"I wish you wouldn't squeeze so," said the Dormouse, who was sitting next to her. "I can hardly breathe." "I can't help it", said Alice very meekly: "I'm growing." "You've no right to grow here," said the Dormouse. "Don't talk nonsense," said Alice more boldly, "you know you're growing too." "Yes, but I grow at a reasonable pace," said the Dormouse "not in that ridiculous fashion".  Lewis Carroll's fairy tale Alice in Wonderland is an impeccable mirror of Malta's recent changes. Adults like me who experienced their childhood in the 1980s and 1990s, constitute a generation that witnessed extraordinarily changes in Malta during their life time. 

Social, cultural, and economic changes have profoundly reshaped how we go through everyday life. There are certain moments and events, however, that have the unique power to transport us back in time-a nostalgic journey to our childhood days. One of the most poignant ways to experience this bittersweet feeling is through multisensory experiences. Emotionally, these sensory triggers have the ability to revive memories of the past, especially memories of family connections. I believe that the carnival, as a cultural event, is one cultural constant, offering a multisensory experience that reconnects us to our past year after year. The carnival is a conductor to the familial past. Physically, the carnival is also an event of contesting public spaces. 

We are all aware of how Valletta has undergone dramatic transformation in the last decade or so. The daily rhythms of life, as well as the tangible and intangible elements that once defined the city, are no longer what they used to be. Especially for the Beltin, this change feels like a loss; a scar that signifies the erosion of part of their identity. The city that was once intimately familiar has evolved, and with that, a sense of disconnection has taken root among those who once called it home. In this way, the Valletta Carnival functions as a period of liminality bringing back these feelings of connection.  The Beltin are among those who have long contested the struggle for public space. Over the years, as the city has evolved, the spaces once familiar and intimate to them have been increasingly reshaped, often losing the communal sense of belonging they once embodied. During the carnival, however, the Beltin reclaim and occupy these spaces in a powerful, collective way.

Carnival, therefore, is more than just a celebration-it evolved into an act of temporal reclamation. It allows particularly the Beltin to assert their right to be seen and heard in a space that, over time, has become increasingly inaccessible or foreign to them, especially for those who moved out of the city. Through the sensory immersion of the carnival-its sounds, colours, scents and movements-they connect to a deep sense of belonging and reaffirming their ties to the city and its public spaces.

There is something almost romanticised about the way we experience through the senses --whether it's a particular scent, the sound of a certain rhythms, or the sight of a street-bring us back to the past. The affective meaning tied to sensory experiences like those in Valletta is powerful. These experiences aren't just about recognizing familiar sounds, smells, or sights, but about how they resonate emotionally with us. They trigger feelings of homecoming, of identity, and of belonging.

As you step into the heart of the carnival festivities, the first thing that strikes you is the sight-the vibrant florescent colours of the floats, the elaborate and expensive costumes and masks. The bright, bold hues of the floats and costumes create a dynamic tapestry that is both captivating and festive. This is equally powerful with the rhythmic beats of music, creating energy pulsing through the crowd.

I wouldn't say that participants are truly free to challenge hierarchies and social structures, or use their carnival art as a form of protest. Instead, it tends to be more of a mild, playful satire of current issues, rather than a genuine expression of protest through art. The approach often feels more about commentary or light-hearted critique, rather than challenging or disrupting the status quo.

The carnival, much like the adventures in Alice in Wonderland, invites participants to step outside their usual lives and into a realm of the unexpected. Both embody a sense of playful chaos, surrealism, and escape from the everyday. For a few days, creative imagination runs supreme. In the carnival, like in Wonderland, the journey is not about the destination, but about the experience down memory lane. The sensory experiences combine to create a vivid, emotional journey-a multisensory celebration that not only entertains but also connects us to our roots. It's an experience that resonates deep within us, reminding us of the timeless power of communal celebration and the ability of our senses to evoke powerful memories.

Prof. Valerie Visanich is an Associate Professor in Sociology