Ir-Razzett tal-Markiż Mallia Tabone is this year celebrating 25 years since its inception. Its president, JOE BARTOLO, discusses with Joseph Agius the history and the ethos of this Mosta cultural landmark.

JA: Can you elaborate on the history of this building, Ir-Razzett tal-Markiż Mallia Tabone, whose origins were lowly and related to farming, as its name implies, before it was transformed into a cultural centre? Who was the Marquis Mallia Tabone?

JB: These premises and the grounds of the adjacent school, formerly known as The Lily of the Valley and now known as Maria Regina College Mosta Secondary, were originally the property of the marquis. Eventually, the surrounding fields were developed as a new school; however, the farm was not knocked down in the process.

In the preceding decades, the marquis kept his hunting dogs and hunting implements in the rooms, in fact, he hung his guns on the walls which gave the edifice the aspect of a hunting lodge.

Fast forward to the 1980s, the premises were earmarked to be pulled down and the site to be developed. During those times, I was working in the adjacent school. I felt that something had to be done to safeguard the farm from destruction.

I paid a visit to the then-minister Daniel Micallef and informed him of this decision and accompanied him to the site, upon which he moved to save the building from being reduced to a pile of rubble.

There was a change in government and in the 1990s, Ugo Mifsud Bonnici initiated procedures for its restoration. A word of thanks should also go to the then-head of the Lily of the Valley School, Mary Doris Aquilina, who insisted on its restoration.

The premises were being used as a storage for theatrical costumes and sport paraphernalia.

There was another change in government and the then-minister of education, Evarist Bartolo proposed to us, as representatives of the society known as Għaqda Filantropika Talent Mosti, a contract which would be renewed from time to time. 

The Għaqda next year will celebrate its 40th anniversary. This society, as its name implies, is a philanthropic one, established years before this cultural centre and was one dedicated almost solely to theatrical productions.  This year, we are celebrating the 25th anniversary of the administration of this cultural centre by Għaqda Filantropika Talent Mosti. The centre was officially inaugurated by then-minister Louis Galea. As one can see, the history of the cultural centre is linked to Malta’s two main political parties.

JA: Along the years, Ir-Razzett hosted many art exhibitions and cultural events, such as music-literary evenings. Can you mention some of these which you feel helped to establish the centre as a cultural venue?

JB: In my opinion, and I believe one which is shared by others, Ir-Razzett has witnessed the emergence of many new artists by hosting their first solo exhibitions, thereby introducing them to the art-loving public and sending some of them on successful artistic career paths.

However, we hosted also the exhibitions of already established artists such as the late sculptor Anton Agius. One must mention also the joint Esprit Barthet/Antoine Camilleri exhibition as being one of highest repute. Agius held five solo exhibitions here. He was an artist who helped us a lot although he was not the only one to do so.

Another noteworthy example was the exhibition, organised by Ray Zammit, thematically linked to Carmelo Borg Pisani, the artist and controversial personage who was tried and summarily executed for treason during World War II. Zammit had also organised another remarkable exhibition linked to the history of the Maltese Forka (the gallows).

Away from the visual art scene, the late folksinger (għannej) Frans Baldacchino il-Budaj should also be mentioned for his contributions towards the success of the centre through his memorable well-attended performances.

Ir-Razzett has witnessed the emergence of many new artists by hosting their first solo exhibitions

Actually, the name Għaqda Filantropika Talent Mosti is a misnomer as our society has become representative of the talent of the whole nation, rather than being limited to the town of Mosta. Indeed, we have also hosted exhibitions by foreign artists hailing from different countries as well.

I have to mention also the philanthropic aspect of the enterprise – through various fundraising activities along the years since our inception, we have managed to distribute €167,000 to charitable institutions such as Puttinu Cares, Id-Dar tal-Providenza and others.

 JA: Every person involved in the running of the centre contributes voluntarily, without any financial renumeration. However, Joe Bartolo has become synonymous with the place by becoming its heart and soul. Do you feel that this responsibility is sometimes too heavy a burden for you to carry?

JB: This is my last year as president of both Għaqda Filantropika Talent Mosti and Ir-Razzett tal-Markiż Mallia Tabone, to which I have devoted the last 35 years of my life. I wish to thank my late wife who never hindered me in my endeavours.

It’s time to pass the buck after 35 years of activity. However, I’m hoping that the fate and success of these enterprises will continue to flourish in the coming years under the management of the very able person who will succeed me. I’ll be helping this person in all ways possible so that everything will continue growing and prospering.

JA: Ir-Razzett boasts a permanent display of old tools belonging to crafts that are no more. Indeed, a small museum of ethnography is housed within the premises. Is this a secondary aspect or an essential part of the role played by Ir-Razzett tal- Markiż Mallia Tabone?

JB: I thank those persons who donated these tools for our museum of folklore. A family has donated the statue of Our Lady that used to belong to the old Mosta parish church. We’re bound by a contract that ensures the artefact is never to leave the premises.

There’s a costume that Paul Axiak wore during one of his operatic performances, we have sculptor Anton Agius’s tools of the trade, we have artefacts that used to belong to Hollywood actor Oreste Chircop and others belonging to famous Maltese composer Charles Camilleri. As one can observe, the exhibits are national heritage and not solely pertaining to the legacy of our town.

Our museum of folklore boasts a collection of very old tools. We are very proud of this, as private individuals are entrusting us with their heirlooms. Schoolchildren benefit from this as school visits are organised and the young ones can admire the implements used in old crafts and, therefore, learn about old traditions and skills.

We work hand in hand with the school’s council in this respect. Schoolchildren are particularly interested in our annual crib exhibition during the Christmas season.

Through our annual Christmas and Easter exhibitions, we also cater for those who cherish popular culture.

It is also edifying that through culture, the society, as an NGO, is aiding those sectors of society who are in dire need of financial help.

JA: In what way does the centre intend to celebrate its 25th anniversary? Are there any special activities planned?

JB: Ir-Razzett’s schedule for this year includes 18 art exhibitions. However, we had a special programme planned for this special year. It had to be mothballed due to the current pandemic situation. If the situation improves, we will go ahead with it.

JA: Do you feel that there are ways through which Ir-Razzett can evolve or is its 25 years of existence proof of its success?

JB: I believe that it can evolve. I have complete faith in the person who is succeeding me as president, and I have absolute faith in the present committee. I hereby thank all those who have contributed actively, and voluntarily, to the success of Ir-Razzett for the years that we have been administering it as a cultural venue.