Jota prevailed, in which citizens could not put anything about the events that affected them, and so the spontaneous jotas disappeared.

Jotarian origin

Esparza explained that the song comes from a family of daily tradition: on the part of the mother, in addition, there was a great fondness for the jack. He had many family members, but above all his grandfather, Cirilo Zabalegi, introduced him to the world of domestic and everyday cocks. From his grandfather's teachings began Esparza's hobby for the collection of cocks and the study and knowledge of the history of the heretic jotas. As my grandfather sang:

It is never the best
young man who sings with the
most strength jotero who knows how
to throw a berza.

History of Navarre through coplas

Navarro Villoslada wrote that the habit in Navarre of improvising coplas or songs before any event was evident. José Mari Iribarren was one of the most prominent twentieth century researchers around José Mari Iribar's jack (he wrote, like Azkue, much less than he knew from the situation, ideology and time). Iribarren said that from French the whole history of Navarre you can count on coplas, and Esparza confirms it. In his speech, the writer showed many aftershocks of events and times, including:

The liberals cried
that the queen did not stop
and gave birth to more dolls
than liberals had

Carlist I have to be
even if they cut my pussy
for less than five reals
there are wigs in Logroño

Live the four provinces
that have always been united
and will never depart even if
Gamazo says that freedom has

already come since April
14,
it is already screaming on the
streets Away the Civil Guard!

Even though until the seventh
heaven St. Peter rises to Franco
has not reached the height
that White Carrero arrived

Very well the requetés
very well by the
Falangists Great Spain must be
when the Marxists die

In addition to concrete facts, many characters, situations and themes have inspired heretical young women such as clergy, the Civil Guard, judges, day laborers, the poor, the rich, drunken… or nationalism, Basques, erotism and sex:

With the cures and the friars the
nuns and the beatos or you have to take them in the air or you have to have few deals. The day laborers of the



Canal have worked all month
and they don't
want to pay for it.

Six is a camel
working and without drinking
your husband is a year but
doing it. On the

other hand Vizcaya
iron Guipúzcoa do
and nerves of steel and bronze
ear
Navarra would like to
be a Zapatico to put me in your foot and that it
has become what you do not let
me
see Oh mother who have curled it to me!
Daughter, ez say the zer!
What did you think of the
cantarico at the mother source?

Young people in Basque

The girls have also been sung in Basque in Navarre. According to Esparza, “they came to kiss the two languages”, for example, in the 18th century in Tafalla there were some coplas singing in Spanish in Artajona (then still Euskaldun) in Basque. In Artajona it is known that a group was tried in 1765 for singing a young girl in Basque to a widow. In addition, in the north of Navarre there have been many coplas of the same size and rhyme as the jack, as well as of Gipuzkoa and Bizkaia, especially during the Carlist Wars.

The first to record the young girls in Basque in the twentieth century were the Joteros de Larraga. Although in 1985 the album that accompanied the Rondalla de Ataia was important for its left-wing contents in the letters, the introduction of young girls in Euskera represented a revolution in the world of the young woman:

Let's cast the Ribera by
Larraga A Gernika we
are a thousand new flowers that we
are leaving behind to Pamplona

Pamplona you're more beautiful than
love grief in the

snow up till I'll collapse

We sing Raimundo Lanas and Etxahun
Xiberu and Nafarroa
to the two Joteros
de Larraga

Some of these young girls are still in the repertoire of some Basque singers. It is evident that there has been a tradition in Ipar Euskal Herria of singing Basque jotas in recent decades, Maleruski, almost more than in Nafarroa Garaia; Etxamendi and Larralde, Amaren Alabak, Kalakan, Xiberotarrak or Jean Mixel Bedaxagar are some examples of this.

In 1995, the official song of the Nafarroa Oinez was held in Tudela, and the song of Kojon Prieto and the Huajobats included the following two young girls:

The first of the sounds of
the Abardenas is the one that
has not been sterilized by the
salty land, which has flourished the old Basque of the old Muskaria: La Ribera
If you lose your language,
the town will wobble in
Tudela, I hope you
with crutches if necessary

Evolution and decline of the young

The first to record the girls were the Pajes de Tafalla. In the 1920s, they pulled out three albums, and the jotas from the albums were round jots, more than the voice of the singers, with lyrics, improvisation or irony. Far from the albums that Raimundo Lanas and his followers later released, Pajeen’s coplas were much freer and more heterodox. This shows that the young girls we know today are not very old.

Lanas was also an improviser fulgurante, but he was joined by an excellent way of singing and singing. Even if it sounds like a lie, her extraordinary voice partly caused the girl's decline: her discography established her as a model joker, and her heirs gave importance to the voice and set aside the content of the letters. In that case, the young girls began to disappear and the young cantarinas were imposed.

Other causes of evolution of the young girl are many: Quintets and rounds disappeared (except for exceptions) and they started to put recorded music in public spaces. In the war, and after Francoism, censorship was terrible, and many Republican coplas disappeared. The competitions and festivals that came later did not help, as the only thing that rewarded was the voice. But if the fall of the young girl has a culprit, Esparza is clear that this has been an official Navarre and a reactionary Navarrism. In Tafalla’s opinion, “she has been kidnapped by the navarrism.” Characters like Jaime del Burgo wanted to turn the young girl into the hegemonic identification of Navarra, always showing folklore (Spanish, of course) as the main characteristic of this territory. "They've imposed an official version of the jack and cut off his wings. Now we have neither birds nor anything.”

How do I get my young girls back?

This is what José Mari Esparza was asked at the end of his speech. He, however, did not give a concrete answer, but made it clear that this navarrism will not do so. He left the debate open, but said: “If we want to recover the young girl we will have to be heterodox, involuntarily” The example of the bertso is at our side, and the bertsolaris also have the model of the young girl and many melodies. The roads can be many.