The Casbah of Algiers, often called the Casbah (Arabic: القصبة, Al-qaṣabah, meaning "citadel"), is the old part of the city, known as the medina, in Algiers, the capital of Algeria. It is a historic area that has been a UNESCO World Heritage Site since 1992. It is part of the Casbah municipality in the Algiers province.

People may have lived there since the Neolithic period, like other places in the Algiers Sahel. The city was first mentioned during Antiquity, when it was a Phoenician port, later became Berber, and then Roman. The city's layout was created in the 10th century by the Berbers under the Zirid dynasty. Later, other Berber groups added to it. The Casbah was most powerful during the Regency of Algiers, when it was the center of political power. It was colonized by the French in 1830, and as power moved to the new city, the Casbah became less important. During the Algerian War, it was an important place for FLN independence fighters. After Algeria became independent in 1962, the Casbah did not regain its central role and remained a less important area.

It shows Islamic architecture and city planning typical of Arab-Berber medinas. It represents Algerian culture, inspires artists, and has a long tradition of crafts. Local people work to protect both the physical and cultural heritage.

Etymology

A kasbah is a walled, protected area found in many cities and towns in North Africa. The word "kasbah" entered the English language from French in the late 1800s, as noted in the Oxford English Dictionary in 1895. It can be spelled as "kasbah" or "casbah."

Geography

The Casbah of Algiers is named after a citadel that stands above it, known in Arabic as Al-Kasbah. Originally, the word "Casbah" described the highest part of the old city, called the medina, during the Zirid era. Over time, the term came to refer to the entire medina, which was surrounded by walls built during the Regency of Algiers in the 16th century.

The Casbah is located at the center of Algiers and is the city's historic heart. Algiers has always been in a strategic location because it is central in Algeria and the Maghreb. It faces the Mediterranean Sea and is built on land with an elevation difference of 118 meters. At first glance, the Casbah looks like a group of homes built on a slope. The narrow, winding streets make it a place without cars, where supplies and waste are still moved by donkeys. The district forms a triangle, with its base meeting the Bay of Algiers. From the sea, it looks like a "colossal pyramid" or a "triangular amphitheater." The white color of its buildings and their arrangement have inspired writers to describe Algiers as a "sphinx." The citadel above the medina gives the city the look of a "well-guarded city," earning it the Arabic nickname El Djazaïr El Mahroussa ("Algiers the Protected"). This reputation was known in Europe, where the failed invasion by Charles V in 1541 was remembered until the French arrived in 1830.

People have lived on the Casbah site since the Punic era, with the earliest known evidence dating to the late 6th century BCE. At that time, the Carthaginians built trading posts along the southern Mediterranean coast to control trade, including gold from sub-Saharan Africa, silver from Spain, and tin from the Cassiterides Islands. This system, called the "Punic scales," provided sailors with safe places to stop and trade goods. The site of Algiers, then called Ikosim, had small islands for mooring ships and acted as a stop between two Punic settlements, Bordj el Bahri (Rusguniae) and Tipaza, which were 80 kilometers apart.

The location was protected by the Bab-el-Oued coastline on one side and Agha Bay on the other. Agha Bay had four small islands near the shore and was exposed to winds from the north and east. A 250-meter promontory on the coast offered shelter. The Bouzaréah massif provided limestone for building, while the surrounding area had clay for bricks and access to fresh water. The city's port role was confirmed by the Cordoban geographer Al-Bakri in the 11th century, who described Algiers as protected by a harbor, islands, and a bay, making it a safe place for ships in winter. Over time, the site served as a refuge for commercial ships and a base for pirates and corsairs.

The Bouzaréah massif, which reaches 400 meters in height, is part of the Algiers Sahel, a region that connects to the Mitidja plain and the Atlas Mountains. This area helped Algiers grow wealthy through agriculture, such as raising livestock and beekeeping. Since the Middle Ages, the city has been known for its agricultural landowners, strong trade, and role as a major Mediterranean port, exporting local goods. This wealth attracted many conquerors who ruled the Maghreb. Algiers is also near Kabylia, and starting in the 16th century, it became a main destination for migrants from the region, surpassing Béjaïa, another major city in the central Maghreb. As a result, Algiers received not only agricultural products from Kabylia but also its workers.

Water for the old medina comes from the Algiers Sahel and groundwater from Hamma, Hydra, and Ben Aknoun. Originally, water was transported through aqueducts built during the Regency of Algiers, which still exist but have been replaced by a modern system developed in the early 20th century.

During the Regency of Algiers, the Casbah was supplied by four main aqueducts, some of which remained in use until the early 20th century. These aqueducts brought water from nearby areas, including the Sahel, Telemly, Hamma, Hydra, and Bitraria. Groundwater was drawn using norias (water wheels) and stored in reservoirs to increase the aqueducts' flow. A system of filtering galleries also helped capture smaller water sources. After passing through the aqueducts, water was stored in reservoirs at the city's gates and then distributed through pipelines to fountains. The aqueducts were built between 1518 and 1620 and ran through the Fahs (the rural outskirts) to supply the medina. They used gravity but also a technique called souterazi, which involved directing water through an elevated pillar. This method helped manage air pressure, balance water levels, and control the flow rate. The souterazi technique was also used in Constantinople and some cities in Spain and the Maghreb.

The water sources come from an area with limestone, gneiss, and granulite resting on a schist base. In addition to aqueducts and fountains, domestic wells—ranging from 50 to 70 meters deep and drilled into gneiss or schist layers—also contributed to the Casbah's water supply.

History

The Casbah of Algiers is an ancient medina with very old beginnings, dating back to the Punic and Roman periods. It is considered a cultural treasure of global importance because of its long history and the heritage it represents.

There are no signs of prehistoric people living in the Casbah itself. However, evidence of prehistoric life has been found nearby, in the Algiers Sahel. This suggests that early human activity may have been covered up by the city's long and continuous development, and that the area might have been inhabited as early as the Neolithic period.

The exact time when the Phoenicians established ancient Algiers, called Ikosim, is unknown, but it likely happened after the late 6th century BCE. Two ports were built in the Bay of Algiers: Rusguniae (Bordj El Bahri) on the east, which offered protection from west winds, and Ikosim (Algiers) on the west, which shielded against east winds. A Punic stele was found on Rue du Vieux Palais in Algiers, and a stone sarcophagus with jewelry was discovered in 1868 in the Marengo Garden. Many coins from the 2nd to 1st century BCE, bearing the inscription "IKOSIM," were found in the Marine district. These coins confirm that the ancient name of Algiers was Ikosim.

The name Ikosim may come from two words: "i," meaning "island," and "kosim," meaning "owl" or "thorn." Some scholars suggest it could mean "Island of Owls" or "Island of Thorns," while others believe it refers to "Island of Seagulls." An ancient well with pottery fragments from different periods was also found in the Marine district. Other remains show that the city traded with areas in the northern Mediterranean, such as Gaul, Spain, and southern Italy, from the 3rd to 1st century BCE, and that Roman influence lasted until the 5th century CE.

After Carthage fell in 146 BCE, Ikosim became part of the Numidian kingdom and later the Mauri kingdom, ruled by King Bocchus and his successors. Mauretania, the region that included Ikosim, remained independent until 40 CE, when it became part of the Roman Empire. The name Ikosim was changed to Icosium in Latin. Roman settlers arrived during the time of vassal kings, even before the Roman conquest. Evidence of Roman officials includes an inscription honoring King Ptolemy, found on Hadj Omar Street in the Casbah, and another on a slab in the minaret of the Great Mosque.

By 40 CE, Mauretania became a Roman province under Emperor Caligula. Icosium was governed by a procurator based in Caesarea (modern-day Cherchell). Emperor Vespasian later gave Icosium Latin rights, making it a Roman city with fewer privileges than full colonies.

The ancient walls of the city likely covered an area similar to that of the Ottoman Regency of Algiers, with homes concentrated near the coast and steeper slopes used for gardens. Higher ground probably housed residential areas, surrounded by rural villas. Roman remains near the Casbah suggest an ancient road leading to the Belouizdad district.

Ancient cemeteries, located outside the city as was common in Roman times, help define the city's boundaries. These tombs were found to the north and northwest of the city, a pattern that continued through Berber and Turkish periods and is still seen today in the Saint-Eugène cemetery. This cemetery is unique because it is two kilometers from the Casbah, unlike traditional cemeteries near city walls.

It is hard to trace the original layout of the ancient city due to changes over time. However, the lower Casbah was partially replaced by a modern city that follows the same layout as the ancient one.

Little is known about the city's economy, but it likely relied on its port. Religious life began with worship of the Roman gods. At an unknown time, the city became Christian, with Donatist and Catholic bishops. Remains from this period, including a Roman basilica with mosaics and a Byzantine-era cemetery, were found during 2000s excavations linked to the Algiers metro and Place des Martyrs redevelopment.

Few details are known about the centuries after the 3rd century, except for the city's sacking by Firmus in 371 or 372. The history of Icosium then becomes part of Mauretania and later the Byzantine Empire, until the founding of the present-day medina—El Djazaïr Beni Mezghana—by Bologhin Ibn Ziri in 960, marking a new era for the city.

The Casbah corresponds to the old city of Algiers, the medina, built by Bologhin Ibn Ziri in 960 on the ruins of the ancient Roman city of Icosium, in the territory of the Berber tribe of the Beni Mezghenna. This 10th-century foundation is supported by the fact that no Arab writers from the conquest period mentioned it, and it was only in the 10th century that Eastern writers began to reference it. The name given by Bologhin Ibn Ziri is believed to refer to the islands once near Algiers' port, which later became part of the city's jetty. In Arabic, Al-Djaza’ir means "The Islets." Another theory, by Al-Bakri, suggests the name comes from "Dzeyer," honoring Ziri, the city's founder. To this day, Algiers' residents call themselves Dziri.

Ibn Hawkal, a merchant from Baghdad, described the city in the 10th century:

From the 10th to the 16th century, according to Louis Leschi, Algiers was a Berber city surrounded by Berber tribes who farmed cereals in the Mitidja or raised livestock in the Atlas, generating wealth through trade. Around 985, Al-Muqaddasi visited and agreed with Ibn Hawkal's observations. Al-Bakri later noted Algiers' rich history, including a theater or amphitheater, mosaics, church ruins, many souks, and a large mosque. He described the port as well-protected and busy with sailors from Ifriqiya, Spain, and other regions.

Algiers came under Almoravid control in 1082 when their ruler, Yusuf Ibn Tashfin, built the Great Mosque of Algiers (Jamaa el Kebir). In 115

Notable Figures

• Djamila Bent Mohamed, an Algerian painter, was born in Algeria.
• Mohamed Tadjadit, an Algerian poet, grew up in Algeria.

Socio-Urban Structure

The Casbah of Algiers has an urban layout similar to other North African Arab-Berber cities called medinas. Ottoman influence is most visible in military buildings, especially the citadel that overlooks the city. Originally, the word "Casbah" described only this citadel, but later it came to refer to the entire medina, which was surrounded by walls built during the Regency of Algiers in the 16th century. The Casbah has a complex and winding street pattern, which interests many artists. The city’s hilly location explains its maze-like streets, as the land slopes toward the sea. Architect Ravéreau said, "the site creates the city," while Le Corbusier noted that homes and terraces face the sea, which brings both benefits and dangers, such as shipwrecks. The old city faces the Mediterranean Sea and turns away from the land behind it. During colonization, coastal roads were built, cutting the Casbah off from direct access to the sea. The narrow alleys sometimes end in dead ends or lead to vaulted passageways called sabat. Donkeys are the only animals that can navigate the entire Casbah, and they have been used for garbage collection since the Regency of Algiers. Alongside traditional alleys, roads like "Rue d'Isly" and "Rue de la Lyre" were added during the colonial era.

The Casbah’s layout follows the natural shape of the land. It still faces the "Amirauté," its historic port. Le Corbusier called its urban planning perfect, noting that homes are arranged in tiers so each terrace has a view of the sea. The city’s organization reflects social life. House terraces are private spaces, mostly used by women. The hawma, or neighborhood, is a semi-private area, while markets, fountains, and places of power are public. Each district has mosques and shrines, such as those of Sidi Abderrahmane and Sidi Brahim, whose tomb is in the Amirauté.

The Casbah is divided into a "lower Casbah" and an "upper Casbah." Much of the lower Casbah was destroyed to build colonial-style buildings and the modern Place des Martyrs. The upper Casbah is better preserved and includes the citadel and Dar Soltan, the last palace of the Dey. The lower Casbah was the center of trade and power in the old city, housing important buildings like the former palace of the Dey, Dar Hassan Pacha, and the Palais des Raïs. The colonial administration modified this area, demolishing parts of the walls and gates. Today, the names of these gates, such as Bab El Oued and Bab Jdid, are still used in the city. Markets like those near the Ketchaoua Mosque and Jamaa el Houd remain active, with some specializing in items like traditional clothing. The Algerian souk, which was banned during colonization, is still common through informal trade. Hammams, such as "Hammam Bouchlaghem," from the Ottoman era, are still used by both Jewish and Muslim communities. Foundouks, like the one near Jamaa el Kebir, are historic buildings with arcades.

Since the Regency of Algiers, the Casbah has been central to Algeria, providing opportunities for poor residents and rural merchants. It has attracted many Kabyles due to their proximity, as well as other rural migrants after independence. This migration caused overcrowding in the Casbah, which remains a transit point and shelter for the poor. As original families moved to neighborhoods like Bab El Oued for European-style homes, the Casbah’s population has changed over time.

The Casbah is also known for its traditional crafts, which support many families. Craftsmen once organized into groups called zenkat, such as the zenkat n'hass for coppersmiths. However, traditional crafts have declined due to social changes during and after colonization. Many artisans no longer work in guilds or zenkat, and some have left their trades. Local groups and authorities are trying to preserve these crafts through training programs for young people.

The Casbah is a place where two cultures meet. The beldiya, or native residents, represent a shared identity and traditions. Migrants have also shaped the city through music, cafés, and cultural practices like bandits d'honneur. Symbols of this culture, often from rural areas, are used in stories about the Casbah. Hajj El Anka, a famous singer from the upper Casbah, is a key figure in Casbah life. The Casbah is often described as a warm, close-knit, and tolerant community.

Examples of Casbah features include:
– Terraces of Casbah homes.
– Arched passageways or sabat gates.
– Closely spaced buildings showing dense urbanization.
– Terraces that slope toward the sea.
– Painted slabs with Casbah designs.

In ancient times, Algiers had a small population of Romanized Berbers. During the Zirid period in the 10th century, the city grew into a prosperous settlement, though it remained small enough for people to flee to nearby islands during attacks. Later, the arrival of the Tha‛alaba tribe, expelled from Titteri in the 13th century, began a gradual Arabization of the city, especially in religious practices.

The city expanded significantly in the 16th and 17th centuries, leading to population growth.

Architecture

The Casbah of Algiers is a typical example of traditional cities in the western Mediterranean and sub-Saharan Africa. Even though it has changed over time, the Casbah has mostly kept its original look. The artistic style of Islamic art and the materials used in its construction remain the same today.

The Casbah still has its citadel, palaces, mosques, homes with central patios (called wast al-dar), mausoleums, and hammams. These buildings help make the Casbah unique. Its military buildings show influences from the Ottoman Empire during the Regency period, while its homes keep the traditional style of Maghrebi medinas. However, the Casbah has also changed. During the colonial era, some buildings were removed to make space for European-style homes, especially near the waterfront and in the city’s European areas. Because of this, Haussmann-style buildings from the colonial period now sit near the Casbah and are part of its protected heritage. Over time, some homes have used non-traditional materials, and traditional materials like thuya wood are becoming harder to find. The Casbah’s social challenges and weak conservation plans have made it a place at risk, even though it is protected by UNESCO.

The walls of the Casbah are built using a technique called "commande," where bricks are tightly fitted together. Some walls mix materials like rubble and wood. A common method is building double-layered walls, with a strong brick outer layer and a flexible wooden frame inside. This design helps protect buildings during earthquakes. Vertical structures include brick arcades and columns, with two main types of arches: broken horseshoe arches and pointed arches. Cedarwood beams are often placed at the base of arches or where two arches meet.

Roofs can be made of masonry or wood. Masonry roofs are often cross-vaulted and used in homes, entrances, stair landings, or large buildings like palaces and mosques. Wooden roofs are used for floors or terraces. They are built with logs, and branches or wooden planks are placed on top to support a mixture of earth and lime. This mixture forms a base for ceramic tiles or a waterproof layer on terraces. Metal structures, used as floor supports, are newer and date back to the colonial period (19th century). These materials have not aged well, causing many structural problems.

In masonry buildings, crossings can be made with arcades (also masonry) or flat bands of wood or marble. In patios, horseshoe arches with a slight curve are common. Staircases are made of masonry with a wooden frame. A sloped platform is poured over wooden logs, and bricks form the steps. Decorations vary: grand homes use marble, while simpler homes use slate.

Homes in the Casbah are decorated with wooden railings, door openings, column tops, and ceramic tiles on floors and walls. Porticos and galleries give the Casbah its special look. The arrangement of arches, especially the ogival (pointed) type, is a key part of its design. Patios show this pattern, where arches are arranged in a way that hides small differences in shape as long as their height remains the same. The width of arches does not affect the overall look. The Casbah’s arches are often horseshoe-shaped, with pointed or broken designs that are unique to Algeria.

Ornaments include horizontal bands and vertical designs made of ceramic tiles. The size of these patterns matches the building’s design. Because of high demand, some tiles are imported from Italy, France, and the Netherlands. Some column tops are taken from Roman ruins in Icosium and used to decorate buildings. These details make the Casbah’s architecture special.

Examples of architectural features include:
– A column with a twisted shape.
– A white marble column top decorated with a crescent.
– A wooden railing with carvings.
– An archway with ceramic tiles, a flat block on top of the arch, and a column top.
– A door with geometric carvings.
– A door frame with decorative elements.

The homes in the Casbah are traditional and reflect Muslim culture and Mediterranean influences. The layout of homes is similar whether they are large palaces or small homes for artisans. Typical Casbah homes are grouped together, attached to each other, and have only one side facing the street. This style of grouping homes may have started during the Zirid era. The size of a home is usually between 30 and 60 square meters.

Each home has a view of the sea through its terrace, and light comes from the patio or, less often, from a window facing the street. The entrance door has a grille to let cool air from the alleys into the lower floors. Algerian homes are designed to face inward, especially toward the patio (wast al-dar), which is the center of the home and has a well. The patio is where families gather and where visitors are received. Walls are made of lightly fired bricks and a mixture of lime and earth. Floors are built with wooden logs, and foundations use a barrel vault technique. Roofs are flat, covered with a thick layer of earth up to 70 cm, and coated with a mixture of earth, natural additives, and lime. Wastewater is drained through a network of brick sewers under the streets, following the slope of the land. This system dates back to the Regency of Algiers. Since colonization, the system has been updated.

The homes in the Casbah are divided into types: alaoui houses, chebk houses, portico houses, and palaces. The alaoui house does not have a patio and gets light and air through windows. It is built on a small plot, with a smaller ground floor due to the sloping land. The upper floors may have one or two large rooms. These homes use overhangs to save space.

The chebk house is often part of a larger home and is built to fit small spaces. Its narrow patio is upstairs and paved with marble, while the rooms have terracotta floors. Walls have ceramic tiles and lime. The portico house is the classic type with a patio, facing inward. Upper floors may share space with neighboring homes and often have a large room on the second floor with a kbou (a projection over the street). Patios and windows are decorated with geometric or floral ceramic tiles.

Cities like the Casbah show how urban areas have changed over time. It is known that cities start as villages, then become proto-urban areas, and finally fully developed cities.

Culture

The handicraft industry in the Casbah is declining. It has not received helpful support policies, and along with a struggling tourism industry, its current condition does not match the city’s once-thriving history. Few master artisans remain, and traditional crafts face high taxes and increasing material costs. For example, brassware (dinanderie) is affected by fewer artisans, not enough raw materials, and higher prices for copper sheets. Traditional handmade items are also being replaced by factory-made goods.

During the Regency of Algiers, artisans were controlled by the caïd el blad (city commissioner), a high-ranking official close to the dey. Specialized districts—or narrow streets (zenkat)—were set aside for specific trades. Shops and artisan guilds that were still active at the end of the 19th century had mostly disappeared by the years before World War I.

One of Algiers’ most famous crafts is brassware, which dates back to the medieval period. Brassworkers (dinandiers) traditionally create sniwa (richly decorated copper trays with geometric patterns), mibkhara (incense burners), l'brik and tassa (ewer and basin sets), berreds (teapots), and tebssi laâchaouets (conical-lid couscous steamers). The designs include stars, geometric shapes, and floral patterns like jasmine. Lucien Golvin saw Algerian brassware as linked to Ottoman traditions, or at least similar to art from former Ottoman territories. Some decorative elements, such as tulips, carnations, cypresses, and scattered flowers, support this connection, as they often appear on engraved or incised copper objects.

The Casbah is also a key center for woodworking. Artisans use chiseling and sometimes painting to make decorated chests, mirrors, and tables. The woodwork of old buildings is still restored by local artisans. A type of chest (sendouk) made of painted wood is still produced in the Casbah. These chests are called "bridal chests" because they are often used, especially in rural areas, to store wedding trousseaus. They have two handles on each side and a lock for secure closure. The designs include Arab-Andalusian motifs, often floral, sometimes with images of animals like roosters or peacocks.

Traditional garment-making still exists in the Casbah, producing outfits like the karakou, caftan, haïk, and fez. Shops near Jamaa Li Houd are the only ones that still sell "Algiers soap" (saboun D'zair).

The cultural value of these crafts is drawing attention from both residents and the government, which, according to artisans, is still investing cautiously in tax exemptions and specialized schools. Some efforts to create artisan businesses are helping revive these trades—for instance, the crafting and restoration of painted wooden objects.

• Women of Algiers weaving a carpet (c.1899).
• A coppersmith craftsman.
• Carpentry workshop in the Casbah.
• Handcrafted copper chandelier.
• Silk embroidery known as point d'Alger from the 18th century.

Algiers has been a central location for many films, more than most capitals by the 20th century. Around forty feature films and a hundred short films were made there during the century. Important examples include Sarati le Terrible (1922), Tarzan, the Ape Man (1932), Pépé le Moko (1937), Casbah (1938), Heart of the Casbah (1952), The Stranger (1968), Z (1969), and The Battle of Algiers by Gillo Pontecorvo (1969). Pépé le Moko is still seen as a film that highlights the Casbah, where the setting outshines actor Jean Gabin. The Casbah also inspired local films starting in 1969, including La Bombe (1969), Tahia ya Didou (1971), Omar Gatlato (1976), Autumn: October in Algiers (1988), Bab-el-Oued City (1994), Viva Laldjérie (2004), and Délice Paloma (2007).

The difference between local and colonial films is not in filmmaking techniques or style, but in how Algerians are shown. French films before independence often did not include native Algerians. In 2012, the film El Gusto explored Algeria’s musical heritage and Casbah culture through the reunion of Muslim and Jewish musicians from Algeria.

Les Terrasses (Es-stouh), a Franco-Algerian drama directed by Merzak Allouache, was released in 2013.

The Casbah of Algiers once had a lively daily atmosphere with street performances by musicians and entertainers. Among them were baba salem troupes, which often paraded and animated the streets, especially during celebrations like Mawlid. These groups, widely popular, were mostly made up of Africans from the Sahara, often called gnaoua. The Gnaouas typically wear colorful Saharan clothing, wear a shell necklace, and play instruments like the guembri, sound box, karkabou, and tambourine. Today, baba salem troupes are rare, though they occasionally perform in Algiers.

Another type of folk group is the zornadjia, which performs at festive events. They take their name from the zorna, a kind of oboe, and produce rhythmic music with the tbilat (a drum) and the bendir. These zornadjia groups are especially common at weddings.

Chaâbi (meaning "popular") music is part of the Arabo-Andalusian musical tradition. Over time, it became a symbol of urban popular culture. This genre remains strong today, an art form passed down through generations and connected to the image of a timeless city. Chaâbi relies heavily on secular poetry (qçid), which it revives and adapts to modern tastes. The instruments used include the Algerian mandole (a specific instrument created for chaâbi), the oud (an oriental lute), the banjo, the violin, the tar, and the derbouka.

This musical style began in the early 20th century among working-class communities in the Casbah, many of whom were from the Kabyle region of the countryside. As a result, chaâbi is influenced by Berber accents and exists in the Kab

Current condition

The ANSS, which is the conservation agency of the Algerian government, reported that 373 buildings in the Casbah have collapsed. Of the 1,816 buildings that still stand, 40% are damaged or in very poor condition, and 10% are closed off with boards.

In August 2008, Reuters reported that the Casbah was in poor condition and some areas were at risk of falling apart.

Algerian officials say the main reasons for the poor condition of the Casbah are its age, lack of care, and overcrowding. Overcrowding makes the situation harder to fix because moving the people living there would require a lot of effort. Experts estimate that between 40,000 and 70,000 people live in the area, but it is hard to know the exact number because some people live in empty buildings without permission. The government wants to improve the Casbah because it could be used as a hiding place for criminals and terrorists. During the late 1950s and during a conflict against French rule, the Casbah was a hiding place for the National Liberation Army of Algeria.

Belkacem Babaci, a preservationist, said the situation is very difficult but not impossible to fix. He said, "I still believe it's possible to save it, but you need to empty it and you need to find qualified people who will respect the style, the materials. It's a huge challenge." Restoration efforts have faced many delays and widespread corruption.

Climate change

The Casbah of Algiers is a coastal landmark that is at risk from rising sea levels. A 2022 report from the IPCC Sixth Assessment included it in a list of African cultural sites that could be damaged by flooding and coastal erosion by the end of this century. This risk applies only if climate change follows the RCP 8.5 scenario, which predicts very high and increasing greenhouse gas emissions and warming of more than 4°C. However, this scenario is now considered unlikely. Other, more likely scenarios predict less warming and slower sea level rise. However, sea levels will continue to rise for about 10,000 years in all scenarios. Even if warming is limited to 1.5°C, global sea levels are expected to rise more than 2–3 meters (7–10 feet) after 2000 years. This would exceed the sea level rise predicted under the RCP 8.5 scenario (~0.75 meters (2 feet), with a range of 0.5–1 meter (2–3 feet)) by the year 4000. Therefore, the Casbah of Algiers will eventually face rising water levels unless protection measures, such as sea walls, are implemented.

In popular culture

The Casbah of Algiers is an important part of the 1937 French film Pépé le Moko and the 1938 American film Algiers. In both films, a famous thief named Pepe le Moko, played by Jean Gabin in the French version and Charles Boyer in the American version, hides in the Casbah after a crime in France. He becomes a leader in the area, but over time, he feels trapped. Although the American film does not include the line "Come with me to ze Casbah" spoken by Boyer, this line was used in the movie’s trailer. It became famous later because of jokes and parodies by comedians and cartoon characters.

Charles Boyer’s role as Pepe le Moko was already well-known when animator Chuck Jones created the character Pepé Le Pew, a romantic skunk in the 1945 Warner Bros. cartoon Odor-able Kitty. This character was inspired by Boyer’s performance, including his voice, which was imitated by Mel Blanc, and the catchphrase "Come with me to ze Casbah."

The Casbah of Algiers is also an important part of the 1966 Italian-Algerian war film The Battle of Algiers, which was written and directed by Gillo Pontecorvo.

"Rock the Casbah" is a song by the English punk rock band The Clash. It was released in 1982 as the second single from their album Combat Rock. The song reached number eight on the Billboard Hot 100 chart in the United States, which was The Clash’s only top 10 single in that country. It also reached number eight on the dance chart, along with the song "Mustapha Dance."

Notable people

• Name: Abd al-Rahman al-Tha'alibi (Birth Year: 1384–Death Year: 1479)
• Name: Abdelhalim Bensmaia (Birth Year: 1866–Death Year: 1933)
• Name: Mohamed Charef (Birth Year: 1908–Death Year: 2011)
• Name: Brahim Boushaki (Birth Year: 1912–Death Year: 1997)
• Name: Abderrahmane Taleb (Birth Year: 1930–Death Year: 1958)
• Name: Djamila Bouhired (Birth Year: 1935)
• Name: Djamila Boupacha (Birth Year: 1938)
• Name: Mustapha Toumi (Birth Year: 1937–Death Year: 2013)