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THE development of Malta's cultural identity is potentially best captured by the phrase 'a kaleidoscopic mosaic forged across time and space'. Located in the middle of the Mediterrane- an region Malta has for centuries absorbed, re-interpreted and re-modelled various cultural, artistic and music influences from across the region. Throughout history, the importation of musical tastes and sounds evolved hand in hand with the develop- ment of different social classes and political structures mirroring new social norms and rules, including a clear distinction between 'us' and 'them'. In a post-World War II era and through- out the following years, the emergence of local bands and other artists inspired by jazz, punk, rock, electronica and pop ema- nating from mainland Europe and the USA continued to inspire young generations. Most significantly, it encouraged young generations to break away from tradition- al recreational practices and norms, and through clothing, music, and shared prac- tices and behaviours, propelled Malta's youth to develop and identify with new cul- tural identities. One of these identities is that linked with electronic dance music, and the evolution of the dancefloor as a unique recreational and social space. As Malta's youths explored the benefits of new technologies such as radio and TV, northern musical influences did not take long to reach our shores. Increasing in popularity across Europe in the late 1980s and early 1990s, nightclubs and bars that turned into dancefloors in- creased their presence also in Malta. The establishment of the iconic Axis disco- theque in St Julians, and collaboration with Italian Djs such as Francesco Zappalla, Di- no Lenny, and Claudio Coccoluto directly impacted the permanence of this new so- cialising and cultural space. In the early 1990s Malta also experienced the first wave of illegal raves—an event held outside the confines of a physical club— going by the name of Sex Is Nature, or as they were called, Sin Parties. These spaces represented the pinnacle of a budding com- munity engaged in a relatively new artistic expression and cultural identity for Malta. The opportunity to dance to new beats till the early hours of the morning with some- times complete strangers created the right platform for a thriving young population of emerging artists, and enthusiasts keen to be part of this growing subculture, the rave culture. Nonetheless, between the years 1993 and 2022 media portrayals of electronic mu- sic events and people who organised such events have been usually negative. A study by Gorg Vella looked at the rave scene as a contemporary political phenomenon. The study observed that media reporting and debates on the electronic dance mu- sic scene focused predominantly on drug abuse, and promiscuous sexual behaviour. In fact, the Maltese rave scene, especial- ly people organising and attending these events were portrayed as culprits of harm and villains. The researcher concluded that despite repeated attempts by 'villains' to be part of decision making and policy develop- ments concerning their profession and life, participation was close to in-existent. In another local study, Giulia Zampini and myself interviewed a number of people who attend electronic dance music events. Many participants reflected that music, clubbing and the use of substances for rec- reational purposes had an overall positive effect on their lives, allowing them to have fun, make connections with others, nurture a passion for music and becoming part of a community. However, most participants explained that due to social stigma, this part of their life needed to remain hidden and concealed from work colleagues or parents. Participants explained that they of- ten felt misunderstood by others, as media depictions of people engaged with this cul- tural identity were mostly inaccurate and pushed by negative stereotypes. The study highlighted how people constantly need to negotiate between their 'real' self and their 'public' persona. One may observe how electronic dance music in Malta remains a somewhat niche artistic expression and economic activity. In present times it continues to swing in be- tween the multiplicity of cultural identities, negative social perceptions, and a thriving economic activity. Interestingly, the NGO Electronic Music Malta has for the past 10 years been a pivotal contributor to promote the scene beyond the confines of the dance- floor. In 2025, EMM opened its community and activity hub in Hamrun called ISSA: Każin għall-arti emerġenti. The space has hosted a number of workshops, talks, and networking opportunities for different art- ists, musicians and community groups. As the electronic dance music scene con- tinues to evolve, one may reconfirm the beauty of celebrating cultural diversity and of ensuring the plurality of culture as a basis for more prosperous and inclusive societies. One of these identities is that linked with electronic dance music, and the evolution of the dancefloor as a unique recreational and social space. 6 maltatoday | SUNDAY • 21 SEPTEMBER 2025 OPINION Karen Mamo Electronic dance music: Evolution of a cultural identity Researcher