In Malta, Ghana (pronounced 'ana') refers to three related types of rhymed folk songs. A popular form of ghana is the 'quick-wit' ghana, an improvised duel between two or more singers, based on rhymes, convincing argumentation and witty repartee.
In Ciantar's (2000) article 'From the Bar to the Stage', he combines the works of a number of foreign and Maltese scholars who claim that the earliest forms of ghana represented both the "simple life of the Maltese peasant life", as well as the "intact natural environment of the island". Ciantar argues that the roots of ghana are rooted deeply within Maltese tradition and that they are synonymous.
Literally, Ghana means wealth and prosperity; alternatively, it is related to the song, verse, rhyme, and a type of slow-tempo singing called kantaliena. It can be divided into formal and informal practices. Singers in this field are called "Ghannej" (literally "the singer").
"Factual" ghana is typically long, narrative, and sung by a soloist. It focuses on recording important events in collective memory. In ‘Bormla’ ghana, simple lyrics are sung in a large vocal range and a style that moves from one syllable to another in succession. This style was historically sung by women but is now less popular compared to the more male-dominated ‘quick-wit’ style.
Ghanaian sessions take place year-round in public and private venues, as well as during outdoor festivals and celebrations. A strong sense of camaraderie among the performer and audience is fostered by friendly exchanges, as joking and recalling common experiences brings about a sense of shared history, identity, and community.
A vital part of Maltese culture, ghana is also integral to the dissemination of the Semitic Maltese language that reflects Arabic, Italian, and English influences. Both men and women have participated in informal ghana sessions throughout Maltese history. These sessions reveal the importance of music in day-to-day life. It can even be traced back to the early Maltese peasant farmers.
For many years, ghana was an activity women engaged in during hours of recreation and while completing household tasks. Specifically, ghana was practiced by women singing on rooftops or in old communal wash houses, known locally as the ghajn tal-hasselin.
Today, ghana is still practiced, but has ceased to be a part of everyday life and remains the preserve of professionals entertaining the masses. As time went by, the form of ghana evolved to include more formal constraints of rhythm and rhyme but remained associated with the working classes.