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

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42 Summary of Outcomes — QUOTE: « We’re having all these revolutions, asking ourselves “who are we?”. In Libya alone, the South is completely different from the North. Among countries, we’re so unaware of each other. But I think the arts are the way to connect. » Najlaa El-Ageli Architect, Founder of Noon Arts Projects, Tripoli / London —
43 Summary of Outcomes — 8. SECURITY CONCERNS — Libya is the country most affected by security concerns, with militias present across the country and namely controlling airports. Recent conflict in the country has isolated cultural actors living there (namely through border closures and closure of embassies) and discourages international actors from pursuing projects there. Security concerns also affect potential travellers to Egypt, especially from marginalized identities, who are aware of increasing limitations on freedom of expression, arbitrary incarceration, etc. — 9. RESTRICTIONS ON FREEDOM OF MOVEMENT AS CENSORSHIP — In Egypt, restrictions on freedom of movement are part of a broader mechanism designed to limit freedom of expression and association. Restrictions on freedom of movement have also been noted in Morocco, Algeria and Tunisia. — 10. POSTCOLONIAL AND POST-REVOLUTION DISPENSATION — Some respondents noted that weak mobility in the region can be attributed to the idea that the region is “searching for itself,” in the wake of conflicts, revolutions and ongoing profound transformations at the social, economic, and political levels. One impact is that some artists are focused on developing their careers and scenes at a local level, addressing issues and concerns rooted in their surroundings, and do not prioritize international travel. However, it also flows from this dispensation that the pursuit of international opportunities can be undermined by a difficulty positioning oneself and relating to others in a constantly changing climate. — 11. DISILLUSIONMENT WITH MOBILITY AND TRAVEL CONDITIONS — A number of respondents questioned the usefulness of pursuing mobility projects today, given the above-described limitations. a) Respondents noted that mobility often seems to have been drained of its human and creative aspects and reduced to a purely quantitative indicator, often in development and cooperation schemes. Feeling the impact of budgetary constraints and visa duration restrictions, they note that attendance at festivals and other events often feels more draining than it is nourishing or inspiring. b) Three respondents named the framework of international cooperation as an impediment to meaningful cultural exchange. The terms of exchange being dictated by foreign – usually European – institutions, artists find their liberty of creation and move-ment constrained by foreign agendas and budgets, sometimes finding themselves held up as ambassadors of successful cultural diplomacy rather than as creators in their own right.
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 38 and 39: 38 Summary of Outcomes — 3. LACK
Page 40 and 41: 40 Summary of Outcomes — 6. LACK
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
Page 90 and 91: 90 Country-Specific Information 4.7
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92 Country-Specific Information —
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
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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
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
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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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