The dance scene in Malta, barring some exceptions, is “primitive and limited” despite the concentration of local schools, according to an international choreographer.
Malta lacks the structure, the spaces and the possibility of engaging professional dancers in a national dance company, she feels.
The approach to dance is more commercial and all about entertaining, in the opinion of Athanasia Kanellopoulou, who specialises in dance theatre which is still unexplored territory in Malta.
Exposure to dance theatre is limited and the focus is more on ballet and hip hop, maintains the Greek choreographer, who has been involved in the local scene for the last five years.
Partly to blame, however, is also the audience, which just wants to be entertained and not mentally and emotionally challenged, she believes.
“They want to be comfortable, in a lovely theatre, wearing a nice dress and watching a performance that is simply beautiful,” she says.
Although dance is a biological need for Ms Kanellopoulou, without which her life would be empty, she does not necessarily expect that level of engagement from the audience.
But neither is it just entertainment; it can shake up, arouse and awaken the soul and the mind.
Ms Kanellopoulou also points a finger at a missing structure and facilities, particularly for dance, despite the fact that Malta, as an “exotic” Mediterranean country, may be fertile territory for the arts.
Amazing opportunities exist in terms of spaces, with interesting buildings that could be converted into theatres or performing arts venues, she says, referring to abandoned houses in Valletta, unused theatres and old cinemas.
But while the rental fee of a residence is €3 to €5 an hour in Belgium, Brussels and Berlin, it costs about €20 in Malta, she says.
The government needs to provide these spaces for performances and workshops; residences for artists to work and rehearse; and more performance opportunities, Ms Kanellopoulou adds.
And she maintains that Valletta’s St James Cavalier is a good venue but not always appropriate.
Another shortcoming in Malta is that dance is not a profession and dancers do not get paid.
As a professional dancer and choreographer, Ms Kanellopoulou, who has even collaborated with the renowned Pina Bausch, is, surprisingly, always asked what she does during the day.
“My answer is that I live off dance because I have the opportunity to work overseas, where artists get paid and they get paid well,” she says.
The idea that artists have to be poor and suffering is a misconception, she adds, pointing out that they still have to pay bills and calling for financial support for time invested in creating a work.
Comparing the Mediterranean to northern European countries, where Ms Kanellopoulou has been living and working for the last 15 years, she believes the former seems to have “less place for art”, especially contemporary dance.
Partly to blame, ironically, in the case of Malta, is its stability. Israel, on the contrary, is churning out the best dancers, choreographers and companies because “the more turmoil a country goes through, the more its citizens need to express themselves through art”.
She points out that “Malta is a paradise island and too safe – which is not conducive to inspiration. Of course, you can be inspired by nature and one can express and celebrate the beauty of life.
“But this only gets you so far; it does not get you to ask existential questions.
“When you need to struggle to survive, another colour is added to the world. Too much safety means boundaries in art are not pushed.”
In fact, Ms Kanellopoulou may return to Greece, which, although limiting due to the current financial, social and political crisis, could also be a source of inspiration for her choreography, which always tries to draw on what is happening today.
She remains optimistic and still sees huge potential as long as minds open up.
“Things are happening, especially in summer, but continuity and organisation are missing,” she states.
Changes need to start from the educational system and the way dance theatre is approached. Energy and time should be invested in children so they can find their way through some art form.
The fact that the university was offering degree and postgraduate courses in dance studies is a giant stride ahead for Malta, freeing up dance from the local schools and seeing it through new eyes, she says.
“Dance is not just about body movements; it is 50 per cent physicality and 50 per cent intelligence, logic and instinct. There is a reason behind each move.”
“It is not about how the body works but the cause – a concept that is practically non-existent here.”
Ms Kanellopoulou recently gave a workshop at the Dance Workshop studios in Guardamangia. She was hosted by contemporary dance practitioner and choreographer Francesca Abela Tranter, artistic director for Contact Dance Company. The 11th International Dance Hybrid was organised to offer opportunities to aspiring dancers.
What a top choreographer says about Malta’s lack of opportunity to learn the art of musical in movement theatre. Photo: Darrin Zammit Lupi