ŻfinDays, the national dance company’s first event for 2021, presents a double bill that showcases a breadth of human attributes ranging from the perennial to the contemporary. ŻfinMalta’s artistic director Paolo Mangiola speaks to Lara Zammit about their signature programme. 

ŻfinDays is now in its second year and has sedimented itself as one of ŻfinMalta’s signature programmes. Speaking to Times of Malta on the concept behind ŻfinDays and what makes the programme distinctive, Paolo Mangiola, the company’s artistic director, said that the programme is intended to showcase ŻfinMalta’s extended repertoire each year. 

“As a national dance company, we wanted to create an ‘appointment’ – a recurring event each season – where our local audience could access fresh, cutting edge dance works, made by established artists, without travelling abroad,” said Mangiola.

“We wanted the company to perform these works here before touring internationally, and that is where the idea of ŻfinDays came from. What makes it distinctive from other productions is that we usually create full-length evenings, but with ŻfinDays, you experience a kind of a mini dance festival – a three-day immersion into the art of dance – where, as an audience, you can witness different works.

“A bit like reading short stories, where you can immerse yourself in the minds and crea­tive processes of different authors, you come out of the theatre feeling enriched,” he continued.

An example of one of the masks created by Lucien Cassou for Kalypso.

Opening the evening is Kalypso, created by local choreographer Jacob Piccinino, which explores themes related to mythology and ancient theatre. It invites the audience to dwell on the themes of guilt, compassion and social power struggles, accompanied by an original score by Alex Vella Gregory.

While Kalypso is based in the past, the second performance in the double bill, Superlikes, immediately grounds the audience back into the present. Here, award winning, Barcelona-based choreographer Núria Guiu analyses the value we attribute to a ‘like’ in our digital culture with a choreography that deals with the theme of the body within digital spaces.

Dance, like any other contemporary art form, is intrinsically tied to social issues

Asked what is the connecting thread that links the two performances, Mangiola highlighted how the two choreographers brought something new to the table for ŻfinMalta.

“Both their works are very different and yet they all ‘speak’ in such a way that is accessible and engaging. In the first part of the evening we will experience Kalypso where, through the dancers’ use of mask work, we immerse ourselves into a world which is theatrical in its conception but a dance work in itself.

“In Superlikes, the work questions our ability to navigate social media and the impact that this has on popular culture. I’m sure the audience will come to the theatre and witness these works with the same enthusiasm we have in making them. Dance is an art form that can be very rewarding when watched and these works are both physically stunning and intellectually engaging,” he remarked.

Mangiola went on to describe how dancers and choreographers prepare for such an event, saying that copious preparation is involved for such a production.

ŻfinMalta dancers rehearsing Núria Guiu’s Superlikes, showing the idea of posing for social media, in order to ‘gain’ likes.

“Both choreographers test their ideas first and see how the company dancers, which are the essential ingredient in every production, respond to them, later offering their input into the creation.

“The dancers at ŻfinMalta are not only incredibly versatile and ready to address different artistic visions, but they are all very curious, which makes the work for the choreographer more exciting. Of course, we are adding an extra layer of security during this difficult time.

“Each artist working with the company must present a negative swab test every month, and even though they all live in their own bubbles, we must always be extra careful. We have a huge responsibility towards our audience, and we want to make sure that, first and foremost, the people feel safe when stepping into the theatre,” said Mangiola.

Finally, when asked whether he believes that dance can be a tool to bring about dialogue and insight about social issues, Mangiola affirmed this quite strongly.

“Dance, like any other contemporary art form, is intrinsically tied to social issues, but you might not see that element first. We don’t create works to educate people, and neither do we want to be didactic in our creative approach.

“What every artist brings to ŻfinMalta – and this is very evident in this year’s ŻfinDays – is their own unique point of view about this current world we are living in it.

“This is, in my opinion, the function of art – to offer the audience a platform where they can think and reflect, and to ultimately leave the theatre feeling enriched and transformed.”

ŻfinDays will be held on February 12 and 13 at 8pm, and on February 14 at 2pm and 8pm, at the Valletta Campus Theatre. Due to the overwhelming response, ŻfinMalta have also decided to hold a matinee on Sunday, February 14 at 2pm. Tickets may be purchased on www.kultura.mt.