Kultura Ondarea Saria Experience Book

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Kultura Ondarea Saria Experience

26 Febrero – 30 Junio, 2015

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PROJECT Kultura Ondarea Sariaren 1. edizioa. Ikastetxeei zuzendutako Euskal Kultura Ondareari buruzko bideo-lehiaketa.

1ª Edición del Premio Kultura Ondarea. Concurso de vídeos sobre Patrimonio Cultural Vasco dirigido a centros educativos.

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KULTURA ONDAREA SARIA. INTRODUCCIÓN El 26 de Febrero, jueves, en el IES Julio Caro Baroja BHI se celebró una reunión con el Área de Cultura del Gobierno Vasco. Estuvieron presentes el Director del Centro, José Antonio Beobide, Amaia Goikoetxea como representante de la Administración junto con otro miembro del Área de Cultura y Juan Carlos Martínez por parte del profesorado.

Se nos explicó en qué consistía el Concurso Kultura Ondarea Saria. Se nos animó a participar. Se le comentó a la representante del G.V. cómo el concurso salía a la luz demasiado tarde para los centros de secundaria.

Amaia Goikoetxea defendió la tesis de la importancia de que que los alumnos se preocupen por la cultura de su país y de su entorno y comentó los beneficios que podían derivar para el centro el hecho de que fuésemos hipotéticos ganadores. Algo muy halaguëno, en teoría. Sólo restaba saber elegir el tema, acertar con él y con el equipo de estudiantes, que en un tiempo record hiciesen un buen trabajo y que no pensásemos que teníamos por delante dos meses y medios (la fecha de entrega de los videos del concurso sería el 15 de Mayo de 2015) en los que los participantes tendríamos un viaje a Garbsen, Alemania, con el proyecto Comenius en marzo, recibir a los americanos de Scituate en Intercambio Escolar durante dos semanas en mayo, y otras dos semanas de vacaciones.

Se quedó con Amaia Goikoetxea que se le daría la respuesta en 48 horas. La dificultad de la premura de tiempo y de la participación de buenos alumnos de 1º de Bachillerato que se animasen a involucrarse en el proyecto a esas alturas del curso quedó resulta en 24 horas.

Al día siguiente, viernes, a dos semanas de ir a Alemania, Juan Carlos Martínez, como hipotético tutor del equipo, pasó por todos los primeros de Bachillerato para dar la información.

Antes de las 22:00 horas del mismo día ya se había apuntado un equipo inmejorable: Iratxe Cea, Aitziber Pulido, Laura Mardarie, Jone Vicente, Alba Sánchez y Ander Gómez.

Al día siguiente tres alumnos más quisieron apuntarse, una vez que supieron quienes eran los componentes del equipo; pero el grupo estaba al completo.

Había comenzado una aventura a contrarreloj.

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     

Bienvenido Bases del concurso Material Didáctico Vuestros vídeos Inscripciones Carga de archivos

1ª Edición del Premio Kultura Ondarea. Concurso de vídeos sobre Patrimonio Cultural Vasco dirigido a centros educativos.

The Contest

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BASES DEL CONCURSO Artículo 4.– El premio.

El Premio será concedido a los integrantes de los equipos de trabajo que hayan elaborado los tres mejores videos, incluido el tutor, y consistirá en: a) El derecho a participar en una visita cultural a Irlanda de 7 días de duración que organice el Departamento de Educación, Política Lingüística y Cultura del Gobierno Vasco. Un guía local acompañará a las personas premiadas por un itinerario que permitirá visitar algunos de los lugares más emblemáticos de Irlanda y conocer manifestaciones significativas de su cultura. El viaje incluye vuelo, alojamiento, comidas, y guía, y se realizará en el mes de junio, una vez finalizado el curso escolar.

Los estudiantes premiados deberán tener la gazte txartela en vigor para poder participar en el viaje. Esta txartela contiene un seguro de cobertura de riesgos. El resto de los participantes tendrá derecho a seguro.

El tutor o tutores de los equipos ganadores ejercerán la tutoría de los menores que integren su equipo, que viajarán bajo su responsabilidad. En caso de que el tutor o tutores no puedan asistir al viaje organizado, el Centro educativo, una vez recabada la autorización correspondiente, designará una persona que acudirá en sustitución y que ejercerá esa labor. b) Un recuerdo conmemorativo para el centro educativo al que pertenece el equipo ganador.

Artículo 7.– Participación y tutoría.

7.1.– Podrán participar en el Premio «Kultura Ondarea» estudiantes de primero de Bachillerato y de primero de los Ciclos Formativos de Grado Medio del curso 2014-2015, matriculados en centros oficiales de la Comunidad Autónoma del País Vasco, que presenten dos vídeos elaborados por un equipo compuesto por un mínimo de 3 y un máximo de 6 estudiantes.

7.2.– Los y las estudiantes participantes serán representados por un tutor o tutora perteneciente al centro donde estén matriculados, que desempeñará las funciones de representación y, además, motivará, guiará y coordinará el proceso de elaboración del trabajo de los participantes, pero en ningún caso tomará parte directa en la realización del mismo.

Artículo 8.– Mecánica del concurso.

8.1.– Para poder tomar parte en el Premio cada equipo participante deberán subir dos vídeos a la web del Premio «Kultura Ondarea» (www.kulturaondarea.eu), a través de la sección «carga de archivos».

El Video 1 versará sobre un elemento del Patrimonio Cultural Vasco, preferentemente del entorno del alumnado.

En el Video 2 se recogerá todo el proceso que se ha seguido para elaborar el Vídeo 1 (making- of), haciendo especial hincapié en los objetivos perseguidos y en la metodología utilizada.

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8.2.– Los equipos participantes contaran con el apoyo técnico del Departamento de Educación, Política Lingüística y Cultura del Gobierno Vasco para la elaboración de las solicitudes y la preparación de la documentación necesaria.

8.3.– La temática del vídeo será libre, siempre que esté relacionada con el Patrimonio Cultural Vasco, material e inmaterial.

8.4.– Los vídeos deberán reunir, además, los siguientes requisitos: a) Ser una obra original e inédita. b) Haberse realizado con cualquier equipo de grabación, incluidos los teléfonos móviles. c) Tener una duración mínima de 3 minutos y máxima de 10. d) Tener una resolución que no supere los 4gb. e) Utilizar contenidos (escritos, sonoros o visuales) que estén libres de derechos o, en caso contrario, que cuenten con la autorización del autor o autora correspondiente. f) Utilizar cualquier idioma reconocido en el currículo escolar. g) Ceder los derechos de difusión y explotación de los videos presentados al Gobierno Vasco, que pondrá los mismos en el dominio público. h) Respetar los derechos fundamentales de las personas, no siendo admisibles los contenidos relacionados con la violencia, el sexismo o el racismo, entre otros.

Artículo 11.– Comisión de Valoración.

Para el análisis y evaluación de las solicitudes presentadas se constituye una Comisión de Valoración compuesta por los siguientes miembros: Presidente: D. Imanol Agote Alberro, Director de Patrimonio Cultural, o la persona en quien delegue, que ejercerá las funciones de Presidente de la Comisión.

Vocales: – D. Franciso Etxeberria Gabilondo, miembro de la Sociedad de Ciencias Aranzadi, o la persona en quien delegue.

– Dña. Begoña Garamendi Ibarra, Directora de Innovación Educativa, o la persona en quien delegue.

– D. Agustín Azkarate Garai-Olaun, Catedrático de la UPV-EHU, o la persona en quien delegue.

– Dña. Maite Iturbe Mendialdua, Directora General de EITB, o la persona en quien delegue.

– Dña. Amaia Goikoetxea Marqués, técnico de la Dirección de Patrimonio Cultural, o técnico que la sustituya, que realizará asimismo labores de secretaría.

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El Presidente de la Comisión podrá autorizar la presencia en sus sesiones, o en parte de ellas, de personas especializadas en los temas que fueren objeto de tratamiento en las mismas, que en todo caso actuarán con voz y sin voto.

La Comisión, en base a los criterios de valoración establecidos en el artículo 12 de la presente Orden, elevará la oportuna propuesta de resolución al Viceconsejero de Cultura, Juventud y Deportes.

Artículo 12.– Criterios de valoración.

12.1.– La Comisión de Valoración realizará la evaluación de las solicitudes presentadas atendiendo a los siguientes criterios: Se evaluarán los siguientes aspectos: – Proceso de documentación: la búsqueda y el seguimiento de distintas fuentes de información para documentarse sobre la temática elegida para elaborar el material presentado.

– Interacción con el entorno social: que en el proceso de investigación, recogida de información y grabación del material presentado se interactúe con personas y agentes relevantes del entorno.

– Entrevistas: la inclusión de entrevistas, su preparación, la calidad de las mismas, su justificación dentro de la temática y la relevancia de las personas entrevistadas (personas con un conocimiento y/o experiencias reseñables, sin importar su popularidad).

– Creatividad: los aspectos que aporten originalidad y frescura al proceso de elaboración del vídeo y/o al resultado final.

– Proceso participativo: la creación de un equipo de trabajo plural, en el que todos sus miembros participen equitativamente a lo largo del proceso de trabajo. Se valorará positivamente que la forma de desempeñar dicho trabajo sea colectiva, mediante el trabajo en equipo.

– Innovación en el tratamiento del Patrimonio Cultural: los nuevos enfoques y «miradas» sobre el patrimonio cultural.

– Carácter divulgativo: la claridad e interés divulgativo del material presentado.

– Calidad técnica: la calidad de imagen, sonido y edición, teniendo siempre presente que se trata de vídeos no profesionales.

– Valoración general: la impresión general que el vídeo deja en el espectador.

– Participación activa en el Premio Kultura Ondarea: la actitud participativa a lo largo del concurso, manifestada, por ejemplo, a través del intercambio de información sobre el concurso, las notificaciones sobre el avance del proyecto (envío de imágenes, pequeños vídeos sobre el making-of...) o la aportación de muevas ideas y sugerencias, para lo cual podrán utilizarse tanto las redes sociales del Premio Kultura Ondarea como el contacto directo con la organización (kulturaondarea@gmail.com).

– Puntuación adicional.

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Existirán dos criterios adicionales que podrán incrementar la puntuación obtenida por cada vídeo: a) El descubrimiento de elemento nuevo del Patrimonio Cultural Vasco. b) La votación del público: los tres vídeos más votados (aquellos que obtengan más «me gusta») a través de la página de Facebook del concurso (www.facebook.com/kultura.ondarea) obtendrán una puntuación extra, de tal manera que cuanto antes sea publicado el vídeo más posibilidades tendrá de ser votado.

12.2.– Baremación.

La baremación de los criterios anteriormente señalados se realizará en base a la puntuación que se recoge en la siguiente tabla: Criterio Proceso documentación Interacción con el entorno social Entrevistas Creatividad Proceso participativo Innovación en el tratamiento del Patrimonio Cultural Carácter divulgativo Calidad técnica Valoración general Participación activa en el proceso Kultura Ondarea Descubrimiento Nuevo Patrimonio Cultural Votación del público Puntuación máxima total

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MATERIAL DIDACTICO: Resumen y Traducción al Inglés por los alumnos

PATRIMONIO CULTURAL: 1. Conjunto de manifestaciones humanas:  Destacables  Relevantes socialmente  Materiales e inmateriales  Se transmiten de generación en generación 2.

Tipologia:  Por su naturaleza: a) Inmueble: - Artistico: iglesia, edificio civil - Funcional: caserío, borda b) Mueble: - Artístico - funcional  escultura,  grabado,  orfebrería,  joyería,  textil,  cerámica,  mobiliario,  numismática,  elementos musicales,  militares,  maquinarias c) Inmaterial: Expresión humana no tangible - Artístico - Funcional:  Música,  danza,  teatro,  lengua y literatura oral,  creencias,  ritos festivos,  juegos y deportes tradicionales,  formas de alimentación,  de sociabilidad y organización social,  conocimientos tradicionales  Por la fuente de información: a.

Patrimonio arqueológico: - restos materiales, - técnicas :  Excavaciones,  trabajo laboratorio b. Etnográfico: Observación prácticas culturales tradicionales (oficios) c.

Documental y bibliográfico

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DOCUMENTATION 1. Information sources  Documents: books, magazines, web pages, pictures  people (oral tradition) 2. Information: reliable?

Contrast Information dates quotation of authors or sources legal permission

     

3. Where to look for Patrimonio cultural vasco: Centro cultural de patrimonio Vasco Monuments Photographs Publications list Diputaciones forales http://www.bizkaia.net/departamentos cultura/patrimonio cultural Archives: town hall archives, records administration church archives  Libraries: Liburuklik  Museums:  Museo Vasco de Bilbao  Museo San Telmo de Donosti  Museo de Arqueologia  Museo del hierro vasco/ de Legazpi  Museo Etnográfico de Artziniega Sociedad de Ciencias Aranzadi Instituto labayru       

Personas de nuestro entorno (oficios, tradiciones, costumbres que se están perdiendo)

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How to make an Interview: 1. Technical training:  First step: Look for information about the Topic and the person (biography, experience) 2. Choose the person (list of names). Must be:  Expert  Accesible  Create interest (good communicators/ known in neighbourhood…)

3. Create a questionnaire:  Aim: information to get or aspects of information to achieve  Key questions:  Kind of questions: Close: avoid yes / no questions open : What do you think of…? Which conditions did they…?  Short and clear questions  Questions in order to keep coherence.  To open the interview is most difficult, so start with an easy question  Biographical introduction of the person to be interviewed or interesting facts 4. Rehearse the questionnaire 5. The interview.

1. Initial contact: break the ice with an informal conversation and make a climate of trust / warm athmosphere 2. Speak clearly: correct intonation and vocalization 3. Listen to him/her carefully 4. Look at him in the eye 5. Don’t repeat the questions 6. Improvisation: questions that come out 6. How to record the interview.  Look for a good place/setting: good light / no noise / enough room for everybody  2 cameras if possible, with the tripods: right and left angles  External microphones

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How to Make a Video: Steps to record a video: 1. We need an idea: Clarify what you want to tell in the video, what story you want to transmit 2. Who is that video for?

3. Script:  Film sequence (Theme parts)  Scenes (Place and Time changes divide the scenes)  Characters: Dialogues or stories  Scenery  Sound of every scene 4. toryboard: sort of brief comic 5. Resources:  Technical resources  Human resources (Teams and tasks)  Script  Filming  Video edition

How to edit a Video: Materials: 1.

2.

3.

4.

5.

Video recordings Images Audio Transitions Script:   

Title Subtitle Last credits

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ANEXO I FORMULARIO DE SOLICITUD PREMIO «KULTURA ONDAREA» SOLICITANTE-TUTOR REPRESENTANTE: Nombre: Juan Carlos Primer apellido: Martínez Segundo apellido: Iglesias Sexo hombre mujer DNI: Teléfono: DATOS PARA RECIBIR AVISOS: Correo electrónico: jcmarxtinez@gmail.com SMS: 688612573

SOLICITANTES - INTEGRANTES DEL EQUIPO: : Nombre: ____________________________________________________________________ Primer apellido: _______________________________________________________________ Segundo apellido: _____________________________________________________________ Sexo hombre mujer DNI: _______________________________ Teléfono: ___________________________ BOLETÍN OFICIAL DEL PAÍS VASCO N.º 241 jueves 18 de diciembre de 2014 2014/5392 (9/12) Nombre: ____________________________________________________________________ Primer apellido: _______________________________________________________________ Segundo apellido: _____________________________________________________________ Sexo hombre mujer DNI: _______________________________ Teléfono: ___________________________ Nombre: ____________________________________________________________________ Primer apellido: _______________________________________________________________ Segundo apellido: _____________________________________________________________ Sexo hombre mujer DNI: _______________________________ Teléfono: ___________________________ Nombre: ____________________________________________________________________ Primer apellido: _______________________________________________________________ Segundo apellido: _____________________________________________________________ Sexo hombre mujer DNI: _______________________________ Teléfono:

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___________________________ Nombre: ____________________________________________________________________ Primer apellido: _______________________________________________________________ Segundo apellido: _____________________________________________________________ Sexo hombre mujer DNI: _______________________________ Teléfono: ___________________________ BOLETÍN OFICIAL DEL PAÍS VASCO N.º 241 jueves 18 de diciembre de 2014 2014/5392 (10/12) CENTRO ESCOLAR EN EL QUE CURSAN LOS ESTUDIOS Nombre del centro: ____________________________________________________________ Dirección: ___________________________________________________________________ Teléfono: ___________________________ TEMÁTICA DEL TRABAJO PRESENTADO DECLARACIONES RESPONSABLES Declaro que mis representados y yo: No hemos recibido ninguna sanción, penal o administrativa que nos imposibilite obtener subvenciones o ayudas públicas por incurrir en discriminación por razón de sexo ni las sancionadas con esta prohibición en virtud de la Ley para la igualdad de mujeres y hombres, con mención expresa a las que se hayan producido por discriminación de sexo. Cumplimos con los requisitos establecidos en la normativa vigente para poder obtener estas ayudas. Los datos contenidos en esta solicitud y en los documentos que la acompañan son verdaderos. Declaro que he subido los dos vídeos a la web del Premio «Kultura Ondarea» (www.kulturaondarea.eu), a través de la sección «carga de archivos». Declaro que la titularidad de los derechos de explotación de los vídeos presentados al premio es de la Administración General de la Comunidad Autónoma y que se ha presentado solicitud de inscripción en el Registro Territorial de la Propiedad Intelectual del País Vasco en ese sentido. CONSENTIMIENTO Autorizo al órgano que gestiona esta convocatoria para que compruebe, constate o verifique en la administración competente los datos contenidos en este formulario.

Fdo.:_________________________________________ BOLETÍN OFICIAL DEL PAÍS VASCO N.º 241 jueves 18 de diciembre de 2014 2014/5392 (11/12) ANEXO II Documento por el que se otorga poder de representación al tutor del equipo para que actúe como representante de los alumnos en el procedimiento administrativo de la convocatoria. PARA ALUMNOS MENORES DE EDAD D/D.ª………………………………………..……………………….………………………………….. con DNI …….…………………………………..……………………………………………titular de la patria potestad de …………………………………………………………………………………………

OTORGO PODER DE REPRESENTACIÓN A FAVOR DE : D/D.ª…………………………………………………………………………………………………… con DNI …………………………………………………………….para que actue en nombre de mi hijo/hija/tutelado/tutelada ………………………………………………………………a todos los efectos en el procedimiento administrativo relativo a la convocatoria del premio «Kultura Ondarea».

Fdo.:_____________________________________ PARA ALUMNOS MAYORES DE EDAD D/D.ª……………………………….……………………………………………………………………….. con DNI ……………………………………………………………………………………………

OTORGO PODER DE REPRESENTACIÓN A FAVOR DE : D/D.ª………………………………………………………………………………………………………… con DNI ………….………………………….para que actúe en mi nombre a todos los efectos en el procedimiento administrativo relativo a la convocatoria del premio «Kultura Ondarea».

Fdo.:_____________________________________________

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IES JULIO CARO BAROJA BHI - GETXO - BIZKAIA Students’ Personal Information TUTOR Juan Carlos Martínez Iglesias 1. jcmarxtinez@gmail.com 2. Mobile phone 3. Home 4. DNI 5. Passport Number:

Student members Alba Sánchez Estévez 1. email address 2. Mobile phone 3. Home 4. DNI 5. Passport Number: Aitziber Pulido Fernández de Espartero 1. email address 2. Mobile phone 3. Home 4. DNI 5. Passport Number: Jone Vicente San Vicente 1. email address 2. Mobile phone 3. Home 4. DNI 5. Passport Number:

Estera Laura Mardarie (Alumna de RUMANIA) 1. email address 2. Mobile phone 3. Home 4. DNI 5. Passport Number: Iratxe Cea Remírez 1. email address 2. Mobile phone 3. Home 4. DNI 5. Passport Number: Ander Gómez Fernández 1. email address 2. Mobile phone 3. Home 4. DNI

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NO - DISPONIBILIDAD DE HORARIOS de los ALUMNOS Dado que el trabajo se hizo principalmente en horas extra-académicas, se tuvieron que tener en cuenta las horas disponibles de cada uno. Se hicieron equipos de dos o tres personas para trabajar según disponibilidad.

AITZIBER

ALBA

ANDER IRATXE

JONE

LAURA

MON

16-3018:30

Kantika 17:0019:30

16:3018:00

TUES

16:3019:30

16:3019:00

16:3018:00

17:0019:00

16-3018:30

15:3018:30

16:3018:00

16:3017:30

16:3019:30

17:3019:00

WD

14:1517:15

THURS FRI

14:1517:15

16:0019:30

SAT

No-partidos

NO libres

17:0019:00 16:0020:00

NO

5.

EASTER L-M-V a.m.

NO

Mañanas no????

MI a SA SS NO. 2ª MI-Vi NO

Libre l-M-M-J Sem Santa a.m. NO

6.

Ander, Horario escolar: Lunes: 1º(Santi),3º(Txaro- Ethics) y 5º(Mamen-Improving Reading in English) Martes: 1º(**ETICA**Txaro), 2º(Santi) y 4º (**INGLÉS**Txaro) Miércoles: Ultima hora (Mikel- Computers) Jueves: 4º (Mikel) 5º (Miren) Viernes: 3º (Txaro), 5º (TUTORÍA: Patxi) y 6º (Mikel)

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KULTURA ONDAREA: First Meeting: (Teacher’s Notes) Looking for an idea Town Hall: Education, Culture and Sports Representative. * - Relevant writers and sporstmen/sportswomen in Getxo.

-Interesting characters in Getxo: old people, tales and legends about the sea in Algorta.

- Boat rebuilding in Getxo - Short interviews to Mayor, Culture Representative… about “Basque Identity”. 

Boat rebuilding workers in Getxo. How they work.

The Project: 1.

2.

3.

4.

5.

6.

Presentation. Who we are and where we live. Write introduction today Why we take part in the project and the idea to carry out.

Presentation of the idea.

How we got to know Itxas Egurra Haizean and got to agreements.

Define what an “ euskaldun” is versus another human being Opinions on Basque identity (Principal, María Jesús, Gotzon, Joseba… Kepa Miñambres and Mayor/ Anne, Eckart/ Comenius, USA 7. Old boats rebuilding (3 minutes) 8. Last words 9. Farewell.

PREPARE THE TEXTS: 1. How we work: 1-2-3-4 2. The rebuilding: 7 3. Documentation: Old boats and boats in the past centuries (See I.E.H. + the net)

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Diary of KULTURA ONDAREA Project 11th March, 2015 – Wednesday First Meeting:

Presentation Project: Carlos MartĂ­nez, our tutor, explained the project. We felt interested in it.

Hand out materials: He gave us some materials about the project and we read them.

Later we translated them into English.

Brainstorming: Finally, in two small groups, we thought about different traditional Basque jobs and interesting Basque people from Getxo and Bizkaia.

Homework: As homework, we have to think over a project and the title of the project.

Aitziber

12th March, 2015 -Thursday Second Meeting:

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Hand out and fill in the contest application: All the members of our team filled out the application to take part in the Basque Heritage Contest (Kultura Ondarea Saria) As we have to work hard for the next weeks we have started organising ourselves.

Hand out personal free time and Easter free time: We have made a timetable to know about the free time that each of us has during the school weekdays and also comment on our plans to go out or stay here in Getxo, for the future meetings at Easter.

Presentation of ITXAS EGURRA HAIZEAN: Surfing the net, we have watched the presentation of Itxas Egurra Haizean and commented different types of results we can get if we take “traditional old boats repairing” as the leiv motive of our project.

Homework: As homework we have to: ● think about a good title for the project ● think about questions for an interview to Itxas Egurra Haizean (check facebook) ● Think of how to present our project to I.E.H. Jone

From 14th to 21st - Comenius Multilateral Meeting in Germany No meetings here.

23rd March, 2015 - Monday Third Meeting First, we have filled out our personal information to apply for the competition.

Then, we made 2 groups: ● the first group wrote a presentation for Itxas E.H. association, ● the second one has thought about some questions to ask them. ● Finally, two of us video recorded some people from our school for 30 seconds/1 minute, asking these questions: What do you think about Basque culture and Basque people?

In your opinion, what’s the essence of the Basque Identity?

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19:30 - Laura and Iratxe explained to Iñaki Gómez and Alfredo Robles our project.

They also recorded the conversation and took some pictures.

Both members of Itxas Egurra Haizean agreed to help us as much as possible

Iratxe 25th March, 2015 - Wednesday 4th Meeting First, we spoke about the meeting with Itxas Egurra Haizean. Iratxe and Laura explained to us what they had talked about.

We decided what questions to ask to Iñaki and Alfredo on the next interview.

When we finished the questions, we divided them into 3 sections (scenes).

After all that, we checked the timetable and we changed some free hours Alba

28th March - Saturday Encounter with Itxas Egurra Haizean

At 10 am we met at the underground station to go to Plentzia and meet again Iñaki and start the interview.

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30 minutes later we arrived at Plentzia and we found the “boatyard” where they work. There we started the interview. During the interview one of us recorded on video and another one took pictures of the scene. When we finished 2 parts of the interview, they decided to show us another boat that they are going to rebuild. Finally we got on a boat, we rowed for a while and we took some pictures.

Jone

7th April- Tuesday (Easter Holidays / Aste Santuko oporrak) Ander Gómez eta beste kide batzuk bideorako gidoia prestatu zuten, proiektua nola egin genuen azalduz. Argazkiak eta bideoak ikusi ditugu eta gidoia idatzi dugu.

Oraindik gauza batzuk filmatu eta ikasi behar ditugu.

Ander Gómez and other members prepared the SCRIPT for the first Video: How we have worked the project. We have reviewed the pictures and videos taken and written the script. There are some things left to record and learn.

Ander

8th April- Tuesday (Easter Holidays) Alfredo’s boatyard

Alfredok txalupak gordetzen dituen patioan bildu ginen. Kobrezko hodi batetik kobre iltzeak egiteko prozesuaren argazkiak atera genituen. 400 iltze baino gehiago behar dira txalupa bat egiteko.

Meeting at Alfredo’s “boatyard”. We take pictures of how to make copper nails from copper pipes and the gadgets they have made. They need over 400 for a boat!!!

Pictures of his boat.

Ander

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9th April- Tuesday (Easter Holidays) Bilboko Museo Maritimoa

Aitziber eta Alba Bilbora joan eta argazkiak atera zituzten Bilboko Museo Maritimoan; kanpoaldean naiz barrualdean. Ateratako argazki guztiak driven daude. Aitziber and Alba go to Bilbao’s Maritime Museum and take pictures of the Museum indoors and outdoors. See pictures in Drive.

Aitziber and Alba

13th April- Monday (After Easter Holidays) Class work: (No teacher) - 1st Project TRANSLATION into Basque: During the first part of the class, we corrected the translations we had uploaded ON HOLIDAYS in groups of 2 or 3.

- We have to record this text, so we need to rehearse aloud together.

Iratxe 15th April- Wednesday Class work + Break Video Recording and pictures from

:

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1.- Algorta’s old port, main street and square of the Old port, Woman and fisherman’s sculpture, boats on the shore, scenery from the port, pictures from the small fishing village from the sea walk. (2 people with the photo camera from School).

2.- Alfredo’s boat yard:Three people visit Alfredo’s boatyard with the video camera.

DRAW, WRITE DOWN and RECORD all the parts of the boat, how are they reconstructed (in order of reconstruction) Aitziber - Laura

16th April- Thursday Class Work: Create ideas for the project: How can we present the project Surfing the Traditional Basque Boat Rebuilding?

1.- Read How

to Make a Video: (Complete text in Drive)

1.- Steps to record a video: We need an idea: Clarify what you want to tell in the video, what story you want to transmit Traditional Basque Boat Reconstruction 2.- Who is that video for? Teenagers and adults

3.- Script: We have to write the script, a text in English for 10’ video.

In the script we have to explain the steps (how to rebuild a boat), at the time we show images or videos explaining them ● Film sequence (Theme parts: Clarify the parts of the video ● Scenes (Place and Time changes divide the scenes):

- 1 (Introduction: People’s opinions) + 3 parts (see interview) ● Characters: Dialogues or stories (1st part, presenting IEH) ● Scenery: Boat yard ● Sound of every scene (Music) 1. Storyboard: sort of brief comic

5.- Resources: ● Technical resources:

- cameras and video camera.

- software: Cyberlink, Camtasia…? ● Human resources: Teams and tasks - Script / Filming / Video edition Ander

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20th April- Monday Second Project Script We went on working on the script. We have chosen a picture and written a footnote for Facebook -Kultura Ondarea Saria (in English)

Ander

22nd April- Wednesday 1.

2.

3.

4.

-

We have rehearsed in English and Basque We have recorded a short video about our DRIVE We have brainstormed ideas for the 1st video / selected images: Again, we have to prepare pictures and a short video about our project.

We have to make a short video (about 10-20 seconds video) about ourselves, just saying who we are, why we have taken part in the project to upload it in Facebook.

- We have to prepare a couple of pictures saying how we are working (footnote). Laura

23rd April- Thursday

1. We have rehearsed the script in order to be recorded next Monday 2. Again, we have prepared a picture and a footnote for Kultura Ondarea Facebook (in Basque) Jone – Laura

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27th April- Monday We have visited Getxo Irratia. What have we done? The Video and audio recording of the script, and the Video and audio recording of the music by Iratxe Iratxe - Alba

29th April- Wednesday 1. We have prepared another picture and a footnote (rowing in Plentzia?) (in Spanish ) 2. We have divided the group to prepare VIDEO 2 ● Introduction ● Parts of the video (mapminding) ● Write every part of the planning /scenes ● Look for pictures and videos We have chosen 0289 from 2nd Meeting in Plentzia.

FOOTNOTE: ´´IES Julio Caro Baroja BHI´´: Esto os puede dar una pequeña GRAN pista de nuestra obra maestra… Ander – Iratxe

30th April- Thursday 1. We have ended the rough draft for the script 2. We have to translate the script into Basque and make new corrections Homework for Monday: check pictures and videos Ander and Laura

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4th May – Monday

1. We have finished the correction to Script Video 2 2. Decide on the languages to use: Basque for the text, English for the interview questions and Spanish or Basque according to the people interviewed.

3. Prepare the class presentation Some more pictures from Alfredo and Algorta’s Old Port Jone - Aitziber

6th May - Wednesday 1. We have rehearsed script before being recording at Getxo Irratia Station 2. We have watched our first video “Surfing our Traditional Basque Boats Rebuilding” in order to see our work and correct mistakes/ errors.

3. Some reminders: Our tutor has reminded us of some more things to have into account for the second video production We have visited IEH in the evening to see Semetxu upside down. Take new pictures and video. Last visit. Laura – Ander

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7th May - Thursday At 10:25 we have recorded the second script at Getxo Irratia Station From now onwards one of us will help Ander with the video production of the second video in the following order: Thursday-Iratxe, Friday-Aitziber and Laura, Sunday-Jone and Alba, The tutor will supervise the production. Ander

From 8th-to 12th May - (Friday to Tuesday) We have been editing the second video “Surfing our Traditional Basque Boat Rebuilding”

Ander

13th May - Thursday We have presented our project in class. Then, He have watched both videos and our classmates have made a review by giving their opinion and suggesting some things to be corrected. We have noted down their ideas.

Tomorrow we are going to another class in 1st of Bachillerato to present the project.

Next week, when we have finished exams, we are visiting all the classes in 4º ESO level (A and D Models) to encourage them to take part in Kultura Ondarea Projects next year. Iratxe and Laura

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ANEXO 3 El presente anexo es una complementación del video make-of. Tal video no describe con exactitud todo el trabajo realizado por el equipo de estudiantes, puesto que es mucho mayor que el que aparentemente puede parecer. Por eso queremos dejar constancia del trabajo real realizado. La documentación está subida principalmente al DRIVE de la cuenta GMAIL creada exprofeso y utilizada por todo el quipo (jcmarxkultura@gmail.com). Sin embargo, debido a la cantidad de documentación trabajada y acumulada, el resto se ha tenido que subir al DRIVE que el tutor usa con los alumnos del instituto y al DRIVE del alumno Director-Editor.

Se han tenido 20 reuniones de equipo de trabajo, previo al trabajo de campo realizado.

Se han realizado 18 salidas de campo: 7 a ITXAS EGURRA HAIZEAN -3 en Plentzia y 4 en Algorta-, 3 al Puerto Viejo de Algorta, otras 2 a Getxo Irratia, 2 a Bilbao (una a la Asociación Estrobo-Deusto- y otra al Museo Marítimo), 4 para las entrevistas, tanto en días escolares como vacacionales.

Se han utilizado incontables horas en la edición de los 2 videos para el concurso debido al material acumulado y su tratamiento, que no puede ser expuesto en un breve video de 10 minutos. El trabajo de creación del script, de selección de materiales visuales y condensación de información ha sido arduo y en equipo.

Son las pequeñas cosas que no siempre se pueden ver a simple vista.

Atentamente

J. Carlos Martínez Tutor

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Contenidos del DRIVE de la cuenta GMAIL del equipo de KULTURA ONDAREA SARIA del IES Julio Caro Baroja BHI para “SURFING THE TRADITIONAL BASQUE BOAT REBUILDING.”

Documentos almacenados en 20 Archivos.

1. KULTURA ONDAREA Documents: PDFs y versiones en inglés, castellano y euskera 2. Members’ Personal Information. (Inglés) 3. Disponibilidad de horarios de los alumnos implicados (Inglés) 4. Associations Information 5. Diary Entries: Diario de trabajo desde el primer día que se constituye el equipo 6. Ideas: Previas a la elección de tema de trabajo. (Inglés) 7. Itxas Egurra Haizean: Ficha técnica, presentación y propuesta (euskeracastellano), interview y meetings (inglés).

8. Pictures and Videos:  Pictures: 17 carpetas de fotos (+650)  Videos: 12 carpetas (145 videos, normalmente entre 1 min. y 3 min.)  Getxo Irratia 1: 25 videos-script + 14 videos de música + 10 audios musicales.  Getxo Irratia 2: 19 videos-script + 5 videos de música + 19 audios 9.

Make-of: 6 documentos bilingües.

10.

Video proyecto: 8 documentos trilingües.

Nota: Hay 7 fotos de la fiesta del Corpus Christi (7 de junio) sobre la botadura de una txalupa en el Puerto Viejo de Algorta que han sido cedidas por Itxas Egurra Haizea. El resto de fotos (incluidas las fotos aéreas) y videos son de los seis alumnos participantes.

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ITXAS EGURRA HAIZEAN

Meetings: 1st Meeting.

Date: 24th of March, 2015 Association: Itxas Egurra Haizean Place: Algorta (IĂąaki y Alfredo) Time. 19:30 Students: Iratxe, Laura

2nd Meeting Date 26th March Place: Deusto, Estrobo Association Time: 19:00 a.m.

Students: Ander

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3rd Meeting Date 28th March Association: Itxas Egurra Haizean Place: Plentzia (Iñaki y Jesús) Time: 10:30 a.m.

Students: Iratxe, Alba, Jone

4th Meeeting Date 31st March Association: Itxas Egurra Haizean Place: Plentzia (Jesús) Time: 10:00 a.m.

Students: Ander

5th Meeeting Date 10th April Association: Itxas Egurra Haizean Place: Algorta (Alfredo) Time: 10:00 a.m.

Students: All students

6th Meeeting Date 15th April Association: Itxas Egurra Haizean Place: Algorta (Alfredo) Time: 10:00 a.m.

Students:All students

7th Meeting.

Date: 6th of May, 2015 Association: Itxas Egurra Haizean Place: Algorta (Alfredo) Time. 17:00 Student: Ander 8th Meeting.

Date: 7th of May, 2015 Association: Itxas Egurra Haizean Place: Plentzia (Ikaki y Alfredo) Time. 20:00 Student: Ander

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NOLA HASI ZEN PROIEKTUA? Kaixo, Julio Caro Baroja institutuko sei ikasle gara, Getxotik gatoz eta Kultura Ondareari buruzko proiektua aurkeztuko dizuegu.

Proiektu hau Karlos izeneko maisuak erakutsi zigun; horretarako, gure klaseetara sartu zen, zertan zihoan azaltzeko. Horren ondoren, proiektu honetan parte hartzeko apuntatu behar ginela komentatu zigun, eta sei ikaslek, guk eta beste lauk, hori egin genuen.

Zorionez, proiektuan parte hartzen utzi eta lanean hasi ginen. Lehenik eta behin, gure kulturaren zer altxor aurkeztuko genuen pentsatzen hasi ginen, eta horren ostean, gai hori nola garatuko genuen antolatu genuen.

Antolamendua errazteko, gmail-eko konu komun bat sortu eta hainbat sekziotan banatu genuen: informazioa, egunerokoa, gure ordutegiak, ideiak, gure datu pertsonalak, etab.

Gure proiektua ``Itsas egurra haizean´´ konpainiari buruzkoa izango da.

Horretarako, haiekin topaketa bat izan dugu eta proiektua proposatu diegu, haiek baiezkoa emanez. Hori jakin ostean, galdera batzuk idazten egon gara.

Lehen azaldu dizuegun guztia 3 eta 10 min. bitarteko bideo batean sartuko dugu, konpainia honek egiten duenari buruz zuei jakinarazteko, euskal kulturarentzako keinu oso garrantzitsu baita.

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Interview to Itxas Egurra Haizean

1st Scene Meeting Itxas Egurra Haizean 1.

2.

3.

4.

5.

Who presented the idea?

How did you first meet ?

How many people are there in the association? Are there any young people?

Do you admit new members?

Apart from boat rebuilding, do you do any other thing? Do your jobs help with boat rebuilding?

6. Do you meet any other associations?

7. Do you hold special celebrations? When? What do you do?

8. Why did you decide to rebuild traditional Basque boats?

2nd Scene Introduction 9.

What sort of boats do you rebuild?

10.

How long do you take to rebuild a boat?

11.

Is it very difficult to rebuild a boat?

12.

Why do you use “old techniques”?

13.

Where do you work? Do you only work in a sort of boat yard or do you sometimes work at home?

The job 14.

15.     

Can you tell us the principal parts of a boat? (prow, stern, starboard, portside, keel…)

How do you work?

What sort of wood do you use?

What kind of machines, tools and gadgets do you need for the rebuilding? (Show them) How do you work the wood? (Explain the different methods) Is there any special Basque tool you are using these days? What is it?

Where do you buy the materials you need?

3rd Scene 16.

You may need a lot of money and time to reconstruct the boats. How do you get that money? Do you get any help from the local government?

17.

What do you do after rebuilding the boats?

18.

What do you do so that people, and especially young people, know about it?

19.

Have you ever thought of making school visits/trips to show your work to young people?

20.

Do any of them go to a Museum?

21.

Is there any special thing you want to tell young people to encourage them to learn about the Basque sea and the Basque old boats?

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The PROJECT: Scripts of both videos

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Make-of docs KULTURA ONDAREA IES Julio Caro Baroja BHI “Surfing Our Traditional Boat Rebuilding”

In order to take part in the Project and Contest on Basque Heritage, our tutor, Juan Carlos Martínez, explained the contest rules in class. Six people decided to dive into this new experience: Aitziber Pulido, Alba Sánchez, Ander Gómez, Estera Mardarie, Iratxe Cea and Jone Vicente.

The first thing to do to clear up ideas was to schedule our time and project. To do so, on our first date we created a new email address so we could contact each other and exchange ideas, diary entries, news, upload materials (images, videos, audios, etc.) and available times in and out of class.

The next step was to brainstorm ideas in two groups of three to evaluate our opportunities and ensure we did something interesting and worthwhile.

After that, we surfed the net looking for specials jobs, traditions, people in Getxo, from which we could try to carry out our project on Basque Heritage. We also went to Getxo’s Tourist Information and the Old Port looking for ideas and answers.

We found them!

In our next session we started studying the Kultura Ondarea documents and tutorials about how to work and filled in an application.

But what was our aim ? What were the reasons for the project and what were we going to do ?

As homework for this session, two of us video recorded some people from our school asking them about the Basque identity What do you think about Basque culture and people?

In your opinion, what’s the essence of the Basque Identity?

During our school exchange in Garbsen, Germany, we recorded some local people to get a foreigners view of the Basque identity.

In addition, some Americans would also give their opinions.

We needed a title and decided on this: Surfing the Traditional Basque Boat Rebuilding

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Initially, we knew about an association, Itxas Egurra Haizean, who were involved in rebuilding Basque small boats (txalupak/botes). They were located in Algorta and had started their activity a few years ago.

One team of three prepared the presentation of our project to I.E.H. while the other prepared some questions to ask them. They agreed to meet us on the 23 of March at 07:30 p.m. Iratxe and Estera lead the meeting. Iñaki Gómez and Alfredo Robles from IEH agreed to help us on the basis that they were interested in sharing their knowledge and experience with young people. We felt our project was truly on. rd

To know more about IEH and the boat world we surfed their website, where we got a lot of information about the way they work, we accepted their invitation to meet other Basque boat lovers (Association Estrobo) and we decided to visit Bilbo’s Maritime Museum and the Mamarica Museum.

On March the 26 we visited the boat association ESTROBO. They showed us their flagboat, Estrobo, the boat they were restoring, some other boats and the way they worked. There we first learnt some words such as plantilla, table de regala, vagra, carel, canton, curvatones, busarvos, cuaderna, costillas,….. It was very exciting and interesting. th

On the 28 of March, Saturday, at 10:00 am (Easter holidays) we visited the shipyard where IEH work in winter. th

In summer, they prefer working in the open air at Algorta’s Old Port, where anyone who is interested, can ask questions and find out more about their work.

There we started to interview Iñaki Gómez, vice-president and former president of the association. One of us recorded the interview with our video camera while another took pictures of the scene. The third member was the interviewer.

At the moment they are reconstructing the “Semetxo”, so all the information about how to reconstruct a traditional Basque boat came from the “Semetxo”.

When we finished 2 parts of the interview they decided to show us another boat that they were reconstructing in Mariaje’s house, another member of the association.

Our recording consisted of two parts.

In the first part, we asked them questions about their association, how they started, number of members, dates of meeting, etc.

In the second part, we were more interested in the way they worked: how they got the boats, in what conditions the boats were delivered, their methods to reconstruct them, the type of materials, especially wood, they used, their techniques, the difference between their way of working and modern ways of doing it, new materials, etc.

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Four hours were not enough to understand everything. So we finished our first experience with a short voyage on Plentzia’s Estuary. It was a very enjoyable experience.

On the 31st of March, Tuesday, we had another meeting at the shipyard. On this occasion it was Jesús …. who showed us some pictures to explain how to reconstruct a Basque boat. He also showed us some of the records, mainly pictures, taken from the boats they had already reconstructed. There and then, we reinforced boat terms that were not familiar to us yet.

We were on Easter holidays. We had started our first meeting only 19 days earlier, but we felt we were well on our way After the holiday, we were fully aware of what was still needed to be done.

The first week after the holiday, we took pictures and video recorded the sea, the boats in the old port and Algorta’s fishing neighbourhood.

At the same time we made a new appointment with IEH to record the third part of the interview, the parts of the project that were still missing and get some more information about their association and the traditional Basque boat reconstruction.

Finally, Getxo Irratia, supported our work by letting us audio record this text / script for the project.

We had done everything . We knew that there were some steps that couldn’t be recorded as any reconstruction takes over a year and we only had two months to present our work. That meant that important parts of the process couldn’t be seen by us and that the celebrations for the new boating on Corpus Christi’s Day (old port street parade, getting to sea, boating of the new boat, row or sail from the port into the Ria, the Corpus Christi lunch, etc.) couldn’t be either recorded or enjoyed.

However, they offered us all the information and video recordings we could need with the copyright.

The initial work is done. Now, last but not least, we have to concentrate on making our experience the basis for a 10 minutes video recording.

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IES Julio Caro Baroja BHI ``Surfing Our Traditional Boat Rebuilding�

(EUSKERAZ)

Proiektua eta euskal ondare lehiaketan parte hartzeko helburuarekin, gure tutoreak, Juan Carlos Martinezek, azaldu zizkigun klasean lehiaketaren arauak. Sei pertsonak erabaki genuen esperientzia berri honetan parte hartzea: Aitziber Pulido, Alba SĂĄnchez, Ander GĂłmez, Estera Mardarie, Iratxe Cea eta Jone Vicente.

Egin behar zen lehenengo gauza ideiak argitzea zen gure denbora eta proiektua antolatzeko. Hori egiteko, lehenengo egunean email berria sortu genuen non guztiok batera lan egin genezakeen, eta aldi berean idatzi ahal izan genituen gure ideak, eguneroko sarrerak, berriak, materiala igo (argazkiak, bideoak, audioak,etb) eta gure denbora librea, klaseko orduetan edo klasetik kanpoko orduetan.

Hurrengo urratsa zera izan zen, bi talde egitea hiru taldekiderekin bakoitza eta ideak eman, zerbait baliotsu eta interesgarria egitearen posibilitatea erabakitzeko. Ondoren, interneten bilatu genituen Getxoko lan bereziak, tradizioak, jendea kultura ondarea proiektuan sartzeko asmoz.

Getxoko informazio bulegora eta portu zaharrera joan ginen informazio bila.

Eta lortu genuen!

Ondorengo egunean egin genuen bileran Kultura Ondareko dokumentuak eta lana nola egiteko tutorialak ikasten hasi ginen. Baina zein da proiektu honekin lortu nahi dugun helburua? Zein ziren proiektua aurrera eramateko eta hura gauzatzeko arrazoiak?

Egun honetako etxerako lan bezala, gure taldeko bik gure institutuko hainbat pertsona grabatu zituzten, galdera honi erantzuten: zein da euskal identitatea?

Zer deritzozu euskal kultura eta pertsonei buruz?

Zure iritziz, zein da euskal kulturaren identitatea?

Hainbat pertsona grabatuko ditugu galdera hauei erantzuten Alemanian, gure institutuko ikasle-truke batez baliatuz. Ikasleak (Garbsen, Alemania) euskal identitatearen ideiak emango dituzte, atzerritarren ikuspegitik. Amerikar batzuek ere erantzungo dituzte galdera hauek.

Izenburu bat behar genuen eta hauxe asmatu genuen: Surfing the Traditional Basque Boat Reconstruction Lehenengo atsedenaldi honetan erakunde bat aztertu genuen, Itxas Egurra Haizean; haiek interesatuta daude euskal itsasontziak berreraikitzen (txalupak). Algortan daude ezarrita, eta hau duela hainbat urte hasi zuten.

Hiru pertsonez osatutako talde batek I.E.H.-ri gure proiektua azaltzeko aurkespenaprestatu zuten, besteek haiei egiteko galdera batzuk prestatzen zituzten

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bitartean. I.E.H-k martxoak 23an arratsaldeko 07:30tan gurekin elkartzeko proposatu ziguten, Iratxek eta Esterak bideratu zuten bilera. Iñaki Arriluzek eta Alfredo Gómezek I.E.H-tik gure proiektuaren oinarrian laguntzea onartu zuten, interesatuta zeuden beraien adimena gazteekin partekatzeko. Proiektua benetan aurrera zihoala sentitu genuen.

I.E.H-ri eta txalupei buruz gehiago jakiteko, beren webgunea bisitatu genuen, bertan nola lan egiten dutenariburuzko informazio asko lortu genuen, Estrobo-elkartea ezagutzeko gonbidapena onartu genuen eta Mamarica museoa eta Bilboko Itsaso museoa bisitatzea erabaki genituen.

Martxoak 26an Estrobo-elkartea bisitatu genuen. Berrizten zeudeten txalupa erakutsi ziguten, Estrobo izenekoa, beste txalupa batzuk eta nola egiten duten lan ere erakutsi ziguten. Bertan hitz batzuk ikasi genuen “cuaderna, costillas…”. Oso interesgarria izan zen.

Martxoak 28an, larunbata, goizeko 10etan (Aste Santuko oporretan) neguan I.E.H-k lan egiten duten ontziola bisitatu genuen, udan Algortako portu zaharrean lan egitea nahiago dute, atari zabalean, holan, auzotar guztiek lanean ikusi dezakete, interesatu beren lanean, galdetu, etab.

Aste santuko oporretan geunden. Duela 19 egun egin genuen gure lehen bilera, eta bide onetik gindoazela sentitu genuen.

Oporretatik etortzeak ikasitako gauza txikiez ohartzeko aukera eman zigun eta proiektua grabatzeari ekin genion.

Oporren ondorengo lehen astean itsasoari, itsasontziei, portu zaharrari eta arrantzale auzoari buruzko argazkiak eta bideoak egin genituen.

Horrekin batera, elkarrizketaren 3. zatia betetzeko IEH-ri buruzko aipamen bat egin genuen, eta bertan faltatzen zitzaizkigun proiektuaren zatiak bukatu eta itsasontzien berreraikuntzaren elkarteari buruzko informazio gehiago bilatu genuen.

Dena egina genuen. Bagenekien bazeudela hainbat eszena ezin izango zirenak bideoan isladatu, horrelako itsasontzi bat berreraikitzeko urte bat gutxi gora behera behar delako, eta guk soilik bi hilabete genituelako. Horrek esan nahi zuen eraikuntzaren hainbat zati garrantzitsu ezin izango genituela ikusi, eta Corpus Christi ren jaialdia ezin izango genuela filmatu ( portu zaharreko kalejira, itsasoratzea, bazkaria…).

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KULTURA ONDAREA Logo Getxo Pictures Town Hall/Underground square/Mª Cristina/Sunset /Windmill/ Cliffs/ Red Cross Light house.

IES Julio Caro Baroja BHI Logo - Pictures “ Surfing Our Traditional Boat Rebuilding” Picture Sea* + “SEMETXO”/Boats in Algorta’s Old Port In order to take part in the Project and Contest on Basque Heritage, our tutor, Juan Carlos Martínez, explained the contest rules in class (teacher in class-1-8259-8263-8264-8343). Six people 8262? decided to dive into this new experience: Aitziber Pulido, Alba Sánchez , Ander Gómez, Estera Marderie, Iratxe Cea and Jone Vicente.

The first thing to do in order to clear up ideas was to schedule our time and project. To do so, on our first date we created a new email address 8252-8254 where all of us could be connected to each other and at the same time could write down ideas, diary entries 8371, news, upload materials 8367-8369 (images, videos, audios, etc.) and available times in and out of class. XXXXX (Picture of DRIVE) The next step was to brainstorm ideas in two groups of three 8270-8267-8265 so that we could sort out our possibilities to do something interesting and valuable. After that, we surfed the net 8336-8339-8360 looking for specials jobs, traditions, people in Getxo, from which we could try to carry out our project on Basque Heritage. We also went to Getxo’s Tourist Informationx xxx and the Old Port xxx looking for ideas and answers.

And we got it! XXXXXX 988O In our next session we started studying the Kultura Ondarea documents and tutorials 82588261 about how to work with the project and fill in the application 8346-8350-8355-8361.

But, what aim were we willing to reach? What was the project to carry out and the reasons for that project?

As homework for this session, two of us video recorded some people from our school asking them about the Basque identity 9803-9806-9810-9812 In your opinion, what’s the essence of the Basque Identity?

Some more people would be recorded in Germany 1247-1248 during our school student exchange in Garbsen, Germany, to get visions of the Basque Identity from foreigners. Finally, some Americans would answer the questions. xxxxx We needed a title for the project and we imagined this: Surfing the Traditional Basque Boat Rebuilding 0234-0238

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During this first period of time we knew about an association, Itxas Egurra Haizean, LOGO which were most interested in rebuilding Basque small boats (txalupak/botes). They were settled in Algorta and had started their activity with old boats from Algorta a few years ago.

A team of three prepared the presentation of our project to I.E.H. 8268 while the other 8266 prepared some questions to them. 9879-9875-9869 They agreed to meet us on the 23 of March at 07:30 p.m. VIDEO Estera Presenta Iratxe and Estera led the meeting. Iñaki Gómez and Alfredo Ortiz from IEH agreed to help us on the basis VIDEO Trato hecho Final that they were most interested in sharing their knowledge and experience with young people. We felt our project was truly on.9880 VIDEO Trato hecho. rd

To know more about IEH and the boat world we surfed their website,Pantallazo where we got a lot of information about the way they work, we accepted their invitation to meet another Basque boat association called ESTROBO 9989. Finally, we decided to visit Bilbo’s Maritime Museum to take pictures and information about traditional Basque boating. We also met Mamariga’s Sea Museum’s representatives with IEH. 0256 On March the 26 we visited the boat association ESTROBO. They showed us their flagboat, Estrobo 0020, the boat they were restoring 0014, some other boats 0004-0017-0025-0026 and the way they worked.0047-0048 There we first learnt some words such as plantilla, tabla de regala,, vagra, carel, cintón, curvatones, busarvos, cuaderna, costillas,….. 0016-0031-0032 It was most exciting and interesting.

On the 28 of March, 0087 Saturday, at 10:00 am (Easter holidays) we visited the boat yard where IEH work in winter, as in summer time they prefer working in the open air in Algorta’s Old Port xxx, where every neighbour can see them xxx, get interested in their job, ask them questions, etc.xxx There we started the interview VIDEO 1 to Iñaki Gómez 0089 vice-president and former president of the association. One of us recorded the interview 0115-0116 with our video camera while another took pictures of the scene. The third member was the interviewer.

0113-0121-0122-0123-0125 At the moment they are rebuilding the “Semetxu”,0130 so VIDEO SEMETXU all our first information about how to rebuild a traditional Basque boat came from the “Semetxo”.

When we finished two parts of the interview 0195-0197-0198 they decided to show us another boat that they were rebuilding in Mariaje’s house, 0238 another member of the association.

0230 So, our first recording consisted of two parts.

In the first part, VIDEO 2 we asked them questions about their association, how they started, number of members, dates of meeting, etc. 0094-0097-0099 In the second part,VIDEO 16 we were more interested in the way they worked: 0132- 01440154-0167-070 how they got the boats, in what conditions the boats were delivered, their methods to rebuild them,VIDEO 20 the type of materials they used, especially wood,01880190, their techniques, the differences between their way of working and modern ways of doing it, new materials, etc.

Four hours were not enough to understand everything.0199- So we finished our first experience 0283 with a short voyage on Plentzia’s Estuary 0278-0289 to enjoy the end of our first recording day.0291 - VIDEO Itxas 31-03 th

th

On the 31st of March, Tuesday, we had another meeting at the boat yard. 476 On this occasion it was Jesús Serrano who showed us some pictures 451 to explain how to rebuild a Basque boat. He also showed us some of the records, mainly pictures, taken from the boats they had already rebuilt . 473-470-472There and then, we reinforced boat terms that were not familiar to us yet.VIDEO Jesús

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We were on Easter holidays. We had started our first meeting only 19 days before and we felt that we were on the good way. New Video Recording Getxo Irratia Coming back from holidays made us aware of the things left to learn and record to start the video project. New Video Recording Gx I. 534 The first week after holidays 539 we took pictures and video recorded 558 + Portu Zah.the boats in the old port and Algorta’s fishing neighbourhood. 541 + New Video Recording Gx I. At the same time we made a new appointment with IEH 9875-9877-9879to record the third part of the interview, the parts of the project that were still missing and get some more information about their association and the traditional Basque boat rebuilding. New Video Recording Finally, Getxo Irratia supported our work by letting us audio record this text for the project. G.I 2395 New Video Recording We had everything done. 8251 We knew that there were some steps that couldn’t be recorded 99-102-104 as any rebuilding takes over a year 481 and we only had two months to present our work. 0111- 0119-Portu Gx I. That meant that important parts of the process couldn’t be seen by us and that the celebrations for the new boating on Corpus Christi’s Day (old port street parade, getting to sea, boating of Pictures from IEH the new boat, rowing or sailing from the port into the Ría, Corpus Christi lunch, etc.) couldn’t be either recorded or enjoyed. Gx I. However, they offered us all the information and video recordings we could need with the copyright.

Gx I. The previous work is done. Now, last but not least, we have to concentrate on giving our experience a solid basis for a 10 minutes video recording.

1. First Meeting Pictures in Red (E) 2. Second Meeting Pictures in Blue (E) 3. Third Meeting Pictures in Brown (E) 4. Itxas-1 Wine colour (E) 5. Estrobo- Olive Green (E) 6. Itxas shipyard – Light Blue Pictures (E) 7. Itxas shipyard – Light Blue- Videos (E) 8. Itxas Plentzia 2 at home (G) 9. No Pictures, pictures in Green 10. Pictures and Video Recording for last text after Easter Students’ Vido recording Falta Música de fondo

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Boat Rebuilding Contest Video SCRIPT Kultura Ondarea Saria (Logo) IES Julio Caro Baroja BHI (logo) JONE: Herrialdea, itsasoa, gure izateko era. Gure identitatea…

Baina, nor gara gu? Zerk eginarazten digu gu geu izatea?

IRATXE. “ Surfing Our Traditional Boat Rebuilding” ``Gure itsasontzi tradizionalen berreraikuntzaren ikerketa´´ JONE: Euskal Herria ez da itsasorik gabe ulertzen, ezta mendirik gabe ere. Duela hainbat mende, euskaldunok baleak arrantzatzen genituen Islandiako edo Terranovako itsaso hotzetan zehar nabigatuz. Bizitza erdia itsasoan eman dugu.

Getxotarrak gara. Itsasoaren ondoan bizi gara, eta honek biztanleengan garrantzi handia izan du. Horri buruz hitz egiteko, itsasoa eta itsasontziak maite dituen elkarte bat aurkitu dugu; Itxas egurra haizean elkartea. XX. mendearen erdialdean, Algortan, biztanleek oraindik euren txalupa propioak sortu, eta itsasorantz abiatzen ziren. Askorentzako, fabrikan edo ortuan lan egin ondoren, etxera eramatea lortzen zuten soldata gehigarria zen.

AITZIBER: Baina hau galduta dago, eta txalupak ia desagertuta. Haiek erakutsiko digute nola eraikitzen zituzten eta nola konpontzen diren txalupak, betidanik egin den moduan, eredu tradizionala erabiliz, bideak eta tresnak erabiliz, apurtutako txalupa guztiz errespetatuz.

LAURA:

AITZIBER:

Who presented the idea?

How many people are there in the association?

Why did you decide to rebuild old traditional Basque boats?

Haiek ontzi txikiak berreraikitzen dituzte, hala nola txalupak eta batelak.

IRATXE:

How long do they take to rebuild a boat?

Where do they work?

What do they first do when they get a boat to rebuild or somebody asks for their free unconditional help to fix it?

LAURA: Examinarlo y hacer un listado de necesidades: maderas, tablas, pinturas, pegamentos, remaches, arandelas). Esta lista se hace a partir de las piezas importantes en el bote: quilla, cuadernas, roda y codaste.  A continuación viene el proceso de saneamiento:  Quitan la pintura con rasquetas que ellos mismos hacen  Renuevan las partes dañadas. 

Utilizando herramientas y medios tradicionales: hornos de vapor, cepilladoras, taladros, troqueles para hacer clavos y arandelas, botadores, martillos, y sierras, azuelas cortas, azuelas curvas, rascadores, etc

ALBA: Zerrenda eta tresnak ditugu. Iñaki beste gauza batzuen artean ebanista da, eta horrek asko lagunduko digu prozesu honetan. Orain ezinbestekoa den material bat behar dugu: egurra. Zein motatako egurra da gehien erabiltzen dena?

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Has gaitezen ba berreraikuntza egiten, gauza orokorretatik hasita, xehetasunetaraino.

Horretarako, IEHk Plentzian daukan ontziola bisitatu dugu eta hor “SEMETXO” ontzia ezagutu genuen.

LAURA:

ALBA:

What is the process to rebuild a boat?

How do you work with the ribs / calibration/ rods?

Jesús Álvarezek azaltzen digu hemen, nola kokatzen dituzten barilak

How do you keep and respect the shape of the boat?

What’s a stringer?

JONE:

Jada botearen egitura dugu. Orain edukiarekin jarraituko dugu.

Zerbait jarri behar izango dugu arraunean egin ahal izateko, baina, nola kokatzen dira eserlekuak (tostak)?

Nola neurtzen da distantzia eta zergatik distantzia hori?

(Iñakik kontatzen digu) 

Bai tosta bai boteko beste atal batzuk indartzeko “curbatones”-ak erabiliko ditugu

LAURA:

What sort of boat sails did they use in El Abra? Why?

IRATXE: Behin konponduta egotean, azkenengo margotze lanak egin eta bere “egile marka” jartzen diote boteari. Zer marka jartzen diote?

Bote bat itsasontzi erreza dela irudi daiteke. Baina, gure atentzioa deitzen dituen hainbat marinel hitz pilatzen ditu.

Baina gogora dezagun azkar nolakoa izan den prozesu hau (Euskeraz bideoa 1‘30‘‘) LAURA Lan neketsu guzti honek urtebete edo gehiago irauten du. Baina Plentziako, Barrikako, Maruriko, Portugaleteko, Santurtziko, Zeberioko beste elkarteekin bere afizioa ospatzen dute eta Europako (Irlanda, Frantzia, Eskozia, Holanda etab.) elkarteekin euren esperientziak eta adimenak trukatzen dituzte.

LAURA:

What’s the future for these traditional old boats?

What’s the most important event after the rebuilding?

IRATXE: Korpus Kristiko festa aprobetxatzen dute uretaratzea egiteko.

"Konturatuko zinetenez, itsasontzi txikiak berreraikitzea ez da soilik aisialdia betetzeko modu polita; jakituria, ohiturak eta gure izaeraren parte bat transmititzen dituen taldea sortzeko modua ere bada. Eta azkenik, gazteentzat, itsasoa deskubritzeko bidea da, gure itsasoa eta... adiskide berriak."

Welcome to our seaworld!

Final Gracias: Video 9 (5-19) -Video 8 (57-59)

Despedida con IEH  Beharrizanen zerrenda   

Mantenua edo berreraikuntza egiteko itsasontziaren behaketa

Lanerako tresnak eta baliabide tradizionalak Egur motak bote bat eraikitzeko edo berreraikitzeko

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Video 1 - Script for video Kultura Ondarea Saria (Logo) IES Julio Caro Baroja BHI (logo) 653 Un país, 0495 un mar, una forma de ser. Nuestra identidad+/ Video Kantauri (05-20) Pero, ¿cómo somos?, ¿qué nos hace ser nosotros mismos?

Gtxo irratia 1. J.A. Beobide, IES Julio Caro Baroja BHI’ko zuzendaria (0616) 2. Joseba X, Getxo I ’ko irakasle (15-20)- (0103) 3. María Jesús Domínguez, Getxo I ‘ko MET’ko arduraduna (4043) - (50-51) 4. Gotzon X , Getxo I’ko irakaslea (02-08) 5. 5. Anne Wiegard, Alemania’ko irakaslea (0920) 6. Eckart…., Alemania’ko irakaslea (10-19) 7. Virginia Lima, Estatu Batuetako irakaslea (05-14) 8. Kepa Miñambres - Getxoko Udaletxearen zinegotzia (561’07) 9. Imanol Landa - Getxoko alkatea (30-47)

“ Surfing Our Traditional Boat Rebuilding” V-2-663-1537-1541 Euskadi no se entiende sin el mar, 8433 como no se entiende sin la montaña 4845 Ya desde siglos inmemoriales, los vascos hemos cazado la ballena como navegado por las inhóspitas costas de Islandia o las gélidas aguas de Terranova. Media vida la hemos pasado en la mar,0075-0079- Museo-00190049-0071 5011 (Ayto) Vivimos en Getxo. 534 Portu 0033-0035. Somos getxotarras.6631541-2412 Video Kantauriko Vivimos al lado del mar y el mar ha sido una parte importante de la vida de sus habitantes. Gtxo Para hablar de ello hemos descubierto a unos enamorados del mar y por tanto de los barcos: La Asociación Itxas Egurra Haizean. A mediados del siglo XX, en Algorta, todavía sus habitantes construían sus propias txalupas y salían a la mar. 24242428-2415 Para muchos era un sueldo extra que entraba en casa después del trabajo en la huerta, o en la fábrica. Pero éso está perdido y las txalupas, prácticamente han desaparecido. Estrobo-11-47+ 235-162-483 Ellos van a enseñarnos cómo se construían y cómo se arreglan las txalupas, los botes, tal como se ha hecho aquí toda la vida, Last-Vid 24-26+30-33 de forma tradicional creando medios y herramientas cuando llega el caso, respetando el bote herido.

Q.1. ¿Quién presentó la idea? Gx I. Video 1- (02-24)  Fotos de Algorta, puerto viejo, barcos rotos.PZah 0118 -Ander-0548 Q.2- ¿Cuántos miembros hay en la asociación? Gx I. Video 5 (0-5+11-18)

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Q, Por qué decidieron recuperar los botes de forma tradicional? Gx I. Video8 (30-103)+ Vid. Alf Fut 04-16 + 24-32 Reconstruyen pequeñas embarcaciones como txalopas/botes y beteles.

Cuánto tiempo les lleva? Gx I. Video 12 (0-17) Dónde trabajan Gx I. Video13- (7-21) ¿Qué es lo primero que hacen cuando adquieren un bote dañado o alguien les pide ayuda, gratuita e incondicional, par arreglarlo? 0470-PZah  Examinarlo y hacer un listado de necesidades: PPT-1 LISTADO maderas, tablas, pinturas, pegamentos, remaches, arandelas). Esta lista se hace a partir de las piezas importantes en el bote: quilla, cuadernas, roda y codaste. Gx I. Video 4 (06-08+ 01-02)  A continuación viene el proceso de saneamiento: PPT-2  Quitan la pintura con rasquetas que ellos mismos hacen  Renuevan y recolocan las partes dañadas.  Utilizando herramientas y medios tradicionales PPT-3 Herramientas hornos de vapor, cepilladoras, taladros, troqueles para hacer clavos y arandelas, botadores, martillos, y sierras, azuelas cortas, azuelas curvas, rascadores, etc.

Ya tenemos un listado y las herramientas. Iñaki entre otras cosas es ebanista, lo cual ayudará mucho en este proceso. En estos momentos necesitamos un material imprescindible: la madera. ¿Qué tipo de maderas son las que más utilizan?

PPT-MADERA. Comencemos pues la reconstrucción, de lo más general a lo más particular.

Para ello hemos visitado a IEH en Plentzia 0162 y en su “astillero” particular descubrimos el “SEMETXO” 0131. 

¿Cómo se reconstruye un bote? Gx I. Video 16 (6-20)+ (30-33)+ (431.06) (1.30-2.18) ( ESTROBO- 0046-0047)



Q. Es difícil colocar las varillas? Gx I. Video 18 (18-33)ó 21-34+551.01+1.30-1.44) Aquí, Jesús Álvarez nos explica cómo colocan las varillas.Video-1.Nola Hasi-

  

Pero, ¿Cómo se mantiene y se respeta la forma del bote? ¿Qué son la Vagra y el carel? Gx I. Video 23: 02-16 + 38-57



Ya tenemos la estructura del bote. Ahora vamos a seguir llenándolo de contenido. ¡Tendremos que poner algo para poder remar! Pero:¿Cómo se colocan los bancos? ¿Cómo se mide la distancia y por qué de esa distancia? Nos lo vuelve a contar Iñaki. Video 24 (00-1.14)



Para reforzar tanto la bancada como otras partes del bote usaremos los curbatones Video 25: 0-49+1-01-1.08+1.35-1.55

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

¿Qué velas se usaban en El Abra con estas pequeñas embarcaciones y por qué? ¿cómo eran? Video 27 (0-21)-/ 10-37?

Una vez arreglado se dan los últimos toques de pintura y ponen su “marca de cosntructores” Qué marcan ponen? Video 14 (17-21 + 37-51)ó Alf Last Vid. 19-39 Gx I. Puede parecer que un bote es una embarcación muy sencilla. Sin embargo, acumula una enorme cantidad de preciosas palabras marineras que atraen nuestra atención. (foto) Pero recordemos rápidamente cómo ha sido este proceso: Last VIDEO Alf.1859 +1.08-1.20 Todo este arduo proceso dura un año o más. Pero también celebran su afición con otras asociaciones de Plentzia, Barrika, Maruri, Portugalete, Santurtzi, Zeberio e intercambian experiencias y conocimientos con otras asociaciones de Europa (Irlanda, Francia, Escocia, Holanda…) Alf Fut inc-06-16 +40-46+(or 36-49) P.Z Vida 44-51  Tiene futuro con la juventud? Gx I. Video 6- (0-17)  Una vez reconstuido, cuál es el evento más importante:Gx I. Video 7 (0-18)+ IEH Facebook Aprovechamos la fiesta del Corpus Christi para hacer la botadura.(IEH, Youtube /Foto) Final Gracias: Video 9 (5-19) -Video 8 (57-59) Gx I. "Como habrán observado, reconstruir estas pequeñas embarcaciones no es sólo una bonita forma de ocupar el ocio; también de crear un equipo que transmite conocimientos, tradiciones y parte de nuestra esencia. Y por último, para la gente joven, es una nueva forma de descubrir el mar, nuestro mar y... nuevos amigos." Last Pc Final Gracias: Gx I. Video 9 (5-19) -Video 8 (50-59/ 103) IEH 1st Meeting IEH 2ndMeeting IEH 3rd Meeting Estrobo Alfredo 1 Alfredo 2 Ander PZah Últ Video

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The Prize El Acto de entrega del Premio Kultura Ondarea se celebró el viernes 19 de Junio, a las 12h30´ en el Instituto Unamuno de Bilbao. Se entregó a cada alumno ganador un Diploma así como a los centros participantes.

Asistieron los representantes del Area de Cultura del Gobierno Vasco, quienes explicaron el proceso de Kultura Onarea Saria y entregaron los diplomas a todos los ganadores del Certamen: IES Julio Caro Baroja BHI, de Getxo –Bizkaia-, Laudio Ikastola (Laudio) y Axular Lizeoa (Donostia).

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The Lectures

J. Carlos Martínez Good afternoon, Ladies and Gentlemen It is a pleasure and an honour to be here, especially as we have something in common to celebrate.

When we were invited to take part in Kultura Ondarea Saria, it took less than 24 hours to decide. Six wonderful students from different courses immediately offered to carry out the project making the decision easy.

Julio Caro Baroja High School has traditionally enhanced modern languages (yesterday we celebrated our Forth Multilingual Encounters) and worked on CLIL projects. However, our Kultura Ondarea Saria Project has been the most ambitious and challenging student project at school for two reasons :1. Time required 2. The overall size of the project So, our first step was to ensure we had good and easy communication by using mobile phones, whatsapps and the internet in order to share our efforts and progress. We adopted a positive “Can do” attitude.

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Kultura Ondarea Saria has given us three things: Firstly, An insight into a brand new world - the world of rebuilding old traditional Basque boats. Once we found the topic, we were very lucky to meet Iñaki, Alfredo and Jesús from Itxas Egurra Haizean, an association that rebuilds old Basque boats in the traditional way. They showed us their small boatyards, shared their knowledge of boats and even took us for a small boat ride.

Secondly, Kultura Ondarea Saria has provided us with the chance to develop team work, different from the norm, by observing and sharing new skills and experiences in the real world.

Finally, last but not least, this contest has taught us how to face new and difficult challenges impossible to carry out in the classroom.

When we saw on Facebook that everyday more and more participants were entering the competition, we realized just how difficult it would be to impress the panel of judges, let alone win a prize. Therefore, we focused on the task, to at least achieve the satisfaction of knowing we had done our best.

When it was announced that “Surfing our Traditional Basque boat Rebuilding” had won one of the prizes, we were so happy, full of pride, and our satisfaction complete.

To finish, I’d like to give our deepest thanks to the Basque Department of Education and Culture for promoting this type of contest, motivating students and teachers to work together creating projects on Basque Heritage making us more aware of our rich and sometimes unknown traditions.

Thank you very much.

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HITZALDIA (Iratxe Cea)

Kultura ondareak antolatu duen lehiaketaren esperientzia bikaina izan dela uste dut. Hasiera batean, gure tutoreak proiektu hau planteatu zigun, eta nahiko ezohikoa iruditu zitzaidan, eta kuriositateak jota, parte hartu nuen. Baina, benetan, denbora pasa ahala, gure kulturak izan ditzakeen berezitasunak itzelezkoak direla ohartu nintzen, eta horrek euskaldun izatearen nire harrotasuna gehiago piztu du.

Lehiaketa honetan itsasontzi zaharren berreraikuntzari buruz hitz egin izan nahi dugu. Gure herrian, Getxon, arrantzan eta bestelako ekintzetan tradizio handia zegoen , baina, urteak pasa ahala, ohitura batzuk galdu egin dira, eta lehen hain ezaguna zen tradizioa dezente galdu da. Orduan, gure helburu nagusia inguruan daukagun jendeari, behintzat, aintzinean zeuden lanak ezagutzeko grina piztea izan da, eta antza denez, lortu dugu. Beraz, bidai hau ohore bat da guretzat, eta ahalik eta gehien disfrutatzen saiatuko gara!

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Discurso (Estera Laura Mardarie)

¡Buenos días!

Mi nombre es Estera Mardarie y pertenezco al grupo ganador del instituto JCB dirigido por Carlos M. Creo que hablo en nombre de todos mis compañeros/as al decir que estoy tremendamente agradecida a Kultura Ondarea por la oportunidad que nos ha brindado. Es verdad que trabajamos con mucha ilusión y dedicación para llevar a cabo este proyecto, con el que finalmente nos encariñamos; y aunque, como todos los aquí presentes, teníamos la esperanza de ganar, el resultado nos sorprendió muchísimo. .

Al iniciar esta "investigación" nuestra principal meta era ganar pero al adentrarnos más nuestro interés empezó a crecer.

Por otra parte, me gustaría destacar la dedicación y pasión con la que los miembros de IEH (asociación que nos ha sido de gran ayuda para nuestro proyecto y en quien hemos basado el mismo) trabajan para mantener viva esta tradición de restauración de barcos antiguos, que personalmente la considero más bien un legado.

Sentimos gran admiración y respeto hacia estas personas que dedican su tiempo y energía para que esta parte del patrimonio cultural vasco, pequeña pero aún así importante, no se pierda. Por eso mismo queríamos concienciar a las personas sobre la importancia que se le debiera dar a la transmisión de valores culturales.

Muchas gracias.

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LETTERS before the TRIP TO IRELAND Kultura Ondarea Saria a-goikoetxea@euskadi.eus

4 jun.

Eguerdion Guztioi, Hasi baino lehen, Zorionak!

Datorren egunetan bidaliko dizuet Bidaiaren Plana.

Segurazki, Paddy, gure Irlandako Gida harremanetan jarriko da zuekin, alde batetik agurtzeko eta beste aldetik bere bidaiaren asmoa azaltzeko.

Paddy oso aditu eta fundamentozkoa, izugarrizko ohorea da berarekin Ierlanda esagutzea.

Laster arte eta besarkada bat Amaia Goikoetxea Marques Eusko Jaurlaritza Kultura Ondare Zuzendaritza 685-734298/945-019519 http://www.euskadi.net/riojaalavesa http://www.euskadi.net/arabaerrioxa

Arratsaldeon Jon, Juan Carlos eta Juan Os felicito a vosotros y vuestros alumna/os por ganar el concurso, y espero con mucho gusto ver los videos.

Si teneis alguna pregunta sobre el itinerario, o cualquier cosa, por favor no dudeis en contactarme.

Es posible que el itinerario es demasiado intenso, y que tendremos que abandonar algun evento y/o dar mas tiempo libre a los jovenes. Me gustaria saber vuestras opiniones.

Tambien hay que decir que en el dia primero en Wicklow hay un camino de senderismo de unas cuatro horas. Si es demasiado para algunos, podia pensar en dividir el grupo aquel dia -pero merece la pena de hacerlo por las vistas y naturaleza, para los que puedan!

Os mando manana algunos documentos relacionados con el itinerario.

Una pregunta -- cuantos de vosotros, y de los jovenes, hablan ingles, y hasta que nivel?

Pensaba dar las presentaciones en castellano, pero con diapositivos con textos -- siempre muy cortos -- en ingles Estoy a vuestro disposcion, y espero con mucho gusto vuestra visita a este pais.

Paddy Paddy Woodworth Research Associate, Missouri Botanical Garden, St Louis.

Adjunct Senior Lecturer, School of Languages and Literatures, University College, Dublin.

Author, journalist, lecturer, cultural/environmental tour guide. www.paddywoodworth.com http://press.uchicago.edu/ucp/books/book/chicago/O/bo8312323.html +353 (0)86 8120842 22 Manor Place / Stoneybatter Dublin 7 Ireland

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Kaixo Amaia: Eskerrik asko emandako berri onagatik.

Oso posik gaude guztiok.

Besarkada bero bat J. Carlos juan carlos martinez iglesias <jcmarxkultura@gmail.com> Estimado Paddy: Muchas gracias por tus felicitaciones.

Es una alegría inmensa que hagas de guía y maestro de ceremonias con nosotros.

Estoy seguro que a mis alumnos (5 chicas y 1 chico) estarán encantados con el itinerario por intenso que sea. En cuanto a las cuatro horas de senderismo, aún no les he preguntado; pero, si merece la pena, seguro que se apuntan todos.

Respecto del nivel de inglés, varios de ellos han participado en el proyecto europeo Comenius, han hecho intercambio escolar con Estados Unidos y están muy interesados en la lengua inglesa. Se comunican bastante bien en inglés, con cierta fluidez y mejor en lenguaje escrito. Si no es inglés muy culto o con mucho slang, pueden entender perfectamente.

Esperamos con impaciencia tu propuesta de visitas.

Por lo demás, comentarte que mis alumnos han trabajado mucho y bien en el proyecto y la buena noticia que esta mañana nos ha dado Amaia Goikoetxea "les ha vuelto locos".

Gracias por todo.

P.D. Te escribo en castellano/español, pero si quieres que nos comuniquemos en inglés también es posible.

Paddy Woodworth Dear Juan Carlos I'm writing in English, but only because I write faster this way and am under pressure -generally happy to communicate in either language, unfortunately I've never learned more than absolutely minimal Euskera.

Thank you so much for your mail -- I'm delighted to hear your students are enthusiastic about the trip. My main concern is that we may have planned too many activities for them, but it sounds like they will, as we say, eat it all up.

I'm happy to hear about their level of English -- if the other groups are similar, it will make some of our meetings much smoother. I do warn you, however, that they may find some Irish accents very difficult!

Have you not seen the itinerary yet? It's mostly in English and I haven't translated it, and we have had to make some adjustments as the booking agency has only got involved this week, but I could send you a draft if you like.

All best for now ondarea@euskadi.eus

Datorren ostiralean, ekainak 12an, elkar-ikusteko ordu bat hartu nahi dugu eta sariaren gorabeherak komentatzeko. Horrekin batera datorren urterako ZER HOBETU dezakegun aztertuko dugu:

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

bideoak ikusten nola HOBETU formak (bideoaren errealizazioa, grabaketaren kalitatea, soinua hobeto entzuteko erak, irudia garbiago azaltzeko...) eta  NARRAZIOA nola landu (elkarrizketak editatu, azpitituluak jarri, denbora dohitu, efektoa egokiak sartu...), GIDOIAK nola landu, aukera Guzti hori egin nahi dugu Euskadiko Artxibo Historikoan (María Diaz de Haro 3, Bilbo).

Zurekin (edo izendatutako pertsona bat) kontatuko dugulakoan, agur bero bat.

Imanol Agote KULTURA ONDAREAREN ZUZENDARIA

Me alegra mucho que vienes, Amaia!

Sobre ropa -- lo que en ingles se llama 'casual' -- vaqueros, T-shirt, trainers para andar en la ciudad, botas para andar en el campo. No vamos a necesitar ropa 'formal', pero quizas les va a gustar ponerse guapos para las cenas, no se. No hace falta.

Sobre el tiempo -- seria como Dios si podria predecirlo! Siempre ha sido muy variable, ahora mas nunca. Mayo ha sido un mes francamente horrible, nublado, frio, lluvioso. Ahora mejor -hoy 16 grados, sol y sombra, lluvia de vez en cuando. Espero que habra mejorado a los finales del mes, pero no se sabe nunca. Por eso el pais es tan verde, y un amigo mejicano me dice que tenemos la suerte de tener cielos 'con gran diversidad de plata, no de gris'. Pero a veces no es facil verlo asi. El mejor consejo en Irlanda es siempre esperar lluvia, entonces si no llueve es una sopresa agradable. Como Euskadi en abril...

Entonces, todos deben llevar algo que da calor -- un 'fleece', y tambien ropa ligero para protegerse de lluvia -- yo en el campo siempre llevo conmigo una mochila con anorak, y sobrepantalones, ambos ligeros, llevo botas, un sombrero. Por si acaso, siempre crema para el sol (si, a veces quema mucho).

Tambien, el grupo debe llevar una bolsa de 'First Aid', para los excursiones en el campo, esto es imprescindible. Mejor si uno de los tutores tiene experiencia en este, yo no lo tengo.

Haremos todo para evitar desgracias, pero los accidentes pueden ocurir...

Un abrazo Paddy Hi Paddy juan carlos martinez iglesias <jcmarxkultura@gmail.com> Dear Paddy, Yes, my students are very enthusiastic and they are totally excited about having a great adventure in Ireland.

It's been fantastic for them to win one of the three prizes of Kultura Ondarea Saria and they feel the time spent on the Basque Heritage Project has been well worth in many aspects.

I am confident about their level of English, but, as you say, we don't know how we will cope with the Irish accent. I know it may be a bit difficult, especially on our first days. But we are not worried about it; there are lots of means to understand and make oneself be understood (I hope so).

I have read the itinerary; but, to tell you the truth, we don't know a lot about your country. So, it's a great chance to learn a lot of things from History and Gegraphy to Literature and way of living.

Days go fast and we have to prepare a few things.

Well, Paddy, I hope the weather will be good with us.

Warm regards J. Carlos Martínez

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Paddy Woodworth Dear Juan Carlos Many thanks -- I just hope we can live up to their high expectations! We'll do our best.

I'm not sure what version of the itinerary Amaia may have sent you, but there should be links to some articles and poems that could be relevant.

I attach an essay of mine that is mentioned in the first day's notes, about Stoneybatter. It was first published in Erlea, for an Irish anthology commissioned by Atxaga, and your students might like to look at it in Euskera.

I also attach a preface I wrote to a wonderful collection of short essays by Synge about Wicklow.

I'm copying Amaia so that she can circulate to the other teachers if appropriate.

All very best Paddy Acto de entrega del Premio Kultura Ondarea 2015 a-goikoetxea@euskadi.eus

Eguerdion, me acaban de confirmar que el Acto de entrega del Premio Kultura Ondarea será el viernes 19, a las 12h30´ en el Instituto Unamuno de Bilbao. *Los tutores, mesedez, trasladar el tema a Directores/as y estudiantes premiados/as. Tienen que asistir, Directores/as, tutores/as y alumnos/as. *Josi, prepara un resumen de lo que se va a celebrar ese dia para pasárselo a la Consejera y alos centros privados, para que sepan en que contexto tendrá lugar la entrega de Diplomas ( uno al Centro, otros al tutor, y otro al alumno/a. *Mañana cerramos el acto de entrega, os llamo.

Besarkada bat Amaia Goikoetxea Marques Eusko Jaurlaritza Kultura Ondare Zuzendaritza History telling Josi, Carlos Estos son los datos de los 3 tutores para que les llaméis e invitéis a la Jornada del dia 12 de jumnio: .-Juan Ezeiza (Axular Lizeoa) 675-717361 .- Juan Carlos Martinez (Julio Caro Baroja) 688-612573 .-Jon Muñoz (Laudio Ikastola) 655-744042 Asteburu ona izan Amaia Goikoetxea Eguerdion guztioi, Hona hemen hegazmakinen datuak zuek jakinarazteko.

20 plazas Vuelo EI749 salida el 23 de JUNIO Bilbao 16:25H. - Dublin 17:30h.

Vuelo EI748 salida el 30 de JUNIO Dublin 12:45h. Bilbao 15:50h.

Harremanetan jarraitzen dugu. Besarkada bat Amaia Goikoetxea Marquez

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Egunon guztioi, noski 19an ikasleen gurasoak ere joan daitezkela.

Ikastetxeen Zuzendariak eta ikasleak abisatuta daude?

Gogoratu talde bakoitzeko ikasle batek pare bat minutu hitz egin behar duela; tutor batek ere eta, nahi baldin badu zuzendari batek ere bai.

Zuen erantzunaren zain geratzen naiz.

Amaia Goikoetxea Marques

REUNION DESCONVOCADA viernes 12 Recibidos x

Josi Sierra Orrantia <josieror@gmail.com> Arratsaldeon Juan Carlos y salduos para Amaia e Imanol: MAÑANA NO vamos a celebrar la reunion en el Archivo Historico.

La razón es que todos los tutores que tenían que venir han escusado su inasistencia por compromisos profesionales importantes: selectividad, examenes extraordinarios, claustro, entrega de notas etc Voy a intentar llamrte por telefono para hablar personalmente contigo, pero todavia no dispongo de tu número.

Siento las molestias que te podamos causar pero, espero que el proximo viernes 19, en la entrega de premios en el Insti Unamuno, con un abrazo te pueda explicar como estan las cosas.

Aunque tu ya sabes que todos los finales de curso son.... de traca!

Un gran abrazo y hasta pronto Josi Sierra

Buenos días Amaia, Te pasamos las reservas con los nombres insertados para su revisión definitiva, a partir de ahora y hasta como máximo el 16 de Junio podemos emitir los billetes.

Por favor, tener en cuenta que una vez emitidos los billetes (el Martes 16 de Junio) se aplicarán las siguientes condiciones: * No se admiten reembolsos en caso de anulación. * Cambios de fecha y o ruta 70 EUROS por vuelo y pasajero mas diferencia de tarifa si la hay. * Cambios de nombre 120 EUROS de penalización.

RENES/MAIDER TORRECILLA/OLATZ ARANA/ARRATE AZCUNAGA/IRANTZU GARAY/ZALOA GARCIA/ANE MUNOZ/JON MARTINEZ/JUANCARLOS SANCHEZ/ALBA PULIDO/AITZIBER VICENTE/JONE

MARDARIE/ESTERALAURA CEA/IRATXE GOMEZ/ANDER BERASATEGUI/MARIAINMACULADA GARCIADECORTAZAR/MIKEL UDAKIOLA/ANE ECEIZA/ISABEL BERNAL/MAIDER GOIKOETXEA/MIRENAMAIA

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Vuelo EI749 salida el 23 de JUNIO Bilbao 16:25H. - Dublin 17:30h.

Vuelo EI748 salida el 30 de JUNIO Dublin 12:45h. Bilbao 15:50h.

Gracias y un saludo, Marta Travel Air División Empresas Viajes Eroski C/Barcelona 14 local 12 01010 Vitoria Teléfono 945 200 584 Fax 945 200 337 E-mail : v0329@eroski.es Horario Atención: 08:00 a 19:00 horas de Lunes a Viernes TELÉFONO ASISTENCIA TRAVEL AIR 24H 902 272 902 / +34 91 154 84 95 DE LUNES A DOMINGO www.travelair-empresas.com Lo egiteko lekuak.... a-goikoetxea@euskadi.eus Egunon guztioi, Atzo Agentziatik deitu zidan esateko tutorentzako baita niretzako lo egiteko lekuarekin arazoak daudela.

Ikasleek lo egingo duten lekuan logelak 6 edo 8 pertsonentzakoak dira, ez dago beste aukerarik.

Hori da eta, 2 aukera ditugu: .- Jon, Juan Carlos eta hirurok inguru Hotel batera joan .- edo gela berean lo egin Juan Carlosek (Getxokoa) nahiago du ikasleen lekuan lo egitea, ez kanpoan. Niri ez batere importa taldeka lo egitea.

Jon, zer deritzozu?

Zure erantzunaren zain geratzen naiz geroago Agentziako jendearekin hitz egiteko.

Besarkada bat Amaia Goikoetxea Marques Egunon guztioi. (June 17th) Jakin badakigi ikasleak nekatuta daudela baina Paddyk gomendatzen digu, posible baldin bada, texto hauek irakurtzea.

Mesedez, pasaiezue ikasleei.

Beste aldetik, egun bateko txangoa hobeto egiteko, mendiko botak eraman behar ditugu Mila esker!

Amaia Goikoetxea Kaixo Amaia Me alegra haberte hablado ahora mismo.

Adjunto una version del itinerario con los enlaces etc 'highlighted' en rojo, mas dos de los documentos referidos en ingles.

Pienso que estaria bien si los tres videos premiados fueron acesible en un solo enlace, para mandar a los grupos irlandeses antes de nuestros reuniones, seria posible?

Besarkada bero bat

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PaddyGrabaciones para la WEB del Kultura Ondarea Saria a-goikoetxea@euskadi.eus

17 jun.

Eguerdion, Josi, Gaizka, Juan Carlos, el tutor del IES Julio Caro Baroja va a llevar cámara de video y de fotos.

Diariamente enviaremos fotos y grabaciones de video para que podáis colgarlas en la WEB del Premio.

En algunos casos, los/as alumnos/as van a hacer un Diario que también podremos pasaros.

Como lo hacemos? Te lo pasamos por mail a ti Gaizka?

Amaia Goikoetxea Marques Realize Gaizka <gballesteros@realize.com.es>

Estupendo! si me enviáis por email lo voy subiendo a la fanpage.

Gaizka Ballesteros (+34) 685 731 275

17 jun.

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Textos propuestos por Paddy Woodworth para leer antes de realizar el viaje a Irlanda.

1.- Foreword to John Millington’s Synge’s Travels in Wicklow, West Kerry and Connemara

Copyright Paddy Woodworth and Serif, 2004 ‘You’ll find no poetry here,’ a Wicklow farmer told me when, aged twenty, I was rash enough to talk to him about my literary ambitions. His was a matter-of-fact statement, utterly lacking in ironic intent. He was speaking just as a fiery dawn extended its mantle from behind the Great Sugar Loaf mountain and down onto the Calary Bog, where we had already started mending a ditch in the half-light.

Poetry is not entirely a product of leisure, but the beauty in a landscape certainly becomes less visible when the land demands twelve hours’ manual toil every day, and even then barely provides enough to feed your children. This farmer was a man of deep if discreet feeling, and he was not myopic: he simply could not afford to take his eyes off the hard ground.

Few writers have been so sharply aware of this clash between literary perceptions of the countryside and the real lives of country people as John Millington Synge.

The abundant poetry he found during his wanderings in the Wicklow Mountains, in Kerry and in Connemara is constantly qualified by a deep sensitivity to the conditions of the people who had no choice but to live there. The beauty itself is constantly shadowed by a melancholy that seems to drift like a sinister mist across the land itself and is inherent in a human world on intimate terms with hunger and typhus: When the sun rises there is a morning of almost supernatural radiance, and even the oldest men and women come out into the air with the joy of children who have recovered from a fever. In the evening it is raining again.

This peculiar climate, acting on a population that is already lonely or dwindling, has caused or increased a tendency to nervous depression among the people, and every degree of sadness …1 Or again: ‘Near these cottages little bands of half-naked children, filled with the excitement of evening, were running and screaming over the bogs, where the heather was purple already, giving me the strained feeling of regret one has so

1

(p 209 OUP edition)

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often in these places when there is rain in the air.’2 Almost every page of this book is pervaded with a sense of ‘splendour that was almost a grief in the mind’. 3 This is, in fact, a sensibility remarkably similar to Seamus Heaney’s world where ‘nature is suffused with foreboding’, as Elmer Andrews has put it.4 Curiously, Heaney has written much of his poetry – see especially the ‘Glanmore Sonnets’ in Field Work 5– while living in what was once the Synge family’s gate lodge at the Devil’s Glen. For those who like to pursue such connections, Heaney first rented and then bought this house from Ann Saddlemyer, the eminent Synge scholar who co-edited a previous edition of this book.6 While today’s reader will be moved by the spare lyricism of Synge’s descriptions of natural beauty, it is his accounts of encounters with local people that are likely to be most memorable, and perhaps most problematic. The question that has often been asked about his plays – did any Irish peasant ever speak like this? – is amplified in these prose pieces.

‘Ah, Avourneen, the poor do have great stratagems to keep in their little cabins at all,’ says one woman he meets.7 ‘Glory be to His Holy Name,’ she continues, ‘not a one of the childer was ever a day ill, except one boy was hurted off a cart, and he never overed it. It’s small right we have to complain at all.’ Lines like these have led to accusations that Synge over-egged the cake of the Hiberno-Irish dialect with folksy inventions. St John Irving’s allegation that the writer was ‘a faker of peasant speech’ has been well dealt with by Declan Kiberd, who, unlike most Synge scholars, is fluent in both of that creole’s constituent tongues. While Kiberd concedes that, ‘No peasant ever talked consistently in the cadenced prose employed by Synge,’ he insists that the language is heightened, not faked. 8 Synge’s peasants ‘continue to think in Irish even as they speak in English’, he adds, arguing that they tend to speak a language that ‘owes more to the literal translation of the Irish of Aran than to Wicklow Hiberno-Irish’ and that such literal translation, oddly enough, produces poetry.

2

(p213 OUP edition) (p 280 OUP edition) 4 Ref t/c 5 Ref t/c 6 The other editor was the anthropologist George Gmelch, who contributed fascinating contemporary photographs of contemporary scenes and people to the ?1960 O’Brien Press (Dublin) edition, now ?out of print.

7 (p220 OUP edition) 8 Synge and the Irish Language, 3

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This effectively addresses the point made in a subsequent – and very informative – essay by Nicholas Grene, who quotes Synge’s well-known admission that the language of one of his Wicklow plays, In the Shadow of the Glen, had been inspired by his eavesdropping on a pair of kitchen maids.9 Grene makes the interesting observation that the two maids in question ‘had been brought up in a Protestant orphanage and did not necessarily come from Wicklow at all’. But this does not disqualify their speech as raw material for the play, or for these essays. Synge’s language is generic rather than regional and, above all, it is the product of a unique poetic imagination.

This imagination was deeply rooted in fact. Elaborate speech combined with a passionate, if sometimes topsy-turvy, knowledge of the world could be found widely in the Wicklow of my young adulthood, and still – just – exists today. I remember in particular two elderly uncles of my employer on Calary Bog, who lived as recently as 1970 in a degree of poverty that might have surprised even Synge, in the one house with their cattle and sheep. Like many mid-Wicklow small farmers, they were Protestants, but had enjoyed none of the privileges of the playwright’s landed class and shared none of his gentle scepticism and tolerance.

‘The Pope,’ one of them informed me confidentially as we drove some scraggy sheep from the Red Lane across the Glen O’ the Downs, ‘appointed Hitler Chancellor of Germany beyond, and his so-called Holiness started the Second World War. You are not taught that above in Trinity College, I suppose.’ I instinctively knew better than to question such Orange certitudes. I could not resist expressing some surprise, however, when the same man told me about the great regret of his life. He always wished, he said, that he had joined the expeditionary force of General Eoin O’Duffy, Ireland’s Mussolini manqué, and fought for Franco in the Spanish Civil War. Was he not aware that General Franco was a fervent Catholic, I asked. ‘I know that,’ came the sure reply, ‘but wasn’t he fighting the Communists?’

Wanderers in the Irish countryside a century after Synge will, of course, find great changes, as well as a number of landscapes that retain their magic. The playwright would be delighted to find that so many local people now live in comfort, some even in affluence, but he would be saddened by the current hostilities between small farmers and hill-walkers, which can turn an innocent ramble into an angry confrontation over rights-of-way. He would certainly regret that the people he called tinkers suffer more discrimination in our democratic Republic than they did 9

‘Synge and Wicklow’ in Wicklow History and Society, eds Ken Hannigan and William Nolan (Dublin: Geography Publications), 1994.

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under British rule. In their case, and perhaps more generally in Irish rural society, he might feel vindicated in his ‘dread of any reform that would tend to lessen their individuality rather than any very real hope of improving their well-being’.10 Synge’s Wicklow articles are the most lyrical, and least journalistic, of the three collections in this book, while the West Kerry section also contains many passages that will remind readers of his poetic dramas. ‘There was great sport after you left,’ he is told after a horse-race and drinking session near Dingle. ‘They were all beating and cutting each other on the shore of the sea … Then there was a red-headed fellow had his finger bitten through, and the postman was destroyed for ever.’11 This, of course, is pure Playboy of the Western World.

The Connemara pieces, commissioned by the Manchester Guardian to investigate the social conditions of the West, show that Synge was a master of that rare kind of journalism that truly falls into the category of ‘a first draft of history’, and professional historians have, indeed, mined these pieces for their rich seams of precise first-hand observations. Like all first-class journalism, however, they are also shot through with literary qualities. The very poorest people are ‘pinched with hunger and the fear of it’.12 A shop window in Swinford suggests a list that might have become a poem, rich in witty juxtapositions: ‘saddles, fiddles, rosaries, rattraps, the Shorter Catechism, castor oil, rings, razors, rhyme-books, fashion plates, nit-killer and fine-tooth combs’.13 These articles also include one of the finest warnings ever written against hacks who quote hackney-drivers; a passionate indictment of the kind of ‘relief works’ dictated by market economics; an admirable awareness that solutions to local problems require local knowledge; and a caution against environmental blight that has proved all too prescient.

None of these essays could have been written by a man who was not a hill-walker, someone whose unobtrusive love for both nature and common humanity opened doors to him wherever he rambled. And he had a sharp and well-informed ear and eye for birds, some of them now lost to us in these regions, like the nightjar and the corncrake, and some, like the siskin, still common enough but very easy to miss.

Even in the remotest places, he also had a healthy eye for a good-looking woman, and female as well as male companionship shortened many a long road for him. He 10

(p286 OUP) (p 275 OUP) 12 (p 287 OUP. italics mine) 13 (p 336 OUP) 11

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was not afraid to take a drink – and in these parts fear is prudence where poteen is concerned – but when he risked typhus rather than refuse a hospitably offered cup of milk, anxiety about contracting the disease spoiled his walk back to the cottage where he was staying.

In short, he is an excellent and very human travelling companion, who can make the landscape talk to us as eloquently as the people. I have had the privilege of rereading these essays in a house in the heart of Synge’s Wicklow. It is still possible to go out the door and walk and walk and walk until you find a place where, ‘There was not light enough to show the mountains around me, and the earth seemed to have dwindled into a mere platform where an astronomer might watch.’14 But the lights of Dublin, and even of the new suburbs of nearby Rathdrum, make such an experience rarer, and more precious, every year. Maybe that is as well, since Synge went on to suggest that such ‘intense solitudes’ led to the madhouse. But maybe it is not.

Paddy Woodworth Cois Abhainn Ballintombay Lower Glenmalure April 2004

Notes

1. pp.28-9.

2. p.34.

3. p.139.

4. Elmer Andrews, The Poetry of Seamus Heaney, London 1988, p. 125.

5. Seamus Heaney, Field Work, London 1979, pp. 33-43.

6. The other editor was George Gmelch, who contributed the photographs of 1980s scenes and people to the 1980 Dublin edition.

7. p.45.

8. Declan Kiberd, Synge and the Irish Language, London 1993, p. xv.

9. Nicholas Grene, ‘Synge and Wicklow’ in Ken Hannigan and William Nolan (eds), Wicklow History and Society, Dublin 1994.

10. p.145.

11. p.129.

12. p.148 (italics mine).

13. p.210.

14. p. 219.

14

(p 219 OUP)

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2.- A SHORT WALK THROUGH STONEYBATTER Paddy Woodworth finds that there is no escape from questions of history and identity on a stroll through his old Dublin neighbourhood, but prefers to listen for the echo of human heartbeats beneath memorial stones, and to remember landscapes that still delight the eye.

What ish my nation? Ish a villain, and a basterd, and a knave, and a rascal.

What ish my nation? Who talks of my nation?

Captain Macmorris in Shakespeare’s Henry V Act 2, scene 3 --A nation? says Bloom. A nation is the same people living in the same place.

--By God, then, says Ned, laughing, if that's so I'm a nation for I'm living in the same place for the past five years.

So of course everyone had the laugh at Bloom and says he, trying to muck out of it: --Or also living in different places.

--That covers my case, says Joe. --What is your nation if I may ask? says the citizen.

--Ireland, says Bloom. I was born here. Ireland.

James Joyce, Ulysses, p 317 Early one morning last October, in crisp sunshine after the previous day’s downpour, I decided to take a short walk around my neighbourhood.

I was trying to evade the responsibility which my Basque friend Bernardo Atxaga had laid upon me – the selection of a personal anthology of Irish literature, and the writing of an essay which might make some personal sense of this rich but daunting and contradictory canon.

My neighbourhood is called Stoneybatter, a part of Dublin that may be older than the city itself.

The name in the Irish language, Bóthar na gCloch, the ‘stony road’, suggests that it may have been part of the paved highway which linked Tara in County Meath – seat of the fractious Irish high kings – and Glendalough, seat of a great monastic culture in the Wicklow mountains, to the south. The monastry was founded by St Kevin, a man my wife likes to describe as the “patron saint of domestic violence”; he beat the woman who loved him – or at least made determined efforts to seduce him -- until she fell into one of the valley’s glaciated lakes (Glendalough means ‘the glen of the two lakes’ in the Irish language) -- and drowned.

But there was a softer side to Kevin, epitomised in the legend of his great kindness to a blackbird, a legend which has inspired one of Seamus Heaney’s best-loved poems (see anthology). Our literature is drenched from its birth in ambiguous characters, unstable narratives.

Tara and Glendalough both flourished during the period which the rest of Europe suffered as the Dark Ages, but that we Irish – at least according to nationalist historiography – experienced as golden age. We are the inheritors of a land, we were taught in school, of saints and scholars.

This dreamtime was punctuated by the nightmare of Viking raids, which may have prompted the construction of our unique monastic round towers – Glendalough has a particularly fine one

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– where the monks could take refuge with their books, the kind of illuminated manuscripts exemplified by the Book of Kells. We Irish have been a literary people for a long time.

We like to remember the Vikings as barbarian book-burners, and we tend to forget that they were also the cosmopolitans and sophisticates who built some of our first and finest cities, including Dublin. They were displaced from the new capital in the 12th century by the Normans, who had been invited to Ireland by one of our less-than-saintly native warlords. Like the Basques, and the Zulus, and so many other peoples, the supposedly pre-lapsarian Irish had a fondness for fratricidal conflict which opened broad doors to the colonial ambitions of our neighbours.

The Vikings moved a mile west, to Stoneybatter, where many of the streets still bear names of Norsemen like Olaf and Sigurd. Eventually, the area became the city’s cattle and vegetable market area. The farmers who brought their produce in from the west kept an Irish-language culture, the last in the city, alive in the district until the mid-19th century.

Late in the same century, Stoneybatter was transformed by the construction of dozens of terraces of red-brick ‘artisans’ dwellings’. This was part of the massive social engineering endeavour by which the British authorities provided superior housing for a ‘labour aristocracy’ throughout their jurisdictions, separating skilled workers from the more revolutionary general workers in the slums.

It was in Stoneybatter that the protagonist of John Banville’s Booker Prize -nominated novel, The Book of Evidence (1989), with a vicious murder behind him and another one up ahead, gazes enviously into the golden light of the pubs, a world of salt-of-the-earth fellowship from which he is now forever excluded. Or so I recalled, many years after reading the book.

However, when I checked a copy, I found the narrative rather different from what I had remembered, and that there was no specific reference to Stoneybatter. Two Banville experts I consulted found the reference familiar, but they could not place it in any particular novel.

Rather diffidently, I wrote to Banville himself, and he replied that ‘I vaguely remember mentioning Stoneybatter in one of the novels, in the context you speak of, but I, too, would have thought it was Book of Evidence. Otherwise it must be Athena or Ghosts, obviously.’ The latter novels form a kind of trilogy with the former, with the same protagonist.

I tried again, but still could not find the reference. All this has left me wondering whether novels can generate some kind of collective imagination beyond their own texts.

In any case, to this day, Stoneybatter remains a strong community of house-proud neighbours that still imposes its distinctive character on the big influx of yuppies, and of immigrants from eastern Europe, Asia and Africa, that occurred during the recent years of the ‘Celtic Tiger’ economic boom. But the ‘indigenous’ community is ageing fast; their children could not afford to buy homes on their own streets as the housing bubble expanded.

I have digressed, but perhaps this rapid and rather arbitrary zig-zag through 15 centuries may help give us some context. My morning flight from the blank screen on my computer last October offered me some other reminders about Irish national identity.

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We live around the corner from Arbour Hill, where lie the graves of the revolutionaries executed by the British – and thus transfigured into patriot martyrs – for their part in the 1916 Easter Rising.

Their tombs lie beneath a massive stone façade, erected by the Irish state, on which are engraved the words of the proclamation with which they launched their rebellion. It is fine example of that period’s style of seductive literary nationalism and socialism. Most of the rebel leaders were more (or less) accomplished men of letters. One of this document’s key promises was to ‘cherish all the children of the nation equally’. Sadly, this promise has never been honoured by any of the Irish governments who still pay lipservice to it in ceremonies every Easter Sunday.

Indeed Ireland, that same Ireland that overflowed with vulgar overconsumption in the recent boomtime, has one of the highest levels of child poverty in the European Union.

Another contradiction is inherent in the very architecture of the cemetery. It is overlooked by high walls topped with razor wire, floodlights and observation towers. Behind these walls are imprisoned men whom today we call ‘dissident’ republicans, who reject the Belfast peace agreement endorsed by Sinn Fein and the Provisional IRA. These men and women consider themselves the legitimate heirs of the republican heroes of 1916. Their continuing armed actions are – rightly in my view – regarded by most Irish people as repugnant acts of terrorism. But we should not forget that many Irish people held a similar view of the 1916 leaders at the time of the rebellion, and spat at them as they were led away to prison after surrendering. History may still reverse our judgements or, as in the case of the 1916 leaders, reverse them, and then reverse them again. Most Irish people today are more likely to admire Bono or Roy Keane than to revere the patriot dead.

Arbour Hill jail is also home to Malcolm McArthur, the urbane double-murderer who is the model for the protagonist of Banville’s aforementioned novel, and whose arrest arrest at the home of the Attorney General caused a national scandal in the 1980s. After his incarceration, a friend of mine was surprised to notice that a local corner shop had begun to stock a single copy of the Times Literary Supplement among the potatoes and carrots on the counter. But when picked it up to buy it, the shopkeeper told him it was not for sale. “That is Mr McArthur’s copy,” he was told, “a warden comes down to collect it for him.”

To reach the mausoleum-cum-prison of Arbour Hill, you have to pass through a small gate, past a much more modest memorial garden which commemorates Irish citizens who have died on peace-keeping duties with the United Nations, from Lebanon to the Congo. True patriots these, one might say, with an internationalist vision. On this same morning I had received an email from a friend who was serving with the Irish army on a UN ‘peace-enforcing’ mission in Chad.

With all the clarity and passion of youth, he had put into stark words the strange and terrible world he found himself in: a dry, hot sandy world where other young men with AK-47s drive past his position on Honda 50s. Often he has no way of knowing whether they are rebels or government troops, because neither group is fastidious about wearing uniforms.

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I was pondering some of the images his emails had conjured up as I passed a discreet Buddha which is, curiously, the only religious icon in the UN memorial garden, and walked on into the 1916 cemetery. I love this part of the walk, because it takes me under a huge sycamore whose shade has a curiously calming effect. High up in the groin of this great tree, perhaps 15 feet above my head, a rich cluster of unusual leaves caught my eye for the first time. Looking closer, I saw that a small but vigorous fig tree had somehow taken firm root among the bigger tree’s spreading branches.

Like all countries that have experienced colonialism, both we Irish in the past, and some of our friends abroad even today, favour homogenous images of our culture. The understandable nationalist reaction against the imposition of an‘alien’ culture and language ultimately produces its own false conformity.

Both life and culture, however, constantly grow beyond these straitjackets. Like the fig tree in the sycamore, they offer us plural, complex and sometimes contradictory, even exotic, versions of who we are. A good novel, poem or play always tells more than a single story, and will beget many more – for good or ill.

In the first decade of the last century, the playwright and poet WB Yeats was involved in a collaborative enterprise to tell new stories for the emergent Irish nation. The Irish Literary Revival was self-consciously dedicated to representing the ideals of the newly confident nationalist movement on page and stage.

Yeats’s 1902 play Cathleen ni Houlihan boiled those ideals down to a single inspiring – or terrifying – vision. A peasant family are discussing the forthcoming marriage of their son, and the fat dowry the bride will bring with her. They are interrupted by an old beggar woman, the eponymous Cathleen, traditional emblem of an oppressed and impoverished Ireland.

She offers the young man of the house an alternative to the complacent marriage and material comfort his parents have mapped out for him. It is an offer which makes a supreme virtue out of a life of pain and sacrifice for the nation. Death with immortality is a reward far superior, she suggests, to life, sex and mortal obscurity.

“It is a hard service they take that help me,” she tells him. “Many that are red-cheeked now will be pale-cheeked; many that have been free to walk the hills and the bogs and the rushes will be sent to walk hard streets in far countries; many a good plan will be broken; many that have gathered money will not stay to spend it; many a child will be born and there will be no father at its christening to give it a name. They that have red cheeks will have pale cheeks for my sake, and for all that, they will think they are well paid”.

[She goes out; her voice is heard outside singing.]

“They shall be remembered for ever, They shall be alive for ever, They shall be speaking for ever,

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The people shall hear them for ever.”

The young man is all too easily seduced by this lethal fusion of Christ’s instruction to forsake everything familiar for immortality, and the Irish pagan aisling or vision tradition. He abandons his unfortunate bride and follows Cathleen to the field of battle. Conforming to the vision tradition, we learn at the end of the play that no old woman had been seen with him on the road outside, but that he was with “a young girl, and she had the walk of a queen”.

The play was hugely influential on more radical nationalists. Twelve years later, Padraig Pearse, whose own poetry fairly drips with his disturbing preference for a blood sacrifice over sexual love or family life, led the 1916 rebels into a hopeless confrontation with vastly superior British forces. He chose the occasion of Easter weekend, the commemoration of Christ’s sacrifice and resurrection. Today, Pearse lies with his 15 comrades in Arbour Hill, remembered, if not for ever, at least for a century.

The rebellion took Yeats, who was not a man of action, completely by surprise. Far too complex a man to take his own propaganda entirely seriously, the poet felt bound to admire those who had. In Easter 1916, a poem written a few months after the rising, he famously wrote that the rebels had transformed “the casual comedy” of Irish life into something tragically noble: “All changed, changed utterly, A terrible beauty is born”.

Yet even in this poem he offers alternative narratives, wondering if their deaths were “needless”, because England might well have granted Ireland Home Rule through political pressure alone, without the use of violence. And he questions the very vision he had extolled so powerfully in Cathleen ni Houlihan: “Too long a sacrifice Can make a stone of the heart.

O when may it suffice?”

Believing, as he said, that “we make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry”, Yeats continued a dialectical exploration of these contradictory positions right up to his last collection of poems (1936-39). In Three Songs to the One Burden he appears to extol Pearse’s terrible injunction, horribly realized during the recent 30-year conflict in Northern Ireland, “That in every generation Must Ireland’s blood be shed” However, in one of the bleakest poems in this bleak book, The Man and the Echo, he confesses to continuing and agonising uncertainty about the relationship between poetry and life: “I lie awake night after night

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And never get the answers right.

Did that play of mine send out Certain men the English shot?”

Unlike Yeats, the young playwright Sean O’Casey did take a gun onto Dublin’s streets in 1916.

He fought with the leftist section of the rebels in James Connolly’s Citizen Army rather than in Pearse’s Irish Volunteers. Possibly as a result of this engagement with real bullets and real blood, he emerged as a writer with a much less romantic, and arguably much more humane, vision of the consequences of political violence that the older poet. Nontheless, Yeats was to be his mentor for a crucial period at the Abbey (or National) Theatre in the 1920s.

The Abbey was – and is – the greatest legacy which the Irish Literary Revival has left us. The newly independent Irish State took the uncharacteristically radical step of making it the first state-subsidised theatre in the English-speaking world, in 1925, despite its staging many plays critical of the new order, not least O’Casey’s. This institution has known some sterile periods, but it remains to this day a valuable forum for our conversations with ourselves, a way of examining where we have come from, where we are, and where we may be going.

At this point a Basque reader may well ask why we choose to hold this national conversation almost entirely in the language of the culture which colonised us. The question is too complex to attempt a full answer in this short space, so I will just offer some pointers.

We have indeed indeed a rich literary culture in the Irish language – Gaeilge – dating right back to the great monastic period referred to above, and still nourished by a small minority of dedicated practitioners today, like Nuala Ni Dhomhnaill (see anthology). But a botched policy of linguistic education, a withering combination of formal obligation and aesthetic philistinism, did nothing to foster this tradition in the crucial first decades after independence.

In any case, the reality is that for centuries most of our literary practitioners have not only been most comfortable expressing themselves in English, they have made it their own, a HibernoEnglish enriched by roots in Irish-language syntax and vocabulary. The work of the great playwright and prose writer John Millington Synge (see anthology) is an especially visible example of explicitly Hiberno-English phrasing, but this creole underlies every sentence we write, and very often enriches them.

In any case, our quartet of Nobel prize-winners for literature in the last century – Yeats, Shaw, Beckett, Heaney – plus the extraordinary international reputation of Joyce – make our occupation of the heights of English-language literature so commanding that it would be an unthinkable kind of national suicide to abandon them. The poor English, you might say if you wanted to mix metaphors like Mrs Malaprop mixed up meanings in Richard Brinsley Sheridan’s 1775 play , The Rivals, are only limping along behind us in their own tongue. This is a gross exaggeration, of course, but one which a successful ex-colony may surely be allowed to savour occasionally.

Perhaps I might comment in passing that it amazes and disturbs me that so many Basque nationalists do not cherish as their own such Basque masters of the Castillian language as Pio Baroja and Miguel de Unamuno.

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But let us return to the young Sean O’Casey at the Abbey Theatre. His early plays, commissioned by Yeats, presented the then very recent events of our war of independence and subsequent civil war, and working class life in Dublin, in a most anti-heroic light, and were very controversial. In one of the best-known passages from Juno and The Paycock (1924), Juno Boyle laments the execution of her son Johnny by his former comrades in the IRA during the civil war, in lines which seem to directly and bitterly reference Yeats’s image of sacrifice and stony hearts from Easter 1916: “What was the pain I suffered, Johnny, bringin' you into the world to carry you to your cradle, to the pains I'll suffer carryin' you out o' the world to bring you to your grave! Mother o' God, Mother o' God, have pity on us all! Blessed Virgin, where were you when me darlin' son was riddled with bullets, when me darlin' son was riddled with bullets? Sacred Heart o' Jesus, take away our hearts o' stone, and give us hearts o' flesh! Take away this murdherin' hate, an' give us Thine own eternal love!”

Her lament, of course, was echoed by other mothers at the more recent end of the last century, as Pearse’s blood-thirsty dictum appeared to be vindicated, and the Northern Irish conflict of 1969 – 1998 claimed more lives than the civil war of 1921-1922 had done. This conflict has produced its own generations of playwrights, poets and novelists who had to come to some kind of terms with writing in (or beside) a kind of war zone.

The best known of these, of course, is Seamus Heaney, like Yeats a Nobel Prize-winner, and similarly willing to engage with all aspects of the times he lives in. Nevertheless, some of our greatest writers have reacted strongly against this kind of writing. Both James Joyce and Samuel Beckett found it necessary to embrace a kind of voluntary exile if they were to continue writing at all, so oppressive did they find the atmosphere of independent Ireland, with its sexual repressions and political obsession with national identity. And Yeats’ work, while saturated with political questions, touches us most deeply when it focusses on universal predicaments like old age and impending death, or, not entirely paradoxically, on a savage lust for life and sexual exhuberance, or on a calmer focus on more platonic or domestic and familial loves; or, perhaps above all, when he observes the western landscapes that despite, or because of, their rain-sodden desolation, continue to ‘delight men’s eyes’.

The same is true of Heaney. His subtle recognition of our grim complicities with political violence challenge the sentimental self-deception which we are so prone to. But it is in his explorations of our relationship to nature, many of them set in the Wicklow landscape so beloved by Synge before him, and of the miraculous, or at least the marvellous, in the natural, that he offers us tentative redemptions.

The decades of the Northern Irish conflict was also a period of unprecedented social change in the Republic, where the monolithic power of the Catholic church and the parallel hegemony of a deeply conservative political establishment were undermined by rapid modernisation from the 1960s onwards. There was much to celebrate in the subsequent shattering of oppressive stereotypes, but we also found ourselves fractured with new dislocations and disorientations, tormented by the questions that arise when the old order has been tumbled, but we are not confident about what is emerging in its place.

This sense of unease, of nostalgia for lost communal and spiritual certainties, is well expressed in a 1991 song from U2’s Achtung, Baby, ‘Acrobat’:

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No, nothing makes sense Nothing seems to fit I know you'd hit out If you only knew who to hit And I'd join the movement If there was one I could believe in Yeah I'd break bread and wine If there was a church I could receive in 'cause I need it now …….

Oh, it hurts baby (What are we going to do now it's all been said) (No new ideas in the house and every book has been read) And I must be an acrobat To talk like this And act like that…

We are left with precious few supports to walk the tightrope across a post-modern landscape that is becoming as threatening as it was once exhilarating. Perhaps we need to return to Leopold Bloom, the Jew who has just defined himself as Irish in Barney Kiernan’s pub – only a short step from Stoneybatter as it happens – in one of the quotations which opened this essay.

Currents of petty but lethal xenophobia are swirling around the bar, and perhaps in an attempt to ingratiate himself with his companions as a fellow victim of history, Bloom then launches into a passionate denunciation of the injustices perpetrated upon his own ‘persecuted race’. For a moment he is embraced in a warm pool of rhetoric, of resistance to oppression. Immediately, however, he steps outside it again: -- But it’s no use, says he. Force, hatred, history, all that. That’s not life for men and women, insult and hatred. And everyone knows that it is the very opposite of that that is really life.

-- What? says Alf. -- Love, says Bloom. I mean the opposite of hatred.

ENDS

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Kultura Ondarea Saria Agenda del viaje a Irlanda 23 junio – 30 junio 2015 Day 1 June 23rd: Flight to Dublin 4.25pm Flight from Bilbao to Dublin 7.00pm (local time) Welcome dinner Day 2 June 24th: Dublín -- Phoenix Park and Stoneybatter: Irland’s history through an urban park and the oldest neighborhood’s history.

9.30 am Leave hostel 10 am: Paddy Woodworth presentation on history and ecology of Phoenix Park and Stoneybatter, and how they reflect on the whole city and nation, at Paddy Woodworth home, 22 Manor Place.

11 am Walking/driving tour in park, starting at Visitors’ Centre, Furry Glen, bus to drop us off.

Farmleigh House also an option. Bus on hand to drive us slowly back via Aras an Uachtaran, [Phoenix Park murders], Zoo, Arsenal [1916], Wellington Monument, American Ambassador’s residence, ending at Visitors’ Centre for lunch around 3 pm Bus returns us to Smithfield.

Walk through Smithfield Square, Stoneybatter, Arbour Hill, National Museum at Collins Barracks, Croppy Acre, until 6pm.

6.30 pm Supper at Smithfield.

8.00 pm Traditional music at the Cobblestone 10.00 pm Return to hostel. Overnight in Dublin.

Day 3

June 25th: Dublin: city center, from north to south: writers, rebels and national identity.

9.30 am Leave hostel 10 am. Paddy Woodworth presentation: “Literature and the Invention of Ireland” 22 Manor Place, Dublin 7

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10.30 am. Bus to James Joyce Centre. Walking: the James Joyce Centre and the Writers’ Centre.

The Garden of Remembrance, via Moore Street Market, to the General Post Office. Writers and the 1916 Insurrection, today’s multi-cultural Ireland.

Continue across the Liffey to Trinity College. From the Book of Kells to Anglo-Irish culture.

Lunch Walk to Dublin Castle, then St Patrick’s Cathedral, finishing at the Guinness Museum, with views back to the Phoenix Park and across the city.

Supper meeting with local Foroige group and Foroige leaders. Foroige is a national organization that seeks “to enable young people to involve themselves consciously and actively in their development and in the development of society.” It works with 56,000 young people in 588 clubs and 134 youth projects across the Republic. The theme of the evening will be: “Challenges and opportunities facing young people – are they the same or different in Ireland and the Basque Country?”

8.00 pm Free time/return to hostel Overnight in Dublin.

Day 4

June 26th: Glendalough valley and Glenmalure valley at Co. Wicklow: From the Ice Age to the eighteenth century revolutions, through the pre-medieval and medieval monasteries.

8.30 am Bus departs Dublin for Glendalough, arrive at hostel 10ish.

11 am PW presentation: History of the valleys, history of Ireland – glaciers – pristine wilderness or industrial wasteland; St Kevin and early Irish Christianity; Vikings; Heaney and Synge; Michael Dwyer and 1798; narratives of the nation, national paradoxes; Coda: fauna and flora for our hike.

Background reading: Synge’s Travels in Wicklow, West Kerry and Connemara, preface by Paddy Woodworth. Paddy really recommends get at least one copy of this book, it is a lovely production with the Jack B Yeats images; selected Heaney poems: St Kevin and the Blackbird: http://vimeo.com/5016950 The Glanmore Sonnets http://www.poetryfoundation.org/poem/178023 Glanmore Eclogue 11.45 am: Walk to explore 12th century monastery city.

1.30 pm Light lunch at will, visit crafts shops etc at will

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3 pm: Hike the Spink route over Glendalough, and continue via the summit of Mullacor to Glenmalure, Michael Dwyer’s rock, and the Glenmalure Lodge. Allow four hours. Raingear and energy food, water, first-aid pack, are musts.

7 pm Pub supper in Glenmalure lodge (Michael Dwyer memorabilia, hopefully music).

10.00 pm aprox. Return to hostel.

Overnight in Glendalough Day 5

June 27th: The coast of Wicklow : Restoring [ recovering ] elders forests; Cromwell House , garden of flowers; Flowers in the dunes - and free time on the beach ; ending up in jail!

8.30 am. Depart hostel 9 am: Presentation in Paddy Woodworth home, Glenmalure Bringing back the ancient woodlands? Ecological restoration, from Wisconsin to Wicklow.

Who took our green cape? – nationalist narratives, revisionist versions. The People’s Millennium Forest, scam or shining light? Kilmacurragh – a carpet of orchids, a Big House with a lot of history – and a microclimate. Buckroney’s dunes, where the earth still moves.

Background reading: Woodlands chapter from new Paddy Woodworth book.

Cad a dhéanfaimid feasta gan adhmad? The lament for Cill Chais, translated by Thomas Kinsella http://www.musicanet.org/robokopp/eire/cillchai.htm 10.30 am People’s Millennium Forest, Ballygannon, short woodland walk and talk with Declan Little, Director Woodlands of Ireland, 30/45 mins.

12 noon: Kilmacurragh National Botanic Gardens, its restoration meadows, its Chinese and Chilean collection, its ruined Anglo-Irish Big House (connections to Cromwell, and to the Nazis!), with KNBG director Seamus O’Brien. 45 mins to 90 mins 1.15 pm Buckroney. A nature reserve full of orchids and dynamic sand-dunes. Conflict of interest with neighbouring golf course. Opportunity to swim! Two hours including picnic 4.15 pm Wicklow Gaol – we must make it on time, our booking is set, and no admissions after 4.30pm: Two centuries of Irish history within walls, from a priest imprisoned for saying Mass in Penal Law times, to a Republican leader (and father of a future President) executed by the newly independent government during the Civil War. http://wicklowshistoricgaol.com/aboutwicklow-jail/history/ 90 mins 5.30 pm – 6.30 pm free time in Wicklow town.

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6.30 pm Pub supper in restaurant in the Bridge, Wicklow, followed by music later in the evening in the Bridge pub.

9.30 pm Bus to hostel in Glendalough. And Overnight in Glendalough Day 6

June 28th: Galway – ' City of the Tribes ' traditional - and contemporary - cultural Irish heart 7.00 Drive to Galway city, arrive 11.00 am. Paddy Woodworth presentation on the bus: “The West” – seductive horizon of the Irish imagination 11.00am-1.00 pm Settle into hostel, rest.

1.00 pm Lunch, and walk along Spanish Arch, Corrib River to the University.

3.00 pm Drive through Connemara to Roundstone. Options: 1. hike to summit of Errisbeg, views of Twelve Bens 2. Relax/swim at Dog’s Bay 8.00 pm Seafood supper in Roundstone, return to Galway.

Day 7

June 29th: Aran Islands: Gaelic-speaking area 8.30 Boat trip to Inis Mor. Spend morning exploring island, looking for orchids, gentians, historical remains.

Lunch with leaders of Co-operative movement on the islands, discussion of history and viability of Irish language. Comparisons with Mondragon/Arrastate. Response from young Basques about their own experiences of, and aspirations for, Euskera.

Afternoon free, except for, if possible – meeting young people studying Irish on the island .

6.30pm Boat and bus trip to Galway (queen street) 8.00pm 8.00 pm Supper Day 8 June 30th: Flight to Bilbao 8.30 am Bus departs Galway, arrive at Dublin airport at 11.00am 12.45pm Flight to Bilbao 3.00pm (local time) Bilbao

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Trip to Ireland From June 23th to 30th DIARY OF A VERY SPECIAL TRIP (Blog)

First Day - First Impressions

Article by Estera Laura Mardarie Time is over. At last we have started our culture-trip to Ireland. We've met at high school at 1.45 and then gone to Loiu Airport. Once there, we've kept a long queue to do the check-in. After that, we came into the plane and our wonderful flight started. The journey took us two hours.

When we landed, Paddy, our guide, was waiting for us with a banner saying "Ongi Etorri". We took a bus to the center of Dublin, where our hostel was situated. After half an hour we had dinner at a nice restaurant very near the hostel. There, we had the chance to know our mates better. And our conclusiones were good: "They are nice people!!!"

After dinner, we went downstairs, to the pub, to listen to a little concert. Both boys were very good at playing the acoustic guitar and the trikitixa, so we enjoyed their performance a lot!

Before midnight, we went to the hotelk to go to bed.

Excitement and expectations are filled out!.

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Day 2 – Dublin

Article by Iratxe Cea

Today it has been a very long intense day. First we visited Paddy’s house for the first time and he told us some interesting facts aboutIreland and

Irish History, from the Middle Ages to our days.Then, we went for a great walk through an anusual park calledPhoenix Park. There, we the

saw some kind of animals such as deers, squirrels and magpies. Finally, we visited the giant cross where the Pope Juan Pablo II met over a million Irish people.

At one o’clock approximately we had lunch and visited the 1916 Memorial. There, we read about that historical and revolutionary time and saw the yatch where the Irish patriots carried over 100.000 rifles and weaponry.

We were supposed to finish at 5 o’clock to have a little free time, but as we ended earlier tan we thought, we had the whole afternoon free to do some shopping. At 7 p.m. we went to Fitzgeralds Bar to listen to some traditional Irish music. However, as there was a really warm atmosphere we decided to take part of it by singing

some Basque songs.

To finish or fantastic day we had dinner at another

classical Dublines restaurant and went back to the hostel to go to bed, as the following day was going to be even harder.

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Day 3 - Dublin

By Alba and Aitziber We woke up at 8:00 to have breakfast. After breakfast, we went toPaddy's house, an Irish writer and guide. After an interestingpresentation about Irish literature and the Invention of Ireland, we took a bus to James

Joyce

Centre, where we learnt many things about the life of this writer. We saw the big post office located in the centre of Dublin and we walked to the Trinity

College to see thebig amazing library and. There we saw the Book of Kells. In the library some students bought t-shirts and gifts for their family.

We had lunch in a pub, and with more energy, we visited the oldest cathedral in Dublin: St.

Patrick's Cathedral.

We went walking from the cathedral to the Guinness Storehouse. There our teacher Juan Carlos gave us the chance to taste the Guinness.

Before dinner, we went to the city hall to meet with Comhairle na n-Og, Dublin's 'youth parliament'. There we talked with young Irish people to know the situation of the Irish language between young people.

Their aim is to help young people around Ireland.

Finally, we had dinner in a pub. Here we ate traditional and delicious Irish food.

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Day 4 - Glendalough

By Estera Mardarie We woke up at 7 o'clock and we got ready to go to the next stop. When we arrived to Glendalough Valley we had some free time to look for souvenirs and eat. Then we started our hiking. Two of us couldn't do the large route and they did the small one.When we were at the middle of the trip we saw our mates from the mountain and we started to talk with them from the hill of the mountain to the bottom of the valley. We had fun becausewe sang the famous song "sardina bat... Bi sardina..." and they answered us back.

Then, we continued hiking for many hours and finally we had dinner at an old traditional pub. After dinner, our tutorJuan Carlos told us a "horror story " and once again all of us had a great time.

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Day 5 - Wicklow: Botanic Garden, Beach and Gaol

By Aitziber Pulido Today, Saturday, we woke up at 7:30 to have breakfast. After the breakfast, we took the bus to Paddy's house which is located inGlendalough. There, we had a presentation about ecology and environment: past, present and future. There we've learnt many words and ideas we didn't know before.

When Paddy finished the lecture, we took the bus again to the Botanic Garden where we've discovered many kinds of trees and flowers from all continents. In the picture we can see the 16 students surrounding a giant sequoia from the USA. After those amazing images of nature, we went to the beach, where some girls took a bath in the cold water.

We had lunch there and then we went to an old prison in Wicklow. After visiting the scary prison, we had free time before lunch to buy some gifts.

Before going back to the hostel we visited the ruins of and old VikingNormand Castle next to the see, where we 5 jumped for the picture.

Again and again, we had a wonderful day.

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Ireland: Day 6 - Galway and Connemara

By Jone Vicente First of all, we woke up at 7 o'clock and had breakfast at 8:15. At 9 o'clock we took the bus to go to the opposite side of the island (the west), exactly toGalway.

We arrived at the village at 12:30. We spent only 15 minutes to see the street full of musicians and marvellous shops.

After that, we had lunch at a gorgeus hotel near the harbour. It was amazing!

We had typical Irish food. When we finished lunch we went shopping for an hour.

At 16:30 we were taken to a marvellous beach with white sand and clear water. Finally, we had dinner on a seafood restaurant. Again nwe tasted traditional Irish foof. We especially liked some rich tarts. To end this amazing day we did the check in on our new hostel. Although we all wanted to go to a pub to listen to Irish musica, we had to postpone it. It was too late.

Again It has really been a fantastic day!

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SOBRE EL VIAJE A IRLANDA, por J. Carlos Martínez

Comenzó la experiencia “Kultura Ondarea Saria” como una aventura a lo desconocido.

No sospechábamos que lo conocido –el proyecto sobre nuestro entorno- era una aventura mucho más interesante. Ofrecer a nuestros alumnos un proyecto cultural en nuestra sociedad de consumo parecía algo desfasado en el tiempo. Nuestra sorpresa fue la entrega total de ellos al proyecto, las emociones y la creatividad que surgió de su iniciativa.

La espera desde la entrega del proyecto hasta la entrega de premios fue un momento de nerviosismo confuso. Había tantas cosas bien hechas y realizadas con tanta entrega y dedicación de los 67 grupos participantes que pensar en el premio era una forma de castigar la cabeza. Decidieron dejarlo estar.

Cuando se nos anunció que habíamos ganado uno de los premios, la alegría y gritos de incredulidad resonaron en el centro y en todo el vecindario.

Nos encontramos en el aeropuerto de Bilbao Laudio ikastola (Laudio), Axular Lizeoa (Donostia) y el IES Julio Caro Baroja BHI (Getxo). No sospechábamos que la continuación de nuestra experiencia seguiría siendo inenarrable.

He viajado un poco por el mundo, muy frecuentemente con mis alumnos en proyectos europeos o de intercambios con América y puedo afirmar sin temor a equivocarme la diferencia y grandeza de este viaje.

Para empezar, Paddy Woodworth, nuestro guía irlandés, escritor, pensador y filósofo resultó ser una revelación. Llenó las expectativas de los más exigentes del grupo. Nos

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admiró su sabiduría y su humanidad. Amaia Goikoetxea, representante de Kultura Ondarea del Gobierno Vasco, no nos impresionó menos con su entusiasmo, profesionalidad, cercanía y entrega en todo momento.

Hemos visto Irlanda en 7 días con los ojos de un enamorado de la cultura irlandesa y de la cultura vasca, Paddy Woodworth. ¿Qué más se puede pedir? Hemos conocido y nos ha desentrañado el arte de conocer la propia historia (de Irlanda) con seriedad, crítica y grandeza de espíritu. Jamás hubiéramos imaginado las similitudes en la diferencia de la historia del Gaelic y del Euskera, del devenir del pueblo irlandés y vasco siendo realidades tan diferentes.

La incursión en el alma irlandesa a través de sus escritores, los revolucionarios patriotas y también los grandes escritores lealistas, una vez más puso de relieve cómo todo conforma lo que son y, por comparación, conforma lo que somos.

Sin duda alguna, el alma de Irlanda a través del paisaje, de sus bosques, jardines botánicos, valles, montes y llanuras, de su orografía marítima, a través de una interpretación histórica y ecológica nos proporcionó momentos de reflexión inigualables.

Y sumado a toda ese visión que a partir de ahora llamaremos “paddiana”, la experiencia en los restaurantes, donde degustamos una dieta más sencilla que la nuestra pero no menos sabrosa e interesante, y en los pubs, donde nos emocionó el mantenimiento de su cultura musical (hemos de decir que en uno de ellos nos animamos a cantar canciones tradicionales nuestras en euskera) nos mostró otra de las caras amables e inolvidables de la cultura irlandesa. ¿Qué más decir?

Kultura Ondarea Saria es un certamen prometedor que por una parte acerca a nuestros alumnos a la realidad cultural de su entorno, descubre aspectos conocidos, desconocidos y olvidados, muestra a los demás la riqueza de nuestro patrimonio utilizando las nuevas tecnologías y la creatividad, y, por otra parte, la emoción de tal vez conseguir el deseado premio, ese magnífico premio, anima a los estudiantes a esforzarse y superarse en su trabajo en equipo.

Resumiendo todo lo vivido en una frase: Después de esta experiencia, nuestros alumnos han descubierto nuevos mundos, están más despiertos a su propia cultura y lengua y son un poco más sabios.

Gracias por crear esta oportunidad para ellos J. Carlos Martínez Tutor de los alumnos del IES Julio Caro Baroja BHI

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EVALUACION DEL VIAJE A IRLANDA Aitziber Pulido Short questionnaire on your opinion of the Kultura OndareaSaria trip to Ireland

What is your general opinion of the trip?

El viaje me ha encantado en muchos aspectos. Estoy encantada con todo lo que hemos hecho, a pesar de que haya sido muy duro.

Did it meet your expectations?

Si, de hecho, no pensaba que fuera a ser un viaje tan bueno.

What events or moments did you like best, and why?

Los mejores momentos fueron cuando veíamos ciudades, ya que soy muy de ciudad, pero también cuando descubría que la naturaleza me llenaba de una manera sorprendente. Me sentía más libre que nunca.

What events or moments did you like least, and why?

Lo que menos me gustó puede que haya sido andar en bici, porque tenía mal la rodilla, pero si hubiera estado bien creo que no hubiera tenido problema.

What was the most interesting thing you learned about Irish history and culture?

En general, me gustó todo, ya que estoy muy interesada en la historia y en aprender culturas distintas. Además, estoy enamorada de Irlanda.

What was the most interesting thing you learned about nature and the environment? ***Me gustaria añadir, que no me gusto mucho el hostal en Glendalough, ya que había muchos bichos muertos y las camas no estaban muy bien.

En mi opinion, he aprendido que la naturaleza puede representar a un país.

Are there any questions you would like to ask me, about places we went, or things we discussed? No, entendi todo muy bien.

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Alba Sánchez

El viaje en general me ha encantando. Ha sido mejor de lo que me esperaba.

Los momentos que mas me han gustado han sido las salidas al monte, andar en bici, ir a Guinness Store House, ver todos esos paisajes preciosos...

Y no hay momentos que no me hayan gustado. Igual el que menos me gustó, pero que si me gustó, fue ver el parque botánico; me esperaba algo diferente.

En cuanto a la cultura, me parece muy similar a la nuestra, y bastante interesante.

Acerca de la historia, todo me ha parecido interesante.

Y aprendí a apreciar la naturaleza; los paisajes que había me encantaron, no pensaba que Irlanda fuera a ser tan bonito.

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Jone Vicente

1. El Viaje ha sido extraordinario, desde el primer día hasta el último.

Aparte de conocer la cultura irlandesa he conocido a muchísima gente con la que espero tener contacto.

2. El viaje ha superado con creces mis expectativas. Ha sido genial.

3. El momento que más disfruté fue el del día de Galway. El ambiento en general fue estupendo, el pueblo precioso y la playa increíble.

4. El día que peor lo pasé fue el día de la isla de Aran por lo de las bicis; pero, a pesar de pasarlo mal físicamente, mereció la pena.

5. Lo que más me sorprendió fue la situación del irlandés en Irlanda, muy parecido al del euskera.

6. Lo que más me sorprendió fue la diferencia del paisaje en el este comparado con el oeste.

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Laura Mardarie

1. El viaje en general me ha encantado. Ha sido una experiencia muy enriquecedora tanto a nivel cultural como en el desarrollo personal y la convivencia .

2. Cuando emprendí este viaje ni siquiera acababa de creérmelo, por lo tanto, lo poco que esperaba era conocer Irlanda desde un punto de vista más profundo, llevarme buenos recuerdos, conocer un poco mejor a las chicas de los otros grupos, disfrutar de la estancia etc. Desde luego, el viaje a cumplido mis expectativas y más.

3. Dublín me encantó; no sabría decir exactamente porqué, pues es una ciudad "normal", pero todo en ella me enamoró: las casitas pintorescas, el hostal donde nos alojamos, la gente tan amable, los pubs etc.

En día que tocó hacer senderismo en Wicklow valley también me gustó mucho. El hecho de caminar durante 4 horas no me emocionó mucho al principio pero en cuanto íbamos avanzando y las vistas eran cada vez más bonitas me daba cuenta de que valdría la pena hacerlo hasta el final.

4. Creo que lo que menos me gustó fue madrugar mucho y que tuviéramos relativamente poco tiempo libre. Es verdad que me hubiera gustado tener más tiempo para nosotros en ciudades como Galway o Dublín ya que allí estuvimos un poco justos de tiempo mientras que en otras partes de poco interés disponíamos de bastante más tiempo libre.

5. Lo que más me ha llamado la atención de la cultura e historia irlandesa es que en cierta manera se parece a la nuestra, la vasca. Al igual que nosotros, ellos deseaban ser un país independiente, con la diferencia de que ellos lo han conseguido. Sin embargo, aún teniendo hoy en día la libertad de ejercer su idioma nativo, por las calles lo que se escucha mayoritariamente es el Inglés. Es más, irónicamente, como nos dijiste en alguna de tus charlas, los escritores irlandeses han sido oprimidos, una vez obtenida la independencia, justamente por eso, por ejercer su idioma,lo cual carece de sentido en mi opinión.

6. En cuanto a la naturaleza, me ha sorprendido que en Irlanda tienden a cuidar y a conservarla.

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Ander Gómez

What is your general opinion of the trip?

He disfrutado mucho del viaje y he aprendido mucho de la cultura irlandesa.

Did it meet your expectations?

Fue mucho mejor de lo que me lo podia esperar What events or moments did you like best, and why?

La visita a Guinness fue lo mejor del viaje, me gustó mucho y lo disfruté mucho.

What events or moments did you like least, and why?

La charla con la gente de Aran Islands fue un poco aburrido. Fue lo único que no me gustó del todo el viaje.

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Iratxe Cea

1.- Mi opinión general de este viaje ha sido muy positivo, porque aparte de haber conocido Irlanda, una gente maravillosa y unos momentos inolvidables, gracias a las explicaciones que nos has ido dando, he podido ver todos los lugares, monumentos, etc de diferente manera, ya ue me he dado cuenta de que la historia ha influenciado mucho en cada uno de los rincones.

2.- Realmente no. pensé que al ser un viaje totalmente cultural, iba a ser algo un poco cargante, ya que teníua miedo que hubiese exceso de información secundaria. Pèro, al llegar allí, el resultado ha sido ucho mejor, porque he podido disfrutar mucho más del lugar, sabiendo datos muy curiosos los cuales no podía imaginar, y viendo las grandes similitudes que puede llegar a tener nuestro idioma con el gaélico.

3.- El momento que más disfruté sin duda alguna fué la visita a la isla, porque al haber cogido la bici y todo aquello, puedes ver muchas mas facetas de la ciudad, que tal vez andando o en bus no habría tiempo de observar.

4.- La parte que menos disfruté creo que fué la visita al jardín botánico (lo digo porque no encuentro malas experiencias), porque es verdad de que a pesar de que fuese precioso, el guía que tuvimos hizo que la ruta fuese al final un poco cargante 5.- Lo que más interesante me pareció de toda la cultura irlandesa, aparte de todas sus batallas y guerras, es la similitud que puede llegar a tener con la cultura vasca, (como antes he mencionado) porque ambos tenemos un especial amor hacia nuestras tierras, pero un gran problema con nuestro idioma.

6.- Lo más interesante que he aprendido del medioambiente de allí es aquello de la recuperación de los bosques, que gracias a ello mchas especies de Irlanda que estaban extinguidas hayan vuelto a aparecer, me parece algo muy curioso.

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J. Carlos Martínez (Tutor)

What is your general opinion of the trip?

Excelente. Hemos disfrutado enormemente, hemos aprendido un montón de cosas sobre la historia de Irlanda y sobre la naturaleza, ha sido muy variado e interesante. En una frase: ha sido un viaje irrepetible.

Did it meet your expectations?

Sin duda alguna. Sí que esperaba aprender de la historia de Irlanda, pero esperaba una información más o menos “partidista”. Deseaba conocer a alguna persona, pero sabía que era muy dificil en mi condición de tutor. Bromeé sobre este aspecto.Pero, este viaje ha llenado muy ampliamente mis expectativas: -

-

Primero, porque me ha cautivado la sencillez y profundidad expositiva de Mr. Paddy Woodworth.

Segundo, porque ha hablado desde la sinceridad del ser humano, desde la experiencia personal contrastando en todo momento con otras experiencias, lo que le ha otorgado la categoría de interlocutor válido entre diferentes.

Tercero, porque nunca pensé que un viaje puediera ser tan enriquecedor tanto para los alumnus como para sus profesores.

Ha sobrepasado mis expectativas la entrega y humanidad de Mr.Paddy Woodwort.

What events or moments did you like best, and why?

1.

2.

3.

4.

Me encantaba asistir todas las mañanas a las charlas de Mr. Paddy W. Todas y cada una de nuestras incursiones en la naturaleza.

Los momentos de comunicación entre los tres grupos del viaje El encuentro con los jovenes de Dublin

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5. Los ratos en los pubs 6. Los postres irlandeses ¿Por qué? Pues porque cada uno de estos momentos estuvo cargado de intensidad, de conocimiento, y de placer (intelectual o gastronómico) 7. Mis juegos con los adolescents, según el momento y el lugar.

What events or moments did you like least, and why?

Sólo hubo un momento en el que me sentí ligeremente incómodo, y yo sabía que era por el cansancio personal: cuando hube de cortar a dos alumnos (no míos) por sus palabras (algo totalmente adolescente y sin transcendencia, por lo demás). Diría que todo, absolutamente todo fue bien recibido por mí. Me gusta aprovechar todo lo que me ofrece la vida y buscar el por qué.

What was the most interesting thing you learned about Irish history and culture?

Me impresionó la cantidad de pueblos que han conformado el alma irlandesa. También me impresionó cómo la música está enraizada en la gente.

Me vino a corraborar que un pueblo, un lugar, una forma de ser es producto de muchas formas de ser y de pensar y que la union de todo hace algo mayor que posteriormente será denominado de forma distinta según el sujeto. Y que un pueblo es tanto mas grande cuanto mayor es su grandeza de espíritu y que la cultura es una manifestación necesaria en la búsqueda de uno mismo; de ahí que hay quien tiene una o dos manifestaciones y quien admite más de una.

What was the most interesting thing you learned about nature and the environment?

La admiración. Ante algunas manifestaciones de la naturaleza aprendo, o vuelvo a recorder que la admiración por ella nos hace mejores.

Are there any questions you would like to ask me, about places we went, or things we discussed?

No, pero siempre me he guardado de los que se auto-denominan patriotas a costa del sufrimiento de los demás. Muchos de ellos no han resuelto su problema personal de la existencia. Todo esto no desestima que los humanos busquen la justicia y los ideales de distintas formas.

Go raibh maith agat!

Eskerrik asko!

Thank you!

Gracias!

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Letters after the trip to Ireland

Sailburuarentzako gutuna 1 jul.

a-goikoetxea@euskadi.eus

Egunon lagunok!!!!

Ohore handia izan da zuek esagutzea eta egun hauetan zurekin bizitza konpartitzea.

Atzo etxera heldu bezain laster, Gaizteiza joan nintzen eta gaur lur jota nago….

Komentatu genuen bezala, oso komenigarria izango litzateke Ikastetxearen aldetik saliburuari gutun bat bidaltzea Kultura Ondarea Saria eskertzeko eta, beste aldetik, zuen bidaiaren iritzia isladatzea.

Beharbada, hau ez da askotan egiten baina komenigarria da eta jakin behar dute zer iruditzen zaizue haiek egindakoa.

Bidali Korreoz eta mailez. Hauxe dira helbideak:

.-Gobierno vasco Consejera de Educación, Política Lingüística y Cultura Cristina Uriarte Toledo C/ Donostia-San Sebastian nº 1 01.010 Gasteiz c-uriartetoledo@euskadi.eus

.- Gobierno vasco Vice-consejera de Educación Arantza Aurrekoetxea C/ Donostia-San Sebastian nº 1 01.010 Gasteiz a-aurrekoetxeabilbao@euskadi.eus

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.- Gobierno vasco Vice-consejero de Cultura Jose Angel Muñoz Otaegi C/ Donostia-San Sebastian nº 1 01.010 Gasteiz jam-munoz@euskadi.eus

Amaia Goikoetxea Marques Eusko Jaurlaritza Kultura Ondare Zuzendaritza 685-734298/945-019519 http://www.euskadi.net/riojaalavesa http://www.euskadi.net/arabaerrioxa Hola, José Antonio:

Musu handi bat eta opor onak izan!!!!

Carta del Director del IES JULIO CARO BAROJA BHI a los Responsables de KULTURA ONDAREA SARIA (Eusko Jaurlaritza) "Como director del IES Julio Caro Baroja HBI me complace escribirles para felicitarles por el éxito del concurso "Kultura Ondarea Saria". También les envío nuestro más sincero agradecimiento por haber premiado a nuestros alumnos. Su participación sin duda alguna ha tenido una admirada resonancia en nuestro centro (lo presentaron a los cursos de 4º de la ESO y 1º de Bach), y en nuestra localidad (Getxo). Sabemos de su esfuerzo y trabajo en equipo recompensado.

Ahora, llegados de Irlanda, nos han transmitido cómo ha sido una experiencia increíble a nivel intelectual y humano al compartir no sólo su trabajo de Herencia Cultural Vasca entre ellos sino al compartirla con jóvenes y asociaciones irlandesas.

También quieren poner de relieve el liderazgo y profesionalidad de Mr. Paddy Woodwoth y de Amaia Goikoetxea, cuya entrega a su trabajo ha sido encomiable y más allá de lo exigible.

Le adjunto la opinión del profesor tutor que estuvo en el viaje con los alumnos de nuestro centro, Sr. Juan Carlos Martínez Iglesias.

Nuestra más sincera felicitación a todos.

Un saludo .....

Paddy Woodworth : Cuestionario

1 jul.

Hi Carlos I hope the trip home was comfortable and easy?

It was a great pleasure to meet you, and thank for all the many things you did to make the tour easier and more enjoyable for me. Your photographs are excellent in themselves, and a wonderful aide-memoire!

Since it was your idea originally to ask the students their opinions, I thought it might be a good idea to send you a draft of the questionnaire before sending it out generally. I'd appreciate your opinion on whether you think it asks the right questions, in the right way?

I'll be sending it to the teachers too, of course! Many thanks and all very best Paddy Short questionnaire on your opinion of the Kultura Ondarea Saria trip to Ireland

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To every one of my new friends in the Basque Country: Thank you for participating in the trip with such good will and in such good spirits. It is rare to be able to say that this applies to every individual in a large group, but in this case it is entirely and happily true. It was a real pleasure to meet you all. I wish you all everything good in the future, and hope that we may be able to stay in contact.

It would be very helpful to me, in organising future trips, if you could answer the following questions. Your answers can be short (for example, in some cases, just one word – good/bad/mediocre), or several paragraphs, as you like. You can answer in English or Spanish (as you know, my Euskera is sadly not good enough to include this option). Please feel free to say exactly what you think!

What is your general opinion of the trip?

Did it meet your expectations?

What events or moments did you like best, and why?

What events or moments did you like least, and why?

What was the most interesting thing you learned about Irish history and culture?

What was the most interesting thing you learned about nature and the environment?

Are there any questions you would like to ask me, about places we went, or things we discussed?

Dear Paddy, Later today I'll write to you from my personal email.

Regarding the questions for the evaluation, I think they are OK and enough. I mean, we could ask more questions about every aspect of the trip (lectures, hostels, food, programme, etc. etc.), however, your questions collect all these possibilities, which means they are not necessary.

Bye for now / J. Carlos Querido y apreciado Paddy: (1 Jul) Ha sido toda una experiencia conocerte. Y bien sabes que no sólo me refiero al aspecto intelectual sino también al humano. Me resulta interesante el mundo de las ideologías, pero aún más interesante las personas en sí.

En numerosas ocasiones te he mostrado mi aprecio (me gusta decir en alta voz las cosas buenas de la vida), que no es poco.

Como soy un poco orientalista, hubiera jurado que Kultura Ondarea, que el premio a Irlanda, el participar por accidente el conocerte no ha sido por casualidad. La casualidad no existe para los orientales. ¿Recuerdas mis expectativas del viaje? Conocer a alguna persona especial que tuviera algo que enseñarme. Pues bien, Paddy, sin duda alguna has sido tú.

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Cuando nos despedimos de ti, me vinieron las emociones y tuve que respirar hondo para poder contenerlas. Te habías ganado a mis alumnos y me habías ganado, desde la profesionalidad de tu liderazgo como guía y desde el corazón.

Ha sido una experiencia indescriptible la que he vivido con mis alumnos y contigo. La última experiencia de mi vida de profesor, ya que aunque este año he colaborado desde enero hasta el día de ayer, 30 de Junio, con mi centro, esto no ocurrirá el próximo año. Tengo que seguir mi camino, que no sé cuál es, pero seguro que estando atento a la vida se me mostrará en algún momento.

Sé que eres un hombre muy ocupado, Paddy, y no sé si nuestro encuentro cierra el ciclo del conocimiento mutuo o es el principio de un conocimiento mayor. La vida nos lo dirá.

De momento, un fuerte abrazo de quien te siente como una persona y amigo especial.

Con todo mi aprecio y el de mis alumnos (¡Te adoran!)

J. Carlos P.D. Paso las preguntas a mis alumnos para que hagan la evaluación del viaje a Irlanda 3 Good afternoon Carlos (3 Jul) Many thanks for your very generous email. I'm really glad you found the trip so good for you and for your pupils, That is what I hoped for, but really it seemed a big challenge, firstly because the age group was new to me for such a tour, and secondly because the final arrangements were made in such haste -- there was a lot of potential for disaster...

But you were such a wonderful group, and you especially as a tutor so very helpful and understanding, that it was much easier than it might have been, and I finished the week with more energy than I had started it.

Thank you very much for all the help and care you gave to every aspect of the trip, you were an invaluable support to me professionally (and personally), and it was also a great pleasure and inspiration to see what wonderful relationships you have with your pupils. I know you are a very special teacher, the rare kind that children remember for a lifetime with warmth, respect, affection and gratitude. I hope your talents are not lost to the young people of Getxo because of this odd state we call 'retirement'!

I'm flattered to hear that you feel you learned something from me -- I'm as lost in this mysterious, contradictory, sometimes terrifying, cruel and yet infinitely beautiful universe as the next person. And I'm not very good at some things I try to focus on. I'm also interested in some ideas with roots in the East, though I believe they are also present in Western culture, like the practice of Mindfulness, as articulated by people like Jon Kabat Zinn and Alan Watts, I wonder if you know their work?

I believe that the hardest and most important thing to learn in life is perhaps true compassion, wonderfully explored in this poem by Miller Williams: “Have compassion for everyone you meet, / even if they don't want it.

What seems conceit, bad manners, or cynicism is always

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a sign of things no ears have heard, no eyes have seen.

You do not know what wars are going on down there where the spirit meets the bone.â&#x20AC;?

Frequently, however, I feel much more inclined to feel anger, even hatred, especially when I see what humans are doing to each other, and to our planet. Compassion for Putin, for Merkel, for the fanatics of IS? That's hard. But maybe that is what we are here to learn, if indeed we are here 'for' anything. I suspect you and I disagree most on this issue of coincidence -- I am not at all sure there is any 'purpose' or 'meaning' in the world or our lives -- EXCEPT what we can bring to it ourselves.

Enough rambling! But yes, I hope we can stay in touch. Please feel free to contact me any time.

And may I ask you one more favour? Could you please also fill in the questionnaire yourself?

Sorry to impose on your time, but I need to put together a solid portfolio as part of my report back to Kultura Ondarea. But don't hesitate to be frank about anything that you feel did not work etc!

All good wishes, / Adiorik ez Paddy

Egunon a tod@s Espero que habeis llegado bien a vuestro pais?

Fue un placer conoceros, y muchas gracias por el esmero y buen humor que llevasteis a todo el viaje. Espero que nos veremos en otras ocasiones, aqui o alli o ambos. Como decia Jon, "You know where I live"!

Adjunto un cuestionario, como acordamos, por los alumn@s, que tambien es una carta a ell@s.

De hecho, me gustaria mucho si vosotros tambien estuverais dispuestos a rellenarlo. Me ayuda mucho el 'feedback'.

Podeis dar mi correo a los alumn@s, o decirlos que los devuelvan por vosotros, como os parece mejor.

Ezkerrik asko, eta adiorik ez KULTURA ONDAREA SARIA eta RADIO EUSKADI a-goikoetxea@euskadi.eus

3 jul.

Eguerdion, Mesedez pasa ezazue zuen ikaslei nola datorren larunbatean eguerdiko 12h30an Radio Euskadin Paddy, Aitziber eta Ixabel hitz egingo dutela, hau da, Kultura Ondarea Sariari buruz elkarrizketa bat egingo diete.

Besarkada handi bat Amaia Goikoetxea Marques

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Kultura Ondarea: Entrevistas Kaixo, Acabo de publicar las entrevistas a los tutores y alumnos. Amaia no estaba segura de todos los nombres así que podéis, echad por favor un vistazo a los nombres de los vídeos y si no se corresponde con sus protagonistas me avisáis para cambiarlo. Eskerrik asko https://www.youtube.com/playlist?list=PLtLspb3KvD-SD0gSlz1okBguabGvlnX8H Creo que todo correcto.

Un saludo. Carlos

juan carlos martinez iglesias <jcmarxkultura@gmail.com> Links

3 jul.

Hola, Paddy: Este email es sólo para enviarte nuestros links del instituto donde aparece nuestra experiencia con Kultura Ondarea y contigo.

IES Julio Caro Baroja http://www.iesjcbarojabhi.hezkuntza.net/web/guest En el centro de la página bajando el scroll, aparece la información sobre el concurso y nuestros alumnos. Se supone que el director subirá algo más uno de estos días.

BLOG DEL SEMINARIO DE INGLES: www.ourenglishprojects.blogspot.com.es Aquí encontrarás primero el diario de estos días, pero todo en inglés y escrito por mis alumnas, junto con los PPTs del día (intentaré subir los tres que me faltan, pero ya hay cuatro subidos.

También encontrarás la información y propaganda durante el concurso y cuando se nos concede el premio.

If you click at the end of the page where it says ENTRADAS ANTIGUAS, you'll see all we uploaded before our trip to Ireland.

Warmest greetings, Paddy. / J. Carlos P.S I send you 4 evaluations. I think that Ander Gómez sent you his. As soon as Iratxe and Estera Laura send them to me, I'll send them to you (they are having a very busy life).

Where it says OPINION it is what I gave the principal os IES Julio Caro Baroja to send it to The Basque Government (Departamento de Educación y Cultura) with a letter of thankfulness Thank you Carlos. The evaluations are all very generous. I'm delighted. Looking forward to seeing the material online, limited access here.

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Did you hear the radio programme? The focus I think was more on the videos than the trip and when they got to the trip my phone link dropped! A shame. Hope it continued ok?

All best / Paddy

Hi Paddy, I'm very sorry to say I couldn't listen to you on the radio. I don't know why, but I thought you were talking in Euskadi Irratia instead of Radio Euskadi. I was waiting for over one hour. Then Marian, my wife, asked me: Are you sure they are talking in Euskadi Irratia?

Now I am in Pamplona visiting the family. When I get to Bilbao (to Algorta) I'll try to get the link to listen to you.

Bye for now.

J. Carlos P.S. Ah! The evaluation means what we have simply received from this trip. Generous? May be, but weren't you generous to us too?

Hi Paddy, I'm sorry to know about the interview with Radio Euskadi.

Regarding RNE interview, I don't feel completely satisfied as they only asked me two questions.

I didn't want to be speaking all the time, so I let them have the chance to ask me about some of my words or any other questions. Finally I had to suggest them to ask me about how we felt about Kultura Ondarea Contest and the fact that the Basque government promoted sucn an idea.

Anuway, I hope that the interview will be happily completed with the answers from other people taking part in the project.

Bye for now, Paddy.

J. Carlos

2015-07-06 10:48 GMT+02:00 Paddy Woodworth <paddywoodworth1@gmail.com>: Hi Carlos Amaia just called me to say she feels the whole interview was not done well, that the research team had not informed the presenter properly and that the questions asked were not the important ones. Disappointing. But have just done an interview with Patxo from RNE and I think you have too, and the questions were fine, so hopefully this will be good.

All best // Paddy

(7 Jul) Thanks Carlos -- if you get a link for the RNE interview, I'd be grateful if you could share it with me.

All best Paddy

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Hi Carlos Your pupils have been great replying -- I still haven't heard back from Jon's group at all!

But I never received Ander's evaluation, I wonder if he had my address correctly. And I haven't heard from Iratxe and Laura E either. Of course some of them may decide not to write anything, but if they are it would be great if they did it while their memories are still fresh.

All very best / Paddy juan carlos Martinez <jcmarxtinez@gmail.com>

7 jul.

Kaixo Juan Carlos Me da vergüenza confesar que solamente hoy mismo he mirado con cuidado y el tiempo debido los enlaces que me mandaste sobre el blog de viaje hecho por ti y los alumnos. Me parece un trabajo genial de tod@s, y un buen recuerdo de aquellos dias tan especiales.

Ezkerrik asko Paddy 18 jul.

Paddy Woodworth

Egunon Carlos Me alegra mucho tener todas estas evaluaciones -- puedes imaginar que es muy gratificante saber de las bocas de l@s jovenes que el viaje ha abierto puertas nuevas en la vida para ell@s.

Te agradezco mucho el esmero que has mostrado en buscar los ultimos de tu grupo.

Con Ander, crei haber tenido lo menos relacion -- era dificil, quizas por su edad o timidez, entablar una conversacion con el. Me alegra mucho que disfruto del viaje.

Lo de Olatz es precioso y bien pensado por supuesto, me impresiono como una mujer joven muy intelligente y sensata.

Te escribo mas el lunes Un abrazo fuerte desde la casa de Wicklow, hay que plantar semillas!

Paddy Hola, Paddy: Paso por Bilbao y recupero internet. Podría ir a algún cibercafé o cosas así para entrar en internet, pero no suelo hacerlo.

Me imagino que te ha alegrado mucho saber que tenemos en una gran estima -¡y todos!- todo el trabajo que has hecho con nosotros durante esa semana inolvidable en Irlanda. Lo has hecho muy bien y te lo mereces.

Por mi parte… ¿Tú ya estás instalado en Wicklow para el verano? ¡Qué precioso lugar!

Un abrazo J. Carlos

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TITULO Y DIPLOMA

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KULTURA ONDAREA SARIA 2015 Y LA PRENSA Desde día de la entrega de Premios esta ha sido la relación con la prensa:

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EiTB: Previo a la entrega de premios realizó una entrevista en euskera a un alumno de cada centro premiado. En el caso del IES Julio Caro Baroja BHI, Iratxe Cea contestó a las preguntas.

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Se han contestado a entrevistas desde: 

Cadena COPE



Cadena Ser



Radio Euskadi



RNE (Radio nacional de España)

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Getxoberri

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FACEBOOK: En facebook se puede encontrar abundante documentación sobre el viaje a Irlanda con fotos y videos sacadas y grabados principalmente por los alumnos y el profesor del IES Julio Caro Baroja BHI.

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En la web del instituto aparecen noticias sobre el concurso y nuestros alumnos.

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En el BLOG del Seminario de Inglés consta el proceso del concurso y un diario del Viaje a Irlanda con abundante documentación fotográfica.

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Exitosa primera edición de Kultura Ondarea Saria 11 junio, 2015 Destacados, Smart Territories

K

ultura Ondarea Saria es un concurso de vídeos

para difundir el Patrimonio Cultural Vasco, organizado por el Departamento de Educación, Política Lingüística y Cultura del Gobierno Vasco orientado a alumnos de primero de Bachillerato y primero de los Ciclos Formativos de Grado Medio del curso 2014-2015, matriculados en centros oficiales de la Comunidad Autónoma del País Vasco.

El equipo de trabajo lo han conformado el Centro de Patrimonio Cultural del Gobierno vasco, Berritzegune Nagusia y RealiZe S.Coop. RealiZe ha participado definiendo la dinámica del concurso, desarrollando contenidos educativos para la página web y gestionando la comunicación con los centros educativos y los estudiantes.

En esta primera edición de Kultura Ondarea Saria se ha logrado una magnífica participación, con un total de 67 vídeos. Pueden verse todos ellos aquí.

Los 3 ganadores, premiados con un viaje cultural a Irlanda, han sido: - Surfing our traditional Basque boat rebuilding; IES Julio Caro Baroja BHI (Getxo) - Orozkoko garrafak; Laudio ikastola (Laudio) - Euskara; Axular Lizeoa (Donostia) Dado el éxito obtenido, el Departamento de Educación, Política Lingüística y Cultura del Gobierno Vasco lanzará una segunda edición para el curso 2015-2016. Toda la información se publicará en la web www.kulturaondarea.euskadi.net y en su fanpage

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INDICE Pág. 1-2

Título

Pág.

Introducción

3

Pág. 4-9

Bases del concurso

Pág. 10-13

Material Didáctico en Inglés

Pág. 14-15

Anexos 1 y 2

Pág. 16-17

Previsiones

Pág. 18-28

Diary of the Project

Pág. 29-30

Anexo 3

Pág. 31-34

Itxas Egurra Haizean

Pág. 36-43

Make-of Docs Trilingual

Pág. 44-48

Boat Rebuilding Sript Trilingual

Pág. 49-53

The Prize and lectures. Trilingual

Pág. 54-60

Letters before the Trip to Ireland

Pág. 61-73

Texts by Paddy Woodworth

Pág. 74-77

Itinenary to Ireland Trip

Pág. 78-83

Diary of a very Special Trip

Pág. 84-85

Opinion sobre el viaje, por J.C.M

Pág. 86-93

Evaluación de los alumnos y del tutor.

Pág. 94-101

Letters after the Trip to Ireland

Pág. 102-104

Diplomas y Títulos del premio.

Pág. 105-109

Prensa

Pág. 110

Índice