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

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38 Summary of Outcomes — 3. LACK OF INTEREST OR MOTIVATION / PREFERENCE FOR TRAVEL TO EUROPE — When asked why they thought mobility is weak within the region and especially with respect to other African regions, most respondents noted that artists and cultural operators associate mobility with travel to Europe. Aggravating factors include: a) Europe’s geographical proximity: some respondents noted that Europe felt “closer” than the rest of the African continent. — QUOTE: « Ever since the Barcelona process, and all the other measures taken to regionalize the Mediterranean, to make it a geo-politico-cultural space, artists have increasingly wanted to travel North rather than South. » Malek Sebaï Dancer and choreographer, co-founder, Associations Danseurs Citoyens and Hayyou’Raqs, Tunis* — b) Lower costs for travel to Europe make it possible for independent cultural actors to cover travel costs themselves in the absence of mobility funding (although this avenue is being jeopardized by visa restrictions). c) Artists’ precarity and the precarity of the arts sector underlie many aspirations to a European career. d) Regionalization of the Euro-Mediterranean space and separation of “North Africa” and “Sub-Saharan Africa,” namely through funding agendas (see Introduction & Methodology, Key terms). e) The relative weight traditionally held by bilateral cooperation institutes in facilitating mobility projects. f) More plentiful training opportunities in Europe and the associated prestige. g) Misconceptions about everyday life in Sub-Saharan Africa: some respondents noted that Sub-Saharan Africa is associated with poor working conditions and uncomfortable accommodation, if not war and disease, in the more extreme cases of misconception and prejudice (see #4, Difficulty Identifying With African Identity / Discrimination). h) Misconceptions about the arts sector in Africa: some respondents reported that artists and cultural operators in their milieus believed that nothing happens in Africa in terms of arts and culture.
39 Summary of Outcomes i) Economic considerations: there is a sense that artists’ fees will be lower in Africa than Europe, if not nonexistent. (On the other hand, many artists reported that they would gladly play or perform for free if it meant they got the chance to travel to another African region). — 4. DIFFICULTY IDENTIFYING WITH AFRICAN IDENTITY / DISCRIMINATION — QUOTE: « North African artists often want to be connected with Europe more than Africa. Many Egyptian artists will prefer to have a screening in a small city in Europe than in an African capital. » Mohamed Ghazala Professor, Vice President of the International Association of Animation filmmakers (ASIFA), Cairo / Jeddah — — While most artists interviewed expressed strong motivation to travel to other parts of Africa, many described an overall climate of unease surrounding identification to Africa as a possible factor explaining low mobility within the continent. This difficulty can be described as a spectrum ranging from uncertain identification to ambient racism (present in all countries covered by the study). This climate nourishes misconceptions with respect to travel in Africa and/or motivates preference for travel to the West. It should also be noted that some respondents noted a sense of discrimination on the part of colleagues from West, East, South or Central Africa. They said this discrimination was expressed in several forms, including exclusion from pan-African events; lack of overtures and invitations; and explicit attributions of difference (e.g., “You’re not like us”). — 5. NETWORKS AND ACCESS TO INFORMATION — Unless they have made a dedicated or concerted effort to seek out opportunities in the region or in other African regions, artists and cultural operators tend to be unaware of existing events, networks, residencies, etc. Aggravating factors: a) There is a lack of active and up-to-date databases and platforms gathering and disseminating information about opportunities in Africa, including about funding. b) Existing platforms (e.g., Culture Funding Watch, Music in Africa, On the Move) are not necessarily well-known. c) There is a lack of opportunities for inperson contact and networking. d) Lack of professionalization means that artists often do not have the intuition, education or confidence to seek out opportunities. e) There are not enough professional cultural operators who can assist artists with research, connect them with information, etc. There are also not enough training opportunities for such operators.
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 36 and 37: 36 Summary of Outcomes High costs :
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
Page 86 and 87: 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
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— QUOTE: « There’s a growing c
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4. Support the structuring of the a
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102 Introduction Mapping and Backgr
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104 Mapping TUNISIA MOROCCO ALGERIA
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106 Mapping Installations & Equipme
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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:
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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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