DOCSLIB.ORG

OFFERING TRAVEL THROUGH the FLY AMERICA ACT with JETBLUE and EMIRATES Emirates Business

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OFFERING TRAVEL THROUGH the FLY AMERICA ACT with JETBLUE and EMIRATES Emirates Business OFFERING TRAVEL THROUGH THE FLY AMERICA ACT WITH JETBLUE AND EMIRATES Emirates Business Who is required to travel under the provisions of the Fly America Act? The Fly America Act requires employees of the U.S. Government, their dependents, consultants, contractors, grantees, and others performing work on behalf of the U.S. Government whose foreign air travel is financed by the U.S. Government to book their air travel under the provisions of the Fly America Act. Please check the GSA website www.gsa.gov/portal/content/103191 for complete rules & regulations. How can travelers that need to abide by the Fly America Act travel on Emirates? The JetBlue-Emirates code-share is fully compliant with the Fly America Act. In addition, the Act expressly allows for exceptions to the requirement to use a JetBlue “B6” flight number, which makes it permissible to use a connecting Emirates “EK” flight number in select scenarios, hichw you can read about at www.gsa.gov/portal/content/103191 The Fly America Act permits travel on flights operated by foreign code-share carriers provided the ticket shows the US flag carrier’s designated code. All Emirates flights operating from the USA to Dubai, New York (JFK) to Milan (MXP) and New York (EWR) to Athens (ATH) operate with a JetBlue (B6) code-share flight number, thus allowing customers to stay in compliance with the Fly America Act on Emirates. (E.g. Washington – Dubai flight EK 232 operates with the JetBlue code-share flight number B6 5002) Emirates Economy Is the ticket required to be validated on a US flag carrier? No. Tickets may be plated on either JetBlue (279) or Emirates (176) and still meet the rules of Fly America Act. As per Federal Register / Vol. 63. No. 219 / Friday, November 13, 1998 page 63,417: “The requirement that the ticket be issued on U.S. flag air carrier ticket stock has been removed”. If you would like to receive official confirmation, please contact [email protected] By design, for some international points of sale, Emirates (176) tickets may be the only available option if your agency is issuing a ticket abroad. Is there a JetBlue (B6) code-share flight number also on flights beyond Dubai?? Currently JetBlue (B6) code-share flight numbers are only filed on flights between the US and Dubai, New York (JFK) and Milan (MXP), Newark (EWR) and Athens (ATH) as well as Dubai (DXB) and Amman (AMM), Bahrain (BAH), Bangkok (BKK), Islamabad (ISB) and Kuwait (KWI). Our company / agency purchases a normal published B6 fare – will these fares qualify for discounts or incentives? Please contact your JetBlue or Emirates representative in order to get the necessary details. Chauffeur-drive service Can passengers accrue Frequent Flyer miles on B6 code share flights operated by Emirates? Passengers can accrue miles on these flights either using Emirates’ Skywards program or JetBlue’s TrueBlue program. These programs are reciprocal. If you are experiencing issues, please contact TrueBlue or Skywards respectively and refer to “Fly America accrual” during your inquiry. Are First and Business Class passengers eligible for Emirates' complimentary Chauffeur-drive service? Yes. First and Business Class passengers are eligible for Chauffeur-drive if booked on a JetBlue (B6) code-share flight number operated by Emirates. Can passengers take advantage of Dubai Connect if booked on a B6 code-share flight number? Yes, a B6 code-share flight number qualifies for Dubai Connect, as long as tickets are plated on Emirates (176) and minimum fare requirements are met. Dubai Connect is only applicable for flights beyond DXB on the best available connection. • First and Business Class transit time must be more than, or equal to, 6 hours and less than, or equal to, 24 hours • Economy Class transit time must be more than, or equal to, 8 hours and less than, or equal to, 24 hours How do I book Chauffeur-drive service and Dubai Connect? www.emirates.com > Manage a Booking (*Please use EK Record Locator) Can my company accrue Emirates Business Rewards on a B6/EK itinerary? You will earn Business Rewards Points on flights when your ticket meets the following conditions: • Issued on an Emirates document (the ticket number begins with 176) • Emirates flight number (EK) • Emirates-operated flight • Example: IAD-B6*/EK@-DXB-EK-KBL BR member will earn points only on the DXB-KBL portion operated and marketed by EK (if ticketed on EK document) B6/EK Seat Assignment Assistance You can book your seats either through the GDS (Currently, Sabre, Amadeus and Galileo are able to provide this function) or on emirates.com. Certain booking classes qualify for free basic seat assignment. Choice seats (extra legroom and preferred seats) can be purchased on emirates.com, the GDS or by contacting our call center (US: +1 800 777 3999). How to ensure smooth and efficient customer service Please include the B6 confirmation code along with the EK confirmation code asell w as the ticket number (either starting with “279” or “176”) in all your communication with the respective airline and/or your travelers so that either airline can find the reservation in their respective system. For more information (ticketing instructions, etc.), please refer to your corporate or agency agreement If you need more assistance, please contact the US Emirates Agency Support Unit (for US based travel agencies) Monday to Friday from 8a to 8p Eastern US time (except holidays) at [email protected] or your local Emirates office (for all other travel agencies). SeattleSeattle PortlandPortland Minneapolis/St.PaulMinneapolis/St.Paul BurlingtonBurlington SyracuseSyracuse PortlandPortland RochesterRochester BuffaloBuffalo AlbanyAlbany WorcesterWorcester ChicagoChicago BostonBoston DetroitDetroit HartfordHartford ProvidenceProvidence ClevelandCleveland NewburghNewburgh WestchesterWestchester SaltSalt Lake Lake City City PittsburghPittsburgh NewarkNewark NewNew York York LaGuardia LaGuardia NewNew York York JFK JFK DenverDenver Reno/TahoeReno/Tahoe WashingtonWashington Dulles Dulles PhiladelphiaPhiladelphia SacramentoSacramento BaltimoreBaltimore WashingtonWashington DCA DCA OaklandOakland SanSan Francisco Francisco RichmondRichmond SanSan Jose Jose LasLas Vegas Vegas NashvilleNashville Raleigh/DurhamRaleigh/Durham Albuquerque/SantaAlbuquerque/Santa Fe Fe CharlotteCharlotte JetBlue destinations BurbankBurbank JetBlue code-share destinations, operated by Emirates LosLos Angeles Angeles OntarioOntario CA CA AtlantaAtlanta LongLong Beach Beach PhoenixPhoenix Milan Dallas/FortDallas/Fort Worth Worth CharlestonCharleston From/to SanSan Diego Diego JFK ew ork Savannah/HiltonSavannah/Hilton Head Head Athens From/to ewark AustinAustin JacksonvilleJacksonville NewNew Orleans Orleans Anchorage HoustonHouston DaytonaDaytona Beach Beach TampaTampa OrlandoOrlando Dubai WestWest Palm Palm Beach Beach FortFort Myers Myers FortFort Lauderdale Lauderdale Check public schedules for the latest code-share destinations beyond Dubai Contact JetBlue at [email protected] V.1 - 20/09/18 V.1.
Load more

Recommended publications
  • Genesis Analytics 2016 Quantifying the Economic Contribution Of
    Quantifying the Economic Contribution of Emirates to South Africa A report prepared by Genesis Analytics June 2016 © Genesis Analytics 2016 Document Reference: Quantifying the Economic Contribution of Emirates to South Africa, Final Date: June 2016 Contact Information Genesis Analytics (Pty) Ltd Office 3, 50 Sixth Road Hyde Park, 2196, Johannesburg South Africa Tel: +27 (0) 11 994 7000 Fax: +27 (0) 11 994 7099 www.genesis-analytics.com Authors Ryan Short Mbongeni Ndlovu Tshediso Matake Dirk van Seventer With thanks to Annabelle Ong and Chris Cuttle Contact Person Ryan Short [email protected] +27 (0) 11 994 7000 ii Table of Contents EXECUTIVE SUMMARY .............................................................................. VI 1. INTRODUCTION ..................................................................................... 1 1.1. Background and purpose ........................................................................ 1 1.2. Report structure ...................................................................................... 2 2. ABOUT EMIRATES ................................................................................. 3 3. OVERVIEW OF EMIRATES GROUP IN SOUTH AFRICA ..................... 4 4. A FRAMEWORK FOR MEASURING CONTRIBUTION ......................... 6 5. ENABLED CONTRIBUTION ................................................................... 9 5.1. The economic benefits of air connectivity ............................................... 9 5.2. The connectivity benefits of Emirates .....................................................
    [Show full text]
  • There Was a Small Fly
    THERE WAS A SMALL FLY A G D there was a small fly who started a band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a spider to play the bass he made a funny face when he played the bass A G D she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a bird to play xylophone what a lovely tone when she played xylophone F#m G A G D she hired the bird to jam with the spider she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a cat to play the piano the cat was a pro at playing piano F#m G F#m G she hired the cat to jam with the bird she hired the bird to jam with the spider A G D she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a dog to play the guitar that dog was a star when she played the guitar F#m G F#m G she hired the dog to jam with the cat he hired the cat to jam with the bird F#m G A G D she hired the bird to jam with the spider she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a goat to play the drums the goat was all thumbs but was great on the drums F#m G F#m G she hired the goat to jam with the dog she hired the dog to jam with the cat F#m G F#m G she hired the cat to jam with the bird she hired the bird to jam with the spider
    [Show full text]
  • Feeding Your Family Family
    A 15 Minute Family What Resources will I Need? Devotional Guide 1. A Good Study Bible Feeding Your 1. Read the Bible (5 Min) If reading from an adult version of the Bible, at least one parent will need a copy Read an age-appropriate Bible for your of a good study Bible, to assist in family and seek to apply it to their lives. understanding the Bible “on the fly.” Family It may be a few verses or a paragraph or Consider the “ESV Study Bible.” two. Make it upbeat, lively, and fun. Engage younger children through picture 2. An Age Appropriate Bible for All And these words that I command you Bibles and creative voices. Engage older If your child can to calmly hold a book, he today shall be on your heart. You shall children through a discussion of current or she should have their own Bible. For events or ideas. pre-readers, consider “The Big Picture teach them diligently to your children, 2. Sing to the Lord (3 Min) Story Bible” by Crossway. For school-aged and shall talk of them when you sit in children, consider the “ESV Seek & Find If you feel comfortable singing, pick a your house, and when you walk by Bible” or the “NIrV Adventure Bible.” song or two that is age-appropriate for Children junior high & older will need an the way, and when you lie down, and your family. adult Bible, preferable a study Bible. when you rise. (Deut. 6:6-7 ESV) 3. Memorize a Verse (2 Min) 3.
    [Show full text]
  • Thanks and Congratulates
    ATHE Annual Awards Ceremony Thursday, August 1, 2013 – 5:00 PM – 6:00 PM Grand Cypress Ballroom DEF, Ballroom Level ATHE proudly salutes its nine award winners in this plenary, followed by the Keynote presentation . Vice President for Awards, Kevin Wetmore and his 2013 Awards Committee members will present the award recipients to the conference attendees . Ellen Stewart Career Achievement Subsequent plays include The House of Sleeping Beauties Award for Professional Theatre (adapted from a novel by Kawabata Yasunari), The Sound of a Voice (subsequently adapted into an opera with P David Henry Hwang is the 2013 recipient of the Ellen (L) Phillip Glass), Rich Relations, Face Value, Trying to Find (L) Stewart Career Achievement Award for Professional Chinatown, Golden Child and an adaptation of Peer Gynt, Theatre. among others. His play M. Butterfly premiered in 1988 at AY David Henry Hwang is an Obie-award winning playwright the Eugene O’Neill Theatre on Broadway, running for 777 Bill thanks Doan who is also the first Asian-American to win a Tony Award performances and winning the John Gassner Award, the for Best Play. Born in Los Angeles and Drama Desk Award, the Outer Critics Circle professor of theatre and associate dean educated at Stanford and Yale, Hwang Award, the Tony Award for Best Play and for administration, research & graduate studies studied playwriting under Sam Hwang’s second listing as a finalist Shepard and Maria Irene Fornes. for the Pulitzer Prize for Drama. FOB, his first professionally He has also written numerous produced play, premiered at books for musical and opera, the Stanford Asian American including a revised Flower Theatre Project in 1979 Drum Song, Tarzan, Aida president 2011–13 before being mounted and The Fly.
    [Show full text]
  • Finding, Reclaiming, and Reinventing Identity Through DNA: the DNA Trail
    The Japanese Journal of American Studies, No. 23 (2012) Finding, Reclaiming, and Reinventing Identity through DNA: The DNA Trail Yuko KURAHASHI* The DNA Trail: A Genealogy of Short Plays about Ancestry, Identity, and Utter Confusion (2011) is a collection of seven fifteen-to-twenty minute plays by veteran Asian American playwrights whose plays have been staged nationally and internationally since the 1980s. The plays include Philip Kan Gotanda’s “Child Is Father to Man,” Velina Hasu Houston’s “Mother Road,” David Henry Hwang’s “A Very DNA Reunion,” Elizabeth Wong’s “Finding Your Inner Zulu,” Shishir Kurup’s “Bolt from the Blue,” Lina Patel’s “That Could Be You,” and Jamil Khoury’s “WASP: White Arab Slovak Pole.” Conceived by Jamil Khoury and commissioned and developed by Silk Road Theatre Project in Chicago in association with the Goodman Theatre, a full production of the seven plays was mounted at Silk Road Theatre Project in March and April 2010.1 On January 22, 2011, Visions and Voices: The USC Arts and Humanities Initiative presented a staged reading at the Uni- versity of Southern California, Los Angeles, using revised scripts. The staged reading was directed by Goodman Theatre associate producer Steve Scott, who had also directed the original production.2 San Francisco–based playwright Gotanda has written plays that reflect his yearning to learn the stories of his Japanese American parents, and their friends and relatives. His plays include A Song for a Nisei Fisherman (1980), The Wash (1985), Ballad of Yachiyo (1996), and Sisters *Associate Professor, Kent State University 285 286 YUKO KURAHASHI Matsumoto (1997).
    [Show full text]
  • Download Booklet
    559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40 AMERICAN CLASSICS WILLIAM BOLCOM Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake) Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2 Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services. Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization.
    [Show full text]
  • Desire, Disease, Death, and David Cronenberg: the Operatic Anxieties of the Fly
    Desire, Disease, Death, and David Cronenberg: The Operatic Anxieties of The Fly Yves Saint-Cyr 451 University of Toronto Introduction In 1996, Linda and Michael Hutcheon released their groundbreaking book, Opera: Desire, Disease, Death, a work that analyses operatic representations of tuberculosis, syphilis, cholera, and AIDS. They followed this up in 2000 with Bodily Charm, a discussion of the corporeal in opera; and, in 2004, they published Opera: The Art of Dying, in which they argue that opera has historically provided a metaphorical space for the ritualistic contemplation of mortality, whether the effect is cathartic, medita- tive, spiritual, or therapeutic. This paper is based on a Hutcheonite reading of the Fly saga, which to date is made up of seven distinct incarnations: George Langelaan published the original short story in 1957; Neumann and Clavell’s 1958 film adaptation was followed by two sequels in 1959 and 1965; David Cronenberg re-made the Neumann film in 1986, which gener- ated yet another sequel in 1989; and, most recently in 2008, Howard Shore and David Henry Hwang adapted Cronenberg’s film into an opera. If the Hutcheons are correct that opera engenders a ritualistic contemplation of mortality by sexualising disease, how does this practice influence composers and librettists’ choice of source material? Historically, opera has drawn on the anxieties of its time and, congruently, The Fly: Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée CRCL DECEMBER 2011 DÉCEMBRE RCLC 0319–051x/11/38.4/451 © Canadian Comparative Literature Association CRCL DECEMBER 2011 DÉCEMBRE RCLC The Opera draws on distinctly 21st-century fears.
    [Show full text]
  • Mutating Masculinity: Re-Visions of Gender and Violence in the Cinema of David Cronenberg
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2011 Mutating masculinity: re-visions of gender and violence in the cinema of David Cronenberg. Loren, Scott Abstract: Though the films of David Cronenberg might not always be concerned with gender froma social constructivist or performative perspective, I think one readily agrees with Linda Ruth Williams’ claim that “for Cronenberg, anatomy is anything but destiny”3. For decades, his characteristic mutations of gendered bodies have repeatedly accompanied the destabilization of fixed notions about gender. It seems that the most fixed notion of gender to be found in his work is that gender is mutable. Likethe physical boarders to bodies in his films, gender is repeatedly undone, constantly shifting, threatening to become something else. For Cronenberg, a perpetual undoing and rearticulation of gender raises the question of when a man becomes a man in a rather unconventional manner. His films initially encourage us to ask other questions, like: “When does a man become a walking, speaking anus?” (Naked Lunch); “when does a man become an insect?” (The Fly); “when does a man become a machine?” (Videodrome, The Fly, Crash, eXistenZ). Of course one would also have to ask: “When does a man become a woman?” (Crimes of the Future, M. Butterfly) “When is a man completely unable to enter manhood?” (Spider) “When is a man a monster?” and “Is a man ever ‘simply’ a man?” (most of his films). It seems that with the release of each new film, one must rearticulate inquiries into the staging of gender in Cronenberg’s work, which is precisely what I wish to do here.
    [Show full text]
  • Opera Enormous: Arias in the Cinema Benjamin Speed
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2012 Opera Enormous: Arias in the Cinema Benjamin Speed Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Film and Media Studies Commons, Music Performance Commons, and the Theatre and Performance Studies Commons Recommended Citation Speed, Benjamin, "Opera Enormous: Arias in the Cinema" (2012). Electronic Theses and Dissertations. 1749. http://digitalcommons.library.umaine.edu/etd/1749 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. OPERA ENORMOUS: ARIAS IN THE CINEMA By Benjamin Speed B. A. , The Evergreen State College, 2002 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Communication) The Graduate School The University of Maine May, 2012 Advisory Committee: Nathan Stormer, Associate Professor of Communication and Journalism, Advisor Laura Lindenfeld, Associate Professor of Communication and Journalism and the Margaret Chase Smith Policy Center Michael Socolow, Associate Professor of Communication and Journalism THESIS ACCEPTANCE STATEMENT On behalf of the Graduate Committee for Benjamin Jon Speed I affirm that this manuscript is the final and accepted thesis. Signatures of all committee members are on file with the Graduate School at the University of Maine, 42 Stodder
    [Show full text]
  • Etihad Airways Lands at Vienna Airport for the First Time with a Direct Flight from Abu Dhabi
    Etihad Airways lands at Vienna Airport for the first time with a direct flight from Abu Dhabi As of today, July 18, 2021, Etihad Airways, the national airline of the United Arab Emirates, has landed in Vienna for the very first time as part of a new flight connection. With Etihad Airways, a new airline is represented in Vienna and Abu Dhabi is now also accessible from Vienna. Etihad Airways now serves the route twice a week with a Boeing 787-9 Dreamliner. In the capital of the United Arab Emirates, Abu Dhabi, Etihad Airways serves numerous destinations around the globe. “We welcome Etihad as a new airline to Vienna Airport serving a new destination. Etihad is a strong carrier with a far-reaching route network, and we are delighted with its decision to launch regular scheduled flights to Vienna. The United Arab Emirates in particular is an important market for Austrian tourism, and the new flight connection is a good sign that things are slowly picking up again”, states Julian Jäger, Joint CEO and COO of Vienna Airport. “As more travellers return to the skies, we’re delighted to introduce twice-weekly flights to Vienna. The 65th passenger destination to be added to Etihad’s growing network, we are confident that its timeless imperial grandeur and vibrant cultural scene will appeal to many travellers”, said Tony Douglas, Group Chief Executive Officer at Etihad Aviation Group. The capital of the United Arab Emirates, Abu Dhabi boasts a diversified tourism offering, including the magnificent Sheikh Zayed Mosque, Louvre Abu Dhabi, the Corniche boardwalk, numerous shopping opportunities and traditional markets, namely the so-called “Souks”.
    [Show full text]
  • Airlines and Subsidy: Our Position ¬
    Airlines and subsidy: our position ¬ Myth Airline subsidies are a “Gulf” problem FACT Market-distorting subsidies and government support are sadly present in every world region Myth Emirates is subsidised FACT Completely unsubsidised. We campaign against airline subsidies Myth Emirates accesses cheap or free fuel FACT False. We buy fuel from BP, Shell and Chevron in Dubai and worldwide at market rates Myth US and European airlines received support decades ago but are now subsidy-free FACT Bankruptcy protection and government bailouts continue to exist Airlines and subsidy: our position ¬ We understand that despite no evidence, an oft repeated myth can ultimately be accepted as conventional wisdom. In this document you will find our views on subsidy in the airline industry, thorough explanations about Emirates’ business model and our response to misrepresentations that have been levelled against us - from claims about subsidised fuel, financial support and staff conditions to environmental regulation and airport charges. Emirates believes: • A common set of transparent financial reporting metrics to measure and apply against all international carriers should be determined by IATA and ICAO on what defines a subsidy. • Governments should not provide injections, borrowings or financing to airlines, regardless of shareholding status. • All governments should pursue liberalisation and open skies with the objective to end the greatest subsidy of all – aero-political protection. Tim Clark, President, Emirates Airline 1 Contents ¬ Introduction
    [Show full text]
  • Return Operation of Moroccans Living Abroad
    Return Operation of Moroccans living abroad Following the High Royal Instructions, Royal Air Maroc is mobilizing to facilitate the routing of the Moroccan diaspora to the country. The company sets up an exceptional and historic device to facilitate the movement of Moroccans living abroad (MRE) during the summer. In this context, more than 3 million seats will be dedicated to this operation between June 15 and September 30, including 600,000 in charters. Summary of MRE operation ticket conditions: Tickets from abroad to Morocco only Date of transport: until September 30 Tickets purchased in cash (no use of previous credit or EMD) Non-refundable, non-exchangeable tickets. For customers who have already purchased their tickets for the period from June 15 to September 30, they can still benefit from the commercial provisions in force: - a refund against a voucher to be used over a later period. These vouchers are valid 12 months, and refundable in cash at the end of their validity; - or a change of travel date, without penalty. Exceptionally, the new date of transport is extended until March 31, 2022 instead of October 31 initially (fare difference may be applied). Customers who have already benefited from a first change free of charge, can exceptionally obtain a second change free of charge on an exceptional basis; - or a cash refund under the fare conditions of the ticket (if the refund is permitted). Passengers who choose one of the above options waive their reservation which will be definitively canceled. Hereafter the updated conditions of travel from/to Morocco following the latest authorities’ decision: The countries are classified into two categories: o The "A" list includes all countries with good indicators concerning the epidemiological situation, in particular the spread of variants of the virus; o The "B" is a restrictive list of all the countries not concerned by the relief measures contained in the "A" list, due to the epidemiological situation.
    [Show full text]