Well-known local personality Daniel Azzopardi has recently been appointed Spazju Kreattiv’s new artistic director. Here, he speaks to Stephanie Fsadni about the current cultural scenario, the problems faced by the arts sector and his short and long-term vision for the creativity centre.

Can you give us a brief background about you?

Ever since I remember, I’ve always had the arts and creativity at heart. Such drive led me to garner extensive experience in theatre performance, to work as a project manager on a number of international cultural projects and also teach classes in strategy development and event coordination. 

On a personal level, I have a close connection with the organisation, having first worked as an animator on the schools programme, some 15 years ago. That experience and overall interest in the sector led me to pursue professional training abroad before eventually returning as a programme senior manager and festival director. Being appointed in this prestigious role brings my relationship with Spazju Kreattiv to a culmination which I hope will result in great achievements for the organisation both locally and internationally. 

In your opinion, how’s the cultural situation in Malta at the moment?

In the past few years, we have seen a gradual progression in how the arts are perceived, also in view of substantial investment made in project development and production. However, there is certainly room for improvement, especially when it comes to the role of arts and creativity in the education system and the general appreciation of the sector towards the well-being of society. Many still perceive the arts as a luxury rather than a necessity. 

In such a setting, there are evident gaps in career development for students aspiring to have a career in the sector, not only as artists, but also in specialised entrepreneurial expertise, technical and production skills and project management.

Facilities are also a matter of concern, with many of the main venues requiring investment to cater for the evolving demands of the industry. Unless there’s a clear set long-term policy which tackles such shortfalls, we will always be at a disadvantage when seeking to professionalise the sector, and produce on a regular basis top quality work which can be exported to the top international showcases. 

Do you think the Maltese are getting more interested in the arts?

Well, the numbers show that there was an increase in attendance of organised events, in part due to the European Capital of Culture 2018 and increased investment in mass activities.  However, when compared to other European countries, we are still lagging behind in the overall audience engagement and development of innovative contemporary projects. 

Surely, there are art forms which are more popular than others and need to be catered for but that does not mean that we should be solely populist in our approach. On the contrary, I think that as public entities, we have a remit to produce a highly-diverse spectrum of arts that expose communities to what the sector best has to offer. This means giving space for creatives to experiment without any pretences other than to take risks and explore new tangents. Also, a clear necessity is the direct involvement of communities in developing initiatives of their own with professional guidance and expertise.

What about the younger generations? How are they getting involved?

The younger generations have a very important role to play in bringing change and new innovative ways to interpret our ways of being relevant. Their enthusiasm and propensity to try new things and take risks is something which is highly needed in a sector which thrives on creativity. Nowadays, it is very difficult for the private sector to invest in such high-risk ventures especially in the current scenario, so it is up to arts entities like ourselves to nurture upcoming generations to be more open in their way of thinking and not to be afraid to express their views and opinions through their art.

How seriously has COVID-19 impacted the sector?

Undoubtedly, the pandemic had a hugely negative impact on the sector and we’ll only know the full extent of it once this situation subsides. Many artists ended up with their commitments being postponed or cancelled, while many cultural entities were caught off guard and scrambled to find quick fixes to remain present in the public domain. 

In all this, the digital experience, which had been on the agenda for over 20 years, suddenly became a priority and an essential consideration in the creative way of thinking. As things remain unpredictable,  we have to be proactive in adapting to the situation and use it as an opportunity to develop our practices for our work to be more relatable to existing and new audiences.  

We have used this period to renovate facilities, improve  in-house management systems and upgrade  online interfaces which will greatly improve the organisation’s holistic experience. It was also a good opportunity to work on the organisation’s archive and systematically compile historic material of the organisation’s 20-year history which I hope in the future will also be retrievable online. 

What is your long-term vision for Spazju Kreattiv?

My vision is one centred on three pillars ‒ artistic excellence, community outreach and internationalisation. Being Malta’s National Centre for Creativity, I’ll be working to position Spazju Kreattiv as the place to go when it comes to presenting a programme of events of high artistic excellence, which promotes local creatives, new international practices and also nurtures emerging artists. 

My vision is one centred on three pillars ‒ artistic excellence, community outreach and internationalisation

Our base at St James Cavalier will serve as a showcase for accomplished work but, equally importantly, as a creative hub for encounters and exchanges within the arts sector and beyond. Accessibility is central to all this and, through our initiatives and strategic communications, we seek to be relevant to a wider spectrum of audiences from different walks of life. In this aspect we hope that the programme created at the centre will then filter in diverse communities and regions. In time, through our efforts, we aim to become key players in development of cultural policies and project implementation in the Euro-Mediterranean region and beyond. 

And what is your short-term vision?

Undoubtedly, the current situation has presented us with a big challenge to attain our set targets. However, I like to see such adversities as an opportunity to improve our existing practices. With this mindset, come September we look to open the new season with a more interactive approach that not only champions creativity but also engages the community in dialogue and direct involvement. 

Case in point, my team has been working around the clock with our collaborators to develop a season’s programme that is not only of good quality and diverse artistically but also caters for a wide spectrum of audiences. Having been appointed just recently to the role, this year will be about setting the basis for what is to come during my tenure. However, from what I’ve seen and discussed, I’m optimistic with what we have in store for the future. 

Do you intend to give more space to new and upcoming artists?

There won’t be a sector to invest in if we don’t cultivate arts appreciation in the generations of tomorrow. I believe that Spazju Kreattiv  has a strong role to play in providing the expertise and resources needed to achieve this.

We are already in contact with a number of stakeholders to ensure the centre can serve as an incubator where young creatives feel comfortable to express themselves through the arts and be exposed to what best the professional field has on offer. Within such a framework, and through our team of experts and networks, I envisage us being facilitators in the gradual progression of the collaborating artists seeking professional endeavours in Malta and abroad.

Spazju Kreattiv is mostly associated with theatre and the visual arts. COVID-19 permitting, do you aim to host more music-related events?

St James Cavalier was always thought of as the centre for creativity where a wide range of events could be produced, and as such my plan is to host a wide array of events, including music − but not only.

While the traditional arts will have a core role to play in our programme, I think there should also be a fair share of collaborations with other industry sectors to develop new innovative ventures. Creativity has no boundaries and we look at embracing this concept by presenting a wide range of multidisciplinary opportunities.

You have been involved with the ŻiguŻajg International Arts Festival for children and youths in the past few years. Do you plan to use this experience to host more events for this age group?

Absolutely! My eight-year stint with the festival, four years of which I’ve spent as director, has given me invaluable experience of how to operate within the field with maximum engagement. 

I intend to use that to foster a similar sense of belonging, and when I speak of accessibility and community engagement, there’s no better way to start if not by investing in children and their families. The schools network will be an essential point of contact for us to consult and develop targeted programmes that makes sense in the education framework. Through this work we look to be on the forefront in championing social inclusion, while emphasising what good the arts and creativity can do to society’s well-being.  

How can the arts sector reach out more to the public?

The past year has seen a series of public outcries on an array of social issues which have affected the way we perceive the values of life. 

The question is whether the arts have taken note of this public unrest and provided the platforms for communities to meet and exchange opinions. There were certainly instances in some quarters that did so, but not anywhere near enough. It worries me that issues such as racial equality, gender rights, land reclamation and rule of law − all of which have been in the headlines − have hardly been tackled in the local creative sphere.

The arts should serve as the platform to investigate and instigate discussion, and this level of engagement is something which, as the National Centre for Creativity, I hope to be doing more of in the future. 

What kind of help does the arts sector need from the government/authorities at the moment?

While there’ve been efforts from the main authorities to assist those in need and better the creative ecology in which we operate, I do feel the pandemic exposed shortfalls in the sector which need to be addressed. 

One of the main things which I do believe needs resolving is the collective understanding between public cultural organisations and other main partners in establishing a cohesive process of policy-making and implementation strategies. Essentially, it is not sustainable for us to work in self-created silos which limit the propensity of sharing sectoral knowledge and resources. Such common understanding is essential if the creative industry is to continue evolving and truly achieve the professional and quality standards expected.

While we are living through one of the major international crises in recent history, the creative sector stands to be noted in adapting and being a key player in ensuring society’s well-being remains a priority.