Fejn se Mmur Magazine - Issue 16

1MAY 2013

2 FEJN SE MMUR MAGAZINE | ISSUE 15

3MAY 2013

It’s been long- too long in fact since we last published an issue of Fejn se Mmur Magazine. Unfortunately, unexpected circumstances met the natural desire for change, leading us to take a two months’ break to be able to rethink, regroup, and relaunch the entire con-cept of our initative. These past week s have given us the opportunity to understand what you want us to deliver, following the most successful launch of the second season back in November. As firm believers in direct contact with you as our readers, we set out to bring about a refinement of the product and presenta-tion of this magazine.

However, Fejn se Mmur is not only about publishing a magazine. Since the very start of this initative, our team set out to transform the way we look at Culture and the Arts, bringing them closer than ever to our lives. For this reason, we want Fejn se Mmur to become a name not only synonymous with excellence, but also a point of reference for local leaders, cultural organisers, and artists alike. Moreover, our highest bar is that of offering a streamlined, efficient, and reliable service to our readers and followers, while being able to make a direct impact of our own on the local Culture and Ar-tistic platform. For this reason, we have been working extremely hard on a number of projects which are set to deliver a tangible change in these fields. More details are to be announced soon, however, we can already reveal that this shall be including one of the largest public consultation campaigns to be ever conducted by a non-Governmental entity.

Meanwhile, this issue brings about the return of some of the features you’ve come to love, and hopefully, miss. The main feature focuses on an initiative aimed at promoting read-ing, transforming it into a journey of discovery through innovation. The Book Box initiative is without doubt one of the most fascinating pro-jects currently being conducted on our islands. In the Character of the Month feature, Mariliana Debrincat sets out to discover the Art of lace-making, which de-spite losing some of its popularity, is still going stronger as ever when it comes to defining who we are as a na-tion and a people. Meanwhile, Manuel Xuereb takes us on another of his deeply emotional journeys in what may be one of the most beautiful prisons around. We often hear about haunted or grim prisons; this might be the most different one can get from this. In its walls are some of the most enchanting, yet untold stories of our forefathers. Finally, this month’s artist: local painter Dominique Ciancio, shows us the raw passion which lies in discovering the old masters. Inspired by their undying work, the young artists’ paintings invite us to discover our innermost feelings and personality.

I do hope our comeback proves to be worth the wait, and that you’ll once more fall in love with our rich cultural and artistic diversity.

Joseph THE FEJN SE MMUR MAGAZINE EDITOR: JOSEPHMASINIFACEBOOK.COM/FEJNSEMMMUR WRITERS: JOSEPHMASINI,MARILIANADEBRINCATTWITTER.COM/FEJNSEMMUR MANUELXUEREB PHOTOGRAPHY: ANTHONYGRECH [email protected] ARTISTIC CONSULTANT: PAULCASSAR

COPYRIGHT©THEFEJNSEMMURTEAM.ALLRIGHTSRESERVED.PHOTOCOPYRIGHT©ANTHONYGRECHPHOTOGRAPHY(ANDTHERESPECTIVEPHOTOGRAPHERS).NOPARTOFTHISMAGAZINEMAYBEREPRODUCEDWITHOUTPERMISSION.


5MAY 2013

inside06 Opening the door on knowledge

This month’s main feature focuses on an initiative aimed at bringing the book back at the centre of our comunities. Roberta Geneovese and her team has managed to transform a relict of the past into a fresh, new approah to knowledge and reading. JOSEPH MASINI finds out more.

10 Light ExpressionsMARILIANA DEBRINCAT gets acquainted with a person whose work entails the embodiment of who we are as inhabitants of this culturally-packed island!

15 Gozo’s Finest PrisonFor this month’s issue, MANUEL XUEREB visits what may be one of the most emotional sites on our island. Dotted with relics of human confinement, the Old Prisons are a reminder of our forefather’s adventures and misdemenours.

20 Capturing with the Mind!In this month’s “Artist of the Month” feature, MARILIANA DEBRINCAT gets to know local artist Dominique Ciancio, whose work inspired from the old masters transmits raw human emotion and staggering passion for the art he produces.

23 Cultural JournalA special Notte Gozitana edition! Relive the magical three days!


For this month’s main feature, JOSEPH MASINI gets better ac-quainted with an initiative taking our islands by storm. The Book Box pro-ject aims at opening a door on knowl-edge for everyone, giving easy access to some of the best titles in a commu-nity context.

opening the door on

knowledge

7MAY 2013

In an-ever increasing digitalised environ-ment, how can one possibly think of giving a new life to something regarded by many

as irrelevant, worthless, or worse still, dying? What can be so new about a book, anyways? Can a collection of printed pages become a throbbing heart of this gen-eration of tech junkies?

I must admit that these random doubts were quite harshly intruding on my thoughts as I made my way through the austere, narrow streets of Qormi. I was going to finally see at first hand the realization of a dream which I had followed since its’ inception. More than with any other interview I had ever conducted, I felt already acquainted with the subject; somehow, al-ready part of its’ course. Perhaps this was the inclusiv-ity and openness which a telephone box transformed in a small, public library had already achieved? Yet, the doubts pursued, continued to grow fiercer, till I ar-rived at Federico Maempel Garden, and in the surreal, sharp silence, noticed a young boy casually strolling to the humble red box, surrounded by minute col-oured boxes as if she itself were a storyteller. Thumb-ing away among the titles, the young man seemed quite satisfied with his selection, his smile dissolving all my reservations and uncertainties.

Upon meeting the woman behind it all: 23 year-old Roberta Genovese, I felt comfort at the fact that as it turns out, even she was faced with the same doubts upon seeing a photo of a similar project located in Brit-ain, around a year ago. “At first I didn’t even think of being able to bring the initative over to Malta. It took long discussions with some of my bookworm friends to make me realise that this could actually happen. We approached the idea with the philosophy that no pain is no gain, and that one must at least take a risk to see whether it’s actually worth it.” I was surprised at how effortless she made it all sound, considering that pri-vate initiatives such as these are usually more prone to be met with apprehension, rather than acceptance. “I never thought the whole project would materialise in just under a year,” she later admitted. “Though we felt that it was possible, it’s still astounding to us how quickly everything fell in place.”

The most difficult part of any innovation is convinc-ing people to embrace it and take it on board. Yet the Book Box team immediately set out to work in this re-

gard, pushing knowledge about the initiative and what it aims to achieve towards the public. Taking part in events such as the Malta Book Fair made Roberta and her team realise that the public was just begging for such a new approach to books. “The public just fell in love with the concept,” she proudly admits. Prospects seemed brighter than ever from then on, especially as the team managed to wow the Qormi Local Council, which soon became an energising force behind the initative, striving to be at the forefront of the localities to have a Book Box at its heart. Today, the Box stands proudly as the focal point of a Reading and Learning Zone created purposely for Qormi’s school children, and in a drive to combat illiteracy.

The secret is all in the concept, as Roberta explains. “Having a library in the traditional strict meaning is still relevant and absolutely important. Yet when one combines two completely different elements such as a book and an old telephone box, and creates something new, the public – especially children, are bound to get curious and explore.” Indeed, the aesthetically-striking profile of the Book Box seemed almost resembling a portal of some sort to me, and I could only imagine the fascination of a ten year-old turning the vintage door knob to reveal a selection of some of his favour-


ite books. By allowing the public to personally assume responsibility for this public library, the Book Box team has put trust in the community, injecting a feel-ing of relevance and equality amid those feeling some-what lagging behind the others. “I think that trusting the people with the day-to-day running of the Book Box is a risk worth taking. Common sense should prevail and dictate that one cannot simply take a book without donating one in return, or at least returning it in a good condition. This same idea is adopted in foreign villages where similar initiatives were set up: one must assume that locals assume a sense of belonging in the project.”

Though I felt sorry that I had to dampen the positivity of the interview, I couldn’t avoid the pertinent ques-tion on what future lies for books in a time where publisher after another is switching off the press and turning on the computer. Does the realization of a project such as Book Box mean that the book needs to be supported by added flair to survive, or is the art still going stronger as ever? Roberta’s answer was quite different from what I expected. The key, she tells me, is in finding a balance between new and old: “My love for books goes beyond the medium on which they are available. I’m also an avid tablet user, benefiting from the easy portability of a larger number of books on one device. However, I don’t believe that the printed book is on the path to extinction. Instead, we’re discovering new ways with which to give a new life to second-hand books. Book Box is just one of such methods.” Therefore, a compromise is indeed possible; we just need to think harder and come up with a peaceful coexistence of the two.

With one Book Box up and running, the future seems

promising for the initiative and its team. “Following the Qormi opening, we were just overwhelmed with the demand for more Book Boxes to open in other villages. The interest has soared, and the support from local au-thorities is indeed promising.” Now, the challenge lies with maintaining the open Book Box while investing in new ones, the first of which will most probably be a second spot in Qormi. Yet I saw no sign of doubt in Roberta – only a determination which is kindled by the unwavering love for knowledge and hard work. As I prepared to go back, I couldn’t resist taking one last glimpse at the scarlet figure, just begging to be opened and discovered.

My mind was settled, and my opinion was firm: yes, there is always something new to a book. Whether new or used, when opening a book always manages to send shivers down our spine, we must realise that there’s something deeply special to it. In the age of digital consumption, we must find a balance between swiping and thumbing, between inputting bookmarks or neatly folding page corners. Yet me must never give up on reading, because we’ll be closing that door on knowledge which makes us whole individuals.

9MAY 2013

“... I could only im-agine the fascination

of a ten year-old turn-ing the vintage door knob

to reveal a selection of some of his favourite books.”


The month of May usually sends the individual jumping up and down with joy, especially the stu-dents who have just encountered a hard scholastic year. The reason for such euphoria being that sum-mer is around the corner.

For this issue we have prepared a quite interesting, fresh feature, just as we are starting moving slowly towards this lighter period; the theme being that of hand-made bobbin lace. Upon entering a small lace shop, at the Citadel , where our interview was held, I could already feel the breeze of the summery season. This shop has now been open for twenty years.

We were greeted by the masterminds behind all the production; Leli and Maria Mizzi. As many of those who are familiar with the production of lace might know, it is worked on a lace pillow (‘trajbu’) made up of papier-mâché (‘kartapesta’). The design is then pinned to the lace pillow and the bobbins are set ready for use.

For this month’s article, MARILIANA DEBRINCAT gets to discover one of our islands’ best-kept secrets: a tradition spanning centuries, yet which still feels as fresh, light, and artistic as ever. The art of lace-mak-ing is simply the best way of introducing the summer season!

expressionslight

11MAY 2013

The tradition of lace-making runs in the interview-ee’s family. Mrs Mizzi’s mother used to commis-sion people, generally those belonging to the elder age groups to work sheets (‘rombli’/ ‘strixxi’) of lace. “The people generally follow their own family pattern which is passed from one generation to the other. They do not like working with patterns which are from the outside of the family.” An interesting fact that we learnt was that these people get paid by how much times they have repeated the pattern (‘Kuxxinata’) in the process of producing lace. Even Mrs Mizzi’s mother-in law used to work lace in the years gone by.

Mizzi’s husband designs the lace patterns for his wife and he states that he bases his designs on the traditional lace patterns of their family; “Some-times small changes are inserted in the patterns, but on the whole they’re pretty much the same as the original patterns”. Mizzi also told us that with regards to the patterns, the tourists prefer designs which feature the Maltese Cross.

When seeing rectangular, circular or oval lace cloths, we just appreciate them only as a hand-made prod-uct. However our team delved into a much more

detail and inquired about the actual process of pro-ducing the whole cloth. Each cloth, be it circular, rec-tangular or oval is made up of different small pieces


and patterns. The oval cloths are the most difficult to produce, and in fact nowadays one rarely finds these type of cloths in shops. This is because one needs a lot of patterns, including the inverse of each pattern, the reason being that in order to produce oval shapes one needs to consider many patterns from different an-gles. The circular and rectangular cloths are very easy to produce as their production involves less patterns which have to be repeated over and over again until one finally reaches the end product. Also one does not need the inverse of each pattern when producing rectangu-lar and circular pieces. The pieces are than hand-joint in order to form the final big product.

Some pieces are not made entirely out of lace; some are merely made up from a piece of cloth with lace joined to its’ trims. One question which you might pose is how these lace-makers join the lace with a piece of cloth. Tra-ditionally, the lace-makers used to commission nuns to delicately hand-join the lace with the cloth. Nowadays this is done in the more modern way using a sewing machine. However that’s just about the only sector in the lace business where a modern technology comes in; “Pieces which are entirely made up of lace are all joined by hand”.

One last and interesting fact which lace lovers will surely be interested about is that one can actually wash these lace cloths. However it is recommended that these be washed either by hand or else put into a bag before being inserted into the washing machine. The former option is more recommended than the latter option.

Unfortunately the lace production as we know it now is gradually dying out as the younger generation can-not do it as a profession because it does not give you an income to live on. Lace making is very time consuming and no one is prepared to pay a decent price for all the hours involved to make it. Mrs Mizzi is a lace worker too and she was taught by her mother. Although she does not earn a living by actually selling what she makes, she enjoys doing it immensely and says that it is very thera-peutic!

13MAY 2013

-------------------------------------------------------------------“The people generally follow their own family pattern which is passed from one generation to the

other. They do not like working with patterns which are from the outside of the family.” -------------------------------------------------------------------


15MAY 2013

In May, MANUEL XUEREB takes us to what may just be one of the most emotional places. We’ve all heard about abandoned prisons falling apart - this is perhaps the furthest one can get from that description. Packed with human stories, the place is a living witness to the adventures and mios-demenours of our forefathers.

Gozo’sPRISON

finest


The months of spring are here, and May has quite made its mark by its friendliness and warmth. As I am expected to do for this is-sue, I will come up with a new enlightened

version of what a museum actually is, besides dis-cussing one. A museum can be meant as a place that stores something which has value. The picture that invades my mind is that of a classic televised scene, that comedy series always envisage happening at museums. There is always a scene where a group of school children are at a dinosaur museum. Then an innocent child appears accidentally touching one bone of a large Tyrannosaurus. The child does this either out of curiosity or recklessness, causing all the bones to disintegrate bit by bit from each other, and fall on the ground. The televised graphics reveal this scene as if the bones were holding together by some

fake glue, or by a thin thread, thus resulting in a ter-rible scene, a loud noise, and causing everyone to turn around and look at the poor guilty kid.

The moral of this story obviously besides making you, the reader, imagine all this and giggle a bit, is that any museum stores highly valuable things. The Tyrannosaurus bones are millions of years old; that after their species went extinct because being swept due to the asteroid impact ( their specices went ex-tinct after they were swept away due to the asteroid impact).The bones had to be dug up and excavated from various exotic locations around the world. Then the bones which then had to be reassembled by an expert into a the skeleton form of the dino-saur. The patience and dedication of the expert into making back to life this dinosaur can be contrasted

17MAY 2013

with the scene of all the bones scattered when they fell in the story. Therefore the museum version I want to convey here is the importance and dedica-tion each museum has been attributed to, work that cannot be seen. Only through our imaginations can exhibits and the work done for museums be given the real value.

The museum for this issue can be very narrowly de-picted. Thus I will do my best to describe this mu-seum with its truest colours. This museum is the Old Prison of Gozo. Many would fall to the trap by claiming that it is just a prison, like any other. How-ever, this prison has many important features that one can relate to, which are attributed to its long his-tory. This prison had been built in 1548. Thus one has to recognize that it is almost five hundred years

old. Located in the Citadel, right beside the court, the site was built to replace the previous prison building, and was still used till the beginning of the 20th century.

Today this prison is divided into two sections: the entrance hall, which was used as a common cell for the average criminals who were not a threat to each other, as well as a free-standing block with six indi-vidual cells for the more important and dangerous criminals. Moreover the massive low doors and their heavy locks are still the originals that were used back then. Also the individual cells are still in very good condition and virtually untouched.

The most interesting question from visitors would probably be whether any prisoner ever escaped and what their average day was like. Some escapes did occur not only during the Order’s three hundred year-old reign, but also during the British period. Moreover the prisoners’ daily life did not consist in much. They were punished to stay in a confined space, and were only provided with daily food which was quite decent. This consisted of bread and pasta: food that was cheap, and locally produced. Further-more the inmates were not subjected to torture, as there is no evidence recorded of such practices.

“More impressively this same prison had the privilege of having as one of its inmates

Fra Jean Parisot de Vallette; the Grandmaster who built our capital

city which bears his name: Valletta.”


Back in the day, the building was connected to the Court through a door. The closeness between prison and court represents the close connection between the judicial sector and the punitive section of our western political foundation, which during the time was based on the Napoleonic Code which dominated all Euro-pean judicial sovereignties. The reason for this close proximity was also obviously deeply related to secu-rity purposes; highly-dangerous criminals could not be given even the slightest chance to escape, or end up as prey to an angry victim seeking revenge. Thus this allowed for the protection of the criminals, as well as for their utmost control, so as not to allow any escape; and for an efficient system.

This prison was used by the Order of St. John for its’ knights. More impressively this same prison had the privilege of having as one of its inmates Fra Jean Pari-sot de Vallette; the Grandmaster who built our capital city which bears his name: Valletta. As a young knight, he ended up incarcerated for quarrelling with a broth-er member of the Order. In my opinion, despite be-ing in Gozo, the Knights made use of this prison for a psychological reason. The involvement of knight’s in

crime was very common and it came about either by causing murder from dueling, or other crimes. How-ever they were sent to Gozo to condemn the severity of the action especially from such respected category of people, who were upheld as noble. They were ar-rested and sent by a ship from Malta to Gozo; the exhaustion and distance highlighting one’s serious misdoings. The distance the prisoner had to endure reflected upon the severity of his action. It was almost as if one was being exiled.

After the Knights of St. John left, this prison was still used. In the 19th century another prison was built in the Citadel area probably to deal with the increasing population, and thus increasing number of criminals. Both the prisons were used at the same time. It could be plausible that the Old Prison we are recognizing, since it was closer to the court held short term crimi-nals who waited to appear in court, while those sen-tenced for good were held at the other one.

However the highlight of this museum is the aesthetic features one can get admire; mainly consisting of the graffiti work done in this prison. These are the main

19MAY 2013

The site where the Gozo Ca-thedral is situated today has been also home to an an-cient temple to the ancient

Roman goddess Juno.

‘exhibits’ of this museum, portraying the prisoner’s artistry and experiences. Furthermore, you have to put yourself in the prisoner’s shoes to understand the their dilemma: if you are in solitary confinement how would you spend your seemingly-unlimited time? It is a very easy thing to imagine. If any of the readers are not able to do so, just turn off all technology any-thing modern, and see what things you are left to do. Today’s world is dominated from such things which make us humans dependent on them. Back then they experienced similar feelings in prison, even though they were not dependent on technology. They were sentenced for long periods in jail for their crimes.

The prisoners had the limestone walls as their only source of outward frustration; almost as their play-ground in which they could only exploit something. Moreover they had all the time in the world, except for some hard labor that they were required to per-form. Some carved dates, others wrote the days of how much they have passed in jail, and how much they have left. This is known as the tally. Others carved symbols such as names, games, figures, catholic crosses, and the eight-pointed Maltese symbol. Some carved their hands which was part of their identity, possibly because they did not know how to write their name. The hands symbolized a lot back in the past. A

simple hand shake meant loyalty and respect. Moreo-ver it was valued as part of the person’s identity. There are also some representations of ships; which could possibly mean two things: first, that those who were imprisoned were sailors or worked at the dockyards, or else that the prisoners were foreign; hence the ship represented a return to their homelands. These graffiti not only have an artistic value but they also reflect the thoughts that used to cross the prisoner’s minds.

To sum up, my intentions were to help future visitors to try and picture such thoughts and connect with several features that this museum can offer. The fea-tures include the aesthetic part of the graffiti work by the prisoners and also the historic part. Today going to any prison is still seen as a bad thing by society. However in an imperfect world many could end there and still be successful or morally good people. One example taken out of this museum discussed is the grandmaster La Vallette. Moreover it is important to note that the structure of the prison was restored in the 1990s by the Ministry for Gozo. Then it was passed to the Heritage Malta.

The Old Prisons are open every day (Weekends includ-ed, from 9.00am till 5.00pm. More information can be obtained via the website www.heritagemalta.com.


Graduating from the University of Malta with a History of Art Degree as well as a four year diploma from the school of Fine Arts in Valletta, nowadays

Dominique Ciancio is a renowned artist not only in our island but also abroad. Born in 1983 he grew up in Sliema. Growing up he became acquainted with

the masterpieces of some of the great masters of art such as Caravaggio. Finally in 2008 he became a full time artist.

From the very short period of time that we spent in Ciancio’s studio we learnt that this young artist’s passion started from an early age. Although he has accomplished so much in studying he still believes that in Art it is the individual that needs to continu-ously enhance his knowledge in the area. He recalls back to younger days when he had decided to tour round Europe. Living in various locations, he used to just go around in museums to appreciate art and enhance his knowledge to its boundaries. ”Learning this way is much different than being lectured to at a school. This gives the opportunity of trial and er-ror, hence teaching oneself”. Ciancio highlights how

In this month’s issue, MARILIANA DEBRINCAT discusses artist Dominique Ciancio’s work. His personality and experience have taught him that in the work s of the ‘old’ masters lies the secret for making Art truly stand out, submerg-ing us into a cosmos of emotion, passion, and of course - colour.

mindCAPTURING WITH THE

21MAY 2013

Research, Reading & Experimentation are important in this sector.

One of the main sectors that one must delve into when talking about art is Inspiration, which is a very crucial pediment. According to Ciancio inspiration is some-thing that comes along the years from our surround-ing; “the art around us subconsciously influences the individual” . Ciancio too gets inspired from subjects that surround him but it’s not exactly the buildings or other art already established that gives him inspira-tion, but it’s the people themselves.

What does Ciancio delight in the most when undergo-ing the continuous process of producing a painting? The thing that fascinates him the most is the whole mixture of the elements of colours themselves with the technique that he adopts. Ciancio explains to us how he adopts a very particular skill when produc-ing a piece of work; “It’s as if a small boy is composing the work with the strength and skill of an adult.” The point that the artist brings out very clear is that he gives a lot of importance to Technique.

Ciancio then moved on to explaining how he proceeds with the process of producing a painting. He empha-sizes that one needs to be very familiar with the skill of design and also needs to have ample knowledge about the anatomy that one is going to transcribe into painting. One always starts from a basic process and then moves on to more complex levels. “The real trick is to keep the work simple but at the same time com-plex. The final product must be one that makes the audience see the simplicity and the complexity of the works intertwined with each other.” To many it may seem easy but an artist knows that it is one true strug-gle all the way from the raw materials to the actual fi-nal product.

“... it’s as if a small boy is compos-ing the work with the strength and

skill of an adult.”


Asking Ciancio about the me-diums through which he pre-fers expressing himself into aesthetics, we learnt an inter-esting fact about this artist. Although he prefers using oil and turpentine, he produces the paint mediums himself rather than buying it ready -made; “This is the technique that Caravaggio and the oth-er great masters of art used.” Ciancio admits that even though he tries to keep mat-ters simple when mixing the oil and turpentine, he still likes looking into and follow-ing certain mixtures which are not his.

Every artist has a genre that is closer to heart than others and for Ciancio it is Figura-tive art: the art of represent-

ing a subject. One needs to be a great observer of nature and at the same time one needs to be capable and skilled to cre-ate a poem with paint instead of words; “One needs to be scientifically analytical and combine the works with po-etic elements”

Right now Ciancio’s works are being exhibited in Nor-way. As regards to the future this quite talented artist does not put much thought into the matter as he believes that as long as one is concentrat-ing in producing the best work, future events will come easily.

23MAY 2013

NOTTE GOZITANA: CELEBRATING WHO WE ARE

This year’s Lejlet Lapsi - Notte Gozitana was one of the most awaited events of Gozo’s cultural season, once again proving to be a successful realisation of who we are as inhabitants of an island thriving with culture. This year’s focus was especially centered on finding our roots, with shows such as Gensna in Concert deliv-ering the sense of patriotism which is unfortunately rarely felt in our hectic, daily routine.

Gensna in Concert was undoubtedly one of the highlights on Saturday evening, bringing about a sense of patriotism

and pride in being Maltese.

Once again however, the main aim was to get Art as closer to the people as possible, with shows such as Nau-paca Dance Factory’s Immaculate being held in a home in Victoria’s busiest street, and Mario Saliba’s interpre-tation of Dante’s Divine Comedy organised in a narrow street corner typical of the city’s old quarters.

The Ministry for Gozo housed two exhibitions, one of which focused on the drive towards better awareness on the Eco-Gozo campaign. Other exhibitions included im-promptu art galleries, as well as several open locations, such as the Victoria Police Station.

Once again, the Notte Gozitana delivered a snapshot of our past, encouraging and energising us to continue looking forward towards increased artistic excellence in the years to come.

The interpretation of Dante’s classing “Di-vine Comedy” by Mario Saliba was a treat not worth missing, delivering top-notch

performances to the street corner..

CULTURALjournalAPRIL-MAY2013

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Fejn se Mmur Magazine - Issue 16