Genres in dance
My friend brought me a book that I thought was interesting. Yes, yes! For starters, an article has taken a look at me.
In Baztan, there are dances of boys, public, because every citizen can enter the circle. Anybody? They were, according to their name, joys for boys, although nowadays it was men of all ages who danced: only the wives had been removed from them. And if in recent years they have also been allowed to dance, getting there has not been a great dance, but a tough fight, as the protagonists tell us.
Because the protagonists are the ones who chronicle the process, the same ones who have worked to get out to the plaza. Some, after entering the dance they've always liked, became feminist aware, and they all came together in a common goal. The autobiographical part gives the writing strength and pleasure to the reader. On the other hand, it is full of lessons and clearly explains how the mechanisms for the construction and maintenance of exclusion were being developed. Among others:
Since the boys were not married men and the boys had been admitted to dance and, on the contrary, it was an unbearable change for the women to dance. Sex/gender was, therefore, the essence of exclusion. Tradition could be changed for men, but respect for the same tradition was the argument against wives: lying is proven.
Some, after entering the dance they've always liked, became feminist aware, and they all came together in a common goal.
How in a village where women danced for decades, two men took off the dances when they showed their disagreement. To reject progress on gender equality, two men may have more strength than the majority of the population.
The influence of Elizondo is perceived in these anomalies: in the capital has been placed the bunker of the exclusioners and, when the dances of the official act are equal, his exclusively masculine act is still celebrated in the private sphere of the church.
How reactionary powers – linguistic (Spanish), religious, political, social, economic – have joined those struggling to prevent egalitarian dances.
There is no lack of reason to hope that the progress made by the popular initiative Plazara Dantzara will be sustainable. No jokes. When Garbiñe Elizegi, the mayor of Baztan, dared to enter the dance circle, you can read what he had in this same weekly [interview with Garbiñe Elizegi in No. 2549].
More and better than in this review, five women from the Baztan have written in the article: “The analysis of the dances of boys and the collective feminist process of Baztan”, a twenty works in a memorable book, coordinated by Miren Guilló Arakistain, Fiestas, gender relations and feminism, UEU, 2016.
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ARGIAk ez du zertan bat etorri artikuluen edukiarekin. Idatzien gehienezko luzera 4.500 karakterekoa da (espazioak barne). Idazkera aldetik gutxieneko zuzentasun bat beharrezkoa da: batetik, ARGIAk ezin du hartu zuzenketa sakona egiteko lanik; bestetik, egitekotan edukia nahi gabe aldatzeko arriskua dago. ARGIAk azaleko zuzenketak edo moldaketak egingo dizkie artikuluei, behar izanez gero.
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