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66 Country-Specific Information Musicians Mohamed Busneina and Faraj Alsileeni perform at Tanarout arts space in Benghazi. Photo courtesy of Dina Gallal/Tanarout — QUOTE: « Before, when [artists] were allowed to go to most countries, there was no art movement. But now there is an art movement, and people can’t move. » Abdul Mohaimen Zarrough Photographer and cultural manager, Tripoli —
67 Country-Specific Information — FUNDING FOR MOBILITY — The cultural affairs delegations are not funding cultural projects at present. Cultural actors who are travelling are doing so through funding provided by international human rights organizations, universities or cultural institutes. Given the relative inexperience of the Libyan culture sector and lack of managerial capacity, Libyan cultural actors are hard-pressed to compete with their colleagues in neighbouring countries for funds. AMA, AFAC, Al Mawred al-Thaqafy and Mophradat have scarcely funded Libyan cultural actors. — IMPEDIMENTS — Currency and costs · A host of issues make financing travel extremely complicated. In the current banking crisis, there is a shortage of dinars, which means that accounts may be frozen for months at a time. The dinar is extremely devalued, meaning that transactions must be paid via the black market, often with exacerbated rates. Foreign currencies cannot be exchanged in Libya. · Respondents stated that foreign funding agencies require organizations to have a bank account in Tunis, as they will not transfer to Libyan accounts. We’re not allowed to exchange any money. We use the black market. The other problem is the exchange rate. You have to work very hard to make $1000. – Faiza Ramadan, visual artist, Tripoli Visas · The Libyan passport is very weak; entry into countries other than Tunisia is not guaranteed without support from a well-established human rights organization or cultural institute. — L I B Y A — Libyans aren’t welcome in most countries. – Faraj Alsileeni, Director, Tanarout, Benghazi · Visa procedures require a trip to Tunis, incurring travel and accommodation costs. For my Green Book exhibition, I had to remotely curate it – not because of funding but because Morocco doesn’t allow Libyans at all. – Tewa Barnosa, visual artist and founder of WaraQ Art Foundation, Tripoli / Berlin Transport of artworks With militias in control at the airports, transport of artworks is seen as suspicious. Respondents reported smuggling artworks in hand-luggage, and/or pleading with authorities to let them pass. Every single time I travel with the darbuka, I have a problem. I need to have it with me in the cabin. They’re always annoying me about this. They’re treating me as if I were doing a wedding party or something – people who are playing music or singing music don’t have much respect from society. – Mohamed Busneina, drummer, Content Developer & Head of Music Dept. of Tanarout, Benghazi Lack of connections · Direct flights between Libya and most countries have been cancelled since the outbreak of the war. The most stable remaining international connections are between Tripoli or Benghazi and Tunis, Alexandria and Istanbul. War and security · The security situation is extremely unstable, with the potential for armed conflict to break out at any point. It’s hard to travel within our own country because of the fights between cities, which make it dangerous to travel. As long as they’re fighting amongst themselves, we’re suffering. – Dina Gallal, photographer and visual artist, Tanarout, Benghazi · Road travel is extremely dangerous; it is subject to control by militias and may cross conflict zones. · The Tripoli and Benghazi airports are controlled by militias. Travelling is not safe at all. Even travelling by flight is not safe. You never know who is controlling
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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
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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:
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Page 54 and 55: — A L G E R I A — Visas · Alge
Page 56 and 57: — GENERAL INFORMATION — Spannin
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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
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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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Art Moves Africa – Retracing Roots and Tracing New Routes: Mobility and Touring in North Africa

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