First May 2018

MAY 2018

POLITICIANS: THEIR MOTHERS AND MOTHERHOOD BRIKKUNI, BRODU, THE TRAVELLERS, PLATO’S DREAM MACHINE: SONGWRITING IN THE MALTESE LANGUAGE ME AND FIBROMYALGIA AWARENESS MONTH

Editor’s note

ur fashion feature this month is called Colour Power and I can’t help but feel that this describes the feel of May. If there is one good thing about being stuck in traffic in May, as opposed to being stuck in traffic in June or March, it is the colourful flowered trees that are popping out of unexpected places in full bloom, in the heart of spring. I was driving in Marsa the other day and came across an area of murky water surrounded by about eight brightly-coloured floweredtrees making the otherwise dirty spot come alive. This, albeit a small example, says a lot about the impact of the presence of trees and nature in general. It is especially imporant in a place which is ever-increasing in construction dust, cars, tall apartment blocks, and everything thing else which is perhaps the counter opposite of a tree. Besides the fashion feature, the theme of colour finds itself popping up throughout other articles in this issue. We speak to artist Marie Louise Kold about her new exhibition EX LIBRIS at the Bibliotheca. She fell in love at first sight with the ever-changing colours that emerge from working with metals, and consequently based her whole practice on that. Colour is also central to one of the latest Mizzi Studio creations which we look at on page 49; a structure built around the colour-throwing Holi festival activity. Meanwhile, in contrast, old black and white family photos from the albums of three female politicians add to our Inside feature, where we speak to Justyne Caruana, Therese Comodini Cachia and Marlene Farrugia about their mothers and motherhood. In the spotlight this month is ME and Fibromyalgia; invisible disabilities which sometimes do not even allow the person suffering from them to get out of bed in the morning, let alone manage a full-time job. On page 46 we speak to two young people who live and struggle with the unrecognised disability on a daily basis. Also, don’t miss our article on page 37, where we speak to songwriters from some of Malta’s best bands about singing and writing in the Maltese language. Hope you enjoy the issue, until next month!

JOANNA DEMARCO Editor

Editor Joanna Demarco jdemarco@independent.com.mt Advertising Manager Sean Ellul sellul@independent.com.mt Designer Conrad Bondin cbondin@independent.com.mt Production manager Andre Camilleri acamilleri@independent.com.mt Publisher Standard Publications, Standard House, Birkikara Hill, St Julian’s. Tel: 00356-2134-5888 Printer Print it E-mail first@independent.com.mt Online www.independent.com.mt Facebook firstmagazine. Cover details: Styling: Dorianne Mamo from www.askdorianne.com. Photography: Matthew B Spiteri. Hair: Vanusia Hairdesign. Make-up: Amanda Greaves. Models: Maria from Models M. Clothes and accessories: Marks&Spencer Valletta and Sliema, Porto Portomaso Shopping Complex, St Julian’s. First is published as a complimentary magazine with The Malta Independent on Sunday and is not to be sold separately.

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Contributors

ANN DINGLI Ann is an art and design writer who moves back and forth between Malta, London and New York. She runs I think I like it – a blog that discusses art, architecture and design in a frank and relatable way. www.anndingli.com www.think-like-it.com

DORIANNE MAMO Dorianne is a content creator and a fashion stylist. She’s interested in all things fashion, travel and beauty and blogs on whatever she finds intriguing on www.askdorianne.com

MATTHEW SPITERI Matthew Spiteri is a local, award-winning fashion photographer. Find him on his ‘Matthew B Spiteri photographer’ Facebook page.

SARAH CHIRCOP Sarah is a writer whose interests and work revolve around visual arts, film and culture. Her approach is one rooted in dialogue, and she is fascinated by the interdisciplinary nature of art.

MEDITERRANEAN CULINARY ACADEMY A culinary academy for home cooks and culinary enthusiasts who want to expand their knowledge of food and cooking in a holistic and sustainable way.

Follow us on Instagram @firstmagazinemalta Want to be a contributor? Email us on first@independent.com.mt

CONTENTS [ MAY ISSUE 201 8 ]

10.

CONVERSATION WITH

26.

FASHION

46.

AWARENESS

55.

Colour Power

A closer look at the lives of Fibromyalgia and ME sufferers in Malta

Risette

Chris Hammett

13.

INSIDE

Justyne Caruana, Therese Comodini Cachia and Marlene Farrugia speak about their mothers and motherhood

37.

MUSIC

Singing and songwriting in the Maltese language

ARCHITECTURE Mizzi Studio’s tribal hut design in Rajasthan

40.

ART

Marie Louise Kold on her current exhibition at the Bibliotheca

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49. 52.

RECIPE

Baklava with clotted yoghurt and crushed pistachio

EATING OUT

58.

VALLETTA Interview with artist behind Hekk Jghid il-Malti temporary installations

62.

VALLETTA V18 Photography exhibition Street

INTERVIEW

CONVERSATION WITH Chris Hammett

CHRIS HAMMETT IS A 24-TIME AWARD WINNING CHEF AND RESTAURATEUR. AFTER SPENDING NEARLY A DECADE AT THE VILLA BUILDING A REPUTATION FOR FINE DINING, EVENTS & UNIQUE CULINARY CONCEPTS, HE HAS RECENTLY LAUNCHED HAMMETT’S COLLECTION WHICH COMPRISES OF HAMMETT'S MACINA RESTAURANT, THE SHEER BASTION AND HAMMETT'S GASTRO BAR.

Interview by Joanna Demarco Photography by Baskal Mallia YOU HAVE LAUNCHED SOME BIG PROJECTS OVER THE PAST FEW MONTHS. HOW DID THAT FEEL? WHAT WERE THE MAIN HIGHLIGHTS FOR YOU? It’s been a whirlwind! It always begins with seeking inspiration. For me that normally involves eating at a number of restaurants in London, or cooking duck 12 different ways or even sampling crockery. When it comes to food I like to try different things, explore different flavours, textures and combinations. This fuelled the development of our core restaurant concept. Hammett’s Gastro Bar is the first place I opened after the Villa and where I was able to really express my personality both in food and the dining experience. It is all about being able to taste a variety of dishes through a sharing plates approach which to me, is very familiar and stems from the Mediterranean spirit. I believe that sharing food encourages familiarity and conversation with the people around you ultimately creating the perfect dining experience- a social gathering, an electric atmosphere and superb food. Hammett’s Maċina Restaurant also focuses on a tasting concept, however in a completely different presentation. The environment is more formal, more refined and this is matched in the food presentation and service style. The highlights have been seeing ideas come to life, building novelty dining concepts and watching the development in all areas ranging from kitchen experimentation to restaurant design. All of this culminates in the most rewarding part- seeing patrons experiencing what we have made.

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IN YOUR OPINION, WHAT MAKES AN UNFORGETTABLE DINING EXPERIENCE? Sometimes, you have a bottle of wine and have a great experience in all things food, company and ambience. This bottle of wine becomes a favourite not because it’s the best, but really because of the experience you associate with it. What does it boil down to? I think it’s a perfect mix of your mood, the people you are with, general ambience and the food. WHAT DOES THE REST OF 2018 LOOK LIKE FOR YOU? Very busy. We are an extremely ambitious company... Besides looking to grow, our biggest priority is to continue to make what we have better. We are a quality driven company and will always strive for excellence and novelty in experiences. (APART FROM YOUR RESTAURANTS) WHERE IS ONE OF YOUR FAVOURITE PLACES TO DINE LOCALLY? WHY? Besides my wife’s food or a BBQ with the family, nothing beats a good Fenkata in Mgarr. My four boys all under the age of five, all approve of the Maltese classic bowl of snails followed by braised rabbit. There’s always a fight over who gets the last piece of Maltese bread dipped in scrumptious rabbit gravy. Again, the company and atmosphere adds to the whole experience for me. WHAT IS THE BEST ADVICE YOU HAVE EVER RECEIVED? I am lucky to have a great network of support through my family, friends and skilled colleagues who give me top advice on a dayto-day basis but the best advice I think has been to be emotionally intelligent and empathetic in every situation. Not forgetting of course - a happy wife, happy life!

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INSIDE

Justyne in her mother’s arms

THE MOTHER BEHIND THE MOTHER In light of May being the designated month for mothers, First spoke to three female Members of Parliament from different political parties about their mothers and motherhood. Interview by Joanna Demarco

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INSIDE

“THE IMPACT OF POLITICS ON MOTHERHOOD IS MUCH MORE DIFFICULT. NOT ONLY WITH REGARDS TO TIME MANAGEMENT BUT ALSO FURTHER PROTECTION.” JUSTYNE CARUANA (LABOUR PARTY) CAN YOU TELL US ABOUT YOUR MOTHER IN A FEW SENTENCES? My mother nearly died in order to give birth to me, and that says it all. She is my rock and my role model, so strong and determined and always putting family needs first. She is an artist, a perfectionist and beautiful both inside and out – she is simply perfect and always there for me. WHAT IS THE MOST VALUABLE LESSON THAT YOUR MOTHER TAUGHT YOU? To be a good listener, to respect, love and be compassionate, to keep strong, to never give up and fight for what is right and for what I believe in. ONE THING/OBJECT/SMELL/MEMORY WHICH YOU ASSOCIATE WITH YOUR MOTHER? She smells of roses. DID SHE INFLUENCE YOUR DECISION TO BECOME A POLITICIAN AND IF YES, HOW? No she did not – in fact she had suffered because of politics and wanted to protect me from it. In return, this motivated me to enter politics and, once I took the decision, she fully supported me and still does in every possible way.

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HOW WOULD YOU DESCRIBE MOTHERHOOD? Motherhood makes me truly a person for others, experiencing what it means to love my children beyond imagination and to live for them. HOW MANY CHILDREN DO YOU HAVE AND HOW OLD ARE THEY? Josephine, who is 10, and Jean, who is seven, without ever forgetting the first two who never saw light. BEING A MOTHER, WHAT SKILLS ARE NECESSARY THROUGHOUT MOTHERHOOD? With my children: to be a good negotiator in that we learn that everything we do can either earn rewards or face consequences. Listening and understanding skills make things easy and fun. HOW DOES BEING A MOTHER IMPACT ON YOUR ROLE AS A POLITICIAN? I was elected to Parliament before I was married and had my children, and motherhood matured me and made me more sensitive and receptive to family and children issues. So the effect was very positive. However, the impact of politics on motherhood is much more difficult, not only with regard to time management but also the need for further protection due to the fact that our children are exposed and hurt simply because they are the daughters and sons of women and men who are in the public eye while serving their country and people.▶

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INSIDE

“EVERY DAY I LEARN SOMETHING FROM MY DAUGHTER ABOUT LIFE ITSELF.” DID YOUR MUM INFLUENCE YOUR DECISION TO BECOME A POLITICIAN? IF YES, HOW? Not directly, in that she did not tell me to go for it or not. But at the same time both my parents influenced this decision a lot because growing up they always told me that being a girl did not limit me in life choices. When I told my parents that I was to be a candidate for the Partit Nazzjonalista, my mother’s reply was: “Ok, tell me what help you need from me.” HOW WOULD YOU DESCRIBE MOTHERHOOD? It is a beautiful daily experience. Every day I learn something from my daughter about life itself. Motherhood also means strength to me. Having a daughter gives me a lot of strength of character. HOW MANY CHILDREN DO YOU HAVE AND HOW OLD ARE THEY? I have one daughter who is 10 years old.

Therese in her mother’s arms

THERESE COMODINI CACHIA (NATIONALIST PARTY) CAN YOU TELL US ABOUT YOUR MOTHER IN A FEW SENTENCES? She can drive me up the wall in a few seconds but I couldn’t live without her. This is because we have very different characters. I tend to question life much more than mum does. But she is also the person who has continuously supported me in life, irrespective of whether or not I decided as she would have preferred me to decide – whatever decisions I make in life. WHAT IS THE MOST VALUABLE LESSON THAT YOUR MOTHER TAUGHT YOU? To get out there and live life. Mum was brought up with all the limitations society placed on women but, together with my father, they made sure I was brought up without these social limitations and always encouraged me to be myself, irrespective of whether I was female or male. ONE THING/OBJECT/SMELL/MEMORY WHICH YOU ASSOCIATE WITH YOUR MOTHER? Mum has a small cabinet full of stuff from before she was married and from the early years of her marriage. There is an old bottle of perfume in a beautiful box. I found this when I was a young girl and this box and the bottle fascinated me. My mum told me that it is actually a very old perfume bottle from before she was married. I think it is also a memory of her own mother. She also has a pair of old evening shoes which she had worn to a special family occasion. This small cabinet is still a fascination to me.

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BEING A MOTHER, WHAT SKILLS ARE NECESSARY THROUGHOUT MOTHERHOOD? Hmmm – give me an exhaustive list of skills and I will say that you need them all, each one at different moments. Having a daughter means I have a person with her own character, personality, abilities, wants and wishes which are intertwined with my own life. I think of my daughter not as my extension, but as an individual with her own character and mind. HOW DOES BEING A MOTHER IMPACT ON YOUR ROLE AS A POLITICIAN? Being a mother strengthens my resolve to make decisions which I can live with, without regret. It also makes me search out different positions and decide only after having done so. My daughter is very judgmental when it comes to decisions taken by politicians. She has her own thoughts of what we should be doing and how we should administer the country and she wants to give her reaction to issues that are being discussed in public.▶

INSIDE

Young Marlene with her family

“MY MUM ALWAYS INSISTED THAT COMPLAINING ABOUT ISSUES, SITUATIONS AND CIRCUMSTANCES, WON’T GET US ANYWHERE.”

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MARLENE FARRUGIA (DEMOCRATIC PARTY) CAN YOU TELL US ABOUT YOUR MOTHER IN A FEW SENTENCES? My mum is a no-nonsense, very well-organised, disciplined and determined woman. She was born in an air-raid shelter in 1941 into a family of 12 siblings. She is one of the eldest. She lived in Zurrieq, a place full of fishermen and farmers. Her father was in the army and her mother ran her own little grocery shop. She was the only one of her siblings to receive a formal secondary education, and sit and pass her ‘O’ levels. She worked at Bim Ltd as a secretary but worked overtime on the steel furniture making machines. She stopped working after she was married, but

INSIDE

worked as a seamstress from home and as supervisor in various factories on and off, whenever family finances required her more regular input. Her last job was as a housekeeper at Qawra Palace Hotel, which she left to take care of me and my sister’s children. She married my dad, (her childhood boyfriend from the same village) when she was just 20, and had three girls whom she encouraged to get a tertiary and posttertiary education, because (as she would say) ‘they can take many things from you, but they cannot take your education’. WHAT IS THE MOST VALUABLE LESSON THAT YOUR MOTHER TAUGHT YOU? She encouraged us to be free thinkers and independent women. My mum was always active in politics at local, district and party level. She always insisted that complaining about issues, situations and circumstances wouldn’t get us anywhere. Working hard to bring about the necessary change and making it happen is what we should do. She saw political activism and participation as a very effective instrument and one which, if properly used, can propel change in the required direction. My mum was present and a front-liner in the 1958 riots and at all Mintoff ’s mass meetings. In the last election she attended a couple of the Forza Nazzjonali mass meetings. So yes, her interest in politics did rub off on me. We clashed big time in the 1980s but she later understood me better. She taught me that where there is a will there is a way, that my battles were mine to fight and that I should stand up for myself (“if you come home and tell me you were beaten up at school, I will beat you up myself ”). She injected me with the book bug, insisted that laziness is the root of all evil, (min jorqod ma jaqbadx hut) and that I will only have one chance to sit for my ‘O’ levels and she would not pay for them again – teaching me to shoulder full responsibility for my decisions and do away with any possible presumptuousness.

and at times very difficult, circumstances. Still it was/is the happiest, most rewarding aspect of my life. I always made it a point to provide the best stability and happiness I could for my children. HOW MANY CHILDREN DO YOU HAVE AND HOW OLD ARE THEY? I have three children, two daughters aged 20 and 30 and a son aged 27: Marija, Jenny and Gregory. BEING A MOTHER, WHAT SKILLS ARE NECESSARY THROUGHOUT MOTHERHOOD? Skills necessary for motherhood are endurance, preparedness for hard work and sacrifice, the ability to give and receive love and infinite patience. HOW DOES BEING A MOTHER IMPACT ON YOUR ROLE AS A POLITICIAN? Being a mother helps me understand much better how the minutest political decision/activity done, undone, overdone, postponed — indeed, how ill or well-used political action — can have the biggest, most lifechanging effect on any of us, from birth until death. Being a mum equips me very well with the emotional intelligence so crucial to our very often bereft-of-human-feelings, cold-blooded political decision-making. Once a mother, always a mother – whether you are a dentist, a politician, an entrepreneur... Having children and raising a family is the most enriching education. It enables you to practice a vocation, a profession, politics, in the most complete and fulfilling way.

ONE THING/OBJECT/SMELL/MEMORY WHICH YOU ASSOCIATE WITH YOUR MOTHER? When mum was at home there would be the fragrance of delicious Maltese dishes and baking always flooding our flat, spilling over into the street: baked imqarrun with potatoes on the side on Sundays... HOW WOULD YOU DESCRIBE MOTHERHOOD? My motherhood had to be exercised in extraordinarily turbulent, extremely challenging

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HERITAGE WHEN DID YOU JOIN MDINA GLASS? I joined in September, 1968. It was my first ever job and I am still here. DID YOU HAVE ANY KNOWLEDGE OF GLASSMAKING WHEN YOU BEGAN? None. I had absolutely no idea. I didn’t even start as a glassmaker. I was in the office, helping with admin. Then I saw the small team of glassmakers at work. I was bored with my clerical duties and intrigued by what they were doing, so I asked if I could give glassmaking a try. WAS GLASSMAKING SOMETHING THAT SLOWLY WON YOU OVER OVER TIME? Not at all. As soon as I tried it I knew it was what I wanted to do for the rest of my working life. HOW DID YOU GET FROM A TRAINEE TO THE OWNER OF THE COMPANY? Joseph Said glassmaking in the mid 70s

HALF A

CENTURY IN GLASS

This year is a momentous one for Mdina Glass, for the craft of glassmaking in Malta and for Joseph Said, as they all celebrate a 50th anniversary. We caught up with the man at the helm of the island’s first producer of handmade glassware to reflect on a – quite literally – colourful career.

Well, I started as a trainee and quickly progressed. I started to learn under the guidance of Michael Harris, one of the co-founders along with Eric Dobson. Then I progressed even further under the Italian glassmakers Vicente ‘Papa’ Boffo and his son, Ettore. They were true masters of the craft. I progressed quickly and practiced with all the hours I had available. I was also organised and serious about my work, which saw me become the first locally employed Production Manager in 1975. In 1982 I left Mdina Glass to set up Mtarfa Glass, which became an instant success. By 1985, Dobson had decided to sell Mdina Glass and return to the UK. He offered me the chance of acquiring the company. Mdina Glass was always a very special place for me so it didn’t take much thinking about. MDINA GLASS IS NOW A FAMILY RUN BUSINESS. CAN YOU TELL US A LITTLE BIT ABOUT THAT? My children grew up in and around glassmaking, especially during their summer holidays. I didn’t push them into joining Mdina Glass, it was left up to them. Nevise and Pamela gravitated to the retail side of the business and oversee the running of our outlets as well as handling corporate and export orders. Olivia was always drawn towards glassmaking since she was around 7 years old. She’s been our head of production and product design for over 15 years. Alan, my youngest, worked his way through engraving and glass fusion to running our busy shop in Mdina. However, it takes more than this to run a company like Mdina Glass and we’re lucky to have such a great team of employees around us. WHAT DO YOU THINK THE FUTURE HOLDS FOR MDINA GLASS?

Joseph Said

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We’ve got to where we are because of hard work and a determination to innovate and these need to continue as our primary objectives. We’re always facing challenges in finding the next generation of glassmakers, upgrading our production facilities and of rising costs of fuel and materials… and that won’t change. We also wish to improve our Ta’ Qali premises so that it’s an even better experience for locals and tourists alike.

PROMOTION

CELEBRATING INTERNATIONAL CHARDONNAY DAY Chardonnay’s reputation is better than ever with winemakers in Malta making top quality wines. Georges Meekers recommends three different must-try bottles for Chardonnay Day. And what’s not to like?

ine should be celebrated every day, but every once in a while a good reason comes around that calls for a special jubilation. Recently, the 2017 vintage of Delicata’s Victoria Heights Chardonnay DOK Gozo, Superior, won a silver medal at the 25th edition of the Chardonnay du Monde. This prestigious wine competition is held in France’s Burgundy, the heartland of the Chardonnay grape variety. Billed as the top wine challenge held between the best Chardonnays in the world, it is to Chardonnay what the Wimbledon Championships is to tennis, Circuit de Monaco to Formula One or FIFA World Cup to football. Here, wines from the world over compete on a level playing field for the recognition of expert judges who taste the wines blind, which means they’re kept unaware of the wines' identities. The event covers all Chardonnay styles, from lighter, dry types coming from cool European regions including France’s top appellations to weightier, oaked examples from chief wine producing places like Australia and California. The Chardonnay grape has upholstered vineyards almost anywhere and so in Malta, too. In the Maltese Islands it’s the second widest planted green-skinned variety only after our native Girgentina. The noble grape’s pull on wine lovers is so great that it even has its own day celebrated annually; the fourth Thursday of May. And, here to help you celebrate this year’s International Chardonnay Day on 24 May is a flight of delicious Maltese wines with characteristics true to the variety’s hallmark. First up, of course, is Delicata’s silver-medallist Victoria Heights Chardonnay, grown in Gozo’s calcareous soils. It is a gallant unoaked bottle and a must-try if you like the tropical fruit flavours that the grape can offer. If you prefer your Chardonnay lean, flinty and minerally instead, then try the Chardonnay made from hand-picked bunches grown

Malta’s silver-medallist in France

in Delicata’s domaine of family-run vineyards in Malta and Gozo, behind the popular Medina label. For a Chardonnay with that kiss of oak, there’s the barrelfermented Gran Cavalier Chardonnay. It clearly got the complete VIP treatment from vineyard to bottle - you can tell immediately from its bright and inviting nose. This fuller flavoured great white reels you in with its creamy palate, full of precise lemon jam fruitiness and juicy pear with a little taste of caramel. All three bottles, in their own way, show a desire on the part of award-winning winemaker Matthew Delicata to let the unique footprint of the vineyard show through. These are Maltese wines you can toast with and to on Chardonnay Day, and any other occasion really, when you wish to enjoy the scrumptiousness of the darling grape that is Chardonnay.

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PROMOTION

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PROMOTION

A MODERN MOMENT

VALENTINO PARFUMS' FRESH AND ELEGANT NEW FRAGRANCE FOR WOMEN, ‘VALENTINO DONNA ROSA VERDE’ IS A SCENT RADIATING WITH FRESHNESS, AND IS CAPTURED IN A LUMINOUS AND UNEXPECTED COLLISION OF INGREDIENTS, REVEALING A NEW DIMENSION WITHIN VALENTINO FRAGRANCES. A CLASSIC LINEAGE Valentino Donna Rosa Verde is a fresh evolution in the world of Valentino Parfums, tracing a lineage that began with the original Valentino fragrances: Valentino Donna and Valentino Uomo. Profoundly Italian with ingredients chosen specifically, the classic Valentino scents were crafted to celebrate individuality, emotional beauty and elegance. From there, Valentino Donna Acqua and Valentino Uomo Acqua translated into an iconic and fearless new hierarchy of desire, with an irreverent clash of lightness and indulgence.

A FRESH PERSPECTIVE Valentino Donna Rosa Verde steps into the verdant garden of an Italian palace, taking us on an early morning walk through its lush canopies of vegetation and secret hideaways, past mystical fountains and clear pools of water, dappled with sparkling sunlight. Bursting with rambling light green roses, their petals still wet from dew, the garden is a symbol of vitality, authenticity and new narrative pathways. Inspired by the imagined scents of this garden, perfumer Sonia Constant has created Valentino Donna Rosa Verde, composed with notes of green rose, mate tea, bergamot, ginger and magnolia.

A STATUESQUE PRESENCE Valentino Donna Rosa Verde is presented in an iconic studded glass bottle, a symbol of defiant grace that is synonymous with other Valentino fragrances. However, here the proportions are elevated. The new height is almost statuesque, conveying a new freshness and grace. Rock studs in the corners of a golden name plate link the scent to the world of Valentino fashion. The fragrance is a luscious light green, the colour of morning dew on a new rose. The box is finished in a complimentary hue, with a matte texture and gold details.

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PROMOTION

PRESERVING PARADISE Soak in the spring with fetching looks at ALDO. Red and sandy tones feel as fresh as an April shower, as pretty as a May flower. Braided jute, embroidery and stripes on espadrilles and clutches are sweetly feminine, cheerful and fun: it’s time to get in touch with your blissful side. ALDO: Palace Square – Valletta, Pama, Tigne Point, Paola Square – Paola, Baystreet, and Victoria – Gozo.

Cally – C69 24

PROMOTION

Asiella – C69

Carerith – C75

Occiamiano – C49 Uneriri – C69

Gilawiel – C99

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FASHION

COLOUR POWER

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FASHION

STYLING: DORIANNE MAMO FROM WWW.ASKDORIANNE.COM PHOTOGRAPHY: MATTHEW B SPITERI HAIR: VANUSIA HAIRDESIGN MAKE-UP: AMANDA GREAVES MODELS: MARIA FROM MODELS M ALL CLOTHES AND ACCESSORIES: MARKS&SPENCER VALLETTA AND SLIEMA, PORTO PORTOMASO SHOPPING COMPLEX, ST JULIAN’S.

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FASHION

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FASHION

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FASHION

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FASHION

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s e t No

FASHION

from the stylist - May

the heat is e s u a c e B . n o as The YES se

on!

Tips

TABLE LAMPS by Mdina Glass. Make a bold statement and create the perfect evening ambience with one of Mdina Glass’ distinctive handmade glass table lamps. Available in a range of colour patterns, shapes and sizes, these pieces can be bought with or without the shade.

Visit www.mdinaglass.com.mt or find Mdina Glass on facebook.com/mdinaglass Tel: 2141 5786

It’s finally asllses e about holiday ed-rr eady and sunshin and swimsuits cover-ups! *

about * It’s indeed all

rs YES to bright colou and fancy patterns and YES to light materials!! * Accessorize : Whether it's decora ting the o utfit or yourself, don't miss out on those jew ellery pie ces, sunglasse s, scarves, bags or distinctive shoes.

NERO LANTERNS by Mdina Glass. Mouthblown glass is encased in a metal structure and finished off with high-grade leather handles for a striking, timeless look, creating a wonderful ambience.

Visit www.mdinaglass.com.mt or follow Mdina Glass on facebook.com/mdinaglass. Tel: 2141 5786

* YES to maxi dresses and YES to broderie

details. Oh, whilst spring may be over we are still saying yes to florals. * YES to sunnies! Especially if they’re double bridge frames or extreme cat eye frames.

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Pjazza Tigné & Mdina (next to Palazzo Falson). Tel: 2010 6306 or facebook/henrimalta

TRENDS

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DIRTY WORKS loves to create sophisticated products to brighten up any regime, offering everything for beautiful skin, believing that looking after your skin is so important, yet so simple. Full of hydrating and soothing ingredients, the range ensures that skin is kept silky smooth and refreshed. Our antioxidant-rich and skin conditioning ingredient featuring Shea Butter provides skin with a long lasting radiance for younger-looking complexions – to boost, tone and lift skin.

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WE ARE GIVING AWAY 50ml bottle of 212 VIP Black by Carolina Herrera courtesy of Ta’ Xbiex Perfumery. FOR A CHANCE TO WIN, ANSWER THE FOLLOWING QUESTION: FOR WHICH FASHION DESIGNER DID MIZZI STUDIOS DESIGN A STRUCTURE IN RAJASTHAN? Like First magazine on Facebook and send your answer the good, old-fashioned way, by post, to: FIRST COMPETITION, The Malta Independent on Sunday, Birkirkara Hill, St Julian’s, by 28 May.

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WINNER FROM THE APRIL ISSUE Mary Grech from Zabbar has won an 50ml bottle of Les Monstres de Nina courtesy of Ta’ Xbiex Perfumery.

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Photo by Baskal Mallia

MUSIC

Andrew – The Travellers

anguage is intrinsically related and inseparable from the roots of identity, not only personal identity but also collective identity – that of a nation and a nationality, as in Malta and the Maltese language. Using a language as a tool and a vehicle for expression weaves roots deep within the collective consciousness of that nation, whilst time ensures their strength.

The question and concern with identity continues to infiltrate various sectors of society, particularly art forms such as literature, poetry and music. Music has especially always possessed the power to hold, communicate and transmit language and although music and language are processed by different areas of the brain, both rely on the ability to detect differences in tone, pitch,

rhythm, interpretation, phrasing and tonal memory, amongst other things. This makes an interesting case for music’s ability to enhance not only the learning of a language, but perhaps even the remembering and re-engaging with it Many songs have been written in Maltese over the generations, even though the language has often been limited to ▶

SAVED BY SONG SONGWRITING IN THE MALTESE LANGUAGE WITHIN AN EMERGING CONTEMPORARY SCENE Sarah Chircop speaks to four songwriters from local bands who write songs in Maltese Words by Sarah Chircop. Photography by Joanna Demarco.

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MUSIC ◀ satire or drama. Today, however, there is a strong emergence of local bands that are writing and singing in Maltese, and this begs such questions as why are young musicians writing their lyrics in Maltese and why are we suddenly so interested in listening? Are we romanticising this notion of our indigenous language or are we genuinely concerned with its preservation? I wondered what the musicians, particularly the songwriters themselves, make of all this. “I think it’s simply because it’s the best way to express myself ” says Mark Abela from Brodu. “I grew up speaking Maltese at home and in school and, since the music we write is quite personal, it leaves me wondering how I could write in any other language than the one so close to home.” Mark has always written songs in Maltese, even with other bands, apart from a few in English and Italian, but he also makes a conscious effort to consistently speak and practice the language as he goes about his everyday life. “So yes,” he says, “thinking about it, of course there is also the desire to preserve the language: if you don’t use it, you lose it, no? The music is just one of the vehicles for preserving language but the main thing is that the people who can speak Maltese do. I am not trying to be nostalgic, I prefer to sound authentic than romantic.”

Robert Farrugia, lead singer of Plato’s Dream Machine, also tells me that he started writing in Maltese some seven years ago.“English is useful when I’m being analytical and looking for new ideas, but it’s Maltese when I’m wanting to express those ideas from the heart. Song-writing has to do with latter, of course.” On the other hand, Andrew Vella from The Travellers, believes that each language is unique. “Writing in Maltese was something the band started doing 2014 while we were exploring different ideas on how to evolve into a unique act. But by trying to understand and learn how to write songs in Maltese, I realised that, if you know the basics of songwriting, then you can easily apply them to all languages, really.” Mario Vella from Brikkuni tells me that he also used to write songs in English, particularly during the early Noughties, with another band. Dissatisfaction with his writing quickly made him realise part of the reason was that he couldn’t really express what he wanted to say in English. The importance of the Maltese language is obvious to Mario. “Maltese should be diffused in every sector”, he said, “but I can’t understand this obsession with forcing it because it’s the only thing that we have that distinguishes us. And there’s a difference between fabricating a love

for a language and those artists, authors and singers who are simply writing, creating and communicating in their language. Language is ultimately a tool for the singer-songwriter. I need to communicate with the listener, and I decided that I want my listener to be Maltese – it’s a practical thing, functional.” I went on to consider the role of language as an instrument rather than merely a tool for communication: language as a sound, independent of words and meanings. I wondered whether these singersongwriters look for melody and rhythm in a language that which, after all, has so many consonants. “Maltese is a beautiful language, one that is full of opportunities to create rhyme schemes and complex rhythms,” said Andrew. Mark, on the other hand, tells me that there are some languages which are more suited to a particular kind of music and Maltese may sometimes sound a bit harsh but, despite this, he loves the way words sound. “Sometimes I choose words based on their sound or rhythm rather than their meaning. I love rhythm in words, and how you place them one after the other.” But it is the music that comes first for him: “The music in itself carries the feelings of the moment but sometimes there’s a word that you’ve just thrown in and then you find yourself building the music around it.”

“MALTESE IS A BEAUTIFUL LANGUAGE, ONE THAT IS FULL OF OPPORTUNITIES TO CREATE RHYME SCHEMES AND COMPLEX RHYTHMS.”

Mario – Brikkuni

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MUSIC

“INDIGENOUS LANGUAGE IS ONE OF THE STRONGEST CHARACTERISTICS OF IDENTITY.”

Mario, who is currently sharing living quarters with Mark, also shares a similar approach when it comes to allowing this spontaneity of inspiration. “There’ll be times when I’m in a bar and a piece of melody comes into my head so I go sing it into my phone – and then see if I can work some words into it or sometimes I hear a phrase or sentence that I feel is musical. Alliteration is very strong in Maltese because of all its consonants and sometimes an access to these consonants, one after the other, gives way to the creation of a melody as well as rhythm.”

Robert – Plato’s Dream Machine

Robert, on the other hand, is today moving away from complimenting his songs with rhythm and syllables as he had experimented in Plato’s first album. “Recently I’ve been adopting a much softer and seamless voice which somehow gels better with the music.” While these bands enjoy their popularity, they are however under no illusion that they are going to become world-famous by singing in Maltese. “The decision to go for Maltese was, of course, an informed one but it does not exclude a foreign audience for obvious reasons. However, our main interest lies in focusing on the local scene” says Robert. “In the end, even though we are trying to understand and distinguish between songwriter, lyrics, music and audience, I ask myself if we should even bother. Ultimately, music is about a universal language and the creative expression of it. That being said, indigenous language is one of the strongest characteristics of identity so, yes, we must use it or perhaps we will one day lose it – and what better way is there to encourage this use than through music?”

Mark – Brodu 39

ART

THE MATERIAL THAT IS ALIVE AND CHANGES FIRST TALKS TO MARIE LOUISE KOLD ABOUT EX LIBRIS; HER CURRENT EXHIBITION AT THE BIBLIOTHECA

MARIE LOUISE, WHERE ARE YOU BASED AT THE MOMENT AND CAN YOU TELL US MORE ABOUT YOUR EX LIBRIS EXHIBITION? My main studio is in Malmö, Sweden, but I also do a lot of work in Malta, where I have a home with my husband, Ġorġ Mallia. Malta is extremely important to me as a source of inspiration in many different ways – not least in my interaction with the artistic community, where there is such incredible energy and passion – and immense talent. Over the past year I have delved deep into the books at the Bibliotheca, focusing especially on old books that deal with chemistry, metallurgy and alchemy. After ‘digesting’ what I read, all that inspiration is now being poured into my own work. It really is a labour of love and I can’t wait to show the results of it! CAN YOU TELL US ABOUT THE ARTWORKS THAT WILL BE SHOWN IN THIS EXHIBITION? I’m making patinated copper ‘books’. At a glance, the spines might be mistaken for actual books, but a closer look will show that they are, in fact, art objects that are not filled with pages. The books, which cannot be opened, contain texts, textures and structures (showing where the edges of paper can normally be seen) and they vary in size, with the largest one being 75cm tall, making it more of a sculpture than anything else.

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WHY DO YOU CHOOSE TO WORK WITH METAL AS THE MATERIAL FOR YOUR ART? Twenty years ago, when I was at art school, I fell in love with a piece of copper. I was working with copper printing and the etched copper plate was just supposed to be a tool in the creation of a print on paper. But copper itself was so much more fascinating than the print, it changed over time and those changes were never transferred to the print. I stopped printing and continued working with the copper itself. On the one hand, this was neither an obvious nor an easy decision. Copper is expensive, the processes are often heavy and dirty and I frequently hurt myself. The results are hard to predict (still – even after 20 years of working and learning) and there’s a lot of frustration. On the other hand, it was an incredibly easy decision – unavoidable, even. I couldn’t help it – I was overwhelmed with the compulsion to work with copper and that feeling has never left me. I love the fact that the material is alive and changes over time. I also work with brass and bronze, which share that same quality. HOW DOES YOUR UPCOMING EXHIBITION DIFFER FROM YOUR PREVIOUS ONES? Generally speaking, it’s better if the surroundings of an exhibition are as ‘anonymous’ as possible: a white space with nothing that distracts the viewer from the art. The Bibliotheca is the absolute opposite of this, and that is one of the main

points of this exhibition. This exhibition has a central inspiration, which comes from the centuries-old books to be found at the Bibliotheca in Valletta that deal with so many things that have an intimate kinship with my art – metal, metallurgy, chemistry and alchemy. Both the scientific content and the aesthetic qualities of these books have inspired artworks created of metal that hark back to the originals, proposing an aesthetic continuation that often contains text etched so deeply into metal sheets that it is uncertain whether it will last forever or disintegrate, much like the actual books themselves. I want to interact with the unique surroundings of the Bibliotheca, creating – among other things – copper ‘books’, scrolls and other artefacts. In fact, I’m using the very materials described in these books to explore the inspiration they invoke. You could say that the exhibition bridges the past with the present. Ġorġ curated the exhibition and we always work really well together. I have also gotten great help from Michelle Buhagiar and Violet Rizzo at the Bibliotheca, as well as everyone else who works there. Feeling other people’s enthusiasm for something I care so deeply about is amazing! The Bibliotheca is also at the very core of a marvellous city – Valletta. It is a city full of culture – both magnificent works and tiny ones, all contributing to it being a vibrant hub of cultural activity. My art will be at the beating heart of this city, a bridge to the cultural past, present and future. ▶

ART

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ART

◀ EX LIBRIS is a bit of a dream come true for me. HOW IS THE CHANGING?

ART

EVER-

These metals react to chemicals, the weather, time and human touch, which continuously challenges, baffles, frustrates and delights me but is also an intrinsic part of the finished artwork. In a sense, the work is never ‘finished’, because it continues to live and, very slowly, change in wonderful ways. Some colours can change quickly in high humidity, but otherwise the change is a very slow one. Usually, you can only tell there’s a very slight difference if you compare the artwork 10 years down the line with what it looked like originally. And it’s been my experience that the change is for the better.

“NATURE AND PATTERNS AND STRUCTURES IN NATURE INSPIRE ME IMMENSELY, WHICH CAN PROBABLY BE SEEN IN A LOT OF THE ORGANIC SHAPES IN MY WORKS. ”

WHAT ARE YOU INSPIRED BY? Oh, how to answer this question fully! It might sound weird, but a lot of the inspiration comes from the material itself

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and how it behaves when I work with it. Even after working with these techniques for 20 years, I still feel I have so much left to

discover. History inspires me, old objects that have been touched and used and show their age, the concept of time. Nature and patterns and structures in nature inspire me immensely, which can probably be seen in a lot of the organic shapes in my works. Maltese nature is particularly precious to me and I think I’ve walked nearly everywhere, which has led to huge amounts of inspiration. But it’s rarely a matter of all this inspiration being used in a direct, recognisable way. I digest it, feel it, and the resulting artwork is an outpouring of that emotion. I suppose the works for EX LIBRIS are an exception, in that it’s clearly evident that books – and different kinds of text, which I have always loved – have inspired them. But they are no less packed with my emotions and – taking a closer look at the books I have created, especially what is between the covers – you will see that they are ▶

Th

ART ◀ not merely metal replicas of actual books: I’ve poured my heart and soul into them. IS YOUR EXHIBITION SOMEHOW LINKED WITH V18 OR VALLETTA AS A CULTURAL CAPITAL? Yes, the exhibition has been endorsed by the Valletta 2018 Foundation. WHAT ARE YOUR PLANS FOLLOWING THIS EXHIBITION? I’ll be working on a number of private commissions. I’ll also be dedicating a lot of time to creating a large work I feel very strongly about, but which I can’t reveal just yet. I also have quite huge plans for the future that are slowly unfolding, but which will take a lot of time to develop. SOMETIMES YOU PUT WORDS AND SENTENCES INTO YOUR WORK, HOW DO YOU SELECT THE WORDS/TEXTS? As an artist, books and words have been a constant source of inspiration – the meaning they convey, the purely graphic qualities of letters and the sculptural aspect of books. I never intend for the texts I use to be clearly read and understood. It’s all about conveying a feeling. That said, it is very important to me that the text is not just random, and I always choose it very carefully. A lot of the time it is excerpts from novels by Danish author Karen Blixen, at others it’s poetry by my husband Ġorġ Mallia and I’ve also used some beautiful lines in Maltese by Lillian Sciberras. Sometimes a word can be glimpsed or maybe half a sentence, and sometimes the text does not look like text at all, but like a pattern. The texts are often etched so deeply into copper and bronze that they feel centuries old. The lengthy, complex chemical patination adds to this feeling. These etched texts are poised somewhere between disintegration into nothingness – and lasting forever. Texts can take so many different forms, crumbled ‘paper’ or a carefully inscribed scroll with rolled up layers of barely legible text. On close inspection, the details often reveal an entire world of their own. EX LIBRIS can be seen at the Bibliotheca every day except Sundays between 7 May and 2 June.

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AWARENESS

TIRED AND IN PAIN, BUT LITTLE RECOGNITION

For Fibromyalgia and ME Awareness Month, First spoke to two Maltese women who suffer from these invisable disabilities daily, yet they still lack recognition in Malta. Words by Joanna Demarco.

t the age of 34, Rebecca needs help with simple tasks that we tend to take for granted, such as washing her hair. Her arms get tired after only a little while and she is physically unable to finish the process. She sits in front of me with her friend Cristabel. Rebecca is wearing big sunglasses to prevent the sunlight hurting her eyes, and the two share a joke. Their friendship came about through the Maltese NGO for Fibromyalgia and ME (Myalgic Encephalomyelitis). Rebecca does not remember life without these conditions. She recalls how, as a child, she would often wake up in the middle of the night with excruciating pain in her legs. “I remember the pain was bad enough to make me cry – and I

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didn’t cry much as a child,” she said. When she was 17, she contracted glandular fever and it was then that she was finally diagnosed with ME after 10 years of it not being recognised by other doctors. Just three years prior she was diagnosed with fibromyalgia. She refers to the seven and ten year gap as ‘a horrible time’. Fibromyalgia is a central sensitisation condition in which the pain transmitters are elevated, causing pain to be felt at a higher level and for longer. Meanwhile, ME causes slow energy restoration: the bodies of sufferers take a very long time to generate energy, which means they are often left debilitated and confused. There are more than 64 recognised symptoms of ME and fibromyalgia, many of them way beyond pain and fatigue.

“Due to the disability being an invisible one, many doctors do not understand it,” said Rebecca. “Also, they find it hard to believe as there are as yet no tests to diagnose both FM and ME. The diagnosis comes through a whole exclusion of other conditions. Only when all other conditions are excluded can one be diagnosed. However, unfortunately this is not always done, thus endangering the lives of sufferers.”

THE UNRECOGNISED CONDITION In the five years since ME/CFS & FM Alliance was established, it has drawn together a group of some 500 sufferers. Rebecca believes that although fibromyalgia has become more recognised locally, ME is still a taboo subject. The two are often interlinked, but people suffering

AWARENESS

“FIBROMYALGIA CAUSES 40 PER CENT OF SUFFERERS TO HAVE TO QUIT WORK OR REDUCE WORK DRASTICALLY.”

conditions are not yet recognised by the government, and you cannot afford medication, so you don’t get better – it’s a vicious cycle.” “Something has to be done to stop this circle, the conditions need to be recognized or the situation is just going to get worse.”

from fibromyalgia necessarily have ME.

FEELING AS IF YOU HAVEN’T SLEPT FOR THREE DAYS

do

not

always

“Fibromyalgia causes 40 per cent of sufferers to either dramatically reduce the number of hours they work or stop working altogether” said Rebecca, who is the Public Relations Officer and Events Manager of the NGO, together with Ruth Debono and Maria Spiteri. “When it comes to ME, 75 per cent of sufferers are housebound and therefore unable to go to work, 25 per cent are bedbound and three per cent will die.” Although the condition is recognised by the World Health Organisation and in a number of countries in the European Union, it is not yet recognised as a disability in Malta. “It’s a horrible thing to say, but I have become used to living with pain and headaches,” said Rebecca, “it’s normal. You wake up in the morning and you feel pain or you have been reading for too long and get a migraine. What really hits me is the fatigue that comes with ME.” Such fatigue has sometimes even caused her to wake up paralysed from her waist down. Moreover, one of the symptoms of the condition is non-restorative sleep. “You wake up in the morning and have no energy to get out of bed,” she said, adding “I am existing and not living.” The exhaustion results in the inability to commit to a job that is either outside your home or requires too much energy. Therefore, teleworking opportunities are the favoured option. In fact, the NGO is constantly looking for such opportunities, but it appears that there are not many of them in Malta. “I want to work!” said Rebecca, “I want to earn money and do things. I don’t want to sit on the sofa all day.” Moreover, a source of financial support is still unattainable, said Rebecca. “The

“You don’t get better: it’s a vicious circle and something has to be done to break this circle. The conditions need to be recognised or the situation is just going to get worse.”

Cristabel, a 23 year old psychology student, explains how – because of fibromyalgia– it took her five years to get into university, as the associated pain and fatigue affected her cognitively and reduced her ability to study. “If you’re tired, you won’t study or remember,” she said. She likened the fatigue to “feeling as if you haven’t slept for three days, but on a daily basis,” a comparison which she says has been backed by doctors. She also remembers having symptoms from as early as when she was eight, including stomach pains and anxiety, and was diagnosed with depression when she was 16. However, when she got better and stopped the medication three years later, she still found herself battling the symptoms and was diagnosed with fibromyalgia. “I never had an ordinary youth, she said. I am always in pain, always tired, and if I have a university class – or if I get a job – I can forget going out afterwards. “I cannot live the lifestyle that normal young people do. And it makes me think of my future as bleak.” Cristabel is hoping that, after completing her course, she will manage to find a job where she can work from home or which offers support and flexibility. Is there a cure for these conditions? Cristabel and Rebecca say there is no ultimate cure, but the situation can be helped considerably through pain management and holistic therapy such as acupuncture. However, again, these come at a price. “Things that help are expensive,” said Rebecca, going back to the vicious cycle which her, together with hundreds of fibromyalgia and ME sufferers in Malta find themselves trapped in.

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ARCHITECTURE

STAR WARS MEETS GAUDI MEETS INDIAN TRIBAL HUTS

Mud Hut Internal Mizzi Studio. Photo by Jonathan Mizzi

Mizzi Studio are on a mission to make the world a better place with beautiful works, one design at a time. First spoke to Jonathan Mizzi about their latest project: a temporary – turned permanent – playful structure to house a celebration in Udaipur, Rajasthan. Words by Joanna Demarco. Photography by Mizzi Studio. he clothes of Indian-born fashion designer Saloni Lodha present signature reinterpretations of print, silhouettes and playful colours, therefore it is no coincidence that she looked for a structure to compliment these factors when celebrating her brand turning one decade old. The setting was specific – a 1,000 square-metre site in the grounds of the Raas Devigarh Palace Hotel in Udaipur, Rajasthan – and the structure was entrusted to London-based Mizzi Studio. The brief Mizzi was given was not your typical one – more a ‘Star Wars meets Gaudi meets Indian tribal huts’. Jonathan Mizzi and his team have a cabinet full of awards as well as

universal acclaim for their projects, which link sci-fi, animation and neo-futuristic architectural design. Colour is a key ingredient in the design of the Holi Festival, which is also known as the ‘Festival of Colours’. In the centre of the site was a diametrically designed Holi Pyramid and visitors were invited to encircle and dance around it and to engage in the traditional ritual of ‘Holi dust play’. The pyramid’s geometrically-formed pockets acted as basins for the colourful ‘Holi dust’, making it easy for guests to join in, grab a handful of vibrant colour and create their own personal and joyful mess. The design team worked with local craftsmen for a month before the event to create a ▶

Architect Jonathan Mizzi with fashion designer Saloni Lodha. Photo by Dave Bennett

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ARCHITECTURE

Latice Walkway, Mizzi Studio. Photo by Jonathan Mizzi

Holi pyramid and surroundng mud huts, Mizzi Studio. Photo by Philippe Kliot

Basket Weave Hut Internal, Mizzi Studio. Photo by Jonathan Mizz

◀ secret walled garden. They used local materials and created a collection of colourfully painted, mud-plastered and woven huts, bars and seating areas collectively making a surreal and fantastical set to showcase the designer Lodha’s new work. Domed roofs were inlaid with tiny mirrors in local thikri artwork – patterns made with tiny mirrors – reflecting the light, colour and movement evoked by the day’s festivities. A hole in the central ceiling – given the name ‘The Moon Hole’ – provided framed vistas of the 18th century palace. Although intended for just a single event, the Raas Devigarh Palace Hotel has decided to keep the structure intact so that it can be used again for future events.

THE PLAY BETWEEN NATURE AND TECHNOLOGY

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Mud Huts, Mizzi Studio. Photo by Eva Fontanelli

Past neo-futuristic works by the firm include a café for Colicci at the Westfield Shopping Centre in Stratford – with a swelling copper roof that seems to float above its glass walls. Its surface is made using a combination of an 18th-century copper sheathing technique and computer-aided design. A digital skin was developed that reflected the eventual physical structure of the roof, and its surface area was divided into virtual tile segments – each translating into CNC-cut sheets that could be manually clad. The result is other-worldly and spectacular. The team has also recently been commissioned to design a new sculptural fleet of kiosks for London’s royal parks to replace the existing ones.

Mizzi Studio prides itself as neo-futuristic designers. “Two of our biggest inspirations outside the world of architecture are nature and technology,” Jonathan Mizzi told First.

“We are beyond excited to have been entrusted with such a prestigious commission, and feel honoured to be able to put our stamp on London’s beloved public spaces,” said Mizzi.

“Although these interests may seem at odds with each other, they are actually essential – nature inspires processes in technology, and technology has the power to save nature. Our work is therefore heavily influenced by bio-mimicry. The process of bringing life to inanimate objects and spaces, whilst marrying unexpected materials with the traditional or natural, is also at the core of our working philosophy.”

“Our aim is to make the world a better place,” Mizzi told First. “We seek out projects which have a positive social impact and ultimately improve upon the public realm.” “We are captivated with the notion of producing design and architecture that is progressive and beautiful. Each project has its own life, inspirations and aspirations, and much of our signature work is sculptural and uses captivating material in novel ways.”

FOOD

BAKLAVA WITH CLOTTED YOGHURT AND CRUSHED PISTACHIO By The Mediterranean Culinary Academy

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FOOD

The buttery yet crisp layers of filo, the nutty flavours of pistachio and walnut, all doused with sweetened honey syrup. What’s not to love about baklava? We made a few small tweaks to the classic recipe to season it to our liking: we scented the honey syrup with orange blossom water and reduced the amount of it poured over the dessert as baklava can often be cloyingly sweet. We serve this dessert with thickened yoghurt and crushed pistachios. The idea here is to dip each diamond of baklava into the yoghurt.. and then to dip the yoghurt into even more crushed nuts. The yoghurt balances out the sweet richness of the pastry, while the nuts add a textural crunch which the nuts inside of the baklava itself lack as they have been soaked in syrup. This recipe is designed for a small 12 cm pie pan, but can be scaled up as needed.

INGREDIENTS: FILO PASTRY, SHEETS – 18 EACH BUTTER, MELTED – 75G PISTACHIO, CRUSHED – 100G WALNUTS, CRUSHED – 100G SUGAR – 100G HONEY – 15G WATER – 60ML ORANGE BLOSSOM WATER – 2ML SALT – 1G

METHOD: 1. Butter pie dish liberally with melted butter. 2. Cut filo pastry to the size of the pie dish. Lay a sheet of filo into the dish. Add another layer of filo on top of the first and drizzle lightly with about half a tablespoon of melted butter. 3. Repeat three times until you have six layers of filo, buttering every other layer. Add a layer of nuts using 1/3 of nut mixture. 4. Add another two layers of filo, buttering each layer lightly. 5. Add another 1/3 of nut mixture and top with another two sheets of filo, buttering both sheets. 6. Add the remainder of the nut mixture and top with 6 more layers of filo, only buttering every other sheet as in the second step. 7. Finish by buttering the top layer of filo and refrigerate until the butter has hardened.

8. Once hardened, cut the baklava into diamonds and bake at 180°c for 30 to 45 minutes or until the top layer has browned nicely. Allow to cool for five minutes and drizzle with syrup to coat. 9. Allow to cool to room temperature and serve with clotted or strained yoghurt and crushed pistachios. FOR THE SYRUP: dissolve sugar and salt in water over medium heat. Remove from heat, add honey and orange blossom water and stir to dissolve. FOR THICKENED YOGHURT: take good quality Greek yoghurt and squeeze out some of the excess moisture using a sheet of cheesecloth or food safe kitchen towel. The yoghurt can be allowed to hang in the fridge for several days to create labneh, a versatile, thickened yoghurt preparation which can be used for spreads and a variety of mezze.

This recipe was taken from our upcoming ‘Cuisines of Greece & Turkey’ course starting again next month. For more information on our courses and workshops check out our website www.mcamalta.com, facebook/mediterranean culinary academy or instagram/mediterranean_culinary_academy. 53

EATING OUT

RISETTE

This month, our restaurant-goer and food writer visits the new ‘Risette’ in Old Theatre Street.

ver since I heard that chef Andrew Borg was setting up shop in Casa Ellul’s new dining room, I’ve been curious to try it out. I visited Black Pig, where he was previously chef-patron, quite a few years ago and the experience was oddly paradoxical.

Although I remember the food being of a high standard, it felt somewhat out of sync with the rest of the dining experience. I remember, for example, that the background music was too low, to the extent that the couple at the adjacent table could follow our entire conversation, and the

design of the restaurant was quaint, but with little imagination. Many would argue that a dining-out experience should be solely about the food on the plate, but I think that’s a little blinkered. Even though there has ▶

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EATING OUT

◀ recently been a trend for restaurants to look as though minimal effort has been put into the end product, it would be a huge error to think that this is unintentionally so – or, rather, unconsciously so. With Risette, some stellar teams have been brought together to work on the project. The Ellul brothers behind Casa Ellul brought in Chef Borg to head up the kitchen, and Valentino Architects to work on the interior design. The brothers themselves have raised the bar locally when it comes to hospitality. As expected, the service on the night was impeccable – and although she appeared to have two trainees in tow, our waitress handled us with polite composure, taking us through the entire menu and answering our questions – which was quite a feat, considering the complexity of the menu and the fact that it is changed on a weekly, and sometimes even daily, basis. There is an extreme attention to detail, with the entire service area being concealed behind an automated sliding door, to ensure that no inconvenience to patrons is caused. Valentino Architects, also currently raising the bar locally when it comes to architecture and design, have done some fine work on Risette. The walls and ceilings are dark, offset with the task lighting for each table that ensures your focus is on the food on your plate. The furniture is elegant but simple – again demonstrating a remarkable restraint. This goes well with the elegant branding: ‘Risette’, incidentally, is a tribute to the lady of the house, one of three maiden sisters (it seems that neither ‘Giovanna’ nor ‘Maria’ had quite the same ring).

After being served aperitifs, we opted for both of the ‘Snacks’ on offer, while we scoured the rest of the menu. The first of these were oysters, served warm with ricotta and vinaigrette. They were tasty, but what really blew us away was the second dish – a small tower of chickpea fritters, served with a miso mayonnaise. A little ironically, the fritters were close to the best thing we ate all evening – covered with an impossibly delicate, crispy layer while the filling was velvety smooth and as light as air. And the mayonnaise did not fall short either: I’m not ashamed to admit that I went for it with my spoon after we had eaten the fritters! After bringing us a bottle of crisp Sancerre, our waitress brought us a warm basket of homemade focaccia and sourdough bread. Both were excellent, the sourdough in particular. This was followed by an amuse bouche – in the form of a cup of cauliflower soup. I think I can safely say this was the only ‘disappointing’ (I use the term loosely) part of the entire meal: while the texture was beautifully smooth the soup was, sadly, underseasoned. The starters were, as usual, my favourite section on the menu, and it took us a good 20 minutes to make our decision (for me, as always, due to the worry that my better half would make the wiser choice). He went for a dish of steamed green asparagus with pistachios, a yuzu emulsion and lardo di ‘Colonatta’ – I liked how Chef Borg had combined Asian and Mediterranean elements across the board. I went for the sea urchin and tuna belly, which was served with charred spring onion, Iberian ham, and chawanmushi on the side (a Japanese egg custard). The sea elements paired beautifully with the Iberian ham and we came to a unanimous decision that my selection won the starter contest and I could rest easy. For the main course, my partner went for local pork, with root vegetables, smoked eel and bianchetto truffle. I chose the milk-fed lamb, hispi cabbage, and peas cooked in hay butter. My lamb was as soft as the hay butter in which it was cooked, and the charred hispi cabbage was a great companion for it. We both felt that our own main was superior, so I guess you could call the course a success. The desserts, however, were what really blew our minds. Neither of us having a sweet tooth, we usually take a look at the dessert menu only to ask for coffees instead. However, a tart combining white asparagus and goat cheese could not but pique our interest. The asparagus was infused into a cream, piped onto our tart, with a quenelle of goat cheese ice cream sidled next to it. The savoury elements were subtle, but still very evident, and the whole dish was faintly sweet: hand on heart, one of the best desserts I have ever tasted and what pushed our dinner from ‘excellent’ to ‘superb’. I think it is safe to say that Risette will be seeing us again.

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VALLETTA

DEBATING THE IMPERMANENT

Ann Dingli interviews Joel Saliba, one of the five artists forming part of the team behind Hekk Jghid il-Malti, the controversial public artwork unveiled as part of Valletta’s term as European Capital of Culture 2018. ast February, Malta’s social media culture-zealots took up their arms and painted a new bullseye on a series of temporary public artworks. The series – which is still on display – was unveiled in Valletta as part of the city’s time as European Capital of Culture (ECoC), under the collective title Hekk Jgħid il-Malti (which, in English, means ‘As it is said in Maltese’). It consists of 13 statues, made from steel supporting structures, polystyrene, gesso, waterproofing, hard-coating membrane and paint. Each of them has been positioned in a prominent place across the city, intended to provide a visual reminder of Malta’s linguistic heritage. Like many well-intended projects before it, the purity of the message behind the series was instantly stamped on by the public’s perceptions and projections – a ritual that comes with the territory when creating art that is high in proximity and visibility. Some people were delighted with the series’ levity, some were appalled by its formal simplicity and alleged crudeness and most forgot – or simply ignored – its purpose. “We pitched our concept to Valletta 2018, discussed it with the programme coordinators and V18 eventually supported our project,” says Joel Saliba. He responds to my questions despite his hectic week working at his co-owned boutique creative agency. His frankness about how the concept of the work came about un-muddies the water for the many people who believed the statues had an ulterior political message. “The concept was entirely our pitch. We wanted to develop a project using the Maltese language as inspiration,” he says. “We wanted to translate words into images with a degree of fun that would convey the creative elements of the spoken word – structures that would be viewer-friendly and engaging”. And engaging they were. So welcoming were the statues in their aim to attract viewer interaction that they quickly fell prey to vandals, with several of the works being carved into, chipped and dismembered. The damage prompted a new wave of “hang on a minute…” reactions. Critics of the statues were quick to condemn the attacks, climbing back on to their seat of righteousness with fingers a-wagging and tongues a-tutting. But Saliba describes the vandalism as simply ‘a reaction’. “Yes, some people have interacted negatively,” he continues. “Many others, on the other hand, were positively enthusiastic and liked the pieces a lot. We certainly can’t say that Hekk Jgħid

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il-Malti didn’t provoke a response.” Those responses came through in a positive cascade – from the highest echelons of the local art scene to the man and woman on the street. But none of this was really at odds with the team’s intended ambition. “The assumption that you can please everyone is hardly realistic, particularly in a world governed by social media and keyboard warriors,” says Saliba. “There is ample evidence of [negative] reaction and experience, not only in the Maltese context but universally and throughout history. Public space is highly contested: look at the deluge of negative reaction to the knot monument in Castille Square, or the threelegged horse.” He points out that the statues generated discussion on the Maltese language, “the authenticity of art, the democratisation of art in public spaces, the purpose of art, the politics of art, which social group has the right to decide what is good or bad art, etc. We wanted people from all walks of life to talk about art, culture and the Maltese language – and they did.” As Saliba elaborates on the team’s intentions behind the series, it becomes clear that this was a project guided as much by pragmatism as by symbolism and interpretation. “Apart from the Maltese public, the pieces were also meant to grab the attention of the thousands of tourists who visit our beautiful capital on a daily

VALLETTA

basis,” he says. “We wanted them to engage and discover the meaning behind these sculptures and, in some cases, compare or even contradict the proverbs found in their native language. Proverbs are derivatives of past life experiences, traditions and wisdom, in any language, which may be identical or completely opposite, according to culture, area, nation or individual experience. We think this is unity in diversity – and that this reflects the scope of the ECoC.” In a year where public art has been central to contentious discussions all over the world – Jeff Koons’ Bouquet of Tulips has been spiritually rejected by the Parisian people, the Louvre cancelled its plans to publicly display the provocative Domestikator installation by Atelier Van Lieshout, and many social media users have outwardly criticised Ai Weiwei’s public art installation, Good Fences Make Good Neighbours, recently erected across New York – this local crowd-divider seems to be very much on trend. In a sense, this series is doing exactly what it needs to do. It is allowing people to attach their own socio-political rhetoric to it, their individual qualms about the state of the nation, their new personal proverbs generated as reactionary answers to the situations in which they deem themselves to be. Saliba explains that one of the proverbs they chose to interpret, Ilbaqra koll hati nbiegħ (all parts of the cow are sold) “is very relevant – particularly in a contemporary world where the number of likes

or dislikes are the currency of popularity and where group chats are vocal on every topic under the sun. We intentionally wanted to display this interpretation in front of the Piano parliament building – a beautifully designed building that has itself generated controversy with a lot of negative and positive reaction”. “Hekk Jgħid il-Malti never claimed to be anything but temporary public space art with a playful element inspired by the Maltese language,” he insists, the emphasis being on ‘temporary’. “The project was meant to be a fun, light-hearted take on Maltese proverbial expression, with a universal appeal.” The success of the series can only be measured by how the nature of ‘appeal’ is defined. Is it the ability to please, give joy to or titillate a nation, or is it the act of making an urgent request to the public? Hekk Jgħid il-Malti may have unwittingly achieved both these things in different ways. On the one hand, it has given the nation something new and inviting to discuss. On the other, it has forced them to turn the discussion to art – its eternal polarising function, outright and irrefutable relevence and unparalleled ability to hold up a mirror to society and our position in it. Hekk Jgħid Il-Malti was created by Joel Saliba and Margaret Pace from Ikona Artworks, with assistance from Sara-Lee Zammit, Chris Galea and Perry Scenic Ltd, and is currently on display in Valletta.

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Photo by Kris Micallef

DENTISTRY

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DENTISTRY

‘ID-DENTATURA TAN-NANNA’ Alexander Schembri talks to First about his new book.

hildren's books about dentistry are abundant and popular, especially if the protagonists are animals or popular children's characters like Barney or Dora. Most of the storylines are either about the Tooth Fairy or about first experiences at the dentist. There are other dental health promotion books targeted at young children which explain the importance of oral health and how to maintain a healthy dentition. On the local market one also finds popular children's books translated in Maltese like 'Gigi Tugghu Darstu' translated by Trevor Zahra and 'Is-Sinna ta' Nora’ adapted in Maltese by Clare Azzopardi. Recently young Samuel Farrugia also published ‘Samuel and The Magic Tooth’. I was inspired to write this short story through my special interest within the dental field which is geriatric dentistry; dental care for elderly persons. It is a fairly new field, introduced by the Faculty of Dental Surgery at the University of Malta merely five years ago. Nowadays, it is a module studied by all our dental students, not only those who are studying to become dentists but also dental hygienists, dental technologists and dental assistants. Although 'Id-Dentatura tan-Nanna' focuses on Grandma's dentures, the main message to be delivered is about the perception and attitudes of young children towards older persons. International and local literature, as well as my personal experiences, reveal that although children's attitudes towards the ageing process are often negative, their general attitude towards older people is positive. Thus children identify ill health, loss or greying of hair, loss of teeth or wearing a denture

with old age and this generates the fear of growing old or a negative attitude towards the ageing process. In a recent study by Sally Newman(2017), when children were asked to find an adjective to describe an older person, they all used positive adjectives like ‘pleasant’, ‘good’, ‘happy’, ‘pretty’, ‘kind’ and ‘loved’. I believe that these adjectives are also endorsed by our Maltese children who have very loving and respectful relationships with older persons especially their grandparents and great grandparents. For this story, I collaborated with one of Malta's leading children's writers, Nathalie Portelli, who made the necessary arrangements to my story in order to make it possible for it to be printed as a children's book. Artist David Mifsud magically transformed words into pictures, bringing Grandma and the children to life. 'Id-Dentatura tan-Nanna' is published by Wise Owl Publications.

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PHOTOGRAPHY

NO STREET IS THE SAME Following an art and photography course, French photographer Vincent Kraft spent years of his life journeying through 50 countries, and across 200,000 km, developing a body of work in street photography. Words by Joanna Demarco. Photography by Vincent Kraft urrently residing in Malta, Kraft is now showing 21 works in a photographic exhibition titled ‘Street’, his debut exhibition on the island, which brings together the works as part of Valletta 2018, European Capital of Culture. The works bring together pictures from 12 countries, capturing instances which explore society, and pervade human interaction

and physical space. The images are juxtaposed together, providing a thought-provoking journey about contemporary society. Kraft is mainly drawn to the themes of instantaneity, perspectives, and the temporal nature of abandoned places. The photographer has been pursuing street photography and URBEX (urban exploration) for more than a decade. His work plays with light and shade, and positive and negative space. Quiet, dilapidated and abandoned spaces abound in his work, which often contains a tinge of the absurd, poignant, inexplicable or surreal. Vincent Kraft was also the recipient of the ‘Prize of the Public Award’ at the London Photo Festival. The exhibition will be on between 31 May and 16 June at the upper galleries of the Malta Society of Arts (MSA), Palazzo de la Salle. The sponsors of the exhibition include Nestle, the French Embassy, JPA, Jean de la Valette Foundation, Stage Up Malte, 1969 and UI Digital.

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