Andrew Alamango – a name that is synonymous with Etnika. How did Etnika start out and have you been involved in the project since its inception?

I have been involved with Etnika since the very beginning in August 2000. I wanted to start a project, which would primarily create a social awareness of Malta’s musical heritage. At University, I heard about and I discovered the beauty of Maltese folk music. I also realised that Maltese people are not particularly sensitive to this type of music, mainly because they are not conscious of it. In the past six years, through music, concerts and workshops, Etnika has exposed folk musicians and the traditional instruments as well as promoted the manufacture of typical instruments.

Moreover, Etnika’s scope has changed over the years. In the beginning we wanted the public to get to know the music and the instruments. Now, books have been published and CDs have been released so the Maltese people have heard the music. As a result, we now feel freer to modify this music and integrate a more contemporary element. Although, the roots are still the same, we have injected the music with elements of ska and rap. This evolution led to collaboration with other Maltese artists such as Jon IQ, the scratcher Black Jungle and Mario Vella of il-Brikkuni fame. I suppose, we just do not feel that we have to constantly bombard the people with “tradition, tradition, tradition” any longer. However our music is still very Maltese. Our intention is to make our music more radio friendly and internationally marketable.

Etnika uses and therefore promotes a lot of traditional Maltese instruments. Do you yourself know how to make these instruments and is it difficult to find people who can make these instruments?

Before Etnika was launched, our research team embarked on a journey of discovery around Malta’s most remote villages in order to collect information about these ancient instruments and learning the skills associated with their crafting. There are few people who have the necessary skills to make these instruments. In the beginning these people might have been slightly suspicious but eventually they realised that our motifs are pure and it was a love for music, which was leading us to them.

The other members of Etnika and myself are learning to make certain instruments - I can skin tambourines and make flutes. However people with specialised skills make other instruments. For example, Guzi Gatt makes the very complex bagpipes. Some instruments are adapted to fit our needs. Charlie Busuttil has transformed the traditional acoustic ghana guitar into an electric one. The shape of the guitar remains the same particular pointed one, however it can now be played in a totally new way offering exciting new sounds. Previously, we felt that each instrument had to be an exact duplicate, a replica of an ancient instrument. We thought that it was our duty to pass the information on. We think that now this goal has been reached and so we can offer more variety. For example ghana motifs can be played over a rumba.

During our shows we use the zaqq, the zummara, the zafzafa, the flejguta and the tanbur. The zaqq or Maltese bagpipe was traditionally made from the skin of a goat or a calf foetus however fog and cat skins were also used. It takes great skill to make a zaqq as all the bones and flesh have to be removed from the neck opening without damaging the skin in any way. The zummara is a wind instrument with a single reed fitted at the end, which produces a warm reedy tone characteristic of single reed flutes. The zafzafa is made from a pitcher, a cask, or any other suitable container. Goat skin or cat skin is stretched over the opening of the container and a long piece of cane is attached to the centre of the skin. The musician vibrates the skin by rhythmically rubbing the cane with moistened hands. The flejguta, which is also known, as the fifra is a type of flute made from cane or wood. Due to lack of traditional contexts for the music and its resulting loss of musical repertoire and instruments, many of these instruments have only recently begun to be reconstructed through the renewed interest and life breathed into them by the Etnika project.

How long does it take to organise an Etnikafe show? Around how many people are involved?

Etnikafe and Etnika per se are two different things. Etnikafe can be considered our main show during which we showcase new material. It is quite theatrical. Etnikafe takes months to organise. New images and concepts have to be introduced. Our latest show included projections, which were shown at the Opera House. Therefore we had to film and edit video and video jockeys had to prepare appropriate images. Sometimes we have Carnival floats as part of our set designs and these too take a long time to be designed and fully functional. Each set has unique props and unique costumes, which have to be specially made. It is amazing how many people are willing to help and give up their valuable time and the atmospheres, working with all these different people from backgrounds which sometimes are poles apart is very energising.

Etnika, on the other hand runs throughout the whole year. It encapsulates more than music but we research traditional methods of instrument reconstruction, produce documentaries, organise workshops … basically anything, which ensures that folk music not only remains alive but also reaches totally new audiences. Hopefully in late this year we are going to devote three weeks to recording a new album, which will be released in spring next year.

Do you think folk music can once again form part of our daily life or shall this type of music be forever destined to a niche market? Shall Maltese people ever start listening to ghana on the way to the beach?

Probably, ghana was never really intended to be blasted out of a sound system. People like Frans Baldacchino a.k.a. il-Budaj have made people more aware of ghana by performing in open theatres and in events where the attendance was not made up of the traditional ghana fans.

Ghana aside, I do feel that Etnika is making folk music more acceptable and integral pulling it out of a niche market into the open air. By injecting our music with bursts of salsa, ska and other music, folk music is evolving into something more approachable. The music though remains relevant to the identity of local Maltese culture and its traditions.

Do you think more can be done to promote traditional music?

Although there can always be more, I think there is plenty of exposure to folk music. Part of the Etnika project includes going to educational institutions and speaking to children about these instruments. Both primary and secondary schools have always given us very positive feedback and encouraged us. Unfortunately education tends to be very one track minded and geared for exams therefore there is rarely any time left for extra curricular activities.

What are some of the events in which you have participated?

In the past year alone, apart from Etnikafe, we have played at Earthgarden, Notte Bianca and Notte Gozitana. We have also played in Gibraltar, Tunis, Spain, Turkey, Greece and Wormex 2003. Last July, we participated in the Icarus Festival – a Dialogue between cultures, in Greece.

Are you involved with any other music group, traditional or otherwise?

Etnika is very much my full time passion however I keep myself busy by working with il-Brikkuni. At the moment we are re-arranging some of their songs. I love the wit in Brikkuni lyrics. I also participate in theatrical productions. In addition, there is the constant archiving of music and getting in touch with other European organisation in order to build useful contacts.

What type of music do you like?

I listen and enjoy all types of music. Anything, which is good and creative, swings my boat. I listen to different styles of music ranging from Brazilian Pop to Bjork, depending on the situation, whether I am relaxing with friends or working. I do not really listen to what I call MTV music.

How do you manage to relax during really busy times?

It is a good thing that I adore what I am doing. I have so many time constraints that I rarely have any honest to god free time. On the few occasions when I can relax I go to sea, I cook and I enjoy female company!!

Finally, what are your most memorable Etnika experiences?

Few experiences can surpass the hanging out with il-Budaj, accompanying him on a guitar, throwing ideas back and forth at each other in his garage and merely being with him. However each venture abroad is also memorable as are meeting all the people who appreciate our music and what we are doing do.

Andrew Alamango was born in 1972. He received his education from St Aloysius` College. Mr Alamango enjoys sketching.