This research suggests redefinition, cultural adaption, with a consequential preservation of both i.e. Għana and Nasori. This project will explore the boundary(ies) of ‘The Otherness’ through artistic collaboration and interdisciplinary studies. Even though Għana and Kagura (Nasori) have different musical forms and structures, both can be mutually beneficial for the enhancement of each other’s aesthetic value and appreciation. It has to be remembered that both folk music are the expression of the peasants and the working class and the result of their colonial heritage. These above mentioned factors will be achieved by three important factors:

1. Contemporary compositional techniques: utilising asymmetrical meters, polyrhythm and harmonic spatial distribution. Also highlighted by economical thematical material, supported by micro/macro structure. Using extended instrumental techniques such as harmonics, sing and play and multi-phonics.

2. Music translation: music translation to text, which means the exploration of interpersonal, intercultural, intra-linguistic and inter-linguistic bridges on which music and translation intersect. It examines how words linked to music are currently translated (Maltese text to be translated in English and Japanese).

Music translation to theatre and dance: both Għana and Nasori will utilize physical theatre and dancing, respectively on the music transcriptions. The actor will be adding his own lyrics and improvisational acts to the Għana transcriptions , whilst the dancer will dance to Nasori, using the traditional mask and costume.

3. Lateral thinking: thinking outside the box, meaning having a holistic approach towards creativity in music compositions through stylistic imitative skills, and innovation.

Japanese composer, Miho Watarai will transcribe four Maltese Għana forms  and one Japanese Nasori of Amenomiya Jinga . The transcriptions will be transcribed for the following ensemble:

1. Shinobue  doubling on western flute
2. Guitar
3. Toy orchestra
4. A dancer and
5. An actor.

The sixth transcription will feature the cross cultural fertilization of Għana and Nasori.

The instrumental part of the research project will be presented by a performance presentation in Japan (Feb 2017), and with a final performance in Malta, where physical theatre and dancing will be added to the instrumental music (May 2017). The performance will feature Chris Galea, who is currently following a Masters degree in Theatre Studies at the University of Malta and Dr Malaika Sarco-Thomas, Head of Department of Dance studies at the University of Malta.

In collaboration with the Arts Council Malta – Malta Arts Fund and endorsed by Valletta 2018 Foundation.