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

A study by Lara Bourdin for Art Moves Africa, October 2019

A study by Lara Bourdin for Art Moves Africa, October 2019

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99<br />

Conclusion & Recommendations<br />

—<br />

QUOTE:<br />

« We can create more virtual<br />

platforms. We know it’s hard to<br />

travel, but it shouldn’t be a<br />

constra<strong>in</strong>t on creat<strong>in</strong>g <strong>and</strong> do<strong>in</strong>g<br />

th<strong>in</strong>gs together. Boda Boda project<br />

showed us that it was possible to<br />

work, reflect <strong>and</strong> feel together<br />

all the while stay<strong>in</strong>g at home. It<br />

starts with a commitment. »<br />

Nouha Ben Yebdri<br />

Curator, Mahal <strong>Art</strong> Space,<br />

Tangiers*<br />

—<br />

3.<br />

Improve fund<strong>in</strong>g<br />

opportunities<br />

Lack of fund<strong>in</strong>g for mobility<br />

is the regrettable counterpart<br />

to the exorbitant costs of travel. The follow<strong>in</strong>g<br />

ideas were proposed for funders <strong>in</strong>clud<strong>in</strong>g AMA:<br />

3.1. Create partnerships with festivals <strong>and</strong> specific<br />

events, for example through a quota<br />

system (this is the system employed by<br />

<strong>Africa</strong> <strong>Art</strong> L<strong>in</strong>es, among others)<br />

3.2. Give festival organizers the opportunity to<br />

select the artists they want to <strong>in</strong>vite<br />

2.6. Ensure presence of mobility funders at events,<br />

organize presentations<br />

2.7. Host onl<strong>in</strong>e meet<strong>in</strong>gs <strong>and</strong> e-conferences to<br />

share <strong>in</strong>formation about opportunities, fund<strong>in</strong>g<br />

sources, etc. These could be delivered through<br />

regional or city-based po<strong>in</strong>t-people<br />

2.8. Provide more support for “go-<strong>and</strong>-see” <strong>in</strong>itiatives<br />

<strong>and</strong> meet<strong>in</strong>gs that are not necessarily tied<br />

to specific projects or expected outcomes.<br />

Many artists expressed feel<strong>in</strong>g that the strong<br />

pressure to produce was <strong>in</strong> tension with the<br />

total lack of knowledge they had of scenes<br />

outside their own. As such, they felt that the<br />

push to collaborate may be premature; they<br />

need to get to know each other before they<br />

start creat<strong>in</strong>g together<br />

3.3. Create discipl<strong>in</strong>e-specific fund<strong>in</strong>g l<strong>in</strong>es<br />

to support discipl<strong>in</strong>es that are weaker <strong>in</strong><br />

different countries <strong>and</strong>/or that suffer from<br />

neglect from authorities <strong>and</strong> fund<strong>in</strong>g bodies<br />

(e.g., dance <strong>in</strong> Algeria)<br />

3.4. Exp<strong>and</strong> the support that is <strong>in</strong>cluded with<br />

mobility funds: cover accommodation, per<br />

diems, etc. (Al-Mawred al-Thaqafy has this<br />

policy)<br />

3.5. Advocate for the necessity of long-term<br />

program support as opposed to projectby-project<br />

fund<strong>in</strong>g, <strong>in</strong>clud<strong>in</strong>g mobility funds<br />

3.6. Provide more flexible deadl<strong>in</strong>es<br />

3.7 Consider <strong>in</strong>tegrat<strong>in</strong>g <strong>in</strong>terviews <strong>in</strong>to selection<br />

procedures to reduce the dependency<br />

on professional grant-writ<strong>in</strong>g skills <strong>and</strong><br />

restore human exchange <strong>in</strong> the grant application<br />

process

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