The traditional għonnella is set to take centre stage in a modern reinterpretation of Maltese customs and trades in Moveo’s contemporary dance show. Choreographer Dorian Mallia tells Iggy Fenech all about the inspiration behind It-Tfajla tal-Għonnella.
With Valentine’s Day and carnival falling on the same weekend this year, it is hardly surprising that there are so many events and happenings taking place all over Malta. But one contemporary dance show in particular is set to capture the spirit of both holidays perfectly.
Moveo’s It-Tfajla tal-Għonnella is a modern – and, to a certain extent, abstract – performance that takes traditional Maltese customs, costumes and commerce and amalgamates them into a contemporary dance show that will bring the magic of our history and culture to the stage.
Split into four sections, each segment will not only tackle a part of our culture but will create a discourse about relationships, both platonic or romantic.
The main character of the show, however, will be a very unlikely heroine and one that’s been missing from our streets and wardrobes for almost three generations. And, as Dorian Mallia has discovered, it is as identifiable as it is mysterious.
“The għonnella is one of our most recognisable icons,” says Mallia, choreographer and Moveo founder.
“Yet, through research, we’ve realised that we don’t actually know that much about it. This, however, has given us a clean slate to work on and we have reinterpreted it in a way that allows us to talk about things that have been part of our culture since time immemorial, like religion, war, carnival and markets, in a context that is modern and relatable.”
In each of the four segments, which are the ‘Marketplace’, the ‘Baroque Ball’, ‘World War I’ and the ‘Maltese Wedding’, the għonnella will play a very important role.
In fact, you can almost say that its journey goes full circle, from the fabric used to create it at the marketplace to it representing blood, death and loss during war, to its reincarnation as a wedding dress full of hope for the future.
“It also raises many questions about identity,” explains Mallia.
“As a garment, it almost acted like a personal bubble and it hid its wearer from those around her, which allowed us to tackle certain themes like personal, sexual and gender-related identities.”
The research for It-Tfajla tal-Għonnella has been conducted by dramaturges Stephanelle Cauchi and Vicky Anne Cremona, who took the late 1800s as their starting points. The research then naturally moved away from this particular period and entered the early 1900s as well.
“One thing that really stood out, however, was the fact that most of the research we found about the għonnella was not really conclusive,” says Mallia.
“This really surprised us as it’s by far an integral part of our national costume, but it also made us wonder about the meaning of this simple yet unique piece of clothing,” explains Mallia. “And this is what inspired us to tackle identity.
It hid its wearer from those around her, which allowed us to tackle certain themes like personal, sexual and gender-related identities
“Having said that, I have always believed that history is, in itself, an interpretation of the person who wrote it and that is why I never believe history as it is presented to me. After all, in the past, history was mainly written by the elite and this, I feel, gives me more possibility to have my say on it. Which is great news, as I don’t like things set in stone.”
Nevertheless, It-Tfajla tal-Għonnella, is primarily a contemporary dance performance; one that takes concepts and objects and turns them into abstract and interpretative movements to convey emotions, ideas and discourses.
Of course, Moveo’s no beginner at this and, following the stunning reinterpretation of Oscar Wilde’s The Picture of Mallia Gray last year, it is quite safe to say that audiences are expecting another spot-on and emotive performance.
“Choreography is always the most challenging part of a performance,” says Mallia, “and we always try to move away from what we’ve done. In fact, this show is very different to The Picture of Mallia Gray.
“For this particular piece, for example, I took the traditional baroque step – which I am trained in – and played around with it. We also work a lot on improvisations and that makes it ever more complex. Nevertheless, this allows each dancer to give his or her own unique touch to the show as a whole, and turns it into a collaboration.”
On top of being the choreographer on It-Tfajla tal-Għonnella, Mallia is also one of the dancers, the costume designer – his mother, Doris Mallia, is sewing them – and all-round jack of all trades. “Yet, this is by no means a one-man show,” says Mallia.
In fact, the troupe, made up of Diane Portelli, Christina Cauchi, Elena Zammit, Pamela Kerr, Cassandra Galea, Tom Shale-Coates, Francesco Joseph Nicodeme and Mallia himself, have been performing with the help of one of Malta’s interdisciplinary and contemporary dance precursors and rehearsal director, Francesca Tranter.
The group is also joined by musician and composer Albert Garzia, who has painstakingly researched, composed and reworked various baroque tunes specifically for the show; and Anthony Galea who constantly helps Moveo out with design. The feel of dance performance will also be further aided by the sets – “which, although very minimalist, will add a huge interactive element to the show,” explains Mallia.
It-Tfajla tal-Għonnella runs between February 13 and 15 at the Manoel Theatre and is suitable for audiences who are six years old and over. Tickets are available online from bookings@teatrumanoel.com.mt.