European Capitals of CultureΠοιειν Και Πραττειν - create and do

Nobody resigns in Malta, and few are made to do so. However, in the past few weeks we witnessed several important resignations and terminations of contract in the arts sector: Wayne Marshall, artistic director of V-18, all the artistic programme directors of V-18; David Felice, member of the V-18 board of governors, Davinia Galea, former CEO of the Malta Council for Culture and the Arts, and the latest, Mario Frendo, artistic director of the Malta Arts Festival, who resigned because he refused to compromise on his professional standards.

Wayne Marshall, a musician and conductor of indisputable international repute, had his contract terminated. The Maltese artistic programme directors were removed, although appointed through a regular call for applications, proper evaluation and interview.

The grounds for non-renewal are artistically unacceptable, apart from the fact that an annual salary of €50,000 to an artist who can attract international attention to Malta is good value for money, within the €48.7 million approved by government and presented to the European evaluators for the Valletta award.

The appointments were intended to provide time for proper planning and growth of the artistic sector, so that Valletta Capital of Culture would lead to a leap of quality in arts.

Programme directors were to start well in time to gather experience and create the right momentum to launch projects with a lasting cultural legacy well after 2018. These high-minded intentions appear completely forgotten to the extent that one of the prime movers, David Felice, former Valletta 2018 chairman, has now resigned as governor. He has been replaced by Jason Micallef.

As one of the European evaluators for the Capital of Culture award to Valletta, I recall that the title was awarded on the proviso that an artistic director was nominated and a budget for the capital of culture pledged.

There is now no artistic director, it is very dubious the money pledged will be allocated, and all the motives for awarding title seem to have been put aside, namely: professionalising the arts sector, generating cultural industries, and raising the standards of artistic endeavour even at grassroots level.

It was under Ms Galea’s management of the MCCA that: a National Cultural Policy was written and was being progressively implemented; an arts fund was set up; national festivals under MCCA’s responsibility were structured professionally, an arms-length policy approach for all artistic and funding decisions in line with government policy was put into operation; European and international networks were set up, placing the festivals in an international context and establishing an international platform for the MCCA.

An arms-length policy meant artists no longer begged for money through political favour

An arms-length policy meant artists no longer begged for money through political favour, but were asked to follow internationally established professional lines.

Artists submitted properly planned projects that were assessed by Maltese and foreign evaluators following clear, objective and transparent criteria. If a project was of the proper professional level, funds were assigned to it.

The cultivation of an international dimension was crucial to obtain EU funds as well as European and international recognition within such networks as the International Federation of Arts Councils and Cultural Agencies.

The Malta Arts Festival, under Dr Frendo’s direction, grew to such an extent in the past eight years that it was hailed as one of the 10 best European festivals by the London-based The Sunday Times. The festival was admitted a member of the European Festivals Association because of its artistic and organisational success.

All these people contributed enormously to professionalising the artistic sector in Malta, which was beginning to take important steps in the right direction.

What we are currently witnessing is no adherence to the government’s cultural policy, and there is no direction and no vision for the arts.

Arts Council chairman Albert Marshall admitted it is “obvious” that his council has currently no point of reference. In short, he is telling the nation, i.e. taxpayers, and anyone with a vested interest in the arts sector, that he is aware that he asked the CEO to step down just prior to his two-month holiday in Australia, leaving the organisation in disarray, but did not feel that such a situation merited urgent attention, even though he is paid to steer the Arts Council on a professional course.

On another level, I am eager to accept Jason Micallef’s claim that he was misquoted when he said he wants a new Paceville in Valletta. I hope he too intends to encourage our youth – and everyone else – to move up from our shameful position on the European map with regard to national cultural standards.

We can only do this by exposing people to high quality and encourage them to recognise and embrace it. More importantly, we need to provide a platform and vision that goes beyond Malta’s shores, for our young artists who are painstakingly developing their talents and careers.

However, I am still waiting for Mr Micallef to appoint an artistic director of international reputation, maintain the pledged budget and give a professional, and not populist, direction to Valletta Capital of Culture. He needs to provide the right environment for the arts and creative industries to really develop a cultural, educational as well as economic impact on our country.

Prof. Vicki Ann Cremona is currently Chair of the School of Performing Arts at the University of Malta, and former ambassador to France and Tunisia.