Maria Bellia’s rendition of ‘L-Aħħar Bidwi f’Wied il-Għasel’ is a brilliant execution of a howl of pain that is very familiar among the population.

The lyrics to the classic songs were changed mid-way, describing the derelict fields as only reserved for "some tower or flat" or as a means for business, as most people feel they can do nothing to change the situation.

Its appearance on TVM’s prime time is also rather unique, considering how State broadcasting has relegated discussion programmes to a secondary channel, preferring to invest heavily in reality shows, thus distracting audiences from more pressing issues.

Possibly, the element of protest in a relatively polished, sanitised show such as X-Factor may have come as a surprise to most, especially to those who have gradually impoverished the quality of TVM’s journalism. References to the construction spree of the last eight years are far and few in between, but judging by the audience’s reactions to Bellia’s performance, it’s as if the government and its propaganda ignore the public sentiment on the matter.

Labour is facing a ‘mid-term’ test in the upcoming MEP elections. 

Over a year since its electoral pledge for more green spaces, the government has only succeeded in delivering more construction, traffic, pollution, deregulation, and noise. What is worst is that the Robert Abela administration has no intention of hitting the brakes, let alone reverse the trend.

While the government pledged a €700m ‘open spaces’ war chest, there is little other than the embellishment of a few unbuilt spaces, without any effort to halt the take-up of land by construction, or any other policy change for that matter. On the contrary, Environment Minister Miriam Dalli has defended the re-zoning of government property in Qajjenza, and allowed public land in Mellieħa and Żurrieq to be sold to developers. It certainly won’t be a song to put pressure on the government; and neither will the physical resistance to the uprooting of trees. 

Both, however, give an important insight into the national psyche about environmental issues, and this is where both the government and opposition offer no hope to an ever-increasing chunk of the electorate. While X-Factor has served as an unwitting platform to a song of protest on State TV, it is telling that expressions of protest such as these are reverberating louder than ever. There’s a lesson there somewhere for the Maltese artistic community.

Throughout history, various arts communities were brought together – or indeed produced their finest works, if not entire movements – out of the need to resist political power and its effects. Sadly, with the exception of a few events, the various artistic sectors in Malta remain fragmented and scattered, with artists rarely coming together to create works that will leave a legacy among the public.

Bellia’s cry for the Maltese environment will remain a murmur in the desert unless more voices are willing to take up the cause. There is no lack of talent among Maltese artists, and though there has been an increase in the number of artists producing theatre, music and art as a form or protest, it is not enough or is not brave enough. 

There is a general sense of disenchantment among the public, and artists need to lend a hand to send their own message. It is unusual, in times like these, for statements of protest to make it to TVM, let alone songs. 

Bellia’s success in the X-Factor qualifying is down to her obvious talent. While the unusual show of protest unfolded, planning policies and regulations continue to be weakened in favour of a precise political direction. The arts, perhaps, should look outside of its safe spaces and challenge the economic and social status quo.