56 Gurutze Lasa Zuzuarregui
an answer to the question “What about the women?” with which the triki
rap group Lin Ton Taun ended the song “Hodei ilunak”, included in their
first album of the same name (Esan Ozenki 1993).
Thus, the aim of this research project is:
• To understand the ways in which women are represented.
• To elucidate the gender roles represented.
• To draw attention to the gender stereotypes transmitted.
• To favour, from a gender perspective, the critical transmission and
reception of music.
To this end, a series of criteria have been established to define and shape
a corpus of the most representative records of the musical heritage of the
trikitixa from the “Diskografia” section of the website of the Euskal Her-
riko Trikitixa Elkartea association. The records with the following charac-
teristics have been analyzed:
• Individual and unpublished works: collective albums and compila-
tions have been discarded. It is worth mentioning the exception of the
project “Haziak” as this is an initiative of the Euskal Herriko Trikitixa
Elkartea association, which aims to raise awareness of the new values
of the trikitixa world and, therefore, is of interest when researching
contemporary discourse on the topic of this research project.
• The albums of the bands
20
that form the mainstream of the twenty-
first century Trikitixa: the complete list in the “Diskografia” section of
Euskal Herriko Trikitixa Elkartea has been included, with the works of
the most influential groups included in the special collection “Triki”
published by the record company Elkar.
• The recordings of the most representative bands of the so-called
New Trikitixa: the records of Tapia eta Leturia, Kepa Junkera, Esne
Beltza, Gose, Huntza, and Koban have been included and thoroughly
analyzed.
• Stability of the bands: we have analyzed the work of bands that have
more than one disc on the market, except in the case of artists and
groups formed in part or in their entirety by women.
• We have analyzed the songs that make express mention of women or
where women are involved.
On the basis of these criteria, we have actively listened to 1,584 songs
included in 110 records of 43 bands that make up a universal set as diverse
as trikitixa. Tapia eta Leturia, Kepa Junkera, Esne Beltza, Gose, Huntza,
and Koban are responsible for 41 of the total recordings analyzed. For
practical purposes, it should also be pointed out that 20 of the 43 bands
mentioned previously comprise both men and women, and six bands are
made up solely of women.
The data was recorded using the Drive application. To this end, 13 cat-
egories were pre-established, defined according to the particular charac-
teristics of the musical compositions of Trikitixa and the object of study
57 The Representation of Women
of semantic analysis: the masculine figure, woman-morality (negative),
woman-morality (positive), woman-homage, woman-romantic love,
woman-sexuality, romantic love, sexuality, empowerment, gender-based
violence, instrumental, various, and others.
It should also be noted that throughout the transcription process certain
aspects have had an impact that should be taken into account when assess-
ing the results of the study:
• The subjectivity and cultural background of the author of the study.
• The historical and therefore cultural context to which texts are ascribed
(discourses).
• The comprehension difficulties derived from the poor quality of the
recordings from the 1920s and 1930s.
• The diverse nature of the texts of the trikitixa: some bands opt for
original subjects written by the group in question and/or created spe-
cifically by bertsolaris and/or authors. In their compositions, others
combine new lyrics, old couplets, bertsos, and instrumental pieces.
Likewise, there are also artists who often reuse and reinterpret old
couplets and/or combine instrumental pieces with old couplets and
new couplets written in a similar way to the old ones.
• The discs of some female bands contain lyrics written by both men
and women.
THE REPRESENTATION OF WOMEN IN TRIKITIXA
MUSIC: FINDINGS
Traditions and, by extension, the discourses that derive from them have
a specific function in the historical, social, and cultural contexts in which
they are created and constructed, respectively. Therefore, their preserva-
tion can be an indication of the continued existence of certain functions.
Notwithstanding, Pilar Ramos reminds us that postmodernism has not
only called into question the stability of concepts such as music, identity,
and objectivity but also abandons the essentialist discourse of concepts
such as race, ethnicity, class, and gender (Ramos 2013: 37). As it is impos-
sible to truly deconstruct or de-learn elements that make up who we have
become, due to the range of cultural and familial influences that influence
who we are, we are left with our ability to learn, provided that we are able
to overcome the fear of what we might find. Knowledge enables compre-
hension, which leads to acceptance. That acceptance enables transforma-
tion, which, ultimately, enables us to move forward. Thus, as pointed out
by Marisa Manchado, the key is not simply to remember, but to recognize
and to gain knowledge (Manchado 2011: 17).
The definitive findings of the semantic analysis of the most impor-
tant musical heritage of the trikitixa of the twentieth and twenty-first
centuries, presented as follows, aim to demonstrate how women have
been represented and, ultimately, how those representations have con-
tributed to transforming the discourses transmitted through this musical
expression. According to Laura Viñuela, musical practices are not only
58 Gurutze Lasa Zuzuarregui
a way of expressing a specific context, but they also contribute to defin-
ing, disseminating, confirming, and deconstructing stereotypes (Viñuela
2003: 25).
As we begin to analyze the results of the study, we can observe that only
31.6% of the included compositions address or include references related
to the pre-established categories. Table 4.1 shows us that other issues are
raised and transmitted in 20.5% of the songs. Meanwhile, instrumental
compositions constitute 52% of the total. While there is a sector within
the world of the trikitixa that has clearly opted for another type of musical
pieces (for example, Gose or Koban), the findings of this study leave no
doubt about the importance that instrumental compositions have had in the
world of the trikitixa.
But what concerns, ideas, etc. do musical groups express through the
trikitixa? And, more importantly, how do they represent women? What
stereotypes do they transmit and/or try to transform, and how?
Let us find some answers in the analyzed songs.
Others
The lyrics in this category address topics beyond the object of study. In
short, they constitute an essential source of information for studying the
social, economic, political, cultural, and existential evolution that took
place in the Basque Country in the last century. Such transformations are
clearly visible in the chosen discography, which covers what are consid-
ered paradigmatic models.
Table 4.1 Semantic content of musical texts by category.
21
Subjects
Instrumental
Romantic Love
Sexuality
Woman-Romantic Love
Woman-Morality
(Negative) Masculinity
Woman-Morality (Posi
tive)
Source: Gurutze Lasa Zuzuarregui, 2019.
Others
Various
Empowerment
Woman-Sexuality
Woman-Tribute
Gender-based violenc
e
59 The Representation of Women
As a reflection of the political, social, and cultural changes that they
experienced from the 80s onwards, Tapia eta Leturia started to include
texts where they expressed their vision of the Basque society, the construc-
tion of which they actively contributed to through their music. Songs such
as “Trikitilariak omen gara (trikitixa) (1987), “Trikitixaren sua” (1992),
and “Zeruko hauspoa” (2002) reflect their respect towards the inherited
musical tradition, as well as the changes taking place in the world of the
trikitixa as a result of experimentation and the market society. The group,
originally from the Guipuzcoa province, alludes to the traditional rural
world with irony in “Txapelau” (1992) and breaks with the religious zeal
of the past in “Gipuzkoarrok, errosayo santuba! (1995). In songs such
as “Begi nini ñimiñoa” (1992) and “Arraun” (2002), they examine the
political situation and assert the right of self-determination of the Basque
Country and other stateless nations, while “Gezurtientzat” (2002) explores
the concept of historical memory. Likewise, they express their opinion
regarding Basque language (Euskara) in “Gurasoak euskaraz” (1987), the
richness of multilingualism in “Oihan Jaia” (1997), compulsory military
service in “Histori okerra” (1987), the topic of stress in “Stressa” (1990),
provide a critique of capitalism in “Amway” (1992), and sing about foot-
ball in “Buruball” (1995). However, as demonstrated by songs such as
“Galdurikan nago” (1995) and “Supositorioa” (1995), they do all this
without losing their festive edge, so strongly linked to the world of the
trikitixa.
The discography of Kepa Junkera is strongly characterized by a musi-
cal search and, as a result, it has a strong instrumental element. In terms of
semantics, Kepa Junkera displays a strong tendency to reuse old couplets,
as we can see throughout this research project. Thus, songs such as “Haika
mutil” (2008), “Markosen txarria” (2010), and “Cançó dels traginers” (2017)
take us back to traditional rural settings of the Basque Country and other
cultural spheres, while others such as “Hara nun diran” (2008), “Barku sin-
ple batean” (2009), and “Primi, Romualda, Andresa, Leona, Mikaela, Pan-
txika eta Martzelina” (2014) remind us of the migratory past of the Basque
people. However, some new topics are also included, such as the sea and
its people, in songs such as “Itsasoa belztuta” (1994) and “Marea Zumaian”
(2016). In “Akelarretik josapatera” (1990), he challenges the Catholic reli-
gion, while criticizing colonialism in “Billy from overseas” (1994) and
praising the Basque language in “Egun da Santi Mamiña” (2010). In “Espe-
txea” (1990), he alludes to the political situation in the Basque Country,
“Els segadors” (2017) is a cry out in favor of Catalonia, and “The way that
the wind blows” (1994) is about the socio-economic crisis. He praises the
beauty of “Bilbo” (1994) and the island of “Izaro” (2001), and explores
cultural hybridization in “Ari naizela” (1994). He sings about sorrow in
“Sodade” (1995) and happiness in “Fali-Faly” (1998), while encouraging
people to be themselves in “Ny Hirahira” (2001).
Criticism and political claims are highly present throughout the discog-
raphy of Esne Beltza, in songs such as “Lehen” (2009), “Posta zaharra
(errefuxiatuei eskeinia . . .) (2007), “Sonidero” (2010), “Mugitu harriak”
(2016), “Gure askatasuna (2018), “Distantzia” (2011), and “Sutzen”
60 Gurutze Lasa Zuzuarregui
(2013). Resilience is also an important element, for example in songs such
as “Astindu” (2008), “Ibilian” (2011), and “Sometimes” (2013). Both tra-
ditions and contemporary worldviews are present throughout their entire
discography, in songs such as “Esnesaltzailearena” (2008) and “Hommes
et femmes de couleur” (2010).
As we shall see later, Gose presents a new way of looking at the topics
of love, desire, and female sexuality. They make a conscious break with
tradition in “Bye, bye, Maurizia” (2005), “Jangura” (2007), “Beaucoup de
police” (2007), and “Portaloian” (2009), while invoking the notion of his-
torical memory in “Amets gorria” (2007) and “Errua” (2014). Their punk
spirit comes out in the social, political, and religious critique displayed in
“Non-noiz” (2005), “Surik bai?” (2009), “Banku atrakatzaileak” (2014),
“Hil da Europa” (2012), “2004-XII-09” (2009), “Kamarada” (2012), and
“Mantis atea” (2007), while people are encouraged to live their lives and
to be themselves in “Alegrantziaren aldeko konjura” (2014) and “Bang!”
(2012).
Huntza explores a diversity of topics in their discography; they “rec-
oncile” the rural world with the urban one in “Aldapan gora” (2016),
while in “Herri Unibertsitatea” (2016) they advocate the creation of a peo-
ple’s university. They explore the topic of immigration in “Hautsetatik”
(2016) and question orthodoxy in “Deabruak gara” (2018), while “Buruz
behera” (2018) is an invitation to life and “Olatu bat” (2018) to protect the
environment.
As for Koban, their only album critiques the current socio-cultural model
through songs such as “Nekropolia” (2018) and “Panpin puskatuaren fab-
rika” (2018), and materialism in “Daltonikoak” (2018), while encouraging
people to enjoy the simple pleasures of life in “Plazer txikiak” (2018).
As with other musical formations, representations of women are also
present in the analyzed models. It is mainly the maternal figure, women
suffering in the political sphere, and the stereotyping of prominent politi-
cal symbols that stand out within the multiple and diverse representations
of women (as athletes, musicians, rebelling housewives, alcoholics, chari-
table or beautiful characters).
In “Bihotzeko Ama” (2009) by Laja eta Mikel, for example, a baby
pleads for its mother’s protection. In “Itsasoa laino dago” (2010) by Kepa
Junkera and “Amasemeak oherakoan” (1995) by Tapia eta Leturia, moth-
ers protect and enjoy their baby’s company. At the same time, in “Haurtxo
txikia” (2008) by Kepa Junkera, a mother nursing her baby expresses
her discontent at her husband’s gambling addiction, and in “Lua lua”
(2009), also by Kepa Junkera, a father tries to get his baby to sleep, telling
them how he has sold the baby’s mother. Likewise, the blind Solferino
expresses his sadness at not being able to see his mother again in a song
with the same title performed by Tapia eta Leturia (1990) and Kepa Jun-
kera (2010). In “Anaren mundu arraroa” (2014) by Gose, Ana becomes a
mother soon after losing her own and a prostitute in order to maintain her
child. In “Pello Joxepe” (2010) by Kepa Junkera, Pello Joxepe questions
his paternity, and in “Gure aitak amari” (2009) by the same author, a father
gives a red skirt to the mother, who also acts as a transmitter of language.
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