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Dominique’s anguish envelopes the reality of Basques becoming American and feeling that in truth they had found another new home, although they had been longing and mourning for the home they had left behind years back. Americans have developed a way to fight “geographies of exclusion” (Sibley 1999) and have been able, once again, to exercise practices of adaptation, creativity and resilience. Indeed, the Basque community in Boise is elaborating an identity that is guided by two core motives: the need to be unique and the need to belong (Brewer 1991). This new identity unfolds a new hybrid identity, which opposes and combats conceiving diaspora Basques and their music as a diluted version of the homeland Basque identity; or an attempt to simply produce a replica or copy of the practices in the homeland. Music is a way to hold onto Basque ethnicity and a means to celebrate one’s own individual and collective ethnic identity. Basque diaspora members are making identity and musical choices that suit them and their audiences; that is, they choose to act and react bearing in mind their individual and collective voluntary affiliation choices. That is the case of the music band in Boise, Amuma Says No. They also engage in a sense of collective and individual ethnic belonging. Besides, through music performers and the audience itself learn about their history and their roots. Boise Basques, as recreated by Amuma Says No, undoubtedly represent some of the identity choices and affiliation practices through the music they create. These creations envision the voluntary choice to be Basque and express the different ways and representations of being and feeling Basque. The identity construction of Boise Basques and their music illustrates the fact that Basqueness and its configuration is not just a task that “belongs” and is 334 ANGEL CHAPARRO, AMAIA IBARRARAN AND MONIKA MADINABEITIA exclusive to homeland Basques; the debate lies on whether the core for Basque identity is in the homeland, and whether diaspora Basques need to evolve around this core, in its periphery. Boise Basques are certainly an example of the contrary. References Barber, Phyllis. 2009. Raw Edges: A Memoir. Bhabha, Homi K. (1994) 2004.

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