Valletta 18 by The Malta Independent

valletta18 The Malta Independent on Sunday 18 March 2018

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Culture in the

CITY C

ulture means different things to different people. Our perception of it is influenced by how and where we grow up, our education, talents and even personality. Countries, civilizations and religions have built their cultures and traditions from the moment they began; some are fine and worthy, others not.

But in the context of artistic heritage, through all generations culture is seen as a lasting legacy for good. A European Capital of Culture, as Valletta is this year, earns its status not simply from the beauty of its buildings, but the aspirations and character of its people and enterprises. Everyone is influenced by the culture that

surrounds them but comparatively few have the power to direct how past culture is valued and preserved; or to look, unselfishly, far enough ahead to ensure that our capital city maintains an honourable cultural ethos ....to the heights of the future. And to that end we are highlighting the beauty of Valletta's buildings in this issue; along with considering what being a Cap-

ital of Culture should mean. So, armed with sufficient inspiration set off and explore the streets, including the ones that are simply streets of homes. Then you can read up on it all with a choice from some book titles we recommend on page12. Nicky

The JEWEL in the capital Jon Rosser points out how our treasured national theatre is indeed open to all.

he clue is in the name of the street: Old Theatre Street just has to contain one right? Well yes, of course, but you could be forgiven for not finding it. The Manoel Theatre – or Teatru Manoel, to give it its Maltese name, is tucked modestly away at the lower end of Old Theatre Street and, from the outside, is indeed somewhat less than prepossessing. On the inside however… wow! Internally this just has to be one of the most beautiful theatres in the whole world… bar none. Tiny by West End proportions, Teatru Manoel, built on the orders of Grand Master Manoel Di Vilhena, seats just 620 people, it nonetheless possesses a charm and a matchless, 18th century beauty all of its own. To stand on the stage and look out at the auditorium is to appreciate the sheer splendour of the place,

which has been considerably enhanced by the extensive restoration work carried out in recent years. All of the wooden panels that front the boxes – and which are painted with musical instruments and vegetation have been lovingly restored and much of the gilding in the place has also been carefully restored. For as long as I can remember however The Manoel Theatre has had the dubious reputation, in some quarters, as an elitist venue. The sort of place where Mrs Double-Barrelled surname goes to show off her latest (real) fur coat and diamond necklace – and to chatter loudly and animatedly away throughout the concert/play she has ostensively come to see and hear. And that was indeed a fairly accurate representation of the place some years back. But our national theatre has long since tossed aside its elitest tag. I mean would you call the annual Christmas pantomime or Teatru Unplugged elitest? I think not. As the inscription over the main entrance reminds us, this is a theatre: “For the honest recreation of the people.” It would be inconceivable to think that Teatru Manoel would not figure prominently in the Valletta 18 celebrations – and, of course, it does, extensively.

At the beginning of January the Baroque music festival was fittingly incorporated in the celebrations. Another annual Teatru Manoel staple, the fully-staged opera production also came under the umbrella of V18 this year. A spectacular presentation of Mozart’s Don Giovanni, directed by Jack Furness, with musical direction handled by Philip Walsh, was staged earlier this month. The recently established Teatru Manoel Youth Theatre Company also gets in on the musical act later in March with, what has been called, a devised musical performance of Hush. This Toi Toi event has been written by Artistic director Denise Mulholland, with music by Luke Saydon. There is yet more opera in June, when the Malta-born composer Nicolas Isouard’s piece, Cendrillon, a take on Perault’s Cinderella story, which was last performed as long ago as 1810, will get an airing on June 28 and 30. Then finally, on the opera front, on September 20 and 22 Teatru Manoel Youth Opera will present a production entitled Una Ballato Del Mare Salato. based on the Italian comic book characters of Hugo Pratt. Still on the musical front, the ongoing Monteverdi Project has

been incorporated into the V18 celebrations. This will include master-classes in Baroque and Renaissance music tutored by the distinguished Italian conductor, organist and harpsichord player Maestro Marco Mencoboni. The recently installed air conditioning system in the Manoel means that now the theatre can remain in use throughout the warmer months of our Maltese summer. And taking full advantage of this

will be a V18 concert, in conjunction with Toi Toi to, “rediscover the memories of our senior audience”; in other words, a programme of UK and Italian popular music from the 20th century – a sure-fire hit and a genuine crowd pleaser. So, quite a few Valletta 18 events will be featured in Teatru Manoel this year – and so they should be. I can’t think of a more impressive venue for showcasing the very best in Maltese talent.

One tiny, but ornate doorway into the theatre.

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One of the corners of the Grand Master’s Palace

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The beauty of

BAROQU Beginning in the 16th century, the Baroque style of architecture was a new take on the Renaissance style and proved both exuberant and triumphant.

aroque buildings had large proportions and open halls and central spaces. The style featured new ways of involving dramatic forms and the way light fell on them. In churches it drew attention to the altar via dramatic twisted columns, intricate carvings of angels, figures, flowers, fruits, urns and drapes. Light swam in from a cupola overhead and the whole interior shone with the effects of bronze, gilding and trompel’oeil paintings. Furnishings were designed to echo the style and it totally ignored the church’s earlier ethos of almost Spartan

simplicity. By the 17th century this style had been adopted throughout Europe for public buildings, palaces and private homes, where it pandered perfectly to the aspirations of the rich and mighty. With wealth and power came prestige. Those who could afford huge buildings with wide staircases and exotic carvings, inside and out, were all too eager to flaunt their grand decorations and the materials in which they were created. Owners would embellish the facades of their huge buildings with large, ornate coats or arms and motifs to display their status, much as today’s tower builders seem to do. The builders of the former, however, left a legacy of beauty and artistry, and a priceless heritage.

A frescoed ceiling in the National Museum of Archaeology

Valletta Police Station, Archbishop Street

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UE Another corner of the Grand Master’s Palace

Valletta’s Baroque treasures

Valletta was built at exactly the right time to embrace the Baroque era. Examples from the Knights’ Auberges to quite small balconies and doorways can be seen throughout the city, either tucked almost stealthily away in a side street or standing proudly now as a

museum or gallery. Time spent studying the intricate workmanship, marvelling at the age and state of the marble and stone, enjoying the lush, reverent and occasionally quite scary symbolism and gazing at the glorious richness and tones of Baroque work is time well spent. It can leave us inspired, overawed, enriched or even

mildly amused since it is so far removed from today’s pared down tastes. What it can also do is remind us that what was valued and treasured in the past has lost none of its sentiment and importance and still has the same power to impress today. Baroque architecture and decorations, which surely contribute to Valletta’s Capital

of Culture status, vary from the magnificent St John’s CoCathedral to the entrance of the city’s police station and almost every street or corner has an example. The Church of the Jesuits, Auberege de Castille, the Museum of Fine Arts, Manoel Theatre, the Biblioteca, L’Hostel De Verdelin and the many churches, chapels,

auberges and palaces which now serve as galleries and museums and the armoury and house some of the country’s most precious treasures; all for us to marvel at, thanks to our predecessors who, while not exactly modest in their delights and possessions, made sure to create something they loved for the sake of their city as well.

How to spot Baroque features:

Exquisite examples of Baroque decor in the Biblioteca

Churches have wide naves and sometimes an oval shape. Architectural elements are fragmentary or deliberately incomplete. Light is used to dramatic, contrasting effects through several windows. Ornaments and figures made of wood, marble, stone or plaster are elaborately coloured and gilded and ceilings are often frescoed. External façades often display dramatic carvings and emblems. Interiors are designed to show additional sculptures, stucco work and paintings. Paintings are realistic, often created as optical illusions or to make the images appear three dimensional.

Marble and stone carving in the Grandmaster’s Palace courtyard

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Hostel de Verdelin

Laying down the foundation

SOUND CULTURAL Ministry for Justice, Culture and Local Government, Dr Owen Bonnici shares his thoughts on the importance of Valletta 18. he cultural and artistic sector is going through a steady growth and is finally getting the importance it deserves. As the minister responsible for this

Manoel Theatre

vast and rewarding sector, I can definitely say that it is evergrowing and a fruitful one. It is now proven that this government was and is working to put culture on the forefront of its priorities. This is being done as we truly believe that this sector can contribute to our citizens’ wellbeing and to our country’s economy as well. Our islands are full of talent – and we must strive to safeguard and foster our history and arts as much as possible. This is greatly reflected in the unprecedented investment of €70 million which have been allocated to the culture sector in the last budget. Nowadays, finally, the culture and creative sector in our country is truly being considered as a serious priority.

Culture – as shown by Valetta 2018 – can be a change-agent. It also creates careers and employment. Valletta 2018 is a concrete example of how far we have come as a country and as a nation in relation to the culture and creative sector during the past years. This celebration is a showcase of our talents and traditions on a wider basis, not only locally, but also internationally. More than that, Valletta 2018 is a milestone because it is also the spark leading to the formation of a foundation that will carry forward Valletta as the Culture Capital of Europe beyond the end of this year. This foundation will support the legacy of Valletta 2018 for our future generations. All that

we have achieved in this sector with hard work and determination should be enjoyed, and bettered, by our children. One of the many sound examples of this is the restoration works done not only in Valletta but all over Malta. Many projects have been completed in our capital city, including the Manoel Theatre, Palazzo Ferreria’s façade, Palazzo Castellania’s façade, Palazzo Verdelin, and St John’s Co-Cathedral. Restoration is a fundamental pillar that keeps on building on the legacy of our historical heritage that will continue to thrive through future generations. In fact, an investment of €1.8 million from European funds has led to the restoration of the Manoel Theatre, which was long due and

needed. This year is definitely going to be exciting, especially when it comes to events. We have recently launched Festivals Malta’s four summer festivals: the Malta World Music Festival, Għanafest, the Malta International Arts Festival and the Malta Jazz Festival. The great variety together with the high quality of these festivals continues to not only enrich our country’s cultural calendar but also to drive local industry, ever strengthening Malta’s global brand of an excellent destination for festivals, and building on our country’s authenticity and hospitality as a location where people can travel to enjoy their favourite art form. Valletta 2018 is providing

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The Pallazzo Castellina

V18 Opening Night

for a

LEGACY more exposure to local talent and to our country. Our strategic location in the middle of the Mediterranean has molded us to bridge Europe with Africa. Our past is substantial proof in the fostering of our unique Mediterranean and European identity. We should see this celebration as an opportunity to strengthen this tie that was formed by time and history, especially through culture diplomacy. Alongside the artistic aspect, our cultural identity was given particular and special attention to this year’s programme. 2018 brings with it the European Year of Cultural Heritage as well and we can see several firsts related to our treasured heritage during this year dedi-

cated to it. I cannot fail to mention the inclusion of four unique Great Siege of Malta maps in the UNESCO Memory of the World Register earlier this year. Three of these maps belong to the cartographic collection at MUŻA, while the fourth is located at the Faculty of Science at Charles University in Prague. This is the first time that Malta has ever made it onto this prestigious list; a most welcome addition to the UNESCO world heritage sites managed by Heritage Malta. An aspect which may be relatively ‘new’ in this area in our country is that of intangible heritage. The Maltese Government, through the Culture Directorate, has started the process of nominating aspects of our na-

From left: Jason Micallef, V 18 Chairman; Minister Bonnici and Deo Debattista, Parliamentary Secretary

V18 Opening Night tional intangible heritage for the world-renowned UNESCO list for intangible heritage. Through this process, intangible elements of Maltese culture can be presented to UNESCO in order to be part of the world’s intangible heritage list. This list includes intangible heritage such as gastronomic elements, music, dance and craftsmanship, amongst others. Marina Perez, a

UNESCO expert on intangible heritage, was present in Malta to advise the Culture Directorate on the application process. This process can now be continued through the creation of a national inventory of intangible heritage from which the most eligible will eventually be presented to UNESCO for their consideration. Intangible heritage is one of the aspects that provides us with our national identity, and as a Government we are committed to preserve and keep it alive for future generations. This is all possible owing to the fact that in March 2017, the Maltese Parliament ratified unanimously the 2003 UNESCO convention on the Safeguarding of the Intangible Cultural Heritage. An agreement has also been signed with the University of Malta to start a project by which we will eventually see more Heritage sites included in the renowned UNESCO world Heritage list. This Government always believed in a strategy aimed for culture to be available and accessible to everyone to ensure the strengthening and fostering of this sector. In fact, celebrations and events related to Valletta 2018 will be happening around Malta and Gozo and will not focus solely on the capital – we want everyone, old and young, to be able to appreciate

and partake in this feast, far and wide. This strategy has also come to life through the creation of initiatives such as Teatru Malta, that has as its aim and mandate to operate in the heart of our communities, as well as close collaborations through an agreement with Għaqda Każini tal-Banda for the preservation, restoration, rehabilitation and renovation of different movable items and structures owned by various band clubs around Malta and Gozo, through funds purposely allocated by the Ministry for Justice, Culture and Local Government. Valletta 2018 is just the beginning, the foundation to keep on building for years to come. We will not stop here. Through the impact that the European Capital of Culture, we will have sound ground to keep building a strong legacy in this sector. This is our starting point - we are constantly discovering how much our country has to offer when it comes to talent and our aim and duty is to foster and showcase this as much as possible. This eventful year will make way to a fruitful future – as a country, as a people, we are contributing to make our capital city the artistic centre it deserves to be – a hub of talent and creativity, to be acclaimed by foreigners and locals alike.

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The Sala Grande

A historic house of

TREASURES Casa Rocca Piccola, over 400 years old and filled with amazing treasures is one of Valletta's Baroque buildings with a difference, and it also welcomes visitors.

The archive room

n 1580, an Italian admiral of the Order of the Knights of St John, one Don Pietro La Rocca, had a palazzo built which was known as La Casa Con Giardino because it had a garden and at that time houses in Valletta were not allowed gardens. Casa Rocca Piccola is part of that palace. And today the changes it has undergone over the centuries and its amazing collections and treasures make it unique. Here can be found the largest private collection of antique costumes, both formal and informal wear from the 18th to the 20th century, in Malta and the largest private collection of Maltese lace. Silver, art, books and furniture of equal importance fill the exquisitely decorated rooms, among them dining rooms, bedrooms, libraries, kitchens, the family archive room and the family air raid shelter. As

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And a family home We asked Clement DePiro how he values living in a house of such importance. How would you describe having a family home that is also such an important part of Valletta’s cultural heritage? A real privilege! Can you share one or two of the outstanding events and experiences in which Casa Rocca Piccola has played a part over the years? We get a great mix of celebrities coming to see us which is always exciting. A couple of years ago we hosted a dinner for the Prime Minister of the Bahamas and a couple of months later we had Meghan Markle here who insisted on trying on a faldetta. Did you know she’s got Maltese blood?

The family chapel

Part of the rair raid shelters

Portraits fill a small sitting room

Fine arts and fine dining in the summer dining room

only the second such shelter to be dug in Malta it served its purpose well during World War II. And it is these vastly different rooms which are the key to what make this house different. Aside from housing its incredible history and contents Casa Rocca Picolla has been a family home for generations and the family has made it a point to preserve its heritage and share its beauty in every way possible. Its archives have been used for research projects at the University of Malta and the University of Oxford. Collections, including magnificent pieces of Maltese furniture and artefacts, are on display. Books have been written, exhibitions staged and competitions held to illustrate the place this unique Valletta home holds, not only in the city's development and social history but that of the whole country. It is truly a precious 'custodian of culture' in our capital.

Wonderful collections, going back centuries, can be seen all over the house; but have more recent pieces been obtained which refer to the heritage of the house and its future as well? We are always adding to our collection.Recently we acquired a Favray portrait of a German Knight of Malta that’s on show nowand we are always looking for items that are relevant to the house, to the de Piro family and anything that we think would interest our visitors. What restoration has taken place to show how the house has adapted to the challenges it faced throughout its history? We are restoring the ceiling frescoes of the back entrance of the house that will provide access to some rooms so that tourists will be able to stay in part of the property. We have a lift for disabled access now and will soon have an audio tour so that visitors can see the house without a guide. Museums are now very competitive and visitors have higher expectations so you have to adapt. We also have been working with the Hill Museum and Manuscript Library in partnership with the Fondazzjoni Patrimonju Malti who are digitizing our extensive private family archive that has a wealth of information about how we lived in the 17th and 18th centuries. We have found references to a member of the famous musical Scarlatti family and plenty of evidence of the entrepreneurship of the Maltese. When the archive is fully available online it will give a new angle to the study of Maltese history and could contain a few surprises! How do you see the loved family home you have maintaining its relevance as an example of Valletta and even Europe’s social and cultural history? I think what makes Casa Rocca Piccola relevant as part of Malta’s history is that there is something that all Maltese people can identify with here. You can see for example the French influence on Maltese portraits, the Italian Baroque influence on our furniture and architecture, the British influence on the 19th Century portraits and the underground WW2 shelters give you a taste of more recent Maltese history. We are committed to doing our part for education and that is why we allow Maltese school children to visit the house for free with their teachers. Television serials and media sites today encourage the public to look for more and more detail and actual ‘experiences’ from historic houses. How are you ensuring visitors to Casa Rocca Piccola will enjoy a realistic and lasting impression of its uniqueness? It was a great experience having StradaStretta (Malta’s answer to Downton Abbey!) filmed here and it is true that the public are demanding a higher standard of reality and authenticity from TV and media and from visitor sites. We are very fortunate that we don’t need to try too hard to create an experience because it is to a certain extent exactly as it has always been. This house feels the same as it was when my grandparents lived here and probably when their grandparents lived in Valletta too!

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Time to visit an IDYLLIC ISLAND The island of Gozo combines culture, history and identity with tranquility and beauty.

nyone who sets foot on Gozo is said to be captured by the island’s raw beauty and authenticity, which places elsewhere have lost.Visitors are fascinated by the friendliness of the locals and the typical local produce, such as the freshly baked ftira or local wine, that can be enjoyed at one of the traditional bakeries and pubs scattered around the island. If you are in need of finding serenity in the midst of a chaotic world, away from busy roads and in the peace of country lanes, Gozo is the place to be. Idyllic is the right way to describe the island, which seems to have been lost in time and space, retaining a particular charm which holds visitors captive to

The Gozo Citadel – Photo by Ross Magri its beauty. This charm can be experienced everywhere from its tiny villages with their huge Baroque churches, to the towering Ċitadel with its cathedral dedicated to the ascension of Our Lady. Gozo is rich in cultural activities. In fact, the island boasts a cultural calendar that includes three annual international music festivals and three fully-fledged operas with

Mġarr Harbour – Photo by Joseph Caruana

Paddleboarding at Dwejra Bay during Sunset

Ġurdan Hill Walk – Photo by Daniel Cilia

internationally renowned singers, staged at the two opera theatres in Victoria.This year there will be the staging of the Norma in April, and October will herald the staging of La Traviata and Tosca.

Waiting to be Discovered Gozo is a place where beauty and tranquillity merge in an unspoilt and inspiring way. Its countryside, beautiful beaches and dropping cliff edges provide the ideal getaway for adventure lovers. The island’s spectacular coastline, underwater and rugged landscape will definitely interest those who love an adventure, while those who prefer a more leisurely pace will be happy to explore Gozo’s sleepy villages, picturesque valleys and historic places. Local artisan products are available in fascinating workshops across the island, and in the crafts village at Ta’ Dbiegi. A surge of artists have found their inspiration in Gozo’s mystic beauty, translating into an exciting new range of products which are quintessentially Gozitan but nonetheless distinct from traditional crafts. The island is also a great destination for those seeking an active holiday as it provides a diverse range of things to do. Outdoor activities are aplenty from abseiling, climbing and rambling to boat trips, kayaking, Segway tours, horse riding experiences, boarding, biking or diving. The island of Gozo has something to tickle anyone’s fancy and to keep every member of the family entertained in the place that matters most – the great outdoors. Choose a stress-free holiday; surround yourself with nature, choose a cultural event or dine at your favourite restaurant. Gozo – relax, it is home.

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VIVA 2018: Visual Multiplicity

he 4th edition of the Valletta International Visual Arts (VIVA) festival will take place in April – May this year. With the festival now reaching maturity, it is time to explore the future role it can have within the visual arts sector in Malta. Since its inception, VIVA has fostered broad creative exchanges between Malta-based artists and curators, and others from overseas who are invited to show their work during this festival. The festival’s collaborations and long-term development of projects, have given it a broad resonance within the visual arts scene in Malta; its sustainability in future years is essential to the continuation of this work. VIVA 2018 embraces the theme of multiplicity – this refers to the multiplicity of themes, disciplines and artist practices that are contained within one festival. It also reflects the growing number of artists and creatives within the visual arts scene in Malta, and the diversity and multiplicity of cultures they work within. A multiplicity of cultures is seen within the VIVA project Azure Watch: Office for Public Memory. Building on a fruitful Artist’s Residency in Gozo, this project has issued a public Call for Concepts, which invites artists to submit proposals for new works that reinterpret the iconography of the Azure Window and of the Azure Watch project. The Call invites creative reassessments of the Azure Window via any artistic medium, taking

on concepts such as built and monumental heritage, nostalgia, collective memory, environmental destruction and decomposition. Proposals for impossible art are particularly encouraged. A number of these proposals will be selected and developed by Spazju Kreattiv during the 2018/19 programme. VIVA 2018 is just around the corner. But we would like to ensure its sustainability in future years, and forge its place in the visual arts sector in Malta for many years to come. VIVA 2018 will take place from 14th April to 27th May, at

By the BOOK

Spazju Kreattiv (St James Cavalier), the German-Maltese Circle (Palazzo Messina), the Malta China Cultural Center (Melita Street, Valletta), the Malta School of Art (Old Bakery Street, Valletta), and at The Mill (Gabriel Caruana Foundation) in Birkirkara. VIVA 2018 is produced by Fondazzjoni Kreattività, in collaboration with Spazju Kreattiv, Arts Council Malta, the Goethe Institute, the German Maltese Circle, Malta China Cultural Centre, Malta School of Art, Ostrale, the Gabriel Caruana Foundation, the Meta Foundation, EU-Japan Fest and EDAAV and is supported by Valletta 2018.

When wandering through its streets, shops, sites, galleries and eating places is still not enough, we can always read all about it.

alletta can be explored, enjoyed and rediscovered in the many books, from fact to fiction in which the city appears. Here are just a few, available online or in local bookshops.

The Phantom of Valletta by Vicki Hopkins Echoing the plot of the deservedly longrunning musical The Phantom of the Opera this novel imagines Erik’s life after he releases Christine so she can marry Raul. Before his despair completely engulfs him. an opportunity presents itself. He leaves Paris and moves to Malta where he secretly purchases an opera house that has been almost destroyed by fire. This is the Royal Opera House in Valletta. Accompanied by a servant, Darius, and his long-time friend Madame Andrea he sets about restoring the theatre and having his very own Opera House. His new obsession proves a huge success but another cast of characters enters his life and a thickening plot is woven with an abundance of romance, mystery, and danger that fills this Gothic tale with suspense.

Valletta – Lost City – Memories of Places and Times Vol 1 by Giovanni Bonello This lavish book preserves the images of the Valletta we have either lost or are in

grave danger of losing. Many of the treasures are illustrations which have never been published before. Here we have a Valletta that is long gone. Yet from when time in the city passed quietly by to now, when our days are gone before we know it, the past still echoes everywhere within its boundaries and buildings. And we find it also in over 1,000 images, paintings, engravings and photos from the past 150 years that have been lovingly collated to create this invaluable volume.

The City of Valletta There are 11 sections to this magnificent book and each has its own introduction. Covering the city from the impressive St John’s Co-Cathedral, churches, palaces, museums, streets and alleys to the Grand Harbour, the streets and more, through photographs shot mostly in 360º, it captures the splendor and character that have led to its recognition as a European Capital of Culture. An addition to this book is a collection of five specially designed stamps and the special Maltapost stamp sheet commemorating the 450th Anniversary of the Foundation of Valletta.

Strada Stretta by George Cini Here is the consummate account of one of Valletta’s most infamous and fascinating areas, giving us a wonderful experience of the people who lived and worked in the street and those who visited in its heyday, often from first hand and personal accounts. The colour, sights and sounds of the bars, and service men who frequented them, are brought to life with great realism and a real affection for the area and its place in the city’s social history. There are Maltese and English editions of the book which is also wonderfully illustrated.

Strait Street by George Cini Strait Street – An irresistible book, also by George Cini, brings us highly informative and amusing interviews with people who lived in the street during an age when the environment and activities taking place were often at odds with the demands and conditions which they, as devout Catholics, were meant to uphold.

The basic, honest and realistic stories of how they reconciled tainted reputations and the need to earn a living with remaining essentially decent citizens is what makes this book so gripping. It is also an account of particular lives and times that we won’t find anywhere else and one that we really should discover.

Imagine 18 Imagine 18 and Bid Book bring us right up to date but will soon be a part of the city’s literary collection. Under the working title V.18, it charts Valletta’s candidacy and final application for the title of European Capital of Culture, 2018. It follows the development of the Valletta 2018 bid from the first idea to its acceptance; the proposed Cultural Programme for 2018 and the legacy planned for its future. The four themes, Generations, Routes, Cities and Islands are those around which the programme is structured. But not all events and projects not fit exclusively into a certain themes. So there is a fluidity that links projects with each other within and across the four themes. The Maltese version of Imagine 18 can be downloaded.

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What it means to be a EUROPEAN CAPITAL OF CULTURE

Mammoth projects and huge budgets aside, what are the practical advantages of holding this title?

he year a city is recognised as a European Capital of Culture is an outstanding opportunity for that city to demonstrate and display as many aspects of its culture as possible. This includes everything from creativity, communication, civic development and environmental ethics to the everyday ways in which those who live the city embrace culture as a whole. In fact, it is not only the actual city but the country in which it stands that benefit from such a year of status. Both become stages, galleries and exhibition halls on a European, or even worldwide scale. The openings for greater tourism and media exposure encourage extra visitors, some of whom use the attractions of the year to discover and feed an even greater interest in Malta’s already rich cultural heritage. For the city’s residents and the Maltese population it is a chance to see our extraordinary capital in both an exciting, new light and as the backdrop to the centuries of history which make it so special. To be a European Capital of Culture is also a chance to kick start new developments in its cultural infrastructure, adapting buildings and open spaces to facilitate cultural activities and encourage people to take a greater

active interest in the many ways they can enjoy them. There should also be a long term benefit for all residents, through the planning, integration and financial investment involved. Successful new concepts and commercial areas must bring advantages to the whole city if they are to survive in the future. And, as a country with a high dependence on tourism and more than enough to offer visitors, the seeds planted during

Valletta's term as a Capital of Culture should be providing the Maltese Islands with a valuable harvest for many decades to come. Studies made on the impact of investments attracted by such cities, show how culture can create jobs. Economic improvements and revivals come from the regeneration and restoration it encourages. Long term effects of public and private investment can have a lasting, posi-

tive effect on all aspects of the city; so long as these positive elements are supported and maintained. UK cities such as Glasgow, Liverpool and Hull are excellent examples of this. Valletta deserves no less. Culture is too often in danger of being put on the back burner when a country's requirements in the fields of development, infrastructure, health, employment and education take priority. A period of focus on

cultural issues and the chance to connect and cooperate at local and international levels, with communities around Europe should leave us with this legacy: That we keep a consideration for and appreciation of everything that justifies our pride in the city of Valletta, and that today's children and their descendents will be able to look around and not just see, but feel, the many benefits that Valletta 18 Capital of Culture created.

A family LEGACY

he family business in Malta is the motor of the economy. Although this may seem like a platitude, it’s an undeniable fact – as many as 98 % of all businesses in Malta are SMEs, and the vast majority are family-run; accounting for about 80 per cent of local jobs. However, their lifespan usually isn’t very long. Due to a combined lack of succession planning and financial planning, many family businesses do not manage to transfer their family business beyond the second generation. Only around 20% of family businesses in Malta have a robust, documented and communicated succession plan in place, a figure which is actually higher than the global average of 15%. But when one considers just how much of Malta’s economy hinges on successful family-run companies, it’s undeniable that there’s a lot of room for improvement. Malta became the first country to create policy specifically to recognise and assist family business. Despite family businesses accounting for 70% of GDP globally, these have been pretty much ignored by legislators and policy makers across the board. The Maltese Government was quick to go down the road of creating legislation on family businesses so as to formally recognise the crucial role these economic players have locally, being consistently acknowledged as the backbone of Malta’s economy. The Family Business Act now goes beyond recognising family businesses and provides fis-

cal and governance incentives to family businesses registered in Malta. There are considerable benefits and attractions for registered family businesses of a governance and fiscal nature. First and foremost, family businesses are for the first time given an identity and platform. Having an identity through a definition will allow family business to develop further in the sector, lobby and grow to achieve its aim. Furthermore the legislation is intended to act as a complement to present legal and financial structures to local and foreign family business considering making Malta their jurisdiction of choice. The key fiscal incentives are reduced stamp duty on

the value of the immoveable property – the first €500,000 will be charged at the reduced rate of 3.5 per cent, and exemptions of stamp duty on a capped value of shares – the first €150,000 will not be taken into account. This niche policy and financial sector dedicated to family businesses through the introduction of regulation has made Malta an attractive jurisdiction of choice for family businesses to be based. The new policy regulations provide for foreign family business having all or a part of the family business based in Malta to benefit from this policy which serves as further compliment to the country’s attractive facilities.

MARCH 2018

valletta 2018

It all depends on th

LIGHTIN Valletta was lit up, both figuratively and realistically on the night it began its year as a Capital of Culture.

nd this could be seen especially from Castille Square, where the magnificent Auberge de Castille was the backdrop for a 3D mapping projection, which covered its extensive facade, and included CGI, music and visual special effects to tell the story of Valletta’s 500 year evolution from a barren hill to – well, a thriving European Capital of Culture. We asked digital artist Duane Laus, who was responsible for the spectacle, to shares his take on this exciting project.

How did you become interested in lighting projections and where did you develop

your skills? First I was an artist drawing and painting, then I moved this on to graphic design. The next step for me was to animate my graphics, mainly for TV, commercials and music videos. You learn as you go along and I try to challenge myself to always try something new. Having a building as a canvas to project my work on, and not just any building but one of the most important buildings in Malta, is one of the highlights of my career. How did you feel when you were asked to do the Valletta 2018 project. And what were your feelings on the night? I felt honoured to be involved in the Valletta 2018 opening night as one of four main shows. A bit overwhelmed at first, but ready for the challenge. On the night when the projection was first shown I was anxious for everything to go well and that the people watching would like it and be entertained. I was also relieved that months of really hard work were over, and even more relieved with the positive reaction from the people. Did you have a specific brief, was the storyline your own and how many other

people worked on it with you? The brief was given to me by the Artistic Director for Special Events for Valletta 2018 Mario Philip Azzopardi, and Sandro Kitcher, Antoine Farrugia and Francesca Galea. The title was “MinnQiegh l-ImgћoddigћallQuccatatal-Ġejjieni” (roughly translated as “from the deepest past to the tip of the future”). We wanted to create a kind of timeline, without being a history lesson, but more entertaining. So from then on along with my team at Lava Graphics we started working on a script, developing it on the way and working on filming and graphics and animations, also with 3D animator Jens Klein in America. Meanwhile some fantastic music was being created by Paul and Ryan Abela. I also have to mention MadAboutVideo, the people who handled the projections onto Castille, who made sure everything played out well on the night. What were your inspirations and how did your ideas develop? Malta itself and its history were the main inspirations. We then planned each scene visually on the façade and

started animating, always keeping in mind that you need to keep the viewers entertained for the full 20 minutes, which is quite a long time! I also wanted the scenes to be unique in each part, knowing that on occasions like these many people take photos, and as “still shots” they would also work. Can you explain, simply, how the process works

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and how long it took to produce the show? Once we had a storyline it was then a case of visualizing everything. We started off by recreating Castille’s façade in 3D to use as our base canvas, and then worked on creating each scene around it. This took about 4 months to complete. What conditions, natural or man-made

influence how a projection will work on any given occasion? For the projection to look its best the surrounding area needs to be as dark as possible to avoid light pollution. This was a problem we faced with Castille, being an open square with quite a few lights around because of the event, not to mention the moonlight. So during

rehearsals we realized that certain colours needed to be adjusted to be brighter. Also the windows and doors need to be covered with material in a similar colour to the overall wall to create the “canvas” with the least distractions possible. And then pray for good weather…you don’t want the audience to freeze in the rain!

Where would you like see this art form going in the future and how would you like to be involved? Projection mapping on buildings has become increasingly popular over the past years, and possibilities are endless with some imagination and creativity. It is something I would love to be involved in again.

MARCH 2018

valletta 2018