Art Moves Africa – Retracing Roots and Tracing New Routes: Mobility and Touring in North Africa

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4. Support the structuring of the arts and culture sector(s) in North Africa — QUOTE: « Grants are there for artists to concentrate on the artistic and not the economic sides of their work. That’s where grants get interesting. I would never have travelled as much in Africa if I hadn’t had the help I got. I received AMA grants, grants from the Institut Français, which was much more open and generous; it was a different system. It changed my outlook once I was on the spot; I wasn’t caught up in the same calculations, the same deception and disillusionment. It’s important that those kinds of structures continue to support artists’ travels.» Hind Benali, Dancer and choreographer, Compagnie Fleur d’orange, Casablanca/Nouméa* — With visa issues the most frequently cited obstacle to mobility, it seems vital to work to reverse the dramatic trends currently underway through advocacy, monitoring and information-sharing: 100 Conclusion & Recommendations Strengthening mobility goes hand in hand with strengthening the cultural sector as a whole. Various stakeholders can participate in advocacy efforts for the following objectives: 4.1 Advocacy for increased public support for arts and culture, especially in countries which have the budgetary capacity to do so (e.g., Algeria) 4.2. Advocacy for greater transparency about public administrations’ and international organizations’ budgets and allocation of funds 4.3. Multiply opportunities for trainings for cultural managers 4.4 Encourage grassroots-level organizations to federate, organize and advocate for greater structuration at the local level 5.5 Reduce dependency on foreign organizations and cultural institutes 5. Advocate for freedom of movement for artists and cultural practitioners 5.1. Create spaces for debate, exchange, solidarity and information-sharing to emerge amongst cultural actors as a first step towards improved advocacy, for example through round-tables at events 5.2. Monitor cases of visa refusals and build database 5.3. Create a secure hotline that artists / cultural operators can contact in case of emergency (Tamizdat in the USA could be a model) 5.4. Advocate for true bilaterality and equitable treatment at the level of European and other foreign cultural institutes 5.5. Advocate for freedom of movement for artists and cultural operators at the national and supra-national levels, namely by leveraging Article 16 of the UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions
101 Conclusion & Recommendations — QUOTE: « Mobility is marvelous, yes. But beyond that statement, is there a real reflection on the purpose of mobility – if there is a purpose? If there is exchange, where is it? What exchange? […] We need to create a real need for travel; travel for something true, something useful. For the person who travels and the one who hosts, and the one who watches the show. Otherwise it’s just lines on a report. » — QUOTE: « There is a big need for structures or government-supported initiatives that understand the value of cultural policy – it is still not well established in the whole continent.» Leila Toubel Theatre actor, dramaturg and activist, Tunis* — 6. Re-center the purpose of mobility: creative and human exchange Mohamed Ghazala Professor, Vice President of the International Association of Animation filmmakers (ASIFA), Cairo / Jeddah Finally, it seems essential to ensure that the immensely valuable experiences that can emerge from mobility and touring are protected and that mobility does not become a purely utilitarian or mercantile concept. — — QUOTE: « As far as the African continent is concerned, I’ve had the opportunity to travel several times to Senegal, to Côte d’Ivoire, to Tunisia… [and] those have also been the only times in my life that I’ve been able to travel without a visa! That has been just amazing. You feel normal! You travel with your passport and that’s it, it’s great. There are no appointments to be made months in advance, no endless application forms to complete, no humiliations at the consulate, no credentials to show, nor bank statements, nor other personal documents, to prove that your credit is in good standing and that you’re not going to try to “immigrate illegally”… Basically, it’s just normal, it’s “fair” and it feels good. » Zineb Benjelloun Visual artist, Casablanca* 6.1 Advocate for the human and creative necessity of mobility through creative and compelling forms, foregrounding artists’ experiences and creative expressions 6.2 Create opportunities for duplication and multiplication of meetings, in the interest of allowing people to meet several times 6.3 Cover accommodation and per-diems for the full duration of festivals and potentially beyond, in the interest of allowing artists to network, imbue themselves with new places and envision new ideas without the stress of having to return home immediately —
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Retracing Roots and Tracing New Rou
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4 Acknowledgments and Imprint This
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6 Foreword FORE — WORD In a world
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8 Introduction 1 — Fact : AMA did
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10 Introduction 1.1 Background of A
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12 Introduction 1.2 Purpose of the
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14 Introduction Arab identity was r
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16 Introduction 1. 4 Overview of mo
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18 Methodology 2 — Fact: This stu
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20 Methodology — NORTH AFRICA —
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22 Methodology 2.2 Limitations 1. T
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24 Sunmmary of Outcomes 3 — QUOTE
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26 Summary of Outcomes course remai
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28 Summary of Outcomes The program
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30 Summary of Outcomes Two programs
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32 Summary of Outcomes — 3.1. 3 T
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34 Summary of Outcomes As such, con
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36 Summary of Outcomes High costs :
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38 Summary of Outcomes — 3. LACK
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40 Summary of Outcomes — 6. LACK
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42 Summary of Outcomes — QUOTE:
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44 Country-Specific Information 4
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46 Country-Specific Information 4.1
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48 Country-Specific Information des
Page 50 and 51: 50 Country-Specific Information CHE
Page 52 and 53: 52 Country-Specific Information —
Page 54 and 55: — A L G E R I A — Visas · Alge
Page 56 and 57: — GENERAL INFORMATION — Spannin
Page 62 and 63: 62 Country-Specific Information 4.
Page 64 and 65: 64 Country-Specific Information whe
Page 66 and 67: 66 Country-Specific Information Mus
Page 68 and 69: 68 Country-Specific Information the
Page 72 and 73: 72 Country-Specific Information Moh
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Page 86 and 87: 86 Country-Specific Information L
Page 90 and 91: 90 Country-Specific Information 4.7
Page 94 and 95: 94 Conclusion & Recommendations 5
Page 96 and 97: 96 Conclusion & Recommendations Ins
Page 98 and 99: — QUOTE: « There’s a growing c
Page 102 and 103: 102 Introduction Mapping and Backgr
Page 104 and 105: 104 Mapping TUNISIA MOROCCO ALGERIA
Page 106 and 107: 106 Mapping Installations & Equipme
Page 108 and 109: 108 Mapping Events & Festivals Alge
Page 110 and 111: 110 Mapping Tunisia Carthage 1 Jazz
Page 112 and 113: Events & Festivals Algeria Algiers
Page 114 and 115: Events & Festivals Venues Kelibia F
Page 116 and 117: Venues Falaki Theatre American Univ
Page 118 and 119: Venues Mahal Art Space 122, Avenue
Page 120 and 121: 120 Acronyms APPENDIX A — QUOTE:
Page 122 and 123: 122 Respondents APPENDIX B — Fact
Page 124 and 125: 124 Respondents · Mohammed Hassan
Page 126 and 127: 126 Bibliography APPENDIX C — Fac
Page 128 and 129: 128 Bibliography 8. El Bennaoui, Kh
Page 130: 130 — artmovesafrica.org —
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Art Moves Africa – Retracing Roots and Tracing New Routes: Mobility and Touring in North Africa

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