Txalaparta, kirkoketa

Struck idiophone of the Basque people of Spain and France, with a disputed history of speech surrogacy discussed in del Moral (2012), Goiri (1996), and Beltrán (2009). The instrument itself consists of multiple wooden or metal planks suspended above the ground; played by two musicians, it is struck with wooden beaters held vertically, producing ‘interlocking’ rhythms. Traditional and popular narratives of the instrument include its historical use as a signal device that facilitated communication between rural mountain dwellings (del Moral 2012:259). Goiri reports the existence of a “‘cider call, a ‘call to inform of a death’, and a ‘festivity call’” (in del Moral 2012:178). According to del Moral, “Beltrán tirelessly indicates in his writings that Txalparta was not a ‘calling device’, as per information collected directly from the last performers remaining in the 1960s”, and del Moral describes a lack of direct evidence for the practice (179). However, a variant of Txalaparta performance with a linguistic association is reported by Beltrán: “the performance of Kirkoketa … was accompanied by a chant in such a way that each syllable accompanied each stroke … This way of playing shows clearly that there is something of a message, the trace of a message… that the task of pressing the cider is over, and on the other hand, a call to the festival” (Beltrán 1998 in del Moral 2012:179). Strictly communicative uses for the Txalaparta are not evident in modern practice.

Escribano del Moral, M. (2012). Rhythms of struggle: Recovery, revival and re-creation of txalaparta in the Basque Country. University of Limerick.,Goiri, J. (1996). Txalaparta: Txakun, los dos sonidos del corazón. Josu Goiri Iturrizar.,Beltrán, J. M. (2009). Txalaparta. NO-CD Rekords.