And the beat goes on. Children from Valletta are the main
beneficiaries of Ritmi, a music project
run by the Third World Group. Marika
Azzopardi discovers how the beat of a drum can bring people
together
Africa, its natural beauty, its people and their culture have inspired the arts and culture since time immemorial. This continent, the cradle of mankind’s very beginnings, was the main inspiration behind a local project run by the Third World Group known as Ritmi. The project began just over a year ago, in April 2001, and is itself part of an EU-sponsored project called ‘Rhythms for Life’.
‘It's been a very fruitful experience for all those involved,’ explained Adrian Grima from the Third World Group. Leading percussionist Renzo Spiteri and music therapist Rosetta De Battista are teaching a group of adolescents how to play the West African drum called the djembe. The sessions are being held at St. James Cavalier, where the management has been particularly supportive.
This project is all about bringing those who have been marginalised by circumstances and by society back to the centre, where we all belong. The main ‘instrument’ used is rhythm, because music and in particular percussion has the potential to show in a concrete way that all cultures, all sounds, all identities are equal and should be treated equally. The ‘Rhythms for Life’ project also actively promotes fair trade by using fair trade instruments. Both the issues of marginalisation and cultural diversity are profoundly European ones.
Renzo Spiteri has been contributing to the workshops in a hands-on manner as musical director. ‘The Valletta children were very eager about this new concept of making music and we did lure them out of their homes by playing in the street to let them listen to the fun which could be had.’
In this Pied Piper fashion, several children were prompted into willingly attending the various workshops organised for them. They were even keen on the idea of participating in a street performance.
‘These are usually children who have no idea what commitment is all about, but we were surprised to find them waiting for us before the workshops were to begin,’ Renzo explained. So far only girls have been involved in the groups, but the boys’ groups will be tackled next.
A series of adult drum circles were also made available to the general public as of last October, and the majority of people who participated had absolutely no musical know-how. They came from various backgrounds and ages ranged from 17 through to the late forties. The culmination of the workshops came with the experience of performing in front of a packed theatre during three concerts that were held in March at the MITP, Old University Theatre. The Ritmi concerts were also the culmination of a visit by Senegalese percussionist Moussé Ndiaye who had also led a number of drum workshops for students and for the general public.
Renzo describes his experience of the concerts as being: ‘a great sense of achievement all round. And working with Moussé Ndiaye was exceptional to say the least.’ Renzo met Moussé only days before the concerts were to take place. The Senegalese musician took to Renzo immediately, even going so far as saying that they must have known each other in a previous life, so great was their synchronicity. ‘From the first drum beat I felt immersed in a very beautiful moment in time. We played incredibly well together. Then in the concert itself, we were afraid that people would not participate fully, would not feel the vigour and energy released by the drums in chorus.’
Yet it all turned out a complete success with Moussé going so far as claiming that Renzo must have been born in the wrong place! Renzo’s keen interest in drums goes back to his school days when he began playing on a humble drum kit. Eventually he became interested in percussion and from the Valletta School of Music went on to the University of Malta to complete his studies, also studying in Milan. He has been involved in a long list of local and foreign concerts, film work, Voices choir and the National Orchestra.
Is it not a contradiction in terms that the Third World Group is concentrating on a local project and not living up to its name? Adrian explains that the Third World Group started off as the Third World Study and Action Group, but it soon developed into a more action-oriented group. ‘Over the years we have done voluntary work in a number of areas in Malta and abroad, working mostly in Italy, Egypt. London, Tunisia, and France. We have now been doing voluntary work in Valletta since 1989. At present there are about 40 people directly involved in the running of projects by the Third World Group, of all ages and from all walks of life.’
The group’s main projects are the Valletta project mentioned earlier, which includes the running of a literacy project (funded by Voices); a computer literacy project; the organisation of activities for children and adolescents; and of course ‘Rhythms for Life’. Then there is the Ritmi project, which is raising funds for the group's projects in Malta and providing promoting the cultural diversity of the South of the world. Another important project, co-funded by the EU, and run by a number of NGOs in the Mediterranean, is promoting sustainability in the region. The Third World Group is working on the promotion of fair trade in the Mediterranean through the fair trade co-operative, the only one in Malta which it set up in 1996, and which runs the fair trade shop L-Arka in St. Paul's Street, Valletta.
Adrian adds that they are planning to resume the Ritmi project for another year, since there has been a keen interest from the general public who participated so eagerly in the drum circles.
‘There is a lot that we need to learn from the Third World and from the people we work with in Malta. This should not be a one-way relationship. Our collaboration with Moussé Ndiaye is a prime example: he has provided us with a wealth of culture and music that has fascinated hundreds of Maltese people. We, on the other hand, would like to support Moussé in the running of the multicultural centre for mostly disadvantaged children and youth that he has set up in Dakar. The centre provides schooling in general and education about music and musical instruments. Perhaps the best way to see it is as a partnership.’ Adrian explained.
Although Malta is not a third world country, we can learn a great deal from people who are deprived of much that is basic and fundamental to their livelihood, and perhaps which we, in our modern life, do not even appreciate.
