Tag: Mercedes Mendive

CBS Event: Literatura eta Musika with David Romtvedt

Do you have an interest in the Basque Diaspora and enjoy good music? If so, the CBS and the Jon Bilbao Basque Library is pleased to invite you to Literatura eta Musika featuring CBS author and accordionist David Romtvedt on March 11-12 at 4 p.m. in UNR’s Mathewson-IGT Knowledge Center Rotunda.

David and Caitlin

On March 11, David will be reading from his book Buffalotarrak: An Anthology of the Basques of Buffalo, Wyoming. This book is a collection of personal essays written by and about the Basques of Buffalo. These stories illuminate the experiences of the Basques in Wyoming and tie into the broader theme of the Basque diaspora in the American West.

On March 12, David will be reading from Zelestina Urza in Outer Space. In this historical fiction piece, David explores the experiences of Zelestina, a 16 year-old Basque girl in northern Wyoming. Inspired by the real life experiences of two Basque women, the character of Zelestina departs from the stereotype of the Basque immigrant as a lonely sheepherder.

After each talk, David will perform on the accordion and will be accompanied by his daughter, Caitlin Belem Romtvedt, an accomplished musician who specializes in “Brazilian and Cuban music, and old-style swing, blues, and jazz”. After the lecture on March 12 only, Elko-based Basque accordionist Mercedes Mendive will join the duo.

Mercedes Mendive

Admission is free! We hope to see you there!

Reno Zazpiak Bat 50th Annual Basque Festival

This past weekend was the Reno Zazpiak Bat’s 50th Annual Basque Festival and it was packed with activities and Basque spirit. My weekend actually kicked off in Sparks, at the Thursday Night Marketplace event, which collaborated with Zazpiak Bat to have a Basque theme. Besides the farmer’s market, there was dancing by the Zazpiak Bat Basque Dancers and the public. Later in the evening, Errebal, a music group from the Basque Country, had their first performance. It was a great way to start the weekend!

Dancing in Sparks

Errebal

The official schedule of events began on Friday at the Santa Fe, with the President’s Dinner and subsequent performance by Errebal. After plentiful dining alongside merry Basques, Julen from Errebal helped us learn the different steps to euskal dantza. You could tell who had experience and who didn’t, although we all had fun! To end the night, Mercedes Mendive played the accordion accompanied by much dancing.

Aita Antton

Basque Mass

Winnemucca Dancers

Saturday’s events were held at Wingfield Park, by the Truckee river in Downtown Reno. Bright and early, Apaiza Aita Antton gave the mass. After a welcoming from the President of Zazpiak Bat, Joe Leonis, the Winnemucca Dancers performed, and it’s always a pleasure watching them. Throughout the day, there were different herri kirolak demonstrations, including harrijasotzaileak (weight lifters), aizkolariak (woodchoppers), and Txingas, a competition that was open to the public. There was dancing at all times, and of course, I can’t forget the food and drink. Accompanied by the warm weather, the festivities in the park made the day fly by.

 

But that wasn’t all. Saturday evening, Errebal had their final performance at Louis’ Basque Corner. It was packed! People danced, drank, and were merry! Overall, it was a great weekend and I can’t wait till next year!

The Ariñak Project: Learning about the many sides of Basque culture through music and dance

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The Ariñak Project, co-founded by Mercedes Mendive and Janet Iribarne in Elko, Nevada, is an ambitious attempt to learn about the multiple dimensions of Basque culture, centered on music and dance but also encompassing, for example, the Basque language and traditional Basque sports. According to Mercedes:

This endeavor was developed to teach important elements of music, including pandero (tambourine), accordion, txistu, alboka, txalaparta, singing as well as introducing our kids/members to the Basque language and Basque sports. It’s our goal to incrementally start our participants on a cultural journey that will stay with them for a lifetime.

As part of the project camp days are held on which participants learn the fundamentals of both music and dance from experienced instructors. The ultimate goal is to extend this learning to a more comprehensive understanding of how the instruments, the music, and the dance all form part of a greater whole that is Basque culture in general. For example, the project seeks to teach people the meanings behind popular Basque songs and dances, how and why they may be important in Basque culture more generally.

Check out Mercedes Mendive’s webpage (with contact information) here.

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And Euskal Kultura report on the project here.

This ambitious project mirrors similar efforts in the Basque Country itself that seek to interpret Basque dance as part of a wider cultural framework: first and foremost, and perhaps most obviously, as a cultural form intimately connected to music. As he notes, while doing research for his marvelous book, Alejandro Aldekoa: Master of Pipe and Tabor Dance Music, Sabin Bikandi was himself an accomplished musician who (p.31),

suddenly realized that I had no idea of how to play for the dance, no idea of the repertoire, the repetitions, or the meaning of “following the dancers.” If I was going to write about Aldekoa, a pipe and tabor player and a dance master, I felt I had to learn the job, and the only way was to do just that—to learn to perform.

However (p.33),

the learning process was slow and complicated, and my knowledge is still a long way behind that of the great master, Aldekoa. However, the little that I learned helped me to reinterpret and understand the relationship between choreography and music, and in the end, how music and dance form a single entity. As I have observed, at present, dance and music are taught as separate subjects. Musicians do not learn anything but music, and dancers do basically the same as regards dance. Many dancers are not able to sing what they dance or the rhythm they mark while dancing. This has been a problem during my own learning process, for my musical-analytical approach found no response from the dance teachers. On the other hand, I found that many dancers are afraid of musicians’ knowledge about rhythm analysis and their knowledge of the science of music.

In short, as Bikandi observes in his work, stepping up to the next level, at least attempting to comprehend a true master like Aldekoa, required that kind of commitment to a greater understanding of how music and dance are one and the same thing, and how in this particular case, they are are also central to Basque cultural norms as a whole.

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