cultural management arab style

Last year I had the pleasure of contributing sessions on arts marketing to a cultural management course for delegates from across North Africa and the Middle East, held in Damascus. I was delighted to be asked back again; this year to Alexandria in Egypt. The course, the only one of its kind in the region, is organised by Culture Resource – a cultural foundation based in Cairo – in collaboration with the British Council and with funding from the European Cultural Foundation. 

This year, I joined a group of 21 students  from nine countries - Algeria, Egypt, Tunisia, Syria, Libya, Mauritania, Palestine, Yemen and Morocco - for an intensive week studying  the principles and practice of cultural management.  The course is a rare opportunity for the students  - most of whom are in the early stages of a career in cultural management -  to meet colleagues from across the Arab world, and for many, to establish lasting connections and friendships.  

There have been dramatic changes in some countries in the region during the last year, so for me, it was a fantastic chance to hear about the impact of the ‘Arab Spring’ on arts and culture, as well as catch up with colleagues and make new friends.

So, what was different from last year?

There was a tangible sense of hope and possibility in the room throughout the week.  We discussed how in Egypt, under Hosni Mubarak, it was illegal for more than five people to meet in public, but since the revolution there has been an explosion of outdoor cultural activities, the largest of which is Al Fan Midan which takes place on the first Friday of every month in squares in cities across the country. We also talked about other inspirational cultural organisations in the region that are reaching out to audiences: Al Harah theatre in Bethlehem; the Picasso in Palestine project in Ramallah and Gudran for Arts and Development  in Alexandria.

We were entertained by uncannily accurate and hilarious Colonel Gaddafi impersonations; and although the no nonsense and charmingly forceful Mawred director Basma El Husseiny did her best to keep delegates on track and limit political speeches, she couldn’t stop one of the Libyan students passionately declaring,  ’I am re-born by being at this workshop - but how can I put what I am learning into practice’.

The discussion of press and PR took on a whole new flavour, as students from Egypt and Tunisia adapted to working with an independent media (we discussed the importance of developing relationships,  respect and honesty; coffee - yes, bribes – no).

There were though, still painful reminders that change is slower in coming to other countries in the region: On the final day of the course we heard the worrying news that Guevara, one of the Syrian delegates from last year, had been arrested in Damascus; and a Yememi student talked about the challenge of reconciling religious difference, which was brought frighteningly to life when  the  Syrian singer Asalah Nasri received death threats from religious extremists prior to a concert.

So, all in all a fascinating experience and once again a privilege to spend  time with people whose struggles to  create great art experiences, make our audience development worries seem pretty insignificant.

Sarah Boiling, Deputy Chief Executive, Audiences London