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

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A study by Lara Bourdin for Art Moves Africa October 2019 — Retracing Roots and Tracing New Routes: Mobility and Touring in North Africa

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A study by Lara Bourdin for Art Moves Africa October 2019 — 4 5 Acknowledgments and Imprint Table of Contents

ACKNOWLEDGMENTS page 4 FOREWORD page 6 KEY MESSAGES page 7

This study is by and large the fruit of five months of exchanges and 1 INTRODUCTION page 9 conversations with ninety artists and cultural actors spread across North 1.1 Background of AMA’s research program page 10 Africa as well as neighbouring regions. The researcher would first and 1.2 Purpose of the research page 12 foremost like to thank the respondents who generously contributed their 1.3 Socio-historical context page 13 time, knowledge, and above all their insights and their ideas. It was an 1.4 Overview of mobility in North Africa page 16 honour to learn from them about the complex issue that is (artistic and cultural) mobility in North Africa today. 2 METHODOLOGY page 19 The researcher extends her warm thanks to Khadija El Bennaoui, Direc- 2.1 Key terms page 20 tor of AMA, for her guidance and presence throughout the research and 2.2 Limitations page 22 writing processes. Particular thanks go to Maria Daïf, for the orientation and inspiration in Casablanca, and her careful edits to important sections of the draft. AMA would also like to thank the Ministry of Foreign 3 SUMMARY OF OUTCOMES page 25 Affairs of Norway for generously supporting this research. 3.1 Mapping of opportunities page 25 3.2 Impediments page 34 This research was carried out for Art Moves Africa (AMA) aisbl. The views taken and analyses presented are those of the author and do not necessarily represent the views of AMA. The findings of the study are based on 4 COUNTRY-SPECIFIC INFORMATION page 45 the mapping carried out between December 2018 and April 2019. 4.1 Algeria page 46 4.2 Egypt page 55 4.3 Libya page 62 4.4 Mauritania page 69 4.5 Morocco page 75 4.6 Tunisia page 83 4.7 Western Sahara page 90

5 CONCLUSION & RECOMMENDATIONS page 95

6 MAPS & GRAPHS page 103

Released and produced by Art Moves Africa (AMA) aisbl APPENDICES Mapping study and report: Lara Bourdin Appendix A : Acronyms page 121 Design: Eps51, Berlin — www.eps51.com Appendix B: Respondents page 123 Head of the publication: Khadija El Bennaoui Appendix C: Bibliography page 127

This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. 6 7 Foreword Key Messages FORE — KEY In a world where free- MES — WORD dom is better guaranteed for goods and digital products than for human beings, more and more people are being condemned to watch as the space of SAGES their fundamental rights and freedoms shrinks. Many of them have been forced to flee wars, climate change 1. The mobility of artists and cultural operators is a right, not a privilege. or oppressive regimes. It is often their freedom of movement that is most threatened, as travel restrictions multiply in the face of rising anti-migration sentiments. 2. Desire for mobility is very strong amongst artists and cultural Cultural diversity has never been in as much danger as practitioners, in North-South, East-West and South-South directions. it is in today’s polarized world. a) North-South mobility remains important, namely for training Strategically positioned at the crossroads of Europe, and opportunities to connect with a greater diversity of Africa and Asia, North Africa is one of the regions that interlocutors. is most significantly affected by ongoing tensions in the b) East-West and South-South mobility are important axes geopolitical arena. The first spark of the Arab uprising to develop in the interest of exploring shared histories, in 2010 in Tunisia is still coursing through the whole nurturing creative synergies and developing solidarity. region. It has brought hope, with high-spirited and creative civic initiatives led mainly by young people. Yet 3. There is an urgent need to work at the level of the imagination, desire restrictions on the freedom of movement and speech and dreaming – to nurture existing desire for South-South exchange of its people have also reached their highest peaks in and to create it where it does not yet exist. the last decade. a) Promote networking amongst African cultural actors: meetings, This mapping study is a contribution by AMA to shed go-and-see tours, residencies, etc. light on the actors and initiatives that are striving to b) Promote information-sharing: online platforms, information revive historical connections and build new bridges hubs, key people and ambassadors. between North Africa and the rest of the continent, as a form of resistance but also as a means of unlearning 4. Mobility can only improve if political and administrative barriers are colonial modes of relating with the regions south of the addressed and lifted. Sahara and north of the Mediterranean. This study is the 4th volume of AMA’s mapping series, which aims a) There is an urgent need for mobilization amongst cultural ac- to address the obstacles to artistic mobility within tors in Africa, Europe and internationally to document and Africa by providing information on the infrastructures, denounce increasingly restrictive visa policies, especially from the institutional and funding frameworks as well as the Schengen space. the challenges and opportunities linked with mobility b) Advocate for greater understanding of the stakes and impor- on the continent. tance of artistic mobility.

We hope this study will help inform both practitioners 5. Mobility is not simply about quantitative factors but about the quality and policy makers on the ways to promote and support of the experience at the creative and human levels. artistic mobility within Africa. Khadija El Bennaoui a) The human and creative dimensions of the mobility experience AMA Director must be central in initiatives geared at promoting arts mobility. 8 9 Introduction Introduction

IN — 1 TRO — DUC — Art Moves Africa (AMA) is an international not- — for-profit organisation that aims to facilitate cultural and artistic exchanges within the African TION Fact : continent. AMA offers travel grants to artists AMA didn’t and cultural practitioners living and working in cifically allocated to support travel. AMA was provide grants in 2013, 2014 Africa to travel within the African continent in launched in July 2005. or 2017 due to limited funds. order to engage in the exchange of information, Over the last 14 years, AMA has allo- The statistics included are based the enhancement of skills, the development of in- cated 809 grants to artists and art practitioners on all other years between formal networks and the pursuit of cooperation. living and working in Africa. A wide range of 2005 and 2018. AMA was first launched as a program projects has thus been implemented to develop by the Young Arab Theatre Fund (YATF) and a the African creative sector. AMA has produced — group of African organizations. It was designed regular evaluations and collected statistics of to facilitate and encourage the mobility of artists applications received and of grants allocated to and cultural operators within the African conti- African cultural practitioners. Moreover, it has nent. In 2001, YATF participated in meetings in commissioned and published three studies on Egypt, Kenya and Zimbabwe, together with dif- mobility and touring in East (2011/2015) and ferent organizations and cultural activists from Central Africa (2015), as well as a guide to cultur- Africa and the Arab world. The meetings were al mobility funding opportunities to/from Africa aimed at linking organizations and individuals, in collaboration with On the Move (2015/2018). and creating informal continent-wide networks. These initiatives have helped AMA to develop The participants agreed that one of the major its interventions as a grant-making organization obstacles for artists and cultural professionals and to identify needs within the African artistic in Africa was the persistent lack of funds spe- mobility sector. 10 11 Introduction Introduction

Grant applications received before and after and to what extent the infrastructure issues iden- the East Africa studies (2011 and 2012) tified in the 2015 study have been addressed. Developments of note include the emergence of FROM East Africa: events such as the African Cup of Slam Poetry in N’Djamena, Chad, which was a major driver · 108 total applications until Session 20 in 2011 for mobility in Central Africa in 2018. (inclusive), with an average of 5.4 applications / session Grant applications received before and after · 166 total applications until Session 23 in 2012 the Central Africa study (2015) (inclusive), with an average of 7 applications / session FROM Central Africa: · 121 total applications in 2015 and 2018, 1.1 with an average of 17 applications / session · 431 total applications until Session 28 in 2015 (inclusive), with an average of 15.4 applica- Background TO East Africa: tions / session · 58 total applications in 2018, with an average of AMA’s · 212 total applications until Session 20 in 2011 of 29 applications/session (inclusive), with an average of 10.6 applica- research AMA launched its research pro- tions / session TO Central Africa: gram in 2011, in recognition of the · 222 total applications until Session 23 in 2012 program complexity of mobility and touring (inclusive), with an average of 9.6 applications / · 375 total applications until Session 28 in 2015 in Africa and in the hopes of fill- session (inclusive), with an average of 13.4 applica- ing the vast gaps in knowledge · 146 total applications in 2015 and 2018, with tions / session and data pertaining to the topic. It has produced three an average of 21 applications / session · 67 total applications in 2018, with an average studies to date: two focus on East Africa (performing of 33.5 applications / session arts and visual arts) and one focuses on Central Af- Grants awarded before and after the East rica. Through these studies, it has contributed to the Africa studies (2011 and 2012) Grants awarded before and after the Central development of knowledge, initiatives and policies that Africa study (2015) strengthen mobility on the continent. Indeed, AMA’s FROM East Africa: statistics show a substantial impact on mobility in the FROM Central Africa: East African and Central African arts sectors since · 78 total selected until Session 20 in 2011 (inclu- the publication of the studies. sive), with an average of 3.9 selected / session · 152 total selected until Session 28 in 2015 In East Africa, mobility appears to have in- · 85 total selected until Session 23 in 2012 (inclu- (inclusive), with an average of 5.4 selected / ses- creased, with a significant jump in the number of sive), with an average of 3.7 selected / session sion applications to / from East Africa per session (see · 57 total selected in 2015 and 2018, with an · 2 total selected in 2018, with an average of next page). Events such as Addis Foto Fest in Addis average of 8.1 selected / session 1 selected / session Ababa and Bayimba Arts Festival have become major international platforms, drawing artists from across TO East Africa: TO Central Africa: the region, the continent and the world. AMA has also received significant numbers of applications for events · 93 total selected until Session 20 in 2011 (inclu- · 130 total applications until Session 28 in 2015 such as the Karibu Music Festival in Dar Es Salaam; the sive), with an average of 4.7 selected / session (inclusive), with an average of 4.6 selected / Bagamoyo Festival; Tuzinne Festival in Kampala; as well · 98 total selected until Session 23 in 2012 (inclu- session as for projects in Kigali and Lilongwe. Finally, a new, sive), with an average of 4.3 selected / session · 5 total applications in 2018, with an average regional mobility fund has emerged: the British Council’s · 40 total selected in 2015 and 2018, with an of 2.5 selected / session East Africa Travel Grant. average of 5.7 selected / session

In Central Africa, impact is more difficult to measure given that AMA’s grants program was suspended between 2016 and mid-2018. Further study would be necessary to determine whether 12 13 Introduction Introduction

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1. 3.1 NORTH AFRICA AS A 1.2 CULTURAL SPACE Purpose of — This report addresses mobility in a 1. 3 the research This research was commissioned by AMA region broadly designated as “North in August 2018. Its purpose is to shed light Africa,” all the while recognizing the Socio-political on the situation of artistic and cultural mo- instability of the term and the com- bility in the North African region and in relation with the plexity of the realities it purports to and historical other African regions. It namely aims to illuminate the encapsulate. Indeed, “North Africa” as factors underpinning the relative weakness of mobility a geopolitical entity is largely the prod- context to / from / within North Africa. uct of divisions instituted by international organizations along boundaries Indeed, since AMA’s launch in 2005, North Africa has established by colonial powers. These divisions consistently been the region that generates the small- are upheld to this day by organizations such as est number of mobility grant applications, on all three the African Union and the United Nations, albeit fronts: that is, in terms of outgoing mobility, incoming with varying boundaries. They are also upheld in mobility, and intra-regional mobility: everyday conversation, conceptions of identity, cultural products and events. · In terms of outgoing mobility, it has generated a total of 169 projects, accounting for an average 8% of total As a cultural and linguistic space, North Africa mobility projects since 2005, behind East Africa at is defined by a number of factors. First, the 14%. heritage of the Amazighen (or Berbers), who are the first inhabitants of present-day Morocco, · In terms of incoming mobility, it has attracted a total Algeria, Tunisia, Libya, Mauritania, northern Mali of 179 projects, accounting for an average 9% of and Niger as well as western Egypt. The region total mobility projects since 2005, behind East and is also bound by the sweep of Arabization and Southern Africa (tied at 18%). Islamization, which took place between roughly — 600 and 1000 A.D. Finally, the present-day coun- · In terms of intra-regional mobility, it has generated tries of North Africa share a common history of QUOTE: a total of 28 projects, accounting for an average of Ottoman conquest (except Morocco, Mauritania « Every time I want to get funding for a pro- th 1% of total mobility projects since 2005. and Western Sahara) and 19 - and 20th-century ject, I need to declare if I’m North African or European colonialism, with Morocco, Tunisia, Southern African; Christian or Muslim; — This report is divided into the following Algeria and Mauritania having been under French Anglo or Franco. We’re being boxed into spaces where we have to find ourselves within sections: 1 – Introduction; 2 – Methodology; rule; Libya under Italian rule; and Egypt being a single identity. To successfully fill out that See section 1.4, 3 – Summary of opportunities and impedi- occupied as a British protectorate from 1882 form, you have to do away with the multilaye- “Overview of ments to mobility to/from North Africa; to 1952. red-ness and complexity of that identity. Who says I have to choose? Why can’t I be both? » Mobility in North 4 – Country-specific information; 5 – Con- Africa” below clusion and Recommendations. It also in- Jihan El-Tahri for detailed cludes three Appendices: A – a mapping of Filmmaker, Cairo / Berlin. Quote from Keynote speech information on arts spaces, venues and events in North at 1:54 contemporary art fair in Marrakech, 2017. mobility Africa, including graphs and contact infor- trends to/from mation ; B – a list of the study’s respondents; — North Africa. and C – a bibliography.

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Arab identity was reinforced at the time of de- to other African nations in the areas of foreign Euro-Mediterranean Partnership (Euromed) that colonization, with pan-Arabism becoming the investment and trade; Algeria has been follow- began in 1995 as the Barcelona Process as a “ideological lingua franca” across the region ing suit. How do art and cultural production means of “turning the Mediterranean basin into and the Middle East (El Amrani, 2011). Part participate or not in connecting North and an area of dialogue, exchange and cooperation and parcel of this process was the glossing South today? guaranteeing peace, stability and prosperity” over and erasure of the multiplicity of cultur- (Barcelona declaration, 1995). At present, all North al, linguistic and ethnic identities within the — African countries are included in the partnership, various nation states, with marginalization with the exception of Libya, which possesses of Amazigh heritage, language and culture as well 1. 3. 2 REGIONALIZATION Observer status. as those of Black individuals and communities. AND FUNDING Amazigh resistance movements have obtained These levels of regionalization are critical for some recognition at state level, with Algeria — arts mobility to the extent that they have under- redefining itself as an “Arab, Berber, Muslim” pinned the formation of cultural networks, fund- nation and Morocco recognizing Amazigh as an Contemporary regionalization has created ing schemes and thus spaces of exchange. The official language in 2011. North Africans’ “African” further boundaries within and outside North funding landscape in North Africa is characterized identity has been more complex to unearth and Africa. On the largest scale, North Africa is by the presence of numerous funds operating foreground. often grouped with the Middle East under at the MENA level: the Arab Fund for the acronym MENA, or else is subsumed as Arts and Culture (AFAC), Al-Mawred North Africa’s “separateness” is often justified a space within the Arab World. These terms and are the al-Thafaqy Mophradat — by the presence of the Sahara desert, largely are used in politics, academia, business and three most prominent. At the Euromed on the basis of conceptions of the desert as an media, by international organizations such level, there is a plethora of funding QUOTE: “empty space” by European geographers and as the World Bank and the United Nations, schemes, among them the Rober- explorers and thus as an invisible border separat- as well as by most international development to Cimetta Fund (RCF), the European « Where did the term ing the continent. Artists and intellectuals have organizations. Egypt occupies a unique status Cultural Foundation (ECF) & MitOst’s ‘Sub-Saharan Africa’ come from contested this idea, noting its correlation with within this space, due to its positioning at the , the ECF’s since it never appears in TandemShaml STEP Travel colonial literature? colonial and contemporary geopolitical agendas hinge between the African continent and the Grants, etc., all of which are ongoing. What exactly are the contours and reminding us that the Sahara has been Middle East. Other funds, such as SouthMedCV of this ‘region’ since it a space of advanced political and social (2015 – 2018), are rolled out within set is not demarcated on any map? Is it a geographic location or is organization, hospitality, trade and cultural — Within North Africa, regionalization op- timeframes. These funds have allowed for it a political construct? exchange for centuries. Indeed, trade routes erates mainly at two levels: first, at the vital projects, partnerships and networks How come Mauritania is have traversed its expanse, linking cities level of the Maghreb; and secondly, at to emerge across the region. considered Sub-Saharan yet QUOTE: Sudan is not? and civilizations to the North and South as the level of the (Euro-)Mediterranean See Section 3.1.1 for more information Most importantly, how did we, well as those within it. « There is an assumption space. The Maghreb connects Morocco, on Funding. as Africans, that the Maghreb is Algeria, Tunisia, Libya and Mauritania. start adhering to the post- something somewhere colonial remapping of our own There is also a push to revive and nurture else than in Africa and The unifying factor is mainly cultural, with In this landscape, Art Moves Africa is spaces and identities? » the pan-Africanist energies, intellectual even that Egypt is an the countries sharing Amazigh heritage. the first mobility fund that has worked archaeological island off productions and artistic connections that Shared colonial histories and resultant to integrate North Africa in the rest of Jihan El-Tahri the coast of American Filmmaker, were developed in the 1950s and 60s. No- universities. » linguistic commonality also bind Tunisia, the continent. Nevertheless, North Africa Cairo/Berlin tably, Algeria hosted the first Pan-African Morocco and Algeria. The Maghreb’s continues to be the region that gener- Quote from RAW Material Company Koyo Kouoh festival of 1969. This thrust of pan-Africanist geopolitical and economic identity was ates the public lecture, Chief curator of Zeitz fewest mobility grant appli- 12 April, 2017. unity collapsed due to a number of factors, Museum of Contemporary formalized with the 1989 formation of cations. The question that drives this both internal and external to the continent. African Art, Cape Town/ the Arab Maghreb Union. However, the research is: — former executive director why? Connections between North and South are of RAW Material Company union remains largely inactive due to now playing out in the economic sphere, Dakar enduring tensions between Morocco with Morocco making important overtures Quote from Opening Remarks and Algeria over Western Sahara. at 1:54 art fair, 2017 The regionalization of the Euro-Med- iterranean was formalized in 2008 — at the Paris Summit for the Medi- terranean. Its aim is to reinforce the 16 17 Introduction Introduction

In order of volume of exchange with North Africa, the following countries are most active:

1. 4 1. Senegal 2. Cameroon and South Africa Overview of 3. Democratic Republic of Congo (DRC) 4. Ethiopia mobility in 5. Burkina Faso 6. Kenya and Tanzania North Africa Based on AMA’s statistics, gathered 7. Côte d’Ivoire over the period 2005 – 2018, Morocco, 8. Mali Tunisia and Egypt are the countries that have the strongest mobili- 9. Nigeria ty trends. The chart below illustrates the volume of mobility to/from other African regions for each North African country: Most exchanges happen with West Africa, with Senegal, Burkina Faso, Côte d’Ivoire, Mali and Nigeria being the most active countries. Egypt has relatively strong links with Nigeria. The Dakar Biennale is repeatedly cited as a reference for visual artists across North Africa; other Outgoing mobility events that are often noted include the Marché

100 Incoming mobility des Arts et du Spectacle (MASA – Market for Performing Arts) in Abidjan and the Bamako 90 and . Lagos biennales — 80 Exchange is roughly the same with South, Cen- QUOTE: 70 tral and East Africa (14 – 16%). Cameroon is by

60 far the country in Central Africa that generates « I’m working on African identity. the most exchange, with strong ties to Mo- Culturally, we have many points in common. There are trends 50 rocco and Egypt in particular; it is followed by linking all North African countries, DRC. In , Ethiopia is the country that whether they be in dance, music… 40 East Africa generates the most exchange, largely thanks to there’s a history that links us, sometimes a painful one, because 30 strong ties with Egypt; Kenya and Tanzania are all the trade routes were between the other two major hubs for mobility. In North and South. There’s a large 20 Sou- exchange with other African regions in % exchange with other African regions , South Africa is by far the country community of black Africans thern Africa from South of the Sahara that has 10 that generates the most exchange, presumably become North African. We need to due to its strong cultural sector and capacity to recognize this entity. […] 0 host international events. I think Africa has a great future. It’s a future we have to build ourselves; no one outside should Morocco decide what we should be. »

Tunisia Bahri Ben Yahmed Dancer and choreographer, Egypt Danseurs Citoyens & Lang’art, Tunis* Algeria Quote translated from French by the author. Mauritania Other translated quotes will be marked Libya (*) throughout the document.

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METH — ODOL — The research for this study was conducted between December 2018 and April 2019. It is primarily based on interviews that were conducted with ninety artists and cultural operators spread across North OGY 2 Africa, as well as neighbouring regions. The research was divided into three overlapping phases:

I Identification of artists, cultural operators, spaces and stakeholders (December 2018 – February 2019) — II Interviews (December 2018 – March 2019) Fact: a) Field visit to Casablanca and Rabat, This study is based December 10 – 16, 2018 on interviews b) Desk-based interviews, Skype and with ninety WhatsApp. artists and cultural Two respondents asked to operators. respond in writing.

— III Report compilation (March – April 2019)

Interviews were primarily conducted via Skype, with the exception of sixteen interviews which were conducted in-person during a field visit to Casablanca and Rabat in December 2018 and two which were conducted in writing. The methodology was semi-structured, following a questionnaire prepared in advance by the AMA Secretariat. This method was chosen in the interest of allowing an organic conversation to develop and to guide the direction of the interview. 20 21 Methodology Methodology

2.1 Key — There is no single commonly accepted definition of the term “North Africa,” Terms NORTH AFRICA which encompasses meanings of a — MENASA is the acronym for “Middle East, North Africa geographical, political and cultural nature. In geograph- and South Asia.” It typically designates the MENA coun- — ic terms, it may refer to the area that lies between the MENASA tries as well as a subset of countries in Asia, most prom- Atlantic Ocean to the West; the Mediterranean Sea to the inently India and Pakistan. However, as with the other North; the Red Sea to the East; and the Sahara desert to — acronyms cited above, its boundaries are not set. It is the South. In geopolitical terms, it is employed by inter- mainly used in economic and financial circles but is also national organizations such as the African Union (AU) and gaining currency in the contemporary art and cultural the United Nations (NU) to designate different groupings sectors. of countries. The nation-states of Morocco, Algeria, Tuni- sia, Libya and Egypt are included in both groupings; how- — Although it is sometimes used interchangeably with the ever, the AU includes Mauritania but not Sudan or South term MENA, the term “Arab world” typically refers to the Sudan, while the UN includes Sudan and South Sudan ARAB WORLD 22 states of the Arab league: Algeria, Bahrain, Comoros, but not Mauritania. The term “North Africa” also over- Djibouti, Egypt, Iraq, Jordan, Kuwait, Lebanon, Libya, laps with several others, namely the “Arab world” and — Mauritania, Morocco, Oman, Palestine, Qatar, Saudi the “Maghreb” (see below). AMA acknowledges these Arabia, Somalia, Sudan, Syria, Tunisia, the United Arab caveats and debates. However, in this document, it uses Emirates and Yemen. the term “North Africa” to designate a region consisting of the following states: Algeria, Egypt, Libya, Mauritania, — Mobility in the arts sector is for the purpose of this study Morocco, Tunisia and the disputed territory of Western defined as the temporary relocation of an artist to a re- Sahara. MOBILITY gion or a country other than that of permanent residence, for the purpose of presentation, performance, study, — The Maghreb is the region encompassing Algeria, Libya, — teaching or rehearsal. The relationship between mobility Mauritania, Morocco, Tunisia and Western Sahara. Mau- and migration is frequently related to economic means of MAGHREB ritania, Morocco, Tunisia, Algeria and Libya established survival (less frequently to an improvement on a social or the Arab Maghreb Union in 1989 to promote cooperation economic scale). Drawing the line between artistic mobil- — and economic integration in a common market. Howev- ity and migration can be challenging as some artists will er, the Union is stalled due to ongoing conflict between spend part of their career living and working in another Morocco and Algeria over the issue of Western Sahara. country (Wiesand, 2008) and eventually become associated with the country of their choice. MENA is the commonly used acronym for “Middle East — and North Africa.” There is no stable definition of the term — According to the new Oxford American Dictionary, a either. The following countries are typically included in the “tour” can refer to a journey made by performers or an MENA MENA: Algeria, Bahrain, Djibouti, Egypt, Iran, Iraq, Israel, TOURING athletic team, in which they perform or play in several Jordan, Kuwait, Lebanon, Libya, Malta, Morocco, Oman, different places. These places do not necessarily need — Palestine, Qatar, Saudi Arabia, Syria, Tunisia, the United — to be located in several countries. A touring circuit is a Arab Emirates and Yemen. Other countries that may be more or less closely defined network of performance or included are Afghanistan, Armenia, Azerbaijan, Chad, exhibition places for the purpose of circulating artwork Comoros, Cyprus, Djibouti, Eritrea, Ethiopia, Georgia, and performances. The organizers are generally the ones Mali, Mauritania, Niger, Northern Cyprus, Sahrawi Arab who determine how open or closed this network is and Democratic Republic, Somalia, Sudan and Turkey. what criteria are applied for membership and development. 22 23 Methodology Methodology

2.2 The study is of course not exhaus- tive. It namely does not cover the Limitations complex problematics of travel to/ from rural areas. It concentrates on capital cities, which are the locales most likely to be covered by AMA grants. Further study is necessary to offer a more comprehensive perspective on mobility to/from other large cities in the region as well as rural areas.

The term “North Africa” has an unstable meaning (see Section 2.1) and as such the scope of the study does not capture all the realities that the term may refer to. For example, this study does not cover Sudan (covered in the 2012 and 2015 studies on East Africa).

Research was conducted in French and English. As such, it is possible that certain potential interlocutors were not reached and that information was not identified or included. One interlocutor declined to grant an interview because it would not be conducted in Arabic.

Interviews were not always completed in full due to time considerations. The questionnaire was long and conversations were very often rich and wide-ranging. Certain questions were often ex- cluded in the interest of capturing the most essential information and respecting interlocutors’ time.

Research was desk-based rather than field-based. As such it was not possible to meet respondents Le radeau (The Raft), by Cyrine Gannoun and Majdi Boumatar, tells the story simultaneously, nor to visit spaces, studios, venues, of 8 clandestine migrants trying to cross the Mediterranean to reach Italy. etc. Photo courtesy of Cyrine Gannoun/Théâtre El-Hamra. 24 25 Sunmmary of Outcomes Summary of Outcomes

SUM — MARY 3 OF OUT —

— COMES QUOTE: A major objective of this study was to high- Sometimes, preconceptions, blockages of the imagination, and maybe even of desire, light the infrastructure and map the resour- can get in the way of conceiving projects or 3.1. ces that are currently in place to facilitate the travelling South. mobility of artists and cultural operators in North Africa. The major cross-country infra- Mariem Guellouz Mapping Dancer and researcher, structures facilitating mobility in North Africa Director of (funding opportunities, transport links and options, and Les Journées chorégraphiques existing service providers) are described in the follow- de Carthage* ing sub-sections. Country-specific information regarding — venues, events, organizations and other artistic facilities is provided in Section 4 of the report.

Overall, it can be said that infrastructures vary substantially from country to country, as a function of cultural policy, history and economic conditions. Most opportunities are concentrated in Morocco, Tunisia and Egypt, although this landscape is changing in response to increasing repression in Egypt and the evolving sector in Tunisia. There are promising developments in Libya, Mauritania and even in Western Sahara, but these of 26 27 Summary of Outcomes Summary of Outcomes

— course remain extremely limited in terms of capacity for facilitating mobility and are subject to extremely precari- 3.1.1 FUNDING ous political / economic conditions. — A mapping of existing arts venues and events that may host mobility projects involving African cultural actors is Funding for mobility to and from North Africa is provided at six provided in Appendix A of the report. main levels:

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PUBLIC ADMINISTRATIONS

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While public administrations in most of the countries covered by this study have the capacity to fund mobility, provision of funds is generally characterized by opacity, clientelism, preference for Other useful mappings of existing service providers, spaces and ven- traditional and/or folkloric forms, and poor administration. ues can be found on the following websites: Respondents in Tunisia and to a lesser extent Morocco were the most likely to obtain funds from their Ministries of Culture. 1. The North Africa Cultural Mobility Map, a research and The only formal program supporting mobility in the region is info-platform about residency and mobility initiatives for Tfanen – Tunisie Créative, created through a partnership between artists, writers and researchers interested in travelling and the EU and the Tunisian state (see Tunisia section for more detail). developing projects from within North Africa

2. Independent Arts and Culture Spaces in the Arab — World, a 2013 publication by the Young Arab Theatre Fund (now Mophradat) CIVIL SOCIETY ORGANIZATIONS

3. Morocco ArtMap by Racines —

4. Carte Culturelle de l’Algérie by the Groupe de Travail sur Several civil society organizations do crucial and inspiring work la Politique Culturelle en Algérie to support mobility in North Africa. In addition to AMA, the most prominent organizations are: 5. Perform-arts.net by Reflection Arts, Training & Develop- ment – a database of cultural organizations and spaces in 1. Based in Beirut, Culture Resource (Al-Mawred Al-Thaqafy) is a Alexandria, Egypt regional, non-profit organization founded in 2003 that seeks to Culture Resource support artistic creativity in the Arab region and to encourage 6. Digi – MENA for digital artists in the MENA region. Coor- (Al Mawred Al-Thaqafy) cultural exchange within the region and beyond. dinated by Out of the Circle and supported by the Goethe Institut Its main program for mobility support is Wijhat. It is open to artists and cultural managers of all disciplines. All departure coun- 7. Alternative Art Guide, an online database of non-profit, tries and destinations are eligible, with the exception of Israel, artist-run and independent spaces around the world although travel must be to or from an Arab country. Air travel as well as internal road / train connections are covered. Addi- 8. DutchCulture / Transartists, an online database of artists’ tionally, the fund covers visa costs, accommodation and partial residencies worldwide support for living expenses. 28 29 Summary of Outcomes Summary of Outcomes

The program offers 25 to 30 grants per year in three rounds. Al Mawred Al-Thaqafy has also supported mobility via its The RCF provides support for mobility through two pro- training programs for cultural managers. grammes: a – the Mobility fund; and b – Tamteen, or the support fund. The Mobility Fund is divided into two streams: 2. Based in Beirut, the Arab Fund for Arts and Culture – AFAC the General Fund, and specific funding lines, which vary from was founded in 2007 through the initiative of Arab cultural year to year. The General Fund is open to artists and cultural Arab Fund for Arts activists as an independent foundation to support individual operators living and working in the Euro-Arab-Middle East and Culture (AFAC) artists, writers, researchers, intellectuals, as well as organi- geographical zone. Applicants from the MENA region or the zations from the Arab region working in the field of arts and Balkan countries can apply to travel to other African regions culture. (as well as Asia or other world regions). A maximum of 3 individuals per group may be covered. AFAC currently runs nine open call grants programs and one training program by nomination. Each grants program The Tamteen support fund can cover mobility as part of has one annual open call during which applications are sub- the structuring of oganizations and collectives in the Arab mitted online. The grants are not mobility grants. However, world. Maximum funding is 3.000 euros. Five projects are travel is covered so long as it is part of the implementation selected per call. of a project. 5. An inspiring new initiative is Africa Art Lines, run by Mo- In addition, AFAC has just launched the new North Africa rocco-based civil society organization Afrikayna. Launched Cultural Program (NACP), a three-year program (2019 – 2022) Africa Art Lines in 2016, Africa Art Lines provides mobility grants to projects dedicated to five countries in North Africa: Morocco, Algeria, connecting Morocco and other African countries. It does so Tunisia, Libya and Egypt. It comprises two support schemes, through two main schemes: 1) Partnerships with organiza- a National Fund and a Regional Fund. The program is run tions and events; 2) Open calls. Support is delivered via the through an open-call scheme and covers institutional and host organization. See Morocco section for more detail. programmatic support to active arts organizations based in the five countries, including cross-border collaborations. — 3. Based in Belgium, Mophradat offers a granting program for artists to support individuals, collaborations, or collectives EMBASSIES AND INTERNATIONAL Mophradat to develop their practice. Among other activities, the grants COOPERATION INSTITUTES can be used to pursue threads of research, stage an event, make new work, publish, travel, take part in a residency or — workshop, or present an exhibition or performance. Average amount is $5.000. Mophradat’s emphasis is on contempo- Many artists and cultural operators in North Africa have travelled thanks rary art. Activities or projects can take place anywhere in the to funding provided by embassies and international cooperation insti- world, but must be carried out by artists living or working in tutes present in their cities. However, there are at present no formal mo- the Arab world and/or engaged with the Arab world. bility schemes and funding is thus generally provided on a case-by-case basis, often through artists’ or cultural operators’ personal connections within the institutes. A bilateral component or connection to the European country is generally a prerequisite for funding to be provided.

The most prominent cooperation institute across the region is the Institut Français, which retains a strong presence in Morocco, Tunisia and Alge- ria. The Goethe Institut facilitated mobility for a number of cultural actors 4. Based in Paris, the Roberto Cimetta Fund is an international through its Moving MENA travel fund (2013 – 2017). However, the fund is no non-profit grant-making organization supporting the mobility longer operational. The Goethe continues to organize occasional cultural Roberto Cimetta Fund and creativity of artists and cultural operators in Europe, the training programs in the region. Pro Helvetia has also supported projects (RCF) Arab world and beyond. in Tunisia and Egypt.

30 31 Summary of Outcomes Summary of Outcomes — — Two programs funded by the European Union, MedCulture (2014 – 2017) and See Chapter 6 SouthMedCV (2015 – 2018), played an important role in facilitating travels across 3.1. 2 for a mapping of the region. Several respondents expressed the hope that similar schemes would be MAIN HUBS AND venues and arts implemented. SERVICE PROVIDERS spaces across the region — — — PRIVATE FOUNDATIONS The following organizations and arts spaces — are well-poised to serve as hubs, information points, and training centres for mobility Several private foundations are facilitating mobility across the region. In Tunisia, projects in the region. Fondation Rambourg and Fondation Kamel Lazaar are two new foundations to watch. In Morocco, Fondation HIBA and Fondation Touria et Abdelaziz Tazi have supported mobility through sponsorship, residencies and exchange initiatives. Algeria Morocco Other private foundations covering mobility, generally via program or project sup- aria arts residencies, Algiers Atelier de l’Observatoire, Casablanca port, are: the European Cultural Foundation (ECF), the Ford Foundation, Fondation Ateliers N.A.S., Algiers EAC-L’Boulvard, Casablanca Rosa Luxembourg, Fondation Drosos, Mimeta, the Organisation Internationale de la Les Ateliers Sauvages, Algiers L’Uzine, Casablanca Artissimo, Algiers Le18, Marrakech Francophonie (OIF), the Prince Claus Fund and Stichting DOEN. Box24, Algiers Cinémathèque, Tanger La Baignoire, Algiers Tabadoul, Tanger Brokk’art, Algiers Mahal Art Space, Tanger Raconte’arts Theatre festival, Tizi Ouzou L’appartement22, Rabat LeCube, Rabat — Visa for Music, Rabat

FESTIVALS, EVENTS — Egypt AND Al Moharek Agency, Cairo Tunisia RESIDENCIES BANKS, BUSINESSES AfriCairo, Cairo BL79, Tunis Contemporary Image Collective, Cairo AND Centre des Musiques Arabes et Darb 1718 Contemporary Art & Culture Centre, Cairo Méditerranéennes, Tunis — INDIVIDUAL SPONSORS Hewar for Independent Theater & Performing Arts, Centre national d’art vivant de Tunis Alexandria Cité’Ness Association, Tunis MASS, Alexandria Culture Funding Watch, Tunis (information Out of the Circle, Cairo Many artists depend on invitations from — and training) Medrar for Contemporary Arts, Cairo Fanni Raghman Ani, Tunis festivals, events or residencies to sup- Reflection for Arts Training & Development, La Boîte, Tunis Alexandria Lab619, Tunis port their travels. Events that have of- Townhouse Gallery, Cairo Lang’art, Tunis fered funding for mobility include Visa Entrepreneurial cultural actors have approached banks, busi- L’Art Rue, Tunis , nesses and individual sponsors for funds to cover their travel Maison de l’Image, Tunis for Music Rencontres chorégraphiques Théâtre Al-Hamra/Centre arabo-africain de de Carthage, residencies at Le18, Atelier costs. formation et de recherche théâtrales, Tunis Libya Tunisia Culture Network, Tunis de l’observatoire, Contemporary Image Collective Cairo, D-CAF, etc. However, Important resources on mobility opportunities in the region are: Ali Gana Foundation and Museum, Tripoli Noon Arts Projects, Tripoli/London they have generally done so via funding Tanarout, Benghazi WaraQ Art Foundation, Tripoli from one of the abovementioned organi- 1. On the Move’s Guide to funding for cultural mobility in Western Sahara zations. the Arab world (2017). On the Move’s Facebook, Twitter and website are also critical platforms for information. Abidin Kaid Saleh Audiovisual School, Boujdour refugee camp, Tindouf (Algeria) Mauritania Artifariti Festival, Tifariti, Sahrawi Arab Democratic Republic/refugee camps in Tindouf 2. Culture Funding Watch has recently launched a compre- Fi’Sahara Festival, Boujdour refugee camp, Tindouf hensive database of funding opportunities for arts and ArtGalléAmySow, Nouakchott Motif Arts Studio, Samara refugee camp, Tindouf Les Échos du Sahel, Nouakchott culture in the MENA Region. Their social media pages are Espace culturel Diadie Tabara Camara, Nouakchott Maison des cinéastes, Nouakchott regularly updated. Traversées Mauritanides, Nouakchott 32 33 Summary of Outcomes Summary of Outcomes

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3.1. 3 TRANSPORT LINKS AND Overland travel into and out of Libya is not re- REGULATIONS commended due to the presence of militias along the road. — Morocco, Tunisia, Algeria and Egypt also have VISA POLICIES decent to good road networks connecting major cities. Morocco boasts the region’s most deve- — loped rail system, with high-speed rail in place between Tangiers and Casablanca and plans to Visa-free travel is in place between Morocco, extend the network east to Oujda and south to Tunisia and Algeria. In theory, Libyans should Agadir via Marrakech. The national rail operator benefit from visa-free travel to Algeria; however, is the ONCF. Algeria and Egypt also have rail in practice, refusals have been documented. systems connecting major cities, namely along Libyan citizens should also benefit from visa-free the coast and the Nile river in Egypt. access to Mauritania, although no testimonials are available. In turn, visa-free access to Libya — is accessible only to Tunisian and Jordanian citizens. Egypt’s visa policy has gotten increa- AIR TRAVEL singly restrictive in recent years. At the time of writing, visa-free access to Egypt was open to — Algerian, Moroccan and Tunisian citizens under the age of 14 only. Egyptians require a visa to Due to the above-described impediments to road enter Morocco, Tunisia and Algeria. Mauritania Dancer Jenny Mezile performing at Harambee Days travel and the large distances between major offers visa-free travel to citizens of Algeria, Libya at L’Uzine, 2018. North African cities, air travel is the preferred and Tunisia. Mauritanians may travel to Tunisia Photo: Ahlam Maroon/L’Uzine. method of transportation. Flight connections and Algeria without a visa. — are frequent between capital cities, provided by national air carriers Royal Air Maroc, AirAlgérie, Detailed information on visa policies with res- ROAD AND RAIL NETWORKS The closure of the Morocco – Algeria border makes TunisAir and Egypt Air. The exception is Tripoli, pect to other African countries is provided in road travel between the two countries imprac- which is at present only connected to Tunis and the country-specific sections. — ticable. Likewise, entry into Western Sahara via Cairo (although the latter is subject to change). road is subject to controls, which can be unpre- — Road and/or rail travel is generally possible dictable, especially in periods of strife. Royal Air Maroc (RAM) is emerging as the region’s within North African countries. However, border most active carrier, creating connections within OTHER REGULATIONS crossings are complicated or made impossible Algeria’s road system includes the Trans-Saha- the region and the continent that used to only by ongoing border disputes or security concerns. ran Highway’s Route 2, which links Algiers to be possible via European cities such as Paris — Lagos via Tamanrasset, Agadez and Kano. The and Barcelona. In recent years, RAM has ex- The Trans-Saharan Highway’s Route 1 connects highway is almost complete, with the exception panded its network in Africa significantly, rivalling Tunisian citizens under the age of 35 must ob- Cairo to Nouakchott, via the coast. However, only of a 200 km-long segment in the north of Niger. Ethiopian Airlines as the continent’s number one tain parental authorization to travel outside the selected segments of the route are practicable carrier. RAM currently connects Casablanca to country. Moreover, exiting Tunisia requires pay- due to conflict areas and border closures. The only Cairo is connected to Khartoum via road. Howe- 26 destinations in Africa. AirAlgérie and TunisAir ment of an exit stamp, at a cost of 30 dinars. border crossing that is practicable is the border ver, border crossing has been complicated due are also developing their connections in West Egyptian men of military service age may face between Tunisia and Algeria; some artists use to diplomatic disputes between Egypt and Sudan Africa, connecting with 9 and 11 destinations, travel restrictions. these roads to travel in lieu of expensive flights. and arms smuggling at the border. respectively. 34 35 Summary of Outcomes Summary of Outcomes

As such, connections between Alger / Tunis / Tripoli, — — and destinations in West, Central, East and Southern Africa generally go via Casablanca. EgyptAir has QUOTE: 1. connections with several East African countries, VISAS « This immigration question, this as well as South Africa, Zimbabwe and Zambia in ‘potential immigrant’ Southern Africa and Nigeria, Ghana and Côte d’Ivoire label – we carry those loads — in West Africa. Other destinations may be reached heavily. Travelling, in and of itself (with or without an artistic via Addis Ababa. purpose), is not a right that is Difficulties obtaining visas for travel were one of the two most given to us. To secure that right, frequently cited obstacles to mobility for North African cultural Despite these developments, cost remains a major we have to undergo countless actors. The Schengen space has become increasingly difficult administrative processes, we have impediment to air travel. Travel to Europe remains to lay ourselves bare, and without to access for cultural actors from across the region due to the less expensive than travel within the continent, even any guarantee of success. migration crisis, post-9 / 11 security context and heightening on lines such as Tunis – Alger. So much energy, so many xenophobia. Young men describe themselves as personae strategies, so much paperwork… it’s exhausting after awhile. » non-gratae in Europe. Cultural actors from older generations, 3.2. despite having made frequent travels to Europe in the past, are Hind Benali also subject to visa refusals or severe time limitations for their Dancer and choreographer, Impediments to founder of Compagnie Fleur stays in Europe. Impediments to mobility d’Orange, mobility are listed below, grouped Casablanca* Visa issues also inhibit mobility within the North African region, into main categories. for example for cultural actors wishing to travel to Egypt and 11 — However, it should be noted that many of these Libyan artists wanting to travel outside Tunisia. impediments are related and often difficult to dissociate. For example, the lack of interest in Faced with these restrictions, artists and operators must often travelling to other African regions is critically rely on personal contacts within embassies or ministries to try to related to the lack of information-sharing and expedite their applications. When applications are denied, they networking. The difficulty of obtaining visas must restructure projects: for example, many meetings happen is often compounded by high travel costs, in Jordan because visa access is easier than for countries such with one or the other discouraging artists or as Egypt. cultural professionals from even seeking out mobility opportunities. Visa issues are cited The following issues are most frequently cited with respect to visas: most frequently in part because artists asso- — ciate travel with Europe and do not consider Refusals: The motive given is usually “likelihood of non-return,” travel opportunities in other countries where often despite extensive proof of employment, means of QUOTE: they may have visa-free access. subsistence, family in the home country, etc. Many artists feel visa refusal decisions are arbitrary and / or motivated « We need to talk about Moreover, most of these obstacles can be by poor organization and / or xenophobia. While refusals non-mobility. We need to talk about artists’ stagnation. And linked to the after-effects of colonialism, na- especially affect young artists (and especially men), suc- we need to fight against that tionalisms and wars, and the persistence of cessful and established artists have also been affected. stagnation. » neo-colonialism in the form of development

Mehdi Djelil agendas, regionalization, conflict, etc. This rea- Long wait times: Respondents reported having to wait as long as 6 months Visual artist, Algiers* lity underscores the importance of mobility as a for an appointment at the consulate or embassy, especially means of strengthening South-South solidarity, since many European countries ceased to process visa — understanding, co-imagining, vision-sharing, applications through their embassies and externalized knowledge-sharing and project-building. visa services to agency TLScontact. Wait times may be so long that applicants are given an appointment that is after the event they planned to attend. Furthermore, delivery of the visa may take several weeks, which also jeopardizes artists’ ability to make commitments to events / residencies / etc. and follow through on travel plans. 36 37 Summary of Outcomes Summary of Outcomes

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QUOTE: 2. COST OF TRAVEL A Schengen visa currently costs 60 euros. Photocopies or « If you’re an individual artist, High costs : [travelling] is a huge amount of certified copies of documents may add additional costs, as stress and work, often for — does travel to the embassy. no reason. Difficulties are built into the process. Either it’s an The high cost of travel was the other most-cited obstacle to issue with a visa or time or Bureaucracy : Visa applications can require applicants to submit large vo- funding. There always seems to mobility, named by almost all respondents. Costs of international — lumes of paperwork, including proof of employment, bank be some sort of flights are exorbitant on all intra-regional and intra-continental records, letters of authorization, paystubs, etc. These do- panic with something. There lines. QUOTE: must be a better way. » cuments can be difficult to obtain, especially for artists who work as freelancers and/or work in disciplines that are not Nada Sabet Aggravating factors include: « That’s the life of an artist: we want to make things happen, recognized under local labour laws. Bureaucracy can also be Theatre director and co- founder, Noon Creative but sometimes it’s money that a major obstacle because of the sheer volume of documents Enterprise, Cairo a) Impossibility of road travel between most countries (see blocks everything, and other and/or the amount of detail required (one respondent reported Section 3.1.3 above). times we have the plane tickets but not the visas. » being asked to submit all paystubs since her very first job). — Moreover, none of these documents are a guarantee, since b) Poor flight connections between cities. Until recently, most Cyrine Gannoun several respondents reported having been denied access to a travels between African cities had to go via Europe. The Theatre practitioner, Director of the Centre Arabo-Africain de country despite having submitted all the required paperwork. situation is changing, especially with the development of Formation et de Recherche RAM’s and other local airlines’ networks and Casablanca’s Théâtrale, Tunis* Prejudice and Several respondents reported having been subjected to preju- emergence as a travel hub. However, direct flight connec- — discrimination dice and/or discriminatory treatment by visa and immigration tions remain few and far between, and costs remain high. against artists : authorities on account of their professional status as artists.

Age and gender : Young men are reportedly the most likely to be denied visas, due to xenophobic associations with delinquency and terrorism. — c) Absence of funding organizations and/or insufficient Short duration of In the case of Schengen visas, respondents reported being QUOTE: coverage of ancillary costs. stay granted : given as little as 2 days on their visa. The time granted usually corresponds to the duration of the event, leaving no time for « That’s the whole paradox. d) the cost of mobility goes There are so many European cultural Ancillary costs of travel: artists to network, attend other events, or simply enjoy the institutes that do spotlights on the beyond the flight ticket. Accommodation, insu- experience of travel, with all the inspiration, connections and Arab world; the Arab world has greater rance, vaccines, visas, travel to embassies, etc. unexpected opportunities that it may bring. Moreover, since and greater visibility in Europe; but at the (see Visas above) all add to the financial burden same time, the conditions to get multiple-entry visas are increasingly difficult to obtain, artists a visa are getting more and more associated with traveling. must re-apply for every trip. complicated. » e) of funding possibilities. Amina Mourid Lack of knowledge Access to Artists and cultural operators living outside capitals or major Cultural manager, co-founder of Think embassies: cities have to travel to the embassies to complete the visa Tanger/Atelier Kissaria, f) Artists’ precarity across the region makes self-fun- procedures, incurring extra costs for travel and accommo- Tangiers, Morocco* ded travel impossible. dation, forcing individuals to take days off work, etc. — g) Issues with currency and financial transactions Lack of Several respondents deplored the inconsistency between are present in many of the countries covered, inclu- bilaterality: European countries’ cultural and immigration policies, whe- ding limits on cash withdrawals (Libya, Morocco, reby a discourse of openness to cultural exchange and an Tunisia); ineligibility for credit cards; restrictions increasing fashion of “spotlighting” North Africa are in conflict on currency exchange and frozen accounts (Libya). with increasingly restrictive visa policies. 38 39 Summary of Outcomes Summary of Outcomes

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3. — i) Economic considerations: there is a sense that artists’ LACK OF INTEREST OR MOTIVATION / fees will be lower in Africa than Europe, if not non- PREFERENCE FOR TRAVEL TO EUROPE QUOTE: existent. (On the other hand, many artists reported that they would gladly play or perform for free if it — « Ever since the Barcelona process, meant they got the chance to travel to another African and all the other measures taken to regionalize the Mediterranean, region). When asked why they thought mobility is weak within to make it a geo-politico-cultural the region and especially with respect to other African space, artists have increasingly — wanted to travel North rather regions, most respondents noted that artists and cultu- than South. » ral operators associate mobility with travel to Europe. 4. — Malek Sebaï DIFFICULTY IDENTIFYING WITH AFRICAN Dancer and choreographer, Aggravating factors include: co-founder, Associations Danseurs IDENTITY / DISCRIMINATION 5. Citoyens and Hayyou’Raqs, Tunis* NETWORKS AND ACCESS a) Europe’s geographical proximity: some res- — TO INFORMATION pondents noted that Europe felt “closer” than — the rest of the African continent. While most artists interviewed expressed strong motivation — to travel to other parts of Africa, many described an overall b) Lower costs for travel to Europe make it climate of unease surrounding identification to Africa as a Unless they have made a dedicated or possible for independent cultural actors to possible factor explaining low mobility within the continent. concerted effort to seek out opportunities in cover travel costs themselves in the absence This difficulty can be described as a spectrum ranging from the region or in other African regions, artists of mobility funding (although this avenue is uncertain identification to ambient racism (present in all and cultural operators tend to be unaware of being jeopardized by visa restrictions). countries covered by the study). This climate nourishes existing events, networks, residencies, etc. misconceptions with respect to travel in Africa and/or c) Artists’ precarity and the precarity of the motivates preference for travel to the West. Aggravating factors: arts sector underlie many aspirations to a European career. It should also be noted that some respondents noted a a) There is a lack of active and up-to-date d) Regionalization of the Euro-Mediterranean space and separation sense of discrimination on the part of colleagues from West, databases and platforms gathering and of “North Africa” and “Sub-Saharan Africa,” namely through East, South or Central Africa. They said this discrimination disseminating information about oppor- funding agendas (see Introduction & Methodology, Key terms). was expressed in several forms, including exclusion from tunities in Africa, including about funding. pan-African events; lack of overtures and invitations; and e) The relative weight traditionally held by bilateral cooperation explicit attributions of difference (e.g., “You’re not like us”). b) Existing platforms (e.g., Culture Funding institutes in facilitating mobility projects. Watch, Music in Africa, On the Move) are not necessarily well-known. f) More plentiful training opportunities in Europe and the asso- — ciated prestige. c) There is a lack of opportunities for in- QUOTE: person contact and networking. g) Misconceptions about everyday life in Sub-Saharan Africa: some respondents noted that Sub-Saharan Africa is associated with « North African artists often want to be connected with d) means that Europe more than Africa. Many Egyptian artists will prefer Lack of professionalization poor working conditions and uncomfortable accommodation, if to have a screening in a small city in Europe than in an artists often do not have the intuition, not war and disease, in the more extreme cases of misconcep- African capital. » education or confidence to seek out tion and prejudice (see #4, Difficulty Identifying With African opportunities. Mohamed Ghazala Identity / Discrimination). Professor, Vice President of the International Association of Animation filmmakers (ASIFA), e) There are not enough professional cultu- Cairo / Jeddah h) Misconceptions about the arts sector in Africa: some res- ral operators who can assist artists with pondents reported that artists and cultural operators in their research, connect them with information, milieus believed that nothing happens in Africa in terms of arts — etc. There are also not enough training and culture. opportunities for such operators. 40 41 Summary of Outcomes Summary of Outcomes

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6. LACK OF PROFESSIONALIZATION AND INFRASTRUCTURE

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The absence of a structural framework allowing for the professionalization of artists and arts professions is a major factor undergirding poor mobility. Its impact can be felt on several levels:

a) Artists are unequipped with the skills, knowledge or networks to search for international opportunities and / or to complete funding applications.

b) Cultural operators are unequipped with the skills, knowledge or networks to search for international opportunities and/or to complete funding applications and / or to support artists completing funding applications.

c) Centres and facilities with the capacity to host and support mobility projects may be lacking.

d) There is a lack of funds supporting mobility at the public, private and civil society levels.

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7. For the 2016 edition of Ségou Art in Mali, artists Wadi Mhiri and Houda Gorbel created “Containers for a LANGUAGE BARRIERS — Continent,” a floating installation composed of calabashes unified by iron wire and set upon the Niger river. In the artists’ words: “The union of the calabashes represents the dream of a unified Africa, without any — QUOTE: border, enriched by its civilizations and cultural mixture. It’s about a dream right to the doorstep, randomly launched in the flow of the river as an invocation of the sky for a better tomorrow.” While Modern Standard Arabic is the official language across North Afri- « Sometimes the problem is not with Photos courtesy of Wadi Mhiri. mobility funds but also with the can countries, differences in regional spoken dialects and the presence freedom of mobility or accessibility of different colonial languages pose communication barriers within the to mobility. Egypt is a shrinking region and outside. Respondents named the following issues: political space, and artists working with creative industries and creative expression have this challenge a) Language barriers were cited as a source of intimidation, discoura- in terms of regime, for example ging some artists from pursuing international travel opportunities. getting permissions to apply for visas and permits to travel to many countries. » b) Low literacy in written French, English and / or Arabic was cited as an impediment to completing funding application forms. Abdelsamee Abdallah Cultural activist and theatre practitioner, c) Language barriers can be especially relevant in disciplines such as Cairo/Amman music and theatre, where understanding of lyrics or dialogue can impact overall appreciation of a song or play. — 42 43 Summary of Outcomes Summary of Outcomes

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8. SECURITY CONCERNS

— transformations at the social, economic, and political levels. One impact is that some artists Libya is the country most affected by secu- are focused on developing their careers and rity concerns, with militias present across scenes at a local level, addressing issues and the country and namely controlling airports. concerns rooted in their surroundings, and do Recent conflict in the country has isolated not prioritize international travel. However, it also cultural actors living there (namely through flows from this dispensation that the pursuit of border closures and closure of embassies) international opportunities can be undermined and discourages international actors from by a difficulty positioning oneself and relating to pursuing projects there. others in a constantly changing climate.

Security concerns also affect potential tra- — vellers to Egypt, especially from marginalized identities, who are aware of increasing limi- 11. tations on freedom of expression, arbitrary DISILLUSIONMENT WITH MOBILITY incarceration, etc. AND TRAVEL CONDITIONS

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9. A number of respondents questioned the use- RESTRICTIONS ON FREEDOM fulness of pursuing mobility projects today, given OF MOVEMENT AS CENSORSHIP the above-described limitations.

— a) Respondents noted that mobility often seems to have been drained of its human and crea- In Egypt, restrictions on freedom of movement tive aspects and reduced to a purely quan- are part of a broader mechanism designed to titative indicator, often in development and limit freedom of expression and association. cooperation schemes. Feeling the impact Restrictions on freedom of movement have of budgetary constraints and visa duration also been noted in Morocco, Algeria and restrictions, they note that attendance at Tunisia. festivals and other events often feels more — draining than it is nourishing or inspiring. — QUOTE: b) Three respondents named the framework 10. of international cooperation as an impedi- « We’re having all these revolutions, asking ourselves “who are we?”. POSTCOLONIAL AND ment to meaningful cultural exchange. The In Libya alone, the South is completely different from the North. Among countries, we’re so unaware of each other. But I think the arts are POST-REVOLUTION DISPENSATION terms of exchange being dictated by forei- the way to connect. » gn – usually European – institutions, artists — find their liberty of creation and move-ment

Najlaa El-Ageli constrained by foreign agendas and bud- Architect, Founder of Noon Arts Some respondents noted that weak mobility gets, sometimes finding themselves held Projects, Tripoli / London in the region can be attributed to the idea that up as ambassadors of successful cultural the region is “searching for itself,” in the wake diplomacy rather than as creators in their — of conflicts, revolutions and ongoing profound own right. 44 45 Country-Specific Information Country-Specific Information

4 COUN — TRY SPECIFIC —

Fact: This study covers INFOR — Algeria, Egypt, Libya, Mauritania, Morocco, Tunisia and Western Sahara. MATION — The following country-specific sections detail the following information: 1) General information on the country (geography, politics, history, relationship with the rest of Africa); 2) an overview of the arts and culture sector; 3) information on mobility to/from the country (visa requirements, transport, etc.); 4) information on funding for arts mobility; 5) impediments to mobility to / from the country. 46 47 Country-Specific Information Country-Specific Information

— government and various Islamist rebel groups. — Abdelaziz Bouteflika was elected in 1999 and 4.1 — GENERAL INFORMATION remained in power until his resignation on April 2, 2019. Diplomatic or economic relations with A Algeria QUOTE: — the African continent have not been a priority for the Algerian government, although there have « To understand the phenomenon Algeria is the largest country in Africa and shares been gestures toward investment in Africa in [Algeria’s isolation from Africa], L you need to look at the history. a border with all the countries of North Africa, recent years. Algiers was the Mecca of African with the exception of Egypt. To its North lies the While widespread protests did erupt in revolutionaries. After the ‘black Mediterranean Sea, while the Sahara desert co- Algeria in 2011, full-scale revolution did not take decade’ [the 1990s], Algeria took G some distance from Africa. Artists vers a wide swathe of the South of the country. place. However, on February 22, 2019, hundreds became interested in what lay behind Algeria’s first peoples are the Amazighen. of thousands of Algerians took to the streets in the sea, which is to say Europe. Ancient Algeria was occupied consecutively by what was described as a spontaneous wave Europe’s cultural and economic might E allow it to decide on the direction the Phoenicians, the Carthaginians and the Ro- of contestation in response to Bouteflika an- of mobility. » mans before the Arab invasions of the 8th – 11th nouncing his candidacy for a 5th consecutive centuries AD. The Ottoman Empire occupied mandate. Demonstrations have continued since Walid Aidoud R Visual artist, founder of Box24, coastal Algeria between 1518 and 1830. In 1830, Bouteflika’s resignation, as Algerians call for the Algiers* France annexed Algeria, beginning a lengthy and ruling elite to step down and gather around the FAST FACTS violent process of colonization. Algeria was ad- ideals of social justice, equitable distribution of I — ministered as a département of France between wealth, dignity, popular sovereignty, egalitarian Population 41.3 million (World Bank, 2017) 1848 and Independence in 1962. The latter was republicanism, anti-imperialism and principled Surface area 2.382 million km² won through a complex and brutal war, with politics, among others (Rouabah, 2019). This A Capital Algiers torture and massacres deployed by the French massive swell of popular dissent is underway at

Large cities Oran, Constantine, Annaba, Blida, Tizi Ozou against the Algerian resistance. Over the years the time of writing, with magnificent displays of — of colonial presence, the French implemented solidarity, hope, humour and imagination radiat- Languages Modern Standard Arabic and Tamazight (official) a thorough acculturation policy. Resistance to ing from Algerian streets to the world. Darija (vernacular Algerian Arabic) French this policy has defined the foundations of modern-day Algerian identity: Islamic, Arabic and — Dialling code +213 Amazigh (Boukrouh and Kessab, 2010). Today, Currency Algerian dinar French has no official status but is widely spoken ARTS AND CULTURE SECTOR and used in government, media and educational Main international Houari Boumediene International Airport, airports Algiers Mohamed Boudiaf International Airport, institutions, a legacy of Algeria’s colonial history. — Constantine Es-Sénia International Airport, Oran Affiliation to Africa was enshrined in the constitution of 1963, a reflection of Algeria’s Algeria’s cultural sector has been marked by commitment to and centrality within decoloni- strong centralization and monopolization of Rail network Société nationale des transports ferroviaires (SNTF), 4500 km of railways zation movements across the continent. Dubbed cultural affairs by the Ministry of Culture. The the “Mecca of revolution” by Amilcar Cabral, Ministry has enjoyed a considerable budget, with Visa requirements Visa-free access for nationals of Maghreb Algiers was a place of meeting for African re- the windfall from oil and gas revenue making it for Africans to enter countries (Morocco, Tunisia, Libya, Mauritania), Algeria Mali and the Seychelles sistance leaders and political exiles in the 1960s possible fo the Ministry’s budget to swell to $314 Visa required for all other nationalities and 1970s. The Pan-African festival of 1969 million in 2014, the largest in Africa (Kessab, was held in Algiers, and the city was a seat for 2015). This budget is reported to have collapsed essential intellectual and political movements in recent years with the fall of oil and gas prices African countries’ Visa-free travel: Maghreb countries, Mali, visa requirements for Guinea and Benin such as pan-Africanism, pan-Arabism and the and liquidation of Algeria’s reserves. Algerian nationals E-visa or visa upon arrival: Angola, Cabo- Verde, the Comoros, Côte d’Ivoire, Djibouti, non-Aligned movement. Administration of the Ministry of Culture’s Ethiopia, Gabon, Ghana, Guinea-Bissau, Kenya, Algeria’s connections with the conti- budget has been characterized by tight regulation, Lesotho, Madagascar, Mozambique, Rwanda, São Tomé and Principe, Somalia, Tanzania, nent have been marred by its recent history opaque financing, poor management, clientelism Togo, Uganda, Zambia and Zimbabwe Visa required for all other African countries of authoritarianism and conflict. In the 1990s, and a strong emphasis on funding for major Algeria was engulfed in what is typically called institutions and large-scale cultural activities la décennie noire (the black decade), a period such as festivals. These in turn have promoted of violence and terrorism opposing the Algerian a vision of Algerian culture that can broadly be 48 49 Country-Specific Information Country-Specific Information

— — — described as folkloric. Public institutions and The strongest trends of international facilities inherited from the colonial period have QUOTE: exchange are with neighbouring Morocco and in large part deteriorated and few new ones have A Tunisia. These trends are due to freedom of A been built. Moreover, infrastructures for culture « What’s amazing [about this moment,] movement within the Greater Maghreb and his- is that the independent cultural scene is are strongly centralized in Algiers, with financing taking up space and gaining in credibility toric cultural and linguistic ties, which facilitate for rural areas dependent largely on personal L with the public with small initiatives here information-sharing and networking. Road travel L connections. Algeria has not yet ratified the 2005 and there. If we can structure our work in is possible between Algeria and Tunisia but such a way that it’s sustainable, we’ll easily UNESCO Convention on the Protection and Pro- succeed in taking the lead over the state not between Morocco and Algeria, the border motion of the Diversity of Cultural Expressions G institutions. People have expressed their remaining closed after decades of conflict over G (Kessab, 2015). need for freedom and hope. That gives the issue of Western Sahara. Many interviewees us space to act. It’s now possible for us According to MedCulture’s 2015 report, to channel this energy and to offer have expressed frustration at this limitation, cultural and artistic associations received only E something other than the violence we’ve which forces artists to travel by air (at a greater E 0.2% of the annual budget for culture (Kessab, always known. » financial cost) and, on a deeper level, can restrict

2015). Associations have been subject to tight Myriam Amroun their capacity to envision common projects. and confusing legislation that limits the freedom R Cultural project manager, Algiers* Today, travel to other African regions goes R to associate, operate and receive funding (see mainly via Casablanca. Until the RAM began Impediments below). According to Freedom — expanding its network, travel was necessarily House (2018), “Algeria is one of the most difficult I via Paris. AirAlgérie has been developing its I environments in the world to establish and oper- network, with new lines created to several West ate a business.” There is a very limited culture African destinations. Anecdotal reports suggest of sponsorship and patronage. A that AirAlgérie would like to rival RAM as a carrier A Despite the restrictions on its existence, towards the continent, in line with Algeria’s shift the independent cultural sector is flourishing and — towards encouraging tourism and stimulating — affirming its presence with verve and energy. The connections with Africa. visual arts have been particularly active, with a Desire to create international bridges is number of independent spaces and initiatives very strong. In the visual arts, it is nourished in burgeoning in the last ten years. Censorship, large measure by the visibility and prestige of lack of facilities and financing have muzzled the More generally speaking, international major international events such as the Biennale performing arts, but artists have stayed active and travel to / from Algeria is a factor of the large size de Dakar (mentioned by almost all respondents). are expressing themselves in today’s waves of of the territory, expensive air connections and In music, a number of groups such as Ifrikya popular demonstration. There is a strong aware- a fairly restrictive visa policy. Most international and Democratoz have foregrounded the African ness and hope that the future of the country can travel continues to be with Europe, dominated musical roots of Algeria, creating popular con- — be written by Algeria’s creatives. by France in light of the ties connecting the two sciousness of an African identity and a strong countries: the large Algerian population in France, desire to develop greater exchange. QUOTE: — continued presence of French institutions in Algeria, and the relatively low cost of travel. « Since the borders are closed on almost MOBILITY TO / FROM ALGERIA Faced with these limitations but also all sides, except with Tunisia, a link has formed between North Algeria and the South. compelled to discover and appropriate their Algerians from the North have started to — own country, a number of artists have been pur- discover the South and in so doing, Africa. » posefully seeking to develop mobility projects Houari Bouchenak Algeria’s creative sector has been marked by within Algeria. The size of the country alone Photographer, Collectif 220, isolation, largely a factor of the political unrest in makes travel from North to South a potential Algiers / Tlemcen* the 1990s, lack of structuring (described above) adventure. Moreover, the diversity of cultures and lack of state support for international ex- within the country has been a subject of interest, — change. Algeria is very weakly represented in even opening up curiosity and desire to travel AMA’s statistics, with a total of 20 applications further afield to Africa. In the words of musician from Algeria and 8 for projects taking place in Sadek Bouzinou (of Democratoz): “Algeria is a the country since 2005. continent.” 50 51 Country-Specific Information Country-Specific Information —

Examples of mobility projects CHEDMED Organized by Nomad Tracks, an Algerian multidis- A ciplinary collective, ChedMed was a meeting of Algerian and Senegalese artists in Dakar in 2017. It was the second stop in a long-term project L aiming to revive the idea of the “Tricontinental” South-South organization. A group of Algerian artists were invited to Dakar to build and paint G a house together in Dakar’s medina. Concerts were hosted and photographers documented the process. The next edition is in Vietnam. E

DEMOCRATOZ Lead singer Sadek Bouzinou has been creating songs inspired by pan-Africanism and anti-racism R movements, mixing raï, reggae, gnawa and other musical genres. He currently lives in Dakar. I MÂAN (TOGETHER) A new digital arts festival organized by visual artist Mouna Bennamani and photographer Mahmoud Agraine that will connect Algerian creatives with A artists from North Africa, Africa and beyond. It will be the first of its kind in the country. —

RACONTE’ARTS The country’s only fully independent theatre festival, it has regularly invited artists from West and Central Africa to perform in the remote vil- Algerian artist El’Moustach showing his works at Casalgéria — lages where it is held every year. exhibition at L’Uzine, 2018. Photo: Ahlam Maroon/L’Uzine

MARSAD 1 A collective of photographers, visual artists, writ- A ers and graphic designers travelled from Algiers to the south of Algeria in a van, exploring the Algerian stretch of the TransSaharan highway L that was designed to link Algiers to Lagos, via Agadez in Niger. They have future plans to explore — Ottoman trade routes between Salé (Morocco) G and Algiers, and potentially to continue the road QUOTE: trip down to Lagos.

« For the most part, [Algerians] E MERIEM BOURAOUI Slam poet Meriem Bouraoui travelled to only know Africa through N’Djamena, Tchad, in November 2018, to rep- Western music. But as artists, we can really build a vision. resent Algeria in the African Cup of Slam Poetry. Music isn’t everything but R Her trip was supported by AMA. it can do a lot. […] I’m here [in Dakar] to learn. I want to show Algerians the positivity of Senegal. » I

Sadek Bouzinou Singer/songwriter, Democratoz, Oran/Dakar* A

— — 52 53 Country-Specific Information Country-Specific Information — — — Annaba, Constantine, Oran, Tlemcen and Tizi — A FUNDING FOR MOBILITY Ozou. The Instituto Cervantes, British Council, · In return, one respondent noted weak willing- Istituto Italiano, Goethe Institut and EU Dele- IMPEDIMENTS ness on the part of the international community A — gation are also present in Algiers. TO MOBILITY to reach out and create bridges with Algeria. L There is no will to reach out to Algeria and un- Public administrations Non-governmental organizations — derstand what is going on, how can Algeria be L While the Ministry of Culture has enjoyed a sizeable Local NGOs do not have the capacity to finance supported. – Malik Chaoui, co-project manager, G budget since the 2000s, these funds scarcely benefit mobility projects. Foreign NGOs are very little Mobility to and from Algeria is complicated by Groupe de travail sur la politique culturelle en independent cultural actors wishing to pursue mo- known and funding is complicated due to re- the following factors: Algérie, Algiers* G bility projects. While applications can be submitted strictions on international transfers into Algerian E directly to the Ministry, there is no formal bank accounts (see Lack of funding below). Lack of funding options Morocco/Algeria program and procedures involve heavy · The Ministry of Culture has not supported · Several respondents expressed regret and E bureaucracy. Banks and large companies independent arts practitioners. frustration at the difficulty of building bridges R Two interviewees reported that they had · NGOs must submit detailed reports of fund- with their Moroccan neighbours, due to ongo- Mobility funds have been granted via a — been able to travel thanks to sponsorship ing and gain government approval before ing territorial disputes between the two states R semi-private agency called the Agence from banks and private donors. However, accepting foreign funding (risking fines or which have maintained the border closed and Algérienne pour le Rayonnement Culturel « The Ministry of Culture they noted that such opportunities are be- imprisonment). This greatly limits funding pos- thus limited connections. I has been out of service (AARC), designed to promote Algerian since 1988. » coming more and more limited due to the sibilities for independent artists. Funds must be [In terms of traveling], one of the difficulties we I culture internationally. It acts primarily general climate of austerity. obtained through circuitous means involving face is with Algeria: it’s absurd and anecdotal. A on a sponsorship basis, selecting artists Myriam Amroun friends or partners abroad, or through time- We know about a lot of projects in Algeria but and financing their participation at inter- Cultural project manager, consuming and potentially fruitless bureau- we can’t find a way to create collaborations Algiers* A — national events. They may be solicited cratic procedures. between the two countries. The fact that the directly but interviewees report that it Administratively, it’s extremely complicated to border is closed complicates things, and flights — is exceedingly rare for them to grant — receive money. It’s impossible to buy other cur- are quite expensive. It’s cheaper to go to Berlin an application as their funding primarily rencies. If it’s a private individual who sends me or Amsterdam than to Algiers. – Amina Mourid, goes towards the same groups. money, it goes through. But if it’s an organization cultural operator, Co-founder, Atelier Kissaria & – like a publishing house or an association – it goes Think Tanger* — through, but only in Algerian dinars, which involves a loss of more than 50% of the original sum. – Restrictions on civil society, censorship QUOTE: Ammar Bourras, photographer, Algiers* · Freedom of association has been limited in · Moreover, the climate of austerity has limited Algeria and artistic activity has been closely « The AARC is run as an executive body of the ‘spare wheel’ ministry, funding possibilities from private sponsors in monitored. Freedom House rates Algeria as which practices clientelism, among other things, in a sector that is eager for openness and facilitation for its actors. They approach the parties they Algeria. “not free.” want without any public transparency, neither about their modes of — Algiers is very conservative. There’s a mini-scene, operation nor their services. They maintain opaque and visionless public and but it’s not like Tunis. In Algeria, it’s more people institutional relations. One of their declared missions is to spread Politics of isolationism Algerian culture elsewhere - of course, this only applies to artists who align QUOTE: · Algeria has maintained fairly limited foreign with lots of money who are opening venues. It’s with the official cultural regime in place. » relations, with considerable impact on the arts very small, very local. At the level of the Alge- « Algeria is a very closed sector. Several respondents noted that Algeria rian authorities, it’s not easy. – Hamdi Ryder, DJ, Malik Chaoui country; we often have to has failed to invest in the link between culture Downtown Vibes collective, Tunis* Co-project manager, Working Group fall back on big Algerian on Cultural Policy in Algeria, companies, cultural and tourism, for instance, in contrast with its · Restrictions on freedom of movement have Algiers* institutes and embassies to neighbour Morocco. been used as a form of censorship. fund our projects.» It’s a link that’s just terrible between Algeria Cultural operators are closely monitored. Every

— Arslan Naili and other nations. We know there are [physi- time we’ve prepared to participate in an event, Visual artist, cal] borders, but it seems there are many oth- we’ve had lots of trouble at the airport. I have Founder of Atelier N.A.S., ers that are invisible but very present, and that friends who haven’t been able to leave. They [the Bilateral cooperation Algiers* Several artists reported that they have had greater make it impossible for us to connect to Africa. – authorities] tell you “please wait,” and then they facility obtaining mobility possibilities via interna- Houari Bouchenak, photographer, Collectif 220, purposefully make you miss your flight. – Myriam — tional cooperation institutes. The Institut Français Algiers / Tlemcen* Amroun, cultural project manager, Algiers* is by far the most active, with branches in Algiers, 54 55 Country-Specific Information Country-Specific Information — tion in 2008 and signing agreements with Niger to deport migrants at the border. 4.2 A · Algeria continues to be an important destina- Visas tion for scholarship holders from Sub-Saharan Egypt — · Algerian authorities have been known to apply African countries, but they face discrimination. L visa restrictions arbitrarily, even to countries It’s the lack of knowledge of Sub-Saharan Africa QUOTE: with which freedom of movement purportedly that creates racism toward students. It depends applies. on the cities ; in some, students have an easier « People in Egypt are trying to look North. Perhaps they look to Tunisia and G · Access to Egypt has been particularly difficult time integrating. – Houari Bouchenak, photogra- Morocco. They don’t know about African for Algerian cultural actors. pher, Collectif 220, Algiers / Tlemcen* culture. The media give us American movies, European movies. We have connections in Tunisia and E Lack of training Morocco. The language barrier is not a big Educational institutions exist for artistic train- deal – many families are connected. ing, but there are no opportunities for cultural We know them and they know us as well. » — R managers to receive training in Algeria. Ahmed Eldeeb The notion of cultural industries remains Co-founder, Director, Reflection for embryonic here. – Zafira Ouartsi, founder and QUOTE: Arts Training & Development, Alexandria director, Artissimo, Algiers* I « It’s the lack of knowledge of Sub-Saharan Africa that creates racism toward students. — Culture of nepotism and individualism It depends on the cities; in some, students · Several respondents noted that the climate have an easier time integrating. » A of poor / absent funding, lack of training and Houari Bouchenak — isolationism has created a culture of nepotism Photographer, Collectif 220, and individualism. Tlemcen* FAST FACTS · On the one hand, a select number of groups — and individuals who have managed to break into international markets have monopolized Population 94.8 million (World Bank, 2017) all opportunities. Surface area 2.382 million km² There are groups that have toured everywhere, Capital Cairo that have used every fund, that have been to — Large cities Alexandria, Giza, Shubra El-Kheima, every music market. And then there are some Port Said, Suez, Luxor QUOTE: that never move. There’s a category that has Languages Modern Standard Arabic (official) priority; it’s the ones who match the authorities’ Egyptian Arabic or Masri (vernacular) « Recently we made an English; Sa’idi Arabic; Bedouin Arabic; agendas. – Samy Abdelguerfi, booker, cultural anti-racism video. There was an incident in Nubian languages; Berber languages policy researcher, Groupe de travail sur la poli- 2017 ; everyone was manipulated. tique culturelle en Algérie, Algiers / Paris* A Sub-Saharan man attacked a woman. Everyone came out to say that migrants Dialling code +20 · On the other hand, those who have not yet had should stay in their home countries. Currency Egyptian pound access to opportunities have had to compete, I got a group of young people together. I’m the first to mobilize people – I was saying Main international Cairo International Airport creating a climate of individualism. airports Alexandria Borg El Arab Airport “you’re against Africans, but In Algiers, it can get very individualistic. Everyone WE are Africans!”. » Rail network Egyptian National Railways (ENR), is trying to break the other person’s career. There 5,083 km network are so few of us, and yet we’ve been shooting Sadek Bouzinou Visa requirements for Visa on arrival for nationals of South Sudan Singer /songwriter, Democratoz, Africans to enter Egypt Visas are required for citizens of all North each other in the feet instead of helping one Oran / Dakar* African countries above the age of 14 another. – Samy Abdelguerfi* Visas required for all other nationalities African countries’ Visa on arrival: Benin, Burkina Faso, Cabo visa requirements for Verde, Comoros, Djibouti, Ghana, Guinea, Racism Egyptian nationals Guinea-Bissau, Kenya, Madagascar, Mauritania, Mauritius, Mozambique, Rwanda, · Racism has been exacerbated in recent years Watch the video for Senegal, Seychelles due to the migration crisis. “Atini Yedak” here · Algeria has taken a tough stand, adopting a security-based approach, criminalizing migra- — 56 57 Country-Specific Information Country-Specific Information — — have been made in recent years, centering in In the absence of well-maintained gov- GENERAL INFORMATION E particular on negotiations over shares of the ernment facilities, private organizations have set — Nile river. up arts spaces in Cairo and Alexandria. The two — Egypt is one of the Arab countries in cities are home to a large number of galleries and QUOTE: G which the 2011 uprisings gave way to full-scale multidisciplinary arts spaces as well, of which Spanning the northeast corner of Africa and revolution. Eighteen days after protests erupt- the Townhouse Gallery, Darb 1718, Medrar and « There are big gaps between the the southwest corner of Asia, Egypt is located ed on January 25, 2011, then-president Hosni Contemporary Image Collective (CIC) are some communities. I always talk about this; at the nexus of two continents. It is the most Mubarak – who had held power since 1981 – re- of the best-known on international circuits in the problem is the media. There is no Y news show or program talking about populous country in North Africa and the Arab signed. However, the years since the revolution Cairo, and Al-Madina and MASS are some of African issues in Egypt. We’re trying world. Egypt’s economy is one of the largest in have been marked by heavy instability and a the best-known in Alexandria. to get people interested, to close this gap. the Middle East and is third only to Nigeria and return to authoritarianism since Abdel Fattah Most of these communities stay P together because they’re afraid; they South Africa in Africa in terms of GDP (IMF, 2018). Sisi’s coup in July 2013. Freedom House rates — don't feel involved in Egyptian society. The country is a founding member of the Arab Egypt as “not free,” signalling persecution of ac- I say let’s meet through music. It’s a League, the African Union, the United Nations tivists, parties and political movements, pervasive MOBILITY TO/FROM EGYPT place where we can come together. » T — and the Organisation of Islamic Cooperation. corruption, unfair elections, military incursion into Ahmed Omar, Egypt’s position at the crossroads of — political affairs and discrimination against women, — Bassist and founder of AfriCairo, continents, bodies of water and civilizations Christians, Shiite Muslims, Nubians and dark- E Cairo has shaped its cultural history. Greek, Roman, skinned Egyptians, and LGBTQ communities. Despite Egypt’s positioning at the crossroads of Ottoman, Persian influences have layered its geopolitical and cultural areas, mobility patterns — cultural heritage; Jewish, Christian and Baha’í to / from the country are not equally distributed. G religions have all left their imprint as well, in ad- — Most respondents agreed that arts mobility con- dition to the dominant Islamic faith established tinues to have Europe as a centre of gravity. after the Arab invasions. Nubians and Coptic ARTS AND CULTURE SECTOR However, as in other North African countries, Y Christians remain important minorities today. this situation is changing due to visa restrictions Egypt was a British colony from 1882 to 1922, the — enforced on Egyptian nationals. Africa, most prominently Dakar and Lagos. Ac- only British possession in North Africa. Cultural actors are more likely to travel to P cording to AMA’s statistics, Egypt has had the Full independence came with the revo- Egypt has historically had a rich and Middle Eastern destinations than North African most exchange with South Africa and Ethiopia lution in 1952 and the declaration of the well-connected arts sector, bolstered by ones, due to geographic proximity and historical (10 applications each), followed by Nigeria and republic in 1953. Its 20th-century political a strong, well-structured civil society, ties that have connected Cairo and Alexandria T Cameroon (8) and lastly by Kenya (7). These history has been marked by instability and — a strong media sector and a huge film more closely with Beirut and Amman than Tunis connections can likely be explained in terms of conflict, with successive armed conflicts and music industry. The cultural sector and Casablanca. Most cultural actors who have — cultural and linguistic ties inherited from colonial with Israel between 1948 and 1973 and QUOTE : is strongly concentrated in Cairo and to had international travel experience have been to times, as well as geographic proximity and avail- the spread of terrorism in the 1980s, 90s a lesser extent in Alexandria (Fazeulaa, Beirut and Amman, as Lebanon and Jordan have ability of flight connections in the case of East and 2000s. « I’m from Egypt 2018). easy visa regulations for Egyptians and are also Africa. but I want to speak Egypt has always been at the to the African soul. There is no clear state monopoly on important seats of cultural activity. A number of initiatives have neverthe- heart of debates on African identity and I’m so proud to be an culture today, although censorship and In North Africa, exchange is most active with less been promoting African arts and culture in history. In 1955, Senegalese historian and African. I think I will surveillance of cultural actors are major and . Both countries are as- Cairo and Alexandria, especially through music. never end this project. Morocco Tunisia anthropologist Cheikh Ana Diop published I’m archiving Africa problems. State budgets have not invested sociated with lively cultural scenes and politi- Makan – Egyptian Center for Culture and Arts the seminal and highly polemical Nations through sound and significant budgets into culture nor has cal stability. Only two respondents mentioned has been working to promote Egypt’s traditional nègres et culture, in which he argued that music. Every time I the government demonstrated the will attendance at an event in Algeria and only one musical heritage, offering a platform in particular start a country, I feel Egyptian and African civilizations and it’s endless. » to implement an efficient cultural policy. mentioned a cultural project in Libya. for Sudanese and Nubian communities. On the cultures should be traced back to a com- This dispensation has left space for the Exchange with other African regions is side of contemporary music, AfriCairo is offering mon “cradle.” Gamal Abdiel Nasser was a Yara Mekawei private sector and civil society to flourish. fairly weak in contrast with the volume of ex- a venue for African musicians living in Cairo to committed supporter of African liberation Sound and video artist, In 2018, it was estimated that there were change with Europe, the Middle East and North meet and perform, with a small recording studio movements and is widely recognized as founder of Radio 143 cultural organizations in the country Africa. Most respondents stated that Sub-Saharan and a performance / jam space. The independent Submarine, a major figure of pan-Africanism. Since Cairo (Fazeulaa, 2018). These are working to fill Africa simply is not on the radar. For artists who Luxor African Film Festival is also an important the 1970s, Egyptian foreign and cultural the gap left by insufficient cultural policy have pursued connections to the South, the most event on the annual arts calendar, with year-round policy have been geared towards the Mid- — and working creatively to survive despite active channels are those that connect Egypt to training initiatives and programmes to support dle East and Europe, although overtures adverse legal frameworks. South Africa, Ethiopia, as well as hubs in West the production and promotion of African cinema. 58 59 Country-Specific Information Country-Specific Information

— Examples of mobility projects: —

E YARA MEKAWEI Sound and video artist Yara Mekawei attended QUOTE: the Lagos and Dakar biennales. She has since founded a pan-African radio station named « The Ministry of Culture is not transparent at all about how their funding G Radio Submarine, which broadcasts one hour of works – you can go to them with the sound art and alternative music (historical and paperwork but you could wait indefinitely. contemporary) from a different African country It’s always a mystery as to why they respond to one application but not the Y every week. — others. There’s no clarity in the process and it keeps changing. It’s a very tedious ELHAM KATTAB Digital artist has been collaborat- FUNDING FOR MOBILITY process; an application has to go through Elham Kattab 4–5 offices and everything can stop if P ing with curators across North Africa on a new one person isn’t at their desk. » platform named Digi-MENA. The first phase was a — of digital artists in the region, Nada Sabet mapping research Theatre director and T produced in collaboration with Moroccan curator Public administrations co-founder, Noon Creative Enterprise — Nouha Ben Yebdri and Algerian curator Taoufiq There is a serious lack of transparency re- — Douib. She is also co-organizing a Digital Arts garding the national budget for culture and Festival with Douib, which is set to take place allowances for cultural actors. However, two — E in Algeria later this year. respondents stated that they were aware of funds available through the Ministry and CONTEMPORARY The Contemporary Image Collective in Cairo is that they had successfully obtained grants G IMAGE COLLECTIVE part of the Centres of Learning for Photography from the Ministry of Culture’s international in Africa Network, which links organizations relations office. across the continent to develop critical think- Y ing on photography. They have met in different Civil society organizations countries across the continent, including Uganda, Egyptian artists and cultural operators seem South Africa, Lesotho, Rwanda and RDC. to be the best informed about funding oppor- P tunities provided by international civil society LAILA SOLIMAN Playwright and theatre director Laila Soliman organizations. Al-Mawred al-Thaqafy and has been pursuing projects in Senegal and South AFAC are very well-known amongst cultural T Africa. In 2017, she attended a residency at actors, likely a result of proximity to Beirut RAW Material Company in Dakar and in 2018, and the fact that al-Mawred’s headquarters — Egypt’s visa policy is one of the most restrictive directed a theatre production titled “Museum were in Cairo until 2015. Mophradat and the in the region. Visas are required for citizens of of Lungs,” featuring South African composer/ Roberto Cimetta Fund are also well-known. all North African countries above the age of 14, multi-instrumentalist Neo Muyanga and writer/ However, no respondents mentioned Africa with the exception of Libyan women who may performer Stacy Hardy. Art Lines. enter visa-free. Nationals of all African countries, with the exception of South Sudan, must apply International cooperation institutes funding. The British Council and the Dutch for a visa. Unlike in Maghreb countries, where the Institut Embassy are also known to cultural operators Egypt has good flight connections to Français is by far the most present, in Egypt and artists as possible sources of funding. North Africa via EgyptAir as well as AirAlgé- the most well-known cultural institutes are the rie, Tunisair and Royal Air Maroc, which all fly Goethe Institut and Pro Helvetia. The Goethe Private foundations to Cairo. Egyptair has developed its connec- Institut’s regional bureau is in Cairo. While they Several respondents deplored that the Ford tions southward, with connections to several do not have a formal mobility program, they Foundation is no longer providing direct sup- East African countries, as well as South Africa, have supported a large number of artists via port for initiatives in Egypt. However, two Zimbabwe and Zambia in Southern Africa and the Moving MENA program (since phased noted that the Drosos Foundation is filling Nigeria, Ghana and Côte d’Ivoire in West Africa. out) and have thus emerged as a reference the space left by Ford. Other destinations may be reached via Addis for a large number of artists. Pro Helvetia was Ababa. also repeatedly cited as a reliable source of 60 61 Country-Specific Information Country-Specific Information

— — with SouthMed CV. They asked us “what is your IMPEDIMENTS E action plan?”. We said, “don’t worry”. We only got the permission and the grant in the last 3 — months. We didn’t have the chance to use the G funds wisely, as we had planned earlier. – Ahmed Repression of civil society organizations Eldeeb, Co-founder and director, Reflection for · NGOs in Egypt have been facing increasing Arts Training & Development, Alexandria harassment, censorship, raids and persecution. Y · Faced with this situation, funds are ceasing They are being required to navigate increas- operations in Egypt, leaving artists in an even ingly complex bureaucratic mechanisms, with tighter spot. permissions required for nearly all activities. P We don’t use state theatre or big theatres be- Visa restrictions cause we have issues with censorship. We don’t · Entry to Egypt has gotten increasingly diffi- want any of our works to be censored. We try to T cult in recent years, with lengthy application work with cultural institutes to avoid censorship. – processes at embassies abroad and arbitrary Adel Abdelwahab, Artistic director, Hewar for In- — refusals. dependent Theater & Performing Arts, Alexandria · Several respondents noted particular difficulty · The most relevant laws, in terms of mobility, for Tunisians to enter Egypt (corroborated by are those that require CSOs to apply for per- respondents in Tunisia – see Tunisia section) mission to host foreign artists. Egyptian embassies abroad are hard to deal For example, if a Moroccan artist wants to come with when it comes to asking for visas for Arab to Reflection Arts, I have to get a permission citizens. Tunisians and Moroccans have such for him to work with me. If there are any fees, a hard time getting into Egypt – they get many income from a performance, etc., I have to get rejections. – Basem Abuarab, Executive director, a permit. If we do the project and I’m still wait- Al Moharek Booking Agency for Independent ing for permission, I also have to get another Arabic Music, Cairo permit to send money abroad. – Ahmed Eldeeb, · Moreover, Egyptians themselves must obtain Co-founder – Director, Reflection for Arts Training permissions to travel to certain countries and/ Di – Egy Festival 2017 opening at Darb1718. & Development, Alexandria or security clearance at the Cairo airport. Photo courtesy of Elham Kattab / Di – Egy Festival · Because laws are often passed fast and in secrecy, cultural operators and artists can Travel restrictions for men and women easily be caught in legal traps. · Young men from the military service age need to get permission from military in order to travel. Restrictions on receiving foreign funding · Women need to get a permission/confirmation · The regulations on receiving foreign funds are from their families that they are travelling to placing particularly tight constraints on artists’ certain countries. mobility. According to Freedom House, “all NGO funding and basic management decisions Ambivalent identification with Africa / are also subject to regulators’ approval.” Art- Discrimination ists report that this process can be extremely · Many respondents noted that Egyptians do lengthy. not identify as Africans, noting in particular We have to report every step that we take and eve- Egypt’s unique geographic positioning and ry grant that we get. The last one we got was from greater identification to the MENA region SouthMed CV, but we didn’t get it immediately, · Racism is also extremely prevalent in Egypt, because we needed permission from the targeting in particular the Nubian and Suda- authorities. We applied for the permission in nese communities as well as African migrants. January 2017 and waited until October. The Nubian resistance movements are frequently whole time we were managing our relationship met with violence and repression. 62 63 Country-Specific Information Country-Specific Information

— 4. 3 — planned since 2018, but have yet to be held. At GENERAL INFORMATION the time of writing, the Libyan National Army, led Libya by former Gaddafi general Khalifa Haftar, was — L leading a major offensive on the GNA-controlled city of Tripoli. Tens of thousands of people have Libya is the fourth-largest country in Africa and been displaced and hundreds killed, including a is among the 20 largest in the world. Spanning I significant number of African refugees. — 1.770 km, its coastline is the longest of any of The relationship between modern Libya the Mediterranean countries. The largest city and and Africa is difficult to dissociate from Gaddafi- QUOTE: capital, Tripoli, is located in western Libya, while B era politics and the migration crisis, as Libya has the second-largest city, Benghazi, is located in become an important passageway. Historically, « Most Libyans identify as Arabs. eastern Libya. Ninety percent of Libya’s popula- nomadic Tuareg and Tabu communities link the But Libya is a mixed country of Tamazight, Tabu, Tuareg and Arabs. tion lives along its coast. Y South of Libya and areas to the South. Gaddafi When people from North African What present-day Libya is has been in- is known (and sometimes even romanticized) countries talk about people from the habited by Amazigh tribes since the late Bronze as a prominent pan-Africanist. He was one of South, they say “Africans”. » Age. Libya was occupied by the Phoenicians, A the founding fathers of the African Union and Tewa Barnosa Greeks, Persians, Egyptians and Romans before supported a number of liberation movements, Visual artist and founder of WaraQ the Islamic conquests. In the 20th century, Libya — including the African National Congress in South Art Foundation, Tripoli / Berlin was under Italian rule between 1911 and 1947. Africa. However, he also funded rebel groups in Cinemas, theatres, libraries and cultural centres Sierra Leone and Liberia and plotted to invade were built. The country declared its independ- Chad in 1980. Much of his pro-African policy — ence in 1951. Eight years later, the discovery of centered on personal self-aggrandizement as an massive oil reserves transformed the until-then Arab king of Africa. Some commentators have poor nation. In 1959, a group of rebel offic- suggested that anti-Gaddafi backlash may ers led by Muammar Gaddafi overthrew the be fuelling anti-African sentiment in Libya FAST FACTS government and established the Libyan Arab (see Racism below). Republic, embracing the principles of Arab — socialism. This coup-d’état was the begin- — Population 6.375 million (World Bank, 2017) ning of a 42-year dictatorship, marked by QUOTE: Surface area 1.76 million km² bloody repression of opposition, invasion ARTS AND CULTURE SECTOR Capital Tripoli of all aspects of private life and negation « There are a couple old cinemas that were built Large cities Benghazi, Misrata, Zliten, Bayda of public space. by the Italians in the days of — Languages Modern Standard Arabic (official) Libya entered a civil war in 2011, as the Libyan kingdom but none Libyan Arabic (vernacular) of them are working. Berber protests turned into a rebellion which was Libya’s present-day arts and culture sector We have 6 – 7 but none are Dialling code +218 met with force by Gaddafi. A NATO offensive working. I found out that has been shaped by the authoritarianism, began in March 2011, bolstering the rebel- they’re destroying them. I censorship, and nationalism that prevailed Currency Libyan dinar lion. Gaddafi was killed in October 2011. felt ashamed and sorry. There under Gaddafi and the profound turmoil that Main international Mitiga International Airport (Tripoli) is a cinema that’s one of the airports Benina Intenrational Airport (Benghazi) Since 2011, Libya has been torn among most amazing buildings in has reigned since 2011. Misrata International Airport rival, armed militias affiliated with distinct Libya, but it was burned down The 1973 Cultural Revolution in- Visa requirements for Visa-free access for nationals of regions, cities and tribes. The power vacuum by the revolutionaries. Why? stituted a climate of intense repression on Africans to enter Libya Tunisia and Jordan Gaddafi was using it Visa required for all other nationalities has created an opening for tribal militias and for his things » the arts and culture, resulting in the arrest African countries’ visa Visa-free access: Algeria, Mauritania, jihadist groups to make incursions. There and prosecution of large numbers of cultural requirements for Libya Tunisia, Benin are currently two main rival governments: Abdul Mohaimen Zarrough, actors, the murder of opposition figures, the nationals e-Visa: Djibouti, Gabon, Guinea-Bissau, photographer and Lesotho, Tanzania, Uganda, Zambia, the Interim Government (IG), based in the banning of foreign language books and musi- Zimbabwe cultural manager, Visa on arrival: Burkina Faso, Cabo Verde, East, formed in 2014; and the Government Tripoli cal instruments, the destruction of infrastruc- Ghana, Madagascar, Mozambique, Senegal, Somalia, Togo of National Accord (GNA), formed in 2016 tures left by Italian colonization and the crimi- under UN-led Initiative for a Libyan Political — nalization of languages other than Arabic. Agreement, based in the West. Presidential In one of his speeches, Gaddafi stated that and parliamentary elections have been “artists are free but their freedom will end 64 65 Country-Specific Information Country-Specific Information

— — when they approach the government (quoted in Examples of mobility projects: Gana, 2011).” TEWA BARNOSA Visual artist Tewa Barnosa recently curated an ex- The revolution brought a phenomenal out- L hibition titled The Green Book at LeCube in Rabat. L pouring of creative production: protest poetry was The theme of the exhibition was The Green Book, voiced, rap battles were hosted, graffiti exploded the manifesto published by Gaddafi in 1976 in which on city walls, and photographers documented I he defined his regime’s ideology. Because Tewa I the process, sharing their images via blogs and — could not get a visa to Morocco, she curated the social media. International institutions supported exhibition virtually. this process, largely from the perspective of B MOBILITY TO/FROM LIBYA B encouraging arts as a form of documentation of TRAVELLING NARRATIVES The regional programme Travelling Narratives human rights defense and democracy-building. — brought Libyan artist Suhaib Tantoush to complete After violent clashes in 2013 – 2015 put a Y a residency at LeCube in Rabat. Travelling Narratives Y halt to cultural activity, the last years have seen a Mobility to / from Libya has been severely ham- is a regional program of art and research “that recrudescence in grassroots arts. Clusters of cul- pered by the cultural isolationism under Gaddafi aims to encourage interactions between cultural tural actors are forming organically in Tripoli and A and the war since 2011, which caused borders to agents in Morocco, Algeria, Egypt, Mauritania and A Benghazi, finding creative solutions to the vast close, flights to / from Libya to cease and foreign Libya” through residencies, exhibitions, screen- problems of lack of infrastructure, training, mana- — embassies to leave Libyan cities. ings, meetings, workshops and conferences. The — gerial capacity and restrictions on movement. The Libyan arts scene is very little known program is carried out in partnership with Town- Neither of the two provisional governments has outside the country. Incoming mobility of cultural house Gallery in Cairo, Les Ateliers Sauvages in a Ministry of Culture, although both have general actors to Libya has thus been virtually nil, voided Algiers, WaraQ art foundation and the cultural authorities for culture. However, neither is by lack of knowledge and security concerns. space Diadie Tabara Camara in Nouakchott. truly in touch with the grassroots cultural AMA had never received an application scene and neither is funding any major for a mobility project to / from Libya until FARAJ ALSILEENI AND Musicians Faraj Alsileeni and Mohamed Busneina events or facilities. — 2018 (see Ouafa Belgacem quote below). It MOHAMED BUSNEINA of Tanarout performed at the Cyprus Mediterra- The young art scene is therefore should be noted that several cultural actors nean University’s Libyan Day. consolidating itself through a small number QUOTE: in neighbouring countries expressed strong of organizations run by dedicated young interest in knowing more about the Libyan KAW-KAW Visual artist Hadia Gana participated in Kaw-kaw artists, of which in Benghazi and « Our history was re-written cultural scene, voiced their solidarity with at Le18 in Marrakech, a collective residency organ- Tanarout under Gaddafi – we don’t know WaraQ in Tripoli are the most active and our own history. Not just in their Libyan peers and expressed the desire ized around the theme of the Greater Maghreb Union. visible; support from international human Libya, but across the whole to create bridges. rights organizations; and the tireless work Middle East, it’s been Today, mobility of Libyan cultural actors is NAJLAA EL-AGELI Tripoli-born and London-based architect trauma after trauma, since the Najlaa of a small group of figures from the previous Ottomans. We need to tackle beginning again, with exchanges happening El-Ageli has curated 15 exhibitions of Libyan art generation, namely Ali Mustafa Ramadan this history. [Visual artist] almost exclusively via Tunisia. Tunisia is one in various locations in Libya and Europe through (founder of ) and Takwa [Barnosa] is asking of the only countries that does not require her curatorial platform The Art House in Tripoli what is the legacy of the Noon Arts Projects, Hadia Gana (an artist, founder of the Ali Ghaddafi era? The younger visas from Libyan citizens and the only flight including Retracing A Disappearing Landscape Gana Foundation and Museum). Libyans generation didn’t go through connections to / from Tripoli and Benghazi (2018), an interdisciplinary show on memory and living abroad, such as Reem Gibreel in the the brainwashing the older are with Tunis. Moreover, with most foreign — personal history in Libya. generations did. » USA, founder of the Arete Foundation, embassies having left Tripoli and Benghazi, and architect Najlaa el-Ageli, founder of the closest embassies are in Tunis, forcing QUOTE: , are also playing an Najlaa El-Ageli Libyan travellers to make a stop there in Noon Arts Projects Curator and architect, Founder important role in connecting Libya with the order to complete visa procedures. « Libyan artists cannot rely on the government to of Noon Arts Projects, Tripoli/ provide places for art. The governments only international arts scene. Today’s Libyan arts London Libyan citizens are eligible for visa-free care about appropriating the buildings for themsel- scene is an incredible model of resilience access to Mauritania and Algeria, although ves to show off to the others that they’re and revival, much of which has been driven Algeria’s border authorities have been re- stronger. » by remarkable solidarity. — ported to be inconsistent. Access to Egypt Abdul Mohaimen Zarrough has become very difficult in recent years. Photographer and cultural manager, Respondents did not cite any examples of Tripoli travels to Morocco. — 66 67 Country-Specific Information Country-Specific Information

— — Libyans aren’t welcome in most countries. – Faraj Alsileeni, Director, Tanarout, Benghazi FUNDING FOR MOBILITY · Visa procedures require a trip to Tunis, incur- L ring travel and accommodation costs. — For my Green Book exhibition, I had to re- motely curate it – not because of funding but The cultural affairs delegations are not fund- I because Morocco doesn’t allow Libyans at all. – ing cultural projects at present. Cultural actors Tewa Barnosa, visual artist and founder of WaraQ who are travelling are doing so through funding Art Foundation, Tripoli / Berlin provided by international human rights organi- B zations, universities or cultural institutes. Given Transport of artworks the relative inexperience of the Libyan culture With militias in control at the airports, transport sector and lack of managerial capacity, Libyan Y of artworks is seen as suspicious. Respondents cultural actors are hard-pressed to compete reported smuggling artworks in hand-luggage, with their colleagues in neighbouring countries and/or pleading with authorities to let them pass. for funds. AMA, AFAC, Al Mawred al-Thaqafy A Every single time I travel with the darbuka, I have and Mophradat have scarcely funded Libyan a problem. I need to have it with me in the cabin. cultural actors. — 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 IMPEDIMENTS society. – Mohamed Busneina, drummer, Content Developer & Head of Music Dept. of Tanarout, — Benghazi

Currency and costs Lack of connections · A host of issues make financing travel extremely · Direct flights between Libya and most countries Musicians Mohamed Busneina and Faraj Alsileeni perform at complicated. In the current banking crisis, have been cancelled since the outbreak of the Tanarout arts space in Benghazi. there is a shortage of dinars, which means war. The most stable remaining international Photo courtesy of Dina Gallal/Tanarout that accounts may be frozen for months at a connections are between Tripoli or Benghazi time. The dinar is extremely devalued, meaning and Tunis, Alexandria and Istanbul. — that transactions must be paid via the black market, often with exacerbated rates. Foreign War and security QUOTE: currencies cannot be exchanged in Libya. · The security situation is extremely unstable, · Respondents stated that foreign funding agen- with the potential for armed conflict to break « Before, when [artists] were cies require organizations to have a bank out at any point. allowed to go to most countries, there was no art movement. But account in Tunis, as they will not transfer to It’s hard to travel within our own country be- now there is an art movement, and Libyan accounts. cause of the fights between cities, which make people can’t move. » We’re not allowed to exchange any money. We it dangerous to travel. As long as they’re fight- use the black market. The other problem is the ing amongst themselves, we’re suffering. – Dina Abdul Mohaimen Zarrough exchange rate. You have to work very hard to Gallal, photographer and visual artist, Tanarout, Photographer and cultural manager, make $1000. – Faiza Ramadan, visual artist, Benghazi Tripoli Tripoli · Road travel is extremely dangerous; it is subject to control by militias and may cross conflict — Visas zones. · The Libyan passport is very weak; entry into · The Tripoli and Benghazi airports are controlled countries other than Tunisia is not guaranteed by militias. without support from a well-established human Travelling is not safe at all. Even travelling by flight rights organization or cultural institute. is not safe. You never know who is controlling 68 69 Country-Specific Information Country-Specific Information

— the airport on a given day. – Mohamed Busneina, Lack of identification with Africa and racism drummer, Content Developer & Head of Music · Racism is a major issue in Libya. Discrimina- 4.4 Dept. of Tanarout, Benghazi L tion toward black Libyans and Africans is deep-seated, marked namely by the presence Mauritania Flight delays and complications of racial stratifications and derogatory terms. · All respondents noted that travelling out of I However, it has taken new forms in recent Libya is an extremely hazardous and at best years, especially as a result of the war, which time-consuming process. has caused internal displacement for black Flight delays are crazy – sometimes you wait 10 – 12 B Libyan communities, and the escalation of hours in the airport, waiting there for nothing. – migration from African countries further south. Mohamed Busneina Indeed, despite the strife and instability in the Y country, Libya is an important transit point Harassment for migrants trying to reach Europe. Human · Harassment at the airport is extremely common, rights organizations have reported the vast namely for artists and especially for women A range of abuses that migrants face, from ar- travelling alone. bitrary detentions, to beatings, to killings. In At arrival at the airport, I was held for a while — 2016, the IOM reported that migrant Africans for no convincing reason. In my opinion, it was were being sold as slaves in Libya; in 2017, related to the fact that I am a Tunisian woman, CNN published a video of a slave auction unveiled and travelling alone to Libya. As the that sparked an international outcry. In the airport is still primarily controlled by militia, many media and in everyday conversation, Libya of which are pro-Daesh, a woman travelling alone is described as a dangerous place for black is as such a defiance. – Ouafa Belgacem, cultural Africans. resource mobilization expert, CEO of Culture Funding Watch, Tunis FAST FACTS

Lack of infrastructures and professional Population 4.42 million (World Bank, 2017) training Surface area 1.03 million km² · As described above, there is a glaring lack Capital Nouakchott of infrastructures and facilities for the arts in Large cities Nouadhibou ; Kibera

Libya’s main centres, due to repression during Languages Modern Standard Arabic (official) the Gaddafi era and subsequent destruction Hassaniya Arabic (vernacular) Pulaar, Soninke, Wolof (national); French during the years of conflict. Nevertheless, the Dialling code +222 centres described above are eager to connect Currency Ouguia with foreign artists and are building facilities Main international Nouakchott International Airport that could host mobility projects in the future. airports Nouadhibou International airport · The new generation of Libyan artists and cul- Rail network Société Nationale Industrielle et Minière, 704 tural operators is largely self-taught, making it km (Nouadhibou – Zouerate) difficult for them to compete with international Visa requirements Visa-free access for nationals of Algeria, for Africans to enter Tunisia, Libya, Mali, Niger, Senegal, Gambia, artists in funding calls. They are however highly Mauritania Côte d’Ivoire motivated and are seeking out opportunities Visa on arrival for all other countries for training whenever available. African countries’ visa Visa-free access: Algeria, Tunisia, Mali, Niger, requirements for Mau- Côte d’Ivoire, Chad, Burkina Faso, Benin, I’m self-taught. All of us have to learn the hard ritanian nationals Côte d’Ivoire, Guinea, Mauritius and way. Lots of things, we learn via the Internet. We Sierra Leone. Visa on arrival and / or e-Visa: Mauritanian can’t find materials in the country for many types citizens travelling to Cameroon, Comoros, Congo, Djibouti, Ethiopia, Ghana, Guinea-Bis- of art. At Tanarout we’re all volunteers. – Dina sau, Gabon, Lesotho, Madagascar, Mozam- Gallal, photographer, Tanarout, Benghazi bique Somalia, Kenya, Tanzania, Uganda, Togo, Rwanda, Zambia and Zimbabwe 70 71 Country-Specific Information Country-Specific Information

— In February 2011, the Arab Spring spread to Mobility projects: Mauritania, with thousands of people taking GENERAL INFORMATION to the streets to denounce slavery, corruption HAMEDINE KANE Filmmaker Hamedine Kane participated in and human rights abuses. The protests did not Kaw-Kaw residency at Le18 in Marrakech. — generate full-scale revolution or reform. MOHAMED IDOUMOU Poet, journalist and filmmaker Mohamed Mauritania is located at the hinge of North and — Idoumou has visited roughly 38 countries, West Africa. With 90 % of the territory lying within including meetings across North Africa. the desert, the vast majority of the population ARTS AND CULTURE SECTOR lives along the southern coast. The capital and many having been destroyed or abandoned by largest city is Nouakchott, home to one-third of — successive authoritarian regimes. The Institut the country’s population. Français continues to have the most compre- Mauritania is an eminently multiethnic — The arts and culture sector in Mauritania is pre- hensive facilities, although the Egyptian and country, although strife has tainted the formation carious but dynamic, borne by dedicated artists Moroccan cultural centres are used as well. of a peacefully pluralistic society. The coun- and activists working without official support. Some cultural centres and youth centres are try’s demographics today are made up of three M The Ministry of Culture has the capacity to offer used by local artists but lack equipment. main groups: Bidhans of Arab-Berber origin; the project support. However, most of the budget In the literary field,Traversées Mauri- Haratin, descendants of former slaves, also is allocated to festivals, which respondents say tanides organizes literacy initiatives, publishes Arabic speakers; and people of West African A are essentially showcases for the Ministry. The books and organizes a yearly literary festival. La descent, among them Soninke, Bambara and modern-traditional divide still figures strongly in Maison des cinéastes is one of Nouakchott’s Wolof. Arabic is the official language of Mauri- discussions of art and culture, but cultural actors most vibrant associations, organizing film tania, with Hassaniya the local spoken dialect. U are working to bridge art forms and audiences. screenings, trainings and an annual festival. French is used in the media and educated classes. Dominated by oral cultures, Mauritania Other art forms are marginalized, being English is making inroads. Social hierarchization is most closely associated with the music of the associated with colonization. Nevertheless, small based on skin colour and ethnicity is strong, R Amazigh griots. As nomadic memory-keepers, galleries and visual art spaces are emerging. with black Haratin assigned to the lowest caste. they traditionally traveled through the desert to Échos du Sahel and painter Amy Sow’s ArtGallé While Mauritania abolished slavery in 1981 (the share their music and stories. The droughts and are two such spaces to watch. Finally, Centre last country in the world to do so), the practice I political upheavals of the 1970s irremediably im- Diadie Tabara Camara is creating music projects is still in place. Ethnic discord and slavery were pacted these traditional modes of creation and for formerly enslaved peoples in Nouakchott, — at the heart of the Mauritania-Senegal Border transmission, forcing nomadic peoples into the using music as a vehicle of empowerment, ex- War of 1989 and continue to permeate political T cities and subsequently repressing their forms of pression and human rights defense. QUOTE: discourse in the country. expression. Today, traditional musicians belong to Mauritania has been rocked by a series of the lowest social caste and are only able to mon- — « The Ministry of Culture organizes a festival coups or attempted coups since independence etize their creative work through performances in each of the 4 historic cities; those are the A events that are the best funded by banks, from France in 1960. A series of military rulers at weddings. Organized by Mauritanian-Canadian MOBILITY TO / FROM MAURITANIA cooperation institutes and local companies, but succeeded one another between 1978 and 2005. Atigh Ould and hosted annually or bi-annually they’re very poorly organized. They are made After a transitional government was instituted in outside Nouakchott, the creates — for the President to give a speech; they bring big N Festival Nomade artists from the Arab world who don’t necessarily 2007, General Abdel Aziz seized power in 2008. a platform for traditional musicians to share their need to travel » He was elected in 2009 through an irregular music with local and international audiences, Mauritanian artists travel principally to three election process. He is currently president. I who come from Europe, Canada and across destinations: France, Morocco and Senegal. Mohamed Idoumou Mauritania is one of the poorest countries Africa. Moreover, the internationally known singer However, exchange with Mali, Tunisia and Egypt Poet, journalist, documentary filmmaker and cultural operator, Maison du cinéma de in the world, despite important natural resources. Maalouma has recently opened a foundation, has become more common in recent years. Artists Nouakchott* Droughts, most notably the Great Sahel droughts A funded by AFAC and the Ministry of Culture, are drawn to Tunisia for its theatre scene, while of the early 1970s, have devastated the country. which offers a studio and recording space. Casablanca and Dakar’s dynamic music scenes — According to Freedom House, the country is not — Nouakchott is home to a dynamic hip- attract contemporary Mauritanian musicians. free. While the government has adopted laws to hop scene. It is celebrated every year at the Despite long distances, artists travel to address the problem of institutionalized slavery massive Festival Assalamalekoum, which has Dakar, Bamako and Banjul by car. Most flight and discrimination, it continues to arrest anti- been known to draw audiences of up to 15.000. connections are to Dakar and Casablanca, but slavery activists. Performance spaces in Nouakchott are rare, TunisAir now also connects Nouakchott to Tunis. 72 73 Country-Specific Information Country-Specific Information

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M A U R I T A N I A

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Mohamed Idoumou performs a poem on the theme of flying, in collaboration with a dancer colleague in Leipzig, Germany. Photo courtesy of Mohamed Idoumou 74 75 Country-Specific Information Country-Specific Information

— — — Algeria have done a disservice to its rela- 4. 5 tions with Morocco, making visas to the QUOTE: FUNDING M Kingdom more difficult to obtain. Morocco « Everyone knows it: there’s incredible potential in Africa. — Language Morocco is trying to be a leader in A · Not all Mauritanians speak English or French pro-African development. All our The Ministry of Culture is said to offer funding, but sufficiently to fill in funding applications banks, all our construction companies are investing in Africa, especially West procedures and budgets are not clear and funds in those languages and as such may feel Africa. The king has a pro-African are poorly organized. Artists reportedly depend U intimidated. stance. There have been important heavily on cooperation institutes, embassies and regularization campaigns [for migrants from the South], as long as festival invitations to travel. Mauritanians are very Lack of professionalization Europe isn’t applying pressure. » little represented in AMA’s statistics, as in those R · Opportunities for professional artistic train- of other funds in the region. ing and development are virtually nil in Mau- Amina Mourid ritania. As such, artists do not necessarily Cultural operator, co-founder, Atelier Kissaria & Think Tanger* — I have the skills or knowledge to search for funding, finance their careers, etc. IMPEDIMENTS They want to travel but they are stuck inside — T the country – they don’t understand cultural — management. – Atigh Ould, founder and director of Festival Nomade, Nouakchott / Montreal* Isolation: high costs of travel and lack of A funding FAST FACTS · Flight costs to / from Nouakchott are high. · Mauritanian cultural actors are not well con- N Population 35.74 million (World Bank, 2017) nected to funding organizations. Conversely, Surface area 710.085 km² international funding organizations have so Capital Rabat far not made efforts to bolster mobility of I Large cities Casablanca; Fès; Tangiers; Marrakech; Salé; Mauritanian cultural actors. Meknès ; Oujda; Kenitra; Agadir · While Mauritanians are technically eligible for Languages Modern Standard Arabic and Tamazight (official) all major funds (AFAC, al-Mawred al-Thaqafy, A Moroccan darija (spoken); French RCF), its ambiguous status between North and Dialling code +212

West Africa may feed (potentially unconscious) — Currency Moroccan dirham

exclusion from Arab / MENA-oriented initiatives. Main international Casablanca – Mohammed V International · The Ministry of Culture does not support travel airports Airport Marrakech Menara International Airport of cultural actors. Agadir Al Massira International Airport Tangiers Ibn Battuta International Airport

Rail network Office National des Chemins de Fer (ONCF); Visas 2067 km · Mauritanian cultural actors must travel to Dakar Visa requirements Visa-free access for nationals of Algeria, to get visas to countries that do not have a for Africans to enter Tunisia, Gabon, Ivory Coast, Niger and Morocco Senegal diplomatic representation in Nouakchott. Electronic travel authorization required Many young people want to attend events in Europe for nationals of Guinea, Mali and Republic of Congo and the USA; but it takes time, and if you don’t know Visa required for all other nationalites the ambassador, it takes months. Even Morocco African countries’ Visa-free access: Mali, Niger, Senegal, and Egypt are starting to get complicated as well. – visa requirements for Gambia, Benin, Côte d’Ivoire, Gabon, Mali, Moroccan nationals Seychelles and São Tomé Mohamed Idoumou, Poet, journalist, documen- e-Visa: Angola, Djibouti, Ethiopia, Guinea-Bissau, Kenya, Lesotho, Tanzania, tary filmmaker and cultural operator, Maison du Uganda, Zambia and Zimbabwe. cinéma de Nouakchott* Visa on arrival: Comoros, Madagascar, Mau- ritania, Mauritius, Mozambique, Republic of · Mauritania’s neutral stance on the Western Congo, Somalia and Togo Sahara issue and diplomatic relations with 76 77 Country-Specific Information Country-Specific Information

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GENERAL INFORMATION operates in 10 Sub-Saharan African countries; ARTS AND CULTURE SECTOR M Banque Marocaine du Commerce Exterieur has the Goethe Institut; the Italian cultural institute — 18 country operations. Last year, the King went — and the Russian cultural institute. There is ad- on official state visit to East Africa, with his usual O ditionally an Egyptian cultural centre in Rabat. Located on the northwestern edge of Africa, entourage of businessmen, signalling a desire Morocco’s artistic sector is dynamic, diverse Morocco has been inhabited by Amazigh tribes to expand his reach beyond areas of cultural- and growing, despite an array of challenges. It — for as long as there are written records. After Ara- linguistic connection. is the strongest in the region in terms of local R bization, it was the only northwest African coun- It should finally be noted that Morocco activity and international exchange. Indeed, FUNDING try to avoid Ottoman occupation. The Alaouite has taken on a leadership role on migration. It Morocco is emerging as an arts hub on the con- dynasty, which rules to this day, seized power in is a member of the International Organization tinent. It namely boasts a strong festival culture, O — 1631. In 1912, Morocco was divided into French for Migration, was co-president of the Global epitomized by major events such as Mawazine and Spanish protectorates, with the French tak- Forum of Migration in 2018 and may be the seat Festival (dubbed the “King Mohamed VI Festi- Public administration ing the majority of the territory and instituting a of an African Migration Observatory for the EU. val”) and Marrakech International Film Festival. C The Ministry of Culture can receive applica- system of acculturation, namely via the schooling Morocco is making efforts to regularize immi- Independent initiatives such as Visa for Music and tions for funding for individual / group projects. system and administration. Morocco regained grants arriving in the country, thereby comply- On Marche! are bringing contemporary creation However, respondents deplored the opacity of its independence in 1956. ing with European wishes to curb travel on the to new audiences. C funding procedures, the nepotism of funding, the Morocco is a constitutional monarchy Mediterranean. While endearing Morocco to the Created in 2002, the Ministry of Culture is lack of openness to artists and cultural operators with an elected parliament. The King of Morocco EU, this approach also serves diplomatic objec- the government authority responsible for culture. and the lack of professionalism in the offices. holds vast executive and legislative powers. tives with African countries and contributes to Centralization is fairly strong, with more than ¼ O While Morocco has been relatively stable since existing efforts to portray Morocco as a tolerant of cultural structures concentrated in Casablanca Bilateral cooperation institutes independence, its recent history has been marked society (Malka, 2018). and an additional 10% in Rabat (Benslimane, — With 12 centres across the country – the largest by economic and social crises, which erupted 2014). However, important events are present number in any single country – the Institut Fran- in the 2011 movements. Joining in the cho- — across the country, namely in Marrakech and çais remains a strong reference point for funding rus of revolution to the East, Moroccans called Tangiers, which are becoming important cultural for mobility projects. However, disillusionment for greater social justice, freedom and dignity. hubs, as well as in cities such as Agadir. is growing among cultural actors due to the King Mohamed VI responded by shifting some M The independent arts sector is active Institut’s shrinking budgets, lack of structural authority to the legislature and passing a new — in all artistic fields, with strong recent develop- funds in favour of meager project-based funds, Constitution. However, these moves have been ments in contemporary music, dance and visual bureaucracy, slow procedures, and paternalist criticized as cosmetic more than structural: the O QUOTE: arts in particular. Independent art galleries are attitudes. The Institut Cervantes does not pro- King maintains dominance through a combination flourishing, festivals are popping up and launch- vide funding for cultural projects. The Goethe of formal powers and informal lines of influence « To this day, there hasn’t been ing careers, and centres such as , and the British Council may provide funds on any dialogue between the Ministry l’Uzine EAC in state and society, and most ministries are run R of Culture and cultural actors. Boul’vart, Le18, Tabadoul (and many more) are a project basis. by technocrats loyal to the monarchy. And when I look at the results of the catalyzing creation by the young generations. In the last 5 – 6 years, Morocco has in- Ministry’s calls for applications, The private sector is bolstering creation, with the beneficiaries do not reflect Civil society organizations vested considerably in economic and commercial O the dynamism of the cultural Foundations such as HIBA and Touria et Abde- A notable funder in Morocco is Association ties with African countries across the continent. scene. » laziz Tazi playing an increasingly active role in Afrikayna, which has been delivering funding It reintegrated the African Union in 2017 and has the sector. for mobility projects connecting Morocco and asked for membership in the Economic Com- C Bouchra Salih Foreign cultural centres are present across Africa through Africa Art Lines. The fund has munity of West African States. It has invested Independent cultural operator and the country and have played a significant role in supported more than 95 projects since its incep- considerably in flight connections with Africa designer, dissemination and training. They do not provide tion in 2016. They also organize masterclasses via the main carrier, Royal Air Maroc. In 2015, C Rabat* structural support. The Institut Français is by with prominent artists from other African re- 42% of trade was with Sub-Saharan African far the most present and active. It is followed gions as well as a library of African instruments. countries, most in West Africa. Morocco had 13 — by the Instituto Cervantes, which has centres in Respondents univocally praised the fund for intra-African investments, mostly in banking and O Casablanca, Rabat, Tangiers, Fès and Tétouan; its efficiency and flexibility, and for opening up telecommunications. Attijariwafa Bank Group the British Council; the American cultural centre; valuable opportunities across the continent. — 78 79 Country-Specific Information Country-Specific Information

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QUOTE:

« [At Afrikayna,] we work with professionnals from Morocco, Mali, Senegal, to bring up questions, issues we have in common, and to highlight our common heritage, but here in Morocco. This work is opening people’s minds; it’s piquing their curiosity and opening perspectives. We’re very happy to see that more and more artists are coming to see us because they want to discover the other African cultures and artistic scenes or go perform in another part of the continent. »

Ghita Khaldi Director of Afrikayna, Casablanca*

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M O R O C Compagnie O performs Ottof, choreographed and directed by Bouchra Ouizguen. Photo courtesy of Hasnae El Ouarga | Compagnie O C O

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MOBILITY TO/FROM MOROCCO M — — Morocco’s mobility channels are determined O Examples of mobility projects mainly by its geographic positioning and diplo- QUOTE: matic ties. At the North-West corner of Africa, HOSNI ALMOUKHLIS Theatre practitioner Hosni Almoukhlis, head of Morocco is at the juncture of North Africa and in Casablanca, has trav- R « It’s time to turn our eyes from Théâtre de l’Opprimé West Africa, and at the doors of Europe. Europe to Africa. We learn from Eu- elled to several West African countries for train- Until recently, it was Europe that drew rope, but we learn more from Afri- ings and festivals. In 2018, he organized the first Moroccan artists most eagerly, especially neigh- ca. There’s an attitude that seems to , with O say “We know but they don’t.” We Rencontres africaines de théâtre social bouring Spain, for its geographical proximity have to see and value ourselves artists from Senegal, Egypt and Tunisia invited and historical ties, and France, which retains an as Africans. » to Casablanca (an artist from Guinea-Bissau was important place in Moroccan society. However, C not able to attend due to a visa refusal). the drastic restrictions placed on visas for Mo- Hosni Almoukhlis Theatre practitioner, founder roccan citizens have reconfigured young Moroc- and artistic director, Théâtre de Casablanca cultural centre L’Uzine has hosted cans’ travel perspectives. In tandem with the C l’Opprimé, L’UZINE a number of events that spotlight African crea- closing of Europe, the Arab Spring has brought Casablanca* tive scenes. The annual and multidisciplinary a refreshed sense of solidarity and curiosity to- — Harambee Days showcases art from across the ward other countries in the Maghreb and Arab O continent, with live performances and exhibi- world. Respondents reported that the desire to tions. In 2018, l’Uzine organized Casalgéria in travel East and South is getting as strong, if not — collaboration with Algiers’ Brokkart to spotlight stronger, than the typical desire to travel North. contemporary Algerian photography, design, film, In North Africa, exchange with Tunisia music and visual arts. is most active, facilitated by visa-free travel between the two countries and the wealth of The 2019 edition of the Rencontres chorégra- cultural activity in both. Ties with Algeria are RENCONTRES phiques de Casablanca, organized by Compa- more complex due to the closed border and CHORÉGRAPHIQUES gnie Col’jam, will have a spotlight on African high cost of air travel. Several respondents ex- — DE CASABLANCA dance. In 2020, Marrakech’s Festival On Marche!, pressed frustration in this regard. Morocco has run by Compagnie Anania, will host the Biennale close ties to West Africa, especially Senegal but QUOTE: of African dance. also Mauritania, Côte d’Ivoire, Burkina Faso and Niger. These connections have been explored « We wondered what had In 2013, Marrakech’s initiated a project happened to the question of the Le18 by practitioners in all fields, most prominently Greater Maghreb, which seemed KAW-KAW named Kaw-kaw which aimed to reactivate the in music, where Gnawa music has inspired a to have somewhat disappeared, political question of the Greater Maghreb. The wealth of musical exchanges and festivals across which was raised in the 1990s project included a 2-month residency, which but stayed more or less on paper borders. Essaouira’s Gnawa Music Festival is without being reactivated. We brought together one artist from each of the one of the major events on the music calendar. wondered how culture could countries, as well as an exhibition and a cycle of One of the most significant developments compensate for the lacks that are presentations by scholars, curators and artists. part of today’s reality. » in mobility to / from Morocco is the extensive development of Royal Air Maroc’s network in recent Laila Hida In 2018, Tangiers’ Mahal Art Space was the years, with a hub in Casablanca. The company Photographer, co-founder, BODA-BODA LOUNGE first Moroccan arts space to host the annual is now second only to Ethiopian Airlines in terms Le18 derb el ferrane, , a 3-day, transnational video Marrakech* Boda-Boda Lounge of coverage on the continent and is poising itself festival in which a selection of video art pieces for greater growth, in line with Morocco’s policy — by African and diasporan artists are screened of economic overtures to Africa. simultaneously in ten spaces across the continent. 82 83 Country-Specific Information Country-Specific Information

— · Morocco’s distance from the Middle East dis- 4. 5 IMPEDIMENTS connects it from the lively scene and networks — operating in hubs such as Beirut, Amman, Tunisia — Ramallah and Cairo. QUOTE:

Visas Restrictions on freedom of expression « For a long time, the dictatorship and the very idea of · Several respondents noted the dramatic dif- · Civil society associations are active but remain the constitution of a modern Tunisian state made a point ficulty of obtaining visas to Schengen Europe: subject to legal harassment, travel restrictions, of selling us this fantasy of “Tunisianity,” which would have us be one homogeneous group. long processing times, bureaucratic demands, and other forms of repression. [… ] frequent refusals and, in the event that the · For example, an important signpost was the visa is granted, it is often for a pitifully short December 26 dissolution of cultural organi- — number of days. zation Racines, on charges of organizing an · Travel times to embassies in Rabat were also activity outside its scope of action and hosting noted as a reason for frustration. a debate that was “prejudicial to the country’s · Travel to Egypt was noted as a growing area institutions.” of difficulty. It’s become very difficult for young artists to enter Language: Schengen Europe. Things miraculously get much — · Moroccan artists applying for funding may find simpler when their artistic project is backed by themselves restricted by language barriers. a European state institution or when that institu- There’s a linguistic conflict when it comes to [ap- tion takes ownership of the project. – Maria Daïf, M plication] forms : Classical Arabic is intimidating independent cultural operator, Casablanca* and more and more young people are rejecting French. English needs to be more present if the FAST FACTS Morocco / Algeria (see Algeria section) O goal is to reach young people. – Maria Daïf*

Neocolonialism / paternalism Lack of identification to Africa and racism Population 11.52 million (CIA Factbook, 2017) · Several respondents expressed the wish to R · Moroccans have had an uneasy relationship Surface area 165.000 km² have mobility opportunities outside of Europe, with Africa, which can express itself in racism. Capital Tunis

in light of old colonial/paternalistic relationships Pan-Arabism somewhat squandered African Large cities Sfax, Sousse, Kairouan, Bizerte, Gabès between France and Morocco and especially identity; it has left Moroccans with a sense of non- O Languages Modern Standard Arabic (official) in light of their exacerbation in the form of visa African-ness as well as a form of self-denigration Tamazight; Tunisian Arabic; French policy. towards their own popular culture, whereas the Dialling code +216 There is the legacy of colonialism – especially C social reality is that Africa begins in Tangiers and Currency Tunisian dinar French – that we’d like to detach from. For ex- ends in Cape Town. It’s really in the head that it Main international Tunis Carthage International Airport ample, the Moroccan administrative system is happens. There is also the question of Berberity airports Enfidha Hammamet International Airport Monastir Habib Bourguiba International partly modelled on the French system. We’d like C here, because that is what carries Africanness. Airprort to create our own models of development, our Berberity is extraordinarily diverse. It’s a huge Rail network Société Nationale des Chemins de own way of doing things that fits our local reality. – subject. – Hicham Bahou, Co-director of EAC- Fer Tunisiens ; 2150 km Amina Mourid, Cultural operator, co-founder, L’Boulvard, Casablanca* Visa requirements Visa-free access for nationals of Algeria, Lib- O for Africans to enter ya, Mauritania, Morocco; Angola, Benin, Burki- Atelier Kissaria & Think Tanger* Tunisia na Faso, Cabo Verde, Comoros, Equatorial Guinea, Gabon, Gambia, Guinea, Guinea — Morocco’s migratory policy is geared at integra- Bissau, Ivory Coast, Mali, Mauritius, Namibia, tion; it is taking in refugees, people in transit, Niver, Senegal, South Africa Geographic isolation Visa required for all other nationalities · Several respondents noted Morocco’s geo- who are fleeing difficult realities. Socially, it’s African countries’ Visa-free access: Guinea, Ivory Coast, graphical isolation as an impediment to mo- creating a lot of incomprehension, questioning, visa requirements for Mauritania, Mali, Niger, Senegal and Benin Tunisian nationals Visa on arrival: Cabo-Verde, Comoros, bility: with the Algerian border closed and the in which culture is not playing the role it should. Djibouti, Ethiopia, Guinea-Bissau, Kenya, gates of Europe blocked to the North, Morocco Culture is supposed to be the cement for all Lesotho, Madagascar, Mozambique, Rwanda, São Tomé and Principe, Seychelles, Somalia, is enclaved. To the South, Morocco controls these populations: we’re completely African in Tanzania, Uganda, Zambia and Zimbabwe the border with the portion of Western Sahara our musical and cultural heritage. – Ghita Kaldi, that is under Moroccan occupation. Director of Afrikayna, Casablanca* 84 85 Country-Specific Information Country-Specific Information

— — — Before it was named Tunisia, the territory’s GENERAL INFORMATION name was Ifriqiya (or Africa), giving the present- T day name of the continent Africa. Tunisia’s dip- T — lomatic and economic policies towards the rest of the continent have been more limited than Tunisia is both the smallest and the northernmost U neighbouring countries such as Morocco and U country of North Africa, with a long history as Algeria, although Tunisia’s Ministry of Economy a meeting point of cultures and civilizations. recently launched an investment fund for Africa. Its first inhabitants are the Amazigh. Since the N N 12th century BC, it has known several waves of occupation and immigration, beginning with the Phoenicians and followed by the Romans, the I — I Muslims, the Ottomans and the French. Tunisia became independent in 1956. ARTS AND CULTURE SECTOR The country’s recent history has been S S profoundly shaped by the Revolution of 2011, an — intensive campaign of civil protest and resistance — that led to the resignation and flight of dictator I — The Tunisian cultural sector has been flourishing I Zine El Abidine Ben Ali in 2011 and the institution since 2011, with the energy of revolution and MOBILITY TO / FROM TUNISIA of free elections in 2014. The self-immolation of QUOTE: the loosening of laws allowing for a veritable Tarek el-Tayeb Mohamed Bouazizi in Sidi Bouizid A explosion of new forms to emerge, especially A — on December 17, 2010 is widely regarded as […] We’re now discovering that no, as a matter of in the areas of photography, dance, street art the spark for the region-wide wave of protests fact, in Tunisia there are black people, there are other and performance. Tunis has become a hub for regional travel due to referred to as the Arab Spring. types of cultures, there are musical traditions, that are Tunisia has long boasted a strong tradi- its political stability, its centrality in North Africa steeped in Africanity. There is a growing consciousness Today, Tunisia is a unitary semi-presidential — around Berberity, Africanity, that is part of this tion of festivals, with more than 400 amateur, — and the relative openness of its borders. In North representative democratic republic. Since inde- postcolonial unmooring. The question today is how to semi-professional and professional festivals Africa, the most active axis of exchange is with pendence, Tunisia has had a policy of cultivating link these “identitary” constructions with economic taking place yearly around the country. The most . Strong ties also exist with Algeria, and political considerations; how to link questions of Morocco close foreign relations with Europe, in particular belonging to questions of class and domination. well-known are the different “Journées” taking namely thanks to the geographic proximity which with France and Italy. Today, the European Union Many youth want to emancipate themselves from place in Carthage: the Journées cinématogra- has allowed some artists to travel by car from colonial domination. is Tunisia’s first trading partner and conversely, phiques de Carthage, the Journées théâtrales, Alger to Tunis. However, respondents noted that Tunisia is one of the EU’s top trading partners in It seems to me that it may be important to think of the Journées musicales, the Journées choré- the repressive context in Algeria and the limited the region. Tunisia is included in the European a sort of Arab-pan-Africanism. The colonial spirit graphiques, the Journées poétiques and the visibility of certain disciplines (especially dance Union’s European Neighbourhood Policy (ENP), sought to divide the “indigènes” through systems of Even as these and theatre) has made exchange more difficult. hierarchization, but it’s important today to pay attention Journées d’art contemporain. which aims at bringing the EU and its neighbours to what is happening at the linguistic and cultural established festivals thrive, new initiatives from Tunis is connected by air to most major closer. It has been favoured by European exter- levels and to young people’s choices in their forms of civil society are creating important momentum: cities in North Africa. Road travel to Algeria is nal cooperation initiatives in (North) Africa since expression. We shouldn’t speak in their place nor take has become a flagship possible, but traveling to Libya by road is not away their voices, but listen to them. » l’Art Rue’s Dream City 2011, namely in the field of culture (see below). event in the region, and other events like Interfé- advisable due to military presence at the border. Tunisia has also played an active role in Mariem Guellouz rences, Jaou (by the Kamel Lazaar Foundation) A train line is due to connect Casablanca, Algiers African and regional organizations. It is a member Dancer and researcher, Director of Les Journées and a new festival of photography on the island and Tunis but the project is currently stalled. of the Arab Maghreb Union, the Arab League chorégraphiques de Carthage, of Kerkennah are also making an impact. Tunisia’s visa policy is the most open of Tunis / Paris* and the African Union (among other international The arts sector in Tunisia is strongly the region. However, exchange with the rest of bodies). Diplomatic relations with fellow Maghreb — centralized in Tunis and the North, although Africa remains weak (see Impediments below). nations Morocco and Algeria have historically decentralization efforts are underway. Several This is despite a strong desire for connection been strong. Trade is currently increasing with associations (Cité’Ness, Fanni Raghman Anni, with the rest of the continent. Until recently, travel Morocco. Relations with Libya have been more and the Tunisian Culture Network, among others) to most African destinations involved flying via erratic, but have become essential in recent as well as private individuals are working hard to Paris. However, Tunisair has recently upgraded years as Tunisia works to support reconciliation reach rural areas of the country, although they its connections to West Africa. Flights to other between opposing factions in Libya and keeps underline the difficulty of such efforts given the destinations in Africa typically go via Casablanca, its borders open to Libyans. limited government support and cost of travels. at steep costs. 86 87 Country-Specific Information Country-Specific Information —

Examples of mobility projects T L’ART RUE Multidisciplinary arts centre L’Art Rue has hosted a number of African artists through its residency program, as well as through its flagship bi-annual U event, Dream City (Biennale of contemporary art in public space). N CENTRE ARABO-AFRICAIN DE The Centre arabo-africain de formation et de FORMATION ET DE recherche théâtrale has trained more than 367 RECHERCHE THÉÂTRALE theatre practitioners in the Arab world and Africa I since its opening in 2001.

LAB619 Lab619 attended their first residency at Festival S de la BD in Alger. They now have a partnership with Algerian artists. I JISER The JISER network aims to stimulate exchanges around contemporary art and research. It links Algiers, Tunis and Barcelona. A

FANNI RAGHMAN ANNI Tunis-based arts and cultural rights organization AND AL-MADINA Fanni Raghman Anni and Al-Madina (Alexandria) have a cultural exchange partnership. —

WADI MHIRI Visual artist Wadi Mhiri is now a co-organizer for Ségou Arts in Ségou, Mali, after attending several editions of the festival.

HAFEDH ZALLIT Dancer/choreographer Hafedh Zallit recently led Dancers Samuel Dijoulaye Coulibaly, Abdailkader Traoré, Bintou PROJET BERKA 174 masterclasses at Karemba Studios in Bamako, Kébé and Sylvie Kouané participate in a Masterclass led by Tuni- Mali as part of Projet Berka 174. Named after the sian choreographer Hafedh Zallit at the Centre Culturel Togola de old slave market in Tunis’ medina, the project Sabalibougou in Bamako, Mali, as part of Projet Berka 174. — aims to excavate the mémoire du lieu to bring Photo courtesy of H.PROD/Hafedh Zallit into focus and interrogate present-day ques- QUOTE: tions of racism and religious, nationalist and economic conflict. « Travel means connections, friends, the chance to love music even more. In Tunis, every time I go, I get to find LANG’ART arts centre and books. There are no libraries in Benghazi. From my Lang’art Association Danseurs perspective and from what I hear from the people around ASSOCIATION DANSEURS Citoyens are launching the first Tuniso-African me, you come back as a different person every time you go, CITOYENS festival of dance this year. even if you go for 5 days. We need to do something here to make culture the basis of change in this society. » JOURNÉES CHORÉGRAPHIQUES The edition of the 2019 Journées chorégra- Faraj Alsileeni DE CARTHAGE phiques de Carthage, directed by Mariem Guel- drummer and Director, louz, had a focus on Africa and the Arab world. Tanarout, Benghazi*

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— — FUNDING FOR MOBILITY practitioners in the fields of Visual arts, Heritage, · Foreign currencies can no longer be withdrawn in creating a continuing education program in Music and performing arts (theatre, dance, etc.) Tunisia. As such, local organizations can no longer cultural management. — T and Cultural and civic education. pay invited artists in currencies other than dinars. Tunisian organizations can no longer pay in euros, Restrictions on freedom of expression Public administration — which means that even if we invite an artist, we can’t · Freedom House rates Tunisia as “free”. How- Tunisia has invested significantly in its Ministry U pay them. Even if there are structural mobility funds ever, control continues to be exerted in covert of Culture since the Revolution. Individual art- IMPEDIMENTS that can be used to cover the artist to come to Tunisia, ways, for example through the ceilings imposed ists and organizations are technically eligible to the problem is that the central bank no longer grants on withdrawals of dinars and expenses in receive funding for projects including mobility. N — money for cultural activities. There’s a cash deficit. – foreign currencies (see “Currency” above). However, this potential funding source is weak- Béatrice Dunoyer, program director, L’Art Rue, Tunis* The state has passed new laws on associations ened by a serious lack of transparency and poor Administrative · The weakening of the dinar is also placing important in an attempt to fight against organizations that administration. I · Parental permission for travel is necessary for constraints on artists. were laundering money – the money was going In the face of poor funding from public all travellers under the age of 35 years. Tickets within Africa are too expensive. We can get a to the extremists. Among other laws, there is administration, the Tunisian independent sec- · Travellers leaving Tunisia must purchase a « tim- ticket from Tunis to Paris without any problem, but to now a very strict limitation on daily withdraw- tor relies substantially on international funders, S bre de sortie » (exit stamp), at a cost of 30 dinars. go to Mali, it’s 1700 dinars off the bat and the currency als of dinars (an association cannot withdraw principally the European Union. Tunisia has been · Tunisians must purchase a « timbre de voyage » is in a free fall. For an artist to live, to prosper, it’s very more than 500 dinars/day, or 150 euros). It’s a the main beneficiary of EU funding for arts and (traveller’s stamp), at a cost of 60 dinars. difficult if they don’t have support for the flight or their golden opportunity to smother civil society as a culture in the Maghreb. Funding is intended to I · While small, these amounts may place an ad- stay. It’s very difficult for an artist to meet his/her needs. – whole. – Béatrice Dunoyer* support culture as a lever for democratic transi- ditional burden on artists who are already in a Cyrine Gannoun, theatre actor and director, Director, · More explicit cases of censorship have also tion. EU funding is distributed through three chan- precarious financial situation and may not receive Théâtre Al-Hamra/Centre arabo-africain de formation been documented, for example with the police nels: 1) A partnership between the French Min- A coverage from institutions inviting them. et de recherche théâtrales, Tunis* — closing down an exhibit at Maison de l’Image istry of Culture and Tunisian Ministry of Culture; Several artists were arrested at the airport and in 2017. 2) Tfanen – Tunisie Créative (budget of 6 mil- — missed their flight because they didn’t have the Transport of artworks lion euros). Launched in 2015, Tfanen’s “Fonds parental authorization document. – Asma Kaouech, · There are restrictions on the types of goods that may T Lack of identification to Africa and racism d’appui à la création” can support mobility pro- executive director, Fanni Raghman Anni, Tunis* be transported outside of Tunisia. Artworks and herit- · Tunisia portrays itself as an open country. jects. Finally, 3) as of 2018, Tunisia is a member age items cannot not be taken outside the territory However, nearly all respondents agreed that of Creative Europe. Tunisian organizations have Currency and funding without authorization from the Ministry of Culture. U racism permeates Tunisian society. The his- full eligibility to apply for funding through the · The Central Bank controls all transactions in di- tory of slavery has yet to be unearthed, and Culture sub-programme and are partially eligible nars. Dinars cannot be traded outside of Tunisia. Visas black Tunisians from the South continue to be for the Media sub-programme. · There is a ceiling of 6.000 dinar (approx. 1760 · Several respondents noted that Tunisia’s visa policy N treated as second-class citizens. In its extreme euros) imposed on purchases made in foreign is subject to frequent changes, which are in turn dif- forms, this racism is expressed in discrimina- Bilateral cooperation currencies. This imposes a serious limit on the ficult to track. tion and violence against black Tunisians, and Bilateral cooperation institutes are present in Tunis number of travels that can be made outside the · Visa restrictions are getting tighter and tighter for I students and other immigrants from other and other major cities. The Institut Français has country, especially considering the high costs of travel to Europe and are growing with MENA coun- African regions. the strongest presence, with branches in Tunis, travels. Travellers must purchase tickets through tries such as Egypt and Lebanon. · In the artistic community, respondents report an Sousse and Sfax. The Goethe Institut is present a local travel agent, unless the inviting institu- S awkwardness about Tunisia’s African identity in Tunis. Respondents noted the impact it has tion purchases the tickets or the traveller makes Lack of infrastrucure and a mistrust towards other Africans. had via training programs for cultural managers. arrangements via a colleague, friend or family · Several artists noted that they do not have sufficient We have huge issues with racism here. Black The British Council, the Italian Institute for Culture member outside the country. access to competent and motivated cultural operators I people are considered second-class citizens. It’s and the Cervantes Institute are also present. In Tunisia, we can’t buy tickets that we find online to assist them in searching for funding and preparing horrible. [First, there are] the black people who Local foundations are also emerging at low prices, since we have to buy them in euros, their funding applications. come from the South, who are Tunisian, and who to support cultural projects, with very prom- which the law prohibits. Furthermore, we get a · According to Shiran Ben Abderrazak, executive di- A already face an atrocious level of racism. Then, ising beginnings. Launched in 2015, the tourists’ allowance of only 6000 dinars per year. rector of the Fondation Rambourg, there is a strong we have lots of Sub-Saharan students, from Côte Fondation Rambourg is building up capacity to Consequently, if we travel 6-8 times per year, as desire for training for cultural managers. To meet this — d’Ivoire, from Senegal, and all those who have support mobility projects via several schemes: I did last year, we have to split that sum over all demand, the Université Tunis-Dauphine launched a fled their countries. The average Tunisian is a 1) partnerships; 2) grants; 3) scholarships; 4) the trips. We have to travel with 200 – 300 euros Master’s in cultural engineering this year, and the profoundly racist person. – Malek Sebaï, dancer projects initiated by the foundation. Fondation per trip, which is not a comfortable amount. – Institut des Hautes Études Commerciales-Carthage and choreographer, co-founder, Association Kamel Lazaar has a grants programme for Wadi Mhiri, visual artist, Tunis* and the Fondation Rambourg are in the process of Hayyou’Raqs, Tunis* 90 91 Country-Specific Information Country-Specific Information

— civilians and the death of thousands of civilians 4.7 during the war years. Morocco has been criti- GENERAL INFORMATION cized by Amnesty International, Human Rights Western Sahara Watch and a vast number of other international — organizations for ongoing human rights abuses and violent crackdowns on pro-independence The area known by the term “Western Sahara” demonstrations. Freedom House rates Western is a disputed territory on the northwest coast of Sahara as “not free”, with a score of 4 / 100 in Africa. It is divided into two regions: the majority 2018. (roughly 80%) of the territory is under Moroccan control, whereas a small portion is administered — as the Sahrawi Arab Democratic Republic (SADR), with a government in exile in Tindouf, Algeria. ARTS AND CULTURE Morocco has built a 2,700 km wall to delineate the two zones, which it continues to guard and — monitor with military bases, artillery posts and radars scanning the SADR side. The wall is lined Arts and culture in Western Sahara centre on with landmines. Western Sahara is on the United two major annual events, namely the FiSahara Nations’ list of “non-self-governing territories;” International Film Festival and ARTifariti Festival it is the most populous territory on the list. The of Arts and Human Rights. FiSahara takes place SADR has been a member of the African Union in the refugee camps around Tindouf, Algeria, since 1984, a fact that pushed Morocco to with- while ARTifariti is spread between the camps *A significant proportion of the popula- draw its membership (before rejoining in 2017). and Tifariti, which sits in the Liberated Zone. tion lives in exile in the Tindouf refugee Western Sahara was originally inhabited Both events centre on art as a medium for ex- camps in Algeria. Estimates vary about by Amazigh tribes, which were later joined by pression of the struggle for human rights. Both the number of people living in the camps Serer from the south. After the arrival of Islam, events draw international visitors, including (UN estimate: 90,000) the land became the site of important caravan visitors from across Africa. routes, especially between Marrakech and — Timbuktu. Spain seized control of the area in Cultural expression also thrives year-round 1884, establishing it as a Spanish colony. At QUOTE: thanks to small artists’-run studios in Tin- the outbreak of the Second World War in 1939, douf and across the border. There are also FAST FACTS administration was shifted into the hands of « There are a bunch training opportunities, for example through Spanish Morocco. of local cultural festivals the Abidin Kaid Saleh Audiovisual School. Population 580.039 (CIA, 2018)* that happen within the Since Spain withdrew its troops in 1975, camps and that move Surface area 710.085 km² the area has been at the centre of disputes from camp to camp. Meanwhile, Morocco has been investing Capital Tifariti (de facto capital of the Sahrawi Arab between Morocco and the Sahrawi Polisario Everything happens on culturally in the territory it occupies, pro- Democratic Republic); Laayoune (capital of Algerian soil, aside the Moroccan-controlled zone) Front. Morocco annexed roughly two-thirds of from Artifariti which moting for example the city of Dakhla as a Large cities Dakhla, Smara the territory in 1976 and the rest in 1979, fol- happens in 2 places – in touristic and cultural destination with events (on Moroccan-controlled territory) lowing Mauritania’s withdrawal. The Western the camps and in such as the African Fashion Festival. Tindouf refugee camps (in Algeria) Tifariti. International Sahara War, opposing Morocco and the Sah- Languages Modern Standard Arabic; Tamazight; artists come and spend Hassaniya Arabic; Moroccan Darija; English, rawi Polisario Front, lasted until a UN-brokered 2 weeks in Tifariti. » French, Spanish cease-fire in 1991. A proposed referendum over Dialling code +213 (Algeria); +212 (Morocco) sovereignty was planned but has never taken Mohamed Sulaiman Photographer and visual Main international Laayoune ; Dakhla (Morocco) place. Algeria has backed the Polisario front airports Tindouf (Algeria) artist, Motif arts studio, since the beginning, an issue that is at the heart Samara refugee camp, Visa requirements See Mobility below of present-day diplomatic tensions between Tindouf Morocco and Algeria. The conflict has resulted in severe human rights abuses, including the — displacement of tens of thousands of Sahrawi 92 93 Country-Specific Information Country-Specific Information

— — A flight from Algiers to Tindouf alone costs more than a flight from Algiers to Paris. – Walid Prejudice MOBILITY TO/FROM Aidoud, visual artist, Founder of Box24 (Algiers) · Lack of knowledge leads to prejudice vis- WESTERN SAHARA W and coordinator of Algerian participants at à-vis Sahrawi artists. Artifariti festival We’re not always labelled as we would wish — to be. You can come across people who have E Visas prejudice. Even though we are in a conflict Mobility to and from the Polisario-controlled por- · Visa procedures are complicated for Sah- area, people are just like normal people doing tion of Western Sahara and its arts events goes rawis living in the Tindouf camps and visi- everyday things. I’m an artist, so I’m supposed through Tindouf in Algeria, with flight connec- S tors. See Mobility above. to add something beautiful to the world. – tions to Algiers, Oran, Constantine and Béchar. Mohamed Sulaiman Isolation Visas applications to enter the Tindouf camps T · Networking opportunities for Sahrawis are must be submitted to both the Algerian and more or less limited to the two annual art Sahrawi authorities. Sahrawi representations events. While these bring energy and new Sahrawi photographer and maker Mohamed Sulaiman are present in 39 European and African cities. E ideas to local artists, they remain limited. and Malian photographer and maker Gadiaba Kodio In North Africa, the only embassy is in Algiers. · Exchange with Mauritania could be im- organized workshops on artistic recycling at Motif Art proved, given the common border. Studio in Samara refugee camp, Tindouf (Algeria). For Sahrawis living in SADR-controlled areas, R This is a place that is cut off from the world. Photo courtesy of Mohamed Sulaiman. visa applications are complicated. According to There are little possibilities for people to in- Citizenship Rights Africa, a Sahrawi passport teract with the outside world. […] I’ve met exists but is only recognized by states that rec- N artists from Senegal, Tanzania, South Africa, ognize the self-determination of the SADR. Sah- Mauritania, Tchad. The majority from Spain, but rawis living in the camps may possess Algerian there’s always someone from North America. I passports, which are granted to refugees, but not wish we’d see more exchange with Mauritania. ID cards. Extensive additional documentation is There is great potential – we speak the same necessary to apply for a visa. dialect, we have the same traditions and poetry S and music; they’re almost identical, not unlike Sahrawis living in Moroccan-controlled territory the differences between Morocco, Tunisia and are eligible for Moroccan passports. Moroccan Algeria. It’s stronger with the Mauritanians. visa regulations apply for entry into the Moroccan- A There’s a lot of exchange in music and poetry. controlled zones, with land entry possible via This is an oral culture. – Mohamed Sulaiman the south of Morocco or the north of Mauritania although subject to closures and road travel H Diplomatic tensions and disputes over subject to frequent checkpoints. sovereignty · Artists are at the centre of political dis- — A putes over Sahrawi sovereignty. Access to international events and opportunities is IMPEDIMENTS conditional upon partner countries’ position R on Sahrawi sovereignty. — There is an embargo on the existence of West- ern Sahara. Our association exists to spread Costs A information, to be very clear on our position. · The cost of travel is inaccessible to most Sah- We try to base our work in humanitarian aid, rawis, who already live in extremely precarious — in strengthening the role of art and culture. I conditions. have been subjected to many embargos. […] · Cost of travel to Tindouf is also high, requiring We haven’t had Arab artists because no Arab a flight connection via Algiers, Oran, Constan- country [other than Algeria] recognizes tine or Béchar. Western Sahara. – Walid Aidoud 94 95 Conclusion & Recommendations Conclusion & Recommendations

CON— CLU— 5 SION & RECOM— MENDA— —

QUOTE: TIONS The importance of supporting mobility You can’t create projects without for artists and cultural actors in North connections. And mobility is a means of con- Africa cannot be stressed enough. Art- necting. If there’s no mobility, ists young and older want to see new vistas, meet fellow nothing happens. creatives, share perspectives, learn new techniques and learn about themselves and one another. This desire for Bahri Ben Yahmed exchange was shared by all 90 artists and cultural opera- Dancer and choreographer, tors interviewed. Danseurs Citoyens, Tunis* It is a desire that is shared with artists all over the world – — travel, touring and circulation have repeatedly been under- scored as necessities for the creative vocation. However, mobility takes on special characteristics, resonances and stakes in the North African context. In the wake of the 2011 revolutions and the uprisings, conflicts, and peaceful movements of dissent that followed, a strong push toward discovery and solidarity has unfolded across the region. Old barriers of authoritarianism, isolationism and restricted freedoms have been lifted (albeit with uneven follow-through and worrying trends emerging); neighbours have felt like they can finally see each other and get to know one another. 96 97 Conclusion & Recommendations Conclusion & Recommendations

Inspiring networks, residencies and circuits have emerged and been nourished across the region, thanks to the dedicated work of visionary cultural operators and artists. These initiatives must be supported.

At the same time, this push towards regional East-West solidarity has not necessarily correlated with increased mobility towards the South. This report has striven to document some of the reasons why mobility between North African countries and other countries across the continent has been weaker than one might expect.

While many of these impediments are tied to long-en- trenched structures and trends that may be more difficult to move, other obstacles are very much in flux. The most prominent is the increasing closure of Schengen Europe, which is shaping mobility on the continent at the level of logistics but also, crucially, at the level of the imagination. In parallel and relatedly, there is an emergent awareness of the benefits of South-South connection and exchange, and initiatives designed to stimulate and facilitate such exchange are getting increasing momentum. Dancer and choreographer Hind Benali (Compagnie Fleur d’Orange) performing M’Safir (Traveler), a new creation on the “limits placed on the As the continent’s first mobility fund and the only continent- freedom and mobility of Global South citizens from the moment they try to wide mobility fund open to all artistic disciplines, AMA is cross the border with the North.” in a unique position to help bolster this momentum. It is Photo courtesy of Patrick Hamm. our hope that this research will have contributed to this vital goal by illuminating the opportunities that exist for international mobility within North Africa and with other — African regions; shedding light on the impediments that afflict this mobility; and articulating the recommendations QUOTE: detailed below, all of which are drawn from feedback from respondents and are geared at various stakeholders « If there’s any way to change things, it’s to travel within our country and (funders, cultural operators, artists, etc.). to travel on the continent. This is the kind of mobility that is going to change things. When I went to Tangiers, I talked to some artists; those conversations gave me so much. When I went to Tunis, I found myself in a bar/café with all the Tunisian youth. It was sublime. I went back to Algiers feeling euphoric. I came back with so much energy. It did me so much good. We need these experiences! »

Mehdi Djelil Visual artist, Algiers*

— 98 99 — Conclusion & Recommendations Conclusion & Recommendations

QUOTE: 2 . « There’s a growing consciousness at the Support local level: we don’t have much to do in the North. There is so much to do here at home. And the North is so saturated! I don’t see face-to-face myself going to work abroad permanently, because what I have to do makes more sense here. It’s the consciousness of my genera- and online — tion. It’s what makes it so that people leave and come back.» networking QUOTE: 3. Myriam Amroun « We can create more virtual Cultural manager, Lack of concrete, in-person contact with peers and platforms. We know it’s hard to Algiers* colleagues underlies the lack of information shar- travel, but it shouldn’t be a Improve funding ing and lack of awareness of possibilities outside constraint on creating and doing — one’s immediate environment. Several respondents things together. Boda Boda project opportunities Lack of funding for mobility showed us that it was possible to stressed that their most fruitful collaborations have work, reflect and feel together is the regrettable counter- come out of experiences where all the while staying at home. It part to the exorbitant costs of travel. The following they physically met a fellow art- starts with a commitment. » ideas were proposed for funders including AMA: 1 . ist / curator / operator. As such, Nouha Ben Yebdri it seems necessary to multi- Curator, Mahal Art Space, 3.1. Create partnerships with festivals and spe- Promote ply such opportunities – ideally, Tangiers* cific events, for example through a quota through face-to-face meet- system (this is the system employed by information- ings, but also leveraging online — Africa Art Lines, among others) technologies to reduce costs. sharing about 3.2. Give festival organizers the opportunity to The lack of awareness of exist- 2.1. Create opportunities for select the artists they want to invite ing opportunities and potential opportunities cultural operators to meet and partners was a recurring theme share information, region- and 3.3. Create discipline-specific funding lines in all interviews. Many artists in North Africa continent-wide. Cultural opera- to support disciplines that are weaker in and operators expressed sup- tors will lead the way for artists different countries and/or that suffer from port for this mapping exercise and other neglect from authorities and funding bodies and wished to know where oth- 2.2. Encourage the creation (e.g., dance in Algeria) ers could be found. In light of African regions of discipline-specific networks, 2.6. Ensure presence of mobility funders at events, this, a crucial step towards im- using the model of the Network organize presentations 3.4. Expand the support that is included with proving mobility must be taken at the level of information- of Alternative Arab Screens, AFRIFA and mobility funds: cover accommodation, per sharing, namely through the following initiatives: Centres of Learning for Photography in Af- 2.7. Host online meetings and e-conferences to diems, etc. (Al-Mawred al-Thaqafy has this rica. These networks can share information, share information about opportunities, funding policy) 1.1. Create an online platform centralizing information advocate for and facilitate mobility sources, etc. These could be delivered through about opportunities on the continent, preferably regional or city-based point-people 3.5. Advocate for the necessity of long-term searchable by discipline, destination, etc. and 2.3. Strengthen networks and support mobility in program support as opposed to project- including a calendar, contacts and other relevant areas where mobility is already facilitated by 2.8. Provide more support for “go-and-see” initia- by-project funding, including mobility funds information visa-free policy (e.g., the Maghreb) tives and meetings that are not necessarily tied to specific projects or expected outcomes. 3.6. Provide more flexible deadlines 1. 2. Centralize and consolidate existing mappings (e.g., 2.4. Multiply scoping and training missions to Many artists expressed feeling that the strong Racine’s ArtMap; Carte Culturelle de l’Algérie); Algeria, Libya, Mauritania and Western Sahara pressure to produce was in tension with the 3.7 Consider integrating interviews into selec- support new mappings for other countries to reduce isolation and create new networks total lack of knowledge they had of scenes tion procedures to reduce the dependency outside their own. As such, they felt that the on professional grant-writing skills and 1. 3. Emphasize dissemination of information about 2.5. Involve youth in new networks by reaching push to collaborate may be premature; they restore human exchange in the grant ap- arts scenes in Algeria, Libya, Mauritania and out to art schools and universities need to get to know each other before they plication process Western Sahara to combat isolation start creating together 100 101 Conclusion & Recommendations Conclusion & Recommendations

4. — —

Support the QUOTE: QUOTE: structuring of the Strengthening mobility goes hand in hand with « Mobility is marvelous, yes. But beyond that statement, is there a real reflection « There is a big need for structures strengthening the cultural sector as a whole. Vari- on the purpose of mobility – if there is a purpose? If there is exchange, where is it? What or government-supported initiatives exchange? […] We need to create a real need for travel; travel for something true, that understand the value of cultural arts and culture ous stakeholders can participate in advocacy efforts something useful. For the person who travels and the one who hosts, and the one policy – it is still not well established in sector(s) in for the following objectives: who watches the show. Otherwise it’s just lines on a report. » the whole continent.» 4.1 Advocacy for increased public support for Leila Toubel Mohamed Ghazala Theatre actor, dramaturg and activist, Professor, Vice President of the North Africa arts and culture, especially in countries which have Tunis* International Association of Animation the budgetary capacity to do so (e.g., Algeria) filmmakers (ASIFA), — — Cairo / Jeddah 4.2. Advocacy for greater transparency about public admin- QUOTE: istrations’ and international organizations’ budgets and — allocation of funds « Grants are there for artists to concentrate on the artistic and not the economic sides 6. of their work. That’s where grants get 4.3. Multiply opportunities for trainings for cultural managers interesting. I would never have travelled as much in Africa if I hadn’t had the help I got. Re-center the I received AMA grants, grants from the Institut 4.4 Encourage grassroots-level organizations to federate, Français, which was much more open and organize and advocate for greater structuration at the purpose of mobility: generous; it was a different system. local level It changed my outlook once I was on the spot; I wasn’t caught up in the same calculations, creative and human the same deception and disillusionment. 5.5 Reduce dependency on foreign organizations and cultural It’s important that those kinds of structures institutes Finally, it seems essential to ensure that the immensely continue to support artists’ travels.» exchange valuable experiences that can emerge from mobility Hind Benali, and touring are protected and that mobility does not Dancer and choreographer, Compagnie Fleur 5. become a purely utilitarian or mercantile concept. d’orange, Casablanca/Nouméa* Advocate for freedom — 6.1 Advocate for the human and creative necessity — of mobility through creative and compelling of movement for QUOTE: forms, foregrounding artists’ experiences and With visa issues the most frequently cited creative expressions obstacle to mobility, it seems vital to work « As far as the African continent is concerned, I’ve artists and cultural had the opportunity to travel several times to reverse the dramatic trends currently to Senegal, to Côte d’Ivoire, to Tunisia… 6.2 Create opportunities for duplication and multi- underway through advocacy, monitoring practitioners [and] those have also been the only times in my life plication of meetings, in the interest of allowing and information-sharing: that I’ve been able to travel without a visa! That has been people to meet several times just amazing. You feel normal! You travel with your passport and that’s it, it’s great. There are no 5.1. Create spaces for debate, exchange, solidarity and information-sharing appointments to be made months in advance, no 6.3 Cover accommodation and per-diems for to emerge amongst cultural actors as a first step towards improved ad- endless application forms to complete, no the full duration of festivals and potentially humiliations at the consulate, no credentials to show, vocacy, for example through round-tables at events nor bank statements, nor other personal documents, to beyond, in the interest of allowing artists to 5.2. Monitor cases of visa refusals and build database prove that your credit is in good standing and that network, imbue themselves with new places 5.3. Create a secure hotline that artists / cultural operators can contact in you’re not going to try to “immigrate illegally”… and envision new ideas without the stress of Basically, it’s just normal, it’s “fair” and it feels good. » case of emergency (Tamizdat in the USA could be a model) having to return home immediately

5.4. Advocate for true bilaterality and equitable treatment at the level of Eu- Zineb Benjelloun ropean and other foreign cultural institutes Visual artist, 5.5. Advocate for freedom of movement for artists and cultural operators at Casablanca* the national and supra-national levels, namely by leveraging Article 16 of the UNESCO 2005 Convention on the Protection and Promotion of the — Diversity of Cultural Expressions 102 103 IntroductionMapping and Background Mapping

6 MAPPING OF ARTS VENUES, —

Fact: This mapping lists SPACES 108 arts spaces and venues, and 69 festivals across North Africa. & EVENTS — IN NORTH Maps, graphs and AFRICA contact information 104 105 Mapping TUNISIA Mapping

MOROCCO ALGERIA LIBYA EGYPT WESTERN SAHARA

MAURITANIA

Cultural Venues in North Africa

—

Date: October 2019

—

1 — Fact This mapping covers six countries in North Africa and the non-self-governing territory of Western Sahara. — 106 107 Mapping Mapping

Key Installations City, CountryVenue EquipmentInstallationsParking City, Country· Venue EquipmentInstallationsParking Algiers, Algeria Casabalanca, Morocco · aria – artist residency in Algiers · Atelier de l’observatoire & Equipment Available · Artissimo · L’Boultek · Ateliers NAS · Casa del Arte Not available · Ateliers Sauvages · Cinema Rialto of the Venues No information available · La Baignoire · Houna · Opéra d’Alger · Le H2/61.26 · Théâtre municipal Alger centre · La Source du lion (formerly salle Echabab) · Les Étoiles (Fondation Ali Zaoua) · Théâtre national algérien · Studio des Arts Vivants · Théâtre de verdure Lâadi Flici · Studio Hiba This mapping covers arts spaces and venues that · Salle Ibn Zeydoun · L’Uzine have the capacity to host mobility projects, with · Villa des Arts a focus on the visual and performing arts. It is a Alexandria, Egypt working document and as such may be built upon · El Madina for Performing and Digital Arts Rabat, Morocco in future studies. · Gudran for Art and Development · Centre culturel l’Agdal · Jesuit Cultural Centre · Dabateatr · Library of Alexandria · Fondation Hiba · MASS Alexandria · L’appartement22 · Reflection for Art, Training and Development · Le Cube · Rézodance · Palais Tazi · Salle Bahnini Cairo, Egypt · Théâtre Aquarium · AfriCairo · Théâtre national Mohammed V · Almoharek Booking Agency · Villa des Arts Rabat · Cairo Contemporary Dance Center · Centre culturel l’Agdal · Contemporary Image Collective · Cairo Opera House Marrakesh, Morocco · Darb 1718 · Al Maqam · El Mastaba Theatre · Dar Saïda – Literary space · El Sawy Culture Wheel · Dar Bellarj Foundation · Emad Eddin Foundation/ · Le18 Studio Emad Eddin · MACAAL · Ezzat Ezzat Contemporary Dance Studio · Priscilla Queen of the Medina · Falaki Theatre · Makan Centre for Culture & Art Tanger, Morocco · Medrar for Contemporary Art · Atelier Kissaria/Think Tanger · Out of the Circle Initiative · Cinémathèque de Tanger · Townhouse Gallery / Rawabet · Les Étoiles · Mahal Art Space Fayoum, Egypt · Spectacle pour tous · Fayoum Art Centre · Tabadoul

Tripoli, Libya Tunis, Tunisia · Ali Gana Foundation and Museum · L’Agora · Art House · Théâtre Al-Hamra / · WaraQ Art Foundation Centre Arabo-Africain de Recherche et de Création Théâtrale Benghazi, Libya · L’Art Rue · Tanarout · Bchira Art Center · Cité de la Culture Nouakchott, Mauritania · El Teatro · ArtGalléAmySow · Étoile du Nord, L’ · Échos du Sahel · Lab619 · Maison des cinéastes · Lang’art · Traversées Mauritanides · Centre des arts vivants de Radès · CinéMad’art Carthage Tindouf, Western Sahara · Cinevog · Motif Arts Studio · Maison de la culture Ibn Rachik · Abidin Kaid Saleh Audiovisual School · Maison de l’Image · Le Mondial · Le Rio · Salle 4e art/Le Paris · Théâtre municipal · Théâtre national tunisien · WAX Bar · Dar Eyquem

108 109 Mapping Mapping

2 — Fact Events & Events and festivals Festivals of North Africa —

Morocco Tanger 16 Tanjazz Agadir 17 Youmein Festival 1 Agadir International Documentary Algeria Egypt Festival (FIDADOC) Tighmert 2 Festival Timitar 18 Caravane Tighmert Algiers Alexandria 1 Festival international de la 11 Theatre is a Must Festival Casablanca Bande-Dessinée à Alger 12 Theatre Without Funds Festival 3 Festival international d’art vidéo 2 Festival international de 13 Library of Alexandria Summer Festival 4 Jazzablanca Danse Contemporaine d’Alger 14 Backstreet Festival 5 L’Boulvard Mauritania 3 Festival international 15 Nassim el Raqs Creative lab 6 Rencontres chorégraphiques de la Musique Diwane de Casablanca Nouakchott 4 Festival international du cinéma d’Alger Cairo 19 Festival Assalamalekoum 5 Festival de la création féminine d’Alger 16 Cairocomix Essaouira 20 Nouakshort Film Festival 6 Salon du livre d’Alger 17 Cairo International Jazz Festival 7 Festival Gnaoua Rythmes du Monde 21 Rencontres littéraires 18 Cairo International Film festival Bejaïa 19 Di-Egy Festival Marrakesh Rotating 7 Festival International de 20 Downtown Contemporary Arts Festival 8 Atlas Electronic 22 Festival Nomade théâtre de Bejaïa 21 Hakawy Festival for Young Audiences 9 Festival Awaln’art 22 Cairo International Festival for 10 Festival On Marche! Constantine Contemporary & Experimental Theatre 11 Festival Marrakech du Rire 8 23 Dimajazz Citadel Music Festival 12 Festival international du Western Sahara film de Marrakech Oran Luxor Tifariti 9 Festival international du 24 Luxor African Film Festival Rabat 23 Artifariti – International Art and Human Conte d’Oran 13 Festival Mawazine Rights Meeting Alexandria, Cairo, Luxor 14 Festival international du cinéma d’auteur Rotating locations 25 2B Continued Lab & Festival 15 Visa for Music – Africa-Middle Refugee camps near Tindouf, Algeria 10 Festival Raconte-arts East Music Meeting 24 FiSahara Film Festival

20 8 13 6 9 18 13 11 4 1 20 14 17 11 19 14 7 12 22 10 9 3 18 2 17 8 5 6 15 25 24 21 2 15 3 10 23 22 1 16 5 21 19 4 7 16 24 12 23

april may june july april may june july march august march august january february october january february october september novembre december september november december 110 111 Mapping Mapping

Tunisia Tabarka Map of Cities 12 Jazz à Tabarka Carthage 1 Jazz à Carthage Tameghza 2 Journées d’art contemporain 13 Oasis créatives de Carthage Algiers 3 Journées chorégraphiques de Carthage Tazarka Carthage 4 14 Salon International de la Journées cinématographiques Tabarka Tunis Kelibia de Carthage Bande Dessinee de Tazarka (SIBDT) 5 Journées musicales de Carthage Bejaïa Tazarka 6 Tunis Oran Kef Journées poétiques de Carthage Tanger Hammamet 7 Journées théâtrales de Carthage 15 Chouftouhonna – Constantine International Feminist Art Festival 16 Hammamet Doc à Tunis Rabat Tameghza 8 Festival international de Hammamet 17 Dream City Casablanca 9 Festival international de films 18 Festival Ezzedine Gannoun Tripoli de femmes 19 Interférences 20 Jaou Essaouira Marrakech Benghazi Kef Alexandria 10 SICCA Jazz Agadir

Kelibia Cairo Tighmert 11 Festival international du film de Kelibia

Refugee camps Tifariti (near Tindouf) Luxor

Nouakchott

18 6 13 20 5 10 1 16 8 14 12 15 9 17 7 3 11 2 19 4

april may june july march august january february october september november december Events & Festivals

Festival international du Conte d’Oran Cairo International Film festival Algeria Storytelling Film Rotating Locations Marrakech Tighmert March November Festival Nomade Atlas Electronic Caravane Tighmert Festival international de la BD d’Alger – Facebook http://www.ciff.org.eg/ Music Music Multidisciplinary Algiers page Facebook page January August / September April Festival international de la Le Petit lecteur – Facebook page https://www.lakhaima.ca/nomad-fest http://www.atlas-electronic.com https://caravanetighmert.weebly.com/ Bande-Dessinée à Alger Di-Egy Festival Facebook Page Facebook page Literature Digital arts October March Festival Awaln’art http://www.bdalger.com/ Rotating locations Facebook page Morocco Public Art Tunisia Festival Raconte-arts March/April Festival international de Danse Theatre Downtown Contemporary Arts Festival Facobook Page Contemporaine d’Alger July Multidisciplinary Agadir Carthage April Festival On Marche! Dance Festival Raconte-arts – Facebook page Agadir International Documentary Festival Jazz à Carthage April Facebook page Dance (FIDADOC) March April Festival de danse contemporaine d’Alger – Documentary film Music Hakawy Festival for Young Audiences Facebook page Facebook page June. http://2019.jazzacarthage.com/ Theater Egypt http://www.fidadoc.org/ Facebook page March Festival Marrakech du Rire Festival international de la Musique Diwane Facebook page Music Facebook page Comedy June Journées d’art contemporain de Carthage June Festival Timitar Visual Art Alexandria Cairo International Festival for http://www.marrakechdurire.com Festival de musique Diwane – Facebook page Music September Theatre is a Must Festival Contemporary & Experimental Theatre Facebook page July Facebook page Theatre Theater Festival international du cinéma d’Alger http://www.festivaltimitar.ma/ March – April September Festival international du film de Marrakech Film Facebook page Journées chorégraphiques de Carthage http://theatermust.com/ http://www.cifcet.gov.eg Film November Dance Facebook page November Festival international de cinéma d’Alger – June / July Facebook page Theatre Without Funds Festival http://www.festivalmarrakech.info Theatre Casablanca Facebook page Facebook page Festival international d’art vidéo Festival de la création féminine d’Alger November Luxor Facebook Page Video Art Journées cinématographiques de Carthage Multidisciplinary Luxor African Film Festival April Film December Film Rabat Library of Alexandria Summer Festival http://www.fiav.ma Festival Mawazine October / November http://www.feminalgerie-creation.org/ March Facebook page http://www.jcctunisie.org/ Music http://luxorafricanfilmfestival.com/ Music June June Salon du livre d’Alger Facebook page Jazzablanca Journées musicales de Carthage Literature https://www.bibalex.org/ http://www.festivalmawazine.ma/ Music Facebook page Music October / November June October http://sila.dz/ Backstreet Festival Performing arts Alexandria, Cairo, Luxor http://www.jazzablanca.com Festival international du cinéma d’auteur April 2B Continued Lab & Festival Facebook page Film Journées poétiques de Carthage Performing arts November Literature Bejaïa Nassim el Raqs Creative lab February L’Boulvard http://www.festivalrabat.ma March Festival International de théâtre de Bejaïa Dance, performance Facebook page Music Facebook page http://www.jpcarthage.gov.tn/ Theatre Spring September Facebook page April Nassim el Raqs Facebook page http://www.boulevard.ma Visa for Music – Africa-Middle East Festival de théâtre de Bejaïa – Facebook page Facebook Page Music Meeting Journées théâtrales de Carthage Mauritania Music Theatre Rencontres chorégraphiques de Casablanca November December Constantine Cairo Dance http://www.visaformusic.com http://www.jtc.tn Dimajazz Cairocomix October Facebook page Facebook page Music Literature, Comics Nouakchott http://www.coljam.ma/ April November Festival Assalamalekoum Facebook page Dima Jazz Festival – Facebook page https://www.cairocomix.com/ Music June Tanger Hammamet Cairo International Jazz Festival Facebook page Tanjazz Festival international de Hammamet Oran Music Essaouira Music Performing arts Biennale méditerranéenne d’art October Nouakshort Film Festival Festival Gnaoua Rythmes du Monde September Organisé par la Compagnie contemporain d’Oran https://www.cairojazzfest.com/ Film Music http://www.tanjazz.org https://festivaldehammamet.com/ Visual art Facebook page October June Facebook page Facebook Page July. Facebook page http://www.festival-gnaoua.net/fr https://oranbiennale.wixsite.com/ Youmein Festival Festival international de films de femmes Rencontres littéraires Multidisciplinary Film Literature July October January Facebook page Facebook Page http://traversees-mauritanides.com/ Events Venues & Festivals

Théâtre national algérien Library of Alexandria Contemporary Image Collective Kelibia Algeria 10, rue Hadj Omar, Alger Al Azaritah WA Ash Shatebi, 4th Floor, 22 Abdel Khalek Tharwat Street, Festival international du film de Kelibia http://www.TNA.dz Qesm Bab Sharqi, Alexandria Downtown Cairo Film Sound & light equipment available +20 (0) 34 83 99 99 +20 (0)2 23 96 42 72 July / August Algiers [email protected] [email protected] Facebook page aria – artist residency in Algiers Théâtre de verdure Lâadi Flici https://www.bibalex.org/ http://www.ciccairo.com Central Alger 2, boulevard du Docteur Frantz Fanon, Seminar and conference rooms Facebook page Kef [email protected] Alger-Centre Capacity: Exhibition and workshop spaces https://ariaprojects.org/ +213 (0)21 71 07 28 Great hall: 1638 Seated Capacity: 200 seats SICCA Jazz aria – Facebook page Sound & light equipment Small theatre: 242 seats Music Fully equipped 100 m2 apartment Parking available Cairo Opera House March MASS Alexandria El Borg el Guezira, Zamalek http://siccajazz.siccaveneria.com/ Artissimo Salle Ibn Zeydoun 2, El Madina al Monawara, Miamia, Alexandria +20 (0)2 27 39 01 44 Facebook page 28, rue Didouche Mourad, Alger Riad El-Feth, El Madania, Alger +20 (0) 35 56 53 49 [email protected] +213 (0)770 49 28 41 +213 (0)21 25 29 10 [email protected] http://www.cairoopera.org/ [email protected] Salle Ibn Zeydoun – Facebook page https://massalexandria.wordpress.com/ Facebook page Tabarka Films & concerts Facebook page Theatre http://artissimo.dz/ 2 Jazz à Tabarka Artissimo – Facebook page Sound & light equipment 400 m exhibition and educational space Capacity: 1.200 seats Music Multidisciplinary arts school, August / September studios and exhibition space Salle El-Moggar Reflection for Art, Training and Development Darb 1718 https://www.tabarkajazzfest.com/ Allée de la Bonne Fontaine, Alger Masjid Elasdeqaa St. Building No. 84, Flat No. 2, Kasr El Sham3 Street, Facebook page Ateliers NAS +213(0)21 73 61 93 Garden City Smouha, Alexandria Al Fakhareen – Old Cairo, Cairo 3, rue Caron, Alger Salle El-Moggar – Facebook page +20 (0) 34 25 29 76 +20 (0)2 27 41 30 53 +213 (0)550 08 85 68 Films & concerts [email protected] [email protected] Tameghza [email protected] Sound & light equipment http://www.reflectionart.org/ http://www.darb1718.com/ Facebook page Facebook page Oasis créatives Ateliers NAS - Facebook page 2 Visual arts Arts and cultural centre in the heart 1 hall, 32 m , Two exhibition spaces, stage, March of the Casbah, workshops and technical equipment available gardens, terrace Facebook page residency space Egypt Rézodance El Mastaba Theatre Ateliers Sauvages 15, rue Sésostris, Al Attarine – 30 A El Belaasy St, Abdeen, Cairo Tazarka 43 rue Didouche Mourad, Alger Opposite Banque du Caire – 2nd floor, Alexandria +20 (0) 11 50 99 53 54 Salon International de la Bande Dessinee +213 (0)770 98 38 57 Alexandria + 20 (0) 34 83 53 55 [email protected] de Tazarka (SIBDT) [email protected] http://www.el-mastaba.org [email protected] El Madina for Performing and Digital Arts Literature, Comics https://rezodanseegypte.com/ Facebook page Ateliers Sauvages – Facebook page 6 Fouad St., Al Attarin, Alexandria August Exhibition & workshop space, 500 m2 Facebook page Theatre Facebook page +20 (0) 34 87 58 18 Independent cultural centre, 3 studios [email protected] El Sawy Culture Wheel La Baignoire http://www.elmadinaarts.com/ 26th of July street, Zamalek, Egypt [email protected] Facebook page +20 (0) 10 00 99 99 95 Western Sahara La Baignoire – Facebook page Four studios, with a total space of 400 m2 Cairo Alternative arts concept / cultural space, AfriCairo [email protected] http://www.culturewheel.com laboratory within an office setting Gudran for Art and Development 2 Gamal Al Din Abou Al Mahasen, Facebook page Tifariti 1, Mamar El Central St., El Manshia, Alexandria Qasr an Nile, Cairo Cultural centre with five stages Artifariti – International Art and Human Rights Opéra d’Alger +20 (0) 34 84 42 26 +20 (0)2 27 93 42 09 Fully equipped Meeting Lot 1, parcelle 515, Ouled Fayet, Alger http://www.Gudran.com [email protected] Capacity: 1.500 seats Multidisciplinary +213 (0)23 28 93 63 Residency space Facebook page November [email protected] Small space for recording, workshops and Emad Eddin Foundation/Studio Emad Eddin http://www.artifariti.org/ http://www.operaalger.com.dz Jesuit Cultural Centre performances of Afro fusion music and arts 18 Emad Eddin Street, Ataba, Downtown Cairo Facebook page Opéra d’Alger Facebook page 298 Port Said Street, Cleopatra, Alexandria +20 (0) 2 25 76 38 50 Sound & light equipment +20 (0) 35 21 48 77 Almoharek Booking Agency [email protected] Capacity: 1400 seats [email protected] 8 Zaki Aboul Seoud St. Agouza, Cairo http://seefoundation.org/ Parking Facebook page +20 (0)2 33 46 88 48 Facebook page Refugee camps Theatre [email protected] Four rehearsal, workshop spaces Théâtre municipal Alger centre Capacity: 160 seats / 200 standing http://www.almoharek.com/ near Tindouf, Algeria (formerly salle Echabab) Facebook page organizes residencies FiSahara Film Festival rue Larbi Ben M’hidi, Alger Booking agency for independent Arab music Film +213 (0)23 50 81 23 Ezzat Ezzat Contemporary Dance Studio October Théâtre d’Alger centre – Facebook page Cairo Contemporary Dance Center 6 Obida Ben Elgarah St., Faisal, El-Giza http://fisahara.es/ Capacity: 500 seats 1 Mousa Galal Square Mohandesin, Cairo +20 (0)2 35 84 46 63 Facebook page +20 (0)2 33 45 97 37 [email protected] [email protected] http://www.eedancestudio.com/ https://cargocollective.com/ Facebook page Facebook page Studios & apartment Independent dance centre with two studios, Capacity: 60 seats hosts residencies Venues

L’Boultek Studio Hiba Le Cube Dar Bellarj Foundation Mauritania Technopark, Route de Nouaceur, Sidi Maarouf Bd Ahl loghlam, Sidi Bernoussi, Casablanca 2, rue Benzerte, Rabat 9 – 7, Toualate Zaouiate Lahdar Médina, Falaki Theatre Casablanca +212 (0) 5 22 74 27 17 / 18 +212 (0)6 61 18 64 41 Marrakesh American University in Cairo, +212 (0) 6 99 63 67 99 [email protected] [email protected] +212 (0) 5 24 44 45 55 Downtown Campus, Nouakchott [email protected] http://www.studiohiba.ma/ https://lecube-art.com/ [email protected] 24 Falaki St., Downtown Cairo ArtGalléAmySow https://boulevard.ma/boultek/ Fully equipped recording and production studios, Facebook page Facebook Page +20 (0) 12 88 72 14 46 ANAT lot 775 Iskane Socogim plage, Nouakchott Facebook page and residency space with 5 rooms Residency and exhibition space Exhibition and workshop space Exhibition Space,Rehearsal space, [email protected] Fully-equipped recording studios and Screening Room, Theater Facebook page performance space L’Uzine Palais Tazi Le18 Founded and run by painter Amy Sow 120 seats / 250 standing 19 boulevard Mouatamid Ibnou Abbad, 2, rue El Quds, Rabat 18, Derb El Ferrane – Riad Laarouss, Marrakesh Makan Centre for Culture & Art Art gallery, residency space and café ancienne route de Rabat, +212 (0) 6 66 75 92 56 +212 (0) 5 24 38 98 64 1 Sharia Saad Zaghloul Casa del Arte Aïn Sebâa, Casablanca Facebook page [email protected] Mounira, Cairo Échos du Sahel 7 rue Franceville Oasis, Casablanca +212 (0) 5 22 66 01 66 For large events https://le18marrakech.com/en/ +20 (0)2 27 92 08 78 Route de la Plage, Cité Plage, +212 (0) 5 22 99 09 36 Facebook page Facebook page [email protected] facing Clinique Bouna, Nouakchott +212 (0) 5 22 98 46 57 Exhibition space, performance space Salle Bahnini Residency and exhibition space http://egyptmusic.org/en/ +222 (0)27 05 96 87 [email protected] Fully equipped 1n rue Ghandi, Rabat Cultural centre [email protected] http://www.casadelarte.ma/ Capacity: 130 seats / 200 standing + 212 (0) 5 37 20 94 94 MACAAL Capacity: 70 – 120 seats Facebook page Facebook page Facebook page Al Maaden, Sidi Youssef Ben Ali, Marrakech Multidisciplinary cultural centre, hosting 7 multi-purpose rooms and patio Villa des Arts Managed by the Ministry of Culture +212 (0) 6 76 92 44 92 Medrar for Contemporary Art residencies, performances, workshops 30, Boulevard Brahim Roudani, Casablanca Auditorium capacity: 600 seats [email protected] 7 Gamal El Din Abou El Mahasen St. Cinema Rialto +212 (0) 5 22 29 50 87/94 http://macaal.org/ Garden City, 1st Floor, Apt.4, Cairo Espace culturel Diadie Tabara Camara 20 Rue Mohamed El Quorri, Casablanca http://www.fondationona.ma/ Théâtre Aquarium Facebook page +20 (0)2 27 95 77 14 Ksar, Nouakchott +212 (0) 6 34 75 09 83 Exhibition and performance space 12 rue Ezzaouia, Rabat Contemporary African art museum [email protected] +222 (0)47 51 48 92 [email protected] 372 Avenue Colonel Mondjiba +212 (0) 5 37 69 41 09 with residency space http://www.medrar.org/ Facebook page Facebook page + 243 81 878 50 72 http://www.theatreaquarium.org/aquarium.html Facebook page Multidisciplinary space for meetings, Cinema and cultural space Lieu d’exposition, de projections, Facebook page Priscilla Queen of the Medina Exhibition space, workshop spaces exchanges and knowledge sharing boutique et café. Small theatre, gallery, meeting spaces 27 Derb el Ferrane Azbezt, Marrakesh Houna +212 (0) 6 21 51 49 05 Out of the Circle Initiative Maison des cinéastes [email protected] Théâtre national Mohammed V [email protected] 11 El-Reyad street, Mohandeseen, Cairo Ilot A, Rue 410-05, Nouakchott http://www.houna.ma/ Rabat 172, Avenue Al Mansour Addahbi, Rabat http://www.queen-of-the-medina.com/ [email protected] +222 (0)525 68 68 Facebook page Centre culturel l’Agdal + 212 (0) 5 37 70 73 00 Facebook page http://www.outofthecircle.org/ [email protected] Cultural incubator & residency space Rue Amir Abdelkader, Rabat https://tnm5.ma/ Working space, presentation space, Facebook page Facebook page +212 (0) 5 37 67 28 66 State theatre accommodation Cultural centre with a residency space Screening room and cultural centre, hosting Le H2/61.26 Facebook page for digital artists trainings, workshops, screenings, etc. 61, avenue Hassan II, floor 11, Casablanca Exhibition hall, residency space, Villa des Arts Rabat +212 (0)6 78 32 80 08 projection room, recording studios 10, rue Beni Mellal, corner Av Mohamed V., Rabat Townhouse Gallery / Rawabet Traversées Mauritanides Facebook page Capacity: (172 seats) +212 (0) 5 37 66 85 79-82 Tanger Nabarawy Street, off Champollion, BP 7663, Nouakchott Exhibition and cultural space http://www.fondationona.ma/ Atelier Kissaria/Think Tanger Downtown, Cairo +222 (0)45 49 03 38 Dabateatr Exhibition and performance space [email protected] +20 (0)2 25 76 80 86 [email protected] La Source du lion Technopark , 8 Rue Ghandi, Hassane-Rabat http://www.atelier-kissaria.com [email protected] 336, rue Mustapha al Maani, Casablanca Centre culturel l’Agdal Facebook page http://traversees-mauritanides.com/ +212 (0)6 00 05 06 22 2 http://www.thetownhousegallery.com/rawabet/ Literary organization, organizes Rencontres +212 (0) 6 73 62 08 10 / 06 http://dabateatr.org/ Rue Amir Abdelkader, Rabat 150 m space for creation and production Facebook page littéraires de Nouakchott festival http://www.lasourcedulion.com/ Facebook page +212 (0) 5 37 67 28 66 centering on experimental and artisanal printing Rehearsal space, Screening Room, theatre Facebook page Multidisciplinary arts organization Facebook page techniques. Also hosts residencies. Capacity: 150 people Workshop, exhibition, residency space Exhibition hall, residency space, Fondation Hiba projection room, recording studios Cinémathèque de Tanger Morocco Les Étoiles (Fondation Ali Zaoua) 360, Bd Mohamed V, Rabat Capacity: 172 seats Grand Socco – Place du 9 avril 1947, Tanger Fayoum Bd Mohamed Zefzaf, Attacharouk +212 (0) 5 37 73 80 49 +212 (0)5 39 93 46 83 Sidi Moumen, Casablanca [email protected] Fayoum Art Centre https://www.fondationhiba.ma/ +212 (0) 5 22 72 49 23 https://www.cinemathequedetanger.com/en/ Tunis village, Fayoum Casablanca Facebook page Marrakech [email protected] Facebook page +20 (0) 11 20 02 12 13 Atelier de l’observatoire Salle Renaissance: fully equipped cinema Al Maqam http://fondationalizaoua.org/ Two screening rooms and café [email protected] 62 Boulevard Bir Anzarane, Casablanca and theatre El Mgassem, Marrakech Tensift Al Haouz, Facebook page Capacity: 300 seats / 50 seats Facebook page +212 (0) 6 10 32 88 04 Capacity: 382 seats Tahannaout Fully equipped auditorium, screening room, Studio spaces, art library, residency space [email protected] [email protected] https://www.atelierobservatoire.com/ residency space, rehearsal spaces Hiba Lab Facebook page Les Étoiles Facebook page (See also Hiba studios in Casablanca Residency space, 10 rooms 29, Rue Aicha Al Moussafir – Beni Makada, Tanger Residency & workshop space in Bouskoura Studio des Arts Vivants L’appartement22) +212 (0)6 11 30 95 29 (32 km from Casablanca) 38, Boulevard Abdelhadi Boutaleb, Casablanca 279 avenue Mohamed V, Rabat Dar Saïda – Literary space [email protected] +212 (0) 6 66 65 32 02 +212 (0)6 63 59 82 88 97 rue Tansift Quartier Semlalia, Marrakesh http://fondationalizaoua.org/ +212 (0) 5 22 97 93 20 https://www.appartement22.com/ +212 (0) 5 24 43 63 60 Fully equipped auditorium, screening room, http://www.lestudio.ma/ Facebook page [email protected] residency space, rehearsal spaces Capacity: 600 seats multidisciplinary rehearsal and workshop space https://www.darsaida.org/ Fully equipped Residency and exhibition space Facebook page 2 parking lots Conference halls, café Venues

Mahal Art Space Centre des Musiques Arabes CinéMad’art Carthage WAX Bar 122, Avenue Sidi Mohamed Ben Abdellah, Benghazi et Méditerranéennes 2, rue Pline, Carthage Complexe Trinidad – Gammarth, Tunis Local B, Tanger Tanarout 8, rue du 2 mars 1934, Sidi bou Said +216 (0)71 275 210 +216 (0)25 508 109 +212 (0)6 91 58 29 53 Alhadaiyq, Benghazi http://www.cmam.nat.tn/ [email protected] [email protected] [email protected] +218 (0)9 13 84 90 03 Multidisciplinary cultural complex with two Facebook page Facebook page Facebook page [email protected] performance spaces Cinema and theatre Popular bar/club and show venue Exhibition and residency space https://tanarout.org/ Capacity: 230 seats (indoor), 600 seats (outdoor) Facebook page Cinevog Spectacle pour tous Large multi-purpose cultural space, Cité de la Culture 10 rue Said Abou Bakr Le Kram [email protected] used for concerts, exhibitions, studios, Avenue Mohamed 5, Tunis [email protected] Hammamet Facebook page screenings, rehearsals, etc. +216 (0)70 028 330 Facebook page Dar Eyquem Theatre schoolbus, small permanent [email protected] Cinema and theatre [email protected] rehearsal space http://www.citedelaculture.gov.tn/ Facebook page Facebook page Maison de la culture Ibn Rachik Residency space Tabadoul Tunisia Sound & light equipment 20, Avenue de Paris, Tunis 19, rue Magellan, Tanger Opera: 1800 seats +216 (0)71 338 952 +212 (0)6 64 73 21 73 Auditorium: 700 seats [email protected] [email protected] Tunis Theatre: 400 seats Facebook page Western Sahara http://www.tabadoul.org Music production studios Exhibition and performance space L’Agora Facebook page 5 avenue Taïeb Mhiri Marsa Ville 400 m2 multi-purpose performance, El Teatro Maison de l’Image +216 (0)29 912 123 rehearsal and residency space Le Belvédère, Tunis 40 Rue Tarak Ibn Zied Tindouf [email protected] Two rooms: +216 (0)71 894 313 Mutuelleville, Aryanah Motif Arts Studio https://www.lagora.tn/ Large room for performances: 140 m2 https://www.elteatro-tunis.com/ +216 (0)71 84 05 36 Samara Refugee Camp, Facebook page and small for meetings: 30 m2 Facebook page [email protected] near Tindouf, Algeria Cinema, performance, exhibition space workshops etc. El Teatro main space: 250 seats http://www.maisonimage.tn +213 (0)6 68 37 15 96 Carré d’art: 100 seats Facebook page Art space run by multidisciplinary Théâtre Al-Hamra / Centre Arabo-Africain de Exhibition space Workshop, exhibition, residency space artist Mohamed Sulaiman Recherche et de Création Théâtrale 28 rue d’El Jazira L’Étoile du Nord Le Mondial Abidin Kaid Saleh Audiovisual School Libya +216 (0)71 320 734 41 Avenue de Farhat-Hached, Tunis 20, rue Ibn Khaldoun, Tunis Dakhla Refugee Camp, [email protected] +216 (0)71 256 242 +216 (0)95 159 568 near Tindouf, Algeria Facebook page Facebook page [email protected] [email protected] Tripoli Fully equipped theatre, training centre Capacity: 300 – 400 seats / 600 standing Facebook page http://fisahara.es/escuela-audiovisual/ Ali Gana Foundation and Museum Cinema, performance space Facebook page [email protected] L’Art Rue La Boîte Film & audiovisual training centre for Sahrawi Facebook page 40, rue Kouttab Louzir – Tunis medina Z.I. La Charguia, Tunis Le Rio refugees. Affiliated with FiSahara Film Festival. Founded by artist Hadia Gana +216 (0)29 212 775 Facebook page 92, rue Radhia Haddad, Tunis The museum is under construction [email protected] Exhibition space +216 (0)70 038 033 https://www.lartrue.com/ [email protected] Art House Facebook page Lab619 Facebook page Triq el Sikka, Tripoli Residency space, workshops, [email protected] Cinema, theatre +218 (0)2 13 60 44 77 performances, exhibitions Facebook page Facebook page Comic and graphic novel collective, organize Salle 4e art/Le Paris Popular gallery space and meeting place since Bchira Art Center residencies, workshops 27, avenue de Paris, Tunis the 1990s. Sometimes hosts screenings and Sabelet Ben Ammar, on the road to Sidi Tabet, +216 (0)50 609 460 other events. Ariana Lang’art Facebook page +216 (0)71 527 767 36, rue 18 janvier 1952, Tunis Theatre and exhibition space WaraQ Art Foundation [email protected] +216 (0)58 088 048 Sound & light equipment +218 (0)9 23 06 32 78 Facebook page [email protected] Capacity: 350 seats [email protected] Gallery space : 200 m2 Facebook page https://waraqartfoundation.com/ Capacity : 200 seats / 400 standing Rehearsal studio with stage, 70m2 Théâtre municipal Facebook page Parking available 2, rue de Grèce, Tunis NGO organizing exhibitions, workshops, Centre des arts vivants de Radès +216 (0)71 259 499 trainings around contemporary art BL79 1, rue du Pakistan, Tunis Facebook page Bhar Lazreg, Tunis +216 (0)71 441 727 Capacity: 1350 seats https://www.kamellazaarfoundation.org/fr/ [email protected] project/b7l9 http://www.cavr.tn Théâtre national tunisien Exhibition space: 500 m2 , projection room, space Facebook page 58 Place Halfaouine, Tunis, for resident artists, library and café Workshop spaces, photography lab, +216 (0)71 565 693 three individual workshops for Facebook page resident artists, exhibition space Theatre, studios 120 121 Acronyms Acronyms

APPENDIX ACRO— NYMS— A AARC—Agence Algérienne pour le Rayonnement Culturel AFAC—Arab Fund for Arts and Culture AMA—Art Moves Africa AU—African Union ECF—European Cultural Foundation ENP—European Neighbourhood Policy EU—European Union MASA—Marché des Arts et du Spectacle, Abidjan — MENA—Middle East and North Africa MENASA—Middle East, North Africa and South Asia QUOTE: NGO—Non-governmental organization OIF—Organisation Internationale de la Francophonie We speak Arabic, whereas RAM—Royal Air Maroc artists in other African regions RCF—Roberto Cimetta Fund speak French. It’s true that SADR—Sahrawi Arab Democratic Republic we’re an African country but we feel like we’re more part of the MENA region.

Mohamed Guediri Rapper, founder of Association Cité’Ness, Tunis*

— 122 123 Respondents Respondents

—

Some individuals responded in their capacity as independent practitioners; some on behalf of their organizations; APPENDIX and some, both.

— B RES — PON — DENTS LIST OF ARTISTS & ALGERIA EGYPT — CULTURAL OPERATORS · Ammar Bouras · Abdelsamee Abdallah Photographer, Algiers Cultural activist and theatre practitioner, Fact: INTERVIEWED · Arslan Naili ActionAid, Cairo/Amman Visual artist, · Adel Abdelwahab List of 90 artists Founder of Atelier N.A.S., Algiers Artistic director, Hewar for Independent and cultural operators · Mouna Bennamani Theater & Performing Arts, Alexandria Visual artist, Algiers · Ahmed Eldeeb interviewed · Hacène Metref Co-founder – Director, Reflection for Director Festival Raconte-Arts, Tizi Ouzou Arts Training & Development, Alexandria · Houari Bouchenak · Ahmed Omar Photographer, Collectif 220, Tlemcen / Algiers Bassist, founder of AfriCairo — · Louise Dib · Amany El Sawy Graphic designer, Algiers Associate Professor and playwright, · Riad Abdelouahab Alexandria University Graphic designer, Algiers · Andrea Thal · Malik Chaoui Artistic director, Co-project manager, Groupe de travail sur la Contemporary Image Collective, Cairo politique culturelle en Algérie, Algiers · Basem Abuarab · Mehdi Djelil Executive director, Al Moharek Booking Agency Visual artist, Algiers for Independent Arabic Music, Cairo · Meriem Bouraoui · Berit Schuck Slam poet, Algiers Programme director, MASS Alexandria · Myriam Amroun · Dia Hamed Cultural project manager, Algiers Visual artist and co-founder, Medrar Centre for · Sadek Bouzinou Contemporary Art, Cairo Singer/songwriter, Democratoz, Oran/Dakar · Elham Khattab · Samy Abdelguerfi digital artist and co-founder, Booker, cultural policy researcher, Out of the Circle, Cairo Groupe de travail sur la politique culturelle · Ghada El Sherbiny en Algérie, Algiers / Paris Cultural programming · Walid Aidoud Goethe Institut Kairo Visual artist, founder of Box24, Algiers · Laila Soliman · Wassyla Tamzali Playwright and director, Cairo Founder and artistic director, · Mohamed Ghazala Les Ateliers Sauvages, Algiers Professor, Vice President of the International · Zafira Ouartsi Association of Animation filmmakers (ASIFA), Founder and director, Artissimo, Algiers Cairo /Jeddah 124 125 Respondents Respondents

· Mohammed Hassan · Hind Benali Sound engineer, IICI Consulting, Cairo Dancer and choreographer, Compagnie Fleur WESTERN SAHARA · Nada Sabet d’orange, Casablanca/Nouméa · Mohamed Sulaiman Theatre director, co-founder, · Javier Galván Guijo Photographer and visual artist, Noon Creative Enterprise Director, Instituto Cervantes, Rabat Motif arts studio, Samara refugee camp, · Reem Hassan · Laila Hida Tindouf Visual artist and co-founder, EAN Group for Photographer and co-founder, Le18, Marrakech International Artistic Cooperation, Cairo · Jamal Abdenassar · Yara Mekawei Independent cultural operator/Founder of Sound artist and DJ, Radio Submarine, Cairo Casablanca Fashion Week, Casablanca OTHER · Léa Morin · Angie Cotte Curator and researcher, co-founder and Secretary General, Roberto Cimetta Fund, Paris director of L’Atelier de l’observatoire, · Ayman Helmy Casablanca Programs manager, LIBYA · Maria Daïf Al Mawred Al-Thaqafy, Beirut · Abdul Mohaimen Zarrough Independent cultural operator, Casablanca · Gitte Zschosch Photographer and cultural manager, Tripoli · Mehdi Azdem Director, EUNIC Brussels · Dina Gallal Managing director, Racines · Johanna Keller Photographer and visual artist, Benghazi · Mohamed Lâabidi Head of Unit, Goethe Institut (former Director of · Faiza Ramadan Musician, L’Uzine Cultural Programme, Goethe-Kairo) Visual artist, Tripoli · Nouha Ben Yadri · Noémi Kahn · Faraj Alsileeni Curator and founder, Mahal Art Space, Tangiers Assistant Director, Network of Alternative Arab Drummer, Director of Tanarout, Benghazi · Sabrina Kamili Screens, Beirut · Mohamed Busneina Project manager, L’Atelier de l’observatoire, · Pia Chaib Drummer, Content Developer & Casablanca Program coordinator, Wijhat, Al Mawred Head of Music Dept., Tanarout · Silvia Coarelli Al- Thaqafy, Beirut · Najlaa El-Ageli Founder, Tabadoul, Tanger Architect, Founder of Noon Arts Projects, · Zineb Benjelloun Tripoli/London Visual artist, Casablanca · Sihem Saleh · Zineb Haddaji Architect and cartoonist, Tripoli Project manager, L’Uzine · Tewa Barnosa Visual artist and founder of WaraQ Art Foundation, Tripoli/Berlin TUNISIA MAURITANIA · Abir Gasmi Graphic novelist, co-founder, Lab619, Tunis · Atigh Ould · Asma Kaouech Founder and artistic director, Executive director, Fanni Raghman Anni, Tunis Festival Nomade · Bahri Ben Yahmed · Mohamed Idoumou Dancer and choreographer, co-founder, Poet, journalist, documentary filmmaker Danseurs Citoyens / Lang’art, Tunis and cultural operator, Maison du cinéma de · Béatrice Dunoyer Nouakchott Program director, L’Art Rue, Tunis · Cyrine Gannoun Theatre actor and director, Director, Théâtre Al-Hamra/Centre arabo-africain MOROCCO de formation et de recherche théâtrales, Tunis · Amina Mourid · Hafedh Zallit Cultural operator, co-founder, Dancer and choreographer, H-Prod, Tunis Atelier Kissaria & Think Tanger · Hamdi Ryder · Abdessamad Bourhim DJ, Downtown Vibes collective, Tunis l’Uzine, Bassist / stage manager · Leila Toubel & technician, Casablanca Theatre actor, dramaturg and activist, Tunis · Ahlam El Morsli · Lil’Jack Dancer and choreographer, DJ, Downtown Vibes collective, Tunis Compagnie Col’Jam, Casablanca · Malek Sebaï · Bouchra Salih Dancer and choreographer, co-founder, Independent cultural operator & designer, Association Hayyou’Raqs, Tunis Rabat · Mariem Guellouz · Brahim El Mazned Dancer and researcher, Director of Visa for Music, Rabat Director of Les Journées chorégraphiques · Carlos Marin de Carthage, Tunis/Paris Director of Caravane Tighmert, Ceuta · Mohamed Ben Soltane · Dounia Jouhar Visual artist, cultural manager and curator, Tunis l’Uzine, Communications manager, · Mohamed Guediri Casablanca Rapper, Founder of Cité’Ness Association, · Ghita Khaldi Tunis Director of Afrikayna, Casablanca · Ouafa Belgacem · Hicham Bahou Cultural resource mobilization expert, CEO of Co-director of EAC-L’Boulvard, Culture Funding Watch, Tunis Casablanca · Rania Sdiri · Hosni Almoukhlis Cultural operator, Tunisian Culture Network, Compagnie O performs Corbeaux, choreographed and directed by Bouchra Ouizguen. Tunis Theatre practitioner, Founder and Artistic Photo courtesy of Hasnae El Ouarga / Compagnie O Director, Théâtre de l’Opprimé, Casablanca · Shiran Ben Abderrazak Executive Director, Fondation Rambourg, Tunis · Wadi Mhiri Visual artist, Tunis 126 127 Bibliography Bibliography

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5. Boukrouh, Makhlouf and Kessab, Ammar (2010). “Algeria,” in Cultural Policies in Algeria, Egypt, Jordan, Lebanon, Morocco, Palestine, Syria and Tunisia: an Introduction, p. 26 – 50.

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8. El Bennaoui, Khadija (2018). “Surviving the 16. Malka, Haim (2018). “Destination Maghreb: paradoxes of mobility,” UNESCO Global Changing Migration Patterns in North Af- Report, https://en.unesco.org/creativity/ rica,” Center for Strategic and International story/surviving-paradoxes-mobility, Studies. https://www.csis.org/analysis/ p. 107 – 123. destination-maghreb

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