Carnival in Christian countries comes immediately before the 40 days of Lent, It is a sort of letting one's hair down before the austere days of Lenten fasting and penance. In days gone by Lent meant fasting from the age of 16 to 60 on Wednesdays, Fridays and sometimes on Saturdays too, On those days meat was forbidden.

It is said that Carnival was introduced in Malta before the coming of the Knights in 1530. The knights introduced the wearing of masks during Carnival. However Grand Master La Cassiere forbade women from doing so.

Carnival is the time of poets of burlesque. Leaders were and are inspired to 'invent' burlesque. There has to be an element of the farcical in the making of masks and Carnival floats. And why not some sarcasm and caricature too? In fact the competition in this category is entitled Grotesque Masks. Marks are awarded for the grotesque element, apart from original design, aesthetics and artistic value of the carnivalesque.

Masks can be of political, social, literary, artistic nature. People, of course, wear invisible masks during their everyday life. This is to hide their troubles and worries. It is also a psychological 'tool' to hide real feelings in conversation or correspondence with persons who are not exactly friendly. This is even more so when the relative persons are rivals in life while pretending sincerity in action. This is in fact insecurity. Another 'face' and aspect in conduct is put on so as not to show real feelings.

During Carnival the insecure person hides his insecurity by wearing caricatured masks of rivals, personal, social or political.

It is a pity that since the end of World War II political caricature has been forbidden by law during the Carnival défilé. In a way this prohibition is a sign of lack of humour. Of course, caricature can be funny and harmless at best and libelous at worst.

Over the years quite a substantial number of grotesque masks and Carnival floats were made at Lower St Elmo. There has been an outcry against this practice from various sources. Makers of these carnival items are not satisfied. NGOs and individuals who are keen on the preservation and protection of architectural and historical heritage have protested against this abuse of Lower St Elmo. This has been the subject of controversy for many decades now. Negotiations followed at times by promises have been going on for far too long.

Carnival village

Promises were made for the provision or erection of a Carnival Village. At times there was talk of transforming empty barracks or military stores that had been built by the knights or the British forces. Alas, all those promises were just empty talk. But the time has now arrived for real action. It is really high time that a Carnival Village becomes a reality.

The Carnival Village could serve many purposes. First of all, the site is important. It must be as near Valletta as possible. It must serve primarily as studios for the making of grotesque masks and for the construction of Carnival floats. Both have to be different and of different sizes. The best and most representative items from year to year are to be preserved in an ad hoc museum. This will serve as a tourist attraction throughout the year. The museum will also be a show piece for the up and coming generation of carnival artists to study the successful items of carnival of previous years.

Band clubs

While it is rather difficult to persuade band clubs to take part in the défilé wearing costumes, it is worth while ensuring that bandsmen do not wear travesties of costumes but real, custom-made Carnival costumes. The band club to compete for the prize has to construct a float to take part in the défilé with the band.

Departure from the submitted design of the costume and float is to be penalised and this for the sake of discipline and seriousness even in the context to the king of revelry.

The standard of dancing by companies leaves much to be desired. This is strange, considering the number of dance academies and schools there are. What is actually happening is a travesty of dancing. It is simply marching to and fro the square. Besides, it is often a matter of not moving to the music that is supposed to motivate the dance rouitine of the company.

Perhaps it is also time to include a competition for the Parata. This is supposed to be a traditional dance commemorating the fighting at the time of the Great Siege. But let's face it - it is hardly a dance as at present practised. There has to be imagination and inspiration by the history of the Turkish attackers and Maltese and Knights acting as defenders. This is what the Parata is all about. At present it is listless at best and boring at worst. It has to be colourful, energetic and spectacular.