Category: Basque landscape (page 1 of 4)

Great new video guide to Kakueta Gorge

There’s somewhat of an end-of-term feeling around here and our thoughts have turned to the approaching summer, travels, and of course the beautiful Basque Country. And once again we will shamelessly borrow a video from our good friends at About Basque Country, this time one that showcases the amazing Kakueta Gorge.

We did already write about this landmark site in a previous post but we also think it’s well worth revisiting one of the truly remarkable spots in the Basque Country, a little piece of Amazonia in Xiberoa/Zuberoa!

This also got us to thinking about other interesting or emblematic sites … especially those off the beaten track somewhat.  So if you have any suggestions why not let us know? We’d be happy to share your thoughts!

A video journey to the heart of the Basque Country

Check out these great introductory videos charting a recent journey to the heart of the Basque Country, Xiberoa, from our friends at About Basque Country:

According to the blog, this was in part a journey made by Basques from the South in order to connect with their cousins in the North, a trip through the Basque Country and the variety of cultures, dialects, and landscapes that make up these distinct parts of Euskal Herria.

 

Happy to be Basque

Today, March 20, is Happiness Day! So what is it that makes you happy to be Basque or know Basques? Here are a few things we like about the Basque Country:

Itsasoa, the Sea

Ocean waves meet Ondarraitz Beach in Hendaia, Lapurdi. Photo by Josu Goñi Etxabe, courtesy of Wikimedia Commons.

Mendiak, the Mountains

The Urrutia baserri in Atxondo, Bizkaia, framed by the mythical Mount Anboto. Photo by Etxaburu, courtesy of Wikimedia Commons.

Janaria, the Food

An organic produce fair. Photo by arangoierri, courtesy of Wikimedia Commons.

Arnoa/Ardoa, the Wine

AOC Irouléguy rosé, gold-medal winner at the 2015 International Wine Challenge. Photo by Marianne Casamance, courtesy of Wikimedia Commons.

Tradizioa, Tradition

Crowds gather in Pamplona-Iruñea to celebrate the beginning of the San Fermin Festival. Photo courtesy of Wikimedia Commons.

Jendea, the People

Accordion and tambourine players in Zarautz, Gipuzkoa. Photo by Antxon Etxeberria, courtesy of Wikimedia Commons.

Of course, it is also the first day of spring, also known as the Spring Equinox, giving us a chance to bask(que) in the sun for a few more hours and take advantage of the activities and people that give us happiness. And don’t forget, yesterday was Father’s Day, the feast day of San José or Saint Joseph, so be thankful for your aita!

March 12, 2008: Death of artist Menchu Gal

On March 12, 2008 the Basque artist Menchu Gal Orendain, the first woman to win Spain’s National Prize for Painting (1959) and renowned for her colorful landscapes as well as portraits, died in Donostia-San Sebastián.

Menchu Gal

Born into a middle-class family in Irun, Gipuzkoa, in 1918, she developed an early interest in painting and by the age of seven was studying the art under local painter Gaspar Montes Iturrioz. Recognizing her talent, he encouraged her family to send her to Paris to continue her studies. This she duly did in 1932, enrolling in a school run by French cubist Amédée Ozenfant. She spent two years in Paris, taking advantage of the time there to visit the great museums and exhibitions in this major global art capital. She was particularly drawn to Impressionist and Fauvist works, and especially the oeuvre of Henri Matisse. Thereafter, she continued her studies in Madrid, at the San Fernando Academy of Fine Arts, where her teachers included the celebrated Basque artist Aurelio Arteta.

Menchu Gal at work in 1975

When the Spanish Civil War broke out in 1936, together with her family she took refuge in France. She returned to Madrid in 1943 and soon became part of the Young Madrid School of artists, a group of young contemporary artists who exhibited regularly through the 1950s. It was at this time that she focused on landscape painting, particularly representations of the Castilian Meseta, the famed plateau of Don Quixote, and her native Basque Country. As she exhibited more, so she  gained a reputation for her vibrant use of color and the joy she expressed in her painting. And in 1959 she was awarded Spain’s National Prize for Painting for a landscape of Arraioz in the Baztan Valley of Navarre – the first woman to win this award. She continued to exhibit through the 1960s and 1970s, returning to the Basque Country and sponsoring a new generation of young Basque artists. In this regard, she was particularly interested in spotlighting painters and paintings connected with her natal Bidasoa region of Gipuzkoa; organizing retrospective of her first teacher, Montes Iturrioz, and participating in a travelling exhibition, “Painters of the Bidasoa,” in 1986. And she was still painting and exhibiting to the turn of the millennium.

Asked in a 2006 interview to describe the colors of her own particular corner of the Basque Country, the Bidasoa region, she replied:

Green and gray dominate; the trees are green, and the ground gray. The houses are kind of ocher. They don’t have a lot of color. But I love the Aia Massif [a rocky massif straddling the border between Gipuzkoa and Navarre]. I’ve seen it in all its colors. San Marcial [a shrine on a hill overlooking Irun and the Bidasoa region] and the Aia Massif have featured a lot in my painting.

Besides the Spanish National Prize for Paining, she also won many other awards. She was the first woman to receive the Provincial Council of Gipuzkoa’s Gold Medal (2005) and in 2007 Eusko Ikaskuntza (the Society of Basque Studies) awarded her the prestigious Manuel Lekuona Prize.

She died in 2008 and in 2010 the City Council of Irun, in collaboration with the Kutxa Foundation, established the Menchu Gal Room at the Sancho de Urdanibia Hospital in Irun, where some of her work–purchased by the city council itself–is exhibited. That same year, a foundation was established in her name.

Further Reading

Menchu Gal Orendain at the Auñamendi Eusko Entziklopedia.

Menchu Gal, una artista extraordinaria,” by José Javier Fernández Altuna in Euskonews & Media (2007).

 

 

The Basque Country in the 19th Century painted by the Feillet sisters

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Hélène Feillet (1812-1889), as painted by her sister Blanche. Image by TRAILERS MUSEUM, courtesy of Wikimedia Commons.

Hélène (1812-1889) and Blanche (1815-1886) Feillet were artists and lithographers of some renown in the mid-19th century. Although born in Paris, they had strong connections to Iparralde, where they lived (in Biarritz) from 1834 on. And they are best known for their many portrayals of the Basque people and landscape in the form of lithographs, watercolors, oil paintings, drawings, and sketches. Their principal focus of interest was the Basque coastline, from Baiona in Lapurdi to Bermeo in Bizkaia, by way of the many fishing towns and villages along the way.

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“Pêcheuses de St-Jean-de-Luz” (Fisherwomen of Donibane Lohizune), by Hélène Feillet. Part of the Fonds Ancely of the City library of Toulouse. Courtesy of Wikimedia Commons.

They were the daughters of a famous lithographer, Pierre Jacques Feillet (1794-1855), who was also head of the School of Drawing and Painting in Baiona from 1844 until his death – on which Blanche took over the same position. Continuing with their father’s specialty, they gained particular fame as lithographers in their representations of the Basque Country, embracing the romanticist tendencies of the age in their lithographs and prints.

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“Costumes basques” (Basque dress) by Hélène Feillet. Part of the Fonds Ancely of the City library of Toulouse. Courtesy of Wikimedia Commons.

In 1844 Blanche married Charles-Henri Hennebutte, who ran a printing company in Baiona. His company would later publish well-known guides to the Basque Country, such as Guide du voyageur de Bayonne à St Sébastien and Description des environs de Bayonne et de Saint-Sébastien (France et Espagne: Album des deux frontières), beautifully illustrated by the Feillet sisters. Hélène also exhibited her work in both Paris and London.

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“Entrée du duc de Bayonne en 1839” (Entrance of the Duke of Baiona in 1839) by Hélène Feillet. A work commissioned by the French Ministry of the Interior. Image by Léna, courtesy of Wikimedia Commons.

Their art stands as a remarkable testament of the time and place in which they lived and worked, and serves as an invaluable resource for capturing the Basque Country on the cusp of major social change in the mid- and late-19th century.

500 Posts! What a pleasure to reach this milestone of sharing!

Yesterday witnessed the 500th post on the Center’s blog! And we think it entirely appropriate that we mark the occasion with a post looking toward the future of Basque Studies, with a roundup of what our young scholars here at the William A. Douglass Center for Basque Studies have been doing and hope to do in the future. Particularly exciting for us is the eclectic nature of our graduate students, who hail from all over the world. With such talented and committed young people, Basque Studies has a bright future!

Just like reaching the summit at Anboto, our CBS blog has reached a milestone, but we will continue to climb beyond

In honor of our milestone, today we are looking back, first at the posts that have most engaged you, our readers, over the past couple of years:

 

1. Our most read post, by a fairly long way, is the tragic case of Basque sheepherder Txomin Malasechevarria. This is a cautionary tale about just how hard it was for some people to cope with the extreme solitude of life in the mountains, the psychological effects of this loneliness, and the devastating effects this could have on not just their own lives but also those around them. There are no “winners” in this immigrant story. Check out the post here.

 

2. Next, we have a happier tale that celebrates the key role played by women in maintaining the foundations of Basque communities, through their work in Basque boardinghouses, part of the Basque immigrant experience in the United States.  Check out the post here.

 

3. Then we come to what was, for us at the time, a bit of a surprise, pleasant though it was! It’s a post reporting where the Basque Country ranks in the latest Human Development Index (HDI) league tables. The HDI is a United Nations statistical rating based on life expectancy, education, and per capita income indicators that are used to measure human development. In short, it’s a means of measuring the health of a nation. Check out the post here.

 

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4.Coming in at number four is a post that continues to rise steadily in the rankings. It’s our post on the classic Basque song “Txoria txori” (The bird is a bird), a pivotal work in the Basque songbook that touches on quintessential themes in Basque culture, sung by folk, rock, and pop singers alike as well as sports fans and even reworked into an orchestral piece. Check out the post here.

5. Last in our top 5 is a post on the remarkable life and work of Juanita Mendiola Gabiola, the woman sheepherder who was winning races, age 92, at the Third Age Olympics and died a centenarian. Check out the post here.

And then, of course, we would be remiss if we didn’t mention some of our personal favorites over the years!

  • One of our favorite pieces of writing was this “post within a post,” if you will, dated June 8, 2015, a review of one our most cherished books, My Mama Marie by Joan Errea, which in its focus on the introduction to the work goes beyond mere review to actually engage with and write about the landscape that serves as the backdrop to the book. Check out the post here.
  • Who doesn’t like chocolate? We certainly do! And we like it so much, we wrote a post about it! Check out our rambling thoughts on Basque chocolate, culture, and history in this post, dating from November 2, 2015.

  • One of our most transcendent posts, dated February 12, 2016, concerns what came to be known as the infamous 1911 “Last Massacre” in Western Folklore. This was a major incident in the history of the American West in which Basques featured prominently and serves as proof, if needed, of how the Basque immigrant experience is an essential part of the fabric of this history. Check out the post here.

  • In another post that takes landscape as its primary focus, dated February 24, 2016, we explore how another Basque Country was “imagined” thousands of miles away from home in the remote Nevada mountains. For a great piece of original writing on the Basque experience in the American West check out the post here.

  • We’re especially proud at the Center to try whenever possible to emphasize the role of women in Basque culture and history. This post from March 8, 2016, on the occasion of International Women’s Day, served as a roundup of some of the many posts we had published in this regard.  Keep checking in with the blog because this year we will be doing special posts throughout the month of March to celebrate women’s history month.

  • A relatively recent post, dated December 12, 2016, and one that is dear to our hearts emerged out of a reader’s inquiry about native Basque sheep and pig breeds. It got us thinking so much that we wrote a post about it. Check it out here.

Thanks so much for reading and here’s to another 500 and more. It is all because of you, dear readers, so eskerrik asko once again for engaging with us and for sharing our love of Basqueness!

From sea to mountain, some beautiful aerial views of Iparralde

The pretty village of Ainhoa, Lapurdi, captured in some stunning video images below. Photo by Harrieta171, courtesy of Wikimedia Commons.

The newspaper Sud-Ouest recently posted the following video of the bay of Donibane Lohizune/Ziburu (Saint-Jean-de-Luz/Ciboure) in winter and we liked it so much we’d  like to share it with you all. Of course, the bay of Donibane Lohizune/Ziburu is one of the most significant points on the Basque map, with its rich maritime history sprinkled with the odd exotic tale of pirates and corsairs.

This got us to thinking that there are so many great visual portraits of the Basque Country out there, so why not include a few more? Who not, indeed!? Moving inland a little, then, here are some great images, from both yesteryear and today, of the hamlet of Dantxaria and the village of Ainhoa, undoubtedly one of the most picturesque corners of our beloved Basque Country. This is borderland country between Lapurdi and Nafarroa (and between France and Spain), the Xareta region, so it once had a reputation for quite a bit of gau lana (night work) – what some people would call smuggling and others a little local entrepreneurship:

Farther east, inland into deep into mountain territory, check out this dramatic portrait of Aldude (Les Aldudes) in Baxe Nafarroa (Nafarroa Beherea, Lower Navarre), the original terrain of so many Basque sheepherders in the American West.

 

Finally we’ll head even more inland, to the Wild East of the Basque Country, the timeless, almost mythical province of Xiberoa (Zuberoa), where the people sing rather than speak Basque!

These two videos are part of a wider collection available here via Xibero Telebista.

If all of this has inspired you to delve more deeply into the wonders of Iparralde, the Northern Basque Country, then check out Philippe Veyrin’s classic The Basques of Lapurdi, Zuberoa, and Lower Navarre: Their History and Their Traditions. And see, too, our very own Sandy Ott’s The Circle of Mountains: A Basque Shepherding Community, a marvelously evocative ethnography that recounts the traditional way of life, and how people tenaciously hold onto it despite the changes taking place all around them, in a small Basque mountain community in Xiberoa.

On Anboto

 

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The distinctive limestone peaks of the Urkiola Range, Anboto is the peak farthest on the right. From the hamlet of Urkiola.

It’s December again and I can’t believe it has been a whole year since I was last in the Basque Country! Since I wasn’t able to go this year, I’ve been fondly remembering my last time there, especially my last day there, a Sunday when my coworker and his partner offered to take me on a long-desired visit to Anboto. The mountain dominates the skyline of Durango and, just as a hiker looking up at it on breaks from the Azoka Stand, I’ve always wanted to make a shot at it, so I jumped at the chance. Although Anboto is actually lower in elevation than Reno at around 4,370 feet (Reno stands, according to Google, at 4,500 feet), it stands out from the landscape as an overpowering juggernaut. It is an immense mass of limestone, with cliff faces of 1,000 meters (roughly 3,000 feet) over Atxondo Valley. Anboto is one of the most known and most characteristic summits of the Basque Country.

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Looking south from Urkiolamendi Pass at the beginning of the true peak ascent. It is easy to understand the grip the mountain has had on the Basque imagination.

With its distinctive shape, Anboto is not only easily recognizable but it has always played a role in Basque mythology, most famously as the home of Mari, the Basque goddess who is said to control the weather. She is said to live in a cave on the front face of the mountain. She is also known as Anbotoko Mari (“the Lady of Anboto”), She and the god Sugaar were (also known as Sugoi or Maju) connected her to the weather. When she traveled with Sugaar hail would fall. And in general her tos and fros across the sky brought storms or droughts.

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Mari was said to control the weather from her cavern on Anboto.

We left the car at the hamlet of Urkiola, in the Parque Natural de Urkiola, alongside the Sanctuary of Urkiola, a Roman Catholic temple that famously celebrates the Day of Saint Anthony of Padua on June 13. This saint helps those looking for lost objects and for love, but we needed nothing as we started off on a crisp December morning with mountains dotting in and out of thick fog. The walk is a popular one and we passed many other strollers and even some Basque ponies or pottoka.

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A wild Basque pony, clearly used to passersby and photo opportunities, similar to Reno’s local mustangs.

It was so pleasant walking and talking with my coworker and his companion, who have also become my good friends over my years working as your Basque Books Editor. Once we get past the fog layer the day is clear and bright, an anomaly for the Basque Country in this time of year and we soak it in. At Urkiolamendi Pass my companions, having been here many times before, decided that they would forsake a summit attempt and they sent me on alone. Now the trail became braided into various use trails and, with the beautiful day and with the Basques’ love for the outdoors, hiking, and mountain climbing, there were many people on the pass. Climbing up through steep limestone, at first the trail remained in the treeline, but it was truly stunning when it emerged and you could see how very steep this mountain really is.

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That is a long way down!

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The peak in sight now, sharing the trail with lots of visitors

I emerged onto the top of the ridge to a sublime panorama of what seemed to be the entire Basque Country. Durango in the valley below me, farther away toward the coast where Gernika was, and then, over there, even where Bilbao would be although it remained out of sight.

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Emerging onto the highest ridge, looking toward Durango and Bilbao.

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The last climb to the summit, dotted with people.

I started climbing the last, narrow, very steep climb to the summit. I think that maybe Mari go to me, or Sugaar, because I started to get really nervous. My more or less street shoes didn’t seem to be finding the traction they should on the still dew wet grass and the number of people (in Nevada it is much more common to hike alone) made me feel claustrophobic. Particularly one couple, with the man convincing an increasingly reluctant woman that she should continue while younger, fitter people clambered all about us. I was probably only meters from the summit when I realized that it didn’t matter so much, that I had done what I had set out to do and that it was time for me to get off of the mountain without officially having stood on its summit. My companions, a txakoli, and lunch would be awaiting me down at the bottom, while there was only the wind and myth and fate left on the summit. So I retraced my steps. Rejoined my companions for an excellent lunch in Urkiola, and left Anboto behind for another year. I’ll be back!!!

Happy holidays and New Year to all of our blog readers. Thanks so much for following along with us and for staying abreast of what is happening at the Center and in Basque culture. Here’s looking forward to 2017!

Agur!

Your Basque Books Editor

The 2016 Bilbao Mendi Film Festival

This year’s Bilbao Mendi Film Festival kicked off on December 9 and runs through December 18. This is an annual festival that celebrates cinematic representations of mountains, mountaineering, hiking, climbing, skiing, adventure, exploration, extreme sports, and the great outdoors in general. Check out the trailer on the main website to get a flavor of what it’s all about.

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Basque-themed work appearing at the festival this year includes Akabuko Martxea, a documentary directed by Aitor Gisasola and Fredi Paia about efforts to recreate the tradition of sheep transhumance in herding sheep from the Urbia Mountains to the Uribe Kosta coastal district.

In the fall of 2015 two Gipuzkoan shepherds, Mikel Etxezarreta and Eli Arrillaga, spent five days herding 250 sheep from Zegama in Gipuzkoa to Getxo in Bizkaia. Their aim was to recreate the tradition of transhumance, a way of life that came to an end in the early 1980s. Indeed, Etxezarreta himself last carried out such a trek in 1982.

The Basque-made documentary, Kurssuaq. La exploración del Río Grande, will also be shown. We covered this amazing kayak expedition in a previous post here. Similarly, Humla, produced and directed by Mikel Sarasola, charts the adventures of four kayakers as they attempt to negotiate the mighty Humla Karnali, the longest river in Nepal.

The documentary Common Ground, meanwhile, charts the expedition of a group of climbers, including the brothers Iker and Eneko Pou from Vitoria-Gasteiz, to the remote Chukotka region of Siberia. In a similar vein, Eñaut Izagirre’s Incognita Patagonia, produced for National Geographic, covers a climbing expedition to the Cloue Icefield on Hoste Island, at the southern tip of Latin America.

Elsewhere, Jon Herranz directs Mar Alvarez No Logo, a documentary about woman firefighter and part-time climber, Mar Alvarez.

In somewhat of a different direction, Iker Elorrieta’s film I Forgot Myself Somewhere examines the challenges faced by women in northern Pakistan to get an education.

And Xabier Zabala’s Imaginador is a biography of photographer Santi Yaniz, famed for his work in the Basque Country and the Pyrenees.

See a full list of the films on show here.

December 2, 1856: Treaty of Baiona establishes border between North and South Basque Country

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The Basque Country, with Iparralde made up of Lapurdi, Nafarroa Beherea (Lower Navarre), and Zuberoa; and Hegoalde made up of Araba, Bizkaia, Gipuzkoa, and Nafarroa Garaia (Upper Navarre or just Navarre). Image by Unai Fdz. de Betoño, based on User:Theklan, courtesy of Wikimedia Commons

On December 2, 1856, the first in a series of four Treaties of Baiona (the others signed in 1862, 1866, and 1868 respectively) fixed the current border between the French Republic and the Kingdom of Spain, and thus between Iparralde and Hegoalde, the North and South Basque Country.  To that time the border was by no means a settled issue, with disagreements on the parts of both countries particularly over where to demarcate boundaries in Catalonia in the east and the Basque Country in the west.

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The mouth of the River Bidasoa separating Hendaia (top center) in Lapurdi from Hondarribia (bottom center) and Irun (top right) in Gipuzkoa. Photo by jmerelo, courtesy of Wikimedia Commons.

The Treaty of the Pyrenees (1659) represented a first attempt to address the matter formally. A treaty ending the long Franco-Spanish War of 1635-1659, this agreement was signed on traditional neutral ground: Konpantzia, or Pheasant Island, a small landmass of 73,410 square feet in the River Bidasoa between Hendaia (Lapurdi) and Irun (Gipuzkoa), today jointly administered between the two towns.

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Konpantzia, Pheasant Island, the small plot of neutral land between Irun (L) and Hendaia (R). Photo by Ignacio Gavira, courtesy of Wikimedia Commons.

As regards the border, by the 1659 treaty France gained most of Northern Catalonia in the east. In the west, meanwhile, matters were somewhat more complicated due to disagreements over where to establish the frontier exactly between Iparralde and Hegoalde at three critical points: the Xareta district, made up of Ainhoa and Sara in Lapurdi and Urdazubi and Zugarramurdi in Navarre; Aldude, a wedge of terrain in Lower Navarre that cuts geographically into Navarre; and Luzaide (Valcarlos in Spanish), a wedge of terrain in Navarre that cuts geographically into Lower Navarre. While a working boundary was established in these areas, there would clearly have to be more negotiations before arriving at a definitive settlement. In the eighteenth century, further agreements refined the settlement in the east, while as regards the west, the Treaty of Elizondo (1785) fixed the border at both Aldude and Luzaide.

The 1856 Treaty of Baiona definitively established the far western extent of the Franco-Spanish border in the middle of the River Bidasoa’s current at low tide, which in turn demarcated fishing zones and local rights to control passage up and down the river. Moreover, the so-called Kintoa district (Le Pays Quint in French; Quinto Real in Spanish)–an area of grazing land between the two Navarres that had historically been hotly and sometimes bloodily disputed–was officially ceded to the Spanish Kingdom but would be administered by the French Republic: in other words, the land would be owned by the former but leased perpetually to the latter. Today, its approximately 30 inhabitants are French citizens by default but have the right to dual Franco-Spanish citizenship. Public education and health services are provided by the French Republic and they  pay income tax in France but they must pay property taxes in Spain. The postal and utilities services are French but policing is controlled by the Spanish Civil Guard.

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The Esnazu district of Aldude, showing some of the grazing pastures in this borderland area. Photo by Patrick.charpiat, courtesy of Wikimedia Commons.

In sum, the 1856 treaty brought with it a definitive settlement of sorts regarding the border between the two countries. A total of 602 markers mark the division along the length of the border, from the Bay of Biscay to the Mediterranean, with marker no. 1 in the River Bidasoa. Border and customs posts were also more formally established in the wake of the four treaties as a whole, which in itself led to a growth in gau lana (night work) or the lucrative smuggling trade that was, until comparatively recently, such a feature of Basque culture in these borderland areas. More recent developments have included the transfer of a small plot of land (just under 30,000 square feet) in 1984 between the two countries as part of the construction project to build a road linking the Erronkari Valley in Navarre to Arrete (French)/Areta (Occitan)/Ereta (Basque) in Bearn; and the entry into force of the European Union’s Schengen Agreement (1995), by which border controls for people and goods were abolished and freedom of movement across the border ensured.

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International border marker no. 8 between Bera (Vera de Bidasoa) in Navarre and Biriatu (Biriatou) in Lapurdi. Photo by Pymouss44, courtesy of Wikimedia Commons.

For many obvious reasons the muga or border exercises a powerful influence on the Basque imagination. Clearly, it has acted as a barrier to greater unity among Basques, but equally one could argue that its very existence has served to bring Basques together in numerous ways as a challenge to overcome.

Further Reading

Robert Laxalt, A Cup of Tea in Pamplona. This absorbing action-packed tale is an evocative portrait of the world of Basque smuggling in 1960s, and the importance of the border in Basque culture, as portrayed by the great Basque-American storyteller Robert Laxalt.

Zoe Bray, Living Boundaries: Frontiers and Identity in the Basque Country. This work explores how the international border shapes Basque identity on both sides of the frontier.

Aitzpea Leizaola, “Mugarik ez! Subverting the Border in the Basque Country,” in Ethnologia Europaea: Journal of European Ethnology 30, no. 2 (2000): 35-46. This article explores the multiple ways in which the international border that cuts through the Basque Country is still very much a contested site.

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