Festa culture, community spirit and the construction boom which threatens them

MaltaSketches met with Jonathan Mifsud and Mario Zammit, the activists of Mqabba Santa Marija feast, to talk about what happens behind the scenes of the festa, the changing communities and overdevelopment which threatens the festa culture.

To us, the audience, fireworks is a colourful show. What is it to you?

Mario: First of all, it’s a tradition – an old tradition which has been passed from generation to generation and is especially strong in small villages like Mqabba, Qrendi, Zurrieq. It is a tradition which kept growing in strength. As children, we grew up in the spirit of feasts and fireworks.

Jonathan: The passion for fireworks and feasts begins from childhood. The older generation, those above 60 y.o. who are working at our fireworks factory, still remember the adventures associated with fireworks in those days. They used to collect remains of fireworks from the fields and play with them – something which is unimaginable today.  Unlike today, safety awareness was non-existent. To some, fireworks mean burnt fingers and scars – but childhood memories are still precious.

How long does it take you to prepare to the feast?

Mario: A year and more (smiling). On 16th of August, a day after the feast, we start cleaning the warehouse. Then we estimate how much fireworks we need to sell for the coming year – our main source of funds comes from selling fireworks. We mainly sell to other feasts and sometimes – to private organisations. The profit is then distributed between 25-30 people so that they can buy the necessary materials for the next round of fireworks.

Are the workers employed at the factory full-time or are they volunteers?

Jonathan: We are all volunteers. Passionate volunteers! On Saturdays – and even Sundays – we find them working from 6 am. Persons who work in shifts dedicate all their free time to working at the fireworks factory.

Mario: And the volunteers who have a full-time job starting at 8am come to work at the factory at 5am. They are committed!

Jonathan: We have to plan rigorously and this plan corresponds to the seasonal change of weather. We prepare materials for the fireworks before February, when the weather is still cool. After February, when rain stops, petards can be left outside to dry up. Then we start assembling materials into fireworks.

In our calendar, every month marks a phase of firework manufacturing. For example, black pigment comes from vine. Vineyards in Malta are cut in January which means that January for us is the month of stocking up on vine. The stock will dry up and the black pigment will be used for the feast of the following year. Right now, we already have the vine stock for 2018. After the feast, in September, we burn vine and turn it into powder and this powder is then used during the whole year.

The volunteers are installing the main firework display. Assembling of this sophisticated structure demands sharp precision and launching it requires a special software. This time, the fireworks are operated using a software made in Gozo.

Correct me if I’m wrong but my impression is that all your daily routine and lifestyle is entirely tied to fireworks

Mario and Jonathan: exactly! There are so many things which are going behind the scenes and are invisible to outsiders but mean a world to us.

Firework manufacturing is a demanding process. We prepare everything from scratch, a lot of work goes into it. It would be impossible to put so much effort without passion and commitment.

Jonathan:  What is also hidden behind the scenes is that many more people contribute to the process in one way or another.  Farmers give us sacks, for example. Instead of throwing away empty sacks of rabbit food, they give them to us. We also collect anything which is going to be thrown away but can be re-used. So yes, we reuse and recycle (smiling)!

What truly amazes me about Mqabba Santa Maria fireworks is their precision and perfect timing. Let’s be frank: such precision and attention to detail are not common in Malta (I’m not saying it with disapproval). How do you manage to achieve such precision?

Mario: It is difficult. A firework is a controlled explosion and getting it right requires experience and knowledge of physics and chemistry. Since precision here is about splits of a second, we ensure precision of the petards’ length up to a millimetre.

Another aspect is planning and calculating it well. When we plan fireworks of elaborate shapes, we need to calculate all the parameters – distance between the petards and time of release because we cannot practice beforehand.

How do you decide on patterns? Do you all discuss them or everyone does his bit?

Jonathan: Everyone has a special role in the process so yes, we divide responsibilities. For example, I’m in charge of colour multi breaks and Mario creates day fireworks. Each one of us is a designer and manufacturer at the same time. Another volunteer creates ball-shaped fireworks and another one is in charge of a tower crane fireworks show. Everyone has his own niche where he feels most confident and comfortable and knows the process from A to Z.

How did you acquire this knowledge?

Mario: It is passed from generation to generation. Experience is precious. In order to launch a firework into the sky, we need gunpowder. Say, a 50 kg firework requires a certain amount of gunpowder. If that certain amount is exceeded, then the firework will explode on the ground whereas a fewer amount simply will not lunch it.

We also attend courses on safety held by the police. Such courses do not teach the craft per se but they instruct what ingredients should not be mixed together and what safety procedures need to be followed. We also make sure to get the ingredients from the approved suppliers which have already been tested in Spain and Italy.

Connecting petards to the firing system requires dedication and attention to detail

Does your team have secret tricks?

Mario and Jonathan: every volunteer has his secret (laughing). Other firework factories and their volunteers have their secrets too – we all have that in common.

Another aspect which puzzles me a lot is that feasts are not mere celebrations, they are competitions of a kind. Why does festa bring on competition? Isn’t celebrating something enough?

Mario: You are right! There is a lot of pride in it. We take pride in what we do and we keep our secrets safe.

Jonathan: But this is the way it is. Taking pride in what we do and showing that we are the best is part of the drive. In the past we had to experiment much more – partially because the imported ingredients were not of sufficient quality – so every year we would do our best to establish the best possible ratio. That is a lot of effort and creativity and we ought to respect our efforts.

To be honest, this individualistic spirit rather saddens me…

Mario: Although different clubs compete when it comes to the show, it is not only about competing. We also collaborate – by sharing the firing tubes because not every fireworks factory has its own tubes. We share the firing system between four clubs as well. For example such a system costs about 10K Euro so we split the expenses between the clubs in order to afford it and everyone uses it during their feast.

What would be your life without fireworks? Say, if fireworks are banned tomorrow, what would you do?

Jonathan: No way! We would go abroad. Joking apart, our life is rotating around the fireworks and the feasts in general. Fireworks give us purpose, passion and certainty. Every month we see what needs to be done for the feast, we look forward to it. Only one week in a year – the week after the feast – is not connected to fireworks. Although even then we often go and help out at other feasts.

Is there any other club you admire?

Mario and Jonathan: Now, it’s a difficult question!

Mario: I’d say that every club in Malta develops a relationship with other clubs or organisations. We do not exist in vacuum. We are not exception in this case. For example, recently we have built a relationship with Munxar in Gozo – a village of only 700 people. Last year we produced some fireworks for their feast (just a 5 minute show) and we became good friends. We pay each other visits, invite each other for barbecues. Some people from Munxar even came to our feast and spent a week in Mqabba. We’ve developed a bond – so it’s not only about competing, it’s about friendship too… (smiling)

This is great news! You even managed to create ties between Malta and Gozo (smiling)

Jonathan: if you like to put it this way – yes. Last year, only 5 of us came to set the fireworks in Munxar, this year we were 25. You can imagine 700 Munxar people and 25 Mqabba people all crazy about fireworks. It was spectacular!

Do you think that public attitude towards feasts and fireworks in Malta is changing? Do you sense any decrease of enthusiasm or growing disapproval of the tradition in general?

Mario: Yes – and this change in attitude is not related only to fireworks. The idea of a desired lifestyle is changing a lot.

Jonathan: To me, it has a lot to do with how Mqabba community has changed in the recent years. Mqabba now has new residents who moved here from other parts of Malta and from other countries and they do not share the same passion for the feast, they do not feel being part of this culture. A German friend of mine, for instance, chose to live next to the field from which we release fireworks. The way we celebrate by setting fireworks at 8am is alien to him (smiling).

In the past we had a consensus and a shared enthusiasm. The two feasts of Mqabba used to compete with each other but the tradition itself was not threatened. Today it is no longer so.

Mario: However, the lack of enthusiasm for feasts is not only limited to foreigners. To be fair, some foreigners appreciate it more, they see it as something interesting and exotic whereas to the Maltese from the areas where festa is not prominent, say Swieqi, our work means nothing. To them, what we do is just crazy and meaningless noise.

So I would say that it’s the certain class of Maltese which disrespects festa most. They constantly complain about feasts and refuse to recognise anything positive about our work.

I agree with you. I also sense a strong wave of criticism towards the festa culture from urban middle class Maltese. One of their arguments, however, is that fireworks are not only noisy but also harmful for the environment. And this is where I disagree with them most.

Let’s focus on development, for example. I think development of open spaces needs to be challenged collectively and a strong, united community would be able to defend itself. The areas which are most affected by the construction boom – Sliema, St. Julians, Swieqi – are the areas where community spirit (and as you’ve said, festa tradition) is practically non-existent. This weakened community cannot withstand the pressure from developers and is doomed to lose. On the other hand, feasts keep communities united and this united community can put up a fight and has a chance – and a common motivation – to win.

Mario: The increasing density of buildings – not only in Mqabba, in Malta in general – means that more and more feasts are finding it difficult to let the fireworks from the same place. Whenever buildings come too close, they have to find other open places. This creates tension. I think it is a matter of survival that all the firework clubs become united for this cause. In this case, we have a common goal and we need to join forces instead of competing.

Jonathan: I remember a case a few years ago where there was a proposal to construct a villa on an open area.  This open area was used as a firework launching site. Had the permits been approved and site been developed, this firework factory would not have been granted a police permit for letting off fireworks.  I recall that both the rival local village band clubs together with their Local Council and other local NGO joined forces and objected constructively to the PA together. This case illustrates that working together for a common goal is possible despite the competition between local feasts. I cannot agree with the accusations that feast clubs threaten the environment! On the contrary, we help to protect open spaces from construction.

The negative effect of the construction boom also reveals itself indirectly: this year it was a true challenge to find planks of wood to support our main firework display – they all are being used at construction sites!

Would you be interested to collaborate with the environmental NGOs to strengthen the resistance to overdevelopment?

Mario: As I have said, protecting open spaces is important to us. But the initiative should first come from Malta Fireworks Association rather than individual clubs. The Association is the voice of the firework activists in Malta.

What do you think is the future of the festa tradition?

Mario: In synchronising fireworks with music. The problem, however, is that there aren’t enough of firing systems for this type of show. We were pioneers in it 10 years ago but now every village wants to do its own pyro musical show meaning that demand and competition are increasing. But looking at the bright side, I’d say that festa tradition is still alive because it evolved and always adapted to the challenges of time.

Follow MaltaSketches on Facebook. Not to miss any posts from MaltaSketches, click the button “Following” and then select “See first”. This will mean that your feed will always contain our posts. We only post a few times a month, so you won’t see too much of us. Grazzi!

The volunteers of Festa Titulari Santa Marija with their rivals – volunteers of Festa Madonna tal-Gilju

The fireworks which took a whole year of preparations are neatly labelled and stored on the factory premises .

 

Tower crane fireworks display is set up and ready for the show

 

Valletta: the capital of many cultures (so far)

A tribute to my favourite city
~ 10 minute read

Living in Valletta: a permanent surprise

A man reading in his car outside his garage on a Saturday afternoon

When I moved to Valletta five years ago, one of my greatest surprises was seeing that particular face expression each time I told somebody where I was living. “Valletta?” – they cried, turning their face into a display of disbelief and frustration – “but why?!” It was then my turn to be surprised and reply “Why not?”, only to learn that the problem was “those-ħamalli-hostile-to-every-stranger-and-whom-everyone-in-their-right-mind-avoids“, or, in brief, the stereotyped residents of Valletta. I usually replied by admitting that I had not noticed anything outrageous about my Valletta neighbours, compared to my previous neighbours in Msida and Gzira, and used to receive a skeptic look, followed by a short yet affirming “not yet”.

Although so much has changed in five years, ironically, the expression of surprise accompanying the question “Do you live in Valletta?” remains, but of a different kind. The alarmed look has now been replaced by a brow-raising suspicion of my riches. The most frequent question now is “How can you afford it?” This curiosity is easily understood: at this point in time, the monthly rent for a basic two-bedroom property is no less than €700, whilst more fashionably furnished properties cost between €1000 and €2300 (!) per month.

What’s happened? How has the capital so closely associated with “slums”, “criminals” and “ħamalli”  become trendy and barely affordable for an average earner within just a couple of years? One way to answer this question is simply the effect of gentrification brought on by handsome property investment prospects as part the European Capital of Culture 2018. However, the side effect of the approaching V18 is only part of a bigger picture. In fact, rather than being smoothly revamped into a “capital of culture”, Valletta 2017 has become much more of a battleground between antagonistic cultures and the winner is the one which promises highest profits.

What is Culture?

Symbolic funeral and mocking of the rival football clubs held by the fans of Valletta FC, champions of 2015-2016

The rapid transformation of Valletta is a source of many disputes. Some argue that Valletta is far more charming in a crumbling state, whilst others say that a facelift is necessary due to the hosting of the European capital of culture. One way or another, the ultimate majority of discussions about the future image of Valletta focus exclusively on the visual aspects of its facades and omit the stories of human relationships hidden behind them.

To start with, there is no universal definition of culture. In fact, the two most frequently referenced definitions contradict one another. According to one of them, culture is “a moral and aesthetic ideal, which found expression in art and literature and music and philosophy”. This definition is attributed to Matthew Arnold and his work “Culture and Anarchy”. The other author, Edward Burnett Tylor, suggested that culture is “that complex whole which includes knowledge, belief, arts, morals, law, customs, and any other capabilities and habits acquired by man as a member of society”.

The fate of Valletta depends on which kind of culture it is going to be a capital of. Is it the culture limited to prestigious entertainment or is it the culture of everyday life experiences which bring the place and the people into a tangible bond? Is it the culture which only sees Malta’s capital as a gourmet backdrop for trendy performances or is it the culture which can be experienced only by becoming part of its daily fabric?

Valletta as two cities

I always thought that every place owns its unique spirit to the indissoluble relationship between its architecture and its people. However, soon after having become a part of Valletta myself, I began to realise that, in the eyes of the public, Valletta was two distinct things: one – a marvel of Baroque architecture and the other – a swamp. One – to be admired, the other – to be disdained and vilified. One – its facades and the other – its 3rd class residents.

I learned that Valletta was severely bombed during World War II and the majority of its A-list residents fled to safer places. Countless times the elegant ladies and gentlemen shrugged, spreading their hands to indicate disapproval and telling me “Valletta was a city built by gentlemen, for gentlemen … and look what it is now!”

The tragedy of this immensely charming city is that Valletta’s architecture and Valletta’s residents are not recognised as one coherent whole. Sadly, in the eyes of respectable citizens and heritage guards such Din L-Art Helwa, the residents and the architecture belong to different dimensions and worth of contrasting treatment. The residents, often stereotyped as primitive boors, leeches depleting the social welfare or criminals, are presumed undeserving of the places they inhabit, in which every stone tells a story of its past noble magnificence.

When an attempt at snobbery results in a total failure

The Maltese gentry, for whom culture and Baroque are interchangeable terms, goes at lengths to emphasize that the city built by their forefathers still belongs to them and it should be reserved for worshiping high culture. They denounce anything unfitting of Valletta’s noble image. The Monti, pastizzi shops, clothes lines – everything inseparable from the daily lives of many of Valletta’s residents – is classified as desperately brutish, plebeian and culture-lacking. The social housing units of Mandragg and lower Valletta fall into the same “shameful eyesore” category.

Hipster Valletta: regeneration with a taste for venerating poverty?

The neighbourhood of Tico-Tico in Strait Street

Unfortunately, the nation-wide pride of its architecture did not protect “the city built by gentlemen” from decades of neglect. In his renowned photographic essay “Vanishing Valletta”, David Pisani documented the crumbling abandoned buildings which neither “gentlemen” nor the government rushed to restore. The most beautiful facades were not deemed worthy of care until a few years ago, when shabby suddenly became the new chic. New bars on Strait Street and lower Valletta (former red light districts) were injected with a new vibe. However, these trendy outlets rely mainly on the fashionable hipster crowd who visit Valletta for a sip of “authentic experience”.

Valletta in a nutshell by Nadine Noko (published in the issue 5 of Patron Magazine)

The hipster crave for “authenticity” deserves a special mention. Unlike the conservative baroque-worshipping gentry, the predominantly young creative middle class is not repelled by shabby walls and laundry lines. On the contrary, the youth unfamiliar with the realities of true undignified poverty sees dilapidated spaces as aesthetically pleasing and “cool”. Thus, to the hipster culture, Valletta’s crumbling facades are a splendid backdrop for a trendy party.

The hipster culture does not seek a deeper relationship with the city because its interests do not go beyond the aesthetics of the facades. This way of experiencing the city also deprives its residents of their humanity as it folklorises them into exotic creatures. The condescending acceptance of embarrassingly styleless specimen best manifested itself in a LovinMalta’s article: with a touch of sentimental sadness, it waved good-bye to the Triton Fountain kiosks, classifying them as amusing, yet unfitting to the upscale image a European Capital of Culture is expected to flaunt.

The contrast between the outspoken poverty of a few Valletta’s neighbourhoods and the trendy entertainment culture thriving on romanticising this poverty is stark. Hipster’s willingness to hang around dilapidated spaces sets a precedent for opening of more bars designed to suite a particular taste. While Tico-Tico, Café Society and the Gut physically belong to Valletta, they remain an isolated bubble which overlooks the life of the local community.

However, my skepticism towards the hipster attitude to Valletta does not extend to criticising all of the younger vibes. On the contrary, Valletta’s population is ageing, which means that many more houses will become vacant in the near future. Will these houses be reborn as homes or will they turn into outlets whose only contribution to Valletta’s life is commerce?

Boutique hotels for the tasteful caste

SU29  luxury boutique hotel (suites available at €135 to €325 per night) and its neighbour, a regular Valletta house in St. Ursula Street

The handsome profitable prospects brought by the European Capital of Culture have turned Valletta into a goldmine and a battleground between various interests at once. After the decades of neglect and distant worship, the vacant houses and residential properties discovered a new meaning of existence – that of a boutique hotel.

It is easy to lose count of the permit applications for boutique accommodation popping up practically around every corner.

The only house which (so far) miraculously avoided being converted into a boutique hotel

With no exaggeration, there soon will be more boutique hotels than residents in Valletta: exclusive accommodations such as Ursulino, Casa Ellul, SU29 and Palazzo Consiglia are now competing for distinguished clientele with La Falconeria, De Vilhena, Valletta Boutique Living, Valletta Vintage and a dozen more boutique hotels-to-be at Republic, St. Paul’s, St. Christopher, St. Ursula, St. Barbara, Old Theatre, Old Bakery Streets and Valletta’s old fish market Pixkerija. Barbara Bastions can now be safely renamed into Boutique bastions since only a couple of houses in that location are not being converted into exclusive accommodation of some kind.

The construction works were criticised by the local council as “the worst siege ever” and slammed by the residents, the heritage organizations and the intelligentsia alike – albeit for contrasting reasons. Whereas the residents have to endure the non-stop sounds of drilling, the cranes above their roofs and the clouds of dust, the reasons for critique from the heritage activists and the creative class are not as straight-forward. It is not the appropriation of residential houses into boutique hotels that the “baroque or nothing” heritage activists protest, but the obscure appropriators whose cultural unawareness and opportunism are enough to infuriate the gentry. The creative crowd predictably protests the visual aspects of the developments: the cranes distorting the skyline, the disappearance of venerated shabbiness and the heavy presence of scruffy workers, so unpleasant to the aesthetically sensitive taste.

On the other hand, the ever-growing number of boutique accommodations provides a perfect opportunity for implementing interior designer skills and entrepreneurial ambitions – the traits highly respected by the tasteful critics. Thus, once the cranes, the trucks and the workers are gone leaving behind a new deliciously designed hotel, the critique is immediately replaced by ovations and excitement at the prospects of welcoming the esteemed guests. Gentrification of Valletta is not only barely spoken about but is openly celebrated. Same is true about the Three Cities – Senglea, Cospicua and Birgu.

Valletta Vintage exclusive accommodation offers rooms with a view

It certainly is positive that the buildings of such beauty and history are being restored, yet it is equally sad that the restoration of these buildings is deemed worthy only if it promises solid investment rewards. Besides, the “boutiquefication” of Valletta reduces the residents and the everyday life to a decorative view from a holiday room.

The Capital of Whose Culture?

Valletta 2018 – the only protagonist of culture?

Another unsubtle declaration of what kind of culture is to be respected came from the artistic director of Teatru Malta, Sean Buhagiar. A few months back, when snap elections were not on the horizon, he urged the Prime Minister to abstain from disturbing the “culture” with such an uncreative event as general elections. Sadly, this point of view is shared by the various creative professionals – artists, designers, performers – to whom Valletta 2018 is, first and foremost, an opportunity to impress an eminent international audience with the presumably high degree of creativity .

The employment and career opportunities offered to a broad category of professionals by Valletta 2018 are certainly among its positive aspects, yet the statements like those said by Sean Buhagiar are indeed irritating, because they refuse to acknowledge any other definition of culture except from artistic performances which he and his colleagues play an imperative role in. Indeed, the demand for sophisticated entertainment is at the core of the middle- and upper-class cultural habits yet culture, in its broad sense, is not equivalent to the consumption of concerts, performances and exhibitions.

Sincerely, I have lost count of various Valletta-related arguments to disagree with.

I disagree with sentimental conservationists who morn the Valletta of crumbling facades and regard it as far more dignified than Valletta restored. While shabbiness might appear particularly spiritual to spectators, to many residents it simply signifies poverty and the inability to carry out restoration works on their own.

I disagree that the only way to restore Valletta is to convert it into a host of exclusive guest houses for the privileged caste, trendy bars and luxurious shopping outlets. The Valletta of boutique hotels would be hollow and soulless. The void of community spirit, which makes every city so unlike any other, would be replaced by temporary visitors who don’t have a profound relationship with the city. It would turn locals and their households into somebody’s room with a view. Yet, how can Valletta resurrect as a city with its own vibrant community life, if properties here are out of reach for the majority of the Maltese population?

Finally, I disagree with reducing Valletta to a backdrop for upmarket entertainment and tasteful consumption wrapped into “the European Capital of Culture 2018” package. As any other place, Valletta does not lack culture of its own. On the contrary, it has plenty of it – the little mundane rituals of “hello” and “how are you”, the feasts, the relationships between the people whom Valletta comforts and makes feel at home. Unlike the pre-packaged commodified experiences offered by hipster culture and Valleta 2018, the culture of daily participation cannot be exhibited at a museum or performed on stage – it cannot be experienced in any way other than becoming a part of its fabric. Too bad this kind of culture does not offer profitable returns and hence is not held in high regard.

Follow MaltaSketches on Facebook. Not to miss any posts from MaltaSketches, click the button “Following” and then select “See first”. This will mean that your feed will always contain our posts. We only post a few times a month, so you won’t see too much of us. Grazzi!

P.S. The culture of everyday life

Contemporary art in Malta: how and where it happens

Experiencing the arts as part of Malta’s social landscape ~10 minutes read~

Last year Malta was marked by the triumph of developers, conspicuous privatization plans and the steadily growing media attention to ‘arts and culture’. Curiously, in spite of the seeming attempts to popularise the latter topic, various articles concluded that there is a public indifference to arts and culture in Malta.

Instead of proving or denying these allegations, let us first figure out whether the general public has an unobstructed access to the arts locally.

Experiencing the Arts [Part 1]
Arts as a frame for socialising … around the artist’s persona

damien-hirst
Artist as a brand: Damien Hirst, a multi-millionaire, poses in front of his artwork in London’s Tate Modern art gallery in April 2012

In speaking about the way local art is experienced, the first question is where to find it. In Malta, only a few places such as  Spazju Kreattiv at St. James Cavalier and MUZA (still in the making, previously, National Museum of Fine Arts) welcome the general public. Other than that, contemporary artworks are displayed at art events, of which there are plenty. Most frequently, art is showcased at private exhibitions and book launches which, by default, imply their secluded or commercial nature.

As far as genuine contemplative interest is concerned, socialising around the artists and their art lacks the opportunity for intimate and solitary engagement with artworks. In a small, densely populated country like Malta, a person usually meets artists before their works, unlike in the majority of larger countries where pieces can be seen as anonymous and independent from their creators. This either results in a few fan clubs surrounding the artist or, on the contrary, the audience rejects the works straight away because they are repelled by the artist’s persona (or by her/his political views). Had he lived and created in Malta, with his reportedly bad temper, Picasso would have never gained any recognition for his works locally in such proximity to the potential audience.

Mixing art with the artist’s personality does a disservice to the works since it pre-conditions seeing them as personifications of their creator. In the essay Death of the Author, Roland Barthes points out how interpretations of a work should not be reduced to seeking answers in the author’s personal experiences. Regarding artworks as direct expressions of the artist’s personality inevitably turns them into a dull and limited subject, as the artist’s personality is hardly more important than anybody else’s.

As for an artist, art is a source of income. In the context of art business, an artist produces goods of a potentially high market valueThis makes art a prestigious job. Self-promotion at events and on social media is intended to add value to the artist’s personality and to establish them as a brand in order to facilitate the sale of their intellectual property. However, it would be unfair to blame artists for self-promotion since it is a necessary evil for making a living in a neoliberal society where literally everything is a commodity.

Experiencing the Arts [Part 2]
Personality-driven art scene and loads of politics

dcg-charles-callejja
Presence of a politician or a controversial political blogger at the exhibition opening automatically turns it into more than just socialising around art (credit: Lily Agius Gallery, photo by Charles Calleja)

Another aspect of experiencing art at social events is the type of crowd which attends them. In fact, attempts to evaluate public interest in art and culture by attendance of exhibition openings and book launches inevitably end in misleading results. In a country where just about anything is interpreted in the context of political affiliations and class symbolism, events-going is another political and social statement which has little, if at all, to do with the art. 

The art scene in Malta shares many common traits with the local politics: the lack of transparency, nepotism and being personality-driven, to name a few. Openings of exhibitions are little spectacles of cult where it is expected of attendees to praise the artist (“prosit, keep it up!” or “this is so interesting!”). The act of launching a personal exhibition is a manifestation of creative net worth which, sadly, overshadows the works.

The complicated web of social interactions which surrounds arts in Malta is one of the many obstacles between artworks and the public. Who in their right mind would attend an event where they are unwelcome and marginalised?

 

Experiencing the Arts [Part 3]
The revolving-around-art social bubbles

14330087_604496363063319_3306825850623793658_n
BLITZ exhibition poster. BLITZ is an independent, not-for-profit, arts space which also featured on Tate Modern Art gallery’s website. Tate’s reference is highly prestigious – “one of the best-loved arts brands in the world” also enjoys a proportionally large corporate sponsorship. Some of Tate’s previous partners included BT, Louis Vuitton, Unilever, Vodafone, UBS, Google and Le Meridien

Finally, ‘interest in arts’ is a traditional privilege of the upper- and middle-classes. Replicating the conventions of the privileged by flaunting art awareness and art consumption is a sure way to affirm or to boost the social status.

Meanwhile, the low attendance of the art events by the general public – that is, the majority whose professional and consumption interests are not directly linked to the arts – is used to justify a few people’s claims on exclusive monopoly on  understanding and valuing ‘true’ art. As many other expressions, arts preferences is another opportunity to insulate the ‘true’ art-appreciating social bubbles (‘pedigrees) from the village festa fans (‘peasants’). Alas, socialising around the arts feels like a perpetual You Are What You Buy” performance. Sadly, we all are evaluated on the basis of prestige of our consumption preferences. So it happens that the prestige of art consumption is incomparably higher than that of fast food.

Grossly generalizing, the avid art-followers in Malta are of two kinds:

  1.  the ‘blue-blood’ Maltese
    and
  2. the middle-class art producers, art dealers and intellectual consumers.

The art circles’ membership is available to the candidates with the right family background, the right occupation, the right dressing style and, as suggested by the G Plan exhibition, the specific taste in furniture. Although the pathway to contemporary arts is barricaded by snobbery, foreigners might be awarded a bonus pass.

Let’s not be fooled by appearances: to art dealers and art consumers, art is a special kind of Big Mac, with the only difference in the price and the resale possibility. Keeping to their little well-insulated circles, the art-following crowd seems unwilling to ditch snobbery in favour of welcoming the ‘dark unenlightened masses’ to ‘arts and culture’. Their main interest is in guarding their trademark of ‘© cultured’.

 

Finding a passage to the arts: newspaper culture columns

2017-01-07-2
The title of the article in MaltaToday. Appealing to patriotic senses is meant to attract public attention to Adrian Abela’s sensitive works

In theory, newspaper culture columns are meant to spark public interest, yet it is not quite so in Malta. Given that the attendance of (and attention to) the events is driven primarily by the social and political factors and not by the content displayed, the reviews turn into a redundant formality. As long as the local art scene remains personality-driven, the critics do not have an opportunity for honest criticism because it may result in a personal grudge (or even a conflict), capable of provoking a greater isolation between the little art fan clubs and bubbles. The lack of honest criticism is quite unhealthy for both, boosting genuine public interest and challenging professionalism of the artists.

The limited opportunity for honest criticism forces culture journalists to report the activities of their close circle of friends whose works can be acclaimed with a clear conscience. At the same time, this still does not help the reviews to be seen as credible and unbiased. The conclusion is: with a seeming purpose of stimulating the public’s interest, the reviews are written by the art crowd, for the art crowd.

Also, in a personality-driven environment where critics too are ambassadors of the arts, a critic’s persona often receives more attention than her/his professional merits. Thus, positive reviews by a critic, who is known to be personally unpleasant or politically opinionated, might discredit an artwork in the eyes of the public, no matter how valuable and engaging it is.  In such circumstances, arts reporting has a chance of attracting public attention only if the ‘Maltese artist exhibits abroad’ formula is applied. Then, it is the sense of patriotism, not the content, which is celebrated.

‘Interest in art’ cannot be treated as a phenomenon of its own, unaffected by the social interactions surrounding it, because there is simply not enough distance between the artists and the critics, on one hand, and between the artists and the audience – on the other.

 

Public-friendly art displays: scarce, yet powerful and much needed 

Not all is dark and hopeless about experiencing the visual arts in Malta. Unlike the pretentious rubbish displayed at many private exhibitions, these works are the stunning examples of art with a meaning. Spared from snobbery, they are anonymous, harmonious with their physical environment and for everybody to contemplate on. “Euro Jesus” by Twitch is a spot-on profile picture of Malta 2016. Hypnotising and meditative, the wind vane at Exiles beach by The Rubberbodies Collective is a tribute to Sliema’s past serene relationship with the stories of fishermen, wind and sea (isn’t it ironic that the excellent article about the public project is part of the Times of Malta paid content?).

Conclusion?

It is safe to conclude that the popular cries about the lack of ‘care for art’ in Malta do not refer to the to the lack of spiritual devotion but to the particularities of events-going and the lack of prestigious art consumption. In this context, it is profoundly hypocritical to expect ‘care’ for contemporary art from the members of society who are not only discouraged from attending the events but who are also not accustomed to value this kind of art since they are unable to approach it and to purchase it.

Surveying sentimental care for art is as intrusive as evaluating love. In a broad sense, everyone has a tender relationship with an art object – be it a photograph, an altarpiece, a graffiti, a Valletta corner statue, a firework or a pickled shark by Damien Hirst. And if love is a deeply personal choice, educating people on which kind of art is right to love is not unlike the ‘gay cure’ therapy (thankfully, banned now).

2017-01-09
To paraphrase the statement in the article in MaltaToday, “it’s your pocket we’re after, not your heart”. The art crowd indirectly admits: art is just an enterprise. And if this enterprise fails to provide space for greater social cohesion, why is the public expected to hold it in a higher esteem than any other occupation?

While personal  tastes are entirely up to individuals to pursue, the claims that ‘interest in the arts’ is to be given a paramount status of national importance should be followed up by boosting public arts venues and arts displays in public spaces – squares, gardens, streets, beaches and schools. Yet, the opposite is being done by giving these spaces away for private development – which ensures not only a poor access to the arts, but a general drop in living standards.

Connect to Malta Sketches Facebook page if you like to read more analysis of Malta. Here is more about prestige of consumption preferences. 

Lions on your door: lion head door knockers of Malta and Gozo

Among the great variety of door knockers that grace townhouses in Malta and Gozo, the lion head ones enjoy a particular popularity. None of the motifs are present in such a range of shapes as the lion, which brings a question – why is it exactly the lion and not Triton, Athena or the Maltese cross that won hegemony over the Maltese doors?

During the centuries preceding the 1700s, the human perception of the world was dominated by symbolism and the lion too had a place in it. In times when”the world of nature was freighted with symbolic meanings of such density that they can no longer be perceived by the modern observer”, the lion was seen as a perennial attribute of Strength and was associated with symbols of royalty which made it a popular theme in heraldry. Lions occupied a prominent role as a heraldic charge from the very earliest development of heraldry in the 12th century. The English and the Scottish crowns, among many others, adopted lions as their heraldic emblem.

The rampant lion, symbol of the English crown, also features on the Royal Coat of Arms of the United Kingdom. Given that Malta was a colony of the British empire for one and a half century, could the particular popularity and variety of lion head door knockers be a reflection of its colonial past? The knocker on the door 10 Downing Street in London, the official residence of the British Prime Minister, is also lion head-shaped.

There are at least 24 different types of lion head knockers guarding the doors of Maltese (Gozo included) houses. They are a significant element of the great sentimental experience that a stroll by a line of traditional townhouses brings. All the elements – the balconies, the windows, the doors, the knockers, the whole of the façade – welcome the curiosity about the people whose lives are hidden behind them.

1. The Guarding Lion

The most popular “don’t mess with me” lion head knocker.

wp_20160817_19_24_13_pro-edt

2. The Smirking Lion

Although it might look like a weathered copy of the previous motif, this one was produced using a different mould. Location: Rabat, Gozo.

wp_20160816_18_36_42_pro-edt

3. The Red Rebel Lion

It might look similar to the first two, yet this lion on the door of the abandoned Rabat’s (Gozo) house still bears unique features.

wp_20160702_19_24_08_pro-edt

4. The Tamed Lion

The lion on the door of Valletta townhouse looks peaceful and welcoming.

wp_20160820_12_04_40_pro-edt

5. The Gallant Lion

Another similar-yet-different lion on one of Mdina’s doors.

wp_20161008_15_16_09_pro-edt

6. The Hangover lion

The lion’s muzzle looks so swollen as if it had been drinking all night long. Location: Rabat, Gozo.

wp_20160702_19_18_40_pro-edt

7. The Grumpy Cat Lion

Located in the lower Republic street, this must be the oldest lion knocker in Malta.

wp_20160817_19_00_27_pro-edt

8. The Fierce Lion

This intricate lion motif can be spotted in Valletta, Mdina and Rabat (Gozo).

wp_20160817_17_55_24_pro-edt

9. Prime Minister’s Lion

This lion is a painted replica of the knocker on the formal residence of the British Prime Minister at 10 Downing Street in London. Installed in the 1770’s, the door featured a centre door knob, lion head door knocker and brass letter plate which bore the inscription ‘First Lord of the Treasury’. Soldiers heading to off to the trenches during the First World War used to touch the lion head door knocker for good luck.

wp_20161019_17_37_37_pro-edt

10. The Pretty Lion

One of its kind – spotted in the Lower Republic Street in Valletta.

wp_20160817_18_58_45_pro-edt-2

11. The Roaring Lion

Sculptural and naturalistic, this type of lion head knockers is especially common in Valletta and Mdina.

wp_20160817_19_07_57_pro-edt

12. The Wrinkled Lion

Another one of its kind pair of knockers were spotted in Rabat (Gozo).

wp_20160702_19_00_51_pro-edt

13. The Round-faced Lion

One of the lesser common knockers spotted in Sliema.

wp_20160924_17_32_06_pro-edt

14. The Devil Lion

Another one of the lesser common knockers – spotted only in a couple of copies. Location: Floriana. One of the knocker designs recommended for recreating the style of Victorian era.

wp_20161019_17_41_46_pro-edt

15. The Abstract Lion

One of its kind knocker in Valletta.

wp_20160929_18_18_46_pro-edt

16. The Chiseled Lion

One of the lesser common knockers which could be spotted in Valletta, Mdina and Sliema.

wp_20161001_12_34_28_pro-edt

17. Monkey lion

One of the Floriana lion head knockers.

wp_20161003_09_09_57_pro-edt

18. The Largest Lion

You can spot the largest lion head knocker in Malta on one of the Mdina’s doors.

wp_20161008_15_09_53_pro-edt

19. The Noble Lion

One of the few unique knockers of Mdina.

wp_20161008_15_00_35_pro-edt

20. The Fancy Lion

One of its kind, intricately designed lion head knocker on one of Valletta’s doors.

wp_20161026_18_09_17_pro-edt

21. The Brutal Lion

Spotted only in a single copy in Sliema.

wp_20161124_16_27_22_pro-edt

 22.  The Timid Lion

Although only a single copy of this particular knocker has been spotted (in Sliema), similar motifs are more common.

wp_20160924_17_29_30_pro-edt
23. Brothers but not Triples

The Original (Edwardian?) knocker and its more recent modifications, all spotted in Valletta.

24. The Lion King

This impressive celebratory knocker was spotted on one of the Valletta’s doors.

wp_20161010_17_59_46_pro-edt

Feel free to share pictures of the lion head door knockers which remain unnoticed and didn’t feature in this post.

Like Malta Sketches Facebook page if you like to receive more article about Malta from an avid Malta’s explorer.

How to survive a Maltese wedding

creative-wedding-invitations-28

Now, that’s a strange topic for a write-up. Weddings are known to be fun and certainly do not require survival skills unless they are replicas of GoT’s Red or Purple weddings. So why does anybody need to know how to survive a wedding in Malta? Simply because weddings here tend to be too formal and, for that reason, outstandingly boring. In fact, it is a mystery how a nation known for its colourful religious feasts, buzz and a refreshing irreverence for formalities came to adopt such a sombre fashion of (supposedly) once-in-a-lifetime event celebration. Given that the wedding season is in full swing, it doesn’t hurt to learn a tip or two on how to make the most of it.

On making their first inquiries about weddings in Malta, foreigners usually hear a lot about an open bar and loads of food. Although the promise of an open bar and loads of food is true, reality, as usual, rarely lives up to expectations. Unlike Gozo where weddings celebrations are mainly executed in a traditional, seated style, in Malta it’s a standing-up reception normally held in a villa or a garden. The wedding venue manifests itself by the melancholic jazzy tunes and the absence of parking spaces in its proximity.
Once a bright-coloured caterpillar of sparkly evening gowns, high heels and black ties ceremoniously proceeds through the entrance, it immediately breaks into small groups, couples and single individuals in search for acquaintances among 300-600 guests or chairs to rest on. To be fair, a few tables and chairs are scattered around the venue but they are meant mainly for elderly, so unless you are at least 65 years old, you better keep wishing someone gets tired of seating down sooner or later.
The classic Maltese wedding party consists of three well-define phases:
  1. The Cool phase: the first hour at the party;
  2. The Phase of Desperate Boredom: 2nd hour until cutting of the cake;
  3. The Phase of Wild Joy: after cutting of the cake.

The Cool Phase

creative-wedding-invitations-36

The first hour at the wedding party is fun. The relatively small number of guests still allows some space around you to breath freely. Everyone is still too relaxed or too busy taking selfies to queue for drinks. The ladies are very pleased with their looks and the gentlemen are delighted that the ladies are pleased. The sound level still allows small-talk conversation – if you are lucky to run into an acquaintance and strike a conversation in the first place. And if you are unfortunate to know not a soul around, the ambiance is still enjoyable thanks to the music. And what music that is! You just can’t stop humming “The Girl from Ipanema”, “Fly me to the Moon”, “My Favorite Things” and, of course, “Xemx wisq sabiha” (you better learn the lyrics as you are going to hear that one a lot of times).

The cool phase is reaching the plateau. In the meantime, the newly wed are walking around and welcoming guests with a well-concealed struggle to remember who all these people around are. Inviting everyone and their dog to a wedding is a norm in Malta. Often the wedding celebrations are the only chance for distant relatives to meet – no wonder the groom struggles to recognize the bride’s mother’s third cousin and the bride meets her husband’s great aunt for the first time right at the wedding.

Once the greetings are said, hugs – given and pictures – taken, you can briefly enjoy a few bites of finger food and another glass of bubbly flowing by on trays. The fun phase smoothly turns into the phase of desperate boredom.

The Phase of Desperate Boredom

2-Funny-Wedding-Invitations-Top-20-Hilarious-Cards-9

Now, this phase does require survival skills not to end in a state of severe grumpiness. It begins when a temptation to find a chair reaches the level of obsession. In the best case scenario, your group of friends finds and guards a chair which all of you, in turn, rest on. However this could be rather tricky if you are just a couple without a sight of a familiar soul among 300-600 guests. The music is still too melancholic to beat the growing boredom yet already too loud to hear anything else apart from it. Very soon you discover that, although the bar is open, you are separated from it by a long queue of other guests. Food trays reach you in an emptied state encouraging to move closer to their source (and you aren’t the only smart pants – the same idea occurs to the others as well). Despite the large quantities of finger food, consuming it with no proper social interaction and no continuity of courses gives little satisfaction. Therefore, unless you do not intend to suffer all the way to the end, it’s time to entertain yourself somehow. Here are some tips to consider:

  1. Inspect the cake and decide whether it’s worth staying any longer. If you are indifferent to cakes and their like, you still have a chance to save the rest of the evening by heading some place with more chairs and people you know (nobody will spot your absence anyway).
  2. If you are vegetarian or vegan, try to enjoy your remote engagement with food by watching others eat.
  3. If you are a woman, forget about your aching feet and purposelessly walk around looking pretty. If you are a man, enjoy the sight of pretty women purposelessly walking around.
  4. Take as many selfies as you can (when will the next occasion to wear that dress/suite, be after all?).
  5. Entertain the idea of jumping into the pool to the shock of the hosts or imagine a random guest falling into the pool. In case you didn’t know, the wedding venue pool is there for a decorative purpose only. Should anyone happen to fall into it, the hosts have to pay a lump sum of a fine.
  6. Learn the lyrics of “Xemx wisq sabiha” so you can sing along – helps to pass time as well. “Ga-a-a-awrha ta’ qa-albi lilek irrid“, “Iva lilek irri-i-i-id“.
  7. The cost of the wedding that is killing you with boredom is likely around 30-40K Euro. Thanking your lucky stars for it is not actually your wedding might boost your mood a little.
  8. Once you’re done queuing for a drink, start queuing for another one right away so, by the time your glass is empty, you’ll have a full one. Thus, while everyone struggles with boredom, you’re spending time with purpose.

The Phase of Wild Joy

dirty-dancing-just-married-wedding-invitation

Once you’ve stoically made it through the Phase of Desperate Boredom, be sure the worst is over. The reward – a piece of the cake you decided to stay for is served immediately after the couple is done with the waltz. Moments later the music abruptly switches from jazzy mellow “You raise me up” to the mix of wild rock n’ roll with a splash of tarantella and hava nagila. Finally, with the support of the open bar and the upbeat music, it is beginning to feel like a wedding. The new jolly ambiance calls to the dance floor but the tortured feet refuse to follow. To gentlemen’s delight, a bunch of ladies still makes it to the dance floor, shaking off their fatigue while courageously ignoring their stilettos.  A few more bites of dessert and it’s time to go home. Never mind the bride’s bouquet.

This slightly exaggerated yet not entirely untrue sketch of weddings in Malta might make you wonder why the heck your peers are so enthusiastic about being invited to one. For a long time, this puzzled me as well until I have finally found the key to this mystery. A wedding reception is a sip of glamour, a chance to entertain a few celebrity red carpet moments for today’s Cinderella. While for some it is an opportunity to air that fab outfit and to try that hairstyle, others take a chance to explore the open bar content and to admire the beauty efforts of the fairer half. At the end of the day, everything boils down to a selfie.

Happy wedding season to all! Like Malta Sketches Facebook page if you like more articles like this one.

selfie-time

Mini-gems: Valletta’s smallest balconies

Once I was told how you would never stop looking up when strolling around New-York. I cannot tell – I have never been to New-York – but I trust it must be exciting. What is stopping you from never ceasing from looking up in Valletta, however? New-York is far, Valletta is close and balcony-spotting there is fun full of discoveries.

Soon after the selection of Valletta’s most beautiful balconies had been complete, a new portion of new unique finds accumulated. It is difficult to spot two identical traditional balconies in Valletta unless they belong to the same palazzo. The variety of balcony types in Valletta is the beautiful side of Malta’s architectural anarchy. St. Ursula and Archbishop street are particularly rich in unique architectural features.

Click on the map below for a virtual balcony tour or access the full map.

[googlemaps https://www.google.com/maps/d/u/1/embed?mid=1exMpIKbFRWOVG5sDyOXuLicg0i4&w=640&h=480]

Ten unique mini-gems

1.  Red Dwarf

Have you ever seen a wooden balcony-resembling structure smaller than this dwarf in Archbishop street? This curious structure is a mix between a muxrabija window and a balcony. One can only wonder whether it serves any purpose apart from decorative and what it feels like for an adult to stay in there.

Balcony-1
Red Dwarf, the smallest wooden balcony-resembling structure in Valletta (corner of Archbishop and St. Ursula streets)

2. Little Green Juliet

Balconettes, barely protruding from the wall structures, also referred to as Juliet balconies, are not uncommon in Valletta. This one in St. Dominic Street is the smallest in size.

balcony-2
Little Green Juliet (St. Dominic Street)

3-5. Curved elegance

Although all unique, these three balconies have one thing in common – curved shape. The green balconette’s rounded base is almost indistinguishable from the decorative edge on the facade. With its curved shape, tiny size and the elaborate metal railing, the balcony is fit for a doll’s house.

The white elegantly curved balcony in lower West Street is similar to its green sibling except it protrudes a little more prominently from the wall. Squeezed between much larger balconies, it appears out of place. It is one of the many symbols of the architectural anarchy in Malta.

The all-wooden blue balcony on Archbishop street is a surprising discovery if you look up every so often while strolling around the baroque city.

 

6. Medieval Grey 

This balcony forms part of the newly restored house in lower West Street. Its imaginative roof design is unique to Valletta – so much it resembles Medieval coffer ceiling with its essential decorative elements.

 

7. Beige Box

Even though aluminium window frames ruin its authenticity, this balcony in lower Republic street has its particular humble charm. Another asset of the architectural anarchy in Malta.

mono-window-republic
Beige wooden box-like balcony, lower Republic Street

 

8. Yellow nest-box 

Although this yellow balcony on the corner of Old Mint and Archbishop streets is a little larger than a bird’s nest-box, it is equipped with clothes lines.

balcony 3
Yellow Nest box (corner of Archbishop and Old Mint streets)

9-10. Little neighbours of Casa Rocca Piccola

Have you ever noticed these two triple-window miniatures in the close proximity to Casa Rocca Piccola? Indeed, strolling around the baroque city with your head up is worth it.

 

Double-window miniatures

Double-window balconies are scattered around Valletta. A couple of them, twin brown balconies in St. Ursula Street, were newly restored.

Triple-window miniatures

Triple window mini balconies are most concentrated in lower Valletta, especially lower Republic street. From all the balconies of various shapes and colours one is especially particular. Spot the little green balcony in Sappers Street, part of the abandoned house, and you will notice the flushing tank right above it. Overlooking the Hastings Gardens, this must be a toilet facility with best view on the island.

Just a few inches deep: Valletta’s balconettes

Wooden balconettes are intriguing. Although their shape is similar to the other traditional balcony types, they barely protrude from the facades. A wooden balconette is a teasers of a balcony – it only mimicries proper balcony appearance while lacking its functionality. You can spot a few balconettes in lower Valletta, around Old Hospital and North streets.

Found it interesting? Subscribe to the blog updates and like the Malta Sketches Facebook page for more articles about various things Maltese.

 

 

Ede photo books set new standards in search of Malta’s photographic identity

jacob
Ede photo books Series Two. Photo by Jacob Sammut

On Friday, 19th February Ede Books launched the 2nd series of the photography books by both, local and international photography enthusiasts (I avoid using term ‘professionals’ intentionally, more about the reasons for it below). Apart from introducing a few great images from a variety of categories – from travel photography to urban and abstract – and attracting a broad spectrum of audience, Ede photo books’ events signified a cultural shift in Malta’s photographic scene. The outcome of these series certainly is a milestone, a breakthrough in a collective effort in search of a new photographic identity. A fair number of the photographs displayed at the launch signify the end of the era dominated by overly edited images of a rather poor aesthetic quality, locally marketed as ‘professional photography’.

Some of the photographs were greatly influenced by the Workshop f/1.4, a monochrome film photography course opened two years earlier. By demonstrating the fundamental concepts and the magic of analogue photography, the workshop led by David Pisani and Zvezdan Reljic enriched photographic vision of many enthusiasts in Malta. The tutors’ passion for photography as an integral process was inspiring to many and bore great results.

The book launch event was symbolic in many ways – it brought out the emerging eager for true photography as well as a few aspects which clearly undermined the persisting public misunderstanding of the very idea of photography. A number of times I was approached with the same question which, to my surprise, was addressed by seemingly culturally aware people. The question (or, to be precise, a remark) was ‘I didn’t know you were a photographer’. What makes one a photographer? Is it having a website with a collection of images, a self-description, a Facebook page or perhaps a tacky practice of watermarking pictures? Or perhaps just owning a camera does the trick? Sadly, flashing an expensive camera and a few lenses seems to be enough for many to call themselves ‘photographers’.

Whereas there are various definitions of ‘photographer’, a description of someone fascinated with imagery who also thoroughly enjoys depicting it, is the one I side most with. The aesthetic value of a truly good picture is always greater than the object/event it portrays. While paying respect to the nature of the object/event, a photographer contributes his/her vision to the image and that is why the visual interpretation of the captured moment cannot be translated into words. An image that can easily be described with no loss of unique imagery is not a good photograph.

The event also pointed at a few other particularities of Malta’s local photography scene. Surprisingly, a number of the authors took the publication as a chance to praise their personal achievements of all sorts. It was abhorrent to discover the extensive lack of humility and self-irony that some of the authors revealed by literally dedicating chapters to themselves on the back page of their book. Manipulating public opinion by explaining why your own photographs need to be appreciated or, even worse, praising yourself for being a great photographer, is a foul approach that needs no further comment.

As Milan Kundera wrote, “if a novel is successful, it must necessarily be wiser than its author”. The same is true about a great photograph. It speaks for itself better than an extensive description of its qualities. Ede photo books present a variety of such images. The greatest outcome of the whole initiative was in encouraging individuals, passionate about photography, whose work until recent had been overshadowed by individuals passionate about digital editing.

Should you be interested in purchasing a copy of a specific photography book or a whole set of books please contact edebooks.eu.

P.S. I sincerely hope the article does not offend anyone since it was never meant to be an offense. I believe certain aspects need to be articulated even if they reveal an unpleasant side. As part of a group effort, I perhaps should have abstained from commenting on those aspects publicly but, alas, I did not manage. 

Kenneth
Untitled photograph from ‘Grif’, a book by Kenneth Borg
Charles Balzan
“Stephansdom” by Charles Balzan. His book ‘Not Alone’ promises to be of the most influential photography books launched so far
Nigel
“Elsa” by Nigel Baldacchino (book “Still life/Guest”)
Martin
Valletta City Gate by Martin Galea de Giovanni

Off-season Comino: a treat of silence

WP_20151030_13_57_31_Pro

In Malta silence is scarce. It is unwelcome and is almost feared. As if united in some secret anti-silence conspiracy, blasts of fireworks, church bell chime, gas delivery horns, loud conversations and passers-by’s vocal chords or/and car horns acting as door bells perform together to tear silence to pieces. Mediterranean passion for life and bustle does not have high respect for the noise-free environment. Every day, passion for life is celebrated here with fanfares and splashes of colour, leaving silence no other place but afterlife.

Comino, the smallest of the inhabited islands, attracts hordes of tourists and locals alike. In summer the famous Blue Lagoon fills up with boats, parties and laughter – everything that stands for summer fun by the sea. For too many, the Blue Lagoon is where Comino starts and ends, perhaps, that is why, by the end of autumn, the tiny rock of impeccable charm turns into a retreat of silence.

Off-season Comino is a meditation, a temple of silence worship. Every day spent here is refreshing for the body and the mind. The hidden caves, the sunset views from the tower, the flocks of birds flapping over your head effortlessly transform you into a silent observer of the beauty that surrounds. Small details, unnoticed during the summer, now rush to speak to you. A flower petal, a bee hive or a cliff of a particular shape stand out and call for admiration. While treating yourself with prolonged indolent moments you feel how the rustle of tree leaves and the bee’s buzz hypnotise and convince not to disturb their flow. The appeal of Comino extends far beyond its pretty turquoise bay: it allows the sense of intimacy with nature to develop – the effect that is difficult to match.

The true love for the natural world begins from the tender, meditative state of unity with it. Silence is an indispensable chord which sets us in tune with nature. Silence is magic.

P.S. Could it be that Maltese present-day obsession for concrete development and lack of appreciation for silence are related?

Like Malta Sketches Facebook page if you like to see more articles about many things Maltese from an outsider’s perspective.

 

Ten of Valletta’s most beautiful balconies

Every workday morning government officials and tourists mixed into one gigantic swarm, invade Valletta, rushing through Republic Street before disappearing in the quiet narrow side streets. Every evening the same human stream flows in the opposite direction, leaving the baroque city to its residents and self. Like the Moon, Valletta induces tidal human flooding. Like the Moon, it is familiar to every Maltese since childhood yet carries its “other”, hidden side, unknown to many.

How many times did you look around today, on your way to work and back home? How many times did you notice sometimes new? The hectic lifestyle, eyes and fingers stuck to screens leave little space for surprises and new discoveries. Sometimes, lifting your head is all it takes to be surprised. Valletta happens on many levels. The abandoned, crumbling balconies and the busy human swarm belong to different eras and dimensions; the contrast between them is particularly striking.

Here are just a few of Valletta’s unique balconies, discovered while roaming around on a warm October evening.

  1. The Rococo Beauty
    St. Ursula Street is known for its haunted reputation. While a paranormal encounter is not guaranteed, a walk through this street would nourish your aesthetic sense. The facade of this house, particularly the balcony, remains my favorite spot in Valletta. I can never get enough of its curved shape and the beautifully carved windows.WP_20151006_18_07_06_edt

2. The Ensemble of Perspective

Right opposite St. Dominic’s Church, in the corner of Merchants and St. Dominic’s streets, is located this humble, both in shape and in colour, ensemble of balconies. What is unique about it, however, is the vertical perspective: the whole ensemble narrows toward the top, giving the visual impression of a much greater height.

WP_20151006_17_59_51_edt

3. The Rebel Corner

Now keep walking on St. Dominic’s Street towards St. Paul’s Street. A very particular corner balcony crowns the corner of these two streets. The most peculiar side of this architectural specimen is not it’s shape however. It belongs to the world of its own, as if it was designed for a different building but, for some strange reason, became part of this one.

WP_20151006_18_03_37_edt

4. The Shabby Elegance

Unfortunately, there are many more of these exquisitely carved yet abandoned balconies as this one on the corner of Merchants and St. Lucia streets. Located at one of the busiest spots of Valletta, with the close proximity to the Valletta 2018, it yet remains in this state.

WP_20151006_17_49_26_edt WP_20151006_17_50_21_edt

5. The Baroque Twins

Merchants Street is home to Valletta’s most beautiful balconies. The variety of styles and colours in this area is truly amazing. This facade, right in between the Russian Centre for Science and Culture and HSBC, blends Rococo decorative features with understatement of elegance.

WP_20151006_17_48_39_edt

6. The Nobleman

I bet everyone can tell where this one is. Correct, this baroque splendor is located right above Camilleriparismode store. Breathtaking architecture!

WP_20151006_17_46_57_edt

7. The Humble Curves

This one is easy to miss out. Too, a resident of Merchants street, unlike its close neighbors, does not manifest itself with bright colours. Look closer: it’s curved windows did not get the glass to fit the frames. WP_20151006_17_44_36_edt 8. The Dusty Chic

Now turn to Zachary Street, walk towards St. John’s Co-Cathedral and, approaching the cafeterias, look up and you’ll see it. Finding this one feels beautiful: the narrow street with little light has more  to offer.

WP_20151010_11_25_51_edt

9. The Grand Master

Grand in all aspects, this corner balcony needs no advertisement. At least once in their lifetime, anybody who ever walked past the Palace paused their pace to admire it.
WP_20151006_17_52_52_edt

10. The Lady in Red

Walking through St. George’s Square, turn right, pass through Archbishop’s Street and then immediately turn left into St. Frederick. One of the narrowest streets of Valletta hides a jewel. Just look at this newly renovated facad and the oval  balcony. Simply beautiful!

WP_20151006_17_56_09_edt


P.S. Sometimes, a simple solution to traffic problems lays in a relaxed lifestyle. After finishing work, take a stroll around Valletta. It is much more pleasant than being stuck in traffic.

Like Malta Sketches Facebook page to receive more articles about Malta.

More articles about Valletta:
https://raisatarasova.wordpress.com/2015/05/18/parallel-worlds-reflected-valletta/

What bubble of Maltese society do you belong to?

social_people_Image-credit-a-hrefhttp-www.123rf.comphoto_9842683_silhouette-of-young-people-with-speech-bubbles.htmlmarish-123RF-Stock-Photoa-copy400

This is a non-serious yet quite realistic scope of Maltese society. Choose the bubble that ticks most boxes for you and read the description at the bottom of the page :). Please remember to laugh and not to take it all seriously.

Oo. Bubble 1 .oO

Political party: Labour/Nationalist.

Religion: Believer.

Interests: cars, family, fashion, local TV programmes, feast and other loud events, pop-music (preferably loud)

Attitude to immigrants/refugees: send them home!

Do you like Valletta City Gate project? Le ta.

How accepting you are of new bubble members? Jien naf!

Places to hang out: social media, bars, Paceville, Café del Mar.

How you see other bubbles: Mhux Maltin ta veru!

How other bubbles see you: try not to have much in common.

==========================================================

Oo. Bubble 2 .oO

Political party: Nationalist.

Religion: Agnostic/Believer

Interests: international politics, British/French literature, travels, fine dining (basically, everything what excludes interests of bubble 1).

Attitude to immigrants/refugees: not so much in favour but you keep it to yourself

Do you like Valletta City Gate project? Yes, about time we get a fine example of contemporary architecture.

How accepting you are of new bubble members? Only if they are born in the same bubble.

Places to hang out: art events, receptions, boutique launches, fine restaurants.

How you see other bubbles: plebs and peasants.

How other bubbles see you: uppers class snobs.

==========================================================

Oo. Bubble 3 .oO

Political party: floating voter/Alternattiva Democratica

Religion: Never!

Interests: blaming religion for all world’s disasters, astronomy, non-fiction or comic books, action movies or true stories, vintage rock music (all wrapped in “Science will save the world!”).

Attitude to immigrants/refugees: Generally favourable. If not, you still pretend it’s favourable.

Do you like Valletta City Gate project? Never, it is ugly!

How accepting you are of new bubble members? If they are ready to bitch about church, they are very welcome!

Places to hang out: mostly in front of PC, trying to solve world’s problems by arguing with idiots on social networks.

How you see other bubbles: morons!

How other bubbles see you: with caution.

==========================================================

Oo. Bubble 4 .oO

Political party: Alternattiva Democratica

Religion: Not particularly but Buddha sounds like a nice guy.

Interests: Environment, human rights, green politics, organic/vegetarian/vegan food, meditation, a joint once in a while.

Attitude to immigrants/refugees: Very favourable! The world is one and we need to help less fortunate ones!

Do you like Valletta City Gate project? Generally yes, but we need more open and green spaces.

How accepting you are of new bubble members? They are welcome; we need more like-minders.

Places to hang out: Gugar, Juuls, Happy Days, reggae parties, indie film, literature and ethnic festivals.

How you see other bubbles: ignorant plebs and slaves of capitalism.

How other bubbles see you: annoying hippies.

==========================================================

Oo. Bubble 5 .oO

Political party: Alternattiva Democratica

Religion: No.

Interests: Visual and performance art, architecture, arthouse films, smart TV series, personally styled clothes, geek books and other stuff that makes no sense to other bubbles.

Attitude to immigrants/refugees: Favourable.

Do you like Valletta City Gate project? Very much so.

How accepting you are of new bubble members? Generally accepting but let’s keep the number low: we feel more special being a minority.

Places to hang out: Gugar, St. James Cavalier, Blitz, I’Ingliz bar, indie film, literature and ethnic festivals.

How you see other bubbles: uncultured shallow plebs with no sense of aesthetics.

How other bubbles see you: deny your existence.

==========================================================

Oo. Bubble 6 .oO

Political party: Liberal something.

Religion: No, but Krishna sounds cool.

Interests: LIFE! Good music, good entertainment, good company, diving, climbing, adventures.

Attitude to immigrants/refugees: Favourable.

Do you like Valletta City Gate project? Yeah, nice.

How accepting you are of new bubble members? Our bubble sustains on new members.

Places to hang out: St. Julians, Paceville, boat parties, Café del Mar, live music concerts.

How you see other bubbles: know nothing about them. If they aren’t with us, they must be boring.

How other bubbles see you: unaware of your existence.

 

Bubble 1:

Congratulations! You belong to the most numerous bubble of “Typical Maltese” (or a “Typical Gozitan”) whatever it means :). Your preferences are main-stream to the bone. Regardless of your educational level, you care little about such useless things as classic literature, philosophy, art and other cultural aspects (or, in short, areas that are not connected to your money-earning routine).

Bubble 2:

Congratulations! You are so-called “Tal-pepe”, a well-mannered individual, familiar with dining etiquette, often mistaken for a snob. You strive not to mix with Bubble 1 and even speak Maltese with English accent to scare them off. With your good education, good taste and style, family traditions and high status, you make sure others understand they can’t imagine they are your equal.

Bubble 3:

Congratulations! Most likely, you are a member of Malta Humanist Association. You see yourself as hope and future of the Maltese nation. With all your devotion to humanism, science and politics you lack awareness and appreciation of art in all its forms and ways. If something is not linked to Dawkins, Hitchens, Sagan or another scientific dude, then it’s worthless rubbish (exception made for superheroes, they are cool!).

Bubble 4:

Congratulations! You are an environmental activist. Your bubble is pretty much international. You are a politically aware, thinking and socially responsible individual which hopes (and works for) to make the world a better and fairer place. Most likely, you are a member of an environmental NGO. Others see you as a weirdo and a dreamer, and for that reason you have no other choice but to stick to your bubble.

Bubble 5:

Congratulations! Together with bubble 4, you belong to the minority of thoughtful individuals. You are artistic or have a deep appreciation and understanding of art (also, you might have none of these but just want to hang around cool people). You and other bubble members are not so easily approachable what makes it rather difficult to penetrate into your bubble.

Bubble 6:

Congratulations! Most likely, you are a foreigner or a rare example of Maltese who do not keep to bubbles, do not care for ideology and do not hold to roots. You live somewhere around Sliema/St. Julians/Gzira/Msida, love life, dedicate some time (but not a lot) to thinking and ready to leave Malta in a minute if a better opportunity crops up.

Didn’t find your bubble in this scope? Define it yourself 🙂