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Original article in Spanish by Poemario por un Sahara Libre.  Morocco continues to appropriate Saharawi cultural symbols and elements in order to dilute Western Sahara into Morocco. The use of the Saharawi dress (melhfa and darraa) by Moroccan settlers is one of the many ways in which certain Saharawi cultural references are assumed as their own. This is how they are trying to assimilate as Moroccan many Saharawi characters and tales, such as in the case of the Shertat tales. They also try to seize historical Saharawi characters and, now, even the Hassanya language. It is a very dangerous work of cultural sabotage carried out by the Moroccan authorities, and that tries to distort the conflict by exercising a work of "cultural genocide".
"The Little Prince" translated into the Arabic dialect Hassaniya dialect of Western Sahara EFE, 31st MAY, 2017 The famous work of Antoine de Saint-Exupery "The Little Prince" has been translated into the Arabic dialect Hassaniya, spoken in Western Sahara and Mauritania. This is a Moroccan initiative, jointly carried out by the National Human Rights Council (CNDH), the Saint-Exupery Foundation and the Fosbucra Foundation, which promotes development projects in the part of the Sahara administered by Morocco, according to the CNDH today a statement. The famous Saint-Exupery, one of the most translated books in the world (with 300 versions) will be distributed next week free of charge in Moroccan schools in all the Saharawi regions where Hassanya is spoken, including the Tarfaya region, outside the country of Western Sahara. In fact, the distribution has been announced to coincide with the 90th anniversary of the voyage that Saint-Exupery made to Tarfaya (then called Cape Juby), where he resided for a few months as a delegate of the airline Aéropostale. Original article in Spanish by Poemario por un Sahara Libre.
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 Hello everyone! We are excited to announce a series of events we're organising this autumn to commemorate the 40 years of the Saharawi struggle for self-determination in collaboration with various collectives and two vibrant London venues, Bolivar Hall (Venezuelan embassy) and Hundred Years Gallery. Through photography, film, music and much more, Africa's Last Colony - 40 Years Not Forgotten aims to remember the most important events that have shaped the history of the conflict inWestern Sahara, as well as to showcase the valuable role of UK-based artists in raising awareness about this underreported issue. The Reina Sofía Museum, in Madrid, hosts the presentation of ARTifariti 2012 with a roundtable on art, conflict and human rights.  Performance Gdeim Izik (students of the Art School of Mostaganem). International Encounter of Art Students and Saharawi Refugees After the Arab Spring, which was born in the Western Sahara, is it possible to have a proactive type of art, at the same time transformational, that provokes real social change?
American philosopher Noam Chomsky suggested to the world that the waves of protest that originated in North Africa had really started in Western Sahara at the end of 2010. In fact, the organisational scheme that was imposed in the freedom squares and that Evru collected for the project “The book of the squares” for ARTifariti 2011, had previously designed in the camp of dignity of El Aaiun, Gdeim Izik, brutally dismantled on November 8 by the Moroccan forces with terrible consequences. The same patterns were repeated, as if in a chain revolution, in Western Sahara, Tunisia, Egypt, Libya, Yemen… The popular action managed to modify the course of history in many of this places. And among the people demonstrating in the squares, there were cyberactivists and artists who used the Internet to spread their messages and images of change. |
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