Stqarrija bil-Malti Agħfas Hawn / Press Release in Maltese Click Here
Press Release | 17th July 2026
A collaboration of more than two years between Marsaxlokk Heritage, Heritage Malta, and the Malta Tourism Authority has successfully restored one of Malta’s last surviving traditional boats of the firilla typology. The vessel will now serve educational, research, and tourism purposes.
Through the project ‘Restawr ta’ Qoxra tal-Baħar’, this traditional boat, over 100 years old and named ‘Lion’, has been returned to the sea in its original form. During the winter months, the restored boat will also be exhibited on land along the Marsaxlokk quay, enriching the picturesque character of Malta’s most iconic fishing village.
Kickstarted in 2021 as a community initiative led by the voluntary organisation Marsaxlokk Heritage, the project began as an effort to save a rapidly deteriorating vessel. It subsequently evolved into a national initiative, under the stewardship of the Malta Tourism Authority and Heritage Malta, with a broader mission to safeguard Malta’s maritime heritage.
The firilla was historically used as a sailed or rowed fishing boat. Despite their significant cultural value, such traditional wooden boats are becoming increasingly rare due to the challenges associated with their ownership and maintenance, often leading to abandonment and eventual loss.
Restoration works at the Kalkara Boatyard, under the skilled craftsmanship of the Delceppo brothers, began shortly after the project’s official launch in February 2024. Wherever possible, original characteristics were carefully conserved, while deteriorated sections were reconstructed using traditional techniques and materials. Throughout the process, experts from Marsaxlokk Heritage and Heritage Malta closely supervised the works, which were comprehensively documented through technical reports and audiovisual material, including documentary productions.
Among the project’s most significant achievements was the reconstruction of the traditional tarkija rigging – also known as the sprit-sail – a feature that started disappearing from Maltese waters in the 1950s. Following extensive research and dedicated craftsmanship, the tarkija was successfully recreated, allowing the vessel to sail once again.
The project’s final phase also actively engaged the public through a series of painting workshops open to students, fishermen, enthusiasts, families, and local residents. Beyond restoring a single specimen, the initiative helps safeguard the art and craftsmanship of building traditional boats and the latter’s return to Maltese harbours.
At the official inauguration of the restored firilla, the Minister for Tourism, Jo Etienne Abela, remarked that: “The restoration of the firilla is a clear example of how tourism can serve as a positive force in safeguarding our identity and cultural heritage. By investing in Malta’s maritime heritage, we are creating authentic experiences that strengthen our tourism offering while preserving what makes Malta truly unique. Marsaxlokk is one of our country’s most iconic villages, and projects such as this reinforce its distinctive character for the benefit of both residents and visitors. This collaboration between voluntary organisations and public entities demonstrates that, by working together, we can preserve our heritage while continuing to develop a high-quality tourism sector that is sustainable and benefits local communities.”
The Minister for Arts, Culture and National Heritage, Malcolm Paul Agius Galea, commented: “Our maritime heritage is an essential part of Malta’s identity and history. Every traditional vessel we preserve is more than a relic of our past – it is a living testament to the craftsmanship, skill and way of life that have shaped the Maltese people throughout the centuries. The restoration of the ‘Lion’ firilla is a clear example of what can be achieved when public entities, voluntary organisations and experts work together towards a common goal. This project has not only given new life to one of the last remaining firilli in Malta, but it is also ensuring that present and future generations have the opportunity to understand, appreciate and continue cherishing the maritime heritage that makes Malta unique.”
Carlo Micallef, Chief Executive Officer of the Malta Tourism Authority, said: “The Malta Tourism Authority is proud to support projects that protect and showcase the cultural assets that define the Maltese Islands. Through our investment in the restoration of the firilla, we are helping preserve an important part of Malta’s maritime history while creating a unique attraction that enhances the visitor experience in Marsaxlokk. Sustainable tourism is not only about attracting visitors, but also about investing in the traditions, craftsmanship, and communities that give Malta its authentic identity. Supporting initiatives such as this ensures that these valuable elements of our heritage continue to thrive for residents and tourists alike.”
Whilst thanking all those involved in conceiving and implementing this project, Heritage Malta’s Chief Executive Officer, Noel Zammit, emphasised the crucial role of the sea in Maltese identity. He stated that, “The sea has shaped who we are today, as our forefathers knew how to use it as a bridge rather than a barrier. It is precisely because we understand its importance that, at Heritage Malta, we continuously invest time and resources in it – through the extensive regeneration currently underway at the Malta Maritime Museum in Birgu, as well as through the establishment, years ago, of the Underwater Cultural Heritage Unit, amongst many other initiatives.”
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Press Releases | 15th July 2026
Facts Only
* Collaboration occurred between Marsaxlokk Heritage, Heritage Malta, and the Malta Tourism Authority over two years.
* One traditional boat of the firilla typology was successfully restored.
* The vessel, named ‘Lion’ and over 100 years old, was returned to the sea in its original form.
* The boat will serve educational, research, and tourism purposes.
* The restored boat will be exhibited on land along the Marsaxlokk quay during winter months.
* The project name is ‘Restawr ta’ Qoxra tal-Baħar’.
* The restoration works took place at the Kalkara Boatyard under the Delceppo brothers.
* Restoration began in February 2024 following the official launch.
* The traditional tarkija rigging was successfully recreated.
* Public engagement involved painting workshops for students, fishermen, enthusiasts, families, and local residents.
* The Minister for Tourism, Jo Etienne Abela, commented on tourism's role in safeguarding identity.
* The Minister for Arts, Culture and National Heritage, Malcolm Paul Agius Galea, commented on maritime heritage as a testament to Maltese life.
* Carlo Micallef of the Malta Tourism Authority stated support for projects enhancing visitor experience and sustainability.
Executive Summary
A collaboration between Marsaxlokk Heritage, Heritage Malta, and the Malta Tourism Authority successfully restored a traditional 'firilla' boat of the firilla typology over two years. The project, titled ‘Restawr ta’ Qoxra tal-Baħar’, returned the 100-year-old vessel named ‘Lion’ to the sea in its original form. The restored boat will be used for educational, research, and tourism purposes, and it will also be exhibited on land along the Marsaxlokk quay during the winter months.
The project originated in 2021 as a community initiative by Marsaxlokk Heritage to save a deteriorating vessel. It evolved into a national initiative involving the Malta Tourism Authority and Heritage Malta to safeguard maritime heritage. Restoration work, carried out at the Kalkara Boatyard by the Delceppo brothers, involved conserving original characteristics while reconstructing deteriorated sections using traditional techniques. A significant achievement was the successful reconstruction of the traditional tarkija rigging, which had been disappearing from Maltese waters since the 1950s. The project also included public engagement through painting workshops for various groups.
Officials highlighted the role of tourism in heritage preservation and collaboration among public entities and voluntary organizations. Ministers emphasized that maritime heritage reflects the craftsmanship and way of life of the Maltese people, and restoration efforts ensure these traditions are passed to future generations while strengthening the country's tourism offering.
Full Take
The narrative constructs a powerful link between tangible maritime restoration and intangible cultural identity, positioning tourism not merely as an economic driver but as a mechanism for heritage conservation. The movement from a local community effort to a national initiative demonstrates a successful pattern of leveraging localized concern into broader institutional action; this mirrors a common trajectory where grassroots stewardship is legitimized through state involvement. The focus on the *firilla* speaks to a specific vulnerability—the loss of specialized, traditional knowledge and craftsmanship—which is often the first casualty in modernization narratives.
The emphasis on the collaboration between voluntary bodies and public entities suggests an attempt to build a consensus around heritage value that transcends purely economic considerations. However, the framing also relies on the authority of ministerial statements to articulate the importance of this work, which requires scrutiny regarding where true agency resides in the decision-making process versus the communicative presentation of it. The pattern observed is the institutionalization of cultural preservation through project implementation; the question for deeper analysis is whether such collaborations create sustainable mechanisms for future, independent stewardship, or if they risk becoming episodic events reliant on external funding and attention.
What are the underlying assumptions about ownership and value embedded in labeling these boats as "heritage" versus assets? How does focusing on the visible restoration (the boat) manage the complexity of the unquantifiable loss of knowledge and the sustained cultural context that surrounds it? Does prioritizing the creation of "authentic experiences" risk reducing complex maritime history into marketable spectacles, or does it successfully mobilize resources to protect the foundational elements being presented?
Sentinel — Human
This text exhibits the typical structure and tone of a formal press release, strongly suggesting it is an authentic communication disseminated by public or heritage bodies.