ALMAGHRIBIA — broadcast
20260806 023000 UTC
508 transcript segments
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[00:00:00] Greek theater and
[00:00:06] I think in the but began broadcasting Greek theater, as the dates of theater were specified. When we talk about the Moroccan
[00:00:11] contribute to introducing context, we notice a kind of connection
[00:00:15] between television.
[00:00:17] And if we talk about television specifically
[00:00:23] of theatrical performances on and theater, dates, and you would examples of theatrical the beginning of Moroccan television, the first channel,
[00:00:26] seat in the theater shows and conducting interviews with or Moroccan TV, as it was called then,
[00:00:31] the main material it offered to its Moroccan audience
[00:00:35] and the wider audience outside Morocco
[00:00:38] was theater
[00:00:41] through the broadcasting and streaming of many
[00:00:44] plays live.
[00:00:47] Of course, my generation
[00:00:51] was not able to watch the shows
[00:00:54] in theater through these at that time. Those who watched them from the audience,
[00:00:57] playwrights, critics,
[00:01:01] Our meeting with you in this and artists told us how plays were broadcast live
[00:01:04] on Moroccan TV. And that
[00:01:07] an important and rare archive of material had its charm,
[00:01:11] its beauty, and its aesthetic value.
[00:01:14] Marjan, Marjan, the devil
[00:01:17] is still
[00:01:24] works on theatrical here. Okay, now let's leave this aside. I have something
[00:01:27] else important I want to discuss with you. In addition
[00:01:30] to that, there
[00:01:33] understand how to work on was coverage of theatrical performances and theatrical
[00:01:36] festivals, especially the National Amateur
[00:01:40] Theater Festival, which was presented and
[00:01:43] organized every time in a specific city by
[00:01:49] their shows, the ministry overseeing the Ministry of Youth and Sports. Therefore, it can be said that many
[00:01:52] pioneers of Moroccan theater were able to establish
[00:01:55] their relationship with the Moroccan audience by presenting
[00:01:58] their works to this audience. We recall here
[00:02:02] Tayeb Saddiki, Abdelkader El Badaoui,
[00:02:06] in written and
[00:02:07] it for criminal Abdelhak Zerouali and many other
[00:02:14] Even in theaters action in playwrights. I believe that there the theatrical movement. at least the geographical area we belong to. is no specific date for the beginning of this relationship between theater and media, but everything
[00:02:17] humanity remembers, since media was media and since
[00:02:21] theater became theater, is that this intersection between theater
[00:02:25] of them, and media has always been
[00:02:28] an intersection built on logic. Meaning
[00:02:30] that to be a media person,
[00:02:33] you must
[00:02:35] be a theatrical person in one
[00:02:39] way or another. I will give an example.
[00:02:42] Meaning that the media is a player.
[00:02:46] The media plays
[00:02:48] And fourth, be careful a role. At the theatrical level, I say that it
[00:02:52] also plays a role, an important role at the level
[00:02:54] of diagnosis, at the level of presence, at the level of intersection
[00:02:58] between the sender and the recipient.
[00:03:02] There is always, I almost say, a representation
[00:03:06] established
[00:03:07] on between the maker
[00:03:09] the wrong So, I think the archive on of the information
[00:03:12] and the presenter of this information, especially
[00:03:15] if we reach the modern era regarding
[00:03:19] journalists who conduct interviews. The journalist who conducts an interview is not
[00:03:22] the journalist who wakes up from his home and goes to his work.
[00:03:26] This plays a role because it is a role
[00:03:29] theater to similar to the role of theater. Media
[00:03:32] about Moroccan theater began during the
[00:03:35] French colonization
[00:03:39] and even in the North during the Spanish
[00:03:42] and second, I prefer to stay colonization. Its prosperity
[00:03:47] the audience, and the media are regarding theatrical media
[00:03:50] was
[00:03:53] Isn't that a good idea? especially in Tetouan with Khaled Mshibal. I don't
[00:03:56] remember the newspaper he published,
[00:04:00] and also
[00:04:04] We saw his plays with in Fez, where there was a relationship
[00:04:06] between media
[00:04:09] and theater. Media has been interested in theater since its
[00:04:13] inception, as it is a necessity to spread this art
[00:04:16] and follow its news and developments,
[00:04:20] like other events that take place in society.
[00:04:23] It was a given for all theater groups
[00:04:27] on a sore to turn to newspapers
[00:04:28] point, to announce the date and place of a performance.
[00:04:30] in fact, because many Likewise, for newspapers that dedicated
[00:04:34] pages to theater
[00:04:37] for promotion, study,
[00:04:43] Live news broadcast from strongly to promoting and criticism. With the advent of audio
[00:04:46] and then visual media, the scope of the relationship
[00:04:51] helpful in promotion, between theater and media
[00:04:51] outreach, expanded,
[00:04:53] communication, and news producing programs that focused on theater
[00:04:56] and its characteristics, inviting its pioneers,
[00:05:02] directors and writers, to talk about their new
[00:05:04] works or analyze their creations
[00:05:07] to communicate with the audience. And audio-visual
[00:05:11] Touria Jabrane, and prominent media did not stop at theatrical programs,
[00:05:15] plays on television for audiences to watch
[00:05:18] at home. So, did media in all its forms
[00:05:23] theater and playwrights? Of course, it
[00:05:26] did. To what extent is the question that
[00:05:30] needs to be asked. Is it enough to
[00:05:33] allow us to introduce all
[00:05:37] the names and prominent figures in the theatrical
[00:05:41] field to all Moroccans and make them known?
[00:05:44] I don't think so. There's still work to be done in this
[00:05:47] area. It's not like in other countries,
[00:05:51] but is there an intention for media
[00:05:55] to be interested in theater and to give
[00:05:58] theater a boost? I think yes, there is good intention so that we don't always look
[00:06:02] at things only from
[00:06:04] their dark side. On the contrary, I see
[00:06:08] that all theatrical events, all
[00:06:11] the shows there is interest from written
[00:06:15] media
[00:06:16] and especially
[00:06:20] audio-visual media. And with
[00:06:23] the new project of moving theater,
[00:06:27] of course, the intention, as I said, the intention
[00:06:30] is there. It remains that the way the media
[00:06:36] material needs to be structured. These are
[00:06:39] things that need time, need experience, and especially need
[00:06:43] people who
[00:06:46] theatrical matters. Media has tried, ever since
[00:06:49] it started covering theatrical activities, to cover theatrical
[00:06:53] activities. It tries to give new theatrical productions. It follows
[00:06:57] the stages that, for example,
[00:07:00] the sector undertakes. It conveys them to the people.
[00:07:04] It tries to convey the movement of playwrights, their tours. It tries through
[00:07:07] all its means to cover the theatrical action. To what extent
[00:07:11] is the media successful or unsuccessful? This is a relative matter in my opinion,
[00:07:14] but I can personally try to ensure
[00:07:17] that as media professionals, we try as much as possible
[00:07:21] to follow the theatrical
[00:07:25] In Morocco, we can say that 1991 was a turning
[00:07:28] point for Moroccan theater and its relationship with the media, because
[00:07:32] in that year, there was an informal agreement
[00:07:36] between Moroccan television and theatrical productions, on the basis that
[00:07:39] it would deliver promotional theatrical
[00:07:42] materials and, in return, broadcast the shows on its screen.
[00:07:46] This was the pivotal point that led
[00:07:49] to the theatrical movement flourishing in Morocco.
[00:07:52] We now have the concept of the box office, and we even have the black market in theater,
[00:07:56] and all this contributed to the success of Moroccan theater, creating a revival
[00:08:00] and creating stars on theater stages. It truly
[00:08:03] was a period of peak, if we want to say, for Moroccan theater.
[00:08:07] Now, the presence of culture, I think, in general
[00:08:10] and literature.
[00:08:32] Hayy Theater experience, National Theater
[00:08:35] Company experience,
[00:08:38] Arts Theater experience, Eighties Theater
[00:08:41] at its time, a group of
[00:08:44] experiences, the Dassoukine and Zaari experience, and so
[00:08:47] on. The experience of duos, all this was contributed to
[00:08:51] and sometimes created by television,
[00:08:54] media and television specifically. However,
[00:08:57] theater, as a creative process,
[00:09:01] outside of specialized programs, doesn't get
[00:09:04] attention because a playwright can come
[00:09:07] and participate in a discussion panel about
[00:09:10] society. A playwright can.
[00:09:34] It can bring it out more, especially the image.
[00:09:37] Television
[00:09:39] can bring it out more into the limelight,
[00:09:43] as an educational and pedagogical act, which is one
[00:09:46] of the roles of public service, which is television. I am talking
[00:09:48] about public television. I think yes,
[00:09:52] media has contributed theater
[00:09:55] and following the theatrical movement
[00:09:59] in our country, I think, through two aspects. The first
[00:10:02] aspect is
[00:10:05] recording or capturing theatrical
[00:10:09] performances and showing them to the audience.
[00:10:12] For example, we are talking about the case of the second channel.
[00:10:16] We have seen many plays, for example,
[00:10:19] we have seen works by Tayeb Saddiki,
[00:10:23] theatrical figures on the second channel. The second aspect,
[00:10:26] I think, is complementary to these theatrical
[00:10:30] performances that are shown on television, which is through, for example, reports
[00:10:34] or coverage of theatrical
[00:10:38] events, whether theatrical performances or theatrical festivals.
[00:10:41] For example, in the case of my program, we cover
[00:10:44] some shows by attending
[00:10:48] the backstage of these theatrical
[00:10:51] the technical and artistic team of these plays.
[00:10:56] Public opinion
[00:10:58] was that we should let the Moroccan
[00:11:02] public follow this movement
[00:11:06] that Moroccan theater is experiencing and introduce
[00:11:09] different theatrical experiences. So, I think the role
[00:11:13] of media is to follow this movement
[00:11:19] two aspects. Good
[00:11:22] evening, dear viewers.
[00:11:26] episode of your program "Anfas Masrahiya" is renewed,
[00:11:29] which we hope will please you. As usual, media has served
[00:11:33] theater greatly. There is now specialized
[00:11:36] journalism that follows theatrical
[00:11:38] productions, newspapers, radio
[00:11:42] and television programs that brought this art
[00:11:45] and its pioneers closer to their audience. We must
[00:11:49] not forget the role of television in filming
[00:11:52] entire theatrical performances and broadcasting them in a theatrical
[00:11:56] television evening, bringing the show closer to the audience,
[00:11:59] even through the silver screen. Then,
[00:12:03] the interest in theater continued, especially
[00:12:06] with the emergence of modern media, which
[00:12:10] playwrights utilized to promote
[00:12:14] from rehearsals to production to performance and beyond.
[00:12:17] Digital media has become an important medium in the media
[00:12:21] system to contribute to delivering
[00:12:25] information about theatrical performances from rehearsals to tours
[00:12:29] and performances. Is it a necessity
[00:12:32] for written, audio,
[00:12:36] and visual media to follow
[00:12:38] theatrical works? It's not a necessity, it's more
[00:12:42] than a necessity, because as I mentioned before,
[00:12:45] no artistic work can develop
[00:12:49] without media coverage. Media is the link between
[00:12:53] theater and the audience and readers. It's not just the
[00:12:57] theater audience, but the general public, meaning
[00:13:00] that media is very essential, essential, essential.
[00:13:04] Theatrical work,
[00:13:07] or theater, or arts, and all forms of artistic
[00:13:11] expression, desperately need media coverage
[00:13:14] that matches the size of the events
[00:13:18] and
[00:13:20] their artistic achievements. Of course, the issue
[00:13:24] of covering all creative action is essential by the media,
[00:13:27] including theatrical work. When
[00:13:31] a work is created, the goal is to reach the largest number of audience members through the medium
[00:13:34] of media. So, the role of media in all its forms, whether
[00:13:38] written, audio, visual, or currently electronic, is
[00:13:42] to inform and deliver
[00:13:44] creative work to the wide audience. Of course, it is essential.
[00:13:48] And if the artists involved
[00:13:51] in creative work do not ensure
[00:13:54] that they meet through the media,
[00:13:57] spread their news, and ensure that their works are highlighted
[00:14:01] through these different media outlets,
[00:14:04] creativity will reach the audience, and the medium
[00:14:07] that connects both parties is the media. Meaning, creative art,
[00:14:12] in the middle. Media coverage in any artistic
[00:14:15] activity is fundamental. Imagine
[00:14:18] there are multiple festivals and meetings,
[00:14:21] and multiple theatrical performances that differ in their schools
[00:14:25] and orientations, and they are major works
[00:14:29] with their creations, but when they lack media coverage,
[00:14:32] they remain limited and within a small group.
[00:14:36] But with media, we can promote
[00:14:39] a work and a festival,
[00:14:41] and it becomes
[00:14:45] shared with all
[00:14:47] recipients, internally and externally. And this credit
[00:14:51] goes to the interaction of theater with media.
[00:14:55] It must be a necessity, a necessity. Why?
[00:14:59] Because theatrical
[00:15:02] production, theatrical production,
[00:15:05] goes through several stages, writing,
[00:15:09] rehearsal, production, and so on. But
[00:15:12] the final stage
[00:15:14] is the connection
[00:15:17] with media, meaning media dissemination,
[00:15:20] meaning promotion.
[00:15:23] So, necessity is a must.
[00:15:27] Why? To broaden
[00:15:29] the horizon and to expand
[00:15:33] and spread the news and the report,
[00:15:36] as well as to achieve communication. And there
[00:15:39] is no doubt that at a certain period,
[00:15:44] eighties, the radio,
[00:15:47] the radio, with its simplicity, used to give
[00:15:51] news and provide
[00:15:56] dialogues and specify
[00:16:00] not find an empty
[00:16:03] hall. The entire city
[00:16:07] would prepare to receive the upcoming theatrical
[00:16:11] performance. Originally, media is like
[00:16:14] a living memory for Moroccan theater.
[00:16:17] In a number of Moroccan newspapers,
[00:16:21] researchers published critical papers
[00:16:24] and analytical articles, and even
[00:16:27] studies on many theatrical
[00:16:31] events, whether festivals or shows or seminars,
[00:16:34] which made these theatrical efforts
[00:16:37] find material for archiving and publishing. And thus,
[00:16:41] the Moroccan recipient will learn about theatrical
[00:16:44] experiences through these media.
[00:16:48] And television has a great credit in further bringing
[00:16:51] theater with all its achievements closer to the Moroccan
[00:16:55] audience. After that came digital media
[00:16:58] and internet spaces and electronic
[00:17:01] websites. In fact, it went beyond the role of a specialized
[00:17:05] journalist to become an artist
[00:17:07] who is himself a producer of theatrical action
[00:17:11] and a media person, if I may say,
[00:17:15] who markets his product. Make your gaze
[00:17:17] hazy
[00:17:19] and questioning so that everyone who
[00:17:22] sees you believes that what you hide is greater and deeper than
[00:17:26] what you reveal. So, to what extent has media contributed
[00:17:30] to archiving and documenting Moroccan
[00:17:32] theater? Without a doubt, it has contributed,
[00:17:36] but the issue of archiving, I have a big
[00:17:39] criticism about it because many experiences,
[00:17:43] due to negligence or
[00:17:46] through mistakes whose consequences
[00:17:50] we don't know, we lost many
[00:17:52] things. So,
[00:17:56] many theatrical experiences that you mentioned,
[00:17:59] many
[00:18:02] unfortunately, we don't have
[00:18:06] much trace of them left. To the extent that I will go
[00:18:10] further with you than just
[00:18:13] theatrical works that were filmed
[00:18:16] and are no longer available,
[00:18:19] there are names that contributed a lot to theater
[00:18:22] in the early stages. You can go online
[00:18:25] and find all the intruders in the artistic
[00:18:28] scene, but you won't even find photos of these pioneers.
[00:18:32] This is something that saddens me, but can
[00:18:35] we make up for it now? It is possible to
[00:18:39] make up for it. We shouldn't waste time, and we shouldn't
[00:18:42] focus
[00:18:47] paths to find the right one.
[00:18:50] Meaning, I personally hope
[00:18:53] that even the teams
[00:18:57] that film theatrical works, why not have
[00:19:01] training in other countries on how
[00:19:04] to transfer television
[00:19:07] without diminishing the prestige of theater and in a way
[00:19:11] that makes the viewer want to watch a theatrical
[00:19:15] work on television? Yes, but in a way that
[00:19:18] encourages them to go to theaters later,
[00:19:21] because there are new methods, as you know, and these
[00:19:24] new methods, I think with the expertise we have in Morocco, especially the many
[00:19:28] technical competencies
[00:19:32] and in many cases, we have shown that
[00:19:34] we need training, short courses, and proper
[00:19:56] and sound accompaniment
[00:19:58] for theatrical
[00:20:01] work. It just needs a little effort. You are now touching
[00:20:08] theatrical works were not meant
[00:20:11] to be recorded, and many theatrical works that
[00:20:15] were recorded, we do not know their fate
[00:20:18] until now. Although
[00:20:21] the news that reaches us is very unfortunate news because many
[00:20:25] of the recordings were lost,
[00:20:28] meaning they were lost
[00:20:30] in vain.
[00:20:33] Therefore, I believe that
[00:20:36] time is pregnant. As I say, God forgive what has passed, and let
[00:20:40] us now do what needs to be done. As for the past, it is a very
[00:20:44] sad past in this
[00:20:46] matter, Malika.
[00:20:50] Here is her sister, Mahjouba,
[00:20:53] and El Rimhada, Saadiya
[00:20:56] El Ghazaleza
[00:21:00] and Ammoush. If we talk about audio-visual media specifically,
[00:21:03] and we talk more specifically about
[00:21:06] the first and second channels, it is certain that there
[00:21:09] is an important archive
[00:21:13] both channels, and
[00:21:16] many rare theatrical works.
[00:21:20] For our pioneers and our youth,
[00:21:23] we find them in the archive of the first channel and also in the archive of the second
[00:21:27] channel. From the second channel, we are talking about
[00:21:30] the generation of the late eighties and nineties
[00:21:33] until now. There is an important archive with the second channel
[00:21:37] of the plays that were filmed
[00:21:40] for most Moroccan playwrights, whether they are professionals
[00:21:43] or amateurs or graduates of the Higher
[00:21:47] Institute for Theatrical Arts and Cultural Animation. And of course,
[00:21:50] the first channel had the lead
[00:21:54] in that, which has
[00:21:57] theatrical works. And luckily, we find many
[00:22:01] of these theatrical works through electronic
[00:22:05] channels, meaning websites
[00:22:08] and video sites. We find these theatrical
[00:22:11] works available to the public, and therefore, the documentation of theatrical
[00:22:15] memory was achieved through our media channels
[00:22:19] and audio-visual channels. Regarding
[00:22:22] the documentation of Moroccan theater,
[00:22:25] I think that at the beginning of independence
[00:22:28] and even in the sixties, there
[00:22:31] was documentation of the theatrical movement,
[00:22:34] even if it was not
[00:22:37] as we had hoped, but there
[00:22:40] was documentation. After that,
[00:22:43] we only find rare
[00:22:46] and scarce things, whether it is about amateur
[00:22:49] theatrical groups or professional
[00:22:52] theatrical groups. We do not find
[00:22:56] or visual or audio media
[00:22:59] anything that documents
[00:23:04] in Morocco, we do not find documentation except for what
[00:23:07] is rare and little. I think that what
[00:23:11] we can find is related to the plays
[00:23:15] of Saddiki and El-Alj
[00:23:18] only. As for the rest,
[00:23:21] you cannot find anything that satisfies
[00:23:25] your curiosity, and this is what
[00:23:28] also contributed to the decline of the theatrical movement in our country. Yes, media contributed
[00:23:32] strongly to documenting Moroccan theater
[00:23:36] and archiving it. As I told
[00:23:39] you before, for example, personally or many
[00:23:43] people, before going to the theater, they saw
[00:23:46] plays on Moroccan television, especially comedies
[00:23:50] during Eid. We used to watch plays or other
[00:23:53] plays that were shown on the first channel or the second channel
[00:23:56] or others.
[00:23:59] Moroccan television regarding theater, I think
[00:24:02] it is a rich archive, but I think
[00:24:06] it should be given its due and why not restore
[00:24:09] it, revive it, and show
[00:24:13] it, for example, dedicating a special channel
[00:24:17] for this theater or its archive. For example,
[00:24:20] in Egypt, there is a "Zaman" channel that shows
[00:24:24] old programs in general. Why not dedicate
[00:24:27] a YouTube channel for these old plays and re-show
[00:24:31] them to the Moroccan audience, or on a special
[00:24:34] platform for them? I think the audience is eager to see those
[00:24:38] old plays because there is a bit of nostalgia
[00:24:41] and longing to watch plays, especially
[00:24:44] plays by prominent figures who
[00:24:48] have passed away.
[00:24:50] For example, Saadallah.
[00:24:54] his wife, Khadija Assad. So, why
[00:24:57] not dust off these plays
[00:25:00] and restore them and show them
[00:25:04] again on different
[00:25:08] levels or channels? I think there will be
[00:25:11] a great demand for them.
[00:25:14] By the way, in this question, I would like to
[00:25:17] extend my greetings and thanks to the first channel, and especially the production
[00:25:21] department. When we celebrated the 25th session (now in the 34th
[00:25:24] session), when we celebrated the 25th session,
[00:25:28] we needed our memory, and we found that Moroccan
[00:25:31] television is who preserves our memory. So, Moroccan
[00:25:34] television or media in general
[00:25:37] is primarily
[00:25:43] dissemination, but it also
[00:25:45] contributes to documentation
[00:25:49] and memory. For documentation,
[00:25:52] especially in what is now called archiving.
[00:25:54] The contribution of media
[00:26:01] in all its forms to archiving and documenting
[00:26:04] Moroccan theater is
[00:26:07] a given. It has played a major role in
[00:26:10] preserving theatrical memory. Through
[00:26:13] the coverage of shows and the reception
[00:26:17] of artists in special programs, we were able to
[00:26:20] learn about the works of theater pioneers. Their works
[00:26:24] have reached us and remained immortal until
[00:26:27] this day.
[00:27:23] I want to understand why all this fuss about protecting
[00:27:26] personal data, and how can I protect
[00:27:30] it? Personal data protection is no
[00:27:32] joke. Our country is taking the matter seriously
[00:27:36] and has enacted laws and regulations to protect your name, your phone
[00:27:39] number, your address, your photos, your school
[00:27:43] information, and even your medical and banking information.
[00:27:46] In short, any information that can identify
[00:27:49] you. But I still don't understand why all
[00:27:52] these precautions are needed. I'll simplify things for you. Your data
[00:27:55] is like gold. Companies can use it to bombard
[00:27:59] you with ads. Hackers, meaning pirates, can
[00:28:04] And there are bad people who can use it against you or even forge
[00:28:09] purposes. So, in the end, data protection
[00:28:12] means protecting your freedom, your private life,
[00:28:15] and your family's life. Oh, to that extent? How?
[00:28:19] Yes, for example, they can hack your accounts, steal
[00:28:22] your identity, and buy things with it, open your personal
[00:28:26] photo. Even if it seems simple to you,
[00:28:29] the consequences can be huge. Oh Lord,
[00:28:32] protect us. What should I do to protect myself? It's very
[00:28:35] easy. First, create a long and different password for each
[00:28:39] account. Second, enable two-factor authentication whenever
[00:28:43] possible. Third,
[00:28:45] don't give too much personal information on websites.
[00:28:51] of suspicious links or websites.
[00:28:54] Oh, now I understand. What does the CNDP do?
[00:28:58] This is the National Commission for the Control of Personal Data Protection,
[00:29:01] CNDP. Its role is to educate and explain to citizens
[00:29:04] and institutions how to apply the law. It protects your rights
[00:29:07] as a citizen and monitors so that no companies or administrations
[00:29:11] infringe on your privacy. If you are a victim of illegal and unauthorized
[00:29:14] exploitation of your data, you can file a complaint with the Commission, which ensures
[00:29:18] compliance with the law on the protection of your personal data. To live in the digital
[00:29:22] world, we must ensure the protection
[00:29:24] of our data.
[00:29:28] Hello, do you remember me?
[00:29:31] Yes, I am that plastic bottle. And now
[00:29:35] I'm back, not to complain, but to ask you a small
[00:29:38] favor: don't take me to the sea anymore, first, because
[00:29:42] I can't swim,
[00:29:45] at home. But you can take a glass
[00:29:48] bottle instead of me, or your water
[00:29:52] bottle, or your cooler.
[00:29:55] At least the fish won't eat them then, and they won't be left
[00:29:59] on the sand. And you can even use them as many
[00:30:03] times as you want. As for me, I promise you, I won't be left
[00:30:06] Okay, we agreed.
[00:30:09] I'm counting on you. That's great.
[00:30:13] That's what we wanted. And now it's time for me to leave and say
[00:30:16] goodbye. Take care of yourselves and your sea
[00:30:20] too. Mohammed VI Foundation
[00:30:24] for Environmental
[00:30:24] Protection.
[00:30:45] the first channel. Here are the main
[00:30:47] headlines:
[00:30:51] The establishment of crossing points to Ceuta and Melilla brings back to the forefront
[00:30:54] the issue of irregular migration. A file in which
[00:30:58] security and humanitarian dimensions intertwine.