The traditional Maltese nativity crib is increasingly being showcased on overseas platforms as far as the US.

International recognition of the unique tradition reflects the growth in popularity of this local artistry, says the Culture Directorate.

While a slight decrease in local participation has been noted in the directorate’s annual exhibition and competition of nativity cribs and statues, this was primarily due to their increasing recognition and invitations to be exhibited internationally, said Emanuel Vella, senior officer at the directorate within the National Heritage Ministry.

A scene from Mark Scerri's crib.

This year, several artisans have been focusing their efforts on prestigious exhibitions abroad, showcasing the “exceptional quality” of the Maltese craftsmanship and cultural living heritage on a broader platform.

An exhibition featuring over 25 Maltese nativity cribs, including two large cribs showcasing scenes from Maltese towns and villages, is currently on display at the European Parliament in Brussels.

Daniel Bugeja with his family.

Among others, an exhibition entitled “The Maltese Crib: Art, Faith and Tradition” was held in Rome last Christmas, featuring 28 Maltese and Gozitan artists, and the Museum of the Bible in Washington D.C. has held two exhibitions focusing on Maltese cribs, in 2020 and again last Christmas.

Meanwhile, the Maltese nativity crib last year started the process to be inscribed on Unesco’s representative list of the Intangible Cultural Heritage of Humanity.

“The enduring practice of crib making remains an integral part of Malta’s living heritage and, if anything, it has grown even stronger over the years,” Vella maintained.

A scene from Daniel Bugeja's crib.

Maltese nativity crib makers have reached “remarkably high artistic levels”, he said, attributing this also to the continuous efforts of the Culture Directorate and various NGOs.

These organisations have been instrumental in organising workshops, conferences and talks led by local and foreign acclaimed artists in the field.

Many of those who did not participate in the directorate’s competition remain open to visitors individually, while Gozo hosts its own exhibitions and events.

Another scene from Daniel Borg's crib.

Deeply rooted in Maltese identity, he said the tradition, which brings to life the Nativity story, served as a profound expression of faith, artistry and living heritage, adding to the spiritual atmosphere during the festive season and the island’s cultural richness.

Local communities continued to passionately preserve and innovate the iconic presepji, sometimes blending historical craftsmanship with modern and contemporary artefacts.

Ensuring continuity for generations

The average age of nativity crib makers stands at around 40, but participants in the directorate’s competition can sometimes be as young as 20.

“This mix of experience and youthful enthusiasm not only enriches the tradition but also ensures its continuity for generations to come,” Vella said.

Mark Scerri and his crib.

From vulcanisers to HR managers and notaries, nativity crib makers say the artform goes beyond the religious aspect, giving them an outlet outside their daily grind.

Whether it is throughout summer, burning the midnight oil, or rising at 3.30am before work, crib makers from various walks of life are busy at their craft.

From vulcaniser to crib maker

By day, he gets messy fixing tyres, but in his free time Salmenio Buhagiar, known as Sammy, dabbles in the more delicate crafting of a crib he has been creating for the last six years.

More than just devout, the vulcaniser says the pastime has a calming effect on him.

Massimo Borg with his crib.

“I am a very nervous man. I actually lose my breath talking. But when I work on the crib, I relax.”

When he gets going, Buhagiar can work five straight hours. His pasturi are not intricately detailed – and maybe that’s why painting them may not get on his nerves.

Built out of cork and crammed with clay figurines he buys and paints, the crib is set up in a spacious area under the stairs to the roof of his Għargħur house. It remains there year-round, and it is in summer that Buhagiar starts working on adding on to it.

“I don’t like swimming, so I spend my free time this way.”

A close-up from within Salmenio Buhagiar's crib.

Buhagiar’s all-seasons crib tells the story of the life of Jesus from birth to the resurrection, and can, therefore, be enjoyed during other festivities.

It enjoys some poetic licence, with personal touches that reflect his own life: Birkirkara is his birthplace and where he plans to go back to live. So, the crib includes the landmark cross by Mater Dei Hospital, and when he moves, he will grow it to incorporate the Santa Liena square.

A scene from Salmenio Buhagiar’s crib.

From Grand Masters to Mother Teresa and an Italian doctor who was made a saint, these figurines have all found their place in his diorama, which includes various trades and the traditional Baby Jesus procession.

Passion instilled as a young child

Notary and university lecturer Daniel Bugeja also finds solace in the art handed down to him from his father, who would build cribs in their garage when he was young.

Another scene from Salmenio Buhagiar’s crib.

“I used to spend hours watching him work and I believe he instilled in me the same passion. I admired his humility; always seeking to learn from other builders and passing on his knowledge. To this day, if I am stuck, he will solve it in an instant, such is his creativity and flair.”

The notary has been creating cribs on and off since he was in his 20s and one even landed on display at the President’s Palace.

But this year’s is very special to him as he finally worked on a crib for his own personal use and the enjoyment of his family, in whom he tries to foster an interest and love for these traditions.

A close-up from Massimo Borg's crib.

“I will never forget the look on my eldest child’s face and the ‘wow’ she uttered when I brought it up!”

Due to a lack of storage space – the crib is around 2.5m x 80cm – it will remain displayed all year.

Bugeja’s day job takes up quite a lot of his time and being a father of three takes up all the rest, he says. But when everyone is asleep, he sneaks into his garage after 10pm to spend around three hours on his crib, which he starts planning as early as August.

Crib-making is a form of art, but also a pastime, offering “escapism of sorts from daily hurdles”, Bugeja feels.

A scene from Salmenio Buhagiar’s crib featuring Mother Teresa.

As any artform, his has evolved, and his first cribs are very different from today’s, while his technique has improved too over time.

Żurrieq, where Bugeja resides, is home to a whole community of crib builders who foster and encourage this craft, he said, pointing out that “we are living in a world where we are losing the wisdom of the older generations through many distractions”.

Crib-maker giving courses

Massimo Borg recalls a time when the way cribs were created was “totally different” – he began making them almost 25 years ago. Now, he works with a different technique, using expanding foam.

Barely a month passed after last Christmas that he started working on this year’s crib. In February, he began on the palms and accessories, but from September, he upped the tempo and put in around four hours a day in the evening after work.

It all starts from his imagination; then he draws a small sketch and begins to build. But it is not the first time that the sketch is “for nothing” because he veers off into something completely different.

This is a passion and a hobby for Borg, who works at the MCCF in Ta’ Qali by day.

He is not alone, and the “very young generations” are busy on their presepji too, he says. Borg may have something small to do with that as he even gives crib-making courses on a voluntary basis.

Crib represents the family

Mark Scerri has been making cribs as far back as he can remember. From January to mid-December, you will find the HR manager in his garage, spending long hours on planning before the creation starts.

At 3.30am, Scerri will be go down and, sometimes, again even in the evening after work.

He mainly manufactures cribs for churches and people’s homes, as well as for local and international exhibitions. During the year, Scerri also organises crib-making classes and seeing the results makes him happy and satisfied.

Scerri also believes interest is on the rise and that even the younger generations are into it, while the level of work is being elevated by introducing various materials.

Over the years, Scerri has created countless cribs and his latest is on display at Bubaqra Chapel in Żurrieq.

“I am of the opinion that a crib is not to be bought but has to be made at home within the family.”

To him, the crib, fundamentally, represents the family and what it should be like – “no need for glamour; just one another”.