Blog Post 3: Critiquing the National Brand

National Identity Versus Nation Branding

Before examining Malta’s national “brand”, and how that brand came to be, it is primarily important to differentiate the definition of national identity versus national brand. In Abela’s Shaping a National Identity: Malta in the European Union, she defines national identity as being “influenced by individualized values… and an overall concern with global solidarity” (Abela, 10).  Solidarity and uniqueness are both products of these individualized values, helping the Maltese stand out from neighboring countries.  Malta’s national identity primarily revolves around the Mediterranean and Roman Catholic cultures that have had an influence on the country for ages (in reference to the “National Identity” blog post).

Different from national identity, the process of nation branding involves a self-prescribed identity or brand for any given country. Essentially, it’s a country’s way of marketing themselves in appearance on a global stage, through a series of campaigns. These campaigns can include social media, pop culture, and social (or economic) relations between other countries (Jordan, 22). In Malta’s case, Eurovision is their campaign of nation branding.  Both visual and lyrical queues from Malta’s performances (in reference to “The Nation on Stage” blog post) coupled with their self-portrayal of national identity will help discover this national brand.

Nation Branding: Presented? Omitted? Both?

When examining a country’s national brand, it is important to recognize that this process is a showcase by the country, for the country (Jordan, 20). A nation’s popular culture can give clues to the nature of this brand, by what the country’s citizens choose to present or omit towards a global audience.  In this case, Eurovision is the medium of popular culture, and the last five years (2011 through 2015) of Maltese performances can provide an insight towards the favorable national brand.

The most obvious pattern in these performances are the demographic of the performers. From 2011 to 2015, all of Malta’s contestants for Eurovision have been strictly European (Caucasian) with Maltese native origins. From Glen Vella in 2011 to Amber Bondin in 2015, it is evident that Malta is not in favor of boasting its ethnically diverse society in Eurovision. However in more recent years, there has been an attempt to expand the Maltese acceptance of diversity. In 2013, The Time of Malta media outlet began a “12-month project to increase the understanding of interculturalism in Malta through a free printed newspaper…on integration of Third Country Nationals within the Maltese society” (TimesofMalta.com). This shows that while Malta may not have addressed ethnic differences in Eurovision, the nation has realized the lack of representation of varying racial demographics, or “interculturalism”. Furthermore, it is important to recognize Malta’s presented brand of a Western homogenous culture, in Eurovision. The fact that all other growing ethnic populations in Malta are omitted from Eurovision culture shows the country’s lack of homage to the growing immigrant population. Such a growing influx of immigrants is a commonality that is reflected across Europe’s global cities like London (BBC.co.uk).

History of “Othering”: Anything Left Out?

As discussed in the Maltese national identity blog post, a nation’s identity is formulated through analyzing external and internal threats, as well as the Othering. On the other hand, the public treatment and portrayal of these Othering concepts can be examined in favor of the Maltese national brand. Any public mention or description of an Othering given by a country can be seen as a technique to market a personal opinion, or brand (Triandafyllidou, 593).

Similar to Cyprus in the Eastern Mediterranean region, Malta is quite obviously an island, which creates specific attitudes toward migration and immigration. Various studies have thoroughly covered the lack of acceptance to immigration that island nation-states have. An examination completed by Social Indicators Research has used what they call an “uncertainty analysis”-- a series of polling that looks at levels of uncertainty that civilians have towards immigration in their native region) -- amongst 47 European countries. The aims of this survey were to discover any means of a “perceived socio-economic threat” existing in these countries. The results of this project show that both Malta and Cyprus have the highest levels of these perceived threats (Marozzi, 1). This obviously opens a large void for any given growing migrant population being received by the Maltese as an external threat; an Othering.

The Conflict of Tradition and Modernity

There is no doubt that Malta is a conservative country, for its gravitation towards tradition and Christian roots is very similar to that of Southern Italy (Kininmonth & Gordon-Walker, 31). Firelight’s 2014 performance of “Coming Home” certainly pays homage to these roots. The lead singer Richard Edwards Micallef plays an Appalachian Mountain Dulcimer, which is an American take on the traditional European instrument known as the zither (Appindie, Appalachian Dulcimer). Acoustic style and instrumentation in “Coming Home” is also a parallel with the traditional Maltese music style, Għana. Acoustic guitar, vocals, double bass, piano, drums (full set) and the zither (exotiziing article).

An argument could be made, highlighting that Firelight’s traditional style in “Coming Home” is merely an attempt at publically “exoticizing cultural identity”, or in other words, attracting a global audience through an intriguingly exotic display of culture (Paul, 44). Either way, this Maltese act in Eurovision is truly a symbol of tradition and heritage; a reflection of an era that once was, unaffected by an influx of immigration that is simply unavoidable in modern times. The paradox of showcasing tradition in such a modern context as Eurovision, reveals a conflict surrounding modernity and tradition. Such a conflict, or interplay, is essentially an example of Maltese hegemony with the traditional aspect of a solely white society asserting dominance and president over a growing immigrant population. This interplay is recognizable in Malta’s projected national brand, and will continue to be influenced by religion and socio-economic affairs in the future.

Religious Affiliation

Malta’s connections with Roman Catholicism are solidified by an example of the Knights of Malta, whom serve beneath Pope Francis. Pope Francis was forced to crack the whip over these knights failing to stick to monastic rule, with the knights supporting a birth control charity scandal. This was big news in Malta considering the defiance of the Order is unheard of; international media covered this as well. These events and the repercussions prove the utter importance of Catholicism in Malta, and how the Knights of Malta themselves are a major piece of the Maltese national brand (The Economist).

In Malta’s most recent performances, the word “faith” and allusions to a higher power are often tossed around quite frequently, such as in Amber’s 2015 act with “Warrior”. In a breakdown of the religious composition in Malta, nearly 90% of the country’s inhabitants are Roman Catholic, with the remaining percentages being made up of Islam, Atheism, and other sects of Christianity (MaltaToday). It is no mystery that the majority of the Maltese people are affiliated with this form of Catholicism, which leads to the nearly subliminal projection of these religious ties in their performances.

The True National Brand

What does this have to do with national brand? Or Eurovision? Why does this matter? Amber, Kurt Calleja, Gianluca, Firelight, and Glen Vella are all symbolic of Malta’s conservative views towards immigration, and a diversifying Maltese culture. All are white with Maltese roots, and this demographic being selected to represent Malta on a national stage creates a brand of homogeneity for this country. During their performances angelic backdrop visuals and rays of light often dramatize brief allusions to a higher power. Judging by Malta’s religious composition, this is the Maltese history of Roman Catholicism at work. The social aspect of migration is recent in Malta, and in popular culture mediums such as Eurovision, the country is seen boasting nationalistic views in order to combat these new terms of society.

“Build another wall and watch it crumble by your side…roaming through fields, I’m trying to find this new land… I’m coming home”, shouts Firelight in traditional Għana style (Wiwibloggs). It is clear that in the eyes of the Maltese, an external threat is present. In a society flourishing with foreign immigrants, the true Maltese national brand is created through the conservative fear of a jeopardized religion and overall solidarity.

Word count: 1,366

Work Cited

Abela, Anthony M. "Shaping a National Identity: Malta in the European Union.” International Journal of Sociology 35.4 (2006): 10-27. JSTOR Arts and Sciences IX. Web. 08 Mar. 2017

Appindie. "Appalachian Dulcimer - Amy Fabbri - The Mountain Traditions Project." YouTube. YouTube, 07 Mar. 2012. Web. 16 Mar. 2017.

"Coming Home Lyrics - Firelight (Malta Eurovision Song Contest)." Wiwibloggs. N.p., 11 Feb. 2014. Web. 13 Feb. 2017.

Debono, James. "MaltaToday Survey on Religion." MaltaToday.com.mt. MaltaToday, 15 Mar. 2016. Web. 14 Mar. 2017.

Jordan, Paul Thomas. The Modern Fairy Tale: Nation Branding, National Identity and the Eurovision Song Contest in Estonia. Tartu: U of Tartu, 2014. Print.

J.H. "Why the Pope Has Taken Control of the Knights of Malta." The Economist. The Economist Newspaper, 08 Feb. 2017. Web. 14 Mar. 2017.

Kininmonth, Christopher, and Robin Gordon-Walker. Malta and Gozo. London: Cape, 1987. Print.

Allied Newspapers, Ltd. "Survey on Cultural Diversity." Survey on Cultural Diversity. Times of Malta, 11 July 2013. Web. 14 Mar. 2017.

Marozzi, Marco. "Construction, Robustness Assessment and Application of an Index of Perceived Level of Socio-Economic Threat from Immigrants: A Study of 47 European Countries and Regions." Springer Link. Springer Netherlands, 19 July 2015. Web. 15 Mar. 2017.

Paul, S. C. (2000). Exoticizing discoveries and extraordinary experiences: "Traditional Music, Modernity, and Nostalgia in Malta and Other Mediterranean Societies. Ethnomusicology, 44 (2), 281-301. Retrieved from http://login.proxy.seattleu.edu/proquest.

"Thousands in UK Citizenship Queue." BBC News. BBC, 12 Feb. 2006. Web. 14 Mar. 2017.

Triandafyllidou, Anna. “National Identity and the ‘Other’.” Ethnic and Racial Studies, vol. 21, no. 4, 1998, pp. 593–612.

-->

Bog Post 2: The Nation on Stage

Eurovision: Malta

Today’s blogpost is a recent history and analysis of Malta’s Eurovision entries. Malta has been a popular contender among the voters, having not missed a contest for 26 years. While Malta isn’t known in Eurovision as a consistent nation, the last five performances have been memorable. Gianluca’s performance of “Tomorrow” placed 8th in the 2013 Eurovision finale, a remarkable moment in Malta’s Eurovision history.

The 2011-2015 Maltese song entries for this contest will be examined in several parts. Beginning with an overview of the liner components, I will then examine each piece’s literary and visual devices. This will establish Malta’s attitudes towards diversity.

Malta, Eurovision 2015

Amber’s “Warrior” begins with literary devices in the lyrics, recurring subjects of “fighting”, “breaking free/through”, and “conquer[ing]” establish a (quite self-explanatory) theme of a fighting warrior; hence the song title. Each stanza is comprised of three to seven lines, with a mention of a symbol that reinforces the subject of a warrior. An example of this is the most memorable phrase of the song (considering these are the final spoken words in Amber’s performance), “I’m a warrior, I will conquer”. This theme is supportive of a warrior that was once chained, in fact, “suffer[ing]”, according to the lyrics (Eurovision.tv). Previously mentioned language choices in this piece symbolize an external or internal conflict. According to Merriam-Webster’s definition of a “warrior”, it is “a person engaged in some struggle or conflict”. Furthermore, this “warrior” metaphor constructs a sort of ongoing battle that the performer’s identity faces (whether that be personal or cultural). This conflict can easily be examined as a testimony to Amber’s personal identity or relationship, and this may be the most prominent topic that viewers would relate the performance to. On the contrary, Amber does not solely refer to herself as an individual battling the conflict, but rather as a component of a greater internal conflict. The reluctant Maltese attitude towards “the increasing diversity of cultures and identities which make up Maltese society [that] should be viewed as key contributors to Malta's success in its social and economic interaction[s]” (Cultural Policies).

While literary devices in Amber’s “Warrior” are important in establishing any important meanings, so are visual devices used on stage through both costume and on-screen electronics. The first half of the performance is complimented by royal blue mesmerizing visuals, that outline an ascending individual bird-like shape; the point is, the object is rising and falling as if trapped. This continues through the final chorus, when Bondin’s “break through the silence” is coupled with fiery orangish red visuals. While the visuals at this point still contour a flying object, pyrotechnics now compliment the end of each powerful phrase. In conclusion, these technical features in the backdrop act as an ongoing symbol of “breaking free” from “suffering”, much like a warrior. A color shift such as this suggests a reluctant acceptance of growing diversity in Malta, a land only recently recognized since 2010, as anything but homogenous (Cultural Policies).

Malta, Eurovision 2014

            Literary devices for Firelight’s “Coming Home” are simplified due to the composed lyrics. Every verse that signals a long and powerful pilgrimage to “home”, is merely sandwiched between several phrases consisting of, “I’m coming home”. While returning home is evidently a theme for this song, the further motive of “protecting”, “freeing” and “fighting” are all found in the lyrics. Much like Bondin’s “Warrior”, Firelight’s storytelling in “Coming Home” suggests somewhat of a threat that “home” is facing. The phrase, “build another wall and watch it crumble by your side” establishes the threat as external.

            To continue, visual devices can take this idea to a deeper meaning. As Wiwibloggs.com comments, the song and stage presence of Firelight give way to a representation of “traditional international ‘politics’” (Wiwibloggs.com). Firelight’s linear stage presence symbolizes Malta’s culture, with acoustic instruments commonly used in traditional Maltese Għana. The backdrop visuals feature an odd display of selfies, each one depicting a devoted Firelight fan. Blue beam visuals are a constant throughout the piece, only changing once to an orange hue halfway through the piece; symbolizing a return home through this resolving color scheme. The projected poppies on the stage and use of traditional Maltese instruments, suggests a strong devotion to solely Maltese culture. Poppies representing those who have died for Malta and Europe are reflective of those who have fought for Malta, in honor of preserving their culture (symbolized by the Għana instrumentation that only Malta can call their own).

Malta, Eurovision 2013

“Tomorrow” begins by telling a story about a man working in I.T. named “Jeremy” described as “sensitive… in a life of no surprise” (Eurovision.tv). The second stanza mentions a “she” that is the opposite is full of “curious delight”. Halfway through the song, Gianluca begins to sing “she’s like tomorrow”, aligning this femininity with a sense of looking towards the future. This personification technique gives “tomorrow” female attributes that are to be desired; essentially motivating Jeremy to switch up his mentioned “rigorous routine”. The song “Tomorrow” is merely the story of two lovers, however the visual performance provides more of a representation of Malta

As far as visuals go, the stage presence of Gianluca and his band is very similar to Firelight’s performance, both in wardrobe and instrumentation. This suggests another Maltese appeal to tradition. Much like in the 2014 performance, the traditional style used by Gianluca reinforces the tendency to represent Maltese values, before the influx of a diverse array of ethnicities in the country’s more modern years. It is evident that this is the representation that most Maltese are comfortable with. The stage is backed by on-screen visuals that reflect prominent lyrics, following along with the lyrics in karaoke style. Yellow lighting appears steady throughout the entire performance.

Malta, Eurovision 2012            

            When examining literary devices, details, and overall lyrics, “This Is The Night” by Kurt Calleja is bland in its composition. From a literary perspective, the song is made up of an awkwardly direct conversation between Calleja and the audience. Each half-baked stanza is merely a rhythmic electronic buildup to the chorus, consisting of “this is the night…I’ve been waiting for...I’ll be flyin’ high”. 2012 was a popular year for the genre of EDM (electronic dance music) thanks to European artists like Avicii. An immediate take away for this performance, is that the lyrics illustrate a night in which Malta is victorious, and successful in Eurovision. Nonetheless, the style is popular, leaving Eurovision fans to constantly blog about “want[ing] more electronic music” (Eurovision Family).

On the other hand, stage visuals and backdrops for this performance are quite mesmerizing in contrast to the simplistic lyrics. The overcompensation for visual effects helps disguise the simplistic and boring lyrics in this performance. Calleja dances around the stage in a suit, directing the lyrics towards the crowd as well as the onstage band. Fiery orange strobe lights dot this environment, with an animated background of a fist-pumping crowd under an orange club light.

Malta, Eurovision 2011

Glen Vella has been a recurring candidate in Malta’s fight for a name in Eurovision, and in 2011 he had successfully made his debut with “One Life”. Another electronic disco approach to the Eurovision contest, Vella’s performance stresses the importance of only having “one chance” to prove one’s self; or more dramatically, “one life”. Lyrically, the piece is riddled with motivating phrases in between the ubiquitous “one life”, that every phrase pertains to: “Just be who you are...chase the pain away...move on and don’t give up”. These are just several examples, a far cry from the more recent Maltese performances that suggest a greater cultural meaning outside of self-improvement. Vella’s motivational tone is a representation of his own perseverance in winning a chance to represent Malta in Eurovision. While he could have taken his talents elsewhere, his performance shows his nonstop effort in achieving his goal in Eurovision. After all, there is only “One Life”.

The one stage choreography is very concise, with coordinated dance moves between Vella and his backup dancers. While it is hard to pair the visuals to any sort of greater meaning, the rapid color-changing lights add a level of intensity to the music. In this way, the visuals compliment the lyrics in their motivating content.

The Maltese Attitude Towards Diversity

Similar to most countries participating in Eurovision, Malta reflects national pride through song and performance. Through these songs and performances, further conclusions can be drawn regarding Malta’s attitude towards diversity. Beginning with who is on stage and performing, there is a presence of white European culture in Maltese Eurovision practice, especially in the last five entries by Malta. While the 2014 and 2015 entries showcase fear of external threats, or surviving a “suffering”, the 2011-2013 acts merely showoff the Maltese national brand of whiteness (referring to Malta’s likeliness to gravitate towards strictly Western culture). This alone suggests a comfort in solely showcasing white talent, leading to a close-minded approach to diversity and multiracial Eurovision performances.

However, one may argue that the mentioned fear of internal or external threats to national homogeneity is false, and that the Maltese performances in the last two years are merely reflecting personal struggles from the performers. When examining the big picture, it is evident that Malta has never expressed a diverse cultural perspective in the contest, despite the ethnically varying society that Malta truly is. Close to 30% of Malta’s ethnic populations lie outside of western classification (therefore not including Europe and North America) most notably with a combined 18% of these groups originating from North Africa and the Middle East (Ethnic Minorities in Malta, 2.1). In that case, there is no alternate way of viewing Malta’s conservative approach to showcasing anything but the European standard of white talent. This is indicated by Malta’s standard appeals to European popular culture, from a one-sided Western standpoint-- not taking into account Malta’s multiethnic society, as the following analysis will show.

Word Count: 1,648

Work Cited

Calleja, Colin. "Education and Ethnic Minorities in Malta." Academia.edu. The E-SPICES Learning Partnership, 2010. Web. 02 Mar. 2017.

"Coming Home Lyrics - Firelight (Malta Eurovision Song Contest)." Wiwibloggs. N.p., 11 Feb. 2014. Web. 13 Feb. 2017.

 Europarat, ERICarts. "Malta : 4.2 Specific Policy Issues and Recent Debates : 4.2.2 Heritage Issues and Policies." Compendium of Cultural Policies and Trends in Europe - European Culture Policy Database. Compendium, 12 Aug. 2015. Web. 02 Mar. 2017.

"Eurovision.tv." Eurovision.tv. European Broadcasting Union, n.d. Web. 13 Feb. 2017.

Forums, BuzzJack Entertainment. "Maltese Music Forums Focusing on Chart Music with Chart and Entertainment Discussion." BuzzJack Entertainment Forums. N.p., n.d. Web. 13 Feb. 2017, from http://www.buzzjack.com/forums/.

Warrior [Def. 1]. (n.d.). Merriam-Webster Online. In Merriam-Webster. Retrieved 13 February, 2017, from http://www.merriam-webster.com/dictionary/citation.

"We Want More Electronic Music on Eurosong Contest." Eurovision Family. N.p., 8 May 2009. Web. 13 Feb. 2017, from https://www.eurovisionfamily.tv/blog/read?id=3946.

Ep. 50, “How to Listen to Pop Music”. Switched on Pop. N.p., n.d. Web. 13 Feb. 2017.

Performances Cited

Bondin, Amber. “Warrior,” music and lyrics by Elton Zarb & Matthew “Muxu” Mercieca. Malta, Eurovision Song Contest, 2015. https://www.youtube.com/watch?v=SaJxu3vorLc Accessed 13 Feb. 2017.

Calleja, Kurt. “This Is The Night,” music and lyrics by Johan Jämtberg, Mikael Gunnerås & Kurt Calleja. Malta, Eurovision Song Contest, 2012. https://www.youtube.com/watch?v=lUnEZp-qHxs Accessed 13 Feb. 2017.

Firelight. “Coming Home,” music and lyrics by Richard Edwards Micallef. Malta, Eurovision Song Contest, 2014. https://www.youtube.com/watch?v=E_hT08vzHt8 Accessed 13 Feb. 2017.

Gianluca. “Tomorrow,” music and lyrics by Boris Cezek & Dean Muscat. Malta, Eurovision Song Contest, 2013. https://www.youtube.com/watch?v=VK4TvZeL6c0 Accessed 13 Feb. 2017.

Vella, Glen. “One Life,” music and lyrics by Paul Giordimaina & Fleur Balzan. Malta, Eurovision Song Contest, 2011. https://www.youtube.com/watch?v=U9YRL_pHxvU Accessed 13 Feb. 2017.

Overall Maltese National Identity

Overall Maltese National Identity

In more recent years, Malta is an extremely densely populated island, rising to around 423,000 people for close to a 17 by 9 mile island. Maltese natives have been raised among megalithic structures in a sheltered Roman Catholic European society. Religious affiliation differing from this creates an internal “Othering” threat. If the migrant population expands, new religions and cultures would become prevalent in this small island. On the other hand, while neighboring nations (such as Italy) are external to Malta, a similar cultural and religious history would void Italy of any external threat position, and therefore not be seen as an “Other”.  A further example, Malta’s dominant cultures feature no Islamic roots, so modern cultures tied to this belief would be seen as a religious “Othering” and might see prejudice from Maltese natives.

Modern Malta

Modern Malta

An important secondary angle into a state's national identity, is its more recent, contemporary culture (Oxford Dictionaries). Acting as a juxtaposition to ancient history, contemporary ethnic relations of a specific region can be used to establish a working definition of how a country currently is identified. Modern ("post modernity") era is going to be used within this examination as a post-classical period, so following the 19th century and into the late 20th (Oxford Dictionaries).

In the case of the Maltese islands, this time period held an array of new developments, as well as setbacks in both culture and history. This modern era begins in a time of British rule and ends with the final amendment to the nation's official flag. Malta was a stop for Britain's prized trade relations in India. Malta was recognized as the "Nurse of the Mediterranean" for helping wounded soldiers in World War I, and was used as a listening post with a submarine base by the British during World War II. After Malta's noted "bravery" during the Siege of Malta military campaign, King George IV of Britain awarded the nation with the George Cross on April 15th 1942. This cross was later added into their national flag, in the upper-left hand corner (Maltese Parliament) for; "witness to a heroism and devotion that will long be famous in history".

Below is the Maltese flag fit with the George Cross, as well as the British fleet installment on Malta during WWII, courtesy of TBI Vision and World Atlas.

Malta had officially adopted its own form of European identity, from its civil bravery and convenient use for the British during WWII. Afterwards, Malta would be admitted into the United Nations in 1964, European Union in 2004, and the Euro zone in 2008 (European Commission). This European and Mediterranean identity is one of Malta's strongest characteristics, with influence coming from immigration as well; “The Malta Labour Party (2003) sees itself as a Maltese, Mediterranean, and European (Abela, 11)”.

Spanish, French, and Italian immigration and traffic through the Maltese islands is very common even today, solidifying this Western European attribute. With that being said, religious or ethnic affiliation that differs from that of Roman Catholicism within Malta, would be seen as "Other". Xenophobia and racism can prove this point, a recurring issue from the Maltese people directed “towards legal migrants” and residents of Malta (University of Malta).

Ancient in History, Youthful in Identity

Ancient in History, Youthful in Identity...

The most valuable history for a specific region, is that of its "prehistory", early settlers and conquests upon the land is what truly makes up its identity. Malta; a nation-state, country, an island... right? Most people have heard of the country Malta, but most of the country's core history and belonging is not solidified in the average understanding (Abela, 11). The reason for such vagueness surrounding this culture is because of how recent Malta's approach to the European Union is, as well as any sort establishment of national identity rooted in ancient history. Approaching this examination of the Maltese national identity, it is therefore important to primarily analyze its historical elements. The Maltese government website (gov.mt) will be the first to boast the incredibly ancient nature of the country; the text alludes to Malta's deserved respect, through a sort of aged tenure or seniority. Today, the ancient culture present Malta’s history provides a sense of unity among the Mediterranean descendents of such cultures. Ethnic groups existing on the island from surrounding countries, are a threat to Malta’s national identity; individuals who do not speak Maltese, a language founded on a nearly prehistoric history. This ancient culture that once inhabited Malta, remains a key characteristic when defining this country's identity.

Below are aerial photographs of the temples of Mnajdra (1) and Ggantija (2), as well as a map highlighting the reach of Arab-Byzantine rule (3). Courtesy of UNESCO and History Cooperative.

(1)

(2) (3)

With the Romans taking control in 217 AD, the Maltese acquired their most prominent religion (even in the contemporary era) of Roman Catholicism—Although the Romans in the early AD era were not yet Christian, their otherwise early adoption of Catholicism would rapidly spread to Malta (Baldacchino, 2). To this day, Malta identifies with the widespread Mediterranean culture that exists throughout its many surrounding countries. Throughout the second millennium, Malta was repopulated by Arab-Sicilians (at this time, Arab-Sicily was in existence around 800 AD) who spoke Siculo-Arabic; the language now commonly known as simply "Maltese".

Any population that resides in Malta (or any neighboring countries) that doesn't identify with a background of mentioned (Sicilian) Arab-Semitic culture, would be perceived as an "Other" people group. No matter how ancient these roots may be.

"National Identity", Alongside the Others

“National Identity” Alongside the “Others”.

A nation’s identity “is influenced by individualized values, the importance of leisure, and a concern with global solidarity (Abela, 10)”.  These individualized values create a space of uniqueness, between Malta and nations recognized as the “Other”. An “Othering” is a set of characteristics held by an individual that alienates them from a specific population. Emotions, attitudes, attributes, and mentalities can all add to this “Othering” effect, and create prejudices, or even a sense of welcoming (James, 1). Without any comparative uniqueness between Malta and other nations, a specific identity would not exist for any country, nonetheless Malta. Key attributes of Malta’s history and culture will be discussed throughout this article. These characteristics can only be attributed to Malta, and will be outlined as their national identity in this blog. Attributes of the “Others” that exist both internally and externally, can also be examined to recognize how these attributes construct and endanger Malta’s national identity.