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EERE Malta is co-financed by the Republic of Malta, the European Union under the European Regional Development Fund. ENCORE > EDITORIAL
Welcome to the February edition of Encore - Arts & Culture and, together with the new year we also welcome on board three new partners that we are extremely happy to be collaborating with. So, shout-out to ZfinMalta, Spazju Kreattiv and Teatru Malta. Do check out the rather clever puzzle that Teatru Malta have created as part of their first contribution to the magazine!
And here we are, embarking on a new year of cultural programming. Sadly, the spectre of COVID-19 still very much hovers on us, of course.Yet, miraculously, the microcosm that encompasses the cultural landscape in Malta is not only alive, but also kicking hard. Our Public Cultural Organisations have forged ahead with a 2021 programme - adapted to the current situation, of course. Some events are held live, albeit in different format than we are used to. Others are held online. But, despite the gloomiest of predictions, the creative sector soldiers on.
Not without difficulty, of course. Speak to any artist and the likelihood is that you will hear the same refrain: we are teetering on the brink. But amid the worries and the fears, one aspect shines bright. Many of us have discovered a resilience we didn’t know we had within us.
And, faced with the reality that our usual modus operandi no longer remains feasible, we have adapted. We may not yet be out of the woods, but we are giving fate a good run for its money. The biggest problem, it turns out, remains that age-old one that has always besieged the artistic sector: how to get the audience to treat artists like the professionals they are - to be blunt, paid professionals.
Maltese audiences had only just been coming to terms with the idea of professionalisation of the arts, when suddenly COVID-19 hit out of the blue. And artists suddenly found themselves struggling not to be dragged back to the sark ages of working for free. The digitalisation of the arts brought with it yet a different problem, in addition to the fast-tracked mastering of new skills. Getting people to recognise the monetary value of streamed events.
It's going to be a long road, but we have already seen it work with events like the Three Palaces Festival and ŻiguŻajg. Undoubtedly, the sector will pull through. The road ahead may be a painful one, but the rewards will make it worth the sacrifice.
01 IF THE SKY CAN CRACK A YEAR IN THE COMPANY 04 The iconic U2 lyrics appear to have been 27 OF MALTESE ARTISTS purposely created for the dramatic image The BOV Calendar 2021 of a lightning double strike over St Paul’s Islands, as captured by Reuben Piscopo MASKIL JEW FEMMINIL? A STAGE FOR OUR TIME 28 Il-Kunsill Nazzjonali tal-Ilsien Malti jispjega fil-qosor x’inhu l-ġens Teatru Manoel continues to pioneer the 08 grammatikali arts sector even throughout the current global hardships DON’T STOP THE DANCE TEATRU MALTA DEBUTS 12 ŻfinMalta invites audiences to a new 30 THEIR ASSOCIATE experience of contemporary dance ARTISTS FOR 2021 Six artists will collaborate with Teatru Malta through the Associate Artists’ COMMITTED TO A programme 16 MASSIVE RETURN Earth Garden continues on its strong ART AND THE SOCIAL survival strategy while planning a massive 32 TABOO live return for 2022 The thin line between the sacred and the profane is an artist’s playground, it is said. CELEBRATING MALTESE Can an artist ever go too far? 20 MUSIC As Mużika Mużika - Festival Kanzunetta XEWKIJA WINDMILL Maltija gets ready to launch, Maltese 36 REGAINS ITS SAILS language music is set to take the spotlight A thorough restoration job part financed by the European Union has returned the Tmien Kantunieri windmill to its former DOLLS, CRANES AND glory 24 WHAT ‘KNOTS’ The new season at Spazju Kreattiv presents art as a catalyst for social change DESIGNING A RESILIENT 40 STRATEGY A ROLLER-COASTER RIDE Arts Council Malta looks to the future with Strategy 2025, designing a robust roadmap 26 OF EMOTIONS for the creative sectors What happens when your little brother is not the super-hero you expected?
02 ENCORE > CONTENTS
Publisher Encore Publishers Directors Ruben Zahra & Reuben Spiteri 24 Editor Ramona Depares # Sub-Editor Tricia Dawn Williams Strategy Soundscapes Creative Director Daniel Borg Design & Layout Kuluri
ISSUE Photographers Domenic Aquilina, Marin Babanov, Lindsey Bahia, Albert Camilleri, Dominic Catania, Daryl Cauchi, Reuben Piscopo, Dragana Rankovic, Elisa Von Brockdrof, Ruben Zahra, Mark Zammit Cordina
Contributors Laura Bonnici, Warren Bugeja, Ramona Depares, Iggy Fenech, Paul Grech TOY PIANOS AREN’T Trevor Zahra 44 PLAYING AROUND Front Cover Photography by Reuben Piscopo. Concert pianist Tricia Dawn Williams and Printers Print It her toy pianos Contact [email protected] • [email protected] GEARING UP FOR A 46 BUSY 2021 2021 is set to be a busy year for the Foundation for Tomorrow’s School
RECORDING THE FUTURE 50 A collaboration with Grammy-nominated sound engineer and music producer with Jan Košulič has paved the way to new successes for our national orchestra
MORE AT MUŻA 52 The European and Empire narratives at the museums are extended by five new galleries CulturalHeritageDirectorate CITIES, HARBOURS AND 54 ARTEFACTS Public lectures have returned to the national libraries with a focus on Valletta’s early modern landscape
OLIVER U JIEN 56 Oliver Friggieri - ġabra ta’ tifkiriet mill- awtur Trevor Żahra Encore Partners Arts Council Malta • Bank Of Valletta • Direttorat għall-Wirt Kulturali Għawdex AN IMMERSIVE JOURNEY Festivals Malta • Heritage Malta • Kunsill Nazzjonali tal-Ilsien Malti • Malta Libraries Malta Philharmonic Orchestra • Merlin Publishers • Ministry for Education and Employment 60 Exhibitions from the masters are celebrated Spazju Kreattiv • Teatru Malta • Teatru Manoel • ŻfinMalta in spectacular detail on the big-screen Reproduction in whole or in part without written permission from the publisher is prohibited. Opinions expressed in Encore as well as its content do not necessarily reflect those of the publisher or editor. Even though attention has been taken to ensure truth and accuracy, the editor and the publisher cannot be held responsible for errors or omissions in articles, advertising, photographs or illustrations. © 2021
03 WHAT DOES IT TAKE TO TURN ONE MOMENT IN TIME INTO PHOTOGRAPHIC ART? IN THIS THIRD INTERVIEW FROM THE LIFE CYCLES SERIES, STORM-CHASER REUBEN PISCOPO WALKS RAMONA DEPARES THROUGH THE ENTIRE PROCESS THAT WENT INTO CREATING THE FINAL IMAGE OF A SPECTACULAR DOUBLE LIGHTNING STRIKE
PHOTOGRAPHY BY REUBEN PISCOPO ENCORE > LIFE CYCLES
The morning a storm made its way unexpectedly strike wasn’t expected to happen imminently. And yet, towards the North of Malta, for most of us the halfway through his day at work, one glance at the sky looming clouds meant double-checking our windows triggered his instincts and felt that he would only have and carefully planning our way back home from work a few of hours to set up and prep for the shoot. so as to avoid those roads that would be worst-hit by “On the spur of the moment, I applied for a half the floods. But not photographer Reuben Piscopo – day of leave and rushed home to collect my gear. for him, the upcoming storm meant only one thing. Fortunately, I live up North, so I wasn’t too far off The potential for the perfect photo. from what I felt would be the perfect spot for the Piscopo is one of the few specialised ‘stormchasers’ storm,” Piscopo explains, as all indications on the on this island, always on the lookout for the next weather and wind apps that every stormchaser electric show put up by nature, trying to capture that follows assiduously concurred. elusive perfect moment to translate the art in our Stormchasing is not exactly a common art in Malta. skies into photography. And, with his Double Strike Indeed, Piscopo remembers that when he took it up Across St Paul’s Islands, he may have succeeded in some 12 years ago he was one of the first to bring it doing just that. to the island. “Typically, I’d be following a storm’s progress “At the time it was about five of us running around, for a few days before it gets to Malta. Nowadays informing each other where the next hit was we’re lucky to have the luxury of online data and expected, spending nights together driving around information. Storm-chasing photography is not the island in search of the perfect photo. I suppose something that happens on the spur of the moment; we were the pioneers for this form of art in Malta,” it’s an artform that needs to be planned carefully. he chuckles. Without the right preparation, you risk either ending up in the eye of the storm, or missing out on the A certain amount of preparations are required and, opportunity,” he explains, adding that the right photo luckily, on the day of the double strike Piscopo can only be achieved if you catch the storm as it’s managed to get everything ready just in time, getting slowly advancing. to a good vantage point on the area known as Il-Moll, in St Paul’s Bay, which gave him a clear view of the Typically, this means that Piscopo starts following islands opposite. a storm about three days before it makes its way to Malta. A cluster coming in from Sicily, he says, usually takes some days to get here, give or take.
“I follow it online and, as soon as it’s almost here I switch to Windfinder to check the strength of the wind, which in turn affects the strength of the storm and even the amount of lightning expected, if any. Today’s technology is wonderful, really, there are apps that will give you the data down to the amount of strikes expected. I have an alert for a 50km radius around the islands set on my phone, and I’ve been known to get up at 2am to chase a sudden alert, and then go straight off to work in the morning,” he tells me.
However, as the double strike photo shows, no matter how many apps are created, storms can be very unpredictable, and also strike with very little warning. In fact when Piscopo shot the Double Strike Across St Paul’s Islands, no storm warning had been issued. All the apps he had been following showed that a
05 Without the right preparation you risk ending up in the eye of the storm ENCORE > LIFE CYCLES
“I was ready to wait for hours to get the right photo. The best images are typically captured through the night but, once again, for this photo everything turned out differently than expected,” he tells me.
Piscopo explains that the idea is always to use a high-end SLR camera to create a photo with the least ‘noise’, the dreaded ‘noise’ being the grain that sometimes destroys the clarity in an otherwise great photo. He says that his preferred method is to use a wireless shutter trigger, a manual technique that affords him more control, and this is exactly how the double strike photo was achieved.
“Basically you need to set the exposure according to the exact number of seconds needed to get your shot. I literally hold the trigger in hand, count the seconds and release when the time is up. In this case, I needed an exposure of 1.5 seconds, so the timing is extremely precise. To get the shot, I also used a neutral density filter to reduce the amount of light that came into the camera and lengthen the exposure. The settings on my camera were pretty much maxed out to achieve the 1.5 seconds interval,” Piscopo says.
Now, as the photographer explained earlier, it is not uncommon to have to wait for hours to achieve his objective – that is, if he manages at all. In this case, once again all records were broken and the resulting photo is the first shot he took.
“I got to St Paul’s Bay, waited for the first strike and captured it instantly. I packed up my bags and left, full of excitement. Sometimes you just know that you’re not getting anything better. And I was extremely happy with what I’d achieved,” the photographer adds.
The photo was now ready for post-production, which in Piscopo’s case is mostly colour-grading.
“I am not a fan of over-manipulating the image. I simply did a bit of colour-grading on this one, which depended on my mood and inspiration, but that was it,” he concludes.
And thus, one of the most spectacular photos a storm-chaser can hope to achieve was born – unexpectedly, yet completely successfully.
You can follow Reuben Piscopo’s storm chasing on @ reuben_media_malta on Instagram.
07 FOR NEARLY 300 YEARS, TEATRU MANOEL HAS SERVED AS MALTA’S NATIONAL THEATRE, SUPPORTING LOCAL ARTISTS AND PIONEERING THE ISLAND’S ARTS SECTOR – INCLUDING THROUGHOUT THE HARDSHIPS OF 2020, AS LAURA BONNICI FINDS OUT
Photo by Domenic Aquilina ENCORE > TEATRU MANOEL
In the history books to come, 2020 will undoubtedly In 2020, despite the theatre being closed from mid- be recorded as the year the COVID-19 pandemic March, Teatru Manoel kept the creativity flowing delivered a devastating blow to the world, affecting through innovative online initiatives such as the people and industries everywhere. popular Streaming Series, whereby several previously staged operas, plays, musicals and concerts Both the local and international arts sectors were were exclusively streamed for a digital audience. instantly crippled in the wake of the pandemic, as Likewise, other new and ongoing projects were performances were halted for the safety of all, with continued online, such as when solo performers opportunities for artists consequently drying up took to the famous stage to safely perform some almost overnight. of Shakespeare’s best-loved monologues. And all the while, many local artists, consultants However, while Teatru Manoel closed its doors and practitioners turned their attention towards as instructed, behind the scenes the artists and innovation, to adapt to the ‘new normal’ expected to production teams that form the lifeblood of Malta’s follow the COVID-19 crisis and create a new season – national theatre quickly got to work in a whole new and a new era – at Teatru Manoel. way. Indeed, history shows that the creative spirit of the artistic community is at its most potent when The season officially opened on October 23 2020, challenged by adversity such as pandemics – Italy’s with a performance that served to honour the famous Renaissance followed the devastation of the theatre’s reputation for extraordinary classical Black Death in the 14th century, for example. And music. Accompanied by a small group of musicians, while Teatru Manoel’s 300-year biography may not soprano Nicola Said sang a vocal chamber music extend quite that far back, it has nonetheless been recital of the varied works of Barber, Bliss and a driving force behind artists during many historic Berg. In fact, classical music lovers were well times of hardship, including those that we now find catered for throughout the season – the theatre’s ourselves experiencing first-hand. stage also hosted a double-concert experience
Teatru Manoel Chief Executive Officer Massimo Zammit Photo Credit Elisa von Brockdorff
09 Roots by Moveo Dance Company Photo Credit Mark Zammit Cordina by award-winning Viennese chamber music with all the characters played by four outstanding ensemble Trio Immersio. The Valletta International actors, Paul Portelli, Tina Rizzo, Joseph Zammit and Baroque Ensemble (VIBE), meanwhile, offered two Melissa Mercieca. Over Christmas week, the Manoel performances during the season, the first at the stage also hosted Project Cabaret, a nostalgic and magnificent St Gregory’s Church in Zejtun and in a magical night of funny, heartfelt stories and original Baroque Christmas Concert in collaboration with interpretations of some favourite festive songs, while KorMalta. The Malta Philharmonic Orchestra likewise tenor Nico Darmanin headlined the Teatru Manoel offered a live concert in a chamber formation in Christmas Special, accompanied by Jasmine Abela, An Evening with Beethoven, as part of celebrations Nadine Axisa and Nikki Vella. marking 250 years since the birth of the famed composer. More recently, audiences have also The world of dance was also given a home at the been delighted by a concert dedicated to German Manoel last year. In an innovative collaboration composer Richard Strauss, headlined by Miriam between contemporary dance and live music, Roots Cauchi with Simon Abdilla Joslin on cello and Maria- by Moveo Dance Company featured three pioneering Elena Farrugia on piano, as well as a piano recital by dancers and choreographers Dorian Mallia, Diane Maestro Michael Laus that explored the relationship Portelli and Francesca Tranter, accompanied between the music of composers Franz Schubert and by renowned pianist Tricia Dawn Williams. The Franz Liszt. harrowing events of September 11, 2001 were also remembered in World Trade Centre: A Physical Theatre Although the pandemic denied Malta its traditional Performance, a devised physical and dance theatre pantomime in 2020, Teatru Manoel still ensured that piece that utilised some of Malta’s strongest and the festive season had some theatrical cheer. The most talented physical performers to interpret the well-loved classic Dickensian tale of A Christmas spectacular and emotional stories of that day. Carol was brought to life on the historic stage,
10 ENCORE > TEATRU MANOEL
In fact, storytelling was a key element of the most lifeline for this sector to survive. I am committed to recent theatre season at the Manoel. Ten of Malta’s weather this storm and to work hard to ensure that finest performers united to tell stories in virtuous and Teatru Manoel remains one of the top theatres on sinful ways in TEN, a promenade piece inspired by our islands.” Giovanni Boccaccio's The Decameron. The pandemic also served as the inspiration for From Rona with Love, And the latest season at the Teatru Manoel is already a new piece penned by Marta Vella and directed by delivering on this commitment – ten-fold. Some of Petra Sant. the best local and international names in the world of Baroque and early music were featured in the COVID- As the ground-breaking new season continued, secure programme of the highly anticipated Valletta another major event happened at the heart of Teatru Baroque Festival, quickly followed by the return of Manoel: as of November 25, 2020, the Manoel Teatru Manoel’s beloved annual opera in February, appointed its new CEO, Massimo Zammit, who comes with a production of Dido and Aeneas opened to to role having worked across a variety of different socially distanced audiences. industries and sectors. In his previous roles, Zammit delivered exceptional results in the implementation of Throughout March and April 2021, the theatre’s various projects, delivered value for all stakeholders, programme includes the Maltese translation of The and developed a distinct role in organisation Man Who Mistook His Wife for a Hat by Oliver Sacks management. With his leadership and management and a tribute to the works of Maltese poet, novelist, experience, Zammit is well placed to steward the literary critic and philosopher Oliver Friggieri, who interests of Teatru Manoel and its performing artists. died last November. In March, ZfinMalta is set to stage its full-length performance, 21 Dances for “I am proud to be appointed to the role of CEO in the 21st Century, while in April Teatru Manoel will these trying and critical times,” remarks Zammit. “I join forces with MADC to produce David Grieg's am taking on this role at a time of great uncertainty Midsummer, directed by Chris Gatt. for our industry, just as Teatru Manoel is arguably playing an important role in protecting industry For more information www.teatrumanoel.org.mt professionals and providing the much-required
Nico Darmanin in The Teatru Manoel Christmas Special Photo Credit Marin Babanov
11 12 ŻFINMALTA INVITES AUDIENCES TO A NEW EXPERIENCE OF CONTEMPORARY DANCE. THE CURRENT SEASON PROGRAMME HAS SEEN SELL-OUT SHOWS THAT ARE A TESTAMENT TO THE IMPORTANCE OF LIVE PERFORMANCE IN TIMES OF ADVERSITY
With Artistic Director Paolo Mangiola at the helm, ŻfinMalta National Dance Company has quickly established its place in the international dance community, through a spirit of collaboration engaging choreographers, set and costume designers, composers, visual artists from Malta and internationally, and partnering with organisations in theatre, opera, music and the visual arts. Launched in September 2020, the current season programme exemplifies all of these qualities. As the company prepares to stage its third production, here are some highlights of what’s to come.
21 Dances for the 21st Century For two nights in March, ŻfinMalta presents 21 Dances for the 21st Century, the second full-length performance choreographed by Mangiola, in a collaboration with visual artist Kane Cali. This ground-breaking work opened the season in 2020 to sell-out audiences, making this an opportunity for those who missed out to see it restaged at Teatru Manoel. Borrowing its structure from the highly acclaimed book 21 Lessons for the 21st Century, by Yuval Noah Harari, the show offers reflections, and possible solutions, on pressing issues in our global contemporary culture and the digital age, such as machine learning, AI, and the extinction crisis. As this multi-layered dance piece unfolds, chapter by chapter, it traces the spirit of what it means to live now and the challenges we face. Other collaborations on the work are costumes by Luke Azzopardi, light design by Moritz Zavan Stoeckle, and original score by Veronique Vella. Dates & time: March 6 & 7, 8PM Venue: Teatru Manoel Tickets: booking.teatrumanoel.com.mt
13 A Midsummer Night’s Dream themselves to stubborn cliches of femininity and Brace yourself for Sergiu Matis’ rendition of this masculinity, which appear at every turn. In Girls and Shakespeare favourite, which adapts its principal Boys Assaf’s intention is not to shine a light on the themes of obsessive love, nature, and the mystical, current zeitgeist of gender identity and fluidity. Boys to our times, and ventures even further into the can be boys can be girls can be boys can be both can post-apocalypse. Sergiu Matis is a Romanian born be neither and all should be respected, regardless. choreographer, living and working in Berlin, who More than a comment on gender stereotypes, Girls often uses science-fiction or dystopian scenarios and Boys points to the lifelong ‘brainwashing’ of as points of departure for his movement scores. males and females about how they should think, With light design by Late Interactive, music by Antje speak, dress and act. Greie AGF, and costumes by Romualdo Moretti, Dates & time: June 4,5 & 6 8PM this immersive work promises audiences a new Venue: Pjazza Teatru Rjal experience of dance in Malta. Tickets: kultura.mt Dates & time: April 16 & 17 8PM; April 18 2PM & 8PM Sunrise Mass Venue: Valletta Campus Theatre Sunrise Mass is a collaboration between ŻfinMalta, Tickets: kultura.mt KorMalta, and Heritage Malta in a site-specific work at the Mnadra Temples in Malta, and Ġgantija Girls and Boys Temples in Gozo. The work centres around Ola Overgeneralization is a human tendency, a tendency Gjeilo’s renowned ‘Sunrise Mass’, written for a chorus which lies at the core of Israeli choreographer Roy and string orchestra. Assaf’s Girls and Boys. This famous work is being Dates: June 20 & 21 at Sunrise in Mnajdra; restaged by the ŻfinMalta company dancers in June at July 4 at Sunset in Ġgantija Pjazza Teatru Rjal. Five girls in red, five boys in black, Tickets: shop.heritagemalta.org on a narrow white floor, dancing a dance, exposing
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SHORT AND SHARP, AS THE with the aim to demystify dance and the process of choreography through the prism of their own NAME SUGGESTS, ŻFIN BLINKS practice. Upcoming speakers include Tom Van IS DEDICATED TO THE MAKING OF Malderen, Alexandra Pace, and Denise Mulholland. DANCE AND AN EXPLORATION OF Dates & time: March 25, April 22, May 27, October 21, November 25, 6.30PM HOW CHOREOGRAPHY IS USED Venue: MUŻA, Valletta Tickets: shop.heritagemalta.org
Music in Motion Online Finishing the season in July, as part of the Malta ŻfinMalta has launched a new programme of International Arts Festival, ŻfinMalta performs Music recordings titled Żfin Blinks. Short and sharp, as the in Motion, a cycle of choreographic miniatures set to name suggests, Żfin Blinks is dedicated to the making 20th century chamber music performed by members of dance and an exploration of how choreography of the Malta Philharmoic Orchestra. Further details is used. Each month investigates different to be announced. choreographic tools and their development over time, giving audiences fresh insights for the experience Off the stage of dance. Watch on ŻfinMalta’s youtube channel ŻfinMalta offers a rich and diverse outreach programme for anyone with an interest in the world For the full 2020/21 season programme and a of dance and choreography. Movimento is a series background on the company and its people go to of informal talks, by local and visiting experts, zfinmalta.org
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ENCORE > EARTH GARDEN
As COVID-19 continues to wreak “Last summer, in an attempt to soften the blow both for fans and for our team, we created Video havoc on the entertainment Garden, where we showcase artists. It was very well- industry, Earth Garden organiser received, but we have now reached a stage where we need to help the project evolve into something more Reuben Spiteri explains how experimental than presenting a normal set. Artists his team is working to keep the are very keen on us to find a way to go ahead, as this is pretty much the only such platform that is available festival spirit alive through a to them,” Spiteri explains. series of initiatives and looks to a Another project that also depends on funding more hopeful 2022 involves the production of a full-length documentary showcasing the evolution of the festival itself. Earth When COVID-19 led to the cancellation of one of Garden, in fact, enjoys a chequered history from more Malta’s biggest music festivals, Earth Garden, this humble beginnings as a free event for local artists was the actual moment for many when the full import and audiences back in 2007 to the fully-fledged of the global pandemic made itself felt. Earth Garden four-day massive festival – hosting big names who is a stalwart on the local music scene, the one event are considered A-listers in their field, as well as an the cancellation of which is unthinkable. international audience – that it is today.
The one consolation offered to the thousands of But what about live events, I ask. fans was that the festival would bounce back in “Always depending on the go-ahead of the respective 2021. Bigger, better, and in full celebratory mood authorities, we are exploring the possibility of holding to celebrate the 15th anniversary of Earth Garden a number of smaller events in venues that are more summers. Yet, here we are 12 months down the suited for intimate gatherings. The idea would be to line and the unexpected has happened – what offer a taste of the bigger Earth Garden experience via everyone hoped would be a long-gone memory still individual events targetting each musical genre that remains present. Festivals world-wide continue to be we typically showcase. But I can’t stress this strongly cancelled and, sadly, Malta is no different. enough – this all depends on the health guidelines However, while we all need to resign ourselves that and regulations of the time,” Spiteri insists. the Earth Garden four-day extravaganza, attracting And afterwards? Spiteri assures me that Earth Maltese and foreigners alike in thousands, will not Garden will, indeed, bounch back with a massive be happening, this does not mean that other things edition when the time is right. This won’t be easy to have not been brewing behind the scenes. I caught up achieve, he adds – not least because of the financial with Earth Garden organiser Reuben Spiteri to find constraints. Another worry is the possibility of losing out more. key people in the team until the situation stabilises. “When we had to cancel the event last year, we never “The entertainment sector took the biggest hit during imagined that in 2021 we’d have to repeat the whole COVID-19, and it will also take longest to bounce process. But the reality appears to be that large-scale back. Full-time professionals like us are the ones festivals will not be taking place anywhere by June. who are suffering most, because Earth Garden is not The scenario is continuously evolving, and we don’t just a small side-gig for us. It’s our main source of rule out the possibility of smaller events, always revenue. Missing out for two years is a disaster for us.” depending on the regulations and advise of the health authorities, of course. But it’s way too early to Part of the reason why Spiteri has insisted on keeping announce concrete plans,” Spiteri starts off. active with smaller and digital projects is, in fact, to make it possible to keep the entire team on board Even so, work continues uninterruptedly as the Earth from a financial point of view. Garden team is trying to come up with alternative projects. These, Spiteri adds, depend on finding the “We don’t want to lose anyone along the way. Projects funding to make them viable. like Video Garden are not intended to make a profit,
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THESE INITATIVES ARE INTENDED TO GIVE SOMETHING BACK TO THE FANS AND TO HELP US SURVIVE AND MAKE SURE THAT OUR KEY PEOPLE CONTINUE TO FORM PART OF OUR TEAM and they never will. These initatives are intended to give something back to the fans and to help us survive and make sure that our key people continue to form part of our team.” he says.
In this, he mirrors the trend that other global festivals are following, trying to keep afloat via a series of alternative measures. As the financial effects of COVID-19 continue making themselves felt, music festivals world-wide struggle to reinvent themselves. Glastonbury 2021 has been cancelled, but organisers have announced a collaboration with Worthy Farm, home to the festival, and the launch of the Worthy Farm Reserve Cheddar Cheese. Burning Man, although not officially cancelled yet, is relying on its Burners Without Borders community programme to keep the embers burning in case it needs to go virtual a second time.
Tomorrowland, after being foced to cancel 2020, launched a two-day digital festival with eight stages and some 60 artists. Barcelona’s Primavera – while ostensibly still planning to hold the live event in summer – had to cancel the smaller Yellow Days live performances that were scheduled to take place next week on March 7. Instead, they’re trying hard to focus on a series of Spotify broadcasts.
“Digital worked well when this whole thing started, because it was a novelty. But people want to go back to live events now. We can only wait and see. And, meantime, come up with creative ways to survive,” Spiteri concludes.
18 Bukkett fjuri … bukkett rakkonti … Ix-xogħol il-ġdid ta’ Trevor Żahra www.merlinpublishers.com u mill-ħwienet tal-kotba kollha AS THE REBORN MUŻIKA MUŻIKA - FESTIVAL KANZUNETTA MALTIJA GETS SET TO LAUNCH WITH FESTIVALS MALTA, LAURA BONNICI CHATS WITH SOME OF THE BIGGEST NAMES IN MALTA’S MUSIC SCENE Photo: Dr José Herrera, Minister for National Heritage, Arts and Local Government
Malta is all about culture. The nation’s rich and long And to reaffirm the Maltese music ‘box’ in the local history, our art, our architecture, our literature, culture, the Ministry for National Heritage, the Arts our food, our language, our music – every element and Local Government, together with Festivals Malta, contributes to the unique heritage that is the very is regenerating one of Malta’s most historic music essence of the country. festivals. Mużika Mużika – Festival Kanzunetta Maltija, set to take place on March 18, 19 and 20, will be the Yet, what if any of these elements become unstuck, first time in many years a festival will completely eventually becoming lost into distant memory? Well, focus on music in the Maltese language – although its Raymond Bugeja, Board Chairman of Mużika Mużika – roots can be traced back more than 60 years. Festival Kanzunetta Maltija, argues that this might very well signal the end of Malta as we know it. “Il-Festival tal-Kanzunetta Maltija started in the 1960s as the Malta Song Festival, where many of Malta’s “A culture, any culture, can only be called so because established singers competed, accompanied by a live it ticks all these various boxes,” he says. “Without any orchestra,” recalls another of Malta’s music industry one of them, the nation cannot be called a culture names behind the new festival, Artistic Director Paul anymore – simply a country. Over recent years we Abela. “At the start of the 1970s, the winner would have seen one of those important boxes losing represent Malta in the Eurovision Song Contest relevance and risking being consigned to oblivion. It is and the first songs in Maltese, Marija l-Maltija and only through constant promotion and support that we L-Imħabba represented Malta at Eurovision. The prevent that box from disappearing entirely. So, now Festival stopped in 1975, just as the decision was is the time for Maltese music to affirm its presence taken that Malta’s Eurovision song should be in the amongst us.” English language.”
20 ENCORE > FESTIVALS MALTA
While other festivals such as l-Għanja tal-Poplu and competing in the semi-final will all receive €500 as Festival Internazzjonali Tal-Kanzunetta Maltija created a contribution towards the costs incurred from these international opportunities for Maltese singers, final stages of the concert. authors and composers in the interim, the trend for Malta’s Eurovision song to be performed in English “This year in particular, with the pandemic and all largely remained. creative arts performances reducing to a minimum, it is especially important to offer some incentives to Now, Festivals Malta, backed by Raymond Bugeja the many different types of performers and artists,” and artistic directors Paul Abela and David Borg, confirms Abela. “I have taken part in many festivals is determined to shine a spotlight back onto since the 1970s and I will try to give to this Festival compositions in the Maltese language by restoring what I, and other composers, authors and singers, Mużika Mużika to its legacy, while offering a found lacking when competing. We must set the potentially life-changing opportunity to local artists. standard and support local artists, who need it now more than ever.” “Mużika Mużika will explore a new format for local festivals,” continues Abela. “We will see the return Mużika Mużika will also make the most of of a live orchestra and backing vocalists that will technology to make the Festival a reality. Apart from support the participants, as they compete for the accompaniment by the Malta Philharmonic Orchestra, title of Best Maltese Song. Some of the best creative the Festival will also make use of ‘click tracking’ to talent on the island will be taking part, with various become applicable to a variety of musical genres, as genres and bands, solo singers, singer-songwriters, well as using the latest technology to bring the late established performers and newcomers. And the legends of Maltese music back to life to accompany goal is not just to have an excellent show – this will semi-finalists in a unique duet. give participants a springboard that will help them go down in the island’s musical history and take their “This is a major festival with a massive logistics plan music even further.” to match,” explains Festivals Malta CEO Annabelle Stivala. “While the stringent health and safety The Festival will be held over three days, with 20 measures surrounding the pandemic have added semi-finalists set to perform on the first day. Day an extra element to our preparations, which began two will feature a nostalgia show, with the Festival’s back in August 2020, nevertheless both participants singers performing well-known Maltese songs of the and audiences will experience the full package of a past in duets with the songs’ original singers. During fully equipped, world-class professional production. the Final on the third night, 12 songs will be chosen Festivals Malta counts Mużika Mużika as a hugely from the 20 semi-finalists, before being narrowed important addition to its portfolio of festivals and to the down again to the top three. local cultural calendar, in that it celebrates both our unique language and our local artists. We are ready to “Voting on the final two stages will take place through give them, and the Maltese language, this platform.” a mix of juries and televoting,” explains Bugeja. “On the judging panels throughout the Festival will Bugeja agrees. “We have loads of talent out there, be be a well-balanced mix of DJs, industry professionals, it performers, composers or writers, all as unique musicologists and even an expert in the and different as the Maltese language itself. We must Maltese language.” give them every opportunity to shine and to share their talents; to take the spotlight at last. Besides, The winner of Best Maltese Song will take the top thousands of songs in English are released all over the prize of €10,000, while those placed second and world – so why not do something original in Maltese?” third will be awarded prizes of €5,000 and €3,000 respectively, as well as an official trophy and a bevy Mużika Mużika – Festival Kanzunetta Maltija will be of additional opportunities. There will also be prizes held on March 18, 19 and 20 at MFCC, Ta' Qali. More awarded to the best song interpretation and the best information can be found online at musical arrangement. Furthermore, all of the artists www.muzikamuzika.org.
21 Tgħaqqadna l-mużika mużika, tferraħna l-mużika mużika
Għajjejt Inħobb - Christian Arding Binti - Ian Vella (Janvil) & Jade Vella
Għażiż - Danica Muscat Ħarsa Biss - Glen Vella
Int Biss - Christina Magrin Kompli Tbissem - Avenue Sky
Naħseb Fik - AIDAN Ta' Ftit Kliem - Ryan Grech
Tista' - MJAW Viżżju - Raquel
22 ENCORE > FESTIVALS MALTA Tgħaqqadna l-mużika mużika, tferraħna l-mużika mużika
Fjamma - Fabrizio Faniello Għal dan il-Lejl - Charisse Ann Vassallo
Ħudni Lura - Bernie & Pod Il-Kitarra u Jien - Philip Vella
L-Ewwel Jien - Kantera Lil Binti - Mark Spiteri Lucas
Tbissimli - Michela Galea Teżor - Janice Mangion ft George Curmi Puse'
Warajk - Franklin Calleja Sinfonija Ħiemda - Miguel Bonello
4723 A knot is an intentional complication - sometimes used for its practicality or as a decoration, or both. But, what about Malta’s intentional complications, or rather, ‘knots’? Spazju Kreattiv is delving into the ‘knots’ of it all by looking at the complicated web of political phenomena of construction, a hectic life and immigration in Malta.
Taralalla, a commissioned play by Spazju Kreattiv, will delve into themes that are the talk of the town. Through themes of tradition, death and nostalgia, interlaced with the emotions of hope, anger and humanity, the characters will find that their own voice is amplified more than others’. Lara Calleja, the playwright of Tarallala, elaborates that “...sometimes you can write about themes and issues which would be normally ignored by the public, but can still speak and resonate with the same public. I believe it’s not about what you write. It’s about how you write it and how that writing can resonate with all sorts of audiences.”
Being an activist throughout her teenage years, Calleja has taken a stand on many issues Malta faces as a tiny island in the Mediterranean. She aims to channel her anger and incomprehension towards the world’s injustices into other practical networks and through her first attempts at writing. What makes Calleja’s endeavours at writing different is her distinction between being an activist and writer. “Activism is something practical, factual and hands-on. It has a purpose to put direct pressure to instigate change.
Writing on the other hand is fictional and works around emotions and stories. Whilst it can be seen as another way of activism, the act of writing tells a story, and sometimes when you tell a story you cannot censor or omit political facts which are a crucial backdrop to the story.”
Bringing together characters that are down-to- earth and seemingly normal individuals, Taralalla SPAZJU KREATTIV IS PROVIDING A will traverse to a different reality that goes beyond PLATFORM TO DISCUSS SOCIO-POLITICAL what one hears or sees on traditional media or ISSUES IN MALTA AND BRING SOCIAL on the digital platforms. Calleja adds that the CHANGE THROUGH STORYTELLING. message although not intended, will allow the WORDS BY AUDREY ROSE MIZZI audiences to understand and ultimately relate to what is happening onstage to their everyday lives. Lara Calleja, playwright of Taralalla, Photo by Lindsey Bahia ENCORE > SPAZJU KREATTIV
Knots visually tend to also create fascinating shapes or join multiple patterns and colours together. Intrinsically, handcrafted dolls will be taking over the upper galleries of Spazju Kreattiv this coming March. Sura, a project by Glen Calleja in collaboration with Lori Sauer and stories told by Clare Azzopardi, dolls inspired or rather influenced by particular cultures will come together in each creation to produce different layers of meaning. Both Calleja and Sauer will showcase varied skills in creating these dolls which are not necessarily inspired by cultures from South America, Africa or Malta but merely looking at the practices that change time and time again.
They take up this ‘macro’ approach by looking at dolls as figures which transcend countries, continents and other cultural and physical boundaries. The process is formative. Calleja explains that “...there is a bit of randomness and you need to allow space for organic growth, but it’s [also] a technical process.” In a sense, the artists are looking at dolls as objects which are creations of humanity in the broader sense of the term, asking questions such as; “Where do we come from? What are we? Where are we going?”, or more simply, what does it mean to be human?”
The interdisciplinary approach to this exhibition will also include a multisensory element with sounds across the exhibition space. These will allow visitors to listen to each individual story from close friends or newly encountered strangers. This is where the storytelling element comes into play. Some dolls will be on their own, while others are in groups as if they’re walking down the road, or simply sitting together. “Azzopardi will be re-imagining who they are more or less. We don’t know where it’s going to lead so this might completely change…” the project as they know it.
These ideas come to fruition in Spazju Kreattiv in the coming months. The ‘knots’, whether metaphorically or figuratively, will become tangible as this upcoming season continues to present challenging works via art, theatre and cinema to try and ignite social change not simply by putting it on display but rather getting people to talk about it. Glen Calleja in his workshop, Photo by Lindsey Bahia ENCORE > MERLIN LIBRARIES
WHAT STARTED OUT AS A PLAYFUL YOUTUBE VIDEO NOW BECOMES A BEAUTIFULLY WRITTEN TALE REPLETE WITH HUMOUR AND PATHOS
So you’re five years old, surrounded by sisters and story of Giacomo Mazzariol and his brother Giovanni. you’d love nothing better than to have a brother – an What started as a bit of online fun creating a YouTube ally to play and do boy stuff with. video, went viral, garnering hundreds of thousands of hits in a few days. And from there to writing their And sure enough, one fine afternoon, your parents park story down in a book, Mio fratello rincorre i dinosauri. the car in a parking lot and there give you the big news: you’re about to have a BROTHER! And he’s going to be And from there again into a box-office hit movie in Italy a SPECIAL brother! You can’t contain your excitement, based on the book, featuring Alessandro Gassmann. because of course to you, from the height of your five years of age, special means superhero. Wow, a baby The book has just been translated into Maltese by brother with superpowers. How cool is that! Ludvic Azzopardi Ferrando and published by Merlin. And Maltese readers are in for a rollercoaster You even get to pick his name: Giovanni. Then the big ride of emotions: brotherly love, humour, pain and day arrives, he’s born and after a while, slowly you happiness, and the strength to go ahead and face life start to understand that your beloved baby brother head-on regardless of obstacles. is different from other kids. You learn the meaning of the word ‘Down’s’, and your excitement turns into Azzopardi Ferrando’s translation beautifully retains something else. You begin to feel ashamed of him, Mazzariol’s playfulness and tongue-in-cheek, while not wanting your friends to meet him and even telling highlighting the emotions that the families and them you have only two sisters, no brother. siblings of children with special needs go through.
It takes quite a while, and some more maturity, Because Ħija jiġri wara d-dinosawri is not just the to come full circle and appreciate that your first story of a special boy with Down’s Syndrome. It is judgement of your brother wasn’t that off-mark: he also – and especially – the story of the equally special really is a superhero. You let yourself be infected by his brother of someone with special needs. energy, his optimism and he becomes your best friend. GIACOMO MAZZARIOL, (translated by LUDVIC You’d be forgiven to think this was some tug-at-the AZZOPARDI FERRANDO: Ħija jiġri wara d-dinosawri, heartstrings movie plot. But it’s a very real story – the Merlin Publishers, (2020), 240 pp. €14.95
26 ENCORE > BOV
AS ONE OF MALTA’S BIGGEST PRIVATE ART COLLECTORS, BANK OF VALLETTA IS SHOWCASING A SERIES OF WORKS BY PROMINENT LOCAL ARTISTS IN ITS 2021 CALENDAR
Malta’s long and tortuous history, characterised by colonisations, occupations and invasions, along with its insularity has led to a flourishing of the arts over the centuries, with several great artists making a name for themselves both on the island and beyond our shores.
Art needs its creator, and also the one who views it and appreciates it, the connoisseur, and the collector, who constantly enriches his collection with works from both the masters, as well as the upcoming artists.
One of Malta’s largest private collection of works of art belongs to Bank of Valletta. This collection boasts almost 2,000 works from over 200 different artists, mostly Maltese.
As a major supporter of the local arts scene, the Bank decided to showcase a selection of works by prominent Maltese artists from its collection in its calendar for 2021. Titled Lwien II, the calendar is a continuation of the 2020 paying homage to the artists that are major contributors to Malta’s ever growing, rich artistic heritage.
The BOV 2021 calendar features works by Madeleine Gera, Anthony Spagnol, Antoine Paul Camilleri, Anton Inglott, Austin Camilleri, Carmelo Mangion, James Vella Clark, Philip Chircop, Robert Caruana Dingli, Victor Diacono, Norbert Attard, John Martin Borg u Noel Galea Bason.
Whenever you visit a BOV Branch or Office, take a look around you, you might be in the presence of one of these masterpieces, or other works from BOV’s collection.
A digital copy of the calendar can be downloaded from www.bov.com/documents/bov-calendar-2021 B’DAN L-ARTIKLU TA’ DR GEORGE FARRUGIA, IL-KUNSILL NAZZJONALI TAL-ILSIEN MALTI JISPJEGA FIL-QOSOR X’INHU L-ĠENS GRAMMATIKALI U LIEMA HUMA L-KRITERJI DIFFERENTI LI JUŻAW IL-KELLIEMA TAL-MALTI BIEX JAGĦTU ĠENS PARTIKOLARI LIN-NOMI KOLLHA FI LSIENNA.
Meta tistaqsi lil xi ħadd x’jifhem b’ġens grammatikali, Ir-relazzjoni ta’ bejn il-ġens grammatikali u it-tweġiba aktarx tkun “maskil jew femminil” inkella s-sess bijoloġiku “raġel jew mara”. U jekk titolbu xi eżempji, ma trid Għalkemm, kif rajna, teżisti relazzjoni bejn il-ġens u xejn biex jgħidlek xi ħaġa bħal: “‘kompjuter’ raġel u s-sess, din mhijiex diretta. Li kieku kienet relazzjoni ‘friġġ’ mara”. Fil-verità, dawn la huma raġel u lanqas diretta, l-ismijiet li nagħtu lill-oġġetti ta’ madwarna mara għax magni u ma jappartjenu għall-ebda sess. kienu jingħataw l-istess ġens fil-lingwi kollha imma Imma t-tweġiba turina kemm inħalltu s-sess tal- ma jiġrix hekk. Pereżempju, il-kelma li tirreferi persuna mal-grammatika. għax-‘xemx’ hija femminil fil-Malti, maskil fit-Taljan u newtru fir-Russu. Imqar il-ġens li jingħata lill- Minkejja li l-modi kif nikklassifikaw id-dinja huma kliem li jirreferi għall-persuni, f’xi lingwi ġieli ma riflessi fil-grammatika tal-lingwa li nitkellmu, is-sess jkunx jikkorrispondi għas-sess tar-referent tiegħu. u l-ġens mhumiex l-istess ħaġa. Filwaqt li s-sess Fil-Ġermaniż in-nomi ‘Kind’ (tifel/tifla) u ‘Mädchen’ huwa ħaġa bijoloġika li tappartjeni għall-bnedmin, il- (tfajla) jingħataw il-ġens newtru ‘das’, li tistennieh ġens marbut mal-grammatika. Fi kliem sempliċi, il-ġens aktar mal-kliem li jirreferi għal xi oġġett milli għal hu wieħed mill-modi li bih f’xi lingwi nikklassifikaw in- persuna. Aktar minn hekk, il-kategoriji tal-ġens nomi. Qed ngħidu ‘wieħed mill-modi’ għax jeżistu sistemi grammatikali maskil u femminil jinkludu nomi inanimati oħra li bihom nistgħu nikklassifikaw in-nomi, u ‘f’xi li m’għandhom l-ebda rabta ma’ sess jew ieħor. lingwi’, għax mhux il-lingwi kollha għandhom il-ġens. In-nomi inanimati Fl-istess ħin, fil-lingwi bil-ġens grammatikali, bħall- Il-maġġoranza assoluta tan-nomi li jirreferu għal Malti, jeżistu differenzi fin-numru tal-kategoriji ħwejjeġ bla ħajja fil-Malti x’aktarx nagħtuhom il- u fuq kif jiġu kklassifikati n-nomi. Ngħidu aħna, ġens skont it-tarf tagħhom. Bħala regola ġenerali, fil-Ġermaniż insibu t-tliet kategoriji tal-maskil, il- jekk in-nom ikun jispiċċa bit-tarf –a jew –i aktarx femminil u n-newtru; l-Iżvediż modern għandu biss nagħtuh il-ġens femminil (eż. ‘mejda’, ‘xkora’, ‘fjura’, il-ġens komuni u l-ġens newtru. Fil-Franċiż, it-Taljan, ‘vuċi’, ‘infezzjoni’) filwaqt li jekk ikun jispiċċa bit-tarf l-Ispanjol u l-Għarbi nsibu l-maskil u l-femminil. –u jew b’konsonanti nagħtuh il-maskil (eż. ‘arblu’, Fil-Malti għandna wkoll din is-sistema, wirt Għarbi, ‘velu’, ‘pitazz’, ‘flixkun’, ‘kompjuter’). Xi drabi n-nisel li biha kull nom jingħata ġens maskil jew femminil tal-kelma jkollu wkoll importanza fl-għażla tal-ġens. u l-kliem l-ieħor fil-kuntest, f’relazzjoni grammatikali Pereżempju kliem ta' nisel Għarbi jew Ingliż li jispiċċa miegħu, ikollu jaqbel miegħu kif jidher f’dan l-eżempju: bit-tarf/ħoss [i] x'aktarx ikun maskil eż. 'mixi', 'ġiri', 'deni', 'curry', 'whisky', 'dinghy' filwaqt li kliem ta' Il-libsa l-bajda għadha mhix mgħoddija u l-qalziet nisel Sqalli jew Taljan li jispiċċa bl-istess tarf/ħoss l-iswed li kien għall-ħasil għadu maħmuġ. x'aktarx ikun femminil eż. 'analiżi','edukazzjoni','teżi'.
28 ENCORE > IL-KUNSILL NAZZJONALI TAL-ILSIEN MALTI
In-nomi l-ġodda li jidħlu fil-Malti, anke jekk jidħlu (f), ‘tarbija’ (f) u ‘wild’ (m). Hemm kategorija oħra, minn lingwa li fiha ma jkunux jingħataw ġens, li qiegħda tikber minħabba l-kuntatt mal-Ingliż, li bħall-Ingliż, iridu jingħataw ġens skont xi kriterju tiġbor in-nomi b’forma waħda li tista’ tingħata kemm partikolari. Fil-każ tan-nomi mill-Ingliż, minbarra il-maskil kif ukoll il-femminil eż. ‘ministru’, ‘kaptan’, t-tarf tan-nom, jidher li hemm kriterji oħrajn li ‘pulizija’, ‘uffiċjal’, ‘sindku’, ‘speaker’, ‘kowċ’, ‘plejer’, jiddeterminaw l-għażla tal-ġens: ‘manager’. Dawn jissejħu nomi ta’ ġens komuni.
(i) meta l-kelliema jagħtu l-ġens skont l-isem tal- Minħabba li n-nisa qed jidħlu aktar fid-dinja tax- kategorija ġenerali li jikklassifikaw in-nom fiha. xogħol u jokkupaw pożizzjonijiet li qabel kienu Pereżempju, in-nomi ‘kiwi’, ‘grapefruit’, ‘pineapple’ u dominju tal-irġiel, ċerti nomi li kienu jingħataw il- ‘mango’ iqisuhom femminili għax jikklassifikawhom maskil, illum jistgħu ma jkunux japplikaw għan-nisa. taħt il-kategorija FROTTA; u n-nomi ‘jeans’, L-opinjoni ġenerali dwar dan hija maqsuma. Hawn ‘shorts’ u ‘pants’ iqisuhom maskili, aktarx għax nisa li jippreferu jissejħu bil-forma maskili għax jikklassifikawhom taħt il-kategorija QALZIET. iqisuha aktar prestiġjuża eż. ‘L-avukat Maria Borg’, ‘id-Direttur Ann Farrugia’, ‘il-Kummissarju Sarah (ii) meta l-kelliema jagħtu lin-nom mill-Ingliż Attard’, u oħrajn li jippreferu l-forma femminili eż. l-istess ġens tan-nom Malti li jassoċjawh miegħu, ‘L-avukata Maria Borg’, ‘id-Direttriċi Ann Farrugia’, jew il-ġens tan-nom Malti li jkun qed jintuża ‘il-Kummissarja Sarah Attard’. Konklużjonijiet uffiċjali minfloku. Pereżempju, in-nomi ‘postcard’, ‘bicycle’ dwar dan l-iżvilupp soċjolingwistiku għad m’għandniex u ‘bedspread’ jingħataw il-ġens femminil għax imma d-diskussjoni dwar din it-tema soċjali sensittiva, jassoċjawhom ma’ ‘kartolina’, ‘rota’ u ‘kutra/gverta’, b’kumplikazzjonijiet grammatikali, nistgħu ngħidu filwaqt li n-nomi ‘diary’, ‘handbag’ u ‘job’ jingħataw li bdiet. il-maskil għax aktarx ifakkruhom fi ‘djarju’, ‘basket’ u ‘xogħol’. Minħabba f’hekk, m’għandniex noħduha bi kbira li xi nomi mill-Ingliż għad m’għandhomx Fl-2017 l-Akkademja tal-Malti organizzat ġens fiss. Ngħidu aħna, issib min jgħid ‘esej twil/a’, seminar pubbliku fuq is-sessiżmu fil-Malti. ‘l-email qrajtu/qrajtha’, ‘toaster abjad/bajda’, ‘ashtray Matulu ġew diskussi temi bħar-relazzjoni ta’ maħmuġ/a’ u ‘tablet ġdid/a’. bejn il-ġens u s-sess, aspetti marbutin mal-ġeneru, il-verżjonijiet ta’ ‘Ms’ u ‘Mx’ In-nomi animati bil-Malti, kif nirreferu għall-professjonijiet In-nomi li jirreferu għan-nies u għal referenti oħra u x-xogħlijiet tan-nisa f’kariga, u s-sessiżmu ħajjin jingħataw il-ġens aktar fuq it-tifsira tagħhom fil-qwiel. Is-seba’ preżentazzjonijiet inġabru milli skont it-tarf. Għaldaqstant, nomi li jirreferu għal fi ktieb li għandu jservi ta’ bażi għal aktar ħlejjaq ta’ sess maskili, jew tipikament għal irwoli diskussjoni fuq il-lingwa inklużiva. maskili, jieħdu l-ġens maskil u dawk li jirreferu għal ħlejjaq ta’ sess femminili, jew għal irwoli marbuta miegħu, jieħdu l-ġens femminil. Ngħidu aħna, in-nomi ‘omm’ u ‘soru’, minkejja li jispiċċaw b’tarf maskili, jingħataw il-ġens femminil għax jirreferu għal mara, filwaqt li ‘papa’ u ‘patrijarka’ jieħdu l-maskil minkejja li jispiċċaw bit-tarf –a li hu marbut mal-femminil. In-nomi li jirreferu għan-nies u għall-karigi u x-xogħlijiet tagħhom ma jidħlux f’keffa waħda. Hemm każi fejn jeżistu żewġ forom, waħda li tingħata l-ġens maskil għax tintrabat ma’ raġel, u l-oħra l-femminil għax tintrabat ma’ mara eż. ‘tabib/a’, ‘għalliem/a’, ‘spiżjar/a’, ‘attur/ attriċi’, ‘ambaxxatur/ambaxxatriċi’. Jeżistu ftit nomi li, għalkemm jirreferu kemm għal raġel kif ukoll għal mara, jingħataw ġens wieħed eż. ‘persuna’
29 THROUGH THE ASSOCIATE ARTISTS’ PROGRAMME, THE SELECTED SIX ARTISTS WILL COLLABORATE WITH TEATRU MALTA AND SHARE THEIR KNOWLEDGE, COMPETENCES AND RESOURCES FOR FURTHER DEVELOPING THEIR OWN ARTISTIC PRACTICES AND THAT OF THEIR COLLEAGUES
Teatru Malta has not only recently become a full SIMON BARTOLO: member of the European Theatre Convention but have I see the Atelier as a new opportunity for sharing also introduced their audiences to their associate artists and collaborating, which is bound to be beneficial for and have officially launched Atelier Francis Ebejer everyone involved. I hope to be able to coordinate with of which the Associate Artists are board members. Teatru Malta and the other associate artists to create This associate artist programme is a new and exciting a monthly space where we can all have interesting opportunity for chosen artists to collaborate with Teatru and fruitful discussions. Malta and share their knowledge, competences and resources for further developing their own artistic SIMONE SPITERI: practices and that of their colleagues. As an Associate Artist I hope to be able to act as a bridge that facilitates the exploration of new and Who made the cut for 2021? This year the national exciting theatre. Atelier Francis Ebejer will certainly theatre company will be working closely with Jimmy be one of those spaces and will provide a platform for Grima, Lee-N Abela, Marta Vella, Paul Portelli, Simon inspiration, a sounding board or even the possibility Bartolo and Simone Spiteri, who are all seasoned to experiment with ideas. It will hopefully be an directors, writers and performers and will all be opportunity to further enrich the theatre scene roped in to share their thoughts and get involved in in Malta. specific projects that have been lined up for the new year. Here is what the Teatru Malta associate artists PAUL PORTELLI: had to say when asked about how they intend to work Together with Teatru Malta I wish to help create with and inspire fellow and aspiring theatre-makers. theatre projects which, surprise, entertain comment and raise questions. I would like to see the creation of MARTA VELLA: a safe space which artists can call their own. A space I look forward to being involved in dialogues with which would help us dream. local creatives and practitioners so together we can generate new work. I am excited to see how this LEE-N ABELA: platform can create a safe space and a stronger The empty space has always been a platform for great collaboration between professionals in the industry. ideas to come to life. At the Atelier, I am psyched to come together with theatre makers in a safe space JIMMY GRIMA: where we can bounce off ideas, collaborate together The plan ahead of us is to bring our field together, and bring to life amazing work! through discussions and development of ideas, projects and new works. The strengthening of already For more information on Teatru Malta's Associate existing connections and the forging of new ones is Artists and Atelier Francis Ebejer please visit what I aspire and hope for in the coming years. www.teatrumalta.org.mt or call 21220255.
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MIMDUDIN WEQFIN 1. Din toqgħod fl-art bla meravilji. 1. In-newsletter ta’ Teatru Malta, fis-singular. 3. Hemm min jgħid li Anthony Burgess kien ipejpu ma’ sieħbu 2. Kunjom l-attur li kien fil-Madonna Tiegħi Aħjar Minn Graham Green; Karl Marx kien jgħid li r-reliġjon hija dan Tiegħek u f’Rinoċeronti. għan-nies. 4. Id-disinjatur tal-kostumi ta’ VII fuq Instagram jagħmel 7. Thomas Camilleri ltaqa’ ma’ Francis Ebejer għall-ewwel hekk il-ħin kollu. darba f’Boulevard. 5. Il-Qarċilla mhux se sseħħ fl-2021 għax il-karnival lanqas. 9. Il-kelb tal-fenek aktar magħruf għal kemm jara milli 6. Internazzjonalment issibha bejn U u 12A. għal kemm... 7. Oġġett imqiegħed ġo jew quddiem sors ta’ dawl biex 10. What’s it gonna be... eh? jikkontrolla l-forma tad-dawl mitfugħ u d-dell tiegħu. 11. Rebaħ il-Premju Nobel għal-letteratura fl-1997. 8. Wirja ta’ Teatru Malta u Spazju Kreattiv. 12. Min... ? 13. L-għannej li kien hemm tribut għaliħ f’Ilħna Mitlufa. 16. Fejn toqgħod Stella Pulo? 14. Il-karattru li jaqla’ x-xokkijiet fis-Serra 17. Have more than you showest, speak less than you kien ħaruf. knowest, lend less than you owest. Ikkoreġi. 15. Clare fl-Interogazzjoni 18. L-ewwel attriċi fl-Għanja ta’ Malta. qiegħda bil-maqlub. 20. Artist assoċjat ta’ Teatru Malta li kien imur jonsob 19. L-assistent maniġer ma’ missieru. tal-palk is-soltu 21. Id-direttriċi tal-Festival tat-Teatru għaż-Żgħażagħ, nsejħulu hekk. Trikki Trakki.
*L-ewwel tnejn li jibagħtulna t-tisliba lesta u korretta fuq [email protected] jirbħu maskra tal-għajnejn ta’ Seffaruġia b’kollaborazzjoni ma’ Teatru Malta! Him by Maurizio Cattelan ENCORE > HOT TOPIC
IS THERE SUCH A THING AS OFF-LIMITS WHEN DISCUSSING ART, OR SHOULD AN ELEMENT OF PROVOCATION BE IMPLICIT? RAMONA DEPARES TURNS TO CELEBRATED CASES FOR SOME ANSWERS
Art is meant to push boundaries – how often have Nazism, in particular, has the capacity to bring out artists struggled to remind everyone of this? From the inner revulsion of the overwhelming majority, American comedian Jane Lynch to British pop artist a revulsion that is exploited by artists to hammer a Allen Jones, if there is one ethos within creative point home. One wonders what a Maltese audience circles that remains undisputed, this is that art is not would have made of Maurizio Cattelan’s sculpture, about maintaining the status quo, but challenging it. Him, depicting a kneeling Hitler in wax as a treatise on evil. Or even whether Andres Serrano’s Piss Christ, Perhaps, it was the poet and human rights activist depicting a plastic crucifix submerged in a glass tank Cesar A Cruse who said it best (although the quote is of the artist’s urine to sublime effect, would have often erroneously attributed to Banksy) – “Art should been considered blasphemous by a local audience. comfort the disturbed, and disturb the comfortable.” The international one certainly did not spare him, Thus, the strongest social taboos such as incest, with some going as far as to send death threats pedophilia or Nazism, can be adopted by artists and to Serrano. brilliantly developed through their craft. The beauty of art is that it has the capacity to Yet, society does not always respond well to this. We transform that which is conventionally perceived only have to look at what happened in Malta itself not as ugly, offensive, or disturbing, into a thing of awe. too long ago, when actress Pia Zammit donned Nazi Thus, the profane can become sacred; and what is paraphernalia in relation to a production of Allo Allo, horrific can even inspire feelings of magnificence. an obviously satirical play that has achieved world- Sacred art offers a dramatic example of the way wide recognition. art can transpose even the most inhumane actions into something transcendental. An example par Such reactions towards what we perceive as social excellence would be that Caravaggio masterpiece, taboos are not limited to Malta. Indeed, they have The Beheading of St John. It is indisputable that the plagued some of the world’s greatest names, who choice of subject here is not one that would usually very fast found out that the great masses rarely tend fit comfortably in your typical living-room, portraying to go beyond the facade of an artwork to explore the as it does a gruesome event in vivid, large scale. ideological, aesthetic and intellectual ramifications of As Jonathan Jones, art critic for The Guardian, put the art under discussion. it when placing it on a list of 10 Greatest Works of
33 THIS DEFYING OF COMMON SOCIAL TABOOS IS A RUNNING THEME ACROSS ALL ARTFORMS, INCLUDING THEATRE AND FILM
Piss Christ by Andres Serrano
Art, “death and human cruelty are laid bare by this His novel Lolita – about the sexual relationship masterpiece”. Just consider the loss to the world had between a middle-aged, male, unreliable narrator Caravaggio felt himself constrained by social mores and a 12-year-old girl – is widely-viewed as a literary that, outside of the artistic plane, certainly put a classic. But when it was penned in 1953 it attracted heavy taboo upon the depiction of death. mass opprobrium even among intellectual circles.
Indeed, visual art is a form that often finds itself in London Sunday Express editor John Gordon famously the line of fire for blurring the line between what called it “sheer, unrestrained pornography”, and society finds acceptable and what isn’t, sometimes the book went on to be banned from a number of intentionally. Dutch artist and designer Joep Van countries, including France and England. Yet, literary Lieshout was not so lucky with the outcome of one writers immediately knew it for a masterpiece, with of the more controversial art pieces he created – Graham Greene declaring it one of the three best his Domestikator, a 40ft installation that seemingly books of 1955 in the London Sunday Times, in turn depicts a man having sex with a four-legged creature, provoking the pre-mentioned response from the was initially meant to show at the Louvre. But the London Sunday Express. Paris museum cancelled the artist’s exhibition in a last-minute decision. Lieshout claimed that the It was rejected by five of the US’s biggest publishers sculpture had nothing to do with sex, but was a and, when eventually published by Olympia, fast built commentary on man’s interference with nature. a following among those looking for pornography. Which the book, was very far removed from. And even Of course, courting controversy by offering sacrifice today, the subject matter tackled by Nabokov is so at the altar of social taboos is not the sole province powerful that the novel still provokes strong reactions. of visual artists. Writers, too, often find themselves sacrificed to the altar of public censure, upon Another classic that deserves the spotlight for daring to approach such taboos from the creative daring to run counter the accepted social taboos perspective. Vladimir Nabokov is an apt example. of the time is undoubtedly D. H. Lawrence’s Lady
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Chatterley’s Lover. Rather than the topic itself, it was Lawrence’s choice of language and a few sexually explicit passages that landed his publication in hot water, getting it banned for obscenity. The case immediately draws comparisons to Malta’s own censorship debacle, precipitated by Alex Vella Gera’s short story Li Tkisser Sewwi. Both Lawrence and Vella Gera turned out to be catalysts in effecting changes to national legislation through their work – Lawrence in 1930, when the censorship of his work led to an amendment of the US’s Smoot-Hawley Tariff Act, putting an end to the censorship of imported books deemed to be ‘obscene’ by customs. Malta’s equivalent came somewhat later, when the court acquitted Vella Gera and publisher Mark Camilleri of breaking the laws of obscenity and eventually playing a pivotal part in the revocation of the island’s censorship law in 2016.
This defying of common social taboos is a running theme across all artforms, including theatre and film. Think of Who’s Afraid of Virginia Woolfe? What was deemed to be the ‘obscene subject matter’ – the complex sexual relationship between the dysfunctional George and Martha – cost writer Edward Albee the Pulitzer Prize for violating the sexual taboos of conservative America. Terrence Mc Nally’s 1998 play Corpus Christie – a play that retells the story of Jesus & the Apostles as gay man – generated an equal amount of contempt and the postponement of its premiere due to fears of violent protests.
Violating social taboos may be an artist’s prerogative, but even in modern times there is no guarantee that this statement will meet widespread acceptance. Then again, as many will attest, a measure of controversy is also viewed as an artist’s bread and butter.
35 46 ENCORE > CULTUTAL HERITAGE DIRECTORATE - MINISTRY FOR GOZO
In 1838, the centralised monopoly on windmills A project that saw the came to an end and, from that point on, there were regeneration of the no restrictions on who would build a windmill. As a result, a number were built after that date. The irony Xewkija square and the was that, whilst windmills had for centuries been seen as a symbol of dependability, within 50 years restoration of the Tmien almost all of these new constructions and plenty of Kantunieri windmill the older ones had fallen into disuse, replaced by the modern technology of steam mills. A lot has been written on the meaning of Don Quixote’s doomed attack on the windmills that, in This is what often happens when a new technology his frenzied state, he mistook for giants. Among the comes along, the older one gets discarded. So too it interpretations of Cervantes’ timeless masterpiece is was with windmills. They were inherently fickle – no that he was railing at the introduction of technology wind meant that no wheat was going to get ground – which often signified a destruction of the past which in a rapidly evolving world no longer remained including the knightly values he held so dear. acceptable. One by one they ceased working, overtaken by steam powered mills that were more Such attacks on technological advances are frequent economical and efficient. themes particularly in literary works that have a nostalgic element to them. In reality, however, these Such is the harsh reality of evolution, even for advancements help elevate the status of all those machinery. The sadder part is that these majestic who benefit from them and there is no nation in buildings that had faithfully served communities history that has managed to progress without the aid for centuries were abandoned and allowed to fall of technological developments. into disrepair. A part of Maltese history was wilfully allowed to disappear. Thankfully it seems that this That is true also for Malta where, in an ironic twist trend is now being reversed and these giants are that Cervantes would certainly have appreciated, it flickering back to life. was the Knights of St John themselves who help kick- start the island’s technological evolutions with the That is the case for the unique shaped windmill known importation of windmill technology. as Tat-Tmien Kantunieri (Of Eight Corners) in Xewkija. This had been commissioned by the Grand Master Indeed, it is thought that upon their arrival from Ramon Perellos y Roccaful and started operating in Rhodes they introduced post mills, building two such 1710 under the charge of miller Ġanni Scicluna. windmills in Senglea. These post mills were the earliest type of European windmill with their defining The windmill owes its name to the peculiar shape of feature being that the whole structure of the mill its unique octagonal base that has eight facades. The that houses the machinery is mounted on one single building itself consists of a large entrance hall with vertical post which could then be turned to more two parallel rooms. The kitchen can be found at the favourably capture the wind through the sails. back of the mill and the building still retains its original oven. In the middle of the mill, there is the typical This increased efficiency was vital to provide an winding staircase that leads to the round stone tower. adequate food source for a growing population – and, with the arrival of the knights, Malta had experienced a It was still functional until 1886, when a fire destroyed sudden jump in the number of inhabitants – and it would it. The building itself had withstood the worst ravages, have been difficult for them to gain a foothold without it. however, and it was given a new life midway through the 20th century when it became the base location Interestingly, every windmill could see a neighbouring for the newly formed Xewkija Band Club – Banda windmill through the openings in its tower, which Prekursur. It was their premises between 1956 and enabled the miller to confirm if the other mills were 1965. Since then, however, it had been left empty working or not. and unused.
37 ENCORE > CULTUTAL HERITAGE DIRECTORATE - MINISTRY FOR GOZO
The windmill owes its name to the peculiar shape of its octagonal base that has eight facades
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Interestingly, Perellos also made Giovanni Gourgion the procurator of wheat, enabling him to receive a commission on all grain he brought to Malta. Gourgion was a Gozitan nobleman who had made his fortune through corsairing and had built a tower – aptly named Gourgion Tower – at the heart of his Gozitan estate in Xewkija.
Sadly, that tower is no longer there, having been dismantled in 1943 to make way for an airfield used in the invasion of Sicily. It is unfortunate that a link to Gozo’s past had to be sacrificed in this manner because it means that part of our heritage has been forever lost.
That reinforces why it is important to safeguard whatever architectural heritage remains and why machinery since the original burnt down in the 1920s. the restoration of the Tmien Kantunieri windmill, that All this work was carried out by two carpenters within is part of the regeneration of the Xewkija square the Ministry for Gozo under the surveillance of a key launched by the Gozo Ministry assisted by the expert. The installation of the machinery was carried European Fund for Regional Development, under out with the assistance of Heritage Malta employees. Operational Programme 1 – European Structural and All the other works were done by different contractors Investment Funds 2014 – 2020 (co-financing rate: and suppliers under the surveillance of two architects 80% European Union; 20% National funds), is such and electrical and mechanical engineers and other good news. In the period 2014-2020 ERDF support various experts. With the support of the procurement and to culture and heritage is mainly through actions contracts departments, the whole project was procured funding the protection, development and promotion of through a mix of twenty e-tenders and e-quotes. public cultural actions. These EU funds help secure the preservation of historical sites for the future, the Meticulous restoration work under the surveillance windmill being a case in point. of Architect Ivana Farrugia, and the Heritage Superintendence was carried out to remove metallic The windmill’s internal mechanism has been inserts and cement renders, the windmill’s concrete reconstructed in this process. This required the roof was replaced with traditional stone slabs and purchase of various types of wood, among which the stone was cleaned. In fact, all construction work Iroko, Red Deal, White Ash and Pine wood to dating from later than the 1700 was taken down remanufacture and reconstruct all of the internal whilst doors and windows were remanufactured in the original style.
Perhaps more significantly, the windmill has regained its sails, meaning that it will greet future visitors to Gozo in the same manner as it did for centuries, a visual reminder of life on these islands in the past and a link to everyday life of our forefathers.
Indeed, the aim is for this windmill to be open to the public free of charge so that one can truly appreciate the beauty of the structure, machinery, architecture and history of this Gozitan icon. It will also be a hub for folkloristic activities as well as educational events about the windmill itself which will be set up from time to time.
4739 'Unboxed' by Sarah Maria Scicluna, part of 'CUBE: Manipulations' supported by Arts Council Malta
With Strategy 2025 set to create a robust roadmap for the cultural and creative sectors, Arts Council Malta Head of Strategy ADRIAN DEBATTISTA shares new goals and priorities with RAMONA DEPARES
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As COVID-19 continues to wreak havoc on cultural and creative sectors across the world, Arts Council The conditions and Malta (ACM) has just launched the public consultation process for the new Strategy 2025, which will define status of all those the goals and priorities for the coming four-year period. I caught up with Head of Strategy Adrian that form part of Debattista, to find out more about the transition between strategies and the legacy of Strategy 2020. the creative ecology,
The strategy was developed at time when ACM had no matter the art just been restructured and rebranded , while also form and discipline, anticipating the development towards Valletta 2018 European Capital of Culture. The context, together are at the very with the fact that it was the first time that such a strategy was being designed at a national level, foundations of our required a certain level of ambition, long-term vision and risk-taking. Does Debattista feel that the main priorities & concerns objectives were reached?
“The strategic goals set for the past five years have When COVID-19 hit Malta, ACM was in the process pushed us to be bold, take swift action as much as of preparing for the evaluation and consultation possible and be daring when developing initiatives process informing the upcoming strategy. While the and programmes. The vision of placing the arts and preparation – which involved a call for tenders in creativity at the heart of Malta’s future was not, of order to engage the consultants, was taking place course, expected to be fully achieved in just five – significant adjustments needed to be made to the years. Yet, as a team we believe that together with our structures, while keeping constant touch with the partner organisations as well as the wider cultural sector to understand continuously shifting realities and creative sectors, we have managed to make great and rethinking some of the strategic actions. strides towards advocating for the value of the arts and creativity in the public discourse,” Debattista “We set up a special call for the Malta Arts Fund, starts off. which was open to forms of projects which were previously not eligible under that funding programme; His words are reflected in the unprecedented rate of set up ACMlab sessions online; coordinated online increase in public investment during the past years, training sessions to cultural managers to help them and in the government budgetary allocations towards adapt to the new situations; and formed a COVID-19 the cultural and creative sectors. Taskforce for the arts, which involved a number of online workshops and meetings to keep track “We have managed to address all 70 actions set out in of the challenges being faced by the sector,” Strategy 2020, albeit to different degrees. The current Debattista explains. ongoing evaluation and consultation process is indeed an opportunity for us to reflect what strategic actions This led to a restructured funding programme we have achieved successfully while also being for 2021, aptly named RESTART, which was self-reflexive enough to recognise the internal and adopted to meet these challenges by formulating external factors that limited us from achieving others funding schemes based on previously-established to the same extent. ACM grants, including new ones such as the Arts Education Scheme, the Programme Support Scheme It is through this process of learning from experience, and the Digital R&D fund. that we think our upcoming strategy can become adaptable, pragmatic and ambitious to reflect these “The latter was being designed even before we knew turbulent times,” he continues. about the pandemic. Yet, as most people working
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involved in the cultural and creative sector. It was As most people evident more than ever before how the conditions and status of all those that form the sector, no matter the working in the art form and discipline, are at the very foundations of sector now agree, our priorities and concerns.” With all this taking place, the consultation and the digital shift had evaluation for the next strategy had to start off a bit later than expected. Since the last quarter of 2020, to be accelerated ACM has officially initiated the internal process of evaluating Strategy 2020 and consultation for in the sector now agree, the digital shift had to Strategy 2025 while being mindful of the challenges be accelerated. Of course, the new or amended and uncertainties that will underpin the sector in the programmes and initiatives meant reallocation of our coming years. resources, whether financial or human, while keeping abreast with the wider European and international “Following our conversations through the Task Force scenarios,” Debattista adds. and other occasions, it is indicative that the coming years will be quite challenging to the sector bringing “What we are envisaging for 2021 is a sector which is about the need for all of us to think differently supported to rethink, recover and reinvent itself, as in possibly more than ever. the main themes of the RESTART schemes. We have been concerned with the wellbeing and livelihood of Also, apart from the research and evidence we have artists, creatives and practitioners that work and are collected over the past five years, the upcoming
Get Loose by ŻfinMalta supported by Il-Premju tal-President għall-Kreattività
42 Adrian Debattista Photo: Elisa von Brockdorff Artwork featured: Gabriel Caruana
National Cultural Policy framework and the EU Work Our ongoing research on cultural rights in Malta Plan for Culture are key documents that serve as the captures the essence of what cultural sustainability basis for the core themes that will be debated and is about as we are aiming more towards more discussed during the public consultation process.” cultural democracy acknowledging everyone’s right to participate in culture, while recognising that cultural Wellbeing is expected to be headlining the agenda, expression means different things to different determining how cultural policy will be implemented people,” Debattista continues. “We understand that through ACM strategy in the coming years. The role whether one engages with culture as a professional of arts and culture through practice and participation, artist or because it is part of their everyday social and as an integral part of social wellbeing, as well as the creative practice, they should be supported.” wellbeing of everyone engaged in the cultural and creative sector, are aspects the Council will certainly As the ACM embarks on this public consultation be exploring further. process, it places priority on the need for improved participatory governance structures in the decision “Just like in the National Cultural Policy, the UN making processes, not only to design the strategy but Sustainable Development Goals will be informing our also when implementing and evaluating it. core principles and values when setting our goals. By taking a cross-sectoral approach, we are looking “We want to build more trust by increasing our into expanding the conversation on how the arts and accountability and embracing creative risk as a vital culture can further embrace digitalisation, social ingredient for Malta’s creative ecology to flourish,” and environmental sustainability, gender equality, Debattista concludes. freedom of expression, economic sustainability and vibrant communities.
43 TOY PIANOS AREN’T PLAYING AROUND THE COVID-19 PANDEMIC HAS HAD A SIGNIFICANT IMPACT ACROSS ALL ARTS SECTORS. CLEARLY, ARTISTS ARE HURTING SINCE LIVE PERFORMANCE NOW MAKES UP THE MAJORITY OF REVENUE FOR MOST MUSICIANS. BUT CONCERT PIANIST TRICIA DAWN WILLIAMS IS NOT LETTING THIS STOP HER INSPIRATION
Photography by Ruben Zahra
COVID-19 presents an entirely new challenge for based in Rotterdam reached out to Williams for an musicians. The last time such fearsome microbes online showcase concert and Porto Pianofest, a major scared audiences away from concert halls and bars, international piano festival now managed from New radio itself was a novelty and the drum set hadn’t York included her videos in the 2020 online edition of been invented yet. There is no road map for this, and the festival. “Never in a million years did I think that musicians are scrambling to find ways to handle my modest video would stir up such a reaction from the pandemic. Tricia Dawn Williams’ lifeline has the industry” confesses Williams. In November 2020 been the toy piano. In April 2020, frustrated with Williams was also invited to present a cycle of videos the cancellation of several local and international as part The Three Palaces Festival under the artistic concerts, Williams drove up to Dingli Cliffs with her director of Michele Castelletti. toy piano and recorded a short video. “I needed to perform and the only way I could do this during the Her fascination with the toy piano started in 2016 lockdown months was to reach out to my audience when she attended masterclasses with Margaret through video posts”, she insists. Leng Tan in New York. Tan is the first woman to earn a doctorate from Juilliard and is considered Williams’ video of 5 Measures Out by American as the world’s first professional toy piano virtuoso. composer Olivia Kieffer may be just 96 seconds long Throughout her career, Tan took an interest in the but it received over 8000 views in less than a week musical potential of unconventional instruments and and caught the attention of international festival her ground-breaking CD, The Art of the Toy Piano (1997) directors. Next thing you know, Classical Next expo, elevated the toy piano to the status of a “real” instrument.
44 ENCORE > SOUNDSCAPES
Some of us may find it difficult to reconciling the toy so now even more sought after and prized for their piano we used to bang on and bash as toddlers with beautiful and inimitable sound. its concert hall counterpart. While regular pianos produce sound when hammers inside the instrument Williams will also perform at Teatru Manoel on April body strike strings, hammers in the toy piano strike 21. The concert entitled The Artful Toy Piano presents metal rods, resulting in a sound that is higher in pitch a programme of modern compositions for the and more percussive than that of the instrument’s instrument which includes: Kalimba for toy piano and larger relatives. Its size and shape notwithstanding, electronics – Karlheinz Essl, Mirabella by Stephen the toy piano is far more than an engine of whimsy. Montague, Carousel by Phyllis Chen, Suite for Toy Composers have been taking this instrument Piano by John Cage, Satie Blues by Toby Twining and seriously throughout the 20th century, especially after The Worms Crawl In for toy piano and backtrack by the renowned American composer John Cage wrote Ruben Zahra. the Suite for Toy Piano in 1948. One of the positive outcomes of COVID-19 has been Another very welcome bonus generated by the the democratisation of performance space. A rock international interest of Williams’ video was an arena, an opera house and a solo artist are all endorsement by the Schoenhut Company (USA). performing on the same stage – the online digital Williams is now the proud owner of 4 Schoenhut, platform, be it a smart phone, tablet or computer 1 Kawai, 2 Michelsonne and 1 Jaymar toy pianos. screen. This is as an unprecedented situation for Unlike the standard piano, the timbre or sound quality artists to get noticed regardless the status of the between different toy pianos differs immensely. institution. Williams managed to seamlessly transition The Schoenhut is clunky and percussive while onto the online digital medium which hopefully will the Kawai sounds like a carillon music box. The lead to concrete bookings and live concerts. Michelsonne from France and the Jaymar from USA are both vintage models. The companies that once To book tickets for the toy piano concert at Teatru manufactured these instruments no longer exist Manoel visit www.teatrumanoel.mt
Tricia Dawn Williams
45 WORK ON SEVERAL MAJOR PROJECTS CONTINUES, AS THE FOUNDATION FOR TOMORROW’S SCHOOLS INAUGURATES NEW SCHOOLS AND COMPLETES A RANGE OF RESTORATION WORKS ENCORE > MINISTRY FOR EDUCATION
2020 was tough for many sectors, including that But now, the project is concluded and the Qawra of education. And, with a number of projects that community able to reap the benefits, which include had already been mapped out for execution by a large multipurpose hall and two storeys of parking the Foundation For Tomorrow’s Schools (FTS), we space which can accomodate 400 vehicles, both reached out to CEO Dr Neville Young to find out about with separate entrances and intended for use by the the upcoming year. community after school hours. The school sports facilities, including a football pitch with artificial turf, “In some instances, the pandemic gave us space to is also accessible through a separate entrance. carry out works, such as maintenance, since students were not physically attending schools. But of course, “The Qawra school follows an investment of €13 delays and disruptions to completion of major million; it is fully air-conditioned and spread over projects were inevitable across all sectors, including four floors with a total of 39 classrooms, each with its ours, as supply chains, material and manpower were own sanitary facilities. The new complex includes a adversely impacted,” Young starts off. vocational learning labs, sports facilities, a childcare centre and a kindergarten,” Young says, adding Two cases in point were the construction of the that equipment is also state-of-the-art, with each new primary school in Qawra and the School of classroom equipped with interactive whiteboards Arts in Valletta, which were delayed as contractors through which pupils and educators will have an found their resources diminished and foreign enhanced teaching-learning experience. supplies halted. However, other projects, such as the construction and installation of the steel bridge Care has been taken to introduce a green element to and walkway at Hamrun Secondary School were the building, with environmentally-friendly materials successfully completed on time. used during the construction phase. Rain water is stored in reservoirs and recycled for landscape “For FTS, 2020 highlighted the importance of irrigation, while double-glazed windows are installed being able to react, adapt and set up alternative with ample shading through installation of fans on mechanisms. Though some of the projects that the south-east side. Other environmnetal measures run into 2021 could potentially have their execution adopted relate to the energy systems performance. periods adjusted, we are taking a comprehensive proactive approach by pursuing alternative resilient This year, too, we see a number of similar major strategies where capacity and delivery are secured projects in the pipeline, such as the construction of through appropriate contractual dispositions.” a new primary school within the present educational campus situated in Victoria, Gozo. This complex, However, the past year also brought with it a number Young says, will include a child-care centre and a of projects that were successfully concluded despite kindergarten with a capacity of 650 children. the constraints brought about by the pandemic. Among these, was the inauguration of the Qawra “Sixteen classrooms are being built for primary Primary School project. school students and 10 classrooms to serve as kindergarten. The project also involves the extension With the locality having experienced a population and extensive renovation of the Middle School on the boom in recent years, Qawra is now becoming one same campus and the construction of sports and of the most densely inhabited localities in Malta. outdoor facilities having a footprint of circa 3,000 This, in turn, necessitated the construction of a new metres squared.” This project is notable also for the primary school. “The school already had a capacity vast archeological findings that were found on-site, of up to 650 students to complement the primary and which will now be integrated within the design school of St Paul’s Bay. Throughout, the project has of the school. The construction stage is expected to faced several challenges, ranging from change of happen around December this year, with mechanical, plans during implementation to the tragic death of a electrical and finishes works earmarked to be construction worker, forcing the temporary closure of completed by the end of 2022. the construction site,” Young explains.
47 Qawra Primary School
“Of course, these time-lines much depend on of the creative and fine arts in an environmnet that external factors which can have delaying effects respects the historical heritage,” Young says. on the overall progress of the project. Otherwise, excavation is currently being carried out cautiously The project, which is nearing completion, involves an under the supervision of the Superintendence of investment of €5 million and is taking place alongside Cultural Heritage (SCH), while heavy machinery is not a number of other projects in Msida, Zejtun, St Lucia being utilised during school hours so as not to disrupt and Qormi. its operations,” Young explains. “Following the demolishing of the old school And this is not the only major plan for 2021 either. The and excavation of site, we have recently started restoration of the School of Arts in Valletta is also on construction works on the new primary school in the cards. The School of Arts opened in 1926 at Casa Msida. This project, apart from having 40 state of the Tessi, also known as Casa Brunet, in the lower part of art classrooms, will feature innovative concepts of Old Bakery Street, Valletta. Since its establishment, outdoor classroom environment and vertical green it exerted a significant influence on the progress and walls,” Young says. artistic research of visual arts in Malta. The footprint of the school grounds is 10,000 metres “This elegant and elaborate 18th century palace, squared and includes a child care centre, a library, once owned by a French knight at the time of the hall and underground parking facilities all of which Order, is now being restored and refurbished to very can be made use from the local community. high standards and includes accessibility measures, appropriate workshops, studios and hardware to meet The Zejtun primary school has also very recently seen the demands of good quality teaching and learning the completion of extension and renovation works on
48 ENCORE > MINISTRY FOR EDUCATION two blocks, which include new labs and workshops for vocational subjects. Works will now progress on New Classroom the administrative block of the school.
“On the other hand, works are also underway on the construction of a multipurpose hall at Sta Lucia secondary school, which will have over 450 seated capacity and another hall intended for sports activities, namely basketball, futsal, badminton and volleyball. These facilities will be made available for use by the local community after school hours. The primary school in Qormi (San Ġorġ) will see the complete restoration and refurbishment of the present building, and the project is being made in phases with the collaboration of Ministry for Transport, Infrastructure & Capital Projects,” the relative tenders expected to be published soon. Young explains. Discussions are also well underway for the construction of San Miguel Resource Centre in Meantime, other ambitious projects are being Bulebel to cater for primary school learners with planned for the longer term. Throughout the next individual educational needs, while work is also weeks, construction works for the extension and total happening on the tender for the construction of refurbishment at St Nicholas College Rabat Primary a football pitch and an undergorund car park at School will kick off. Extensive renovations are also Giovanni Curmi Higher Secondary School. It appears earmarked for St Benedict College Għaxaq Primary that, far from slowing things down at the FTS, School and Gozo College Nadur Primary School with the pandemic has only served to strengthen the
New Victoria Primary School - Artistic Impression
49 GRAMMY-NOMINATED SOUND ENGINEER AND MUSIC PRODUCER, JAN KOŠULIČ’S RELATIONSHIP WITH THE MALTA PHILHARMONIC ORCHESTRA HAS BEEN BOLSTERED BY THE PANDEMIC. HERE, HE CHATS TO IGGY FENECH ABOUT THEIR JOINT PROJECTS AND THE FUTURE OF THE INDUSTRY
COVID-19 has certainly affected us all, but it’s Gillian Zammit, and cellist Frank Camilleri – to changed everything for artists. Indeed, from Croatia to record the pieces with Košulič, the MPO established creative practices to the way audiences actually ensured that months of hard work didn’t consume their work, nothing remains as it was. That dissipate into nothingness. is one of the reasons why the MPO’s relationship with Jan Košulič intensified over the past twelve months, That record was released in June 2020, just five as the orchestra looked to weather the storm and months before the more ambitious Contemporary come out stronger. Colours record hit store shelves and music-streaming platforms worldwide. This recording featured new The connection comes through PARMA Recordings, music by six Maltese composers; a most welcome one of the world’s most respected record labels in development at a time when the vast majority of the field of classical music. Košulič works for them, live performances had been cancelled across the and the MPO has used the label’s invaluable input on continent and beyond. two major records that have allowed it to retain its presence when live concerts are all but banned. Yet, this wasn’t where the MPO stopped. While the above two projects had been planned before the The first of these was Cantilena, a recording of a pandemic hit, the Orchestra quickly realised that it chamber programme consisting of art songs, works would have to up its game if it were to remain relevant for cello, and works for harp, which was originally in a world where the rules had drastically changed. performed live in Malta in February 2020. The project This was where the relationship with Košulič once had got off to a good start, with a second performance again bore fruit, as the institution quickly launched set to take place at Carnegie Hall in New York the the MPO Online Programme, which saw its musicians following April, but like many other things, it had to record numerous pieces for their digital media be cancelled due to the pandemic. Yet by flying the platforms, as well as our national television station. original trio – made up of harpist Britt Arend, soprano
50 ENCORE > MPO
Through these, the MPO reached over 11 million engineer. So the difference is that instead of being one unique users in 45 countries in 2020 alone, yet room away, he’s in a different country, but thanks to that wasn’t the only ground-breaking thing for the improved technology and faster internet, he can still Orchestra. While the recordings look and sound listen to the compositions and communicate with the flawless, they were the result of a relatively new orchestra in real time. way of working for it as they were conducted and performed in Malta while Košulič was based in Czechia. Of course, this digital transformation has given Malta’s leading musical institution a way to continue its work “As PARMA Recordings, we had incorporated remote – one of the silver linings of the pandemic has been recordings into our work years ago, so we had had that orchestras and ensembles around the world have time to master its workings,” he continues. “A lot of had the opportunity to gain much larger audiences as music production has been happening with some they shifted their work online. As Košulič points out, levels of remoteness for quite some time now. however, that has also put more pressure on them to Indeed, we have realised that taking this approach create more high-end sound and visual recordings to in the new reality of the pandemic can save ensure that they stand out from the crowd for the everyone money and time without sacrificing any of right reasons. the quality.” In many ways, it is remarkable that the MPO found its Asking Košulič if this makes his and the orchestra’s feet so quickly after the pandemic put a stop to our life easier or harder, he actually says that while the old way of life. But, I think, what makes it even better process is more technically complicated, things is the fact that it’s now hit the ground running by are almost the same for the orchestra during the embracing new technology that helps bring its sound recording session. When recording music, the to even more people. musicians are still in a different room to the sound
51 THE OPENING OF FIVE NEW GALLERIES because two years later, Preti settled in Malta, SIGNIFIES AN EXTENSION TO THE where he lived until his death 40 years later. In the EUROPEAN AND EMPIRE NARRATIVES meantime, he established a flourishing and busy WITHIN THE MUSEUM. WARREN BUGEJA bottega and was promoted to the rank of Knight of SHEDS LIGHT ON THE NEW ADDITIONS Grace in exchange for his free output at St John's Co-Cathedral.
Two centuries apart, two break-through presentation In 1867, another promising painter on the threshold of pieces by two iconic artists, book-end five new opportunity decided to capture a moment of nostalgic galleries opened by MUŻA. nationalistic sentiment for an exhibition held at the Grandmaster's Palace in Valletta. Depicting one of When Mattia Preti arrived in Malta in the early the turning points in the Great Siege, Giuseppe Calì's 1650s, he brought along with him a painting of The romanticised Death of Dragut was painted in the hope Martyrdom of St Catherine of Alexandria. Various it would be purchased to remain at the Palace, which art historians hypothetically link this to the superb indeed it was. canvas in the national collection, which an X-Ray interpretation reveals is an overpainting of an earlier Nicknamed the 'devil of the brush' in his day, the martyrdom of St Paul. Why the change in subject? Maltese Calì faced stiff competition from Italian Preti, who was born in Taverna in southern Italy, artists, who, although anachronistic in their style, required an entry ticket to the Order of St John, which were frequently preferred by local patrons. Often he viewed as his fast track to nobility. St Catherine having to lower his price; nevertheless, the prolific happened to be the patron saint of the Auberge painter was able to carve a niche for himself, earning d'Italie, so it was logical that Preti would first knock many church commissions in the process. on the door of his own nationality. 'Mattia Preti: An Italian Artist in Malta' and 'Giuseppe The painting in the bold movements and vivid colours Calì and Colonial Ambitions' begin and conclude a of Baroque Triumphalism must have impressed walkway that forms an extension to the European and
52 ENCORE > HERITAGE MALTA
and other decorative arts alongside portraits and busts of grandmasters, knights, and bailiffs, many of whom commissioned and generated this affluence. "The idea is to rotate many of the pieces we have in the permanent collection with paintings and objets d'art in the reserve collection to increase accessibility," Cassar adds.
At the other end of the footway, a rare late 18th- century square piano, paintings depicting opera, and 19th-century fashion by Charles Allingham and other neo-classical soft furnishings recreate a music- room in the Empire narrative. The particular room was a domestic tradition adopted when Malta was a Empire narratives within MUŻA. The new galleries are fortress-colony of the British Empire. housed in what was the Camerone of the Auberge, and the challenge was to maximise the space at hand. An intermediate level bridge was therefore constructed, which doubles up as a viewing platform for the Preti hall below, and functions as both gallery and 'Piano Nobile' standing in for the first floor of a palace. It also serves as a transit between the previous gallery 'Style for Status' and the penultimate 'Entertaining Culture.'
“Art is mainly a reflection of the society that produces it,” Kenneth Cassar, Senior Curator for Ethnography and the Arts, points out. French portrait artist Antoine Favray's The Visit is exhibited in a centerpiece vetrine with furniture pieces, silverware, and paintings of the period, opening a window on the domestic life of the upper echelons of 18th-century Maltese society. Viewed in context, Favray's preparatory sketches are on display for the first time, exhibited together with contemporary Maltese artists Francesco Zahra, Gian Nicola Buhagiar, and Giuseppe Grech, who made a name for himself overseas despite his short lifespan.
Onwards, A Noble Space features glassware, porcelain crockery, majolica floor tiles, intricate marquetry, In the fifth gallery, Lazzaro Pisani's 1885 Death of Abel exhibited in the Colonial and Indian Exhibition of 1886, a certificate in appreciation of Lace Making and a gold filigree pouch reflect Malta's participation in the great World Expos at the Crystal Palace, in Paris and elsewhere. "In effect, this was the 'globalisation' of the epoch and allowed Maltese artists and artisans to expose their work on an international level," Cassar concludes.
This project is part-financed by the European Union under the European Regional Development Fund – European Structural and Investment Funds 2014-2020
53 The evolution of the early modern harbour landscape has given birth to a series of public lectures, features and the latest Malta Libraries publication
Valletta, our capital city, has always exerted a certain At the core of this series was the continued interest fascination on both Maltese and visitors with its of local scholars towards interdisciplinarity. Bringing awesome churches and palaces, its magnificent together archaeologists, historians, and architects harbours and its unique intriguing atmosphere this series of eight public lectures explored various evoking momentous events of our history. These subjects, highlighting aspects on land and people elements, combined with Malta Libraries’ declared during the early modern period. The selection of mission to make accessible to the public the subjects was purposely identified for this series collection of the nation’s documentary heritage, on Urban Landscapes which aimed towards wide- conspired to produce the first series of public lectures ranging discussions about the shaping of Malta’s held on the National Library premises in a long time. harbour landscape. Special attention was given to Valletta – the Order’s città nuova founded in 1566 – The series of eight monthly lectures on Urban and its surrounding harbours, delving into studies Landscapes entitled ‘Cities, Harbours and Artefacts: on the development of urban, maritime, and fortified transformations of an early modern landscape’ spaces, discussing the evolution of these early was held between November 2018 and June 2019 modern landscapes since earlier periods in time. and focused on important urban and maritime aspects of Valletta since its inception, as well as the However, the lectures on their own would have transformations the landscape underwent over the been incomplete without the publication of the centuries. Our intent was to launch an annual series proceedings. The volume we are presenting today of talks on a specific subject accompanied by a small includes five papers from eight public lectures display, with the aim of highlighting particular items delivered: The Building of a New City – Valletta by from our collections whilst attracting the general Claude Busuttil (Architect and Lecturer at the public towards the National Library. The initiative International Institute for Baroque Studies within the proved a great success judging by the positive University of Malta) reception and excellent attendance.
54 ENCORE > MALTA LIBRARIES
Early Sales of Plots of Land in Valletta by Stanley Fiorini (Professor Emeritus and Senior Fellow of the University of Malta and author of several publications in the local historic field)
Of Markets and Melting-Pots: a methodology for mapping historic socio-spatial relations at the Valletta market bewteen 1643 and 1798 by Christian Mifsud (Curator for Research and Documentation of Historic Buildings, Heritage Malta)
Properties of the Order of St John: structural transformations in Valletta’s houses’ & ‘Malta’s harbour in 1798 – the transformation of a new urban landscape by Mevrick Spiteri (an MA graduate in Baroque Studies with vast experience in research and author of numerous academic papers); who is also part co-ordinator of the lecture series and editor of on this multi-faceted endeavour and ultimately the volume alongside Maroma Camilleri – Deputy submitting papers of such great quality and relevance Librarian of the National Library of Malta. for the publication of the proceedings.
National Librarian and CEO of Malta Libraries Cheryl This full colour publication includes a lavish plates Falzon described “this collection of essays as another section showcasing rare documents and maps from feather in Malta Libraries’ cap as a publisher and as a the National Library collection. Copies may be catalyst in the fields of culture and heritage.”She went acquired directly from the National Library of Malta on to thank the lecturers and other cultural entities (email [email protected] for more details) and for accepting to collaborate with Malta Libraries other local book distributors.
55 TREVOR ŻAHRA JITKELLEM DWAR KIF L-IMĦABBA LEJN L-ILSIEN MALTI, IL-LETTERTURA, IL-POETA NAZZJONALI, IL-MOVIMENT QAWMIEN LETTERARJU U R-RIVISTA SAGĦTAR QARBITU LEJN OLIVER FRIGGIERI U ZVILUPPAT FI ĦBIBERIJA PROFONDA LI BAQGĦET SĦIĦA SAL-AĦĦAR
Naħseb li Oliver u jien iltqajna f’nofs is-sittinijiet, u aktar tard Ġorġ Mallia) bdejna naħdmu aktar mill- x’aktarx bis-saħħa tal-Moviment Qawmien Letterarju. qrib. Oliver kien mhux biss jagħmilha ta’ qarrej Iżda l-ħbiberija tagħna tant kibret u ssaħħet f’salt, tal-provi tax-xogħlijiet kollha, imma kien dejjem li llum nistħajjilni kont nafu minn dejjem. Sa minn ħiereġ b’ideat friski ta’ kif ir-rivista għandha titjieb żgħożitna, kelli ammirazzjoni kbira lejh. Kont narah u tiġġedded. Kull meta kien ikollna laqgħa tal-bord dejjem jistudja u jirriċerka, mimli ħeġġa u passjoni editorali kont nibqa’ skantat kif Oliver qatt ma kien għall-Ilsien Malti u fl-istess ħin dejjem umli u lest biex jonqos mill-entużjażmu, waqt li jibqa’ dejjem fidil lejn jisma’. Meta fil-bidu tas-sebgħinijiet bdejt nippubblika l-idea oriġinali tal-proġett. l-ewwel kotba tiegħi ta’ avventuri għat-tfal, Oliver kien iħaffef jibgħatli ittri mimlija inkuraġġiment u Iżda l-aktar li qarrbitna lejn xulxin kienet l-imħabba jħeġġiġni biex inkompli f’dan il-qasam tant meħtieġ. u r-rispett li t-tnejn kellna lejn il-Poeta Nazzjonali F’ittra li kien bagħatli fit-23 ta’ Marzu 1972, ftit wara Dun Karm. U hawn titfaċċa minnufih Karmen li ħriġt il-ġabra ta’ poeżiji ta’ żgħożiti: Eden, kien qalli: Mikallef Buħaġar. Karmen kienet Maltija tal-Eġittu “Nissuġġerilek, għal darba oħra, li ma titlaqx il-kitba li għal ħafna snin ikkorrispondiet ma’ Dun Karm għat-tfal. Tnaqqsilhiex fi ħsiebek mis-siwi tagħha, u regolarment. Jekk naqbad nitkellem dwar kemm ftakar li hawn ħtieġa kbira ħafna għaliha.” ħadmet u tat enerġija Karmen biex Dun Karm jingħata l-ġieħ u r-rikonoxximent li jixraqlu, x’aktarx Għad għandi l-invit tat-tieġ ta’ Oliver u Eileen, 6 t’April nasal nimla dir-rivista kollha. Fl-1971, meta Dun 1972. Ir-riċeviment kien sar fil-Wignacourt Hotel, Karm għalaq 10 snin minn mewtu, kien ġie inawgurat l-Imrieħel. Jien u Stella ma stajniex immorru għat- il-monument f’ġieħu fil-pjazza ta’ Ħaż-Żebbuġ, u tieġ, għax propju xahar qabel kien tweldilna Ruben u għal din l-okkażjoni, Karmen ġiet Malta għall-ewwel b’tarbija tat-twelid ma konniex f’pożizzjoni li nattendu darba. Wara din l-ewwel żjara tagħha, Karmen okkażjonijiet bħal dawn. Imma qatt ma ninsa kemm bdiet tiġi Malta regolarment, dejjem matul ix-xahar kien feraħ bija Oliver meta kont mort bir-rigal tat- t’Ottubru għall-anniversarji tat-twelid u l-mewt ta’ tieġ, id-dar tiegħu f’Misraħ San Kalċidonju, il-Furjana, Dun Karm; u Oliver, Karmen u jiena konna nqattgħu quddiem id-Depot tal-Pulizija. nofstanhar sħiħ imorru nqiegħdu l-kuruni tal-ward u tar-rand (li tkun xtrat Karmen) fuq il-postijiet Fis-sena skolastika 1970-71 bdiet l-edukazzjoni marbutin mal-Poeta Nazzjonali. Niftakar tajjeb sekondarja obbligatorja, u l-Moviment Qawmien kemm Oliver kien jieħu paċenzja b’Karmen għax, bla Letterarju minnufih ħataf din l-okkażjoni biex jibda ma nnaqqsilha xejn mill-ġieħ li jistħoqqilha, ikollni jippubblika rivista bil-għan li t-tfal tal-iskola, li issa nistqarr li kienet persuna eċċentrika għall-aħħar. kienu se jibdew jitgħallmu l-Malti fuq livell ogħla, Il-fissazzjoni li kellha fuq l-użu ta’ vokabularju mija ikollhom qari adattat għalihom. U hekk twieldet ir- fil-mija semitiku, kienet xi drabi tifqagħna bid-daħk rivista Sagħtar. Bis-saħħa ta’ din ir-rivista jiena u ... bħal dakinhar li lill-waiter (li hi ma nafx x’kienet Oliver (flimkien ma’ Mario Azzopardi, Victor Fenech issejjaħlu ... imma żgur mhux waiter), kienet talbitu
56 ENCORE > MALTI
57 ENCORE > MALTI flixkun “Sebgħa ’l Fuq” (7-Up). U jiena u Oliver Imbagħad tfaċċaw iż-żminijiet imqallba u mqanqla nogħxew bid-daħk bla ma nuruha, waqt li l-imsejken tas-snin tmenin, u jien ħassejt li bħala kittieb kelli waiter iħares lejna miblugħ bla ma jista’ jifhem xejn! nsemma’ leħni dwar dak kollu li kien għaddej minnu pajjiżna. Inxtħitt nikteb sensiela ta’ novelli soċjo- Fl-istess żmien, jiġifieri fil-bidu tal-1971, Pawlu politiċi, li aktar tard ġbarthom fil-ktieb It-Tmien Mizzi waqqaf il-Klabb Kotba Maltin (KKM), bil- Kontinent. Imma minħabba l-klima mqanqla ta’ dawk pubblikazzjoni tar-rumanz ċelebri ta’ Frans Sammut iż-żminijiet, kważi kulħadd beda jiskoraġġini milli Il-Gaġġa. Is-Sibtijiet filgħodu, kellna tista’ tgħid nippubblikahom. Ħafna minn ħbieb u anki qrabati appuntament bla miftiehem, meta jien u Oliver (u bdew iwissuni biex ma nagħmilx bluhat. Iżda sibt tliet ħafna kittieba oħra) konna niltaqgħu fil-post tal-KKM, persuni li tawni l-forza kollha li kont neħtieġ: marti fi Triq id-Dejqa, numru 3A u hemm erħilna niddiskutu Stella, li f’kull ma noħlom li nwettaq kont dejjem l-aħħar pubblikazzjonijiet tagħna u ta’ sħabna, u insibha miegħi, il-kittieb u politiku Lino Spiteri, li nieħdu ras l-imsejken Pawlu Mizzi bis-suġġerimenti minkejja li jien u hu ma kellniex l-istess twemmin tagħna. U hawnhekk ukoll, Oliver kien dejjem ħiereġ politiku konna nirrispettaw ħafna lil xulxin u li kien b’ideat ġodda u lest joffri kull għajnuna lil Pawlu qalli ċar u tond “li kieku dawn in-novelli kienu tiegħi, Mizzi. It-twaqqif ta’ dar tal-pubblikazzjoni għal kotba kont nippubblikahom żgur”, u ma jistax jonqos: Oliver! bil-Malti xejn ma kien intrapriża faċli u ħafna kienu Meta kont bgħattlu l-manuskritt biex jaqrah u nara jqisuha bħala ġennata. Niftakar lil Pawlu jistqarr bla jistax jiktibli “daħla” għall-ktieb, Oliver kien ċempilli tlaqliq li s-sapport kontinwu ta’ Oliver kien il-bastun li minnufih u b’rogħda f’leħnu qalli: “Isa ... saflaħħar fuqu seta’ jistrieħ b’għajnejh magħluqin. xi ħadd kellu l-kuraġġ jitkellem!” Oliver mhux biss
Bord editorjali tar-rivista Sagħtar fis-snin disgħin. Mix-xellug għal-lemin: Ritchie Vella, Ġorġ Mallia, Oliver Friggieri, Trevor Żahra, Victor Fenech.
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L-AKTAR LI QARRBITNA LEJN XULXIN KIENET L-IMĦABBA U R-RISPETT LI T-TNEJN KELLNA LEJN IL-POETA NAZZJONALI DUN KARM
Waqt it-tnedija ta’ It-Tmien Kontinent fis-sajf tal-1981 kitibli daħla mill-isbaħ, imma wkoll kien miegħi Niftakarni nagħmel iljieli sħaħ imqajjem biex naħdem meta nedejt il-ktieb fis-sajf tal-1981, matul il-Festi paste-up ġdid minflok dak li kien hemm qabel … u ta’ Ħbiberija li kien jorganizza l-AZAD fil-Ġonna tal- Oliver qalbu ttaqtaq li mhux se nilħqu llestu l-ktieb Argotti. U Oliver kien ħareġ jiddefendini bl-akbar fil-ħin. Imma laħħaqnieh. Kif għidt qabel, dan il-ktieb kuraġġ meta bdejt nirċievi attakki u insulti mingħand kien qajjem ferment sħiħ u Oliver beda jagħmel diversi min kienet aktar tinteressah il-politika parteġġjana laqgħat dwaru ma’ għaqdiet u ġemgħat differenti. Xi milli l-letteratura. ftit jiem wara, Oliver ċempilli u qalli: “Nixtieqek tpinġili erbatax-il stampa dwar taqsimiet differenti tal-ktieb. Kif jaf tajjeb kull min hu tal-età tiegħi, it-tmeninijet Ikunu qishom l-erbatax-il stazzjoni tal-Via Sagra u kull kienu fost l-aktar snin ta’ tensjoni f’pajjiżna u meta jkollna laqgħa xi mkien, nibdew nesibuhom!” propju fl-1986, meta l-borma kienet qed titriegħed bit-tbaqbiq, Oliver ippubblika l-ktieb Fil-Parlament U hekk inxtħitt inpinġi dawn l-erbatax-il stampa. ma Jikbrux Fjuri, x’aktarx l-iżjed ktieb li qajjem Għamilniehom fi nkwatri u kif xtaq Oliver, konna diskussjoni f’pajjiżna. Dik il-ħabta, ix-xogħol għall- nesibuhom kull fejn immorru. Lil Oliver tant kienu istampar kien irid jingħata lill-stamperija taħt forma għoġbuh li niftakru jgħidli li meta ssir edizzjoni ġdida ta’ paste-up, jiġifieri t-test kollu tal-ktieb (li jkun diġà tal-ktieb, jinkludihom fih. Imma dil-ħolma baqgħet ġie ssettajt, ikkoreġut u stampat fuq film tal-karta), qatt ma twettqet. jitqassam paġna paġna u jitwaħħal fuq karti separati, biex l-istampatur ikun jista’ jiffotografah. Minħabba Is-snin komplew għaddejjin bil-ħeffa, u jien u Oliver xi żball li kien sar f’dan il-proċess, meta l-istampatur ġieli konna ndumu x-xhur ma naraw lil xulxin. Imma ġie biex jiffotografah, ix-xogħol ma bediex ħiereġ meta niltaqgħu konna minnufih inkomplu fejn tajjeb. Toni Cortis, li kien qed jieħu ħsieb il- ħallejna bl-akbar ħeffa. Meta bħal sajjetta fil-bnazzi produzzjoni kollha, kien ġie għandi kkonfondut. Diġà tħabbret il-mewt tiegħu, Malta kollha bkiet it-telfa ta’ kienet ġiet iffissata d-data tat-tnedija u ma kienx wieħed mill-akbar imħuħ li qatt ipproduċa pajjiżna; hemm żmien x’jintilef. “Ħaġa waħda biss tista’ ssir,” bkiet it-telfa ta’ professur, ta’ poeta, studjuż, filosfu kont weġibtu, “nibdew kollox mir-radd tas-salib u u riċerkatur. Imma jiena fuq kollox bkejt it-telfa ta’ nagħmlu paste-up ġdid!” wieħed mill-egħżeż ħbieb li qatt kelli.
59 An Immersive Journey
EDEN CINEMAS ARE BRINGING THE MOST SPECTACULAR ART EXHIBITIONS ON THE BIG SCREEN
Over the past few years, the Eden Cinemas have Commedia. But what’s the real story behind these taken you on a journey to some of the world’s most illustrations, and in particular, the map to Dante spectacular galleries and museums by screening the Alighieri’s Inferno? Why was his work left unfinished most remarkable on-screen exhibitions of the most and got lost, and how was it rediscovered? Botticelli renowned artists in history. Let’s take a brief look at Inferno is a fascinating, thorough investigation on the some of the most popular screenings. secrets behind Botticelli drawings, destined to show a surprising dark side of the renowned Loving Vincent is the world’s first fully oil painted film Renaissance artist. that explores the last years of Vincent van Gogh’s complicated life and controversial death. Every one of A journey through life, works and struggles of the 65,000 frames is an oil-painting hand-painted by Michelangelo Merisi from Caravaggio is explored 125 professional oil-painters who travelled from all in Caravaggio – The Soul and the Blood. His art is across the world to honour van Gogh’s art. characterised by lights and shadows, contrasts and contradictions, genius and sobriety. These emotional Film Florence and the Uffizi Gallery is a multi-dimensional and evocative moments help the viewer to go deep journey through the city that was once the cradle of the inside the mind and soul of Caravaggio, empathising Italian Renaissance. The viewer gets an exclusive tour with his impulses and fears. through the most beautiful and representative works of art of the period from Michelangelo and Brunelleschi, to The Vatican Museum is another unique and Leonardo and Botticelli, with a detailed central chapter spectacular film, the history of one of the world’s dedicated to the very treasure house containing their most famous, renowned museums. From the masterpieces: the Uffizi Gallery. masterpieces of classic statues to the Cast of Michelangelo’s Pietà, right up to Fontana’s modern Botticelli – Inferno depicts a story around a mystery sculptures; from paintings by Giotto, Leonardo da hidden in Botticelli’s drawings of Dante’s Divina Vinci and Caravaggio to those by Van Gogh, Chagall
60 ENCORE > EDEN CULTURE and Dalì; from the extraordinary frescos in the Rooms of Raphael, such as The School of Athens to the spectacular masterpieces by Michelangelo in the Sistine Chapel such as the Creation of Adam and the majestic Last Judgment. An extraordinary voyage of discovery to see the most impressive collection of works of art built up over two thousand years of history.
A remarkable event at London’s National Gallery assembled the largest ever collection of Leonardo’s surviving paintings for a unique exhibition Leonardo da Vinci: Painter at the Court of Milan. The film provides a fascinating insightful biography as well as exclusive behind-the-scenes access to the preparations of a unique exhibition which also included the first newly attributed Leonardo in over a century.
UPCOMING RELEASES
On March 23 and 26 we’re kicking off the new art season with Easter in Art, depicting the story of Christ’s death and resurrection that has dominated western culture for the past 2000 years. From the triumphant to the savage, the ethereal to the tactile, some of western civilisation’s greatest artworks focus
on this pivotal moment. We’ll be screening Vincent van Gogh’s Sunflowers on May 18 and 21, so you can take this unique opportunity to see these iconic paintings. Why, did Van Gogh choose the exotic sunflower? What was Van Gogh trying to say with his works? What secrets did scientists discover when they analysed the work in detail? All is revealed in this fascinating film, which travelled beyond Amsterdam to Tokyo, Philadelphia, London and Munich to film, in incredible high- definition detail, all five of the works.
The Eden Cinemas offer you a safe, clean and socially distanced big screen experience. We are currently operating at just 20% capacity to enable proper social distancing with automatically blocked seats. The use of contactless payments and online bookings are being encouraged in order to further reduce touch points. Whilst we continue to follow public health advice, the safety of our team and customers remains of utmost priority.
For more information and the full programme visit www.edencinemas.com.mt.
61 ENCORE > CULTURAL LISTINGS
MERLIN PUBLISHERS HERITAGE MALTA Strengthens Online Presence OUR HERITAGE YOUR GIFT
All Merlin books available online, with Exclusive from all Heritage Malta sites and online shop worldwide delivery (and free local delivery)
merlinpublishers.com www.heritagemalta.org/shop
MALTA LIBRARIES’ digital library is open 24/7 TEATRU MANOEL Library members can download Libby the Reading App and log in using their membership Live Performances Teatru Manoel has opened its doors to card details to borrow eBooks, Audiobooks socially distanced audiences and Magazines for free www.teatrumanoel.com.mt maltalibraries.overdrive.com
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Webinars for Encore.pdf 1 15/02/2021 09:01
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ARTS COUNCIL MALTA FESTIVALS MALTA Register Now Bringing together local practices with Follow our online festivals from the comfort and safety global perspectives through the eyes of international of your home. Join our mailing list for all the latest and community cultural and creative practitioners updates: Early Bird Offers on Tickets, Special Offers, Meet and Greet with Artists and much more! www.artscouncil.mt www.festivals.mt/registration
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MALTA PHILHARMONIC ORCHESTRA CULTURAL HERITAGE DIRECTORATE Concert Season 20/21 Ministry For Gozo A programme of events fusing live Our mission is twofold: ensuring the protection, restoration and accessibility of Gozo’s cultural heritage performances with online productions sites under our remit and promoting cultural events to make Gozo a distinct tourist attraction throughout the year www.maltaorchestra.com www.facebook.com/culturalheritagemgoz
63 ENCORE > CULTURAL LISTINGS
{V} TRIKKI TRAKKI 5 February - 21 March 2021 13 - 14 March 2021 A collective exhibition curated by Lisa Gwen Youth Theatre Festival is back for 2021! celebrating the female form by bringing together This time round as the PANDEM-ONIUM edition local and international artists www.kreattivita.org www.teatrumalta.org.mt
SOUNDSCAPES A MIDSUMMER NIGHT’S DREAM
Choreography: Sergiu Matis Malta’s leading export platform for Artistic Director: Paolo Mangiola the contemporary performing arts 16/17 April, 20:00; 18 April, 14:00 and 20:00 Valletta Campus Theatre www.soundscapes.com.mt Tickets: kultura.mt
64 THE RIGHT ENERGY SAVINGS CHOICE BOV Personal Energy Loan
Start saving and be part of a sustainable future with new solar panels. Talk to us | 2131 2020 | bov.com
All loans are subject to normal bank lending criteria and final approval from the Bank. The term of the loan must not go beyond retirement age. Issued by Bank of Valletta p.l.c., 58, Triq San Żakkarija, Il-Belt Valletta VLT 1130. Bank of Valletta p.l.c. is a public limited company regulated by the MFSA and is licensed to carry out the business of banking in terms of the Banking Act (Cap. 371 of the Laws of Malta). | COM 2411
EERE Malta is co-financed by the Republic of Malta, the European Union under the European Regional Development Fund. encore.com.mt