Malta’s culture sector has been rocked by events over the past couple of weeks, with two of its most well-known institutions being subject to separate scandals.

First, the Malta Philharmonic Orchestra suspended a senior official, who was then charged and found guilty by admission of sexually harassing a female musician within the orchestra.  The musician herself ultimately left the orchestra due to the harassment she had been subjected to.

Then a couple of days later, the orchestra’s CEO Sigmund Mifsud was himself charged in court in connection with the same scandal for allegedly tampering with evidence. It was heard that Mifsud had tried to keep the scandal under wraps and tried to implore the woman to change her version of events.

In a separate scandal, this week the CEO of the Manoel Theatre – Malta’s national theatre – Massimo Zammit was suspended from his post and referred to the police in connection with allegations which went unspecified, but which are understood to be related to financial mismanagement and general workplace misconduct.

The scandals have thrown the cultural industry into a bad light, and also serve as further evidence that the State and politics should have no place whatsoever in this industry.

Both Mifsud and Zammit are political appointees in an industry which in practice should be devoid of politics.  The cultural industry should be independent from the political system, especially as elements of it – particularly the theatre – are key parts of critiquing the political system itself.

In recent years we have seen the State take more of a leading role in cultural productions in Malta. This has resulted in the bringing of certain high profile performers and events to the country, raising its profile as a cultural destination, but also – on the flipside – in overshadowing the work of the local, independent cultural stakeholders.

Local production houses, particularly in theatre, have had performances which are based on small capacities – despite their undoubted high quality work – or which have had to run on limited budgets due to the sheer lack of funding which they receive.

Even the usually extremely popular Christmas pantomimes have had to be downsized: previously there was more than one option to choose from, but now the major theatre houses have come to an agreement to alternate when they organise their own pantomimes. The financial pressures being faced by each of these theatre houses no doubt played a part in these.

It is here that the political system needs to step in: rather than trying to run the show themselves, the government should start by providing grants and financial assistance to these independent theatre houses so they can be the ones to push the cultural sector forward.  The government, to be fair, already provides some assistance, but it is not enough for the industry to be professionalised and really given the push it needs.

These scandals should serve as evidence that the State needs to let the cultural sector be run by those who are independent from the political system.

It’s a pity to see that this matter has been turned into the usual political ball calling for resignations rather than calling for tangible change to support the local industry.

Only by strengthening the local industry and local theatre houses can be we create a truly independent and thriving cultural sector.