Category: Basque history (page 2 of 32)

January 19, 1977: Basque flag legalized once more

Image by Daniele Schirmo aka Frankie688. Courtesy of Wikimedia Commons.

Image by Daniele Schirmo aka Frankie688. Courtesy of Wikimedia Commons.

Flown for the first time in 1894 and adopted as the official flag of the Basque Country in 1936, any display of the ikurriña or Basque flag was banned by the Franco regime after 1938. Even following the death of Franco in 1975, the public display of the flag was controversial, as noted in a previous post. On January 19, 1977, the ikurriña was made legal once more and in 1979, by the terms of the Statute of Gernika, recognized as the official flag of the Basque Autonomous Community.

January 16, 1843: Birth of Blessed Rafaela Ybarra

Rafaela Ybarra Arambarri was born on January 16, 1843 in Bilbao into a comfortable middle-class family. In 1861 she married José de Vilallonga and went on to have seven children (although two died in infancy). She was devout and a visit to Lourdes in 1883 resulted in getting over a serious illness. In 1890, with the permission of her husband, she made private vows to be chaste and fully obedient to God. Coinciding with the spectacular nineteenth-century industrial take-off and urban boom in Bilbao, and the social and demographic problems these changes provoked, she organized various welfare institutions for women and children in Bilbao. In 1894, along with three others, she founded a religious order to help all the poor children of Bilbao, opening a home to help the less fortunate in 1899 (a year after her husband had passed away). In 1900, after struggling with a long illness, she herself died. Shortly thereafter, in 1901, the order she had helped found, the Angeles Custodios (Guardian Angels), received diocesan approval.

Rafaela Ybarra Arambarri (1843-1900). Image courtesy of Wikimedia Commons.

Rafaela Ybarra Arambarri (1843-1900). Image courtesy of Wikimedia Commons.

In 1929 a beatification process opened and in 1952 she became titled as a Servant of God. Then, in 1970 she was named as Venerable and in 1984 she was ultimately beatified.  A process is currently taking place by which she is being considered for sainthood.

December 9, 1895: Birth of Dolores Ibarruri, “La Pasionaria”

Dolores Ibarruri Gomez, better known as “La Pasionaria” (the passionflower, an early pseudonym), was born on December 9, 1895. She became one of the leading figures in the Civil War of 1936-1939 and gained fame for her use of the slogan “No pasarán!” (They shall not pass!).

Dolores Ibarruri Gomez in 1936. Photo courtesy of Wikimedia Commons.

Dolores Ibarruri Gomez in 1936. Photo courtesy of Wikimedia Commons.

She was born in Gallarta, Bizkaia, into a mining family and, although she had been encouraged to train to be a teacher, she was forced to leave school at fifteen because her parents could not afford any further education. She subsequently did a variety of jobs including being a seamstress, housemaid, and waitress. In 1915 she married the labor union activist Julián Ruiz Gabiña, and got involved in left-wing politics. The couple joined the Communist Party of Spain and Ibarruri became a member of the provincial committee of its Basque branch. Over the next few years, as well as raising a family, she also rose up through the party ranks and in 1930 was appointed to its central committee. The family then relocated to Madrid where she became a prominent leftist activist in the turbulent decade of the 1930s, taking part in strikes and demonstrations and gaining a reputation as a stirring orator and committed anti-Fascist.

La Pasionaria in 1978. Photo by Nemo. Courtesy of Wikimedia Commons.

La Pasionaria in 1978. Photo by Nemo. Courtesy of Wikimedia Commons.

When the Civil War broke out in 1936 she gained international renown for a series of radio broadcasts against the military uprising, employing inspirational terms like the famed “They shall not pass!” as well as “Better to die standing up than to live kneeling down!” With the definitive fall of the Republic, however, she fled the country in 1939, first to Paris and then on to the Soviet Union. While in Moscow, she worked on propaganda radio broadcasts against the Franco regime in Spain and in 1942 she also became secretary-general of the Spanish Communist Party-in-exile. She ceded that position in 1960, retiring from active politics at the age of sixty-five and accepting the honorary post of president of the party.

Following Franco’s death in 1975, she returned to Madrid in 1977, appearing at a Communist general election rally in Bilbao less than two weeks later in front of more than thirty thousand people. However, she subsequently retreated from active involvement in politics. She died in November 1989 at the age of ninety-three.

CBS Book “The Basque Nation On-Screen” Inspires Prestigious Award

The book Creadores de sombras: ETA y el nacionalismo vasco a través del cine by Santiago de Pablo received the 2018 Muñoz Suay Prize awarded by the Spanish Arts and Film Academy. The award recognizes the best works of historical research on the Spanish film industry. A previous version of this book was published by the Center for Basque Studies in 2012 with the title The Basque Nation On-Screen: Cinema, Nationalism, and Political Violence. Professor De Pablo enjoyed the opportunity of serving as William Douglass Visiting Scholar in Reno during the academic year 2009-2010, researching on the relationship between cinema, Basque nationalism, and ETA.

Since its creation in 1997, the prestigious Muñoz Suay Award has supported research on the history of cinema in Spain. Well-known authors such as Ian Gibson, Manuel Gutiérrez-Aragón, or Vicente Sánchez-Biosca received this prize in previous years. The president of the Academy, filmmaker Mariano Barroso presented the prize to Santiago de Pablo in Madrid on November 212018.

The jury emphasized De Pablo’s “great knowledge of the subject, and his unbiased viewpoint of the very controversial subject of the representation of Basque political violence in contemporary Spanish cinema.”

Santiago de Pablo is Professor of History at the University of the Basque Country (Euskal Herriko Unibertsitatea). He specializes in the history of Basque nationalism, and the relationship between history and cinema. He is author of several books, among Tierra sin paz: Guerra Civil, cine y propaganda en el País Vasco, La patria soñada: Historia del nacionalismo vasco desde su origen hasta la actualidador, and Diccionario ilustrado de símbolos del nacionalismo vasco.

https://www.academiadecine.com/2018/11/21/santiago-de-pablo-recibe-el-premio-munoz-suay-2018/

 

       

November 24, 1912: False fire alarm leads to multiple deaths in Bilbao theater stampede

On November 24, 1912, forty-six people, almost all of them children, died in the Ensanche Circus Theater of Bilbao as the result of a stampede of spectators attempting to flee the building. Someone had shouted out a fire alarm, which ultimately proved to be false.

The Circus Theater, located close to what is today the Plaza Elíptica, had been constructed in 1895 on the site of what had been a circus. While dedicated mainly to popular entertainment shows it was also a sports venue, and by the second decade of the twentieth century it was also showing movies.

On Sunday, November 24, 1912, the theater schedule included a continuous screening of movies between 3:00 pm and midnight, at prices accessible to people of all social classes and children old enough to go to the movies on their own.  Shortly after 6:00 pm a voice shouted out “fire!” This resulted in widespread panic as spectators attempted to flee the packed theater, only to encounter two of the three emergency exits locked. In total, forty-four children and two adults died in the stampede. Funerals for the victims, at which a reported forty thousand people attended, were held on November 27 and all expenses were covered by the Bilbao city council.

The theater itself was demolished in 1914 by official order on account of not fulfilling the required safety norms. In 1916, Bilbao city council constructed a mausoleum on the site where the victims had been buried.

Sources

Julio Arrieta, “Cuarenta y cuatro ataúdes blancos,” El Correo, November 18, 2012.

Una falsa alarma desembocó en tragedia,” Conoce Bilbao con Esme (blog), November 24, 2018.

November 23, 1808: The Battle of Tutera/Tudela

On November 23, 1808, during the Peninsular War (1807-1814), Napoleonic forces made up of French and Polish troops under the command of Marshal Jean Lannes defeated their Spanish adversaries under General Francisco Javier Castaños (born in Madrid, but Basque in origin on both sides of his family) at the Battle of Tutera/Tudela in Navarre.

"Battle of Tudela" (1827) by January Suchodolski, depicting Napoleon receiving the captured banners from Wincenty Krasiński. Courtesy of Wikimedia Commons.

“Battle of Tudela” (1827) by January Suchodolski, depicting Napoleon receiving the captured banners from Wincenty Krasiński. Courtesy of Wikimedia Commons.

An early encounter in Napoleon’s invasion of the Iberian Peninsular, following on from the Battle of Pancorbo (also on Basque terrain), this was an important point in the swift march of the Imperial French army toward Madrid, which was captured before the end of the year.

Interestingly, the Battle of Tutera/Tudela is one of the many historic French battles whose name is inscribed on the Arc de Triomphe in Paris.

The Center for Basque Studies had the pleasure of hosting the Ardi Baltza Kontalari from Lamoille, NV in early November. As a contemporary Basque dancing group, Ardi Baltza combines the concepts of tradition and innovation in their mission to preserve and educate about Basque culture.

During their first day at the CBS, Ardi Baltza demonstrated Basque dancing to the Basque Culture and Basque Transnationalism classes. Before each dance, their director, Kiaya Memeo, explained the meaning behind the dances and answered questions from the audience. The students were then invited to learn two dances, Sorgin Dantza, a comical dance where the women (taking on the role of witches) turn the men participating in the dance into women, and Pitx, a children’s dance. Their performance provided many of the students their first up close experience with Basque dance and culture.

See them perform a contemporary version of Makil Dantza here:

The next evening the Ardi Baltza Kontalari performed Etxea: Memoirs of Gernika. The show educated the audience about the fateful day of April 26, 1937, when the Condor Legion and the Italian Air Force, acting on the orders of Franco, dropped 31-46 tons of bombs on the Basque market town of Gernika. The dancers, using a combination of the traditional Basque and contemporary steps, illustrated the experiences of the Basque people before, during, and after the bombing, while Kiaya Memeo narrated the eyewitness accounts of survivors. Their performance served as a reminder about the importance of our history and honored the memory of the people who were in Gernika that day.

From Left: Jennifer Obieta, Amanda Shields Kerr, Franci Mendive Wilkinson, Kiaya Memeo, Olivia Memeo, Olivia Rice, & Hannah Hill

Eskerrik asko to the ladies of the Ardi Baltza Kontalari for traveling to Reno to perform for our students and the Reno community!

Sandra Ott`s Living with the Enemy Reviewed in the Journal of the Royal Anthropological Institute

CBS Professor Sandy Ott`s Living with the enemy: German occupation, collaboration and justice in the Western Pyrenees 1940-48 was reviewed in the Journal of the Royal Anthropological Institute. Below are excerpts from the review, and a link to the full text. Zorionak, Sandy!

“One of the book’s great achievements is its vindication of an ethnographic approach to history. Ott fills the fragmentary evidence of trial dossiers with cultural commentary, engaging with eminently anthropological themes such as social structure, neighbourhood, and kin relationships in rural French Basque society; the shifting meanings of commensality and gift‐giving; the culture of letter‐writing; the challenges of wartime parenthood; and ritual shaming techniques such as the public shaving of the heads of women who had engaged in ‘horizontal collaboration’. She also reflects on the ethics of her own research with, and observations of, the surviving witnesses.

Duplicity and ambivalence pervade the book and provide its reigning mood. Boundaries blur between occupiers and occupied, victim and victimizer, friend and enemy. Ott applies Pierre Laborie’s concept of ‘double‐think’, and from the trial narratives there emerges an archetype that war and dictatorship breed everywhere: that of the ‘dual man, who is both one thing and the other’ (p. 18). A symptomatic aspect of the ambiguous mode of wartime existence was that clarity was almost never achievable. It was possible for a man`s status to shift several times and Ott gives the following example:

from his arrival in January 1939 as an exiled Spanish Republican (an outsider), to his entry into the French army (as a transitional insider), to his work in 1943 as a clandestine guide (an ‘enemy’ to the German occupiers, a ‘patriot’ to supporters of the Resistance), to his alleged ‘double game’ in 1943‐1944 as a passeur and a paid informer (an ambiguous status with the occupiers, a traitor to the FFI), to his victimization in 1944 by the Nazis (an adopted insider who had suffered deportation for France), to his victimization by the postwar French authorities in 1944‐1945 (a seemingly treacherous outsider who had endangered the lives of French patriots and Allied supporters), and finally his exoneration in 1946 (as a ‘loyal servant to France’ and thus more of an insider than ever). López was not a dual man; he had a multiplicity of ‘faces’. (p. 190)

‘It’s too soon to talk about the war’, Ott was told in the late 1970s, when she first conducted ethnographic fieldwork in the Basses‐Pyrénées. Almost thirty years later, they told her it was getting too late – people were dying. There is a sense in which addressing historical trauma remains chronically inconvenient, as we see in other post‐authoritarian settings such as former communist countries which struggle to come to terms with their own dual men: informers, many of whom still live alongside the informed. Living with the enemy reminds us of the urgency of catching the last witnesses before it is too late, and provides an excellent model for how to do it.”

For the rest of the review, please visit: https://onlinelibrary.wiley.com/doi/full/10.1111/1467-9655.12929

 

   

November 11, 1995: Inauguration of the Bilbao Metro

On November 11, 1995 Line 1 of the Bilbao Metro–one of the emblematic features of the city–started operating on a route between Zazpikaleak/Casco Viejo (the Seven Streets or Old Quarter) in the heart of the city and the coastal town of Plentzia, approximately eighteen miles away.

Interior view of Abando station, Bilbao Metro. Photo by Mariordo (Mario Roberto Duran Ortiz). Courtesy of Wikimedia Commons.

Interior view of Abando station, Bilbao Metro. Photo by Mariordo (Mario Roberto Duran Ortiz). Courtesy of Wikimedia Commons.

Although plans to construct a metro service in Bilbao date back to the 1920s, it was only in the late 1987 that a construction project was finally approved. Construction in Bilbao itself began in 1987, with the inaugural Line 1 destined to connect the city center with the right bank of Greater Bilbao and the coastal communities stretching out to Plentzia. When the first part of Line 1 eventually opened for business in November 1995, twenty-three stations served this route.

The Bilbao Metro runs both under and overground. Here, a train is departing from Bolueta station toward the Etxebarri tunnel. Photo by Javier Mediavilla Ezquibela. Courtesy of Wikimedia Commons.

The Bilbao Metro runs both under and overground. Here, a train is departing from Bolueta station toward the Etxebarri tunnel. Photo by Javier Mediavilla Ezquibela. Courtesy of Wikimedia Commons.

Today, there are three Lines operating in and around Greater Bilbao, with studies being carried out on potentially adding two more lines in the future. As of 2018, there were forty-one stations throughout the network, which covers 43 km (28 miles) of route. Total passenger figures for 2017 were 88,172,137.

A fosterito Bilbao Metro entrance, Bagatza station. Photo by Ardo Beltz. Courtesy of Wikimedia Commons.

A fosterito Bilbao Metro entrance, Bagatza station. Photo by Ardo Beltz. Courtesy of Wikimedia Commons.

The Bilbao Metro is especially noteworthy for its fosterito glass entrances, designed by British architect Sir Norman Foster, and in 1998 Sarriko station won the prestigious Brunel Award for Railway Design.

Check out the Bilbao Metro website here.

The CBS publishes Building the Basque City: The Political Economy of Nation-Building, by Nagore Calvo Mendizabal. This original work discusses transportation and logistics as key elements of the political economy, and places the topic at the center of much ongoing debate about national identity.

See, too, more broadly on Bilbao, urban regeneration, and architecture: That Old Bilbao Moon: The Passion and Resurrection of a City by Joseba Zulaika (available free to download here), Transforming Cities: Opportunities and Challenges of Urban Regeneration in the Basque Country, edited by Arantxa Rodríguez and Joseba Juaristi, and  Building Time: The Relatus in Frank Gehry’s Architecture by Iñaki Begiristain.

November 4, 1979: Creation of the Euskal Herrian Euskaraz (EHE) association

On November 4, 1979, the Euskal Herrian Euskaraz (Basque in the Basque Country, EHE) association was launched in Durango, Bizkaia under the slogan “Euskararik gabe, Euskal Herririk ez” (Without Basque there is no Basque Country). It is an association that defends the right to live in Basque in the Basque Country. Today, its principal goal is to achieve a Basque-speaking Basque Country made up of polyglot or multilingual people.

Image courtesy of Wikimedia Commons.

Image courtesy of Wikimedia Commons.

Today, the association focuses its concerns on certain areas: the right to learn and study in Basque throughout the educational systems of the whole Basque Country, the right to use Basque and be dealt with in the language in all official situations (including, for example, healthcare, legal contexts, and any circumstances involving the public administration), the right to receive information via the media in Basque, the more general demand for linguistic normalization (comprising much of the aforementioned goals), and challenging what it interprets as any assaults on the linguistic rights of Basque speakers.

EHE symbol on a Basque-Spanish bilingual board, deleting text in Spanish (Zaldibia, Gipuzkoa). Photo by Josu Goñi Etxabe. Courtesy of Wikimedia Commons.

EHE symbol on a Basque-Spanish bilingual board, deleting text in Spanish (Zaldibia, Gipuzkoa). Photo by Josu Goñi Etxabe. Courtesy of Wikimedia Commons.

From the outset, and to this day, the EHE association emphasized its activist nature. That is to say, it is an association that is nonaligned to any political party but advocates peaceful social protest to raise awareness about the minoritized status of Basque as well as in pursuit of basic goal of demanding a Basque-speaking Basque Country. This is considered controversial in some quarters, especially as the association challenges many official administrative goals of bilingualism in the Basque Country, asserting that such goals–in the context of a minoritized language–actually result in a situation of diglossia, in which an “H” or “high” language continues to occupy a dominant position over an “L” or “low” language.

Language is a key theme for many of the Center’s publications. See, for example, Language Rights and Cultural Diversity, edited by Xabier Irujo and Viola Miglio (free to download here) and The Challenges of a Bilingual Society in the Basque Country, edited by Pello Salaburu and Xabier Alberdi.

 

 

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