Mobility fund of artists and cultural operators within the African continent

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Researcher

English

"Ce voyage était mon premier voyage dans un autre pays africain. J'ai toujours rêvé de participer à un festival du film réellement africain.

J'espérais rencontrer d'autres cinéastes qui font face aux mêmes luttes et aux mêmes défis que je rencontre en tant que cinéaste émergent en Afrique du sud, où il y a une division prononcée entre les cinéastes établis et émergents. Nous devons nous battre pour raconter nos récits.

French

"The trip was my first to another African country, attending a truly African film festival has always been one of my dreams.

I hoped to meet and connect with other filmmakers, who share the same struggles and challenges that I face, as an emerging filmmaker in South Africa, where the divide exists between the established filmmakers and emerging filmmakers, a place where we continue to struggle immensely to make and have our stories told.

English

"The travel was great.. I arrived on time and my stay at Ebedi provided me with space to work extensively on my novel and finished it. I also met Nigerian writers with whom we shared and improved each other’s work."

English

Thanks to the Art Moves Africa program, I was able to participate in the 50th Annual Conference of FIRT organised this year by the University of Stellenbosch between 10 and 14 July. My presentation entitled "Fields of Silence in Moroccan Performance Studies Emerging Sites of Hybridity" focussed mainly on the transpossition of indigenous performance genres such as al-halqa and l-bsat in Moroccan postcolonial theatre since the 1960s. The implication of such negotiation is the production of a third theatrical space that is liminal and hybrid through and through.

French

Thanks to the Art Moves Africa program, I was able to participate in the 50th Annual Conference of FIRT organised this year by the University of Stellenbosch between 10 and 14 July. My presentation entitled "Fields of Silence in Moroccan Performance Studies Emerging Sites of Hybridity" focussed mainly on the transpossition of indigenous performance genres such as al-halqa and l-bsat in Moroccan postcolonial theatre since the 1960s. The implication of such negotiation is the production of a third theatrical space that is liminal and hybrid through and through.

English

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