Casbah of Algiers

More generally, a kasbah is the walled citadel of many North African cities and towns. The name made its way into English from French in the late 19th century (the Oxford English Dictionary states 1895), and can be spelled "kasbah" or "casbah". == Geography ==

Toponymy The Casbah of Algiers takes its name from the citadel that overlooks it (designated in Arabic as القصبة, Al-Kasbah). Originally, the term "Casbah" referred to the highest point of the medina—the old city—of the Zirid era. Over time, it came to designate the entire medina, which was enclosed by the ramparts built during the Regency of Algiers in the 16th century. Location and topography The Casbah is located at the center of Algiers and forms its historic core. The city has historically occupied a strategic position, as its geographical location is central within Algeria and the Maghreb. Facing the Mediterranean Sea, it is built on terrain with a 118-meter elevation difference. At first glance, the Casbah appears as a cluster of houses built on a slope. The narrow and winding streets make it a car-free zone, where supply deliveries and waste collection are still traditionally done using donkeys. The district forms a triangular shape, with its base meeting the , giving it, when viewed from the sea, the appearance of a "colossal pyramid" or a "triangular amphitheater". The whiteness of its houses and their arrangement have inspired poetic descriptions from writers who liken Algiers to a "sphinx". The citadel, overlooking the medina, gives it the appearance of a "well-guarded city", earning it the Arabic nickname El Djazaïr El Mahroussa ("Algiers the Protected"). This reputation extended to Europe, where the memory of Charles V's failed invasion in 1541 persisted until the French landing in 1830. The site's occupation dates back to the Punic era, with the earliest known trace dating from the late 6th century BCE. At that time, the Carthaginians sought to establish a network of trading posts along the southern Mediterranean coast to control commercial flows, including gold from sub-Saharan Africa, silver from Spain, and tin from the Cassiterides Islands. This system, known as "Punic scales," provided sailors with sheltered stopovers where they could trade goods. The site of Algiers, then called Ikosim, featured small islands suitable for mooring and served as a relay between two Punic settlements, Bordj el Bahri (Rusguniae) and Tipaza, spaced 80 kilometers apart. The location was protected by the Bab-el-Oued coastline on one side and by Agha Bay on the other, which was exposed to north and east winds and contained four small islands near the shore. On the coast, a 250-meter promontory provided refuge. The supplied limestone for construction, while the surrounding area provided clay for bricks and access to fresh water. The city's port function was later confirmed by the Cordoban geographer Al-Bakri in the 11th century, who described Algiers as being protected by a harbor, islands, and a bay, making it a winter anchorage point. Throughout history, the site served not only as a refuge for commercial ships but also as a haven for pirates and corsairs. Hydrogeology Water for the old medina comes from the Algiers Sahel and the groundwater of Hamma, Hydra, and Ben Aknoun. It was originally transported through a network of aqueducts dating from the Regency of Algiers, which remains in place but has been replaced by a modern distribution system developed in the early 20th century. During the Regency of Algiers, the Casbah was supplied by four main aqueducts, some of which remained functional until the early 20th century. These aqueducts sourced water from nearby areas, including the Sahel, Telemly, Hamma, Hydra, and Bitraria. Groundwater was drawn using norias (water wheels) and collected in reservoirs to increase the aqueducts' flow. A system of filtering galleries also helped capture minor water veins. After passing through the aqueducts, the water was stored in reservoirs at the city's gates, from where it was distributed via pipelines to various fountains. The aqueducts were built between 1518 and 1620 and ran through the Fahs (the rural outskirts) to supply the medina. They did not rely solely on gravitational flow but employed the souterazi (siphon towers) technique. This method involved directing water through an elevated pillar, which, although it appeared to slow the flow, offered key advantages: releasing air pressure, balancing water levels across different channels, and ensuring relative control over the flow rate. This souterazi technique was also used in Constantinople and in some cities of Spain and the Maghreb. The water sources originate from an area with limestone outcrops, gneiss, and granulite veins 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—further contributed to the Casbah's water supply. == History ==

The Casbah of Algiers is an ancient medina with millennia-old origins, taking into account the site's Punic and Roman past. It is considered a cultural asset of global importance due to its ancient heritage and the history it embodies. Prehistory There are no traces of prehistoric settlement in the Casbah itself. However, given evidence of prehistoric habitation in the immediate surroundings (the Algiers Sahel), it is likely that such traces were simply obscured by the site's long-standing, dense, and continuous urbanization, and that it too was inhabited as early as the Neolithic period. These 158 Punic lead and bronze coins, dating from the 2nd to 1st century BCE, bear the inscription "IKOSIM," confirming the ancient name of Algiers, which had previously been assumed but unproven. According to Cantineau, the Punic etymology of Ikosim derives from two combined words: i, meaning "island", and kosim, meaning "owl" or alternatively "thorn". Thus, the ancient name of Algiers, Ikosim, translates to either "Island of Owls" or "Island of Thorns." Victor Bérard, supported by Carcopino, preferred the translation "Island of Seagulls." An ancient well was also discovered in the Marine district, containing pottery fragments from various periods. Other remains from antiquity indicate trade relations with the northern Mediterranean (Gaul, Spain, southern Italy) from the 3rd to 1st century BCE and, later, Roman presence until the 5th century CE. The city's ancient walls likely defined an area similar to that occupied during the Ottoman Regency of Algiers, though habitation was concentrated near the coast, with steeper slopes probably used as gardens. Above the densely populated lower city, the higher ground likely housed residential districts, all surrounded by rural villas. Various Roman-era remains discovered around the Casbah site indicate the layout of an ancient road leading toward the Belouizdad district. There is little information about the following centuries, except for the sacking of the city by Firmus in 371 or 372. The ancient history of Icosium then fades into that of the province of Mauretania and later the Byzantine domination, until the founding of the present-day medina—El Djazaïr Beni Mezghana—by Bologhin Ibn Ziri in 960, marking a new chapter in the city's history. Other hypotheses, notably by the Andalusian scholar Al-Bakri, suggest that the correct name is the one preserved in the city's oral tradition—Dzeyer—which would be a tribute to Ziri, the city's founder. To this day, Algiers' inhabitants refer to themselves as Dziri. Ibn Hawkal, a Baghdad-based merchant, described the city in the 10th century: In the 14th century, the Arab tribe of the Tha'alaba established a local stronghold around the city, forming a local magistrate dynasty known as a "bourgeois senate". Al-Djazaïr survived by remaining a vassal state to the Zianids of Tlemcen, who built the minaret of the Great Mosque, the Hafsids of Tunis, and the Marinids of Fez, who constructed the Bou Inania madrasa. Charles V launched the Algiers expedition in 1541, but it failed. In response, the city's defenses were reinforced, especially along the coast. Algiers was enclosed by a fortified wall with gates such as Bab Azoun, Bab El Oued, ''Bab J'did, and Bab Dzira, and was protected by a series of forts built between the 16th and 17th centuries: Lefanar, Goumen, Ras el Moul, Setti Taklit, Zoubia, Moulay Hasan (renamed Fort l’Empereur after the French occupation), Qama’at El Foul, and Mers Debban. Later, the Bordj J'did (1774), as well as the Lebhar and Ma-Bin'' forts in the early 19th century, were constructed. The fortress overlooking the city was built between 1516 (started by Aruj Barbarossa) and 1592 (completed under ). However, the Regency's rulers initially governed from the Djenina Palace, known locally as dar soltan el kedim, which was demolished during the colonial period. It only became the ruler's residence in 1817 under Ali-Khodja, the second-to-last dey of Algiers. Seeking to escape the tyranny of the militia, he abandoned the centrally located Djenina Palace and transferred the public treasury to the Casbah, where he barricaded himself with a personal guard of 2,000 Kabyles. On April 30, 1827, the Casbah witnesses the famous "fan incident," which serves as a pretext for the French conquest of Algiers on July 5, 1830, during the reign of Charles X. Its last occupant is Dey Hussein. Count and Marshal de Bourmont resides there in July 1830 after the city's capture. File:Cassbah_au_XVIs.jpg|Panoramic map of Algiers dating from the 16th century. File:Stoopendael_Algiers_1680s.jpg|Algiers before the colonization by the French. File:Expédition_de_Charles-Quint_contre_Alger_(Léon_Galibert,_p._184).jpg|The expedition of Charles V in front of the Bab Azzoun gate. French colonial period , conqueror of the Kasbah in 1830. , Narbonne Museum of Fine Arts. The French army enters Algiers on July 5, 1830. French presence drastically changes the city's appearance and its medina. The French transform the city by demolishing a large part of the lower Casbah and building what is now "Place des Martyrs." Originally extending to the sea, the Casbah is pushed into the background by the new waterfront with its arcaded architecture. Colonization also introduces new roads that surround and penetrate the Casbah. Architecturally, the French introduce the Haussmannian style and demolish the old city's walls. The period of demolitions lasts until 1860 when Napoleon III halts the policy and sides with the mufti of the Great Mosque of Algiers, preventing further mosques from being converted into churches, as had happened with the Ketchaoua Mosque and the Ali Bitchin Mosque. Later in the colonial period, a neo-Moorish architectural movement emerges, with its most famous landmarks being the Thaâlibiyya Medersa in 1904 and the Algiers Grand Post Office in 1913. With the construction of new European neighborhoods, the Casbah—once the entirety of Algiers in 1830—begins to be perceived as a marginal, residual, and unstable urban area, as economic and political centrality shifts to these new districts. However, it retains social spaces such as mosques, Moorish cafés, plazas (rahba), and hammams. This pattern persists even after independence, and the Casbah never regains its former significance. File:Alger, la Casbah en 1830 (7757519166).jpg|Reconstruction of the Kasbah in 1830. File:Bild från familjen von Hallwyls resa genom Algeriet och Tunisien, 1889-1890.. "Vy över Alger." - Hallwylska museet - 91850.tif|Algiers in 1890: the colonial seafront and the Kasbah in the background. File:Mosquée de Sidi-Abd-er-Rhaman et rempart d'Alger.jpg|Mosque of Sidi-Abd-er-Rhaman and rampart of Algiers in the mid-19th century. File:Fontaine près la porte Neuve (Alger).jpg|Fountain near the Porte Neuve, mid-19th century. The Algerian war was arrested by paratroopers from the 1st REP on September 28, 1957. , Hassiba Ben Bouali, Petit Omar and Hamid Bouhmidi, after its destruction by paratroopers of the 1st REP on October 8, 1957. The nationalist movement, which develops in the early 20th century, intensifies in the 1950s, leading to the Algerian War. The Casbah becomes a stronghold of nationalists. In 1956, newly elected by the "Soummam Congress," the members of the CCE ()—Abane Ramdane, Larbi Ben M'hidi, Krim Belkacem, Saad Dahlab, and Benyoucef Benkhedda—decide to establish themselves in the Casbah. They believe it offers greater control over FLN militants, better communication links, and, most importantly, complete clandestinity. With its hideouts, numerous couriers lost among the masses, and various forms of protection, the capital is seen as an ideal base for urban guerrilla warfare, which they consider as crucial as fighting in the mountains. The Casbah is the key battleground of the "Battle of Algiers" in 1957. This battle pits Yacef Saadi, head of the Autonomous Zone of Algiers (ZAA) and the independence fighters, against General Massu's 10th Parachute Division. On the ground, the "battle" is won by the French army, which dismantles the FLN networks and the of the Autonomous Zone of Algiers, using methods later systematized: intelligence gathering by any means, including torture, and from June 1957 onwards, converting and manipulating captured fighters. The streets leading from the Casbah to the European quarters are sealed off with barbed wire and monitored by police and Zouaves. Captain Léger's infiltration of Yacef Saadi's courier network allows for Saadi's capture on September 23, 1957, at 3 Rue Caton in the Casbah. In October, the FLN enforcer Ali la Pointe, cornered with his comrades Hassiba Ben Bouali, Hamid Bouhmidi, and Petit Omar at 5 Rue des Abderrames, is killed when French paratroopers of the 1st REP detonate their hideout, causing a massive explosion that also kills seventeen civilians, including four young girls aged four and five. The Casbah also plays a role in the December 1960 demonstrations, where Algerians march into European neighborhoods, and later in the popular uprisings during Algeria's independence. Post-independence '' in the foreground. After Algeria's independence, the Casbah experiences an exodus, with native families—the beldiya—moving to more spacious European-style apartments in Bab el Oued or El Biar. The Casbah becomes a site of speculation and transience, where properties are rented and sublet. The original inhabitants are gradually replaced by rural migrants. Restoration plans follow one another without success due to a lack of political will. The Casbah quickly becomes an overcrowded, deteriorating area that never regains its central role in Algiers. However, it remains a powerful symbol of resistance against injustice and a site of collective memory for the Algerian people. == Notable Figures ==

• , an Algerian painter, was born there. • Mohamed Tadjadit, an Algerian poet, grew up there. == Socio-Urban Structure ==

The urban layout of the Casbah of Algiers is characteristic of Maghrebian Arab-Berber medinas. The later Ottoman influence is mainly seen in military architecture, particularly in the citadel overlooking the city. The very narrow alleys sometimes lead to dead ends or vaulted passageways known as sabat. Donkeys are among the few animals capable of navigating the entire Casbah, and since the era of the Regency of Algiers, they have been used for garbage collection. Alongside the dense network of traditional alleyways, colonial-era roads like "Rue d'Isly" and "Rue de la Lyre" penetrate the Casbah. The Casbah has an urban space organization that aligns with the site and its terrain. To this day, it remains oriented toward the "Amirauté," its historic port. Le Corbusier deemed its urban planning perfect, noting the tiered arrangement of houses, which ensures that each terrace has a view of the sea. The spatial organization reflects social life. Certain spaces are considered intimate, such as house terraces, which are primarily reserved for women. The hawma, referring to the neighborhood, is seen as a semi-private space, while commercial centers (souks), fountains, and places of power are regarded as fully public. The Casbah also has, in each district, mosques and kouba (shrines) of local saints, such as those of Sidi Abderrahmane and Sidi Brahim, whose tomb is located in the Amirauté of Algiers. The Casbah of Algiers is traditionally divided into a "lower Casbah," a large part of which was demolished to make way for colonial-style buildings and the present-day Place des Martyrs, and an "upper Casbah," which is better preserved and includes the citadel and Dar Soltan, the last palace of the Dey. The lower Casbah has traditionally been the hub of trade and power in the old city. It is where the traditional decision-making centers were concentrated, such as the former palace of the Dey, the Djenina—demolished during colonization—Dar Hassan Pacha, which became the winter palace of the governor of Algeria during the colonial period, as well as the Palais des Raïs, which housed the corsairs of the Regency of Algiers. This district was also the focus of modifications by the colonial administration, keen to establish itself in the heart of Algiers and leave its mark on the city. The walls and gates were partially demolished by the French military during the city's redevelopment. However, they remain in popular memory through toponymy. Thus, it is common to navigate Algiers using the names of the city's former gates, such as Bab El Oued (which gives its name to the adjacent neighborhood), Bab Jdid, Bab el Bhar, and Bab Azzoun. Within the Casbah, there are souks, such as those in the Ketchaoua Mosque district and Jamaa el Houd (the former synagogue of Algiers). Some souks have retained their specialties, such as the one on Rue Bab Azzoun, dedicated to traditional clothing (burnous, karakou, etc.), or the one on Rue des Dinandiers. The Algerian souk, which was banned at the beginning of the colonial period, remains the most common means of trade for the population, particularly through the practice of trabendo (informal trade). The streets around the Ketchaoua Mosque are often filled with merchandise, recreating an atmosphere reminiscent of the old city's social and economic interactions. Since the time of the Regency of Algiers, the Casbah has always played a leading role in Algeria, offering opportunities to both poor inhabitants and merchants from the countryside. It has attracted many Kabyles, given their region's proximity, as well as, to a lesser extent, peasants from all over Algeria after the country's independence. This rural exodus has led to a relative overpopulation of the Casbah. It remains a gateway to the city of Algiers, serving as a transit point and a refuge for the most destitute. The departure of original families to other neighborhoods, such as Bab El Oued, in search of European-style apartments has led to ongoing social transformations within the Casbah, with a constant renewal of part of its population since independence. The Casbah is also socially defined by its traditional craftsmanship, which provides a livelihood for many families. Craftsmen used to organize themselves into zenkat (commercial streets), such as the ''zenkat n'hass (Copper Alley) for coppersmiths. However, due to social changes during colonization and after independence, traditional crafts have significantly declined. Artisans no longer group themselves into guilds or zenkat'', and many prefer to abandon their trades, which no longer guarantee sufficient income in a modern society. Nonetheless, local associations, residents, and, to a lesser extent, authorities, are working to preserve these trades and uphold their social role through apprenticeship schools, where young people are trained in artisanal crafts. The Casbah is a meeting place for two forms of socialization. The first is that of the beldiya (native city dwellers), who can be considered part of a "mythical" socialization process, as they symbolize the city and justify certain social practices through a shared identity. The second form of socialization is that of migrants, who have developed their own cultural expressions. Their contributions to popular culture—through music, cafés, and the concept of bandits d'honneur (honorable outlaws)—reflect their deep-rooted presence in the city. In practice, symbols of this popular culture, often carried by people of rural origin, are frequently used in nostalgic narratives about the Casbah. Hadj El Anka, the famous chaâbi singer born in Bab Jdid (upper Casbah), is often cited as one of the key figures of Casbadji life. The image of a warm, close-knit, and tolerant popular culture continues to shape descriptions of daily life in the Casbah. File:TerasseCasbah.jpg|Terrace of a Kasbah house. File:PassageAlger.jpg|An arched passage or Sabbath gate. File:Constructioncasbah.jpg|Closely spaced buildings, evidence of dense urbanization. File:Terrasse casbah alger.jpg|Terraces descending "in steps" towards the sea. File:CasbahAlger1.jpg|Painted slabs with the Kasbah motif. Population and demographics In antiquity, the population of Algiers was relatively small, consisting mainly of Romanized Berbers. During the Zirid period in the 10th century, the city became a small but prosperous settlement, though its population remained limited—small enough to seek refuge on nearby islets in case of attack. The exclusively Berber character of Algiers' population was later modified with the arrival of the Tha‛alaba, a small Arab tribe expelled from Titteri in the 13th century. This led to a gradual process of Arabization, particularly in the religious sphere. was accompanied by demographic expansion. Algiers had about 60,000 inhabitants by the late 14th century and over 150,000 by the 17th century. This demographic shift transformed the city into a melting pot of Mediterranean populations at the expense of its Berber heritage. By this time, Kabyles made up only a tenth of the population, largely due to the Ottoman rulers' distrust of these groups, whose region remained politically independent, structured around the dissident Kingdom of Koukou and the Kingdom of the Beni Abbès. Other residents came from cities within the Regency, such as Annaba, Constantine, and Tlemcen. These urban dwellers distinguished themselves from the Arabs of the interior, particularly through their dialect, which was difficult for southern nomads and Berbers to understand. Many worked in administration, commerce, or religious affairs. The Turks controlled key positions in the government, military, and navy, while the city also attracted many Christian renegades, who were often recruited as corsairs. Another significant group was the berrani ("outsiders"), == Architecture ==

The Casbah of Algiers is a quintessential example of traditional Maghrebi cities, found in the western Mediterranean and sub-Saharan Africa. Despite various changes over time, the urban ensemble has largely preserved its integrity. The aesthetic characteristics of Islamic art and the original construction materials remain intact. The Casbah's social marginalization and the inefficiency of conservation plans have made it a threatened site, despite its UNESCO classification. Roofs and floors The roofing can be masonry or wood-structured. Masonry roofs are often cross-vaulted and can be used for domestic spaces such as entrances, stair landings, or large spaces in major buildings (palaces, mosques...). Wooden structures are often used for floors or terrace roofs; they are composed of logs, over which branches or wooden planks are placed to support a mortar made of earth and lime. This mortar itself serves as a base for ceramic tiles or a lime waterproofing layer for terraces. Metal structures, used as floor supports, are more recent as they date back to the colonial period (19th century). This non-traditional material has aged poorly, and many structural issues are due to its use. In patios, the arches are most often horseshoe arches forming a slight ogive. The porticos and galleries give the Casbah its distinctive architectural identity. The arrangement of ogival arches is characteristic of its spatial composition. The patio is an example of this arrangement, where the harmony of the arch sequence can mask geometric variations, provided they maintain a consistent height (from the springing of the arch to its keystone). Variations in the width of the arches do not disrupt the overall visual harmony. The characteristic ornamentation includes horizontal friezes and vertical appliqués. These arch ornaments are made of ceramics, and the size of the rings is in harmony with the overall architectural design. Given the considerable demand for tiles, some are imported from Italy, France, and the Netherlands. File:Colonne Casbah.jpg|Column with a twisted shaft. File:Chapiteau Casbah Alger.jpg|Composite capital of white marble, decorated with a crescent. File:Balustrade casbah alger 2.jpg|Balustrade of carved wood. File:Frise céramique Casbah Alger.jpg|Ornamental features of an archway: ceramic frieze, abacus and capital. File:Ouvrant porte casbah Alger.jpg|Inner door opening carved with geometric motifs. File:CasbahAlger2.jpg|Framed door ornamentation Domestic architecture The domestic architecture of the Casbah represents a traditional human habitat rooted in Muslim culture and deeply Mediterranean in character. The typology remains relatively stable between palaces and the modest artisan's home. The typical Casbah house is clustered, attached, and presents only one façade. It is believed that this method of grouping dwellings dates back to the Zirid era. The footprint of a house generally ranges between 30 m2 and 60 m2. Densification, for a given plot, consists of occupying all available space; then, additional construction modules are stacked to create upper floors. Algiers is a city with variable development, exhibiting the successive stages of this evolution. It reached a significant level of urbanization as early as the medieval period, featuring an advanced typology of buildings reaching up to four stories above the ground floor, with an average of two stories in the Casbah. In contrast, the Casbah of Dellys, as old as that of Algiers, represents a proto-urban typology, where courtyard staircases are not integrated into the layout to form a patio but remain an occasional architectural means of access to upper rooms. Palaces and residences The main current palaces and residences of the Casbah include Dar Aziza, Dar Hassan Pacha, Palais Mustapha Pacha, Palais Ahmed Bey, Palais El Hamra, , Dar El Kadi, Dar Soltan, the Maison du Millénaire, the Palais des Raïs, Dar Essadaka, and Dar Es Souf. Additionally, the extra-muros palaces of the and residences incorporated as dependencies of public institutions (hospitals, a high school) are part of this heritage. The oldest of these palaces is the Jenina, which was ravaged by a fire in 1844. This palace, originally a Berber fort, served as the residence of the local sovereigns of Algiers during the Middle Ages, notably the last one, . It predates the Regency of Algiers, during which it was the seat of power. The people of Algiers called it Dar Soltan el Qedim, and it remained the center of power until 1817. Only part of this complex remains, including Dar Aziza, located on Place des Martyrs, facing the Ketchaoua Mosque. The palace of Dar Aziza is typical of 16th-century Algerian residences. Originally three stories high, it lost its top floor during the 1716 earthquake. It was used as a storage facility in 1830, and in 1832, the staircase leading to the terrace was removed. After some modifications, it became the residence of the archbishop during French colonization. Dar Aziza is rich in wall decorations made of sculpted marble and features a magnificent patio adorned with fountains, woodwork, ceramics, and colored glass screens. The Palais Mustapha Pacha was built in 1798. One of its unique features is that it contains half a million antique tiles from Algeria, Tunisia, as well as Spain and Italy. The marble of its fountain comes from Italy, and its doors are made of cedar. Today, it houses the Calligraphy Museum of Algiers. The Palais Hassan Pacha is a Maghrebi-style palace built in 1791. It was modified during the colonial period with neo-Gothic and Orientalist architectural elements. The Palais Ahmed Bey is located in the Lower Casbah, in the Souk-el-Djemâa district, bordering Hadj Omar Street. It is part of the Jenina palace complex. Built in the 16th century as the dey's residence, it follows the typical architectural style of the period. It now houses the administration of the National Theatre of Algeria. The Palais des Raïs is one of the last surviving remnants of the medina located by the sea, and it has undergone recent restoration. This palace, once belonging to corsairs, alternates between public and private spaces. It comprises three palatial buildings and six modest dwellings (douerates) decorated with refined elements such as ceramic tiles, wooden balustrades, marble columns, and intricately adorned ceilings. It also includes an old hammam and a menzah (a terrace overlooking the site with a view of the sea). Today, this palace functions as a cultural center. File:Dar Khaznadji ou Dar Aziza.jpg|Dar Aziza in the foreground, the last part of the former Djenina palace built in the 16th century and largely destroyed by fire in the 19th century. File:Portecasbah.jpg|Khdaoudj El Amia Palace, now the "museum of popular arts". File:CasbahDarHasanPacha.jpg|The entrance to the Mustapha Pacha Palace. File:Ceiling from a Casbah Building.jpg|Carved wooden ceiling of the Palais des Raïs. File:Dar Hassan Pacha - Algiers.jpg|Hassan Pacha Palace, winter residence of the French Governor General of Algeria. File:Darhassanpacha (2).jpg|Interior of the Hassan Pacha Palace. During the Regency of Algiers, many summer palaces were located outside the city walls in the Fahs of Algiers. The Fahs refers to the outskirts and suburbs of the medina and is a distinct space from the main city. It was the site of various summer palaces and residences with gardens. One of the most famous among them is the Bardo Palace, which now houses the Bardo National Museum. Mosques Among the principal mosques of the Casbah of Algiers are Jamaa Ketchaoua, Jamaa el Kebir, Jamaa el Jdid, Jamaa Ali Bitchin, Jamaa Sidi Ramdane, Jamaa Sidi M’hamed Cherif, Jamaa el Berrani, Jamaa el Safir, and Jamaa li Houd. The oldest mosque in the Casbah of Algiers is Jamaa El Kebir, the Great Mosque, built in 1097 by Yusuf Ibn Tashfin in the . It was constructed at a time when Andalusian artistic influence was strong in the Maghreb. The defining features of this mosque are its prayer hall and minaret. The hypostyle prayer hall is centrally arranged, with powerful pillars connected by large, festooned arches—lobed for the nave and simple, polished for the aisles. The mihrab is decorated with columns and ceramics. The minaret, rebuilt by a Zayyanid sultan of Tlemcen in 1324, is quadrangular, topped with a small lantern, and adorned with ceramics and fine carvings. The external gallery is not original; it was built using marble columns from the demolished Es-Sayida Mosque, which was once located on Place des Martyrs and was destroyed during colonization. Jamaa Sidi Ramdane is one of the medieval mosques of the medina, dating back to the 11th century. Jamaa Ketchaoua is a unique structure that stands as a testament to the history of the Casbah. Founded in 1436, before the Regency of Algiers, it was built when Berber dynasties ruled the city. Its architecture blends Moorish, Turkish, and Byzantine styles. The mosque was modified during the Regency and especially during French colonization, when it was converted into a cathedral before being returned to Islamic worship upon Algeria's independence. A larger building was constructed around 1613 under the Regency's rule, and it was further renovated in 1794 under Hassan Pacha's administration. Its architecture was inspired by Turkish mosques built in the Byzantine style. From 1844 onward, under French colonization, modifications were made to adapt it for Catholic use, resulting in the removal of its original Maghrebi-style square minaret and the construction of two façade towers and a choir extending from the prayer hall. The church was classified as a historical monument by the French administration in 1908 and returned to Islamic worship after Algeria's independence. Jamaa el Berrani, literally "the Mosque of Foreigners," was built in 1653 and rebuilt in 1818 by Hussein Dey at the foot of the Algiers citadel to serve as the Agha's tribunal. It was named after the foreigners who came to pray there before their audience with the dey. Later, it was converted into a Catholic place of worship during part of the colonial period. File:Jamaa al-Jdid.JPG|Jamaa al-Jdid mosque, built in 1660. File:Mosquée Jamaa Berrani.jpg|Jamaa Berrani; in the background, the dey's palace. File:Minaret de la Grande Mosquée d'Alger (Djamâa El Kebir).jpg|The minaret of the Jamaa el Kébir mosque, in the . File:Interior of Grand mosque.jpg|Interior of Jamaa el Kébir, a testament to Hispano-Moorish and Almoravid art (c.1892). The Casbah also has many small mosques, such as the Ali Bitchin Mosque, built by a Venetian renegade who converted to Islam, whose real name was Picenio. This mosque was constructed in 1622 by the wealthy merchant. It follows the Ottoman architectural style, featuring numerous domes, but also includes a square-shaped Maghrebi minaret. Originally, its prayer hall was unadorned, with walls simply whitewashed. Over time, however, stucco and other interior decorations were added. Currently, the building is undergoing restoration. Other mosques were built near mausoleums, such as the Jamaa Sidi Abderrahmane, erected beside the mausoleum of the same name in 1696. This mosque features domes and a richly decorated minaret. . , Jamaa li houd, became a mosque (c.1902). The Casbah also had mosques that were demolished during the colonial period, leaving a lasting mark on the city's memory. Among them was the (Mosque of the Lady), formerly located at Place des Martyrs, which was demolished in 1832. Its colonnades were repurposed to create the peristyle of Jamaa el Kebir, the Great Mosque, in 1836, as an attempt to compensate for the unpopularity of its demolition and colonial modifications. Other mosques, such as the ''M'sella Mosque near Bab el Oued (demolished in 1862), Jamaa li Houd'', known as the "Mosque of the Jews," was originally a synagogue built between 1850 and 1865. It was converted into a mosque after the country's independence, following the departure of the local Jewish community. Madrasas and mausoleums The Casbah contains several madrasas, the most well-known being the Thaâlibiyya Madrasa. It was built in 1904 under the administration of Governor Charles Jonnart, who promoted the neo-Moorish architectural style, sometimes referred to as "Jonnart style." This style is also seen in several contemporary buildings, such as the Grand Post Office of Algiers and the Oran train station. The madrasa was constructed in honor of the renowned 14th-century Maghrebi theologian Sidi Abderrahmane, considered the patron saint of Algiers. Before colonization, the Casbah had around eighty zawiyas and madrasas, most of which are no longer in use, while some have been converted into mosques, such as the Zawiya of ''Sidi M'hamed Cherif''. The Casbah is also home to several maraboutic figures, including Sidi Brahim, protector of the sea, whose tomb is located in the admiralty; Sidi M'hamed Chérif, known for his famous fountain; Sidi H'lal, the saint of Bab el Oued; and Sidi Bouguedour, considered the "chief of marabouts". The mausoleums of Sidi H'lal, Sidi Bouguedour, and Sidi Abderrahmane, along with the mosque of Sidi M'hamed Cherif, are currently undergoing restoration. Thaâlibiyya Madrasa was built near the tomb of Sidi Abderrahmane. The mausoleum surrounding his tomb was erected in the 17th century and even received a visit from Queen Victoria, who, moved by the site's grace, donated crystal chandeliers that still adorn the tomb today. Sidi Abderrahmane is regarded as the patron saint of Algiers, and his richly decorated mausoleum features calligraphic inscriptions of Quranic verses on the walls. The cemetery also houses the tomb of Sidi Ouali, a saint from the East, whose legend claims he unleashed the sea against Charles V's ships during the Siege of Algiers in 1541. Other notable figures buried there include saints such as Walî Dada, Sidi Mansour ben Mohamed ben Salîm, and Sidi 'Abd Allah; rulers of the Regency of Algiers, including Ahmed Bey of Constantine and deys Moustapha Pacha and Omar Pacha; as well as renowned personalities like writer Mohamed Bencheneb (1869–1929) and the distinguished miniature painter and illuminator Mohamed Racim (1896–1975). This complex includes: File:RaïsPalace.jpg|Battery of the Palais de Raïs. File:2 juin 1916.jpg|Borj el Fanar (c.1916), seat of Captan Raïs, harbour master, and of the Oukil el Hardj, minister of the navy during the period of the regency of Algiers. File:Remparts-dalger.png|The ramparts of Algiers on the south-eastern side in the 19th century before their demolition. File:Muraille Alger.jpg|The ramparts, on the western side of the medina. File:Attaque d alger explosion du fort de l empereur.jpg|Explosion of the Borj Moulay Hassan or Emperor's Fort, in 1830, sabotaged by the Janissaries during the capture of Algiers. File:Bordj Tamenfoust.JPG|Borj Tamentfoust, located opposite the . File:Amirauté alger.jpg|The admiralty of Algiers, the harbor and the various borjs that make it up. In the background, the octagonal building of the Peñon rock (dating from the 16th century) topped by the lighthouse tower. Urban decay and social decline The Casbah faces challenges related to its status as an inhabited heritage site. Since the colonial period, it has been relegated to the background, progressively losing its role as the city's urban center. Demolitions have taken place to make way for new urban planning. During the colonial era, the old city was seen as an outdated, dangerous place—a haven for outcasts and home to a poor population. However, aside from demolitions in the lower Casbah and the construction of peripheral neighborhoods, the urban fabric remained largely intact, as the residents developed a form of communal management of both public and private spaces. This was in resistance to the Haussmannian urban planning model imposed by the colonial authorities. In the post-independence evolution, the role of the inhabitants has been contradictory. Since 1962, the Casbah has become a zone of relegation and social decline. The maintenance of public spaces has lost its effectiveness due to the dwindling number of zabalines (garbage collectors) and siyakines (sprinklers who cleaned the streets with seawater), leading to an accumulation of waste and rubble. These deteriorations are partly due to the upheaval of the medina's population, as many residents arrived after independence without any "urban experience". The Casbah has also faced the exodus of some of its former inhabitants, the beldiya or "city dwellers". Additionally, the role of the Algerian state must be emphasized, as it has pursued an inadequate urban policy, with no administration establishing itself in the Casbah between 1962 and 1985. Consequently, the medina has continued to lose its urban centrality. Meanwhile, community organizations protest what they call a "culture of forgetting", but their concrete actions remain limited. 2018-2019: Rehabilitation project and controversy In the late 2010s, the Île-de-France region—twinned with the Wilaya of Algiers—provided financial support for a Casbah rehabilitation project led by architect Jean Nouvel. This sparked criticism, with a petition signed by 400 Algerians (mainly from the diaspora) denouncing the fact that he was from the former colonial power. In Le Huffington Post, architect Kamel Louafi sharply responded: "All these signatories who act and work outside their country deny Jean Nouvel this right and ask him to let Algerian colleagues take care of the Casbah, as if intelligence were determined by birth or ethnicity." == Culture ==

Handicrafts The handicraft sector in the Casbah is in decline. It has received no effective support policies, and combined with a struggling tourism industry, its current state is at odds with the once-flourishing history of the old city. The remaining master artisans are few, and traditional crafts face tax burdens and rising material costs. For example, brassware (dinanderie) is affected by a shrinking number of artisans, a scarcity of raw materials, and the rising price of copper sheets. Additionally, traditional handcrafted objects are increasingly being displaced by manufactured goods. During the Regency of Algiers, artisans were under the authority of the caïd el blad (city commissioner), a high-ranking official close to the dey. Specialized districts—or rather, narrow streets (zenkat)—were dedicated to specific trades. Shops and artisan guilds that were still active at the end of the 19th century had largely disappeared by the years leading up to World War I..|254x254pxOne of Algiers' most renowned artisanal crafts is brassware, which dates back to the medieval period. The motifs used include stars, geometric shapes, and floral designs such as jasmine. Lucien Golvin viewed Algerian brassware as an Ottoman legacy—or at least as having strong similarities with artistic traditions from former Ottoman territories. Some decorative elements, such as tulips, carnations, cypresses, and scattered flowers, support this connection, as they frequently appear on engraved or incised copper objects. The Casbah is also an important center for woodworking. The technique used is chiseling, and sometimes painting, to create richly decorated chests, mirrors, and tables. The artistic woodwork of old buildings continues to be restored by local artisans. A particular type of chest (sendouk) made of painted wood is still produced in the Casbah. These objects are called "bridal chests" because they are often used, especially in rural areas, to store wedding trousseaus. They feature two handles on each side and a lock for secure closure. The ornamentation consists of Arab-Andalusian motifs, often floral in nature, occasionally replaced by depictions of animals such as roosters or peacocks. There is still a traditional garment-making craft in the Casbah, producing outfits such as 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 beginning to attract interest from both residents and the state, which, according to artisans, is still investing timidly in tax exemptions and specialized schools. File:Moorish women making Arab carpets, Algiers, Algeria-LCCN2001697844.jpg|Women of Algiers weaving a carpet (c.1899). File:Dinandier Casbah Alger.jpg|A coppersmith craftsman. File:Menuisier Casbah.jpg|Carpentry workshop in the Casbah. File:Lustre Casbah.jpg|Handcrafted copper chandelier. File:Algerian Tanchifa 18th C.JPG|Silk embroidery known as ''point d'Alger'' from the 18th century The Casbah in the arts Cinema Algiers has been at the heart of a rich filmography, one that few capitals in the world could rival by the 20th century. Around forty feature films and a hundred short films were shot there over the course of the century. Notable 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 regarded as a film that glorifies the Casbah, where the setting steals the show from actor Jean Gabin. The Casbah also inspired local productions starting in 1969, including La Bombe (1969), (1971), Omar Gatlato (1976), Autumn: October in Algiers (1988), Bab-el-Oued City (1994), (2004), and Délice Paloma (2007). Les Terrasses (Es-stouh), a Franco-Algerian drama directed by Merzak Allouache, was released in 2013. Music Musical troupes with his guembri (around 1906). The Casbah of Algiers once had a vibrant daily atmosphere with street performances by various musicians and entertainers. Among them were baba salem troupes, which frequently paraded and animated the streets, especially during celebrations like Mawlid. These groups, widely popular, were mostly composed of Africans from the Sahara, often referred to as gnaoua. The Gnaouas typically wear multicolored Saharan garments, a shell necklace, and play instruments such as the guembri, sound box, karkabou, and tambourine. Nowadays, baba salem troupes have become rare, though they still occasionally perform in Algiers. Another type of folk troupe is the zornadjia, which performs at festive events. They take their name from the zorna, a kind of oboe, and produce rhythmic music accompanied by the tbilat (a type of drum) and the bendir. These zornadjia troupes are particularly common at weddings. The instruments used include the Algerian mandole (a specific instrument invented for chaâbi), the oud (an oriental lute), the banjo, the violin, the tar, and the derbouka. Initiatives such as the El Gusto orchestra aim to reunite and popularize the Casbah's cultural heritage on international stages. who sought to immerse themselves in the atmosphere of the Arab city. One of the most famous painters of the Casbah was Mohammed Racim, a native of the district. His works depict the old Casbah, reviving Algerian folk traditions. Many of his paintings are now housed in the National Museum of Fine Arts of Algiers. Between 1957 and 1962, the painter created a series of works capturing the Casbah. His paintings, particularly Petit Matin, La Marine, and Couvre-feu, reflect the turbulent atmosphere of Algiers during the Algerian War. ''", oil on canvas by Eugène Delacroix (1798–1863), dated 1834, on display at the Musée du Louvre, Paris, France. Cultural institutions , headquarters of the "arts and culture center". Since the 19th century, the Casbah has been home to cultural institutions such as the "National Library and Antiquities of Algiers," founded in 1863, which houses 30,000 volumes and 2,000 Arabic, Turkish, and Persian manuscripts. The Dar Khdaoudj el Amia Palace also serves as a cultural institution. It was the first town hall of Algiers between 1833 and 1839 before being repurposed by the General Government of Algeria as a "technical craft service" with a permanent exhibition of folk arts. In 1961, it became the "Museum of Arts and Popular Traditions" and was later renamed the "National Museum of Arts and Popular Traditions" in 1987. In 1969, Algiers hosted the first Pan-African Festival, during which the Casbah welcomed various artists from the African continent and its diaspora, as well as revolutionary movements such as the Black Panthers. The festival was reintroduced in 2009, a year when the Casbah's heritage was also highlighted. After its restoration in 1994, the Palais des Raïs became the "Center for Arts and Culture," hosting temporary exhibitions, museum displays, and performances on its terrace, which features a row of cannons facing the sea. The Casbah also hosts workshops and visits as part of the "International Cultural Festival for the Promotion of Earthen Architecture," organized by the Algerian Ministry of Culture. In 2007, when Algiers was designated the "Capital of Arab Culture," the occasion spurred discussions about heritage preservation and restoration. This event led to the inauguration of the "Algerian Museum of Miniature and Illumination," housed in the Dar Mustapha Pacha Palace. Dar Aziza, a palace in the lower Casbah that was once part of the old Djenina Palace complex, initially housed the "National Archaeology Agency" and now serves as the headquarters of the "Office for the Management and Exploitation of Protected Cultural Assets." Written heritage in the Casbah. Algiers possesses a significant written historical heritage. In the 19th century, the city had several collections housed in mosques, religious schools (zaouïas), and private collections. Much of this literary heritage suffered the same fate as many buildings, undergoing transformations and demolitions during the colonial period. This era also saw initiatives to preserve and catalog these works. Adrien Berbrugger established a collection housed in the Algiers Library, founded in 1836. The manuscripts originate from both local and foreign sources (Egypt, Andalusia, Morocco, Turkey) and cover cultural and scientific subjects. By 1872, 866 volumes had been cataloged in various libraries, including those of the Great Mosque (Jamaa el Kebir), Jamaa al-Jdid, and the mosques of Sidi Ramdane and Sidi Abderrahmane. At that time, Jamaa al-Jdid alone housed 555 volumes, acquired mainly through donations from the deys of Algiers. The 1872 inventory revealed that Jamaa el Kebir had lost two-thirds of its 1830 collection. Further inventories were conducted in 1907 and 1911. In 1909, Mohamed Bencheneb published the "Catalogue of the Great Mosque of Algiers." This collection includes religious texts, Quranic manuscripts, hadith compilations, biographies of the Prophet, Maliki and Hanafi legal treatises, theology, ethics, and grammar. Another type of written heritage is the Tachrifat of the Regency of Algiers, also known as the "Register of Noble Affairs." This document is an administrative compilation of records from the Regency. In 1830, registers found in the dey's palace and among high-ranking administrators were transferred to the Arab archives of the colonial administration. These records contain information on tax collection, the management of beylik (state-owned) properties, and religious endowments. They also include scattered historical accounts, regulations, notes on administration, Christian slaves, and tributes paid to the Regency by foreign nations. The Tachrifat is one such collection of archives, translated at the beginning of the colonial period. These documents, which belong to the pre-colonial administration, now form the "Archives of the Former Regency of Algiers," housed in the Algerian national archives outside the Casbah. The National Library of Algeria, which preserves ancient collections, was originally located in historic palaces before moving in 1954 to a new site outside the Casbah. Today, its collections are kept in a modern facility near the Hamma Garden. Water in culture The role of water in the Casbah must be understood in its historical context. Water distribution in the city intersects with architecture, engineering and local customs. The concept of aquosity—a quality of life related to water—is a defining feature of many Mediterranean cities. Beyond shaping the city's unique urban identity, water is deeply embedded in intangible heritage, including legends and folklore. In the 17th century, Algiers boasted an advanced hydraulic infrastructure that sustained a population of approximately 100,000 people, making it a major Mediterranean capital. One of the first elements of this heritage was the "sacred springs." The "Fountain of the Spirits" (Seb’aa Aïoun, meaning "Seven Springs") was a freshwater source that has since disappeared due to the construction of the waterfront. Because these freshwater springs emerged directly from the sea, they were associated with mystical beliefs. The djinn (spirit) of this fountain, Seb’aa Aïoun, was known among Sub-Saharan Africans as Baba Mûsa, also called Al-Bahari ("the freshwater spirit from the Niger"). The Aïn Sidi ‘Ali az-Zwawi spring was named after the saint Ali az-Zwawi, who died in 1576, and was mentioned by . The water, believed to have numerous healing properties, originally flowed through his mausoleum, which stood outside Bab Azoun Gate but has since been destroyed. However, the spring still flows today inside a shop on Patrice Lumumba Street. Among the most famous fountains are those associated with marabouts (Muslim saints), giving them a mystical significance—such as the fountains of Sidi Abdelkader, Sidi Ali Ezzaoui, Mhamed Cherif, Mzaouqa, and Sidi Ramdane. Others, like Aïn Bir Chebana, are also well known. The fountain of Mhamed Cherif, in particular, is said to have the power to calm anxieties and worries if one drinks three sips of its water. Water fountains were also considered acts of public generosity and were thus referred to in Algiers' toponymy by the Arabic term sabil or, more commonly in the plural form, sebala. This term literally means "charitable and selfless act". According to Kameche-Ouzidane, the word originates from the Quran, where it means "way, path, or road", and is the root of the expression fi sabil Allah, which conveys the idea of a selfless and generous action. Over time, the term came to designate public drinking fountains and water basins established through individual generosity. Such donations ensured that the donor's name would be remembered and contributed to their spiritual salvation in what was considered a "perishable world". Many inscriptions on fountains highlight the importance of water and their role as a public utility. This utility was even more significant because, originally, fountains and natural springs were the primary sources of water, and they could never be privately owned. Donors, as well as palace residents, were strictly forbidden from building such fountains within their private residences. However, out of the 150 fountains that were once operational in the medina, only about ten remain functional today. Referred to by the Arabic words aïn (fountain) or bir (well), they reflect a certain appreciation for public spaces and city life. For example, the "Widows' Fountain" (Aïn al-Ahjajel) was reputed to have the power to bring husbands to widows. These fountains are an integral part of the medina and, although many have dried up, they persist as sites of memory, especially through their names and their role in the old city's toponymy. File:Fontaine_casbah.JPG|Aïn Sidi Mhamed Cherif. File:Fontainecasbah.jpg|Aïn Sidi Ramdane. File:Fontainecasbah2.jpg|Aïn Bir Chebana. File:Fontainepalaiscasbah.jpg|Fountain in the patio of Dar Mustapha Pacha. Oral tradition Oral culture plays a significant role in Algiers' traditions, particularly through the practice of boqala. The boqala, in its classic form, is a short poem of four or five verses, either recited or sometimes improvised. Passed down through oral tradition or small written collections, these short poems constitute a centuries-old heritage. This poetry game oscillates between entertainment and divination. In the latter case, it is sometimes accompanied by a magical-religious ritual and is not exclusive to Algiers but is common in other coastal Algerian cities and their hinterlands, such as Blida, Béjaïa, Médéa, Miliana, and Cherchell. The content of a boqala is often a riddle, a mysterious text, or a wise saying, making it open to interpretation. These sessions are traditionally organized by women, although men can also participate. Gatherings typically take place around a well-prepared table, on house terraces, or in patios. The sessions begin with an invocation: "Fâl ya fâlfal djibli khbâr man koul blad" (O omen, bring me news from all lands). The language used in these boqala games is Algerian Arabic, incorporating borrowings from languages with which it has been in contact (Berber, Turkish, Spanish, and French), as it is primarily an urban tradition. While the origins of this practice remain unknown, boqala follows a literary structure similar to written poetry and is characterized by stylistic purity, rhythm, and sound patterns that contribute to its popularity. It bears similarities to ancient Andalusian poetry, hawzi music, and traditional songs from Tlemcen. This literary genre remains widespread today due to its thematic diversity, which allows it to engage various audiences and adapt to different circumstances. Moreover, it captivates listeners' imagination, fulfilling a certain desire for escapism. == Current condition ==

The ANSS, the conservation agency of the Algerian government, reported that 373 buildings in the Casbah have collapsed. Of the 1816 buildings that remain, 40% are ruined or in a critical state, and 10% are boarded up. Reuters reported in August 2008 that the Casbah was in a state of neglect and certain areas were at risk of collapse. Algerian authorities list age, neglect and overpopulation as the principal contributors to the degeneration. Overpopulation makes the problem especially difficult to solve because of the effort it would take to relocate the residents. Estimates range from 40,000 to 70,000 people, although it is difficult to be certain due to the number of squatters in vacant buildings. One reason that the government wants to improve the condition of the Casbah is that it is a potential hideout for criminals and terrorists. In the late 1950s and during the civil insurrection and struggle against French colonial rule it was the hideout for the National Liberation Army (Algeria). Preservationist Belkacem Babaci described the situation as difficult, but not insurmountable, saying: "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 projects have been plagued by delays and endemic corruption. == Climate change ==

Since the Casbah of Algiers is a coastal landmark, it is vulnerable to sea level rise. In 2022, the IPCC Sixth Assessment Report included it in the list of African cultural sites which would be threatened by flooding and coastal erosion by the end of the century, but only if climate change followed RCP 8.5, which is the scenario of high and continually increasing greenhouse gas emissions associated with a warming of over 4°C., and is no longer considered very likely. The other, more plausible scenarios result in lower warming levels and consequently lower sea level rise: yet sea level rise would continue for about 10,000 years in all of them. Even if the warming is limited to 1.5°C, global sea level rise is still expected to exceed after 2000 years (and higher warming levels will see larger increases by then), consequently exceeding 2100 levels of sea level rise under RCP 8.5 (~ with a range of ) well before the year 4000. Thus, it is a matter of time before the Casbah of Algiers is threatened by water levels, unless it can be protected by adaptation efforts such as sea walls. == In popular culture ==

• The Casbah of Algiers plays a central role in the 1937 French film Pépé le Moko and the 1938 American film Algiers, in which the noted jewel thief Pepe le Moko, played by Jean Gabin in the French version and Charles Boyer in the American version, hides there after a heist in France, and he becomes a local leader, but as time passes, he begins to feel trapped in the district. Although in the American film, Boyer never said to costar Hedy Lamarr "Come with me to ze Casbah", this line was in the Hollywood movie trailer, and it would stick with him, thanks to generations of impressionists and Looney Tunes parodies. • Boyer's role as Pepe Le Moko was already world-famous when animator Chuck Jones based the character of Pepé Le Pew, the romantic skunk introduced in 1945's Warner Bros. cartoon Odor-able Kitty, on Boyer, his voice – imitated by Mel Blanc – and the catch phrase "Come with me to ze Casbah" from his most well-known performance. • "Rock the Casbah" is a song by the English punk rock band the Clash, released in 1982 as the second single from their fifth album, Combat Rock (1982). It reached number eight on the Billboard Hot 100 chart in the United States (their only top 10 single in that country) and, along with the track "Mustapha Dance", it also reached number eight on the dance chart. == Notable people ==

• Abd al-Rahman al-Tha'alibi (1384-1479) • Abdelhalim Bensmaia (1866-1933) • Mohamed Charef (1908-2011) • Brahim Boushaki (1912-1997) • Abderrahmane Taleb (1930-1958) • Djamila Bouhired (born 1935) • Djamila Boupacha (born 1938) • Mustapha Toumi (1937-2013) == See also ==