Għana ( ) is a type of traditional folk music from Malta. Għana has two literal meanings. The first is richness, wealth and prosperity; the second is associated with singing, verse, rhyme and even kantaliena, a type of singing with a slow rhythm. Għana can be broken up into formal and informal practices. The origin of the word is Arabic Ghena or Ghina غنى/غناء which means the same : richness or singing/songs/lyrics, etc.

thumb|Għanneja (singers) and musicians playing together at a bar in [[Zurrieq]]

A singer in this field is locally called għannej (literally 'the singer'). All għana singing consists of "a tight voice type" with "straining of throat muscles and controlled use of diaphragm muscles to produce a loud sound". Għana has been called "a synthesis of North African and European music."

One of the earliest mentions of għana on record is from 1791. A French knight, François-Emmanuel Guignard, comte de Saint-Priest, published a book called Malte par une Voyageur Francais, which included the lyrics of three għanjiet (songs), as transcribed for him by a Maltese librarian, Gioacchino Navarro.

Informal Għana

Throughout its history, informal għana situations frequently occurred among both men and women. The informal sessions shed light on the importance of the music in day-to-day life of the Maltese. The very origins of għana can be traced back to early peasant farmers.

A book published in 1838 by Anglican missionary and orientalist George Percy Badger titled Description of Malta and Gozo includes examples of Maltese folk songs, accompanied by his comments, such as to highlight the talent of the Maltese for rhyming. He even describes seeing singers engaged in dialogic singing, who reply to each another in song:

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I have often stood and listened to individuals seated upon two opposite trees, or engaged in some kind of labour, singing answers to each other in rhyme, without any previous meditation. This the natives call taqbeel. The subjects vary according to circumstances, sometimes partaking of the nature of epic poetry, and sometimes of satire upon the faults of character of each.

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Professor Philip Ciantar, in his article From the Bar to the Stage puts together the writings of a number of foreign and Maltese scholars who make the claim early għana instances represents both the "simple [...] life of the Maltese working class", and the "intact natural environment of the island". Ciantar argues that the roots of għana are buried deep within traditional Maltese way of life, so much so that the two become synonymous with each other.

Formal Għana

There are 3 main types of għana: fil-Għoli, tal-Fatt and Spirtu Pront.

Għana fil-Għoli, meaning "in the high register", is also known as tal-Bormliża, taking its name from the city of Bormla where it was popular. A style which uses a lot of melisma, it is both difficult to sing and to understand, and requires a high-pitched voice.

Għana tal-Fatt literally means 'fact' The oldest documented traditional Maltese song is the ballad "L-Għarusa ta' Mosta" ('The Bride of Mosta'), based on events in the 1500s and still sung. Għana tal-Makjetta is a humorous style usually accompanied on the guitar by major chords.

Spirtu Pront

In Spirtu Pront sessions, two or more għannejja (singers) are paired together and take part in an improvised song duel in the form of duets, with a riposte and counter-riposte (botta u risposta). If four singers are involved, the first will sing with the third, and the second with the fourth. The għannejja then begin discussing the topic. This would either be predetermined, or it will be established during the course of a session, just as a conversation would. Għana is not used to settle personal differences or arguments between singers. The song subjects' themes themselves are dramatic and grave, even if dealt with wittily. They may be "personal honour, reflections on social values, or political (in the narrow sense of the word)".

The prim has to join in with the same type of accompaniment as the others during the singing. Then improvises motifs during the introduction, the conclusion, and during the qalba; the interval between the sung verses giving the next għannej (singer) time to prepare a response to his opponents' remarks.

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In the most frequently used 'La' accompaniment (akkumpanjament fuq il-La), the strings of the lead guitar will be tuned to E–A–D–G–B–E while those of the second accompanying guitars will be tuned a minor third lower, except for the bottom string: E–F#–B–E–G#–C#. The tone quality of these locally produced guitars is described by Ciantar as "very compact, with very low bass resonance". These motifs are popular, not only among aficionados, but also outside of the għana community by the general Maltese public. The lead guitarist begins with an introductory section accompanied by the strumming of triadic, diatonic chords provided by the other guitarists. As soon as the former completes his improvisation he joins the other guitarists in the accompaniment based on the tonic and dominant of the established key. The function of this introductory section is to establish the tonality and tempo for the session. Tonality changes from one session to another in a whole performance, depending on what collectively suits the singers.

  • Mikiel Abela "il-Bambinu" (1920–1991)
  • Leli Azzopardi "il-Bugazz" (1928–2003)
  • Frans Baldacchino "il-Budaj" (1943–2006)
  • Ġużeppi Camilleri "il-Jimmy tal-Fjur" (1917–1994)
  • Tony Camilleri "l-Għannej"
  • Emmanuele Cilia "Ta' Napuljun" (1889-1967)
  • Salvu Darmanin "ir-Ruġel" (1905–1976)
  • Pawlu Degabriele "il-Bies" (1908–1980)
  • Grezzju Ellul "ta' Ċanċa" (1926–1996)
  • Sam Farrugia "tal-Carabott" (1933–2002)
  • Guzeppi Meli "Ta' Sika" (1929–2009)
  • Żaru Mifsud "l-Għaxqi" (1933–2001)
  • Żaren Mifsud "ta' Vestru" (1924–1999)
  • Bastjan Micallef "Ir-Rabti" (1936–2002)
  • Toni Pullicino "it-Tullier" (1927–1968)
  • Rozina Sciberras "tat-Trott" (1880–1959)
  • Fredu Spiteri "l-Everest" (1929–1965)
  • Ġammari Spiteri "Amletu" (1907–1962)
  • Leli Sultana "Il-Moni" (1921–2003)
  • Karmnu Xuereb "In-Namru" (1911–1997)
  • Pawlu Seychell "l-Għannej" (1907-1992)
  • Ninu Galea "l-Kalora" (1922-2012)

References

  • From the Bar to the Stage