Issue link: https://maltatoday.uberflip.com/i/929711
maltatoday SUNDAY 21 JANUARY 2018 II Valletta 2018 "What makes Vallea a As Valletta officially launches its programme of events and activities for the year as European Capital of Culture, Valletta 2018 chairman Jason Micallef speaks to Saviour Balzan about the capital city's rich culture and his hope for a lasting legacy beyond 2018 Besides being chairman of Valletta 2018, you have other obligations, including leading a political TV channel. How do you cope with these commitments? It is all based on experience rather than time management. The work I've done 25 years ago is paying off in my career and my everyday life. I've worked with a lot of different people and organisations. I've also gained experi- ence through a number of electoral campaigns which I've been involved in. I've been involved with one of the big- gest organisations – the Labour Party – through which I've dealt with differ- ent people, opinions, the good and the bad. All of this has contributed to my experience. In the past, the public perception was that the Labour Party did not take a positive approach towards culture. How did you manage to counter this perception? I do not agree with this statement as it was the Labour Party which advocated for cultural affinity locally and interna- tionally. In the 70s, when the PL was in government, there were members in the Cabinet who represented the cultural sector. Even when the party was in the Opposition, it always had people who were interested in the cultural sector. The party always put forward propos- als and worked to improve the cultural sector in Malta. In the 80s, the Labour Party introduced and didn't shy away from international festivals, musicals and rock operas like Gensna. Whether or not one agrees or disagrees, it is still a phenomenon today, 30, 40 years later. You worked with a team who certainly did not place politics before their capabilities. Did you feel accepted and was it easy to work with everyone? Being a political appointee made the job quite challenging at first. However, I was very passionate and dedicated whilst leading the project so this quickly helped to overcome any criticism. I recognised what was expected from me and made sure I lived up to those ex- pectations. I was expected to encourage people with astounding talent to fulfil such talent and contribute to the cause – irrespective of political or religious be- liefs. It was one of the few projects that were not controversial, continuously supported by the Opposition even when there was some criticism going on at the time I was appointed. The foundation doesn't work with political parties but solely with talent and capabilities. A lot of people are under the impression that culture is only related to art and theatre. What message are you trying to put across? Our main message is that culture is ac- cessible to everyone, everywhere. It is a celebration of different people united by the celebration itself and the enjoyment derived from it. We want everyone to be involved in the cultural activities being held for V18 throughout this year, all set within the framework of it being a feast for all, which is the foundation of our programme. Valletta lends itself to the occasion. It has a long history, dating back many years. How important are the recent developments that Valletta has undergone in the context of the V18 project? The developments are not only very important for Valletta, but for the country as a whole. We want Valletta to become a 'brand' and to leave its very own legacy. This regeneration, which started under the Gonzi administra- tion, has led to the restoration of the city's fortifications, partly through EU funds. The Renzo Piano project, which I strongly believe in, got the ball rolling albeit being criticised in the past. It gave life to Valletta's entrance along with the restoration of the Triton Fountain, creating a beautiful open area, further enhancing our capital city. In the past two years, a number of boutique hotels have sprouted all over Valletta. Was the private sector's contribution important to the project? Very important. My work and the work of the foundation is not only that which is seen on the television. It involves extensive thought and several meetings. When I started my role as the leader, I had to set up a plan – which meant a plan for economic, social and cultural regeneration. It would have been impos- sible to think that everything could be done by the state. We spoke to the private sector and encouraged them to invest in the capital city and be part of the regeneration. We made it clear that if they had faith in us, they would not be disappointed. There are now over 20 buildings which have been transformed into boutique hotels. We want to regen- erate Valletta as a European capital and not only as a local capital. The aim is to attract visitors into living in the city. How did you manage to get creative yet retain a sense of Maltese flair? The incredible team which works for the Valletta 2018 Foundadtion. At first it was not an easy task to communicate to those involved in the project – which involves some 400 programmes, 140 of which are on a large scale – that the celebrations were not about Valletta being Malta's capital, but about it being a European capital. The programme The Renzo Piano project, which I strongly believe in, got the ball rolling albeit being criticised in the past