Last month, the 37th edition of the L-Għanja tal-Poplu festival came to a close at the University of Malta’s Sir Temi Zammit Hall, with the song Hawn Siġġu Nieqes clinching the top prize.
Penned by Paul Ellul and Mark Spiteri Lucas and sung by Cherise Attard, the song essentially focuses on the issue of civil unions, represented in the song by a couple that has opted for a civil wedding rather than a religious one. The missing chair referenced in the title represents the absence of Christ’s presence at the union.
It’s a relevant enough subject to address in a country that is, on paper at least, fervently Catholic. But while the result garnered a few column inches in the local media, it provoked a much longer thread on Facebook, amid claims that “the song’s lyrics are patronising and that its music is rather generic”.
In the arts, the term ‘generic’ should only exist to be challenged
Having been unable to attend the festival in person, I listened to the participating songs on the CD album instead and, on a personal note, I can’t say the winning song was among the ones I felt stood out in particular.
Yet, while it wasn’t among my top picks, it wasn’t my least favourite either – it was simply there. I listened to it, moved on to the next song and forgot all about it, until the hoo-hah that ensued on Facebook made me go back to it and see what all the fuss was about.
Another run-through of the lyrics later, having got the song’s gist and even listened to it a few more times, I came away with the feeling that yes, perhaps its victory was more than likely abetted by its ‘righteous proclivity’. Yet, I’m still unsure whether this justifies the verbal thrashing it was served on Facebook.
Now there will be those who argue that L-Għanja tal-Poplu shouldn’t be a pulpit to preach from, but isn’t that what songs addressing social themes, whether directly or indirectly, whether seriously or with a touch of humour, really do?
This is intrinsic to the very nature of this festival, which requires participating songs to have a social theme. And in this regard, Hawn Siġġu Nieqes fulfils that requisite without a doubt. I can understand why some felt the way the topic of this song was addressed was a step back of sorts, but in all fairness, every participant is free to choose what they write and sing about as long as it falls within the festival’s parameters.
So where does this leave the whole argument that surfaced on Facebook? Open to each individual’s own take is the apparent answer. Having now also managed to see the festival thanks to a private TV station (not the national station, for some odd reason) that broadcast the show a couple of times, and listened to all the songs a few times over on the CD too, I must say there are some songs that sink in nicely. A few others, less so.
I certainly beg to differ, however, when it comes to saying that all the participating songs were of a high standard, and I’m sure there are others who think so too. Admittedly, there were quite a few rather interesting ideas on offer, but for some reason, I felt as if the artists (or composers, or both) seemed to stop short of going the whole hog and challenging the norm completely. I’m not quite sure what may have held them back, as there’s certainly nothing wrong in bringing something fresh to the table.
I’m more than certain there are a few bands and artists who genuinely do so, but perhaps because this is a competition, could it be that the possibility of losing some points conditioned, or rather, restrained those artists who would otherwise have dared that little bit more?
On the other side of the spectrum there were some songs that felt too forced or tacky, or both, and there was certainly a touch too much drama in a couple of instances too.
It’s an admirable quality to give the songs feeling, and equally admirable to try and push boundaries and be different. These should all be encouraged, but bands should also be cautious not to lose their authenticity in the process. In events such as L-Għanja tal-Poplu – in all of the arts actually, but especially in an event that seeks to breathe new life into something so special and unique to us as the kanzunetta Maltija, the term ‘generic’ should only exist to be challenged, no more, no less.
Regardless of the comments I have expressed above – my opinion, nothing more – I fully support and commend the efforts of all the participating artists, writers and composers.
I especially applaud the organisers of L-Għanja tal-Poplu, not least because were it not for them, the presence of the kanzunetta Maltija among us in this day and age, despite a growing interest in contemporary Maltese language songs, would still be quite rare.
Each year, the organisation strives hard to build on the previous year’s edition and success, and this deserves recognition as well as our support.
As for the songs, there will always be enough space for those with a more traditional or conventional inclination, but what is also needed, if the Maltese folk song is to flourish and evolve to survive in the years ahead, is for all involved – artists, writers, composers and festival judges alike – to embrace the spirit of innovation and fearlessness towards change and be inspired by it.
Promoting such a mindset and allowing it to thrive will motivate our artists to let their creativity run wild and rise to the challenge. The end result won’t necessarily all be good, that much I’ll admit, but it will be authentic, and if the quality of some of the Maltese songs that have surfaced in recent years is anything to go by, some great music will be produced too.
Bring on the next one!
L-Għanja tal-Poplu 2013 results
1st Place: Hawn Siġġu Nieqes by Cherise Attard (Paul Ellul/Mark Spiteri Lucas)
2nd Place: Signor Si by Dorothy Muscat (Joe Julian Farrugia/ Sammy Galea)
3rd Place: Pupazz by Rita Pace (Rita Pace/Emil Calleja Bayliss)
Best Social Theme: Virtwali by Estelle Fenech (Paul Attard/Mark Scicluna)
Best Interpretation: Kuluri, Lwien by X-Tend (Charles Dalli)
Best Songwriter: Il-Maltin, Bil-Politka Mehdijin by Justin Galea and Banda Briganti (Keith Muscat, Sylvan Borg)
Best Young Talent: Taħnina by Fiona Camilleri (Robert Carbonaro)
Għanja Li Tibqa’ Award: Sunny Aquilina
www.ghanjafest.com, www.facebook.com/GhanjaTalPoplu