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

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52 Country-Specific Information — A L G E R I A — — FUNDING FOR MOBILITY — Public administrations While the Ministry of Culture has enjoyed a sizeable budget since the 2000s, these funds scarcely benefit independent cultural actors wishing to pursue mobility projects. While applications can be submitted directly to the Ministry, there is no formal program and procedures involve heavy bureaucracy. Mobility funds have been granted via a semi-private agency called the Agence Algérienne pour le Rayonnement Culturel (AARC), designed to promote Algerian culture internationally. It acts primarily on a sponsorship basis, selecting artists and financing their participation at international events. They may be solicited directly but interviewees report that it is exceedingly rare for them to grant an application as their funding primarily goes towards the same groups. — « The Ministry of Culture has been out of service since 1988. » Myriam Amroun Cultural project manager, Algiers* — Annaba, Constantine, Oran, Tlemcen and Tizi Ozou. The Instituto Cervantes, British Council, Istituto Italiano, Goethe Institut and EU Delegation are also present in Algiers. Non-governmental organizations Local NGOs do not have the capacity to finance mobility projects. Foreign NGOs are very little known and funding is complicated due to restrictions on international transfers into Algerian bank accounts (see Lack of funding below). Banks and large companies Two interviewees reported that they had been able to travel thanks to sponsorship from banks and private donors. However, they noted that such opportunities are becoming more and more limited due to the general climate of austerity. — QUOTE: « The AARC is run as an executive body of the ‘spare wheel’ ministry, which practices clientelism, among other things, in a sector that is eager for openness and facilitation for its actors. They approach the parties they want without any public transparency, neither about their modes of operation nor their services. They maintain opaque and visionless public and institutional relations. One of their declared missions is to spread Algerian culture elsewhere - of course, this only applies to artists who align with the official cultural regime in place. » Malik Chaoui Co-project manager, Working Group on Cultural Policy in Algeria, Algiers* Bilateral cooperation Several artists reported that they have had greater facility obtaining mobility possibilities via international cooperation institutes. The Institut Français is by far the most active, with branches in Algiers, — — QUOTE: « Algeria is a very closed country; we often have to fall back on big Algerian companies, cultural institutes and embassies to fund our projects.» Arslan Naili Visual artist, Founder of Atelier N.A.S., Algiers* —
53 Country-Specific Information — IMPEDIMENTS TO MOBILITY — Mobility to and from Algeria is complicated by the following factors: Lack of funding options · The Ministry of Culture has not supported independent arts practitioners. · NGOs must submit detailed reports of funding and gain government approval before accepting foreign funding (risking fines or imprisonment). This greatly limits funding possibilities for independent artists. Funds must be obtained through circuitous means involving friends or partners abroad, or through timeconsuming and potentially fruitless bureaucratic procedures. Administratively, it’s extremely complicated to receive money. It’s impossible to buy other currencies. If it’s a private individual who sends me money, it goes through. But if it’s an organization – like a publishing house or an association – it goes through, but only in Algerian dinars, which involves a loss of more than 50% of the original sum. – Ammar Bourras, photographer, Algiers* · Moreover, the climate of austerity has limited funding possibilities from private sponsors in Algeria. Politics of isolationism · Algeria has maintained fairly limited foreign relations, with considerable impact on the arts sector. Several respondents noted that Algeria has failed to invest in the link between culture and tourism, for instance, in contrast with its neighbour Morocco. It’s a link that’s just terrible between Algeria and other nations. We know there are [physical] borders, but it seems there are many others that are invisible but very present, and that make it impossible for us to connect to Africa. – Houari Bouchenak, photographer, Collectif 220, Algiers / Tlemcen* · In return, one respondent noted weak willingness on the part of the international community to reach out and create bridges with Algeria. There is no will to reach out to Algeria and understand what is going on, how can Algeria be supported. – Malik Chaoui, co-project manager, Groupe de travail sur la politique culturelle en Algérie, Algiers* Morocco/Algeria · Several respondents expressed regret and frustration at the difficulty of building bridges with their Moroccan neighbours, due to ongoing territorial disputes between the two states which have maintained the border closed and thus limited connections. [In terms of traveling], one of the difficulties we face is with Algeria: it’s absurd and anecdotal. We know about a lot of projects in Algeria but we can’t find a way to create collaborations between the two countries. The fact that the border is closed complicates things, and flights are quite expensive. It’s cheaper to go to Berlin or Amsterdam than to Algiers. – Amina Mourid, cultural operator, Co-founder, Atelier Kissaria & Think Tanger* Restrictions on civil society, censorship · Freedom of association has been limited in Algeria and artistic activity has been closely monitored. Freedom House rates Algeria as “not free.” Algiers is very conservative. There’s a mini-scene, but it’s not like Tunis. In Algeria, it’s more people with lots of money who are opening venues. It’s very small, very local. At the level of the Algerian authorities, it’s not easy. – Hamdi Ryder, DJ, Downtown Vibes collective, Tunis* · Restrictions on freedom of movement have been used as a form of censorship. Cultural operators are closely monitored. Every time we’ve prepared to participate in an event, we’ve had lots of trouble at the airport. I have friends who haven’t been able to leave. They [the authorities] tell you “please wait,” and then they purposefully make you miss your flight. – Myriam Amroun, cultural project manager, Algiers* — A L G E R I A —
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 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 54 and 55: — A L G E R I A — Visas · Alge
Page 56 and 57: — GENERAL INFORMATION — Spannin
Page 58 and 59: 58 Country-Specific Information —
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
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 —
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Art Moves Africa – Retracing Roots and Tracing New Routes: Mobility and Touring in North Africa

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