3. Cultural and creative sectors
Malta
Last update: February, 2015
See also chapter 1.2.2 "Overall description of the system".
The main heritage issues addressed in the late 1990s were related to the difficulties encountered in the conservation and protection of Malta's vast number of sites and other historically valuable buildings, even from acts of vandalism. The country has no less than 2 025 protected cultural and archaeological sites, including a number of megalithic temples declared as world heritage. Heritage policies, since 2000, have laid emphasis on the importance of providing an exhaustive digitalised inventory of Malta's numerous assets in this respect.
A vociferous national debate concerns tourism, an extremely important industry which, in 2005-6 has shown evidence of decline. The decision, in 2006, to introduce low-cost airlines gave rise to debate on whether Malta should continue to receive mass tourists or whether it should diversify the market to cater for niche (cultural) tourists. It appears that Malta needs both categories, but the case for cultural tourism offers immense possibilities for the lean months between October and April, considering Malta's mild climate during that period.
Malta's heritage is always at the top of the country's cultural agenda. The Heritage Act of 2001 split the state-run Museums Department into two structures dealing with regulation on the one hand and operations on the other. The Superintendent for cultural heritage assumes responsibility for regulation while, Heritage Malta operates state-owned cultural sites.
The latest yearly report of Heritage Malta (2012) states that Heritage Malta conducted extensive programmes for the public, with no less than 180 different cultural events, including exhibitions, heritage trails, lectures, seminars, educational programmes and the increasingly popular open days.
In terms of major projects Heritage Malta has concentrated on structural projects co-financed by the EU. Foremost among these was the ERDF archaeological conservation project at Mnajdra and Haga Qim Temples, Ggantija Temples, St Paul's Catacombs and Tarxien Temples, the Ghajn Tuffieha Roman Baths and Ta' Bistra Catacombs. Works at Fort St Angelo and Fort St. Elmo are in the advanced stages of completion. Work on the relocation of the National Museum of Fine Arts to a more centrally located "Auberge" has commenced and is expected to be a major deliverable of Valletta 2018. The relocation of the museum was initially stalled due to political interference however a strong media campaign and a petition managed to secure the development of the project.
Private cultural heritage foundations such as Fondazzjoni Patrimonju and Fondazzjoni Wirt Artna are also assisting in the restoration of heritage sites and curating exhibitions of historical and artistic importance following the governmental policy to transfer a number of neglected properties to such organisations. In 2014, Heritage Malta, the Farsons Foundation and Simonds Farsons Cisk, Malta's leading beverage company and brewer have agreed to work closely in the setting up and operation of a Farsons Visitors' Centre. A three-year memorandum of understanding provides for the planning and design stages of the visitor's centre, guidance on the collection, conservation and presentation of exhibits.
The National Cultural Policy states that a forward-looking vision for the heritage sector is needed in order to ensure the adoption of the latest techniques and the most updated knowledge in heritage conservation, while providing a fresh outlook on the past which appeals to all sections of the population, especially children and young people, as well as to international visitors to the Islands. An inventory which catalogues the heritage assets of the country is required for the facilitation of work of scholars, policy-makers and individual members of society. The fundamental cultural, historical and social significance of Malta's intangible heritage, including crafts and gastronomy should be valorised by fostering it within a supportive framework which remains sensitive towards its fragility as well as to its cultural malleability and adaptability. The framework shall also take into account how this intangible heritage has evolved and can still evolve, and how it can reinvent itself. Furthermore, government is committed to continuing its investment in the conservation and management structures of Malta's patrimony. Regulatory structures and technical requirements aimed at fulfilling the obligations of monitoring and enforcing heritage legislation shall be provided with continuous support. Operational structures managing museums and heritage sites are to provide appropriate interpretation and ancillary facilities, centred on the core historical dimension of the asset.
Interpretation should be historically sensitive, but should also take into account 21st century visions for and expectations of presentation and appreciation of heritage. Special attention to the value of these sites in sustaining a dynamic and open discussion on aspects of a historically-rooted national identity shall be given. Particular attention shall be paid to visitor centre layout with the aim of making people's visits more appealing and rewarding. The strength of cultural tourism in Malta has provided our heritage sites with an international audience, whose needs must be catered for. However, this should not detract from the continuous importance these sites have for Maltese people and their identity. It is recognised that the conservation of heritage assets is a long-term process which entails the coordination of financial aspects, education and training. Training in heritage conservation and management are important elements for a sector which must constantly balance the conservation needs of sensitive artefacts and sites with the pressures of a demanding national and international audience.
The National Cultural Policy recognises that the function of museums goes beyond that of a tourist attraction; they are essentially a gateway to past ways of life of Malta's people, which should be physically and intellectually accessible to today's public. Museums should diminish the borders of time and space and offer opportunities to individuals to explore each exhibit in a fascinating manner. It is therefore understood that the word "museums" should not be solely synonymous with depositories of the past. The Policy aims at encouraging the exploration of the different and stimulating ways in which museums can become more appealing to the public. It is committed to investing further in order to facilitate contemporary forms of exhibiting which encourage an active involvement of individuals through technology, innovation and imagination.
In November 2014, Deloitte Malta, under the auspices of the Minister for Justice, Culture and Local Government Dr Owen Bonnici, organised a seminar during which existing and proposed tax incentives relating to donations and endowments made to the Cultural Heritage Fund, heritage NGOs, and research entities were discussed. The debate focused on the recent call for further public-private partnerships for investments in cultural infrastructure and heritage. Government is commitment to taking a leading role in facilitating current work practices, research future possibilities and to entice new ventures concerning Cultural Heritage. The law regulating Cultural Heritage that was set up to make provision in place of the Antiquities (Protection) Act Cap. 54 for the supervision, conservation and management of cultural heritage in Malta is set to be amended in 2015.
The Cultural Heritage Fund was originally set up to function as a financial support mechanism with a vision to invest in areas such as research, conservation or restoration of the cultural heritage, but has been dormant for the past 12 years. Apart from the direct injection by the central administration, the Minister explained that this was an area in which there was potential for the private sector and private individuals to get involved.
The tax incentives currently available under the National Heritage Donations Rules are intended to promote donations ultimately intended for research, conservation or restoration, education or the exhibition of cultural heritage. Tax deductions are applicable for qualifying donations made to The Superintendent of Cultural Heritage, Heritage Malta, Fondazzjoni Patrimonju Malti or other qualifying non-Government cultural heritage organisations. Additional incentives are being proposed to further promote the donation of funds by businesses and private individuals to ensure the protection and accessibility of Malta's cultural heritage.
The potential of public-private partnerships for the development of cultural projects and urban regeneration in view of Valletta 2018 is actively being promoted by Government. In 2013, government issued three calls for expressions of interest related to the regeneration of Valletta, including the drafting of a masterplan for Valletta, the regeneration of Strait Street and the regeneration of the old market. Government policy is geared towards giving life to Valletta through the creation of projects with government and private investment or a mixture of both.
Specific Measures:
- tax deduction on donations to heritage organisations; and
- tax rebate on restoration (2012).
See chapter 4.1.4 for more information on the above measures.
This information will be published as soon as possible.
This information will be published as soon as possible.
This information will be published as soon as possible.
Last update: February, 2015
The mandate to establish the Creative Economy Working Group was announced by the Minister of Finance, Economy and Investment in 2009 during the 2010 Budget Speech. The Creative Economy Strategy entitled Creativity Works is expected to be publicly available in 2012. The document defines the Creative Economy Project in the following terms:
"Creativity is the engine of the global economy. Those countries capable of developing and supporting an environment where the creative talent of the population is brought forth and prospers are the countries most capable to support their economic and social development. The creative areas of the economy, which include ICT, films, arts and design, as well as performing arts and others, create a lot of high value-added work, support other sectors within the economy, like tourism, manufacturing and other sectors, and at the same time create a vibrant and innovative environment in those contexts where these sectors develop. Thus, even the people's quality of life improves. We will therefore continue to incentivise this sector consistently with the Vision 2015 to make our country a centre of excellence in various sectors, including that of creativity. In this context, […] we will create a working group to draft the regulatory and fiscal organisational framework for the promotion of the creative economy."
The objectives of the working group were:
- to assess the potential of Malta's CCIs by mapping, consulting and reviewing the sector;
- to address the professionalisation needs of the sectors within the creative economy;
- to develop a strategy that will generate income and create jobs in the creative economy;
- to internationalise Malta's creative economy; and
- to maximise and synergise public and private resources for the creative economy through effective economic, legal and administrative processes.
In order to reach the identified objectives, the CEWG implemented the following tasks:
- enacted government's decision to develop the cultural and creative industries as a pillar of Malta's economy as part of Vision 2015;
- coordinated and implemented the Creative Economy Project as identified in Budget 2010;
- developed a cohesive national strategy for the cultural and the creative sector, based on the sector's potential social and economic impacts and benefits;
- articulated and defined the governance and legal framework for the sector;
- reviewed the usage and effectiveness of current fiscal measures and other incentives with a view to the medium and long terms needs for the development of the sector;
- coordinated with key related national initiatives, namely the preparatory work for the European Capital of Culture and the implementation of the relevant national policies, especially the Malta Cultural Policy; and
- ensured that the strength of Malta's cultural and creative sector reflects diversity of cultural expression, resulting in social cohesion and inclusion and a better quality of life for all.
Following the establishment of the Creative Economy Working Group, the Cultural and Creative Industries were identified as an economic pillar in government's economic vision 2015 and beyond and enlisted as a commitment in the Euro Plus Pact.
The Creative Economy Working Group (2010) defines the Creative Economy as a set of knowledge based economic activities (creative and intellectual capital) encompassing the cycles of creation, production, and distribution of creative goods and services, that have the potential to generate economic growth, employment and development.
The pillars of the creative economy are the Cultural and Creative Industries: Heritage, Arts, Media and Creative Business Services. Creative Workers and Cultural Assets are at the heart of the CCIs. Through talent, skill, entrepreneurship and IPR, the creative worker can generate new jobs and companies, and help mature industries to re-tool for the future.
Key economic indicators:
|
CCIs accounted for 5% of GDP (2008-2010) 6.2% annualised average growth (2000-2007) | ||
|---|---|---|
|
Number of enterprises: 3 822 (2010) |
People employed: 14 500 |
Average wage : EUR 17 231 p.a. |
|
GVA: EUR 322 million (2010) |
GVA per employee: EUR 31 065 per person employed |
Average annual growth in GVA per employee: 7.8% (2008/10) |
| Public expenditure in culture and creativity: EUR 27 million (2013) | Gov.exp. per capita: EUR 62(2012) EUR 64 (2013) |
Gov. CCI exp. as a share of Total gov.expenditure: 0.9% (2012) |
| Tourist expenditure on the CCI sectors: EUR 77.2million (2012) 7.8% of total tourist expenditure | Exports of cultural and creative goods[1] : EUR 147 million (2012) Increased at an annual average rate of nearly 14% (2008-2012) | Exported cultural and creative services[2] rose at a considerable annual average growth rate of over 60% (2004-2008). Main sectors driving growth: audiovisual services, advertising, and architectural services. |
Identifying the key issues for the CCIs in Malta
and addressing these needs strategically.
Source: Creative Economy Working Group (2011).
The aim of the Creative Economy strategy is to identify the barriers that are currently hindering growth for cultural and creative practitioners in Malta. As the key stakeholders of this strategy that position themselves at the heart of the CCI model, 12 steps were identified as check points for growth within the sector. The narrative is not always linear; however it often takes a practitioner through a daunting journey that is highly dependent on the personal and external environment. At the core of the model one finds talent and skill without which no cultural and creative action can take place. (Issue 1. How do we identify and nurture this talent at an early age?)This often requires the necessary mentoring, coaching and training delivered by education institutions. (Issue 2. Are we delivering this professional training?) Following extensive vocational and academic training, cultural and creative professionals seek out employment or are more likely to create their own job (Issue 3. Is there a market and do they know how to find route to market to survive and grow). This often requires appropriate legislation and governance structures to champion the sector and legislate for its professional status (Issue 4. Do current governance structures respond to the needs of the industry?). Cultural and creative practitioners cluster in cities and countries with dynamic creative ecosystems. In return this provides wealth, creates jobs and drives forward innovation (Issue 5. How do we facilitate the interlinkages between various cultural and creative sectors?) The creative environment is rooted in the community and the identities of the country which through voluntary activity passionately celebrates its traditions. (Issue 6. How do we prioritise professionalisation and give value to community activity that often serves as an incubator for professional activity?)Cultural and creative practitioners need to feel culturally at home, creatively free and actively global. (Issue 7. How ambitious are we to reach international markets and how do we access them?)Ultimately, a creative ecology can only be sustainable and rich if it hosts diverse people, sectors and thrives through exchange. (Issue 8. How can Malta become more attractive to international entrepreneurs investing in the creative industries?)
"Brain drain" featured as the most visible threat to the future of cultural and creative industries in Malta. When excellent talent and strong skills are lost due to lack of specialised training or if Malta is perceived as a nation of limited creative opportunities, internalisation does not become a stepping stone but an escape route to pursue one's potential. The strategy champions the belief that this creative potential can be nurtured into a booming creative economy.
The Strategy addresses:
Governance: It analyses current governance scenarios, establishes needs and direction, investigates and compares potential scenarios and defines the way forward. Ministries, departments and public agencies that are directly involved in policies and strategies for any area of the creative economy should be assessed, consolidated and re-enforced into an effective and efficient model. This will mitigate a fragmented governance structures and maximise the effective use of government resources in CCIs.
Shaping talent into professions - The human capital is central to the creation process, and the strategy seeks, together with education institutions, to ensure the nurturing of a creative workforce in response to the needs of the sector and the growing demand in CCIs.
Routing Creative Ideas to Market – The strategy prioritises the development of creative clusters and the mechanisms for access to finance in order to address barriers hindering creative businesses in finding route to market.
Malta: A hub of creative exchange –
Support is proposed for investments in Valletta as a cultural city and
its potential as a European Capital of Culture in 2018, international
co-productions, marketing and promotion in international fairs and
festival circuits. International relations, enterprise incentives, and
cultural diplomacy are streamlined through the appropriate structures in
order to maximise existing networks, and boost exposure and exports of
CCIs. Awareness and use of IPRs is improved and promoted as a central
tool for the industries to make a profit via licensing, transfers,
assignments and other commercialisation ventures.
[1] Which includes Crafts (carpets, celebrations, other paper, wicker ware and yarn), Audiovisual (film), Design, (architecture, fashion, interior and jewellery), New Media, and Music, Publishing and Visual Arts (antiques, paintings, photography and sculpture)
[2] Excluding recreational services exported which include mainly remote gaming services
Please find the available information on this subject in 3.5.1.
Please find the available information on this subject in 3.5.1.
Please find the available information on this subject in 3.5.1.
Please find the available information on this subject in 3.5.1.
Please find the available information on this subject in 3.5.1.