B’Ċikka is a visual exploration of the purely local; people, places and cultural events that are typically overlooked
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I’m excited to share my latest experiences with you. I’ve recently discovered aspects of my surroundings that seem to commonly go unnoticed. Sometimes we need to take a step back from the way we look at what is in front of us and begin to view our world from a different perspective, allowing ourselves to uncover aspects of our local culture that simply add to these islands’ beauty. What’s more amazing, is discovering these enticing stories totally by chance… or as the Maltese would say ‘b’ċikka’.
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An island of
yells, bells, and smells Lord Byron
Editorial
ďż˝
Skylie Galea, Marie Cini, Neville Sultana, Naomi Rebecca Mifsud
Advertising
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Ryan Vella, Kevin Agius, Luke Ellul, Alyx Sixsmith, Louise Cachia, Nik Cutugno
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Advertising Design ďż˝
Alyx Sixsmith, Louise Cachia, Luke Ellul, Kevin Agius, Ryan Vella, Nik Cutugno
Michela Cutajar, Julia Vella, Sarah Cassar Dymond, David Mallia, Sera Galea, Jurgen Castillo
B'ÄŠikka is entirely produced by B.Communications & B.Communications (Hons.) students enrolled in Magazine & Digital Publishing (MCS3020)
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Ghosts of buildings past info
Location: Għar Lapsi Person: Theo Cachia Theme: Visual Art
I met up with local architect Theo Cachia to discuss his artistic venture, ‘Din l-Art Ħela’. His novel project is centered around local architectural gems which are normally overlooked and are in the process of being demolished or redeveloped. Cachia attempts to raise awareness about this systematic destruction of our shared Maltese built environment in the name of progress and greed.
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1. Can you tell me a bit about yourself? I am an architect by profession, who is also highly interested in graphic design. I have been working in the architecture industry for around five years and I can safely say that architecture is more than just an occupation for me. It has flourished into a passion with which I have a fraught relationship. Sometimes, it's hard to be part of an industry which seems oblivious to its own heritage.
used lately, but in the vast majority of cases, it is used to glorify aspects of Maltese life. I intend to raise awareness the crisis that our architecture industry is facing since we might be at risk of losing our heritage and never getting it back. Due to my profession, I am acutely aware that the priorities of our hyperactive construction industry leave little room for appreciation of humble, non-commercially-lucrative buildings. This also inspired the name of the project, which, apart from being a not-so-subtle play on the name of a relevant local NGO, it also acts as a grim insinuation that our rich architectural heritage is wasted on a generation who values return on investment above everything else.
2. What are three words that describe your work? The three words I would use are; • Nostalgic (because of the idealised memory of architecture from the past) • Nerdy (due to the slightly obsessive detail in each artwork) • Necessary (since I believe that any resistance against this architectural destruction should be encouraged.)
4. What made you start drawing these overlooked places? There is no denying that we find ourselves living in a time of booming development and emerging construction projects. The idea of somehow cataloguing at-risk buildings before they were erased from our streetscapes had been rattling in my head for quite a while. This construction boom made matters much more urgent so I quickly decided that I would pay tribute to these buildings by drawing their front façades. After some trial and error, I also settled on the very ‘ghostly’ art style, which helps me emphasise that these buildings will soon fade from existence.
3. What is ‘Din l-Art Ħela’ and how did the idea come to mind? ‘Din l-Art Ħela’ is a project that attempts to prod society through digital print art. This medium is being widely
5. What is the main message you want to convey through this collection of artworks? My main aim is to open up people’s eyes to the harsh reality we have become
accustomed to; the ongoing destruction and loss of our local heritage and identity. Unfortunately, the vast majority of mass-consumer development tends to disregard the importance of local buildings from our recent past. These tend to go unnoticed especially when compared to their proud Baroque counterparts which fall under the architectural legacy of the Knights of St. John. In actual fact, the central element of the art project’s logo is an eye, implying that we should be more proactive in facing this architectural loss. We should oppose turning a blind eye, which is what I believe local developers, authorities and the public at large are currently doing in the name of progress and prosperity.
" It's hard to be part
of an industry which seems to be oblivious to its own "
heritage
6. What are the buildings you decided to focus on in your work? Which one is your favourite? The buildings I drew thus far are; • 1, St Agatha Street, Sliema • Edible Oil Factory, Marsa • Lapsi View Bar & Restaurant, Siġġiewi • Lido Cinema, Birżebbuġa • Premier Macaroni Factory, Ħal-Balzan • Roxy Cinema, Birkirkara • Wembley Factory, Gżira If I had to pick a favourite, it would have to be the Lapsi View Bar & Restaurant which is located in the outskirts of the village I grew up in, Siġġiewi. 7. What makes the ‘Lapsi View Bar & Restaurant’ in Siġġiewi so special? I have fond childhood memories there and I also love its large windows and iconic signage. In fact, all the works in this project could be accurately described as simple compositions of windows, doors, and typography. I also think that the Lapsi View Bar & Restaurant is the ideal demonstration of what
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is flawed with our local development industry. Despite its charming façade and picturesque location, the redevelopment is – in my opinion – not designed with the adequate care and sensitivity that this unique project deserves in its conversion into a guesthouse. 8. What do you think can be done to safeguard our local heritage? I think educators should value and focus more on our recent history and it’s artefacts. At that time, architecture had a stronger sense of community and locality which is why newer buildings stick out so coldly in comparison. Architects and developers should accept that their actions affect more than just their clients’ bottom line, and therefore, they need to abide by regulations and priorities stemming from a more communal perspective.
9. What does the future hold for ‘Din l-Art Ħela’? I intend 'Din l-Art Ħela' to be an ongoing counterpoint to insensitive development proposals. Everyday, the news is full of buildings which deserve to be remembered in some way. One in particular is Villa Frère in Pietà, which is currently under threat. An application has been filed for the building to be developed into a ten-storey retirement home on the adjoining Villa Ciantar. Ideally, I would eventually no longer need to draw façades of old buildings, because we manage to reach a state of affairs where the general standard of new buildings is raised, whilst the protection of old ones is robust enough to confidently resist insensitive interventions. Until then it’s back to the drawing board.
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Lokalità: Ħamrun Persuna: Johnny Mifsud Tema: Snajja'
Il-qsim fis-swaba’ ta’ jdejh jixhed sitta u sebgħin sena ta’ xogħol fis-sengħa tal-qasab. Johnny Mifsud, li llum għandu erbgħa u tmenin sena, irrakkontali kif wiret din it-tradizzjoni li kienet ilha ġejja mill-bużnanniet. Ta’ seba’ snin kien diġà jmur ma’ missieru jaqta’ l-qasab u bid-dmugħ f’għajnejh qalli li ommu mietet żgħira. Kont iltqajt ma’ Johnny b’kumbinazzjoni meta kont għaddej mill-Ħamrun u waqaft quddiem il-ħanut tiegħu ‘Pandora’ biex nieħu xi ritratti. Stedinni nidħol ġewwa u kelma ġġib il-oħra qalbu dabet f’idi, qalb tad-deheb li għarrfitni bittbatija ta’ dax-xogħol u n-nuqqas ta’ apprezzament li jeżisti. Ta’ spiss nittawwallu u ngħidu kelma.
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Meta staqsejtu dwar xi jħobb jaħdem l-aktar, qalli “l-qoffa Maltija”, li ddum ġurnata biex taħdimha. Beda jispjegali li l-aktar li jiġu għalihom in-nies huma n-nases tal-ħut, li jeħdulek 3 ijiem biex taħdimhom, u mbagħad fis-sajf jimxu ħafna l-ħasiri, jiġifieri dawk li jkunu bħal purtieri barra d-djar u li jintużaw sabiex il-bieb ta’ barra ma jitgħakkisx bix-xemx. “Qabel lanqas konna nieqfu. Issa kollox bil-mod kemm ilu li daħal ix-xogħol ta’ barra u kemm ilu li daħal il-plastik, rovina”. Deher imbikkem bis-sitwazzjoni preżenti, speċjalment meta qalli kemm ikun hemm żgħażagħ li jippruvaw jitmejlu bih.
" Jekk ma niġix hawn lanqas norqod "
bil-lejl!
Kelli kurżità nkun naf għalfejn il-ħanut semmieh ‘Pandora’. Irrakkuntali li kien mar jara film mal-mara s-Savoy u l-film kien jismu ‘Pandora & the Fire Dutchman’. Għalhekk iddeċidew li l-ħanut isemmuh ‘Pandora’ u issa ilu miftuħ aktar minn ħamsin sena. Spjegali li biex tagħmel il-qiegħ ta’ kull qoffa jeħtieġ li tagħmel kwarta rasek ‘l isfel u s-swaba’ ta’ jdejk iridu jmissu mas-swaba’ ta’ saqajk waqt li tkun ħafi. Kien hemm xi wħud li marru biex jitgħallmu imma kollha qatgħu qalbhom wara nofs siegħa tant li qalli, “Immut jiena u jinqered kollox miegħi.” Semmieli li qabel kien jieħu sehem f’ħafna attivitajiet kulturali li jorganizzaw il-Kunsilli Lokali u l-Gvern Lokali imma issa ma jiflaħx aktar. B’nostalġija ħaseb fuq kemm kien iħobb jiżfen u fuq kemm kienu jmorru ballijiet u, b’daħka qalli kemm kien ikun hemm namrati li jħassru u mbagħad imorru hemm u jiġġieldu ġlieda tajba. Qabel kien jerfa’ b’devozzjoni l-vara ta’ San Gejtanu u anke dik tar-Redentur tal-Ħamrun. Iżomm mat-tim talManchester u darba kellu x-xorti jmur jarahom, imma stqarr li minn fuq it-televiżjoni aħjar, “Minn hemm tarahom kollha qishom nemel.”
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Tkellimna wkoll dwar il-familja tiegħu. Johnny huwa missier ta’ tliet subien, nannu ta’ ħames neputijiet u bużnannu ta’ wieħed. Qalli kif kien iltaqa’ malmara tiegħu meta kellu madwar wieħed u għoxrin sena. F’dak iż-żmien biex issib tfajla kont titla’ l-Belt is-Sibt wara nofsinhar u toqgħod tippassiġġa minn Putirjal sa Cafè Kordina u mbagħad jekk tfajla togħġbok, meta tgħaddi minn ħdejha tolqotha naqra bi spalltek, u kien hekk il-mod li bih iltaqgħu. X’differenza mil-lum hux tassew!
Tħadditna fuq ħafna esperjenzi li għadda minnhom u fuq il-qagħda preżenti tas-snajja’ f’Malta. Bqajt nistaqsih xi jżommu f’dan ix-xogħol minkejja t-tbatija kollha li fih u kemm ma jrendix flus. Bi tbissima ġenwina Johnny weġibni li ma jafx ħajja oħra għajr din, li din hija l-passjoni tiegħu u għalaq billi qalli, “Jekk ma niġix hawn lanqas norqod billejl!”
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Location: University Quadrangle Person: Dav.Jr Theme: Music
The guy with a guitar I first met David a few years back, in a stress induced haze of caffeine and notes. Now David, known by his stage name Dav.Jr, has built a fledgling music career which reflects his outlook on life.
I met him at university to catch up over a cup of coffee. We talked about his music, his travels and some random experiences he has been through since we last spoke.
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Dav first got interested in music when he was about 8 years old and wanted to become a tenor. While that didn’t happen, he does currently produce music. His style, as he puts it, is “whatever you’d expect from a guy with a guitar.” While the guitar is his current weapon of choice, his first instrument was actually the piano. His aim is to create an essence of beauty and depth which is accessible to everyone. “Good music is not just pop” he says. “Music is becoming so disposable it’s like we are losing its worth when it comes to the person writing it.” He draws inspiration from everything around him, but the two people who inspired him most are his parents as they never gave up and persevered no matter what. That, he says, is what gave him his sense of determination - they always tried to make things as simple as possible growing up, even when they couldn’t. Having said that, he admits that they didn’t know anything about his music project until he started publishing the final product - it was his secret.
If you’re trying to find Dav when he’s writing his music, you’re most likely to find him sitting on the floor in a corner in his room, with the curtains drawn and the lights dimmed. This, for Dav, is his safe space where he can explore himself in solitude while letting the creativity flow. He believes that in this creative process one is vulnerable; it’s important that one is safe so that the feelings and emotions do not affect you negatively. Even while travelling in Australia, Dav found his own little quiet spot to write most of his music; by a railway without anyone listening, just himself and his thoughts. When I asked him what his biggest weakness is, he said that he sees himself as sometimes being 'too in his head'. For Dav, working on his music is his version of self-love. He’s always been focused on other people by helping them and putting them first. But he says music is about self-discovery and understanding himself, making time for something which is entirely for him. He wants his music to identify him, and himself to be associated with music, nothing else.
He notes that in our culture we are rarely encouraged to explore ourselves through music and art. There is so much we can learn through art and creativity about both our bodies and our consciousness, and yet we don’t exercise it, he tells me. Art isn’t just for the artist; it is the way one experiences the world through their own eyes. Everyone’s perspective is different. He encourages people to find their own channel to express themselves. Music for Dav isn’t about the money. He bluntly tells me, “I’m not a businessman but an artist”. He loves how people react to his music. Laughingly he told me about a time where he was playing in a bar and 4 men felt moved by his music. They decided to tell him their deepest darkest secrets, with one of the men borderline crying. That is what is so amazing about music: it can bring 5 strangers together and make them feel safe enough to be vulnerable with one another.
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Film photography on a roll
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Location: Valletta Person: Alan Falzon Theme: Visual Art
I met Alan Falzon, the owner of ‘Darkroom’ through friends and social media. I visited his studio near the Valletta food Market where the magic of film photography happens. Alan is a photographer and film developer who for the past three years has also been running a side business involving scanning, developing and selling film photography. Film photography might be an area which is often overlooked or deemed as a past hobby but for many people, it is a passion which will never die out. Surrounded by film cameras, chemicals, rolls, and prints, Alan keenly spoke about the passion which was embedded in him from his early days. Alan’s passion grew as he watched his father, an enthusiastic photographer who invested in his own developing equipment. As a child, Alan used to read news magazines instead of doing his homework. He also remembers arguing with his father to let him use his camera as he always wanted to be carrying one with him in order to capture the ‘Kodak Moment’. This is a phrase used when someone takes an unforgettable picture of someone or something at a certain moment. Alan spent most of his life living in St. Julian’s and moved to Valletta around 12 years ago. In 2005, he went backpacking in Australia on a tight budget. He travelled by bicycle in areas which are not as popular amongst tourists. He quickly realised that Australia is indeed a photographer’s paradise. It was this year-long trip to Australia that sparked an interest in the more technical side of photography. By reading magazines when he was a child, Alan learned that only a few shots are needed to tell a story. When he combined this knowledge with the knowledge of the cost of film and developing, he learned to take his time to think and observe before capturing a picture.
He switched to digital photography for a while and worked events, which included assisting wedding photographers and photographing horse races in Marsa. However, he explained that he always preferred film photography to digital photography because he fell in love with the process of developing photos.
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Even when he didn’t own a studio, he would go through the developing process in his flat. He later decided to invest in another flat in order to turn film developing into a part-time job as more people were becoming interested in his skill. In order to take photography seriously, he quit his long-term job in entertainment which included juggling and fire shows. He took up digital photography as a full-time job as it paid the bills, but he still did film photography on the side. I asked him whether he thinks that film photography will ever die out since it is quite an old method of taking photos. He seemed convinced that there will always be someone who uses film cameras, just like there are those who still use typewriters, vinyl records, or cassette tapes. “Humans are fascinated with creating something from scratch, and no matter how good digital will be, there’s always going to be a group of people who are making something themselves.” I asked whether it was difficult for
" Alan's passion grew as he watched his
father"
him to start off this part-time business as it is not so popular anymore. He told me that his prior skills and necessary equipment made it possible for him to answer customers’ questions as they became increasingly interested in this industry. He mentioned that there are now more opportunities as it has become something more affordable when compared to previous times. In fact, there are even units in film photography at University.
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He told me that thanks to the internet, the industry is now on the rise again after going into decline as a result of digital photography. He says that when he was younger, people enjoyed the process of film so there would have never been the need for his service. Through his customers, he has become aware of the ‘hipster movement’; where people are interested in film photography because it is ‘cool’. As a result, the industry has revived again, reproducing old chemicals and equipment which people believe to be new. He explains that prior to 10 years ago, the equipment was only available in order to get the job done since it was the only way to take photos. Alan explained how for people with a passion for photography, film photography brings satisfaction and opportunities which digital photography does not provide. His old-school character manifests itself in the fact that he does not reveal the content of his studio on social media, but believes that if people are curious, they can come and have a chat. He laughed as he joked, “If they bring a beer, they can come and see!”
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� Niżlitli
ghasel
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Kienet ġurnata xemxija f’Marzu u wara li kont imlejt żaqqi bl-ikla tal-Ħadd wara nofsinhar iddeċidejt li mmur mixja sa San Pawl Milqi. Ġurnata bħal din mhux ta’ min tinħela ġewwa. Ir-raġġi tax-xemx donnhom kienu qegħdin jistednuni noħroġ u ngawdi passiġġata qalb ir-rebbiegħa li bdiet tinbet fl-ilwien ta’ madwari. Tlajt it-telgħa u malli wasalt sibt li l-kappella kienet miftuħa, minħabba li llum kienet l-ewwel darba li setgħu jżuruha n-nies wara li kienet ilha xi snin magħluqa għar-restawr. U għalkemm ġieli żortha meta kont iżgħar, kien ta’ sodisfazzjon kbir meta dħalt u rajt kappella trasformata f’waħda li kważi dehret kompletament ġdida f’għajnejja. Qabel ma ġiet irrestawrata, din il-kappella tant kienet fi stat ħażin li saħansitra kellha xi żoni perikolużi u l-aċċess għan-naħa ta’ barra kien magħluq. Għalhekk kont ili s-snin nhewden x’jista’ jkun hemm lil hinn minn din il-kappella żgħira. Għalhekk, din is-sena ħtaft l-opportunità la kien hemm il-passaġġ aċċessibbli u komplejt miexja ‘l barra sabiex nesplora. Kif inżilt it-taraġ tal-injam, ħarist madwari u quddiem għajnejja rajt xi fdalijiet storiċi magħmula mill-ġebel u dawn dehru li kienu mill-epoka Rumana. Fost dawn l-affarjiet kien hemm mitħna ċkejkna u mal-perimetri tal-post kien hemm xi ġebel mhux tas-soltu. Dehru jindikaw li fil-perjodu Ruman kien hemm xi tip ta’ fortifikazzjoni jew xi forma ta’ binja. Barra minn hekk, xi ġebel kien donnu mqiegħed b’tali mod li jagħtik x’tifhem li xi sezzjonijiet f’din l-art seta’ kellhom l-iskop li jservu bħala kmamar. Il-fatt li dan kollu, bl-għodod u l-kostruzzjoni sħiħa, kienu mibnija b’materjal wieħed - il-ġebel - affaxxinani u xtaqt inkun naf iktar dwar dan il-post li kien fih tant storja. Iżda xħin feġġet din l-idea, mewġa ta’ ħsejjes fil-qrib tellfuli r-ritmu ta’ ħsieb.
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Lokalità: Burmarrad Sit: San Pawl Milqi Tema: L-Istorja
San Pawl Milqi – L-Artefatti ĠemgħaRumani żgħira ta’ nies kienet qed tersaq qrib ta’ fejn kont jien u fuq quddiem kien hemm raġel li kien qiegħed jurihom u jispjegalhom għalxiex kien iservi dan il-post. Fil-pront imxejt qribhom u, waqt li l-gwida kien qiegħed jitkellem, kont qed nikkonferma l-ħsibijiet li kelli dwar dan is-sit u l-artefatti li kont iltqajt magħhom. Skoprejt fil-fatt li dan il-post kien wirt ta’ perjodu Ruman u l-art li kont miexja fuqha kienet xi darba villa. Iktar tard saret magħrufa bħala r-residenza ta’ San Publiju, li kien il-gvernatur ta’ Malta f’dawk iż-żminijiet kif ukoll fi żmien il-miġja ta’ San Pawl. Dan huwa indikat permezz tal-isem li ġie mogħti lill-kappella: ’Ta’ San Pawl Milqi’. Din l-attribuzzjoni kompliet issaħħaħ il-fidi tal-poplu Malti. Tant hu hekk li kull sena, lejn l-aħħar ta’ Ottubru, tiġi mfakkra l-ġrajja ta’ San Pawl f’Malta permezz ta’ quddiesa f’din il-kappella. Meta din iż-żjara ntemmet, fil-pront ersaqt lejn il-gwida sabiex nistaqsih xi ftit mistoqsijiet oħra. Xtaqt inkun naf x’kien l-użu ta’ dik il-mitħna żgħira. Hu weġibni li fost il-materja prima li kienet teżisti f’dawk iż-żminijiet iżżebbuġ kien wieħed mill-iktar materjali
importanti. B’hekk dik il-mitħna kienet tintuża sabiex titħan iż-żebbuġ li minnu jiġi estratt iż-żejt. Spjegali wkoll kif illum il-ġurnata l-magni qed jieħdu ħsieb dan il-proċess tal-estrazzjoni taż-żejt taż-żebbuġa u li għalkemm dik il-mitħna m’għadhiex tintuża xorta għadhom isiru prattiċi agrikolturali fuq is-sit. L-għasel Malti huwa mfittex ħafna u għalhekk hemm sezzjoni fejn qed jinżamm in-naħal sabiex jipproduċi l-għasel u xi prodotti oħra. Din issengħa tirrifletti parti mill-wirt storiku Malti li għadu magħna sal-lum u li żviluppa tant matul is-snin. Il-gwida spjegali kemm kienu importanti materjali bħall-għasel u ż-żebbuġ fiżżminijiet Rumani għax kienu neċessarji sabiex isir in-neguzjar bejn il-bejjiegħ u x-xerrej. Għad li għaddew ħafna snin, dawn is-sorsi għadhom jintużaw kemm fil-kċina Maltija kif ukoll barra minn xtutna. U barra mill-importanza tagħhom fil-qasam gastronomiku, il-benefiċċji tagħhom huma esebiti wkoll fil-qasam tal-mediċina fejn dawn il-materjali huma meqjusin bħala duwa f’ċerti sitwazzjonijiet.
Wara din it-taħdita ferm interessanti dwar dawn l-artefatti Rumani stajt nifhem aħjar l-iskop u l-istorja wara dan il-post. Feġġ fija apprezzament dwar kif il-passat u l-preżent jistgħu jingħaqdu flimkien permezz ta’ lokazzjoni u kemm aħna għandna d-dmir li nrawmu dan l-għarfien kif ukoll noħolqu kuxjenza f’dawk ta’ madwarna. Ħassejtni sodisfatta bil-fatt li skoprejt dan ilwirt storiku b’ċikka iżda wkoll li minn din l-esperjenza ħriġt b’iktar tagħrif u apprezzament lejn din in-niċċa ta’ kultura.
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Location: ÄŚamrun
Person: Alfred Pace
Theme: Trades
The story of one of the last cobblers in Malta
The skill, the challenge, and the dedication
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Alfred Pace, a 63-year old cobbler carrying out his work in the heart of Čamrun, has been working every day for 12 hours straight since the year of 1975, the year he set up his shop. Nowadays his workshop isn’t something you would find at every corner. In fact, he is the only cobbler still carrying this craft in Malta and Sicily, a skill that one might consider to be in its last stages. Alfred stated that his interest stemmed from the statisfaction derived from crafting a shoe to what he wants it to be. If people need to alter a wedge or a heel, or to increase the sole platform of a shoe, Alfred is the man for the job, no matter how difficult it seems. Initially he fixed torn bag zips, rearranging lengths on handbag straps and so on. Yet, along the years his work has branched out.
Alfred's passion and dedication to his customers, is what inspired me to get to know about him and his work better. He works in a traditional picturesque shop which, with all its elements, is a place full of experience and pure tradition. I felt I should give Alfred’s story a voice and write about him to preserve his craft as much as possible. As the years roll by, this skill might be lost and forgotten. I asked Alfred to describe himself and his work in three adjectives, yet Alfred only needed one. ''The craft is everything to me. It has been developing with me since I was 14; when I started working in this line of work. I never considered changing my job, it was my first job and it will be my last.'' Alfred kicked-off his career by working for a foreign company based in Malta in order to learn the skills required for this craft. After a long day’s work, when he returned home, the cobbler used to practice what he would have learnt during the day.
" The harder the challenge, the better"
To this day, Alfred doesn’t mind spending long hours practising this craftsmanship. He stated that he is driven by new challenges and projects that can only be successfully completed by the skilled, experienced hands of the cobbler himself. That being said, this hobby of his has flourished into a passion and it has become such an important part of his life. Thus, retirement seems to be a difficult option to consider as it makes him feel like he’s in the right place. ''The thought of retiring has crossed my mind more than once, in fact, I’m already living as a pensioner - but on second thought, when I think about what my day would be like without this job, what would I do, go for a short walk somewhere or fiddle around at home? That’s no way to live, it’s a life without an aim or reason to get out of bed, and that is why I’m still not ready to live the life of a retiree,” Alfred said. At 20 years of age, he decided to open his first shop, a small establishment right next to the one he owns today, ‘Freddie the Cobbler”. He opened his shop in his hometown, Ħamrun, as he wanted to carry out his profession in the locality he was brought up in.
''When I first started out, this craft that was more popular. Yet, as time went by, just like the craft of the blacksmith, it slowly started dying-out and everyone closed their business, as I will soon do; I’m next on the list. Nowadays, the scenario is different; there isn’t much dedication and passion. Nobody wants to take on this craft any longer, at least not to the same standards. Thing is - my craft requires skills that can’t be taught one is naturally inclined to take on this job. I can’t teach this craft; it’s impossible. However, I wish I could, as I would like to inspire people to take on this job through my work.'' The harder the challenge, the better, he claims. The only time he takes a step back from work is when he goes for a short visit abroad during the month of August, and at Easter and Christmas time. Having said that, while visiting other countries, he keeps an eye out for mementoes and souvenirs related to his work that he could hang up in his shop for all to see. 44
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''The future? My shop, along with my profession and craft will come to an end, and there’s nothing to do unfortunately, everything you see in this shop will be either thrown away or up for grabs - that’s life.''
Il-Ħobż tih lil min jaf jieklu Iltqajna ma’ Nenu b’ċikka f’Ħal Qormi. Nenu huwa wieħed mill-aktar furnara magħrufa f’Malta, però wara li kellimnieh sirna nafu l-istorja wara s-suċċessi tiegħu.
1. Inti minn hawn? Mhux dit-triq eżatt ta! Imma iva, jien kont ngħix Ħal Qormi. Kien differenti mil-lum għalkollox. Niftakar filgħodu r-raħal kien dejjem attiv imma wara nofsinhar kien ikun qisu ċimiterju. Fis-sebgħa kienet tibda l-ħajja għax ilfurnara jibdew jixegħlu l-forn, jaħarqu l-injam u jibdew jagħġnu l-għaġina. Ir-raħal kien ikun riħa ta’ injam jaqbad. Billejl kien ikun ħaj, kulħadd bil-bieb miftuħ. Wara l-furnati, xi s-sagħtejn ta’ filgħodu, kulħadd kien imur fil-pjazza ta’ San Bastjan għall-kafè qabel il-ġurnata tax-xogħol. Kienet ħajja mimlija, ħajja li qas timmaġinawha!
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2. Minn dejjem kienet togħġbok issena’ ta’ furnar? Jien minn dejjem ridt insir furnar imma dejjem kelli viżjoni li ma nkunx furnar tradizzjonali. Bdejt tradizzjonali u kumbinazzjoni sibt il-mara furnara. Kont ġegħilt ‘il missieri jieħu l-forn magħruf bħala ‘Maypole’. Hu ma riedx jieħdu għax iżżewweġ kbir - ta’ 35. Jien ta’ daqsu ġa kelli sitt itfal. Peress li ma kellniex forn tagħna, għall-bidu konna
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Lokalità: Ħal Qormi Persuna: Nenu Debono Tema: Snajja'
morna naħdmu fil-forn ta’ missier ilmara - il-Gżira. Lilha kont nafha meta kienet tifla għax kont immur bid-dqiq imma mbagħad iltqajna sew hemm. Fit’73 iżżewwiġna u x-xogħol ħadtu jien u minn hemm tfajna rasna għax-xogħol. 3. Xi trid tfisser biha ‘furnar li mhux tradizzjonali’? Kont insiefer u mmur il-fieri tax-xogħol u kont inkun naf x’inhu ġej 3 snin oħra. Li joħroġ f’dik il-fiera fis-suq isir vera u f’Malta jasal xi 7 snin wara. L-idea li niftaħ il-ħwienet ħadtha minn barra. Qabel konna għadna nqassmu l-ħobż bil-vannijiet wara l-bieb, imma n-nisa bdew joħorġu jaħdmu, allura kont tmur iddur bil-ħobż u fid-djar ma kien ikun hemm ħadd. Fil-ħwienet nakkomodaw lill-klijent, u mhux il-klijent jakkomoda lilna. Tagħmel x’tagħmel trid tagħraf it-taqlib tad-dinja. Lil uliedi kont ngħidilhom, “li tagħmel illum mhux tajjeb għal għada” imma llum ngħidilhom, “li tagħmel filgħodu, mhux tajjeb għal filgħaxija għax il-ħajja mgħaġġla.” Ħafna minn sħabi għalqu
għax missierhom tahom riċetta u baqgħu biha. Jien għadni naħdem l-istess riċetta, vera, imma b’makkinarju differenti, modern, stainless steel u iktar iġeniku. Qabel kienu jaħdmu bit-typewriter, illum hawn il-computer, mhux xogħol aħjar jagħmillek? Minkejja dan, fil-ħanut tal-Belt, xorta għandi forn tal-ġebla. Il-forn stajt bnejtu imma jien ridt forn li għandu storja, li jiġu n-nisa u jgħidu ‘kemm kont niġi hawn jien naqdi l-ommi’.
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Il-mara u t-tfal kienu jaħdmu miegħek fil-forn? Il-mara furnara wkoll ta! Kienet taħdem u tieħu ħsieb il-familja, kieku ma mxejniex. Meta kellha disa’ xhur tqala, kienet għadha tgħinni, bil-basket lest għall-isptar. Il-furnar dejjem ħaddem il-familja bih, bħalma għamilt jien l-ewwel wieħed. Konna nkunu tmienja fil-forn, bil-bniet b’kollox. Ma jidħlux huma, ma taħdimx.
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X’ġegħlek tiftaħ il-forn tal-Belt?
Il-ħanut tal-Belt kien ħolma. Jiena nħobb dak kollu li hu Malti. Fl-awtobijografija ta’ Anton Buttigieg, dan isemmi lil ommu li tmur tagħmel it-taħlita d-dar u tmur għand il-furnar, iferrixha u jsajjarhielha, u jżommilha tal-għaġina u l-ħami. Din il-ftira m’għandhiex x’taqsam mal-pizza. Hemm min jagħmlilha l-inċova, il-ġbejniet, l-irkotta, ful aħdar u biċċiet tal-majjal. Fil-ħanut tiegħi ma ssibx cherry tomatoes, mushrooms, broccoli, bżar aħmar jew isfar għax ma kinux jeżistu fi tfuliti. Hemmhekk mużika Maltija biss indoqq. Inbid u xorb ta’ Malta biss indaħħlu. Anka jekk tara r-riċetti l-oħra, hemm braġjoli, fenek, laħam fuq il-fwar - kollox Malti!
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X’inhu s-sigriet wara s-suċċess tiegħek?
Aħna niġġieldu fuq il-kwalità. Naf x’qed ngħidilkom. Jien għandi 69 sena. Avolja għandi dan iż-żmien, li kieku kelli nerġa’ nitwieled, l-istess ħajja nerġa’ nagħżel, l-istess xogħol u tbatija għax għal qalbi u grazzi ‘l-Mulej li dejjem fittixt is-safar fuq ix-xogħol għax dik fetħitli moħħi u bdejt nara kemm hu stmat il-forn barra minn Malta.
sebgħ
Hemm xi messaġġ li tixtieq tgħaddi lill-ġenerazzjoni tal-lum? Il-messaġġ tiegħi hu wieħed - inħobbu dak li hu tagħna. Kull fejn inkun ngħaddi dan il-messaġġ. Il-ħobża writtha, ma ivvintajt xejn. Qiegħed nipprova nżomm dak li hu tagħna. Kienu ġew xi żgħażagħ bl-idea ta’ Casal Fornaio. Din hija fiera mdawra malħobża Maltija. Meta bdejna l-ewwel sena, ġew in-nisa jsaqsu għal rokna għax jagħmlu l-ganutell, ipittru, jew għax jagħmlu l-bizzilla. Tiskanta kemm hawn nisa fid-djar jaħdmu. Jiena dejjem xtaqt li n-nisa jagħmlu dawn l-affarjiet u nbigħuhom barra minn Malta. Mela nixtru l-bizzilla Ċiniża! Jiena nibki li jkun hawn imħabba għal dak kollu li hu Malti għax jekk nitilfu lilhom ħa nitilfu l-identità. 8. X’jista’ jsir fil-futur biex nipproteġu l-identità Maltija? It-tfal iż-żgħar qegħdin nagħlquhom ġo klassi u ntemmgħulhom il-kotba. It-tfal l-ewwel oħroġhom hemm barra firraba’, ħudhom fejn il-mogħoż, il-baqar u l-agrikultura. Dik mhux il-vera ħajja. Ħa nbatu! Ma nistgħux nibqgħu b’din il-mentalità.
" Meta kellha disa' xhur tqala, kienet
għadha tgħinni, bil-basket lest
�
ghall-isptar"
MAZDA 2 5dr
15 INCH ALLOY WHEELS, FRONT & REAR POWER WINDOWS, POWER FOLDING MIRRORS, BLUETOOTH AND MORE
GasanZammit Motors Ltd., Mriehel Bypass, Mriehel BKR3000 Tel: 27788222 email: ford@gasanzammit.com ford.com.mt
Rooted in
authenticity
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Location: Manoel Island Person: Rebecca Gauci Theme: Fashion
We live in a society which constantly attempts to shape our way of being by setting a standard which we feel we must constantly conform to or attempt to surpass. These standards can evidently be hard to live up to and leave the collective society seeking for a continual fulfilment that leads to greed and an increase in materialism. This recurrent search for fulfilment is seen in diverse industries. Specifically, the fashion industry makes us feel like there is always a novel trend or item of clothing which we require in our capsule wardrobe. When will we become aware that this vicious cycle of consumerism is gradually ravaging our home?
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I had the privilege of meeting upcoming local designer and creative Rebecca Gauci. When I initially stumbled upon Rebecca’s authentic creations I was instantly intrigued by how she combines her two fundamental passions - designing and writing - to share compelling narratives through her garments. “For me, designing and writing are a means of self-expression.�, she eagerly explained to me as we met up to chat over a cup of tea. She went on to mention how her recent travels around Spain made her fall in love with writing. Her genuinity and transparency struck me as she highlighted that even though her passion for writing commenced during a dark period in her life, both writing and designing have developed into positive and crucial means of discovery and self-expression. The 25-year-old child-carer and design enthusiast initially started experimenting with sketching and sewing for personal enjoyment. This passion of hers developed further as she enrolled in a Fashion Design course at the renowned fashion school, IFA Paris. Rebecca also emphasises how her creation and design process revolve around conscious creativity. Since she is aware that her garments can impact the environment, one of the core values of her creative process is sustainability.
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The latter is embodied in her work through efforts in creating garments that are made out of natural or recycled material, or upcycled clothing. Moreover, she also experiments with natural dyeing processes to personalise her creations as she did with one of her most loved creations; a handmade pure silk dress which Rebecca naturally dyed herself by using leaves and onion skin. Rebecca also prioritises inspiring others and raising more awareness about the importance of sustainable fashion through her production of work. In fact, she boldly states that the desire to launch her own website initially blossomed out of an aspiration to share her fabrication of ideas and to inspire others to do the same. While doing so, she underlines how we should celebrate our authentic selves by acknowledging the beauty in our personal differences and values, as she states “we should celebrate our differences and not conform to what society deems to be required of us, since such diversity will allow our authenticity to be of service towards the growth humanity needs to keep moving forward.� Rebecca continues to showcase her true self in her creations to inspire others to be authentic and to stay rooted in their values, as she stays firm in her belief that sustainable fashion and upcycling can benefit our society. By being environmentally conscious and aware of the rising levels of consumption in the fashion industry, we will be more willing to alter our deleterious purchasing habits. Consequently, this will decrease the demand for unsustainable materials, materialism, and unethical fashion. The beauty and genuinity in Rebecca’s message and creations resonated with me and act as a personal reminder that our authentic selves can bring about change, even if society may assume the contrary.
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To be different and equal through those differences To dare and go beyond The limits, titles and ideas set by society The inner perceived self, life and world To be free flowing Exploring, within and without Questioning Satisfying curiosity Connecting with what’s real, what feels true Growth over rigidity, illusion and lacking beliefs Being bold and elegant Empowered The Wild Intuitive Self,
with love and good instinct
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Mad-daqqa, niĹźfnu
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Ghaziz djarju, Fl-aħħar irnexxieli. Ċensu tax-xorb, erba’ bibien ‘l isfel middar, jagħmel żifna f’dawn iż-żminijiet. Ommi ma tħallinix immur, m’għandekx ċans! Imma fl-aħħar irnexxieli niżgiċċa mid-dar. Wara ġimgħa xogħol iebes innaddaf għand il-perit iddeċidejt li rrid immur, jiġri x’jiġri! Tal-Milied tellfithieli imma tal-Karnival ma kontx se nerġa’ nitlifha! Qgħadt bilqiegħda fl-intrata tad-dar - u hekk kif smajt il-mużika ħrabt s’għand Ċensu. Il-ballu tal-Karnival kien aħjar milli qatt stennejt. Tgħidx kemm ħadt gost niżfen - fakkarni fiż-żmien meta missieri kien joħodni l-każin għal xi tieġ - meta kien għadu jaħdem ta’ bidillu l-każin ta’ Bormla. Ma ninsieh qatt dak iż-żmien! Iva, wara li jgħaddi t-tieġ kont ngħinu jaħsel - u l-art tal-każin art ħarxa li ma ngħidx! Minn jaf kemm qattajt sigħat naħsel dik l-art! Imma wisq kont nieħu gost niżfen! Mhux għax kont naf kif ta! Imma l-ħajra kollox jekk ikollok l-għira għall-oġġett titgħallem!
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Lokalità: Bormla Persuna: Tessie Schembri Tema: Divertiment
" Hekk kif smajt il-mużika ħrabt s'għand "
Censu
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Karmenu kien xogħol, ma setax jiġi - u sa mnalla! Għax mhux xi wieħed li jħobb jiżżegleg; u għalkemm nieħu gost meta mmorru t-talkies, xi kultant ikolli aptit noħroġ niżfen tnejn. Iżda mbagħad qlajtha bl-ikrah mingħand ommi - xebgħa xkupa kif tmiss il-liġi! U għalxejn dħalt niġri taħt is-sodda biex ma tilħaqnix, xorta rnexxielha tkompli ttini biz-zokk tal-ixupa! L-istess xebgħa b’passjoni li tatni meta mort ma' ħija għand il-ħabib tiegħu. U ma nafx għalfejn dan kollu, għax kien miegħi hu. Insomma, issa llejla Karmenu mhux xogħol, jiġifieri suppost għandna niltaqgħu! Imma għadna ma nafux x’se nagħmlu… jekk ma nsibu lil ħadd minneputijiet jiġi magħna sat-talkies jew għand ommu l-Birgu, ma jkollniex għażla, ikollna noqogħdu għandi - jien naħa
�
tas-sufan, u hu n-naħa l-oħra - biex maddisgħa ta’ filgħaxija ommi tiġi tħabbtilna bl-ixkupa u tgħajjat “itlaq itlaq itlaq”. Uuuu aħjar ma ngergirx wisq, għax qabel ma bdejt ninnamra ma kienx hemm ċans li kienet se tħallini noħroġ! Xi kultant hekk ngħid, imnalla kien dak l-imbierek rediffusion! Ma ninsieha qatt dik ilġurnata! Marilna r-rediffusion u bgħatna għalih, għax f’kollox kien jaf jinnavika dak, u meta ġie, dik l-imbierka oħti qaltlu “Trid noħtobhielek”, u xejn, minn hemm qbadna ninnamraw. Niftakar fil-bidu nett konna noqogħdu bilqiegħda ħdejn l-għatba tad-dar nitkellmu. U bla ħsieb ta’ xejn issa t-tieġ wara l-bieb! Issa ħa nitfi l-lampa, għax il-ħin qed jagħfas u għada rrid immur kmieni għand il-perit.
Beautiful escape info
Location: Ramla, Gozo People: Calypso and Odysseus Theme: Myth
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We all know Homer’s The Iliad and The Odyssey (and if for some reason you don't, I highly recommend the read!). It’s the story of a warrior, a husband, a father and the man of Calypso's dreams. Toiled by the rage of Poseidon and tempted by his wicked mermaids, and yet he lived. In Xagħra, ever since we were little, we were frequently taken to a group of caves and told the tale of almost two thousand years - the legend of Calypso. Calypso was a water nymph who inhabited those caves that bear her name: Calypso caves in Ramla, Gozo. Most of us know how she found Odysseus, who had found himself there by chance and kept him with her for years. But alas, what were the thoughts of the man she captured? What was it like being in a safe golden cage?
Odyssean thoughts Scorching sun, Salty sea, Golden sand.
It was time for me to go And leave my escapism Far behind.
On Ogygia I found myself. Bruised and beaten By the unforgiving waves Poseidon had in store.
She wouldn't let me go. I needed to leave.
Yet there she stood, Curious and unfazed; Calypso. She was‌ Divine. Life's toils wore away From my aching body As she held me up And led me to her cave. She showed me her Kindness and love; Sweetest honey and Finest of wines. I stayed there‌ Longer than I should.
I needed to live. I begged for freedom; But she wouldn't. Finally she broke, I was free, Back on my odyssey. I will miss that golden sand, I will miss that kind heart.
Just like Odysseus, we find ourselves stuck in our own escapist ways. We long to leave, we long to live; but something always keeps us simply existing.
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Ħsus il-qalb L-eqdem għanja miktuba bil-lingwa Maltija tas-Seklu 15 instabet b’ċikka minn Gofrey Wettinger u Michael Fsadni. Huma sabuha waqt li kienu qed iqallbu fil-paġni tal-atti nutarili ta’ Brandanu De Caxario ġewwa l-Arkivji Nutarili tal-Belt. L-għanja sabuha bla ħsieb u bla tiftix – sejba li hi xi ftit jew wisq diffiċli biex ikun hemm oħra bħalha.
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Kien propju Brandanu stess li niżżilha fl-ewwel volum tal-atti nutarili tiegħu u taha l-isem Kantilena, jiġifieri l-kompożizzjoni tista’ titgħanna. Iżda oriġinarjament, kien kitibha Pietru Caxaru li hu l-qarib ta’ Brandanu. Skont Brandanu, qaribu Pietru Caxaru kien poeta, filosfu u oratur. Dan jagħti l-indikazzjoni li Pietru Caxaru kiteb aktar minn poeżija waħda, ġieli tkellem jew kiteb argumenti ta’ profondità, kif ukoll tkellem fill-pubbliku. Brandanu jistqarr li kitibha mill-ġdid għax ferrħitu, iżda meta wieħed jaqraha isib xbihat tassew traġiċi. Hu niżżilha millġdid għax din l-Għanja ħalliet impatt artistiku u morali fuqu. Il-Kantilena tempatizza ma’ min spiċċa f’xi inkwiet u tagħmillu kuraġġ. Brandanu aktarx li kellu biss din l-Għanja ta’ qaribu biss bħala sors ta’ wens meta hu stess kien għaddej minn żmien ħażin. Jista’ jkun ukoll li l-ferħ tiegħu kien ġej mit-tifkira tal-ħila li kellu fil-poeżija, murija bilwisq tajjeb f’din il-poeżija. Din il-kitba hija prestiġjuża għall-fatt li Caxaru kisser ir-regola tant qawwija ta’ żmienu, ħareġ mill-prattika talklassi l-għolja u kiteb bl-ilsien li ma kellux dinjità poetika. Huwa għażel li jikteb bil-Malti biex b’hekk irnexxielu jgħolli l-istima lejn l-ilsien tal-poplu għal-livell tal-konvenzjonijiet letterarji Ewropej. Permezz ta’ dan, Caxaru pprova jikkonvinċi lill-udjenza li l-Malti jista’ jkollu mekkaniżmi liriċi li bihom, il-Malti jista’ jinqara wkoll
għall-esperjenza artistika u mhux biss biex jikkomunika messaġġ tal-kontenut. Huwa ħalaq rima u allegorija bil-Malti, u b’hekk wessa’ l-possibiltajiet poetiċi tal-Malti. Din li għamel kienet għażla kuraġġuża kif ukoll esperimentali. Huwa pprova juża it-teknika tal-poeżija Taljana fil-Malti. L-esperjenza artistika tinħoloq permezz tal-konnotazzjon bil-metafora. Pietru Caxaru ta xhieda li dan seta wkoll jinħoloq bl-użu talilsien Malti. Apparti minn dan, huwa uża l-intertestwalità mall-Bibbja wara li kien raha f’ilsna oħra, u għamel hekk ukoll bir-rima, l-allegorija u l-istruttura tal-vers. L-Għanja fiha 20 vers mifruda fi tliet taqsimiet ta’ sitt, erbagħt u għaxart ivrus. Kien ikkonfermat li l-Għanja nkitbet minn Brandanu, propju għaliex il-kitba tiegħu kienet taqbel ma kitbiet oħra minn tiegħu u ma nstabet ebda kitba oħra magħrufa ta’ ħaddieħor li kienet tixbaħ l-ortografija li biha nkitbet ilKantilena. It-tifsira tal-Għanja nnifisha tagħtina ħjiel tajjeb ta’ dak li seta’ kien għaddej minn moħħ Pietru Caxaru. Il-poeżija tibda bil-vuċi tal-poeta li qed jistieden lill-ġirien jisimgħu xi ġralu. Juża l-allegorija tal-bir biex permezz tiegħu juri s-sentiment astratt fi kliem konkret. Huwa fil-fatt jispjega l-qagħda psikoloġika li kien jinsab fiha. Il-qagħda psikoloġika tiegħu u d-disprament li jkun qed iħoss, ikompli jintensifikah meta jgħid li ma jistax jitla lura millbir għax m’hemmx taraġ li jista’ jitla.
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Lokalità: Il-Belt Valletta Persuna: Pietru Caxaru Tema: Poeżija
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" Irnexxielu jgħolli
l-istima lejn l-ilsien
tal-poplu
"
Il-qagħda tiegħu tkompli tiggrava hekk kif f’kitbietu, millbir jimxi għall-baħar u issa l-istat tiegħu jinbidew f’wieħed suwiċidjali meta jgħid li għandu l-ħajra li jegħreq. Il-moviment prinċipali li jispikka huwa l-moviment ‘l isfel, iġifieri t’inżul, lejn il-qiħ. Caxaru jagħmel użu minn allegorija oħra, dik tad-dar tiġġarraf. Għalkemm xorta għad hemm il-moviment ta’ nżul, din tieħu dimensjoni aktar gravi, dimensjoni ta’ tiġrif u telf. Hija f’din il-parti fejn il-poeta juża l-intertestwalità mall-Bibbija meta juża l-parabbola tal-iblaħ. Caxaru jispjega li għalkemm ħadem b’nies tas-sena biex bena d-dar, xorta iġġarfitlu għax taħt il-wiċċ sab li kien hemm tafal merħi. Wieħed jista’ jinterpreta mument bħal dan fil-ħajja ta’ kuljum, meta persuna ma tkunx qed tistenna li xi ħadd iqarraq biha u ma tobsorx li ġej il-għawġ. Huwa propju dan li ġralu Pietru Caxaru. L-Għanja kollha hija marbuta max-xewqa li jieħu b’martu lil Francha de’ Biglera. Iżda kif sar magħruf, Caxaru ltaqa’ ma saram kbir u x-xewqa sfatlu fix-xejn. Iżda lejn l-aħħar, it-ton jinbidel għal wieħed ta’ determinazzjoni. Għalhekk wieħed jista’ jgħid li din hi poeżija li tisfida lill-isfortuna! L-ebda kitba Għarbija jew Maltija ma nstabet tul iż-żmien nofsani mwaħħar, sakemm instabet il-Kantilena fis-sena 1966. Ir-raġuni għaliex l-Għarbi nqata’ minn Malta għadu sal-ġuranta tal-lum mhux magħruf. Fuq gżira ftit bogħod minn Malta, fi Sqallija l-Għarbi baqa’ jinkiteb f’dokumenti nutarili u oħrajn uffiċjali sa nofs is-seklu 13. Minn dak li ġara fi Sqallija, wieħed jista’ jissaponi li mal-wasla tan-Normanni fuq il-gżira Maltija, daħħlu l-Latin bħala wieħed mill-ilsna tal-amministrazzjoni mingħajr ma qerdu għal kollox l-ilsien u l-kitba Għarbija. Maż-żmien il-Latin ħa post l-Għarbi filkultura u t-tagħlim. L-Ilsien Malti baqa’ maqtugħ mill-kultura u ġie meqjus bħala tajjeb biss għall-ħtiġijiet ta’ kuljum. Iżda kif rajna permezz tal-kitba ta’ Pietru Caxaru, ma setax jonqos li jkun hemm min jitħajjar iħarbex xi erba’ kelmiet bil-Malti. Il-Kantilena hija xhieda li l-Malti, minkejja kollox, ġieli nkiteb biex ifisser ħsus il-qalb f’sura ta’ poeżija.
His passion for the past is his only
future
72
I met a time traveller collecting treasures of old. He breathes history and tales of eras that time forgot. Jesmond Bugeja is a 54-year-old antique dealer who owns an establishment that sells all sorts of antiques, all having a story to tell. His treasure trove is situated in Birkirkara, in the midst of one of the busiest localities on the island. This shop was once named ‘Litelines’, which used to sell all sorts of lights. After some time, Jesmond decided to stop denying the inevitable and pursue a full-time career focusing on his greatest passion by shifting towards dealing things like antique furniture, and rare clocks and paintings. His job mainly consists of keeping an eye out for objects considered rare something that satisfies his yearning for finding something that not many people have. An abundance of experience and knowledge is needed in this line of work, seeing how each object comes
from a different era with its own historical links, and each piece could be more antique and of greater value than another. An eye for detail is vital for any antique dealer, especially when it comes to selling or keeping any piece. Nowadays, his work mainly consists of dealing furniture and clocks, yet he also sells artworks which he needs to be sure they are authentic, first-hand pieces. Restoration is also an essential part of his job; after he buys a piece which he deems fit to sell, he checks what work it needs and restores it as close as possible to its original quality. “For us, Maltese, because we have a vast and rich history, we can only consider something an antique if it is older than a 100 years. On the other hand, in America, if something is older than 50 or 60 years it is considered an antique since their history is not as abundant as ours.” From his work experience, Jesmond deems the ‘Maltese Bookcase’ as one
info
Location: Birkirkara Person: Jesmond Bugeja Theme: Trades
of the rarest things to find - a symbol related to the era when the Knights of St. John resided on the island. “They're the most sought after antiques, considering that there are very of few them.” Throughout his life, he has only encountered one and was unable to seize it for himself since these bookcases usually go for more than a €100,000. “These are rare nowadays because, at the time, there were only a few noble people who brought their furniture to the island, and along the years, many of these artefacts were destroyed during wartime.” In Jesmond’s opinion, the future of antiques is interesting; seeing how even if you have a modern house, it is the antique chest of drawers in the living room that will catch someone’s eye. To his surprise, antiques seem to have managed to blend in with today’s norm. He explained that this happens because of changes in people’s home decor taste. “There could be a trend where people would want a specific piece, and later
would want something entirely different - it depends on the people and what they like at the time. Nowadays, antique museums opt to use modern showcases and lighting in order to display certain historic pieces, creating a contrast, this is proof that even things of the past could blend in easily with modernity.” Something that doesn’t sit well with Jesmond is that there is no safeguarding of Maltese antique pieces. According to him, it’s not a political issue, there were never adequate initiatives where pieces are bought in the interest of the country. “Imagine a beautiful, historic piece that was once situated in an auberge, ending up outside of our country. Why isn’t there a program in place to ensure that this doesn’t happen? Shouldn’t it be bought and exhibited in Castille?” 74 Jesmond diligently summed up his work in three words: “love, knowledge, and evaluation”. His love for antiques started from a piece of furniture which his
father gave him as a wedding gift which is still found in his home. Knowledge is an aspect that should come naturally and at its own pace. Passion for antiques has to come from within and experienced hands-on, and not through leaflets and books. “You need to touch the furniture and inspect it thoroughly, to see the detail that it holds.” This is where evaluation comes in. There are indeed many items that could be considered as antiques, but there is a certain criterion that defines something as being valuable and rare, and whether something is worth restoring in order to be resold. “Sometimes, I stumble upon objects I decided to buy and restore despite the fact that I knew I will not make a profit out of. That’s where passion and love come in.”
�
08 Ghosts of buildings past Written by Sera Galea
18
The guy with a guitar Written by Marie Cini
Kelmtejn bejn bixkilla u oħra Miktub minn Gabriel Lia Ritratt fuq p. 20 ta' Gabriel Lia
22
28 Film photography on a roll Written by Sarah Zammit Munto Photos on p. 29 & p. 30 by Alan Falzon
36 Niżlitli għasel Miktub minn Justine Decelis
The skill, the challenge, and the dedication Written by Luke Ellul
40
Il-Ħobż tih lil min jaf jieklu Miktub minn Skylie Galea & Leah Bugeja
45 51 Rooted in authenticity
58
62
Mad-daqqa, niżfnu
Written by Sera Galea Poem by Rebecca Gauci
Beautiful Escape Written by Neville Sultana
Miktub minn Michela Cutajar
66
His passion for the past is his only future Written by Luke Ellul
Ħsus il-qalb Miktub minn Sarah Cassar Dymond
72
Acknowledgements
Tutor Malcolm Bonello Faculty of Media and Knowledge Sciences Prof. Noellie Brockdorff Dr Ġorġ Mallia Elton Mamo Administrative Staff Collaborators 1st of May Confectionary Baked at Goldies Benna Benny Gee Christian Cauchi Danika Muscat Healthy Leaf Karl Hili Kirsty Azzopardi Maypole Nina Micallef Romario Sciberras The Beer Cave Zammit Trading Ltd.
Photoshoots Diar il-Bniet Eclecticist Flower Crowns by Fran Philip Agius Make-up Artists Ky to Beauty Marthese Galea Models Doris Galea Karl Azzopardi Kurt Aquilina Maria Theuma Paula Mintoff Media Houses One TV Times of Malta
�
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