Allianz Foundation’s Post

Looking forward to tonight! See you at BASE Milano, at Farout festival with Barrani - The Double Absence by Corps Citoyen collective. Info: https://shorturl.at/330M1 𝘐𝘯 𝘚𝘺𝘳𝘪𝘢, 𝘐 𝘸𝘢𝘴 𝘍𝘳𝘦𝘯𝘤𝘩; 𝘪𝘯 𝘍𝘳𝘢𝘯𝘤𝘦, 𝘐 𝘸𝘢𝘴 𝘢𝘯 𝘈𝘳𝘢𝘣 𝘸𝘪𝘵𝘩 𝘢 𝘴𝘵𝘳𝘢𝘯𝘨𝘦 𝘯𝘢𝘮𝘦. 𝘙𝘪𝘢𝘥 𝘚𝘢𝘵𝘵𝘰𝘶𝘧, "𝘛𝘩𝘦 𝘈𝘳𝘢𝘣 𝘰𝘧 𝘵𝘩𝘦 𝘍𝘶𝘵𝘶𝘳𝘦: 𝘈 𝘊𝘩𝘪𝘭𝘥𝘩𝘰𝘰𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘔𝘪𝘥𝘥𝘭𝘦 𝘌𝘢𝘴𝘵 " 𝘛𝘩𝘦 𝘱𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘪𝘮𝘮𝘪𝘨𝘳𝘢𝘯𝘵 𝘪𝘴 𝘢𝘭𝘸𝘢𝘺𝘴 𝘮𝘢𝘳𝘬𝘦𝘥 𝘣𝘺 𝘪𝘯𝘤𝘰𝘮𝘱𝘭𝘦𝘵𝘦𝘯𝘦𝘴𝘴; 𝘪𝘵 𝘪𝘴 𝘨𝘶𝘪𝘭𝘵𝘺 𝘪𝘯 𝘪𝘵𝘴𝘦𝘭𝘧. 𝘐𝘵 𝘪𝘴 𝘢 𝘱𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘵𝘩𝘢𝘵 𝘪𝘴 𝘰𝘶𝘵 𝘰𝘧 𝘱𝘭𝘢𝘤𝘦 [𝘥𝘦́𝘱𝘭𝘢𝘤𝘦́𝘦] 𝘪𝘯 𝘦𝘷𝘦𝘳𝘺 𝘴𝘦𝘯𝘴𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘵𝘦𝘳𝘮. 𝘈𝘣𝘥𝘦𝘭𝘮𝘢𝘭𝘦𝘬 𝘚𝘢𝘺𝘢𝘥, "𝘛𝘩𝘦 𝘋𝘰𝘶𝘣𝘭𝘦 𝘈𝘣𝘴𝘦𝘯𝘤𝘦" Out of place, a-topos, déplacée. A presence out of place, “always in the wrong place,” as Edward Said put it, belonging neither to the origin nor to the destination. This state of being a-topos, according to Abdelmalek Sayad, is one of the recurring features of the migratory experience, shaping a perception of oneself in a “double absence” between the homeland and the place of arrival: uprooted from the *bled*, and accompanied by the feeling of being neither here nor elsewhere. “Where we are, we are not ourselves; where we were, we no longer exist, trapped between two languages, two cultures, past and future, searching for an identity space that is both present and other, constantly oscillating between these two poles.” In Tunisian Arabic, *barrani* refers to the stranger, literally “the one who comes from outside (el barra),” the one who has undertaken the journey to Europe. This research work is dedicated to the generation of the diaspora, non-native European citizens—an individual and collective questioning of departure and arrival, desire and its limits, the "here" to be built and the "there" as memory, a nostalgic present, and a future imagined as a return to the past. Through a sound production system built on reverberations and echoes, *Barrani* is a performance-concert where dance, poetic word, and multimedia allow for a new narrative of the self, between present, past, and future, in a third, in-between space—situated between the two poles of the journey and existing only in the time of the performance: the space of storytelling. With: Rabii Brahim, Manuel D'Onofrio   direction: Anna Serlenga   dramaturgy: Tolja Djokovic   choreography: Hafiz Dhaou and Aicha M'Barek   lighting design: Manuel D'Onofrio   music: Manuel D'Onofrio and Rabii Brahim   texts: Tolja Djokovic, Rabii Brahim and fragments freely inspired by Bayo Akomolafe, Anna Akhmatova, Mahmoud Darwish, Niccolò Machiavelli, Forough Farrokhazad   costumes: Lucia Gallone   production: Alessandra Di Pilato   video & photos: Sara Lemlem   Producers/co-producers: CORPS CITOYEN, BASE Milano, Operaestate Festival Veneto; Milano Mediterranea  with the support of Archive Milano and ZONA K

Ciku Kimeria made a key observation that if one wants to see a wide array of African artifacts, their best bet is to apply for a Schengen or UK visa and catch a $1,000 flight from Africa to Europe or Britain, where the majority of Africa’s material cultural legacy is found. As much as 90% of Sub-Saharan Africa’s cultural artifacts are outside of the continent, according to a 2018 report commissioned by French President Emmanuel Macron. A significant share is indeed housed in European and British museums. #ReturnAfricanheritageandartefactstoAfrica. African Culture Fund (ACF) Youth.Heritage.Africa. Programme - ICCROM Africa No Filter https://lnkd.in/d34tY3Ez

The international strategy, “Inspiring Connections”, will promote all levels of our cultural sector to the wider world, but that will not be without its challenges. Scotland's world class cultural output is being harmed by #Brexit. The conversation in Europe is about youth, mobility and emerging artists. But artists in Scotland face increased bureaucracy and financial barriers making it harder to tour and to compete. If Denmark or France wants to book a Celtic artist, it is easy to bypass Scotland and look to Ireland. As a small independent nation in Europe with a £9.6 billion surplus, it is able to use its 92 diplomatic and consular offices to support its cultural strategy. We can look on in awe and envy, but we can aspire to that in an independent Scotland.

Idris Elba recently opened up about his passion for Africa's growing film industry and the need for Africans to reclaim their own narratives. In an interview with the BBC, he emphasized his desire to live across multiple African cities—Accra, Freetown, and Zanzibar—to support African storytelling. He noted the importance of telling authentic stories that highlight the richness of African culture, beyond the trauma often depicted in Western media. Elba pointed out: “If you watch any film or anything that has got to do with Africa, all you’re going to see is trauma—how we were slaves, how we were colonized, how it’s just war. And when you come to Africa, you will realize that it’s not true." He stressed the significance of Africans owning their stories: “It’s really important that we own those stories of our tradition, of our culture, of our languages, of the differences between one language and another. The world doesn’t know that.” Elba’s focus on storytelling mirrors the mission of ROC Factory's cultural exchange events like the One Love Xperience, which celebrates African and Caribbean culture, music, and heritage. The Black Star Renaissance Initiative provides a platform for African and diaspora artists to connect, collaborate, and tell authentic stories that highlight Africa’s creative brilliance. Donnaray Roc, founder of ROC Factory, says: "This movement is about more than just film or music—it’s about rewriting the African narrative across all mediums. It’s about reconnecting communities and building a stronger, unified global diaspora. Africa’s future will be defined by the creativity, resilience, and authenticity of its people." Elba’s vision to see Africa's stories told from within invites creatives worldwide to embark on the same journey. The Black Star Renaissance calls on artists, filmmakers, and storytellers to join this mission—to move beyond borders and participate in Africa’s cultural renaissance. Now is the time to redefine the African narrative and contribute to a future where African voices are heard and celebrated globally. #exploreafrica #businessafrica #tourismghana #rocfactory

I may have mentioned that Wakefield Museum has been shortlisted for Kids in Museums Best Accessible Museum? 😉 Well, here's a lovely blog post to explain some of the things we are doing: https://lnkd.in/dF3ecRfj

The quest for restitution and repatriation of African heritages  from German Museums is being dragged into a prolonged political debate. Most of our cultural heritages were taken without any procedure nor legal steps; times have changed, but unfortunately, their values and meaning will never change. It is only just for museums willing and ready return to have the support of different states in accelerating the process and not stalling it. We therefore call on all stakeholders to play their role promptly. #restitutionandRepatriationofAfricanArtefacts

Saudi Arabia and China Strengthen Cultural Cooperation During an official visit to China, Saudi Minister of Culture Prince Bader bin Abdullah bin Farhan Al-Saud and Minister of Culture and Tourism of the People’s Republic of China Sun Yeli have signed a memorandum of understanding in Beijing to enhance cultural cooperation, thereby strengthening the distinguished relations between the two countries. This agreement aims to deepen collaboration in various cultural sectors, including museums, cultural heritage, performing arts, visual arts, traditional crafts, and Chinese cultural entities. The MoU outlines a comprehensive framework for cooperation, emphasizing the exchange of experiences, policies, and programs to enhance mutual understanding and appreciation. Both parties are committed to facilitating cultural exchanges, participating in joint festivals and events, and collaborating on artist residency programs to encourage creative exchange and preserve cultural diversity. This partnership signifies the shared commitment to preserving, celebrating, and fostering a deeper understanding of the respective cultures. Both countries enrich the cultural landscape and strengthen cultural ties by working together in areas such as preserving heritage and furthering artistic innovation. The MoU also emphasizes cooperation in the digital cultural industry, encouraging dialogue, experiential knowledge exchange, and collaboration between institutions and professionals from both countries. Additionally, measures to prevent the illegal import, export, and trafficking of works of art are underscored, reflecting a mutual dedication to safeguarding cultural treasures. The signing of this MoU further strengthens the distinguished relationship between the Kingdom of Saudi Arabia and the People’s Republic of China, building on their ongoing collaboration in arts, culture, and preservation. #SaudiTimes #Saudi

#LatestNews 'Creative Pulse: A survey on the status and working conditions of artists and cultural and creative sector professionals in Europe', is out now! The report, compiled in partnership with Panteia reveals the challenges faced by artists and cultural professionals across Europe providing insights for policy actions Read it here 👉 https://ow.ly/CoaP50Rx2y1

The recent opening ceremony of the 2024 Paris Olympics was a global spectacle, captivating audiences worldwide. However, it has also drawn significant backlash for its depiction of Leonardo da Vinci's painting "The Last Supper" with a "drag queen" performance, which many view as disrespectful to religious beliefs. In response, Paris 2024 organisers apologised on Sunday to angry Catholics and other Christian groups. In addition, the accompanying commentary highlighted a critical issue: the vital role of professional interpreters. While the commentator's attempts were commendable, it became evident that real-time interpreting is a highly specialised skill, honed through years of rigorous training and experience. Witnessing our profession being sidelined on such a grand stage is a major oversight. Event managers, broadcasters, and organisers, please take note: it's time to acknowledge the critical importance of professional interpreters and invest in our expertise, especially for these high-stakes events. What are your thoughts? #interpretingservices #professionaltranslation #Olympics2024 #Paris #1nt

Appel à candidatures 📢 L’#Afghanistan Cultural Fund (ACF) invite les artistes et les professionnel·le·s de la culture d'Afghanistan du pays, de la diaspora et de l'exil à déposer leurs demandes de soutien financier. ⤵️ The Afghanistan Cultural Fund (ACF) invites Afghan artists and cultural practitioners in their country, in the diaspora and in exile to submit funding applications. ✅The current round of calls for proposals is focussing on music and storytelling. The application deadline is 15 August 2024 and proposed projects can include music productions, compositions, literature, plays and more. 💡The Afghanistan Cultural Fund (ACF) was established in 2024 to support Afghan cultural practitioners, preserve Afghanistan's cultural heritage and honour Afghan culture. Given the challenges facing the Afghan cultural scene since the Taliban took power in 2021 and 40 years of war and displacement, this new cultural fund aims to support Afghan cultural practitioners in particular, especially women, inside and outside Afghanistan. For more information about the Afghanistan Cultural Fund or how to apply for grants, visit:  https://lnkd.in/eAWmzGSh