Art Moves Africa – Retracing Roots and Tracing New Routes: Mobility and Touring in North Africa
A study by Lara Bourdin for Art Moves Africa, October 2019
A study by Lara Bourdin for Art Moves Africa, October 2019
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<strong>Retrac<strong>in</strong>g</strong><br />
<strong>Roots</strong> <strong>and</strong><br />
<strong>Trac<strong>in</strong>g</strong><br />
<strong>New</strong> <strong>Routes</strong>:<br />
<strong>Mobility</strong><br />
<strong>and</strong> <strong>Tour<strong>in</strong>g</strong><br />
<strong>in</strong> <strong>North</strong><br />
<strong>Africa</strong><br />
—<br />
A study by Lara Bourd<strong>in</strong><br />
for <strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong><br />
October 2019<br />
—
<strong>Retrac<strong>in</strong>g</strong><br />
<strong>Roots</strong> <strong>and</strong><br />
<strong>Trac<strong>in</strong>g</strong><br />
<strong>New</strong> <strong>Routes</strong>:<br />
<strong>Mobility</strong><br />
<strong>and</strong> <strong>Tour<strong>in</strong>g</strong><br />
<strong>in</strong> <strong>North</strong><br />
<strong>Africa</strong><br />
—<br />
A study by Lara Bourd<strong>in</strong><br />
for <strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong><br />
October 2019<br />
—
4<br />
Acknowledgments <strong>and</strong> Impr<strong>in</strong>t<br />
This study is by <strong>and</strong> large the fruit of five months of exchanges <strong>and</strong><br />
conversations with n<strong>in</strong>ety artists <strong>and</strong> cultural actors spread across <strong>North</strong><br />
<strong>Africa</strong> as well as neighbour<strong>in</strong>g regions. The researcher would first <strong>and</strong><br />
foremost like to thank the respondents who generously contributed their<br />
time, knowledge, <strong>and</strong> above all their <strong>in</strong>sights <strong>and</strong> their ideas. It was an<br />
honour to learn from them about the complex issue that is (artistic <strong>and</strong><br />
cultural) mobility <strong>in</strong> <strong>North</strong> <strong>Africa</strong> today.<br />
The researcher extends her warm thanks to Khadija El Bennaoui, Director<br />
of AMA, for her guidance <strong>and</strong> presence throughout the research <strong>and</strong><br />
writ<strong>in</strong>g processes. Particular thanks go to Maria Daïf, for the orientation<br />
<strong>and</strong> <strong>in</strong>spiration <strong>in</strong> Casablanca, <strong>and</strong> her careful edits to important sections<br />
of the draft. AMA would also like to thank the M<strong>in</strong>istry of Foreign<br />
Affairs of Norway for generously support<strong>in</strong>g this research.<br />
This research was carried out for <strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong> (AMA) aisbl. The views<br />
taken <strong>and</strong> analyses presented are those of the author <strong>and</strong> do not necessarily<br />
represent the views of AMA. The f<strong>in</strong>d<strong>in</strong>gs of the study are based on<br />
the mapp<strong>in</strong>g carried out between December 2018 <strong>and</strong> April 2019.<br />
Released <strong>and</strong> produced by <strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong> (AMA) aisbl<br />
Mapp<strong>in</strong>g study <strong>and</strong> report: Lara Bourd<strong>in</strong><br />
Design: Eps51, Berl<strong>in</strong> — www.eps51.com<br />
Head of the publication: Khadija El Bennaoui<br />
© <strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong>, 2019<br />
This work is licensed under a Creative Commons Attribution-<br />
NonCommercial-NoDerivatives 4.0 International License.
5<br />
Table of Contents<br />
1<br />
1.1<br />
1.2<br />
1.3<br />
1.4<br />
2<br />
2.1<br />
2.2<br />
3<br />
3.1<br />
3.2<br />
4<br />
4.1<br />
4.2<br />
4.3<br />
4.4<br />
4.5<br />
4.6<br />
4.7<br />
5<br />
6<br />
ACKNOWLEDGMENTS<br />
FOREWORD<br />
KEY MESSAGES<br />
INTRODUCTION<br />
Background of AMA’s research program<br />
Purpose of the research<br />
Socio-historical context<br />
Overview of mobility <strong>in</strong> <strong>North</strong> <strong>Africa</strong><br />
METHODOLOGY<br />
Key terms<br />
Limitations<br />
SUMMARY OF OUTCOMES<br />
Mapp<strong>in</strong>g of opportunities<br />
Impediments<br />
COUNTRY-SPECIFIC INFORMATION<br />
Algeria<br />
Egypt<br />
Libya<br />
Mauritania<br />
Morocco<br />
Tunisia<br />
Western Sahara<br />
CONCLUSION & RECOMMENDATIONS<br />
MAPS & GRAPHS<br />
page 4<br />
page 6<br />
page 7<br />
page 9<br />
page 10<br />
page 12<br />
page 13<br />
page 16<br />
page 19<br />
page 20<br />
page 22<br />
page 25<br />
page 25<br />
page 34<br />
page 45<br />
page 46<br />
page 55<br />
page 62<br />
page 69<br />
page 75<br />
page 83<br />
page 90<br />
page 95<br />
page 103<br />
APPENDICES<br />
Appendix A : Acronyms<br />
Appendix B: Respondents<br />
Appendix C: Bibliography<br />
page 121<br />
page 123<br />
page 127
6<br />
Foreword<br />
FORE —<br />
WORD<br />
In a world where freedom<br />
is better guaranteed<br />
for goods <strong>and</strong><br />
digital products than for human be<strong>in</strong>gs, more <strong>and</strong> more<br />
people are be<strong>in</strong>g condemned to watch as the space of<br />
their fundamental rights <strong>and</strong> freedoms shr<strong>in</strong>ks. Many<br />
of them have been forced to flee wars, climate change<br />
or oppressive regimes. It is often their freedom of movement<br />
that is most threatened, as travel restrictions<br />
multiply <strong>in</strong> the face of ris<strong>in</strong>g anti-migration sentiments.<br />
Cultural diversity has never been <strong>in</strong> as much danger as<br />
it is <strong>in</strong> today’s polarized world.<br />
Strategically positioned at the crossroads of Europe,<br />
<strong>Africa</strong> <strong>and</strong> Asia, <strong>North</strong> <strong>Africa</strong> is one of the regions that<br />
is most significantly affected by ongo<strong>in</strong>g tensions <strong>in</strong> the<br />
geopolitical arena. The first spark of the Arab upris<strong>in</strong>g<br />
<strong>in</strong> 2010 <strong>in</strong> Tunisia is still cours<strong>in</strong>g through the whole<br />
region. It has brought hope, with high-spirited <strong>and</strong><br />
creative civic <strong>in</strong>itiatives led ma<strong>in</strong>ly by young people. Yet<br />
restrictions on the freedom of movement <strong>and</strong> speech<br />
of its people have also reached their highest peaks <strong>in</strong><br />
the last decade.<br />
This mapp<strong>in</strong>g study is a contribution by AMA to shed<br />
light on the actors <strong>and</strong> <strong>in</strong>itiatives that are striv<strong>in</strong>g to<br />
revive historical connections <strong>and</strong> build new bridges<br />
between <strong>North</strong> <strong>Africa</strong> <strong>and</strong> the rest of the cont<strong>in</strong>ent, as<br />
a form of resistance but also as a means of unlearn<strong>in</strong>g<br />
colonial modes of relat<strong>in</strong>g with the regions south of the<br />
Sahara <strong>and</strong> north of the Mediterranean. This study is<br />
the 4th volume of AMA’s mapp<strong>in</strong>g series, which aims<br />
to address the obstacles to artistic mobility with<strong>in</strong><br />
<strong>Africa</strong> by provid<strong>in</strong>g <strong>in</strong>formation on the <strong>in</strong>frastructures,<br />
the <strong>in</strong>stitutional <strong>and</strong> fund<strong>in</strong>g frameworks as well as<br />
the challenges <strong>and</strong> opportunities l<strong>in</strong>ked with mobility<br />
on the cont<strong>in</strong>ent.<br />
We hope this study will help <strong>in</strong>form both practitioners<br />
<strong>and</strong> policy makers on the ways to promote <strong>and</strong> support<br />
artistic mobility with<strong>in</strong> <strong>Africa</strong>.<br />
Khadija El Bennaoui<br />
AMA Director
7<br />
Key Messages<br />
KEY<br />
MES —<br />
SAGES<br />
1.<br />
The mobility of artists <strong>and</strong> cultural operators is a right, not a privilege.<br />
2.<br />
Desire for mobility is very strong amongst artists <strong>and</strong> cultural<br />
practitioners, <strong>in</strong> <strong>North</strong>-South, East-West <strong>and</strong> South-South directions.<br />
a) <strong>North</strong>-South mobility rema<strong>in</strong>s important, namely for tra<strong>in</strong><strong>in</strong>g<br />
<strong>and</strong> opportunities to connect with a greater diversity of<br />
<strong>in</strong>terlocutors.<br />
b) East-West <strong>and</strong> South-South mobility are important axes<br />
to develop <strong>in</strong> the <strong>in</strong>terest of explor<strong>in</strong>g shared histories,<br />
nurtur<strong>in</strong>g creative synergies <strong>and</strong> develop<strong>in</strong>g solidarity.<br />
3.<br />
There is an urgent need to work at the level of the imag<strong>in</strong>ation, desire<br />
<strong>and</strong> dream<strong>in</strong>g <strong>–</strong> to nurture exist<strong>in</strong>g desire for South-South exchange<br />
<strong>and</strong> to create it where it does not yet exist.<br />
a) Promote network<strong>in</strong>g amongst <strong>Africa</strong>n cultural actors: meet<strong>in</strong>gs,<br />
go-<strong>and</strong>-see tours, residencies, etc.<br />
b) Promote <strong>in</strong>formation-shar<strong>in</strong>g: onl<strong>in</strong>e platforms, <strong>in</strong>formation<br />
hubs, key people <strong>and</strong> ambassadors.<br />
4.<br />
<strong>Mobility</strong> can only improve if political <strong>and</strong> adm<strong>in</strong>istrative barriers are<br />
addressed <strong>and</strong> lifted.<br />
a) There is an urgent need for mobilization amongst cultural actors<br />
<strong>in</strong> <strong>Africa</strong>, Europe <strong>and</strong> <strong>in</strong>ternationally to document <strong>and</strong><br />
denounce <strong>in</strong>creas<strong>in</strong>gly restrictive visa policies, especially from<br />
the Schengen space.<br />
b) Advocate for greater underst<strong>and</strong><strong>in</strong>g of the stakes <strong>and</strong> importance<br />
of artistic mobility.<br />
5.<br />
<strong>Mobility</strong> is not simply about quantitative factors but about the quality<br />
of the experience at the creative <strong>and</strong> human levels.<br />
a) The human <strong>and</strong> creative dimensions of the mobility experience<br />
must be central <strong>in</strong> <strong>in</strong>itiatives geared at promot<strong>in</strong>g arts mobility.
8<br />
Introduction<br />
1<br />
—<br />
Fact :<br />
AMA didn’t<br />
provide grants <strong>in</strong> 2013, 2014<br />
or 2017 due to limited funds.<br />
The statistics <strong>in</strong>cluded are based<br />
on all other years between<br />
2005 <strong>and</strong> 2018.<br />
—
9<br />
Introduction<br />
IN —<br />
TRO —<br />
DUC —<br />
TION<br />
<strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong> (AMA) is an <strong>in</strong>ternational notfor-profit<br />
organisation that aims to facilitate cultural<br />
<strong>and</strong> artistic exchanges with<strong>in</strong> the <strong>Africa</strong>n<br />
cont<strong>in</strong>ent. AMA offers travel grants to artists<br />
<strong>and</strong> cultural practitioners liv<strong>in</strong>g <strong>and</strong> work<strong>in</strong>g <strong>in</strong><br />
<strong>Africa</strong> to travel with<strong>in</strong> the <strong>Africa</strong>n cont<strong>in</strong>ent <strong>in</strong><br />
order to engage <strong>in</strong> the exchange of <strong>in</strong>formation,<br />
the enhancement of skills, the development of <strong>in</strong>formal<br />
networks <strong>and</strong> the pursuit of cooperation.<br />
AMA was first launched as a program<br />
by the Young Arab Theatre Fund (YATF) <strong>and</strong> a<br />
group of <strong>Africa</strong>n organizations. It was designed<br />
to facilitate <strong>and</strong> encourage the mobility of artists<br />
<strong>and</strong> cultural operators with<strong>in</strong> the <strong>Africa</strong>n cont<strong>in</strong>ent.<br />
In 2001, YATF participated <strong>in</strong> meet<strong>in</strong>gs <strong>in</strong><br />
Egypt, Kenya <strong>and</strong> Zimbabwe, together with different<br />
organizations <strong>and</strong> cultural activists from<br />
<strong>Africa</strong> <strong>and</strong> the Arab world. The meet<strong>in</strong>gs were<br />
aimed at l<strong>in</strong>k<strong>in</strong>g organizations <strong>and</strong> <strong>in</strong>dividuals,<br />
<strong>and</strong> creat<strong>in</strong>g <strong>in</strong>formal cont<strong>in</strong>ent-wide networks.<br />
The participants agreed that one of the major<br />
obstacles for artists <strong>and</strong> cultural professionals<br />
<strong>in</strong> <strong>Africa</strong> was the persistent lack of funds specifically<br />
allocated to support travel. AMA was<br />
launched <strong>in</strong> July 2005.<br />
Over the last 14 years, AMA has allocated<br />
809 grants to artists <strong>and</strong> art practitioners<br />
liv<strong>in</strong>g <strong>and</strong> work<strong>in</strong>g <strong>in</strong> <strong>Africa</strong>. A wide range of<br />
projects has thus been implemented to develop<br />
the <strong>Africa</strong>n creative sector. AMA has produced<br />
regular evaluations <strong>and</strong> collected statistics of<br />
applications received <strong>and</strong> of grants allocated to<br />
<strong>Africa</strong>n cultural practitioners. Moreover, it has<br />
commissioned <strong>and</strong> published three studies on<br />
mobility <strong>and</strong> tour<strong>in</strong>g <strong>in</strong> East (2011/2015) <strong>and</strong><br />
Central <strong>Africa</strong> (2015), as well as a guide to cultural<br />
mobility fund<strong>in</strong>g opportunities to/from <strong>Africa</strong><br />
<strong>in</strong> collaboration with On the Move (2015/2018).<br />
These <strong>in</strong>itiatives have helped AMA to develop<br />
its <strong>in</strong>terventions as a grant-mak<strong>in</strong>g organization<br />
<strong>and</strong> to identify needs with<strong>in</strong> the <strong>Africa</strong>n artistic<br />
mobility sector.
10<br />
Introduction<br />
1.1<br />
Background<br />
of AMA’s<br />
research<br />
program<br />
AMA launched its research program<br />
<strong>in</strong> 2011, <strong>in</strong> recognition of the<br />
complexity of mobility <strong>and</strong> tour<strong>in</strong>g<br />
<strong>in</strong> <strong>Africa</strong> <strong>and</strong> <strong>in</strong> the hopes of fill<strong>in</strong>g<br />
the vast gaps <strong>in</strong> knowledge<br />
<strong>and</strong> data perta<strong>in</strong><strong>in</strong>g to the topic. It has produced three<br />
studies to date: two focus on East <strong>Africa</strong> (perform<strong>in</strong>g<br />
arts <strong>and</strong> visual arts) <strong>and</strong> one focuses on Central <strong>Africa</strong>.<br />
Through these studies, it has contributed to the<br />
development of knowledge, <strong>in</strong>itiatives <strong>and</strong> policies that<br />
strengthen mobility on the cont<strong>in</strong>ent. Indeed, AMA’s<br />
statistics show a substantial impact on mobility <strong>in</strong> the<br />
East <strong>Africa</strong>n <strong>and</strong> Central <strong>Africa</strong>n arts sectors s<strong>in</strong>ce<br />
the publication of the studies.<br />
In East <strong>Africa</strong>, mobility appears to have <strong>in</strong>creased,<br />
with a significant jump <strong>in</strong> the number of<br />
applications to / from East <strong>Africa</strong> per session (see<br />
next page). Events such as Addis Foto Fest <strong>in</strong> Addis<br />
Ababa <strong>and</strong> Bayimba <strong>Art</strong>s Festival have become major<br />
<strong>in</strong>ternational platforms, draw<strong>in</strong>g artists from across<br />
the region, the cont<strong>in</strong>ent <strong>and</strong> the world. AMA has also<br />
received significant numbers of applications for events<br />
such as the Karibu Music Festival <strong>in</strong> Dar Es Salaam; the<br />
Bagamoyo Festival; Tuz<strong>in</strong>ne Festival <strong>in</strong> Kampala; as well<br />
as for projects <strong>in</strong> Kigali <strong>and</strong> Lilongwe. F<strong>in</strong>ally, a new,<br />
regional mobility fund has emerged: the British Council’s<br />
East <strong>Africa</strong> Travel Grant.
11<br />
Introduction<br />
Grant applications received before <strong>and</strong> after<br />
the East <strong>Africa</strong> studies (2011 <strong>and</strong> 2012)<br />
FROM East <strong>Africa</strong>:<br />
· 108 total applications until Session 20 <strong>in</strong> 2011<br />
(<strong>in</strong>clusive), with an average of 5.4 applications /<br />
session<br />
· 166 total applications until Session 23 <strong>in</strong> 2012<br />
(<strong>in</strong>clusive), with an average of 7 applications /<br />
session<br />
· 121 total applications <strong>in</strong> 2015 <strong>and</strong> 2018,<br />
with an average of 17 applications / session<br />
TO East <strong>Africa</strong>:<br />
· 212 total applications until Session 20 <strong>in</strong> 2011<br />
(<strong>in</strong>clusive), with an average of 10.6 applications<br />
/ session<br />
· 222 total applications until Session 23 <strong>in</strong> 2012<br />
(<strong>in</strong>clusive), with an average of 9.6 applications /<br />
session<br />
· 146 total applications <strong>in</strong> 2015 <strong>and</strong> 2018, with<br />
an average of 21 applications / session<br />
Grants awarded before <strong>and</strong> after the East<br />
<strong>Africa</strong> studies (2011 <strong>and</strong> 2012)<br />
FROM East <strong>Africa</strong>:<br />
· 78 total selected until Session 20 <strong>in</strong> 2011 (<strong>in</strong>clusive),<br />
with an average of 3.9 selected / session<br />
· 85 total selected until Session 23 <strong>in</strong> 2012 (<strong>in</strong>clusive),<br />
with an average of 3.7 selected / session<br />
· 57 total selected <strong>in</strong> 2015 <strong>and</strong> 2018, with an<br />
average of 8.1 selected / session<br />
TO East <strong>Africa</strong>:<br />
· 93 total selected until Session 20 <strong>in</strong> 2011 (<strong>in</strong>clusive),<br />
with an average of 4.7 selected / session<br />
· 98 total selected until Session 23 <strong>in</strong> 2012 (<strong>in</strong>clusive),<br />
with an average of 4.3 selected / session<br />
· 40 total selected <strong>in</strong> 2015 <strong>and</strong> 2018, with an<br />
average of 5.7 selected / session<br />
<strong>and</strong> to what extent the <strong>in</strong>frastructure issues identified<br />
<strong>in</strong> the 2015 study have been addressed.<br />
Developments of note <strong>in</strong>clude the emergence of<br />
events such as the <strong>Africa</strong>n Cup of Slam Poetry<br />
<strong>in</strong> N’Djamena, Chad, which was a major driver<br />
for mobility <strong>in</strong> Central <strong>Africa</strong> <strong>in</strong> 2018.<br />
Grant applications received before <strong>and</strong> after<br />
the Central <strong>Africa</strong> study (2015)<br />
FROM Central <strong>Africa</strong>:<br />
· 431 total applications until Session 28 <strong>in</strong> 2015<br />
(<strong>in</strong>clusive), with an average of 15.4 applications<br />
/ session<br />
· 58 total applications <strong>in</strong> 2018, with an average<br />
of 29 applications/session<br />
TO Central <strong>Africa</strong>:<br />
· 375 total applications until Session 28 <strong>in</strong> 2015<br />
(<strong>in</strong>clusive), with an average of 13.4 applications<br />
/ session<br />
· 67 total applications <strong>in</strong> 2018, with an average<br />
of 33.5 applications / session<br />
Grants awarded before <strong>and</strong> after the Central<br />
<strong>Africa</strong> study (2015)<br />
FROM Central <strong>Africa</strong>:<br />
· 152 total selected until Session 28 <strong>in</strong> 2015<br />
(<strong>in</strong>clusive), with an average of 5.4 selected / session<br />
· 2 total selected <strong>in</strong> 2018, with an average of<br />
1 selected / session<br />
TO Central <strong>Africa</strong>:<br />
· 130 total applications until Session 28 <strong>in</strong> 2015<br />
(<strong>in</strong>clusive), with an average of 4.6 selected /<br />
session<br />
· 5 total applications <strong>in</strong> 2018, with an average<br />
of 2.5 selected / session<br />
In Central <strong>Africa</strong>, impact is more difficult to<br />
measure given that AMA’s grants program was<br />
suspended between 2016 <strong>and</strong> mid-2018. Further<br />
study would be necessary to determ<strong>in</strong>e whether
12<br />
Introduction<br />
1.2<br />
Purpose of<br />
the research<br />
This research was commissioned by AMA<br />
<strong>in</strong> August 2018. Its purpose is to shed light<br />
on the situation of artistic <strong>and</strong> cultural mobility<br />
<strong>in</strong> the <strong>North</strong> <strong>Africa</strong>n region <strong>and</strong> <strong>in</strong> relation with the<br />
other <strong>Africa</strong>n regions. It namely aims to illum<strong>in</strong>ate the<br />
factors underp<strong>in</strong>n<strong>in</strong>g the relative weakness of mobility<br />
to / from / with<strong>in</strong> <strong>North</strong> <strong>Africa</strong>.<br />
Indeed, s<strong>in</strong>ce AMA’s launch <strong>in</strong> 2005, <strong>North</strong> <strong>Africa</strong> has<br />
consistently been the region that generates the smallest<br />
number of mobility grant applications, on all three<br />
fronts: that is, <strong>in</strong> terms of outgo<strong>in</strong>g mobility, <strong>in</strong>com<strong>in</strong>g<br />
mobility, <strong>and</strong> <strong>in</strong>tra-regional mobility:<br />
· In terms of outgo<strong>in</strong>g mobility, it has generated a total<br />
of 169 projects, account<strong>in</strong>g for an average 8% of total<br />
mobility projects s<strong>in</strong>ce 2005, beh<strong>in</strong>d East <strong>Africa</strong> at<br />
14%.<br />
· In terms of <strong>in</strong>com<strong>in</strong>g mobility, it has attracted a total<br />
of 179 projects, account<strong>in</strong>g for an average 9% of<br />
total mobility projects s<strong>in</strong>ce 2005, beh<strong>in</strong>d East <strong>and</strong><br />
Southern <strong>Africa</strong> (tied at 18%).<br />
· In terms of <strong>in</strong>tra-regional mobility, it has generated<br />
a total of 28 projects, account<strong>in</strong>g for an average of<br />
1% of total mobility projects s<strong>in</strong>ce 2005.<br />
—<br />
See section 1.4,<br />
“Overview of<br />
<strong>Mobility</strong> <strong>in</strong> <strong>North</strong><br />
<strong>Africa</strong>” below<br />
for detailed<br />
<strong>in</strong>formation on<br />
mobility<br />
trends to/from<br />
<strong>North</strong> <strong>Africa</strong>.<br />
This report is divided <strong>in</strong>to the follow<strong>in</strong>g<br />
sections: 1 <strong>–</strong> Introduction; 2 <strong>–</strong> Methodology;<br />
3 <strong>–</strong> Summary of opportunities <strong>and</strong> impediments<br />
to mobility to/from <strong>North</strong> <strong>Africa</strong>;<br />
4 <strong>–</strong> Country-specific <strong>in</strong>formation; 5 <strong>–</strong> Conclusion<br />
<strong>and</strong> Recommendations. It also <strong>in</strong>cludes<br />
three Appendices: A <strong>–</strong> a mapp<strong>in</strong>g of<br />
arts spaces, venues <strong>and</strong> events <strong>in</strong> <strong>North</strong><br />
<strong>Africa</strong>, <strong>in</strong>clud<strong>in</strong>g graphs <strong>and</strong> contact <strong>in</strong>formation<br />
; B <strong>–</strong> a list of the study’s respondents;<br />
<strong>and</strong> C <strong>–</strong> a bibliography.<br />
—
13<br />
Introduction<br />
—<br />
1. 3.1 NORTH AFRICA<br />
AS A<br />
CULTURAL SPACE<br />
—<br />
This report addresses mobility <strong>in</strong> a<br />
region broadly designated as “<strong>North</strong><br />
<strong>Africa</strong>,” all the while recogniz<strong>in</strong>g the<br />
<strong>in</strong>stability of the term <strong>and</strong> the complexity<br />
of the realities it purports to<br />
encapsulate. Indeed, “<strong>North</strong> <strong>Africa</strong>” as<br />
a geopolitical entity is largely the product<br />
of divisions <strong>in</strong>stituted by <strong>in</strong>ternational<br />
organizations along boundaries<br />
established by colonial powers. These divisions<br />
are upheld to this day by organizations such as<br />
the <strong>Africa</strong>n Union <strong>and</strong> the United Nations, albeit<br />
with vary<strong>in</strong>g boundaries. They are also upheld <strong>in</strong><br />
everyday conversation, conceptions of identity,<br />
cultural products <strong>and</strong> events.<br />
1. 3<br />
Socio-political<br />
<strong>and</strong> historical<br />
context<br />
As a cultural <strong>and</strong> l<strong>in</strong>guistic space, <strong>North</strong> <strong>Africa</strong><br />
is def<strong>in</strong>ed by a number of factors. First, the<br />
heritage of the Amazighen (or Berbers), who are<br />
the first <strong>in</strong>habitants of present-day Morocco,<br />
Algeria, Tunisia, Libya, Mauritania, northern Mali<br />
<strong>and</strong> Niger as well as western Egypt. The region<br />
is also bound by the sweep of Arabization <strong>and</strong><br />
Islamization, which took place between roughly<br />
600 <strong>and</strong> 1000 A.D. F<strong>in</strong>ally, the present-day countries<br />
of <strong>North</strong> <strong>Africa</strong> share a common history of<br />
Ottoman conquest (except Morocco, Mauritania<br />
<strong>and</strong> Western Sahara) <strong>and</strong> 19 th - <strong>and</strong> 20th-century<br />
European colonialism, with Morocco, Tunisia,<br />
Algeria <strong>and</strong> Mauritania hav<strong>in</strong>g been under French<br />
rule; Libya under Italian rule; <strong>and</strong> Egypt be<strong>in</strong>g<br />
occupied as a British protectorate from 1882<br />
to 1952.<br />
—<br />
QUOTE:<br />
« Every time I want to get fund<strong>in</strong>g for a project,<br />
I need to declare if I’m <strong>North</strong> <strong>Africa</strong>n or<br />
Southern <strong>Africa</strong>n; Christian or Muslim;<br />
Anglo or Franco. We’re be<strong>in</strong>g boxed <strong>in</strong>to<br />
spaces where we have to f<strong>in</strong>d ourselves with<strong>in</strong><br />
a s<strong>in</strong>gle identity. To successfully fill out that<br />
form, you have to do away with the multilayered-ness<br />
<strong>and</strong> complexity of that identity. Who<br />
says I have to choose? Why can’t I be both? »<br />
Jihan El-Tahri<br />
Filmmaker, Cairo / Berl<strong>in</strong>.<br />
Quote from Keynote speech<br />
at 1:54 contemporary art fair <strong>in</strong> Marrakech, 2017.<br />
—
14<br />
Introduction<br />
Arab identity was re<strong>in</strong>forced at the time of decolonization,<br />
with pan-Arabism becom<strong>in</strong>g the<br />
“ideological l<strong>in</strong>gua franca” across the region<br />
<strong>and</strong> the Middle East (El Amrani, 2011). Part<br />
<strong>and</strong> parcel of this process was the gloss<strong>in</strong>g<br />
over <strong>and</strong> erasure of the multiplicity of cultural,<br />
l<strong>in</strong>guistic <strong>and</strong> ethnic identities with<strong>in</strong> the<br />
various nation states, with marg<strong>in</strong>alization<br />
of Amazigh heritage, language <strong>and</strong> culture as well<br />
as those of Black <strong>in</strong>dividuals <strong>and</strong> communities.<br />
Amazigh resistance movements have obta<strong>in</strong>ed<br />
some recognition at state level, with Algeria<br />
redef<strong>in</strong><strong>in</strong>g itself as an “Arab, Berber, Muslim”<br />
nation <strong>and</strong> Morocco recogniz<strong>in</strong>g Amazigh as an<br />
official language <strong>in</strong> 2011. <strong>North</strong> <strong>Africa</strong>ns’ “<strong>Africa</strong>n”<br />
identity has been more complex to unearth <strong>and</strong><br />
foreground.<br />
<strong>North</strong> <strong>Africa</strong>’s “separateness” is often justified<br />
by the presence of the Sahara desert, largely<br />
on the basis of conceptions of the desert as an<br />
“empty space” by European geographers <strong>and</strong><br />
explorers <strong>and</strong> thus as an <strong>in</strong>visible border separat<strong>in</strong>g<br />
the cont<strong>in</strong>ent. <strong>Art</strong>ists <strong>and</strong> <strong>in</strong>tellectuals have<br />
contested this idea, not<strong>in</strong>g its correlation with<br />
colonial <strong>and</strong> contemporary geopolitical agendas<br />
<strong>and</strong> rem<strong>in</strong>d<strong>in</strong>g us that the Sahara has been<br />
a space of advanced political <strong>and</strong> social<br />
organization, hospitality, trade <strong>and</strong> cultural<br />
exchange for centuries. Indeed, trade routes<br />
have traversed its expanse, l<strong>in</strong>k<strong>in</strong>g cities<br />
<strong>and</strong> civilizations to the <strong>North</strong> <strong>and</strong> South as<br />
well as those with<strong>in</strong> it.<br />
There is also a push to revive <strong>and</strong> nurture<br />
the pan-<strong>Africa</strong>nist energies, <strong>in</strong>tellectual<br />
productions <strong>and</strong> artistic connections that<br />
were developed <strong>in</strong> the 1950s <strong>and</strong> 60s. Notably,<br />
Algeria hosted the first Pan-<strong>Africa</strong>n<br />
festival of 1969. This thrust of pan-<strong>Africa</strong>nist<br />
unity collapsed due to a number of factors,<br />
both <strong>in</strong>ternal <strong>and</strong> external to the cont<strong>in</strong>ent.<br />
Connections between <strong>North</strong> <strong>and</strong> South are<br />
now play<strong>in</strong>g out <strong>in</strong> the economic sphere,<br />
with Morocco mak<strong>in</strong>g important overtures<br />
—<br />
QUOTE:<br />
« There is an assumption<br />
that the Maghreb is<br />
someth<strong>in</strong>g somewhere<br />
else than <strong>in</strong> <strong>Africa</strong> <strong>and</strong><br />
even that Egypt is an<br />
archaeological isl<strong>and</strong> off<br />
the coast of American<br />
universities. »<br />
Koyo Kouoh<br />
Chief curator of Zeitz<br />
Museum of Contemporary<br />
<strong>Africa</strong>n <strong>Art</strong>, Cape Town/<br />
former executive director<br />
of RAW Material Company<br />
Dakar<br />
Quote from Open<strong>in</strong>g Remarks<br />
at 1:54 art fair, 2017<br />
—<br />
to other <strong>Africa</strong>n nations <strong>in</strong> the areas of foreign<br />
<strong>in</strong>vestment <strong>and</strong> trade; Algeria has been follow<strong>in</strong>g<br />
suit. How do art <strong>and</strong> cultural production<br />
participate or not <strong>in</strong> connect<strong>in</strong>g <strong>North</strong> <strong>and</strong><br />
South today?<br />
—<br />
1. 3. 2 REGIONALIZATION<br />
AND FUNDING<br />
—<br />
Contemporary regionalization has created<br />
further boundaries with<strong>in</strong> <strong>and</strong> outside <strong>North</strong><br />
<strong>Africa</strong>. On the largest scale, <strong>North</strong> <strong>Africa</strong> is<br />
often grouped with the Middle East under<br />
the acronym MENA, or else is subsumed as<br />
a space with<strong>in</strong> the Arab World. These terms<br />
are used <strong>in</strong> politics, academia, bus<strong>in</strong>ess <strong>and</strong><br />
media, by <strong>in</strong>ternational organizations such<br />
as the World Bank <strong>and</strong> the United Nations,<br />
as well as by most <strong>in</strong>ternational development<br />
organizations. Egypt occupies a unique status<br />
with<strong>in</strong> this space, due to its position<strong>in</strong>g at the<br />
h<strong>in</strong>ge between the <strong>Africa</strong>n cont<strong>in</strong>ent <strong>and</strong> the<br />
Middle East.<br />
With<strong>in</strong> <strong>North</strong> <strong>Africa</strong>, regionalization operates<br />
ma<strong>in</strong>ly at two levels: first, at the<br />
level of the Maghreb; <strong>and</strong> secondly, at<br />
the level of the (Euro-)Mediterranean<br />
space. The Maghreb connects Morocco,<br />
Algeria, Tunisia, Libya <strong>and</strong> Mauritania.<br />
The unify<strong>in</strong>g factor is ma<strong>in</strong>ly cultural, with<br />
the countries shar<strong>in</strong>g Amazigh heritage.<br />
Shared colonial histories <strong>and</strong> resultant<br />
l<strong>in</strong>guistic commonality also b<strong>in</strong>d Tunisia,<br />
Morocco <strong>and</strong> Algeria. The Maghreb’s<br />
geopolitical <strong>and</strong> economic identity was<br />
formalized with the 1989 formation of<br />
the Arab Maghreb Union. However, the<br />
union rema<strong>in</strong>s largely <strong>in</strong>active due to<br />
endur<strong>in</strong>g tensions between Morocco<br />
<strong>and</strong> Algeria over Western Sahara.<br />
The regionalization of the Euro-Mediterranean<br />
was formalized <strong>in</strong> 2008<br />
at the Paris Summit for the Mediterranean.<br />
Its aim is to re<strong>in</strong>force the
15<br />
Introduction<br />
Euro-Mediterranean Partnership (Euromed) that<br />
began <strong>in</strong> 1995 as the Barcelona Process as a<br />
means of “turn<strong>in</strong>g the Mediterranean bas<strong>in</strong> <strong>in</strong>to<br />
an area of dialogue, exchange <strong>and</strong> cooperation<br />
guarantee<strong>in</strong>g peace, stability <strong>and</strong> prosperity”<br />
(Barcelona declaration, 1995). At present, all <strong>North</strong><br />
<strong>Africa</strong>n countries are <strong>in</strong>cluded <strong>in</strong> the partnership,<br />
with the exception of Libya, which possesses<br />
Observer status.<br />
These levels of regionalization are critical for<br />
arts mobility to the extent that they have underp<strong>in</strong>ned<br />
the formation of cultural networks, fund<strong>in</strong>g<br />
schemes <strong>and</strong> thus spaces of exchange. The<br />
fund<strong>in</strong>g l<strong>and</strong>scape <strong>in</strong> <strong>North</strong> <strong>Africa</strong> is characterized<br />
by the presence of numerous funds operat<strong>in</strong>g<br />
at the MENA level: the Arab Fund for<br />
<strong>Art</strong>s <strong>and</strong> Culture (AFAC), Al-Mawred<br />
al-Thafaqy <strong>and</strong> Mophradat are the<br />
three most prom<strong>in</strong>ent. At the Euromed<br />
level, there is a plethora of fund<strong>in</strong>g<br />
schemes, among them the Roberto<br />
Cimetta Fund (RCF), the European<br />
Cultural Foundation (ECF) & MitOst’s<br />
T<strong>and</strong>emShaml, the ECF’s STEP Travel<br />
Grants, etc., all of which are ongo<strong>in</strong>g.<br />
Other funds, such as SouthMedCV<br />
(2015 <strong>–</strong> 2018), are rolled out with<strong>in</strong> set<br />
timeframes. These funds have allowed for<br />
vital projects, partnerships <strong>and</strong> networks<br />
to emerge across the region.<br />
See Section 3.1.1 for more <strong>in</strong>formation<br />
on Fund<strong>in</strong>g.<br />
In this l<strong>and</strong>scape, <strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong> is<br />
the first mobility fund that has worked<br />
to <strong>in</strong>tegrate <strong>North</strong> <strong>Africa</strong> <strong>in</strong> the rest of<br />
the cont<strong>in</strong>ent. Nevertheless, <strong>North</strong> <strong>Africa</strong><br />
cont<strong>in</strong>ues to be the region that generates<br />
the fewest mobility grant applications.<br />
The question that drives this<br />
research is: why?<br />
—<br />
QUOTE:<br />
« Where did the term<br />
‘Sub-Saharan <strong>Africa</strong>’ come from<br />
s<strong>in</strong>ce it never appears <strong>in</strong><br />
colonial literature?<br />
What exactly are the contours<br />
of this ‘region’ s<strong>in</strong>ce it<br />
is not demarcated on any map?<br />
Is it a geographic location or is<br />
it a political construct?<br />
How come Mauritania is<br />
considered Sub-Saharan yet<br />
Sudan is not?<br />
Most importantly, how did we,<br />
as <strong>Africa</strong>ns,<br />
start adher<strong>in</strong>g to the postcolonial<br />
remapp<strong>in</strong>g of our own<br />
spaces <strong>and</strong> identities? »<br />
Jihan El-Tahri<br />
Filmmaker,<br />
Cairo/Berl<strong>in</strong><br />
Quote from RAW Material Company<br />
public lecture,<br />
12 April, 2017.<br />
—
16<br />
Introduction<br />
1. 4<br />
Overview of<br />
mobility <strong>in</strong><br />
<strong>North</strong> <strong>Africa</strong><br />
Based on AMA’s statistics, gathered<br />
over the period 2005 <strong>–</strong> 2018, Morocco,<br />
Tunisia <strong>and</strong> Egypt are the countries that have the strongest mobility<br />
trends. The chart below illustrates the volume of mobility to/from<br />
other <strong>Africa</strong>n regions for each <strong>North</strong> <strong>Africa</strong>n country:<br />
Outgo<strong>in</strong>g mobility<br />
100<br />
Incom<strong>in</strong>g mobility<br />
exchange with other <strong>Africa</strong>n regions <strong>in</strong> %<br />
90<br />
80<br />
70<br />
60<br />
50<br />
40<br />
30<br />
20<br />
10<br />
0<br />
Morocco<br />
Tunisia<br />
Egypt<br />
Algeria<br />
Mauritania<br />
Libya
17<br />
Introduction<br />
In order of volume of exchange with <strong>North</strong> <strong>Africa</strong>, the<br />
follow<strong>in</strong>g countries are most active:<br />
1.<br />
2.<br />
3.<br />
4.<br />
5.<br />
6.<br />
7.<br />
8.<br />
9.<br />
Senegal<br />
Cameroon <strong>and</strong> South <strong>Africa</strong><br />
Democratic Republic of Congo (DRC)<br />
Ethiopia<br />
Burk<strong>in</strong>a Faso<br />
Kenya <strong>and</strong> Tanzania<br />
Côte d’Ivoire<br />
Mali<br />
Nigeria<br />
Most exchanges happen with West <strong>Africa</strong>, with Senegal,<br />
Burk<strong>in</strong>a Faso, Côte d’Ivoire, Mali <strong>and</strong> Nigeria be<strong>in</strong>g the<br />
most active countries. Egypt has relatively strong l<strong>in</strong>ks<br />
with Nigeria. The Dakar Biennale is repeatedly cited as<br />
a reference for visual artists across <strong>North</strong> <strong>Africa</strong>; other<br />
events that are often noted <strong>in</strong>clude the Marché<br />
des <strong>Art</strong>s et du Spectacle (MASA <strong>–</strong> Market for<br />
Perform<strong>in</strong>g <strong>Art</strong>s) <strong>in</strong> Abidjan <strong>and</strong> the Bamako<br />
<strong>and</strong> Lagos biennales.<br />
Exchange is roughly the same with South, Central<br />
<strong>and</strong> East <strong>Africa</strong> (14 <strong>–</strong> 16%). Cameroon is by<br />
far the country <strong>in</strong> Central <strong>Africa</strong> that generates<br />
the most exchange, with strong ties to Morocco<br />
<strong>and</strong> Egypt <strong>in</strong> particular; it is followed by<br />
DRC. In East <strong>Africa</strong>, Ethiopia is the country that<br />
generates the most exchange, largely thanks to<br />
strong ties with Egypt; Kenya <strong>and</strong> Tanzania are<br />
the other two major hubs for mobility. In Southern<br />
<strong>Africa</strong>, South <strong>Africa</strong> is by far the country<br />
that generates the most exchange, presumably<br />
due to its strong cultural sector <strong>and</strong> capacity to<br />
host <strong>in</strong>ternational events.<br />
—<br />
QUOTE:<br />
« I’m work<strong>in</strong>g on <strong>Africa</strong>n identity.<br />
Culturally, we have many po<strong>in</strong>ts<br />
<strong>in</strong> common. There are trends<br />
l<strong>in</strong>k<strong>in</strong>g all <strong>North</strong> <strong>Africa</strong>n countries,<br />
whether they be <strong>in</strong> dance, music…<br />
there’s a history that l<strong>in</strong>ks us,<br />
sometimes a pa<strong>in</strong>ful one, because<br />
all the trade routes were between<br />
<strong>North</strong> <strong>and</strong> South. There’s a large<br />
community of black <strong>Africa</strong>ns<br />
from South of the Sahara that has<br />
become <strong>North</strong> <strong>Africa</strong>n. We need to<br />
recognize this entity. […]<br />
I th<strong>in</strong>k <strong>Africa</strong> has a great future.<br />
It’s a future we have to build<br />
ourselves; no one outside should<br />
decide what we should be. »<br />
Bahri Ben Yahmed<br />
Dancer <strong>and</strong> choreographer,<br />
Danseurs Citoyens & Lang’art,<br />
Tunis*<br />
Quote translated from French<br />
by the author.<br />
Other translated quotes will be marked<br />
(*) throughout the document.<br />
—
18<br />
Methodology<br />
2<br />
—<br />
Fact:<br />
This study is based<br />
on <strong>in</strong>terviews<br />
with n<strong>in</strong>ety<br />
artists <strong>and</strong> cultural<br />
operators.<br />
—
19<br />
Methodology<br />
METH<br />
ODOL<br />
—<br />
—<br />
The research for this study was conducted between<br />
December 2018 <strong>and</strong> April 2019. It is primarily based<br />
on <strong>in</strong>terviews that were conducted with n<strong>in</strong>ety<br />
artists <strong>and</strong> cultural operators spread across <strong>North</strong><br />
<strong>Africa</strong>, as well as neighbour<strong>in</strong>g regions.<br />
OGY<br />
The research was divided <strong>in</strong>to three overlapp<strong>in</strong>g<br />
phases:<br />
I<br />
II<br />
III<br />
Identification of artists, cultural<br />
operators, spaces <strong>and</strong> stakeholders<br />
(December 2018 <strong>–</strong> February 2019)<br />
Interviews (December 2018 <strong>–</strong> March 2019)<br />
a) Field visit to Casablanca <strong>and</strong> Rabat,<br />
December 10 <strong>–</strong> 16, 2018<br />
b) Desk-based <strong>in</strong>terviews, Skype <strong>and</strong><br />
WhatsApp.<br />
Two respondents asked to<br />
respond <strong>in</strong> writ<strong>in</strong>g.<br />
Report compilation (March <strong>–</strong> April 2019)<br />
Interviews were primarily conducted via Skype,<br />
with the exception of sixteen <strong>in</strong>terviews which<br />
were conducted <strong>in</strong>-person dur<strong>in</strong>g a field visit to<br />
Casablanca <strong>and</strong> Rabat <strong>in</strong> December 2018 <strong>and</strong> two<br />
which were conducted <strong>in</strong> writ<strong>in</strong>g. The methodology<br />
was semi-structured, follow<strong>in</strong>g a questionnaire<br />
prepared <strong>in</strong> advance by the AMA Secretariat. This<br />
method was chosen <strong>in</strong> the <strong>in</strong>terest of allow<strong>in</strong>g an<br />
organic conversation to develop <strong>and</strong> to guide the<br />
direction of the <strong>in</strong>terview.
20<br />
Methodology<br />
—<br />
NORTH AFRICA<br />
—<br />
—<br />
MAGHREB<br />
—<br />
—<br />
MENA<br />
—<br />
2.1<br />
Key<br />
Terms<br />
There is no s<strong>in</strong>gle commonly accepted<br />
def<strong>in</strong>ition of the term “<strong>North</strong> <strong>Africa</strong>,”<br />
which encompasses mean<strong>in</strong>gs of a<br />
geographical, political <strong>and</strong> cultural nature. In geographic<br />
terms, it may refer to the area that lies between the<br />
Atlantic Ocean to the West; the Mediterranean Sea to the<br />
<strong>North</strong>; the Red Sea to the East; <strong>and</strong> the Sahara desert to<br />
the South. In geopolitical terms, it is employed by <strong>in</strong>ternational<br />
organizations such as the <strong>Africa</strong>n Union (AU) <strong>and</strong><br />
the United Nations (NU) to designate different group<strong>in</strong>gs<br />
of countries. The nation-states of Morocco, Algeria, Tunisia,<br />
Libya <strong>and</strong> Egypt are <strong>in</strong>cluded <strong>in</strong> both group<strong>in</strong>gs; however,<br />
the AU <strong>in</strong>cludes Mauritania but not Sudan or South<br />
Sudan, while the UN <strong>in</strong>cludes Sudan <strong>and</strong> South Sudan<br />
but not Mauritania. The term “<strong>North</strong> <strong>Africa</strong>” also overlaps<br />
with several others, namely the “Arab world” <strong>and</strong><br />
the “Maghreb” (see below). AMA acknowledges these<br />
caveats <strong>and</strong> debates. However, <strong>in</strong> this document, it uses<br />
the term “<strong>North</strong> <strong>Africa</strong>” to designate a region consist<strong>in</strong>g<br />
of the follow<strong>in</strong>g states: Algeria, Egypt, Libya, Mauritania,<br />
Morocco, Tunisia <strong>and</strong> the disputed territory of Western<br />
Sahara.<br />
The Maghreb is the region encompass<strong>in</strong>g Algeria, Libya,<br />
Mauritania, Morocco, Tunisia <strong>and</strong> Western Sahara. Mauritania,<br />
Morocco, Tunisia, Algeria <strong>and</strong> Libya established<br />
the Arab Maghreb Union <strong>in</strong> 1989 to promote cooperation<br />
<strong>and</strong> economic <strong>in</strong>tegration <strong>in</strong> a common market. However,<br />
the Union is stalled due to ongo<strong>in</strong>g conflict between<br />
Morocco <strong>and</strong> Algeria over the issue of Western Sahara.<br />
MENA is the commonly used acronym for “Middle East<br />
<strong>and</strong> <strong>North</strong> <strong>Africa</strong>.” There is no stable def<strong>in</strong>ition of the term<br />
either. The follow<strong>in</strong>g countries are typically <strong>in</strong>cluded <strong>in</strong> the<br />
MENA: Algeria, Bahra<strong>in</strong>, Djibouti, Egypt, Iran, Iraq, Israel,<br />
Jordan, Kuwait, Lebanon, Libya, Malta, Morocco, Oman,<br />
Palest<strong>in</strong>e, Qatar, Saudi Arabia, Syria, Tunisia, the United<br />
Arab Emirates <strong>and</strong> Yemen. Other countries that may be<br />
<strong>in</strong>cluded are Afghanistan, Armenia, Azerbaijan, Chad,<br />
Comoros, Cyprus, Djibouti, Eritrea, Ethiopia, Georgia,<br />
Mali, Mauritania, Niger, <strong>North</strong>ern Cyprus, Sahrawi Arab<br />
Democratic Republic, Somalia, Sudan <strong>and</strong> Turkey.
21<br />
Methodology<br />
—<br />
MENASA<br />
—<br />
—<br />
ARAB WORLD<br />
—<br />
—<br />
MOBILITY<br />
—<br />
—<br />
TOURING<br />
—<br />
MENASA is the acronym for “Middle East, <strong>North</strong> <strong>Africa</strong><br />
<strong>and</strong> South Asia.” It typically designates the MENA countries<br />
as well as a subset of countries <strong>in</strong> Asia, most prom<strong>in</strong>ently<br />
India <strong>and</strong> Pakistan. However, as with the other<br />
acronyms cited above, its boundaries are not set. It is<br />
ma<strong>in</strong>ly used <strong>in</strong> economic <strong>and</strong> f<strong>in</strong>ancial circles but is also<br />
ga<strong>in</strong><strong>in</strong>g currency <strong>in</strong> the contemporary art <strong>and</strong> cultural<br />
sectors.<br />
Although it is sometimes used <strong>in</strong>terchangeably with the<br />
term MENA, the term “Arab world” typically refers to the<br />
22 states of the Arab league: Algeria, Bahra<strong>in</strong>, Comoros,<br />
Djibouti, Egypt, Iraq, Jordan, Kuwait, Lebanon, Libya,<br />
Mauritania, Morocco, Oman, Palest<strong>in</strong>e, Qatar, Saudi<br />
Arabia, Somalia, Sudan, Syria, Tunisia, the United Arab<br />
Emirates <strong>and</strong> Yemen.<br />
<strong>Mobility</strong> <strong>in</strong> the arts sector is for the purpose of this study<br />
def<strong>in</strong>ed as the temporary relocation of an artist to a region<br />
or a country other than that of permanent residence,<br />
for the purpose of presentation, performance, study,<br />
teach<strong>in</strong>g or rehearsal. The relationship between mobility<br />
<strong>and</strong> migration is frequently related to economic means of<br />
survival (less frequently to an improvement on a social or<br />
economic scale). Draw<strong>in</strong>g the l<strong>in</strong>e between artistic mobility<br />
<strong>and</strong> migration can be challeng<strong>in</strong>g as some artists will<br />
spend part of their career liv<strong>in</strong>g <strong>and</strong> work<strong>in</strong>g <strong>in</strong> another<br />
country (Wies<strong>and</strong>, 2008) <strong>and</strong> eventually become associated<br />
with the country of their choice.<br />
Accord<strong>in</strong>g to the new Oxford American Dictionary, a<br />
“tour” can refer to a journey made by performers or an<br />
athletic team, <strong>in</strong> which they perform or play <strong>in</strong> several<br />
different places. These places do not necessarily need<br />
to be located <strong>in</strong> several countries. A tour<strong>in</strong>g circuit is a<br />
more or less closely def<strong>in</strong>ed network of performance or<br />
exhibition places for the purpose of circulat<strong>in</strong>g artwork<br />
<strong>and</strong> performances. The organizers are generally the ones<br />
who determ<strong>in</strong>e how open or closed this network is <strong>and</strong><br />
what criteria are applied for membership <strong>and</strong> development.
22<br />
Methodology<br />
2.2<br />
Limitations<br />
1.<br />
The study is of course not exhaustive.<br />
It namely does not cover the<br />
complex problematics of travel to/<br />
from rural areas. It concentrates on<br />
capital cities, which are the locales most likely to<br />
be covered by AMA grants. Further study is necessary<br />
to offer a more comprehensive perspective<br />
on mobility to/from other large cities <strong>in</strong> the region<br />
as well as rural areas.<br />
2.<br />
The term “<strong>North</strong> <strong>Africa</strong>” has an unstable mean<strong>in</strong>g<br />
(see Section 2.1) <strong>and</strong> as such the scope of the study<br />
does not capture all the realities that the term may<br />
refer to. For example, this study does not cover<br />
Sudan (covered <strong>in</strong> the 2012 <strong>and</strong> 2015 studies on<br />
East <strong>Africa</strong>).<br />
3.<br />
Research was conducted <strong>in</strong> French <strong>and</strong> English. As<br />
such, it is possible that certa<strong>in</strong> potential <strong>in</strong>terlocutors<br />
were not reached <strong>and</strong> that <strong>in</strong>formation was not<br />
identified or <strong>in</strong>cluded. One <strong>in</strong>terlocutor decl<strong>in</strong>ed to<br />
grant an <strong>in</strong>terview because it would not be conducted<br />
<strong>in</strong> Arabic.<br />
4.<br />
Interviews were not always completed <strong>in</strong> full due<br />
to time considerations. The questionnaire was<br />
long <strong>and</strong> conversations were very often rich <strong>and</strong><br />
wide-rang<strong>in</strong>g. Certa<strong>in</strong> questions were often excluded<br />
<strong>in</strong> the <strong>in</strong>terest of captur<strong>in</strong>g the most essential<br />
<strong>in</strong>formation <strong>and</strong> respect<strong>in</strong>g <strong>in</strong>terlocutors’ time.<br />
5.<br />
Research was desk-based rather than field-based.<br />
As such it was not possible to meet respondents<br />
simultaneously, nor to visit spaces, studios, venues,<br />
etc.
23<br />
Methodology<br />
Le radeau (The Raft), by Cyr<strong>in</strong>e Gannoun <strong>and</strong> Majdi Boumatar, tells the story<br />
of 8 cl<strong>and</strong>est<strong>in</strong>e migrants try<strong>in</strong>g to cross the Mediterranean to reach Italy.<br />
Photo courtesy of Cyr<strong>in</strong>e Gannoun/Théâtre El-Hamra.
24<br />
Sunmmary of Outcomes<br />
3<br />
—<br />
QUOTE:<br />
Sometimes, preconceptions, blockages of<br />
the imag<strong>in</strong>ation, <strong>and</strong> maybe even of desire,<br />
can get <strong>in</strong> the way of conceiv<strong>in</strong>g projects or<br />
travell<strong>in</strong>g South.<br />
Mariem Guellouz<br />
Dancer <strong>and</strong> researcher,<br />
Director of<br />
Les Journées chorégraphiques<br />
de Carthage*<br />
—
25<br />
Summary of Outcomes<br />
SUM —<br />
MARY<br />
OF<br />
OUT —<br />
COMES<br />
3.1.<br />
Mapp<strong>in</strong>g<br />
A major objective of this study was to highlight<br />
the <strong>in</strong>frastructure <strong>and</strong> map the resources<br />
that are currently <strong>in</strong> place to facilitate the<br />
mobility of artists <strong>and</strong> cultural operators <strong>in</strong><br />
<strong>North</strong> <strong>Africa</strong>. The major cross-country <strong>in</strong>frastructures<br />
facilitat<strong>in</strong>g mobility <strong>in</strong> <strong>North</strong> <strong>Africa</strong><br />
(fund<strong>in</strong>g opportunities, transport l<strong>in</strong>ks <strong>and</strong> options, <strong>and</strong><br />
exist<strong>in</strong>g service providers) are described <strong>in</strong> the follow<strong>in</strong>g<br />
sub-sections. Country-specific <strong>in</strong>formation regard<strong>in</strong>g<br />
venues, events, organizations <strong>and</strong> other artistic facilities<br />
is provided <strong>in</strong> Section 4 of the report.<br />
Overall, it can be said that <strong>in</strong>frastructures vary substantially<br />
from country to country, as a function of cultural<br />
policy, history <strong>and</strong> economic conditions. Most opportunities<br />
are concentrated <strong>in</strong> Morocco, Tunisia <strong>and</strong> Egypt,<br />
although this l<strong>and</strong>scape is chang<strong>in</strong>g <strong>in</strong> response to <strong>in</strong>creas<strong>in</strong>g<br />
repression <strong>in</strong> Egypt <strong>and</strong> the evolv<strong>in</strong>g sector<br />
<strong>in</strong> Tunisia. There are promis<strong>in</strong>g developments <strong>in</strong> Libya,<br />
Mauritania <strong>and</strong> even <strong>in</strong> Western Sahara, but these of
26<br />
Summary of Outcomes<br />
course rema<strong>in</strong> extremely limited <strong>in</strong> terms of capacity for<br />
facilitat<strong>in</strong>g mobility <strong>and</strong> are subject to extremely precarious<br />
political / economic conditions.<br />
A mapp<strong>in</strong>g of exist<strong>in</strong>g arts venues <strong>and</strong> events that may<br />
host mobility projects <strong>in</strong>volv<strong>in</strong>g <strong>Africa</strong>n cultural actors is<br />
provided <strong>in</strong> Appendix A of the report.<br />
Other useful mapp<strong>in</strong>gs of exist<strong>in</strong>g service providers, spaces <strong>and</strong> venues<br />
can be found on the follow<strong>in</strong>g websites:<br />
1. The <strong>North</strong> <strong>Africa</strong> Cultural <strong>Mobility</strong> Map, a research <strong>and</strong><br />
<strong>in</strong>fo-platform about residency <strong>and</strong> mobility <strong>in</strong>itiatives for<br />
artists, writers <strong>and</strong> researchers <strong>in</strong>terested <strong>in</strong> travell<strong>in</strong>g <strong>and</strong><br />
develop<strong>in</strong>g projects from with<strong>in</strong> <strong>North</strong> <strong>Africa</strong><br />
2. Independent <strong>Art</strong>s <strong>and</strong> Culture Spaces <strong>in</strong> the Arab<br />
World, a 2013 publication by the Young Arab Theatre Fund<br />
(now Mophradat)<br />
3. Morocco <strong>Art</strong>Map by Rac<strong>in</strong>es<br />
4. Carte Culturelle de l’Algérie by the Groupe de Travail sur<br />
la Politique Culturelle en Algérie<br />
5. Perform-arts.net by Reflection <strong>Art</strong>s, Tra<strong>in</strong><strong>in</strong>g & Development<br />
<strong>–</strong> a database of cultural organizations <strong>and</strong> spaces <strong>in</strong><br />
Alex<strong>and</strong>ria, Egypt<br />
6. Digi <strong>–</strong> MENA for digital artists <strong>in</strong> the MENA region. Coord<strong>in</strong>ated<br />
by Out of the Circle <strong>and</strong> supported by the Goethe<br />
Institut<br />
7. Alternative <strong>Art</strong> Guide, an onl<strong>in</strong>e database of non-profit,<br />
artist-run <strong>and</strong> <strong>in</strong>dependent spaces around the world<br />
8. DutchCulture / Transartists, an onl<strong>in</strong>e database of artists’<br />
residencies worldwide
27<br />
Summary of Outcomes<br />
—<br />
3.1.1 FUNDING<br />
—<br />
Fund<strong>in</strong>g for mobility to <strong>and</strong> from <strong>North</strong> <strong>Africa</strong> is provided at six<br />
ma<strong>in</strong> levels:<br />
—<br />
PUBLIC ADMINISTRATIONS<br />
—<br />
While public adm<strong>in</strong>istrations <strong>in</strong> most of the countries covered by<br />
this study have the capacity to fund mobility, provision of funds<br />
is generally characterized by opacity, clientelism, preference for<br />
traditional <strong>and</strong>/or folkloric forms, <strong>and</strong> poor adm<strong>in</strong>istration.<br />
Respondents <strong>in</strong> Tunisia <strong>and</strong> to a lesser extent Morocco were<br />
the most likely to obta<strong>in</strong> funds from their M<strong>in</strong>istries of Culture.<br />
The only formal program support<strong>in</strong>g mobility <strong>in</strong> the region is<br />
Tfanen <strong>–</strong> Tunisie Créative, created through a partnership between<br />
the EU <strong>and</strong> the Tunisian state (see Tunisia section for more detail).<br />
—<br />
CIVIL SOCIETY ORGANIZATIONS<br />
—<br />
Several civil society organizations do crucial <strong>and</strong> <strong>in</strong>spir<strong>in</strong>g work<br />
to support mobility <strong>in</strong> <strong>North</strong> <strong>Africa</strong>. In addition to AMA, the most<br />
prom<strong>in</strong>ent organizations are:<br />
1.<br />
Culture Resource<br />
(Al Mawred Al-Thaqafy)<br />
Based <strong>in</strong> Beirut, Culture Resource (Al-Mawred Al-Thaqafy) is a<br />
regional, non-profit organization founded <strong>in</strong> 2003 that seeks to<br />
support artistic creativity <strong>in</strong> the Arab region <strong>and</strong> to encourage<br />
cultural exchange with<strong>in</strong> the region <strong>and</strong> beyond.<br />
Its ma<strong>in</strong> program for mobility support is Wijhat. It is open to artists<br />
<strong>and</strong> cultural managers of all discipl<strong>in</strong>es. All departure countries<br />
<strong>and</strong> dest<strong>in</strong>ations are eligible, with the exception of Israel,<br />
although travel must be to or from an Arab country. Air travel<br />
as well as <strong>in</strong>ternal road / tra<strong>in</strong> connections are covered. Additionally,<br />
the fund covers visa costs, accommodation <strong>and</strong> partial<br />
support for liv<strong>in</strong>g expenses.
28<br />
Summary of Outcomes<br />
The program offers 25 to 30 grants per year <strong>in</strong> three rounds.<br />
Al Mawred Al-Thaqafy has also supported mobility via its<br />
tra<strong>in</strong><strong>in</strong>g programs for cultural managers.<br />
2.<br />
Arab Fund for <strong>Art</strong>s<br />
<strong>and</strong> Culture (AFAC)<br />
Based <strong>in</strong> Beirut, the Arab Fund for <strong>Art</strong>s <strong>and</strong> Culture <strong>–</strong> AFAC<br />
was founded <strong>in</strong> 2007 through the <strong>in</strong>itiative of Arab cultural<br />
activists as an <strong>in</strong>dependent foundation to support <strong>in</strong>dividual<br />
artists, writers, researchers, <strong>in</strong>tellectuals, as well as organizations<br />
from the Arab region work<strong>in</strong>g <strong>in</strong> the field of arts <strong>and</strong><br />
culture.<br />
AFAC currently runs n<strong>in</strong>e open call grants programs <strong>and</strong><br />
one tra<strong>in</strong><strong>in</strong>g program by nom<strong>in</strong>ation. Each grants program<br />
has one annual open call dur<strong>in</strong>g which applications are submitted<br />
onl<strong>in</strong>e. The grants are not mobility grants. However,<br />
travel is covered so long as it is part of the implementation<br />
of a project.<br />
In addition, AFAC has just launched the new <strong>North</strong> <strong>Africa</strong><br />
Cultural Program (NACP), a three-year program (2019 <strong>–</strong> 2022)<br />
dedicated to five countries <strong>in</strong> <strong>North</strong> <strong>Africa</strong>: Morocco, Algeria,<br />
Tunisia, Libya <strong>and</strong> Egypt. It comprises two support schemes,<br />
a National Fund <strong>and</strong> a Regional Fund. The program is run<br />
through an open-call scheme <strong>and</strong> covers <strong>in</strong>stitutional <strong>and</strong><br />
programmatic support to active arts organizations based <strong>in</strong><br />
the five countries, <strong>in</strong>clud<strong>in</strong>g cross-border collaborations.<br />
3.<br />
Mophradat<br />
Based <strong>in</strong> Belgium, Mophradat offers a grant<strong>in</strong>g program for<br />
artists to support <strong>in</strong>dividuals, collaborations, or collectives<br />
to develop their practice. Among other activities, the grants<br />
can be used to pursue threads of research, stage an event,<br />
make new work, publish, travel, take part <strong>in</strong> a residency or<br />
workshop, or present an exhibition or performance. Average<br />
amount is $5.000. Mophradat’s emphasis is on contemporary<br />
art. Activities or projects can take place anywhere <strong>in</strong> the<br />
world, but must be carried out by artists liv<strong>in</strong>g or work<strong>in</strong>g <strong>in</strong><br />
the Arab world <strong>and</strong>/or engaged with the Arab world.<br />
4.<br />
Roberto Cimetta Fund<br />
(RCF)<br />
Based <strong>in</strong> Paris, the Roberto Cimetta Fund is an <strong>in</strong>ternational<br />
non-profit grant-mak<strong>in</strong>g organization support<strong>in</strong>g the mobility<br />
<strong>and</strong> creativity of artists <strong>and</strong> cultural operators <strong>in</strong> Europe, the<br />
Arab world <strong>and</strong> beyond.
29<br />
Summary of Outcomes<br />
The RCF provides support for mobility through two programmes:<br />
a <strong>–</strong> the <strong>Mobility</strong> fund; <strong>and</strong> b <strong>–</strong> Tamteen, or the support<br />
fund. The <strong>Mobility</strong> Fund is divided <strong>in</strong>to two streams:<br />
the General Fund, <strong>and</strong> specific fund<strong>in</strong>g l<strong>in</strong>es, which vary from<br />
year to year. The General Fund is open to artists <strong>and</strong> cultural<br />
operators liv<strong>in</strong>g <strong>and</strong> work<strong>in</strong>g <strong>in</strong> the Euro-Arab-Middle East<br />
geographical zone. Applicants from the MENA region or the<br />
Balkan countries can apply to travel to other <strong>Africa</strong>n regions<br />
(as well as Asia or other world regions). A maximum of 3<br />
<strong>in</strong>dividuals per group may be covered.<br />
The Tamteen support fund can cover mobility as part of<br />
the structur<strong>in</strong>g of oganizations <strong>and</strong> collectives <strong>in</strong> the Arab<br />
world. Maximum fund<strong>in</strong>g is 3.000 euros. Five projects are<br />
selected per call.<br />
5.<br />
<strong>Africa</strong> <strong>Art</strong> L<strong>in</strong>es<br />
An <strong>in</strong>spir<strong>in</strong>g new <strong>in</strong>itiative is <strong>Africa</strong> <strong>Art</strong> L<strong>in</strong>es, run by Morocco-based<br />
civil society organization Afrikayna. Launched<br />
<strong>in</strong> 2016, <strong>Africa</strong> <strong>Art</strong> L<strong>in</strong>es provides mobility grants to projects<br />
connect<strong>in</strong>g Morocco <strong>and</strong> other <strong>Africa</strong>n countries. It does so<br />
through two ma<strong>in</strong> schemes: 1) Partnerships with organizations<br />
<strong>and</strong> events; 2) Open calls. Support is delivered via the<br />
host organization. See Morocco section for more detail.<br />
—<br />
EMBASSIES AND INTERNATIONAL<br />
COOPERATION INSTITUTES<br />
—<br />
Many artists <strong>and</strong> cultural operators <strong>in</strong> <strong>North</strong> <strong>Africa</strong> have travelled thanks<br />
to fund<strong>in</strong>g provided by embassies <strong>and</strong> <strong>in</strong>ternational cooperation <strong>in</strong>stitutes<br />
present <strong>in</strong> their cities. However, there are at present no formal mobility<br />
schemes <strong>and</strong> fund<strong>in</strong>g is thus generally provided on a case-by-case<br />
basis, often through artists’ or cultural operators’ personal connections<br />
with<strong>in</strong> the <strong>in</strong>stitutes. A bilateral component or connection to the European<br />
country is generally a prerequisite for fund<strong>in</strong>g to be provided.<br />
The most prom<strong>in</strong>ent cooperation <strong>in</strong>stitute across the region is the Institut<br />
Français, which reta<strong>in</strong>s a strong presence <strong>in</strong> Morocco, Tunisia <strong>and</strong> Algeria.<br />
The Goethe Institut facilitated mobility for a number of cultural actors<br />
through its Mov<strong>in</strong>g MENA travel fund (2013 <strong>–</strong> 2017). However, the fund is no<br />
longer operational. The Goethe cont<strong>in</strong>ues to organize occasional cultural<br />
tra<strong>in</strong><strong>in</strong>g programs <strong>in</strong> the region. Pro Helvetia has also supported projects<br />
<strong>in</strong> Tunisia <strong>and</strong> Egypt.
30<br />
Summary of Outcomes<br />
Two programs funded by the European Union, MedCulture (2014 <strong>–</strong> 2017) <strong>and</strong><br />
SouthMedCV (2015 <strong>–</strong> 2018), played an important role <strong>in</strong> facilitat<strong>in</strong>g travels across<br />
the region. Several respondents expressed the hope that similar schemes would be<br />
implemented.<br />
—<br />
PRIVATE FOUNDATIONS<br />
—<br />
Several private foundations are facilitat<strong>in</strong>g mobility across the region. In Tunisia,<br />
Fondation Rambourg <strong>and</strong> Fondation Kamel Lazaar are two new foundations to<br />
watch. In Morocco, Fondation HIBA <strong>and</strong> Fondation Touria et Abdelaziz Tazi have<br />
supported mobility through sponsorship, residencies <strong>and</strong> exchange <strong>in</strong>itiatives.<br />
Other private foundations cover<strong>in</strong>g mobility, generally via program or project support,<br />
are: the European Cultural Foundation (ECF), the Ford Foundation, Fondation<br />
Rosa Luxembourg, Fondation Drosos, Mimeta, the Organisation Internationale de la<br />
Francophonie (OIF), the Pr<strong>in</strong>ce Claus Fund <strong>and</strong> Sticht<strong>in</strong>g DOEN.<br />
—<br />
FESTIVALS, EVENTS<br />
AND<br />
RESIDENCIES<br />
—<br />
Many artists depend on <strong>in</strong>vitations from<br />
festivals, events or residencies to support<br />
their travels. Events that have offered<br />
fund<strong>in</strong>g for mobility <strong>in</strong>clude Visa<br />
for Music, Rencontres chorégraphiques<br />
de Carthage, residencies at Le18, Atelier<br />
de l’observatoire, Contemporary Image<br />
Collective Cairo, D-CAF, etc. However,<br />
they have generally done so via fund<strong>in</strong>g<br />
from one of the abovementioned organizations.<br />
—<br />
BANKS, BUSINESSES<br />
AND<br />
INDIVIDUAL SPONSORS<br />
—<br />
Entrepreneurial cultural actors have approached banks, bus<strong>in</strong>esses<br />
<strong>and</strong> <strong>in</strong>dividual sponsors for funds to cover their travel<br />
costs.<br />
Important resources on mobility opportunities <strong>in</strong> the region are:<br />
1. On the Move’s Guide to fund<strong>in</strong>g for cultural mobility <strong>in</strong><br />
the Arab world (2017). On the Move’s Facebook, Twitter<br />
<strong>and</strong> website are also critical platforms for <strong>in</strong>formation.<br />
2. Culture Fund<strong>in</strong>g Watch has recently launched a comprehensive<br />
database of fund<strong>in</strong>g opportunities for arts <strong>and</strong><br />
culture <strong>in</strong> the MENA Region. Their social media pages are<br />
regularly updated.
31<br />
Summary of Outcomes<br />
—<br />
3.1. 2<br />
MAIN HUBS AND<br />
SERVICE PROVIDERS<br />
—<br />
—<br />
See Chapter 6<br />
for a mapp<strong>in</strong>g of<br />
venues <strong>and</strong> arts<br />
spaces across<br />
the region<br />
—<br />
The follow<strong>in</strong>g organizations <strong>and</strong> arts spaces<br />
are well-poised to serve as hubs, <strong>in</strong>formation<br />
po<strong>in</strong>ts, <strong>and</strong> tra<strong>in</strong><strong>in</strong>g centres for mobility<br />
projects <strong>in</strong> the region.<br />
Algeria<br />
aria arts residencies, Algiers<br />
Ateliers N.A.S., Algiers<br />
Les Ateliers Sauvages, Algiers<br />
<strong>Art</strong>issimo, Algiers<br />
Box24, Algiers<br />
La Baignoire, Algiers<br />
Brokk’art, Algiers<br />
Raconte’arts Theatre festival, Tizi Ouzou<br />
Morocco<br />
Atelier de l’Observatoire, Casablanca<br />
EAC-L’Boulvard, Casablanca<br />
L’Uz<strong>in</strong>e, Casablanca<br />
Le18, Marrakech<br />
C<strong>in</strong>émathèque, Tanger<br />
Tabadoul, Tanger<br />
Mahal <strong>Art</strong> Space, Tanger<br />
L’appartement22, Rabat<br />
LeCube, Rabat<br />
Visa for Music, Rabat<br />
Egypt<br />
Al Moharek Agency, Cairo<br />
AfriCairo, Cairo<br />
Contemporary Image Collective, Cairo<br />
Darb 1718 Contemporary <strong>Art</strong> & Culture Centre, Cairo<br />
Hewar for Independent Theater & Perform<strong>in</strong>g <strong>Art</strong>s,<br />
Alex<strong>and</strong>ria<br />
MASS, Alex<strong>and</strong>ria<br />
Out of the Circle, Cairo<br />
Medrar for Contemporary <strong>Art</strong>s, Cairo<br />
Reflection for <strong>Art</strong>s Tra<strong>in</strong><strong>in</strong>g & Development,<br />
Alex<strong>and</strong>ria<br />
Townhouse Gallery, Cairo<br />
Libya<br />
Ali Gana Foundation <strong>and</strong> Museum, Tripoli<br />
Noon <strong>Art</strong>s Projects, Tripoli/London<br />
Tanarout, Benghazi<br />
WaraQ <strong>Art</strong> Foundation, Tripoli<br />
Mauritania<br />
<strong>Art</strong>GalléAmySow, Nouakchott<br />
Les Échos du Sahel, Nouakchott<br />
Espace culturel Diadie Tabara Camara, Nouakchott<br />
Maison des c<strong>in</strong>éastes, Nouakchott<br />
Traversées Mauritanides, Nouakchott<br />
Tunisia<br />
BL79, Tunis<br />
Centre des Musiques Arabes et<br />
Méditerranéennes, Tunis<br />
Centre national d’art vivant de Tunis<br />
Cité’Ness Association, Tunis<br />
Culture Fund<strong>in</strong>g Watch, Tunis (<strong>in</strong>formation<br />
<strong>and</strong> tra<strong>in</strong><strong>in</strong>g)<br />
Fanni Raghman Ani, Tunis<br />
La Boîte, Tunis<br />
Lab619, Tunis<br />
Lang’art, Tunis<br />
L’<strong>Art</strong> Rue, Tunis<br />
Maison de l’Image, Tunis<br />
Théâtre Al-Hamra/Centre arabo-africa<strong>in</strong> de<br />
formation et de recherche théâtrales, Tunis<br />
Tunisia Culture Network, Tunis<br />
Western Sahara<br />
Abid<strong>in</strong> Kaid Saleh Audiovisual School,<br />
Boujdour refugee camp, T<strong>in</strong>douf (Algeria)<br />
<strong>Art</strong>ifariti Festival, Tifariti, Sahrawi Arab Democratic<br />
Republic/refugee camps <strong>in</strong> T<strong>in</strong>douf<br />
Fi’Sahara Festival, Boujdour refugee camp, T<strong>in</strong>douf<br />
Motif <strong>Art</strong>s Studio, Samara refugee camp, T<strong>in</strong>douf
32<br />
Summary of Outcomes<br />
—<br />
3.1. 3<br />
TRANSPORT LINKS<br />
AND<br />
REGULATIONS<br />
—<br />
VISA POLICIES<br />
—<br />
Visa-free travel is <strong>in</strong> place between Morocco,<br />
Tunisia <strong>and</strong> Algeria. In theory, Libyans should<br />
benefit from visa-free travel to Algeria; however,<br />
<strong>in</strong> practice, refusals have been documented.<br />
Libyan citizens should also benefit from visa-free<br />
access to Mauritania, although no testimonials<br />
are available. In turn, visa-free access to Libya<br />
is accessible only to Tunisian <strong>and</strong> Jordanian<br />
citizens. Egypt’s visa policy has gotten <strong>in</strong>creas<strong>in</strong>gly<br />
restrictive <strong>in</strong> recent years. At the time of<br />
writ<strong>in</strong>g, visa-free access to Egypt was open to<br />
Algerian, Moroccan <strong>and</strong> Tunisian citizens under<br />
the age of 14 only. Egyptians require a visa to<br />
enter Morocco, Tunisia <strong>and</strong> Algeria. Mauritania<br />
offers visa-free travel to citizens of Algeria, Libya<br />
<strong>and</strong> Tunisia. Mauritanians may travel to Tunisia<br />
<strong>and</strong> Algeria without a visa.<br />
Detailed <strong>in</strong>formation on visa policies with respect<br />
to other <strong>Africa</strong>n countries is provided <strong>in</strong><br />
the country-specific sections.<br />
—<br />
OTHER REGULATIONS<br />
—<br />
Tunisian citizens under the age of 35 must obta<strong>in</strong><br />
parental authorization to travel outside the<br />
country. Moreover, exit<strong>in</strong>g Tunisia requires payment<br />
of an exit stamp, at a cost of 30 d<strong>in</strong>ars.<br />
Egyptian men of military service age may face<br />
travel restrictions.<br />
—<br />
ROAD AND RAIL NETWORKS<br />
—<br />
Road <strong>and</strong>/or rail travel is generally possible<br />
with<strong>in</strong> <strong>North</strong> <strong>Africa</strong>n countries. However, border<br />
cross<strong>in</strong>gs are complicated or made impossible<br />
by ongo<strong>in</strong>g border disputes or security concerns.<br />
The Trans-Saharan Highway’s Route 1 connects<br />
Cairo to Nouakchott, via the coast. However, only<br />
selected segments of the route are practicable<br />
due to conflict areas <strong>and</strong> border closures. The only<br />
border cross<strong>in</strong>g that is practicable is the border<br />
between Tunisia <strong>and</strong> Algeria; some artists use<br />
these roads to travel <strong>in</strong> lieu of expensive flights.
33<br />
Summary of Outcomes<br />
Overl<strong>and</strong> travel <strong>in</strong>to <strong>and</strong> out of Libya is not recommended<br />
due to the presence of militias<br />
along the road.<br />
Morocco, Tunisia, Algeria <strong>and</strong> Egypt also have<br />
decent to good road networks connect<strong>in</strong>g major<br />
cities. Morocco boasts the region’s most developed<br />
rail system, with high-speed rail <strong>in</strong> place<br />
between Tangiers <strong>and</strong> Casablanca <strong>and</strong> plans to<br />
extend the network east to Oujda <strong>and</strong> south to<br />
Agadir via Marrakech. The national rail operator<br />
is the ONCF. Algeria <strong>and</strong> Egypt also have rail<br />
systems connect<strong>in</strong>g major cities, namely along<br />
the coast <strong>and</strong> the Nile river <strong>in</strong> Egypt.<br />
—<br />
AIR TRAVEL<br />
—<br />
Dancer Jenny Mezile perform<strong>in</strong>g at Harambee Days<br />
at L’Uz<strong>in</strong>e, 2018.<br />
Photo: Ahlam Maroon/L’Uz<strong>in</strong>e.<br />
The closure of the Morocco <strong>–</strong> Algeria border makes<br />
road travel between the two countries impracticable.<br />
Likewise, entry <strong>in</strong>to Western Sahara via<br />
road is subject to controls, which can be unpredictable,<br />
especially <strong>in</strong> periods of strife.<br />
Algeria’s road system <strong>in</strong>cludes the Trans-Saharan<br />
Highway’s Route 2, which l<strong>in</strong>ks Algiers to<br />
Lagos via Tamanrasset, Agadez <strong>and</strong> Kano. The<br />
highway is almost complete, with the exception<br />
of a 200 km-long segment <strong>in</strong> the north of Niger.<br />
Cairo is connected to Khartoum via road. However,<br />
border cross<strong>in</strong>g has been complicated due<br />
to diplomatic disputes between Egypt <strong>and</strong> Sudan<br />
<strong>and</strong> arms smuggl<strong>in</strong>g at the border.<br />
Due to the above-described impediments to road<br />
travel <strong>and</strong> the large distances between major<br />
<strong>North</strong> <strong>Africa</strong>n cities, air travel is the preferred<br />
method of transportation. Flight connections<br />
are frequent between capital cities, provided by<br />
national air carriers Royal Air Maroc, AirAlgérie,<br />
TunisAir <strong>and</strong> Egypt Air. The exception is Tripoli,<br />
which is at present only connected to Tunis <strong>and</strong><br />
Cairo (although the latter is subject to change).<br />
Royal Air Maroc (RAM) is emerg<strong>in</strong>g as the region’s<br />
most active carrier, creat<strong>in</strong>g connections with<strong>in</strong><br />
the region <strong>and</strong> the cont<strong>in</strong>ent that used to only<br />
be possible via European cities such as Paris<br />
<strong>and</strong> Barcelona. In recent years, RAM has exp<strong>and</strong>ed<br />
its network <strong>in</strong> <strong>Africa</strong> significantly, rivall<strong>in</strong>g<br />
Ethiopian Airl<strong>in</strong>es as the cont<strong>in</strong>ent’s number one<br />
carrier. RAM currently connects Casablanca to<br />
26 dest<strong>in</strong>ations <strong>in</strong> <strong>Africa</strong>. AirAlgérie <strong>and</strong> TunisAir<br />
are also develop<strong>in</strong>g their connections <strong>in</strong> West<br />
<strong>Africa</strong>, connect<strong>in</strong>g with 9 <strong>and</strong> 11 dest<strong>in</strong>ations,<br />
respectively.
34<br />
Summary of Outcomes<br />
As such, connections between Alger / Tunis / Tripoli,<br />
<strong>and</strong> dest<strong>in</strong>ations <strong>in</strong> West, Central, East <strong>and</strong> Southern<br />
<strong>Africa</strong> generally go via Casablanca. EgyptAir has<br />
connections with several East <strong>Africa</strong>n countries,<br />
as well as South <strong>Africa</strong>, Zimbabwe <strong>and</strong> Zambia <strong>in</strong><br />
Southern <strong>Africa</strong> <strong>and</strong> Nigeria, Ghana <strong>and</strong> Côte d’Ivoire<br />
<strong>in</strong> West <strong>Africa</strong>. Other dest<strong>in</strong>ations may be reached<br />
via Addis Ababa.<br />
Despite these developments, cost rema<strong>in</strong>s a major<br />
impediment to air travel. Travel to Europe rema<strong>in</strong>s<br />
less expensive than travel with<strong>in</strong> the cont<strong>in</strong>ent, even<br />
on l<strong>in</strong>es such as Tunis <strong>–</strong> Alger.<br />
—<br />
QUOTE:<br />
3.2.<br />
Impediments to<br />
mobility<br />
Impediments to mobility<br />
are listed below, grouped<br />
<strong>in</strong>to 11 ma<strong>in</strong> categories.<br />
However, it should be noted that many of these<br />
impediments are related <strong>and</strong> often difficult to<br />
dissociate. For example, the lack of <strong>in</strong>terest <strong>in</strong><br />
travell<strong>in</strong>g to other <strong>Africa</strong>n regions is critically<br />
related to the lack of <strong>in</strong>formation-shar<strong>in</strong>g <strong>and</strong><br />
network<strong>in</strong>g. The difficulty of obta<strong>in</strong><strong>in</strong>g visas<br />
is often compounded by high travel costs,<br />
with one or the other discourag<strong>in</strong>g artists or<br />
cultural professionals from even seek<strong>in</strong>g out<br />
mobility opportunities. Visa issues are cited<br />
most frequently <strong>in</strong> part because artists associate<br />
travel with Europe <strong>and</strong> do not consider<br />
travel opportunities <strong>in</strong> other countries where<br />
they may have visa-free access.<br />
« We need to talk about<br />
non-mobility. We need to talk<br />
about artists’ stagnation. And<br />
we need to fight aga<strong>in</strong>st that<br />
stagnation. »<br />
Mehdi Djelil<br />
Visual artist, Algiers*<br />
—<br />
Moreover, most of these obstacles can be<br />
l<strong>in</strong>ked to the after-effects of colonialism, nationalisms<br />
<strong>and</strong> wars, <strong>and</strong> the persistence of<br />
neo-colonialism <strong>in</strong> the form of development<br />
agendas, regionalization, conflict, etc. This reality<br />
underscores the importance of mobility as a<br />
means of strengthen<strong>in</strong>g South-South solidarity,<br />
underst<strong>and</strong><strong>in</strong>g, co-imag<strong>in</strong><strong>in</strong>g, vision-shar<strong>in</strong>g,<br />
knowledge-shar<strong>in</strong>g <strong>and</strong> project-build<strong>in</strong>g.
35<br />
Summary of Outcomes<br />
—<br />
QUOTE:<br />
« This immigration question, this<br />
‘potential immigrant’<br />
label <strong>–</strong> we carry those loads<br />
heavily. Travell<strong>in</strong>g, <strong>in</strong> <strong>and</strong> of<br />
itself (with or without an artistic<br />
purpose), is not a right that is<br />
given to us. To secure that right,<br />
we have to undergo countless<br />
adm<strong>in</strong>istrative processes, we have<br />
to lay ourselves bare, <strong>and</strong> without<br />
any guarantee of success.<br />
So much energy, so many<br />
strategies, so much paperwork…<br />
it’s exhaust<strong>in</strong>g after awhile. »<br />
H<strong>in</strong>d Benali<br />
Dancer <strong>and</strong> choreographer,<br />
founder of Compagnie Fleur<br />
d’Orange,<br />
Casablanca*<br />
—<br />
—<br />
1.<br />
VISAS<br />
—<br />
Difficulties obta<strong>in</strong><strong>in</strong>g visas for travel were one of the two most<br />
frequently cited obstacles to mobility for <strong>North</strong> <strong>Africa</strong>n cultural<br />
actors. The Schengen space has become <strong>in</strong>creas<strong>in</strong>gly difficult<br />
to access for cultural actors from across the region due to the<br />
migration crisis, post-9 / 11 security context <strong>and</strong> heighten<strong>in</strong>g<br />
xenophobia. Young men describe themselves as personae<br />
non-gratae <strong>in</strong> Europe. Cultural actors from older generations,<br />
despite hav<strong>in</strong>g made frequent travels to Europe <strong>in</strong> the past, are<br />
also subject to visa refusals or severe time limitations for their<br />
stays <strong>in</strong> Europe.<br />
Visa issues also <strong>in</strong>hibit mobility with<strong>in</strong> the <strong>North</strong> <strong>Africa</strong>n region,<br />
for example for cultural actors wish<strong>in</strong>g to travel to Egypt <strong>and</strong><br />
Libyan artists want<strong>in</strong>g to travel outside Tunisia.<br />
The follow<strong>in</strong>g issues are most frequently cited with respect to visas:<br />
Faced with these restrictions, artists <strong>and</strong> operators must often<br />
rely on personal contacts with<strong>in</strong> embassies or m<strong>in</strong>istries to try to<br />
expedite their applications. When applications are denied, they<br />
must restructure projects: for example, many meet<strong>in</strong>gs happen<br />
<strong>in</strong> Jordan because visa access is easier than for countries such<br />
as Egypt.<br />
Refusals:<br />
Long wait times:<br />
The motive given is usually “likelihood of non-return,”<br />
often despite extensive proof of employment, means of<br />
subsistence, family <strong>in</strong> the home country, etc. Many artists<br />
feel visa refusal decisions are arbitrary <strong>and</strong> / or motivated<br />
by poor organization <strong>and</strong> / or xenophobia. While refusals<br />
especially affect young artists (<strong>and</strong> especially men), successful<br />
<strong>and</strong> established artists have also been affected.<br />
Respondents reported hav<strong>in</strong>g to wait as long as 6 months<br />
for an appo<strong>in</strong>tment at the consulate or embassy, especially<br />
s<strong>in</strong>ce many European countries ceased to process visa<br />
applications through their embassies <strong>and</strong> externalized<br />
visa services to agency TLScontact. Wait times may be<br />
so long that applicants are given an appo<strong>in</strong>tment that<br />
is after the event they planned to attend. Furthermore,<br />
delivery of the visa may take several weeks, which also<br />
jeopardizes artists’ ability to make commitments to events /<br />
residencies / etc. <strong>and</strong> follow through on travel plans.
36<br />
Summary of Outcomes<br />
High costs :<br />
Bureaucracy :<br />
Prejudice <strong>and</strong><br />
discrim<strong>in</strong>ation<br />
aga<strong>in</strong>st artists :<br />
Age <strong>and</strong> gender :<br />
Short duration of<br />
stay granted :<br />
Access to<br />
embassies:<br />
Lack of<br />
bilaterality:<br />
A Schengen visa currently costs 60 euros. Photocopies or<br />
certified copies of documents may add additional costs, as<br />
does travel to the embassy.<br />
Visa applications can require applicants to submit large volumes<br />
of paperwork, <strong>in</strong>clud<strong>in</strong>g proof of employment, bank<br />
records, letters of authorization, paystubs, etc. These documents<br />
can be difficult to obta<strong>in</strong>, especially for artists who<br />
work as freelancers <strong>and</strong>/or work <strong>in</strong> discipl<strong>in</strong>es that are not<br />
recognized under local labour laws. Bureaucracy can also be<br />
a major obstacle because of the sheer volume of documents<br />
<strong>and</strong>/or the amount of detail required (one respondent reported<br />
be<strong>in</strong>g asked to submit all paystubs s<strong>in</strong>ce her very first job).<br />
Moreover, none of these documents are a guarantee, s<strong>in</strong>ce<br />
several respondents reported hav<strong>in</strong>g been denied access to a<br />
country despite hav<strong>in</strong>g submitted all the required paperwork.<br />
Several respondents reported hav<strong>in</strong>g been subjected to prejudice<br />
<strong>and</strong>/or discrim<strong>in</strong>atory treatment by visa <strong>and</strong> immigration<br />
authorities on account of their professional status as artists.<br />
Young men are reportedly the most likely to be denied visas,<br />
due to xenophobic associations with del<strong>in</strong>quency <strong>and</strong> terrorism.<br />
In the case of Schengen visas, respondents reported be<strong>in</strong>g<br />
given as little as 2 days on their visa. The time granted usually<br />
corresponds to the duration of the event, leav<strong>in</strong>g no time for<br />
artists to network, attend other events, or simply enjoy the<br />
experience of travel, with all the <strong>in</strong>spiration, connections <strong>and</strong><br />
unexpected opportunities that it may br<strong>in</strong>g. Moreover, s<strong>in</strong>ce<br />
multiple-entry visas are <strong>in</strong>creas<strong>in</strong>gly difficult to obta<strong>in</strong>, artists<br />
must re-apply for every trip.<br />
<strong>Art</strong>ists <strong>and</strong> cultural operators liv<strong>in</strong>g outside capitals or major<br />
cities have to travel to the embassies to complete the visa<br />
procedures, <strong>in</strong>curr<strong>in</strong>g extra costs for travel <strong>and</strong> accommodation,<br />
forc<strong>in</strong>g <strong>in</strong>dividuals to take days off work, etc.<br />
Several respondents deplored the <strong>in</strong>consistency between<br />
European countries’ cultural <strong>and</strong> immigration policies, whereby<br />
a discourse of openness to cultural exchange <strong>and</strong> an<br />
<strong>in</strong>creas<strong>in</strong>g fashion of “spotlight<strong>in</strong>g” <strong>North</strong> <strong>Africa</strong> are <strong>in</strong> conflict<br />
with <strong>in</strong>creas<strong>in</strong>gly restrictive visa policies.<br />
—<br />
QUOTE:<br />
« If you’re an <strong>in</strong>dividual artist,<br />
[travell<strong>in</strong>g] is a huge amount of<br />
stress <strong>and</strong> work, often for<br />
no reason. Difficulties are built<br />
<strong>in</strong>to the process. Either it’s an<br />
issue with a visa or time or<br />
fund<strong>in</strong>g. There always seems to<br />
be some sort of<br />
panic with someth<strong>in</strong>g. There<br />
must be a better way. »<br />
Nada Sabet<br />
Theatre director <strong>and</strong> cofounder,<br />
Noon Creative<br />
Enterprise, Cairo<br />
—
37<br />
Summary of Outcomes<br />
—<br />
2.<br />
COST OF TRAVEL<br />
—<br />
The high cost of travel was the other most-cited obstacle to<br />
mobility, named by almost all respondents. Costs of <strong>in</strong>ternational<br />
flights are exorbitant on all <strong>in</strong>tra-regional <strong>and</strong> <strong>in</strong>tra-cont<strong>in</strong>ental<br />
l<strong>in</strong>es.<br />
Aggravat<strong>in</strong>g factors <strong>in</strong>clude:<br />
a) Impossibility of road travel between most countries (see<br />
Section 3.1.3 above).<br />
b) Poor flight connections between cities. Until recently, most<br />
travels between <strong>Africa</strong>n cities had to go via Europe. The<br />
situation is chang<strong>in</strong>g, especially with the development of<br />
RAM’s <strong>and</strong> other local airl<strong>in</strong>es’ networks <strong>and</strong> Casablanca’s<br />
emergence as a travel hub. However, direct flight connections<br />
rema<strong>in</strong> few <strong>and</strong> far between, <strong>and</strong> costs rema<strong>in</strong> high.<br />
—<br />
QUOTE:<br />
« That’s the life of an artist: we<br />
want to make th<strong>in</strong>gs happen,<br />
but sometimes it’s money that<br />
blocks everyth<strong>in</strong>g, <strong>and</strong> other<br />
times we have the plane<br />
tickets but not the visas. »<br />
Cyr<strong>in</strong>e Gannoun<br />
Theatre practitioner, Director of<br />
the Centre Arabo-<strong>Africa</strong><strong>in</strong> de<br />
Formation et de Recherche<br />
Théâtrale, Tunis*<br />
—<br />
—<br />
QUOTE:<br />
« That’s the whole paradox.<br />
There are so many European cultural<br />
<strong>in</strong>stitutes that do spotlights on the<br />
Arab world; the Arab world has greater<br />
<strong>and</strong> greater visibility <strong>in</strong> Europe; but at the<br />
same time, the conditions to get<br />
a visa are gett<strong>in</strong>g more <strong>and</strong> more<br />
complicated. »<br />
Am<strong>in</strong>a Mourid<br />
Cultural manager, co-founder of Th<strong>in</strong>k<br />
Tanger/Atelier Kissaria,<br />
Tangiers, Morocco*<br />
—<br />
c) Absence of fund<strong>in</strong>g organizations <strong>and</strong>/or <strong>in</strong>sufficient<br />
coverage of ancillary costs.<br />
d) Ancillary costs of travel: the cost of mobility goes<br />
beyond the flight ticket. Accommodation, <strong>in</strong>surance,<br />
vacc<strong>in</strong>es, visas, travel to embassies, etc.<br />
(see Visas above) all add to the f<strong>in</strong>ancial burden<br />
associated with travel<strong>in</strong>g.<br />
e) Lack of knowledge of fund<strong>in</strong>g possibilities.<br />
f) <strong>Art</strong>ists’ precarity across the region makes self-funded<br />
travel impossible.<br />
g) Issues with currency <strong>and</strong> f<strong>in</strong>ancial transactions<br />
are present <strong>in</strong> many of the countries covered, <strong>in</strong>clud<strong>in</strong>g<br />
limits on cash withdrawals (Libya, Morocco,<br />
Tunisia); <strong>in</strong>eligibility for credit cards; restrictions<br />
on currency exchange <strong>and</strong> frozen accounts (Libya).
38<br />
Summary of Outcomes<br />
—<br />
3.<br />
LACK OF INTEREST OR MOTIVATION /<br />
PREFERENCE FOR TRAVEL TO EUROPE<br />
—<br />
When asked why they thought mobility is weak with<strong>in</strong><br />
the region <strong>and</strong> especially with respect to other <strong>Africa</strong>n<br />
regions, most respondents noted that artists <strong>and</strong> cultural<br />
operators associate mobility with travel to Europe.<br />
Aggravat<strong>in</strong>g factors <strong>in</strong>clude:<br />
a) Europe’s geographical proximity: some respondents<br />
noted that Europe felt “closer” than<br />
the rest of the <strong>Africa</strong>n cont<strong>in</strong>ent.<br />
—<br />
QUOTE:<br />
« Ever s<strong>in</strong>ce the Barcelona process,<br />
<strong>and</strong> all the other measures taken<br />
to regionalize the Mediterranean,<br />
to make it a geo-politico-cultural<br />
space, artists have <strong>in</strong>creas<strong>in</strong>gly<br />
wanted to travel <strong>North</strong> rather<br />
than South. »<br />
Malek Sebaï<br />
Dancer <strong>and</strong> choreographer,<br />
co-founder, Associations Danseurs<br />
Citoyens <strong>and</strong> Hayyou’Raqs, Tunis*<br />
—<br />
b) Lower costs for travel to Europe make it<br />
possible for <strong>in</strong>dependent cultural actors to<br />
cover travel costs themselves <strong>in</strong> the absence<br />
of mobility fund<strong>in</strong>g (although this avenue is<br />
be<strong>in</strong>g jeopardized by visa restrictions).<br />
c) <strong>Art</strong>ists’ precarity <strong>and</strong> the precarity of the<br />
arts sector underlie many aspirations to a<br />
European career.<br />
d) Regionalization of the Euro-Mediterranean space <strong>and</strong> separation<br />
of “<strong>North</strong> <strong>Africa</strong>” <strong>and</strong> “Sub-Saharan <strong>Africa</strong>,” namely through<br />
fund<strong>in</strong>g agendas (see Introduction & Methodology, Key terms).<br />
e) The relative weight traditionally held by bilateral cooperation<br />
<strong>in</strong>stitutes <strong>in</strong> facilitat<strong>in</strong>g mobility projects.<br />
f) More plentiful tra<strong>in</strong><strong>in</strong>g opportunities <strong>in</strong> Europe <strong>and</strong> the associated<br />
prestige.<br />
g) Misconceptions about everyday life <strong>in</strong> Sub-Saharan <strong>Africa</strong>: some<br />
respondents noted that Sub-Saharan <strong>Africa</strong> is associated with<br />
poor work<strong>in</strong>g conditions <strong>and</strong> uncomfortable accommodation, if<br />
not war <strong>and</strong> disease, <strong>in</strong> the more extreme cases of misconception<br />
<strong>and</strong> prejudice (see #4, Difficulty Identify<strong>in</strong>g With <strong>Africa</strong>n<br />
Identity / Discrim<strong>in</strong>ation).<br />
h) Misconceptions about the arts sector <strong>in</strong> <strong>Africa</strong>: some respondents<br />
reported that artists <strong>and</strong> cultural operators <strong>in</strong> their<br />
milieus believed that noth<strong>in</strong>g happens <strong>in</strong> <strong>Africa</strong> <strong>in</strong> terms of arts<br />
<strong>and</strong> culture.
39<br />
Summary of Outcomes<br />
i) Economic considerations: there is a sense that artists’<br />
fees will be lower <strong>in</strong> <strong>Africa</strong> than Europe, if not nonexistent.<br />
(On the other h<strong>and</strong>, many artists reported<br />
that they would gladly play or perform for free if it<br />
meant they got the chance to travel to another <strong>Africa</strong>n<br />
region).<br />
—<br />
4.<br />
DIFFICULTY IDENTIFYING WITH AFRICAN<br />
IDENTITY / DISCRIMINATION<br />
—<br />
QUOTE:<br />
« <strong>North</strong> <strong>Africa</strong>n artists often want to be connected with<br />
Europe more than <strong>Africa</strong>. Many Egyptian artists will prefer<br />
to have a screen<strong>in</strong>g <strong>in</strong> a small city <strong>in</strong> Europe than <strong>in</strong> an<br />
<strong>Africa</strong>n capital. »<br />
Mohamed Ghazala<br />
Professor, Vice President of the International Association<br />
of Animation filmmakers (ASIFA),<br />
Cairo / Jeddah<br />
—<br />
—<br />
While most artists <strong>in</strong>terviewed expressed strong motivation<br />
to travel to other parts of <strong>Africa</strong>, many described an overall<br />
climate of unease surround<strong>in</strong>g identification to <strong>Africa</strong> as a<br />
possible factor expla<strong>in</strong><strong>in</strong>g low mobility with<strong>in</strong> the cont<strong>in</strong>ent.<br />
This difficulty can be described as a spectrum rang<strong>in</strong>g from<br />
uncerta<strong>in</strong> identification to ambient racism (present <strong>in</strong> all<br />
countries covered by the study). This climate nourishes<br />
misconceptions with respect to travel <strong>in</strong> <strong>Africa</strong> <strong>and</strong>/or<br />
motivates preference for travel to the West.<br />
It should also be noted that some respondents noted a<br />
sense of discrim<strong>in</strong>ation on the part of colleagues from West,<br />
East, South or Central <strong>Africa</strong>. They said this discrim<strong>in</strong>ation<br />
was expressed <strong>in</strong> several forms, <strong>in</strong>clud<strong>in</strong>g exclusion from<br />
pan-<strong>Africa</strong>n events; lack of overtures <strong>and</strong> <strong>in</strong>vitations; <strong>and</strong><br />
explicit attributions of difference (e.g., “You’re not like us”).<br />
—<br />
5.<br />
NETWORKS AND ACCESS<br />
TO INFORMATION<br />
—<br />
Unless they have made a dedicated or<br />
concerted effort to seek out opportunities <strong>in</strong><br />
the region or <strong>in</strong> other <strong>Africa</strong>n regions, artists<br />
<strong>and</strong> cultural operators tend to be unaware of<br />
exist<strong>in</strong>g events, networks, residencies, etc.<br />
Aggravat<strong>in</strong>g factors:<br />
a) There is a lack of active <strong>and</strong> up-to-date<br />
databases <strong>and</strong> platforms gather<strong>in</strong>g <strong>and</strong><br />
dissem<strong>in</strong>at<strong>in</strong>g <strong>in</strong>formation about opportunities<br />
<strong>in</strong> <strong>Africa</strong>, <strong>in</strong>clud<strong>in</strong>g about fund<strong>in</strong>g.<br />
b) Exist<strong>in</strong>g platforms (e.g., Culture Fund<strong>in</strong>g<br />
Watch, Music <strong>in</strong> <strong>Africa</strong>, On the Move) are<br />
not necessarily well-known.<br />
c) There is a lack of opportunities for <strong>in</strong>person<br />
contact <strong>and</strong> network<strong>in</strong>g.<br />
d) Lack of professionalization means that<br />
artists often do not have the <strong>in</strong>tuition,<br />
education or confidence to seek out<br />
opportunities.<br />
e) There are not enough professional cultural<br />
operators who can assist artists with<br />
research, connect them with <strong>in</strong>formation,<br />
etc. There are also not enough tra<strong>in</strong><strong>in</strong>g<br />
opportunities for such operators.
40<br />
Summary of Outcomes<br />
—<br />
6.<br />
LACK OF PROFESSIONALIZATION<br />
AND INFRASTRUCTURE<br />
—<br />
The absence of a structural framework allow<strong>in</strong>g for the professionalization<br />
of artists <strong>and</strong> arts professions is a major factor undergird<strong>in</strong>g poor mobility.<br />
Its impact can be felt on several levels:<br />
a) <strong>Art</strong>ists are unequipped with the skills, knowledge or networks<br />
to search for <strong>in</strong>ternational opportunities <strong>and</strong> / or to complete<br />
fund<strong>in</strong>g applications.<br />
b) Cultural operators are unequipped with the skills, knowledge<br />
or networks to search for <strong>in</strong>ternational opportunities <strong>and</strong>/or to<br />
complete fund<strong>in</strong>g applications <strong>and</strong> / or to support artists complet<strong>in</strong>g<br />
fund<strong>in</strong>g applications.<br />
c) Centres <strong>and</strong> facilities with the capacity to host <strong>and</strong> support<br />
mobility projects may be lack<strong>in</strong>g.<br />
d) There is a lack of funds support<strong>in</strong>g mobility at the public, private<br />
<strong>and</strong> civil society levels.<br />
—<br />
7.<br />
LANGUAGE BARRIERS<br />
—<br />
While Modern St<strong>and</strong>ard Arabic is the official language across <strong>North</strong> <strong>Africa</strong>n<br />
countries, differences <strong>in</strong> regional spoken dialects <strong>and</strong> the presence<br />
of different colonial languages pose communication barriers with<strong>in</strong> the<br />
region <strong>and</strong> outside. Respondents named the follow<strong>in</strong>g issues:<br />
a) Language barriers were cited as a source of <strong>in</strong>timidation, discourag<strong>in</strong>g<br />
some artists from pursu<strong>in</strong>g <strong>in</strong>ternational travel opportunities.<br />
b) Low literacy <strong>in</strong> written French, English <strong>and</strong> / or Arabic was cited as<br />
an impediment to complet<strong>in</strong>g fund<strong>in</strong>g application forms.<br />
c) Language barriers can be especially relevant <strong>in</strong> discipl<strong>in</strong>es such as<br />
music <strong>and</strong> theatre, where underst<strong>and</strong><strong>in</strong>g of lyrics or dialogue can<br />
impact overall appreciation of a song or play.<br />
—<br />
QUOTE:<br />
« Sometimes the problem is not with<br />
mobility funds but also with the<br />
freedom of mobility or accessibility<br />
to mobility. Egypt is a shr<strong>in</strong>k<strong>in</strong>g<br />
political space, <strong>and</strong> artists work<strong>in</strong>g<br />
with creative <strong>in</strong>dustries <strong>and</strong> creative<br />
expression have this challenge<br />
<strong>in</strong> terms of regime, for example<br />
gett<strong>in</strong>g permissions to apply for<br />
visas <strong>and</strong> permits to travel to many<br />
countries. »<br />
Abdelsamee Abdallah<br />
Cultural activist <strong>and</strong> theatre<br />
practitioner,<br />
Cairo/Amman<br />
—
41<br />
Summary of Outcomes<br />
For the 2016 edition of Ségou <strong>Art</strong> <strong>in</strong> Mali, artists Wadi Mhiri <strong>and</strong> Houda Gorbel created “Conta<strong>in</strong>ers for a<br />
Cont<strong>in</strong>ent,” a float<strong>in</strong>g <strong>in</strong>stallation composed of calabashes unified by iron wire <strong>and</strong> set upon the Niger river.<br />
In the artists’ words: “The union of the calabashes represents the dream of a unified <strong>Africa</strong>, without any<br />
border, enriched by its civilizations <strong>and</strong> cultural mixture. It’s about a dream right to the doorstep, r<strong>and</strong>omly<br />
launched <strong>in</strong> the flow of the river as an <strong>in</strong>vocation of the sky for a better tomorrow.”<br />
Photos courtesy of Wadi Mhiri.
42<br />
Summary of Outcomes<br />
—<br />
QUOTE:<br />
« We’re hav<strong>in</strong>g all these revolutions, ask<strong>in</strong>g ourselves “who are we?”.<br />
In Libya alone, the South is completely different from the <strong>North</strong>.<br />
Among countries, we’re so unaware of each other. But I th<strong>in</strong>k the arts are<br />
the way to connect. »<br />
Najlaa El-Ageli<br />
Architect, Founder of Noon <strong>Art</strong>s<br />
Projects, Tripoli / London<br />
—
43<br />
Summary of Outcomes<br />
—<br />
8.<br />
SECURITY CONCERNS<br />
—<br />
Libya is the country most affected by security<br />
concerns, with militias present across<br />
the country <strong>and</strong> namely controll<strong>in</strong>g airports.<br />
Recent conflict <strong>in</strong> the country has isolated<br />
cultural actors liv<strong>in</strong>g there (namely through<br />
border closures <strong>and</strong> closure of embassies)<br />
<strong>and</strong> discourages <strong>in</strong>ternational actors from<br />
pursu<strong>in</strong>g projects there.<br />
Security concerns also affect potential travellers<br />
to Egypt, especially from marg<strong>in</strong>alized<br />
identities, who are aware of <strong>in</strong>creas<strong>in</strong>g limitations<br />
on freedom of expression, arbitrary<br />
<strong>in</strong>carceration, etc.<br />
—<br />
9.<br />
RESTRICTIONS ON FREEDOM<br />
OF MOVEMENT AS CENSORSHIP<br />
—<br />
In Egypt, restrictions on freedom of movement<br />
are part of a broader mechanism designed to<br />
limit freedom of expression <strong>and</strong> association.<br />
Restrictions on freedom of movement have<br />
also been noted <strong>in</strong> Morocco, Algeria <strong>and</strong><br />
Tunisia.<br />
—<br />
10.<br />
POSTCOLONIAL AND<br />
POST-REVOLUTION DISPENSATION<br />
—<br />
Some respondents noted that weak mobility<br />
<strong>in</strong> the region can be attributed to the idea that<br />
the region is “search<strong>in</strong>g for itself,” <strong>in</strong> the wake<br />
of conflicts, revolutions <strong>and</strong> ongo<strong>in</strong>g profound<br />
transformations at the social, economic, <strong>and</strong><br />
political levels. One impact is that some artists<br />
are focused on develop<strong>in</strong>g their careers <strong>and</strong><br />
scenes at a local level, address<strong>in</strong>g issues <strong>and</strong><br />
concerns rooted <strong>in</strong> their surround<strong>in</strong>gs, <strong>and</strong> do<br />
not prioritize <strong>in</strong>ternational travel. However, it also<br />
flows from this dispensation that the pursuit of<br />
<strong>in</strong>ternational opportunities can be underm<strong>in</strong>ed<br />
by a difficulty position<strong>in</strong>g oneself <strong>and</strong> relat<strong>in</strong>g to<br />
others <strong>in</strong> a constantly chang<strong>in</strong>g climate.<br />
—<br />
11.<br />
DISILLUSIONMENT WITH MOBILITY<br />
AND TRAVEL CONDITIONS<br />
—<br />
A number of respondents questioned the usefulness<br />
of pursu<strong>in</strong>g mobility projects today, given<br />
the above-described limitations.<br />
a) Respondents noted that mobility often seems<br />
to have been dra<strong>in</strong>ed of its human <strong>and</strong> creative<br />
aspects <strong>and</strong> reduced to a purely quantitative<br />
<strong>in</strong>dicator, often <strong>in</strong> development <strong>and</strong><br />
cooperation schemes. Feel<strong>in</strong>g the impact<br />
of budgetary constra<strong>in</strong>ts <strong>and</strong> visa duration<br />
restrictions, they note that attendance at<br />
festivals <strong>and</strong> other events often feels more<br />
dra<strong>in</strong><strong>in</strong>g than it is nourish<strong>in</strong>g or <strong>in</strong>spir<strong>in</strong>g.<br />
b) Three respondents named the framework<br />
of <strong>in</strong>ternational cooperation as an impediment<br />
to mean<strong>in</strong>gful cultural exchange. The<br />
terms of exchange be<strong>in</strong>g dictated by foreign<br />
<strong>–</strong> usually European <strong>–</strong> <strong>in</strong>stitutions, artists<br />
f<strong>in</strong>d their liberty of creation <strong>and</strong> move-ment<br />
constra<strong>in</strong>ed by foreign agendas <strong>and</strong> budgets,<br />
sometimes f<strong>in</strong>d<strong>in</strong>g themselves held<br />
up as ambassadors of successful cultural<br />
diplomacy rather than as creators <strong>in</strong> their<br />
own right.
44<br />
Country-Specific Information<br />
4<br />
—<br />
Fact:<br />
This study covers<br />
Algeria, Egypt, Libya,<br />
Mauritania, Morocco, Tunisia<br />
<strong>and</strong> Western Sahara.<br />
—
45<br />
Country-Specific Information<br />
COUN<br />
TRY<br />
SPECIFIC<br />
INFOR<br />
MATION<br />
—<br />
—<br />
The follow<strong>in</strong>g country-specific sections detail<br />
the follow<strong>in</strong>g <strong>in</strong>formation: 1) General <strong>in</strong>formation<br />
on the country (geography, politics, history, relationship<br />
with the rest of <strong>Africa</strong>); 2) an overview<br />
of the arts <strong>and</strong> culture sector; 3) <strong>in</strong>formation on<br />
mobility to/from the country (visa requirements,<br />
transport, etc.); 4) <strong>in</strong>formation on fund<strong>in</strong>g for arts<br />
mobility; 5) impediments to mobility to / from the<br />
country.
46<br />
Country-Specific Information<br />
4.1<br />
Algeria<br />
—<br />
QUOTE:<br />
« To underst<strong>and</strong> the phenomenon<br />
[Algeria’s isolation from <strong>Africa</strong>],<br />
you need to look at the history.<br />
Algiers was the Mecca of <strong>Africa</strong>n<br />
revolutionaries. After the ‘black<br />
decade’ [the 1990s], Algeria took<br />
some distance from <strong>Africa</strong>. <strong>Art</strong>ists<br />
became <strong>in</strong>terested <strong>in</strong> what lay beh<strong>in</strong>d<br />
the sea, which is to say Europe.<br />
Europe’s cultural <strong>and</strong> economic might<br />
allow it to decide on the direction<br />
of mobility. »<br />
FAST FACTS<br />
Population 41.3 million (World Bank, 2017)<br />
Walid Aidoud<br />
Visual artist, founder of Box24,<br />
Algiers*<br />
—<br />
Surface area<br />
Capital<br />
Large cities<br />
Languages<br />
2.382 million km²<br />
Algiers<br />
Oran, Constant<strong>in</strong>e, Annaba, Blida, Tizi Ozou<br />
Modern St<strong>and</strong>ard Arabic <strong>and</strong> Tamazight<br />
(official)<br />
Darija (vernacular Algerian Arabic)<br />
French<br />
Diall<strong>in</strong>g code +213<br />
Currency<br />
Ma<strong>in</strong> <strong>in</strong>ternational<br />
airports<br />
Algerian d<strong>in</strong>ar<br />
Houari Boumediene International Airport,<br />
Algiers Mohamed Boudiaf International Airport,<br />
Constant<strong>in</strong>e Es-Sénia International Airport,<br />
Oran<br />
Rail network<br />
Société nationale des transports ferroviaires<br />
(SNTF), 4500 km of railways<br />
Visa requirements<br />
for <strong>Africa</strong>ns to enter<br />
Algeria<br />
Visa-free access for nationals of Maghreb<br />
countries (Morocco, Tunisia, Libya, Mauritania),<br />
Mali <strong>and</strong> the Seychelles<br />
Visa required for all other nationalities<br />
<strong>Africa</strong>n countries’<br />
visa requirements for<br />
Algerian nationals<br />
Visa-free travel: Maghreb countries, Mali,<br />
Gu<strong>in</strong>ea <strong>and</strong> Ben<strong>in</strong><br />
E-visa or visa upon arrival: Angola, Cabo-<br />
Verde, the Comoros, Côte d’Ivoire, Djibouti,<br />
Ethiopia, Gabon, Ghana, Gu<strong>in</strong>ea-Bissau, Kenya,<br />
Lesotho, Madagascar, Mozambique, Rw<strong>and</strong>a,<br />
São Tomé <strong>and</strong> Pr<strong>in</strong>cipe, Somalia, Tanzania,<br />
Togo, Ug<strong>and</strong>a, Zambia <strong>and</strong> Zimbabwe<br />
Visa required for all other <strong>Africa</strong>n countries
47<br />
Country-Specific Information<br />
—<br />
GENERAL INFORMATION<br />
—<br />
Algeria is the largest country <strong>in</strong> <strong>Africa</strong> <strong>and</strong> shares<br />
a border with all the countries of <strong>North</strong> <strong>Africa</strong>,<br />
with the exception of Egypt. To its <strong>North</strong> lies the<br />
Mediterranean Sea, while the Sahara desert covers<br />
a wide swathe of the South of the country.<br />
Algeria’s first peoples are the Amazighen.<br />
Ancient Algeria was occupied consecutively by<br />
the Phoenicians, the Carthag<strong>in</strong>ians <strong>and</strong> the Romans<br />
before the Arab <strong>in</strong>vasions of the 8th <strong>–</strong> 11th<br />
centuries AD. The Ottoman Empire occupied<br />
coastal Algeria between 1518 <strong>and</strong> 1830. In 1830,<br />
France annexed Algeria, beg<strong>in</strong>n<strong>in</strong>g a lengthy <strong>and</strong><br />
violent process of colonization. Algeria was adm<strong>in</strong>istered<br />
as a département of France between<br />
1848 <strong>and</strong> Independence <strong>in</strong> 1962. The latter was<br />
won through a complex <strong>and</strong> brutal war, with<br />
torture <strong>and</strong> massacres deployed by the French<br />
aga<strong>in</strong>st the Algerian resistance. Over the years<br />
of colonial presence, the French implemented<br />
a thorough acculturation policy. Resistance to<br />
this policy has def<strong>in</strong>ed the foundations of modern-day<br />
Algerian identity: Islamic, Arabic <strong>and</strong><br />
Amazigh (Boukrouh <strong>and</strong> Kessab, 2010). Today,<br />
French has no official status but is widely spoken<br />
<strong>and</strong> used <strong>in</strong> government, media <strong>and</strong> educational<br />
<strong>in</strong>stitutions, a legacy of Algeria’s colonial history.<br />
Affiliation to <strong>Africa</strong> was enshr<strong>in</strong>ed <strong>in</strong> the<br />
constitution of 1963, a reflection of Algeria’s<br />
commitment to <strong>and</strong> centrality with<strong>in</strong> decolonization<br />
movements across the cont<strong>in</strong>ent. Dubbed<br />
the “Mecca of revolution” by Amilcar Cabral,<br />
Algiers was a place of meet<strong>in</strong>g for <strong>Africa</strong>n resistance<br />
leaders <strong>and</strong> political exiles <strong>in</strong> the 1960s<br />
<strong>and</strong> 1970s. The Pan-<strong>Africa</strong>n festival of 1969<br />
was held <strong>in</strong> Algiers, <strong>and</strong> the city was a seat for<br />
essential <strong>in</strong>tellectual <strong>and</strong> political movements<br />
such as pan-<strong>Africa</strong>nism, pan-Arabism <strong>and</strong> the<br />
non-Aligned movement.<br />
Algeria’s connections with the cont<strong>in</strong>ent<br />
have been marred by its recent history<br />
of authoritarianism <strong>and</strong> conflict. In the 1990s,<br />
Algeria was engulfed <strong>in</strong> what is typically called<br />
la décennie noire (the black decade), a period<br />
of violence <strong>and</strong> terrorism oppos<strong>in</strong>g the Algerian<br />
government <strong>and</strong> various Islamist rebel groups.<br />
Abdelaziz Bouteflika was elected <strong>in</strong> 1999 <strong>and</strong><br />
rema<strong>in</strong>ed <strong>in</strong> power until his resignation on April<br />
2, 2019. Diplomatic or economic relations with<br />
the <strong>Africa</strong>n cont<strong>in</strong>ent have not been a priority for<br />
the Algerian government, although there have<br />
been gestures toward <strong>in</strong>vestment <strong>in</strong> <strong>Africa</strong> <strong>in</strong><br />
recent years.<br />
While widespread protests did erupt <strong>in</strong><br />
Algeria <strong>in</strong> 2011, full-scale revolution did not take<br />
place. However, on February 22, 2019, hundreds<br />
of thous<strong>and</strong>s of Algerians took to the streets <strong>in</strong><br />
what was described as a spontaneous wave<br />
of contestation <strong>in</strong> response to Bouteflika announc<strong>in</strong>g<br />
his c<strong>and</strong>idacy for a 5th consecutive<br />
m<strong>and</strong>ate. Demonstrations have cont<strong>in</strong>ued s<strong>in</strong>ce<br />
Bouteflika’s resignation, as Algerians call for the<br />
rul<strong>in</strong>g elite to step down <strong>and</strong> gather around the<br />
ideals of social justice, equitable distribution of<br />
wealth, dignity, popular sovereignty, egalitarian<br />
republicanism, anti-imperialism <strong>and</strong> pr<strong>in</strong>cipled<br />
politics, among others (Rouabah, 2019). This<br />
massive swell of popular dissent is underway at<br />
the time of writ<strong>in</strong>g, with magnificent displays of<br />
solidarity, hope, humour <strong>and</strong> imag<strong>in</strong>ation radiat<strong>in</strong>g<br />
from Algerian streets to the world.<br />
—<br />
ARTS AND CULTURE SECTOR<br />
—<br />
Algeria’s cultural sector has been marked by<br />
strong centralization <strong>and</strong> monopolization of<br />
cultural affairs by the M<strong>in</strong>istry of Culture. The<br />
M<strong>in</strong>istry has enjoyed a considerable budget, with<br />
the w<strong>in</strong>dfall from oil <strong>and</strong> gas revenue mak<strong>in</strong>g it<br />
possible fo the M<strong>in</strong>istry’s budget to swell to $314<br />
million <strong>in</strong> 2014, the largest <strong>in</strong> <strong>Africa</strong> (Kessab,<br />
2015). This budget is reported to have collapsed<br />
<strong>in</strong> recent years with the fall of oil <strong>and</strong> gas prices<br />
<strong>and</strong> liquidation of Algeria’s reserves.<br />
Adm<strong>in</strong>istration of the M<strong>in</strong>istry of Culture’s<br />
budget has been characterized by tight regulation,<br />
opaque f<strong>in</strong>anc<strong>in</strong>g, poor management, clientelism<br />
<strong>and</strong> a strong emphasis on fund<strong>in</strong>g for major<br />
<strong>in</strong>stitutions <strong>and</strong> large-scale cultural activities<br />
such as festivals. These <strong>in</strong> turn have promoted<br />
a vision of Algerian culture that can broadly be<br />
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—
48<br />
Country-Specific Information<br />
described as folkloric. Public <strong>in</strong>stitutions <strong>and</strong><br />
facilities <strong>in</strong>herited from the colonial period have<br />
<strong>in</strong> large part deteriorated <strong>and</strong> few new ones have<br />
been built. Moreover, <strong>in</strong>frastructures for culture<br />
are strongly centralized <strong>in</strong> Algiers, with f<strong>in</strong>anc<strong>in</strong>g<br />
for rural areas dependent largely on personal<br />
connections. Algeria has not yet ratified the 2005<br />
UNESCO Convention on the Protection <strong>and</strong> Promotion<br />
of the Diversity of Cultural Expressions<br />
(Kessab, 2015).<br />
Accord<strong>in</strong>g to MedCulture’s 2015 report,<br />
cultural <strong>and</strong> artistic associations received only<br />
0.2% of the annual budget for culture (Kessab,<br />
2015). Associations have been subject to tight<br />
<strong>and</strong> confus<strong>in</strong>g legislation that limits the freedom<br />
to associate, operate <strong>and</strong> receive fund<strong>in</strong>g (see<br />
Impediments below). Accord<strong>in</strong>g to Freedom<br />
House (2018), “Algeria is one of the most difficult<br />
environments <strong>in</strong> the world to establish <strong>and</strong> operate<br />
a bus<strong>in</strong>ess.” There is a very limited culture<br />
of sponsorship <strong>and</strong> patronage.<br />
Despite the restrictions on its existence,<br />
the <strong>in</strong>dependent cultural sector is flourish<strong>in</strong>g <strong>and</strong><br />
affirm<strong>in</strong>g its presence with verve <strong>and</strong> energy. The<br />
visual arts have been particularly active, with a<br />
number of <strong>in</strong>dependent spaces <strong>and</strong> <strong>in</strong>itiatives<br />
burgeon<strong>in</strong>g <strong>in</strong> the last ten years. Censorship,<br />
lack of facilities <strong>and</strong> f<strong>in</strong>anc<strong>in</strong>g have muzzled the<br />
perform<strong>in</strong>g arts, but artists have stayed active <strong>and</strong><br />
are express<strong>in</strong>g themselves <strong>in</strong> today’s waves of<br />
popular demonstration. There is a strong awareness<br />
<strong>and</strong> hope that the future of the country can<br />
be written by Algeria’s creatives.<br />
—<br />
MOBILITY TO / FROM ALGERIA<br />
—<br />
Algeria’s creative sector has been marked by<br />
isolation, largely a factor of the political unrest <strong>in</strong><br />
the 1990s, lack of structur<strong>in</strong>g (described above)<br />
<strong>and</strong> lack of state support for <strong>in</strong>ternational exchange.<br />
Algeria is very weakly represented <strong>in</strong><br />
AMA’s statistics, with a total of 20 applications<br />
from Algeria <strong>and</strong> 8 for projects tak<strong>in</strong>g place <strong>in</strong><br />
the country s<strong>in</strong>ce 2005.<br />
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—<br />
—<br />
QUOTE:<br />
« What’s amaz<strong>in</strong>g [about this moment,]<br />
is that the <strong>in</strong>dependent cultural scene is<br />
tak<strong>in</strong>g up space <strong>and</strong> ga<strong>in</strong><strong>in</strong>g <strong>in</strong> credibility<br />
with the public with small <strong>in</strong>itiatives here<br />
<strong>and</strong> there. If we can structure our work <strong>in</strong><br />
such a way that it’s susta<strong>in</strong>able, we’ll easily<br />
succeed <strong>in</strong> tak<strong>in</strong>g the lead over the state<br />
<strong>in</strong>stitutions. People have expressed their<br />
need for freedom <strong>and</strong> hope. That gives<br />
us space to act. It’s now possible for us<br />
to channel this energy <strong>and</strong> to offer<br />
someth<strong>in</strong>g other than the violence we’ve<br />
always known. »<br />
Myriam Amroun<br />
Cultural project manager, Algiers*<br />
—<br />
More generally speak<strong>in</strong>g, <strong>in</strong>ternational<br />
travel to / from Algeria is a factor of the large size<br />
of the territory, expensive air connections <strong>and</strong><br />
a fairly restrictive visa policy. Most <strong>in</strong>ternational<br />
travel cont<strong>in</strong>ues to be with Europe, dom<strong>in</strong>ated<br />
by France <strong>in</strong> light of the ties connect<strong>in</strong>g the two<br />
countries: the large Algerian population <strong>in</strong> France,<br />
cont<strong>in</strong>ued presence of French <strong>in</strong>stitutions <strong>in</strong><br />
Algeria, <strong>and</strong> the relatively low cost of travel.<br />
Faced with these limitations but also<br />
compelled to discover <strong>and</strong> appropriate their<br />
own country, a number of artists have been purposefully<br />
seek<strong>in</strong>g to develop mobility projects<br />
with<strong>in</strong> Algeria. The size of the country alone<br />
makes travel from <strong>North</strong> to South a potential<br />
adventure. Moreover, the diversity of cultures<br />
with<strong>in</strong> the country has been a subject of <strong>in</strong>terest,<br />
even open<strong>in</strong>g up curiosity <strong>and</strong> desire to travel<br />
further afield to <strong>Africa</strong>. In the words of musician<br />
Sadek Bouz<strong>in</strong>ou (of Democratoz): “Algeria is a<br />
cont<strong>in</strong>ent.”
49<br />
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The strongest trends of <strong>in</strong>ternational<br />
exchange are with neighbour<strong>in</strong>g Morocco <strong>and</strong><br />
Tunisia. These trends are due to freedom of<br />
movement with<strong>in</strong> the Greater Maghreb <strong>and</strong> historic<br />
cultural <strong>and</strong> l<strong>in</strong>guistic ties, which facilitate<br />
<strong>in</strong>formation-shar<strong>in</strong>g <strong>and</strong> network<strong>in</strong>g. Road travel<br />
is possible between Algeria <strong>and</strong> Tunisia but<br />
not between Morocco <strong>and</strong> Algeria, the border<br />
rema<strong>in</strong><strong>in</strong>g closed after decades of conflict over<br />
the issue of Western Sahara. Many <strong>in</strong>terviewees<br />
have expressed frustration at this limitation,<br />
which forces artists to travel by air (at a greater<br />
f<strong>in</strong>ancial cost) <strong>and</strong>, on a deeper level, can restrict<br />
their capacity to envision common projects.<br />
Today, travel to other <strong>Africa</strong>n regions goes<br />
ma<strong>in</strong>ly via Casablanca. Until the RAM began<br />
exp<strong>and</strong><strong>in</strong>g its network, travel was necessarily<br />
via Paris. AirAlgérie has been develop<strong>in</strong>g its<br />
network, with new l<strong>in</strong>es created to several West<br />
<strong>Africa</strong>n dest<strong>in</strong>ations. Anecdotal reports suggest<br />
that AirAlgérie would like to rival RAM as a carrier<br />
towards the cont<strong>in</strong>ent, <strong>in</strong> l<strong>in</strong>e with Algeria’s shift<br />
towards encourag<strong>in</strong>g tourism <strong>and</strong> stimulat<strong>in</strong>g<br />
connections with <strong>Africa</strong>.<br />
Desire to create <strong>in</strong>ternational bridges is<br />
very strong. In the visual arts, it is nourished <strong>in</strong><br />
large measure by the visibility <strong>and</strong> prestige of<br />
major <strong>in</strong>ternational events such as the Biennale<br />
de Dakar (mentioned by almost all respondents).<br />
In music, a number of groups such as Ifrikya<br />
<strong>and</strong> Democratoz have foregrounded the <strong>Africa</strong>n<br />
musical roots of Algeria, creat<strong>in</strong>g popular consciousness<br />
of an <strong>Africa</strong>n identity <strong>and</strong> a strong<br />
desire to develop greater exchange.<br />
—<br />
QUOTE:<br />
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—<br />
« S<strong>in</strong>ce the borders are closed on almost<br />
all sides, except with Tunisia, a l<strong>in</strong>k has<br />
formed between <strong>North</strong> Algeria <strong>and</strong> the South.<br />
Algerians from the <strong>North</strong> have started to<br />
discover the South <strong>and</strong> <strong>in</strong> so do<strong>in</strong>g, <strong>Africa</strong>. »<br />
Houari Bouchenak<br />
Photographer, Collectif 220,<br />
Algiers / Tlemcen*<br />
—
50<br />
Country-Specific Information<br />
CHEDMED<br />
DEMOCRATOZ<br />
MÂAN (TOGETHER)<br />
RACONTE’ARTS<br />
Examples of mobility projects<br />
Organized by Nomad Tracks, an Algerian multidiscipl<strong>in</strong>ary<br />
collective, ChedMed was a meet<strong>in</strong>g of<br />
Algerian <strong>and</strong> Senegalese artists <strong>in</strong> Dakar <strong>in</strong> 2017.<br />
It was the second stop <strong>in</strong> a long-term project<br />
aim<strong>in</strong>g to revive the idea of the “Tricont<strong>in</strong>ental”<br />
South-South organization. A group of Algerian<br />
artists were <strong>in</strong>vited to Dakar to build <strong>and</strong> pa<strong>in</strong>t<br />
a house together <strong>in</strong> Dakar’s med<strong>in</strong>a. Concerts<br />
were hosted <strong>and</strong> photographers documented the<br />
process. The next edition is <strong>in</strong> Vietnam.<br />
Lead s<strong>in</strong>ger Sadek Bouz<strong>in</strong>ou has been creat<strong>in</strong>g<br />
songs <strong>in</strong>spired by pan-<strong>Africa</strong>nism <strong>and</strong> anti-racism<br />
movements, mix<strong>in</strong>g raï, reggae, gnawa <strong>and</strong> other<br />
musical genres. He currently lives <strong>in</strong> Dakar.<br />
A new digital arts festival organized by visual artist<br />
Mouna Bennamani <strong>and</strong> photographer Mahmoud<br />
Agra<strong>in</strong>e that will connect Algerian creatives with<br />
artists from <strong>North</strong> <strong>Africa</strong>, <strong>Africa</strong> <strong>and</strong> beyond. It<br />
will be the first of its k<strong>in</strong>d <strong>in</strong> the country.<br />
The country’s only fully <strong>in</strong>dependent theatre<br />
festival, it has regularly <strong>in</strong>vited artists from West<br />
<strong>and</strong> Central <strong>Africa</strong> to perform <strong>in</strong> the remote villages<br />
where it is held every year.<br />
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—<br />
MARSAD 1<br />
MERIEM BOURAOUI<br />
A collective of photographers, visual artists, writers<br />
<strong>and</strong> graphic designers travelled from Algiers<br />
to the south of Algeria <strong>in</strong> a van, explor<strong>in</strong>g the<br />
Algerian stretch of the TransSaharan highway<br />
that was designed to l<strong>in</strong>k Algiers to Lagos, via<br />
Agadez <strong>in</strong> Niger. They have future plans to explore<br />
Ottoman trade routes between Salé (Morocco)<br />
<strong>and</strong> Algiers, <strong>and</strong> potentially to cont<strong>in</strong>ue the road<br />
trip down to Lagos.<br />
Slam poet Meriem Bouraoui travelled to<br />
N’Djamena, Tchad, <strong>in</strong> November 2018, to represent<br />
Algeria <strong>in</strong> the <strong>Africa</strong>n Cup of Slam Poetry.<br />
Her trip was supported by AMA.<br />
—<br />
QUOTE:<br />
« For the most part, [Algerians]<br />
only know <strong>Africa</strong> through<br />
Western music. But as artists,<br />
we can really build a vision.<br />
Music isn’t everyth<strong>in</strong>g but<br />
it can do a lot. […] I’m here [<strong>in</strong><br />
Dakar] to learn. I want to show<br />
Algerians the positivity<br />
of Senegal. »<br />
Sadek Bouz<strong>in</strong>ou<br />
S<strong>in</strong>ger/songwriter, Democratoz,<br />
Oran/Dakar*<br />
—
51<br />
Country-Specific Information<br />
Algerian artist El’Moustach show<strong>in</strong>g his works at Casalgéria<br />
exhibition at L’Uz<strong>in</strong>e, 2018. Photo: Ahlam Maroon/L’Uz<strong>in</strong>e<br />
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—
52<br />
Country-Specific Information<br />
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—<br />
—<br />
FUNDING FOR MOBILITY<br />
—<br />
Public adm<strong>in</strong>istrations<br />
While the M<strong>in</strong>istry of Culture has enjoyed a sizeable<br />
budget s<strong>in</strong>ce the 2000s, these funds scarcely benefit<br />
<strong>in</strong>dependent cultural actors wish<strong>in</strong>g to pursue mobility<br />
projects. While applications can be submitted<br />
directly to the M<strong>in</strong>istry, there is no formal<br />
program <strong>and</strong> procedures <strong>in</strong>volve heavy<br />
bureaucracy.<br />
<strong>Mobility</strong> funds have been granted via a<br />
semi-private agency called the Agence<br />
Algérienne pour le Rayonnement Culturel<br />
(AARC), designed to promote Algerian<br />
culture <strong>in</strong>ternationally. It acts primarily<br />
on a sponsorship basis, select<strong>in</strong>g artists<br />
<strong>and</strong> f<strong>in</strong>anc<strong>in</strong>g their participation at <strong>in</strong>ternational<br />
events. They may be solicited<br />
directly but <strong>in</strong>terviewees report that it<br />
is exceed<strong>in</strong>gly rare for them to grant<br />
an application as their fund<strong>in</strong>g primarily<br />
goes towards the same groups.<br />
—<br />
« The M<strong>in</strong>istry of Culture<br />
has been out of service<br />
s<strong>in</strong>ce 1988. »<br />
Myriam Amroun<br />
Cultural project manager,<br />
Algiers*<br />
—<br />
Annaba, Constant<strong>in</strong>e, Oran, Tlemcen <strong>and</strong> Tizi<br />
Ozou. The Instituto Cervantes, British Council,<br />
Istituto Italiano, Goethe Institut <strong>and</strong> EU Delegation<br />
are also present <strong>in</strong> Algiers.<br />
Non-governmental organizations<br />
Local NGOs do not have the capacity to f<strong>in</strong>ance<br />
mobility projects. Foreign NGOs are very little<br />
known <strong>and</strong> fund<strong>in</strong>g is complicated due to restrictions<br />
on <strong>in</strong>ternational transfers <strong>in</strong>to Algerian<br />
bank accounts (see Lack of fund<strong>in</strong>g below).<br />
Banks <strong>and</strong> large companies<br />
Two <strong>in</strong>terviewees reported that they had<br />
been able to travel thanks to sponsorship<br />
from banks <strong>and</strong> private donors. However,<br />
they noted that such opportunities are becom<strong>in</strong>g<br />
more <strong>and</strong> more limited due to the<br />
general climate of austerity.<br />
—<br />
QUOTE:<br />
« The AARC is run as an executive body of the ‘spare wheel’ m<strong>in</strong>istry,<br />
which practices clientelism, among other th<strong>in</strong>gs, <strong>in</strong> a sector that is eager for<br />
openness <strong>and</strong> facilitation for its actors. They approach the parties they<br />
want without any public transparency, neither about their modes of<br />
operation nor their services. They ma<strong>in</strong>ta<strong>in</strong> opaque <strong>and</strong> visionless public <strong>and</strong><br />
<strong>in</strong>stitutional relations. One of their declared missions is to spread<br />
Algerian culture elsewhere - of course, this only applies to artists who align<br />
with the official cultural regime <strong>in</strong> place. »<br />
Malik Chaoui<br />
Co-project manager, Work<strong>in</strong>g Group<br />
on Cultural Policy <strong>in</strong> Algeria,<br />
Algiers*<br />
Bilateral cooperation<br />
Several artists reported that they have had greater<br />
facility obta<strong>in</strong><strong>in</strong>g mobility possibilities via <strong>in</strong>ternational<br />
cooperation <strong>in</strong>stitutes. The Institut Français<br />
is by far the most active, with branches <strong>in</strong> Algiers,<br />
—<br />
—<br />
QUOTE:<br />
« Algeria is a very closed<br />
country; we often have to<br />
fall back on big Algerian<br />
companies, cultural<br />
<strong>in</strong>stitutes <strong>and</strong> embassies to<br />
fund our projects.»<br />
Arslan Naili<br />
Visual artist,<br />
Founder of Atelier N.A.S.,<br />
Algiers*<br />
—
53<br />
Country-Specific Information<br />
—<br />
IMPEDIMENTS<br />
TO MOBILITY<br />
—<br />
<strong>Mobility</strong> to <strong>and</strong> from Algeria is complicated by<br />
the follow<strong>in</strong>g factors:<br />
Lack of fund<strong>in</strong>g options<br />
· The M<strong>in</strong>istry of Culture has not supported<br />
<strong>in</strong>dependent arts practitioners.<br />
· NGOs must submit detailed reports of fund<strong>in</strong>g<br />
<strong>and</strong> ga<strong>in</strong> government approval before<br />
accept<strong>in</strong>g foreign fund<strong>in</strong>g (risk<strong>in</strong>g f<strong>in</strong>es or<br />
imprisonment). This greatly limits fund<strong>in</strong>g possibilities<br />
for <strong>in</strong>dependent artists. Funds must be<br />
obta<strong>in</strong>ed through circuitous means <strong>in</strong>volv<strong>in</strong>g<br />
friends or partners abroad, or through timeconsum<strong>in</strong>g<br />
<strong>and</strong> potentially fruitless bureaucratic<br />
procedures.<br />
Adm<strong>in</strong>istratively, it’s extremely complicated to<br />
receive money. It’s impossible to buy other currencies.<br />
If it’s a private <strong>in</strong>dividual who sends me<br />
money, it goes through. But if it’s an organization<br />
<strong>–</strong> like a publish<strong>in</strong>g house or an association <strong>–</strong> it goes<br />
through, but only <strong>in</strong> Algerian d<strong>in</strong>ars, which <strong>in</strong>volves<br />
a loss of more than 50% of the orig<strong>in</strong>al sum. <strong>–</strong><br />
Ammar Bourras, photographer, Algiers*<br />
· Moreover, the climate of austerity has limited<br />
fund<strong>in</strong>g possibilities from private sponsors <strong>in</strong><br />
Algeria.<br />
Politics of isolationism<br />
· Algeria has ma<strong>in</strong>ta<strong>in</strong>ed fairly limited foreign<br />
relations, with considerable impact on the arts<br />
sector. Several respondents noted that Algeria<br />
has failed to <strong>in</strong>vest <strong>in</strong> the l<strong>in</strong>k between culture<br />
<strong>and</strong> tourism, for <strong>in</strong>stance, <strong>in</strong> contrast with its<br />
neighbour Morocco.<br />
It’s a l<strong>in</strong>k that’s just terrible between Algeria<br />
<strong>and</strong> other nations. We know there are [physical]<br />
borders, but it seems there are many others<br />
that are <strong>in</strong>visible but very present, <strong>and</strong> that<br />
make it impossible for us to connect to <strong>Africa</strong>. <strong>–</strong><br />
Houari Bouchenak, photographer, Collectif 220,<br />
Algiers / Tlemcen*<br />
· In return, one respondent noted weak will<strong>in</strong>gness<br />
on the part of the <strong>in</strong>ternational community<br />
to reach out <strong>and</strong> create bridges with Algeria.<br />
There is no will to reach out to Algeria <strong>and</strong> underst<strong>and</strong><br />
what is go<strong>in</strong>g on, how can Algeria be<br />
supported. <strong>–</strong> Malik Chaoui, co-project manager,<br />
Groupe de travail sur la politique culturelle en<br />
Algérie, Algiers*<br />
Morocco/Algeria<br />
· Several respondents expressed regret <strong>and</strong><br />
frustration at the difficulty of build<strong>in</strong>g bridges<br />
with their Moroccan neighbours, due to ongo<strong>in</strong>g<br />
territorial disputes between the two states<br />
which have ma<strong>in</strong>ta<strong>in</strong>ed the border closed <strong>and</strong><br />
thus limited connections.<br />
[In terms of travel<strong>in</strong>g], one of the difficulties we<br />
face is with Algeria: it’s absurd <strong>and</strong> anecdotal.<br />
We know about a lot of projects <strong>in</strong> Algeria but<br />
we can’t f<strong>in</strong>d a way to create collaborations<br />
between the two countries. The fact that the<br />
border is closed complicates th<strong>in</strong>gs, <strong>and</strong> flights<br />
are quite expensive. It’s cheaper to go to Berl<strong>in</strong><br />
or Amsterdam than to Algiers. <strong>–</strong> Am<strong>in</strong>a Mourid,<br />
cultural operator, Co-founder, Atelier Kissaria &<br />
Th<strong>in</strong>k Tanger*<br />
Restrictions on civil society, censorship<br />
· Freedom of association has been limited <strong>in</strong><br />
Algeria <strong>and</strong> artistic activity has been closely<br />
monitored. Freedom House rates Algeria as<br />
“not free.”<br />
Algiers is very conservative. There’s a m<strong>in</strong>i-scene,<br />
but it’s not like Tunis. In Algeria, it’s more people<br />
with lots of money who are open<strong>in</strong>g venues. It’s<br />
very small, very local. At the level of the Algerian<br />
authorities, it’s not easy. <strong>–</strong> Hamdi Ryder, DJ,<br />
Downtown Vibes collective, Tunis*<br />
· Restrictions on freedom of movement have<br />
been used as a form of censorship.<br />
Cultural operators are closely monitored. Every<br />
time we’ve prepared to participate <strong>in</strong> an event,<br />
we’ve had lots of trouble at the airport. I have<br />
friends who haven’t been able to leave. They [the<br />
authorities] tell you “please wait,” <strong>and</strong> then they<br />
purposefully make you miss your flight. <strong>–</strong> Myriam<br />
Amroun, cultural project manager, Algiers*<br />
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—
—<br />
A<br />
L<br />
G<br />
E<br />
R<br />
I<br />
A<br />
—<br />
Visas<br />
· Algerian authorities have been known to apply<br />
visa restrictions arbitrarily, even to countries<br />
with which freedom of movement purportedly<br />
applies.<br />
· Access to Egypt has been particularly difficult<br />
for Algerian cultural actors.<br />
Lack of tra<strong>in</strong><strong>in</strong>g<br />
Educational <strong>in</strong>stitutions exist for artistic tra<strong>in</strong><strong>in</strong>g,<br />
but there are no opportunities for cultural<br />
managers to receive tra<strong>in</strong><strong>in</strong>g <strong>in</strong> Algeria.<br />
The notion of cultural <strong>in</strong>dustries rema<strong>in</strong>s<br />
embryonic here. <strong>–</strong> Zafira Ouartsi, founder <strong>and</strong><br />
director, <strong>Art</strong>issimo, Algiers*<br />
Culture of nepotism <strong>and</strong> <strong>in</strong>dividualism<br />
· Several respondents noted that the climate<br />
of poor / absent fund<strong>in</strong>g, lack of tra<strong>in</strong><strong>in</strong>g <strong>and</strong><br />
isolationism has created a culture of nepotism<br />
<strong>and</strong> <strong>in</strong>dividualism.<br />
· On the one h<strong>and</strong>, a select number of groups<br />
<strong>and</strong> <strong>in</strong>dividuals who have managed to break<br />
<strong>in</strong>to <strong>in</strong>ternational markets have monopolized<br />
all opportunities.<br />
There are groups that have toured everywhere,<br />
that have used every fund, that have been to<br />
every music market. And then there are some<br />
that never move. There’s a category that has<br />
priority; it’s the ones who match the authorities’<br />
agendas. <strong>–</strong> Samy Abdelguerfi, booker, cultural<br />
policy researcher, Groupe de travail sur la politique<br />
culturelle en Algérie, Algiers / Paris*<br />
· On the other h<strong>and</strong>, those who have not yet had<br />
access to opportunities have had to compete,<br />
creat<strong>in</strong>g a climate of <strong>in</strong>dividualism.<br />
In Algiers, it can get very <strong>in</strong>dividualistic. Everyone<br />
is try<strong>in</strong>g to break the other person’s career. There<br />
are so few of us, <strong>and</strong> yet we’ve been shoot<strong>in</strong>g<br />
each other <strong>in</strong> the feet <strong>in</strong>stead of help<strong>in</strong>g one<br />
another. <strong>–</strong> Samy Abdelguerfi*<br />
54<br />
Country-Specific Information<br />
Racism<br />
· Racism has been exacerbated <strong>in</strong> recent years<br />
due to the migration crisis.<br />
· Algeria has taken a tough st<strong>and</strong>, adopt<strong>in</strong>g a<br />
security-based approach, crim<strong>in</strong>aliz<strong>in</strong>g migration<br />
<strong>in</strong> 2008 <strong>and</strong> sign<strong>in</strong>g agreements with Niger<br />
to deport migrants at the border.<br />
· Algeria cont<strong>in</strong>ues to be an important dest<strong>in</strong>ation<br />
for scholarship holders from Sub-Saharan<br />
<strong>Africa</strong>n countries, but they face discrim<strong>in</strong>ation.<br />
It’s the lack of knowledge of Sub-Saharan <strong>Africa</strong><br />
that creates racism toward students. It depends<br />
on the cities ; <strong>in</strong> some, students have an easier<br />
time <strong>in</strong>tegrat<strong>in</strong>g. <strong>–</strong> Houari Bouchenak, photographer,<br />
Collectif 220, Algiers / Tlemcen*<br />
—<br />
QUOTE:<br />
« It’s the lack of knowledge of Sub-Saharan<br />
<strong>Africa</strong> that creates racism toward students.<br />
It depends on the cities; <strong>in</strong> some, students<br />
have an easier time <strong>in</strong>tegrat<strong>in</strong>g. »<br />
Houari Bouchenak<br />
Photographer, Collectif 220,<br />
Tlemcen*<br />
—<br />
—<br />
QUOTE:<br />
« Recently we made an<br />
anti-racism video. There was an <strong>in</strong>cident <strong>in</strong><br />
2017 ; everyone was manipulated.<br />
A Sub-Saharan man attacked a woman.<br />
Everyone came out to say that migrants<br />
should stay <strong>in</strong> their home countries.<br />
I got a group of young people together.<br />
I’m the first to mobilize people <strong>–</strong> I was say<strong>in</strong>g<br />
“you’re aga<strong>in</strong>st <strong>Africa</strong>ns, but<br />
WE are <strong>Africa</strong>ns!”. »<br />
Sadek Bouz<strong>in</strong>ou<br />
S<strong>in</strong>ger /songwriter, Democratoz,<br />
Oran / Dakar*<br />
Watch the video for<br />
“At<strong>in</strong>i Yedak” here<br />
—
55<br />
Country-Specific Information<br />
4.2<br />
Egypt<br />
—<br />
QUOTE:<br />
« People <strong>in</strong> Egypt are try<strong>in</strong>g to look <strong>North</strong>.<br />
Perhaps they look to Tunisia <strong>and</strong><br />
Morocco. They don’t know about <strong>Africa</strong>n<br />
culture. The media give us American<br />
movies, European movies.<br />
We have connections <strong>in</strong> Tunisia <strong>and</strong><br />
Morocco. The language barrier is not a big<br />
deal <strong>–</strong> many families are connected.<br />
We know them <strong>and</strong> they know us as well. »<br />
Ahmed Eldeeb<br />
Co-founder, Director, Reflection for<br />
<strong>Art</strong>s Tra<strong>in</strong><strong>in</strong>g & Development,<br />
Alex<strong>and</strong>ria<br />
—<br />
FAST FACTS<br />
Population 94.8 million (World Bank, 2017)<br />
Surface area<br />
Capital<br />
Large cities<br />
Languages<br />
2.382 million km²<br />
Cairo<br />
Alex<strong>and</strong>ria, Giza, Shubra El-Kheima,<br />
Port Said, Suez, Luxor<br />
Modern St<strong>and</strong>ard Arabic (official)<br />
Egyptian Arabic or Masri (vernacular)<br />
English; Sa’idi Arabic; Bedou<strong>in</strong> Arabic;<br />
Nubian languages; Berber languages<br />
Diall<strong>in</strong>g code +20<br />
Currency<br />
Ma<strong>in</strong> <strong>in</strong>ternational<br />
airports<br />
Rail network<br />
Visa requirements for<br />
<strong>Africa</strong>ns to enter Egypt<br />
<strong>Africa</strong>n countries’<br />
visa requirements for<br />
Egyptian nationals<br />
Egyptian pound<br />
Cairo International Airport<br />
Alex<strong>and</strong>ria Borg El Arab Airport<br />
Egyptian National Railways (ENR),<br />
5,083 km network<br />
Visa on arrival for nationals of South Sudan<br />
Visas are required for citizens of all <strong>North</strong><br />
<strong>Africa</strong>n countries above the age of 14<br />
Visas required for all other nationalities<br />
Visa on arrival: Ben<strong>in</strong>, Burk<strong>in</strong>a Faso, Cabo<br />
Verde, Comoros, Djibouti, Ghana, Gu<strong>in</strong>ea,<br />
Gu<strong>in</strong>ea-Bissau, Kenya, Madagascar,<br />
Mauritania, Mauritius, Mozambique, Rw<strong>and</strong>a,<br />
Senegal, Seychelles
—<br />
GENERAL INFORMATION<br />
—<br />
Spann<strong>in</strong>g the northeast corner of <strong>Africa</strong> <strong>and</strong><br />
the southwest corner of Asia, Egypt is located<br />
at the nexus of two cont<strong>in</strong>ents. It is the most<br />
populous country <strong>in</strong> <strong>North</strong> <strong>Africa</strong> <strong>and</strong> the Arab<br />
world. Egypt’s economy is one of the largest <strong>in</strong><br />
the Middle East <strong>and</strong> is third only to Nigeria <strong>and</strong><br />
South <strong>Africa</strong> <strong>in</strong> <strong>Africa</strong> <strong>in</strong> terms of GDP (IMF, 2018).<br />
The country is a found<strong>in</strong>g member of the Arab<br />
League, the <strong>Africa</strong>n Union, the United Nations<br />
<strong>and</strong> the Organisation of Islamic Cooperation.<br />
Egypt’s position at the crossroads of<br />
cont<strong>in</strong>ents, bodies of water <strong>and</strong> civilizations<br />
has shaped its cultural history. Greek, Roman,<br />
Ottoman, Persian <strong>in</strong>fluences have layered its<br />
cultural heritage; Jewish, Christian <strong>and</strong> Baha’í<br />
religions have all left their impr<strong>in</strong>t as well, <strong>in</strong> addition<br />
to the dom<strong>in</strong>ant Islamic faith established<br />
after the Arab <strong>in</strong>vasions. Nubians <strong>and</strong> Coptic<br />
Christians rema<strong>in</strong> important m<strong>in</strong>orities today.<br />
Egypt was a British colony from 1882 to 1922, the<br />
only British possession <strong>in</strong> <strong>North</strong> <strong>Africa</strong>.<br />
Full <strong>in</strong>dependence came with the revolution<br />
<strong>in</strong> 1952 <strong>and</strong> the declaration of the<br />
republic <strong>in</strong> 1953. Its 20th-century political<br />
history has been marked by <strong>in</strong>stability <strong>and</strong><br />
conflict, with successive armed conflicts<br />
with Israel between 1948 <strong>and</strong> 1973 <strong>and</strong><br />
the spread of terrorism <strong>in</strong> the 1980s, 90s<br />
<strong>and</strong> 2000s.<br />
Egypt has always been at the<br />
heart of debates on <strong>Africa</strong>n identity <strong>and</strong><br />
history. In 1955, Senegalese historian <strong>and</strong><br />
anthropologist Cheikh Ana Diop published<br />
the sem<strong>in</strong>al <strong>and</strong> highly polemical Nations<br />
nègres et culture, <strong>in</strong> which he argued that<br />
Egyptian <strong>and</strong> <strong>Africa</strong>n civilizations <strong>and</strong><br />
cultures should be traced back to a common<br />
“cradle.” Gamal Abdiel Nasser was a<br />
committed supporter of <strong>Africa</strong>n liberation<br />
movements <strong>and</strong> is widely recognized as<br />
a major figure of pan-<strong>Africa</strong>nism. S<strong>in</strong>ce<br />
the 1970s, Egyptian foreign <strong>and</strong> cultural<br />
policy have been geared towards the Middle<br />
East <strong>and</strong> Europe, although overtures<br />
—<br />
E<br />
G<br />
Y<br />
P<br />
T<br />
—<br />
—<br />
QUOTE :<br />
« I’m from Egypt<br />
but I want to speak<br />
to the <strong>Africa</strong>n soul.<br />
I’m so proud to be an<br />
<strong>Africa</strong>n. I th<strong>in</strong>k I will<br />
never end this project.<br />
I’m archiv<strong>in</strong>g <strong>Africa</strong><br />
through sound <strong>and</strong><br />
music. Every time I<br />
start a country, I feel<br />
it’s endless. »<br />
Yara Mekawei<br />
Sound <strong>and</strong> video artist,<br />
founder of Radio<br />
Submar<strong>in</strong>e,<br />
Cairo<br />
—<br />
56<br />
Country-Specific Information<br />
have been made <strong>in</strong> recent years, center<strong>in</strong>g <strong>in</strong><br />
particular on negotiations over shares of the<br />
Nile river.<br />
Egypt is one of the Arab countries <strong>in</strong><br />
which the 2011 upris<strong>in</strong>gs gave way to full-scale<br />
revolution. Eighteen days after protests erupted<br />
on January 25, 2011, then-president Hosni<br />
Mubarak <strong>–</strong> who had held power s<strong>in</strong>ce 1981 <strong>–</strong> resigned.<br />
However, the years s<strong>in</strong>ce the revolution<br />
have been marked by heavy <strong>in</strong>stability <strong>and</strong> a<br />
return to authoritarianism s<strong>in</strong>ce Abdel Fattah<br />
Sisi’s coup <strong>in</strong> July 2013. Freedom House rates<br />
Egypt as “not free,” signall<strong>in</strong>g persecution of activists,<br />
parties <strong>and</strong> political movements, pervasive<br />
corruption, unfair elections, military <strong>in</strong>cursion <strong>in</strong>to<br />
political affairs <strong>and</strong> discrim<strong>in</strong>ation aga<strong>in</strong>st women,<br />
Christians, Shiite Muslims, Nubians <strong>and</strong> darksk<strong>in</strong>ned<br />
Egyptians, <strong>and</strong> LGBTQ communities.<br />
—<br />
ARTS AND CULTURE SECTOR<br />
—<br />
Egypt has historically had a rich <strong>and</strong><br />
well-connected arts sector, bolstered by<br />
a strong, well-structured civil society,<br />
a strong media sector <strong>and</strong> a huge film<br />
<strong>and</strong> music <strong>in</strong>dustry. The cultural sector<br />
is strongly concentrated <strong>in</strong> Cairo <strong>and</strong> to<br />
a lesser extent <strong>in</strong> Alex<strong>and</strong>ria (Fazeulaa,<br />
2018).<br />
There is no clear state monopoly on<br />
culture today, although censorship <strong>and</strong><br />
surveillance of cultural actors are major<br />
problems. State budgets have not <strong>in</strong>vested<br />
significant budgets <strong>in</strong>to culture nor has<br />
the government demonstrated the will<br />
to implement an efficient cultural policy.<br />
This dispensation has left space for the<br />
private sector <strong>and</strong> civil society to flourish.<br />
In 2018, it was estimated that there were<br />
143 cultural organizations <strong>in</strong> the country<br />
(Fazeulaa, 2018). These are work<strong>in</strong>g to fill<br />
the gap left by <strong>in</strong>sufficient cultural policy<br />
<strong>and</strong> work<strong>in</strong>g creatively to survive despite<br />
adverse legal frameworks.
57<br />
Country-Specific Information<br />
In the absence of well-ma<strong>in</strong>ta<strong>in</strong>ed government<br />
facilities, private organizations have set<br />
up arts spaces <strong>in</strong> Cairo <strong>and</strong> Alex<strong>and</strong>ria. The two<br />
cities are home to a large number of galleries <strong>and</strong><br />
multidiscipl<strong>in</strong>ary arts spaces as well, of which<br />
the Townhouse Gallery, Darb 1718, Medrar <strong>and</strong><br />
Contemporary Image Collective (CIC) are some<br />
of the best-known on <strong>in</strong>ternational circuits <strong>in</strong><br />
Cairo, <strong>and</strong> Al-Mad<strong>in</strong>a <strong>and</strong> MASS are some of<br />
the best-known <strong>in</strong> Alex<strong>and</strong>ria.<br />
—<br />
MOBILITY TO/FROM EGYPT<br />
—<br />
Despite Egypt’s position<strong>in</strong>g at the crossroads of<br />
geopolitical <strong>and</strong> cultural areas, mobility patterns<br />
to / from the country are not equally distributed.<br />
Most respondents agreed that arts mobility cont<strong>in</strong>ues<br />
to have Europe as a centre of gravity.<br />
However, as <strong>in</strong> other <strong>North</strong> <strong>Africa</strong>n countries,<br />
this situation is chang<strong>in</strong>g due to visa restrictions<br />
enforced on Egyptian nationals.<br />
Cultural actors are more likely to travel to<br />
Middle Eastern dest<strong>in</strong>ations than <strong>North</strong> <strong>Africa</strong>n<br />
ones, due to geographic proximity <strong>and</strong> historical<br />
ties that have connected Cairo <strong>and</strong> Alex<strong>and</strong>ria<br />
more closely with Beirut <strong>and</strong> Amman than Tunis<br />
<strong>and</strong> Casablanca. Most cultural actors who have<br />
had <strong>in</strong>ternational travel experience have been to<br />
Beirut <strong>and</strong> Amman, as Lebanon <strong>and</strong> Jordan have<br />
easy visa regulations for Egyptians <strong>and</strong> are also<br />
important seats of cultural activity.<br />
In <strong>North</strong> <strong>Africa</strong>, exchange is most active with<br />
Morocco <strong>and</strong> Tunisia. Both countries are associated<br />
with lively cultural scenes <strong>and</strong> political<br />
stability. Only two respondents mentioned<br />
attendance at an event <strong>in</strong> Algeria <strong>and</strong> only one<br />
mentioned a cultural project <strong>in</strong> Libya.<br />
Exchange with other <strong>Africa</strong>n regions is<br />
fairly weak <strong>in</strong> contrast with the volume of exchange<br />
with Europe, the Middle East <strong>and</strong> <strong>North</strong><br />
<strong>Africa</strong>. Most respondents stated that Sub-Saharan<br />
<strong>Africa</strong> simply is not on the radar. For artists who<br />
have pursued connections to the South, the most<br />
active channels are those that connect Egypt to<br />
South <strong>Africa</strong>, Ethiopia, as well as hubs <strong>in</strong> West<br />
—<br />
E<br />
G<br />
Y<br />
P<br />
T<br />
—<br />
—<br />
QUOTE:<br />
« There are big gaps between the<br />
communities. I always talk about this;<br />
the problem is the media. There is no<br />
news show or program talk<strong>in</strong>g about<br />
<strong>Africa</strong>n issues <strong>in</strong> Egypt. We’re try<strong>in</strong>g<br />
to get people <strong>in</strong>terested, to close this gap.<br />
Most of these communities stay<br />
together because they’re afraid; they<br />
don't feel <strong>in</strong>volved <strong>in</strong> Egyptian society.<br />
I say let’s meet through music. It’s a<br />
place where we can come together. »<br />
Ahmed Omar,<br />
Bassist <strong>and</strong> founder of AfriCairo,<br />
Cairo<br />
—<br />
<strong>Africa</strong>, most prom<strong>in</strong>ently Dakar <strong>and</strong> Lagos. Accord<strong>in</strong>g<br />
to AMA’s statistics, Egypt has had the<br />
most exchange with South <strong>Africa</strong> <strong>and</strong> Ethiopia<br />
(10 applications each), followed by Nigeria <strong>and</strong><br />
Cameroon (8) <strong>and</strong> lastly by Kenya (7). These<br />
connections can likely be expla<strong>in</strong>ed <strong>in</strong> terms of<br />
cultural <strong>and</strong> l<strong>in</strong>guistic ties <strong>in</strong>herited from colonial<br />
times, as well as geographic proximity <strong>and</strong> availability<br />
of flight connections <strong>in</strong> the case of East<br />
<strong>Africa</strong>.<br />
A number of <strong>in</strong>itiatives have nevertheless<br />
been promot<strong>in</strong>g <strong>Africa</strong>n arts <strong>and</strong> culture <strong>in</strong><br />
Cairo <strong>and</strong> Alex<strong>and</strong>ria, especially through music.<br />
Makan <strong>–</strong> Egyptian Center for Culture <strong>and</strong> <strong>Art</strong>s<br />
has been work<strong>in</strong>g to promote Egypt’s traditional<br />
musical heritage, offer<strong>in</strong>g a platform <strong>in</strong> particular<br />
for Sudanese <strong>and</strong> Nubian communities. On the<br />
side of contemporary music, AfriCairo is offer<strong>in</strong>g<br />
a venue for <strong>Africa</strong>n musicians liv<strong>in</strong>g <strong>in</strong> Cairo to<br />
meet <strong>and</strong> perform, with a small record<strong>in</strong>g studio<br />
<strong>and</strong> a performance / jam space. The <strong>in</strong>dependent<br />
Luxor <strong>Africa</strong>n Film Festival is also an important<br />
event on the annual arts calendar, with year-round<br />
tra<strong>in</strong><strong>in</strong>g <strong>in</strong>itiatives <strong>and</strong> programmes to support<br />
the production <strong>and</strong> promotion of <strong>Africa</strong>n c<strong>in</strong>ema.
58<br />
Country-Specific Information<br />
—<br />
E<br />
G<br />
Y<br />
P<br />
T<br />
—<br />
YARA MEKAWEI<br />
ELHAM KATTAB<br />
CONTEMPORARY<br />
IMAGE COLLECTIVE<br />
Examples of mobility projects:<br />
Sound <strong>and</strong> video artist Yara Mekawei attended<br />
the Lagos <strong>and</strong> Dakar biennales. She has s<strong>in</strong>ce<br />
founded a pan-<strong>Africa</strong>n radio station named<br />
Radio Submar<strong>in</strong>e, which broadcasts one hour of<br />
sound art <strong>and</strong> alternative music (historical <strong>and</strong><br />
contemporary) from a different <strong>Africa</strong>n country<br />
every week.<br />
Digital artist Elham Kattab has been collaborat<strong>in</strong>g<br />
with curators across <strong>North</strong> <strong>Africa</strong> on a new<br />
platform named Digi-MENA. The first phase was a<br />
mapp<strong>in</strong>g research of digital artists <strong>in</strong> the region,<br />
produced <strong>in</strong> collaboration with Moroccan curator<br />
Nouha Ben Yebdri <strong>and</strong> Algerian curator Taoufiq<br />
Douib. She is also co-organiz<strong>in</strong>g a Digital <strong>Art</strong>s<br />
Festival with Douib, which is set to take place<br />
<strong>in</strong> Algeria later this year.<br />
The Contemporary Image Collective <strong>in</strong> Cairo is<br />
part of the Centres of Learn<strong>in</strong>g for Photography<br />
<strong>in</strong> <strong>Africa</strong> Network, which l<strong>in</strong>ks organizations<br />
across the cont<strong>in</strong>ent to develop critical th<strong>in</strong>k<strong>in</strong>g<br />
on photography. They have met <strong>in</strong> different<br />
countries across the cont<strong>in</strong>ent, <strong>in</strong>clud<strong>in</strong>g Ug<strong>and</strong>a,<br />
South <strong>Africa</strong>, Lesotho, Rw<strong>and</strong>a <strong>and</strong> RDC.<br />
LAILA SOLIMAN<br />
Egypt’s visa policy is one of the most restrictive<br />
<strong>in</strong> the region. Visas are required for citizens of<br />
all <strong>North</strong> <strong>Africa</strong>n countries above the age of 14,<br />
with the exception of Libyan women who may<br />
enter visa-free. Nationals of all <strong>Africa</strong>n countries,<br />
with the exception of South Sudan, must apply<br />
for a visa.<br />
Egypt has good flight connections to<br />
<strong>North</strong> <strong>Africa</strong> via EgyptAir as well as AirAlgérie,<br />
Tunisair <strong>and</strong> Royal Air Maroc, which all fly<br />
to Cairo. Egyptair has developed its connections<br />
southward, with connections to several<br />
East <strong>Africa</strong>n countries, as well as South <strong>Africa</strong>,<br />
Zimbabwe <strong>and</strong> Zambia <strong>in</strong> Southern <strong>Africa</strong> <strong>and</strong><br />
Nigeria, Ghana <strong>and</strong> Côte d’Ivoire <strong>in</strong> West <strong>Africa</strong>.<br />
Other dest<strong>in</strong>ations may be reached via Addis<br />
Ababa.<br />
Playwright <strong>and</strong> theatre director Laila Soliman<br />
has been pursu<strong>in</strong>g projects <strong>in</strong> Senegal <strong>and</strong> South<br />
<strong>Africa</strong>. In 2017, she attended a residency at<br />
RAW Material Company <strong>in</strong> Dakar <strong>and</strong> <strong>in</strong> 2018,<br />
directed a theatre production titled “Museum<br />
of Lungs,” featur<strong>in</strong>g South <strong>Africa</strong>n composer/<br />
multi-<strong>in</strong>strumentalist Neo Muyanga <strong>and</strong> writer/<br />
performer Stacy Hardy.
59<br />
Country-Specific Information<br />
—<br />
QUOTE:<br />
—<br />
FUNDING FOR MOBILITY<br />
—<br />
Public adm<strong>in</strong>istrations<br />
There is a serious lack of transparency regard<strong>in</strong>g<br />
the national budget for culture <strong>and</strong><br />
allowances for cultural actors. However, two<br />
respondents stated that they were aware<br />
of funds available through the M<strong>in</strong>istry <strong>and</strong><br />
that they had successfully obta<strong>in</strong>ed grants<br />
from the M<strong>in</strong>istry of Culture’s <strong>in</strong>ternational<br />
relations office.<br />
Civil society organizations<br />
Egyptian artists <strong>and</strong> cultural operators seem<br />
to be the best <strong>in</strong>formed about fund<strong>in</strong>g opportunities<br />
provided by <strong>in</strong>ternational civil society<br />
organizations. Al-Mawred al-Thaqafy <strong>and</strong><br />
AFAC are very well-known amongst cultural<br />
actors, likely a result of proximity to Beirut<br />
<strong>and</strong> the fact that al-Mawred’s headquarters<br />
were <strong>in</strong> Cairo until 2015. Mophradat <strong>and</strong> the<br />
Roberto Cimetta Fund are also well-known.<br />
However, no respondents mentioned <strong>Africa</strong><br />
<strong>Art</strong> L<strong>in</strong>es.<br />
« The M<strong>in</strong>istry of Culture is not<br />
transparent at all about how their fund<strong>in</strong>g<br />
works <strong>–</strong> you can go to them with the<br />
paperwork but you could wait <strong>in</strong>def<strong>in</strong>itely.<br />
It’s always a mystery as to why they<br />
respond to one application but not the<br />
others. There’s no clarity <strong>in</strong> the process<br />
<strong>and</strong> it keeps chang<strong>in</strong>g. It’s a very tedious<br />
process; an application has to go through<br />
4<strong>–</strong>5 offices <strong>and</strong> everyth<strong>in</strong>g can stop if<br />
one person isn’t at their desk. »<br />
Nada Sabet<br />
Theatre director <strong>and</strong><br />
co-founder, Noon Creative Enterprise<br />
—<br />
—<br />
E<br />
G<br />
Y<br />
P<br />
T<br />
—<br />
International cooperation <strong>in</strong>stitutes<br />
Unlike <strong>in</strong> Maghreb countries, where the Institut<br />
Français is by far the most present, <strong>in</strong> Egypt<br />
the most well-known cultural <strong>in</strong>stitutes are the<br />
Goethe Institut <strong>and</strong> Pro Helvetia. The Goethe<br />
Institut’s regional bureau is <strong>in</strong> Cairo. While they<br />
do not have a formal mobility program, they<br />
have supported a large number of artists via<br />
the Mov<strong>in</strong>g MENA program (s<strong>in</strong>ce phased<br />
out) <strong>and</strong> have thus emerged as a reference<br />
for a large number of artists. Pro Helvetia was<br />
also repeatedly cited as a reliable source of<br />
fund<strong>in</strong>g. The British Council <strong>and</strong> the Dutch<br />
Embassy are also known to cultural operators<br />
<strong>and</strong> artists as possible sources of fund<strong>in</strong>g.<br />
Private foundations<br />
Several respondents deplored that the Ford<br />
Foundation is no longer provid<strong>in</strong>g direct support<br />
for <strong>in</strong>itiatives <strong>in</strong> Egypt. However, two<br />
noted that the Drosos Foundation is fill<strong>in</strong>g<br />
the space left by Ford.
60<br />
Country-Specific Information<br />
—<br />
IMPEDIMENTS<br />
—<br />
Repression of civil society organizations<br />
· NGOs <strong>in</strong> Egypt have been fac<strong>in</strong>g <strong>in</strong>creas<strong>in</strong>g<br />
harassment, censorship, raids <strong>and</strong> persecution.<br />
They are be<strong>in</strong>g required to navigate <strong>in</strong>creas<strong>in</strong>gly<br />
complex bureaucratic mechanisms, with<br />
permissions required for nearly all activities.<br />
We don’t use state theatre or big theatres because<br />
we have issues with censorship. We don’t<br />
want any of our works to be censored. We try to<br />
work with cultural <strong>in</strong>stitutes to avoid censorship. <strong>–</strong><br />
Adel Abdelwahab, <strong>Art</strong>istic director, Hewar for Independent<br />
Theater & Perform<strong>in</strong>g <strong>Art</strong>s, Alex<strong>and</strong>ria<br />
· The most relevant laws, <strong>in</strong> terms of mobility,<br />
are those that require CSOs to apply for permission<br />
to host foreign artists.<br />
For example, if a Moroccan artist wants to come<br />
to Reflection <strong>Art</strong>s, I have to get a permission<br />
for him to work with me. If there are any fees,<br />
<strong>in</strong>come from a performance, etc., I have to get<br />
a permit. If we do the project <strong>and</strong> I’m still wait<strong>in</strong>g<br />
for permission, I also have to get another<br />
permit to send money abroad. <strong>–</strong> Ahmed Eldeeb,<br />
Co-founder <strong>–</strong> Director, Reflection for <strong>Art</strong>s Tra<strong>in</strong><strong>in</strong>g<br />
& Development, Alex<strong>and</strong>ria<br />
· Because laws are often passed fast <strong>and</strong> <strong>in</strong><br />
secrecy, cultural operators <strong>and</strong> artists can<br />
easily be caught <strong>in</strong> legal traps.<br />
Restrictions on receiv<strong>in</strong>g foreign fund<strong>in</strong>g<br />
· The regulations on receiv<strong>in</strong>g foreign funds are<br />
plac<strong>in</strong>g particularly tight constra<strong>in</strong>ts on artists’<br />
mobility. Accord<strong>in</strong>g to Freedom House, “all<br />
NGO fund<strong>in</strong>g <strong>and</strong> basic management decisions<br />
are also subject to regulators’ approval.” <strong>Art</strong>ists<br />
report that this process can be extremely<br />
lengthy.<br />
We have to report every step that we take <strong>and</strong> every<br />
grant that we get. The last one we got was from<br />
SouthMed CV, but we didn’t get it immediately,<br />
because we needed permission from the<br />
authorities. We applied for the permission <strong>in</strong><br />
January 2017 <strong>and</strong> waited until October. The<br />
whole time we were manag<strong>in</strong>g our relationship<br />
—<br />
E<br />
G<br />
Y<br />
P<br />
T<br />
—<br />
with SouthMed CV. They asked us “what is your<br />
action plan?”. We said, “don’t worry”. We only<br />
got the permission <strong>and</strong> the grant <strong>in</strong> the last 3<br />
months. We didn’t have the chance to use the<br />
funds wisely, as we had planned earlier. <strong>–</strong> Ahmed<br />
Eldeeb, Co-founder <strong>and</strong> director, Reflection for<br />
<strong>Art</strong>s Tra<strong>in</strong><strong>in</strong>g & Development, Alex<strong>and</strong>ria<br />
· Faced with this situation, funds are ceas<strong>in</strong>g<br />
operations <strong>in</strong> Egypt, leav<strong>in</strong>g artists <strong>in</strong> an even<br />
tighter spot.<br />
Visa restrictions<br />
· Entry to Egypt has gotten <strong>in</strong>creas<strong>in</strong>gly difficult<br />
<strong>in</strong> recent years, with lengthy application<br />
processes at embassies abroad <strong>and</strong> arbitrary<br />
refusals.<br />
· Several respondents noted particular difficulty<br />
for Tunisians to enter Egypt (corroborated by<br />
respondents <strong>in</strong> Tunisia <strong>–</strong> see Tunisia section)<br />
Egyptian embassies abroad are hard to deal<br />
with when it comes to ask<strong>in</strong>g for visas for Arab<br />
citizens. Tunisians <strong>and</strong> Moroccans have such<br />
a hard time gett<strong>in</strong>g <strong>in</strong>to Egypt <strong>–</strong> they get many<br />
rejections. <strong>–</strong> Basem Abuarab, Executive director,<br />
Al Moharek Book<strong>in</strong>g Agency for Independent<br />
Arabic Music, Cairo<br />
· Moreover, Egyptians themselves must obta<strong>in</strong><br />
permissions to travel to certa<strong>in</strong> countries <strong>and</strong>/<br />
or security clearance at the Cairo airport.<br />
Travel restrictions for men <strong>and</strong> women<br />
· Young men from the military service age need<br />
to get permission from military <strong>in</strong> order to travel.<br />
· Women need to get a permission/confirmation<br />
from their families that they are travell<strong>in</strong>g to<br />
certa<strong>in</strong> countries.<br />
Ambivalent identification with <strong>Africa</strong> /<br />
Discrim<strong>in</strong>ation<br />
· Many respondents noted that Egyptians do<br />
not identify as <strong>Africa</strong>ns, not<strong>in</strong>g <strong>in</strong> particular<br />
Egypt’s unique geographic position<strong>in</strong>g <strong>and</strong><br />
greater identification to the MENA region<br />
· Racism is also extremely prevalent <strong>in</strong> Egypt,<br />
target<strong>in</strong>g <strong>in</strong> particular the Nubian <strong>and</strong> Sudanese<br />
communities as well as <strong>Africa</strong>n migrants.<br />
Nubian resistance movements are frequently<br />
met with violence <strong>and</strong> repression.
61<br />
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Di <strong>–</strong> Egy Festival 2017 open<strong>in</strong>g at Darb1718.<br />
Photo courtesy of Elham Kattab / Di <strong>–</strong> Egy Festival
62<br />
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4. 3<br />
Libya<br />
—<br />
QUOTE:<br />
« Most Libyans identify as Arabs.<br />
But Libya is a mixed country of<br />
Tamazight, Tabu, Tuareg <strong>and</strong> Arabs.<br />
When people from <strong>North</strong> <strong>Africa</strong>n<br />
countries talk about people from the<br />
South, they say “<strong>Africa</strong>ns”. »<br />
Tewa Barnosa<br />
Visual artist <strong>and</strong> founder of WaraQ<br />
<strong>Art</strong> Foundation,<br />
Tripoli / Berl<strong>in</strong><br />
—<br />
FAST FACTS<br />
Population 6.375 million (World Bank, 2017)<br />
Surface area<br />
Capital<br />
Large cities<br />
Languages<br />
1.76 million km²<br />
Tripoli<br />
Benghazi, Misrata, Zliten, Bayda<br />
Modern St<strong>and</strong>ard Arabic (official)<br />
Libyan Arabic (vernacular)<br />
Berber<br />
Diall<strong>in</strong>g code +218<br />
Currency<br />
Ma<strong>in</strong> <strong>in</strong>ternational<br />
airports<br />
Visa requirements for<br />
<strong>Africa</strong>ns to enter Libya<br />
<strong>Africa</strong>n countries’ visa<br />
requirements for Libya<br />
nationals<br />
Libyan d<strong>in</strong>ar<br />
Mitiga International Airport (Tripoli)<br />
Ben<strong>in</strong>a Intenrational Airport (Benghazi)<br />
Misrata International Airport<br />
Visa-free access for nationals of<br />
Tunisia <strong>and</strong> Jordan<br />
Visa required for all other nationalities<br />
Visa-free access: Algeria, Mauritania,<br />
Tunisia, Ben<strong>in</strong><br />
e-Visa: Djibouti, Gabon, Gu<strong>in</strong>ea-Bissau,<br />
Lesotho, Tanzania, Ug<strong>and</strong>a, Zambia,<br />
Zimbabwe<br />
Visa on arrival: Burk<strong>in</strong>a Faso, Cabo Verde,<br />
Ghana, Madagascar, Mozambique, Senegal,<br />
Somalia, Togo
63<br />
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—<br />
GENERAL INFORMATION<br />
—<br />
Libya is the fourth-largest country <strong>in</strong> <strong>Africa</strong> <strong>and</strong><br />
is among the 20 largest <strong>in</strong> the world. Spann<strong>in</strong>g<br />
1.770 km, its coastl<strong>in</strong>e is the longest of any of<br />
the Mediterranean countries. The largest city <strong>and</strong><br />
capital, Tripoli, is located <strong>in</strong> western Libya, while<br />
the second-largest city, Benghazi, is located <strong>in</strong><br />
eastern Libya. N<strong>in</strong>ety percent of Libya’s population<br />
lives along its coast.<br />
What present-day Libya is has been <strong>in</strong>habited<br />
by Amazigh tribes s<strong>in</strong>ce the late Bronze<br />
Age. Libya was occupied by the Phoenicians,<br />
Greeks, Persians, Egyptians <strong>and</strong> Romans before<br />
the Islamic conquests. In the 20th century, Libya<br />
was under Italian rule between 1911 <strong>and</strong> 1947.<br />
C<strong>in</strong>emas, theatres, libraries <strong>and</strong> cultural centres<br />
were built. The country declared its <strong>in</strong>dependence<br />
<strong>in</strong> 1951. Eight years later, the discovery of<br />
massive oil reserves transformed the until-then<br />
poor nation. In 1959, a group of rebel officers<br />
led by Muammar Gaddafi overthrew the<br />
government <strong>and</strong> established the Libyan Arab<br />
Republic, embrac<strong>in</strong>g the pr<strong>in</strong>ciples of Arab<br />
socialism. This coup-d’état was the beg<strong>in</strong>n<strong>in</strong>g<br />
of a 42-year dictatorship, marked by<br />
bloody repression of opposition, <strong>in</strong>vasion<br />
of all aspects of private life <strong>and</strong> negation<br />
of public space.<br />
Libya entered a civil war <strong>in</strong> 2011, as<br />
protests turned <strong>in</strong>to a rebellion which was<br />
met with force by Gaddafi. A NATO offensive<br />
began <strong>in</strong> March 2011, bolster<strong>in</strong>g the rebellion.<br />
Gaddafi was killed <strong>in</strong> October 2011.<br />
S<strong>in</strong>ce 2011, Libya has been torn among<br />
rival, armed militias affiliated with dist<strong>in</strong>ct<br />
regions, cities <strong>and</strong> tribes. The power vacuum<br />
has created an open<strong>in</strong>g for tribal militias <strong>and</strong><br />
jihadist groups to make <strong>in</strong>cursions. There<br />
are currently two ma<strong>in</strong> rival governments:<br />
the Interim Government (IG), based <strong>in</strong> the<br />
East, formed <strong>in</strong> 2014; <strong>and</strong> the Government<br />
of National Accord (GNA), formed <strong>in</strong> 2016<br />
under UN-led Initiative for a Libyan Political<br />
Agreement, based <strong>in</strong> the West. Presidential<br />
<strong>and</strong> parliamentary elections have been<br />
—<br />
L<br />
I<br />
B<br />
Y<br />
A<br />
—<br />
—<br />
QUOTE:<br />
« There are a couple old<br />
c<strong>in</strong>emas that were built<br />
by the Italians <strong>in</strong> the days of<br />
the Libyan k<strong>in</strong>gdom but none<br />
of them are work<strong>in</strong>g.<br />
We have 6 <strong>–</strong> 7 but none are<br />
work<strong>in</strong>g. I found out that<br />
they’re destroy<strong>in</strong>g them. I<br />
felt ashamed <strong>and</strong> sorry. There<br />
is a c<strong>in</strong>ema that’s one of the<br />
most amaz<strong>in</strong>g build<strong>in</strong>gs <strong>in</strong><br />
Libya, but it was burned down<br />
by the revolutionaries. Why?<br />
Gaddafi was us<strong>in</strong>g it<br />
for his th<strong>in</strong>gs »<br />
Abdul Mohaimen Zarrough,<br />
photographer <strong>and</strong><br />
cultural manager,<br />
Tripoli<br />
—<br />
planned s<strong>in</strong>ce 2018, but have yet to be held. At<br />
the time of writ<strong>in</strong>g, the Libyan National Army, led<br />
by former Gaddafi general Khalifa Haftar, was<br />
lead<strong>in</strong>g a major offensive on the GNA-controlled<br />
city of Tripoli. Tens of thous<strong>and</strong>s of people have<br />
been displaced <strong>and</strong> hundreds killed, <strong>in</strong>clud<strong>in</strong>g a<br />
significant number of <strong>Africa</strong>n refugees.<br />
The relationship between modern Libya<br />
<strong>and</strong> <strong>Africa</strong> is difficult to dissociate from Gaddafiera<br />
politics <strong>and</strong> the migration crisis, as Libya has<br />
become an important passageway. Historically,<br />
nomadic Tuareg <strong>and</strong> Tabu communities l<strong>in</strong>k the<br />
South of Libya <strong>and</strong> areas to the South. Gaddafi<br />
is known (<strong>and</strong> sometimes even romanticized)<br />
as a prom<strong>in</strong>ent pan-<strong>Africa</strong>nist. He was one of<br />
the found<strong>in</strong>g fathers of the <strong>Africa</strong>n Union <strong>and</strong><br />
supported a number of liberation movements,<br />
<strong>in</strong>clud<strong>in</strong>g the <strong>Africa</strong>n National Congress <strong>in</strong> South<br />
<strong>Africa</strong>. However, he also funded rebel groups <strong>in</strong><br />
Sierra Leone <strong>and</strong> Liberia <strong>and</strong> plotted to <strong>in</strong>vade<br />
Chad <strong>in</strong> 1980. Much of his pro-<strong>Africa</strong>n policy<br />
centered on personal self-aggr<strong>and</strong>izement as an<br />
Arab k<strong>in</strong>g of <strong>Africa</strong>. Some commentators have<br />
suggested that anti-Gaddafi backlash may<br />
be fuell<strong>in</strong>g anti-<strong>Africa</strong>n sentiment <strong>in</strong> Libya<br />
(see Racism below).<br />
—<br />
ARTS AND CULTURE SECTOR<br />
—<br />
Libya’s present-day arts <strong>and</strong> culture sector<br />
has been shaped by the authoritarianism,<br />
censorship, <strong>and</strong> nationalism that prevailed<br />
under Gaddafi <strong>and</strong> the profound turmoil that<br />
has reigned s<strong>in</strong>ce 2011.<br />
The 1973 Cultural Revolution <strong>in</strong>stituted<br />
a climate of <strong>in</strong>tense repression on<br />
the arts <strong>and</strong> culture, result<strong>in</strong>g <strong>in</strong> the arrest<br />
<strong>and</strong> prosecution of large numbers of cultural<br />
actors, the murder of opposition figures, the<br />
bann<strong>in</strong>g of foreign language books <strong>and</strong> musical<br />
<strong>in</strong>struments, the destruction of <strong>in</strong>frastructures<br />
left by Italian colonization <strong>and</strong> the crim<strong>in</strong>alization<br />
of languages other than Arabic.<br />
In one of his speeches, Gaddafi stated that<br />
“artists are free but their freedom will end
64<br />
Country-Specific Information<br />
when they approach the government (quoted <strong>in</strong><br />
Gana, 2011).”<br />
The revolution brought a phenomenal outpour<strong>in</strong>g<br />
of creative production: protest poetry was<br />
voiced, rap battles were hosted, graffiti exploded<br />
on city walls, <strong>and</strong> photographers documented<br />
the process, shar<strong>in</strong>g their images via blogs <strong>and</strong><br />
social media. International <strong>in</strong>stitutions supported<br />
this process, largely from the perspective of<br />
encourag<strong>in</strong>g arts as a form of documentation of<br />
human rights defense <strong>and</strong> democracy-build<strong>in</strong>g.<br />
After violent clashes <strong>in</strong> 2013 <strong>–</strong> 2015 put a<br />
halt to cultural activity, the last years have seen a<br />
recrudescence <strong>in</strong> grassroots arts. Clusters of cultural<br />
actors are form<strong>in</strong>g organically <strong>in</strong> Tripoli <strong>and</strong><br />
Benghazi, f<strong>in</strong>d<strong>in</strong>g creative solutions to the vast<br />
problems of lack of <strong>in</strong>frastructure, tra<strong>in</strong><strong>in</strong>g, managerial<br />
capacity <strong>and</strong> restrictions on movement.<br />
Neither of the two provisional governments has<br />
a M<strong>in</strong>istry of Culture, although both have general<br />
authorities for culture. However, neither is<br />
truly <strong>in</strong> touch with the grassroots cultural<br />
scene <strong>and</strong> neither is fund<strong>in</strong>g any major<br />
events or facilities.<br />
The young art scene is therefore<br />
consolidat<strong>in</strong>g itself through a small number<br />
of organizations run by dedicated young<br />
artists, of which Tanarout <strong>in</strong> Benghazi <strong>and</strong><br />
WaraQ <strong>in</strong> Tripoli are the most active <strong>and</strong><br />
visible; support from <strong>in</strong>ternational human<br />
rights organizations; <strong>and</strong> the tireless work<br />
of a small group of figures from the previous<br />
generation, namely Ali Mustafa Ramadan<br />
(founder of The <strong>Art</strong> House <strong>in</strong> Tripoli) <strong>and</strong><br />
Hadia Gana (an artist, founder of the Ali<br />
Gana Foundation <strong>and</strong> Museum). Libyans<br />
liv<strong>in</strong>g abroad, such as Reem Gibreel <strong>in</strong> the<br />
USA, founder of the Arete Foundation,<br />
<strong>and</strong> architect Najlaa el-Ageli, founder of<br />
Noon <strong>Art</strong>s Projects, are also play<strong>in</strong>g an<br />
important role <strong>in</strong> connect<strong>in</strong>g Libya with the<br />
<strong>in</strong>ternational arts scene. Today’s Libyan arts<br />
scene is an <strong>in</strong>credible model of resilience<br />
<strong>and</strong> revival, much of which has been driven<br />
by remarkable solidarity.<br />
—<br />
L<br />
I<br />
B<br />
Y<br />
A<br />
—<br />
—<br />
QUOTE:<br />
« Our history was re-written<br />
under Gaddafi <strong>–</strong> we don’t know<br />
our own history. Not just <strong>in</strong><br />
Libya, but across the whole<br />
Middle East, it’s been<br />
trauma after trauma, s<strong>in</strong>ce the<br />
Ottomans. We need to tackle<br />
this history. [Visual artist]<br />
Takwa [Barnosa] is ask<strong>in</strong>g<br />
what is the legacy of the<br />
Ghaddafi era? The younger<br />
generation didn’t go through<br />
the bra<strong>in</strong>wash<strong>in</strong>g the older<br />
generations did. »<br />
Najlaa El-Ageli<br />
Curator <strong>and</strong> architect, Founder<br />
of Noon <strong>Art</strong>s Projects, Tripoli/<br />
London<br />
—<br />
—<br />
MOBILITY TO/FROM LIBYA<br />
—<br />
<strong>Mobility</strong> to / from Libya has been severely hampered<br />
by the cultural isolationism under Gaddafi<br />
<strong>and</strong> the war s<strong>in</strong>ce 2011, which caused borders to<br />
close, flights to / from Libya to cease <strong>and</strong> foreign<br />
embassies to leave Libyan cities.<br />
The Libyan arts scene is very little known<br />
outside the country. Incom<strong>in</strong>g mobility of cultural<br />
actors to Libya has thus been virtually nil, voided<br />
by lack of knowledge <strong>and</strong> security concerns.<br />
AMA had never received an application<br />
for a mobility project to / from Libya until<br />
2018 (see Ouafa Belgacem quote below). It<br />
should be noted that several cultural actors<br />
<strong>in</strong> neighbour<strong>in</strong>g countries expressed strong<br />
<strong>in</strong>terest <strong>in</strong> know<strong>in</strong>g more about the Libyan<br />
cultural scene, voiced their solidarity with<br />
their Libyan peers <strong>and</strong> expressed the desire<br />
to create bridges.<br />
Today, mobility of Libyan cultural actors is<br />
beg<strong>in</strong>n<strong>in</strong>g aga<strong>in</strong>, with exchanges happen<strong>in</strong>g<br />
almost exclusively via Tunisia. Tunisia is one<br />
of the only countries that does not require<br />
visas from Libyan citizens <strong>and</strong> the only flight<br />
connections to / from Tripoli <strong>and</strong> Benghazi<br />
are with Tunis. Moreover, with most foreign<br />
embassies hav<strong>in</strong>g left Tripoli <strong>and</strong> Benghazi,<br />
the closest embassies are <strong>in</strong> Tunis, forc<strong>in</strong>g<br />
Libyan travellers to make a stop there <strong>in</strong><br />
order to complete visa procedures.<br />
Libyan citizens are eligible for visa-free<br />
access to Mauritania <strong>and</strong> Algeria, although<br />
Algeria’s border authorities have been reported<br />
to be <strong>in</strong>consistent. Access to Egypt<br />
has become very difficult <strong>in</strong> recent years.<br />
Respondents did not cite any examples of<br />
travels to Morocco.
65<br />
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TEWA BARNOSA<br />
TRAVELLING NARRATIVES<br />
FARAJ ALSILEENI AND<br />
MOHAMED BUSNEINA<br />
KAW-KAW<br />
NAJLAA EL-AGELI<br />
—<br />
QUOTE:<br />
Examples of mobility projects:<br />
Visual artist Tewa Barnosa recently curated an exhibition<br />
titled The Green Book at LeCube <strong>in</strong> Rabat.<br />
The theme of the exhibition was The Green Book,<br />
the manifesto published by Gaddafi <strong>in</strong> 1976 <strong>in</strong> which<br />
he def<strong>in</strong>ed his regime’s ideology. Because Tewa<br />
could not get a visa to Morocco, she curated the<br />
exhibition virtually.<br />
The regional programme Travell<strong>in</strong>g Narratives<br />
brought Libyan artist Suhaib Tantoush to complete<br />
a residency at LeCube <strong>in</strong> Rabat. Travell<strong>in</strong>g Narratives<br />
is a regional program of art <strong>and</strong> research “that<br />
aims to encourage <strong>in</strong>teractions between cultural<br />
agents <strong>in</strong> Morocco, Algeria, Egypt, Mauritania <strong>and</strong><br />
Libya” through residencies, exhibitions, screen<strong>in</strong>gs,<br />
meet<strong>in</strong>gs, workshops <strong>and</strong> conferences. The<br />
program is carried out <strong>in</strong> partnership with Townhouse<br />
Gallery <strong>in</strong> Cairo, Les Ateliers Sauvages <strong>in</strong><br />
Algiers, WaraQ art foundation <strong>and</strong> the cultural<br />
space Diadie Tabara Camara <strong>in</strong> Nouakchott.<br />
Musicians Faraj Alsileeni <strong>and</strong> Mohamed Busne<strong>in</strong>a<br />
of Tanarout performed at the Cyprus Mediterranean<br />
University’s Libyan Day.<br />
Visual artist Hadia Gana participated <strong>in</strong> Kaw-kaw<br />
at Le18 <strong>in</strong> Marrakech, a collective residency organized<br />
around the theme of the Greater Maghreb Union.<br />
Tripoli-born <strong>and</strong> London-based architect Najlaa<br />
El-Ageli has curated 15 exhibitions of Libyan art<br />
<strong>in</strong> various locations <strong>in</strong> Libya <strong>and</strong> Europe through<br />
her curatorial platform Noon <strong>Art</strong>s Projects,<br />
<strong>in</strong>clud<strong>in</strong>g <strong>Retrac<strong>in</strong>g</strong> A Disappear<strong>in</strong>g L<strong>and</strong>scape<br />
(2018), an <strong>in</strong>terdiscipl<strong>in</strong>ary show on memory <strong>and</strong><br />
personal history <strong>in</strong> Libya.<br />
—<br />
L<br />
I<br />
B<br />
Y<br />
A<br />
—<br />
« Libyan artists cannot rely on the government to<br />
provide places for art. The governments only<br />
care about appropriat<strong>in</strong>g the build<strong>in</strong>gs for themselves<br />
to show off to the others that they’re<br />
stronger. »<br />
Abdul Mohaimen Zarrough<br />
Photographer <strong>and</strong> cultural manager,<br />
Tripoli<br />
—
66<br />
Country-Specific Information<br />
Musicians Mohamed Busne<strong>in</strong>a <strong>and</strong> Faraj Alsileeni perform at<br />
Tanarout arts space <strong>in</strong> Benghazi.<br />
Photo courtesy of D<strong>in</strong>a Gallal/Tanarout<br />
—<br />
QUOTE:<br />
« Before, when [artists] were<br />
allowed to go to most countries,<br />
there was no art movement. But<br />
now there is an art movement, <strong>and</strong><br />
people can’t move. »<br />
Abdul Mohaimen Zarrough<br />
Photographer <strong>and</strong> cultural manager,<br />
Tripoli<br />
—
67<br />
Country-Specific Information<br />
—<br />
FUNDING FOR MOBILITY<br />
—<br />
The cultural affairs delegations are not fund<strong>in</strong>g<br />
cultural projects at present. Cultural actors<br />
who are travell<strong>in</strong>g are do<strong>in</strong>g so through fund<strong>in</strong>g<br />
provided by <strong>in</strong>ternational human rights organizations,<br />
universities or cultural <strong>in</strong>stitutes. Given<br />
the relative <strong>in</strong>experience of the Libyan culture<br />
sector <strong>and</strong> lack of managerial capacity, Libyan<br />
cultural actors are hard-pressed to compete<br />
with their colleagues <strong>in</strong> neighbour<strong>in</strong>g countries<br />
for funds. AMA, AFAC, Al Mawred al-Thaqafy<br />
<strong>and</strong> Mophradat have scarcely funded Libyan<br />
cultural actors.<br />
—<br />
IMPEDIMENTS<br />
—<br />
Currency <strong>and</strong> costs<br />
· A host of issues make f<strong>in</strong>anc<strong>in</strong>g travel extremely<br />
complicated. In the current bank<strong>in</strong>g crisis,<br />
there is a shortage of d<strong>in</strong>ars, which means<br />
that accounts may be frozen for months at a<br />
time. The d<strong>in</strong>ar is extremely devalued, mean<strong>in</strong>g<br />
that transactions must be paid via the black<br />
market, often with exacerbated rates. Foreign<br />
currencies cannot be exchanged <strong>in</strong> Libya.<br />
· Respondents stated that foreign fund<strong>in</strong>g agencies<br />
require organizations to have a bank<br />
account <strong>in</strong> Tunis, as they will not transfer to<br />
Libyan accounts.<br />
We’re not allowed to exchange any money. We<br />
use the black market. The other problem is the<br />
exchange rate. You have to work very hard to<br />
make $1000. <strong>–</strong> Faiza Ramadan, visual artist,<br />
Tripoli<br />
Visas<br />
· The Libyan passport is very weak; entry <strong>in</strong>to<br />
countries other than Tunisia is not guaranteed<br />
without support from a well-established human<br />
rights organization or cultural <strong>in</strong>stitute.<br />
—<br />
L<br />
I<br />
B<br />
Y<br />
A<br />
—<br />
Libyans aren’t welcome <strong>in</strong> most countries. <strong>–</strong><br />
Faraj Alsileeni, Director, Tanarout, Benghazi<br />
· Visa procedures require a trip to Tunis, <strong>in</strong>curr<strong>in</strong>g<br />
travel <strong>and</strong> accommodation costs.<br />
For my Green Book exhibition, I had to remotely<br />
curate it <strong>–</strong> not because of fund<strong>in</strong>g but<br />
because Morocco doesn’t allow Libyans at all. <strong>–</strong><br />
Tewa Barnosa, visual artist <strong>and</strong> founder of WaraQ<br />
<strong>Art</strong> Foundation, Tripoli / Berl<strong>in</strong><br />
Transport of artworks<br />
With militias <strong>in</strong> control at the airports, transport<br />
of artworks is seen as suspicious. Respondents<br />
reported smuggl<strong>in</strong>g artworks <strong>in</strong> h<strong>and</strong>-luggage,<br />
<strong>and</strong>/or plead<strong>in</strong>g with authorities to let them pass.<br />
Every s<strong>in</strong>gle time I travel with the darbuka, I have<br />
a problem. I need to have it with me <strong>in</strong> the cab<strong>in</strong>.<br />
They’re always annoy<strong>in</strong>g me about this. They’re<br />
treat<strong>in</strong>g me as if I were do<strong>in</strong>g a wedd<strong>in</strong>g party<br />
or someth<strong>in</strong>g <strong>–</strong> people who are play<strong>in</strong>g music<br />
or s<strong>in</strong>g<strong>in</strong>g music don’t have much respect from<br />
society. <strong>–</strong> Mohamed Busne<strong>in</strong>a, drummer, Content<br />
Developer & Head of Music Dept. of Tanarout,<br />
Benghazi<br />
Lack of connections<br />
· Direct flights between Libya <strong>and</strong> most countries<br />
have been cancelled s<strong>in</strong>ce the outbreak of the<br />
war. The most stable rema<strong>in</strong><strong>in</strong>g <strong>in</strong>ternational<br />
connections are between Tripoli or Benghazi<br />
<strong>and</strong> Tunis, Alex<strong>and</strong>ria <strong>and</strong> Istanbul.<br />
War <strong>and</strong> security<br />
· The security situation is extremely unstable,<br />
with the potential for armed conflict to break<br />
out at any po<strong>in</strong>t.<br />
It’s hard to travel with<strong>in</strong> our own country because<br />
of the fights between cities, which make<br />
it dangerous to travel. As long as they’re fight<strong>in</strong>g<br />
amongst themselves, we’re suffer<strong>in</strong>g. <strong>–</strong> D<strong>in</strong>a<br />
Gallal, photographer <strong>and</strong> visual artist, Tanarout,<br />
Benghazi<br />
· Road travel is extremely dangerous; it is subject<br />
to control by militias <strong>and</strong> may cross conflict<br />
zones.<br />
· The Tripoli <strong>and</strong> Benghazi airports are controlled<br />
by militias.<br />
Travell<strong>in</strong>g is not safe at all. Even travell<strong>in</strong>g by flight<br />
is not safe. You never know who is controll<strong>in</strong>g
68<br />
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the airport on a given day. <strong>–</strong> Mohamed Busne<strong>in</strong>a,<br />
drummer, Content Developer & Head of Music<br />
Dept. of Tanarout, Benghazi<br />
Flight delays <strong>and</strong> complications<br />
· All respondents noted that travell<strong>in</strong>g out of<br />
Libya is an extremely hazardous <strong>and</strong> at best<br />
time-consum<strong>in</strong>g process.<br />
Flight delays are crazy <strong>–</strong> sometimes you wait 10 <strong>–</strong> 12<br />
hours <strong>in</strong> the airport, wait<strong>in</strong>g there for noth<strong>in</strong>g. <strong>–</strong><br />
Mohamed Busne<strong>in</strong>a<br />
Harassment<br />
· Harassment at the airport is extremely common,<br />
namely for artists <strong>and</strong> especially for women<br />
travell<strong>in</strong>g alone.<br />
At arrival at the airport, I was held for a while<br />
for no conv<strong>in</strong>c<strong>in</strong>g reason. In my op<strong>in</strong>ion, it was<br />
related to the fact that I am a Tunisian woman,<br />
unveiled <strong>and</strong> travell<strong>in</strong>g alone to Libya. As the<br />
airport is still primarily controlled by militia, many<br />
of which are pro-Daesh, a woman travell<strong>in</strong>g alone<br />
is as such a defiance. <strong>–</strong> Ouafa Belgacem, cultural<br />
resource mobilization expert, CEO of Culture<br />
Fund<strong>in</strong>g Watch, Tunis<br />
—<br />
L<br />
I<br />
B<br />
Y<br />
A<br />
—<br />
Lack of identification with <strong>Africa</strong> <strong>and</strong> racism<br />
· Racism is a major issue <strong>in</strong> Libya. Discrim<strong>in</strong>ation<br />
toward black Libyans <strong>and</strong> <strong>Africa</strong>ns is<br />
deep-seated, marked namely by the presence<br />
of racial stratifications <strong>and</strong> derogatory terms.<br />
However, it has taken new forms <strong>in</strong> recent<br />
years, especially as a result of the war, which<br />
has caused <strong>in</strong>ternal displacement for black<br />
Libyan communities, <strong>and</strong> the escalation of<br />
migration from <strong>Africa</strong>n countries further south.<br />
Indeed, despite the strife <strong>and</strong> <strong>in</strong>stability <strong>in</strong> the<br />
country, Libya is an important transit po<strong>in</strong>t<br />
for migrants try<strong>in</strong>g to reach Europe. Human<br />
rights organizations have reported the vast<br />
range of abuses that migrants face, from arbitrary<br />
detentions, to beat<strong>in</strong>gs, to kill<strong>in</strong>gs. In<br />
2016, the IOM reported that migrant <strong>Africa</strong>ns<br />
were be<strong>in</strong>g sold as slaves <strong>in</strong> Libya; <strong>in</strong> 2017,<br />
CNN published a video of a slave auction<br />
that sparked an <strong>in</strong>ternational outcry. In the<br />
media <strong>and</strong> <strong>in</strong> everyday conversation, Libya<br />
is described as a dangerous place for black<br />
<strong>Africa</strong>ns.<br />
Lack of <strong>in</strong>frastructures <strong>and</strong> professional<br />
tra<strong>in</strong><strong>in</strong>g<br />
· As described above, there is a glar<strong>in</strong>g lack<br />
of <strong>in</strong>frastructures <strong>and</strong> facilities for the arts <strong>in</strong><br />
Libya’s ma<strong>in</strong> centres, due to repression dur<strong>in</strong>g<br />
the Gaddafi era <strong>and</strong> subsequent destruction<br />
dur<strong>in</strong>g the years of conflict. Nevertheless, the<br />
centres described above are eager to connect<br />
with foreign artists <strong>and</strong> are build<strong>in</strong>g facilities<br />
that could host mobility projects <strong>in</strong> the future.<br />
· The new generation of Libyan artists <strong>and</strong> cultural<br />
operators is largely self-taught, mak<strong>in</strong>g it<br />
difficult for them to compete with <strong>in</strong>ternational<br />
artists <strong>in</strong> fund<strong>in</strong>g calls. They are however highly<br />
motivated <strong>and</strong> are seek<strong>in</strong>g out opportunities<br />
for tra<strong>in</strong><strong>in</strong>g whenever available.<br />
I’m self-taught. All of us have to learn the hard<br />
way. Lots of th<strong>in</strong>gs, we learn via the Internet. We<br />
can’t f<strong>in</strong>d materials <strong>in</strong> the country for many types<br />
of art. At Tanarout we’re all volunteers. <strong>–</strong> D<strong>in</strong>a<br />
Gallal, photographer, Tanarout, Benghazi
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4.4<br />
Mauritania<br />
FAST FACTS<br />
Population 4.42 million (World Bank, 2017)<br />
Surface area<br />
Capital<br />
Large cities<br />
Languages<br />
1.03 million km²<br />
Nouakchott<br />
Nouadhibou ; Kibera<br />
Modern St<strong>and</strong>ard Arabic (official)<br />
Hassaniya Arabic (vernacular)<br />
Pulaar, Son<strong>in</strong>ke, Wolof (national); French<br />
Diall<strong>in</strong>g code +222<br />
Currency<br />
Ma<strong>in</strong> <strong>in</strong>ternational<br />
airports<br />
Ouguia<br />
Nouakchott International Airport<br />
Nouadhibou International airport<br />
Rail network Société Nationale Industrielle et M<strong>in</strong>ière, 704<br />
km (Nouadhibou <strong>–</strong> Zouerate)<br />
Visa requirements<br />
for <strong>Africa</strong>ns to enter<br />
Mauritania<br />
<strong>Africa</strong>n countries’ visa<br />
requirements for Mauritanian<br />
nationals<br />
Visa-free access for nationals of Algeria,<br />
Tunisia, Libya, Mali, Niger, Senegal, Gambia,<br />
Côte d’Ivoire<br />
Visa on arrival for all other countries<br />
Visa-free access: Algeria, Tunisia, Mali, Niger,<br />
Côte d’Ivoire, Chad, Burk<strong>in</strong>a Faso, Ben<strong>in</strong>,<br />
Côte d’Ivoire, Gu<strong>in</strong>ea, Mauritius <strong>and</strong><br />
Sierra Leone.<br />
Visa on arrival <strong>and</strong> / or e-Visa: Mauritanian<br />
citizens travell<strong>in</strong>g to Cameroon, Comoros,<br />
Congo, Djibouti, Ethiopia, Ghana, Gu<strong>in</strong>ea-Bissau,<br />
Gabon, Lesotho, Madagascar, Mozambique<br />
Somalia, Kenya, Tanzania,<br />
Ug<strong>and</strong>a, Togo, Rw<strong>and</strong>a, Zambia <strong>and</strong><br />
Zimbabwe
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—<br />
GENERAL INFORMATION<br />
—<br />
Mauritania is located at the h<strong>in</strong>ge of <strong>North</strong> <strong>and</strong><br />
West <strong>Africa</strong>. With 90 % of the territory ly<strong>in</strong>g with<strong>in</strong><br />
the desert, the vast majority of the population<br />
lives along the southern coast. The capital <strong>and</strong><br />
largest city is Nouakchott, home to one-third of<br />
the country’s population.<br />
Mauritania is an em<strong>in</strong>ently multiethnic<br />
country, although strife has ta<strong>in</strong>ted the formation<br />
of a peacefully pluralistic society. The country’s<br />
demographics today are made up of three<br />
ma<strong>in</strong> groups: Bidhans of Arab-Berber orig<strong>in</strong>; the<br />
Harat<strong>in</strong>, descendants of former slaves, also<br />
Arabic speakers; <strong>and</strong> people of West <strong>Africa</strong>n<br />
descent, among them Son<strong>in</strong>ke, Bambara <strong>and</strong><br />
Wolof. Arabic is the official language of Mauritania,<br />
with Hassaniya the local spoken dialect.<br />
French is used <strong>in</strong> the media <strong>and</strong> educated classes.<br />
English is mak<strong>in</strong>g <strong>in</strong>roads. Social hierarchization<br />
based on sk<strong>in</strong> colour <strong>and</strong> ethnicity is strong,<br />
with black Harat<strong>in</strong> assigned to the lowest caste.<br />
While Mauritania abolished slavery <strong>in</strong> 1981 (the<br />
last country <strong>in</strong> the world to do so), the practice<br />
is still <strong>in</strong> place. Ethnic discord <strong>and</strong> slavery were<br />
at the heart of the Mauritania-Senegal Border<br />
War of 1989 <strong>and</strong> cont<strong>in</strong>ue to permeate political<br />
discourse <strong>in</strong> the country.<br />
Mauritania has been rocked by a series of<br />
coups or attempted coups s<strong>in</strong>ce <strong>in</strong>dependence<br />
from France <strong>in</strong> 1960. A series of military rulers<br />
succeeded one another between 1978 <strong>and</strong> 2005.<br />
After a transitional government was <strong>in</strong>stituted <strong>in</strong><br />
2007, General Abdel Aziz seized power <strong>in</strong> 2008.<br />
He was elected <strong>in</strong> 2009 through an irregular<br />
election process. He is currently president.<br />
Mauritania is one of the poorest countries<br />
<strong>in</strong> the world, despite important natural resources.<br />
Droughts, most notably the Great Sahel droughts<br />
of the early 1970s, have devastated the country.<br />
Accord<strong>in</strong>g to Freedom House, the country is not<br />
free. While the government has adopted laws to<br />
address the problem of <strong>in</strong>stitutionalized slavery<br />
<strong>and</strong> discrim<strong>in</strong>ation, it cont<strong>in</strong>ues to arrest antislavery<br />
activists.<br />
—<br />
M<br />
A<br />
U<br />
R<br />
I<br />
T<br />
A<br />
N<br />
I<br />
A<br />
—<br />
In February 2011, the Arab Spr<strong>in</strong>g spread to<br />
Mauritania, with thous<strong>and</strong>s of people tak<strong>in</strong>g<br />
to the streets to denounce slavery, corruption<br />
<strong>and</strong> human rights abuses. The protests did not<br />
generate full-scale revolution or reform.<br />
—<br />
ARTS AND CULTURE SECTOR<br />
—<br />
The arts <strong>and</strong> culture sector <strong>in</strong> Mauritania is precarious<br />
but dynamic, borne by dedicated artists<br />
<strong>and</strong> activists work<strong>in</strong>g without official support.<br />
The M<strong>in</strong>istry of Culture has the capacity to offer<br />
project support. However, most of the budget<br />
is allocated to festivals, which respondents say<br />
are essentially showcases for the M<strong>in</strong>istry. The<br />
modern-traditional divide still figures strongly <strong>in</strong><br />
discussions of art <strong>and</strong> culture, but cultural actors<br />
are work<strong>in</strong>g to bridge art forms <strong>and</strong> audiences.<br />
Dom<strong>in</strong>ated by oral cultures, Mauritania<br />
is most closely associated with the music of the<br />
Amazigh griots. As nomadic memory-keepers,<br />
they traditionally traveled through the desert to<br />
share their music <strong>and</strong> stories. The droughts <strong>and</strong><br />
political upheavals of the 1970s irremediably impacted<br />
these traditional modes of creation <strong>and</strong><br />
transmission, forc<strong>in</strong>g nomadic peoples <strong>in</strong>to the<br />
cities <strong>and</strong> subsequently repress<strong>in</strong>g their forms of<br />
expression. Today, traditional musicians belong to<br />
the lowest social caste <strong>and</strong> are only able to monetize<br />
their creative work through performances<br />
at wedd<strong>in</strong>gs. Organized by Mauritanian-Canadian<br />
Atigh Ould <strong>and</strong> hosted annually or bi-annually<br />
outside Nouakchott, the Festival Nomade creates<br />
a platform for traditional musicians to share their<br />
music with local <strong>and</strong> <strong>in</strong>ternational audiences,<br />
who come from Europe, Canada <strong>and</strong> across<br />
<strong>Africa</strong>. Moreover, the <strong>in</strong>ternationally known s<strong>in</strong>ger<br />
Maalouma has recently opened a foundation,<br />
funded by AFAC <strong>and</strong> the M<strong>in</strong>istry of Culture,<br />
which offers a studio <strong>and</strong> record<strong>in</strong>g space.<br />
Nouakchott is home to a dynamic hiphop<br />
scene. It is celebrated every year at the<br />
massive Festival Assalamalekoum, which has<br />
been known to draw audiences of up to 15.000.<br />
Performance spaces <strong>in</strong> Nouakchott are rare,
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<strong>Mobility</strong> projects:<br />
many hav<strong>in</strong>g been destroyed or ab<strong>and</strong>oned by<br />
successive authoritarian regimes. The Institut<br />
Français cont<strong>in</strong>ues to have the most comprehensive<br />
facilities, although the Egyptian <strong>and</strong><br />
Moroccan cultural centres are used as well.<br />
Some cultural centres <strong>and</strong> youth centres are<br />
used by local artists but lack equipment.<br />
In the literary field, Traversées Mauritanides<br />
organizes literacy <strong>in</strong>itiatives, publishes<br />
books <strong>and</strong> organizes a yearly literary festival. La<br />
Maison des c<strong>in</strong>éastes is one of Nouakchott’s<br />
most vibrant associations, organiz<strong>in</strong>g film<br />
screen<strong>in</strong>gs, tra<strong>in</strong><strong>in</strong>gs <strong>and</strong> an annual festival.<br />
Other art forms are marg<strong>in</strong>alized, be<strong>in</strong>g<br />
associated with colonization. Nevertheless, small<br />
galleries <strong>and</strong> visual art spaces are emerg<strong>in</strong>g.<br />
Échos du Sahel <strong>and</strong> pa<strong>in</strong>ter Amy Sow’s <strong>Art</strong>Gallé<br />
are two such spaces to watch. F<strong>in</strong>ally, Centre<br />
Diadie Tabara Camara is creat<strong>in</strong>g music projects<br />
for formerly enslaved peoples <strong>in</strong> Nouakchott,<br />
us<strong>in</strong>g music as a vehicle of empowerment, expression<br />
<strong>and</strong> human rights defense.<br />
—<br />
MOBILITY TO / FROM MAURITANIA<br />
—<br />
HAMEDINE KANE<br />
MOHAMED IDOUMOU<br />
Mauritanian artists travel pr<strong>in</strong>cipally to three<br />
dest<strong>in</strong>ations: France, Morocco <strong>and</strong> Senegal.<br />
However, exchange with Mali, Tunisia <strong>and</strong> Egypt<br />
has become more common <strong>in</strong> recent years. <strong>Art</strong>ists<br />
are drawn to Tunisia for its theatre scene, while<br />
Casablanca <strong>and</strong> Dakar’s dynamic music scenes<br />
attract contemporary Mauritanian musicians.<br />
Despite long distances, artists travel to<br />
Dakar, Bamako <strong>and</strong> Banjul by car. Most flight<br />
connections are to Dakar <strong>and</strong> Casablanca, but<br />
TunisAir now also connects Nouakchott to Tunis.<br />
Filmmaker Hamed<strong>in</strong>e Kane participated <strong>in</strong><br />
Kaw-Kaw residency at Le18 <strong>in</strong> Marrakech.<br />
Poet, journalist <strong>and</strong> filmmaker Mohamed<br />
Idoumou has visited roughly 38 countries,<br />
<strong>in</strong>clud<strong>in</strong>g meet<strong>in</strong>gs across <strong>North</strong> <strong>Africa</strong>.<br />
—<br />
QUOTE:<br />
« The M<strong>in</strong>istry of Culture organizes a festival<br />
<strong>in</strong> each of the 4 historic cities; those are the<br />
events that are the best funded by banks,<br />
cooperation <strong>in</strong>stitutes <strong>and</strong> local companies, but<br />
they’re very poorly organized. They are made<br />
for the President to give a speech; they br<strong>in</strong>g big<br />
artists from the Arab world who don’t necessarily<br />
need to travel »<br />
Mohamed Idoumou<br />
Poet, journalist, documentary filmmaker<br />
<strong>and</strong> cultural operator, Maison du c<strong>in</strong>éma de<br />
Nouakchott*<br />
—
72<br />
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Mohamed Idoumou performs a poem on the<br />
theme of fly<strong>in</strong>g, <strong>in</strong> collaboration with a dancer<br />
colleague <strong>in</strong> Leipzig, Germany.<br />
Photo courtesy of Mohamed Idoumou
73<br />
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—<br />
M<br />
A<br />
U<br />
R<br />
I<br />
T<br />
A<br />
N<br />
I<br />
A<br />
—
74<br />
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—<br />
FUNDING<br />
—<br />
The M<strong>in</strong>istry of Culture is said to offer fund<strong>in</strong>g, but<br />
procedures <strong>and</strong> budgets are not clear <strong>and</strong> funds<br />
are poorly organized. <strong>Art</strong>ists reportedly depend<br />
heavily on cooperation <strong>in</strong>stitutes, embassies <strong>and</strong><br />
festival <strong>in</strong>vitations to travel. Mauritanians are very<br />
little represented <strong>in</strong> AMA’s statistics, as <strong>in</strong> those<br />
of other funds <strong>in</strong> the region.<br />
—<br />
IMPEDIMENTS<br />
—<br />
Isolation: high costs of travel <strong>and</strong> lack of<br />
fund<strong>in</strong>g<br />
· Flight costs to / from Nouakchott are high.<br />
· Mauritanian cultural actors are not well connected<br />
to fund<strong>in</strong>g organizations. Conversely,<br />
<strong>in</strong>ternational fund<strong>in</strong>g organizations have so<br />
far not made efforts to bolster mobility of<br />
Mauritanian cultural actors.<br />
· While Mauritanians are technically eligible for<br />
all major funds (AFAC, al-Mawred al-Thaqafy,<br />
RCF), its ambiguous status between <strong>North</strong> <strong>and</strong><br />
West <strong>Africa</strong> may feed (potentially unconscious)<br />
exclusion from Arab / MENA-oriented <strong>in</strong>itiatives.<br />
· The M<strong>in</strong>istry of Culture does not support travel<br />
of cultural actors.<br />
—<br />
M<br />
A<br />
U<br />
R<br />
I<br />
T<br />
A<br />
N<br />
I<br />
A<br />
—<br />
Algeria have done a disservice to its relations<br />
with Morocco, mak<strong>in</strong>g visas to the<br />
K<strong>in</strong>gdom more difficult to obta<strong>in</strong>.<br />
Language<br />
· Not all Mauritanians speak English or French<br />
sufficiently to fill <strong>in</strong> fund<strong>in</strong>g applications<br />
<strong>in</strong> those languages <strong>and</strong> as such may feel<br />
<strong>in</strong>timidated.<br />
Lack of professionalization<br />
· Opportunities for professional artistic tra<strong>in</strong><strong>in</strong>g<br />
<strong>and</strong> development are virtually nil <strong>in</strong> Mauritania.<br />
As such, artists do not necessarily<br />
have the skills or knowledge to search for<br />
fund<strong>in</strong>g, f<strong>in</strong>ance their careers, etc.<br />
They want to travel but they are stuck <strong>in</strong>side<br />
the country <strong>–</strong> they don’t underst<strong>and</strong> cultural<br />
management. <strong>–</strong> Atigh Ould, founder <strong>and</strong> director<br />
of Festival Nomade, Nouakchott / Montreal*<br />
Visas<br />
· Mauritanian cultural actors must travel to Dakar<br />
to get visas to countries that do not have a<br />
diplomatic representation <strong>in</strong> Nouakchott.<br />
Many young people want to attend events <strong>in</strong> Europe<br />
<strong>and</strong> the USA; but it takes time, <strong>and</strong> if you don’t know<br />
the ambassador, it takes months. Even Morocco<br />
<strong>and</strong> Egypt are start<strong>in</strong>g to get complicated as well. <strong>–</strong><br />
Mohamed Idoumou, Poet, journalist, documentary<br />
filmmaker <strong>and</strong> cultural operator, Maison du<br />
c<strong>in</strong>éma de Nouakchott*<br />
· Mauritania’s neutral stance on the Western<br />
Sahara issue <strong>and</strong> diplomatic relations with
75<br />
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4. 5<br />
Morocco<br />
—<br />
QUOTE:<br />
« Everyone knows it:<br />
there’s <strong>in</strong>credible potential <strong>in</strong> <strong>Africa</strong>.<br />
Morocco is try<strong>in</strong>g to be a leader <strong>in</strong><br />
pro-<strong>Africa</strong>n development. All our<br />
banks, all our construction companies<br />
are <strong>in</strong>vest<strong>in</strong>g <strong>in</strong> <strong>Africa</strong>, especially West<br />
<strong>Africa</strong>. The k<strong>in</strong>g has a pro-<strong>Africa</strong>n<br />
stance. There have been important<br />
regularization campaigns [for<br />
migrants from the South], as long as<br />
Europe isn’t apply<strong>in</strong>g pressure. »<br />
Am<strong>in</strong>a Mourid<br />
Cultural operator, co-founder, Atelier<br />
Kissaria & Th<strong>in</strong>k Tanger*<br />
—<br />
FAST FACTS<br />
Population 35.74 million (World Bank, 2017)<br />
Surface area<br />
Capital<br />
Large cities<br />
Languages<br />
710.085 km²<br />
Rabat<br />
Casablanca; Fès; Tangiers; Marrakech; Salé;<br />
Meknès ; Oujda; Kenitra; Agadir<br />
Modern St<strong>and</strong>ard Arabic <strong>and</strong> Tamazight<br />
(official)<br />
Moroccan darija (spoken); French<br />
Diall<strong>in</strong>g code +212<br />
Currency<br />
Ma<strong>in</strong> <strong>in</strong>ternational<br />
airports<br />
Rail network<br />
Visa requirements<br />
for <strong>Africa</strong>ns to enter<br />
Morocco<br />
<strong>Africa</strong>n countries’<br />
visa requirements for<br />
Moroccan nationals<br />
Moroccan dirham<br />
Casablanca <strong>–</strong> Mohammed V International<br />
Airport<br />
Marrakech Menara International Airport<br />
Agadir Al Massira International Airport<br />
Tangiers Ibn Battuta International Airport<br />
Office National des Chem<strong>in</strong>s de Fer (ONCF);<br />
2067 km<br />
Visa-free access for nationals of Algeria,<br />
Tunisia, Gabon, Ivory Coast, Niger <strong>and</strong><br />
Senegal<br />
Electronic travel authorization required<br />
for nationals of Gu<strong>in</strong>ea, Mali <strong>and</strong> Republic<br />
of Congo<br />
Visa required for all other nationalites<br />
Visa-free access: Mali, Niger, Senegal,<br />
Gambia, Ben<strong>in</strong>, Côte d’Ivoire, Gabon, Mali,<br />
Seychelles <strong>and</strong> São Tomé<br />
e-Visa: Angola, Djibouti, Ethiopia,<br />
Gu<strong>in</strong>ea-Bissau, Kenya, Lesotho, Tanzania,<br />
Ug<strong>and</strong>a, Zambia <strong>and</strong> Zimbabwe.<br />
Visa on arrival: Comoros, Madagascar, Mauritania,<br />
Mauritius, Mozambique, Republic of<br />
Congo, Somalia <strong>and</strong> Togo
76<br />
Country-Specific Information<br />
—<br />
GENERAL INFORMATION<br />
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Located on the northwestern edge of <strong>Africa</strong>,<br />
Morocco has been <strong>in</strong>habited by Amazigh tribes<br />
for as long as there are written records. After Arabization,<br />
it was the only northwest <strong>Africa</strong>n country<br />
to avoid Ottoman occupation. The Alaouite<br />
dynasty, which rules to this day, seized power <strong>in</strong><br />
1631. In 1912, Morocco was divided <strong>in</strong>to French<br />
<strong>and</strong> Spanish protectorates, with the French tak<strong>in</strong>g<br />
the majority of the territory <strong>and</strong> <strong>in</strong>stitut<strong>in</strong>g a<br />
system of acculturation, namely via the school<strong>in</strong>g<br />
system <strong>and</strong> adm<strong>in</strong>istration. Morocco rega<strong>in</strong>ed<br />
its <strong>in</strong>dependence <strong>in</strong> 1956.<br />
Morocco is a constitutional monarchy<br />
with an elected parliament. The K<strong>in</strong>g of Morocco<br />
holds vast executive <strong>and</strong> legislative powers.<br />
While Morocco has been relatively stable s<strong>in</strong>ce<br />
<strong>in</strong>dependence, its recent history has been marked<br />
by economic <strong>and</strong> social crises, which erupted<br />
<strong>in</strong> the 2011 movements. Jo<strong>in</strong><strong>in</strong>g <strong>in</strong> the chorus<br />
of revolution to the East, Moroccans called<br />
for greater social justice, freedom <strong>and</strong> dignity.<br />
K<strong>in</strong>g Mohamed VI responded by shift<strong>in</strong>g some<br />
authority to the legislature <strong>and</strong> pass<strong>in</strong>g a new<br />
Constitution. However, these moves have been<br />
criticized as cosmetic more than structural: the<br />
K<strong>in</strong>g ma<strong>in</strong>ta<strong>in</strong>s dom<strong>in</strong>ance through a comb<strong>in</strong>ation<br />
of formal powers <strong>and</strong> <strong>in</strong>formal l<strong>in</strong>es of <strong>in</strong>fluence<br />
<strong>in</strong> state <strong>and</strong> society, <strong>and</strong> most m<strong>in</strong>istries are run<br />
by technocrats loyal to the monarchy.<br />
In the last 5 <strong>–</strong> 6 years, Morocco has <strong>in</strong>vested<br />
considerably <strong>in</strong> economic <strong>and</strong> commercial<br />
ties with <strong>Africa</strong>n countries across the cont<strong>in</strong>ent.<br />
It re<strong>in</strong>tegrated the <strong>Africa</strong>n Union <strong>in</strong> 2017 <strong>and</strong> has<br />
asked for membership <strong>in</strong> the Economic Community<br />
of West <strong>Africa</strong>n States. It has <strong>in</strong>vested<br />
considerably <strong>in</strong> flight connections with <strong>Africa</strong><br />
via the ma<strong>in</strong> carrier, Royal Air Maroc. In 2015,<br />
42% of trade was with Sub-Saharan <strong>Africa</strong>n<br />
countries, most <strong>in</strong> West <strong>Africa</strong>. Morocco had 13<br />
<strong>in</strong>tra-<strong>Africa</strong>n <strong>in</strong>vestments, mostly <strong>in</strong> bank<strong>in</strong>g <strong>and</strong><br />
telecommunications. Attijariwafa Bank Group<br />
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operates <strong>in</strong> 10 Sub-Saharan <strong>Africa</strong>n countries;<br />
Banque Maroca<strong>in</strong>e du Commerce Exterieur has<br />
18 country operations. Last year, the K<strong>in</strong>g went<br />
on official state visit to East <strong>Africa</strong>, with his usual<br />
entourage of bus<strong>in</strong>essmen, signall<strong>in</strong>g a desire<br />
to exp<strong>and</strong> his reach beyond areas of culturall<strong>in</strong>guistic<br />
connection.<br />
It should f<strong>in</strong>ally be noted that Morocco<br />
has taken on a leadership role on migration. It<br />
is a member of the International Organization<br />
for Migration, was co-president of the Global<br />
Forum of Migration <strong>in</strong> 2018 <strong>and</strong> may be the seat<br />
of an <strong>Africa</strong>n Migration Observatory for the EU.<br />
Morocco is mak<strong>in</strong>g efforts to regularize immigrants<br />
arriv<strong>in</strong>g <strong>in</strong> the country, thereby comply<strong>in</strong>g<br />
with European wishes to curb travel on the<br />
Mediterranean. While endear<strong>in</strong>g Morocco to the<br />
EU, this approach also serves diplomatic objectives<br />
with <strong>Africa</strong>n countries <strong>and</strong> contributes to<br />
exist<strong>in</strong>g efforts to portray Morocco as a tolerant<br />
society (Malka, 2018).<br />
—<br />
QUOTE:<br />
« To this day, there hasn’t been<br />
any dialogue between the M<strong>in</strong>istry<br />
of Culture <strong>and</strong> cultural actors.<br />
And when I look at the results of the<br />
M<strong>in</strong>istry’s calls for applications,<br />
the beneficiaries do not reflect<br />
the dynamism of the cultural<br />
scene. »<br />
Bouchra Salih<br />
Independent cultural operator <strong>and</strong><br />
designer,<br />
Rabat*<br />
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77<br />
Country-Specific Information<br />
—<br />
ARTS AND CULTURE SECTOR<br />
—<br />
Morocco’s artistic sector is dynamic, diverse<br />
<strong>and</strong> grow<strong>in</strong>g, despite an array of challenges. It<br />
is the strongest <strong>in</strong> the region <strong>in</strong> terms of local<br />
activity <strong>and</strong> <strong>in</strong>ternational exchange. Indeed,<br />
Morocco is emerg<strong>in</strong>g as an arts hub on the cont<strong>in</strong>ent.<br />
It namely boasts a strong festival culture,<br />
epitomized by major events such as Mawaz<strong>in</strong>e<br />
Festival (dubbed the “K<strong>in</strong>g Mohamed VI Festival”)<br />
<strong>and</strong> Marrakech International Film Festival.<br />
Independent <strong>in</strong>itiatives such as Visa for Music <strong>and</strong><br />
On Marche! are br<strong>in</strong>g<strong>in</strong>g contemporary creation<br />
to new audiences.<br />
Created <strong>in</strong> 2002, the M<strong>in</strong>istry of Culture is<br />
the government authority responsible for culture.<br />
Centralization is fairly strong, with more than ¼<br />
of cultural structures concentrated <strong>in</strong> Casablanca<br />
<strong>and</strong> an additional 10% <strong>in</strong> Rabat (Benslimane,<br />
2014). However, important events are present<br />
across the country, namely <strong>in</strong> Marrakech <strong>and</strong><br />
Tangiers, which are becom<strong>in</strong>g important cultural<br />
hubs, as well as <strong>in</strong> cities such as Agadir.<br />
The <strong>in</strong>dependent arts sector is active<br />
<strong>in</strong> all artistic fields, with strong recent developments<br />
<strong>in</strong> contemporary music, dance <strong>and</strong> visual<br />
arts <strong>in</strong> particular. Independent art galleries are<br />
flourish<strong>in</strong>g, festivals are popp<strong>in</strong>g up <strong>and</strong> launch<strong>in</strong>g<br />
careers, <strong>and</strong> centres such as l’Uz<strong>in</strong>e, EAC<br />
Boul’vart, Le18, Tabadoul (<strong>and</strong> many more) are<br />
catalyz<strong>in</strong>g creation by the young generations.<br />
The private sector is bolster<strong>in</strong>g creation, with<br />
Foundations such as HIBA <strong>and</strong> Touria et Abdelaziz<br />
Tazi play<strong>in</strong>g an <strong>in</strong>creas<strong>in</strong>gly active role <strong>in</strong><br />
the sector.<br />
Foreign cultural centres are present across<br />
the country <strong>and</strong> have played a significant role <strong>in</strong><br />
dissem<strong>in</strong>ation <strong>and</strong> tra<strong>in</strong><strong>in</strong>g. They do not provide<br />
structural support. The Institut Français is by<br />
far the most present <strong>and</strong> active. It is followed<br />
by the Instituto Cervantes, which has centres <strong>in</strong><br />
Casablanca, Rabat, Tangiers, Fès <strong>and</strong> Tétouan;<br />
the British Council; the American cultural centre;<br />
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the Goethe Institut; the Italian cultural <strong>in</strong>stitute<br />
<strong>and</strong> the Russian cultural <strong>in</strong>stitute. There is additionally<br />
an Egyptian cultural centre <strong>in</strong> Rabat.<br />
—<br />
FUNDING<br />
—<br />
Public adm<strong>in</strong>istration<br />
The M<strong>in</strong>istry of Culture can receive applications<br />
for fund<strong>in</strong>g for <strong>in</strong>dividual / group projects.<br />
However, respondents deplored the opacity of<br />
fund<strong>in</strong>g procedures, the nepotism of fund<strong>in</strong>g, the<br />
lack of openness to artists <strong>and</strong> cultural operators<br />
<strong>and</strong> the lack of professionalism <strong>in</strong> the offices.<br />
Bilateral cooperation <strong>in</strong>stitutes<br />
With 12 centres across the country <strong>–</strong> the largest<br />
number <strong>in</strong> any s<strong>in</strong>gle country <strong>–</strong> the Institut Français<br />
rema<strong>in</strong>s a strong reference po<strong>in</strong>t for fund<strong>in</strong>g<br />
for mobility projects. However, disillusionment<br />
is grow<strong>in</strong>g among cultural actors due to the<br />
Institut’s shr<strong>in</strong>k<strong>in</strong>g budgets, lack of structural<br />
funds <strong>in</strong> favour of meager project-based funds,<br />
bureaucracy, slow procedures, <strong>and</strong> paternalist<br />
attitudes. The Institut Cervantes does not provide<br />
fund<strong>in</strong>g for cultural projects. The Goethe<br />
<strong>and</strong> the British Council may provide funds on<br />
a project basis.<br />
Civil society organizations<br />
A notable funder <strong>in</strong> Morocco is Association<br />
Afrikayna, which has been deliver<strong>in</strong>g fund<strong>in</strong>g<br />
for mobility projects connect<strong>in</strong>g Morocco <strong>and</strong><br />
<strong>Africa</strong> through <strong>Africa</strong> <strong>Art</strong> L<strong>in</strong>es. The fund has<br />
supported more than 95 projects s<strong>in</strong>ce its <strong>in</strong>ception<br />
<strong>in</strong> 2016. They also organize masterclasses<br />
with prom<strong>in</strong>ent artists from other <strong>Africa</strong>n regions<br />
as well as a library of <strong>Africa</strong>n <strong>in</strong>struments.<br />
Respondents univocally praised the fund for<br />
its efficiency <strong>and</strong> flexibility, <strong>and</strong> for open<strong>in</strong>g up<br />
valuable opportunities across the cont<strong>in</strong>ent.
78<br />
Country-Specific Information<br />
Compagnie O performs Ottof, choreographed <strong>and</strong><br />
directed by Bouchra Ouizguen.<br />
Photo courtesy of Hasnae El Ouarga | Compagnie O
79<br />
Country-Specific Information<br />
—<br />
QUOTE:<br />
« [At Afrikayna,] we work with<br />
professionnals from Morocco, Mali,<br />
Senegal, to br<strong>in</strong>g up questions, issues we<br />
have <strong>in</strong> common, <strong>and</strong> to highlight our<br />
common heritage, but here <strong>in</strong> Morocco.<br />
This work is open<strong>in</strong>g people’s m<strong>in</strong>ds;<br />
it’s piqu<strong>in</strong>g their curiosity <strong>and</strong> open<strong>in</strong>g<br />
perspectives. We’re very happy to see<br />
that more <strong>and</strong> more artists are com<strong>in</strong>g to<br />
see us because they want to discover the<br />
other <strong>Africa</strong>n cultures <strong>and</strong> artistic scenes<br />
or go perform <strong>in</strong> another part of the<br />
cont<strong>in</strong>ent. »<br />
Ghita Khaldi<br />
Director of Afrikayna,<br />
Casablanca*<br />
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MOBILITY TO/FROM MOROCCO<br />
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Morocco’s mobility channels are determ<strong>in</strong>ed<br />
ma<strong>in</strong>ly by its geographic position<strong>in</strong>g <strong>and</strong> diplomatic<br />
ties. At the <strong>North</strong>-West corner of <strong>Africa</strong>,<br />
Morocco is at the juncture of <strong>North</strong> <strong>Africa</strong> <strong>and</strong><br />
West <strong>Africa</strong>, <strong>and</strong> at the doors of Europe.<br />
Until recently, it was Europe that drew<br />
Moroccan artists most eagerly, especially neighbour<strong>in</strong>g<br />
Spa<strong>in</strong>, for its geographical proximity<br />
<strong>and</strong> historical ties, <strong>and</strong> France, which reta<strong>in</strong>s an<br />
important place <strong>in</strong> Moroccan society. However,<br />
the drastic restrictions placed on visas for Moroccan<br />
citizens have reconfigured young Moroccans’<br />
travel perspectives. In t<strong>and</strong>em with the<br />
clos<strong>in</strong>g of Europe, the Arab Spr<strong>in</strong>g has brought<br />
a refreshed sense of solidarity <strong>and</strong> curiosity toward<br />
other countries <strong>in</strong> the Maghreb <strong>and</strong> Arab<br />
world. Respondents reported that the desire to<br />
travel East <strong>and</strong> South is gett<strong>in</strong>g as strong, if not<br />
stronger, than the typical desire to travel <strong>North</strong>.<br />
In <strong>North</strong> <strong>Africa</strong>, exchange with Tunisia<br />
is most active, facilitated by visa-free travel<br />
between the two countries <strong>and</strong> the wealth of<br />
cultural activity <strong>in</strong> both. Ties with Algeria are<br />
more complex due to the closed border <strong>and</strong><br />
high cost of air travel. Several respondents expressed<br />
frustration <strong>in</strong> this regard. Morocco has<br />
close ties to West <strong>Africa</strong>, especially Senegal but<br />
also Mauritania, Côte d’Ivoire, Burk<strong>in</strong>a Faso <strong>and</strong><br />
Niger. These connections have been explored<br />
by practitioners <strong>in</strong> all fields, most prom<strong>in</strong>ently<br />
<strong>in</strong> music, where Gnawa music has <strong>in</strong>spired a<br />
wealth of musical exchanges <strong>and</strong> festivals across<br />
borders. Essaouira’s Gnawa Music Festival is<br />
one of the major events on the music calendar.<br />
One of the most significant developments<br />
<strong>in</strong> mobility to / from Morocco is the extensive development<br />
of Royal Air Maroc’s network <strong>in</strong> recent<br />
years, with a hub <strong>in</strong> Casablanca. The company<br />
is now second only to Ethiopian Airl<strong>in</strong>es <strong>in</strong> terms<br />
of coverage on the cont<strong>in</strong>ent <strong>and</strong> is pois<strong>in</strong>g itself<br />
for greater growth, <strong>in</strong> l<strong>in</strong>e with Morocco’s policy<br />
of economic overtures to <strong>Africa</strong>.<br />
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QUOTE:<br />
« It’s time to turn our eyes from<br />
Europe to <strong>Africa</strong>. We learn from Europe,<br />
but we learn more from <strong>Africa</strong>.<br />
There’s an attitude that seems to<br />
say “We know but they don’t.” We<br />
have to see <strong>and</strong> value ourselves<br />
as <strong>Africa</strong>ns. »<br />
Hosni Almoukhlis<br />
Theatre practitioner, founder<br />
<strong>and</strong> artistic director, Théâtre de<br />
l’Opprimé,<br />
Casablanca*<br />
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QUOTE:<br />
« We wondered what had<br />
happened to the question of the<br />
Greater Maghreb, which seemed<br />
to have somewhat disappeared,<br />
which was raised <strong>in</strong> the 1990s<br />
but stayed more or less on paper<br />
without be<strong>in</strong>g reactivated. We<br />
wondered how culture could<br />
compensate for the lacks that are<br />
part of today’s reality. »<br />
Laila Hida<br />
Photographer, co-founder,<br />
Le18 derb el ferrane,<br />
Marrakech*<br />
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81<br />
Country-Specific Information<br />
Examples of mobility projects<br />
HOSNI ALMOUKHLIS<br />
L’UZINE<br />
RENCONTRES<br />
CHORÉGRAPHIQUES<br />
DE CASABLANCA<br />
KAW-KAW<br />
BODA-BODA LOUNGE<br />
Theatre practitioner Hosni Almoukhlis, head of<br />
Théâtre de l’Opprimé <strong>in</strong> Casablanca, has travelled<br />
to several West <strong>Africa</strong>n countries for tra<strong>in</strong><strong>in</strong>gs<br />
<strong>and</strong> festivals. In 2018, he organized the first<br />
Rencontres africa<strong>in</strong>es de théâtre social, with<br />
artists from Senegal, Egypt <strong>and</strong> Tunisia <strong>in</strong>vited<br />
to Casablanca (an artist from Gu<strong>in</strong>ea-Bissau was<br />
not able to attend due to a visa refusal).<br />
Casablanca cultural centre L’Uz<strong>in</strong>e has hosted<br />
a number of events that spotlight <strong>Africa</strong>n creative<br />
scenes. The annual <strong>and</strong> multidiscipl<strong>in</strong>ary<br />
Harambee Days showcases art from across the<br />
cont<strong>in</strong>ent, with live performances <strong>and</strong> exhibitions.<br />
In 2018, l’Uz<strong>in</strong>e organized Casalgéria <strong>in</strong><br />
collaboration with Algiers’ Brokkart to spotlight<br />
contemporary Algerian photography, design, film,<br />
music <strong>and</strong> visual arts.<br />
The 2019 edition of the Rencontres chorégraphiques<br />
de Casablanca, organized by Compagnie<br />
Col’jam, will have a spotlight on <strong>Africa</strong>n<br />
dance. In 2020, Marrakech’s Festival On Marche!,<br />
run by Compagnie Anania, will host the Biennale<br />
of <strong>Africa</strong>n dance.<br />
In 2013, Marrakech’s Le18 <strong>in</strong>itiated a project<br />
named Kaw-kaw which aimed to reactivate the<br />
political question of the Greater Maghreb. The<br />
project <strong>in</strong>cluded a 2-month residency, which<br />
brought together one artist from each of the<br />
countries, as well as an exhibition <strong>and</strong> a cycle of<br />
presentations by scholars, curators <strong>and</strong> artists.<br />
In 2018, Tangiers’ Mahal <strong>Art</strong> Space was the<br />
first Moroccan arts space to host the annual<br />
Boda-Boda Lounge, a 3-day, transnational video<br />
festival <strong>in</strong> which a selection of video art pieces<br />
by <strong>Africa</strong>n <strong>and</strong> diasporan artists are screened<br />
simultaneously <strong>in</strong> ten spaces across the cont<strong>in</strong>ent.
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IMPEDIMENTS<br />
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Visas<br />
· Several respondents noted the dramatic difficulty<br />
of obta<strong>in</strong><strong>in</strong>g visas to Schengen Europe:<br />
long process<strong>in</strong>g times, bureaucratic dem<strong>and</strong>s,<br />
frequent refusals <strong>and</strong>, <strong>in</strong> the event that the<br />
visa is granted, it is often for a pitifully short<br />
number of days.<br />
· Travel times to embassies <strong>in</strong> Rabat were also<br />
noted as a reason for frustration.<br />
· Travel to Egypt was noted as a grow<strong>in</strong>g area<br />
of difficulty.<br />
It’s become very difficult for young artists to enter<br />
Schengen Europe. Th<strong>in</strong>gs miraculously get much<br />
simpler when their artistic project is backed by<br />
a European state <strong>in</strong>stitution or when that <strong>in</strong>stitution<br />
takes ownership of the project. <strong>–</strong> Maria Daïf,<br />
<strong>in</strong>dependent cultural operator, Casablanca*<br />
Morocco / Algeria (see Algeria section)<br />
Neocolonialism / paternalism<br />
· Several respondents expressed the wish to<br />
have mobility opportunities outside of Europe,<br />
<strong>in</strong> light of old colonial/paternalistic relationships<br />
between France <strong>and</strong> Morocco <strong>and</strong> especially<br />
<strong>in</strong> light of their exacerbation <strong>in</strong> the form of visa<br />
policy.<br />
There is the legacy of colonialism <strong>–</strong> especially<br />
French <strong>–</strong> that we’d like to detach from. For example,<br />
the Moroccan adm<strong>in</strong>istrative system is<br />
partly modelled on the French system. We’d like<br />
to create our own models of development, our<br />
own way of do<strong>in</strong>g th<strong>in</strong>gs that fits our local reality. <strong>–</strong><br />
Am<strong>in</strong>a Mourid, Cultural operator, co-founder,<br />
Atelier Kissaria & Th<strong>in</strong>k Tanger*<br />
Geographic isolation<br />
· Several respondents noted Morocco’s geographical<br />
isolation as an impediment to mobility:<br />
with the Algerian border closed <strong>and</strong> the<br />
gates of Europe blocked to the <strong>North</strong>, Morocco<br />
is enclaved. To the South, Morocco controls<br />
the border with the portion of Western Sahara<br />
that is under Moroccan occupation.<br />
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· Morocco’s distance from the Middle East disconnects<br />
it from the lively scene <strong>and</strong> networks<br />
operat<strong>in</strong>g <strong>in</strong> hubs such as Beirut, Amman,<br />
Ramallah <strong>and</strong> Cairo.<br />
Restrictions on freedom of expression<br />
· Civil society associations are active but rema<strong>in</strong><br />
subject to legal harassment, travel restrictions,<br />
<strong>and</strong> other forms of repression.<br />
· For example, an important signpost was the<br />
December 26 dissolution of cultural organization<br />
Rac<strong>in</strong>es, on charges of organiz<strong>in</strong>g an<br />
activity outside its scope of action <strong>and</strong> host<strong>in</strong>g<br />
a debate that was “prejudicial to the country’s<br />
<strong>in</strong>stitutions.”<br />
Language:<br />
· Moroccan artists apply<strong>in</strong>g for fund<strong>in</strong>g may f<strong>in</strong>d<br />
themselves restricted by language barriers.<br />
There’s a l<strong>in</strong>guistic conflict when it comes to [application]<br />
forms : Classical Arabic is <strong>in</strong>timidat<strong>in</strong>g<br />
<strong>and</strong> more <strong>and</strong> more young people are reject<strong>in</strong>g<br />
French. English needs to be more present if the<br />
goal is to reach young people. <strong>–</strong> Maria Daïf*<br />
Lack of identification to <strong>Africa</strong> <strong>and</strong> racism<br />
· Moroccans have had an uneasy relationship<br />
with <strong>Africa</strong>, which can express itself <strong>in</strong> racism.<br />
Pan-Arabism somewhat squ<strong>and</strong>ered <strong>Africa</strong>n<br />
identity; it has left Moroccans with a sense of non-<br />
<strong>Africa</strong>n-ness as well as a form of self-denigration<br />
towards their own popular culture, whereas the<br />
social reality is that <strong>Africa</strong> beg<strong>in</strong>s <strong>in</strong> Tangiers <strong>and</strong><br />
ends <strong>in</strong> Cape Town. It’s really <strong>in</strong> the head that it<br />
happens. There is also the question of Berberity<br />
here, because that is what carries <strong>Africa</strong>nness.<br />
Berberity is extraord<strong>in</strong>arily diverse. It’s a huge<br />
subject. <strong>–</strong> Hicham Bahou, Co-director of EAC-<br />
L’Boulvard, Casablanca*<br />
Morocco’s migratory policy is geared at <strong>in</strong>tegration;<br />
it is tak<strong>in</strong>g <strong>in</strong> refugees, people <strong>in</strong> transit,<br />
who are flee<strong>in</strong>g difficult realities. Socially, it’s<br />
creat<strong>in</strong>g a lot of <strong>in</strong>comprehension, question<strong>in</strong>g,<br />
<strong>in</strong> which culture is not play<strong>in</strong>g the role it should.<br />
Culture is supposed to be the cement for all<br />
these populations: we’re completely <strong>Africa</strong>n <strong>in</strong><br />
our musical <strong>and</strong> cultural heritage. <strong>–</strong> Ghita Kaldi,<br />
Director of Afrikayna, Casablanca*
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4. 5<br />
Tunisia<br />
—<br />
QUOTE:<br />
« For a long time, the dictatorship <strong>and</strong> the very idea of<br />
the constitution of a modern Tunisian state made a po<strong>in</strong>t<br />
of sell<strong>in</strong>g us this fantasy of “Tunisianity,” which would<br />
have us be one homogeneous group.<br />
[… ]<br />
—<br />
FAST FACTS<br />
Population 11.52 million (CIA Factbook, 2017)<br />
Surface area<br />
Capital<br />
Large cities<br />
Languages<br />
165.000 km²<br />
Tunis<br />
Sfax, Sousse, Kairouan, Bizerte, Gabès<br />
Modern St<strong>and</strong>ard Arabic (official)<br />
Tamazight; Tunisian Arabic; French<br />
Diall<strong>in</strong>g code +216<br />
Currency<br />
Ma<strong>in</strong> <strong>in</strong>ternational<br />
airports<br />
Rail network<br />
Visa requirements<br />
for <strong>Africa</strong>ns to enter<br />
Tunisia<br />
<strong>Africa</strong>n countries’<br />
visa requirements for<br />
Tunisian nationals<br />
Tunisian d<strong>in</strong>ar<br />
Tunis Carthage International Airport<br />
Enfidha Hammamet International Airport<br />
Monastir Habib Bourguiba International<br />
Airprort<br />
Société Nationale des Chem<strong>in</strong>s de<br />
Fer Tunisiens ; 2150 km<br />
Visa-free access for nationals of Algeria, Libya,<br />
Mauritania, Morocco; Angola, Ben<strong>in</strong>, Burk<strong>in</strong>a<br />
Faso, Cabo Verde, Comoros, Equatorial<br />
Gu<strong>in</strong>ea, Gabon, Gambia, Gu<strong>in</strong>ea, Gu<strong>in</strong>ea<br />
Bissau, Ivory Coast, Mali, Mauritius, Namibia,<br />
Niver, Senegal, South <strong>Africa</strong><br />
Visa required for all other nationalities<br />
Visa-free access: Gu<strong>in</strong>ea, Ivory Coast,<br />
Mauritania, Mali, Niger, Senegal <strong>and</strong> Ben<strong>in</strong><br />
Visa on arrival: Cabo-Verde, Comoros,<br />
Djibouti, Ethiopia, Gu<strong>in</strong>ea-Bissau, Kenya,<br />
Lesotho, Madagascar, Mozambique, Rw<strong>and</strong>a,<br />
São Tomé <strong>and</strong> Pr<strong>in</strong>cipe, Seychelles, Somalia,<br />
Tanzania, Ug<strong>and</strong>a, Zambia <strong>and</strong> Zimbabwe
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—<br />
GENERAL INFORMATION<br />
—<br />
Tunisia is both the smallest <strong>and</strong> the northernmost<br />
country of <strong>North</strong> <strong>Africa</strong>, with a long history as<br />
a meet<strong>in</strong>g po<strong>in</strong>t of cultures <strong>and</strong> civilizations.<br />
Its first <strong>in</strong>habitants are the Amazigh. S<strong>in</strong>ce the<br />
12th century BC, it has known several waves of<br />
occupation <strong>and</strong> immigration, beg<strong>in</strong>n<strong>in</strong>g with the<br />
Phoenicians <strong>and</strong> followed by the Romans, the<br />
Muslims, the Ottomans <strong>and</strong> the French. Tunisia<br />
became <strong>in</strong>dependent <strong>in</strong> 1956.<br />
The country’s recent history has been<br />
profoundly shaped by the Revolution of 2011, an<br />
<strong>in</strong>tensive campaign of civil protest <strong>and</strong> resistance<br />
that led to the resignation <strong>and</strong> flight of dictator<br />
Z<strong>in</strong>e El Abid<strong>in</strong>e Ben Ali <strong>in</strong> 2011 <strong>and</strong> the <strong>in</strong>stitution<br />
of free elections <strong>in</strong> 2014. The self-immolation of<br />
Tarek el-Tayeb Mohamed Bouazizi <strong>in</strong> Sidi Bouizid<br />
on December 17, 2010 is widely regarded as<br />
the spark for the region-wide wave of protests<br />
referred to as the Arab Spr<strong>in</strong>g.<br />
Today, Tunisia is a unitary semi-presidential<br />
representative democratic republic. S<strong>in</strong>ce <strong>in</strong>dependence,<br />
Tunisia has had a policy of cultivat<strong>in</strong>g<br />
close foreign relations with Europe, <strong>in</strong> particular<br />
with France <strong>and</strong> Italy. Today, the European Union<br />
is Tunisia’s first trad<strong>in</strong>g partner <strong>and</strong> conversely,<br />
Tunisia is one of the EU’s top trad<strong>in</strong>g partners <strong>in</strong><br />
the region. Tunisia is <strong>in</strong>cluded <strong>in</strong> the European<br />
Union’s European Neighbourhood Policy (ENP),<br />
which aims at br<strong>in</strong>g<strong>in</strong>g the EU <strong>and</strong> its neighbours<br />
closer. It has been favoured by European external<br />
cooperation <strong>in</strong>itiatives <strong>in</strong> (<strong>North</strong>) <strong>Africa</strong> s<strong>in</strong>ce<br />
2011, namely <strong>in</strong> the field of culture (see below).<br />
Tunisia has also played an active role <strong>in</strong><br />
<strong>Africa</strong>n <strong>and</strong> regional organizations. It is a member<br />
of the Arab Maghreb Union, the Arab League<br />
<strong>and</strong> the <strong>Africa</strong>n Union (among other <strong>in</strong>ternational<br />
bodies). Diplomatic relations with fellow Maghreb<br />
nations Morocco <strong>and</strong> Algeria have historically<br />
been strong. Trade is currently <strong>in</strong>creas<strong>in</strong>g with<br />
Morocco. Relations with Libya have been more<br />
erratic, but have become essential <strong>in</strong> recent<br />
years as Tunisia works to support reconciliation<br />
between oppos<strong>in</strong>g factions <strong>in</strong> Libya <strong>and</strong> keeps<br />
its borders open to Libyans.<br />
—<br />
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Before it was named Tunisia, the territory’s<br />
name was Ifriqiya (or <strong>Africa</strong>), giv<strong>in</strong>g the presentday<br />
name of the cont<strong>in</strong>ent <strong>Africa</strong>. Tunisia’s diplomatic<br />
<strong>and</strong> economic policies towards the rest<br />
of the cont<strong>in</strong>ent have been more limited than<br />
neighbour<strong>in</strong>g countries such as Morocco <strong>and</strong><br />
Algeria, although Tunisia’s M<strong>in</strong>istry of Economy<br />
recently launched an <strong>in</strong>vestment fund for <strong>Africa</strong>.<br />
—<br />
QUOTE:<br />
[…] We’re now discover<strong>in</strong>g that no, as a matter of<br />
fact, <strong>in</strong> Tunisia there are black people, there are other<br />
types of cultures, there are musical traditions, that are<br />
steeped <strong>in</strong> <strong>Africa</strong>nity. There is a grow<strong>in</strong>g consciousness<br />
around Berberity, <strong>Africa</strong>nity, that is part of this<br />
postcolonial unmoor<strong>in</strong>g. The question today is how to<br />
l<strong>in</strong>k these “identitary” constructions with economic<br />
<strong>and</strong> political considerations; how to l<strong>in</strong>k questions of<br />
belong<strong>in</strong>g to questions of class <strong>and</strong> dom<strong>in</strong>ation.<br />
Many youth want to emancipate themselves from<br />
colonial dom<strong>in</strong>ation.<br />
It seems to me that it may be important to th<strong>in</strong>k of<br />
a sort of Arab-pan-<strong>Africa</strong>nism. The colonial spirit<br />
sought to divide the “<strong>in</strong>digènes” through systems of<br />
hierarchization, but it’s important today to pay attention<br />
to what is happen<strong>in</strong>g at the l<strong>in</strong>guistic <strong>and</strong> cultural<br />
levels <strong>and</strong> to young people’s choices <strong>in</strong> their forms of<br />
expression. We shouldn’t speak <strong>in</strong> their place nor take<br />
away their voices, but listen to them. »<br />
Mariem Guellouz<br />
Dancer <strong>and</strong> researcher, Director of Les Journées<br />
chorégraphiques de Carthage,<br />
Tunis / Paris*<br />
—
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ARTS AND CULTURE SECTOR<br />
—<br />
The Tunisian cultural sector has been flourish<strong>in</strong>g<br />
s<strong>in</strong>ce 2011, with the energy of revolution <strong>and</strong><br />
the loosen<strong>in</strong>g of laws allow<strong>in</strong>g for a veritable<br />
explosion of new forms to emerge, especially<br />
<strong>in</strong> the areas of photography, dance, street art<br />
<strong>and</strong> performance.<br />
Tunisia has long boasted a strong tradition<br />
of festivals, with more than 400 amateur,<br />
semi-professional <strong>and</strong> professional festivals<br />
tak<strong>in</strong>g place yearly around the country. The most<br />
well-known are the different “Journées” tak<strong>in</strong>g<br />
place <strong>in</strong> Carthage: the Journées c<strong>in</strong>ématographiques<br />
de Carthage, the Journées théâtrales,<br />
the Journées musicales, the Journées chorégraphiques,<br />
the Journées poétiques <strong>and</strong> the<br />
Journées d’art contempora<strong>in</strong>. Even as these<br />
established festivals thrive, new <strong>in</strong>itiatives from<br />
civil society are creat<strong>in</strong>g important momentum:<br />
l’<strong>Art</strong> Rue’s Dream City has become a flagship<br />
event <strong>in</strong> the region, <strong>and</strong> other events like Interférences,<br />
Jaou (by the Kamel Lazaar Foundation)<br />
<strong>and</strong> a new festival of photography on the isl<strong>and</strong><br />
of Kerkennah are also mak<strong>in</strong>g an impact.<br />
The arts sector <strong>in</strong> Tunisia is strongly<br />
centralized <strong>in</strong> Tunis <strong>and</strong> the <strong>North</strong>, although<br />
decentralization efforts are underway. Several<br />
associations (Cité’Ness, Fanni Raghman Anni,<br />
<strong>and</strong> the Tunisian Culture Network, among others)<br />
as well as private <strong>in</strong>dividuals are work<strong>in</strong>g hard to<br />
reach rural areas of the country, although they<br />
underl<strong>in</strong>e the difficulty of such efforts given the<br />
limited government support <strong>and</strong> cost of travels.<br />
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MOBILITY TO / FROM TUNISIA<br />
—<br />
Tunis has become a hub for regional travel due to<br />
its political stability, its centrality <strong>in</strong> <strong>North</strong> <strong>Africa</strong><br />
<strong>and</strong> the relative openness of its borders. In <strong>North</strong><br />
<strong>Africa</strong>, the most active axis of exchange is with<br />
Morocco. Strong ties also exist with Algeria,<br />
namely thanks to the geographic proximity which<br />
has allowed some artists to travel by car from<br />
Alger to Tunis. However, respondents noted that<br />
the repressive context <strong>in</strong> Algeria <strong>and</strong> the limited<br />
visibility of certa<strong>in</strong> discipl<strong>in</strong>es (especially dance<br />
<strong>and</strong> theatre) has made exchange more difficult.<br />
Tunis is connected by air to most major<br />
cities <strong>in</strong> <strong>North</strong> <strong>Africa</strong>. Road travel to Algeria is<br />
possible, but travel<strong>in</strong>g to Libya by road is not<br />
advisable due to military presence at the border.<br />
A tra<strong>in</strong> l<strong>in</strong>e is due to connect Casablanca, Algiers<br />
<strong>and</strong> Tunis but the project is currently stalled.<br />
Tunisia’s visa policy is the most open of<br />
the region. However, exchange with the rest of<br />
<strong>Africa</strong> rema<strong>in</strong>s weak (see Impediments below).<br />
This is despite a strong desire for connection<br />
with the rest of the cont<strong>in</strong>ent. Until recently, travel<br />
to most <strong>Africa</strong>n dest<strong>in</strong>ations <strong>in</strong>volved fly<strong>in</strong>g via<br />
Paris. However, Tunisair has recently upgraded<br />
its connections to West <strong>Africa</strong>. Flights to other<br />
dest<strong>in</strong>ations <strong>in</strong> <strong>Africa</strong> typically go via Casablanca,<br />
at steep costs.
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L’ART RUE<br />
CENTRE ARABO-AFRICAIN DE<br />
FORMATION ET DE<br />
RECHERCHE THÉÂTRALE<br />
LAB619<br />
JISER<br />
FANNI RAGHMAN ANNI<br />
AND AL-MADINA<br />
WADI MHIRI<br />
HAFEDH ZALLIT<br />
PROJET BERKA 174<br />
LANG’ART<br />
ASSOCIATION DANSEURS<br />
CITOYENS<br />
JOURNÉES CHORÉGRAPHIQUES<br />
DE CARTHAGE<br />
Examples of mobility projects<br />
Multidiscipl<strong>in</strong>ary arts centre L’<strong>Art</strong> Rue has hosted<br />
a number of <strong>Africa</strong>n artists through its residency<br />
program, as well as through its flagship bi-annual<br />
event, Dream City (Biennale of contemporary art<br />
<strong>in</strong> public space).<br />
The Centre arabo-africa<strong>in</strong> de formation et de<br />
recherche théâtrale has tra<strong>in</strong>ed more than 367<br />
theatre practitioners <strong>in</strong> the Arab world <strong>and</strong> <strong>Africa</strong><br />
s<strong>in</strong>ce its open<strong>in</strong>g <strong>in</strong> 2001.<br />
Lab619 attended their first residency at Festival<br />
de la BD <strong>in</strong> Alger. They now have a partnership<br />
with Algerian artists.<br />
The JISER network aims to stimulate exchanges<br />
around contemporary art <strong>and</strong> research. It l<strong>in</strong>ks<br />
Algiers, Tunis <strong>and</strong> Barcelona.<br />
Tunis-based arts <strong>and</strong> cultural rights organization<br />
Fanni Raghman Anni <strong>and</strong> Al-Mad<strong>in</strong>a (Alex<strong>and</strong>ria)<br />
have a cultural exchange partnership.<br />
Visual artist Wadi Mhiri is now a co-organizer<br />
for Ségou <strong>Art</strong>s <strong>in</strong> Ségou, Mali, after attend<strong>in</strong>g<br />
several editions of the festival.<br />
Dancer/choreographer Hafedh Zallit recently led<br />
masterclasses at Karemba Studios <strong>in</strong> Bamako,<br />
Mali as part of Projet Berka 174. Named after the<br />
old slave market <strong>in</strong> Tunis’ med<strong>in</strong>a, the project<br />
aims to excavate the mémoire du lieu to br<strong>in</strong>g<br />
<strong>in</strong>to focus <strong>and</strong> <strong>in</strong>terrogate present-day questions<br />
of racism <strong>and</strong> religious, nationalist <strong>and</strong><br />
economic conflict.<br />
Lang’art arts centre <strong>and</strong> Association Danseurs<br />
Citoyens are launch<strong>in</strong>g the first Tuniso-<strong>Africa</strong>n<br />
festival of dance this year.<br />
The 2019 edition of the Journées chorégraphiques<br />
de Carthage, directed by Mariem Guellouz,<br />
had a focus on <strong>Africa</strong> <strong>and</strong> the Arab world.<br />
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Dancers Samuel Dijoulaye Coulibaly, Abdailkader Traoré, B<strong>in</strong>tou<br />
Kébé <strong>and</strong> Sylvie Kouané participate <strong>in</strong> a Masterclass led by Tunisian<br />
choreographer Hafedh Zallit at the Centre Culturel Togola de<br />
Sabalibougou <strong>in</strong> Bamako, Mali, as part of Projet Berka 174.<br />
Photo courtesy of H.PROD/Hafedh Zallit<br />
—<br />
QUOTE:<br />
« Travel means connections, friends, the chance to love<br />
music even more. In Tunis, every time I go, I get to f<strong>in</strong>d<br />
books. There are no libraries <strong>in</strong> Benghazi. From my<br />
perspective <strong>and</strong> from what I hear from the people around<br />
me, you come back as a different person every time you go,<br />
even if you go for 5 days. We need to do someth<strong>in</strong>g here to<br />
make culture the basis of change <strong>in</strong> this society. »<br />
Faraj Alsileeni<br />
drummer <strong>and</strong> Director,<br />
Tanarout, Benghazi*<br />
—
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—<br />
FUNDING FOR MOBILITY<br />
—<br />
Public adm<strong>in</strong>istration<br />
Tunisia has <strong>in</strong>vested significantly <strong>in</strong> its M<strong>in</strong>istry<br />
of Culture s<strong>in</strong>ce the Revolution. Individual artists<br />
<strong>and</strong> organizations are technically eligible to<br />
receive fund<strong>in</strong>g for projects <strong>in</strong>clud<strong>in</strong>g mobility.<br />
However, this potential fund<strong>in</strong>g source is weakened<br />
by a serious lack of transparency <strong>and</strong> poor<br />
adm<strong>in</strong>istration.<br />
In the face of poor fund<strong>in</strong>g from public<br />
adm<strong>in</strong>istration, the Tunisian <strong>in</strong>dependent sector<br />
relies substantially on <strong>in</strong>ternational funders,<br />
pr<strong>in</strong>cipally the European Union. Tunisia has been<br />
the ma<strong>in</strong> beneficiary of EU fund<strong>in</strong>g for arts <strong>and</strong><br />
culture <strong>in</strong> the Maghreb. Fund<strong>in</strong>g is <strong>in</strong>tended to<br />
support culture as a lever for democratic transition.<br />
EU fund<strong>in</strong>g is distributed through three channels:<br />
1) A partnership between the French M<strong>in</strong>istry<br />
of Culture <strong>and</strong> Tunisian M<strong>in</strong>istry of Culture;<br />
2) Tfanen <strong>–</strong> Tunisie Créative (budget of 6 million<br />
euros). Launched <strong>in</strong> 2015, Tfanen’s “Fonds<br />
d’appui à la création” can support mobility projects.<br />
F<strong>in</strong>ally, 3) as of 2018, Tunisia is a member<br />
of Creative Europe. Tunisian organizations have<br />
full eligibility to apply for fund<strong>in</strong>g through the<br />
Culture sub-programme <strong>and</strong> are partially eligible<br />
for the Media sub-programme.<br />
Bilateral cooperation<br />
Bilateral cooperation <strong>in</strong>stitutes are present <strong>in</strong> Tunis<br />
<strong>and</strong> other major cities. The Institut Français has<br />
the strongest presence, with branches <strong>in</strong> Tunis,<br />
Sousse <strong>and</strong> Sfax. The Goethe Institut is present<br />
<strong>in</strong> Tunis. Respondents noted the impact it has<br />
had via tra<strong>in</strong><strong>in</strong>g programs for cultural managers.<br />
The British Council, the Italian Institute for Culture<br />
<strong>and</strong> the Cervantes Institute are also present.<br />
Local foundations are also emerg<strong>in</strong>g<br />
to support cultural projects, with very promis<strong>in</strong>g<br />
beg<strong>in</strong>n<strong>in</strong>gs. Launched <strong>in</strong> 2015, the<br />
Fondation Rambourg is build<strong>in</strong>g up capacity to<br />
support mobility projects via several schemes:<br />
1) partnerships; 2) grants; 3) scholarships; 4)<br />
projects <strong>in</strong>itiated by the foundation. Fondation<br />
Kamel Lazaar has a grants programme for<br />
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practitioners <strong>in</strong> the fields of Visual arts, Heritage,<br />
Music <strong>and</strong> perform<strong>in</strong>g arts (theatre, dance, etc.)<br />
<strong>and</strong> Cultural <strong>and</strong> civic education.<br />
—<br />
IMPEDIMENTS<br />
—<br />
Adm<strong>in</strong>istrative<br />
· Parental permission for travel is necessary for<br />
all travellers under the age of 35 years.<br />
· Travellers leav<strong>in</strong>g Tunisia must purchase a « timbre<br />
de sortie » (exit stamp), at a cost of 30 d<strong>in</strong>ars.<br />
· Tunisians must purchase a « timbre de voyage »<br />
(traveller’s stamp), at a cost of 60 d<strong>in</strong>ars.<br />
· While small, these amounts may place an additional<br />
burden on artists who are already <strong>in</strong> a<br />
precarious f<strong>in</strong>ancial situation <strong>and</strong> may not receive<br />
coverage from <strong>in</strong>stitutions <strong>in</strong>vit<strong>in</strong>g them.<br />
Several artists were arrested at the airport <strong>and</strong><br />
missed their flight because they didn’t have the<br />
parental authorization document. <strong>–</strong> Asma Kaouech,<br />
executive director, Fanni Raghman Anni, Tunis*<br />
Currency <strong>and</strong> fund<strong>in</strong>g<br />
· The Central Bank controls all transactions <strong>in</strong> d<strong>in</strong>ars.<br />
D<strong>in</strong>ars cannot be traded outside of Tunisia.<br />
· There is a ceil<strong>in</strong>g of 6.000 d<strong>in</strong>ar (approx. 1760<br />
euros) imposed on purchases made <strong>in</strong> foreign<br />
currencies. This imposes a serious limit on the<br />
number of travels that can be made outside the<br />
country, especially consider<strong>in</strong>g the high costs of<br />
travels. Travellers must purchase tickets through<br />
a local travel agent, unless the <strong>in</strong>vit<strong>in</strong>g <strong>in</strong>stitution<br />
purchases the tickets or the traveller makes<br />
arrangements via a colleague, friend or family<br />
member outside the country.<br />
In Tunisia, we can’t buy tickets that we f<strong>in</strong>d onl<strong>in</strong>e<br />
at low prices, s<strong>in</strong>ce we have to buy them <strong>in</strong> euros,<br />
which the law prohibits. Furthermore, we get a<br />
tourists’ allowance of only 6000 d<strong>in</strong>ars per year.<br />
Consequently, if we travel 6-8 times per year, as<br />
I did last year, we have to split that sum over all<br />
the trips. We have to travel with 200 <strong>–</strong> 300 euros<br />
per trip, which is not a comfortable amount. <strong>–</strong><br />
Wadi Mhiri, visual artist, Tunis*
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· Foreign currencies can no longer be withdrawn <strong>in</strong><br />
Tunisia. As such, local organizations can no longer<br />
pay <strong>in</strong>vited artists <strong>in</strong> currencies other than d<strong>in</strong>ars.<br />
Tunisian organizations can no longer pay <strong>in</strong> euros,<br />
which means that even if we <strong>in</strong>vite an artist, we can’t<br />
pay them. Even if there are structural mobility funds<br />
that can be used to cover the artist to come to Tunisia,<br />
the problem is that the central bank no longer grants<br />
money for cultural activities. There’s a cash deficit. <strong>–</strong><br />
Béatrice Dunoyer, program director, L’<strong>Art</strong> Rue, Tunis*<br />
· The weaken<strong>in</strong>g of the d<strong>in</strong>ar is also plac<strong>in</strong>g important<br />
constra<strong>in</strong>ts on artists.<br />
Tickets with<strong>in</strong> <strong>Africa</strong> are too expensive. We can get a<br />
ticket from Tunis to Paris without any problem, but to<br />
go to Mali, it’s 1700 d<strong>in</strong>ars off the bat <strong>and</strong> the currency<br />
is <strong>in</strong> a free fall. For an artist to live, to prosper, it’s very<br />
difficult if they don’t have support for the flight or their<br />
stay. It’s very difficult for an artist to meet his/her needs. <strong>–</strong><br />
Cyr<strong>in</strong>e Gannoun, theatre actor <strong>and</strong> director, Director,<br />
Théâtre Al-Hamra/Centre arabo-africa<strong>in</strong> de formation<br />
et de recherche théâtrales, Tunis*<br />
Transport of artworks<br />
· There are restrictions on the types of goods that may<br />
be transported outside of Tunisia. <strong>Art</strong>works <strong>and</strong> heritage<br />
items cannot not be taken outside the territory<br />
without authorization from the M<strong>in</strong>istry of Culture.<br />
Visas<br />
· Several respondents noted that Tunisia’s visa policy<br />
is subject to frequent changes, which are <strong>in</strong> turn difficult<br />
to track.<br />
· Visa restrictions are gett<strong>in</strong>g tighter <strong>and</strong> tighter for<br />
travel to Europe <strong>and</strong> are grow<strong>in</strong>g with MENA countries<br />
such as Egypt <strong>and</strong> Lebanon.<br />
Lack of <strong>in</strong>frastrucure<br />
· Several artists noted that they do not have sufficient<br />
access to competent <strong>and</strong> motivated cultural operators<br />
to assist them <strong>in</strong> search<strong>in</strong>g for fund<strong>in</strong>g <strong>and</strong> prepar<strong>in</strong>g<br />
their fund<strong>in</strong>g applications.<br />
· Accord<strong>in</strong>g to Shiran Ben Abderrazak, executive director<br />
of the Fondation Rambourg, there is a strong<br />
desire for tra<strong>in</strong><strong>in</strong>g for cultural managers. To meet this<br />
dem<strong>and</strong>, the Université Tunis-Dauph<strong>in</strong>e launched a<br />
Master’s <strong>in</strong> cultural eng<strong>in</strong>eer<strong>in</strong>g this year, <strong>and</strong> the<br />
Institut des Hautes Études Commerciales-Carthage<br />
<strong>and</strong> the Fondation Rambourg are <strong>in</strong> the process of<br />
—<br />
T<br />
U<br />
N<br />
I<br />
S<br />
I<br />
A<br />
—<br />
creat<strong>in</strong>g a cont<strong>in</strong>u<strong>in</strong>g education program <strong>in</strong><br />
cultural management.<br />
Restrictions on freedom of expression<br />
· Freedom House rates Tunisia as “free”. However,<br />
control cont<strong>in</strong>ues to be exerted <strong>in</strong> covert<br />
ways, for example through the ceil<strong>in</strong>gs imposed<br />
on withdrawals of d<strong>in</strong>ars <strong>and</strong> expenses <strong>in</strong><br />
foreign currencies (see “Currency” above).<br />
The state has passed new laws on associations<br />
<strong>in</strong> an attempt to fight aga<strong>in</strong>st organizations that<br />
were launder<strong>in</strong>g money <strong>–</strong> the money was go<strong>in</strong>g<br />
to the extremists. Among other laws, there is<br />
now a very strict limitation on daily withdrawals<br />
of d<strong>in</strong>ars (an association cannot withdraw<br />
more than 500 d<strong>in</strong>ars/day, or 150 euros). It’s a<br />
golden opportunity to smother civil society as a<br />
whole. <strong>–</strong> Béatrice Dunoyer*<br />
· More explicit cases of censorship have also<br />
been documented, for example with the police<br />
clos<strong>in</strong>g down an exhibit at Maison de l’Image<br />
<strong>in</strong> 2017.<br />
Lack of identification to <strong>Africa</strong> <strong>and</strong> racism<br />
· Tunisia portrays itself as an open country.<br />
However, nearly all respondents agreed that<br />
racism permeates Tunisian society. The history<br />
of slavery has yet to be unearthed, <strong>and</strong><br />
black Tunisians from the South cont<strong>in</strong>ue to be<br />
treated as second-class citizens. In its extreme<br />
forms, this racism is expressed <strong>in</strong> discrim<strong>in</strong>ation<br />
<strong>and</strong> violence aga<strong>in</strong>st black Tunisians, <strong>and</strong><br />
students <strong>and</strong> other immigrants from other<br />
<strong>Africa</strong>n regions.<br />
· In the artistic community, respondents report an<br />
awkwardness about Tunisia’s <strong>Africa</strong>n identity<br />
<strong>and</strong> a mistrust towards other <strong>Africa</strong>ns.<br />
We have huge issues with racism here. Black<br />
people are considered second-class citizens. It’s<br />
horrible. [First, there are] the black people who<br />
come from the South, who are Tunisian, <strong>and</strong> who<br />
already face an atrocious level of racism. Then,<br />
we have lots of Sub-Saharan students, from Côte<br />
d’Ivoire, from Senegal, <strong>and</strong> all those who have<br />
fled their countries. The average Tunisian is a<br />
profoundly racist person. <strong>–</strong> Malek Sebaï, dancer<br />
<strong>and</strong> choreographer, co-founder, Association<br />
Hayyou’Raqs, Tunis*
90<br />
Country-Specific Information<br />
4.7<br />
Western Sahara<br />
*A significant proportion of the population<br />
lives <strong>in</strong> exile <strong>in</strong> the T<strong>in</strong>douf refugee<br />
camps <strong>in</strong> Algeria. Estimates vary about<br />
the number of people liv<strong>in</strong>g <strong>in</strong> the camps<br />
(UN estimate: 90,000)<br />
FAST FACTS<br />
Population 580.039 (CIA, 2018)*<br />
Surface area<br />
Capital<br />
Large cities<br />
Languages<br />
Diall<strong>in</strong>g code<br />
Ma<strong>in</strong> <strong>in</strong>ternational<br />
airports<br />
Visa requirements<br />
710.085 km²<br />
Tifariti (de facto capital of the Sahrawi Arab<br />
Democratic Republic); Laayoune (capital of<br />
the Moroccan-controlled zone)<br />
Dakhla, Smara<br />
(on Moroccan-controlled territory)<br />
T<strong>in</strong>douf refugee camps (<strong>in</strong> Algeria)<br />
Modern St<strong>and</strong>ard Arabic; Tamazight;<br />
Hassaniya Arabic; Moroccan Darija; English,<br />
French, Spanish<br />
+213 (Algeria); +212 (Morocco)<br />
Laayoune ; Dakhla (Morocco)<br />
T<strong>in</strong>douf (Algeria)<br />
See <strong>Mobility</strong> below
91<br />
Country-Specific Information<br />
—<br />
GENERAL INFORMATION<br />
—<br />
The area known by the term “Western Sahara”<br />
is a disputed territory on the northwest coast of<br />
<strong>Africa</strong>. It is divided <strong>in</strong>to two regions: the majority<br />
(roughly 80%) of the territory is under Moroccan<br />
control, whereas a small portion is adm<strong>in</strong>istered<br />
as the Sahrawi Arab Democratic Republic (SADR),<br />
with a government <strong>in</strong> exile <strong>in</strong> T<strong>in</strong>douf, Algeria.<br />
Morocco has built a 2,700 km wall to del<strong>in</strong>eate<br />
the two zones, which it cont<strong>in</strong>ues to guard <strong>and</strong><br />
monitor with military bases, artillery posts <strong>and</strong><br />
radars scann<strong>in</strong>g the SADR side. The wall is l<strong>in</strong>ed<br />
with l<strong>and</strong>m<strong>in</strong>es. Western Sahara is on the United<br />
Nations’ list of “non-self-govern<strong>in</strong>g territories;”<br />
it is the most populous territory on the list. The<br />
SADR has been a member of the <strong>Africa</strong>n Union<br />
s<strong>in</strong>ce 1984, a fact that pushed Morocco to withdraw<br />
its membership (before rejo<strong>in</strong><strong>in</strong>g <strong>in</strong> 2017).<br />
Western Sahara was orig<strong>in</strong>ally <strong>in</strong>habited<br />
by Amazigh tribes, which were later jo<strong>in</strong>ed by<br />
Serer from the south. After the arrival of Islam,<br />
the l<strong>and</strong> became the site of important caravan<br />
routes, especially between Marrakech <strong>and</strong><br />
Timbuktu. Spa<strong>in</strong> seized control of the area <strong>in</strong><br />
1884, establish<strong>in</strong>g it as a Spanish colony. At<br />
the outbreak of the Second World War <strong>in</strong> 1939,<br />
adm<strong>in</strong>istration was shifted <strong>in</strong>to the h<strong>and</strong>s of<br />
Spanish Morocco.<br />
S<strong>in</strong>ce Spa<strong>in</strong> withdrew its troops <strong>in</strong> 1975,<br />
the area has been at the centre of disputes<br />
between Morocco <strong>and</strong> the Sahrawi Polisario<br />
Front. Morocco annexed roughly two-thirds of<br />
the territory <strong>in</strong> 1976 <strong>and</strong> the rest <strong>in</strong> 1979, follow<strong>in</strong>g<br />
Mauritania’s withdrawal. The Western<br />
Sahara War, oppos<strong>in</strong>g Morocco <strong>and</strong> the Sahrawi<br />
Polisario Front, lasted until a UN-brokered<br />
cease-fire <strong>in</strong> 1991. A proposed referendum over<br />
sovereignty was planned but has never taken<br />
place. Algeria has backed the Polisario front<br />
s<strong>in</strong>ce the beg<strong>in</strong>n<strong>in</strong>g, an issue that is at the heart<br />
of present-day diplomatic tensions between<br />
Morocco <strong>and</strong> Algeria. The conflict has resulted<br />
<strong>in</strong> severe human rights abuses, <strong>in</strong>clud<strong>in</strong>g the<br />
displacement of tens of thous<strong>and</strong>s of Sahrawi<br />
—<br />
QUOTE:<br />
« There are a bunch<br />
of local cultural festivals<br />
that happen with<strong>in</strong> the<br />
camps <strong>and</strong> that move<br />
from camp to camp.<br />
Everyth<strong>in</strong>g happens on<br />
Algerian soil, aside<br />
from <strong>Art</strong>ifariti which<br />
happens <strong>in</strong> 2 places <strong>–</strong> <strong>in</strong><br />
the camps <strong>and</strong> <strong>in</strong><br />
Tifariti. International<br />
artists come <strong>and</strong> spend<br />
2 weeks <strong>in</strong> Tifariti. »<br />
Mohamed Sulaiman<br />
Photographer <strong>and</strong> visual<br />
artist, Motif arts studio,<br />
Samara refugee camp,<br />
T<strong>in</strong>douf<br />
—<br />
civilians <strong>and</strong> the death of thous<strong>and</strong>s of civilians<br />
dur<strong>in</strong>g the war years. Morocco has been criticized<br />
by Amnesty International, Human Rights<br />
Watch <strong>and</strong> a vast number of other <strong>in</strong>ternational<br />
organizations for ongo<strong>in</strong>g human rights abuses<br />
<strong>and</strong> violent crackdowns on pro-<strong>in</strong>dependence<br />
demonstrations. Freedom House rates Western<br />
Sahara as “not free”, with a score of 4 / 100 <strong>in</strong><br />
2018.<br />
—<br />
ARTS AND CULTURE<br />
—<br />
<strong>Art</strong>s <strong>and</strong> culture <strong>in</strong> Western Sahara centre on<br />
two major annual events, namely the FiSahara<br />
International Film Festival <strong>and</strong> ARTifariti Festival<br />
of <strong>Art</strong>s <strong>and</strong> Human Rights. FiSahara takes place<br />
<strong>in</strong> the refugee camps around T<strong>in</strong>douf, Algeria,<br />
while ARTifariti is spread between the camps<br />
<strong>and</strong> Tifariti, which sits <strong>in</strong> the Liberated Zone.<br />
Both events centre on art as a medium for expression<br />
of the struggle for human rights. Both<br />
events draw <strong>in</strong>ternational visitors, <strong>in</strong>clud<strong>in</strong>g<br />
visitors from across <strong>Africa</strong>.<br />
Cultural expression also thrives year-round<br />
thanks to small artists’-run studios <strong>in</strong> T<strong>in</strong>douf<br />
<strong>and</strong> across the border. There are also<br />
tra<strong>in</strong><strong>in</strong>g opportunities, for example through<br />
the Abid<strong>in</strong> Kaid Saleh Audiovisual School.<br />
Meanwhile, Morocco has been <strong>in</strong>vest<strong>in</strong>g<br />
culturally <strong>in</strong> the territory it occupies, promot<strong>in</strong>g<br />
for example the city of Dakhla as a<br />
touristic <strong>and</strong> cultural dest<strong>in</strong>ation with events<br />
such as the <strong>Africa</strong>n Fashion Festival.
92<br />
Country-Specific Information<br />
—<br />
MOBILITY TO/FROM<br />
WESTERN SAHARA<br />
—<br />
<strong>Mobility</strong> to <strong>and</strong> from the Polisario-controlled portion<br />
of Western Sahara <strong>and</strong> its arts events goes<br />
through T<strong>in</strong>douf <strong>in</strong> Algeria, with flight connections<br />
to Algiers, Oran, Constant<strong>in</strong>e <strong>and</strong> Béchar.<br />
Visas applications to enter the T<strong>in</strong>douf camps<br />
must be submitted to both the Algerian <strong>and</strong><br />
Sahrawi authorities. Sahrawi representations<br />
are present <strong>in</strong> 39 European <strong>and</strong> <strong>Africa</strong>n cities.<br />
In <strong>North</strong> <strong>Africa</strong>, the only embassy is <strong>in</strong> Algiers.<br />
For Sahrawis liv<strong>in</strong>g <strong>in</strong> SADR-controlled areas,<br />
visa applications are complicated. Accord<strong>in</strong>g to<br />
Citizenship Rights <strong>Africa</strong>, a Sahrawi passport<br />
exists but is only recognized by states that recognize<br />
the self-determ<strong>in</strong>ation of the SADR. Sahrawis<br />
liv<strong>in</strong>g <strong>in</strong> the camps may possess Algerian<br />
passports, which are granted to refugees, but not<br />
ID cards. Extensive additional documentation is<br />
necessary to apply for a visa.<br />
Sahrawis liv<strong>in</strong>g <strong>in</strong> Moroccan-controlled territory<br />
are eligible for Moroccan passports. Moroccan<br />
visa regulations apply for entry <strong>in</strong>to the Moroccancontrolled<br />
zones, with l<strong>and</strong> entry possible via<br />
the south of Morocco or the north of Mauritania<br />
although subject to closures <strong>and</strong> road travel<br />
subject to frequent checkpo<strong>in</strong>ts.<br />
—<br />
IMPEDIMENTS<br />
—<br />
Costs<br />
· The cost of travel is <strong>in</strong>accessible to most Sahrawis,<br />
who already live <strong>in</strong> extremely precarious<br />
conditions.<br />
· Cost of travel to T<strong>in</strong>douf is also high, requir<strong>in</strong>g<br />
a flight connection via Algiers, Oran, Constant<strong>in</strong>e<br />
or Béchar.<br />
—<br />
W<br />
E<br />
S<br />
T<br />
E<br />
R<br />
N<br />
S<br />
A<br />
H<br />
A<br />
R<br />
A<br />
—<br />
A flight from Algiers to T<strong>in</strong>douf alone costs<br />
more than a flight from Algiers to Paris. <strong>–</strong> Walid<br />
Aidoud, visual artist, Founder of Box24 (Algiers)<br />
<strong>and</strong> coord<strong>in</strong>ator of Algerian participants at<br />
<strong>Art</strong>ifariti festival<br />
Visas<br />
· Visa procedures are complicated for Sahrawis<br />
liv<strong>in</strong>g <strong>in</strong> the T<strong>in</strong>douf camps <strong>and</strong> visitors.<br />
See <strong>Mobility</strong> above.<br />
Isolation<br />
· Network<strong>in</strong>g opportunities for Sahrawis are<br />
more or less limited to the two annual art<br />
events. While these br<strong>in</strong>g energy <strong>and</strong> new<br />
ideas to local artists, they rema<strong>in</strong> limited.<br />
· Exchange with Mauritania could be improved,<br />
given the common border.<br />
This is a place that is cut off from the world.<br />
There are little possibilities for people to <strong>in</strong>teract<br />
with the outside world. […] I’ve met<br />
artists from Senegal, Tanzania, South <strong>Africa</strong>,<br />
Mauritania, Tchad. The majority from Spa<strong>in</strong>, but<br />
there’s always someone from <strong>North</strong> America. I<br />
wish we’d see more exchange with Mauritania.<br />
There is great potential <strong>–</strong> we speak the same<br />
dialect, we have the same traditions <strong>and</strong> poetry<br />
<strong>and</strong> music; they’re almost identical, not unlike<br />
the differences between Morocco, Tunisia <strong>and</strong><br />
Algeria. It’s stronger with the Mauritanians.<br />
There’s a lot of exchange <strong>in</strong> music <strong>and</strong> poetry.<br />
This is an oral culture. <strong>–</strong> Mohamed Sulaiman<br />
Diplomatic tensions <strong>and</strong> disputes over<br />
sovereignty<br />
· <strong>Art</strong>ists are at the centre of political disputes<br />
over Sahrawi sovereignty. Access<br />
to <strong>in</strong>ternational events <strong>and</strong> opportunities is<br />
conditional upon partner countries’ position<br />
on Sahrawi sovereignty.<br />
There is an embargo on the existence of Western<br />
Sahara. Our association exists to spread<br />
<strong>in</strong>formation, to be very clear on our position.<br />
We try to base our work <strong>in</strong> humanitarian aid,<br />
<strong>in</strong> strengthen<strong>in</strong>g the role of art <strong>and</strong> culture. I<br />
have been subjected to many embargos. […]<br />
We haven’t had Arab artists because no Arab<br />
country [other than Algeria] recognizes<br />
Western Sahara. <strong>–</strong> Walid Aidoud
93<br />
Country-Specific Information<br />
Prejudice<br />
· Lack of knowledge leads to prejudice visà-vis<br />
Sahrawi artists.<br />
We’re not always labelled as we would wish<br />
to be. You can come across people who have<br />
prejudice. Even though we are <strong>in</strong> a conflict<br />
area, people are just like normal people do<strong>in</strong>g<br />
everyday th<strong>in</strong>gs. I’m an artist, so I’m supposed<br />
to add someth<strong>in</strong>g beautiful to the world. <strong>–</strong><br />
Mohamed Sulaiman<br />
Sahrawi photographer <strong>and</strong> maker Mohamed Sulaiman<br />
<strong>and</strong> Malian photographer <strong>and</strong> maker Gadiaba Kodio<br />
organized workshops on artistic recycl<strong>in</strong>g at Motif <strong>Art</strong><br />
Studio <strong>in</strong> Samara refugee camp, T<strong>in</strong>douf (Algeria).<br />
Photo courtesy of Mohamed Sulaiman.
94<br />
Conclusion & Recommendations<br />
5<br />
—<br />
QUOTE:<br />
You can’t create projects without<br />
connections. And mobility is a means of connect<strong>in</strong>g.<br />
If there’s no mobility,<br />
noth<strong>in</strong>g happens.<br />
Bahri Ben Yahmed<br />
Dancer <strong>and</strong> choreographer,<br />
Danseurs Citoyens, Tunis*<br />
—
95<br />
Conclusion & Recommendations<br />
CON—<br />
CLU—<br />
SION &<br />
RE COM—<br />
MENDA—<br />
TIONS<br />
The importance of support<strong>in</strong>g mobility<br />
for artists <strong>and</strong> cultural actors <strong>in</strong> <strong>North</strong><br />
<strong>Africa</strong> cannot be stressed enough. <strong>Art</strong>ists<br />
young <strong>and</strong> older want to see new vistas, meet fellow<br />
creatives, share perspectives, learn new techniques <strong>and</strong><br />
learn about themselves <strong>and</strong> one another. This desire for<br />
exchange was shared by all 90 artists <strong>and</strong> cultural operators<br />
<strong>in</strong>terviewed.<br />
It is a desire that is shared with artists all over the world <strong>–</strong><br />
travel, tour<strong>in</strong>g <strong>and</strong> circulation have repeatedly been underscored<br />
as necessities for the creative vocation. However,<br />
mobility takes on special characteristics, resonances <strong>and</strong><br />
stakes <strong>in</strong> the <strong>North</strong> <strong>Africa</strong>n context. In the wake of the<br />
2011 revolutions <strong>and</strong> the upris<strong>in</strong>gs, conflicts, <strong>and</strong> peaceful<br />
movements of dissent that followed, a strong push toward<br />
discovery <strong>and</strong> solidarity has unfolded across the region.<br />
Old barriers of authoritarianism, isolationism <strong>and</strong> restricted<br />
freedoms have been lifted (albeit with uneven follow-through<br />
<strong>and</strong> worry<strong>in</strong>g trends emerg<strong>in</strong>g); neighbours have felt like<br />
they can f<strong>in</strong>ally see each other <strong>and</strong> get to know one another.
96<br />
Conclusion & Recommendations<br />
Inspir<strong>in</strong>g networks, residencies <strong>and</strong> circuits have emerged<br />
<strong>and</strong> been nourished across the region, thanks to the<br />
dedicated work of visionary cultural operators <strong>and</strong> artists.<br />
These <strong>in</strong>itiatives must be supported.<br />
At the same time, this push towards regional East-West<br />
solidarity has not necessarily correlated with <strong>in</strong>creased<br />
mobility towards the South. This report has striven to<br />
document some of the reasons why mobility between<br />
<strong>North</strong> <strong>Africa</strong>n countries <strong>and</strong> other countries across the<br />
cont<strong>in</strong>ent has been weaker than one might expect.<br />
While many of these impediments are tied to long-entrenched<br />
structures <strong>and</strong> trends that may be more difficult<br />
to move, other obstacles are very much <strong>in</strong> flux. The most<br />
prom<strong>in</strong>ent is the <strong>in</strong>creas<strong>in</strong>g closure of Schengen Europe,<br />
which is shap<strong>in</strong>g mobility on the cont<strong>in</strong>ent at the level of<br />
logistics but also, crucially, at the level of the imag<strong>in</strong>ation.<br />
In parallel <strong>and</strong> relatedly, there is an emergent awareness<br />
of the benefits of South-South connection <strong>and</strong> exchange,<br />
<strong>and</strong> <strong>in</strong>itiatives designed to stimulate <strong>and</strong> facilitate such<br />
exchange are gett<strong>in</strong>g <strong>in</strong>creas<strong>in</strong>g momentum.<br />
As the cont<strong>in</strong>ent’s first mobility fund <strong>and</strong> the only cont<strong>in</strong>entwide<br />
mobility fund open to all artistic discipl<strong>in</strong>es, AMA is<br />
<strong>in</strong> a unique position to help bolster this momentum. It is<br />
our hope that this research will have contributed to this<br />
vital goal by illum<strong>in</strong>at<strong>in</strong>g the opportunities that exist for<br />
<strong>in</strong>ternational mobility with<strong>in</strong> <strong>North</strong> <strong>Africa</strong> <strong>and</strong> with other<br />
<strong>Africa</strong>n regions; shedd<strong>in</strong>g light on the impediments that<br />
afflict this mobility; <strong>and</strong> articulat<strong>in</strong>g the recommendations<br />
detailed below, all of which are drawn from feedback<br />
from respondents <strong>and</strong> are geared at various stakeholders<br />
(funders, cultural operators, artists, etc.).<br />
—<br />
QUOTE:<br />
« If there’s any way to change th<strong>in</strong>gs,<br />
it’s to travel with<strong>in</strong> our country <strong>and</strong><br />
to travel on the cont<strong>in</strong>ent. This is the k<strong>in</strong>d<br />
of mobility that is go<strong>in</strong>g to change th<strong>in</strong>gs.<br />
When I went to Tangiers, I talked to<br />
some artists; those conversations<br />
gave me so much. When I went to Tunis,<br />
I found myself <strong>in</strong> a bar/café with all the<br />
Tunisian youth. It was sublime. I went<br />
back to Algiers feel<strong>in</strong>g euphoric.<br />
I came back with so much energy. It<br />
did me so much good. We need these<br />
experiences! »<br />
Mehdi Djelil<br />
Visual artist,<br />
Algiers*<br />
—
97<br />
Conclusion & Recommendations<br />
Dancer <strong>and</strong> choreographer H<strong>in</strong>d Benali (Compagnie Fleur d’Orange)<br />
perform<strong>in</strong>g M’Safir (Traveler), a new creation on the “limits placed on the<br />
freedom <strong>and</strong> mobility of Global South citizens from the moment they try to<br />
cross the border with the <strong>North</strong>.”<br />
Photo courtesy of Patrick Hamm.
—<br />
QUOTE:<br />
« There’s a grow<strong>in</strong>g consciousness at the<br />
local level: we don’t have much to do <strong>in</strong> the<br />
<strong>North</strong>. There is so much to do here at home.<br />
And the <strong>North</strong> is so saturated! I don’t see<br />
myself go<strong>in</strong>g to work abroad permanently,<br />
because what I have to do makes more sense<br />
here. It’s the consciousness of my generation.<br />
It’s what makes it so that people leave<br />
<strong>and</strong> come back.»<br />
Myriam Amroun<br />
Cultural manager,<br />
Algiers*<br />
—<br />
The lack of awareness of exist<strong>in</strong>g<br />
opportunities <strong>and</strong> potential<br />
partners was a recurr<strong>in</strong>g theme<br />
<strong>in</strong> all <strong>in</strong>terviews. Many artists<br />
<strong>and</strong> operators expressed support<br />
for this mapp<strong>in</strong>g exercise<br />
<strong>and</strong> wished to know where others<br />
could be found. In light of<br />
this, a crucial step towards improv<strong>in</strong>g<br />
mobility must be taken at the level of <strong>in</strong>formationshar<strong>in</strong>g,<br />
namely through the follow<strong>in</strong>g <strong>in</strong>itiatives:<br />
1.1. Create an onl<strong>in</strong>e platform centraliz<strong>in</strong>g <strong>in</strong>formation<br />
about opportunities on the cont<strong>in</strong>ent, preferably<br />
searchable by discipl<strong>in</strong>e, dest<strong>in</strong>ation, etc. <strong>and</strong><br />
<strong>in</strong>clud<strong>in</strong>g a calendar, contacts <strong>and</strong> other relevant<br />
<strong>in</strong>formation<br />
98<br />
Conclusion & Recommendations<br />
1 .<br />
Promote<br />
<strong>in</strong>formationshar<strong>in</strong>g<br />
about<br />
opportunities<br />
<strong>in</strong> <strong>North</strong> <strong>Africa</strong><br />
<strong>and</strong> other<br />
<strong>Africa</strong>n regions<br />
2 .<br />
Support<br />
face-to-face<br />
<strong>and</strong> onl<strong>in</strong>e<br />
network<strong>in</strong>g<br />
Lack of concrete, <strong>in</strong>-person contact with peers <strong>and</strong><br />
colleagues underlies the lack of <strong>in</strong>formation shar<strong>in</strong>g<br />
<strong>and</strong> lack of awareness of possibilities outside<br />
one’s immediate environment. Several respondents<br />
stressed that their most fruitful collaborations have<br />
come out of experiences where<br />
they physically met a fellow artist<br />
/ curator / operator. As such,<br />
it seems necessary to multiply<br />
such opportunities <strong>–</strong> ideally,<br />
through face-to-face meet<strong>in</strong>gs,<br />
but also leverag<strong>in</strong>g onl<strong>in</strong>e<br />
technologies to reduce costs.<br />
2.1. Create opportunities for<br />
cultural operators to meet <strong>and</strong><br />
share <strong>in</strong>formation, region- <strong>and</strong><br />
cont<strong>in</strong>ent-wide. Cultural operators<br />
will lead the way for artists<br />
2.2. Encourage the creation<br />
of discipl<strong>in</strong>e-specific networks,<br />
us<strong>in</strong>g the model of the Network<br />
of Alternative Arab Screens, AFRIFA <strong>and</strong><br />
Centres of Learn<strong>in</strong>g for Photography <strong>in</strong> <strong>Africa</strong>.<br />
These networks can share <strong>in</strong>formation,<br />
advocate for <strong>and</strong> facilitate mobility<br />
2.3. Strengthen networks <strong>and</strong> support mobility <strong>in</strong><br />
areas where mobility is already facilitated by<br />
visa-free policy (e.g., the Maghreb)<br />
1. 2. Centralize <strong>and</strong> consolidate exist<strong>in</strong>g mapp<strong>in</strong>gs (e.g.,<br />
Rac<strong>in</strong>e’s <strong>Art</strong>Map; Carte Culturelle de l’Algérie);<br />
support new mapp<strong>in</strong>gs for other countries<br />
1. 3. Emphasize dissem<strong>in</strong>ation of <strong>in</strong>formation about<br />
arts scenes <strong>in</strong> Algeria, Libya, Mauritania <strong>and</strong><br />
Western Sahara to combat isolation<br />
2.4. Multiply scop<strong>in</strong>g <strong>and</strong> tra<strong>in</strong><strong>in</strong>g missions to<br />
Algeria, Libya, Mauritania <strong>and</strong> Western Sahara<br />
to reduce isolation <strong>and</strong> create new networks<br />
2.5. Involve youth <strong>in</strong> new networks by reach<strong>in</strong>g<br />
out to art schools <strong>and</strong> universities
99<br />
Conclusion & Recommendations<br />
—<br />
QUOTE:<br />
« We can create more virtual<br />
platforms. We know it’s hard to<br />
travel, but it shouldn’t be a<br />
constra<strong>in</strong>t on creat<strong>in</strong>g <strong>and</strong> do<strong>in</strong>g<br />
th<strong>in</strong>gs together. Boda Boda project<br />
showed us that it was possible to<br />
work, reflect <strong>and</strong> feel together<br />
all the while stay<strong>in</strong>g at home. It<br />
starts with a commitment. »<br />
Nouha Ben Yebdri<br />
Curator, Mahal <strong>Art</strong> Space,<br />
Tangiers*<br />
—<br />
3.<br />
Improve fund<strong>in</strong>g<br />
opportunities<br />
Lack of fund<strong>in</strong>g for mobility<br />
is the regrettable counterpart<br />
to the exorbitant costs of travel. The follow<strong>in</strong>g<br />
ideas were proposed for funders <strong>in</strong>clud<strong>in</strong>g AMA:<br />
3.1. Create partnerships with festivals <strong>and</strong> specific<br />
events, for example through a quota<br />
system (this is the system employed by<br />
<strong>Africa</strong> <strong>Art</strong> L<strong>in</strong>es, among others)<br />
3.2. Give festival organizers the opportunity to<br />
select the artists they want to <strong>in</strong>vite<br />
2.6. Ensure presence of mobility funders at events,<br />
organize presentations<br />
2.7. Host onl<strong>in</strong>e meet<strong>in</strong>gs <strong>and</strong> e-conferences to<br />
share <strong>in</strong>formation about opportunities, fund<strong>in</strong>g<br />
sources, etc. These could be delivered through<br />
regional or city-based po<strong>in</strong>t-people<br />
2.8. Provide more support for “go-<strong>and</strong>-see” <strong>in</strong>itiatives<br />
<strong>and</strong> meet<strong>in</strong>gs that are not necessarily tied<br />
to specific projects or expected outcomes.<br />
Many artists expressed feel<strong>in</strong>g that the strong<br />
pressure to produce was <strong>in</strong> tension with the<br />
total lack of knowledge they had of scenes<br />
outside their own. As such, they felt that the<br />
push to collaborate may be premature; they<br />
need to get to know each other before they<br />
start creat<strong>in</strong>g together<br />
3.3. Create discipl<strong>in</strong>e-specific fund<strong>in</strong>g l<strong>in</strong>es<br />
to support discipl<strong>in</strong>es that are weaker <strong>in</strong><br />
different countries <strong>and</strong>/or that suffer from<br />
neglect from authorities <strong>and</strong> fund<strong>in</strong>g bodies<br />
(e.g., dance <strong>in</strong> Algeria)<br />
3.4. Exp<strong>and</strong> the support that is <strong>in</strong>cluded with<br />
mobility funds: cover accommodation, per<br />
diems, etc. (Al-Mawred al-Thaqafy has this<br />
policy)<br />
3.5. Advocate for the necessity of long-term<br />
program support as opposed to projectby-project<br />
fund<strong>in</strong>g, <strong>in</strong>clud<strong>in</strong>g mobility funds<br />
3.6. Provide more flexible deadl<strong>in</strong>es<br />
3.7 Consider <strong>in</strong>tegrat<strong>in</strong>g <strong>in</strong>terviews <strong>in</strong>to selection<br />
procedures to reduce the dependency<br />
on professional grant-writ<strong>in</strong>g skills <strong>and</strong><br />
restore human exchange <strong>in</strong> the grant application<br />
process
4.<br />
Support the<br />
structur<strong>in</strong>g of the<br />
arts <strong>and</strong> culture<br />
sector(s) <strong>in</strong><br />
<strong>North</strong> <strong>Africa</strong><br />
—<br />
QUOTE:<br />
« Grants are there for artists to concentrate<br />
on the artistic <strong>and</strong> not the economic sides<br />
of their work. That’s where grants get<br />
<strong>in</strong>terest<strong>in</strong>g. I would never have travelled as<br />
much <strong>in</strong> <strong>Africa</strong> if I hadn’t had the help I got.<br />
I received AMA grants, grants from the Institut<br />
Français, which was much more open <strong>and</strong><br />
generous; it was a different system.<br />
It changed my outlook once I was on the spot;<br />
I wasn’t caught up <strong>in</strong> the same calculations,<br />
the same deception <strong>and</strong> disillusionment.<br />
It’s important that those k<strong>in</strong>ds of structures<br />
cont<strong>in</strong>ue to support artists’ travels.»<br />
H<strong>in</strong>d Benali,<br />
Dancer <strong>and</strong> choreographer, Compagnie Fleur<br />
d’orange, Casablanca/Nouméa*<br />
—<br />
With visa issues the most frequently cited<br />
obstacle to mobility, it seems vital to work<br />
to reverse the dramatic trends currently<br />
underway through advocacy, monitor<strong>in</strong>g<br />
<strong>and</strong> <strong>in</strong>formation-shar<strong>in</strong>g:<br />
100<br />
Conclusion & Recommendations<br />
Strengthen<strong>in</strong>g mobility goes h<strong>and</strong> <strong>in</strong> h<strong>and</strong> with<br />
strengthen<strong>in</strong>g the cultural sector as a whole. Various<br />
stakeholders can participate <strong>in</strong> advocacy efforts<br />
for the follow<strong>in</strong>g objectives:<br />
4.1 Advocacy for <strong>in</strong>creased public support for<br />
arts <strong>and</strong> culture, especially <strong>in</strong> countries which have<br />
the budgetary capacity to do so (e.g., Algeria)<br />
4.2. Advocacy for greater transparency about public adm<strong>in</strong>istrations’<br />
<strong>and</strong> <strong>in</strong>ternational organizations’ budgets <strong>and</strong><br />
allocation of funds<br />
4.3. Multiply opportunities for tra<strong>in</strong><strong>in</strong>gs for cultural managers<br />
4.4 Encourage grassroots-level organizations to federate,<br />
organize <strong>and</strong> advocate for greater structuration at the<br />
local level<br />
5.5 Reduce dependency on foreign organizations <strong>and</strong> cultural<br />
<strong>in</strong>stitutes<br />
5.<br />
Advocate for freedom<br />
of movement for<br />
artists <strong>and</strong> cultural<br />
practitioners<br />
5.1. Create spaces for debate, exchange, solidarity <strong>and</strong> <strong>in</strong>formation-shar<strong>in</strong>g<br />
to emerge amongst cultural actors as a first step towards improved advocacy,<br />
for example through round-tables at events<br />
5.2. Monitor cases of visa refusals <strong>and</strong> build database<br />
5.3. Create a secure hotl<strong>in</strong>e that artists / cultural operators can contact <strong>in</strong><br />
case of emergency (Tamizdat <strong>in</strong> the USA could be a model)<br />
5.4. Advocate for true bilaterality <strong>and</strong> equitable treatment at the level of European<br />
<strong>and</strong> other foreign cultural <strong>in</strong>stitutes<br />
5.5. Advocate for freedom of movement for artists <strong>and</strong> cultural operators at<br />
the national <strong>and</strong> supra-national levels, namely by leverag<strong>in</strong>g <strong>Art</strong>icle 16<br />
of the UNESCO 2005 Convention on the Protection <strong>and</strong> Promotion of the<br />
Diversity of Cultural Expressions
101<br />
Conclusion & Recommendations<br />
—<br />
QUOTE:<br />
« <strong>Mobility</strong> is marvelous, yes. But beyond that statement, is there a real reflection<br />
on the purpose of mobility <strong>–</strong> if there is a purpose? If there is exchange, where is it? What<br />
exchange? […] We need to create a real need for travel; travel for someth<strong>in</strong>g true,<br />
someth<strong>in</strong>g useful. For the person who travels <strong>and</strong> the one who hosts, <strong>and</strong> the one<br />
who watches the show. Otherwise it’s just l<strong>in</strong>es on a report. »<br />
—<br />
QUOTE:<br />
« There is a big need for structures<br />
or government-supported <strong>in</strong>itiatives<br />
that underst<strong>and</strong> the value of cultural<br />
policy <strong>–</strong> it is still not well established <strong>in</strong><br />
the whole cont<strong>in</strong>ent.»<br />
Leila Toubel<br />
Theatre actor, dramaturg <strong>and</strong> activist,<br />
Tunis*<br />
—<br />
6.<br />
Re-center the<br />
purpose of mobility:<br />
creative <strong>and</strong> human<br />
exchange<br />
Mohamed Ghazala<br />
Professor, Vice President of the<br />
International Association of Animation<br />
filmmakers (ASIFA),<br />
Cairo / Jeddah<br />
F<strong>in</strong>ally, it seems essential to ensure that the immensely<br />
valuable experiences that can emerge from mobility<br />
<strong>and</strong> tour<strong>in</strong>g are protected <strong>and</strong> that mobility does not<br />
become a purely utilitarian or mercantile concept.<br />
—<br />
—<br />
QUOTE:<br />
« As far as the <strong>Africa</strong>n cont<strong>in</strong>ent is concerned, I’ve<br />
had the opportunity to travel several times<br />
to Senegal, to Côte d’Ivoire, to Tunisia…<br />
[<strong>and</strong>] those have also been the only times <strong>in</strong> my life<br />
that I’ve been able to travel without a visa! That has been<br />
just amaz<strong>in</strong>g. You feel normal! You travel with<br />
your passport <strong>and</strong> that’s it, it’s great. There are no<br />
appo<strong>in</strong>tments to be made months <strong>in</strong> advance, no<br />
endless application forms to complete, no<br />
humiliations at the consulate, no credentials to show,<br />
nor bank statements, nor other personal documents, to<br />
prove that your credit is <strong>in</strong> good st<strong>and</strong><strong>in</strong>g <strong>and</strong> that<br />
you’re not go<strong>in</strong>g to try to “immigrate illegally”…<br />
Basically, it’s just normal, it’s “fair” <strong>and</strong> it feels good. »<br />
Z<strong>in</strong>eb Benjelloun<br />
Visual artist,<br />
Casablanca*<br />
6.1 Advocate for the human <strong>and</strong> creative necessity<br />
of mobility through creative <strong>and</strong> compell<strong>in</strong>g<br />
forms, foreground<strong>in</strong>g artists’ experiences <strong>and</strong><br />
creative expressions<br />
6.2 Create opportunities for duplication <strong>and</strong> multiplication<br />
of meet<strong>in</strong>gs, <strong>in</strong> the <strong>in</strong>terest of allow<strong>in</strong>g<br />
people to meet several times<br />
6.3 Cover accommodation <strong>and</strong> per-diems for<br />
the full duration of festivals <strong>and</strong> potentially<br />
beyond, <strong>in</strong> the <strong>in</strong>terest of allow<strong>in</strong>g artists to<br />
network, imbue themselves with new places<br />
<strong>and</strong> envision new ideas without the stress of<br />
hav<strong>in</strong>g to return home immediately<br />
—
102<br />
Introduction Mapp<strong>in</strong>g<br />
<strong>and</strong> Background<br />
6<br />
—<br />
Fact:<br />
This mapp<strong>in</strong>g lists<br />
108 arts spaces <strong>and</strong> venues,<br />
<strong>and</strong> 69 festivals<br />
across <strong>North</strong> <strong>Africa</strong>.<br />
—
103<br />
Mapp<strong>in</strong>g<br />
Maps,<br />
graphs <strong>and</strong><br />
contact<br />
<strong>in</strong>formation<br />
MAPPING<br />
OF ARTS<br />
VENUES,<br />
SPACES<br />
& EVENTS<br />
IN NORTH<br />
AFRICA
104<br />
Mapp<strong>in</strong>g<br />
TUNISIA<br />
MOROCCO<br />
ALGERIA<br />
LIBYA<br />
WESTERN SAHARA<br />
MAURITANIA<br />
Cultural Venues<br />
<strong>in</strong> <strong>North</strong> <strong>Africa</strong><br />
1<br />
—<br />
Date: October 2019<br />
—<br />
—<br />
Fact<br />
This mapp<strong>in</strong>g covers<br />
six countries <strong>in</strong> <strong>North</strong> <strong>Africa</strong><br />
<strong>and</strong> the non-self-govern<strong>in</strong>g<br />
territory of Western Sahara.<br />
—
105<br />
Mapp<strong>in</strong>g<br />
EGYPT
106<br />
Mapp<strong>in</strong>g<br />
Installations<br />
& Equipment<br />
of the Venues<br />
This mapp<strong>in</strong>g covers arts spaces <strong>and</strong> venues that<br />
have the capacity to host mobility projects, with<br />
a focus on the visual <strong>and</strong> perform<strong>in</strong>g arts. It is a<br />
work<strong>in</strong>g document <strong>and</strong> as such may be built upon<br />
<strong>in</strong> future studies.<br />
City, Country<br />
Venue<br />
Algiers, Algeria<br />
· aria <strong>–</strong> artist residency <strong>in</strong> Algiers<br />
· <strong>Art</strong>issimo<br />
· Ateliers NAS<br />
· Ateliers Sauvages<br />
· La Baignoire<br />
· Opéra d’Alger<br />
· Théâtre municipal Alger centre<br />
(formerly salle Echabab)<br />
· Théâtre national algérien<br />
· Théâtre de verdure Lâadi Flici<br />
· Salle Ibn Zeydoun<br />
Alex<strong>and</strong>ria, Egypt<br />
· El Mad<strong>in</strong>a for Perform<strong>in</strong>g <strong>and</strong> Digital <strong>Art</strong>s<br />
· Gudran for <strong>Art</strong> <strong>and</strong> Development<br />
· Jesuit Cultural Centre<br />
· Library of Alex<strong>and</strong>ria<br />
· MASS Alex<strong>and</strong>ria<br />
· Reflection for <strong>Art</strong>, Tra<strong>in</strong><strong>in</strong>g <strong>and</strong> Development<br />
· Rézodance<br />
Equipment<br />
Installations<br />
Park<strong>in</strong>g<br />
Cairo, Egypt<br />
· AfriCairo<br />
· Almoharek Book<strong>in</strong>g Agency<br />
· Cairo Contemporary Dance Center<br />
· Contemporary Image Collective<br />
· Cairo Opera House<br />
· Darb 1718<br />
· El Mastaba Theatre<br />
· El Sawy Culture Wheel<br />
· Emad Edd<strong>in</strong> Foundation/<br />
Studio Emad Edd<strong>in</strong><br />
· Ezzat Ezzat Contemporary Dance Studio<br />
· Falaki Theatre<br />
· Makan Centre for Culture & <strong>Art</strong><br />
· Medrar for Contemporary <strong>Art</strong><br />
· Out of the Circle Initiative<br />
· Townhouse Gallery / Rawabet<br />
Fayoum, Egypt<br />
· Fayoum <strong>Art</strong> Centre<br />
Tripoli, Libya<br />
· Ali Gana Foundation <strong>and</strong> Museum<br />
· <strong>Art</strong> House<br />
· WaraQ <strong>Art</strong> Foundation<br />
Benghazi, Libya<br />
· Tanarout<br />
Nouakchott, Mauritania<br />
· <strong>Art</strong>GalléAmySow<br />
· Échos du Sahel<br />
· Maison des c<strong>in</strong>éastes<br />
· Traversées Mauritanides<br />
T<strong>in</strong>douf, Western Sahara<br />
· Motif <strong>Art</strong>s Studio<br />
· Abid<strong>in</strong> Kaid Saleh Audiovisual School
107<br />
Mapp<strong>in</strong>g<br />
City, Country<br />
· Venue<br />
Casabalanca, Morocco<br />
· Atelier de l’observatoire<br />
· L’Boultek<br />
· Casa del <strong>Art</strong>e<br />
· C<strong>in</strong>ema Rialto<br />
· Houna<br />
· Le H2/61.26<br />
· La Source du lion<br />
· Les Étoiles (Fondation Ali Zaoua)<br />
· Studio des <strong>Art</strong>s Vivants<br />
· Studio Hiba<br />
· L’Uz<strong>in</strong>e<br />
· Villa des <strong>Art</strong>s<br />
Equipment<br />
Installations<br />
Park<strong>in</strong>g<br />
Key<br />
Available<br />
Not available<br />
No <strong>in</strong>formation available<br />
Rabat, Morocco<br />
· Centre culturel l’Agdal<br />
· Dabateatr<br />
· Fondation Hiba<br />
· L’appartement22<br />
· Le Cube<br />
· Palais Tazi<br />
· Salle Bahn<strong>in</strong>i<br />
· Théâtre Aquarium<br />
· Théâtre national Mohammed V<br />
· Villa des <strong>Art</strong>s Rabat<br />
· Centre culturel l’Agdal<br />
Marrakesh, Morocco<br />
· Al Maqam<br />
· Dar Saïda <strong>–</strong> Literary space<br />
· Dar Bellarj Foundation<br />
· Le18<br />
· MACAAL<br />
· Priscilla Queen of the Med<strong>in</strong>a<br />
Tanger, Morocco<br />
· Atelier Kissaria/Th<strong>in</strong>k Tanger<br />
· C<strong>in</strong>émathèque de Tanger<br />
· Les Étoiles<br />
· Mahal <strong>Art</strong> Space<br />
· Spectacle pour tous<br />
· Tabadoul<br />
Tunis, Tunisia<br />
· L’Agora<br />
· Théâtre Al-Hamra /<br />
Centre Arabo-<strong>Africa</strong><strong>in</strong> de Recherche<br />
et de Création Théâtrale<br />
· L’<strong>Art</strong> Rue<br />
· Bchira <strong>Art</strong> Center<br />
· Cité de la Culture<br />
· El Teatro<br />
· Étoile du Nord, L’<br />
· Lab619<br />
· Lang’art<br />
· Centre des arts vivants de Radès<br />
· C<strong>in</strong>éMad’art Carthage<br />
· C<strong>in</strong>evog<br />
· Maison de la culture Ibn Rachik<br />
· Maison de l’Image<br />
· Le Mondial<br />
· Le Rio<br />
· Salle 4e art/Le Paris<br />
· Théâtre municipal<br />
· Théâtre national tunisien<br />
· WAX Bar<br />
· Dar Eyquem
108<br />
Mapp<strong>in</strong>g<br />
Events &<br />
Festivals<br />
Algeria<br />
Algiers<br />
1 Festival <strong>in</strong>ternational de la<br />
B<strong>and</strong>e-Dess<strong>in</strong>ée à Alger<br />
2 Festival <strong>in</strong>ternational de<br />
Danse Contempora<strong>in</strong>e d’Alger<br />
3 Festival <strong>in</strong>ternational<br />
de la Musique Diwane<br />
4 Festival <strong>in</strong>ternational du c<strong>in</strong>éma d’Alger<br />
5 Festival de la création fém<strong>in</strong><strong>in</strong>e d’Alger<br />
6 Salon du livre d’Alger<br />
Bejaïa<br />
7 Festival International de<br />
théâtre de Bejaïa<br />
Constant<strong>in</strong>e<br />
8 Dimajazz<br />
Oran<br />
9 Festival <strong>in</strong>ternational du<br />
Conte d’Oran<br />
Rotat<strong>in</strong>g locations<br />
10 Festival Raconte-arts<br />
Egypt<br />
Alex<strong>and</strong>ria<br />
11 Theatre is a Must Festival<br />
12 Theatre Without Funds Festival<br />
13 Library of Alex<strong>and</strong>ria Summer Festival<br />
14 Backstreet Festival<br />
15 Nassim el Raqs Creative lab<br />
Cairo<br />
16 Cairocomix<br />
17 Cairo International Jazz Festival<br />
18 Cairo International Film festival<br />
19 Di-Egy Festival<br />
20 Downtown Contemporary <strong>Art</strong>s Festival<br />
21 Hakawy Festival for Young Audiences<br />
22 Cairo International Festival for<br />
Contemporary & Experimental Theatre<br />
23 Citadel Music Festival<br />
Luxor<br />
24 Luxor <strong>Africa</strong>n Film Festival<br />
Alex<strong>and</strong>ria, Cairo, Luxor<br />
25 2B Cont<strong>in</strong>ued Lab & Festival<br />
25<br />
20 8<br />
6<br />
9<br />
13<br />
4 18<br />
11<br />
19 14 17<br />
7<br />
12<br />
24 21 2 15 3 10 23 22 1<br />
16 5<br />
january<br />
february<br />
march<br />
april<br />
may<br />
june<br />
july<br />
august<br />
september<br />
october<br />
novembre<br />
december
109<br />
Mapp<strong>in</strong>g<br />
2<br />
—<br />
Fact<br />
Events <strong>and</strong> festivals<br />
of <strong>North</strong> <strong>Africa</strong><br />
—<br />
Morocco<br />
Agadir<br />
1 Agadir International Documentary<br />
Festival (FIDADOC)<br />
2 Festival Timitar<br />
Casablanca<br />
3 Festival <strong>in</strong>ternational d’art vidéo<br />
4 Jazzablanca<br />
5 L’Boulvard<br />
6 Rencontres chorégraphiques<br />
de Casablanca<br />
Essaouira<br />
7 Festival Gnaoua Rythmes du Monde<br />
Marrakesh<br />
8 Atlas Electronic<br />
9 Festival Awaln’art<br />
10 Festival On Marche!<br />
11 Festival Marrakech du Rire<br />
12 Festival <strong>in</strong>ternational du<br />
film de Marrakech<br />
Rabat<br />
13 Festival Mawaz<strong>in</strong>e<br />
14 Festival <strong>in</strong>ternational du c<strong>in</strong>éma d’auteur<br />
15 Visa for Music <strong>–</strong> <strong>Africa</strong>-Middle<br />
East Music Meet<strong>in</strong>g<br />
Tanger<br />
16 Tanjazz<br />
17 Youme<strong>in</strong> Festival<br />
Tighmert<br />
18 Caravane Tighmert<br />
Mauritania<br />
Nouakchott<br />
19 Festival Assalamalekoum<br />
20 Nouakshort Film Festival<br />
21 Rencontres littéraires<br />
Rotat<strong>in</strong>g<br />
22 Festival Nomade<br />
Western Sahara<br />
Tifariti<br />
23 <strong>Art</strong>ifariti <strong>–</strong> International <strong>Art</strong> <strong>and</strong> Human<br />
Rights Meet<strong>in</strong>g<br />
Refugee camps near T<strong>in</strong>douf, Algeria<br />
24 FiSahara Film Festival<br />
1 13<br />
20<br />
11<br />
10 9 3 18<br />
21 22 19 4 7<br />
2 17 8 5 16 6 24<br />
14<br />
15<br />
12 23<br />
january<br />
february<br />
march<br />
april<br />
may<br />
june<br />
july<br />
august<br />
september<br />
october<br />
november<br />
december
110<br />
Mapp<strong>in</strong>g<br />
Tunisia<br />
Carthage<br />
1 Jazz à Carthage<br />
2 Journées d’art contempora<strong>in</strong><br />
de Carthage<br />
3 Journées chorégraphiques de Carthage<br />
4 Journées c<strong>in</strong>ématographiques<br />
de Carthage<br />
5 Journées musicales de Carthage<br />
6 Journées poétiques de Carthage<br />
7 Journées théâtrales de Carthage<br />
Hammamet<br />
8 Festival <strong>in</strong>ternational de Hammamet<br />
9 Festival <strong>in</strong>ternational de films<br />
de femmes<br />
Kef<br />
10 SICCA Jazz<br />
Tabarka<br />
12 Jazz à Tabarka<br />
Tameghza<br />
13 Oasis créatives<br />
Tazarka<br />
14 Salon International de la<br />
B<strong>and</strong>e Dess<strong>in</strong>ee de Tazarka (SIBDT)<br />
Tunis<br />
15 Chouftouhonna <strong>–</strong><br />
International Fem<strong>in</strong>ist <strong>Art</strong> Festival<br />
16 Doc à Tunis<br />
17 Dream City<br />
18 Festival Ezzed<strong>in</strong>e Gannoun<br />
19 Interférences<br />
20 Jaou<br />
Casablanca<br />
Essaouira<br />
Agadir<br />
Tanger<br />
Rabat<br />
Marrakech<br />
Oran<br />
Kelibia<br />
11 Festival <strong>in</strong>ternational du film de Kelibia<br />
Tighmert<br />
Tifariti<br />
Refugee camps<br />
(near T<strong>in</strong>douf)<br />
Nouakchott<br />
18<br />
6 10 13<br />
1 16<br />
20<br />
3<br />
8<br />
12 15<br />
11 14 5<br />
9 17<br />
2 19<br />
7<br />
4<br />
january<br />
february<br />
march<br />
april<br />
may<br />
june<br />
july<br />
august<br />
september<br />
october<br />
november<br />
december
111<br />
Mapp<strong>in</strong>g<br />
Map of Cities<br />
Algiers<br />
Tabarka Tunis<br />
Bejaïa Kef<br />
Constant<strong>in</strong>e<br />
Carthage<br />
Kelibia<br />
Tazarka<br />
Hammamet<br />
Tameghza<br />
Tripoli<br />
Benghazi<br />
Alex<strong>and</strong>ria<br />
Cairo<br />
Luxor
Events<br />
& Festivals<br />
Algeria<br />
Algiers<br />
Festival <strong>in</strong>ternational de la<br />
B<strong>and</strong>e-Dess<strong>in</strong>ée à Alger<br />
Literature<br />
October<br />
http://www.bdalger.com/<br />
Festival <strong>in</strong>ternational de Danse<br />
Contempora<strong>in</strong>e d’Alger<br />
Dance<br />
April<br />
Festival de danse contempora<strong>in</strong>e d’Alger <strong>–</strong><br />
Facebook page<br />
Festival <strong>in</strong>ternational de la Musique Diwane<br />
Music<br />
June<br />
Festival de musique Diwane <strong>–</strong> Facebook page<br />
Festival <strong>in</strong>ternational du c<strong>in</strong>éma d’Alger<br />
Film<br />
November<br />
Festival <strong>in</strong>ternational de c<strong>in</strong>éma d’Alger <strong>–</strong><br />
Facebook page<br />
Festival de la création fém<strong>in</strong><strong>in</strong>e d’Alger<br />
Multidiscipl<strong>in</strong>ary<br />
December<br />
http://www.fem<strong>in</strong>algerie-creation.org/<br />
Salon du livre d’Alger<br />
Literature<br />
October / November<br />
http://sila.dz/<br />
Bejaïa<br />
Festival International de théâtre de Bejaïa<br />
Theatre<br />
April<br />
Festival de théâtre de Bejaïa <strong>–</strong> Facebook page<br />
Constant<strong>in</strong>e<br />
Dimajazz<br />
Music<br />
April<br />
Dima Jazz Festival <strong>–</strong> Facebook page<br />
Oran<br />
Biennale méditerranéenne d’art<br />
contempora<strong>in</strong> d’Oran<br />
Visual art<br />
July.<br />
https://oranbiennale.wixsite.com/<br />
Festival <strong>in</strong>ternational du Conte d’Oran<br />
Storytell<strong>in</strong>g<br />
March<br />
Festival <strong>in</strong>ternational de la BD d’Alger <strong>–</strong> Facebook<br />
page<br />
Le Petit lecteur <strong>–</strong> Facebook page<br />
Rotat<strong>in</strong>g locations<br />
Festival Raconte-arts<br />
Theatre<br />
July<br />
Festival Raconte-arts <strong>–</strong> Facebook page<br />
Egypt<br />
Alex<strong>and</strong>ria<br />
Theatre is a Must Festival<br />
Theatre<br />
March <strong>–</strong> April<br />
http://theatermust.com/<br />
Theatre Without Funds Festival<br />
Theatre<br />
November<br />
Facebook Page<br />
Library of Alex<strong>and</strong>ria Summer Festival<br />
Music<br />
June<br />
https://www.bibalex.org/<br />
Backstreet Festival<br />
Perform<strong>in</strong>g arts<br />
April<br />
Nassim el Raqs Creative lab<br />
Dance, performance<br />
Spr<strong>in</strong>g<br />
Nassim el Raqs Facebook page<br />
Cairo<br />
Cairocomix<br />
Literature, Comics<br />
November<br />
https://www.cairocomix.com/<br />
Cairo International Jazz Festival<br />
Music<br />
October<br />
https://www.cairojazzfest.com/<br />
Facebook page<br />
Cairo International Film festival<br />
Film<br />
November<br />
http://www.ciff.org.eg/<br />
Facebook page<br />
Di-Egy Festival<br />
Digital arts<br />
March<br />
Facebook page<br />
Downtown Contemporary <strong>Art</strong>s Festival<br />
Multidiscipl<strong>in</strong>ary<br />
April<br />
Facebook page<br />
Hakawy Festival for Young Audiences<br />
Theater<br />
March<br />
Facebook page<br />
Cairo International Festival for<br />
Contemporary & Experimental Theatre<br />
Theater<br />
September<br />
http://www.cifcet.gov.eg<br />
Facebook page<br />
Luxor<br />
Luxor <strong>Africa</strong>n Film Festival<br />
Film<br />
March<br />
http://luxorafricanfilmfestival.com/<br />
Facebook page<br />
Alex<strong>and</strong>ria, Cairo, Luxor<br />
2B Cont<strong>in</strong>ued Lab & Festival<br />
Perform<strong>in</strong>g arts<br />
February<br />
Facebook page<br />
Mauritania<br />
Nouakchott<br />
Festival Assalamalekoum<br />
Music<br />
June<br />
Facebook page<br />
Nouakshort Film Festival<br />
Film<br />
October<br />
Facebook page<br />
Rencontres littéraires<br />
Literature<br />
January<br />
http://traversees-mauritanides.com/
Rotat<strong>in</strong>g Locations<br />
Festival Nomade<br />
Music<br />
January<br />
https://www.lakhaima.ca/nomad-fest<br />
Morocco<br />
Agadir<br />
Agadir International Documentary Festival<br />
(FIDADOC)<br />
Documentary film<br />
June.<br />
http://www.fidadoc.org/<br />
Facebook page<br />
Festival Timitar<br />
Music<br />
July<br />
http://www.festivaltimitar.ma/<br />
Facebook page<br />
Casablanca<br />
Festival <strong>in</strong>ternational d’art vidéo<br />
Video <strong>Art</strong><br />
April<br />
http://www.fiav.ma<br />
Facebook page<br />
Jazzablanca<br />
Music<br />
June<br />
http://www.jazzablanca.com<br />
Facebook page<br />
L’Boulvard<br />
Music<br />
September<br />
http://www.boulevard.ma<br />
Facebook Page<br />
Rencontres chorégraphiques de Casablanca<br />
Dance<br />
October<br />
http://www.coljam.ma/<br />
Facebook page<br />
Essaouira<br />
Festival Gnaoua Rythmes du Monde<br />
Music<br />
June<br />
http://www.festival-gnaoua.net/fr<br />
Marrakech<br />
Atlas Electronic<br />
Music<br />
August / September<br />
http://www.atlas-electronic.com<br />
Facebook Page<br />
Festival Awaln’art<br />
Public <strong>Art</strong><br />
March/April<br />
Facobook Page<br />
Festival On Marche!<br />
Dance<br />
March<br />
Facebook page<br />
Festival Marrakech du Rire<br />
Comedy<br />
June<br />
http://www.marrakechdurire.com<br />
Facebook page<br />
Festival <strong>in</strong>ternational du film de Marrakech<br />
Film<br />
November<br />
http://www.festivalmarrakech.<strong>in</strong>fo<br />
Facebook page<br />
Rabat<br />
Festival Mawaz<strong>in</strong>e<br />
Music<br />
June<br />
http://www.festivalmawaz<strong>in</strong>e.ma/<br />
Facebook page<br />
Festival <strong>in</strong>ternational du c<strong>in</strong>éma d’auteur<br />
Film<br />
November<br />
http://www.festivalrabat.ma<br />
Facebook page<br />
Visa for Music <strong>–</strong> <strong>Africa</strong>-Middle East<br />
Music Meet<strong>in</strong>g<br />
Music<br />
November<br />
http://www.visaformusic.com<br />
Facebook page<br />
Tanger<br />
Tanjazz<br />
Music<br />
September<br />
http://www.tanjazz.org<br />
Facebook page<br />
Youme<strong>in</strong> Festival<br />
Multidiscipl<strong>in</strong>ary<br />
July<br />
Facebook page<br />
Tighmert<br />
Caravane Tighmert<br />
Multidiscipl<strong>in</strong>ary<br />
April<br />
https://caravanetighmert.weebly.com/<br />
Facebook page<br />
Tunisia<br />
Carthage<br />
Jazz à Carthage<br />
April<br />
Music<br />
http://2019.jazzacarthage.com/<br />
Facebook page<br />
Journées d’art contempora<strong>in</strong> de Carthage<br />
Visual <strong>Art</strong><br />
September<br />
Facebook page<br />
Journées chorégraphiques de Carthage<br />
Dance<br />
June / July<br />
Facebook page<br />
Journées c<strong>in</strong>ématographiques de Carthage<br />
Film<br />
October / November<br />
http://www.jcctunisie.org/<br />
Journées musicales de Carthage<br />
Music<br />
October<br />
Journées poétiques de Carthage<br />
Literature<br />
March<br />
http://www.jpcarthage.gov.tn/<br />
Facebook page<br />
Journées théâtrales de Carthage<br />
Theatre<br />
December<br />
http://www.jtc.tn<br />
Facebook page<br />
Hammamet<br />
Festival <strong>in</strong>ternational de Hammamet<br />
Perform<strong>in</strong>g arts<br />
Organisé par la Compagnie<br />
https://festivaldehammamet.com/<br />
Facebook Page<br />
Festival <strong>in</strong>ternational de films de femmes<br />
Film<br />
October<br />
Facebook Page
Events<br />
& Festivals<br />
Venues<br />
Kelibia<br />
Festival <strong>in</strong>ternational du film de Kelibia<br />
Film<br />
July / August<br />
Facebook page<br />
Kef<br />
SICCA Jazz<br />
Music<br />
March<br />
http://siccajazz.siccaveneria.com/<br />
Facebook page<br />
Tabarka<br />
Jazz à Tabarka<br />
Music<br />
August / September<br />
https://www.tabarkajazzfest.com/<br />
Facebook page<br />
Tameghza<br />
Oasis créatives<br />
Visual arts<br />
March<br />
Facebook page<br />
Tazarka<br />
Salon International de la B<strong>and</strong>e Dess<strong>in</strong>ee<br />
de Tazarka (SIBDT)<br />
Literature, Comics<br />
August<br />
Facebook page<br />
Western Sahara<br />
Tifariti<br />
<strong>Art</strong>ifariti <strong>–</strong> International <strong>Art</strong> <strong>and</strong> Human Rights<br />
Meet<strong>in</strong>g<br />
Multidiscipl<strong>in</strong>ary<br />
November<br />
http://www.artifariti.org/<br />
Facebook page<br />
Refugee camps<br />
near T<strong>in</strong>douf, Algeria<br />
FiSahara Film Festival<br />
Film<br />
October<br />
http://fisahara.es/<br />
Facebook page<br />
Algeria<br />
Algiers<br />
aria <strong>–</strong> artist residency <strong>in</strong> Algiers<br />
Central Alger<br />
arialgiers@gmail.com<br />
https://ariaprojects.org/<br />
aria <strong>–</strong> Facebook page<br />
Fully equipped 100 m 2 apartment<br />
<strong>Art</strong>issimo<br />
28, rue Didouche Mourad, Alger<br />
+213 (0)770 49 28 41<br />
contact@artissimo.dz<br />
http://artissimo.dz/<br />
<strong>Art</strong>issimo <strong>–</strong> Facebook page<br />
Multidiscipl<strong>in</strong>ary arts school,<br />
studios <strong>and</strong> exhibition space<br />
Ateliers NAS<br />
3, rue Caron, Alger<br />
+213 (0)550 08 85 68<br />
artcontempora<strong>in</strong>.dz@gmail.com<br />
Ateliers NAS - Facebook page<br />
<strong>Art</strong>s <strong>and</strong> cultural centre <strong>in</strong> the heart<br />
of the Casbah, workshops <strong>and</strong><br />
residency space<br />
Ateliers Sauvages<br />
43 rue Didouche Mourad, Alger<br />
+213 (0)770 98 38 57<br />
lesatelierssauvages@yahoo.com<br />
Ateliers Sauvages <strong>–</strong> Facebook page<br />
Exhibition & workshop space, 500 m2<br />
La Baignoire<br />
contact@labaignoirexperience.com<br />
La Baignoire <strong>–</strong> Facebook page<br />
Alternative arts concept / cultural space,<br />
laboratory with<strong>in</strong> an office sett<strong>in</strong>g<br />
Opéra d’Alger<br />
Lot 1, parcelle 515, Ouled Fayet, Alger<br />
+213 (0)23 28 93 63<br />
contact@operaalger.com.dz<br />
http://www.operaalger.com.dz<br />
Opéra d’Alger Facebook page<br />
Sound & light equipment<br />
Capacity: 1400 seats<br />
Park<strong>in</strong>g<br />
Théâtre municipal Alger centre<br />
(formerly salle Echabab)<br />
rue Larbi Ben M’hidi, Alger<br />
+213 (0)23 50 81 23<br />
Théâtre d’Alger centre <strong>–</strong> Facebook page<br />
Capacity: 500 seats
Théâtre national algérien<br />
10, rue Hadj Omar, Alger<br />
http://www.TNA.dz<br />
Sound & light equipment available<br />
Théâtre de verdure Lâadi Flici<br />
2, boulevard du Docteur Frantz Fanon,<br />
Alger-Centre<br />
+213 (0)21 71 07 28<br />
Sound & light equipment<br />
Park<strong>in</strong>g available<br />
Salle Ibn Zeydoun<br />
Riad El-Feth, El Madania, Alger<br />
+213 (0)21 25 29 10<br />
Salle Ibn Zeydoun <strong>–</strong> Facebook page<br />
Films & concerts<br />
Sound & light equipment<br />
Salle El-Moggar<br />
Allée de la Bonne Fonta<strong>in</strong>e, Alger<br />
+213(0)21 73 61 93<br />
Salle El-Moggar <strong>–</strong> Facebook page<br />
Films & concerts<br />
Sound & light equipment<br />
Egypt<br />
Alex<strong>and</strong>ria<br />
El Mad<strong>in</strong>a for Perform<strong>in</strong>g <strong>and</strong> Digital <strong>Art</strong>s<br />
6 Fouad St., Al Attar<strong>in</strong>, Alex<strong>and</strong>ria<br />
+20 (0) 34 87 58 18<br />
elmad<strong>in</strong>a@elmad<strong>in</strong>aarts.com<br />
http://www.elmad<strong>in</strong>aarts.com/<br />
Facebook page<br />
Four studios, with a total space of 400 m2<br />
Gudran for <strong>Art</strong> <strong>and</strong> Development<br />
1, Mamar El Central St., El Manshia, Alex<strong>and</strong>ria<br />
+20 (0) 34 84 42 26<br />
http://www.Gudran.com<br />
Residency space<br />
Jesuit Cultural Centre<br />
298 Port Said Street, Cleopatra, Alex<strong>and</strong>ria<br />
+20 (0) 35 21 48 77<br />
<strong>in</strong>fo@jesuitalex.org<br />
Facebook page<br />
Theatre<br />
Capacity: 160 seats / 200 st<strong>and</strong><strong>in</strong>g<br />
Library of Alex<strong>and</strong>ria<br />
Al Azaritah WA Ash Shatebi,<br />
Qesm Bab Sharqi, Alex<strong>and</strong>ria<br />
+20 (0) 34 83 99 99<br />
Secretariat@bibalex.org<br />
https://www.bibalex.org/<br />
Sem<strong>in</strong>ar <strong>and</strong> conference rooms<br />
Capacity:<br />
Great hall: 1638 Seated<br />
Small theatre: 242 seats<br />
MASS Alex<strong>and</strong>ria<br />
2, El Mad<strong>in</strong>a al Monawara, Miamia, Alex<strong>and</strong>ria<br />
+20 (0) 35 56 53 49<br />
massalex2016@gmail.com<br />
https://massalex<strong>and</strong>ria.wordpress.com/<br />
Facebook page<br />
400 m 2 exhibition <strong>and</strong> educational space<br />
Reflection for <strong>Art</strong>, Tra<strong>in</strong><strong>in</strong>g <strong>and</strong> Development<br />
Masjid Elasdeqaa St. Build<strong>in</strong>g No. 84, Flat No. 2,<br />
Garden City Smouha, Alex<strong>and</strong>ria<br />
+20 (0) 34 25 29 76<br />
<strong>in</strong>fo@reflectionart.org<br />
http://www.reflectionart.org/<br />
Facebook page<br />
1 hall, 32 m 2 ,<br />
technical equipment available<br />
Rézodance<br />
15, rue Sésostris, Al Attar<strong>in</strong>e <strong>–</strong><br />
Opposite Banque du Caire <strong>–</strong> 2nd floor, Alex<strong>and</strong>ria<br />
+ 20 (0) 34 83 53 55<br />
egypte@rezodanse.com<br />
https://rezodanseegypte.com/<br />
Facebook page<br />
Independent cultural centre, 3 studios<br />
Cairo<br />
AfriCairo<br />
2 Gamal Al D<strong>in</strong> Abou Al Mahasen,<br />
Qasr an Nile, Cairo<br />
+20 (0)2 27 93 42 09<br />
africairo@gmail.com<br />
Facebook page<br />
Small space for record<strong>in</strong>g, workshops <strong>and</strong><br />
performances of Afro fusion music <strong>and</strong> arts<br />
Almoharek Book<strong>in</strong>g Agency<br />
8 Zaki Aboul Seoud St. Agouza, Cairo<br />
+20 (0)2 33 46 88 48<br />
contact@almoharek.com<br />
http://www.almoharek.com/<br />
Facebook page<br />
Book<strong>in</strong>g agency for <strong>in</strong>dependent Arab music<br />
Cairo Contemporary Dance Center<br />
1 Mousa Galal Square Moh<strong>and</strong>es<strong>in</strong>, Cairo<br />
+20 (0)2 33 45 97 37<br />
<strong>in</strong>fo@ccdc.dance<br />
https://cargocollective.com/<br />
Facebook page<br />
Independent dance centre with two studios,<br />
hosts residencies<br />
Contemporary Image Collective<br />
4th Floor, 22 Abdel Khalek Tharwat Street,<br />
Downtown Cairo<br />
+20 (0)2 23 96 42 72<br />
<strong>in</strong>fo@ciccairo.com<br />
http://www.ciccairo.com<br />
Facebook page<br />
Exhibition <strong>and</strong> workshop spaces<br />
Capacity: 200 seats<br />
Cairo Opera House<br />
El Borg el Guezira, Zamalek<br />
+20 (0)2 27 39 01 44<br />
<strong>in</strong>fo@cairoopera.org<br />
http://www.cairoopera.org/<br />
Facebook page<br />
Theatre<br />
Capacity: 1.200 seats<br />
Darb 1718<br />
Kasr El Sham3 Street,<br />
Al Fakhareen <strong>–</strong> Old Cairo, Cairo<br />
+20 (0)2 27 41 30 53<br />
kholeif@darb1718.com<br />
http://www.darb1718.com/<br />
Facebook page<br />
Two exhibition spaces, stage,<br />
gardens, terrace<br />
El Mastaba Theatre<br />
30 A El Belaasy St, Abdeen, Cairo<br />
+20 (0) 11 50 99 53 54<br />
mmabrouk5@gmail.com<br />
http://www.el-mastaba.org<br />
Facebook page<br />
Theatre<br />
El Sawy Culture Wheel<br />
26th of July street, Zamalek, Egypt<br />
+20 (0) 10 00 99 99 95<br />
<strong>in</strong>fo@culturewheel.com<br />
http://www.culturewheel.com<br />
Facebook page<br />
Cultural centre with five stages<br />
Fully equipped<br />
Capacity: 1.500 seats<br />
Emad Edd<strong>in</strong> Foundation/Studio Emad Edd<strong>in</strong><br />
18 Emad Edd<strong>in</strong> Street, Ataba, Downtown Cairo<br />
+20 (0) 2 25 76 38 50<br />
<strong>in</strong>fo@seefoundation.org<br />
http://seefoundation.org/<br />
Facebook page<br />
Four rehearsal, workshop spaces<br />
organizes residencies<br />
Ezzat Ezzat Contemporary Dance Studio<br />
6 Obida Ben Elgarah St., Faisal, El-Giza<br />
+20 (0)2 35 84 46 63<br />
<strong>in</strong>fo@eedancestudio.com<br />
http://www.eedancestudio.com/<br />
Facebook page<br />
Studios & apartment<br />
Capacity: 60 seats
Venues<br />
Falaki Theatre<br />
American University <strong>in</strong> Cairo,<br />
Downtown Campus,<br />
24 Falaki St., Downtown Cairo<br />
+20 (0) 12 88 72 14 46<br />
Exhibition Space,Rehearsal space,<br />
Screen<strong>in</strong>g Room, Theater<br />
Makan Centre for Culture & <strong>Art</strong><br />
1 Sharia Saad Zaghloul<br />
Mounira, Cairo<br />
+20 (0)2 27 92 08 78<br />
makan@egyptmusic.org<br />
http://egyptmusic.org/en/<br />
Cultural centre<br />
Capacity: 70 <strong>–</strong> 120 seats<br />
Medrar for Contemporary <strong>Art</strong><br />
7 Gamal El D<strong>in</strong> Abou El Mahasen St.<br />
Garden City, 1st Floor, Apt.4, Cairo<br />
+20 (0)2 27 95 77 14<br />
<strong>in</strong>fo@medrar.org<br />
http://www.medrar.org/<br />
Facebook page<br />
Exhibition space, workshop spaces<br />
Out of the Circle Initiative<br />
11 El-Reyad street, Moh<strong>and</strong>eseen, Cairo<br />
outofthecirlce.org@gmail.com<br />
http://www.outofthecircle.org/<br />
Facebook page<br />
Cultural centre with a residency space<br />
for digital artists<br />
Townhouse Gallery / Rawabet<br />
Nabarawy Street, off Champollion,<br />
Downtown, Cairo<br />
+20 (0)2 25 76 80 86<br />
<strong>in</strong>fo@thetownhousegallery.com<br />
http://www.thetownhousegallery.com/rawabet/<br />
Facebook page<br />
Rehearsal space, Screen<strong>in</strong>g Room, theatre<br />
Capacity: 150 people<br />
Fayoum<br />
Fayoum <strong>Art</strong> Centre<br />
Tunis village, Fayoum<br />
+20 (0) 11 20 02 12 13<br />
<strong>in</strong>fo@fayoumartcenter.com<br />
Facebook page<br />
Studio spaces, art library, residency space<br />
Mauritania<br />
Nouakchott<br />
<strong>Art</strong>GalléAmySow<br />
ANAT lot 775 Iskane Socogim plage, Nouakchott<br />
artgalle2017@gmail.com<br />
Facebook page<br />
Founded <strong>and</strong> run by pa<strong>in</strong>ter Amy Sow<br />
<strong>Art</strong> gallery, residency space <strong>and</strong> café<br />
Échos du Sahel<br />
Route de la Plage, Cité Plage,<br />
fac<strong>in</strong>g Cl<strong>in</strong>ique Bouna, Nouakchott<br />
+222 (0)27 05 96 87<br />
echosdusahel@gmail.com<br />
Facebook page<br />
Multidiscipl<strong>in</strong>ary cultural centre, host<strong>in</strong>g<br />
residencies, performances, workshops<br />
Espace culturel Diadie Tabara Camara<br />
Ksar, Nouakchott<br />
+222 (0)47 51 48 92<br />
Facebook page<br />
Multidiscipl<strong>in</strong>ary space for meet<strong>in</strong>gs,<br />
exchanges <strong>and</strong> knowledge shar<strong>in</strong>g<br />
Maison des c<strong>in</strong>éastes<br />
Ilot A, Rue 410-05, Nouakchott<br />
+222 (0)525 68 68<br />
maisondesc<strong>in</strong>eastes@gmail.com<br />
Facebook page<br />
Screen<strong>in</strong>g room <strong>and</strong> cultural centre, host<strong>in</strong>g<br />
tra<strong>in</strong><strong>in</strong>gs, workshops, screen<strong>in</strong>gs, etc.<br />
Traversées Mauritanides<br />
BP 7663, Nouakchott<br />
+222 (0)45 49 03 38<br />
traverseesmauritanides@gmail.com<br />
http://traversees-mauritanides.com/<br />
Literary organization, organizes Rencontres<br />
littéraires de Nouakchott festival<br />
Morocco<br />
Casablanca<br />
Atelier de l’observatoire<br />
62 Boulevard Bir Anzarane, Casablanca<br />
+212 (0) 6 10 32 88 04<br />
atelier.observatoire@gmail.com<br />
https://www.atelierobservatoire.com/<br />
Facebook page<br />
Residency & workshop space <strong>in</strong> Bouskoura<br />
(32 km from Casablanca)<br />
L’Boultek<br />
Technopark, Route de Nouaceur, Sidi Maarouf<br />
Casablanca<br />
+212 (0) 6 99 63 67 99<br />
eac.lboulvart@gmail.com<br />
https://boulevard.ma/boultek/<br />
Facebook page<br />
Fully-equipped record<strong>in</strong>g studios <strong>and</strong><br />
performance space<br />
120 seats / 250 st<strong>and</strong><strong>in</strong>g<br />
Casa del <strong>Art</strong>e<br />
7 rue Franceville Oasis, Casablanca<br />
+212 (0) 5 22 99 09 36<br />
+212 (0) 5 22 98 46 57<br />
<strong>in</strong>fo@casadelarte.ma<br />
http://www.casadelarte.ma/<br />
Facebook page<br />
7 multi-purpose rooms <strong>and</strong> patio<br />
C<strong>in</strong>ema Rialto<br />
20 Rue Mohamed El Quorri, Casablanca<br />
+212 (0) 6 34 75 09 83<br />
c<strong>in</strong>ema.lerialto@gmail.com<br />
Facebook page<br />
C<strong>in</strong>ema <strong>and</strong> cultural space<br />
Houna<br />
communication@houna.ma<br />
http://www.houna.ma/<br />
Facebook page<br />
Cultural <strong>in</strong>cubator & residency space<br />
Le H2/61.26<br />
61, avenue Hassan II, floor 11, Casablanca<br />
+212 (0)6 78 32 80 08<br />
Facebook page<br />
Exhibition <strong>and</strong> cultural space<br />
La Source du lion<br />
336, rue Mustapha al Maani, Casablanca<br />
+212 (0) 6 73 62 08 10 / 06<br />
http://www.lasourcedulion.com/<br />
Facebook page<br />
Workshop, exhibition, residency space<br />
Les Étoiles (Fondation Ali Zaoua)<br />
Bd Mohamed Zefzaf, Attacharouk<br />
Sidi Moumen, Casablanca<br />
+212 (0) 5 22 72 49 23<br />
fondationalizaoua@gmail.com<br />
http://fondationalizaoua.org/<br />
Facebook page<br />
Fully equipped auditorium, screen<strong>in</strong>g room,<br />
residency space, rehearsal spaces<br />
Studio des <strong>Art</strong>s Vivants<br />
38, Boulevard Abdelhadi Boutaleb, Casablanca<br />
+212 (0) 6 66 65 32 02<br />
+212 (0) 5 22 97 93 20<br />
http://www.lestudio.ma/<br />
Capacity: 600 seats<br />
Fully equipped<br />
2 park<strong>in</strong>g lots
Studio Hiba<br />
Bd Ahl loghlam, Sidi Bernoussi, Casablanca<br />
+212 (0) 5 22 74 27 17 / 18<br />
contact@studiohiba.com<br />
http://www.studiohiba.ma/<br />
Fully equipped record<strong>in</strong>g <strong>and</strong> production studios,<br />
<strong>and</strong> residency space with 5 rooms<br />
L’Uz<strong>in</strong>e<br />
19 boulevard Mouatamid Ibnou Abbad,<br />
ancienne route de Rabat,<br />
Aïn Sebâa, Casablanca<br />
+212 (0) 5 22 66 01 66<br />
Facebook page<br />
Exhibition space, performance space<br />
Fully equipped<br />
Capacity: 130 seats / 200 st<strong>and</strong><strong>in</strong>g<br />
Villa des <strong>Art</strong>s<br />
30, Boulevard Brahim Roudani, Casablanca<br />
+212 (0) 5 22 29 50 87/94<br />
http://www.fondationona.ma/<br />
Exhibition <strong>and</strong> performance space<br />
372 Avenue Colonel Mondjiba<br />
+ 243 81 878 50 72<br />
Lieu d’exposition, de projections,<br />
boutique et café.<br />
Rabat<br />
Centre culturel l’Agdal<br />
Rue Amir Abdelkader, Rabat<br />
+212 (0) 5 37 67 28 66<br />
Facebook page<br />
Exhibition hall, residency space,<br />
projection room, record<strong>in</strong>g studios<br />
Capacity: (172 seats)<br />
Dabateatr<br />
Technopark , 8 Rue Gh<strong>and</strong>i, Hassane-Rabat<br />
+212 (0)6 00 05 06 22<br />
http://dabateatr.org/<br />
Facebook page<br />
Multidiscipl<strong>in</strong>ary arts organization<br />
Fondation Hiba<br />
360, Bd Mohamed V, Rabat<br />
+212 (0) 5 37 73 80 49<br />
https://www.fondationhiba.ma/<br />
Facebook page<br />
Salle Renaissance: fully equipped c<strong>in</strong>ema<br />
<strong>and</strong> theatre<br />
Capacity: 382 seats<br />
Hiba Lab<br />
(See also Hiba studios <strong>in</strong> Casablanca<br />
L’appartement22)<br />
279 avenue Mohamed V, Rabat<br />
+212 (0)6 63 59 82 88<br />
https://www.appartement22.com/<br />
Facebook page<br />
multidiscipl<strong>in</strong>ary rehearsal <strong>and</strong> workshop space<br />
Residency <strong>and</strong> exhibition space<br />
Le Cube<br />
2, rue Benzerte, Rabat<br />
+212 (0)6 61 18 64 41<br />
<strong>in</strong>fo@lecube-art.com<br />
https://lecube-art.com/<br />
Facebook page<br />
Residency <strong>and</strong> exhibition space<br />
Palais Tazi<br />
2, rue El Quds, Rabat<br />
+212 (0) 6 66 75 92 56<br />
Facebook page<br />
For large events<br />
Salle Bahn<strong>in</strong>i<br />
1n rue Gh<strong>and</strong>i, Rabat<br />
+ 212 (0) 5 37 20 94 94<br />
Facebook page<br />
Managed by the M<strong>in</strong>istry of Culture<br />
Auditorium capacity: 600 seats<br />
Théâtre Aquarium<br />
12 rue Ezzaouia, Rabat<br />
+212 (0) 5 37 69 41 09<br />
http://www.theatreaquarium.org/aquarium.html<br />
Facebook page<br />
Small theatre, gallery, meet<strong>in</strong>g spaces<br />
Théâtre national Mohammed V<br />
172, Avenue Al Mansour Addahbi, Rabat<br />
+ 212 (0) 5 37 70 73 00<br />
https://tnm5.ma/<br />
State theatre<br />
Villa des <strong>Art</strong>s Rabat<br />
10, rue Beni Mellal, corner Av Mohamed V., Rabat<br />
+212 (0) 5 37 66 85 79-82<br />
http://www.fondationona.ma/<br />
Exhibition <strong>and</strong> performance space<br />
Centre culturel l’Agdal<br />
Rue Amir Abdelkader, Rabat<br />
+212 (0) 5 37 67 28 66<br />
Facebook page<br />
Exhibition hall, residency space,<br />
projection room, record<strong>in</strong>g studios<br />
Capacity: 172 seats<br />
Marrakech<br />
Al Maqam<br />
El Mgassem, Marrakech Tensift Al Haouz,<br />
Tahannaout<br />
almaqamresidence@gmail.com<br />
Facebook page<br />
Residency space, 10 rooms<br />
Dar Saïda <strong>–</strong> Literary space<br />
97 rue Tansift Quartier Semlalia, Marrakesh<br />
+212 (0) 5 24 43 63 60<br />
darsaidaasso@gmail.com<br />
https://www.darsaida.org/<br />
Facebook page<br />
Conference halls, café<br />
Dar Bellarj Foundation<br />
9 <strong>–</strong> 7, Toualate Zaouiate Lahdar Méd<strong>in</strong>a,<br />
Marrakesh<br />
+212 (0) 5 24 44 45 55<br />
contact@darbellarj.org<br />
Facebook Page<br />
Exhibition <strong>and</strong> workshop space<br />
Le18<br />
18, Derb El Ferrane <strong>–</strong> Riad Laarouss, Marrakesh<br />
+212 (0) 5 24 38 98 64<br />
le18marrakech@gmail.com<br />
https://le18marrakech.com/en/<br />
Facebook page<br />
Residency <strong>and</strong> exhibition space<br />
MACAAL<br />
Al Maaden, Sidi Youssef Ben Ali, Marrakech<br />
+212 (0) 6 76 92 44 92<br />
<strong>in</strong>fo@macaal.org<br />
http://macaal.org/<br />
Facebook page<br />
Contemporary <strong>Africa</strong>n art museum<br />
with residency space<br />
Priscilla Queen of the Med<strong>in</strong>a<br />
27 Derb el Ferrane Azbezt, Marrakesh<br />
+212 (0) 6 21 51 49 05<br />
queenofthemed<strong>in</strong>a@gmail.com<br />
http://www.queen-of-the-med<strong>in</strong>a.com/<br />
Facebook page<br />
Work<strong>in</strong>g space, presentation space,<br />
accommodation<br />
Tanger<br />
Atelier Kissaria/Th<strong>in</strong>k Tanger<br />
<strong>in</strong>fo@atelier-kissaria.com<br />
http://www.atelier-kissaria.com<br />
Facebook page<br />
150 m 2 space for creation <strong>and</strong> production<br />
center<strong>in</strong>g on experimental <strong>and</strong> artisanal pr<strong>in</strong>t<strong>in</strong>g<br />
techniques. Also hosts residencies.<br />
C<strong>in</strong>émathèque de Tanger<br />
Gr<strong>and</strong> Socco <strong>–</strong> Place du 9 avril 1947, Tanger<br />
+212 (0)5 39 93 46 83<br />
<strong>in</strong>fo@c<strong>in</strong>emathequedetanger.com<br />
https://www.c<strong>in</strong>emathequedetanger.com/en/<br />
Facebook page<br />
Two screen<strong>in</strong>g rooms <strong>and</strong> café<br />
Capacity: 300 seats / 50 seats<br />
Les Étoiles<br />
29, Rue Aicha Al Moussafir <strong>–</strong> Beni Makada, Tanger<br />
+212 (0)6 11 30 95 29<br />
fondationalizaoua@gmail.com<br />
http://fondationalizaoua.org/<br />
Fully equipped auditorium, screen<strong>in</strong>g room,<br />
residency space, rehearsal spaces
Venues<br />
Mahal <strong>Art</strong> Space<br />
122, Avenue Sidi Mohamed Ben Abdellah,<br />
Local B, Tanger<br />
+212 (0)6 91 58 29 53<br />
mahal.artspace@gmail.com<br />
Facebook page<br />
Exhibition <strong>and</strong> residency space<br />
Spectacle pour tous<br />
contact@spectaclepourtous.ma<br />
Facebook page<br />
Theatre schoolbus, small permanent<br />
rehearsal space<br />
Tabadoul<br />
19, rue Magellan, Tanger<br />
+212 (0)6 64 73 21 73<br />
<strong>in</strong>fo@tabadoul.org<br />
http://www.tabadoul.org<br />
Facebook page<br />
400 m2 multi-purpose performance,<br />
rehearsal <strong>and</strong> residency space<br />
Two rooms:<br />
Large room for performances: 140 m 2<br />
<strong>and</strong> small for meet<strong>in</strong>gs: 30 m 2<br />
workshops etc.<br />
Libya<br />
Tripoli<br />
Ali Gana Foundation <strong>and</strong> Museum<br />
aliganafoundation@gmail.com<br />
Facebook page<br />
Founded by artist Hadia Gana<br />
The museum is under construction<br />
<strong>Art</strong> House<br />
Triq el Sikka, Tripoli<br />
+218 (0)2 13 60 44 77<br />
Facebook page<br />
Popular gallery space <strong>and</strong> meet<strong>in</strong>g place s<strong>in</strong>ce<br />
the 1990s. Sometimes hosts screen<strong>in</strong>gs <strong>and</strong><br />
other events.<br />
WaraQ <strong>Art</strong> Foundation<br />
+218 (0)9 23 06 32 78<br />
hello@waraq.ly<br />
https://waraqartfoundation.com/<br />
Facebook page<br />
NGO organiz<strong>in</strong>g exhibitions, workshops,<br />
tra<strong>in</strong><strong>in</strong>gs around contemporary art<br />
Benghazi<br />
Tanarout<br />
Alhadaiyq, Benghazi<br />
+218 (0)9 13 84 90 03<br />
Info@tanarout.org<br />
https://tanarout.org/<br />
Facebook page<br />
Large multi-purpose cultural space,<br />
used for concerts, exhibitions, studios,<br />
screen<strong>in</strong>gs, rehearsals, etc.<br />
Tunisia<br />
Tunis<br />
L’Agora<br />
5 avenue Taïeb Mhiri Marsa Ville<br />
+216 (0)29 912 123<br />
lagora@lagora.tn<br />
https://www.lagora.tn/<br />
Facebook page<br />
C<strong>in</strong>ema, performance, exhibition space<br />
Théâtre Al-Hamra / Centre Arabo-<strong>Africa</strong><strong>in</strong> de<br />
Recherche et de Création Théâtrale<br />
28 rue d’El Jazira<br />
+216 (0)71 320 734<br />
theatrelhamra@gmail.com<br />
Facebook page<br />
Fully equipped theatre, tra<strong>in</strong><strong>in</strong>g centre<br />
L’<strong>Art</strong> Rue<br />
40, rue Kouttab Louzir <strong>–</strong> Tunis med<strong>in</strong>a<br />
+216 (0)29 212 775<br />
communication.lartrue@gmail.com<br />
https://www.lartrue.com/<br />
Facebook page<br />
Residency space, workshops,<br />
performances, exhibitions<br />
Bchira <strong>Art</strong> Center<br />
Sabelet Ben Ammar, on the road to Sidi Tabet,<br />
Ariana<br />
+216 (0)71 527 767<br />
contact@bchiraartcenter.com.tn<br />
Facebook page<br />
Gallery space : 200 m 2<br />
Capacity : 200 seats / 400 st<strong>and</strong><strong>in</strong>g<br />
Park<strong>in</strong>g available<br />
BL79<br />
Bhar Lazreg, Tunis<br />
https://www.kamellazaarfoundation.org/fr/<br />
project/b7l9<br />
Exhibition space: 500 m 2 , projection room, space<br />
for resident artists, library <strong>and</strong> café<br />
Centre des Musiques Arabes<br />
et Méditerranéennes<br />
8, rue du 2 mars 1934, Sidi bou Said<br />
http://www.cmam.nat.tn/<br />
Multidiscipl<strong>in</strong>ary cultural complex with two<br />
performance spaces<br />
Capacity: 230 seats (<strong>in</strong>door), 600 seats (outdoor)<br />
Cité de la Culture<br />
Avenue Mohamed 5, Tunis<br />
+216 (0)70 028 330<br />
contact.citeculture@mac.gov.tn<br />
http://www.citedelaculture.gov.tn/<br />
Facebook page<br />
Sound & light equipment<br />
Opera: 1800 seats<br />
Auditorium: 700 seats<br />
Theatre: 400 seats<br />
Music production studios<br />
El Teatro<br />
Le Belvédère, Tunis<br />
+216 (0)71 894 313<br />
https://www.elteatro-tunis.com/<br />
Facebook page<br />
El Teatro ma<strong>in</strong> space: 250 seats<br />
Carré d’art: 100 seats<br />
Exhibition space<br />
L’Étoile du Nord<br />
41 Avenue de Farhat-Hached, Tunis<br />
+216 (0)71 256 242<br />
Facebook page<br />
Capacity: 300 <strong>–</strong> 400 seats / 600 st<strong>and</strong><strong>in</strong>g<br />
La Boîte<br />
Z.I. La Charguia, Tunis<br />
Facebook page<br />
Exhibition space<br />
Lab619<br />
619lab@gmail.com<br />
Facebook page<br />
Comic <strong>and</strong> graphic novel collective, organize<br />
residencies, workshops<br />
Lang’art<br />
36, rue 18 janvier 1952, Tunis<br />
+216 (0)58 088 048<br />
langartproduction@gmail.com<br />
Facebook page<br />
Rehearsal studio with stage, 70m 2<br />
Centre des arts vivants de Radès<br />
1, rue du Pakistan, Tunis<br />
+216 (0)71 441 727<br />
contact@cavr.tn<br />
http://www.cavr.tn<br />
Facebook page<br />
Workshop spaces, photography lab,<br />
three <strong>in</strong>dividual workshops for<br />
resident artists, exhibition space
C<strong>in</strong>éMad’art Carthage<br />
2, rue Pl<strong>in</strong>e, Carthage<br />
+216 (0)71 275 210<br />
<strong>in</strong>fo@c<strong>in</strong>emadart.net<br />
Facebook page<br />
C<strong>in</strong>ema <strong>and</strong> theatre<br />
C<strong>in</strong>evog<br />
10 rue Said Abou Bakr Le Kram<br />
c<strong>in</strong>evog.programme@gmail.com<br />
Facebook page<br />
C<strong>in</strong>ema <strong>and</strong> theatre<br />
Maison de la culture Ibn Rachik<br />
20, Avenue de Paris, Tunis<br />
+216 (0)71 338 952<br />
ibnrachiq@gmail.com<br />
Facebook page<br />
Exhibition <strong>and</strong> performance space<br />
Maison de l’Image<br />
40 Rue Tarak Ibn Zied<br />
Mutuelleville, Aryanah<br />
+216 (0)71 84 05 36<br />
<strong>in</strong>fo@maisonimage.tn<br />
http://www.maisonimage.tn<br />
Facebook page<br />
Workshop, exhibition, residency space<br />
Le Mondial<br />
20, rue Ibn Khaldoun, Tunis<br />
+216 (0)95 159 568<br />
espacelemondial@gmail.com<br />
Facebook page<br />
C<strong>in</strong>ema, performance space<br />
Le Rio<br />
92, rue Radhia Haddad, Tunis<br />
+216 (0)70 038 033<br />
artdistributions@gmail.com<br />
Facebook page<br />
C<strong>in</strong>ema, theatre<br />
WAX Bar<br />
Complexe Tr<strong>in</strong>idad <strong>–</strong> Gammarth, Tunis<br />
+216 (0)25 508 109<br />
waxbarv<strong>in</strong>yles@gmail.com<br />
Facebook page<br />
Popular bar/club <strong>and</strong> show venue<br />
Hammamet<br />
Dar Eyquem<br />
<strong>in</strong>fo@dareyquem.com<br />
Facebook page<br />
Residency space<br />
Western Sahara<br />
T<strong>in</strong>douf<br />
Motif <strong>Art</strong>s Studio<br />
Samara Refugee Camp,<br />
near T<strong>in</strong>douf, Algeria<br />
+213 (0)6 68 37 15 96<br />
<strong>Art</strong> space run by multidiscipl<strong>in</strong>ary<br />
artist Mohamed Sulaiman<br />
Abid<strong>in</strong> Kaid Saleh Audiovisual School<br />
Dakhla Refugee Camp,<br />
near T<strong>in</strong>douf, Algeria<br />
<strong>in</strong>fo@escueladec<strong>in</strong>edelsahara.org<br />
http://fisahara.es/escuela-audiovisual/<br />
Facebook page<br />
Film & audiovisual tra<strong>in</strong><strong>in</strong>g centre for Sahrawi<br />
refugees. Affiliated with FiSahara Film Festival.<br />
Salle 4e art/Le Paris<br />
27, avenue de Paris, Tunis<br />
+216 (0)50 609 460<br />
Facebook page<br />
Theatre <strong>and</strong> exhibition space<br />
Sound & light equipment<br />
Capacity: 350 seats<br />
Théâtre municipal<br />
2, rue de Grèce, Tunis<br />
+216 (0)71 259 499<br />
Facebook page<br />
Capacity: 1350 seats<br />
Théâtre national tunisien<br />
58 Place Halfaou<strong>in</strong>e, Tunis,<br />
+216 (0)71 565 693<br />
Facebook page<br />
Theatre, studios
120<br />
Acronyms<br />
APPENDIX<br />
A<br />
—<br />
QUOTE:<br />
We speak Arabic, whereas<br />
artists <strong>in</strong> other <strong>Africa</strong>n regions<br />
speak French. It’s true that<br />
we’re an <strong>Africa</strong>n country but<br />
we feel like we’re more part<br />
of the MENA region.<br />
Mohamed Guediri<br />
Rapper, founder of Association<br />
Cité’Ness, Tunis*<br />
—
121<br />
Acronyms<br />
ACRO—<br />
NYMS—<br />
AARC—Agence Algérienne pour le Rayonnement Culturel<br />
AFAC—Arab Fund for <strong>Art</strong>s <strong>and</strong> Culture<br />
AMA—<strong>Art</strong> <strong>Moves</strong> <strong>Africa</strong><br />
AU—<strong>Africa</strong>n Union<br />
ECF—European Cultural Foundation<br />
ENP—European Neighbourhood Policy<br />
EU—European Union<br />
MASA—Marché des <strong>Art</strong>s et du Spectacle, Abidjan<br />
MENA—Middle East <strong>and</strong> <strong>North</strong> <strong>Africa</strong><br />
MENASA—Middle East, <strong>North</strong> <strong>Africa</strong> <strong>and</strong> South Asia<br />
NGO—Non-governmental organization<br />
OIF—Organisation Internationale de la Francophonie<br />
RAM—Royal Air Maroc<br />
RCF—Roberto Cimetta Fund<br />
SADR—Sahrawi Arab Democratic Republic
122<br />
Respondents<br />
APPENDIX<br />
B<br />
—<br />
Fact:<br />
List of 90 artists<br />
<strong>and</strong> cultural operators<br />
<strong>in</strong>terviewed<br />
—
123<br />
Respondents<br />
—<br />
Some <strong>in</strong>dividuals<br />
responded<br />
<strong>in</strong> their capacity<br />
as <strong>in</strong>dependent<br />
practitioners; some on<br />
behalf<br />
of their organizations;<br />
<strong>and</strong> some, both.<br />
—<br />
RES —<br />
PON —<br />
DENTS<br />
LIST OF ARTISTS &<br />
CULTURAL OPERATORS<br />
INTERVIEWED<br />
ALGERIA<br />
· Ammar Bouras<br />
Photographer, Algiers<br />
· Arslan Naili<br />
Visual artist,<br />
Founder of Atelier N.A.S., Algiers<br />
· Mouna Bennamani<br />
Visual artist, Algiers<br />
· Hacène Metref<br />
Director Festival Raconte-<strong>Art</strong>s, Tizi Ouzou<br />
· Houari Bouchenak<br />
Photographer, Collectif 220, Tlemcen / Algiers<br />
· Louise Dib<br />
Graphic designer, Algiers<br />
· Riad Abdelouahab<br />
Graphic designer, Algiers<br />
· Malik Chaoui<br />
Co-project manager, Groupe de travail sur la<br />
politique culturelle en Algérie, Algiers<br />
· Mehdi Djelil<br />
Visual artist, Algiers<br />
· Meriem Bouraoui<br />
Slam poet, Algiers<br />
· Myriam Amroun<br />
Cultural project manager, Algiers<br />
· Sadek Bouz<strong>in</strong>ou<br />
S<strong>in</strong>ger/songwriter, Democratoz, Oran/Dakar<br />
· Samy Abdelguerfi<br />
Booker, cultural policy researcher,<br />
Groupe de travail sur la politique culturelle<br />
en Algérie, Algiers / Paris<br />
· Walid Aidoud<br />
Visual artist, founder of Box24, Algiers<br />
· Wassyla Tamzali<br />
Founder <strong>and</strong> artistic director,<br />
Les Ateliers Sauvages, Algiers<br />
· Zafira Ouartsi<br />
Founder <strong>and</strong> director, <strong>Art</strong>issimo, Algiers<br />
EGYPT<br />
· Abdelsamee Abdallah<br />
Cultural activist <strong>and</strong> theatre practitioner,<br />
ActionAid, Cairo/Amman<br />
· Adel Abdelwahab<br />
<strong>Art</strong>istic director, Hewar for Independent<br />
Theater & Perform<strong>in</strong>g <strong>Art</strong>s, Alex<strong>and</strong>ria<br />
· Ahmed Eldeeb<br />
Co-founder <strong>–</strong> Director, Reflection for<br />
<strong>Art</strong>s Tra<strong>in</strong><strong>in</strong>g & Development, Alex<strong>and</strong>ria<br />
· Ahmed Omar<br />
Bassist, founder of AfriCairo<br />
· Amany El Sawy<br />
Associate Professor <strong>and</strong> playwright,<br />
Alex<strong>and</strong>ria University<br />
· Andrea Thal<br />
<strong>Art</strong>istic director,<br />
Contemporary Image Collective, Cairo<br />
· Basem Abuarab<br />
Executive director, Al Moharek Book<strong>in</strong>g Agency<br />
for Independent Arabic Music, Cairo<br />
· Berit Schuck<br />
Programme director, MASS Alex<strong>and</strong>ria<br />
· Dia Hamed<br />
Visual artist <strong>and</strong> co-founder, Medrar Centre for<br />
Contemporary <strong>Art</strong>, Cairo<br />
· Elham Khattab<br />
digital artist <strong>and</strong> co-founder,<br />
Out of the Circle, Cairo<br />
· Ghada El Sherb<strong>in</strong>y<br />
Cultural programm<strong>in</strong>g<br />
Goethe Institut Kairo<br />
· Laila Soliman<br />
Playwright <strong>and</strong> director, Cairo<br />
· Mohamed Ghazala<br />
Professor, Vice President of the International<br />
Association of Animation filmmakers (ASIFA),<br />
Cairo /Jeddah
124<br />
Respondents<br />
· Mohammed Hassan<br />
Sound eng<strong>in</strong>eer, IICI Consult<strong>in</strong>g, Cairo<br />
· Nada Sabet<br />
Theatre director, co-founder,<br />
Noon Creative Enterprise<br />
· Reem Hassan<br />
Visual artist <strong>and</strong> co-founder, EAN Group for<br />
International <strong>Art</strong>istic Cooperation, Cairo<br />
· Yara Mekawei<br />
Sound artist <strong>and</strong> DJ, Radio Submar<strong>in</strong>e, Cairo<br />
LIBYA<br />
· Abdul Mohaimen Zarrough<br />
Photographer <strong>and</strong> cultural manager, Tripoli<br />
· D<strong>in</strong>a Gallal<br />
Photographer <strong>and</strong> visual artist, Benghazi<br />
· Faiza Ramadan<br />
Visual artist, Tripoli<br />
· Faraj Alsileeni<br />
Drummer, Director of Tanarout, Benghazi<br />
· Mohamed Busne<strong>in</strong>a<br />
Drummer, Content Developer &<br />
Head of Music Dept., Tanarout<br />
· Najlaa El-Ageli<br />
Architect, Founder of Noon <strong>Art</strong>s Projects,<br />
Tripoli/London<br />
· Sihem Saleh<br />
Architect <strong>and</strong> cartoonist, Tripoli<br />
· Tewa Barnosa<br />
Visual artist <strong>and</strong> founder of<br />
WaraQ <strong>Art</strong> Foundation, Tripoli/Berl<strong>in</strong><br />
MAURITANIA<br />
· Atigh Ould<br />
Founder <strong>and</strong> artistic director,<br />
Festival Nomade<br />
· Mohamed Idoumou<br />
Poet, journalist, documentary filmmaker<br />
<strong>and</strong> cultural operator, Maison du c<strong>in</strong>éma de<br />
Nouakchott<br />
MOROCCO<br />
· Am<strong>in</strong>a Mourid<br />
Cultural operator, co-founder,<br />
Atelier Kissaria & Th<strong>in</strong>k Tanger<br />
· Abdessamad Bourhim<br />
l’Uz<strong>in</strong>e, Bassist / stage manager<br />
& technician, Casablanca<br />
· Ahlam El Morsli<br />
Dancer <strong>and</strong> choreographer,<br />
Compagnie Col’Jam, Casablanca<br />
· Bouchra Salih<br />
Independent cultural operator & designer,<br />
Rabat<br />
· Brahim El Mazned<br />
Director of Visa for Music, Rabat<br />
· Carlos Mar<strong>in</strong><br />
Director of Caravane Tighmert, Ceuta<br />
· Dounia Jouhar<br />
l’Uz<strong>in</strong>e, Communications manager,<br />
Casablanca<br />
· Ghita Khaldi<br />
Director of Afrikayna, Casablanca<br />
· Hicham Bahou<br />
Co-director of EAC-L’Boulvard,<br />
Casablanca<br />
· Hosni Almoukhlis<br />
Theatre practitioner, Founder <strong>and</strong> <strong>Art</strong>istic<br />
Director, Théâtre de l’Opprimé, Casablanca<br />
· H<strong>in</strong>d Benali<br />
Dancer <strong>and</strong> choreographer, Compagnie Fleur<br />
d’orange, Casablanca/Nouméa<br />
· Javier Galván Guijo<br />
Director, Instituto Cervantes, Rabat<br />
· Laila Hida<br />
Photographer <strong>and</strong> co-founder, Le18, Marrakech<br />
· Jamal Abdenassar<br />
Independent cultural operator/Founder of<br />
Casablanca Fashion Week, Casablanca<br />
· Léa Mor<strong>in</strong><br />
Curator <strong>and</strong> researcher, co-founder <strong>and</strong><br />
director of L’Atelier de l’observatoire,<br />
Casablanca<br />
· Maria Daïf<br />
Independent cultural operator, Casablanca<br />
· Mehdi Azdem<br />
Manag<strong>in</strong>g director, Rac<strong>in</strong>es<br />
· Mohamed Lâabidi<br />
Musician, L’Uz<strong>in</strong>e<br />
· Nouha Ben Yadri<br />
Curator <strong>and</strong> founder, Mahal <strong>Art</strong> Space, Tangiers<br />
· Sabr<strong>in</strong>a Kamili<br />
Project manager, L’Atelier de l’observatoire,<br />
Casablanca<br />
· Silvia Coarelli<br />
Founder, Tabadoul, Tanger<br />
· Z<strong>in</strong>eb Benjelloun<br />
Visual artist, Casablanca<br />
· Z<strong>in</strong>eb Haddaji<br />
Project manager, L’Uz<strong>in</strong>e<br />
TUNISIA<br />
· Abir Gasmi<br />
Graphic novelist, co-founder, Lab619, Tunis<br />
· Asma Kaouech<br />
Executive director, Fanni Raghman Anni, Tunis<br />
· Bahri Ben Yahmed<br />
Dancer <strong>and</strong> choreographer, co-founder,<br />
Danseurs Citoyens / Lang’art, Tunis<br />
· Béatrice Dunoyer<br />
Program director, L’<strong>Art</strong> Rue, Tunis<br />
· Cyr<strong>in</strong>e Gannoun<br />
Theatre actor <strong>and</strong> director, Director,<br />
Théâtre Al-Hamra/Centre arabo-africa<strong>in</strong><br />
de formation et de recherche théâtrales, Tunis<br />
· Hafedh Zallit<br />
Dancer <strong>and</strong> choreographer, H-Prod, Tunis<br />
· Hamdi Ryder<br />
DJ, Downtown Vibes collective, Tunis<br />
· Leila Toubel<br />
Theatre actor, dramaturg <strong>and</strong> activist, Tunis<br />
· Lil’Jack<br />
DJ, Downtown Vibes collective, Tunis<br />
· Malek Sebaï<br />
Dancer <strong>and</strong> choreographer, co-founder,<br />
Association Hayyou’Raqs, Tunis<br />
· Mariem Guellouz<br />
Dancer <strong>and</strong> researcher,<br />
Director of Les Journées chorégraphiques<br />
de Carthage, Tunis/Paris<br />
· Mohamed Ben Soltane<br />
Visual artist, cultural manager <strong>and</strong> curator, Tunis<br />
· Mohamed Guediri<br />
Rapper, Founder of Cité’Ness Association,<br />
Tunis<br />
· Ouafa Belgacem<br />
Cultural resource mobilization expert, CEO of<br />
Culture Fund<strong>in</strong>g Watch, Tunis<br />
· Rania Sdiri<br />
Cultural operator, Tunisian Culture Network,<br />
Tunis<br />
· Shiran Ben Abderrazak<br />
Executive Director, Fondation Rambourg, Tunis<br />
· Wadi Mhiri<br />
Visual artist, Tunis<br />
WESTERN SAHARA<br />
· Mohamed Sulaiman<br />
Photographer <strong>and</strong> visual artist,<br />
Motif arts studio, Samara refugee camp,<br />
T<strong>in</strong>douf<br />
OTHER<br />
· Angie Cotte<br />
Secretary General, Roberto Cimetta Fund, Paris<br />
· Ayman Helmy<br />
Programs manager,<br />
Al Mawred Al-Thaqafy, Beirut<br />
· Gitte Zschosch<br />
Director, EUNIC Brussels<br />
· Johanna Keller<br />
Head of Unit, Goethe Institut (former Director of<br />
Cultural Programme, Goethe-Kairo)<br />
· Noémi Kahn<br />
Assistant Director, Network of Alternative Arab<br />
Screens, Beirut<br />
· Pia Chaib<br />
Program coord<strong>in</strong>ator, Wijhat, Al Mawred<br />
Al- Thaqafy, Beirut
125<br />
Respondents<br />
Compagnie O performs Corbeaux, choreographed <strong>and</strong> directed by Bouchra Ouizguen.<br />
Photo courtesy of Hasnae El Ouarga / Compagnie O
126<br />
Bibliography<br />
APPENDIX<br />
C<br />
—<br />
Fact:<br />
Books, studies, articles,<br />
reports on mobility, migration,<br />
history <strong>and</strong> culture<br />
—
127<br />
Bibliography<br />
BI—<br />
BLIO—<br />
GRA—<br />
PHY<br />
1.<br />
Azzahrae, Fatima <strong>and</strong> El Ghayam, Sellama (2001).<br />
“Morocco,” <strong>in</strong> Culture Resource/Al Mawred<br />
Al-Thaqafy, European Cultural Foundation <strong>and</strong><br />
Boekmanstudies (eds.), Cultural Policies <strong>in</strong> Algeria,<br />
Egypt, Jordan, Lebanon, Morocco, Palest<strong>in</strong>e,<br />
Syria <strong>and</strong> Tunisia: an Introduction, p. 126 <strong>–</strong> 149.<br />
2. Barcelona Declaration (1995).<br />
https://ec.europa.eu/research/iscp/pdf/<br />
policy/barcelona_declaration.pdf<br />
3. Belgacem, Ouafa (2001). “Tunisia,” <strong>in</strong> Cultural<br />
Policies <strong>in</strong> Algeria, Egypt, Jordan, Lebanon,<br />
Morocco, Palest<strong>in</strong>e, Syria <strong>and</strong> Tunisia: an Introduction,<br />
p. 26 <strong>–</strong> 50.<br />
4. Benslimane, Dounia (2014). “Morocco Country<br />
Report,” Technical Assistance Unit of Med Culture<br />
Programme for the promotion of culture as<br />
vector of Human, Social <strong>and</strong> Economic Development<br />
<strong>in</strong> South Mediterranean Countries.<br />
http://www.medculture.eu/country/<strong>in</strong>fographics/morocco.html<br />
5. Boukrouh, Makhlouf <strong>and</strong> Kessab, Ammar (2010).<br />
“Algeria,” <strong>in</strong> Cultural Policies <strong>in</strong> Algeria, Egypt,<br />
Jordan, Lebanon, Morocco, Palest<strong>in</strong>e, Syria <strong>and</strong><br />
Tunisia: an Introduction, p. 26 <strong>–</strong> 50.<br />
6. <strong>North</strong> <strong>Africa</strong>n Cultural <strong>Mobility</strong> Map (2019).<br />
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7. El Batraoui, Menha <strong>and</strong> Khafagui, Nermeen<br />
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129
130<br />
—<br />
artmovesafrica.org<br />
—