Issue link: https://maltatoday.uberflip.com/i/939870
maltatoday SUNDAY 11 FEBRUARY 2018 31 This Week Could you guide us through the process of how Thirst came about, as it seems as though it's a long-term project with an intensive research element...? Yes, you are right. Thirst is not simply a performance. It's a pro- cess which involves walks, conver- sations, finding, losing, questions and responses towards my expe- rience of being Maltese and not being able to connect to the rock. The exploration started last year. I had been living in Mexico and re- turning to the island began to cre- ate a physical sensation; a squeeze in my heart. It hurts something deep to witness my homeland be- ing violently constructed. How would you say this performance marks your development as a performer, and which aspects and preoccupations of your creative practice would you say are highlighted by Thirst? I have always respected the practice and process of perfor- mance making. Since the first performances with the Rubber- bodies Collective, the focus of the process was on the collaborative devising method mostly through theatre and improvisation tech- niques. This time, I wanted to ap- proach the work through somatic body techniques. Somatic work is a deep body and mind self- awareness which allows one to listen, respond and listen to what you experience in the moment. I am working with and on my own body through a sensory connec- tion between myself and the rock. My creative practice started to form when I was studying cho- reography at Dartington College of Arts, UK. It was a radical shift to experience dance as an art- making process through practice, research and interdisciplinarity. Supported by Arts Council Mal- ta – Professional Development Grant, I returned to Dartington on a Solo Lab Mentoring training programme at The School of Ex- periential Learning (SOEL) with somatic movement practitioner Rosalyn Maynard. It is an hon- our to be back and work in a rural paradise which holds a history of experimental dance experimenta- tion, a community for the arts and progressive education. Overdevelopment appears to be a key theme of the work... how is this manifested in the project itself, and why do you think it's important for artists to keep responding to this reality? Whether we are aware of it or not, we have a deep relationship to the land. In somatics we ex- plore how our brain is weaved in a complex organised structure that enables us to engage with the land through our sensory muscu- lar perception. This explains why changes in Malta and in the world are creating a sense of displace- ment, breakdowns of communi- ties, depression, anxiety, poverty and so on. An artist is sensitive. Respond- ing to reality is not a choice. Life is integrated with my practice and process and right now I am expe- riencing life with a thirst for the feeling of home. The project so far includes an inspiring collaborative dialogue with visual artist Letta Shtohryn, a beast, a goddess of the rock and fresh sound waves by Yasmin Kuymizakis. Given that Valletta is currently serving as European Capital of Culture, what hopes and ambitions do you have for this title? I have mixed feelings being in Valletta during this eventful year. I appreciate how the artistic and cultural opportunities have in- creased and this has resulted in many artists developing their skills and experience through col- laborative exchanges locally and worldwide. It is also very exciting for me to come back to Malta and discover a vibrant community of artists which is growing on the is- land. I was delighted to see some great work by the electronic duo Traskurat, the enlightening Malta Sound Women Network and masterful street theatre by Teatru Triptiku. On the other hand, I am con- cerned by the sustainability of the creative economy. I am not interested in Valletta being a one year capital of culture, but in a community which is living and evolving through its own crea- tive activity. Art is a rich resource to recon- struct ways of thinking, apply ideas for a widening educational vision, create social responsibil- ity and testing approaches to de- velopment heritage industries. I do not feel that this is being fully addressed. It is easier to blind so- ciety by the illuminating lights of spectacle when the environmen- tal monster is breaking down our social and natural bonds. I hope that I will still be able to smell the thyme and taste the salt. What's next for you? I will be working alongside Yasmin Kuymizakis presenting the developing process of Thirst. Following that I will go to Am- sterdam to collaborate with Ira Melkonyan, my fellow Rubber- bodies colleague who is work- ing on performative liquids. In March, I will return to Mexico to continue developing Thirst and my practice. I am not sure when I will return to Malta, but I will take the rock with me. No one will build on my piece of land. PHOTOGRAPHY BY LETTA SHTOHRYN 'Responding to reality is not a choice' looks forward to the "good fun, nice weather, and cheap beer." "I hear we can have a play at the classic Golden Axe computer game!" The influences for Kill All The Gentlemen range from grindcore to prog, while the lyrical themes cover the "the occult, all things self indulgent, the greed of man, the constant struggle to set ourselves free from all perceptions placed upon us by our apparent govern- ance." Highlights for Shellshock for them will be the weather, "apart from playing there of course." "We have played with Synaptik before," Olan Parkinson told us, "It will be awesome to play at that venue – it looks amazing. And also the weather, did I mention that?" The last time Martyrium per- formed at Shellshock was in 2016, and they say a lot of things have changed since then. "Now we have new songs and an overall more un- hallowed presence." "Shellshock has always aimed to achieve good quality sound, a proper venue, nice atmosphere and good quality bands. The amal- gam of these things always set the festival for success," they told us. Tyrone Mifsud from Bound To Prevail told us that he has been supporting the festival since its inception. Shellshock, he says, al- ways sought to promote the local scene during the winter days. The band has been busy planning their 2018 shows in support of their new EP – 'Omen of Iniquity', and Shellshock has provided a great opportunity to kick off the year's gig cycle. "We had such a great time play- ing at Shellshock in 2016 that we really wanted to come back and play in this year's festival," Ra- chel Grech of power metal band Blind Saviour told this newspaper, expressing her appreciation for Shellshock as a festival which aims to merge together different cul- tures by including different bands and incorporating a mini comic con. This sentiment is shared by many of the bands that will be hit- ting the stage next weekend. "Shellshock provides an oppor- tunity for bands to expose their work and followers of the local metal scene to gather up and have a blast. The "Mini Comic-Con" provides a slight edge, setting Shellshock apart, while also allow- ing local metalheads to indulge their inner geek, if you will," Clay- ton Cini of Animortua tells us. It is the first time his thrash-power band will be playing at Shell- shock. Ascendor, on the other hand, will be participating for the third time. The Gozitan quintet have just come back from a turbulent period, Paul Formosa tells us, with two full-length albums under their belt; "The local old-school faithful gave us a really warm reception." He too believes that the mini com- ic-con is a "stroke of genius." Heavy metal veterans 12th Ode will be debuting new tracks from their upcoming album during their performance at Shellshock – a festival which they deem to be important within the local scene. Gothic symphonic metal act Ris- ing Sunset have been performing at Shellshock since its inception, Carlo Calamatta tells us. The band is currently recording their 4th al- bum – Dos Mysterium Tenebrar- um – and will also be debuting some of the songs at the festival. "The organiser is a very well estab- lished musician in the local scene so he knows very well what it en- tails to open the doors to metal bands and support them." Shellshock has even given the chance to newbies Goldstein, whose spokesperson told us that the band is doing 'just fine' as they look forward to kicking off the fes- tival at 15:00. "Think of our band as a ticking time bomb. What better place to deploy it than a festival celebrat- ing an existential post-traumatic stress disorder?" Thirst will be staged at Spazju Kreattiv at St James Cavalier, Valletta on February 15 at 20:00. Entrance is free on a first-come, first-served basis. The project is supported by Arts Council Malta – Professional Development Grant Shellshock Metal Fest 2018 will be taking place at Chateau Buskett, limits of Rabat on February 14. Doors open at 14:00, and entrance is at €18 Dancer Rebecca Camilleri speaks to TEODOR RELJIC about Thirst – an upcoming performance that encompasses a wide sway of research and geographical locations, and even touches upon Malta's increasing urban uglification Rebecca Camilleri: "I am not sure when I will return to Malta, but I will take the rock with me. No one will build on my piece of land" Shellshock organiser Shawn Mizzi