the Weekly Journal Altofest 2018 special edition Drawing - Federica Terracina

People of Altofest Mimma Valentino / Researcher at Orientale University in Naples

Community vs People of Alfofest. It is one of Altofest’s watchwords, next to ‘gift’. After all, the concept of limen of their domestic intimacy. community implies the gift, it contemplates it in its very etymological root, cum munus. To donate, or rather Taking up again the phenomenology of the encounter and clash between guest and host expounded by to give oneself, to “face existence outside of oneself”, “to address the other” and almost “to expropriate Klossowski, it seems that the donor/homeowner awaits “anxious on the threshold the alien liberator appeared yourself in his favour” (R. Esposito). on the horizon”, thus considering hospitality not as “an accident [...] but as the very essence of both guest and It is one of the founding principles of the fest, in the Neapolitan as well as the Maltese edition, and it is also the host”. The Altofest “laboratory city” thus becomes an immense anthropological warehouse located at the main theme of this second week of Altofest centre of the Maltese community. The Malta. The relationship, reciprocity, citizens of the island are not just passive hospitality – meant as an exchange or observers, as they are directly called into cultural barter between guest and host (E. question as donors, as spectators, as Benveniste) -, the desire to be “infected” are scholars, as simple travellers who at the base of that “experimental sociality” From the 13th April until the 13th May, 20 residents Abandoning the institutional space it was occasionally or accidentally cross the streets and communities of Rabat, Manikata, , conceived for, the artwork is indeed displaced: it hypothesized by Anna Gesualdi and Ħamrun, S.ta Venera, Żejtun, Bormla, , loses his ordinary frame and all technical of , the archaeological sites of Rabat, Giovanni Trono. These are indeed the ethical , Gżira and Valletta will host international supports, while the relationship with the inhabited the alleys of Zeitun, the Majjistral Park. and aesthetic principles as well as the artists in their houses or workplaces, o ering space, his memories and geometries, forces the Walking through the houses and buildings, dramaturgical components that determine them hospitality. Therefore, the intimacy of artist to let it evolve in his essential meanings and they come across known or familiar places - the writing of the Altofest work. In this domestic interiors and the unique landscape of forms. from the Okella Agius building to the Saint perspective, the usual roles (actor-spectator) Maltese territories becomes the scene of artistic The “space donors” are the crucial elements of the Joseph Home – ‘renaming’ them through the are subverted, the daily places are redrawn, residencies: during a two-week process each project. Accepting the challenge of integrating language of artistic contamination. artist re-qualifies one of his/her works engaging a their everyday life with the revelation of the artistic the private being of the domestic space is specific dialogue with the o ered space. The creation, they become the first “actors”, “initiators” At the same time, performers of di erent demolished, and new possibilities for a same spaces will be then opened to the audience, of Altofest´s process. backgrounds dialogue with native groups, dialogue between art and the polis are to show (share?) the re-born (regenerated?) works. Thus the festival aims to call into question the but also with ordinary people, sharing explored. This proximity exposes both, the resident and boundaries between public and private, creating a physical and mental places, daily moments Based on such a political and creative artist, to a mutual dispossession: the first no-ownership area and to activate an and artistic reflections; private sphere and tension, the artists involved in the Fest, renounces to his exclusive rights on the places experimental social dynamic between residents spectacular event are constantly confused, in during the days of this special edition and objects of his daily life to welcome the artist and artists, with the intent to change the art´s a continuous trespassing between the two and his practices, while the artist allows his understanding of both parts and to a ect the conceived for “Valletta 2018”, have invaded artwork to be compromised by this encounter. geographical urban and social texture of the city. dimensions, which are intimately connected. and continue to invade the human and The Aesthetic - the pharmakon of art – thus urban geography of Malta, the houses and enters the daily routine, giving rise to a new the city places, giving life to a live and social pattern, to an absolutely new type of collective theatre, a “laboratory city”, relationship: artists and donors share not only intended as a place of experimentation with the same inhabited space, but a vision and a new forms of art capable of “infecting” the entire community. This way of conceiving artistic intervention koinè. Starting from this “zone of promiscuity” the performers carry out their interventions throughout the clearly implies the idea of a ‘political’ commitment (in the etymological sense of the term): the performative island, in an acentric perspective which determines a sort of circularity between art and sociality. A constant event directly involves the polis, calling it and incorporating it into the processes of dramaturgical elaboration con-division, an unavoidable con-tact, an authentic co-habitation in the most disparate places and spaces. A and construction; for their part, the inhabitants open themselves to the ‘intruder’, allowing them to cross the community, once again, that has the breath of the entire laboratory that is the city.

Altofest and Valletta 2018 Graziella Vella / Research Coordinator, Valletta 2018 Foundation

As a Valletta resident, born and raised in Valletta, sense of intimacy with the city, an extension of projects have met their objectives? How do we similar projects have been ‘successful’? Especially and working with Valletta 2018 since the very their home. All these changes, have created a sense actually measure successful participation rates? for projects where the main objective is to actually beginning of this exceptional adventure, I have of displacement, which create new synergies, and On a more personal level, I ask questions like, how ‘lose control’ over what we have planned on…. experienced the city of Valletta embarking on a sometimes tensions between di erent groups. has my city really changed? What was the real In conclusion, the Foundation has focussed the radical change. The city has become a more The work of the Valletta 2018 Foundation has impact on my city, on my surroundings and for work on its Cultural Programme to ensure that accessible space, with open and accessible spaces, focussed on making culture more accessible, myself, of this Capital of Culture? Will I still be able Valletta 2018 is not just about 2018. Once 2018 is and abandoned buildings being given a new lease providing a varied programme of events for active to live in Valletta after 2018? Is it possible to obtain over, the real success will be measured by of life. This, combined with the Valletta 2018 participation by di erent groups. The Valletta 2018 a balance for residents, businesses and the artistic quantitative and qualitative data. But, the real Foundation’s extensive Cultural Programme, has Cultural Programme extends beyond the walls of community? Can we all ‘reside’ in ‘our’ city? Can it success of Valletta 2018 will be measured by how ensured the city is once again a cultural hub. Albeit Valletta to all the Maltese Islands, and this is also be our home and playground at the same time? many people have experienced new cultural events some issues still needing to be tackled after 2018, reflected in the programme of Altofest. The Taking the case of Altofest, one of the objectives is and the new skills gained. Possibly more the city has overcome a strong period of decline Foundation has also embarked on extensive to create the so-called unforeseen. In this case, can importantly, the real success of Valletta 2018 will be and is now at a peak. evaluation process which looks at understanding we really define success? Should we do so? And if ‘measured’ by the experiences and interactions The city is now a space for interaction, where the the impact generated by Valletta 2018. not, how can we evaluate similar projects? generated. That will be the real success of the community interacts with its respective members As part of this process, we ask questions such as, Shouldn’t we look more at understanding the European Capital of Culture, and it is with this in and meets other communities. The concept of how is Valletta 2018 changing or re-shaping our discoveries, the experiences generated in such mind that Altofest is proudly part of the Valletta human geography is developed further within the identity? How can we evaluate the success of contexts, by the artists, donors, communities and 2018 Cultural Programme. city space. The residents themselves experience a artistic interventions? How can we say artistic participants, rather than understanding whether The link between community and culture M² - Intervento Okella Agius Flat JosAnn Cutajar / Lecturer and researcher Dynamis / Theatre Company at the Gender Studies Department, University of Malta

The word ‘art’ is often used to refer to artistic These reciprocal relationships, in turn, helps Theatre and community. The research of connections phenomenon which societies consider build social capital, and social capital enables between art and life is an essential premise of the creative unique. What is deemed as high culture, is actors to secure benefits on an individual or gesture, the one and only way that could truly bring us reserved for the few, those who have high collective basis. Association in voluntary back to a theatre meant to be “contemporary”, thus a economic or educational backgrounds to organisations helps generate both internal theatre of the year 2018, talking about the year 2018, to create it or consume it (Williams, 1974). e ects on the member who participate, such the people of the year 2018. Altofest is trying to do away with this, by taking as habits of cooperation, solidarity and public We often wonder why audience should come to see our what is perceived as unique, to the local. spiritedness (Maloney et al. 2008, p. 285) as perfomances or why they should go to theatre. Nowadays, ‘Ordinary’ people have their own ‘art’, one that well as external e ects on society, because when we are invaded by entertainment. Theatre is a ritual helps to celebrate the notion of ‘communitas’ they help bring about change in that micro or and should refer to a social community; but what is indeed (Victor Turner). Cultural artefacts or events macrocosm. that thing that concerns, involves and detains us without which celebrate the community, tend to be The objective of Altofest is twofold – it is to risking to merely fall into distraction? regarded as ‘low’ culture. Boissevan’s showcase the idiosyncrasy of the locality, and In our dispositives we are seeking the possibility of a anthropological study of Maltese festas and generating habits of cooperation, solidarity theatrical act as an experience and a collective ritual; thus, Good Friday celebrations demonstrate how and public spiritedness beyond the when the spectator feels the responsability of an active important these pageants are to help bring community. The formation of links with involvement into the research process, we are people together. communities and individuals beyond the overwhelmed and welcome every aspect of the audience Community cultural events such as feasts of community help in e ecting e ective participation. patron saints, or cultural events organized by socio-economic regeneration that benefits In this perspective, the audience is an essential element of local council help to reiterate the idiosyncratic those within the community (Cutajar, 2008). our performances – particularly in M² -, where the matrix identity of a locality (Muscat 2008). They Letki (2008) maintains that people residing in of the action is built thanks to a collaborative game among promote social cohesion, instances where areas with low neighbourhood status tend to strangers, in a crescendo of simple actions that the specta- “people’s sense of community, their sense of have lower levels of interpersonal trust levels. tor is invited to develop. belonging to a neighbourhood, caring about This leads to a negative sense of belonging Throughout the hypotheses, verifying the given possibili- the people who live there, and believing that which has a detrimental e ect on the ties into the space, the drammaturgical action engages the people who live there care about them organisational involvement of community. audience in a dynamic of research, into the exploration of (Portney & Berry 2001, p. 71). Letki (2008, p. 105) adds that residents in low di erent opportunities. The spectator becomes though Maloney et al. (2008) maintain that status neighbourhoods also tend to distrust part of the process, rather a research, continuously communities are located in specific cultural, ‘outsiders’. Social inequality and deprivation developing on stage. economic and political contexts which shape, leads to what Putnam (as cited by Fieldhouse In our proposal, the audience becomes another acting and structure how they operate. With 2008, p. 27) refers to as a ‘hunkering down’. part, creating a small, extemporaneous community. Altofest, there are two communities involved The Altofest experiment might help to In the context of Okella our vision focuses on the relation – the artists and the organisers of the artistic undermine all this. Cantle (2008, p. 13) with the space, with the inhabitants of the place and with events and the communities in which the maintains that when di erent social groups the potential spectators; the occasional tourists who, like space donors are embedded. Both play a share spaces, this might facilitate the us, go through that territory with aiming to be observers, crucial role. propagation of mutual knowledge, the only given possibility. Since we provoke the partici- Van Schaik (2002, p. 7) maintains that socially understanding and trust. This does not pants into becoming actors, engaged in the action on involved people build reciprocal relationships happen on its own, but a project like Altofest stage, we allow the inhabitants of Okella to be mere that help generate interpersonal trust. might help catalyse this. observers of the action. In a crescendo, from the ground until the top floor, in the block of flats the sun and the air rise, thus the performance calls into question the external spectators as participants, and the inhabitants of Okella as audience. We know that human beings lack of fantasy: when we are Community young, we cannot imagine our elderly age; when we are healthy we cannot imagine how it is to be sick. Marcia Grima / Regional Coordinator - Valletta 2018 The power of theatre allows us to play, provoking and enlarging our empathy, creating the conditions, occasions, dynamics, could overturn the roles and break Altofest plays with the ordinary, bringing their artistic performances. There would be the rules. together artists and non-artists; in houses, no payment. The space-donors would o er Although, just for an instant. workshops, schools... Slowly, subtly, their hospitality as gifts to the artists who in something occurs between artists and hosts turn would gift their performances back. In which interrupts the familiar rhythms of the spirit of Mauss, the gifts would create normality, allowing for the birth of something bonds of reciprocity and solidarity between new and unexpected. The alchemy of giver and recipient. Altofest lies in its humanity and its trust in The first residencies have just come to a close. Milano-Malta: logbook artists and space donors to open up to one What has surprised me is that where my initial Phoebe Zeitgeist / Theatre Company another and to follow a path together, concerns were for the hosts, once the culminating in a public performance. residency began I worried more for the artists. Moreover, the hosts worried for the artists. As Malta, 2018. On Monday we arrived in La Valletta and we I’d like to adopt three concepts here to help the artists struggled in di erent ways with a are hosted by the Scout Community. understand better the dynamics at work in foreign culture; their new home, their Immediately the place, the space and the community Altofest: liminality; the gift and communitas. relationship with their hosts and most of all o ered us several suggestions. Immediately we asked the performance that they were expected to ourselves a question: how can art emerge from the The liminal has been used to describe rituals deliver; the hosts became friends, community as its distinctive expression, becoming in the within traditional societies that free stage-hands, performers and an inspiration meantime an instrument of social growth, fostering the participants from normative behavior. The for the artists to explore new ways to perform. formation of a future cultural legacy? liminal incorporates processes of separation, A dancer gave form to the brittleness of Focused on this main question, the project Nick of The followed by transition, and finally pottery, to the malleability of clay and Abyss starts from the narration of a local myth, an island’s re-aggregation into social structures. These transformed her body into the fire of the kiln - myth, collected by the folklorist Giuseppe Pitrè from the can be transformative such as rites of passage inspired by watching her host, a potter, at sicilian oral tradition, but also present in other versions into adulthood (Van Gennep). They can invert work. In other instances, the space-donors around the mediterranean cultures. This myth has met normality such as carnival. Victor Turner says greeted audiences and even performed Hamrun Scout Community. Hamrun is a particular district, that liminality is lies within social structures themselves. The more the hosts ‘let-go’ and one of the most marginal of Malta; Scout Community is a but also o ers space for creative and critical were pulled into the performance, the more historical association, of military mold for educational re-imaginings of dominant discourses and one could sense that the performers and purposes with a precise hierarchical order. Out of the can sow the seeds for social change. hosts were sharing something unique, an Scout Centre’s gates disorder dominates; within the gates Wibstutz distinguishes liminality in theatre experienced that may be defined as order dominates. But also the music. Here the children from rites of passage. Unlike rituals (eg. Communitas. grow surrounded by music, by sound, in disguise (the baptism) spectators return to normal everyday Communitas describes a shared experience experience of kilt, livery, impersonation), in the band. life unaccompanied by a new identity. that breaks down social di erences and Through a workshop, we involved children as well as However, what happens when the line that structures and connects people. It is not adults of Hamrun Scout Community. In this part of the separates performance and normality something that can be imposed; but we residency, we asked to the children to paint ‘light’ becomes blurred? Last weekend in Rabat and recognize the feeling when it happens. drawings, starting from the idea of a favorite fish (at the Manikata, I would suggest that liminality was As the experience of Communitas gives way beginning the scoutmaster authorized only this activity). not contained within the performance but to memory, we may ask what traces of the After they worked on the texture of the skin of these fish. was present throughout the residency. liminal will remain within the ‘ordinary’. What We try to involve adults and other scouts too. We asked Last year, the creators of Altofest asked me initially may have seemed like ‘giving up’ one’s them to participate only one evening. They should learn a and my colleagues at Valletta 2018 to find space, has become something else. One’s pop song and propose something of their repertoire. We ‘space donors’. Residents in several Maltese private spaces have been opened to what don’t know if they’ll do it. We are still waiting for an towns and villages were sought out to host Edith Turner described as a ‘spring of pure answer. But, even if it were to be a monotone symphony artists and o er their homes as venues for possibility’ and this is the gift of Altofest. Drawing - Federica Terracina of a single tiny instrument, it will be greatly significant.

Nothing in Common In the space of theatre

[…] as dictionaries show, the first meaning of the indicates only the gift that one gives, not what At the Doria Pamphilj Gallery in Rome, there all: and beside the “focus point” being o ers several starting points to develop noun communitasand of its corresponding one receives. All of the munus is projected onto is a painting by Joseph Heintz the Young unique (the stage, made of planks of wood), topics that I particularly care about : theater adjective, communis, is what becomes the transitive act of giving. It doesn’t by any means (named Piazza S.Marco, being part of a serie the masks and the audience bring the show as a happening and theatre as a meeting meaningful from the opposition to what is proper. imply the stability of a possession and even less of landscape paintings, realised in the city of all over the place. More than ever, it is a place. Those topics imply the fundamental In all neo-Latin languages (though not only), the acquisitive dynamic of something earned, but Venice around 1648), extremely interesting synthesis and an intuition of what mainly question associated to theatre, which is the “common” (commun, comun, kommuri) is what is loss, subtraction, transfer. It is a “pledge” or a to us due to what it suggests about had been or could had been Commedia concept of SPACE in relation with the not proper [proprio], that begins where what is “tribute” that one pays in an obligatory form. The Commedia dell'arte and theatre in relation dell'arte: an example of its cultural environment surrounding it. proper ends […]. It is what belongs to more than munus is the obligation that is contracted with with the life of the city. contemporaneity/coexistence in the A non speculative theatre holds the writer one, to many or to everyone, and therefore is that respect to the other and that invites a suitable The subject is San Marco square (where the relationship with the society and the mask, and the spectator together in a new straight which is “public” in opposition to “private” or release from the obligation. […] What painter has imagined a bright red pavement), of its presence in the fundamental meeting relationship directed against the prejudice “general” (though also “collective”) in contrast to predominates in the munus is, in other words, full of people, masks and animals, seen from point of the city, of its possibility of going that is in each of us, the prejudice of a “individual” [particolare]. In addition to this first reciprocity or “mutuality” (munus-mutuus) of the point of view where nowadays the beyond the scene, in a continuous perspective theatre. canonical meaning, which is already traceable to giving that assigns the one to the other in an Napoleonic wing is. […]. The masks are on pendulum of the masks between the square It is a matter of making theatre a space the Greek koinos (and also translated in the obligation [impegno]. But let’s also add in a the stage but also all around, in the and the theatre. ideally similar to the contemporary city, a Gothic gemein and its derivatives Gemeinde, common oath […]. meanwhile watching other shows where The representation in Heinz's painting matrix of a mesh of equal size, a place of Gemeinschaft, Vergemeinschaftung), there is still the same identical masks play, thus seems to me the most stimulating one not apparently equal right entitled individuals. A another meaning to be added, one, however, less R. Esposito participating to the comedy they play only for what it says about the theatre space organically a-centric. obvious because it transfers properly within itself Communitas. The origin and the destiny of themselves, inventing elsewhere fragments all'improvviso and about the relationship the larger semantic complexity of the term from community (1998). of a show.[...] carried out between community and theatre Giuliano Scabia which it originates: munus .[…] the munus Translated by Timothy Campbell (2010) In such meeting place theatre has invaded by that time, moreover it inspires me and “Teatro”, II, 1968.