Today it seems clear that what we invariably term as ‘performance’ has had its origins in the ancient rituals that our ancestors performed to celebrate what struck them as awesome, dramatic or even the cyclical powers of nature.

In fact almost all the performances being staged for the entertainment of the public, are in fact an extension of the mythology and the way of life of a particular community. In the course of time this would have also attracted other people from outside the community which would have derived pleasure from participating in it.

Malta’s unique megalithic buildings are the oldest free standing stone structures in the world. As most tourists and other guests who have relocated to Malta must have surely noted, the layout, design and inter-relationship of these temples quietly attest to a religious culture steeped in sacred ritual. And there lies the real Malta story, forged thousands of years ago inside these magnificent temples.

According to an ancient myth that has its origins in the sister island of Gozo, the gigantic boulders used in the building of its Ggantija temples, were assembled and transported by a female giant called ‘Sansuna’.

As could be deduced from the shamanic dramas in the great cave paintings, Sansuna and the Maltese Fat Lady, whose statues; some broken, some in a good condition; have been unearthed in various parts of the islands, are one and the same creature. Both refer to the Great Mother Goddess, the deity who represented fertility while representing Mother Earth and symbolizing Air, water and good harvests.

Here ‘mother’ is derived from ‘mater’ which besides mother also means ‘matter’ and ‘material’. I remember the late eminent playwright Francis Ebejer describing Malta’s fat lady as ‘everyone’s story throughout all generations. The embodiment at cyclicalness, which includes everybody, in her pregnant body.”

Malta’s ancient and impressive artistic heritage emanates from such an awesome source.

The Islands’ strategic geographical position, lying as they do in the centre of the Mediterranean sea, has given the country a very chequered history dating back to the pre-Neolithic times. For centuries on end, anybody who dared be somebody in the Mediterranean area, could not achieve his plans without first having controlled Malta. And all who have lived these turbulent times have left their indelible mark on the cultural body of these islands.

Contemporary Malta and Gozo features an astounding number of performances not only when compared to the islands’ physical size and that of its population. It has been noted that Malta is an un-ending performance site throughout the year especially in the hot months which amount to approximately nine to ten months per year. This aspect of continuous street theatre is a direct result of the various aspects of the rich artistic legacy described above.

Tourists, expatriates and guest re-locators to these islands cannot but be struck at the amount of festivities which litter the cultural calendar of these islands and the passion with which the natives take to the streets, or flock to theatres, in order to participate in the various spectacles.

In this series of articles I shall endeavour to show how today’s Sons of Sansuna are besotted by their ancient traditions as they strive to maintain their involvement at participating in these never ending spectacles.

THE TOWNS’ AND VILLAGE FESTAS

As you elbow your way through the narrow but brightly illuminated streets, whose adjoining decorated houses have long wooden poles, on their roofs, upon which flags bearing the symbols of the patron saint are flying, you suddenly feel covered by shower upon shower of coloured confetti.

Welcome to the town’s or village’s festa which forms part of a tightly knit religious calendar that spans from end March to end September.

There is an incessant pealing of bells which cries out for your attention amidst the brilliant colourful displays of the fireworks, the joyful rendition of the rousing band marches as the strolling musicians play their notes, wipe off the sweat from their faces and demolish unending cans of beer, seemingly all at one go.

The nougat sellers are busily engaged sampling their sweet products from their colourful makeshift stalls while each type of conceivable nutrition, from ‘chinese’ to kebab to hot dog to ice cream to the traditional ‘hobza biz-zejt’ (Maltese bread dipped in oil, tomatoes, herbs, anchovies etc) is being passed into eager mouths.

As the sacred statue bearing the village’s patron saint is carried out in solemn procession, accompanied by members of the clergy, the young altar boys, the aristocracy of the church attractively dressed for the occasion, and the representatives of the community hailing from the various committees and institutions of the village, you can not but feel a sense of belonging.

Whether born and bred in the village, or a foreigner who has just relocated to the island, you can not but feel part of a tradition whose roots may be traced to the time Sansuna laid her giant boulders on the site of the old temples.