El campeonato de «bertsolaris» de Euskal Herria como institución canonizadora de las melodías, de los ejercicios y de las estrofas de «bertsos»
Bertsolaritza competitions have their climax in the <em>Euskal Herriko Bertsolari Txapelketa </em>(Bertsolaritza Championship of Euskal Herria) every four years. It is a championship with different phases and with a great final where eight bertsolari compete and where it is decided who w...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Universidad de Navarra |
| Repositorio: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Idioma: | español |
| OAI Identifier: | oai:dadun.unav.edu:10171/61598 |
| Acceso en línea: | https://hdl.handle.net/10171/61598 |
| Access Level: | acceso abierto |
| Palabra clave: | Bertsolarismo Txapelketa Competición Melodía Estrofa Canonización Institución Repertorio |
| Sumario: | Bertsolaritza competitions have their climax in the <em>Euskal Herriko Bertsolari Txapelketa </em>(Bertsolaritza Championship of Euskal Herria) every four years. It is a championship with different phases and with a great final where eight bertsolari compete and where it is decided who will “reign” for four years, holding the <em>txapela </em>(the trophy given to the winner). This is an act of canonization where repertoires of exercises, types of <em>bertso </em>(stanza metrics) and melodies (some new and others “recovered from the periphery”) are shown to the general public, disseminated in the media and judged by the jury. All this means that some melodies, some bertsolaristic exercises, and some stanzas are incorporated into the center of the cultural system of <em>bertsolaritza</em>. In this paper we follow up on these three parameters taking as a basic reference the last three <em>bertsolari </em>competition finals (2009; 2013; 2017), and also try to verify if this “canonization” of the final of the championship has any verification in sessions of ordinary <em>bertsolari </em>or in territorial championships. Some articles by scholars from the field of <em>bertsolaritza </em>will be used as qualitative information that supports the explanation of the processes of “canonization” in improvised oral genres such as this one, where championships, as an institution, play a key role. The psychological conditioning that the <em>txapelketa </em>plays in <em>bertsolaritza </em>and in the jury will also be examined, assessed and evaluated in this paper. |
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