Moving to Malta

Moving to Malta
Our childhood years are meant to help us develop our sense of identity, belonging, culture, and home. But what happens to those for whom childhood is dominated by moving to a new country with a new language, culture, and social norms? Prof. Carmel Cefai speaks to Becky Catrin Jones.
Prof. Carmel Cefai

It’s a small world these days. Developments in technology and transport mean it’s much easier to pack your bags and head off for a fresh start in a foreign land. For many, the destination is Malta. As a beautiful island in the Mediterranean Sea with a booming economy, it is no surprise that it’s drawing the attention of bright sparks and aspiring families from Europe and beyond. In fact, Malta currently boasts the fastest growing EU population. 

Of course, it’s not always through choice that you might find yourself leaving your homeland behind. Humanitarian crises and ongoing wars in North and sub-Saharan Africa and the Middle East have seen thousands set sail under the most treacherous conditions in search of safety. For this population, Malta is often the first port of call between the dangers of home and the promise of hope in Europe. 

It seems strange to group these populations together, given the stark differences in the journeys that bring them to Malta and the life they seek here. But together, this influx of people has contributed to a sudden rise in interculturalism, where people from different backgrounds interact and influence one another. This is a reality all parties are having to adapt to.

Even in a fairytale scenario, childhood is challenging. Growing up when you’re far from home, look different to everyone around you, and don’t speak their language, makes the challenge reach a whole other level. Children’s wellbeing is an increasingly important and emotive topic to study in Malta, which is a signatory to the United Nations Convention on the Rights of the Child. A team of researchers from the Centre for Resilience and Socio-Emotional Health (University of Malta), set out to explore the situation. They questioned: How do you settle into a new home and identity when you are still trying to figure out who you are and where you are from? 

Finding the voices

Children are often a silent group. When analysing the wellbeing or effect of migration on a population, they are usually spoken for by adults. For this study, however, Prof. Carmel Cefai and his team wanted the child’s voice as well. The scope of the study was ambitious; every single contactable, non-Maltese child living in Malta was invited to take part and share their experiences. But this was a challenge.

‘Identifying and obtaining access to foreign children from age zero to 18 was not easy… Some schools suffered from research fatigue and did not wish to participate; whilst translation of instruments and data and use of interpreters drained the limited budget we had for this project.’ Maltese children were contacted and invited to participate too. After all, they are as affected as anyone else when around one in ten of their schoolmates are not Maltese.

The study focused on four main areas; social interaction and inclusion, education, subjective wellbeing and resilience, and physical health and access to services. They covered the experiences of children up to 18 years of age, from various schools, who were either settled into their own family houses or still in open shetlers following a difficult journey to Malta. They also aimed for a balance in migrants’ nationalities; European, North American, African, Middle Eastern, or East Asian; as the experiences of each population are understandably different. Cefai and his team found that the experiences of migrant children in their everyday life are quite positive. In some areas, even more positive than those of Maltese children, with only 8% reporting difficulties in their psychological wellbeing compared to 10% in the native population. Overall, they found that migrant children feel safe, listened to, and cared for by the adults in their communities. Despite the language barriers, most feel like they have a support network, and enough friends though more often than not those friends are other foreign children, not Maltese.They are able to keep up at school, and generally do as well as their Maltese peers, with teachers reporting high levels of engagement.

Adapting to a new world

All is not rosy. Bullying in schools is quite common, though less frequent than that reported by native Maltese children. One in five migrant children also do not feel they have enough friends.

Younger children seem to be more included and engaged than secondary school ones, and in general females fared better in the study than male classmates. That said, age and gender weren’t the main influencers when it came to predicting how well the children engaged at school and in their communities. ‘The study suggests that there are different layers of reality, with the big picture hiding the socio-economic, psychological, and social difficulties encountered by a substantial minority,’ remarks Cefai.

Unsurprisingly, those who speak Maltese feel more engaged than those who don’t, and those who aren’t confident in English are in an even worse position. However, the factor producing the biggest differences between the overall wellbeing, health, and education of the children is their country of origin. ‘The health, wellbeing, and relative comfort enjoyed by many children of European economic migrants contrast sharply with the poverty, poor accommodation, psychological difficulties, learning difficulties, and experiences of discrimination of many children from Africa and the Middle East’, says Cefai. Western Europeans and American children scored highly over all criteria, whereas African and Middle Eastern children are far more likely to be lonely or suffering from social or economic difficulties.

They are more likely to be less proficient in English, which leads to difficulties in making friends with children from other cultures and which also contributes to problems in their education. Although they are generally nourished by their spiritual and religious communities, in all other areas these children report social and emotional difficulties and are also more likely to report facing prejudice and discrimination. Healthcare proved problematic; many parents and children worry that they are subjected to discrimination whilst using services, or do not have enough information to use them in the first place.

A land of opportunity

Despite the additional challenges that these particular migrant children face, the overriding feeling is one of acceptance and hope. Even children in open centres view Malta as a land of opportunity, even when some are in suboptimal housing and lack basic necessities. What children in open centres do not perceive is Malta as their home. Better living conditions in the community, more cultural  sensitivity, and openness to interculturalism may help to reduce the feeling of ‘us’ and ‘them’.

So what do Maltese children think? Again, the overall conclusions show that children are open, tolerant, and welcoming of this dramatic and quick rise in multiculturalism that has happened. However, on closer inspection, it seems that there is still a way to go before we can truly call ourselves an open and accepting society.

Relatively few Maltese children have many foreign friends, preferring to spend time with native peers. This hesitation is stronger in children who aren’t from a mixed community, whereas children in independent schools and more exposed to foreign children seem more at ease with the idea that the future might be even more multinational and intercultural. As many as one in three Maltese children also report feeling unsafe in culturally diverse communities, and worry about potential negative consequences of these changes in the future. There also appears to be particular prejudice against children from Africa and the Middle East in contrast to children from Europe, the US, Canada, and Australia.

What has become clear is that both foreign and native children could do with some reassurance. So what do Cefai and his team suggest we can work on to help everyone embrace this new culturally diverse reality?

A united future

‘[We need] to address the needs of marginalised and vulnerable children, particularly those coming from Africa and the Middle East’, says Cefai. There’s also a lot both populations could learn from each other; caring for their environment, sharing cultures, or even adopting healthier lifestyles. By encouraging more open and judgement-free spaces to play, learn, and share, we’ll take away the ‘us’ and ‘them’ ideology from a young age and replace it with one of acceptance, curiosity, and openness to new ideas. This will help prevent the dangerous spiral of segregation and ghettoisation, seen all over Europe.

Cefai suggests a space for more positive role models for those migrant children thrown into a foreign culture that doesn’t seem to have space for them. Having teachers, healthcare workers, or even political representatives who have similar backgrounds will foster this inclusive nature, showing that everyone has a voice when it comes to working together to make this country a home for all.

There’s work to be done with Maltese children. ‘Whilst it is encouraging that the majority hold positive attitudes towards interculturalism, it is worrying that as they grow older children’s attitudes tend to become less positive,’ says Cefai. ‘It’s our responsibility to ensure that educators, community leaders, and parents of Maltese children are part of a national initiative to embrace interculturalism.’

Although overall a positive study, Cefai and team have shown we still have a way to go until every child in Malta feels safe, happy, and at home. And in this ever-changing and diverse environment, Malta has real potential to be an example to its neighbours on how a successful multicultural society can work on every level. These children are our future. 

Beneath the Glow

In Malta, fireworks are the harbingers of summer, joy, and celebration. But news that their chemical leftovers are harming our environment and health cannot be blatantly pushed aside. How do we find the happy medium between heritage and safety? Gail Sant writes.

A child laughs with glee as she skips along a narrow rubble wall. Her mother raises an eyebrow—’Tilgħabx man-nar,’ she calls out. Translated, the saying that warns against ‘tempting fate’ also literally means ‘don’t play with fire’, ironic when one of Malta’s national pastimes is literally fire play—logħob tan-nar. Fireworks.

With around 35 known firework factories peppering Malta and Gozo, the tradition can be traced back to the Knights of St John. They used fireworks to celebrate important occasions such as the election of a new Pope or Grand Master, and so the display became rooted in our past and more recent history, evolving with time to become the complex artform that today wins Malta acclaim the world over. But there is more to the story. 

Studies have shown that there’s a dark side to this flashy spectacle. Some of the chemicals used to create fireworks are harmful, and as a result, each festa leaves behind residue which may be more dangerous than we think. 

To get a better idea of the situation, we interviewed two people on opposite ends of the fireworks operation: Mr Karl Rueth, a firework crafter, and Prof. Alfred Vella, an environmental chemist who has studied some of the effects fireworks leave behind after the party is over.

Fireworks and identity

Karl Reuth

Rueth is a Dingli, born and raised. Brought up in a village that celebrates one of the most widely recognised patrons on the island, the feast of St Mary, he grew up fascinated by the annual summer bonanzas. The fact that his friends and family were involved helped too. It surprised no one when he eventually picked up pyrotechnics as a pastime. It’s been three years now, and the novelty has not worn off. 

‘It’s an art form. It helps you express yourself, bringing out your unique ideas’, says Rueth.

The techniques involved, from developing specific colours to altering the shape of the blast, create a myriad of opportunities for self-expression. That said, Rueth swiftly adds, there’s much more to it: ‘It’s part of our culture. And not just for the village feasts. Every activity you care to mention involves fireworks.’

Think of events like Valletta 2018 or Isle of MTV; all of them make use of these colourful bombs to add energy and charm. ‘We advertise our island with imagery of fireworks,’ Rueth notes. And yes, a lot of press related to tourism and travel to Malta features fireworks. They create spectacles, ones which tourists appreciate and enjoy, and with tourism being one of our most important economic drivers, a glowing skyline and a free show does add value to our little island beyond the sun and sand. 

The issue Rueth points out himself is the one with noise. ‘Nowadays many people see fireworks as a nuisance. It’s a reality we can’t escape,’ he says, also admitting that unfortunately, there is no real solution for this. Many within the fireworks community believe the bang is as important as the colours. However, ‘it’s all about balance,’ says Rueth.

The other side of the coin

Prof. Alfred Vella

‘If I had to live through a summer where not a single bang would be heard, Malta would have truly lost a part of its identity,’ says Vella the minute we sit down to talk about the phenomenon of fireworks on the island.

Thinking back to his time living in the US, Vella laughs, remembering how it felt a little ‘too quiet’. 

Much like Sunday School’s bells, a firework’s distant boom is something we’ve grown accustomed to, a background noise. However, the comfort that comes with those chimes, flashes, and bangs hasn’t blinded him to their negative side-effects. 

Vella says that one of the biggest environmental impacts fireworks have is the sheer amount of dust they leave behind. This particulate matter in the air causes many health problems, including respiratory issues such as lung inflammation, while exacerbating others like asthma. Respiratory diseases account for 1 in every 10 deaths in Malta, placing them as one of our biggest killers.

Not only does this dust fall in excessive quantity, it also contains chemicals which are either toxic or which, though initially inert, become toxic once they’re burned. ‘What we were putting in those explosives was remaining around unexploded or in the form of its products,’ Vella emphasises. 

Antimony, the chemical used to create a glitter effect, changes into antimony oxide, a known carcinogen, when burned in air. Heavy metals that are used to add colour to the explosion include barium. Accumulation of barium in the body can lead to muscle paralysis, gastrointestinal hemorrhage, and even death.

Finally, Vella moves on to the main player in his research—potassium perchlorate. This chemical is a key ingredient for successful blasts. His studies suggest that a significant amount of perchlorate remains unused after the explosion, settling on our island, both outdoors and indoors. His findings show that the amount of perchlorate dust found indoors is almost twice the amount of China’s indoor dust. China. The pioneering country that invented fireworks back in the ninth century is also the country that banned their use in its capital city during the 2018 new year celebrations in an attempt to fight off air pollution.

Related research has also shown that perchlorate can interfere with thyroid function. Currently, there aren’t any studies which link the two together locally, but knowing that there’s an excessive amount of this chemical all over our environment isn’t great news. ‘Why should we have to live side by side with a chemical which is totally alien to our environment?’ Vella asks.

Finding balance

Although Rueth and Vella have different ideas of what fireworks mean to them, they both agree that some sort of compromise is needed.

‘You need to understand where people are coming from’, says Rueth, adding that for some, noise pollution lasts the whole summer, not just a week. As for their chemical effects, he’s ‘sure that some harm is caused.’ However, he also believes that more research would be beneficial, helping us to understand the topic better. To him, this is not a matter of ‘us against them,’ but about finding a way to make fireworks safe and enjoyable for everyone. 

On that note of safety, Vella thinks that ‘it’s high time that we control fireworks through making perchlorate a controlled chemical.’ At the moment, of the three main oxidising agents used to make fireworks, perchlorate is the only one which doesn’t require permits. 

Despite bad media framing, Vella takes a moment to emphasise that he doesn’t want an outright ban on fireworks. ‘For better or for worse, it is part of who we are’.

At the end of the day, few people can deny that the visuals fireworks give us are mesmerising. But we also need to acknowledge the science. ‘Much like alcohol consumption, a little of it is probably not all that damaging. We can tolerate a small impact of fireworks because of the benefits they give us,’ says Vella. But we cannot go through life drunk. Just like everything else, moderation is key.   

Politics with a small ‘p’

Dù Theatre are back on stage after an absence of four years. Founder Simone Spiteri speaks to  THINK about her newly penned play Repubblika Immakulata co-produced by Spazju Kreattiv, the influences that motivated her to write it, and the importance of using daily language on stage. Words by Franica Pulis. 
Simone Spiteri

Repubblika Immakulata revolves around a Maltese family trying to cope, or not, with being involved in a general election, wedding, and local feast all on the same day. 

Premju Francis Ebejer winner Simone Spiteri (visiting lecturer, School of Performing Arts) wrote, and is directing, the satirical comedy as an exploration into Maltese identity and the climate of current affairs. 

‘So is it about political parties?’ is usually the first question most people blurt out when I’m only a quarter into explaining what Repubblika Immakulata is about,’ Spiteri says. But there is more. ‘The play tries to examine our relationship, locally, to straightforward politics drenched in election fever. But that is only part of the whole. The undeniable can’t be ignored. To say we are a country that is not affected, polarised, brainwashed even, by partisan politics would be a straight out lie. However, isn’t everything else that governs the rest of our lives another type of politics too? Don’t we all form part of smaller communities, and even smaller, family (or similar) units?’ she adds.

In the early days, Spiteri’s focus was always the people rather than the issues at hand. She was also very interested in exploring language. 

‘It was a time when most plays in Maltese didn’t tap into the mundanity of how we speak, how we sound, how we behave around each other. I was particularly interested in dissecting naturalistic dialogue. Code-switching from Maltese to English was not something you’d see characters do in most local plays,’ Spiteri points out.

‘I wanted to explore how the understated, rather than the epic and dramatic, worked in our mother tongue on stage and how audiences reacted to that. It was, relatively, a most welcomed effort. Not without the odd purist decrying the meshing of two languages in such a vernacular manner.’ 

   

Then, unexpectedly, came five years of writing commissioned plays for young people. It was not something Spiteri thought she could or wanted to do, but it was a challenge that ushered in a new way of thinking about writing. She describes it as a process that demands a thick skin. Young audiences were the toughest to please, she notes. The task demanded her to be exact, precise, and concise.

‘During these years, the niggling thought of going back to writing for an adult audience started bothering me. I didn’t feel the pull to write for pleasure. It felt more like the need to write to purge,’ Spiteri says.

‘There was plenty to write about. Perhaps that was the problem. All I had to do was read the daily papers or scroll through the latest bully-xenophobic-troll infested comment board online.’

‘Or eavesdrop everywhere on conversations between usually sensible individuals parroting away ‘facts’ straight out of a politician (of choice)’s mouth. Or take a stroll anywhere and witness every last speck of green on this tiny rock being gobbled up. Or observe everyone treat one other with some level of impatience, inconsideration, inhumanity. All I had to do was sit somehow and watch this fast-paced, technologically disconnected world pass by… and try to make sense of it.’

Spiteri reports this time in her life as one fraught with frustration, anger, and cynicism. The raw material was there, but moulding it into a play was proving a challenge. ‘I tried a few times, hated the attempt, and threw it away,’ she admits. ‘Then, last summer, the central character of Anon (portrayed by Andrè Agius) somehow popped into my mind and immediately all the disconnected loose ends clicked together.’ 

Anon (portrayed by Andrè Agius)

‘Here was my pivot to this rapid, sometimes nausea-inducing, merry-go-round. This character, who I didn’t want to define as anything but a voice, who speaks in the play, but you’re not sure is ever heard. Who speaks with authority one minute, but doubts that very same veracity a moment later. Who can be anyone… and no one at the same time. Who, by being there, is a blank canvas for us, upon which we project all those layers of beliefs, self-perceptions, subjective experiences of failure and success as a country, all the divergences of our multifaceted identity,’ Spiteri adds.

That’s how Repubblika Immakulata came to be. But that is not where the writing ends. Currently there is a new writing phase during which the actors imbue the script with their own interpretations during rehearsals. Then, there is the final act of writing: the process of each audience member looking into the metaphoric mirror the theatre stage should always be.  

Note: Repubblika Immakulata will be performed at Spazju Kreattiv, Valletta in March and April. For more information and tickets visit: www.kreattivita.org/en/event/repubblika-immakulata/

Safe haven?

Dr Trevor Borg

Some refer to the Venice Biennale as the pinnacle of the international art world. Last year, feathers were flurried by the Maltese delegation and their representation of Maltese identity. This year, the works question a specific part of the Maltese narrative. 

‘We are working around the theme of MALETH,’ says Dr Trevor Borg, artist, curator, and University of Malta lecturer. Maleth refers to the ancient word for Malta. ‘It is also called HAVEN and SAFE PORT.’ These were all terms used in reference to Malta over the centuries. But is our island really that? This is the question being tackled by Borg and his colleagues. 

Immigration has been a critical issue in recent years, creating an inflammatory divide in Malta. Borg is using the first immigrants, the animals that travelled to Malta during the ice age, to make his point. ‘They travelled here because of the heat our island provided and the food that came with it. But as the ice in the North started to melt, sea level rose and they were unable to return.’

What is the relation between an (apparent) safe haven and a heterotopia? Here, heterotopia refers to Michel Foucault‘s notion of the ‘other place’. Heterotopias are described as ‘worlds within worlds’, connecting different places. They are places that constitute multiple layers of meaning, that accumulate time, that can be both real and unreal.

To represent this visually, Borg is going to create an archaeological find with hundreds of objects from history. Animal remains will feature, as will unusual artefacts and other strange finds. Borg was inspired by Ghar Dalam and used it as a starting point, but this work is not about history. ‘My work begins at the cave. But I will then leave the cave behind and delve into a distant world that never was! The work responds to fabricated histories, museological conventions, historical interpretations, and hypothetical authenticity. It is based on pseudo-archaeological objects and imaginary narratives,’ he explains. 

Collaborating on this work, bringing the artefacts to life is Dr Ing. Emmanuel Francalanza (Faculty of Engineering). The process began at the National History museum in Mdina. ‘Together we selected and scanned a number of animal bones from their archives,’ Francalanza says. This included femurs, teeth, and skulls among others. ‘I then supported Trevor in reconstructing the 3D model and preparing it for printing.’ 

For Francalanza, this was a chance to apply engineering technologies in new ways, to allow artists to express themselves. But not just. ‘At the same time, this opportunity provides us engineers and scientists with an avenue to explore concepts and even utilise thinking patterns which are not traditionally associated with our disciplines. It helps us be more creative and open to innovative practices.’ 

Working together, Borg and Francalanza are blurring the lines between what is real and what is fake. By recreating the original artefacts in such a way that a viewer cannot determine whether what is being seen is authentic, the project is poignant commentary for the post-truth era we are living in. 

What’s lurking on your lunch?

In our modern, fast-paced lives, more of us are turning to convenient ready-to-eat meals. But with short shelf lives and high demand, food safety tests just aren’t quick enough anymore. Dr Sholeem Griffin tells Becky Catrin Jones how an innovative collaboration between microbiology and computing is tackling this challenge.

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The Maltese Time Machine: Magna Żmien

As I write this article, a box full of 8mm film has just been delivered to our studio. On these tapes is local home footage featuring carnival celebrations from the 1960s, a visit by the UK’s Queen Elizabeth II, and an assorted series of family events recorded around the Maltese Islands. These films are valuable historical records opening a window onto the unfiltered and uncensored perspective of Maltese citizens.  Magna Żmien is a Valletta 2018 project coordinated by artistic director Andrew Alamango and a collective of like-minded individuals. The purpose of the project is to collect and preserve historic Maltese content recorded on home sound, image, and video equipment over the past century. Left neglected, these personal documents containing evidence of Malta’s changing landscapes—physical, social, and political—might have been lost and forgotten. Instead, the team is reusing them, reinterpreting them through art. 

Armchair Voyager Wistin (Jacob Piccinino)

The move to digitise and make available fading analogue memories is physically manifested through ‘The Magnificent Memory Machine’—the Kapsula Merill, designed and built by Matthew Pandolfino, Andre Vujicic and Late Interactive. In the driver’s seat is Armchair Voyager Wistin (Jacob Piccinino). Behind the scenes is the professional studio that makes it all happen, digitising open reel tapes, audio cassettes, vinyl, Super 8 and 8mm film, photographs, negatives, and slides at high resolution. Since February 2018, we have digitised over 2,000 items from 51 different donors, in addition to receiving a further 600 digital files from private collections.

An eager viewer going back in time!

The collected material has many stories to tell. Our performance events throughout 2018, including at Science and the City and Malta Café Scientifique, only scratch the surface when it comes to the sheer volume of material we have been allowed to copy by donors. 

One thing we often encounter is the personal voice message—greetings between diasporic Maltese. Dating back to the 1950s, these appear most frequently on open reel and audio cassette tape, but also on special vinyl discs. One particular recording is by a man named Charlie who recorded his message in a Calibre booth on a platform at London Waterloo station. In the message, Charlie sends wishes to his family and regales them with tales of all the football matches he is attending, one of which he is particularly excited about: England vs East Germany. Some minor detective work has revealed that this recording was made on 24 November 1970 when England beat East Germany three goals to one. 

Messages such as these may seem inconsequential, but of all the voice recordings we have heard, they are perhaps among the most honest. Recorded in a busy, alien environment under strict time constraints, the speakers didn’t have the luxury of retakes before their voices were forever fixed on vinyl. 

Magna Żmien will continue to collect sounds, images, and videos like these, and present its research in innovative contexts beyond 2018. We want to continue engaging citizens in the technical and cultural components at the heart of our project. Agreements are also underway to establish a formal association between Magna Żmien and the National Archives, ensuring the longevity of this material as public documents are accessible to all. What we collect, after all, belongs to the Maltese people at home and abroad. The recordings contain an essence of our national identity that cannot and should not be lost.  

For more, visit: www.magnazmien.com 

Author: Andrew Pace for the Valletta 2018 Foundation

The time for contemporary art is now!

Many feel that our country is changing at an unprecedented rate. Some would even say that it has become unrecognisable. Valletta Contemporary’s Dr Joanna Delia writes about the growing appreciation for contemporary art in Malta.

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Grassroot legacy

Capitals of Culture want legacy. Wrocław 2016 established a microgrant system for small operators that is still in place. Aarhus 2017 combined qualitative and quantitative methods to evaluate a city’s cultural sustainability. Valletta 2018 wants to leave behind a vibrant grassroots movement actively shaping the country’s cultural policy. Rachel Baldacchino speaks to Szilvia Nagy to find out how this is possible…

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A scientist and a linguist board a helicopter…

Amanda Mathieson

A scientist and a linguist board a helicopter, and the scientist says to the linguist, ‘What is the cornerstone of civilisation, science or language?’ It might sound like the opening line of a joke, but it’s actually from the opening sequence of the film Arrival (2016). In the film, aliens have landed on our doorstep, and our scientist and linguist have been chosen as suitable emissaries to establish contact. The scientist, perhaps wishing to size up his new colleague, then poses the question. Whose field has been more important to the advancement of the human race? Science or language? 

In reality, they are both wrong (or both half-right). It is true that language was necessary for us to organise as a species, forming complex networks of cooperation over vast distances and time. Without specialising our efforts and collaborating, we could not have built our great structures, supported large communities, or migrated over all continents. Yet, without science, without improving our understanding of the natural world, we would still be at its mercy. 

Science is the tool we use to change circumstance. When populations are dying from an infectious disease, we create a vaccine. When we’re unable to grow enough food to support ourselves, we develop a better strain of crop. When we struggle to transport materials over great distances, we create machines that will do it for us. Science is our secret weapon, transforming problems into possibilities. However, science alone means little. If innovation dies with its creator, who does it help? Science must be communicated to others before it can make a difference in any meaningful way. 

It would be incomplete to bestow language or science with the title of ‘the cornerstone of civilisation.’ It was science communication that really drove our development. And I don’t just mean this in the external sense. After all, is the transfer of genetic information from one generation to the next not science communication? What are we but a biological game of Chinese Whispers, the message mutating through each host but somehow continuing to make sense over millions of years? 

The human race not only benefits greatly from science communication; we are the product of it. It is embedded into our biological and cultural history. Proof that it is not just knowledge but the sharing of knowledge that is the real root of power. 

Hopefully the aliens agree.   

Author: Amanda Mathieson

Openness: The case of the Valletta Design Cluster

Valletta should be a unique experience, open to all. This is Valletta 2018’s key vision for the bustling capital. A group of people focused on making this a reality is the Valletta Design Cluster team. Located at the Old Abattoir site in Valletta, the initiative is going to create a community space for cultural and creative practice. Words by Caldon Mercieca.

According to Anna Wicher from the PDR International Centre for Design and Research, design is ‘an approach to problem-solving that can be applied across the private and public sectors to drive innovation in products, services, society and even policy-making by putting people first.’ This people-centred approach to design is not just a theoretical framework, but a concrete method that engages people in a co-creative process. 

By bringing together people active in the cultural and social spheres, we want to have a concrete and meaningful impact on Malta’s diverse communities. We aim to provide support for students, start-ups, and creative enterprises and give social groups the necessary tools to empower those with different interests who nonetheless share the common purpose of using creativity for the social good. We also want to provide a new networking space for everyone. From students, to cultural and creative professionals, to residents, budding businesses and civil society groups, everyone will be welcomed at the Valletta Design Cluster.  

This philosophy of openness and diversity is one that has permeated every aspect of the project from the very beginning. Over the past three years, we have consulted with residents, students, schools, higher education institutions, artists, makers, and creatives to build the vision for the space. A range of public and independent organisations are also contributing to the project, providing both expertise and generous support. 

Work in progress at the Valetta Design Cluster

Thanks to the support from the European Regional Development Fund, the physical space for the Cluster as well as the urban public spaces around it are currently undergoing serious regeneration. Once finished, the Cluster will have a range of facilities, which were decided on following consultation with potential users. It will include a makerspace, coworking spaces, studios, a food-space, several meeting rooms and conference facilities, an exhibition space, and a public roof garden. All of these facilities have benefitted from input contributed by various potential users, by residents, and by organisations that have been interacting regularly with the team working on the Valletta Design Cluster. 

We believe that a community can only truly reach its potential when it opens itself up to collaborations which share a common goal. This does not mean turning a blind eye to the challenges faced by the community on a daily basis, or to the ever-evolving scenario that surrounds it, but rather cultivating a readiness to learn, an aptitude to develop networks built on trust, and a capacity to address problems with a practical, positive, can-do attitude. 

One valuable experience we are developing with our community stakeholders is Design4DCity. This annual initiative, which the Valletta Design Cluster team started back in 2016, sees creatives, residents, and local authorities joining forces to rework and improve a public space. We worked with the Valletta community in 2016, and continued with the Birżebbuġa community in 2017. In 2018 we plan to work again in Birżebbuġa as well as in Siġġiewi, and will involve children and young people in our public space projects. Such initiatives are providing very important insights into the application of collaborative, co-creative approaches involving multiple stakeholders. 

But the work of the Valletta Design Cluster is not restricted to the restoration or transformation of space. For the past three years, we have collaborated with the Malta Robotics Olympiad, teaming up with artistic curators and student organisations from the University of Malta (UM) to design and construct the pavilion for Valletta 2018. By the end of the project, participants had constructed a fully-recyclable 300 square meter pavilion and presented it to the public. This year we also supported SACES, the architecture students’ association at the UM, through a number of design and construction workshops. Branching out, we have done work with a number of creatives from various backgrounds in projects involving video-capture, artifact-curation, narrative development linked to cultural identities, and flexible use of available space through appropriately constructed spatial modules. 

Several workshops have also been held where project stakeholders were fully involved in training sessions, with the aim of building skills in user-centred design, applied to specific contexts. This meant interacting with students, researchers, creatives, residents, and organisations in developing what the Cluster can offer. One tool used in this process is the construction of a user persona, where the characteristics, interests and concerns of the user are gathered through interaction with potential users of a service. Students from a number of faculties have also provided their input in this process through dedicated workshops at the UM.

They also stressed that the Cluster needed to serve as a catalyst for networking and for strengthening entrepreneurial skills for people working in the creative sector.

All of this has become possible thanks to continuous collaboration and international networks which have contributed their resources to our projects. To assist us in this, the Valletta 2018 Foundation has joined Design4Innovation, an Interreg Europe project bringing together eight European countries all working towards using design to benefit society. 

While we have been on the receiving end of a lot of support, translating our philosophy of openness into practice involved an element of risk. During a series of tours that we organised on site for potential users of the Cluster, we had to be open to various views and perspectives about what the Cluster could be. Participants highlighted issues related to accessibility and affordability as key concerns. They also stressed that the Cluster needed to serve as a catalyst for networking and for strengthening entrepreneurial skills for people working in the creative sector. In some cases, we had to revisit some of our plans and open new discussions with the architects to made adjustments. On other occasions, we called people in again to discuss their ideas further and see how we could integrate their suggestions into our vision. 

Although we speak of cultural and creative industries, we should realise that the average number of people working in any single company is two. Indeed, 40% of designers in Malta are actually freelancers. The challenge for the Valletta Design Cluster here is to ensure flexibility and adaptability both in the physical infrastructure as well as the management of the Cluster. In this way, we can make the facility relevant for our users’ current needs, as well as cater to future ones. 

The next stage in understanding our community of potential users better is to work together on the creation of a Design Action Plan. The Design Action Plan will highlight concrete actions to be undertaken by the Cluster during the first three years of its operation. It will serve as the main reference tool to structure the Valletta Design Cluster’s interaction with its community of users, practitioners, enterprises, and beneficiaries. Based on this open process, the Valletta Design Cluster aims at establishing itself as a new community-driven platform for cultural and creative practice in Malta.  

Author: Caldon Mercieca