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

Retracing 

Roots and 

Tracing 

New Routes: 

Mobility 

and Touring 

in North 

Africa 

— 

A study by Lara Bourdin 

for Art Moves Africa 

October 2019 

—

Retracing 

Roots and 

Tracing 

New Routes: 

Mobility 

and Touring 

in North 

Africa 

— 

A study by Lara Bourdin 

for Art Moves Africa 

October 2019 

—

4 

Acknowledgments and Imprint 

This study is by and large the fruit of five months of exchanges and 

conversations with ninety artists and cultural actors spread across North 

Africa as well as neighbouring regions. The researcher would first and 

foremost like to thank the respondents who generously contributed their 

time, knowledge, and above all their insights and their ideas. It was an 

honour to learn from them about the complex issue that is (artistic and 

cultural) mobility in North Africa today. 

The researcher extends her warm thanks to Khadija El Bennaoui, Director 

of AMA, for her guidance and presence throughout the research and 

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 

Affairs of Norway for generously supporting this research. 

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 

the mapping carried out between December 2018 and April 2019. 

Released and produced by Art Moves Africa (AMA) aisbl 

Mapping study and report: Lara Bourdin 

Design: Eps51, Berlin — www.eps51.com 

Head of the publication: Khadija El Bennaoui 

© Art Moves Africa, 2019 

This work is licensed under a Creative Commons Attribution- 

NonCommercial-NoDerivatives 4.0 International License.

5 

Table of Contents 

1 

1.1 

1.2 

1.3 

1.4 

2 

2.1 

2.2 

3 

3.1 

3.2 

4 

4.1 

4.2 

4.3 

4.4 

4.5 

4.6 

4.7 

5 

6 

ACKNOWLEDGMENTS 

FOREWORD 

KEY MESSAGES 

INTRODUCTION 

Background of AMA’s research program 

Purpose of the research 

Socio-historical context 

Overview of mobility in North Africa 

METHODOLOGY 

Key terms 

Limitations 

SUMMARY OF OUTCOMES 

Mapping of opportunities 

Impediments 

COUNTRY-SPECIFIC INFORMATION 

Algeria 

Egypt 

Libya 

Mauritania 

Morocco 

Tunisia 

Western Sahara 

CONCLUSION & RECOMMENDATIONS 

MAPS & GRAPHS 

page 4 

page 6 

page 7 

page 9 

page 10 

page 12 

page 13 

page 16 

page 19 

page 20 

page 22 

page 25 

page 25 

page 34 

page 45 

page 46 

page 55 

page 62 

page 69 

page 75 

page 83 

page 90 

page 95 

page 103 

APPENDICES 

Appendix A : Acronyms 

Appendix B: Respondents 

Appendix C: Bibliography 

page 121 

page 123 

page 127

6 

Foreword 

FORE — 

WORD 

In a world where freedom 

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 

their fundamental rights and freedoms shrinks. Many 

of them have been forced to flee wars, climate change 

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. 

Cultural diversity has never been in as much danger as 

it is in today’s polarized world. 

Strategically positioned at the crossroads of Europe, 

Africa and Asia, North Africa is one of the regions that 

is most significantly affected by ongoing tensions in the 

geopolitical arena. The first spark of the Arab uprising 

in 2010 in Tunisia is still coursing through the whole 

region. It has brought hope, with high-spirited and 

creative civic initiatives led mainly by young people. Yet 

restrictions on the freedom of movement and speech 

of its people have also reached their highest peaks in 

the last decade. 

This mapping study is a contribution by AMA to shed 

light on the actors and initiatives that are striving to 

revive historical connections and build new bridges 

between North Africa and the rest of the continent, as 

a form of resistance but also as a means of unlearning 

colonial modes of relating with the regions south of the 

Sahara and north of the Mediterranean. This study is 

the 4th volume of AMA’s mapping series, which aims 

to address the obstacles to artistic mobility within 

Africa by providing information on the infrastructures, 

the institutional and funding frameworks as well as 

the challenges and opportunities linked with mobility 

on the continent. 

We hope this study will help inform both practitioners 

and policy makers on the ways to promote and support 

artistic mobility within Africa. 

Khadija El Bennaoui 

AMA Director

7 

Key Messages 

KEY 

MES — 

SAGES 

1. 

The mobility of artists and cultural operators is a right, not a privilege. 

2. 

Desire for mobility is very strong amongst artists and cultural 

practitioners, in North-South, East-West and South-South directions. 

a) North-South mobility remains important, namely for training 

and opportunities to connect with a greater diversity of 

interlocutors. 

b) East-West and South-South mobility are important axes 

to develop in the interest of exploring shared histories, 

nurturing creative synergies and developing solidarity. 

3. 

There is an urgent need to work at the level of the imagination, desire 

and dreaming – to nurture existing desire for South-South exchange 

and to create it where it does not yet exist. 

a) Promote networking amongst African cultural actors: meetings, 

go-and-see tours, residencies, etc. 

b) Promote information-sharing: online platforms, information 

hubs, key people and ambassadors. 

4. 

Mobility can only improve if political and administrative barriers are 

addressed and lifted. 

a) There is an urgent need for mobilization amongst cultural actors 

in Africa, Europe and internationally to document and 

denounce increasingly restrictive visa policies, especially from 

the Schengen space. 

b) Advocate for greater understanding of the stakes and importance 

of artistic mobility. 

5. 

Mobility is not simply about quantitative factors but about the quality 

of the experience at the creative and human levels. 

a) The human and creative dimensions of the mobility experience 

must be central in initiatives geared at promoting arts mobility.

8 

Introduction 

1 

— 

Fact : 

AMA didn’t 

provide grants in 2013, 2014 

or 2017 due to limited funds. 

The statistics included are based 

on all other years between 

2005 and 2018. 

—

9 

Introduction 

IN — 

TRO — 

DUC — 

TION 

Art Moves Africa (AMA) is an international notfor-profit 

organisation that aims to facilitate cultural 

and artistic exchanges within the African 

continent. AMA offers travel grants to artists 

and cultural practitioners living and working in 

Africa to travel within the African continent in 

order to engage in the exchange of information, 

the enhancement of skills, the development of informal 

networks and the pursuit of cooperation. 

AMA was first launched as a program 

by the Young Arab Theatre Fund (YATF) and a 

group of African organizations. It was designed 

to facilitate and encourage the mobility of artists 

and cultural operators within the African continent. 

In 2001, YATF participated in meetings in 

Egypt, Kenya and Zimbabwe, together with different 

organizations and cultural activists from 

Africa and the Arab world. The meetings were 

aimed at linking organizations and individuals, 

and creating informal continent-wide networks. 

The participants agreed that one of the major 

obstacles for artists and cultural professionals 

in Africa was the persistent lack of funds specifically 

allocated to support travel. AMA was 

launched in July 2005. 

Over the last 14 years, AMA has allocated 

809 grants to artists and art practitioners 

living and working in Africa. A wide range of 

projects has thus been implemented to develop 

the African creative sector. AMA has produced 

regular evaluations and collected statistics of 

applications received and of grants allocated to 

African cultural practitioners. Moreover, it has 

commissioned and published three studies on 

mobility and touring in East (2011/2015) and 

Central Africa (2015), as well as a guide to cultural 

mobility funding opportunities to/from Africa 

in collaboration with On the Move (2015/2018). 

These initiatives have helped AMA to develop 

its interventions as a grant-making organization 

and to identify needs within the African artistic 

mobility sector.

10 

Introduction 

1.1 

Background 

of AMA’s 

research 

program 

AMA launched its research program 

in 2011, in recognition of the 

complexity of mobility and touring 

in Africa and in the hopes of filling 

the vast gaps in knowledge 

and data pertaining to the topic. It has produced three 

studies to date: two focus on East Africa (performing 

arts and visual arts) and one focuses on Central Africa. 

Through these studies, it has contributed to the 

development of knowledge, initiatives and policies that 

strengthen mobility on the continent. Indeed, AMA’s 

statistics show a substantial impact on mobility in the 

East African and Central African arts sectors since 

the publication of the studies. 

In East Africa, mobility appears to have increased, 

with a significant jump in the number of 

applications to / from East Africa per session (see 

next page). Events such as Addis Foto Fest in Addis 

Ababa and Bayimba Arts Festival have become major 

international platforms, drawing artists from across 

the region, the continent and the world. AMA has also 

received significant numbers of applications for events 

such as the Karibu Music Festival in Dar Es Salaam; the 

Bagamoyo Festival; Tuzinne Festival in Kampala; as well 

as for projects in Kigali and Lilongwe. Finally, a new, 

regional mobility fund has emerged: the British Council’s 

East Africa Travel Grant.

11 

Introduction 

Grant applications received before and after 

the East Africa studies (2011 and 2012) 

FROM East Africa: 

· 108 total applications until Session 20 in 2011 

(inclusive), with an average of 5.4 applications / 

session 


(inclusive), with an average of 7 applications / 

session 

· 121 total applications in 2015 and 2018, 

with an average of 17 applications / session 

TO East Africa: 


(inclusive), with an average of 10.6 applications 

/ session 


(inclusive), with an average of 9.6 applications / 

session 

· 146 total applications in 2015 and 2018, with 

an average of 21 applications / session 

Grants awarded before and after the East 

Africa studies (2011 and 2012) 

FROM East Africa: 

· 78 total selected until Session 20 in 2011 (inclusive), 

with an average of 3.9 selected / session 



· 57 total selected in 2015 and 2018, with an 

average of 8.1 selected / session 

TO East Africa: 





· 40 total selected in 2015 and 2018, with an 

average of 5.7 selected / session 

and to what extent the infrastructure issues identified 

in the 2015 study have been addressed. 

Developments of note include the emergence of 

events such as the African Cup of Slam Poetry 

in N’Djamena, Chad, which was a major driver 

for mobility in Central Africa in 2018. 

Grant applications received before and after 

the Central Africa study (2015) 

FROM Central Africa: 



/ session 

· 58 total applications in 2018, with an average 

of 29 applications/session 

TO Central Africa: 



/ session 


of 33.5 applications / session 

Grants awarded before and after the Central 

Africa study (2015) 

FROM Central Africa: 

· 152 total selected until Session 28 in 2015 

(inclusive), with an average of 5.4 selected / session 

· 2 total selected in 2018, with an average of 

1 selected / session 

TO Central Africa: 


(inclusive), with an average of 4.6 selected / 

session 


of 2.5 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 

Introduction 

1.2 

Purpose of 

the research 

This research was commissioned by AMA 

in August 2018. Its purpose is to shed light 

on the situation of artistic and cultural mobility 

in the North African region and in relation with the 

other African regions. It namely aims to illuminate the 

factors underpinning the relative weakness of mobility 

to / from / within North Africa. 

Indeed, since AMA’s launch in 2005, North Africa has 

consistently been the region that generates the smallest 

number of mobility grant applications, on all three 

fronts: that is, in terms of outgoing mobility, incoming 

mobility, and intra-regional mobility: 

· In terms of outgoing mobility, it has generated a total 

of 169 projects, accounting for an average 8% of total 

mobility projects since 2005, behind East Africa at 

14%. 

· In terms of incoming mobility, it has attracted a total 

of 179 projects, accounting for an average 9% of 

total mobility projects since 2005, behind East and 

Southern Africa (tied at 18%). 

· In terms of intra-regional mobility, it has generated 

a total of 28 projects, accounting for an average of 

1% of total mobility projects since 2005. 

— 

See section 1.4, 

“Overview of 

Mobility in North 

Africa” below 

for detailed 

information on 

mobility 

trends to/from 

North Africa. 

This report is divided into the following 

sections: 1 – Introduction; 2 – Methodology; 

3 – Summary of opportunities and impediments 

to mobility to/from North Africa; 

4 – Country-specific information; 5 – Conclusion 

and Recommendations. It also includes 

three Appendices: A – a mapping of 

arts spaces, venues and events in North 

Africa, including graphs and contact information 

; B – a list of the study’s respondents; 

and C – a bibliography. 

—

13 

Introduction 

— 

1. 3.1 NORTH AFRICA 

AS A 

CULTURAL SPACE 

— 

This report addresses mobility in a 

region broadly designated as “North 

Africa,” all the while recognizing the 

instability of the term and the complexity 

of the realities it purports to 

encapsulate. Indeed, “North Africa” as 

a geopolitical entity is largely the product 

of divisions instituted by international 

organizations along boundaries 

established by colonial powers. These divisions 

are upheld to this day by organizations such as 

the African Union and the United Nations, albeit 

with varying boundaries. They are also upheld in 

everyday conversation, conceptions of identity, 

cultural products and events. 

1. 3 

Socio-political 

and historical 

context 

As a cultural and linguistic space, North Africa 

is defined by a number of factors. First, the 

heritage of the Amazighen (or Berbers), who are 

the first inhabitants of present-day Morocco, 

Algeria, Tunisia, Libya, Mauritania, northern Mali 

and Niger as well as western Egypt. The region 

is also bound by the sweep of Arabization and 

Islamization, which took place between roughly 

600 and 1000 A.D. Finally, the present-day countries 

of North Africa share a common history of 

Ottoman conquest (except Morocco, Mauritania 

and Western Sahara) and 19 th - and 20th-century 

European colonialism, with Morocco, Tunisia, 

Algeria and Mauritania having been under French 

rule; Libya under Italian rule; and Egypt being 

occupied as a British protectorate from 1882 

to 1952. 

— 

QUOTE: 

« Every time I want to get funding for a project, 

I need to declare if I’m North African or 

Southern African; Christian or Muslim; 

Anglo or Franco. We’re being boxed into 

spaces where we have to find ourselves within 

a single identity. To successfully fill out that 

form, you have to do away with the multilayered-ness 

and complexity of that identity. Who 

says I have to choose? Why can’t I be both? » 

Jihan El-Tahri 

Filmmaker, Cairo / Berlin. 

Quote from Keynote speech 

at 1:54 contemporary art fair in Marrakech, 2017. 

—

14 

Introduction 

Arab identity was reinforced at the time of decolonization, 

with pan-Arabism becoming the 

“ideological lingua franca” across the region 

and the Middle East (El Amrani, 2011). Part 

and parcel of this process was the glossing 

over and erasure of the multiplicity of cultural, 

linguistic and ethnic identities within the 

various nation states, with marginalization 

of Amazigh heritage, language and culture as well 

as those of Black individuals and communities. 

Amazigh resistance movements have obtained 

some recognition at state level, with Algeria 

redefining itself as an “Arab, Berber, Muslim” 

nation and Morocco recognizing Amazigh as an 

official language in 2011. North Africans’ “African” 

identity has been more complex to unearth and 

foreground. 

North Africa’s “separateness” is often justified 

by the presence of the Sahara desert, largely 

on the basis of conceptions of the desert as an 

“empty space” by European geographers and 

explorers and thus as an invisible border separating 

the continent. Artists and intellectuals have 

contested this idea, noting its correlation with 

colonial and contemporary geopolitical agendas 

and reminding us that the Sahara has been 

a space of advanced political and social 

organization, hospitality, trade and cultural 

exchange for centuries. Indeed, trade routes 

have traversed its expanse, linking cities 

and civilizations to the North and South as 

well as those within it. 

There is also a push to revive and nurture 

the pan-Africanist energies, intellectual 

productions and artistic connections that 

were developed in the 1950s and 60s. Notably, 

Algeria hosted the first Pan-African 

festival of 1969. This thrust of pan-Africanist 

unity collapsed due to a number of factors, 

both internal and external to the continent. 

Connections between North and South are 

now playing out in the economic sphere, 

with Morocco making important overtures 

— 

QUOTE: 

« There is an assumption 

that the Maghreb is 

something somewhere 

else than in Africa and 

even that Egypt is an 

archaeological island off 

the coast of American 

universities. » 

Koyo Kouoh 

Chief curator of Zeitz 

Museum of Contemporary 

African Art, Cape Town/ 

former executive director 

of RAW Material Company 

Dakar 

Quote from Opening Remarks 

at 1:54 art fair, 2017 

— 

to other African nations in the areas of foreign 

investment and trade; Algeria has been following 

suit. How do art and cultural production 

participate or not in connecting North and 

South today? 

— 

1. 3. 2 REGIONALIZATION 

AND FUNDING 

— 

Contemporary regionalization has created 

further boundaries within and outside North 

Africa. On the largest scale, North Africa is 

often grouped with the Middle East under 

the acronym MENA, or else is subsumed as 

a space within the Arab World. These terms 

are used in politics, academia, business and 

media, by international organizations such 

as the World Bank and the United Nations, 

as well as by most international development 

organizations. Egypt occupies a unique status 

within this space, due to its positioning at the 

hinge between the African continent and the 

Middle East. 

Within North Africa, regionalization operates 

mainly at two levels: first, at the 

level of the Maghreb; and secondly, at 

the level of the (Euro-)Mediterranean 

space. The Maghreb connects Morocco, 

Algeria, Tunisia, Libya and Mauritania. 

The unifying factor is mainly cultural, with 

the countries sharing Amazigh heritage. 

Shared colonial histories and resultant 

linguistic commonality also bind Tunisia, 

Morocco and Algeria. The Maghreb’s 

geopolitical and economic identity was 

formalized with the 1989 formation of 

the Arab Maghreb Union. However, the 

union remains largely inactive due to 

enduring tensions between Morocco 

and Algeria over Western Sahara. 

The regionalization of the Euro-Mediterranean 

was formalized in 2008 

at the Paris Summit for the Mediterranean. 

Its aim is to reinforce the

15 

Introduction 

Euro-Mediterranean Partnership (Euromed) that 

began in 1995 as the Barcelona Process as a 

means of “turning the Mediterranean basin into 

an area of dialogue, exchange and cooperation 

guaranteeing peace, stability and prosperity” 

(Barcelona declaration, 1995). At present, all North 

African countries are included in the partnership, 

with the exception of Libya, which possesses 

Observer status. 

These levels of regionalization are critical for 

arts mobility to the extent that they have underpinned 

the formation of cultural networks, funding 

schemes and thus spaces of exchange. The 

funding landscape in North Africa is characterized 

by the presence of numerous funds operating 

at the MENA level: the Arab Fund for 

Arts and Culture (AFAC), Al-Mawred 

al-Thafaqy and Mophradat are the 

three most prominent. At the Euromed 

level, there is a plethora of funding 

schemes, among them the Roberto 

Cimetta Fund (RCF), the European 

Cultural Foundation (ECF) & MitOst’s 

TandemShaml, the ECF’s STEP Travel 

Grants, etc., all of which are ongoing. 

Other funds, such as SouthMedCV 

(2015 – 2018), are rolled out within set 

timeframes. These funds have allowed for 

vital projects, partnerships and networks 

to emerge across the region. 

See Section 3.1.1 for more information 

on Funding. 

In this landscape, Art Moves Africa is 

the first mobility fund that has worked 

to integrate North Africa in the rest of 

the continent. Nevertheless, North Africa 

continues to be the region that generates 

the fewest mobility grant applications. 

The question that drives this 

research is: why? 

— 

QUOTE: 

« Where did the term 

‘Sub-Saharan Africa’ come from 

since it never appears in 

colonial literature? 

What exactly are the contours 

of this ‘region’ since it 

is not demarcated on any map? 

Is it a geographic location or is 

it a political construct? 

How come Mauritania is 

considered Sub-Saharan yet 

Sudan is not? 

Most importantly, how did we, 

as Africans, 

start adhering to the postcolonial 

remapping of our own 

spaces and identities? » 

Jihan El-Tahri 

Filmmaker, 

Cairo/Berlin 

Quote from RAW Material Company 

public lecture, 

12 April, 2017. 

—

16 

Introduction 

1. 4 

Overview of 

mobility in 

North Africa 

Based on AMA’s statistics, gathered 

over the period 2005 – 2018, Morocco, 

Tunisia and Egypt are the countries that have the strongest mobility 

trends. The chart below illustrates the volume of mobility to/from 

other African regions for each North African country: 

Outgoing mobility 

100 

Incoming mobility 

exchange with other African regions in % 

90 

80 

70 

60 

50 

40 

30 

20 

10 

0 

Morocco 

Tunisia 

Egypt 

Algeria 

Mauritania 

Libya

17 

Introduction 

In order of volume of exchange with North Africa, the 

following countries are most active: 

1. 

2. 

3. 

4. 

5. 

6. 

7. 

8. 

9. 

Senegal 

Cameroon and South Africa 

Democratic Republic of Congo (DRC) 

Ethiopia 

Burkina Faso 

Kenya and Tanzania 

Côte d’Ivoire 

Mali 

Nigeria 

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 

events that are often noted include the Marché 

des Arts et du Spectacle (MASA – Market for 

Performing Arts) in Abidjan and the Bamako 

and Lagos biennales. 

Exchange is roughly the same with South, Central 

and East Africa (14 – 16%). Cameroon is by 

far the country in Central Africa that generates 

the most exchange, with strong ties to Morocco 

and Egypt in particular; it is followed by 

DRC. In East Africa, Ethiopia is the country that 

generates the most exchange, largely thanks to 

strong ties with Egypt; Kenya and Tanzania are 

the other two major hubs for mobility. In Southern 

Africa, South Africa is by far the country 

that generates the most exchange, presumably 

due to its strong cultural sector and capacity to 

host international events. 

— 

QUOTE: 

« I’m working on African identity. 

Culturally, we have many points 

in common. There are trends 

linking all North African countries, 

whether they be in dance, music… 

there’s a history that links us, 

sometimes a painful one, because 

all the trade routes were between 

North and South. There’s a large 

community of black Africans 

from South of the Sahara that has 

become North African. We need to 

recognize this entity. […] 

I think Africa has a great future. 

It’s a future we have to build 

ourselves; no one outside should 

decide what we should be. » 

Bahri Ben Yahmed 

Dancer and choreographer, 

Danseurs Citoyens & Lang’art, 

Tunis* 

Quote translated from French 

by the author. 

Other translated quotes will be marked 

(*) throughout the document. 

—

18 

Methodology 

2 

— 

Fact: 

This study is based 

on interviews 

with ninety 

artists and cultural 

operators. 

—

19 

Methodology 

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 

Africa, as well as neighbouring regions. 

OGY 

The research was divided into three overlapping 

phases: 

I 

II 

III 

Identification of artists, cultural 

operators, spaces and stakeholders 

(December 2018 – February 2019) 

Interviews (December 2018 – March 2019) 

a) Field visit to Casablanca and Rabat, 

December 10 – 16, 2018 

b) Desk-based interviews, Skype and 

WhatsApp. 

Two respondents asked to 

respond in writing. 

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 

Methodology 

— 

NORTH AFRICA 

— 

— 

MAGHREB 

— 

— 

MENA 

— 

2.1 

Key 

Terms 

There is no single commonly accepted 

definition of the term “North Africa,” 

which encompasses meanings of a 

geographical, political and cultural nature. In geographic 

terms, it may refer to the area that lies between the 

Atlantic Ocean to the West; the Mediterranean Sea to the 

North; the Red Sea to the East; and the Sahara desert to 

the South. In geopolitical terms, it is employed by international 

organizations such as the African Union (AU) and 

the United Nations (NU) to designate different groupings 

of countries. The nation-states of Morocco, Algeria, Tunisia, 

Libya and Egypt are included in both groupings; however, 

the AU includes Mauritania but not Sudan or South 

Sudan, while the UN includes Sudan and South Sudan 

but not Mauritania. The term “North Africa” also overlaps 

with several others, namely the “Arab world” and 

the “Maghreb” (see below). AMA acknowledges these 

caveats and debates. However, in this document, it uses 

the term “North Africa” to designate a region consisting 

of the following states: Algeria, Egypt, Libya, Mauritania, 

Morocco, Tunisia and the disputed territory of Western 

Sahara. 

The Maghreb is the region encompassing Algeria, Libya, 

Mauritania, Morocco, Tunisia and Western Sahara. Mauritania, 

Morocco, Tunisia, Algeria and Libya established 

the Arab Maghreb Union in 1989 to promote cooperation 

and economic integration in a common market. However, 

the Union is stalled due to ongoing conflict between 

Morocco and Algeria over the issue of Western Sahara. 

MENA is the commonly used acronym for “Middle East 

and North Africa.” There is no stable definition of the term 

either. The following countries are typically included in the 

MENA: Algeria, Bahrain, Djibouti, Egypt, Iran, Iraq, Israel, 

Jordan, Kuwait, Lebanon, Libya, Malta, Morocco, Oman, 

Palestine, Qatar, Saudi Arabia, Syria, Tunisia, the United 

Arab Emirates and Yemen. Other countries that may be 

included are Afghanistan, Armenia, Azerbaijan, Chad, 

Comoros, Cyprus, Djibouti, Eritrea, Ethiopia, Georgia, 

Mali, Mauritania, Niger, Northern Cyprus, Sahrawi Arab 

Democratic Republic, Somalia, Sudan and Turkey.

21 

Methodology 

— 

MENASA 

— 

— 

ARAB WORLD 

— 

— 

MOBILITY 

— 

— 

TOURING 

— 

MENASA is the acronym for “Middle East, North Africa 

and South Asia.” It typically designates the MENA countries 

as well as a subset of countries in Asia, most prominently 

India and Pakistan. However, as with the other 

acronyms cited above, its boundaries are not set. It is 

mainly used in economic and financial circles but is also 

gaining currency in the contemporary art and cultural 

sectors. 

Although it is sometimes used interchangeably with the 

term MENA, the term “Arab world” typically refers to the 

22 states of the Arab league: Algeria, Bahrain, Comoros, 

Djibouti, Egypt, Iraq, Jordan, Kuwait, Lebanon, Libya, 

Mauritania, Morocco, Oman, Palestine, Qatar, Saudi 

Arabia, Somalia, Sudan, Syria, Tunisia, the United Arab 

Emirates and Yemen. 

Mobility in the arts sector is for the purpose of this study 

defined as the temporary relocation of an artist to a region 

or a country other than that of permanent residence, 

for the purpose of presentation, performance, study, 

teaching or rehearsal. The relationship between mobility 

and migration is frequently related to economic means of 

survival (less frequently to an improvement on a social or 

economic scale). Drawing the line between artistic mobility 

and migration can be challenging as some artists will 

spend part of their career living and working in another 

country (Wiesand, 2008) and eventually become associated 

with the country of their choice. 

According to the new Oxford American Dictionary, a 

“tour” can refer to a journey made by performers or an 

athletic team, in which they perform or play in several 

different places. These places do not necessarily need 

to be located in several countries. A touring circuit is a 

more or less closely defined network of performance or 

exhibition places for the purpose of circulating artwork 

and performances. The organizers are generally the ones 

who determine how open or closed this network is and 

what criteria are applied for membership and development.

22 

Methodology 

2.2 

Limitations 

1. 

The study is of course not exhaustive. 

It namely does not cover the 

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. 

2. 

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). 

3. 

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. 

4. 

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 excluded 

in the interest of capturing the most essential 

information and respecting interlocutors’ time. 

5. 

Research was desk-based rather than field-based. 

As such it was not possible to meet respondents 

simultaneously, nor to visit spaces, studios, venues, 

etc.

23 

Methodology 

Le radeau (The Raft), by Cyrine Gannoun and Majdi Boumatar, tells the story 

of 8 clandestine migrants trying to cross the Mediterranean to reach Italy. 

Photo courtesy of Cyrine Gannoun/Théâtre El-Hamra.

24 

Sunmmary of Outcomes 

3 

— 

QUOTE: 

Sometimes, preconceptions, blockages of 

the imagination, and maybe even of desire, 

can get in the way of conceiving projects or 

travelling South. 

Mariem Guellouz 

Dancer and researcher, 

Director of 

Les Journées chorégraphiques 

de Carthage* 

—

25 

Summary of Outcomes 

SUM — 

MARY 

OF 

OUT — 

COMES 

3.1. 

Mapping 

A major objective of this study was to highlight 

the infrastructure and map the resources 

that are currently in place to facilitate the 

mobility of artists and cultural operators in 

North Africa. The major cross-country infrastructures 

facilitating mobility in North Africa 

(funding opportunities, transport links and options, and 

existing service providers) are described in the following 

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 


course remain extremely limited in terms of capacity for 

facilitating mobility and are subject to extremely precarious 

political / economic conditions. 

A mapping of existing arts venues and events that may 

host mobility projects involving African cultural actors is 

provided in Appendix A of the report. 

Other useful mappings of existing service providers, spaces and venues 

can be found on the following websites: 

1. The North Africa Cultural Mobility Map, a research and 

info-platform about residency and mobility initiatives for 

artists, writers and researchers interested in travelling and 

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) 

3. Morocco ArtMap by Racines 

4. Carte Culturelle de l’Algérie by the Groupe de Travail sur 

la Politique Culturelle en Algérie 

5. Perform-arts.net by Reflection Arts, Training & Development 

– a database of cultural organizations and spaces in 

Alexandria, Egypt 

6. Digi – MENA for digital artists in the MENA region. Coordinated 

by Out of the Circle and supported by the Goethe 

Institut 

7. Alternative Art Guide, an online database of non-profit, 

artist-run and independent spaces around the world 

8. DutchCulture / Transartists, an online database of artists’ 

residencies worldwide

27 


— 

3.1.1 FUNDING 

— 

Funding for mobility to and from North Africa is provided at six 

main levels: 

— 

PUBLIC ADMINISTRATIONS 

— 

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 

traditional and/or folkloric forms, and poor administration. 

Respondents in Tunisia and to a lesser extent Morocco were 

the most likely to obtain funds from their Ministries of Culture. 

The only formal program supporting mobility in the region is 

Tfanen – Tunisie Créative, created through a partnership between 

the EU and the Tunisian state (see Tunisia section for more detail). 

— 

CIVIL SOCIETY ORGANIZATIONS 

— 

Several civil society organizations do crucial and inspiring work 

to support mobility in North Africa. In addition to AMA, the most 

prominent organizations are: 

1. 

Culture Resource 

(Al Mawred Al-Thaqafy) 

Based in Beirut, Culture Resource (Al-Mawred Al-Thaqafy) is a 

regional, non-profit organization founded in 2003 that seeks to 

support artistic creativity in the Arab region and to encourage 

cultural exchange within the region and beyond. 

Its main program for mobility support is Wijhat. It is open to artists 

and cultural managers of all disciplines. All departure countries 

and destinations are eligible, with the exception of Israel, 

although travel must be to or from an Arab country. Air travel 

as well as internal road / train connections are covered. Additionally, 

the fund covers visa costs, accommodation and partial 

support for living expenses.

28 


The program offers 25 to 30 grants per year in three rounds. 

Al Mawred Al-Thaqafy has also supported mobility via its 

training programs for cultural managers. 

2. 

Arab Fund for Arts 

and Culture (AFAC) 

Based in Beirut, the Arab Fund for Arts and Culture – AFAC 

was founded in 2007 through the initiative of Arab cultural 

activists as an independent foundation to support individual 

artists, writers, researchers, intellectuals, as well as organizations 

from the Arab region working in the field of arts and 

culture. 

AFAC currently runs nine open call grants programs and 

one training program by nomination. Each grants program 

has one annual open call during which applications are submitted 

online. The grants are not mobility grants. However, 

travel is covered so long as it is part of the implementation 

of a project. 

In addition, AFAC has just launched the new North Africa 

Cultural Program (NACP), a three-year program (2019 – 2022) 

dedicated to five countries in North Africa: Morocco, Algeria, 

Tunisia, Libya and Egypt. It comprises two support schemes, 

a National Fund and a Regional Fund. The program is run 

through an open-call scheme and covers institutional and 

programmatic support to active arts organizations based in 

the five countries, including cross-border collaborations. 

3. 

Mophradat 

Based in Belgium, Mophradat offers a granting program for 

artists to support individuals, collaborations, or collectives 

to develop their practice. Among other activities, the grants 

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 contemporary 

art. Activities or projects can take place anywhere in the 

world, but must be carried out by artists living or working in 

the Arab world and/or engaged with the Arab world. 

4. 

Roberto Cimetta Fund 

(RCF) 

Based in Paris, the Roberto Cimetta Fund is an international 

non-profit grant-making organization supporting the mobility 

and creativity of artists and cultural operators in Europe, the 

Arab world and beyond.

29 


The RCF provides support for mobility through two programmes: 

a – the Mobility fund; and b – Tamteen, or the support 

fund. The Mobility Fund is divided into two streams: 

the General Fund, and specific funding lines, which vary from 

year to year. The General Fund is open to artists and cultural 

operators living and working in the Euro-Arab-Middle East 

geographical zone. Applicants from the MENA region or the 

Balkan countries can apply to travel to other African regions 

(as well as Asia or other world regions). A maximum of 3 

individuals per group may be covered. 

The Tamteen support fund can cover mobility as part of 

the structuring of oganizations and collectives in the Arab 

world. Maximum funding is 3.000 euros. Five projects are 

selected per call. 

5. 

Africa Art Lines 

An inspiring new initiative is Africa Art Lines, run by Morocco-based 

civil society organization Afrikayna. Launched 

in 2016, Africa Art Lines provides mobility grants to projects 

connecting Morocco and other African countries. It does so 

through two main schemes: 1) Partnerships with organizations 

and events; 2) Open calls. Support is delivered via the 

host organization. See Morocco section for more detail. 

— 

EMBASSIES AND INTERNATIONAL 

COOPERATION INSTITUTES 

— 

Many artists and cultural operators in North Africa have travelled thanks 

to funding provided by embassies and international cooperation institutes 

present in their cities. However, there are at present no formal mobility 

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 Algeria. 

The Goethe Institut facilitated mobility for a number of cultural actors 

through its Moving MENA travel fund (2013 – 2017). However, the fund is no 

longer operational. The Goethe continues to organize occasional cultural 

training programs in the region. Pro Helvetia has also supported projects 

in Tunisia and Egypt.

30 


Two programs funded by the European Union, MedCulture (2014 – 2017) and 

SouthMedCV (2015 – 2018), played an important role in facilitating travels across 

the region. Several respondents expressed the hope that similar schemes would be 

implemented. 

— 

PRIVATE FOUNDATIONS 

— 

Several private foundations are facilitating mobility across the region. In Tunisia, 

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. 

Other private foundations covering mobility, generally via program or project support, 

are: the European Cultural Foundation (ECF), the Ford Foundation, Fondation 

Rosa Luxembourg, Fondation Drosos, Mimeta, the Organisation Internationale de la 

Francophonie (OIF), the Prince Claus Fund and Stichting DOEN. 

— 

FESTIVALS, EVENTS 

AND 

RESIDENCIES 

— 

Many artists depend on invitations from 

festivals, events or residencies to support 

their travels. Events that have offered 

funding for mobility include Visa 

for Music, Rencontres chorégraphiques 

de Carthage, residencies at Le18, Atelier 

de l’observatoire, Contemporary Image 

Collective Cairo, D-CAF, etc. However, 

they have generally done so via funding 

from one of the abovementioned organizations. 

— 

BANKS, BUSINESSES 

AND 

INDIVIDUAL SPONSORS 

— 

Entrepreneurial cultural actors have approached banks, businesses 

and individual sponsors for funds to cover their travel 

costs. 

Important resources on mobility opportunities in the region are: 

1. On the Move’s Guide to funding for cultural mobility in 

the Arab world (2017). On the Move’s Facebook, Twitter 

and website are also critical platforms for information. 

2. Culture Funding Watch has recently launched a comprehensive 

database of funding opportunities for arts and 

culture in the MENA Region. Their social media pages are 

regularly updated.

31 


— 

3.1. 2 

MAIN HUBS AND 

SERVICE PROVIDERS 

— 

— 

See Chapter 6 

for a mapping of 

venues and arts 

spaces across 

the region 

— 

The following organizations and arts spaces 

are well-poised to serve as hubs, information 

points, and training centres for mobility 

projects in the region. 

Algeria 

aria arts residencies, Algiers 

Ateliers N.A.S., Algiers 

Les Ateliers Sauvages, Algiers 

Artissimo, Algiers 

Box24, Algiers 

La Baignoire, Algiers 

Brokk’art, Algiers 

Raconte’arts Theatre festival, Tizi Ouzou 

Morocco 

Atelier de l’Observatoire, Casablanca 

EAC-L’Boulvard, Casablanca 

L’Uzine, Casablanca 

Le18, Marrakech 

Cinémathèque, Tanger 

Tabadoul, Tanger 

Mahal Art Space, Tanger 

L’appartement22, Rabat 

LeCube, Rabat 

Visa for Music, Rabat 

Egypt 

Al Moharek Agency, Cairo 

AfriCairo, Cairo 

Contemporary Image Collective, Cairo 

Darb 1718 Contemporary Art & Culture Centre, Cairo 

Hewar for Independent Theater & Performing Arts, 

Alexandria 

MASS, Alexandria 

Out of the Circle, Cairo 

Medrar for Contemporary Arts, Cairo 

Reflection for Arts Training & Development, 


Townhouse Gallery, Cairo 

Libya 

Ali Gana Foundation and Museum, Tripoli 

Noon Arts Projects, Tripoli/London 

Tanarout, Benghazi 

WaraQ Art Foundation, Tripoli 

Mauritania 

ArtGalléAmySow, Nouakchott 

Les Échos du Sahel, Nouakchott 

Espace culturel Diadie Tabara Camara, Nouakchott 

Maison des cinéastes, Nouakchott 

Traversées Mauritanides, Nouakchott 

Tunisia 

BL79, Tunis 

Centre des Musiques Arabes et 

Méditerranéennes, Tunis 

Centre national d’art vivant de Tunis 

Cité’Ness Association, Tunis 

Culture Funding Watch, Tunis (information 

and training) 

Fanni Raghman Ani, Tunis 

La Boîte, Tunis 

Lab619, Tunis 

Lang’art, Tunis 

L’Art Rue, Tunis 

Maison de l’Image, Tunis 

Théâtre Al-Hamra/Centre arabo-africain de 

formation et de recherche théâtrales, Tunis 

Tunisia Culture Network, Tunis 


Abidin Kaid Saleh Audiovisual School, 

Boujdour refugee camp, Tindouf (Algeria) 

Artifariti Festival, Tifariti, Sahrawi Arab Democratic 

Republic/refugee camps in Tindouf 

Fi’Sahara Festival, Boujdour refugee camp, Tindouf 

Motif Arts Studio, Samara refugee camp, Tindouf

32 


— 

3.1. 3 

TRANSPORT LINKS 

AND 

REGULATIONS 

— 

VISA POLICIES 

— 

Visa-free travel is in place between Morocco, 

Tunisia and Algeria. In theory, Libyans should 

benefit from visa-free travel to Algeria; however, 

in practice, refusals have been documented. 

Libyan citizens should also benefit from visa-free 

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 increasingly 

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 

enter Morocco, Tunisia and Algeria. Mauritania 

offers visa-free travel to citizens of Algeria, Libya 

and Tunisia. Mauritanians may travel to Tunisia 

and Algeria without a visa. 

Detailed information on visa policies with respect 

to other African countries is provided in 

the country-specific sections. 

— 

OTHER REGULATIONS 

— 

Tunisian citizens under the age of 35 must obtain 

parental authorization to travel outside the 

country. Moreover, exiting Tunisia requires payment 

of an exit stamp, at a cost of 30 dinars. 

Egyptian men of military service age may face 

travel restrictions. 

— 

ROAD AND RAIL NETWORKS 

— 

Road and/or rail travel is generally possible 

within North African countries. However, border 

crossings are complicated or made impossible 

by ongoing border disputes or security concerns. 

The Trans-Saharan Highway’s Route 1 connects 

Cairo to Nouakchott, via the coast. However, only 

selected segments of the route are practicable 

due to conflict areas and border closures. The only 

border crossing that is practicable is the border 

between Tunisia and Algeria; some artists use 

these roads to travel in lieu of expensive flights.

33 


Overland travel into and out of Libya is not recommended 

due to the presence of militias 

along the road. 

Morocco, Tunisia, Algeria and Egypt also have 

decent to good road networks connecting major 

cities. Morocco boasts the region’s most developed 

rail system, with high-speed rail in place 

between Tangiers and Casablanca and plans to 

extend the network east to Oujda and south to 

Agadir via Marrakech. The national rail operator 

is the ONCF. Algeria and Egypt also have rail 

systems connecting major cities, namely along 

the coast and the Nile river in Egypt. 

— 

AIR TRAVEL 

— 

Dancer Jenny Mezile performing at Harambee Days 

at L’Uzine, 2018. 

Photo: Ahlam Maroon/L’Uzine. 

The closure of the Morocco – Algeria border makes 

road travel between the two countries impracticable. 

Likewise, entry into Western Sahara via 

road is subject to controls, which can be unpredictable, 

especially in periods of strife. 

Algeria’s road system includes the Trans-Saharan 

Highway’s Route 2, which links Algiers to 

Lagos via Tamanrasset, Agadez and Kano. The 

highway is almost complete, with the exception 

of a 200 km-long segment in the north of Niger. 

Cairo is connected to Khartoum via road. However, 

border crossing has been complicated due 

to diplomatic disputes between Egypt and Sudan 

and arms smuggling at the border. 

Due to the above-described impediments to road 

travel and the large distances between major 

North African cities, air travel is the preferred 

method of transportation. Flight connections 

are frequent between capital cities, provided by 

national air carriers Royal Air Maroc, AirAlgérie, 

TunisAir and Egypt Air. The exception is Tripoli, 

which is at present only connected to Tunis and 

Cairo (although the latter is subject to change). 

Royal Air Maroc (RAM) is emerging as the region’s 

most active carrier, creating connections within 

the region and the continent that used to only 

be possible via European cities such as Paris 

and Barcelona. In recent years, RAM has expanded 

its network in Africa significantly, rivalling 

Ethiopian Airlines as the continent’s number one 

carrier. RAM currently connects Casablanca to 

26 destinations in Africa. AirAlgérie and TunisAir 

are also developing their connections in West 

Africa, connecting with 9 and 11 destinations, 

respectively.

34 


As such, connections between Alger / Tunis / Tripoli, 

and destinations in West, Central, East and Southern 

Africa generally go via Casablanca. EgyptAir has 

connections with several East African countries, 

as well as South Africa, Zimbabwe and Zambia in 

Southern Africa and Nigeria, Ghana and Côte d’Ivoire 

in West Africa. Other destinations may be reached 

via Addis Ababa. 

Despite these developments, cost remains a major 

impediment to air travel. Travel to Europe remains 

less expensive than travel within the continent, even 

on lines such as Tunis – Alger. 

— 

QUOTE: 

3.2. 

Impediments to 

mobility 

Impediments to mobility 

are listed below, grouped 

into 11 main categories. 

However, it should be noted that many of these 

impediments are related and often difficult to 

dissociate. For example, the lack of interest in 

travelling to other African regions is critically 

related to the lack of information-sharing and 

networking. The difficulty of obtaining visas 

is often compounded by high travel costs, 

with one or the other discouraging artists or 

cultural professionals from even seeking out 

mobility opportunities. Visa issues are cited 

most frequently in part because artists associate 

travel with Europe and do not consider 

travel opportunities in other countries where 

they may have visa-free access. 

« We need to talk about 

non-mobility. We need to talk 

about artists’ stagnation. And 

we need to fight against that 

stagnation. » 

Mehdi Djelil 

Visual artist, Algiers* 

— 

Moreover, most of these obstacles can be 

linked to the after-effects of colonialism, nationalisms 

and wars, and the persistence of 

neo-colonialism in the form of development 

agendas, regionalization, conflict, etc. This reality 

underscores the importance of mobility as a 

means of strengthening South-South solidarity, 

understanding, co-imagining, vision-sharing, 

knowledge-sharing and project-building.

35 


— 

QUOTE: 

« This immigration question, this 

‘potential immigrant’ 

label – we carry those loads 

heavily. Travelling, in and of 

itself (with or without an artistic 

purpose), is not a right that is 

given to us. To secure that right, 

we have to undergo countless 

administrative processes, we have 

to lay ourselves bare, and without 

any guarantee of success. 

So much energy, so many 

strategies, so much paperwork… 

it’s exhausting after awhile. » 

Hind Benali 


founder of Compagnie Fleur 

d’Orange, 

Casablanca* 

— 

— 

1. 

VISAS 

— 

Difficulties obtaining visas for travel were one of the two most 

frequently cited obstacles to mobility for North African cultural 

actors. The Schengen space has become increasingly difficult 

to access for cultural actors from across the region due to the 

migration crisis, post-9 / 11 security context and heightening 

xenophobia. Young men describe themselves as personae 

non-gratae in Europe. Cultural actors from older generations, 

despite having made frequent travels to Europe in the past, are 

also subject to visa refusals or severe time limitations for their 

stays in Europe. 

Visa issues also inhibit mobility within the North African region, 

for example for cultural actors wishing to travel to Egypt and 

Libyan artists wanting to travel outside Tunisia. 

The following issues are most frequently cited with respect to visas: 

Faced with these restrictions, artists and operators must often 

rely on personal contacts within embassies or ministries to try to 

expedite their applications. When applications are denied, they 

must restructure projects: for example, many meetings happen 

in Jordan because visa access is easier than for countries such 

as Egypt. 

Refusals: 

Long wait times: 

The motive given is usually “likelihood of non-return,” 

often despite extensive proof of employment, means of 

subsistence, family in the home country, etc. Many artists 

feel visa refusal decisions are arbitrary and / or motivated 

by poor organization and / or xenophobia. While refusals 

especially affect young artists (and especially men), successful 

and established artists have also been affected. 

Respondents reported having to wait as long as 6 months 

for an appointment at the consulate or embassy, especially 

since many European countries ceased to process visa 

applications through their embassies and externalized 

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 


High costs : 

Bureaucracy : 

Prejudice and 

discrimination 

against artists : 

Age and gender : 

Short duration of 

stay granted : 

Access to 

embassies: 

Lack of 

bilaterality: 

A Schengen visa currently costs 60 euros. Photocopies or 

certified copies of documents may add additional costs, as 

does travel to the embassy. 

Visa applications can require applicants to submit large volumes 

of paperwork, including proof of employment, bank 

records, letters of authorization, paystubs, etc. These documents 

can be difficult to obtain, especially for artists who 

work as freelancers and/or work in disciplines that are not 

recognized under local labour laws. Bureaucracy can also be 

a major obstacle because of the sheer volume of documents 

and/or the amount of detail required (one respondent reported 

being asked to submit all paystubs since her very first job). 

Moreover, none of these documents are a guarantee, since 

several respondents reported having been denied access to a 

country despite having submitted all the required paperwork. 

Several respondents reported having been subjected to prejudice 

and/or discriminatory treatment by visa and immigration 

authorities on account of their professional status as artists. 

Young men are reportedly the most likely to be denied visas, 

due to xenophobic associations with delinquency and terrorism. 

In the case of Schengen visas, respondents reported being 

given as little as 2 days on their visa. The time granted usually 

corresponds to the duration of the event, leaving no time for 

artists to network, attend other events, or simply enjoy the 

experience of travel, with all the inspiration, connections and 

unexpected opportunities that it may bring. Moreover, since 

multiple-entry visas are increasingly difficult to obtain, artists 

must re-apply for every trip. 

Artists and cultural operators living outside capitals or major 

cities have to travel to the embassies to complete the visa 

procedures, incurring extra costs for travel and accommodation, 

forcing individuals to take days off work, etc. 

Several respondents deplored the inconsistency between 

European countries’ cultural and immigration policies, whereby 

a discourse of openness to cultural exchange and an 

increasing fashion of “spotlighting” North Africa are in conflict 

with increasingly restrictive visa policies. 

— 

QUOTE: 

« If you’re an individual artist, 

[travelling] is a huge amount of 

stress and work, often for 

no reason. Difficulties are built 

into the process. Either it’s an 

issue with a visa or time or 

funding. There always seems to 

be some sort of 

panic with something. There 

must be a better way. » 

Nada Sabet 

Theatre director and cofounder, 

Noon Creative 

Enterprise, Cairo 

—

37 


— 

2. 

COST OF TRAVEL 

— 

The high cost of travel was the other most-cited obstacle to 

mobility, named by almost all respondents. Costs of international 

flights are exorbitant on all intra-regional and intra-continental 

lines. 

Aggravating factors include: 

a) Impossibility of road travel between most countries (see 

Section 3.1.3 above). 

b) Poor flight connections between cities. Until recently, most 

travels between African cities had to go via Europe. The 

situation is changing, especially with the development of 

RAM’s and other local airlines’ networks and Casablanca’s 

emergence as a travel hub. However, direct flight connections 

remain few and far between, and costs remain high. 

— 

QUOTE: 

« That’s the life of an artist: we 

want to make things happen, 

but sometimes it’s money that 

blocks everything, and other 

times we have the plane 

tickets but not the visas. » 

Cyrine Gannoun 

Theatre practitioner, Director of 

the Centre Arabo-Africain de 

Formation et de Recherche 

Théâtrale, Tunis* 

— 

— 

QUOTE: 

« That’s the whole paradox. 

There are so many European cultural 

institutes that do spotlights on the 

Arab world; the Arab world has greater 

and greater visibility in Europe; but at the 

same time, the conditions to get 

a visa are getting more and more 

complicated. » 

Amina Mourid 

Cultural manager, co-founder of Think 

Tanger/Atelier Kissaria, 

Tangiers, Morocco* 

— 

c) Absence of funding organizations and/or insufficient 

coverage of ancillary costs. 

d) Ancillary costs of travel: the cost of mobility goes 

beyond the flight ticket. Accommodation, insurance, 

vaccines, visas, travel to embassies, etc. 

(see Visas above) all add to the financial burden 

associated with traveling. 

e) Lack of knowledge of funding possibilities. 

f) Artists’ precarity across the region makes self-funded 

travel impossible. 

g) Issues with currency and financial transactions 

are present in many of the countries covered, including 

limits on cash withdrawals (Libya, Morocco, 

Tunisia); ineligibility for credit cards; restrictions 

on currency exchange and frozen accounts (Libya).

38 


— 

3. 

LACK OF INTEREST OR MOTIVATION / 

PREFERENCE FOR TRAVEL TO EUROPE 

— 

When asked why they thought mobility is weak within 

the region and especially with respect to other African 

regions, most respondents noted that artists and cultural 

operators associate mobility with travel to Europe. 

Aggravating factors include: 

a) Europe’s geographical proximity: some respondents 

noted that Europe felt “closer” than 

the rest of the African continent. 

— 

QUOTE: 

« Ever since the Barcelona process, 

and all the other measures taken 

to regionalize the Mediterranean, 

to make it a geo-politico-cultural 

space, artists have increasingly 

wanted to travel North rather 

than South. » 

Malek Sebaï 


co-founder, Associations Danseurs 

Citoyens and Hayyou’Raqs, Tunis* 

— 

b) Lower costs for travel to Europe make it 

possible for independent cultural actors to 

cover travel costs themselves in the absence 

of mobility funding (although this avenue is 

being jeopardized by visa restrictions). 

c) Artists’ precarity and the precarity of the 

arts sector underlie many aspirations to a 

European career. 

d) Regionalization of the Euro-Mediterranean space and separation 

of “North Africa” and “Sub-Saharan Africa,” namely through 

funding agendas (see Introduction & Methodology, Key terms). 

e) The relative weight traditionally held by bilateral cooperation 

institutes in facilitating mobility projects. 

f) More plentiful training opportunities in Europe and the associated 

prestige. 

g) Misconceptions about everyday life in Sub-Saharan Africa: some 

respondents noted that Sub-Saharan Africa is associated with 

poor working conditions and uncomfortable accommodation, if 

not war and disease, in the more extreme cases of misconception 

and prejudice (see #4, Difficulty Identifying With African 

Identity / Discrimination). 

h) Misconceptions about the arts sector in Africa: some respondents 

reported that artists and cultural operators in their 

milieus believed that nothing happens in Africa in terms of arts 

and culture.

39 


i) Economic considerations: there is a sense that artists’ 

fees will be lower in Africa than Europe, if not nonexistent. 

(On the other hand, many artists reported 

that they would gladly play or perform for free if it 

meant they got the chance to travel to another African 

region). 

— 

4. 

DIFFICULTY IDENTIFYING WITH AFRICAN 

IDENTITY / DISCRIMINATION 

— 

QUOTE: 

« North African artists often want to be connected with 

Europe more than Africa. Many Egyptian artists will prefer 

to have a screening in a small city in Europe than in an 

African capital. » 

Mohamed Ghazala 

Professor, Vice President of the International Association 

of Animation filmmakers (ASIFA), 

Cairo / Jeddah 

— 

— 

While most artists interviewed expressed strong motivation 

to travel to other parts of Africa, many described an overall 

climate of unease surrounding identification to Africa as a 

possible factor explaining low mobility within the continent. 

This difficulty can be described as a spectrum ranging from 

uncertain identification to ambient racism (present in all 

countries covered by the study). This climate nourishes 

misconceptions with respect to travel in Africa and/or 

motivates preference for travel to the West. 

It should also be noted that some respondents noted a 

sense of discrimination on the part of colleagues from West, 

East, South or Central Africa. They said this discrimination 

was expressed in several forms, including exclusion from 

pan-African events; lack of overtures and invitations; and 

explicit attributions of difference (e.g., “You’re not like us”). 

— 

5. 

NETWORKS AND ACCESS 

TO INFORMATION 

— 

Unless they have made a dedicated or 

concerted effort to seek out opportunities in 

the region or in other African regions, artists 

and cultural operators tend to be unaware of 

existing events, networks, residencies, etc. 

Aggravating factors: 

a) There is a lack of active and up-to-date 

databases and platforms gathering and 

disseminating information about opportunities 

in Africa, including about funding. 

b) Existing platforms (e.g., Culture Funding 

Watch, Music in Africa, On the Move) are 

not necessarily well-known. 

c) There is a lack of opportunities for inperson 

contact and networking. 

d) Lack of professionalization means that 

artists often do not have the intuition, 

education or confidence to seek out 

opportunities. 

e) There are not enough professional cultural 

operators who can assist artists with 

research, connect them with information, 

etc. There are also not enough training 

opportunities for such operators.

40 


— 

6. 

LACK OF PROFESSIONALIZATION 

AND INFRASTRUCTURE 

— 

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. 

— 

7. 

LANGUAGE BARRIERS 

— 

While Modern Standard Arabic is the official language across North African 

countries, differences in regional spoken dialects and the presence 

of different colonial languages pose communication barriers within the 

region and outside. Respondents named the following issues: 

a) Language barriers were cited as a source of intimidation, discouraging 

some artists from pursuing international travel opportunities. 

b) Low literacy in written French, English and / or Arabic was cited as 

an impediment to completing funding application forms. 

c) Language barriers can be especially relevant in disciplines such as 

music and theatre, where understanding of lyrics or dialogue can 

impact overall appreciation of a song or play. 

— 

QUOTE: 

« Sometimes the problem is not with 

mobility funds but also with the 

freedom of mobility or accessibility 

to mobility. Egypt is a shrinking 

political space, and artists working 

with creative industries and creative 

expression have this challenge 

in terms of regime, for example 

getting permissions to apply for 

visas and permits to travel to many 

countries. » 

Abdelsamee Abdallah 

Cultural activist and theatre 

practitioner, 

Cairo/Amman 

—

41 


For the 2016 edition of Ségou Art in Mali, artists Wadi Mhiri and Houda Gorbel created “Containers for a 

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 

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.” 

Photos courtesy of Wadi Mhiri.

42 


— 

QUOTE: 

« We’re having all these revolutions, asking ourselves “who are we?”. 

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 

the way to connect. » 

Najlaa El-Ageli 

Architect, Founder of Noon Arts 

Projects, Tripoli / London 

—

43 


— 

8. 

SECURITY CONCERNS 

— 

Libya is the country most affected by security 

concerns, with militias present across 

the country and namely controlling airports. 

Recent conflict in the country has isolated 

cultural actors living there (namely through 

border closures and closure of embassies) 

and discourages international actors from 

pursuing projects there. 

Security concerns also affect potential travellers 

to Egypt, especially from marginalized 

identities, who are aware of increasing limitations 

on freedom of expression, arbitrary 

incarceration, etc. 

— 

9. 

RESTRICTIONS ON FREEDOM 

OF MOVEMENT AS CENSORSHIP 

— 

In Egypt, restrictions on freedom of movement 

are part of a broader mechanism designed to 

limit freedom of expression and association. 

Restrictions on freedom of movement have 

also been noted in Morocco, Algeria and 

Tunisia. 

— 

10. 

POSTCOLONIAL AND 

POST-REVOLUTION DISPENSATION 

— 

Some respondents noted that weak mobility 

in the region can be attributed to the idea that 

the region is “searching for itself,” in the wake 

of conflicts, revolutions and ongoing profound 

transformations at the social, economic, and 

political levels. One impact is that some artists 

are focused on developing their careers and 

scenes at a local level, addressing issues and 

concerns rooted in their surroundings, and do 

not prioritize international travel. However, it also 

flows from this dispensation that the pursuit of 

international opportunities can be undermined 

by a difficulty positioning oneself and relating to 

others in a constantly changing climate. 

— 

11. 

DISILLUSIONMENT WITH MOBILITY 

AND TRAVEL CONDITIONS 

— 

A number of respondents questioned the usefulness 

of pursuing mobility projects today, given 

the above-described limitations. 

a) Respondents noted that mobility often seems 

to have been drained of its human and creative 

aspects and reduced to a purely quantitative 

indicator, often in development and 

cooperation schemes. Feeling the impact 

of budgetary constraints and visa duration 

restrictions, they note that attendance at 

festivals and other events often feels more 

draining than it is nourishing or inspiring. 

b) Three respondents named the framework 

of international cooperation as an impediment 

to meaningful cultural exchange. The 

terms of exchange being dictated by foreign 

– usually European – institutions, artists 

find their liberty of creation and move-ment 

constrained by foreign agendas and budgets, 

sometimes finding themselves held 

up as ambassadors of successful cultural 

diplomacy rather than as creators in their 

own right.

44 

Country-Specific Information 

4 

— 

Fact: 

This study covers 

Algeria, Egypt, Libya, 

Mauritania, Morocco, Tunisia 

and Western Sahara. 

—

45 


COUN 

TRY 

SPECIFIC 

INFOR 

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 


4.1 

Algeria 

— 

QUOTE: 

« To understand the phenomenon 

[Algeria’s isolation from Africa], 

you need to look at the history. 

Algiers was the Mecca of African 

revolutionaries. After the ‘black 

decade’ [the 1990s], Algeria took 

some distance from Africa. Artists 

became interested in what lay behind 

the sea, which is to say Europe. 

Europe’s cultural and economic might 

allow it to decide on the direction 

of mobility. » 

FAST FACTS 

Population 41.3 million (World Bank, 2017) 

Walid Aidoud 

Visual artist, founder of Box24, 

Algiers* 

— 

Surface area 

Capital 

Large cities 

Languages 

2.382 million km² 

Algiers 

Oran, Constantine, Annaba, Blida, Tizi Ozou 

Modern Standard Arabic and Tamazight 

(official) 

Darija (vernacular Algerian Arabic) 

French 

Dialling code +213 

Currency 

Main international 

airports 

Algerian dinar 

Houari Boumediene International Airport, 

Algiers Mohamed Boudiaf International Airport, 

Constantine Es-Sénia International Airport, 

Oran 

Rail network 

Société nationale des transports ferroviaires 

(SNTF), 4500 km of railways 

Visa requirements 

for Africans to enter 

Algeria 

Visa-free access for nationals of Maghreb 

countries (Morocco, Tunisia, Libya, Mauritania), 

Mali and the Seychelles 

Visa required for all other nationalities 

African countries’ 

visa requirements for 

Algerian nationals 

Visa-free travel: Maghreb countries, Mali, 

Guinea and Benin 

E-visa or visa upon arrival: Angola, Cabo- 

Verde, the Comoros, Côte d’Ivoire, Djibouti, 

Ethiopia, Gabon, Ghana, Guinea-Bissau, Kenya, 

Lesotho, Madagascar, Mozambique, Rwanda, 

São Tomé and Principe, Somalia, Tanzania, 

Togo, Uganda, Zambia and Zimbabwe 

Visa required for all other African countries

47 


— 

GENERAL INFORMATION 

— 

Algeria is the largest country in Africa and shares 

a border with all the countries of North Africa, 

with the exception of Egypt. To its North lies the 

Mediterranean Sea, while the Sahara desert covers 

a wide swathe of the South of the country. 

Algeria’s first peoples are the Amazighen. 

Ancient Algeria was occupied consecutively by 

the Phoenicians, the Carthaginians and the Romans 

before the Arab invasions of the 8th – 11th 

centuries AD. The Ottoman Empire occupied 

coastal Algeria between 1518 and 1830. In 1830, 

France annexed Algeria, beginning a lengthy and 

violent process of colonization. Algeria was administered 

as a département of France between 

1848 and Independence in 1962. The latter was 

won through a complex and brutal war, with 

torture and massacres deployed by the French 

against the Algerian resistance. Over the years 

of colonial presence, the French implemented 

a thorough acculturation policy. Resistance to 

this policy has defined the foundations of modern-day 

Algerian identity: Islamic, Arabic and 

Amazigh (Boukrouh and Kessab, 2010). Today, 

French has no official status but is widely spoken 

and used in government, media and educational 

institutions, a legacy of Algeria’s colonial history. 

Affiliation to Africa was enshrined in the 

constitution of 1963, a reflection of Algeria’s 

commitment to and centrality within decolonization 

movements across the continent. Dubbed 

the “Mecca of revolution” by Amilcar Cabral, 

Algiers was a place of meeting for African resistance 

leaders and political exiles in the 1960s 

and 1970s. The Pan-African festival of 1969 

was held in Algiers, and the city was a seat for 

essential intellectual and political movements 

such as pan-Africanism, pan-Arabism and the 

non-Aligned movement. 

Algeria’s connections with the continent 

have been marred by its recent history 

of authoritarianism and conflict. In the 1990s, 

Algeria was engulfed in what is typically called 

la décennie noire (the black decade), a period 

of violence and terrorism opposing the Algerian 

government and various Islamist rebel groups. 

Abdelaziz Bouteflika was elected in 1999 and 

remained in power until his resignation on April 

2, 2019. Diplomatic or economic relations with 

the African continent have not been a priority for 

the Algerian government, although there have 

been gestures toward investment in Africa in 

recent years. 

While widespread protests did erupt in 

Algeria in 2011, full-scale revolution did not take 

place. However, on February 22, 2019, hundreds 

of thousands of Algerians took to the streets in 

what was described as a spontaneous wave 

of contestation in response to Bouteflika announcing 

his candidacy for a 5th consecutive 

mandate. Demonstrations have continued since 

Bouteflika’s resignation, as Algerians call for the 

ruling elite to step down and gather around the 

ideals of social justice, equitable distribution of 

wealth, dignity, popular sovereignty, egalitarian 

republicanism, anti-imperialism and principled 

politics, among others (Rouabah, 2019). This 

massive swell of popular dissent is underway at 

the time of writing, with magnificent displays of 

solidarity, hope, humour and imagination radiating 

from Algerian streets to the world. 

— 

ARTS AND CULTURE SECTOR 

— 

Algeria’s cultural sector has been marked by 

strong centralization and monopolization of 

cultural affairs by the Ministry of Culture. The 

Ministry has enjoyed a considerable budget, with 

the windfall from oil and gas revenue making it 

possible fo the Ministry’s budget to swell to $314 

million in 2014, the largest in Africa (Kessab, 

2015). This budget is reported to have collapsed 

in recent years with the fall of oil and gas prices 

and liquidation of Algeria’s reserves. 

Administration of the Ministry of Culture’s 

budget has been characterized by tight regulation, 

opaque financing, poor management, clientelism 

and a strong emphasis on funding for major 

institutions and large-scale cultural activities 

such as festivals. These in turn have promoted 

a vision of Algerian culture that can broadly be 

— 

A 

L 

G 

E 

R 

I 

A 

—

48 


described as folkloric. Public institutions and 

facilities inherited from the colonial period have 

in large part deteriorated and few new ones have 

been built. Moreover, infrastructures for culture 

are strongly centralized in Algiers, with financing 

for rural areas dependent largely on personal 

connections. Algeria has not yet ratified the 2005 

UNESCO Convention on the Protection and Promotion 

of the Diversity of Cultural Expressions 

(Kessab, 2015). 

According to MedCulture’s 2015 report, 

cultural and artistic associations received only 

0.2% of the annual budget for culture (Kessab, 

2015). Associations have been subject to tight 

and confusing legislation that limits the freedom 

to associate, operate and receive funding (see 

Impediments below). According to Freedom 

House (2018), “Algeria is one of the most difficult 

environments in the world to establish and operate 

a business.” There is a very limited culture 

of sponsorship and patronage. 

Despite the restrictions on its existence, 

the independent cultural sector is flourishing and 

affirming its presence with verve and energy. The 

visual arts have been particularly active, with a 

number of independent spaces and initiatives 

burgeoning in the last ten years. Censorship, 

lack of facilities and financing have muzzled the 

performing arts, but artists have stayed active and 

are expressing themselves in today’s waves of 

popular demonstration. There is a strong awareness 

and hope that the future of the country can 

be written by Algeria’s creatives. 

— 

MOBILITY TO / FROM ALGERIA 

— 

Algeria’s creative sector has been marked by 

isolation, largely a factor of the political unrest in 

the 1990s, lack of structuring (described above) 

and lack of state support for international exchange. 

Algeria is very weakly represented in 

AMA’s statistics, with a total of 20 applications 

from Algeria and 8 for projects taking place in 

the country since 2005. 

— 

A 

L 

G 

E 

R 

I 

A 

— 

— 

QUOTE: 

« What’s amazing [about this moment,] 

is that the independent cultural scene is 

taking up space and gaining in credibility 

with the public with small initiatives here 

and there. If we can structure our work in 

such a way that it’s sustainable, we’ll easily 

succeed in taking the lead over the state 

institutions. People have expressed their 

need for freedom and hope. That gives 

us space to act. It’s now possible for us 

to channel this energy and to offer 

something other than the violence we’ve 

always known. » 

Myriam Amroun 

Cultural project manager, Algiers* 

— 

More generally speaking, international 

travel to / from Algeria is a factor of the large size 

of the territory, expensive air connections and 

a fairly restrictive visa policy. Most international 

travel continues to be with Europe, dominated 

by France in light of the ties connecting the two 

countries: the large Algerian population in France, 

continued presence of French institutions in 

Algeria, and the relatively low cost of travel. 

Faced with these limitations but also 

compelled to discover and appropriate their 

own country, a number of artists have been purposefully 

seeking to develop mobility projects 

within Algeria. The size of the country alone 

makes travel from North to South a potential 

adventure. Moreover, the diversity of cultures 

within the country has been a subject of interest, 

even opening up curiosity and desire to travel 

further afield to Africa. In the words of musician 

Sadek Bouzinou (of Democratoz): “Algeria is a 

continent.”

49 


The strongest trends of international 

exchange are with neighbouring Morocco and 

Tunisia. These trends are due to freedom of 

movement within the Greater Maghreb and historic 

cultural and linguistic ties, which facilitate 

information-sharing and networking. Road travel 

is possible between Algeria and Tunisia but 

not between Morocco and Algeria, the border 

remaining closed after decades of conflict over 

the issue of Western Sahara. Many interviewees 

have expressed frustration at this limitation, 

which forces artists to travel by air (at a greater 

financial cost) and, on a deeper level, can restrict 

their capacity to envision common projects. 

Today, travel to other African regions goes 

mainly via Casablanca. Until the RAM began 

expanding its network, travel was necessarily 

via Paris. AirAlgérie has been developing its 

network, with new lines created to several West 

African destinations. Anecdotal reports suggest 

that AirAlgérie would like to rival RAM as a carrier 

towards the continent, in line with Algeria’s shift 

towards encouraging tourism and stimulating 

connections with Africa. 

Desire to create international bridges is 

very strong. In the visual arts, it is nourished in 

large measure by the visibility and prestige of 

major international events such as the Biennale 

de Dakar (mentioned by almost all respondents). 

In music, a number of groups such as Ifrikya 

and Democratoz have foregrounded the African 

musical roots of Algeria, creating popular consciousness 

of an African identity and a strong 

desire to develop greater exchange. 

— 

QUOTE: 

— 

A 

L 

G 

E 

R 

I 

A 

— 

« Since the borders are closed on almost 

all sides, except with Tunisia, a link has 

formed between North Algeria and the South. 

Algerians from the North have started to 

discover the South and in so doing, Africa. » 

Houari Bouchenak 

Photographer, Collectif 220, 

Algiers / Tlemcen* 

—

50 


CHEDMED 

DEMOCRATOZ 

MÂAN (TOGETHER) 

RACONTE’ARTS 

Examples of mobility projects 

Organized by Nomad Tracks, an Algerian multidisciplinary 

collective, ChedMed was a meeting of 

Algerian and Senegalese artists in Dakar in 2017. 

It was the second stop in a long-term project 

aiming to revive the idea of the “Tricontinental” 

South-South organization. A group of Algerian 

artists were invited to Dakar to build and paint 

a house together in Dakar’s medina. Concerts 

were hosted and photographers documented the 

process. The next edition is in Vietnam. 

Lead singer Sadek Bouzinou has been creating 

songs inspired by pan-Africanism and anti-racism 

movements, mixing raï, reggae, gnawa and other 

musical genres. He currently lives in Dakar. 

A new digital arts festival organized by visual artist 

Mouna Bennamani and photographer Mahmoud 

Agraine that will connect Algerian creatives with 

artists from North Africa, Africa and beyond. It 

will be the first of its kind in the country. 

The country’s only fully independent theatre 

festival, it has regularly invited artists from West 

and Central Africa to perform in the remote villages 

where it is held every year. 

— 

A 

L 

G 

E 

R 

I 

A 

— 

MARSAD 1 

MERIEM BOURAOUI 

A collective of photographers, visual artists, writers 

and graphic designers travelled from Algiers 

to the south of Algeria in a van, exploring the 

Algerian stretch of the TransSaharan highway 

that was designed to link Algiers to Lagos, via 

Agadez in Niger. They have future plans to explore 

Ottoman trade routes between Salé (Morocco) 

and Algiers, and potentially to continue the road 

trip down to Lagos. 

Slam poet Meriem Bouraoui travelled to 

N’Djamena, Tchad, in November 2018, to represent 

Algeria in the African Cup of Slam Poetry. 

Her trip was supported by AMA. 

— 

QUOTE: 

« For the most part, [Algerians] 

only know Africa through 

Western music. But as artists, 

we can really build a vision. 

Music isn’t everything but 

it can do a lot. […] I’m here [in 

Dakar] to learn. I want to show 

Algerians the positivity 

of Senegal. » 

Sadek Bouzinou 

Singer/songwriter, Democratoz, 

Oran/Dakar* 

—

51 


Algerian artist El’Moustach showing his works at Casalgéria 

exhibition at L’Uzine, 2018. Photo: Ahlam Maroon/L’Uzine 

— 

A 

L 

G 

E 

R 

I 

A 

—

52 


— 

A 

L 

G 

E 

R 

I 

A 

— 

— 

FUNDING FOR MOBILITY 

— 

Public administrations 

While the Ministry of Culture has enjoyed a sizeable 

budget since the 2000s, these funds scarcely benefit 

independent cultural actors wishing to pursue mobility 

projects. While applications can be submitted 

directly to the Ministry, there is no formal 

program and procedures involve heavy 

bureaucracy. 

Mobility funds have been granted via a 

semi-private agency called the Agence 

Algérienne pour le Rayonnement Culturel 

(AARC), designed to promote Algerian 

culture internationally. It acts primarily 

on a sponsorship basis, selecting artists 

and financing their participation at international 

events. They may be solicited 

directly but interviewees report that it 

is exceedingly rare for them to grant 

an application as their funding primarily 

goes towards the same groups. 

— 

« The Ministry of Culture 

has been out of service 

since 1988. » 

Myriam Amroun 

Cultural project manager, 

Algiers* 

— 

Annaba, Constantine, Oran, Tlemcen and Tizi 

Ozou. The Instituto Cervantes, British Council, 

Istituto Italiano, Goethe Institut and EU Delegation 

are also present in Algiers. 

Non-governmental organizations 

Local NGOs do not have the capacity to finance 

mobility projects. Foreign NGOs are very little 

known and funding is complicated due to restrictions 

on international transfers into Algerian 

bank accounts (see Lack of funding below). 

Banks and large companies 

Two interviewees reported that they had 

been able to travel thanks to sponsorship 

from banks and private donors. However, 

they noted that such opportunities are becoming 

more and more limited due to the 

general climate of austerity. 

— 

QUOTE: 

« The AARC is run as an executive body of the ‘spare wheel’ ministry, 

which practices clientelism, among other things, in a sector that is eager for 

openness and facilitation for its actors. They approach the parties they 

want without any public transparency, neither about their modes of 

operation nor their services. They maintain opaque and visionless public and 

institutional relations. One of their declared missions is to spread 

Algerian culture elsewhere - of course, this only applies to artists who align 

with the official cultural regime in place. » 

Malik Chaoui 

Co-project manager, Working Group 

on Cultural Policy in Algeria, 

Algiers* 

Bilateral cooperation 

Several artists reported that they have had greater 

facility obtaining mobility possibilities via international 

cooperation institutes. The Institut Français 

is by far the most active, with branches in Algiers, 

— 

— 

QUOTE: 

« Algeria is a very closed 

country; we often have to 

fall back on big Algerian 

companies, cultural 

institutes and embassies to 

fund our projects.» 

Arslan Naili 

Visual artist, 

Founder of Atelier N.A.S., 

Algiers* 

—

53 


— 

IMPEDIMENTS 

TO MOBILITY 

— 

Mobility to and from Algeria is complicated by 

the following factors: 

Lack of funding options 

· The Ministry of Culture has not supported 

independent arts practitioners. 

· NGOs must submit detailed reports of funding 

and gain government approval before 

accepting foreign funding (risking fines or 

imprisonment). This greatly limits funding possibilities 

for independent artists. Funds must be 

obtained through circuitous means involving 

friends or partners abroad, or through timeconsuming 

and potentially fruitless bureaucratic 

procedures. 

Administratively, it’s extremely complicated to 

receive money. It’s impossible to buy other currencies. 

If it’s a private individual who sends me 

money, it goes through. But if it’s an organization 

– like a publishing house or an association – it goes 

through, but only in Algerian dinars, which involves 

a loss of more than 50% of the original sum. – 

Ammar Bourras, photographer, Algiers* 

· Moreover, the climate of austerity has limited 

funding possibilities from private sponsors in 

Algeria. 

Politics of isolationism 

· Algeria has maintained fairly limited foreign 

relations, with considerable impact on the arts 

sector. Several respondents noted that Algeria 

has failed to invest in the link between culture 

and tourism, for instance, in contrast with its 

neighbour Morocco. 

It’s a link that’s just terrible between Algeria 

and other nations. We know there are [physical] 

borders, but it seems there are many others 

that are invisible but very present, and that 

make it impossible for us to connect to Africa. – 

Houari Bouchenak, photographer, Collectif 220, 

Algiers / Tlemcen* 

· In return, one respondent noted weak willingness 

on the part of the international community 

to reach out and create bridges with Algeria. 

There is no will to reach out to Algeria and understand 

what is going on, how can Algeria be 

supported. – Malik Chaoui, co-project manager, 

Groupe de travail sur la politique culturelle en 

Algérie, Algiers* 

Morocco/Algeria 

· Several respondents expressed regret and 

frustration at the difficulty of building bridges 

with their Moroccan neighbours, due to ongoing 

territorial disputes between the two states 

which have maintained the border closed and 

thus limited connections. 

[In terms of traveling], one of the difficulties we 

face is with Algeria: it’s absurd and anecdotal. 

We know about a lot of projects in Algeria but 

we can’t find a way to create collaborations 

between the two countries. The fact that the 

border is closed complicates things, and flights 

are quite expensive. It’s cheaper to go to Berlin 

or Amsterdam than to Algiers. – Amina Mourid, 

cultural operator, Co-founder, Atelier Kissaria & 

Think Tanger* 

Restrictions on civil society, censorship 

· Freedom of association has been limited in 

Algeria and artistic activity has been closely 

monitored. Freedom House rates Algeria as 

“not free.” 

Algiers is very conservative. There’s a mini-scene, 

but it’s not like Tunis. In Algeria, it’s more people 

with lots of money who are opening venues. It’s 

very small, very local. At the level of the Algerian 

authorities, it’s not easy. – Hamdi Ryder, DJ, 

Downtown Vibes collective, Tunis* 

· Restrictions on freedom of movement have 

been used as a form of censorship. 

Cultural operators are closely monitored. Every 

time we’ve prepared to participate in an event, 

we’ve had lots of trouble at the airport. I have 

friends who haven’t been able to leave. They [the 

authorities] tell you “please wait,” and then they 

purposefully make you miss your flight. – Myriam 

Amroun, cultural project manager, Algiers* 

— 

A 

L 

G 

E 

R 

I 

A 

—

— 

A 

L 

G 

E 

R 

I 

A 

— 

Visas 

· Algerian authorities have been known to apply 

visa restrictions arbitrarily, even to countries 

with which freedom of movement purportedly 

applies. 

· Access to Egypt has been particularly difficult 

for Algerian cultural actors. 

Lack of training 

Educational institutions exist for artistic training, 

but there are no opportunities for cultural 

managers to receive training in Algeria. 

The notion of cultural industries remains 

embryonic here. – Zafira Ouartsi, founder and 

director, Artissimo, Algiers* 

Culture of nepotism and individualism 

· Several respondents noted that the climate 

of poor / absent funding, lack of training and 

isolationism has created a culture of nepotism 

and individualism. 

· On the one hand, a select number of groups 

and individuals who have managed to break 

into international markets have monopolized 

all opportunities. 

There are groups that have toured everywhere, 

that have used every fund, that have been to 

every music market. And then there are some 

that never move. There’s a category that has 

priority; it’s the ones who match the authorities’ 

agendas. – Samy Abdelguerfi, booker, cultural 

policy researcher, Groupe de travail sur la politique 

culturelle en Algérie, Algiers / Paris* 

· On the other hand, those who have not yet had 

access to opportunities have had to compete, 

creating a climate of individualism. 

In Algiers, it can get very individualistic. Everyone 

is trying to break the other person’s career. There 

are so few of us, and yet we’ve been shooting 

each other in the feet instead of helping one 

another. – Samy Abdelguerfi* 

54 


Racism 

· Racism has been exacerbated in recent years 

due to the migration crisis. 

· Algeria has taken a tough stand, adopting a 

security-based approach, criminalizing migration 

in 2008 and signing agreements with Niger 

to deport migrants at the border. 

· Algeria continues to be an important destination 

for scholarship holders from Sub-Saharan 

African countries, but they face discrimination. 

It’s the lack of knowledge of Sub-Saharan Africa 

that creates racism toward students. It depends 

on the cities ; in some, students have an easier 

time integrating. – Houari Bouchenak, photographer, 

Collectif 220, Algiers / Tlemcen* 

— 

QUOTE: 

« It’s the lack of knowledge of Sub-Saharan 

Africa that creates racism toward students. 

It depends on the cities; in some, students 

have an easier time integrating. » 

Houari Bouchenak 

Photographer, Collectif 220, 

Tlemcen* 

— 

— 

QUOTE: 

« Recently we made an 

anti-racism video. There was an incident in 

2017 ; everyone was manipulated. 

A Sub-Saharan man attacked a woman. 

Everyone came out to say that migrants 

should stay in their home countries. 

I got a group of young people together. 

I’m the first to mobilize people – I was saying 

“you’re against Africans, but 

WE are Africans!”. » 

Sadek Bouzinou 

Singer /songwriter, Democratoz, 

Oran / Dakar* 

Watch the video for 

“Atini Yedak” here 

—

55 


4.2 

Egypt 

— 

QUOTE: 

« People in Egypt are trying to look North. 

Perhaps they look to Tunisia and 

Morocco. They don’t know about African 

culture. The media give us American 

movies, European movies. 

We have connections in Tunisia and 

Morocco. The language barrier is not a big 

deal – many families are connected. 

We know them and they know us as well. » 

Ahmed Eldeeb 

Co-founder, Director, Reflection for 

Arts Training & Development, 


— 

FAST FACTS 


Surface area 

Capital 

Large cities 

Languages 


Cairo 

Alexandria, Giza, Shubra El-Kheima, 

Port Said, Suez, Luxor 

Modern Standard Arabic (official) 

Egyptian Arabic or Masri (vernacular) 

English; Sa’idi Arabic; Bedouin Arabic; 

Nubian languages; Berber languages 


Currency 


airports 

Rail network 

Visa requirements for 

Africans to enter Egypt 



Egyptian nationals 

Egyptian pound 

Cairo International Airport 

Alexandria Borg El Arab Airport 

Egyptian National Railways (ENR), 

5,083 km network 

Visa on arrival for nationals of South Sudan 

Visas are required for citizens of all North 

African countries above the age of 14 

Visas required for all other nationalities 

Visa on arrival: Benin, Burkina Faso, Cabo 

Verde, Comoros, Djibouti, Ghana, Guinea, 

Guinea-Bissau, Kenya, Madagascar, 

Mauritania, Mauritius, Mozambique, Rwanda, 

Senegal, Seychelles

— 


— 

Spanning the northeast corner of Africa and 

the southwest corner of Asia, Egypt is located 

at the nexus of two continents. It is the most 

populous country in North Africa and the Arab 

world. Egypt’s economy is one of the largest in 

the Middle East and is third only to Nigeria and 

South Africa in Africa in terms of GDP (IMF, 2018). 

The country is a founding member of the Arab 

League, the African Union, the United Nations 

and the Organisation of Islamic Cooperation. 

Egypt’s position at the crossroads of 

continents, bodies of water and civilizations 

has shaped its cultural history. Greek, Roman, 

Ottoman, Persian influences have layered its 

cultural heritage; Jewish, Christian and Baha’í 

religions have all left their imprint as well, in addition 

to the dominant Islamic faith established 

after the Arab invasions. Nubians and Coptic 

Christians remain important minorities today. 

Egypt was a British colony from 1882 to 1922, the 

only British possession in North Africa. 

Full independence came with the revolution 

in 1952 and the declaration of the 

republic in 1953. Its 20th-century political 

history has been marked by instability and 

conflict, with successive armed conflicts 

with Israel between 1948 and 1973 and 

the spread of terrorism in the 1980s, 90s 

and 2000s. 

Egypt has always been at the 

heart of debates on African identity and 

history. In 1955, Senegalese historian and 

anthropologist Cheikh Ana Diop published 

the seminal and highly polemical Nations 

nègres et culture, in which he argued that 

Egyptian and African civilizations and 

cultures should be traced back to a common 

“cradle.” Gamal Abdiel Nasser was a 

committed supporter of African liberation 

movements and is widely recognized as 

a major figure of pan-Africanism. Since 

the 1970s, Egyptian foreign and cultural 

policy have been geared towards the Middle 

East and Europe, although overtures 

— 

E 

G 

Y 

P 

T 

— 

— 

QUOTE : 

« I’m from Egypt 

but I want to speak 

to the African soul. 

I’m so proud to be an 

African. I think I will 

never end this project. 

I’m archiving Africa 

through sound and 

music. Every time I 

start a country, I feel 

it’s endless. » 

Yara Mekawei 

Sound and video artist, 

founder of Radio 

Submarine, 

Cairo 

— 

56 


have been made in recent years, centering in 

particular on negotiations over shares of the 

Nile river. 

Egypt is one of the Arab countries in 

which the 2011 uprisings gave way to full-scale 

revolution. Eighteen days after protests erupted 

on January 25, 2011, then-president Hosni 

Mubarak – who had held power since 1981 – resigned. 

However, the years since the revolution 

have been marked by heavy instability and a 

return to authoritarianism since Abdel Fattah 

Sisi’s coup in July 2013. Freedom House rates 

Egypt as “not free,” signalling persecution of activists, 

parties and political movements, pervasive 

corruption, unfair elections, military incursion into 

political affairs and discrimination against women, 

Christians, Shiite Muslims, Nubians and darkskinned 

Egyptians, and LGBTQ communities. 

— 


— 

Egypt has historically had a rich and 

well-connected arts sector, bolstered by 

a strong, well-structured civil society, 

a strong media sector and a huge film 

and music industry. The cultural sector 

is strongly concentrated in Cairo and to 

a lesser extent in Alexandria (Fazeulaa, 

2018). 

There is no clear state monopoly on 

culture today, although censorship and 

surveillance of cultural actors are major 

problems. State budgets have not invested 

significant budgets into culture nor has 

the government demonstrated the will 

to implement an efficient cultural policy. 

This dispensation has left space for the 

private sector and civil society to flourish. 

In 2018, it was estimated that there were 

143 cultural organizations in the country 

(Fazeulaa, 2018). These are working to fill 

the gap left by insufficient cultural policy 

and working creatively to survive despite 

adverse legal frameworks.

57 


In the absence of well-maintained government 

facilities, private organizations have set 

up arts spaces in Cairo and Alexandria. The two 

cities are home to a large number of galleries and 

multidisciplinary arts spaces as well, of which 

the Townhouse Gallery, Darb 1718, Medrar and 

Contemporary Image Collective (CIC) are some 

of the best-known on international circuits in 

Cairo, and Al-Madina and MASS are some of 

the best-known in Alexandria. 

— 

MOBILITY TO/FROM EGYPT 

— 

Despite Egypt’s positioning at the crossroads of 

geopolitical and cultural areas, mobility patterns 

to / from the country are not equally distributed. 

Most respondents agreed that arts mobility continues 

to have Europe as a centre of gravity. 

However, as in other North African countries, 

this situation is changing due to visa restrictions 

enforced on Egyptian nationals. 

Cultural actors are more likely to travel to 

Middle Eastern destinations than North African 

ones, due to geographic proximity and historical 

ties that have connected Cairo and Alexandria 

more closely with Beirut and Amman than Tunis 

and Casablanca. Most cultural actors who have 

had international travel experience have been to 

Beirut and Amman, as Lebanon and Jordan have 

easy visa regulations for Egyptians and are also 

important seats of cultural activity. 

In North Africa, exchange is most active with 

Morocco and Tunisia. Both countries are associated 

with lively cultural scenes and political 

stability. Only two respondents mentioned 

attendance at an event in Algeria and only one 

mentioned a cultural project in Libya. 

Exchange with other African regions is 

fairly weak in contrast with the volume of exchange 

with Europe, the Middle East and North 

Africa. Most respondents stated that Sub-Saharan 

Africa simply is not on the radar. For artists who 

have pursued connections to the South, the most 

active channels are those that connect Egypt to 

South Africa, Ethiopia, as well as hubs in West 

— 

E 

G 

Y 

P 

T 

— 

— 

QUOTE: 

« There are big gaps between the 

communities. I always talk about this; 

the problem is the media. There is no 

news show or program talking about 

African issues in Egypt. We’re trying 

to get people interested, to close this gap. 

Most of these communities stay 

together because they’re afraid; they 

don't feel involved in Egyptian society. 

I say let’s meet through music. It’s a 

place where we can come together. » 

Ahmed Omar, 

Bassist and founder of AfriCairo, 

Cairo 

— 

Africa, most prominently Dakar and Lagos. According 

to AMA’s statistics, Egypt has had the 

most exchange with South Africa and Ethiopia 

(10 applications each), followed by Nigeria and 

Cameroon (8) and lastly by Kenya (7). These 

connections can likely be explained in terms of 

cultural and linguistic ties inherited from colonial 

times, as well as geographic proximity and availability 

of flight connections in the case of East 

Africa. 

A number of initiatives have nevertheless 

been promoting African arts and culture in 

Cairo and Alexandria, especially through music. 

Makan – Egyptian Center for Culture and Arts 

has been working to promote Egypt’s traditional 

musical heritage, offering a platform in particular 

for Sudanese and Nubian communities. On the 

side of contemporary music, AfriCairo is offering 

a venue for African musicians living in Cairo to 

meet and perform, with a small recording studio 

and a performance / jam space. The independent 

Luxor African Film Festival is also an important 

event on the annual arts calendar, with year-round 

training initiatives and programmes to support 

the production and promotion of African cinema.

58 


— 

E 

G 

Y 

P 

T 

— 

YARA MEKAWEI 

ELHAM KATTAB 

CONTEMPORARY 

IMAGE COLLECTIVE 

Examples of mobility projects: 

Sound and video artist Yara Mekawei attended 

the Lagos and Dakar biennales. She has since 

founded a pan-African radio station named 

Radio Submarine, which broadcasts one hour of 

sound art and alternative music (historical and 

contemporary) from a different African country 

every week. 

Digital artist Elham Kattab has been collaborating 

with curators across North Africa on a new 

platform named Digi-MENA. The first phase was a 

mapping research of digital artists in the region, 

produced in collaboration with Moroccan curator 

Nouha Ben Yebdri and Algerian curator Taoufiq 

Douib. She is also co-organizing a Digital Arts 

Festival with Douib, which is set to take place 

in Algeria later this year. 

The Contemporary Image Collective in Cairo is 

part of the Centres of Learning for Photography 

in Africa Network, which links organizations 

across the continent to develop critical thinking 

on photography. They have met in different 

countries across the continent, including Uganda, 

South Africa, Lesotho, Rwanda and RDC. 

LAILA SOLIMAN 

Egypt’s visa policy is one of the most restrictive 

in the region. Visas are required for citizens of 

all North African countries above the age of 14, 

with the exception of Libyan women who may 

enter visa-free. Nationals of all African countries, 

with the exception of South Sudan, must apply 

for a visa. 

Egypt has good flight connections to 

North Africa via EgyptAir as well as AirAlgérie, 

Tunisair and Royal Air Maroc, which all fly 

to Cairo. Egyptair has developed its connections 

southward, with connections to several 

East African countries, as well as South Africa, 

Zimbabwe and Zambia in Southern Africa and 

Nigeria, Ghana and Côte d’Ivoire in West Africa. 

Other destinations may be reached via Addis 

Ababa. 

Playwright and theatre director Laila Soliman 

has been pursuing projects in Senegal and South 

Africa. In 2017, she attended a residency at 

RAW Material Company in Dakar and in 2018, 

directed a theatre production titled “Museum 

of Lungs,” featuring South African composer/ 

multi-instrumentalist Neo Muyanga and writer/ 

performer Stacy Hardy.

59 


— 

QUOTE: 

— 


— 

Public administrations 

There is a serious lack of transparency regarding 

the national budget for culture and 

allowances for cultural actors. However, two 

respondents stated that they were aware 

of funds available through the Ministry and 

that they had successfully obtained grants 

from the Ministry of Culture’s international 

relations office. 

Civil society organizations 

Egyptian artists and cultural operators seem 

to be the best informed about funding opportunities 

provided by international civil society 

organizations. Al-Mawred al-Thaqafy and 

AFAC are very well-known amongst cultural 

actors, likely a result of proximity to Beirut 

and the fact that al-Mawred’s headquarters 

were in Cairo until 2015. Mophradat and the 

Roberto Cimetta Fund are also well-known. 

However, no respondents mentioned Africa 

Art Lines. 

« The Ministry of Culture is not 

transparent at all about how their funding 

works – you can go to them with the 

paperwork but you could wait indefinitely. 

It’s always a mystery as to why they 

respond to one application but not the 

others. There’s no clarity in the process 

and it keeps changing. It’s a very tedious 

process; an application has to go through 

4–5 offices and everything can stop if 

one person isn’t at their desk. » 

Nada Sabet 

Theatre director and 

co-founder, Noon Creative Enterprise 

— 

— 

E 

G 

Y 

P 

T 

— 

International cooperation institutes 

Unlike in Maghreb countries, where the Institut 

Français is by far the most present, in Egypt 

the most well-known cultural institutes are the 

Goethe Institut and Pro Helvetia. The Goethe 

Institut’s regional bureau is in Cairo. While they 

do not have a formal mobility program, they 

have supported a large number of artists via 

the Moving MENA program (since phased 

out) and have thus emerged as a reference 

for a large number of artists. Pro Helvetia was 

also repeatedly cited as a reliable source of 

funding. The British Council and the Dutch 

Embassy are also known to cultural operators 

and artists as possible sources of funding. 

Private foundations 

Several respondents deplored that the Ford 

Foundation is no longer providing direct support 

for initiatives in Egypt. However, two 

noted that the Drosos Foundation is filling 

the space left by Ford.

60 


— 

IMPEDIMENTS 

— 

Repression of civil society organizations 

· NGOs in Egypt have been facing increasing 

harassment, censorship, raids and persecution. 

They are being required to navigate increasingly 

complex bureaucratic mechanisms, with 

permissions required for nearly all activities. 

We don’t use state theatre or big theatres because 

we have issues with censorship. We don’t 

want any of our works to be censored. We try to 

work with cultural institutes to avoid censorship. – 

Adel Abdelwahab, Artistic director, Hewar for Independent 

Theater & Performing Arts, Alexandria 

· The most relevant laws, in terms of mobility, 

are those that require CSOs to apply for permission 

to host foreign artists. 

For example, if a Moroccan artist wants to come 

to Reflection Arts, I have to get a permission 

for him to work with me. If there are any fees, 

income from a performance, etc., I have to get 

a permit. If we do the project and I’m still waiting 

for permission, I also have to get another 

permit to send money abroad. – Ahmed Eldeeb, 

Co-founder – Director, Reflection for Arts Training 

& Development, Alexandria 

· Because laws are often passed fast and in 

secrecy, cultural operators and artists can 

easily be caught in legal traps. 

Restrictions on receiving foreign funding 

· The regulations on receiving foreign funds are 

placing particularly tight constraints on artists’ 

mobility. According to Freedom House, “all 

NGO funding and basic management decisions 

are also subject to regulators’ approval.” Artists 

report that this process can be extremely 

lengthy. 

We have to report every step that we take and every 

grant that we get. The last one we got was from 

SouthMed CV, but we didn’t get it immediately, 

because we needed permission from the 

authorities. We applied for the permission in 

January 2017 and waited until October. The 

whole time we were managing our relationship 

— 

E 

G 

Y 

P 

T 

— 

with SouthMed CV. They asked us “what is your 

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 

funds wisely, as we had planned earlier. – Ahmed 

Eldeeb, Co-founder and director, Reflection for 

Arts Training & Development, Alexandria 

· Faced with this situation, funds are ceasing 

operations in Egypt, leaving artists in an even 

tighter spot. 

Visa restrictions 

· Entry to Egypt has gotten increasingly difficult 

in recent years, with lengthy application 

processes at embassies abroad and arbitrary 

refusals. 

· Several respondents noted particular difficulty 

for Tunisians to enter Egypt (corroborated by 

respondents in Tunisia – see Tunisia section) 

Egyptian embassies abroad are hard to deal 

with when it comes to asking for visas for Arab 

citizens. Tunisians and Moroccans have such 

a hard time getting into Egypt – they get many 

rejections. – Basem Abuarab, Executive director, 

Al Moharek Booking Agency for Independent 

Arabic Music, Cairo 

· Moreover, Egyptians themselves must obtain 

permissions to travel to certain countries and/ 

or security clearance at the Cairo airport. 

Travel restrictions for men and women 

· Young men from the military service age need 

to get permission from military in order to travel. 

· Women need to get a permission/confirmation 

from their families that they are travelling to 

certain countries. 

Ambivalent identification with Africa / 

Discrimination 

· Many respondents noted that Egyptians do 

not identify as Africans, noting in particular 

Egypt’s unique geographic positioning and 

greater identification to the MENA region 

· Racism is also extremely prevalent in Egypt, 

targeting in particular the Nubian and Sudanese 

communities as well as African migrants. 

Nubian resistance movements are frequently 

met with violence and repression.

61 


Di – Egy Festival 2017 opening at Darb1718. 

Photo courtesy of Elham Kattab / Di – Egy Festival

62 


4. 3 

Libya 

— 

QUOTE: 

« Most Libyans identify as Arabs. 

But Libya is a mixed country of 

Tamazight, Tabu, Tuareg and Arabs. 

When people from North African 

countries talk about people from the 

South, they say “Africans”. » 

Tewa Barnosa 

Visual artist and founder of WaraQ 

Art Foundation, 

Tripoli / Berlin 

— 

FAST FACTS 


Surface area 

Capital 

Large cities 

Languages 


Tripoli 

Benghazi, Misrata, Zliten, Bayda 


Libyan Arabic (vernacular) 

Berber 


Currency 


airports 

Visa requirements for 

Africans to enter Libya 

African countries’ visa 

requirements for Libya 

nationals 

Libyan dinar 

Mitiga International Airport (Tripoli) 

Benina Intenrational Airport (Benghazi) 

Misrata International Airport 

Visa-free access for nationals of 

Tunisia and Jordan 


Visa-free access: Algeria, Mauritania, 

Tunisia, Benin 

e-Visa: Djibouti, Gabon, Guinea-Bissau, 

Lesotho, Tanzania, Uganda, Zambia, 

Zimbabwe 

Visa on arrival: Burkina Faso, Cabo Verde, 

Ghana, Madagascar, Mozambique, Senegal, 

Somalia, Togo

63 


— 


— 

Libya is the fourth-largest country in Africa and 

is among the 20 largest in the world. Spanning 

1.770 km, its coastline is the longest of any of 

the Mediterranean countries. The largest city and 

capital, Tripoli, is located in western Libya, while 

the second-largest city, Benghazi, is located in 

eastern Libya. Ninety percent of Libya’s population 

lives along its coast. 

What present-day Libya is has been inhabited 

by Amazigh tribes since the late Bronze 

Age. Libya was occupied by the Phoenicians, 

Greeks, Persians, Egyptians and Romans before 

the Islamic conquests. In the 20th century, Libya 

was under Italian rule between 1911 and 1947. 

Cinemas, theatres, libraries and cultural centres 

were built. The country declared its independence 

in 1951. Eight years later, the discovery of 

massive oil reserves transformed the until-then 

poor nation. In 1959, a group of rebel officers 

led by Muammar Gaddafi overthrew the 

government and established the Libyan Arab 

Republic, embracing the principles of Arab 

socialism. This coup-d’état was the beginning 

of a 42-year dictatorship, marked by 

bloody repression of opposition, invasion 

of all aspects of private life and negation 

of public space. 

Libya entered a civil war in 2011, as 

protests turned into a rebellion which was 

met with force by Gaddafi. A NATO offensive 

began in March 2011, bolstering the rebellion. 

Gaddafi was killed in October 2011. 

Since 2011, Libya has been torn among 

rival, armed militias affiliated with distinct 

regions, cities and tribes. The power vacuum 

has created an opening for tribal militias and 

jihadist groups to make incursions. There 

are currently two main rival governments: 

the Interim Government (IG), based in the 

East, formed in 2014; and the Government 

of National Accord (GNA), formed in 2016 

under UN-led Initiative for a Libyan Political 

Agreement, based in the West. Presidential 

and parliamentary elections have been 

— 

L 

I 

B 

Y 

A 

— 

— 

QUOTE: 

« There are a couple old 

cinemas that were built 

by the Italians in the days of 

the Libyan kingdom but none 

of them are working. 

We have 6 – 7 but none are 

working. I found out that 

they’re destroying them. I 

felt ashamed and sorry. There 

is a cinema that’s one of the 

most amazing buildings in 

Libya, but it was burned down 

by the revolutionaries. Why? 

Gaddafi was using it 

for his things » 

Abdul Mohaimen Zarrough, 

photographer and 

cultural manager, 

Tripoli 

— 

planned since 2018, but have yet to be held. At 

the time of writing, the Libyan National Army, led 

by former Gaddafi general Khalifa Haftar, was 

leading a major offensive on the GNA-controlled 

city of Tripoli. Tens of thousands of people have 

been displaced and hundreds killed, including a 

significant number of African refugees. 

The relationship between modern Libya 

and Africa is difficult to dissociate from Gaddafiera 

politics and the migration crisis, as Libya has 

become an important passageway. Historically, 

nomadic Tuareg and Tabu communities link the 

South of Libya and areas to the South. Gaddafi 

is known (and sometimes even romanticized) 

as a prominent pan-Africanist. He was one of 

the founding fathers of the African Union and 

supported a number of liberation movements, 

including the African National Congress in South 

Africa. However, he also funded rebel groups in 

Sierra Leone and Liberia and plotted to invade 

Chad in 1980. Much of his pro-African policy 

centered on personal self-aggrandizement as an 

Arab king of Africa. Some commentators have 

suggested that anti-Gaddafi backlash may 

be fuelling anti-African sentiment in Libya 

(see Racism below). 

— 


— 

Libya’s present-day arts and culture sector 

has been shaped by the authoritarianism, 

censorship, and nationalism that prevailed 

under Gaddafi and the profound turmoil that 

has reigned since 2011. 

The 1973 Cultural Revolution instituted 

a climate of intense repression on 

the arts and culture, resulting in the arrest 

and prosecution of large numbers of cultural 

actors, the murder of opposition figures, the 

banning of foreign language books and musical 

instruments, the destruction of infrastructures 

left by Italian colonization and the criminalization 

of languages other than Arabic. 

In one of his speeches, Gaddafi stated that 

“artists are free but their freedom will end

64 


when they approach the government (quoted in 

Gana, 2011).” 

The revolution brought a phenomenal outpouring 

of creative production: protest poetry was 

voiced, rap battles were hosted, graffiti exploded 

on city walls, and photographers documented 

the process, sharing their images via blogs and 

social media. International institutions supported 

this process, largely from the perspective of 

encouraging arts as a form of documentation of 

human rights defense and democracy-building. 

After violent clashes in 2013 – 2015 put a 

halt to cultural activity, the last years have seen a 

recrudescence in grassroots arts. Clusters of cultural 

actors are forming organically in Tripoli and 

Benghazi, finding creative solutions to the vast 

problems of lack of infrastructure, training, managerial 

capacity and restrictions on movement. 

Neither of the two provisional governments has 

a Ministry of Culture, although both have general 

authorities for culture. However, neither is 

truly in touch with the grassroots cultural 

scene and neither is funding any major 

events or facilities. 

The young art scene is therefore 

consolidating itself through a small number 

of organizations run by dedicated young 

artists, of which Tanarout in Benghazi and 

WaraQ in Tripoli are the most active and 

visible; support from international human 

rights organizations; and the tireless work 

of a small group of figures from the previous 

generation, namely Ali Mustafa Ramadan 

(founder of The Art House in Tripoli) and 

Hadia Gana (an artist, founder of the Ali 

Gana Foundation and Museum). Libyans 

living abroad, such as Reem Gibreel in the 

USA, founder of the Arete Foundation, 

and architect Najlaa el-Ageli, founder of 

Noon Arts Projects, are also playing an 

important role in connecting Libya with the 

international arts scene. Today’s Libyan arts 

scene is an incredible model of resilience 

and revival, much of which has been driven 

by remarkable solidarity. 

— 

L 

I 

B 

Y 

A 

— 

— 

QUOTE: 

« Our history was re-written 

under Gaddafi – we don’t know 

our own history. Not just in 

Libya, but across the whole 

Middle East, it’s been 

trauma after trauma, since the 

Ottomans. We need to tackle 

this history. [Visual artist] 

Takwa [Barnosa] is asking 

what is the legacy of the 

Ghaddafi era? The younger 

generation didn’t go through 

the brainwashing the older 

generations did. » 

Najlaa El-Ageli 

Curator and architect, Founder 

of Noon Arts Projects, Tripoli/ 

London 

— 

— 

MOBILITY TO/FROM LIBYA 

— 

Mobility to / from Libya has been severely hampered 

by the cultural isolationism under Gaddafi 

and the war since 2011, which caused borders to 

close, flights to / from Libya to cease and foreign 

embassies to leave Libyan cities. 

The Libyan arts scene is very little known 

outside the country. Incoming mobility of cultural 

actors to Libya has thus been virtually nil, voided 

by lack of knowledge and security concerns. 

AMA had never received an application 

for a mobility project to / from Libya until 

2018 (see Ouafa Belgacem quote below). It 

should be noted that several cultural actors 

in neighbouring countries expressed strong 

interest in knowing more about the Libyan 

cultural scene, voiced their solidarity with 

their Libyan peers and expressed the desire 

to create bridges. 

Today, mobility of Libyan cultural actors is 

beginning again, with exchanges happening 

almost exclusively via Tunisia. Tunisia is one 

of the only countries that does not require 

visas from Libyan citizens and the only flight 

connections to / from Tripoli and Benghazi 

are with Tunis. Moreover, with most foreign 

embassies having left Tripoli and Benghazi, 

the closest embassies are in Tunis, forcing 

Libyan travellers to make a stop there in 

order to complete visa procedures. 

Libyan citizens are eligible for visa-free 

access to Mauritania and Algeria, although 

Algeria’s border authorities have been reported 

to be inconsistent. Access to Egypt 

has become very difficult in recent years. 

Respondents did not cite any examples of 

travels to Morocco.

65 


TEWA BARNOSA 

TRAVELLING NARRATIVES 

FARAJ ALSILEENI AND 

MOHAMED BUSNEINA 

KAW-KAW 

NAJLAA EL-AGELI 

— 

QUOTE: 

Examples of mobility projects: 

Visual artist Tewa Barnosa recently curated an exhibition 

titled The Green Book at LeCube in Rabat. 

The theme of the exhibition was The Green Book, 

the manifesto published by Gaddafi in 1976 in which 

he defined his regime’s ideology. Because Tewa 

could not get a visa to Morocco, she curated the 

exhibition virtually. 

The regional programme Travelling Narratives 

brought Libyan artist Suhaib Tantoush to complete 

a residency at LeCube in Rabat. Travelling Narratives 

is a regional program of art and research “that 

aims to encourage interactions between cultural 

agents in Morocco, Algeria, Egypt, Mauritania and 

Libya” through residencies, exhibitions, screenings, 

meetings, workshops and conferences. The 

program is carried out in partnership with Townhouse 

Gallery in Cairo, Les Ateliers Sauvages in 

Algiers, WaraQ art foundation and the cultural 

space Diadie Tabara Camara in Nouakchott. 

Musicians Faraj Alsileeni and Mohamed Busneina 

of Tanarout performed at the Cyprus Mediterranean 

University’s Libyan Day. 

Visual artist Hadia Gana participated in Kaw-kaw 

at Le18 in Marrakech, a collective residency organized 

around the theme of the Greater Maghreb Union. 

Tripoli-born and London-based architect Najlaa 

El-Ageli has curated 15 exhibitions of Libyan art 

in various locations in Libya and Europe through 

her curatorial platform Noon Arts Projects, 

including Retracing A Disappearing Landscape 

(2018), an interdisciplinary show on memory and 

personal history in Libya. 

— 

L 

I 

B 

Y 

A 

— 

« Libyan artists cannot rely on the government to 

provide places for art. The governments only 

care about appropriating the buildings for themselves 

to show off to the others that they’re 

stronger. » 

Abdul Mohaimen Zarrough 

Photographer and cultural manager, 

Tripoli 

—

66 


Musicians Mohamed Busneina and Faraj Alsileeni perform at 

Tanarout arts space in Benghazi. 

Photo courtesy of Dina Gallal/Tanarout 

— 

QUOTE: 

« Before, when [artists] were 

allowed to go to most countries, 

there was no art movement. But 

now there is an art movement, and 

people can’t move. » 

Abdul Mohaimen Zarrough 

Photographer and cultural manager, 

Tripoli 

—

67 


— 


— 

The cultural affairs delegations are not funding 

cultural projects at present. Cultural actors 

who are travelling are doing so through funding 

provided by international human rights organizations, 

universities or cultural institutes. Given 

the relative inexperience of the Libyan culture 

sector and lack of managerial capacity, Libyan 

cultural actors are hard-pressed to compete 

with their colleagues in neighbouring countries 

for funds. AMA, AFAC, Al Mawred al-Thaqafy 

and Mophradat have scarcely funded Libyan 

cultural actors. 

— 

IMPEDIMENTS 

— 

Currency and costs 

· A host of issues make financing travel extremely 

complicated. In the current banking crisis, 

there is a shortage of dinars, which means 

that accounts may be frozen for months at a 

time. The dinar is extremely devalued, meaning 

that transactions must be paid via the black 

market, often with exacerbated rates. Foreign 

currencies cannot be exchanged in Libya. 

· Respondents stated that foreign funding agencies 

require organizations to have a bank 

account in Tunis, as they will not transfer to 

Libyan accounts. 

We’re not allowed to exchange any money. We 

use the black market. The other problem is the 

exchange rate. You have to work very hard to 

make $1000. – Faiza Ramadan, visual artist, 

Tripoli 

Visas 

· The Libyan passport is very weak; entry into 

countries other than Tunisia is not guaranteed 

without support from a well-established human 

rights organization or cultural institute. 

— 

L 

I 

B 

Y 

A 

— 

Libyans aren’t welcome in most countries. – 

Faraj Alsileeni, Director, Tanarout, Benghazi 

· Visa procedures require a trip to Tunis, incurring 

travel and accommodation costs. 

For my Green Book exhibition, I had to remotely 

curate it – not because of funding but 

because Morocco doesn’t allow Libyans at all. – 

Tewa Barnosa, visual artist and founder of WaraQ 

Art Foundation, Tripoli / Berlin 

Transport of artworks 

With militias in control at the airports, transport 

of artworks is seen as suspicious. Respondents 

reported smuggling artworks in hand-luggage, 

and/or pleading with authorities to let them pass. 

Every single time I travel with the darbuka, I have 

a problem. I need to have it with me in the cabin. 

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 

society. – Mohamed Busneina, drummer, Content 

Developer & Head of Music Dept. of Tanarout, 

Benghazi 

Lack of connections 

· Direct flights between Libya and most countries 

have been cancelled since the outbreak of the 

war. The most stable remaining international 

connections are between Tripoli or Benghazi 

and Tunis, Alexandria and Istanbul. 

War and security 

· The security situation is extremely unstable, 

with the potential for armed conflict to break 

out at any point. 

It’s hard to travel within our own country because 

of the fights between cities, which make 

it dangerous to travel. As long as they’re fighting 

amongst themselves, we’re suffering. – Dina 

Gallal, photographer and visual artist, Tanarout, 

Benghazi 

· Road travel is extremely dangerous; it is subject 

to control by militias and may cross conflict 

zones. 

· The Tripoli and Benghazi airports are controlled 

by militias. 

Travelling is not safe at all. Even travelling by flight 

is not safe. You never know who is controlling

68 


the airport on a given day. – Mohamed Busneina, 

drummer, Content Developer & Head of Music 

Dept. of Tanarout, Benghazi 

Flight delays and complications 

· All respondents noted that travelling out of 

Libya is an extremely hazardous and at best 

time-consuming process. 

Flight delays are crazy – sometimes you wait 10 – 12 

hours in the airport, waiting there for nothing. – 

Mohamed Busneina 

Harassment 

· Harassment at the airport is extremely common, 

namely for artists and especially for women 

travelling alone. 

At arrival at the airport, I was held for a while 

for no convincing reason. In my opinion, it was 

related to the fact that I am a Tunisian woman, 

unveiled and travelling alone to Libya. As the 

airport is still primarily controlled by militia, many 

of which are pro-Daesh, a woman travelling alone 

is as such a defiance. – Ouafa Belgacem, cultural 

resource mobilization expert, CEO of Culture 

Funding Watch, Tunis 

— 

L 

I 

B 

Y 

A 

— 

Lack of identification with Africa and racism 

· Racism is a major issue in Libya. Discrimination 

toward black Libyans and Africans is 

deep-seated, marked namely by the presence 

of racial stratifications and derogatory terms. 

However, it has taken new forms in recent 

years, especially as a result of the war, which 

has caused internal displacement for black 

Libyan communities, and the escalation of 

migration from African countries further south. 

Indeed, despite the strife and instability in the 

country, Libya is an important transit point 

for migrants trying to reach Europe. Human 

rights organizations have reported the vast 

range of abuses that migrants face, from arbitrary 

detentions, to beatings, to killings. In 

2016, the IOM reported that migrant Africans 

were being sold as slaves in Libya; in 2017, 

CNN published a video of a slave auction 

that sparked an international outcry. In the 

media and in everyday conversation, Libya 

is described as a dangerous place for black 

Africans. 

Lack of infrastructures and professional 

training 

· As described above, there is a glaring lack 

of infrastructures and facilities for the arts in 

Libya’s main centres, due to repression during 

the Gaddafi era and subsequent destruction 

during the years of conflict. Nevertheless, the 

centres described above are eager to connect 

with foreign artists and are building facilities 

that could host mobility projects in the future. 

· The new generation of Libyan artists and cultural 

operators is largely self-taught, making it 

difficult for them to compete with international 

artists in funding calls. They are however highly 

motivated and are seeking out opportunities 

for training whenever available. 

I’m self-taught. All of us have to learn the hard 

way. Lots of things, we learn via the Internet. We 

can’t find materials in the country for many types 

of art. At Tanarout we’re all volunteers. – Dina 

Gallal, photographer, Tanarout, Benghazi

69 


4.4 

Mauritania 

FAST FACTS 


Surface area 

Capital 

Large cities 

Languages 


Nouakchott 

Nouadhibou ; Kibera 


Hassaniya Arabic (vernacular) 

Pulaar, Soninke, Wolof (national); French 


Currency 


airports 

Ouguia 

Nouakchott International Airport 

Nouadhibou International airport 

Rail network Société Nationale Industrielle et Minière, 704 

km (Nouadhibou – Zouerate) 



Mauritania 

African countries’ visa 

requirements for Mauritanian 

nationals 

Visa-free access for nationals of Algeria, 

Tunisia, Libya, Mali, Niger, Senegal, Gambia, 

Côte d’Ivoire 

Visa on arrival for all other countries 

Visa-free access: Algeria, Tunisia, Mali, Niger, 

Côte d’Ivoire, Chad, Burkina Faso, Benin, 

Côte d’Ivoire, Guinea, Mauritius and 

Sierra Leone. 

Visa on arrival and / or e-Visa: Mauritanian 

citizens travelling to Cameroon, Comoros, 

Congo, Djibouti, Ethiopia, Ghana, Guinea-Bissau, 

Gabon, Lesotho, Madagascar, Mozambique 

Somalia, Kenya, Tanzania, 

Uganda, Togo, Rwanda, Zambia and 

Zimbabwe

70 


— 


— 

Mauritania is located at the hinge of North and 

West Africa. With 90 % of the territory lying within 

the desert, the vast majority of the population 

lives along the southern coast. The capital and 

largest city is Nouakchott, home to one-third of 

the country’s population. 

Mauritania is an eminently multiethnic 

country, although strife has tainted the formation 

of a peacefully pluralistic society. The country’s 

demographics today are made up of three 

main groups: Bidhans of Arab-Berber origin; the 

Haratin, descendants of former slaves, also 

Arabic speakers; and people of West African 

descent, among them Soninke, Bambara and 

Wolof. Arabic is the official language of Mauritania, 

with Hassaniya the local spoken dialect. 

French is used in the media and educated classes. 

English is making inroads. Social hierarchization 

based on skin colour and ethnicity is strong, 

with black Haratin assigned to the lowest caste. 

While Mauritania abolished slavery in 1981 (the 

last country in the world to do so), the practice 

is still in place. Ethnic discord and slavery were 

at the heart of the Mauritania-Senegal Border 

War of 1989 and continue to permeate political 

discourse in the country. 

Mauritania has been rocked by a series of 

coups or attempted coups since independence 

from France in 1960. A series of military rulers 

succeeded one another between 1978 and 2005. 

After a transitional government was instituted in 

2007, General Abdel Aziz seized power in 2008. 

He was elected in 2009 through an irregular 

election process. He is currently president. 

Mauritania is one of the poorest countries 

in the world, despite important natural resources. 

Droughts, most notably the Great Sahel droughts 

of the early 1970s, have devastated the country. 

According to Freedom House, the country is not 

free. While the government has adopted laws to 

address the problem of institutionalized slavery 

and discrimination, it continues to arrest antislavery 

activists. 

— 

M 

A 

U 

R 

I 

T 

A 

N 

I 

A 

— 

In February 2011, the Arab Spring spread to 

Mauritania, with thousands of people taking 

to the streets to denounce slavery, corruption 

and human rights abuses. The protests did not 

generate full-scale revolution or reform. 

— 


— 

The arts and culture sector in Mauritania is precarious 

but dynamic, borne by dedicated artists 

and activists working without official support. 

The Ministry of Culture has the capacity to offer 

project support. However, most of the budget 

is allocated to festivals, which respondents say 

are essentially showcases for the Ministry. The 

modern-traditional divide still figures strongly in 

discussions of art and culture, but cultural actors 

are working to bridge art forms and audiences. 

Dominated by oral cultures, Mauritania 

is most closely associated with the music of the 

Amazigh griots. As nomadic memory-keepers, 

they traditionally traveled through the desert to 

share their music and stories. The droughts and 

political upheavals of the 1970s irremediably impacted 

these traditional modes of creation and 

transmission, forcing nomadic peoples into the 

cities and subsequently repressing their forms of 

expression. Today, traditional musicians belong to 

the lowest social caste and are only able to monetize 

their creative work through performances 

at weddings. Organized by Mauritanian-Canadian 

Atigh Ould and hosted annually or bi-annually 

outside Nouakchott, the Festival Nomade creates 

a platform for traditional musicians to share their 

music with local and international audiences, 

who come from Europe, Canada and across 

Africa. Moreover, the internationally known singer 

Maalouma has recently opened a foundation, 

funded by AFAC and the Ministry of Culture, 

which offers a studio and recording space. 

Nouakchott is home to a dynamic hiphop 

scene. It is celebrated every year at the 

massive Festival Assalamalekoum, which has 

been known to draw audiences of up to 15.000. 

Performance spaces in Nouakchott are rare,

71 


Mobility projects: 

many having been destroyed or abandoned by 

successive authoritarian regimes. The Institut 

Français continues to have the most comprehensive 

facilities, although the Egyptian and 

Moroccan cultural centres are used as well. 

Some cultural centres and youth centres are 

used by local artists but lack equipment. 

In the literary field, Traversées Mauritanides 

organizes literacy initiatives, publishes 

books and organizes a yearly literary festival. La 

Maison des cinéastes is one of Nouakchott’s 

most vibrant associations, organizing film 

screenings, trainings and an annual festival. 

Other art forms are marginalized, being 

associated with colonization. Nevertheless, small 

galleries and visual art spaces are emerging. 

Échos du Sahel and painter Amy Sow’s ArtGallé 

are two such spaces to watch. Finally, Centre 

Diadie Tabara Camara is creating music projects 

for formerly enslaved peoples in Nouakchott, 

using music as a vehicle of empowerment, expression 

and human rights defense. 

— 

MOBILITY TO / FROM MAURITANIA 

— 

HAMEDINE KANE 

MOHAMED IDOUMOU 

Mauritanian artists travel principally to three 

destinations: France, Morocco and Senegal. 

However, exchange with Mali, Tunisia and Egypt 

has become more common in recent years. Artists 

are drawn to Tunisia for its theatre scene, while 

Casablanca and Dakar’s dynamic music scenes 

attract contemporary Mauritanian musicians. 

Despite long distances, artists travel to 

Dakar, Bamako and Banjul by car. Most flight 

connections are to Dakar and Casablanca, but 

TunisAir now also connects Nouakchott to Tunis. 

Filmmaker Hamedine Kane participated in 

Kaw-Kaw residency at Le18 in Marrakech. 

Poet, journalist and filmmaker Mohamed 

Idoumou has visited roughly 38 countries, 

including meetings across North Africa. 

— 

QUOTE: 

« The Ministry of Culture organizes a festival 

in each of the 4 historic cities; those are the 

events that are the best funded by banks, 

cooperation institutes and local companies, but 

they’re very poorly organized. They are made 

for the President to give a speech; they bring big 

artists from the Arab world who don’t necessarily 

need to travel » 

Mohamed Idoumou 

Poet, journalist, documentary filmmaker 

and cultural operator, Maison du cinéma de 

Nouakchott* 

—

72 


Mohamed Idoumou performs a poem on the 

theme of flying, in collaboration with a dancer 

colleague in Leipzig, Germany. 

Photo courtesy of Mohamed Idoumou

73 


— 

M 

A 

U 

R 

I 

T 

A 

N 

I 

A 

—

74 


— 

FUNDING 

— 

The Ministry of Culture is said to offer funding, but 

procedures and budgets are not clear and funds 

are poorly organized. Artists reportedly depend 

heavily on cooperation institutes, embassies and 

festival invitations to travel. Mauritanians are very 

little represented in AMA’s statistics, as in those 

of other funds in the region. 

— 

IMPEDIMENTS 

— 

Isolation: high costs of travel and lack of 

funding 

· Flight costs to / from Nouakchott are high. 

· Mauritanian cultural actors are not well connected 

to funding organizations. Conversely, 

international funding organizations have so 

far not made efforts to bolster mobility of 

Mauritanian cultural actors. 

· While Mauritanians are technically eligible for 

all major funds (AFAC, al-Mawred al-Thaqafy, 

RCF), its ambiguous status between North and 

West Africa may feed (potentially unconscious) 

exclusion from Arab / MENA-oriented initiatives. 

· The Ministry of Culture does not support travel 

of cultural actors. 

— 

M 

A 

U 

R 

I 

T 

A 

N 

I 

A 

— 

Algeria have done a disservice to its relations 

with Morocco, making visas to the 

Kingdom more difficult to obtain. 

Language 

· Not all Mauritanians speak English or French 

sufficiently to fill in funding applications 

in those languages and as such may feel 

intimidated. 

Lack of professionalization 

· Opportunities for professional artistic training 

and development are virtually nil in Mauritania. 

As such, artists do not necessarily 

have the skills or knowledge to search for 

funding, finance their careers, etc. 

They want to travel but they are stuck inside 

the country – they don’t understand cultural 

management. – Atigh Ould, founder and director 

of Festival Nomade, Nouakchott / Montreal* 

Visas 

· Mauritanian cultural actors must travel to Dakar 

to get visas to countries that do not have a 

diplomatic representation in Nouakchott. 

Many young people want to attend events in Europe 

and the USA; but it takes time, and if you don’t know 

the ambassador, it takes months. Even Morocco 

and Egypt are starting to get complicated as well. – 

Mohamed Idoumou, Poet, journalist, documentary 

filmmaker and cultural operator, Maison du 

cinéma de Nouakchott* 

· Mauritania’s neutral stance on the Western 

Sahara issue and diplomatic relations with

75 


4. 5 

Morocco 

— 

QUOTE: 

« Everyone knows it: 

there’s incredible potential in Africa. 

Morocco is trying to be a leader in 

pro-African development. All our 

banks, all our construction companies 

are investing in Africa, especially West 

Africa. The king has a pro-African 

stance. There have been important 

regularization campaigns [for 

migrants from the South], as long as 

Europe isn’t applying pressure. » 

Amina Mourid 

Cultural operator, co-founder, Atelier 

Kissaria & Think Tanger* 

— 

FAST FACTS 


Surface area 

Capital 

Large cities 

Languages 

710.085 km² 

Rabat 

Casablanca; Fès; Tangiers; Marrakech; Salé; 

Meknès ; Oujda; Kenitra; Agadir 

Modern Standard Arabic and Tamazight 

(official) 

Moroccan darija (spoken); French 


Currency 


airports 

Rail network 



Morocco 



Moroccan nationals 

Moroccan dirham 

Casablanca – Mohammed V International 

Airport 

Marrakech Menara International Airport 

Agadir Al Massira International Airport 

Tangiers Ibn Battuta International Airport 

Office National des Chemins de Fer (ONCF); 

2067 km 

Visa-free access for nationals of Algeria, 

Tunisia, Gabon, Ivory Coast, Niger and 

Senegal 

Electronic travel authorization required 

for nationals of Guinea, Mali and Republic 

of Congo 

Visa required for all other nationalites 

Visa-free access: Mali, Niger, Senegal, 

Gambia, Benin, Côte d’Ivoire, Gabon, Mali, 

Seychelles and São Tomé 

e-Visa: Angola, Djibouti, Ethiopia, 

Guinea-Bissau, Kenya, Lesotho, Tanzania, 

Uganda, Zambia and Zimbabwe. 

Visa on arrival: Comoros, Madagascar, Mauritania, 

Mauritius, Mozambique, Republic of 

Congo, Somalia and Togo

76 


— 


— 

Located on the northwestern edge of Africa, 

Morocco has been inhabited by Amazigh tribes 

for as long as there are written records. After Arabization, 

it was the only northwest African country 

to avoid Ottoman occupation. The Alaouite 

dynasty, which rules to this day, seized power in 

1631. In 1912, Morocco was divided into French 

and Spanish protectorates, with the French taking 

the majority of the territory and instituting a 

system of acculturation, namely via the schooling 

system and administration. Morocco regained 

its independence in 1956. 

Morocco is a constitutional monarchy 

with an elected parliament. The King of Morocco 

holds vast executive and legislative powers. 

While Morocco has been relatively stable since 

independence, its recent history has been marked 

by economic and social crises, which erupted 

in the 2011 movements. Joining in the chorus 

of revolution to the East, Moroccans called 

for greater social justice, freedom and dignity. 

King Mohamed VI responded by shifting some 

authority to the legislature and passing a new 

Constitution. However, these moves have been 

criticized as cosmetic more than structural: the 

King maintains dominance through a combination 

of formal powers and informal lines of influence 

in state and society, and most ministries are run 

by technocrats loyal to the monarchy. 

In the last 5 – 6 years, Morocco has invested 

considerably in economic and commercial 

ties with African countries across the continent. 

It reintegrated the African Union in 2017 and has 

asked for membership in the Economic Community 

of West African States. It has invested 

considerably in flight connections with Africa 

via the main carrier, Royal Air Maroc. In 2015, 

42% of trade was with Sub-Saharan African 

countries, most in West Africa. Morocco had 13 

intra-African investments, mostly in banking and 

telecommunications. Attijariwafa Bank Group 

— 

M 

O 

R 

O 

C 

C 

O 

— 

operates in 10 Sub-Saharan African countries; 

Banque Marocaine du Commerce Exterieur has 

18 country operations. Last year, the King went 

on official state visit to East Africa, with his usual 

entourage of businessmen, signalling a desire 

to expand his reach beyond areas of culturallinguistic 

connection. 

It should finally be noted that Morocco 

has taken on a leadership role on migration. It 

is a member of the International Organization 

for Migration, was co-president of the Global 

Forum of Migration in 2018 and may be the seat 

of an African Migration Observatory for the EU. 

Morocco is making efforts to regularize immigrants 

arriving in the country, thereby complying 

with European wishes to curb travel on the 

Mediterranean. While endearing Morocco to the 

EU, this approach also serves diplomatic objectives 

with African countries and contributes to 

existing efforts to portray Morocco as a tolerant 

society (Malka, 2018). 

— 

QUOTE: 

« To this day, there hasn’t been 

any dialogue between the Ministry 

of Culture and cultural actors. 

And when I look at the results of the 

Ministry’s calls for applications, 

the beneficiaries do not reflect 

the dynamism of the cultural 

scene. » 

Bouchra Salih 

Independent cultural operator and 

designer, 

Rabat* 

—

77 


— 


— 

Morocco’s artistic sector is dynamic, diverse 

and growing, despite an array of challenges. It 

is the strongest in the region in terms of local 

activity and international exchange. Indeed, 

Morocco is emerging as an arts hub on the continent. 

It namely boasts a strong festival culture, 

epitomized by major events such as Mawazine 

Festival (dubbed the “King Mohamed VI Festival”) 

and Marrakech International Film Festival. 

Independent initiatives such as Visa for Music and 

On Marche! are bringing contemporary creation 

to new audiences. 

Created in 2002, the Ministry of Culture is 

the government authority responsible for culture. 

Centralization is fairly strong, with more than ¼ 

of cultural structures concentrated in Casablanca 

and an additional 10% in Rabat (Benslimane, 

2014). However, important events are present 

across the country, namely in Marrakech and 

Tangiers, which are becoming important cultural 

hubs, as well as in cities such as Agadir. 

The independent arts sector is active 

in all artistic fields, with strong recent developments 

in contemporary music, dance and visual 

arts in particular. Independent art galleries are 

flourishing, festivals are popping up and launching 

careers, and centres such as l’Uzine, EAC 

Boul’vart, Le18, Tabadoul (and many more) are 

catalyzing creation by the young generations. 

The private sector is bolstering creation, with 

Foundations such as HIBA and Touria et Abdelaziz 

Tazi playing an increasingly active role in 

the sector. 

Foreign cultural centres are present across 

the country and have played a significant role in 

dissemination and training. They do not provide 

structural support. The Institut Français is by 

far the most present and active. It is followed 

by the Instituto Cervantes, which has centres in 

Casablanca, Rabat, Tangiers, Fès and Tétouan; 

the British Council; the American cultural centre; 

— 

M 

O 

R 

O 

C 

C 

O 

— 

the Goethe Institut; the Italian cultural institute 

and the Russian cultural institute. There is additionally 

an Egyptian cultural centre in Rabat. 

— 

FUNDING 

— 

Public administration 

The Ministry of Culture can receive applications 

for funding for individual / group projects. 

However, respondents deplored the opacity of 

funding procedures, the nepotism of funding, the 

lack of openness to artists and cultural operators 

and the lack of professionalism in the offices. 

Bilateral cooperation institutes 

With 12 centres across the country – the largest 

number in any single country – the Institut Français 

remains a strong reference point for funding 

for mobility projects. However, disillusionment 

is growing among cultural actors due to the 

Institut’s shrinking budgets, lack of structural 

funds in favour of meager project-based funds, 

bureaucracy, slow procedures, and paternalist 

attitudes. The Institut Cervantes does not provide 

funding for cultural projects. The Goethe 

and the British Council may provide funds on 

a project basis. 

Civil society organizations 

A notable funder in Morocco is Association 

Afrikayna, which has been delivering funding 

for mobility projects connecting Morocco and 

Africa through Africa Art Lines. The fund has 

supported more than 95 projects since its inception 

in 2016. They also organize masterclasses 

with prominent artists from other African regions 

as well as a library of African instruments. 

Respondents univocally praised the fund for 

its efficiency and flexibility, and for opening up 

valuable opportunities across the continent.

78 


Compagnie O performs Ottof, choreographed and 

directed by Bouchra Ouizguen. 

Photo courtesy of Hasnae El Ouarga | Compagnie O

79 


— 

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* 

— 

— 

M 

O 

R 

O 

C 

C 

O 

—

80 


— 

MOBILITY TO/FROM MOROCCO 

— 

Morocco’s mobility channels are determined 

mainly by its geographic positioning and diplomatic 

ties. At the North-West corner of Africa, 

Morocco is at the juncture of North Africa and 

West Africa, and at the doors of Europe. 

Until recently, it was Europe that drew 

Moroccan artists most eagerly, especially neighbouring 

Spain, for its geographical proximity 

and historical ties, and France, which retains an 

important place in Moroccan society. However, 

the drastic restrictions placed on visas for Moroccan 

citizens have reconfigured young Moroccans’ 

travel perspectives. In tandem with the 

closing of Europe, the Arab Spring has brought 

a refreshed sense of solidarity and curiosity toward 

other countries in the Maghreb and Arab 

world. Respondents reported that the desire to 

travel East and South is getting as strong, if not 

stronger, than the typical desire to travel North. 

In North Africa, exchange with Tunisia 

is most active, facilitated by visa-free travel 

between the two countries and the wealth of 

cultural activity in both. Ties with Algeria are 

more complex due to the closed border and 

high cost of air travel. Several respondents expressed 

frustration in this regard. Morocco has 

close ties to West Africa, especially Senegal but 

also Mauritania, Côte d’Ivoire, Burkina Faso and 

Niger. These connections have been explored 

by practitioners in all fields, most prominently 

in music, where Gnawa music has inspired a 

wealth of musical exchanges and festivals across 

borders. Essaouira’s Gnawa Music Festival is 

one of the major events on the music calendar. 

One of the most significant developments 

in mobility to / from Morocco is the extensive development 

of Royal Air Maroc’s network in recent 

years, with a hub in Casablanca. The company 

is now second only to Ethiopian Airlines in terms 

of coverage on the continent and is poising itself 

for greater growth, in line with Morocco’s policy 

of economic overtures to Africa. 

— 

M 

O 

R 

O 

C 

C 

O 

— 

— 

QUOTE: 

« It’s time to turn our eyes from 

Europe to Africa. We learn from Europe, 

but we learn more from Africa. 

There’s an attitude that seems to 

say “We know but they don’t.” We 

have to see and value ourselves 

as Africans. » 

Hosni Almoukhlis 

Theatre practitioner, founder 

and artistic director, Théâtre de 

l’Opprimé, 

Casablanca* 

— 

— 

QUOTE: 

« We wondered what had 

happened to the question of the 

Greater Maghreb, which seemed 

to have somewhat disappeared, 

which was raised in the 1990s 

but stayed more or less on paper 

without being reactivated. We 

wondered how culture could 

compensate for the lacks that are 

part of today’s reality. » 

Laila Hida 

Photographer, co-founder, 

Le18 derb el ferrane, 

Marrakech* 

—

81 



HOSNI ALMOUKHLIS 

L’UZINE 

RENCONTRES 

CHORÉGRAPHIQUES 

DE CASABLANCA 

KAW-KAW 

BODA-BODA LOUNGE 

Theatre practitioner Hosni Almoukhlis, head of 

Théâtre de l’Opprimé in Casablanca, has travelled 

to several West African countries for trainings 

and festivals. In 2018, he organized the first 

Rencontres africaines de théâtre social, with 

artists from Senegal, Egypt and Tunisia invited 

to Casablanca (an artist from Guinea-Bissau was 

not able to attend due to a visa refusal). 

Casablanca cultural centre L’Uzine has hosted 

a number of events that spotlight African creative 

scenes. The annual and multidisciplinary 

Harambee Days showcases art from across the 

continent, with live performances and exhibitions. 

In 2018, l’Uzine organized Casalgéria in 

collaboration with Algiers’ Brokkart to spotlight 

contemporary Algerian photography, design, film, 

music and visual arts. 

The 2019 edition of the Rencontres chorégraphiques 

de Casablanca, organized by Compagnie 

Col’jam, will have a spotlight on African 

dance. In 2020, Marrakech’s Festival On Marche!, 

run by Compagnie Anania, will host the Biennale 

of African dance. 

In 2013, Marrakech’s Le18 initiated a project 

named Kaw-kaw which aimed to reactivate the 

political question of the Greater Maghreb. The 

project included a 2-month residency, which 

brought together one artist from each of the 

countries, as well as an exhibition and a cycle of 

presentations by scholars, curators and artists. 

In 2018, Tangiers’ Mahal Art Space was the 

first Moroccan arts space to host the annual 

Boda-Boda Lounge, a 3-day, transnational video 

festival in which a selection of video art pieces 

by African and diasporan artists are screened 

simultaneously in ten spaces across the continent.

82 


— 

IMPEDIMENTS 

— 

Visas 

· Several respondents noted the dramatic difficulty 

of obtaining visas to Schengen Europe: 

long processing times, bureaucratic demands, 

frequent refusals and, in the event that the 

visa is granted, it is often for a pitifully short 

number of days. 

· Travel times to embassies in Rabat were also 

noted as a reason for frustration. 

· Travel to Egypt was noted as a growing area 

of difficulty. 

It’s become very difficult for young artists to enter 

Schengen Europe. Things miraculously get much 

simpler when their artistic project is backed by 

a European state institution or when that institution 

takes ownership of the project. – Maria Daïf, 

independent cultural operator, Casablanca* 

Morocco / Algeria (see Algeria section) 

Neocolonialism / paternalism 

· Several respondents expressed the wish to 

have mobility opportunities outside of Europe, 

in light of old colonial/paternalistic relationships 

between France and Morocco and especially 

in light of their exacerbation in the form of visa 

policy. 

There is the legacy of colonialism – especially 

French – that we’d like to detach from. For example, 

the Moroccan administrative system is 

partly modelled on the French system. We’d like 

to create our own models of development, our 

own way of doing things that fits our local reality. – 

Amina Mourid, Cultural operator, co-founder, 

Atelier Kissaria & Think Tanger* 

Geographic isolation 

· Several respondents noted Morocco’s geographical 

isolation as an impediment to mobility: 

with the Algerian border closed and the 

gates of Europe blocked to the North, Morocco 

is enclaved. To the South, Morocco controls 

the border with the portion of Western Sahara 

that is under Moroccan occupation. 

— 

M 

O 

R 

O 

C 

C 

O 

— 

· Morocco’s distance from the Middle East disconnects 

it from the lively scene and networks 

operating in hubs such as Beirut, Amman, 

Ramallah and Cairo. 

Restrictions on freedom of expression 

· Civil society associations are active but remain 

subject to legal harassment, travel restrictions, 

and other forms of repression. 

· For example, an important signpost was the 

December 26 dissolution of cultural organization 

Racines, on charges of organizing an 

activity outside its scope of action and hosting 

a debate that was “prejudicial to the country’s 

institutions.” 

Language: 

· Moroccan artists applying for funding may find 

themselves restricted by language barriers. 

There’s a linguistic conflict when it comes to [application] 

forms : Classical Arabic is intimidating 

and more and more young people are rejecting 

French. English needs to be more present if the 

goal is to reach young people. – Maria Daïf* 

Lack of identification to Africa and racism 

· Moroccans have had an uneasy relationship 

with Africa, which can express itself in racism. 

Pan-Arabism somewhat squandered African 

identity; it has left Moroccans with a sense of non- 

African-ness as well as a form of self-denigration 

towards their own popular culture, whereas the 

social reality is that Africa begins in Tangiers and 

ends in Cape Town. It’s really in the head that it 

happens. There is also the question of Berberity 

here, because that is what carries Africanness. 

Berberity is extraordinarily diverse. It’s a huge 

subject. – Hicham Bahou, Co-director of EAC- 

L’Boulvard, Casablanca* 

Morocco’s migratory policy is geared at integration; 

it is taking in refugees, people in transit, 

who are fleeing difficult realities. Socially, it’s 

creating a lot of incomprehension, questioning, 

in which culture is not playing the role it should. 

Culture is supposed to be the cement for all 

these populations: we’re completely African in 

our musical and cultural heritage. – Ghita Kaldi, 

Director of Afrikayna, Casablanca*

83 


4. 5 

Tunisia 

— 

QUOTE: 

« For a long time, the dictatorship and the very idea of 

the constitution of a modern Tunisian state made a point 

of selling us this fantasy of “Tunisianity,” which would 

have us be one homogeneous group. 

[… ] 

— 

FAST FACTS 

Population 11.52 million (CIA Factbook, 2017) 

Surface area 

Capital 

Large cities 

Languages 

165.000 km² 

Tunis 

Sfax, Sousse, Kairouan, Bizerte, Gabès 


Tamazight; Tunisian Arabic; French 


Currency 


airports 

Rail network 



Tunisia 



Tunisian nationals 

Tunisian dinar 

Tunis Carthage International Airport 

Enfidha Hammamet International Airport 

Monastir Habib Bourguiba International 

Airprort 

Société Nationale des Chemins de 

Fer Tunisiens ; 2150 km 

Visa-free access for nationals of Algeria, Libya, 

Mauritania, Morocco; Angola, Benin, Burkina 

Faso, Cabo Verde, Comoros, Equatorial 

Guinea, Gabon, Gambia, Guinea, Guinea 

Bissau, Ivory Coast, Mali, Mauritius, Namibia, 

Niver, Senegal, South Africa 


Visa-free access: Guinea, Ivory Coast, 

Mauritania, Mali, Niger, Senegal and Benin 

Visa on arrival: Cabo-Verde, Comoros, 

Djibouti, Ethiopia, Guinea-Bissau, Kenya, 

Lesotho, Madagascar, Mozambique, Rwanda, 

São Tomé and Principe, Seychelles, Somalia, 

Tanzania, Uganda, Zambia and Zimbabwe

84 


— 


— 

Tunisia is both the smallest and the northernmost 

country of North Africa, with a long history as 

a meeting point of cultures and civilizations. 

Its first inhabitants are the Amazigh. Since the 

12th century BC, it has known several waves of 

occupation and immigration, beginning with the 

Phoenicians and followed by the Romans, the 

Muslims, the Ottomans and the French. Tunisia 

became independent in 1956. 

The country’s recent history has been 

profoundly shaped by the Revolution of 2011, an 

intensive campaign of civil protest and resistance 

that led to the resignation and flight of dictator 

Zine El Abidine Ben Ali in 2011 and the institution 

of free elections in 2014. The self-immolation of 

Tarek el-Tayeb Mohamed Bouazizi in Sidi Bouizid 

on December 17, 2010 is widely regarded as 

the spark for the region-wide wave of protests 

referred to as the Arab Spring. 

Today, Tunisia is a unitary semi-presidential 

representative democratic republic. Since independence, 

Tunisia has had a policy of cultivating 

close foreign relations with Europe, in particular 

with France and Italy. Today, the European Union 

is Tunisia’s first trading partner and conversely, 

Tunisia is one of the EU’s top trading partners in 

the region. Tunisia is included in the European 

Union’s European Neighbourhood Policy (ENP), 

which aims at bringing the EU and its neighbours 

closer. It has been favoured by European external 

cooperation initiatives in (North) Africa since 

2011, namely in the field of culture (see below). 

Tunisia has also played an active role in 

African and regional organizations. It is a member 

of the Arab Maghreb Union, the Arab League 

and the African Union (among other international 

bodies). Diplomatic relations with fellow Maghreb 

nations Morocco and Algeria have historically 

been strong. Trade is currently increasing with 

Morocco. Relations with Libya have been more 

erratic, but have become essential in recent 

years as Tunisia works to support reconciliation 

between opposing factions in Libya and keeps 

its borders open to Libyans. 

— 

T 

U 

N 

I 

S 

I 

A 

— 

Before it was named Tunisia, the territory’s 

name was Ifriqiya (or Africa), giving the presentday 

name of the continent Africa. Tunisia’s diplomatic 

and economic policies towards the rest 

of the continent have been more limited than 

neighbouring countries such as Morocco and 

Algeria, although Tunisia’s Ministry of Economy 

recently launched an investment fund for Africa. 

— 

QUOTE: 

[…] We’re now discovering that no, as a matter of 

fact, in Tunisia there are black people, there are other 

types of cultures, there are musical traditions, that are 

steeped in Africanity. There is a growing consciousness 

around Berberity, Africanity, that is part of this 

postcolonial unmooring. The question today is how to 

link these “identitary” constructions with economic 

and political considerations; how to link questions of 

belonging to questions of class and domination. 

Many youth want to emancipate themselves from 

colonial domination. 

It seems to me that it may be important to think of 

a sort of Arab-pan-Africanism. The colonial spirit 

sought to divide the “indigènes” through systems of 

hierarchization, but it’s important today to pay attention 

to what is happening at the linguistic and cultural 

levels and to young people’s choices in their forms of 

expression. We shouldn’t speak in their place nor take 

away their voices, but listen to them. » 

Mariem Guellouz 

Dancer and researcher, Director of Les Journées 

chorégraphiques de Carthage, 

Tunis / Paris* 

—

85 


— 

T 

U 

N 

— 


— 

The Tunisian cultural sector has been flourishing 

since 2011, with the energy of revolution and 

the loosening of laws allowing for a veritable 

explosion of new forms to emerge, especially 

in the areas of photography, dance, street art 

and performance. 

Tunisia has long boasted a strong tradition 

of festivals, with more than 400 amateur, 

semi-professional and professional festivals 

taking place yearly around the country. The most 

well-known are the different “Journées” taking 

place in Carthage: the Journées cinématographiques 

de Carthage, the Journées théâtrales, 

the Journées musicales, the Journées chorégraphiques, 

the Journées poétiques and the 

Journées d’art contemporain. Even as these 

established festivals thrive, new initiatives from 

civil society are creating important momentum: 

l’Art Rue’s Dream City has become a flagship 

event in the region, and other events like Interférences, 

Jaou (by the Kamel Lazaar Foundation) 

and a new festival of photography on the island 

of Kerkennah are also making an impact. 

The arts sector in Tunisia is strongly 

centralized in Tunis and the North, although 

decentralization efforts are underway. Several 

associations (Cité’Ness, Fanni Raghman Anni, 

and the Tunisian Culture Network, among others) 

as well as private individuals are working hard to 

reach rural areas of the country, although they 

underline the difficulty of such efforts given the 

limited government support and cost of travels. 

I 

S 

I 

A 

— 

— 

MOBILITY TO / FROM TUNISIA 

— 

Tunis has become a hub for regional travel due to 

its political stability, its centrality in North Africa 

and the relative openness of its borders. In North 

Africa, the most active axis of exchange is with 

Morocco. Strong ties also exist with Algeria, 

namely thanks to the geographic proximity which 

has allowed some artists to travel by car from 

Alger to Tunis. However, respondents noted that 

the repressive context in Algeria and the limited 

visibility of certain disciplines (especially dance 

and theatre) has made exchange more difficult. 

Tunis is connected by air to most major 

cities in North Africa. Road travel to Algeria is 

possible, but traveling to Libya by road is not 

advisable due to military presence at the border. 

A train line is due to connect Casablanca, Algiers 

and Tunis but the project is currently stalled. 

Tunisia’s visa policy is the most open of 

the region. However, exchange with the rest of 

Africa remains weak (see Impediments below). 

This is despite a strong desire for connection 

with the rest of the continent. Until recently, travel 

to most African destinations involved flying via 

Paris. However, Tunisair has recently upgraded 

its connections to West Africa. Flights to other 

destinations in Africa typically go via Casablanca, 

at steep costs.

86 


L’ART RUE 

CENTRE ARABO-AFRICAIN DE 

FORMATION ET DE 

RECHERCHE THÉÂTRALE 

LAB619 

JISER 

FANNI RAGHMAN ANNI 

AND AL-MADINA 

WADI MHIRI 

HAFEDH ZALLIT 

PROJET BERKA 174 

LANG’ART 

ASSOCIATION DANSEURS 

CITOYENS 

JOURNÉES CHORÉGRAPHIQUES 

DE CARTHAGE 


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 

event, Dream City (Biennale of contemporary art 

in public space). 

The Centre arabo-africain de formation et de 

recherche théâtrale has trained more than 367 

theatre practitioners in the Arab world and Africa 

since its opening in 2001. 

Lab619 attended their first residency at Festival 

de la BD in Alger. They now have a partnership 

with Algerian artists. 

The JISER network aims to stimulate exchanges 

around contemporary art and research. It links 

Algiers, Tunis and Barcelona. 

Tunis-based arts and cultural rights organization 

Fanni Raghman Anni and Al-Madina (Alexandria) 

have a cultural exchange partnership. 

Visual artist Wadi Mhiri is now a co-organizer 

for Ségou Arts in Ségou, Mali, after attending 

several editions of the festival. 

Dancer/choreographer Hafedh Zallit recently led 

masterclasses at Karemba Studios in Bamako, 

Mali as part of Projet Berka 174. Named after the 

old slave market in Tunis’ medina, the project 

aims to excavate the mémoire du lieu to bring 

into focus and interrogate present-day questions 

of racism and religious, nationalist and 

economic conflict. 

Lang’art arts centre and Association Danseurs 

Citoyens are launching the first Tuniso-African 

festival of dance this year. 

The 2019 edition of the Journées chorégraphiques 

de Carthage, directed by Mariem Guellouz, 

had a focus on Africa and the Arab world. 

— 

T 

U 

N 

I 

S 

I 

A 

—

87 


Dancers Samuel Dijoulaye Coulibaly, Abdailkader Traoré, Bintou 

Kébé and Sylvie Kouané participate in a Masterclass led by Tunisian 

choreographer Hafedh Zallit at the Centre Culturel Togola de 

Sabalibougou in Bamako, Mali, as part of Projet Berka 174. 

Photo courtesy of H.PROD/Hafedh Zallit 

— 

QUOTE: 

« Travel means connections, friends, the chance to love 

music even more. In Tunis, every time I go, I get to find 

books. There are no libraries in Benghazi. From my 

perspective and from what I hear from the people around 

me, you come back as a different person every time you go, 

even if you go for 5 days. We need to do something here to 

make culture the basis of change in this society. » 

Faraj Alsileeni 

drummer and Director, 

Tanarout, Benghazi* 

—

88 


— 


— 

Public administration 

Tunisia has invested significantly in its Ministry 

of Culture since the Revolution. Individual artists 

and organizations are technically eligible to 

receive funding for projects including mobility. 

However, this potential funding source is weakened 

by a serious lack of transparency and poor 

administration. 

In the face of poor funding from public 

administration, the Tunisian independent sector 

relies substantially on international funders, 

principally the European Union. Tunisia has been 

the main beneficiary of EU funding for arts and 

culture in the Maghreb. Funding is intended to 

support culture as a lever for democratic transition. 

EU funding is distributed through three channels: 

1) A partnership between the French Ministry 

of Culture and Tunisian Ministry of Culture; 

2) Tfanen – Tunisie Créative (budget of 6 million 

euros). Launched in 2015, Tfanen’s “Fonds 

d’appui à la création” can support mobility projects. 

Finally, 3) as of 2018, Tunisia is a member 

of Creative Europe. Tunisian organizations have 

full eligibility to apply for funding through the 

Culture sub-programme and are partially eligible 

for the Media sub-programme. 

Bilateral cooperation 

Bilateral cooperation institutes are present in Tunis 

and other major cities. The Institut Français has 

the strongest presence, with branches in Tunis, 

Sousse and Sfax. The Goethe Institut is present 

in Tunis. Respondents noted the impact it has 

had via training programs for cultural managers. 

The British Council, the Italian Institute for Culture 

and the Cervantes Institute are also present. 

Local foundations are also emerging 

to support cultural projects, with very promising 

beginnings. Launched in 2015, the 

Fondation Rambourg is building up capacity to 

support mobility projects via several schemes: 

1) partnerships; 2) grants; 3) scholarships; 4) 

projects initiated by the foundation. Fondation 

Kamel Lazaar has a grants programme for 

— 

T 

U 

N 

I 

S 

I 

A 

— 

practitioners in the fields of Visual arts, Heritage, 

Music and performing arts (theatre, dance, etc.) 

and Cultural and civic education. 

— 

IMPEDIMENTS 

— 

Administrative 

· Parental permission for travel is necessary for 

all travellers under the age of 35 years. 

· Travellers leaving Tunisia must purchase a « timbre 

de sortie » (exit stamp), at a cost of 30 dinars. 

· Tunisians must purchase a « timbre de voyage » 

(traveller’s stamp), at a cost of 60 dinars. 

· While small, these amounts may place an additional 

burden on artists who are already in a 

precarious financial situation and may not receive 

coverage from institutions inviting them. 

Several artists were arrested at the airport and 

missed their flight because they didn’t have the 

parental authorization document. – Asma Kaouech, 

executive director, Fanni Raghman Anni, Tunis* 

Currency and funding 

· The Central Bank controls all transactions in dinars. 

Dinars cannot be traded outside of Tunisia. 

· There is a ceiling of 6.000 dinar (approx. 1760 

euros) imposed on purchases made in foreign 

currencies. This imposes a serious limit on the 

number of travels that can be made outside the 

country, especially considering the high costs of 

travels. Travellers must purchase tickets through 

a local travel agent, unless the inviting institution 

purchases the tickets or the traveller makes 

arrangements via a colleague, friend or family 

member outside the country. 

In Tunisia, we can’t buy tickets that we find online 

at low prices, since we have to buy them in euros, 

which the law prohibits. Furthermore, we get a 

tourists’ allowance of only 6000 dinars per year. 

Consequently, if we travel 6-8 times per year, as 

I did last year, we have to split that sum over all 

the trips. We have to travel with 200 – 300 euros 

per trip, which is not a comfortable amount. – 

Wadi Mhiri, visual artist, Tunis*

89 


· Foreign currencies can no longer be withdrawn in 

Tunisia. As such, local organizations can no longer 

pay invited artists in currencies other than dinars. 

Tunisian organizations can no longer pay in euros, 

which means that even if we invite an artist, we can’t 

pay them. Even if there are structural mobility funds 

that can be used to cover the artist to come to Tunisia, 

the problem is that the central bank no longer grants 

money for cultural activities. There’s a cash deficit. – 

Béatrice Dunoyer, program director, L’Art Rue, Tunis* 

· The weakening of the dinar is also placing important 

constraints on artists. 

Tickets within Africa are too expensive. We can get a 

ticket from Tunis to Paris without any problem, but to 

go to Mali, it’s 1700 dinars off the bat and the currency 

is in a free fall. For an artist to live, to prosper, it’s very 

difficult if they don’t have support for the flight or their 

stay. It’s very difficult for an artist to meet his/her needs. – 

Cyrine Gannoun, theatre actor and director, Director, 

Théâtre Al-Hamra/Centre arabo-africain de formation 

et de recherche théâtrales, Tunis* 

Transport of artworks 

· There are restrictions on the types of goods that may 

be transported outside of Tunisia. Artworks and heritage 

items cannot not be taken outside the territory 

without authorization from the Ministry of Culture. 

Visas 

· Several respondents noted that Tunisia’s visa policy 

is subject to frequent changes, which are in turn difficult 

to track. 

· Visa restrictions are getting tighter and tighter for 

travel to Europe and are growing with MENA countries 

such as Egypt and Lebanon. 

Lack of infrastrucure 

· Several artists noted that they do not have sufficient 

access to competent and motivated cultural operators 

to assist them in searching for funding and preparing 

their funding applications. 

· According to Shiran Ben Abderrazak, executive director 

of the Fondation Rambourg, there is a strong 

desire for training for cultural managers. To meet this 

demand, the Université Tunis-Dauphine launched a 

Master’s in cultural engineering this year, and the 

Institut des Hautes Études Commerciales-Carthage 

and the Fondation Rambourg are in the process of 

— 

T 

U 

N 

I 

S 

I 

A 

— 

creating a continuing education program in 

cultural management. 

Restrictions on freedom of expression 

· Freedom House rates Tunisia as “free”. However, 

control continues to be exerted in covert 

ways, for example through the ceilings imposed 

on withdrawals of dinars and expenses in 

foreign currencies (see “Currency” above). 

The state has passed new laws on associations 

in an attempt to fight against organizations that 

were laundering money – the money was going 

to the extremists. Among other laws, there is 

now a very strict limitation on daily withdrawals 

of dinars (an association cannot withdraw 

more than 500 dinars/day, or 150 euros). It’s a 

golden opportunity to smother civil society as a 

whole. – Béatrice Dunoyer* 

· More explicit cases of censorship have also 

been documented, for example with the police 

closing down an exhibit at Maison de l’Image 

in 2017. 

Lack of identification to Africa and racism 

· Tunisia portrays itself as an open country. 

However, nearly all respondents agreed that 

racism permeates Tunisian society. The history 

of slavery has yet to be unearthed, and 

black Tunisians from the South continue to be 

treated as second-class citizens. In its extreme 

forms, this racism is expressed in discrimination 

and violence against black Tunisians, and 

students and other immigrants from other 

African regions. 

· In the artistic community, respondents report an 

awkwardness about Tunisia’s African identity 

and a mistrust towards other Africans. 

We have huge issues with racism here. Black 

people are considered second-class citizens. It’s 

horrible. [First, there are] the black people who 

come from the South, who are Tunisian, and who 

already face an atrocious level of racism. Then, 

we have lots of Sub-Saharan students, from Côte 

d’Ivoire, from Senegal, and all those who have 

fled their countries. The average Tunisian is a 

profoundly racist person. – Malek Sebaï, dancer 

and choreographer, co-founder, Association 

Hayyou’Raqs, Tunis*

90 


4.7 


*A significant proportion of the population 

lives in exile in the Tindouf refugee 

camps in Algeria. Estimates vary about 

the number of people living in the camps 

(UN estimate: 90,000) 

FAST FACTS 

Population 580.039 (CIA, 2018)* 

Surface area 

Capital 

Large cities 

Languages 

Dialling code 


airports 


710.085 km² 

Tifariti (de facto capital of the Sahrawi Arab 

Democratic Republic); Laayoune (capital of 

the Moroccan-controlled zone) 

Dakhla, Smara 

(on Moroccan-controlled territory) 

Tindouf refugee camps (in Algeria) 

Modern Standard Arabic; Tamazight; 

Hassaniya Arabic; Moroccan Darija; English, 

French, Spanish 

+213 (Algeria); +212 (Morocco) 

Laayoune ; Dakhla (Morocco) 

Tindouf (Algeria) 

See Mobility below

91 


— 


— 

The area known by the term “Western Sahara” 

is a disputed territory on the northwest coast of 

Africa. It is divided into two regions: the majority 

(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. 

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 

with landmines. Western Sahara is on the United 

Nations’ list of “non-self-governing territories;” 

it is the most populous territory on the list. The 

SADR has been a member of the African Union 

since 1984, a fact that pushed Morocco to withdraw 

its membership (before rejoining in 2017). 

Western Sahara was originally inhabited 

by Amazigh tribes, which were later joined by 

Serer from the south. After the arrival of Islam, 

the land became the site of important caravan 

routes, especially between Marrakech and 

Timbuktu. Spain seized control of the area in 

1884, establishing it as a Spanish colony. At 

the outbreak of the Second World War in 1939, 

administration was shifted into the hands of 

Spanish Morocco. 

Since Spain withdrew its troops in 1975, 

the area has been at the centre of disputes 

between Morocco and the Sahrawi Polisario 

Front. Morocco annexed roughly two-thirds of 

the territory in 1976 and the rest in 1979, following 

Mauritania’s withdrawal. The Western 

Sahara War, opposing Morocco and the Sahrawi 

Polisario Front, lasted until a UN-brokered 

cease-fire in 1991. A proposed referendum over 

sovereignty was planned but has never taken 

place. Algeria has backed the Polisario front 

since the beginning, an issue that is at the heart 

of present-day diplomatic tensions between 

Morocco and Algeria. The conflict has resulted 

in severe human rights abuses, including the 

displacement of tens of thousands of Sahrawi 

— 

QUOTE: 

« There are a bunch 

of local cultural festivals 

that happen within the 

camps and that move 

from camp to camp. 

Everything happens on 

Algerian soil, aside 

from Artifariti which 

happens in 2 places – in 

the camps and in 

Tifariti. International 

artists come and spend 

2 weeks in Tifariti. » 

Mohamed Sulaiman 

Photographer and visual 

artist, Motif arts studio, 

Samara refugee camp, 

Tindouf 

— 

civilians and the death of thousands of civilians 

during the war years. Morocco has been criticized 

by Amnesty International, Human Rights 

Watch and a vast number of other international 

organizations for ongoing human rights abuses 

and violent crackdowns on pro-independence 

demonstrations. Freedom House rates Western 

Sahara as “not free”, with a score of 4 / 100 in 

2018. 

— 

ARTS AND CULTURE 

— 

Arts and culture in Western Sahara centre on 

two major annual events, namely the FiSahara 

International Film Festival and ARTifariti Festival 

of Arts and Human Rights. FiSahara takes place 

in the refugee camps around Tindouf, Algeria, 

while ARTifariti is spread between the camps 

and Tifariti, which sits in the Liberated Zone. 

Both events centre on art as a medium for expression 

of the struggle for human rights. Both 

events draw international visitors, including 

visitors from across Africa. 

Cultural expression also thrives year-round 

thanks to small artists’-run studios in Tindouf 

and across the border. There are also 

training opportunities, for example through 

the Abidin Kaid Saleh Audiovisual School. 

Meanwhile, Morocco has been investing 

culturally in the territory it occupies, promoting 

for example the city of Dakhla as a 

touristic and cultural destination with events 

such as the African Fashion Festival.

92 


— 

MOBILITY TO/FROM 

WESTERN SAHARA 

— 

Mobility to and from the Polisario-controlled portion 

of Western Sahara and its arts events goes 

through Tindouf in Algeria, with flight connections 

to Algiers, Oran, Constantine and Béchar. 

Visas applications to enter the Tindouf camps 

must be submitted to both the Algerian and 

Sahrawi authorities. Sahrawi representations 

are present in 39 European and African cities. 

In North Africa, the only embassy is in Algiers. 

For Sahrawis living in SADR-controlled areas, 

visa applications are complicated. According to 

Citizenship Rights Africa, a Sahrawi passport 

exists but is only recognized by states that recognize 

the self-determination of the SADR. Sahrawis 

living in the camps may possess Algerian 

passports, which are granted to refugees, but not 

ID cards. Extensive additional documentation is 

necessary to apply for a visa. 

Sahrawis living in Moroccan-controlled territory 

are eligible for Moroccan passports. Moroccan 

visa regulations apply for entry into the Moroccancontrolled 

zones, with land entry possible via 

the south of Morocco or the north of Mauritania 

although subject to closures and road travel 

subject to frequent checkpoints. 

— 

IMPEDIMENTS 

— 

Costs 

· The cost of travel is inaccessible to most Sahrawis, 

who already live in extremely precarious 

conditions. 

· Cost of travel to Tindouf is also high, requiring 

a flight connection via Algiers, Oran, Constantine 

or Béchar. 

— 

W 

E 

S 

T 

E 

R 

N 

S 

A 

H 

A 

R 

A 

— 

A flight from Algiers to Tindouf alone costs 

more than a flight from Algiers to Paris. – Walid 

Aidoud, visual artist, Founder of Box24 (Algiers) 

and coordinator of Algerian participants at 

Artifariti festival 

Visas 

· Visa procedures are complicated for Sahrawis 

living in the Tindouf camps and visitors. 

See Mobility above. 

Isolation 

· Networking opportunities for Sahrawis are 

more or less limited to the two annual art 

events. While these bring energy and new 

ideas to local artists, they remain limited. 

· Exchange with Mauritania could be improved, 

given the common border. 

This is a place that is cut off from the world. 

There are little possibilities for people to interact 

with the outside world. […] I’ve met 

artists from Senegal, Tanzania, South Africa, 

Mauritania, Tchad. The majority from Spain, but 

there’s always someone from North America. I 

wish we’d see more exchange with Mauritania. 

There is great potential – we speak the same 

dialect, we have the same traditions and poetry 

and music; they’re almost identical, not unlike 

the differences between Morocco, Tunisia and 

Algeria. It’s stronger with the Mauritanians. 

There’s a lot of exchange in music and poetry. 

This is an oral culture. – Mohamed Sulaiman 

Diplomatic tensions and disputes over 

sovereignty 

· Artists are at the centre of political disputes 

over Sahrawi sovereignty. Access 

to international events and opportunities is 

conditional upon partner countries’ position 

on Sahrawi sovereignty. 

There is an embargo on the existence of Western 

Sahara. Our association exists to spread 

information, to be very clear on our position. 

We try to base our work in humanitarian aid, 

in strengthening the role of art and culture. I 

have been subjected to many embargos. […] 

We haven’t had Arab artists because no Arab 

country [other than Algeria] recognizes 

Western Sahara. – Walid Aidoud

93 


Prejudice 

· Lack of knowledge leads to prejudice visà-vis 

Sahrawi artists. 

We’re not always labelled as we would wish 

to be. You can come across people who have 

prejudice. Even though we are in a conflict 

area, people are just like normal people doing 

everyday things. I’m an artist, so I’m supposed 

to add something beautiful to the world. – 

Mohamed Sulaiman 

Sahrawi photographer and maker Mohamed Sulaiman 

and Malian photographer and maker Gadiaba Kodio 

organized workshops on artistic recycling at Motif Art 

Studio in Samara refugee camp, Tindouf (Algeria). 

Photo courtesy of Mohamed Sulaiman.

94 

Conclusion & Recommendations 

5 

— 

QUOTE: 

You can’t create projects without 

connections. And mobility is a means of connecting. 

If there’s no mobility, 

nothing happens. 

Bahri Ben Yahmed 


Danseurs Citoyens, Tunis* 

—

95 


CON— 

CLU— 

SION & 

RE COM— 

MENDA— 

TIONS 

The importance of supporting mobility 

for artists and cultural actors in North 

Africa cannot be stressed enough. Artists 

young and older want to see new vistas, meet fellow 

creatives, share perspectives, learn new techniques and 

learn about themselves and one another. This desire for 

exchange was shared by all 90 artists and cultural operators 

interviewed. 

It is a desire that is shared with artists all over the world – 

travel, touring and circulation have repeatedly been underscored 

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 


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-entrenched 

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. 

As the continent’s first mobility fund and the only continentwide 

mobility fund open to all artistic disciplines, AMA is 

in a unique position to help bolster this momentum. It is 

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 

detailed below, all of which are drawn from feedback 

from respondents and are geared at various stakeholders 

(funders, cultural operators, artists, etc.). 

— 

QUOTE: 

« If there’s any way to change things, 

it’s to travel within our country and 

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 


Algiers* 

—

97 


Dancer and choreographer Hind Benali (Compagnie Fleur d’Orange) 

performing M’Safir (Traveler), a new creation on the “limits placed on the 

freedom and mobility of Global South citizens from the moment they try to 

cross the border with the North.” 

Photo courtesy of Patrick Hamm.

— 

QUOTE: 

« There’s a growing consciousness at the 

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 

myself going to work abroad permanently, 

because what I have to do makes more sense 

here. It’s the consciousness of my generation. 

It’s what makes it so that people leave 

and come back.» 

Myriam Amroun 

Cultural manager, 

Algiers* 

— 

The lack of awareness of existing 

opportunities and potential 

partners was a recurring theme 

in all interviews. Many artists 

and operators expressed support 

for this mapping exercise 

and wished to know where others 

could be found. In light of 

this, a crucial step towards improving 

mobility must be taken at the level of informationsharing, 

namely through the following initiatives: 

1.1. Create an online platform centralizing information 

about opportunities on the continent, preferably 

searchable by discipline, destination, etc. and 

including a calendar, contacts and other relevant 

information 

98 


1 . 

Promote 

informationsharing 

about 

opportunities 

in North Africa 

and other 

African regions 

2 . 

Support 

face-to-face 

and online 

networking 

Lack of concrete, in-person contact with peers and 

colleagues underlies the lack of information sharing 

and lack of awareness of possibilities outside 

one’s immediate environment. Several respondents 

stressed that their most fruitful collaborations have 

come out of experiences where 

they physically met a fellow artist 

/ curator / operator. As such, 

it seems necessary to multiply 

such opportunities – ideally, 

through face-to-face meetings, 

but also leveraging online 

technologies to reduce costs. 

2.1. Create opportunities for 

cultural operators to meet and 

share information, region- and 

continent-wide. Cultural operators 

will lead the way for artists 

2.2. Encourage the creation 

of discipline-specific networks, 

using the model of the Network 

of Alternative Arab Screens, AFRIFA and 

Centres of Learning for Photography in Africa. 

These networks can share information, 

advocate for and facilitate mobility 

2.3. Strengthen networks and support mobility in 

areas where mobility is already facilitated by 

visa-free policy (e.g., the Maghreb) 

1. 2. Centralize and consolidate existing mappings (e.g., 

Racine’s ArtMap; Carte Culturelle de l’Algérie); 

support new mappings for other countries 

1. 3. Emphasize dissemination of information about 

arts scenes in Algeria, Libya, Mauritania and 

Western Sahara to combat isolation 

2.4. Multiply scoping and training missions to 

Algeria, Libya, Mauritania and Western Sahara 

to reduce isolation and create new networks 

2.5. Involve youth in new networks by reaching 

out to art schools and universities

99 


— 

QUOTE: 

« We can create more virtual 

platforms. We know it’s hard to 

travel, but it shouldn’t be a 

constraint on creating and doing 

things together. Boda Boda project 

showed us that it was possible to 

work, reflect and feel together 

all the while staying at home. It 

starts with a commitment. » 

Nouha Ben Yebdri 

Curator, Mahal Art Space, 

Tangiers* 

— 

3. 

Improve funding 

opportunities 

Lack of funding for mobility 

is the regrettable counterpart 

to the exorbitant costs of travel. The following 

ideas were proposed for funders including AMA: 

3.1. Create partnerships with festivals and specific 

events, for example through a quota 

system (this is the system employed by 

Africa Art Lines, among others) 

3.2. Give festival organizers the opportunity to 

select the artists they want to invite 

2.6. Ensure presence of mobility funders at events, 

organize presentations 

2.7. Host online meetings and e-conferences to 

share information about opportunities, funding 

sources, etc. These could be delivered through 

regional or city-based point-people 

2.8. Provide more support for “go-and-see” initiatives 

and meetings that are not necessarily tied 

to specific projects or expected outcomes. 

Many artists expressed feeling that the strong 

pressure to produce was in tension with the 

total lack of knowledge they had of scenes 

outside their own. As such, they felt that the 

push to collaborate may be premature; they 

need to get to know each other before they 

start creating together 

3.3. Create discipline-specific funding lines 

to support disciplines that are weaker in 

different countries and/or that suffer from 

neglect from authorities and funding bodies 

(e.g., dance in Algeria) 

3.4. Expand the support that is included with 

mobility funds: cover accommodation, per 

diems, etc. (Al-Mawred al-Thaqafy has this 

policy) 

3.5. Advocate for the necessity of long-term 

program support as opposed to projectby-project 

funding, including mobility funds 

3.6. Provide more flexible deadlines 

3.7 Consider integrating interviews into selection 

procedures to reduce the dependency 

on professional grant-writing skills and 

restore human exchange in the grant application 

process

4. 

Support the 

structuring of the 

arts and culture 

sector(s) in 

North Africa 

— 

QUOTE: 

« Grants are there for artists to concentrate 

on the artistic and not the economic sides 

of their work. That’s where grants get 

interesting. I would never have travelled as 

much in Africa if I hadn’t had the help I got. 

I received AMA grants, grants from the Institut 

Français, which was much more open and 

generous; it was a different system. 

It changed my outlook once I was on the spot; 

I wasn’t caught up in the same calculations, 

the same deception and disillusionment. 

It’s important that those kinds of structures 

continue to support artists’ travels.» 

Hind Benali, 

Dancer and choreographer, Compagnie Fleur 

d’orange, Casablanca/Nouméa* 

— 

With visa issues the most frequently cited 

obstacle to mobility, it seems vital to work 

to reverse the dramatic trends currently 

underway through advocacy, monitoring 

and information-sharing: 

100 


Strengthening mobility goes hand in hand with 

strengthening the cultural sector as a whole. Various 

stakeholders can participate in advocacy efforts 

for the following objectives: 

4.1 Advocacy for increased public support for 

arts and culture, especially in countries which have 

the budgetary capacity to do so (e.g., Algeria) 

4.2. Advocacy for greater transparency about public administrations’ 

and international organizations’ budgets and 

allocation of funds 

4.3. Multiply opportunities for trainings for cultural managers 

4.4 Encourage grassroots-level organizations to federate, 

organize and advocate for greater structuration at the 

local level 

5.5 Reduce dependency on foreign organizations and cultural 

institutes 

5. 

Advocate for freedom 

of movement for 

artists and cultural 

practitioners 

5.1. Create spaces for debate, exchange, solidarity and information-sharing 

to emerge amongst cultural actors as a first step towards improved advocacy, 

for example through round-tables at events 

5.2. Monitor cases of visa refusals and build database 

5.3. Create a secure hotline that artists / cultural operators can contact in 

case of emergency (Tamizdat in the USA could be a model) 

5.4. Advocate for true bilaterality and equitable treatment at the level of European 

and other foreign cultural institutes 

5.5. Advocate for freedom of movement for artists and cultural operators at 

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

101 


— 

QUOTE: 

« Mobility is marvelous, yes. But beyond that statement, is there a real reflection 

on the purpose of mobility – if there is a purpose? If there is exchange, where is it? What 

exchange? […] We need to create a real need for travel; travel for something true, 

something useful. For the person who travels and the one who hosts, and the one 

who watches the show. Otherwise it’s just lines on a report. » 

— 

QUOTE: 

« There is a big need for structures 

or government-supported initiatives 

that understand the value of cultural 

policy – it is still not well established in 

the whole continent.» 

Leila Toubel 

Theatre actor, dramaturg and activist, 

Tunis* 

— 

6. 

Re-center the 

purpose of mobility: 

creative and human 

exchange 

Mohamed Ghazala 

Professor, Vice President of the 

International Association of Animation 

filmmakers (ASIFA), 

Cairo / Jeddah 

Finally, it seems essential to ensure that the immensely 

valuable experiences that can emerge from mobility 

and touring are protected and that mobility does not 

become a purely utilitarian or mercantile concept. 

— 

— 

QUOTE: 

« As far as the African continent is concerned, I’ve 

had the opportunity to travel several times 

to Senegal, to Côte d’Ivoire, to Tunisia… 

[and] those have also been the only times in my life 

that I’ve been able to travel without a visa! That has been 

just amazing. You feel normal! You travel with 

your passport and that’s it, it’s great. There are no 

appointments to be made months in advance, no 

endless application forms to complete, no 

humiliations at the consulate, no credentials to show, 

nor bank statements, nor other personal documents, to 

prove that your credit is in good standing and that 

you’re not going to try to “immigrate illegally”… 

Basically, it’s just normal, it’s “fair” and it feels good. » 

Zineb Benjelloun 


Casablanca* 

6.1 Advocate for the human and creative necessity 

of mobility through creative and compelling 

forms, foregrounding artists’ experiences and 

creative expressions 

6.2 Create opportunities for duplication and multiplication 

of meetings, in the interest of allowing 

people to meet several times 

6.3 Cover accommodation and per-diems for 

the full duration of festivals and potentially 

beyond, in the interest of allowing artists to 

network, imbue themselves with new places 

and envision new ideas without the stress of 

having to return home immediately 

—

102 

Introduction Mapping 

and Background 

6 

— 

Fact: 

This mapping lists 

108 arts spaces and venues, 

and 69 festivals 

across North Africa. 

—

103 


Maps, 

graphs and 

contact 

information 

MAPPING 

OF ARTS 

VENUES, 

SPACES 

& EVENTS 

IN NORTH 

AFRICA

104 


TUNISIA 

MOROCCO 

ALGERIA 

LIBYA 


MAURITANIA 

Cultural Venues 

in North Africa 

1 

— 

Date: October 2019 

— 

— 

Fact 

This mapping covers 

six countries in North Africa 

and the non-self-governing 

territory of Western Sahara. 

—

105 


EGYPT

106 


Installations 

& Equipment 

of the Venues 

This mapping covers arts spaces and venues that 

have the capacity to host mobility projects, with 

a focus on the visual and performing arts. It is a 

working document and as such may be built upon 

in future studies. 

City, Country 

Venue 

Algiers, Algeria 

· aria – artist residency in Algiers 

· Artissimo 

· Ateliers NAS 

· Ateliers Sauvages 

· La Baignoire 

· Opéra d’Alger 

· Théâtre municipal Alger centre 

(formerly salle Echabab) 

· Théâtre national algérien 

· Théâtre de verdure Lâadi Flici 

· Salle Ibn Zeydoun 

Alexandria, Egypt 

· El Madina for Performing and Digital Arts 

· Gudran for Art and Development 

· Jesuit Cultural Centre 

· Library of Alexandria 

· MASS Alexandria 

· Reflection for Art, Training and Development 

· Rézodance 

Equipment 

Installations 

Parking 

Cairo, Egypt 

· AfriCairo 

· Almoharek Booking Agency 

· Cairo Contemporary Dance Center 

· Contemporary Image Collective 

· Cairo Opera House 

· Darb 1718 

· El Mastaba Theatre 

· El Sawy Culture Wheel 

· Emad Eddin Foundation/ 

Studio Emad Eddin 

· Ezzat Ezzat Contemporary Dance Studio 

· Falaki Theatre 

· Makan Centre for Culture & Art 

· Medrar for Contemporary Art 

· Out of the Circle Initiative 

· Townhouse Gallery / Rawabet 

Fayoum, Egypt 

· Fayoum Art Centre 

Tripoli, Libya 

· Ali Gana Foundation and Museum 

· Art House 

· WaraQ Art Foundation 

Benghazi, Libya 

· Tanarout 

Nouakchott, Mauritania 

· ArtGalléAmySow 

· Échos du Sahel 

· Maison des cinéastes 

· Traversées Mauritanides 

Tindouf, Western Sahara 

· Motif Arts Studio 

· Abidin Kaid Saleh Audiovisual School

107 


City, Country 

· Venue 

Casabalanca, Morocco 

· Atelier de l’observatoire 

· L’Boultek 

· Casa del Arte 

· Cinema Rialto 

· Houna 

· Le H2/61.26 

· La Source du lion 

· Les Étoiles (Fondation Ali Zaoua) 

· Studio des Arts Vivants 

· Studio Hiba 

· L’Uzine 

· Villa des Arts 

Equipment 

Installations 


Key 

Available 

Not available 

No information available 

Rabat, Morocco 

· Centre culturel l’Agdal 

· Dabateatr 

· Fondation Hiba 

· L’appartement22 

· Le Cube 

· Palais Tazi 

· Salle Bahnini 

· Théâtre Aquarium 

· Théâtre national Mohammed V 

· Villa des Arts Rabat 

· Centre culturel l’Agdal 

Marrakesh, Morocco 

· Al Maqam 

· Dar Saïda – Literary space 

· Dar Bellarj Foundation 

· Le18 

· MACAAL 

· Priscilla Queen of the Medina 

Tanger, Morocco 

· Atelier Kissaria/Think Tanger 

· Cinémathèque de Tanger 

· Les Étoiles 

· Mahal Art Space 

· Spectacle pour tous 

· Tabadoul 

Tunis, Tunisia 

· L’Agora 

· Théâtre Al-Hamra / 

Centre Arabo-Africain de Recherche 

et de Création Théâtrale 

· L’Art Rue 

· Bchira Art Center 

· Cité de la Culture 

· El Teatro 

· Étoile du Nord, L’ 

· Lab619 

· Lang’art 

· Centre des arts vivants de Radès 

· CinéMad’art Carthage 

· Cinevog 

· Maison de la culture Ibn Rachik 

· Maison de l’Image 

· Le Mondial 

· Le Rio 

· Salle 4e art/Le Paris 

· Théâtre municipal 

· Théâtre national tunisien 

· WAX Bar 

· Dar Eyquem

108 


Events & 

Festivals 

Algeria 

Algiers 

1 Festival international de la 

Bande-Dessinée à Alger 

2 Festival international de 

Danse Contemporaine d’Alger 

3 Festival international 

de la Musique Diwane 

4 Festival international du cinéma d’Alger 

5 Festival de la création féminine d’Alger 

6 Salon du livre d’Alger 

Bejaïa 

7 Festival International de 

théâtre de Bejaïa 

Constantine 

8 Dimajazz 

Oran 

9 Festival international du 

Conte d’Oran 

Rotating locations 

10 Festival Raconte-arts 

Egypt 


11 Theatre is a Must Festival 

12 Theatre Without Funds Festival 

13 Library of Alexandria Summer Festival 

14 Backstreet Festival 

15 Nassim el Raqs Creative lab 

Cairo 

16 Cairocomix 

17 Cairo International Jazz Festival 

18 Cairo International Film festival 

19 Di-Egy Festival 

20 Downtown Contemporary Arts Festival 

21 Hakawy Festival for Young Audiences 

22 Cairo International Festival for 

Contemporary & Experimental Theatre 

23 Citadel Music Festival 

Luxor 

24 Luxor African Film Festival 

Alexandria, Cairo, Luxor 

25 2B Continued Lab & Festival 

25 

20 8 

6 

9 

13 

4 18 

11 

19 14 17 

7 

12 

24 21 2 15 3 10 23 22 1 

16 5 

january 

february 

march 

april 

may 

june 

july 

august 

september 

october 

novembre 

december

109 


2 

— 

Fact 

Events and festivals 

of North Africa 

— 

Morocco 

Agadir 

1 Agadir International Documentary 

Festival (FIDADOC) 

2 Festival Timitar 

Casablanca 

3 Festival international d’art vidéo 

4 Jazzablanca 

5 L’Boulvard 

6 Rencontres chorégraphiques 

de Casablanca 

Essaouira 

7 Festival Gnaoua Rythmes du Monde 

Marrakesh 

8 Atlas Electronic 

9 Festival Awaln’art 

10 Festival On Marche! 

11 Festival Marrakech du Rire 

12 Festival international du 

film de Marrakech 

Rabat 

13 Festival Mawazine 

14 Festival international du cinéma d’auteur 

15 Visa for Music – Africa-Middle 

East Music Meeting 

Tanger 

16 Tanjazz 

17 Youmein Festival 

Tighmert 

18 Caravane Tighmert 

Mauritania 

Nouakchott 

19 Festival Assalamalekoum 

20 Nouakshort Film Festival 

21 Rencontres littéraires 

Rotating 

22 Festival Nomade 


Tifariti 

23 Artifariti – International Art and Human 

Rights Meeting 

Refugee camps near Tindouf, Algeria 

24 FiSahara Film Festival 

1 13 

20 

11 

10 9 3 18 

21 22 19 4 7 

2 17 8 5 16 6 24 

14 

15 

12 23 

january 

february 

march 

april 

may 

june 

july 

august 

september 

october 

november 

december

110 


Tunisia 

Carthage 

1 Jazz à Carthage 

2 Journées d’art contemporain 

de Carthage 

3 Journées chorégraphiques de Carthage 

4 Journées cinématographiques 

de Carthage 

5 Journées musicales de Carthage 

6 Journées poétiques de Carthage 

7 Journées théâtrales de Carthage 

Hammamet 

8 Festival international de Hammamet 

9 Festival international de films 

de femmes 

Kef 

10 SICCA Jazz 

Tabarka 

12 Jazz à Tabarka 

Tameghza 

13 Oasis créatives 

Tazarka 

14 Salon International de la 

Bande Dessinee de Tazarka (SIBDT) 

Tunis 

15 Chouftouhonna – 

International Feminist Art Festival 

16 Doc à Tunis 

17 Dream City 

18 Festival Ezzedine Gannoun 

19 Interférences 

20 Jaou 

Casablanca 

Essaouira 

Agadir 

Tanger 

Rabat 

Marrakech 

Oran 

Kelibia 

11 Festival international du film de Kelibia 

Tighmert 

Tifariti 

Refugee camps 

(near Tindouf) 

Nouakchott 

18 

6 10 13 

1 16 

20 

3 

8 

12 15 

11 14 5 

9 17 

2 19 

7 

4 

january 

february 

march 

april 

may 

june 

july 

august 

september 

october 

november 

december

111 


Map of Cities 

Algiers 

Tabarka Tunis 

Bejaïa Kef 


Carthage 

Kelibia 

Tazarka 

Hammamet 

Tameghza 

Tripoli 

Benghazi 


Cairo 

Luxor

Events 

& Festivals 

Algeria 

Algiers 

Festival international de la 

Bande-Dessinée à Alger 

Literature 

October 

http://www.bdalger.com/ 

Festival international de Danse 

Contemporaine d’Alger 

Dance 

April 

Festival de danse contemporaine d’Alger – 

Facebook page 

Festival international de la Musique Diwane 

Music 

June 

Festival de musique Diwane – Facebook page 

Festival international du cinéma d’Alger 

Film 

November 

Festival international de cinéma d’Alger – 

Facebook page 

Festival de la création féminine d’Alger 

Multidisciplinary 

December 

http://www.feminalgerie-creation.org/ 

Salon du livre d’Alger 

Literature 

October / November 

http://sila.dz/ 

Bejaïa 

Festival International de théâtre de Bejaïa 

Theatre 

April 

Festival de théâtre de Bejaïa – Facebook page 


Dimajazz 

Music 

April 

Dima Jazz Festival – Facebook page 

Oran 

Biennale méditerranéenne d’art 

contemporain d’Oran 

Visual art 

July. 

https://oranbiennale.wixsite.com/ 

Festival international du Conte d’Oran 

Storytelling 

March 

Festival international de la BD d’Alger – Facebook 

page 

Le Petit lecteur – Facebook page 

Rotating locations 

Festival Raconte-arts 

Theatre 

July 

Festival Raconte-arts – Facebook page 

Egypt 


Theatre is a Must Festival 

Theatre 

March – April 

http://theatermust.com/ 

Theatre Without Funds Festival 

Theatre 

November 

Facebook Page 

Library of Alexandria Summer Festival 

Music 

June 

https://www.bibalex.org/ 

Backstreet Festival 

Performing arts 

April 

Nassim el Raqs Creative lab 

Dance, performance 

Spring 

Nassim el Raqs Facebook page 

Cairo 

Cairocomix 

Literature, Comics 

November 

https://www.cairocomix.com/ 

Cairo International Jazz Festival 

Music 

October 

https://www.cairojazzfest.com/ 

Facebook page 

Cairo International Film festival 

Film 

November 

http://www.ciff.org.eg/ 

Facebook page 

Di-Egy Festival 

Digital arts 

March 

Facebook page 

Downtown Contemporary Arts Festival 


April 

Facebook page 

Hakawy Festival for Young Audiences 

Theater 

March 

Facebook page 

Cairo International Festival for 

Contemporary & Experimental Theatre 

Theater 

September 

http://www.cifcet.gov.eg 

Facebook page 

Luxor 

Luxor African Film Festival 

Film 

March 

http://luxorafricanfilmfestival.com/ 

Facebook page 

Alexandria, Cairo, Luxor 

2B Continued Lab & Festival 


February 

Facebook page 

Mauritania 

Nouakchott 

Festival Assalamalekoum 

Music 

June 

Facebook page 

Nouakshort Film Festival 

Film 

October 

Facebook page 

Rencontres littéraires 

Literature 

January 

http://traversees-mauritanides.com/

Rotating Locations 

Festival Nomade 

Music 

January 

https://www.lakhaima.ca/nomad-fest 

Morocco 

Agadir 

Agadir International Documentary Festival 

(FIDADOC) 

Documentary film 

June. 

http://www.fidadoc.org/ 

Facebook page 

Festival Timitar 

Music 

July 

http://www.festivaltimitar.ma/ 

Facebook page 

Casablanca 

Festival international d’art vidéo 

Video Art 

April 

http://www.fiav.ma 

Facebook page 

Jazzablanca 

Music 

June 

http://www.jazzablanca.com 

Facebook page 

L’Boulvard 

Music 

September 

http://www.boulevard.ma 

Facebook Page 

Rencontres chorégraphiques de Casablanca 

Dance 

October 

http://www.coljam.ma/ 

Facebook page 

Essaouira 

Festival Gnaoua Rythmes du Monde 

Music 

June 

http://www.festival-gnaoua.net/fr 

Marrakech 

Atlas Electronic 

Music 

August / September 

http://www.atlas-electronic.com 

Facebook Page 

Festival Awaln’art 

Public Art 

March/April 

Facobook Page 

Festival On Marche! 

Dance 

March 

Facebook page 

Festival Marrakech du Rire 

Comedy 

June 

http://www.marrakechdurire.com 

Facebook page 

Festival international du film de Marrakech 

Film 

November 

http://www.festivalmarrakech.info 

Facebook page 

Rabat 

Festival Mawazine 

Music 

June 

http://www.festivalmawazine.ma/ 

Facebook page 

Festival international du cinéma d’auteur 

Film 

November 

http://www.festivalrabat.ma 

Facebook page 

Visa for Music – Africa-Middle East 

Music Meeting 

Music 

November 

http://www.visaformusic.com 

Facebook page 

Tanger 

Tanjazz 

Music 

September 

http://www.tanjazz.org 

Facebook page 

Youmein Festival 


July 

Facebook page 

Tighmert 

Caravane Tighmert 


April 

https://caravanetighmert.weebly.com/ 

Facebook page 

Tunisia 

Carthage 

Jazz à Carthage 

April 

Music 

http://2019.jazzacarthage.com/ 

Facebook page 

Journées d’art contemporain de Carthage 

Visual Art 

September 

Facebook page 

Journées chorégraphiques de Carthage 

Dance 

June / July 

Facebook page 

Journées cinématographiques de Carthage 

Film 

October / November 

http://www.jcctunisie.org/ 

Journées musicales de Carthage 

Music 

October 

Journées poétiques de Carthage 

Literature 

March 

http://www.jpcarthage.gov.tn/ 

Facebook page 

Journées théâtrales de Carthage 

Theatre 

December 

http://www.jtc.tn 

Facebook page 

Hammamet 

Festival international de Hammamet 


Organisé par la Compagnie 

https://festivaldehammamet.com/ 

Facebook Page 

Festival international de films de femmes 

Film 

October 

Facebook Page

Events 

& Festivals 

Venues 

Kelibia 

Festival international du film de Kelibia 

Film 

July / August 

Facebook page 

Kef 

SICCA Jazz 

Music 

March 

http://siccajazz.siccaveneria.com/ 

Facebook page 

Tabarka 

Jazz à Tabarka 

Music 

August / September 

https://www.tabarkajazzfest.com/ 

Facebook page 

Tameghza 

Oasis créatives 

Visual arts 

March 

Facebook page 

Tazarka 

Salon International de la Bande Dessinee 

de Tazarka (SIBDT) 

Literature, Comics 

August 

Facebook page 


Tifariti 

Artifariti – International Art and Human Rights 

Meeting 


November 

http://www.artifariti.org/ 

Facebook page 

Refugee camps 

near Tindouf, Algeria 

FiSahara Film Festival 

Film 

October 

http://fisahara.es/ 

Facebook page 

Algeria 

Algiers 

aria – artist residency in Algiers 

Central Alger 

arialgiers@gmail.com 

https://ariaprojects.org/ 

aria – Facebook page 

Fully equipped 100 m 2 apartment 

Artissimo 

28, rue Didouche Mourad, Alger 

+213 (0)770 49 28 41 

contact@artissimo.dz 

http://artissimo.dz/ 

Artissimo – Facebook page 

Multidisciplinary arts school, 

studios and exhibition space 

Ateliers NAS 

3, rue Caron, Alger 

+213 (0)550 08 85 68 

artcontemporain.dz@gmail.com 

Ateliers NAS - Facebook page 

Arts and cultural centre in the heart 

of the Casbah, workshops and 

residency space 

Ateliers Sauvages 

43 rue Didouche Mourad, Alger 

+213 (0)770 98 38 57 

lesatelierssauvages@yahoo.com 

Ateliers Sauvages – Facebook page 

Exhibition & workshop space, 500 m2 

La Baignoire 

contact@labaignoirexperience.com 

La Baignoire – Facebook page 

Alternative arts concept / cultural space, 

laboratory within an office setting 

Opéra d’Alger 

Lot 1, parcelle 515, Ouled Fayet, Alger 

+213 (0)23 28 93 63 

contact@operaalger.com.dz 

http://www.operaalger.com.dz 

Opéra d’Alger Facebook page 

Sound & light equipment 

Capacity: 1400 seats 


Théâtre municipal Alger centre 

(formerly salle Echabab) 

rue Larbi Ben M’hidi, Alger 

+213 (0)23 50 81 23 

Théâtre d’Alger centre – Facebook page 

Capacity: 500 seats

Théâtre national algérien 

10, rue Hadj Omar, Alger 

http://www.TNA.dz 

Sound & light equipment available 

Théâtre de verdure Lâadi Flici 

2, boulevard du Docteur Frantz Fanon, 

Alger-Centre 

+213 (0)21 71 07 28 


Parking available 

Salle Ibn Zeydoun 

Riad El-Feth, El Madania, Alger 

+213 (0)21 25 29 10 

Salle Ibn Zeydoun – Facebook page 

Films & concerts 


Salle El-Moggar 

Allée de la Bonne Fontaine, Alger 

+213(0)21 73 61 93 

Salle El-Moggar – Facebook page 

Films & concerts 


Egypt 


El Madina for Performing and Digital Arts 

6 Fouad St., Al Attarin, Alexandria 

+20 (0) 34 87 58 18 

elmadina@elmadinaarts.com 

http://www.elmadinaarts.com/ 

Facebook page 

Four studios, with a total space of 400 m2 

Gudran for Art and Development 

1, Mamar El Central St., El Manshia, Alexandria 

+20 (0) 34 84 42 26 

http://www.Gudran.com 

Residency space 

Jesuit Cultural Centre 

298 Port Said Street, Cleopatra, Alexandria 

+20 (0) 35 21 48 77 

info@jesuitalex.org 

Facebook page 

Theatre 

Capacity: 160 seats / 200 standing 

Library of Alexandria 

Al Azaritah WA Ash Shatebi, 

Qesm Bab Sharqi, Alexandria 

+20 (0) 34 83 99 99 

Secretariat@bibalex.org 

https://www.bibalex.org/ 

Seminar and conference rooms 

Capacity: 

Great hall: 1638 Seated 

Small theatre: 242 seats 

MASS Alexandria 

2, El Madina al Monawara, Miamia, Alexandria 

+20 (0) 35 56 53 49 

massalex2016@gmail.com 

https://massalexandria.wordpress.com/ 

Facebook page 

400 m 2 exhibition and educational space 

Reflection for Art, Training and Development 

Masjid Elasdeqaa St. Building No. 84, Flat No. 2, 

Garden City Smouha, Alexandria 

+20 (0) 34 25 29 76 

info@reflectionart.org 

http://www.reflectionart.org/ 

Facebook page 

1 hall, 32 m 2 , 

technical equipment available 

Rézodance 

15, rue Sésostris, Al Attarine – 

Opposite Banque du Caire – 2nd floor, Alexandria 

+ 20 (0) 34 83 53 55 

egypte@rezodanse.com 

https://rezodanseegypte.com/ 

Facebook page 

Independent cultural centre, 3 studios 

Cairo 

AfriCairo 

2 Gamal Al Din Abou Al Mahasen, 

Qasr an Nile, Cairo 

+20 (0)2 27 93 42 09 

africairo@gmail.com 

Facebook page 

Small space for recording, workshops and 

performances of Afro fusion music and arts 

Almoharek Booking Agency 

8 Zaki Aboul Seoud St. Agouza, Cairo 

+20 (0)2 33 46 88 48 

contact@almoharek.com 

http://www.almoharek.com/ 

Facebook page 

Booking agency for independent Arab music 

Cairo Contemporary Dance Center 

1 Mousa Galal Square Mohandesin, Cairo 

+20 (0)2 33 45 97 37 

info@ccdc.dance 

https://cargocollective.com/ 

Facebook page 

Independent dance centre with two studios, 

hosts residencies 

Contemporary Image Collective 

4th Floor, 22 Abdel Khalek Tharwat Street, 

Downtown Cairo 

+20 (0)2 23 96 42 72 

info@ciccairo.com 

http://www.ciccairo.com 

Facebook page 

Exhibition and workshop spaces 


Cairo Opera House 

El Borg el Guezira, Zamalek 

+20 (0)2 27 39 01 44 

info@cairoopera.org 

http://www.cairoopera.org/ 

Facebook page 

Theatre 

Capacity: 1.200 seats 

Darb 1718 

Kasr El Sham3 Street, 

Al Fakhareen – Old Cairo, Cairo 

+20 (0)2 27 41 30 53 

kholeif@darb1718.com 

http://www.darb1718.com/ 

Facebook page 

Two exhibition spaces, stage, 

gardens, terrace 

El Mastaba Theatre 

30 A El Belaasy St, Abdeen, Cairo 

+20 (0) 11 50 99 53 54 

mmabrouk5@gmail.com 

http://www.el-mastaba.org 

Facebook page 

Theatre 

El Sawy Culture Wheel 

26th of July street, Zamalek, Egypt 

+20 (0) 10 00 99 99 95 

info@culturewheel.com 

http://www.culturewheel.com 

Facebook page 

Cultural centre with five stages 

Fully equipped 

Capacity: 1.500 seats 

Emad Eddin Foundation/Studio Emad Eddin 

18 Emad Eddin Street, Ataba, Downtown Cairo 

+20 (0) 2 25 76 38 50 

info@seefoundation.org 

http://seefoundation.org/ 

Facebook page 

Four rehearsal, workshop spaces 

organizes residencies 

Ezzat Ezzat Contemporary Dance Studio 

6 Obida Ben Elgarah St., Faisal, El-Giza 

+20 (0)2 35 84 46 63 

info@eedancestudio.com 

http://www.eedancestudio.com/ 

Facebook page 

Studios & apartment 

Capacity: 60 seats

Venues 

Falaki Theatre 

American University in Cairo, 

Downtown Campus, 

24 Falaki St., Downtown Cairo 

+20 (0) 12 88 72 14 46 

Exhibition Space,Rehearsal space, 

Screening Room, Theater 

Makan Centre for Culture & Art 

1 Sharia Saad Zaghloul 

Mounira, Cairo 

+20 (0)2 27 92 08 78 

makan@egyptmusic.org 

http://egyptmusic.org/en/ 

Cultural centre 

Capacity: 70 – 120 seats 

Medrar for Contemporary Art 

7 Gamal El Din Abou El Mahasen St. 

Garden City, 1st Floor, Apt.4, Cairo 

+20 (0)2 27 95 77 14 

info@medrar.org 

http://www.medrar.org/ 

Facebook page 

Exhibition space, workshop spaces 

Out of the Circle Initiative 

11 El-Reyad street, Mohandeseen, Cairo 

outofthecirlce.org@gmail.com 

http://www.outofthecircle.org/ 

Facebook page 

Cultural centre with a residency space 

for digital artists 

Townhouse Gallery / Rawabet 

Nabarawy Street, off Champollion, 

Downtown, Cairo 

+20 (0)2 25 76 80 86 

info@thetownhousegallery.com 

http://www.thetownhousegallery.com/rawabet/ 

Facebook page 

Rehearsal space, Screening Room, theatre 

Capacity: 150 people 

Fayoum 

Fayoum Art Centre 

Tunis village, Fayoum 

+20 (0) 11 20 02 12 13 

info@fayoumartcenter.com 

Facebook page 

Studio spaces, art library, residency space 

Mauritania 

Nouakchott 

ArtGalléAmySow 

ANAT lot 775 Iskane Socogim plage, Nouakchott 

artgalle2017@gmail.com 

Facebook page 

Founded and run by painter Amy Sow 

Art gallery, residency space and café 

Échos du Sahel 

Route de la Plage, Cité Plage, 

facing Clinique Bouna, Nouakchott 

+222 (0)27 05 96 87 

echosdusahel@gmail.com 

Facebook page 

Multidisciplinary cultural centre, hosting 

residencies, performances, workshops 

Espace culturel Diadie Tabara Camara 

Ksar, Nouakchott 

+222 (0)47 51 48 92 

Facebook page 

Multidisciplinary space for meetings, 

exchanges and knowledge sharing 

Maison des cinéastes 

Ilot A, Rue 410-05, Nouakchott 

+222 (0)525 68 68 

maisondescineastes@gmail.com 

Facebook page 

Screening room and cultural centre, hosting 

trainings, workshops, screenings, etc. 

Traversées Mauritanides 

BP 7663, Nouakchott 

+222 (0)45 49 03 38 

traverseesmauritanides@gmail.com 

http://traversees-mauritanides.com/ 

Literary organization, organizes Rencontres 

littéraires de Nouakchott festival 

Morocco 

Casablanca 

Atelier de l’observatoire 

62 Boulevard Bir Anzarane, Casablanca 

+212 (0) 6 10 32 88 04 

atelier.observatoire@gmail.com 

https://www.atelierobservatoire.com/ 

Facebook page 

Residency & workshop space in Bouskoura 

(32 km from Casablanca) 

L’Boultek 

Technopark, Route de Nouaceur, Sidi Maarouf 

Casablanca 

+212 (0) 6 99 63 67 99 

eac.lboulvart@gmail.com 

https://boulevard.ma/boultek/ 

Facebook page 

Fully-equipped recording studios and 

performance space 

120 seats / 250 standing 

Casa del Arte 

7 rue Franceville Oasis, Casablanca 

+212 (0) 5 22 99 09 36 

+212 (0) 5 22 98 46 57 

info@casadelarte.ma 

http://www.casadelarte.ma/ 

Facebook page 

7 multi-purpose rooms and patio 

Cinema Rialto 

20 Rue Mohamed El Quorri, Casablanca 

+212 (0) 6 34 75 09 83 

cinema.lerialto@gmail.com 

Facebook page 

Cinema and cultural space 

Houna 

communication@houna.ma 

http://www.houna.ma/ 

Facebook page 

Cultural incubator & residency space 

Le H2/61.26 

61, avenue Hassan II, floor 11, Casablanca 

+212 (0)6 78 32 80 08 

Facebook page 

Exhibition and cultural space 

La Source du lion 

336, rue Mustapha al Maani, Casablanca 

+212 (0) 6 73 62 08 10 / 06 

http://www.lasourcedulion.com/ 

Facebook page 

Workshop, exhibition, residency space 

Les Étoiles (Fondation Ali Zaoua) 

Bd Mohamed Zefzaf, Attacharouk 

Sidi Moumen, Casablanca 

+212 (0) 5 22 72 49 23 

fondationalizaoua@gmail.com 

http://fondationalizaoua.org/ 

Facebook page 

Fully equipped auditorium, screening room, 

residency space, rehearsal spaces 

Studio des Arts Vivants 

38, Boulevard Abdelhadi Boutaleb, Casablanca 

+212 (0) 6 66 65 32 02 

+212 (0) 5 22 97 93 20 

http://www.lestudio.ma/ 



2 parking lots

Studio Hiba 

Bd Ahl loghlam, Sidi Bernoussi, Casablanca 

+212 (0) 5 22 74 27 17 / 18 

contact@studiohiba.com 

http://www.studiohiba.ma/ 

Fully equipped recording and production studios, 

and residency space with 5 rooms 

L’Uzine 

19 boulevard Mouatamid Ibnou Abbad, 

ancienne route de Rabat, 

Aïn Sebâa, Casablanca 

+212 (0) 5 22 66 01 66 

Facebook page 

Exhibition space, performance space 


Capacity: 130 seats / 200 standing 

Villa des Arts 

30, Boulevard Brahim Roudani, Casablanca 

+212 (0) 5 22 29 50 87/94 

http://www.fondationona.ma/ 

Exhibition and performance space 

372 Avenue Colonel Mondjiba 

+ 243 81 878 50 72 

Lieu d’exposition, de projections, 

boutique et café. 

Rabat 

Centre culturel l’Agdal 

Rue Amir Abdelkader, Rabat 

+212 (0) 5 37 67 28 66 

Facebook page 

Exhibition hall, residency space, 

projection room, recording studios 

Capacity: (172 seats) 

Dabateatr 

Technopark , 8 Rue Ghandi, Hassane-Rabat 

+212 (0)6 00 05 06 22 

http://dabateatr.org/ 

Facebook page 

Multidisciplinary arts organization 

Fondation Hiba 

360, Bd Mohamed V, Rabat 

+212 (0) 5 37 73 80 49 

https://www.fondationhiba.ma/ 

Facebook page 

Salle Renaissance: fully equipped cinema 

and theatre 


Hiba Lab 

(See also Hiba studios in Casablanca 

L’appartement22) 

279 avenue Mohamed V, Rabat 

+212 (0)6 63 59 82 88 

https://www.appartement22.com/ 

Facebook page 

multidisciplinary rehearsal and workshop space 

Residency and exhibition space 

Le Cube 

2, rue Benzerte, Rabat 

+212 (0)6 61 18 64 41 

info@lecube-art.com 

https://lecube-art.com/ 

Facebook page 


Palais Tazi 

2, rue El Quds, Rabat 

+212 (0) 6 66 75 92 56 

Facebook page 

For large events 

Salle Bahnini 

1n rue Ghandi, Rabat 

+ 212 (0) 5 37 20 94 94 

Facebook page 

Managed by the Ministry of Culture 

Auditorium capacity: 600 seats 

Théâtre Aquarium 

12 rue Ezzaouia, Rabat 

+212 (0) 5 37 69 41 09 

http://www.theatreaquarium.org/aquarium.html 

Facebook page 

Small theatre, gallery, meeting spaces 

Théâtre national Mohammed V 

172, Avenue Al Mansour Addahbi, Rabat 

+ 212 (0) 5 37 70 73 00 

https://tnm5.ma/ 

State theatre 

Villa des Arts Rabat 

10, rue Beni Mellal, corner Av Mohamed V., Rabat 

+212 (0) 5 37 66 85 79-82 

http://www.fondationona.ma/ 


Centre culturel l’Agdal 

Rue Amir Abdelkader, Rabat 

+212 (0) 5 37 67 28 66 

Facebook page 

Exhibition hall, residency space, 

projection room, recording studios 


Marrakech 

Al Maqam 

El Mgassem, Marrakech Tensift Al Haouz, 

Tahannaout 

almaqamresidence@gmail.com 

Facebook page 

Residency space, 10 rooms 

Dar Saïda – Literary space 

97 rue Tansift Quartier Semlalia, Marrakesh 

+212 (0) 5 24 43 63 60 

darsaidaasso@gmail.com 

https://www.darsaida.org/ 

Facebook page 

Conference halls, café 

Dar Bellarj Foundation 

9 – 7, Toualate Zaouiate Lahdar Médina, 

Marrakesh 

+212 (0) 5 24 44 45 55 

contact@darbellarj.org 

Facebook Page 

Exhibition and workshop space 

Le18 

18, Derb El Ferrane – Riad Laarouss, Marrakesh 

+212 (0) 5 24 38 98 64 

le18marrakech@gmail.com 

https://le18marrakech.com/en/ 

Facebook page 


MACAAL 

Al Maaden, Sidi Youssef Ben Ali, Marrakech 

+212 (0) 6 76 92 44 92 

info@macaal.org 

http://macaal.org/ 

Facebook page 

Contemporary African art museum 

with residency space 

Priscilla Queen of the Medina 

27 Derb el Ferrane Azbezt, Marrakesh 

+212 (0) 6 21 51 49 05 

queenofthemedina@gmail.com 

http://www.queen-of-the-medina.com/ 

Facebook page 

Working space, presentation space, 

accommodation 

Tanger 

Atelier Kissaria/Think Tanger 

info@atelier-kissaria.com 

http://www.atelier-kissaria.com 

Facebook page 

150 m 2 space for creation and production 

centering on experimental and artisanal printing 

techniques. Also hosts residencies. 

Cinémathèque de Tanger 

Grand Socco – Place du 9 avril 1947, Tanger 

+212 (0)5 39 93 46 83 

info@cinemathequedetanger.com 

https://www.cinemathequedetanger.com/en/ 

Facebook page 

Two screening rooms and café 

Capacity: 300 seats / 50 seats 

Les Étoiles 

29, Rue Aicha Al Moussafir – Beni Makada, Tanger 

+212 (0)6 11 30 95 29 

fondationalizaoua@gmail.com 

http://fondationalizaoua.org/ 

Fully equipped auditorium, screening room, 

residency space, rehearsal spaces

Venues 

Mahal Art Space 

122, Avenue Sidi Mohamed Ben Abdellah, 

Local B, Tanger 

+212 (0)6 91 58 29 53 

mahal.artspace@gmail.com 

Facebook page 

Exhibition and residency space 

Spectacle pour tous 

contact@spectaclepourtous.ma 

Facebook page 

Theatre schoolbus, small permanent 

rehearsal space 

Tabadoul 

19, rue Magellan, Tanger 

+212 (0)6 64 73 21 73 

info@tabadoul.org 

http://www.tabadoul.org 

Facebook page 

400 m2 multi-purpose performance, 

rehearsal and residency space 

Two rooms: 

Large room for performances: 140 m 2 

and small for meetings: 30 m 2 

workshops etc. 

Libya 

Tripoli 

Ali Gana Foundation and Museum 

aliganafoundation@gmail.com 

Facebook page 

Founded by artist Hadia Gana 

The museum is under construction 

Art House 

Triq el Sikka, Tripoli 

+218 (0)2 13 60 44 77 

Facebook page 

Popular gallery space and meeting place since 

the 1990s. Sometimes hosts screenings and 

other events. 

WaraQ Art Foundation 

+218 (0)9 23 06 32 78 

hello@waraq.ly 

https://waraqartfoundation.com/ 

Facebook page 

NGO organizing exhibitions, workshops, 

trainings around contemporary art 

Benghazi 

Tanarout 

Alhadaiyq, Benghazi 

+218 (0)9 13 84 90 03 

Info@tanarout.org 

https://tanarout.org/ 

Facebook page 

Large multi-purpose cultural space, 

used for concerts, exhibitions, studios, 

screenings, rehearsals, etc. 

Tunisia 

Tunis 

L’Agora 

5 avenue Taïeb Mhiri Marsa Ville 

+216 (0)29 912 123 

lagora@lagora.tn 

https://www.lagora.tn/ 

Facebook page 

Cinema, performance, exhibition space 

Théâtre Al-Hamra / Centre Arabo-Africain de 

Recherche et de Création Théâtrale 

28 rue d’El Jazira 

+216 (0)71 320 734 

theatrelhamra@gmail.com 

Facebook page 

Fully equipped theatre, training centre 

L’Art Rue 

40, rue Kouttab Louzir – Tunis medina 

+216 (0)29 212 775 

communication.lartrue@gmail.com 

https://www.lartrue.com/ 

Facebook page 

Residency space, workshops, 

performances, exhibitions 

Bchira Art Center 

Sabelet Ben Ammar, on the road to Sidi Tabet, 

Ariana 

+216 (0)71 527 767 

contact@bchiraartcenter.com.tn 

Facebook page 

Gallery space : 200 m 2 

Capacity : 200 seats / 400 standing 

Parking available 

BL79 

Bhar Lazreg, Tunis 

https://www.kamellazaarfoundation.org/fr/ 

project/b7l9 

Exhibition space: 500 m 2 , projection room, space 

for resident artists, library and café 

Centre des Musiques Arabes 

et Méditerranéennes 

8, rue du 2 mars 1934, Sidi bou Said 

http://www.cmam.nat.tn/ 

Multidisciplinary cultural complex with two 

performance spaces 

Capacity: 230 seats (indoor), 600 seats (outdoor) 

Cité de la Culture 

Avenue Mohamed 5, Tunis 

+216 (0)70 028 330 

contact.citeculture@mac.gov.tn 

http://www.citedelaculture.gov.tn/ 

Facebook page 


Opera: 1800 seats 

Auditorium: 700 seats 

Theatre: 400 seats 

Music production studios 

El Teatro 

Le Belvédère, Tunis 

+216 (0)71 894 313 

https://www.elteatro-tunis.com/ 

Facebook page 

El Teatro main space: 250 seats 

Carré d’art: 100 seats 

Exhibition space 

L’Étoile du Nord 

41 Avenue de Farhat-Hached, Tunis 

+216 (0)71 256 242 

Facebook page 

Capacity: 300 – 400 seats / 600 standing 

La Boîte 

Z.I. La Charguia, Tunis 

Facebook page 

Exhibition space 

Lab619 

619lab@gmail.com 

Facebook page 

Comic and graphic novel collective, organize 

residencies, workshops 

Lang’art 

36, rue 18 janvier 1952, Tunis 

+216 (0)58 088 048 

langartproduction@gmail.com 

Facebook page 

Rehearsal studio with stage, 70m 2 

Centre des arts vivants de Radès 

1, rue du Pakistan, Tunis 

+216 (0)71 441 727 

contact@cavr.tn 

http://www.cavr.tn 

Facebook page 

Workshop spaces, photography lab, 

three individual workshops for 

resident artists, exhibition space

CinéMad’art Carthage 

2, rue Pline, Carthage 

+216 (0)71 275 210 

info@cinemadart.net 

Facebook page 

Cinema and theatre 

Cinevog 

10 rue Said Abou Bakr Le Kram 

cinevog.programme@gmail.com 

Facebook page 

Cinema and theatre 

Maison de la culture Ibn Rachik 

20, Avenue de Paris, Tunis 

+216 (0)71 338 952 

ibnrachiq@gmail.com 

Facebook page 


Maison de l’Image 

40 Rue Tarak Ibn Zied 

Mutuelleville, Aryanah 

+216 (0)71 84 05 36 

info@maisonimage.tn 

http://www.maisonimage.tn 

Facebook page 

Workshop, exhibition, residency space 

Le Mondial 

20, rue Ibn Khaldoun, Tunis 

+216 (0)95 159 568 

espacelemondial@gmail.com 

Facebook page 

Cinema, performance space 

Le Rio 

92, rue Radhia Haddad, Tunis 

+216 (0)70 038 033 

artdistributions@gmail.com 

Facebook page 

Cinema, theatre 

WAX Bar 

Complexe Trinidad – Gammarth, Tunis 

+216 (0)25 508 109 

waxbarvinyles@gmail.com 

Facebook page 

Popular bar/club and show venue 

Hammamet 

Dar Eyquem 

info@dareyquem.com 

Facebook page 

Residency space 



Motif Arts Studio 

Samara Refugee Camp, 


+213 (0)6 68 37 15 96 

Art space run by multidisciplinary 

artist Mohamed Sulaiman 

Abidin Kaid Saleh Audiovisual School 

Dakhla Refugee Camp, 


info@escueladecinedelsahara.org 

http://fisahara.es/escuela-audiovisual/ 

Facebook page 

Film & audiovisual training centre for Sahrawi 

refugees. Affiliated with FiSahara Film Festival. 

Salle 4e art/Le Paris 

27, avenue de Paris, Tunis 

+216 (0)50 609 460 

Facebook page 

Theatre and exhibition space 



Théâtre municipal 

2, rue de Grèce, Tunis 

+216 (0)71 259 499 

Facebook page 


Théâtre national tunisien 

58 Place Halfaouine, Tunis, 

+216 (0)71 565 693 

Facebook page 

Theatre, studios

120 

Acronyms 

APPENDIX 

A 

— 

QUOTE: 

We speak Arabic, whereas 

artists in other African regions 

speak French. It’s true that 

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* 

—

121 

Acronyms 

ACRO— 

NYMS— 

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 

NGO—Non-governmental organization 

OIF—Organisation Internationale de la Francophonie 

RAM—Royal Air Maroc 

RCF—Roberto Cimetta Fund 

SADR—Sahrawi Arab Democratic Republic

122 

Respondents 

APPENDIX 

B 

— 

Fact: 

List of 90 artists 

and cultural operators 

interviewed 

—

123 

Respondents 

— 

Some individuals 

responded 

in their capacity 

as independent 

practitioners; some on 

behalf 

of their organizations; 

and some, both. 

— 

RES — 

PON — 

DENTS 

LIST OF ARTISTS & 

CULTURAL OPERATORS 

INTERVIEWED 

ALGERIA 

· Ammar Bouras 

Photographer, Algiers 

· Arslan Naili 


Founder of Atelier N.A.S., Algiers 

· Mouna Bennamani 

Visual artist, Algiers 

· Hacène Metref 

Director Festival Raconte-Arts, Tizi Ouzou 

· Houari Bouchenak 

Photographer, Collectif 220, Tlemcen / Algiers 

· Louise Dib 

Graphic designer, Algiers 

· Riad Abdelouahab 

Graphic designer, Algiers 

· Malik Chaoui 

Co-project manager, Groupe de travail sur la 

politique culturelle en Algérie, Algiers 

· Mehdi Djelil 

Visual artist, Algiers 

· Meriem Bouraoui 

Slam poet, Algiers 

· Myriam Amroun 

Cultural project manager, Algiers 

· Sadek Bouzinou 

Singer/songwriter, Democratoz, Oran/Dakar 

· Samy Abdelguerfi 

Booker, cultural policy researcher, 

Groupe de travail sur la politique culturelle 

en Algérie, Algiers / Paris 

· Walid Aidoud 

Visual artist, founder of Box24, Algiers 

· Wassyla Tamzali 

Founder and artistic director, 

Les Ateliers Sauvages, Algiers 

· Zafira Ouartsi 

Founder and director, Artissimo, Algiers 

EGYPT 

· Abdelsamee Abdallah 

Cultural activist and theatre practitioner, 

ActionAid, Cairo/Amman 

· Adel Abdelwahab 

Artistic director, Hewar for Independent 

Theater & Performing Arts, Alexandria 

· Ahmed Eldeeb 

Co-founder – Director, Reflection for 

Arts Training & Development, Alexandria 

· Ahmed Omar 

Bassist, founder of AfriCairo 

· Amany El Sawy 

Associate Professor and playwright, 

Alexandria University 

· Andrea Thal 

Artistic director, 

Contemporary Image Collective, Cairo 

· Basem Abuarab 

Executive director, Al Moharek Booking Agency 

for Independent Arabic Music, Cairo 

· Berit Schuck 

Programme director, MASS Alexandria 

· Dia Hamed 

Visual artist and co-founder, Medrar Centre for 

Contemporary Art, Cairo 

· Elham Khattab 

digital artist and co-founder, 

Out of the Circle, Cairo 

· Ghada El Sherbiny 

Cultural programming 

Goethe Institut Kairo 

· Laila Soliman 

Playwright and director, Cairo 

· Mohamed Ghazala 

Professor, Vice President of the International 

Association of Animation filmmakers (ASIFA), 

Cairo /Jeddah

124 

Respondents 

· Mohammed Hassan 

Sound engineer, IICI Consulting, Cairo 

· Nada Sabet 

Theatre director, co-founder, 

Noon Creative Enterprise 

· Reem Hassan 

Visual artist and co-founder, EAN Group for 

International Artistic Cooperation, Cairo 

· Yara Mekawei 

Sound artist and DJ, Radio Submarine, Cairo 

LIBYA 

· Abdul Mohaimen Zarrough 

Photographer and cultural manager, Tripoli 

· Dina Gallal 

Photographer and visual artist, Benghazi 

· Faiza Ramadan 

Visual artist, Tripoli 

· Faraj Alsileeni 

Drummer, Director of Tanarout, Benghazi 

· Mohamed Busneina 

Drummer, Content Developer & 

Head of Music Dept., Tanarout 

· Najlaa El-Ageli 

Architect, Founder of Noon Arts Projects, 

Tripoli/London 

· Sihem Saleh 

Architect and cartoonist, Tripoli 

· Tewa Barnosa 

Visual artist and founder of 

WaraQ Art Foundation, Tripoli/Berlin 

MAURITANIA 

· Atigh Ould 

Founder and artistic director, 

Festival Nomade 

· Mohamed Idoumou 

Poet, journalist, documentary filmmaker 

and cultural operator, Maison du cinéma de 

Nouakchott 

MOROCCO 

· Amina Mourid 

Cultural operator, co-founder, 

Atelier Kissaria & Think Tanger 

· Abdessamad Bourhim 

l’Uzine, Bassist / stage manager 

& technician, Casablanca 

· Ahlam El Morsli 


Compagnie Col’Jam, Casablanca 

· Bouchra Salih 

Independent cultural operator & designer, 

Rabat 

· Brahim El Mazned 

Director of Visa for Music, Rabat 

· Carlos Marin 

Director of Caravane Tighmert, Ceuta 

· Dounia Jouhar 

l’Uzine, Communications manager, 

Casablanca 

· Ghita Khaldi 

Director of Afrikayna, Casablanca 

· Hicham Bahou 

Co-director of EAC-L’Boulvard, 

Casablanca 

· Hosni Almoukhlis 

Theatre practitioner, Founder and Artistic 

Director, Théâtre de l’Opprimé, Casablanca 

· Hind Benali 

Dancer and choreographer, Compagnie Fleur 

d’orange, Casablanca/Nouméa 

· Javier Galván Guijo 

Director, Instituto Cervantes, Rabat 

· Laila Hida 

Photographer and co-founder, Le18, Marrakech 

· Jamal Abdenassar 

Independent cultural operator/Founder of 

Casablanca Fashion Week, Casablanca 

· Léa Morin 

Curator and researcher, co-founder and 

director of L’Atelier de l’observatoire, 

Casablanca 

· Maria Daïf 

Independent cultural operator, Casablanca 

· Mehdi Azdem 

Managing director, Racines 

· Mohamed Lâabidi 

Musician, L’Uzine 

· Nouha Ben Yadri 

Curator and founder, Mahal Art Space, Tangiers 

· Sabrina Kamili 

Project manager, L’Atelier de l’observatoire, 

Casablanca 

· Silvia Coarelli 

Founder, Tabadoul, Tanger 

· Zineb Benjelloun 

Visual artist, Casablanca 

· Zineb Haddaji 

Project manager, L’Uzine 

TUNISIA 

· Abir Gasmi 

Graphic novelist, co-founder, Lab619, Tunis 

· Asma Kaouech 

Executive director, Fanni Raghman Anni, Tunis 

· Bahri Ben Yahmed 

Dancer and choreographer, co-founder, 

Danseurs Citoyens / Lang’art, Tunis 

· Béatrice Dunoyer 

Program director, L’Art Rue, Tunis 

· Cyrine Gannoun 

Theatre actor and director, Director, 

Théâtre Al-Hamra/Centre arabo-africain 

de formation et de recherche théâtrales, Tunis 

· Hafedh Zallit 

Dancer and choreographer, H-Prod, Tunis 

· Hamdi Ryder 

DJ, Downtown Vibes collective, Tunis 

· Leila Toubel 

Theatre actor, dramaturg and activist, Tunis 

· Lil’Jack 

DJ, Downtown Vibes collective, Tunis 

· Malek Sebaï 

Dancer and choreographer, co-founder, 

Association Hayyou’Raqs, Tunis 

· Mariem Guellouz 

Dancer and researcher, 

Director of Les Journées chorégraphiques 

de Carthage, Tunis/Paris 

· Mohamed Ben Soltane 

Visual artist, cultural manager and curator, Tunis 

· Mohamed Guediri 

Rapper, Founder of Cité’Ness Association, 

Tunis 

· Ouafa Belgacem 

Cultural resource mobilization expert, CEO of 

Culture Funding Watch, Tunis 

· Rania Sdiri 

Cultural operator, Tunisian Culture Network, 

Tunis 

· Shiran Ben Abderrazak 

Executive Director, Fondation Rambourg, Tunis 

· Wadi Mhiri 

Visual artist, Tunis 


· Mohamed Sulaiman 

Photographer and visual artist, 

Motif arts studio, Samara refugee camp, 


OTHER 

· Angie Cotte 

Secretary General, Roberto Cimetta Fund, Paris 

· Ayman Helmy 

Programs manager, 

Al Mawred Al-Thaqafy, Beirut 

· Gitte Zschosch 

Director, EUNIC Brussels 

· Johanna Keller 

Head of Unit, Goethe Institut (former Director of 

Cultural Programme, Goethe-Kairo) 

· Noémi Kahn 

Assistant Director, Network of Alternative Arab 

Screens, Beirut 

· Pia Chaib 

Program coordinator, Wijhat, Al Mawred 

Al- Thaqafy, Beirut

125 

Respondents 

Compagnie O performs Corbeaux, choreographed and directed by Bouchra Ouizguen. 

Photo courtesy of Hasnae El Ouarga / Compagnie O

126 

Bibliography 

APPENDIX 

C 

— 

Fact: 

Books, studies, articles, 

reports on mobility, migration, 

history and culture 

—

127 

Bibliography 

BI— 

BLIO— 

GRA— 

PHY 

1. 

Azzahrae, Fatima and El Ghayam, Sellama (2001). 

“Morocco,” in Culture Resource/Al Mawred 

Al-Thaqafy, European Cultural Foundation and 

Boekmanstudies (eds.), Cultural Policies in Algeria, 

Egypt, Jordan, Lebanon, Morocco, Palestine, 

Syria and Tunisia: an Introduction, p. 126 – 149. 

2. Barcelona Declaration (1995). 

https://ec.europa.eu/research/iscp/pdf/ 

policy/barcelona_declaration.pdf 

3. Belgacem, Ouafa (2001). “Tunisia,” in Cultural 

Policies in Algeria, Egypt, Jordan, Lebanon, 

Morocco, Palestine, Syria and Tunisia: an Introduction, 

p. 26 – 50. 

4. Benslimane, Dounia (2014). “Morocco Country 

Report,” Technical Assistance Unit of Med Culture 

Programme for the promotion of culture as 

vector of Human, Social and Economic Development 

in South Mediterranean Countries. 

http://www.medculture.eu/country/infographics/morocco.html 

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. 

6. North African Cultural Mobility Map (2019). 

http://www.nacmm.org/en/ 

7. El Batraoui, Menha and Khafagui, Nermeen 

(2010). “Egypt,” in Cultural Policies in Algeria, 

Egypt, Jordan, Lebanon, Morocco, Palestine, 

Syria and Tunisia: an Introduction, p. 26 – 50.

128 

Bibliography 

8. El Bennaoui, Khadija (2018). “Surviving the 

paradoxes of mobility,” UNESCO Global 

Report, https://en.unesco.org/creativity/ 

story/surviving-paradoxes-mobility, 

p. 107 – 123. 

9. El Hamrani, Issandr (2001). “Cultural politics 

and cultural policy in the Arab world,” in 

Cultural Policies in Algeria, Egypt, Jordan, 

Lebanon, Morocco, Palestine, Syria and Tunisia: 

an Introduction, p. 13 – 22. 

10. Freedom House Country Reports (2019). 

https://freedomhouse.org/regions/middleeast-and-north-africa 

11. Freemuse Country Reports (2019). 

https://freemuse.org/regions/middleeast-north-africa/ 

12. Furjani, Reem (2018). “Libya Country Report,” 

Technical Assistance Unit of Med Culture 

Programme for the promotion of culture as 

vector of Human, Social and Economic Development 

in South Mediterranean Countries. 

13. Gana, Hadia (2014). “Filling the Gaps: Arts 

Infrastructure and Institutions in Libya Post- 

Dictatorship,” Ibraaz, http://www.ibraaz. 

org/essays/89 

14. Kessab, Ammar (2014). “Algeria Country 

Report,” Technical Assistance Unit of Med 

Culture Programme for the promotion of culture 

as vector of Human, Social and Economic 

Development in South Mediterranean Countries. 

http://www.medculture.eu/country/ 

report-structure/algeria.html 

15. El-Tahri, Jihan and Kouoh, Koyo (2015). “Opening 

Remarks by Koyo Kouoh and Keynote 

Address by Jihan El-Tahri,” 1:54 Forum, London. 

https://soundcloud.com/1-54-forum/ 

forum-london-2015-opening-remarks-bykoyo-kouoh-and-keynote-address-byjihan-el-tahri 

16. Malka, Haim (2018). “Destination Maghreb: 

Changing Migration Patterns in North Africa,” 

Center for Strategic and International 

Studies. https://www.csis.org/analysis/ 

destination-maghreb 

17. Martins, Sara (2011). “The border of arts – 

reflections on the state of the art of artistic 

mobility in Africa,” presented at Research 

Workshop 5: State of Arts in Africa and South 

America, 11&12 May 2011. 

18. Mtimet, Walid (2014). “Tunisia Country Report,” 

Technical Assistance Unit of Med Culture 

Programme for the promotion of culture 




infographics/tunisia.html 

19. On the Move & Arab Education Forum (2017). 

Cultural Mobility Funding Guide: Arab countries. 

https://on-the-move.org/funding/ 

arabcountries/ 

20. Fazeulaa, Hossam (2018). “Egypt Country 

Report,” Technical Assistance Unit of Med 

Culture Programme for the promotion of culture 




infographics/egypt.html 

21. Wiesand, Andreas / ERICarts Institute (2008). 

Mobility Matters – Programmes and Schemes 

to Support the Mobility of Artists and Cultural 

Professionals. A Study for the European Commission, 

Directorate-General for Education 

and Culture. Bonn: ERICarts Institute. 

22. The Informal Meeting of Independent Cultural 

Spaces in the Arab World (2011). Young 

Arab Theatre Fund. Independent Arts And 

Culture Spaces In The Arab World. http:// 

mophradat.org/wordpress/wp-content/ 

uploads/2018/01/Independent-Arts-and- 

Culture-in-the-Arab-World.pdf

129

130 

— 

artmovesafrica.org 

—

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

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