euskalkultura.eus

Miren Arzalluz, Director of the Etxepare Basque Institute, thinks that after the first phase “where the basis of our activity was established,” the institute is “very well-situated for a consolidation phase.”  Regarding the program “Euskara Munduan,” the work done by coordinator, Kinku Zinkunegi will now become part of the Etxepare Institute.  Interview by Nerea Azurmendi in El Diario Vasco. 

Nerea Azurmendi. Donostia-San Sebastián.  The Etxepare Basque Institute was created 10 years ago, and began to function a little more than six years ago.  Since the end of the year, it has a new director, Miren Arzalluz Loroño, (Bilbao, 1978).  She holds a degree in History from the University of Deusto and a Masters in Comparative Politics from the London School of Economics and a Masters in Art History.  Much of her professional career has been in the area of music and as a curator of exhibits in the Basque Country organizing the collections at the Balenciaga Museum for example, as well as abroad.  Arzalluz took over the direction of an entity that “promotes Basque language and culture as well as the country’s image,” at a time when the definition of what is and what is not culture is shedding corsets.

-The Etxepare Institute is already in full swing; where are you now, and where are you going?

-It has completed the first phase that have established the basis of its activity.  Everything had to be done, and it was a very expansive phase with great challenged, of growth that was compelled very successfully.  Our predecessors [Aizpea Goenaga and Mari Jose Olaziregi] worked tremendously hard, and vigorously.  Obviously the Institute can’t continue to grow at the same rate, but it is very well-situated to take on phase two: consolidation and increase its quality.  Now we need to reflect and decide which way to go in the future in order to comply with the goals set in the law.

“I think that the field of ‘cultural diplomacy’ allows us to introduce ourselves as a relevant country.”

“We need a larger dimension, to develop projects that have more impact and visibility” 

“Management of the Euskara Munduan Program will help us approaching more euskal etxeak.”

-This law frames the task of promoting Euskera and Basque Culture that attributes to Etxepare in the field of “cultural diplomacy.”  Is it a lucky expression, or an authentic strategy of the country?

-The enhancement of understanding and dialogue through cultural exchange is taking on a large dimension in the field of diplomatic action.  It is a fundamental instrument for our projection in the world, and is particularly important for countries such as ours that are do not have a State, and that also have to overcome prejudice and distortions.  At the European level, it has also been understood like this, and in 2016 the European Commission has situated “cultural diplomacy” at the center of its international relations strategy.

-In such broad areas, isn’t Euskadi a little lost?

-As far as we are part of Eunic, the group of national cultural institutions that the European institutions have identified as one of the fundamental agents in the execution of this cultural diplomacy, we are in a situation to have a voice and, to the extent possible, influence.  And that’s important, because we are the only members of Eunic that do not represent a State.

-But being realistic and keeping in mind that there are many countries that compete in this race.  Can Euskadi aspire to occupy a place of relevancy?

-It is for sure very competitive but I, besides being a realist, am an optimist, and I think that we can present ourselves as a relevant country.  We are, always in our scale, in economic terms, as well as in cultural terms.  I have developed a part of my professional career abroad and I have felt recognition and admiration for a culture that was very much identified with a language and a certain way of relating our own tradition.  But at another level, we are also being recognized for the ability to renew our relationship with that tradition, to reinvent ourselves, to reconvert.  We have cultural projects that identity us abroad and here, and we are considered interesting people in areas where we may not have been considered before.

-The projection of Basque culture has depended for decades on big names that have attained international relevance.  Are they still an important asset?

-We shouldn’t give up on those big names in our recent history, because they always help open new roads and bring opportunities to our artists and creators.  In any case, great creators are seldom an anecdote or an exception in the history of a country.  They are born into a determined culture, in a determined tradition, of a determined esthetic sensibility, artistic and intellectual sensibility that have continuity in many creators that have succeeded them.

-Three names occur to me, Oteiza, Chillida or Atxaga, should Balenciaga also be added since he is so admired and well-known

-We have so few creators that have excelled in their discipline as Cristobal Balenciaga has, and who have had worldwide influence of this magnitude.  And we have very few creators who are opening doors to institutions as we imagine Balenciaga has…

-What we call culture is an increasingly broad concept that will have continue finding its place in new areas, like in fashion?

-The debate about what was previously classified as “popular culture,” is very lively.  We talk about disciplines and expressions that have been placed in the margins of the traditional concept of culture, such as design, fashion, video games or others that are relocating and that we cannot neglect.  The Department of Culture [of the Basque Government] is making its own reflection on the cultural and creative industries, which incorporate this broader vision of cultural expressions, and so we are  working closely with them because it will also influence our mission and our actions.

-The bulk of the Etxepare Basque Institute’s activity in regards to cultural promotion consist in facilitating the access to creators and professionals to the international panorama through various lines of help.  There are dozens of actions a year, but beyond their effect on the beneficiaries, are they not a little blurred when it comes to projecting our “country’s image?”

-That is one aspect that we have identified for improvement.  Our activity is huge, we work with many different disciplines and that makes it very fragmented.  It is effective on many levels, but is not as visible as we would like, and if your goal is to represent a country in the world, fragmentation doesn’t help.  We need a bigger dimension to develop projects that have a greater impact and more specific weight in the international cultural scene.  At the same time, they will serve as a platform for our creators and cultural industries.  Gaining visibility is fundamental, and it is one of our main lines of work, a priority objective.

-Can we talk about Etxepare Institute’s own production for example?  

-There are many formulas, including this one.  Entering into a huge international program can give rise to great production and a great “landing,” to rephrase this, but this powerful projection can also be found in other ways.  Now we are looking and identifying opportunities and establishing relationships…This is something that we have to do very carefully, and in addition to take this step we have to be capable of new funding, not necessarily public ones.

-But this year you have more resources, the budget for the Department of Culture and Linguistic Policy was increased…

-Yes, but the structure has just been completed, with Irene Larraza as the Director of Promotion and Diffusion of Culture, a job that has yet to be filled, and Garbiñe Iztueta who just began, after a search, as the new Director for the Promotion and Diffusion of Euskera.

NEW WORK AREAS

-In this area you will also have to assume new functions, like the Euskara Munduan Program, that is related to teaching Basque at the euskal etxeak.

-For many years, this program was linked to Foreign Action, but in the coming years Etxepare will become the main tool of the Department of Cultural and Linguistic Policy in this area of cultural diplomacy. It is logical then to add the coordination of the Euskara Munduan program, and it seems like an excellent way to get closer to the Basque clubs around the world that we can learn so much from.  The relationship that we have with them is excellent, but it will be useful to systematize them more and to act as a network.  In regards to Euskara Munduan, we are in the phase of technical transition.  It will still take us a few months, but all are looking forward to it coming together, because it will allow us to further publicize the Basque language.  It will be the natural extension, beyond the academic field, the work of teaching Euskera and Basque culture that is currently being done by our lecturers.

-And now there are 30 in 18 countries.  Will this network be expanded?

-We will continue to study it, as new opportunities present themselves, but of course we have to stay within our budget.  Although there is great potential for growth, we have to do so with the corresponding resources.  Now we have to consolidate, and reinforce the relationship between the lecturers.

-What does a lecturer do exactly?

-They teach Basque language and culture, after going through a very rigorous selection process, and receiving specific training, because it is something that the universities we work with take very seriously. Now, taking something that has already been planted, we are in conversations with HABE and the Vice-Minister of Linguistic Policy to see if it is possible to certify the Basque level of our lecturers.  It could make the job even more attractive.

-Some lecturers have just organized their own Korrika.  Beyond the linguistic aspect, is this emotional, festive and fun facet of the Basque language is also an added attraction?

-In this sense, we think that our lecturers are not only teachers of Basque language and culture, but also are cultural facilitators I their sphere of influence, which sometimes is limited to the university, but others go beyond.  We’d like to strengthen this line of work.

-In regards to the Chairs, are you planning to expand?

-The Chairs provide the possibility to promote specialized studies of Basque themes in what we think have made a significant contribution.  We don’t foresee any new Chairs in the near future, but we are not ruling out more, further down the road.  There is a part of Basque culture and creation that we are working on at the eight existing Chairs but, if we begin to consider Basque culture in the broader sense, why not?  We have to diversify, and be more creative in reading our own culture.

ETXEPARE, IN NUMBERS

• 10 Years: On the 20^th of this month, the anniversary of the law that made the creation of the Etxepare Basque Institute possible
• 2.3 Million: Euros have been approved this year by the Basque Autonomous Community.  More than half will be dedicated to helping third parties
• 209 Projects (theatre, dance, music, visual arts and visuals) received support for their international projection in 2016)
• 122 Appearances at international fairs of professional character last year with support from Etxepare
• 30 Lecturers at 34 universities in 18 countries and eight Chairs as part of an academic network for the promotion of Euskera and Basque culture
• 26 International Fairs that included stands with Etxepare representation, in collaboration with agents in various sectors

(Published on 4/16/2017 in El Diario Vasco)