We have moved!

This blog is no longer active, our apologies for any inconveniences. But not to worry, we haven't disappeared, we have just moved! To read more news about Sandblast and the Western Sahara, please go to our website or to our new blog.

Mine victims, by Nick Jubber

In a flaky pink apartment block in the Nahader district, a girl with henna on her hands pulled back the metal door and ushered me up the stairs. In a large room fringed with cushions, I sat on the woollen rug of a guest room while Mohammed Ali, director of the local mine victims’ association, prepared tea on a coal stove. I had come to listen to Ahmed, a student in his early twenties who was involved in a landmine accident a couple of years ago.

  ‘I was visiting my friend in an area south-east of Laayoune, about three hundred kilometres south,’ said Ahmed. He was an angular young man in his early twenties, his square-cut face softened by his glasses. ‘I was in the Land Rover with my friend’s father, Mohammed Nadher. He kept camels and around three hundred goats and we were driving between his tent and the field where he kept his goats when the back wheels went over an anti-charge. I remember running – about fifty metres away – I just ran – it was only when I was away from the explosion that I understood what had happened. My friend’s father was lying on the ground near the car. I pulled him away but the explosion had torn his feet open so he couldn’t walk. His sons heard the explosion and they came to find us, followed by the police who took us to Mohammed’s tent.’

  An ambulance came, much later, carrying Ahmed and Mohammed to the military hospital in Laayoune.

  ‘But,’ he explained, ‘they only looked at our injuries. I was burned all the way up my leg. They refused to do anything for us, so we were taken to another hospital, and by this time it was too late to save Mohammed’s foot so his toe had to be amputated.’

  It was only after several months of recovery that Mohammed went back to his flock; but now, unsteady on his feet, he was unable to herd them as well as in the past, so he sold up and moved to Laayoune.

  ‘What about you?’ I asked. ‘Did you have any after-effects?’

  ‘I hear a buzzing in my ears sometimes,’ he said, ‘but I am strong, I’m not afraid.’

  For Mohammed Ali, it was clear who was to blame.

  ‘The Moroccan government,’ he said, ‘doesn’t even publicise the mine situation – there are no posters about it, they never mention it on TV or radio, so people aren’t educated about it. Especially people who live in the desert – they need to know about the mines but many of them don’t even know what a mine looks like.’

Saharawi landmine victim (in the camps).
Photo by Bernat Millet

  Mohammed and Ahmed talked angrily of the Moroccan government’s failure to sign the Ottawa accord guaranteeing reparations to victims, or to make substantial efforts to map the mined areas.

  ‘It’s not only Morocco who planted the mines,’ said Mohammed, ‘Mauretania, Spain and the Polisario have all been responsible, but it is Morocco that has the authority here and they do nothing to help us. We’re Saharawi – we love the desert, it’s part of us. I like to spend my time in the city but also in the desert. But we have to be so careful when we go into the desert because of the mines.’

  ‘Without the desert,’ said Ahmed, ‘we are like fish out of water. But how can we use the desert when we are afraid we may step on a mine?’

Mohammed Salim – the Sheriff of Gudaym Izik (Gdeim Izik), by Nick Jubber

 One of the activists who had taken part was sitting on the carpet at Abdelhadi’s, the house I went back to after the demonstration on Avenue Smara. He was called Mohammed Salim. I sat down next to him and asked him to tell me about his experience.

  ‘I loved it there,’ he said.

  He was sitting with his legs stretched out on the woollen rug. Our host was preparing tea, the wash of hot water against the glasses mingling with the crackle of the coals on the stove as we talked.

  ‘I was unemployed,’ Mohammed Salim explained. ‘I was unhappy because it’s so hard for us to find work, so I joined the camp. I found freedom there, I was enjoying the desert more than seeing the Moroccan faces around us in the city. I was in the security attachment, I was like a sheriff.

Saharawis at Gdeim Izik protest camp.
Photo from Territorios Ocupados Minuto a Minuto

  ‘On the 28^th day, I was woken by the sound of the attack – guns and helicopters, people shouting. I saw the gendarmerie coming in with helmets and plastic shields. There were vehicles all around us – tanks, trucks, everything. It was confusing. You could hear gunshots, you could smell gas. I saw two gendarmerie picking up an old woman and beating her with batons, dragging her by the hair. I saw them grab a woman with an infant and throw her into a truck. They were shouting at us: ‘you dirty Saharawis.’ They called the women bitches. They used shameful words, they didn’t care, they kicked the women with their boots.’

  Mohammed Salim managed to jump into a Land Rover and get himself back to Laayoune. But he was so angry about the way the camp had been destroyed that he joined a group of demonstrators protesting outside the central police station.

  ‘They didn’t care about our protest,’ he said. ‘They shot six of us, including me. They got me in the shoulder. But they wouldn’t treat me in the hospital so I had to use traditional medicine – hameiria and sheep’s grease – to ease the pain. Can you imagine how much it hurt? I could hardly move my arm. I didn’t get any proper treatment until a year later, when I went on the UN programme to the camps in Algeria and they treated me in the hospital.’

Exodus, by Nick Jubber

If there was one subject all the Saharawis I met in Laayoune wanted to talk about, it was Gudaym Izik (Gdeim Izik) – the protest camp set up in November 2010.

  ‘I was in the first group,’ explained Ali Salem, a veteran activist in his forties. ‘We went to an area called Gudaym Izik (Gdeim Izik), twelve kilometres to the east of the city, and set up a camp. At first there were thirty-five tents, but over the days it grew. People came out from Laayoune to join us and we had 20,000 by the peak in 6,600 tents. We called it our ‘Exodus’ camp, it was a protest against the social marginalisation and the lack of decent jobs, decent housing, legal rights. But it became something more than that – people came to the camp to go back to their roots, back to what being a Saharawi is about. We wanted to show the world we can live on our own, we can live away from civilisation, we belong to the desert.

Gdeim Izik protest camp on Nov 5, 2010.
Photo by Tenerife con el Sáhara

  ‘Many young people joined the camps – people who had been irresponsible in the town, they just hung about doing nothing with their lives, but in the camp they were transformed. They set up committees for nutrition, hygiene, security, administration. They helped organise the food. Going back to their roots brought something out of them. There was no crime, no complaining. People lived in the tents together. As long as you were Saharawi you didn’t care if you weren’t related.’

  ‘It was like a utopia,’ said his friend Mohammed. ‘Rich and poor joined in, people from different cities, young and old.’

  ‘They tried to do the same in other cities,’ said Ali, ‘in Dakhla, Smara, Goulmime, but the police arrested them, harassed them, took them to prison. But Moroccans who were living here, and also some Saharawi bloodsuckers who’ve benefitted from the system, were anxious. They saw a young generation who wouldn’t let them carry on benefitting from our resources. So one morning at 5 am the people in the camp were woken by the sound of helicopters and voices telling them in Hassaniya: ‘You can go home now, your complaints are being answered.’ Then the forces moved in, they burned the tents and destroyed equipment, people started panicking. They chased people, beat them up, especially the young ones. Or they told them, ‘come in the van, we’ll take you back to Laayoune’ – and instead they took them to prison.’

Destruction of the protest camp by Moroccan authorities
on Nov 17, 2010. Photo by Ceasefire Magazine

Salaam's Story, by Nick Jubber

  Back at the house of one of Ahmed’s friends, I was shown photos of other demonstrations – an old man with blood on his lips; a woman’s bare red back, rashed by a police baton; a youth with a red gash on his forehead from a stone thrown by a policeman. The range of ways in which people had been attacked was telling, as was the volume of the material. 

Nick making Saharawi tea

  But it was the stories they told that struck me more forcefully than the pictures, and none more so than Salaam’s.

 She had been taking part in demonstrations since she was fifteen, when her mother had to go and pick her up at the police station after she was kept in overnight.

  ‘Of course we take part in demonstrations,’ she told me, ‘we must! It is our land as much as the men’s. And a lot of the men can’t take part because they will lose their job if they are seen at the demonstrations, or maybe they are already in prison. You must understand, we are different from women in Morocco. Our status is different. We have respect in society. If you are a woman in Morocco, your husband will beat you all the time and you cannot complain, but it isn’t like that here. In Saharawi culture, if a man beats his wife it is very shameful. We will go to our family and the man must do a lot to get us back.

  ‘Once I stood in front of fifty policemen, we were demanding freedom, work, our resources, the opportunity to bury our martyrs. They shouted back at us. They said, ‘you’re mercenaries’, and the deputy police chief hit me with his baton, they knocked me over and pulled off my milfha. You know, in our society, this is a great shame. They surrounded me, dragged me away from the others and pulled me by the hair and threatened me with rape.’

  ‘Are you ever nervous before the demonstrations?’ I asked.

  ‘Never! I feel hatred against them. When fifty policemen are facing you and I am only a single woman. I don’t feel scared, I feel hatred for them. Women are more involved than ever now,’ she said, ‘that is since Gdeim Izik. It was a breakthrough, it changed the mentality for women, now a lot of women who used to sit around gossiping, they talk about the political situation.’

Saharawi girls, by Nick Jubber

First Steps in Laayoune, by Nick Jubber

    It’s hard in Laayoune to ignore the military presence. Every corner produces another military kiosk, and every time you cross the road you have to watch out for another artillery-loaded truck roaring round the corner. Wandering under schoolyard murals of the Moroccan army or portraits of King Mohammed, you can feel the weight of a city living under the heavy cloak of oppression. But in many ways, it’s the most innocuous details that are most telling: the empty teahouses, the lack of young men loitering about, the uncracked roads, the huge public squares with their squat palm trees and bougainvillea, gaudily sprayed about like an uninvited guest’s faltering attempt at charm. And occasionally, more specific signs of the political situation seep through – from the heavily gated compounds of the rich Moroccans who’ve made their fortunes off Western Sahara’s resources to the pink Lux minivans, their back windows taped with signs for the UNHCR “Saharawi Family Visits Programme” – underlining the population displacement caused by the Moroccan invasion of 1975.

A house in Laayoune, Nick Jubber

  On a hot street of orangey-pink hardware stores and tailors’ workshops, where the bench outside the local eatery was full of men in workmen’s overalls and the air pulsed to the beat of jackhammering, I met a group of Saharawi activists.


   ‘You chose the right day,’ said one of them, called Ahmed. ‘There’s a demonstration this afternoon.’ He looked at his friends, before adding with a dark grin: ‘but it would be the same if we met you tomorrow. Most days, there’s a demonstration.’

School murals in Laayoune showing the Green March
and the Moroccan invasion, Nick Jubber

   This one took place on Avenue Smara, one of the longest roads in the city. Wearing a white djellaba, Ahmed sat beside me in the back of a car. Beside him was Salaam, a young woman in a midnight blue milfha, who carefully folded a pair of gloves over her hands and tightened her head covering so she wouldn’t be easy to identify.

   ‘Wrap your turban tighter,’ she told me – I’d been given a black one to hide my face and told to keep my giveaway white hands under the window.

A schoolyard in Laayoune with the Moroccan flag, Nick Jubber

  A dozen dark blue police trucks lined the road. Helmeted officers stood outside them, holding plastic shields and gripping their batons in their fists. The white vans of the auxiliary forces were parked in the side alleys. As we drove down the road, you could see the crowd gathering – jaws were stiffening, lips were being bitten, brows were being creased. Secret policemen swarmed between them - ‘You see the men on the motorbikes,’ said Ahmed, ‘that’s them – watch out. If they find out about you they’re gonna give you hell.’

Into the Deep, by Nick Jubber

It felt like the world was dying. After the lush green hills of North Morocco and the palmeraie of the south, now I was surrounded by nothing except for vast dunes of powdery dust.

The desert of Laayoune, Nick Jubber

  I had boarded an overnight bus at Inezgane, one of Morocco’s chief transport hubs. Sitting around me were a group of teenage boys who were all returning from a camping trip. It had been organised by the Justice and Development Party – currently the largest party in the Moroccan parliament.

  ‘Oh yes, we are all Saharawis,’ one of them, Ibrahim, told me. No, he admitted, his parents hadn’t actually been born there, ‘but there is a lot of work to be done because Western Sahara is in need of development.’ One of his friends, Mehdi, was more forthright. ‘You need to understand something,’ he said. ‘Maybe you will meet people and they will say they are the only true Saharawis. But they want us to do all the work for them. My father and his father,’ he continued, wagging a finger at Ibrahim, ‘they are the people who are making this land something more.’ This issue – the settlers and their children versus the indigenous Saharawis – has become one of the core issues in Western Sahara, especially in regard to the proposed UN referendum to decide the fate of the region.

Camels in Laayoune, Nick Jubber

  Blinking into the glare, as the sun floated over the roof of the bus, we looked across the rocky desert towards Laayoune. We passed a wind turbine, a dairy farm and a cement works. Farmsteads built from the abundant local stone skulked beside acacia groves. Most noticeable of all, though, was the checkpoint: a small pink kiosk where a soldier in grey sat behind his ledger and a tea tray buzzing with flies. Black and white mug-shots of ‘miscreants’ (many of them simply Saharawi activists against the occupation) were tacked to the wall above him. He asked me why I was visiting Laayoune and suggested I move on to Dakhla.

  ‘You can windsurf there,’ he explained.

  Red flags with green five point stars – trumpeting Moroccan sovereignty – fought against the breeze and an archway hooped over us, patterned with seashells in the spandrels. Beyond the Oued Sakiya, military trucks loaded with artillery and Sûreté Nationale vans trundled around us, soldiers in olive-green uniforms picking their way between the early-morning strawberry cart pushers and women in brightly coloured milfhas or men in loose blue dira’a robes. I found myself a room in a downtown hotel above a café frequented by football enthusiasts. I was itching to explore – and to find out for myself what’s really going on in Laayoune.

Stories from the Occupied Territories

We're starting a new series of short stories (in English) by people from occupied Western Sahara or who have travelled there and want to share their experience. Do you want to participate? Just write an email to us with your story and we'll publish it on our blog. Don't forget to include some pictures!

Map of occupied Western Sahara and surrounded
territories painted on a wall in the camp February 27.
Photo by Danielle Smith

Sahara Nights review

The Roundhouse Studio-Theatre was filled to the brim last week for Sahara Nights on June 6. The multi-arts launch for the Studio-Live music empowerment project brought the house down with an array of film, photography, short story presentations and wonderful music to provide rich glimpses of the Saharawi world, culture and plight. 

Nigerian playwright and poet Inua Ellams,
Saharawi short stories readings, with Celtic violinist Lizzie Ogle and
Guinean kora player Mosi Conde © See Li

The launch was interlaced with fantastic first-class performances from a wide range of international artists...

Guinean kora player Mosi Conde
with photography by Ed Harriman © Tania Jackson

British-Congolese Binisa Bonner
from Ruby and the Vines © See Li

Venezuelan Luzmira Zerpa
from Family Atlantica © See Li

Hispano-Saharawi
singer and guitarist
Suilma Aali and percussionist
Nico Roca © Bela Molnar

The evening culminated with a stellar performance from Aziza Brahim. Born in the refugee camps, educated in Cuba and now based in Spain, Aziza is considered the new musical voice of the Saharawis, dedicating all her songs to the struggle. Her music is inspired by her poetess grandmother Mabruk, the only Saharawi female poet who has dedicated all her poetry to documenting the 16 years of war and to whom Aziza has dedicated her new album (released June 11).

Aziza with Spanish guitarist
Gonzalo Ordás © Bela Molnar

Aziza and Gonazalo © See Li

Aziza Brahim © Julia Ridlington

Sahara Nights was capped with the mother of all jam sessions. Virtually all the musicians of the evening joined along with a few new guests from Algeria to rocket the night into another music stratosphere that got the room dancing with abandon.

Final jam session © Julia Ridlington

What people have said:

It was a rich and diverse gathering with original and soulful music and poetry (hearing Aziza live and discovering her grandmother was incredibly emotional). Your passion and dedication for the Saharawi cause and its people was truly palpable. Meriem Aissaoui

Aziza and the Sahara Nights crowd © See Li

A fantastic evening and very informative in a sensitive way. Thomas Elliot

What an amazing evening. Congratulations on such a success, and thanks so much for letting me show part of our film. You know how important your support was to us when we started filming so I'm forever indebted to you. Saeed Taji Farouky

Film

These are the two filmmakers, and short a teaser from their films on Western Sahara, featuring in Sahara Nights.

Saeed Taji Farouky is a documentary photographer, filmmaker and writer who specialises in documenting issues of human rights and social justice in the Middle East and North Africa. His work has been published by The Observer, The Telegraph, The Independent, Reuters, BBC Online and The Economist Group amongst others. He is currently a TED Senior Fellow, was previously named Artist-in-Residence at the Tate Britain and The British Museum, and is Director of the award-winning documentary production company Tourist With A Typewriter.

The Runner is a film about endurance. It is the story of a champion long-distance runner whose journey transformed him from an athlete into the symbol of a national liberation movement. Salah Ameidan from Western Sahara is willing to risk his life, his career, his family and his nationality to run for a country that doesn't exist.

Noë Mendelle is particularly interested in aspects of narrative and new directions within the documentary format. Particular research themes include women, migration and stories of transgression. Since the 1980s she has produced and directed over 30 films, mainly for British and French television, widely distributed at international festivals and which have won awards. She also develops documentary networks across countries and continents: "Bridging the Gap" (Scotland); "Constructing Reality" (Europe); "Africadoc" (Portuguese and French speaking African countries). 

Lkhadra Mabruk is a short documentary on camp-based poetess Lkhadra Mabruk, Aziza Brahim’s grandmother. Mabruk was the only Saharawi female poet who documented the 16  years of Saharawi war through her poetry.

http://seyretmelik.com/ljadra-mint-mabruk-fi-la-grara-en-la-grara/35821288

More info:

Saeed Taji Farouky: www.taji.co.uk

Noë Mendelle: www.scottishdocinstitute.com/tag/noe-mendelle

Photography

This is a taster for the amazing photography you'll be seeing at Sahara Nights.

Women raising tents, Ed Harriman

Ed Harriman graduated from Amherst College in Mass., USA. He has dedicated his life to producing political and investigative documentaries and is a regular contributor to the London Book Review. Has worked closely with John Pilger on a number of films and just recently finished a film investigating massive scale US corruption linked with “rebuilding” Iraq.

View of Smara camp, Bernat Millet

Bernat Millet is a Spanish London-based photographer and visual media artist who recently won the Taylor Wessing Photographic Portrait Prize (2011), having one of his pictures on Saharawi landmine victims exhibited at the National Portrait Gallery (London). His project Saharawis aims to expose the consequences of state violence by Moroccan forces as well as the ineffectual efforts of the UN and international community to resolve the situation. 

Starry night, Andrew McConnell

Andrew McConnnell is an award-winning Irish photographer who began his career as a press photographer covering the closing stages of the conflict in his homeland before transitioning to more in-depth social documentary work around the world. His images have appeared internationally in publications such as National Geographic Magazine, Newsweek, Time magazine, The New York Times, The Guardian, FT Magazine, Vanity Fair, the Sunday Times Magazine, Der Spiegel, L’espresso, and Internazionale. His collection The Last Colony is an innovative and highly personal portrayal of the Saharawi people.

More info:

Bernat Millet: www.bernatmilletphotography.com

Andrew McConnell: www.andrewmcconnell.com

Suilma Aali

Today we are featuring another great artist from Sahara Nights.

Hispano-Saharawi singer and guitarist Suilma Aali doesn't remember devoting herself to anything else but music. Since she was very young, she led different junior rock, soul and funk bands and throughout her career she has played with some of the most talented Spanish artists, such as Rosana and Nacho Campillo. She has just released her first solo album, Aali, a series of ten very intimate and personal pieces mixing reggae, nu soul, pop and jazz. The album has been completely self-produced under the advice of Jorge García and Nico Roca, the percussionist who will be accompanying Suilma at Sahara Nights. Even though not in a very obvious musical way, Suilma is committed to her Saharawi roots and has performed at numerous events in support of her people's culture and right to self-determination.

Further info:

MySpace: www.myspace.com/suilmaaali

Facebook: www.facebook.com/suilmaaa
Twitter: @SuilmaAali

Aziza Brahim

We're doing mini features of our wonderful artistic line-up @ Sahara Nights. And we're starting with fantastic Saharawi singer and percussionist Aziza Brahim.

Aziza Brahim © Djogo Niemeyer

Aziza is regarded one of the most talented musical voices from Western Sahara. She was born in the Saharawi refugee camps, but spent many years studying in Cuba. This influenced her music, an innovative blend of traditional Saharawi hawl, West African rhythms and Latin Jazz. Singing in Hassania, the native language of her homeland, and Spanish, Aziza has been a great ambassador for the Saharawi cause, dedicating all her singing to her people. Many of her songs are influenced by the breath-taking poetry of her grandmother, Lkhadra Mabruk. Aziza’s new album, Mabruk, which will be released in June, is an homage to her and her great labour as commentator of the 16 years of Saharawi. This is a video of single "La tierra derrama lágrimas."

Further info about Aziza:

MySpace: http://www.myspace.com/azizabrahim

Facebook: https://www.facebook.com/aziza.brahim.official

Blog: http://aziza-brahim.blogspot.co.uk/

EL PROBLEMA, TESTIMONIO DEL PUEBLO SAHARAUI Trailer

As part of our Run the Sahara 2012 launch event, the award-winning documentary 'El Problema' will be screening at Riverside Studios (Hammersmith, London) this Saturday 1st October at 3pm. Buy your tickets here.

Inspiration

Making the decision to Run the Sahara may be one of the best decisions of your life. Since 2009, Sandblast has facilitated the UK's delegation to the Run the Sahara in Algeria. It is quite unlike any other physical challenge. The Saharan desert provides the backdrop to a run (5k, 10k, half marathon or full marathon) and a week of cultural activities designed to bring you into the experience of the Saharawi refugees, compounded further by the experience of living in the refugee camp itself. Sandblast organises everything from the food you eat with your host family to meeting local figures in the community. Read below for a collection of testimonials from past runners: 

It was a privilege to have been involved, to have met like-minded people, to have experienced the hospitality of the Saharawis, to see the beauty of the dunes but also the desolation of the Hamada.

Peter Hamilton, UK participant 2009

This was a life changing experience for me and it will stay with me for a very long time.

Victoria Bavister, UK participant 2009

The views were spectacular especially on the run and in the dunes. The hospitality of the Saharawi was truly touching. It’s an event that anyone who likes a strong physical challenge. Whomever cares about the Saharawi people absolutely must attend.

UK participant 2009

Wonderful people, place and community. A week felt like a lifetime, packed with adventure and unforgettable experiences.

Fleur Hutchinson, UK participant 2010

Memorable, interesting and fun. Stimulating to have a break that makes you pause to think about important international goings-on that you don’t necessarily think about or encounter in everyday life, as well as the physical challenge of the run.

Julia Lutte, UK participant (and 3rd in Women’s Marathon!) 2010

It will change your life, your perspective, your priorities, and it might just help to change the lives of a people fighting for their fundamental rights to existence. Say no more!

Nina Murray, UK participant 2010

Was it what I expected? Would I go back? Would I recommend it? More. Yes. Unreservedly!

Mar Garvey, 2011 participant 

Now to bring you even closer to the runners' experiences:

To join up or learn more:

www.sandblast-arts.org

runthesahara@sandblast-arts.org

http://www.facebook.com/sandblastarts

Svetlana Dimcovic's thoughts on 'El Problema'

Over the last couple of months, Sandblast has organised screenings of 'El Problema', a Spanish documentary which investigates the extent of the Moroccan occupational regime, and the human rights abuses which they enact on the Saharawi refugees. Svetlana Dimcovic, a director and writer, attended one of these screenings at the Freeword Centre on the 11th of July. What follows is her account of the screening:

El Problema

A long winding road.

Arabic signs passed quickly.

Someone speaking, his face not seen.

Instructions given to the backseat operator.

               

The guards will want this or that…better hide the camera.

But these are not journalists and this is not a news piece. The story unfolds. The car passes the controls. The driver is slowly revealed. He is guide, accomplice, teacher: he is taking the film  makers to the Saharawi people and the footage is not sanctioned. No one has commissioned these artists. No one is expecting this film. So they go on. Into the backstreets witnessing protests. Into people’s homes hearing their stories. Into courtrooms where the innocent await their fate, where the authority of the judge terrifies the young men in the dock.

The guide is beaten. We see the bruises. We see the price of the documentary on his skin and on his face. He is the one who didn’t get away.

The film makers capture what they need. Their camera sees, from the back seat of a moving car, what they could not hope to find without this man leading them to it. They make the film about Western Sahara that is not yet made.

They leave.

He stays, nursing his bruises, waiting.

The above photos are screenshots of 'El Problema'. The middle photo is of the Saharawi human rights defender Aminetou Haider whose comments on the Saharawi situation is particularly enlightening and revealing, as she herself was disappeared, and subsequently arrested.

http://www.elproblema.net/

Svetlana Dimcovic is a Director and Writer. She has recently set up a new writing collective in the Caribbean and regularly contributes to international forums on new writing. Svetlana Dimcovic – Director

Trained at the University of Birmingham, the Royal National Theatre Studio London and the Royal Shakespeare Company, Stratford-upon-Avon.

She has recently set up a new writing collective in the Caribbean and holds new writing workshops and programmes across the world.

She originated and led the Bush BEE Programme at the Bush Theatre, London (2009-2010), was Associate Director of the Gate Theatre, London (2003-2005), Associate Director of the Caird Company, London (2002-2005) and a Trainee Director at the Orange Tree Theatre (2001-2002).  

Her new writing work includes workshops for young playwrights and numerous translations for the Royal Court Theatre, RSC, BBC, West Yorkshire Playhouse, Company of Angels and the Caird Company.

Directing: Belfast Girls ( Kings Head Theatre), The Potting Shed by Graham Greene ( two sold out runs at the Finborough Theatre, 2010 and 2011), Oasis ( Scene Nationale de la Guadeloupe), Nine Night, 45 Minutes from Here (Bush Theatre, Square Chapel Halifax, Theatre in the Mill, Bradford), The God of Hell (Belgrade, Serbia), The Outside (Orange Tree Theatre, Richmond), Lithuanian Festival  (Southwark Playhouse), Zuva Crumbling (Lyric Hammersmith), The Professional (Citizens Theatre, Glasgow), Mushroom Pickers (Southwark Playhouse), Writer’s Generation (Arts Printing House, Vilnius, Lithuania) and The Broken Heel (Riverside Studios).

Benefit Concert & Launch for Western Sahara

Sandblast warmly invites you to 

this very special fundraiser 

at London Aquarium. 

This multimedia benefit will feature live music, screenings of short films, interactive seminars, art installations, photography exhibitions and a raffle.  

Caravanserai Production and Acting Studio, Sandbast and YLSR (Youth Leadership and Social Responsibility) launch Sahara Arts Oasis and raise funds for the Saharawi Actor and Director Programme. 

Sandblast will also promote its Studio-Live project and Running the Sahara 2011 campaign. 

Find out more >>>

 

Source: http://www.sandblast-arts.org/get-involved/go-to-events

PRESS RELEASE: Brits prepare for Running the Sahara 2011

For immediate release: June 2009

Brits Prepare for Running the Sahara in 2011 in support of

Saharawi Refugees

Arts and human rights charity Sandblast launches its UK-wide Running the Sahara campaign for 2011 to raise funds and awareness for the plight of the indigenous Saharawi people of Western Sahara.

London, June 14, 2010 – “The sun rains down its unforgiving rays, everything tastes of sand and our feet are as sore as they’ve ever been”, says Weisi Guo, participant in the 2010 race, “but we have all left a piece of our heart in the Sahara dunes.”

 

Guo was one of the 32 people who joined charity director Danielle Smith on this adventure to the refugee camps on last February for the 10th Saharamarathon, the largest ever UK contingent to participate in the event.

As the official UK facilitator, the charity Sandblast’s annual fundraising project Running the Sahara connects the British people to the reality of close to 200,000 Saharawi refugees through the international sporting event known as the Saharamarathon.

Not to be confused with the Marathon des Sables in Morocco, the Saharamarathon takes place every year in the Algerian Sahara in the Saharawi refugee camps near Tindouf. Organized by the refugees themselves and volunteers from around the world, the solidarity sports competition has been growing from year to year. In its 10th edition in 2010, it attracted more than 400 participants from over 22 countries with an almost equal number of Saharawi refugees participating in it, including Saharawi triple gold medallist Salah Amaidan who won the 10km.

In 2010, the UK contingent raised more than £20,000 for Sandblast’s Saharawi Artist Fund, which finances activities in the camps to empower the refugees to tell their own story, promote their own culture and earn an income through the arts.

Sandblast’s founding director, Danielle Smith, explains, “protracted refugee situations like the Saharawi one suffer from oblivion, donor fatigue and trends that threaten their culture and identity. We focus on the arts because it is a medium with the greatest potential of harnessing global attention and recognition for the Saharawi plight and culture in a positive and inspiring way.”

In the next two years, Sandblast will aim to empower the Saharawis to present their culture and earn an income through their music in the form of the Studio-Live project. Danielle affirms, “there is huge talent in the camps. Saharawi music at this juncture most powerfully expresses their identity and struggle in a way that can reach global audiences and connect with musicians from all over the world.”

Information and details on the Running the Sahara campaign and how to sign up are available on the charity website at www.sandblast-arts.org/projects/running-the-sahara or get in touch with the Campaign Coordinator at runningthesahara@sandblast-arts.org.

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To find out more please visit the Sandblast website at www.sandblast-arts.org.  

Press contact:

Cathrin Lemoine

Digital Communications Manager

Sandblast

T: 0044 7825916191   E: cathrin@sandblast-arts.org

Notes to Editor:

• On Sandblast: Sandblast is an arts and human rights charity working with the indigenous people from Western Sahara, the Saharawis. Their identity and culture is threatened by the impact of protracted exile and Morocco's integrationist policies.  It is our mission to empower the Saharawis to tell their own story, promote their own culture and earn a living through the arts.
• On Western Sahara: In a barren corner of the Algerian Sahara, close to 200,000 Saharawis have been living as refugees since the 1975 Moroccan invasion of their country, Western Sahara, a former Spanish colony in NW Africa. Despite the extreme hardships of their exile, the Saharawi refugee community has managed to build a vibrant, democratically run nation-in-exile, where women play a prominent role in all sectors of life, defying many Western preconceptions about Arab-Muslim societies. The Saharawis seek their independence in Western Sahara and have been waiting for the UN to implement the long promised referendum for their self-determination, originally scheduled for early 1992.
• On the Saharamarathon: This international sporting event evolved as a way to show solidarity with the Saharawi people and raise money for projects to improve the lives of the refugees. Organized by representatives of the Saharawi government and volunteers from all over the world, the first Saharamarathon was held in 2001. The event is also child-friendly. There is a race for children which takes place in one of the camps and many Saharawi children, 10 years and older, join in. AIMS (Association for International Marathons and Distance Runs) has sponsored this race over the past few years. Many of you will think it insane to run in the Sahara and fear baking to death. Don’t worry February is a mild month and the event is very well organised. Participants will be transported to the start of each race. The courses are marked with flags and stones, the terrain is mostly packed sand and is largely flat. There will be all the usual forms of support like regularly spaced water stations, four-wheel drives to provide assistance and medical assistance is provided by the International Red Crescent. The event has been growing each year and broadening its base of International participation. In 2010, nearly 1000 people ran in the Saharamarathon races from all over the world. For more info check: www.saharamarathon.org
• On Running the Sahara: Sandblast officially promotes the Saharamarathon in the UK with their campaign Running the Sahara. It facilitates participation in the event as well as raises awareness and funds for its arts ands cultural projects in the camps. 2011 Running the Sahara will be Sandblast’s third fundraising campaign in a row.
• On Salah Amaidan: His remarkable career began under the Moroccan occupation in Western Sahara and his life story is currently being made into a documentary by UK production company Tourist with a Typewriter. He dreams of participating in the 2012 London Olympics.