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

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64 Country-Specific Information when they approach the government (quoted in Gana, 2011).” The revolution brought a phenomenal outpouring of creative production: protest poetry was voiced, rap battles were hosted, graffiti exploded on city walls, and photographers documented the process, sharing their images via blogs and social media. International institutions supported this process, largely from the perspective of encouraging arts as a form of documentation of human rights defense and democracy-building. After violent clashes in 2013 – 2015 put a halt to cultural activity, the last years have seen a recrudescence in grassroots arts. Clusters of cultural actors are forming organically in Tripoli and Benghazi, finding creative solutions to the vast problems of lack of infrastructure, training, managerial capacity and restrictions on movement. Neither of the two provisional governments has a Ministry of Culture, although both have general authorities for culture. However, neither is truly in touch with the grassroots cultural scene and neither is funding any major events or facilities. The young art scene is therefore consolidating itself through a small number of organizations run by dedicated young artists, of which Tanarout in Benghazi and WaraQ in Tripoli are the most active and visible; support from international human rights organizations; and the tireless work of a small group of figures from the previous generation, namely Ali Mustafa Ramadan (founder of The Art House in Tripoli) and Hadia Gana (an artist, founder of the Ali Gana Foundation and Museum). Libyans living abroad, such as Reem Gibreel in the USA, founder of the Arete Foundation, and architect Najlaa el-Ageli, founder of Noon Arts Projects, are also playing an important role in connecting Libya with the international arts scene. Today’s Libyan arts scene is an incredible model of resilience and revival, much of which has been driven by remarkable solidarity. — L I B Y A — — QUOTE: « Our history was re-written under Gaddafi – we don’t know our own history. Not just in Libya, but across the whole Middle East, it’s been trauma after trauma, since the Ottomans. We need to tackle this history. [Visual artist] Takwa [Barnosa] is asking what is the legacy of the Ghaddafi era? The younger generation didn’t go through the brainwashing the older generations did. » Najlaa El-Ageli Curator and architect, Founder of Noon Arts Projects, Tripoli/ London — — MOBILITY TO/FROM LIBYA — Mobility to / from Libya has been severely hampered by the cultural isolationism under Gaddafi and the war since 2011, which caused borders to close, flights to / from Libya to cease and foreign embassies to leave Libyan cities. The Libyan arts scene is very little known outside the country. Incoming mobility of cultural actors to Libya has thus been virtually nil, voided by lack of knowledge and security concerns. AMA had never received an application for a mobility project to / from Libya until 2018 (see Ouafa Belgacem quote below). It should be noted that several cultural actors in neighbouring countries expressed strong interest in knowing more about the Libyan cultural scene, voiced their solidarity with their Libyan peers and expressed the desire to create bridges. Today, mobility of Libyan cultural actors is beginning again, with exchanges happening almost exclusively via Tunisia. Tunisia is one of the only countries that does not require visas from Libyan citizens and the only flight connections to / from Tripoli and Benghazi are with Tunis. Moreover, with most foreign embassies having left Tripoli and Benghazi, the closest embassies are in Tunis, forcing Libyan travellers to make a stop there in order to complete visa procedures. Libyan citizens are eligible for visa-free access to Mauritania and Algeria, although Algeria’s border authorities have been reported to be inconsistent. Access to Egypt has become very difficult in recent years. Respondents did not cite any examples of travels to Morocco.
65 Country-Specific Information TEWA BARNOSA TRAVELLING NARRATIVES FARAJ ALSILEENI AND MOHAMED BUSNEINA KAW-KAW NAJLAA EL-AGELI — QUOTE: Examples of mobility projects: Visual artist Tewa Barnosa recently curated an exhibition titled The Green Book at LeCube in Rabat. The theme of the exhibition was The Green Book, the manifesto published by Gaddafi in 1976 in which he defined his regime’s ideology. Because Tewa could not get a visa to Morocco, she curated the exhibition virtually. The regional programme Travelling Narratives brought Libyan artist Suhaib Tantoush to complete a residency at LeCube in Rabat. Travelling Narratives is a regional program of art and research “that aims to encourage interactions between cultural agents in Morocco, Algeria, Egypt, Mauritania and Libya” through residencies, exhibitions, screenings, meetings, workshops and conferences. The program is carried out in partnership with Townhouse Gallery in Cairo, Les Ateliers Sauvages in Algiers, WaraQ art foundation and the cultural space Diadie Tabara Camara in Nouakchott. Musicians Faraj Alsileeni and Mohamed Busneina of Tanarout performed at the Cyprus Mediterranean University’s Libyan Day. Visual artist Hadia Gana participated in Kaw-kaw at Le18 in Marrakech, a collective residency organized around the theme of the Greater Maghreb Union. Tripoli-born and London-based architect Najlaa El-Ageli has curated 15 exhibitions of Libyan art in various locations in Libya and Europe through her curatorial platform Noon Arts Projects, including Retracing A Disappearing Landscape (2018), an interdisciplinary show on memory and personal history in Libya. — L I B Y A — « Libyan artists cannot rely on the government to provide places for art. The governments only care about appropriating the buildings for themselves to show off to the others that they’re stronger. » Abdul Mohaimen Zarrough Photographer and cultural manager, Tripoli —
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Retracing Roots and Tracing New Rou
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4 Acknowledgments and Imprint This
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6 Foreword FORE — WORD In a world
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8 Introduction 1 — Fact : AMA did
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10 Introduction 1.1 Background of A
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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
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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 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
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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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