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