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

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36 Summary of Outcomes High costs : Bureaucracy : Prejudice and discrimination against artists : Age and gender : Short duration of stay granted : Access to embassies: Lack of bilaterality: A Schengen visa currently costs 60 euros. Photocopies or certified copies of documents may add additional costs, as does travel to the embassy. Visa applications can require applicants to submit large volumes of paperwork, including proof of employment, bank records, letters of authorization, paystubs, etc. These documents can be difficult to obtain, especially for artists who work as freelancers and/or work in disciplines that are not recognized under local labour laws. Bureaucracy can also be a major obstacle because of the sheer volume of documents and/or the amount of detail required (one respondent reported being asked to submit all paystubs since her very first job). Moreover, none of these documents are a guarantee, since several respondents reported having been denied access to a country despite having submitted all the required paperwork. Several respondents reported having been subjected to prejudice and/or discriminatory treatment by visa and immigration authorities on account of their professional status as artists. Young men are reportedly the most likely to be denied visas, due to xenophobic associations with delinquency and terrorism. In the case of Schengen visas, respondents reported being given as little as 2 days on their visa. The time granted usually corresponds to the duration of the event, leaving no time for artists to network, attend other events, or simply enjoy the experience of travel, with all the inspiration, connections and unexpected opportunities that it may bring. Moreover, since multiple-entry visas are increasingly difficult to obtain, artists must re-apply for every trip. Artists and cultural operators living outside capitals or major cities have to travel to the embassies to complete the visa procedures, incurring extra costs for travel and accommodation, forcing individuals to take days off work, etc. Several respondents deplored the inconsistency between European countries’ cultural and immigration policies, whereby a discourse of openness to cultural exchange and an increasing fashion of “spotlighting” North Africa are in conflict with increasingly restrictive visa policies. — QUOTE: « If you’re an individual artist, [travelling] is a huge amount of stress and work, often for no reason. Difficulties are built into the process. Either it’s an issue with a visa or time or funding. There always seems to be some sort of panic with something. There must be a better way. » Nada Sabet Theatre director and cofounder, Noon Creative Enterprise, Cairo —
37 Summary of Outcomes — 2. COST OF TRAVEL — The high cost of travel was the other most-cited obstacle to mobility, named by almost all respondents. Costs of international flights are exorbitant on all intra-regional and intra-continental lines. Aggravating factors include: a) Impossibility of road travel between most countries (see Section 3.1.3 above). b) Poor flight connections between cities. Until recently, most travels between African cities had to go via Europe. The situation is changing, especially with the development of RAM’s and other local airlines’ networks and Casablanca’s emergence as a travel hub. However, direct flight connections remain few and far between, and costs remain high. — QUOTE: « That’s the life of an artist: we want to make things happen, but sometimes it’s money that blocks everything, and other times we have the plane tickets but not the visas. » Cyrine Gannoun Theatre practitioner, Director of the Centre Arabo-Africain de Formation et de Recherche Théâtrale, Tunis* — — QUOTE: « That’s the whole paradox. There are so many European cultural institutes that do spotlights on the Arab world; the Arab world has greater and greater visibility in Europe; but at the same time, the conditions to get a visa are getting more and more complicated. » Amina Mourid Cultural manager, co-founder of Think Tanger/Atelier Kissaria, Tangiers, Morocco* — c) Absence of funding organizations and/or insufficient coverage of ancillary costs. d) Ancillary costs of travel: the cost of mobility goes beyond the flight ticket. Accommodation, insurance, vaccines, visas, travel to embassies, etc. (see Visas above) all add to the financial burden associated with traveling. e) Lack of knowledge of funding possibilities. f) Artists’ precarity across the region makes self-funded travel impossible. g) Issues with currency and financial transactions are present in many of the countries covered, including limits on cash withdrawals (Libya, Morocco, Tunisia); ineligibility for credit cards; restrictions on currency exchange and frozen accounts (Libya).
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 14 and 15: 14 Introduction Arab identity was r
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 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 72 and 73: 72 Country-Specific Information Moh
Page 78 and 79: 78 Country-Specific Information Com
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86 Country-Specific Information L
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88 Country-Specific Information —
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90 Country-Specific Information 4.7
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92 Country-Specific Information —
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94 Conclusion & Recommendations 5
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96 Conclusion & Recommendations Ins
Page 98 and 99:
— QUOTE: « There’s a growing c
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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
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110 Mapping Tunisia Carthage 1 Jazz
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Events & Festivals Algeria Algiers
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Events & Festivals Venues Kelibia F
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Venues Falaki Theatre American Univ
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Venues Mahal Art Space 122, Avenue
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120 Acronyms APPENDIX A — QUOTE:
Page 122 and 123:
122 Respondents APPENDIX B — Fact
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124 Respondents · Mohammed Hassan
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126 Bibliography APPENDIX C — Fac
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128 Bibliography 8. El Bennaoui, Kh
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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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