The dance of the “ttun-ttun” was a very important, collective, social event in the Valley.

At the end of the week, the village held a social event, a get-together in the square, at which the youth of the village danced. Younger children were not allowed to take part and were chased out of the square by the local constable.

The dance blends past and future, perpetuating local social traditions in newer generations, depositing in them those cherished values that their forefathers deem fit.

The psychological purpose of the dance of the “ttun-ttun” is to pass on social values within the group, surpassing the individuality of the members of the family.

The dance was accompanied by the “txirula” (local flute) and the psaltery, which received the name of “ttun-ttun”, also known as the “damburia”, perhaps a derivation of the Egyptian “tamboura”, a type of lute, now replaced by the tabor.

The dance follows an anti-clockwise circle. Like other Roncal dances, it is danced on tiptoe, with ceremonious dignity, but not rigidity. We know of versions of the “ttun-ttun” from three localities in the Valley: Garde, Isaba and Uztárroz. The moves of the three dances are similar, differences lying in the melodies and, in the case of Uztárroz, the order of the different parts of the dance.