Master of Cultural Policy & Cultural Management

Cohort of 2018-2020

Abdullah Afif – Yemen

currently is the Director General of the Ministry of Culture in Hodeidah Governorate in Yemen. He worked as a radio director and program executor at Radio Hodeidah. He was the Director of the Cultural Center in Hodeidah, then worked as a coordinator for the Interactive Theater Initiative of the International Relief and Development organization. Abdullah worked as a director for several organizations including the Dream Foundation for Culture and Development, and Masar Foundation for Culture and International Development. He also participated in a number of trainings on cultural policy and cultural management with Culture Resource. He is currently Director General of the Ministry of Culture in Hodeidah Governorate, Yemen.

Thesis title: The Role of Governmental Cultural Centers in Yemen’s Cultural Scene
Abstract: This research aims to explore and identify the current situation of Yemen’s public cultural centers and highlight the management methods they employed from 1975 until 2016. The objective is to determine the challenges these centers face amidst the political changes in Yemen and find potential solutions that can revitalize and redefine the role of Yemen’s cultural centers. The research employs the descriptive analytical approach in order to identify the events that these cultural centers witnessed. It also analyzes the documents and records of these cultural events, examines the management methods employed by these cultural centers and assesses the challenges they confront. The study yields several conclusions, with the most significant being that cultural events and activities offered by centers in Yemen are often of a national, official, political, and partisan nature, and they are held annually. According to statistics derived from the records of cultural events at the centers in Sana’a, Hadhramaut, Al Hudaydah and Ibb, it becomes evident that their most vital functions were halted, particularly education and sociocultural activities and the closure of the public library in 1994. Local authorities lack a defined cultural policy for these centers and qualified individuals to manage cultural institutions. Additionally, there are no specific policies or strategies in place for these centers regarding their internal and external systems or future development. This can be attributed to the absence of strategic planning, effective cultural management and the presence of control exerted by the Ministry of Culture and local authorities. Yemen’s political and armed conflict has significantly influenced the operations, activities, and responsibilities of cultural centers in Yemen. Yemen’s cultural regulations are insufficient and failed to provide support, cultural practices, revitalization and development. Furthermore, they lack the potential for the future advancement of these cultural institutions and the promotion of community cooperation. In this regard, this research provides a number of recommendations, namely: the establishment of the General Authority for Cultural Centers as an autonomous financial and administrative body, operating under the Ministry of Culture and aligned with the broader cultural policy.  Additionally, the research recommends actively seeking funding for the reconstruction of cultural centers through collaborative efforts with the Ministry of Planning and International Cooperation, the Heritage and Cultural Development Fund of Yemen, the Chamber of Commerce, as well as local and international community institutions. It also recommends finding alternative funding sources for the long term and to work toward self-sustainability by implementing a multi-tiered funding strategy, encompassing short, medium, and long term approaches for these cultural centers. Additionally, the government should reconsider existing cultural legislations and laws while actively involving the local community in strategy and program development. Moreover, providing training in cultural management for the workforce in the cultural sector is recommended, and efforts should be made to establish international partnerships by engaging with international community organizations. This collaboration would provide opportunities for outreach beyond Yemen, facilitating the process of rebuilding and restoring cultural centers, guided by a comprehensive short, medium, and long term strategic plan. Finally, the research recommends the implementation of the provisions outlined in the document of the Yemeni National Dialogue Conference from 2013-2014. This includes the adoption of a cultural policy for Yemen to effectively address challenges and restore the realm of culture and arts.

El Houcine Rabhi – Morocco

He obtained his bachelor’s degree in English linguistics in 2015 and then enrolled in the Cultural Policy and Cultural Management Master’s program. As a state official working in the field of security, he is particularly interested in the relationship between cultural policy-making and security issues, namely terrorism.  He is looking forward to explore the extent to which art and culture can be used to address security issues. His great passion is painting. His interest in cultural management and cultural policy stems from his many involvements in the organization of cultural events throughout his career.

Thesis title: Corporate Museums: Serving the Public or the Corporations?
Abstract: Corporate museums’ position is ambiguous in the museum realm. They are situated in the juncture between the world of traditional museums and the world of business. Subsequently, many questions are raised about their functions and the parties they are serving. The aim of this research, therefore, is to explore the nature of corporate museums through listing their functions and, specifically, to ascertain which party they are serving: the corporation and its economic sector or the public and the community. This paper also investigates the presence of a potential tension between corporate and public functions of this type of museum. So as to reach these objectives, a field work was conducted, involving in addition to interviews with a cluster of experts and practitioners, a case study of the single corporate museum in Morocco: Maroc Telecom Museum. As a result, corporate museums seem to serve almost equally and simultaneously the corporation and the economic sector in which it operates along with the public and the community, without any kind of conflict between their public and corporate functions.

Fatima Zahra Khayrat – Morocco

Obtained her B.A. in Linguistics from the Hassan II University. She’s a dedicated feminist and she joined many feminist groups across Morocco; she initiated several events and fundraisers that sought to educate and help raise awareness. She has also worked with youth centers in many cities where she helped introduce folklore to Moroccan youth. Moreover, she has participated in countless artistic events in or around Casablanca. In addition to her devotion to culture, she also has a passion for movies and movie making. She aspires to become a screenwriter, director, and cinematographer.

Thesis title: The Celluloid Ceiling: Women Film Directors and Screenwriters in Morocco
Abstract: The number of women film directors and screenwriters is very low compared to their male-counterpart all over the world, and Morocco is no exception. By following the career path of five professional women directors and screenwriters in Morocco, this research aims to explore the opportunities for these women, while investigating the challenges they face, in order to understand the reasons behind this underrepresentation, and, whether or not it is linked or caused by any sort of gender biases. Based on background quantitative and qualitative data, as well as, qualitative content analysis, this research found that women directors and screenwriters in Morocco have had many opportunities during their career, as a form of support, help and mentorship from experienced men working in the field, while none of the challenges facing them are related to any sort of gender bias. Therefore, further research is necessary to understand the underrepresentation of women filmmakers in Morocco.

Firas Farrah – Palestine

Firas graduated from the summer acting school at The Palestinian National Theater “Al Hakawati” in 2008 and earned a Bachelor’s degree in Business Administration from Birzeit University’s Faculty of Commerce in 2012. He co-founded and coordinated several cultural events, including workshops on heritage dance, drama, and acting, as well as projects for the theater group “Hawas”. He has also been working as a professional actor and participated in several festivals inside and outside Palestine. Firas is concerned with the independence of the Palestinian cultural sector, as he witnessed from first-hand experience that many cultural institutions receive external support and risk deviating from their original purpose in favor of satisfying external agendas. Studying cultural policy and cultural management will equip him with the proper knowledge to initiate change in cultural practices to establish a more independent and sustainable Palestinian cultural sector.

Thesis title: Public Art in the Old City of Jerusalem and the Issue of Participation
Abstract: The Old City of Jerusalem is considered a historical site, a convergence point and a shared public space in the divided city of Jerusalem. The city is home to a diverse population, and the cultural differences are manifested by various languages, religions and cultural identities. These differences have become a source of conflict, often manipulated for political gain. The old city offers diverse cultural activities and events using a multitude of creative mediums. Notably, public and participatory arts are considered prominent interpretive tools that contribute to the development of archeological sites. However, the cultural content conveyed through these artistic endeavors often carries with it narratives that favor the dominant group in the city’s landscape. The conceptual framework of the research relies on previous literature about the cultural field and rights as well as the related policies. It seeks to understand the cultural rights of Palestinians who have become a minority in the city, as well as their human rights to actively engage in art projects as a form of cultural expression, given the decline of artistic participation inside the city. To achieve these endeavors, the study has constructed a comprehensive theoretical framework designed to assess the opportunities for public art engagement within the city. Through triangulation, the research was able to encompass quantitative, qualitative and documentation methodologies to analyze and describe this phenomenon. This approach has yielded valuable insights into the opinions of people in Jerusalem regarding public arts and spaces. Additionally, it provided data on the current levels of participation, its possibilities and the factors contributing to its decline. After closely examining the requirements for participation, the study found that some of them were not being met. This led to a decline in the active involvement of Palestinians in public art projects within the city. It became a roadblock to using public art as a tool for shaping the place in an effective way. Therefore, it appeared to favor one perspective, namely the Israeli narrative, potentially impacting the city’s diversity and the preservation of its historical and cultural heritage and erasing the collective memory. This one-sided approach could overshadow other perspectives. Consequently, some individuals might feel rejected and deprived of their cultural heritage, potentially fueling ongoing conflicts in the city.

Ibtissam Ghazoui – Morocco

Certified Debate and Public Speaker in Morocco. She obtained a bachelor’s degree in American Culture Studies from the English Department at the Ben M’sik Faculty in 2015. During her studies, she worked as a volunteer in the cultural field and produced a qualitative research paper entitled “The Limits of Artistic Freedom in Morocco – Film Censorship as a Case Study’’ for her graduation project. After graduation, she worked as a program coordinator at Deloitte University in Belgium. Currently, she is the cultural coordinator at the American Language Center in Casablanca.

Thesis title: Emerging Artists in Morocco: Current Status and Future Opportunities Casablanca as a Case Study
Abstract: The changing economic, political and social environment in the last decade has led to growing communities of emerging artists in Casablanca and worldwide. There is a lack of research on mapping, documentation and providing directions for the status and opportunities of these artists. This research paper aims to cover this gap through exploring the current status of emerging artists, mainly in the performing arts field, as well as the opportunities and challenges they are facing in making their professional careers. Targeted semi-structured interviews were conducted with a group of emerging artists and representatives of selected cultural organizations in the city, then analyzed using a qualitative approach. The results outline specific outcomes and cultural policies recommendations that could assist individual artists, cultural organizations working with emerging artists, policy makers and stakeholders at national and international levels. One of them is that Casablanca offers diverse opportunities and infrastructure for emerging artists. However, there are several challenges that prevent emerging artists from benefiting from these opportunities. While the public stakeholders in culture should adopt the appropriate strategies and tools to support emerging artists, civil society cultural organizations are putting efforts to fill this gap.

Marouane Sibari – Morocco

Born in 1992 in Casablanca, he’s a singer-songwriter who has been playing music and singing since he was a teenager. He started his own cultural project, an association called BM ART EVENTS that deals with the promotion of cultural events in underprivileged neighborhoods in Casablanca. At the same time, he has been working to attain his master’s degree in English Studies.

Thesis title: The Sustainability of Underground Music in Casablanca, Morocco: The Conditions Behind the Fragility of the Underground Music Scene
Abstract: This is a study that attempts to retrace the emergence of the underground music scene in Casablanca, starting from the late 90’s and the current changes and challenges to a sustainable underground music scene. Building on the general conditions of emergence and sustainability of the underground music scenes in different contexts and the typology of spaces for the underground music scene by Pedro Costa (2015), this paper examines qualitative interviews conducted with artists and cultural actors who have been operating in the underground music scene in Casablanca in different eras. The results suggest that the emergence of the scene was linked to the political transformation and the cultural openness of the state. The underground scene is nowadays more fragile due to difficulties in access to public, indoor and outdoor spaces and the lack of spatial proximity between members operating on the underground music scene, the absence of cultural professionals and cultural entrepreneurs and a lack of synchronization with the local audiences. To compensate, the artists and cultural actors embrace the DIY approach. Still, they can’t overcome the deficiency of necessary spatial elements.

Marwa Hassan Eladly – Egypt

Graduated from the Higher Institute of Art Criticism Department of Literary Criticism at the Academy of Arts in 2012 and earned a postgraduate diploma in art criticism in 2013. She also participated in several courses on cultural management and she works in foreign cultural relations within the Ministry of Culture. She’s also working as a theater critic in the weekly newspaper “Masrahona”, as an assistant in the direction of theatrical works, and as an actor in radio series and in theatrical works for the Ministry of Culture. She worked with Townhouse Gallery and recorded many interviews with the Egyptian TV to discuss cultural and artistic issues. Marwa believes Egypt’s cultural sector has been wearing off over the past 3 decades, lacking organization, accountability, and strong official support from the public sector. She hopes to gain the academic and practical knowledge to effectively restructure cultural practices within the public cultural sector and contribute to a wider and organized dissemination of Egyptian culture with this Master’s program.

Thesis title: Egypt’s Foreign Cultural Policies after the January Revolution (2011-2019)
Abstract: International relations are governed by the law of “national interest”. Military and economic powers alone are insufficient to achieve a country’s objectives.  Soft power is gaining prominence, particularly in the era of globalization and information. Nations can realize their international political objectives by utilizing soft power elements such as culture, arts, literature, media, education, scientific research and civilization. Soft power is considered a tool that persuades other nations to follow it because they appreciate its values and aspire to achieve its level of prosperity and openness. This study examines the potential impact of the Egyptian Revolution on Egypt’s foreign cultural policy. Although the latter was not among the most prominent issues addressed during the revolution, it influenced Egypt’s foreign cultural relations.
The researcher proposes that there is a correlation existing between changes within a state’s internal political system resulting from revolutions and the policies and movements beyond its national borders. This study aims to address various questions such as the following: how does the revolution, as a local variant, affect the country’s foreign policies? Did Egypt’s foreign cultural policy truly reflect the Egyptian Revolution under successive governments? Do the actions and policies of the current Egyptian leadership truly represent a shift in Egypt’s foreign cultural policy? What challenges does Egypt’s foreign cultural policy face post-revolution? What are the state’s current orientations towards foreign cultural policies? What are the international cultural conventions signed during the post-revolution period, whether they are preexisting, updated, or newly established?
The research provides definitions for key terms used in this study, including cultural policies, cultural diplomacy, international relations and geopolitics.  It also reviews existing studies that have addressed cultural policies in a general context and specifically in the Egyptian context. The study also tracks the key players involved in the development of foreign cultural policies in Egypt from their establishment to date, including the External Cultural Relations Sector of the Ministry of Culture, the International Cultural Relations Sector of the Ministry of Foreign Affairs, and the Missions Sector of the Ministry of Higher Education, responsible for deputing cultural advisers and attachés to Egypt’s embassies abroad. The researcher focuses on the theoretical aspect of Egypt’s cultural policies towards Africa, in light of Egypt’s recent changes in political, economic, social, and cultural engagements with the African continent.

Meryem Ghalib – Morocco

A cultural activist, student, educator, and a researcher in cultural policies. She obtained her degree in English linguistics from Hassan ll University – Ain Chock. She is also a fashion sketcher and enthusiast who appreciates authentic and contemporary fashion that express identity and culture. She has helped introduce young girls to modern knitting designs, and has been a member of the Moroccan association for the protection of animals and the environment and participated in different cultural and environmental activities.

Thesis title: Safeguarding Crafts as Intangible Cultural Heritage through the Moroccan Contemporary Fashion Industry
Abstract: The Moroccan contemporary fashion industry is increasingly revitalizing crafts heritage to keep it relevant and in demand for both economic and political interests. This research paper is focusing on researching the relationship between the contemporary fashion and the intangible heritage of crafts in order to explore whether the incorporation of crafts in contemporary fashion design can contribute to safeguarding this intangible cultural heritage and in which ways, as well as investigate the role of existing cultural policies in encouraging or impeding this process. Due to the literature gap about this topic in the Arab region, this paper is aimed to contribute to this area of research and bring more insights to the issues around safeguarding craft as intangible heritage to benefit those interested in craft as intangible heritage, either academically, professionally or out of personal interest. The theoretical part of this paper analyzes both Moroccan and international academic literature focusing on the specificities and relations between crafts as intangible heritage and contemporary fashion design as a creative industry. For the purposes of the empirical research, 20 semi-structured interviews have been conducted with contemporary fashion designers, craftspeople and policy makers representing the different ministries in charge of safeguarding crafts heritage and were analyzed using an exploratory qualitative data analysis. The findings prove that the contemporary fashion industry contributes to the viability of Moroccan crafts heritage through innovation, transmission, revitalization and promotion activities that take place in collaboration with artisans, while providing them with economic opportunities. Parallel with numerous opportunities that the incorporation of crafts in the fashion industry brings, there are also complexities and challenges regarding this cooperation, above all the commodification of intangible heritage and homogenization of identity.  Furthermore, findings also indicate that while national policies encourage such collaboration and approach of ICH safeguarding through numerous measures and policies, additional regulations should be implemented for protecting crafts heritage from economic and political exploitation and prioritizing fostering crafts communities’ conditions to safeguard their heritage.

Mohamed Badreddine – Morocco

Born in Casablanca, Mohamed Badreddine is a Cultural Manager and Cultural Policy Researcher. He is particularly interested in the relationship between civic engagement in cultural policy-making and the evolving notion of cultural democracy. He obtained his Bachelor’s degree in English Literature from the Hassan II University in Casablanca. He has participated in multiple small theatrical productions at the Mohamed Zefzaf cultural center, including. His interest in cultural management grew while attending different cultural events in the French institute in addition to some local ones, such as Visa for Music and Jazzablanca.

Thesis title: The Role of Moroccan Cultural Diplomacy in Securing Cooperation with Sub-Saharan African Countries

Naoures Rouissi – Tunisia

Graduated from the Carthage Institute of Business Studies in 2008. She worked at the Tunisian University for the Tunisian Film Clubs as an artistic director then as an administrative and financial director. She was also the treasurer for Cinema Tunis. She participated in a number of Culture Resource’s trainings in cultural policy and cultural management. She participated in organizing several cultural events and film festivals in Tunis. Since 2015, she has been the director of the film department at the Carthage Film Festival. Naoures seeks to develop her research skills and to write about cultural policies. She plans on studying the cultural economy and the modern forms of marketing for cultural work as well as researching the development of distribution channels of the arts for the masses.

Thesis title: Major European International Festivals and Programming of Arab films after Political Transformations in the Arab Region since 2010
Abstract: The recent years, since the outbreak of the Arab revolutions, have witnessed an unprecedented interest in programming Arab films in major film festivals at the global level, especially in Europe, North America and Asia, such as Cannes Film Festival, Berlin Film Festival, Venice Film Festival, Toronto Film Festival and other festivals. Arab films also made it to the shortlist of Academy Awards in the category of Best Foreign Film. Some of these films were crowned with major awards, which were accompanied, in varying degrees, by commercial success in the western halls; public appreciation and good reception from film critics. This global radiation of Arab cinema coincided with the political transformations that the Arab region is experiencing, especially as some of these films are fiction or documentary, which carry in their folds issues about the reality of the Arab revolutions. In films, these issues are presented differently from visual media, written press, and television reporting. This research paper tries to answer the question of whether political changes in the Arab region play a role in programming Arab films in major film festivals. Its aim is to identify the extent to which the political changes in the Arab region influence the choices and motives of programming Arab films in major film festivals. Also, this study aims to explore the reasons why Arab films are gaining interest in the west as well as propose a set of recommendations to national Arab cinematographies to improve the condition of filmmaking in order to produce good quality films that better represent our cultural identity abroad.

Academic Staff

Semester One – 2018-2019

Abdelkader Sabil – Morocco

He holds a State Doctorate in Literary and Cultural Studies, Chouaib Doukkali University, Eljadida, Morocco, and a Master’s degree in Cross-Cultural Studies from Essex University, UK.  He is a Fulbright visiting professor at Columbia College, Chicago. He is a visiting lecturer at Aboubakr Belkaid University, Tlemcen, Algeria. He is also a member of the national committee in charge of the advancement of the university professors. He has set up the International Conference on Languages and Cultures in Contact Series in Eljadida and chaired the Moroccan Culture Research Group. He has contributed and published papers and co-authored a good number of articles both nationally and internationally. His field of interest includes ethnography, language in contact, cultural and translation studies.

Aleksandar Brkić – Serbia/England

A scholar and lecturer in the fields of cultural/arts management and cultural policy. He did his PhD in Management in Arts and Media and obtained an MFA in Scene Design at the Centre for Interdisciplinary Studies and an MA from the Department for Theatre and Radio Production at the University of Arts in Belgrade, Serbia. His education also includes an MSc in Management at City University. He joined the Institute for Creative and Cultural Entrepreneurship, Goldsmiths, University of London in 2016. He is also a guest professor at the UNESCO Chair/MA Cultural Policy and Management (Interculturalism and Mediation in the Balkans) at the Center for Interdisciplinary studies at the University of Arts in Belgrade. He has more than 15 years of international experience as a trainer and coach in the areas of project and strategic management, entrepreneurship in culture, arts management, cultural policy, intercultural dialogue through arts, and theater/performing arts.

Birgit Mandel – Germany

A professor of cultural management and head of the Masters of Arts Mediation and Cultural Management program at the Department for Cultural Policy, University of Hildesheim. She is a founding member and former president of the Association of Cultural Management at universities in Germany, Austria, and Switzerland. She is also the vice president of the German society for cultural policy. Her research focuses on cultural exchange, cultural research, audience development, cultural public relations, international cultural management, cultural entrepreneurship, cultural policy, and cultural tourism. She has also authored several books on these diverse topics.

Lidia Varbanova – Bulgaria/Canada

A consultant, educator and researcher in the areas of strategy, policy development, entrepreneurship and innovations, organizational development and online technologies, with a special emphasis on arts, culture and creative industries. Lidia has been a permanent and visiting professor in prominent universities and training centers in Europe and Canada and has received a number of distinguished awards. She is a regular visiting professor at UNESCO Chair in Cultural Policy and Management, Belgrade and the National Academy of Theatre and Film Arts, Sofia.

Milena Dragićević Šešić – Serbia

She’s the Head of the UNESCO Chair on Interculturalism, Art Management and Mediation and former President of the University of Arts, Belgrade. She is also a professor of cultural policy, cultural management, cultural studies, and media studies. She is an expert in participatory approaches for the design and development of local, regional and national cultural policies. Trainer and consultant in capacity building programs for strategic cultural management and entrepreneurship, Milena has developed more than 50 projects in cultural policy and management. She works as an expert in cultural policy and management for the European Cultural Foundation, the Council of Europe, UNESCO, Pro Helvetia, and the British Council, among others.

Mohamed Benzidan – Morocco

Professor of English at Hassan II University of Casablanca. He holds a D.E.S and a State Doctorate from Mohammed V University, Rabat. Besides his teaching responsibilities, he has chaired the department of English, directed the Moroccan American Studies Master’s Program, and is currently director of the Language and Transculturalism Doctoral Program. He was also visiting professor at Kennesaw State University during the Spring Term of 2012. Besides media and cultural studies, his interests also cover literature, art, religion, and philosophy. He has also contributed to academic journals either as writer or as editor and has been a member of the ASELS advisory board.

Mohamed El Amine Moumine – Morocco

A Professor at Hassan II University of Casablanca and the Managing Director of the Moulay Rachid Cultural Center. Moumine has organized a number of national and international academic, cultural and artistic events. He is an active member in various academic research groups and associations specialized in artistic, cultural and humanitarian issues. He is a founding member of la Fondation des Arts Vivants, vice president of Sister Cities International-Morocco and president of Moroccan Association for Cultural Policies. Among his fields of interest are cultural policies, creative industries, cultural leadership and performing arts.

Said Zaidoune – Morocco

A teacher of Applied Linguistics and Citizenship in Education, in addition to Public Speaking and Debating and Study Skills at Hassan II University of Casablanca. He is a member and consultant of several associations and NGOs in Morocco and has organized a number of workshops, seminars, and national and international conferences on activism, citizenship and community work.

Taoufik Jaafari – Morocco

A professor of Applied Linguistics and Cultural Studies. He is the coordinator of Moroccan American Studies Program at the Faculty of Literature & Human Sciences Ben M’sik, Hassan II University of Casablanca. He has organized a number of national and international conferences, seminars and workshops.  Jaafari is an active member in various academic research groups and associations specialized in linguistics, cultural policy and language planning.

Višnja Kisić – Serbia

A researcher, lecturer, and manager in the field of heritage management, interpretation, and policy, with special focus on heritage, community engagement, and mediation. She holds a BA in Art History, an MA in Cultural Policy and Management, and a PhD in Museum and Heritage. She conducts her research and lectures at the Centre for Museology and Heritology, University of Belgrade, and she is the UNESCO Chair in Cultural Policy and Management, University of Arts, Belgrade. She also has years of experience in both the public and civil sector in heritage, acting as Secretary General for Europa Nostra in Serbia and as a board member of the South East European Heritage Network. She has previously worked in curatorial and outreach departments at the National Museum in Belgrade, Peggy Guggenheim Collection, Venice Biennale, and the Museum of Art and Archaeology in Columbia, Missouri.

Wolfgang Schneider – Germany

The founding director of the Institute for Cultural Policy at the University of Hildesheim in Germany and holder of the UNESCO Chair in Cultural Policy for the Arts in Development. Schneider also served as the Dean of the Faculty of Cultural Studies and Aesthetic Communication at the University of Hildesheim from 2001 to 2009. He is a member of the German UNESCO Commission, the International Theater Institute, and the Friedrich Ebert Foundation. His research and work focus on cultural policy, cultural promotion, cultural education, theater policy, and film politics.

Cohort of 2020-2022

Ahmed Elkastawy – Egypt

He holds a Bachelor’s degree in Radio and TV production from Al-Ahram Canadian University – Egypt. He is the founder of Cinema and Literature Lovers’ Association in Tanta. ElKastawy worked as coordinator and manager for cultural projects and a production assistant for short films and TV commercials.

Akram Herrak – Morocco

Graduated with a Bachelor’s Degree in English Literature before pursuing the study of cultural policy. He is also a film critic, mainly for two online publications: High on Films and Exhuming Cinema. Herrak is a musician and the vocalist for Death Metal band Surged Fate, and a semi-professional chess player. His interests in the cultural sector revolve around the management of film festivals and independent film theaters.

Thesis title: Cultural Management in Moroccan Film Festivals: A History and Future Challenges
Abstract: Film festivals hold significant historical importance within the context of Moroccan cinema, and their evolving nature has shaped their role over time. This research paper delves into the rich history of Moroccan film festivals, focusing particularly on their cultural management strategies. By employing qualitative data, the aim is to analyze the challenges faced by these festivals and propose effective solutions. Film festival studies, as a subfield of cultural management studies, is relatively nascent, and this paper seeks to contribute valuable insights by shedding light on Moroccan film festivals, which have been sparsely explored in previous research. The research encompasses an examination of the history of Moroccan film festivals, with a particular emphasis on the National Film Festival of Tangier and the Marrakech International Film Festival, two prominent events within the country. Despite their distinct objectives and management approaches, the findings and analysis from this study can be extrapolated to encompass other film festivals across the nation, providing valuable insights into their management practices, the challenges they encounter, and potential strategies for overcoming them. By broadening our understanding of the cultural management dynamics within Moroccan film festivals, this research contributes to the body of knowledge in this field, offering a foundation for future scholarly exploration and practical implementation within the realm of film festival management.

Assia Elbrrah – Morocco

An English teacher from Casablanca, Morocco. After earning her BA degree in Moroccan American studies from the Faculty of Arts and Humanities Ben M’sik, she entered the professional world in 2015 through working as a teacher of English at Hassan Bnou Thabit high school in Tit Mellil. Driven by her passion towards Drama and music, she joined Kawaliss company for arts and culture in 2015 and has worked as an actress and singer in several theatrical performances.  She has also worked as a cultural manager in different cultural projects such as “Kawaliss Arts Center.” Working for Kawaliss Company has allowed her to participate in Theatre festivals in Morocco, Tunisia and Egypt.

Thesis title: A Participatory Turn in Cultural Activism: Perspectives on Cultural Leadership – Gorara and Kawaliss as Case Studies
Abstract: A new wave of socially engaged arts arrived in Morocco in 2011 in response to the needs and aspirations of Moroccans. Surrounded by a socio-political milieu characterized by a participation crisis (Négrier 2020) – hindering free participation in cultural and political life – theater ensembles such as théâtre de l’opprimé, Kawaliss, Hawas, and Aquarium theater – organized within the framework of cultural NGOs – have utilized theater as a tool to initiate social change and incorporated a participatory element that puts spectators at the heart of the creative process. The main goal of this research is to explore the impact of participatory arts on the cultural leadership models guiding the organizational development of cultural NGOs belonging to the Moroccan socio-political context. The latter paves the way for a discussion on the challenges and ethical dilemmas facing artivist organizations in the fulfillment of their arts-for-change mission within a turbulent context. Employing in-depth interviews, a PAEI test (Adizes theory) supported by content analysis of social media platforms and strategic plans, the study reveals the role of higher degrees of Integration and Entrepreneurship, two managerial vitamins supporting the arts organizations in their developmental journeys. Although features of the cultural leadership model demonstrated the readiness of the leaders/founders to escape the founder‘s trap through adopting a shared leadership model, one of the ethical dilemmas surrounding the leadership practice is the exclusion of beneficiaries from the identification of the projects‘ aims and objectives putting the art projects into the mold of hierarchical decision making (Négrier 2020). Therefore, suggested strategies of development revolve around going beyond participatory models towards composing a strategic polyphony that engrains the values of active civic engagement, community building, and mutual benefit in the cultural leadership practice, a strategy directed at supporting the survival and sustainability of the cultural NGOs operating within a turbulent environment.

Chaimaa El Ouardi – Morocco

Graduated from the Faculty of Sciences Ben M’sik in Mathematics and Computer science. During the same year, she graduated from the Faculty of Letters and Humanities in English Studies -Applied Language Studies.

Thesis title: Gender and Arts: Attitudes Towards Female Artists in the Present- Day Morocco
Abstract: This paper examines the attitudes of Moroccans towards women generally and women artists specifically. Although recent years have known significant changes in favor of women in Morocco, some passive points of view about women and their intellect and talent still exist in the minds of many Moroccans. The aim of this research is to know to what extent the status of women has been improved in Morocco. The research uses a mixed methods design in order to investigate the attitudes of Moroccan social network users towards female artists to test if gender bias still exists in the field of arts and, if so, to know the reasons and the sources of such negative attitudes. The findings have shown that despite the improvements that Morocco has known regarding women’s status, approximately one-tenth of the Moroccans who participated in this study see that female artists do not possess talent like male artists and that they should stay at their homes. Moreover, the majority prefer male artists over female artists and show different reactions when the artists find themselves in trouble. This proves that gender bias still exists in the field of arts despite the government’s efforts to promote gender equality. The findings also reveal that the reasons for clinging to those perceptions are usually justified by the societal expectations coming from mores and religious stereotypes.

Elaf Alkanzy – Sudan

Cultural manager from Sudan. She graduated from the Media Faculty at Cairo University and began working as a director, editor and production manager on several Sudanese films. AlKanzy is currently working as an executive manager at Sudan Film Factory.
She is also director of Sudan Independent Film Festival which has been held yearly since 2014. AlKanzy supervised several workshops and seminars on production and co-organized events and workshops on cultural policies and cultural management in Sudan in 2019, 2020 and 2021. AlKanzy has cooperated with several regional and international institutions and bodies such as the Ministry of Culture, Action for Hope, Robert Bosch (Germany). She is also a founding member of the Arab Human Rights Film Network (ANHAR) and Network of Arab Alternative Screens (NAAS).

Thesis title: Challenges of Sudan’s Independent Film Entities between 2019 and 2021 – Case Study: Sudan Film Factory
Abstract: This research examines the challenges encountered by Sudanese independent film entities from 2019 until 2021. It traces the history of cinema and the emergence of independent cinema in Sudan and explains this modern concept. The study relies on investigative analysis to assess contemporary independent film entities, with a particular emphasis on a case study of the Sudan Film Factory, shedding light on its establishment, development and activities as a key independent entity in Sudan, informed by previous research in this area. The research aims to identify challenges faced by independent film entities in Sudan. It seeks to understand how they can sustain themselves amidst political transformations, while focusing on their methods of resistance, adaptation and cultural management in fragile and unstable conditions.
After outlining the political transformations in Sudan from April 2019 until October 25, 2021, the study explores the role of independent film entities during such transformations. It aims to draw parallels with similar situations in other countries that are trying to change their cultural policy.
The study relies on library research to collect sources on Sudanese modern history, cultural concepts, independent cinema, cultural management and cultural policies. Additionally, it conducts direct interviews with government and independent actors.

Fatma Alsalmi – Oman

Fatma Alsalmi holds an M.A. in Cultural Management and Cultural Policy and a Bachelor’s degree in Broadcasting. Since 2012, AlSalmi has been working in the art sector and was Director of Events and Festivals for the Oman Film Society. Afterwards, she became Production Manager for three short documentaries and won the Jury Member prize in the Muscat Documentary Short Film competition in 2015. She was co- script writer, production manager and art director in the first long feature film ZAYANA that was filmed between Oman and India. AlSalmi was also an intern assistant director in Al Kameen (The Ambush), a long feature film produced by Image Nation Abu Dhabi. She has also represented the Sultanate of Oman by attending many festivals such as Fajr International Festival in Iran, Malmö Arab Film Festival in Sweden, Alexandria Festival for Mediterranean Countries in Alexandria, Kazakhstan International Festival and many others. She is currently Artistic Director at the Cinemana International Film Festival in the Sultanate of Oman.

Thesis title: The Importance of Cinematic Culture in Promoting Tourism and Cinema in Oman Case Study: Muscat International Film Festival
Abstract: The research aims to focus on the significance of cinematic culture and the role of cultural policies in catalyzing its influence on the promotion of tourism and film investment in Oman, while also emphasizing the vital role of film festivals in propagating this cultural phenomenon. To gather data, the research relied on a literature review from virtual and physical libraries, augmented by qualitative research conducted through a combination of face-to-face and telephone interviews. Cinematic culture plays a pivotal role in propelling a nation forward culturally, economically, and in the realm of tourism. To accomplish this, efforts should be made from both the government and private sector, including the establishment of a strategic plan and the allocation of financial resources to foster the growth of the film industry in Oman. This entails the establishment of a cinematic authority, the provision of support funds for film production, the creation of public cinemas and the development of specialized educational institutions for various facets of film production. It’s also important to stay up-to-date on evolving legislative cultural policies and artistic censorship.  Additionally, cinematic culture has the potential to generate employment opportunities for thousands of individuals and serve as a source of revenue for the country. While the challenges may be substantial, effective management, planning and implementation of these measures can pave the way for a thriving film industry in the country.
The results underscore an exponential relationship between cinematic culture, tourism, and cinema, meaning that as cinematic culture flourishes, so does film investment. Furthermore, it’s crucial to recognize that the significance of cultural capital extends beyond mere financial investment, primarily contributing to individual and societal development.
The research has yielded a set of recommendations, which include the establishment of a dedicated organization or institution to support and sustain film culture, the allocation of financial resources to support the production of local films, the encouragement of private theaters to promote and showcase local film production, the establishment of a specialized educational institution for cinema-related studies and finally, the reevaluation and potential reform of artistic censorship criteria.
In light of my experience in the film industry, I can conclude that the majority of the initial hypotheses have been validated, while some have been disproven. This conclusion is drawn from a study conducted within Oman over the span of 2001-2022.

Hiba Taim – Morocco

A painter and cake designer from Morocco, specialized in multilingual translation. She holds a Master’s degree in cultural policy and cultural management from Hassan II university, faculty Ben m’sik. She worked as an English teacher at a language center and as a translator at another center. She is a self employed artist and participated in many exhibitions in her hometown. She and her team have organized several workshops for participants with different ages in addition to volunteering in some rural areas around, helping people to have access to art by expressing themselves through colors, forms and themes. The topic of her master’s thesis revolves around “The Role of Digitalization and Audience Engagement in Museums and Art Galleries: The Case of Casablanca”. Her decision behind choosing this topic is driven by her interest in how museums could digitally innovate online and on-site as well as the possibilities that digital technologies provide for organizations in the cultural sector.

Thesis title: The Role of Digitalization and Audience Engagement in Museums and Art Galleries: The Case of Casablanca
Abstract: Arts and Cultural organizations systems and institutions in Morocco are particularly affected by digital transformation, which can enable new services and provide new opportunities for innovation and entrepreneurship. Museums and art galleries have an incredible opportunity because digital technology allows them to be ubiquitous, exist in such a variety of forms that correlate to the requirements of diverse visitors, engage with new audiences, and, most importantly, forge relationships that are far more meaningful than traditional museum visits. This research paper aims to explore the impact of digitalization on visual arts, determine how museums and art galleries are using digitalization and to what extent this helped promote and mediate the work to the audience. This study will also show how this is a direct consequence of globalization. In this way, art can be showcased outside Morocco because it links at the same time authenticity with modernity. Digital technology offers cultural institutions new ways of reaching an important goal: to make artworks and artifacts available and understandable, and to share and build knowledge with as many people as possible for mutual exchange and enrichment. The research findings provide guidance, suggestions, and recommendations for future implementation in the field of arts and culture for practitioners such as policymakers, curators, managers and cultural organizations.

Hosam Althani – Libya

A Libyan writer in the fields of literature, philosophy and science and interested in calligraphy. Founding member of Tanarout Organization.

Thesis title: Strategies for Financial Success in Non-Governmental Libyan Cultural Organizations
Abstract: This study aims to identify a set of strategies, skills, and knowledge which can be considered as differentiating factors owned by the staff of non-governmental cultural foundations that positively promote the effectiveness of the financial development process for their institutions. The researcher sought to explore the most important factors of failure and success for these institutions, beyond the administrative scope to a larger scale, through a case study of a sample of 18 cultural actors involved in 16 Libyan cultural non-governmental institutions. The researcher relied on the qualitative research method, and on two tools in collecting data. First: 8 individual interviews with cultural managers. Second: 4 focus groups. The researcher submitted the texts extracted from the dialogues to “Thematic Analysis” as a tool, by coding the sample answers and placing the included passages within the texts of the answers to the questions related to the research question. These were under specific headings (themes) for the purpose of researching their significance, linking and categorizing them into comprehensive main themes. The researcher concluded with five main themes: “cultural market needs”, “social change”, “financial governance”, “social capital”, and “knowledge of cultural management”. Under these themes, sub-themes refer to the different strategies, skills, and knowledge pursued by the staff of the institutions. In the end, the researcher concludes with a number of recommendations, most notably deepening further research, and taking these measures into consideration while designing the components of curricula and training in the field of cultural management, including financial management, and fundraising.

Imane Echcherki – Morocco

Imane has spent eight years in Paris where she started in insurance studies, then reoriented through a bachelor in linguistics and translation. She later enrolled in a Master’s degree in Corporate Strategy. Along with university, she had the opportunity of making a few acquaintances that led her to the circle of non-profit organizations, starting from the local community centers, to higher-scale organizations, such as Ghett’Up, Global Potential NY and Action Contre la Faim. Most of all, the humble experience she accumulated in the field of volunteering paved the way for her to return to her country and seek training that aims at acquiring more knowledge. Now that she’s back to Morocco, she’s doing her utmost to stay as participative as possible, even remotely.

Thesis title: The Influence of Globalization on Moroccan Cultural Heritage: Between Modernity and Tradition; the Way Moroccan Culture Evolves in Contact with Globalization
Abstract: This thesis delves into the complex interplay between cultural identity and globalization, using Morocco as a case study. The study examines how Morocco’s cultural landscape has evolved in response to the challenges posed by globalization. It explores the tensions between modernity and authenticity, which are often seen as opposing forces but can also serve as a source of cultural dialogue. The thesis highlights the gradual erosion of cultural protectionism in Morocco due to the forces of globalized economy and the widespread availability of digital information.
Defining culture as an ongoing negotiation of learned beliefs and behaviors, the research investigates the dynamic nature of cultural patterns and their response to global influences. The study explores various cultural sectors including fashion, media, religion, and north-south cooperation to trace the changes occurring in Moroccan society. It acknowledges the dual nature of globalization, both standardizing and destabilizing cultural identity.
The research addresses three central questions: How does culture evolve in the context of globalization? How can the government effectively mediate in a landscape marked by the embracement and rejection of foreign influences? Can cultural identity coexist and transform alongside the “globalization of culture”?
Through an analysis of historical events, societal responses, and government actions, the thesis presents insights into the ways in which Morocco’s cultural identity has evolved over time. It identifies strategies for maintaining cultural identity while embracing the benefits of globalization. By acknowledging the intricate relationship between cultural authenticity and modernity, this study offers a nuanced perspective on how societies can navigate the challenges posed by globalization without compromising their unique cultural heritage.

Ines Tlili – Tunisia

Filmmaker and Human Rights Activist, Ines Tlili has studied architecture and cinematography. She has been a part of different programs and projects of CSOs in Tunisia that aim to promote the right to participate in the cultural life for everyone. She has led many workshops that promote Human Rights through cinema and photography in different regions of Tunisia. She has also participated in different events related to Culture and Human Rights in different countries of the Arab Region and Europe. She intends to be among progressive advocates for the development and improvement of cultural policies as an engine of prosperity for the people in Arab and African countries.

Khaoula ​​Kachouane – Morocco

An English teacher interested in culture and art. She holds a BA in both psychology and English studies. When she was young, she used to draw and write, but when she grew up, music became her only expression. She was a member of a choir team for 5 years and has been a singer in a Japanese rock band since 2013. She’s currently pursuing an MA in Cultural Management and Cultural Policy.

Thesis title: Neuromarketing in the Music Value Chain – The Case of Rock/Metal Music in Morocco
Abstract: The digital revolution has led to radical changes in the music value chain. As a result, music genres that rely heavily on physical sales and live performance were put at a disadvantage. In Morocco, Rock/Metal music has not been able to compete successfully with these challenges which led to a decline in its consumption and production. Therefore, this research aims to understand and bridge these gaps from a new perspective using neuromarketing as a theoretical framework. On that account, the theoretical part of this paper is divided into two sections for an in-depth discussion of the presented variables. The first section is devoted to the concept of value chain and music value chain analysis, while the second one tackles the potential of neuromarketing and neuro-aesthetic approaches in providing a better understanding of consumer behavior and improving the value of aesthetic products in the creative value chain.
Since this research focuses on solving issues faced by Rock/Metal artists, it adheres to a pragmatic philosophy in which methods are combined and used as instruments to achieve grounded solutions. It relies on quantitative data (an online survey about music consumption in Morocco) to gather information about Moroccan consumers’ current habits, preferences, and behaviors. In addition to this, it counts on qualitative data (semi-structured interviews with musicians) to bring more insights to survey results and to understand the existing gaps in Rock/Music value chain and the possible strategies to overcome them.
The findings of this study shed the light on both challenges and opportunities in this music value chain. They reveal that the existing issues originate from infrastructural constraints and from the difficulty in adapting this style to the current requirements of the digital shift. The data also depict market opportunities and potential targets that Moroccan artists can capitalize on using neuromarketing and neuro-aesthetic strategies to overcome the aforementioned challenges.

Khalid Chelali – Morocco

Khalid Chelali was born in the city of Oujda in Morocco. He holds a BA in English Literature/Language and has finished his MA studies in Cultural Policy and Cultural Management in Casablanca, with plans for a Ph.D. in the near future. Chelali has always been involved in the cultural field which began with his passion for post-production and graphic design. His most recent accomplishment was the establishment of a series of workshops in collaboration with the American Space Oujda which strived to provide the local community with adequate understanding and education on Entrepreneurship and how to develop projects from management, planning and communication standpoint, including marketing and financing. With a number of new initiatives in the works for the future, Chelali aspires to put everything he has learned through his MA studies into action.

Thesis title: Communication Strategies of Cultural Organizations within the Digital Realm: A Case Study of Festivals in Morocco’s Oriental Region
Abstract: This study aims to determine the efficiency of new media use by Moroccan cultural organizations that organize festivals in the Oriental region and define their digital communication strategies. It aims to define the methods and approaches used today for cultural communication, the significance of digital and online tools for strategic communication versus traditional media, significant potential obstacles that may arise, and what can be done to overcome them. This study employed a qualitative methodology to select five different festival organizers within the oriental region of Morocco to respond to these questions. Data was gathered through a structured interview in Arabic that was distributed via Google Form. Using primary data gathered through observation of the festivals’ different digital media outlets, a descriptive analysis of the findings was then performed to determine the organizational strengths and shortcomings in their digital communication strategy and provide recommendations based on these results. The interview data was gathered between June first and June thirtieth of 2022. Overall, it was discovered that festivals utilize digital communication strategies in the oriental region, but that there is still a need for professionalization and targeted organizational development of the issue. Only two of the festivals analyzed out of the five can be considered to have an adequate digital communication strategy, while others still are lacking behind, not utilizing their various digital media outlets to their fullest. It was found that most festivals relatively use digital media & conventional media interchangeably, with digital media being used as it is the cheapest form of marketing and communication and is easily accessible.
The lack of budget and human resources can be considered the missing link for a successful communication strategy within the digital realm for festivals within the oriental region. This study only looked at five festivals within the oriental region of Morocco, but can still be a gateway to many future pieces of research on this issue within the region and even across other regions in Morocco.

Khalil Ismaili Alaoui – Morocco

A Human Rights activist, a self-taught Graphic Designer and an amateur artist of many genres. Since his first years of English Studies at the University of Fez, he developed a passion for writing, wordplay and performance, to eventually catch an interest for Spoken word and Poetry Slam. He organized several Poetry Slams in his hometown and participated in others across the kingdom. Khalil always seeked to promote the democratical aspect of Poetry Slams and the way it allows sharing opinions and ideas. He has always been highly passionate about cultural work, waiting for the opportunity to execute his carefully and theoretically crafted cultural projects.

Thesis title: The Impact of Artistic Activity on Teenagers Living in Precarious Conditions: Case Study of a Poetry Slam Workshop Program
Abstract: This study aims to detect and analyze the forms of impact that artistic activity can have on youth coming from vulnerable and precarious backgrounds and conditions while investigating the effects these conditions can have on the artistic activity in return. Also, this study also aims to perceive additional aspects which can be addressed by an artistic approach to the benefit of this category of youth. To achieve these goals, the study adopted a qualitative ethnographic approach through conducting a case study of a poetry slam project which consists of a program of a series of workshops addressing writing and performance skills as well as psychological therapy activities. The project involved 14 teenagers from a second-chance educational institution in Fez, Morocco. The project included a total of 13 sessions, in addition to the final show where the participants performed their texts. To collect data, the study relied mostly on observations, but also on psychological tests and on analysis of the texts and performances prepared by the participants throughout the program. The study led to the conclusions that participating in the poetry slam project improved considerably the participants’ self-esteem, self-confidence, and self-acceptance. Moreover, it helped the participants develop their communication skills, problem solving capacities, mental flexibility, and emotional intelligence.
In addition, the study uncovered several aspects that need to be addressed by future artistic interactions such as identity issues and their relationships with their families. These findings can provide a valuable insight for professionals in the fields of arts and culture or social sciences who target either this category of youth or one of these aspects in society. Also, the study can contribute in offering a better understanding of the needs of this category of youth in terms of future projects. Finally, these conclusions can participate in setting a reliable ground for future research in this area.

Mohamed M’barek – Mauritania

Born in 1990 in Mauritania, M’Barek holds a Bachelor’s degree in Tourism and Heritage. He joined the teacher training school and received a 3-year training after which he obtained an educational competency certificate. M’Barek’s interest in the cultural work began at an early age when he was in high school through his participation in cultural clubs. After graduating from the university, he began to continuously be active in civil society through cultural organizations, one of which was the Teranim Center for Folk Art, in which he worked four years and was responsible for studies and documentation. He was also a member of the Youth Organization for Development, Awareness and Education “IHSSAN”.

Oumaima Bouchane- Morocco

A martial artist and classical guitarist. She is the co-founder of Heavy Music Lab association and currently the vice general secretary of the Anassr Association. Bouchane is a novelist with four fantasy novels published and more in the making. She’s volunteered as an English Teacher in a Youth home, and for the Cop22 and Climate Change in 2016 and 2017 respectively. She is inspired by her past and current experiences to create a new organization in Morocco that would not only give opportunities to the youth but create active and productive members of the society.

Thesis title: Amazigh Culture in the Face of Homogeneity
Abstract: The debate of whether Moroccan Amazigh are the aboriginals of the North African kingdom of Morocco has become a hot issue in the light of recent discoveries. Amplified by the suppression of the bloody history of the Arab colonization of the country in the Islamic conquests, speaking of Arabs as colonizers is a taboo. Morocco has acknowledged Amazigh as an official language in 2011 and even established a center for Amazigh studies. However, with much focus on the ideological and political unity of the country, there isn’t a body of research on the folklorization of Amazigh Culture through Media. This research paper studies the effects of Arabization on Amazigh people in pre-colonial Morocco. It studies the Amazigh culture within French colonial rule and the aftereffects in a postcolonial setting. The research uses a questionnaire to study Amazigh cultural perception and cultural consumption on Media. It relies on semi-structured interviews with five professionals and uses thematic analysis. We show that in rural Morocco, a number of old sites are abandoned, with seemingly lost historical background, our empirical analysis shows low consumption of Amazigh literary and poetry consumption. On the other hand, it shows the presence of racism amongst the different constituents of Moroccan identity. This research is exploratory in nature and as such opens the door for further studies in cultural diversity management in the Moroccan context.

Selimane ​​Koubaich – Morocco

A director and cultural engineer, graduated from the Royal Institute for Training in Rabat, the field of Sociocultural Animation in 2015. He holds an M.A. in cultural and artistic engineering and a second master’s degree in cultural policy and cultural management from the University of Hassan II in Casablanca. In 2017, he started his professional career as the founder of the project “Culture in Village”, which seeks to democratize art and culture in rural areas, especially in the Ait Attab region of Azilal province. He worked with the Ministry of Youth, Culture and Communication as director of the Youth center. During that time, he planned to create a new and pioneering model for the management of youth centers in Morocco that meets the artistic and creative needs of young people. He has also volunteered and worked with a group of civil society organizations in the field of framing and training in management and cultural mediation.
The topic of his master’s thesis revolved around the entrepreneurial models in the cultural sector — urban music in Casablanca as a case study.

Thesis title: The Entrepreneurial Model in the Cultural sector: The Case of Urban Music in Casablanca
Abstract: This study paper aims to look into how urban musicians use their entrepreneurial skills to adopt and develop a business model for their music business. What are the essential factors for developing an entrepreneurial model for an artist, the legal entrepreneurial models that can be used in the urban music sector, and the challenges and obstacles that artists and musicians encounter when deciding on an entrepreneurship model for their music projects?
This paper aims to contribute to this area of research by providing more insight into the issues confronting musician’s business models and looking at the sector from a variety of perspectives, with a focus on placing urban music in the socio-cultural cycle of entrepreneurship.  The theoretical section of this study examines cultural and social entrepreneurship in Moroccan and international academic literature as well as the creative sector, highlighting several case studies in the field on the one hand, and Moroccan elements of cultural entrepreneurship and various components and efforts of all players working or having responsibility in the music industry on the other.
A questionnaire was done with urban artists and diverse actors representing the different contributors in the music industry in Morocco for the aims of the empirical research, and the data was evaluated using exploratory quantitative data analysis. The findings show that Moroccan music entrepreneurs make a significant contribution to the country’s economic progress and integration into the global market. Along with the numerous benefits that incorporating business concepts into the music industry delivers, this sector also has its own set of complications and challenges. Furthermore, they suggest that, while national policies encourage the younger generation to become entrepreneurs through a variety of programs and policies, further rules for the Moroccan music sector should be enacted.

Youness Chafik – Morocco

Cambridge certified English teacher (holding a CELTA) and holds a BA in English, literary studies. He’s currently working with the British Council as an hourly-paid teacher which allows him to do other part-time jobs. He’s also an IT administrator in a series of hospitals and a mixing engineer working at his little studio. Chafik is a rapper that goes under the name L’Yichi and does most of his production work on his own (writing, producing, recording, mixing, video-editing, etc.)

Thesis title: The Music Industry, Digital Transition and the Moroccan Rap as a Success Model
Abstract: Growing from an alienated cultural phenomenon to become the most dominant musical genre in Morocco, Moroccan Hip Hop, which defines the scope of this research, pushed the Moroccan music industry to function on an international level and deal with international music industries from around the globe. This research paper is an investigation of how correlated this growth is to digitalisation of the music industry. This correlation was examined through inspecting how digitalisation affects the social position, profitability and international recognition of the Moroccan Hip hop sector and the access of the new talents to the industry. The beginning of this research includes analyzing key notions and concepts in an exploratory manner, stating how theoreticians and academics define the above concepts, thus creating the capacity to use them properly in this paper. This research includes using qualitative data analysis. Direct interviewing and the netnography approach adopted using web shows and podcasts have the purpose of providing sufficient accurate data to understand the focus group’s perception and experiences regarding the topic at hand. The importance of this research paper stems from the lack of comparable prior work on the Moroccan rap culture, even if there was a lot of attention paid to the American and international rap scenes.
By the time this research is finished, a comprehensive analysis of how digitization has affected the Moroccan Rap sector will be produced. This demonstrates academically if digitalization has the capacity to influence a complete sector and culture, such as Moroccan Rap and whether the digital model followed by this latter could be considered a model for other musical genres in Morocco to follow in pursuit of success.

Academic Staff

Abdelkader Sabil – Morocco

He holds a State Doctorate in Literary and Cultural Studies, Chouaib Doukkali University, Eljadida, Morocco, and a Master’s degree in Cross-Cultural Studies from Essex University, UK.  He is a Fulbright visiting professor at Columbia College, Chicago. He is a visiting lecturer at Aboubakr Belkaid University, Tlemcen, Algeria. He is also a member of the national committee in charge of the advancement of the university professors. He has set up the International Conference on Languages and Cultures in Contact Series in Eljadida and chaired the Moroccan Culture Research Group. He has contributed and published papers and co-authored a good number of articles both nationally and internationally. His field of interest includes ethnography, language in contact, cultural and translation studies.

Abdelmajid Bouziane – Morocco

A professor of education at the Faculty of Letters and Humanities Ben M’sik, Hassan II University of Casablanca, he specializes in research on learning and teaching foreign languages. He has published on EFL in journals and books in Morocco and elsewhere. He is particularly interested in EFL, ICT in education, research methods and quality in higher education. With nearly four decades of experience in teaching and supervision, he has been actively involved in teacher training, both within Morocco and internationally, for over two decades. He has served as a supervisor for numerous doctoral dissertations and as a reviewer for various international journals. He is currently in charge of e-learning and digital transformation.

Aleksandar Brkić – Serbia/England

A scholar and lecturer in the fields of cultural/arts management and cultural policy. He did his PhD in Management in Arts and Media and obtained an MFA in Scene Design at the Centre for Interdisciplinary Studies and an MA from the Department for Theatre and Radio Production at the University of Arts in Belgrade, Serbia. His education also includes an MSc in Management at City University. He joined the Institute for Creative and Cultural Entrepreneurship, Goldsmiths, University of London in 2016. He is also a guest professor at the UNESCO Chair/MA Cultural Policy and Management (Interculturalism and Mediation in the Balkans) at the Center for Interdisciplinary studies at the University of Arts in Belgrade. He has more than 15 years of international experience as a trainer and coach in the areas of project and strategic management, entrepreneurship in culture, arts management, cultural policy, intercultural dialogue through arts, and theater/performing arts.

Basma El Husseiny – Egypt

An arts manager and a cultural activist who has been involved in supporting independent cultural projects and organizations in the Arab region for the past 25 years. Basma was previously the Media, Arts & Culture Program Officer for the Ford Foundation in the Middle East and North Africa, and worked as Arts Manager of the British Council in Egypt. She has also worked as a theater director, script-writer, organizer of cultural events and arts critic and reviewer.  Basma is the Egypt representative of the Arterial Network, a member of Arterial’s Cultural Policy Task Team, and a member of the Advisory Board of the Center for Cultural Policy and Management at Bilgi University in Istanbul, Turkey. Basma founded in 2004 Culture Resource and was its director until September 2014. She also co-founded the Arab Fund for Arts & Culture, an independent regional grant-making organization. She recently founded Action for Hope, an international organization that works to provide cultural relief and cultural development programs to meet the cultural, social and psychological needs of distressed and displaced communities.

Birgit Mandel – Germany

A professor of cultural management and head of the Masters of Arts Mediation and Cultural Management program at the Department for Cultural Policy, University of Hildesheim. She is a founding member and former president of the Association of Cultural Management at universities in Germany, Austria, and Switzerland. She is also the vice president of the German society for cultural policy. Her research focuses on cultural exchange, cultural research, audience development, cultural public relations, international cultural management, cultural entrepreneurship, cultural policy, and cultural tourism. She has also authored several books on these diverse topics.

Hicham Bennani – Morocco

A financial professional with over 17 years of experience in finance and project management. He is also an expert in budgeting and investment appraisals. Bennani holds an MBA degree in Finance from Old Dominion University, USA, and has international working experience in the US, Kuwait and Morocco in several multinational companies operating in the different fields of the economy. Bennani is currently the Chief Operating Officer of a multinational investment company operating in the fields of education, real estate and development of industrial zones. He initiated and managed small and mega projects. He is also a lecturer teaching Finance and Project Management related modules for Bachelor and Masters students in Casablanca, Morocco.

Julius Heinicke – Germany

A professor of cultural policy and the UNESCO Chair in Cultural Policy for the Arts in Development at the University of Hildesheim since March 2020. He studied Cultural and Theatre Studies at the Humboldt University of Berlin, where he completed his doctorate on theater and politics in Zimbabwe. He went on to conduct research in the Theatre Studies department at the Free University of Berlin before accepting a professorship in Applied Cultural Studies at Coburg University. Since 2017, he has headed up the research project “Interfaces between high culture and cultural education”, and his habilitation thesis on diversity in the theater was published by Theater der Zeit in 2019. Julius Heinicke has spent many years working on arts and research projects with colleagues in Southern Africa, particularly South Africa and Zimbabwe.

Lidia Varbanova – Bulgaria/Canada

A consultant, educator and researcher in the areas of strategy, policy development, entrepreneurship and innovations, organizational development and online technologies, with a special emphasis on arts, culture and creative industries. Lidia has been a permanent and visiting professor in prominent universities and training centers in Europe and Canada and has received a number of distinguished awards. She is a regular visiting professor at UNESCO Chair in Cultural Policy and Management, Belgrade and the National Academy of Theatre and Film Arts, Sofia.

Marina Barham – Palestine

She holds an MA in teaching English and an MA in media studies. She is the co-founder and the general director of Al-Harah Theater and Al-Harah Performing Arts Training Center (PARC). She is also the vice president of the Palestinian Performing Arts Network in Palestine, Euromedinculture Network and TAMASI Collective for Performing Arts Organizations from the MENA Region. Aside from being an active cultural operator in Palestine, the Middle East and Europe, she is a trainer in the field of cultural management in the Middle East and a speaker at several European conferences, festivals and events on the importance of performing arts in the region. Marina produced many theater productions and co-productions, managed and organized several international, regional and local tours and managed several Euro-med Projects funded by the EU. She organized the Yalla Yalla International Children and Youth Theater Festival and Street Festival in Palestine.

Milena Dragićević Šešić – Serbia

She’s the Head of the UNESCO Chair on Interculturalism, Art Management and Mediation and former President of the University of Arts, Belgrade. She is also a professor of cultural policy, cultural management, cultural studies, and media studies. She is an expert in participatory approaches for the design and development of local, regional and national cultural policies. Trainer and consultant in capacity building programs for strategic cultural management and entrepreneurship, Milena has developed more than 50 projects in cultural policy and management. She works as an expert in cultural policy and management for the European Cultural Foundation, the Council of Europe, UNESCO, Pro Helvetia, and the British Council, among others.

Mohamed El Amine Moumine – Morocco

A Professor at Hassan II University of Casablanca and the Managing Director of the Moulay Rachid Cultural Center. Moumine has organized a number of national and international academic, cultural and artistic events. He is an active member in various academic research groups and associations specialized in artistic, cultural and humanitarian issues. He is a founding member of la Fondation des Arts Vivants, vice president of Sister Cities International-Morocco and president of Moroccan Association for Cultural Policies. Among his fields of interest are cultural policies, creative industries, cultural leadership and performing arts.

Mourad Alkadiri – Morocco

A poet, researcher and cultural activist, he obtained a BA in Arabic Language and Literature from the Faculty of Arts and Humanities, Mohammed V University, Rabat. In 2012, he earned a PhD in modern Moroccan literature from the Faculty of Literature and Humanities, Sidi Mohamed Ben Abdellah University in Fez, followed by an advanced studies diploma in the Structure of Poetic Discourse in Middle East and North Africa from the Faculty of Letters and Human Sciences, Mohammed V University, Rabat. Kadiri is a researcher in cultural policies and cultural management and a visiting professor at the Faculty of Letter and Humanities, Ben M’sik, Hassan II University, Casablanca. He is the director of the House of Poetry in Morocco and former advisor to the Moroccan Minister of Culture. He has published five poetry anthologies in addition to a critical study, Literary aesthetics in the Modern Moroccan Poetry (2012). He participated, inside and outside Morocco, in many poetry festivals, cultural seminars, and training workshops in the field of cultural management and cultural policies. His poetry has been translated to several languages and some of his poems have appeared in anthologies of Moroccan poetry.

Nadia Soussi – Morocco

An international trainer, researcher and practitioner in business management. She has around 25 years of international experience in multinational corporations, where she held senior managerial roles in Sales, Retail and Corporate HR. She conducts research on knowledge management in strategic HR besides holding an MA in Econometrics, a Higher Executive diploma in Management and a degree in neuroscience profiling tools: Prism. Soussi has acquired a long experience as Corporate HR with proven records of accomplishment in talent acquisition and development, career development and performance management. She coaches professionals to excel in their roles and polish their leadership styles. She is currently coaching senior managers and facilitating international training and seminars in effective leadership, strategy and performance. She is a lecturer delivering courses to BA, Master and MBA students in economics, marketing, leadership and talent management in reputed universities and business schools.

Said Zaidoune – Morocco

A teacher of Applied Linguistics and Citizenship in Education, in addition to Public Speaking and Debating and Study Skills at Hassan II University of Casablanca. He is a member and consultant of several associations and NGOs in Morocco and has organized a number of workshops, seminars, and national and international conferences on activism, citizenship and community work.

Samir El Azhar – Morocco

A professor at Hassan II University of Casablanca, Faculty of Letters and Humanities, Ben M’sik. He has authored numerous articles about Moroccan literature, art and culture. He reviewed “Visual Arts in the Kingdom of Morocco” published by Third Text (2016). He authored “Mohammed VI Museum for Modern and Contemporary Art,” published by Bonn University, Germany (2017) and “The Changing Roles of Female Visual Artists in Morocco.” He curated the traveling exhibition: “Morocco and the United States in World War II” (2017). He is currently director of the Ben M’sik Community Museum and secretary general of the Moroccan Association for Cultural Policies.

Taoufik Jaafari – Morocco

A professor of Applied Linguistics and Cultural Studies. He is the coordinator of Moroccan American Studies Program at the Faculty of Literature & Human Sciences Ben M’sik, Hassan II University of Casablanca. He has organized a number of national and international conferences, seminars and workshops.  Jaafari is an active member in various academic research groups and associations specialized in linguistics, cultural policy and language planning.

Višnja Kisić – Serbia

A researcher, lecturer, and manager in the field of heritage management, interpretation, and policy, with special focus on heritage, community engagement, and mediation. She holds a BA in Art History, an MA in Cultural Policy and Management, and a PhD in Museum and Heritage. She conducts her research and lectures at the Centre for Museology and Heritology, University of Belgrade, and she is the UNESCO Chair in Cultural Policy and Management, University of Arts, Belgrade. She also has years of experience in both the public and civil sector in heritage, acting as Secretary General for Europa Nostra in Serbia and as a board member of the South East European Heritage Network. She has previously worked in curatorial and outreach departments at the National Museum in Belgrade, Peggy Guggenheim Collection, Venice Biennale, and the Museum of Art and Archaeology in Columbia, Missouri.

Vesna Copic – Serbia

Graduated from the Faculty of Law and got her PhD at the Faculty of Social Sciences, University of Ljubljana. She is a lawyer with extensive experience in legislation, engaged in the preparation of laws for different fields of culture. She is also a public policy analyst involved in the evaluation of national cultural policy and in the development of information infrastructure for cultural policy formulation and implementation, including cultural statistics. She is a lecturer of cultural policy and cultural management in the Faculty of Social Sciences at the University in Ljubljana with thematic specialization in regulatory and legal frameworks for the audiovisual sector, libraries, museums, etc. She is an expert in Council of Europe programmes, EU research projects and UNDP activities. Čopič’s principal interests revolve around public governance and cultural policy. She uses a multi-disciplinary methodology for working across professional boundaries, bridging disciplines such as cultural governance, cultural rights, cultural statistics, public administration, public finances, urban and regional planning. Čopič is the author of several publications, where she has addressed cultural policies particularly in the context of transition countries.