Is Malta prepared and equipped to hold the title of European Capital of Culture in 2018? Kim Dalli sits down with Lieven Bertels, Leeuwarden 2018’s artistic director, and Margerita Pule, the Valletta 2018 Foundation’s programme coordinator.
The last Eurobarometer survey ranked cultural participation in Malta as the second lowest in Europe.
Over the years, local cultural managers have scratched their heads over sourcing adequate spaces, the arts community has bemoaned the dearth of technicians and designers, and artists have had to relegate themselves to mere hobbyists.
How is Valletta 2018 gearing itself up to counter these challenges?
“Culture is a motor for change – and that is what we have in common with Valletta,” says Lieven Bertels, the Leeuwarden 2018 artistic director.
Photos: Matthew Mirabelli“You don’t feel defeated with the reality, but you feel empowered by that reality to embrace culture to change.”
One thing statistics do not take into account is heritage, he continues. Statistics tend to look at the here and now, filtered through socioeconomic metrics, and do not necessarily take into account the value and richness of one’s heritage.
He posits the Maltese diaspora – which includes professional actors working abroad – as a rich source.
“It’s about focusing on what we have and bringing that up a level,” says Margerita Pule, V18 programme coordinator.
Yes, let’s invite international artists and world-class performers, but then let’s encourage them to work with local artists in a way which contributes to the local ecosystem of dancers and visual artists
“Yes, let’s invite international artists and world-class performers, but then let’s encourage them to work with local artists in a way which contributes to the local ecosystem of dancers and visual artists. If we don’t have a vast selection of theatres we can use, let us create spaces we can use during 2018.
“So we’re not ignoring the reality, but it’s not all negative.”
Mr Bertels notes that if one forgets for a minute that Valletta is the capital of Malta and sees the city as the only capital in the Mediterranean, the perspective will be different. “You are an interesting gateway to the Maghreb and other parts of the world which we don’t know very well. Similarly to Leeuwarden [in the Netherlands] we’re a gateway to Scandinavia.
“You probably grew up on a diet of Italian TV and therefore know about Calimero [the hapless cartoon chick]. The Calimero Complex is about thinking that you cannot achieve anything because you’re the little duckling. Why would you start from such a position?” he questions.
Hosting is an opportunity for the Maltese to embrace culture and seek pride in it, while also being a good time to reflect on shortcomings and what can be improved, Mr Bertels adds. Malta has the resourcefulness; quality productions do not necessarily need large budgets, he argues.
“We’re extremely envious of your open-air theatre and the Mediterranean climate. Yes, you need good infrastructure and it’s the perfect moment to think about that, as you’ll be under the watchful eye of Europe, which wants to see you take this seriously.
“But at the same time, I also want to stress that it’s not just about infrastructure.
“The funny thing is that in arts across Europe, getting money for infrastructure is typically the easiest part. When Bruges was the capital of culture, we got millions and millions to build a new concert hall. The most difficult part was agreeing with the community on how to run it.”
Apart from the ‘Poetry in Potato Bags’ project, unveiled in 2014, what other collaborations are taking place between Malta and Leeuwarden?
Ms Pule refers to a large collaboration in which Mcast was introduced to equivalent colleges in Leeuwarden and will be working on 11 projects, but is loath to give further details.
We’re extremely envious of your open-air theatre and the Mediterranean climate.Yes, you need good infrastructure and it’s the perfect moment to think about that... But at the same time, I also want to stress that it’s not just about infrastructure
“It’s important to keep it behind the scenes,” Mr Bertels interjects. “People don’t have a three-year attention span.”
One project is entitled ‘Behind the Front Door’ and will take place simultaneously across three capitals of culture: Leeuwarden, Aarhus and Valletta.
Teenagers in Malta will work with a film-maker, who will guide them in producing a film based on their own lives.
Additionally, there are many small projects and exchanges going on in the interim, Ms Pule says. A Friesian curator will be coming over in September, while a crocheted blanket project will be led by a sociologist in Leeuwarden.
A Friesian artist will also be coming to Malta this month to conduct research for a visual arts project.
How will V18 be reaching out to people from different demographics – from schoolchildren to elderly people and from regular theatregoers to people who have never set foot in a theatre?
Six regional coordinators will engage local councils, NGOs and local community groups, Ms Pule says. Work is also being undertaken with the Education Department with the aim of targeting all schools by 2018.
Malta’s multicultural side has also not been forgotten, and a St Paul’s Bay project will see an alternative ‘mapping’ of the area in a positive way, in a bid to free the locality from the negative perceptions often associated with it, Ms Pule said.
“V18 is going to be the best capital of culture ever,” she adds. “Maybe we don’t have everything at a flick of a switch, but we’re going to make it happen.”