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

More Magazines

Recommendations

Info

14 Introduction Arab identity was reinforced at the time of decolonization, with pan-Arabism becoming the “ideological lingua franca” across the region and the Middle East (El Amrani, 2011). Part and parcel of this process was the glossing over and erasure of the multiplicity of cultural, linguistic and ethnic identities within the various nation states, with marginalization of Amazigh heritage, language and culture as well as those of Black individuals and communities. Amazigh resistance movements have obtained some recognition at state level, with Algeria redefining itself as an “Arab, Berber, Muslim” nation and Morocco recognizing Amazigh as an official language in 2011. North Africans’ “African” identity has been more complex to unearth and foreground. North Africa’s “separateness” is often justified by the presence of the Sahara desert, largely on the basis of conceptions of the desert as an “empty space” by European geographers and explorers and thus as an invisible border separating the continent. Artists and intellectuals have contested this idea, noting its correlation with colonial and contemporary geopolitical agendas and reminding us that the Sahara has been a space of advanced political and social organization, hospitality, trade and cultural exchange for centuries. Indeed, trade routes have traversed its expanse, linking cities and civilizations to the North and South as well as those within it. There is also a push to revive and nurture the pan-Africanist energies, intellectual productions and artistic connections that were developed in the 1950s and 60s. Notably, Algeria hosted the first Pan-African festival of 1969. This thrust of pan-Africanist unity collapsed due to a number of factors, both internal and external to the continent. Connections between North and South are now playing out in the economic sphere, with Morocco making important overtures — QUOTE: « There is an assumption that the Maghreb is something somewhere else than in Africa and even that Egypt is an archaeological island off the coast of American universities. » Koyo Kouoh Chief curator of Zeitz Museum of Contemporary African Art, Cape Town/ former executive director of RAW Material Company Dakar Quote from Opening Remarks at 1:54 art fair, 2017 — to other African nations in the areas of foreign investment and trade; Algeria has been following suit. How do art and cultural production participate or not in connecting North and South today? — 1. 3. 2 REGIONALIZATION AND FUNDING — Contemporary regionalization has created further boundaries within and outside North Africa. On the largest scale, North Africa is often grouped with the Middle East under the acronym MENA, or else is subsumed as a space within the Arab World. These terms are used in politics, academia, business and media, by international organizations such as the World Bank and the United Nations, as well as by most international development organizations. Egypt occupies a unique status within this space, due to its positioning at the hinge between the African continent and the Middle East. Within North Africa, regionalization operates mainly at two levels: first, at the level of the Maghreb; and secondly, at the level of the (Euro-)Mediterranean space. The Maghreb connects Morocco, Algeria, Tunisia, Libya and Mauritania. The unifying factor is mainly cultural, with the countries sharing Amazigh heritage. Shared colonial histories and resultant linguistic commonality also bind Tunisia, Morocco and Algeria. The Maghreb’s geopolitical and economic identity was formalized with the 1989 formation of the Arab Maghreb Union. However, the union remains largely inactive due to enduring tensions between Morocco and Algeria over Western Sahara. The regionalization of the Euro-Mediterranean was formalized in 2008 at the Paris Summit for the Mediterranean. Its aim is to reinforce the
15 Introduction Euro-Mediterranean Partnership (Euromed) that began in 1995 as the Barcelona Process as a means of “turning the Mediterranean basin into an area of dialogue, exchange and cooperation guaranteeing peace, stability and prosperity” (Barcelona declaration, 1995). At present, all North African countries are included in the partnership, with the exception of Libya, which possesses Observer status. These levels of regionalization are critical for arts mobility to the extent that they have underpinned the formation of cultural networks, funding schemes and thus spaces of exchange. The funding landscape in North Africa is characterized by the presence of numerous funds operating at the MENA level: the Arab Fund for Arts and Culture (AFAC), Al-Mawred al-Thafaqy and Mophradat are the three most prominent. At the Euromed level, there is a plethora of funding schemes, among them the Roberto Cimetta Fund (RCF), the European Cultural Foundation (ECF) & MitOst’s TandemShaml, the ECF’s STEP Travel Grants, etc., all of which are ongoing. Other funds, such as SouthMedCV (2015 – 2018), are rolled out within set timeframes. These funds have allowed for vital projects, partnerships and networks to emerge across the region. See Section 3.1.1 for more information on Funding. In this landscape, Art Moves Africa is the first mobility fund that has worked to integrate North Africa in the rest of the continent. Nevertheless, North Africa continues to be the region that generates the fewest mobility grant applications. The question that drives this research is: why? — QUOTE: « Where did the term ‘Sub-Saharan Africa’ come from since it never appears in colonial literature? What exactly are the contours of this ‘region’ since it is not demarcated on any map? Is it a geographic location or is it a political construct? How come Mauritania is considered Sub-Saharan yet Sudan is not? Most importantly, how did we, as Africans, start adhering to the postcolonial remapping of our own spaces and identities? » Jihan El-Tahri Filmmaker, Cairo/Berlin Quote from RAW Material Company public lecture, 12 April, 2017. —
Page 1: Retracing Roots and Tracing New Rou
Page 4 and 5: 4 Acknowledgments and Imprint This
Page 6 and 7: 6 Foreword FORE — WORD In a world
Page 8 and 9: 8 Introduction 1 — Fact : AMA did
Page 10 and 11: 10 Introduction 1.1 Background of A
Page 12 and 13: 12 Introduction 1.2 Purpose of the
Page 16 and 17: 16 Introduction 1. 4 Overview of mo
Page 18 and 19: 18 Methodology 2 — Fact: This stu
Page 20 and 21: 20 Methodology — NORTH AFRICA —
Page 22 and 23: 22 Methodology 2.2 Limitations 1. T
Page 24 and 25: 24 Sunmmary of Outcomes 3 — QUOTE
Page 26 and 27: 26 Summary of Outcomes course remai
Page 28 and 29: 28 Summary of Outcomes The program
Page 30 and 31: 30 Summary of Outcomes Two programs
Page 32 and 33: 32 Summary of Outcomes — 3.1. 3 T
Page 34 and 35: 34 Summary of Outcomes As such, con
Page 36 and 37: 36 Summary of Outcomes High costs :
Page 38 and 39: 38 Summary of Outcomes — 3. LACK
Page 40 and 41: 40 Summary of Outcomes — 6. LACK
Page 42 and 43: 42 Summary of Outcomes — QUOTE:
Page 44 and 45: 44 Country-Specific Information 4
Page 46 and 47: 46 Country-Specific Information 4.1
Page 48 and 49: 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 70 and 71:
70 Country-Specific Information —
Page 72 and 73:
72 Country-Specific Information Moh
Page 74 and 75:
Page 76 and 77:
Page 78 and 79:
78 Country-Specific Information Com
Page 80 and 81:
Page 82 and 83:
Page 84 and 85:
Page 86 and 87:
86 Country-Specific Information L
Page 88 and 89:
Page 90 and 91:
90 Country-Specific Information 4.7
Page 92 and 93:
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 100 and 101:
4. Support the structuring of the a
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 —
show all

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

Transform your PDFs into Flipbooks and boost your revenue!

Delete template?

Save as template ?