legein

Probably the most covered song in the Mediterranean region over the last 15 years has been Balamos (Greek) or Song of the Gypsy or Naci en Alamo (Spanish). A beautiful lyrical hymn dedicated to the Gypsies. Apparently, there are over 20 cover versions of this song.

Its most famous rendition is the one sung by young Spaniard, Remedios Silva Pisa for French director Tony Gaitlif’s cinematic effort, Vengo. The song featured during the opening credits which can be heard here. The song also featured during an important scene in the movie which can be seen here. The singer Remedios Silva Pisa was plucked out of obscurity when she was only 16.

Another notable cover version of this song was made by Israeli singer, Yasmin Levy which can be heard here. And another version can be heard here by Talya G.A. Solan performing live with the Israeli Ethnic Ensemble. There have also been dance remixes of her version of the song. As far as we can tell there has also been Turkish, Italian and Arabic cover versions of this song.

The Greeks have also covered this song extensively. Paschalis Terzis can be seen performing the song live here. Whilst the brilliant clarinet player Vassilis Saleas can be seen performing the song here. Finally, we have the truly abominable hip hop influenced version by Greek Fame Story contestant, Foteini performing it here.

Actually, the Greeks have an affinity with this song because the song and lyrics were originally written by a Greek, Dionysis Tsaknis in 1986, and sung by George Katsaris. Here is a rendition that is relatively close to the original by Yiannis Koutras. Unfortunately, the idiotic Thanos Mikroutsikos also features in this version.

One of the better Greek renditions was by Eleni Vitali. She has some Gypsy background. The exceptional Manolis Lidakis has also covered the song on his recent Strictly Laika CD. And of course, George Dalaras also covered the song. In fact, George Dalaras has covered every song that has ever been written since the beginning of time.

Aesthetically, traditional negative Gypsy stereotypes in art and literature such as the Bizet’s racy Carmen, colourful gypsy caravans, flamenco dancers, wild gypsy music, the sinister fortune-teller, the thief or the work-shy vagabond have in some cases become positive stereotypes in recent times. There is even a fashion trend called Gypsy Chic. However, maybe there is something deeper going on here which is making Balamos or Naci en Alamo such a popular song. Perhaps it is just European guilt culture. Or perhaps it is something else. For example,  the verses of the song are interesting in that they recognise the singer has no place, no fatherland. Alarmingly, the singer also has no hope:

“I have no place, I have no hope,

No fatherland will miss me”

As for the chorus it is kind of untranslatable, being sung in some apparent Greek Romany dialect.

Maybe globalisation and increased mobility has made us Gypsies of some sort; with the song becoming something of a cult anthem for  our increasingly deracinated ontology. Even that doyen of globalisation, The Economist, featured a set of articles somewhat related to the gypsy fetish alluded to above on what they call the “New Nomadism” or Homo Mobilis or even more ridiculous Techno-Bedouins. It can be found here. Fortunately, the special feature mentions the potential dangers of nomadism such as the degradation of language, communication and human relationships.

Undoubtedly, civilisation began and was fostered when nomads settled in one fixed location and created Kulturvolk. Physical and mental place is essential to identity formation. Without place we cannot orientate ourselves to somewhere or from somewhere because that somewhere is everywhere and nowhere. We end up in confusion. More concretely, why would anyone relate to squalid living conditions, high rates of crime, low educational attainment, alcohol and drug abuse and misogyny.