The folk music of a people is its expression in sound, which, due to its relatively simple form, is understood and practised by many members of the community, ETNIKA is based on the hypothesis of an instrumental form of ethnic folk music played by the local musicians (daqqaqa), on traditional instruments in various social contexts; from weddings to funerals, town criers and street vendors. The break in oral tradition of this instrumental folk music has led to a loss in musical heritage, which constitutes melodies, rhythm and instruments. ETNlKA is an attempt in the recuperation of a musical tradition rooted in our ethnic origins.
 
With the advent of Peter Gabriel's Realworld label a decade ago, the ethnic dimension in contemporary music has made its way into all forms and styles: ambience, trance, jazz, pop and rock. From Led Zeppelin's No Quarter with a Moroccan ensemble, Sting and Cheb Mami, Fateh Ali Khan and Massive Attack, Cheb Khaled's rai music, Ofra Haza and Tarkan's Sikidim, ethnic music is a trend, going back to the roots and reinterpreting our forefather's language.
 
The search for Maltese instrumental music led to the discovery of Edward Jones' Maltese Melodies consisting of 16 popular folk tunes notated tor harp dating late 18th century. These are the earliest recorded Maltese folk melodies, featured here as interludes or incorporated into new compositions.
 
The results of research and documentation yield a forgotten heritage in music waiting to be rediscovered, reinterpreted and revived on a contemporary platform. Based on the compositions and arrangements of Ruben Zahra and performed by the ETNIKA ensemble, the repertoire is an example of living heritage. The unique sonority of instruments forgotten for decades, alongside traditional and reinterpreted local tunes is a unique experience, which is both mesmerising and captivating. Tunes, which lie in the collective psyche of a people constitute our unwritten, oral heritage. They are the expression of a society's joys, sorrows and aspirations. The recognition of these melodies and instruments is a consolidation of our local identity, through the association with our roots, yet placed within a contemporary context. Only through such an 'upgrading' process will any art form or folk tradition survive and thrive as a cultural expression.