Black Water – Music EP Review

Giving voice to what most of us think and feel, singer and artist Chellcy Reitsma, at 42, is surely wiser than most. Born in California and now living in Malta, Chellcy’s easy smile and vibrant persona belie a passionate spirit which needs to be heard.

This need for communication is perfectly expressed through her strong deep voice, which, backed by the haunting sound of the harmonica keening a sad lullaby, forms the backbone of her latest EP Black Water, released by Railway Studios last October.

Chellcy Reitsma. Photo: Federico Peltretti

Containing four tracks, including the song which lends the EP its name, as well as an original poem the artist wrote herself, this EP is one of an escalating set of steps in the singer’s career, which began when she was very young.

Ascribing her love to music and dance to her family’s influence, Chellcy first stared out as a visual artist and a dancer, and only later evolved as a singer, releasing Blue her first single, in 2016. A mixture of jazz and blues, Blue, gave way to her second single The Three of Us released by Beehive Studios a year later.

Chellcy is currently producing and managing artistic, cultural and educational events and projects. Black Water was released as a single last June and, as the singer herself describes, its main themes of personal empowerment, strength and determination pervade throughout all the tracks which make up the EP itself.

Can you describe your past career as an artist? 

In the past I devoted my entire life to visual ars and dancing. When it comes to visual arts, I took large mural commissions both in California and in Chicago, sold my paintings and drawings to collectors and held large exhibitions at fine galleries in northern and central California and Chicago.

I am still active in my artistic career, even more so now that I had to retire from dancing due to health reasons. I started focusing on dancing as a career in 2004 in Chicago and opened a dance company called Fringe Benefits directly after graduating.

This focused on contemporary dance fused with Egyptian dance styles, folkloric styles, Spanish and flamenco fusions of all three genres, and Samba. I toured around Europe and North America teaching dance and choreography, and performing dances both solo and with bands at dance conferences, festivals, cultural events, and educational events.

I opened a second branch of my dance company in Malta in 2008. In 2012, I closed my company in Chicago when I relocated full-time to Malta as it became too cumbersome to manage both, and in 2016, my assistant took over the dance company in Malta since I had to retire from dancing due to physical injuries.

Why did you relocate to Malta? 

I first started coming here intermittently as of December 2005 as a dance instructor and performer. Then I decided to move here because I fell in love with Malta, and started the long migration process in 2009. In 2011 I met the man who is now my husband, who is Maltese, and whom I married in 2013. 

What are you working on at the moment?

I am working on a music project with composer Tom Borg from the band Hunting Cain, as well as developing a large visual art exhibition with Finnish artist Merja Brinon, which will be showing at Spazu Kreattiv in 2019 in Malta and in 2020 in Spain and Finland.

I will be travelling to Finland later in the year to work with Brinon in developing our artistic collaborations, concepts, and location scouting.

The track Black Water seems to paint the image of someone looking at the past. Is there a hidden message?

The EP and the song itself were inspired by my move from Chicago to Malta – letting go of the past and moving on from relationships that ended. There is a lot of sadness in these songs, but also hope and resolution. The whole EP is about moving forward, taking control of your life and overcoming your fears.

Note: This interview was done by me and officially published on The Sunday Times of Malta on the 6th of January 2019

Ghana – Traditional Maltese Folksong

Għana is generally sung by two or more singers called għannejja, who seat themselves at two opposite ends of the stage, retorting answers to each other in rhyme, usually without any planning or meditation. Għanneja vie with each other during this kind of singing, which involves satire and puns, often dealing with the faults of character of singers themselves, or of the characters or situations they are singing about. The singing involves musical accompaniment by one or more guitarists. The lead guitarist is called ‘il-Prim’. Between each stanza of għana, the lead guitarist plays il-prejjem, in which he or she shows their skills at guitar playing.

The tunes are somewhat wild and meandering, but they also involve a certain kind of romantic beauty and harmony. As the singing starts, the audience tries to follow all the words being sung closely. Clarity of expression in the performance is expected out of every għannej. Moreover, the audience also expects singing to include the correct rhyming and a theme which is maintained throughout the song.

There are various types of għana. The ‘spirtu pront’, which is the most popular type, consists of short stanzas, normally sung by a group of two or more singers. This type of folk singing takes place in the form of a duel. This generally involves two styles of singing. The first one is called ‘the hitting back’. Four singers are involved; the first singer sings with the third person, while the second singer sings with the fourth one. The second style is known as the ‘impromptu reply’, and is normally done between two singers. While the first singer starts on his first two lines, the second singer continues the rest of the stanza, creating an interlocking melody. It is normal practice for the singer who finishes the last two verses to start the next stanza. This is called ‘għana maqsuma’, or ‘għana bil-qasma’, which means broken or shared singing. The spirtu pront and the għana bil-qasma require a great deal of quick thinking as well as the ability to rhyme. Singing usually lasts for an hour and comes to an end with a ‘kadenza’, which has two or more stanzas.

Another type of għana is the għana tal-fatt. This consists of a long and elaborate narrative in verse form. It is called ‘tal-fatt’ because its theme usually deals with a particular deed, event or legend. The theme most dealt with is the lives of well-known local personalities or a sensational or tragic event. Sometimes, it also deals with a humorous topic, but the most popular theme is the gruesome details of a murder or crime.

Today, Għana singers are prestigious, since it takes skill and a considerable talent to be able to do so well. In Malta, għana and traditional folksongs are sung at festivals, fairs and tourist centers, as well as cultural events. Each June, the Malta Arts Council organizes a two-day music festival centered on Għana called the ‘Għanafest’.

To read the full article, please go to http://livinginmalta.com/entertainment/ghana/

Allura l-‘Gays’ “itghuk f’ghajnejk” Gianluca Bezzina?

Seriously?!

Apart from the fact that I really don’t get how just because someone knows how to sing, s/he suddenly expects to become an ‘ambassador for the people’ and ‘represent’ the majority of them (they most certainly do NOT represent me!). And apart from the fact that the guy himself hardly appears to be this paragon of straight heterosexuality (Matthew Grech style). Seems to me like certain people are so afraid of their nature that they become extremists advocating the other side of the issue.

Anyways, private conjectures aside – what is obvious here is that after whirling and twirling around the issue, we still realize that this ‘boy next door’ whom the desperate Maltese housewives love so much, is another hypocritical soft-spoken homophobic wannabe who, while preaching love and tolerance, also preaches close mindedness and non-inclusion. Way to go… why don’t all these people do us a favor, get into a time-machine, and go back to the Dark Ages where they obviously feel that they belong? I’m sure the world would leap towards peace and prosperity in a jiffy if that happened!

Oh for a time-machine! My kingdom, for a time-machine!

TheMaltingPot

Gianluca Bezzina attends the Nationalist Party’s General Council and appears to have gone on a subtle Catholic-induced homophobic rant. While I am all for freedom of expression, people with a certain public image should really thread carefully in expressing their views that impact different societal situations.

(Photo credit: InsiterOnline)

Quoting Dr Bezzina from his nervous and uncomfortable speech:

“As a person, I am not very interested in politics, but I do follow current events around the world and in Malta. Something which has really been irritating me lately, and which I feel very strongly about, is that I am slowly seeing human being’s values and morals changing drastically” – Gianluca chose to speak about morals and values at a political event. Ah to be young and naive.

“We are living in times where the general mentality is becoming more liberal, where if I feel that something is good, I…

View original post 869 more words

Lost Syd – Ode to Syd Barrett

Sad eyes filled with sea
disarrayed hair that always spoke to me
a husky voice – all those cigarettes,
the scratchy beard, the daring bets

Where is that chilled campari dear?
Or that sultry look behind your fear
If dreams had lips with which to weep
they’d dribble darkness and go to sleep

That willowy feyness clamoured for more
no strength, no breath for a last encore
naked and cold, I give you my back
you know what I need, you know what I lack

Time is cruel, ripping and mindless
the merciless wind is crippling and sightless
Give me the musk of those deserted years
take back the emptiness, take back the tears

Where are those arms, terrified and wild
Where is your wrath, hollow like a child’s?
Only the blues remain, mumbling, leering,
behind the clapping, beneath the cheering.