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

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92 Country-Specific Information — MOBILITY TO/FROM WESTERN SAHARA — Mobility to and from the Polisario-controlled portion of Western Sahara and its arts events goes through Tindouf in Algeria, with flight connections to Algiers, Oran, Constantine and Béchar. Visas applications to enter the Tindouf camps must be submitted to both the Algerian and Sahrawi authorities. Sahrawi representations are present in 39 European and African cities. In North Africa, the only embassy is in Algiers. For Sahrawis living in SADR-controlled areas, visa applications are complicated. According to Citizenship Rights Africa, a Sahrawi passport exists but is only recognized by states that recognize the self-determination of the SADR. Sahrawis living in the camps may possess Algerian passports, which are granted to refugees, but not ID cards. Extensive additional documentation is necessary to apply for a visa. Sahrawis living in Moroccan-controlled territory are eligible for Moroccan passports. Moroccan visa regulations apply for entry into the Moroccancontrolled zones, with land entry possible via the south of Morocco or the north of Mauritania although subject to closures and road travel subject to frequent checkpoints. — IMPEDIMENTS — Costs · The cost of travel is inaccessible to most Sahrawis, who already live in extremely precarious conditions. · Cost of travel to Tindouf is also high, requiring a flight connection via Algiers, Oran, Constantine or Béchar. — W E S T E R N S A H A R A — A flight from Algiers to Tindouf alone costs more than a flight from Algiers to Paris. – Walid Aidoud, visual artist, Founder of Box24 (Algiers) and coordinator of Algerian participants at Artifariti festival Visas · Visa procedures are complicated for Sahrawis living in the Tindouf camps and visitors. See Mobility above. Isolation · Networking opportunities for Sahrawis are more or less limited to the two annual art events. While these bring energy and new ideas to local artists, they remain limited. · Exchange with Mauritania could be improved, given the common border. This is a place that is cut off from the world. There are little possibilities for people to interact with the outside world. […] I’ve met artists from Senegal, Tanzania, South Africa, Mauritania, Tchad. The majority from Spain, but there’s always someone from North America. I wish we’d see more exchange with Mauritania. There is great potential – we speak the same dialect, we have the same traditions and poetry and music; they’re almost identical, not unlike the differences between Morocco, Tunisia and Algeria. It’s stronger with the Mauritanians. There’s a lot of exchange in music and poetry. This is an oral culture. – Mohamed Sulaiman Diplomatic tensions and disputes over sovereignty · Artists are at the centre of political disputes over Sahrawi sovereignty. Access to international events and opportunities is conditional upon partner countries’ position on Sahrawi sovereignty. There is an embargo on the existence of Western Sahara. Our association exists to spread information, to be very clear on our position. We try to base our work in humanitarian aid, in strengthening the role of art and culture. I have been subjected to many embargos. […] We haven’t had Arab artists because no Arab country [other than Algeria] recognizes Western Sahara. – Walid Aidoud
93 Country-Specific Information Prejudice · Lack of knowledge leads to prejudice visà-vis Sahrawi artists. We’re not always labelled as we would wish to be. You can come across people who have prejudice. Even though we are in a conflict area, people are just like normal people doing everyday things. I’m an artist, so I’m supposed to add something beautiful to the world. – Mohamed Sulaiman Sahrawi photographer and maker Mohamed Sulaiman and Malian photographer and maker Gadiaba Kodio organized workshops on artistic recycling at Motif Art Studio in Samara refugee camp, Tindouf (Algeria). Photo courtesy of Mohamed Sulaiman.
Page 1:
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
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16 Introduction 1. 4 Overview of mo
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18 Methodology 2 — Fact: This stu
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20 Methodology — NORTH AFRICA —
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22 Methodology 2.2 Limitations 1. T
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24 Sunmmary of Outcomes 3 — QUOTE
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26 Summary of Outcomes course remai
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28 Summary of Outcomes The program
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30 Summary of Outcomes Two programs
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32 Summary of Outcomes — 3.1. 3 T
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34 Summary of Outcomes As such, con
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36 Summary of Outcomes High costs :
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38 Summary of Outcomes — 3. LACK
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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
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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 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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